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[ [ "Miss Arabella Mason was the eldest daughter of the steward of the old\nLord de Versely, brother to the Honourable Miss Delmar, and was much", "as usual, by Ben, and the second day after their arrival it was made\nknown to all whom it might concern, that Miss Arabella Mason had\nactually contracted a secret marriage with the handsome Benjamin Keene.", "It hardly need be observed, that the clever and sprightly Miss Arabella\nMason considered Ben as one much beneath her, that is, she said so on", "\"I only say, madam, what was said at the time by everybody, that Bella\nMason never would have married that marine, whom she looked upon with", "captain, liked attention, and liked sailors; this was Miss Arabella\nMason, a very pretty young woman of eighteen years of age, who\nconstantly looked in the glass merely to ascertain if she had ever seen", "occasional invitation. It may be inquired in what capacity Miss\nArabella Mason remained at the Hall; she was not a servant, for her\nposition in life was above that of a menial; neither was she received", "have broken his heart, if, in his lifetime, my daughter Arabella had\nmade the foolish marriage which she did with a private marine--however,", "\"The matter is this, nephew,\" replied the old lady--\"that marriage of\nyour marine and Bella Mason should have taken place six months sooner", "\"Yes; God's will be done, Captain Bridgeman; now you see, sir, that this\nmarriage of Bella's has done no good to the prospects of her sister", "I am getting on as well as I could wish in my small way; Jane and I are\nto be married in a few days, and I hope you will honour me by being\npresent at the wedding.\"", "Bella Mason might have done better--but she was his aunt's servant, and\nKeene was his valet, so that the disparity was not so very great. He", "\"Comfort yourself, dear Arabella, as well as you can with the\n reflection that it has been the will of Heaven, to whose decrees we", "and a tree fell upon him. He left a widow and two daughters: it was\nsaid that at his death Mrs Mason was not badly off, as her husband had", "maid at the time that it happened, and I was constantly in company with\nBella Mason. She was very respectful towards you, but you did not know", "match had he not been prompted to it by his master, who actually\nproposed that he should marry the girl. That such was the fact is\nundoubted, although they knew it not; and Ben, who considered the wish", "\"That may be, madam, but still Captain Delmar was the father of that\nboy; for, if you recollect, old Mrs Mason came to the Hall, and went\naway almost immediately.\"", "\"I have been thinking,\" said one of the mids, \"what I shall do if Mammy\nCrissobella takes pepper-pot; I shall marry Leila, and keep the hotel.\nMammy, you'll leave me the plate and furniture.\"", "are allowed to give vent to their indignation without the smallest\nopposition they soon talk it away; such was the case with the Honourable\nMiss Delmar. When it was first announced that Bella Keene was safely in", "\"That marine, ma'am! he was innocent enough; Bella was not likely to\nlisten to one like him.\"\n\n\"Who can you mean then, Phillis?\"", "\"Very true, child,\" replied granny; \"but recollect, neither would you\nhave married a marine--a private marine, Bella, while your sister looks" ], [ "\"Percival Keene\" was published in 1842, the nineteenth book to flow from\nMarryat's pen.", "duly registered in the church books as Percival Keene.", "Percival Keene, by Captain Marryat.\n\n________________________________________________________________________", "Keene, whose name, at least, you have often heard of lately. I have\nbrought him with me because he is a follower of mine: he entered the", "PERCIVAL KEENE, BY CAPTAIN FREDERICK MARRYAT.\n\n\n\nCHAPTER ONE.", "THE END.\n\n\n\n\n\n\nEnd of the Project Gutenberg EBook of Percival Keene, by Frederick Marryat", "\"Good Heavens! that voice!--why, who are you?\" cried Captain Delmar,\nstarting back a pace.\n\n\"Mr Keene, sir,\" replied I, again putting my hand to my head.", "\"Certainly, Keene,\" replied his lordship.\n\n_Keene_! not _Mr_ Keene, thought I.", "\"We manage them that way on board ship,\" replied I, laughing.\n\n\"You are a sailor, then, sir,\" replied the little man. \"Probably I have\nthe pleasure of addressing Captain Keene?\"", "\"Well, sir, the master could not bear the sneering of the sogers on\nshore, and he consented that Mr Keene should take your place, which he", "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "\"Mr Keene,\" said she, \"I didn't know your name before you told it to\nthe skipper here; you're in a pretty scrape. I don't know what Jim", "GUTENBERG EBOOK PERCIVAL KEENE ***\n\n\n\n\nProduced by Nick Hodson of London, England", "personage had been selected out of the marine corps which had been\ndrafted into the frigate. Benjamin Keene, for such was his name, was\ncertainly endowed with several qualities which were indispensable in a", "Keene,\" he would say--\"sit down; the master has reported favourably of\nyou, and I am glad to hear of it.\"", "\"Yes, Bob, not very far from it.\"\n\n\"Well, I suppose I must say Mister Keene for the future.\"", "\"I believe you are, Keene,\" replied his lordship. \"By the bye, you\nleave your letters so exposed, that one cannot help seem them. I see\nyou are writing to your grandmother. I hope the old lady is well?\"", "\"Happy to see you, Keene,\" said the admiral. \"Hollo! what makes you\nlimp in that way? Have you hurt your leg?\"", "\"My dear Keene,\" said he, \"I have been to the major, and, to my\nsurprise, when I stated to him what had passed at the table last night,", "\"Mr Keene, I presume?\" said the first lieutenant, eyeing me from head\nto foot.\n\n\"Yes, sir,\" replied I, touching my hat." ], [ "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "suddenly. Percival, you naughty boy,\" continued Milly, shaking her\nfinger at me, \"it was all your doing.\"", "\"So you think, that because a lad steals a few of your confounded\nplums,\" observed the second lieutenant, \"he deserves to be eaten by the\nsharks. If I were Tommy Dott, I would haunt you if I could.\"", "\"Here it is, ma'am,\" said Ben, who perceived it sticking in her skirt.\n\"That's Percival's work, I'll answer for it.\"", "The boys went out at the dinner hour, leaving me, as before, to wait for\nmy basket, after the tyrant had helped himself. I stood by him in\nsilence while he was rummaging its contents.", "\"My dear Percival,\" said old Mr Vanderwelt, after I had concluded my\nnarrative, \"you have been pursuing a shadow, although the pursuit has", "or another, Mr Culpepper stepped forward from where he stood, and he\ntouched Tommy, whom he immediately seized crying out, \"Thieves!", "\"I fear that he will never do that, Percival; nor, indeed, do I think\nyou would gain by it. When you are more advanced in the world, your", "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "Bob Cross stepped over him, and hastened up to the lower deck, followed\nby Tommy Dott, who first, by way of revenge, jumped several times upon\nthe purser's face and body before he climbed up.", "As soon as Captain Delmar was gone, my mother turned round, and said,\n\"You naughty, mischievous boy, to play such pranks. I'll have that dog\nkilled, without you promise me never to do so again.\"", "other end of the schoolroom. The boy, who had been talking to his\nneighbour, rubbed his poll, and whined.", "My mother burst out a laughing as the lieutenant disappeared. \"I was\nnot far wrong when I said he was thinking of himself,\" said she, \"for a\n_calf_ is a sort of _bull pup_.\"", "possession of it. You will tell me, my dearest Percival, I'm sure, if\nyou did play this trick to granny, or not; you know you may trust me\nwith any of your tricks.\"", "the blows. At last he dropped the ruler, and, pressing both hands to\nhis stomach, he rolled himself backwards and forwards, and then twisted", "One by one were the boys summoned up to the throne of Mr O'Gallagher,\nand their pockets searched by Phil Mooney, who emptied them of their", "Walter Puddock, as soon as he was on the back of Phil Mooney, received a\ndozen cuts with the rod, well laid on. He bore it without flinching,\nalthough the tears rolled down his cheeks.", "\"As for that,\" replied aunt Milly, \"I'm sure that sister, if she hears\nwhat's going on, as she cannot take Percival away, will order her\nhusband, Ben, to go up and thrash him.\"", "to their books, that he could not discover one; at last he singled out a\nfat chubby lad.", "high; but at times he changed the subject, and then he spoke of me and\nmy mother. \"Where is my boy--my own boy, Percival?\" said he--\"my" ], [ "By the time that the whole school had been rifled, the heap of fireworks\nwas very considerable, and Mr O'Gallagher, to prevent any of them being", "The boy, who was not a little confused with the blow, sufficiently\nrecovered his senses to obey the order, and whimpering as he came up,\nreturned the ruler to the hands of Mr O'Gallagher.", "No one could explain how the catastrophe occurred, further than that Mr\nO'Gallagher had collected all the squibs and crackers from the boys, and", "O'Gallagher, about an hour before dinner, announced to us that all the\nsquibs and crackers, with which our pockets were crammed, were to be", "explosion and the cries of the boys, rushed in, and perceiving only me\nand Mr O'Gallagher, who still howled, they caught hold of us both, and", "suddenly. Percival, you naughty boy,\" continued Milly, shaking her\nfinger at me, \"it was all your doing.\"", "\"Well then, sir, you didn't say it well yesterday,\" continued Mr\nO'Gallagher.\n\n\"Yes I did, sir,\" replied the boy, whimpering.", "Once more we were all assembled. Mr O'Gallagher surveying, with the\nsmile of a demon, the unhappy and disappointed faces of the boys, was", "them all underneath it. This was done; Mr O'Gallagher resumed his\nseat, and the lessons continued till the dinner hour arrived, but, alas!", "\"Oh, by the powers! don't I know him?\" cried Mr O'Gallagher; \"it's the\nyoung gentleman who bit a hole in his grandmother; Master Keene, as they", "O'Gallagher, for, much as I detested him, I certainly had no intention\nto kill him; so after a time, I made inquiries, and found that he was", "Here Mr O'Gallagher looked round the school, as if to find a culprit;\nbut the boys, aware of what was going on, kept their eyes so attentively", "Mr O'Gallagher grinned as he finished his oration; and he looked so\nmuch like a wild beast, that I was glad to be off as fast as I could. I", "Much to Mr O'Gallagher's surprise I said them all without one mistake.\nInstead of commendation I received abuse. \"By all the powers,\"", "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "One by one were the boys summoned up to the throne of Mr O'Gallagher,\nand their pockets searched by Phil Mooney, who emptied them of their", "of beef sandwiches, a piece of bread and cheese, and three or four\nslices of seed-cake. Mr O'Gallagher opened all the packages, and,\nafter a pause, said--", "The boys had been saving up all their money to purchase fireworks for\nthe celebrated 5th of November--a day on which it was said that certain", "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "O'Gallagher could not leave his room for three days, nor resume his seat\nin the school until a week had elapsed, during which I remained at home\nplotting still further mischief." ], [ "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "As we passed the vessel hove to, which we took it for granted was a\nmerchantman, which the pirate had been plundering, the captain ordered", "\"You have made me do what I never did before,\" replied he, raising\nhimself and sitting with his feet on the deck.\n\n\"I know I have; I have made you spare those of my colour.\"", "The reader will perhaps recollect that the old Dutch gentleman, whose\nlife I had saved in the pirate vessel, had stated that his name was", "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "\"I fear that he will never do that, Percival; nor, indeed, do I think\nyou would gain by it. When you are more advanced in the world, your", "\"Yes, my lord and I assure you that I never shall execute any with so\nmuch pleasure. Has Captain Keene told you how he saved my life this\nmorning?\"", "\"I have relations and friends--a profession to follow. What can I gain\nby remaining here, except your friendship? I never will be a pirate,\nyou may be assured, I wish from my heart that you were not one.\"", "\"Well, Percival you will allow me till to-morrow to think about it\nbefore I give a decided answer.\"", "Captain Delmar had shown great kindness to the son of the Dutch captain\nand he did not send him on shore with the rest of the prisoners, but", "you see, sir, that Dutch gentleman whom you saved from the nigger pirate\ncame to call on Captain Delmar yesterday morning, and, after some\npalaver, he told the captain that he wished you to remain with him", "\"And you won't go to sea any more--will you, Percival?\" said Minnie.", "\"Well,\" replied Captain Delmar, rather amused, \"give me the information\nand you shall have the spar.\"\n\n\"That's agreed.\"", "\"The pirate-boy,\" replied the little girl, bursting into a paroxysm of\ntears, on my shoulders.", "in chase was made immediately, and we came up within three miles of\nthem, when one, evidently the pirate we were in search of, made sail,\nwhile the other remained hove to.", "\"I tell you before all your officers that I am Captain Keene, of the\nCirce frigate, belonging to His Britannic Majesty, and no spy; if you", "\"My dear Percival,\" said old Mr Vanderwelt, after I had concluded my\nnarrative, \"you have been pursuing a shadow, although the pursuit has", "\"Mercy!--murder!\" cried the purser, dropping the lantern, which went out\nand left them in the dark; and he tumbled down on the coals.", "The captain, turning to me--for I had stood up the last of the row--\nsaid, \"I understand the officer of the impress agreed to release you if", "sharks are thick enough in Port Royal, that he was safely stowed away in\none of their maws. I will say that the whole of the ship's company were" ], [ "\"Certainly, Captain Delmar, if it is possible. I think that a little\nblood must be taken from you immediately, and probably the fever may\nsubside.\"", "Captain Delmar had passed close to me, the middy at his heels was\npassing, and I thought all chance was gone, when, suddenly, Captain", "As soon as the crash was over, Captain Delmar cried out--\"Up, men, and\nfire, as I round to under her stern.\"", "In the meantime Captain Delmar had been assisted to his legs by Captain\nBridgeman, who well knew who had played the trick, and who, as well as\nAunt Milly, had great difficulty in controlling his mirth.", "\"Yes,\" said Mr Culpepper, \"and a strong one too. Captain Delmar is so\nhigh and mighty, that he would not have it thought that he could ever", "The surgeon came in, and Captain Delmar then said to him, \"Is this all\ntrue that Cross has been telling me? Have I really fought a duel and\nkilled my adversary?\"", "The master bit his lips, and was silent for a short time. At last he\nsaid, \"What you propose is certainly very easy; but why should you risk\nyour life for Captain Delmar?\"", "As soon as Captain Delmar was gone, my mother turned round, and said,\n\"You naughty, mischievous boy, to play such pranks. I'll have that dog\nkilled, without you promise me never to do so again.\"", "was then Captain Delmar, and he was more shocked at the impropriety than\neven I was, and offered to give the marine a good whipping.\"", "\"God bless you, sir,\" replied my mother, weeping, as Captain Delmar\nshook her hand, and then we left the room. As we were walking back to", "Captain Delmar then walked to the capstern, and, in few words, pointed\nout what I have just stated as the difficulty which might occur, and the\nchances of capture.\n\n\"You understand me, Mr Keene?\"", "\"Merciful heaven! what was it? Was the animal mad? Has it bitten me?\"\nexclaimed Captain Delmar, falling back in his chair, in which he had\nbeen seated by Captain Bridgeman.", "\"Now, my men,\" cried Captain Delmar, \"make short work of her.\"", "Just at that time, I called out \"Mad dog! mad dog!\" and Captain Delmar,\nhearing those alarming words, became dreadfully frightened; his cocked", "Captain Delmar was, to use a sailor's term, completely taken aback;\nindeed he was nearly capsized by the unexpected assault. For a short", "Captain Delmar was very furious at this want of respect of certain\nparties unknown, and had we been discovered, whatever might have been my\nfate, it would have gone hard with Tommy Dott; but we kept our own\ncounsel, and escaped.", "Captain Delmar, who was the naval commanding officer, had taken up his\nquarters on shore; he had done all he possibly could to prevent the", "It so happened, that one afternoon, as I was cruising about with Bob at\nmy heels, I perceived the newly-arrived Captain Delmar, in all the pomp", "\"I must say that I gave you up for lost,\" said Captain Delmar; \"the\nboat's crew were picked up the next morning, and reported that you were", "The surgeon answered Captain Delmar,--\"As only you and Mr Keene were\ntaken with the fever, I thought it better that he should remain here," ], [ "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "\"Well, Percival, I cannot blame you; and do not you, therefore, blame\nyour mother too much, when you consider that the same feeling was the\ncause of her becoming your mother.\"", "suddenly. Percival, you naughty boy,\" continued Milly, shaking her\nfinger at me, \"it was all your doing.\"", "high; but at times he changed the subject, and then he spoke of me and\nmy mother. \"Where is my boy--my own boy, Percival?\" said he--\"my", "\"But your grandmother, Percival--must I tell her?\"", "This was my first blow, and a heavy one, to my poor mother; for what\nwoman can bear to be humiliated by her offspring being acquainted with", "\"Yes, indeed she was, madam; but she had a private meeting with Captain\nDelmar; and Mrs Short, the housekeeper, overheard what passed, and I", "\"My dear Percival,\" said old Mr Vanderwelt, after I had concluded my\nnarrative, \"you have been pursuing a shadow, although the pursuit has", "and at last decided upon paying a visit to the mother, who was now\nsufficiently recovered to undergo a lecture of about two hours' length,\nin which the honourable spinster commented upon her _in_decency,", "A dreadful accident has occurred, and indeed I feel most sincerely for\n you. On the night of the 10th, Percival was in a boat which broke", "\"I fear that he will never do that, Percival; nor, indeed, do I think\nyou would gain by it. When you are more advanced in the world, your", "her, and, in a low voice, said, \"Excessively strange,--so very\nunexpected!\" He then rose up from the chair and followed my mother into\nthe back room.", "\"That may be, madam, but still Captain Delmar was the father of that\nboy; for, if you recollect, old Mrs Mason came to the Hall, and went\naway almost immediately.\"", "possession of it. You will tell me, my dearest Percival, I'm sure, if\nyou did play this trick to granny, or not; you know you may trust me\nwith any of your tricks.\"", "\"As for that,\" replied aunt Milly, \"I'm sure that sister, if she hears\nwhat's going on, as she cannot take Percival away, will order her\nhusband, Ben, to go up and thrash him.\"", "mother upon him, but not so much ashamed of me; and, now that she was\nremoved, probably he might not be at all ashamed. My mother was no", "mother, when, finding she could no longer conceal the truth from me, she\nentered into a narrative to extenuate her conduct, pointing out her", "\"What's the matter, mother?\" said I.\n\n\"Oh! my child, my child!\" replied my mother, wringing her hands, \"you\nare an orphan, and I am a lonely widow.\"", "seen nor had any communications with the captain, during the whole of\nthis time. He was informed by the surgeon that I was in great distress\nof mind at the news of my mother's death, and that my recovery would be", "\"Oh Percival! you must not do anything to granny,\" said aunt Milly,\nlooking very archly; \"I must not hear anything of the kind.\"" ], [ "the French, and at the most can only be prisoners of war. Upon what\ngrounds do you order us to be shot?\"", "his sword. His left arm was bound up, and he was very pale from loss of\nblood. He spoke pretty good English; and we found that we had captured", "that he and his men had been mastered, and the French were in possession\nof the vessel. But now our turn came. Dividing my boats, six in", "seized upon Cross and me. A few minutes afterwards, General Moraud came\nup, and inquired, in a rough tone, who we were. I replied in French,\nthat we were English officers.", "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "\"General Moraud,\" said he, \"what that officer says is true: he is\nCaptain Keene, and I was prisoner on board of his vessel; and I also\nknow the other man as well.\"", "until he saw me come down under French colours, upon which he felt that\nfurther resistance was vain. I told him I was afraid the schooner would", "fired, and one went over us. At last the Frenchman anchored, and set to\nwork in good earnest. He found that he was within range, and as we did", "French, till a bullet through my leg put a stop to my progress. I\ncalled to Cross, who came to my assistance, and he helped me back to the\nGrand Place, which was now clear of troops.", "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "suddenly. Percival, you naughty boy,\" continued Milly, shaking her\nfinger at me, \"it was all your doing.\"", "peppered that Frenchman very well; and I am convinced that you have put\na good many shots into him between wind and water. Now, that he is", "\"I fear that he will never do that, Percival; nor, indeed, do I think\nyou would gain by it. When you are more advanced in the world, your", "\"Farewell, Vangilt,\" said I in French; \"I thank you for your\ninterference, although you have not succeeded with the _scoundrel_.\"\n\n\"Take them away!\" roared the general.", "\"I think you are right, Bob,\" says I. \"Hoist French colours. He will\nmake sure of his prize then, and we shall laugh at his disappointment.\"", "who lay in them, and then had their bottoms beat out to sink them. The\nFrench lieutenant and two other officers I ordered into our own boats,\nto take on board as prisoners; the rest of the French who had been", "sees us, if we hoist English colours; but if you hoist French colours,\nwe may get down and pin him before he knows what we are.\"", "The French lieutenant was then questioned; but with the exception of the\nname of the ship and captain, there was little to be expected from him,\nand he was dismissed and sent below.", "conjecture; they had been captured by a French line-of-battle ship,\nwhich they had left in shore the evening before. The English reported", "Our conversation was here interrupted by a party of French soldiers, who\nopened the door and ordered us to follow them. We had not far to go," ], [ "\"My dear Percival,\" said old Mr Vanderwelt, after I had concluded my\nnarrative, \"you have been pursuing a shadow, although the pursuit has", "\"Yes, sir, it is very good news: but, Master Keene, I only hope, knowing\nCaptain Delmar as you do, that you will act towards him as if you had\nnever heard it.\"", "\"I fear that he will never do that, Percival; nor, indeed, do I think\nyou would gain by it. When you are more advanced in the world, your", "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "\"Yes, Percival, but there is a postscript overleaf, which you have not\nread.\"\n\nI turned back to the letter.", "saved. At all events, it's no use telling bad news too soon, and\ntherefore you'll oblige me by not saying anything on the subject. A few\nhours will decide our fate.\"", "A few days afterwards a packet arrived from England, and letters were\nreceived by Captain Delmar, informing him of the death of his elder", "\"My dear Percival:--", "the Admiralty; and as I have business unexpectedly come to hand, I\nthought I would be the bearer myself of the good news. I leave you the\nletter, and shall of course see you to dinner.\"", "suddenly. Percival, you naughty boy,\" continued Milly, shaking her\nfinger at me, \"it was all your doing.\"", "lieutenant has brought them on shore for the captain, and among the\nletters from England I found this one for you. I have seen Cross,\"\ncontinued the surgeon, nodding his head significantly as he left the", "high; but at times he changed the subject, and then he spoke of me and\nmy mother. \"Where is my boy--my own boy, Percival?\" said he--\"my", "Of course, the last person made acquainted with this interesting\nintelligence was the Honourable Miss Delmar, and her nephew took upon", "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "such escapes--twice reported dead at head-quarters, and twice come to\nlife again. Now Master Keene, I've very good news to tell you: you", "\"Here it is, ma'am,\" said Ben, who perceived it sticking in her skirt.\n\"That's Percival's work, I'll answer for it.\"", "\"Only one more, sir:--is the adjutant dead?\"\n\n\"I have not heard,\" replied the surgeon; \"but we shall know to-morrow:\nnow go to sleep, and good-night.\"", "THE END.\n\n\n\n\n\n\nEnd of the Project Gutenberg EBook of Percival Keene, by Frederick Marryat", "We had been three weeks at Portsmouth when Colonel Delmar received a\nletter from a friend of his, a Major Stapleton, which he read aloud to", "possession of it. You will tell me, my dearest Percival, I'm sure, if\nyou did play this trick to granny, or not; you know you may trust me\nwith any of your tricks.\"" ], [ "of the de Versely family. It is a handsome building, surrounded by a\nfinely timbered park of some extent, and, what is more important, by", "Versely, who was with her in her private room. I therefore remained\nwith Mr Warden for about an hour, when Lord de Versely came down and", "\"Lord de Versely,\" replied Tommy, who felt the truth of what I said:\n\"he's a peculiar sort of man.\"", "confided to me. You will see, therefore, that Lord de Versely did not\n neglect your interests. The de Versely property he could not leave", "where his aunt, Miss de Versely, was still flourishing at a green old\nage. \"Here is a letter of introduction to her, Keene,\" said he, \"as she", "Lord de Versely's letter to my mother, and confided it to his care. At\nthe same time I wrote a long letter to Mr Warden explaining as far as I", "brother and his succeeding to the title of Lord de Versely; for his\nelder brother, although married, had no male issue. Upon this\nintelligence, Captain Delmar immediately resigned the command of the", "After a few minutes' conversation, Lord de Versely rose, and we left the\nroom. As soon as we were in the carriage his lordship said, \"Keene, you", "The next morning I called at Lord de Versely's and sent up my card. I\nwas immediately ushered up, and found myself in his presence. Lord de", "Versely; that is to say, his eldest brother has no children. I have\nbeen nearly fifty years in the family as a confidential, Captain", "de Versely believe that your mother was dead. The old lady, who is\n now very far gone in her intellect, could hardly understand me.", "de Versely, of whom I spoke in terms of admiration and gratitude, I had\nsoon established myself in her good graces. Indeed, as I subsequently", "it is. Had Lord de Versely not been so suddenly called away, this\n would never have happened; as it is, we must make the best fight we", "Versely's death, as it was so sudden; the property left you is not\n perhaps of so much value in itself, as it is as a mark of his regard", "de Versely, that his gun had gone off accidentally as he was putting on\na copper cap, and bitterly lamenting the circumstance. Lord de Versely", "Versely; so that it appeared the old lady had been written to by Lord de\nVersely respecting me.", "Miss Arabella Mason was the eldest daughter of the steward of the old\nLord de Versely, brother to the Honourable Miss Delmar, and was much", "flashed into my memory. Lord de Versely was dead. I groaned, and fell\nback on the pillow.", "supposed to be dead many years I knew well for Lord de Versely told me\n so. The old lady has shown me these letters, which certainly appear", "\"Why, Lord de Versely, ma'am, to be sure. Everybody in the Hall was\nsure the child was his; he and Bella were for ever together for months\nbefore her marriage.\"" ], [ "to spend a month at Madeline Hall, and used to bring her eldest\ndaughter, who had left school, with her. Latterly, however, the\ndaughter remained as a fixture, and Mrs Mason received but an", "A few miles from the town of Southampton there is an old mansion-house,\nwhich has been for centuries known as Madeline Hall, in the possession", "his first arrival at Madeline hall; but, strange to say, that two years\nafterwards, just at the time that reports had been raised that she had\nbeen frequently discovered in tears, there was a change in her manner", "can come home the better, and I advise you to take up your quarters at\n Madeline Hall, for possession is nine points of the law, and you can\n keep off all trespassers.--Yours most truly,", "After tea, I rose to take my leave, and then I received an invitation\nfrom the old lady to come and spend some time at Madeline Hall, and to", "that he has, by some means, discovered that you have ousted him, and\n since you sailed he has returned to Madeline Hall, and has so", "yourself as agreeable to the old lady as you can; you will find Madeline\nHall a very pleasant place, when you are tired of the dockyard and the\nsmell of pitch and tar.\"", "down to Madeline Hall, as fit company for you? No; so, madam, depend\nupon it, Captain Keene is a Delmar, and no wonder his lordship is so", "post-captain's father was a marine in those barracks. Another letter\nfrom Lord de Versely, announcing his arrival at Madeline Hall, and", "with a flourish to his head, in token of his obedience. Shortly\nafterwards, Captain Delmar again came over to Madeline Hall, accompanied", "not disproved, may seriously affect your future interests. Know then,\n that when you were last at Madeline Hall, I was sent for to draw up", "very attentive in visiting his aunt, who lived at Madeline Hall;\nill-natured people asserted, because she had so fine an estate in her", "After a little conversation, Cross took leave. The next day I took\npost-horses, and went over to Madeline Hall, having two or three days", "old Mrs Mason set off for Madeline Hall. She first had a closeted\ninterview with her daughter, and then with Captain Delmar, and as soon\nas the latter was over, she immediately took her departure, without", "my mother since the interview which she had had with her at Madeline\nHall shortly after her marriage with Ben the marine. Latterly, however,\nthey had corresponded; for my mother, who was too independent to seek", "When I took my leave of Lord de Versely, he told me that he should come\ndown on the first of the following month (September) to Madeline Hall,", "have come to her knowledge, I certainly should have written to my\ngrandmother from Madeline Hall; but I imagined that she knew nothing\nabout it, until my return to Portsmouth, when her anxious letters proved", "\"F. WARDEN.\"\n\n\"Well, Minnie dearest, I may congratulate you, I believe, as the lady of\nMadeline Hall,\" said I, folding up the letter.", "cell, the back of which was turned towards the hall. I knew the voice\nto be that of the old lady, who, it appears, had, as usual, come out in", "The chaise stopped, and the boys dismounted and rang the bell. In a\nminute three or four servants made their appearance, and on inquiring, I\nfound that the Honourable Miss Delmar was at home, and visible." ], [ "The master bit his lips, and was silent for a short time. At last he\nsaid, \"What you propose is certainly very easy; but why should you risk\nyour life for Captain Delmar?\"", "more at her demeaning herself by marrying a private marine. Captain\nDelmar replied, that it was true that Ben was only a private, but that\nevery common soldier was a gentleman by profession. It was true that", "After our return, my mother gave me a great deal of advice. She told me\nthat, as I had lost my father Ben, I must now look upon Captain Delmar", "by from her business, and that therefore there was no longer any\noccasion that I should be an expense to Captain Delmar. It must not,\nhowever, be supposed, from my grandmother stating this, that Captain", "before others. Captain Delmar informed her that he should take me\nimmediately under his protection, pay all my expenses, and, if I behaved\nwell, advance me in the service.", "the reason why Captain Delmar was interested about me, and had promised\nto do so much for me; begging me to treat him with great respect and\nnever venture to play him any tricks, or otherwise he would be highly", "to Captain Delmar, and in a day or two I received an answer, with a copy\nof what she had sent. It was to the effect that I was now going away", "was then Captain Delmar, and he was more shocked at the impropriety than\neven I was, and offered to give the marine a good whipping.\"", "respectful to Captain Delmar, and keep yourself at as great a distance\nfrom him as he does from you.\"", "Captain Delmar then walked to the capstern, and, in few words, pointed\nout what I have just stated as the difficulty which might occur, and the\nchances of capture.\n\n\"You understand me, Mr Keene?\"", "\"I ax your pardon, marm; but if you know anything of Captain Delmar, you\nmust know he's not a man to be played with, and you would not wish to", "for the second time, and that it was possible she might never see me or\nCaptain Delmar again; that she wished him success and happiness, and\nbegged him, in case she should be called away, not to forget his", "\"I trust not, Captain Delmar,\" replied I. \"I have but one wish in the\nworld, which is to please you, who have so befriended me from my", "match had he not been prompted to it by his master, who actually\nproposed that he should marry the girl. That such was the fact is\nundoubted, although they knew it not; and Ben, who considered the wish", "Bridgeman; \"so take my advice, and do as your mother wishes; be very\ncivil and respectful to Captain Delmar, and he may be as good as a\nfather to you.\"", "Captain Delmar was very furious at this want of respect of certain\nparties unknown, and had we been discovered, whatever might have been my\nfate, it would have gone hard with Tommy Dott; but we kept our own\ncounsel, and escaped.", "you to change your name, and, in one word, I wish Captain Delmar should\nbelieve that you are dead.\"", "\"If you have no objection, Captain Delmar,\" said the old gentleman, with\nanother low bow, \"I am sure that Mrs Culpepper will be most proud to", "\"God bless you, sir,\" replied my mother, weeping, as Captain Delmar\nshook her hand, and then we left the room. As we were walking back to", "\"Now, my men,\" cried Captain Delmar, \"make short work of her.\"" ], [ "It hardly need be observed, that the clever and sprightly Miss Arabella\nMason considered Ben as one much beneath her, that is, she said so on", "as usual, by Ben, and the second day after their arrival it was made\nknown to all whom it might concern, that Miss Arabella Mason had\nactually contracted a secret marriage with the handsome Benjamin Keene.", "pleased at so unusual an occurrence, and already the sneers and\ninnuendoes of the servants' hall were not wanting. It appeared,\nhowever, that an interview had taken place between Ben and Captain", "Miss Arabella Mason was the eldest daughter of the steward of the old\nLord de Versely, brother to the Honourable Miss Delmar, and was much", "\"As for that,\" replied aunt Milly, \"I'm sure that sister, if she hears\nwhat's going on, as she cannot take Percival away, will order her\nhusband, Ben, to go up and thrash him.\"", "benefit. At all events, it will satisfy my pride; for I feel that I am\nnot the son of your husband, but have blood boiling in my veins which", "\"Comfort yourself, dear Arabella, as well as you can with the\n reflection that it has been the will of Heaven, to whose decrees we", "CHAPTER FOUR.\n\nAs soon as I was clear of the door, I looked up into Ben's face and\nsaid, \"Father, where are we going?\"", "\"Yes; handsome boy,\" croaked the old lady.\n\n\"Papa's dead.\"\n\n\"Dead! I thought so,\" observed Miss Medea, winking at her mother.", "match had he not been prompted to it by his master, who actually\nproposed that he should marry the girl. That such was the fact is\nundoubted, although they knew it not; and Ben, who considered the wish", "After this came on a series of questions and cross-questions; I replied\nto her so as to make it appear that Ben was my father, and nobody else,", "\"You see, my daughter Amelia has been well brought up, and carefully\neducated, as was, indeed, my daughter, Arabella, through the kindness of", "Ben, although he felt that this would be a virtual separation _a mensa\net thoro_, named no objections. Having thus obtained the consent of her", "After our return, my mother gave me a great deal of advice. She told me\nthat, as I had lost my father Ben, I must now look upon Captain Delmar", "So one fine day Ben wished us all good bye; my mother was very generous\nto him, as she could well afford to be. I rather think that Ben himself", "pride--where is he? Arabella, you must not be angry with me--no,\nArabella; consider the consequence;\" and then he would burst out in such", "my mother since the interview which she had had with her at Madeline\nHall shortly after her marriage with Ben the marine. Latterly, however,\nthey had corresponded; for my mother, who was too independent to seek", "\"Here it is, ma'am,\" said Ben, who perceived it sticking in her skirt.\n\"That's Percival's work, I'll answer for it.\"", "and as Ben had made known his determination to resent any remarks upon\nthe subject, not a word more was said, at all events when he was\npresent.", "A minute afterwards, Ben the marine first tapped gently, and then opened\nthe door and came in; for at that late hour the officers were all at\ndinner, and the shop empty." ], [ "As soon as it was ascertained that Mr O'Gallagher was gone, my\ngrandmother insisted upon my being sent to another school, and on this", "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "suddenly. Percival, you naughty boy,\" continued Milly, shaking her\nfinger at me, \"it was all your doing.\"", "my grandmother had put me to that school out of feelings of ill-will for\nthe tricks I had played, and had threatened that if I were removed she\nwould leave Chatham and take her away with her. My mother required", "possession of it. You will tell me, my dearest Percival, I'm sure, if\nyou did play this trick to granny, or not; you know you may trust me\nwith any of your tricks.\"", "\"But your grandmother, Percival--must I tell her?\"", "\"Because I have not been long enough at school to learn manners,\ngranny.\"\n\n\"Come and kiss me before you go, my child,\" said my mother.", "\"Oh Percival! you must not do anything to granny,\" said aunt Milly,\nlooking very archly; \"I must not hear anything of the kind.\"", "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "high; but at times he changed the subject, and then he spoke of me and\nmy mother. \"Where is my boy--my own boy, Percival?\" said he--\"my", "\"As for that,\" replied aunt Milly, \"I'm sure that sister, if she hears\nwhat's going on, as she cannot take Percival away, will order her\nhusband, Ben, to go up and thrash him.\"", "\"My dear Percival,\" said old Mr Vanderwelt, after I had concluded my\nnarrative, \"you have been pursuing a shadow, although the pursuit has", "\"For biting your grandmother, I expect, in the first place, and to get a\nlittle learning, and a good deal of flogging, if what they say is true!\nI never was at school myself.\"", "\"I fear that he will never do that, Percival; nor, indeed, do I think\nyou would gain by it. When you are more advanced in the world, your", "satisfaction in my grandmother's eyes, which even her spectacles could\nnot conceal from me: the fact was, my grandmother had triumphed, and I\nwas going to school.", "she was virtually separated from her husband. As my grandmother found\nit rather lonely at the isolated house in which she resided, and Amelia\ndeclared herself bored to death, it was at last agreed that my", "\"Well,\" replied he, \"I am going to take you to school.\"\n\n\"School! What am I going to school for?\" replied I.", "took his departure from the Hall. My mother returned to her room as the\nwheels of his carriage rattled over the gravel of the drive, and many\nwere the bitter tears which she shed over her unconscious boy.", "The neighbours perceiving how ill he was, led him out of the\nschool-rooms into his own apartment, one going for a doctor, and the\nothers telling the boys they might all go home, a notice of which they\ngladly availed themselves.", "I have not mentioned my grandmother lately. The fact is, that when\nCaptain Delmar made his appearance, for some cause or another, which I" ], [ "As we passed the vessel hove to, which we took it for granted was a\nmerchantman, which the pirate had been plundering, the captain ordered", "The reader will perhaps recollect that the old Dutch gentleman, whose\nlife I had saved in the pirate vessel, had stated that his name was", "\"Yes, my lord and I assure you that I never shall execute any with so\nmuch pleasure. Has Captain Keene told you how he saved my life this\nmorning?\"", "\"I have relations and friends--a profession to follow. What can I gain\nby remaining here, except your friendship? I never will be a pirate,\nyou may be assured, I wish from my heart that you were not one.\"", "often heard the history of my saving their lives on board of the pirate\nvessel from Mr Vanderwelt who made it a constant theme of his", "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "\"You have made me do what I never did before,\" replied he, raising\nhimself and sitting with his feet on the deck.\n\n\"I know I have; I have made you spare those of my colour.\"", "you see, sir, that Dutch gentleman whom you saved from the nigger pirate\ncame to call on Captain Delmar yesterday morning, and, after some\npalaver, he told the captain that he wished you to remain with him", "\"I tell you before all your officers that I am Captain Keene, of the\nCirce frigate, belonging to His Britannic Majesty, and no spy; if you", "Captain Delmar had shown great kindness to the son of the Dutch captain\nand he did not send him on shore with the rest of the prisoners, but", "\"General Moraud,\" said he, \"what that officer says is true: he is\nCaptain Keene, and I was prisoner on board of his vessel; and I also\nknow the other man as well.\"", "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "\"You may pass yourself off as the captain of a frigate, but your dress\ndisproves it, and I have better information. You are two spies, and\nsmugglers, and therefore you will be shot.\"", "As usual, the crew were brought on board by the pirates, who reported to\nthe captain that the vessel was in ballast, and of no value. As the", "\"Why,\" replied the captain, smiling, \"I think you have been sufficiently\npunished already for your temerity; I appreciate your motive of action", "\"And a quarter four, sir,\" said the master.\n\n\"This chase won't last long,\" observed the captain. \"Take in the lower\nstudding-sail.\"", "I pretended to sleep, although I could not; and I found out by their\nconversation that I gained the goodwill not only of the crew, but of the\ncaptain, by my behaviour.", "\"Yes, I see,\" replied the captain; \"you did perfectly right--I did not\nthink of that. I hope Mr Keene is doing well?\"\n\n\"I trust that we shall get him through it, sir,\" replied the surgeon.", "The captain, turning to me--for I had stood up the last of the row--\nsaid, \"I understand the officer of the impress agreed to release you if", "\"Yes, indeed, Bob; this has indeed been a miraculous preservation, and\nwe ought to thank Heaven for it.\"\n\n\"Why, Captain Keene, I thought just now you did not care whether you\nlived or died.\"" ], [ "brother and his succeeding to the title of Lord de Versely; for his\nelder brother, although married, had no male issue. Upon this\nintelligence, Captain Delmar immediately resigned the command of the", "\"Lord de Versely,\" replied Tommy, who felt the truth of what I said:\n\"he's a peculiar sort of man.\"", "\"Yes: but if his brother dies--and he is a very infirm man--the captain\nwill then be Viscount de Versely, and inherit very large estates, and", "Lord de Versely's letter to my mother, and confided it to his care. At\nthe same time I wrote a long letter to Mr Warden explaining as far as I", "The sudden death of Lord de Versely, at the age of fifty-six, left me\nwithout a patron, and had destroyed all my hopes centred in him. The", "confided to me. You will see, therefore, that Lord de Versely did not\n neglect your interests. The de Versely property he could not leave", "After a few minutes' conversation, Lord de Versely rose, and we left the\nroom. As soon as we were in the carriage his lordship said, \"Keene, you", "Versely, who was with her in her private room. I therefore remained\nwith Mr Warden for about an hour, when Lord de Versely came down and", "flashed into my memory. Lord de Versely was dead. I groaned, and fell\nback on the pillow.", "but I was too young to know anything about his connections, whom he had\nquitted at an early age; since that I had been educated and brought\nforward by Lord de Versely, who had, since the death of my mother,", "of the de Versely family. It is a handsome building, surrounded by a\nfinely timbered park of some extent, and, what is more important, by", "de Versely, that his gun had gone off accidentally as he was putting on\na copper cap, and bitterly lamenting the circumstance. Lord de Versely", "The next morning I called at Lord de Versely's and sent up my card. I\nwas immediately ushered up, and found myself in his presence. Lord de", "Versely; that is to say, his eldest brother has no children. I have\nbeen nearly fifty years in the family as a confidential, Captain", "Versely's death, as it was so sudden; the property left you is not\n perhaps of so much value in itself, as it is as a mark of his regard", "it is. Had Lord de Versely not been so suddenly called away, this\n would never have happened; as it is, we must make the best fight we", "It so happened, that about a month after Ben's departure, Captain Delmar\nhad, through the interest of his uncle, Lord de Versely, been appointed", "the will of the Honourable Miss Delmar, and I then discovered that the\n will which had been made in favour of Lord de Versely, to whom Miss", "after I had arrived, Colonel Delmar made his appearance: he was a cousin\nof Lord de Versely's, but I certainly should not, from his appearance,", "Versely; so that it appeared the old lady had been written to by Lord de\nVersely respecting me." ], [ "\"I came to wish you joy of your promotion and appointment to a fine\nfrigate, Keene,\" said Lord de Versely. \"I have just received this from", "\"The French ship is getting up her yard tackles,\" said the signal man.\n\n\"Then you have no time to lose, Mr Keene. As for the small boats, they\nare of no consequence.\"", "The next morning, when the day broke, the French line-of-battle ship was\nin the offing about eight miles distant. It may easily be imagined that", "fired, and one went over us. At last the Frenchman anchored, and set to\nwork in good earnest. He found that he was within range, and as we did", "\"Why, what good can he do to me?\" inquired I.\n\n\"He may advance you properly in life--who knows?--he may put you on the\nquarter-deck, and get you promoted in the service.\"", "that he and his men had been mastered, and the French were in possession\nof the vessel. But now our turn came. Dividing my boats, six in", "Lord de Versely was faithful to his promise: the next day I received\nfrom the admiral my appointment to the Firefly, and, what was more", "situations it is not to be thought of for a moment. Read this.\" I\nhanded him my appointment as commander of the Diligente: Tommy cast his", "\"Now, Tommy,\" replied I, \"you know, that although you talk so big, if\nyou had been appointed a lieutenant into a ship commanded by Lord de", "lieutenant has brought them on shore for the captain, and among the\nletters from England I found this one for you. I have seen Cross,\"\ncontinued the surgeon, nodding his head significantly as he left the", "The French line-of-battle ship had stood in for the land, under all\nsail, until half-past-seven, being then, as she was when we first saw", "The French lieutenant was then questioned; but with the exception of the\nname of the ship and captain, there was little to be expected from him,\nand he was dismissed and sent below.", "from the largest French boat. This was the signal to advance, and I was\nvery glad, as the affair would now be soon decided.", "As I was walking the quarter-deck, delighted with my success, Cross, who\nhad the watch and was by my side, said, \"I think, Captain Keene, you did\nvery right in hoisting French colours.\"", "As the breeze freshened, and the French ship had the first of it; she\nrapidly gained upon us, and in an hour and a half was about three miles", "But when the sun rose the mystery was cleared off. It was a French\nschooner privateer engaging a large English ship, apparently an", "Our first shot was successful; it struck one of the pinnaces, and she\nswamped immediately. Our men cheered, while the other French boats", "As we pulled for the frigate, I perceived that the line-of-battle ship's\nsails were filling, and that it was touch and go with us; but I also", "us. In half an hour we were both within less than a mile of the\nmerchant vessel; but the French boats were the nearest of the two. The\naffair now became very exciting. In another ten minutes the French", "I had been a fortnight with the admiral when the Naiad arrived with the\nprizes in company, and, my wound being now cured, I took leave of the" ], [ "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "\"I fear that he will never do that, Percival; nor, indeed, do I think\nyou would gain by it. When you are more advanced in the world, your", "\"My dear Percival:--", "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "\"Well, Percival you will allow me till to-morrow to think about it\nbefore I give a decided answer.\"", "\"My dear Percival,\" said old Mr Vanderwelt, after I had concluded my\nnarrative, \"you have been pursuing a shadow, although the pursuit has", "suddenly. Percival, you naughty boy,\" continued Milly, shaking her\nfinger at me, \"it was all your doing.\"", "\"Here it is, ma'am,\" said Ben, who perceived it sticking in her skirt.\n\"That's Percival's work, I'll answer for it.\"", "\"As for that,\" replied aunt Milly, \"I'm sure that sister, if she hears\nwhat's going on, as she cannot take Percival away, will order her\nhusband, Ben, to go up and thrash him.\"", "possession of it. You will tell me, my dearest Percival, I'm sure, if\nyou did play this trick to granny, or not; you know you may trust me\nwith any of your tricks.\"", "dislike to matrimony, and laugh at people's getting married, which has\npleased me very much for your sake, Master Percival. You see, a man", "\"But your grandmother, Percival--must I tell her?\"", "\"Well, Percival, I cannot blame you; and do not you, therefore, blame\nyour mother too much, when you consider that the same feeling was the\ncause of her becoming your mother.\"", "\"And you won't go to sea any more--will you, Percival?\" said Minnie.", "\"Yes, Percival, but there is a postscript overleaf, which you have not\nread.\"\n\nI turned back to the letter.", "\"Oh Percival! you must not do anything to granny,\" said aunt Milly,\nlooking very archly; \"I must not hear anything of the kind.\"", "The next day the captain proposed and was accepted, and six weeks from\nthat date my aunt Milly became his wife.", "\"Indeed, madam, if her affections are not otherwise engaged--I say--are\nnot engaged, madam, I do not think she could do better. Would, you like\nme to sound Miss Amelia on the subject?\"", "high; but at times he changed the subject, and then he spoke of me and\nmy mother. \"Where is my boy--my own boy, Percival?\" said he--\"my", "At this sally Captain Bridgeman laughed, and danced about the shop; at\nlast he said, \"Poor Flat! Miss Amelia, he's desperately in love with\nyou.\"" ], [ "\"My dear Percival,\" said old Mr Vanderwelt, after I had concluded my\nnarrative, \"you have been pursuing a shadow, although the pursuit has", "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "\"I fear that he will never do that, Percival; nor, indeed, do I think\nyou would gain by it. When you are more advanced in the world, your", "\"My dear Percival:--", "possession of it. You will tell me, my dearest Percival, I'm sure, if\nyou did play this trick to granny, or not; you know you may trust me\nwith any of your tricks.\"", "\"Well, Percival you will allow me till to-morrow to think about it\nbefore I give a decided answer.\"", "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "\"Here it is, ma'am,\" said Ben, who perceived it sticking in her skirt.\n\"That's Percival's work, I'll answer for it.\"", "suddenly. Percival, you naughty boy,\" continued Milly, shaking her\nfinger at me, \"it was all your doing.\"", "\"Yes, Percival, but there is a postscript overleaf, which you have not\nread.\"\n\nI turned back to the letter.", "\"Perfectly, sir,\" replied I.\n\n\"Well, then, I trust to your discretion, Mr Keene, and hope I shall not\nbe disappointed. Now you may go.\"", "THE END.\n\n\n\n\n\n\nEnd of the Project Gutenberg EBook of Percival Keene, by Frederick Marryat", "\"I certainly have, my dear Percival, much more than is necessary for me\nto live in comfort, and I may say, some little luxury; but I have", "\"Well, Percival, I cannot blame you; and do not you, therefore, blame\nyour mother too much, when you consider that the same feeling was the\ncause of her becoming your mother.\"", "high; but at times he changed the subject, and then he spoke of me and\nmy mother. \"Where is my boy--my own boy, Percival?\" said he--\"my", "delirium, had called me his own boy, his Percival and I felt more happy.", "I then explained the whole to him. \"You are right, Master Keene--right\nin everything. May God bless you, and send you good luck. I wish I\nmight go with you.\"", "\"Well, white boy, I accept your present; and now, good bye.\"\n\n\"Good-bye, sir. Do me one kindness in return,\" said I, very gravely,\nfor I felt my hour was come.", "\"Well, well, it's a bargain,\" replied the old man. \"I'm a poor blind\nbeetle, a sinful old soul; I've nothing to do but to make my peace with", "\"Not a bad idea, my little Percival,\" said Captain Bridgeman; \"I'll just\nask the doctor how much calomel a man may take without a coroner's\ninquest being required.\"" ], [ "Miss Arabella Mason was the eldest daughter of the steward of the old\nLord de Versely, brother to the Honourable Miss Delmar, and was much", "It hardly need be observed, that the clever and sprightly Miss Arabella\nMason considered Ben as one much beneath her, that is, she said so on", "captain, liked attention, and liked sailors; this was Miss Arabella\nMason, a very pretty young woman of eighteen years of age, who\nconstantly looked in the glass merely to ascertain if she had ever seen", "occasional invitation. It may be inquired in what capacity Miss\nArabella Mason remained at the Hall; she was not a servant, for her\nposition in life was above that of a menial; neither was she received", "\"Comfort yourself, dear Arabella, as well as you can with the\n reflection that it has been the will of Heaven, to whose decrees we", "\"MY DEAR ARABELLA:--", "\"You see, my daughter Amelia has been well brought up, and carefully\neducated, as was, indeed, my daughter, Arabella, through the kindness of", "as usual, by Ben, and the second day after their arrival it was made\nknown to all whom it might concern, that Miss Arabella Mason had\nactually contracted a secret marriage with the handsome Benjamin Keene.", "have broken his heart, if, in his lifetime, my daughter Arabella had\nmade the foolish marriage which she did with a private marine--however,", "pride--where is he? Arabella, you must not be angry with me--no,\nArabella; consider the consequence;\" and then he would burst out in such", "\"I only say, madam, what was said at the time by everybody, that Bella\nMason never would have married that marine, whom she looked upon with", "maid at the time that it happened, and I was constantly in company with\nBella Mason. She was very respectful towards you, but you did not know", "are allowed to give vent to their indignation without the smallest\nopposition they soon talk it away; such was the case with the Honourable\nMiss Delmar. When it was first announced that Bella Keene was safely in", "\"You are right,\" said he, \"I know her well; it is the Arrow, and she has\ncome out to cruise for me. This is the third time that she has been", "\"Yes, indeed she was, madam; but she had a private meeting with Captain\nDelmar; and Mrs Short, the housekeeper, overheard what passed, and I", "The chaise stopped, and the boys dismounted and rang the bell. In a\nminute three or four servants made their appearance, and on inquiring, I\nfound that the Honourable Miss Delmar was at home, and visible.", "\"That may be, madam, but still Captain Delmar was the father of that\nboy; for, if you recollect, old Mrs Mason came to the Hall, and went\naway almost immediately.\"", "\"I have been thinking,\" said one of the mids, \"what I shall do if Mammy\nCrissobella takes pepper-pot; I shall marry Leila, and keep the hotel.\nMammy, you'll leave me the plate and furniture.\"", "\"That marine, ma'am! he was innocent enough; Bella was not likely to\nlisten to one like him.\"\n\n\"Who can you mean then, Phillis?\"", "\"The matter is this, nephew,\" replied the old lady--\"that marriage of\nyour marine and Bella Mason should have taken place six months sooner" ], [ "Keene,\" he would say--\"sit down; the master has reported favourably of\nyou, and I am glad to hear of it.\"", "Keene, whose name, at least, you have often heard of lately. I have\nbrought him with me because he is a follower of mine: he entered the", "Indeed, I must do Ben Keene the justice to say that he had the virtue of\nhumility. He felt that his wife was in every way his superior and that", "\"Yes, Bob, not very far from it.\"\n\n\"Well, I suppose I must say Mister Keene for the future.\"", "\"Captain Keene, madam,\" said he, as he introduced me into a large room,\nat the end of which sat a venerable-looking old lady, very busy with her", "\"My dear Keene,\" said he, \"I have been to the major, and, to my\nsurprise, when I stated to him what had passed at the table last night,", "Keene. Why, Mr Dott and you look as if you knew each other.\"", "\"Mr Keene, I presume?\" said the first lieutenant, eyeing me from head\nto foot.\n\n\"Yes, sir,\" replied I, touching my hat.", "Bob Cross, who had for some time been at his bedside, wiped the tears\nfrom his eyes, and said, \"Master Keene, how this man must have suffered", "dared. And, then, madam, only look at Captain Keene,--why, he is the\nvery image of his lordship.\"", "\"Now, then, Mr Keene,\" said he, \"we will know what has taken place. Of\ncourse we have seen most of it.\"\n\nI narrated what the reader already knows.", "\"Master Keene, I'm sure, by your looks, you knew something about this.\nThat foolish lad never had dared do so, if he knew what it was he had", "Captain Keene,\" said Bob, as I shook him warmly by the hand, \"I'm\ndelighted at your success, and I know you will not be sorry to hear that", "\"Mr Keene,\" said she, \"I didn't know your name before you told it to\nthe skipper here; you're in a pretty scrape. I don't know what Jim", "\"Happy to see you, Keene,\" said the admiral. \"Hollo! what makes you\nlimp in that way? Have you hurt your leg?\"", "\"Good Heavens! that voice!--why, who are you?\" cried Captain Delmar,\nstarting back a pace.\n\n\"Mr Keene, sir,\" replied I, again putting my hand to my head.", "\"Yours truly, P. KEENE.\"\n\nThis was very short, and, it must be admitted, direct to the point. I\ncould not perhaps have written one which was so calculated to give my\nmother uneasiness.", "\"Well, sir, the master could not bear the sneering of the sogers on\nshore, and he consented that Mr Keene should take your place, which he", "\"You're Captain Keene, then, whose letters to the Admiralty Jane has so\noften read to me in the newspapers. Where have we met? I've heard that\nvoice before.\"", "\"I believe you are, Keene,\" replied his lordship. \"By the bye, you\nleave your letters so exposed, that one cannot help seem them. I see\nyou are writing to your grandmother. I hope the old lady is well?\"" ], [ "as usual, by Ben, and the second day after their arrival it was made\nknown to all whom it might concern, that Miss Arabella Mason had\nactually contracted a secret marriage with the handsome Benjamin Keene.", "match had he not been prompted to it by his master, who actually\nproposed that he should marry the girl. That such was the fact is\nundoubted, although they knew it not; and Ben, who considered the wish", "pleased at so unusual an occurrence, and already the sneers and\ninnuendoes of the servants' hall were not wanting. It appeared,\nhowever, that an interview had taken place between Ben and Captain", "marines are quite so strict as they ought to be; however, Ben has\nmarried her. Come, my dear aunt, allow me to plead for them, although I", "Ben had taken up the affair so seriously, it was presumed that if there\nhad been anticipation of the hymeneal rites he was himself the party who", "Indeed, I must do Ben Keene the justice to say that he had the virtue of\nhumility. He felt that his wife was in every way his superior and that", "Ben, although he felt that this would be a virtual separation _a mensa\net thoro_, named no objections. Having thus obtained the consent of her", "A minute afterwards, Ben the marine first tapped gently, and then opened\nthe door and came in; for at that late hour the officers were all at\ndinner, and the shop empty.", "After this came on a series of questions and cross-questions; I replied\nto her so as to make it appear that Ben was my father, and nobody else,", "majority; but still the intimacy appeared rapidly to increase. It was\nafterwards asserted by those who find out everything after it has taken\nplace, that Ben would never have ventured to look up to such an unequal", "husband of whom she was ashamed; in the second, she did not like widow's\nweeds, and the unbecoming cap. So it was decided, as Ben had been dead", "my mother since the interview which she had had with her at Madeline\nHall shortly after her marriage with Ben the marine. Latterly, however,\nthey had corresponded; for my mother, who was too independent to seek", "eat than he could have in his own mess, or obtain from her an occasional\nshilling to spend in beer. Ben, the marine, found at last that somehow", "and as Ben had made known his determination to resent any remarks upon\nthe subject, not a word more was said, at all events when he was\npresent.", "more at her demeaning herself by marrying a private marine. Captain\nDelmar replied, that it was true that Ben was only a private, but that\nevery common soldier was a gentleman by profession. It was true that", "private marine. It was however, ascribed to her having been captivated\nwith the very handsome person and figure of her husband, and having\nyielded to her feelings in a moment of infatuation. The ladies", "\"As for that,\" replied aunt Milly, \"I'm sure that sister, if she hears\nwhat's going on, as she cannot take Percival away, will order her\nhusband, Ben, to go up and thrash him.\"", "as a father to me; that Ben had been a faithful servant to the captain,\nand that she had been the same to Mrs Delmar, his aunt; and that was", "\"Here it is, ma'am,\" said Ben, who perceived it sticking in her skirt.\n\"That's Percival's work, I'll answer for it.\"", "It hardly need be observed, that the clever and sprightly Miss Arabella\nMason considered Ben as one much beneath her, that is, she said so on" ], [ "\"Percival Keene\" was published in 1842, the nineteenth book to flow from\nMarryat's pen.", "PERCIVAL KEENE, BY CAPTAIN FREDERICK MARRYAT.\n\n\n\nCHAPTER ONE.", "THE END.\n\n\n\n\n\n\nEnd of the Project Gutenberg EBook of Percival Keene, by Frederick Marryat", "GUTENBERG EBOOK PERCIVAL KEENE ***\n\n\n\n\nProduced by Nick Hodson of London, England", "\"My dear Percival,\" said old Mr Vanderwelt, after I had concluded my\nnarrative, \"you have been pursuing a shadow, although the pursuit has", "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "\"Yours truly, P. KEENE.\"\n\nThis was very short, and, it must be admitted, direct to the point. I\ncould not perhaps have written one which was so calculated to give my\nmother uneasiness.", "duly registered in the church books as Percival Keene.", "Keene,\" he would say--\"sit down; the master has reported favourably of\nyou, and I am glad to hear of it.\"", "Percival Keene, by Captain Marryat.\n\n________________________________________________________________________", "Keene, whose name, at least, you have often heard of lately. I have\nbrought him with me because he is a follower of mine: he entered the", "\"I fear that he will never do that, Percival; nor, indeed, do I think\nyou would gain by it. When you are more advanced in the world, your", "\"My dear Percival:--", "\"I believe you are, Keene,\" replied his lordship. \"By the bye, you\nleave your letters so exposed, that one cannot help seem them. I see\nyou are writing to your grandmother. I hope the old lady is well?\"", "\"Perfectly, sir,\" replied I.\n\n\"Well, then, I trust to your discretion, Mr Keene, and hope I shall not\nbe disappointed. Now you may go.\"", "The second and third lieutenants, Mr Percival and Mr Weymss, were\nyoung men of good family, and were admitted to a very slight degree of", "\"Master Keene, I'm sure, by your looks, you knew something about this.\nThat foolish lad never had dared do so, if he knew what it was he had", "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "\"My dear Keene,\" said he, \"I have been to the major, and, to my\nsurprise, when I stated to him what had passed at the table last night,", "\"Good Heavens! that voice!--why, who are you?\" cried Captain Delmar,\nstarting back a pace.\n\n\"Mr Keene, sir,\" replied I, again putting my hand to my head." ], [ "As soon as it was ascertained that Mr O'Gallagher was gone, my\ngrandmother insisted upon my being sent to another school, and on this", "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "high; but at times he changed the subject, and then he spoke of me and\nmy mother. \"Where is my boy--my own boy, Percival?\" said he--\"my", "suddenly. Percival, you naughty boy,\" continued Milly, shaking her\nfinger at me, \"it was all your doing.\"", "The neighbours perceiving how ill he was, led him out of the\nschool-rooms into his own apartment, one going for a doctor, and the\nothers telling the boys they might all go home, a notice of which they\ngladly availed themselves.", "\"My dear Percival:--", "\"My dear Percival,\" said old Mr Vanderwelt, after I had concluded my\nnarrative, \"you have been pursuing a shadow, although the pursuit has", "\"I fear that he will never do that, Percival; nor, indeed, do I think\nyou would gain by it. When you are more advanced in the world, your", "\"Well,\" replied he, \"I am going to take you to school.\"\n\n\"School! What am I going to school for?\" replied I.", "The second and third lieutenants, Mr Percival and Mr Weymss, were\nyoung men of good family, and were admitted to a very slight degree of", "Soon afterwards the bell rang, and we returned to the schoolroom. I was\nput under the tuition of another boy, and took care to learn my lesson.", "Mr O'Gallagher resumed his occupations, and I was again sent off to\nschool. When I entered the school-room I found him looking very pale", "my grandmother had put me to that school out of feelings of ill-will for\nthe tricks I had played, and had threatened that if I were removed she\nwould leave Chatham and take her away with her. My mother required", "given to his constitution was so great, that for three or four months he\nmay be said to have crawled to his school room, and I really began to\nthink that the affair would turn out more serious than was intended; but", "\"No, that he has not,\" cried my aunt Milly. \"Sister should have\ninquired what sort of a school it was before she sent him.\"", "had been placed, put the powder under it, leaving only sufficient for a\nvery small train, which would not be perceived in the green baize\ncovering; having so done, I left the school-room immediately, and", "there were one or two schools of the same kind much nearer to my\nmother's house. Ben, who probably had a great respect for learning, in\nconsequence of his having none himself, gave a military salute to Mr", "other end of the schoolroom. The boy, who had been talking to his\nneighbour, rubbed his poll, and whined.", "to look for it all the while; you shall go to school, sir, that you\nshall.\"" ], [ "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "\"My dear Percival,\" said old Mr Vanderwelt, after I had concluded my\nnarrative, \"you have been pursuing a shadow, although the pursuit has", "\"My dear Percival:--", "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "\"Well, Percival, I cannot blame you; and do not you, therefore, blame\nyour mother too much, when you consider that the same feeling was the\ncause of her becoming your mother.\"", "high; but at times he changed the subject, and then he spoke of me and\nmy mother. \"Where is my boy--my own boy, Percival?\" said he--\"my", "\"I fear that he will never do that, Percival; nor, indeed, do I think\nyou would gain by it. When you are more advanced in the world, your", "suddenly. Percival, you naughty boy,\" continued Milly, shaking her\nfinger at me, \"it was all your doing.\"", "\"Who brought him down, Cross?\" said the surgeon, carelessly.\n\n\"His own mother, sir; he has no father, sir, I hear.\"", "possession of it. You will tell me, my dearest Percival, I'm sure, if\nyou did play this trick to granny, or not; you know you may trust me\nwith any of your tricks.\"", "delirium, had called me his own boy, his Percival and I felt more happy.", "\"Yes, Percival, but there is a postscript overleaf, which you have not\nread.\"\n\nI turned back to the letter.", "worth asking. However, as you have given me the preference, I will now\ntell you that the Culpepper people have been trying to find out who is\nyour father. Ain't I right?\"", "\"But your grandmother, Percival--must I tell her?\"", "\"Here it is, ma'am,\" said Ben, who perceived it sticking in her skirt.\n\"That's Percival's work, I'll answer for it.\"", "\"Do you know who it is that you have been?\" etcetera. I felt sure that\nhe was my father, and I felt a sort of duty towards him; perhaps an\nincrease of respect.", "\"Percival Keene\" was published in 1842, the nineteenth book to flow from\nMarryat's pen.", "\"Well, Percival you will allow me till to-morrow to think about it\nbefore I give a decided answer.\"", "The second and third lieutenants, Mr Percival and Mr Weymss, were\nyoung men of good family, and were admitted to a very slight degree of", "you had no father. There was a great deal more which the steward could\nnot make out, but it was all to that effect. Well, the captain said" ], [ "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "\"His Britannic Majesty's ship Calliope,\" replied Captain Delmar; and\nthen he repeated--\"What ship is that? Let every man lie down at his", "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "suddenly. Percival, you naughty boy,\" continued Milly, shaking her\nfinger at me, \"it was all your doing.\"", "the Calliope above the horizon: but this we thought little of, as we\nknew that as soon as she had captured the pirate she would run back\nagain, and take us out.", "\"You deserved it, Mr Keene, and it certainly will be of great advantage\nto you when you have served your time. Has your time gone on since the\nCalliope was paid off?\"", "\"My dear Percival,\" said old Mr Vanderwelt, after I had concluded my\nnarrative, \"you have been pursuing a shadow, although the pursuit has", "possession of it. You will tell me, my dearest Percival, I'm sure, if\nyou did play this trick to granny, or not; you know you may trust me\nwith any of your tricks.\"", "\"I fear that he will never do that, Percival; nor, indeed, do I think\nyou would gain by it. When you are more advanced in the world, your", "Keene, we are now at anchor as near as possible to where the Calliope\nwas when you went adrift in the boat with poor Peggy. Some difference\nbetween your situation now and then.\"", "\"General Moraud,\" said he, \"what that officer says is true: he is\nCaptain Keene, and I was prisoner on board of his vessel; and I also\nknow the other man as well.\"", "By noon everything was so far ready that we were enabled to take the\nprize in tow, and make sail on the Calliope, after which the men, who", "prisoners were on board, the boats hoisted up, and the Manilla still\nremained hove to. The fact was, the captain did not know which way to", "\"As for that,\" replied aunt Milly, \"I'm sure that sister, if she hears\nwhat's going on, as she cannot take Percival away, will order her\nhusband, Ben, to go up and thrash him.\"", "permitted him to remain, and come home in the Calliope. He recovered\nslowly, but was soon out of danger, and was walking about with his arm", "Delmar, and the officers of his Majesty's ship Calliope. Of course the\ngrateful young lady sent my mother some tickets of admission, and two of\nthem I reserved for Tommy Dott and myself.", "\"Here it is, ma'am,\" said Ben, who perceived it sticking in her skirt.\n\"That's Percival's work, I'll answer for it.\"", "delirium, had called me his own boy, his Percival and I felt more happy.", "\"My dear Percival:--", "But long before all these discussions were over, H.M. ship Calliope had\nbeen ordered to sail, and was steering down the Channel before a smart\nbreeze." ], [ "\"My dear Percival,\" said old Mr Vanderwelt, after I had concluded my\nnarrative, \"you have been pursuing a shadow, although the pursuit has", "\"My dear Percival:--", "suddenly. Percival, you naughty boy,\" continued Milly, shaking her\nfinger at me, \"it was all your doing.\"", "high; but at times he changed the subject, and then he spoke of me and\nmy mother. \"Where is my boy--my own boy, Percival?\" said he--\"my", "\"Percival,\" said my mother, \"I see the judiciousness of what you say and\nof your behaviour towards him; but allow me to ask you: What is the", "\"An why so, Percival? I cannot see how that will benefit you; it was on\nmy account that he took charge of you. You are not sure that he may not", "\"Here it is, ma'am,\" said Ben, who perceived it sticking in her skirt.\n\"That's Percival's work, I'll answer for it.\"", "\"Yes, Percival, but there is a postscript overleaf, which you have not\nread.\"\n\nI turned back to the letter.", "delirium, had called me his own boy, his Percival and I felt more happy.", "\"I fear that he will never do that, Percival; nor, indeed, do I think\nyou would gain by it. When you are more advanced in the world, your", "We pulled on board in the gig, and Peggy was soon in the arms of her\nhusband. As Pearson embraced her at the gangway--for he could not help", "\"Well, Percival, I cannot blame you; and do not you, therefore, blame\nyour mother too much, when you consider that the same feeling was the\ncause of her becoming your mother.\"", "permitted him to remain, and come home in the Calliope. He recovered\nslowly, but was soon out of danger, and was walking about with his arm", "The second and third lieutenants, Mr Percival and Mr Weymss, were\nyoung men of good family, and were admitted to a very slight degree of", "at last, and we were united. The _fete_ was over, the company had all\nleft us, and we were again alone, and I held my dearest Minnie in my", "\"As for that,\" replied aunt Milly, \"I'm sure that sister, if she hears\nwhat's going on, as she cannot take Percival away, will order her\nhusband, Ben, to go up and thrash him.\"", "\"Well, Percival you will allow me till to-morrow to think about it\nbefore I give a decided answer.\"", "lieutenant has brought them on shore for the captain, and among the\nletters from England I found this one for you. I have seen Cross,\"\ncontinued the surgeon, nodding his head significantly as he left the", "possession of it. You will tell me, my dearest Percival, I'm sure, if\nyou did play this trick to granny, or not; you know you may trust me\nwith any of your tricks.\"", "re-appearance appeared to give unusual satisfaction. I went down into\nthe gun-room and was stripped. They were much surprised to find that I\nwas not hurt, and even more when they discovered that I was black all" ], [ "Minnie. In another fortnight I was completely recovered, and then I\nmentioned to Mr Vanderwelt my anxiety that the marriage should take\nplace. No difficulties were raised; and it was settled that on that day", "of and talk to Minnie. That my progress in her affections was rapid,\nwas not to be wondered at, her attachment to me having commenced so\nearly; and as her father was evidently pleased at our increasing", "\"And so it was in attempting to come and see us that you were wounded\nand nearly murdered?\"\n\n\"Yes, Minnie; I had long been anxious to see you, and could not help\navailing myself of the first opportunity.\"", "Shortly afterwards we went to bed. I must say, his description of\nMinnie, which was even much more in detail than I have narrated to the", "child; he had married late in life, and his wife had died a few days\nafter Minnie was born. She was very affectionate in disposition, and", "The report of Minnie's beauty was fully warranted. When she first made\nher appearance, the effect upon me was quite electrical: her style was", "that I was for the first time in love, and that in no small degree--\nbefore morning I was desperately so. Indeed, there was excuse\nsufficient, for Minnie was as winning in her manners as she was lovely", "After this conversation, the subject was not renewed. I felt too happy\nwith Minnie's love to care much about anything else; my ambition melted\naway before it, and I looked forward to the time when I might embrace\nher as my own.", "\"Yes, your fault; for I could not sleep for thinking of you; I thought\nyou were looking at me as you do now the whole night.\"\n\nMinnie blushed, and I kissed her hand.", "\"And little Minnie, sir?\" inquired I: \"it is now nearly five years since\nI saw her.\"", "attended on the captain. By this plan my duty was not interfered with,\nand I had many pleasant meetings with my new friends, and became, as may\nbe imagined, very intimate with little Minnie.", "\"F. WARDEN.\"\n\n\"Well, Minnie dearest, I may congratulate you, I believe, as the lady of\nMadeline Hall,\" said I, folding up the letter.", "Minnie stood by me during the time her father was speaking, her large\nblue eyes beaming through the tears with which they brimmed; and as I", "holding the not unwilling one of Minnie. That evening I made known to\nthem all that had taken place since I last wrote to them, winding up", "\"I have indeed, sir,\" replied I, as I kissed his daughter; \"and I will\nnot repine. I will take your name when you give me Minnie, and I will\nthink no more about that of Delmar.\"", "\"Little Minnie is no longer little Minnie, Mr Keene, I can assure you.\nShe was _fifteen_ when she left the island, and had grown a tall and", "The next morning I was pale and feverish, which they observed with\nconcern, Minnie was sitting by me, and Mr Vanderwelt had left the room,", "\"And you won't go to sea any more--will you, Percival?\" said Minnie.", "she had grown, and was no longer the little Minnie that used to kiss me.\nIn fact, I wrote quite romantically as well as affectionately, and when", "arms, when Mr Vanderwelt brought me in a letter from England. It was\nfrom Mr Warden, and I hastily opened it. Minnie shared my impatience," ] ]

[ "Who does Arabella Mason wed?", "How does Percival Keene get his name?", "Who is the bully that steals Percival's lunch?", "How does Percival get even with O'Gallagher after he takes all of the boy's fireworks?", "Who does Percival convince the Pirates to spare?", "How does Percival save Captain Delmar's life?", "What shocking news does Percival's mother admit to?", "What happens when Percival is captured by the French?", "What news does Percival receive at the end of the story?", "What is the name of the de Versely family house?", "Who lives at Madeline Hall?", "Who does Capitan Delmar suggest Ben marry in secret?", "Who is Ben and Arabella's son?", "What does Percival do to his grandmother that caused him to go away to school?", "Who's lives does Percival convince the pirate captain to spare?", "Who becomes Lord de Versely after his brother dies?", "What is Percival promoted to after a battalion with a French war ship?", "Who does Percival propose to?", "What is Percival granted at the end of the story?", "Who is Arabella Manson?", " Who is Been Kneene?", "Who did Ben married in secrete ?", "Who was Percival Kneene?", "What school did Percival was sent to?", "Who was Percival biological father?", "Why did H. M. Calliope took Percival as prisoner?", "Who did Percival reunited with?", "Who was Minnie?" ]

[ [ "Ben Keene, Delmar's valet", "Ben Keene" ], [ "Percival is Captain Delmar's first name, and Keene is Ben's last name", "Captain's name and Ben's surname" ], [ "his teacher, Mr. O'Gallagher", "The schoolmaster" ], [ "He sets them on fire with the teacher sitting on them", "He sets them off underneath him" ], [ "a rich Dutch merchant and his daughter Minnie", "A Dutch Merchant and his daughter" ], [ "When the captain is ill, Percival takes his place in a duel with a French officer", "Take his place in a duel" ], [ "Captain Delmar is Percival's father", "He's a bastard" ], [ "he is sentenced to execution", "He escapes" ], [ "He has been granted the right to use his father's name, Delmar", "He gets the arms and name of his biological father" ], [ "Madeline Hall", "Madeline Hall" ], [ "Miss Delmar", "Miss Delmar" ], [ "Arabella", "Arabella Mason" ], [ "Percival Keene", "Percival" ], [ "He bit his grandmother.", "bites her" ], [ "A Dutch merchant and his daughter", "a wealthy dutch merchant and his daughter minnie" ], [ "Colonial Delmar", "Captain Delmar" ], [ "Capitan", "captain" ], [ "Minni", "Minnie" ], [ "The arms and name of Delmar", "Arms and name of Delmar" ], [ "Miss Delma house guest", "She's Percival's mother" ], [ "His Captain Delmar valet", "valet and private marine" ], [ "Arabella Manson", "Arabella Mason." ], [ "Arabella and Been son", "Ben and Arabella's son" ], [ "Mr O'Gallagher school", "Mr. O'Gallagher's school house." ], [ "Captain Delmar", "Captain Delmar" ], [ "Because Percival skin was dyed tan", "He doesn't recognize him" ], [ "Minnie", "minnie" ], [ "A Heiress", "Daughter to the dutch merchant" ] ]

[ [ "Enter Landlord.\n\n\nLANDLORD. There be two gentlemen in a post-chaise at the door. They\nhave lost their way upo' the forest; and they are talking something\nabout Mr. Hardcastle.", "HARDCASTLE. (Aside.) Their impudence confounds me. (To them.)\nGentlemen, you are my guests, make what alterations you please. Is", "SCENE--An old-fashioned House.\n\n\nEnter HARDCASTLE, followed by three or four awkward Servants.", "TONY. No offence, gentlemen. But I'm told you have been inquiring for\none Mr. Hardcastle in these parts. Do you know what part of the\ncountry you are in?", "HARDCASTLE. Forty miles in three hours; sure that's too much, my\nyoungster.\n\nTONY. Stout horses and willing minds make short journeys, as they say.\nHem.", "HARDCASTLE. Sure, Dorothy, you have not lost your wits? So far from\nhome, when you are within forty yards of your own door! (To him.)", "HARDCASTLE. Then your first sight deceived you; for I think him one of\nthe most brazen first sights that ever astonished my senses.", "MRS. HARDCASTLE. Mr. Hardcastle, as I'm alive! My fears blinded me.\nBut who, my dear, could have expected to meet you here, in this", "HARDCASTLE. If we should find him so----But that's impossible. The\nfirst appearance has done my business. I'm seldom deceived in that.", "MARLOW. Mr. Hardcastle's house! Is this Mr. Hardcastle's house,\nchild?\n\nMISS HARDCASTLE. Ay, sure! Whose else should it be?", "HARDCASTLE. Ay, young gentleman, that, and a little philosophy.\n\nMARLOW. (Aside.) Well, this is the first time I ever heard of an\ninnkeeper's philosophy.", "HARDCASTLE. You numskulls! and so while, like your betters, you are\nquarrelling for places, the guests must be starved. O you dunces! I", "HARDCASTLE. Bravely resolved! In the mean time I'll go prepare the\nservants for his reception: as we seldom see company, they want as much", "HARDCASTLE. I believe you do, from my soul, sir. But though I say\nnothing to your own conduct, that of your servants is insufferable.", "TONY. He-he-hem!--Then, gentlemen, all I have to tell you is, that you\nwon't reach Mr. Hardcastle's house this night, I believe.\n\nHASTINGS. Unfortunate!", "HARDCASTLE. I believe, sir, you must be sensible, sir, that no man\nalive ought to be more welcome than your father's son, sir. I hope you\nthink so?", "HARDCASTLE. I tell you, sir, I'm serious! and now that my passions are\nroused, I say this house is mine, sir; this house is mine, and I\ncommand you to leave it directly.", "HARDCASTLE. Then they had your orders for what they do? I'm\nsatisfied!\n\nMARLOW. They had, I assure you. You shall hear from one of\nthemselves.", "HARDCASTLE. Gentlemen, once more you are heartily welcome. Which is", "HARDCASTLE. Mr. Marlow--Mr. Hastings--gentlemen--pray be under no\nconstraint in this house. This is Liberty-hall, gentlemen. You may do\njust as you please here." ], [ "Enter Landlord.\n\n\nLANDLORD. There be two gentlemen in a post-chaise at the door. They\nhave lost their way upo' the forest; and they are talking something\nabout Mr. Hardcastle.", "HARDCASTLE. Forty miles in three hours; sure that's too much, my\nyoungster.\n\nTONY. Stout horses and willing minds make short journeys, as they say.\nHem.", "HARDCASTLE. Bravely resolved! In the mean time I'll go prepare the\nservants for his reception: as we seldom see company, they want as much", "SCENE--An old-fashioned House.\n\n\nEnter HARDCASTLE, followed by three or four awkward Servants.", "HARDCASTLE. (Aside.) Their impudence confounds me. (To them.)\nGentlemen, you are my guests, make what alterations you please. Is", "HARDCASTLE. Young man, young man, from your father's letter to me, I\nwas taught to expect a well-bred modest man as a visitor here, but now", "HARDCASTLE. Who gone?\n\nMRS. HARDCASTLE. My dutiful niece and her gentleman, Mr. Hastings,\nfrom town. He who came down with our modest visitor here.", "HARDCASTLE. I believe you do, from my soul, sir. But though I say\nnothing to your own conduct, that of your servants is insufferable.", "HARDCASTLE. I saw him grasp her hand in the warmest manner myself; and\nhere he comes to put you out of your IFS, I warrant him.\n\n\nEnter MARLOW.", "HARDCASTLE. Then they had your orders for what they do? I'm\nsatisfied!\n\nMARLOW. They had, I assure you. You shall hear from one of\nthemselves.", "Enter HARDCASTLE.", "Enter HARDCASTLE.", "HARDCASTLE. But if you talked to yourself you did not answer\nyourself. I'm certain I heard two voices, and am resolved (raising his\nvoice) to find the other out.", "Enter HARDCASTLE and SIR CHARLES from behind.\n\n\nSIR CHARLES. Here, behind this screen.", "TONY. No offence, gentlemen. But I'm told you have been inquiring for\none Mr. Hardcastle in these parts. Do you know what part of the\ncountry you are in?", "HARDCASTLE. Ay, young gentleman, that, and a little philosophy.\n\nMARLOW. (Aside.) Well, this is the first time I ever heard of an\ninnkeeper's philosophy.", "MRS. HARDCASTLE. Mr. Hardcastle, as I'm alive! My fears blinded me.\nBut who, my dear, could have expected to meet you here, in this", "MISS NEVILLE. You may depend upon it. I just saw his letter to Mr.\nHardcastle, in which he tells him he intends setting out a few hours\nafter his son.", "HARDCASTLE. If we should find him so----But that's impossible. The\nfirst appearance has done my business. I'm seldom deceived in that.", "HARDCASTLE. Well, sir, I'm resolved at least to attend you. (Aside.)\nThis may be modern modesty, but I never saw anything look so like" ], [ "Enter Landlord.\n\n\nLANDLORD. There be two gentlemen in a post-chaise at the door. They\nhave lost their way upo' the forest; and they are talking something\nabout Mr. Hardcastle.", "HASTINGS. My friend, Mr. Marlow, with whom I came down, and I, have\nbeen sent here as to an inn, I assure you. A young fellow, whom we", "SCENE--An Alehouse Room. Several shabby Fellows with punch and\ntobacco. TONY at the head of the table, a little higher than the\nrest, a mallet in his hand.", "MARLOW. That is, you act as the bar-maid of this inn.", "They always preach best with a skinful.\n But when you come down with your pence,\n For a slice of their scurvy religion,", "MARLOW. What a tedious uncomfortable day have we had of it! We were\ntold it was but forty miles across the country, and we have come above\nthreescore.", "of his night walks. (To her.) Ah, it's a highwayman with pistols as\nlong as my arm. A damned ill-looking fellow.", "TONY. You shall hear. I first took them down Feather-bed Lane, where\nwe stuck fast in the mud. I then rattled them crack over the stones of", "TONY. You do, do you? then, let me see--what if you go on a mile\nfurther, to the Buck's Head; the old Buck's Head on the hill, one of\nthe best inns in the whole county?", "MARLOW. This house promises but a poor reception; though perhaps the\nlandlord can accommodate us.\n\nLANDLORD. Alack, master, we have but one spare bed in the whole\nhouse.", "TONY. He-he-hem!--Then, gentlemen, all I have to tell you is, that you\nwon't reach Mr. Hardcastle's house this night, I believe.\n\nHASTINGS. Unfortunate!", "than four hours, and I see no likelihood of its coming to an end. I'm\nnow resolved to be master here, sir; and I desire that you and your\ndrunken pack may leave my house directly.", "MARLOW. How's this? Sure I have not mistaken the house. Everything\nlooks like an inn. The servants cry, coming; the attendance is", "MARLOW. Eighteen years! Why, one would think, child, you kept the bar\nbefore you were born. How old are you?", "Then come, put the jorum about,\n And let us be merry and clever,\n Our hearts and our liquors are stout,", "MARLOW. Ha! ha! ha! They're safe, however. What an unaccountable set\nof beings have we got amongst! This little bar-maid though runs in my", "MARLOW. You, Jeremy! Come forward, sirrah! What were my orders?\nWere you not told to drink freely, and call for what you thought fit,\nfor the good of the house?", "HARDCASTLE. Ay, young gentleman, that, and a little philosophy.\n\nMARLOW. (Aside.) Well, this is the first time I ever heard of an\ninnkeeper's philosophy.", "awkward; the bar-maid, too, to attend us. But she's here, and will\nfurther inform me. Whither so fast, child? A word with you.", "OMNES. Ay, a song, a song!\n\nTONY. Then I'll sing you, gentlemen, a song I made upon this\nalehouse, the Three Pigeons." ], [ "Enter Landlord.\n\n\nLANDLORD. There be two gentlemen in a post-chaise at the door. They\nhave lost their way upo' the forest; and they are talking something\nabout Mr. Hardcastle.", "MISS HARDCASTLE. Inn! O law----what brought that in your head? One\nof the best families in the country keep an inn--Ha! ha! ha! old Mr.\nHardcastle's house an inn!", "HARDCASTLE. (Aside.) Their impudence confounds me. (To them.)\nGentlemen, you are my guests, make what alterations you please. Is", "MARLOW. Mr. Hardcastle's house! Is this Mr. Hardcastle's house,\nchild?\n\nMISS HARDCASTLE. Ay, sure! Whose else should it be?", "SCENE--An old-fashioned House.\n\n\nEnter HARDCASTLE, followed by three or four awkward Servants.", "MISS NEVILLE. But how shall we keep him in the deception? Miss\nHardcastle is just returned from walking; what if we still continue to\ndeceive him?----This, this way----[They confer.]", "MISS HARDCASTLE. What an unaccountable creature is that brother of\nmine, to send them to the house as an inn! ha! ha! I don't wonder at\nhis impudence.", "MRS. HARDCASTLE. Humour, my dear; nothing but humour. Come, Mr.\nHardcastle, you must allow the boy a little humour.", "TONY. He-he-hem!--Then, gentlemen, all I have to tell you is, that you\nwon't reach Mr. Hardcastle's house this night, I believe.\n\nHASTINGS. Unfortunate!", "MRS. HARDCASTLE. Mr. Hardcastle, as I'm alive! My fears blinded me.\nBut who, my dear, could have expected to meet you here, in this", "HARDCASTLE. Ay, young gentleman, that, and a little philosophy.\n\nMARLOW. (Aside.) Well, this is the first time I ever heard of an\ninnkeeper's philosophy.", "MRS. HARDCASTLE. It's false, Mr. Hardcastle; I was but twenty when I\nwas brought to bed of Tony, that I had by Mr. Lumpkin, my first", "HARDCASTLE. For supper, sir! (Aside.) Was ever such a request to a\nman in his own house?", "TONY. No offence; but question for question is all fair, you know.\nPray, gentlemen, is not this same Hardcastle a cross-grained,", "LANDLORD. Master Hardcastle's! Lock-a-daisy, my masters, you're come\na deadly deal wrong! When you came to the bottom of the hill, you\nshould have crossed down Squash Lane.", "HARDCASTLE. Sure, Dorothy, you have not lost your wits? So far from\nhome, when you are within forty yards of your own door! (To him.)", "HARDCASTLE. You numskulls! and so while, like your betters, you are\nquarrelling for places, the guests must be starved. O you dunces! I", "HARDCASTLE. Ay; the alehouse, the old place: I thought so.\n\nMRS. HARDCASTLE. A low, paltry set of fellows.", "TONY. No offence, gentlemen. But I'm told you have been inquiring for\none Mr. Hardcastle in these parts. Do you know what part of the\ncountry you are in?", "MISS NEVILLE. You may depend upon it. I just saw his letter to Mr.\nHardcastle, in which he tells him he intends setting out a few hours\nafter his son." ], [ "SIR CHARLES. Who, my honest George Hastings? As worthy a fellow as\nlives, and the girl could not have made a more prudent choice.", "MISS NEVILLE. A fortune like mine, which chiefly consists in jewels,\nis no such mighty temptation. But at any rate, if my dear Hastings be", "HASTINGS. Perish the baubles! Your person is all I desire. In the\nmean time, my friend Marlow must not be let into his mistake. I know", "HASTINGS. My dear Charles! Let me congratulate you!--The most\nfortunate accident!--Who do you think is just alighted?\n\nMARLOW. Cannot guess.", "HASTINGS. But are you so sure, so very sure of her?\n\nMARLOW. Why, man, she talked of showing me her work above stairs, and\nI am to improve the pattern.", "MRS. HARDCASTLE. Ay, but he's not of age, and she has not thought\nproper to wait for his refusal.\n\n\nEnter HASTINGS and MISS NEVILLE.", "HASTINGS. I am he. If you but assist me, I'll engage to whip her off\nto France, and you shall never hear more of her.", "MISS NEVILLE. As I live, the most intimate friend of Mr. Hastings, my\nadmirer. They are never asunder. I believe you must have seen him\nwhen we lived in town.", "HASTINGS. (To MISS HARDCASTLE.) Come, madam, you are now driven to\nthe very last scene of all your contrivances. I know you like him, I'm", "HASTINGS. Would you thank him that would take Miss Neville, and leave\nyou to happiness and your dear Betsy?\n\nTONY. Ay; but where is there such a friend, for who would take her?", "HASTINGS. (Introducing them.) Miss Hardcastle, Mr. Marlow. I'm\nproud of bringing two persons of such merit together, that only want to\nknow, to esteem each other.", "MISS NEVILLE. Well, my dear Hastings, if you have that esteem for me\nthat I think, that I am sure you have, your constancy for three years\nwill but increase the happiness of our future connexion. If----", "HASTINGS. Thousands do it every day. But to be plain with you; Miss\nNeville is endeavouring to procure them from her aunt this very", "HASTINGS. I believe the girl has virtue.\n\nMARLOW. And if she has, I should be the last man in the world that\nwould attempt to corrupt it.", "MARLOW. To be explicit, my dear Hastings, my chief inducement down was\nto be instrumental in forwarding your happiness, not my own. Miss", "HASTINGS. No, nothing. Never was in better spirits in all my life.\nAnd so you left it with the landlady, who, no doubt, very readily\nundertook the charge.", "HASTINGS. (To him.) Bravo, bravo. Never spoke so well in your whole\nlife. Well, Miss Hardcastle, I see that you and Mr. Marlow are going", "HASTINGS. My dear Constance, why will you deliberate thus? If we\ndelay a moment, all is lost for ever. Pluck up a little resolution,\nand we shall soon be out of the reach of her malignity.", "HASTINGS. The rebuke is just. But I must hasten to relieve Miss\nNeville: if you keep the old lady employed, I promise to take care of\nthe young one. [Exit HASTINGS.]", "HASTINGS. But though he had the will, he has not the power to relieve\nyou.\n\nMISS NEVILLE. But he has influence, and upon that I am resolved to\nrely." ], [ "tell you. I know she'll forgive you. Won't you forgive him, Kate?\nWe'll all forgive you. Take courage, man. (They retire, she", "SERVANT. Yes, sir. Old Sir Charles has arrived. He and the old\ngentleman of the house have been laughing at Mr. Marlow's mistake this\nhalf hour. They are coming this way.", "answer just now to Mr. Marlow. We so laughed.--You must know,\nmadam.--This way a little, for he must not hear us. [They confer.]", "Enter Landlord.\n\n\nLANDLORD. There be two gentlemen in a post-chaise at the door. They\nhave lost their way upo' the forest; and they are talking something\nabout Mr. Hardcastle.", "MISS NEVILLE. Mr. Marlow, we never kept on your mistake till it was\ntoo late to undeceive you.\n\n\nEnter Servant.", "HASTINGS. (To HARDCASTLE.) For my late attempt to fly off with your\nniece let my present confusion be my punishment. We are now come back,", "MAID. It will do, madam. But he's here. [Exit MAID.]\n\n\nEnter MARLOW.", "than four hours, and I see no likelihood of its coming to an end. I'm\nnow resolved to be master here, sir; and I desire that you and your\ndrunken pack may leave my house directly.", "TONY. Ay, you may steal for yourselves the next time. I have done my\nduty. She has got the jewels again, that's a sure thing; but she\nbelieves it was all a mistake of the servants.", "service. But who is that somebody?--That, faith, is a question I can\nscarce answer. [Exit.]", "of the night shall be crowned with a merry morning. So, boy, take her;\nand as you have been mistaken in the mistress, my wish is, that you may", "MISS NEVILLE. Mr. Hastings! Mr. Marlow! Why will you increase my\ndistress by this groundless dispute? I implore, I entreat you----\n\n\nEnter Servant.", "MARLOW. (Aside.) I have been mortified enough of all conscience, and\nhere comes something to complete my embarrassment.\n\nHASTINGS. Well, but wasn't it the most fortunate thing in the world?", "MISS HARDCASTLE. The question is very abrupt, sir. But since you\nrequire unreserved sincerity, I think he has.\n\nHARDCASTLE. (To SIR CHARLES.) You see.", "MRS. HARDCASTLE. Mr. Hardcastle, as I'm alive! My fears blinded me.\nBut who, my dear, could have expected to meet you here, in this", "MRS. HARDCASTLE. (From behind.) Sure he'll do the dear boy no harm.\n\nHARDCASTLE. But I heard a voice here; I should be glad to know from\nwhence it came.", "HASTINGS. My dear Charles! Let me congratulate you!--The most\nfortunate accident!--Who do you think is just alighted?\n\nMARLOW. Cannot guess.", "and I'll wait no longer. What do I see? It is he! and perhaps with\nnews of my Constance.", "Enter Tony, booted and spattered.\n\n\nHASTINGS. My honest 'squire! I now find you a man of your word.\nThis looks like friendship.", "MARLOW. (Aside.) He has got our names from the servants already. (To\nhim.) We approve your caution and hospitality, sir. (To HASTINGS.) I" ], [ "TONY. (Apart to MRS. HARDCASTLE.) Then why don't you tell her so at", "TONY. I will, I tell you.\n\nMRS. HARDCASTLE. I say you shan't.", "MRS. HARDCASTLE. It's false, Mr. Hardcastle; I was but twenty when I\nwas brought to bed of Tony, that I had by Mr. Lumpkin, my first", "TONY. Never fear me. Here she comes. Vanish. She's got from the\npond, and draggled up to the waist like a mermaid.\n\n\nEnter MRS. HARDCASTLE.", "MRS. HARDCASTLE. (Apart to TONY.) You know, my dear, I'm only\nkeeping them for you. So if I say they're gone, you'll bear me", "MRS. HARDCASTLE. No matter. Tony Lumpkin has a good fortune. My son\nis not to live by his learning. I don't think a boy wants much\nlearning to spend fifteen hundred a year.", "TONY. As for disappointing them, I should not so much mind; but I\ncan't abide to disappoint myself.\n\nMRS. HARDCASTLE. (detaining him.) You shan't go.", "HASTINGS. (To him.) Bravo, bravo. Never spoke so well in your whole\nlife. Well, Miss Hardcastle, I see that you and Mr. Marlow are going", "MRS. HARDCASTLE. O, the monster! For shame, Tony. You a man, and\nbehave so!", "MRS. HARDCASTLE. Humour, my dear; nothing but humour. Come, Mr.\nHardcastle, you must allow the boy a little humour.", "MRS. HARDCASTLE. Oh, death!\n\nTONY. No; it's only a cow. Don't be afraid, mamma; don't be afraid.", "MRS. HARDCASTLE. As I'm alive, Tony, I see a man coming towards us.\nAh! I'm sure on't. If he perceives us, we are undone.", "HARDCASTLE. Be it what it will, I'm glad they're come back to reclaim\ntheir due. Come hither, Tony, boy. Do you refuse this lady's hand\nwhom I now offer you?", "Enter TONY, crossing the stage.\n\n\nMRS. HARDCASTLE. Tony, where are you going, my charmer? Won't you\ngive papa and I a little of your company, lovee?", "TONY. I can bear witness to that. [He runs off, she follows him.]\n\n\nEnter Miss HARDCASTLE and Maid.", "TONY. Ecod! mamma, your own notes are the wildest of the two.\n\nMRS. HARDCASTLE. Was ever the like? But I see he wants to break my\nheart, I see he does.", "MISS HARDCASTLE. And depend on't I'm not much in the wrong.\n[Exeunt.]\n\n\nEnter Tony, running in with a casket.", "TONY. No offence; but question for question is all fair, you know.\nPray, gentlemen, is not this same Hardcastle a cross-grained,", "MISS HARDCASTLE. Did you call, sir? Did your honour call?\n\nMARLOW. (Musing.) As for Miss Hardcastle, she's too grave and\nsentimental for me.", "MISS HARDCASTLE. And her partiality is such, that she actually thinks\nhim so. A fortune like yours is no small temptation. Besides, as she" ], [ "MRS. HARDCASTLE. To be plain with you, my dear Constance, if I could\nfind them you should have them. They're missing, I assure you. Lost,", "MRS. HARDCASTLE. Don't be alarmed, Constance. If they be lost, I must\nrestore an equivalent. But my son knows they are missing, and not to\nbe found.", "HASTINGS. Our mistresses, boy, Miss Hardcastle and Miss Neville.\nGive me leave to introduce Miss Constance Neville to your", "MRS. HARDCASTLE. Humour, my dear; nothing but humour. Come, Mr.\nHardcastle, you must allow the boy a little humour.", "MRS. HARDCASTLE. (Apart to TONY.) You know, my dear, I'm only\nkeeping them for you. So if I say they're gone, you'll bear me", "MRS. HARDCASTLE. Well, I must retire. Come, Constance, my love. You\nsee, Mr. Hastings, the wretchedness of my situation: was ever poor", "MRS. HARDCASTLE. (Within.) Miss Neville. Constance, why Constance, I\nsay.", "MRS. HARDCASTLE. Yet, what signifies my dressing when I have such a\npiece of antiquity by my side as Mr. Hardcastle: all I can say will", "MRS. HARDCASTLE. The most becoming things in the world to set off a\nclear complexion. You have often seen how well they look upon me. You\nSHALL have them. [Exit.]", "MRS. HARDCASTLE. Well, if he has taken away the lady, he has not\ntaken her fortune; that remains in this family to console us for her\nloss.", "MRS. HARDCASTLE. Indeed, Constance, you amaze me. Such a girl as you", "MARLOW. Mr. Hardcastle's house! Is this Mr. Hardcastle's house,\nchild?\n\nMISS HARDCASTLE. Ay, sure! Whose else should it be?", "MRS. HARDCASTLE. I vow, Mr. Hardcastle, you're very particular. Is\nthere a creature in the whole country but ourselves, that does not take", "MRS. HARDCASTLE. Mr. Hardcastle, as I'm alive! My fears blinded me.\nBut who, my dear, could have expected to meet you here, in this", "HASTINGS. (To him.) Bravo, bravo. Never spoke so well in your whole\nlife. Well, Miss Hardcastle, I see that you and Mr. Marlow are going", "MRS. HARDCASTLE. It's false, Mr. Hardcastle; I was but twenty when I\nwas brought to bed of Tony, that I had by Mr. Lumpkin, my first", "make it out. Of no consequence! (Giving MRS. HARDCASTLE the letter.)", "HARDCASTLE. Sure, Dorothy, you would not be so mercenary?\n\nMRS. HARDCASTLE. Ay, that's my affair, not yours.", "MRS. HARDCASTLE. My son, sir. They are contracted to each other.\nObserve their little sports. They fall in and out ten times a day, as", "MRS. HARDCASTLE. And yet Mrs. Niece thinks herself as much a woman,\nand is as fond of jewels, as the oldest of us all." ], [ "MARLOW. She's mine, you rogue you. Such fire, such motion, such\neyes, such lips; but, egad! she would not let me kiss them though.", "HASTINGS. Perish the baubles! Your person is all I desire. In the\nmean time, my friend Marlow must not be let into his mistake. I know", "MARLOW. Daughter!--This lady your daughter?\n\nHARDCASTLE. Yes, sir, my only daughter; my Kate; whose else should she\nbe?", "answer just now to Mr. Marlow. We so laughed.--You must know,\nmadam.--This way a little, for he must not hear us. [They confer.]", "Enter MISS HARDCASTLE.\n\n\nHARDCASTLE. Kate, come hither, child. Answer us sincerely and\nwithout reserve: has Mr. Marlow made you any professions of love and\naffection?", "MARLOW. As I behave to all other ladies. Bow very low, answer yes or\nno to all her demands--But for the rest, I don't think I shall venture\nto look in her face till I see my father's again.", "your humble admirer, that kept his eyes fixed on the ground, and only\nadored at humble distance. Kate, Kate, art thou not ashamed to deceive\nyour father so?", "HASTINGS. But are you so sure, so very sure of her?\n\nMARLOW. Why, man, she talked of showing me her work above stairs, and\nI am to improve the pattern.", "MARLOW. No, no, I tell you. (Looks full in her face.) Yes, child, I\nthink I did call. I wanted--I wanted--I vow, child, you are vastly\nhandsome.", "too, and has undertaken to court me for him, and actually begins to\nthink she has made a conquest.", "MARLOW. By heavens, madam! fortune was ever my smallest\nconsideration. Your beauty at first caught my eye; for who could see", "MARLOW. Yes, madam, I was----But she beckons us to join her. Madam,\nshall I do myself the honour to attend you?", "MARLOW. Rather too readily. For she not only kept the casket, but,\nthrough her great precaution, was going to keep the messenger too. Ha!\nha! ha!", "MARLOW. And why now, my pretty simplicity?\n\nMISS HARDCASTLE. Because it puts me at a distance from one that, if I\nhad a thousand pounds, I would give it all to.", "MARLOW. (Aside.) This simplicity bewitches me, so that if I stay, I'm\nundone. I must make one bold effort, and leave her. (To her.) Your", "MARLOW. As Heaven is my witness, I came down in obedience to your\ncommands. I saw the lady without emotion, and parted without", "I give it up--morals won't do for me;\n To make you laugh, I must play tragedy.\n One hope remains--hearing the maid was ill,", "MARLOW. (To Tony.) You see now, young gentleman, the effects of your\nfolly. What might be amusement to you, is here disappointment, and\neven distress.", "MAID. It will do, madam. But he's here. [Exit MAID.]\n\n\nEnter MARLOW.", "tell you. I know she'll forgive you. Won't you forgive him, Kate?\nWe'll all forgive you. Take courage, man. (They retire, she" ], [ "MAID. It will do, madam. But he's here. [Exit MAID.]\n\n\nEnter MARLOW.", "SIR CHARLES. I'll to your father, and keep him to the appointment.\n[Exit SIR CHARLES.]\n\n\nEnter MARLOW.", "MARLOW. (To Tony.) You see now, young gentleman, the effects of your\nfolly. What might be amusement to you, is here disappointment, and\neven distress.", "MARLOW. (Aside.) I have been mortified enough of all conscience, and\nhere comes something to complete my embarrassment.\n\nHASTINGS. Well, but wasn't it the most fortunate thing in the world?", "MARLOW. And why now, my pretty simplicity?\n\nMISS HARDCASTLE. Because it puts me at a distance from one that, if I\nhad a thousand pounds, I would give it all to.", "MARLOW. (Aside.) This simplicity bewitches me, so that if I stay, I'm\nundone. I must make one bold effort, and leave her. (To her.) Your", "MARLOW. (Aside.) All's well; she don't laugh at me. (To her.) Do\nyou ever work, child?", "Enter HASTINGS.\n\n\nHASTINGS. Bless me! I quite forgot to tell her that I intended to\nprepare at the bottom of the garden. Marlow here, and in spirits too!", "MARLOW. So then, all's out, and I have been damnably imposed on. O,\nconfound my stupid head, I shall be laughed at over the whole town. I", "MARLOW. May I die, sir, if I ever----\n\nHARDCASTLE. I tell you, she don't dislike you; and as I'm sure you\nlike her----", "HASTINGS. (To him.) Bravo, bravo. Never spoke so well in your whole\nlife. Well, Miss Hardcastle, I see that you and Mr. Marlow are going", "MARLOW. By heavens, madam! fortune was ever my smallest\nconsideration. Your beauty at first caught my eye; for who could see", "HASTINGS. Perish the baubles! Your person is all I desire. In the\nmean time, my friend Marlow must not be let into his mistake. I know", "answer just now to Mr. Marlow. We so laughed.--You must know,\nmadam.--This way a little, for he must not hear us. [They confer.]", "MARLOW. Thank ye, George: I ask no more. Ha! ha! ha!\n\n\nEnter HARDCASTLE.", "MARLOW. (Aside.) He has got our names from the servants already. (To\nhim.) We approve your caution and hospitality, sir. (To HASTINGS.) I", "MARLOW. (Aside.) A very impudent fellow this! but he's a character,\nand I'll humour him a little. Sir, my service to you. [Drinks.]", "MARLOW. (Aside.) Egad, she has hit it, sure enough! (To her.) In", "MARLOW. (Aside.) This girl every moment improves upon me. (To her.)\nIt must not be, madam. I have already trifled too long with my heart.", "MARLOW. But hear me, sir--\n\nHARDCASTLE. Your father approves the match, I admire it; every\nmoment's delay will be doing mischief. So--" ], [ "HASTINGS. Thou dear dissembler! You must know, my Constance, I have\njust seized this happy opportunity of my friend's visit here to get", "and I'll wait no longer. What do I see? It is he! and perhaps with\nnews of my Constance.", "Constance Neville may marry whom she pleases, and Tony Lumpkin is his\nown man again.", "HASTINGS. (Aside.) So now all hopes of fortune are at an end, and we\nmust set off without it. (To him.) Well, Charles, I'll leave you to", "MRS. HARDCASTLE. My son, sir. They are contracted to each other.\nObserve their little sports. They fall in and out ten times a day, as", "HASTINGS. My dear Constance, why will you deliberate thus? If we\ndelay a moment, all is lost for ever. Pluck up a little resolution,\nand we shall soon be out of the reach of her malignity.", "MARLOW. (Aside.) I have been mortified enough of all conscience, and\nhere comes something to complete my embarrassment.\n\nHASTINGS. Well, but wasn't it the most fortunate thing in the world?", "HASTINGS. Then, my Constance, all must be completed before he\narrives. He knows me; and should he find me here, would discover my\nname, and perhaps my designs, to the rest of the family.", "HASTINGS. I am he. If you but assist me, I'll engage to whip her off\nto France, and you shall never hear more of her.", "of the night shall be crowned with a merry morning. So, boy, take her;\nand as you have been mistaken in the mistress, my wish is, that you may", "MRS. HARDCASTLE. Well, I must retire. Come, Constance, my love. You\nsee, Mr. Hastings, the wretchedness of my situation: was ever poor", "but constant, I make no doubt to be too hard for her at last. However,\nI let her suppose that I am in love with her son; and she never once", "Lumpkin, exactly. The jewels, my dear Con., shall be yours\nincontinently. You shall have them. Isn't he a sweet boy, my dear?", "SIR CHARLES. Agreed. And if I find him what you describe, all my\nhappiness in him must have an end. [Exit.]", "SIR CHARLES. I'll to your father, and keep him to the appointment.\n[Exit SIR CHARLES.]\n\n\nEnter MARLOW.", "tell you. I know she'll forgive you. Won't you forgive him, Kate?\nWe'll all forgive you. Take courage, man. (They retire, she", "character in which I STOOPED TO CONQUER; but will undeceive my papa,\nwho perhaps may laugh him out of his resolution. [Exit.]", "HARDCASTLE. Ay, ay; make no noise. I'll engage my Kate covers him\nwith confusion at last.", "HASTINGS. (To MISS HARDCASTLE.) Come, madam, you are now driven to\nthe very last scene of all your contrivances. I know you like him, I'm", "MAID. It will do, madam. But he's here. [Exit MAID.]\n\n\nEnter MARLOW." ], [ "HASTINGS. My dear Constance, why will you deliberate thus? If we\ndelay a moment, all is lost for ever. Pluck up a little resolution,\nand we shall soon be out of the reach of her malignity.", "HASTINGS. Then, my Constance, all must be completed before he\narrives. He knows me; and should he find me here, would discover my\nname, and perhaps my designs, to the rest of the family.", "MISS HARDCASTLE. And if he be the sullen thing I take him, he shall\nnever have mine.\n\nHARDCASTLE. In one thing then we are agreed--to reject him.", "and I'll wait no longer. What do I see? It is he! and perhaps with\nnews of my Constance.", "Anthony Lumpkin, Esquire, of BLANK place, refuse you, Constantia\nNeville, spinster, of no place at all, for my true and lawful wife. So", "Constance Neville may marry whom she pleases, and Tony Lumpkin is his\nown man again.", "HASTINGS. Rather let me ask the same question, as I could never have\nhoped to meet my dearest Constance at an inn.", "HASTINGS. Thou dear dissembler! You must know, my Constance, I have\njust seized this happy opportunity of my friend's visit here to get", "but constant, I make no doubt to be too hard for her at last. However,\nI let her suppose that I am in love with her son; and she never once", "TONY. Ay, but I know what sort of a relation you want to make me,\nthough; but it won't do. I tell you, cousin Con, it won't do; so I beg", "HARDCASTLE. But you know if your son, when of age, refuses to marry\nhis cousin, her whole fortune is then at her own disposal.", "MARLOW. Never; unless, as among kings and princes, my bride were to be\ncourted by proxy. If, indeed, like an Eastern bridegroom, one were to", "MRS. HARDCASTLE. Don't be alarmed, Constance. If they be lost, I must\nrestore an equivalent. But my son knows they are missing, and not to\nbe found.", "HASTINGS. I believe the girl has virtue.\n\nMARLOW. And if she has, I should be the last man in the world that\nwould attempt to corrupt it.", "MARLOW. (Aside.) This simplicity bewitches me, so that if I stay, I'm\nundone. I must make one bold effort, and leave her. (To her.) Your", "MISS HARDCASTLE. One of us must certainly be mistaken.\n\nHARDCASTLE. If he be what he has shown himself, I'm determined he\nshall never have my consent.", "MARLOW. I protest, child, you use me extremely ill. If you keep me at\nthis distance, how is it possible you and I can ever be acquainted?", "MARLOW. May I die, sir, if I ever----\n\nHARDCASTLE. I tell you, she don't dislike you; and as I'm sure you\nlike her----", "MARLOW. Sure, sir, nothing has passed between us but the most\nprofound respect on my side, and the most distant reserve on hers. You", "MARLOW. But why won't you hear me? By all that's just and true, I\nnever gave Miss Hardcastle the slightest mark of my attachment, or even" ], [ "MRS. HARDCASTLE. Don't be alarmed, Constance. If they be lost, I must\nrestore an equivalent. But my son knows they are missing, and not to\nbe found.", "Constance Neville may marry whom she pleases, and Tony Lumpkin is his\nown man again.", "HASTINGS. My dear Constance, why will you deliberate thus? If we\ndelay a moment, all is lost for ever. Pluck up a little resolution,\nand we shall soon be out of the reach of her malignity.", "HARDCASTLE. But you know if your son, when of age, refuses to marry\nhis cousin, her whole fortune is then at her own disposal.", "HASTINGS. Then, my Constance, all must be completed before he\narrives. He knows me; and should he find me here, would discover my\nname, and perhaps my designs, to the rest of the family.", "MRS. HARDCASTLE. To be plain with you, my dear Constance, if I could\nfind them you should have them. They're missing, I assure you. Lost,", "and I'll wait no longer. What do I see? It is he! and perhaps with\nnews of my Constance.", "HASTINGS. Thou dear dissembler! You must know, my Constance, I have\njust seized this happy opportunity of my friend's visit here to get", "but constant, I make no doubt to be too hard for her at last. However,\nI let her suppose that I am in love with her son; and she never once", "MRS. HARDCASTLE. Well, if he has taken away the lady, he has not\ntaken her fortune; that remains in this family to console us for her\nloss.", "HASTINGS. Rather let me ask the same question, as I could never have\nhoped to meet my dearest Constance at an inn.", "HARDCASTLE. Depend upon it, child, I'll never control your choice; but\nMr. Marlow, whom I have pitched upon, is the son of my old friend, Sir", "MRS. HARDCASTLE. Well, I must retire. Come, Constance, my love. You\nsee, Mr. Hastings, the wretchedness of my situation: was ever poor", "Lumpkin, exactly. The jewels, my dear Con., shall be yours\nincontinently. You shall have them. Isn't he a sweet boy, my dear?", "HASTINGS. Our mistresses, boy, Miss Hardcastle and Miss Neville.\nGive me leave to introduce Miss Constance Neville to your", "MRS. HARDCASTLE. (Within.) Miss Neville. Constance, why Constance, I\nsay.", "has the sole management of it, I'm not surprised to see her unwilling\nto let it go out of the family.", "MRS. HARDCASTLE. Indeed, Constance, you amaze me. Such a girl as you", "MARLOW. What, a poor relation.\n\nMISS HARDCASTLE. Yes, sir. A poor relation, appointed to keep the\nkeys, and to see that the guests want nothing in my power to give them.", "her bureau, and she does not know it. Fly to your spark, he'll tell\nyou more of the matter. Leave me to manage her." ], [ "MAID. But you are sure you can act your part, and disguise your voice\nso that he may mistake that, as he has already mistaken your person?", "MAID. But what is more, madam, the young gentleman, as you passed by\nin your present dress, asked me if you were the bar-maid. He mistook\nyou for the bar-maid, madam.", "MAID. It will do, madam. But he's here. [Exit MAID.]\n\n\nEnter MARLOW.", "SERVANT. Your cloak, madam. My mistress is impatient. [Exit\nServant.]", "SERVANT. Yes, sir. Old Sir Charles has arrived. He and the old\ngentleman of the house have been laughing at Mr. Marlow's mistake this\nhalf hour. They are coming this way.", "SERVANT. My mistress desires you'll get ready immediately, madam. The\nhorses are putting to. Your hat and things are in the next room. We\nare to go thirty miles before morning. [Exit Servant.]", "I give it up--morals won't do for me;\n To make you laugh, I must play tragedy.\n One hope remains--hearing the maid was ill,", "MISS NEVILLE. Mr. Marlow, we never kept on your mistake till it was\ntoo late to undeceive you.\n\n\nEnter Servant.", "TONY. Ay, you may steal for yourselves the next time. I have done my\nduty. She has got the jewels again, that's a sure thing; but she\nbelieves it was all a mistake of the servants.", "SERVANT. Yes, she said she'd keep it safe enough; she asked me how I\ncame by it; and she said she had a great mind to make me give an\naccount of myself. [Exit Servant.]", "of the night shall be crowned with a merry morning. So, boy, take her;\nand as you have been mistaken in the mistress, my wish is, that you may", "ACT THE FIFTH.\n\n\n(SCENE continued.)\n\n\nEnter HASTINGS and Servant.", "HASTINGS. Thou dear dissembler! You must know, my Constance, I have\njust seized this happy opportunity of my friend's visit here to get", "service. But who is that somebody?--That, faith, is a question I can\nscarce answer. [Exit.]", "TONY. I can bear witness to that. [He runs off, she follows him.]\n\n\nEnter Miss HARDCASTLE and Maid.", "MISS NEVILLE. Well! success attend you. In the mean time I'll go and\namuse my aunt with the old pretence of a violent passion for my cousin.\n[Exit.]", "MARLOW. Ha! ha! ha! They're safe, however. What an unaccountable set\nof beings have we got amongst! This little bar-maid though runs in my", "MISS NEVILLE. I come. Pray be pacified. If I leave you thus, I\nshall die with apprehension.\n\n\nEnter Servant.", "MARLOW. (Aside.) He has got our names from the servants already. (To\nhim.) We approve your caution and hospitality, sir. (To HASTINGS.) I", "answer just now to Mr. Marlow. We so laughed.--You must know,\nmadam.--This way a little, for he must not hear us. [They confer.]" ], [ "HASTINGS. (To him.) Bravo, bravo. Never spoke so well in your whole\nlife. Well, Miss Hardcastle, I see that you and Mr. Marlow are going", "HASTINGS. (Introducing them.) Miss Hardcastle, Mr. Marlow. I'm\nproud of bringing two persons of such merit together, that only want to\nknow, to esteem each other.", "MRS. HARDCASTLE. Humour, my dear; nothing but humour. Come, Mr.\nHardcastle, you must allow the boy a little humour.", "HARDCASTLE. Depend upon it, child, I'll never control your choice; but\nMr. Marlow, whom I have pitched upon, is the son of my old friend, Sir", "HARDCASTLE. (Joining their hands.) And I say so too. And, Mr.\nMarlow, if she makes as good a wife as she has a daughter, I don't", "MARLOW. Mr. Hardcastle's house! Is this Mr. Hardcastle's house,\nchild?\n\nMISS HARDCASTLE. Ay, sure! Whose else should it be?", "MISS HARDCASTLE. And her partiality is such, that she actually thinks\nhim so. A fortune like yours is no small temptation. Besides, as she", "MARLOW. Daughter!--This lady your daughter?\n\nHARDCASTLE. Yes, sir, my only daughter; my Kate; whose else should she\nbe?", "MARLOW. But hear me, sir--\n\nHARDCASTLE. Your father approves the match, I admire it; every\nmoment's delay will be doing mischief. So--", "HARDCASTLE. (To SIR CHARLES.) You see.\n\nSIR CHARLES. But did be profess any attachment?\n\nMISS HARDCASTLE. A lasting one.", "HARDCASTLE. Then to be plain with you, Kate, I expect the young\ngentleman I have chosen to be your husband from town this very day. I", "HARDCASTLE. Well, I'm in too good spirits to think of anything but\njoy. Yes, my dear friend, this union of our families will make our\npersonal friendships hereditary; and though my daughter's fortune is\nbut small--", "MARLOW. But why won't you hear me? By all that's just and true, I\nnever gave Miss Hardcastle the slightest mark of my attachment, or even", "MISS HARDCASTLE. Is he?\n\nHARDCASTLE. Very generous.\n\nMISS HARDCASTLE. I believe I shall like him.", "MISS HARDCASTLE. Is Marlow.\n\nMISS NEVILLE. Indeed!\n\nMISS HARDCASTLE. The son of Sir Charles Marlow.", "HARDCASTLE. Tut, boy, a trifle! You take it too gravely. An hour or\ntwo's laughing with my daughter will set all to rights again. She'll\nnever like you the worse for it.", "MISS HARDCASTLE. Did you call, sir? Did your honour call?\n\nMARLOW. (Musing.) As for Miss Hardcastle, she's too grave and\nsentimental for me.", "HARDCASTLE. IF, man! I tell you they DO like each other. My\ndaughter as good as told me so.\n\nSIR CHARLES. But girls are apt to flatter themselves, you know.", "Enter MISS HARDCASTLE.\n\n\nHARDCASTLE. Kate, come hither, child. Answer us sincerely and\nwithout reserve: has Mr. Marlow made you any professions of love and\naffection?", "HARDCASTLE. But you know if your son, when of age, refuses to marry\nhis cousin, her whole fortune is then at her own disposal." ], [ "Charles Marlow, of whom you have heard me talk so often. The young\ngentleman has been bred a scholar, and is designed for an employment in", "answer just now to Mr. Marlow. We so laughed.--You must know,\nmadam.--This way a little, for he must not hear us. [They confer.]", "HASTINGS. My friend, Mr. Marlow, with whom I came down, and I, have\nbeen sent here as to an inn, I assure you. A young fellow, whom we", "HASTINGS. You surprise me; Sir Charles Marlow expected here this\nnight! Where have you had your information?", "MAID. It will do, madam. But he's here. [Exit MAID.]\n\n\nEnter MARLOW.", "MARLOW. (Gathering courage.) I have lived, indeed, in the world,\nmadam; but I have kept very little company. I have been but an\nobserver upon life, madam, while others were enjoying it.", "SIR CHARLES. I'll to your father, and keep him to the appointment.\n[Exit SIR CHARLES.]\n\n\nEnter MARLOW.", "HASTINGS. And all, Marlow, from that unaccountable reserve of yours,\nthat would not let us inquire more frequently on the way.", "MARLOW. This house promises but a poor reception; though perhaps the\nlandlord can accommodate us.\n\nLANDLORD. Alack, master, we have but one spare bed in the whole\nhouse.", "MARLOW. The assiduities of these good people teaze me beyond bearing.\nMy host seems to think it ill manners to leave me alone, and so he", "HASTINGS. Tortured as I am with my own disappointments, is this a time\nfor explanations? It is not friendly, Mr. Marlow.\n\nMARLOW. But, sir----", "Enter HASTINGS.\n\n\nHASTINGS. Bless me! I quite forgot to tell her that I intended to\nprepare at the bottom of the garden. Marlow here, and in spirits too!", "SERVANT. Yes, sir. Old Sir Charles has arrived. He and the old\ngentleman of the house have been laughing at Mr. Marlow's mistake this\nhalf hour. They are coming this way.", "him.) Mr. Marlow, your servant. I'm your very humble servant.\n(Bowing low.)", "MARLOW. What a tedious uncomfortable day have we had of it! We were\ntold it was but forty miles across the country, and we have come above\nthreescore.", "Mr. Marlow? Sir, you are heartily welcome. It's not my way, you see,\nto receive my friends with my back to the fire. I like give them a", "MARLOW. Though prepared for setting out, I come once more to take\nleave; nor did I, till this moment, know the pain I feel in the\nseparation.", "MARLOW. The Englishman's malady. But tell me, George, where could I\nhave learned that assurance you talk of? My life has been chiefly", "MARLOW. Ha! ha! ha! They're safe, however. What an unaccountable set\nof beings have we got amongst! This little bar-maid though runs in my", "MISS HARDCASTLE. Is Marlow.\n\nMISS NEVILLE. Indeed!\n\nMISS HARDCASTLE. The son of Sir Charles Marlow." ], [ "Constance Neville may marry whom she pleases, and Tony Lumpkin is his\nown man again.", "MRS. HARDCASTLE. No matter. Tony Lumpkin has a good fortune. My son\nis not to live by his learning. I don't think a boy wants much\nlearning to spend fifteen hundred a year.", "MARLOW. Daughter!--This lady your daughter?\n\nHARDCASTLE. Yes, sir, my only daughter; my Kate; whose else should she\nbe?", "MRS. HARDCASTLE. It's false, Mr. Hardcastle; I was but twenty when I\nwas brought to bed of Tony, that I had by Mr. Lumpkin, my first", "TONY. Ay, but I know what sort of a relation you want to make me,\nthough; but it won't do. I tell you, cousin Con, it won't do; so I beg", "TONY. Vanish. She's here, and has missed them already. [Exit MISS\nNEVILLE.] Zounds! how she fidgets and spits about like a Catherine\nwheel.", "TONY. The daughter, a tall, trapesing, trolloping, talkative maypole;\nthe son, a pretty, well-bred, agreeable youth, that everybody is fond\nof.", "TONY. That's as thereafter may be.\n\nMISS NEVILLE. My dear aunt, if you knew how it would oblige me.", "TONY. I can bear witness to that. [He runs off, she follows him.]\n\n\nEnter Miss HARDCASTLE and Maid.", "TONY. To be sure, aunts of all kinds are damned bad things. But what\ncan I do? I have got you a pair of horses that will fly like", "HASTINGS. To me she appears sensible and silent.\n\nTONY. Ay, before company. But when she's with her playmate, she's as\nloud as a hog in a gate.", "TONY. Ecod! mamma, your own notes are the wildest of the two.\n\nMRS. HARDCASTLE. Was ever the like? But I see he wants to break my\nheart, I see he does.", "TONY. By the laws, mamma, you make me for to laugh, ha! ha! I know\nwho took them well enough, ha! ha! ha!", "TONY. As sure as can be, one of them must be the gentleman that's\ncoming down to court my sister. Do they seem to be Londoners?", "TONY. I will, I tell you.\n\nMRS. HARDCASTLE. I say you shan't.", "Enter TONY, crossing the stage.\n\n\nMRS. HARDCASTLE. Tony, where are you going, my charmer? Won't you\ngive papa and I a little of your company, lovee?", "HASTINGS. My dear 'squire, this looks like a lad of spirit.\n\nTONY. Come along, then, and you shall see more of my spirit before you\nhave done with me.", "HARDCASTLE. Be it what it will, I'm glad they're come back to reclaim\ntheir due. Come hither, Tony, boy. Do you refuse this lady's hand\nwhom I now offer you?", "MARLOW. (To Tony.) You see now, young gentleman, the effects of your\nfolly. What might be amusement to you, is here disappointment, and\neven distress.", "TONY. No, no; straight forward. I'll just step myself, and show you a\npiece of the way. (To the Landlord.) Mum!" ], [ "MARLOW. Cross down Squash Lane!\n\nLANDLORD. Then you were to keep straight forward, till you came to\nfour roads.", "HASTINGS. My friend, Mr. Marlow, with whom I came down, and I, have\nbeen sent here as to an inn, I assure you. A young fellow, whom we", "MARLOW. How's this? Sure I have not mistaken the house. Everything\nlooks like an inn. The servants cry, coming; the attendance is", "MARLOW. You, Jeremy! Come forward, sirrah! What were my orders?\nWere you not told to drink freely, and call for what you thought fit,\nfor the good of the house?", "MARLOW. This house promises but a poor reception; though perhaps the\nlandlord can accommodate us.\n\nLANDLORD. Alack, master, we have but one spare bed in the whole\nhouse.", "MARLOW. What a tedious uncomfortable day have we had of it! We were\ntold it was but forty miles across the country, and we have come above\nthreescore.", "MARLOW. That is, you act as the bar-maid of this inn.", "answer just now to Mr. Marlow. We so laughed.--You must know,\nmadam.--This way a little, for he must not hear us. [They confer.]", "HARDCASTLE. Ay, young gentleman, that, and a little philosophy.\n\nMARLOW. (Aside.) Well, this is the first time I ever heard of an\ninnkeeper's philosophy.", "MARLOW. We wanted no ghost to tell us that.\n\nTONY. Pray, gentlemen, may I be so bold so as to ask the place from\nwhence you came?", "MARLOW. Thank ye, George: I ask no more. Ha! ha! ha!\n\n\nEnter HARDCASTLE.", "MARLOW. Not in the least, Mr. Hastings. We like your company of all\nthings. (To him.) Zounds! George, sure you won't go? how can you\nleave us?", "Enter HASTINGS.\n\n\nHASTINGS. Bless me! I quite forgot to tell her that I intended to\nprepare at the bottom of the garden. Marlow here, and in spirits too!", "HASTINGS. And all, Marlow, from that unaccountable reserve of yours,\nthat would not let us inquire more frequently on the way.", "MARLOW. The usual fate of a large mansion. Having first ruined the\nmaster by good housekeeping, it at last comes to levy contributions as\nan inn.", "MARLOW. Joy, my dear George! I give you joy sincerely. And could I\nprevail upon my little tyrant here to be less arbitrary, I should be\nthe happiest man alive, if you would return me the favour.", "MARLOW. Ha! ha! ha! They're safe, however. What an unaccountable set\nof beings have we got amongst! This little bar-maid though runs in my", "SCENE--An Alehouse Room. Several shabby Fellows with punch and\ntobacco. TONY at the head of the table, a little higher than the\nrest, a mallet in his hand.", "MARLOW. Travellers, George, must pay in all places: the only\ndifference is, that in good inns you pay dearly for luxuries; in bad\ninns you are fleeced and starved.", "MARLOW. Zounds, man! we could as soon find out the longitude!\n\nHASTINGS. What's to be done, Marlow?" ], [ "TONY. Ay, you may steal for yourselves the next time. I have done my\nduty. She has got the jewels again, that's a sure thing; but she\nbelieves it was all a mistake of the servants.", "MRS. HARDCASTLE. Humour, my dear; nothing but humour. Come, Mr.\nHardcastle, you must allow the boy a little humour.", "HASTINGS. (To him.) Bravo, bravo. Never spoke so well in your whole\nlife. Well, Miss Hardcastle, I see that you and Mr. Marlow are going", "MRS. HARDCASTLE. I tell you, Tony, by all that's precious, the jewels\nare gone, and I shall be ruined for ever.", "MRS. HARDCASTLE. We are robbed. My bureau has been broken open, the\njewels taken out, and I'm undone.", "MISS NEVILLE. You may depend upon it. I just saw his letter to Mr.\nHardcastle, in which he tells him he intends setting out a few hours\nafter his son.", "Lumpkin, exactly. The jewels, my dear Con., shall be yours\nincontinently. You shall have them. Isn't he a sweet boy, my dear?", "MRS. HARDCASTLE. (Apart to TONY.) You know, my dear, I'm only\nkeeping them for you. So if I say they're gone, you'll bear me", "MRS. HARDCASTLE. (Kneeling.) Take compassion on us, good Mr.\nHighwayman. Take our money, our watches, all we have, but spare our", "MRS. HARDCASTLE. The most becoming things in the world to set off a\nclear complexion. You have often seen how well they look upon me. You\nSHALL have them. [Exit.]", "Enter Landlord.\n\n\nLANDLORD. There be two gentlemen in a post-chaise at the door. They\nhave lost their way upo' the forest; and they are talking something\nabout Mr. Hardcastle.", "MRS. HARDCASTLE. Well, if he has taken away the lady, he has not\ntaken her fortune; that remains in this family to console us for her\nloss.", "MRS. HARDCASTLE. Don't be alarmed, Constance. If they be lost, I must\nrestore an equivalent. But my son knows they are missing, and not to\nbe found.", "MRS. HARDCASTLE. And yet Mrs. Niece thinks herself as much a woman,\nand is as fond of jewels, as the oldest of us all.", "MISS NEVILLE. But how shall we keep him in the deception? Miss\nHardcastle is just returned from walking; what if we still continue to\ndeceive him?----This, this way----[They confer.]", "MARLOW. Mr. Hardcastle's house! Is this Mr. Hardcastle's house,\nchild?\n\nMISS HARDCASTLE. Ay, sure! Whose else should it be?", "MRS. HARDCASTLE. Ay, but he's not of age, and she has not thought\nproper to wait for his refusal.\n\n\nEnter HASTINGS and MISS NEVILLE.", "HASTINGS. (Introducing them.) Miss Hardcastle, Mr. Marlow. I'm\nproud of bringing two persons of such merit together, that only want to\nknow, to esteem each other.", "HARDCASTLE. (Joining their hands.) And I say so too. And, Mr.\nMarlow, if she makes as good a wife as she has a daughter, I don't", "HARDCASTLE. (Aside.) Their impudence confounds me. (To them.)\nGentlemen, you are my guests, make what alterations you please. Is" ], [ "HASTINGS. (Introducing them.) Miss Hardcastle, Mr. Marlow. I'm\nproud of bringing two persons of such merit together, that only want to\nknow, to esteem each other.", "HARDCASTLE. (Joining their hands.) And I say so too. And, Mr.\nMarlow, if she makes as good a wife as she has a daughter, I don't", "MARLOW. Daughter!--This lady your daughter?\n\nHARDCASTLE. Yes, sir, my only daughter; my Kate; whose else should she\nbe?", "HARDCASTLE. Depend upon it, child, I'll never control your choice; but\nMr. Marlow, whom I have pitched upon, is the son of my old friend, Sir", "MISS HARDCASTLE. Is Marlow.\n\nMISS NEVILLE. Indeed!\n\nMISS HARDCASTLE. The son of Sir Charles Marlow.", "MARLOW. But hear me, sir--\n\nHARDCASTLE. Your father approves the match, I admire it; every\nmoment's delay will be doing mischief. So--", "HASTINGS. (To him.) Bravo, bravo. Never spoke so well in your whole\nlife. Well, Miss Hardcastle, I see that you and Mr. Marlow are going", "MARLOW. Mr. Hardcastle's house! Is this Mr. Hardcastle's house,\nchild?\n\nMISS HARDCASTLE. Ay, sure! Whose else should it be?", "MARLOW. And why now, my pretty simplicity?\n\nMISS HARDCASTLE. Because it puts me at a distance from one that, if I\nhad a thousand pounds, I would give it all to.", "Enter MISS HARDCASTLE.\n\n\nHARDCASTLE. Kate, come hither, child. Answer us sincerely and\nwithout reserve: has Mr. Marlow made you any professions of love and\naffection?", "MISS HARDCASTLE. And her partiality is such, that she actually thinks\nhim so. A fortune like yours is no small temptation. Besides, as she", "HARDCASTLE. Whose look? whose manner, child?\n\nMISS HARDCASTLE. Mr. Marlow's: his mauvaise honte, his timidity,\nstruck me at the first sight.", "MARLOW. But why won't you hear me? By all that's just and true, I\nnever gave Miss Hardcastle the slightest mark of my attachment, or even", "HARDCASTLE. I saw him grasp her hand in the warmest manner myself; and\nhere he comes to put you out of your IFS, I warrant him.\n\n\nEnter MARLOW.", "MRS. HARDCASTLE. Humour, my dear; nothing but humour. Come, Mr.\nHardcastle, you must allow the boy a little humour.", "Charles Marlow, of whom you have heard me talk so often. The young\ngentleman has been bred a scholar, and is designed for an employment in", "MARLOW. Pray, child, answer me one question. What are you, and what\nmay your business in this house be?\n\nMISS HARDCASTLE. A relation of the family, sir.", "MISS HARDCASTLE. The question is very abrupt, sir. But since you\nrequire unreserved sincerity, I think he has.\n\nHARDCASTLE. (To SIR CHARLES.) You see.", "MISS HARDCASTLE. (Aside.) Now for meeting my modest gentleman with a\ndemure face, and quite in his own manner. (After a pause, in which he", "MRS. HARDCASTLE. Mr. Hardcastle, as I'm alive! My fears blinded me.\nBut who, my dear, could have expected to meet you here, in this" ], [ "MARLOW. She's mine, you rogue you. Such fire, such motion, such\neyes, such lips; but, egad! she would not let me kiss them though.", "Enter MISS HARDCASTLE.\n\n\nHARDCASTLE. Kate, come hither, child. Answer us sincerely and\nwithout reserve: has Mr. Marlow made you any professions of love and\naffection?", "MARLOW. Daughter!--This lady your daughter?\n\nHARDCASTLE. Yes, sir, my only daughter; my Kate; whose else should she\nbe?", "HASTINGS. Perish the baubles! Your person is all I desire. In the\nmean time, my friend Marlow must not be let into his mistake. I know", "MARLOW. And why now, my pretty simplicity?\n\nMISS HARDCASTLE. Because it puts me at a distance from one that, if I\nhad a thousand pounds, I would give it all to.", "MARLOW. As I behave to all other ladies. Bow very low, answer yes or\nno to all her demands--But for the rest, I don't think I shall venture\nto look in her face till I see my father's again.", "MARLOW. (Aside.) This simplicity bewitches me, so that if I stay, I'm\nundone. I must make one bold effort, and leave her. (To her.) Your", "MARLOW. Never; unless, as among kings and princes, my bride were to be\ncourted by proxy. If, indeed, like an Eastern bridegroom, one were to", "answer just now to Mr. Marlow. We so laughed.--You must know,\nmadam.--This way a little, for he must not hear us. [They confer.]", "MARLOW. No, no, I tell you. (Looks full in her face.) Yes, child, I\nthink I did call. I wanted--I wanted--I vow, child, you are vastly\nhandsome.", "MARLOW. Happy man! You have talents and art to captivate any woman.\nI'm doom'd to adore the sex, and yet to converse with the only part of", "MARLOW. I protest, child, you use me extremely ill. If you keep me at\nthis distance, how is it possible you and I can ever be acquainted?", "MARLOW. By heavens, madam! fortune was ever my smallest\nconsideration. Your beauty at first caught my eye; for who could see", "HASTINGS. But are you so sure, so very sure of her?\n\nMARLOW. Why, man, she talked of showing me her work above stairs, and\nI am to improve the pattern.", "tell you. I know she'll forgive you. Won't you forgive him, Kate?\nWe'll all forgive you. Take courage, man. (They retire, she", "MARLOW. (To Tony.) You see now, young gentleman, the effects of your\nfolly. What might be amusement to you, is here disappointment, and\neven distress.", "MARLOW. Rather too readily. For she not only kept the casket, but,\nthrough her great precaution, was going to keep the messenger too. Ha!\nha! ha!", "MARLOW. (Kneeling.) Does this look like security? Does this look\nlike confidence? No, madam, every moment that shows me your merit,\nonly serves to increase my diffidence and confusion. Here let me\ncontinue----", "MARLOW. (Aside.) All's well; she don't laugh at me. (To her.) Do\nyou ever work, child?", "MARLOW. Odso! then you must show me your embroidery. I embroider and\ndraw patterns myself a little. If you want a judge of your work, you\nmust apply to me. (Seizing her hand.)" ], [ "your humble admirer, that kept his eyes fixed on the ground, and only\nadored at humble distance. Kate, Kate, art thou not ashamed to deceive\nyour father so?", "MARLOW. Daughter!--This lady your daughter?\n\nHARDCASTLE. Yes, sir, my only daughter; my Kate; whose else should she\nbe?", "tell you. I know she'll forgive you. Won't you forgive him, Kate?\nWe'll all forgive you. Take courage, man. (They retire, she", "HARDCASTLE. Ay, ay; make no noise. I'll engage my Kate covers him\nwith confusion at last.", "Enter MISS HARDCASTLE, plainly dressed.\n\n\nHARDCASTLE. Well, my Kate, I see you have changed your dress, as I\nbade you; and yet, I believe, there was no great occasion.", "discretion out of doors? There's my pretty darling Kate! the fashions\nof the times have almost infected her too. By living a year or two in", "HASTINGS. My dear friend, how have you managed with your mother? I\nhope you have amused her with pretending love for your cousin, and that", "I give it up--morals won't do for me;\n To make you laugh, I must play tragedy.\n One hope remains--hearing the maid was ill,", "HARDCASTLE. Impudence! No, I don't say that--not quite\nimpudence--though girls like to be played with, and rumpled a little\ntoo, sometimes. But she has told no tales, I assure you.", "HASTINGS. To me she appears sensible and silent.\n\nTONY. Ay, before company. But when she's with her playmate, she's as\nloud as a hog in a gate.", "MISS NEVILLE. Well! success attend you. In the mean time I'll go and\namuse my aunt with the old pretence of a violent passion for my cousin.\n[Exit.]", "hand at making punch. Yes, Kate, he asked your father if he was a\nmaker of punch!", "but constant, I make no doubt to be too hard for her at last. However,\nI let her suppose that I am in love with her son; and she never once", "too, and has undertaken to court me for him, and actually begins to\nthink she has made a conquest.", "Enter MISS HARDCASTLE.\n\n\nHARDCASTLE. Kate, come hither, child. Answer us sincerely and\nwithout reserve: has Mr. Marlow made you any professions of love and\naffection?", "TONY. Ay, you may steal for yourselves the next time. I have done my\nduty. She has got the jewels again, that's a sure thing; but she\nbelieves it was all a mistake of the servants.", "MAID. But what is more, madam, the young gentleman, as you passed by\nin your present dress, asked me if you were the bar-maid. He mistook\nyou for the bar-maid, madam.", "MISS HARDCASTLE. Did your honour call? (She still places herself\nbefore him, he turning away.)", "MARLOW. Rather too readily. For she not only kept the casket, but,\nthrough her great precaution, was going to keep the messenger too. Ha!\nha! ha!", "HASTINGS. But are you so sure, so very sure of her?\n\nMARLOW. Why, man, she talked of showing me her work above stairs, and\nI am to improve the pattern." ], [ "Constance Neville may marry whom she pleases, and Tony Lumpkin is his\nown man again.", "MRS. HARDCASTLE. No matter. Tony Lumpkin has a good fortune. My son\nis not to live by his learning. I don't think a boy wants much\nlearning to spend fifteen hundred a year.", "MARLOW. Daughter!--This lady your daughter?\n\nHARDCASTLE. Yes, sir, my only daughter; my Kate; whose else should she\nbe?", "MRS. HARDCASTLE. It's false, Mr. Hardcastle; I was but twenty when I\nwas brought to bed of Tony, that I had by Mr. Lumpkin, my first", "TONY. Ay, but I know what sort of a relation you want to make me,\nthough; but it won't do. I tell you, cousin Con, it won't do; so I beg", "TONY. Vanish. She's here, and has missed them already. [Exit MISS\nNEVILLE.] Zounds! how she fidgets and spits about like a Catherine\nwheel.", "TONY. The daughter, a tall, trapesing, trolloping, talkative maypole;\nthe son, a pretty, well-bred, agreeable youth, that everybody is fond\nof.", "TONY. That's as thereafter may be.\n\nMISS NEVILLE. My dear aunt, if you knew how it would oblige me.", "TONY. I can bear witness to that. [He runs off, she follows him.]\n\n\nEnter Miss HARDCASTLE and Maid.", "TONY. To be sure, aunts of all kinds are damned bad things. But what\ncan I do? I have got you a pair of horses that will fly like", "HASTINGS. To me she appears sensible and silent.\n\nTONY. Ay, before company. But when she's with her playmate, she's as\nloud as a hog in a gate.", "TONY. Ecod! mamma, your own notes are the wildest of the two.\n\nMRS. HARDCASTLE. Was ever the like? But I see he wants to break my\nheart, I see he does.", "TONY. By the laws, mamma, you make me for to laugh, ha! ha! I know\nwho took them well enough, ha! ha! ha!", "TONY. As sure as can be, one of them must be the gentleman that's\ncoming down to court my sister. Do they seem to be Londoners?", "TONY. I will, I tell you.\n\nMRS. HARDCASTLE. I say you shan't.", "Enter TONY, crossing the stage.\n\n\nMRS. HARDCASTLE. Tony, where are you going, my charmer? Won't you\ngive papa and I a little of your company, lovee?", "HASTINGS. My dear 'squire, this looks like a lad of spirit.\n\nTONY. Come along, then, and you shall see more of my spirit before you\nhave done with me.", "HARDCASTLE. Be it what it will, I'm glad they're come back to reclaim\ntheir due. Come hither, Tony, boy. Do you refuse this lady's hand\nwhom I now offer you?", "MARLOW. (To Tony.) You see now, young gentleman, the effects of your\nfolly. What might be amusement to you, is here disappointment, and\neven distress.", "TONY. No, no; straight forward. I'll just step myself, and show you a\npiece of the way. (To the Landlord.) Mum!" ], [ "SIR CHARLES. Did he talk of love?\n\nMISS HARDCASTLE. Much, sir.\n\nSIR CHARLES. Amazing! And all this formally?", "SIR CHARLES. And pray, madam, have you and my son had more than one\ninterview?\n\nMISS HARDCASTLE. Yes, sir, several.", "HARDCASTLE. IF, man! I tell you they DO like each other. My\ndaughter as good as told me so.\n\nSIR CHARLES. But girls are apt to flatter themselves, you know.", "but constant, I make no doubt to be too hard for her at last. However,\nI let her suppose that I am in love with her son; and she never once", "HARDCASTLE. Impudence! No, I don't say that--not quite\nimpudence--though girls like to be played with, and rumpled a little\ntoo, sometimes. But she has told no tales, I assure you.", "MRS. HARDCASTLE. My son, sir. They are contracted to each other.\nObserve their little sports. They fall in and out ten times a day, as", "MARLOW. Sure, sir, nothing has passed between us but the most\nprofound respect on my side, and the most distant reserve on hers. You", "keep it secret. But since I find she turns it to a wrong use, I must\nnow declare you have been of age these three months.", "Enter MISS HARDCASTLE.\n\n\nHARDCASTLE. Kate, come hither, child. Answer us sincerely and\nwithout reserve: has Mr. Marlow made you any professions of love and\naffection?", "more, for fear she should suspect us. [They retire, and seem to\nfondle.]", "too, and has undertaken to court me for him, and actually begins to\nthink she has made a conquest.", "SIR CHARLES. I can hold it no longer. Charles, Charles, how hast thou\ndeceived me! Is this your indifference, your uninteresting\nconversation?", "aim is, to take my gentleman off his guard, and, like an invisible\nchampion of romance, examine the giant's force before I offer to\ncombat.", "HASTINGS. Then, my Constance, all must be completed before he\narrives. He knows me; and should he find me here, would discover my\nname, and perhaps my designs, to the rest of the family.", "MISS HARDCASTLE. The question is very abrupt, sir. But since you\nrequire unreserved sincerity, I think he has.\n\nHARDCASTLE. (To SIR CHARLES.) You see.", "HARDCASTLE. (To SIR CHARLES.) You see.\n\nSIR CHARLES. But did be profess any attachment?\n\nMISS HARDCASTLE. A lasting one.", "HASTINGS. Perish the baubles! Your person is all I desire. In the\nmean time, my friend Marlow must not be let into his mistake. I know", "HASTINGS. My dear friend, how have you managed with your mother? I\nhope you have amused her with pretending love for your cousin, and that", "her bureau, and she does not know it. Fly to your spark, he'll tell\nyou more of the matter. Leave me to manage her.", "Neville loves you, the family don't know you; as my friend you are sure\nof a reception, and let honour do the rest." ], [ "MRS. HARDCASTLE. Humour, my dear; nothing but humour. Come, Mr.\nHardcastle, you must allow the boy a little humour.", "MISS HARDCASTLE. And her partiality is such, that she actually thinks\nhim so. A fortune like yours is no small temptation. Besides, as she", "MRS. HARDCASTLE. No matter. Tony Lumpkin has a good fortune. My son\nis not to live by his learning. I don't think a boy wants much\nlearning to spend fifteen hundred a year.", "MRS. HARDCASTLE. Don't be alarmed, Constance. If they be lost, I must\nrestore an equivalent. But my son knows they are missing, and not to\nbe found.", "HASTINGS. (To him.) Bravo, bravo. Never spoke so well in your whole\nlife. Well, Miss Hardcastle, I see that you and Mr. Marlow are going", "HASTINGS. Our mistresses, boy, Miss Hardcastle and Miss Neville.\nGive me leave to introduce Miss Constance Neville to your", "but constant, I make no doubt to be too hard for her at last. However,\nI let her suppose that I am in love with her son; and she never once", "MRS. HARDCASTLE. To be plain with you, my dear Constance, if I could\nfind them you should have them. They're missing, I assure you. Lost,", "MRS. HARDCASTLE. My son, sir. They are contracted to each other.\nObserve their little sports. They fall in and out ten times a day, as", "HARDCASTLE. (Joining their hands.) And I say so too. And, Mr.\nMarlow, if she makes as good a wife as she has a daughter, I don't", "HARDCASTLE. But you know if your son, when of age, refuses to marry\nhis cousin, her whole fortune is then at her own disposal.", "MRS. HARDCASTLE. Well, I must retire. Come, Constance, my love. You\nsee, Mr. Hastings, the wretchedness of my situation: was ever poor", "MARLOW. Mr. Hardcastle's house! Is this Mr. Hardcastle's house,\nchild?\n\nMISS HARDCASTLE. Ay, sure! Whose else should it be?", "MRS. HARDCASTLE. O! sir, you're only pleased to say so. We country\npersons can have no manner at all. I'm in love with the town, and that", "MRS. HARDCASTLE. It's false, Mr. Hardcastle; I was but twenty when I\nwas brought to bed of Tony, that I had by Mr. Lumpkin, my first", "HASTINGS. (Introducing them.) Miss Hardcastle, Mr. Marlow. I'm\nproud of bringing two persons of such merit together, that only want to\nknow, to esteem each other.", "MARLOW. But why won't you hear me? By all that's just and true, I\nnever gave Miss Hardcastle the slightest mark of my attachment, or even", "MRS. HARDCASTLE. Yet, what signifies my dressing when I have such a\npiece of antiquity by my side as Mr. Hardcastle: all I can say will", "MARLOW. And why now, my pretty simplicity?\n\nMISS HARDCASTLE. Because it puts me at a distance from one that, if I\nhad a thousand pounds, I would give it all to.", "HARDCASTLE. Depend upon it, child, I'll never control your choice; but\nMr. Marlow, whom I have pitched upon, is the son of my old friend, Sir" ], [ "Constance Neville may marry whom she pleases, and Tony Lumpkin is his\nown man again.", "TONY. Ay, but I know what sort of a relation you want to make me,\nthough; but it won't do. I tell you, cousin Con, it won't do; so I beg", "if they were man and wife already. (To them.) Well, Tony, child, what\nsoft things are you saying to your cousin Constance this evening?", "TONY. That's as thereafter may be.\n\nMISS NEVILLE. My dear aunt, if you knew how it would oblige me.", "TONY. Ecod! mamma, your own notes are the wildest of the two.\n\nMRS. HARDCASTLE. Was ever the like? But I see he wants to break my\nheart, I see he does.", "MARLOW. (To Tony.) You see now, young gentleman, the effects of your\nfolly. What might be amusement to you, is here disappointment, and\neven distress.", "TONY. Vanish. She's here, and has missed them already. [Exit MISS\nNEVILLE.] Zounds! how she fidgets and spits about like a Catherine\nwheel.", "TONY. I will, I tell you.\n\nMRS. HARDCASTLE. I say you shan't.", "TONY. (Apart to MRS. HARDCASTLE.) Then why don't you tell her so at", "Tony, my dear? does your cousin Con. want any jewels in your eyes to\nset off her beauty?", "TONY. Here's another. Ask miss there, who betrayed you. Ecod, it was\nher doing, not mine.\n\n\nEnter MARLOW.", "TONY. But I tell you, miss, it's of all the consequence in the world.\nI would not lose the rest of it for a guinea. Here, mother, do you", "TONY. As for disappointing them, I should not so much mind; but I\ncan't abide to disappoint myself.\n\nMRS. HARDCASTLE. (detaining him.) You shan't go.", "TONY. No, no. Only mother is confoundedly frightened. She thinks\nherself forty miles off. She's sick of the journey; and the cattle can", "TONY. To be sure, aunts of all kinds are damned bad things. But what\ncan I do? I have got you a pair of horses that will fly like", "TONY. That's because you don't know her as well as I. Ecod! I know\nevery inch about her; and there's not a more bitter cantankerous toad\nin all Christendom.", "TONY. (Singing.) \"There was a young man riding by, and fain would\nhave his will. Rang do didlo dee.\"----Don't mind her. Let her cry.", "TONY. Sure I know they're gone, and I'm to say so.\n\nMRS. HARDCASTLE. My dearest Tony, but hear me. They're gone, I say.", "TONY. We'll see which is strongest, you or I. [Exit, hauling her\nout.]", "TONY. You had as good not make me, I tell you. (Measuring.)\n\nMISS NEVILLE. O lud! he has almost cracked my head." ], [ "tell you. I know she'll forgive you. Won't you forgive him, Kate?\nWe'll all forgive you. Take courage, man. (They retire, she", "HARDCASTLE. Ay, ay; make no noise. I'll engage my Kate covers him\nwith confusion at last.", "MARLOW. Daughter!--This lady your daughter?\n\nHARDCASTLE. Yes, sir, my only daughter; my Kate; whose else should she\nbe?", "I give it up--morals won't do for me;\n To make you laugh, I must play tragedy.\n One hope remains--hearing the maid was ill,", "Enter MISS HARDCASTLE, plainly dressed.\n\n\nHARDCASTLE. Well, my Kate, I see you have changed your dress, as I\nbade you; and yet, I believe, there was no great occasion.", "TONY. Ay, you may steal for yourselves the next time. I have done my\nduty. She has got the jewels again, that's a sure thing; but she\nbelieves it was all a mistake of the servants.", "your humble admirer, that kept his eyes fixed on the ground, and only\nadored at humble distance. Kate, Kate, art thou not ashamed to deceive\nyour father so?", "MARLOW. Rather too readily. For she not only kept the casket, but,\nthrough her great precaution, was going to keep the messenger too. Ha!\nha! ha!", "her bureau, and she does not know it. Fly to your spark, he'll tell\nyou more of the matter. Leave me to manage her.", "MISS NEVILLE. Well! success attend you. In the mean time I'll go and\namuse my aunt with the old pretence of a violent passion for my cousin.\n[Exit.]", "but constant, I make no doubt to be too hard for her at last. However,\nI let her suppose that I am in love with her son; and she never once", "HASTINGS. My dear friend, how have you managed with your mother? I\nhope you have amused her with pretending love for your cousin, and that", "make it out. Of no consequence! (Giving MRS. HARDCASTLE the letter.)", "TONY. That's right, that's right; you must be in a bitter passion, and\nthen nobody will suspect either of us. I'll bear witness that they are\ngone.", "HASTINGS. Thousands do it every day. But to be plain with you; Miss\nNeville is endeavouring to procure them from her aunt this very", "discretion out of doors? There's my pretty darling Kate! the fashions\nof the times have almost infected her too. By living a year or two in", "HASTINGS. My dear Constance, why will you deliberate thus? If we\ndelay a moment, all is lost for ever. Pluck up a little resolution,\nand we shall soon be out of the reach of her malignity.", "TONY. Vanish. She's here, and has missed them already. [Exit MISS\nNEVILLE.] Zounds! how she fidgets and spits about like a Catherine\nwheel.", "of the night shall be crowned with a merry morning. So, boy, take her;\nand as you have been mistaken in the mistress, my wish is, that you may", "HASTINGS. But are you so sure, so very sure of her?\n\nMARLOW. Why, man, she talked of showing me her work above stairs, and\nI am to improve the pattern." ], [ "HARDCASTLE. And, to crown all, Kate, he's one of the most bashful and\nreserved young fellows in all the world.", "answer just now to Mr. Marlow. We so laughed.--You must know,\nmadam.--This way a little, for he must not hear us. [They confer.]", "HARDCASTLE. Whose look? whose manner, child?\n\nMISS HARDCASTLE. Mr. Marlow's: his mauvaise honte, his timidity,\nstruck me at the first sight.", "MARLOW. Sure, sir, nothing has passed between us but the most\nprofound respect on my side, and the most distant reserve on hers. You", "MARLOW. (Gathering courage.) I have lived, indeed, in the world,\nmadam; but I have kept very little company. I have been but an\nobserver upon life, madam, while others were enjoying it.", "HASTINGS. (Aside.) He must not see my uneasiness.\n\nMARLOW. You seem a little disconcerted though, methinks. Sure\nnothing has happened?", "tell you. I know she'll forgive you. Won't you forgive him, Kate?\nWe'll all forgive you. Take courage, man. (They retire, she", "HASTINGS. And all, Marlow, from that unaccountable reserve of yours,\nthat would not let us inquire more frequently on the way.", "Enter MISS HARDCASTLE.\n\n\nHARDCASTLE. Kate, come hither, child. Answer us sincerely and\nwithout reserve: has Mr. Marlow made you any professions of love and\naffection?", "MARLOW. (Kneeling.) Does this look like security? Does this look\nlike confidence? No, madam, every moment that shows me your merit,\nonly serves to increase my diffidence and confusion. Here let me\ncontinue----", "MARLOW. She's mine, you rogue you. Such fire, such motion, such\neyes, such lips; but, egad! she would not let me kiss them though.", "MARLOW. Daughter!--This lady your daughter?\n\nHARDCASTLE. Yes, sir, my only daughter; my Kate; whose else should she\nbe?", "HASTINGS. Perish the baubles! Your person is all I desire. In the\nmean time, my friend Marlow must not be let into his mistake. I know", "whole time. Yet the fellow, but for his unaccountable bashfulness, is\npretty well too. He has good sense, but then so buried in his fears,", "MARLOW. As I behave to all other ladies. Bow very low, answer yes or\nno to all her demands--But for the rest, I don't think I shall venture\nto look in her face till I see my father's again.", "Charles Marlow, of whom you have heard me talk so often. The young\ngentleman has been bred a scholar, and is designed for an employment in", "MARLOW. (Aside.) By Heaven! she weeps. This is the first mark of\ntenderness I ever had from a modest woman, and it touches me. (To", "MARLOW. (Relapsing into timidity.) Pardon me, madam, I--I--I--as yet\nhave studied--only--to--deserve them.", "MARLOW. Yes, madam. I was saying----that there are some occasions,\nwhen a total want of courage, madam, destroys all the----and puts\nus----upon a--a--a--", "HASTINGS. Tortured as I am with my own disappointments, is this a time\nfor explanations? It is not friendly, Mr. Marlow.\n\nMARLOW. But, sir----" ], [ "MARLOW. (To Tony.) You see now, young gentleman, the effects of your\nfolly. What might be amusement to you, is here disappointment, and\neven distress.", "TONY. Ay, but I know what sort of a relation you want to make me,\nthough; but it won't do. I tell you, cousin Con, it won't do; so I beg", "Constance Neville may marry whom she pleases, and Tony Lumpkin is his\nown man again.", "TONY. As for disappointing them, I should not so much mind; but I\ncan't abide to disappoint myself.\n\nMRS. HARDCASTLE. (detaining him.) You shan't go.", "TONY. But I tell you, miss, it's of all the consequence in the world.\nI would not lose the rest of it for a guinea. Here, mother, do you", "if they were man and wife already. (To them.) Well, Tony, child, what\nsoft things are you saying to your cousin Constance this evening?", "TONY. That's as thereafter may be.\n\nMISS NEVILLE. My dear aunt, if you knew how it would oblige me.", "TONY. I will, I tell you.\n\nMRS. HARDCASTLE. I say you shan't.", "TONY. Ecod! mamma, your own notes are the wildest of the two.\n\nMRS. HARDCASTLE. Was ever the like? But I see he wants to break my\nheart, I see he does.", "TONY. What signifies my refusing? You know I can't refuse her till\nI'm of age, father.", "MRS. HARDCASTLE. Oh, death!\n\nTONY. No; it's only a cow. Don't be afraid, mamma; don't be afraid.", "TONY. Sure I know they're gone, and I'm to say so.\n\nMRS. HARDCASTLE. My dearest Tony, but hear me. They're gone, I say.", "TONY. Vanish. She's here, and has missed them already. [Exit MISS\nNEVILLE.] Zounds! how she fidgets and spits about like a Catherine\nwheel.", "TONY. You had as good not make me, I tell you. (Measuring.)\n\nMISS NEVILLE. O lud! he has almost cracked my head.", "TONY. (Still gazing.) A damned up and down hand, as if it was\ndisguised in liquor.--(Reading.) Dear Sir,--ay, that's that. Then", "HASTINGS. My dear Constance, why will you deliberate thus? If we\ndelay a moment, all is lost for ever. Pluck up a little resolution,\nand we shall soon be out of the reach of her malignity.", "TONY. I wish you'd let me and my good alone, then. Snubbing this way\nwhen I'm in spirits. If I'm to have any good, let it come of itself;", "TONY. Here's another. Ask miss there, who betrayed you. Ecod, it was\nher doing, not mine.\n\n\nEnter MARLOW.", "TONY. We'll see which is strongest, you or I. [Exit, hauling her\nout.]", "TONY. Never you mind her resentment, leave ME to manage that. I\ndon't value her resentment the bounce of a cracker. Zounds! here they\nare. Morrice! Prance! [Exit HASTINGS.]" ] ]

[ "When the men arrive at Hardcastle, where do they think they really are?", "Who are the two men traveling to Hardcastle?", "What is the name of the bar that the two men stop at on their journey?", "Who tricks the men into believing that the Hardcastle home is an Inn?", "Who becomes engaged to Hastings?", "The appearance of who clears up the misunderstandings?", "Who does Mrs. Hardcastle want Tony to marry?", "What does Mrs. Hardcastle have that belongs to Constance?", "Kate decides to pretend to be what to get Marlow's attention?", "At the conclusion of the play, who is engaged to Marlow?", "At the conclusion onf the play, to whom is Constance engaged?", "Who refuses to marry Constance?", "Who is in control of Constance's inheritance?", "Who masquerade's as a serving-maid?", "To whom does Mr Hardcastle want his daughter to marry?", "Where does Charles Marlow live?", "How is Tony Lumpkin related to Kate?", "What is the name of the Alehouse, where Marlow and George stop for directions?", "Who agrees to steal the jewels from Mrs. Hardcastle?", "Why does Mr. Hardcastle want his daughter to meet Charles Marlow?", "What does Kate have to do to get Marlow to woo her?", "What did Kate pretend to be?", "How is Tony Lumpkin related to Kate?", "Who has a secret romance?", "Why does Mrs. Hardcastle want Constance to marry her son?", "Who does Tony want to marry instead of Constance?", "How does Kate's plan work out?", "Who tells Kate about Marlow's shyness?", "What is the result of Tony's refusal to marry Constance?" ]

[ [ "At an Inn.", "An inn." ], [ "Charles Marlow and George Hastings", "Marlow and Hastings" ], [ "The Three Jolly Pigeons", "The three jolly pigeons" ], [ "Tony Lumpkin", "Tony Lumpkin." ], [ "Constance Neville", "Constance." ], [ "Sir Charles Marlow", "Sir Charles Marlow" ], [ "Constance Neville", "Constance" ], [ "Her inheritance, which are her jewels", "her jewels" ], [ "A serving-maid", "a maid" ], [ "Kate", "Kate." ], [ "Hastings", "Hastings" ], [ "Tony", "Tony" ], [ "Mrs. Hardcastle", "Mrs. Hardcastle" ], [ "Kate", "Kate" ], [ "Charles Marlow", "Charles Marlow" ], [ "London", "London." ], [ "He is her step-brother.", "Tony is Kate's step-brother" ], [ "The Three Jolly Pigeons", "The Three Jolly Pigeons" ], [ "Tony", "Tony." ], [ "He hopes they will marry.", "To keep the jewels in the family" ], [ "Pretend to be common", "Shre pretends to be common" ], [ "A maid", "a serving maid" ], [ "Step brother", "He is her step-brother." ], [ "Constance and Hastings", "Constance and Hastings" ], [ "Keep the jewels in the family.", "To keep the jewels in their family." ], [ "A barmaid", "A barmaid." ], [ "Kate and Marlow get engaged", "It succeeds and she becomes engaged." ], [ "Constance", "Constance" ], [ "She is eligible for her inheritance.", "she would be able to become engaged to hastings and receive her jewels" ] ]

[ [ "JUSTICE: About two years ago. She left me her house. My mother died when I was \ntwelve. Suicide. She named me Justice cause she", "JUSTICE: My name's Justice.\n\nKEISHA: What's Justice?\n\nLucky and Justice just smile.", "The Woman finishes fixing her plate.\n\nWOMAN: Here, I'll take her.\n\nJUSTICE: She's beautiful. What's her name?", "Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then \nher face breaks out into a mischievous smile. She looks\nLucky up and down, checkin him out.", "WOMAN: Her name is Imani.\n\nThe Woman walks off to a table and sits with another group of relatives.\n\nJUSTICE: You got a kid?", "He laughs. Justice doesn't find it funny.\n\nJUSTICE: He got killed over some stupid shit.\n\nLucky looks at her.", "woman is an \"around the way\" honey with soft brown skin, full brown eyes, and \nnice delicious full lips. This is Justice, who at", "JUSTICE'S FACE As she reacts to being called Lucky's girlfriend.\n\nCOUSIN PETE: What's your name, cousin?", "JUSTICE (V.O.) Jessie, it's me, Justice. You there? Well, I'm running a (she \ndecides it's futile) Shit!", "COUSIN PETE: How you get a name like that?!\n\nJUSTICE: It's a long story. This is-", "JUSTICE AND LESHA Where Justice helps her friend up Iesha is scratched. She \ncontinues to curse with a bloodied mouth. Iesha\npulls away, attempting to continue fighting, only to be restrained by Justice.", "JUSTICE (coolly): C'mere. I gotta talk to you.\n\nIesha faintly sees the anger on Justice's face but is not aware that it is \ndirected toward her.", "JESSIE As Iesha walks past her, and she watches and waits to talk to Justice. \nJUSTICE Follows him and sits next to him. She puts", "We see Justice's face. She is definitely looking more hardened. Iesha pulls a \nwad of money out of her pocket and gives it to Justice.", "We see Justice's car pull to the curb. It is a 1992 Honda Accord, complete with \nnice rims and tinted windows. The license plate reads\n2 FUNKY.", "Justice takes the baby in her arms. Lucky looks at her out of the corner of his \neye and continues surveying the food.\n\nJUSTICE: Aww, she's so cute.", "LUCKY: Oh, so you one of them angry bitches, huh? A feminist. Justice turns \naround. Lucky has gotten her attention.\n\nJUSTICE: What did you call me?", "Justice walks in.\n\nJUSTICE: You telling everybody's business.\n\nIESHA: Yeah, I'd tell your business too if you had somethin to tell.", "locks. As she walks up the street, we see the same brothers established in the \nprevious montage on their knees, with their hands behind\ntheir heads. Justice walks past them without acknowledging their condition.", "34 INT. Justice's Home--NIGHT It looks though it was decorated by her \ngrandmother, which in fact it was. We notice a portrait of an" ], [ "JUSTICE: Markell, do you love me?\n\nMARKELL: Of course I love you.\n\nJUSTICE: Why? Tell me why you love me.", "Markell turns to notice that Justice is not in the passenger seat. Justice leans \nup from the back seat to kiss his cheek and tenderly run", "MARKELL (looks around): Now?\n\nJUSTICE: Yeah, right now.\n\nThere is a pause. He thinks.", "MARKELL: Okay, I love you because you too fine.\n\nJUSTICE: Is that it?\n\nMARKELL: Yeah.\n\nJustice looks dissatisfied.", "JUSTICE: Pleazzze?!\n\nMarkell relents and gets out of the car. He takes two steps, turns on a heel, \nand leans into the car again.", "JUSTICE: About two years ago. She left me her house. My mother died when I was \ntwelve. Suicide. She named me Justice cause she", "MARKELL: Hey, Justice! I was just thinking. I also love you 'cause when I was in \ntha county jail, you wrote me a lotta sweet poems.", "He laughs. Justice doesn't find it funny.\n\nJUSTICE: He got killed over some stupid shit.\n\nLucky looks at her.", "Justice's face, as Jessie's words sink in.", "MARKELL: C'mon, let's get in the back seat.\n\nJUSTICE: No, Markell, why can't we just watch the movie?", "JUSTlCE (V.O.): \"Love by nature, exacts a pain unequalled on the rack.\n\nJustice looks up from holding her crying friend. She has noticed the truck has \nstopped moving.", "There is a somber moment. Lucky understands, vaguely. They hear a moaning sound. \nJustice motions for Lucky to be quiet. She\npeeks through the curtain.", "drunken tone about how much she values Justice's friendship: \"You helped me when \nI had that abortion,\" etc. Crying gives way to", "Justice murmurs a \"yes\" and walks over to attend to Iesha. Lucky is left \nstanding alone. He thinks.", "There are only a few customers in line; all are Black or Hispanic. Markell gets \nin line, and time slows down. We notice the abruptness", "MARKELL: Can I have some sugar? Some butter? Some sweets?\n\nJUSTICE: No, not yet. Get me some popcorn.\n\nMarkell 's face drops.", "JUSTICE (V.O.): \"The bruised bones recorded well. The sudden shock, the hard \nimpact. Then swollen l:ids ...\"\n\nTHE FRONT Where Lucky drives alone. He is very upset.", "He goes to kiss her again. This time, it's a nice, long, juicy powerhouse kiss \nthat causes the Richter scale to jump two points. Justice\nappears obviously affected. She asks the inevitable question.", "Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then \nher face breaks out into a mischievous smile. She looks\nLucky up and down, checkin him out.", "car. On the driver's side the window is open. Suddenly, a pistol is placed next \nto Markell's head. Time slows down. The gun is fired." ], [ "E.J.: Y'all going to Oakland?\n\nLucky cuts him a dry look that reads \"Mind your own business.\"\n\nCHICAGO: Cool. You gonna bring a yamp?", "followed by Chicago. We MOVE slowly with them to reveal they have parked next to \na cliff that overlooks the Pacific Ocean and some\nother rocky cliffs. In the distance we see Chicago and Iesha arguing.", "IESHA (V.O.): You know he work at the post office and all. The one on Century \nand Van Ness. Well, every so often he and his friend\nat work, they have to drive up to Oakland in this mail truck, see.", "Lucky starts un the truck\n\n123A EXT. THE ROAD--DAY Traveling montage on the road. Beautiful sights of \nCalifornia.", "114 EXT. OAKLAND NEIGHBOURHOOD--NIGHT Where we see the mail truck turn a corner \nand go up a street. In the far distance\nwe can see the red lights of an ambulance.", "CITY/BEVERLY HILLS, then we begin to read 405 NORTH SACRAMENTO. Different shots \nof the truck traveling between dissolves.", "CUT TO: 100 EXT. THE ROAD--DAY The truck shoots past a beautiful expanse of \nCalifornia farmland. 101 INT: THE", "73 EXT. THEROAD-DAY We see the truck drive along.\n\n74 INT: THE TRUCK--LATER", "CHICAGO (whispers): I'm on Oaktown Run tomorrow. Getting a truck ready. Wanna \ngo?\n\nLUCKY: Yeah.", "BACK TO ROAD Chicago staggers a couple of feet, looks around, picks up his \nbrush. He sits by the side of the road and begins to\nbrush the back of his head.", "JUSTICE'S P. OV: Off the road she sees a dilapidated empty drive-in theater. She \nand Lucky exchange a glance.", "CUT TO: 105A EXT. ROCK CLIFF--DAY FROM OVERHEAD We see the truck pull to the \nside of the road. Iesha hops out, closely", "They walk toward the truck, and we see Lucky in the front seat. Lucky switches \nhis US. Mail cap to a more comfortable Sox hat. He\nsmiles at Justice. Offscreen we hear Chicago in the back of the truck.", "MONTAGE OF ROAD SIGNS Of various signs along the 10 freeway At first we go past \nsigns that read LA CIENEGA, CENTURY", "THE ROAD Where we see the truck by the road with the castle in the background. \nlesha has walked to the back of the truck. Chicago\ncomes around the corner and tries to talk to her.\n\nHe tries a smoother approach.", "59 EXT CRENSHAW BOULEVARD--DAY Where we see the truck go up the street and end \non a Crenshaw sign. They are leaving\ntheir part of the city.", "WIDE As the truck drives on, leaving Chicago on the road. A duffel bag is thrown \nout the window. Chicago continues to shout out at\nLucky: \"Watch you doing, man?\"and \"Stop bullshitting!\"", "IESHA (attempting to persuade): Well, we get in this mail truck and we drive up \nthe coast, get drunk, eat Mexican food, and just have", "LUCKY: We can't stay long, man. I gotta get to Oakland. Why niggas always gotta \nbe thinking about eating?! You eat too much\nanyway. That's why you head so big. Hair look like taco meat.", "126 EXT. THE DESERT--DAY Where we see Lucky walking along the road in the \ndesert. The truck is nearby in the distance. He is\nthinking." ], [ "45 INT. JUSTICE'S HOME--MORNING MONTAGE Of Justice preparing to go on the trip \nto Oakland. The music we hear comes\nfrom her living room stereo.", "JUSTICE (coolly): C'mere. I gotta talk to you.\n\nIesha faintly sees the anger on Justice's face but is not aware that it is \ndirected toward her.", "We see Justice's car pull to the curb. It is a 1992 Honda Accord, complete with \nnice rims and tinted windows. The license plate reads\n2 FUNKY.", "JUSTICE (O.S.): Yeah.\n\nIesha hangs up the phone.\n\nCHICAGO: Finally.", "E.J.: Y'all going to Oakland?\n\nLucky cuts him a dry look that reads \"Mind your own business.\"\n\nCHICAGO: Cool. You gonna bring a yamp?", "Justice and lesha make eye contact. Both smile. Suddenly in the background on \nJustice, we see and hear police lights converge on\nsome brothers across the street. This catches Justice's attention.", "Markell turns to notice that Justice is not in the passenger seat. Justice leans \nup from the back seat to kiss his cheek and tenderly run", "Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then \nher face breaks out into a mischievous smile. She looks\nLucky up and down, checkin him out.", "Justice murmurs a \"yes\" and walks over to attend to Iesha. Lucky is left \nstanding alone. He thinks.", "He walks away. Justice and Iesha are getting into the truck. Chicago suddenly \nbecomes apologetic.", "LUCKY: Why?\n\nJUSTICE: 'Cause you look the type.\n\nLucky begins to walk.", "walks out to talk to him. A blanket drapes her shoulders. ANOTHER ANGLE As we \nsee Justice come forward and drop down to sit", "own thing. All we can hear is the voice of the Paciffe Ocean. Justice sits on \nthe sand, sifting it through her hands like a funnel. We\nhear her thoughts as she looks out onto the ocean.", "Justice is fuming now.\n\nJUSTICE: Let me out!\n\nLUCKY (coolly): Where you gonna go, huh? Where you gonna go?", "JUSTICE Gets up from the children and walks over toward lesha. WIDE As Justice \napproaches lesha and Johnny.\n\nJUSTICE: I gotta talk to my friend for a second.", "ANGLE As we see Justice and Lucky walking together. Justice is taking in the \nsights and sounds of her environment. She is almost", "JUSTICE (V.O.) Jessie, it's me, Justice. You there? Well, I'm running a (she \ndecides it's futile) Shit!", "JESSIE As Iesha walks past her, and she watches and waits to talk to Justice. \nJUSTICE Follows him and sits next to him. She puts", "DISSOLVE TO: 104 EXTGRASSYFlELD-DAY We see Justice walking toward us through a \nfield. She walks slowly, almost", "JUSTICE (shouting): I wanna pet one of them!\n\nON THE HILL\n\nIESHA: OOOOH!\n\nBACK TO FIELD Where Justice pets one of the animals." ], [ "Lucky turns around. He thinks.\n\n44 INT KEISHA'S ROOM--NIGHT\n\nCLOSE\n\nOn Keisha in bed under covers.", "Keisha gets up and goes toward the bedroom. Lucky looks at her exit, then goes \ntoward the window and looks outside the blinds. On", "KEISHA As she looks at the screen. We hear a helicopter go overhead as its \nspotlight flows into the room. Keisha reacts to it with", "Keisha runs up into her daddy's arms.\n\nLUCKY: Who's your daddy?\n\nKeisha timidly points to Lucky, who smiles and looks at J-Bone.", "LUCKY: What's up?\n\nJUSTICE: Who's this?\n\nKEISHA: Keisha.\n\nThey shake hands.", "Justice's gaze turns away from Lucky to Keisha.\n\nJUSTICE: What did you do to this little girl's hair?\n\nLUCKY: Nuthin.", "IESHA: A run ... is, well, it's like this. You really wanna know?\n\nJustice gives her a frustrated look.\n\nIESHA: Well, you know my boyfriend Chicago, right?", "THE FLOOR: LUCKY'S P.O. V: Where Keisha is rolled up in a ball.\n\nLUCKY (hanging up phone): Go to bed.", "Iesha keeps fixing her hair. It is apparent that she is luring Justice's \ncuriosity. Justice takes the bait.", "IESHA (putting on airs) Iesha. And this is my husband, Chicago.\n\nWe see subtle eye contact between Iesha and Justice.\n\nCHICAGO: How you doing?", "LUCKY: Told her if she start doing that shit, I'm gonna take Keisha to live with \nmy momma.", "Iesha looks at her angry friend as if stunned. Actually, she is drunk. lesha \nsways back and forth as if in a daze. She begins crying.\n\nIESHA (crying): I'm sorry.", "IESHA: Lucky. This my friend Justice. Justice, this is Lucky.\n\nJUSTICE (with attitude): Hi.\n\nLUCKY: Whatsup.", "LUCKY: Keisha's here.\n\nAnnie begins to glow with the mention of her grandchild.\n\nANNIE: Really? How's my grandbaby doing?", "THE LIVING ROOM Where we see Lucky lying on the couch like a potato watching \ntelevision. In the foreground Keisha lies on the\nfloor drawing in her notebook.", "walks away to reveal Iesha. Iesha mumbles the \"shake it to the east/shake it to \nthe west\" cheer.", "JUSTICE: It looks like it. C'mere, little girl.\n\nANGLE As Justice guides Keisha toward her station. She sits Keisha in the chair \nand proceeds to analyze what can be done with her\nhair.", "Justice walks in.\n\nJUSTICE: You telling everybody's business.\n\nIESHA: Yeah, I'd tell your business too if you had somethin to tell.", "IESHA: That nigga is weak! Ain't got no rhythm! Plus, he a preemie! You know \nwhat a preemie is? Two-minute brotha.\n\nJustice laughs.", "JUSTICE: You got everything?\n\nIESHA: Yeah. So what you think of Lucky?\n\nJUSTICE: I don't. Look." ], [ "He walks away. Justice and Iesha are getting into the truck. Chicago suddenly \nbecomes apologetic.", "IESHA (O.S.): But he left her! He left her out in the middle of nowhere!\n\nChicago comes up close to the back of Lucky's head.", "Lucky looks over at Iesha. He doesn't notice Chicago getting up and charging \nhim. Lucky and Chicago get into a brawl. They tumble", "CHICAGO (uncomfortable): Is it good?\n\nLUCKY: Jammin.\n\nJustice looks away, listening to the music.", "IESHA (O.S.): Chicago! Lucky left Justice! Lucky left Justice!\n\nCHICAGO (O.S.): So what! I'm trying to sleep!", "They walk toward the truck, and we see Lucky in the front seat. Lucky switches \nhis US. Mail cap to a more comfortable Sox hat. He\nsmiles at Justice. Offscreen we hear Chicago in the back of the truck.", "IESHA Looks up at Chicago as if to say, \"What the fuck you looking at?\" Chicago \nturns back around to continue throwing rocks.\nIesha turns to Justice.", "IESHA: You all right?\n\nLucky has no reaction. Iesha backs up and reluctantly walks away, leaving Lucky \nand Justice alone.", "This exchange goes on one more time, then Lucky cuts it off by abruptly closing \nthe passenger door in Justice's face. Iesha pokes her\nhead up from it.", "JUSTICE (O.S.): Yeah.\n\nIesha hangs up the phone.\n\nCHICAGO: Finally.", "Chicago takes his brush out of his back pocket and begins brushing his head. He \nis trying to maintain his cool because they are now in\nfront of Lucky and Justice.", "LUCKY: She look it, though.\n\nJustice walks back to Iesha on the side of the truck.\n\nJUSTICE: I don't know about this.", "IESHA: Good, now I can get me some liquor!\n\nThey walk past as we follow them and end on Chicago.", "LUCKY AND CHICAGO Look at each other. Their intentions are obvious.\n\nIESHA\n\nCatches up as we PULL BACK with her, to reveal all four of them.", "Justice murmurs a \"yes\" and walks over to attend to Iesha. Lucky is left \nstanding alone. He thinks.", "THE PARKING LOT The truck comes into the lot, and Justice and Iesha hop out. \nLucky comes around from the driver's side. Iesha", "IESHA: You can't! That's the muthafuckin problem! They begin arguing loudly.\n\nTHE FRONT: Where Lucky and Justice listen to lesha and Chicago going at it.", "DISSOLVE TO: 117 INT. THE TRUCK--NIGHT Lucky is driving. Justice sits in the \nnext seat. Solemn. Iesha is in the back quiet and\nfrozen .", "Chicago and Iesha get out of the truck and look down. Lucky has the hood up and \nis checking the engine.", "IESHA: Lucky. This my friend Justice. Justice, this is Lucky.\n\nJUSTICE (with attitude): Hi.\n\nLUCKY: Whatsup." ], [ "Justice is fuming now.\n\nJUSTICE: Let me out!\n\nLUCKY (coolly): Where you gonna go, huh? Where you gonna go?", "next to Lucky. There is a pause. Neither one of them saiys anything. All we can \nhear is the sounds of the ocean and the sea gulls.\nJustice attempts to break the ice.", "LUCKY: Oh, so you one of them angry bitches, huh? A feminist. Justice turns \naround. Lucky has gotten her attention.\n\nJUSTICE: What did you call me?", "Justice is going crazy. She doesn 't know what to do.\n\nJUSTICE (to Lucky): You just gonna let 'em fight?!\n\nLUCKY: That ain't my business.", "Wild with frustration, Justice gets out of the truck and walks toward the \nfighting couple. Lucky gets outta the truck.", "He laughs. Justice doesn't find it funny.\n\nJUSTICE: He got killed over some stupid shit.\n\nLucky looks at her.", "THE FRONT Justice is fed up. She looks over at Lucky.\n\nJUSTICE: Pull over.", "LUCKY: I'm getting sick of this shit.\n\nJUSTICE: Pull over somewheres.\n\nLUCKY: Here we go again.", "This exchange goes on one more time, then Lucky cuts it off by abruptly closing \nthe passenger door in Justice's face. Iesha pokes her\nhead up from it.", "LUCKY: Why?\n\nJUSTICE: 'Cause you look the type.\n\nLucky begins to walk.", "They walk toward the truck, and we see Lucky in the front seat. Lucky switches \nhis US. Mail cap to a more comfortable Sox hat. He\nsmiles at Justice. Offscreen we hear Chicago in the back of the truck.", "Justice looks at Lucky, then down at the baby.\n\nLUCKY: Ah huh, I knew you was like that.\n\nJustice says nothing.", "LUCKY AND JUSTICE They are interrupted by Chicago's shouting.\n\nCHICAGO (shouting): Why do we keep stopping? Don't we have a schedule to keep \nto?", "E.J.: Y'all going to Oakland?\n\nLucky cuts him a dry look that reads \"Mind your own business.\"\n\nCHICAGO: Cool. You gonna bring a yamp?", "IESHA: You all right?\n\nLucky has no reaction. Iesha backs up and reluctantly walks away, leaving Lucky \nand Justice alone.", "JUSTICE (V.O.): Give me your hand. Make room for me to lead and follow you \nbeyond this rage of poetry. The she opens the blanket\nup like a cape and surrounds Lucky. The make love.", "it to reveal the truck. Lucky and Justice are in the front seat. Justice is \nobviously bored out of her mind. Lucky adjusts his vision from\nthe road to her in an attempt to grab her attention.", "Justice's gaze turns away from Lucky to Keisha.\n\nJUSTICE: What did you do to this little girl's hair?\n\nLUCKY: Nuthin.", "JUSTICE (coolly): C'mere. I gotta talk to you.\n\nIesha faintly sees the anger on Justice's face but is not aware that it is \ndirected toward her.", "THE BACK OF THE TRUCK Where lesha wakes up from the sound of Justice and Lucky \narguing. She mumbles, \"What's going on?!\"\n\nJUSTICE: They gonna fuck you up!" ], [ "the mess Lucky spots a tape that reads LUCKY.S NEW BEATS. He pops it in the box. \nWe hear the beat. It is a smooth, Loc'd out", "and smiles. Lucky just looks at her. Then he lowers the boom.", "AUDREY: What do you think we should do?\n\nLUCKY: Give it to me. I'll do somethin with it.\n\nSHANTE (sarcastic): Like what?", "DISSOLVE TO: 121 INT: THE SOUND LAB--NIGHT Lucky's cousin 's makeshift recording \nstudio. We see a four track, a drum", "LUCKY: What you gonna do with all this equipment?\n\nSHANTE (nonchalantly): Sell it.\n\nLUCKY: What?", "next to Lucky. There is a pause. Neither one of them saiys anything. All we can \nhear is the sounds of the ocean and the sea gulls.\nJustice attempts to break the ice.", "Lucky nods.\n\nLUCKY: Well, later.\n\nLLOYD: All right. Peace.\n\nLloyd smiles ironically.", "truck. Aunt Audrey gives Lucky a hug before he gets into his truck. Over these \nimages we hear Audrey's voice.", "They walk toward the truck, and we see Lucky in the front seat. Lucky switches \nhis US. Mail cap to a more comfortable Sox hat. He\nsmiles at Justice. Offscreen we hear Chicago in the back of the truck.", "some information from Lucky and his aunt. They say nothing. Also we hear the \nvarious voices of people in the crowd with a thousand", "LUCKY (Under his breath, looking back): Crazy Black bitches.\n\nThe Panhandler comes nearby. Lucky reaches into his pocket and gives him a \nquarter.", "face. Lucky is surprised. Justice and Jessie start laughing. Justice hands Lucky \nthe outgoing mail and walks across the shop to attend", "in front of him. Lucky pauses in shock. We hear screams. Lucky comes forward as \nwe move with him to reveal his cousin Kalil on a", "shot. First one, then another, then another. Soon there is a herd. Now we know \nwe are in a dream--Until we hear Lucky's voice shout\nout.", "Heywood laughs too, offscreen. He drops the camera. WIPE: 72 IXT. THE TRUCK--DAY \nWhere Lucky and Chicago ride along in the", "CUT TO: 123 EXT. AUDREY'SHOUSE-DAY Where we see Lucky and some of his cousins \nloading the equipment back into the mail", "white) and says, \"You can be rich too. \" We can't tell if Lucky is looking at \nthis or is lost in his own thoughts. He mumbles a rhyme", "CUT TO:\n\nLUCKY: Yeah.\n\nHe walks away.", "Lucky puts his head down then looks back up.\n\nLUCKY: I mighta got there on time if I hadn't been fucking around wit you.\n\nHe walks away.", "LUCKY: Why?\n\nJUSTICE: 'Cause you look the type.\n\nLucky begins to walk." ], [ "Justice and Iesha come around the corner. The latter holds a consoling arm \naround her friend's shoulders. Justice and Lucky come\nface to face.", "Justice's gaze turns away from Lucky to Keisha.\n\nJUSTICE: What did you do to this little girl's hair?\n\nLUCKY: Nuthin.", "LUCKY: What's up?\n\nJUSTICE: Who's this?\n\nKEISHA: Keisha.\n\nThey shake hands.", "IESHA: You all right?\n\nLucky has no reaction. Iesha backs up and reluctantly walks away, leaving Lucky \nand Justice alone.", "LUCKY: She look it, though.\n\nJustice walks back to Iesha on the side of the truck.\n\nJUSTICE: I don't know about this.", "Keisha runs up into her daddy's arms.\n\nLUCKY: Who's your daddy?\n\nKeisha timidly points to Lucky, who smiles and looks at J-Bone.", "Justice and lesha make eye contact. Both smile. Suddenly in the background on \nJustice, we see and hear police lights converge on\nsome brothers across the street. This catches Justice's attention.", "INT. ANGELSSPLACE-DAY BACK TO LIVING ROOM As Lucky and Angel go at it. Lucky has \nKeisha in hand. J-Bone enters the\napartment and comes in between the two of them.", "catches her, and they affectionately play with each other. The contrast of their \nplay to the tension between Lucky and Justice is\napparent. They share a quiet, uncomfortable glance. Justice gets into the", "ANGLE As we see Justice and Lucky walking together. Justice is taking in the \nsights and sounds of her environment. She is almost", "next to Lucky. There is a pause. Neither one of them saiys anything. All we can \nhear is the sounds of the ocean and the sea gulls.\nJustice attempts to break the ice.", "They walk toward the truck, and we see Lucky in the front seat. Lucky switches \nhis US. Mail cap to a more comfortable Sox hat. He\nsmiles at Justice. Offscreen we hear Chicago in the back of the truck.", "THE PARKING LOT The truck comes into the lot, and Justice and Iesha hop out. \nLucky comes around from the driver's side. Iesha", "his presence is felt by every woman in the shop. Justice looks up and, noticing \nLucky, excuses herself from her client and goes over\ntoward the counter.", "Justice murmurs a \"yes\" and walks over to attend to Iesha. Lucky is left \nstanding alone. He thinks.", "JUSTICE: My name's Justice.\n\nKEISHA: What's Justice?\n\nLucky and Justice just smile.", "back UP to reveal they are on an,ther peak overlooking the Pacitic Ocean. We see \nLucky sitting on the grass i, the far distance. Justice", "This exchange goes on one more time, then Lucky cuts it off by abruptly closing \nthe passenger door in Justice's face. Iesha pokes her\nhead up from it.", "Keisha gets up and goes toward the bedroom. Lucky looks at her exit, then goes \ntoward the window and looks outside the blinds. On", "face. Lucky is surprised. Justice and Jessie start laughing. Justice hands Lucky \nthe outgoing mail and walks across the shop to attend" ], [ "We see Justice's car pull to the curb. It is a 1992 Honda Accord, complete with \nnice rims and tinted windows. The license plate reads\n2 FUNKY.", "JUSTICE: About two years ago. She left me her house. My mother died when I was \ntwelve. Suicide. She named me Justice cause she", "Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then \nher face breaks out into a mischievous smile. She looks\nLucky up and down, checkin him out.", "Markell turns to notice that Justice is not in the passenger seat. Justice leans \nup from the back seat to kiss his cheek and tenderly run", "JUSTICE (coolly): C'mere. I gotta talk to you.\n\nIesha faintly sees the anger on Justice's face but is not aware that it is \ndirected toward her.", "THE TRUCK Where Lucky and Justice sit. Justice is watching. Lucky minds his own \nbusiness. He glances at his nails.", "As we see Justice standing over her notebook reading a poem to lesha while \nputting the finishing touches on her head. The salon is\nnearly empty. Jessie is sitting at the counter. Heywood is on the phone.", "locks. As she walks up the street, we see the same brothers established in the \nprevious montage on their knees, with their hands behind\ntheir heads. Justice walks past them without acknowledging their condition.", "JESSIE As Iesha walks past her, and she watches and waits to talk to Justice. \nJUSTICE Follows him and sits next to him. She puts", "walks out to talk to him. A blanket drapes her shoulders. ANOTHER ANGLE As we \nsee Justice come forward and drop down to sit", "Justice and lesha make eye contact. Both smile. Suddenly in the background on \nJustice, we see and hear police lights converge on\nsome brothers across the street. This catches Justice's attention.", "ANGLE As we see Justice and Lucky walking together. Justice is taking in the \nsights and sounds of her environment. She is almost", "He laughs. Justice doesn't find it funny.\n\nJUSTICE: He got killed over some stupid shit.\n\nLucky looks at her.", "Justice murmurs a \"yes\" and walks over to attend to Iesha. Lucky is left \nstanding alone. He thinks.", "way. The cat looks back at her, then turns around and walks away into the \nhallway. Justice shakes her head. Then her eyes settle on\nsomething else.", "34 INT. Justice's Home--NIGHT It looks though it was decorated by her \ngrandmother, which in fact it was. We notice a portrait of an", "Justice is fuming now.\n\nJUSTICE: Let me out!\n\nLUCKY (coolly): Where you gonna go, huh? Where you gonna go?", "THE DOORWAY Where Justice stands. Someone is on the other side. We hear a slight \nscratch, then silence. Quiet tension. This is", "Justice and Iesha come around the corner. The latter holds a consoling arm \naround her friend's shoulders. Justice and Lucky come\nface to face.", "Justice walks in.\n\nJUSTICE: You telling everybody's business.\n\nIESHA: Yeah, I'd tell your business too if you had somethin to tell." ], [ "JUSTICE: My name's Justice.\n\nKEISHA: What's Justice?\n\nLucky and Justice just smile.", "JUSTICE: About two years ago. She left me her house. My mother died when I was \ntwelve. Suicide. She named me Justice cause she", "Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then \nher face breaks out into a mischievous smile. She looks\nLucky up and down, checkin him out.", "He laughs. Justice doesn't find it funny.\n\nJUSTICE: He got killed over some stupid shit.\n\nLucky looks at her.", "COUSIN PETE: How you get a name like that?!\n\nJUSTICE: It's a long story. This is-", "The Woman finishes fixing her plate.\n\nWOMAN: Here, I'll take her.\n\nJUSTICE: She's beautiful. What's her name?", "WOMAN: Her name is Imani.\n\nThe Woman walks off to a table and sits with another group of relatives.\n\nJUSTICE: You got a kid?", "woman is an \"around the way\" honey with soft brown skin, full brown eyes, and \nnice delicious full lips. This is Justice, who at", "JUSTICE'S FACE As she reacts to being called Lucky's girlfriend.\n\nCOUSIN PETE: What's your name, cousin?", "JUSTICE (coolly): C'mere. I gotta talk to you.\n\nIesha faintly sees the anger on Justice's face but is not aware that it is \ndirected toward her.", "JUSTICE (V.O.) Jessie, it's me, Justice. You there? Well, I'm running a (she \ndecides it's futile) Shit!", "JUSTICE AND LESHA Where Justice helps her friend up Iesha is scratched. She \ncontinues to curse with a bloodied mouth. Iesha\npulls away, attempting to continue fighting, only to be restrained by Justice.", "JESSIE As Iesha walks past her, and she watches and waits to talk to Justice. \nJUSTICE Follows him and sits next to him. She puts", "LUCKY: Oh, so you one of them angry bitches, huh? A feminist. Justice turns \naround. Lucky has gotten her attention.\n\nJUSTICE: What did you call me?", "We see Justice's car pull to the curb. It is a 1992 Honda Accord, complete with \nnice rims and tinted windows. The license plate reads\n2 FUNKY.", "Justice walks in.\n\nJUSTICE: You telling everybody's business.\n\nIESHA: Yeah, I'd tell your business too if you had somethin to tell.", "We see Justice's face. She is definitely looking more hardened. Iesha pulls a \nwad of money out of her pocket and gives it to Justice.", "Justice takes the baby in her arms. Lucky looks at her out of the corner of his \neye and continues surveying the food.\n\nJUSTICE: Aww, she's so cute.", "JUSTICE: So.\n\nJESSIE: Yeah.", "locks. As she walks up the street, we see the same brothers established in the \nprevious montage on their knees, with their hands behind\ntheir heads. Justice walks past them without acknowledging their condition." ], [ "turn to a whimper. There is blood on her hands. The drive-in speaker has now \nfallen on the passenger seat. We hear the romantic\nmovie playing in the background.", "and then into a mirror. Everything seems hue, then out of nowhere she bursts \ninto tears. She cries a few tears for a few seconds, then\nwipes them away.", "JUSTICE (V.O.): \"Alone, all alone. Nobody, but nobody. Can make it out here \nalone.\"\n\nShe closes her notebook. The cover reads NOTES OF A POETIC JUSTICE.", "As we see Justice standing over her notebook reading a poem to lesha while \nputting the finishing touches on her head. The salon is\nnearly empty. Jessie is sitting at the counter. Heywood is on the phone.", "There is a somber moment. Lucky understands, vaguely. They hear a moaning sound. \nJustice motions for Lucky to be quiet. She\npeeks through the curtain.", "and smiles. Lucky just looks at her. Then he lowers the boom.", "dreamlike. Over this we hear Justice's voice reading a poem. It is \"Phenomenal \nWoman. \"Suddenly, a zebra (yes a zebra) walks into the", "JUSTICE (V.O.): Give me your hand. Make room for me to lead and follow you \nbeyond this rage of poetry. The she opens the blanket\nup like a cape and surrounds Lucky. The make love.", "as she says another poem. At the end of the poem, Justice looks up toward \nLucky/us. She smiles.", "from the inside speakers as well as the voices of some brothers shouting out \ncompliments to these two beautiful sistahs. We also hear\nHeywood go on about how he loves himself, how life is beautiful. He tells", "There is a pause. No one but the air moves. lesha is restless. She gets up. \nSobriety gives way to silliness. She stands and begins", "walks up to his Aunt Audrey's house, notebook in hand. He is on cloud nine and \nin the best of spirits. People are running past him and\ndown the street toward the ambulance and police lights.", "Poets, beating out the last couple of lines to \"Niggas Are Scared of Revolution. \n\"", "small boom box. Chicago is lost in thought. He is visibly shaken by the recent \nevents. He looks out along the road and then down\ntoward the ground.", "Chicago keeps reading the letter, acting like this isn't affecting him. Iesha \nsnuggles into a corner and closes her eyes. Chicago looks\nover at her sleeping.", "There are only a few customers in line; all are Black or Hispanic. Markell gets \nin line, and time slows down. We notice the abruptness", "Iesha looks at her angry friend as if stunned. Actually, she is drunk. lesha \nsways back and forth as if in a daze. She begins crying.\n\nIESHA (crying): I'm sorry.", "These sounds overlap into TITLE CARD: POETIC JUSTICE: The sun rises behind the \nlogo.", "goodbyes. Half truths told and entire lies. My conscience echoes thunder.\"", "JUSTICE (V.O.): \"The bruised bones recorded well. The sudden shock, the hard \nimpact. Then swollen l:ids ...\"\n\nTHE FRONT Where Lucky drives alone. He is very upset." ], [ "Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then \nher face breaks out into a mischievous smile. She looks\nLucky up and down, checkin him out.", "We see Justice's car pull to the curb. It is a 1992 Honda Accord, complete with \nnice rims and tinted windows. The license plate reads\n2 FUNKY.", "Markell turns to notice that Justice is not in the passenger seat. Justice leans \nup from the back seat to kiss his cheek and tenderly run", "He laughs. Justice doesn't find it funny.\n\nJUSTICE: He got killed over some stupid shit.\n\nLucky looks at her.", "JUSTICE (coolly): C'mere. I gotta talk to you.\n\nIesha faintly sees the anger on Justice's face but is not aware that it is \ndirected toward her.", "LUCKY: What you write about?\n\nJUSTICE: I write about what's in my heart.\n\nLUCKY: And what's that? (touches her shoulder)", "JUSTICE: My name's Justice.\n\nKEISHA: What's Justice?\n\nLucky and Justice just smile.", "ANGLE As we see Justice and Lucky walking together. Justice is taking in the \nsights and sounds of her environment. She is almost", "his presence is felt by every woman in the shop. Justice looks up and, noticing \nLucky, excuses herself from her client and goes over\ntoward the counter.", "As we see Justice standing over her notebook reading a poem to lesha while \nputting the finishing touches on her head. The salon is\nnearly empty. Jessie is sitting at the counter. Heywood is on the phone.", "JESSIE As Iesha walks past her, and she watches and waits to talk to Justice. \nJUSTICE Follows him and sits next to him. She puts", "catches her, and they affectionately play with each other. The contrast of their \nplay to the tension between Lucky and Justice is\napparent. They share a quiet, uncomfortable glance. Justice gets into the", "Justice and lesha make eye contact. Both smile. Suddenly in the background on \nJustice, we see and hear police lights converge on\nsome brothers across the street. This catches Justice's attention.", "as she says another poem. At the end of the poem, Justice looks up toward \nLucky/us. She smiles.", "locks. As she walks up the street, we see the same brothers established in the \nprevious montage on their knees, with their hands behind\ntheir heads. Justice walks past them without acknowledging their condition.", "woman is an \"around the way\" honey with soft brown skin, full brown eyes, and \nnice delicious full lips. This is Justice, who at", "JUSTICE: About two years ago. She left me her house. My mother died when I was \ntwelve. Suicide. She named me Justice cause she", "Justice takes the baby in her arms. Lucky looks at her out of the corner of his \neye and continues surveying the food.\n\nJUSTICE: Aww, she's so cute.", "JUSTlCE (V.O.): \"Love by nature, exacts a pain unequalled on the rack.\n\nJustice looks up from holding her crying friend. She has noticed the truck has \nstopped moving.", "JUSTICE (V.O.) Jessie, it's me, Justice. You there? Well, I'm running a (she \ndecides it's futile) Shit!" ], [ "Justice and Iesha come around the corner. The latter holds a consoling arm \naround her friend's shoulders. Justice and Lucky come\nface to face.", "ANGLE As we see Justice and Lucky walking together. Justice is taking in the \nsights and sounds of her environment. She is almost", "next to Lucky. There is a pause. Neither one of them saiys anything. All we can \nhear is the sounds of the ocean and the sea gulls.\nJustice attempts to break the ice.", "LUCKY: Why?\n\nJUSTICE: 'Cause you look the type.\n\nLucky begins to walk.", "THE TRUCK Where Lucky and Justice sit. Justice is watching. Lucky minds his own \nbusiness. He glances at his nails.", "catches her, and they affectionately play with each other. The contrast of their \nplay to the tension between Lucky and Justice is\napparent. They share a quiet, uncomfortable glance. Justice gets into the", "They walk toward the truck, and we see Lucky in the front seat. Lucky switches \nhis US. Mail cap to a more comfortable Sox hat. He\nsmiles at Justice. Offscreen we hear Chicago in the back of the truck.", "Justice is fuming now.\n\nJUSTICE: Let me out!\n\nLUCKY (coolly): Where you gonna go, huh? Where you gonna go?", "LUCKY Takes notice of her writing out of the corner of his eye.\n\nJUSTICE Notices Lucky looking at her periodically. She takes particular notice \nof his dirty nasty fingernails.", "THE FRONT Justice is fed up. She looks over at Lucky.\n\nJUSTICE: Pull over.", "it to reveal the truck. Lucky and Justice are in the front seat. Justice is \nobviously bored out of her mind. Lucky adjusts his vision from\nthe road to her in an attempt to grab her attention.", "Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then \nher face breaks out into a mischievous smile. She looks\nLucky up and down, checkin him out.", "Justice looks at Lucky, then down at the baby.\n\nLUCKY: Ah huh, I knew you was like that.\n\nJustice says nothing.", "JUSTICE Is embarrassed. She looks over at Lucky.\n\nLUCKY Looks back at her. Their eyes meet.", "face. Lucky is surprised. Justice and Jessie start laughing. Justice hands Lucky \nthe outgoing mail and walks across the shop to attend", "his presence is felt by every woman in the shop. Justice looks up and, noticing \nLucky, excuses herself from her client and goes over\ntoward the counter.", "JUSTICE: Come here.\n\nLucky looks around.\n\nJUSTICE (sexy): Come closer. I want to whisper somethin to you\n\nLucky leans in closer.", "THE FRONT Where Justice and Lucky sit. They are chummy-chummy now; they talk \nlike old friends.", "There is a somber moment. Lucky understands, vaguely. They hear a moaning sound. \nJustice motions for Lucky to be quiet. She\npeeks through the curtain.", "IESHA: You all right?\n\nLucky has no reaction. Iesha backs up and reluctantly walks away, leaving Lucky \nand Justice alone." ], [ "They walk toward the truck, and we see Lucky in the front seat. Lucky switches \nhis US. Mail cap to a more comfortable Sox hat. He\nsmiles at Justice. Offscreen we hear Chicago in the back of the truck.", "THE BACK OF THE TRUCK Where lesha wakes up from the sound of Justice and Lucky \narguing. She mumbles, \"What's going on?!\"\n\nJUSTICE: They gonna fuck you up!", "it to reveal the truck. Lucky and Justice are in the front seat. Justice is \nobviously bored out of her mind. Lucky adjusts his vision from\nthe road to her in an attempt to grab her attention.", "THE TRUCK Where Lucky and Justice sit. Justice is watching. Lucky minds his own \nbusiness. He glances at his nails.", "DISSOLVE TO: 117 INT. THE TRUCK--NIGHT Lucky is driving. Justice sits in the \nnext seat. Solemn. Iesha is in the back quiet and\nfrozen .", "ANGLE As Lucky hops out of the truck. He walks toward the back of the truck, \njust as lesha and Justice open the back doors. We\nhold on them for a moment.", "Chicago takes his brush out of his back pocket and begins brushing his head. He \nis trying to maintain his cool because they are now in\nfront of Lucky and Justice.", "LUCKY: I'm getting sick of this shit.\n\nJUSTICE: Pull over somewheres.\n\nLUCKY: Here we go again.", "LUCKY Looks at lesha. His face is about as nonapologetic as you can get. Ain't \nno apologies jumping off today.\n\nIESHA: C'mon, Justice. J! (sees something)", "CHICAGO (uncomfortable): Is it good?\n\nLUCKY: Jammin.\n\nJustice looks away, listening to the music.", "DISSOLVE TO: 124 EXT THE ROAD--DAY Lucky's face from outside the truck while it \nis moving. The truck speeds up, and goes\ninto the distance. We hear Justice's voice: another poem begins.", "next to Lucky. There is a pause. Neither one of them saiys anything. All we can \nhear is the sounds of the ocean and the sea gulls.\nJustice attempts to break the ice.", "65 INT. THE:TRUCK--DAY Lucky is driving. He looks at Justice out of the corner \nof his eye. Justice is looking out at the road. Her", "LUCKY: She look it, though.\n\nJustice walks back to Iesha on the side of the truck.\n\nJUSTICE: I don't know about this.", "LUCKY: Why?\n\nJUSTICE: 'Cause you look the type.\n\nLucky begins to walk.", "Justice and lesha make eye contact. Both smile. Suddenly in the background on \nJustice, we see and hear police lights converge on\nsome brothers across the street. This catches Justice's attention.", "THE FRONT Justice is fed up. She looks over at Lucky.\n\nJUSTICE: Pull over.", "This exchange goes on one more time, then Lucky cuts it off by abruptly closing \nthe passenger door in Justice's face. Iesha pokes her\nhead up from it.", "THE PARKING LOT The truck comes into the lot, and Justice and Iesha hop out. \nLucky comes around from the driver's side. Iesha", "DISSOLVE TO: 113 INT. TRUCK--DUSK Where Lucky and Justice ride along." ], [ "BACK TO ROAD Chicago staggers a couple of feet, looks around, picks up his \nbrush. He sits by the side of the road and begins to\nbrush the back of his head.", "WIDE As the truck drives on, leaving Chicago on the road. A duffel bag is thrown \nout the window. Chicago continues to shout out at\nLucky: \"Watch you doing, man?\"and \"Stop bullshitting!\"", "He walks away. Justice and Iesha are getting into the truck. Chicago suddenly \nbecomes apologetic.", "CUT TO: 88 EXT THE ROAD--DAY: OVERHEAD ON CRANE As we see the empty road, then \nZOOM as the truck goes up into the\ndistance. We hear lesha and Chicago arguing.", "73 EXT. THEROAD-DAY We see the truck drive along.\n\n74 INT: THE TRUCK--LATER", "JESSIE: So you riding with us? You know we got us a little caravan going.\n\nJustice nods. Jessie notices the stress on her face.", "IESHA (O.S.): But he left her! He left her out in the middle of nowhere!\n\nChicago comes up close to the back of Lucky's head.", "They walk toward the truck, and we see Lucky in the front seat. Lucky switches \nhis US. Mail cap to a more comfortable Sox hat. He\nsmiles at Justice. Offscreen we hear Chicago in the back of the truck.", "DISSOLVE TO: 117 INT. THE TRUCK--NIGHT Lucky is driving. Justice sits in the \nnext seat. Solemn. Iesha is in the back quiet and\nfrozen .", "it to reveal the truck. Lucky and Justice are in the front seat. Justice is \nobviously bored out of her mind. Lucky adjusts his vision from\nthe road to her in an attempt to grab her attention.", "They all laugh loudly. Jessie continues to smoke.\n\nBACK TO TABLE\n\nDEXTER: I think we should go.", "followed by Chicago. We MOVE slowly with them to reveal they have parked next to \na cliff that overlooks the Pacific Ocean and some\nother rocky cliffs. In the distance we see Chicago and Iesha arguing.", "Iesha smiles and tries to laugh it off. The two women climb inside. Lucky begins \nto close the door, but not before giving his comeback\nto Justice's threat.", "This exchange goes on one more time, then Lucky cuts it off by abruptly closing \nthe passenger door in Justice's face. Iesha pokes her\nhead up from it.", "Heywood laughs too, offscreen. He drops the camera. WIPE: 72 IXT. THE TRUCK--DAY \nWhere Lucky and Chicago ride along in the", "THE ROAD Where we see the truck by the road with the castle in the background. \nlesha has walked to the back of the truck. Chicago\ncomes around the corner and tries to talk to her.\n\nHe tries a smoother approach.", "JUSTICE (V.O.): \"The bruised bones recorded well. The sudden shock, the hard \nimpact. Then swollen l:ids ...\"\n\nTHE FRONT Where Lucky drives alone. He is very upset.", "Lucky hops off of the porch and runs with the rest of the crowd down the street. \nWe follow with him some ways then swing around", "DISSOLVE TO: 124 EXT THE ROAD--DAY Lucky's face from outside the truck while it \nis moving. The truck speeds up, and goes\ninto the distance. We hear Justice's voice: another poem begins.", "In the background the other stylists are leaving. A few of them say goodbye to \nJustice before they go. Justice resumes cleaning her\nstation. Her interest in lesha's proposal is lost." ], [ "in front of him. Lucky pauses in shock. We hear screams. Lucky comes forward as \nwe move with him to reveal his cousin Kalil on a", "DISSOLVE TO: 121 INT: THE SOUND LAB--NIGHT Lucky's cousin 's makeshift recording \nstudio. We see a four track, a drum", "and smiles. Lucky just looks at her. Then he lowers the boom.", "bloody stretcher, his aunt Audrey frozen in shock, and a crowd of spectators \nstanding around. Lucky makes his way to his aunt, and", "CUT TO:\n\nLUCKY: Yeah.\n\nHe walks away.", "There is a somber moment. Lucky understands, vaguely. They hear a moaning sound. \nJustice motions for Lucky to be quiet. She\npeeks through the curtain.", "Lucky puts his head down then looks back up.\n\nLUCKY: I mighta got there on time if I hadn't been fucking around wit you.\n\nHe walks away.", "LUCKY: Nuthin. I'm just thinking. I like to get out the city. Too much shit \ngoing down there. This is the only time I get to think. Or\nwhen I'm with my cousin and shit.", "next to Lucky. There is a pause. Neither one of them saiys anything. All we can \nhear is the sounds of the ocean and the sea gulls.\nJustice attempts to break the ice.", "LUCKY: I ain't hungry. I'm too mad to eat.\n\nAudrey has no reply to this.", "LUCKY: Yeah, peace.\n\nThey drive off. Lucky turns and walks into tha projects", "CLOSE On Lucky's face. He looks up in the direction of the gunshots and down on \nthe floor.", "Lucky and J-Bone kick his ass. Tha Gangsta is out cold. From the fire and light \nin Lucky's eyes, we can see shades of his previous", "some information from Lucky and his aunt. They say nothing. Also we hear the \nvarious voices of people in the crowd with a thousand", "Lucky nods.\n\nLUCKY: Well, later.\n\nLLOYD: All right. Peace.\n\nLloyd smiles ironically.", "LUCKY: Yo, ah--cousin, what's your name?\n\nCOUSIN PETE: Just call me Cousin Pete. I want y'all to meet some family.", "She gets up and walks awtty. Lucky just looks at her, grins, and shakes his \nhead.\n\nDISSOLVE TO:", "JUSTICE'S FACE As she reacts to being called Lucky's girlfriend.\n\nCOUSIN PETE: What's your name, cousin?", "JUSTICE: This is nice. Who's this?\n\nLUCKY: My cousin Kalil.\n\nJUSTICE: (matter offactly) He's flowing.", "and wrestle, punches are thrown, kicking, all the elements of a good scrap. \nLucky prevails. He gets up." ], [ "Lucky turns around. He thinks.\n\n44 INT KEISHA'S ROOM--NIGHT\n\nCLOSE\n\nOn Keisha in bed under covers.", "Keisha gets up and goes toward the bedroom. Lucky looks at her exit, then goes \ntoward the window and looks outside the blinds. On", "KEISHA As she looks at the screen. We hear a helicopter go overhead as its \nspotlight flows into the room. Keisha reacts to it with", "Keisha runs up into her daddy's arms.\n\nLUCKY: Who's your daddy?\n\nKeisha timidly points to Lucky, who smiles and looks at J-Bone.", "LUCKY: What's up?\n\nJUSTICE: Who's this?\n\nKEISHA: Keisha.\n\nThey shake hands.", "Justice's gaze turns away from Lucky to Keisha.\n\nJUSTICE: What did you do to this little girl's hair?\n\nLUCKY: Nuthin.", "IESHA: A run ... is, well, it's like this. You really wanna know?\n\nJustice gives her a frustrated look.\n\nIESHA: Well, you know my boyfriend Chicago, right?", "THE FLOOR: LUCKY'S P.O. V: Where Keisha is rolled up in a ball.\n\nLUCKY (hanging up phone): Go to bed.", "Iesha keeps fixing her hair. It is apparent that she is luring Justice's \ncuriosity. Justice takes the bait.", "IESHA (putting on airs) Iesha. And this is my husband, Chicago.\n\nWe see subtle eye contact between Iesha and Justice.\n\nCHICAGO: How you doing?", "LUCKY: Told her if she start doing that shit, I'm gonna take Keisha to live with \nmy momma.", "Iesha looks at her angry friend as if stunned. Actually, she is drunk. lesha \nsways back and forth as if in a daze. She begins crying.\n\nIESHA (crying): I'm sorry.", "IESHA: Lucky. This my friend Justice. Justice, this is Lucky.\n\nJUSTICE (with attitude): Hi.\n\nLUCKY: Whatsup.", "LUCKY: Keisha's here.\n\nAnnie begins to glow with the mention of her grandchild.\n\nANNIE: Really? How's my grandbaby doing?", "THE LIVING ROOM Where we see Lucky lying on the couch like a potato watching \ntelevision. In the foreground Keisha lies on the\nfloor drawing in her notebook.", "walks away to reveal Iesha. Iesha mumbles the \"shake it to the east/shake it to \nthe west\" cheer.", "JUSTICE: It looks like it. C'mere, little girl.\n\nANGLE As Justice guides Keisha toward her station. She sits Keisha in the chair \nand proceeds to analyze what can be done with her\nhair.", "Justice walks in.\n\nJUSTICE: You telling everybody's business.\n\nIESHA: Yeah, I'd tell your business too if you had somethin to tell.", "IESHA: That nigga is weak! Ain't got no rhythm! Plus, he a preemie! You know \nwhat a preemie is? Two-minute brotha.\n\nJustice laughs.", "JUSTICE: You got everything?\n\nIESHA: Yeah. So what you think of Lucky?\n\nJUSTICE: I don't. Look." ], [ "Chicago looks at lesha. She senses she is being watched, then she looks over at \nhim and walks away. He follows her.", "Chicago turns to look at lesha. Note: Chicago in foreground, Iesha in \nbackground.", "lesha walks away toward the parking lot. Johnny tries to interfere and Chicago \npushes him. She begins cursing loudly, making it more", "ANGLE: SLO MO Chicago's hand hitting lesha.", "between Chicago's legs. Chicago grabs his crotch in pain. He slowly turns, then \ncharges Justice. They tumble on the ground, and he\nreels back to hit her.", "waves to the ballet of lesha and Chicago arguing. He pulls at her. She pulls \naway, etc. Their dialogue is drowned out by the sounds of", "CHICAGO AND IESHA The tide has turned on the fight--Chicago is kicking Iesha's \nass now. She swings a wild punch, and he", "Chicago takes his brush out of his back pocket and begins brushing his head. He \nis trying to maintain his cool because they are now in\nfront of Lucky and Justice.", "THE BACK Where we see lesha looking frustrated.\n\nIESHA: Is that it?!\n\nCHICAGO: Shhh! Give me a coupla minutes.", "Lucky looks over at Iesha. He doesn't notice Chicago getting up and charging \nhim. Lucky and Chicago get into a brawl. They tumble", "Chicago keeps reading the letter, acting like this isn't affecting him. Iesha \nsnuggles into a corner and closes her eyes. Chicago looks\nover at her sleeping.", "WIDE SHOT As Chicago walks into the shot toward lesha and Johnny. lesha looks \nover at Chicago nonchalantly. She doesn't even", "IESHA (O.S.): But he left her! He left her out in the middle of nowhere!\n\nChicago comes up close to the back of Lucky's head.", "IESHA Looks up at Chicago as if to say, \"What the fuck you looking at?\" Chicago \nturns back around to continue throwing rocks.\nIesha turns to Justice.", "Iesha charges toward Chicago with fury. Hell hath no fury like a Black woman s \nscorn. Iesha and Chicago fight. Each is cursing at the", "acknowledge his presence. Chicago grabs her arm. Iesha pulls away and tries to \nresume her conversation. Chicago pulls her again, and", "LUCKY: Awww, shit!\n\nSLOW MOTION As Chicago slaps tha shit outta Iesha. Her back is to CAMERA so that \nwe can see the fury in Chicago's face.", "CHICAGO (laughs): You can't make your mind up whether you wanna kiss me or hit \nme, huh? That your way of saying you like my\nass?", "other. To our surprise this is no one-sided battle: Iesha is holding her own. \nShe hits Chicago square on the chin with a wild punch.\nChicago reels back in shock and continues fighting.", "Luclcy walks closer to Chicago and socks him in the stomach. He folds like a set \nof new French doors." ], [ "We see Justice's car pull to the curb. It is a 1992 Honda Accord, complete with \nnice rims and tinted windows. The license plate reads\n2 FUNKY.", "JUSTlCE (V.O.): \"Love by nature, exacts a pain unequalled on the rack.\n\nJustice looks up from holding her crying friend. She has noticed the truck has \nstopped moving.", "it to reveal the truck. Lucky and Justice are in the front seat. Justice is \nobviously bored out of her mind. Lucky adjusts his vision from\nthe road to her in an attempt to grab her attention.", "Justice screams. The popcorn scatters, and the passenger window breaks from the \ntraveling bullet. Time resumes. Justice's screams", "JUSTICE (V.O.): \"The bruised bones recorded well. The sudden shock, the hard \nimpact. Then swollen l:ids ...\"\n\nTHE FRONT Where Lucky drives alone. He is very upset.", "Justice turns her attention out the window. She sighs. She can sense this is \ngonna be something heavy. JUSTICE'S P.O.V.: Subjective\nto objective, then reveal Justice. There is a car accident in the street.", "He laughs. Justice doesn't find it funny.\n\nJUSTICE: He got killed over some stupid shit.\n\nLucky looks at her.", "Markell turns to notice that Justice is not in the passenger seat. Justice leans \nup from the back seat to kiss his cheek and tenderly run", "He walks away. Justice and Iesha are getting into the truck. Chicago suddenly \nbecomes apologetic.", "This exchange goes on one more time, then Lucky cuts it off by abruptly closing \nthe passenger door in Justice's face. Iesha pokes her\nhead up from it.", "ANOTHER ANGLE As Justice tries to start up her car. It won't start. She hits the \ndashboard in frustration and thinks for a moment.", "CUT TO: 78 EXT ROADSIDE COFFEE AND GAS--DAY Where we see Justice burst out of \nthe store laughing. She turns and begins", "66 EXT. ROADSIDE--DAY Where we see the truck pull to the side of the road. The \npassenger door opens, and Justice gets out, bag\nin hand.", "Wild with frustration, Justice gets out of the truck and walks toward the \nfighting couple. Lucky gets outta the truck.", "JUSTICE: Your fingernails are dirty.\n\nLucky looks at his fingernails. He seems kinda self-conscious and moves his \nhands to another part of the steering wheel.", "THE TRUCK Where Lucky and Justice sit. Justice is watching. Lucky minds his own \nbusiness. He glances at his nails.", "LUCKY: I'm getting sick of this shit.\n\nJUSTICE: Pull over somewheres.\n\nLUCKY: Here we go again.", "JESSIE: So you riding with us? You know we got us a little caravan going.\n\nJustice nods. Jessie notices the stress on her face.", "THE FRONT Justice is fed up. She looks over at Lucky.\n\nJUSTICE: Pull over.", "67 EXT: DESERT ROAD--DAY From on HIGH we see the truck get back on the road and \ndrive off as we COME DOWN to reveal\nJustice. She is pissed off beyond pisstivity!" ], [ "They look at each other. Get closer. They kiss. The kiss is initiated by \nJustice, which surprises Lucky.\n\nTHE SHOP Where Jessie and the rest of the salon look equally surprised.", "As we see Justice standing over her notebook reading a poem to lesha while \nputting the finishing touches on her head. The salon is\nnearly empty. Jessie is sitting at the counter. Heywood is on the phone.", "Justice's gaze turns away from Lucky to Keisha.\n\nJUSTICE: What did you do to this little girl's hair?\n\nLUCKY: Nuthin.", "his presence is felt by every woman in the shop. Justice looks up and, noticing \nLucky, excuses herself from her client and goes over\ntoward the counter.", "LUCKY: Why?\n\nJUSTICE: 'Cause you look the type.\n\nLucky begins to walk.", "There is a somber moment. Lucky understands, vaguely. They hear a moaning sound. \nJustice motions for Lucky to be quiet. She\npeeks through the curtain.", "Justice looks at Lucky, then down at the baby.\n\nLUCKY: Ah huh, I knew you was like that.\n\nJustice says nothing.", "Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then \nher face breaks out into a mischievous smile. She looks\nLucky up and down, checkin him out.", "Justice and Iesha come around the corner. The latter holds a consoling arm \naround her friend's shoulders. Justice and Lucky come\nface to face.", "Lucky gives her his hand. Justice looks in her pocket and produces a nail file. \nShe begins to file Lucky's nails. Lucky shows his\ndiscomfort.", "catches her, and they affectionately play with each other. The contrast of their \nplay to the tension between Lucky and Justice is\napparent. They share a quiet, uncomfortable glance. Justice gets into the", "face. Lucky is surprised. Justice and Jessie start laughing. Justice hands Lucky \nthe outgoing mail and walks across the shop to attend", "ANGLE As we see Justice and Lucky walking together. Justice is taking in the \nsights and sounds of her environment. She is almost", "In the background the other stylists are leaving. A few of them say goodbye to \nJustice before they go. Justice resumes cleaning her\nstation. Her interest in lesha's proposal is lost.", "THE FRONT Justice is fed up. She looks over at Lucky.\n\nJUSTICE: Pull over.", "LUCKY Takes notice of her writing out of the corner of his eye.\n\nJUSTICE Notices Lucky looking at her periodically. She takes particular notice \nof his dirty nasty fingernails.", "LUCKY: Damn.\n\nJustice looks at Lucky's nails. Their eyes meet. They kiss. Justice looks at \nLucky's nails. Tilt to nails, clean, filed. Tilt up, they kiss.", "lesha holds up a bag of synthetic hair. Justice walks toward her station, saying \n\"Hello\" to the other stylists on the fly.", "JUSTICE: Come here.\n\nLucky looks around.\n\nJUSTICE (sexy): Come closer. I want to whisper somethin to you\n\nLucky leans in closer.", "LUCKY: Oh, so you one of them angry bitches, huh? A feminist. Justice turns \naround. Lucky has gotten her attention.\n\nJUSTICE: What did you call me?" ], [ "He laughs. Justice doesn't find it funny.\n\nJUSTICE: He got killed over some stupid shit.\n\nLucky looks at her.", "He goes to kiss her again. This time, it's a nice, long, juicy powerhouse kiss \nthat causes the Richter scale to jump two points. Justice\nappears obviously affected. She asks the inevitable question.", "Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then \nher face breaks out into a mischievous smile. She looks\nLucky up and down, checkin him out.", "JUSTICE (coolly): C'mere. I gotta talk to you.\n\nIesha faintly sees the anger on Justice's face but is not aware that it is \ndirected toward her.", "Justice and lesha make eye contact. Both smile. Suddenly in the background on \nJustice, we see and hear police lights converge on\nsome brothers across the street. This catches Justice's attention.", "We see Justice's car pull to the curb. It is a 1992 Honda Accord, complete with \nnice rims and tinted windows. The license plate reads\n2 FUNKY.", "JUSTICE: My first boyfriend used to get into a lot of shit. ... He got killed, \nthough. Tried to jack the wrong person.\n\nLUCKY: Tha jacker got himself jacked!", "Justice murmurs a \"yes\" and walks over to attend to Iesha. Lucky is left \nstanding alone. He thinks.", "As we see Justice standing over her notebook reading a poem to lesha while \nputting the finishing touches on her head. The salon is\nnearly empty. Jessie is sitting at the counter. Heywood is on the phone.", "Markell turns to notice that Justice is not in the passenger seat. Justice leans \nup from the back seat to kiss his cheek and tenderly run", "IESHA: You all right?\n\nLucky has no reaction. Iesha backs up and reluctantly walks away, leaving Lucky \nand Justice alone.", "Justice and Iesha come around the corner. The latter holds a consoling arm \naround her friend's shoulders. Justice and Lucky come\nface to face.", "This exchange goes on one more time, then Lucky cuts it off by abruptly closing \nthe passenger door in Justice's face. Iesha pokes her\nhead up from it.", "He walks away. Justice and Iesha are getting into the truck. Chicago suddenly \nbecomes apologetic.", "catches her, and they affectionately play with each other. The contrast of their \nplay to the tension between Lucky and Justice is\napparent. They share a quiet, uncomfortable glance. Justice gets into the", "JUSTlCE (V.O.): \"Love by nature, exacts a pain unequalled on the rack.\n\nJustice looks up from holding her crying friend. She has noticed the truck has \nstopped moving.", "locks. As she walks up the street, we see the same brothers established in the \nprevious montage on their knees, with their hands behind\ntheir heads. Justice walks past them without acknowledging their condition.", "We see Justice's face. She is definitely looking more hardened. Iesha pulls a \nwad of money out of her pocket and gives it to Justice.", "JUSTICE (O.S.): Yeah.\n\nIesha hangs up the phone.\n\nCHICAGO: Finally.", "JESSIE As Iesha walks past her, and she watches and waits to talk to Justice. \nJUSTICE Follows him and sits next to him. She puts" ], [ "catches her, and they affectionately play with each other. The contrast of their \nplay to the tension between Lucky and Justice is\napparent. They share a quiet, uncomfortable glance. Justice gets into the", "next to Lucky. There is a pause. Neither one of them saiys anything. All we can \nhear is the sounds of the ocean and the sea gulls.\nJustice attempts to break the ice.", "IESHA: You all right?\n\nLucky has no reaction. Iesha backs up and reluctantly walks away, leaving Lucky \nand Justice alone.", "Justice murmurs a \"yes\" and walks over to attend to Iesha. Lucky is left \nstanding alone. He thinks.", "LUCKY Takes notice of her writing out of the corner of his eye.\n\nJUSTICE Notices Lucky looking at her periodically. She takes particular notice \nof his dirty nasty fingernails.", "This exchange goes on one more time, then Lucky cuts it off by abruptly closing \nthe passenger door in Justice's face. Iesha pokes her\nhead up from it.", "Justice looks at Lucky, then down at the baby.\n\nLUCKY: Ah huh, I knew you was like that.\n\nJustice says nothing.", "LUCKY: Why?\n\nJUSTICE: 'Cause you look the type.\n\nLucky begins to walk.", "THE FRONT Justice is fed up. She looks over at Lucky.\n\nJUSTICE: Pull over.", "Justice is fuming now.\n\nJUSTICE: Let me out!\n\nLUCKY (coolly): Where you gonna go, huh? Where you gonna go?", "There is a somber moment. Lucky understands, vaguely. They hear a moaning sound. \nJustice motions for Lucky to be quiet. She\npeeks through the curtain.", "ANGLE As we see Justice and Lucky walking together. Justice is taking in the \nsights and sounds of her environment. She is almost", "JUSTICE: Don't have nuthin to say.\n\nLUCKY: Why you so mean? What you got to be so mean about?\n\nJustice remains silent. She continues looking out the window.", "THE TRUCK Where Lucky and Justice sit. Justice is watching. Lucky minds his own \nbusiness. He glances at his nails.", "Justice and Iesha come around the corner. The latter holds a consoling arm \naround her friend's shoulders. Justice and Lucky come\nface to face.", "They walk toward the truck, and we see Lucky in the front seat. Lucky switches \nhis US. Mail cap to a more comfortable Sox hat. He\nsmiles at Justice. Offscreen we hear Chicago in the back of the truck.", "Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then \nher face breaks out into a mischievous smile. She looks\nLucky up and down, checkin him out.", "JUSTICE Is embarrassed. She looks over at Lucky.\n\nLUCKY Looks back at her. Their eyes meet.", "it to reveal the truck. Lucky and Justice are in the front seat. Justice is \nobviously bored out of her mind. Lucky adjusts his vision from\nthe road to her in an attempt to grab her attention.", "Justice's gaze turns away from Lucky to Keisha.\n\nJUSTICE: What did you do to this little girl's hair?\n\nLUCKY: Nuthin." ], [ "Lucky goes to leave.\n\nCHICAGO: Where you goin?\n\nLucky turns.", "CHICAGO AND E.J.: Fuck you.\n\nLUCKY (gestures to Chicago): What up, souljah?", "CHICAGO (O.S.): Lucky. What's up, G?\n\nLucky sighs and looks into his side mirror.\n\nWIPE:", "CHICAGO Gets up and throws his entire hand down. We PAN OVER to Lucky, who takes \noff his hat and scratches his head.\n\nLUCKY (under his breath): Oh, shit!", "Lucky just gives him a look. Then he turns, and ... ANOTHER ANGLE Lucky and \nChicago in a crowd ofpeople. Chicago walks away,", "CHICAGO: I'm telling ya, it was him. Saw 'em in the liquor store.\n\nLUCKY: Which one?\n\nCHICAGO: J and B on Manchester?", "CHICAGO (uncomfortable): Is it good?\n\nLUCKY: Jammin.\n\nJustice looks away, listening to the music.", "Lucky and Chicago are throwing rocks, seeing who can make a rock skip the \nfarthest. We hear Lucky's thoughts.", "Chicago takes his brush out of his back pocket and begins brushing his head. He \nis trying to maintain his cool because they are now in\nfront of Lucky and Justice.", "E.J.: Y'all going to Oakland?\n\nLucky cuts him a dry look that reads \"Mind your own business.\"\n\nCHICAGO: Cool. You gonna bring a yamp?", "CHICAGO (pushes Lucky): Aw, punk. You just saying that shit 'cause you strung \nout over this bitch! Moralistic muthafucka!", "Chicago bends down to fasten his shoes. Lucky looks at him and shakes his head. \nThen he looks up to notice", "WIDE As the truck drives on, leaving Chicago on the road. A duffel bag is thrown \nout the window. Chicago continues to shout out at\nLucky: \"Watch you doing, man?\"and \"Stop bullshitting!\"", "Lucky looks over at Iesha. He doesn't notice Chicago getting up and charging \nhim. Lucky and Chicago get into a brawl. They tumble", "LUCKY: What tha fuck is wrong with you, nigga?! Get the fuck offa her!\n\nCHICAGO (getting up): What's wrong you?", "They walk toward the truck, and we see Lucky in the front seat. Lucky switches \nhis US. Mail cap to a more comfortable Sox hat. He\nsmiles at Justice. Offscreen we hear Chicago in the back of the truck.", "CHICAGO: She Ane, Loc.\n\nLUCKY: Humph, I know that hoe. Crazy ass. She work in a beauty shop on Fifty-\nfourth.", "Chicago walks toward Lucky. E.J. looks a little left out.", "LUCKY: Fuck you, phunk. I'm leaving your stupid ass!\n\nCHICAGO (coughing): You can't leave me! We got a job to do!", "LUCKY: ... You out your mind!\n\nCHICAGO: He had the beard, tha voice, everything. He bought a forty of Red Bull." ], [ "Keisha runs up into her daddy's arms.\n\nLUCKY: Who's your daddy?\n\nKeisha timidly points to Lucky, who smiles and looks at J-Bone.", "Keisha gets up and goes toward the bedroom. Lucky looks at her exit, then goes \ntoward the window and looks outside the blinds. On", "LUCKY: Told her if she start doing that shit, I'm gonna take Keisha to live with \nmy momma.", "Justice's gaze turns away from Lucky to Keisha.\n\nJUSTICE: What did you do to this little girl's hair?\n\nLUCKY: Nuthin.", "LUCKY: What's up?\n\nJUSTICE: Who's this?\n\nKEISHA: Keisha.\n\nThey shake hands.", "Lucky turns around. He thinks.\n\n44 INT KEISHA'S ROOM--NIGHT\n\nCLOSE\n\nOn Keisha in bed under covers.", "THE FLOOR: LUCKY'S P.O. V: Where Keisha is rolled up in a ball.\n\nLUCKY (hanging up phone): Go to bed.", "THE LIVING ROOM Where we see Lucky lying on the couch like a potato watching \ntelevision. In the foreground Keisha lies on the\nfloor drawing in her notebook.", "LUCKY: Keisha's here.\n\nAnnie begins to glow with the mention of her grandchild.\n\nANNIE: Really? How's my grandbaby doing?", "IESHA: Lucky. This my friend Justice. Justice, this is Lucky.\n\nJUSTICE (with attitude): Hi.\n\nLUCKY: Whatsup.", "INT. ANGELSSPLACE-DAY BACK TO LIVING ROOM As Lucky and Angel go at it. Lucky has \nKeisha in hand. J-Bone enters the\napartment and comes in between the two of them.", "LUCKY: Aw, shit! Ijust got offa work. I don't need this shit. C'mon, Keisha. \nLater, Bone.\n\nLucky walks off, daughter in hand.", "THE DOORWAY Where Rita leaves, and Lucky enters with Keisha in hand. He is \ndressed in very casual attire. As soon as he enters,", "Lucky looks over at Iesha. He doesn't notice Chicago getting up and charging \nhim. Lucky and Chicago get into a brawl. They tumble", "IESHA: You all right?\n\nLucky has no reaction. Iesha backs up and reluctantly walks away, leaving Lucky \nand Justice alone.", "JUSTICE: You got everything?\n\nIESHA: Yeah. So what you think of Lucky?\n\nJUSTICE: I don't. Look.", "JUSTICE: My name's Justice.\n\nKEISHA: What's Justice?\n\nLucky and Justice just smile.", "LUCKY: She look it, though.\n\nJustice walks back to Iesha on the side of the truck.\n\nJUSTICE: I don't know about this.", "LUCKY Takes notice of her writing out of the corner of his eye.\n\nJUSTICE Notices Lucky looking at her periodically. She takes particular notice \nof his dirty nasty fingernails.", "LUCKY: C'mon, we gonna go see Grandma. Your momma tripping.\n\nSuddenly, Angel bursts from the bedroom, cursing and talking shit." ], [ "JUSTICE: My name's Justice.\n\nKEISHA: What's Justice?\n\nLucky and Justice just smile.", "JUSTICE: About two years ago. She left me her house. My mother died when I was \ntwelve. Suicide. She named me Justice cause she", "Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then \nher face breaks out into a mischievous smile. She looks\nLucky up and down, checkin him out.", "He laughs. Justice doesn't find it funny.\n\nJUSTICE: He got killed over some stupid shit.\n\nLucky looks at her.", "COUSIN PETE: How you get a name like that?!\n\nJUSTICE: It's a long story. This is-", "The Woman finishes fixing her plate.\n\nWOMAN: Here, I'll take her.\n\nJUSTICE: She's beautiful. What's her name?", "WOMAN: Her name is Imani.\n\nThe Woman walks off to a table and sits with another group of relatives.\n\nJUSTICE: You got a kid?", "woman is an \"around the way\" honey with soft brown skin, full brown eyes, and \nnice delicious full lips. This is Justice, who at", "JUSTICE'S FACE As she reacts to being called Lucky's girlfriend.\n\nCOUSIN PETE: What's your name, cousin?", "JUSTICE (coolly): C'mere. I gotta talk to you.\n\nIesha faintly sees the anger on Justice's face but is not aware that it is \ndirected toward her.", "JUSTICE (V.O.) Jessie, it's me, Justice. You there? Well, I'm running a (she \ndecides it's futile) Shit!", "JUSTICE AND LESHA Where Justice helps her friend up Iesha is scratched. She \ncontinues to curse with a bloodied mouth. Iesha\npulls away, attempting to continue fighting, only to be restrained by Justice.", "JESSIE As Iesha walks past her, and she watches and waits to talk to Justice. \nJUSTICE Follows him and sits next to him. She puts", "LUCKY: Oh, so you one of them angry bitches, huh? A feminist. Justice turns \naround. Lucky has gotten her attention.\n\nJUSTICE: What did you call me?", "We see Justice's car pull to the curb. It is a 1992 Honda Accord, complete with \nnice rims and tinted windows. The license plate reads\n2 FUNKY.", "Justice walks in.\n\nJUSTICE: You telling everybody's business.\n\nIESHA: Yeah, I'd tell your business too if you had somethin to tell.", "We see Justice's face. She is definitely looking more hardened. Iesha pulls a \nwad of money out of her pocket and gives it to Justice.", "Justice takes the baby in her arms. Lucky looks at her out of the corner of his \neye and continues surveying the food.\n\nJUSTICE: Aww, she's so cute.", "JUSTICE: So.\n\nJESSIE: Yeah.", "locks. As she walks up the street, we see the same brothers established in the \nprevious montage on their knees, with their hands behind\ntheir heads. Justice walks past them without acknowledging their condition." ], [ "Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then \nher face breaks out into a mischievous smile. She looks\nLucky up and down, checkin him out.", "As we see Justice standing over her notebook reading a poem to lesha while \nputting the finishing touches on her head. The salon is\nnearly empty. Jessie is sitting at the counter. Heywood is on the phone.", "We see Justice's car pull to the curb. It is a 1992 Honda Accord, complete with \nnice rims and tinted windows. The license plate reads\n2 FUNKY.", "JUSTICE: About two years ago. She left me her house. My mother died when I was \ntwelve. Suicide. She named me Justice cause she", "woman is an \"around the way\" honey with soft brown skin, full brown eyes, and \nnice delicious full lips. This is Justice, who at", "JUSTICE (coolly): C'mere. I gotta talk to you.\n\nIesha faintly sees the anger on Justice's face but is not aware that it is \ndirected toward her.", "locks. As she walks up the street, we see the same brothers established in the \nprevious montage on their knees, with their hands behind\ntheir heads. Justice walks past them without acknowledging their condition.", "are standing over the heads of other women who are seated in reclining beauty \nchairs. We hear the instructor giving a lesson in hair\ncoloring. We end on Justice listening attentively and primping the hair of the", "JESSIE As Iesha walks past her, and she watches and waits to talk to Justice. \nJUSTICE Follows him and sits next to him. She puts", "ANGLE As we see Justice and Lucky walking together. Justice is taking in the \nsights and sounds of her environment. She is almost", "his presence is felt by every woman in the shop. Justice looks up and, noticing \nLucky, excuses herself from her client and goes over\ntoward the counter.", "93E INT. JUSTICESSHOSSE-DAY THE BATHROOM We see Justice walk forth. She slows \ndown as she discovers ANOTHER", "Justice walks in.\n\nJUSTICE: You telling everybody's business.\n\nIESHA: Yeah, I'd tell your business too if you had somethin to tell.", "as she says another poem. At the end of the poem, Justice looks up toward \nLucky/us. She smiles.", "Justice's direction. She just smiles in amusement and puts out her cigarette. \nSame ole, same o'.", "Justice and lesha make eye contact. Both smile. Suddenly in the background on \nJustice, we see and hear police lights converge on\nsome brothers across the street. This catches Justice's attention.", "We see Justice's face. She is definitely looking more hardened. Iesha pulls a \nwad of money out of her pocket and gives it to Justice.", "He laughs. Justice doesn't find it funny.\n\nJUSTICE: He got killed over some stupid shit.\n\nLucky looks at her.", "DISSOLVE TO: 104 EXTGRASSYFlELD-DAY We see Justice walking toward us through a \nfield. She walks slowly, almost", "Justice takes the baby in her arms. Lucky looks at her out of the corner of his \neye and continues surveying the food.\n\nJUSTICE: Aww, she's so cute." ], [ "Chicago looks at lesha. She senses she is being watched, then she looks over at \nhim and walks away. He follows her.", "Chicago turns to look at lesha. Note: Chicago in foreground, Iesha in \nbackground.", "lesha walks away toward the parking lot. Johnny tries to interfere and Chicago \npushes him. She begins cursing loudly, making it more", "BACK TO TABLE Where lesha and Chicago settle. They are both thoroughly amused by \nthe game they are playing. The both a them\nthen turn to notice", "Chicago keeps reading the letter, acting like this isn't affecting him. Iesha \nsnuggles into a corner and closes her eyes. Chicago looks\nover at her sleeping.", "Lucky looks over at Iesha. He doesn't notice Chicago getting up and charging \nhim. Lucky and Chicago get into a brawl. They tumble", "waves to the ballet of lesha and Chicago arguing. He pulls at her. She pulls \naway, etc. Their dialogue is drowned out by the sounds of", "WIDE SHOT As Chicago walks into the shot toward lesha and Johnny. lesha looks \nover at Chicago nonchalantly. She doesn't even", "JUSTICE: Barbecue.\n\nChicago comes up front.\n\nCHICAGO: Y'all smell that?\n\nLUCKY: (his eyes catching something) Yeah.", "THE BACK Where we see lesha looking frustrated.\n\nIESHA: Is that it?!\n\nCHICAGO: Shhh! Give me a coupla minutes.", "This catches Chicago's attention. He stops brushing his head, and calmly walks \ntoward Iesha, as we PULL BACK with him to an\nover-the-shoulder with Iesha.", "62 EXT. THE TRUCK: BACK--DAY Iesha and Chicago affectionately play with each \nother, lesha gives him a couple of love taps.", "AUNT JUNE'S P.O.V.: We see lesha's hand on Chicago's shoulder. Then we TILT UP \nto reveal her face. She looks at her hand\nsearching for a ring.", "squirting water at lesha. We travel with them back to the truck as Iesha \nplayfully squirts Chicago. He starts running after her. He", "followed by Chicago. We MOVE slowly with them to reveal they have parked next to \na cliff that overlooks the Pacific Ocean and some\nother rocky cliffs. In the distance we see Chicago and Iesha arguing.", "Chicago takes his brush out of his back pocket and begins brushing his head. He \nis trying to maintain his cool because they are now in\nfront of Lucky and Justice.", "THE ROAD Where we see the truck by the road with the castle in the background. \nlesha has walked to the back of the truck. Chicago\ncomes around the corner and tries to talk to her.\n\nHe tries a smoother approach.", "IESHA Looks up at Chicago as if to say, \"What the fuck you looking at?\" Chicago \nturns back around to continue throwing rocks.\nIesha turns to Justice.", "CUT TO: 88 EXT THE ROAD--DAY: OVERHEAD ON CRANE As we see the empty road, then \nZOOM as the truck goes up into the\ndistance. We hear lesha and Chicago arguing.", "acknowledge his presence. Chicago grabs her arm. Iesha pulls away and tries to \nresume her conversation. Chicago pulls her again, and" ], [ "JUSTICE: About two years ago. She left me her house. My mother died when I was \ntwelve. Suicide. She named me Justice cause she", "34 INT. Justice's Home--NIGHT It looks though it was decorated by her \ngrandmother, which in fact it was. We notice a portrait of an", "We see Justice's car pull to the curb. It is a 1992 Honda Accord, complete with \nnice rims and tinted windows. The license plate reads\n2 FUNKY.", "woman is an \"around the way\" honey with soft brown skin, full brown eyes, and \nnice delicious full lips. This is Justice, who at", "JUSTICE (coolly): C'mere. I gotta talk to you.\n\nIesha faintly sees the anger on Justice's face but is not aware that it is \ndirected toward her.", "We see Justice's face. She is definitely looking more hardened. Iesha pulls a \nwad of money out of her pocket and gives it to Justice.", "As we see Justice standing over her notebook reading a poem to lesha while \nputting the finishing touches on her head. The salon is\nnearly empty. Jessie is sitting at the counter. Heywood is on the phone.", "way. The cat looks back at her, then turns around and walks away into the \nhallway. Justice shakes her head. Then her eyes settle on\nsomething else.", "Justice walks in.\n\nJUSTICE: You telling everybody's business.\n\nIESHA: Yeah, I'd tell your business too if you had somethin to tell.", "locks. As she walks up the street, we see the same brothers established in the \nprevious montage on their knees, with their hands behind\ntheir heads. Justice walks past them without acknowledging their condition.", "45 INT. JUSTICE'S HOME--MORNING MONTAGE Of Justice preparing to go on the trip \nto Oakland. The music we hear comes\nfrom her living room stereo.", "JUSTICE: As she begins to groove to the music. She walks toward the kitchen.\n\n38A INT. JUSTICE'SHOME--NIGHT VARIOUS ANGLES Of the empty rooms within the \nhouse.", "JESSIE As Iesha walks past her, and she watches and waits to talk to Justice. \nJUSTICE Follows him and sits next to him. She puts", "Justice and lesha make eye contact. Both smile. Suddenly in the background on \nJustice, we see and hear police lights converge on\nsome brothers across the street. This catches Justice's attention.", "comes into frame at her feet and begins surveying this feast. When Justice goes \nback inside, her cat is joined by no less than eight\nother neighborhood cats.", "Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then \nher face breaks out into a mischievous smile. She looks\nLucky up and down, checkin him out.", "93C INT. JUSTICE'S HOUSE--DAY AN OFFICE ROOM As Justice looks in. No Momma here.", "93 INT. JUSTICE'S HOUSE--THE KITCHEN--DAY Where Justice and her grandmother put \naway the groceries. Geneva snatches a\nbox of cookies out of Justice's hand.", "Justice takes the baby in her arms. Lucky looks at her out of the corner of his \neye and continues surveying the food.\n\nJUSTICE: Aww, she's so cute.", "41 INT. JUSTICE'SLIVING ROOM--NIGHT Where she sits. Her eyes wander around the \nroom and then rest on her cat across the" ] ]

[ "Where does Justice get her name?", "What happened to Markell that put Justice into depression?", "On the way to Oakland, where does the group go on their first detour (after they see signs on the road)?", "Why is Justice going to Oakland?", "Who is Keisha?", "Where does the group (Lucky, Justice, and Iesha) leave Chicago?", "When the group gets to Oakland, why does Lucky become mad at Justice?", "Who gives Lucky his recording equipment?", "Where does Justice run into Lucky and Keisha after returning to Oakland?", "Where does Justice live?", "How did Justice get her name?", "Which event sends Poetic into spiraling depression?", "What is Justice's special talent?", "Where does Justice meet Lucky?", "Which city are Justice, Lucky, lesha and Chich headed to on their road trip?", "Who is left behind on the road trip?", "What happens to Lucky's cousin?", "Who is Keisha?", "Why does Chicago hit lesha?", "Why does Justice get hurt on the road trip?", "What do Justice and her boss pretend to be when Lucky walks into the salon, why?", "What happens to Justice's boyfriend?", "Why do Justice and Lucky spend time apart after being together?", "How does Lucky know Chicago?", "Why does Keisha live with Lucky?", "How did Justice get her name?", "Where does Justice work and what does she do?", "What happens to Lesha and Chicago at the barbecue?", "Who's house does Justice live in and how did she get it?" ]

[ [ "Her mother named her that while attending law school", "Her mother" ], [ "He was killed in a shooting", "He was shot to death." ], [ "a family reunion", "A family reunion barbecue." ], [ "to go to a hair show", "For a hair show" ], [ "Lucky's daughter", "Lucky's daughter" ], [ "On the side of the road", "By the side of the road." ], [ "His cousin was killed and he blames Justice for distracting him", "For distracting him" ], [ "His aunt and uncle", "His Uncle and Aunt" ], [ "at the salon", "Lucky and Keisha come into the hair salon - but from the story it appears to be back in Los Angeles, not Oakland" ], [ "South Central, Los Angeles", "South Central Los Angeles" ], [ "Her mother was a law student. ", "her mother named her Justice while attending law school" ], [ "Her boyfriend was murdered. ", "Her boyfriend Markell is shot and killed" ], [ "She writes poetry.", "she writes poetry" ], [ "At the hair salon where she works.", "At her job at the hair salon." ], [ "Oakland", "Oakland" ], [ "Chicago", "Chicago" ], [ "He is shot and killed. ", "He was killed in a shooting." ], [ "Lucky's daughter", "Lucky's daughter" ], [ "He finds out she is seeing someone else.", "She is cheating on him." ], [ "Chicago is upset that, Justice hit her in the groin and decided to hurt her in retaliation. ", "Because Chicago attacked her after she defended Iesha" ], [ "Justice and her boss pretend to be lesbians because she does not want to deal with his flirting. ", "Lesbians to mess with / dismiss Lucky" ], [ "Justice's boyfriend Markell was shot. ", "He gets shot and dies" ], [ "Lucky blames Justice for being distracted on the road and not coming to Oakland sooner to prevent his cousins death. ", "They have a fight." ], [ "Chicago knows Lucky because they are co-workers at the post-office. ", "he works with him at the post office" ], [ "He had to take her away from her mother because she was addicted to drugs. ", "her mother is a crack addict who has been endangering the child" ], [ "Her mom gave birth to her during law-school. ", "Her mother gave birth to her while in law school." ], [ "Justice works at the beauty salon and does hair. ", "she works at a hair salon, styling hair" ], [ "Lesha gets very drunk and flirts with different men even though she is dating Chicago. ", "Iesha flirts with other guys and it makes Chicago mad" ], [ "Justice lives in her grandmothers house, which she inherited from her. ", "She lives in her grandmother's house, which she inherited." ] ]

[ [ "REVEAL DANNY, amongst the onlookers. His expression gives nothing \naway.\n\nA ribbon of blood snakes from Bobby's body, over the parking lot curb \nand runs into a storm drain.", "Danny watches them drive away. When he is sure that they are gone, he \nlooks around. Sees...\n...A PLUMBER'S TRUCK parked on the other side of the park.", "DANNY\n You're a good man. Jimmy the Finn.\n\nEXT. PARK-DAY\n\nTanner and Garcetti's car parked on the periphery.", "Danny sitting on a bus bench across from the parking lot.\n\nTANNER AND GARCETTI exit the building and head over to their car.\n\nDanny watches from behind a magazine as they drive past him.", "Danny approaches. The passenger's side window rolls down revealing ...", "Trahn walks over to Danny, who sits there with his head down, his face \nobscured by a baseball cap. Slowly, he looks up.\n\nIT IS JIMMY.", "DANNY\n Who is it?\n\n GARCETTI\n Brace yourself.\n\nDanny's eyes dart back and forth between Garcetti and Tanner.", "DANNY\n I'm not a tweaker.\n (beat)\n I don't use drugs. I never had.\n\nDanny is deadpan. Jimmy starts laughing", "He hangs up.\n\nEXT. ALLEY - NIGHT\n\nDanny waiting in the shadows.\n\nA car, sans headlights, pulls into the alley and stops.", "DANNY is sitting in an armchair. He is the only one who looks tired. \nHe sits there, taking the scene in.\n\nALL SOUNDS FADE OUT", "EXT. PART - NIGHT\n\nDanny, Tanner and Garcetti outside the car in a deserted park. Danny \npacing.\n\n TANNER\n You got a name?", "... Danny stirs on the floor. His eyes open. He opens his shirt and \nchecks his torso REVEALING THAT HE IS WEARING HIS BULLET-PROOF VEST.", "DANNY (cont'd)\n I'm not joking.\n\nJimmy keeps laughing. Danny staring, deadpan, Jimmy slowly stops \nlaughing.", "INT. F.B.I. CAR-SAME\n\nDanny is wired for sound. The agents monitor him on a receiver.", "DANNY\n Jimmy, where do you find these people?\n\n JIMMY\n The Del Ammo Mall mostly.\n\nThey walk along.", "EXT. DESERTED PARK - NIGHT\n\nDanny, Garcetti and Tanner. Tanner doing a chemical test on the meth \nwith a field kit. The tester turns a tell-tale blue.", "The DRIVER is obscured by the reflected glare of a streetlight, but it \nis obvious that he is staring right at Danny.\n\nDanny plays it cool. Keeps walking.", "Danny blinks his eyes again. Looks up at ...\n\n... A PARAMEDIC working on him.\n\nDanny smiles a weak smile at Jimmy.", "Another car pulls into the tight street, behind the red car. The \ndriver of the other car SOUNDS HIS HORN. The red car speeds off.\n\nDanny walks quickly the other way.", "Danny emerges from the shadows, opens the back door and lays on the \nback seat.\n\nINT. CAR - SAME" ], [ "Well, Pooh-Bear snorted so much\n crank, they had to cut his nose off.\n He's got a plastic one though.", "Garcetti puts his hand to his nose and blows out a clot of blood. He \nlooks down at his hand.\n\nHe has hacked up the bullet he was shot with.", "isn't wearing his prosthetic nose. A GAPING HOLE WHERE HIS NOSE SHOULD \nBE. He looks like some obscene human bat.", "He takes a huge hit of crystal meth from a pipe, holds it, then blows a \nlong exhale.\n\n POOH-BEAR\n Okay, here we go gentlemen ...", "VERNE\n You might as well be spitting on her\n grave every time you put drugs up\n your nose. Or did you just\n conveniently forget that it was drug\n dealers who killed my daughter?", "He pops his nose back into place, but it goes on crooked.\n\nThe Bills escort Danny over to the cage. There is A GIGANTIC CRAZED \nWEASEL INSIDE.", "He is wearing shorts, a tank top and after-ski boots. He has a big \npowdery crank donut around his nostrils.", "DANNY\n Well, Jimmy the Finn, let's go score some gack.\n\nINT. CHEAP MOTEL ROOM - DAY", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "Suddenly ...\n\n KUJO (O.S.)\n OH SHIT! WE'RE OUT OF DRUGS!\n\nINT. PARTY HOUSE - NIGHT", "DANNY (V.O.)\n Ever see a long-haired tattooed freak\n buying up all the cold medicine he\n can lay his hands on at three in the morning.", "JIMMY\n No one ever noticed?\n\n DANNY\n Are you kidding me? A bunch of amped\n -out tweakers? It was easy.", "DANNY\n Why do they call him Pooh-Bear?\n\n JIMMY\n I think on account of his nose.", "CLOSE ON POOH-BEAR - he does indeed have a prosthetic nose. It almost \nblends in with his face but not quite, making it that much more \ndisconcerting.", "NANCY\n He said you were ... the people you \n Were with ... well ...\n\n VERNE\n Said you were a drug addict.", "Pooh-Bear about to plunge the drugs when GARCETTI FIRES.\n\nPooh-Bear pitches forward, dead. The syringe falls to the floor.", "BOBBY (cont'd)\n Did you bring the plastic men?\n (beat)\n Did you bring the plastic men?\n\nBobby rubs his nose.", "JIMMY\n Well, you know how Winnie the Pooh\n always got his nose stuck in the honey jar?", "rat that he was. Sucks for him.\n (beat)\n But as far as I'm concerned, they're both dead.", "Danny finishes up, stuffing a roll of DUCT TAPE into his pocket.\n\nPooh-Bear drops a zip-lock bag of METH on the table." ], [ "He struggles to a sitting position, in great pain from the impact \nbruises left by the bullets.\n\nHe picks up his gun, gets up on wobbly legs and follows Tanner and \nGarcetti down the hall.", "Rows of decaying stucco apartment buildings. Danny and Jimmy walking \naway from one of the structures.\n\nDanny pockets the GLOCK he just purchased. He also carries a BULLET-\nPROOF VEST over this shoulder.", "JIMMY\n You wanna score some go-fast?\n\n DANNY\n Not tonight.\n\nThey continue on. Jimmy looks at the vest.", "Garcetti standing there pointing his gun at Danny, rocking slightly \nback and forth, a bullet hole in his cheekbone. He looks brain dead.\n\nDanny doesn't move. TANNER STILL WHEEZING.", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "A GUNSHOT. Garcetti goes down where he stands. He lays there \ntwitching like a rabbit.\n\nTanner staring down the sucker's end of Danny's gun.", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "Jimmy holds out a bullet dispenser of crank.\n\n JIMMY\n You want a hit?\n\n DANNY\n No. I'm good.", "Tanner and Garcetti standing over him. They pull their ski masks off.\n\n GARCETTI\n Get the bag.", "Verne glares at Danny. No forgiveness in his heart.\n\n VERNE (cont'd)\n You ever think you might be buying\n drugs from the very people who took\n her life?", "Tanner goes down, blood bubbling from his throat around the syringe. \nHis eyes roll back as he convulses from the drugs.\n\nDanny struggles to his feet.", "REVEAL DANNY, amongst the onlookers. His expression gives nothing \naway.\n\nA ribbon of blood snakes from Bobby's body, over the parking lot curb \nand runs into a storm drain.", "Danny SHOOTS TWICE, the bullets blowing through Big Bill's hands and \nthumping into his chest. Big Bill crumples.", "He jumps up. Goes over to the still-wheezing Tanner and empties his \nclip into him. When the clip is spent, Danny keeps pulling the trigger \n... over and over again.", "Danny hands over the bundle of cash. Pockets the dope.", "Pooh-Bear about to plunge the drugs when GARCETTI FIRES.\n\nPooh-Bear pitches forward, dead. The syringe falls to the floor.", "He looks like Barry White, Jr.\n KID\n Mister, I only deal in high-end\n weapons. All guaranteed stolen and", "Danny wheels on the other two guys at the table, who are going for \ntheir guns. Danny opens up on them with the Glock, flooring them \nbefore they can get a shot off.", "DANNY\n Murder. Beautiful.\n\n TANNER\n Pumped fifty-seven bullets into a police informant.", "There is a BULLET HOLE about the size of a fifty cent piece in the wall \nnext to Danny's head. He puts his eye to the hole and looks out." ], [ "DANNY (cont'd)\n (distant)\n My name is Tom Van Allen. I play the trumpet.", "Tom Van Allen got his revenge.\n Good for Tom. And Danny Flynne? He\n got gut-shot for being the low-life", "DANNY (V.O.)\n My name is Tom Van Allen ...\n (beat)\n or Danny Flynne ...", "DANNY\n My name is Tom Van Allen\n (beat)\n I play the trumpet.", "Danny staring at his reflection. He lights a cigarette.\n\n DANNY\n My name is Tom Van Allen. I'm a\n trumpet player.\n\nDanny smiles.", "TRAHN\n For those of you who don't know this \n is Tom Van Allen... a.k.a. Danny \n Flynne.\n\nDanny looks self-conscious.", "DANNY (cont'd)\n Tom Van Allen\n\nDanny raises his gun.", "He is endorsing the back of a life insurance check. His Tom Van Allen \ndriver's license laying next to it.\n\nA KNOCK AT THE DOOR", "DANNY (cont'd)\n My name is Tom Van Allen and I play the trumpet.\n\nHe starts to play. \"Saeta\" again.", "DANNY (cont'd)\n Tom Van Allen or Danny Flynne?\n (beat)\n Avenging angel or plain old Judas?\n\nHe stops playing.", "... MOVE back over to the gravestone.\n\nThe stone reads: \"ELIZABETH VAN ALLEN. BELOVED WIFE\"\n\nEXT. THE CINDER BLOCK BAR - NIGHT", "NANCY\n Who is it?\n\n DANNY (O.S.)\n It's Tom.\n\nNancy and Verne look at one another.", "TRAHN (cont'd)\n About a year and half ago, Mr. Van \n Allen's wife was murdered at a meth", "... A TRUMPET CASE. He walks over to the cheap vanity and sits down in \nfront of the mirror and stars for a very long time.", "DANNY/TOM\n Thank you. Thank you very much.\n\n LIZ\n And he has a really hot ass with hardly\n any hair on it.", "DANNY/TOM\n No. You know what gets old? Being\n reminded what a loser you are every\n time you screw up.\n\n LIZ\n Here it comes, poor Tom.", "DANNY/TOM\n Again, I thank you.\n\n LIZ\n I was talking about Miles.\n\nDanny playfully tackles her to the ground.", "DANNY (cont'd)\n Tommorrow night, when he is asleep. \n I want you to beep me at this number.\n He writes the number down on a dollar bill.", "assumed it was a hit and grab \n perpetrated by rival drug dealers. \n That is, until Tom here took it upon", "LIZ\n That is so unfair.\n\nDanny stares straight ahead, steering the car towards the house.\n\n DANNY/TOM\n My sentiments exactly." ], [ "bet her poor husband never knew what\n hit him in the sack either.", "Danny staggers towards her.\n\nHer eyes flutter slightly.\n\nDanny sits next to her. Holds her hand. There is nothing he can do.", "I fight and I die like a man.\n (beat)\n You're a fucking coward, Flynne. You", "rat that he was. Sucks for him.\n (beat)\n But as far as I'm concerned, they're both dead.", "Did you know that Liz and I got into an argument the night \n she was killed? I acted like an ass and I never had a", "DANNY\n She died knowing that I was a coward...\n that I didn't lift a finger to help her.\n\n COLLETTE\n There was nothing you could have done.", "And you can't stand it that I walked\n out of there alive and Liz didn't.\n You think I'm a coward,\n don't you?", "A dying fish on the waterline, gills pumping for oxygen.\n\nDanny finishes playing.\n\nSilence.", "The drapes go up in flames. Quincey puts the gun to the back of her \nhead.\n\n QUINCEY\n You wanna die here with him or come with me?", "... MOVE back over to the gravestone.\n\nThe stone reads: \"ELIZABETH VAN ALLEN. BELOVED WIFE\"\n\nEXT. THE CINDER BLOCK BAR - NIGHT", "TRAHN (cont'd)\n About a year and half ago, Mr. Van \n Allen's wife was murdered at a meth", "Liz is still in her hiding place behind the end of the couch. Her head \nis resting comfortably on the arm of the couch. She looks fine. There \nis even a slight smile on her lips.", "hard-ass con till the end. And as\n far as I'm concerned, he wife and\n kid are a hell of a lot better off\n without him.", "VERNE\n You might as well be spitting on her\n grave every time you put drugs up\n your nose. Or did you just\n conveniently forget that it was drug\n dealers who killed my daughter?", "He's in shock. He grabs the duffle bag from the table and staggers \ndown the hallway, into the living room.", "Colette sobbing. The dude talking in hushed tones, contrite.\n\nEXT. FREEWAY - DAY", "seen grown men crack after a lot\n less. But not this bitch.\n (beat)\n It was very touching.", "Collette looks back one last time just as the flames reach the door, \ncutting off any escape.\n\nDanny breathing hard. He gets up. Staggers over to the mirror where \nhis trumpet is.", "... LIZ. In the confusion, she has managed to hide from the intruders. \nShe is squeezed into a tiny space between the sofa and the wall. She \nclings tightly to the curtains, her hands shaking violently.", "Avenging Angel, Judas, loving\n husband, prodigal son, prince of\n Denmark. I was all of those things.\n (beat)" ], [ "THE SALTON SEA\n\n by\n\n Tony Gayton\n\n FADE IN:", "Danny driving. Liz in the passenger seat looking pissed.\n\nThe Salton Sea can be seen far below in the distance shimmering under a \nfull moon.", "lab out near the Salton Sea. No one \n was ever apprehended for the crime \n but local authorities have always", "LONG SHOT-Back on the Salton Sea, placid and silvered with moonlight.\n\nINT RESIDENTIAL HOTEL ROOM- NIGHT (LATER)", "INT. CREEPY HOUSE - SALTON SEA - NIGHT", "ON DANNY staring at the hair, remembering something...\n\nEXT. SALTON SEA GAS STATION - DAY (FLASHBACK WITHIN THE FLASHBACK)", "EXT. SALTON SEA - SUNSET (FLASHBACK)", "EXT. CREPPY HOUSE - SALTON SEA - NIGHT (FLASHBACK)\n\nDanny's car parked out front.", "... the blood from the floor pools out and engulfs the card.\n\nEXT. SALTON SEA - NIGHT", "INT. SALTON SEA SHERIFF'S STATION - DAY\n\nDanny staring absently at the red hair in the baggie.\n\n BOOKMAN\n What is it?", "ON DANNY as he creeps down the hall.\n\nINT. CREEPY HOUSE - SALTON SEA - NIGHT\n\nExiting the bathroom and creeping towards the front room.", "INT. SALTON SEA SHERIFF'S STATION (FLASHBACK) - DAY\n\nDanny and DETECTIVE BOOKMAN, a homicide detective, sitting at a table.", "A dying fish on the waterline, gills pumping for oxygen.\n\nDanny finishes playing.\n\nSilence.", "DANNY\n Yeah, that's what I mean.\n (beat)\n Where the hell does this guy live anyway?\n\n JIMMY\n Palmdale", "The sun sinks completely below the horizon.\n\nA long fish hawk floats on the last of the thermals.\n\nThe dying fish breaths its last.", "THE FLASHBACK IMAGERY suddenly FLICKERS TO LIFE on the wall behind \nDanny - THE MOONLIGH SALTON SEA.", "EXT. POOH-BEAR'S COMPOUND - DAY\n\nA sprawling old ranch house tucked into the remote hills of the desert.", "Jimmy driving. Danny in the passenger's seat, looking down at ...\n\n... the floorboard, or lack thereof. It is completely rusted out. The \nfreeway rushes by underneath.", "Garcetti puts his hand to his nose and blows out a clot of blood. He \nlooks down at his hand.\n\nHe has hacked up the bullet he was shot with.", "Collette looks back one last time just as the flames reach the door, \ncutting off any escape.\n\nDanny breathing hard. He gets up. Staggers over to the mirror where \nhis trumpet is." ], [ "INT. POOH-BEAR'S HOUSE - NIGHT\n\nBig Bill lets Danny in, then pats him down for weapons. Satisfied, he \nleads Danny to the kitchen.", "Danny puts the gun to Pooh-Bear's head, closes his eyes and starts to \npull the trigger.", "OUTSIDE - still descending the bluff, Tanner and Garcetti hear the \ngunfire.\n\nINSIDE - Danny turns on Pooh-Bear, who sits there staring at his \ninjured leg.", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "Pooh-Bear lifts his gun and SHOOTS DANNY IN THE TORSO THREE TIMES. \nDanny collapses.\n\nPooh-Bear gets to his feet.", "UNDER THE TABLE - Danny fumbling with the gun, trying to untape it \nwithout being too obvious.\n\nPooh-Bear unzips the bag. Inside, a lot of cash.", "ON DANNY standing in the hallway, staring, his face a blank.\n\nON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred \ndollar bill.", "POOH-BEAR\n Shoot him.\n\n DANNY\n Okay! Okay!", "Danny wheels on the other two guys at the table, who are going for \ntheir guns. Danny opens up on them with the Glock, flooring them \nbefore they can get a shot off.", "GARCETTI\n Maybe he isn't showing.\n\nDanny takes a gym bag out of the trunk and approaches Pooh-Bear's \nhouse.", "Pooh-Bear pulls a chrome .45 from his waistband.\n\n DANNY\n Can I pull my dick out now?", "Danny can't believe it. But when Little Bill lowers his arms, a big \nroll of cash protrudes from the hole.\n\nPooh-Bear and Big Bill see it immediately.", "INT. POOH-BEAR'S HOUSE - NIGHT\n\nDanny continues down the hall, remembering.\n\nINT. CREEPY HOUSE - SALTON SEA - NIGHT (FLASHBACK)", "DANNY (cont'd)\n Jimmy told me that Little Bill's been\n shorting Pooh-Bear ... settin' up his\n own stuff on the side.", "Danny has been had. Pooh-Bear laughs uproariously.\n\nINT. VEGA - DAY\n\nDanny slouched in the passenger's seat.", "There is a BULLET HOLE about the size of a fifty cent piece in the wall \nnext to Danny's head. He puts his eye to the hole and looks out.", "Danny looks up at the gun, his face a blank.\n\n DANNY\n (mumbling)\n Glock semi-automatic 9 mm ...", "INT. HOUSE - SAME\n\nPooh-Bear sitting in a recliner, obscured by shadows when Danny and his \nescorts enter.", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "Rows of decaying stucco apartment buildings. Danny and Jimmy walking \naway from one of the structures.\n\nDanny pockets the GLOCK he just purchased. He also carries a BULLET-\nPROOF VEST over this shoulder." ], [ "Danny staggers towards her.\n\nHer eyes flutter slightly.\n\nDanny sits next to her. Holds her hand. There is nothing he can do.", "DANNY\n No. But I'm the only one with my sad\n story.\n (beat)\n And that's how it's gonna stay.\n\nINT. CAR - DAY", "A WOMAN ONE DOOR DOWN FROM DANNY'S ROOM struggles with her groceries. \nWhen she goes to open the door, one of the bags breaks, spilling its \ncontents onto the floor.", "He finishes .... staring at ...\n\nDanny and Jimmy, standing there, wide-eyed and amazed by the incredible \nsales pitch.\n\nEXT. BAD NEIGHBORHOOD - NIGHT", "DANNY is sitting in an armchair. He is the only one who looks tired. \nHe sits there, taking the scene in.\n\nALL SOUNDS FADE OUT", "DANNY (cont'd)\n (weakly)\n You decide, friend. You decide.\n\nHe closes his eyes.", "DANNY (cont'd)\n I really have to tell you something.\n It's important.\n\n JIMMY\n What?", "Danny amused by the conversation. He sees something out of the corner \nof his eye ...\n\nThe boyfriend kissing Colette roughly. She obviously isn't enjoying \nit.", "BO\n No, I don't mind. That's how come I\n told you about it.\n\n DANNY/TOM\n I was talking to my wife.", "Danny smiles, genuinely touched.\n\n DANNY\n Jimmy, look, there's something I have\n to tell you.", "Danny approaches. The passenger's side window rolls down revealing ...", "... Danny stirs on the floor. His eyes open. He opens his shirt and \nchecks his torso REVEALING THAT HE IS WEARING HIS BULLET-PROOF VEST.", "JIMMY\n Danny told me to tell you that he was sorry.\n (beat)\n He said he had to take care of this himself.\n\nEXT. BLUFF - NIGHT", "DANNY (cont'd)\n (loud through the door)\n And to think Miss Manner was\n living down the hall from me and I\n didn't even know it!", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "Danny sitting at the bar, nursing a drink. He looks nervous, eyes \ndarting around for potential assassins.\n\nHe has nothing to worry about with this crowd, harmless alcoholics all.", "Danny starts to say something. Stops. Goes to this door. Stops again. \n\n DANNY\n You okay?\n She nods.", "DANNY (cont'd)\n Goodbye now. Nice meeting you.\n\nINT. RESIDENTIAL HOTEL ROOM - NIGHT", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "Danny in his good clothes, sitting in front of the mirror, playing his \ntrumpet, staring at the photos of his wife.\n\nINT. COLETTE'S ROOM - SAME" ], [ "Back to the opening scene. The whole room ablaze. Danny lying on the \nbed, playing the horn.", "Collette looks back one last time just as the flames reach the door, \ncutting off any escape.\n\nDanny breathing hard. He gets up. Staggers over to the mirror where \nhis trumpet is.", "He starts to play SAETA.\n\n DISSOLVE TO:\n\nINT. BURNING ROOM - NIGHT", "DANNY\n Your daughter needs you. Go.\n\nThe fire continues to spread. Colette kisses Danny on the lips. \nQuincey pulls her away.", "UNDER THE BED - THE CARPET IGNITES. The fire spreads quickly.\n\n QUINCEY\n Jesus.\n\nQuincey grabs her arm.", "The drapes go up in flames. Quincey puts the gun to the back of her \nhead.\n\n QUINCEY\n You wanna die here with him or come with me?", "... an ONCOMING AMBULANCE, which drags him underneath for a good fifty \nfeet.\n\nINT. CINDER BLOCK BAR - NIGHT", "DANNY (V.O.)\n Oh shit. What is this?\n\nEmerging from the flames into a dark hallway.\n\nDanny's eyes flutter as he seemingly continues to float.", "He struggles to a sitting position, in great pain from the impact \nbruises left by the bullets.\n\nHe picks up his gun, gets up on wobbly legs and follows Tanner and \nGarcetti down the hall.", "Danny blinks his eyes again. Looks up at ...\n\n... A PARAMEDIC working on him.\n\nDanny smiles a weak smile at Jimmy.", "... LIZ. In the confusion, she has managed to hide from the intruders. \nShe is squeezed into a tiny space between the sofa and the wall. She \nclings tightly to the curtains, her hands shaking violently.", "The muzzle flash ignites his pants leg. POOH-BEAR HITS THE FLOOR, \nSCREAMING, slapping at the fire on his leg.", "And you can't stand it that I walked\n out of there alive and Liz didn't.\n You think I'm a coward,\n don't you?", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "When Pooh-Bear goes to pull his gun from his waist-band, it discharges, \nshooting him in the thigh.", "WHAP, WHAP! Two spears plunge through the cheap door, stopping inches \nfrom Danny's head.\n\nThey run like hell.\n\nEXT. SKY - DAY", "Danny staggers towards her.\n\nHer eyes flutter slightly.\n\nDanny sits next to her. Holds her hand. There is nothing he can do.", "TRAHN\n Hey, you did the right thing. You \n wouldn't have stood a chance against \n these boys by yourself. They have \n eaten your ass alive.", "DANNY\n She died knowing that I was a coward...\n that I didn't lift a finger to help her.\n\n COLLETTE\n There was nothing you could have done.", "He's in shock. He grabs the duffle bag from the table and staggers \ndown the hallway, into the living room." ], [ "DANNY\n I'm not a tweaker.\n (beat)\n I don't use drugs. I never had.\n\nDanny is deadpan. Jimmy starts laughing", "Jimmy's a drug-addled eyes catch a glimmer.\n\n JIMMY\n Fuuuuuck\n\n DANNY\n Can your man handle that?", "Danny goes over to the dresser. Takes out a baggie of meth.", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "JIMMY\n But...I've seen you.\n\n DANNY\n When? When did you ever see me use?", "DANNY (V.O.)\n Ever see a long-haired tattooed freak\n buying up all the cold medicine he\n can lay his hands on at three in the morning.", "DANNY (V.O.)\n Methedrene was first distilled by a\n Japanese scientist before WWII.\n Hand it to the Japanese, they knew a\n good thing when they saw it.", "Tanner goes down, blood bubbling from his throat around the syringe. \nHis eyes roll back as he convulses from the drugs.\n\nDanny struggles to his feet.", "REVEAL DANNY, amongst the onlookers. His expression gives nothing \naway.\n\nA ribbon of blood snakes from Bobby's body, over the parking lot curb \nand runs into a storm drain.", "DANNY (V.O.)\n I dropped myself right in their laps. \n\nGarcetti pulls a baggie of meth from Danny's pocket.", "ON DANNY standing in the hallway, staring, his face a blank.\n\nON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred \ndollar bill.", "DANNY (cont'd)\n Now that's a classic speed freak for\n you, skinny and cleaning the house. I'll", "Quincey holds up the baggie of drugs.\n\nDanny looks from Quincey to Colette. Colette looks away.", "EXT. DESERTED PARK - NIGHT\n\nDanny, Garcetti and Tanner. Tanner doing a chemical test on the meth \nwith a field kit. The tester turns a tell-tale blue.", "DANNY\n Well, Jimmy the Finn, let's go score some gack.\n\nINT. CHEAP MOTEL ROOM - DAY", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "NANCY\n He said you were ... the people you \n Were with ... well ...\n\n VERNE\n Said you were a drug addict.", "DANNY\n Don't you wonder why I do it?\n\n TANNER\n The money? The drugs? Keeping yourself\n out of jail? I know the drill.", "Danny staggers towards her.\n\nHer eyes flutter slightly.\n\nDanny sits next to her. Holds her hand. There is nothing he can do.", "Jimmy holds out a bullet dispenser of crank.\n\n JIMMY\n You want a hit?\n\n DANNY\n No. I'm good." ], [ "Well, Pooh-Bear snorted so much\n crank, they had to cut his nose off.\n He's got a plastic one though.", "Pooh-Bear prepares to dose, looking for a vein in his neck, never \nnoticing ...\n\n... Garcetti's gun moving to the back of Pooh-Bear's head.", "When Pooh-Bear goes to pull his gun from his waist-band, it discharges, \nshooting him in the thigh.", "He takes a huge hit of crystal meth from a pipe, holds it, then blows a \nlong exhale.\n\n POOH-BEAR\n Okay, here we go gentlemen ...", "Pooh-Bear about to plunge the drugs when GARCETTI FIRES.\n\nPooh-Bear pitches forward, dead. The syringe falls to the floor.", "ON DANNY standing in the hallway, staring, his face a blank.\n\nON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred \ndollar bill.", "QUICK FLASH BACK: Pooh-Bear looking down at SOMETHING in his hand, his \nface blossoming into a sick smile.\n\nBACK TO PRESENT: Danny listens somberly.", "Pooh-Bear nudges the baggie towards Danny.\n\n\n POOH-BEAR (cont'd)\n Take it easy. You passed.", "Danny puts the gun to Pooh-Bear's head, closes his eyes and starts to \npull the trigger.", "POOH-BEAR (V.O.)\n You should have heard him howling.\n\nBACK TO PRESENT: Pooh-Bear lights a cigarette", "QUICK FLASH BACK: REVEAL that Pooh-Bear has been standing at the meat \nsection in a GROCERY STORE. He is looking down at the package of COW \nBRAINS in his hand.", "Pooh-Bear makes a POPPING SOUND as he illustrates with his hands.", "POOH-BEAR\n Then I took a Saws All and I cut\n His skull open", "Pooh-Bear limply aims the .45 at Little Bill.\n\n POOH-BEAR (cont'd)\n Big Bill\n \n Big Bill pats Little Bill down.", "POOH-BEAR (cont'd)\n Hell, I make better use out of it\n than he ever did. Got it up in my", "Pooh-Bear lifts his gun and SHOOTS DANNY IN THE TORSO THREE TIMES. \nDanny collapses.\n\nPooh-Bear gets to his feet.", "INT. POOH-BEAR'S COMPOUND - NIGHT\n\nPooh-Bear loading a chrome .45, Big Bill his Flintlock.", "POOH-BEAR\n Oh lordy, oh lordy, oh lordy. Pooh-\n Bear done shot himself.", "Pooh-Bear pulls a chrome .45 from his waistband.\n\n DANNY\n Can I pull my dick out now?", "DANNY\n Why do they call him Pooh-Bear?\n\n JIMMY\n I think on account of his nose." ], [ "Danny staggers towards her.\n\nHer eyes flutter slightly.\n\nDanny sits next to her. Holds her hand. There is nothing he can do.", "A WOMAN ONE DOOR DOWN FROM DANNY'S ROOM struggles with her groceries. \nWhen she goes to open the door, one of the bags breaks, spilling its \ncontents onto the floor.", "DANNY\n No. But I'm the only one with my sad\n story.\n (beat)\n And that's how it's gonna stay.\n\nINT. CAR - DAY", "DANNY\n She died knowing that I was a coward...\n that I didn't lift a finger to help her.\n\n COLLETTE\n There was nothing you could have done.", "INT. POOH-BEAR'S HOUSE - NIGHT\n\nDanny continues down the hall, remembering.\n\nINT. CREEPY HOUSE - SALTON SEA - NIGHT (FLASHBACK)", "BO\n No, I don't mind. That's how come I\n told you about it.\n\n DANNY/TOM\n I was talking to my wife.", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "REVEAL DANNY, amongst the onlookers. His expression gives nothing \naway.\n\nA ribbon of blood snakes from Bobby's body, over the parking lot curb \nand runs into a storm drain.", "DANNY (cont'd)\n You hear about Bobby?\n\n JIMMY\n Yeah, it's a pity. Truly a pity.", "DANNY (cont'd)\n (loud through the door)\n And to think Miss Manner was\n living down the hall from me and I\n didn't even know it!", "DANNY\n Tell that to Bobby ... and his wife and kid.", "DANNY (cont'd)\n But you know if you go out there,\n they'll kill you, too. You'll both\n die. What do you do?", "Danny starts to say something. Stops. Goes to this door. Stops again. \n\n DANNY\n You okay?\n She nods.", "DANNY (cont'd)\n (weakly)\n You decide, friend. You decide.\n\nHe closes his eyes.", "... Danny stirs on the floor. His eyes open. He opens his shirt and \nchecks his torso REVEALING THAT HE IS WEARING HIS BULLET-PROOF VEST.", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "DANNY (cont'd)\n Am I dead?\n\nA linoleum floor rushes underneath.", "DANNY\n Nothing.\n\n COLETTE\n Go ahead.", "JIMMY\n Danny told me to tell you that he was sorry.\n (beat)\n He said he had to take care of this himself.\n\nEXT. BLUFF - NIGHT", "MOVING TOWARDS the light. Closer. Closer.\n\nDanny's eyes close, his head droops.\n\n FADE TO WHITE:" ], [ "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "DANNY (cont'd)\n ... there's two guys with masks and\n guns in the other room about to kill\n your wife.\n\nTanner looks at Danny, confused.", "DANNY\n Murder. Beautiful.\n\n TANNER\n Pumped fifty-seven bullets into a police informant.", "REVEAL DANNY, amongst the onlookers. His expression gives nothing \naway.\n\nA ribbon of blood snakes from Bobby's body, over the parking lot curb \nand runs into a storm drain.", "DANNY (cont'd)\n But you know if you go out there,\n they'll kill you, too. You'll both\n die. What do you do?", "DANNY\n She died knowing that I was a coward...\n that I didn't lift a finger to help her.\n\n COLLETTE\n There was nothing you could have done.", "QUINCEY\n Oops. My bad.\n\nDanny looks at them, confused, a blood stain blossoming on his white \nshirt.", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "COLETTE\n They threatened to kill my daughter.\n (beat)\n I had no choice.\n (beat)\n I'm sorry, Danny.", "He jumps up. Goes over to the still-wheezing Tanner and empties his \nclip into him. When the clip is spent, Danny keeps pulling the trigger \n... over and over again.", "DANNY\n Because I wanted to find them myself\n (beat)\n I wanted to kill them.\n\nINT. EL CAMINO COLLEGE LIBRARY-DAY", "DANNY (cont'd)\n You hear about Bobby?\n\n JIMMY\n Yeah, it's a pity. Truly a pity.", "Danny staggers towards her.\n\nHer eyes flutter slightly.\n\nDanny sits next to her. Holds her hand. There is nothing he can do.", "Garcetti nods slightly. He goes to a kneeling position, then curls up \non the floor like he is taking a nap and dies.\n\nDanny goes over to the couch and sits down.", "Danny puts the gun to Pooh-Bear's head, closes his eyes and starts to \npull the trigger.", "Pooh-Bear lifts his gun and SHOOTS DANNY IN THE TORSO THREE TIMES. \nDanny collapses.\n\nPooh-Bear gets to his feet.", "Danny amused by the conversation. He sees something out of the corner \nof his eye ...\n\nThe boyfriend kissing Colette roughly. She obviously isn't enjoying \nit.", "Verne glares at Danny. No forgiveness in his heart.\n\n VERNE (cont'd)\n You ever think you might be buying\n drugs from the very people who took\n her life?", "JIMMY\n Danny told me to tell you that he was sorry.\n (beat)\n He said he had to take care of this himself.\n\nEXT. BLUFF - NIGHT", "COLETTE\n You said you wouldn't kill him!\n\nShe tries to go to Danny but Quincey stops her.\n\n COLETTE\n You lied to me!" ], [ "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "He jumps up. Goes over to the still-wheezing Tanner and empties his \nclip into him. When the clip is spent, Danny keeps pulling the trigger \n... over and over again.", "Danny drops the gun. Tanner snatches it up.\n\nTanner immediately has the gun inches from Danny's head. Danny freezes \n...", "Danny shoots Tanner in the shoulder. He collapses to the floor.\n\nON GARCETTI - his eyes flutter and open.\n\nDanny walks over to Tanner and stands above him.", "There is a BULLET HOLE about the size of a fifty cent piece in the wall \nnext to Danny's head. He puts his eye to the hole and looks out.", "Pooh-Bear lifts his gun and SHOOTS DANNY IN THE TORSO THREE TIMES. \nDanny collapses.\n\nPooh-Bear gets to his feet.", "Garcetti standing there pointing his gun at Danny, rocking slightly \nback and forth, a bullet hole in his cheekbone. He looks brain dead.\n\nDanny doesn't move. TANNER STILL WHEEZING.", "... Danny stirs on the floor. His eyes open. He opens his shirt and \nchecks his torso REVEALING THAT HE IS WEARING HIS BULLET-PROOF VEST.", "Danny SHOOTS TWICE, the bullets blowing through Big Bill's hands and \nthumping into his chest. Big Bill crumples.", "Garcetti looks like he wants to shoot his gun, but can't. He keeps \nlooking down at his hand, trying to get it to obey.\n\nDanny calmly walks over and takes the gun from Garcetti.", "Garcetti tires of the whole show. He pulls a small SHOCK GUN from his \npocket, switches it on and sticks Danny behind the neck with it.", "ON DANNY. Still staring at the gun. He knows the gun is empty. He \nnotices something on the floor ...\n\n... THE LOADED SYRINGE.", "DANNY (cont'd)\n Tom Van Allen\n\nDanny raises his gun.", "TANNER\n Please ... don't do this ...\n\n DANNY\n Answer the fucking question!\n\nWhen Danny goes to shoot Tanner again ...", "REVEAL DANNY, amongst the onlookers. His expression gives nothing \naway.\n\nA ribbon of blood snakes from Bobby's body, over the parking lot curb \nand runs into a storm drain.", "MORE SHOTS. SEMI-AUTOMATIC FIRE.\n\nSEVERAL BULLETS slam through the bathroom wall, one striking Danny in \nthe shoulder.", "POOH-BEAR\n Shoot him.\n\n DANNY\n Okay! Okay!", "Danny blinks his eyes again. Looks up at ...\n\n... A PARAMEDIC working on him.\n\nDanny smiles a weak smile at Jimmy.", "... Tanner pulls a K-BAR KNIFE from the back of his belt and plunges it \ninto the back of Danny's gun hand. The gun discharges, missing Tanner.", "Danny wheels on the other two guys at the table, who are going for \ntheir guns. Danny opens up on them with the Glock, flooring them \nbefore they can get a shot off." ], [ "DANNY\n Your daughter needs you. Go.\n\nThe fire continues to spread. Colette kisses Danny on the lips. \nQuincey pulls her away.", "Collette looks back one last time just as the flames reach the door, \ncutting off any escape.\n\nDanny breathing hard. He gets up. Staggers over to the mirror where \nhis trumpet is.", "Back to the opening scene. The whole room ablaze. Danny lying on the \nbed, playing the horn.", "Danny blinks his eyes again. Looks up at ...\n\n... A PARAMEDIC working on him.\n\nDanny smiles a weak smile at Jimmy.", "DANNY (V.O.)\n Oh shit. What is this?\n\nEmerging from the flames into a dark hallway.\n\nDanny's eyes flutter as he seemingly continues to float.", "... Danny stirs on the floor. His eyes open. He opens his shirt and \nchecks his torso REVEALING THAT HE IS WEARING HIS BULLET-PROOF VEST.", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "He jumps up. Goes over to the still-wheezing Tanner and empties his \nclip into him. When the clip is spent, Danny keeps pulling the trigger \n... over and over again.", "WHAP, WHAP! Two spears plunge through the cheap door, stopping inches \nfrom Danny's head.\n\nThey run like hell.\n\nEXT. SKY - DAY", "Danny staggers towards her.\n\nHer eyes flutter slightly.\n\nDanny sits next to her. Holds her hand. There is nothing he can do.", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "BLACK SCREEN\n\nTHEN BLURRY, VAGUE SLOW MOTION - moving through the flames.\n\nCLOSE ON DANNY'S HEAD - seemingly floating through the fiery room.", "INT. BURNED OUT BUILDING - NIGHT (LATER)\n\nDanny sitting on a crate. He is sporting a BLACK EYE from where Tanner \nkicked him.", "Danny frowns, not sure what to make of it. He steps down from the tub \nand is just about to exit when THE FRONT DOORS IS KICKED OPEN AND SHOTS \nARE FIRED.", "Danny pulls the syringe from Tanner's throat. A LONG WET WEEZE \nESCAPES.\n\nSuddenly, A NOISE BEHIND DANNY.", "Danny wheels on the other two guys at the table, who are going for \ntheir guns. Danny opens up on them with the Glock, flooring them \nbefore they can get a shot off.", "Danny shoots Tanner in the shoulder. He collapses to the floor.\n\nON GARCETTI - his eyes flutter and open.\n\nDanny walks over to Tanner and stands above him.", "Danny freezes. Looks up at Colette.\n DANNY\n Yes.\n\nColette waits a beat, then turns to leave.", "Tanner goes down, blood bubbling from his throat around the syringe. \nHis eyes roll back as he convulses from the drugs.\n\nDanny struggles to his feet.", "DANNY (cont'd)\n Tom Van Allen\n\nDanny raises his gun." ], [ "Danny amused by the conversation. He sees something out of the corner \nof his eye ...\n\nThe boyfriend kissing Colette roughly. She obviously isn't enjoying \nit.", "DANNY (cont'd)\n Why are you out here?\n\n COLETTE\n Quincey, my boyfriend... he kicked me out.", "COLETTE\n You said you wouldn't kill him!\n\nShe tries to go to Danny but Quincey stops her.\n\n COLETTE\n You lied to me!", "Danny freezes. Looks up at Colette.\n DANNY\n Yes.\n\nColette waits a beat, then turns to leave.", "DANNY\n Your daughter needs you. Go.\n\nThe fire continues to spread. Colette kisses Danny on the lips. \nQuincey pulls her away.", "COLETTE\n They threatened to kill my daughter.\n (beat)\n I had no choice.\n (beat)\n I'm sorry, Danny.", "Danny looks at Colette, imagining the awful beating she must have \ntaken.", "DANNY\n Will you do that?\n (off her nod)\n Then I want you to get out of the room.\n\n COLETTE\n Why?", "DANNY\n (looking up)\n Colette...I want to help \n you, with Quincey.\n\nColette pulls back.", "COLETTE\n Why not?\n\n DANNY\n I just can't. Okay?\n\nDanny paces uncomfortably.", "DANNY\n Then why don't you leave?\n (beat)\n Just give me one good reason.\n\n COLETTE\n Because he'll kill me.", "DANNY\n Who is it?\n\n COLETTE (O.S.)\n It's me.\n\n DANNY\n I'm kind of busy.", "... Colette AND HER TRASHY DUDE BOYFRIEND\n\nColette sees Danny looking. Smiles at him. Danny returns the smile \nuntil the trashy dude looks over. Danny looks away.", "She pulls even closer. \n\n COLETTE\n No deep dark secrets?\n\nShe goes to kiss him. Danny stops playing. Pulls away from her.", "COLETTE\n I can't leave.\n\n DANNY\n You get off on abuse or\n something?\n\n COLETTE\n Fuck you.", "DANNY\n Then leave.\n\n COLETTE\n I can't.\n\n DANNY\n Why not?", "COLETTE\n What's wrong, Danny?\n\n DANNY\n Look, maybe you oughta' leave.", "DANNY\n Colette, go.\n\n COLETTE\n I don't want to leave you.", "DANNY\n What do you want from me, Colette?\n\n COLETTE\n I don't want anything. Why are you\n so suspicious?", "DANNY\n (cold and abrupt):\n What are you up to?\n\n COLETTE\n Nothing." ], [ "Danny jams the SYRINGE INTO TANNER'S THROAT all the way down to the \nplunger, dosing him with the meth.", "Tanner goes down, blood bubbling from his throat around the syringe. \nHis eyes roll back as he convulses from the drugs.\n\nDanny struggles to his feet.", "DANNY starts chuckling. Looks up at Tanner.\n\n\n DANNY\n It doesn't matter.\n\nDanny looks down at the syringe again. Tanner sees it too.", "Danny goes over to the dresser. Takes out a baggie of meth.", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "TANNER\n Too late to be a hero.\n\nDanny picks up the syringe.\n\nTanner pulls the trigger.", "DANNY (V.O.)\n I dropped myself right in their laps. \n\nGarcetti pulls a baggie of meth from Danny's pocket.", "Danny pulls the syringe from Tanner's throat. A LONG WET WEEZE \nESCAPES.\n\nSuddenly, A NOISE BEHIND DANNY.", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "Colette is crying her eyes out. She is HOLDING the BAGGIE OF METH that \nDanny gave her.\n\nThe cops enter the building just as...", "ON DANNY standing in the hallway, staring, his face a blank.\n\nON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred \ndollar bill.", "He jumps up. Goes over to the still-wheezing Tanner and empties his \nclip into him. When the clip is spent, Danny keeps pulling the trigger \n... over and over again.", "Danny staggers towards her.\n\nHer eyes flutter slightly.\n\nDanny sits next to her. Holds her hand. There is nothing he can do.", "He draws the meth into a syringe then turns on the stereo with a \nremote.\n\nA YODELING INSTRUCTION TAPE BLASTS FROM THE SPEAKERS.", "Danny puts the gun to Pooh-Bear's head, closes his eyes and starts to \npull the trigger.", "Danny shoots Tanner in the shoulder. He collapses to the floor.\n\nON GARCETTI - his eyes flutter and open.\n\nDanny walks over to Tanner and stands above him.", "And with that it is all over.\n\nDanny tries to get to his feet again. Fails, His eyes flutter. All is \nsilent except for A FAINT LIQUID SPATTERING.", "Garcetti standing there pointing his gun at Danny, rocking slightly \nback and forth, a bullet hole in his cheekbone. He looks brain dead.\n\nDanny doesn't move. TANNER STILL WHEEZING.", "Danny frowns, not sure what to make of it. He steps down from the tub \nand is just about to exit when THE FRONT DOORS IS KICKED OPEN AND SHOTS \nARE FIRED.", "Collette looks back one last time just as the flames reach the door, \ncutting off any escape.\n\nDanny breathing hard. He gets up. Staggers over to the mirror where \nhis trumpet is." ], [ "DANNY\n Because I wanted to find them myself\n (beat)\n I wanted to kill them.\n\nINT. EL CAMINO COLLEGE LIBRARY-DAY", "DANNY (cont'd)\n But you know if you go out there,\n they'll kill you, too. You'll both\n die. What do you do?", "Danny stalks her.", "DANNY\n All right, Nancy, how'd you track me down?", "INT. F.B.I. CAR-SAME\n\nDanny is wired for sound. The agents monitor him on a receiver.", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "Garcetti puts his hand on Danny's shoulder, really playing it up.\n\n GARCETTI\n He knows somebody ratted him.\n\n DANNY\n What?!", "DANNY\n Look man, I just wanted to make some\n dough and disappear. I didn't want\n to wait around for Domingo to figure\n out who doubled back on him.", "7Danny runs down a service street which runs through the back of a \nseries of apartment complexes.\n\nThe red car follows, slowly prowling the street.\n\nDanny squeezed behind a dumpster, watching.", "DANNY\n Yeah. What about him?\n\n GARCETTI\n Turns out he's connected.\n\n DANNY\n To who?", "Trahn walks over to Danny, who sits there with his head down, his face \nobscured by a baseball cap. Slowly, he looks up.\n\nIT IS JIMMY.", "DANNY (cont'd)\n Tommorrow night, when he is asleep. \n I want you to beep me at this number.\n He writes the number down on a dollar bill.", "DANNY\n Jimmy, where do you find these people?\n\n JIMMY\n The Del Ammo Mall mostly.\n\nThey walk along.", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "Danny and Verne sitting at the dining room table. Nancy brings in a \npot of coffee. Verne eyes Danny silently. Danny won't look him in the \neye.", "He hangs up.\n\nEXT. ALLEY - NIGHT\n\nDanny waiting in the shadows.\n\nA car, sans headlights, pulls into the alley and stops.", "DANNY (cont'd)\n Why are you out here?\n\n COLETTE\n Quincey, my boyfriend... he kicked me out.", "INT. F.B.I. OFFICES-DAY (LATER)\n\nThe meeting breaking up. Trahn walks Danny away from the conference \nroom.", "DANNY\n Who is it?\n\n GARCETTI\n Brace yourself.\n\nDanny's eyes dart back and forth between Garcetti and Tanner.", "Jimmy is agitated and confused.\n\n JIMMY\n But... why? Why would you pretend?\n\n DANNY\n I can't tell you." ], [ "INT. POOH-BEAR'S HOUSE - NIGHT\n\nBig Bill lets Danny in, then pats him down for weapons. Satisfied, he \nleads Danny to the kitchen.", "Danny puts the gun to Pooh-Bear's head, closes his eyes and starts to \npull the trigger.", "INT. HOUSE - SAME\n\nPooh-Bear sitting in a recliner, obscured by shadows when Danny and his \nescorts enter.", "OUTSIDE - still descending the bluff, Tanner and Garcetti hear the \ngunfire.\n\nINSIDE - Danny turns on Pooh-Bear, who sits there staring at his \ninjured leg.", "Pooh-Bear lifts his gun and SHOOTS DANNY IN THE TORSO THREE TIMES. \nDanny collapses.\n\nPooh-Bear gets to his feet.", "UNDER THE TABLE - Danny fumbling with the gun, trying to untape it \nwithout being too obvious.\n\nPooh-Bear unzips the bag. Inside, a lot of cash.", "Pooh-Bear pulls a chrome .45 from his waistband.\n\n DANNY\n Can I pull my dick out now?", "POOH-BEAR\n Shoot him.\n\n DANNY\n Okay! Okay!", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "INT. POOH-BEAR'S HOUSE - NIGHT\n\nDanny continues down the hall, remembering.\n\nINT. CREEPY HOUSE - SALTON SEA - NIGHT (FLASHBACK)", "Danny has been had. Pooh-Bear laughs uproariously.\n\nINT. VEGA - DAY\n\nDanny slouched in the passenger's seat.", "INT. POOH-BEAR'S COMPOUND - NIGHT\n\nPooh-Bear loading a chrome .45, Big Bill his Flintlock.", "POOH-BEAR\n Cool it. We got business.\n\n DANNY\n Yeah, dickhead.\n\nDanny moves over and plops down in the guys seat.", "DANNY\n I didn't fucking do anything! I\n swear to God!\n\nPooh-Bear leans forward and opens the Plexiglas partition about half an \ninch.", "REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND.\n\nDanny pulls up in a rental car.\n\nINT. DANNY'S CAR - SAME", "GARCETTI\n Maybe he isn't showing.\n\nDanny takes a gym bag out of the trunk and approaches Pooh-Bear's \nhouse.", "Danny wheels on the other two guys at the table, who are going for \ntheir guns. Danny opens up on them with the Glock, flooring them \nbefore they can get a shot off.", "POOH-BEAR\n I'll keep that in mind.\n\nMOVE UNDER THE TABLE - Danny's Glock taped to the underside, out of \nsight.", "ON DANNY standing in the hallway, staring, his face a blank.\n\nON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred \ndollar bill.", "Big Bill pulls a 19th century double-barreled FLINTLOCK PISTOL from his \njacket and points it at Danny's head." ], [ "Pooh-Bear lifts his gun and SHOOTS DANNY IN THE TORSO THREE TIMES. \nDanny collapses.\n\nPooh-Bear gets to his feet.", "Danny puts the gun to Pooh-Bear's head, closes his eyes and starts to \npull the trigger.", "When Pooh-Bear goes to pull his gun from his waist-band, it discharges, \nshooting him in the thigh.", "POOH-BEAR\n Shoot him.\n\n DANNY\n Okay! Okay!", "Pooh-Bear limply aims the .45 at Little Bill.\n\n POOH-BEAR (cont'd)\n Big Bill\n \n Big Bill pats Little Bill down.", "QUICK FLASH BACK: Pooh-Bear looking down at SOMETHING in his hand, his \nface blossoming into a sick smile.\n\nBACK TO PRESENT: Danny listens somberly.", "Pooh-Bear stands up.\n\n\n POOH-BEAR (cont'd)\n You got a deal.\n\nThey shake hands.", "QUICK FLASH BACK: REVEAL that Pooh-Bear has been standing at the meat \nsection in a GROCERY STORE. He is looking down at the package of COW \nBRAINS in his hand.", "POOH-BEAR\n Oh lordy, oh lordy, oh lordy. Pooh-\n Bear done shot himself.", "POOH-BEAR\n Then I took a Saws All and I cut\n His skull open", "Pooh-Bear prepares to dose, looking for a vein in his neck, never \nnoticing ...\n\n... Garcetti's gun moving to the back of Pooh-Bear's head.", "Pooh-Bear about to plunge the drugs when GARCETTI FIRES.\n\nPooh-Bear pitches forward, dead. The syringe falls to the floor.", "Danny looks surprised. It was too easy.\n\n DANNY\n You're serious?\n\n POOH-BEAR\n Anything for a dear friend.", "OSWALD (O.S.)\n Pooh-Bear! We got a problem.\n\nOswald is standing over the car, prodding one of the pigeons with his \npellet gun.", "OUTSIDE - still descending the bluff, Tanner and Garcetti hear the \ngunfire.\n\nINSIDE - Danny turns on Pooh-Bear, who sits there staring at his \ninjured leg.", "INT. POOH-BEAR'S COMPOUND - NIGHT\n\nPooh-Bear loading a chrome .45, Big Bill his Flintlock.", "POOH-BEAR (V.O.)\n You should have heard him howling.\n\nBACK TO PRESENT: Pooh-Bear lights a cigarette", "Pooh-Bear makes a POPPING SOUND as he illustrates with his hands.", "DANNY\n Why do they call him Pooh-Bear?\n\n JIMMY\n I think on account of his nose.", "LITTLE BILL\n That's a pack of discharge.\n\nDanny now makes eye contact with Pooh-Bear, who listens intently." ], [ "Danny stalks her.", "Trahn walks over to Danny, who sits there with his head down, his face \nobscured by a baseball cap. Slowly, he looks up.\n\nIT IS JIMMY.", "7Danny runs down a service street which runs through the back of a \nseries of apartment complexes.\n\nThe red car follows, slowly prowling the street.\n\nDanny squeezed behind a dumpster, watching.", "He hangs up.\n\nEXT. ALLEY - NIGHT\n\nDanny waiting in the shadows.\n\nA car, sans headlights, pulls into the alley and stops.", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "INT. F.B.I. CAR-SAME\n\nDanny is wired for sound. The agents monitor him on a receiver.", "Danny knocks Garcetti's hand away and stands up. Garcetti stalks him.", "DANNY\n Because I wanted to find them myself\n (beat)\n I wanted to kill them.\n\nINT. EL CAMINO COLLEGE LIBRARY-DAY", "Jimmy The Finn enters and approaches Danny. Danny signals for Jimmy to \ngo to the back, then gets up and follows him, carrying two beers.", "Danny approaches. The passenger's side window rolls down revealing ...", "Danny emerges from the shadows, opens the back door and lays on the \nback seat.\n\nINT. CAR - SAME", "INT. F.B.I. OFFICES-DAY (LATER)\n\nThe meeting breaking up. Trahn walks Danny away from the conference \nroom.", "Danny approaching the building, we hear shots ...\n\n... THE RED CAR from earlier, prowling the streets. Danny ducks into a \nliquor store and watches from the window.", "DANNY\n Jimmy, where do you find these people?\n\n JIMMY\n The Del Ammo Mall mostly.\n\nThey walk along.", "Danny wheels on the other two guys at the table, who are going for \ntheir guns. Danny opens up on them with the Glock, flooring them \nbefore they can get a shot off.", "... Danny drives by in Jimmy's car, followed by...\n\n... TWO OF THE AGENTS from the conference room. They remain a good \nhalf-block behind him.", "Another car pulls into the tight street, behind the red car. The \ndriver of the other car SOUNDS HIS HORN. The red car speeds off.\n\nDanny walks quickly the other way.", "DANNY\n All right, Nancy, how'd you track me down?", "... Danny stirs on the floor. His eyes open. He opens his shirt and \nchecks his torso REVEALING THAT HE IS WEARING HIS BULLET-PROOF VEST.", "INT. POOH-BEAR'S HOUSE - NIGHT\n\nDanny continues down the hall, remembering.\n\nINT. CREEPY HOUSE - SALTON SEA - NIGHT (FLASHBACK)" ], [ "UNDER THE TABLE - Danny fumbling with the gun, trying to untape it \nwithout being too obvious.\n\nPooh-Bear unzips the bag. Inside, a lot of cash.", "... Danny stirs on the floor. His eyes open. He opens his shirt and \nchecks his torso REVEALING THAT HE IS WEARING HIS BULLET-PROOF VEST.", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "Danny sitting at the kitchen table. THE SCREAMS OF LITTLE BILL AUDIBLE \nFROM THE OTHER ROOM.", "Danny is FIDDLING WITH SOMETHING UNDER THE TABLE when he HEARS POOH-\nBEAR APPROACHING.", "Danny wheels on the other two guys at the table, who are going for \ntheir guns. Danny opens up on them with the Glock, flooring them \nbefore they can get a shot off.", "The other men ease back from the table a little.\n\nUNDER THE TABLE - Danny still can't get the gun loose.", "Danny and Verne sitting at the dining room table. Nancy brings in a \npot of coffee. Verne eyes Danny silently. Danny won't look him in the \neye.", "DANNY (cont'd)\n Tommorrow night, when he is asleep. \n I want you to beep me at this number.\n He writes the number down on a dollar bill.", "INT. RESIDENTIAL HOTEL ROOM - SAME\n\nDanny continues playing. He sneaks down a look at ...", "Danny finishes up, stuffing a roll of DUCT TAPE into his pocket.\n\nPooh-Bear drops a zip-lock bag of METH on the table.", "Danny uses the diversion. He quickly TAKES SOMETHING from him own \njacket pocket and SLIPS IT IN THE HOLE IN LITTLE BILL'S JACKET between \nthe coat and the lining.", "Danny watching silently.\n\nTanner puts the bills in an envelope, licks the flap, seals it and \nslides it over to Danny, who doesn't touch it.", "ON DANNY. Still staring at the gun. He knows the gun is empty. He \nnotices something on the floor ...\n\n... THE LOADED SYRINGE.", "INT. F.B.I. CAR-SAME\n\nDanny is wired for sound. The agents monitor him on a receiver.", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "POOH-BEAR\n I'll keep that in mind.\n\nMOVE UNDER THE TABLE - Danny's Glock taped to the underside, out of \nsight.", "Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands \nit to...\n...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT.", "Danny smiles good-naturedly. Shoots a look over at ...\n\n... one of the guys sitting where he taped his gun earlier.", "DANNY is sitting in an armchair. He is the only one who looks tired. \nHe sits there, taking the scene in.\n\nALL SOUNDS FADE OUT" ], [ "Jimmy's a drug-addled eyes catch a glimmer.\n\n JIMMY\n Fuuuuuck\n\n DANNY\n Can your man handle that?", "Danny goes over to the dresser. Takes out a baggie of meth.", "DANNY\n I'm not a tweaker.\n (beat)\n I don't use drugs. I never had.\n\nDanny is deadpan. Jimmy starts laughing", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "Quincey holds up the baggie of drugs.\n\nDanny looks from Quincey to Colette. Colette looks away.", "DANNY (V.O.)\n Ever see a long-haired tattooed freak\n buying up all the cold medicine he\n can lay his hands on at three in the morning.", "Tanner goes down, blood bubbling from his throat around the syringe. \nHis eyes roll back as he convulses from the drugs.\n\nDanny struggles to his feet.", "JIMMY\n But...I've seen you.\n\n DANNY\n When? When did you ever see me use?", "ON DANNY standing in the hallway, staring, his face a blank.\n\nON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred \ndollar bill.", "DANNY\n Well, Jimmy the Finn, let's go score some gack.\n\nINT. CHEAP MOTEL ROOM - DAY", "DANNY (cont'd)\n Now that's a classic speed freak for\n you, skinny and cleaning the house. I'll", "DANNY (V.O.)\n Methedrene was first distilled by a\n Japanese scientist before WWII.\n Hand it to the Japanese, they knew a\n good thing when they saw it.", "Danny staggers towards her.\n\nHer eyes flutter slightly.\n\nDanny sits next to her. Holds her hand. There is nothing he can do.", "DANNY\n Don't you wonder why I do it?\n\n TANNER\n The money? The drugs? Keeping yourself\n out of jail? I know the drill.", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "DANNY (V.O.)\n I dropped myself right in their laps. \n\nGarcetti pulls a baggie of meth from Danny's pocket.", "Jimmy holds out a bullet dispenser of crank.\n\n JIMMY\n You want a hit?\n\n DANNY\n No. I'm good.", "DANNY\n Never mind. Just do what I say.\n He holds out the baggie. Colette backs away.\n\n COLETTE\n I don't want to.", "Jimmy pockets the drugs.\n\n JIMMY\n Can I ask you something?\n\n DANNY\n Sure, Jimmy.", "... Danny stirs on the floor. His eyes open. He opens his shirt and \nchecks his torso REVEALING THAT HE IS WEARING HIS BULLET-PROOF VEST." ], [ "Well, Pooh-Bear snorted so much\n crank, they had to cut his nose off.\n He's got a plastic one though.", "He takes a huge hit of crystal meth from a pipe, holds it, then blows a \nlong exhale.\n\n POOH-BEAR\n Okay, here we go gentlemen ...", "Danny goes over to the dresser. Takes out a baggie of meth.", "Garcetti puts his hand to his nose and blows out a clot of blood. He \nlooks down at his hand.\n\nHe has hacked up the bullet he was shot with.", "He draws the meth into a syringe then turns on the stereo with a \nremote.\n\nA YODELING INSTRUCTION TAPE BLASTS FROM THE SPEAKERS.", "He is wearing shorts, a tank top and after-ski boots. He has a big \npowdery crank donut around his nostrils.", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "Colette is crying her eyes out. She is HOLDING the BAGGIE OF METH that \nDanny gave her.\n\nThe cops enter the building just as...", "VERNE\n You might as well be spitting on her\n grave every time you put drugs up\n your nose. Or did you just\n conveniently forget that it was drug\n dealers who killed my daughter?", "DANNY (V.O.)\n Ever see a long-haired tattooed freak\n buying up all the cold medicine he\n can lay his hands on at three in the morning.", "Danny finishes up, stuffing a roll of DUCT TAPE into his pocket.\n\nPooh-Bear drops a zip-lock bag of METH on the table.", "He pops his nose back into place, but it goes on crooked.\n\nThe Bills escort Danny over to the cage. There is A GIGANTIC CRAZED \nWEASEL INSIDE.", "DANNY (V.O.)\n Methedrene was first distilled by a\n Japanese scientist before WWII.\n Hand it to the Japanese, they knew a\n good thing when they saw it.", "ON DANNY standing in the hallway, staring, his face a blank.\n\nON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred \ndollar bill.", "JIMMY\n No one ever noticed?\n\n DANNY\n Are you kidding me? A bunch of amped\n -out tweakers? It was easy.", "Suddenly ...\n\n KUJO (O.S.)\n OH SHIT! WE'RE OUT OF DRUGS!\n\nINT. PARTY HOUSE - NIGHT", "DANNY (V.O.)\n I dropped myself right in their laps. \n\nGarcetti pulls a baggie of meth from Danny's pocket.", "TRAHN (cont'd)\n About a year and half ago, Mr. Van \n Allen's wife was murdered at a meth", "The kit has sprung open, sending shit samples everywhere.\n\nKujo quickly scrapes as much as he can back into a container and runs \noff.", "isn't wearing his prosthetic nose. A GAPING HOLE WHERE HIS NOSE SHOULD \nBE. He looks like some obscene human bat." ], [ "COLETTE\n And you admire that?\n\n DANNY\n It's the only way to play.\n\nColette slides closer.", "Colette comes to a slow realization.\n\n COLETTE\n There's someone else, isn't there?", "COLETTE\n Trust me. We're safe.\n\nColette sits down on the piano bench next to Danny.", "COLETTE (cont'd)\n Please keep playing.\n\nHe continues. She sits there listening for a few moments.", "Colette now sitting on the floor of the adjoining wall with her arms \naround her knees. She closes her eyes and leans her head against the \nwall, soaking in the music.", "... Colette AND HER TRASHY DUDE BOYFRIEND\n\nColette sees Danny looking. Smiles at him. Danny returns the smile \nuntil the trashy dude looks over. Danny looks away.", "COLETTE\n Oh God.\n\n DANNY\n Come on, cheer up. It could be worse.\n\nShe looks up.", "COLETTE (cont'd)\n That's nice. What is it?\n\n DANNY\n Miles Davis. \"All Blues.\"", "COLETTE\n Can we try that again?\n\nThey kiss again. Deep and long. Danny suddenly pulls back mid-kiss.", "COLETTE\n From day one.\n (beat)\n I was a breach birth. They tried for\n hours to turn my little butt around.\n But I wouldn't let 'em.", "COLETTE\n Could be worse.\n (beat)\n Oh sorry, forgot who I was talking to.\n\n DANNY\n Ouch.", "COLETTE\n They would have killed you too.", "COLETTE\n Oh, he's a keeper all right.\n\n DANNY\n Colette ...\n\nHe stops.\n COLETTE\n What?", "COLETTE\n Jesus, I look like a raccoon.\n\n DANNY\n I was thinking Alice Cooper.\n\nShe puts her head in her hands. Sighs.", "COLETTE\n I can't. I've got a kid. She lives\n with my parents. Quincey knows where\n they live.", "COLETTE (cont'd)\n I'm so embarrassed.\n\n DANNY\n Don't be.\n\nShe looks at herself in a compact mirror.", "COLETTE\n You don't understand.\n\n DANNY\n There's nothing to understand. \n The guy is a pig.", "COLETTE\n I can't leave.\n\n DANNY\n You get off on abuse or\n something?\n\n COLETTE\n Fuck you.", "Colette's mascara is running. Danny hands her a napkin.\n\n COLETTE\n Thanks.\n\nShe dabs at her eyes.", "COLETTE\n They threatened to kill my daughter.\n (beat)\n I had no choice.\n (beat)\n I'm sorry, Danny." ], [ "Danny staggers towards her.\n\nHer eyes flutter slightly.\n\nDanny sits next to her. Holds her hand. There is nothing he can do.", "Danny and THE WOMAN FROM THE PHOTOGRAPH sitting on the shore. Watching \nthe sunset. She is his wife, LIZ.\n\nDanny playing \"SAETA\" on his trumpet.", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "DANNY (cont'd)\n But you know if you go out there,\n they'll kill you, too. You'll both\n die. What do you do?", "DANNY\n Yummy.\n\nShe smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad \nand sexy.", "DANNY\n She died knowing that I was a coward...\n that I didn't lift a finger to help her.\n\n COLLETTE\n There was nothing you could have done.", "A WOMAN ONE DOOR DOWN FROM DANNY'S ROOM struggles with her groceries. \nWhen she goes to open the door, one of the bags breaks, spilling its \ncontents onto the floor.", "Danny amused by the conversation. He sees something out of the corner \nof his eye ...\n\nThe boyfriend kissing Colette roughly. She obviously isn't enjoying \nit.", "DANNY (cont'd)\n You hear about Bobby?\n\n JIMMY\n Yeah, it's a pity. Truly a pity.", "DANNY\n Tell that to Bobby ... and his wife and kid.", "DANNY (O.S.)\n Alas, the lovely Mrs. Bobby was\n playing the bologna in a Posturpedic sandwich\n (beat)\n And there was a kid.", "Danny driving. Liz in the passenger seat looking pissed.\n\nThe Salton Sea can be seen far below in the distance shimmering under a \nfull moon.", "DANNY (cont'd)\n Why are you out here?\n\n COLETTE\n Quincey, my boyfriend... he kicked me out.", "Danny in his good clothes, sitting in front of the mirror, playing his \ntrumpet, staring at the photos of his wife.\n\nINT. COLETTE'S ROOM - SAME", "Danny stalks her.", "DANNY\n Your daughter needs you. Go.\n\nThe fire continues to spread. Colette kisses Danny on the lips. \nQuincey pulls her away.", "Back to the opening scene. The whole room ablaze. Danny lying on the \nbed, playing the horn.", "Collette looks back one last time just as the flames reach the door, \ncutting off any escape.\n\nDanny breathing hard. He gets up. Staggers over to the mirror where \nhis trumpet is.", "DANNY (cont'd)\n ... there's two guys with masks and\n guns in the other room about to kill\n your wife.\n\nTanner looks at Danny, confused.", "REVEAL DANNY, amongst the onlookers. His expression gives nothing \naway.\n\nA ribbon of blood snakes from Bobby's body, over the parking lot curb \nand runs into a storm drain." ], [ "ON DANNY. Still staring at the gun. He knows the gun is empty. He \nnotices something on the floor ...\n\n... THE LOADED SYRINGE.", "Danny drops the gun. Tanner snatches it up.\n\nTanner immediately has the gun inches from Danny's head. Danny freezes \n...", "DANNY (cont'd)\n Tom Van Allen\n\nDanny raises his gun.", "Danny looks up at the gun, his face a blank.\n\n DANNY\n (mumbling)\n Glock semi-automatic 9 mm ...", "Danny wheels on the other two guys at the table, who are going for \ntheir guns. Danny opens up on them with the Glock, flooring them \nbefore they can get a shot off.", "Garcetti looks like he wants to shoot his gun, but can't. He keeps \nlooking down at his hand, trying to get it to obey.\n\nDanny calmly walks over and takes the gun from Garcetti.", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and \nwalks over.\n\nDanny continues trying to get the gun loose. Something catches his eye \n...", "Danny puts the gun to Pooh-Bear's head, closes his eyes and starts to \npull the trigger.", "Danny starts crying. Lifts the gun halfway again, then drops it.", "ALL IN AN INSTANT - Danny extricates the gun. Turns on Big Bill, who \nsees the gun and holds his hands up.", "Big Bill pulls a 19th century double-barreled FLINTLOCK PISTOL from his \njacket and points it at Danny's head.", "Danny smiles good-naturedly. Shoots a look over at ...\n\n... one of the guys sitting where he taped his gun earlier.", "CLOSE ON DANNY'S FACE. Blank. Devoid of anything. He stuffs \nGarcetti's gun into his own mouth, hand shaking.\n\nHe takes the gun out.", "There is a BULLET HOLE about the size of a fifty cent piece in the wall \nnext to Danny's head. He puts his eye to the hole and looks out.", "Danny frowns, not sure what to make of it. He steps down from the tub \nand is just about to exit when THE FRONT DOORS IS KICKED OPEN AND SHOTS \nARE FIRED.", "... Danny stirs on the floor. His eyes open. He opens his shirt and \nchecks his torso REVEALING THAT HE IS WEARING HIS BULLET-PROOF VEST.", "... Tanner pulls a K-BAR KNIFE from the back of his belt and plunges it \ninto the back of Danny's gun hand. The gun discharges, missing Tanner.", "He jumps up. Goes over to the still-wheezing Tanner and empties his \nclip into him. When the clip is spent, Danny keeps pulling the trigger \n... over and over again.", "Garcetti standing there pointing his gun at Danny, rocking slightly \nback and forth, a bullet hole in his cheekbone. He looks brain dead.\n\nDanny doesn't move. TANNER STILL WHEEZING." ], [ "INT. F.B.I. CAR-SAME\n\nDanny is wired for sound. The agents monitor him on a receiver.", "The PLUMBER'S TRUCK enters the underground parking lot.\n\nINT. F.B.I. OFFICES-DAY", "INT. F.B.I. OFFICES-DAY (LATER)\n\nThe meeting breaking up. Trahn walks Danny away from the conference \nroom.", "The Vega pulls into the lot of a tumbleweed motel in the middle of \nnowhere.\n\nINT. F.B.I. CAR - SAME\n\nThe car passes the motel.", "REVEAL DANNY, amongst the onlookers. His expression gives nothing \naway.\n\nA ribbon of blood snakes from Bobby's body, over the parking lot curb \nand runs into a storm drain.", "ON THE MONITOR. DANNY enters and sits on the bed, his back to the \ncamera.\n\nINT. F.B.I. CAR - SAME", "DANNY (V.O.)\n But they did everything by the book.\n\nF.B.I. OFFICES-DAY", "They continue down the road, away from the motel.\n\n AGENT ONE\n Okay. It's all yours.\n\nEXT. BLUFF - NIGHT", "Tanner signals for Garcetti to take point. They head down the long \nhallway, slowly and silently. When they are gone ...", "QUINCEY\n The cops came. But they didn't find\n nothing. Turns out their C.I. game\n 'em some bad information.", "Tanner produces a print out from an F.B.I criminal computer file. A \nMUG SHOT OF BUBBA. The name BUFORD \"BUBBA\" NGUYEN underneath.", "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied \nhe has killed the imaginary spiders.\n\nHe looks up at Jimmy and Danny, his eyes swimming with stupid, drug-\naddled confusion.", "seat. Inside, his F.B.I. BADGE, TWO BARETTA 9mm and TWO PAIRS OF \nHANCUFFS.", "... Danny drives by in Jimmy's car, followed by...\n\n... TWO OF THE AGENTS from the conference room. They remain a good \nhalf-block behind him.", "AGENT TWO\n How sure are you that you're not \n chasing two good cops? I mean all \n you've really got is one red hair. \n That's still your only evidence.", "He struggles to a sitting position, in great pain from the impact \nbruises left by the bullets.\n\nHe picks up his gun, gets up on wobbly legs and follows Tanner and \nGarcetti down the hall.", "Tanner and Garcetti standing over him. They pull their ski masks off.\n\n GARCETTI\n Get the bag.", "Garcetti at the desk dusting the plastic wrapper on the bundle of cash \nfor prints. Tanner paces back and forth in front of Danny.", "Garcetti puts his hand on Danny's shoulder, really playing it up.\n\n GARCETTI\n He knows somebody ratted him.\n\n DANNY\n What?!" ], [ "He shoots Danny in the stomach. Danny slumps to the floor. His \ncigarette falls out of his mouth and rolls under the bed.\n\nColette freaks.", "REVEAL DANNY, amongst the onlookers. His expression gives nothing \naway.\n\nA ribbon of blood snakes from Bobby's body, over the parking lot curb \nand runs into a storm drain.", "Danny approaching the building, we hear shots ...\n\n... THE RED CAR from earlier, prowling the streets. Danny ducks into a \nliquor store and watches from the window.", "DANNY (cont'd)\n ... there's two guys with masks and\n guns in the other room about to kill\n your wife.\n\nTanner looks at Danny, confused.", "Danny wheels on the other two guys at the table, who are going for \ntheir guns. Danny opens up on them with the Glock, flooring them \nbefore they can get a shot off.", "Danny and THE WOMAN FROM THE PHOTOGRAPH sitting on the shore. Watching \nthe sunset. She is his wife, LIZ.\n\nDanny playing \"SAETA\" on his trumpet.", "DANNY (cont'd)\n But you know if you go out there,\n they'll kill you, too. You'll both\n die. What do you do?", "Danny driving. Liz in the passenger seat looking pissed.\n\nThe Salton Sea can be seen far below in the distance shimmering under a \nfull moon.", "DANNY\n Murder. Beautiful.\n\n TANNER\n Pumped fifty-seven bullets into a police informant.", "DANNY (cont'd)\n Tom Van Allen\n\nDanny raises his gun.", "Danny staggers towards her.\n\nHer eyes flutter slightly.\n\nDanny sits next to her. Holds her hand. There is nothing he can do.", "Danny puts the gun to Pooh-Bear's head, closes his eyes and starts to \npull the trigger.", "A WOMAN ONE DOOR DOWN FROM DANNY'S ROOM struggles with her groceries. \nWhen she goes to open the door, one of the bags breaks, spilling its \ncontents onto the floor.", "WHAP, WHAP! Two spears plunge through the cheap door, stopping inches \nfrom Danny's head.\n\nThey run like hell.\n\nEXT. SKY - DAY", "TANNER\n Yeah, I'd hate to shoot you by accident.\n\nDanny gets out of the car. Shuts the door.\n\nEXT. CAR-SAME", "DANNY\n Jimmy, where do you find these people?\n\n JIMMY\n The Del Ammo Mall mostly.\n\nThey walk along.", "There is a BULLET HOLE about the size of a fifty cent piece in the wall \nnext to Danny's head. He puts his eye to the hole and looks out.", "Danny frowns, not sure what to make of it. He steps down from the tub \nand is just about to exit when THE FRONT DOORS IS KICKED OPEN AND SHOTS \nARE FIRED.", "ON DANNY staring at the hair, remembering something...\n\nEXT. SALTON SEA GAS STATION - DAY (FLASHBACK WITHIN THE FLASHBACK)", "He jumps up. Goes over to the still-wheezing Tanner and empties his \nclip into him. When the clip is spent, Danny keeps pulling the trigger \n... over and over again." ] ]

[ "Who is Danny Parker?", "Who lost their nose from snorting too much \"gak\"?", "Who was wearing a bulletproof vest during the drug deal turned massacre?", "Who is Tom Van Allen?", "How did the protagonist's wife die?", "What is the signifigance of the Salton Sea?", "Where does Danny hide a gun prior to the drug deal with Pooh Bear?", "Who is the neighbor Danny tells the story of his wife to?", "Who saved the protagonist from the fire?", "What drug was \"Danny Parker\" allegedly addicted to? ", "What body part did Pooh Bear loose due to his drug habit? ", "What did Danny share to a neighbor about how his wife died? ", "Who killed Danny's wife?", "Why was Danny not killed by the gunshot to the chest?", "Who saves Danny from the fire? ", "Why did Colette turn on Danny? ", "Who does Danny plunge the syringe of meth into?", "Why did Danny's in-laws track him down? ", "Where did Danny hide the pistol when meeting with Pooh Bear?", "Who killed Pooh Bear?", "Who tracks Danny down?", "What did Danny tape to the bottom of the table?", "What drug is Danny addicted to?", "Who damaged their noise due to snorting a lot of meth?", "Who is Colette?", "What happened to Danny's first wife?", "What does Morgan find out about the gun Danny is holding?", "Who leads the FBI to the wrong location?", "Where was Danny's first wife gunned down?" ]

[ [ "The alias of the protagonist", "an addict and police informant" ], [ "Pooh Bear", "Pooh Bear." ], [ "Danny", "Danny" ], [ "An alias of the protagonist", "Danny's other persona as a trumpet player." ], [ "Murdered by Morgan and Garcetti", "She was shot to death" ], [ "It is where the protagonist's wife was murdered.", "Danny's wife was killed there." ], [ "Taped under a table", "the bottom of a table" ], [ "Colette", "Colette" ], [ "Jimmy", "Jimmy" ], [ "Methamphetamine.", "Methamphetamine." ], [ "His nose.", "His nose" ], [ "She was gunned down by masked thieves.", "She was gunned down." ], [ "The corrupt policemen, Gus Morgan and Al Garcetti.", "Morgan and Garcetti" ], [ "He was wearing a bulletproof vest.", "He had a bulletproof vest on" ], [ "His friend Jimmy.", "Jimmy." ], [ "He daughter was being held hostage.", "she was forced to" ], [ "Gus Morgan.", "Morgan's " ], [ "They worried he was suffering from depression.", "They think he fell into a depression " ], [ "He taped it under the table.", "Taped to the bottom of a table." ], [ "Garcetti.", "Garcetti" ], [ "His parents-in-law.", "his parents-in-law" ], [ "A gun.", "A gun." ], [ "Meth.", "Methamphetamine" ], [ "Pooh Bear.", "Pooh Bear" ], [ "Danny's neighbor.", "a neighbor" ], [ "She was gunned down.", "She was shot by masked thieves." ], [ "It is empty.", "It's empty." ], [ "Danny and Jimmy.", "Danny & Jimmy" ], [ "Salton Sea.", "Salton Sea." ] ]

[ [ "Pitch begins to back away, becoming one with the darkness,\n laughing as he disappears. Jack charges towards him only to\n be swallowed whole by one of Pitch's black holes.", "TOYS to the floor.\n \n The Yetis and Elves look up in horror as the black sand, now\n covering the globe, gives rise to Pitch, who stands before", "the ice. He falters, and is swept up in the stampede of\n Nightmares. The streaks of black whip and latch themselves\n onto Pitch as the black cloud carries him through the forest.", "The cavern suddenly goes darker than it already was. Jack\n finally looks up, as a shadow of Pitch crawls up a nearby\n column.", "shadows after children run through him while playing in the\n streets, laughing as they go.\n \n PITCH (V.O.)", "PITCH (CONT'D)\n We can make them believe. We'll\n give them a world where everything,\n everything is...", "Pitch struggles to escape, but the mass of black sand pulls\n him deep into the forest, under the frame of the broken bed,\n and back down into the dark depths of the underground. He", "Pitch shakes the FROST from his arms as scores of Nightmares\n swarm behind Pitch, regrouping after the blast. Pitch, at\n the center, seems as pleased as can be.", "Noooo!\n \n Pitch gasps, realizing that he no longer has any power over\n the children. The devastation plays across his face.", "Jack turns to face Pitch.\n \n JACK\n (DEADPANS)\n Pitch black...", "A strand of NIGHTMARE SAND from the Nightmare twirls in the\n air, and Pitch twists it with his fingers, turning it into a\n crude image of the SANDMAN.", "Stop it! Stop it!\n \n Almost reluctantly, the shadows back away and Pitch appears\n before Jack.", "Tooth swoops in and turns Jack's attention to the massive\n globe behind him.\n \n TOOTH\n Each of those lights is a child.", "Pitch's voice echoes across the open chamber. They look up to\n see Pitch, standing high above them with a satisfied smile.\n \n PITCH", "Pitch is knocked to the ground. As he gets to his feet he\n forms a scythe with his Nightmare sand and begins crossing\n swords with North.", "halt on their sleds. They look up to see Pitch standing atop\n a building with a confident smile, while the clouds stir\n behind him.", "In an instant Pitch finds himself surrounded by the\n Guardians. Each of them take their turn to deal Pitch a few\n humiliating blows.", "A parent and her two children, huddled around a campfire,\n scream as a shadow, resembling Pitch, washes over them. It", "The Nightmare heads toward Pitch, standing at his own GLOBE,\n which is conspicuously covered in lights.\n \n PITCH", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the" ], [ "That's why we collect the teeth,\n Jack. They hold the most important\n memories of childhood.", "Baby Tooth, Baby...come on!\n (BEAT)\n I have to find out what that is.", "TOOTH\n What?\n \n NORTH\n We get teeth! Children keep", "Baby Tooth!\n \n Jack charges forward. There's terror in Baby Tooth's eyes.\n She squeaks as Pitch clenches her tight with his fist.", "TOOTH (O.S.)\n (to her fairies)\n Ontario, sector nine: five canines,\n two molars, and fourteen incisors.", "Jack is devastated. Baby Tooth's never seen him like this;\n it's heart breaking...then she gets a thought. Her\n expression hardens with determination.", "and notices Baby Tooth, lying lifelessly on the ground.\n \n JACK\n Baby Tooth!", "TOOTH\n Where's Baby Tooth?\n (FEELING BETRAYED)\n Oh Jack, what have you done?", "Tooth...fingers out of mouth.\n \n We cut back to discover that Tooth is examining Jack's teeth.", "TOOTH\n Awww! You know what, I got\n something for you. Here it is.\n (she pulls something out)", "Baby Tooth squirms until she's finally able to peck Pitch in\n the hand with her beak. Pitch shrieks and throws Baby Tooth", "Baby Tooth nods, but she's hurt, and cold. Jack does his\n best to shield her from the cold.\n \n JACK", "them revealing their own bag filled with teeth to Tooth.\n Tooth is overwhelmed by their collective effort.\n \n TOOTH", "TOOTH\n Believed in.\n \n NORTH\n (LAUGHS)", "TOOTH (O.S.)\n Wait!\n \n And suddenly everything stops. Tooth whips around, and we\n finally see her beautiful FACE.", "A little fairy, carrying a coin, flies above the head of a\n sleeping child. She quickly ducks under the pillow and comes\n out the other side with a tooth in hand.", "He watches as Tooth reaches under the pillow. She hovers\n over Jamie as he stirs in his sleep. A dreamy smile comes", "the drawers are the missing baby teeth. He drops down to a\n mound and begins rummaging through the drawers, looking at\n the names on the boxes.", "(LAUGHS)\n Yes!\n \n Jack holds up the tooth, but within moments a hand snatches", "before him.\n \n TOOTH (CONT'D)\n We had everyone's here. Yours too." ], [ "INT. JAMIE'S ROOM - CONTINUOUS\n \n Jamie is sitting up in bed, talking to an old stuffed rabbit,\n and whispering.", "He watches as Tooth reaches under the pillow. She hovers\n over Jamie as he stirs in his sleep. A dreamy smile comes", "Jamie is still sound asleep.\n \n NORTH\n How you feeling, Toothy?", "But Jamie gets up.\n \n KIDS\n (WALLA)\n Wow, that looks serious! Jamie!", "back to Jamie, noticing the concern on his face.\n \n JACK\n They're just bad dreams, Jamie.", "JACK\n (a stunned beat)\n Did he just say--?\n \n Jamie stands up on his bed.", "JAMIE\n AAAAHHHHHHHH!\n \n Jamie closes his eyes as the ramp launches Jamie over the", "Jamie look to the open window.\n \n SMASH CUT TO:", "CUT TO:\n \n \n SEQ. 1575 - IN JAMIE'S BEDROOM", "JAMIE\n Jack!\n \n They rush to Jack and help him to his feet.", "Jamie is sound asleep in bed. A smile across his face\n reveals the recently formed gap between his teeth.\n \n TOOTH (O.S.)", "BACK IN JAMIE'S ROOM - INTERCUT\n \n The sleeping Guardians are where we left them. Jamie's", "wake up AGAIN, but Sandy is there with a fistful of sand --\n BOOF! -- and Jamie too is out cold.", "Jamie's side he sees the look of excitement come into Jamie's\n face. Jack smiles, knowing he's responsible.", "Jamie lets the stuffed animal fall to the floor. Jack comes\n into the room and watches as the light slowly fades from\n Jamie's eyes, disbelief setting in.", "JAMIE\n Whoaaaaaaaaaa!\n \n Luckily he lands -- OOF! -- in Sandy's arms. He starts to", "He said it again. He said --\n (BEAT)\n You said...\n \n Jamie turns around and suddenly his eyes go wide...", "before him, then falls like a giant Sequoia, landing - THUD! -\n on the end of Jamie's bed, which sends Jamie catapulting\n through the air.", "As Jamie gets up off the ground, he sees that the Easter egg\n was in fact a dirty old tennis ball. Jamie stands up,", "Jamie looks down at the stuffed rabbit on the floor. He can\n barely comprehend what he's seeing. Jamie looks back to the" ], [ "The Guardians fly across the night sky only to disappear\n through a snowglobe portal. Nearby, a Nightmare observes as\n the sleigh vanishes. It leaps off the roof, through a drain,", "A terrified Cupcake lies in bed awake. The Guardians'\n reflections streak across the window when suddenly, BOOF! A\n snowball strikes the pane of glass.", "A gigantic Dreamsand dinosaur foot comes down revealing a\n Dreamsand brontosaurus. As Dreamsand creatures fill the\n streets, the Guardians and children rejoice.", "his forehead while he sleeps. Suddenly, a Dreamsand figure\n forms above the child's head, it's the Tooth Fairy.", "JACK (V.O.)\n My name is Jack Frost. And I'm a\n Guardian. How do I know that?\n Because the moon told me so. And", "into the air with a stream of Dreamsand and launches Jack\n away from the Nightmares. Jack quickly orients himself and\n knocks an oncoming Nightmare with his staff.", "Sandy closes his eyes and in an instant the Dreamsand cloud\n suddenly SWIRLS around him, changing form into a small", "Dreamsand.\n \n CUT TO:", "Which kind of makes you a Guardian\n too.\n \n Jamie smiles. Jack stands up and heads toward the sleigh.", "As the kids look on in wonder, Sandy throws up his hands\n creating a shower of Dreamsand, which drifts down on the\n children.", "In an instant Pitch finds himself surrounded by the\n Guardians. Each of them take their turn to deal Pitch a few\n humiliating blows.", "Guardians Screening Script 9/6/12 Avid 130.\n \n \n Suddenly, Pitch's eyes get huge with terror as the Nightmares", "They are weak and defenseless. But still the Guardians\n gather around Jamie, to shield him from whatever may come.\n \n JAMIE", "Jack quickly realizes that's he's in over his head as the\n attacking Nightmares begin to overtake him. He's engulfed by\n Nightmares and there is nothing but silence.", "The Nightmare sand storm descends from the sky. North draws\n his sword, but the weight of the blade pulls him down. He\n can barely stand. Jack moves to North's side as they look", "Pitch shakes the FROST from his arms as scores of Nightmares\n swarm behind Pitch, regrouping after the blast. Pitch, at\n the center, seems as pleased as can be.", "Sandy then looks to his whip and tugs on it, slamming Pitch\n into the ground and knocking him out. The Guardians cheer as\n they welcome Sandy's return.", "THE SLEIGH\n \n The Guardians continue to speed toward Sandy, but Nightmares\n begin colliding with the sleigh, slowing their progress.", "He falls into a rabbit hole, finding himself face to face\n with Bunny. He growls. SANDMAN enters and takes the boy's\n tooth for himself.", "mouth, looks out his bedroom window. The Guardians, cast in\n moonlight, bound across the adjacent rooftops. The young\n boy, dumbfounded, drops his juice." ], [ "Sandy...\n \n \n JACK\n \n Horrified, clenches his staff as he flies toward Pitch.", "Pitch shakes off the crash, trying to back up as Sandy\n touches down and moves toward him, Jack following. Pitch\n cowers on the ground in fear as they approach.", "Jack and Sandy look around as hundreds of Nightmares descend\n from the surrounding rooftops to encircle them. This doesn't\n look good. Jack, worried, looks to Sandy and mutters...", "Sandy quickly grabs Pitch with another DREAMSAND STREAM and\n yanks him off his feet, slamming him repeatedly against the\n tops of the buildings until finally throwing him off the", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the", "the ice. He falters, and is swept up in the stampede of\n Nightmares. The streaks of black whip and latch themselves\n onto Pitch as the black cloud carries him through the forest.", "Pitch shakes the FROST from his arms as scores of Nightmares\n swarm behind Pitch, regrouping after the blast. Pitch, at\n the center, seems as pleased as can be.", "Sandy then looks to his whip and tugs on it, slamming Pitch\n into the ground and knocking him out. The Guardians cheer as\n they welcome Sandy's return.", "Sandy continues forward, grim faced...but suddenly Pitch\n stops cowering and stands up. His tone changes.\n \n PITCH (CONT'D)", "Sandy, his eyes filled with terror, falls to his knees as the\n patch of blackness continues to spread.", "The Nightmares and Jack ZOOM away from the house just as\n Sandy and the FIRST NIGHTMARE blast out of the window, Sandy\n wrestling it until -- POOF! It explodes into golden", "A strand of NIGHTMARE SAND from the Nightmare twirls in the\n air, and Pitch twists it with his fingers, turning it into a\n crude image of the SANDMAN.", "Jack quickly realizes that's he's in over his head as the\n attacking Nightmares begin to overtake him. He's engulfed by\n Nightmares and there is nothing but silence.", "Jack's plan backfires as Pitch charges ahead and unleashes a\n roaring fury of Nightmare sand that knocks Jack out of the\n sky.", "Sandy looks at his hands and sees the Nightmare sand take\n shape and drift away. He and Bunny exchange a look.", "Pitch struggles to escape, but the mass of black sand pulls\n him deep into the forest, under the frame of the broken bed,\n and back down into the dark depths of the underground. He", "Pitch begins to back away, becoming one with the darkness,\n laughing as he disappears. Jack charges towards him only to\n be swallowed whole by one of Pitch's black holes.", "of Nightmare sand toward him, culminating in an explosion of\n ice and snow.\n \n PITCH\n AAAHH!!!!", "(SHOUTS)\n Sandy, c'mon! We can find Pitch.\n \n Sandy pauses for a moment, then follows Jack's lead.", "Before Pitch can finish a DREAMSAND STREAM whips around him,\n forcing him to duck and dodge Sandy's sudden attack." ], [ "INT. EGG TUNNEL - DAY\n \n Jack flies out of Pitch's shadow, ready to strike. Suddenly,", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the", "turns toward Pitch, only to fly a few feet over his head.\n Pitch turns as it passes over him, slightly confused.", "Pitch shakes off the crash, trying to back up as Sandy\n touches down and moves toward him, Jack following. Pitch\n cowers on the ground in fear as they approach.", "Jack can barely contain his excitement as he calls out to\n Sandy -- but suddenly Pitch lurches out from behind an air\n conditioning unit on the rooftop.", "Pitch begins to back away, becoming one with the darkness,\n laughing as he disappears. Jack charges towards him only to\n be swallowed whole by one of Pitch's black holes.", "Pitch strikes back, putting Jack on the defense. Jack jumps\n in the air. Their show of force escalates until they're\n shrouded in a blanket of snow, ice, and wind. As the wind", "Stop it! Stop it!\n \n Almost reluctantly, the shadows back away and Pitch appears\n before Jack.", "The cavern suddenly goes darker than it already was. Jack\n finally looks up, as a shadow of Pitch crawls up a nearby\n column.", "NORTH\n Be careful, Jack!\n \n Jack leaps into the air, and goes flying directly at Pitch.", "Bunny grabs a set of egg bombs and launches them at Pitch,\n exploding seconds before Pitch hits the ground.\n \n CUT TO:", "Meanwhile, Jack rides atop a group of sentinel egg that are\n marching in the back ground.\n \n BUNNYMUND", "and snow settle, Jack looks around stern and alert.\n \n PITCH (O.S.)(CONT'D)\n To not be believed in. To long for", "PITCH (O.S.)\n Happy Easter, Jack.\n \n Jack turns around. Suddenly, his eyes fill with dread as he", "(SHOUTS)\n Sandy, c'mon! We can find Pitch.\n \n Sandy pauses for a moment, then follows Jack's lead.", "Pitch shakes the FROST from his arms as scores of Nightmares\n swarm behind Pitch, regrouping after the blast. Pitch, at\n the center, seems as pleased as can be.", "Suddenly, in their moment of distraction, Pitch rises up\n behind Jack, his Nightmare sand AXE in hand.\n \n BUNNYMUND", "Is beyond delighted. His plan actually worked!\n \n Pitch then notices Jack flying towards him, glowing energy\n emanating from Jack's staff. Pitch raises his hands and", "hanging from the ceiling, and in them are the mini tooth\n fairies. They see Jack, and immediately perk up, tweeting\n and flitting like crazy.", "Suddenly Jack hears a familiar twitter. Pitch reaches into\n his coat to pull out...\n \n JACK" ], [ "And Jack, if you help us, we will\n get you your memories.\n \n Jack looks to Tooth, who gives him a reassuring smile. Sandy", "Do you want them, Jack? Your\n memories?\n \n He holds them out to Jack. Jack stares, fighting the impulse", "Jack quickly realizes that's he's in over his head as the\n attacking Nightmares begin to overtake him. He's engulfed by\n Nightmares and there is nothing but silence.", "Jack leans back and begins to close his eyes when he hears\n SOMETHING --\n \n VOICE FROM A MEMORY", "In an instant he forgets his duties, and the fairies, and the\n Guardians and everything except those teeth, and the chance\n to finally get his memory back.", "Jack's expression says it all. Finally the key to all his\n questions.\n \n JACK\n All these years, and the answers", "AND THEN--\n \n \n START JACK'S MEMORY", "The icy walls rush back in as we pull out from Jack, reeling\n from the memory. He sees Baby Tooth.\n \n JACK", "VOICE FROM A MEMORY\n Jack...\n \n JACK\n (under his breath)\n As I can --", "Jack looks up. Terror comes into Jack's eyes, as he\n realizes...\n \n JACK\n What did you do?", "The boy runs right through Jack, as if he were a ghost. Jack\n staggers back in shock. He's speechless, as if the wind had\n been knocked out him. His emotions causing it to snow.", "Jack, I'm scared.\n \n There's a sudden moment of realization. Jack has heard these\n words before.", "JACK\n My memories?\n \n TOOTH\n From when you were young. Before\n you became Jack Frost.", "Pitch looks confused and hurt. This is not the response he\n was expecting. Then...his eyes flame with anger. He made\n himself vulnerable, and Jack rejected him. No more", "Panic flashes in Jack's eyes. As he backs away, the chamber\n fills with shadows, and Jack is spun around. He's", "Jack continues to push, until a the icy blue light spreads\n and melds the two ends of the staff back together. Jack\n smiles.", "Jack looks down at the two halves of his staff, and picks\n them up. He tries to fit them back together, but nothing\n happens. He tries again, this time using every ounce of", "JACK\n (GETTING IT)\n It's fear. He's tipped the\n balance.", "Jack... Jack...\n \n -- and then he FEELS something. Looks down: There's a SOFT,\n GOLDEN GLOW coming from his pocket.", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the" ], [ "In an instant Pitch finds himself surrounded by the\n Guardians. Each of them take their turn to deal Pitch a few\n humiliating blows.", "Pitch begins to back away, becoming one with the darkness,\n laughing as he disappears. Jack charges towards him only to\n be swallowed whole by one of Pitch's black holes.", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the", "Is beyond delighted. His plan actually worked!\n \n Pitch then notices Jack flying towards him, glowing energy\n emanating from Jack's staff. Pitch raises his hands and", "Sandy quickly grabs Pitch with another DREAMSAND STREAM and\n yanks him off his feet, slamming him repeatedly against the\n tops of the buildings until finally throwing him off the", "Sandy then looks to his whip and tugs on it, slamming Pitch\n into the ground and knocking him out. The Guardians cheer as\n they welcome Sandy's return.", "Pitch struggles to escape, but the mass of black sand pulls\n him deep into the forest, under the frame of the broken bed,\n and back down into the dark depths of the underground. He", "to grab them. He closes his eyes, struggling to make a\n decision, but when he opens them again, Pitch has\n disappeared.", "turns toward Pitch, only to fly a few feet over his head.\n Pitch turns as it passes over him, slightly confused.", "Pitch is knocked to the ground. As he gets to his feet he\n forms a scythe with his Nightmare sand and begins crossing\n swords with North.", "Pitch shakes the FROST from his arms as scores of Nightmares\n swarm behind Pitch, regrouping after the blast. Pitch, at\n the center, seems as pleased as can be.", "the ice. He falters, and is swept up in the stampede of\n Nightmares. The streaks of black whip and latch themselves\n onto Pitch as the black cloud carries him through the forest.", "NORTH\n Be careful, Jack!\n \n Jack leaps into the air, and goes flying directly at Pitch.", "The cavern suddenly goes darker than it already was. Jack\n finally looks up, as a shadow of Pitch crawls up a nearby\n column.", "Pitch strikes back, putting Jack on the defense. Jack jumps\n in the air. Their show of force escalates until they're\n shrouded in a blanket of snow, ice, and wind. As the wind", "Jack's plan backfires as Pitch charges ahead and unleashes a\n roaring fury of Nightmare sand that knocks Jack out of the\n sky.", "Pitch shakes off the crash, trying to back up as Sandy\n touches down and moves toward him, Jack following. Pitch\n cowers on the ground in fear as they approach.", "halt on their sleds. They look up to see Pitch standing atop\n a building with a confident smile, while the clouds stir\n behind him.", "Baby Tooth squirms until she's finally able to peck Pitch in\n the hand with her beak. Pitch shrieks and throws Baby Tooth", "Sandy...\n \n \n JACK\n \n Horrified, clenches his staff as he flies toward Pitch." ], [ "They're gone. Jack is alone again. His temper subsides.\n \n He whips up a little wind and disappears.", "Jack...\n \n Jack gives chase. He sprints through the thickets and enters\n a clearing only to find the decrepit remains of a rotting", "Jack continues to push, until a the icy blue light spreads\n and melds the two ends of the staff back together. Jack\n smiles.", "JACK\n Okay, one ride, but that's it.\n \n Jack jumps aboard. North smiles knowingly, and climbs", "Jack stops, confused. Where is that voice coming from? He\n looks out across the town, toward the woods, and the sound of\n the echoed voice.", "He's real.\n \n Jack, excited, continues to exert himself trying to bring\n life to his drawing. And when he does, the frost rabbit", "Jack quickly realizes that's he's in over his head as the\n attacking Nightmares begin to overtake him. He's engulfed by\n Nightmares and there is nothing but silence.", "Jamie lets the stuffed animal fall to the floor. Jack comes\n into the room and watches as the light slowly fades from\n Jamie's eyes, disbelief setting in.", "nesting doll that North had given him, drops the doll to the\n ground, and takes off.\n \n As Jack leaves, carried off by the wind, we see the tiny", "Jack's BODY begins to glow, bathed in MOONLIGHT. PUSH IN on\n his FACE, becoming brighter and brighter until his brown hair", "Jack looks down at the two halves of his staff, and picks\n them up. He tries to fit them back together, but nothing\n happens. He tries again, this time using every ounce of", "The boy runs right through Jack, as if he were a ghost. Jack\n staggers back in shock. He's speechless, as if the wind had\n been knocked out him. His emotions causing it to snow.", "Jack lets go and the wind carries him into the air and\n through the clouds. Night turns to day as Jack flies from\n one horizon to the other.", "JACK\n (AMUSED)\n Ah, now that, that was fun.\n (BEAT)", "Jack...\n \n Jack turns, looks to the woods, and takes off.", "Jack carefully treads across the ice until he hits something\n with his feet. He looks down, and at his feet is a wooden\n staff. Curious, he picks it up. Almost immediately the", "Is beyond delighted. His plan actually worked!\n \n Pitch then notices Jack flying towards him, glowing energy\n emanating from Jack's staff. Pitch raises his hands and", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the", "Pitch begins to back away, becoming one with the darkness,\n laughing as he disappears. Jack charges towards him only to\n be swallowed whole by one of Pitch's black holes.", "into his palm.\n \n YETI\n Rwwarrrrrr.\n \n JACK" ], [ "continues to crack, until finally a hole splinters open. A\n young man floats out of the water, bathed in the intense", "He touches a few trees with his staff sending frost up their\n trunks. Then he swings the staff again, more confident, as\n he begins to run across the frozen pond.", "EXT. POND - NIGHT\n \n Pitch runs through the shadows in terror. He comes crashing\n through the trees of the forest, and out onto the ice of the", "rudimentary ice-skates, leaving him BAREFOOT on the surface\n of a familiar FROZEN pond. And now we see what he sees, a", "pond. He looks over his shoulder to see if the Guardians are\n on his tail, when BOOM! He runs smack into North's chest.", "EXT. FROZEN POND - FLASHBACK - DAY\n \n We pan up from the ice to find his sister as he saw her in", "EXT. FROZEN POND - NIGHT\n \n Snow-covered trees in every direction. The ice in the pond", "EXT. FROZEN POND - BURGESS - DAY\n \n JACK\n (calm, serious)", "pond. It's terrifying, but the Guardians seem unphased.\n \n NORTH\n They can't be my Nightmares, I'm", "JACK\n That night at the pond...I just,\n why I assumed...Are you saying, are\n you saying I had a life before", "Jack carefully treads across the ice until he hits something\n with his feet. He looks down, and at his feet is a wooden\n staff. Curious, he picks it up. Almost immediately the", "A terrified Cupcake lies in bed awake. The Guardians'\n reflections streak across the window when suddenly, BOOF! A\n snowball strikes the pane of glass.", "Jamie and his friends along with a crowd of yetis, elves, and\n eggs all make their way across the pond to the rest of the\n group. As they approach we see settle on Jamie, who stands", "EXT. BURGESS FOREST - NIGHT\n \n Pitch pulls himself laboriously from the mud and weeds", "EXT. FROZEN POND\n \n Jack flies in, and with the wind behind him skates across an", "...We see Jack Frost, outside, hanging upsidedown watching\n them through the window. A pang. The glass frosts over.", "He watches as Tooth reaches under the pillow. She hovers\n over Jamie as he stirs in his sleep. A dreamy smile comes", "She grabs hold of Jack's staff and in one massive effort he\n slings her with all his might to safety. But the movement\n propels him into the cracked ice. He looks up to see his", "Then the room darkens as a wispy, shadowy figure with a\n familiar laugh crawls out from under the bed, and rises up.", "all too familiar pond. As the wind zips across the pond it\n knocks a BOOK out of the hands of a little boy walking alone,\n this is JAMIE." ], [ "Jack...\n \n Jack gives chase. He sprints through the thickets and enters\n a clearing only to find the decrepit remains of a rotting", "Jack quickly realizes that's he's in over his head as the\n attacking Nightmares begin to overtake him. He's engulfed by\n Nightmares and there is nothing but silence.", "JACK\n How long is a long time?\n \n TOOTH\n Ah, four hundred forty years...give", "They're gone. Jack is alone again. His temper subsides.\n \n He whips up a little wind and disappears.", "around in front of him. Jack turns and looks up, a smile now\n on his lips.\n \n JACK\n Right on time, Sandman.", "Jack stops, confused. Where is that voice coming from? He\n looks out across the town, toward the woods, and the sound of\n the echoed voice.", "Jack, I'm scared.\n \n There's a sudden moment of realization. Jack has heard these\n words before.", "JACK\n He can see us?\n \n Jamie looks around, amazed, he sees everyone but Jack.", "appears. As Jack disappears through the rabbit hole, Bunny\n appears through an adjacent hole laughing to himself.", "Jamie lets the stuffed animal fall to the floor. Jack comes\n into the room and watches as the light slowly fades from\n Jamie's eyes, disbelief setting in.", "JACK\n (AMUSED)\n Ah, now that, that was fun.\n (BEAT)", "Panic flashes in Jack's eyes. As he backs away, the chamber\n fills with shadows, and Jack is spun around. He's", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the", "It's cold and dark down here, and Jack is more alone than\n he's ever been. Battered from the fall, Jack slowly looks up", "JACK\n (a stunned beat)\n Did he just say--?\n \n Jamie stands up on his bed.", "of the eerie voice. Baby Tooth follows, trying to keep up.\n \n Jack takes a moment to orient himself and lands, settling on", "Jack...\n \n Jack turns, looks to the woods, and takes off.", "Jack looks off to the side as Jamie appears from out of his\n backyard.\n \n NORTH\n The last light!", "(sees Sandy is snoozing)\n Sandy! Sandy! Wake up!\n \n Sandy bolts up awake and steps up to Jack, smiling.", "back at him. North closes Jack's hand. They exchange a look.\n \n Then, something suddenly jets past a window outside. Almost" ], [ "Which kind of makes you a Guardian\n too.\n \n Jamie smiles. Jack stands up and heads toward the sleigh.", "They are weak and defenseless. But still the Guardians\n gather around Jamie, to shield him from whatever may come.\n \n JAMIE", "If Man in Moon chose you to be a\n Guardian, you must have something\n very special inside.", "JACK\n What makes you think I want to be a\n Guardian?\n \n North bursts out in laughter holding the book in his hands", "In an instant Pitch finds himself surrounded by the\n Guardians. Each of them take their turn to deal Pitch a few\n humiliating blows.", "light all over the chamber.\n \n NORTH\n (AWED)\n He's choosing a new Guardian.", "Only then does it hit her. Tooth's wings drop in defeat.\n She's completely lost amidst the devastation. The Guardians\n rush to comfort her. Jack stays behind as Baby Tooth pops", "NORTH\n Then congratulations, Jack Frost -\n for you are now and forevermore...a\n Guardian.", "Monty, late to the party, comes running joyously past Jamie\n and the Guardians who stand in silence as they stare up at\n the sky.", "The Guardians fly across the night sky only to disappear\n through a snowglobe portal. Nearby, a Nightmare observes as\n the sleigh vanishes. It leaps off the roof, through a drain,", "Meanwhile, the Guardians take Jamie to find shelter.\n \n \n ON PITCH", "The sleigh comes to a standstill as the Guardians prepare to\n climb inside. Several Yetis are still running around making\n last minute preparations.", "Except for Bunny, who is relieved by this turn and looks to\n the others.\n Guardians Screening Script 9/6/12 Avid 36.", "JACK (V.O.)\n My name is Jack Frost. And I'm a\n Guardian. How do I know that?\n Because the moon told me so. And", "GUARDIANS' CALL GOES OUT!\n \n CUT TO:", "Jack drifts up closer the globe. He looks at the lights\n going out, then back to the Guardians. There's a nervous\n tension in the room.", "disappears. The Guardians eyes fill with worry.\n \n TOOTH\n Oh no!", "A moment of reconciliation between them, broken by the sounds\n of THUNDER. The Guardians look to the sky to see Pitch\n enveloped by dark clouds as he stares down at them from atop", "Guardians Screening Script 9/6/12 Avid 131.\n \n \n North opens the book, flips through several pages, and takes", "Guardians Screening Script 9/6/12 Avid 54.\n \n \n Jack is stricken. He looks back -- the ancient MURAL begins" ], [ "That's why we collect the teeth,\n Jack. They hold the most important\n memories of childhood.", "boxes and begin opening them. We see one of the faces on a\n box, and transition to the actual child who she goes from sad\n to happy as her fondest memories flood back. We zoom out of", "A child who believes. And good or\n bad, naughty or nice, we protect\n them.\n (BEAT)", "Everyone is amazed, hardly believing their eyes. Streams of\n Dreamsand swirl around the children. And then it's", "A moment, and then Cupcake starts laughing as Jack's magic\n takes hold.\n \n Cupcake chases the kids down the hill, holding the head of", "Tooth swoops in and turns Jack's attention to the massive\n globe behind him.\n \n TOOTH\n Each of those lights is a child.", "The icy walls rush back in as we pull out from Jack, reeling\n from the memory. He sees Baby Tooth.\n \n JACK", "In an instant he forgets his duties, and the fairies, and the\n Guardians and everything except those teeth, and the chance\n to finally get his memory back.", "As the kids look on in wonder, Sandy throws up his hands\n creating a shower of Dreamsand, which drifts down on the\n children.", "Do you want them, Jack? Your\n memories?\n \n He holds them out to Jack. Jack stares, fighting the impulse", "A little fairy, carrying a coin, flies above the head of a\n sleeping child. She quickly ducks under the pillow and comes\n out the other side with a tooth in hand.", "We pull out from the face of a sleeping child to reveal a\n stream of sand swirling overhead. It's a dream and it's taken\n the shape of a child playing soccer.", "It's only then that we realize he's too late. The spark of\n childhood has already been extinguished in all of them.", "with. Eyes that have always seen\n the wonder in everything!\n \n North raises his hands, and the toys on the shelves suddenly", "over her as she gazes down at the sleeping boy.\n \n TOOTH\n This was always the part I liked\n most - seeing the kids.", "shadows after children run through him while playing in the\n streets, laughing as they go.\n \n PITCH (V.O.)", "The note shows an arrow, pointing toward the window. He\n looks up to the window: North holds up a tooth as he grins,\n then leaps off the ledge laughing.", "JACK\n My memories?\n \n TOOTH\n From when you were young. Before\n you became Jack Frost.", "the grass. She holds it close to admire the intricate detail\n of its shell. Sophie brings the egg to Bunny for him to\n inspect.", "All this fuss over one little boy.\n And still he refuses to stop\n believing.\n \n A CRACK of Thunder reveals the shadow of an approaching" ], [ "Pitch begins to back away, becoming one with the darkness,\n laughing as he disappears. Jack charges towards him only to\n be swallowed whole by one of Pitch's black holes.", "In an instant Pitch finds himself surrounded by the\n Guardians. Each of them take their turn to deal Pitch a few\n humiliating blows.", "Pitch is knocked to the ground. As he gets to his feet he\n forms a scythe with his Nightmare sand and begins crossing\n swords with North.", "Pitch shakes off the crash, trying to back up as Sandy\n touches down and moves toward him, Jack following. Pitch\n cowers on the ground in fear as they approach.", "turns toward Pitch, only to fly a few feet over his head.\n Pitch turns as it passes over him, slightly confused.", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the", "Pitch takes aim and releases the arrow. It flies through the\n air and into SANDY'S back, exploding on impact.", "NORTH\n Be careful, Jack!\n \n Jack leaps into the air, and goes flying directly at Pitch.", "Sandy quickly grabs Pitch with another DREAMSAND STREAM and\n yanks him off his feet, slamming him repeatedly against the\n tops of the buildings until finally throwing him off the", "Pitch strikes back, putting Jack on the defense. Jack jumps\n in the air. Their show of force escalates until they're\n shrouded in a blanket of snow, ice, and wind. As the wind", "Pitch shakes the FROST from his arms as scores of Nightmares\n swarm behind Pitch, regrouping after the blast. Pitch, at\n the center, seems as pleased as can be.", "PITCH\n No! Get them!\n \n Pitch gives a signal and sends another wave of Nightmares\n toward the Guardians.", "Sandy then looks to his whip and tugs on it, slamming Pitch\n into the ground and knocking him out. The Guardians cheer as\n they welcome Sandy's return.", "Is beyond delighted. His plan actually worked!\n \n Pitch then notices Jack flying towards him, glowing energy\n emanating from Jack's staff. Pitch raises his hands and", "to grab them. He closes his eyes, struggling to make a\n decision, but when he opens them again, Pitch has\n disappeared.", "Suddenly, in their moment of distraction, Pitch rises up\n behind Jack, his Nightmare sand AXE in hand.\n \n BUNNYMUND", "BOOF! A snowball suddenly hits Pitch in the face. Two\n Nightmares look at each, unsure how to react. Jamie can't\n help but snicker and North lets out a chuckle.", "Sandy continues forward, grim faced...but suddenly Pitch\n stops cowering and stands up. His tone changes.\n \n PITCH (CONT'D)", "Pitch looks confused and hurt. This is not the response he\n was expecting. Then...his eyes flame with anger. He made\n himself vulnerable, and Jack rejected him. No more", "Dreamsand. He gives Pitch a look, wags his finger, and then\n uppercuts him into the air.\n \n KIDS (O.S.)" ], [ "INT. JAMIE'S ROOM - CONTINUOUS\n \n Jamie is sitting up in bed, talking to an old stuffed rabbit,\n and whispering.", "He watches as Tooth reaches under the pillow. She hovers\n over Jamie as he stirs in his sleep. A dreamy smile comes", "But Jamie gets up.\n \n KIDS\n (WALLA)\n Wow, that looks serious! Jamie!", "JAMIE\n AAAAHHHHHHHH!\n \n Jamie closes his eyes as the ramp launches Jamie over the", "CUT TO:\n \n \n SEQ. 1575 - IN JAMIE'S BEDROOM", "Jamie is still sound asleep.\n \n NORTH\n How you feeling, Toothy?", "Jamie look to the open window.\n \n SMASH CUT TO:", "JAMIE\n Jack!\n \n They rush to Jack and help him to his feet.", "Jamie's side he sees the look of excitement come into Jamie's\n face. Jack smiles, knowing he's responsible.", "Jamie lets the stuffed animal fall to the floor. Jack comes\n into the room and watches as the light slowly fades from\n Jamie's eyes, disbelief setting in.", "JACK\n (a stunned beat)\n Did he just say--?\n \n Jamie stands up on his bed.", "back to Jamie, noticing the concern on his face.\n \n JACK\n They're just bad dreams, Jamie.", "BACK IN JAMIE'S ROOM - INTERCUT\n \n The sleeping Guardians are where we left them. Jamie's", "JAMIE\n Whoaaaaaaaaaa!\n \n Luckily he lands -- OOF! -- in Sandy's arms. He starts to", "He said it again. He said --\n (BEAT)\n You said...\n \n Jamie turns around and suddenly his eyes go wide...", "Ooooh!\n \n There's a moment of silence as the kids wait to see if Jamie\n is okay. Then, Jamie rises up from behind the sofa grinning,", "Jamie is sound asleep in bed. A smile across his face\n reveals the recently formed gap between his teeth.\n \n TOOTH (O.S.)", "Jamie's eyes - an idea starts to take hold.\n \n JAMIE\n (WHISPER)\n Jack Frost?", "Jamie looks down at the stuffed rabbit on the floor. He can\n barely comprehend what he's seeing. Jamie looks back to the", "Jamie and his friends along with a crowd of yetis, elves, and\n eggs all make their way across the pond to the rest of the\n group. As they approach we see settle on Jamie, who stands" ], [ "Panic flashes in Jack's eyes. As he backs away, the chamber\n fills with shadows, and Jack is spun around. He's", "It's cold and dark down here, and Jack is more alone than\n he's ever been. Battered from the fall, Jack slowly looks up", "Jack moves away from the Globe and back toward the center of\n the room.\n \n NORTH", "Jack...\n \n Jack turns, looks to the woods, and takes off.", "They're gone. Jack is alone again. His temper subsides.\n \n He whips up a little wind and disappears.", "Jack...\n \n Jack gives chase. He sprints through the thickets and enters\n a clearing only to find the decrepit remains of a rotting", "Jack stops, confused. Where is that voice coming from? He\n looks out across the town, toward the woods, and the sound of\n the echoed voice.", "Jack leaps over a house to an adjacent tree to investigate\n and again, something zooms behind him. Jack jumps down from\n the tree and onto a truck in a nearby alley.", "This is like a punch in Jack's gut. He looks back to Tooth\n and North, both of whom look away, too hurt by Jack. He", "Jack heads down a corridor, cast shadows from the Mini Tooth\n cages everywhere.\n \n PITCH (O.S.)", "JACK\n He can see us?\n \n Jamie looks around, amazed, he sees everyone but Jack.", "Jack quickly realizes that's he's in over his head as the\n attacking Nightmares begin to overtake him. He's engulfed by\n Nightmares and there is nothing but silence.", "Jamie lets the stuffed animal fall to the floor. Jack comes\n into the room and watches as the light slowly fades from\n Jamie's eyes, disbelief setting in.", "The cavern suddenly goes darker than it already was. Jack\n finally looks up, as a shadow of Pitch crawls up a nearby\n column.", "She grabs hold of Jack's staff and in one massive effort he\n slings her with all his might to safety. But the movement\n propels him into the cracked ice. He looks up to see his", "The shadows have overcome Jack.\n \n JACK\n (trying to scramble away)", "Jack looks around the alley. He spots a wooden crate, a\n trash can lid and a discarded wok amidst a pile of trash.", "suddenly slams North's office door behind them. Jack looks\n to the door, it locks itself, and he turns back. North moves\n in close to Jack, backing him up against the door.", "The icy walls rush back in as we pull out from Jack, reeling\n from the memory. He sees Baby Tooth.\n \n JACK", "Jack rounds a corner as he sees Pitch's shadow glide across\n the walls into a shadowed corridor.\n \n PITCH (O.S.)" ], [ "Jack, enraged, can't believe what he's seeing. Pitch lifts\n the staff, and breaks it over his knee, cracking it in two.", "PITCH\n After all, you're not one of them.\n \n Jack aims his staff at Pitch.", "Jack continues to attack, lashing out with his staff. Pitch\n blocks the attacks of ice and frost -- his control over the\n Nightmare sand has gained considerable strength.", "Is beyond delighted. His plan actually worked!\n \n Pitch then notices Jack flying towards him, glowing energy\n emanating from Jack's staff. Pitch raises his hands and", "Sandy...\n \n \n JACK\n \n Horrified, clenches his staff as he flies toward Pitch.", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the", "Pitch begins to back away, becoming one with the darkness,\n laughing as he disappears. Jack charges towards him only to\n be swallowed whole by one of Pitch's black holes.", "PITCH (O.S.)\n Looking for something?\n \n Jack swings around with his staff, shooting off a blast of", "Pitch shakes off the crash, trying to back up as Sandy\n touches down and moves toward him, Jack following. Pitch\n cowers on the ground in fear as they approach.", "Pitch strikes back, putting Jack on the defense. Jack jumps\n in the air. Their show of force escalates until they're\n shrouded in a blanket of snow, ice, and wind. As the wind", "Jack's plan backfires as Pitch charges ahead and unleashes a\n roaring fury of Nightmare sand that knocks Jack out of the\n sky.", "The cavern suddenly goes darker than it already was. Jack\n finally looks up, as a shadow of Pitch crawls up a nearby\n column.", "Pitch looks confused and hurt. This is not the response he\n was expecting. Then...his eyes flame with anger. He made\n himself vulnerable, and Jack rejected him. No more", "they attack. As he continues his descent, Jack is suddenly\n blind sided by another Nightmare, which knocks the staff from\n his hands.", "Jack quickly sends a streak of frost toward Pitch's\n Nightmares, disabling a few of them.", "NORTH\n Be careful, Jack!\n \n Jack leaps into the air, and goes flying directly at Pitch.", "Jack, knocks away a few more Nightmares with his staff, and\n looks up. Tooth suddenly flies into view through the swarm", "Pitch gestures to a fantastical ice and nightmare \"sculpture\"\n that was created (off-screen) when Jack attacked him.", "In an instant Pitch finds himself surrounded by the\n Guardians. Each of them take their turn to deal Pitch a few\n humiliating blows.", "Jack almost drops it as the base of the staff comes in\n contact with the ground. Frost shoots out and spreads across\n the ice. Jack is visibly confused." ], [ "She grabs hold of Jack's staff and in one massive effort he\n slings her with all his might to safety. But the movement\n propels him into the cracked ice. He looks up to see his", "Jack carefully treads across the ice until he hits something\n with his feet. He looks down, and at his feet is a wooden\n staff. Curious, he picks it up. Almost immediately the", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the", "Jack falls back into the icy water. SPLASH!\n \n \n UNDERWATER", "Jack suddenly falls from the sky, lands on a dumpster, and\n falls limp to the ground. THUD! The others turn their\n attention and wince.", "Jack almost drops it as the base of the staff comes in\n contact with the ground. Frost shoots out and spreads across\n the ice. Jack is visibly confused.", "The icy walls rush back in as we pull out from Jack, reeling\n from the memory. He sees Baby Tooth.\n \n JACK", "It's cold and dark down here, and Jack is more alone than\n he's ever been. Battered from the fall, Jack slowly looks up", "Jack jumps ahead, blasting a sheet of ice behind him. The\n kids fall to the ground, except for Jamie, who lands on his\n sled, and slides head first down the sheet of ice into town.", "scared anymore.\n \n Jack floats back down onto the ice as the hole closes up\n underneath him.\n JACK (V.O.)", "...We see Jack Frost, outside, hanging upsidedown watching\n them through the window. A pang. The glass frosts over.", "Pitch strikes back, putting Jack on the defense. Jack jumps\n in the air. Their show of force escalates until they're\n shrouded in a blanket of snow, ice, and wind. As the wind", "cold wind blows behind him. Jack and Jamie come flying past,\n leaving a trail of ice in their wake. And on that ice - the\n Guardians careen along in make-shift sleds. They are scared", "Pitch gestures to a fantastical ice and nightmare \"sculpture\"\n that was created (off-screen) when Jack attacked him.", "the ice. He falters, and is swept up in the stampede of\n Nightmares. The streaks of black whip and latch themselves\n onto Pitch as the black cloud carries him through the forest.", "chasm below.\n \n Pitch looks down into the ice fissure chuckling. He throws\n the broken shards of Jack's staff down into the crevasse and", "He touches a few trees with his staff sending frost up their\n trunks. Then he swings the staff again, more confident, as\n he begins to run across the frozen pond.", "Jack doesn't know what to do. He takes a moment to\n concentrate, then enters the room.\n \n Then, Jamie notices the window as the panes of glass freeze", "JACK\n (MIFFED)\n Who's Jack Frost?\n \n Jack reaches down and grabs a hand full of snow from off the", "Jack falls through the clouds, smiling, toward the town of\n Burgess.\n \n JACK\n SNOOOOOWWWW DAAAAYYYYYY!!!" ], [ "Pitch struggles to escape, but the mass of black sand pulls\n him deep into the forest, under the frame of the broken bed,\n and back down into the dark depths of the underground. He", "In an instant Pitch finds himself surrounded by the\n Guardians. Each of them take their turn to deal Pitch a few\n humiliating blows.", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the", "the ice. He falters, and is swept up in the stampede of\n Nightmares. The streaks of black whip and latch themselves\n onto Pitch as the black cloud carries him through the forest.", "Pitch begins to back away, becoming one with the darkness,\n laughing as he disappears. Jack charges towards him only to\n be swallowed whole by one of Pitch's black holes.", "to grab them. He closes his eyes, struggling to make a\n decision, but when he opens them again, Pitch has\n disappeared.", "(TO HIMSELF)\n One.\n \n \n INT. PITCH'S LAIR - NIGHT", "SEQ. 1650 - PITCH'S LAIR\n \n INT. PITCH'S LAIR - NIGHT", "turns toward Pitch, only to fly a few feet over his head.\n Pitch turns as it passes over him, slightly confused.", "Pitch is knocked to the ground. As he gets to his feet he\n forms a scythe with his Nightmare sand and begins crossing\n swords with North.", "The cavern suddenly goes darker than it already was. Jack\n finally looks up, as a shadow of Pitch crawls up a nearby\n column.", "SEQ. 2500 - THE LAST LIGHT\n \n \n INT. PITCH'S LAIR - NIGHT", "Pitch shakes the FROST from his arms as scores of Nightmares\n swarm behind Pitch, regrouping after the blast. Pitch, at\n the center, seems as pleased as can be.", "Pitch shakes off the crash, trying to back up as Sandy\n touches down and moves toward him, Jack following. Pitch\n cowers on the ground in fear as they approach.", "Sandy quickly grabs Pitch with another DREAMSAND STREAM and\n yanks him off his feet, slamming him repeatedly against the\n tops of the buildings until finally throwing him off the", "Is beyond delighted. His plan actually worked!\n \n Pitch then notices Jack flying towards him, glowing energy\n emanating from Jack's staff. Pitch raises his hands and", "Pitch strikes back, putting Jack on the defense. Jack jumps\n in the air. Their show of force escalates until they're\n shrouded in a blanket of snow, ice, and wind. As the wind", "Pitch's voice echoes across the open chamber. They look up to\n see Pitch, standing high above them with a satisfied smile.\n \n PITCH", "Sandy then looks to his whip and tugs on it, slamming Pitch\n into the ground and knocking him out. The Guardians cheer as\n they welcome Sandy's return.", "INT. PITCH'S LAIR - NIGHT\n \n Jack lands on the ground, now standing before PITCH'S GLOBE --" ], [ "...We see Jack Frost, outside, hanging upsidedown watching\n them through the window. A pang. The glass frosts over.", "Hey, there he is! Jack Frost!\n \n As North holds out his arms to welcome Jack, a Dreamsand\n snowflake appears above Sandy's head.", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the", "Jack almost drops it as the base of the staff comes in\n contact with the ground. Frost shoots out and spreads across\n the ice. Jack is visibly confused.", "presence. Shaken, Jack turns and retreats into the forest.\n \n JACK (V.O.)\n My name is Jack Frost -- how do I", "Pitch shakes the FROST from his arms as scores of Nightmares\n swarm behind Pitch, regrouping after the blast. Pitch, at\n the center, seems as pleased as can be.", "Jack lands back in the sleigh. He opens his hand to reveal\n Baby Tooth, who's shaking with fear.\n \n JACK", "JACK\n (MIFFED)\n Who's Jack Frost?\n \n Jack reaches down and grabs a hand full of snow from off the", "Jack quickly sends a streak of frost toward Pitch's\n Nightmares, disabling a few of them.", "He touches a few trees with his staff sending frost up their\n trunks. Then he swings the staff again, more confident, as\n he begins to run across the frozen pond.", "Jack carefully treads across the ice until he hits something\n with his feet. He looks down, and at his feet is a wooden\n staff. Curious, he picks it up. Almost immediately the", "He's real.\n \n Jack, excited, continues to exert himself trying to bring\n life to his drawing. And when he does, the frost rabbit", "Jack suddenly SLAMS his staff down, sending a blast of FROST\n and WIND across the room. The torches go out and everything\n stops.", "The snowflake lands on Bunny's nose and his concerns suddenly\n seem to slip away. Jack's magic is taking affect.", "Jack doesn't know what to do. He takes a moment to\n concentrate, then enters the room.\n \n Then, Jamie notices the window as the panes of glass freeze", "Pitch strikes back, putting Jack on the defense. Jack jumps\n in the air. Their show of force escalates until they're\n shrouded in a blanket of snow, ice, and wind. As the wind", "lands on his butt. Just behind the man, we see the TRAIL OF\n FROST climb up the side of a building. We stay on the frost", "EXT. STREETS OF BURGESS - NIGHT\n \n Jack sends a blast of ice and frost at Pitch as he barrels", "JACK (V.O.)\n My name is Jack Frost. And I'm a\n Guardian. How do I know that?\n Because the moon told me so. And", "The icy walls rush back in as we pull out from Jack, reeling\n from the memory. He sees Baby Tooth.\n \n JACK" ], [ "...We see Jack Frost, outside, hanging upsidedown watching\n them through the window. A pang. The glass frosts over.", "presence. Shaken, Jack turns and retreats into the forest.\n \n JACK (V.O.)\n My name is Jack Frost -- how do I", "The icy walls rush back in as we pull out from Jack, reeling\n from the memory. He sees Baby Tooth.\n \n JACK", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the", "Jack almost drops it as the base of the staff comes in\n contact with the ground. Frost shoots out and spreads across\n the ice. Jack is visibly confused.", "Jack's eyes widen at the sight - the face of a young boy\n etched into the box, and under it is the name \"Jack Frost.\"\n \n PITCH", "JACK\n My memories?\n \n TOOTH\n From when you were young. Before\n you became Jack Frost.", "Pitch gestures to a fantastical ice and nightmare \"sculpture\"\n that was created (off-screen) when Jack attacked him.", "Jack quickly realizes that's he's in over his head as the\n attacking Nightmares begin to overtake him. He's engulfed by\n Nightmares and there is nothing but silence.", "JACK\n (BEAT)\n But, I wasn't anyone before I was\n Jack Frost.", "JACK\n (MIFFED)\n Who's Jack Frost?\n \n Jack reaches down and grabs a hand full of snow from off the", "It's cold and dark down here, and Jack is more alone than\n he's ever been. Battered from the fall, Jack slowly looks up", "The boy runs right through Jack, as if he were a ghost. Jack\n staggers back in shock. He's speechless, as if the wind had\n been knocked out him. His emotions causing it to snow.", "Jack carefully treads across the ice until he hits something\n with his feet. He looks down, and at his feet is a wooden\n staff. Curious, he picks it up. Almost immediately the", "Jack doesn't know what to do. He takes a moment to\n concentrate, then enters the room.\n \n Then, Jamie notices the window as the panes of glass freeze", "JACK (V.O.)\n My name is Jack Frost. And I'm a\n Guardian. How do I know that?\n Because the moon told me so. And", "Jack quickly sends a streak of frost toward Pitch's\n Nightmares, disabling a few of them.", "Hey, there he is! Jack Frost!\n \n As North holds out his arms to welcome Jack, a Dreamsand\n snowflake appears above Sandy's head.", "He's real.\n \n Jack, excited, continues to exert himself trying to bring\n life to his drawing. And when he does, the frost rabbit", "Jack lands back in the sleigh. He opens his hand to reveal\n Baby Tooth, who's shaking with fear.\n \n JACK" ], [ "JACK\n How long is a long time?\n \n TOOTH\n Ah, four hundred forty years...give", "They're gone. Jack is alone again. His temper subsides.\n \n He whips up a little wind and disappears.", "Jack...\n \n Jack gives chase. He sprints through the thickets and enters\n a clearing only to find the decrepit remains of a rotting", "Jack stops, confused. Where is that voice coming from? He\n looks out across the town, toward the woods, and the sound of\n the echoed voice.", "Jack...\n \n Jack turns, looks to the woods, and takes off.", "nesting doll that North had given him, drops the doll to the\n ground, and takes off.\n \n As Jack leaves, carried off by the wind, we see the tiny", "Jack lets go and the wind carries him into the air and\n through the clouds. Night turns to day as Jack flies from\n one horizon to the other.", "JACK\n He can see us?\n \n Jamie looks around, amazed, he sees everyone but Jack.", "The boy runs right through Jack, as if he were a ghost. Jack\n staggers back in shock. He's speechless, as if the wind had\n been knocked out him. His emotions causing it to snow.", "JACK\n Okay, one ride, but that's it.\n \n Jack jumps aboard. North smiles knowingly, and climbs", "Jack walks along a telephone wire as the Dreamsand disappears\n from the sky. Suddenly a shadowy figure and an unfamiliar\n noise zips by behind him.", "JACK\n (AMUSED)\n Ah, now that, that was fun.\n (BEAT)", "appears. As Jack disappears through the rabbit hole, Bunny\n appears through an adjacent hole laughing to himself.", "Jack looks off to the side as Jamie appears from out of his\n backyard.\n \n NORTH\n The last light!", "Pitch begins to back away, becoming one with the darkness,\n laughing as he disappears. Jack charges towards him only to\n be swallowed whole by one of Pitch's black holes.", "Jack moves away from the Globe and back toward the center of\n the room.\n \n NORTH", "JACK\n ...sleigh.\n \n Jack is understandably gob-smacked, so much so that he almost", "DARKNESS\n \n JACK (V.O.)\n Darkness. That's the first thing I", "presence. Shaken, Jack turns and retreats into the forest.\n \n JACK (V.O.)\n My name is Jack Frost -- how do I", "Jack's expression says it all. Finally the key to all his\n questions.\n \n JACK\n All these years, and the answers" ], [ "The boy runs right through Jack, as if he were a ghost. Jack\n staggers back in shock. He's speechless, as if the wind had\n been knocked out him. His emotions causing it to snow.", "Jack...\n \n Jack gives chase. He sprints through the thickets and enters\n a clearing only to find the decrepit remains of a rotting", "Jack quickly realizes that's he's in over his head as the\n attacking Nightmares begin to overtake him. He's engulfed by\n Nightmares and there is nothing but silence.", "They're gone. Jack is alone again. His temper subsides.\n \n He whips up a little wind and disappears.", "He's real.\n \n Jack, excited, continues to exert himself trying to bring\n life to his drawing. And when he does, the frost rabbit", "Jack lands back in the sleigh. He opens his hand to reveal\n Baby Tooth, who's shaking with fear.\n \n JACK", "Jack continues to push, until a the icy blue light spreads\n and melds the two ends of the staff back together. Jack\n smiles.", "Jack, I'm scared.\n \n There's a sudden moment of realization. Jack has heard these\n words before.", "Panic flashes in Jack's eyes. As he backs away, the chamber\n fills with shadows, and Jack is spun around. He's", "Jack stops, confused. Where is that voice coming from? He\n looks out across the town, toward the woods, and the sound of\n the echoed voice.", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the", "Then the room darkens as a wispy, shadowy figure with a\n familiar laugh crawls out from under the bed, and rises up.", "Pitch begins to back away, becoming one with the darkness,\n laughing as he disappears. Jack charges towards him only to\n be swallowed whole by one of Pitch's black holes.", "Jack leaps over a house to an adjacent tree to investigate\n and again, something zooms behind him. Jack jumps down from\n the tree and onto a truck in a nearby alley.", "Jack and Sandy look around as hundreds of Nightmares descend\n from the surrounding rooftops to encircle them. This doesn't\n look good. Jack, worried, looks to Sandy and mutters...", "of the eerie voice. Baby Tooth follows, trying to keep up.\n \n Jack takes a moment to orient himself and lands, settling on", "Jack looks down at the two halves of his staff, and picks\n them up. He tries to fit them back together, but nothing\n happens. He tries again, this time using every ounce of", "The shadows have overcome Jack.\n \n JACK\n (trying to scramble away)", "Jack, knocks away a few more Nightmares with his staff, and\n looks up. Tooth suddenly flies into view through the swarm", "JACK\n He can see us?\n \n Jamie looks around, amazed, he sees everyone but Jack." ], [ "And so, I've called us all here for\n one reason, and one reason only -\n the children are in danger.", "Tooth swoops in and turns Jack's attention to the massive\n globe behind him.\n \n TOOTH\n Each of those lights is a child.", "A child who believes. And good or\n bad, naughty or nice, we protect\n them.\n (BEAT)", "Tooth's eyes widen in shock.\n \n \n VIGNETTES OF CHILDREN AROUND THE WORLD", "All this fuss over one little boy.\n And still he refuses to stop\n believing.\n \n A CRACK of Thunder reveals the shadow of an approaching", "He whips around to see the kids - having the time of their\n lives - and no fear in their eyes. He rises up, his entire", "A moment of reconciliation between them, broken by the sounds\n of THUNDER. The Guardians look to the sky to see Pitch\n enveloped by dark clouds as he stares down at them from atop", "An enemy we have kept at bay for\n centuries has finally decided to\n strike back. We alone can stop\n him.", "threatens them as well.\n Guardians Screening Script 9/6/12 Avid 35.", "like bombardiers, turning Nightmares into puffs of black sand\n as they fly through them.\n \n The kids look to see a Nightmare charging toward them, only", "TOYS to the floor.\n \n The Yetis and Elves look up in horror as the black sand, now\n covering the globe, gives rise to Pitch, who stands before", "NORTH\n So what? As long as one child\n believes, we will be here to fight\n fear!", "world, and what I protect in\n children.\n (MORE)\n Guardians Screening Script 9/6/12 Avid 41.", "The elves scurry in a panic, then all at once the BLACK SAND\n WHOOSHES UP off the Globe -- rushes up through the ceiling as", "My fellow Guardians - It is our job\n to watch over the children of the\n world, and keep them safe - to\n bring wonder, hope and dreams.", "Everyone is amazed, hardly believing their eyes. Streams of\n Dreamsand swirl around the children. And then it's", "Pitch shakes the FROST from his arms as scores of Nightmares\n swarm behind Pitch, regrouping after the blast. Pitch, at\n the center, seems as pleased as can be.", "A parent and her two children, huddled around a campfire,\n scream as a shadow, resembling Pitch, washes over them. It", "toward Sophie. She tries to grab at it.\n \n JACK\n If one little kid can ruin Easter,", "Noooo!\n \n Pitch gasps, realizing that he no longer has any power over\n the children. The devastation plays across his face." ], [ "In an instant Pitch finds himself surrounded by the\n Guardians. Each of them take their turn to deal Pitch a few\n humiliating blows.", "The Guardians fly across the night sky only to disappear\n through a snowglobe portal. Nearby, a Nightmare observes as\n the sleigh vanishes. It leaps off the roof, through a drain,", "Monty, late to the party, comes running joyously past Jamie\n and the Guardians who stand in silence as they stare up at\n the sky.", "Bunny, egg basket in hand, approaches a group of kids who\n seem to be wandering around searching halfheartedly,\n disappointed and listless.", "Jack drifts up closer the globe. He looks at the lights\n going out, then back to the Guardians. There's a nervous\n tension in the room.", "A moment of reconciliation between them, broken by the sounds\n of THUNDER. The Guardians look to the sky to see Pitch\n enveloped by dark clouds as he stares down at them from atop", "(FORLORN)\n Easter is new beginnings, new life.\n Easter is about hope.\n (BEAT)", "The Guardians turn toward the explosions of ice and snow\n taking place atop the surrounding buildings.\n \n CUT TO:", "Bunny begins to charge toward the tunnel. At his side are\n the Guardians, yetis, and sentinel eggs all bellowing their", "The sleigh comes to a standstill as the Guardians prepare to\n climb inside. Several Yetis are still running around making\n last minute preparations.", "pond. It's terrifying, but the Guardians seem unphased.\n \n NORTH\n They can't be my Nightmares, I'm", "They are weak and defenseless. But still the Guardians\n gather around Jamie, to shield him from whatever may come.\n \n JAMIE", "Only then does it hit her. Tooth's wings drop in defeat.\n She's completely lost amidst the devastation. The Guardians\n rush to comfort her. Jack stays behind as Baby Tooth pops", "GUARDIANS' CALL GOES OUT!\n \n CUT TO:", "Meanwhile, the Guardians take Jamie to find shelter.\n \n \n ON PITCH", "A terrified Cupcake lies in bed awake. The Guardians'\n reflections streak across the window when suddenly, BOOF! A\n snowball strikes the pane of glass.", "Guardians with all their h--\n (a lights blinks out)\n Make that, five.\n (ANOTHER)\n Oo! Four!", "INT. NORTH POLE - GLOBE ROOM - DAY\n \n We're in the midst of a somber ceremony, marking the passing", "Guardians first met. Sandy and Bunny share a boastful look.\n \n NORTH (CONT'D)\n Then is time you take Oath.", "EXT. STREETS OF BURGESS - MOMENTS LATER\n \n Jamie and the Guardians do their best to avoid the patrolling" ], [ "CALEB\n Grow up, Jamie.\n \n CLAUDE\n (SIGHS)", "girl of about FOUR (with an uncanny resemblance to Jamie's\n sister Sophie) stands in her skates, rooted to the spot. A", "(Jamie's 2-year-old sister in fairy wings) sits down on their\n Greyhound as it lies in the yard.\n \n JAMIE", "Jamie and his friends along with a crowd of yetis, elves, and\n eggs all make their way across the pond to the rest of the\n group. As they approach we see settle on Jamie, who stands", "The kids arrive at the fence of Jamie's house. Jamie opens\n up a secret plank, and heads into his yard. Claude and Caleb", "Pippa walks away, trailing the others. Jamie doesn't know\n what to believe. He hangs his head and looks into the Easter\n basket, it's empty.", "JAMIE\n Jack!\n \n Jamie runs over and wraps his arms around Jack. For a", "CLAUDE\n Here we go again.\n \n Jamie arrives at his front gate, sled in hand while SOPHIE", "JAMIE\n (LAUGHS)\n You struck first!\n \n CLAUDE\n Oh!", "He watches as Tooth reaches under the pillow. She hovers\n over Jamie as he stirs in his sleep. A dreamy smile comes", "Jamie takes off flying down the street, and as a snowflake\n lands on her nose she suddenly sees him.\n \n PIPPA", "Jamie goes to pick up the book and we get a glimpse of the\n cover - \"THEY'RE OUT THERE! - MYSTERIES, MYTHICAL CREATURES", "But Jamie gets up.\n \n KIDS\n (WALLA)\n Wow, that looks serious! Jamie!", "JAMIE\n Whoaaaaaaaaaa!\n \n Luckily he lands -- OOF! -- in Sandy's arms. He starts to", "JAMIE'S MOM comes outside. Caleb, alongside his brother,\n stands at the front gate and calls out to Jamie.", "Sophie begins to cry.\n \n JAMIE\n Mom! Sophie fell again!", "Pippa's face changes - a mischievous sparkle.\n \n PIPPA\n Jamie Bennett! No fair!", "Ooooh!\n \n There's a moment of silence as the kids wait to see if Jamie\n is okay. Then, Jamie rises up from behind the sofa grinning,", "her shoulder. Their dog gets up and begins licking Jamie's\n face.\n \n JAMIE'S MOM", "(CRAZED)\n Hide, hide, hide, hide!\n \n Jamie's Mom picks Sophie up off the bed and lifts her over" ], [ "Sandy then looks to his whip and tugs on it, slamming Pitch\n into the ground and knocking him out. The Guardians cheer as\n they welcome Sandy's return.", "SANDY\n \n Sandy stands up, accepting his fate, and closes his eyes as\n he and his Dreamsand cloud are consumed by the writhing", "A golden whip wraps itself round Pitch's hands. We follow\n the whip to reveal Sandy, coalescing from the funnel cloud of", "SANDY\n \n Sandy's gone. His beautiful Golden Dreamsand, now black,", "As the kids look on in wonder, Sandy throws up his hands\n creating a shower of Dreamsand, which drifts down on the\n children.", "have gathered. He forms a Dreamsand hat and tips the cap to\n Jamie. Jamie, gleeful, waves back to Sandy as his friends\n stand behind him in awe.", "Jack and Sandy look around as hundreds of Nightmares descend\n from the surrounding rooftops to encircle them. This doesn't\n look good. Jack, worried, looks to Sandy and mutters...", "Sandy looks at his hands and sees the Nightmare sand take\n shape and drift away. He and Bunny exchange a look.", "Sandy quickly grabs Pitch with another DREAMSAND STREAM and\n yanks him off his feet, slamming him repeatedly against the\n tops of the buildings until finally throwing him off the", "silenced and all turn to look at Sandy, who points up, a sand\n crescent moon forming above his head. The dizzy elf staggers\n away. Finally the others turn to see the shaft of moonlight", "Sandy continues forward, grim faced...but suddenly Pitch\n stops cowering and stands up. His tone changes.\n \n PITCH (CONT'D)", "Sandy...\n \n \n JACK\n \n Horrified, clenches his staff as he flies toward Pitch.", "Pitch shakes off the crash, trying to back up as Sandy\n touches down and moves toward him, Jack following. Pitch\n cowers on the ground in fear as they approach.", "JAMIE\n Whoaaaaaaaaaa!\n \n Luckily he lands -- OOF! -- in Sandy's arms. He starts to", "of Sandy. Burning candles line the perimeter of Sandy's\n stone emblem.\n \n Tooth sets down a candle and stands shoulder to shoulder with", "Sandy descends from the plane and floats to the ground. He\n joins North, Bunny and Tooth as they walk through the Globe", "Sandy floats into the air, and shoots streams of Dreamsand in\n every direction.", "Jack comes down off the dresser and turns to Sandy, who has\n put Jamie back in bed. Sandy lifts North's arm and lets go,", "A Dreamsand Four-Leaf clover forms above Sandy's head.\n \n TOOTH (CONT'D)\n Maybe the Leprechaun?", "Oh, Sandy. You're alright!\n \n BUNNYMUND\n Sandy, come here!" ], [ "Jack...\n \n Jack gives chase. He sprints through the thickets and enters\n a clearing only to find the decrepit remains of a rotting", "JACK\n I saved her!\n \n He looks up at the opening above. The MOON peeks out from\n behind the clouds.", "Jack stops, confused. Where is that voice coming from? He\n looks out across the town, toward the woods, and the sound of\n the echoed voice.", "JACK\n (AMUSED)\n Ah, now that, that was fun.\n (BEAT)", "JACK\n ...sleigh.\n \n Jack is understandably gob-smacked, so much so that he almost", "JACK\n Okay, one ride, but that's it.\n \n Jack jumps aboard. North smiles knowingly, and climbs", "Jack quickly realizes that's he's in over his head as the\n attacking Nightmares begin to overtake him. He's engulfed by\n Nightmares and there is nothing but silence.", "Jack lets go and the wind carries him into the air and\n through the clouds. Night turns to day as Jack flies from\n one horizon to the other.", "JAMIE\n Jack!\n \n They rush to Jack and help him to his feet.", "They're gone. Jack is alone again. His temper subsides.\n \n He whips up a little wind and disappears.", "Jack carefully treads across the ice until he hits something\n with his feet. He looks down, and at his feet is a wooden\n staff. Curious, he picks it up. Almost immediately the", "Jack continues to push, until a the icy blue light spreads\n and melds the two ends of the staff back together. Jack\n smiles.", "JACK\n You're welcome!\n \n JAMIE\n (goes running after them)", "Jack's BODY begins to glow, bathed in MOONLIGHT. PUSH IN on\n his FACE, becoming brighter and brighter until his brown hair", "Jack, though surprised, quickly grabs the reigns and smiles\n as he snaps them.\n \n JACK", "JACK\n Hello! Hello!\n \n Townsfolk continue to pass through Jack, unaware of his", "awe, mouths wide open, as he sails through the air.\n \n Jamie opens his eyes and the look of fear suddenly turns to\n joy. Jack looks on smiling.", "Jack, in his element, leaps up onto the rear of the sleigh to\n watch the North Pole fade into the distance.\n \n JACK", "The boy runs right through Jack, as if he were a ghost. Jack\n staggers back in shock. He's speechless, as if the wind had\n been knocked out him. His emotions causing it to snow.", "back at him. North closes Jack's hand. They exchange a look.\n \n Then, something suddenly jets past a window outside. Almost" ], [ "Sandy...\n \n \n JACK\n \n Horrified, clenches his staff as he flies toward Pitch.", "PITCH\n After all, you're not one of them.\n \n Jack aims his staff at Pitch.", "Is beyond delighted. His plan actually worked!\n \n Pitch then notices Jack flying towards him, glowing energy\n emanating from Jack's staff. Pitch raises his hands and", "Jack, enraged, can't believe what he's seeing. Pitch lifts\n the staff, and breaks it over his knee, cracking it in two.", "JACK (CONT'D)\n I'm not afraid of you!\n \n PITCH\n Maybe not. But you are afraid of", "Stop it! Stop it!\n \n Almost reluctantly, the shadows back away and Pitch appears\n before Jack.", "PITCH (O.S.)\n Looking for something?\n \n Jack swings around with his staff, shooting off a blast of", "Pitch begins to back away, becoming one with the darkness,\n laughing as he disappears. Jack charges towards him only to\n be swallowed whole by one of Pitch's black holes.", "Jack continues to attack, lashing out with his staff. Pitch\n blocks the attacks of ice and frost -- his control over the\n Nightmare sand has gained considerable strength.", "Jack's breath quickens. He's been pushed into a corner.\n \n PITCH\n You're afraid of disappointing", "NORTH\n Be careful, Jack!\n \n Jack leaps into the air, and goes flying directly at Pitch.", "The cavern suddenly goes darker than it already was. Jack\n finally looks up, as a shadow of Pitch crawls up a nearby\n column.", "Pitch strikes back, putting Jack on the defense. Jack jumps\n in the air. Their show of force escalates until they're\n shrouded in a blanket of snow, ice, and wind. As the wind", "his grip. She can hardly breathe. Jack has no choice.\n Jack...hands over...the staff.\n \n Pitch twirls the staff.", "Pitch looks confused and hurt. This is not the response he\n was expecting. Then...his eyes flame with anger. He made\n himself vulnerable, and Jack rejected him. No more", "Suddenly, Pitch sends a burst of Nightmare sand, blasting\n Jack and slamming him into the iceberg wall behind him. As\n the ice cracks, Jack comes loose and falls forward into the", "Jack turns to face Pitch.\n \n JACK\n (DEADPANS)\n Pitch black...", "Suddenly, in their moment of distraction, Pitch rises up\n behind Jack, his Nightmare sand AXE in hand.\n \n BUNNYMUND", "(hands the doll to Jack)\n Well, go on.\n \n Jack gives North a curious look, then sets down his staff.", "Pitch shakes off the crash, trying to back up as Sandy\n touches down and moves toward him, Jack following. Pitch\n cowers on the ground in fear as they approach." ] ]

[ "What does Pitch Black use to manipulate the children of the world?", "According to Tooth, what can be found in baby teeth?", "What causes Jamie to wake up? ", "Who is the Guardian of Dreams?", "What happens to Sandy when she is attacked by Pitch's nightmares?", "How does Pitch distract Jack when he wants to get at the eggs?", "What does Jack learn about himself when he gets his memories back?", "How is Pitch finally trapped?", "At the end of the story, what does Jack become?", "Who awakens from a pond at the beginning of the story?", "How long after Jack awakes does he reappear?", "Who is chosen as the new guardian?", "What holds the innocence and memories of children?", "Who does Pitch kill?", "What awakens Jamie?", "Where does Jack isolate himself?", "What does Pitch do to Jacks staff?", "What was Jack doing when he fell in the ice as a mortal?", "What causes Pitch to be trapped in his lair?", "Where does Jack Frost awaken?", "What psychological trauma does Jack Frost undergo in the beginning of the story?", "In how many years does jack return from his disappearance?", "In what form does Jack return?", "Who is threatening the children of the world?", "When Easter approaches, where do the dejected Guardians gather to meet?", "What is Jamie's younger sister's name?", "How is Sandy resurrected?", "What title does Jack receive as a result of his heroism at the end of the story?", "What did Pitch threaten to do if Jack refused to give him his staff?" ]

[ [ "Nightmares.", "Kidnaps tooth fairies and steals memories" ], [ "The memories and innocence of the children who lost them.", "Childhood memories and innocence." ], [ "A fight between North and Bunnymund.", "North and Bunnymund quarreling " ], [ "Sandy. ", "Sandy" ], [ "She is defeated.", "she's killed" ], [ "By taunting him with his memories and fear of non-belief.", "He taunts him" ], [ "That he was once a mortal teenager who fell into ice while trying to save his sister.", "he was once mortal teenager" ], [ "He is trapped in his own lair by his nightmares.", "By his nightmares." ], [ "The Guardian of Fun. ", "The guardian of fun" ], [ "Jack Frost", "Jack Frost" ], [ "Three hundred years", "Three hundred years." ], [ "Jack frost", "Jack Frost." ], [ "Baby teeth", "Baby teeth" ], [ "Sandy", "Sandy." ], [ "A quarrel", "A quarrel between North and Bunnymund" ], [ "Antarctica", "Antarctica " ], [ "He breaks it", "He breaks it" ], [ "He was saving his sister", "Saving his sister" ], [ "His own nightmares", "His nightmares" ], [ "In a frozen pond", "from a frozen pond" ], [ "Amnesia", "Disappearing due to not being believed in." ], [ "Three hundred years", "300" ], [ "As the spirit of Winter", "The spirit of winter" ], [ "Pitch Black", "Pitch Black" ], [ "Bunnymund's home", "Bunnymund's home " ], [ "Sophie", "Sophie" ], [ "Through the strength of Jack and Jamie's and their friends' dreams.", "Jamie's friends believe and their dreams overpower him" ], [ "Guardian of fun", "Guardian of Fun " ], [ "Kill Baby Tooth", "Kill Baby Tooth" ] ]

[ [ "through light. The four pillars --\n he probably means the kidnapped\n cardinals. You didn't mention they\n were the preferiti.", "FR. SIMEON\n Eminence. There is a growing fear\n that without the four prefiriti, a two-\n thirds majority for any candidate may", "languages, milling about the place, conferring, catching up on old\n friendships.\n \n Cardinal Mortati, the Dean of the College who led the Pope's elegy", "He chats in Italian with two other Cardinals, until a black-\n cassocked aide (FATHER SIMEON) outside the open doors of the", "the office you temporarily hold with\n your true place here in the Vatican.\n You were a favorite of His Holiness,\n but His Holiness is with his Father", "And the law states that Adoration\n supersedes all other eligibility\n requirements. The candidate need\n only be an ordained member of the", "He must be present in the Sistine\n Chapel at the moment of election.\n \n Many cries now of \"Bring the Camerlengo to us!\"", "Looking down the stairs, he sees the doorway open, and the\n gathering of cardinals inside. As he reaches the base of the\n stairs, Cardinal Mortati, who has been summoned, steps outside to", "He gestures to the open doors to the Sistine Chapel, and the\n assembled cardinals within.\n \n MORTATI (cont'd)", "Elector.\n \n CAMERLENGO\n The cruelest honor in Christendom.", "A Swiss Guardsman stands on either side of him.\n \n The door to his right suddenly opens, another Guardsman nods to", "At the front, CARDINAL MORTATI stands behind a massive altar, arms\n outstretched, praying in Latin for the assembled luminaries.", "Outside, the crowd in St. Peter's can be heard, singing joyously.\n \n A SECOND CARDINAL steps forward.", "Election by Adoration occurs when\n all the cardinals, as if by\n inspiration of the Holy Spirit,\n freely and spontaneously,", "Mortati looks at him for a moment, then looks back, over his\n shoulder, where a small knot of Cardinals, who have clearly", "who values his physical being more\n than the unbroken leadership of the\n Holy See.\n \n CAMERLENGO", "conversation with a group of seven or eight Cardinals.\n \n MORTATI\n Signores... you are no doubt aware", "alone. From inside can be heard the sound of VOICES in debate.\n \n Finally, the big doors open and Cardinal Mortati emerges, goes to\n him.", "itself in the Sistine Chapel for\n Conclave literally, the word means\n \"with key\" -- the process by which\n the Church chooses a new leader for", "brilliant red robes, seated near the altar.\n \n REPORTER (O.S.)\n The College of Cardinals will lock" ], [ "It's an ancient llluminati threat.\n (Rocher pauses the recording)\n The destruction of Vatican City", "CUT TO:\n \n INT CHURCH OF ILLUMINATION NIGHT", "OLIVETTI\n Not personally, but he said it was the\n Illuminati. He said they murdered\n him.", "mean the llluminati have returned.\n (looks at Vincenzo)\n An ancient brotherhood, enemies of the\n church, surfacing just after the death", "there's CHANTING of the Camerlengo's name. It's exactly\n midnight.\n \n 121.", "Look again.\n \n Vincenzo looks at it. The word llluminati is written in ornate\n script. Vincenzo looks back up --- so?", "(THINKING)\n They're going to kill him. Before\n they blow up the Vatican they're going", "feet. He looks up, eyes wide, and mutters a single word:\n \n LANGDON\n llluminati?", "Langdon and Vittoria creep into the Church of Illumination, and we\n get our first good look at it.", "seven p.m. tonight, in Rome.\n \n LANGDON\n (mind racing ahead)\n Conclave?", "He shines the light down. He's standing on a pile of human skulls\n \n OLIVETTI\n (calling down)", "VINCENZO\n If the llluminati have returned and\n are in Rome, we will hunt them down\n and kill them.", "mystery. Maybe it's this.\n \n He pulls the \"llluminati\" ambigram from his pocket.\n \n ROCHER", "created it, or who knows the secrets\n of its origin-- that person is in Rome.\n (checks his watch)\n How much longer must we pretend you", "Italian. He speaks softly to them, in Italian, subtitled.\n \n CAMERLENGO\n At 11:15, if the church is still in", "CAMERLENGO\n ILLUMINATUS!\n \n As we saw before, Lt. Chartrand FIRES THREE TIMES, killing Father", "Langdon reaches the bottom, still shining the light at the figure\n in the distance. It's brighter here, he can see it's flesh-", "They said to show you this.\n \n Langdon turns back. Vincenzo's holding a single sheet of paper in", "ILLUMINATUS!\n \n FR. SIMEON\n You bastard! You sanctimonious-", "INT SISTINE CHAPEL NIGHT\n \n The Camerlengo speaks faster now:\n \n 78." ], [ "down the row of hermetically sealed vaults in the Vatican\n Archives.\n \n Langdon's leading, looking at the names on the outsides of each of", "Vittoria pulls the page from the Diagramma out of her pocket and\n hands it to Langdon. He pulls the magnifier from his coat and\n studies the thin paper, turning it in his hands.", "INT VATICAN ARCHIVES NIGHT\n \n CLOSE ON the Bernini ledger, which Langdon is now almost halfway", "Inside the archive, Vittoria is searching the lower shelves while\n Langdon, on a ladder, digs through folio bins higher up.", "Vittoria steps in behind him.\n \n LANGDON\n Pyramids. In a Catholic church.\n This is it.", "The interior of the Swiss Guard offices is ornate and filled with\n artwork, like every other Vatican building. As they walk,\n Langdon studies the row of statues of male nudes that lines both", "EXT VATICAN ARCHIVES NIGHT\n \n The face of Langdon's Mickey Mouse watch is smeared with blood", "Langdon, we've confirmed with the\n Vatican that they invited you into\n this investigation, but what I-", "Langdon SHOUTS to two more Vatican Cops, pointing upward.\n \n LANGDON\n The cleat, on the wall! Get", "They said to show you this.\n \n Langdon turns back. Vincenzo's holding a single sheet of paper in", "INT VATICAN ARCHIVES NIGHT\n \n Langdon and Lt. Chartrand, the young Swiss Guardsman, walk quickly", "Langdon looks at it, and it gives him a thought. He turns, looks\n at the Camerlengo, whose chest is exposed.", "Langdon looks at the glass wall on the far side of the vault. Then\n at the row of bookcases. Gets an idea.", "Langdon and Vittoria creep into the Church of Illumination, and we\n get our first good look at it.", "Langdon. A matter of great urgency.\n \n LANGDON\n Urgent Vatican business, involving me?", "Langdon and Chartrand stagger down the front steps of the Vatican\n Archives, where they're immediately met by three Vatican Police", "VITTORIA\n Didn't he work for the Church?\n \n LANGDON\n Almost exclusively. It means the", "Langdon takes off running, toward and eleventh-century church at\n the southwest corner of the plaza, covered in scaffolding.\n \n At the front door of the church,", "One of the Swiss Guardsmen goes to the table and picks up an\n envelope, hands it to Langdon.\n \n SWISS GUARDSMAN", "Langdon drops to his knees, turns the Homeless Man over.\n Through the man's torn shirt, he can see a black and red brand\n burned into his chest." ], [ "Father Simeon, who had been lurking in the open doorway to the\n chapel, now glides up beside him and touches Mortati's arm.", "Two bullets SLAM into Rocher's chest and he crumples.\n \n Father Simeon bursts into the room, and as he does the Camerlengo", "A younger man (the CAMERLENGO) in a black cassock takes a silver\n knife and scratches the ring's seal twice, once horizontally and", "He chats in Italian with two other Cardinals, until a black-\n cassocked aide (FATHER SIMEON) outside the open doors of the", "cardinals were kidnapped from their\n quarters inside the Vatican some time\n between three and five a.m. this\n morning. Shortly afterward, the Office", "The Camerlengo has just passed on the shocking news, and the\n whispered word \"murder\" can be heard in several languages.", "FR. SIMEON\n His final instructions before sealing\n the doors were very clear -- no outside\n communications unless absolutely", "office, Lt. Chartrand is desperate.\n \n While Father Simeon attempts to argue with him in Italian,", "Langdon withdraws his hand from Rocher's, and finds the dying man\n has pressed something into his palm.\n \n A key.", "Olivetti creeps forward, gun at the ready, Vincenzo close behind\n him.\n \n They see a form on the floor in front of them and Olivetti bends", "Father Simeon will make a suitable\n announcement lamenting the loss of\n life. May I suggest you direct\n your energies to helping the Swiss", "Father Simeon races toward the Camerlengo --\n \n FR. SIMEON\n You bastard! You sanctimonious-", "INT SANTA MARIA DELLA VITTORIA NIGHT\n \n In the burning church, two heavy incensor cables run from the", "And almost as one, the row of TV cameras all swing away from the\n crime scene in the square and up, to the Sistine Chapel chimney,\n where there is indeed a thick cloud --", "-- there is a silenced pistol pointing directly at him.\n \n PHOOM.\n \n He takes a bullet in the forehead, slumps forward against the", "The Camerlengo kneels in prayer in front of the fire. He hears a\n sound behind him and turns as the door to the papal office opens.", "Nothing moves. Dead silence. Langdon and Vittoria walk\n slowly to the middle of the floor, at one end of the chapel.", "The Camerlengo's head is wreathed in light for a moment, and then,\n as he climbs out, we see that he's holding in his hands --", "INT SISTINE CHAPEL NIGHT\n \n Mortati's Aide, Father Simeon, takes advantage of the open Sistine", "Father was indeed murdered. He is\n seeking guidance.\n \n LANGDON\n From whom?" ], [ "Two bullets SLAM into Rocher's chest and he crumples.\n \n Father Simeon bursts into the room, and as he does the Camerlengo", "CAMERLENGO\n ILLUMINATUS!\n \n As we saw before, Lt. Chartrand FIRES THREE TIMES, killing Father", "He falls to the floor, dead.", "Father was indeed murdered. He is\n seeking guidance.\n \n LANGDON\n From whom?", "But the dying Cardinal is gasping for breath, his mouth opening\n and closing like a fish on a dock.", "He rushes at the Camerlengo and Chartrand reacts on instinct,\n putting three bullets in Father Simeon's back.\n \n 111.", "Or bring it down upon itself.\n \n He looks back at Rocher, and at Father Simeon, dead on the floor.", "He makes eye contact with the dying man, who seems to be accepting\n his fate, maybe even welcoming it.\n \n Langdon changes his grip, strains like hell, and actually gets him", "Cardinal's foot, he pulls him closer, reaches out, can almost grab\n his ankle --\n \n -- until he is SHOT in the back. He falls to the floor,", "-- there is a silenced pistol pointing directly at him.\n \n PHOOM.\n \n He takes a bullet in the forehead, slumps forward against the", "office, Lt. Chartrand is desperate.\n \n While Father Simeon attempts to argue with him in Italian,", "bends down, takes the dying man's hand.\n \n Rocher looks up at him, desperation in his eyes, trying to\n communicate something but too weak to say more than:", "(THINKING)\n They're going to kill him. Before\n they blow up the Vatican they're going", "Two gunshots THUD into the chests of Vatican Cops 2 & 3, who were\n supporting the pew. They fall, the pew tips --", "before falling.\n \n Mr. Gray looks down, at his right shoulder, where a dark red stain\n is spreading on his suit. He touches it, more annoyed than", "Father Simeon will make a suitable\n announcement lamenting the loss of\n life. May I suggest you direct\n your energies to helping the Swiss", "NEARBY,\n \n Langdon, still on the ground, looks up at the sound of the shots.\n Through the burning church pews he can see Mr. Gray, starting", "They get out. He stares into the flames.\n \n CUT TO:", "Father Simeon races toward the Camerlengo --\n \n FR. SIMEON\n You bastard! You sanctimonious-", "down -- it's the first Vatican Policeman.\n \n Dead in a pool of his own blood.\n \n 80." ], [ "-- which has spurred calls for his\n immediate canonization and sainthood.\n The Vatican also announced the death", "BBC REPORTER\n Church sources now confirm that\n Camerlengo Father Sebastian Guttierez\n has died of internal injuries", "Still moving, a BBC REPORTER, in English.\n \n BBC REPORTER\n Sadly, the Vatican spokesman points", "-- a statement just released by the\n Vatican expressing sympathy for the\n family of the mugging victim, a\n tourist from Dusseldorf --", "The Camerlengo has just passed on the shocking news, and the\n whispered word \"murder\" can be heard in several languages.", "public announcement refuting this\n absurd claim.\n \n Father Simeon, Cardinal Mortati's aide, steps forward.", "Two gunshots THUD into the chests of Vatican Cops 2 & 3, who were\n supporting the pew. They fall, the pew tips --", "CAMERLENGO\n That's ridiculous, the Holy Father\n died of a stroke. Did he say how", "Father Simeon will make a suitable\n announcement lamenting the loss of\n life. May I suggest you direct\n your energies to helping the Swiss", "down -- it's the first Vatican Policeman.\n \n Dead in a pool of his own blood.\n \n 80.", "trust. No further announcements are\n necessary.\n \n FR. SIMEON\n He's be concerned about the public", "I ask your forgiveness for putting you\n in this position. Vatican laws are\n established to protect the church. But\n it is in that very spirit that I", "the office you temporarily hold with\n your true place here in the Vatican.\n You were a favorite of His Holiness,\n but His Holiness is with his Father", "The Vatican is about to see its fourth\n Cardinal murdered tonight.\n \n He realizes he spoke too loudly, and there is quite a crowd", "CAMERLENGO\n If the Holy Father was murdered, the\n implications are profound. Vatican\n security is impenetrable, no one from", "cardinals were kidnapped from their\n quarters inside the Vatican some time\n between three and five a.m. this\n morning. Shortly afterward, the Office", "papal autopsies are prohibited by\n Vatican Law. We are not about to\n defile His Holiness's body just", "Now you can either do what they tell\n you and force me to go to the Vatican,\n where we can all mourn his death", "Vatican burnings, it's said this is\n the only copy that remains.\n (turns the second page)\n (MORE)", "And almost as one, the row of TV cameras all swing away from the\n crime scene in the square and up, to the Sistine Chapel chimney,\n where there is indeed a thick cloud --" ], [ "The Vatican is about to see its fourth\n Cardinal murdered tonight.\n \n He realizes he spoke too loudly, and there is quite a crowd", "The Camerlengo has just passed on the shocking news, and the\n whispered word \"murder\" can be heard in several languages.", "of the Swiss Guard received that\n document, along with the threat that\n the Cardinals will be publicly\n executed, one per hour, starting at", "BRAZILIAN REPORTER\n -- initial rumors that one of the\n dead was Cardinal Ebner of Frankfurt --", "alone. From inside can be heard the sound of VOICES in debate.\n \n Finally, the big doors open and Cardinal Mortati emerges, goes to\n him.", "Mortati looks at him for a moment, then looks back, over his\n shoulder, where a small knot of Cardinals, who have clearly", "But the dying Cardinal is gasping for breath, his mouth opening\n and closing like a fish on a dock.", "Cardinal's foot, he pulls him closer, reaches out, can almost grab\n his ankle --\n \n -- until he is SHOT in the back. He falls to the floor,", "The Camerlengo falls, unconscious now, tumbling over and over,\n dropping too fast. He SLAMS off an angled rooftop, headed for the\n ground.", "to kill and brand the pope himself.\n \n VITTORIA\n But there is no pope.", "cardinals were kidnapped from their\n quarters inside the Vatican some time\n between three and five a.m. this\n morning. Shortly afterward, the Office", "plate over the chalice, bows to the cross, and heads for his seat.\n \n The next cardinal steps up to repeat the process.", "down -- it's the first Vatican Policeman.\n \n Dead in a pool of his own blood.\n \n 80.", "Looking down the stairs, he sees the doorway open, and the\n gathering of cardinals inside. As he reaches the base of the\n stairs, Cardinal Mortati, who has been summoned, steps outside to", "CAMERLENGO\n That's ridiculous, the Holy Father\n died of a stroke. Did he say how", "The Camerlengo kneels in prayer in front of the fire. He hears a\n sound behind him and turns as the door to the papal office opens.", "Cardinal has asked me to remind you --\n we have a chimney.\n \n The Camerlengo just stares at him, a power struggle. Which he is", "brilliant red robes, seated near the altar.\n \n REPORTER (O.S.)\n The College of Cardinals will lock", "Two gunshots THUD into the chests of Vatican Cops 2 & 3, who were\n supporting the pew. They fall, the pew tips --", "The figure in the papal robes turn around. It is, of course,\n Cardinal Mortati.\n \n MORTATI" ], [ "That canister contains an extremely\n combustible substance called\n antimatter. We need to locate it\n immediately or evacuate Vatican City.", "-- the glowing canister of anti-matter.\n \n ON THE GROUND NEARBY,", "INT ANTIMATTER LAB DAY\n \n In the lab, we're still moving, close to one of the pillars and to", "The shimmering bead of anti-matter falls out of suspension and\n drops, slowly, toward the bottom of the canister, it barely", "VITTORIA (cont'd)\n The anti-matter is suspended, there,\n in an airtight nanocomposite shell", "antimatter.\n \n VITTORIA\n It's new, energy research technology.\n It uses a reverse polarity vacuum to", "But he waves her off, this has to be it. He feels all along the\n wall toward the other corner, and as he looks down at the ground,\n his eyes widen.", "--- Vittoria steps through an airlock and emerges in a gleaming\n white underground lab. Everything, everywhere, is white.\n \n 5.", "He goes to the last bookcase, which is about six feet from the\n glass wall. He hoists himself up on the shelf of the bookcase\n opposite it, wedges himself in.", "It's a dead end.\n \n But the Police attention is focused on the black van parked in the\n center of the room.", "follows him as he climbs down a scaffolding that surrounds the\n detector wheel and heads toward a console across the room.\n \n VITTORIA", "He takes one last breath of oxygen-rich air, pushes through the\n revolving door --\n \n INT VAULT NIGHT", "A few moments later, they're crowded around the communications\n console at Rocher's desk, where a dimly-lit video recording is", "As FIREMEN put out the last of the flames (not using water, but\n Halon gas, which creates no steam), a metallic TAPPING sound comes\n from somewhere.", "(CONTINUING)\n -- canister was stolen from our lab\n around midnight last night. The\n intruder killed my research partner,", "interior of the vault. He takes a deep breath, holds it, and lets\n it out.\n \n Vittoria follows shortly behind him, and she's unprepared -- the", "vault is not recommended without\n breathing apparatus.\n \n He stops at one particular chamber and gestures to the sign on its", "He looks up, at a vent over the doorway. Thin ribbons flutter in\n the breeze of the minimal oxygen that's being pumped in.", "She brings the light to Langdon, who shines its beam down at the\n floor. There, in the corner, is a granite block.", "Elevator doors open in a subterranean tunnel and Vittoria steps\n out. A long tube, about four feet across, runs off into the" ], [ "to kill and brand the pope himself.\n \n VITTORIA\n But there is no pope.", "The Vatican is about to see its fourth\n Cardinal murdered tonight.\n \n He realizes he spoke too loudly, and there is quite a crowd", "His work was not religious, it was\n sacrilegious!\n \n ROCHER\n But you saw the Pope's position as a", "(THINKING)\n They're going to kill him. Before\n they blow up the Vatican they're going", "Father was indeed murdered. He is\n seeking guidance.\n \n LANGDON\n From whom?", "CAMERLENGO\n ILLUMINATUS!\n \n As we saw before, Lt. Chartrand FIRES THREE TIMES, killing Father", "of a Pope? I'd pull you off\n vacation too.\n \n VINCENZO\n It's worse than just that. Four", "The figure in the papal robes turn around. It is, of course,\n Cardinal Mortati.\n \n MORTATI", "He rushes at the Camerlengo and Chartrand reacts on instinct,\n putting three bullets in Father Simeon's back.\n \n 111.", "And almost as one, the row of TV cameras all swing away from the\n crime scene in the square and up, to the Sistine Chapel chimney,\n where there is indeed a thick cloud --", "Langdon and the others race into the pope's office and find a\n truly bizarre scene.\n \n Rocher is near the fireplace, brandishing his sidearm, aimed at", "Father Simeon races toward the Camerlengo --\n \n FR. SIMEON\n You bastard! You sanctimonious-", "He raised me to protect the church.\n Even from within.\n \n ROCHER\n So you brought an old enemy back from", "CAMERLENGO\n That's ridiculous, the Holy Father\n died of a stroke. Did he say how", "OLIVETTI\n Not personally, but he said it was the\n Illuminati. He said they murdered\n him.", "CAMERLENGO\n If the Holy Father was murdered, the\n implications are profound. Vatican\n security is impenetrable, no one from", "The Camerlengo has just passed on the shocking news, and the\n whispered word \"murder\" can be heard in several languages.", "Two gunshots THUD into the chests of Vatican Cops 2 & 3, who were\n supporting the pew. They fall, the pew tips --", "What makes you think he's going to\n murder the cardinals in the churches?\n \n LANGDON", "they're back in the Pope's office, but Rocher is alive, and saying\n words he said earlier:\n \n ROCHER" ], [ "ROBERT LANGDON is fiftyish, but looks ten years younger, must have\n something to do with two hundred laps at dawn every day.", "Professor Langdon, you have spent ten\n years of your academic life searching\n for the very symbol you now hold in\n your hand. And the madman who", "science,\" he said.\n \n Langdon stops in his tracks.\n \n LANGDON", "-- Robert Langdon, wedged into the top of the opening, holding a\n rock in one hand as he clings precariously to the walls he has\n climbed.", "Guard. Thank you for coming. And\n Professor Langdon?\n \n LANGDON", "Langdon drops to his knees, turns the Homeless Man over.\n Through the man's torn shirt, he can see a black and red brand\n burned into his chest.", "Inside the papal apartments, Robert Langdon sits stiffly on a\n straight-backed chair in a hallway. Couldn't look more\n uncomfortable if he tried.", "He is saved. Langdon sags against the side of the fountain,\n exhausted and freezing, as the others pull the Cardinal's body to\n safety.", "Vittoria pulls the page from the Diagramma out of her pocket and\n hands it to Langdon. He pulls the magnifier from his coat and\n studies the thin paper, turning it in his hands.", "Watching you, Mr. Langdon.\n \n Langdon looks at him. He's not popular around here.", "solidly-built man in his late thirties.\n \n OLIVETTI\n Professor Langdon, welcome to Vatican", "Langdon's jaw drops. He shoots a look over his shoulder at Lt.\n Chartrand, but the man's back is turned.", "Langdon, seated across from him, stifles a laugh.\n \n LANGDON\n Spoken like a Roman Catholic.", "-- and behind him, hidden in the shadows of the papal apartment,\n just behind the billowing curtains, Robert Langdon folds his hand\n in front of him --", "The statue he came here to find. Now, as the Italian-speaking\n police and firemen work around him, Langdon moves, as if in his", "down the row of hermetically sealed vaults in the Vatican\n Archives.\n \n Langdon's leading, looking at the names on the outsides of each of", "He runs back up the church steps, where Vittoria and Rocher are\n just coming outside. Langdon's mind is racing.", "him, and Langdon gets to his feet, straightening his jacket.\n \n INT OFFICE OF THE POPE DAY", "A hand skims along a bookcase and stops at that very title, a\n heavy academic tome. Langdon pulls it out and drops it on the\n desk in his apartment with a THUD.", "Rocher's voice continues over, but Langdon mouths the words as he\n remembers them:\n \n ROCHER'S VOICE (O.S.)" ], [ "(FAST)\n The Path of Illumination is an ancient\n trail through Rome that leads to the\n Church of the Illumination, a secret", "of the Path, I'm willing to bet the\n four churches along it are where he\n intends to murder your cardinals. If", "The llluminati called those four\n churches by a special name -- L'Altare\n di scienza. The altars of science.", "-- pointing the way.\n \n LANGDON (cont'd)\n The Path is alive.", "literally. The four altars of\n science form a perfect cross.\n \n The Cop, who has no clue what he's talking about, gets a call on", "The Path of Illumination?\n \n Rocher stops the video.\n \n LANGDON (cont'd)", "If this path really leads to the\n Church of Illumination, that may be\n where they've hidden the antimatter.", "VOICE (O.S.) (cont'd)\n A shining star at the end of the Path\n of Illumination.", "He stands back, his brain clearing momentarily.\n \n Seized by an idea, he looks up at the wall, at its four corners,", "altar to meet him.\n \n MORTATI\n Signore, do you realize that for the", "Further down the wall, there are tributes to earth's four seasons\n but most incredible of all are the two huge structures that\n dominate the room from either side.", "Which means the fourth element, water,\n should be right about --\n \n He drops to his knees again, and traces the horizontal line to", "the Church of Illumination.\n \n 26.", "through light. The four pillars --\n he probably means the kidnapped\n cardinals. You didn't mention they\n were the preferiti.", "One? I thought you said four. A\n pathway, four markers. We'll have\n four chances to catch him.", "He sees the candlelit balustrade near the front, the one that\n leads to the grottoes and the Necropolis. He picks up his pace.", "Two flashlights CLICK on, and the Guardsmen lead the way in. On\n both sides, hollow niches line the walls. Recessed in the", "Illumination, but he couldn't exactly\n advertise its location, so he created\n a coded path. An unknown llluminati", "The line of the breath in the carving\n points due east, directly away from\n Vatican City, but there are five", "The embellishments, though faded, are replete with familiar\n symbology. Pentagram tiles. Planet frescoes. Pyramids." ], [ "Father was indeed murdered. He is\n seeking guidance.\n \n LANGDON\n From whom?", "He turns around, and we thought his black pants and shirt looked\n familiar -- now we see his Roman collar and realize this physicist\n is also a priest.", "simple black cassock, his back to us, staring out at the crowd.\n FATHER SEBASTIAN GUTTIEREZ, the Camerlengo, speaks with a soft\n Spanish accent.", "Father Simeon, who had been lurking in the open doorway to the\n chapel, now glides up beside him and touches Mortati's arm.", "office, Lt. Chartrand is desperate.\n \n While Father Simeon attempts to argue with him in Italian,", "He chats in Italian with two other Cardinals, until a black-\n cassocked aide (FATHER SIMEON) outside the open doors of the", "meet him, flanked by his aide, Father Simeon.\n \n 27.", "addressing this office. Do you\n understand?\n \n ROCHER\n Yes, Padre,", "-- the salon just outside the Chapel. Father Simeon is an unctuous\n man in his fifties with eyes that are always looking for whoever's", "Two bullets SLAM into Rocher's chest and he crumples.\n \n Father Simeon bursts into the room, and as he does the Camerlengo", "at him. He's in his late seventies, grave, eyes closed in\n religious fervor as he consecrates the communion host.", "NEARBY,\n \n Langdon, still on the ground, looks up at the sound of the shots.\n Through the burning church pews he can see Mr. Gray, starting", "before falling.\n \n Mr. Gray looks down, at his right shoulder, where a dark red stain\n is spreading on his suit. He touches it, more annoyed than", "alone. From inside can be heard the sound of VOICES in debate.\n \n Finally, the big doors open and Cardinal Mortati emerges, goes to\n him.", "He raised me to protect the church.\n Even from within.\n \n ROCHER\n So you brought an old enemy back from", "Looking down the stairs, he sees the doorway open, and the\n gathering of cardinals inside. As he reaches the base of the\n stairs, Cardinal Mortati, who has been summoned, steps outside to", "clergy.\n (DRAMATICALLY)\n BUT!\n (they listen)", "Langdon, seated across from him, stifles a laugh.\n \n LANGDON\n Spoken like a Roman Catholic.", "The Camerlengo kneels in prayer in front of the fire. He hears a\n sound behind him and turns as the door to the papal office opens.", "the other direction, Father Simeon, Cardinal Mortati's Aide,\n strides toward them.\n \n FR. SIMEON" ], [ "to kill and brand the pope himself.\n \n VITTORIA\n But there is no pope.", "And almost as one, the row of TV cameras all swing away from the\n crime scene in the square and up, to the Sistine Chapel chimney,\n where there is indeed a thick cloud --", "of a Pope? I'd pull you off\n vacation too.\n \n VINCENZO\n It's worse than just that. Four", "His work was not religious, it was\n sacrilegious!\n \n ROCHER\n But you saw the Pope's position as a", "down -- it's the first Vatican Policeman.\n \n Dead in a pool of his own blood.\n \n 80.", "(THINKING)\n They're going to kill him. Before\n they blow up the Vatican they're going", "Langdon and the others race into the pope's office and find a\n truly bizarre scene.\n \n Rocher is near the fireplace, brandishing his sidearm, aimed at", "The figure in the papal robes turn around. It is, of course,\n Cardinal Mortati.\n \n MORTATI", "Two gunshots THUD into the chests of Vatican Cops 2 & 3, who were\n supporting the pew. They fall, the pew tips --", "The Vatican is about to see its fourth\n Cardinal murdered tonight.\n \n He realizes he spoke too loudly, and there is quite a crowd", "CAMERLENGO\n That's ridiculous, the Holy Father\n died of a stroke. Did he say how", "OLIVETTI\n Not personally, but he said it was the\n Illuminati. He said they murdered\n him.", "Professor, I am asked to escort you to\n the Vatican immediately. Commander\n Rocher has asked to see you.", "The Camerlengo kneels in prayer in front of the fire. He hears a\n sound behind him and turns as the door to the papal office opens.", "they're back in the Pope's office, but Rocher is alive, and saying\n words he said earlier:\n \n ROCHER", "INT POPE'S PRIVATE LIBRARY NIGHT\n \n -- and steps into the Pope's private library, where the POUNDING\n is louder.", "The first pope, he was crucified\n upside-down, on Vatican Hill. Right\n beneath where we're standing.", "up, expecting a gunshot, but instead --\n \n -- sees the bleeding figure of Olivetti, staggering toward him,\n clutching his slit throat in his last moments of life.", "CAMERLENGO\n If the Holy Father was murdered, the\n implications are profound. Vatican\n security is impenetrable, no one from", "CAMERLENGO\n ILLUMINATUS!\n \n As we saw before, Lt. Chartrand FIRES THREE TIMES, killing Father" ], [ "But the Camerlengo RAMS the red-hot brand into the exposed flesh\n of his bare chest. His skin SIZZLES and smokes, Rocher SHOUTS,", "A word is branded into the center of his bared chest:\n \n FIRE.\n \n 79.", "The Camerlengo kneels in prayer in front of the fire. He hears a\n sound behind him and turns as the door to the papal office opens.", "INT BURNING CHURCH NIGHT\n \n -- the third cardinal, still alive, is suspended over the searing\n flames.", "Vatican Cop 4 is desperately trying to pull the Cardinal from the\n flames, the end of the candle-snuffer is now hooked around the", "Cardinal has asked me to remind you --\n we have a chimney.\n \n The Camerlengo just stares at him, a power struggle. Which he is", "Langdon walks toward him, stunned, as the Guards pull the\n Camerlengo's hands away from his wound, revealing the fifth brand.", "Langdon and the others race into the pope's office and find a\n truly bizarre scene.\n \n Rocher is near the fireplace, brandishing his sidearm, aimed at", "Mortati looks at him for a moment, then looks back, over his\n shoulder, where a small knot of Cardinals, who have clearly", "Looking down the stairs, he sees the doorway open, and the\n gathering of cardinals inside. As he reaches the base of the\n stairs, Cardinal Mortati, who has been summoned, steps outside to", "plate over the chalice, bows to the cross, and heads for his seat.\n \n The next cardinal steps up to repeat the process.", "of three of its cardinals in the fire\n at Santa Maria Delia Vittoria --\n \n An AMERICAN REPORTER:", "LANGDON\n Fire.\n \n More words pop out at us -- \"His great golden spear... filled with\n fire...\"", "alone. From inside can be heard the sound of VOICES in debate.\n \n Finally, the big doors open and Cardinal Mortati emerges, goes to\n him.", "The Cardinal falls toward the flames. Vatican Cop 4 tries to pull\n him to safety, but doesn't have enough of WHIRRS through the", "Blinking back the intense heat, he manages to hook the Cardinals\n manacled foot with it, he turns to Langdon--", "But the dying Cardinal is gasping for breath, his mouth opening\n and closing like a fish on a dock.", "LANGDON (cont'd)\n \"Brand\" them, another llluminati\n legend, this one says there are a set", "THIRD CARDINAL\n Si, signore!\n \n The Second Cardinal sparks to this idea.", "The Camerlengo twists the poker in the fire. Speaks softly.\n \n 126." ], [ "That canister contains an extremely\n combustible substance called\n antimatter. We need to locate it\n immediately or evacuate Vatican City.", "INT ANTIMATTER LAB DAY\n \n In the lab, we're still moving, close to one of the pillars and to", "-- the glowing canister of anti-matter.\n \n ON THE GROUND NEARBY,", "But he waves her off, this has to be it. He feels all along the\n wall toward the other corner, and as he looks down at the ground,\n his eyes widen.", "--- Vittoria steps through an airlock and emerges in a gleaming\n white underground lab. Everything, everywhere, is white.\n \n 5.", "VITTORIA (cont'd)\n The anti-matter is suspended, there,\n in an airtight nanocomposite shell", "The shimmering bead of anti-matter falls out of suspension and\n drops, slowly, toward the bottom of the canister, it barely", "antimatter.\n \n VITTORIA\n It's new, energy research technology.\n It uses a reverse polarity vacuum to", "It's a dead end.\n \n But the Police attention is focused on the black van parked in the\n center of the room.", "follows him as he climbs down a scaffolding that surrounds the\n detector wheel and heads toward a console across the room.\n \n VITTORIA", "A few moments later, they're crowded around the communications\n console at Rocher's desk, where a dimly-lit video recording is", "He goes to the last bookcase, which is about six feet from the\n glass wall. He hoists himself up on the shelf of the bookcase\n opposite it, wedges himself in.", "She brings the light to Langdon, who shines its beam down at the\n floor. There, in the corner, is a granite block.", "He takes one last breath of oxygen-rich air, pushes through the\n revolving door --\n \n INT VAULT NIGHT", "He looks up, at a vent over the doorway. Thin ribbons flutter in\n the breeze of the minimal oxygen that's being pumped in.", "Elevator doors open in a subterranean tunnel and Vittoria steps\n out. A long tube, about four feet across, runs off into the", "Olivetti creeps forward, gun at the ready, Vincenzo close behind\n him.\n \n They see a form on the floor in front of them and Olivetti bends", "interior of the vault. He takes a deep breath, holds it, and lets\n it out.\n \n Vittoria follows shortly behind him, and she's unprepared -- the", "He rips aside some protective tarps, finds that underneath the\n actual burial site is an underground area, part of a dig in\n progress.", "vault is not recommended without\n breathing apparatus.\n \n He stops at one particular chamber and gestures to the sign on its" ], [ "through light. The four pillars --\n he probably means the kidnapped\n cardinals. You didn't mention they\n were the preferiti.", "cardinals were kidnapped from their\n quarters inside the Vatican some time\n between three and five a.m. this\n morning. Shortly afterward, the Office", "The Vatican is about to see its fourth\n Cardinal murdered tonight.\n \n He realizes he spoke too loudly, and there is quite a crowd", "older men we saw on the videotape earlier -- the kidnapped\n cardinals.\n \n He stops at the last cell, where the man, CARDINAL LAMASSE, looks", "Mortati looks at him for a moment, then looks back, over his\n shoulder, where a small knot of Cardinals, who have clearly", "ROCHER\n We're a bit preoccupied with four\n missing cardinals at the moment.\n \n VITTORIA", "of the Swiss Guard received that\n document, along with the threat that\n the Cardinals will be publicly\n executed, one per hour, starting at", "The Camerlengo has just passed on the shocking news, and the\n whispered word \"murder\" can be heard in several languages.", "Vatican Cop 4 is desperately trying to pull the Cardinal from the\n flames, the end of the candle-snuffer is now hooked around the", "At the front, CARDINAL MORTATI stands behind a massive altar, arms\n outstretched, praying in Latin for the assembled luminaries.", "Looking down the stairs, he sees the doorway open, and the\n gathering of cardinals inside. As he reaches the base of the\n stairs, Cardinal Mortati, who has been summoned, steps outside to", "And almost as one, the row of TV cameras all swing away from the\n crime scene in the square and up, to the Sistine Chapel chimney,\n where there is indeed a thick cloud --", "conversation with a group of seven or eight Cardinals.\n \n MORTATI\n Signores... you are no doubt aware", "Two gunshots THUD into the chests of Vatican Cops 2 & 3, who were\n supporting the pew. They fall, the pew tips --", "But the dying Cardinal is gasping for breath, his mouth opening\n and closing like a fish on a dock.", "The African Cardinal stands, holds his ballot over his head, t\n lowers the ballot to the altar, where a plate sits atop a large\n chalice.", "A dozen men in scarlet cassocks, ROMAN CATHOLIC CARDINALS, bend\n down to inspect the ring, nodding in affirmation, part of an\n ancient ritual.", "Cardinal's foot, he pulls him closer, reaches out, can almost grab\n his ankle --\n \n -- until he is SHOT in the back. He falls to the floor,", "to kill and brand the pope himself.\n \n VITTORIA\n But there is no pope.", "brilliant red robes, seated near the altar.\n \n REPORTER (O.S.)\n The College of Cardinals will lock" ], [ "Cardinal Mortati, Pope Luke I, holds his arms out to his sides, an\n embrace to take in the world --", "The first pope, he was crucified\n upside-down, on Vatican Hill. Right\n beneath where we're standing.", "to kill and brand the pope himself.\n \n VITTORIA\n But there is no pope.", "He must be present in the Sistine\n Chapel at the moment of election.\n \n Many cries now of \"Bring the Camerlengo to us!\"", "The light creeps up the Pope's body, over his burial vestments,\n past his folded hands, and finally to his face.", "Rocher reaches the office of the Pope. Two uniformed Swiss Guard\n are stationed outside.\n \n Another Swiss Guardsman steps out of the office, reporting back", "they're back in the Pope's office, but Rocher is alive, and saying\n words he said earlier:\n \n ROCHER", "The Camerlengo kneels in prayer in front of the fire. He hears a\n sound behind him and turns as the door to the papal office opens.", "The figure in the papal robes turn around. It is, of course,\n Cardinal Mortati.\n \n MORTATI", "--- of black smoke. Still no new pope, and the subject is\n effectively changed.\n \n CUT TO:", "-- seems to have been selected in one\n of the swiftest and smoothest\n conclaves in modern church history.", "late Pope. Understood?\n \n LANGDON\n (SINCERE)\n I just hope I can help.", "the office you temporarily hold with\n your true place here in the Vatican.\n You were a favorite of His Holiness,\n but His Holiness is with his Father", "of a Pope? I'd pull you off\n vacation too.\n \n VINCENZO\n It's worse than just that. Four", "THIRD CARDINAL (cont'd)\n Balloting is not the only method by\n which a Pope can be elected. There", "His work was not religious, it was\n sacrilegious!\n \n ROCHER\n But you saw the Pope's position as a", "INT POPE'S PRIVATE LIBRARY NIGHT\n \n -- and steps into the Pope's private library, where the POUNDING\n is louder.", "CAMERLENGO\n His Holiness once told me that a Pope\n is a man torn between two worlds...", "We're getting word now of -- smoke,\n smoke from the Sistine Chapel chimney,\n apparently there's been another vote I", "LANGDON\n The Pope spent a lot of time in\n contemplation, alone. If he was" ], [ "(to Vittoria)\n Ms. Vetra? I'm Commander Rocher,\n Commandante Principale of the Swiss", "-- zealotry. Commander Rocher, the\n head of the Guard, is a deeply\n spiritual man, and he was close to the", "Professor, I am asked to escort you to\n the Vatican immediately. Commander\n Rocher has asked to see you.", "we just heard Mortati utter.)\n \n Commandante Rocher is at his desk, Vittoria's leather-bound", "when he speaks to Rocher, he's in command.\n \n CAMERLENGO (cont'd)\n Commandante, have you begun a search", "The Officer salutes and they snap into action.\n \n ROCHER (cont'd)\n And I need a set of eyes inside.", "OLIVETTI (cont'd)\n cross-wired with that building.\n Commander Rocher was extending the", "INT APOSTOLIC PALACE - HALLWAY NIGHT\n \n Commander Rocher, eyes dead-set, walks down a hallway in the", "Rocher reaches the office of the Pope. Two uniformed Swiss Guard\n are stationed outside.\n \n Another Swiss Guardsman steps out of the office, reporting back", "CAMERLENGO\n (SHARPLY)\n Commander. Though I am not His\n Holiness, when you address me, you are", "black shirt, is at work at a command console in the center of the\n room. (They speak to each other in Italian, subtitled.)\n \n VITTORIA", "FR. SIMEON\n Commandante Rocher assures me the\n Guard is doing everything humanly\n possible to find the prefiriti.", "LANGDON\n Commandante, if you care at all about\n your church-\n \n ROCHER", "A few moments later, they're crowded around the communications\n console at Rocher's desk, where a dimly-lit video recording is", "Guard. The Commandante Generale of\n the Roman Carbinieri has joined us as\n well, in an advisory capacity, and", "Through the glass walls of his office, we can see a commotion in\n the still-chaotic Swiss Guard headquarters. Someone is walking", "Commander Rocher, the search for the\n device?\n \n ROCHER\n We've turned the power off and on to", "CLOSE ON a row of weapons in a cabinet in the Office of the Swiss\n Commander Rocher selects a pistol and slips it into a harness.", "Do you have something to hide,\n Commandante Rocher?\n \n ROCHER\n Do you, Doctor Vetra?", "LT. CHARTRAND, a twenty-five year old member of the Swiss Guard\n (in a suit and earpiece, not the traditional garb), leads Langdon" ], [ "A token of thanks from His Holiness.\n \n Langdon, puzzled, opens the envelope and lets the contents fall\n into his hand.", "Vittoria pulls the page from the Diagramma out of her pocket and\n hands it to Langdon. He pulls the magnifier from his coat and\n studies the thin paper, turning it in his hands.", "Langdon drops to his knees, turns the Homeless Man over.\n Through the man's torn shirt, he can see a black and red brand\n burned into his chest.", "They said to show you this.\n \n Langdon turns back. Vincenzo's holding a single sheet of paper in", "his right hand. Langdon, curious, makes his way back to him.\n Takes the paper ---\n \n --- and, it is safe to say, feels the earth give way beneath his", "Langdon looks at it, and it gives him a thought. He turns, looks\n at the Camerlengo, whose chest is exposed.", "-- and behind him, hidden in the shadows of the papal apartment,\n just behind the billowing curtains, Robert Langdon folds his hand\n in front of him --", "him, and Langdon gets to his feet, straightening his jacket.\n \n INT OFFICE OF THE POPE DAY", "Langdon and the others race into the pope's office and find a\n truly bizarre scene.\n \n Rocher is near the fireplace, brandishing his sidearm, aimed at", "Langdon withdraws his hand from Rocher's, and finds the dying man\n has pressed something into his palm.\n \n A key.", "One of the Swiss Guardsmen goes to the table and picks up an\n envelope, hands it to Langdon.\n \n SWISS GUARDSMAN", "Professor Langdon, you have spent ten\n years of your academic life searching\n for the very symbol you now hold in\n your hand. And the madman who", "On which he has drawn a perfect cross.\n \n LANGDON (cont'd)\n It's a cross. The poem meant it", "She brings the light to Langdon, who shines its beam down at the\n floor. There, in the corner, is a granite block.", "He is saved. Langdon sags against the side of the fountain,\n exhausted and freezing, as the others pull the Cardinal's body to\n safety.", "The Camerlengo looks at him for a long moment. Pretty damn good\n answer. He puts a hand on Langdon's shoulder and leans in.", "Inside the papal apartments, Robert Langdon sits stiffly on a\n straight-backed chair in a hallway. Couldn't look more\n uncomfortable if he tried.", "Langdon SHOUTS to two more Vatican Cops, pointing upward.\n \n LANGDON\n The cleat, on the wall! Get", "The statue he came here to find. Now, as the Italian-speaking\n police and firemen work around him, Langdon moves, as if in his", "INT VATICAN ARCHIVES NIGHT\n \n CLOSE ON the Bernini ledger, which Langdon is now almost halfway" ], [ "Two bullets SLAM into Rocher's chest and he crumples.\n \n Father Simeon bursts into the room, and as he does the Camerlengo", "Father Simeon, who had been lurking in the open doorway to the\n chapel, now glides up beside him and touches Mortati's arm.", "Father Simeon will make a suitable\n announcement lamenting the loss of\n life. May I suggest you direct\n your energies to helping the Swiss", "Father was indeed murdered. He is\n seeking guidance.\n \n LANGDON\n From whom?", "Nothing moves. Dead silence. Langdon and Vittoria walk\n slowly to the middle of the floor, at one end of the chapel.", "FR. SIMEON\n His final instructions before sealing\n the doors were very clear -- no outside\n communications unless absolutely", "office, Lt. Chartrand is desperate.\n \n While Father Simeon attempts to argue with him in Italian,", "-- there is a silenced pistol pointing directly at him.\n \n PHOOM.\n \n He takes a bullet in the forehead, slumps forward against the", "And almost as one, the row of TV cameras all swing away from the\n crime scene in the square and up, to the Sistine Chapel chimney,\n where there is indeed a thick cloud --", "He rushes at the Camerlengo and Chartrand reacts on instinct,\n putting three bullets in Father Simeon's back.\n \n 111.", "But Olivetti just races onward, looking for another door, followed\n by Vincenzo. As they disappear around the back of the church,", "CAMERLENGO\n ILLUMINATUS!\n \n As we saw before, Lt. Chartrand FIRES THREE TIMES, killing Father", "The Camerlengo has just passed on the shocking news, and the\n whispered word \"murder\" can be heard in several languages.", "He chats in Italian with two other Cardinals, until a black-\n cassocked aide (FATHER SIMEON) outside the open doors of the", "They cut out his eyes.\n \n They cringe.\n \n VITTORIA (cont'd)", "to kill and brand the pope himself.\n \n VITTORIA\n But there is no pope.", "Olivetti creeps forward, gun at the ready, Vincenzo close behind\n him.\n \n They see a form on the floor in front of them and Olivetti bends", "Or bring it down upon itself.\n \n He looks back at Rocher, and at Father Simeon, dead on the floor.", "cardinals were kidnapped from their\n quarters inside the Vatican some time\n between three and five a.m. this\n morning. Shortly afterward, the Office", "A younger man (the CAMERLENGO) in a black cassock takes a silver\n knife and scratches the ring's seal twice, once horizontally and" ], [ "(THINKING)\n They're going to kill him. Before\n they blow up the Vatican they're going", "of the Swiss Guard received that\n document, along with the threat that\n the Cardinals will be publicly\n executed, one per hour, starting at", "cardinals were kidnapped from their\n quarters inside the Vatican some time\n between three and five a.m. this\n morning. Shortly afterward, the Office", "Langdon and Vittoria are running toward the Vatican again when the\n EXPLOSION rips through the still night.", "The doors SLAM on a Vatican police car and the tires SQUEAL as\n Olivetti hits the gas.\n \n INT CAR DAY", "seven p.m. tonight, in Rome.\n \n LANGDON\n (mind racing ahead)\n Conclave?", "The Cop looks at him, thinking, confers with another Cop in rapid\n Italian. Langdon checks his watch.", "And almost as one, the row of TV cameras all swing away from the\n crime scene in the square and up, to the Sistine Chapel chimney,\n where there is indeed a thick cloud --", "The Vatican is about to see its fourth\n Cardinal murdered tonight.\n \n He realizes he spoke too loudly, and there is quite a crowd", "There's been a development. We\n received another threat from the\n kidnapper.\n \n 16.", "older men we saw on the videotape earlier -- the kidnapped\n cardinals.\n \n He stops at the last cell, where the man, CARDINAL LAMASSE, looks", "He goes back to work. Chartrand watches him.\n \n CUT TO:\n \n INT PAPAL OFFICE NIGHT", "Vatican Police, led by Olivetti and Vincenzo, race into the\n building and draw their weapons. Olivetti SHOUTS to them in", "Olivetti, Langdon, and four other VATICAN POLICE make their way\n into the burning church. There is a massive pile of church pews\n in the center aisle, burning wildly.", "He pauses, thinking, then turns the phone on his desk to face her.\n While she picks it up to dial, the Camerlengo comes around his\n desk to speak privately to Langdon.", "Now you can either do what they tell\n you and force me to go to the Vatican,\n where we can all mourn his death", "Rocher reaches the office of the Pope. Two uniformed Swiss Guard\n are stationed outside.\n \n Another Swiss Guardsman steps out of the office, reporting back", "Vatican Police have a suspect in\n custody, and after photographing the\n crime scene ---", "The canister BEEPS on the seat beside the Camerlengo -- still a\n few minutes left on its timer, but the urgently flashing red power\n light can't be considered a good sign.", "EXT VATICAN ARCHIVES NIGHT\n \n The face of Langdon's Mickey Mouse watch is smeared with blood" ], [ "Langdon drops to his knees, turns the Homeless Man over.\n Through the man's torn shirt, he can see a black and red brand\n burned into his chest.", "She brings the light to Langdon, who shines its beam down at the\n floor. There, in the corner, is a granite block.", "CAMERLENGO\n Mr. Langdon. You're correct that I\n may grant you access to the Archives.", "Langdon takes off running, toward and eleventh-century church at\n the southwest corner of the plaza, covered in scaffolding.\n \n At the front door of the church,", "Langdon hops over the sawhorses blocking the entrance and tries\n the door. Locked. A sign says the place is under\n construction.", "He takes Langdon by the arm and gestures down a narrow passageway.\n \n OLIVETTI (cont'd)", "Vittoria pulls the page from the Diagramma out of her pocket and\n hands it to Langdon. He pulls the magnifier from his coat and\n studies the thin paper, turning it in his hands.", "Vittoria steps in behind him.\n \n LANGDON\n Pyramids. In a Catholic church.\n This is it.", "It's detailed, a fire department map, and Langdon drops down on\n all fours, studying it.\n \n LANGDON", "toward him.\n \n Langdon crawls, on all fours, through the outskirts of the\n bonfire, toward a recessed part of the wall ten or fifteen feet", "Inside the archive, Vittoria is searching the lower shelves while\n Langdon, on a ladder, digs through folio bins higher up.", "Olivetti nods to her, come on along. They walk again, holds a hand\n out to Langdon.", "Langdon nods, but he's fascinated by the place.\n \n In the center of the room, there is an open fireplace, its embers", "Langdon and Vittoria creep into the Church of Illumination, and we\n get our first good look at it.", "down the row of hermetically sealed vaults in the Vatican\n Archives.\n \n Langdon's leading, looking at the names on the outsides of each of", "rolls over, and sees Mr. Gray above him, now pointing down.\n \n But there's another crawl space, and Langdon scurries into it.", "Langdon army-crawls through it.\n \n Mr. Gray's face appears in the entry to the crypt. He pauses to\n change clips on his handgun --", "Rocher's voice continues over, but Langdon mouths the words as he\n remembers them:\n \n ROCHER'S VOICE (O.S.)", "Langdon looks at the glass wall on the far side of the vault. Then\n at the row of bookcases. Gets an idea.", "Langdon starts toward the entrance to the vault, but Chartrand\n puts a hand on his chest, stopping him.\n \n CHARTRAND (cont'd)" ], [ "Inside the archive, Vittoria is searching the lower shelves while\n Langdon, on a ladder, digs through folio bins higher up.", "down the row of hermetically sealed vaults in the Vatican\n Archives.\n \n Langdon's leading, looking at the names on the outsides of each of", "INT VATICAN ARCHIVES NIGHT\n \n Langdon and Lt. Chartrand, the young Swiss Guardsman, walk quickly", "Vittoria pulls the page from the Diagramma out of her pocket and\n hands it to Langdon. He pulls the magnifier from his coat and\n studies the thin paper, turning it in his hands.", "INT VATICAN ARCHIVES NIGHT\n \n CLOSE ON the Bernini ledger, which Langdon is now almost halfway", "Vittoria steps in behind him.\n \n LANGDON\n Pyramids. In a Catholic church.\n This is it.", "The interior of the Swiss Guard offices is ornate and filled with\n artwork, like every other Vatican building. As they walk,\n Langdon studies the row of statues of male nudes that lines both", "Langdon and Chartrand stagger down the front steps of the Vatican\n Archives, where they're immediately met by three Vatican Police", "Langdon and Vittoria creep into the Church of Illumination, and we\n get our first good look at it.", "Langdon SHOUTS to two more Vatican Cops, pointing upward.\n \n LANGDON\n The cleat, on the wall! Get", "EXT VATICAN ARCHIVES NIGHT\n \n The face of Langdon's Mickey Mouse watch is smeared with blood", "Langdon, we've confirmed with the\n Vatican that they invited you into\n this investigation, but what I-", "While they confer, Langdon notices a woman to his left. We\n recognize Vittoria Vetra, the physicist we saw at CERN.", "It's detailed, a fire department map, and Langdon drops down on\n all fours, studying it.\n \n LANGDON", "Langdon takes off running, toward and eleventh-century church at\n the southwest corner of the plaza, covered in scaffolding.\n \n At the front door of the church,", "Langdon and Vittoria pause for a moment, look at each other --\n \n LANGDON\n We've got to get to the Vatican.", "They said to show you this.\n \n Langdon turns back. Vincenzo's holding a single sheet of paper in", "As the Cops quickly and silently search every nook, Langdon and\n Vittoria follow closely.\n \n LANGDON", "Thank God, the symbologist is here.\n Ms. Vetra, this way, please.\n \n He leads Vittoria across the room, to a surveillance monitor.", "He stops. They study the page,\n \n LANGDON (cont'd)\n Latin. Can you --- ?" ], [ "Langdon and Vittoria creep into the Church of Illumination, and we\n get our first good look at it.", "She brings the light to Langdon, who shines its beam down at the\n floor. There, in the corner, is a granite block.", "In the distance, SIRENS.\n \n Langdon, gathering himself, goes to the Cardinal, speaks in rapid\n Spanish, subtitled.", "The interior of the Swiss Guard offices is ornate and filled with\n artwork, like every other Vatican building. As they walk,\n Langdon studies the row of statues of male nudes that lines both", "Langdon takes the tube and draws a couple breaths of his own, then\n digs his hands back underneath the Cardinal to lift him, but this\n time --", "Langdon drops to his knees, turns the Homeless Man over.\n Through the man's torn shirt, he can see a black and red brand\n burned into his chest.", "On the ground now and behind Vatican walls, Langdon and Vincenzo\n walk briskly around a corner and are met by ERNESTO OLIVETTI, a", "He is saved. Langdon sags against the side of the fountain,\n exhausted and freezing, as the others pull the Cardinal's body to\n safety.", "Vittoria pulls the page from the Diagramma out of her pocket and\n hands it to Langdon. He pulls the magnifier from his coat and\n studies the thin paper, turning it in his hands.", "Langdon takes off running, toward and eleventh-century church at\n the southwest corner of the plaza, covered in scaffolding.\n \n At the front door of the church,", "He runs back up the church steps, where Vittoria and Rocher are\n just coming outside. Langdon's mind is racing.", "Langdon and the others race into the pope's office and find a\n truly bizarre scene.\n \n Rocher is near the fireplace, brandishing his sidearm, aimed at", "Langdon dives under it and crawls backwards, staring in horror at\n Mr. Gray's feet as they approach the chapel from across the\n church.", "Langdon looks at it, and it gives him a thought. He turns, looks\n at the Camerlengo, whose chest is exposed.", "Vittoria steps in behind him.\n \n LANGDON\n Pyramids. In a Catholic church.\n This is it.", "Langdon, Vittoria, the Camerlengo, and two Swiss Guard are\n hurrying across the deserted floor of St. Peter's Basilica when\n the lights go out.", "rolls over, and sees Mr. Gray above him, now pointing down.\n \n But there's another crawl space, and Langdon scurries into it.", "Blinking back the intense heat, he manages to hook the Cardinals\n manacled foot with it, he turns to Langdon--", "There is only a thick iron door, and as Langdon searches it with\n his flashlight, he finds no handle, no knob, no keyhole, no\n hinges.", "It's detailed, a fire department map, and Langdon drops down on\n all fours, studying it.\n \n LANGDON" ], [ "Almost silently, behind them all, half a dozen black Alfa Romeos\n race in, too fast, and come to an abrupt halt.\n \n IN ROCHER'S CAR,", "-- the van door SLAMS shut, and the van tears ass out of there.\n \n Langdon looks from its receding taillights to the idling police", "The doors SLAM on a Vatican police car and the tires SQUEAL as\n Olivetti hits the gas.\n \n INT CAR DAY", "They stagger and turn back, in time to see Mr. Gray's car go up in\n an enormous fireball.\n \n VITTORIA", "them down and killed them. Drove\n them underground.\n \n Langdon turns and looks out the front window of the helicopter as,", "-- there is a silenced pistol pointing directly at him.\n \n PHOOM.\n \n He takes a bullet in the forehead, slumps forward against the", "Night has fallen, and the four Alfa Romeos are now speeding across\n Rome. No sirens, but lots of speed. Olivetti drives, Rocher", "And almost as one, the row of TV cameras all swing away from the\n crime scene in the square and up, to the Sistine Chapel chimney,\n where there is indeed a thick cloud --", "Olivetti whirls, but his gun comes around a split-second slower\n than he does and in that split-second a shadow falls over him,\n something SLASHES through the air and --", "He falls to the floor, dead.", "(THINKING)\n They're going to kill him. Before\n they blow up the Vatican they're going", "We creep around the back of the van with him, and just as he comes\n around to where he can see the driver's side --", "sitting implacably behind the wheel. He taps lightly with a\n knuckle, his drawn gun at his side, just out of view.\n \n 94.", "car, its door hanging open, he could jump in and give chase, but\n then his eyes go back to the fountain, where the drowning cardinal", "-- Mr. Gray, facing the rear of the van, his jacket off and his\n shirt open, engaged in battlefield surgery on his injured right", "His unconscious form SMASHES through a dozen people before SLAMMING\n to the ground at one edge of the square.\n \n AND IN THE SKY ABOVE,", "But he waves her off, this has to be it. He feels all along the\n wall toward the other corner, and as he looks down at the ground,\n his eyes widen.", "They get out. He stares into the flames.\n \n CUT TO:", "LANGDON\n Are you out of your minds?!\n \n OLIVETTI\n Please. In the car.", "-- and Langdon disappears. The gunshots THUD into cement wall\n where he was, not where he is.\n \n 83." ], [ "A word is branded into the center of his bared chest:\n \n FIRE.\n \n 79.", "But the Camerlengo RAMS the red-hot brand into the exposed flesh\n of his bare chest. His skin SIZZLES and smokes, Rocher SHOUTS,", "The crossed keys, seared into the flesh of his chest.\n \n Langdon looks at Rocher in utter disbelief. Rocher's still alive,", "But that's not the worst of it. Langdon GAGS as he sees the\n blackened word that has been branded into the red flesh of the", "Through the watery haze, we can see the man's bare chest, branded\n with the final ambigram:\n \n WATER.", "their chests with the symbol of the\n cross. To \"purge their sins.\"\n Murdered them and left their bodies in", "I'm familiar with llluminati lore, and\n the legend of the brandings. La\n Purga is a dark stain on the church's", "Langdon walks toward him, stunned, as the Guards pull the\n Camerlengo's hands away from his wound, revealing the fifth brand.", "Including this one.\n \n He touches his chest lightly.", "LANGDON (cont'd)\n \"Brand\" them, another llluminati\n legend, this one says there are a set", "The crossed keys are indeed branded there -- but they're upside\n down.\n \n Langdon slips the key in his pocket and approaches the Camerlengo", "Langdon drops to his knees, turns the Homeless Man over.\n Through the man's torn shirt, he can see a black and red brand\n burned into his chest.", "-- Mr. Gray, facing the rear of the van, his jacket off and his\n shirt open, engaged in battlefield surgery on his injured right", "Sure enough, the block is carved in the shape of a pentagram, with\n the tip pointing into the corner.", "On which he has drawn a perfect cross.\n \n LANGDON (cont'd)\n It's a cross. The poem meant it", "They cut out his eyes.\n \n They cringe.\n \n VITTORIA (cont'd)", "Pulling away from the helicopter, we see a coat of arms emblazoned\n on its side -- two skeleton keys crossing a shield and papal crown.", "poker, it's a long-handled brand, with a cross of some kind at the\n end.\n \n Rocher pulls his gun, holds it at his side.", "It isn't here.\n \n LANGDON\n There's a fifth brand.", "They get out. He stares into the flames.\n \n CUT TO:" ], [ "Langdon withdraws his hand from Rocher's, and finds the dying man\n has pressed something into his palm.\n \n A key.", "his right hand. Langdon, curious, makes his way back to him.\n Takes the paper ---\n \n --- and, it is safe to say, feels the earth give way beneath his", "Vittoria pulls the page from the Diagramma out of her pocket and\n hands it to Langdon. He pulls the magnifier from his coat and\n studies the thin paper, turning it in his hands.", "Langdon drops to his knees, turns the Homeless Man over.\n Through the man's torn shirt, he can see a black and red brand\n burned into his chest.", "Langdon takes the tube and draws a couple breaths of his own, then\n digs his hands back underneath the Cardinal to lift him, but this\n time --", "his fingers with hers, and takes her hand.\n \n LANGDON (cont'd)\n Thank God.", "One of the Swiss Guardsmen goes to the table and picks up an\n envelope, hands it to Langdon.\n \n SWISS GUARDSMAN", "He takes Langdon by the arm and gestures down a narrow passageway.\n \n OLIVETTI (cont'd)", "They said to show you this.\n \n Langdon turns back. Vincenzo's holding a single sheet of paper in", "A token of thanks from His Holiness.\n \n Langdon, puzzled, opens the envelope and lets the contents fall\n into his hand.", "Langdon looks at it, and it gives him a thought. He turns, looks\n at the Camerlengo, whose chest is exposed.", "It's detailed, a fire department map, and Langdon drops down on\n all fours, studying it.\n \n LANGDON", "Before Langdon can do anything to stop her, she RIPS the page from\n the text and shoves it in her pocket.", "A hand skims along a bookcase and stops at that very title, a\n heavy academic tome. Langdon pulls it out and drops it on the\n desk in his apartment with a THUD.", "Olivetti nods to her, come on along. They walk again, holds a hand\n out to Langdon.", "Langdon takes off running, toward and eleventh-century church at\n the southwest corner of the plaza, covered in scaffolding.\n \n At the front door of the church,", "She brings the light to Langdon, who shines its beam down at the\n floor. There, in the corner, is a granite block.", "Langdon walks toward him, stunned, as the Guards pull the\n Camerlengo's hands away from his wound, revealing the fifth brand.", "He makes eye contact with the dying man, who seems to be accepting\n his fate, maybe even welcoming it.\n \n Langdon changes his grip, strains like hell, and actually gets him", "Professor Langdon, you have spent ten\n years of your academic life searching\n for the very symbol you now hold in\n your hand. And the madman who" ], [ "A few moments later, they're crowded around the communications\n console at Rocher's desk, where a dimly-lit video recording is", "And almost as one, the row of TV cameras all swing away from the\n crime scene in the square and up, to the Sistine Chapel chimney,\n where there is indeed a thick cloud --", "older men we saw on the videotape earlier -- the kidnapped\n cardinals.\n \n He stops at the last cell, where the man, CARDINAL LAMASSE, looks", "They know. And he knows they know.\n \n He takes two steps backwards, almost involuntarily.", "-- video again, and as we complete the move out from the monitor,\n we see it isn't Langdon and Vittoria watching the image this time --", "But he waves her off, this has to be it. He feels all along the\n wall toward the other corner, and as he looks down at the ground,\n his eyes widen.", "We creep around the back of the van with him, and just as he comes\n around to where he can see the driver's side --", "out of him.\n \n LANGDON\n One'll do.\n \n CUT TO:", "And steps through the double doors.\n \n CUT TO:", "Thank God, the symbologist is here.\n Ms. Vetra, this way, please.\n \n He leads Vittoria across the room, to a surveillance monitor.", "Langdon drops to his knees, turns the Homeless Man over.\n Through the man's torn shirt, he can see a black and red brand\n burned into his chest.", "we see Mr. Gray fire two shots into the ground where Cop 4 is\n lying.\n \n Then he turns toward us.", "Langdon and Vittoria come to a stop behind him, breathing hard.\n \n CAMERLENGO\n It must be here! It must be!", "They said to show you this.\n \n Langdon turns back. Vincenzo's holding a single sheet of paper in", "Vittoria steps in behind him.\n \n LANGDON\n Pyramids. In a Catholic church.\n This is it.", "-- there is a silenced pistol pointing directly at him.\n \n PHOOM.\n \n He takes a bullet in the forehead, slumps forward against the", "He rips aside some protective tarps, finds that underneath the\n actual burial site is an underground area, part of a dig in\n progress.", "So this is it, but now what? They look around frantically,\n scanning the crowd. So does Rocher, so does Olivetti. The", "They get out. He stares into the flames.\n \n CUT TO:", "He pauses, thinking, then turns the phone on his desk to face her.\n While she picks it up to dial, the Camerlengo comes around his\n desk to speak privately to Langdon." ], [ "A token of thanks from His Holiness.\n \n Langdon, puzzled, opens the envelope and lets the contents fall\n into his hand.", "Vittoria pulls the page from the Diagramma out of her pocket and\n hands it to Langdon. He pulls the magnifier from his coat and\n studies the thin paper, turning it in his hands.", "Langdon looks at it, and it gives him a thought. He turns, looks\n at the Camerlengo, whose chest is exposed.", "his right hand. Langdon, curious, makes his way back to him.\n Takes the paper ---\n \n --- and, it is safe to say, feels the earth give way beneath his", "They said to show you this.\n \n Langdon turns back. Vincenzo's holding a single sheet of paper in", "One of the Swiss Guardsmen goes to the table and picks up an\n envelope, hands it to Langdon.\n \n SWISS GUARDSMAN", "Langdon takes the tube and draws a couple breaths of his own, then\n digs his hands back underneath the Cardinal to lift him, but this\n time --", "The Camerlengo looks at him for a long moment. Pretty damn good\n answer. He puts a hand on Langdon's shoulder and leans in.", "him, and Langdon gets to his feet, straightening his jacket.\n \n INT OFFICE OF THE POPE DAY", "Langdon withdraws his hand from Rocher's, and finds the dying man\n has pressed something into his palm.\n \n A key.", "In the distance, SIRENS.\n \n Langdon, gathering himself, goes to the Cardinal, speaks in rapid\n Spanish, subtitled.", "Langdon drops to his knees, turns the Homeless Man over.\n Through the man's torn shirt, he can see a black and red brand\n burned into his chest.", "Professor Langdon, you have spent ten\n years of your academic life searching\n for the very symbol you now hold in\n your hand. And the madman who", "Blinking back the intense heat, he manages to hook the Cardinals\n manacled foot with it, he turns to Langdon--", "surround them. Rocher goes straight to Langdon, highly skeptical.\n \n ROCHER\n I've just pulled a dozen of my best", "Langdon, seated across from him, stifles a laugh.\n \n LANGDON\n Spoken like a Roman Catholic.", "He takes Langdon by the arm and gestures down a narrow passageway.\n \n OLIVETTI (cont'd)", "This should help you complete your\n scholarly work, Professor.\n \n Langdon is too stunned to speak,", "Vittoria steps in behind him.\n \n LANGDON\n Pyramids. In a Catholic church.\n This is it.", "The interior of the Swiss Guard offices is ornate and filled with\n artwork, like every other Vatican building. As they walk,\n Langdon studies the row of statues of male nudes that lines both" ] ]

[ "What is a preferiti?", "What does the man claining to represent the Illuminati say will happen at midnight?", "What does Langdon examine in the Vatican Secret Archives? ", "What is stolen from Father Silvano after he is killed?", "How does Father Patrick McKenna die?", "How does the Vatican say Father Patrick McKenna died in their official announcement?", "How did Cardinal Ebner, the first Cardinal to be killed, die?", "Where is the stolen vial of antimatter found?", "What reason did Father McKenna give for murdering the previous pope?", "What is Robert Langdon's occupation?", "To what do the four altars of \"The Path of Illumination\" correspond?", "What is Father Patrick McKenna's position when first introduced in the story?", "What reason does Pope Pius the XV!'s assassin give for killing the pope?", "Which cardinal received the \"Fire\" brand?", "Where is the stolen antimatter vial found?", "What was the significance of the four cardinals kidnapped and assassinated?", "Wgo was Pope Luke before we was elected Pope?", "What is Commander Maximilian Richter's position?", "What is the gift Pope Luke gives to Robert Langdon?", "What is missing after Father Silvano is killed? ", "What time does the kidnapper threaten to destroy Vatican City?", "Where does McKenna consent to give Langdon access to? ", "What do Langdon and Vetra study in the archives? ", "Where does the rescued Cardinal tell Langdon the Illuminati's lair is? ", "What happens to the assassin's car? ", "What is branded into McKenna's chest?", "What does Langdon take from Richter's hand? ", "Who does the video reveal to be behind the scheme? ", "What does Cardinal Strauss give Langdon as a gift for his research?" ]

[ [ "A preferiti is one of the favorite cardinals who might be elected pope.", "favored cardinals to be elected pope" ], [ "He says that at midnight he will destroy Vatican City using the stolen vial of antimatter as a bomb.", "Vatican City will be blown ip and destroyed." ], [ "Langdon examines Galileo Galilei's banned book.", "Galileo Galelei's banned book" ], [ "One vial of antimatter particles.", "a vial of antimatter" ], [ "Father McKenna commits suicide by setting himself on fire.", "suicide by fire" ], [ "From internal injuries suffered during his parachuting from a helicopter while saving Vatican City from being blown up by the antimatter particles.", "Internal injuries that he suffered during a parachute landing" ], [ "Cardinal Ebner was suffocated by soil/earth.", "suffocated with soil" ], [ "The vial is found in St. Peter's tomb below the Vatican/church.", "St. Peter's Tomb" ], [ "Father McKenna said he murdered the pope because he believed the pope had betrayed the church by trying to merge science and religion.", "Mckenna felt the previous pope had betrayed the church" ], [ "Symbologist", "professor" ], [ "The four classical elements", "The four Elements - Earth, Air, Fire, and Water" ], [ "Camerlengo", "He worked for the European Organization for Nuclear Research " ], [ "He has betrayed to church by attempting to bridge the gap between science and religion.", "He betrayed the Church" ], [ "Cardinal Guidera", "Cardinal Guidera" ], [ "St. Peter's Tomb", "St. Peter's Tomb Below the church" ], [ "They were \"preferiti.\" Favorites to be elected Pope?", "they represented the original four states of matter." ], [ "Cardinal Baggia", "Cardinal Baggia" ], [ "Head of the Swiss Guard", "Commander of Swiss Guard" ], [ "\"Diagramma Veritatis\" for research", "A research gift " ], [ "A vial of antimatter. ", "a vial of anitmatter" ], [ "Midnight. ", "8pm" ], [ "The Vatican Secret Archives. ", "vatican secret archives" ], [ "Galilieo Galilei's banned book. ", "Galileo's banned book" ], [ "Castel Sant'Angelo ", "Castel San't Angelo" ], [ "It explodes when it's started. ", "it explodes" ], [ "The Vatican symbol. ", "Vatican Symbol" ], [ "A key. ", "a key" ], [ "McKenna", "Commander Richter" ], [ "Galileo's \"Diagramma Veritatis\"", "Diagramma Veritatis " ] ]

[ [ "The screen goes BLACK. The class, teacher and especially Luke\n\tERUPT with APPLAUSE. So does Jackie, who has locked eyes across", "Luke elbows her with an &quot;We're in an Elementary School&quot; elbow.", "A quick kiss. And she's gone.\n\n\tHOLD on Luke's light smile. Maybe this <u>will</u> all work out.", "LUKE\n\t\t\t(very softly)\n\t\tThat's right.\n\n\tShe hears honesty. And heartbreak. It makes her turn...", "One laser look at Luke. This bitch is <u>your</u> responsibility. And\n\tshe leads her baby off.\n\n\tEXT. JACKIE'S HOUSE - DAY", "Luke pacing around on the path through Jackie's front lawn. Jackie\n\texits the house, alone. Stands on the porch. And they stare at\n\teach other.", "LUKE\n\t\tBecause I can't hurt anyone like \n\t\tthis ever again.\n\n\tShe grins.", "...the next photo. Luke, young, straddling a Kawasaki. Jackie,\n\tjust as young, holding him from behind. She wears a halter and\n\tshorts, and looks simply terrific.", "So he does. Gives her a sweet hug.\n\n\t\t\t\tLUKE (O.S.)\n\t\tHey. Remember me?", "LUKE\n\t\tA lot smaller.\n\n\tAnnabelle cuts him an angry look. He's on her shit list, too.", "ANNABELLE\n\t\tI hate her. I really hate her.\n\n\t\t\t\tLUKE\n\t\tThere you are!", "LUKE\n\t\tHere it is.\n\n\tShe smiles at hi. Fear gone, filled with resolve. Gives him a\n\tkiss. Rises, to...", "LUKE\n\t\tShe's not gonna die.\n\n\t\t\t\tRACHEL\n\t\tI know that.", "Rachel and Luke cuddled in bed, watching a video in the darkness.\n\tAt least, she is. Just now, he's watching her.", "...Luke, dejected, at Jackie's door. Rachel nearby, still peers\n\tinto the window of an unlit, empty house. A cellular phone RINGS.", "Luke coaching the girls team. Annabelle one of many who surround\n\thim for that final word of wisdom...", "Rachel and Luke heading up the path to Jackie's door. It is early\n\twinter. Stark trees, a light snow on the ground. Rachel pulls her\n\tcoat tighter around her.", "LUKE stands by a doorway. Smiling, as he gazes into a hospital\n\troom. Jackie comes to his side, looks in...", "LUKE\n\t\tAnnabelle put down that camera.\n\n\tShe ZOOMS in on his face.", "Her incredible smile. Filling even Luke with confidence.\n\n\t\t\t\tRACHEL\n\t\tBut I'm not anymore." ], [ "...Annabelle does. Crawls up into the bed, on the opposite side\n\tfrom Ben. Into her mother's arms. Jackie kisses her head, strong.\n\tBig smile.", "ANNABELLE\n\t\tI'm sorry you're sick.\n\n\tFrom across the room. Jackie stares at her.", "SQUEEZING Rachel tight enough to crush her bones. And although\n\tRachel hugs back, although she kisses Annabelle's hair...\n\n\tHer eyes are locked to Jackie's.", "Rachel WHIRLS to see JACKIE filling the doorway, Annabelle flying\n\tto her mother's arms. The women's eyes meet. How much did she\n\thear?", "Looks to see if her mom is okay hearing...\n\n\t\t\t\tANNABELLE\n\t\tActually. She's kind of cool,\n\t\twhen you get to know her.", "ANNABELLE\n\t\tBecause it feels really incredibly\n\t\tgood.\n\n\tJackie moves around. Leans to stare in her eyes.", "...Annabelle enters alone. The door closes behind her. Her eyes\n\tlock with her mother's. No words. Annabelle's eyes filled with\n\ttears, and Jackie's arms...", "Annabelle pretends not to know that. Just walks casually toward\n\tus, but as she approaches, she can't help breaking into a RUN,\n\tstraight...", "Throughout, Annabelle is trying on Jackie's jewelry, making a pest\n\tof herself. Jackie fights against rising irritation.", "Rachel leads Ben to his room. With Rachel safe out of sight,\n\tAnnabelle takes the puppy into her arms and cuddles it.", "Rachel is dying inside. Reaches to brush at Annabelle's tears, but\n\tthe child SMACKS her head away.", "ANNABELLE\n\t\tShut up. She's going to die.\n\n\tBut the anger in her eyes isn't for Ben. She is glaring. At her\n\tmom.", "ANNABELLE\n\t\tI hate her. I really hate her.\n\n\t\t\t\tLUKE\n\t\tThere you are!", "ANNABELLE\n\t\tLike how?\n\n\t\t\t\tJACKIE\n\t\tLike seeing the good side of Rachel.\n\t\tSo she'll see the good side of us.", "She jumps up from the table. HISSES at her brother...\n\n\t\t\t\tANNABELLE\n\t\tYou are so STUPID!", "ANNABELLE\n\t\tI live. In the same country.\n\n\tHer mother laughs. Encouraged...", "Rachel enters. Kisses Annabelle's head.\n\n\t\t\t\tRACHEL\n\t\tI'm gonna check on Mom.", "ANNABELLE\n\t\t\t(straight back)\n\t\tI'll be there for you.\n\n\tHer mother's eyes cloud with feeling. A murmured...", "Annabelle cuts a look in Luke and Ben's direction. Please <u>not</u> in\n\tfront of the menfolk.", "... REACH out, and Annabelle RUNS to them.\n\n\tThey hold each other. For a forever moment." ], [ "JACKIE\n\t\tI have cancer. Do you know what\n\t\tthat is?\n\n\tHe doesn't. Someone else does.", "The lights are coming on in The City. Jackie sits staring out the\n\twindow, as an IV drips into her arm. She is alone, and down. And", "Jackie lies on her death bed. She is beautiful and near the end.\n\tDespite the IV tube, the monitor, she's gotten to serenity after\n\tall. As close as any of us will ever get.", "Jackie keeps watching her. And in a quiet voice...", "DR. SWEIKERT\n\t\tAt first. Then, after awhile, some\n\t\tchemo.\n\n\tA blow. Jackie absorbs this.", "The dimly chic bar. With its soft upscale buzz. Where Jackie\n\ttold Luke she had cancer. Tonight, she waits alone. Watching the\n\tentrance. Nursing her drink. And then...", "That brings a silence. A shading of defiance to Jackie's features.\n\n\t\t\t\tJACKIE\n\t\tYou don't burden others needlessly.\n\t\tThat's how I was raised, Doctor.", "On Jackie. Stunned. Her lips part for an answer. But she hasn't\n\tgot one.\n\n\tEXT. JACKIE'S HOUSE - NIGHT", "The doctor smiles. Jackie looks at her watch...", "From the kiss that follows. He won't have to.\n\n\tINT. JACKIE'S KITCHEN - DAY", "Jackie's mouth drops.\n\n\t\t\t\tJACKIE\n\t\tOh, my God.", "In the audience, Jackie is willing her daughter a recovery. Sees\n\tinstead, a completely DEVASTATED ear of corn.", "Staring at each other. Then Rachel reaches her arms around\n\tJackie, and as gently as she can manage, lifts her to a full\n\tsitting position.", "Jackie stares evenly. Her chin rests across the back of her\n\tknuckles. She looks tired, but okay. Fueled by adrenaline.", "Jackie feels her heart beginning to race. They lock eyes for a\n\tmoment. He unconsciously begins to eat off her plate. He eats", "Jackie snorts a laugh. In spite of herself.", "Jackie sighs. Smiles down at him.", "JACKIE\n\t\t\t(quietly)\n\t\tWhat?\n\n\tRache smiles. That Jackie sensed something.", "Rachel and we have a better angle now. Jackie looks awful. Drawn,\n\tweak, masking pain with obvious courage.\n\n\t\t\t\tRACHEL\n\t\tBad day?", "HOLD on Jackie, clutching her baby for dear life. Knowing it isn't.\n\t\n\tINT. BEN'S BEDROOM - NIGHT" ], [ "Rachel leads Ben to his room. With Rachel safe out of sight,\n\tAnnabelle takes the puppy into her arms and cuddles it.", "Annabelle says nothing. She drops to her knees. Begins to clean\n\tout one of her horse's hooves with a metal pick. The only sound\n\tagainst the stillness.", "She looks around -- completely exhausted. It's late. Annabelle is\n\tvideo taping the dog pee. Ben's in the kitchen talking to himself.", "Things like that. Annabelle is beginning to lose it now. So\n\tJackie says only...", "ANNABELLE\n\t\tI live. In the same country.\n\n\tHer mother laughs. Encouraged...", "Circling the horse now, we see Annabelle's back. She is slowly\n\tbrushing out the sweat mark. Where the saddle used to be. Her\n\tmovements are stiff, mechanical. The soft voice continues...", "...Annabelle does. Crawls up into the bed, on the opposite side\n\tfrom Ben. Into her mother's arms. Jackie kisses her head, strong.\n\tBig smile.", "Throughout, Annabelle is trying on Jackie's jewelry, making a pest\n\tof herself. Jackie fights against rising irritation.", "Annabelle pretends not to know that. Just walks casually toward\n\tus, but as she approaches, she can't help breaking into a RUN,\n\tstraight...", "She jumps up from the table. HISSES at her brother...\n\n\t\t\t\tANNABELLE\n\t\tYou are so STUPID!", "ANNABELLE\n\t\tI'm sorry you're sick.\n\n\tFrom across the room. Jackie stares at her.", "And Annabelle climbs onto the bed. Their hands never stop touching\n\teach other. Saying I love you.", "JACKIE\n\t\tNothing sweetheart.\n\n\tJackie sits on the edge of the bed, stroking Annabelle's head.", "Looks to see if her mom is okay hearing...\n\n\t\t\t\tANNABELLE\n\t\tActually. She's kind of cool,\n\t\twhen you get to know her.", "RACHEL\n\t\tWowie. How wonderful!\n\n\tBut Jackie still hasn't turned. Eyes glued to Annabelle, racing\n\taround with determination.", "Annabelle looks straight to her dad. There is a moment, a silence,\n\tthat no one else could ever understand. She leans to him and\n\twhispers...", "Annabelle keeps her eyes down. This is more than a sulk. She\n\tseems fairly unglued.\n\n\t\t\t\tRACHEL\n\t\tC'mon, these are the Bomb, I prom...", "JACKIE\n\t\t\t(softly)\n\t\tGood girl.\n\n\tAnnabelle's eyes well up. She covers by concentrating all the\n\tharder.", "Annabelle lies on her bed in darkness. Clutching her pillow.\n\tLights streams in as Rachel enters. Sits on the bed, next to this\n\tfurious child. Puts the cordless phone by the pillow.", "Annabelle and Ben. Rolling their eyes.\n\n\tLATER...Annabelle asleep on the bench. Rachel stands over her, a\n\tcanary on her finger." ], [ "On Jackie. Stunned. Her lips part for an answer. But she hasn't\n\tgot one.\n\n\tEXT. JACKIE'S HOUSE - NIGHT", "INT. JACKIE'S HOME - NIGHT\n\n\tJackie setting the table. Annabelle recording the moment with her\n\tomnipresent VIDEO CAMERA...", "Ben and Annabelle gape at one another, stunned.\n\n\tEXT. JACKIE'S HOUSE - MORNING", "Jackie takes a step back. Shakes her head. Goddammit, life is\n\tfull of surprises. She walks around in a little circle. Turns\n\tback...", "Jackie keeps watching her. And in a quiet voice...", "From the kiss that follows. He won't have to.\n\n\tINT. JACKIE'S KITCHEN - DAY", "INT. JACKIE'S BATHROOM - NIGHT\n\n\tJackie brushing out Annabelle's hair. Jackie's eyes are distant.\n\tAnnabelle watching in the mirror.", "Staring at each other. Then Rachel reaches her arms around\n\tJackie, and as gently as she can manage, lifts her to a full\n\tsitting position.", "Knocks at the open door to Jackie's bedroom, where Jackie is\n\tcalmly, meticulously, laying out things beside her large open\n\tsuitcase. She waves Rachel in, and keeps working.", "JACKIE\n\t\tSee? No one's laughing at you. Your\n\t\tfriends want you to join them, Anna-", "JACKIE\n\t\tIt's a miracle! I can walk!\n\n\tAnnabelle laughs. Ben covers Jackie with kisses. Rachel watches.\n\tFrom the crowd.", "JACKIE\n\t\t\t(when the waiter leaves)\n\t\tAnnabelle showed me the new dress.\n\t\tShe's amazing in it.", "Jackie feels her heart beginning to race. They lock eyes for a\n\tmoment. He unconsciously begins to eat off her plate. He eats", "In the bleachers, Jackie sits alone with Rachel. They are having a\n\tcoaching session of their own. Rachel points down to the field,\n\twhere...\n\n\t...Annabelle pushes her hair over her eyes.", "Jackie and Annabelle are sitting at the kitchen counter with maybe\n\ttwenty hardboiled eggs. They are cracking the shells gently, and\n\tcarefully peeling them.", "No answers. Jackie looks at this daughter she loves so much. Pats\n\tthe seat beside her...\n\n\t\t\t\tJACKIE\n\t\tCome. Sit.", "JACKIE\n\t\tThat's how we go on, you know.\n\t\tForever. Because someone takes\n\t\tus along.\n\n\tAnnabelle swallows hard.", "Jackie sits next to Luke on the couch -- looking lovingly towards the\n\tchildren, who sit across from them. Annabelle is taping this...", "JACKIE\n\t\t\t(softly)\n\t\tGood girl.\n\n\tAnnabelle's eyes well up. She covers by concentrating all the\n\tharder.", "Throughout, Annabelle is trying on Jackie's jewelry, making a pest\n\tof herself. Jackie fights against rising irritation." ], [ "And gone. Hear her footsteps. Climbing stairs. Rachel lifts her\n\tcup. Looks at it.", "...but there is nothing there. Her lap is empty. Except for her\n\tunnaturally still hands.", "...the room of a sleeping child. Rachel moves soundlessly to\n\tAnnabelle's side. Stares down. Listens to the soft breathing.", "Rachel leads Ben to his room. With Rachel safe out of sight,\n\tAnnabelle takes the puppy into her arms and cuddles it.", "Annabelle RUSHES past her. Ben saunters off after his sister.\n\tJackie turns to Rachel, accusingly.", "In the corner of the tower we see GEORGE staring up at her. But\n\tBen is NOWHERE to be found.", "Sad little shrug.\n\n\t\t\t\tRACHEL\n\t\tI miss them.\n\n\tThinking. Of how much more she'll miss.", "Rachel dropping off Annabelle at Jackie's door. They must be late,\n\tbecause Rachel is looking anxiously at her watch. Not even", "Things like that. Annabelle is beginning to lose it now. So\n\tJackie says only...", "Near the monitor, Annabelle's eyes are also furtively cutting to\n\tthe classroom's back door. On screen now...", "Annabelle stands with Rachel by a line of empty urinals.\n\n\t\t\t\tANNABELLE\n\t\tWhat if he's kidnapped?", "Delicious, and the whole thing comes TUMBLING DOWN. Shaken, she\n\tlooks around for Ben. He's gone.", "And her father watches. His heart pounding.", "She looks around -- completely exhausted. It's late. Annabelle is\n\tvideo taping the dog pee. Ben's in the kitchen talking to himself.", "RACHEL\n\t\tActually. I just did.\n\n\tAnd without further fond farewell...\n\n\tShe is gone.", "Rachel is dying inside. Reaches to brush at Annabelle's tears, but\n\tthe child SMACKS her head away.", "Annabelle pretends not to know that. Just walks casually toward\n\tus, but as she approaches, she can't help breaking into a RUN,\n\tstraight...", "ANNABELLE\n\t\tHe's gone forever and I'm gonna miss\n\t\tthe pageant.\n\n\tRachel once more. Her life flashing before her eyes.", "And she canters off, blood in her eye. Alone now with his mom, Ben\n\thas something serious on his mind.", "...Annabelle enters alone. The door closes behind her. Her eyes\n\tlock with her mother's. No words. Annabelle's eyes filled with\n\ttears, and Jackie's arms..." ], [ "Ben's eyes WHIP OVER to his sister. He sees the cold fear in her\n\tface. BACK to Mom. She seems fine, calm, smiling even.", "Annabelle pretends not to know that. Just walks casually toward\n\tus, but as she approaches, she can't help breaking into a RUN,\n\tstraight...", "And her father watches. His heart pounding.", "So vulnerable. The air comes out of her. We see how much she\n\tstill cares for this man.", "RACHEL\n\t\tShe was afraid you'd make a big\n\t\tdeal out of it.\n\n\tJackie is hurt. Covers...", "Rachel is dying inside. Reaches to brush at Annabelle's tears, but\n\tthe child SMACKS her head away.", "...the kitchen table. Where Rachel is waiting. She looks more\n\tthan tense. Actually, scared. Jackie taking this in, as she sets\n\tdown the tea.", "Things like that. Annabelle is beginning to lose it now. So\n\tJackie says only...", "JACKIE\n\t\tAre you afraid for me? Where\n\t\tI'm going.\n\n\t\t\t\tANNABELLE\n\t\tYes.", "The way she said that. Something weighty behind it. So Rachel\n\treaches into her purse.", "fighting the fear of what may come to pass. Her pager goes OFF.", "He puts his hands on her, gently. But she flinches. So the hands\n\tcome away.", "He loves her. But this problem is real.\n\n\t\t\t\tRACHEL\n\t\tLook. I know they hate me.", "And Rachel's eyes. Fill with tears. She hates that. Jackie won't\n\ttake her off the hook. Stands waiting, until...", "Circling the horse now, we see Annabelle's back. She is slowly\n\tbrushing out the sweat mark. Where the saddle used to be. Her\n\tmovements are stiff, mechanical. The soft voice continues...", "Panicked, she grabs Annabelle's hand.\n\n\t\t\t\tANNABELLE\n\t\tDon't touch me! You bring bad luck!", "ANNABELLE\n\t\tUntil he's old enough to read.\n\n\tTears on Annabelle's face. Her mom wonders...", "ANNABELLE\n\t\tWhy does Rachel scream?\n\n\tDoes she mean what Jackie thinks she means?\n\n\t\t\t\tJACKIE\n\t\tScream.", "...Annabelle enters alone. The door closes behind her. Her eyes\n\tlock with her mother's. No words. Annabelle's eyes filled with\n\ttears, and Jackie's arms...", "Then out of it. Alarm keeps BLASTING. Back she comes, pulling the\n\tsheets OVER her head. Motionless now, as we hear..." ], [ "Jackie keeps watching her. And in a quiet voice...", "Rachel takes an anxious look toward Jackie's place. Here we go.\n\n\tINT. JACKIE'S KITCHEN - MORNING", "Jackie feels her heart beginning to race. They lock eyes for a\n\tmoment. He unconsciously begins to eat off her plate. He eats", "On Jackie. Stunned. Her lips part for an answer. But she hasn't\n\tgot one.\n\n\tEXT. JACKIE'S HOUSE - NIGHT", "of his name becoming more and more faint in the distance -- His leg\n\tMISSES a branch -- causing a cluster of PINE CONES to FALL in front\n\tof Jackie -- she looks up screaming --", "Jackie's mouth drops.\n\n\t\t\t\tJACKIE\n\t\tOh, my God.", "RACHEL\n\t\tShe was afraid you'd make a big\n\t\tdeal out of it.\n\n\tJackie is hurt. Covers...", "Establishing shot of Jackie's lovely home on its lovely street.\n\tOld trees. Comfortable front lawns. Safe and happy. A place to", "Jackie stares evenly. Her chin rests across the back of her\n\tknuckles. She looks tired, but okay. Fueled by adrenaline.", "off. Jackie is repelled, but has to smile.", "JACKIE\n\t\t\t(quietly)\n\t\tWhat?\n\n\tRache smiles. That Jackie sensed something.", "HOLD on Jackie, clutching her baby for dear life. Knowing it isn't.\n\t\n\tINT. BEN'S BEDROOM - NIGHT", "The lights are coming on in The City. Jackie sits staring out the\n\twindow, as an IV drips into her arm. She is alone, and down. And", "Jackie unblinking. Focused, strong.\n\n\t\t\t\tJACKIE\n\t\tWhat do you see? Down that road.\n\n\tNo answer. Then...", "Jackie takes a step back. Shakes her head. Goddammit, life is\n\tfull of surprises. She walks around in a little circle. Turns\n\tback...", "Goes down the hall, every emotion in the world is playing across\n\ther face. Into...\n\n\tINT. JACKIE'S BEDROOM", "From the kiss that follows. He won't have to.\n\n\tINT. JACKIE'S KITCHEN - DAY", "Jackie lights her own.\n\n\t\t\t\tJACKIE\n\t\tAnd mine is. She won't.\n\n\tHer hand trembles as she takes a drag.", "Jackie looks away now. To the playground just beyond the\n\tbleachers. Kids rise swings, clamber over a jungle gym. But her\n\teyes are routinely, automatically, zeroing in on one single kid...", "JACKIE\n\t\tAre you afraid for me? Where\n\t\tI'm going.\n\n\t\t\t\tANNABELLE\n\t\tYes." ], [ "Knocks at the open door to Jackie's bedroom, where Jackie is\n\tcalmly, meticulously, laying out things beside her large open\n\tsuitcase. She waves Rachel in, and keeps working.", "Jackie stands outside a door. Deciding. She knocks and enters...\n\n\t...Duncan's office. He sits behind his desk, across from a client.\n\tBoth men looking up at this stranger.", "...the next photo. Luke, young, straddling a Kawasaki. Jackie,\n\tjust as young, holding him from behind. She wears a halter and\n\tshorts, and looks simply terrific.", "JACKIE\n\t\tYou know, you can come inside the\n\t\thouse.\n\n\tHe looks at the end of his rope. She walks down to him.", "Jackie sighs. Smiles down at him.", "And forgetting his uneasiness, he runs over, climbs ONTO the bed.\n\tJackie doesn't wince, doesn't even blink. Nothing for his memory\n\tbank but smiles. He looks at the photo...", "Jackie sits next to Luke on the couch -- looking lovingly towards the\n\tchildren, who sit across from them. Annabelle is taping this...", "JACKIE\n\t\tScrapbook.\n\n\tRachel brings the big book. Lays it on the bed. And goes.", "Jackie just stands. Trying not to cry.\n\n\t\t\t\tJACKIE\n\t\tOkay. These are good.\n\n\t\t\t\tBEN\n\t\tI helped.", "INT. JACKIE'S HOME - DAY\n\n\tRachel carrying the suitcase, Jackie has each kid by the hand, as\n\tthey troop through the house to arrive at...", "INT. JACKIE'S HOME - NIGHT\n\n\tJackie setting the table. Annabelle recording the moment with her\n\tomnipresent VIDEO CAMERA...", "Establishing shot of Jackie's lovely home on its lovely street.\n\tOld trees. Comfortable front lawns. Safe and happy. A place to", "From the kiss that follows. He won't have to.\n\n\tINT. JACKIE'S KITCHEN - DAY", "On Jackie. Stunned. Her lips part for an answer. But she hasn't\n\tgot one.\n\n\tEXT. JACKIE'S HOUSE - NIGHT", "HOLD on Rachel. Trying to put this together.\n\n\tINT. JACKIE'S KITCHEN - NIGHT", "The look holds. Almost a bittersweet smile plays on Jackie's lips.\n\tShe leans to kiss her daughter's head.", "Staring at each other. Then Rachel reaches her arms around\n\tJackie, and as gently as she can manage, lifts her to a full\n\tsitting position.", "Jackie keeps watching her. And in a quiet voice...", "...Jackie holding a spunky newborn.\n\n\t\t\t\tJACKIE\n\t\tThat's you and me. Our first photo\n\t\tas a couple.", "Goes down the hall, every emotion in the world is playing across\n\ther face. Into...\n\n\tINT. JACKIE'S BEDROOM" ], [ "Huge indoor space. Wood-sided walls, dirt floor. High corrugated\n\tmetal roof, with birds flying, roosting in rafters. A little GIRL,", "All of New Jersey heard that. On the silence that follows, she\n\tstalks off. The mother lion. Doing what she has to do.\n\n\tEXT. NORTH VALE STABLES - DAY", "The lights are coming on in The City. Jackie sits staring out the\n\twindow, as an IV drips into her arm. She is alone, and down. And", "Establishing shot of Jackie's lovely home on its lovely street.\n\tOld trees. Comfortable front lawns. Safe and happy. A place to", "The butterfly. Just below her navel. Ben has seen this before, of\n\tcourse. Touches it, with his small hand.", "Annabelle says nothing. She drops to her knees. Begins to clean\n\tout one of her horse's hooves with a metal pick. The only sound\n\tagainst the stillness.", "They come to a stop at the crest of a small hill and we now see the\n\ttears on Jackie's face. Annabelle can't see, and stares out at the\n\tmoonlit valley before them.", "And her father watches. His heart pounding.", "JACKIE\n\t\tMine. Is a <u>little</u> different.\n\n\tRight there. At the swing. In her face.", "BEN\n\t\tSo where are you?\n\n\tShe was waiting for this. For a long time. She wraps her hand\n\taround his fist. And puts their hands against his heart.", "Across the way, the boy leans, kisses Annabelle sweetly on the\n\tcheek. Waves to her. Peddles off. In distance, kids are dying.", "...but there is nothing there. Her lap is empty. Except for her\n\tunnaturally still hands.", "Rachel and Luke heading up the path to Jackie's door. It is early\n\twinter. Stark trees, a light snow on the ground. Rachel pulls her\n\tcoat tighter around her.", "Jackie drives the children down a tree-lined street in Englewood,\n\tNew Jersey. Ben is banging Jackie's sunglasses case against the\n\twindow.", "The last cars are pulling away. No kids left, except the ones\n\tshooting hoops. Except. On the low brick ledge by the flag\n\tpole...", "...the kitchen. Annabelle sits with her homework stacked,\n\tuntouched. Staring out the dark window. Clearly, this is worse\n\tthan death.", "...a figure slips into the seat beside her. Rachel is juggling a\n\tcoffee and maybe nine cookies. Drops one. Picks it up. Dusts it", "They bump foreheads and elbows. Ben runs toward the kindergarten\n\tplayground; Jackie watches concerned as Annabelle climbs the steps.\n\tThe only orangey red dot in a sea of purple.", "Drinks hour. Upscale crowd. Dim lights, clink of glasses, the hum\n\tof private conversations side-by-side. Civilized as hell. And at\n\tthe deuce by the window...", "And she canters off, blood in her eye. Alone now with his mom, Ben\n\thas something serious on his mind." ], [ "Ben looks to his sister. For the verdict. Annabelle shakes her\n\thead. Nope.", "...Annabelle does. Crawls up into the bed, on the opposite side\n\tfrom Ben. Into her mother's arms. Jackie kisses her head, strong.\n\tBig smile.", "Ben's eyes WHIP OVER to his sister. He sees the cold fear in her\n\tface. BACK to Mom. She seems fine, calm, smiling even.", "And she canters off, blood in her eye. Alone now with his mom, Ben\n\thas something serious on his mind.", "The clock reads 8:10. Rachel and the kids enter. Annabelle's hair\n\tis brushed forward, hiding her face. Ben is ebullient. Jackie's\n\tedgy, ready to snap.", "Annabelle and Ben. Rolling their eyes.\n\n\tLATER...Annabelle asleep on the bench. Rachel stands over her, a\n\tcanary on her finger.", "They bump foreheads and elbows. Ben runs toward the kindergarten\n\tplayground; Jackie watches concerned as Annabelle climbs the steps.\n\tThe only orangey red dot in a sea of purple.", "Rachel leads Ben to his room. With Rachel safe out of sight,\n\tAnnabelle takes the puppy into her arms and cuddles it.", "ANNABELLE\n\t\tShut up. She's going to die.\n\n\tBut the anger in her eyes isn't for Ben. She is glaring. At her\n\tmom.", "Ben points to the book -- she 'reads' skipping pages, a hundred\n\tmiles an hour desperate to get to the end of the book.", "Ben and Annabelle gape at one another, stunned.\n\n\tEXT. JACKIE'S HOUSE - MORNING", "And BOLTS from the room. In the silence she's left behind.\n\n\t\t\t\tBEN\n\t\tAnnabelle's worse than everybody.", "Annabelle RUSHES past her. Ben saunters off after his sister.\n\tJackie turns to Rachel, accusingly.", "BEN\n\t\tAnnabelle sucked her thumb last night.\n\n\t\t\t\tANNABELLE\n\t\tI NEVER do that, you ALWAYS lie!", "Luke and Annabelle are doing a hugely complex jigsaw puzzle. Ben\n\truns in, falls on his knees by the puzzle. Without looking at\n\tAnnabelle, he tells her...", "Annabelle cuts a look in Luke and Ben's direction. Please <u>not</u> in\n\tfront of the menfolk.", "Annabelle and Ben RACE into their mother's arms like little angels.\n\tJackie shoots a fiercely protective glare at Rachel. They LOCK\n\teyes. Enough wattage to light up all of Manhattan.", "...Rachel turns to Luke. Whispers, close to his ear. He looks at\n\ther for a beat, then leads Annabelle and Ben toward the car, as...", "Ben finds himself alone in the kitchen. He hits himself on the\n\thead, hard. Poof! He begins to serve himself dinner. Alone.\n\n\tEXT. RESTAURANT, SOHO - NIGHT", "Ben races away but Rachel LUNGES And CATCHES him. He wiggles in\n\ther arms as she struggles to change his clothes. Just as she gets" ], [ "Rachel looks over. Really? Jackie decides to share more. Reading\n\tRachel's reaction to...", "Staring at each other. Then Rachel reaches her arms around\n\tJackie, and as gently as she can manage, lifts her to a full\n\tsitting position.", "Jackie keeps watching her. And in a quiet voice...", "Jackie casts a sidelong glance at Rachel. Decides to tell her...\n\n\t\t\t\tJACKIE\n\t\tPushing her hair over her eyes.\n\t\tMeans she's avoiding a confrontation.", "Throughout, Annabelle is trying on Jackie's jewelry, making a pest\n\tof herself. Jackie fights against rising irritation.", "off. Jackie is repelled, but has to smile.", "Nothing friendly about it. But Jackie hasn't come seeking\n\tfriendship.", "JACKIE\n\t\t\t(softly)\n\t\tGood girl.\n\n\tAnnabelle's eyes well up. She covers by concentrating all the\n\tharder.", "Jackie is getting dressed in front of the mirror, her eyes distant,\n\tin spite of her attempts at control. Annabelle is watching her", "That brings a silence. A shading of defiance to Jackie's features.\n\n\t\t\t\tJACKIE\n\t\tYou don't burden others needlessly.\n\t\tThat's how I was raised, Doctor.", "Jackie nods. Appreciates that. But she <u>still</u> hasn't turned to\n\tlook Rachel in the eye.", "...Rachel comes into the place. Spots Jackie across the room.\n\tWeaves her way through the tables.\n\n\tAnd she is there. Slipping into her seat. Not knowing what to\n\tsay.", "Things like that. Annabelle is beginning to lose it now. So\n\tJackie says only...", "In the bleachers, Jackie sits alone with Rachel. They are having a\n\tcoaching session of their own. Rachel points down to the field,\n\twhere...\n\n\t...Annabelle pushes her hair over her eyes.", "RACHEL\n\t\tShe was afraid you'd make a big\n\t\tdeal out of it.\n\n\tJackie is hurt. Covers...", "JACKIE\n\t\tIt happens.\n\n\t\t\t\tANNABELLE\n\t\t\t(a beat)\n\t\tWhat happens when he loves Rachel more\n\t\tthan us?", "JACKIE\n\t\t\t(quietly)\n\t\tWhat?\n\n\tRache smiles. That Jackie sensed something.", "JACKIE\n\t\tI'll keep it in mind, and use it\n\t\tagainst you.\n\n\tShe looks back down at the game. Rachel watching her profile.\n\tFinally...", "Rachel takes an anxious look toward Jackie's place. Here we go.\n\n\tINT. JACKIE'S KITCHEN - MORNING", "Jackie stares evenly. Her chin rests across the back of her\n\tknuckles. She looks tired, but okay. Fueled by adrenaline." ], [ "They come to a stop at the crest of a small hill and we now see the\n\ttears on Jackie's face. Annabelle can't see, and stares out at the\n\tmoonlit valley before them.", "Jackie begins to turn the pages. Her life with these children\n\tpassing before her eyes. No tears. No smile. Just full\n\tattention. Fingertips touch the one she was looking for, as...", "And her father watches. His heart pounding.", "...Annabelle enters alone. The door closes behind her. Her eyes\n\tlock with her mother's. No words. Annabelle's eyes filled with\n\ttears, and Jackie's arms...", "never coming back to live with his\n\t\tfamily. She sees her father naked with\n\t\tanother woman for the first time.", "And she canters off, blood in her eye. Alone now with his mom, Ben\n\thas something serious on his mind.", "Staring at each other. Then Rachel reaches her arms around\n\tJackie, and as gently as she can manage, lifts her to a full\n\tsitting position.", "The screen goes BLACK. The class, teacher and especially Luke\n\tERUPT with APPLAUSE. So does Jackie, who has locked eyes across", "of his name becoming more and more faint in the distance -- His leg\n\tMISSES a branch -- causing a cluster of PINE CONES to FALL in front\n\tof Jackie -- she looks up screaming --", "Long pause. Then suddenly they both start speaking AT ONCE.", "The lights are coming on in The City. Jackie sits staring out the\n\twindow, as an IV drips into her arm. She is alone, and down. And", "As if on automatic pilot they move in to kiss each other goodbye\n\tthen stop. Each takes a step back. 15 years of hellos and\n\tgoodbyes. A beat. A wave. They head their separate ways.", "Annabelle relaxes against her mother and giggles with delight.\n\tJackie soon joins her, and the sounds of their laughter break the\n\tsilence of the night.", "In the audience, Jackie is willing her daughter a recovery. Sees\n\tinstead, a completely DEVASTATED ear of corn.", "...FALLS fast, hitting the grass with a thump we can hear, lying\n\tcrumpled, motionless, as our two women...", "...two children. The little boy is reading his Garfield book for\n\tthe three hundredth time. His big sister is simply crying, openly,", "Listen. <u>All</u> the air comes out. She looks around, sadly, at all\n\tthe work surrounding her.", "On the mothers -- impressed, not to mention surprised. When Ben\n\tsuddenly HURLS the toy onto the floor SHATTERING IT! A horrible", "Jackie feels her heart beginning to race. They lock eyes for a\n\tmoment. He unconsciously begins to eat off her plate. He eats", "Strokes her baby's hair.\n\n\t\t\t\tJACKIE\n\t\tThat happens. To families." ], [ "JACKIE\n\t\tShe was angry at herself.\n\n\t\t\t\tRACHEL\n\t\tJackie?\n\n\t\t\t\tJACKIE\n\t\tYes?", "Jackie, still pissed, climbs behind the wheel. Drives off.", "JACKIE\n\t\tI have cancer. Do you know what\n\t\tthat is?\n\n\tHe doesn't. Someone else does.", "JACKIE\n\t\tYou got to hell!\n\n\tJackie turns away, storming out of the room.", "That brings a silence. A shading of defiance to Jackie's features.\n\n\t\t\t\tJACKIE\n\t\tYou don't burden others needlessly.\n\t\tThat's how I was raised, Doctor.", "JACKIE\n\t\tPart of me hasn't quit yet. And\n\t\tthe other part is still pretty\n\t\toutraged.\n\t\t\t(calmly)\n\t\tWhen it's not terrified.", "Jackie takes a step back. Shakes her head. Goddammit, life is\n\tfull of surprises. She walks around in a little circle. Turns\n\tback...", "Ben hadn't thought of that. Nods now, yeh.\n\n\t\t\t\tJACKIE\n\t\tThat's right. And you're mad.", "DR. SWEIKERT\n\t\tAt first. Then, after awhile, some\n\t\tchemo.\n\n\tA blow. Jackie absorbs this.", "On Jackie. Stunned. Her lips part for an answer. But she hasn't\n\tgot one.\n\n\tEXT. JACKIE'S HOUSE - NIGHT", "Her glare says do NOT fuck with me. The mother lion look we've\n\tseen on Jackie.\n\n\t\t\t\tRACHEL\n\t\tWhich part of no don't you\n\t\tunderstand?", "Rachel and we have a better angle now. Jackie looks awful. Drawn,\n\tweak, masking pain with obvious courage.\n\n\t\t\t\tRACHEL\n\t\tBad day?", "The dimly chic bar. With its soft upscale buzz. Where Jackie\n\ttold Luke she had cancer. Tonight, she waits alone. Watching the\n\tentrance. Nursing her drink. And then...", "Nothing friendly about it. But Jackie hasn't come seeking\n\tfriendship.", "A trace of edge to Jackie's smile. But no real anger.\n\n\t\t\t\tJACKIE\n\t\tWell, he got that part right.\n\n\tLooking. Looking.", "RACHEL\n\t\tNo right at all. I just love them.\n\n\tNow it's Jackie's eyes. That begin to fill. And she hates that\n\teven more.", "Jackie snorts a laugh. In spite of herself.", "JACKIE\n\t\t\t(quiet anger)\n\t\tI don't even know what that means.\n\t\tSpread. That is <u>very</u> unclear.", "Jackie stares evenly. Her chin rests across the back of her\n\tknuckles. She looks tired, but okay. Fueled by adrenaline.", "Jackie keeps watching her. And in a quiet voice..." ], [ "ANNABELLE\n\t\tYou lied. If you lied <u>then</u>,\n\t\tmaybe you're lying <u>now</u>. I can", "JACKIE\n\t\tI overhead what you told Annabelle.\n\t\tThe lie.\n\n\tUnreadable faces. What are they feeling?", "BEN\n\t\tAnnabelle sucked her thumb last night.\n\n\t\t\t\tANNABELLE\n\t\tI NEVER do that, you ALWAYS lie!", "ANNABELLE\n\t\tYou <u>lied</u> to us when you never<u>told</u> us!", "Annabelle pretends not to know that. Just walks casually toward\n\tus, but as she approaches, she can't help breaking into a RUN,\n\tstraight...", "Annabelle lies on her bed in darkness. Clutching her pillow.\n\tLights streams in as Rachel enters. Sits on the bed, next to this\n\tfurious child. Puts the cordless phone by the pillow.", "Things like that. Annabelle is beginning to lose it now. So\n\tJackie says only...", "ANNABELLE\n\t\tI live. In the same country.\n\n\tHer mother laughs. Encouraged...", "Annabelle says nothing. She drops to her knees. Begins to clean\n\tout one of her horse's hooves with a metal pick. The only sound\n\tagainst the stillness.", "ANNABELLE\n\t\tAnd don't tell her I told you.\n\n\t\t\t\tJACKIE\n\t\tSecret's safe with me.", "...Annabelle does. Crawls up into the bed, on the opposite side\n\tfrom Ben. Into her mother's arms. Jackie kisses her head, strong.\n\tBig smile.", "Rachel WHIRLS to see JACKIE filling the doorway, Annabelle flying\n\tto her mother's arms. The women's eyes meet. How much did she\n\thear?", "And Annabelle climbs onto the bed. Their hands never stop touching\n\teach other. Saying I love you.", "ANNABELLE\n\t\tI'm sorry you're sick.\n\n\tFrom across the room. Jackie stares at her.", "Annabelle looks straight to her dad. There is a moment, a silence,\n\tthat no one else could ever understand. She leans to him and\n\twhispers...", "Rachel is dying inside. Reaches to brush at Annabelle's tears, but\n\tthe child SMACKS her head away.", "JACKIE\n\t\tSo why are you asking me?\n\n\t\t\t\tANNABELLE\n\t\tI like talking about it. At least,\n\t\tto you.", "Annabelle stops working. Turns her faces away.\n\n\t\t\t\tLUKE\n\t\tShe said she could never feel that\n\t\tway, not for one single second.", "She jumps up from the table. HISSES at her brother...\n\n\t\t\t\tANNABELLE\n\t\tYou are so STUPID!", "JACKIE\n\t\tYou had her <u>lie</u> about that...\n\t\tthat fancy-boy <u>model</u>!" ], [ "Jackie feels her heart beginning to race. They lock eyes for a\n\tmoment. He unconsciously begins to eat off her plate. He eats", "Rachel looks over. Really? Jackie decides to share more. Reading\n\tRachel's reaction to...", "Jackie keeps watching her. And in a quiet voice...", "From the kiss that follows. He won't have to.\n\n\tINT. JACKIE'S KITCHEN - DAY", "JACKIE\n\t\tIt happens.\n\n\t\t\t\tANNABELLE\n\t\t\t(a beat)\n\t\tWhat happens when he loves Rachel more\n\t\tthan us?", "Jackie casts a sidelong glance at Rachel. Decides to tell her...\n\n\t\t\t\tJACKIE\n\t\tPushing her hair over her eyes.\n\t\tMeans she's avoiding a confrontation.", "JACKIE\n\t\tYou're a moron, kid. You guessed\n\t\tthe wrong secret.\n\n\tAn odd, almost defiant look. Jackie reaches up to her own head,\n\tand...", "On Jackie. Stunned. Her lips part for an answer. But she hasn't\n\tgot one.\n\n\tEXT. JACKIE'S HOUSE - NIGHT", "Staring at each other. Then Rachel reaches her arms around\n\tJackie, and as gently as she can manage, lifts her to a full\n\tsitting position.", "JACKIE\n\t\t\t(softly)\n\t\tGood girl.\n\n\tAnnabelle's eyes well up. She covers by concentrating all the\n\tharder.", "JACKIE\n\t\tShe was angry at herself.\n\n\t\t\t\tRACHEL\n\t\tJackie?\n\n\t\t\t\tJACKIE\n\t\tYes?", "JACKIE\n\t\tMaybe you should talk to your\n\t\tdaughter, about why. She seems to\n\t\thave missed that part.\n\n\tNow he looks ashamed. And sorry from his heart.", "JACKIE\n\t\tIronic, huh?\n\n\tAnd staring in Rachel's eyes, Jackie's fierceness fades.", "Rachel WHIRLS to see JACKIE filling the doorway, Annabelle flying\n\tto her mother's arms. The women's eyes meet. How much did she\n\thear?", "In the bleachers, Jackie sits alone with Rachel. They are having a\n\tcoaching session of their own. Rachel points down to the field,\n\twhere...\n\n\t...Annabelle pushes her hair over her eyes.", "JACKIE\n\t\tI'll keep it in mind, and use it\n\t\tagainst you.\n\n\tShe looks back down at the game. Rachel watching her profile.\n\tFinally...", "JACKIE\n\t\tYou know, I lost Ben awhile back?\n\t\tIn a supermarket.\n\n\tRachel's hand freezes. In mid-course.", "JACKIE\n\t\tI overhead what you told Annabelle.\n\t\tThe lie.\n\n\tUnreadable faces. What are they feeling?", "JACKIE\n\t\t\t(quietly)\n\t\tWhat?\n\n\tRache smiles. That Jackie sensed something.", "A little strange. Particularly the hardness of Jackie's eyes.\n\tRachel watching her. Something's up." ], [ "She jumps up from the table. HISSES at her brother...\n\n\t\t\t\tANNABELLE\n\t\tYou are so STUPID!", "JACKIE\n\t\tYou got to hell!\n\n\tJackie turns away, storming out of the room.", "And BOLTS from the room. In the silence she's left behind.\n\n\t\t\t\tBEN\n\t\tAnnabelle's worse than everybody.", "Annabelle RUSHES past her. Ben saunters off after his sister.\n\tJackie turns to Rachel, accusingly.", "Rachel is dying inside. Reaches to brush at Annabelle's tears, but\n\tthe child SMACKS her head away.", "RACHEL\n\t\tNo, she threw you out. What a\n\t\tdifficult woman.\n\n\tPulls out her box of matches.", "She leaves the room SLAMMING the door behind her. Takes a breath,\n\tturns, and walks back in.", "Things like that. Annabelle is beginning to lose it now. So\n\tJackie says only...", "ANNABELLE\n\t\tShut up. She's going to die.\n\n\tBut the anger in her eyes isn't for Ben. She is glaring. At her\n\tmom.", "Annabelle lies on her bed in darkness. Clutching her pillow.\n\tLights streams in as Rachel enters. Sits on the bed, next to this\n\tfurious child. Puts the cordless phone by the pillow.", "Annabelle stops working. Turns her faces away.\n\n\t\t\t\tLUKE\n\t\tShe said she could never feel that\n\t\tway, not for one single second.", "On the mothers -- impressed, not to mention surprised. When Ben\n\tsuddenly HURLS the toy onto the floor SHATTERING IT! A horrible", "ANNABELLE\n\t\t\t(exploding in tears)\n\t\tOh forget it!", "Sets the beer down. Stabs out her smoke.\n\n\t\t\t\tRACHEL\n\t\tWe have to deal with that.\n\n\tAnd walks off, slowly. Across the yard.", "Then out of it. Alarm keeps BLASTING. Back she comes, pulling the\n\tsheets OVER her head. Motionless now, as we hear...", "Annabelle pretends not to know that. Just walks casually toward\n\tus, but as she approaches, she can't help breaking into a RUN,\n\tstraight...", "And she canters off, blood in her eye. Alone now with his mom, Ben\n\thas something serious on his mind.", "She leans forward. In his face. So she barely has to murmur.\n\n\t\t\t\tRACHEL\n\t\tI. Quit.\n\n\tA beat.", "LUKE\n\t\tA lot smaller.\n\n\tAnnabelle cuts him an angry look. He's on her shit list, too.", "She's still never looked at him. He can see she's getting irritat-\n\ted. He says nothing." ], [ "Jackie keeps watching her. And in a quiet voice...", "Rachel takes an anxious look toward Jackie's place. Here we go.\n\n\tINT. JACKIE'S KITCHEN - MORNING", "Jackie feels her heart beginning to race. They lock eyes for a\n\tmoment. He unconsciously begins to eat off her plate. He eats", "On Jackie. Stunned. Her lips part for an answer. But she hasn't\n\tgot one.\n\n\tEXT. JACKIE'S HOUSE - NIGHT", "of his name becoming more and more faint in the distance -- His leg\n\tMISSES a branch -- causing a cluster of PINE CONES to FALL in front\n\tof Jackie -- she looks up screaming --", "Jackie's mouth drops.\n\n\t\t\t\tJACKIE\n\t\tOh, my God.", "RACHEL\n\t\tShe was afraid you'd make a big\n\t\tdeal out of it.\n\n\tJackie is hurt. Covers...", "Establishing shot of Jackie's lovely home on its lovely street.\n\tOld trees. Comfortable front lawns. Safe and happy. A place to", "Jackie stares evenly. Her chin rests across the back of her\n\tknuckles. She looks tired, but okay. Fueled by adrenaline.", "off. Jackie is repelled, but has to smile.", "JACKIE\n\t\t\t(quietly)\n\t\tWhat?\n\n\tRache smiles. That Jackie sensed something.", "HOLD on Jackie, clutching her baby for dear life. Knowing it isn't.\n\t\n\tINT. BEN'S BEDROOM - NIGHT", "The lights are coming on in The City. Jackie sits staring out the\n\twindow, as an IV drips into her arm. She is alone, and down. And", "Jackie unblinking. Focused, strong.\n\n\t\t\t\tJACKIE\n\t\tWhat do you see? Down that road.\n\n\tNo answer. Then...", "Jackie takes a step back. Shakes her head. Goddammit, life is\n\tfull of surprises. She walks around in a little circle. Turns\n\tback...", "Goes down the hall, every emotion in the world is playing across\n\ther face. Into...\n\n\tINT. JACKIE'S BEDROOM", "From the kiss that follows. He won't have to.\n\n\tINT. JACKIE'S KITCHEN - DAY", "Jackie lights her own.\n\n\t\t\t\tJACKIE\n\t\tAnd mine is. She won't.\n\n\tHer hand trembles as she takes a drag.", "Jackie looks away now. To the playground just beyond the\n\tbleachers. Kids rise swings, clamber over a jungle gym. But her\n\teyes are routinely, automatically, zeroing in on one single kid...", "JACKIE\n\t\tAre you afraid for me? Where\n\t\tI'm going.\n\n\t\t\t\tANNABELLE\n\t\tYes." ], [ "Ben's white dove, flying free around the room, zipping and diving.\n\tNo one cares. It's Christmas.\n\n\tHOLD. Hold. And CROSSFADE TO...", "Lights and music and laughter. They're in black tie tonight. It's\n\ta wedding party. Up on the stage, at the head table, some guy is", "Looks down the table at her children. Dressed to kill. Enjoying\n\tthe party.", "Ben sits between Jackie and Luke holding each of their hands.\n\tRachel sits on the other side of Luke; all waiting for the Harvest\n\tPageant to begin. It's horribly tense.", "White Christmas outside the window. Richly trimmed tree, presents\n\teverywhere, carols softly playing. The whole nine yards. Luke and", "summer, every other holiday, it's not\n\t\tideal, but people make it work, and...", "All the kids are running around crazily in a hypersugared frenzy.\n\tPeach moms drink diet sodas and chat. Rachel making a call by the\n\tphony little carp pond...", "They bump foreheads and elbows. Ben runs toward the kindergarten\n\tplayground; Jackie watches concerned as Annabelle climbs the steps.\n\tThe only orangey red dot in a sea of purple.", "The screen goes BLACK. The class, teacher and especially Luke\n\tERUPT with APPLAUSE. So does Jackie, who has locked eyes across", "And slowly, Luke begins to CLAP. And others join. And when it\n\tstops...", "And her father watches. His heart pounding.", "Annabelle relaxes against her mother and giggles with delight.\n\tJackie soon joins her, and the sounds of their laughter break the\n\tsilence of the night.", "Across the way, the boy leans, kisses Annabelle sweetly on the\n\tcheek. Waves to her. Peddles off. In distance, kids are dying.", "... REACH out, and Annabelle RUNS to them.\n\n\tThey hold each other. For a forever moment.", "Listens. While <u>everybody</u> watches.", "FORTY-FIVE MINUTES LATER...Rachel, in a pointed party hat, sits\n\tschmushed on the couch in between all the other MOTHERS. A black", "JACKIE\n\t\tIt's a miracle! I can walk!\n\n\tAnnabelle laughs. Ben covers Jackie with kisses. Rachel watches.\n\tFrom the crowd.", "As if by rote, they hold out their lunches. One is a plastic Vons\n\tbag and the other a crumpled Macy's bag. She collects them and", "From down below, the kids CHEER. The worst is over.", "beginning to gather. A faded banner says PTA -- TENAFLY DAY SCHOOL.\n\tJackie is nibbling at a single cookie, when..." ], [ "Jackie and LUKE HARRISON -- ruggedly handsome man, mid-forties,\n\tcharming, disarming, and smart as they come. They sit side by side", "Rachel and Luke heading up the path to Jackie's door. It is early\n\twinter. Stark trees, a light snow on the ground. Rachel pulls her\n\tcoat tighter around her.", "Luke pacing around on the path through Jackie's front lawn. Jackie\n\texits the house, alone. Stands on the porch. And they stare at\n\teach other.", "Jackie looks at Luke. Annabelle ZOOMS IN on their faces.\n\n\t\t\t\tANNABELLE\n\t\tNo they're not.", "Jackie sits next to Luke on the couch -- looking lovingly towards the\n\tchildren, who sit across from them. Annabelle is taping this...", "EXT. SCHOOL, ENGLEWOOD, NEW JERSEY - MOMENTS LATER\n\n\tJackie and Luke exit the pleasant suburban school. Head for the\n\tparking area...", "JACKIE\n\t\tOkay, what is this? If you want to\n\t\tdump Luke on me, no sale. You're\n\t\tstuck with him.\n\n\tAnd before she can sit...", "...the next photo. Luke, young, straddling a Kawasaki. Jackie,\n\tjust as young, holding him from behind. She wears a halter and\n\tshorts, and looks simply terrific.", "One laser look at Luke. This bitch is <u>your</u> responsibility. And\n\tshe leads her baby off.\n\n\tEXT. JACKIE'S HOUSE - DAY", "The screen goes BLACK. The class, teacher and especially Luke\n\tERUPT with APPLAUSE. So does Jackie, who has locked eyes across", "LUKE stands by a doorway. Smiling, as he gazes into a hospital\n\troom. Jackie comes to his side, looks in...", "Jackie and Luke sit across from each other in the lovely\n\trestaurant. Jackie looks beautiful in the warm candlelight.", "LUKE\n\t\tThank you Mrs. Franklin. Jackie?\n\t\t\t(they get up)", "JACKIE\n\t\tMrs. Franklin we're not --\n\n\t\t\t\tLUKE\n\t\tPlanning on getting --", "JACKIE\n\t\tMr. Samuels? Forgive the intrusion,\n\t\tI'm Jacqueline Harrison, and...", "JACKIE HARRISON. An immaculately dressed, intimidatingly intel-\n\tligent, utterly beautiful woman staring at her with extreme\n\tdisapproval.", "Ben sits between Jackie and Luke holding each of their hands.\n\tRachel sits on the other side of Luke; all waiting for the Harvest\n\tPageant to begin. It's horribly tense.", "JACKIE\n\t\tThey want to be with you Luke, they go\n\t\tto your house to be with their father.", "JACKIE\n\t\t\t(lighting into Luke)\n\t\tYou listen carefully because I am only\n\t\tgoing to say this once. That woman has\n\t\tnothing more to do with my children.", "LUKE\n\t\tWe...\n\n\t\t\t\tJACKIE\n\t\tWE are over." ], [ "Jackie and LUKE HARRISON -- ruggedly handsome man, mid-forties,\n\tcharming, disarming, and smart as they come. They sit side by side", "Luke's beeper beeps. He ignores it; focuses on Mr. Franklin.", "The screen goes BLACK. The class, teacher and especially Luke\n\tERUPT with APPLAUSE. So does Jackie, who has locked eyes across", "...the man's head is down. We can't see Luke's expression, as he\n\tstares at his clenched hands. We don't need to.", "Luke pacing around on the path through Jackie's front lawn. Jackie\n\texits the house, alone. Stands on the porch. And they stare at\n\teach other.", "LUKE stands by a doorway. Smiling, as he gazes into a hospital\n\troom. Jackie comes to his side, looks in...", "LUKE\n\t\tA lot smaller.\n\n\tAnnabelle cuts him an angry look. He's on her shit list, too.", "One laser look at Luke. This bitch is <u>your</u> responsibility. And\n\tshe leads her baby off.\n\n\tEXT. JACKIE'S HOUSE - DAY", "Luke elbows her with an &quot;We're in an Elementary School&quot; elbow.", "Luke sits with Ben, building a gigantic magic castle from a million\n\tLeggos. I's architecturally interesting. Through the window\n\tbehind them, a cold winter rain.", "Rachel and Luke heading up the path to Jackie's door. It is early\n\twinter. Stark trees, a light snow on the ground. Rachel pulls her\n\tcoat tighter around her.", "Luke's beeper BEEPS again. They talk right over Mrs. Franklin...\n\n\t\t\t\tJACKIE\n\t\tAre you here?", "Under Luke's patient exterior, the stress is showing. As Ben\n\twatches, he replaces a key piece of the turret...", "LUKE\n\t\tPartly. But partly, you're mad.\n\n\tStaring. At each other.", "EXT. SCHOOL, ENGLEWOOD, NEW JERSEY - MOMENTS LATER\n\n\tJackie and Luke exit the pleasant suburban school. Head for the\n\tparking area...", "...the next photo. Luke, young, straddling a Kawasaki. Jackie,\n\tjust as young, holding him from behind. She wears a halter and\n\tshorts, and looks simply terrific.", "...Rachel turns to Luke. Whispers, close to his ear. He looks at\n\ther for a beat, then leads Annabelle and Ben toward the car, as...", "So he does. Gives her a sweet hug.\n\n\t\t\t\tLUKE (O.S.)\n\t\tHey. Remember me?", "Unseen by the two, Luke grins. Then, Ben snuggles into Rachel's\n\tarms and kisses her. Jackie stares.", "Luke and Annabelle are doing a hugely complex jigsaw puzzle. Ben\n\truns in, falls on his knees by the puzzle. Without looking at\n\tAnnabelle, he tells her..." ], [ "JACKIE\n\t\tI have cancer. Do you know what\n\t\tthat is?\n\n\tHe doesn't. Someone else does.", "Jackie lies on her death bed. She is beautiful and near the end.\n\tDespite the IV tube, the monitor, she's gotten to serenity after\n\tall. As close as any of us will ever get.", "The dimly chic bar. With its soft upscale buzz. Where Jackie\n\ttold Luke she had cancer. Tonight, she waits alone. Watching the\n\tentrance. Nursing her drink. And then...", "The lights are coming on in The City. Jackie sits staring out the\n\twindow, as an IV drips into her arm. She is alone, and down. And", "DR. SWEIKERT\n\t\tAt first. Then, after awhile, some\n\t\tchemo.\n\n\tA blow. Jackie absorbs this.", "That brings a silence. A shading of defiance to Jackie's features.\n\n\t\t\t\tJACKIE\n\t\tYou don't burden others needlessly.\n\t\tThat's how I was raised, Doctor.", "JACKIE\n\t\tDying. Is where the <u>whole</u> body", "Arriving PASSENGERS are filling through the gate. Last, is a female\n\tFLIGHT ATTENDANT, WHEELING a gray-faced Jackie in a collapsible\n\twheelchair. The woman leans to her...", "The air comes out of Jackie. In a thin, slow, precise stream.\n\tEverything, her very breath. Under complete control.", "PULL BACK to see the small, neatly kept office. DR. SWEIKERT is\n\t50, slender, elegant, kind. The doctor you want when you're dying.\n\tJackie looks up to her.", "JACKIE\n\t\t\t(quietly)\n\t\tDrink your tea while I go vomit.\n\n\tAnd turns, goes to the door. Turns back.", "Rachel and we have a better angle now. Jackie looks awful. Drawn,\n\tweak, masking pain with obvious courage.\n\n\t\t\t\tRACHEL\n\t\tBad day?", "BEN\n\t\tSo you're okay.\n\n\t\t\t\tJACKIE\n\t\tI'm still sick, but I'm better.", "Jackie keeps watching her. And in a quiet voice...", "Jackie feels her heart beginning to race. They lock eyes for a\n\tmoment. He unconsciously begins to eat off her plate. He eats", "JACKIE\n\t\tLife's a trade-off. You get cancer,\n\t\tyour hair falls out, but you <u>do</u> get\n\t\tto smoke dope.", "From the kiss that follows. He won't have to.\n\n\tINT. JACKIE'S KITCHEN - DAY", "On Jackie. Stunned. Her lips part for an answer. But she hasn't\n\tgot one.\n\n\tEXT. JACKIE'S HOUSE - NIGHT", "JACKIE\n\t\tOf course, you do. Being magic.\n\t\tThen you know I've got a flu bug,", "Jackie lights her own.\n\n\t\t\t\tJACKIE\n\t\tAnd mine is. She won't.\n\n\tHer hand trembles as she takes a drag." ], [ "Jackie sits next to Luke on the couch -- looking lovingly towards the\n\tchildren, who sit across from them. Annabelle is taping this...", "One laser look at Luke. This bitch is <u>your</u> responsibility. And\n\tshe leads her baby off.\n\n\tEXT. JACKIE'S HOUSE - DAY", "Luke pacing around on the path through Jackie's front lawn. Jackie\n\texits the house, alone. Stands on the porch. And they stare at\n\teach other.", "Rachel and Luke heading up the path to Jackie's door. It is early\n\twinter. Stark trees, a light snow on the ground. Rachel pulls her\n\tcoat tighter around her.", "JACKIE\n\t\tThey want to be with you Luke, they go\n\t\tto your house to be with their father.", "LUKE\n\t\tIt's complicated for Jackie. It's\n\t\tcomplicated for me...You don't have\n\t\tkids -- you don't understand --", "JACKIE\n\t\t\t(lighting into Luke)\n\t\tYou listen carefully because I am only\n\t\tgoing to say this once. That woman has\n\t\tnothing more to do with my children.", "JACKIE\n\t\tOkay, what is this? If you want to\n\t\tdump Luke on me, no sale. You're\n\t\tstuck with him.\n\n\tAnd before she can sit...", "EXT. SCHOOL, ENGLEWOOD, NEW JERSEY - MOMENTS LATER\n\n\tJackie and Luke exit the pleasant suburban school. Head for the\n\tparking area...", "...the next photo. Luke, young, straddling a Kawasaki. Jackie,\n\tjust as young, holding him from behind. She wears a halter and\n\tshorts, and looks simply terrific.", "JACKIE\n\t\tI'm counting on it.\n\n\tINT. RACHEL'S AND LUKE'S KITCHEN - LATE AFTERNOON", "JACKIE\n\t\tSince our divorce Luke has seen a\n\t\tnumber of different women in three\n\t\tshort years and without a lot of", "Jackie looks at Luke. Annabelle ZOOMS IN on their faces.\n\n\t\t\t\tANNABELLE\n\t\tNo they're not.", "Jackie and Luke sit across from each other in the lovely\n\trestaurant. Jackie looks beautiful in the warm candlelight.", "Jackie drives the children down a tree-lined street in Englewood,\n\tNew Jersey. Ben is banging Jackie's sunglasses case against the\n\twindow.", "The screen goes BLACK. The class, teacher and especially Luke\n\tERUPT with APPLAUSE. So does Jackie, who has locked eyes across", "...Luke, dejected, at Jackie's door. Rachel nearby, still peers\n\tinto the window of an unlit, empty house. A cellular phone RINGS.", "LUKE\n\t\tWE'RE still their parents for the next\n\t\thundred years.\n\n\tOn this, Jackie looks down at her hands.", "JACKIE\n\t\tBi-coastal parenting. Happens every\n\t\tday. Luke gets the kids every other", "JACKIE\n\t\tThe great thing about life is that\n\t\tthings keep changing.\n\n\t\t\t\tLUKE\n\t\tRemember when Mommy and Daddy got\n\t\tdivorced?" ], [ "A quick kiss. And she's gone.\n\n\tHOLD on Luke's light smile. Maybe this <u>will</u> all work out.", "The screen goes BLACK. The class, teacher and especially Luke\n\tERUPT with APPLAUSE. So does Jackie, who has locked eyes across", "Luke elbows her with an &quot;We're in an Elementary School&quot; elbow.", "LUKE\n\t\t\t(very softly)\n\t\tThat's right.\n\n\tShe hears honesty. And heartbreak. It makes her turn...", "One laser look at Luke. This bitch is <u>your</u> responsibility. And\n\tshe leads her baby off.\n\n\tEXT. JACKIE'S HOUSE - DAY", "Luke coaching the girls team. Annabelle one of many who surround\n\thim for that final word of wisdom...", "LUKE\n\t\tA lot smaller.\n\n\tAnnabelle cuts him an angry look. He's on her shit list, too.", "LUKE\n\t\tShe's not gonna die.\n\n\t\t\t\tRACHEL\n\t\tI know that.", "LUKE\n\t\tBecause I can't hurt anyone like \n\t\tthis ever again.\n\n\tShe grins.", "LUKE\n\t\tAnnabelle put down that camera.\n\n\tShe ZOOMS in on his face.", "Annabelle stops working. Turns her faces away.\n\n\t\t\t\tLUKE\n\t\tShe said she could never feel that\n\t\tway, not for one single second.", "Her incredible smile. Filling even Luke with confidence.\n\n\t\t\t\tRACHEL\n\t\tBut I'm not anymore.", "ANNABELLE\n\t\tI hate her. I really hate her.\n\n\t\t\t\tLUKE\n\t\tThere you are!", "Rachel and Luke cuddled in bed, watching a video in the darkness.\n\tAt least, she is. Just now, he's watching her.", "...the next photo. Luke, young, straddling a Kawasaki. Jackie,\n\tjust as young, holding him from behind. She wears a halter and\n\tshorts, and looks simply terrific.", "RACHEL\n\t\tFor what?\n\n\t\t\t\tLUKE\n\t\tJust a babysitter -- I mean...you're\n\t\tworking...", "Rachel and Luke heading up the path to Jackie's door. It is early\n\twinter. Stark trees, a light snow on the ground. Rachel pulls her\n\tcoat tighter around her.", "So he does. Gives her a sweet hug.\n\n\t\t\t\tLUKE (O.S.)\n\t\tHey. Remember me?", "Luke and Annabelle are doing a hugely complex jigsaw puzzle. Ben\n\truns in, falls on his knees by the puzzle. Without looking at\n\tAnnabelle, he tells her...", "LUKE\n\t\tJackie, they come to be part of my\n\t\tlife. Rachel <u>is</u> part of that life." ], [ "Rachel leads Ben to his room. With Rachel safe out of sight,\n\tAnnabelle takes the puppy into her arms and cuddles it.", "...Annabelle does. Crawls up into the bed, on the opposite side\n\tfrom Ben. Into her mother's arms. Jackie kisses her head, strong.\n\tBig smile.", "Annabelle and Ben. Rolling their eyes.\n\n\tLATER...Annabelle asleep on the bench. Rachel stands over her, a\n\tcanary on her finger.", "RACHEL\n\t\tThank you Ben. That was so sweet of\n\t\tyou.\n\t\t\t(pointedly to Annabelle)\n\t\tGoodnight Annabelle. Sweet dreams.", "Ben looks to his sister. For the verdict. Annabelle shakes her\n\thead. Nope.", "...Rachel turns to Luke. Whispers, close to his ear. He looks at\n\ther for a beat, then leads Annabelle and Ben toward the car, as...", "...Ben RIPPING the shit out of wrappings like a wolverine,\n\tAnnabelle carefully saving her gift paper as if she were going to", "hands Ben and Annabelle two brightly colored lunch bags.", "And real quiet...\n\n\t\t\t\tRACHEL\n\t\tI'll get Ben.\n\n\tINT. ANNABELLE'S ROOM - MOMENTS LATER", "Ben won't let go of Tucker's presents. Tucker tries to take it.\n\tBen is adamant. Rachel reaches for him, tousling his hair.", "Ben standing at a wrapped bird cage, where a dove is cooing inside.\n\tAnnabelle is setting out the cocoa with a uniformed NURSE.", "ANNABELLE\n\t\tShut up. She's going to die.\n\n\tBut the anger in her eyes isn't for Ben. She is glaring. At her\n\tmom.", "Ben sitting on the bottom limb of the huge evergreen. Annabelle\n\tkissing her horse's muzzle.", "Luke and Annabelle are doing a hugely complex jigsaw puzzle. Ben\n\truns in, falls on his knees by the puzzle. Without looking at\n\tAnnabelle, he tells her...", "JACKIE\n\t\tIt's a miracle! I can walk!\n\n\tAnnabelle laughs. Ben covers Jackie with kisses. Rachel watches.\n\tFrom the crowd.", "And she canters off, blood in her eye. Alone now with his mom, Ben\n\thas something serious on his mind.", "They bump foreheads and elbows. Ben runs toward the kindergarten\n\tplayground; Jackie watches concerned as Annabelle climbs the steps.\n\tThe only orangey red dot in a sea of purple.", "BEN\n\t\tSo where are you?\n\n\tShe was waiting for this. For a long time. She wraps her hand\n\taround his fist. And puts their hands against his heart.", "Ben's eyes WHIP OVER to his sister. He sees the cold fear in her\n\tface. BACK to Mom. She seems fine, calm, smiling even.", "ANNABELLE\n\t\t\t(covering her face)\n\t\tDon't take my picture!\n\n\tShe starts to cry. Ben's lip quivers, his eyes well up." ], [ "And she canters off, blood in her eye. Alone now with his mom, Ben\n\thas something serious on his mind.", "Delicious, and the whole thing comes TUMBLING DOWN. Shaken, she\n\tlooks around for Ben. He's gone.", "In the corner of the tower we see GEORGE staring up at her. But\n\tBen is NOWHERE to be found.", "Rachel leads Ben to his room. With Rachel safe out of sight,\n\tAnnabelle takes the puppy into her arms and cuddles it.", "Ben doesn't see them. His back is turned, as he talks to Rachel,\n\twho sits on the side of his bed, feeding him the pudding she got\n\tfrom a vending machine.", "Ben finds himself alone in the kitchen. He hits himself on the\n\thead, hard. Poof! He begins to serve himself dinner. Alone.\n\n\tEXT. RESTAURANT, SOHO - NIGHT", "Ben is cuddled up in his coverlet. Almost as if he's hiding. She\n\tpicks up some stray underpants. Actually, three of them.", "Ben races away but Rachel LUNGES And CATCHES him. He wiggles in\n\ther arms as she struggles to change his clothes. Just as she gets", "Ben runs out of the room. Luke follows him.\n\n\tINT. BEN'S ROOM - CONTINUOUS", "Ben's eyes WHIP OVER to his sister. He sees the cold fear in her\n\tface. BACK to Mom. She seems fine, calm, smiling even.", "HOLD on Jackie, clutching her baby for dear life. Knowing it isn't.\n\t\n\tINT. BEN'S BEDROOM - NIGHT", "...HANDS him to Jackie, alone in the cherry-picker. Jackie GRASPS\n\tBen, pulling him FIERCELY to her arms in a death grip.", "Jackie drives the children down a tree-lined street in Englewood,\n\tNew Jersey. Ben is banging Jackie's sunglasses case against the\n\twindow.", "RACHEL\n\t\tOf course not. Does he look lost to \n\t\tyou?\n\t\t\t(big breath)\n\t\tBENNNNN!!!", "Ben pulls his cape over his head and hides in a bundle in the\n\tcorner.\n\n\t\t\t\tBEN\n\t\tI'm disappearing. I'm almost\n\t\tinvisible...", "Ben points to the book -- she 'reads' skipping pages, a hundred\n\tmiles an hour desperate to get to the end of the book.", "She runs offstage amidst laughter and applause. Luke looks over at\n\tJackie but she and Ben have already left their seats.\n\n\tEXT. AUDITORIUM FOYER - NIGHT", "DUNCAN IN PHONE\n\t\tRachel...This is a big bloody account --\n\t\tIf you don't show up in five minutes...\n\n\tRachel takes Ben and leads him into another room.", "JESSICA\n\t\tHello Ben. Your mother says you're\n\t\treal good at disappearing --\n\n\tBen tries to climb a little higher -- Branches SNAP.", "ANNABELLE\n\t\tYou lost Ben?!" ], [ "Rachel leads Ben to his room. With Rachel safe out of sight,\n\tAnnabelle takes the puppy into her arms and cuddles it.", "...Annabelle does. Crawls up into the bed, on the opposite side\n\tfrom Ben. Into her mother's arms. Jackie kisses her head, strong.\n\tBig smile.", "... REACH out, and Annabelle RUNS to them.\n\n\tThey hold each other. For a forever moment.", "JACKIE\n\t\tThat's how we go on, you know.\n\t\tForever. Because someone takes\n\t\tus along.\n\n\tAnnabelle swallows hard.", "...Rachel turns to Luke. Whispers, close to his ear. He looks at\n\ther for a beat, then leads Annabelle and Ben toward the car, as...", "And Annabelle climbs onto the bed. Their hands never stop touching\n\teach other. Saying I love you.", "Still RINGING. He turns around and waddles delicately back to\n\tRachel, as if he's carrying nitro in his shorts. She holds out her\n\thand...", "Rachel dropping off Annabelle at Jackie's door. They must be late,\n\tbecause Rachel is looking anxiously at her watch. Not even", "They come to a stop at the crest of a small hill and we now see the\n\ttears on Jackie's face. Annabelle can't see, and stares out at the\n\tmoonlit valley before them.", "Annabelle pretends not to know that. Just walks casually toward\n\tus, but as she approaches, she can't help breaking into a RUN,\n\tstraight...", "And her father watches. His heart pounding.", "The class OOOOOS, WHISTLES. Annabelle flushes, but she clearly\n\tlikes it. Brad grins a Redford grin her way. And through the back\n\tdoor BURSTS...", "JACKIE\n\t\tSee? No one's laughing at you. Your\n\t\tfriends want you to join them, Anna-", "...Annabelle enters alone. The door closes behind her. Her eyes\n\tlock with her mother's. No words. Annabelle's eyes filled with\n\ttears, and Jackie's arms...", "In the bleachers, Jackie sits alone with Rachel. They are having a\n\tcoaching session of their own. Rachel points down to the field,\n\twhere...\n\n\t...Annabelle pushes her hair over her eyes.", "Staring at each other. Then Rachel reaches her arms around\n\tJackie, and as gently as she can manage, lifts her to a full\n\tsitting position.", "Ben takes Annabelle's hand. When they are gone...\n\n\t\t\t\tRACHEL\n\t\tJackie, if I thought for one moment...", "The screen goes BLACK. The class, teacher and especially Luke\n\tERUPT with APPLAUSE. So does Jackie, who has locked eyes across", "ANNABELLE\n\t\tHere it is?\n\n\tHis eyes water. He takes her in his arms. Whispers close to her\n\tear, only the words...", "Annabelle looks straight to her dad. There is a moment, a silence,\n\tthat no one else could ever understand. She leans to him and\n\twhispers..." ], [ "Jackie lies on her death bed. She is beautiful and near the end.\n\tDespite the IV tube, the monitor, she's gotten to serenity after\n\tall. As close as any of us will ever get.", "the room with her mortally-wounded abandoned daughter. Then\n\tJackie's eyes CUT TO...", "JACKIE\n\t\tDying. Is where the <u>whole</u> body", "JACKIE\n\t\tIronic, huh?\n\n\tAnd staring in Rachel's eyes, Jackie's fierceness fades.", "Jackie keeps watching her. And in a quiet voice...", "of his name becoming more and more faint in the distance -- His leg\n\tMISSES a branch -- causing a cluster of PINE CONES to FALL in front\n\tof Jackie -- she looks up screaming --", "...HANDS him to Jackie, alone in the cherry-picker. Jackie GRASPS\n\tBen, pulling him FIERCELY to her arms in a death grip.", "JACKIE\n\t\tSee, when we die. Our body goes\n\t\taway. Our body. But <u>we</u>...we are\n\t\tnot our body, are we?", "On Jackie. Stunned. Her lips part for an answer. But she hasn't\n\tgot one.\n\n\tEXT. JACKIE'S HOUSE - NIGHT", "JACKIE\n\t\t\t(quietly)\n\t\tWhat?\n\n\tRache smiles. That Jackie sensed something.", "The lights are coming on in The City. Jackie sits staring out the\n\twindow, as an IV drips into her arm. She is alone, and down. And", "Goes down the hall, every emotion in the world is playing across\n\ther face. Into...\n\n\tINT. JACKIE'S BEDROOM", "JACKIE\n\t\tAre you afraid for me? Where\n\t\tI'm going.\n\n\t\t\t\tANNABELLE\n\t\tYes.", "Jackie's heart breaks, unable to speak.\n\n\t\t\t\tJACKIE\n\t\tBen. God doesn't like visitors.", "JACKIE\n\t\tIronic, that I'm gonna need you.\n\n\tAll the air comes out. Her heart as naked as her skull.", "Jackie lights her own.\n\n\t\t\t\tJACKIE\n\t\tAnd mine is. She won't.\n\n\tHer hand trembles as she takes a drag.", "JACKIE\n\t\tThat's how we go on, you know.\n\t\tForever. Because someone takes\n\t\tus along.\n\n\tAnnabelle swallows hard.", "Jackie unblinking. Focused, strong.\n\n\t\t\t\tJACKIE\n\t\tWhat do you see? Down that road.\n\n\tNo answer. Then...", "Jackie takes a step back. Shakes her head. Goddammit, life is\n\tfull of surprises. She walks around in a little circle. Turns\n\tback...", "HOLD on Jackie, clutching her baby for dear life. Knowing it isn't.\n\t\n\tINT. BEN'S BEDROOM - NIGHT" ], [ "Staring at each other. Then Rachel reaches her arms around\n\tJackie, and as gently as she can manage, lifts her to a full\n\tsitting position.", "The look holds. Almost a bittersweet smile plays on Jackie's lips.\n\tShe leans to kiss her daughter's head.", "...Annabelle enters alone. The door closes behind her. Her eyes\n\tlock with her mother's. No words. Annabelle's eyes filled with\n\ttears, and Jackie's arms...", "JACKIE\n\t\tIronic, huh?\n\n\tAnd staring in Rachel's eyes, Jackie's fierceness fades.", "And Annabelle looks up. Tears on her face.\n\n\t\t\t\tJACKIE\n\t\tThank God. I got to see you.\n\t\tGrown up.", "...Rachel comes into the place. Spots Jackie across the room.\n\tWeaves her way through the tables.\n\n\tAnd she is there. Slipping into her seat. Not knowing what to\n\tsay.", "Rachel stunned. By the simplicity of it all. Slowly, she leans to\n\taccept Jackie's flame.", "JACKIE\n\t\t\t(softly)\n\t\tGood girl.\n\n\tAnnabelle's eyes well up. She covers by concentrating all the\n\tharder.", "From the kiss that follows. He won't have to.\n\n\tINT. JACKIE'S KITCHEN - DAY", "JACKIE\n\t\tIt happens.\n\n\t\t\t\tANNABELLE\n\t\t\t(a beat)\n\t\tWhat happens when he loves Rachel more\n\t\tthan us?", "They come to a stop at the crest of a small hill and we now see the\n\ttears on Jackie's face. Annabelle can't see, and stares out at the\n\tmoonlit valley before them.", "JACKIE\n\t\tI'll keep it in mind, and use it\n\t\tagainst you.\n\n\tShe looks back down at the game. Rachel watching her profile.\n\tFinally...", "In the bleachers, Jackie sits alone with Rachel. They are having a\n\tcoaching session of their own. Rachel points down to the field,\n\twhere...\n\n\t...Annabelle pushes her hair over her eyes.", "The jury is in. There is no appeal. Jackie takes her daughter's\n\thand.", "JACKIE\n\t\tIt's a miracle! I can walk!\n\n\tAnnabelle laughs. Ben covers Jackie with kisses. Rachel watches.\n\tFrom the crowd.", "Rachel looks over. Really? Jackie decides to share more. Reading\n\tRachel's reaction to...", "Jackie lies on her death bed. She is beautiful and near the end.\n\tDespite the IV tube, the monitor, she's gotten to serenity after\n\tall. As close as any of us will ever get.", "JACKIE\n\t\tShe was angry at herself.\n\n\t\t\t\tRACHEL\n\t\tJackie?\n\n\t\t\t\tJACKIE\n\t\tYes?", "And just this once. With all that's happened. Jackie needs to\n\tsay...", "She steps back. Looks him in the eye.\n\n\t\t\t\tJACKIE\n\t\tIt is. It's about time." ], [ "JACKIE\n\t\tSo why are you asking me?\n\n\t\t\t\tANNABELLE\n\t\tI like talking about it. At least,\n\t\tto you.", "JACKIE\n\t\tIt happens.\n\n\t\t\t\tANNABELLE\n\t\t\t(a beat)\n\t\tWhat happens when he loves Rachel more\n\t\tthan us?", "JACKIE\n\t\tMaybe you're upset that Rachel moved in.\n\n\t\t\t\tANNABELLE\n\t\tI'm not upset. Why would I be upset?", "JACKIE\n\t\tThat will never happen.\n\n\t\t\t\tANNABELLE\n\t\tNever say never you always say that.\n\t\tI'll bet daddy's mad at me now.", "JACKIE\n\t\t\t(softly)\n\t\tGood girl.\n\n\tAnnabelle's eyes well up. She covers by concentrating all the\n\tharder.", "On Jackie. Stunned. Her lips part for an answer. But she hasn't\n\tgot one.\n\n\tEXT. JACKIE'S HOUSE - NIGHT", "RACHEL\n\t\tNo right at all. I just love them.\n\n\tNow it's Jackie's eyes. That begin to fill. And she hates that\n\teven more.", "Things like that. Annabelle is beginning to lose it now. So\n\tJackie says only...", "No answers. Jackie looks at this daughter she loves so much. Pats\n\tthe seat beside her...\n\n\t\t\t\tJACKIE\n\t\tCome. Sit.", "Jackie back on her heels. Thinking. A mile a minute.\n\n\t\t\t\tJACKIE\n\t\tYou've got a point there, for a\n\t\tchange. Oh, yes you do.", "Jackie lights her own.\n\n\t\t\t\tJACKIE\n\t\tAnd mine is. She won't.\n\n\tHer hand trembles as she takes a drag.", "ANNABELLE\n\t\tWhy does Rachel scream?\n\n\tDoes she mean what Jackie thinks she means?\n\n\t\t\t\tJACKIE\n\t\tScream.", "Throughout, Annabelle is trying on Jackie's jewelry, making a pest\n\tof herself. Jackie fights against rising irritation.", "JACKIE\n\t\tDon't you get it? You look down the\n\t\troad to her wedding. You're in the", "JACKIE\n\t\tShe was angry at herself.\n\n\t\t\t\tRACHEL\n\t\tJackie?\n\n\t\t\t\tJACKIE\n\t\tYes?", "That brings a silence. A shading of defiance to Jackie's features.\n\n\t\t\t\tJACKIE\n\t\tYou don't burden others needlessly.\n\t\tThat's how I was raised, Doctor.", "ANNABELLE\n\t\tIt's just she's younger. Maybe\n\t\tshe remembers how to do this.\n\n\tJackie shrugs. Maybe. Annabelle studies her.", "JACKIE\n\t\tSee? No one's laughing at you. Your\n\t\tfriends want you to join them, Anna-", "JACKIE\n\t\t\t(shrugs)\n\t\tWhy?\n\n\tUh.", "From the kiss that follows. He won't have to.\n\n\tINT. JACKIE'S KITCHEN - DAY" ], [ "ANNABELLE\n\t\tDon't touch me! I'm <u>allergic</u> to you!", "She starts sneezing furiously and scratching. Ben comes out of the\n\tkitchen carrying a steaming cup of potion.", "Rachel leads Ben to his room. With Rachel safe out of sight,\n\tAnnabelle takes the puppy into her arms and cuddles it.", "BEN\n\t\tAnnabelle sucked her thumb last night.\n\n\t\t\t\tANNABELLE\n\t\tI NEVER do that, you ALWAYS lie!", "ANNABELLE\n\t\tYou lied. If you lied <u>then</u>,\n\t\tmaybe you're lying <u>now</u>. I can", "Annabelle pretends not to know that. Just walks casually toward\n\tus, but as she approaches, she can't help breaking into a RUN,\n\tstraight...", "Annabelle says nothing. She drops to her knees. Begins to clean\n\tout one of her horse's hooves with a metal pick. The only sound\n\tagainst the stillness.", "They keep peeling eggs.\n\n\t\t\t\tJACKIE\n\t\tYou wouldn't kiss him, huh?\n\n\t\t\t\tANNABELLE\n\t\tNot with my mouth open.", "He loves her. But this problem is real.\n\n\t\t\t\tRACHEL\n\t\tLook. I know they hate me.", "So vulnerable. The air comes out of her. We see how much she\n\tstill cares for this man.", "RACHEL\n\t\tNo right at all. I just love them.\n\n\tNow it's Jackie's eyes. That begin to fill. And she hates that\n\teven more.", "She looks around -- completely exhausted. It's late. Annabelle is\n\tvideo taping the dog pee. Ben's in the kitchen talking to himself.", "ANNABELLE\n\t\tI'm sorry you're sick.\n\n\tFrom across the room. Jackie stares at her.", "JACKIE\n\t\tI overhead what you told Annabelle.\n\t\tThe lie.\n\n\tUnreadable faces. What are they feeling?", "JACKIE\n\t\tNothing sweetheart.\n\n\tJackie sits on the edge of the bed, stroking Annabelle's head.", "Things like that. Annabelle is beginning to lose it now. So\n\tJackie says only...", "Annabelle stops working. Turns her faces away.\n\n\t\t\t\tLUKE\n\t\tShe said she could never feel that\n\t\tway, not for one single second.", "He puts his hands on her, gently. But she flinches. So the hands\n\tcome away.", "Annabelle and Ben look up at her curiously.\n\n\t\t\t\tJACKIE\n\t\tI hate snails and blue cheese.\n\t\tEspecially together. <u>Hate</u>.", "Annabelle lies on her bed in darkness. Clutching her pillow.\n\tLights streams in as Rachel enters. Sits on the bed, next to this\n\tfurious child. Puts the cordless phone by the pillow." ], [ "JACKIE\n\t\tSee? No one's laughing at you. Your\n\t\tfriends want you to join them, Anna-", "...Rachel turns to Luke. Whispers, close to his ear. He looks at\n\ther for a beat, then leads Annabelle and Ben toward the car, as...", "JACKIE\n\t\tThat's how we go on, you know.\n\t\tForever. Because someone takes\n\t\tus along.\n\n\tAnnabelle swallows hard.", "Rachel dropping off Annabelle at Jackie's door. They must be late,\n\tbecause Rachel is looking anxiously at her watch. Not even", "Rachel leads Ben to his room. With Rachel safe out of sight,\n\tAnnabelle takes the puppy into her arms and cuddles it.", "Annabelle looks straight to her dad. There is a moment, a silence,\n\tthat no one else could ever understand. She leans to him and\n\twhispers...", "LUKE\n\t\tYou want us to take him tonight?\n\t\tGive you some private time with\n\t\tAnnab....", "Ben takes Annabelle's hand. When they are gone...\n\n\t\t\t\tRACHEL\n\t\tJackie, if I thought for one moment...", "Annabelle pretends not to know that. Just walks casually toward\n\tus, but as she approaches, she can't help breaking into a RUN,\n\tstraight...", "RACHEL\n\t\tI was looking for Annabelle's book,\n\t\tand I found your tickets. And the\n\t\tnote. From your new boss.", "ANNABELLE\n\t\tHere it is?\n\n\tHis eyes water. He takes her in his arms. Whispers close to her\n\tear, only the words...", "Silence.\n\n\t\t\t\tANNABELLE\n\t\t\t(grins)\n\t\tWell, with Rachel driving. That's\n\t\thow we'll go.", "She jumps up from the table. HISSES at her brother...\n\n\t\t\t\tANNABELLE\n\t\tYou are so STUPID!", "...Annabelle enters alone. The door closes behind her. Her eyes\n\tlock with her mother's. No words. Annabelle's eyes filled with\n\ttears, and Jackie's arms...", "Circling the horse now, we see Annabelle's back. She is slowly\n\tbrushing out the sweat mark. Where the saddle used to be. Her\n\tmovements are stiff, mechanical. The soft voice continues...", "Lights and music and laughter. They're in black tie tonight. It's\n\ta wedding party. Up on the stage, at the head table, some guy is", "JACKIE\n\t\tSo why are you asking me?\n\n\t\t\t\tANNABELLE\n\t\tI like talking about it. At least,\n\t\tto you.", "The class OOOOOS, WHISTLES. Annabelle flushes, but she clearly\n\tlikes it. Brad grins a Redford grin her way. And through the back\n\tdoor BURSTS...", "The way she said that. Something weighty behind it. So Rachel\n\treaches into her purse.", "ANNABELLE\n\t\tIf I miss it, daddy? You clue\n\t\tme in.\n\n\tOkay, he nods. That's a plan." ], [ "JACKIE\n\t\t\t(softly)\n\t\tGood girl.\n\n\tAnnabelle's eyes well up. She covers by concentrating all the\n\tharder.", "JACKIE\n\t\tSee? No one's laughing at you. Your\n\t\tfriends want you to join them, Anna-", "JACKIE\n\t\tSo why are you asking me?\n\n\t\t\t\tANNABELLE\n\t\tI like talking about it. At least,\n\t\tto you.", "JACKIE\n\t\tThat's how we go on, you know.\n\t\tForever. Because someone takes\n\t\tus along.\n\n\tAnnabelle swallows hard.", "Jackie keeps watching her. And in a quiet voice...", "INT. JACKIE'S HOME - NIGHT\n\n\tJackie setting the table. Annabelle recording the moment with her\n\tomnipresent VIDEO CAMERA...", "Rachel dropping off Annabelle at Jackie's door. They must be late,\n\tbecause Rachel is looking anxiously at her watch. Not even", "INT. JACKIE'S BATHROOM - NIGHT\n\n\tJackie brushing out Annabelle's hair. Jackie's eyes are distant.\n\tAnnabelle watching in the mirror.", "ANNABELLE\n\t\tBecause it feels really incredibly\n\t\tgood.\n\n\tJackie moves around. Leans to stare in her eyes.", "Jackie and Annabelle riding. The kid is still on Cloud Nine.\n\tJackie's eyes are on her.", "JACKIE\n\t\t\t(resumes singing)\n\t\tI held you...held you so ti-ight...\n\t\t\t(to Annabelle)\n\t\tYou sing lead, you've got the voice...", "No answers. Jackie looks at this daughter she loves so much. Pats\n\tthe seat beside her...\n\n\t\t\t\tJACKIE\n\t\tCome. Sit.", "In the audience, Jackie is willing her daughter a recovery. Sees\n\tinstead, a completely DEVASTATED ear of corn.", "In the bleachers, Jackie sits alone with Rachel. They are having a\n\tcoaching session of their own. Rachel points down to the field,\n\twhere...\n\n\t...Annabelle pushes her hair over her eyes.", "From the kiss that follows. He won't have to.\n\n\tINT. JACKIE'S KITCHEN - DAY", "Throughout, Annabelle is trying on Jackie's jewelry, making a pest\n\tof herself. Jackie fights against rising irritation.", "Nothing friendly about it. But Jackie hasn't come seeking\n\tfriendship.", "And just this once. With all that's happened. Jackie needs to\n\tsay...", "JACKIE\n\t\tI got Ginny Weintraub to come stay\n\t\twith Ben.\n\n\tAnnabelle's puzzled look. Why would you do that?", "He's happy. Jackie reaches and shuts OFF Annabelle's camera. And\n\tthe directness in her gaze keeps the child from complaining." ], [ "BEN\n\t\t\t(thinks about this)\n\t\tRachel's job is she works.", "Circling the horse now, we see Annabelle's back. She is slowly\n\tbrushing out the sweat mark. Where the saddle used to be. Her\n\tmovements are stiff, mechanical. The soft voice continues...", "ANNABELLE\n\t\tI live. In the same country.\n\n\tHer mother laughs. Encouraged...", "Annabelle says nothing. She drops to her knees. Begins to clean\n\tout one of her horse's hooves with a metal pick. The only sound\n\tagainst the stillness.", "The way she said that. Something weighty behind it. So Rachel\n\treaches into her purse.", "Even her voice is carefully under control. Awkward, Rachel looks\n\taround the room. A stack of photo albums, scrapbooks, open. Works\n\tin progress.", "Rachel works with intense concentration. It's been hours.\n\tAnnabelle and Ben are completely bored.", "Annabelle pretends not to know that. Just walks casually toward\n\tus, but as she approaches, she can't help breaking into a RUN,\n\tstraight...", "...the room of a sleeping child. Rachel moves soundlessly to\n\tAnnabelle's side. Stares down. Listens to the soft breathing.", "...Annabelle enters alone. The door closes behind her. Her eyes\n\tlock with her mother's. No words. Annabelle's eyes filled with\n\ttears, and Jackie's arms...", "...Annabelle sits. Alone. Quietly freaking.\n\n\tINT. RACHEL'S STUDIO - AFTERNOON", "Things like that. Annabelle is beginning to lose it now. So\n\tJackie says only...", "Annabelle keeps her eyes on her eggs. A craftswoman.\n\n\t\t\t\tANNABELLE\n\t\tNo, but I thought till Thursday.\n\n\tOh.", "Rachel is dying inside. Reaches to brush at Annabelle's tears, but\n\tthe child SMACKS her head away.", "She's still watching. It's a French-language comedy. She can feel\n\this eyes on her. Never turns...\n\n\t\t\t\tRACHEL\n\t\tIt's just an assignment.", "...a figure slips into the seat beside her. Rachel is juggling a\n\tcoffee and maybe nine cookies. Drops one. Picks it up. Dusts it", "Annabelle lies on her bed in darkness. Clutching her pillow.\n\tLights streams in as Rachel enters. Sits on the bed, next to this\n\tfurious child. Puts the cordless phone by the pillow.", "He laughs. And she can hear that. And her eyes fill. And she\n\tmurmurs...", "ANNABELLE\n\t\tShut up. She's going to die.\n\n\tBut the anger in her eyes isn't for Ben. She is glaring. At her\n\tmom.", "Annabelle raises her hand.\n\n\t\t\t\tANNABELLE\n\t\tUh. What is it?" ], [ "RACHEL\n\t\tSee, the place where I can connect\n\t\twith Annabelle is my photography.\n\t\tBecause she loves video and all...\n\n\tAnd...?", "Annabelle relaxes against her mother and giggles with delight.\n\tJackie soon joins her, and the sounds of their laughter break the\n\tsilence of the night.", "And Annabelle climbs onto the bed. Their hands never stop touching\n\teach other. Saying I love you.", "Jackie and Annabelle are sitting at the kitchen counter with maybe\n\ttwenty hardboiled eggs. They are cracking the shells gently, and\n\tcarefully peeling them.", "ANNABELLE\n\t\tI live. In the same country.\n\n\tHer mother laughs. Encouraged...", "Things like that. Annabelle is beginning to lose it now. So\n\tJackie says only...", "...the room of a sleeping child. Rachel moves soundlessly to\n\tAnnabelle's side. Stares down. Listens to the soft breathing.", "PULL BACK to see the class and teacher watching raptly. Filmmaker\n\tAnnabelle in the seat of honor next to her proud father. Rachel in", "...Annabelle does. Crawls up into the bed, on the opposite side\n\tfrom Ben. Into her mother's arms. Jackie kisses her head, strong.\n\tBig smile.", "Annabelle says nothing. She drops to her knees. Begins to clean\n\tout one of her horse's hooves with a metal pick. The only sound\n\tagainst the stillness.", "ANNABELLE\n\t\t...I mean, she knows all the music,\n\t\tand pop stars, and clothes and stuff.\n\t\tShe's like still a kid, herself.", "Even her voice is carefully under control. Awkward, Rachel looks\n\taround the room. A stack of photo albums, scrapbooks, open. Works\n\tin progress.", "ANNABELLE\n\t\tIt's just she's younger. Maybe\n\t\tshe remembers how to do this.\n\n\tJackie shrugs. Maybe. Annabelle studies her.", "Rachel enters. Kisses Annabelle's head.\n\n\t\t\t\tRACHEL\n\t\tI'm gonna check on Mom.", "Jackie is getting dressed in front of the mirror, her eyes distant,\n\tin spite of her attempts at control. Annabelle is watching her", "...Annabelle sits. Alone. Quietly freaking.\n\n\tINT. RACHEL'S STUDIO - AFTERNOON", "...Annabelle enters alone. The door closes behind her. Her eyes\n\tlock with her mother's. No words. Annabelle's eyes filled with\n\ttears, and Jackie's arms...", "Throughout, Annabelle is trying on Jackie's jewelry, making a pest\n\tof herself. Jackie fights against rising irritation.", "They bump foreheads and elbows. Ben runs toward the kindergarten\n\tplayground; Jackie watches concerned as Annabelle climbs the steps.\n\tThe only orangey red dot in a sea of purple.", "Rachel works with intense concentration. It's been hours.\n\tAnnabelle and Ben are completely bored." ], [ "JACKIE\n\t\tYou got to hell!\n\n\tJackie turns away, storming out of the room.", "off. Jackie is repelled, but has to smile.", "JACKIE\n\t\tNope.\n\n\tHe's crestfallen.\n\n\t\t\t\tJACKIE\n\t\tWe can only have two.", "Jackie, still pissed, climbs behind the wheel. Drives off.", "Jackie back on her heels. Thinking. A mile a minute.\n\n\t\t\t\tJACKIE\n\t\tYou've got a point there, for a\n\t\tchange. Oh, yes you do.", "JACKIE\n\t\tIronic, huh?\n\n\tAnd staring in Rachel's eyes, Jackie's fierceness fades.", "On Jackie. Stunned. Her lips part for an answer. But she hasn't\n\tgot one.\n\n\tEXT. JACKIE'S HOUSE - NIGHT", "JACKIE\n\t\tPart of me hasn't quit yet. And\n\t\tthe other part is still pretty\n\t\toutraged.\n\t\t\t(calmly)\n\t\tWhen it's not terrified.", "JACKIE\n\t\tScrapbook.\n\n\tRachel brings the big book. Lays it on the bed. And goes.", "From the kiss that follows. He won't have to.\n\n\tINT. JACKIE'S KITCHEN - DAY", "JACKIE\n\t\t\t(shrugs)\n\t\tWhy?\n\n\tUh.", "JACKIE\n\t\tHe's not even there. You don't\n\t\tsee him, you don't hear him, you're\n\t\tjust too much of a woman to bother\n\t\twith little boys.", "JACKIE\n\t\tSee, I'm not going to Houston,\n\t\tafter all.\n\n\tLike you obviously figured out.", "of his name becoming more and more faint in the distance -- His leg\n\tMISSES a branch -- causing a cluster of PINE CONES to FALL in front\n\tof Jackie -- she looks up screaming --", "Jackie keeps watching her. And in a quiet voice...", "Nothing friendly about it. But Jackie hasn't come seeking\n\tfriendship.", "JACKIE\n\t\t\t(drier)\n\t\tThank you.\n\n\tAnd walks out the door.\n\n\tINT. STUDIO CORRIDOR - MORNING", "JACKIE\n\t\tDo what you've worked your whole\n\t\tlife to do?\n\n\t\t\t\tRACHEL\n\t\tIt was just a job, there'll be plenty\n\t\tof others.", "The air comes out of Jackie. In a thin, slow, precise stream.\n\tEverything, her very breath. Under complete control.", "Jackie takes a step back. Shakes her head. Goddammit, life is\n\tfull of surprises. She walks around in a little circle. Turns\n\tback..." ], [ "Jackie keeps watching her. And in a quiet voice...", "Rachel looks over. Really? Jackie decides to share more. Reading\n\tRachel's reaction to...", "JACKIE\n\t\t...and your Ms. Kelly? A remarkable\n\t\tyoung woman.\n\n\tThe client is beaming.", "JACKIE\n\t\tShe told me that you were so suppor-\n\t\ttive, even at great inconvenience to\n\t\tyour business, and...\n\n\tAn amazing smile.", "JACKIE\n\t\t\t(softly)\n\t\tGood girl.\n\n\tAnnabelle's eyes well up. She covers by concentrating all the\n\tharder.", "The look holds. Almost a bittersweet smile plays on Jackie's lips.\n\tShe leans to kiss her daughter's head.", "Jackie is getting dressed in front of the mirror, her eyes distant,\n\tin spite of her attempts at control. Annabelle is watching her", "JACKIE\n\t\tSo why are you asking me?\n\n\t\t\t\tANNABELLE\n\t\tI like talking about it. At least,\n\t\tto you.", "JACKIE\n\t\t\t(quietly)\n\t\tWhat?\n\n\tRache smiles. That Jackie sensed something.", "Jackie sighs. Smiles down at him.", "Jackie nods. Appreciates that. But she <u>still</u> hasn't turned to\n\tlook Rachel in the eye.", "JACKIE HARRISON. An immaculately dressed, intimidatingly intel-\n\tligent, utterly beautiful woman staring at her with extreme\n\tdisapproval.", "ANNABELLE\n\t\tBecause it feels really incredibly\n\t\tgood.\n\n\tJackie moves around. Leans to stare in her eyes.", "Jackie stares evenly. Her chin rests across the back of her\n\tknuckles. She looks tired, but okay. Fueled by adrenaline.", "Staring at each other. Then Rachel reaches her arms around\n\tJackie, and as gently as she can manage, lifts her to a full\n\tsitting position.", "JACKIE\n\t\tIronic, huh?\n\n\tAnd staring in Rachel's eyes, Jackie's fierceness fades.", "She reaches to hold his face in her hand. Stares in his eyes.\n\n\t\t\t\tJACKIE\n\t\t<u>This</u> good-looking. Was beyond\n\t\tmy imagination.", "Jackie thinking. Reading this girl's face.", "In the bleachers, Jackie sits alone with Rachel. They are having a\n\tcoaching session of their own. Rachel points down to the field,\n\twhere...\n\n\t...Annabelle pushes her hair over her eyes.", "JACKIE\n\t\tI bet.\n\n\tAnnabelle studies her mom's profile." ], [ "Jackie keeps watching her. And in a quiet voice...", "Rachel looks over. Really? Jackie decides to share more. Reading\n\tRachel's reaction to...", "JACKIE\n\t\t\t(softly)\n\t\tGood girl.\n\n\tAnnabelle's eyes well up. She covers by concentrating all the\n\tharder.", "Jackie is getting dressed in front of the mirror, her eyes distant,\n\tin spite of her attempts at control. Annabelle is watching her", "JACKIE\n\t\tSo why are you asking me?\n\n\t\t\t\tANNABELLE\n\t\tI like talking about it. At least,\n\t\tto you.", "ANNABELLE\n\t\tBecause it feels really incredibly\n\t\tgood.\n\n\tJackie moves around. Leans to stare in her eyes.", "The look holds. Almost a bittersweet smile plays on Jackie's lips.\n\tShe leans to kiss her daughter's head.", "JACKIE\n\t\tShe told me that you were so suppor-\n\t\ttive, even at great inconvenience to\n\t\tyour business, and...\n\n\tAn amazing smile.", "Jackie nods. Appreciates that. But she <u>still</u> hasn't turned to\n\tlook Rachel in the eye.", "She reaches to hold his face in her hand. Stares in his eyes.\n\n\t\t\t\tJACKIE\n\t\t<u>This</u> good-looking. Was beyond\n\t\tmy imagination.", "JACKIE HARRISON. An immaculately dressed, intimidatingly intel-\n\tligent, utterly beautiful woman staring at her with extreme\n\tdisapproval.", "Jackie sighs. Smiles down at him.", "JACKIE\n\t\t...and your Ms. Kelly? A remarkable\n\t\tyoung woman.\n\n\tThe client is beaming.", "Jackie stares evenly. Her chin rests across the back of her\n\tknuckles. She looks tired, but okay. Fueled by adrenaline.", "Staring at each other. Then Rachel reaches her arms around\n\tJackie, and as gently as she can manage, lifts her to a full\n\tsitting position.", "JACKIE\n\t\t\t(quietly)\n\t\tWhat?\n\n\tRache smiles. That Jackie sensed something.", "JACKIE\n\t\tIronic, huh?\n\n\tAnd staring in Rachel's eyes, Jackie's fierceness fades.", "JACKIE\n\t\tIt happens.\n\n\t\t\t\tANNABELLE\n\t\t\t(a beat)\n\t\tWhat happens when he loves Rachel more\n\t\tthan us?", "Jackie thinking. Reading this girl's face.", "Jackie back on her heels. Thinking. A mile a minute.\n\n\t\t\t\tJACKIE\n\t\tYou've got a point there, for a\n\t\tchange. Oh, yes you do." ], [ "Ben runs out of the room. Luke follows him.\n\n\tINT. BEN'S ROOM - CONTINUOUS", "Luke sits with Ben, building a gigantic magic castle from a million\n\tLeggos. I's architecturally interesting. Through the window\n\tbehind them, a cold winter rain.", "Under Luke's patient exterior, the stress is showing. As Ben\n\twatches, he replaces a key piece of the turret...", "Unseen by the two, Luke grins. Then, Ben snuggles into Rachel's\n\tarms and kisses her. Jackie stares.", "Luke and Annabelle are doing a hugely complex jigsaw puzzle. Ben\n\truns in, falls on his knees by the puzzle. Without looking at\n\tAnnabelle, he tells her...", "Ben sits between Jackie and Luke holding each of their hands.\n\tRachel sits on the other side of Luke; all waiting for the Harvest\n\tPageant to begin. It's horribly tense.", "Ben races away but Rachel LUNGES And CATCHES him. He wiggles in\n\ther arms as she struggles to change his clothes. Just as she gets", "The screen goes BLACK. The class, teacher and especially Luke\n\tERUPT with APPLAUSE. So does Jackie, who has locked eyes across", "BEN\n\t\tIs that like Luigi's?\n\n\tShe loves this kid so much.", "She kisses Ben's head, Luke's mouth, that one lingering a little.\n\tThen, down the hall to...", "...Rachel turns to Luke. Whispers, close to his ear. He looks at\n\ther for a beat, then leads Annabelle and Ben toward the car, as...", "INTERCUT throughout: Ben on the phone in Rachel's and Luke's\n\tkitchen. He is alone. Staring through the glass window of the\n\toven...", "She runs offstage amidst laughter and applause. Luke looks over at\n\tJackie but she and Ben have already left their seats.\n\n\tEXT. AUDITORIUM FOYER - NIGHT", "...the man's head is down. We can't see Luke's expression, as he\n\tstares at his clenched hands. We don't need to.", "LUKE\n\t\tPartly. But partly, you're mad.\n\n\tStaring. At each other.", "And she canters off, blood in her eye. Alone now with his mom, Ben\n\thas something serious on his mind.", "Luke pacing around on the path through Jackie's front lawn. Jackie\n\texits the house, alone. Stands on the porch. And they stare at\n\teach other.", "Ben looks to his sister. For the verdict. Annabelle shakes her\n\thead. Nope.", "Luke's beeper beeps. He ignores it; focuses on Mr. Franklin.", "Annabelle cuts a look in Luke and Ben's direction. Please <u>not</u> in\n\tfront of the menfolk." ] ]

[ "What is Luke's girlfriend's name?", "How does Anna feel about Isabel initially?", "What does Jackie get diagnosed with?", "What does Anna say when Isabel gets a dog?", "What does Jackie surprise Anna with tickets to?", "Who goes missing under Isabel's watch?", "What is Isabel's biggest fear?", "What is Jackie's biggest fear?", "Who does Jackie invite into the family photo?", "Where does the story take place?", "Who has to prove themselves to Anna and Ben?", "What is something Isabel has to overcome when dealing with Jackie?", "What two life changing events happen at the same time?", "Why is Jackie so angry after her cancer diagnosis?", "What does Anna lie about to Isabel?", "How does Jackie betray Isabel?", "What causes Anna to storm out?", "What is Jackie's biggest fear?", "What holiday does everyone celebrate together?", "Who are Jackie and Luke Harrison?", "What does Luke Harrison do for a living?", "What terminal disease is Jackie diagnosed with?", "How many children do Jackie and Luke have?", "What line of work is Luke's new girlfriend Isabel in?", "What gift does Isabel give to Anna and Ben?", "Who was in care of Ben when he ended up missing?", "Who ended up taking Anna to the rock concert?", "What is Jackie fearful of when she dies?", "When do Jackie and Isabel finally come to terms with their relationship?", "Why doesn't Jackie think she'll attend Anna's wedding?", "Why does Anna lie about being allergic to dogs?", "Whose idea was it to take Anna to the concert?", "Why did Jackie take Anna to the concert?", "What does Isabel do for a living?", "What artistic activity do Isabel and Anna both like?", "Why did Jackie get out of the publishing business?", "What does Isabel admire about Jackie?", "What does Jackie admire about Isabel?", "What does Ben have in common with Luke?" ]

[ [ "Isabel", "Isabel Kelly" ], [ "She does not like Isabel", "doesn't like her" ], [ "Terminal cancer ", "Cancer." ], [ "She is allergic to dogs", "She claims to be allergic to dogs." ], [ "Rock concert", "a rock concert" ], [ "Ben", "Ben" ], [ "That Anna will never accept her", "Anna wishing for her mother on her wedding day" ], [ "That Anna will forget her", "That Anna will forget her" ], [ "Isabel", "Isabel" ], [ "In New York City", "New York City" ], [ "Isabel, the new girlfriend of their father, Luke", "Isabel." ], [ "Jackie being cold towards Isabel", "Jackie's fear that Anna will forget her" ], [ "Luke proposing to Isabel and Jackie being diagnosed with cancer.", "Luke proposes to Isabel and Jackie is diagnosed with terminal cancer " ], [ "Because she's upset that she won't get to see her children grow up.", "She won't be around for her children to grow up." ], [ "Being allergic to dogs.", "having an allergy to dogs" ], [ "By taking Anna to a rock concert Isabel had wanted to take Anna too", "By buying Anna tickets to a rock concert that she said Isabel couldn't take Anna to." ], [ "Being told Jackie has cancer", "Being told about Jackie's illness" ], [ "Anna forgetting her.", "That Anna will forget her. " ], [ "Christmas", "Christmas" ], [ "A divorced New York City couple.", "A divorced couple." ], [ "He is an attorney.", "Lawyer." ], [ "Cancer.", "Cancer." ], [ "Two.", "Two." ], [ "Fashion photographer.", "fashion photographer" ], [ "A golden retriever puppy.", "A Golden Retriever Puppy" ], [ "Isabel.", "Isabel" ], [ "Jackie did.", "Jackie" ], [ "That Anna will forget her.", "That Anna will forget about her." ], [ "At Christmas time.", "When they tell each other their biggest fears." ], [ "Jackie isn't expected to live that long.", "Because she will be dead. " ], [ "She doesn't want to admit she likes Isabel's gift.", "She wants to upset Isabel." ], [ "Isabel's", "Isabel" ], [ "To bond with her, and show she could be fun", "To reconnect with her" ], [ "She's a photographer.", "She is a fashion photographer." ], [ "Painting", "Painting" ], [ "To be a stay-at-home mom", "to be a stay at home mom" ], [ "Her maternal instincts", "maternal instincts" ], [ "Her ability to connect with Anna", "Her hipness" ], [ "They both like Isabel.", "Ben is also in love with Isabel." ] ]

[ [ "\"That,\" said Dr. Pipt, in a pleased and triumphant tone, \"is the\nwonderful Powder of Life, which I alone in the world know how to make.", "\"The Liquid of Petrifaction has accidentally fallen upon my dear wife\nand Unc Nunkie and turned them into marble,\" he sadly replied.", "\"Ah, it's the Silent One,\" remarked Dr. Pipt, without looking up, \"and\nhe wants to know what I'm making. Well, when it is quite finished this", "instance, there's the Powder of Life, and my Liquid of Petrifaction,\nwhich is contained in that bottle on the shelf yonder--over the window.\"", "\"There is one other compound that would destroy the magic spell of the\nLiquid of Petrifaction and restore my wife and Unc Nunkie to life,\" said", "bottle of Liquid of Petrifaction standing on his shelf, the accident to\nhis wife Margolotte and to Unc Nunkie could not have occurred. I can", "in terror. The Glass Cat snarled and hid under the table, and so it was\nthat when the powerful Liquid of Petrifaction was spilled it fell only", "Unc Nunkie, who with Ojo stood beside her, touched the bottle marked\n\"Cleverness.\"\n\n\"Little,\" said he.", "Unc Nunkie, Margolotte and the Magician all stood looking at the\nmarvelous Powder, but Ojo was more interested just then in the Patchwork", "Last of all, Dr. Pipt was there, and the Crooked Magician sat humped up\nin a chair, seeming very dejected but keeping his eyes fixed on the", "So Ojo related the sad story of Unc Nunkie's transformation into a\nmarble statue, and told how he had set out to find the things the", "Margolotte had accidentally been turned to marble by the Liquid of\nPetrifaction. Then he related how the boy had started out in search of\nthe things needed to make the magic charm, which would restore the", "live by sprinkling over her the Powder of Life. This seemed an excellent\nsuggestion and at once Dr. Pipt set to work to make a new batch of his", "victims standing as marble statues, when they ought to be alive. So I\npropose we allow Dr. Pipt to make the magic charm which will save them,", "Standing upon the bench, for he was so crooked he could not reach the\ntop of his wife's head in any other way, Dr. Pipt began shaking the", "\"That Powder of Life which is made by the Crooked Magician is really a\nwonderful thing. But Dr. Pipt does not know its true value and he uses\nit in the most foolish ways.\"", "\"Oh, yes; one family lives there, I've heard. That's the Crooked\nMagician, who is named Dr. Pipt, and his wife Margolotte. One year you", "\"Now, then,\" said Dr. Pipt, in a brisk tone, \"we shall perform one of\nthe greatest feats of magic possible to man, even in this marvelous Land", "\"It is true,\" sighed Dr. Pipt. \"I am well aware that Ojo has undertaken\na serious task.\"\n\nScraps laughed, and resuming her dance she said:", "but I sprinkled a few drops of the Liquid of Petrifaction on it and now\nit is marble. It will never break nor wear out.\"" ], [ "Margolotte had accidentally been turned to marble by the Liquid of\nPetrifaction. Then he related how the boy had started out in search of\nthe things needed to make the magic charm, which would restore the", "\"There is one other compound that would destroy the magic spell of the\nLiquid of Petrifaction and restore my wife and Unc Nunkie to life,\" said", "\"Not quite all,\" answered Ojo. \"There were five things I had to get, and\nI have found four of them. I have the three hairs in the tip of a", "To find must Ojo also try,\n And if he gets them without harm,\n Doc Pipt will make the magic charm;\n But if he doesn't get 'em, Unc", "destroy the charm of the Liquid of Petrifaction. Glinda the Good has\ntold me of one way, and you shall now learn how great is the knowledge\nand power of our peerless Sorceress.\"", "Ojo was sorry for him. He went up to the sorrowful man and said softly:\n\n\"You can make more Powder of Life, Dr. Pipt.\"", "in terror. The Glass Cat snarled and hid under the table, and so it was\nthat when the powerful Liquid of Petrifaction was spilled it fell only", "\"As it has turned out,\" remarked Ojo, \"I can never get the things the\nCrooked Magician sent me for; and so, unless I wait the six years for\nhim to make the Powder of Life, Unc Nunkie cannot be saved.\"", "instance, there's the Powder of Life, and my Liquid of Petrifaction,\nwhich is contained in that bottle on the shelf yonder--over the window.\"", "\"Tell me,\" pleaded Ojo, speaking to the Crooked Magician, \"what must we\nfind to make the compound that will save Unc Nunkie?\"", "them both to life. Do the best you can, Ojo, and while you are gone I\nshall begin the six years' job of making a new batch of the Powder of", "three hairs were to be a part of the magic charm that would restore\nthem to life. The beast listened with attention and when Ojo had\nfinished the recital it said, with a sigh:", "\"I am Ojo the Unlucky,\" he said, \"or we would never have met that\ndreadful porcupine. But I will see if I can find anything among these\ncharms which will cure your leg.\"", "From a Woozy's tail, the book declares\n Are needed for the magic spell,\n And water from a pitch-dark well.\n The yellow wing of a butterfly", "\"Thank you!\" cried Ojo gratefully. Then he continued: \"The next thing I\nmust find is a gill of water from a dark well.\"", "\"A lot,\" replied Ojo. \"Old Margolotte meant to give you only a few--just\nenough to keep you going--but when she wasn't looking I added a good", "\"But one of our errands is to find a Woozy,\" Ojo explained. \"The\nMagician wants me to get three hairs from the end of a Woozy's tail.\"", "Saying this, the Magician unlocked a drawer of his cabinet and drew out\na small book covered with blue leather. Looking through the pages he\nfound the recipe he wanted and said: \"I must have a gill of water from a\ndark well.\"", "So Ojo related the sad story of Unc Nunkie's transformation into a\nmarble statue, and told how he had set out to find the things the", "\"I'll get the water from the dark well,\" said Ojo.\n\n\"Then I must have three hairs from the tip of a Woozy's tail, and a drop\nof oil from a live man's body.\"" ], [ "\"Yes,\" replied Ojo. \"I thought that the best place to go, at first,\nbecause the six-leaved clover may be found there.\"", "them. Only a six-leaved clover! A tiny green plant growing neglected and\ntrampled under foot. What harm could there be in picking it? Ojo began", "By and by Ojo began to walk on the green grass, looking carefully around\nhim.\n\n\"What are you trying to find?\" asked Scraps.\n\n\"A six-leaved clover,\" said he.", "\"One,\" said Ojo, \"is a six-leaved clover.\"", "\"You ought to find that in the fields around the Emerald City,\" said the\nShaggy Man. \"There is a Law against picking six-leaved clovers, but I\nthink I can get Ozma to let you have one.\"", "From the mouth of the vase a plant sprouted, slowly growing before their\neyes until it became a beautiful bush, and on the topmost branch\nappeared the six-leaved clover which Ojo had unfortunately picked.", "\"First,\" was the reply, \"I must have a six-leaved clover. That can only\nbe found in the green country around the Emerald City, and six-leaved\nclovers are very scarce, even there.\"", "Suddenly he stopped short and bent over to examine the ground more\nclosely. Yes; here at last was a clover with six spreading leaves. He", "\"I fear he has picked a six-leaved clover,\" answered the Shaggy Man,\nsadly. \"I did not see him do it, and I warned him that to do so was", "\"I might search for weeks and weeks, and never find another six-leaved\nclover,\" he told himself, and quickly plucking the stem from the plant", "Ojo turned and saw the Woozy running swiftly up the road. But the last\nleaf of the row of plants seized the beast even as he ran and instantly\nhe disappeared from sight.", "had received the boy's eyes were fastened on the clover that bordered\nthe road of yellow bricks and he was eager to discover if such a thing\nas a six-leaved clover really existed.", "\"Not quite all,\" answered Ojo. \"There were five things I had to get, and\nI have found four of them. I have the three hairs in the tip of a", "\"Why, it seemed to me a foolish law, unjust and unreasonable. Even now I\ncan see no harm in picking a six-leaved clover. And I--I had not seen", "the six-leaved clovers to make their potions and charms. Therefore I\nmade another Law forbidding anyone from plucking a six-leaved clover or", "Ojo gave a jump, for he saw several broad leaves leaning toward him; but\nthe Shaggy Man began to whistle again, and at the sound the leaves all\nstraightened up on their stems and kept still.", "bundle of charms, which were curious but quite a mystery to her. Then,\nturning these over, she came upon the six-leaved clover which the boy\nhad plucked.", "\"I am Ojo the Unlucky,\" he said, \"or we would never have met that\ndreadful porcupine. But I will see if I can find anything among these\ncharms which will cure your leg.\"", "To find must Ojo also try,\n And if he gets them without harm,\n Doc Pipt will make the magic charm;\n But if he doesn't get 'em, Unc", "Ojo was well pleased. He was dreadfully tired of living all alone in the\nwoods and wanted to travel and see people. For a long time he had wished" ], [ "\"It is true,\" sighed Dr. Pipt. \"I am well aware that Ojo has undertaken\na serious task.\"\n\nScraps laughed, and resuming her dance she said:", "Ojo was sorry for him. He went up to the sorrowful man and said softly:\n\n\"You can make more Powder of Life, Dr. Pipt.\"", "To find must Ojo also try,\n And if he gets them without harm,\n Doc Pipt will make the magic charm;\n But if he doesn't get 'em, Unc", "\"Ah, it's the Silent One,\" remarked Dr. Pipt, without looking up, \"and\nhe wants to know what I'm making. Well, when it is quite finished this", "\"Now, then,\" said Dr. Pipt, in a brisk tone, \"we shall perform one of\nthe greatest feats of magic possible to man, even in this marvelous Land", "\"Thank you for nothing, then,\" answered the cat, stiffly.\n\nDr. Pipt took a small basket from a cupboard and packed several things\nin it. Then he handed it to Ojo.", "\"Ah,\" said he, nodding wisely; \"that's magic. Dr. Pipt has enchanted the\nbread and the cheese, so it will last me all through my journey, however\nmuch I eat.\"", "from a journey bringing some of the Powder of Life, which Dr. Pipt had\ngiven her. I had made a pumpkin-headed man and set it up in her path to", "old Munchkin had placed in his pocket. Then they started on again and\ntwo hours later came in sight of the house of Dr. Pipt.", "\"That,\" said Dr. Pipt, in a pleased and triumphant tone, \"is the\nwonderful Powder of Life, which I alone in the world know how to make.", "So Ojo related the story of his visit to the house of the Crooked\nMagician, and how he met there the Glass Cat, and how the Patchwork Girl", "\"Ah,\" said Ojo; \"you must be Dame Margolotte, the good wife of Dr.\nPipt.\"\n\n\"I am, my dear, and all strangers are welcome to my home.\"", "\"Why, you belong to Dr. Pipt,\" replied Ojo, looking at her in amazement.\n\"You were made for a servant, Scraps, so you are personal property and\nnot your own mistress.\"", "brought to life. The Glass Cat was also a wonderful creature to little\nOjo, who had never seen or known anything of magic before, although he", "Last of all, Dr. Pipt was there, and the Crooked Magician sat humped up\nin a chair, seeming very dejected but keeping his eyes fixed on the", "\"Oh, there must be!\" returned Ojo, positively; \"or else the recipe of\nDr. Pipt wouldn't call for it.\"", "\"Oh, yes; one family lives there, I've heard. That's the Crooked\nMagician, who is named Dr. Pipt, and his wife Margolotte. One year you", "and that we assist Ojo to find the things he is seeking. What do you\nthink, Wizard?\"", "\"That Powder of Life which is made by the Crooked Magician is really a\nwonderful thing. But Dr. Pipt does not know its true value and he uses\nit in the most foolish ways.\"", "live by sprinkling over her the Powder of Life. This seemed an excellent\nsuggestion and at once Dr. Pipt set to work to make a new batch of his" ], [ "\"The left wing of a yellow butterfly,\" said Ojo. \"In this yellow\ncountry, and with your kind assistance, that ought to be very easy to\nfind.\"\n\nThe Tin Woodman stared at him in amazement.", "\"I'm glad of that,\" said the Tin Woodman. \"As I rule the Winkie Country,\nI can protect my butterflies.\"", "\"The next thing,\" continued the Magician, \"is the left wing of a yellow\nbutterfly. That color can only be found in the yellow country of the\nWinkies, West of the Emerald City.\"", "\"For that you must go to the Winkie Country,\" the Shaggy Man declared.\n\"I've never noticed any butterflies there, but that is the yellow", "\"No you won't,\" said the Tin Woodman. \"You can't have one of my dear\nlittle butterflies to treat in that way.\"\n\n\"Then what in the world shall we do?\" asked Dorothy.", "Tin abounded in the Winkie Country and the Winkies were said to be the\nmost skillful tinsmiths in all the world. So the Tin Woodman had", "\"The yellow country of the Winkies,\" said Ojo sadly, \"is the only place\nin Oz where a yellow butterfly can be found.\"", "The Tin Woodman was one of the most important personages in all Oz.\nThough Emperor of the Winkies, he owed allegiance to Ozma, who ruled all", "the Tin Woodman, for he's the Emp'ror of the Winkies and will help us to\nfind what Ojo wants.\"", "\"To get the left wing of a yellow butterfly.\"\n\n\"It is a long journey,\" declared the man, \"and you will go through\nlonely parts of Oz and cross rivers and traverse dark forests before you\nget there.\"", "\"That way,\" answered the man, pointing with one hand, \"it goes into the\nCountry of the Winkies, which is ruled by the Tin Emperor, who must be a", "\"I suppose we shall see the Tin Woodman, for we are going to the Country\nof the Winkies,\" said the boy.\n\n\"What for?\" asked the woodchopper.", "\"He is quite right,\" said Ozma, who did not seem a bit surprised. \"Had\nOjo told me that one of the things he sought was the wing of a yellow", "\"But do you think for a moment that I would permit you, or anyone else,\nto pull the left wing from a yellow butterfly?\" demanded the Tin Woodman\nsternly.\n\n\"Why not, sir?\"", "\"Yes,\" said the Scarecrow. \"What is the next thing Ojo must get?\"\n\n\"A yellow butterfly,\" answered the boy.", "\"Why not? You ask me why not? It would be cruel--one of the most cruel\nand heartless deeds I ever heard of,\" asserted the Tin Woodman. \"The", "\"What in the world were you doing?\" asked the Tin Woodman.\n\n\"I caught a drop of oil that fell from your knee-joint,\" confessed Ojo.", "\"That means the Winkie Country, all right, for it's the yellow country\nof Oz,\" remarked Dorothy. \"I think, Scarecrow, we ought to take him to", "fortune. He is now one of the favorites of Princess Ozma, and she has\nmade him the Emperor of the Winkies--the Country where all is yellow.\"", "Oz and visit the Castle of Nick Chopper, the Tin Woodman, now become\nEmperor of the Winkies, by whom they are escorted to the farm of Jack" ], [ "\"I am Ojo the Unlucky,\" he said, \"or we would never have met that\ndreadful porcupine. But I will see if I can find anything among these\ncharms which will cure your leg.\"", "Ojo was sorry for him. He went up to the sorrowful man and said softly:\n\n\"You can make more Powder of Life, Dr. Pipt.\"", "When I was shut up in that forest I longed for some one to help me, and\nby and by Ojo came and did help me. So I'm willing to help his uncle.", "\"This is terrible,\" said Ojo, almost ready to cry. \"I s'pose it's\nbecause I am Ojo the Unlucky that everyone who tries to help me gets\ninto trouble.\"", "\"Not quite all,\" answered Ojo. \"There were five things I had to get, and\nI have found four of them. I have the three hairs in the tip of a", "\"A lot,\" replied Ojo. \"Old Margolotte meant to give you only a few--just\nenough to keep you going--but when she wasn't looking I added a good", "them both to life. Do the best you can, Ojo, and while you are gone I\nshall begin the six years' job of making a new batch of the Powder of", "_P. S.--Don't feed the Giant yourself._\"\n\n\n\n\"Very well,\" said Ojo, with a sigh; \"let's go back.\"", "\"You were very kind,\" said Ojo, \"and I thank you. Will you please rescue\nmy companions, also?\"\n\n\"What companions?\" asked the Shaggy Man.", "\"Tell me,\" pleaded Ojo, speaking to the Crooked Magician, \"what must we\nfind to make the compound that will save Unc Nunkie?\"", "three hairs were to be a part of the magic charm that would restore\nthem to life. The beast listened with attention and when Ojo had\nfinished the recital it said, with a sigh:", "\"As it has turned out,\" remarked Ojo, \"I can never get the things the\nCrooked Magician sent me for; and so, unless I wait the six years for\nhim to make the Powder of Life, Unc Nunkie cannot be saved.\"", "Unc Nunkie, who with Ojo stood beside her, touched the bottle marked\n\"Cleverness.\"\n\n\"Little,\" said he.", "\"Yes,\" said Ojo earnestly, \"you have it in your power to do me a great\nfavor, if you will.\"\n\n\"What is it?\" asked the Woozy. \"Name the favor and I will grant it.\"", "\"It was the Magic Powder that did it,\" explained Ojo.", "The boy noticed that his uncle had not eaten the bread, and supposed\nthe old man had not been hungry. Ojo was hungry, though; so he divided", "article when I prepared it, or else you got an overdose or an underdose.\nHowever, I believe I shall let you go with Ojo, for my poor wife will", "grouped around him. Ojo, however, had kept his eyes fixed upon the body\nof the tin Emperor, and now he noticed that under the joint of his left", "and that we assist Ojo to find the things he is seeking. What do you\nthink, Wizard?\"", "Then Ojo quieted himself and tried to think. Despair fell upon him when\nhe remembered that all his little party had been captured, even as he\nwas, and there was none to save them." ], [ "\"That,\" said Dr. Pipt, in a pleased and triumphant tone, \"is the\nwonderful Powder of Life, which I alone in the world know how to make.", "live by sprinkling over her the Powder of Life. This seemed an excellent\nsuggestion and at once Dr. Pipt set to work to make a new batch of his", "\"That Powder of Life which is made by the Crooked Magician is really a\nwonderful thing. But Dr. Pipt does not know its true value and he uses\nit in the most foolish ways.\"", "\"Well, why don't you sprinkle some of that powder on them and bring them\nto life again?\" asked the Patchwork Girl.\n\nThe Magician gave a jump.", "from a journey bringing some of the Powder of Life, which Dr. Pipt had\ngiven her. I had made a pumpkin-headed man and set it up in her path to", "\"I must see about that,\" said Ozma, gravely. Then she smiled again and\ncontinued in a lighter tone: \"It was Dr. Pipt's famous Powder of Life\nthat enabled me to become the Ruler of Oz.\"", "Ojo was sorry for him. He went up to the sorrowful man and said softly:\n\n\"You can make more Powder of Life, Dr. Pipt.\"", "compound will be the wonderful Powder of Life, which no one knows how to\nmake but myself. Whenever it is sprinkled on anything, that thing will", "instance, there's the Powder of Life, and my Liquid of Petrifaction,\nwhich is contained in that bottle on the shelf yonder--over the window.\"", "teeth. The Crooked Magician made a Powder of Life, sprinkled me with it\nand--here I am. Perhaps you've noticed my different colors. A very", "\"But tell me, please, what you intend to do with this new lot of the\nPowder of Life, which Dr. Pipt is making. He said his wife wanted it for\nsome especial purpose.\"", "So the Magician leaned over and shook from the bottle some grains of the\nwonderful Powder, and they fell directly on the Patchwork Girl's head\nand arms.", "The phonograph was now playing a stirring march tune and the Magician\nunlocked his cabinet and took out the gold bottle containing the Powder\nof Life.", "victims standing as marble statues, when they ought to be alive. So I\npropose we allow Dr. Pipt to make the magic charm which will save them,", "and I took old Mombi's Powder of Life with me. During our journey we\ncame upon a wooden Sawhorse standing by the road and I used the magic", "\"Dr. Pipt will make no more Powder of Life, I promise you,\" said she. \"I\nhave sent for him and had him brought to this palace, where he now is,", "\"It will take a few minutes for this powder to do its work,\" remarked\nthe Magician, sprinkling the body up and down with much care.", "\"Now, then,\" said Dr. Pipt, in a brisk tone, \"we shall perform one of\nthe greatest feats of magic possible to man, even in this marvelous Land", "Pipt a Powder of Perpetual Youth in exchange for his Powder of Life, but\nshe cheated him wickedly, for the Powder of Youth was no good and could\nwork no magic at all.\"", "\"Ah, it's the Silent One,\" remarked Dr. Pipt, without looking up, \"and\nhe wants to know what I'm making. Well, when it is quite finished this" ], [ "all to get, and I'm sure that my dear Unc Nunkie--and good Margolotte,\nas well--will soon be restored to life.\"", "victims standing as marble statues, when they ought to be alive. So I\npropose we allow Dr. Pipt to make the magic charm which will save them,", "Nunkie to life. He has failed, but there are others more powerful than\nthe Crooked Magician, and there are more ways than Dr. Pipt knew of to", "Then the Wizard made the magic pass and spoke the magic word before the\nstatue of Unc Nunkie. The old Munchkin immediately came to life and with\na low bow to the Wizard said: \"Thanks.\"", "live by sprinkling over her the Powder of Life. This seemed an excellent\nsuggestion and at once Dr. Pipt set to work to make a new batch of his", "\"That,\" said Dr. Pipt, in a pleased and triumphant tone, \"is the\nwonderful Powder of Life, which I alone in the world know how to make.", "\"There is one other compound that would destroy the magic spell of the\nLiquid of Petrifaction and restore my wife and Unc Nunkie to life,\" said", "So Ojo related the sad story of Unc Nunkie's transformation into a\nmarble statue, and told how he had set out to find the things the", "how he can be restored to life, and I'm going to do it--Ozma or no Ozma!\nWhat right has this girl Ruler to keep my Unc Nunkie a statue forever?\"", "Ojo was sorry for him. He went up to the sorrowful man and said softly:\n\n\"You can make more Powder of Life, Dr. Pipt.\"", "counted them carefully, to make sure. In an instant his heart leaped\nwith joy, for this was one of the important things he had come for--one\nof the things that would restore dear Unc Nunkie to life.", "he was determined to devote every energy to finding the things that were\nnecessary to prepare the magic recipe. He believed that until dear Unc\nNunkie was restored to life he could feel no joy in anything, and often", "As he pronounced these words the Wizard waved his hand toward Dr. Pipt\nand instantly every crooked limb straightened out and became perfect.", "Ojo and Unc Nunkie slept that night in the Magician's house, and the boy\nwas glad to stay because he was anxious to see the Patchwork Girl", "Unc Nunkie, Margolotte and the Magician all stood looking at the\nmarvelous Powder, but Ojo was more interested just then in the Patchwork", "\"Oh, yes; one family lives there, I've heard. That's the Crooked\nMagician, who is named Dr. Pipt, and his wife Margolotte. One year you", "upon the wife of the Magician and the uncle of Ojo. With these two the\ncharm worked promptly. They stood motionless and stiff as marble", "\"It is true,\" sighed Dr. Pipt. \"I am well aware that Ojo has undertaken\na serious task.\"\n\nScraps laughed, and resuming her dance she said:", "old Munchkin had placed in his pocket. Then they started on again and\ntwo hours later came in sight of the house of Dr. Pipt.", "was brought to life and of the terrible accident to Unc Nunkie and\nMargolotte. Then he told how he had set out to find the five different" ], [ "\"Yes,\" said Unc.\n\n\"I never knew I was called the Unlucky,\" said Ojo, soberly; \"but it is\nreally a good name for me.\"", "\"I'm Ojo the Unlucky,\" replied the boy. \"I might have known I would fail\nin anything I tried to do.\"\n\n\"Why are you Ojo the Unlucky?\" asked the tin man.", "\"I beg your pardon; I'm Ojo the _Un_lucky,\" said the boy.\n\n\"At this moment you are lucky,\" said she. \"Release him, Soldier, and let\nhim go free.\"", "\"That is one reason you are Ojo the Unlucky,\" said the woman, in a\nsympathetic tone. \"The more one knows, the luckier he is, for knowledge\nis the greatest gift in life.\"", "\"Dear me!\" she said, looking at the man, \"you must be Unc Nunkie, known\nas the Silent One.\" Then she looked at the boy. \"And you must be Ojo the\nUnlucky,\" she added.", "during your travels, you can manage to lose that 'Un' at the beginning\nof your name 'Unlucky,' you will then become Ojo the Lucky, which will\nbe a great improvement.\"", "\"I am Ojo the Unlucky,\" he said, \"or we would never have met that\ndreadful porcupine. But I will see if I can find anything among these\ncharms which will cure your leg.\"", "\"This is terrible,\" said Ojo, almost ready to cry. \"I s'pose it's\nbecause I am Ojo the Unlucky that everyone who tries to help me gets\ninto trouble.\"", "\"Don't do that,\" begged Ojo, earnestly. \"I'm called Ojo the Unlucky, you\nknow.\"", "\"I might have expected it,\" he sobbed, miserably. \"I'm Ojo the Unlucky,\nand something dreadful was sure to happen to me.\"", "that I nearly fainted, for it is the first time anyone has merited\narrest since I can remember. You are rightly named Ojo the Unlucky, my", "Ojo was well pleased. He was dreadfully tired of living all alone in the\nwoods and wanted to travel and see people. For a long time he had wished", "\"Please don't quarrel,\" begged Ojo. \"This is an important journey, and\nquarreling makes me discouraged. To be brave, one must be cheerful, so I\nhope you will be as good-tempered as possible.\"", "\"I think,\" said Ojo, almost ready to cry through grief over Unc Nunkie's\nsad fate, \"it must all be my fault, in some way. I'm called Ojo the\nUnlucky, you know.\"", "\"Who is there?\" cried a voice from within.\n\n\"I am Ojo the Unlucky, and with me are Miss Scraps Patchwork and the\nGlass Cat,\" he replied.", "\"Didn't I say you were Ojo the Lucky?\" asked the Tin Woodman, as\neveryone crowded around to shake Ojo's hand.\n\n\"Yes; and it is true!\" replied Ojo, gratefully.", "\"Ojo the Unlucky,\" answered the Soldier with the Green Whiskers.\n\n\"Unlucky? Ah, that accounts for it,\" said she. \"What crime?\"", "Ojo had never eaten such a fine meal in all his life. There was a savory\nstew, smoking hot, a dish of blue peas, a bowl of sweet milk of a", "Ojo was now able to see a small house near the pathway. It was dark and\nsilent, but the boy was tired and wanted to rest, so he went up to the\ndoor and knocked.", "his tin joints well oiled. Also he was very courteous in manner and so\nkind and gentle that everyone loved him. The Emperor greeted Ojo and" ], [ "\"Dear me!\" she said, looking at the man, \"you must be Unc Nunkie, known\nas the Silent One.\" Then she looked at the boy. \"And you must be Ojo the\nUnlucky,\" she added.", "\"I'm Ojo the Unlucky,\" replied the boy. \"I might have known I would fail\nin anything I tried to do.\"\n\n\"Why are you Ojo the Unlucky?\" asked the tin man.", "\"Yes,\" said Unc.\n\n\"I never knew I was called the Unlucky,\" said Ojo, soberly; \"but it is\nreally a good name for me.\"", "Ojo had never eaten such a fine meal in all his life. There was a savory\nstew, smoking hot, a dish of blue peas, a bowl of sweet milk of a", "\"Please don't quarrel,\" begged Ojo. \"This is an important journey, and\nquarreling makes me discouraged. To be brave, one must be cheerful, so I\nhope you will be as good-tempered as possible.\"", "\"I beg your pardon; I'm Ojo the _Un_lucky,\" said the boy.\n\n\"At this moment you are lucky,\" said she. \"Release him, Soldier, and let\nhim go free.\"", "\"This is terrible,\" said Ojo, almost ready to cry. \"I s'pose it's\nbecause I am Ojo the Unlucky that everyone who tries to help me gets\ninto trouble.\"", "\"Surely you are joking!\" he said.\n\n\"No,\" replied Ojo, much surprised; \"I am in earnest.\"", "\"Who is there?\" cried a voice from within.\n\n\"I am Ojo the Unlucky, and with me are Miss Scraps Patchwork and the\nGlass Cat,\" he replied.", "A woman opened the door and, seeing Ojo in his white robe, exclaimed:\n\n\"Goodness me! A prisoner at last. But what a small one, Soldier.\"", "Ojo was well pleased. He was dreadfully tired of living all alone in the\nwoods and wanted to travel and see people. For a long time he had wished", "Ojo was now able to see a small house near the pathway. It was dark and\nsilent, but the boy was tired and wanted to rest, so he went up to the\ndoor and knocked.", "his tin joints well oiled. Also he was very courteous in manner and so\nkind and gentle that everyone loved him. The Emperor greeted Ojo and", "\"Don't do that,\" begged Ojo, earnestly. \"I'm called Ojo the Unlucky, you\nknow.\"", "seemed close beside them. She arched her back a little and seemed\nafraid. Then she whispered to Ojo: \"Come!\" and led him to a bed.", "Ojo and Unc Nunkie slept that night in the Magician's house, and the boy\nwas glad to stay because he was anxious to see the Patchwork Girl", "\"I am Ojo the Unlucky,\" he said, \"or we would never have met that\ndreadful porcupine. But I will see if I can find anything among these\ncharms which will cure your leg.\"", "But now Ojo rushed up and threw his arms joyfully about his uncle, and\nthe old man hugged his little nephew tenderly and stroked his hair and", "\"You were very kind,\" said Ojo, \"and I thank you. Will you please rescue\nmy companions, also?\"\n\n\"What companions?\" asked the Shaggy Man.", "\"What do you want?\" asked the Voice.\n\n\"A place to sleep,\" said Ojo." ], [ "\"This is terrible,\" said Ojo, almost ready to cry. \"I s'pose it's\nbecause I am Ojo the Unlucky that everyone who tries to help me gets\ninto trouble.\"", "\"I'm Ojo the Unlucky,\" replied the boy. \"I might have known I would fail\nin anything I tried to do.\"\n\n\"Why are you Ojo the Unlucky?\" asked the tin man.", "\"Please don't quarrel,\" begged Ojo. \"This is an important journey, and\nquarreling makes me discouraged. To be brave, one must be cheerful, so I\nhope you will be as good-tempered as possible.\"", "\"Yes,\" said Unc.\n\n\"I never knew I was called the Unlucky,\" said Ojo, soberly; \"but it is\nreally a good name for me.\"", "\"I think,\" said Ojo, almost ready to cry through grief over Unc Nunkie's\nsad fate, \"it must all be my fault, in some way. I'm called Ojo the\nUnlucky, you know.\"", "Ojo had never eaten such a fine meal in all his life. There was a savory\nstew, smoking hot, a dish of blue peas, a bowl of sweet milk of a", "Then Ojo quieted himself and tried to think. Despair fell upon him when\nhe remembered that all his little party had been captured, even as he\nwas, and there was none to save them.", "understand, however, that Ojo, who loves his uncle, will be unhappy\nunless he can save him. Also I feel it is wrong to leave those two", "\"That is one reason you are Ojo the Unlucky,\" said the woman, in a\nsympathetic tone. \"The more one knows, the luckier he is, for knowledge\nis the greatest gift in life.\"", "A woman opened the door and, seeing Ojo in his white robe, exclaimed:\n\n\"Goodness me! A prisoner at last. But what a small one, Soldier.\"", "\"Dear me!\" she said, looking at the man, \"you must be Unc Nunkie, known\nas the Silent One.\" Then she looked at the boy. \"And you must be Ojo the\nUnlucky,\" she added.", "Ojo got up and put on his shoes. Finding a toilet stand at the head of\nhis bed he washed his face and hands and brushed his hair. Then he went\nto the table and said:\n\n\"I wonder if this is my breakfast?\"", "\"Don't do that,\" begged Ojo, earnestly. \"I'm called Ojo the Unlucky, you\nknow.\"", "Ojo had been deep in thought, and now he asked the Chief: \"Is there a\ndark well in any part of your country?\"\n\n\"A dark well? None that ever I heard of,\" was the answer.", "\"This is pretty hard luck,\" said Ojo in a discouraged voice. \"The Trick\nRiver keeps changing, it seems, and here we must float back and forward\nforever, unless we manage in some way to get ashore.\"", "seemed close beside them. She arched her back a little and seemed\nafraid. Then she whispered to Ojo: \"Come!\" and led him to a bed.", "\"What do you want?\" asked the Voice.\n\n\"A place to sleep,\" said Ojo.", "Ojo was greatly annoyed by this unwelcome addition to their party. At\nfirst he did not know what to say to the newcomer, but a little thought\ndecided him not to make friends.", "Ojo was well pleased. He was dreadfully tired of living all alone in the\nwoods and wanted to travel and see people. For a long time he had wished", "Ojo was now able to see a small house near the pathway. It was dark and\nsilent, but the boy was tired and wanted to rest, so he went up to the\ndoor and knocked." ], [ "live by sprinkling over her the Powder of Life. This seemed an excellent\nsuggestion and at once Dr. Pipt set to work to make a new batch of his", "compound will be the wonderful Powder of Life, which no one knows how to\nmake but myself. Whenever it is sprinkled on anything, that thing will", "\"That Powder of Life which is made by the Crooked Magician is really a\nwonderful thing. But Dr. Pipt does not know its true value and he uses\nit in the most foolish ways.\"", "\"That,\" said Dr. Pipt, in a pleased and triumphant tone, \"is the\nwonderful Powder of Life, which I alone in the world know how to make.", "Pipt a Powder of Perpetual Youth in exchange for his Powder of Life, but\nshe cheated him wickedly, for the Powder of Youth was no good and could\nwork no magic at all.\"", "\"My girl is all ready for your Powder of Life, my dear,\" she said to her\nhusband. But the Magician replied:", "Powder of Life he ever made, and so far I've never broken or cracked or\nchipped any part of me.\"", "instance, there's the Powder of Life, and my Liquid of Petrifaction,\nwhich is contained in that bottle on the shelf yonder--over the window.\"", "teeth. The Crooked Magician made a Powder of Life, sprinkled me with it\nand--here I am. Perhaps you've noticed my different colors. A very", "\"I must see about that,\" said Ozma, gravely. Then she smiled again and\ncontinued in a lighter tone: \"It was Dr. Pipt's famous Powder of Life\nthat enabled me to become the Ruler of Oz.\"", "shelf and poured some of the contents in Margolotte's dish. No one saw\nhim do this, for all were looking at the Powder of Life; but soon the", "\"But tell me, please, what you intend to do with this new lot of the\nPowder of Life, which Dr. Pipt is making. He said his wife wanted it for\nsome especial purpose.\"", "at once come to life, no matter what it is. It takes me several years to\nmake this magic Powder, but at this moment I am pleased to say it is", "The phonograph was now playing a stirring march tune and the Magician\nunlocked his cabinet and took out the gold bottle containing the Powder\nof Life.", "Crooked Magician to make a new lot of the Powder of Life. The boy was\nutterly discouraged, and as he walked along he groaned aloud.", "\"Dr. Pipt will make no more Powder of Life, I promise you,\" said she. \"I\nhave sent for him and had him brought to this palace, where he now is,", "\"It will take a few minutes for this powder to do its work,\" remarked\nthe Magician, sprinkling the body up and down with much care.", "them both to life. Do the best you can, Ojo, and while you are gone I\nshall begin the six years' job of making a new batch of the Powder of", "Powder of Life he first made to old Mombi the Witch, who used to live in\nthe Country of the Gillikins, to the north of here. Mombi gave to Dr.", "\"Goodness me; it's that music thing which the Crooked Magician scattered\nthe Powder of Life over,\" said Ojo." ], [ "\"The Liquid of Petrifaction has accidentally fallen upon my dear wife\nand Unc Nunkie and turned them into marble,\" he sadly replied.", "So Ojo related the sad story of Unc Nunkie's transformation into a\nmarble statue, and told how he had set out to find the things the", "Margolotte had accidentally been turned to marble by the Liquid of\nPetrifaction. Then he related how the boy had started out in search of\nthe things needed to make the magic charm, which would restore the", "\"There is one other compound that would destroy the magic spell of the\nLiquid of Petrifaction and restore my wife and Unc Nunkie to life,\" said", "in terror. The Glass Cat snarled and hid under the table, and so it was\nthat when the powerful Liquid of Petrifaction was spilled it fell only", "but I sprinkled a few drops of the Liquid of Petrifaction on it and now\nit is marble. It will never break nor wear out.\"", "bottle of Liquid of Petrifaction standing on his shelf, the accident to\nhis wife Margolotte and to Unc Nunkie could not have occurred. I can", "destroy the charm of the Liquid of Petrifaction. Glinda the Good has\ntold me of one way, and you shall now learn how great is the knowledge\nand power of our peerless Sorceress.\"", "\"What does the Liquid of Petrifaction do?\" inquired the boy.", "instance, there's the Powder of Life, and my Liquid of Petrifaction,\nwhich is contained in that bottle on the shelf yonder--over the window.\"", "Unc Nunkie, who with Ojo stood beside her, touched the bottle marked\n\"Cleverness.\"\n\n\"Little,\" said he.", "Unc Nunkie came forward to greet his old friend, but not being able to\nshake either his hands or his feet, which were all occupied in stirring,\nhe patted the Magician's bald head and asked: \"What?\"", "Unc Nunkie, Margolotte and the Magician all stood looking at the\nmarvelous Powder, but Ojo was more interested just then in the Patchwork", "\"Dear me!\" she said, looking at the man, \"you must be Unc Nunkie, known\nas the Silent One.\" Then she looked at the boy. \"And you must be Ojo the\nUnlucky,\" she added.", "upon the wife of the Magician and the uncle of Ojo. With these two the\ncharm worked promptly. They stood motionless and stiff as marble", "Then the Wizard made the magic pass and spoke the magic word before the\nstatue of Unc Nunkie. The old Munchkin immediately came to life and with\na low bow to the Wizard said: \"Thanks.\"", "\"Turns everything it touches to solid marble. It's an invention of my\nown, and I find it very useful. Once two of those dreadful Kalidahs,", "the room. Unc Nunkie and Margolotte were so startled that they both\nleaped backward and bumped together, and Unc's head joggled the shelf", "Unc Nunkie nodded approval.\n\n\"Good i-dea,\" he said; and that was a long speech for Unc Nunkie because\nit was two words.", "\"As it has turned out,\" remarked Ojo, \"I can never get the things the\nCrooked Magician sent me for; and so, unless I wait the six years for\nhim to make the Powder of Life, Unc Nunkie cannot be saved.\"" ], [ "\"Not quite all,\" answered Ojo. \"There were five things I had to get, and\nI have found four of them. I have the three hairs in the tip of a", "\"I am Ojo the Unlucky,\" he said, \"or we would never have met that\ndreadful porcupine. But I will see if I can find anything among these\ncharms which will cure your leg.\"", "\"As it has turned out,\" remarked Ojo, \"I can never get the things the\nCrooked Magician sent me for; and so, unless I wait the six years for\nhim to make the Powder of Life, Unc Nunkie cannot be saved.\"", "three hairs were to be a part of the magic charm that would restore\nthem to life. The beast listened with attention and when Ojo had\nfinished the recital it said, with a sigh:", "\"Tell me,\" pleaded Ojo, speaking to the Crooked Magician, \"what must we\nfind to make the compound that will save Unc Nunkie?\"", "To find must Ojo also try,\n And if he gets them without harm,\n Doc Pipt will make the magic charm;\n But if he doesn't get 'em, Unc", "\"A lot,\" replied Ojo. \"Old Margolotte meant to give you only a few--just\nenough to keep you going--but when she wasn't looking I added a good", "them both to life. Do the best you can, Ojo, and while you are gone I\nshall begin the six years' job of making a new batch of the Powder of", "\"I'll find it,\" declared Ojo. \"Is that all?\"\n\n\"Oh, no; I'll get my Book of Recipes and see what comes next.\"", "Ojo was sorry for him. He went up to the sorrowful man and said softly:\n\n\"You can make more Powder of Life, Dr. Pipt.\"", "\"Thank you!\" cried Ojo gratefully. Then he continued: \"The next thing I\nmust find is a gill of water from a dark well.\"", "\"That is what I thought,\" replied Ojo; \"but the Crooked Magician said it\nwouldn't be called for by the recipe if it couldn't be found, and\ntherefore I must search until I find it.\"", "\"But one of our errands is to find a Woozy,\" Ojo explained. \"The\nMagician wants me to get three hairs from the end of a Woozy's tail.\"", "\"I'll get the water from the dark well,\" said Ojo.\n\n\"Then I must have three hairs from the tip of a Woozy's tail, and a drop\nof oil from a live man's body.\"", "Saying this, the Magician unlocked a drawer of his cabinet and drew out\na small book covered with blue leather. Looking through the pages he\nfound the recipe he wanted and said: \"I must have a gill of water from a\ndark well.\"", "article when I prepared it, or else you got an overdose or an underdose.\nHowever, I believe I shall let you go with Ojo, for my poor wife will", "Unc Nunkie, who with Ojo stood beside her, touched the bottle marked\n\"Cleverness.\"\n\n\"Little,\" said he.", "\"It was the Magic Powder that did it,\" explained Ojo.", "From a Woozy's tail, the book declares\n Are needed for the magic spell,\n And water from a pitch-dark well.\n The yellow wing of a butterfly", "dish. Ojo became a bit uneasy at this, for he had already put quite a\nlot of the \"Cleverness\" powder in the dish; but he dared not interfere" ], [ "\"That way,\" answered the man, pointing with one hand, \"it goes into the\nCountry of the Winkies, which is ruled by the Tin Emperor, who must be a", "\"That means the Winkie Country, all right, for it's the yellow country\nof Oz,\" remarked Dorothy. \"I think, Scarecrow, we ought to take him to", "fortune. He is now one of the favorites of Princess Ozma, and she has\nmade him the Emperor of the Winkies--the Country where all is yellow.\"", "\"He has a splendid castle in the Winkie Country, near to the palace of\nhis friend the Tin Woodman, and he is often to be found in the Emerald\nCity, where he visits Dorothy at the royal palace.\"", "Tin abounded in the Winkie Country and the Winkies were said to be the\nmost skillful tinsmiths in all the world. So the Tin Woodman had", "\"I'm glad of that,\" said the Tin Woodman. \"As I rule the Winkie Country,\nI can protect my butterflies.\"", "\"For that you must go to the Winkie Country,\" the Shaggy Man declared.\n\"I've never noticed any butterflies there, but that is the yellow", "reached the Winkie Country.", "In the country of the Gillikins lives a boy named Tip, who has been\nbewitched by old Mombi. Tip makes Jack Pumpkinhead from a pumpkin, a", "country of Oz and it's ruled by a good friend of mine, the Tin Woodman.\"", "The Winkie Country was really beautiful, and across the fields they\ncould see afar the silvery sheen of the tin castle. With light hearts\nthey hurried toward it, being fully rested by their long ride on the\nriver.", "Oz and visit the Castle of Nick Chopper, the Tin Woodman, now become\nEmperor of the Winkies, by whom they are escorted to the farm of Jack", "By that time they had left him behind and were headed once more straight\ntoward the Winkie Country.", "\"The next thing,\" continued the Magician, \"is the left wing of a yellow\nbutterfly. That color can only be found in the yellow country of the\nWinkies, West of the Emerald City.\"", "The little house of the Quadlings was out of sight almost before they\nhad cried their good-byes, and the Scarecrow said in a pleased voice:\n\"It won't take us long to get to the Winkie Country, at this rate.\"", "of the Winkies, one facing the Country of the Quadlings and one facing\nthe Country of the Gillikins. The Emerald City lies directly in the\ncenter of these four important countries of Oz. The gates had bars of", "\"I suppose we shall see the Tin Woodman, for we are going to the Country\nof the Winkies,\" said the boy.\n\n\"What for?\" asked the woodchopper.", "Emperor of the Winkies, and Ojo and Scraps, who had never seen it\nbefore, were filled with amazement.", "The Tin Woodman was one of the most important personages in all Oz.\nThough Emperor of the Winkies, he owed allegiance to Ozma, who ruled all", "Powder of Life he first made to old Mombi the Witch, who used to live in\nthe Country of the Gillikins, to the north of here. Mombi gave to Dr." ], [ "Tin abounded in the Winkie Country and the Winkies were said to be the\nmost skillful tinsmiths in all the world. So the Tin Woodman had", "\"For that you must go to the Winkie Country,\" the Shaggy Man declared.\n\"I've never noticed any butterflies there, but that is the yellow", "\"That means the Winkie Country, all right, for it's the yellow country\nof Oz,\" remarked Dorothy. \"I think, Scarecrow, we ought to take him to", "\"The next thing,\" continued the Magician, \"is the left wing of a yellow\nbutterfly. That color can only be found in the yellow country of the\nWinkies, West of the Emerald City.\"", "The Winkie Country was really beautiful, and across the fields they\ncould see afar the silvery sheen of the tin castle. With light hearts\nthey hurried toward it, being fully rested by their long ride on the\nriver.", "In the country of the Gillikins lives a boy named Tip, who has been\nbewitched by old Mombi. Tip makes Jack Pumpkinhead from a pumpkin, a", "\"He has a splendid castle in the Winkie Country, near to the palace of\nhis friend the Tin Woodman, and he is often to be found in the Emerald\nCity, where he visits Dorothy at the royal palace.\"", "fortune. He is now one of the favorites of Princess Ozma, and she has\nmade him the Emperor of the Winkies--the Country where all is yellow.\"", "\"That way,\" answered the man, pointing with one hand, \"it goes into the\nCountry of the Winkies, which is ruled by the Tin Emperor, who must be a", "\"This square beast is called the Woozy, and he isn't of much importance\nexcept that he has three hairs growing on the tip of his tail.\"\n\nThe Scarecrow looked and saw that this was true.", "reached the Winkie Country.", "The little house of the Quadlings was out of sight almost before they\nhad cried their good-byes, and the Scarecrow said in a pleased voice:\n\"It won't take us long to get to the Winkie Country, at this rate.\"", "of these pauses they were really making good progress toward the Winkie\nCountry and having found a way to conquer the adverse current their\nspirits rose considerably. They could see little of the country through", "\"I'm glad of that,\" said the Tin Woodman. \"As I rule the Winkie Country,\nI can protect my butterflies.\"", "Powder of Life he first made to old Mombi the Witch, who used to live in\nthe Country of the Gillikins, to the north of here. Mombi gave to Dr.", "\"I suppose we shall see the Tin Woodman, for we are going to the Country\nof the Winkies,\" said the boy.\n\n\"What for?\" asked the woodchopper.", "Oz and visit the Castle of Nick Chopper, the Tin Woodman, now become\nEmperor of the Winkies, by whom they are escorted to the farm of Jack", "\"It's the finest country in all the world, even if it is a fairyland,\nand I'm happy every minute I live in it,\" said the Shaggy Man. \"But tell\nme something about yourselves.\"", "\"The yellow country of the Winkies,\" said Ojo sadly, \"is the only place\nin Oz where a yellow butterfly can be found.\"", "\"In the Quadling Country, which lies south of here,\" replied the\nScarecrow. \"I've known all along that we must go to the mountains.\"\n\n\"So have I,\" said Dorothy." ], [ "Ojo was well pleased. He was dreadfully tired of living all alone in the\nwoods and wanted to travel and see people. For a long time he had wished", "\"Why, she's gone!\" gasped Ojo, in amazement, and listening carefully he\nthought he could hear the muffled screams of Scraps coming from the", "After consulting together they decided that Ojo and his party should\nleave the very next day to search for the gill of water from a dark\nwell, so they now separated to make preparations for the journey.", "Saying this, he nodded farewell to Tollydiggle and Ojo and went away.", "Then Ojo quieted himself and tried to think. Despair fell upon him when\nhe remembered that all his little party had been captured, even as he\nwas, and there was none to save them.", "\"Please don't quarrel,\" begged Ojo. \"This is an important journey, and\nquarreling makes me discouraged. To be brave, one must be cheerful, so I\nhope you will be as good-tempered as possible.\"", "Ojo was now able to see a small house near the pathway. It was dark and\nsilent, but the boy was tired and wanted to rest, so he went up to the\ndoor and knocked.", "So Ojo snuggled down in his bed and fell asleep, and he was so tired\nthat he never wakened until broad daylight.", "But Ojo did not feel that way. He was so disheartened that he sat down\nupon a stump and began to cry.\n\nThe Woozy looked at the boy thoughtfully.", "\"I am willing to travel for years, if it will save Unc Nunkie,\" declared\nOjo, earnestly.\n\n\"Then you'd better begin your journey at once,\" advised the Wizard.", "So they all turned their backs to the direction in which they wished to\ngo and began walking backward. In an instant Ojo noticed they were\ngaining ground and as they proceeded in this curious way they soon", "\"Where shall we go? I don't know, I'm sure,\" replied Ojo. \"But _you_\nmust know, Unc. You must have traveled, in your time, because you're so", "\"Yes,\" said Unc.\n\n\"I never knew I was called the Unlucky,\" said Ojo, soberly; \"but it is\nreally a good name for me.\"", "The man now took Ojo's arm and led him up the road, past the last of the\ngreat plants, and not till he was safely beyond their reach did he cease\nhis whistling.", "But this did not deter Ojo and his friends from trudging on, and they\nbeguiled the journey with jokes and cheerful conversation. Toward", "Ojo and Unc Nunkie slept that night in the Magician's house, and the boy\nwas glad to stay because he was anxious to see the Patchwork Girl", "them both to life. Do the best you can, Ojo, and while you are gone I\nshall begin the six years' job of making a new batch of the Powder of", "Ojo got up and put on his shoes. Finding a toilet stand at the head of\nhis bed he washed his face and hands and brushed his hair. Then he went\nto the table and said:\n\n\"I wonder if this is my breakfast?\"", "In a little while Diksey came back with a tall ladder which he placed\nagainst the fence. Ojo at once climbed to the top of the ladder and", "The girl Ruler now asked Ojo to sit down and tell her all his story,\nwhich he did, beginning at the time he had left his home in the forest" ], [ "\"Dear me!\" she said, looking at the man, \"you must be Unc Nunkie, known\nas the Silent One.\" Then she looked at the boy. \"And you must be Ojo the\nUnlucky,\" she added.", "\"I beg your pardon; I'm Ojo the _Un_lucky,\" said the boy.\n\n\"At this moment you are lucky,\" said she. \"Release him, Soldier, and let\nhim go free.\"", "\"I'm Ojo the Unlucky,\" replied the boy. \"I might have known I would fail\nin anything I tried to do.\"\n\n\"Why are you Ojo the Unlucky?\" asked the tin man.", "\"Yes,\" said Unc.\n\n\"I never knew I was called the Unlucky,\" said Ojo, soberly; \"but it is\nreally a good name for me.\"", "\"Why, that's me!\" cried Ojo, astonished at hearing his name on the lips\nof a stranger.", "during your travels, you can manage to lose that 'Un' at the beginning\nof your name 'Unlucky,' you will then become Ojo the Lucky, which will\nbe a great improvement.\"", "Ojo was well pleased. He was dreadfully tired of living all alone in the\nwoods and wanted to travel and see people. For a long time he had wished", "A woman opened the door and, seeing Ojo in his white robe, exclaimed:\n\n\"Goodness me! A prisoner at last. But what a small one, Soldier.\"", "\"Don't do that,\" begged Ojo, earnestly. \"I'm called Ojo the Unlucky, you\nknow.\"", "\"This is terrible,\" said Ojo, almost ready to cry. \"I s'pose it's\nbecause I am Ojo the Unlucky that everyone who tries to help me gets\ninto trouble.\"", "But now Ojo rushed up and threw his arms joyfully about his uncle, and\nthe old man hugged his little nephew tenderly and stroked his hair and", "\"I am Ojo the Unlucky,\" he said, \"or we would never have met that\ndreadful porcupine. But I will see if I can find anything among these\ncharms which will cure your leg.\"", "\"Why, she's gone!\" gasped Ojo, in amazement, and listening carefully he\nthought he could hear the muffled screams of Scraps coming from the", "Ojo had never eaten such a fine meal in all his life. There was a savory\nstew, smoking hot, a dish of blue peas, a bowl of sweet milk of a", "\"Who is there?\" cried a voice from within.\n\n\"I am Ojo the Unlucky, and with me are Miss Scraps Patchwork and the\nGlass Cat,\" he replied.", "Ojo and Unc Nunkie slept that night in the Magician's house, and the boy\nwas glad to stay because he was anxious to see the Patchwork Girl", "\"Surely you are joking!\" he said.\n\n\"No,\" replied Ojo, much surprised; \"I am in earnest.\"", "\"Yes,\" said Ojo earnestly, \"you have it in your power to do me a great\nfavor, if you will.\"\n\n\"What is it?\" asked the Woozy. \"Name the favor and I will grant it.\"", "\"You are forgiven,\" she said. \"For, although you have committed a\nserious fault, you are now penitent and I think you have been punished\nenough. Soldier, release Ojo the Lucky and--\"", "Then Ojo quieted himself and tried to think. Despair fell upon him when\nhe remembered that all his little party had been captured, even as he\nwas, and there was none to save them." ], [ "\"Yes,\" said Unc.\n\n\"I never knew I was called the Unlucky,\" said Ojo, soberly; \"but it is\nreally a good name for me.\"", "\"Dear me!\" she said, looking at the man, \"you must be Unc Nunkie, known\nas the Silent One.\" Then she looked at the boy. \"And you must be Ojo the\nUnlucky,\" she added.", "But now Ojo rushed up and threw his arms joyfully about his uncle, and\nthe old man hugged his little nephew tenderly and stroked his hair and", "Just at dawn next morning Unc Nunkie laid his hand tenderly on Ojo's\nhead and awakened him.\n\n\"Come,\" he said.", "CHAP. 28\n\n\n\n\nWhen Ojo entered the room he ran quickly to the statue of Unc Nunkie and\nkissed the marble face affectionately.", "\"I think,\" said Ojo, almost ready to cry through grief over Unc Nunkie's\nsad fate, \"it must all be my fault, in some way. I'm called Ojo the\nUnlucky, you know.\"", "Then Ojo went to Unc Nunkie and kissed the old man's marble face very\ntenderly.", "At this Ojo began to cry. \"I want my Unc Nunkie!\" he exclaimed. \"I know", "\"I beg your pardon; I'm Ojo the _Un_lucky,\" said the boy.\n\n\"At this moment you are lucky,\" said she. \"Release him, Soldier, and let\nhim go free.\"", "\"You will have to do most of the talking,\" said Ojo, \"for Unc is called\nthe Silent One and uses few words.\"", "The boy noticed that his uncle had not eaten the bread, and supposed\nthe old man had not been hungry. Ojo was hungry, though; so he divided", "\"This is terrible,\" said Ojo, almost ready to cry. \"I s'pose it's\nbecause I am Ojo the Unlucky that everyone who tries to help me gets\ninto trouble.\"", "understand, however, that Ojo, who loves his uncle, will be unhappy\nunless he can save him. Also I feel it is wrong to leave those two", "\"I'm Ojo the Unlucky,\" replied the boy. \"I might have known I would fail\nin anything I tried to do.\"\n\n\"Why are you Ojo the Unlucky?\" asked the tin man.", "\"Unless I get the wing--just one left wing--\" said Ojo miserably, \"I\ncan't save Unc Nunkie.\"", "Ojo and Unc Nunkie slept that night in the Magician's house, and the boy\nwas glad to stay because he was anxious to see the Patchwork Girl", "When I was shut up in that forest I longed for some one to help me, and\nby and by Ojo came and did help me. So I'm willing to help his uncle.", "\"We are traveling,\" replied Ojo, \"and we stopped at your house just to\nrest and refresh ourselves. I do not think Unc Nunkie cares very much to", "They were all greatly astonished at this announcement.\n\n\"Oh, let me see Unc Nunkie! Let me see him at once, please!\" cried Ojo\neagerly.", "upon the wife of the Magician and the uncle of Ojo. With these two the\ncharm worked promptly. They stood motionless and stiff as marble" ], [ "\"Now, then,\" said Dr. Pipt, in a brisk tone, \"we shall perform one of\nthe greatest feats of magic possible to man, even in this marvelous Land", "\"Oh, yes; one family lives there, I've heard. That's the Crooked\nMagician, who is named Dr. Pipt, and his wife Margolotte. One year you", "\"Ah, it's the Silent One,\" remarked Dr. Pipt, without looking up, \"and\nhe wants to know what I'm making. Well, when it is quite finished this", "\"That,\" said Dr. Pipt, in a pleased and triumphant tone, \"is the\nwonderful Powder of Life, which I alone in the world know how to make.", "old Munchkin had placed in his pocket. Then they started on again and\ntwo hours later came in sight of the house of Dr. Pipt.", "Last of all, Dr. Pipt was there, and the Crooked Magician sat humped up\nin a chair, seeming very dejected but keeping his eyes fixed on the", "\"It is true,\" sighed Dr. Pipt. \"I am well aware that Ojo has undertaken\na serious task.\"\n\nScraps laughed, and resuming her dance she said:", "\"That Powder of Life which is made by the Crooked Magician is really a\nwonderful thing. But Dr. Pipt does not know its true value and he uses\nit in the most foolish ways.\"", "\"Ah,\" said he, nodding wisely; \"that's magic. Dr. Pipt has enchanted the\nbread and the cheese, so it will last me all through my journey, however\nmuch I eat.\"", "\"Bother Dr. Pipt! If he wants me, let him come here and get me. I'll not\ngo back to his den of my own accord; that's certain. Only one place in", "Standing upon the bench, for he was so crooked he could not reach the\ntop of his wife's head in any other way, Dr. Pipt began shaking the", "\"Ah,\" said Ojo; \"you must be Dame Margolotte, the good wife of Dr.\nPipt.\"\n\n\"I am, my dear, and all strangers are welcome to my home.\"", "\"Why, you belong to Dr. Pipt,\" replied Ojo, looking at her in amazement.\n\"You were made for a servant, Scraps, so you are personal property and\nnot your own mistress.\"", "live by sprinkling over her the Powder of Life. This seemed an excellent\nsuggestion and at once Dr. Pipt set to work to make a new batch of his", "victims standing as marble statues, when they ought to be alive. So I\npropose we allow Dr. Pipt to make the magic charm which will save them,", "\"Dr. Pipt will make no more Powder of Life, I promise you,\" said she. \"I\nhave sent for him and had him brought to this palace, where he now is,", "\"I know; but that renders your uncle a most agreeable companion and\ngossip,\" declared Dr. Pipt. \"Most people talk too much, so it is a\nrelief to find one who talks too little.\"", "\"All ready?\" asked Dr. Pipt.\n\n\"All is ready,\" answered his wife.", "\"But tell me, please, what you intend to do with this new lot of the\nPowder of Life, which Dr. Pipt is making. He said his wife wanted it for\nsome especial purpose.\"", "Ojo was sorry for him. He went up to the sorrowful man and said softly:\n\n\"You can make more Powder of Life, Dr. Pipt.\"" ], [ "So Ojo related the sad story of Unc Nunkie's transformation into a\nmarble statue, and told how he had set out to find the things the", "old Munchkin had placed in his pocket. Then they started on again and\ntwo hours later came in sight of the house of Dr. Pipt.", "Unc Nunkie came forward to greet his old friend, but not being able to\nshake either his hands or his feet, which were all occupied in stirring,\nhe patted the Magician's bald head and asked: \"What?\"", "Unc Nunkie, Margolotte and the Magician all stood looking at the\nmarvelous Powder, but Ojo was more interested just then in the Patchwork", "Nunkie to life. He has failed, but there are others more powerful than\nthe Crooked Magician, and there are more ways than Dr. Pipt knew of to", "\"That,\" said Dr. Pipt, in a pleased and triumphant tone, \"is the\nwonderful Powder of Life, which I alone in the world know how to make.", "Unc Nunkie nodded approval.\n\n\"Good i-dea,\" he said; and that was a long speech for Unc Nunkie because\nit was two words.", "Ojo and Unc Nunkie slept that night in the Magician's house, and the boy\nwas glad to stay because he was anxious to see the Patchwork Girl", "\"It is true,\" sighed Dr. Pipt. \"I am well aware that Ojo has undertaken\na serious task.\"\n\nScraps laughed, and resuming her dance she said:", "\"Ah, it's the Silent One,\" remarked Dr. Pipt, without looking up, \"and\nhe wants to know what I'm making. Well, when it is quite finished this", "\"Now, then,\" said Dr. Pipt, in a brisk tone, \"we shall perform one of\nthe greatest feats of magic possible to man, even in this marvelous Land", "Ojo pushed the Patchwork Girl away and ran to Unc Nunkie, filled with a\nterrible fear for the only friend and protector he had ever known. When", "Last of all, Dr. Pipt was there, and the Crooked Magician sat humped up\nin a chair, seeming very dejected but keeping his eyes fixed on the", "Unc Nunkie, who with Ojo stood beside her, touched the bottle marked\n\"Cleverness.\"\n\n\"Little,\" said he.", "the room. Unc Nunkie and Margolotte were so startled that they both\nleaped backward and bumped together, and Unc's head joggled the shelf", "\"That Powder of Life which is made by the Crooked Magician is really a\nwonderful thing. But Dr. Pipt does not know its true value and he uses\nit in the most foolish ways.\"", "\"Dear me!\" she said, looking at the man, \"you must be Unc Nunkie, known\nas the Silent One.\" Then she looked at the boy. \"And you must be Ojo the\nUnlucky,\" she added.", "counted them carefully, to make sure. In an instant his heart leaped\nwith joy, for this was one of the important things he had come for--one\nof the things that would restore dear Unc Nunkie to life.", "Then Ojo went to Unc Nunkie and kissed the old man's marble face very\ntenderly.", "\"Ah,\" said he, nodding wisely; \"that's magic. Dr. Pipt has enchanted the\nbread and the cheese, so it will last me all through my journey, however\nmuch I eat.\"" ], [ "\"I wonder,\" said Ojo, looking up and down the road, \"which way to go.\"\n\n\"Where are you bound for?\" asked the Woozy.\n\n\"The Emerald City,\" he replied.", "Ojo did not reply, but he was so dejected that even their arrival at the\nEmerald City failed to interest him.", "\"I have given to you, my dear Ojo and Unc Nunkie, a nice house just\noutside the walls of the Emerald City,\" she said, \"and there you shall\nmake your future home and be under my protection.\"", "\"I wish I could say the same,\" sighed Ojo. \"I don't think we need be\nafraid when we get to the Emerald City, for Unc Nunkie has told me that", "\"Yes,\" said the Scarecrow. \"What is the next thing Ojo must get?\"\n\n\"A yellow butterfly,\" answered the boy.", "\"No,\" said Ojo; \"I think we shall keep straight ahead, for this path is\nthe widest and best. When we come to some house we will inquire the way\nto the Emerald City.\"", "\"When you arrive at the Emerald City I will see you again,\" continued\nthe Scarecrow. \"Just now I am going to call upon an old friend--an", "So the following morning the party started on the journey to the Emerald\nCity, which they reached in due time without any important adventure. It", "\"All right,\" returned Ojo, trying not to feel discouraged; \"I'll try to\nfind it.\"\n\nThe Magician looked at the little Munchkin boy in a doubtful way and\nsaid:", "\"He is quite right,\" said Ozma, who did not seem a bit surprised. \"Had\nOjo told me that one of the things he sought was the wing of a yellow", "\"The left wing of a yellow butterfly,\" said Ojo. \"In this yellow\ncountry, and with your kind assistance, that ought to be very easy to\nfind.\"\n\nThe Tin Woodman stared at him in amazement.", "\"Didn't I say you were Ojo the Lucky?\" asked the Tin Woodman, as\neveryone crowded around to shake Ojo's hand.\n\n\"Yes; and it is true!\" replied Ojo, gratefully.", "the Tin Woodman, for he's the Emp'ror of the Winkies and will help us to\nfind what Ojo wants.\"", "\"I think you'd better let me explain that,\" interrupted the Shaggy Man,\nand then he told Dorothy all of Ojo's story, and how Unc Nunkie and", "\"The next thing,\" continued the Magician, \"is the left wing of a yellow\nbutterfly. That color can only be found in the yellow country of the\nWinkies, West of the Emerald City.\"", "\"What is the best way to get to the Emerald City?\" asked Ojo.\n\n\"Walk,\" said the donkey.\n\n\"I know; but what road shall I take?\" was the boy's next question.", "After they had rested themselves they renewed their journey, finding the\nroad now smooth and pleasant to walk upon and the country growing more\nbeautiful the nearer they drew to the Emerald City.", "\"She's delightful, in her way,\" he said. \"I'm sure Dorothy will be\npleased with her, and the Scarecrow will dote on her. Did you say you\nwere traveling toward the Emerald City?\"", "Ojo had never traveled before and so he only knew that the path down the\nmountainside led into the open Munchkin Country, where large numbers of", "\"He has a splendid castle in the Winkie Country, near to the palace of\nhis friend the Tin Woodman, and he is often to be found in the Emerald\nCity, where he visits Dorothy at the royal palace.\"" ], [ "\"But one of our errands is to find a Woozy,\" Ojo explained. \"The\nMagician wants me to get three hairs from the end of a Woozy's tail.\"", "\"Yes,\" said Ojo earnestly, \"you have it in your power to do me a great\nfavor, if you will.\"\n\n\"What is it?\" asked the Woozy. \"Name the favor and I will grant it.\"", "Ojo looked grave at this.\n\n\"What is a Woozy, please?\" he inquired.", "\"If I can find a Woozy, I'll get the hairs from its tail,\" said Ojo.\n\"But is there ever any oil in a man's body?\"", "The Woozy was somewhat abashed by this speech and did not know how to\nreply. But Ojo said:", "Ojo gave the beast what he wanted, but the Shaggy Man shook his shaggy\nhead reproachfully and said there was no animal so obstinate or hard to\nconvince as a Woozy.", "But Ojo did not feel that way. He was so disheartened that he sat down\nupon a stump and began to cry.\n\nThe Woozy looked at the boy thoughtfully.", "and that we assist Ojo to find the things he is seeking. What do you\nthink, Wizard?\"", "\"What's the trouble?\" asked the Woozy, which Ojo had dragged here and\nthere all around the clearing in his endeavor to pull out the hair.\n\n\"It won't come,\" said the boy, panting.", "\"I'll get the water from the dark well,\" said Ojo.\n\n\"Then I must have three hairs from the tip of a Woozy's tail, and a drop\nof oil from a live man's body.\"", "So far they had met no living creature, but when Ojo saw the cave he\nknew it must be the den of the Woozy.", "\"How did you get in?\" asked the Woozy.\n\n\"We climbed over,\" answered Ojo.", "\"Plenty,\" replied Ojo. So he sat down on a stump and fed the Woozy bread\nand cheese for a long time; for, no matter how much the boy broke off,\nthe loaf and the slice remained just as big.", "joined Ojo, when she sat beside him panting and trembling. The last\nplant of all the row had captured the Woozy, and a big bunch in the", "But he had not long to wait, for the Woozy heard the sound of voices and\ncame trotting out of his cave. As this is the only Woozy that has ever", "\"I'm square,\" said the Woozy. \"Give me one, please.\"\n\nSo the Shaggy Man gave the Woozy a tablet from his bottle and the beast\nate it in a twinkling.", "Woozy's tail, a six-leaved clover, a gill of water from a dark well and\na drop of oil from a live man's body. The last thing is the easiest of", "and capture the Woozy again. I guess they'll be rather surprised when\nthey find he's escaped.\"", "Ojo turned and saw the Woozy running swiftly up the road. But the last\nleaf of the row of plants seized the beast even as he ran and instantly\nhe disappeared from sight.", "\"The Woozy has proved himself a good Woozy and a faithful friend,\" the\nWizard went on, \"so we will send him to the Royal Menagerie, where he\nwill have good care and plenty to eat all his life.\"" ], [ "\"Yes,\" said the Scarecrow. \"What is the next thing Ojo must get?\"\n\n\"A yellow butterfly,\" answered the boy.", "\"The left wing of a yellow butterfly,\" said Ojo. \"In this yellow\ncountry, and with your kind assistance, that ought to be very easy to\nfind.\"\n\nThe Tin Woodman stared at him in amazement.", "\"Thank you,\" replied Ojo. \"The next thing is the left wing of a yellow\nbutterfly.\"", "was a sad journey for Ojo, for without the wing of the yellow butterfly\nhe saw no way to save Unc Nunkie--unless he waited six years for the", "\"To get the left wing of a yellow butterfly.\"\n\n\"It is a long journey,\" declared the man, \"and you will go through\nlonely parts of Oz and cross rivers and traverse dark forests before you\nget there.\"", "\"I'll tell you what to do,\" said Scraps. \"We'll take a whole yellow\nbutterfly, alive and well, to the Crooked Magician, and let him pull the\nleft wing off.\"", "\"The next thing,\" continued the Magician, \"is the left wing of a yellow\nbutterfly. That color can only be found in the yellow country of the\nWinkies, West of the Emerald City.\"", "\"The yellow country of the Winkies,\" said Ojo sadly, \"is the only place\nin Oz where a yellow butterfly can be found.\"", "\"He is quite right,\" said Ozma, who did not seem a bit surprised. \"Had\nOjo told me that one of the things he sought was the wing of a yellow", "\"Unless I get the wing--just one left wing--\" said Ojo miserably, \"I\ncan't save Unc Nunkie.\"", "\"As it has turned out,\" remarked Ojo, \"I can never get the things the\nCrooked Magician sent me for; and so, unless I wait the six years for\nhim to make the Powder of Life, Unc Nunkie cannot be saved.\"", "\"Not quite all,\" answered Ojo. \"There were five things I had to get, and\nI have found four of them. I have the three hairs in the tip of a", "From a Woozy's tail, the book declares\n Are needed for the magic spell,\n And water from a pitch-dark well.\n The yellow wing of a butterfly", "\"But one of our errands is to find a Woozy,\" Ojo explained. \"The\nMagician wants me to get three hairs from the end of a Woozy's tail.\"", "three hairs were to be a part of the magic charm that would restore\nthem to life. The beast listened with attention and when Ojo had\nfinished the recital it said, with a sigh:", "\"Ojo's searching for a charm,\n 'Cause Unc Nunkie's come to harm.\n Charms are scarce; they're hard to get;\n Ojo's got a job, you bet!\"", "\"I'll get the water from the dark well,\" said Ojo.\n\n\"Then I must have three hairs from the tip of a Woozy's tail, and a drop\nof oil from a live man's body.\"", "\"Please don't quarrel,\" begged Ojo. \"This is an important journey, and\nquarreling makes me discouraged. To be brave, one must be cheerful, so I\nhope you will be as good-tempered as possible.\"", "whom he loves, and I'd kill a dozen useless butterflies to enable him to\ndo that.\"", "\"I am Ojo the Unlucky,\" he said, \"or we would never have met that\ndreadful porcupine. But I will see if I can find anything among these\ncharms which will cure your leg.\"" ], [ "Ojo examined this curious contrivance with wonder. The Patchwork Girl\nwas taller than he, when she stood upright, and her body was plump and", "\"If anything should fade the colors of my lovely patches it would break\nmy heart,\" said the Patchwork Girl.\n\n\"I'm not sure you have a heart,\" Ojo reminded her.", "\"Oh! A Patchwork Girl? What is that?\" Ojo asked, for this seemed even\nmore strange and unusual than a Glass Cat.", "\"A girl made of patchwork, you know. She's alive and her name is Scraps.\nAnd there's a Glass Cat--\"\n\n\"Glass?\" asked the Shaggy Man.", "\"Not the snap of a finger, for I have no heart,\" said the Patchwork\nGirl. \"But I want to help Ojo, who is my friend, to rescue the uncle", "\"Sounds like a hint, to me,\" said the Patchwork Girl.\n\n\"Then let's take it and go,\" replied Ojo.", "So Ojo related the story of his visit to the house of the Crooked\nMagician, and how he met there the Glass Cat, and how the Patchwork Girl", "\"Very well,\" said the Patchwork Girl, \"I'm going to serve you and your\nwife by helping Ojo find the things you need. You need a lot, you know,\nsuch as are not easily found.\"", "Ojo and Unc Nunkie slept that night in the Magician's house, and the boy\nwas glad to stay because he was anxious to see the Patchwork Girl", "\"What is sleep?\" inquired the Patchwork Girl.\n\n\"It's what you do when you go to bed,\" said Ojo.", "\"Is Dorothy made of tin?\" inquired Ojo.\n\n\"Is she patchwork, like me?\" inquired Scraps.", "The Magician uttered such a wild cry that Ojo jumped away and the\nPatchwork Girl sprang after him and clasped her stuffed arms around him", "The travelers were cordially welcomed to this quaint domicile and\ninvited to pass the night there, which they had planned to do. The\nPatchwork Girl was greatly interested in Jack and examined him\nadmiringly.", "Suddenly the Patchwork Girl laughed. It was funny to see her laugh,\nbecause her cheeks wrinkled up, her nose tipped, her silver button eyes\ntwinkled and her mouth curled at the corners in a comical way.", "\"I know,\" she returned; \"it's the Patchwork Girl. She is certainly\nbewildering, if not strictly beautiful.\"\n\n\"Have you seen her, then?\" the straw man eagerly asked.", "[Illustration: \"_I demand that you set this poor Munchkin Boy free_\"]\n\nOjo hung his head and while he hesitated how to reply the Patchwork Girl\nstepped forward and spoke for him.", "The woman of this house got her needle and thread and sewed up the holes\nmade by the porcupine quills in the Patchwork Girl's body, after which\nScraps was assured she looked as beautiful as ever.", "\"You needn't worry, Bungle,\" remarked the Patchwork Girl; \"for if there\nis danger you can climb a tree. Ojo and I are not afraid; are we, Ojo?\"", "They all bent over the bench on which the Patchwork Girl reclined. Unc\nNunkie and Margolotte stood behind, near the windows, Ojo at one side", "\"Me?\" asked Scraps. \"I'm a Patchwork Girl, and I'm stuffed with cotton.\"" ], [ "fortune. He is now one of the favorites of Princess Ozma, and she has\nmade him the Emperor of the Winkies--the Country where all is yellow.\"", "\"That means the Winkie Country, all right, for it's the yellow country\nof Oz,\" remarked Dorothy. \"I think, Scarecrow, we ought to take him to", "\"That way,\" answered the man, pointing with one hand, \"it goes into the\nCountry of the Winkies, which is ruled by the Tin Emperor, who must be a", "\"The next thing,\" continued the Magician, \"is the left wing of a yellow\nbutterfly. That color can only be found in the yellow country of the\nWinkies, West of the Emerald City.\"", "Tin abounded in the Winkie Country and the Winkies were said to be the\nmost skillful tinsmiths in all the world. So the Tin Woodman had", "\"He has a splendid castle in the Winkie Country, near to the palace of\nhis friend the Tin Woodman, and he is often to be found in the Emerald\nCity, where he visits Dorothy at the royal palace.\"", "\"For that you must go to the Winkie Country,\" the Shaggy Man declared.\n\"I've never noticed any butterflies there, but that is the yellow", "\"I'm glad of that,\" said the Tin Woodman. \"As I rule the Winkie Country,\nI can protect my butterflies.\"", "\"The yellow country of the Winkies,\" said Ojo sadly, \"is the only place\nin Oz where a yellow butterfly can be found.\"", "In the country of the Gillikins lives a boy named Tip, who has been\nbewitched by old Mombi. Tip makes Jack Pumpkinhead from a pumpkin, a", "reached the Winkie Country.", "The little house of the Quadlings was out of sight almost before they\nhad cried their good-byes, and the Scarecrow said in a pleased voice:\n\"It won't take us long to get to the Winkie Country, at this rate.\"", "of the Winkies, one facing the Country of the Quadlings and one facing\nthe Country of the Gillikins. The Emerald City lies directly in the\ncenter of these four important countries of Oz. The gates had bars of", "The Winkie Country was really beautiful, and across the fields they\ncould see afar the silvery sheen of the tin castle. With light hearts\nthey hurried toward it, being fully rested by their long ride on the\nriver.", "Emperor of the Winkies, and Ojo and Scraps, who had never seen it\nbefore, were filled with amazement.", "\"The left wing of a yellow butterfly,\" said Ojo. \"In this yellow\ncountry, and with your kind assistance, that ought to be very easy to\nfind.\"\n\nThe Tin Woodman stared at him in amazement.", "Powder of Life he first made to old Mombi the Witch, who used to live in\nthe Country of the Gillikins, to the north of here. Mombi gave to Dr.", "By that time they had left him behind and were headed once more straight\ntoward the Winkie Country.", "country of Oz and it's ruled by a good friend of mine, the Tin Woodman.\"", "Oz and visit the Castle of Nick Chopper, the Tin Woodman, now become\nEmperor of the Winkies, by whom they are escorted to the farm of Jack" ], [ "all to get, and I'm sure that my dear Unc Nunkie--and good Margolotte,\nas well--will soon be restored to life.\"", "Nunkie to life. He has failed, but there are others more powerful than\nthe Crooked Magician, and there are more ways than Dr. Pipt knew of to", "Unc Nunkie, Margolotte and the Magician all stood looking at the\nmarvelous Powder, but Ojo was more interested just then in the Patchwork", "\"That,\" said Dr. Pipt, in a pleased and triumphant tone, \"is the\nwonderful Powder of Life, which I alone in the world know how to make.", "Ojo was sorry for him. He went up to the sorrowful man and said softly:\n\n\"You can make more Powder of Life, Dr. Pipt.\"", "victims standing as marble statues, when they ought to be alive. So I\npropose we allow Dr. Pipt to make the magic charm which will save them,", "counted them carefully, to make sure. In an instant his heart leaped\nwith joy, for this was one of the important things he had come for--one\nof the things that would restore dear Unc Nunkie to life.", "\"There is one other compound that would destroy the magic spell of the\nLiquid of Petrifaction and restore my wife and Unc Nunkie to life,\" said", "Then the Wizard made the magic pass and spoke the magic word before the\nstatue of Unc Nunkie. The old Munchkin immediately came to life and with\na low bow to the Wizard said: \"Thanks.\"", "live by sprinkling over her the Powder of Life. This seemed an excellent\nsuggestion and at once Dr. Pipt set to work to make a new batch of his", "So Ojo related the sad story of Unc Nunkie's transformation into a\nmarble statue, and told how he had set out to find the things the", "old Munchkin had placed in his pocket. Then they started on again and\ntwo hours later came in sight of the house of Dr. Pipt.", "Ojo and Unc Nunkie slept that night in the Magician's house, and the boy\nwas glad to stay because he was anxious to see the Patchwork Girl", "\"Oh, yes; one family lives there, I've heard. That's the Crooked\nMagician, who is named Dr. Pipt, and his wife Margolotte. One year you", "\"It is true,\" sighed Dr. Pipt. \"I am well aware that Ojo has undertaken\na serious task.\"\n\nScraps laughed, and resuming her dance she said:", "\"Ah,\" said Ojo; \"you must be Dame Margolotte, the good wife of Dr.\nPipt.\"\n\n\"I am, my dear, and all strangers are welcome to my home.\"", "\"I remember that Unc Nunkie and my husband used to be friends, many\nyears ago,\" she said, \"so perhaps they will be glad to meet again. The", "\"Dear me!\" she said, looking at the man, \"you must be Unc Nunkie, known\nas the Silent One.\" Then she looked at the boy. \"And you must be Ojo the\nUnlucky,\" she added.", "As he pronounced these words the Wizard waved his hand toward Dr. Pipt\nand instantly every crooked limb straightened out and became perfect.", "he was determined to devote every energy to finding the things that were\nnecessary to prepare the magic recipe. He believed that until dear Unc\nNunkie was restored to life he could feel no joy in anything, and often" ], [ "\"Dear me!\" she said, looking at the man, \"you must be Unc Nunkie, known\nas the Silent One.\" Then she looked at the boy. \"And you must be Ojo the\nUnlucky,\" she added.", "\"I beg your pardon; I'm Ojo the _Un_lucky,\" said the boy.\n\n\"At this moment you are lucky,\" said she. \"Release him, Soldier, and let\nhim go free.\"", "\"I'm Ojo the Unlucky,\" replied the boy. \"I might have known I would fail\nin anything I tried to do.\"\n\n\"Why are you Ojo the Unlucky?\" asked the tin man.", "\"Yes,\" said Unc.\n\n\"I never knew I was called the Unlucky,\" said Ojo, soberly; \"but it is\nreally a good name for me.\"", "\"Why, that's me!\" cried Ojo, astonished at hearing his name on the lips\nof a stranger.", "during your travels, you can manage to lose that 'Un' at the beginning\nof your name 'Unlucky,' you will then become Ojo the Lucky, which will\nbe a great improvement.\"", "Ojo was well pleased. He was dreadfully tired of living all alone in the\nwoods and wanted to travel and see people. For a long time he had wished", "A woman opened the door and, seeing Ojo in his white robe, exclaimed:\n\n\"Goodness me! A prisoner at last. But what a small one, Soldier.\"", "\"Don't do that,\" begged Ojo, earnestly. \"I'm called Ojo the Unlucky, you\nknow.\"", "\"This is terrible,\" said Ojo, almost ready to cry. \"I s'pose it's\nbecause I am Ojo the Unlucky that everyone who tries to help me gets\ninto trouble.\"", "But now Ojo rushed up and threw his arms joyfully about his uncle, and\nthe old man hugged his little nephew tenderly and stroked his hair and", "\"I am Ojo the Unlucky,\" he said, \"or we would never have met that\ndreadful porcupine. But I will see if I can find anything among these\ncharms which will cure your leg.\"", "\"Why, she's gone!\" gasped Ojo, in amazement, and listening carefully he\nthought he could hear the muffled screams of Scraps coming from the", "Ojo had never eaten such a fine meal in all his life. There was a savory\nstew, smoking hot, a dish of blue peas, a bowl of sweet milk of a", "\"Who is there?\" cried a voice from within.\n\n\"I am Ojo the Unlucky, and with me are Miss Scraps Patchwork and the\nGlass Cat,\" he replied.", "Ojo and Unc Nunkie slept that night in the Magician's house, and the boy\nwas glad to stay because he was anxious to see the Patchwork Girl", "\"Surely you are joking!\" he said.\n\n\"No,\" replied Ojo, much surprised; \"I am in earnest.\"", "\"Yes,\" said Ojo earnestly, \"you have it in your power to do me a great\nfavor, if you will.\"\n\n\"What is it?\" asked the Woozy. \"Name the favor and I will grant it.\"", "\"You are forgiven,\" she said. \"For, although you have committed a\nserious fault, you are now penitent and I think you have been punished\nenough. Soldier, release Ojo the Lucky and--\"", "Then Ojo quieted himself and tried to think. Despair fell upon him when\nhe remembered that all his little party had been captured, even as he\nwas, and there was none to save them." ] ]

[ "What does Dr. Pipt's Liquid of Petrifaction do to Unc Nunkie and Dr. Pipt's wife?", "How many components does Ojo need to make the antidote to the Liquid of Petrifaction?", "Where does Ojo need to go to get a six-leaved clover?", "Which of Dr. Pipt's creations helps Ojo on his quest?", "Why can't Ojo get the butterfly wing he needs from the Winkie Country ruled by the Tin Woodman?", "Which of Ojo's helpers contributes to the antidote by giving part of himself?", "What is required to animate any object in addition to Dr. Pipt's Powder of Life?", "How do Unc Nunkie and Dr. Pipt's wife get restored back to their living forms?", "Ojo is known as the very unlucky at the beginning of the story - how is he known at the end of his adventure?", "What is Ojo?", "What problem does Ojo's family have?", "What does Powder of Life do?", "What does the Liquid of Petrification do to Unc Nuckie?", "How many components does Ojo need for his potion?", "Who rules Winkie County?", "What creature lives in Winkie County?", "Where does Ojo go?", "What is Ojo renamed?", "What is Ojo's uncle's name?", "What is Dr. Pipt's profession?", "What did Dr. Pipt turn Unc Nunkie into?", "What was Ojo looking for in Emerald City?", "What does Ojo need to get from a Woozy?", "What does Ojo need to get from a yellow butterfly?", "What is the name of the life sized Patchwork doll that helps Ojo?", "Who rules the yellow Winkie Country?", "Who restores Unc Numkie and Dr. Pipt's wife?", "What is Ojo renamed?" ]

[ [ "Turns them into marble statues", "turned them into solid marble statues" ], [ "5", "Five" ], [ "The Emerald City", "Emerald City." ], [ "Bungle the snobbish Glass Cat", "Scraps." ], [ "The Tin Woodman won't let him kill any living thing in his land.", "the woodman will not allow any living thing to be killed" ], [ "The Woozy", "wizard of oz" ], [ "The magic words", "Magic words." ], [ "The Wizard of Oz uses his own magic", "The Wizard of Oz uses restoration magic." ], [ "Ojo the Lucky", "Ojo the Lucky" ], [ "A munchkin boy", "A munchkin" ], [ "They are starving", "Bad luck" ], [ "Animates any object", "It animates any object it touches." ], [ "Turns him to stone", "turns him into a marble statue" ], [ "5", "five" ], [ "Tin Woodman", "The tin woodman" ], [ "Yellow Butterflies", "yellow butterflies" ], [ "Emerald City", "to see dr pipt" ], [ "Ojo the Lucky", "Ojo the Lucky" ], [ "Unc Nunkie", "Unc Nunkie" ], [ "He is a magician.", "Magician" ], [ "A solid marble statue.", "A solid marble statue." ], [ "A four leaf clover.", "A six-leaved clover." ], [ "Three hairs from its tail.", "Three hair from the tip of its tail" ], [ "It's left wing.", "The left wing." ], [ "Scraps", "Scrapes" ], [ "The Tin Woodman.", "the Tin Woodman" ], [ "The Wizard of Oz.", "The Wizard of Oz." ], [ "Ojo the Lucky", "Ojo the Lucky" ] ]

[ [ "INT. HOLLY'S HOUSE", "Holly enters the room where the Rich Man and his Maid have been \nput. The furniture and paintings are covered with sheets, \nsuggesting that for some purpose, known only to the family, the \nroom has been set aside.", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "Holly takes a cane out of the umbrella rack, looks around \nfurtively, then steps out a side door of the house. \n\nEXT. LAWN", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "Holly's father paints a picture. using a stereopticon to help \nwith his backgrounds. TRACK with Kit driving down a street in his \nMercury. Holly sits watching football practice.", "Holly walks down the edge of the river, fresh from her bath. \nwrapped in a white sheet. The river is raging, with white caps \nvisible in places. \n\nEXT. FOREST", "he stomps a can and looks around to see if anyone has spotted him \nat this. As the CREDITS end he sees Holly in front of her house", "KIT\nHolly!\n\nHolly picks her way through the brush, back to the treehouse. \n\nEXT. TREEHOUSE", "ones he gave him. Holly looks on from the side of the house, \ntwenty yards away.", "Holly, at the other end of the room. tests the comforts of a \nchair. This done. she moves to another chair and tests it, too. \nShe makes her hand limp. She watches it swing back and forth.", "INT. LIVING ROOM \n\nHolly's father turns and walks into the living room. Kit rushes \ndown the stairs. Holly shouts his name.", "INT. LIVING ROOM \n\nHolly stands near a window. smoking a cigarette. Kit sets his \nrifle down and surveys the room, which is cluttered with odds and \nends.", "KIT (sighs)\nWell... I don't think that'd work.\n\nThis startles Holly. \n\nINT. LIVING ROOM", "The Clerk gives him a slip of paper. \n\nEXT. FRONT PORCH OF HOLLY'S HOUSE \n\nHolly sees Kit approaching the house.", "She waves goodbye and runs off. Kit waves back. \n\nEXT. HOLLY'S BACK YARD", "house. The jeep, with Holly and her father, rumbles down a \nresidential street.", "Holly, in the next angle, has moved a bust off its pedestal onto \nthe corner of a piano. She thinks better of this and restores the \nbust to its original position.", "Holly comes up the stairs, smoking a cigarette. She walks to her \nbedroom window. The CAMERA DOLLIES with her. Outside, under the \nstreet lamp, she can see two boys trading secrets.", "Holly runs her finger around the lip of a crystal glass. It makes \na soft chiming noise. Kit, sitting at the end of a table opposite" ], [ "HOLLY (v.o.)\nMy mother died of pneumonia when I was just a kid. My father had \nkept their wedding cake in the freezer for ten whole years. After", "HOLLY (v.o.)\nI grew to love the forest. The cooing of the doves and the hum of \ndragonflies in the air made it always seem lonesome and like \neverybody's dead and gone...", "Holly does not appreciate the humor of this. Kit, chastened, \nturns serious. \n\nKIT\nCourse it's too bad about your dad.\n\nHOLLY\nYeah.", "Holly, in curlers, walks over to where Kit is shaving. \n\nHOLLY\nOne of the chickens died last night.", "Holly's father does not answer. \n\nKIT\nListen. I got a lot of respect for her, sir. (pause) That's about \nas good a one as I know to tell you.", "Holly's father drags a duffel bag out of his truck and dumps it \nover the side of a bridge, into a river. It goes under briefly, \nthen bobs to the surface. The current takes it off.", "Holly's father paints a picture. using a stereopticon to help \nwith his backgrounds. TRACK with Kit driving down a street in his \nMercury. Holly sits watching football practice.", "just barely, and the moon has risen behind him. Holly is heard \nover this last shot.", "In the distance we hear Holly's FATHER calling her. She eases \noff. \n\nHOLLY\nThat's my father. I got to run.", "HOLLY (v.o.)\nThen, sure enough, Dad found out I'd been running around behind \nhis back. He was madder than I'd ever seen him. As punishment for \ndeceiving him, he went and shot my dog.", "HOLLY\nWell. I'm glad it's over... For a while I was afraid I might die \nbefore it happened... Had a wreck, some deal like that.", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "Holly looks down. \n\nKIT\nBoy, we rang the bells, didn't we?\n\nHolly does not reply.", "Her questions make him uncomfortable. \n\nHOLLY\nGosh, what was everybody talking about?\n\nKIT\nDon't ask me.\n\nSilence.", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "Holly enters the room where the Rich Man and his Maid have been \nput. The furniture and paintings are covered with sheets, \nsuggesting that for some purpose, known only to the family, the \nroom has been set aside.", "KIT\nYou don't believe me, see for yourself.\n\nHolly stares at her father. \n\nDISSOLVE TO", "Holly, at the other end of the room. tests the comforts of a \nchair. This done. she moves to another chair and tests it, too. \nShe makes her hand limp. She watches it swing back and forth.", "Holly comes up the stairs, smoking a cigarette. She walks to her \nbedroom window. The CAMERA DOLLIES with her. Outside, under the \nstreet lamp, she can see two boys trading secrets.", "HOLLY (v.o.)\nWe had our bad moments, like any couple. Kit accused me of only \nbeing along for the ride,while at times I wished he'd fall in the \nriver and drown, so I could watch." ], [ "KIT\nYou expect me to believe that?\n\nHe looks back at Holly, as though to ask whether he should. \n\nBOY\nYeah.", "Kit and Holly eye one another. Kit sees the chance to make a \nfortune here. He is careful to conceal his feelings, though. \n\nKIT\nLet me finish my supper.", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "He starts off in the direction of the car, but Holly calls him \nback. \n\nHOLLY\nI don't want to.\n\nKit looks at her. surprised.", "TIGHT SHOT of Holly necking with Kit.", "Kit and Holly come out the front door. Holly wears a shawl over \nher head as a disguise, Kit wears the outfit he took off the Rich", "KIT\nYou don't believe me, see for yourself.\n\nHolly stares at her father. \n\nDISSOLVE TO", "Holly looks down. \n\nKIT\nBoy, we rang the bells, didn't we?\n\nHolly does not reply.", "Kit is going through Holly's dresser, throwing her things into a \nsuitcase. A pistol is visible in his back pocket. Suddenly,", "INT. CADILLAC \n\nHolly reads to Kit from a movie fan magazine.", "Kit sees that this kind of talk will not do. He is silent for a \nmoment, then throws the peach away. \n\nKIT\nYou know Holly... well. she means a lot to me, sir.", "Holly's father comes to his feet and fixes Kit in the eye. \n\nFATHER\nYou get out of here. I don't want you hanging around any more. \nYou understand?", "KIT\nYou're a redhead.\n\nHOLLY\nI know.\n\nKIT\nAnybody ever call you \"Red\"?", "The Trooper smiles and looks out the window. Kit looks to Holly, \nto see if she has taken this remark in the proper spirit. She \nsmiles and looks out the window.", "The Clerk gives him a slip of paper. \n\nEXT. FRONT PORCH OF HOLLY'S HOUSE \n\nHolly sees Kit approaching the house.", "Holly does not appreciate the humor of this. Kit, chastened, \nturns serious. \n\nKIT\nCourse it's too bad about your dad.\n\nHOLLY\nYeah.", "KIT\nYou boys keep out of trouble.\n\nGUARDSMAN\nDon't worry about us.\n\nDEPUTY\nHolly's over here, Kit. if you want to see her.", "She waves goodbye and runs off. Kit waves back. \n\nEXT. HOLLY'S BACK YARD", "KIT (sighs)\nWell... I don't think that'd work.\n\nThis startles Holly. \n\nINT. LIVING ROOM" ], [ "KIT\nHey, where you going?\n\nHe fires two shots into Holly's father, who slowly sinks to the \nfloor. Kit unlimbers his shoulder. Holly rushes down the stairs \nto her father's side.", "His shout arrests Holly's father at the bottom of the stairs. \n\nKIT\nSuppose I shot you. How'd that be? Huh?\n\nHolly's father does not move.", "Holly's father comes to his feet and fixes Kit in the eye. \n\nFATHER\nYou get out of here. I don't want you hanging around any more. \nYou understand?", "Holly's dog bounds through a stand of cattails. Holly speaks \nangrily to her father, who walks toward the dog with a gun. We do", "Holly's father paints a picture. using a stereopticon to help \nwith his backgrounds. TRACK with Kit driving down a street in his \nMercury. Holly sits watching football practice.", "Kit steps forward as Holly's father starts down the stairs. \n\nKIT\nWhat for?\n\nFATHER\nFor coming onto my property... With a gun.", "Kit heads out of sight around the rear of the box car. Holly goes \nback inside. Kit walks up and down the length of the box car, \ntalking under his breath and throwing his rifle from hand to \nhand, in a state.", "The CAMERA PANS off Holly's painting, a Maxwell Parrish, onto Kit \nasleep with his pistol beside him. then onto Holly under a quilt \nwith a box of shells beside her. Her hand quivers once.", "Holly does not appreciate the humor of this. Kit, chastened, \nturns serious. \n\nKIT\nCourse it's too bad about your dad.\n\nHOLLY\nYeah.", "Holly's father stares at him for a moment, then continues down \nthe stairs. Kit starts forward. \n\nKIT\nHey... Hey, wait a minute.", "Holly's father does not answer. \n\nKIT\nListen. I got a lot of respect for her, sir. (pause) That's about \nas good a one as I know to tell you.", "INT. LIVING ROOM \n\nHolly stands near a window. smoking a cigarette. Kit sets his \nrifle down and surveys the room, which is cluttered with odds and \nends.", "Kit is going through Holly's dresser, throwing her things into a \nsuitcase. A pistol is visible in his back pocket. Suddenly,", "KIT\nYou don't believe me, see for yourself.\n\nHolly stares at her father. \n\nDISSOLVE TO", "He kicks wildly at dust. \n\nKIT\nWhat is the matter with you, huh!?\n\nMeanwhile, the helicopter continues its approach. Kit walks in \ncloser to Holly.", "INT. LIVING ROOM \n\nHolly's father turns and walks into the living room. Kit rushes \ndown the stairs. Holly shouts his name.", "Kit approaches Holly's father, who is hard at work, painting a \nbillboard along a deserted stretch of road. Kit is eating a \npeach. \n\nKIT\nSure is pretty.", "HOLLY (v.o.)\nI didn't mind telling Kit about stuff like this, cause strange \nthings happened in his life, too, and some of the stuff he did \nwas strange.\n\nEXT. FEEDLOT", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "not hear their voices, only music. He shoots the dog and Holly \nruns off in horror." ], [ "KIT\nHey, where you going?\n\nHe fires two shots into Holly's father, who slowly sinks to the \nfloor. Kit unlimbers his shoulder. Holly rushes down the stairs \nto her father's side.", "His shout arrests Holly's father at the bottom of the stairs. \n\nKIT\nSuppose I shot you. How'd that be? Huh?\n\nHolly's father does not move.", "Holly's father drags a duffel bag out of his truck and dumps it \nover the side of a bridge, into a river. It goes under briefly, \nthen bobs to the surface. The current takes it off.", "Holly's father comes to his feet and fixes Kit in the eye. \n\nFATHER\nYou get out of here. I don't want you hanging around any more. \nYou understand?", "Holly's dog bounds through a stand of cattails. Holly speaks \nangrily to her father, who walks toward the dog with a gun. We do", "Holly's father paints a picture. using a stereopticon to help \nwith his backgrounds. TRACK with Kit driving down a street in his \nMercury. Holly sits watching football practice.", "gentlemanly word of warning, then shoots all three in the back. \nHe checks to see if anybody else is with them, then calls weakly \nout to Holly.", "In the distance we hear Holly's FATHER calling her. She eases \noff. \n\nHOLLY\nThat's my father. I got to run.", "Holly's father does not answer. \n\nKIT\nListen. I got a lot of respect for her, sir. (pause) That's about \nas good a one as I know to tell you.", "He looks at Holly, who has appeared on the landing, uncertain \nwhat her reaction to all this will be. \n\nFATHER\nOkay, boy, I'm turning you over to the authorities.", "KIT\nYou don't believe me, see for yourself.\n\nHolly stares at her father. \n\nDISSOLVE TO", "Holly's father stares at him for a moment, then continues down \nthe stairs. Kit starts forward. \n\nKIT\nHey... Hey, wait a minute.", "FATHER\nWhat do you think you're doing? Go on, get out of here.\n\nKIT\nWell, I got it all planned... and I'm taking Holly off with me.", "Kit steps forward as Holly's father starts down the stairs. \n\nKIT\nWhat for?\n\nFATHER\nFor coming onto my property... With a gun.", "Holly's father goes solemnly about his business.", "Holly's father appears in the dresser mirror, standing at the end \nof the hall outside the bedroom.", "not hear their voices, only music. He shoots the dog and Holly \nruns off in horror.", "INT. LIVING ROOM \n\nHolly's father turns and walks into the living room. Kit rushes \ndown the stairs. Holly shouts his name.", "HOLLY (v.o.)\nThen, sure enough, Dad found out I'd been running around behind \nhis back. He was madder than I'd ever seen him. As punishment for \ndeceiving him, he went and shot my dog.", "Holly does not appreciate the humor of this. Kit, chastened, \nturns serious. \n\nKIT\nCourse it's too bad about your dad.\n\nHOLLY\nYeah." ], [ "KIT\nMy girl Holly and I have decided to kill ourselves, same way I \ndid her dad. Big decision huh? Well, the reasons are obvious, and", "Kit and Holly come out the front door. Holly wears a shawl over \nher head as a disguise, Kit wears the outfit he took off the Rich", "KIT\nHey, where you going?\n\nHe fires two shots into Holly's father, who slowly sinks to the \nfloor. Kit unlimbers his shoulder. Holly rushes down the stairs \nto her father's side.", "Kit is going through Holly's dresser, throwing her things into a \nsuitcase. A pistol is visible in his back pocket. Suddenly,", "KIT (sighs)\nWell... I don't think that'd work.\n\nThis startles Holly. \n\nINT. LIVING ROOM", "Kit is burying some things from Holly's suitcase in a bucket\nthe trophy he took from the mansion, her stereopticon slides, a \ndoll, a spark plug, a pack of Camels, etc.", "TIGHT SHOT of Holly necking with Kit.", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "Holly sits down on the sofa across from Kit. \n\nHOLLY\nListen, maybe we ought to tell somebody about this.\n\nKIT\nYou said that once already... Too late now.", "Kit heads out of sight around the rear of the box car. Holly goes \nback inside. Kit walks up and down the length of the box car, \ntalking under his breath and throwing his rifle from hand to \nhand, in a state.", "Kit sticks a pin through the latch, hesitates, then fires two \nshots down through a seam into the cellar. He retreats to Holly's \nside. a little surprised at what he did.", "They arrive at the Cadillac. Holly sets down her suitcase and \nwaits for Kit to open the door for her.", "Kit and Holly eye one another. Kit sees the chance to make a \nfortune here. He is careful to conceal his feelings, though. \n\nKIT\nLet me finish my supper.", "The Attendant nods. Kit pulls Holly's suitcase out of the back \nseat and walks over to a trash can at the edge of the apron. Kit", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "HOLLY (v.o.)\nWe had our bad moments, like any couple. Kit accused me of only \nbeing along for the ride,while at times I wished he'd fall in the \nriver and drown, so I could watch.", "The music ends as one of them cocks his gun. They pass right over \nthe hole where Kit is hiding. Kit rises up slowly, gives them a", "His shout arrests Holly's father at the bottom of the stairs. \n\nKIT\nSuppose I shot you. How'd that be? Huh?\n\nHolly's father does not move.", "Holly, in curlers, walks over to where Kit is shaving. \n\nHOLLY\nOne of the chickens died last night.", "KIT\nYou expect me to believe that?\n\nHe looks back at Holly, as though to ask whether he should. \n\nBOY\nYeah." ], [ "HOLLY\nI almost stepped on him.\n\nEXT. UPPER DECK \n\nHolly sits on the upper deck of the treehouse, reading Kon-Tiki \naloud to Kit.", "KIT\nHolly!\n\nHolly picks her way through the brush, back to the treehouse. \n\nEXT. TREEHOUSE", "Kit and Holly come out the front door. Holly wears a shawl over \nher head as a disguise, Kit wears the outfit he took off the Rich", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "Kit sits in the crow's nest at the top of the treehouse, browsing \nthrough a copy of National Geographic. amused by what he sees, \nlooking around to find somebody he can share it with.", "appears, a hunter, carrying a gun. Kit shouts a code word to \nHolly. She takes off running, as Kit clambers down the planks of", "She waves goodbye and runs off. Kit waves back. \n\nEXT. HOLLY'S BACK YARD", "The Clerk gives him a slip of paper. \n\nEXT. FRONT PORCH OF HOLLY'S HOUSE \n\nHolly sees Kit approaching the house.", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "INT. LIVING ROOM \n\nHolly's father turns and walks into the living room. Kit rushes \ndown the stairs. Holly shouts his name.", "Kit heads out of sight around the rear of the box car. Holly goes \nback inside. Kit walks up and down the length of the box car, \ntalking under his breath and throwing his rifle from hand to \nhand, in a state.", "HOLLY (v.o.)\nLater we found out she was deaf and we hadn't even known it.\n\nKIT\nExcuse me.\n\nThey enter the house.", "He kicks wildly at dust. \n\nKIT\nWhat is the matter with you, huh!?\n\nMeanwhile, the helicopter continues its approach. Kit walks in \ncloser to Holly.", "He starts running away from the cellar. Holly follows him. A \nstorm is gathering on the horizon. Kit offers Holly his hand as \nthey run. but Holly does not see this.", "The music ends as one of them cocks his gun. They pass right over \nthe hole where Kit is hiding. Kit rises up slowly, gives them a", "EXT. TREE TOPS \n\nKit lifts an egg out of a bird's nest at the top of a tree. He \ndrops it down to Holly, fifty feet below.", "They sit at a picnic table under a tree, having lunch. Holly is \ntelling a joke at Kit's urging.", "Details of Kit and Holly building the treehouse. Kit pounds a log \ninto place wi h a tomahawk; Holly scrapes the bark off a log with", "Kit chuckles at this, which pleases Holly. \n\nEXT. TELEPHONE POLES", "KIT (sighs)\nWell... I don't think that'd work.\n\nThis startles Holly. \n\nINT. LIVING ROOM" ], [ "HOLLY (v.o.)\nWe went to hide out with a friend of Kit's from the days of the \ngarbage route.\n\nEXT. CATO'S HOUSE.", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "Kit and Holly come out the front door. Holly wears a shawl over \nher head as a disguise, Kit wears the outfit he took off the Rich", "The Clerk gives him a slip of paper. \n\nEXT. FRONT PORCH OF HOLLY'S HOUSE \n\nHolly sees Kit approaching the house.", "Kit and Holly eye one another. Kit sees the chance to make a \nfortune here. He is careful to conceal his feelings, though. \n\nKIT\nLet me finish my supper.", "Kit is going through Holly's dresser, throwing her things into a \nsuitcase. A pistol is visible in his back pocket. Suddenly,", "TIGHT SHOT of Holly necking with Kit.", "She waves goodbye and runs off. Kit waves back. \n\nEXT. HOLLY'S BACK YARD", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "He kicks wildly at dust. \n\nKIT\nWhat is the matter with you, huh!?\n\nMeanwhile, the helicopter continues its approach. Kit walks in \ncloser to Holly.", "KIT (sighs)\nWell... I don't think that'd work.\n\nThis startles Holly. \n\nINT. LIVING ROOM", "EXT. RICH MAN'S HOUSE \n\nKit and Holly approach a large Victorian mansion. Kit rings the \nbell.", "HOLLY\nYou have to ask Kit. He says frog, I jump.\n\nGIRL\nOkay.\n\nHOLLY\nWhat's your friend's name?", "INT. LIVING ROOM \n\nHolly's father turns and walks into the living room. Kit rushes \ndown the stairs. Holly shouts his name.", "KIT\nOh, this Is Holly. She's from Texas.\n\nKit winks at Holly. The Maid brushes her ears to indicate that \nshe is deaf, then stands back to let them pass.", "INT. LIVING ROOM \n\nHolly stands near a window. smoking a cigarette. Kit sets his \nrifle down and surveys the room, which is cluttered with odds and \nends.", "KIT\nYou boys keep out of trouble.\n\nGUARDSMAN\nDon't worry about us.\n\nDEPUTY\nHolly's over here, Kit. if you want to see her.", "He starts running away from the cellar. Holly follows him. A \nstorm is gathering on the horizon. Kit offers Holly his hand as \nthey run. but Holly does not see this.", "They arrive at the Cadillac. Holly sets down her suitcase and \nwaits for Kit to open the door for her.", "Kit throws his net down in disgust, partly at Holly. \n\nKIT\nTake a break. Red... Life of Riley, huh?\n\nHolly ignores him as he walks off down the flat." ], [ "throws Holly's things methodically into the trash can. After a \nwhile he comes upon a book. He opens the book and looks through \nit, then turns to find the Attendant staring at him. As he gets", "looks. Later I married the son of the lawyer who defended me. \n(pause) Kit went to sleep in the courtroom while his confession \nwas being read, and he was sentenced to die in the electric", "He looks at Holly, who has appeared on the landing, uncertain \nwhat her reaction to all this will be. \n\nFATHER\nOkay, boy, I'm turning you over to the authorities.", "Holly enters the room where the Rich Man and his Maid have been \nput. The furniture and paintings are covered with sheets, \nsuggesting that for some purpose, known only to the family, the \nroom has been set aside.", "Holly's father paints a picture. using a stereopticon to help \nwith his backgrounds. TRACK with Kit driving down a street in his \nMercury. Holly sits watching football practice.", "Holly tosses the lid at him. He picks up some dirt clods and \nstarts throwing them at her. She squeals and dodges. CATO watches \nthem for a while, indecisive, then turns and runs.", "The Attendant nods. Kit pulls Holly's suitcase out of the back \nseat and walks over to a trash can at the edge of the apron. Kit", "The Clerk gives him a slip of paper. \n\nEXT. FRONT PORCH OF HOLLY'S HOUSE \n\nHolly sees Kit approaching the house.", "He climbs over the edge of the trestle, looks back at her oddly, \nthen leaps down to the ground. Holly walks down to meet him.", "Holly's father does not answer. \n\nKIT\nListen. I got a lot of respect for her, sir. (pause) That's about \nas good a one as I know to tell you.", "he stomps a can and looks around to see if anyone has spotted him \nat this. As the CREDITS end he sees Holly in front of her house", "Holly leans against the fender of the police car. She wears \nhandcuffs. Kit turns to a State Trooper who holds him by a \ntether.", "His shout arrests Holly's father at the bottom of the stairs. \n\nKIT\nSuppose I shot you. How'd that be? Huh?\n\nHolly's father does not move.", "KIT\nHey, where you going?\n\nHe fires two shots into Holly's father, who slowly sinks to the \nfloor. Kit unlimbers his shoulder. Holly rushes down the stairs \nto her father's side.", "KIT\nYou boys keep out of trouble.\n\nGUARDSMAN\nDon't worry about us.\n\nDEPUTY\nHolly's over here, Kit. if you want to see her.", "Holly walks into the back yard, where her father is working. \nHalf-painted signs lean against the garage. \n\nFATHER\nWho was that?\n\nHOLLY\nJust some boy.", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "HOLLY\nYes.\n\nKIT\nGuess there's no way I'll ever know. For sure.\n\nThey round a corner into the garden.", "She gets into the car and they drive off. \n\nINT. MERCURY - DAWN \n\nKit studies Holly for signs of her mood. \n\nKIT\nHow you doing?" ], [ "The time is 1959. HOLLY SARGIS, the 15-year-old heroine, sits on", "KIT\nOh, Cato, I want you to meet my girl, Holly Sargis.\n\nHolly smiles and says hello. \n\nEXT. PICNIC TABLE", "HOLLY (v.o.)\nOf course I had to keep all this a secret from my dad. He \nwould've had a fit, since Kit was ten years older than me and", "Holly comes up the stairs, smoking a cigarette. She walks to her \nbedroom window. The CAMERA DOLLIES with her. Outside, under the \nstreet lamp, she can see two boys trading secrets.", "INT. HOLLY'S HOUSE", "Holly tosses the lid at him. He picks up some dirt clods and \nstarts throwing them at her. She squeals and dodges. CATO watches \nthem for a while, indecisive, then turns and runs.", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "Holly sits down on the sofa across from Kit. \n\nHOLLY\nListen, maybe we ought to tell somebody about this.\n\nKIT\nYou said that once already... Too late now.", "Holly takes a cane out of the umbrella rack, looks around \nfurtively, then steps out a side door of the house. \n\nEXT. LAWN", "Holly enters the room where the Rich Man and his Maid have been \nput. The furniture and paintings are covered with sheets, \nsuggesting that for some purpose, known only to the family, the \nroom has been set aside.", "Holly's father paints a picture. using a stereopticon to help \nwith his backgrounds. TRACK with Kit driving down a street in his \nMercury. Holly sits watching football practice.", "ones he gave him. Holly looks on from the side of the house, \ntwenty yards away.", "HOLLY\nMy stomach's growling.\n\nKIT\nThere's an old Fudgesicle over there. You want it?\n\nHOLLY\nNo.", "Holly does not appreciate the humor of this. Kit, chastened, \nturns serious. \n\nKIT\nCourse it's too bad about your dad.\n\nHOLLY\nYeah.", "Holly's father does not answer. \n\nKIT\nListen. I got a lot of respect for her, sir. (pause) That's about \nas good a one as I know to tell you.", "Holly runs her finger around the lip of a crystal glass. It makes \na soft chiming noise. Kit, sitting at the end of a table opposite", "GIRL\nJack.\n\nHOLLY\nYou love him?\n\nGIRL\nI don't know.\n\nHolly thinks about this for a moment.", "he stomps a can and looks around to see if anyone has spotted him \nat this. As the CREDITS end he sees Holly in front of her house", "throws Holly's things methodically into the trash can. After a \nwhile he comes upon a book. He opens the book and looks through \nit, then turns to find the Attendant staring at him. As he gets", "KIT (sighs)\nWell... I don't think that'd work.\n\nThis startles Holly. \n\nINT. LIVING ROOM" ], [ "The time is 1959. HOLLY SARGIS, the 15-year-old heroine, sits on", "INT. HOLLY'S HOUSE", "KIT\nOh, Cato, I want you to meet my girl, Holly Sargis.\n\nHolly smiles and says hello. \n\nEXT. PICNIC TABLE", "Holly takes a cane out of the umbrella rack, looks around \nfurtively, then steps out a side door of the house. \n\nEXT. LAWN", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "Holly's father paints a picture. using a stereopticon to help \nwith his backgrounds. TRACK with Kit driving down a street in his \nMercury. Holly sits watching football practice.", "Holly enters the room where the Rich Man and his Maid have been \nput. The furniture and paintings are covered with sheets, \nsuggesting that for some purpose, known only to the family, the \nroom has been set aside.", "KIT (sighs)\nWell... I don't think that'd work.\n\nThis startles Holly. \n\nINT. LIVING ROOM", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "Holly walks down the edge of the river, fresh from her bath. \nwrapped in a white sheet. The river is raging, with white caps \nvisible in places. \n\nEXT. FOREST", "She waves goodbye and runs off. Kit waves back. \n\nEXT. HOLLY'S BACK YARD", "INT. LIVING ROOM \n\nHolly stands near a window. smoking a cigarette. Kit sets his \nrifle down and surveys the room, which is cluttered with odds and \nends.", "Holly comes up the stairs, smoking a cigarette. She walks to her \nbedroom window. The CAMERA DOLLIES with her. Outside, under the \nstreet lamp, she can see two boys trading secrets.", "he stomps a can and looks around to see if anyone has spotted him \nat this. As the CREDITS end he sees Holly in front of her house", "ones he gave him. Holly looks on from the side of the house, \ntwenty yards away.", "house. The jeep, with Holly and her father, rumbles down a \nresidential street.", "The Clerk gives him a slip of paper. \n\nEXT. FRONT PORCH OF HOLLY'S HOUSE \n\nHolly sees Kit approaching the house.", "HOLLY (v.o.)\nLittle did I realize that what began in the alleys and back ways \nof this quiet town would end in the Badlands of Montana.\n\nEXT. ALLEY", "Holly, at the other end of the room. tests the comforts of a \nchair. This done. she moves to another chair and tests it, too. \nShe makes her hand limp. She watches it swing back and forth.", "INT. LIVING ROOM \n\nHolly's father turns and walks into the living room. Kit rushes \ndown the stairs. Holly shouts his name." ], [ "Holly's father paints a picture. using a stereopticon to help \nwith his backgrounds. TRACK with Kit driving down a street in his \nMercury. Holly sits watching football practice.", "Holly's father goes solemnly about his business.", "Holly's father does not answer. \n\nKIT\nListen. I got a lot of respect for her, sir. (pause) That's about \nas good a one as I know to tell you.", "In the distance we hear Holly's FATHER calling her. She eases \noff. \n\nHOLLY\nThat's my father. I got to run.", "The time is 1959. HOLLY SARGIS, the 15-year-old heroine, sits on", "Holly's father comes to his feet and fixes Kit in the eye. \n\nFATHER\nYou get out of here. I don't want you hanging around any more. \nYou understand?", "His shout arrests Holly's father at the bottom of the stairs. \n\nKIT\nSuppose I shot you. How'd that be? Huh?\n\nHolly's father does not move.", "Holly's father drags a duffel bag out of his truck and dumps it \nover the side of a bridge, into a river. It goes under briefly, \nthen bobs to the surface. The current takes it off.", "INT. LIVING ROOM \n\nHolly's father turns and walks into the living room. Kit rushes \ndown the stairs. Holly shouts his name.", "KIT\nYou don't believe me, see for yourself.\n\nHolly stares at her father. \n\nDISSOLVE TO", "KIT\nOh, Cato, I want you to meet my girl, Holly Sargis.\n\nHolly smiles and says hello. \n\nEXT. PICNIC TABLE", "Holly's father appears in the dresser mirror, standing at the end \nof the hall outside the bedroom.", "Holly's father stares at him for a moment, then continues down \nthe stairs. Kit starts forward. \n\nKIT\nHey... Hey, wait a minute.", "Holly walks into the back yard, where her father is working. \nHalf-painted signs lean against the garage. \n\nFATHER\nWho was that?\n\nHOLLY\nJust some boy.", "Holly's dog bounds through a stand of cattails. Holly speaks \nangrily to her father, who walks toward the dog with a gun. We do", "Holly does not appreciate the humor of this. Kit, chastened, \nturns serious. \n\nKIT\nCourse it's too bad about your dad.\n\nHOLLY\nYeah.", "KIT\nHey, where you going?\n\nHe fires two shots into Holly's father, who slowly sinks to the \nfloor. Kit unlimbers his shoulder. Holly rushes down the stairs \nto her father's side.", "LONG SHOT of father at work at billboard. Kit approaches Holly's \nhouse, collects the evening newspaper from the sidewalk, and", "knocks on the front door. Holly's father picks her up from a park \noutside the music school. Kit, when he gets no answer, enters the", "HOLLY\nWell, I know what my daddy's going to say.\n\nKIT (o.c.)\nWhat?\n\nHOLLY\nCan I be honest?" ], [ "KIT CARRUTHERS, the hero, a 25-year-old garbageman, kneels beside \na dead dog. He inspects it briefly. then looks back at his friend", "KIT\nName is Carruthers. Believe I shoot people every now and then. \nNot that I deserve a medal.\n\nHolly signals Kit with a nod at the horizon.", "Kit, rifle in hand, lumbers out a side door of the house with \nCato over his shoulder. He steers for a nearby box car that \nevidently served Cato as a shed.", "Kit heads out of sight around the rear of the box car. Holly goes \nback inside. Kit walks up and down the length of the box car, \ntalking under his breath and throwing his rifle from hand to \nhand, in a state.", "Kit, who has forgotten this propriety, hurries back and opens the \ndoor. He throws the suitcase in the back, goes around the front \nof the car and gets in.", "KIT\nOh, incidentally, my last name is Carruthers. Sounds a little too \nmuch like “druthers,” doesn't it?\n\nHOLLY\nIt's okay.", "The music ends as one of them cocks his gun. They pass right over \nthe hole where Kit is hiding. Kit rises up slowly, gives them a", "HOLLY (v.o.)\nOf course I had to keep all this a secret from my dad. He \nwould've had a fit, since Kit was ten years older than me and", "car slams into Kit, trying to slow him down. Kit slams back into \nthe police car. They return to the road. Kit makes a ninety-", "Kit opens the doors of the box car. and dumps Cato inside. Before \nclosing the doors he checks Cato's shoes. to see if they are the", "A 1951 Studebaker approaches the house. There are two people \ninside, a BOY and a GIRL. Kit comes out the front door. The Boy", "KIT\nNo, you're not either.\n\nFATHER (o.c.)\nYeah? Why not?\n\nKIT\nCause I can't allow it.", "KIT\nYou want to give me a little slack here?\n\nThe Trooper pays out the slack. Kit leans against the car. He and \nHolly exchange looks.", "Meanwhile, a police car approaches the station. Kit sees it at \nabout the same time the police see him. He throws his book in the", "Kit leads the others into the living room. The owner of the \nhouse, a RICH MAN, sits in a chair in the corner, reviewing some \nprints. At the sight of Kit he comes to his feet.", "He lets these words sink in, then returns to his seat. \n\nFATHER\n(shaking his head) You're something.\n\nKit waves goodbye.", "INT. LIVING ROOM - TIGHT ON KIT \n\nKit talks into the dictaphone, recording some advice for young \npeople.", "INT. CADILLAC \n\nKit and Holly sit in the back seat of the Cadillac. They have \nbeen necking. Her hair is in curlers.", "and Girl get out, but seeing Kit, they wait by the car.", "KIT\nYou want to hear what it sounds like?\n\nHe fires a shot into the stairs. The report is deafening in the \nenclosure of the stairwell. They exchange looks. Kit's breathing \nis heavy." ], [ "Holly's father goes solemnly about his business.", "Holly's father paints a picture. using a stereopticon to help \nwith his backgrounds. TRACK with Kit driving down a street in his \nMercury. Holly sits watching football practice.", "Holly's father does not answer. \n\nKIT\nListen. I got a lot of respect for her, sir. (pause) That's about \nas good a one as I know to tell you.", "Holly's father drags a duffel bag out of his truck and dumps it \nover the side of a bridge, into a river. It goes under briefly, \nthen bobs to the surface. The current takes it off.", "His shout arrests Holly's father at the bottom of the stairs. \n\nKIT\nSuppose I shot you. How'd that be? Huh?\n\nHolly's father does not move.", "In the distance we hear Holly's FATHER calling her. She eases \noff. \n\nHOLLY\nThat's my father. I got to run.", "Holly's father comes to his feet and fixes Kit in the eye. \n\nFATHER\nYou get out of here. I don't want you hanging around any more. \nYou understand?", "KIT\nHey, where you going?\n\nHe fires two shots into Holly's father, who slowly sinks to the \nfloor. Kit unlimbers his shoulder. Holly rushes down the stairs \nto her father's side.", "Holly does not appreciate the humor of this. Kit, chastened, \nturns serious. \n\nKIT\nCourse it's too bad about your dad.\n\nHOLLY\nYeah.", "Holly's father appears in the dresser mirror, standing at the end \nof the hall outside the bedroom.", "KIT\nYou don't believe me, see for yourself.\n\nHolly stares at her father. \n\nDISSOLVE TO", "Holly's dog bounds through a stand of cattails. Holly speaks \nangrily to her father, who walks toward the dog with a gun. We do", "HOLLY (v.o.)\nThen, sure enough, Dad found out I'd been running around behind \nhis back. He was madder than I'd ever seen him. As punishment for \ndeceiving him, he went and shot my dog.", "He looks at Holly, who has appeared on the landing, uncertain \nwhat her reaction to all this will be. \n\nFATHER\nOkay, boy, I'm turning you over to the authorities.", "Holly's father stares at him for a moment, then continues down \nthe stairs. Kit starts forward. \n\nKIT\nHey... Hey, wait a minute.", "INT. LIVING ROOM \n\nHolly's father turns and walks into the living room. Kit rushes \ndown the stairs. Holly shouts his name.", "gentlemanly word of warning, then shoots all three in the back. \nHe checks to see if anybody else is with them, then calls weakly \nout to Holly.", "Holly walks into the back yard, where her father is working. \nHalf-painted signs lean against the garage. \n\nFATHER\nWho was that?\n\nHOLLY\nJust some boy.", "HOLLY (v.o.)\nMy mother died of pneumonia when I was just a kid. My father had \nkept their wedding cake in the freezer for ten whole years. After", "HOLLY\nWell, I know what my daddy's going to say.\n\nKIT (o.c.)\nWhat?\n\nHOLLY\nCan I be honest?" ], [ "KIT\nHey, where you going?\n\nHe fires two shots into Holly's father, who slowly sinks to the \nfloor. Kit unlimbers his shoulder. Holly rushes down the stairs \nto her father's side.", "Holly's father comes to his feet and fixes Kit in the eye. \n\nFATHER\nYou get out of here. I don't want you hanging around any more. \nYou understand?", "FATHER\nWhat do you think you're doing? Go on, get out of here.\n\nKIT\nWell, I got it all planned... and I'm taking Holly off with me.", "He starts running away from the cellar. Holly follows him. A \nstorm is gathering on the horizon. Kit offers Holly his hand as \nthey run. but Holly does not see this.", "Kit and Holly come out the front door. Holly wears a shawl over \nher head as a disguise, Kit wears the outfit he took off the Rich", "Kit heads out of sight around the rear of the box car. Holly goes \nback inside. Kit walks up and down the length of the box car, \ntalking under his breath and throwing his rifle from hand to \nhand, in a state.", "Kit steps forward as Holly's father starts down the stairs. \n\nKIT\nWhat for?\n\nFATHER\nFor coming onto my property... With a gun.", "Kit is going through Holly's dresser, throwing her things into a \nsuitcase. A pistol is visible in his back pocket. Suddenly,", "His shout arrests Holly's father at the bottom of the stairs. \n\nKIT\nSuppose I shot you. How'd that be? Huh?\n\nHolly's father does not move.", "Holly's father stares at him for a moment, then continues down \nthe stairs. Kit starts forward. \n\nKIT\nHey... Hey, wait a minute.", "Kit and Holly eye one another. Kit sees the chance to make a \nfortune here. He is careful to conceal his feelings, though. \n\nKIT\nLet me finish my supper.", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "The music ends as one of them cocks his gun. They pass right over \nthe hole where Kit is hiding. Kit rises up slowly, gives them a", "HOLLY\nKit!\n\nKit looks up and sees a helicopter in the distance. He hesitates \na moment, then draws his gun. \n\nKIT\nOkay, friend. start running.", "KIT\nMy girl Holly and I have decided to kill ourselves, same way I \ndid her dad. Big decision huh? Well, the reasons are obvious, and", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "Holly sits down on the sofa across from Kit. \n\nHOLLY\nListen, maybe we ought to tell somebody about this.\n\nKIT\nYou said that once already... Too late now.", "HOLLY (v.o.)\nThey hadn't found but one set of bones in the ashes of the house. \nso we knew they'd be looking for us. Kit made sure we'd be \nprepared.", "Kit approaches Holly's father, who is hard at work, painting a \nbillboard along a deserted stretch of road. Kit is eating a \npeach. \n\nKIT\nSure is pretty.", "She watches him intently. This makes him uncomfortable. \n\nKIT\nYou want to go for a ride?\n\nHOLLY\nWell, I got homework." ], [ "Kit raises his gun and shoots Cato through the belly. CATO falls, \nthen gets to his feet and stumbles toward the front door of the", "He slaps Cato on the back and walks off. Cato throws a mouldy \nloaf of bread at his back. \n\nCATO\nCatch!\n\nKIT\nWhat do you mean?", "Cato bursts into laughter. \n\nKIT\nIsn't that funny?\n\nCato stops laughing. He wants to give Kit the right answer.", "INT. CATO'S BEDROOM \n\nCato lies motionless, on his bed. Holly steps forward and touches \nhim with a yardstick, like a child touching a snake.", "He throws the loaf back at Cato. \n\nEXT. ALLEYS", "Inside the bedroom Cato is still conscious, but his breathing is \nheavy. Kit walks back to Holly's side. HOLLY is looking through \nthe catalogue.", "BOY\nHi. where's Cato?\n\nKIT\nWell, he's gone.\n\nBOY\nGone? ... Where?", "CATO (o.c.)\nThey come with the house.\n\nHe refers to a set of deer antlers, mounted over the door. Kit \nlooks inside, then back at Cato.", "Kit, rifle in hand, lumbers out a side door of the house with \nCato over his shoulder. He steers for a nearby box car that \nevidently served Cato as a shed.", "As they bicker in the other room, Cato inspects his face in a \nmirror. \n\nKIT (o.c.)\nWhy don't you go in there and keep him company for a while?", "Kit opens the doors of the box car. and dumps Cato inside. Before \nclosing the doors he checks Cato's shoes. to see if they are the", "Cato takes it, a wan smile on his face. \n\nKIT\nWhat you been doing?\n\nCATO\nRunning this place for a fella in town. Nothing much to speak of.", "CATO\nKit... Maybe I'd better get a shovel.\n\nKIT\nOkay.\n\nCATO\nI'll catch up with you.", "CATO\nNot bad.\n\nKit steps forward, rifle in hand, and offers Cato the chicken. \n\nKIT\nTake that sombitch.", "HOLLY\nDoes he bite?\n\nCATO\nHe never bit me.\n\nWe hear the sound of a car HORN in the distance. HOLLY\nturns and looks.", "KIT\n(suspicious)\nThat's what he told you, huh?\n\nCATO (o.c.)\nNo, he showed me one.", "Cato jumps over a trough and comes to a stop in front of his \ntruck, a water tanker. \n\nCATO\nThe shovel's in the truck.", "EXT. CATO'S HOUSE", "INT. BEDROOM \n\nCato falls on his bed and rolls over to face Kit. Kit walks in \ncalmly and picks up a photo on the bureau.", "Cato, ignoring him, picks up a magazine that is lying in the \ngrass. When the CAMERA returns to Kit, he has stripped off his \napron." ], [ "INT. CAR \n\nKit, driving, turns to Holly. \n\nKIT\nYou tired?\n\nHOLLY\nYeah.", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "She waves goodbye and runs off. Kit waves back. \n\nEXT. HOLLY'S BACK YARD", "Kit heads out of sight around the rear of the box car. Holly goes \nback inside. Kit walks up and down the length of the box car, \ntalking under his breath and throwing his rifle from hand to \nhand, in a state.", "Kit throws his net down in disgust, partly at Holly. \n\nKIT\nTake a break. Red... Life of Riley, huh?\n\nHolly ignores him as he walks off down the flat.", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "He starts off in the direction of the car, but Holly calls him \nback. \n\nHOLLY\nI don't want to.\n\nKit looks at her. surprised.", "He starts running away from the cellar. Holly follows him. A \nstorm is gathering on the horizon. Kit offers Holly his hand as \nthey run. but Holly does not see this.", "Kit is going through Holly's dresser, throwing her things into a \nsuitcase. A pistol is visible in his back pocket. Suddenly,", "She gets into the car and they drive off. \n\nINT. MERCURY - DAWN \n\nKit studies Holly for signs of her mood. \n\nKIT\nHow you doing?", "They arrive at the Cadillac. Holly sets down her suitcase and \nwaits for Kit to open the door for her.", "KIT\nHey, where you going?\n\nHe fires two shots into Holly's father, who slowly sinks to the \nfloor. Kit unlimbers his shoulder. Holly rushes down the stairs \nto her father's side.", "KIT (sighs)\nWell... I don't think that'd work.\n\nThis startles Holly. \n\nINT. LIVING ROOM", "She watches him intently. This makes him uncomfortable. \n\nKIT\nYou want to go for a ride?\n\nHOLLY\nWell, I got homework.", "Kit and Holly come out the front door. Holly wears a shawl over \nher head as a disguise, Kit wears the outfit he took off the Rich", "He kicks wildly at dust. \n\nKIT\nWhat is the matter with you, huh!?\n\nMeanwhile, the helicopter continues its approach. Kit walks in \ncloser to Holly.", "Holly sits down on the sofa across from Kit. \n\nHOLLY\nListen, maybe we ought to tell somebody about this.\n\nKIT\nYou said that once already... Too late now.", "The MONTAGE includes a shot of Holly running toward Kit's car for \nsome rendezvous.", "falls. Kit jumps in the car and roars off. Holly surrenders \nherself to the pilot of the helicopter and is taken off.", "Holly's father comes to his feet and fixes Kit in the eye. \n\nFATHER\nYou get out of here. I don't want you hanging around any more. \nYou understand?" ], [ "They arrive at the Cadillac. Holly sets down her suitcase and \nwaits for Kit to open the door for her.", "Kit and Holly come out the front door. Holly wears a shawl over \nher head as a disguise, Kit wears the outfit he took off the Rich", "Kit and Holly have parked the Cadillac under a rail trestle. A \ntrain is approaching. They hide beside the car. The train, a", "INT. CADILLAC \n\nKit and Holly sit in the back seat of the Cadillac. They have \nbeen necking. Her hair is in curlers.", "INT. CADILLAC \n\nHolly reads to Kit from a movie fan magazine.", "DISSOLVE TO\n\n\nEXT. COUNTRY ROAD \n\nKit and Holly travel down a country road in the Studebaker.", "EXT. RICH MAN'S HOUSE \n\nKit and Holly approach a large Victorian mansion. Kit rings the \nbell.", "INT. CAR \n\nKit, driving, turns to Holly. \n\nKIT\nYou tired?\n\nHOLLY\nYeah.", "INT. CADILLAC - NIGHT \n\nKit and Holly's faces are strangely lit by the dash lights. Holly \nis absorbed in her map. The radio is on.", "falls. Kit jumps in the car and roars off. Holly surrenders \nherself to the pilot of the helicopter and is taken off.", "RICH MAN\nFine.\n\nKIT\nDon't worry, I won't let her drive.\n\nHe means Holly.", "Kit is going through Holly's dresser, throwing her things into a \nsuitcase. A pistol is visible in his back pocket. Suddenly,", "HOLLY (v.o.)\nWe needed supplies, so we went to a rich man's house. Kit figured \nit'd be safer and quicker than shopping in the downtown... A maid \ncame to the door.", "RICH MAN\nYes.\n\nKIT\nListen, ah ... We're going to take the Cadillac for a while. \nHow'd that be?", "Kit, who has forgotten this propriety, hurries back and opens the \ndoor. He throws the suitcase in the back, goes around the front \nof the car and gets in.", "The MONTAGE includes a shot of Holly running toward Kit's car for \nsome rendezvous.", "She gets into the car and they drive off. \n\nINT. MERCURY - DAWN \n\nKit studies Holly for signs of her mood. \n\nKIT\nHow you doing?", "Kit heads out of sight around the rear of the box car. Holly goes \nback inside. Kit walks up and down the length of the box car, \ntalking under his breath and throwing his rifle from hand to \nhand, in a state.", "the rich man's hat and skids to a stop. The police car gets back \nunderway. During these last few moments Holly is heard on VOICE \nOVER.", "A 1951 Studebaker approaches the house. There are two people \ninside, a BOY and a GIRL. Kit comes out the front door. The Boy" ], [ "he found in his house. Then, one day, hoping to begin a new life \naway from the scene of all his memories, he moved us from Texas \nto Ft. Dupree, South Dakota.", "Holly sits down and looks at the map. \n\nHOLLY\nState bird's a meadowlark.\n\nEXT. PAN ACROSS BADLANDS", "HOLLY (v.o.)\nI grew to love the forest. The cooing of the doves and the hum of \ndragonflies in the air made it always seem lonesome and like \neverybody's dead and gone...", "HOLLY (v.o.)\nLittle did I realize that what began in the alleys and back ways \nof this quiet town would end in the Badlands of Montana.\n\nEXT. ALLEY", "Holly's father paints a picture. using a stereopticon to help \nwith his backgrounds. TRACK with Kit driving down a street in his \nMercury. Holly sits watching football practice.", "HOLLY\nThat's Montana over there.\n\nKIT\nI never been to Montana... Acquaintance of mine has, but I \nhadn't... Never had any reason to.", "Holly enters the room where the Rich Man and his Maid have been \nput. The furniture and paintings are covered with sheets, \nsuggesting that for some purpose, known only to the family, the \nroom has been set aside.", "Holly walks down the edge of the river, fresh from her bath. \nwrapped in a white sheet. The river is raging, with white caps \nvisible in places. \n\nEXT. FOREST", "Holly tosses the lid at him. He picks up some dirt clods and \nstarts throwing them at her. She squeals and dodges. CATO watches \nthem for a while, indecisive, then turns and runs.", "Holly's father drags a duffel bag out of his truck and dumps it \nover the side of a bridge, into a river. It goes under briefly, \nthen bobs to the surface. The current takes it off.", "HOLLY (v.o.)\nOne day, I carried thirty pounds of wood a distance of five \nmiles. Another day, while hiding in the forest, I covered my eyes \nwith makeup, to see how they'd come out.", "KIT\nYou boys keep out of trouble.\n\nGUARDSMAN\nDon't worry about us.\n\nDEPUTY\nHolly's over here, Kit. if you want to see her.", "Holly, at the other end of the room. tests the comforts of a \nchair. This done. she moves to another chair and tests it, too. \nShe makes her hand limp. She watches it swing back and forth.", "Holly walks into the back yard, where her father is working. \nHalf-painted signs lean against the garage. \n\nFATHER\nWho was that?\n\nHOLLY\nJust some boy.", "HOLLY\nDon't.\n\nKIT\nAnybody ever done that to you before?\n\nHOLLY\nNo.\n\nKIT\nPositive?", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "HOLLY (v.o.) I felt all kind of things looking at the lights of \nCheyenne, but most important, I made up my mind to never again", "Kit approaches Holly's father, who is hard at work, painting a \nbillboard along a deserted stretch of road. Kit is eating a \npeach. \n\nKIT\nSure is pretty.", "The time is 1959. HOLLY SARGIS, the 15-year-old heroine, sits on", "HOLLY (v.o.)\nThrough desert and mesa, across the endless miles of open range, \nwe made our headlong way, steering by the telephone lines toward \nthe mountains of Montana." ], [ "HOLLY (v.o.)\nMy mother died of pneumonia when I was just a kid. My father had \nkept their wedding cake in the freezer for ten whole years. After", "HOLLY (v.o.)\nI grew to love the forest. The cooing of the doves and the hum of \ndragonflies in the air made it always seem lonesome and like \neverybody's dead and gone...", "Holly, in curlers, walks over to where Kit is shaving. \n\nHOLLY\nOne of the chickens died last night.", "Holly does not appreciate the humor of this. Kit, chastened, \nturns serious. \n\nKIT\nCourse it's too bad about your dad.\n\nHOLLY\nYeah.", "HOLLY\nWell. I'm glad it's over... For a while I was afraid I might die \nbefore it happened... Had a wreck, some deal like that.", "Holly's father does not answer. \n\nKIT\nListen. I got a lot of respect for her, sir. (pause) That's about \nas good a one as I know to tell you.", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "just barely, and the moon has risen behind him. Holly is heard \nover this last shot.", "Holly enters the room where the Rich Man and his Maid have been \nput. The furniture and paintings are covered with sheets, \nsuggesting that for some purpose, known only to the family, the \nroom has been set aside.", "In the distance we hear Holly's FATHER calling her. She eases \noff. \n\nHOLLY\nThat's my father. I got to run.", "Holly, at the other end of the room. tests the comforts of a \nchair. This done. she moves to another chair and tests it, too. \nShe makes her hand limp. She watches it swing back and forth.", "Holly comes up the stairs, smoking a cigarette. She walks to her \nbedroom window. The CAMERA DOLLIES with her. Outside, under the \nstreet lamp, she can see two boys trading secrets.", "Holly looks down. \n\nKIT\nBoy, we rang the bells, didn't we?\n\nHolly does not reply.", "Holly's father paints a picture. using a stereopticon to help \nwith his backgrounds. TRACK with Kit driving down a street in his \nMercury. Holly sits watching football practice.", "Holly's father drags a duffel bag out of his truck and dumps it \nover the side of a bridge, into a river. It goes under briefly, \nthen bobs to the surface. The current takes it off.", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "Her questions make him uncomfortable. \n\nHOLLY\nGosh, what was everybody talking about?\n\nKIT\nDon't ask me.\n\nSilence.", "Holly walks down the edge of the river, fresh from her bath. \nwrapped in a white sheet. The river is raging, with white caps \nvisible in places. \n\nEXT. FOREST", "KIT\nYou don't believe me, see for yourself.\n\nHolly stares at her father. \n\nDISSOLVE TO", "HOLLY\nYes.\n\nKIT\nGuess there's no way I'll ever know. For sure.\n\nThey round a corner into the garden." ], [ "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "Kit is going through Holly's dresser, throwing her things into a \nsuitcase. A pistol is visible in his back pocket. Suddenly,", "KIT\nHey, where you going?\n\nHe fires two shots into Holly's father, who slowly sinks to the \nfloor. Kit unlimbers his shoulder. Holly rushes down the stairs \nto her father's side.", "He starts running away from the cellar. Holly follows him. A \nstorm is gathering on the horizon. Kit offers Holly his hand as \nthey run. but Holly does not see this.", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "HOLLY (v.o.)\nThey hadn't found but one set of bones in the ashes of the house. \nso we knew they'd be looking for us. Kit made sure we'd be \nprepared.", "INT. LIVING ROOM \n\nHolly stands near a window. smoking a cigarette. Kit sets his \nrifle down and surveys the room, which is cluttered with odds and \nends.", "Kit and Holly come out the front door. Holly wears a shawl over \nher head as a disguise, Kit wears the outfit he took off the Rich", "Kit unplugs the lamp, lights a book of matches and pitches them \ninto a puddle of gas. The back porch of the house explodes into", "Kit is burying some things from Holly's suitcase in a bucket\nthe trophy he took from the mansion, her stereopticon slides, a \ndoll, a spark plug, a pack of Camels, etc.", "Holly's father comes to his feet and fixes Kit in the eye. \n\nFATHER\nYou get out of here. I don't want you hanging around any more. \nYou understand?", "KIT (sighs)\nWell... I don't think that'd work.\n\nThis startles Holly. \n\nINT. LIVING ROOM", "He kicks wildly at dust. \n\nKIT\nWhat is the matter with you, huh!?\n\nMeanwhile, the helicopter continues its approach. Kit walks in \ncloser to Holly.", "Holly comes out the screen door at the back of the house, \ncarrying a suitcase and a painting. Kit appears with a lamp on an", "Kit throws his net down in disgust, partly at Holly. \n\nKIT\nTake a break. Red... Life of Riley, huh?\n\nHolly ignores him as he walks off down the flat.", "Kit sticks a pin through the latch, hesitates, then fires two \nshots down through a seam into the cellar. He retreats to Holly's \nside. a little surprised at what he did.", "The Clerk gives him a slip of paper. \n\nEXT. FRONT PORCH OF HOLLY'S HOUSE \n\nHolly sees Kit approaching the house.", "Holly sits down on the sofa across from Kit. \n\nHOLLY\nListen, maybe we ought to tell somebody about this.\n\nKIT\nYou said that once already... Too late now.", "She waves goodbye and runs off. Kit waves back. \n\nEXT. HOLLY'S BACK YARD", "Kit heads out of sight around the rear of the box car. Holly goes \nback inside. Kit walks up and down the length of the box car, \ntalking under his breath and throwing his rifle from hand to \nhand, in a state." ], [ "Holly's father comes to his feet and fixes Kit in the eye. \n\nFATHER\nYou get out of here. I don't want you hanging around any more. \nYou understand?", "KIT\nHey, where you going?\n\nHe fires two shots into Holly's father, who slowly sinks to the \nfloor. Kit unlimbers his shoulder. Holly rushes down the stairs \nto her father's side.", "Holly's father stares at him for a moment, then continues down \nthe stairs. Kit starts forward. \n\nKIT\nHey... Hey, wait a minute.", "Holly's father paints a picture. using a stereopticon to help \nwith his backgrounds. TRACK with Kit driving down a street in his \nMercury. Holly sits watching football practice.", "Holly's father does not answer. \n\nKIT\nListen. I got a lot of respect for her, sir. (pause) That's about \nas good a one as I know to tell you.", "His shout arrests Holly's father at the bottom of the stairs. \n\nKIT\nSuppose I shot you. How'd that be? Huh?\n\nHolly's father does not move.", "Holly does not appreciate the humor of this. Kit, chastened, \nturns serious. \n\nKIT\nCourse it's too bad about your dad.\n\nHOLLY\nYeah.", "KIT\nYou don't believe me, see for yourself.\n\nHolly stares at her father. \n\nDISSOLVE TO", "INT. LIVING ROOM \n\nHolly's father turns and walks into the living room. Kit rushes \ndown the stairs. Holly shouts his name.", "Kit steps forward as Holly's father starts down the stairs. \n\nKIT\nWhat for?\n\nFATHER\nFor coming onto my property... With a gun.", "HOLLY (v.o.)\nThen, sure enough, Dad found out I'd been running around behind \nhis back. He was madder than I'd ever seen him. As punishment for \ndeceiving him, he went and shot my dog.", "FATHER\nWhat do you think you're doing? Go on, get out of here.\n\nKIT\nWell, I got it all planned... and I'm taking Holly off with me.", "knocks on the front door. Holly's father picks her up from a park \noutside the music school. Kit, when he gets no answer, enters the", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "He starts running away from the cellar. Holly follows him. A \nstorm is gathering on the horizon. Kit offers Holly his hand as \nthey run. but Holly does not see this.", "He kicks wildly at dust. \n\nKIT\nWhat is the matter with you, huh!?\n\nMeanwhile, the helicopter continues its approach. Kit walks in \ncloser to Holly.", "Kit heads out of sight around the rear of the box car. Holly goes \nback inside. Kit walks up and down the length of the box car, \ntalking under his breath and throwing his rifle from hand to \nhand, in a state.", "Kit sees that this kind of talk will not do. He is silent for a \nmoment, then throws the peach away. \n\nKIT\nYou know Holly... well. she means a lot to me, sir.", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "Kit throws his net down in disgust, partly at Holly. \n\nKIT\nTake a break. Red... Life of Riley, huh?\n\nHolly ignores him as he walks off down the flat." ], [ "HOLLY\nI almost stepped on him.\n\nEXT. UPPER DECK \n\nHolly sits on the upper deck of the treehouse, reading Kon-Tiki \naloud to Kit.", "Details of Kit and Holly building the treehouse. Kit pounds a log \ninto place wi h a tomahawk; Holly scrapes the bark off a log with", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "Kit and Holly come out the front door. Holly wears a shawl over \nher head as a disguise, Kit wears the outfit he took off the Rich", "The MONTAGE includes a shot of Holly running toward Kit's car for \nsome rendezvous.", "Kit heads out of sight around the rear of the box car. Holly goes \nback inside. Kit walks up and down the length of the box car, \ntalking under his breath and throwing his rifle from hand to \nhand, in a state.", "HOLLY (v.o.)\nI didn't mind telling Kit about stuff like this, cause strange \nthings happened in his life, too, and some of the stuff he did \nwas strange.\n\nEXT. FEEDLOT", "They arrive at the Cadillac. Holly sets down her suitcase and \nwaits for Kit to open the door for her.", "INT. LIVING ROOM \n\nHolly stands near a window. smoking a cigarette. Kit sets his \nrifle down and surveys the room, which is cluttered with odds and \nends.", "KIT\nHolly!\n\nHolly picks her way through the brush, back to the treehouse. \n\nEXT. TREEHOUSE", "Holly comes out the screen door at the back of the house, \ncarrying a suitcase and a painting. Kit appears with a lamp on an", "The Clerk gives him a slip of paper. \n\nEXT. FRONT PORCH OF HOLLY'S HOUSE \n\nHolly sees Kit approaching the house.", "She waves goodbye and runs off. Kit waves back. \n\nEXT. HOLLY'S BACK YARD", "Kit chuckles at this, which pleases Holly. \n\nEXT. TELEPHONE POLES", "DISSOLVE TO\n\n\nEXT. COUNTRY ROAD \n\nKit and Holly travel down a country road in the Studebaker.", "EXT. CAMPSITE \n\nThey are camped out in the middle of the badlands. Kit cooks some \nmeat over a fire, Holly, with a map under her arm, points into \nthe distance.", "Kit and Holly have parked the Cadillac under a rail trestle. A \ntrain is approaching. They hide beside the car. The train, a", "He starts running away from the cellar. Holly follows him. A \nstorm is gathering on the horizon. Kit offers Holly his hand as \nthey run. but Holly does not see this.", "HOLLY (v.o.)\nThey hadn't found but one set of bones in the ashes of the house. \nso we knew they'd be looking for us. Kit made sure we'd be \nprepared." ], [ "KIT\nHolly!\n\nHolly picks her way through the brush, back to the treehouse. \n\nEXT. TREEHOUSE", "HOLLY\nI almost stepped on him.\n\nEXT. UPPER DECK \n\nHolly sits on the upper deck of the treehouse, reading Kon-Tiki \naloud to Kit.", "Kit and Holly come out the front door. Holly wears a shawl over \nher head as a disguise, Kit wears the outfit he took off the Rich", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "appears, a hunter, carrying a gun. Kit shouts a code word to \nHolly. She takes off running, as Kit clambers down the planks of", "She waves goodbye and runs off. Kit waves back. \n\nEXT. HOLLY'S BACK YARD", "The Clerk gives him a slip of paper. \n\nEXT. FRONT PORCH OF HOLLY'S HOUSE \n\nHolly sees Kit approaching the house.", "Kit sits in the crow's nest at the top of the treehouse, browsing \nthrough a copy of National Geographic. amused by what he sees, \nlooking around to find somebody he can share it with.", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "The music ends as one of them cocks his gun. They pass right over \nthe hole where Kit is hiding. Kit rises up slowly, gives them a", "HOLLY (v.o.)\nWe went to hide out with a friend of Kit's from the days of the \ngarbage route.\n\nEXT. CATO'S HOUSE.", "Kit heads out of sight around the rear of the box car. Holly goes \nback inside. Kit walks up and down the length of the box car, \ntalking under his breath and throwing his rifle from hand to \nhand, in a state.", "He starts running away from the cellar. Holly follows him. A \nstorm is gathering on the horizon. Kit offers Holly his hand as \nthey run. but Holly does not see this.", "INT. LIVING ROOM \n\nHolly's father turns and walks into the living room. Kit rushes \ndown the stairs. Holly shouts his name.", "the treehouse and collects his shotgun. He tells her to hide, \nruns through the woods and dives in a hole, under a cover of", "He kicks wildly at dust. \n\nKIT\nWhat is the matter with you, huh!?\n\nMeanwhile, the helicopter continues its approach. Kit walks in \ncloser to Holly.", "They sit at a picnic table under a tree, having lunch. Holly is \ntelling a joke at Kit's urging.", "HOLLY (v.o.)\nLater we found out she was deaf and we hadn't even known it.\n\nKIT\nExcuse me.\n\nThey enter the house.", "EXT. TREE TOPS \n\nKit lifts an egg out of a bird's nest at the top of a tree. He \ndrops it down to Holly, fifty feet below.", "HOLLY (v.o.)\nThey hadn't found but one set of bones in the ashes of the house. \nso we knew they'd be looking for us. Kit made sure we'd be \nprepared." ], [ "The music ends as one of them cocks his gun. They pass right over \nthe hole where Kit is hiding. Kit rises up slowly, gives them a", "Kit raises his gun and shoots Cato through the belly. CATO falls, \nthen gets to his feet and stumbles toward the front door of the", "Kit, rifle in hand, lumbers out a side door of the house with \nCato over his shoulder. He steers for a nearby box car that \nevidently served Cato as a shed.", "car slams into Kit, trying to slow him down. Kit slams back into \nthe police car. They return to the road. Kit makes a ninety-", "KIT\nHey, where you going?\n\nHe fires two shots into Holly's father, who slowly sinks to the \nfloor. Kit unlimbers his shoulder. Holly rushes down the stairs \nto her father's side.", "KIT\nI've got a gun here, sir. It's always a good idea to have one \naround.\n\nKit draws the pistol. He is shaken, though he must have seen this \ncoming.", "Kit heads out of sight around the rear of the box car. Holly goes \nback inside. Kit walks up and down the length of the box car, \ntalking under his breath and throwing his rifle from hand to \nhand, in a state.", "KIT\nHe stole that cage. I saw him doing it.\n\nKit wants this to have been an execution, not a murder.", "HOLLY (v.o.)Kit felt bad about shooting those men in the backs. \nbut he said they'd come in like that. and they would've played it", "KIT\nLook at all this junk.\n\nHOLLY\nHow's he doing?\n\nKIT\n(shrugging)\nI got him in the stomach.", "lethal force. Kit ducks out of the way. We next see Kit with a \ndew ag around his forehead, running laps through the woods as \npart of his training. He exhorts himself to greater effort.", "appears, a hunter, carrying a gun. Kit shouts a code word to \nHolly. She takes off running, as Kit clambers down the planks of", "Kit does as the Sheriff asks. The Deputy holsters his pistol and \nwalks forward to inspect their prize. He and KIT exchange \nglances.", "Kit opens the doors of the box car. and dumps Cato inside. Before \nclosing the doors he checks Cato's shoes. to see if they are the", "KIT\nName is Carruthers. Believe I shoot people every now and then. \nNot that I deserve a medal.\n\nHolly signals Kit with a nod at the horizon.", "HOLLY (v.o.)\nThey hadn't found but one set of bones in the ashes of the house. \nso we knew they'd be looking for us. Kit made sure we'd be \nprepared.", "Kit looks around, overwhelmed by the luxury of the mansion. \n\nKIT\nSorry to barge in on you. Anybody else here besides you two?\n\nRICH MAN\nNo.", "KIT\nYou want to hear what it sounds like?\n\nHe fires a shot into the stairs. The report is deafening in the \nenclosure of the stairwell. They exchange looks. Kit's breathing \nis heavy.", "KIT CARRUTHERS, the hero, a 25-year-old garbageman, kneels beside \na dead dog. He inspects it briefly. then looks back at his friend", "HOLLY (v.o.)\nOften I've wondered what was going through Kit's head before they" ], [ "Kit, who has forgotten this propriety, hurries back and opens the \ndoor. He throws the suitcase in the back, goes around the front \nof the car and gets in.", "Kit, rifle in hand, lumbers out a side door of the house with \nCato over his shoulder. He steers for a nearby box car that \nevidently served Cato as a shed.", "Kit looks around, overwhelmed by the luxury of the mansion. \n\nKIT\nSorry to barge in on you. Anybody else here besides you two?\n\nRICH MAN\nNo.", "KIT\nYeah?\n\nHe steers her toward his car, a customized Mercury. As she gets \nin, he asks her", "RICH MAN\nYes.\n\nKIT\nListen, ah ... We're going to take the Cadillac for a while. \nHow'd that be?", "A 1951 Studebaker approaches the house. There are two people \ninside, a BOY and a GIRL. Kit comes out the front door. The Boy", "Kit shoots a hole in the tire of the Cadillac, then climbs up on \nthe hood. We see how far behind the police are. He checks his", "KIT\nHi.\n\nRICH MAN\nYes?\n\nKIT\nThis your place?\n\nRICH MAN\nYes.", "car slams into Kit, trying to slow him down. Kit slams back into \nthe police car. They return to the road. Kit makes a ninety-", "Meanwhile, a police car approaches the station. Kit sees it at \nabout the same time the police see him. He throws his book in the", "Kit opens the doors of the box car. and dumps Cato inside. Before \nclosing the doors he checks Cato's shoes. to see if they are the", "They arrive at the Cadillac. Holly sets down her suitcase and \nwaits for Kit to open the door for her.", "EXT. RICH MAN'S HOUSE \n\nKit and Holly approach a large Victorian mansion. Kit rings the \nbell.", "KIT\nYeah, he said for you to give us a lift into town. You're the \nones with the Studebaker, aren't you?\n\nThe Boy hesitates a second, then starts for the house.", "He adjusts his hat, starts the car and they drive off, past a \nRolls Royce Kit has declined in favor of the Cadillac. \n\nEXT. BADLANDS - EXTREME LONG SHOT", "degree turn but the police car loses traction and rolls onto its \nside, then back onto four wheels again, stalled. Kit sees that he \nhas lost them. He checks himself out in the mirror again, puts on", "flame. Kit runs to the car with the lamp, caught off guard by the \nforce of the flames. They drive off.", "Kit leads the others into the living room. The owner of the \nhouse, a RICH MAN, sits in a chair in the corner, reviewing some \nprints. At the sight of Kit he comes to his feet.", "Kit walks through the deserted alleys of the sleeping town... as \nthe MAIN TITLES APPEAR. He balances a stolen mop on his finger;", "Kit and Holly have parked the Cadillac under a rail trestle. A \ntrain is approaching. They hide beside the car. The train, a" ], [ "He looks at Holly, who has appeared on the landing, uncertain \nwhat her reaction to all this will be. \n\nFATHER\nOkay, boy, I'm turning you over to the authorities.", "Holly leans against the fender of the police car. She wears \nhandcuffs. Kit turns to a State Trooper who holds him by a \ntether.", "the rich man's hat and skids to a stop. The police car gets back \nunderway. During these last few moments Holly is heard on VOICE \nOVER.", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "With Holly's last words we CUT INSIDE the cabin of the plane. \n\nINT. CABIN", "he stomps a can and looks around to see if anyone has spotted him \nat this. As the CREDITS end he sees Holly in front of her house", "Holly, at the other end of the room. tests the comforts of a \nchair. This done. she moves to another chair and tests it, too. \nShe makes her hand limp. She watches it swing back and forth.", "Holly takes a cane out of the umbrella rack, looks around \nfurtively, then steps out a side door of the house. \n\nEXT. LAWN", "Holly sits down on the sofa across from Kit. \n\nHOLLY\nListen, maybe we ought to tell somebody about this.\n\nKIT\nYou said that once already... Too late now.", "The Clerk gives him a slip of paper. \n\nEXT. FRONT PORCH OF HOLLY'S HOUSE \n\nHolly sees Kit approaching the house.", "Holly is off somewhere in the forest. putting on lipstick. Kit \nsits on watch in the crowls nest, a pair of binoculars close at", "They arrive at the Cadillac. Holly sets down her suitcase and \nwaits for Kit to open the door for her.", "Holly walks down the edge of the river, fresh from her bath. \nwrapped in a white sheet. The river is raging, with white caps \nvisible in places. \n\nEXT. FOREST", "Holly enters the room where the Rich Man and his Maid have been \nput. The furniture and paintings are covered with sheets, \nsuggesting that for some purpose, known only to the family, the \nroom has been set aside.", "falls. Kit jumps in the car and roars off. Holly surrenders \nherself to the pilot of the helicopter and is taken off.", "INT. HOLLY'S HOUSE", "She gets into the car and they drive off. \n\nINT. MERCURY - DAWN \n\nKit studies Holly for signs of her mood. \n\nKIT\nHow you doing?", "gentlemanly word of warning, then shoots all three in the back. \nHe checks to see if anybody else is with them, then calls weakly \nout to Holly.", "Meanwhile, a police car approaches the station. Kit sees it at \nabout the same time the police see him. He throws his book in the", "His shout arrests Holly's father at the bottom of the stairs. \n\nKIT\nSuppose I shot you. How'd that be? Huh?\n\nHolly's father does not move." ], [ "He looks at Holly, who has appeared on the landing, uncertain \nwhat her reaction to all this will be. \n\nFATHER\nOkay, boy, I'm turning you over to the authorities.", "Holly leans against the fender of the police car. She wears \nhandcuffs. Kit turns to a State Trooper who holds him by a \ntether.", "he stomps a can and looks around to see if anyone has spotted him \nat this. As the CREDITS end he sees Holly in front of her house", "Holly sits down on the sofa across from Kit. \n\nHOLLY\nListen, maybe we ought to tell somebody about this.\n\nKIT\nYou said that once already... Too late now.", "the rich man's hat and skids to a stop. The police car gets back \nunderway. During these last few moments Holly is heard on VOICE \nOVER.", "Holly, at the other end of the room. tests the comforts of a \nchair. This done. she moves to another chair and tests it, too. \nShe makes her hand limp. She watches it swing back and forth.", "With Holly's last words we CUT INSIDE the cabin of the plane. \n\nINT. CABIN", "There are tears in Holly's eyes now. They exchange looks as Kit \nopens the front door. Then he leaves. Holly settles back on the \ncouch. \n\nEXT. HOLLY'S HOUSE - NIGHT", "Holly looks down. \n\nKIT\nBoy, we rang the bells, didn't we?\n\nHolly does not reply.", "His shout arrests Holly's father at the bottom of the stairs. \n\nKIT\nSuppose I shot you. How'd that be? Huh?\n\nHolly's father does not move.", "gentlemanly word of warning, then shoots all three in the back. \nHe checks to see if anybody else is with them, then calls weakly \nout to Holly.", "He starts running away from the cellar. Holly follows him. A \nstorm is gathering on the horizon. Kit offers Holly his hand as \nthey run. but Holly does not see this.", "She gets into the car and they drive off. \n\nINT. MERCURY - DAWN \n\nKit studies Holly for signs of her mood. \n\nKIT\nHow you doing?", "HOLLY\nI've got to stick by Kit... He feels trapped.\n\nGIRL\nYeah. I can imagine.\n\nHOLLY\nWell, I've felt that way, hadn't you?", "KIT\nHey, where you going?\n\nHe fires two shots into Holly's father, who slowly sinks to the \nfloor. Kit unlimbers his shoulder. Holly rushes down the stairs \nto her father's side.", "In the distance we hear Holly's FATHER calling her. She eases \noff. \n\nHOLLY\nThat's my father. I got to run.", "HOLLY (shyly)\nThey claim I've got him wrapped around my little finger, but I \nnever told him to shoot anybody.\n\nShe looks the room over.", "Holly tosses the lid at him. He picks up some dirt clods and \nstarts throwing them at her. She squeals and dodges. CATO watches \nthem for a while, indecisive, then turns and runs.", "HOLLY\nBut it would hurt.\n\nKIT\nWell, that's the point, stupid.\n\nShe gives him a cold look.", "The Clerk gives him a slip of paper. \n\nEXT. FRONT PORCH OF HOLLY'S HOUSE \n\nHolly sees Kit approaching the house." ] ]

[ "Where does Holly live?", "How did Holly's mom die?", "Who does Holly think Kit looks like?", "What does Holly's dad shoot in protest of Holly and Kit's relationship?", "Who kills Holly's father?", "How do Kit and Holly fake a suicide?", "Who discovers Kit and Holly in the treehouse?", "Who is Kit's friend who he and Holly stay with?", "Who marries the son of Holly's defense attorney?", "How old is Holly Sargis?", "Where does Holly Sargis live?", "What is Holly Sargis' father's profession?", "How old is Kit Carruthers?", "How does Holly's father die?", "Where do Kit and Holly plan to go after Kit kills Holly's father?", "How does Cato die?", "What does Holly do when she gets tired of Kit and life on the run?", "What kind of car do Kit and Holly steal from the rich man?", "In which state is the town of Fort Dupree, where Holly is from?", "What did Holly's mother die of? ", "Why do Holly and Kit set fire to Holly's house?", "What does Holly's father do as punishment for Holly spending time with Kit? ", "What sort of construction do Holly and Kit live in when they reach Montana?", "Who finds Kit and Holly hiding out in the treehouse?", "How many bounty hunters did Kit kill?", "What type of car does Kit steal from the wealthy man in the mansion?", "Where does Holly finally give herself up to police?", "Why does Holly finally hand herself in to cops?" ]

[ [ "Fort Dupree, SD", "Fort Dupree" ], [ "Pneumonia ", "died of pneumonia " ], [ "James Dean", "James Dean" ], [ "Holly's dog", "Her dog." ], [ "Kit", "Kit." ], [ "By burning down the house", "They burn down Holly's house." ], [ "Bounty Hunters", "Bounty Hunters." ], [ "Cato", "Cato" ], [ "Holly", "Holly." ], [ "She is fifteen years old.", "15." ], [ "Fort Dupree, South Dakota.", "Fort Dupree, SD." ], [ "He is a sign painter.", "Sign painter." ], [ "He is twenty-five years old.", "25" ], [ "Kit shoots him.", "Kit Holly's lover shot him dead " ], [ "The badlands of Montana.", "Montana." ], [ "Kit shoots him.", "Kit shot him" ], [ "She turns herself in to the authorities.", "turns herself in" ], [ "A Cadillac.", "Cadillac" ], [ "South Dakota", "South Dakota" ], [ "Pneumonia", "pneumonia" ], [ "To fake suicide.", "To fake suicide" ], [ "He shoots her dog.", "shoots her dog" ], [ "A treehouse", "treehouse" ], [ "Bounty hunters", "Bounty hunters." ], [ "Three", "Three." ], [ "A Cadillac", "A Cadillac." ], [ "Saskatchewan.", "Saskatchewan." ], [ "She is tired of being on the run and tired of Kit", "She is sick of being on the run and being with Kit." ] ]

[ [ "The service hasn't started yet. Jack walks nervously\n through the empty room to an open casket. He glances\n back, then leans over the coffin.", "Just then the Old Guy walks in with the Pale Assistant\n pushing a gurney with a BODY wrapped in plastic sheeting.", "on one wall. The room is silent. Still. Like a chapel.\n In the semi-darkness we see a BODY on a porcelain slab\n covered with a white sheet.", "Eliot steps into the hallway. Stops by a vase of\n flowers. He plucks a dead petal. Crushes it. Curiously\n sniffs his fingers. Then heads to the casket room.", "ELIOT\n You were pronounced dead eight hours ago.\n Your blood no longer circulates through\n your body. Your brain cells are slowly\n dying. Your body's already decomposing.", "A path leads to an old well-kept house. Amongst a blaze of\n violet tulips we see a sign: Eliot Deane. Funeral Home.", "Mrs. Hutton nods, then turns to greet another MOURNER.\n Anna steps nervously up to the coffin.", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "...at 9.45 last night. I picked up your\n body from the hospital morgue at 12.10\n this morning.", "Runs over. Nothing. The cemetery is empty. The trees\n appear to SHIMMER for a moment. Paul shivers. Pulls his\n jacket around him. He doesn't notice the candles on", "Sun streams into an elegant wood-panelled room. The\n Funeral Director, ELIOT DEANE (40s) guides MRS. AYRES", "Paul treads carefully along the side of the Funeral Home.\n It's a full moon. The trees rustle ominously in the", "Eliot moves through the Funeral Home pulling heavy drapes\n over the windows and closing doors. It feels like a\n ritual. The once airy sunlit rooms are darker now. More\n ominous. Claustrophobic.", "ELIOT\n Your funeral's in three days. Soon\n you'll be enclosed in a coffin. Then", "ELIOT\n It's different every time. Each person\n dies in their own way.", "Anna lies on the slab in her burial dress. Her eyes closed.\n Eliot enters the room. He doesn't lock the door behind", "You had an accident. You're dead. Why\n do you people never listen to me?\n Frank doesn't move. His mouth still wired shut.", "being prepared for her own funeral. We pull back.\n Beatrice, dressed in black, sits in front of a mirror.\n Diane applies her make-up. Beatrice opens her eyes.", "Eliot takes notes as he talks on the phone. He looks at\n a day calendar on his desk. Idly flips over the page\n from Tuesday to Wednesday.", "GRAY BODIES lie on steel tables. Eliot moves over to one\n of the CORPSES. Examines it with professional interest." ], [ "(TO ANNA)\n Who's going to look after me now? Did\n you think about that?\n She nods to Diane. Diane helps her into the wheelchair.", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "Carefully places it on a coat-hanger. Puts on a pale\n blue smock then snaps on the latex gloves. His every\n move meticulous. Measured. Like a ritual.", "Eliot steps carefully into the viewing room. Looks\n around. Just then we hear the sound of bare feet\n STAMPING along the hallway behind him.", "Clearly unsettled by Eliot's words. After a moment she\n looks at the Old Woman. She moves over. Hesitantly\n pulls away the white sheet. Stares at the Old Woman", "Eliot slides a wooden head-rest under her neck and studies\n her wounds, touching them delicately. Thinking about how\n to conceal them. He turns to a tray of instruments.", "stench. Doing nothing with their\n lives. Taking the air away from those\n who actually want to live. I have to", "Anna sits on the slab. Her hands behind her back. She\n carefully watches Eliot as he pulls on his pale blue\n smock then walks over to a cabinet.", "flies hang in the air. BUZZING noisily.\n The Old Women surround Anna in a tight circle. Leaning\n over her. Making her feel claustrophobic. She can smell", "Mrs. Hutton nods, then turns to greet another MOURNER.\n Anna steps nervously up to the coffin.", "looks across at Anna. She's staring at something behind\n him. Eliot turns. Sees the uncovered body of the Old\n Woman on the gurney. He quickly walks over. Carefully", "Diane shivers. The room's cold. Beatrice touches Anna's\n hand through the white sheet. Then uncovers Anna's face.\n The needle's still embedded in her eyebrow.", "Paul and Beatrice lead Anna to the bed. As she lies down\n we realize the bed is full of BLACK SOIL. Clouds of ugly", "The Principal and Janitor walk away. Paul reaches inside\n the locker. Pulls out a stack of exercise books. An", "die, will live.\n Tom and Paul appear at the door. Tom guides Paul to a\n seat near the back.", "room. The other slab's empty. The Old Woman's gone.\n Anna stumbles over to the trolley. Pushes it aside.\n Desperately searching for the tiny door. She touches the", "Paul glances at the casket again, then reluctantly allows\n Tom to lead him away.\n Eliot tightens the last screw. His back to the room.", "In the candlelight we can see the house is full of OLD\n WOMEN. Their faces deeply lined. Wearing identical\n black shawls. They stare at Anna, whispering in", "INT. FUNERAL HOME. HALLWAY - MOMENTS LATER\n\n A Nurse, DIANE (30s) follows Beatrice in her wheelchair\n as Eliot leads them through the hallway.", "An open plan office. Paul weaves quickly through the\n rows of desks. He seems unbalanced. Manic. DETECTIVES\n cautiously watch Paul approach Tom sitting at his desk,\n his head bent over paperwork." ], [ "ELIOT\n You were pronounced dead eight hours ago.\n Your blood no longer circulates through\n your body. Your brain cells are slowly\n dying. Your body's already decomposing.", "being prepared for her own funeral. We pull back.\n Beatrice, dressed in black, sits in front of a mirror.\n Diane applies her make-up. Beatrice opens her eyes.", "ANNA\n Is this what happens when you die?\n\n ELIOT\n It depends on how you lived your life.", "Runs over. Nothing. The cemetery is empty. The trees\n appear to SHIMMER for a moment. Paul shivers. Pulls his\n jacket around him. He doesn't notice the candles on", "Eliot steps into the hallway. Stops by a vase of\n flowers. He plucks a dead petal. Crushes it. Curiously\n sniffs his fingers. Then heads to the casket room.", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "The service hasn't started yet. Jack walks nervously\n through the empty room to an open casket. He glances\n back, then leans over the coffin.", "much time left.\n (gestures to the Old Women)\n Look. She's accepted her death. Her\n life has been examined. She has no more", "You had an accident. You're dead. Why\n do you people never listen to me?\n Frank doesn't move. His mouth still wired shut.", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "ELIOT\n It's different every time. Each person\n dies in their own way.", "on one wall. The room is silent. Still. Like a chapel.\n In the semi-darkness we see a BODY on a porcelain slab\n covered with a white sheet.", "...at 9.45 last night. I picked up your\n body from the hospital morgue at 12.10\n this morning.", "ELIOT\n Your funeral's in three days. Soon\n you'll be enclosed in a coffin. Then", "MRS. AYRES\n I'm sorry. Yes. A private visitation.\n\n (HESITATES)\n Mr. Deane? What happens when we die?", "The TEACHER throws a handful of earth onto the coffin.\n Jack steps up. Looks down curiously. As if he could\n sense Anna. Then slowly pours the soil from his hand.", "(70S), lying in the casket. Mrs. Hutton touches a\n bouquet of white roses by the casket.", "ELIOT\n No Jack. They're never the same. Each\n one is special. The dead always speak to\n us in different ways.\n\n JACK", "Anna lies on the slab in her burial dress. Her eyes closed.\n Eliot enters the room. He doesn't lock the door behind", "A warm intimate room. Peaceful. Rows of chairs filled\n with ELDERLY MOURNERS. Eliot stands respectfully beside\n a casket. FATHER GRAHAM (50s) reads at a lectern." ], [ "UPSTAIRS ROOM\n Eliot smiles. Like a father proud of his child's first\n step. Just then he notices something outside. We see a\n brief flicker of unease in Eliot's eyes.", "VIEWING ROOM\n Anna steps back terrified. Stares at Hutton. His face\n serene again. It must have been her imagination. She", "In the b.g. Eliot walks into the viewing room. He stops\n surprised. Watches Jack intently.", "VIEWING ROOM\n Eliot stares at the blood for a moment. Takes out a\n pristine white handkerchief. Carefully wipes off the\n blood. Then places his hand on the coffin.", "Eliot steps carefully into the viewing room. Looks\n around. Just then we hear the sound of bare feet\n STAMPING along the hallway behind him.", "Smiling. Happy. Paul looks at it for a moment. Trying\n hard to hold back his emotions.", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "Silence. O.S. a shuddering pipe bangs ominously. Anna\n opens her eyes abruptly as if waking from a deep sleep.\n She stares at us. Numb.", "We hear a key turn in a lock. Then another lock. The\n room's suddenly flooded with a harsh white light.\n Eliot steps inside the room. He takes off his jacket.", "room. The other slab's empty. The Old Woman's gone.\n Anna stumbles over to the trolley. Pushes it aside.\n Desperately searching for the tiny door. She touches the", "Paul stands motionless in the middle of the room. Staring\n blankly into space. The room feels empty and depressing.\n He suddenly looks around. Not quite sure why he came into", "FADE TO SEARING WHITENESS.\n Paul blinks as he gradually gets used to the harsh light.\n Slowly the room comes into focus...", "Through the windshield we see Paul approach the car.\n He peers in nervously. Then cautiously gets in. As he\n switches the interior light off, the camera moves slowly", "HALLWAY\n Eliot turns towards her... then at the last moment\n changes his mind. Heads in the opposite direction\n towards the viewing room.", "For a moment she doesn't know where she is. Then she\n sees Eliot by a CD player. She watches with trepidation\n as he approaches her.", "ROOM\n Suddenly Eliot looks up sharply. As if someone had spoken\n to him.", "on one wall. The room is silent. Still. Like a chapel.\n In the semi-darkness we see a BODY on a porcelain slab\n covered with a white sheet.", "the room in the first place. He moves over to a CD player.\n Mechanically switches it on. Music fills the room. He\n turns the volume higher. Then all the way up. The music's", "Anna sits by the door in the darkness. Suddenly the\n room's flooded with light. Eliot walks in. Looks at\n Anna for a moment. She just stares back at him coldly.\n He heads over to the sink.", "Anna sits on the floor in the middle of the room.\n Hugging her legs to her chest. Rocking to and fro.\n Surrounded by broken glass, torn papers and instruments.\n Eliot enters the room. Coldly surveys the destruction." ], [ "Then watches, relieved, as the crow disappears into the\n dark sky. He turns back to Anna... she's not there.", "stench. Doing nothing with their\n lives. Taking the air away from those\n who actually want to live. I have to", "ELIOT\n You people. You all say the same thing.\n Eliot's voice, with each word, fades further and further\n away. Paul closes his eyes.", "soaked with a dark stain. She's only wearing one shoe.\n Eliot gently takes off the watch from her stiff wrist.\n Places it inside a brown paper bag. Eases off the shoe.", "Vincent glances one last time at Anna then leaves. The\n door locking shut behind him. Eliot stares at the door.", "ELIOT\n It's different every time. Each person\n dies in their own way.", "The Principal and Janitor walk away. Paul reaches inside\n the locker. Pulls out a stack of exercise books. An", "Anna listens anxiously to the CRUNCH of Eliot's feet on\n the gravel outside. After a moment she hears the van\n drive away. She unfurls her fist revealing Eliot's keys.", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "thick black fluid trickles from her nose. Paul turns\n away. Horrified. When he turns back a second later\n Anna's not there. The bathroom's empty. The shower's", "CASHIER\n Sir. Your change.\n Eliot ignores him. Scrambles into his van. Intrigued,\n Jack watches Eliot drive away. Then unlocks his bicycle.", "Suddenly one of the fluorescent ceiling lights behind her\n blows out with a loud WHUMPH. Anna starts. Turns.\n WHUMPH. The next light dies. Anna quickens her step.", "ANNA\n Is this what happens when you die?\n\n ELIOT\n It depends on how you lived your life.", "corpses. Wandering the earth\n aimlessly. All they do is piss and\n shit. Suffocating us with their", "much time left.\n (gestures to the Old Women)\n Look. She's accepted her death. Her\n life has been examined. She has no more", "Paul opens the wardrobe. Pulls out Anna's clothes. Stuffs\n them into the bin liner. He notices the Kitschy Doll.\n Shoves it in with Anna's clothes.", "Nothing. The bathroom's empty. Paul looks around\n nervously. He catches the reflection of his pallid face\n in the mirror. Leans wearily against the washbasin.\n\n 51.", "malls. Thinking that this is never going\n to happen to them. Until it's their turn\n to be buried. Think about it Anna...", "room. The other slab's empty. The Old Woman's gone.\n Anna stumbles over to the trolley. Pushes it aside.\n Desperately searching for the tiny door. She touches the", "Eliot pushes the gurney to a WHITE VAN with black tinted\n windows (Note: The same kind of van that cut in front of\n Anna just before the accident)." ], [ "Eliot walks out of the funeral home. We pull back. Jack\n stands by his bicycle in the bushes watching him. Eliot\n looks up. As if sensing someone was spying on him. Jack\n steps back quickly behind a tree.", "We hear a key turn in a lock. Then another lock. The\n room's suddenly flooded with a harsh white light.\n Eliot steps inside the room. He takes off his jacket.", "(CALMLY)\n I know. I heard you talking to him.\n Why didn't you let him see me?\n Eliot smiles. Amused she caught him out. He continues\n washing his hands.", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "Eliot holds up the shovel. Jack looks at him for a\n moment then reaches for the shovel.", "Paul unlocks his car. He's about to open the car door\n when he feels someone watching him. He turns. Jack's\n observing him carefully.", "Strangely Eliot's not surprised. He calmly steps back.\n Watches her carefully.\n Anna's eyes slowly focus on Eliot. She's groggy. Confused.", "you go and find out for yourself Mr. Conran.\n Find out whether she's alive or dead.\n Paul grabs Eliot by his lapels. Shoves him against the wall.", "ELIOT\n No. Not at all. I'll wait outside.\n As Eliot leaves, Vincent looks at Frank's body. After a", "(QUICKLY)\n Yes. Very tragic. Now is there anything\n else I can help you with?\n Vincent frowns. Turns back to Eliot.", "Eliot observes him cautiously. Did Jack hear the sound\n as well? Jack looks back at Eliot. Smiles. Then\n without a word, turns and heads back up the stairs.", "In the b.g. Eliot walks into the viewing room. He stops\n surprised. Watches Jack intently.", "It's a small town. In my line of work\n you get to know everyone eventually.\n As they shake, Eliot looks at Paul's hand strangely. As", "ELIOT\n I just told you. That was your brother.\n (turns to Frank)", "Jack sits on the bench. Watches Anna drive away. Then\n unzips his backpack. Something moves inside. A strange\n jerky movement. Jack closes the backpack. Glances up\n and down the empty street. Then walks away on his own.", "The Principal and Janitor walk away. Paul reaches inside\n the locker. Pulls out a stack of exercise books. An", "VIEWING ROOM\n Eliot stares at the blood for a moment. Takes out a\n pristine white handkerchief. Carefully wipes off the\n blood. Then places his hand on the coffin.", "A line of BLOOD trickles from his nose. He touches his\n lips. Looks blankly at the blood on his fingertips. A\n drop of blood falls on Paul's white shirt. It unfurls", "Eliot walks over to the slab, his surgery clogs softly\n clacking against the tiled floor. He looks at the slab\n for a moment then slowly pulls the sheet away", "ELIOT\n You'll be at peace soon. I promise.\n For a moment we see a deep sadness in Eliot's eyes. He's" ], [ "TEACHER\n Are you alright sweetie?\n Jack nods numbly. Looking up all the time at Paul. The\n Security Guard grabs Paul's arm.", "Eliot holds up the shovel. Jack looks at him for a\n moment then reaches for the shovel.", "Eliot walks out of the funeral home. We pull back. Jack\n stands by his bicycle in the bushes watching him. Eliot\n looks up. As if sensing someone was spying on him. Jack\n steps back quickly behind a tree.", "The Principal and Janitor walk away. Paul reaches inside\n the locker. Pulls out a stack of exercise books. An", "Paul unlocks his car. He's about to open the car door\n when he feels someone watching him. He turns. Jack's\n observing him carefully.", "PAUL\n You little fuck. You think this is funny?\n He's about to hit Jack again when a STOCKY TEACHER grabs\n him. Paul tries to struggle loose.", "TALL KID\n Hey. Jack-off!\n Jack walks faster. The two Older Boys set off after him.\n He darts into a corridor. Ducks into an empty classroom.", "CASHIER\n Sir. Your change.\n Eliot ignores him. Scrambles into his van. Intrigued,\n Jack watches Eliot drive away. Then unlocks his bicycle.", "(QUICKLY)\n Yes. Very tragic. Now is there anything\n else I can help you with?\n Vincent frowns. Turns back to Eliot.", "We hear a key turn in a lock. Then another lock. The\n room's suddenly flooded with a harsh white light.\n Eliot steps inside the room. He takes off his jacket.", "VINCENT\n Do you mind if I have a couple of minutes\n alone with him?\n Eliot hesitates. Then smiles.", "almost as if he's jealous. Jack notices Eliot's look\n then turns and stares at Paul.\n As Paul and Tom walk away Eliot closes the casket.", "Jack sits on the bench. Watches Anna drive away. Then\n unzips his backpack. Something moves inside. A strange\n jerky movement. Jack closes the backpack. Glances up\n and down the empty street. Then walks away on his own.", "Eliot takes notes as he talks on the phone. He looks at\n a day calendar on his desk. Idly flips over the page\n from Tuesday to Wednesday.", "(CALMLY)\n I know. I heard you talking to him.\n Why didn't you let him see me?\n Eliot smiles. Amused she caught him out. He continues\n washing his hands.", "PAUL\n Maybe you're right. But why won't he let\n me see her?\n Tom signals to Merano and Jeff. Merano walks back to his\n desk. Jeff turns back to his work.", "OLD GUY\n Well here he is. Frank Merano.\n The Old Guy hands Eliot a clipboard. The Assistant\n unties the rope. Pulls the plastic sheeting away.", "TOM\n You sure you're OK?\n\n PAUL\n I fucked up.", "Through the windshield we see Paul approach the car.\n He peers in nervously. Then cautiously gets in. As he\n switches the interior light off, the camera moves slowly", "It's a small town. In my line of work\n you get to know everyone eventually.\n As they shake, Eliot looks at Paul's hand strangely. As" ], [ "Eliot steps carefully into the viewing room. Looks\n around. Just then we hear the sound of bare feet\n STAMPING along the hallway behind him.", "A path leads to an old well-kept house. Amongst a blaze of\n violet tulips we see a sign: Eliot Deane. Funeral Home.", "A LUMINOUS PALE SHAPE slowly forms out of the searing\n whiteness. Gradually we realize we're moving across the", "Paul drives aimlessly past strip malls. He stops at a\n red light. Lights a cigarette. Just then he notices\n something across the street. He looks puzzled.", "Eliot steps into the hallway. Stops by a vase of\n flowers. He plucks a dead petal. Crushes it. Curiously\n sniffs his fingers. Then heads to the casket room.", "Eliot unlocks the door. Jams it open with a door stop.\n Slips his keys back into his jacket pocket. Takes off\n his jacket and hangs it up. He moves over to a", "ROOM\n Suddenly Eliot looks up sharply. As if someone had spoken\n to him.", "A large room. Tall vaulted ceilings. White tiles. Soft\n morning light seeps in from a small round window set high", "room. The other slab's empty. The Old Woman's gone.\n Anna stumbles over to the trolley. Pushes it aside.\n Desperately searching for the tiny door. She touches the", "Runs over. Nothing. The cemetery is empty. The trees\n appear to SHIMMER for a moment. Paul shivers. Pulls his\n jacket around him. He doesn't notice the candles on", "Eliot walks over to the slab, his surgery clogs softly\n clacking against the tiled floor. He looks at the slab\n for a moment then slowly pulls the sheet away", "Eliot moves through the Funeral Home pulling heavy drapes\n over the windows and closing doors. It feels like a\n ritual. The once airy sunlit rooms are darker now. More\n ominous. Claustrophobic.", "UP AHEAD\n We see the Funeral Home. Bone white in the moonlight.\n The cemetery next to it.\n\n \n\n EXT. ROAD - NIGHT", "PAUL\n You piece of shit.\n As Paul turns away, he notices a door with a sign on it:", "For a moment she doesn't know where she is. Then she\n sees Eliot by a CD player. She watches with trepidation\n as he approaches her.", "The Old Woman shakes her head. Staring blindly at Anna\n with opaque eyes. Anna ignores her. Moves quickly to\n the tiny door. As she approaches, the door seems to grow", "Eliot pushes the gurney to a WHITE VAN with black tinted\n windows (Note: The same kind of van that cut in front of\n Anna just before the accident).", "Carefully places it on a coat-hanger. Puts on a pale\n blue smock then snaps on the latex gloves. His every\n move meticulous. Measured. Like a ritual.", "ELIOT\n It's different every time. Each person\n dies in their own way.", "Eliot switches on the light. The kitchen's empty. He\n steps back into the hallway." ], [ "AUTHORIZED PERSONNEL ONLY. Paul glances around. Then\n quickly walks over to the door.", "corpses. Wandering the earth\n aimlessly. All they do is piss and\n shit. Suffocating us with their", "We hear a key turn in a lock. Then another lock. The\n room's suddenly flooded with a harsh white light.\n Eliot steps inside the room. He takes off his jacket.", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "Eliot steps into the hallway. Stops by a vase of\n flowers. He plucks a dead petal. Crushes it. Curiously\n sniffs his fingers. Then heads to the casket room.", "ELIOT\n It's different every time. Each person\n dies in their own way.", "ELIOT\n Not everyone needs my help. Some let\n go as soon as their body dies. Others\n don't let go until long after they're\n in the grave.", "Eliot steps carefully into the viewing room. Looks\n around. Just then we hear the sound of bare feet\n STAMPING along the hallway behind him.", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "die, will live.\n Tom and Paul appear at the door. Tom guides Paul to a\n seat near the back.", "Eliot unlocks the door. Jams it open with a door stop.\n Slips his keys back into his jacket pocket. Takes off\n his jacket and hangs it up. He moves over to a", "Carefully places it on a coat-hanger. Puts on a pale\n blue smock then snaps on the latex gloves. His every\n move meticulous. Measured. Like a ritual.", "Mrs. Hutton nods, then turns to greet another MOURNER.\n Anna steps nervously up to the coffin.", "GRAY BODIES lie on steel tables. Eliot moves over to one\n of the CORPSES. Examines it with professional interest.", "The service hasn't started yet. Jack walks nervously\n through the empty room to an open casket. He glances\n back, then leans over the coffin.", "A warm intimate room. Peaceful. Rows of chairs filled\n with ELDERLY MOURNERS. Eliot stands respectfully beside\n a casket. FATHER GRAHAM (50s) reads at a lectern.", "In the b.g. Eliot walks into the viewing room. He stops\n surprised. Watches Jack intently.", "being prepared for her own funeral. We pull back.\n Beatrice, dressed in black, sits in front of a mirror.\n Diane applies her make-up. Beatrice opens her eyes.", "on one wall. The room is silent. Still. Like a chapel.\n In the semi-darkness we see a BODY on a porcelain slab\n covered with a white sheet.", "PAUL\n\n (SHOUTS)\n Jack. Anna's dead.\n Paul's words ECHO loudly. The bustling corridor goes silent." ], [ "A warm intimate room. Peaceful. Rows of chairs filled\n with ELDERLY MOURNERS. Eliot stands respectfully beside\n a casket. FATHER GRAHAM (50s) reads at a lectern.", "JACK\n You've spoken to others?\n\n ELIOT\n Yes. Many others.", "ANNA\n Why?\n\n ELIOT\n To help them make the transition.\n Anna's stunned. For the first time we sense a seed of\n doubt in her mind.", "on one wall. The room is silent. Still. Like a chapel.\n In the semi-darkness we see a BODY on a porcelain slab\n covered with a white sheet.", "(BEAT)\n The others. They won't understand. They\n don't see what we see.\n\n (BEAT)\n I can help you. I can teach you.", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "much time left.\n (gestures to the Old Women)\n Look. She's accepted her death. Her\n life has been examined. She has no more", "stench. Doing nothing with their\n lives. Taking the air away from those\n who actually want to live. I have to", "Eliot slides a wooden head-rest under her neck and studies\n her wounds, touching them delicately. Thinking about how\n to conceal them. He turns to a tray of instruments.", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "corpses. Wandering the earth\n aimlessly. All they do is piss and\n shit. Suffocating us with their", "GRAY BODIES lie on steel tables. Eliot moves over to one\n of the CORPSES. Examines it with professional interest.", "ELIOT\n\n (SOFTLY)\n Don't be scared. It's better this way.\n Eliot turns. Signals to the PALLBEARERS standing nearby.", "die, will live.\n Tom and Paul appear at the door. Tom guides Paul to a\n seat near the back.", "ASSISTANT\n It's the schoolteacher's. From the car\n crash. Should I answer it?\n The ringing stops abruptly. It's suddenly very silent.", "Anna lies on the slab. She stares at us blankly. Her\n face emotionless. Resigned. Eliot rinses her hair now", "(TO ANNA)\n Who's going to look after me now? Did\n you think about that?\n She nods to Diane. Diane helps her into the wheelchair.", "ELIOT\n The others. They just see you as a dead\n body on a slab. Only I can see you as\n you really are.", "Carefully places it on a coat-hanger. Puts on a pale\n blue smock then snaps on the latex gloves. His every\n move meticulous. Measured. Like a ritual.", "Eliot steps carefully into the viewing room. Looks\n around. Just then we hear the sound of bare feet\n STAMPING along the hallway behind him." ], [ "Anna slips into the back of the room. Eliot leads MRS.\n HUTTON (60s) to the body of her husband, JAMES HUTTON", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "FATHER GRAHAM\n Please. Paul. You're not well.\n Paul pushes his hand away. Eliot shakes his head sadly.\n Everyone looks at Paul with pity as he runs out.", "PAUL\n Look...\n (trying to remember his name)\n Jack. I'm in no mood--\n\n JACK\n She needs your help.", "Beatrice, in her wheelchair, in the front row. Diane\n beside her. A SCHOOLTEACHER sits behind them with Jack\n and other CHILDREN.", "PAUL\n\n (TURNS)\n Yes?\n\n JACK\n My name's Jack. Miss Bryant was my\n teacher.", "JACK\n You've spoken to others?\n\n ELIOT\n Yes. Many others.", "ANNA\n Why?\n\n ELIOT\n To help them make the transition.\n Anna's stunned. For the first time we sense a seed of\n doubt in her mind.", "ANNA\n Who is she?\n\n ELIOT\n Mrs. Whitehall.\n He mixes the dye in a bowl as he moves over to Anna.", "(CALMLY)\n I know. I heard you talking to him.\n Why didn't you let him see me?\n Eliot smiles. Amused she caught him out. He continues\n washing his hands.", "A warm intimate room. Peaceful. Rows of chairs filled\n with ELDERLY MOURNERS. Eliot stands respectfully beside\n a casket. FATHER GRAHAM (50s) reads at a lectern.", "ANNA\n He was the only one I ever loved. But I\n never told him that. And then he stopped\n loving me.\n Eliot stares at her intently. Comes to a decision.", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "PAUL\n\n (LOUDLY)\n You twisted fuck.\n The room's SILENT. Everyone turns towards Paul. Eliot\n whispers in Paul's ear.", "OLD GUY\n Well here he is. Frank Merano.\n The Old Guy hands Eliot a clipboard. The Assistant\n unties the rope. Pulls the plastic sheeting away.", "An open plan office. Paul weaves quickly through the\n rows of desks. He seems unbalanced. Manic. DETECTIVES\n cautiously watch Paul approach Tom sitting at his desk,\n his head bent over paperwork.", "(TO HIMSELF)\n Your mother's early.\n Anna's eyelids feel very heavy. Slowly her eyes close.\n Eliot pulls the white sheet over her body.", "(QUICKLY)\n Yes. Very tragic. Now is there anything\n else I can help you with?\n Vincent frowns. Turns back to Eliot.", "ELIOT\n I'm sorry?\n\n PAUL\n One of Anna's students.\n (nods towards the funeral home)\n In the window.", "VINCENT (O.C.)\n I saw her.\n Paul turns hopefully. Finally someone believes him.\n Vincent Merano stands by Jeff's desk." ], [ "...at 9.45 last night. I picked up your\n body from the hospital morgue at 12.10\n this morning.", "Eliot walks out of the funeral home. We pull back. Jack\n stands by his bicycle in the bushes watching him. Eliot\n looks up. As if sensing someone was spying on him. Jack\n steps back quickly behind a tree.", "PAUL\n\n (SHOUTS)\n Jack. Anna's dead.\n Paul's words ECHO loudly. The bustling corridor goes silent.", "ELIOT\n No. Not at all. I'll wait outside.\n As Eliot leaves, Vincent looks at Frank's body. After a", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "The Chick trembles in the corner of the box. Jack slowly\n replaces the lid. Puts the box into the grave. He\n pushes the earth over it. The box jerks. We hear the", "Jack sits on the bench. Watches Anna drive away. Then\n unzips his backpack. Something moves inside. A strange\n jerky movement. Jack closes the backpack. Glances up\n and down the empty street. Then walks away on his own.", "He INJECTS Anna in the neck. Just then we hear a car\n pull up on the gravel driveway outside.", "Eliot stands over Paul holding a pair of BLOODY SCISSORS.\n Paul looks down. His white shirt soaked with blood, the\n material sliced open.", "You had an accident. You're dead. Why\n do you people never listen to me?\n Frank doesn't move. His mouth still wired shut.", "Jack carefully cuts something out of a local newspaper.\n The loud sounds of a TV blare from another room.\n\n ON NEWSPAPER\n Schoolteacher Dies in Tragic Car Crash.", "Runs over. Nothing. The cemetery is empty. The trees\n appear to SHIMMER for a moment. Paul shivers. Pulls his\n jacket around him. He doesn't notice the candles on", "A line of BLOOD trickles from his nose. He touches his\n lips. Looks blankly at the blood on his fingertips. A\n drop of blood falls on Paul's white shirt. It unfurls", "PAUL\n No!\n\n VINCENT\n I've seen dead bodies. Believe me, she\n was definitely dead.", "ELIOT\n Was it? Maybe you died a long time ago.\n Eliot rips off his latex gloves. Tosses them into a bin.", "ELIOT\n (looks up sharply)\n Not right?\n Vincent nods towards Frank's body.", "on one wall. The room is silent. Still. Like a chapel.\n In the semi-darkness we see a BODY on a porcelain slab\n covered with a white sheet.", "(QUICKLY)\n Yes. Very tragic. Now is there anything\n else I can help you with?\n Vincent frowns. Turns back to Eliot.", "ELIOT\n No. Because there's no life left in her.\n Jack carefully considers Eliot's words." ], [ "OLD GUY\n Well here he is. Frank Merano.\n The Old Guy hands Eliot a clipboard. The Assistant\n unties the rope. Pulls the plastic sheeting away.", "Anna sits on the slab. Her hands behind her back. She\n carefully watches Eliot as he pulls on his pale blue\n smock then walks over to a cabinet.", "We hear a key turn in a lock. Then another lock. The\n room's suddenly flooded with a harsh white light.\n Eliot steps inside the room. He takes off his jacket.", "(CALMLY)\n I know. I heard you talking to him.\n Why didn't you let him see me?\n Eliot smiles. Amused she caught him out. He continues\n washing his hands.", "(QUICKLY)\n Yes. Very tragic. Now is there anything\n else I can help you with?\n Vincent frowns. Turns back to Eliot.", "PAUL\n\n (TURNS)\n Yes?\n\n JACK\n My name's Jack. Miss Bryant was my\n teacher.", "Eliot slides a wooden head-rest under her neck and studies\n her wounds, touching them delicately. Thinking about how\n to conceal them. He turns to a tray of instruments.", "6.\n\n \n\n \n\n \n\n INT. LAW OFFICE. CONFERENCE ROOM - DAY", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "Eliot walks out of the funeral home. We pull back. Jack\n stands by his bicycle in the bushes watching him. Eliot\n looks up. As if sensing someone was spying on him. Jack\n steps back quickly behind a tree.", "ASSISTANT\n It's the schoolteacher's. From the car\n crash. Should I answer it?\n The ringing stops abruptly. It's suddenly very silent.", "The Principal and Janitor walk away. Paul reaches inside\n the locker. Pulls out a stack of exercise books. An", "Eliot takes notes as he talks on the phone. He looks at\n a day calendar on his desk. Idly flips over the page\n from Tuesday to Wednesday.", "VINCENT (O.C.)\n I saw her.\n Paul turns hopefully. Finally someone believes him.\n Vincent Merano stands by Jeff's desk.", "Classes have started. JACK (11), a serious looking boy,\n walks through a silent corridor. Up ahead two OLDER", "(MUTTERING)\n Like she's really going to need her\n rollover minutes now.\n As the Assistant reaches for the bag, he notices a\n solitary shoe on the table. He picks it up.", "For a moment she doesn't know where she is. Then she\n sees Eliot by a CD player. She watches with trepidation\n as he approaches her.", "JACK\n\n (INTRIGUED)\n You spoke to Miss Bryant?\n\n ELIOT\n Yes.", "CASHIER\n Sir. Your change.\n Eliot ignores him. Scrambles into his van. Intrigued,\n Jack watches Eliot drive away. Then unlocks his bicycle.", "ANNA\n I wanted a different life.\n Eliot picks up a nail-clipper. Gently holds Anna's hand\n as he carefully cuts her long nails." ], [ "(CALMLY)\n I know. I heard you talking to him.\n Why didn't you let him see me?\n Eliot smiles. Amused she caught him out. He continues\n washing his hands.", "Eliot walks out of the funeral home. We pull back. Jack\n stands by his bicycle in the bushes watching him. Eliot\n looks up. As if sensing someone was spying on him. Jack\n steps back quickly behind a tree.", "ANNA\n Why?\n\n ELIOT\n To help them make the transition.\n Anna's stunned. For the first time we sense a seed of\n doubt in her mind.", "(QUICKLY)\n Yes. Very tragic. Now is there anything\n else I can help you with?\n Vincent frowns. Turns back to Eliot.", "An open plan office. Paul weaves quickly through the\n rows of desks. He seems unbalanced. Manic. DETECTIVES\n cautiously watch Paul approach Tom sitting at his desk,\n his head bent over paperwork.", "Jack sits on the bench. Watches Anna drive away. Then\n unzips his backpack. Something moves inside. A strange\n jerky movement. Jack closes the backpack. Glances up\n and down the empty street. Then walks away on his own.", "PAUL\n Maybe you're right. But why won't he let\n me see her?\n Tom signals to Merano and Jeff. Merano walks back to his\n desk. Jeff turns back to his work.", "(MUTTERING)\n Like she's really going to need her\n rollover minutes now.\n As the Assistant reaches for the bag, he notices a\n solitary shoe on the table. He picks it up.", "ELIOT\n You'll be at peace soon. I promise.\n For a moment we see a deep sadness in Eliot's eyes. He's", "VIEWING ROOM\n Eliot stares at the blood for a moment. Takes out a\n pristine white handkerchief. Carefully wipes off the\n blood. Then places his hand on the coffin.", "FATHER GRAHAM\n Please. Paul. You're not well.\n Paul pushes his hand away. Eliot shakes his head sadly.\n Everyone looks at Paul with pity as he runs out.", "ELIOT\n No. It's not a gift. It's a curse.\n Eliot picks up a compact. Roughly layers Frank's cheeks", "(BEAT)\n The others. They won't understand. They\n don't see what we see.\n\n (BEAT)\n I can help you. I can teach you.", "You had an accident. You're dead. Why\n do you people never listen to me?\n Frank doesn't move. His mouth still wired shut.", "TEACHER\n Are you alright sweetie?\n Jack nods numbly. Looking up all the time at Paul. The\n Security Guard grabs Paul's arm.", "ELIOT\n They belong in the garbage.\n Jack turns to leave.\n\n ELIOT\n I've seen you round here before.\n Jack's suddenly nervous.", "ANNA\n He was the only one I ever loved. But I\n never told him that. And then he stopped\n loving me.\n Eliot stares at her intently. Comes to a decision.", "VINCENT (OFFICER)\n I hope it's no trouble. I'd just like to\n see him before the funeral.\n Eliot glances at his watch. Smiles at Vincent.", "TOM\n What the hell's wrong with you?\n (holds his fingers close together)\n You're this close to fucking up your\n career.", "TALL KID (O.C.)\n Didn't you hear me Jack-off?\n Jack swivels round. The Tall Kid walks towards him as\n the Acne Kid guards the door. Jack doesn't reply." ], [ "Eliot takes notes as he talks on the phone. He looks at\n a day calendar on his desk. Idly flips over the page\n from Tuesday to Wednesday.", "Eliot moves through the Funeral Home pulling heavy drapes\n over the windows and closing doors. It feels like a\n ritual. The once airy sunlit rooms are darker now. More\n ominous. Claustrophobic.", "The service hasn't started yet. Jack walks nervously\n through the empty room to an open casket. He glances\n back, then leans over the coffin.", "(70S), lying in the casket. Mrs. Hutton touches a\n bouquet of white roses by the casket.", "ELIOT\n You were pronounced dead eight hours ago.\n Your blood no longer circulates through\n your body. Your brain cells are slowly\n dying. Your body's already decomposing.", "being prepared for her own funeral. We pull back.\n Beatrice, dressed in black, sits in front of a mirror.\n Diane applies her make-up. Beatrice opens her eyes.", "Eliot steps into the hallway. Stops by a vase of\n flowers. He plucks a dead petal. Crushes it. Curiously\n sniffs his fingers. Then heads to the casket room.", "You had an accident. You're dead. Why\n do you people never listen to me?\n Frank doesn't move. His mouth still wired shut.", "on one wall. The room is silent. Still. Like a chapel.\n In the semi-darkness we see a BODY on a porcelain slab\n covered with a white sheet.", "Runs over. Nothing. The cemetery is empty. The trees\n appear to SHIMMER for a moment. Paul shivers. Pulls his\n jacket around him. He doesn't notice the candles on", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "(HESITATES)\n I have to go to a funeral. My old piano\n teacher.\n\n JACK\n (with sudden interest)\n Can I come?", "...at 9.45 last night. I picked up your\n body from the hospital morgue at 12.10\n this morning.", "A warm intimate room. Peaceful. Rows of chairs filled\n with ELDERLY MOURNERS. Eliot stands respectfully beside\n a casket. FATHER GRAHAM (50s) reads at a lectern.", "INT. FUNERAL HOME. VIEWING ROOM - DAY\n\n The funeral's over. Eliot takes out a wilted bouquet of\n flowers from a vase.", "ELIOT\n Your funeral's in three days. Soon\n you'll be enclosed in a coffin. Then", "much time left.\n (gestures to the Old Women)\n Look. She's accepted her death. Her\n life has been examined. She has no more", "Anna lies on the slab in her burial dress. Her eyes closed.\n Eliot enters the room. He doesn't lock the door behind", "(BEAT)\n Now about the service. Would you like a\n private visitation?\n Mrs. Ayres is miles away.\n\n ELIOT\n Mrs. Ayres?", "MRS. AYRES\n I'm sorry. Yes. A private visitation.\n\n (HESITATES)\n Mr. Deane? What happens when we die?" ], [ "Eliot steps into the hallway. Stops by a vase of\n flowers. He plucks a dead petal. Crushes it. Curiously\n sniffs his fingers. Then heads to the casket room.", "ELIOT\n No Jack. They're never the same. Each\n one is special. The dead always speak to\n us in different ways.\n\n JACK", "ELIOT\n Not everyone needs my help. Some let\n go as soon as their body dies. Others\n don't let go until long after they're\n in the grave.", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "ANNA\n Is this what happens when you die?\n\n ELIOT\n It depends on how you lived your life.", "ELIOT\n We're talking not because you're alive.\n But because I have a gift.\n\n (BEAT)\n I can talk to those between life and death.", "ELIOT\n You were pronounced dead eight hours ago.\n Your blood no longer circulates through\n your body. Your brain cells are slowly\n dying. Your body's already decomposing.", "You had an accident. You're dead. Why\n do you people never listen to me?\n Frank doesn't move. His mouth still wired shut.", "Runs over. Nothing. The cemetery is empty. The trees\n appear to SHIMMER for a moment. Paul shivers. Pulls his\n jacket around him. He doesn't notice the candles on", "being prepared for her own funeral. We pull back.\n Beatrice, dressed in black, sits in front of a mirror.\n Diane applies her make-up. Beatrice opens her eyes.", "on one wall. The room is silent. Still. Like a chapel.\n In the semi-darkness we see a BODY on a porcelain slab\n covered with a white sheet.", "ELIOT\n It's different every time. Each person\n dies in their own way.", "ELIOT\n Exactly. For Anna. She belongs here.\n\n JACK\n Because she's dead.", "MRS. AYRES\n I'm sorry. Yes. A private visitation.\n\n (HESITATES)\n Mr. Deane? What happens when we die?", "ELIOT\n I'd be very careful if I were you. The\n dead have such a hold over the living.\n\n ANNA\n What do you mean?", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "ELIOT\n You're in a funeral home.\n\n (BEAT)\n You're dead.", "The TEACHER throws a handful of earth onto the coffin.\n Jack steps up. Looks down curiously. As if he could\n sense Anna. Then slowly pours the soil from his hand.", "Eliot moves through the Funeral Home pulling heavy drapes\n over the windows and closing doors. It feels like a\n ritual. The once airy sunlit rooms are darker now. More\n ominous. Claustrophobic.", "The service hasn't started yet. Jack walks nervously\n through the empty room to an open casket. He glances\n back, then leans over the coffin." ], [ "ELIOT\n You were pronounced dead eight hours ago.\n Your blood no longer circulates through\n your body. Your brain cells are slowly\n dying. Your body's already decomposing.", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "Eliot steps into the hallway. Stops by a vase of\n flowers. He plucks a dead petal. Crushes it. Curiously\n sniffs his fingers. Then heads to the casket room.", "ELIOT\n Your funeral's in three days. Soon\n you'll be enclosed in a coffin. Then", "The service hasn't started yet. Jack walks nervously\n through the empty room to an open casket. He glances\n back, then leans over the coffin.", "The TEACHER throws a handful of earth onto the coffin.\n Jack steps up. Looks down curiously. As if he could\n sense Anna. Then slowly pours the soil from his hand.", "(70S), lying in the casket. Mrs. Hutton touches a\n bouquet of white roses by the casket.", "ELIOT\n It's different every time. Each person\n dies in their own way.", "Anna lies on the slab in her burial dress. Her eyes closed.\n Eliot enters the room. He doesn't lock the door behind", "Anna's funeral is in progress. Eliot stands by her\n casket. Surrounded by wreathes of tulips and lilies.", "INT. FUNERAL HOME. PREP ROOM - SAME TIME\n\n Anna lies down on the slab. Closes her eyes. ELIOT'S\n VOICE seems far away now. Receding.", "...at 9.45 last night. I picked up your\n body from the hospital morgue at 12.10\n this morning.", "on one wall. The room is silent. Still. Like a chapel.\n In the semi-darkness we see a BODY on a porcelain slab\n covered with a white sheet.", "Paul glances at the casket again, then reluctantly allows\n Tom to lead him away.\n Eliot tightens the last screw. His back to the room.", "away the earth from the coffin. Then pulls open the lid.\n Anna's eyes are WIDE OPEN. Her fingernails torn and bloody.", "Eliot moves through the Funeral Home pulling heavy drapes\n over the windows and closing doors. It feels like a\n ritual. The once airy sunlit rooms are darker now. More\n ominous. Claustrophobic.", "Eliot leads Vincent to Frank's covered body. Vincent\n looks over at Anna. The white sheet only comes to her\n shoulders, her head facing straight upwards.", "being prepared for her own funeral. We pull back.\n Beatrice, dressed in black, sits in front of a mirror.\n Diane applies her make-up. Beatrice opens her eyes.", "You had an accident. You're dead. Why\n do you people never listen to me?\n Frank doesn't move. His mouth still wired shut.", "A path leads to an old well-kept house. Amongst a blaze of\n violet tulips we see a sign: Eliot Deane. Funeral Home." ], [ "ANNA\n Is this the afterlife? Am I in heaven?\n Or am I in hell?\n Strangely Eliot's not surprised. He nods his head. His\n anger gone now.", "ANNA\n I used to believe in God. I thought I'd\n see him when I died. Instead I saw you.\n Eliot softly strokes her hair. Comforting her.", "Paul and Beatrice lead Anna to the bed. As she lies down\n we realize the bed is full of BLACK SOIL. Clouds of ugly", "Blackness. Earth CLATTERS HEAVILY onto the wooden lid.\n Anna GASPS softly. Hyperventilating. The earth keeps", "The sun's low on the horizon. Eliot whistles softly to\n himself as he digs a grave. Working meticulously. Like", "The Chick trembles in the corner of the box. Jack slowly\n replaces the lid. Puts the box into the grave. He\n pushes the earth over it. The box jerks. We hear the", "buried in the ground. No-one will hear\n you then. No-one will talk to you there.\n The door clicks shut behind him. Anna doesn't move.", "The Old Woman shakes her head. Staring blindly at Anna\n with opaque eyes. Anna ignores her. Moves quickly to\n the tiny door. As she approaches, the door seems to grow", "Then watches, relieved, as the crow disappears into the\n dark sky. He turns back to Anna... she's not there.", "Eliot moves through the Funeral Home pulling heavy drapes\n over the windows and closing doors. It feels like a\n ritual. The once airy sunlit rooms are darker now. More\n ominous. Claustrophobic.", "(TO HIMSELF)\n Your mother's early.\n Anna's eyelids feel very heavy. Slowly her eyes close.\n Eliot pulls the white sheet over her body.", "everything else he does. Suddenly a SHADOW falls over\n Eliot. He calmly looks up. The sun's behind the figure.\n For a moment Eliot can't tell who it is.", "turns. Nothing. He cocks his head slightly. There's\n something unnerving about the silence.\n Suddenly a CROW rises noisily into the air. Paul starts.", "Eliot steps into the hallway. Stops by a vase of\n flowers. He plucks a dead petal. Crushes it. Curiously\n sniffs his fingers. Then heads to the casket room.", "ELIOT\n No. They symbolize purity.\n He moves to her breasts, following the contours of her\n body. Pausing every now and then to rinse the sponge.", "on one wall. The room is silent. Still. Like a chapel.\n In the semi-darkness we see a BODY on a porcelain slab\n covered with a white sheet.", "Silence. O.S. a shuddering pipe bangs ominously. Anna\n opens her eyes abruptly as if waking from a deep sleep.\n She stares at us. Numb.", "Eliot steps carefully into the viewing room. Looks\n around. Just then we hear the sound of bare feet\n STAMPING along the hallway behind him.", "Eliot observes him cautiously. Did Jack hear the sound\n as well? Jack looks back at Eliot. Smiles. Then\n without a word, turns and heads back up the stairs.", "Just then we hear a WOMAN'S FOOTSTEPS. Her high-heels\n clicking on the concrete floor. There's something\n strange about the sound. UNNATURAL. Paul listens" ], [ "ANNA\n Is this the afterlife? Am I in heaven?\n Or am I in hell?\n Strangely Eliot's not surprised. He nods his head. His\n anger gone now.", "ANNA\n I used to believe in God. I thought I'd\n see him when I died. Instead I saw you.\n Eliot softly strokes her hair. Comforting her.", "ANNA\n Is this what happens when you die?\n\n ELIOT\n It depends on how you lived your life.", "PAUL\n Anna. I'm here. Please God. Anna.\n He desperately tries to revive her. But there's no life", "Paul and Beatrice lead Anna to the bed. As she lies down\n we realize the bed is full of BLACK SOIL. Clouds of ugly", "ELIOT\n (quietly to himself)\n No. The soul never leaves.\n Beatrice stares at Anna.\n\n 29.", "MRS. AYRES\n I'm sorry. Yes. A private visitation.\n\n (HESITATES)\n Mr. Deane? What happens when we die?", "ELIOT\n It's different every time. Each person\n dies in their own way.", "PAUL\n Go to hell.\n An ELDERLY COUPLE shake their heads and walk away.\n\n ELIOT", "corpses. Wandering the earth\n aimlessly. All they do is piss and\n shit. Suffocating us with their", "Blackness. Earth CLATTERS HEAVILY onto the wooden lid.\n Anna GASPS softly. Hyperventilating. The earth keeps", "JACK\n You said you could teach me.\n Eliot smiles. Gestures to Jack to come inside the grave.\n Jack steps back. The grave terrifies him.", "The Chick trembles in the corner of the box. Jack slowly\n replaces the lid. Puts the box into the grave. He\n pushes the earth over it. The box jerks. We hear the", "everything else he does. Suddenly a SHADOW falls over\n Eliot. He calmly looks up. The sun's behind the figure.\n For a moment Eliot can't tell who it is.", "buried in the ground. No-one will hear\n you then. No-one will talk to you there.\n The door clicks shut behind him. Anna doesn't move.", "ELIOT\n You were pronounced dead eight hours ago.\n Your blood no longer circulates through\n your body. Your brain cells are slowly\n dying. Your body's already decomposing.", "PAUL\n Where am I?\n\n 101.\n\n \n\n \n He talks with difficulty. His breath labored.", "ELIOT\n Not everyone needs my help. Some let\n go as soon as their body dies. Others\n don't let go until long after they're\n in the grave.", "ANNA\n What do they symbolize?\n\n ELIOT\n Faithfulness.\n\n ANNA", "The sun's low on the horizon. Eliot whistles softly to\n himself as he digs a grave. Working meticulously. Like" ], [ "Eliot takes notes as he talks on the phone. He looks at\n a day calendar on his desk. Idly flips over the page\n from Tuesday to Wednesday.", "ANNA\n I changed them Monday.\n Anna goes to the cupboard. Takes out clean sheets.", "We hear a key turn in a lock. Then another lock. The\n room's suddenly flooded with a harsh white light.\n Eliot steps inside the room. He takes off his jacket.", "Eliot lies on his bed. Dressed in a dark suit. He hasn't\n slept at all. His eyes rimmed red. He checks the clock on", "on one wall. The room is silent. Still. Like a chapel.\n In the semi-darkness we see a BODY on a porcelain slab\n covered with a white sheet.", "die, will live.\n Tom and Paul appear at the door. Tom guides Paul to a\n seat near the back.", "The service hasn't started yet. Jack walks nervously\n through the empty room to an open casket. He glances\n back, then leans over the coffin.", "Classes have started. JACK (11), a serious looking boy,\n walks through a silent corridor. Up ahead two OLDER", "Eliot steps carefully into the viewing room. Looks\n around. Just then we hear the sound of bare feet\n STAMPING along the hallway behind him.", "Just then the Old Guy walks in with the Pale Assistant\n pushing a gurney with a BODY wrapped in plastic sheeting.", "The phone continues to RING. We pull back. Paul stares\n at the phone blankly. A drink in his hand. He looks\n worse than before. Dark circles under his eyes.", "Through the windshield we see Paul approach the car.\n He peers in nervously. Then cautiously gets in. As he\n switches the interior light off, the camera moves slowly", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "6.\n\n \n\n \n\n \n\n INT. LAW OFFICE. CONFERENCE ROOM - DAY", "She struggles to her feet. Stumbles groggily to the door.\n Tries the door handle. It's locked. She bangs on the", "Paul sits at a window table. It's raining hard outside.\n He glances at his watch then nervously checks his", "Suddenly one of the fluorescent ceiling lights behind her\n blows out with a loud WHUMPH. Anna starts. Turns.\n WHUMPH. The next light dies. Anna quickens her step.", "Eliot stops by a thermostat. Studies it for a moment.\n Turns it lower. He glances at his watch. Takes out his\n keys from his jacket and moves over to the Prep Room door.", "much time left.\n (gestures to the Old Women)\n Look. She's accepted her death. Her\n life has been examined. She has no more" ], [ "You had an accident. You're dead. Why\n do you people never listen to me?\n Frank doesn't move. His mouth still wired shut.", "A warm intimate room. Peaceful. Rows of chairs filled\n with ELDERLY MOURNERS. Eliot stands respectfully beside\n a casket. FATHER GRAHAM (50s) reads at a lectern.", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "ELIOT\n Exactly. For Anna. She belongs here.\n\n JACK\n Because she's dead.", "ANNA\n How can I be dead if we're talking?\n He stands up. Sighs wearily.", "ELIOT\n We're talking not because you're alive.\n But because I have a gift.\n\n (BEAT)\n I can talk to those between life and death.", "Anna lies on the slab in her burial dress. Her eyes closed.\n Eliot enters the room. He doesn't lock the door behind", "ELIOT\n You're in a funeral home.\n\n (BEAT)\n You're dead.", "The service hasn't started yet. Jack walks nervously\n through the empty room to an open casket. He glances\n back, then leans over the coffin.", "Eliot steps into the hallway. Stops by a vase of\n flowers. He plucks a dead petal. Crushes it. Curiously\n sniffs his fingers. Then heads to the casket room.", "Mrs. Hutton nods, then turns to greet another MOURNER.\n Anna steps nervously up to the coffin.", "ELIOT\n\n (SOFTLY)\n Don't be scared. It's better this way.\n Eliot turns. Signals to the PALLBEARERS standing nearby.", "ELIOT\n You were pronounced dead eight hours ago.\n Your blood no longer circulates through\n your body. Your brain cells are slowly\n dying. Your body's already decomposing.", "PAUL\n No!\n\n VINCENT\n I've seen dead bodies. Believe me, she\n was definitely dead.", "ELIOT\n Not everyone needs my help. Some let\n go as soon as their body dies. Others\n don't let go until long after they're\n in the grave.", "being prepared for her own funeral. We pull back.\n Beatrice, dressed in black, sits in front of a mirror.\n Diane applies her make-up. Beatrice opens her eyes.", "PAUL\n I'm not dead.\n Eliot speaks calmly. Soothingly.", "Eliot leads Vincent to Frank's covered body. Vincent\n looks over at Anna. The white sheet only comes to her\n shoulders, her head facing straight upwards.", "ELIOT\n No Jack. They're never the same. Each\n one is special. The dead always speak to\n us in different ways.\n\n JACK", "The TEACHER throws a handful of earth onto the coffin.\n Jack steps up. Looks down curiously. As if he could\n sense Anna. Then slowly pours the soil from his hand." ], [ "ELIOT\n You were pronounced dead eight hours ago.\n Your blood no longer circulates through\n your body. Your brain cells are slowly\n dying. Your body's already decomposing.", "much time left.\n (gestures to the Old Women)\n Look. She's accepted her death. Her\n life has been examined. She has no more", "You had an accident. You're dead. Why\n do you people never listen to me?\n Frank doesn't move. His mouth still wired shut.", "PAUL\n No!\n\n VINCENT\n I've seen dead bodies. Believe me, she\n was definitely dead.", "ELIOT\n Not everyone needs my help. Some let\n go as soon as their body dies. Others\n don't let go until long after they're\n in the grave.", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "being prepared for her own funeral. We pull back.\n Beatrice, dressed in black, sits in front of a mirror.\n Diane applies her make-up. Beatrice opens her eyes.", "ELIOT (O.C.)\n It's time you finally accepted the truth.\n You are dead. You will never live again.\n\n ANNA\n I am dead.", "ELIOT\n\n (SOFTLY)\n Don't be scared. It's better this way.\n Eliot turns. Signals to the PALLBEARERS standing nearby.", "die, will live.\n Tom and Paul appear at the door. Tom guides Paul to a\n seat near the back.", "Eliot steps into the hallway. Stops by a vase of\n flowers. He plucks a dead petal. Crushes it. Curiously\n sniffs his fingers. Then heads to the casket room.", "away the earth from the coffin. Then pulls open the lid.\n Anna's eyes are WIDE OPEN. Her fingernails torn and bloody.", "PAUL\n\n (SHOUTS)\n Jack. Anna's dead.\n Paul's words ECHO loudly. The bustling corridor goes silent.", "Runs over. Nothing. The cemetery is empty. The trees\n appear to SHIMMER for a moment. Paul shivers. Pulls his\n jacket around him. He doesn't notice the candles on", "The service hasn't started yet. Jack walks nervously\n through the empty room to an open casket. He glances\n back, then leans over the coffin.", "ELIOT\n It's different every time. Each person\n dies in their own way.", "ANNA\n How can I be dead if we're talking?\n He stands up. Sighs wearily.", "EXT. FUNERAL HOME - NIGHT\n\n Mist drifts through the cemetery. Anna stands in the\n driveway. Pale and ghoulish in her black funeral dress\n and shiny black shoes. She starts walking.", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "ANNA\n Is this what happens when you die?\n\n ELIOT\n It depends on how you lived your life." ], [ "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "Eliot steps into the hallway. Stops by a vase of\n flowers. He plucks a dead petal. Crushes it. Curiously\n sniffs his fingers. Then heads to the casket room.", "A warm intimate room. Peaceful. Rows of chairs filled\n with ELDERLY MOURNERS. Eliot stands respectfully beside\n a casket. FATHER GRAHAM (50s) reads at a lectern.", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "being prepared for her own funeral. We pull back.\n Beatrice, dressed in black, sits in front of a mirror.\n Diane applies her make-up. Beatrice opens her eyes.", "Smiling. Happy. Paul looks at it for a moment. Trying\n hard to hold back his emotions.", "UP AHEAD\n We see the Funeral Home. Bone white in the moonlight.\n The cemetery next to it.\n\n \n\n EXT. ROAD - NIGHT", "(70S), lying in the casket. Mrs. Hutton touches a\n bouquet of white roses by the casket.", "ANNA\n Is this what happens when you die?\n\n ELIOT\n It depends on how you lived your life.", "A path leads to an old well-kept house. Amongst a blaze of\n violet tulips we see a sign: Eliot Deane. Funeral Home.", "MRS. AYRES\n I'm sorry. Yes. A private visitation.\n\n (HESITATES)\n Mr. Deane? What happens when we die?", "Mrs. Hutton nods, then turns to greet another MOURNER.\n Anna steps nervously up to the coffin.", "Runs over. Nothing. The cemetery is empty. The trees\n appear to SHIMMER for a moment. Paul shivers. Pulls his\n jacket around him. He doesn't notice the candles on", "ELIOT\n Exactly. For Anna. She belongs here.\n\n JACK\n Because she's dead.", "die, will live.\n Tom and Paul appear at the door. Tom guides Paul to a\n seat near the back.", "The service hasn't started yet. Jack walks nervously\n through the empty room to an open casket. He glances\n back, then leans over the coffin.", "A beautiful morning. We move through a tranquil cemetery.\n Pastoral and idyllic. Dappled light falls through old\n trees onto statues of grieving angels.\n\n 3.", "ELIOT\n You'll be at peace soon. I promise.\n For a moment we see a deep sadness in Eliot's eyes. He's", "MRS. HUTTON\n He looks so peaceful. As if he's only\n sleeping.\n Anna approaches Mrs. Hutton. She doesn't notice Eliot\n watching her carefully.", "Paul glances at the casket again, then reluctantly allows\n Tom to lead him away.\n Eliot tightens the last screw. His back to the room." ], [ "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "ELIOT\n You were pronounced dead eight hours ago.\n Your blood no longer circulates through\n your body. Your brain cells are slowly\n dying. Your body's already decomposing.", "MRS. AYRES\n I'm sorry. Yes. A private visitation.\n\n (HESITATES)\n Mr. Deane? What happens when we die?", "Eliot steps into the hallway. Stops by a vase of\n flowers. He plucks a dead petal. Crushes it. Curiously\n sniffs his fingers. Then heads to the casket room.", "ANNA\n Is this what happens when you die?\n\n ELIOT\n It depends on how you lived your life.", "Anna stares with horror at her death certificate, then at\n Eliot. He looks away. It pains him to see her so\n distressed.", "being prepared for her own funeral. We pull back.\n Beatrice, dressed in black, sits in front of a mirror.\n Diane applies her make-up. Beatrice opens her eyes.", "The TEACHER throws a handful of earth onto the coffin.\n Jack steps up. Looks down curiously. As if he could\n sense Anna. Then slowly pours the soil from his hand.", "ELIOT\n It's different every time. Each person\n dies in their own way.", "INT. FUNERAL HOME. PREP ROOM - SAME TIME\n\n Anna lies down on the slab. Closes her eyes. ELIOT'S\n VOICE seems far away now. Receding.", "ELIOT\n Not everyone needs my help. Some let\n go as soon as their body dies. Others\n don't let go until long after they're\n in the grave.", "ELIOT\n The others. They just see you as a dead\n body on a slab. Only I can see you as\n you really are.", "Paul glances at the casket again, then reluctantly allows\n Tom to lead him away.\n Eliot tightens the last screw. His back to the room.", "looks across at Anna. She's staring at something behind\n him. Eliot turns. Sees the uncovered body of the Old\n Woman on the gurney. He quickly walks over. Carefully", "Runs over. Nothing. The cemetery is empty. The trees\n appear to SHIMMER for a moment. Paul shivers. Pulls his\n jacket around him. He doesn't notice the candles on", "PAUL\n No!\n\n VINCENT\n I've seen dead bodies. Believe me, she\n was definitely dead.", "ELIOT\n No Jack. They're never the same. Each\n one is special. The dead always speak to\n us in different ways.\n\n JACK", "You had an accident. You're dead. Why\n do you people never listen to me?\n Frank doesn't move. His mouth still wired shut.", "on one wall. The room is silent. Still. Like a chapel.\n In the semi-darkness we see a BODY on a porcelain slab\n covered with a white sheet." ], [ "OLD GUY\n Well here he is. Frank Merano.\n The Old Guy hands Eliot a clipboard. The Assistant\n unties the rope. Pulls the plastic sheeting away.", "We hear a key turn in a lock. Then another lock. The\n room's suddenly flooded with a harsh white light.\n Eliot steps inside the room. He takes off his jacket.", "(QUICKLY)\n Yes. Very tragic. Now is there anything\n else I can help you with?\n Vincent frowns. Turns back to Eliot.", "Eliot slides a wooden head-rest under her neck and studies\n her wounds, touching them delicately. Thinking about how\n to conceal them. He turns to a tray of instruments.", "Eliot holds up the shovel. Jack looks at him for a\n moment then reaches for the shovel.", "ELIOT\n (to Jack without looking up)\n Can I help you?\n Jack steps back timidly. Eliot looks up. Smiles.", "Eliot walks out of the funeral home. We pull back. Jack\n stands by his bicycle in the bushes watching him. Eliot\n looks up. As if sensing someone was spying on him. Jack\n steps back quickly behind a tree.", "Anna sits on the slab. Her hands behind her back. She\n carefully watches Eliot as he pulls on his pale blue\n smock then walks over to a cabinet.", "(BEAT)\n The others. They won't understand. They\n don't see what we see.\n\n (BEAT)\n I can help you. I can teach you.", "ELIOT\n Can I help you?\n Paul turns to him. Pulled away from his thoughts.\n\n PAUL\n Mr. Deane?", "(MUTTERING)\n Like she's really going to need her\n rollover minutes now.\n As the Assistant reaches for the bag, he notices a\n solitary shoe on the table. He picks it up.", "Paul unlocks his car. He's about to open the car door\n when he feels someone watching him. He turns. Jack's\n observing him carefully.", "ASSISTANT\n It's the schoolteacher's. From the car\n crash. Should I answer it?\n The ringing stops abruptly. It's suddenly very silent.", "For a moment she doesn't know where she is. Then she\n sees Eliot by a CD player. She watches with trepidation\n as he approaches her.", "(CALMLY)\n I know. I heard you talking to him.\n Why didn't you let him see me?\n Eliot smiles. Amused she caught him out. He continues\n washing his hands.", "Eliot leads the Police Officer through the hallway.\n\n ELIOT\n How can I help you Officer?", "Eliot lies on his bed. Dressed in a dark suit. He hasn't\n slept at all. His eyes rimmed red. He checks the clock on", "VINCENT (O.C.)\n I saw her.\n Paul turns hopefully. Finally someone believes him.\n Vincent Merano stands by Jeff's desk.", "Carefully places it on a coat-hanger. Puts on a pale\n blue smock then snaps on the latex gloves. His every\n move meticulous. Measured. Like a ritual.", "Just then the Old Guy walks in with the Pale Assistant\n pushing a gurney with a BODY wrapped in plastic sheeting." ], [ "(QUIETLY)\n I wanted love.\n\n ELIOT\n You had love. Paul loved you.", "ANNA\n He was the only one I ever loved. But I\n never told him that. And then he stopped\n loving me.\n Eliot stares at her intently. Comes to a decision.", "(CALMLY)\n I know. I heard you talking to him.\n Why didn't you let him see me?\n Eliot smiles. Amused she caught him out. He continues\n washing his hands.", "ANNA\n I used to believe in God. I thought I'd\n see him when I died. Instead I saw you.\n Eliot softly strokes her hair. Comforting her.", "ANNA\n I wanted a different life.\n Eliot picks up a nail-clipper. Gently holds Anna's hand\n as he carefully cuts her long nails.", "MRS. HUTTON\n White roses. They were his favorite.\n How did you know?\n\n ELIOT\n They just seemed appropriate somehow.", "Eliot slides a wooden head-rest under her neck and studies\n her wounds, touching them delicately. Thinking about how\n to conceal them. He turns to a tray of instruments.", "Anna stares with horror at her death certificate, then at\n Eliot. He looks away. It pains him to see her so\n distressed.", "ELIOT\n You'll be at peace soon. I promise.\n For a moment we see a deep sadness in Eliot's eyes. He's", "Strangely Eliot's not surprised. He calmly steps back.\n Watches her carefully.\n Anna's eyes slowly focus on Eliot. She's groggy. Confused.", "Eliot looks at her for a moment. Sadly. Regretfully.\n He picks up a Polaroid camera. The flash explodes in a", "ELIOT\n I told you to use your time well.\n Anna frowns. As if trying to remember something. Eliot\n gently lifts her legs. Pulls on a pair of black tights.", "hurt. So I learned not to love. That\n way no one could ever hurt me again.\n She looks down at the slab. Touches the cold marble.", "ANNA\n But I can breathe. I must be alive.\n She weakly pushes him away. Anger flashes across Eliot's\n face, but just as quickly he controls it.", "BEATRICE\n I lost her years ago.\n He glances at her curiously. Then gestures to his office.", "Eliot walks out of the funeral home. We pull back. Jack\n stands by his bicycle in the bushes watching him. Eliot\n looks up. As if sensing someone was spying on him. Jack\n steps back quickly behind a tree.", "Anna sits on the slab. Her hands behind her back. She\n carefully watches Eliot as he pulls on his pale blue\n smock then walks over to a cabinet.", "(TO HIMSELF)\n Your mother's early.\n Anna's eyelids feel very heavy. Slowly her eyes close.\n Eliot pulls the white sheet over her body.", "PAUL\n I tried to stop her. She didn't hear me.\n Paul's voice breaks with emotion. He can't go on. Eliot", "ELIOT\n I'm very sorry for your loss Mr. Conran.\n\n PAUL\n I'd like to see her." ], [ "PAUL\n\n (SHOUTS)\n Jack. Anna's dead.\n Paul's words ECHO loudly. The bustling corridor goes silent.", "Jack carefully cuts something out of a local newspaper.\n The loud sounds of a TV blare from another room.\n\n ON NEWSPAPER\n Schoolteacher Dies in Tragic Car Crash.", "A line of BLOOD trickles from his nose. He touches his\n lips. Looks blankly at the blood on his fingertips. A\n drop of blood falls on Paul's white shirt. It unfurls", "Most of them have closed eyes but we glimpse some with\n their eyes wide open. Eerily staring at us. Eliot\n touches the Polaroid of a YOUNG MAN. We see the fear in", "Silence. O.S. a shuddering pipe bangs ominously. Anna\n opens her eyes abruptly as if waking from a deep sleep.\n She stares at us. Numb.", "Runs over. Nothing. The cemetery is empty. The trees\n appear to SHIMMER for a moment. Paul shivers. Pulls his\n jacket around him. He doesn't notice the candles on", "on one wall. The room is silent. Still. Like a chapel.\n In the semi-darkness we see a BODY on a porcelain slab\n covered with a white sheet.", "PAUL\n No!\n\n VINCENT\n I've seen dead bodies. Believe me, she\n was definitely dead.", "Eliot lies on his bed. Dressed in a dark suit. He hasn't\n slept at all. His eyes rimmed red. He checks the clock on", "The TEACHER throws a handful of earth onto the coffin.\n Jack steps up. Looks down curiously. As if he could\n sense Anna. Then slowly pours the soil from his hand.", "soaked with a dark stain. She's only wearing one shoe.\n Eliot gently takes off the watch from her stiff wrist.\n Places it inside a brown paper bag. Eases off the shoe.", "...at 9.45 last night. I picked up your\n body from the hospital morgue at 12.10\n this morning.", "Eliot walks out of the funeral home. We pull back. Jack\n stands by his bicycle in the bushes watching him. Eliot\n looks up. As if sensing someone was spying on him. Jack\n steps back quickly behind a tree.", "slowly pulls the sheet away...\n The dead body of an OLD WOMAN. Staring blindly at Anna\n with cloudy opaque eyes. Long greasy gray hair. Shaken,", "(QUICKLY)\n Yes. Very tragic. Now is there anything\n else I can help you with?\n Vincent frowns. Turns back to Eliot.", "(QUIETLY)\n I wanted love.\n\n ELIOT\n You had love. Paul loved you.", "PAUL\n She's so cold.\n Paul turns back to Anna. Tears prick his eyes. He\n touches her cheek again. Finally accepting her death.", "(TO HIMSELF)\n Your mother's early.\n Anna's eyelids feel very heavy. Slowly her eyes close.\n Eliot pulls the white sheet over her body.", "corpses. Wandering the earth\n aimlessly. All they do is piss and\n shit. Suffocating us with their", "The service hasn't started yet. Jack walks nervously\n through the empty room to an open casket. He glances\n back, then leans over the coffin." ], [ "(QUICKLY)\n Yes. Very tragic. Now is there anything\n else I can help you with?\n Vincent frowns. Turns back to Eliot.", "Eliot slides a wooden head-rest under her neck and studies\n her wounds, touching them delicately. Thinking about how\n to conceal them. He turns to a tray of instruments.", "Eliot takes notes as he talks on the phone. He looks at\n a day calendar on his desk. Idly flips over the page\n from Tuesday to Wednesday.", "We hear a key turn in a lock. Then another lock. The\n room's suddenly flooded with a harsh white light.\n Eliot steps inside the room. He takes off his jacket.", "JACK\n You've spoken to others?\n\n ELIOT\n Yes. Many others.", "(CALMLY)\n I know. I heard you talking to him.\n Why didn't you let him see me?\n Eliot smiles. Amused she caught him out. He continues\n washing his hands.", "Eliot walks out of the funeral home. We pull back. Jack\n stands by his bicycle in the bushes watching him. Eliot\n looks up. As if sensing someone was spying on him. Jack\n steps back quickly behind a tree.", "Eliot notices the sheet covering Anna's body is slightly\n askew. He reaches over and straightens it. Then looks\n coldly at Vincent. There's an uncomfortable silence.", "Anna sits on the slab. Her hands behind her back. She\n carefully watches Eliot as he pulls on his pale blue\n smock then walks over to a cabinet.", "OLD GUY\n Well here he is. Frank Merano.\n The Old Guy hands Eliot a clipboard. The Assistant\n unties the rope. Pulls the plastic sheeting away.", "Vincent glances one last time at Anna then leaves. The\n door locking shut behind him. Eliot stares at the door.", "conflicted. But then abruptly he pulls himself together.\n Moves away and starts clearing up. Anna closes her eyes.\n Hugs her legs closer to her chest.", "Paul glances at the casket again, then reluctantly allows\n Tom to lead him away.\n Eliot tightens the last screw. His back to the room.", "VINCENT (O.C.)\n I saw her.\n Paul turns hopefully. Finally someone believes him.\n Vincent Merano stands by Jeff's desk.", "ELIOT\n You'll be at peace soon. I promise.\n For a moment we see a deep sadness in Eliot's eyes. He's", "VINCENT\n Do you mind if I have a couple of minutes\n alone with him?\n Eliot hesitates. Then smiles.", "Next we see Mrs. Hutton at the casket. Then Jack. He\n stares at Anna's body before being moved on by the\n Schoolteacher. Finally Paul and Tom approach the coffin.", "Eliot lies on his bed. Dressed in a dark suit. He hasn't\n slept at all. His eyes rimmed red. He checks the clock on", "MORGUE\n Eliot glances at the Assistant with disdain. Signs the\n release form and hands the clipboard back to the Old Guy.", "Paul looks defeated. He simply nods his head. Eliot\n watches him get into his car and drive away." ] ]

[ "What day of the week do new deceased people arrive? ", "What do the social workers do? ", "The dead have to choose their happiest memory by what day?", "What happens after a person witnesses their happiest moment in the screening room? ", "When people vanish what do they take with them? ", "What does Takashi find out about Ichiro? ", "Why does Takashi transfer Ichiro to someone else? ", "What does the waystation resemble? ", "Who are admitted into the waystation on a daily basis for processing?", "What job do the Counselors carry out?", "What are the names of atleast two Counselors in this story?", "When was Takashi killed?", "Who is initially assigned as Ichiro's Counselor?", "Why does Takashi ask for Ichiro to be assigned a new Counselor?", "What day of the week do the deceased have to select a memory by?", "What happens after a memory is selected by one of the deceased?", "What happens at the end of the week for the deceased?", "How is \"Heaven\" represented in the story?", "What is heaven?", "What day of the week does a new group check in?", "Who explains the situation to the deceased people?", "When do the newly dead have to make their decision by?", "Where do the deceased watch their happiest moment?", "What happens after the deceased see their memory?", "Who has been assigned to help Ichiro?", "Who had Ichiro married?", "During what war was Takashi killed?", "Who has Ichiro assigned to another counselor?" ]

[ [ "On Mondays", "Every Monday." ], [ "They explain the process to each person", "They work to recreate the happy memories." ], [ "By Wednesday", "the end of the week" ], [ "That person disappears", "They vanish" ], [ "Only their happiest moment ", "Their happiest memory." ], [ "He married Takashi's former fiancee", "he married Ichiro's former fiance after Takashi died in World War II" ], [ "Because he is struggling with his memories", "Ichiro married his former fiancee" ], [ "A government social service office", "A decrepit government social services building." ], [ "The recently deceased.", "Recently deceased people" ], [ "They help the deceased pick their happiest memory.", "They help the recently deceased choose their happiest memory." ], [ "Takashi and Shiori.", "Takashi and shiori" ], [ "During World War II.", "world war II" ], [ "Takashi.", "Takashi" ], [ "Because Takashi discovers that Ichiro married his former fiancee after Takashi died.", "Because Ichiro married Takashi's former fiancĂŠ after Takashi was killed in World War II." ], [ "Wednesday.", "Wednesday." ], [ "It is replicated, staged, and filmed by the institution.", "The memory is recreated, staged, and filmed by the institution's workers." ], [ "The deceased are allowed to view the film of their happiest moment.", "They watch their happiest memory before they are taken away to them." ], [ "It is represented as the deceased's single happiest moment that is re-experienced for eternity.", "a happy memory" ], [ "A single happy memory from a person's life", "A single happy memory, replayed for eternity." ], [ "Monday", "Monday." ], [ "The social workers", "Social workers in the lodge explain it." ], [ "Wednesday", "They have to make it by Wednesday." ], [ "In the screening room", "In a screening room." ], [ "They vanish", "They vanish into the unknown with just the single happy memory." ], [ "Takashi", "Takashi" ], [ "Takashi's former fiancee", "Takashi's former fiance." ], [ "World War II", "World War II." ], [ "Takashi", "Takashi." ] ]

[ [ "creatures will scream or faint.\" Therefore he explained Raff Brinker's\ncase to Hans and told him what he believed should be done to save the\npatient.", "Raff had started at once, and that, as Dame Brinker has already told\nyou, was the last she saw of him in his right mind.", "\"Raff Brinker! If you're going to treat me this way, and I nursing you\nand bearing with you since I was twenty-two years old, it's a shame!", "What could the boys think, but that the entire Brinker family had\nsuddenly gone crazy!\n\nThey bade an embarrassed \"good-evening,\" and turned to go. But Raff\nstopped them.", "This was too much for the dame. \"Poor boy!\" she echoed, somewhat tartly.\n\"What do you think I'm standing here for, Raff Brinker, and my spinning\na-waiting, if not to hear more than that?\"", "Raff Brinker, the father of Gretel and Hans, had for years been employed\nupon the dykes. It was at the time of a threatened inundation, when in", "\"Aye,\" said Dame Brinker nodding her head complacently.\n\nRaff looked at it again. \"Poor boy!\" he murmured, then fell into a brown\nstudy.", "Raff Brinker's face brightened. \"Indeed I do, boy; it is the boat I was\nmaking you yest--alack, not yesterday, but years ago.\"", "\"I said, Raff,\" stammered Dame Brinker in great distress, \"that it was\nall gone.\"", "\"Aye! I can hope it myself,\" laughed Dame Brinker, \"now you have been\nfrisking about at that rate.\" As Raff closed his eyes, the dame hastened", "Dr. Boekman made no reply, neither did he push Hans away. His eyes were\nfixed anxiously upon Raff Brinker. Suddenly he lifted the watch, and", "\"Here, lad, help a bit,\" interrupted Raff Brinker. \"I must get me on the\nbed again.\"\n\n\n\n\nXXXVIII", "\"It's hard telling,\" he answered.\n\n\"Was he so sick, Raff?\"\n\n\"No, not sick, I may say; but troubled, vrouw, very troubled.\"", "\"Forgive me, Raff Brinker, for this tumult. Do not feel distressed on my\naccount. I leave your house to-day a happier man than I have been for\nmany a long year. Shall I take the watch?\"", "\"Then we should have a chapter,\" said Raff Brinker, speaking slowly, and\nwith difficulty. \"I do not know how it is. I am very, very weak. Mayhap\nthe minister will read to us.\"", "proof that Raff Brinker was a cured man. In fact the news had gone forth\nin every direction, for miles around. Persons who had never before cared", "Raff shook his head sadly.\n\n\"Think!\" implored the doctor. Surely the memory so lately awakened\nthrough his aid could not refuse to serve him in a moment like this.", "The mother's words came so suddenly and sharply, that Raff Brinker,\ndead as he was to all that was passing round him, twitched slightly upon\nthe bed.", "That evening Raff Brinker felt so much better that he insisted upon\nsitting up a while on the rough, high-backed chair by the fire. For a", "\"Now, mynheer,\" continued Raff, \"you can take your rightful pay. God\nknows you have earned it, if bringing such a poor tool back to the" ], [ "Boekman. You are right, young man. Dr. Boekman has a very kind heart.\nYou perceive, Peter, we may be quite mistaken in judging of a person", "\"It would be of no use,\" repeated Dr. Boekman indignantly; \"a great\noperation is proposed--but one might as well do it with a hatchet. The\nonly question asked is--'will it kill?'\"", "\"Very well, boy,\" replied Dr. Boekman with peculiar mildness. \"Tell\nthem, within, to say nothing of what has just passed. Meantime, Hans,", "\"Why go for Dr. Boekman, Hans? There are others in Amsterdam who could\nhelp him, perhaps;--Boekman is a famous man, sought only by the\nwealthiest and they often wait upon him in vain.\"", "The light was shining full upon Dr. Boekman's face. How contented he\nlooked; how much younger and brighter than formerly. The hard lines were\nquite melting away. He was laughing, as he said to the father:", "Dr. Boekman looked astonished. His orders were seldom disregarded in\nthis style. For an instant his eye met hers.\n\n\"You may remain, jufvrouw,\" he said in an altered voice.", "\"Mynheer,\" he panted, drawing close to the fierce-looking doctor, \"I\nknew you could be none other than the famous Boekman. I have to ask a\ngreat favor----\"", "The good woman was beside herself with joy. Dr. Boekman said nothing;\nbut as his eye met hers, he pointed upward. She understood. So did Hans\nand Gretel.", "Peter shrugged his shoulders. \"Very noble it may be, but not quite to my\ntaste. This Dr. Boekman certainly has skill. As for his heart--defend me\nfrom such hearts as his!\"", "\"And the operation _may_ save him,\" pursued Hans. \"How soon, mynheer,\ncan we know?\"\n\nDr. Boekman grew impatient.", "\"You see, Vollenhoven,\" said Dr. Boekman, \"it is a clear case of\"--and\nhere the doctor went off into a queer jumble of Latin and Dutch that I\ncannot conveniently translate.", "\"The question is _everything_ to us, mynheer,\" said Hans, with tearful\ndignity.\n\nDr. Boekman looked at him in sudden dismay.", "\"They say. Ah, Peter, 'they' means everybody or nobody. Surgeon Boekman\nhas had a great sorrow. Many years ago he lost his only child, under", "Dr. Boekman scarcely noticed the dame's apology. He was evidently in\nhaste.\n\n\"Ahem!\" he exclaimed, \"not needed here, I perceive. The patient is\nmending fast.\"", "Dr. Boekman is there, talking in a low tone with a stout young man who\nlistens intently. The stout young man is his student and assistant. Hans", "\"God bless you!\" said Dr. Boekman, seizing the boy's hand, \"it may be as\nyou say. I shall try--I shall try--and, Brinker, if ever the faintest", "\"Dr. Boekman!\" exclaimed Peter in astonishment.\n\n\"Yes, mynheer, and I have not a moment to lose. Good day!\"", "One quick, questioning prayer to Heaven rose from the mother's heart.\n\nThe answer came.\n\nShe turned toward Dr. Boekman.", "Dr. Boekman was evidently displeased. He turned his back on the boy, and\nconferred aside with Laurens. Meanwhile the dame scowled a terrible", "When the mother arose, Dr. Boekman, with a show of trouble in his eyes,\nasked gruffly, \"Well, jufvrouw, shall it be done?\"" ], [ "It is Peter! He is ahead! Hans shoots past him. Hilda's eyes fill with\ntears. Peter _must_ beat. Annie's eyes flash proudly. Gretel gazes with", "\"Ah, mynheer,\" Hans hurried to say, \"from the first start I felt stiff\nand strange on my feet; I was well out of it so long as I had no chance\nof winning.\"\n\nPeter looked rather distressed.", "\"Because,\" replied Hans, bowing like a clown, but looking with the eye\nof a prince at the queenly girl, \"we have not earned it.\"", "Hans is ahead! Young Madame van Gend almost crushes the flowers in her\nhand; she had been quite sure that Peter would be first. Carl Schummel", "\"I shall not be in the race, mynheer,\" said Hans, looking down.", "Hans is to be in the race. Carl is more indignant than ever about it,\nbut as three other peasant boys have entered, Hans is not alone.", "\"You are a noble fellow, Hans!\" cried Peter yielding at last. He sprang\nto his post just as the white handkerchief fell to the ground. The bugle\nsends forth its blast, loud, clear and ringing.", "The racers formed in single file. Peter, being tallest, stood first.\nGretel, the smallest of all, took her place at the end. Hans, who had\nborrowed a strap from the cake-boy, was near the head.", "Peter it was reported had gone to Haarlem the night before, to attend to\nsomething connected with the great Skating Race. Still Hans would go and\ntry.", "As Hans drew forth the wooden \"runners\" from his capacious pockets and\nfastened them on as best he could, he did not hear Annie murmur, \"I wish", "I had not been so rude; poor, brave Hans; what a noble boy he is!\" And\nas Annie skated homeward filled with pleasant thoughts, she did not hear", "\"Not so!\" cried Ludwig--\"catch him being beaten!\"\n\n\"Ha! ha!\" sneered Carl. \"I tell you, boy, Benjamin is ahead.\"", "Hans, fly, Peter, don't let Carl beat again. Carl the bitter, Carl the\ninsolent. Van Mounen is flagging, but you are strong as ever. Hans and", "cap, he passes Ben, then Carl. Now it is an even race between him and\nHans. Madame van Gend catches her breath.", "Looking down with a sigh at the two pairs of feet so very different in\nsize, she asked:\n\n\"Which of you is the better skater?\"\n\n\"Gretel,\" replied Hans, promptly.", "The captain was absorbed in thought, at first, for Hans Brinker's sad\nstory still echoed in his ears. Not until Ludwig rebuked him with a", "Hans sprang to his feet and started in brisk pursuit, but it was no easy\nthing to catch Gretel. Before she had traveled very far, her skates,\ntoo, began to squeak.", "Something in the boy's manner warned Peter that it would be no kindness\nto press the matter further. He bade Hans \"good-bye,\" and stood\nthoughtfully watching him as he walked away.\n\nIn a minute Peter called out:", "\"For madame's sake,\" pleaded Hans, \"be quick. She is motioning to you to\njoin the racers. There the skate is almost on; quick, mynheer, fasten", "The two Van Holps, and Carl Schummel were there, testing their fleetness\nto the utmost. Out of four trials Peter van Holp had beaten three times." ], [ "Boekman. You are right, young man. Dr. Boekman has a very kind heart.\nYou perceive, Peter, we may be quite mistaken in judging of a person", "The light was shining full upon Dr. Boekman's face. How contented he\nlooked; how much younger and brighter than formerly. The hard lines were\nquite melting away. He was laughing, as he said to the father:", "Dr. Boekman's good-nature vanished at once. He gave a growl (at least,\nit seemed so to Gretel) but made no actual reply.", "Dr. Boekman was evidently displeased. He turned his back on the boy, and\nconferred aside with Laurens. Meanwhile the dame scowled a terrible", "\"You see, Vollenhoven,\" said Dr. Boekman, \"it is a clear case of\"--and\nhere the doctor went off into a queer jumble of Latin and Dutch that I\ncannot conveniently translate.", "\"Dr. Boekman!\" exclaimed Peter in astonishment.\n\n\"Yes, mynheer, and I have not a moment to lose. Good day!\"", "Dr. Boekman is there, talking in a low tone with a stout young man who\nlistens intently. The stout young man is his student and assistant. Hans", "When the mother arose, Dr. Boekman, with a show of trouble in his eyes,\nasked gruffly, \"Well, jufvrouw, shall it be done?\"", "\"God bless you!\" said Dr. Boekman, seizing the boy's hand, \"it may be as\nyou say. I shall try--I shall try--and, Brinker, if ever the faintest", "\"Very well, boy,\" replied Dr. Boekman with peculiar mildness. \"Tell\nthem, within, to say nothing of what has just passed. Meantime, Hans,", "Dr. Boekman looked astonished. His orders were seldom disregarded in\nthis style. For an instant his eye met hers.\n\n\"You may remain, jufvrouw,\" he said in an altered voice.", "\"The question is _everything_ to us, mynheer,\" said Hans, with tearful\ndignity.\n\nDr. Boekman looked at him in sudden dismay.", "\"Mynheer,\" he panted, drawing close to the fierce-looking doctor, \"I\nknew you could be none other than the famous Boekman. I have to ask a\ngreat favor----\"", "At last there was a movement upon the bed, very slight, but enough to\ncause them all to start; Dr. Boekman leaned eagerly forward.", "Peter shrugged his shoulders. \"Very noble it may be, but not quite to my\ntaste. This Dr. Boekman certainly has skill. As for his heart--defend me\nfrom such hearts as his!\"", "Dr. Boekman scarcely noticed the dame's apology. He was evidently in\nhaste.\n\n\"Ahem!\" he exclaimed, \"not needed here, I perceive. The patient is\nmending fast.\"", "The good woman was beside herself with joy. Dr. Boekman said nothing;\nbut as his eye met hers, he pointed upward. She understood. So did Hans\nand Gretel.", "\"Why go for Dr. Boekman, Hans? There are others in Amsterdam who could\nhelp him, perhaps;--Boekman is a famous man, sought only by the\nwealthiest and they often wait upon him in vain.\"", "Dr. Boekman took off his heavy coat; he filled an earthen basin with\nwater and placed it near the bed. Then turning to Hans he asked:\n\n\"Can I depend upon you, boy?\"", "One quick, questioning prayer to Heaven rose from the mother's heart.\n\nThe answer came.\n\nShe turned toward Dr. Boekman." ], [ "\"Hey? what?\" cried the doctor beginning to listen.\n\nHans told the whole story in an incoherent way, dashing off a tear once\nor twice as he talked, and finally ending with an earnest,", "\"Would you like to become a physician?\"\n\n\"Yes, mynheer,\" answered Hans, quivering with excitement.", "You may believe the doctor heard every word of the story, when later in\nthe evening he came driving back with Hans. \"The three young gentlemen", "The doctor was regarding him sternly. Hans felt rebuked. His cheeks were\nflushed; hot tears were gathering under his lashes.", "\"That will do,\" said the doctor, hurrying on, with a bright backward nod\nat Hans, \"I shall be there. A hopeless case,\" he muttered to himself,", "The doctor smiled. \"Well, Hans, I see nothing to prevent us from\ncarrying out this plan, if your father agrees.\"", "* * * * *\n\nTake a long look at Hans as he sits there staring gratefully at the\nmeester, for you shall not see him again for many years.", "calls Hans, 'little Hans.' Ten years asleep! Oh, mynheer, you have saved\nus all. He has known nothing for ten years! Children, why don't you\nthank the meester?\"", "What was the matter with the old doctor? A brightness like sunlight\nbeamed from his face. His eyes were kind and moist; the hand that had\nlately clutched his cane, as if preparing to strike, was laid gently\nupon Hans' shoulder.", "Dr. Boekman took off his heavy coat; he filled an earthen basin with\nwater and placed it near the bed. Then turning to Hans he asked:\n\n\"Can I depend upon you, boy?\"", "\"It is an ugly business, boy, this surgery,\" said the doctor, still\nfrowning at Hans; \"it requires great patience, self-denial and\nperseverance.\"", "and Amsterdam. But when Hans had grown strong and large, he had insisted\nupon doing all such drudgery in her place. Besides, her husband had\nbecome so very helpless of late, that he required her constant care.", "Hans, forgetting distinctions of rank and station, forgetting everything\nbut that his good friend was in trouble, threw his arms round the\ndoctor's neck.", "\"Very well, boy,\" replied Dr. Boekman with peculiar mildness. \"Tell\nthem, within, to say nothing of what has just passed. Meantime, Hans,", "Hans listened attentively, growing red and pale by turns, and throwing\nquick, anxious glances toward the bed.", "\"Here I am, father!\" shouted Hans half mad with joy. But the doctor held\nhim back.", "himself a rascally English name; called Hans \"my son\"--thereby making\nthat young gentleman happy as a lord--and left the cottage with very\nlittle ceremony, considering what a great meester he was.", "The doctor looked displeased--growled out a tender request for the\nstudent to talk less, and beckoned Hans to draw near.", "\"Ah, Hans!\" he cried as the weary boy approached the door. \"You are the\nvery one I wished to see. Come in and warm yourself.\"", "\"Indeed we will!\" cried all but Hans, whose silent promise would have\nsatisfied the doctor even had the others not spoken." ], [ "Hans was delighted with his new skates, and in his eagerness to show\nGretel how perfectly they \"worked\" did many things upon the ice, that", "Peter it was reported had gone to Haarlem the night before, to attend to\nsomething connected with the great Skating Race. Still Hans would go and\ntry.", "Looking down with a sigh at the two pairs of feet so very different in\nsize, she asked:\n\n\"Which of you is the better skater?\"\n\n\"Gretel,\" replied Hans, promptly.", "\"For madame's sake,\" pleaded Hans, \"be quick. She is motioning to you to\njoin the racers. There the skate is almost on; quick, mynheer, fasten", "They had skated about an hour, keeping aloof from the others--quite\ncontented with each other, and Gretel had exclaimed, \"Ah, Hans, how", "Hans sprang to his feet and started in brisk pursuit, but it was no easy\nthing to catch Gretel. Before she had traveled very far, her skates,\ntoo, began to squeak.", "Hans shook his head. \"The young lady would have given us the money to\nbuy skates, but if I _earn_ it, Gretel, it shall be spent for wool. You\nmust have a warm jacket.\"", "to take in their sails, and go to the race. Everybody would be\nthere--already the north side of the frozen Y was bordered with eager\nspectators; the news of the great skating match had traveled far and", "shall never skate any more. I must send my new skates back to the\nbeautiful lady. Hans and I will not see the race,\" and Gretel's eyes,", "Hans had taken a string from his pocket. Humming a tune as he knelt\nbeside her, he proceeded to fasten Gretel's skate with all the force of\nhis strong young arm.", "\"Now,\" said Peter, drawing near Hans, both skimming the ice so easily\nand lightly as they skated on together that they seemed scarce conscious", "Hans turned the money thoughtfully in his palm. Never in all his life\nhad he longed so intensely for a pair of skates, for he had known of the", "This third mile may decide the race. Still if neither Gretel nor Hilda\nwin, there is yet a chance among the rest for the Silver Skates.", "Next the grand skating-race was talked over; Mevrouw van Gend gladly\npromised to be present on the occasion--\"I shall witness your triumph,\nPeter,\" she said, \"for you are the fastest skater I ever knew.\"", "\"Yes, and hurry back, Hans!\" laughed Gretel; \"we'll race on the canal\nto-night, if the mother lets us.\"", "both can skate well, and the ranks are free. Any one may enter for the\nprize.\"", "It was only in winter that Gretel and Hans could be spared to attend\nschool; and for the past month they had been kept at home because their", "The racers formed in single file. Peter, being tallest, stood first.\nGretel, the smallest of all, took her place at the end. Hans, who had\nborrowed a strap from the cake-boy, was near the head.", "Believing that discretion was the better part of valor she turned\nsuddenly and skated into her pursuer's arms.\n\n\"Ha! ha! I've caught you!\" cried Hans.", "I had not been so rude; poor, brave Hans; what a noble boy he is!\" And\nas Annie skated homeward filled with pleasant thoughts, she did not hear" ], [ "for the Brinkers, or even mentioned them, except with a contemptuous\nsneer or a shrug of pretended pity, now became singularly familiar with", "Dame Brinker shook her head, and looked sadly toward her husband, who\nsat staring blankly at the floor. Gretel stood near him, knitting.", "What could the boys think, but that the entire Brinker family had\nsuddenly gone crazy!\n\nThey bade an embarrassed \"good-evening,\" and turned to go. But Raff\nstopped them.", "\"Strange that the dear father should have put it down so woeful deep,\"\nsaid Dame Brinker, in rather a provoked tone. \"Ah, the ground was soft", "Not one of the Brinkers has ever been a beggar. Shall I be the first?\nShall my poor father just coming back into life learn that his family", "\"Aye,\" said Dame Brinker nodding her head complacently.\n\nRaff looked at it again. \"Poor boy!\" he murmured, then fell into a brown\nstudy.", "welcome in God's sight than that which sprang forth to cheer the roughly\nclad boy and girl in the humble cottage. Dame Brinker felt that she had", "\"S-s-t!\" said Dame Brinker, shaking her head reproachfully at Gretel,\n\"she was a very rude girl I'm sure.\" [Secretly, she was thinking that\nvery few women had such a fine little daughter.]", "XLIII\n\nA DISCOVERY\n\n\nThe next sun brought a busy day to the Brinkers.", "None seeing the humble supper eaten in the Brinker cottage that night\nwould have dreamed of the dainty fare hidden away near by. Hans and", "Annie had not heard of his illness. Dame Brinker and her affairs\nreceived but little notice from the people of the place.", "\"Read,\" he muttered; \"these people must be kept quiet or the man will\ndie yet.\"\n\nWhen the chapter was finished, Dame Brinker motioned mysteriously to the\nrest by way of telling them that her husband was asleep.", "inflicted), then sat down and addressed him for all the world like a\nlawyer. After that he had turned and spoken beautifully to his wife and\nchildren. Dame Brinker had laughed herself into violent hysterics. Hans", "To the Brinker family it has brought great changes. Hans has spent the\nyears faithfully and profitably, conquering obstacles as they arose, and", "Brinker, that the boy had discovered the mistake. I believed it was\nyouthful folly--ingratitude--love of adventure, that sent him away. My\npoor, poor Laurens!\"", "Raff Brinker and his vrouw have been living comfortably in Amsterdam for\nmany years--a faithful, happy pair; as simple and straightforward in", "Such a breakfast as they ate! The landlord looked frightened. When he\nhad asked them where they \"belonged,\" he made up his mind that the Broek\npeople starved their children. It was a shame, \"such fine young\ngentlemen, too!\"", "Dame Brinker laughed to see Hans hang up his hat and prepare to listen.\n\"Nonsense, children,\" she said, \"I have told it to you often.\"", "\"Come in,\" stammered Dame Brinker hastily trying to hide the watch in\nher bosom. \"Oh! is it you, mynheer! Good day; the father is nearly well,", "Raff Brinker, the father of Gretel and Hans, had for years been employed\nupon the dykes. It was at the time of a threatened inundation, when in" ], [ "When the mother arose, Dr. Boekman, with a show of trouble in his eyes,\nasked gruffly, \"Well, jufvrouw, shall it be done?\"", "Dr. Boekman's good-nature vanished at once. He gave a growl (at least,\nit seemed so to Gretel) but made no actual reply.", "Dr. Boekman was evidently displeased. He turned his back on the boy, and\nconferred aside with Laurens. Meanwhile the dame scowled a terrible", "Dr. Boekman is there, talking in a low tone with a stout young man who\nlistens intently. The stout young man is his student and assistant. Hans", "Peter shrugged his shoulders. \"Very noble it may be, but not quite to my\ntaste. This Dr. Boekman certainly has skill. As for his heart--defend me\nfrom such hearts as his!\"", "Boekman. You are right, young man. Dr. Boekman has a very kind heart.\nYou perceive, Peter, we may be quite mistaken in judging of a person", "So saying, Dr. Boekman, without another word, stalked off, to meet his\ncoach, leaving Hans standing there with eyes and mouth wide open.", "\"Dr. Boekman!\" exclaimed Peter in astonishment.\n\n\"Yes, mynheer, and I have not a moment to lose. Good day!\"", "\"Very well, boy,\" replied Dr. Boekman with peculiar mildness. \"Tell\nthem, within, to say nothing of what has just passed. Meantime, Hans,", "\"Mynheer,\" he panted, drawing close to the fierce-looking doctor, \"I\nknew you could be none other than the famous Boekman. I have to ask a\ngreat favor----\"", "\"Mynheer Boekman!\"\n\nThe great man halted, and sticking out his thin under lip, looked\nscowlingly about him.\n\nHans was in for it now.", "\"You see, Vollenhoven,\" said Dr. Boekman, \"it is a clear case of\"--and\nhere the doctor went off into a queer jumble of Latin and Dutch that I\ncannot conveniently translate.", "Dr. Boekman scarcely noticed the dame's apology. He was evidently in\nhaste.\n\n\"Ahem!\" he exclaimed, \"not needed here, I perceive. The patient is\nmending fast.\"", "Dr. Boekman looked astonished. His orders were seldom disregarded in\nthis style. For an instant his eye met hers.\n\n\"You may remain, jufvrouw,\" he said in an altered voice.", "The light was shining full upon Dr. Boekman's face. How contented he\nlooked; how much younger and brighter than formerly. The hard lines were\nquite melting away. He was laughing, as he said to the father:", "\"This will not do, jufvrouw,\" said Dr. Boekman sternly, and at the same\ntime he cast a quick, penetrating look at Hans--\"you and the girl must\nleave the room. The boy may stay.\"", "Dr. Boekman scowled. \"That is of no consequence. I believe he died, but\nwhy not fix your mind on the grand features of the case. Consider a\nmoment how\"--and he plunged into Latin mysteries more deeply than ever.", "\"The question is _everything_ to us, mynheer,\" said Hans, with tearful\ndignity.\n\nDr. Boekman looked at him in sudden dismay.", "\"God bless you!\" said Dr. Boekman, seizing the boy's hand, \"it may be as\nyou say. I shall try--I shall try--and, Brinker, if ever the faintest", "At last there was a movement upon the bed, very slight, but enough to\ncause them all to start; Dr. Boekman leaned eagerly forward." ], [ "To the Brinker family it has brought great changes. Hans has spent the\nyears faithfully and profitably, conquering obstacles as they arose, and", "\"Read,\" he muttered; \"these people must be kept quiet or the man will\ndie yet.\"\n\nWhen the chapter was finished, Dame Brinker motioned mysteriously to the\nrest by way of telling them that her husband was asleep.", "\"Good-night, father. Where did you say you buried the money? I was only\na little one then.\"\n\n\"Close by the willow sapling behind the cottage,\" said Raff Brinker\ndrowsily.", "Dame Brinker was delighted at the sight of so much silver, but when she\nlearned that Hans had parted with his treasures to obtain it, she\nsighed, as she exclaimed:", "creatures will scream or faint.\" Therefore he explained Raff Brinker's\ncase to Hans and told him what he believed should be done to save the\npatient.", "\"Aye,\" said Dame Brinker nodding her head complacently.\n\nRaff looked at it again. \"Poor boy!\" he murmured, then fell into a brown\nstudy.", "Brinker, that the boy had discovered the mistake. I believed it was\nyouthful folly--ingratitude--love of adventure, that sent him away. My\npoor, poor Laurens!\"", "\"That's right, old fellow,\" pursued his tempter, \"hurry up--what\nnews--old Brinker dead?\"", "\"Indeed, it seems likely,\" sighed Hans. \"Well, mother, we must give up\nthe money bravely. It is certainly gone; the father has told us all he\nknows. Let us think no more about it.\"", "\"Come in,\" stammered Dame Brinker hastily trying to hide the watch in\nher bosom. \"Oh! is it you, mynheer! Good day; the father is nearly well,", "inflicted), then sat down and addressed him for all the world like a\nlawyer. After that he had turned and spoken beautifully to his wife and\nchildren. Dame Brinker had laughed herself into violent hysterics. Hans", "for the Brinkers, or even mentioned them, except with a contemptuous\nsneer or a shrug of pretended pity, now became singularly familiar with", "Raff had started at once, and that, as Dame Brinker has already told\nyou, was the last she saw of him in his right mind.", "What could the boys think, but that the entire Brinker family had\nsuddenly gone crazy!\n\nThey bade an embarrassed \"good-evening,\" and turned to go. But Raff\nstopped them.", "He thrust in his hand and took out--a piece of brick--then another--then\nanother--then, the stocking and the pouch, black and mouldy, but filled\nwith the long lost treasure!", "\"Strange that the dear father should have put it down so woeful deep,\"\nsaid Dame Brinker, in rather a provoked tone. \"Ah, the ground was soft", "Dame Brinker scarce knew how to reply. Should she tell him all? Tell him\nthat he had been an idiot, almost a lunatic? The doctor had charged her\non no account to worry or excite his patient.", "proof that Raff Brinker was a cured man. In fact the news had gone forth\nin every direction, for miles around. Persons who had never before cared", "Raff Brinker still slept soundly; his wife took a small block of peat\nfrom her nearly exhausted store, and put it upon the embers. Then\nopening the door, she called gently:\n\n\"Come in, children.\"", "Dame Brinker and her children had a fine supper, I can assure you. No\nneed of saving the delicacies now." ], [ "CONCLUSION\n\n\nOur story is nearly told. Time passes in Holland just as surely and\nsteadily as here; in that respect no country is odd.", "customs, its cities, its palaces, churches, picture-galleries, and\nmuseums--for these are described in the story--except to say that they", "country. It is strange, though, to have such a warm feeling for such a\ncold place. If we were not exercising all the time we should freeze\noutright.\"", "lived out in the country, on the other side of the dyke. The little\nfellow started on his errand with a light heart, and having spent an", "You may believe the doctor heard every word of the story, when later in\nthe evening he came driving back with Hans. \"The three young gentlemen", "Hans started with a heavy heart, but since the heart was young, and in a\nboy's bosom, it set him whistling in less than five minutes. His mother", "In less than fifteen minutes two drowsy looking officers were in the\nroom. After telling Mynheer Kleef that he must appear early in the\nmorning with the boys and make his complaint before a magistrate, they\nmarched off with their prisoner.", "\"Hey? what?\" cried the doctor beginning to listen.\n\nHans told the whole story in an incoherent way, dashing off a tear once\nor twice as he talked, and finally ending with an earnest,", "\"I left my home this morning, mynheer, in great trouble, and as I\nskated, I took no heed until I stumbled against some lumber, and while I\nwas rubbing my knee I saw your purse nearly hidden under a log.\"", "This little work aims to combine the instructive features of a book of\ntravels with the interest of a domestic tale. Throughout its pages the", "\"And now, Peter,\" said the lady, when the story was finished, \"you must\nwrite at once to tell the good people of Broek that your adventures have\nreached their height, that you and your fellow-travelers have all been\ntaken prisoners.\"", "Meantime the stars winked and blinked at each other as if to say, \"Queer\ncountry, this Holland! How much we do see to be sure!\"", "Therefore by sundown it was well known throughout the neighboring\ncountry that Dr. Boekman chancing to stop at the cottage had given the", "clothes himself. So that night, when all the world was asleep he got up\nand killed the three young gentlemen.\"", "At that same hour, while Ben was skating with his companions beside the\nHolland dyke, Robby and Jenny stood in their pretty English schoolhouse,\nready to join in the duties of their reading class.", "Meantime, the other boys were listening to Peter's account of an\nincident which had long ago occurred[22] in a part of the city where", "in Holland who does not know it. And, Ben, you may not think so, but\nthat little boy represents the spirit of the whole country. Not a leak\ncan show itself anywhere either in its politics, honor, or public", "\"Many years ago, there lived in Haarlem, one of the principal cities of\nHolland, a sunny-haired boy, of gentle disposition. His father was a", "and Amsterdam. But when Hans had grown strong and large, he had insisted\nupon doing all such drudgery in her place. Besides, her husband had\nbecome so very helpless of late, that he required her constant care.", "\"Yes, indeed; there is a story connected with that picture.\"\n\n\"Tell us!\" cried two or three, drawing closer to Peter as they skated\non." ], [ "When the mother arose, Dr. Boekman, with a show of trouble in his eyes,\nasked gruffly, \"Well, jufvrouw, shall it be done?\"", "Dr. Boekman was evidently displeased. He turned his back on the boy, and\nconferred aside with Laurens. Meanwhile the dame scowled a terrible", "Peter shrugged his shoulders. \"Very noble it may be, but not quite to my\ntaste. This Dr. Boekman certainly has skill. As for his heart--defend me\nfrom such hearts as his!\"", "Dr. Boekman's good-nature vanished at once. He gave a growl (at least,\nit seemed so to Gretel) but made no actual reply.", "Boekman. You are right, young man. Dr. Boekman has a very kind heart.\nYou perceive, Peter, we may be quite mistaken in judging of a person", "\"Very well, boy,\" replied Dr. Boekman with peculiar mildness. \"Tell\nthem, within, to say nothing of what has just passed. Meantime, Hans,", "So saying, Dr. Boekman, without another word, stalked off, to meet his\ncoach, leaving Hans standing there with eyes and mouth wide open.", "Dr. Boekman scowled. \"That is of no consequence. I believe he died, but\nwhy not fix your mind on the grand features of the case. Consider a\nmoment how\"--and he plunged into Latin mysteries more deeply than ever.", "Dr. Boekman is there, talking in a low tone with a stout young man who\nlistens intently. The stout young man is his student and assistant. Hans", "\"Dr. Boekman!\" exclaimed Peter in astonishment.\n\n\"Yes, mynheer, and I have not a moment to lose. Good day!\"", "\"The question is _everything_ to us, mynheer,\" said Hans, with tearful\ndignity.\n\nDr. Boekman looked at him in sudden dismay.", "\"Mynheer,\" he panted, drawing close to the fierce-looking doctor, \"I\nknew you could be none other than the famous Boekman. I have to ask a\ngreat favor----\"", "\"You see, Vollenhoven,\" said Dr. Boekman, \"it is a clear case of\"--and\nhere the doctor went off into a queer jumble of Latin and Dutch that I\ncannot conveniently translate.", "Dr. Boekman scarcely noticed the dame's apology. He was evidently in\nhaste.\n\n\"Ahem!\" he exclaimed, \"not needed here, I perceive. The patient is\nmending fast.\"", "\"Mynheer Boekman!\"\n\nThe great man halted, and sticking out his thin under lip, looked\nscowlingly about him.\n\nHans was in for it now.", "The light was shining full upon Dr. Boekman's face. How contented he\nlooked; how much younger and brighter than formerly. The hard lines were\nquite melting away. He was laughing, as he said to the father:", "\"This will not do, jufvrouw,\" said Dr. Boekman sternly, and at the same\ntime he cast a quick, penetrating look at Hans--\"you and the girl must\nleave the room. The boy may stay.\"", "Dr. Boekman looked astonished. His orders were seldom disregarded in\nthis style. For an instant his eye met hers.\n\n\"You may remain, jufvrouw,\" he said in an altered voice.", "\"God bless you!\" said Dr. Boekman, seizing the boy's hand, \"it may be as\nyou say. I shall try--I shall try--and, Brinker, if ever the faintest", "\"It would be of no use,\" repeated Dr. Boekman indignantly; \"a great\noperation is proposed--but one might as well do it with a hatchet. The\nonly question asked is--'will it kill?'\"" ], [ "\"God bless you!\" said Dr. Boekman, seizing the boy's hand, \"it may be as\nyou say. I shall try--I shall try--and, Brinker, if ever the faintest", "The light was shining full upon Dr. Boekman's face. How contented he\nlooked; how much younger and brighter than formerly. The hard lines were\nquite melting away. He was laughing, as he said to the father:", "Boekman. You are right, young man. Dr. Boekman has a very kind heart.\nYou perceive, Peter, we may be quite mistaken in judging of a person", "\"It would be of no use,\" repeated Dr. Boekman indignantly; \"a great\noperation is proposed--but one might as well do it with a hatchet. The\nonly question asked is--'will it kill?'\"", "\"Mynheer,\" he panted, drawing close to the fierce-looking doctor, \"I\nknew you could be none other than the famous Boekman. I have to ask a\ngreat favor----\"", "Dr. Boekman made no reply, neither did he push Hans away. His eyes were\nfixed anxiously upon Raff Brinker. Suddenly he lifted the watch, and", "Peter shrugged his shoulders. \"Very noble it may be, but not quite to my\ntaste. This Dr. Boekman certainly has skill. As for his heart--defend me\nfrom such hearts as his!\"", "\"The question is _everything_ to us, mynheer,\" said Hans, with tearful\ndignity.\n\nDr. Boekman looked at him in sudden dismay.", "The good woman was beside herself with joy. Dr. Boekman said nothing;\nbut as his eye met hers, he pointed upward. She understood. So did Hans\nand Gretel.", "It felt the bandage, not in a restless, crazy way, but with a\nquestioning movement, that caused even Dr. Boekman to hold his breath.\nThen the eyes opened slowly.", "\"And the operation _may_ save him,\" pursued Hans. \"How soon, mynheer,\ncan we know?\"\n\nDr. Boekman grew impatient.", "At last there was a movement upon the bed, very slight, but enough to\ncause them all to start; Dr. Boekman leaned eagerly forward.", "\"Very well, boy,\" replied Dr. Boekman with peculiar mildness. \"Tell\nthem, within, to say nothing of what has just passed. Meantime, Hans,", "Brinker that Dr. Boekman had not yet reached Leyden, but that a letter\ncontaining Hans' message had been left at the hotel, where the doctor", "One quick, questioning prayer to Heaven rose from the mother's heart.\n\nThe answer came.\n\nShe turned toward Dr. Boekman.", "Dr. Boekman scarcely noticed the dame's apology. He was evidently in\nhaste.\n\n\"Ahem!\" he exclaimed, \"not needed here, I perceive. The patient is\nmending fast.\"", "Dr. Boekman took off his heavy coat; he filled an earthen basin with\nwater and placed it near the bed. Then turning to Hans he asked:\n\n\"Can I depend upon you, boy?\"", "\"You see, Vollenhoven,\" said Dr. Boekman, \"it is a clear case of\"--and\nhere the doctor went off into a queer jumble of Latin and Dutch that I\ncannot conveniently translate.", "Dr. Boekman looked astonished. His orders were seldom disregarded in\nthis style. For an instant his eye met hers.\n\n\"You may remain, jufvrouw,\" he said in an altered voice.", "mother were alive to see him--such a fine young gentleman as he was; and\nwondering how Dr. Boekman could bear to see the silver watch getting so" ], [ "Hans turned the money thoughtfully in his palm. Never in all his life\nhad he longed so intensely for a pair of skates, for he had known of the", "calls Hans, 'little Hans.' Ten years asleep! Oh, mynheer, you have saved\nus all. He has known nothing for ten years! Children, why don't you\nthank the meester?\"", "\"Because,\" replied Hans, bowing like a clown, but looking with the eye\nof a prince at the queenly girl, \"we have not earned it.\"", "\"I am no beggar, Mynheer,\" retorted Hans proudly, at the same time\nproducing his mite of silver with a grand air. \"I wish to consult with", "\"Yes, Hans; but it is heavy, scant as it is. The meester said he must\nhave something light and warm. He will perish. Our peat is giving out,", "\"Why, the other calling is so much better,\" answered Hans, \"so much\nnobler. I think, mynheer,\" he added, kindling with enthusiasm, \"that to", "Hans shook his head. \"The young lady would have given us the money to\nbuy skates, but if I _earn_ it, Gretel, it shall be spent for wool. You\nmust have a warm jacket.\"", "* * * * *\n\nTake a long look at Hans as he sits there staring gratefully at the\nmeester, for you shall not see him again for many years.", "time. It would have been gone but for you, Hans. Here\"--pouring out the\ncontents--\"you must give us the pleasure of dividing the money with\nyou----\"", "\"No, Gretel,\" he answered at last, \"I can wait. Some day I may have\nmoney enough saved to buy a fine pair. You shall have these.\"", "\"I have a trouble, mynheer,\" answered Hans, casting down his eyes. Then\nlifting them again with almost a happy expression, he added, \"but it is\nHans who can help Mynheer van Holp _this_ time.\"", "and Amsterdam. But when Hans had grown strong and large, he had insisted\nupon doing all such drudgery in her place. Besides, her husband had\nbecome so very helpless of late, that he required her constant care.", "Poor Hans! Disappointed in his morning's errand, half sickened with this\nnew trouble, he wore a brave look, and tried to whistle as he tramped\nresolutely off with the firm intention of mending matters.", "\"It is my turn now, Hans,\" said Annie, drawing him aside after he had\ntold his mother the good word from Mynheer van Holp. \"Your skates are\nsold and here's the money.\"", "\"Indeed, it seems likely,\" sighed Hans. \"Well, mother, we must give up\nthe money bravely. It is certainly gone; the father has told us all he\nknows. Let us think no more about it.\"", "Hans. The father has wasted it sorely, throwing it on when I was not\nlooking, dear man.\"", "Again Hans was skating toward Amsterdam on the squeaking wooden runners;\nagain his fingers tingled against the money in his pocket; again the\nboyish whistle rose unconsciously to his lips.", "Something in the boy's manner warned Peter that it would be no kindness\nto press the matter further. He bade Hans \"good-bye,\" and stood\nthoughtfully watching him as he walked away.\n\nIn a minute Peter called out:", "By this time Hans, too, began to tremble, but not with cold. He had\npenetrated a foot deep for quite a space on the south side of the tree.\nAt any moment they might come upon the treasure.", "\"I like that boy, rich or poor,\" he thought to himself, then added\naloud, \"May I ask about this trouble of yours, Hans?\"" ], [ "The light was shining full upon Dr. Boekman's face. How contented he\nlooked; how much younger and brighter than formerly. The hard lines were\nquite melting away. He was laughing, as he said to the father:", "\"God bless you!\" said Dr. Boekman, seizing the boy's hand, \"it may be as\nyou say. I shall try--I shall try--and, Brinker, if ever the faintest", "Boekman. You are right, young man. Dr. Boekman has a very kind heart.\nYou perceive, Peter, we may be quite mistaken in judging of a person", "One quick, questioning prayer to Heaven rose from the mother's heart.\n\nThe answer came.\n\nShe turned toward Dr. Boekman.", "Dr. Boekman was evidently displeased. He turned his back on the boy, and\nconferred aside with Laurens. Meanwhile the dame scowled a terrible", "\"Very well, boy,\" replied Dr. Boekman with peculiar mildness. \"Tell\nthem, within, to say nothing of what has just passed. Meantime, Hans,", "Dr. Boekman is there, talking in a low tone with a stout young man who\nlistens intently. The stout young man is his student and assistant. Hans", "The good woman was beside herself with joy. Dr. Boekman said nothing;\nbut as his eye met hers, he pointed upward. She understood. So did Hans\nand Gretel.", "\"The question is _everything_ to us, mynheer,\" said Hans, with tearful\ndignity.\n\nDr. Boekman looked at him in sudden dismay.", "\"Dr. Boekman!\" exclaimed Peter in astonishment.\n\n\"Yes, mynheer, and I have not a moment to lose. Good day!\"", "\"Mynheer,\" he panted, drawing close to the fierce-looking doctor, \"I\nknew you could be none other than the famous Boekman. I have to ask a\ngreat favor----\"", "delivered when Dr. Boekman arrived. This accomplished, Peter and Jacob\nreturned to the \"Red Lion.\"", "\"Well he may, mynheer,\" cried the dame, \"for only last night we found a\nthousand guilders that's been lost to us these ten years.\"\n\nDr. Boekman opened his eyes.", "When the mother arose, Dr. Boekman, with a show of trouble in his eyes,\nasked gruffly, \"Well, jufvrouw, shall it be done?\"", "\"You see, Vollenhoven,\" said Dr. Boekman, \"it is a clear case of\"--and\nhere the doctor went off into a queer jumble of Latin and Dutch that I\ncannot conveniently translate.", "to search for Dr. Boekman, and induce him, if possible, to come to their\nfather at once. Gretel, filled with a strange dread, had done the work", "All things considered, Gretel was disappointed. Raff, however, was\nperfectly satisfied. The message was delivered; Dr. Boekman had his son", "He left the city with a lightened heart; Dr. Boekman had been at the\nhotel, read the note containing Hans' message, and departed for Broek.", "mother were alive to see him--such a fine young gentleman as he was; and\nwondering how Dr. Boekman could bear to see the silver watch getting so", "Dr. Boekman took off his heavy coat; he filled an earthen basin with\nwater and placed it near the bed. Then turning to Hans he asked:\n\n\"Can I depend upon you, boy?\"" ], [ "inflicted), then sat down and addressed him for all the world like a\nlawyer. After that he had turned and spoken beautifully to his wife and\nchildren. Dame Brinker had laughed herself into violent hysterics. Hans", "nearly dead, with his poor head all bruised and cut. The fever passed\noff in time but never the dullness--_that_ grew worse every day. We\nshall never know.\"", "\"Read,\" he muttered; \"these people must be kept quiet or the man will\ndie yet.\"\n\nWhen the chapter was finished, Dame Brinker motioned mysteriously to the\nrest by way of telling them that her husband was asleep.", "Dame Brinker scarce knew how to reply. Should she tell him all? Tell him\nthat he had been an idiot, almost a lunatic? The doctor had charged her\non no account to worry or excite his patient.", "creatures will scream or faint.\" Therefore he explained Raff Brinker's\ncase to Hans and told him what he believed should be done to save the\npatient.", "\"Aye,\" said Dame Brinker nodding her head complacently.\n\nRaff looked at it again. \"Poor boy!\" he murmured, then fell into a brown\nstudy.", "\"That's right, old fellow,\" pursued his tempter, \"hurry up--what\nnews--old Brinker dead?\"", "Raff had started at once, and that, as Dame Brinker has already told\nyou, was the last she saw of him in his right mind.", "\"Hear the man!\" cried Dame Brinker delighted, yet frightened, too, for\nthat matter; \"we must get him on the bed, Hans. Work, indeed!\"", "The captain was absorbed in thought, at first, for Hans Brinker's sad\nstory still echoed in his ears. Not until Ludwig rebuked him with a", "head. The mother says he has done that so much of late, as though he\nfelt pain there--Ah, mynheer, I did not mean to tell you. If the father", "Dame Brinker laughed to see Hans hang up his hat and prepare to listen.\n\"Nonsense, children,\" she said, \"I have told it to you often.\"", "for the Brinkers, or even mentioned them, except with a contemptuous\nsneer or a shrug of pretended pity, now became singularly familiar with", "you about my father. He is a living man, but sits like one dead. He\ncannot think. His words mean nothing--but he is not sick. He fell on the\ndykes.\"", "What could the boys think, but that the entire Brinker family had\nsuddenly gone crazy!\n\nThey bade an embarrassed \"good-evening,\" and turned to go. But Raff\nstopped them.", "scaffolding, and was taken home insensible. From that hour he never\nworked again; though he lived on, mind and memory were gone.", "great boom fairly whizz over his head, was blind, deaf and dumb all in\nan instant, then opened his eyes, to find himself spinning some yards", "\"Aye! I can hope it myself,\" laughed Dame Brinker, \"now you have been\nfrisking about at that rate.\" As Raff closed his eyes, the dame hastened", "Brinker, that the boy had discovered the mistake. I believed it was\nyouthful folly--ingratitude--love of adventure, that sent him away. My\npoor, poor Laurens!\"", "idiot Brinker a tremendous dose of medicine, as brown as gingerbread. It\nhad taken six men to hold him while it was poured down. The idiot had" ], [ "To the Brinker family it has brought great changes. Hans has spent the\nyears faithfully and profitably, conquering obstacles as they arose, and", "She, too, had pleasant tidings. The father was still improving. He had\nbeen sitting up nearly all day, and was now sleeping as Dame Brinker\ndeclared, \"just as quiet as a lamb.\"", "XLIII\n\nA DISCOVERY\n\n\nThe next sun brought a busy day to the Brinkers.", "proof that Raff Brinker was a cured man. In fact the news had gone forth\nin every direction, for miles around. Persons who had never before cared", "When Dr. Boekman called the next day at the Brinker cottage, he could\nnot help noticing the cheerful, comfortable aspect of the place. An", "for the Brinkers, or even mentioned them, except with a contemptuous\nsneer or a shrug of pretended pity, now became singularly familiar with", "\"Read,\" he muttered; \"these people must be kept quiet or the man will\ndie yet.\"\n\nWhen the chapter was finished, Dame Brinker motioned mysteriously to the\nrest by way of telling them that her husband was asleep.", "inflicted), then sat down and addressed him for all the world like a\nlawyer. After that he had turned and spoken beautifully to his wife and\nchildren. Dame Brinker had laughed herself into violent hysterics. Hans", "Dame Brinker scarce knew how to reply. Should she tell him all? Tell him\nthat he had been an idiot, almost a lunatic? The doctor had charged her\non no account to worry or excite his patient.", "\"That's right, old fellow,\" pursued his tempter, \"hurry up--what\nnews--old Brinker dead?\"", "What could the boys think, but that the entire Brinker family had\nsuddenly gone crazy!\n\nThey bade an embarrassed \"good-evening,\" and turned to go. But Raff\nstopped them.", "That evening Raff Brinker felt so much better that he insisted upon\nsitting up a while on the rough, high-backed chair by the fire. For a", "Why attempt to describe the scene that followed! I need only say that\nthe lad's message was delivered to his father at last--delivered while\nthe great surgeon was sobbing like a little child.", "creatures will scream or faint.\" Therefore he explained Raff Brinker's\ncase to Hans and told him what he believed should be done to save the\npatient.", "Still they worked on, taking turns and whispering cheerily to one\nanother. Now and then Dame Brinker stepped noiselessly over the\nthreshold and listened, to be certain that her husband slept.", "\"Aye,\" said Dame Brinker nodding her head complacently.\n\nRaff looked at it again. \"Poor boy!\" he murmured, then fell into a brown\nstudy.", "four days ago and there is the sad group just as it was before. No, not\nprecisely the same, for Raff Brinker is paler; his fever is gone, though", "Good Dame Brinker! As soon as the scanty dinner had been cleared away\nthat noon, she had arrayed herself in her holiday attire, in honor of", "The light was shining full upon Dr. Boekman's face. How contented he\nlooked; how much younger and brighter than formerly. The hard lines were\nquite melting away. He was laughing, as he said to the father:", "With one accord they knelt by the cot, side by side. Dame Brinker felt\nfor her husband's hand even while she was praying. Dr. Boekman's head" ], [ "When Dr. Boekman called the next day at the Brinker cottage, he could\nnot help noticing the cheerful, comfortable aspect of the place. An", "Brinker that Dr. Boekman had not yet reached Leyden, but that a letter\ncontaining Hans' message had been left at the hotel, where the doctor", "The light was shining full upon Dr. Boekman's face. How contented he\nlooked; how much younger and brighter than formerly. The hard lines were\nquite melting away. He was laughing, as he said to the father:", "\"Very well, boy,\" replied Dr. Boekman with peculiar mildness. \"Tell\nthem, within, to say nothing of what has just passed. Meantime, Hans,", "\"God bless you!\" said Dr. Boekman, seizing the boy's hand, \"it may be as\nyou say. I shall try--I shall try--and, Brinker, if ever the faintest", "\"Mynheer,\" he panted, drawing close to the fierce-looking doctor, \"I\nknew you could be none other than the famous Boekman. I have to ask a\ngreat favor----\"", "\"You see, Vollenhoven,\" said Dr. Boekman, \"it is a clear case of\"--and\nhere the doctor went off into a queer jumble of Latin and Dutch that I\ncannot conveniently translate.", "One quick, questioning prayer to Heaven rose from the mother's heart.\n\nThe answer came.\n\nShe turned toward Dr. Boekman.", "\"The question is _everything_ to us, mynheer,\" said Hans, with tearful\ndignity.\n\nDr. Boekman looked at him in sudden dismay.", "The good woman was beside herself with joy. Dr. Boekman said nothing;\nbut as his eye met hers, he pointed upward. She understood. So did Hans\nand Gretel.", "Dr. Boekman is there, talking in a low tone with a stout young man who\nlistens intently. The stout young man is his student and assistant. Hans", "Dr. Boekman took off his heavy coat; he filled an earthen basin with\nwater and placed it near the bed. Then turning to Hans he asked:\n\n\"Can I depend upon you, boy?\"", "\"And the operation _may_ save him,\" pursued Hans. \"How soon, mynheer,\ncan we know?\"\n\nDr. Boekman grew impatient.", "Boekman. You are right, young man. Dr. Boekman has a very kind heart.\nYou perceive, Peter, we may be quite mistaken in judging of a person", "Dr. Boekman looked astonished. His orders were seldom disregarded in\nthis style. For an instant his eye met hers.\n\n\"You may remain, jufvrouw,\" he said in an altered voice.", "Dr. Boekman scarcely noticed the dame's apology. He was evidently in\nhaste.\n\n\"Ahem!\" he exclaimed, \"not needed here, I perceive. The patient is\nmending fast.\"", "Dr. Boekman was evidently displeased. He turned his back on the boy, and\nconferred aside with Laurens. Meanwhile the dame scowled a terrible", "One snowy day in January, Laurens Boekman went with his father to pay\nhis respects to the Brinker family.", "Therefore by sundown it was well known throughout the neighboring\ncountry that Dr. Boekman chancing to stop at the cottage had given the", "\"Well he may, mynheer,\" cried the dame, \"for only last night we found a\nthousand guilders that's been lost to us these ten years.\"\n\nDr. Boekman opened his eyes." ], [ "for the Brinkers, or even mentioned them, except with a contemptuous\nsneer or a shrug of pretended pity, now became singularly familiar with", "Dame Brinker shook her head, and looked sadly toward her husband, who\nsat staring blankly at the floor. Gretel stood near him, knitting.", "What could the boys think, but that the entire Brinker family had\nsuddenly gone crazy!\n\nThey bade an embarrassed \"good-evening,\" and turned to go. But Raff\nstopped them.", "\"Strange that the dear father should have put it down so woeful deep,\"\nsaid Dame Brinker, in rather a provoked tone. \"Ah, the ground was soft", "Not one of the Brinkers has ever been a beggar. Shall I be the first?\nShall my poor father just coming back into life learn that his family", "\"Aye,\" said Dame Brinker nodding her head complacently.\n\nRaff looked at it again. \"Poor boy!\" he murmured, then fell into a brown\nstudy.", "welcome in God's sight than that which sprang forth to cheer the roughly\nclad boy and girl in the humble cottage. Dame Brinker felt that she had", "\"S-s-t!\" said Dame Brinker, shaking her head reproachfully at Gretel,\n\"she was a very rude girl I'm sure.\" [Secretly, she was thinking that\nvery few women had such a fine little daughter.]", "XLIII\n\nA DISCOVERY\n\n\nThe next sun brought a busy day to the Brinkers.", "None seeing the humble supper eaten in the Brinker cottage that night\nwould have dreamed of the dainty fare hidden away near by. Hans and", "Annie had not heard of his illness. Dame Brinker and her affairs\nreceived but little notice from the people of the place.", "\"Read,\" he muttered; \"these people must be kept quiet or the man will\ndie yet.\"\n\nWhen the chapter was finished, Dame Brinker motioned mysteriously to the\nrest by way of telling them that her husband was asleep.", "inflicted), then sat down and addressed him for all the world like a\nlawyer. After that he had turned and spoken beautifully to his wife and\nchildren. Dame Brinker had laughed herself into violent hysterics. Hans", "To the Brinker family it has brought great changes. Hans has spent the\nyears faithfully and profitably, conquering obstacles as they arose, and", "Brinker, that the boy had discovered the mistake. I believed it was\nyouthful folly--ingratitude--love of adventure, that sent him away. My\npoor, poor Laurens!\"", "Raff Brinker and his vrouw have been living comfortably in Amsterdam for\nmany years--a faithful, happy pair; as simple and straightforward in", "Such a breakfast as they ate! The landlord looked frightened. When he\nhad asked them where they \"belonged,\" he made up his mind that the Broek\npeople starved their children. It was a shame, \"such fine young\ngentlemen, too!\"", "Dame Brinker laughed to see Hans hang up his hat and prepare to listen.\n\"Nonsense, children,\" she said, \"I have told it to you often.\"", "\"Come in,\" stammered Dame Brinker hastily trying to hide the watch in\nher bosom. \"Oh! is it you, mynheer! Good day; the father is nearly well,", "Raff Brinker, the father of Gretel and Hans, had for years been employed\nupon the dykes. It was at the time of a threatened inundation, when in" ], [ "No, you must have a pair to fit exactly, and you must practice every\nchance you can get, until the Twentieth comes. My little Gretel shall\nwin the silver skates.\"", "Or, The Silver Skates\n\n\n\n\nI\n\nHANS AND GRETEL", "Huzza! Huzza! Peter has won the Silver Skates!", "Only to the heavy heart of poor Hans had the vision of the Silver Skates\nfailed to appear during that starry winter night and the brighter sunlit\nday.", "This third mile may decide the race. Still if neither Gretel nor Hilda\nwin, there is yet a chance among the rest for the Silver Skates.", "Looking down with a sigh at the two pairs of feet so very different in\nsize, she asked:\n\n\"Which of you is the better skater?\"\n\n\"Gretel,\" replied Hans, promptly.", "I had not been so rude; poor, brave Hans; what a noble boy he is!\" And\nas Annie skated homeward filled with pleasant thoughts, she did not hear", "III\n\nTHE SILVER SKATES", "Hans shook his head. \"The young lady would have given us the money to\nbuy skates, but if I _earn_ it, Gretel, it shall be spent for wool. You\nmust have a warm jacket.\"", "Hans turned the money thoughtfully in his palm. Never in all his life\nhad he longed so intensely for a pair of skates, for he had known of the", "In vain the crier lifts his voice--he cannot be heard. He has no news to\ntell--it is already ringing through the crowd. _Gretel has won the\nSilver Skates!_", "And so Hans bought the skates.\n\n\n\n\nVIII\n\nINTRODUCING JACOB POOT AND HIS COUSIN", "\"No, no,\" she sighed, \"he sees nothing. Come, Hans\" (and the smile crept\nfaintly back again), \"don't stand gaping at me all day, and the new\nskates waiting for you at Amsterdam.\"", "But, lest you forget a tiny form trembling and sobbing on the mound\nbefore the Brinker cottage, ask the Van Glecks; they will never weary\ntelling of the darling little girl who won The Silver Skates.", "Peter it was reported had gone to Haarlem the night before, to attend to\nsomething connected with the great Skating Race. Still Hans would go and\ntry.", "\"Ah, mynheer,\" Hans hurried to say, \"from the first start I felt stiff\nand strange on my feet; I was well out of it so long as I had no chance\nof winning.\"\n\nPeter looked rather distressed.", "Hans was delighted with his new skates, and in his eagerness to show\nGretel how perfectly they \"worked\" did many things upon the ice, that", "\"For madame's sake,\" pleaded Hans, \"be quick. She is motioning to you to\njoin the racers. There the skate is almost on; quick, mynheer, fasten", "\"No, mynheer,\" answered Hans. He spoke quietly, without pretence, or any\ngrace of manner, but Peter, somehow, felt rebuked, and put the silver\nback without a word.", "winning the race, and buy the skates accordingly. I wish I had enough to\nbuy better ones--good-bye!\" and, with a nod and a smile, Hilda, after" ], [ "The meester turned around.\n\n\"How old are you, Hans Brinker?\"\n\n\"Fifteen, mynheer,\" was the startled reply.", "On the following day, there was not a prouder nor a happier boy in all\nHolland than Hans Brinker, as he watched his sister, with many a", "\"Hans Brinker!\"\n\n\"Yes, mynheer.\"\n\n\"I'll take back all I said about Dr. Boekman.\"", "The story of Hans Brinker would be but half told, if we did not leave\nhim with Gretel standing near. Dear, quick, patient little Gretel! What", "\"Well, tell my father you are the Hans Brinker of whom I spoke. He will\nbe glad to serve you.\"\n\nHans stared in honest surprise.\n\n\"Thank you, mynheer.\"", "THE END\n\n\n\n\n\nEnd of the Project Gutenberg EBook of Hans Brinker, by Mary Mapes Dodge", "The captain was absorbed in thought, at first, for Hans Brinker's sad\nstory still echoed in his ears. Not until Ludwig rebuked him with a", "HANS BRINKER\n\nOR THE SILVER SKATES\n\nBY MARY MAPES DODGE", "\"Hurrah!\" shouted the boys taking their cold hands from their pockets to\nwave them joyfully in the air. But Peter said \"Thank you, Hans Brinker,\"\nin a tone that made Hans feel as if the king had knelt to him.", "So, good-bye. O! I must tell you one more thing. We found to-day in an\nAmsterdam bookstore this story of Hans Brinker told in Dutch. It is a", "calls Hans, 'little Hans.' Ten years asleep! Oh, mynheer, you have saved\nus all. He has known nothing for ten years! Children, why don't you\nthank the meester?\"", "Handing it to Hans he said in an undertone, \"I need not thank you for\nlending me this, Hans Brinker. Such boys as you do not ask for", "mother, at Broek. Tell her I bade you see her; and, Hans Brinker--not as\na reward--but as a gift--take a few of these guilders.\"", "GUTENBERG EBOOK HANS BRINKER ***", "Poor Hans! His face was pale, his lips compressed. He skated like one\nunder the effects of a fearful dream. Just as he was passing, Peter\nhailed him:\n\n\"Good day, Hans Brinker!\"", "I had not been so rude; poor, brave Hans; what a noble boy he is!\" And\nas Annie skated homeward filled with pleasant thoughts, she did not hear", "\"Not I, indeed, Hans Brinker,\" cried Peter, looking up, \"though I thank\nyou warmly. Go to your post, my friend, the bugle will sound in a\nminute.\"", "Hans Brinker and his sick father checked me--but for that I could have\nsung for joy. Ludwig has given us a name already--the Broek Cavalry. We", "Dr. Boekman took off his heavy coat; he filled an earthen basin with\nwater and placed it near the bed. Then turning to Hans he asked:\n\n\"Can I depend upon you, boy?\"", "Hans started with a heavy heart, but since the heart was young, and in a\nboy's bosom, it set him whistling in less than five minutes. His mother" ], [ "Hans flushed as he saw tears rising in Gretel's eyes.\n\n\"My sister has not complained of the cold; but this is bitter weather\nthey say----\" and he looked sadly upon Gretel.", "Hans shook his head, resolutely, as he trudged on, causing his sister to\nhalf skip and half walk in her effort to keep beside him; by this time", "\"Ah, Hans,\" called his sister plaintively, \"this foot is not well yet.\nThe strings hurt me on last Market day; and now I cannot bear them tied\nin the same place.\"", "Hans looked up hurriedly. He had a true Dutch horror of tears, or\nemotion of any kind, and, most of all, he dreaded to see his sister's\nblue eyes overflowing.", "And Gretel--Ah, what a vista of puzzling work suddenly opens before her!\nYes, for dear Hans' sake she will study now. If he really is to be a\nmeester, his sister must not shame his greatness.", "With an impatient jerk Hans unwound the string. He would have cast it\nupon the ground in true big-brother style, had he not just then spied a\ntear trickling down his sister's cheek.", "Gretel could not help laughing with delight at the very idea.\n\n\"Hans! Gretel!\" called out a familiar voice.", "It was a scream--a very faint scream! No one else upon the canal\nobserved it, but Hans knew its meaning too well. Gretel saw him turn\nwhite in the moonlight as he hastily tore off his skates.", "\"Hans,\" answered Gretel, in the same breath.\n\nHilda smiled.", "and Amsterdam. But when Hans had grown strong and large, he had insisted\nupon doing all such drudgery in her place. Besides, her husband had\nbecome so very helpless of late, that he required her constant care.", "With natural pride Hans turns to see if Peter van Holp is witnessing his\nsister's triumph. Peter is not looking toward them at all. He is", "\"No, no,\" she sighed, \"he sees nothing. Come, Hans\" (and the smile crept\nfaintly back again), \"don't stand gaping at me all day, and the new\nskates waiting for you at Amsterdam.\"", "When the neighbors' children laughed at her for keeping such poor\ncompany, she would simply flush when Hans was ridiculed, or laugh in a\ncareless, disdainful way; but to hear little Gretel abused always\nawakened her wrath.", "calls Hans, 'little Hans.' Ten years asleep! Oh, mynheer, you have saved\nus all. He has known nothing for ten years! Children, why don't you\nthank the meester?\"", "\"Oh, Hans!\" she cried, her face radiant with joy, \"the young lady has\nbeen here with her maid. She brought everything--meat, jelly, wine and", "\"Oh, Hans!\" she mimicked, pursing her lips, and trying to look\ndesperately wicked and unprincipled.", "Hans and his mother laughed and cried together, as they hung over the\nnewly-awakened man. Gretel made no sound, but gazed at them all with\nglad, startled eyes. Her father was speaking in a faint voice.", "\"What is your name, little girl?\"\n\n\"Gretel, my lady,\" answered the child, somewhat awed by Hilda's rank,\nthough they were nearly of the same age, \"and my brother is called\nHans.\"", "\"What is it, young lady?\" exclaimed Hans eagerly. \"If there is any\nservice I can do? any----\"", "Then new thoughts came. Why had not Hans told her? It was a shame. It\nwas _her_ father as well as his. She was no baby. She had once taken a" ], [ "Rychie, Hilda and Katrinka--why they had scarcely known any other\nthought than \"the race! the race! It will come off on the Twentieth!\"", "to take in their sails, and go to the race. Everybody would be\nthere--already the north side of the frozen Y was bordered with eager\nspectators; the news of the great skating match had traveled far and", "This Janzoon Kolp, you see, was----There, I cannot tell the story just\nnow. The race is about to commence.\n\nTwenty girls are formed in a line. The music has ceased.", "Where are the racers? All assembled together near the white columns. It\nis a beautiful sight. Forty boys and girls in picturesque attire darting", "Each girl feels sure that this time she will accomplish the distance in\none-half the time. How they stamp to try their runners, how nervously\nthey examine each strap--how erect they stand at last, every eye upon\nMadame van Gleck!", "\"Now, boys,\" cried Peter springing up, as he fastened the last buckle.\n\"There's a clear way before us! We will imagine it's the grand race.\nReady! One--two--three--START!\"", "It must not be supposed that our young Dutchmen had already forgotten\nthe great skating-race which was to take place on the Twentieth. On the", "\"What foolishness!\" growled Carl, \"to tire themselves at the beginning\nof the journey--but they're racing in earnest--that's certain. Hallo!\nPeter's flagging!\"", "\"Oh! no, no,\" laughed Hilda, shaking off her embarrassment, \"I only\nwished to speak to you about the grand race. Why do you not join it? You", "\"You are beaten, though, my boy,\" said Lambert in English, \"and fairly,\ntoo. How will it be, I wonder, on the day of the grand race?\"", "The racers formed in single file. Peter, being tallest, stood first.\nGretel, the smallest of all, took her place at the end. Hans, who had\nborrowed a strap from the cake-boy, was near the head.", "longer, at least until after the race.", "Does not Carl hear it--Carl the brave, the fearless?\n\nNo. Carl is dreaming of the race.\n\nAnd Jacob? Van Mounen? Ben?", "\"Oh Katrinka!\" they cried, in a breath, \"have you heard of it? The\nrace--We want you to join!\"", "Twenty boys and twenty girls. The latter by this time are standing in\nfront, braced for the start, for they are to have the first \"run.\"", "They soon halted to take a long breath, and finally found themselves\nstanding in a group gazing after Peter and Ben who were still racing in\nthe distance as if their lives were at stake.", "cap, he passes Ben, then Carl. Now it is an even race between him and\nHans. Madame van Gend catches her breath.", "\"What race?\" asked Katrinka, laughing--\"Don't all talk at once, please,\nI can't understand.\"\n\nEvery one panted and looked at Rychie Korbes, who was their acknowledged\nspokeswoman.", "Mynheer van Gleck drops the handkerchief this time. The buglers give a\nvigorous blast!\n\nThe boys have started.\n\nHalf-way already! Did ever you see the like!", "The site selected for the race was a faultless plain of ice near\nAmsterdam, on that great _arm_ of the Zuider Zee which Dutchmen of" ], [ "Everybody is talking of it; you are to try for the prize, remember.\"", "to take in their sails, and go to the race. Everybody would be\nthere--already the north side of the frozen Y was bordered with eager\nspectators; the news of the great skating match had traveled far and", "Rychie, Hilda and Katrinka--why they had scarcely known any other\nthought than \"the race! the race! It will come off on the Twentieth!\"", "The lady laughed. \"That will make the race all the more exciting,\" she\nsaid--\"but I shall wish each of you to be the winner.\"", "Each girl feels sure that this time she will accomplish the distance in\none-half the time. How they stamp to try their runners, how nervously\nthey examine each strap--how erect they stand at last, every eye upon\nMadame van Gleck!", "This third mile may decide the race. Still if neither Gretel nor Hilda\nwin, there is yet a chance among the rest for the Silver Skates.", "Where are the racers? All assembled together near the white columns. It\nis a beautiful sight. Forty boys and girls in picturesque attire darting", "They soon halted to take a long breath, and finally found themselves\nstanding in a group gazing after Peter and Ben who were still racing in\nthe distance as if their lives were at stake.", "the race, how anxious I was to win.\"", "\"What foolishness!\" growled Carl, \"to tire themselves at the beginning\nof the journey--but they're racing in earnest--that's certain. Hallo!\nPeter's flagging!\"", "\"It was nothing, mynheer,\" said the dame, hastening to her son's relief;\n\"the lad's whole soul was in having you win the race, I know it was!\"\n\nThis helped matters beautifully.", "both can skate well, and the ranks are free. Any one may enter for the\nprize.\"", "winning the race, and buy the skates accordingly. I wish I had enough to\nbuy better ones--good-bye!\" and, with a nod and a smile, Hilda, after", "\"Now, boys,\" cried Peter springing up, as he fastened the last buckle.\n\"There's a clear way before us! We will imagine it's the grand race.\nReady! One--two--three--START!\"", "This Janzoon Kolp, you see, was----There, I cannot tell the story just\nnow. The race is about to commence.\n\nTwenty girls are formed in a line. The music has ceased.", "\"What race?\" asked Katrinka, laughing--\"Don't all talk at once, please,\nI can't understand.\"\n\nEvery one panted and looked at Rychie Korbes, who was their acknowledged\nspokeswoman.", "\"THE GIRLS AND BOYS ARE TO RACE IN TURN, UNTIL ONE GIRL AND ONE BOY HAS", "Twenty boys and twenty girls. The latter by this time are standing in\nfront, braced for the start, for they are to have the first \"run.\"", "In vain the crier lifts his voice--he cannot be heard. He has no news to\ntell--it is already ringing through the crowd. _Gretel has won the\nSilver Skates!_", "The racers formed in single file. Peter, being tallest, stood first.\nGretel, the smallest of all, took her place at the end. Hans, who had\nborrowed a strap from the cake-boy, was near the head." ], [ "\"Hey? what?\" cried the doctor beginning to listen.\n\nHans told the whole story in an incoherent way, dashing off a tear once\nor twice as he talked, and finally ending with an earnest,", "\"Remember what the meester told us; the father must not be worried.\"\n\n\"Speak to him, child,\" she answered, trembling.\n\nHans hurried to the bedside.", "When Hans ceased to speak, his mother turned, gave one long, agonized\nlook at her husband, lying there so pale and unconscious, and threw\nherself on her knees, beside the bed.", "Dr. Boekman took off his heavy coat; he filled an earthen basin with\nwater and placed it near the bed. Then turning to Hans he asked:\n\n\"Can I depend upon you, boy?\"", "In a moment Hans entered.\n\n\"Why, mother,\" he whispered in alarm, \"what ails thee? Is the father\nworse?\"", "\"That will do,\" said the doctor, hurrying on, with a bright backward nod\nat Hans, \"I shall be there. A hopeless case,\" he muttered to himself,", "\"Ah, Hans!\" he cried as the weary boy approached the door. \"You are the\nvery one I wished to see. Come in and warm yourself.\"", "\"Here I am, father!\" shouted Hans half mad with joy. But the doctor held\nhim back.", "calls Hans, 'little Hans.' Ten years asleep! Oh, mynheer, you have saved\nus all. He has known nothing for ten years! Children, why don't you\nthank the meester?\"", "Ludwig stretched forth his hand imploringly toward the Dutchman, who\nwith an air of great importance was still fumbling beneath the jacket.\n\n\"_Do_ hurry! He will die! Has any one else any wine?\"", "She turned her quivering face toward him, making no attempt to conceal\nher distress.\n\n\"Yes. He is starving--perishing. The meester said it.\"\n\nHans turned pale.", "The doctor was regarding him sternly. Hans felt rebuked. His cheeks were\nflushed; hot tears were gathering under his lashes.", "\"I'll be bound, father,\" pursued Hans in a laughing voice, motioning to\nhis mother and Gretel to remain quiet--\"that you've forgotten where you\nburied it.\"", "\"Mynheer,\" pleaded Hans in a husky voice, \"you have called me your\nfriend. Take this strap--quick! There is not an instant to lose. I shall", "\"The question is _everything_ to us, mynheer,\" said Hans, with tearful\ndignity.\n\nDr. Boekman looked at him in sudden dismay.", "creatures will scream or faint.\" Therefore he explained Raff Brinker's\ncase to Hans and told him what he believed should be done to save the\npatient.", "\"Ah, mynheer, even now the mother may need me, the father may be\nworse--I must not wait--May God care for you\"--and, nodding hastily,\nHans turned his face homeward and was gone.", "Hans,\" he continued turning around as he spoke; but Hans, who was\neagerly watching the father, seemed to have forgotten their presence.", "everything, bathed his forehead, his lips, weeping and praying that he\nmight not die. Hans, as we know, had started in desperation for Leyden", "The father was \"sitting up\" at last. What wonder that he looked about\nhim like one bewildered. \"Little Hans\" had just been almost carrying" ], [ "Boekman. You are right, young man. Dr. Boekman has a very kind heart.\nYou perceive, Peter, we may be quite mistaken in judging of a person", "\"It would be of no use,\" repeated Dr. Boekman indignantly; \"a great\noperation is proposed--but one might as well do it with a hatchet. The\nonly question asked is--'will it kill?'\"", "\"Very well, boy,\" replied Dr. Boekman with peculiar mildness. \"Tell\nthem, within, to say nothing of what has just passed. Meantime, Hans,", "Dr. Boekman looked astonished. His orders were seldom disregarded in\nthis style. For an instant his eye met hers.\n\n\"You may remain, jufvrouw,\" he said in an altered voice.", "The light was shining full upon Dr. Boekman's face. How contented he\nlooked; how much younger and brighter than formerly. The hard lines were\nquite melting away. He was laughing, as he said to the father:", "\"Why go for Dr. Boekman, Hans? There are others in Amsterdam who could\nhelp him, perhaps;--Boekman is a famous man, sought only by the\nwealthiest and they often wait upon him in vain.\"", "\"Mynheer,\" he panted, drawing close to the fierce-looking doctor, \"I\nknew you could be none other than the famous Boekman. I have to ask a\ngreat favor----\"", "Peter shrugged his shoulders. \"Very noble it may be, but not quite to my\ntaste. This Dr. Boekman certainly has skill. As for his heart--defend me\nfrom such hearts as his!\"", "\"And the operation _may_ save him,\" pursued Hans. \"How soon, mynheer,\ncan we know?\"\n\nDr. Boekman grew impatient.", "\"The question is _everything_ to us, mynheer,\" said Hans, with tearful\ndignity.\n\nDr. Boekman looked at him in sudden dismay.", "\"You see, Vollenhoven,\" said Dr. Boekman, \"it is a clear case of\"--and\nhere the doctor went off into a queer jumble of Latin and Dutch that I\ncannot conveniently translate.", "The good woman was beside herself with joy. Dr. Boekman said nothing;\nbut as his eye met hers, he pointed upward. She understood. So did Hans\nand Gretel.", "\"God bless you!\" said Dr. Boekman, seizing the boy's hand, \"it may be as\nyou say. I shall try--I shall try--and, Brinker, if ever the faintest", "Dr. Boekman scarcely noticed the dame's apology. He was evidently in\nhaste.\n\n\"Ahem!\" he exclaimed, \"not needed here, I perceive. The patient is\nmending fast.\"", "\"They say. Ah, Peter, 'they' means everybody or nobody. Surgeon Boekman\nhas had a great sorrow. Many years ago he lost his only child, under", "One quick, questioning prayer to Heaven rose from the mother's heart.\n\nThe answer came.\n\nShe turned toward Dr. Boekman.", "\"Dr. Boekman!\" exclaimed Peter in astonishment.\n\n\"Yes, mynheer, and I have not a moment to lose. Good day!\"", "Dr. Boekman was evidently displeased. He turned his back on the boy, and\nconferred aside with Laurens. Meanwhile the dame scowled a terrible", "Dr. Boekman is there, talking in a low tone with a stout young man who\nlistens intently. The stout young man is his student and assistant. Hans", "When the mother arose, Dr. Boekman, with a show of trouble in his eyes,\nasked gruffly, \"Well, jufvrouw, shall it be done?\"" ], [ "* * * * *\n\nTake a long look at Hans as he sits there staring gratefully at the\nmeester, for you shall not see him again for many years.", "and Amsterdam. But when Hans had grown strong and large, he had insisted\nupon doing all such drudgery in her place. Besides, her husband had\nbecome so very helpless of late, that he required her constant care.", "calls Hans, 'little Hans.' Ten years asleep! Oh, mynheer, you have saved\nus all. He has known nothing for ten years! Children, why don't you\nthank the meester?\"", "\"Hey? what?\" cried the doctor beginning to listen.\n\nHans told the whole story in an incoherent way, dashing off a tear once\nor twice as he talked, and finally ending with an earnest,", "himself a rascally English name; called Hans \"my son\"--thereby making\nthat young gentleman happy as a lord--and left the cottage with very\nlittle ceremony, considering what a great meester he was.", "Something in the boy's manner warned Peter that it would be no kindness\nto press the matter further. He bade Hans \"good-bye,\" and stood\nthoughtfully watching him as he walked away.\n\nIn a minute Peter called out:", "Hans,\" he continued turning around as he spoke; but Hans, who was\neagerly watching the father, seemed to have forgotten their presence.", "I had not been so rude; poor, brave Hans; what a noble boy he is!\" And\nas Annie skated homeward filled with pleasant thoughts, she did not hear", "\"I have a trouble, mynheer,\" answered Hans, casting down his eyes. Then\nlifting them again with almost a happy expression, he added, \"but it is\nHans who can help Mynheer van Holp _this_ time.\"", "Hans started with a heavy heart, but since the heart was young, and in a\nboy's bosom, it set him whistling in less than five minutes. His mother", "The father was \"sitting up\" at last. What wonder that he looked about\nhim like one bewildered. \"Little Hans\" had just been almost carrying", "\"Why, the other calling is so much better,\" answered Hans, \"so much\nnobler. I think, mynheer,\" he added, kindling with enthusiasm, \"that to", "\"No, no,\" she sighed, \"he sees nothing. Come, Hans\" (and the smile crept\nfaintly back again), \"don't stand gaping at me all day, and the new\nskates waiting for you at Amsterdam.\"", "\"Ah, Hans!\" he cried as the weary boy approached the door. \"You are the\nvery one I wished to see. Come in and warm yourself.\"", "\"Would you like to become a physician?\"\n\n\"Yes, mynheer,\" answered Hans, quivering with excitement.", "The doctor was regarding him sternly. Hans felt rebuked. His cheeks were\nflushed; hot tears were gathering under his lashes.", "\"You are a noble fellow, Hans!\" cried Peter yielding at last. He sprang\nto his post just as the white handkerchief fell to the ground. The bugle\nsends forth its blast, loud, clear and ringing.", "And so Hans bought the skates.\n\n\n\n\nVIII\n\nINTRODUCING JACOB POOT AND HIS COUSIN", "Hans appeared so surprised and disappointed that his friend asked\ngood-naturedly:\n\n\"Why so silent, boy? Is it any disgrace to be a merchant?\"", "Hans and his mother laughed and cried together, as they hung over the\nnewly-awakened man. Gretel made no sound, but gazed at them all with\nglad, startled eyes. Her father was speaking in a faint voice." ], [ "and Amsterdam. But when Hans had grown strong and large, he had insisted\nupon doing all such drudgery in her place. Besides, her husband had\nbecome so very helpless of late, that he required her constant care.", "\"I have a trouble, mynheer,\" answered Hans, casting down his eyes. Then\nlifting them again with almost a happy expression, he added, \"but it is\nHans who can help Mynheer van Holp _this_ time.\"", "\"Why, the other calling is so much better,\" answered Hans, \"so much\nnobler. I think, mynheer,\" he added, kindling with enthusiasm, \"that to", "* * * * *\n\nTake a long look at Hans as he sits there staring gratefully at the\nmeester, for you shall not see him again for many years.", "himself a rascally English name; called Hans \"my son\"--thereby making\nthat young gentleman happy as a lord--and left the cottage with very\nlittle ceremony, considering what a great meester he was.", "\"You are a noble fellow, Hans!\" cried Peter yielding at last. He sprang\nto his post just as the white handkerchief fell to the ground. The bugle\nsends forth its blast, loud, clear and ringing.", "\"Oh, no, mother,\" said Hans, respectfully. \"I had that in my geography\nlessons long ago. Athens is in Greece.\"", "calls Hans, 'little Hans.' Ten years asleep! Oh, mynheer, you have saved\nus all. He has known nothing for ten years! Children, why don't you\nthank the meester?\"", "\"Hey? what?\" cried the doctor beginning to listen.\n\nHans told the whole story in an incoherent way, dashing off a tear once\nor twice as he talked, and finally ending with an earnest,", "\"Hans is a stout fellow,\" said Hilda, cheerily, \"and seems to have a\nwarm stove somewhere within him, but _you_ look cold. You should wear\nmore clothing, little one.\"", "\"Ah, Hans!\" he cried as the weary boy approached the door. \"You are the\nvery one I wished to see. Come in and warm yourself.\"", "\"No, no,\" she sighed, \"he sees nothing. Come, Hans\" (and the smile crept\nfaintly back again), \"don't stand gaping at me all day, and the new\nskates waiting for you at Amsterdam.\"", "Something in the boy's manner warned Peter that it would be no kindness\nto press the matter further. He bade Hans \"good-bye,\" and stood\nthoughtfully watching him as he walked away.\n\nIn a minute Peter called out:", "All this time Hans was hastening toward the canal. Soon his skates were\non, and he was skimming rapidly toward the residence of Mynheer van\nHolp.", "But Hans knew nothing of all this. Toward sundown he started on his\nreturn to Broek, uncertain whether the strange, choking sensation in his", "\"Because,\" replied Hans, bowing like a clown, but looking with the eye\nof a prince at the queenly girl, \"we have not earned it.\"", "\"Yes, Hans; but it is heavy, scant as it is. The meester said he must\nhave something light and warm. He will perish. Our peat is giving out,", "I had not been so rude; poor, brave Hans; what a noble boy he is!\" And\nas Annie skated homeward filled with pleasant thoughts, she did not hear", "\"I am no beggar, Mynheer,\" retorted Hans proudly, at the same time\nproducing his mite of silver with a grand air. \"I wish to consult with", "Hans started with a heavy heart, but since the heart was young, and in a\nboy's bosom, it set him whistling in less than five minutes. His mother" ], [ "except Gretel. The judges lean forward without seeming to lift their\neyes from their watches. Cheer after cheer fills the air; the very\ncolumns seem rocking. Gretel has passed them. She has won.", "little Gretel!\" Soon Katrinka, with a quick merry laugh, shoots past\nHilda. The girl in yellow is gaining now. She passes them all, all", "Hilda laughed pleasantly and left him. After joining a small detachment\nof the racers, and sailing past every one of them, she halted beside\nGretel who, with eager eyes, had been watching the sport.", "The racers formed in single file. Peter, being tallest, stood first.\nGretel, the smallest of all, took her place at the end. Hans, who had\nborrowed a strap from the cake-boy, was near the head.", "\"GRETEL BRINKER--ONE MILE!\"--shouts the crier.\n\nThe judges nod. They write something upon a tablet which each holds in\nhis hand.", "While the girls are resting--some crowding eagerly around our frightened\nlittle Gretel, some standing aside in high disdain--the boys form in a\nline.", "Each girl feels sure that this time she will accomplish the distance in\none-half the time. How they stamp to try their runners, how nervously\nthey examine each strap--how erect they stand at last, every eye upon\nMadame van Gleck!", "Hilda was puzzled, but she wisely forbore to ask at present for an\nexplanation. \"Very well, Gretel--try to walk faster--I saw you upon the", "Who is first? Not Rychie, Katrinka, Annie, nor Hilda, nor the girl in\nyellow--but Gretel--Gretel, the fleetest sprite of a girl that ever", "All this time the kind-hearted girl had been forcing Gretel to walk up\nand down, supporting her with one arm, and, with the other, striving as\nwell as she could to take off her own warm sacque.", "This third mile may decide the race. Still if neither Gretel nor Hilda\nwin, there is yet a chance among the rest for the Silver Skates.", "Hans sprang to his feet and started in brisk pursuit, but it was no easy\nthing to catch Gretel. Before she had traveled very far, her skates,\ntoo, began to squeak.", "Looking down with a sigh at the two pairs of feet so very different in\nsize, she asked:\n\n\"Which of you is the better skater?\"\n\n\"Gretel,\" replied Hans, promptly.", "Hilda listened. The cottage was very near, but not a sound could be\nheard.\n\nSomething told her that Gretel was right. She ran to the window.", "Peter and Gretel stand in the centre in advance of the others. Madame\nvan Gleck rises majestically. Gretel trembles, but feels that she must", "Only one of all that happy throng remembered the dark little form by the\nidiot's cottage. Poor, frightened Gretel! She was not thinking of them,\nthough their merry laughter floated lightly toward her, making her feel\nlike one in a dream.", "In vain the crier lifts his voice--he cannot be heard. He has no news to\ntell--it is already ringing through the crowd. _Gretel has won the\nSilver Skates!_", "creature like Gretel should be allowed to spoil the race.", "Gretel's eyes twinkled with fun as she thought of Hans' mishap in the\nmorning, but she blushed as she faltered out timidly:", "Gretel scarce heard the words. She remembered for many a day afterward\nthe bright, pitying smile on Hilda's face, as she turned away.\n\n\n\n\nXXXIV" ] ]

[ "Why can't Raff Brinker work?", "Why does Dr. Boekman provide the surgery for free?", "Why does Hans not win the race?", "Why does Dr. Boekman change?", "How does Hans go become a doctor?", "Why do Hans and Gretel want to participate in the ice skating race?", "Why does the community look down on the Brinkers?", "Why is Dr. Boekman gruff in nature?", "What happens to Mr. Brinker's savings?", "In which country is the setting of the story?", "Why is Dr. Boekman so gruff and coldhearted? ", "What gesture moves Dr. Boekman to perform Mr. Brinker's surgery for free?", "Why has Hans been saving his money?", "Who is able to reunite Dr. Boekman with his estranged son?", "How did Mr. Brinker get receive his head injury?", "After Mr. Brinker's surgery what event further changes the Brinkers' fortune?", "In which way does Dr. Boekman further help a member of the Brinker's family at the end of the story?", "Why does the community look down on the Brinkers?", "Why doesn't Hans win the silver skates?", "How old is Hans Brinker?", "What is Hans' sister's name?", "What month of the year does the race take place?", "What do they receive if they win the race?", "Who does Hans beg to treat his father?", "Why does Dr. Boekman do the surgery for free?", "What does Hans become when he grows up?", "What country is Hans from?", "What place does Gretel get in the girls race?" ]

[ [ "Raff Brinker fell from a dike and has a head injury.", "Brain injury from falling off a dike. " ], [ "The doctor was touched because Hans offered to use the money he had saved to buy steel skates.", "He is touched by Hans's offer to pay for the surgery" ], [ "Hans let a friend who needed it more win.", "Hans lets a friend win the race who needs the prize more than he does." ], [ "Mr. Brinker helped Dr. boekman reunite with his lost son.", "He is reunited with his son." ], [ "Dr. Boekman helps Hans go to medical school.", "With help from Dr Boekman" ], [ "They are excited by the prize of the silver skates.", "To get the prize of silver skates." ], [ "The community looks down on them because they are poor.", "because of their low income and poor status" ], [ "The doctor is gruff because his wife dies and his son disappeared.", "he has lost his wife and his son has disappeared " ], [ "They thought Mr. Brinker's savings was lost or stolen, but recovered it.", "Miraculous recovery of savings once thought lost. " ], [ "Holland", "Holland" ], [ "His wife passed away and his son has gone missing.", "loss of his wife and disappearance of son" ], [ "Hans' gesture of trying to pay for the surgery with the money he saved up for the steel skates. ", "Hans offers his own money that he had been saving for skates" ], [ "He wants to buy steel skates.", "To buy steel skates" ], [ "Raff Brinker/Mr. Brinker.", "Mr. Brinker" ], [ "He fell from the dike.", "a fall from a dike " ], [ "The recovery of Mr. Brinker's savings.", "Mr. Brinker recovers money that the family thought was lost or stolen a decade earlier." ], [ "Dr Boekman helps Hans go to medical school.", "He helps Hans go to medical school" ], [ "Because they are poor.", "low income and poor status" ], [ "Hans lets his friend win, because his friend needs the prize more.", "He lets a friend win" ], [ "Fifteen", "15 years old" ], [ "Gretel", "Gretel" ], [ "December", "December" ], [ "Silver skates", "silver skates" ], [ "Dr. Boekman", "Dr. Boekman" ], [ "Because he was touched by Hans' willingness to give up all of his money", "touched by Hans' gesture" ], [ "A doctor", "doctor" ], [ "Holland", "Holland" ], [ "First place", "First place" ] ]

[ [ "The approach of the bill is to set forth the copyright owner's exclusive\nrights in broad terms in section 106, and then to provide various", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "SECTION 106. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n\nGeneral scope of copyright", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "The five fundamental rights that the bill gives to copyright owners--the\nexclusive rights of reproduction, adaptation, publication, performance,\nand display--are stated generally in section 106. These exclusive", "Subsection (a) lays the groundwork for the more detailed provisions of\nthe section by establishing the liability of a copyright infringer for", "A. Introductory Note ................................................. 4\nB. Exclusive Rights in Copyrighted Works ............................. 4", "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "----------------------------------------\nB. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n----------------------------------------\n\n1. Text of Section 106", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "(a) IN GENERAL.--Except as otherwise provided by this title, an\ninfringer of copyright is liable for either--", "The Senate bill, in section 107, embodied express statutory recognition\nof the judicial doctrine that the fair use of a copyrighted work is not", "(3) the reproduction or distribution of the work includes a notice of\ncopyright.", "The first three clauses of section 106, which cover all rights under a\ncopyright except those of performance and display, extend to every kind", "(e) The rights of reproduction and distribution under this section apply\nto the entire work, or to a substantial part of it, made from the", "Notwithstanding the provisions of sections 106 and 106A, the fair use of\na copyrighted work, including such use by reproduction in copies or", "*Section 106. Exclusive rights in copyrighted works*", "=================================================================\n The following is the text of regulations adopted by the Copyright", "1. Text of Section 106 ............................................... 4\n2. Excerpts From House Report ........................................ 5\nC. Fair Use .......................................................... 5", "In addition, the Committee added a new subsection (i) to section 108,\nrequiring the Register of Copyrights, five years from the effective date" ], [ "31, 1988, Pub. L. 100-568, 102 Stat. 2853, 2860.", "In addition, the Committee added a new subsection (i) to section 108,\nrequiring the Register of Copyrights, five years from the effective date", "The clause was first added to the revision bill in 1974 by the adoption\nof an amendment proposed by Senator Baker. It is intended to permit", "No. 83, 90th Cong., 1st Sess.), and have not changed materially in the\nintervening years.", "purchase of the work. A new subsection (i) directed the Register of\nCopyrights, by the end of 1982 and at five-year intervals thereafter, to", "States Code, Public Law 94-553, 90 Stat. 2541).", "teachers.\" In an effort to meet this need the Committee has not only\nadopted further amendments to section 107, but has also amended section", "justified.\" At the same time the Committee recognizes, as it did in\n1967, that there is a \"need for greater certainty and protection for", "c. Additional Excerpts .............................................. 10\n3. Excerpts From Conference Report .................................. 10\n4. Excerpts From Congressional Debates .............................. 11", "The conference substitute adopts the provisions of section 108 as\namended by the House bill. In doing so, the conferees have noted two", "The disagreements between the Senate and House versions of the bill\nitself were, of course, resolved when the Act of 1976 was finally", "The House bill amended section 107 in two respects: in the general\nstatement of the fair use doctrine it added a specific reference to", "of the new Act and at five year intervals thereafter, to report to\nCongress upon \"the extent to which this section has achieved the\nintended statutory balancing of the rights of creators, and the needs of", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "through 118,\" and must be read in conjunction with those provisions.", "3. Excerpts From Conference Report on Section 504", "4. The Conference Report. This is the 1976 report of the \"committee of\nconference on the disagreeing votes of the two Houses on the amendments", "5. As part of the review provided for in subsection 108 (i), these\nguidelines shall be reviewed not later than five years from the\neffective date of this bill.", "2. The Senate Report. This is the 1975 report of the Senate Judiciary\nCommittee on S. 22, the Senate version of the bill that became the", "The House Report was written later than the Senate Report, and in many\ncases it adopted the language of the Senate Report, updating it and" ], [ "--------------------\nA. INTRODUCTORY NOTE\n--------------------\n\n*The Subjects Covered in This Booklet*", "evolved a set of criteria which, though in no case definitive or\ndeterminative, provide some gauge for balancing the equities. These\ncriteria have been stated in various ways, but essentially they can all", "Notwithstanding any of the above, the following shall be prohibited:", "Therefore, the educators, the proprietors, and the publishers of\neducational materials did, at the committee's long insistence, get\ntogether. While there were many fruitless meetings, they did finally get\ntogether.", "\"You may remember that in our letter of March 8, 1976 we told you that\nthe negotiating teams representing authors and publishers and the Ad", "No. 83, 90th Cong., 1st Sess.), and have not changed materially in the\nintervening years.", "(iv) \"Special\" works: Certain works in poetry, prose or in \"poetic\nprose\" which often combine language with illustrations and which are", "(b) With respect to any other material described in subsection 108 (d),\n(including fiction and poetry), filled requests of a requesting entity", "Over the years this has been one of the most difficult questions. It is\na problem that I believe has been very successfully resolved.", "Mr. Chairman, before concluding my remarks I would like to discuss\nseveral questions which have been raised concerning the meaning of", "\"Representatives of music educators and music publishers delayed their\nmeetings until guidelines had been developed relative to books and\nperiodicals. Shortly after that work was completed and those guidelines", "*Works excluded*", "(ii) Guidelines With Respect to Books and Periodicals ................ 7\n(iii) Guidelines With Respect to Music ............................... 9\n(iv) Discussion of Guidelines ........................................ 9", "Numbers: PB83 148239ACY, Entire Set; PB83 148247ACY, Report Only; PB83", "*Articles and small excerpts*", "* * *", "* * *", "* * *", "* * *", "====================================================================\n The following excerpts are reprinted from the Report of the" ], [ "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "Copyrighted Works has been established (Public Law 93-573).", "Organizations on Copyright Law Revision, and of the Authors League of\nAmerica, Inc., and the Association of American Publishers, Inc., stated:", "of the House to the bill (S. 22) for the general revision of the\nCopyright Law\" (H.R. Rep. No. 94-1733, 94th Cong., 2d Sess., September", "In addition, the Committee added a new subsection (i) to section 108,\nrequiring the Register of Copyrights, five years from the effective date", "new copyright law (H.R. Rep. No. 94-1476, pages 74-79). All of the\n House Report's discussion of section 108 is reprinted here;", "that became the Copyright Act of 1976 (H.R. Rep. No. 94-1476, 94th\nCong., 2d Sess., Sep-tember 3,1976).", "purchase of the work. A new subsection (i) directed the Register of\nCopyrights, by the end of 1982 and at five-year intervals thereafter, to", "copyright law (H.R. Rep. No. 94-1476, pages 61-62). The text of the", "The documents reprinted here are limited to materials dealing with\nreproduction. Under the copyright law, reproduction can take either of\ntwo forms:", "The copyright law of the United States (Title 17, United States Code)\ngoverns the making of photocopies or other reproductions of copyrighted\nmaterial.", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "=================================================================\n The following is the text of regulations adopted by the Copyright", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "the new copyright law (S. Rep. No. 94-473, pages 67-71). Where the\n discussions of particular points are generally similar in the two", "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "in the functioning and services of libraries. To consider the possible\nneed for changes in copyright law and procedures as a result of new\ntechnology, a National Commission on New Technological Uses of", "The specific wording of section 107 as it now stands is the result of a\nprocess of accretion, resulting from the long controversy over the", "Copyright Act of 1976 (S. Rep. No. 94-473, 94th Cong., 1st Sess.,", "amended by Pub. L. 94-553. As required by those sections the \"Order\nWarning of Copyright\" is to be included on printed forms supplied by" ], [ "It is still uncertain how far a library may go under the Copyright Act\nof 1909 in supplying a photocopy of copyrighted material in its", "(3) the reproduction or distribution of the work includes a notice of\ncopyright.", "amended by Pub. L. 94-553. As required by those sections the \"Order\nWarning of Copyright\" is to be included on printed forms supplied by", "Copyrighted Works has been established (Public Law 93-573).", "(1) A Display Warning of Copyright shall be printed on heavy paper or\nother durable material in type at least 18 points in size, and shall be", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "States Code as amended by Pub. L. 94-553. As required by those sections\nthe \"Display Warning of Copyright\" is to be displayed at the place where", "person's copyrighted work as part of a publishing venture. Infringement\ntakes place when any one of the rights is violated: where, for example,\na printer reproduces copies without selling them or a retailer sells", "(b) Contents. A Display Warning of Copyright and an Order Warning of\nCopyright shall consist of a verbatim reproduction of the following", "The documents reprinted here are limited to materials dealing with\nreproduction. Under the copyright law, reproduction can take either of\ntwo forms:", "new copyright law (H.R. Rep. No. 94-1476, pages 74-79). All of the\n House Report's discussion of section 108 is reprinted here;", "copyrighted work would still be an infringement as long as the author's\n\"expression\" rather than merely the author's \"ideas\" are taken. An\nexception to this general principle, applicable to the reproduction of", "C. Each copy includes a notice of copyright\n\nDefinitions", "A. Introductory Note ................................................. 4\nB. Exclusive Rights in Copyrighted Works ............................. 4", "=================================================================\n The following is the text of regulations adopted by the Copyright", "In addition, the Committee added a new subsection (i) to section 108,\nrequiring the Register of Copyrights, five years from the effective date", "copyright law (H.R. Rep. No. 94-1476, pages 61-62). The text of the", "(2) the library or archives displays prominently, at the place where\norders are accepted, and includes on its order form, a warning of\ncopyright in accordance with requirements that the Register of\nCopyrights shall prescribe by regulation.", "(2) the library or archives displays prominently, at the place where\norders are accepted, and includes on its order form, a warning of\ncopyright in accordance with requirements that the Register of\nCopyrights shall prescribe by regulation." ], [ "The Senate bill, in section 107, embodied express statutory recognition\nof the judicial doctrine that the fair use of a copyrighted work is not", "The specific wording of section 107 as it now stands is the result of a\nprocess of accretion, resulting from the long controversy over the", "The clause was first added to the revision bill in 1974 by the adoption\nof an amendment proposed by Senator Baker. It is intended to permit", "Section 107 on \"Fair Use\" has, of course, restated four standards, and\nthese standards are, namely: The purpose and character of the use of the", "3. Excerpts From Conference Report on Section 107", "The House bill amended section 107 in two respects: in the general\nstatement of the fair use doctrine it added a specific reference to", "Subsection (g) provides that the rights granted by this section extend\nonly to the \"isolated and unrelated reproduction of a single copy or", "Subsection (g) provides that the rights granted by this section extend\nonly to the \"isolated and unrelated reproduction of a single copy,\" but", "The committee believes that section 108 provides an appropriate\nstatutory balancing of the rights of creators and the needs of users.\nHowever, neither a statute nor legislative history can specify precisely", "Institutions\" reproduced at pages 68-70 of the committee's report No.\n94-1476 in connection with section 107. It has been pointed out that,", "of section 107 appears at pages 61-67 of the Senate Report (S. Rep.\n No. 94-473). The text of this section of the Senate Report is not", "Subsection (a) lays the groundwork for the more detailed provisions of\nthe section by establishing the liability of a copyright infringer for", "SECTION 107. FAIR USE\n\n*General background of the problem*", "section do not apply where the reproduction or distribution is of\nmultiple copies or is \"systematic.\" Under subsection (f), the section\nwas not to be construed as limiting the reproduction and distribution,", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "an infringement of copyright. It set forth the fair use doctrine,\nincluding four criteria for determining its applicability in particular\ncases, in general terms.", "The approach of the bill is to set forth the copyright owner's exclusive\nrights in broad terms in section 106, and then to provide various", "Another point of interpretation involves the meaning of \"indirect\ncommercial advantage,\" as used in section 108(a)(1), in the case of", "(e) The rights of reproduction and distribution under this section apply\nto the entire work, or to a substantial part of it, made from the", "The first three clauses of section 106, which cover all rights under a\ncopyright except those of performance and display, extend to every kind" ], [ "In addition, the Committee added a new subsection (i) to section 108,\nrequiring the Register of Copyrights, five years from the effective date", "The first three clauses of section 106, which cover all rights under a\ncopyright except those of performance and display, extend to every kind", "Copyrighted Works has been established (Public Law 93-573).", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "present law, a copyrighted work would be infringed by reproducing it in\nwhole or in any substantial part, and by duplicating it exactly or by\nimitation or simulation. Wide departures or variations from the", "The approach of the bill is to set forth the copyright owner's exclusive\nrights in broad terms in section 106, and then to provide various", "(e) The rights of reproduction and distribution under this section apply\nto the entire work, or to a substantial part of it, made from the", "The Senate bill, in section 107, embodied express statutory recognition\nof the judicial doctrine that the fair use of a copyrighted work is not", "The House bill amended section 107 in two respects: in the general\nstatement of the fair use doctrine it added a specific reference to", "Subsection (a) lays the groundwork for the more detailed provisions of\nthe section by establishing the liability of a copyright infringer for", "The five fundamental rights that the bill gives to copyright owners--the\nexclusive rights of reproduction, adaptation, publication, performance,\nand display--are stated generally in section 106. These exclusive", "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "A. Introductory Note ................................................. 4\nB. Exclusive Rights in Copyrighted Works ............................. 4", "(3) the reproduction or distribution of the work includes a notice of\ncopyright.", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "that became the Copyright Act of 1976 (H.R. Rep. No. 94-1476, 94th\nCong., 2d Sess., Sep-tember 3,1976).", "(5) in the case of literary, musical, dramatic, and choreographic\n works, pantomimes, and pictorial, graphic, or sculptural works,\n including the individual images of a motion picture or other", "of the new Act and at five year intervals thereafter, to report to\nCongress upon \"the extent to which this section has achieved the\nintended statutory balancing of the rights of creators, and the needs of", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "The specific wording of section 107 as it now stands is the result of a\nprocess of accretion, resulting from the long controversy over the" ], [ "Copyrighted Works has been established (Public Law 93-573).", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "Subsection (g) provides that the rights granted by this section extend\nonly to the \"isolated and unrelated reproduction of a single copy or", "A. Introductory Note ................................................. 4\nB. Exclusive Rights in Copyrighted Works ............................. 4", "The first three clauses of section 106, which cover all rights under a\ncopyright except those of performance and display, extend to every kind", "that became the Copyright Act of 1976 (H.R. Rep. No. 94-1476, 94th\nCong., 2d Sess., Sep-tember 3,1976).", "The five fundamental rights that the bill gives to copyright owners--the\nexclusive rights of reproduction, adaptation, publication, performance,\nand display--are stated generally in section 106. These exclusive", "(e) The rights of reproduction and distribution under this section apply\nto the entire work, or to a substantial part of it, made from the", "SECTION 106. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n\nGeneral scope of copyright", "The copyright law also contains various provisions dealing with\nimportations, performances, and displays of copyrighted works for\neducational and other noncommercial purposes, but they are outside the", "The approach of the bill is to set forth the copyright owner's exclusive\nrights in broad terms in section 106, and then to provide various", "(3) the reproduction or distribution of the work includes a notice of\ncopyright.", "----------------------------------------\nB. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n----------------------------------------\n\n1. Text of Section 106", "The Senate bill, in section 107, embodied express statutory recognition\nof the judicial doctrine that the fair use of a copyrighted work is not", "present law, a copyrighted work would be infringed by reproducing it in\nwhole or in any substantial part, and by duplicating it exactly or by\nimitation or simulation. Wide departures or variations from the", "Subsection (g) provides that the rights granted by this section extend\nonly to the \"isolated and unrelated reproduction of a single copy,\" but", "The documents reprinted here are limited to materials dealing with\nreproduction. Under the copyright law, reproduction can take either of\ntwo forms:", "=================================================================\n The following is the text of regulations adopted by the Copyright" ], [ "The specific wording of section 107 as it now stands is the result of a\nprocess of accretion, resulting from the long controversy over the", "The House bill amended section 107 in two respects: in the general\nstatement of the fair use doctrine it added a specific reference to", "teachers.\" In an effort to meet this need the Committee has not only\nadopted further amendments to section 107, but has also amended section", "representative of [the signatory organizations],\" and provided the\nrevised text of subsection A.2. (122 CONG. REC. H 10875, Sept. 22,", "The Senate bill, in section 107, embodied express statutory recognition\nof the judicial doctrine that the fair use of a copyrighted work is not", "users,\" and to make appropriate legislative or other recommendations. As\nnoted in connection with section 107, the Committee also amended section", "The clause was first added to the revision bill in 1974 by the adoption\nof an amendment proposed by Senator Baker. It is intended to permit", "3. Excerpts From House Report on Section 108", "The conference substitute adopts the provisions of section 108 as\namended by the House bill. In doing so, the conferees have noted two", "=====================================================================\n The following excerpts are reprinted from the House Report on the new", "=====================================================================\n The following excerpts are reprinted from the House Report on the new", "=====================================================================\n The following excerpts are reprinted from the House Report on the new", "Sections 107 and 504 which were adopted by your Subcommittee on March\n3,1976.", "The House bill amended section 108 to make clear that, in cases\ninvolving interlibrary arrangements for the exchange of photocopies, the", "[2] Editor's Note: As reprinted in the House Report, subsection A.2 of the\nMusic Guidelines had consisted of two separate paragraphs, one dealing", "2. Excerpts From Senate Report on Section 108", "together in developing guidelines which would be helpful to clarify\nSection 107 of the bill.", "===================================================================\n The Senate and House Reports differ substantially on this point.\n The Senate Report's discussion is reprinted at page 17, above.\n ===================================================================", "=====================================================================\n The first two paragraphs in this portion of the House Report are\n closely similar to the Senate Report. The remainder of the passage\n differs substantially in the two Reports.**\n =====================================================================", "--------\nENDNOTES:\n\n[1] Corrected from Congressional Record." ], [ "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "A. Introductory Note ................................................. 4\nB. Exclusive Rights in Copyrighted Works ............................. 4", "----------------------------------------\nB. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n----------------------------------------\n\n1. Text of Section 106", "The documents reprinted here are limited to materials dealing with\nreproduction. Under the copyright law, reproduction can take either of\ntwo forms:", "(3) the reproduction or distribution of the work includes a notice of\ncopyright.", "The five fundamental rights that the bill gives to copyright owners--the\nexclusive rights of reproduction, adaptation, publication, performance,\nand display--are stated generally in section 106. These exclusive", "(5) in the case of literary, musical, dramatic, and choreographic\n works, pantomimes, and pictorial, graphic, or sculptural works,\n including the individual images of a motion picture or other", "The approach of the bill is to set forth the copyright owner's exclusive\nrights in broad terms in section 106, and then to provide various", "rights, which comprise the so-called \"bundle of rights\" that is a\ncopyright, are cumulative and may overlap in some cases. Each of the", "SECTION 106. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n\nGeneral scope of copyright", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "publishing. A single act of infringement may violate all of these rights\nat once, as where a publisher reproduces, adapts, and sells copies of a", "person's copyrighted work as part of a publishing venture. Infringement\ntakes place when any one of the rights is violated: where, for example,\na printer reproduces copies without selling them or a retailer sells", "present law, a copyrighted work would be infringed by reproducing it in\nwhole or in any substantial part, and by duplicating it exactly or by\nimitation or simulation. Wide departures or variations from the", "The first three clauses of section 106, which cover all rights under a\ncopyright except those of performance and display, extend to every kind", "Although the works and uses to which the doctrine of fair use is\napplicable are as broad as the copyright law itself, most of the", "Copyrighted Works has been established (Public Law 93-573).", "copyrighted work would still be an infringement as long as the author's\n\"expression\" rather than merely the author's \"ideas\" are taken. An\nexception to this general principle, applicable to the reproduction of", "(4) in the case of literary, musical, dramatic, and choreographic\n works, pantomimes, and motion pictures and other audiovisual works,\n to perform the copyrighted work publicly; and" ], [ "Copyrighted Works has been established (Public Law 93-573).", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "that became the Copyright Act of 1976 (H.R. Rep. No. 94-1476, 94th\nCong., 2d Sess., Sep-tember 3,1976).", "purchase of the work. A new subsection (i) directed the Register of\nCopyrights, by the end of 1982 and at five-year intervals thereafter, to", "The documents reprinted here are limited to materials dealing with\nreproduction. Under the copyright law, reproduction can take either of\ntwo forms:", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "Agreed MARCH 19, 1976.\n\nAd Hoc Committee on Copyright Law Revision:\nBY SHELDON ELLIOTT STEINBACH.", "The fact that a work is unpublished shall not itself bar a finding of\nfair use if such finding is made upon consideration of all the above\nfactors.\n\n\n*2. Excerpts From House Report on Section 107*", "an infringement of copyright. It set forth the fair use doctrine,\nincluding four criteria for determining its applicability in particular\ncases, in general terms.", "\"You may remember that in our letter of March 8, 1976 we told you that\nthe negotiating teams representing authors and publishers and the Ad", "In a joint letter dated April 30,1976, representatives of the Music\nPublishers' Association of the United States, Inc., the National Music", "copyright law (H.R. Rep. No. 94-1476, pages 61-62). The text of the", "1976). The text reprinted here is the revised text.", "person's copyrighted work as part of a publishing venture. Infringement\ntakes place when any one of the rights is violated: where, for example,\na printer reproduces copies without selling them or a retailer sells", "(3) the reproduction or distribution of the work includes a notice of\ncopyright.", "archives. Only unpublished works could be reproduced under this\nexemption, but the right would extend to any type of work, including\nphotographs, motion pictures and sound recordings.", "within any calendar year for a total of six or more copies or\nphonorecords of or from any given work (including a collective work)\nduring the entire period when such material shall be protected by", "is not an infringement of copyright. In determining whether the use made\nof a work in any particular case is a fair use the factors to be\nconsidered shall include--", "=================================================================\n The following is the text of regulations adopted by the Copyright", "The specific wording of section 107 as it now stands is the result of a\nprocess of accretion, resulting from the long controversy over the" ], [ "31, 1988, Pub. L. 100-568, 102 Stat. 2853, 2860.", "No. 83, 90th Cong., 1st Sess.), and have not changed materially in the\nintervening years.", "The disagreements between the Senate and House versions of the bill\nitself were, of course, resolved when the Act of 1976 was finally", "The clause was first added to the revision bill in 1974 by the adoption\nof an amendment proposed by Senator Baker. It is intended to permit", "The House Report was written later than the Senate Report, and in many\ncases it adopted the language of the Senate Report, updating it and", "Report (H. Rept. No. 94-1476, as corrected at p. H 10727 of the\nCongressional Record for September 21, 1976), and for educational uses", "In March 1979, Congressman Robert Kastenmeier, Chairman of the House\nSubcommittee on Courts, Civil Liberties and Administration of Justice,", "3. The House Report. This is the 1976 report of the House of\nRepresentatives Judiciary Committee on the House amendments to the bill", "justified.\" At the same time the Committee recognizes, as it did in\n1967, that there is a \"need for greater certainty and protection for", "States Code, Public Law 94-553, 90 Stat. 2541).", "conforming it to the version of the bill that was finally enacted into\nlaw. Thus, where the differences between the two Reports are relatively\nminor, or where the discussion in the House Report appears to have", "Reports, the passages from the later House Report are reprinted in\n this booklet. Where the discussion of particular points is\n substantially different, passages from both Reports are reprinted.", "of the corresponding discussion in the Senate Report (S. Rep. No.\n 94-473, pages 143-145) is substantially the same; the House Report's", "teachers.\" In an effort to meet this need the Committee has not only\nadopted further amendments to section 107, but has also amended section", "passed. However, many of the disagreements as to matters of\ninterpretation between statements in the 1975 Senate Report and in the", "=====================================================================\n The following excerpts are reprinted from the House Report on the new", "=====================================================================\n The following excerpts are reprinted from the House Report on the new", "=====================================================================\n The following excerpts are reprinted from the House Report on the new", "2. The Senate Report. This is the 1975 report of the Senate Judiciary\nCommittee on S. 22, the Senate version of the bill that became the", "purchase of the work. A new subsection (i) directed the Register of\nCopyrights, by the end of 1982 and at five-year intervals thereafter, to" ], [ "Copyrighted Works has been established (Public Law 93-573).", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "archives. Only unpublished works could be reproduced under this\nexemption, but the right would extend to any type of work, including\nphotographs, motion pictures and sound recordings.", "The Senate bill, in section 107, embodied express statutory recognition\nof the judicial doctrine that the fair use of a copyrighted work is not", "The committee believes that section 108 provides an appropriate\nstatutory balancing of the rights of creators and the needs of users.\nHowever, neither a statute nor legislative history can specify precisely", "In a joint letter dated April 30,1976, representatives of the Music\nPublishers' Association of the United States, Inc., the National Music", "The specific wording of section 107 as it now stands is the result of a\nprocess of accretion, resulting from the long controversy over the", "The copyright law of the United States (Title 17, United States Code)\ngoverns the making of photocopies or other reproductions of copyrighted\nmaterial.", "Conference Committee on the new copyright law (H.R. Rep. No. 94-1733,\n page 70).\n ====================================================================", "The fact that a work is unpublished shall not itself bar a finding of\nfair use if such finding is made upon consideration of all the above\nfactors.\n\n\n*2. Excerpts From House Report on Section 107*", "The documents reprinted here are limited to materials dealing with\nreproduction. Under the copyright law, reproduction can take either of\ntwo forms:", "amended by Pub. L. 94-553. As required by those sections the \"Order\nWarning of Copyright\" is to be included on printed forms supplied by", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "\"You may remember that in our letter of March 8, 1976 we told you that\nthe negotiating teams representing authors and publishers and the Ad", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "Organizations on Copyright Law Revision, and of the Authors League of\nAmerica, Inc., and the Association of American Publishers, Inc., stated:", "justified.\" At the same time the Committee recognizes, as it did in\n1967, that there is a \"need for greater certainty and protection for", "that became the Copyright Act of 1976 (H.R. Rep. No. 94-1476, 94th\nCong., 2d Sess., Sep-tember 3,1976).", "Conference Committee on the new copyright law (H.R. Rep. No. 94-1733,\n pages 79-80).\n ====================================================================", "It is still uncertain how far a library may go under the Copyright Act\nof 1909 in supplying a photocopy of copyrighted material in its" ], [ "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "SECTION 106. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n\nGeneral scope of copyright", "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "----------------------------------------\nB. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n----------------------------------------\n\n1. Text of Section 106", "A. Introductory Note ................................................. 4\nB. Exclusive Rights in Copyrighted Works ............................. 4", "The approach of the bill is to set forth the copyright owner's exclusive\nrights in broad terms in section 106, and then to provide various", "The five fundamental rights that the bill gives to copyright owners--the\nexclusive rights of reproduction, adaptation, publication, performance,\nand display--are stated generally in section 106. These exclusive", "Notwithstanding the provisions of sections 106 and 106A, the fair use of\na copyrighted work, including such use by reproduction in copies or", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "The first three clauses of section 106, which cover all rights under a\ncopyright except those of performance and display, extend to every kind", "The copyright law also contains various provisions dealing with\nimportations, performances, and displays of copyrighted works for\neducational and other noncommercial purposes, but they are outside the", "copyrighted work would still be an infringement as long as the author's\n\"expression\" rather than merely the author's \"ideas\" are taken. An\nexception to this general principle, applicable to the reproduction of", "is not an infringement of copyright. In determining whether the use made\nof a work in any particular case is a fair use the factors to be\nconsidered shall include--", "While it is not possible to formulate specific definitions of\n\"systematic copying,\" the following examples serve to illustrate some\nof the copying prohibited by subsection (g).", "Subsection (g) provides that the rights granted by this section extend\nonly to the \"isolated and unrelated reproduction of a single copy or", "1. Text of Section 106 ............................................... 4\n2. Excerpts From House Report ........................................ 5\nC. Fair Use .......................................................... 5", "Subsection (a) lays the groundwork for the more detailed provisions of\nthe section by establishing the liability of a copyright infringer for", "limitations, qualifications, or exemptions in the 12 sections that\nfollow. Thus, everything in section 106 is made \"subject to sections 107", "section do not apply where the reproduction or distribution is of\nmultiple copies or is \"systematic.\" Under subsection (f), the section\nwas not to be construed as limiting the reproduction and distribution," ], [ "The disagreements between the Senate and House versions of the bill\nitself were, of course, resolved when the Act of 1976 was finally", "that became the Copyright Act of 1976 (H.R. Rep. No. 94-1476, 94th\nCong., 2d Sess., Sep-tember 3,1976).", "The clause was first added to the revision bill in 1974 by the adoption\nof an amendment proposed by Senator Baker. It is intended to permit", "present the legislative history as fully and fairly as possible. Anyone\nmaking a thorough study of the Act of 1976 as it affects librarians and\neducators should not, of course, rely exclusively on the excerpts", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "The Senate bill, in section 107, embodied express statutory recognition\nof the judicial doctrine that the fair use of a copyrighted work is not", "3. The House Report. This is the 1976 report of the House of\nRepresentatives Judiciary Committee on the House amendments to the bill", "Copyrighted Works has been established (Public Law 93-573).", "1976). The text reprinted here is the revised text.", "\"You may remember that in our letter of March 8, 1976 we told you that\nthe negotiating teams representing authors and publishers and the Ad", "The House bill amended section 107 in two respects: in the general\nstatement of the fair use doctrine it added a specific reference to", "===================================================================\n The following excerpts are reprinted from the 1975 Senate Report on", "Agreed MARCH 19, 1976.\n\nAd Hoc Committee on Copyright Law Revision:\nBY SHELDON ELLIOTT STEINBACH.", "purchase of the work. A new subsection (i) directed the Register of\nCopyrights, by the end of 1982 and at five-year intervals thereafter, to", "1976 House Report were left partly or wholly unresolved. It is therefore\ndifficult in compiling a booklet such as this to decide in some cases\nwhat to include and what to leave out.", "In a joint letter dated April 30,1976, representatives of the Music\nPublishers' Association of the United States, Inc., the National Music", "justified.\" At the same time the Committee recognizes, as it did in\n1967, that there is a \"need for greater certainty and protection for", "In a joint letter to Chairman Kastenmeier, dated March 19, 1976, the\nrepresentatives of the Ad Hoc Committee of Educational Institutions and", "passed. However, many of the disagreements as to matters of\ninterpretation between statements in the 1975 Senate Report and in the", "The specific wording of section 107 as it now stands is the result of a\nprocess of accretion, resulting from the long controversy over the" ], [ "an infringement of copyright. It set forth the fair use doctrine,\nincluding four criteria for determining its applicability in particular\ncases, in general terms.", "(3) the reproduction or distribution of the work includes a notice of\ncopyright.", "Copyrighted Works has been established (Public Law 93-573).", "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "copyrighted work would still be an infringement as long as the author's\n\"expression\" rather than merely the author's \"ideas\" are taken. An\nexception to this general principle, applicable to the reproduction of", "The documents reprinted here are limited to materials dealing with\nreproduction. Under the copyright law, reproduction can take either of\ntwo forms:", "A. Introductory Note ................................................. 4\nB. Exclusive Rights in Copyrighted Works ............................. 4", "Section 107 on \"Fair Use\" has, of course, restated four standards, and\nthese standards are, namely: The purpose and character of the use of the", "It is still uncertain how far a library may go under the Copyright Act\nof 1909 in supplying a photocopy of copyrighted material in its", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "that became the Copyright Act of 1976 (H.R. Rep. No. 94-1476, 94th\nCong., 2d Sess., Sep-tember 3,1976).", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "present law, a copyrighted work would be infringed by reproducing it in\nwhole or in any substantial part, and by duplicating it exactly or by\nimitation or simulation. Wide departures or variations from the", "These are the four \"Fair Use\" criteria. These alone were not adequate to\nguide teachers, and I am sure the gentleman from Kansas (Mr. SKUBITZ)\nunderstands that as a schoolteacher himself.", "is not an infringement of copyright. In determining whether the use made\nof a work in any particular case is a fair use the factors to be\nconsidered shall include--", "purchase of the work. A new subsection (i) directed the Register of\nCopyrights, by the end of 1982 and at five-year intervals thereafter, to", "e. Discussion of Multiple Copies and Systematic Reproduction ........ 17\nf. Discussion of Works Excluded ..................................... 17", "new copyright law (H.R. Rep. No. 94-1476, pages 74-79). All of the\n House Report's discussion of section 108 is reprinted here;", "within any calendar year for a total of six or more copies or\nphonorecords of or from any given work (including a collective work)\nduring the entire period when such material shall be protected by" ], [ "(iv) \"Special\" works: Certain works in poetry, prose or in \"poetic\nprose\" which often combine language with illustrations and which are", "intended sometimes for children and at other times for a more general\naudience fall short of 2,500 words in their entirety. Paragraph \"ii\"", "(ii) Prose: (a) Either a complete article, story or essay of less than\n2,500 words, or (b) an excerpt from any prose work of not more than", "publishing. A single act of infringement may violate all of these rights\nat once, as where a publisher reproduces, adapts, and sells copies of a", "person's copyrighted work as part of a publishing venture. Infringement\ntakes place when any one of the rights is violated: where, for example,\na printer reproduces copies without selling them or a retailer sells", "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "B. An article from a periodical or newspaper;\n\nC. A short story, short essay or short poem, whether or not from a\ncollective work;", "Author-Publisher Group:\nAuthors League of America:\nBY IRWIN KARP, Counsel.\n\nAssociation of American Publishers, Inc.:\nBY ALEXANDER C. HOFFMAN, Chairman, Copyright Committee.", "(b) With respect to any other material described in subsection 108 (d),\n(including fiction and poetry), filled requests of a requesting entity", "\"You may remember that in our letter of March 8, 1976 we told you that\nthe negotiating teams representing authors and publishers and the Ad", "rights, which comprise the so-called \"bundle of rights\" that is a\ncopyright, are cumulative and may overlap in some cases. Each of the", "individual or for separate use by the individual members of a group. For\nexample, if a college professor instructs his class to read an article\nfrom a copyrighted journal, the school library would not be permitted,", "(3) the reproduction or distribution of the work includes a notice of\ncopyright.", "Although the works and uses to which the doctrine of fair use is\napplicable are as broad as the copyright law itself, most of the", "[Each of the numerical limits stated in \"i\" and \"ii\" above may be\nexpanded to permit the completion of an unfinished line of a poem or of\nan unfinished prose paragraph.]", "*Works excluded*", "The documents reprinted here are limited to materials dealing with\nreproduction. Under the copyright law, reproduction can take either of\ntwo forms:", "copyrighted work would still be an infringement as long as the author's\n\"expression\" rather than merely the author's \"ideas\" are taken. An\nexception to this general principle, applicable to the reproduction of", "copies or phonorecords or by any other means\"--is mainly intended to make\nclear that the doctrine has as much application to photocopying and", "library serve as their source of such material. Such systematic\nreproduction and distribution, as distinguished from isolated and\nunrelated reproduction or distribution, may substitute the copies" ], [ "archives. Only unpublished works could be reproduced under this\nexemption, but the right would extend to any type of work, including\nphotographs, motion pictures and sound recordings.", "Copyrighted Works has been established (Public Law 93-573).", "The documents reprinted here are limited to materials dealing with\nreproduction. Under the copyright law, reproduction can take either of\ntwo forms:", "purchase of the work. A new subsection (i) directed the Register of\nCopyrights, by the end of 1982 and at five-year intervals thereafter, to", "archives. It specified the conditions under which single copies of\ncopyrighted material can be noncommercially reproduced and distributed,\nbut made clear that the privileges of a library or archives under the", "Under certain conditions specified in the law, libraries and archives\nare authorized to furnish a photocopy or other reproduction. One of", "The conferees believe that, under the provision as adopted in the\nconference substitute, a library or archives qualifying under section\n108 (a) would be free, without regard to the archival activities of the", "by the library where the user makes his request or by another library\npursuant to an interlibrary loan. It is further required that the copy\nbecome the property of the user, that the library or archives have no", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "A problem of particular urgency is that of preserving for posterity\nprints of motion pictures made before 1942. Aside from the deplorable", "that will inevitably decompose in time. The efforts of the Library of\nCongress, the American Film Institute, and other organizations to rescue\nand preserve this irreplaceable contribution to our cultural life are to", "Clause (1) of subsection (f) specifically exempts a library or archives\nor its employees from liability for the unsupervised use of reproducing", "The copyright law of the United States (Title 17, United States Code)\ngoverns the making of photocopies or other reproductions of copyrighted\nmaterial.", "amended by Pub. L. 94-553. As required by those sections the \"Order\nWarning of Copyright\" is to be included on printed forms supplied by", "libraries or archival collections within industrial, profit-making, or\nproprietary institutions. As long as the library or archives meets the\ncriteria in section 108", "In addition, the Committee added a new subsection (i) to section 108,\nrequiring the Register of Copyrights, five years from the effective date", "Under this exemption, for example, a repository could make photocopies\nof manuscripts by microfilm or electrostatic process, but could not\nreproduce the work in \"machine-readable\" language for storage in an\ninformation system.", "provides that the right of reproduction granted by this section does\nnot override any contractual arrangements assumed by a library or\narchives when it obtained a work for its collections. For example, if", "in the functioning and services of libraries. To consider the possible\nneed for changes in copyright law and procedures as a result of new\ntechnology, a National Commission on New Technological Uses of", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington," ], [ "In addition, the Committee added a new subsection (i) to section 108,\nrequiring the Register of Copyrights, five years from the effective date", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "Copyrighted Works has been established (Public Law 93-573).", "purchase of the work. A new subsection (i) directed the Register of\nCopyrights, by the end of 1982 and at five-year intervals thereafter, to", "(5) in the case of literary, musical, dramatic, and choreographic\n works, pantomimes, and pictorial, graphic, or sculptural works,\n including the individual images of a motion picture or other", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "The House bill amended section 107 in two respects: in the general\nstatement of the fair use doctrine it added a specific reference to", "The specific wording of section 107 as it now stands is the result of a\nprocess of accretion, resulting from the long controversy over the", "The Senate bill, in section 107, embodied express statutory recognition\nof the judicial doctrine that the fair use of a copyrighted work is not", "archives. Only unpublished works could be reproduced under this\nexemption, but the right would extend to any type of work, including\nphotographs, motion pictures and sound recordings.", "SECTION 106. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n\nGeneral scope of copyright", "Although subsection (h) generally removes musical, graphic, and\naudiovisual works from the specific exemptions of section 108, it is", "that became the Copyright Act of 1976 (H.R. Rep. No. 94-1476, 94th\nCong., 2d Sess., Sep-tember 3,1976).", "The approach of the bill is to set forth the copyright owner's exclusive\nrights in broad terms in section 106, and then to provide various", "The first three clauses of section 106, which cover all rights under a\ncopyright except those of performance and display, extend to every kind", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "1. Text of Section 106 ............................................... 4\n2. Excerpts From House Report ........................................ 5\nC. Fair Use .......................................................... 5", "The five fundamental rights that the bill gives to copyright owners--the\nexclusive rights of reproduction, adaptation, publication, performance,\nand display--are stated generally in section 106. These exclusive", "The committee believes that section 108 provides an appropriate\nstatutory balancing of the rights of creators and the needs of users.\nHowever, neither a statute nor legislative history can specify precisely" ], [ "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "SECTION 106. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n\nGeneral scope of copyright", "----------------------------------------\nB. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n----------------------------------------\n\n1. Text of Section 106", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "The approach of the bill is to set forth the copyright owner's exclusive\nrights in broad terms in section 106, and then to provide various", "The five fundamental rights that the bill gives to copyright owners--the\nexclusive rights of reproduction, adaptation, publication, performance,\nand display--are stated generally in section 106. These exclusive", "A. Introductory Note ................................................. 4\nB. Exclusive Rights in Copyrighted Works ............................. 4", "The first three clauses of section 106, which cover all rights under a\ncopyright except those of performance and display, extend to every kind", "(5) in the case of literary, musical, dramatic, and choreographic\n works, pantomimes, and pictorial, graphic, or sculptural works,\n including the individual images of a motion picture or other", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "(1) to reproduce the copyrighted work in copies or phonorecords;\n(2) to prepare derivative works based upon the copyrighted work;", "(4) in the case of literary, musical, dramatic, and choreographic\n works, pantomimes, and motion pictures and other audiovisual works,\n to perform the copyrighted work publicly; and", "The documents reprinted here are limited to materials dealing with\nreproduction. Under the copyright law, reproduction can take either of\ntwo forms:", "copyrighted work would still be an infringement as long as the author's\n\"expression\" rather than merely the author's \"ideas\" are taken. An\nexception to this general principle, applicable to the reproduction of", "Although the works and uses to which the doctrine of fair use is\napplicable are as broad as the copyright law itself, most of the", "The copyright law also contains various provisions dealing with\nimportations, performances, and displays of copyrighted works for\neducational and other noncommercial purposes, but they are outside the", "present law, a copyrighted work would be infringed by reproducing it in\nwhole or in any substantial part, and by duplicating it exactly or by\nimitation or simulation. Wide departures or variations from the", "(e) The rights of reproduction and distribution under this section apply\nto the entire work, or to a substantial part of it, made from the", "(3) the reproduction or distribution of the work includes a notice of\ncopyright." ], [ "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "that became the Copyright Act of 1976 (H.R. Rep. No. 94-1476, 94th\nCong., 2d Sess., Sep-tember 3,1976).", "Copyrighted Works has been established (Public Law 93-573).", "copyright law (H.R. Rep. No. 94-1476, pages 61-62). The text of the", "Organizations on Copyright Law Revision, and of the Authors League of\nAmerica, Inc., and the Association of American Publishers, Inc., stated:", "of the House to the bill (S. 22) for the general revision of the\nCopyright Law\" (H.R. Rep. No. 94-1733, 94th Cong., 2d Sess., September", "Agreed MARCH 19, 1976.\n\nAd Hoc Committee on Copyright Law Revision:\nBY SHELDON ELLIOTT STEINBACH.", "new copyright law (H.R. Rep. No. 94-1476, pages 74-79). All of the\n House Report's discussion of section 108 is reprinted here;", "Copyright Act of 1976 (S. Rep. No. 94-473, 94th Cong., 1st Sess.,", "The documents reprinted here are limited to materials dealing with\nreproduction. Under the copyright law, reproduction can take either of\ntwo forms:", "The copyright law of the United States (Title 17, United States Code)\ngoverns the making of photocopies or other reproductions of copyrighted\nmaterial.", "In addition, the Committee added a new subsection (i) to section 108,\nrequiring the Register of Copyrights, five years from the effective date", "the new copyright law (S. Rep. No. 94-473, pages 67-71). Where the\n discussions of particular points are generally similar in the two", "copyright law (H.R. Rep. No. 94-1476, pages 65-74). The discussion", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "purchase of the work. A new subsection (i) directed the Register of\nCopyrights, by the end of 1982 and at five-year intervals thereafter, to", "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "1976). The text reprinted here is the revised text.", "In a joint letter dated April 30,1976, representatives of the Music\nPublishers' Association of the United States, Inc., the National Music", "The specific wording of section 107 as it now stands is the result of a\nprocess of accretion, resulting from the long controversy over the" ], [ "The disagreements between the Senate and House versions of the bill\nitself were, of course, resolved when the Act of 1976 was finally", "justified.\" At the same time the Committee recognizes, as it did in\n1967, that there is a \"need for greater certainty and protection for", "3. The House Report. This is the 1976 report of the House of\nRepresentatives Judiciary Committee on the House amendments to the bill", "29,1976).", "present the legislative history as fully and fairly as possible. Anyone\nmaking a thorough study of the Act of 1976 as it affects librarians and\neducators should not, of course, rely exclusively on the excerpts", "1976). The text reprinted here is the revised text.", "22,1976).", "The clause was first added to the revision bill in 1974 by the adoption\nof an amendment proposed by Senator Baker. It is intended to permit", "4. The Conference Report. This is the 1976 report of the \"committee of\nconference on the disagreeing votes of the two Houses on the amendments", "1976 House Report were left partly or wholly unresolved. It is therefore\ndifficult in compiling a booklet such as this to decide in some cases\nwhat to include and what to leave out.", "that became the Copyright Act of 1976 (H.R. Rep. No. 94-1476, 94th\nCong., 2d Sess., Sep-tember 3,1976).", "5. The Congressional Debates. This booklet contains excerpts from the\nCongressional Record of September 22, 1976, reflecting statements on the", "enumerated at page 24 of the Register's 1961 Report, while by no means\nexhaustive, give some idea of the sort of activities the courts might", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "In 1967 the Committee also sought to approach this problem by including,\nin its report, a very thorough discussion of \"the considerations lying", "Sections 107 and 504 which were adopted by your Subcommittee on March\n3,1976.", "passed. However, many of the disagreements as to matters of\ninterpretation between statements in the 1975 Senate Report and in the", "The Senate bill, in section 107, embodied express statutory recognition\nof the judicial doctrine that the fair use of a copyrighted work is not", "November 20 (legislative day November 18,1975)).", "===================================================================\n The following excerpts are reprinted from the 1975 Senate Report on" ], [ "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "that became the Copyright Act of 1976 (H.R. Rep. No. 94-1476, 94th\nCong., 2d Sess., Sep-tember 3,1976).", "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "(5) in the case of literary, musical, dramatic, and choreographic\n works, pantomimes, and pictorial, graphic, or sculptural works,\n including the individual images of a motion picture or other", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "The first three clauses of section 106, which cover all rights under a\ncopyright except those of performance and display, extend to every kind", "----------------------------------------\nB. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n----------------------------------------\n\n1. Text of Section 106", "(h) The rights of reproduction and distribution under this section do\nnot apply to a musical work, a pictorial, graphic or sculptural work, or", "of the House to the bill (S. 22) for the general revision of the\nCopyright Law\" (H.R. Rep. No. 94-1733, 94th Cong., 2d Sess., September", "(1) to reproduce the copyrighted work in copies or phonorecords;\n(2) to prepare derivative works based upon the copyrighted work;", "The documents reprinted here are limited to materials dealing with\nreproduction. Under the copyright law, reproduction can take either of\ntwo forms:", "The five fundamental rights that the bill gives to copyright owners--the\nexclusive rights of reproduction, adaptation, publication, performance,\nand display--are stated generally in section 106. These exclusive", "The approach of the bill is to set forth the copyright owner's exclusive\nrights in broad terms in section 106, and then to provide various", "new copyright law (H.R. Rep. No. 94-1476, pages 74-79). All of the\n House Report's discussion of section 108 is reprinted here;", "SECTION 106. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n\nGeneral scope of copyright", "Copyright Act of 1976 (S. Rep. No. 94-473, 94th Cong., 1st Sess.,", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "present law, a copyrighted work would be infringed by reproducing it in\nwhole or in any substantial part, and by duplicating it exactly or by\nimitation or simulation. Wide departures or variations from the", "copyrighted work would still be an infringement as long as the author's\n\"expression\" rather than merely the author's \"ideas\" are taken. An\nexception to this general principle, applicable to the reproduction of", "from which it can be \"perceived, reproduced, or otherwise communicated,\neither directly or with the aid of a machine or device.\" As under the" ], [ "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "that became the Copyright Act of 1976 (H.R. Rep. No. 94-1476, 94th\nCong., 2d Sess., Sep-tember 3,1976).", "The committee believes that section 108 provides an appropriate\nstatutory balancing of the rights of creators and the needs of users.\nHowever, neither a statute nor legislative history can specify precisely", "1. Text of Section 106 ............................................... 4\n2. Excerpts From House Report ........................................ 5\nC. Fair Use .......................................................... 5", "SECTION 106. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n\nGeneral scope of copyright", "The Senate bill, in section 107, embodied express statutory recognition\nof the judicial doctrine that the fair use of a copyrighted work is not", "Copyrighted Works has been established (Public Law 93-573).", "copyright law (H.R. Rep. No. 94-1476, pages 61-62). The text of the", "Copyright Act of 1976 (S. Rep. No. 94-473, 94th Cong., 1st Sess.,", "The approach of the bill is to set forth the copyright owner's exclusive\nrights in broad terms in section 106, and then to provide various", "the new copyright law (S. Rep. No. 94-473, pages 67-71). Where the\n discussions of particular points are generally similar in the two", "of section 107 appears at pages 61-67 of the Senate Report (S. Rep.\n No. 94-473). The text of this section of the Senate Report is not", "Although the works and uses to which the doctrine of fair use is\napplicable are as broad as the copyright law itself, most of the", "The specific wording of section 107 as it now stands is the result of a\nprocess of accretion, resulting from the long controversy over the", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "6. Copyright Office Regulations. These are regulations issued by the\nCopyright Office under section 108 dealing with warnings of copyright\nfor use by libraries and archives (37 Code of Federal Regulations\nSec. 201.14).", "present the legislative history as fully and fairly as possible. Anyone\nmaking a thorough study of the Act of 1976 as it affects librarians and\neducators should not, of course, rely exclusively on the excerpts", "A. Introductory Note ................................................. 4\nB. Exclusive Rights in Copyrighted Works ............................. 4", "Section 107 on \"Fair Use\" has, of course, restated four standards, and\nthese standards are, namely: The purpose and character of the use of the", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:" ], [ "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "copyrighted work would still be an infringement as long as the author's\n\"expression\" rather than merely the author's \"ideas\" are taken. An\nexception to this general principle, applicable to the reproduction of", "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "SECTION 106. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n\nGeneral scope of copyright", "The approach of the bill is to set forth the copyright owner's exclusive\nrights in broad terms in section 106, and then to provide various", "----------------------------------------\nB. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n----------------------------------------\n\n1. Text of Section 106", "The first three clauses of section 106, which cover all rights under a\ncopyright except those of performance and display, extend to every kind", "present law, a copyrighted work would be infringed by reproducing it in\nwhole or in any substantial part, and by duplicating it exactly or by\nimitation or simulation. Wide departures or variations from the", "The five fundamental rights that the bill gives to copyright owners--the\nexclusive rights of reproduction, adaptation, publication, performance,\nand display--are stated generally in section 106. These exclusive", "Notwithstanding the provisions of sections 106 and 106A, the fair use of\na copyrighted work, including such use by reproduction in copies or", "The committee believes that section 108 provides an appropriate\nstatutory balancing of the rights of creators and the needs of users.\nHowever, neither a statute nor legislative history can specify precisely", "1. Text of Section 106 ............................................... 4\n2. Excerpts From House Report ........................................ 5\nC. Fair Use .......................................................... 5", "A. Introductory Note ................................................. 4\nB. Exclusive Rights in Copyrighted Works ............................. 4", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "Subsection (g) provides that the rights granted by this section extend\nonly to the \"isolated and unrelated reproduction of a single copy or", "The statement of the fair use doctrine in section 107 offers some\nguidance to users in determining when the principles of the doctrine\napply. However, the endless variety of situations and combinations of", "The Senate bill, in section 107, embodied express statutory recognition\nof the judicial doctrine that the fair use of a copyrighted work is not", "The specific wording of section 107 as it now stands is the result of a\nprocess of accretion, resulting from the long controversy over the", "(1) to reproduce the copyrighted work in copies or phonorecords;\n(2) to prepare derivative works based upon the copyrighted work;" ], [ "Copyrighted Works has been established (Public Law 93-573).", "It is still uncertain how far a library may go under the Copyright Act\nof 1909 in supplying a photocopy of copyrighted material in its", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "that became the Copyright Act of 1976 (H.R. Rep. No. 94-1476, 94th\nCong., 2d Sess., Sep-tember 3,1976).", "A. Introductory Note ................................................. 4\nB. Exclusive Rights in Copyrighted Works ............................. 4", "archives. Only unpublished works could be reproduced under this\nexemption, but the right would extend to any type of work, including\nphotographs, motion pictures and sound recordings.", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "The documents reprinted here are limited to materials dealing with\nreproduction. Under the copyright law, reproduction can take either of\ntwo forms:", "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "The copyright law of the United States (Title 17, United States Code)\ngoverns the making of photocopies or other reproductions of copyrighted\nmaterial.", "SECTION 106. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n\nGeneral scope of copyright", "new copyright law (H.R. Rep. No. 94-1476, pages 74-79). All of the\n House Report's discussion of section 108 is reprinted here;", "=================================================================\n The following is the text of regulations adopted by the Copyright", "The first three clauses of section 106, which cover all rights under a\ncopyright except those of performance and display, extend to every kind", "amended by Pub. L. 94-553. As required by those sections the \"Order\nWarning of Copyright\" is to be included on printed forms supplied by", "(3) the reproduction or distribution of the work includes a notice of\ncopyright.", "The copyright law also contains various provisions dealing with\nimportations, performances, and displays of copyrighted works for\neducational and other noncommercial purposes, but they are outside the", "purchase of the work. A new subsection (i) directed the Register of\nCopyrights, by the end of 1982 and at five-year intervals thereafter, to", "(b) The rights of reproduction and distribution under this section apply\nto a copy or phonorecord of an unpublished work duplicated in facsimile" ], [ "The approach of the bill is to set forth the copyright owner's exclusive\nrights in broad terms in section 106, and then to provide various", "SECTION 106. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n\nGeneral scope of copyright", "Subject to sections 107 through 120, the owner of copyright under this\ntitle has the exclusive rights to do and to authorize any of the\nfollowing:", "----------------------------------------\nB. EXCLUSIVE RIGHTS IN COPYRIGHTED WORKS\n----------------------------------------\n\n1. Text of Section 106", "The first three clauses of section 106, which cover all rights under a\ncopyright except those of performance and display, extend to every kind", "The committee believes that section 108 provides an appropriate\nstatutory balancing of the rights of creators and the needs of users.\nHowever, neither a statute nor legislative history can specify precisely", "The five fundamental rights that the bill gives to copyright owners--the\nexclusive rights of reproduction, adaptation, publication, performance,\nand display--are stated generally in section 106. These exclusive", "of copyrighted work. The exclusive rights encompassed by these clauses,\nthough closely related, are independent; they can generally be\ncharacterized as rights of copying, recording, adaptation, and", "(5) in the case of literary, musical, dramatic, and choreographic\n works, pantomimes, and pictorial, graphic, or sculptural works,\n including the individual images of a motion picture or other", "1. The Copyright Act of October 19, 1976. This is the copyright law of\nthe United States, effective January 1, 1978 (title 17 of the United", "*Section 106. Exclusive rights in copyrighted works*", "A. Introductory Note ................................................. 4\nB. Exclusive Rights in Copyrighted Works ............................. 4", "1. Text of Section 106 ............................................... 4\n2. Excerpts From House Report ........................................ 5\nC. Fair Use .......................................................... 5", "The specific wording of section 107 as it now stands is the result of a\nprocess of accretion, resulting from the long controversy over the", "scope of this booklet. You can obtain a copy of the statute and\ninformation about specific provisions by writing to the Publications\nSection, LM-455, Copyright Office, Library of Congress, Washington,", "The Senate bill, in section 107, embodied express statutory recognition\nof the judicial doctrine that the fair use of a copyrighted work is not", "Subsection (a) lays the groundwork for the more detailed provisions of\nthe section by establishing the liability of a copyright infringer for", "from which it can be \"perceived, reproduced, or otherwise communicated,\neither directly or with the aid of a machine or device.\" As under the", "Notwithstanding the provisions of sections 106 and 106A, the fair use of\na copyrighted work, including such use by reproduction in copies or", "limitations, qualifications, or exemptions in the 12 sections that\nfollow. Thus, everything in section 106 is made \"subject to sections 107" ] ]

[ "What section of the Act defines copyright protection?", "What year was the eighth category added to the Act?", "What was the eighth category?", "When was the last previous revision made to the copyright law?", "What would happen if you didnt affix the notice of copyright in 1909?", "What section of the code is Baker Vs. Selden referenced?", "Which Act helped to widen the protection for fixed works?", "Which act solely protected original works?", "What kind of change came from rewording section 102 in the US?", "How many different kinds of works of authorship are protected by copyright law?", "What decided if a published work was part of the public domain prior to 1976?", "When was the previous significant update to the Act prior to 1990?", "What level of government protected unpublished works in 1970?", "Which section of the Act details what can not be copyrighted? ", "What changed at the federal level with the adoption of the 1976 Act?", "How many criteria did a work have to meet in order to be considered copyright protected at the federal level by the 1909 Act?", "Which category of authorship would include the Harry Potter novels?", "When did unpublished works fall under the federal government's responsibility?", "When was the category of Architectural works added to a roster of copyright protected materials under section 102?", "What type of works does the copyright protection act of section 102 cover?", "When was the last significant revision to US copyright law made before 1976?", "What type of law did the Act of 1976 broaden?", "What form of creative works were protected under the Act of 1976 that were not protected under the revisions of 1909?", "Which section of the Copyright act of 1976 is deemed most pertinent to the history of Federal Copyright law?", "What type of creativity does Section 102 of the Copyright Act of 1976 not protect?", "According to the Copyright Act of 1909 to what domain did unpublished works belong to?", "Section 102 attempts to define what type of creative works?" ]

[ [ "102", "Section 102" ], [ "1990", "1990" ], [ "architectural works", "Architectural works" ], [ "1909", "1990." ], [ "There was no copyright protection provided", "There were no copyright protections and the work became public domain." ], [ "Section 102(b)", "Section 102(b)" ], [ "The Act of 1976", "The copyright act of 1976" ], [ "The Act of 1909", "copyright act of 1909" ], [ "A significant change", "Works that were in a tangible medium were protected under the law after the revision." ], [ "8", "8" ], [ "whether or not a copyright notice was affixed to that work", "whether the work was \"published\" in a legal sense" ], [ "1976", "1976" ], [ "State", "State" ], [ "102(b)", "Section 102(b)" ], [ "scope of copyright protection expanded from 'published' works to 'fixed' works", "A change from protecting \"published\" works to works that were \"fixed.\"" ], [ "2", "2" ], [ "literary works", "literary works" ], [ "with adoption of the 1976 Act", "1976" ], [ "1990", "1990" ], [ "\"original works...fixed in any tangible medium of expression\"", "works of authorship that can be recreated" ], [ "1909", "1909" ], [ "Copyright law", "from \"published\" works to \"fixed\" works" ], [ "Unpublished works", "Original works that are fixed in a tangible medium." ], [ "Section 102", "It included works that were \"fixed\" in copyright protection, not just published" ], [ "intangible ideas or processes", "Any idea, process, procedure, concept, system, principle, or method." ], [ "The Public Domain", "public" ], [ "Works of Composition ", "Works of authorship." ] ]

[ [ "Hosts Benefit.\" He holds the picture up next to the television, so the \nfaces of Lance Hunt and Captain Amazing are side by side. It is \nobviously the same guy.", "Furious picks up the newspaper on which there is a photo of a good \nlooking guy in a tux at a benefit... The headline reads \"Lance Hunt", "Furious struggles, but he has been secured with some very heavy tire \nchains. Tony P takes out a large caliber revolver, flips it open to \nmake sure it's loaded.", "as our heroes come charging out of the Herkimer, using their various \nskills to blow through the surprised guards. Mr. Furious comes out \nlast, not quite sure what to do with himself.", "FURIOUS\n\t\t\t\t(lunges at the Sphinx)\n\t\tAnd a skunk stinks!\n\nFurious and the Sphinx square off, their faces only inches apart.", "Casanova releases Furious, who slumps to the ground. Casanova steps \naway, and the Disco Boys gather around Furious and kick him \nviciously... as Casanova and Tony P watch, amused, chuckling.", "A hand stamps Casanova's file \"CURED\"... Casanova shakes hands and \nembraces the tearful members of the review board, finishing with a \npaternal hug from Doctor Bierce.", "SPHINX\n\t\tAnd you are a fool.\n\nHe raises his machete above Furious' head... and then slices clean \nthrough the chains.", "Butsuddenly, the Herkimer's door is thrown open, revealing our heroes--\nholding down Doc Heller, his air cannon at the ready. He fires--there", "The others think that's a great idea, but Big Red doesn't.\n\n\t\t\t\t\tBIG RED\n\t\tAnd what if he rats on us?", "Only Furious holds his own. He grabs a pipe away from one of them and \nswings fiercely, keeping the others off. Suddenly, the Disco Boys pull", "his chest in falling off stick on letters it reads \"THE SPLEEN\", and \nthat's exactly who he is. Furious, the Raja, and Shoveler sit as far", "The D Boys laugh. Furious stares at Casanova, and Casanova stares \nright back at him, as cool as a snake.", "As our heroes look around as a dozen Disco Boys, armed with pipes, \nchains, brass knuckles, step into the light and encircle them... The \nFrench doors open and Tony P steps out.", "Tony P flicks open a big switchblade and lunges at the stranger, who \nsidesteps him like a matador and swings his machete at him. Tony P \nturns, about to charge again.", "As the villains choke and gag in the noxious fumes, Mister Furious goes \non a DEMOLITION RAMPAGE, working his way around the limo, punching big", "CAMERA HOLDS ON OUR HEROES, wincing as Anabel hits with an ugly thud.\n\nSuddenly they hear Invisible Boy calling to them.", "Furious throws a look at the Shoveler and Raja. This guy's out of it. \nThey're wasting their time.", "The villains laugh, and Mister Furious EXPLODES INTO RAGE. He swings \nopen his car door, mashing it into the limo and leaving a big dent.", "She goes out. Casanova listens as the sound of high heels fades away, \nthen he goes to the closet and lets Monica out.\n\n\t\t\t\t\tMONICA\n\t\tI'd better go." ], [ "A hand stamps Casanova's file \"CURED\"... Casanova shakes hands and \nembraces the tearful members of the review board, finishing with a \npaternal hug from Doctor Bierce.", "Casanova, dressed in the suit, walks down the central aisle of the \nlock-up... A moment later he steps out of the massive gates of the", "A moment later Casanova addresses them... His manner is charming, \nsincere, his voice soft, filled with emotion. He is a master of \nseduction.", "The waitresses leave; the big doors to the dining room are swung \nclosed, and the cigars are lit. The meeting has begun. Casanova takes \nthe podium.", "Casanova CRASHES into the huge crystal chandelier--there is an \nexplosion of crystal and glass. Furious averts his eyes as cut glass \nrains down all around him... then he looks up and sees...", "Casanova, in a state of psychotic ecstasy, whips out his pistol and \nempties it into Italian Ice... who drops to the floor, dead.", "He lets the gold chain drop loose in his hand, then starts coming for \nher, a sadistic grin on his face. This is the real Casanova.", "Furious releases Casanova, then runs for it and leaps over the wooden \nwall at the end of the lot... as the Disco Boys open fire again, and \ntheir bullets punch holes through the wall...", "In his cell a guard delivers Casanova his favorite old disco suit \n(that's been waiting far him for twenty years).", "She goes out. Casanova listens as the sound of high heels fades away, \nthen he goes to the closet and lets Monica out.\n\n\t\t\t\t\tMONICA\n\t\tI'd better go.", "Furious grabs Casanova's wrists... and crushes them. Casanova howls \nwith pain, loses his grip. Furious slugs him, again and again... then", "Casanova and Anabel drive off. The massive old hospital is seen \nthrough the rear window behind them, as Casanova calmly looks at his \nwatch...\n\nCLOSE ON HIS WATCH -", "And our heroes streak off into the night... Casanova and the others \nstagger out of the demolished limo, sucking in the clean air.", "Suddenly, he hears high heels in the hall. A key is put in the lock--\nCasanova leaps off the bed, grabs Monica and roughly shoves her into", "Casanova releases Furious, who slumps to the ground. Casanova steps \naway, and the Disco Boys gather around Furious and kick him \nviciously... as Casanova and Tony P watch, amused, chuckling.", "CASANOVA\n\t\tThis is where I come to... be alone.\n\nHe turns down the lights and quietly closes and locks the big door to \nthe room.", "They share an exasperated look, then scramble over the wall after him.\n\nINT. CASANOVA'S BEDROOM - CONTINUOUS", "Casanova leads Monica into... a palatial room, filled with priceless \nobjects d'art, all of which reflect Casanova's dark psyche. A Munch", "BACK AT THE FRANKENSTEIN TOWER - CONTINUOUS\n\nMonica moves nervously around the room as Casanova sprawls languorously \non the bed, toying with his gold chain.", "With a cat-like move Casanova slashes his gold chain viciously--and \nrepeatedly--across Furious' face. Furious, stunned with pain, lunges" ], [ "Casanova and Anabel drive off. The massive old hospital is seen \nthrough the rear window behind them, as Casanova calmly looks at his \nwatch...\n\nCLOSE ON HIS WATCH -", "CASANOVA\n\t\t\t\t(almost wistfully)\n\t\tBoom.", "Bierce, watching, realizes he's been duped... as Casanova, grinning up \nat him, puts a long gold chain (his favorite weapon) around his neck...", "The crooks and Disco Boys fall back, gasping, choking in the noxious \nfumes...\n\nAs Casanova attacks...", "The waitresses leave; the big doors to the dining room are swung \nclosed, and the cigars are lit. The meeting has begun. Casanova takes \nthe podium.", "Casanova suddenly throws a secret breaker switch, and the ugly hum of a \nmillion volts instantly fills the room...\n\nEXT. OUTSIDE THE HOUSE - CONTINUOUS - ON FURIOUS", "Casanova CRASHES into the huge crystal chandelier--there is an \nexplosion of crystal and glass. Furious averts his eyes as cut glass \nrains down all around him... then he looks up and sees...", "CASANOVA\n\t\tRoy... What took you so long?\n\nFurious starts at Casanova, who aims Anabel's pistol at him. Furious \nhesitates.", "A moment later Casanova addresses them... His manner is charming, \nsincere, his voice soft, filled with emotion. He is a master of \nseduction.", "Our heroes see Monica walking straight toward them. They turn away, \nlean against a wail, trying to be totally inconspicuous...\n\nBut as she passes them, not noticing them... Casanova approaches her.", "CASANOVA\n\t\tI'll let you in on a little secret, Roy. In \n\t\ttwo days this entire city will belong to me,", "CLOSE ON CASANOVA, watching her; his intentions are sinister... He \nturns and sees... our heroes, hanging by the wall.", "He lets the gold chain drop loose in his hand, then starts coming for \nher, a sadistic grin on his face. This is the real Casanova.", "CASANOVA\n\t\tWAIT!\n\nThe Disco BQys stop firing... Furious drags Casanova back into an empty \nlot, using him as a shield.", "He laughs dementedly as Monica pops open the can and A SWIRLING FUNNEL \nOF AIR SHOOTS OUT OF IT and ENGULFS Casanova, throwing him across the", "Suddenly, he hears high heels in the hall. A key is put in the lock--\nCasanova leaps off the bed, grabs Monica and roughly shoves her into", "Casanova, in a state of psychotic ecstasy, whips out his pistol and \nempties it into Italian Ice... who drops to the floor, dead.", "Casaova reaches behind Captain Amazing's back and pulls a string (like \nthe ones they used to have on those old talking dolls).", "CASANOVA\n\t\tLet's change the tune.\n\nHe reaches into his pocket and takes out the remote device (that Anabel \nused at the luncheon). He presses a button...", "Furious lunges at Casanova--who gets off a shot before Furious grabs \nthe gun out of his hand. Casanova ducks clear. Furious tosses the" ], [ "The waitresses leave; the big doors to the dining room are swung \nclosed, and the cigars are lit. The meeting has begun. Casanova takes \nthe podium.", "EXT. TRAIN YARDS OF CHAMPION CITY - NIGHT\n\nLetters read \"Six months later\"...", "They take off down the street, running right past a woman, carrying a \nbowling ball bag and dressed in a faded, threadbare old rayon superhero \ncostume with a decidedly fifties flavor. She is THE BOWLER.", "They get out, lock the car and head for the bar, leaving the windows \nup. Little Furious watches them go, never suspecting that his entire", "Furious kicks his engine started and speeds off into the night as the \nShoveler opens the door of his battered Ford Esquire station wagon, and \nthe Raja gets into his ancient Datsun.", "hospital, and takes his first deep breath of freedom... while in an \noffice window high above Bierce and the members of the review board \nstand watching, very proud...", "She takes his arm and they all start to walk back into the Shoveler's \nbackyard... but the CAMERA PANS ACROSS THE STREET to the dark place", "Through the window the moon is seen rising over the hillside, the \nFrankenstein Center silhouetted ominously against it. Raja, Shoveler, \nand Furious gaze at it.", "Furious, rubbing his neck; a thin red mark runs around it. The three of \nthem are sitting at their usual table, in very bad shape, moaning and", "Furious stands by the Herkimer, phone still in hand. He seems \nspeechless, dazed. Something inside him has changed.", "as a little boy, sitting in the backseat of the family car. It is \nthirty years ago, and Mister Furious is a sweet, very shy, well", "really likes her. He starts walking back down the street, past a man \nsitting on the stoop. The man looks up. It's Casanova Frankenstein.", "Furious sits on his Harley, taking long hauls from a pint bottle of \ncheap bourbon and gazing up at the sign.", "She walks away. Furious growls. He picks up his iron bar and is about \nto wedge it under the front bumper of the Herkimer...\n\nHIS POV -", "While on the hillside above Invisible Boy (looking through binoculars) \nand the Spleen lie together on their bellies in the weeds, keeping the \nmansion under surveillance.", "But as they pass the billboard, a pair of headlights illuminate in its \nshadows, and the Shoveler's Ford Esquire pulls out and follows.\n\nINSIDE THE ESQUIRE - CONTINUOUS", "the arm of his chair. In the other chair sits a once good looking, now \npaunchy guy, with a meticulously coiffed haircut. He is TONY", "A beat and his squeegee come flying out after him. Another beat and \nthe Invincible Dudes come running out the gate in a panic.", "Furious and Monica hold each other up. Wounded Invisible Boy has his \narm around the Spleen... while policemen and news people run up the \nstairs past them into the center, ignoring them as always...", "CASANOVA\n\t\tTonight, at midnight, that sound will be \n\t\tamplified across this entire city. Murder and" ], [ "The waitresses leave; the big doors to the dining room are swung \nclosed, and the cigars are lit. The meeting has begun. Casanova takes \nthe podium.", "Casanova instructs three security guards.\n\n\t\t\t\t\tCASANOVA\n\t\tI want her alive.", "A moment later Casanova addresses them... His manner is charming, \nsincere, his voice soft, filled with emotion. He is a master of \nseduction.", "Our heroes see Monica walking straight toward them. They turn away, \nlean against a wail, trying to be totally inconspicuous...\n\nBut as she passes them, not noticing them... Casanova approaches her.", "Casanova releases Furious, who slumps to the ground. Casanova steps \naway, and the Disco Boys gather around Furious and kick him \nviciously... as Casanova and Tony P watch, amused, chuckling.", "Casanova and Dr. Anabel Leek are preparing for bed. Anabel sits in \nfront of a huge mirror, brushing her long hair as Casanova moves up", "The D Boys laugh. Furious stares at Casanova, and Casanova stares \nright back at him, as cool as a snake.", "at Casanova, who neatly steps aside, then catches him with a fast \ncombination of spinning disco kicks. Finally he lassos the chain", "CLOSE ON CASANOVA, watching her; his intentions are sinister... He \nturns and sees... our heroes, hanging by the wall.", "In the shadows behind them... Casanova follows, stalking them, as \nsilent as a vampire.", "CASANOVA\n\t\tIt's showtime.\n\nBut then they all hear... the sound of gunfire.", "A sumptuous, hotel-like lounge. Anabel is holding court with all of \ntop crooks from the luncheon, charrning the pants off them... Casanova \nslithers up behind her.", "CROOKS\n\t\tThat was great!... What the hell was that?... \n\t\tHow did you do that?\n\nCasanova throws Anabel a kiss.", "They share an exasperated look, then scramble over the wall after him.\n\nINT. CASANOVA'S BEDROOM - CONTINUOUS", "as our heroes step inside and see... A big luncheon is in progress. \nCasanova, Anabel, and Tony P sit at the head table. The room is lined", "He lets the gold chain drop loose in his hand, then starts coming for \nher, a sadistic grin on his face. This is the real Casanova.", "Casanova's men throw the gate of the truck open, and the CAMERA MOVES \nIN. No one is there, but we notice... two large lumps under the \npacking blankets.", "CLOSE ON CASANOVA, who knows who they are.\n\nWHILE BACK IN THE HALL our heroes rally around a shaken Mr. Furious.", "A hand stamps Casanova's file \"CURED\"... Casanova shakes hands and \nembraces the tearful members of the review board, finishing with a \npaternal hug from Doctor Bierce.", "Suddenly, he hears high heels in the hall. A key is put in the lock--\nCasanova leaps off the bed, grabs Monica and roughly shoves her into" ], [ "FURIOUS\n\t\t\t\t(lunges at the Sphinx)\n\t\tAnd a skunk stinks!\n\nFurious and the Sphinx square off, their faces only inches apart.", "They look up and see that Furious has just returned... The Sphinx moves \nto him. For a moment they stand face to face...", "while Furious sits it out, brooding, drinking, and getting very jealous \nof the Sphinx.", "SPHINX\n\t\tNo.\n\nThe others ignore Furious and listen to the Sphinx.", "FURIOUS \n\t\tGood point.\n\n\t\t\t\t\tRAJA\n\t\tAnd there's the Sphinx.", "SPHINX\n\t\tAmigo.\n\nThey embrace.\n\nA few mimutes later. The others are gathered around Furious, listening \nto his story.", "Furious drinks alone, while the rest of our heroes sit around an old \npicnic table, feasting on sodas and pizza (like a football team after a \ngreat practice.) Raja explains the history of the situation to the \nSphinx.", "Sphinx chews theu out, his mask looking very friqhtening and magical in \nthe flickering light.", "SPHINX\n\t\tHe is in love. His anger is gone.\n\n\t\t\t\t\tRAJA\n\t\tOh no.", "his chest in falling off stick on letters it reads \"THE SPLEEN\", and \nthat's exactly who he is. Furious, the Raja, and Shoveler sit as far", "SPHINX (Cont'd)\n\t\t\t\t(at Furious)\n\t\tNot like some drunken Tejano on Saturday night.\n\nFurious grunts.", "CAMERA CUTS BETWEEN THEM as they look at each other--their frightened \nfaces, their sad, faded costuznes. Even the Sphinx looks scared.", "Furious and the others study their masked savior, who stands before \nthem, machete in hand.\n\n\t\t\t\t\tFURIOUS\n\t\tYou're the Sphinx.", "The others see... that the Sphinx's chair is empty. Raja spots a \ncrumpled napkin on the table, opens it up, and reads.", "FURIOUS\n\t\tWell... there's the Spleen.\n\nShoveler and Raja make disgusted noises.", "Shoveler, Bowler, and the Sphinx stand shoulder to shoulder, as \nInvisible Boy, Spleen, Raja, and the Doc throw small stones at them...", "The bullets sound like hailstones bouncing off the armor of the Herk as \nour heroes grimly prepare themselves for battle...The Sphinxs puts on", "SPHINX\n\t\tAnd you are a fool.\n\nHe raises his machete above Furious' head... and then slices clean \nthrough the chains.", "SPHINX\n\t\tYou drink too much.\n\n\t\t\t\t\tFURIOUS\n\t\tWhen are you going to take off that mask?", "SPHINX\n\t\tWe are not yet ready. Now we must learn to \n\t\tfight together... as one thing.\n\nThe others nod in agreemnt... while Furious fumes." ], [ "As our heroes step into Heller's laboratory/arsenal. A stack of small \naluminum cans lines one wall. There are weird lookinq sprayers, tubes,", "together into a fantastic concoction. He is DOC HELLER.", "Through the window the moon is seen rising over the hillside, the \nFrankenstein Center silhouetted ominously against it. Raja, Shoveler, \nand Furious gaze at it.", "Furious moves to the wolf sculpture. Be PLUNGES HIS HAND through its \nbronze casing, and RIPS OUT the heart of the Psychostridulator, a", "really likes her. He starts walking back down the street, past a man \nsitting on the stoop. The man looks up. It's Casanova Frankenstein.", "Letters across the iron gates read... \"Frankenstein\".\n\nEXT. ON THE ROOF - CONTINUOUS", "Furious gets up, dusts himself off, and moves to Doc Heller.\n\n\t\t\t\t\tFURIOUS\n\t\tDoc, you're a genius!\n\t\t\t\t (hugs him)", "ON THE OTHERS, gathered around him, waiting to see if this will work. \nAnd then Furious begins to respond... as his face turns into a \ncontorted grimace.", "Furious runs down a back street and escapes into the night.\n\nEXT. THE FRANKENSTEIN CENTER - CONTINUOUS", "EXT. OUTSIDE THE FRANKENSTEIN CENTER - A LITTLE LATER", "Butsuddenly, the Herkimer's door is thrown open, revealing our heroes--\nholding down Doc Heller, his air cannon at the ready. He fires--there", "HELLER\n\t\t\t (after a moment, gravely)\n\t\tHe's got the Psychostridulator.\n\n\t\t\t\t\tALL\n\t\tThe what?", "his chest in falling off stick on letters it reads \"THE SPLEEN\", and \nthat's exactly who he is. Furious, the Raja, and Shoveler sit as far", "CLOSE ON a sign that reads \"Erie Hospital for the Criminally Insane\" \n... This is where the worst killers and psychos go.\n\nINT. CONFERENCE ROOM - CONTINUOUS", "BACK TO THE FRANKENSTEIN CENTER - A FEW MINUTES LATER\n\nCasanova steps out and sees... Monica, looking very sexy.", "RAJA\n\t\tFirst is good.\n\nINT. CORRIDOR IN FRANKENSTEIN TOWER - CONTINUOUS", "A hand stamps Casanova's file \"CURED\"... Casanova shakes hands and \nembraces the tearful members of the review board, finishing with a \npaternal hug from Doctor Bierce.", "She opens a secret panel on its back, REVEALNG a FLASHING HIGH TECH \nINTERIOR... and Monica, watching from the closet, realizes that she has \nfound the Psychostridulator.", "INT. TOP OF THE FRANKENSTEIN TOWER - CONTINUOUS", "And our heroes slip out from under the table and make good their \nescape...\n\nINT. DOC HELLER'S BARN/LAB - LATER" ], [ "Casanova instructs three security guards.\n\n\t\t\t\t\tCASANOVA\n\t\tI want her alive.", "Suddenly, he hears high heels in the hall. A key is put in the lock--\nCasanova leaps off the bed, grabs Monica and roughly shoves her into", "A moment later Casanova addresses them... His manner is charming, \nsincere, his voice soft, filled with emotion. He is a master of \nseduction.", "Casanova, hand held tightly across Monica's mouth, shouts down \ntauntingly to Furious.", "Casanova, pins his arms in a bear hug and holds him in the line of \nfire.", "He lets the gold chain drop loose in his hand, then starts coming for \nher, a sadistic grin on his face. This is the real Casanova.", "Casanova holds Anabel in his arms as they watch a large wooden crate \nbeing lowered from the deck of the freighter.\n\n\t\t\t\t\tCASANOVA\n\t\tHoney, our ship's come in.", "Casanova leads Monica into... a palatial room, filled with priceless \nobjects d'art, all of which reflect Casanova's dark psyche. A Munch", "Our heroes see Monica walking straight toward them. They turn away, \nlean against a wail, trying to be totally inconspicuous...\n\nBut as she passes them, not noticing them... Casanova approaches her.", "CLOSE ON CASANOVA, watching her; his intentions are sinister... He \nturns and sees... our heroes, hanging by the wall.", "The waitresses leave; the big doors to the dining room are swung \nclosed, and the cigars are lit. The meeting has begun. Casanova takes \nthe podium.", "Casanova and Dr. Anabel Leek are preparing for bed. Anabel sits in \nfront of a huge mirror, brushing her long hair as Casanova moves up", "Furious grabs Casanova's wrists... and crushes them. Casanova howls \nwith pain, loses his grip. Furious slugs him, again and again... then", "his hands around Furious's throat and crushes it... Furious drops to \nhis knees, and Casanova thinks he's got him. But Furious, grimacing", "Furious lunges at Casanova--who gets off a shot before Furious grabs \nthe gun out of his hand. Casanova ducks clear. Furious tosses the", "A sumptuous, hotel-like lounge. Anabel is holding court with all of \ntop crooks from the luncheon, charrning the pants off them... Casanova \nslithers up behind her.", "Suddenly, we hear someone cursing Casanova in Russian. He turns and \nsees... Anabel standing there, pistol in hand.\n\n\t\t\t\t\tANABEL\n\t\tYou two timing psychotic bastard.", "CASANOVA\n\t\tRoy.\n\nShe makes a sudden try for the door, but he blocks her way, a cold look \nin his eye that makes her step back in fear.", "CASANOVA\n\t\tRoy... What took you so long?\n\nFurious starts at Casanova, who aims Anabel's pistol at him. Furious \nhesitates.", "In the shadows behind them... Casanova follows, stalking them, as \nsilent as a vampire." ], [ "Another man steps into the light. He wears a construction helmet and \nmask. There is an \"S\" on his chest, and he carries an old shovel. He \nis THE SHOVELER.", "The Shoveler is driving. Mister Furious sits in the front seat next to \nhim, and our other heroes are packed into the back.\n\n\t\t\t\t\tFURIOUS\n\t\tLet's say hello.", "While, downstairs, the Shoveler dispatches the Elvis Brothers with some \nnifty shovel work... But suddenly, the Bland Boys, pistols blazing, are", "SHOVELER\n\t\tThen Captain Amazing appeared.\n\n\t\t\t\t\tRAJA\n\t\tHe busted Casanova and sent the crooks packing.", "SHOVELER\n\t\tHe's got the fact that he's Superman!\n\n\t\t\t\t\tBOWLER\n\t\tBullets bounce off him!", "ALL\n\t\tIt's... Supergut!\n\nThe kids all laugh (in that derisive way that kids do so well) as the \nShoveler dejectedly walks into the kitchen.", "A Red Eye takes a swing at the Shoveler--but he simply puts up his \nshovel and lets the crook slug the shovel's pan. The crook yelps with", "Advancing shoulder to shoulder, fighting as a team, our heroes wield \nmachete, fork, shovel, bowling ball, and canned tornado... forcing the \nvillains back...", "as our heroes come charging out of the Herkimer, using their various \nskills to blow through the surprised guards. Mr. Furious comes out \nlast, not quite sure what to do with himself.", "EXT. RESIDENTIAL STREET - NIGHT\n\nThe Shoveler pulls into the driveway of his very modest house. The \nfront yard looks like a battle zone. Bikes and kids' junk are \neverywhere.", "RAJA\n\t\tThis looks like a job for Superman--\n\n\t\t\t\t\tSHOVELER\n\t\tOr Batman--", "SHOVELER\n\t\tOr you're mulch.\n\nHe brandishes his shovel for effect. The Red Eyes look at these two, \nhighly amused.", "as half a dozen scarecrows are blown to pieces... Our heroes chieer and \nshake their fists... while Mr. Furious sits alone on the sidelines, \ndrinking bourbon, and feeling very alienated.", "A moment later they open the gate and see... HALF A DOZEN BURLY GUYS \nwearing various superhero outfits.", "our heroes cheer, pat the Herk.\n\n\t\t\t\t\tSHOVELER\n\t\tAtta, girl!\n\n\t\t\t\t\tBOWLER\n\t\tAtta, boy!", "SHOVELER\n\t\tLook, honey, being a superhero... it's a\n\t\tguy thing.\n\n\t\t\t\t\tBOWLER\n\t\tReally?", "The Shoveler, standing in his bedroom, has just put on his freshly \nlaundered suit. CAMERA OPENS WIDE TO REVEAL Lucille, his wife,", "as our heroes encourage the Herk.\n\n\t\t\t\t\tSHOVELER\n\t\tCome on, baby!\n\n\t\t\t\t\tBOWLER\n\t\tDo it, big boy!", "As the villains choke and gag in the noxious fumes, Mister Furious goes \non a DEMOLITION RAMPAGE, working his way around the limo, punching big", "Big Red gives a shrill whistle, and a dozen more Red Eyes step out of \nan old caboose... including MIKEY, a four hundred pound behemoth. He" ], [ "Hosts Benefit.\" He holds the picture up next to the television, so the \nfaces of Lance Hunt and Captain Amazing are side by side. It is \nobviously the same guy.", "It is Captain Amazing, wearing a high tech rocket pack on his back...\n\n\n\t\t\t\t\tFURIOUS\n\t\tWhere's he going?\n\t\t\t(kicks his Harley started)", "FURIOUS\n\t\tDon't you guys get it? If Captain Amazing is \n\t\tstill in there, we can rescue him--and get on", "Tony P makes a move for his pistol, but Captain Amazing instantly whips \nout his pistol, getting the drop on him.", "on which Captain Amazing, the laughing baby in his arms, is being \ninterviewed by Dawn Wong. He's playing the cutsy photo op for all its", "Our three heroes try to approach Captain Amazing (who still looks fresh \nas a daisy).\n\n\t\t\t\t\tRAJA\n\t\tNice work, Captain.", "SHOVELER\n\t\tThen Captain Amazing appeared.\n\n\t\t\t\t\tRAJA\n\t\tHe busted Casanova and sent the crooks packing.", "Casanova and Tony P look up and see Captain Amazing, posed noncalantly \non the iron catwalk, gazing down at them. Tony P jumps out of his", "MONICA\n\t\tReally? Like Captain Amazing?\n\nFurious growls.\n\n\t\t\t\t\tMONICA\n\t\tAre you famous?", "Casaova reaches behind Captain Amazing's back and pulls a string (like \nthe ones they used to have on those old talking dolls).", "A foreboding looking old mansion... Captain Amazing lands on the \nhighest part of its roof... Furious pulls up, gazes at the front gates \nof the mansion...\n\nHIS POV -", "CASANOVA\n\t\tI got it.\n\n\t\t\t\t\tTONY P\n\t\tWhat about Captain Amazing?", "CASANOVA\n\t\tDon't worry, fellas...\n\t\t\t(moves to Captain Amazing, and", "A pair of curtains suddenly part... and Captain Amazing (looking a bit \nsinged) is standing there in classic superhero pose.", "Captain Amazing abandons his jet pack and moves across the old slate \nroof like Spiderman, leaping nimbly from gable to gable and walking", "A billboard overlooking the city. Captain Amazing is posed wearing a \npair of bright blue Nikes. The caption reads. \"It's a nice world.", "Furious picks up the newspaper on which there is a photo of a good \nlooking guy in a tux at a benefit... The headline reads \"Lance Hunt", "Big Red and a couple others try to run for it, but Amazing leaps ca-\nlike off the boxcar and is on them in a flash. As the baby claps his", "Champion City's leading citizens has apparently \n\t\tdisappeared. Captain Amazing has not been seen \n\t\tor heard from in a week. Authorities believe", "FURIOUS\n\t\tWhat did you do with Captain Amazing?\n\n\t\t\t\t\tCASANOVA\n\t\tCaptain who?" ], [ "Champion City's leading citizens has apparently \n\t\tdisappeared. Captain Amazing has not been seen \n\t\tor heard from in a week. Authorities believe", "It is Captain Amazing, wearing a high tech rocket pack on his back...\n\n\n\t\t\t\t\tFURIOUS\n\t\tWhere's he going?\n\t\t\t(kicks his Harley started)", "A billboard overlooking the city. Captain Amazing is posed wearing a \npair of bright blue Nikes. The caption reads. \"It's a nice world.", "Tony P makes a move for his pistol, but Captain Amazing instantly whips \nout his pistol, getting the drop on him.", "Captain Amazing abandons his jet pack and moves across the old slate \nroof like Spiderman, leaping nimbly from gable to gable and walking", "Casanova and Tony P look up and see Captain Amazing, posed noncalantly \non the iron catwalk, gazing down at them. Tony P jumps out of his", "SHOVELER\n\t\tThen Captain Amazing appeared.\n\n\t\t\t\t\tRAJA\n\t\tHe busted Casanova and sent the crooks packing.", "Our three heroes try to approach Captain Amazing (who still looks fresh \nas a daisy).\n\n\t\t\t\t\tRAJA\n\t\tNice work, Captain.", "A foreboding looking old mansion... Captain Amazing lands on the \nhighest part of its roof... Furious pulls up, gazes at the front gates \nof the mansion...\n\nHIS POV -", "MONICA\n\t\tReally? Like Captain Amazing?\n\nFurious growls.\n\n\t\t\t\t\tMONICA\n\t\tAre you famous?", "Big Red and a couple others try to run for it, but Amazing leaps ca-\nlike off the boxcar and is on them in a flash. As the baby claps his", "CASANOVA\n\t\tDon't worry, fellas...\n\t\t\t(moves to Captain Amazing, and", "The kids scoff... A moment later they head back to the house with \ntheir burgers.\n\n\t\t\t\t\tROLAND\n\t\tBut where's Captain Amazing?", "A pair of curtains suddenly part... and Captain Amazing (looking a bit \nsinged) is standing there in classic superhero pose.", "The Ferrari drives past and the CAMERA HOLDS ON a sign that reads \n\"We1come to Champion City, home of Captain Amazing\". The city itself, a", "Hosts Benefit.\" He holds the picture up next to the television, so the \nfaces of Lance Hunt and Captain Amazing are side by side. It is \nobviously the same guy.", "on which Captain Amazing, the laughing baby in his arms, is being \ninterviewed by Dawn Wong. He's playing the cutsy photo op for all its", "Casaova reaches behind Captain Amazing's back and pulls a string (like \nthe ones they used to have on those old talking dolls).", "hands in delight, and our three heroes watch in beat-up awe, Amazing \ndeftly takes out the crooks with expert punches and effortlessly", "ON THE RED EYES as their viciousness turns instantly to panic...\n\n\t\t\t\t\tRED EYES\n\t\tIT'S CAPTAIN AMAZING!" ], [ "really likes her. He starts walking back down the street, past a man \nsitting on the stoop. The man looks up. It's Casanova Frankenstein.", "FURIOUS (0.S.)\n\t\tFrankenstein!\n\nCasanova turns and sees... Furious, standing on the balcony.", "BACK AT THE FRANKENSTEIN TOWER - CONTINUOUS\n\nMonica moves nervously around the room as Casanova sprawls languorously \non the bed, toying with his gold chain.", "BACK TO THE FRANKENSTEIN CENTER - A FEW MINUTES LATER\n\nCasanova steps out and sees... Monica, looking very sexy.", "Casanova suddenly throws a secret breaker switch, and the ugly hum of a \nmillion volts instantly fills the room...\n\nEXT. OUTSIDE THE HOUSE - CONTINUOUS - ON FURIOUS", "A huge old library with an iron catwalk running around it. Casanova \nFrankenstein sits in a club chair by a roaring tire. Anabel perches on", "Casanova CRASHES into the huge crystal chandelier--there is an \nexplosion of crystal and glass. Furious averts his eyes as cut glass \nrains down all around him... then he looks up and sees...", "The waitresses leave; the big doors to the dining room are swung \nclosed, and the cigars are lit. The meeting has begun. Casanova takes \nthe podium.", "A moment later Casanova addresses them... His manner is charming, \nsincere, his voice soft, filled with emotion. He is a master of \nseduction.", "Casanova, in a state of psychotic ecstasy, whips out his pistol and \nempties it into Italian Ice... who drops to the floor, dead.", "He laughs dementedly as Monica pops open the can and A SWIRLING FUNNEL \nOF AIR SHOOTS OUT OF IT and ENGULFS Casanova, throwing him across the", "Furious grabs Casanova's wrists... and crushes them. Casanova howls \nwith pain, loses his grip. Furious slugs him, again and again... then", "CASANOVA\n\t\t\t\t(almost wistfully)\n\t\tBoom.", "Casanova and Anabel drive off. The massive old hospital is seen \nthrough the rear window behind them, as Casanova calmly looks at his \nwatch...\n\nCLOSE ON HIS WATCH -", "THE CAMERA PANS THE EXPRESSIONLESS FACES of the REVIEW BOARD as \nCASANOVA FRANKENSTEIN sits across from them. Dressed in an", "She moves out onto the balcony... as Casanova slips the gold chain from \naround his neck and follows her.\n\nINT. BARN/LAB - CONTINUOUS", "Furious releases Casanova, then runs for it and leaps over the wooden \nwall at the end of the lot... as the Disco Boys open fire again, and \ntheir bullets punch holes through the wall...", "He lets the gold chain drop loose in his hand, then starts coming for \nher, a sadistic grin on his face. This is the real Casanova.", "Casanova and Dr. Anabel Leek are preparing for bed. Anabel sits in \nfront of a huge mirror, brushing her long hair as Casanova moves up", "The crooks and Disco Boys fall back, gasping, choking in the noxious \nfumes...\n\nAs Casanova attacks..." ], [ "really likes her. He starts walking back down the street, past a man \nsitting on the stoop. The man looks up. It's Casanova Frankenstein.", "BACK TO THE FRANKENSTEIN CENTER - A FEW MINUTES LATER\n\nCasanova steps out and sees... Monica, looking very sexy.", "Furious runs down a back street and escapes into the night.\n\nEXT. THE FRANKENSTEIN CENTER - CONTINUOUS", "Letters across the iron gates read... \"Frankenstein\".\n\nEXT. ON THE ROOF - CONTINUOUS", "FURIOUS (0.S.)\n\t\tFrankenstein!\n\nCasanova turns and sees... Furious, standing on the balcony.", "Through the window the moon is seen rising over the hillside, the \nFrankenstein Center silhouetted ominously against it. Raja, Shoveler, \nand Furious gaze at it.", "EXT. OUTSIDE THE FRANKENSTEIN CENTER - A LITTLE LATER", "A huge old library with an iron catwalk running around it. Casanova \nFrankenstein sits in a club chair by a roaring tire. Anabel perches on", "as our other heroes return to their senses amidst the vanquished \ncrooks... the traumatized reunants of whom run for it. Things also \nreturn to normal...\n\nOn the street...", "SPHINX\n\t\tAmigo.\n\nThey embrace.\n\nA few mimutes later. The others are gathered around Furious, listening \nto his story.", "They look up and see that Furious has just returned... The Sphinx moves \nto him. For a moment they stand face to face...", "He shoves him in the back, closing the heavy steel door behind him.\n\nBACK TO THE FRANKENSTEIN TOWER - CONTINUOUS - ON MONICA", "The waitresses leave; the big doors to the dining room are swung \nclosed, and the cigars are lit. The meeting has begun. Casanova takes \nthe podium.", "BIERCE\n\t\tNo one can deny the horrendous nature of Mr. \n\t\tFrankenstein's crimes, but in the twenty years", "THE CAMERA PANS THE EXPRESSIONLESS FACES of the REVIEW BOARD as \nCASANOVA FRANKENSTEIN sits across from them. Dressed in an", "BACK AT THE FRANKENSTEIN TOWER - CONTINUOUS\n\nMonica moves nervously around the room as Casanova sprawls languorously \non the bed, toying with his gold chain.", "As our heroes look around as a dozen Disco Boys, armed with pipes, \nchains, brass knuckles, step into the light and encircle them... The \nFrench doors open and Tony P steps out.", "RAJA\n\t\tFirst is good.\n\nINT. CORRIDOR IN FRANKENSTEIN TOWER - CONTINUOUS", "ANGLE ON a plaque that reads... \"Frankenstein Center for the \nPerforming and Non-performing Arts\".\n\nThe gates of the center open, and the convoy passes through.", "INT. TOP OF THE FRANKENSTEIN TOWER - CONTINUOUS" ], [ "BIERCE\n\t\tNo one can deny the horrendous nature of Mr. \n\t\tFrankenstein's crimes, but in the twenty years", "A huge old library with an iron catwalk running around it. Casanova \nFrankenstein sits in a club chair by a roaring tire. Anabel perches on", "Through the window the moon is seen rising over the hillside, the \nFrankenstein Center silhouetted ominously against it. Raja, Shoveler, \nand Furious gaze at it.", "BACK AT THE FRANKENSTEIN TOWER - CONTINUOUS\n\nMonica moves nervously around the room as Casanova sprawls languorously \non the bed, toying with his gold chain.", "Letters across the iron gates read... \"Frankenstein\".\n\nEXT. ON THE ROOF - CONTINUOUS", "Furious moves to the wolf sculpture. Be PLUNGES HIS HAND through its \nbronze casing, and RIPS OUT the heart of the Psychostridulator, a", "(moving toward her, turning on\n\t\t\t\tthat old Frankenstein Charm)\n\t\tPootchkie, you're over-reacting. This is our", "SPHINX\n\t\tCasanova Frankenstein is a a master of evil. \n\t\tYou will need more than shovels and dessert \n\t\tforks to stop him... What else have you got?", "FURIOUS (0.S.)\n\t\tFrankenstein!\n\nCasanova turns and sees... Furious, standing on the balcony.", "really likes her. He starts walking back down the street, past a man \nsitting on the stoop. The man looks up. It's Casanova Frankenstein.", "as Monica approaches a GUARD standing by the main door.\n\n\t\t\t\t\tMONICA\n\t\tCould you tell Mr. Frankenstein that Monica is \n\t\there?", "as he hears Casanova's evil laugh and Monica's scream. He is desperate \nto find a way up, but the wall is completely sheer. He feels helpless-\nfrantic, near tears...", "INT. TOP OF THE FRANKENSTEIN TOWER - CONTINUOUS", "RAJA\n\t\tFirst is good.\n\nINT. CORRIDOR IN FRANKENSTEIN TOWER - CONTINUOUS", "Furious runs down a back street and escapes into the night.\n\nEXT. THE FRANKENSTEIN CENTER - CONTINUOUS", "THE CAMERA PANS THE EXPRESSIONLESS FACES of the REVIEW BOARD as \nCASANOVA FRANKENSTEIN sits across from them. Dressed in an", "BACK AT THE FRANKENSTEIN TOWER - COHTINUOUS\n\nas Anabel works on the Psychostridulator, Monica looks at a clock... \nwhich reads almost eleven. Time is running out.", "He shoves him in the back, closing the heavy steel door behind him.\n\nBACK TO THE FRANKENSTEIN TOWER - CONTINUOUS - ON MONICA", "He lets the gold chain drop loose in his hand, then starts coming for \nher, a sadistic grin on his face. This is the real Casanova.", "barely able to breath, Little Furious flops back onto the seat, his \nface a mask of heat and terror... But suddenly, a change begins to take" ], [ "Furious HURLS the device hard against the floor, and it smashes into a \nthousand pieces...\n\nCLOSE ON ONE OF THE PIECES -", "Furious moves to the wolf sculpture. Be PLUNGES HIS HAND through its \nbronze casing, and RIPS OUT the heart of the Psychostridulator, a", "Butsuddenly, the Herkimer's door is thrown open, revealing our heroes--\nholding down Doc Heller, his air cannon at the ready. He fires--there", "They have a good laugh at it, then hold up their hands for it to \nstop... But the Herkimer just rolls past them, hitting the iron gates \nand snapping them open as if they were made of match sticks.", "And he just can't do it. He throws away his iron bar and climbs inside \nthe cab of the Herkimer...\n\nIN THE CAB - CONTINUOUS", "Mister Furious SLUGS the engine with his fist, and it sputters and \nbackfires into life... shaking, rattling, leaking, exploding, but", "Casanova suddenly throws a secret breaker switch, and the ugly hum of a \nmillion volts instantly fills the room...\n\nEXT. OUTSIDE THE HOUSE - CONTINUOUS - ON FURIOUS", "She opens a secret panel on its back, REVEALNG a FLASHING HIGH TECH \nINTERIOR... and Monica, watching from the closet, realizes that she has \nfound the Psychostridulator.", "The top crooks and the Disco Boys rushing towards him through the giant \nsculptures. He gets an idea... and stands right in front of the \ncomputer screen.", "SHOVELER\n\t\tRight.\n\nBut suddenly something under the hood blows up; the engine gives a long \ngroan, and the Herkimer rolls to a dead stop...", "They approach the crate and Invisible Boy shines his flashlight on it. \nThe crate is secured with rivets and thick metal bands; there's no way", "As the villains choke and gag in the noxious fumes, Mister Furious goes \non a DEMOLITION RAMPAGE, working his way around the limo, punching big", "He laughs dementedly as Monica pops open the can and A SWIRLING FUNNEL \nOF AIR SHOOTS OUT OF IT and ENGULFS Casanova, throwing him across the", "Furious holds his own, taking out crooks with powerful lefts and \nrights--until Mikey runs him down like a truck, falling right on top of \nhim and crushing him under his massive weight.", "Casanova CRASHES into the huge crystal chandelier--there is an \nexplosion of crystal and glass. Furious averts his eyes as cut glass \nrains down all around him... then he looks up and sees...", "as half a dozen scarecrows are blown to pieces... Our heroes chieer and \nshake their fists... while Mr. Furious sits alone on the sidelines, \ndrinking bourbon, and feeling very alienated.", "He makes a face at them--and a dozen guns are instantly fired at him. \nHe jumps clear behind a pillar--as the bullets smash into the wall... \none of them demolishing the computer screen.", "The Red Eyes laugh, but suddenly, a small silver projectile whizzes \nthrough the air and implants itself in Big Red's backside. He howls", "A beat later the Bland Boys, bristling with forks and grapefruit \nspoons, run screaming through the sculptures... as Tony P, pistol in \nhand, skulks out from behind a sculpture and spots... the Bowler.", "it as easily as a normal guy would tear apart a corrugated box, ripping \noff the doors, then tearing off the bumpers and the hood and tossing" ], [ "Our heroes see Monica walking straight toward them. They turn away, \nlean against a wail, trying to be totally inconspicuous...\n\nBut as she passes them, not noticing them... Casanova approaches her.", "Suddenly, he hears high heels in the hall. A key is put in the lock--\nCasanova leaps off the bed, grabs Monica and roughly shoves her into", "Casanova throws Monica onto the bed, puts his hands on her throat and \nstrangles her as she thrashes helplessly against his immense strength.\n\nBACK TO FURIOUS -", "Casanova, hand held tightly across Monica's mouth, shouts down \ntauntingly to Furious.", "MONICA\n\t\tROY! THE PSYCHO THING IS--!\n\nBut strong hands suddenly grab her. It's Casanova.", "She goes out. Casanova listens as the sound of high heels fades away, \nthen he goes to the closet and lets Monica out.\n\n\t\t\t\t\tMONICA\n\t\tI'd better go.", "BACK TO THE FRANKENSTEIN CENTER - A FEW MINUTES LATER\n\nCasanova steps out and sees... Monica, looking very sexy.", "Casanova is about to finish Monica.\n\n\t\t\t\t\tCASANOVA\n\t\tAnd the light goes out...", "EXT. COURTYARD - A FEW MINUTES LATER\n\nas Casanova leads Monica across an open courtyard toward... the sheer \nwalls of the imposing central tower.", "MONICA\n\t\tWho's the artist?\n\n\t\t\t\t\tCASANOVA\n\t\tMe.\n\nEXT. THE BARN/LAB - NIGHT", "Furious grabs Casanova's wrists... and crushes them. Casanova howls \nwith pain, loses his grip. Furious slugs him, again and again... then", "BACK AT THE FRANKENSTEIN TOWER - CONTINUOUS\n\nMonica moves nervously around the room as Casanova sprawls languorously \non the bed, toying with his gold chain.", "CASANOVA\n\t\t\t\t(reading her name tag)\n\t\tMonica... Beautiful name. It suits you.\n\nCLOSE ON FURIOUS, getting jealous.", "CASANOVA\n\t\tThen why are you here?\n\n\t\t\t\t\tMONICA\n\t\tCuriosity.", "Casanova leads Monica into... a palatial room, filled with priceless \nobjects d'art, all of which reflect Casanova's dark psyche. A Munch", "He laughs dementedly as Monica pops open the can and A SWIRLING FUNNEL \nOF AIR SHOOTS OUT OF IT and ENGULFS Casanova, throwing him across the", "MONICA\n\t\tListen, Casanova may be a supervillain, but", "as he hears Casanova's evil laugh and Monica's scream. He is desperate \nto find a way up, but the wall is completely sheer. He feels helpless-\nfrantic, near tears...", "The crooks and Disco Boys fall back, gasping, choking in the noxious \nfumes...\n\nAs Casanova attacks...", "ON OUR HEROES under the table, listening. Monica begins to realize \nwhat's going on.\n\nBACK TO CASANOVA -" ], [ "RAJA\n\t\tAnd Mister Furious... His anger is his power.\n\n\t\t\t\t\tMONICA\n\t\t\t\t(intrigued by Furious)\n\t\tReally?", "Furious walks Monica home.\n\n\t\t\t\t\tMONICA\n\t\tI admire you.\n\n\t\t\t\t\tFURIOUS\n\t\tWhy?", "Mr. Furious sits in the booth drinking coffee as Monica serves him his \nburger and fries.", "Monica stands at the counter placing her order. Furious approaches \nher, leans against the counter. For a moment he just stands there,", "Casanova, hand held tightly across Monica's mouth, shouts down \ntauntingly to Furious.", "A more degenerate group of criminals never sat down to lunch. Furious \nrecognizes one of the waitresses... It's Monica.", "FURIOUS\n\t\tIt's home.\n\n\t\t\t\t\tMONICA\n\t\tYeah.\n\nCASANOVA'S POV", "MONICA\n\t\tReally? Like Captain Amazing?\n\nFurious growls.\n\n\t\t\t\t\tMONICA\n\t\tAre you famous?", "MONICA\n\t\tThat was easy.\n\t\t\t\t(goes back to work)\n\nON FURIOUS, feeling a whole lot better.", "Furious moves to the bed, where Monica lies motionless and pale...\n\n\t\t\t\t\tFURIOUS\n\t\tMonica...", "Casanova throws Monica onto the bed, puts his hands on her throat and \nstrangles her as she thrashes helplessly against his immense strength.\n\nBACK TO FURIOUS -", "CASANOVA\n\t\t\t\t(reading her name tag)\n\t\tMonica... Beautiful name. It suits you.\n\nCLOSE ON FURIOUS, getting jealous.", "FURIOUS\n\t\tI just want to be a superhero.\n\n\t\t\t\t\tMONICA\n\t\tThat's what I mean... 'Night, Roy.", "Monica struggles, tries to cry out, but a hand is clamped firmly over \nher mouth.\n\n\t\t\t\t\tFURIOUS\n\t\tIt's me.", "RAJA\n\t\tHeck no. I just chuck 'em.\n\nMonica (in her waitress outfit) sits close to a bandaged Mister \nFurious.", "MONICA (0.S.)\n\t\tHi.\n\nHe looks up and sees Monica.\n\n\t\t\t\t\tFURIOUS\n\t\tHi.", "Furious and Monica hold each other up. Wounded Invisible Boy has his \narm around the Spleen... while policemen and news people run up the \nstairs past them into the center, ignoring them as always...", "FURIOUS\n\t\t\t(caught completely off guard)\n\t\tWhat?\n\n\t\t\t\t\tMONICA\n\t\tBye.\n\t\t\t\t(and she hangs up)", "FURIOUS\n\t\t\t\t (looks up)\n\t\tMonica!\n\nEXT. TOP OF THE FRANKENSTEIN TOWER - CONTINUOUS", "MONICA\n\t\tDate?\n\n\t\t\t\t\tFURIOUS\n\t\tYeah." ], [ "It is Captain Amazing, wearing a high tech rocket pack on his back...\n\n\n\t\t\t\t\tFURIOUS\n\t\tWhere's he going?\n\t\t\t(kicks his Harley started)", "A pair of curtains suddenly part... and Captain Amazing (looking a bit \nsinged) is standing there in classic superhero pose.", "Tony P makes a move for his pistol, but Captain Amazing instantly whips \nout his pistol, getting the drop on him.", "Captain Amazing abandons his jet pack and moves across the old slate \nroof like Spiderman, leaping nimbly from gable to gable and walking", "Casaova reaches behind Captain Amazing's back and pulls a string (like \nthe ones they used to have on those old talking dolls).", "Casanova and Tony P look up and see Captain Amazing, posed noncalantly \non the iron catwalk, gazing down at them. Tony P jumps out of his", "Our three heroes try to approach Captain Amazing (who still looks fresh \nas a daisy).\n\n\t\t\t\t\tRAJA\n\t\tNice work, Captain.", "Hosts Benefit.\" He holds the picture up next to the television, so the \nfaces of Lance Hunt and Captain Amazing are side by side. It is \nobviously the same guy.", "CASANOVA\n\t\tDon't worry, fellas...\n\t\t\t(moves to Captain Amazing, and", "SHOVELER\n\t\tThen Captain Amazing appeared.\n\n\t\t\t\t\tRAJA\n\t\tHe busted Casanova and sent the crooks packing.", "A foreboding looking old mansion... Captain Amazing lands on the \nhighest part of its roof... Furious pulls up, gazes at the front gates \nof the mansion...\n\nHIS POV -", "A billboard overlooking the city. Captain Amazing is posed wearing a \npair of bright blue Nikes. The caption reads. \"It's a nice world.", "ON THE RED EYES as their viciousness turns instantly to panic...\n\n\t\t\t\t\tRED EYES\n\t\tIT'S CAPTAIN AMAZING!", "Everything suddenly stops, as the Red Eyes look up and see... CAPTAIN \nAMAZING standing on tap of the boxcar, hands on hips, framed in the", "CASANOVA\n\t\tI got it.\n\n\t\t\t\t\tTONY P\n\t\tWhat about Captain Amazing?", "The kids scoff... A moment later they head back to the house with \ntheir burgers.\n\n\t\t\t\t\tROLAND\n\t\tBut where's Captain Amazing?", "Big Red and a couple others try to run for it, but Amazing leaps ca-\nlike off the boxcar and is on them in a flash. As the baby claps his", "on which Captain Amazing, the laughing baby in his arms, is being \ninterviewed by Dawn Wong. He's playing the cutsy photo op for all its", "Champion City's leading citizens has apparently \n\t\tdisappeared. Captain Amazing has not been seen \n\t\tor heard from in a week. Authorities believe", "MONICA\n\t\tReally? Like Captain Amazing?\n\nFurious growls.\n\n\t\t\t\t\tMONICA\n\t\tAre you famous?" ], [ "The villains laugh, and Mister Furious EXPLODES INTO RAGE. He swings \nopen his car door, mashing it into the limo and leaving a big dent.", "as the Herkimer climbs to the top, then rams into the doors with a \nthud. But the doors hold.\n\nBACK ON THE VILLAINS -", "Furious kicks his engine started and speeds off into the night as the \nShoveler opens the door of his battered Ford Esquire station wagon, and \nthe Raja gets into his ancient Datsun.", "The D Boys laugh. Furious stares at Casanova, and Casanova stares \nright back at him, as cool as a snake.", "He makes a face at them--and a dozen guns are instantly fired at him. \nHe jumps clear behind a pillar--as the bullets smash into the wall... \none of them demolishing the computer screen.", "As Invisible Boy, eyes closed in concentration, walks very slowly, \nhands at his sides, in an almost Egyptian pose... toward the eye... \nwhich stares down mercilessly, waiting for its next victim...", "A high central tower rises up out of the half completed bulwarks of \nfeatureless concrete. It looks both totally modern and completely \nancient, but a profound sense of evil connects both themes beautifully.", "Through the window the moon is seen rising over the hillside, the \nFrankenstein Center silhouetted ominously against it. Raja, Shoveler, \nand Furious gaze at it.", "Casanova releases Furious, who slumps to the ground. Casanova steps \naway, and the Disco Boys gather around Furious and kick him \nviciously... as Casanova and Tony P watch, amused, chuckling.", "his chest in falling off stick on letters it reads \"THE SPLEEN\", and \nthat's exactly who he is. Furious, the Raja, and Shoveler sit as far", "The villains form a line, bristling with pistols... as our heroes, led \nby Sphinx, Shoveler, and Bowler come running through the arch. The", "FURIOUS\n\t\t\t\t(lunges at the Sphinx)\n\t\tAnd a skunk stinks!\n\nFurious and the Sphinx square off, their faces only inches apart.", "Another man steps into the light. He wears a construction helmet and \nmask. There is an \"S\" on his chest, and he carries an old shovel. He \nis THE SHOVELER.", "A beat later the Bland Boys, bristling with forks and grapefruit \nspoons, run screaming through the sculptures... as Tony P, pistol in \nhand, skulks out from behind a sculpture and spots... the Bowler.", "But suddenly there is another presence... A man in a blue turban and \ncape with the initials \"BR\" on his chest has appeared... He is THE BLUE \nRAJA.", "As our heroes look around as a dozen Disco Boys, armed with pipes, \nchains, brass knuckles, step into the light and encircle them... The \nFrench doors open and Tony P steps out.", "ON THE VILLAINS, rapid firing... but their own bullets ricochet back \ninto them, dropping them... They start to fall back.\n\nBACK TO THE TOP OF THE TOWER - CONTINUOUS", "They have a good laugh at it, then hold up their hands for it to \nstop... But the Herkimer just rolls past them, hitting the iron gates \nand snapping them open as if they were made of match sticks.", "As the villains choke and gag in the noxious fumes, Mister Furious goes \non a DEMOLITION RAMPAGE, working his way around the limo, punching big", "A foreboding looking old mansion... Captain Amazing lands on the \nhighest part of its roof... Furious pulls up, gazes at the front gates \nof the mansion...\n\nHIS POV -" ], [ "Furious kicks his engine started and speeds off into the night as the \nShoveler opens the door of his battered Ford Esquire station wagon, and \nthe Raja gets into his ancient Datsun.", "She takes his arm and they all start to walk back into the Shoveler's \nbackyard... but the CAMERA PANS ACROSS THE STREET to the dark place", "Through the window the moon is seen rising over the hillside, the \nFrankenstein Center silhouetted ominously against it. Raja, Shoveler, \nand Furious gaze at it.", "as a little boy, sitting in the backseat of the family car. It is \nthirty years ago, and Mister Furious is a sweet, very shy, well", "The waitresses leave; the big doors to the dining room are swung \nclosed, and the cigars are lit. The meeting has begun. Casanova takes \nthe podium.", "back. Furious doesn't know why, until he turns and sees...", "They get out, lock the car and head for the bar, leaving the windows \nup. Little Furious watches them go, never suspecting that his entire", "SPHINX\n\t\tAmigo.\n\nThey embrace.\n\nA few mimutes later. The others are gathered around Furious, listening \nto his story.", "A small, typical working class backyard. A round, aluminum above \nground pool. A Weber grill with burgers on it. Unopened packages of", "He makes a face at them--and a dozen guns are instantly fired at him. \nHe jumps clear behind a pillar--as the bullets smash into the wall... \none of them demolishing the computer screen.", "as back in the bar his parents, now very drunk, down more beers and \nchasers as they play a spirited game of pinball.\n\nANGLE ON THE MOHAVE SUN - beating down mercilessly", "While on the hillside above Invisible Boy (looking through binoculars) \nand the Spleen lie together on their bellies in the weeds, keeping the \nmansion under surveillance.", "EXT. TRAIN YARDS OF CHAMPION CITY - NIGHT\n\nLetters read \"Six months later\"...", "rear gate. It's open. The two of them pull it up just a foot, squirm \ninside, then pull it closed behind them.", "BACK IN THE BANQUET HALL - A FEW MINUTES LATER", "Furious, rubbing his neck; a thin red mark runs around it. The three of \nthem are sitting at their usual table, in very bad shape, moaning and", "But as they pass the billboard, a pair of headlights illuminate in its \nshadows, and the Shoveler's Ford Esquire pulls out and follows.\n\nINSIDE THE ESQUIRE - CONTINUOUS", "They take off down the street, running right past a woman, carrying a \nbowling ball bag and dressed in a faded, threadbare old rayon superhero \ncostume with a decidedly fifties flavor. She is THE BOWLER.", "Furious runs down a back street and escapes into the night.\n\nEXT. THE FRANKENSTEIN CENTER - CONTINUOUS", "Our heroes stand looking at an old farubouse. The place is an absolute \nwreck. It hasn't been painted in twenty-five years. Windows are" ], [ "She opens a secret panel on its back, REVEALNG a FLASHING HIGH TECH \nINTERIOR... and Monica, watching from the closet, realizes that she has \nfound the Psychostridulator.", "HELLER\n\t\t\t (after a moment, gravely)\n\t\tHe's got the Psychostridulator.\n\n\t\t\t\t\tALL\n\t\tThe what?", "Furious moves to the wolf sculpture. Be PLUNGES HIS HAND through its \nbronze casing, and RIPS OUT the heart of the Psychostridulator, a", "BACK AT THE FRANKENSTEIN TOWER - COHTINUOUS\n\nas Anabel works on the Psychostridulator, Monica looks at a clock... \nwhich reads almost eleven. Time is running out.", "In insect sized device that gives off an even higher pitched, even more \ndisorienting sound. This is the very nerve center of the \nPsychostridulator...", "(with a son-like glance at Doctor Bierce)\n\t\tFatherless...\n\t\t(chokes on the word)\n\t\tA... psycho!", "HELLER\n\t\tTen years ago the Kremlin's top secret \n\t\tPsychiatric Warfare Division developed a", "CLOSE ON a sign that reads \"Erie Hospital for the Criminally Insane\" \n... This is where the worst killers and psychos go.\n\nINT. CONFERENCE ROOM - CONTINUOUS", "really likes her. He starts walking back down the street, past a man \nsitting on the stoop. The man looks up. It's Casanova Frankenstein.", "As our heroes step into Heller's laboratory/arsenal. A stack of small \naluminum cans lines one wall. There are weird lookinq sprayers, tubes,", "prototype for a weapon that emitted a \n\t\tfluctuating alternative frequency noise that \n\t\tproduced a violent psychotic reaction in any", "Casanova suddenly throws a secret breaker switch, and the ugly hum of a \nmillion volts instantly fills the room...\n\nEXT. OUTSIDE THE HOUSE - CONTINUOUS - ON FURIOUS", "BACK AT THE FRANKENSTEIN TOWER - CONTINUOUS\n\nMonica moves nervously around the room as Casanova sprawls languorously \non the bed, toying with his gold chain.", "ON THE WOLF SCULPTURE as the jaws open, its eyes glow red... and the \ndreadful sound of the Psychostridulator grinds up and FILLS THE NIGHT \nAIR LIKE A SIREN.", "THE CAMERA PANS THE EXPRESSIONLESS FACES of the REVIEW BOARD as \nCASANOVA FRANKENSTEIN sits across from them. Dressed in an", "(moving toward her, turning on\n\t\t\t\tthat old Frankenstein Charm)\n\t\tPootchkie, you're over-reacting. This is our", "Tony P feels the top of his head, and realizes that the blow from the \nmachete has neatly sliced off the top his disco-do, leaving only \nstubble on the top of his head.", "A beat later the Bland Boys, bristling with forks and grapefruit \nspoons, run screaming through the sculptures... as Tony P, pistol in \nhand, skulks out from behind a sculpture and spots... the Bowler.", "A huge old library with an iron catwalk running around it. Casanova \nFrankenstein sits in a club chair by a roaring tire. Anabel perches on", "Doc Heller fine tunes his Shrinker spray... as the Bowler sits quietly \nin the hayloft, studying the old dog eared photo of her father and \nherself as a little girl..." ], [ "RAJA\n\t\tWait a minute, Officers. You don't understand--\n\t\twe're superheroes, and we just busted up this \n\t\tgang.", "A moment later they open the gate and see... HALF A DOZEN BURLY GUYS \nwearing various superhero outfits.", "Our heroes are less than impressed.\n\n\t\t\t\t\tFURIOUS\n\t\tLook, kid, we've got a lot of heroes to \n\t\tinterview--", "But this time our heroes could care less. They are superheroes, and \nthey don't give a damn who knows it.\n\nINT. THE RAJA'S HOUSE - NIGHT", "as our heroes come charging out of the Herkimer, using their various \nskills to blow through the surprised guards. Mr. Furious comes out \nlast, not quite sure what to do with himself.", "which reads \"Got superpowers? Want to fight evil? Then JOIN US and \nlet's PARTY HEARTY! Beer! Burgers! Babes!\"", "FURIOUS\n\t\tBut we know they're out there. Hundreds--maybe \n\t\tthousands of lonely, unknown superheroes, who \n\t\tdesperately need a cause...", "MUSIC UP as Furious stands and starts out. The others stand and follow \nhim... as our heroes form up for their first HEROIC GROUP SHOT.\n\nEXT. CITY STREET - NIGHT", "ROLAND\n\t\tAre these guys real superheroes?\n\n\t\t\t\t\tLENORE\n\t\tThey think so.", "BOWLER\n\t\tDoc, these are my friends. We're superheroes, \n\t\tand we need your help.", "CLOSE ON CASANOVA, who knows who they are.\n\nWHILE BACK IN THE HALL our heroes rally around a shaken Mr. Furious.", "FURIOUS\n\t\tAmigos, duty calls.\n\nThe Mystery Men wolf their burgers, then stand and start for the \nstreet...", "CAMERA HOLDS ON OUR HEROES, wincing as Anabel hits with an ugly thud.\n\nSuddenly they hear Invisible Boy calling to them.", "Furious and Monica hold each other up. Wounded Invisible Boy has his \narm around the Spleen... while policemen and news people run up the \nstairs past them into the center, ignoring them as always...", "FURIOUS\n\t\tI say we send out the word--and summon all of \n\t\tthe unsung superheroes we know!", "Our heroes sit at their usual table along with Invisible Boy and a \nweird looking guy in a greasy, stained yellow superhero outfit. Across", "Police cars and news vans arrive... as our heroes, battered, wounded, \nbut victorious walk proudly down the long stairs...", "superheroes--and that means doing what's right-\n\t\t-even when it's impossible... This is our city-\n\t\t-these are our friends, our famlies--and if we", "THEIR LEADER\n\t\tHey, man, is this the superhero wingding?\n\n\t\t\t\t\tRAJA\n\t\tThis is it. Come on in!", "They are silent.\n\n\t\t\t\t\tFURIOUS\n\t\t\t\t (angrily)\n\t\tSo what else has Superman got?" ], [ "Hosts Benefit.\" He holds the picture up next to the television, so the \nfaces of Lance Hunt and Captain Amazing are side by side. It is \nobviously the same guy.", "his chest in falling off stick on letters it reads \"THE SPLEEN\", and \nthat's exactly who he is. Furious, the Raja, and Shoveler sit as far", "Furious reacts to the fact that Casanova knows his real name.", "FURIOUS\n\t\tI was wrong... I need my friends.\n\nSphinx takes off his mask, revealing that he is the busboy from the \nTacky Taco.", "Furious drinks alone, while the rest of our heroes sit around an old \npicnic table, feasting on sodas and pizza (like a football team after a \ngreat practice.) Raja explains the history of the situation to the \nSphinx.", "really likes her. He starts walking back down the street, past a man \nsitting on the stoop. The man looks up. It's Casanova Frankenstein.", "Another man steps into the light. He wears a construction helmet and \nmask. There is an \"S\" on his chest, and he carries an old shovel. He \nis THE SHOVELER.", "Our heroes see Monica walking straight toward them. They turn away, \nlean against a wail, trying to be totally inconspicuous...\n\nBut as she passes them, not noticing them... Casanova approaches her.", "FURIOUS\n\t\tWhat a jerk--and like nobody knows who he really is!\n\n\t\t\t\t\tSHOVELER\n\t\tOh don't start that again--", "They crumple up the napkin and leave the restaurant... A moment later a \nshy looking MEXICAN MAN busses their tray... but in A CLOSE ANGLE we \nsee him secretly pocket the napkin.", "FURIOUS\n\t\tNothing wrong with being a waitress.\n\n\t\t\t\t\tMONICA\n\t\tWhat's your real name?", "MONICA\n\t\tAlone tonight?\n\n\t\t\t\t\tFURIOUS\n\t\tEvery night.\n\nShe smiles.", "MAN IN MASK\n\t\t\t\t (Mexican accent)\n\t\tWould you like me to trim the sides?\n\n\t\t\t\t\tTONY P\n\t\tWhat?", "RAJA\n\t\tBut look at him... and look at us.\n\n\t\t\t\t\tSHOVELER\n\t\tThe camera loves him.", "Casaova reaches behind Captain Amazing's back and pulls a string (like \nthe ones they used to have on those old talking dolls).", "MONICA\n\t\tReally? Like Captain Amazing?\n\nFurious growls.\n\n\t\t\t\t\tMONICA\n\t\tAre you famous?", "FURIOUS\n\t\t\t\t(lunges at the Sphinx)\n\t\tAnd a skunk stinks!\n\nFurious and the Sphinx square off, their faces only inches apart.", "Suddenly, a familiar voice is heard.\n\n\t\t\t\t\tAMAZING (O.S.)\n\t\tNot so fast, Casanova!", "SPHINX\n\t\tAmigo.\n\nThey embrace.\n\nA few mimutes later. The others are gathered around Furious, listening \nto his story.", "As our heroes step into Heller's laboratory/arsenal. A stack of small \naluminum cans lines one wall. There are weird lookinq sprayers, tubes," ], [ "It is Captain Amazing, wearing a high tech rocket pack on his back...\n\n\n\t\t\t\t\tFURIOUS\n\t\tWhere's he going?\n\t\t\t(kicks his Harley started)", "A pair of curtains suddenly part... and Captain Amazing (looking a bit \nsinged) is standing there in classic superhero pose.", "Captain Amazing abandons his jet pack and moves across the old slate \nroof like Spiderman, leaping nimbly from gable to gable and walking", "Casaova reaches behind Captain Amazing's back and pulls a string (like \nthe ones they used to have on those old talking dolls).", "CASANOVA\n\t\tI got it.\n\n\t\t\t\t\tTONY P\n\t\tWhat about Captain Amazing?", "Champion City's leading citizens has apparently \n\t\tdisappeared. Captain Amazing has not been seen \n\t\tor heard from in a week. Authorities believe", "Hosts Benefit.\" He holds the picture up next to the television, so the \nfaces of Lance Hunt and Captain Amazing are side by side. It is \nobviously the same guy.", "SHOVELER\n\t\tThen Captain Amazing appeared.\n\n\t\t\t\t\tRAJA\n\t\tHe busted Casanova and sent the crooks packing.", "A billboard overlooking the city. Captain Amazing is posed wearing a \npair of bright blue Nikes. The caption reads. \"It's a nice world.", "CASANOVA\n\t\tDon't worry, fellas...\n\t\t\t(moves to Captain Amazing, and", "Tony P makes a move for his pistol, but Captain Amazing instantly whips \nout his pistol, getting the drop on him.", "Casanova and Tony P look up and see Captain Amazing, posed noncalantly \non the iron catwalk, gazing down at them. Tony P jumps out of his", "FURIOUS\n\t\tWhat did you do with Captain Amazing?\n\n\t\t\t\t\tCASANOVA\n\t\tCaptain who?", "Our three heroes try to approach Captain Amazing (who still looks fresh \nas a daisy).\n\n\t\t\t\t\tRAJA\n\t\tNice work, Captain.", "MONICA\n\t\tReally? Like Captain Amazing?\n\nFurious growls.\n\n\t\t\t\t\tMONICA\n\t\tAre you famous?", "A foreboding looking old mansion... Captain Amazing lands on the \nhighest part of its roof... Furious pulls up, gazes at the front gates \nof the mansion...\n\nHIS POV -", "The Ferrari drives under a much larger billboard that looms over the \nroad, showing a picture of Captain Amazing himself, a square jawed", "The kids scoff... A moment later they head back to the house with \ntheir burgers.\n\n\t\t\t\t\tROLAND\n\t\tBut where's Captain Amazing?", "on which Captain Amazing, the laughing baby in his arms, is being \ninterviewed by Dawn Wong. He's playing the cutsy photo op for all its", "ON THE RED EYES as their viciousness turns instantly to panic...\n\n\t\t\t\t\tRED EYES\n\t\tIT'S CAPTAIN AMAZING!" ], [ "SHOVELER\n\t\tI miss him already.\n\nSuddenly, somewhere in the night, a burst of gunfire and screams are \nheard. THE FINAL MUSIC BEGINS...", "as our heroes encourage the Herk.\n\n\t\t\t\t\tSHOVELER\n\t\tCome on, baby!\n\n\t\t\t\t\tBOWLER\n\t\tDo it, big boy!", "The Shoveler nods. A few minutes later... The Shoveler sits on the \ncouch, feet up, soda in hand. The television is off. His kids all \nhuddled around him, hanging on his every word.", "SHOVELER\n\t\tThen Captain Amazing appeared.\n\n\t\t\t\t\tRAJA\n\t\tHe busted Casanova and sent the crooks packing.", "our heroes cheer, pat the Herk.\n\n\t\t\t\t\tSHOVELER\n\t\tAtta, girl!\n\n\t\t\t\t\tBOWLER\n\t\tAtta, boy!", "Another man steps into the light. He wears a construction helmet and \nmask. There is an \"S\" on his chest, and he carries an old shovel. He \nis THE SHOVELER.", "SHOVELER\n\t\tHe's got the fact that he's Superman!\n\n\t\t\t\t\tBOWLER\n\t\tBullets bounce off him!", "The Shoveler slugs him, sending him sprawling.\n\n\t\t\t\t\tFURIOUS\n\t\tYou know, Eddie, that was really uncalled for.", "SHOVELER\n\t\tThere's a big difference.\n\n\t\t\t\t\tFURIOUS\n\t\tI used to believe that. Now I'm not so sure.", "It is Captain Amazing, wearing a high tech rocket pack on his back...\n\n\n\t\t\t\t\tFURIOUS\n\t\tWhere's he going?\n\t\t\t(kicks his Harley started)", "BOWLER\n\t\tGet on to yourself!\n\n\t\t\t\t\tSHOVELER\n\t\t\t(shouting right in his face)\n\t\tGET MAD!", "The Shoveler is driving. Mister Furious sits in the front seat next to \nhim, and our other heroes are packed into the back.\n\n\t\t\t\t\tFURIOUS\n\t\tLet's say hello.", "his chest in falling off stick on letters it reads \"THE SPLEEN\", and \nthat's exactly who he is. Furious, the Raja, and Shoveler sit as far", "SHOVELER\n\t\tOr you're mulch.\n\nHe brandishes his shovel for effect. The Red Eyes look at these two, \nhighly amused.", "Inside, the sound of the big bullets is deafening as Shoveler tries to \nrestart the engine.\n\n\t\t\t\t\tSHOVELER\n\t\tNo good! She's dead!", "being operated by the Shoveler, dressed in work clothes. Wiped out \nfrom the night before, the vibrations of the hamer are lulling him off", "RAJA AND SHOVELER, reacting... Gulp. This was more than they'd \nbargained for. But Furious just growls; he's game.", "The Spleen is passed out at a table, snoring. Shoveler and Invisible \nBoy sit next to him.\n\n\t\t\t\t\tSHOVELER\n\t\tEven his snores smell bad.", "FURIOUS\n\t\tWhat a jerk--and like nobody knows who he really is!\n\n\t\t\t\t\tSHOVELER\n\t\tOh don't start that again--", "up. The Shoveler, at the grill, serves burgers to his kids, who stand \nin line waiting for them." ], [ "RAJA\n\t\tWait a minute... That's it. That's our name. \n\t\tWe're... the Mystery Men.\n\nThey all like it, except for the Bowler.", "<HTML>\n<HEAD>\n<TITLE>Mystery Men - Revised June 6,1997</TITLE>\n</HEAD>\n<BODY>\n<PRE>\n\nTHE MYSTERY MEN", "FURIOUS\n\t\tAmigos, duty calls.\n\nThe Mystery Men wolf their burgers, then stand and start for the \nstreet...", "HEROIC GROUP SHOT as the Mystery Men merch down the middle of street, \ntoward the sound of the gunfire... and into the night.\n\nTHEME AND CREDITS...", "A moment later they open the gate and see... HALF A DOZEN BURLY GUYS \nwearing various superhero outfits.", "The Red Eyes attack... Mister Furious goes into a furious face; his \nhair stands out straight and he rushes right into the oncoming \ncrooks...", "as our heroes come charging out of the Herkimer, using their various \nskills to blow through the surprised guards. Mr. Furious comes out \nlast, not quite sure what to do with himself.", "which reads \"Got superpowers? Want to fight evil? Then JOIN US and \nlet's PARTY HEARTY! Beer! Burgers! Babes!\"", "Our heroes sit at their usual table along with Invisible Boy and a \nweird looking guy in a greasy, stained yellow superhero outfit. Across", "In fact, the water is turning a yellowish green... The rest of our \nheroes sit around on cheap folding chairs. No superheroes have shown", "As the villains choke and gag in the noxious fumes, Mister Furious goes \non a DEMOLITION RAMPAGE, working his way around the limo, punching big", "hands in delight, and our three heroes watch in beat-up awe, Amazing \ndeftly takes out the crooks with expert punches and effortlessly", "CLOSE ON CASANOVA, who knows who they are.\n\nWHILE BACK IN THE HALL our heroes rally around a shaken Mr. Furious.", "The villains laugh, and Mister Furious EXPLODES INTO RAGE. He swings \nopen his car door, mashing it into the limo and leaving a big dent.", "as half a dozen scarecrows are blown to pieces... Our heroes chieer and \nshake their fists... while Mr. Furious sits alone on the sidelines, \ndrinking bourbon, and feeling very alienated.", "They approach the crate and Invisible Boy shines his flashlight on it. \nThe crate is secured with rivets and thick metal bands; there's no way", "They take off down the street, running right past a woman, carrying a \nbowling ball bag and dressed in a faded, threadbare old rayon superhero \ncostume with a decidedly fifties flavor. She is THE BOWLER.", "Big Red and a couple others try to run for it, but Amazing leaps ca-\nlike off the boxcar and is on them in a flash. As the baby claps his", "delivered elbows and kicks. He is the consumate superhero, and he \ndoesn't even break a sweat.", "Another man steps into the light. He wears a construction helmet and \nmask. There is an \"S\" on his chest, and he carries an old shovel. He \nis THE SHOVELER." ], [ "RAJA\n\t\tWait a minute... That's it. That's our name. \n\t\tWe're... the Mystery Men.\n\nThey all like it, except for the Bowler.", "<HTML>\n<HEAD>\n<TITLE>Mystery Men - Revised June 6,1997</TITLE>\n</HEAD>\n<BODY>\n<PRE>\n\nTHE MYSTERY MEN", "FURIOUS\n\t\tAmigos, duty calls.\n\nThe Mystery Men wolf their burgers, then stand and start for the \nstreet...", "HEROIC GROUP SHOT as the Mystery Men merch down the middle of street, \ntoward the sound of the gunfire... and into the night.\n\nTHEME AND CREDITS...", "as our heroes come charging out of the Herkimer, using their various \nskills to blow through the surprised guards. Mr. Furious comes out \nlast, not quite sure what to do with himself.", "A moment later they open the gate and see... HALF A DOZEN BURLY GUYS \nwearing various superhero outfits.", "The Red Eyes attack... Mister Furious goes into a furious face; his \nhair stands out straight and he rushes right into the oncoming \ncrooks...", "hands in delight, and our three heroes watch in beat-up awe, Amazing \ndeftly takes out the crooks with expert punches and effortlessly", "CLOSE ON CASANOVA, who knows who they are.\n\nWHILE BACK IN THE HALL our heroes rally around a shaken Mr. Furious.", "as half a dozen scarecrows are blown to pieces... Our heroes chieer and \nshake their fists... while Mr. Furious sits alone on the sidelines, \ndrinking bourbon, and feeling very alienated.", "which reads \"Got superpowers? Want to fight evil? Then JOIN US and \nlet's PARTY HEARTY! Beer! Burgers! Babes!\"", "RAJA\n\t\tA name. All the great superhero teams have got \n\t\ta fabulous name.", "They all think about it for a moment. You can almost smell their \nbrains overheating.\n\n\t\t\t\t\tBOWLER\n\t\tHow about... the Savage Six?", "Our heroes sit at their usual table along with Invisible Boy and a \nweird looking guy in a greasy, stained yellow superhero outfit. Across", "Advancing shoulder to shoulder, fighting as a team, our heroes wield \nmachete, fork, shovel, bowling ball, and canned tornado... forcing the \nvillains back...", "As the villains choke and gag in the noxious fumes, Mister Furious goes \non a DEMOLITION RAMPAGE, working his way around the limo, punching big", "Big Red and a couple others try to run for it, but Amazing leaps ca-\nlike off the boxcar and is on them in a flash. As the baby claps his", "MUSIC UP as Furious stands and starts out. The others stand and follow \nhim... as our heroes form up for their first HEROIC GROUP SHOT.\n\nEXT. CITY STREET - NIGHT", "They take off down the street, running right past a woman, carrying a \nbowling ball bag and dressed in a faded, threadbare old rayon superhero \ncostume with a decidedly fifties flavor. She is THE BOWLER.", "The villains laugh, and Mister Furious EXPLODES INTO RAGE. He swings \nopen his car door, mashing it into the limo and leaving a big dent." ] ]

[ "Who does Lance recommend should be released?", "What does Casanova destroy once he is released? ", "What doomsday device does Casanova intend on using? ", "In what city does the story take place? ", "Who trains the group to prepare for Casanova and his team?", "Who is annoyed by Sphinx?", "What is the name of the mad scientist the group seeks assistance from? ", "Who is Casanova holding hostage? ", "Who upstages the superhero team that includes the Shovelor?", "Why does Captain amazing as Lance Hunt want a criminal released?", "Who are threatening to leave Captain Amazing because of the city's lack of crime?", "What does Casanova Frankenstein blow up?", "What gang is Frankenstein reunited with?", "What instrument of terror does Frankenstein seek to unleash?", "What object ultimately destroys the Frakulator?", "Who fights Casanova to rescue Monica?", "How is Monica related to Mr Furious?", "What kills Captain Amazing?", "Who is the main antagonist/villain?", "What is the back-drop for the story?", "What does the \"Psycho-frankulator\" do?", "What do the reporters beg the team of superheroes for?", "What is Hank Azaria's alias?", "What did Captain Amazing do when his corporate funding was pulled?", "How does the Shoveler unite and inspire the team after the death of Amazing?", "How would you describe the \"Mystery Men\" team's super powers?", "What word best describes the Mystery Men team?" ]

[ [ "Casanova Frankenstein? ", "Casanova Frankenstein" ], [ "The insanse asylum", "an insane asylum " ], [ "Psycho-frakulator", "The Psycho-Frankulator" ], [ "Champion city", "Champion City" ], [ "Sphinx", "the Sphinx" ], [ "Mr. Furious", "Mr. Furious" ], [ "Doc Heller", "Doc Heller" ], [ "Monica", "Monica" ], [ "Captain Amazing", "Captain amazing" ], [ "To increase crime in the city and create a need for Captain Amazing", "To create a need for Captain Amazing" ], [ "Corporate sponsors", "his sponsors" ], [ "An insane asylum", "the insane asylum " ], [ "Tony P and the Disco Balls", "Disco Boys" ], [ "Pyscho-Frakulator", "A doomsday device " ], [ "A bowling ball", "A bowling ball." ], [ "Mr Furious", "Mr. Furious" ], [ "She is his girlfriend", "She is his girlfriend." ], [ "the \"Psycho-frankulator\"", "Psycho-frakulator" ], [ "Casanova Frankenstein", "Casanova Frankenstein" ], [ "Champion City", "Super hero's come together to say a city." ], [ "lethally bends reality", "bends reality" ], [ "team name", "To know their team name" ], [ "Blue Raja", "Blue Raja" ], [ "free Casanova", "Began using his alter ego to create a need for himself." ], [ "pep-talk", "with a pep-talk" ], [ "suspect", "not very impressive" ], [ "comic", "superheros" ] ]

[ [ "THE street scene spins before them. TRINITY is at the wheel, a broken\nand dusty MORPHEUS sitting next to her. The tach is redlining as the", "The lights are dim, and only a few late night revelers stagger through\nthe streets on their way back home. Walking straight and calmly\nthrough the stragglers are MORPHEUS and NIOBE.", "NIOBE hurries to MORPHEUS' side, and he steps toward her, smiling, but\ntheir military manner is quickly restored, though they can barely\ncontain their grins.", "footing, and retreats from the swirling blades of death. He turns to\nMorpheus:", "SMITH snorts.\n\n SMITH\n\n \"I take it the great Morpheus failed to mention this?\"", "\"Six came before him, Morpheus.\"\n\n MORPHEUS shakes his head slowly.\n\n MORPHEUS", "NIOBE pauses next to him.\n\n NIOBE\n\n \"What is it?\"\n\n MORPHEUS shakes his head.", "NIOBE smiles at Morpheus and fades back as BOOTH shouts his own\n praises. Morpheus turns to his less-mature peer.\n\n CHOI", "the carnage as his mouth simply opens and closes, reflexively, in\nshock. He focuses on Morpheus.", "MORPHEUS sounds awake, but looks anything but. He grabs the buzzing\nhandset only an arm’s length from him.\n\n MORPHEUS", "MORPHEUS\n\n \"What the hell’s going on?\"\n\n\nINT. MAIN DECK\n\n RAZOR", "RAZOR looks up to see MORPHEUS, hanging back as he listens. He comes\nforward.\n\n MORPHEUS", "They watch the SQUIDDIES fade into the distance.\n\n MORPHEUS\n\n \"Power up. Sleep mode.\"\n\n CHOI", "The legs reform into straight, strong limbs.\n\n MORPHEUS grabs the wheel.\n\n MORPHEUS", "IN the booth, Niobe is gone. MORPHEUS hangs up the phone. He can\nbarely stand up enough to reach the handset. When it rings he picks it\nup. But he doesn’t disappear.", "MORPHEUS grabs his twisted, folded legs. He was literally poured into\nthe seat. Concentrating, his face knotting in pain, he straightens the\nbroken, fractured legs. He closes his eyes and concentrates.", "MORPHEUS\n\n \"The garage, hurry!\"", "which is good, as they suffer constant close calls as Morpheus\ncontrols the wheel from his awkward spot.", "descends. The engines fade out, and the vessel rests, darkened, on the\ncave.", "MORPHEUS\n\n \"No one goes in. He’s on his own.\"\n\n He leaves the main deck." ], [ "\"How many 'ones' have there been?\"\n\n TRINITY\n\n \"That's not the point.\"\n\n NEO may not think so.", "\"Well, it’s up there. In any case, the number of calculations per\nsecond the Matrix can perform is greater than the estimated number of\n particles in the known universe.\"\n\n NEO", "\"For the past 50 years or so, something has been happening to children\n in the Matrix. They’ve been mutating, changing in ways the machines", "\"Fuck. Every fucking time we get another ‘one,’ this is what they do.\"\n\n MORPHEUS\n\n \"He is the One.\"", "\"Mr. Thomas J. Anderson is not unique. Over the decades, many humans\n have developed... techniques for manipulating the Matrix. Techniques\n too primitive for us to understand. Most never realize their", "\"Well, my point is, the machines code and recode the Matrix by pure\nwill. Interaction with the Matrix, the physical act of being there,", "\"Uh, it’s impossible. If the Matrix is destroyed, the people within\nthe system will die. They will all die. There has to be a different\n way.\"", "\"You know now, that you had predecessors.\"\n\n NEO\n\n \"Yes. I’ve heard things.\"\n\n MORPHEUS", "\"Not could be, it is.\"\n\n NEO is astounded.\n\n NEO\n\n \"Holy shit. How many calculations per second?\"", "\"Neo, the Matrix... it’s not real. And it’s up to you to end it.\"", "\"We have a chance, here, but the window of opportunity is brief. Our\n ships say the Matrix is already upgrading and re-coding to block our\n entry. And Neo’s.\"\n\n CHOI", "\"What?\"\n\n MORPHEUS\n\n \"The destruction of The Matrix.\"\n\n MORPHEUS looks out into the darkness.", "NEO\n\n \"How are their minds freed from the Matrix?\"\n\n TRINITY\n\n \"With difficulty.\"", "\"No, no. See, it’s not that simple. The machines, the programs that\n code, create, and maintain the Matrix, the agents, they are code.", "by the limits of their Matrix-bending powers. Finally, Smith resurges.\nHe lands a punch into Niobe’s stomach, and her body folds over", "\"Almost. Reality is unalterable. But the fabric of reality in the\n Matrix can be rewoven. Some can reach beyond normal cause. Their", "MORPHEUS has the headset on. He stands and surveys NEO.\n\n MORPHEUS\n\n \"Yes, there is a problem. The Matrix exists.\"", "\"You know what needs to be done. Time is short. Make up your mind. The\nonly way you’re getting out of the Matrix is through its destruction.\"\n\n Morpheus kills the connection.", "\"They’re changing the Matrix.\"\n\n CHOI\n\n \"Call Morpheus.\"", "TRINITY nods.\n\n TRINITY\n\n \"Not you, though. Like you. There have been others, Neo.\"" ], [ "\"For the past 50 years or so, something has been happening to children\n in the Matrix. They’ve been mutating, changing in ways the machines", "\"A concentric ring of defenses that shields Zion. The fighters that\n just saved us constitute the first ring.\"\n\n NIOBE (V.O.)", "They watch the SQUIDDIES fade into the distance.\n\n MORPHEUS\n\n \"Power up. Sleep mode.\"\n\n CHOI", "We hear nothing but static. Disgusted, NEO throws the phone away. He\nfalls against the sculpture and looks up. Coming around the corner of\nthe building is a group of agents and soldiers.", "NEO stands. Offscreen, we can here choking breaths. Neo looks down.\nGregor lies twisted on a concrete slab, impaled multiple times through", "TANK'S shoulders drop, and he leans back into his chair.\n\n TANK\n\n \"We're home.\"\n\n TRINITY", "concrete. For a moment, Smith is still. Morpheus collects Niobe and\nruns for the phone booth, which is still ringing.", "JONES\n\n\n \"So our kind... prevails.\"\n\n NEO\n\n \"You mean, lives.\"", "standstill. The only way that we can see to win is by destroying their\nsource of energy. We have to pull the plug on them. We must crash the\n Matrix.\"", "The rush to the ground, pulling up at the last second. The NEB flails\nwildly between them.\n\n MAN (V.O.)\n\n \"They're still on us!\"", "\"They can’t track us, but that gives them more time to destroy our\nexits, and find the Neb. We’ll try the desert. Communications might be\n working there still.\"\n\n TRINITY", "Trinity grab his arms and haul him out of the rubble. Niobe shoots the\nlock off a steel door, and they pile into the building.", "torso, and in one final wave of fire, he is disintegrated, leaving his\nmachine gun, barrel smoking, spinning in the air, firing still. The", "concrete and brick wall into a massive cloud of powder. Perhaps a ton\nof rubble falls on Morpheus’ legs. He drags himself forward. Niobe and", "MAN (V.O.)\n\n \"They’re on me! Shit! Losing power!\"", "The two of them watch the deadly outside world.\n\n MORPHEUS\n\n \"We’re deep in their territory.\"\n\n NEO", "MORPHEUS, Niobe and TRINITY are too close to the tanks to be fired on,\nbut the nearest one lunges at them. They climb up over concrete stoops", "a cave, and starts to descend. The blue wash of the ship shows rock\nwalls and pipes. The ships are slowing down as they descend back into\nthe earth.", "sides. The bodies pile up as they fall, and NEO finds himself stepping\nup the rubbery mass of corpses. A few more smashed SMITHS fall, morph", "NEO stands alone in the center, unharmed. He turns to the skirmish\nlines. THE surviving soldiers drop their weapons, and run. Panic" ], [ "\"They keep the left hand from seeing what the right hand is doing.\n That’s how an evil system can be made by innocent people. But, that\n doesn’t matter.\"\n\n NEO recovers.", "\"Did you see that? We beat him! A fucking agent! He gave up!\"\n\nMORPHEUS, unflappable, rises and rushes to the operations consoles.", "\"You shouldn’t be, Neo. You are the key in the Oracle’s prophecy.\n Everything forseen to come to pass, has, except one thing.\"\n\n NEO", "RAZOR passes MORPHEUS, who backs up to the ringing phone booth. Razor\ngoes through first. MORPHEUS keeps his eyes and weapon locked on", "\"He’s doing it.\"\n\n MORPHEUS\n\n \"I knew it.\"\n\n\nEXT. STREET", "HE closes the hatch and disappears.\n\n NEO\n\n \"Does he ever knock?\"\n\n TRINITY", "MORPHEUS stares at the data on the screens. The Matrix lives. He\npushes Razor out of the way, and starts hacking at the keyboard at an", "MORPHEUS grabs his twisted, folded legs. He was literally poured into\nthe seat. Concentrating, his face knotting in pain, he straightens the\nbroken, fractured legs. He closes his eyes and concentrates.", "IT’S too far. Smith grabs him around the knees, spilling him forward.\nMan handling him like he weighs nothing, Smith gets on top of him and\nstarts smashing his fists down into Morpheus’ face.", "ON THE OTHER side of the street, MORPHEUS goes straight up the\nbuilding façade and starts running sideways, completely defying\ngravity, firing downward at the soldiers.", "\"Fuck. Every fucking time we get another ‘one,’ this is what they do.\"\n\n MORPHEUS\n\n \"He is the One.\"", "MORPHEUS has the headset on. He stands and surveys NEO.\n\n MORPHEUS\n\n \"Yes, there is a problem. The Matrix exists.\"", "\"No, Morpheus, this can’t be! We can’t do this! We have to get the\n people out.\"\n\n MORPHEUS (O.S.)", "MORPHEUS pushes the keyboard under the console so its hidden from\nview. He taps at the keyboard. Hidden password appears on the screen", "\"Yes. This is another special op. I’m in command, Niobe and Trinity\n are team leaders. Neo is our secret weapon.\"\n\n FLASH TO: NEO, passed out with his mouth open on the couch.", "TRINITY smiles slightly. Her madness has a purpose.\n\n TRINITY\n\n \"Showing you, Neo.\"\n\n NEO", "MORPHEUS disappears for a second, then reappears. Now he is perfectly\nclean, and immaculately dressed. He replaces his sunglasses and kicks", "\"Morpheus? Yeah, I smacked him around, too.\"\n\nMORPHEUS arrives just in time to hear the last part. He stands and\ngrins down at NEO.", "MORPHEUS, NIOBE, and TRINITY rush to him, picking him up on his feet.\nCHOI is screaming and laughing. Someone grabs his smoldering coat,", "THE three agents, helpless to stop him, watch as he walks for the door\nof the apartment. NEO opens it, and stops, his face meeting a flying" ], [ "NEO\n\n \"Can we ask The Oracle.\"\n\n MORPHEUS\n\n \"Not in this life.\"", "\"The Oracle is anxious to see you.\"\n\nNEO follows her into the familiar apartment. The windows are covered,\nand NEO and the priestess are the only ones there. The Priestess moves\ninto the dark kitchen.", "IT’S a serious question for Neo. But he nods. He knows his potential.\n\n NEO\n\n \"I could.\"\n\n SMITH", "Neo is silent.\n\n MORPHEUS (O.S.)\n\n \"You can do it. You can free us.\"\n\n NEO", "NEO returns to the bed and sits down, disturbed. Trinity sits up,\n awakening.\n\n NEO\n\n \"Was he like me?\"", "NEO is taken aback.\n\n NEO\n\n \"But she must have known, if they came to her.\"\n\n MORPHEUS", "NEO\n\n \"How are their minds freed from the Matrix?\"\n\n TRINITY\n\n \"With difficulty.\"", "\"Like you?\"\n\n NEO\n\n \"I don’t know. I don’t know exactly what I can do.\"\n\n TRINITY half turns.", "NEO is confused.\n\n MORPHEUS\n\n \"No one has heard from her or her priestesses since the day Cypher\n turned on us.\"", "\"Do you think I can?\"\n\n NEO\n\n \"I think you can do anything you want, if you believe.\"\n\n TRINITY", "MORPHEUS doesn’t respond.\n\n NEO\n\n \"Morpheus? Did you know this?\"", "\"Perhaps she did.\"\n\n NEO shakes his head.\n\n NEO", "\"You shouldn’t be, Neo. You are the key in the Oracle’s prophecy.\n Everything forseen to come to pass, has, except one thing.\"\n\n NEO", "\"Morpheus! Holy shit! You won’t believe what happened.\"\n\n MORPHEUS\n\n \"I know.\"\n\n NEO", "TRINITY\n\n \"Will you teach me to fly?\"\n\n NEO\n\n \"I don’t know if I can.\"", "\"Aren't you tired?\"\n\n NEO\n\n \"No. I've never been a big sleeper.\"\n\n TRINITY", "NEO\n\n \"So, now what?\"\n\n TRINITY\n\n \"Now, Zion will give us a new mission.\"", "\"Are you rested?\"\n\n NEO\n\n \"Yes.\"\n\n MORPHEUS", "\"Who?\"\n\n NEO points to the mystery man.\n\n TRINITY\n\n \"That was... I... forgot his name.\"", "TRINITY smiles slightly. Her madness has a purpose.\n\n TRINITY\n\n \"Showing you, Neo.\"\n\n NEO" ], [ "\"No, no. See, it’s not that simple. The machines, the programs that\n code, create, and maintain the Matrix, the agents, they are code.", "TRINITY\n\n \"It’s true, Neo. Metacortex employs humans to write code for the\n Matrix.\"\n\n NEO", "\"Well, my point is, the machines code and recode the Matrix by pure\nwill. Interaction with the Matrix, the physical act of being there,", "\"Well, it’s up there. In any case, the number of calculations per\nsecond the Matrix can perform is greater than the estimated number of\n particles in the known universe.\"\n\n NEO", "\"For the past 50 years or so, something has been happening to children\n in the Matrix. They’ve been mutating, changing in ways the machines", "\"Mr. Thomas J. Anderson is not unique. Over the decades, many humans\n have developed... techniques for manipulating the Matrix. Techniques\n too primitive for us to understand. Most never realize their", "NEO stares at the screen. It’s a huge syllabus of Matrix code\ncharacters. He struggles to learn the complex code.\n\n NEO", "CUT TO: RAZOR jumps in the operator’s chair, his hands blur over the\ntouchscreens and keyboard as he drops his crewmates into the Matrix.\n\n MORPHEUS (O.S.)", "\"Uh, it’s impossible. If the Matrix is destroyed, the people within\nthe system will die. They will all die. There has to be a different\n way.\"", "\"They’re changing the Matrix.\"\n\n CHOI\n\n \"Call Morpheus.\"", "NEO\n\n \"How are their minds freed from the Matrix?\"\n\n TRINITY\n\n \"With difficulty.\"", "\"Not could be, it is.\"\n\n NEO is astounded.\n\n NEO\n\n \"Holy shit. How many calculations per second?\"", "MORPHEUS has the headset on. He stands and surveys NEO.\n\n MORPHEUS\n\n \"Yes, there is a problem. The Matrix exists.\"", "\"We have a chance, here, but the window of opportunity is brief. Our\n ships say the Matrix is already upgrading and re-coding to block our\n entry. And Neo’s.\"\n\n CHOI", "MORPHEUS stares at the data on the screens. The Matrix lives. He\npushes Razor out of the way, and starts hacking at the keyboard at an", "\"They keep the left hand from seeing what the right hand is doing.\n That’s how an evil system can be made by innocent people. But, that\n doesn’t matter.\"\n\n NEO recovers.", "MORPHEUS\n\n \"The Metacortex building.\"\n\n NEO’s jaw drops.\n\n NEO", "\"What?\"\n\n MORPHEUS\n\n \"The destruction of The Matrix.\"\n\n MORPHEUS looks out into the darkness.", "\"Neo, the Matrix... it’s not real. And it’s up to you to end it.\"", "\"Can you hack in?\"\n\nRAZOR pounds the keys. The Matrix disappears, replaced by his program.\n\n RAZOR" ], [ "\"And others are able to change the reality of the Matrix itself.\"\n\n HE points to Neo.\n\n MORPHEUS", "NEO suddenly backs away. He walks on the air with perfect traction, as\nthough he’s on an invisible plane of glass. He leaves TRINITY standing", "IT’S a serious question for Neo. But he nods. He knows his potential.\n\n NEO\n\n \"I could.\"\n\n SMITH", "NEO stares at the screen. It’s a huge syllabus of Matrix code\ncharacters. He struggles to learn the complex code.\n\n NEO", "\"They keep the left hand from seeing what the right hand is doing.\n That’s how an evil system can be made by innocent people. But, that\n doesn’t matter.\"\n\n NEO recovers.", "RAZOR stands and taps Neo’s skull. He stretches, grabs a Japanese\nstyle wooden sword, and, out of boredom, starts performing slow,", "HIS FACE is contorted in rage as he rockets upward. GREGORY is barely\nconscious. Seeing this, NEO stops, and flings Gregory’s body violently\nearthward.", "NEO stands. Offscreen, we can here choking breaths. Neo looks down.\nGregor lies twisted on a concrete slab, impaled multiple times through", "into Neo. Gregor stops dead in the air as Neo is hurtled out of view.", "\"Yes. This is another special op. I’m in command, Niobe and Trinity\n are team leaders. Neo is our secret weapon.\"\n\n FLASH TO: NEO, passed out with his mouth open on the couch.", "now. Your powers exceed mine a millionfold. I have shown you the path\n to victory, Neo. Lead us down it.\"", "NEO stands calmly, continuing his work.\n\n\nEXT. ROOFTOP\n\nMORPHEUS and NIOBE stare from the rooftop.", "THE three agents, helpless to stop him, watch as he walks for the door\nof the apartment. NEO opens it, and stops, his face meeting a flying", "NEO\n\n \"How are their minds freed from the Matrix?\"\n\n TRINITY\n\n \"With difficulty.\"", "\"Mr. Thomas J. Anderson is not unique. Over the decades, many humans\n have developed... techniques for manipulating the Matrix. Techniques\n too primitive for us to understand. Most never realize their", "CHOI\n\n \"What, by power of will?\"\n\n NEO nods. CHOI’S smile fades. He looks to the others.", "\"He’s doing it.\"\n\n MORPHEUS\n\n \"I knew it.\"\n\n\nEXT. STREET", "\"So, you really are Superman.\"\n\n NEO\n\n \"Only when I’m plugged in.\"", "CHOI\n\n \"Hey, did you kick anybody else’s ass, Neo? Like Morpheus?\"\n\n NEO", "Neo is silent.\n\n MORPHEUS (O.S.)\n\n \"You can do it. You can free us.\"\n\n NEO" ], [ "\"They keep the left hand from seeing what the right hand is doing.\n That’s how an evil system can be made by innocent people. But, that\n doesn’t matter.\"\n\n NEO recovers.", "into Neo. Gregor stops dead in the air as Neo is hurtled out of view.", "We hear nothing but static. Disgusted, NEO throws the phone away. He\nfalls against the sculpture and looks up. Coming around the corner of\nthe building is a group of agents and soldiers.", "He can’t take it. Choking, NEO struggles to free himself. SMITHS climb\nup the corpse pile and drop onto him, pounding viciously. NEO stalls,", "THE three agents, helpless to stop him, watch as he walks for the door\nof the apartment. NEO opens it, and stops, his face meeting a flying", "\"This is getting tiresome. Where do we go from here?\"\n\n NEO\n\n \"IF you cut the power that the Matrix supplies to your armies, I’ll\n let you live.\"", "NEO stands. Offscreen, we can here choking breaths. Neo looks down.\nGregor lies twisted on a concrete slab, impaled multiple times through", "now. Your powers exceed mine a millionfold. I have shown you the path\n to victory, Neo. Lead us down it.\"", "Trinity stares at Neo for a moment, her face fighting for composure No\none looks at her. She walks away, then leans against the bulkhead, her\nbody shaking.", "HIS FACE is contorted in rage as he rockets upward. GREGORY is barely\nconscious. Seeing this, NEO stops, and flings Gregory’s body violently\nearthward.", "CHOI\n\n \"What, by power of will?\"\n\n NEO nods. CHOI’S smile fades. He looks to the others.", "\"So, you really are Superman.\"\n\n NEO\n\n \"Only when I’m plugged in.\"", "IT’S a serious question for Neo. But he nods. He knows his potential.\n\n NEO\n\n \"I could.\"\n\n SMITH", "EXT. BURNT-OUT CATHEDRAL (MATRIX) - NIGHT\n\nNeo hears the line click dead. He can’t believe what has happened.", "NEO\n\n \"So, now what?\"\n\n TRINITY\n\n \"Now, Zion will give us a new mission.\"", "They watch the SQUIDDIES fade into the distance.\n\n MORPHEUS\n\n \"Power up. Sleep mode.\"\n\n CHOI", "\"And others are able to change the reality of the Matrix itself.\"\n\n HE points to Neo.\n\n MORPHEUS", "THE five of them exit. They blend into the crowds on the street,\nanonymous and quiet. MORPHEUS looks back as NEO, taller than most,\nheads down the street.", "\"Haven’t heard from him. The city is still cut off from the rest of\n the Matrix.\"\n\n MORPHEUS appears enraged. He looks at Neo, supine on his chair.", "\"You know what needs to be done. Time is short. Make up your mind. The\nonly way you’re getting out of the Matrix is through its destruction.\"\n\n Morpheus kills the connection." ], [ "Trinity stares at Neo for a moment, her face fighting for composure No\none looks at her. She walks away, then leans against the bulkhead, her\nbody shaking.", "TRINITY smiles slightly. Her madness has a purpose.\n\n TRINITY\n\n \"Showing you, Neo.\"\n\n NEO", "TRINITY\n\n \"Don’t lose your balance.\"\n\n NEO\n\n \"It doesn’t matter if I do.\"", "TRINITY\n\n \"So, you can fly.\"\n\n NEO\n\n \"Yes.\"\n\n TRINITY", "TRINITY\n\n \"Will you teach me to fly?\"\n\n NEO\n\n \"I don’t know if I can.\"", "\"Neo, the Matrix... it’s not real. And it’s up to you to end it.\"", "\"Let’s go. Laxe Three.\"\n\n TRINITY\n\n \"What about Neo?\"\n\n MORPHEUS (V.O.)", "TRINITY\n\n \"In this construct program, the ground can kill.\"\n\n NEO\n\n \"I won’t let you fall. Ever.\"", "TRINITY nods.\n\n TRINITY\n\n \"Not you, though. Like you. There have been others, Neo.\"", "\"Uh, it’s impossible. If the Matrix is destroyed, the people within\nthe system will die. They will all die. There has to be a different\n way.\"", "NEO\n\n \"How are their minds freed from the Matrix?\"\n\n TRINITY\n\n \"With difficulty.\"", "\"Neo, you know what else you’ve never done?\"\n\nShe glances at Trinity, who falls back against the seat, turning to\nsuppress a smile. Choi cracks up.", "NEO\n\n \"What happened to him?\"\n\n TRINITY is sullen.\n\n \"He didn’t make it.\"", "NEO\n\n \"So, now what?\"\n\n TRINITY\n\n \"Now, Zion will give us a new mission.\"", "SMITH\n\n \"Yes.\"\n\n NEO\n\n \"I can. But if I destroy the Matrix, everyone within it will die.\"", "TRINITY\n\n \"Any luck?\"\n\n MORPHEUS\n\n \"None. They’ve killed city-wide comms.\"", "TRINITY’S head merely sags lifelessly to one side.\n\n NIOBE\n\n \"Come on! Go through, Trinity! God damnit don’t give up!\"", "\"You know what needs to be done. Time is short. Make up your mind. The\nonly way you’re getting out of the Matrix is through its destruction.\"\n\n Morpheus kills the connection.", "\"So, you went back in, and you two pulled him out?\"\n\nTRINITY nods, herself in disbelief. NEO picks his head up off the\ntable.", "Gently, placing Trinity's head down, NEO stands and examines the\nphoto.\n\n She awakens.\n\n TRINITY" ], [ "NEO\n\n \"What happened to him?\"\n\n TRINITY is sullen.\n\n \"He didn’t make it.\"", "TRINITY\n\n \"In this construct program, the ground can kill.\"\n\n NEO\n\n \"I won’t let you fall. Ever.\"", "TRINITY\n\n \"So, you can fly.\"\n\n NEO\n\n \"Yes.\"\n\n TRINITY", "NEO\n\n \"How are their minds freed from the Matrix?\"\n\n TRINITY\n\n \"With difficulty.\"", "TRINITY smiles slightly. Her madness has a purpose.\n\n TRINITY\n\n \"Showing you, Neo.\"\n\n NEO", "Gently, placing Trinity's head down, NEO stands and examines the\nphoto.\n\n She awakens.\n\n TRINITY", "NEO\n\n \"Oh. And this requires acts of insanity?\"\n\nTRINITY smiles. She looks him up and down. She moves intimately close.", "Trinity stares at Neo for a moment, her face fighting for composure No\none looks at her. She walks away, then leans against the bulkhead, her\nbody shaking.", "TRINITY\n\n \"Will you teach me to fly?\"\n\n NEO\n\n \"I don’t know if I can.\"", "NEO\n\n \"Boo.\"\n\nTRINITY grins slightly and pulls on his arm. There is only enough room\nfor one on the end of the rock, so he sits down behind her.", "\"Who?\"\n\n NEO points to the mystery man.\n\n TRINITY\n\n \"That was... I... forgot his name.\"", "TRINITY\n\n \"Don’t lose your balance.\"\n\n NEO\n\n \"It doesn’t matter if I do.\"", "NEO returns to the bed and sits down, disturbed. Trinity sits up,\n awakening.\n\n NEO\n\n \"Was he like me?\"", "TRINITY nods.\n\n TRINITY\n\n \"Not you, though. Like you. There have been others, Neo.\"", "NEO stands, and steps in front of TRINITY. He’s on the very, very edge\nof the rock. He extends his hand down to her. She grabs it, and he", "NEO\n\n \"So, now what?\"\n\n TRINITY\n\n \"Now, Zion will give us a new mission.\"", "TRINITY steps away. NEO grabs her shoulder and turns her to him. He\n attempts a\n\n kiss, but she turns her face, letting it land on her cheek.\n\n NEO", "\"Aren't you tired?\"\n\n NEO\n\n \"No. I've never been a big sleeper.\"\n\n TRINITY", "NEO\n\n \"Grab me!\"\n\nTRINITY makes no effort to save herself, even as collision is seconds\naway. She stares at him intently.", "TRINITY\n\n \"You are him. You’re mine.\"\n\n NEO" ], [ "is the dark, scorched, and sliced NEBACHANEZZER. They rocket upward,\nslowing as they reach the top of the arc.", "INT. NEB COCKPIT\n\nThe crew of the Neb breathe a collective sigh of relief as they leave\nthe scene of aerial carnage behind them.", "\"Not on his ship.\"\n\n CUT TO:\n\nINT. MAIN DECK, NEB", "More vehicles fly from the fissure. A massive army of SQUIDDIES pours\nup onto the surface.\n\n\nINT. NEBACHANEZZER COCKPIT", "The rush to the ground, pulling up at the last second. The NEB flails\nwildly between them.\n\n MAN (V.O.)\n\n \"They're still on us!\"", "CIRCA DUCKS as the missiles harmlessly streak by.\n\n\nINT. NEB COCKPIT", "We hear nothing but static. Disgusted, NEO throws the phone away. He\nfalls against the sculpture and looks up. Coming around the corner of\nthe building is a group of agents and soldiers.", "\"They can’t track us, but that gives them more time to destroy our\nexits, and find the Neb. We’ll try the desert. Communications might be\n working there still.\"\n\n TRINITY", "NEO stands. Offscreen, we can here choking breaths. Neo looks down.\nGregor lies twisted on a concrete slab, impaled multiple times through", "This time, NEO follows the others and slams back the entire glass. He\ncoughs and sputters as his friends and bar patrons cheer him on.\"\n\n\nEXT. MAIN STREET, ZION", "NEO has been gripping an oh-shit handle on the edge of the cockpit. He\nrelaxes his grip as their escape is clear. Their ship suddenly enters", "The missile flies horizontally over the plaza, then pitches up, and\nback down at NEO. He looks at it, and at the last second the nose goes\nback up.\n\n\nEXT. PLAZA", "Trinity stares at Neo for a moment, her face fighting for composure No\none looks at her. She walks away, then leans against the bulkhead, her\nbody shaking.", "NEO sits with his back against a blackened brick wall, staring ahead.\nHe’s in the belfry of an ancient, destroyed cathedral, among the\npigeon nests, soot, and bird crap.", "Just as NEO lands a smashing blow on SMITH’S chin, three voices at\nonce shout:", "FOR NEO, the numbers are too huge to imagine.\n\n BROWN scoffs.\n\n BROWN\n\n \"Could you destroy us?\"", "HIS eyes blink, and he follows NEO’s departure. Choking, unable to\nbreath with the rebar through him, he writhes. There’s nothing for him\nto grab to pull himself off the steel.", "CHANDRA looks back and sees the lights turn away. She screams over the\nwind and the roar.\n\n CHANDRA\n\n \"They’re gone!\"", "NEO stands alone in the center, unharmed. He turns to the skirmish\nlines. THE surviving soldiers drop their weapons, and run. Panic", "THE kick carries such an impact that a pale concussion wave flashes\npast Gregor. It sends NEO crashing out the window." ], [ "\"And others are able to change the reality of the Matrix itself.\"\n\n HE points to Neo.\n\n MORPHEUS", "IT’S a serious question for Neo. But he nods. He knows his potential.\n\n NEO\n\n \"I could.\"\n\n SMITH", "\"They keep the left hand from seeing what the right hand is doing.\n That’s how an evil system can be made by innocent people. But, that\n doesn’t matter.\"\n\n NEO recovers.", "\"So, you really are Superman.\"\n\n NEO\n\n \"Only when I’m plugged in.\"", "now. Your powers exceed mine a millionfold. I have shown you the path\n to victory, Neo. Lead us down it.\"", "CHOI\n\n \"What, by power of will?\"\n\n NEO nods. CHOI’S smile fades. He looks to the others.", "NEO stares at the screen. It’s a huge syllabus of Matrix code\ncharacters. He struggles to learn the complex code.\n\n NEO", "\"Almost. Reality is unalterable. But the fabric of reality in the\n Matrix can be rewoven. Some can reach beyond normal cause. Their", "NEO suddenly backs away. He walks on the air with perfect traction, as\nthough he’s on an invisible plane of glass. He leaves TRINITY standing", "with your ability to suspend disbelief, allow you to change the\n reality of the Matrix.\"", "\"Yes. This is another special op. I’m in command, Niobe and Trinity\n are team leaders. Neo is our secret weapon.\"\n\n FLASH TO: NEO, passed out with his mouth open on the couch.", "NEO\n\n \"How are their minds freed from the Matrix?\"\n\n TRINITY\n\n \"With difficulty.\"", "NEO stands. Offscreen, we can here choking breaths. Neo looks down.\nGregor lies twisted on a concrete slab, impaled multiple times through", "\"Neo, the Matrix... it’s not real. And it’s up to you to end it.\"", "into Neo. Gregor stops dead in the air as Neo is hurtled out of view.", "Neo is silent.\n\n MORPHEUS (O.S.)\n\n \"You can do it. You can free us.\"\n\n NEO", "TRINITY\n\n \"So, you can fly.\"\n\n NEO\n\n \"Yes.\"\n\n TRINITY", "THE three agents, helpless to stop him, watch as he walks for the door\nof the apartment. NEO opens it, and stops, his face meeting a flying", "\"Not could be, it is.\"\n\n NEO is astounded.\n\n NEO\n\n \"Holy shit. How many calculations per second?\"", "TRINITY nods.\n\n TRINITY\n\n \"Not you, though. Like you. There have been others, Neo.\"" ], [ "NEO stands. Offscreen, we can here choking breaths. Neo looks down.\nGregor lies twisted on a concrete slab, impaled multiple times through", "Trinity stares at Neo for a moment, her face fighting for composure No\none looks at her. She walks away, then leans against the bulkhead, her\nbody shaking.", "NEO\n\n \"What happened to him?\"\n\n TRINITY is sullen.\n\n \"He didn’t make it.\"", "into Neo. Gregor stops dead in the air as Neo is hurtled out of view.", "\"They keep the left hand from seeing what the right hand is doing.\n That’s how an evil system can be made by innocent people. But, that\n doesn’t matter.\"\n\n NEO recovers.", "THE three agents, helpless to stop him, watch as he walks for the door\nof the apartment. NEO opens it, and stops, his face meeting a flying", "He can’t take it. Choking, NEO struggles to free himself. SMITHS climb\nup the corpse pile and drop onto him, pounding viciously. NEO stalls,", "We hear nothing but static. Disgusted, NEO throws the phone away. He\nfalls against the sculpture and looks up. Coming around the corner of\nthe building is a group of agents and soldiers.", "\"Neo, the Matrix... it’s not real. And it’s up to you to end it.\"", "NEO stands calmly, continuing his work.\n\n\nEXT. ROOFTOP\n\nMORPHEUS and NIOBE stare from the rooftop.", "Neo closes the cell phone. He reaches to tuck it away, then pauses,\nlooking at it. He drops it to the ground and walks on.", "HIS eyes blink, and he follows NEO’s departure. Choking, unable to\nbreath with the rebar through him, he writhes. There’s nothing for him\nto grab to pull himself off the steel.", "HIS FACE is contorted in rage as he rockets upward. GREGORY is barely\nconscious. Seeing this, NEO stops, and flings Gregory’s body violently\nearthward.", "NEO\n\n \"I realized, that I can’t destroy you - \"\n\n HE nods at SMITH\n\n NEO", "NEO attacks SMITH. SMITH backs away slowly, blocking against a losing\nbattle and taking hits. Meanwhile, the MEN IN BLACK converge on NEO.", "NEO returns to the bed and sits down, disturbed. Trinity sits up,\n awakening.\n\n NEO\n\n \"Was he like me?\"", "Neo is silent.\n\n MORPHEUS (O.S.)\n\n \"You can do it. You can free us.\"\n\n NEO", "THE five of them exit. They blend into the crowds on the street,\nanonymous and quiet. MORPHEUS looks back as NEO, taller than most,\nheads down the street.", "NEO\n\n \"So, now what?\"\n\n TRINITY\n\n \"Now, Zion will give us a new mission.\"", "EXT. BURNT-OUT CATHEDRAL (MATRIX) - NIGHT\n\nNeo hears the line click dead. He can’t believe what has happened." ], [ "THE young man is left standing there. He is filthy, bloody, badly\nsliced up, and the fingers of one hand are missing. He looks around at", "IT’S a sea of the dead. From its center, NEO emerges, soaked in blood,\ngagging and gasping for breath. He stumbles over them. Shocked and", "NEO stands alone in the center, unharmed. He turns to the skirmish\nlines. THE surviving soldiers drop their weapons, and run. Panic", "NEO stands. Offscreen, we can here choking breaths. Neo looks down.\nGregor lies twisted on a concrete slab, impaled multiple times through", "THEY land amidst the carnage. TRINITY emerges, shaken, pressing her\ncoat to her arm.\n\n\nEXT. STREET (MATRIX) - DAY", "THE WOMAN looks on, her eyes as wide as dinner plates. Shaking, she\nfalls back, still staring.\n\n CHOI\n\n \"You weren’t lucky.\"", "She’s collapsed onto Gregory. He’s in equally bad shape. Gregory leans\nwith his back against the rock, eyes opening and closing as he drifts\nin and out of sleep.", "THEY look into each other’s eyes. Despite the trauma they’ve been\nthrough, and not even truly knowing one another, there’s a connection.", "CHANDRA looks back and sees the lights turn away. She screams over the\nwind and the roar.\n\n CHANDRA\n\n \"They’re gone!\"", "He’s standing at the edge of some equipment on the Main Deck. He’s\nheard every word. He rounds the corner. The others catch sight of him.\nThe same thought is on everyone's mind: How much had he heard.", "\"So, you went back in, and you two pulled him out?\"\n\nTRINITY nods, herself in disbelief. NEO picks his head up off the\ntable.", "\"And if you kill us - \"\n\n HE nods at JONES\n\n BROWN\n\n \"We’ll only come back like him.\"", "We hear nothing. NEO can hear his own heart beating. Anger and\nconfusion add to the already heavy mental burden he carries.", "the chest by snapped, rusty rebar. He takes one last breath, and his\neyes half-close.", "HIS eyes blink, and he follows NEO’s departure. Choking, unable to\nbreath with the rebar through him, he writhes. There’s nothing for him\nto grab to pull himself off the steel.", "as the pull through his body. Finally, he gets to a twisted piece of\nbar, and can’t make it over. He’s losing all his breath, all his life", "BROWN walks up to the corpses and kicks one with his shoe. It\nshimmers, and then disappears, followed by the other.\n\n\nINT. MAIN DECK", "SMITH, who makes no attempt to pursue. He stands calmly, and in a\ndignified manner, wipes dust off his clothing as he watches Morpheus", "Just as NEO lands a smashing blow on SMITH’S chin, three voices at\nonce shout:", "Niobe grits back the pain and rejoins her love. Together they assault\nthe agent, their speed almost, almost equaling his, their will capped" ], [ "NEO sits with his back against a blackened brick wall, staring ahead.\nHe’s in the belfry of an ancient, destroyed cathedral, among the\npigeon nests, soot, and bird crap.", "HIS eyes blink, and he follows NEO’s departure. Choking, unable to\nbreath with the rebar through him, he writhes. There’s nothing for him\nto grab to pull himself off the steel.", "MORPHEUS, NIOBE, and TRINITY rush to him, picking him up on his feet.\nCHOI is screaming and laughing. Someone grabs his smoldering coat,", "Trinity grab his arms and haul him out of the rubble. Niobe shoots the\nlock off a steel door, and they pile into the building.", "SMITH puts his hand to his earpiece. GREGORY’S eyes close and his body\nSPASMS. He falls to the ground, breathless, and when his eyes open, he\nstares up at SMITH.", "As he’s facing the ground, NEO slams into him from above. Gripping\nGregor by the neck and his belt, he drives straight down. The ground", "\"We need you, because you’re better than me. Now push past your\n abilities. You can turn you imagination into reality. See your hands\n striking me, see yourself overcoming me. Fight, boy!\"", "Gregory’s lids shut and we see darkness. When he reopens them, the\nfigure is more clear. It’s a man, dressed in a black suit. Even in the", "SMITH, who makes no attempt to pursue. He stands calmly, and in a\ndignified manner, wipes dust off his clothing as he watches Morpheus", "SEEING she is doing nothing, he goes beneath her and scoops her up,\nSuperman style. He barely accomplishes this before he slows and\nsettles onto the rocky ground.", "We hear nothing. NEO can hear his own heart beating. Anger and\nconfusion add to the already heavy mental burden he carries.", "GREGORY is fully awake, but he thinks he’s dreaming. He reaches out\nand pokes the black-clad leg of the immaculate man standing before him", "Just as NEO lands a smashing blow on SMITH’S chin, three voices at\nonce shout:", "concentrates. The blood disappears, and he dons the suit of an\nanonymous soldier in black. His face, too, seems to change.", "\"Brough, you us your asses! We saved you so hard core you don't even\n know!\"", "CIRCA has removed Trinity’s interface, but she’s having a seizure.\nCirca can barely hold her down as she uses her teeth to rip the cover\noff a wicked hypo.", "Niobe grits back the pain and rejoins her love. Together they assault\nthe agent, their speed almost, almost equaling his, their will capped", "He can’t take it. Choking, NEO struggles to free himself. SMITHS climb\nup the corpse pile and drop onto him, pounding viciously. NEO stalls,", "HIS FACE is contorted in rage as he rockets upward. GREGORY is barely\nconscious. Seeing this, NEO stops, and flings Gregory’s body violently\nearthward.", "Like an enraged silverback, he raises his fists together for one final\nblow. But instead of striking, his eyes catch something. He flips" ], [ "Again, he tries his cell phone. Static. He collapses it and puts it.\nJust as it leaves his mind, it rings. The face flips open.\n\nNEO puts it to his ear without speaking.", "Neo is silent.\n\n MORPHEUS (O.S.)\n\n \"You can do it. You can free us.\"\n\n NEO", "\"The Oracle is anxious to see you.\"\n\nNEO follows her into the familiar apartment. The windows are covered,\nand NEO and the priestess are the only ones there. The Priestess moves\ninto the dark kitchen.", "We hear nothing but static. Disgusted, NEO throws the phone away. He\nfalls against the sculpture and looks up. Coming around the corner of\nthe building is a group of agents and soldiers.", "NEO\n\n \"So, now what?\"\n\n TRINITY\n\n \"Now, Zion will give us a new mission.\"", "\"Haven’t heard from him. The city is still cut off from the rest of\n the Matrix.\"\n\n MORPHEUS appears enraged. He looks at Neo, supine on his chair.", "He falls against a smashed corporate art sculpture. He picks a cell\nphone up from the ground and dials.\n\n NEO\n\n \"Morpheus, pick up.\"", "NEO stands. Offscreen, we can here choking breaths. Neo looks down.\nGregor lies twisted on a concrete slab, impaled multiple times through", "\"They keep the left hand from seeing what the right hand is doing.\n That’s how an evil system can be made by innocent people. But, that\n doesn’t matter.\"\n\n NEO recovers.", "NEO is taken aback.\n\n NEO\n\n \"But she must have known, if they came to her.\"\n\n MORPHEUS", "\"Yes. This is another special op. I’m in command, Niobe and Trinity\n are team leaders. Neo is our secret weapon.\"\n\n FLASH TO: NEO, passed out with his mouth open on the couch.", "CUT TO: NEO", "EXT. BURNT-OUT CATHEDRAL (MATRIX) - NIGHT\n\nNeo hears the line click dead. He can’t believe what has happened.", "Trinity stares at Neo for a moment, her face fighting for composure No\none looks at her. She walks away, then leans against the bulkhead, her\nbody shaking.", "NEO\n\n \"How are their minds freed from the Matrix?\"\n\n TRINITY\n\n \"With difficulty.\"", "CHOI and TRINITY hide in the shadows of an empty room, watching the\nbattle. TRINITY’S cell rings. She answers silently.\n\n MORPHEUS (V.O.)", "TRINITY smiles slightly. Her madness has a purpose.\n\n TRINITY\n\n \"Showing you, Neo.\"\n\n NEO", "\"Neo, the Matrix... it’s not real. And it’s up to you to end it.\"", "NEO stands calmly, continuing his work.\n\n\nEXT. ROOFTOP\n\nMORPHEUS and NIOBE stare from the rooftop.", "Gently, placing Trinity's head down, NEO stands and examines the\nphoto.\n\n She awakens.\n\n TRINITY" ], [ "SMITH, who makes no attempt to pursue. He stands calmly, and in a\ndignified manner, wipes dust off his clothing as he watches Morpheus", "SMITH collapses into the dust, his face a mask of blood and dust. He\ndoesn’t try to get up.", "FINALLY, just as he seems to be gaining on SMITH, he takes a rapid\nfire series of blows, and collapses to the ground, breathless and\nbeaten.", "SMITH stares at the booth for a second. Emotion twists his face, first\nanger, then perhaps sadness. He’s lost. He’ll be in the Matrix\nforever.", "SMITH\n\n \"Help us, and both you and her will be free afterward.\"", "SMITH, blinded, turns and backs away. RAZOR attacks.", "Perhaps for the first time, he is confronted with the consequences of\nthis war, and his mind seizes as the Smiths pummel him.", "As he comes down, a wall of Smith’s converges from all sides. They\nstop, leaving a circle around him.", "the left, putting one Smith in front of the other two. He attacks, his\nkilling blows destroying SMITH, smashing through his blocks. He falls,", "Just as NEO lands a smashing blow on SMITH’S chin, three voices at\nonce shout:", "SMITH puts his hand to his earpiece. GREGORY’S eyes close and his body\nSPASMS. He falls to the ground, breathless, and when his eyes open, he\nstares up at SMITH.", "SMITH\n\n \"I should have killed you the first chance I had.\"", "them fast enough. HE leaps upward, trying to fly away, but Smiths\ncling on to him, and cling on to each other.", "SMITH comes at him, and GREGORY responds. Their fists and kicks are a\nfast, then turn into a blur. GREGORY can’t believe his own actions.", "THE hold broken, NEO stumbles back over the body, with the three\nSMITHS in pursuit. He somersaults, comes up on his feet, and jumps to", "INT. OFFICE BUILDING\n\nSMITH STANDS alone, his comrades have disappeared.\n\nTHE glass before him shimmers.\n\n\nEXT. OFFICE", "SMITH snorts.\n\n SMITH\n\n \"I take it the great Morpheus failed to mention this?\"", "SMITH\n\n \"Because if you haven’t defeated me yet, you won’t defeat them.\"\n\n SMITH snaps his fingers.", "SMITH, recovering, looks up. GREGORY looks around. CHANDRA is gone.\n\n GREGORY\n\n \"Where is she?\"", "SMITH delivers a chest punch that sends GREGORY sailing back twenty\nfeet. He tumbles to a stop, coughs, and stares in disbelief at SMITH," ], [ "Trinity stares at Neo for a moment, her face fighting for composure No\none looks at her. She walks away, then leans against the bulkhead, her\nbody shaking.", "NEO\n\n \"So, now what?\"\n\n TRINITY\n\n \"Now, Zion will give us a new mission.\"", "TRINITY\n\n \"Will you teach me to fly?\"\n\n NEO\n\n \"I don’t know if I can.\"", "NEO returns to the bed and sits down, disturbed. Trinity sits up,\n awakening.\n\n NEO\n\n \"Was he like me?\"", "\"Let’s go. Laxe Three.\"\n\n TRINITY\n\n \"What about Neo?\"\n\n MORPHEUS (V.O.)", "\"Like you?\"\n\n NEO\n\n \"I don’t know. I don’t know exactly what I can do.\"\n\n TRINITY half turns.", "Gently, placing Trinity's head down, NEO stands and examines the\nphoto.\n\n She awakens.\n\n TRINITY", "\"Neo, you know what else you’ve never done?\"\n\nShe glances at Trinity, who falls back against the seat, turning to\nsuppress a smile. Choi cracks up.", "NEO\n\n \"How are their minds freed from the Matrix?\"\n\n TRINITY\n\n \"With difficulty.\"", "\"Aren't you tired?\"\n\n NEO\n\n \"No. I've never been a big sleeper.\"\n\n TRINITY", "\"The Oracle is anxious to see you.\"\n\nNEO follows her into the familiar apartment. The windows are covered,\nand NEO and the priestess are the only ones there. The Priestess moves\ninto the dark kitchen.", "Neo is silent.\n\n MORPHEUS (O.S.)\n\n \"You can do it. You can free us.\"\n\n NEO", "NEO stands, and steps in front of TRINITY. He’s on the very, very edge\nof the rock. He extends his hand down to her. She grabs it, and he", "TRINITY steps away. NEO grabs her shoulder and turns her to him. He\n attempts a\n\n kiss, but she turns her face, letting it land on her cheek.\n\n NEO", "TRINITY\n\n \"So, you can fly.\"\n\n NEO\n\n \"Yes.\"\n\n TRINITY", "NEO\n\n \"What happened to him?\"\n\n TRINITY is sullen.\n\n \"He didn’t make it.\"", "NEO\n\n \"Oh. And this requires acts of insanity?\"\n\nTRINITY smiles. She looks him up and down. She moves intimately close.", "TRINITY smiles slightly. Her madness has a purpose.\n\n TRINITY\n\n \"Showing you, Neo.\"\n\n NEO", "TRINITY grabs NEO by the arm.\n\n TRINITY\n\n \"Over here.\"\n\n SHE leads him into the shadows.", "CHOI and TRINITY hide in the shadows of an empty room, watching the\nbattle. TRINITY’S cell rings. She answers silently.\n\n MORPHEUS (V.O.)" ], [ "The crew grips the bulkhead and fixtures as the swaying ship comes to\na rest. Outside, the sounds of hover engines fade away. Tank unlocks", "He’s standing at the edge of some equipment on the Main Deck. He’s\nheard every word. He rounds the corner. The others catch sight of him.\nThe same thought is on everyone's mind: How much had he heard.", "INT. NEB COCKPIT\n\nThe crew of the Neb breathe a collective sigh of relief as they leave\nthe scene of aerial carnage behind them.", "a cave, and starts to descend. The blue wash of the ship shows rock\nwalls and pipes. The ships are slowing down as they descend back into\nthe earth.", "\"Not on his ship.\"\n\n CUT TO:\n\nINT. MAIN DECK, NEB", "They step into a club, Dead Duck. It’s a sailor joint. Lots of wood,\nbeer on tap, and rum. Crewmembers of other ships recognize the rebels,", "\"Out.\"\n\n\nINT. MAIN DECK (NIGHT)", "interior of the ship, and the crew is cold, tired, haggard, and\nstressed beyond belief as they can only watch the action in their", "NEO has been gripping an oh-shit handle on the edge of the cockpit. He\nrelaxes his grip as their escape is clear. Their ship suddenly enters", "We hear the voices as though we're listening to cops through a police\nscanner. The woman is NIOBE, the captain of the lead ship, Sephora.\n\n NIOBE (V.O.)", "A quartet of SQUIDDIES slips by. We follow as they worm their ways\nthrough the twisted passageway, watching as they pass the bubble\ncockpit by mere feet.", "\"Withdraw your men and pursue the others. We have our own plans for\n this one.\"\n\n\nINT. MAIN BRIDGE (NIGHT)", "The rebel answers the phone and disappears, leaving the cop, his body\nbroken and his mind blown.\n\n\nINT. MAIN DECK - NIGHT", "\"Not until we reach broadcast depth. It’s slow going out there. I\nguess they know we’re coming back, so they’re patrolling. We have time\n to rest and ready.\"", "Nearby, the SEPHORA and FREEDOM are parked. Their engines shut down,\nand their powered hatches are open. The crewmembers are spilling out.", "CHANDRA looks back and sees the lights turn away. She screams over the\nwind and the roar.\n\n CHANDRA\n\n \"They’re gone!\"", "CHOI is sipping coffee as he nudges the ship to a stop. He speaks into\nhis headphones.\n\n CHOI\n\n \"OK, try it here.\"", "\"Kill the others. I’ll take care of this.\"\n\n\nINT. MAIN BRIDGE", "MAN (V.O.)\n\n \"They’re on me! Shit! Losing power!\"", "She leaves the ringing phone and runs to join the fight.\n\n\nINT. MAIN DECK - NIGHT\n\nRAZOR pounds the edge of the console as he watches the screen." ], [ "\"Not until we reach broadcast depth. It’s slow going out there. I\nguess they know we’re coming back, so they’re patrolling. We have time\n to rest and ready.\"", "\"They can’t track us, but that gives them more time to destroy our\nexits, and find the Neb. We’ll try the desert. Communications might be\n working there still.\"\n\n TRINITY", "This time, NEO follows the others and slams back the entire glass. He\ncoughs and sputters as his friends and bar patrons cheer him on.\"\n\n\nEXT. MAIN STREET, ZION", "CUT TO:\n\nEXT. ZION TARMAC", "\"About two hundred miles east of the city, on highway 315. We need an\n exit.\"\n\n RAZOR", "\"A concentric ring of defenses that shields Zion. The fighters that\n just saved us constitute the first ring.\"\n\n NIOBE (V.O.)", "The hatch swings open. MORPHEUS peers in.\n\n MORPHEUS\n\n \"We're almost home. We'll need a detail. Five minutes.\"", "The two of them watch the deadly outside world.\n\n MORPHEUS\n\n \"We’re deep in their territory.\"\n\n NEO", "A quartet of SQUIDDIES slips by. We follow as they worm their ways\nthrough the twisted passageway, watching as they pass the bubble\ncockpit by mere feet.", "THE stunned soldiers have time to fire off a couple shots as they run\nfrantically to get out of the way of the bike, 800 pounds of metal\nflying at 150 miles per hour.", "We hear nothing but static. Disgusted, NEO throws the phone away. He\nfalls against the sculpture and looks up. Coming around the corner of\nthe building is a group of agents and soldiers.", "\"We’ll fan out around the city, keeping an eye out for you. If you’re\nable to accomplish this mission, we’ll phase back into the ship. Stay\n in contact. If you lose your cell, contact an operator immediately.\"", "\"Let me guess. We’ve been ordered back out anyway.\"\n\n MORPHEUS", "THEY smell something’s wrong. They move, back to back in a triangle,\nfor the phone booth, weapons draw and looking in all direction at\nonce.\n\n MORPHEUS", "THEY rocket up the entry to a highway, ripping past cars by driving up\nthe breakdown lane. Once they hit a straightaway Trinity floors it,", "TRINITY\n\n \"Any luck?\"\n\n MORPHEUS\n\n \"None. They’ve killed city-wide comms.\"", "distances away. They’re about to go at it again when:", "GREGORY holds up a hand for her to be silent.\n\n GREGORY\n\n \"They found us. Can’t you hear it?\"\n\n CHANDRA", "They watch the SQUIDDIES fade into the distance.\n\n MORPHEUS\n\n \"Power up. Sleep mode.\"\n\n CHOI", "The rush to the ground, pulling up at the last second. The NEB flails\nwildly between them.\n\n MAN (V.O.)\n\n \"They're still on us!\"" ], [ "\"No, Morpheus, this can’t be! We can’t do this! We have to get the\n people out.\"\n\n MORPHEUS (O.S.)", "\"Why me? Why the fuck do I have to do this?\"\n\n MORPHEUS is silent for a long while.\n\n\nINT. MAIN DECK - NIGHT", "IN the booth, Niobe is gone. MORPHEUS hangs up the phone. He can\nbarely stand up enough to reach the handset. When it rings he picks it\nup. But he doesn’t disappear.", "MORPHEUS grabs his twisted, folded legs. He was literally poured into\nthe seat. Concentrating, his face knotting in pain, he straightens the\nbroken, fractured legs. He closes his eyes and concentrates.", "MORPHEUS\n\n \"No one goes in. He’s on his own.\"\n\n He leaves the main deck.", "\"Morpheus? Yeah, I smacked him around, too.\"\n\nMORPHEUS arrives just in time to hear the last part. He stands and\ngrins down at NEO.", "MORPHEUS\n\n \"Why does it still exist? Why hasn’t he destroyed it yet?\"\n\n RAZOR", "coming too fast to see. Smith is wailing on Morpheus, but Morpheus\nsneaks in a kick that separates them. They take stances a good two", "MORPHEUS disappears for a second, then reappears. Now he is perfectly\nclean, and immaculately dressed. He replaces his sunglasses and kicks", "IT’S too far. Smith grabs him around the knees, spilling him forward.\nMan handling him like he weighs nothing, Smith gets on top of him and\nstarts smashing his fists down into Morpheus’ face.", "The hatch swings open. MORPHEUS peers in.\n\n MORPHEUS\n\n \"We're almost home. We'll need a detail. Five minutes.\"", "\"Let me guess. We’ve been ordered back out anyway.\"\n\n MORPHEUS", "NIOBE shakes her head.\n\n \"Morpheus, how much are you going to tell him?\"\n\n MORPHEUS pauses.", "which is good, as they suffer constant close calls as Morpheus\ncontrols the wheel from his awkward spot.", "MORPHEUS and NEO sit together. The cockpit lights are dimmed down,\nonly the EMP pulse button glows. Outside the ship, in the dark mists", "footing, and retreats from the swirling blades of death. He turns to\nMorpheus:", "\"What?\"\n\n MORPHEUS\n\n \"The destruction of The Matrix.\"\n\n MORPHEUS looks out into the darkness.", "on the hook. As the sights rest right between her shoulder blades,\nMorpheus grabs his gun with both hands. He squeezes off one shot, the", "\"He’s doing it.\"\n\n MORPHEUS\n\n \"I knew it.\"\n\n\nEXT. STREET", "They watch the SQUIDDIES fade into the distance.\n\n MORPHEUS\n\n \"Power up. Sleep mode.\"\n\n CHOI" ], [ "SMITH\n\n \"NEO, leave the Matrix. You know not what you’re doing.\"\n\n NEO\n\n \"Well, is that right?\"", "It rings. One hand on the receiver, Morpheus stares back at Smith.\n\nSMITH stands there, not attempting to pursue. Morpheus pauses, taking\nadvantage of the chance to observe his deadly enemy.", "AGENT SMITH grins. He turns away, and the desert landscape before them\nturns into a soothing, cool, crystal forest lake. Smith takes a step\ntoward it, then turns and extends his hand.", "AGENT BROWN enters the room.\n\n AGENT BROWN\n\n \"What about your protégé?\"\n\n AGENT SMITH", "RAZOR, dressed in a black kimono and wielding two katanas, steps over\nMorpheus as he pursues the agent. Smith rolls backwards, gains his", "Behind them, Agent Smith backs away from RAZOR’S dual blades, on long,\none short. Whenever Razor attacks, Smith backs away. They circle one\nanother.", "THE mirrored glass of Smith’s office wavers, then explodes towards us.\nSMITH jumps, and we pan down to follow his descent. He smacks into the\npavement on his feet in front of NEO.", "MORPHEUS screams and brings a hammer blow down on the back of Smith’s\nneck, smashing the agent’s face down and imprinting it in the", "\"You know what needs to be done. Time is short. Make up your mind. The\nonly way you’re getting out of the Matrix is through its destruction.\"\n\n Morpheus kills the connection.", "by the limits of their Matrix-bending powers. Finally, Smith resurges.\nHe lands a punch into Niobe’s stomach, and her body folds over", "into a brick wall. AGENT SMITH grabs him and holds him in a FULL\nNELSON, exposing him to his three copies. The copies shift position", "SMITH\n\n \"Yes.\"\n\n NEO\n\n \"I can. But if I destroy the Matrix, everyone within it will die.\"", "His eyes open, but the building continues to collapse. He stares up at\na mirrored window, and somehow, straight into the eyes of:\n\n CU: AGENT SMITH", "\"What a bunch of bullshit. The whole government can’t kill him, so how\n can I?\"\n\n AGENT SMITH\n\n \"No one in the government can do what you can.\"", "concrete. For a moment, Smith is still. Morpheus collects Niobe and\nruns for the phone booth, which is still ringing.", "\"Neo, the Matrix... it’s not real. And it’s up to you to end it.\"", "\"No, no. See, it’s not that simple. The machines, the programs that\n code, create, and maintain the Matrix, the agents, they are code.", "\"I know who it was.\"\n\n AGENT SMITH\n\n \"We need you to kill him.\"", "\"Did you see that? We beat him! A fucking agent! He gave up!\"\n\nMORPHEUS, unflappable, rises and rushes to the operations consoles.", "\" - without destroying the Matrix itself.\"\n\n SMITH\n\n \"You killed me too easy last time.\"\n\n BROWN" ], [ "\"Neo, the Matrix... it’s not real. And it’s up to you to end it.\"", "\"You know what needs to be done. Time is short. Make up your mind. The\nonly way you’re getting out of the Matrix is through its destruction.\"\n\n Morpheus kills the connection.", "\"Uh, it’s impossible. If the Matrix is destroyed, the people within\nthe system will die. They will all die. There has to be a different\n way.\"", "\"And others are able to change the reality of the Matrix itself.\"\n\n HE points to Neo.\n\n MORPHEUS", "SMITH\n\n \"Yes.\"\n\n NEO\n\n \"I can. But if I destroy the Matrix, everyone within it will die.\"", "standstill. The only way that we can see to win is by destroying their\nsource of energy. We have to pull the plug on them. We must crash the\n Matrix.\"", "\"Almost. Reality is unalterable. But the fabric of reality in the\n Matrix can be rewoven. Some can reach beyond normal cause. Their", "\"This is getting tiresome. Where do we go from here?\"\n\n NEO\n\n \"IF you cut the power that the Matrix supplies to your armies, I’ll\n let you live.\"", "Neo is silent.\n\n MORPHEUS (O.S.)\n\n \"You can do it. You can free us.\"\n\n NEO", "NEO\n\n \"How are their minds freed from the Matrix?\"\n\n TRINITY\n\n \"With difficulty.\"", "\"What?\"\n\n MORPHEUS\n\n \"The destruction of The Matrix.\"\n\n MORPHEUS looks out into the darkness.", "NEO stares at the screen. It’s a huge syllabus of Matrix code\ncharacters. He struggles to learn the complex code.\n\n NEO", "\"Fuck. Every fucking time we get another ‘one,’ this is what they do.\"\n\n MORPHEUS\n\n \"He is the One.\"", "now. Your powers exceed mine a millionfold. I have shown you the path\n to victory, Neo. Lead us down it.\"", "IT’S a serious question for Neo. But he nods. He knows his potential.\n\n NEO\n\n \"I could.\"\n\n SMITH", "EXT. BURNT-OUT CATHEDRAL (MATRIX) - NIGHT\n\nNEO can’t stand the reality of the situation. He’s coming apart.\n\n NEO", "MORPHEUS has the headset on. He stands and surveys NEO.\n\n MORPHEUS\n\n \"Yes, there is a problem. The Matrix exists.\"", "\"He’s doing it.\"\n\n MORPHEUS\n\n \"I knew it.\"\n\n\nEXT. STREET", "\"They keep the left hand from seeing what the right hand is doing.\n That’s how an evil system can be made by innocent people. But, that\n doesn’t matter.\"\n\n NEO recovers.", "\"So, you really are Superman.\"\n\n NEO\n\n \"Only when I’m plugged in.\"" ], [ "into a brick wall. AGENT SMITH grabs him and holds him in a FULL\nNELSON, exposing him to his three copies. The copies shift position", "He can’t take it. Choking, NEO struggles to free himself. SMITHS climb\nup the corpse pile and drop onto him, pounding viciously. NEO stalls,", "IT’S a serious question for Neo. But he nods. He knows his potential.\n\n NEO\n\n \"I could.\"\n\n SMITH", "NEO stands. Offscreen, we can here choking breaths. Neo looks down.\nGregor lies twisted on a concrete slab, impaled multiple times through", "\"You’ve been recreated.\"\n\nSMITH flexes his arm, examines his hands, and feels his hair.\n\n JONES", "THE mirrored glass of Smith’s office wavers, then explodes towards us.\nSMITH jumps, and we pan down to follow his descent. He smacks into the\npavement on his feet in front of NEO.", "AGENT BROWN enters the room.\n\n AGENT BROWN\n\n \"What about your protégé?\"\n\n AGENT SMITH", "NEO attacks SMITH. SMITH backs away slowly, blocking against a losing\nbattle and taking hits. Meanwhile, the MEN IN BLACK converge on NEO.", "TRINITY smiles slightly. Her madness has a purpose.\n\n TRINITY\n\n \"Showing you, Neo.\"\n\n NEO", "\"I know who it was.\"\n\n AGENT SMITH\n\n \"We need you to kill him.\"", "\"Fuck. Every fucking time we get another ‘one,’ this is what they do.\"\n\n MORPHEUS\n\n \"He is the One.\"", "HIS FACE is contorted in rage as he rockets upward. GREGORY is barely\nconscious. Seeing this, NEO stops, and flings Gregory’s body violently\nearthward.", "NEO goes berzerk! SCREAMING and fighting, he claws his way out and\nsurges into the wall of agents. They throw him back, and he can’t kill", "\"They keep the left hand from seeing what the right hand is doing.\n That’s how an evil system can be made by innocent people. But, that\n doesn’t matter.\"\n\n NEO recovers.", "\"No, no. See, it’s not that simple. The machines, the programs that\n code, create, and maintain the Matrix, the agents, they are code.", "Behind them, Agent Smith backs away from RAZOR’S dual blades, on long,\none short. Whenever Razor attacks, Smith backs away. They circle one\nanother.", "NEO returns to the bed and sits down, disturbed. Trinity sits up,\n awakening.\n\n NEO\n\n \"Was he like me?\"", "His eyes open, but the building continues to collapse. He stares up at\na mirrored window, and somehow, straight into the eyes of:\n\n CU: AGENT SMITH", "TRINITY nods.\n\n TRINITY\n\n \"Not you, though. Like you. There have been others, Neo.\"", "SMITH\n\n \"Yes.\"\n\n NEO\n\n \"I can. But if I destroy the Matrix, everyone within it will die.\"" ], [ "\"Let’s go. Laxe Three.\"\n\n TRINITY\n\n \"What about Neo?\"\n\n MORPHEUS (V.O.)", "\"Morpheus? Yeah, I smacked him around, too.\"\n\nMORPHEUS arrives just in time to hear the last part. He stands and\ngrins down at NEO.", "MORPHEUS has the headset on. He stands and surveys NEO.\n\n MORPHEUS\n\n \"Yes, there is a problem. The Matrix exists.\"", "\"He’s doing it.\"\n\n MORPHEUS\n\n \"I knew it.\"\n\n\nEXT. STREET", "MORPHEUS, Niobe and TRINITY are too close to the tanks to be fired on,\nbut the nearest one lunges at them. They climb up over concrete stoops", "as they are seated around the table. Morpeus, Tank, Dozer, Switch,\nEpoch, Mouse. Neo stops on the image of a smiling CYPHER. There's an", "concrete. For a moment, Smith is still. Morpheus collects Niobe and\nruns for the phone booth, which is still ringing.", "MORPHEUS signals to NIOBE. They exit the roof as he dials TRINITY\n\n\nINT. EMPTY BUILDING", "MORPHEUS stares at the data on the screens. The Matrix lives. He\npushes Razor out of the way, and starts hacking at the keyboard at an", "backwards. TRINITY, MORPHEUS, TANK, and NEO, the former Thomas\nAnderson, crowd the cockpit. Helpless, the landscape speeds away from", "Neo is silent.\n\n MORPHEUS (O.S.)\n\n \"You can do it. You can free us.\"\n\n NEO", "MORPHEUS, NIOBE, and TRINITY rush to him, picking him up on his feet.\nCHOI is screaming and laughing. Someone grabs his smoldering coat,", "\"No, Morpheus, this can’t be! We can’t do this! We have to get the\n people out.\"\n\n MORPHEUS (O.S.)", "MORPHEUS and NIOBE open fire. Smith shudders, flickers violently, his\nbody moving too fast to follow as the two rebels empty their clips at", "MORPHEUS walks up to NEO.\n\n MORPHEUS\n\n \"Come with me.\"\n\n\n CUT TO:", "MORPHEUS, NEO, TRINITY, CHOI, and NIOBE are on the chairs as they’re\nbeing JACKED IN by CIRCA and RAZOR.", "\"Did you see that? We beat him! A fucking agent! He gave up!\"\n\nMORPHEUS, unflappable, rises and rushes to the operations consoles.", "\"Yes. This is another special op. I’m in command, Niobe and Trinity\n are team leaders. Neo is our secret weapon.\"\n\n FLASH TO: NEO, passed out with his mouth open on the couch.", "\"And others are able to change the reality of the Matrix itself.\"\n\n HE points to Neo.\n\n MORPHEUS", "THE five of them exit. They blend into the crowds on the street,\nanonymous and quiet. MORPHEUS looks back as NEO, taller than most,\nheads down the street." ], [ "\"Did you see that? We beat him! A fucking agent! He gave up!\"\n\nMORPHEUS, unflappable, rises and rushes to the operations consoles.", "with a sickening crack-thud. She rolls, fighting the pain, as Morpheus\nflies back into action, catching the agent with a furious ass of\nswinging kicks.", "MORPHEUS, Niobe and TRINITY are too close to the tanks to be fired on,\nbut the nearest one lunges at them. They climb up over concrete stoops", "Trinity stares at Neo for a moment, her face fighting for composure No\none looks at her. She walks away, then leans against the bulkhead, her\nbody shaking.", "\"Morpheus? Yeah, I smacked him around, too.\"\n\nMORPHEUS arrives just in time to hear the last part. He stands and\ngrins down at NEO.", "It rings. One hand on the receiver, Morpheus stares back at Smith.\n\nSMITH stands there, not attempting to pursue. Morpheus pauses, taking\nadvantage of the chance to observe his deadly enemy.", "She looks at it, then back at Morpheus and Smith, raising dust as they\nfight.", "CHOI and TRINITY hide in the shadows of an empty room, watching the\nbattle. TRINITY’S cell rings. She answers silently.\n\n MORPHEUS (V.O.)", "MORPHEUS throws the guns down and turns to Niobe.\n\n MORPHEUS\n\n \"Get her out.\"", "THE street scene spins before them. TRINITY is at the wheel, a broken\nand dusty MORPHEUS sitting next to her. The tach is redlining as the", "MORPHEUS, NIOBE, and TRINITY rush to him, picking him up on his feet.\nCHOI is screaming and laughing. Someone grabs his smoldering coat,", "MORPHEUS screams and brings a hammer blow down on the back of Smith’s\nneck, smashing the agent’s face down and imprinting it in the", "IT’S too far. Smith grabs him around the knees, spilling him forward.\nMan handling him like he weighs nothing, Smith gets on top of him and\nstarts smashing his fists down into Morpheus’ face.", "TRINITY\n\n \"Any luck?\"\n\n MORPHEUS\n\n \"None. They’ve killed city-wide comms.\"", "THE five of them exit. They blend into the crowds on the street,\nanonymous and quiet. MORPHEUS looks back as NEO, taller than most,\nheads down the street.", "TRINITY looks in the direction of the sound. MORPHEUS and NIOBE are\nstanding still in the shadows, near the end of the alley. TRINITY AND\nCHOI make their way to them.", "coming too fast to see. Smith is wailing on Morpheus, but Morpheus\nsneaks in a kick that separates them. They take stances a good two", "THEY dive behind a corner as a tank fires. Morpheus throws the woman\nforward as the tank round hits the edge of the building, blowing the", "footing, and retreats from the swirling blades of death. He turns to\nMorpheus:", "concrete. For a moment, Smith is still. Morpheus collects Niobe and\nruns for the phone booth, which is still ringing." ], [ "Trinity grab his arms and haul him out of the rubble. Niobe shoots the\nlock off a steel door, and they pile into the building.", "\"Getting you in is no problem. Maintaining the input/output and\nhelping you is the problem. That’s how they killed savior number four,\n if I remember right. They cut the signal and trapped him in there.\"", "THE three agents, helpless to stop him, watch as he walks for the door\nof the apartment. NEO opens it, and stops, his face meeting a flying", "\"We can do nothing to help him. We’ll only get in his way.\"\n\n THEY leave the room.\n\n\nINT. LOBBY", "HIS eyes blink, and he follows NEO’s departure. Choking, unable to\nbreath with the rebar through him, he writhes. There’s nothing for him\nto grab to pull himself off the steel.", "He’s standing at the edge of some equipment on the Main Deck. He’s\nheard every word. He rounds the corner. The others catch sight of him.\nThe same thought is on everyone's mind: How much had he heard.", "The crew grips the bulkhead and fixtures as the swaying ship comes to\na rest. Outside, the sounds of hover engines fade away. Tank unlocks", "\"Junior ranks leave first.\"\n\nTRINITY enters the booth as the phone starts ringing.\n\nIt’s the moment Smith was waiting for.", "\"They keep the left hand from seeing what the right hand is doing.\n That’s how an evil system can be made by innocent people. But, that\n doesn’t matter.\"\n\n NEO recovers.", "HE closes the hatch and disappears.\n\n NEO\n\n \"Does he ever knock?\"\n\n TRINITY", "\"Not until we reach broadcast depth. It’s slow going out there. I\nguess they know we’re coming back, so they’re patrolling. We have time\n to rest and ready.\"", "GREGORY holds up a hand for her to be silent.\n\n GREGORY\n\n \"They found us. Can’t you hear it?\"\n\n CHANDRA", "His face clenches shut as a scream wells from deep within him. He\nstarts to glow, and we jump back to see:", "TRINITY\n\n \"Any luck?\"\n\n MORPHEUS\n\n \"None. They’ve killed city-wide comms.\"", "\"They’re about to pull something. Processing power is pouring into the\nagent programs and they’re locking onto your 3-D grid displacements.\n\n\nEXT. ROOF", "NIOBE appears behind them.\n\n NIOBE\n\n \"It’s not a joke. We have The One. We must do it now.\"", "We hear nothing but static. Disgusted, NEO throws the phone away. He\nfalls against the sculpture and looks up. Coming around the corner of\nthe building is a group of agents and soldiers.", "THEY smell something’s wrong. They move, back to back in a triangle,\nfor the phone booth, weapons draw and looking in all direction at\nonce.\n\n MORPHEUS", "We hear nothing. NEO can hear his own heart beating. Anger and\nconfusion add to the already heavy mental burden he carries.", "TRINITY’S head merely sags lifelessly to one side.\n\n NIOBE\n\n \"Come on! Go through, Trinity! God damnit don’t give up!\"" ], [ "NEO stands. Offscreen, we can here choking breaths. Neo looks down.\nGregor lies twisted on a concrete slab, impaled multiple times through", "\"Did you see that? We beat him! A fucking agent! He gave up!\"\n\nMORPHEUS, unflappable, rises and rushes to the operations consoles.", "\"They keep the left hand from seeing what the right hand is doing.\n That’s how an evil system can be made by innocent people. But, that\n doesn’t matter.\"\n\n NEO recovers.", "THE three agents, helpless to stop him, watch as he walks for the door\nof the apartment. NEO opens it, and stops, his face meeting a flying", "He can’t take it. Choking, NEO struggles to free himself. SMITHS climb\nup the corpse pile and drop onto him, pounding viciously. NEO stalls,", "Trinity grab his arms and haul him out of the rubble. Niobe shoots the\nlock off a steel door, and they pile into the building.", "HE BURSTS out of the door, gun firing at the booth. Inside, glass\nshatters, and blood sprays as Trinity is riddled with bullets. Smith", "HIS eyes blink, and he follows NEO’s departure. Choking, unable to\nbreath with the rebar through him, he writhes. There’s nothing for him\nto grab to pull himself off the steel.", "We hear nothing but static. Disgusted, NEO throws the phone away. He\nfalls against the sculpture and looks up. Coming around the corner of\nthe building is a group of agents and soldiers.", "NEO attacks SMITH. SMITH backs away slowly, blocking against a losing\nbattle and taking hits. Meanwhile, the MEN IN BLACK converge on NEO.", "concrete and brick wall into a massive cloud of powder. Perhaps a ton\nof rubble falls on Morpheus’ legs. He drags himself forward. Niobe and", "MORPHEUS pushes the keyboard under the console so its hidden from\nview. He taps at the keyboard. Hidden password appears on the screen", "THE mirrored glass of Smith’s office wavers, then explodes towards us.\nSMITH jumps, and we pan down to follow his descent. He smacks into the\npavement on his feet in front of NEO.", "HE closes the hatch and disappears.\n\n NEO\n\n \"Does he ever knock?\"\n\n TRINITY", "\"I know who it was.\"\n\n AGENT SMITH\n\n \"We need you to kill him.\"", "HIS FACE is contorted in rage as he rockets upward. GREGORY is barely\nconscious. Seeing this, NEO stops, and flings Gregory’s body violently\nearthward.", "\"You know what needs to be done. Time is short. Make up your mind. The\nonly way you’re getting out of the Matrix is through its destruction.\"\n\n Morpheus kills the connection.", "\"Morpheus? Yeah, I smacked him around, too.\"\n\nMORPHEUS arrives just in time to hear the last part. He stands and\ngrins down at NEO.", "Trinity stares at Neo for a moment, her face fighting for composure No\none looks at her. She walks away, then leans against the bulkhead, her\nbody shaking.", "CIRCA straddles her and plunges the massive needle into her chest.\n\n\nEXT. REST STOP (MATRIX)" ], [ "\"They keep the left hand from seeing what the right hand is doing.\n That’s how an evil system can be made by innocent people. But, that\n doesn’t matter.\"\n\n NEO recovers.", "Trinity stares at Neo for a moment, her face fighting for composure No\none looks at her. She walks away, then leans against the bulkhead, her\nbody shaking.", "TRINITY smiles slightly. Her madness has a purpose.\n\n TRINITY\n\n \"Showing you, Neo.\"\n\n NEO", "NEO stands. Offscreen, we can here choking breaths. Neo looks down.\nGregor lies twisted on a concrete slab, impaled multiple times through", "Gently, placing Trinity's head down, NEO stands and examines the\nphoto.\n\n She awakens.\n\n TRINITY", "NEO\n\n \"Oh. And this requires acts of insanity?\"\n\nTRINITY smiles. She looks him up and down. She moves intimately close.", "\"So, you went back in, and you two pulled him out?\"\n\nTRINITY nods, herself in disbelief. NEO picks his head up off the\ntable.", "NEO\n\n \"How are their minds freed from the Matrix?\"\n\n TRINITY\n\n \"With difficulty.\"", "NEO returns to the bed and sits down, disturbed. Trinity sits up,\n awakening.\n\n NEO\n\n \"Was he like me?\"", "\"Yes. This is another special op. I’m in command, Niobe and Trinity\n are team leaders. Neo is our secret weapon.\"\n\n FLASH TO: NEO, passed out with his mouth open on the couch.", "TRINITY\n\n \"So, you can fly.\"\n\n NEO\n\n \"Yes.\"\n\n TRINITY", "TRINITY\n\n \"In this construct program, the ground can kill.\"\n\n NEO\n\n \"I won’t let you fall. Ever.\"", "TRINITY\n\n \"Don’t lose your balance.\"\n\n NEO\n\n \"It doesn’t matter if I do.\"", "TRINITY grabs NEO by the arm.\n\n TRINITY\n\n \"Over here.\"\n\n SHE leads him into the shadows.", "\"And others are able to change the reality of the Matrix itself.\"\n\n HE points to Neo.\n\n MORPHEUS", "NEO\n\n \"What happened to him?\"\n\n TRINITY is sullen.\n\n \"He didn’t make it.\"", "\"So, you really are Superman.\"\n\n NEO\n\n \"Only when I’m plugged in.\"", "NEO stands, and steps in front of TRINITY. He’s on the very, very edge\nof the rock. He extends his hand down to her. She grabs it, and he", "TRINITY\n\n \"Will you teach me to fly?\"\n\n NEO\n\n \"I don’t know if I can.\"", "by the limits of their Matrix-bending powers. Finally, Smith resurges.\nHe lands a punch into Niobe’s stomach, and her body folds over" ] ]

[ "What is the name of Morpheus' vessel?", "How many iterations have there been of the Matrix?", "What is the name of the last stronghold the humans have against the machines?", "What is the Keymaker's purpose as far as the protagonists needs?", "Why does Neo question whether he can trust the Oracle?", "What is the name of the program that created the Matrix?", "Neo developed a new talent, what was it?", "What happened to Neo after he used his new power to disable the machines?", "Why did Trinity enter the Matrix after Neo asked her not to?", "What is Neo's relationship to Trinity?", "Who destroys the Nebuchadnezzar?", "What ability does Neo have?", "What happens to Neo?", "Who is the survivor?", "Who possesses Bane?", "Who does Neo receive a message from?", "What happens to Smith?", "Where does Neo ask Trinity to stay?", "What ship picks up the crew?", "How long will it take the Sentinel's to reach Zion?", "Why does Morpheus need a ship to stay and not return to Zion?", "Whose avatar does Agent Smith use to leave the Matrix?", "What must Neo do to reach the Source of the Matrix?", "Who clones himself and tries to use Neo as a host?", "Who takes Neo, Trinity and Morpheus to the keymaker?", "Who does Morpheus defeat, while Trinity escapes?", "To prevent triggering the security system, what must the Logos do?", "Who kills the keymaker?", "Why is Neo's hand inside Trinity's body?" ]

[ [ "Nebuchadnezzar", "Nebuchadnezzar" ], [ "Six", "6" ], [ "Zion", "Zion" ], [ "To open the door to the Source.", "By finding the Keymaker they will find the Source of the Matrix" ], [ "He learned she is part of the Matrix.", "she is part of the Matrix" ], [ "The Architect", "The Architect" ], [ "He could disable the machines with his mind.", "He can clone himself" ], [ "He fell into a coma.", "he went into a coma." ], [ "After the Vigilant's crew was killed, she needed to complete their mission.", "to replace the Vigilant's crew" ], [ "They are a couple", "they are a couple" ], [ "The Sentinels", "Sentinals" ], [ "He can disable machines with his thoughts", "He can disable machines with his thoughts" ], [ "He falls into a coma", "He enters the power source and gains new powers." ], [ "Bane", "Bane." ], [ "Smith", "Smith" ], [ "The Oracle", "the Oracle" ], [ "He becomes a rogue program", "he's possessed by Bane" ], [ "The Nebuchadnezzar", "Stay on the Nebuchadnezzar." ], [ "The Hammer", "The Hammer" ], [ "72 hours.", "72 hourse" ], [ "To contact the Oracle.", "to contact Oracle" ], [ "Bane's.", "Bane's" ], [ "He must find the keymaker.", "Find the keymaker." ], [ "Smith.", "Agent Smith" ], [ "Persephone.", "Persephone" ], [ "The twins.", "The Smiths" ], [ "Destroy a power plant.", "Destroy the power plant." ], [ "The Smiths.", "the Smiths" ], [ "To remove a bullet.", "To remove the bullet and start her heart" ] ]

[ [ "\"I suppose I may as well tell you something about where you are going\nto,\" she said. \"Do you know anything about your uncle?\"\n\n\"No,\" said Mary.", "three months, and when other governesses came to try to fill it they\nalways went away in a shorter time than the first one. So if Mary had\nnot chosen to really want to know how to read books she would never", "\"Eh! Miss Mary,\" she said, \"it may put him all out of humor when I tell\nhim that.\"\n\nBut Mary was not as afraid of him as other people were and she was not\na self-sacrificing person.", "When Mary Lennox was sent to Misselthwaite Manor to live with her uncle\neverybody said she was the most disagreeable-looking child ever seen.", "them, it seemed to Mary that it would be scarcely bearable to leave\nsuch delightfulness, but when she began to tell her story somehow the\nlook in Dickon's funny face gradually changed her mind. She could see", "\"When first we got in here,\" he said, \"it seemed like everything was\ngray. Look round now and tell me if tha' doesn't see a difference.\"\n\nMary looked and caught her breath a little.", "There was something comforting and really friendly in her queer\nYorkshire speech and sturdy way which had a good effect on Mary. She\ngradually ceased crying and became quiet. Martha looked relieved.", "Mary began to laugh, and as he hopped and took little flights along the\nwall she ran after him. Poor little thin, sallow, ugly Mary--she\nactually looked almost pretty for a moment.", "of her, nobody wanted her, and strange things happened of which she\nknew nothing. Mary alternately cried and slept through the hours. She\nonly knew that people were ill and that she heard mysterious and", "He said it in such an odd way that Mary wondered if he was actually a\nlittle sorry for her. She had never felt sorry for herself; she had", "All the pink left Mary's cheeks. Her heart began to thump and she felt\nherself changing into a stiff, plain, silent child again. She did not", "\"I shall not want to go poking about,\" said sour little Mary and just\nas suddenly as she had begun to be rather sorry for Mr. Archibald", "in. This was a bad beginning and Mary marched up to him with her stiff\nmanner.", "Mistress Mary got up from the log at once. She knew she felt contrary\nagain, and obstinate, and she did not care at all. She was imperious\nand Indian, and at the same time hot and sorrowful.", "Mary's meals were served regularly, and Martha waited on her, but no\none troubled themselves about her in the least. Mrs. Medlock came and", "The time had come when Mary had forgotten to resent Martha's familiar\ntalk. She had even begun to find it interesting and to be sorry when", "Mrs. Medlock looked pleased. She was relieved to hear that she need\nnot \"look after\" Mary too much. She had felt her a tiresome charge and", "\"I turned round the wrong corner,\" explained Mary. \"I didn't know\nwhich way to go and I heard some one crying.\" She quite hated Mrs.\nMedlock at the moment, but she hated her more the next.", "That afternoon Mary noticed that something new had happened in Colin's\nroom. She had noticed it the day before but had said nothing because\nshe thought the change might have been made by chance. She said", "Mary had never possessed an animal pet of her own and had always\nthought she should like one. So she began to feel a slight interest in" ], [ "\"I heard it in the night,\" Mary went on. \"And I got up and went to see\nwhere it came from. It was Colin. I found him.\"\n\nMartha's face became red with fright.", "of her, nobody wanted her, and strange things happened of which she\nknew nothing. Mary alternately cried and slept through the hours. She\nonly knew that people were ill and that she heard mysterious and", "Mary felt quite sure this sound was inside the house, not outside it.\nIt was far away, but it was inside. She turned round and looked at\nMartha.", "Mary told him her story about the midnight wuthering of the wind which\nhad wakened her and about the faint far-off sounds of the complaining", "\"I have heard you crying three times,\" Mary said, \"but I did not know\nwho it was. Were you crying about that?\" She did so want him to forget\nthe garden.", "The door of her room was ajar and the sound came down the corridor, a\nfar-off faint sound of fretful crying. She listened for a few minutes", "\"Yes,\" answered Mary. \"Shut your eyes.\"\n\nHe closed his eyes and lay quite still and she held his hand and began\nto speak very slowly and in a very low voice.", "herself. The sound had come up that passage. So she went on with her\ndim light, almost feeling her way, her heart beating so loud that she", "\"It's nearer than it was,\" said Mary, her heart beating rather faster.\n\"And it is crying.\"", "\"That sounds soothing,\" said Dr. Craven, more perplexed than ever and\nglancing sideways at Mistress Mary sitting on her stool and looking\ndown silently at the carpet. \"You are evidently better, but you must\nremember--\"", "She had been lying awake turning from side to side for about an hour,\nwhen suddenly something made her sit up in bed and turn her head toward\nthe door listening. She listened and she listened.", "She pushed it open very gently and closed it behind her, and she stood\nin the corridor and could hear the crying quite plainly, though it was", "fancied she could hear it. The far-off faint crying went on and led\nher. Sometimes it stopped for a moment or so and then began again.", "But as she was listening to the wind she began to listen to something\nelse. She did not know what it was, because at first she could", "Mary stood near the door with her candle in her hand, holding her\nbreath. Then she crept across the room, and, as she drew nearer, the", "For two or three minutes he stood looking round him, while Mary watched\nhim, and then he began to walk about softly, even more lightly than", "her that though. Colin was quite quiet he was ill and feverish as he\nalways was after he had worn himself out with a fit of crying. Mary\nate her breakfast slowly as she listened.", "It was the first time Mary had heard of them, either, but even at this\nstage she had begun to realize that, queer as he was, Colin had read", "\"There!\" said Mary. \"I told you so! It is some one crying--and it\nisn't a grown-up person.\"", "\"Yes,\" he answered.\n\n\"That's Soot,\" said Mary. \"Listen again. Do you hear a bleat--a tiny\none?\"" ], [ "It was the first time Mary had heard of them, either, but even at this\nstage she had begun to realize that, queer as he was, Colin had read", "Colin. He must not talk too much; he must not forget that he was ill;\nhe must not forget that he was very easily tired. Mary thought that\nthere seemed to be a number of uncomfortable things he was not to", "\"Mester Colin\" had taken a fancy to going out into the grounds with\nMiss Mary and that it was doing him good. But it was not long before", "Mary's lips pinched themselves together. She was no more used to\nconsidering other people than Colin was and she saw no reason why an", "\"I heard it in the night,\" Mary went on. \"And I got up and went to see\nwhere it came from. It was Colin. I found him.\"\n\nMartha's face became red with fright.", "Even Mary had found out that one of Colin's chief peculiarities was\nthat he did not know in the least what a rude little brute he was with", "\"I won't!\" said Mary.\n\n\"I'll make you,\" said Colin. \"They shall drag you in.\"", "\"I don't believe he does,\" said Mary quite obstinately.\n\nThat made Colin turn and look at her again.\n\n\"Don't you?\" he said.", "\"I know it was something nice,\" said Mary eagerly. \"I believe it was\nsomething about Colin.\"", "\"I thought it would be dead,\" he said.\n\n\"Mary thought so at first,\" said Colin. \"But it came alive.\"", "\"For sure tha' will,\" he said stoutly. \"Tha--tha's got legs o' thine\nown, same as other folks!\"\n\nMary was rather frightened until she heard Colin's answer.", "Colin slowly sat up and stared and stared--as he had stared when he\nfirst saw Mary; but this was a stare of wonder and delight. The truth", "\"Am I rude?\" Colin inquired undisturbedly.\n\n\"If you had been his own boy and he had been a slapping sort of man,\"\nsaid Mary, \"he would have slapped you.\"", "They found a great deal to do that morning and Mary was late in\nreturning to the house and was also in such a hurry to get back to her\nwork that she quite forgot Colin until the last moment.", "\"And that,\" said Mary with solemn delight, pointing under a big lilac\nbush, \"is where he perched on the little heap of earth and showed me\nthe key.\"\n\nThen Colin sat up.", "It was not until afterward that Mary realized that the thing had been\nfunny as well as dreadful--that it was funny that all the grown-up\npeople were so frightened that they came to a little girl just because\nthey guessed she was almost as bad as Colin himself.", "\"It is always having your own way that has made you so queer,\" Mary\nwent on, thinking aloud.\n\nColin turned his head, frowning.\n\n\"Am I queer?\" he demanded.", "When the door closed behind Martha, Colin found Mistress Mary gazing at\nhim as if he had set her wondering.\n\n\"Why do you look at me like that?\" he asked her. \"What are you\nthinking about?\"", "\"How did you know about Colin?\" asked Mary.", "Then Mary was reminded of the boy Rajah again. Colin answered as if\nneither the doctor's alarm nor Mrs. Medlock's terror were of the" ], [ "Mary had never possessed an animal pet of her own and had always\nthought she should like one. So she began to feel a slight interest in", "\"It seems as if he does,\" answered Mary. \"Dickon says anything will\nunderstand if you're friends with it for sure, but you have to be\nfriends for sure.\"", "Sowerby's boy Dickon that could push his chair. He took a fancy to\nboth Miss Mary and Dickon, and Dickon brought his tame animals, and, if", "Mary began to laugh, and as he hopped and took little flights along the\nwall she ran after him. Poor little thin, sallow, ugly Mary--she\nactually looked almost pretty for a moment.", "There was something comforting and really friendly in her queer\nYorkshire speech and sturdy way which had a good effect on Mary. She\ngradually ceased crying and became quiet. Martha looked relieved.", "He did answer. He twittered and chirped and hopped along the wall as\nif he were telling her all sorts of things. It seemed to Mistress Mary", "Mary was an odd, determined little person, and now she had something\ninteresting to be determined about, she was very much absorbed, indeed.", "\"Would you make friends with me?\" she said to the robin just as if she\nwas speaking to a person. \"Would you?\" And she did not say it either", "Then she waited a moment and listened at the stillness. The robin, who\nhad flown to his treetop, was still as all the rest. He did not even\nflutter his wings; he sat without stirring, and looked at Mary.", "Mary had walked the first time she had found herself inside the four\nwalls. His eyes seemed to be taking in everything--the gray trees with\nthe gray creepers climbing over them and hanging from their branches,", "Mistress Mary went a step nearer to the robin and looked at him very\nhard.\n\n\"I'm lonely,\" she said.", "A few days after she had talked to Ben Weatherstaff, Mary stopped to\nnotice this and wondered why it was so. She had just paused and was", "Mary had sat under a tree with its limp warmness huddled on her lap she\nhad felt as if she were too full of strange joy to speak. A lamb--a", "The time had come when Mary had forgotten to resent Martha's familiar\ntalk. She had even begun to find it interesting and to be sorry when", "She was beginning to like Martha, too. That seemed a good many people\nto like--when you were not used to liking. She thought of the robin as", "Neither of the creatures looked as if he were the least afraid of Mary.\nWhen Dickon began to walk about, Soot stayed on his shoulder and\nCaptain trotted quietly close to his side.", "her and he greeted her with a chirp. As Mary had skipped toward him\nshe felt something heavy in her pocket strike against her at each jump,\nand when she saw the robin she laughed again.", "Mary sat and looked at the fire. \"I wonder,\" she said slowly, \"if it\nwould not do him good to go out into a garden and watch things growing.\nIt did me good.\"", "In five minutes Mary was with Dickon in their garden. The fox and the\ncrow were with him again and this time he had brought two tame", "\"If I had a raven or a fox cub I could play with it,\" said Mary. \"But\nI have nothing.\"\n\nMartha looked perplexed." ], [ "Craven's garden that she had made when first they were married an' she\njust loved it, an' they used to 'tend the flowers themselves. An' none", "Mr. Craven scarcely heard her last words.\n\n\"In the garden,\" he said, and after he had sent Mrs. Medlock away he\nstood and repeated it again and again. \"In the garden!\"", "\"Mr. Craven had it shut when his wife died so sudden. He won't let no\none go inside. It was her garden. He locked th' door an' dug a hole", "\"It--it was the garden Mr. Craven hates,\" said Mary nervously. \"He\nlocked the door. No one--no one knew where he buried the key.\" \"What\nsort of a garden is it?\" Colin persisted eagerly.", "had spread, like the snowdrops, into thousands. She wondered how long\nit would be before they showed that they were flowers. Sometimes she\nstopped digging to look at the garden and try to imagine what it would", "\"We'd never get on as comfortable as we do,\" Mrs. Sowerby said, \"if it\nwasn't for Dickon's garden. Anything'll grow for him. His 'taters and", "one had been into for ten years. She wondered what it would look like\nand whether there were any flowers still alive in it. When she had\npassed through the shrubbery gate she found herself in great gardens,", "\"Why did Mr. Craven hate the garden?\" she said.", "They looked at the pictures in the gardening books and Dickon knew all\nthe flowers by their country names and knew exactly which ones were\nalready growing in the secret garden.", "Mistress Mary always felt that however many years she lived she should\nnever forget that first morning when her garden began to grow. Of", "\"Mrs. Craven was a very lovely young lady,\" he had gone on rather\nhesitatingly. \"An' mother she thinks maybe she's about Misselthwaite", "garden, stopping when she wanted to look at things. There seemed to\nhave been grass paths here and there, and in one or two corners there\nwere alcoves of evergreen with stone seats or tall moss-covered flower", "\"Dickon says they're larkspurs made big and grand,\" cried Mistress\nMary. \"There are clumps there already.\"", "\"Where is Master Colin now?\" Mr. Craven asked.\n\n\"In the garden, sir. He's always in the garden--though not a human\ncreature is allowed to go near for fear they'll look at him.\"", "Mistress Mary put her hand on his arm again without knowing it.\n\n\"Will there be roses?\" she whispered. \"Can you tell? I thought perhaps\nthey were all dead.\"", "vegetables in this garden. Dickon had bought penny packages of flower\nseeds now and then and sown bright sweet-scented things among", "I just remembered it and it made me wonder if there were really flowers\nlike silver bells.\"\n\nShe frowned a little and gave her trowel a rather spiteful dig into the\nearth.", "\"She ought to,\" said Mr. Craven. \"I thought her rather bold to stop me\non the moor, but she said--Mrs. Craven had been kind to her.\" It seemed", "she met him. She'd never spoke to him before, but Mrs. Craven had been\nto our cottage two or three times. He'd forgot, but mother hadn't an'", "After she was gone Mary turned down the walk which led to the door in\nthe shrubbery. She could not help thinking about the garden which no" ], [ "They found a great deal to do that morning and Mary was late in\nreturning to the house and was also in such a hurry to get back to her\nwork that she quite forgot Colin until the last moment.", "\"And that,\" said Mary with solemn delight, pointing under a big lilac\nbush, \"is where he perched on the little heap of earth and showed me\nthe key.\"\n\nThen Colin sat up.", "\"This is it,\" breathed Mary. \"This is where I used to walk up and down\nand wonder and wonder.\" \"Is it?\" cried Colin, and his eyes began to", "It was the first time Mary had heard of them, either, but even at this\nstage she had begun to realize that, queer as he was, Colin had read", "\"I heard it in the night,\" Mary went on. \"And I got up and went to see\nwhere it came from. It was Colin. I found him.\"\n\nMartha's face became red with fright.", "\"Mester Colin\" had taken a fancy to going out into the grounds with\nMiss Mary and that it was doing him good. But it was not long before", "Colin slowly sat up and stared and stared--as he had stared when he\nfirst saw Mary; but this was a stare of wonder and delight. The truth", "It was not until afterward that Mary realized that the thing had been\nfunny as well as dreadful--that it was funny that all the grown-up\npeople were so frightened that they came to a little girl just because\nthey guessed she was almost as bad as Colin himself.", "Then Mary was reminded of the boy Rajah again. Colin answered as if\nneither the doctor's alarm nor Mrs. Medlock's terror were of the", "Mary saw that Dr. Craven did not look pleased, but it was quite plain\nthat he dare not oppose his patient. He sat down by Colin and felt his\npulse.", "\"For sure tha' will,\" he said stoutly. \"Tha--tha's got legs o' thine\nown, same as other folks!\"\n\nMary was rather frightened until she heard Colin's answer.", "In her talks with Colin, Mary had tried to be very cautious about the\nsecret garden. There were certain things she wanted to find out from", "Dickon began to push the wheeled chair slowly and steadily. Mistress\nMary walked beside it and Colin leaned back and lifted his face to the", "Colin. He must not talk too much; he must not forget that he was ill;\nhe must not forget that he was very easily tired. Mary thought that\nthere seemed to be a number of uncomfortable things he was not to", "In the midst of this stillness it was rather startling when Colin half\nlifted his head and exclaimed in a loud suddenly alarmed whisper:\n\n\"Who is that man?\" Dickon and Mary scrambled to their feet.", "\"I wanted mine this morning,\" said Colin. \"Perhaps it was the fresh\nair. When do you think Dickon will come?\"\n\nHe was not long in coming. In about ten minutes Mary held up her hand.", "\"I thought it would be dead,\" he said.\n\n\"Mary thought so at first,\" said Colin. \"But it came alive.\"", "Mary and Dickon worked a little here and there and Colin watched them.\nThey brought him things to look at--buds which were opening, buds which", "\"Is it?\" said Colin.\n\nA few yards more and Mary whispered again.\n\n\"This is where the robin flew over the wall,\" she said.", "Dickon went back to the garden with his creatures and Mary stayed with\nColin. She did not think he looked tired but he was very quiet before" ], [ "Mistress Mary stood up and looked at it with an almost frightened face\nas it hung from her finger.\n\n\"Perhaps it has been buried for ten years,\" she said in a whisper.\n\"Perhaps it is the key to the garden!\"", "CHAPTER VII\n\nTHE KEY TO THE GARDEN\n\n\nTwo days after this, when Mary opened her eyes she sat upright in bed\nimmediately, and called to Martha.", "\"But that's not all,\" Mary went on, almost pale with solemn excitement.\n\"The rest is better. There is a door into the garden. I found it. It\nis under the ivy on the wall.\"", "\"And that,\" said Mary with solemn delight, pointing under a big lilac\nbush, \"is where he perched on the little heap of earth and showed me\nthe key.\"\n\nThen Colin sat up.", "door to be seen anywhere. Mary looked for it, and yet when she had\nentered the upper end of the garden she had noticed that the wall did", "had been trained to ask permission or consult her elders about things.\nAll she thought about the key was that if it was the key to the closed\ngarden, and she could find out where the door was, she could perhaps", "After she was gone Mary turned down the walk which led to the door in\nthe shrubbery. She could not help thinking about the garden which no", "\"Oh! just--just a garden she used to like,\" Mary stammered. \"Have you\nbeen here always?\" \"Nearly always. Sometimes I have been taken to", "\"What is this place?\" she asked.\n\n\"One o' th' kitchen-gardens,\" he answered.\n\n\"What is that?\" said Mary, pointing through the other green door.", "\"In the garden!\" he said, wondering at himself. \"In the garden! But\nthe door is locked and the key is buried deep.\"", "Mary felt lonelier than ever when she knew she was no longer in the\nhouse. She went out into the garden as quickly as possible, and the", "Then she slipped through it, and shut it behind her, and stood with her\nback against it, looking about her and breathing quite fast with\nexcitement, and wonder, and delight.\n\nShe was standing inside the secret garden.", "\"Oh! I forgot!\" said Mary, feeling frightened and putting her hand\nquickly against her mouth. \"Did you know about the garden?\" she asked\nagain when she had recovered herself. Dickon nodded.", "\"It--it was the garden Mr. Craven hates,\" said Mary nervously. \"He\nlocked the door. No one--no one knew where he buried the key.\" \"What\nsort of a garden is it?\" Colin persisted eagerly.", "\"That's what I thought,\" said Mary.\n\nThen there was a lovely breathless silence and the chair wheeled on.\n\n\"That is the garden where Ben Weatherstaff works,\" said Mary.", "\"I dare say,\" he answered. \"Let us talk about something else. Talk\nabout that garden. Don't you want to see it?\"\n\n\"Yes,\" answered Mary, in quite a low voice.", "\"If you won't make them take you to the garden,\" pleaded Mary,\n\"perhaps--I feel almost sure I can find out how to get in sometime.", "But she was inside the wonderful garden and she could come through the\ndoor under the ivy any time and she felt as if she had found a world\nall her own.", "\"He hates the garden, because she died,\" said Mary half speaking to\nherself.\n\n\"What garden?\" the boy asked.", "\"I have heard you crying three times,\" Mary said, \"but I did not know\nwho it was. Were you crying about that?\" She did so want him to forget\nthe garden." ], [ "\"He is Martha's brother. He is twelve years old,\" she explained. \"He\nis not like any one else in the world. He can charm foxes and", "She had made Martha stay with her and Martha had not objected at all.\nShe was very young, and used to a crowded cottage full of brothers and", "\"I knew he'd come,\" said Martha exultantly. \"How does tha' like him?\"\n\n\"I think--I think he's beautiful!\" said Mary in a determined voice.", "\"He'll have thee if he wants thee,\" said Martha. \"Tha' may as well\nknow that at th' start.\"\n\nVery soon afterward a bell rang and she rolled up her knitting.", "\"Was he?\" cried Martha. \"Art tha' sure? Tha' doesn't know what he's\nlike when anything vexes him. He's a big lad to cry like a baby, but", "\"Does tha' mean to say,\" cried Martha with wide open eyes, \"that he was\nnice to thee!\"\n\n\"I think he almost liked me,\" Mary answered.", "\"I heard it in the night,\" Mary went on. \"And I got up and went to see\nwhere it came from. It was Colin. I found him.\"\n\nMartha's face became red with fright.", "among themselves. Martha liked to talk, and the strange child who had\nlived in India, and been waited upon by \"blacks,\" was novelty enough to\nattract her.", "\"Martha,\" she said, \"they were your wages. It was your two-pence\nreally. Thank you.\" She said it stiffly because she was not used to", "the springtime had been doing. She felt sure he would like to hear.\nSo it was not very pleasant when she opened the door of her room, to\nsee Martha standing waiting for her with a doleful face.", "Martha gave a little start, as if she remembered something. \"Now to\nthink,\" she broke out, \"to think o' me forgettin' that there; an' I", "\"He isn't yet,\" said Martha. \"But he began all wrong. Mother said\nthat there was enough trouble and raging in th' house to set any child", "\"That was what the Sowerby woman said,\" he muttered absentmindedly.\n\nThen Mary gathered a scrap of courage.\n\n\"Is she--is she Martha's mother?\" she stammered.", "Martha looked rather taken aback but she looked pleased, too.\n\n\"Well,\" she said, \"he's th' best lad as ever was born, but us never\nthought he was handsome. His nose turns up too much.\"", "and diamonds stuck all over him. He spoke to his people just as you\nspoke to Martha. Everybody had to do everything he told them--in a", "\"I'll tell you what you can do,\" added Colin, waving his hand. \"You\ncan tell Martha to bring them here. The boy is Martha's brother. His\nname is Dickon and he is an animal charmer.\"", "\"Well,\" said Martha stoutly, \"I've told thee that th' very birds likes\nhim an' th' rabbits an' wild sheep an' ponies, an' th' foxes", "Martha kneeling upon the hearth building her fire; every morning she\nate her breakfast in the nursery which had nothing amusing in it; and\nafter each breakfast she gazed out of the window across to the huge", "had indeed seen as little of her as she dared. In addition to this she\nwas fond of Martha's mother.", "\"I've got some of my own,\" said Martha. \"I bought 'em so I could print\na bit of a letter to mother of a Sunday. I'll go and get it.\" She ran" ], [ "\"I've got some of my own,\" said Martha. \"I bought 'em so I could print\na bit of a letter to mother of a Sunday. I'll go and get it.\" She ran", "\"That was what the Sowerby woman said,\" he muttered absentmindedly.\n\nThen Mary gathered a scrap of courage.\n\n\"Is she--is she Martha's mother?\" she stammered.", "\"Martha,\" she said, \"they were your wages. It was your two-pence\nreally. Thank you.\" She said it stiffly because she was not used to", "Presently Martha went out of the room and came back with something held\nin her hands under her apron.\n\n\"What does tha' think,\" she said, with a cheerful grin. \"I've brought\nthee a present.\"", "had indeed seen as little of her as she dared. In addition to this she\nwas fond of Martha's mother.", "had the impudence to be doing under their very noses. But Martha did\nnot even see them. The interest and curiosity in Mistress Mary's face", "\"Who is going to dress me?\" demanded Mary.\n\nMartha sat up on her heels again and stared. She spoke in broad\nYorkshire in her amazement.", "The time had come when Mary had forgotten to resent Martha's familiar\ntalk. She had even begun to find it interesting and to be sorry when", "Martha was waiting for her and the trouble in her face had been\ntemporarily replaced by interest and curiosity. There was a wooden box\non the table and its cover had been removed and revealed that it was\nfull of neat packages.", "\"I heard it in the night,\" Mary went on. \"And I got up and went to see\nwhere it came from. It was Colin. I found him.\"\n\nMartha's face became red with fright.", "There was something comforting and really friendly in her queer\nYorkshire speech and sturdy way which had a good effect on Mary. She\ngradually ceased crying and became quiet. Martha looked relieved.", "When Mary at last decided to get up, the clothes Martha took from the\nwardrobe were not the ones she had worn when she arrived the night\nbefore with Mrs. Medlock.", "\"My word! that's riches,\" said Martha. \"Tha' can buy anything in th'\nworld tha' wants. Th' rent of our cottage is only one an' threepence", "Martha gave a little start, as if she remembered something. \"Now to\nthink,\" she broke out, \"to think o' me forgettin' that there; an' I", "Mary looked stiffer than ever.\n\n\"Do you want me to kiss you?\"\n\nMartha laughed again.", "She had made Martha stay with her and Martha had not objected at all.\nShe was very young, and used to a crowded cottage full of brothers and", "\"It is different in India,\" said Mistress Mary disdainfully. She could\nscarcely stand this.\n\nBut Martha was not at all crushed.", "\"I have. I have found out what the crying was,\" said Mary.\n\nMartha let her knitting drop on her knee and gazed at her with startled\neyes.", "Mary's meals were served regularly, and Martha waited on her, but no\none troubled themselves about her in the least. Mrs. Medlock came and", "Mary took the picture back to the house when she went to her supper and\nshe showed it to Martha." ], [ "\"I've got some of my own,\" said Martha. \"I bought 'em so I could print\na bit of a letter to mother of a Sunday. I'll go and get it.\" She ran", "\"That was what the Sowerby woman said,\" he muttered absentmindedly.\n\nThen Mary gathered a scrap of courage.\n\n\"Is she--is she Martha's mother?\" she stammered.", "\"Martha,\" she said, \"they were your wages. It was your two-pence\nreally. Thank you.\" She said it stiffly because she was not used to", "Presently Martha went out of the room and came back with something held\nin her hands under her apron.\n\n\"What does tha' think,\" she said, with a cheerful grin. \"I've brought\nthee a present.\"", "had indeed seen as little of her as she dared. In addition to this she\nwas fond of Martha's mother.", "had the impudence to be doing under their very noses. But Martha did\nnot even see them. The interest and curiosity in Mistress Mary's face", "\"Who is going to dress me?\" demanded Mary.\n\nMartha sat up on her heels again and stared. She spoke in broad\nYorkshire in her amazement.", "The time had come when Mary had forgotten to resent Martha's familiar\ntalk. She had even begun to find it interesting and to be sorry when", "Martha was waiting for her and the trouble in her face had been\ntemporarily replaced by interest and curiosity. There was a wooden box\non the table and its cover had been removed and revealed that it was\nfull of neat packages.", "\"I heard it in the night,\" Mary went on. \"And I got up and went to see\nwhere it came from. It was Colin. I found him.\"\n\nMartha's face became red with fright.", "There was something comforting and really friendly in her queer\nYorkshire speech and sturdy way which had a good effect on Mary. She\ngradually ceased crying and became quiet. Martha looked relieved.", "When Mary at last decided to get up, the clothes Martha took from the\nwardrobe were not the ones she had worn when she arrived the night\nbefore with Mrs. Medlock.", "\"My word! that's riches,\" said Martha. \"Tha' can buy anything in th'\nworld tha' wants. Th' rent of our cottage is only one an' threepence", "Martha gave a little start, as if she remembered something. \"Now to\nthink,\" she broke out, \"to think o' me forgettin' that there; an' I", "Mary looked stiffer than ever.\n\n\"Do you want me to kiss you?\"\n\nMartha laughed again.", "She had made Martha stay with her and Martha had not objected at all.\nShe was very young, and used to a crowded cottage full of brothers and", "\"It is different in India,\" said Mistress Mary disdainfully. She could\nscarcely stand this.\n\nBut Martha was not at all crushed.", "\"I have. I have found out what the crying was,\" said Mary.\n\nMartha let her knitting drop on her knee and gazed at her with startled\neyes.", "Mary's meals were served regularly, and Martha waited on her, but no\none troubled themselves about her in the least. Mrs. Medlock came and", "Mary took the picture back to the house when she went to her supper and\nshe showed it to Martha." ], [ "\"Captain Lennox and his wife died of the cholera,\" Mr. Craven had said\nin his short, cold way. \"Captain Lennox was my wife's brother and I am", "Mr. Craven scarcely heard her last words.\n\n\"In the garden,\" he said, and after he had sent Mrs. Medlock away he\nstood and repeated it again and again. \"In the garden!\"", "The scene which Dr. Craven beheld when he entered his patient's room\nwas indeed rather astonishing to him. As Mrs. Medlock opened the door", "put in a 'sylum. It was because Mrs. Craven died like I told you. He\nwouldn't set eyes on th' baby. He just raved and said it'd be another", "\"Mrs. Craven was a very lovely young lady,\" he had gone on rather\nhesitatingly. \"An' mother she thinks maybe she's about Misselthwaite", "\"Mrs. Medlock,\" Mr. Craven said to her, \"now I have seen the child I\nunderstand what Mrs. Sowerby meant. She must be less delicate before", "\"Yes, she died,\" Mrs. Medlock answered. \"And it made him queerer than\never. He cares about nobody. He won't see people. Most of the time", "\"She ought to,\" said Mr. Craven. \"I thought her rather bold to stop me\non the moor, but she said--Mrs. Craven had been kind to her.\" It seemed", "\"Mr. Craven had it shut when his wife died so sudden. He won't let no\none go inside. It was her garden. He locked th' door an' dug a hole", "Dr. Craven started in actual alarm and Mrs. Medlock almost fell back\nbecause he had accidentally bumped against her.", "\"Good Lord!\" exclaimed poor Mrs. Medlock with her eyes almost starting\nout of her head. \"Good Lord!\"\n\n\"What is this?\" said Dr. Craven, coming forward. \"What does it mean?\"", "\"This is Miss Mary, sir,\" she said.\n\n\"You can go and leave her here. I will ring for you when I want you to\ntake her away,\" said Mr. Craven.", "\"Nobody knows for sure and certain,\" said Martha. \"Mr. Craven went off\nhis head like when he was born. Th' doctors thought he'd have to be", "Dr. Craven turned reproachfully to Mrs. Medlock. \"Oh, sir\" she panted.\n\"I don't know how it's happened. There's not a servant on the place", "she met him. She'd never spoke to him before, but Mrs. Craven had been\nto our cottage two or three times. He'd forgot, but mother hadn't an'", "him to be talked about. Folks is sorry for Mester Craven because Mrs.\nCraven was such a pretty young lady an' they was so fond of each other.", "Mrs. Medlock really was flushed.\n\n\"Well, you see, sir,\" she tried to explain, \"neither Dr. Craven, nor\nthe nurse, nor me can exactly make him out.\"", "Dr. Craven had been waiting some time at the house when they returned\nto it. He had indeed begun to wonder if it might not be wise to send", "\"It--it was the garden Mr. Craven hates,\" said Mary nervously. \"He\nlocked the door. No one--no one knew where he buried the key.\" \"What\nsort of a garden is it?\" Colin persisted eagerly.", "Your obedient servant,\n Susan Sowerby.\"\n\n\nMr. Craven read the letter twice before he put it back in its envelope.\nHe kept thinking about the dream." ], [ "It was the first time Mary had heard of them, either, but even at this\nstage she had begun to realize that, queer as he was, Colin had read", "Colin. He must not talk too much; he must not forget that he was ill;\nhe must not forget that he was very easily tired. Mary thought that\nthere seemed to be a number of uncomfortable things he was not to", "\"I don't believe he does,\" said Mary quite obstinately.\n\nThat made Colin turn and look at her again.\n\n\"Don't you?\" he said.", "Mary's lips pinched themselves together. She was no more used to\nconsidering other people than Colin was and she saw no reason why an", "\"I won't!\" said Mary.\n\n\"I'll make you,\" said Colin. \"They shall drag you in.\"", "\"Mester Colin\" had taken a fancy to going out into the grounds with\nMiss Mary and that it was doing him good. But it was not long before", "\"I thought it would be dead,\" he said.\n\n\"Mary thought so at first,\" said Colin. \"But it came alive.\"", "Even Mary had found out that one of Colin's chief peculiarities was\nthat he did not know in the least what a rude little brute he was with", "\"I heard it in the night,\" Mary went on. \"And I got up and went to see\nwhere it came from. It was Colin. I found him.\"\n\nMartha's face became red with fright.", "\"It is always having your own way that has made you so queer,\" Mary\nwent on, thinking aloud.\n\nColin turned his head, frowning.\n\n\"Am I queer?\" he demanded.", "all so alive that Mary talked more than she had ever talked before--and\nColin both talked and listened as he had never done either before. And\nthey both began to laugh over nothings as children will when they are", "It was not until afterward that Mary realized that the thing had been\nfunny as well as dreadful--that it was funny that all the grown-up\npeople were so frightened that they came to a little girl just because\nthey guessed she was almost as bad as Colin himself.", "\"I know it was something nice,\" said Mary eagerly. \"I believe it was\nsomething about Colin.\"", "\"Am I rude?\" Colin inquired undisturbedly.\n\n\"If you had been his own boy and he had been a slapping sort of man,\"\nsaid Mary, \"he would have slapped you.\"", "\"And that,\" said Mary with solemn delight, pointing under a big lilac\nbush, \"is where he perched on the little heap of earth and showed me\nthe key.\"\n\nThen Colin sat up.", "\"This is it,\" breathed Mary. \"This is where I used to walk up and down\nand wonder and wonder.\" \"Is it?\" cried Colin, and his eyes began to", "\"You are so like her now,\" said Mary, \"that sometimes I think perhaps\nyou are her ghost made into a boy.\"\n\nThat idea seemed to impress Colin. He thought it over and then\nanswered her slowly.", "They found a great deal to do that morning and Mary was late in\nreturning to the house and was also in such a hurry to get back to her\nwork that she quite forgot Colin until the last moment.", "When the door closed behind Martha, Colin found Mistress Mary gazing at\nhim as if he had set her wondering.\n\n\"Why do you look at me like that?\" he asked her. \"What are you\nthinking about?\"", "\"For sure tha' will,\" he said stoutly. \"Tha--tha's got legs o' thine\nown, same as other folks!\"\n\nMary was rather frightened until she heard Colin's answer." ], [ "Mary had never possessed an animal pet of her own and had always\nthought she should like one. So she began to feel a slight interest in", "He did answer. He twittered and chirped and hopped along the wall as\nif he were telling her all sorts of things. It seemed to Mistress Mary", "Then she waited a moment and listened at the stillness. The robin, who\nhad flown to his treetop, was still as all the rest. He did not even\nflutter his wings; he sat without stirring, and looked at Mary.", "\"Would you make friends with me?\" she said to the robin just as if she\nwas speaking to a person. \"Would you?\" And she did not say it either", "his large beak. When Mary wanted to rest a little Dickon sat down with\nher under a tree and once he took his pipe out of his pocket and played", "Mistress Mary went a step nearer to the robin and looked at him very\nhard.\n\n\"I'm lonely,\" she said.", "The robin spread his wings--Mary could scarcely believe her eyes. He\nflew right up to the handle of Ben Weatherstaff's spade and alighted on", "\"What kind of a bird is he?\" Mary asked.", "her and he greeted her with a chirp. As Mary had skipped toward him\nshe felt something heavy in her pocket strike against her at each jump,\nand when she saw the robin she laughed again.", "\"It seems as if he does,\" answered Mary. \"Dickon says anything will\nunderstand if you're friends with it for sure, but you have to be\nfriends for sure.\"", "The robin hopped about busily pecking the soil and now and then stopped\nand looked at them a little. Mary thought his black dewdrop eyes gazed", "At first the robin watched Mary and Colin with sharp anxiety. For some\nmysterious reason he knew he need not watch Dickon. The first moment", "And it really seemed as if it must be true. He so sidled and twittered\nand tilted as he hopped on his bush.\n\n\"Do you understand everything birds say?\" said Mary.", "It was really this mention of Dickon which made Mary decide to go out,\nthough she was not aware of it. There would be, birds outside though", "Sowerby's boy Dickon that could push his chair. He took a fancy to\nboth Miss Mary and Dickon, and Dickon brought his tame animals, and, if", "\"I've nothing to do,\" said Mary. \"Nothing belongs to me. I found it\nmyself and I got into it myself. I was only just like the robin, and", "which was almost a smile. She listened to him until he flew away. He\nwas not like an Indian bird and she liked him and wondered if she\nshould ever see him again. Perhaps he lived in the mysterious garden", "sat upon them keeping them warm with her feathery little breast and\ncareful wings. At first she was very nervous and the robin himself was", "Seeing him talking to a stranger, the little bushy-tailed animal rose\nfrom its place under the tree and came to him, and the rook, cawing\nonce, flew down from its branch and settled quietly on his shoulder.", "like satin and he puffed his tiny breast out and was so fine and so\ngrand and so pretty that it was really as if he were showing her how\nimportant and like a human person a robin could be. Mistress Mary" ], [ "Mistress Mary stood up and looked at it with an almost frightened face\nas it hung from her finger.\n\n\"Perhaps it has been buried for ten years,\" she said in a whisper.\n\"Perhaps it is the key to the garden!\"", "CHAPTER VII\n\nTHE KEY TO THE GARDEN\n\n\nTwo days after this, when Mary opened her eyes she sat upright in bed\nimmediately, and called to Martha.", "\"But that's not all,\" Mary went on, almost pale with solemn excitement.\n\"The rest is better. There is a door into the garden. I found it. It\nis under the ivy on the wall.\"", "\"And that,\" said Mary with solemn delight, pointing under a big lilac\nbush, \"is where he perched on the little heap of earth and showed me\nthe key.\"\n\nThen Colin sat up.", "\"That's what I thought,\" said Mary.\n\nThen there was a lovely breathless silence and the chair wheeled on.\n\n\"That is the garden where Ben Weatherstaff works,\" said Mary.", "\"If you won't make them take you to the garden,\" pleaded Mary,\n\"perhaps--I feel almost sure I can find out how to get in sometime.", "\"Oh! I forgot!\" said Mary, feeling frightened and putting her hand\nquickly against her mouth. \"Did you know about the garden?\" she asked\nagain when she had recovered herself. Dickon nodded.", "\"It--it was the garden Mr. Craven hates,\" said Mary nervously. \"He\nlocked the door. No one--no one knew where he buried the key.\" \"What\nsort of a garden is it?\" Colin persisted eagerly.", "door to be seen anywhere. Mary looked for it, and yet when she had\nentered the upper end of the garden she had noticed that the wall did", "\"I dare say,\" he answered. \"Let us talk about something else. Talk\nabout that garden. Don't you want to see it?\"\n\n\"Yes,\" answered Mary, in quite a low voice.", "\"What is this place?\" she asked.\n\n\"One o' th' kitchen-gardens,\" he answered.\n\n\"What is that?\" said Mary, pointing through the other green door.", "\"In the garden!\" he said, wondering at himself. \"In the garden! But\nthe door is locked and the key is buried deep.\"", "had been trained to ask permission or consult her elders about things.\nAll she thought about the key was that if it was the key to the closed\ngarden, and she could find out where the door was, she could perhaps", "\"When Mary found this garden it looked quite dead,\" the orator\nproceeded. \"Then something began pushing things up out of the soil and", "\"Oh! just--just a garden she used to like,\" Mary stammered. \"Have you\nbeen here always?\" \"Nearly always. Sometimes I have been taken to", "\"I have heard you crying three times,\" Mary said, \"but I did not know\nwho it was. Were you crying about that?\" She did so want him to forget\nthe garden.", "Mary felt lonelier than ever when she knew she was no longer in the\nhouse. She went out into the garden as quickly as possible, and the", "Then she slipped through it, and shut it behind her, and stood with her\nback against it, looking about her and breathing quite fast with\nexcitement, and wonder, and delight.\n\nShe was standing inside the secret garden.", "Mary sat and looked at the fire. \"I wonder,\" she said slowly, \"if it\nwould not do him good to go out into a garden and watch things growing.\nIt did me good.\"", "Mistress Mary always felt that however many years she lived she should\nnever forget that first morning when her garden began to grow. Of" ], [ "\"Ben Weatherstaff,\" he answered, and then he added with a surly\nchuckle, \"I'm lonely mysel' except when he's with me,\" and he jerked", "\"He's Ben Weatherstaff's, but I think he knows me a little,\" answered\nMary.", "Ben Weatherstaff, who had been working near a rose-bush, glanced round\nat him.", "Ben Weatherstaff had not quite got over his emotion, but he had\nrecovered a little and answered almost in his usual way.", "and Ben Weatherstaff. And you have to do your work and Ben\nWeatherstaff won't speak to me often. I thought if I had a little", "\"Well,\" said Ben Weatherstaff slowly, as he watched her, \"that's true.\nTha' hasn't.\"", "\"Ben Weatherstaff,\" called out Mary, finding her breath. She stood\nbelow him and called up to him with a sort of gasp. \"Ben Weatherstaff,\nit was the robin who showed me the way!\"", "This sounded so imposing that Ben Weatherstaff became quite excited and\nreally could not keep still. \"Aye, aye, sir,\" he said and he began to\nstand up quite straight.", "Ben Weatherstaff chuckled and there was shrewd admiration in his little\nold eyes.", "How Ben Weatherstaff stared! His red old eyes fixed themselves on what\nwas before him as if he were seeing a ghost. He gazed and gazed and", "When he had finished, Ben Weatherstaff was standing quite still with\nhis jaws set obstinately but with a disturbed look in his eyes fixed on\nColin. Colin's face was thoughtful and appreciative.", "name's Ben Weatherstaff. I wouldn't have believed tha' could do it.\"", "\"Susan Sowerby,\" said Ben Weatherstaff, getting close to her. \"Look at\nth' lad's legs, wilt tha'? They was like drumsticks i' stockin' two", "It is a Yorkshire habit to say what you think with blunt frankness, and\nold Ben Weatherstaff was a Yorkshire moor man.", "Ben Weatherstaff's face twisted itself in a dry old smile.\n\n\"I've come here before when no one saw me,\" he said.\n\n\"What!\" exclaimed Colin.", "\"Both of 'em,\" returned Ben Weatherstaff. \"Thank ye kindly, ma'am, I\ncould sup up another mug of it.\"", "\"Aye, aye, sir!\" said Ben Weatherstaff. \"Aye, aye!\"", "\"Tha' mother,\" answered Ben Weatherstaff.\n\n\"My mother?\" said Colin, and he looked about him quietly. \"This was\nher garden, wasn't it?\"", "Ben Weatherstaff passed his hand over his forehead again and gazed as\nif he could never gaze enough. His hand shook and his mouth shook and", "kitchen-garden and found Ben Weatherstaff working there with two other\ngardeners. The change in the weather seemed to have done him good. He" ], [ "\"That's what I thought,\" said Mary.\n\nThen there was a lovely breathless silence and the chair wheeled on.\n\n\"That is the garden where Ben Weatherstaff works,\" said Mary.", "\"I dare say,\" he answered. \"Let us talk about something else. Talk\nabout that garden. Don't you want to see it?\"\n\n\"Yes,\" answered Mary, in quite a low voice.", "On the grass near the tree Mary had dropped her trowel. Colin\nstretched out his hand and took it up. An odd expression came into his", "\"When Mary found this garden it looked quite dead,\" the orator\nproceeded. \"Then something began pushing things up out of the soil and", "\"But that's not all,\" Mary went on, almost pale with solemn excitement.\n\"The rest is better. There is a door into the garden. I found it. It\nis under the ivy on the wall.\"", "tools, and there was only one moment when Mary was frightened. This\nwas when she began to ask where the flowers were to be planted.", "But because he kept breaking into a slow grin now and then, Mary was\nnot afraid to talk to him.\n\n\"Have you a garden of your own?\" she asked.", "the roses and trees had been pruned or dug about. Dickon had brought a\nspade of his own and he had taught Mary to use all her tools, so that", "\"Rose-trees,\" said Mary. \"Are there rose-trees?\"\n\nBen Weatherstaff took up his spade again and began to dig.", "CHAPTER VII\n\nTHE KEY TO THE GARDEN\n\n\nTwo days after this, when Mary opened her eyes she sat upright in bed\nimmediately, and called to Martha.", "\"I have heard you crying three times,\" Mary said, \"but I did not know\nwho it was. Were you crying about that?\" She did so want him to forget\nthe garden.", "\"Oh! I forgot!\" said Mary, feeling frightened and putting her hand\nquickly against her mouth. \"Did you know about the garden?\" she asked\nagain when she had recovered herself. Dickon nodded.", "\"Oh! just--just a garden she used to like,\" Mary stammered. \"Have you\nbeen here always?\" \"Nearly always. Sometimes I have been taken to", "\"What is this place?\" she asked.\n\n\"One o' th' kitchen-gardens,\" he answered.\n\n\"What is that?\" said Mary, pointing through the other green door.", "He began to dig again, driving his spade deep into the rich black\ngarden soil while the robin hopped about very busily employed.\n\n\"What is your name?\" Mary inquired.", "Mary and Dickon worked a little here and there and Colin watched them.\nThey brought him things to look at--buds which were opening, buds which", "\"I can have my garden!\" cried Mary. \"I may have it where I like! I am\nnot going to have a governess for a long time! Your mother is coming to", "Mary sat and looked at the fire. \"I wonder,\" she said slowly, \"if it\nwould not do him good to go out into a garden and watch things growing.\nIt did me good.\"", "\"Will you come again and help me to do it?\" Mary begged. \"I'm sure I\ncan help, too. I can dig and pull up weeds, and do whatever you tell\nme. Oh! do come, Dickon!\"", "CHAPTER XXVII\n\nIN THE GARDEN" ], [ "Mr. Craven scarcely heard her last words.\n\n\"In the garden,\" he said, and after he had sent Mrs. Medlock away he\nstood and repeated it again and again. \"In the garden!\"", "\"Where is Master Colin now?\" Mr. Craven asked.\n\n\"In the garden, sir. He's always in the garden--though not a human\ncreature is allowed to go near for fear they'll look at him.\"", "Your obedient servant,\n Susan Sowerby.\"\n\n\nMr. Craven read the letter twice before he put it back in its envelope.\nHe kept thinking about the dream.", "\"Mr. Craven had it shut when his wife died so sudden. He won't let no\none go inside. It was her garden. He locked th' door an' dug a hole", "\"It--it was the garden Mr. Craven hates,\" said Mary nervously. \"He\nlocked the door. No one--no one knew where he buried the key.\" \"What\nsort of a garden is it?\" Colin persisted eagerly.", "That's Mr. Craven's orders. His troubles are none servants' business,\nhe says. But for th' garden he wouldn't be like he is. It was Mrs.", "\"Why did Mr. Craven hate the garden?\" she said.", "Mr. Craven had extended them just in time to save him from falling as a\nresult of his unseeing dash against him, and when he held him away to\nlook at him in amazement at his being there he truly gasped for breath.", "shrinking from him? How real that dream had been--how wonderful and\nclear the voice which called back to him, \"In the garden--In the\ngarden!\"", "Dr. Craven had been waiting some time at the house when they returned\nto it. He had indeed begun to wonder if it might not be wise to send", "CHAPTER XXVII\n\nIN THE GARDEN", "The scene which Dr. Craven beheld when he entered his patient's room\nwas indeed rather astonishing to him. As Mrs. Medlock opened the door", "\"In the garden!\" he said, wondering at himself. \"In the garden! But\nthe door is locked and the key is buried deep.\"", "\"I've got somethin' to tell you,\" she said. \"I thought I'd let you eat\nyour dinner first. Mr. Craven came back this mornin' and I think he\nwants to see you.\"", "Craven's garden that she had made when first they were married an' she\njust loved it, an' they used to 'tend the flowers themselves. An' none", "\"Them's just like his mother's eyes, only hers was always laughin',\nthey say,\" he said. \"They say as Mr. Craven can't bear to see him when", "\"Now I am going to walk round the garden,\" he announced.\n\nBen Weatherstaff's head had just dropped forward and he lifted it with\na jerk.\n\n\"You have been asleep,\" said Colin.", "Like Mrs. Medlock, he did not understand what his father meant when he\nsaid hurriedly:\n\n\"In the garden! In the garden!\"", "he had gone away Mr. Craven sat a few moments holding them in his hand\nand looking at the lake. His strange calm was still upon him and\nsomething more--a lightness as if the cruel thing which had been done", "see what it was like. Why had Mr. Archibald Craven buried the key? If\nhe had liked his wife so much why did he hate her garden? She wondered" ], [ "Mistress Mary always felt that however many years she lived she should\nnever forget that first morning when her garden began to grow. Of", "Mary sat and looked at the fire. \"I wonder,\" she said slowly, \"if it\nwould not do him good to go out into a garden and watch things growing.\nIt did me good.\"", "\"I dare say,\" he answered. \"Let us talk about something else. Talk\nabout that garden. Don't you want to see it?\"\n\n\"Yes,\" answered Mary, in quite a low voice.", "\"That's what I thought,\" said Mary.\n\nThen there was a lovely breathless silence and the chair wheeled on.\n\n\"That is the garden where Ben Weatherstaff works,\" said Mary.", "Mary was afraid that she might begin to ask difficult questions, but\nshe did not. She was very much interested in the seeds and gardening", "But because he kept breaking into a slow grin now and then, Mary was\nnot afraid to talk to him.\n\n\"Have you a garden of your own?\" she asked.", "\"When Mary found this garden it looked quite dead,\" the orator\nproceeded. \"Then something began pushing things up out of the soil and", "\"I can have my garden!\" cried Mary. \"I may have it where I like! I am\nnot going to have a governess for a long time! Your mother is coming to", "\"What is this place?\" she asked.\n\n\"One o' th' kitchen-gardens,\" he answered.\n\n\"What is that?\" said Mary, pointing through the other green door.", "\"Rose-trees,\" said Mary. \"Are there rose-trees?\"\n\nBen Weatherstaff took up his spade again and began to dig.", "\"What happened to the roses?\" Mary asked again, more interested than\never.\n\n\"They was left to themselves.\"\n\nMary was becoming quite excited.", "\"Will you come again and help me to do it?\" Mary begged. \"I'm sure I\ncan help, too. I can dig and pull up weeds, and do whatever you tell\nme. Oh! do come, Dickon!\"", "\"Oh! just--just a garden she used to like,\" Mary stammered. \"Have you\nbeen here always?\" \"Nearly always. Sometimes I have been taken to", "\"I have heard you crying three times,\" Mary said, \"but I did not know\nwho it was. Were you crying about that?\" She did so want him to forget\nthe garden.", "\"He hates the garden, because she died,\" said Mary half speaking to\nherself.\n\n\"What garden?\" the boy asked.", "\"Oh! I forgot!\" said Mary, feeling frightened and putting her hand\nquickly against her mouth. \"Did you know about the garden?\" she asked\nagain when she had recovered herself. Dickon nodded.", "He had traveled far and wide since the day he saw Mistress Mary in his\nstudy and told her she might have her \"bit of earth.\" He had been in", "CHAPTER VII\n\nTHE KEY TO THE GARDEN\n\n\nTwo days after this, when Mary opened her eyes she sat upright in bed\nimmediately, and called to Martha.", "After she was gone Mary turned down the walk which led to the door in\nthe shrubbery. She could not help thinking about the garden which no", "\"Mester Colin\" had taken a fancy to going out into the grounds with\nMiss Mary and that it was doing him good. But it was not long before" ], [ "\"Oh! I forgot!\" said Mary, feeling frightened and putting her hand\nquickly against her mouth. \"Did you know about the garden?\" she asked\nagain when she had recovered herself. Dickon nodded.", "At first the robin watched Mary and Colin with sharp anxiety. For some\nmysterious reason he knew he need not watch Dickon. The first moment", "Mary and Dickon worked a little here and there and Colin watched them.\nThey brought him things to look at--buds which were opening, buds which", "\"Yes,\" hurried on Colin. \"It was the garden that did it--and Mary and\nDickon and the creatures--and the Magic. No one knows. We kept it to", "Dickon began to push the wheeled chair slowly and steadily. Mistress\nMary walked beside it and Colin leaned back and lifted his face to the", "Mary flew across the grass to him.\n\n\"Oh, Dickon! Dickon!\" she cried out. \"How could you get here so early!\nHow could you! The sun has only just got up!\"", "In the midst of this stillness it was rather startling when Colin half\nlifted his head and exclaimed in a loud suddenly alarmed whisper:\n\n\"Who is that man?\" Dickon and Mary scrambled to their feet.", "Mary put her hands on her chest, panting, as if she had been running\nherself.\n\n\"Oh, Dickon! Dickon!\" she said. \"I'm so happy I can scarcely breathe!\"", "\"I wanted mine this morning,\" said Colin. \"Perhaps it was the fresh\nair. When do you think Dickon will come?\"\n\nHe was not long in coming. In about ten minutes Mary held up her hand.", "Dickon went back to the garden with his creatures and Mary stayed with\nColin. She did not think he looked tired but he was very quiet before", "The morning that Dickon--after they had been enjoying themselves in the\ngarden for about two hours--went behind a big rosebush and brought", "In five minutes Mary was with Dickon in their garden. The fox and the\ncrow were with him again and this time he had brought two tame", "\"Mary! Dickon!\" he cried. \"Just look at me!\"\n\nThey stopped their weeding and looked at him.\n\n\"Do you remember that first morning you brought me in here?\" he\ndemanded.", "\"It's Dickon,\" Mary spoke up suddenly. She felt somehow that everybody\nwho knew the moor must know Dickon. And she was right, too. She saw", "\"That's a very old tree over there, isn't it?\" he said. Dickon looked\nacross the grass at the tree and Mary looked and there was a brief\nmoment of stillness.", "\"Oh!\" exclaimed Mary, \"then I shall see him! I never thought I should\nsee Dickon.\"\n\n\"Does tha' want to see him?\" asked Martha suddenly, for Mary had looked\nso pleased.", "which had seemed like deadness and the secret Mistress Mary had planned\nnever to reveal. The coming of Dickon and how it had been told to him,\nthe doubt of Mester Colin and the final drama of his introduction to", "of rough stones. Early in the morning and late in the fading twilight\nand on all the days Colin and Mary did not see him, Dickon worked there", "\"It's this,\" she said. \"It's a secret garden, and I'm the only one in\nthe world who wants it to be alive.\"\n\nDickon looked round and round about it, and round and round again.", "\"We'd never get on as comfortable as we do,\" Mrs. Sowerby said, \"if it\nwasn't for Dickon's garden. Anything'll grow for him. His 'taters and" ], [ "Ten years was a long time, Mary thought. She had been born ten years\nago.", "\"How old are you?\" he asked.\n\n\"I am ten,\" answered Mary, forgetting herself for the moment, \"and so\nare you.\"\n\n\"How do you know that?\" he demanded in a surprised voice.", "\"Yes, I think so,\" he replied.\n\n\"She knows about children,\" said Mary. \"She has twelve. She knows.\"\n\nHe seemed to rouse himself.", "of her, nobody wanted her, and strange things happened of which she\nknew nothing. Mary alternately cried and slept through the hours. She\nonly knew that people were ill and that she heard mysterious and", "Besides, she is mine and I don't want everyone to see her.\" There were\na few moments of silence and then Mary spoke.", "three months, and when other governesses came to try to fill it they\nalways went away in a shorter time than the first one. So if Mary had\nnot chosen to really want to know how to read books she would never", "for ten years. As she was not at all a timid child and always did what\nshe wanted to do, Mary went to the green door and turned the handle.", "\"I have been here a long time,\" said Mary. \"Shall I go away now? Your\neyes look sleepy.\"\n\n\"I wish I could go to sleep before you leave me,\" he said rather shyly.", "\"She knows all about children,\" Mary said again in spite of herself.", "\"Eh! Miss Mary,\" she said, \"it may put him all out of humor when I tell\nhim that.\"\n\nBut Mary was not as afraid of him as other people were and she was not\na self-sacrificing person.", "CHAPTER XVI\n\n\"I WON'T!\" SAID MARY", "also. She was a healthy young woman who resented being robbed of her\nsleep and she yawned quite openly as she looked at Mary, who had pushed", "\"Oh, Mary!\" he said. \"Oh, Mary! If I could get into it I think I\nshould live to grow up! Do you suppose that instead of singing the Ayah", "\"There was ten year' ago,\" he mumbled.\n\n\"I should like to see them,\" said Mary. \"Where is the green door?\nThere must be a door somewhere.\"", "He rubbed his forehead fretfully as he looked her over.\n\n\"You are very thin,\" he said.\n\n\"I am getting fatter,\" Mary answered in what she knew was her stiffest\nway.", "CHAPTER VII\n\nTHE KEY TO THE GARDEN\n\n\nTwo days after this, when Mary opened her eyes she sat upright in bed\nimmediately, and called to Martha.", "But something troubled and awkward in her manner made Mistress Mary\nstare very hard at her. She did not believe she was speaking the truth.\n\n\n\n\nCHAPTER VI", "\"This is Miss Mary, sir,\" she said.\n\n\"You can go and leave her here. I will ring for you when I want you to\ntake her away,\" said Mr. Craven.", "Then Mary did a strange thing. She leaned forward and asked him a\nquestion she had never dreamed of asking any one before. And she tried", "\"Oh! just--just a garden she used to like,\" Mary stammered. \"Have you\nbeen here always?\" \"Nearly always. Sometimes I have been taken to" ], [ "of her, nobody wanted her, and strange things happened of which she\nknew nothing. Mary alternately cried and slept through the hours. She\nonly knew that people were ill and that she heard mysterious and", "Ten years was a long time, Mary thought. She had been born ten years\nago.", "Mary was an odd, determined little person, and now she had something\ninteresting to be determined about, she was very much absorbed, indeed.", "Besides, she is mine and I don't want everyone to see her.\" There were\na few moments of silence and then Mary spoke.", "\"Eh! Miss Mary,\" she said, \"it may put him all out of humor when I tell\nhim that.\"\n\nBut Mary was not as afraid of him as other people were and she was not\na self-sacrificing person.", "Mary had liked to look at her mother from a distance and she had\nthought her very pretty, but as she knew very little of her she could", "\"She knows all about children,\" Mary said again in spite of herself.", "Mary reflected a little.", "\"That was what the Sowerby woman said,\" he muttered absentmindedly.\n\nThen Mary gathered a scrap of courage.\n\n\"Is she--is she Martha's mother?\" she stammered.", "Then Mary told him about Basil and his brothers and sisters in India\nand of how she had hated them and of their calling her \"Mistress Mary\nQuite Contrary.\"", "Then Mary did a strange thing. She leaned forward and asked him a\nquestion she had never dreamed of asking any one before. And she tried", "Mary made the long voyage to England under the care of an officer's\nwife, who was taking her children to leave them in a boarding-school.", "\"Yes, I think so,\" he replied.\n\n\"She knows about children,\" said Mary. \"She has twelve. She knows.\"\n\nHe seemed to rouse himself.", "It was the first time Mary had heard of them, either, but even at this\nstage she had begun to realize that, queer as he was, Colin had read", "\"Yes,\" answered Mary. \"Shut your eyes.\"\n\nHe closed his eyes and lay quite still and she held his hand and began\nto speak very slowly and in a very low voice.", "distance there was a glimpse of the turrets of a castle. There were\nhunters and horses and dogs and ladies. Mary felt as if she were in", "Mary had begun to listen in spite of herself. It all sounded so unlike\nIndia, and anything new rather attracted her. But she did not intend", "\"I suppose I may as well tell you something about where you are going\nto,\" she said. \"Do you know anything about your uncle?\"\n\n\"No,\" said Mary.", "all, and when Mary was born she handed her over to the care of an Ayah,\nwho was made to understand that if she wished to please the Mem Sahib", "\"No,\" answered Mary, quite indignantly. \"I never did in my life. My\nAyah dressed me, of course.\"" ], [ "It was in that strange and sudden way that Mary found out that she had\nneither father nor mother left; that they had died and been carried", "\"Never heard your father and mother talk about him?\"\n\n\"No,\" said Mary frowning. She frowned because she remembered that her\nfather and mother had never talked to her about anything in particular.\nCertainly they had never told her things.", "of her, nobody wanted her, and strange things happened of which she\nknew nothing. Mary alternately cried and slept through the hours. She\nonly knew that people were ill and that she heard mysterious and", "Besides, she is mine and I don't want everyone to see her.\" There were\na few moments of silence and then Mary spoke.", "\"Eh! Miss Mary,\" she said, \"it may put him all out of humor when I tell\nhim that.\"\n\nBut Mary was not as afraid of him as other people were and she was not\na self-sacrificing person.", "Mary had liked to look at her mother from a distance and she had\nthought her very pretty, but as she knew very little of her she could", "\"Your father!\" gasped Mary. \"No one ever told me he had a boy! Why\ndidn't they?\"\n\n\"Come here,\" he said, still keeping his strange eyes fixed on her with\nan anxious expression.", "one like himself in his life and, upon the whole, it was rather good\nfor him, though neither he nor Mary knew anything about that. He\nturned his head on his pillow and shut his eyes and a big tear was", "\"That was what the Sowerby woman said,\" he muttered absentmindedly.\n\nThen Mary gathered a scrap of courage.\n\n\"Is she--is she Martha's mother?\" she stammered.", "It was the first time Mary had heard of them, either, but even at this\nstage she had begun to realize that, queer as he was, Colin had read", "He rubbed his forehead fretfully as he looked her over.\n\n\"You are very thin,\" he said.\n\n\"I am getting fatter,\" Mary answered in what she knew was her stiffest\nway.", "Mary always wanted to hear about mother.\n\n\"What did she say?\" she asked, not at all afraid to hear.\n\nDickon grinned sweet-temperedly.", "\"They won't talk about it,\" said Mary. \"I think they have been told\nnot to answer questions.\"\n\n\"I would make them,\" said Colin.", "\"Yes,\" answered Mary. \"Shut your eyes.\"\n\nHe closed his eyes and lay quite still and she held his hand and began\nto speak very slowly and in a very low voice.", "\"He wouldn't like me,\" said Mary in her stiff, cold little way. \"No\none does.\"\n\nMartha looked reflective again.", "\"I suppose I may as well tell you something about where you are going\nto,\" she said. \"Do you know anything about your uncle?\"\n\n\"No,\" said Mary.", "had the impudence to be doing under their very noses. But Martha did\nnot even see them. The interest and curiosity in Mistress Mary's face", "\"Am I rude?\" Colin inquired undisturbedly.\n\n\"If you had been his own boy and he had been a slapping sort of man,\"\nsaid Mary, \"he would have slapped you.\"", "all so alive that Mary talked more than she had ever talked before--and\nColin both talked and listened as he had never done either before. And\nthey both began to laugh over nothings as children will when they are", "It was not until afterward that Mary realized that the thing had been\nfunny as well as dreadful--that it was funny that all the grown-up\npeople were so frightened that they came to a little girl just because\nthey guessed she was almost as bad as Colin himself." ], [ "of her, nobody wanted her, and strange things happened of which she\nknew nothing. Mary alternately cried and slept through the hours. She\nonly knew that people were ill and that she heard mysterious and", "\"This is Miss Mary, sir,\" she said.\n\n\"You can go and leave her here. I will ring for you when I want you to\ntake her away,\" said Mr. Craven.", "Mary made the long voyage to England under the care of an officer's\nwife, who was taking her children to leave them in a boarding-school.", "Mary's meals were served regularly, and Martha waited on her, but no\none troubled themselves about her in the least. Mrs. Medlock came and", "\"She knows all about children,\" Mary said again in spite of herself.", "Besides, she is mine and I don't want everyone to see her.\" There were\na few moments of silence and then Mary spoke.", "\"Yes, I know her very well,\" said Mary. \"She waits on me.\"\n\nHe nodded his head toward the outer corridor.", "Mary was an odd, determined little person, and now she had something\ninteresting to be determined about, she was very much absorbed, indeed.", "all, and when Mary was born she handed her over to the care of an Ayah,\nwho was made to understand that if she wished to please the Mem Sahib", "\"Yes, I think so,\" he replied.\n\n\"She knows about children,\" said Mary. \"She has twelve. She knows.\"\n\nHe seemed to rouse himself.", "It was in that strange and sudden way that Mary found out that she had\nneither father nor mother left; that they had died and been carried", "\"That was what the Sowerby woman said,\" he muttered absentmindedly.\n\nThen Mary gathered a scrap of courage.\n\n\"Is she--is she Martha's mother?\" she stammered.", "They found a great deal to do that morning and Mary was late in\nreturning to the house and was also in such a hurry to get back to her\nwork that she quite forgot Colin until the last moment.", "\"Eh! Miss Mary,\" she said, \"it may put him all out of humor when I tell\nhim that.\"\n\nBut Mary was not as afraid of him as other people were and she was not\na self-sacrificing person.", "Mary had never possessed an animal pet of her own and had always\nthought she should like one. So she began to feel a slight interest in", "Mary had thought he meant something about Magic. She was a great\nbeliever in Magic. Secretly she quite believed that Dickon worked", "three months, and when other governesses came to try to fill it they\nalways went away in a shorter time than the first one. So if Mary had\nnot chosen to really want to know how to read books she would never", "Mary was at his bedside again.", "\"I have heard you crying three times,\" Mary said, \"but I did not know\nwho it was. Were you crying about that?\" She did so want him to forget\nthe garden.", "She put both hands on Mistress Mary's shoulders and looked her little\nface over in a motherly fashion." ], [ "It was in that strange and sudden way that Mary found out that she had\nneither father nor mother left; that they had died and been carried", "of her, nobody wanted her, and strange things happened of which she\nknew nothing. Mary alternately cried and slept through the hours. She\nonly knew that people were ill and that she heard mysterious and", "After that, appalling things happened, and the mysteriousness of the\nmorning was explained to Mary. The cholera had broken out in its most", "\"Captain Lennox and his wife died of the cholera,\" Mr. Craven had said\nin his short, cold way. \"Captain Lennox was my wife's brother and I am", "of them thinking strange things children do not usually think. \"I like\nthe grand doctor from London, because he made them take the iron thing\noff,\" said Mary at last \"Did he say you were going to die?\"", "\"It's enough for a person who is going to die,\" answered Mary when\nfirst she heard this, \"but it's not enough for a person who is going to", "Colin. He must not talk too much; he must not forget that he was ill;\nhe must not forget that he was very easily tired. Mary thought that\nthere seemed to be a number of uncomfortable things he was not to", "\"Nothing really ails them,\" he said, \"but they are so thin and weak.\nThey shake so that I'm afraid to try to stand on them.\"\n\nBoth Mary and Dickon drew a relieved breath.", "\"He hates the garden, because she died,\" said Mary half speaking to\nherself.\n\n\"What garden?\" the boy asked.", "fatal form and people were dying like flies. The Ayah had been taken\nill in the night, and it was because she had just died that the", "\"I've seen him. I have been to talk to him every day this week. He\nwants me to come. He says I'm making him forget about being ill and\ndying,\" answered Mary.", "her that though. Colin was quite quiet he was ill and feverish as he\nalways was after he had worn himself out with a fit of crying. Mary\nate her breakfast slowly as she listened.", "\"I thought it would be dead,\" he said.\n\n\"Mary thought so at first,\" said Colin. \"But it came alive.\"", "\"Where is she now?\" asked Mary, much interested.\n\n\"Heaven,\" he answered, and drove his spade deep into the soil,\n\"'cording to what parson says.\"", "\"Never heard your father and mother talk about him?\"\n\n\"No,\" said Mary frowning. She frowned because she remembered that her\nfather and mother had never talked to her about anything in particular.\nCertainly they had never told her things.", "\"Yes, she died,\" Mrs. Medlock answered. \"And it made him queerer than\never. He cares about nobody. He won't see people. Most of the time", "\"It's as wick as you or me,\" he said; and Mary remembered that Martha\nhad told her that \"wick\" meant \"alive\" or \"lively.\"", "\"Your father!\" gasped Mary. \"No one ever told me he had a boy! Why\ndidn't they?\"\n\n\"Come here,\" he said, still keeping his strange eyes fixed on her with\nan anxious expression.", "one like himself in his life and, upon the whole, it was rather good\nfor him, though neither he nor Mary knew anything about that. He\nturned his head on his pillow and shut his eyes and a big tear was", "He rubbed his forehead fretfully as he looked her over.\n\n\"You are very thin,\" he said.\n\n\"I am getting fatter,\" Mary answered in what she knew was her stiffest\nway." ], [ "It was in that strange and sudden way that Mary found out that she had\nneither father nor mother left; that they had died and been carried", "of her, nobody wanted her, and strange things happened of which she\nknew nothing. Mary alternately cried and slept through the hours. She\nonly knew that people were ill and that she heard mysterious and", "three months, and when other governesses came to try to fill it they\nalways went away in a shorter time than the first one. So if Mary had\nnot chosen to really want to know how to read books she would never", "When Mary Lennox was sent to Misselthwaite Manor to live with her uncle\neverybody said she was the most disagreeable-looking child ever seen.", "\"Where do you live now?\" said Mary aloud to her. \"I wish you were\nhere.\"", "\"This is Miss Mary, sir,\" she said.\n\n\"You can go and leave her here. I will ring for you when I want you to\ntake her away,\" said Mr. Craven.", "\"I can have my garden!\" cried Mary. \"I may have it where I like! I am\nnot going to have a governess for a long time! Your mother is coming to", "Mary felt lonelier than ever when she knew she was no longer in the\nhouse. She went out into the garden as quickly as possible, and the", "\"I suppose I may as well tell you something about where you are going\nto,\" she said. \"Do you know anything about your uncle?\"\n\n\"No,\" said Mary.", "\"Where is she now?\" asked Mary, much interested.\n\n\"Heaven,\" he answered, and drove his spade deep into the soil,\n\"'cording to what parson says.\"", "\"It's enough for a person who is going to die,\" answered Mary when\nfirst she heard this, \"but it's not enough for a person who is going to", "\"No. I'm bachelder an' lodge with Martin at th' gate.\"\n\n\"If you had one,\" said Mary, \"what would you plant?\"", "\"Never heard your father and mother talk about him?\"\n\n\"No,\" said Mary frowning. She frowned because she remembered that her\nfather and mother had never talked to her about anything in particular.\nCertainly they had never told her things.", "Mary's meals were served regularly, and Martha waited on her, but no\none troubled themselves about her in the least. Mrs. Medlock came and", "\"Oh! Mary!\" he cried out with a half sob. \"Shall I see it? Shall I get\ninto it? Shall I live to get into it?\" and he clutched her hands and\ndragged her toward him.", "\"He hates the garden, because she died,\" said Mary half speaking to\nherself.\n\n\"What garden?\" the boy asked.", "\"Yes, she died,\" Mrs. Medlock answered. \"And it made him queerer than\never. He cares about nobody. He won't see people. Most of the time", "Mary stood near the door with her candle in her hand, holding her\nbreath. Then she crept across the room, and, as she drew nearer, the", "in by itself,\" she ended passionately, and she threw her arms over her\nface and burst out crying-poor little Mistress Mary.", "\"I thought it would be dead,\" he said.\n\n\"Mary thought so at first,\" said Colin. \"But it came alive.\"" ], [ "\"I suppose I may as well tell you something about where you are going\nto,\" she said. \"Do you know anything about your uncle?\"\n\n\"No,\" said Mary.", "\"I am Mary Lennox. Mr. Craven is my uncle.\"\n\n\"He is my father,\" said the boy.", "\"Eh! Miss Mary,\" she said, \"it may put him all out of humor when I tell\nhim that.\"\n\nBut Mary was not as afraid of him as other people were and she was not\na self-sacrificing person.", "It was the first time Mary had heard of them, either, but even at this\nstage she had begun to realize that, queer as he was, Colin had read", "\"Your father!\" gasped Mary. \"No one ever told me he had a boy! Why\ndidn't they?\"\n\n\"Come here,\" he said, still keeping his strange eyes fixed on her with\nan anxious expression.", "\"Never heard your father and mother talk about him?\"\n\n\"No,\" said Mary frowning. She frowned because she remembered that her\nfather and mother had never talked to her about anything in particular.\nCertainly they had never told her things.", "\"This is Miss Mary, sir,\" she said.\n\n\"You can go and leave her here. I will ring for you when I want you to\ntake her away,\" said Mr. Craven.", "of her, nobody wanted her, and strange things happened of which she\nknew nothing. Mary alternately cried and slept through the hours. She\nonly knew that people were ill and that she heard mysterious and", "\"I've never seen him,\" said Mary. \"I've only seen undergardeners and\nBen Weatherstaff.\"", "Even Mary had found out that one of Colin's chief peculiarities was\nthat he did not know in the least what a rude little brute he was with", "\"That's what I thought,\" said Mary.\n\nThen there was a lovely breathless silence and the chair wheeled on.\n\n\"That is the garden where Ben Weatherstaff works,\" said Mary.", "Then Mary told him about Basil and his brothers and sisters in India\nand of how she had hated them and of their calling her \"Mistress Mary\nQuite Contrary.\"", "He said it in such an odd way that Mary wondered if he was actually a\nlittle sorry for her. She had never felt sorry for herself; she had", "\"I don't believe he does,\" said Mary quite obstinately.\n\nThat made Colin turn and look at her again.\n\n\"Don't you?\" he said.", "Mary had thought he meant something about Magic. She was a great\nbeliever in Magic. Secretly she quite believed that Dickon worked", "\"A secret,\" he said. \"What do you mean? Tell me.\"\n\nMary's words almost tumbled over one another.", "Besides, she is mine and I don't want everyone to see her.\" There were\na few moments of silence and then Mary spoke.", "\"I heard it in the night,\" Mary went on. \"And I got up and went to see\nwhere it came from. It was Colin. I found him.\"\n\nMartha's face became red with fright.", "great aunts. She looks rather like you, Mary--not as you look now but\nas you looked when you came here. Now you are a great deal fatter and\nbetter looking.\"", "\"That was what the Sowerby woman said,\" he muttered absentmindedly.\n\nThen Mary gathered a scrap of courage.\n\n\"Is she--is she Martha's mother?\" she stammered." ], [ "days and go to her uncle, Mr. Archibald Craven, who lived at\nMisselthwaite Manor, she looked so stony and stubbornly uninterested", "As he sat gazing into the clear running of the water, Archibald Craven\ngradually felt his mind and body both grow quiet, as quiet as the", "la Houppe.\" It had been about a poor hunchback and a beautiful princess\nand it had made her suddenly sorry for Mr. Archibald Craven.", "sister Mabel was sent to her last year. You are not going to your\ngrandmama. You have none. You are going to your uncle. His name is\nMr. Archibald Craven.\"", "\"Archie! Archie! Archie!\" it said, and then again, sweeter and clearer\nthan before, \"Archie! Archie!\"", "registers was, \"Archibald Craven, Misselthwaite Manor, Yorkshire,\nEngland.\"", "She was very much absorbed in her own little boy and girl, and was\nrather glad to hand the child over to the woman Mr. Archibald Craven", "\"I know you don't,\" Basil answered. \"You don't know anything. Girls\nnever do. I heard father and mother talking about him. He lives in a", "It was the strangest thing he had ever heard, Archibald Craven thought,\nas it was poured forth in headlong boy fashion. Mystery and Magic and", "the remote rooms where he usually lived attended by Pitcher. He went\ninto the library and sent for Mrs. Medlock. She came to him somewhat\nexcited and curious and flustered.", "\"It's in the garden no one can go into,\" she said to herself. \"It's\nthe garden without a door. He lives in there. How I wish I could see\nwhat it is like!\"", "And there's pictures and fine old furniture and things that's been\nthere for ages, and there's a big park round it and gardens and trees\nwith branches trailing to the ground--some of them.\" She paused and", "\"He's got a crooked back,\" she said. \"That set him wrong. He was a\nsour young man and got no good of all his money and big place till he\nwas married.\"", "\"She doesn't know where home is!\" said Basil, with seven-year-old\nscorn. \"It's England, of course. Our grandmama lives there and our", "\"No. I'm bachelder an' lodge with Martin at th' gate.\"\n\n\"If you had one,\" said Mary, \"what would you plant?\"", "Dr. Craven had been waiting some time at the house when they returned\nto it. He had indeed begun to wonder if it might not be wise to send", "\"It's the strangest house any one ever lived in,\" said Mary drowsily,\nas she dropped her head on the cushioned seat of the armchair near her.", "\"A hundred rooms no one goes into,\" he said. \"It sounds almost like a\nsecret garden. Suppose we go and look at them. Wheel me in my chair\nand nobody would know we went.\"", "who lived in it on sixteen shillings a week--and the children who got\nfat on the moor grass like the wild ponies. And about Dickon's", "she could keep it was to do at once what Mr. Archibald Craven told her\nto do. She never dared even to ask a question." ], [ "The scene which Dr. Craven beheld when he entered his patient's room\nwas indeed rather astonishing to him. As Mrs. Medlock opened the door", "Mr. Craven scarcely heard her last words.\n\n\"In the garden,\" he said, and after he had sent Mrs. Medlock away he\nstood and repeated it again and again. \"In the garden!\"", "\"Captain Lennox and his wife died of the cholera,\" Mr. Craven had said\nin his short, cold way. \"Captain Lennox was my wife's brother and I am", "Dr. Craven started in actual alarm and Mrs. Medlock almost fell back\nbecause he had accidentally bumped against her.", "\"Mrs. Craven was a very lovely young lady,\" he had gone on rather\nhesitatingly. \"An' mother she thinks maybe she's about Misselthwaite", "put in a 'sylum. It was because Mrs. Craven died like I told you. He\nwouldn't set eyes on th' baby. He just raved and said it'd be another", "\"She ought to,\" said Mr. Craven. \"I thought her rather bold to stop me\non the moor, but she said--Mrs. Craven had been kind to her.\" It seemed", "Dr. Craven had been waiting some time at the house when they returned\nto it. He had indeed begun to wonder if it might not be wise to send", "\"Mr. Craven had it shut when his wife died so sudden. He won't let no\none go inside. It was her garden. He locked th' door an' dug a hole", "\"Mrs. Medlock,\" Mr. Craven said to her, \"now I have seen the child I\nunderstand what Mrs. Sowerby meant. She must be less delicate before", "\"Nobody knows for sure and certain,\" said Martha. \"Mr. Craven went off\nhis head like when he was born. Th' doctors thought he'd have to be", "\"Good Lord!\" exclaimed poor Mrs. Medlock with her eyes almost starting\nout of her head. \"Good Lord!\"\n\n\"What is this?\" said Dr. Craven, coming forward. \"What does it mean?\"", "Dr. Craven turned reproachfully to Mrs. Medlock. \"Oh, sir\" she panted.\n\"I don't know how it's happened. There's not a servant on the place", "she met him. She'd never spoke to him before, but Mrs. Craven had been\nto our cottage two or three times. He'd forgot, but mother hadn't an'", "\"It--it was the garden Mr. Craven hates,\" said Mary nervously. \"He\nlocked the door. No one--no one knew where he buried the key.\" \"What\nsort of a garden is it?\" Colin persisted eagerly.", "him to be talked about. Folks is sorry for Mester Craven because Mrs.\nCraven was such a pretty young lady an' they was so fond of each other.", "\"This is Miss Mary, sir,\" she said.\n\n\"You can go and leave her here. I will ring for you when I want you to\ntake her away,\" said Mr. Craven.", "Craven's garden that she had made when first they were married an' she\njust loved it, an' they used to 'tend the flowers themselves. An' none", "\"Yes, she died,\" Mrs. Medlock answered. \"And it made him queerer than\never. He cares about nobody. He won't see people. Most of the time", "Mrs. Medlock really was flushed.\n\n\"Well, you see, sir,\" she tried to explain, \"neither Dr. Craven, nor\nthe nurse, nor me can exactly make him out.\"" ], [ "\"Your father!\" gasped Mary. \"No one ever told me he had a boy! Why\ndidn't they?\"\n\n\"Come here,\" he said, still keeping his strange eyes fixed on her with\nan anxious expression.", "During the confusion and bewilderment of the second day Mary hid\nherself in the nursery and was forgotten by everyone. Nobody thought", "Mary put down her candle on the table near the bed and sat down on the\ncushioned stool. She did not want to go away at all. She wanted to\nstay in the mysterious hidden-away room and talk to the mysterious boy.", "\"Sometimes. Generally when I am asleep. He doesn't want to see me.\"\n\n\"Why?\" Mary could not help asking again.\n\nA sort of angry shadow passed over the boy's face.", "Mary had not known that she herself had been spoiled, but she could see\nquite plainly that this mysterious boy had been. He thought that the", "It was then Mistress Mary had her inspiration.\n\n\"Colin,\" she began mysteriously, \"do you know how many rooms there are\nin this house?\"\n\n\"About a thousand, I suppose,\" he answered.", "\"No door!\" cried Mary. \"There must be.\" \"None as any one can find, an'\nnone as is any one's business. Don't you be a meddlesome wench an'", "\"Oh, what a queer house this is!\" Mary said. \"What a queer house!\nEverything is a kind of secret. Rooms are locked up and gardens are\nlocked up--and you! Have you been locked up?\"", "\"But that's not all,\" Mary went on, almost pale with solemn excitement.\n\"The rest is better. There is a door into the garden. I found it. It\nis under the ivy on the wall.\"", "In the midst of this stillness it was rather startling when Colin half\nlifted his head and exclaimed in a loud suddenly alarmed whisper:\n\n\"Who is that man?\" Dickon and Mary scrambled to their feet.", "He was a very proud boy. He lay thinking for a while and then Mary saw\nhis beautiful smile begin and gradually change his whole face.", "\"I heard it in the night,\" Mary went on. \"And I got up and went to see\nwhere it came from. It was Colin. I found him.\"\n\nMartha's face became red with fright.", "\"Why?\" asked Mary in spite of herself. Here was another locked door\nadded to the hundred in the strange house.", "of her, nobody wanted her, and strange things happened of which she\nknew nothing. Mary alternately cried and slept through the hours. She\nonly knew that people were ill and that she heard mysterious and", "\"Look at that!\" she said. \"This is a house of mystery, and those two\nchildren are the greatest mysteries in it.\"", "\"Things are changing in this house, Mr. Roach,\" said Mrs. Medlock, as\nshe led him up the back staircase to the corridor on to which opened\nthe hitherto mysterious chamber.", "\"I want my chair,\" he said. \"Miss Mary and I are going to look at the\npart of the house which is not used. John can push me as far as the", "\"No. I stay in this room because I don't want to be moved out of it.\nIt tires me too much.\"\n\n\"Does your father come and see you?\" Mary ventured.", "\"It is the child no one ever saw!\" exclaimed the man, turning to his\ncompanions. \"She has actually been forgotten!\"", "Mary stood near the door with her candle in her hand, holding her\nbreath. Then she crept across the room, and, as she drew nearer, the" ] ]

[ "What changed Mary's attitude after moving with her uncle? ", "What sound did only Mary hear at night?", "What relation was Colin to Mary?", "What animal did Mary become friends with?", "What type of flower did Mrs. Craven grow in her garden?", "Where did Mary find Colin?", "Where did Mary find the key to the garden?", "What was Martha's brother's name?", "What did Martha's mother buy for Mary?", "What did Martha's mother buy for Mary?", "How did Mrs. Craven die?", "How are Mary and Colin related?", "What type of bird does Mary befriend?", "Who helps Mary find the key to the garden?", "What is Ben Weatherstaff's position in the household?", "Who brings Mary the garden tools?", "Who does Mr. Craven dream is in the garden?", "Who teaches Mary about gardening?", "Who catches Mary, Colin, and Dickon in the garden?", "How old is Mary?", "Where was Mary born?", "What are Mary's parents like?", "Who is Mary cared by?", "What disease kills Mary's parents?", "Who does Mary live with after her parents die?", "Who is Mary's Uncle?", "Where does Archibald live?", "How was Mrs. Craven killed?", "What is the name of the boy Mary finds in the hidden bedroom?" ]

[ [ "The story of Mrs. Craven.", "Spending time with Martha and Ben and being outside. " ], [ "Crying", "someone crying" ], [ "Her cousin", "Cousin's " ], [ "A robin redbreast.", "A robin" ], [ "Rose", "roses" ], [ "In a hidden bedroom.", "Hidden bedroom" ], [ "In an area of over-turned soil", "In a pile of dirt." ], [ "Dickon", "Dickon." ], [ "A skipping rope.", "A skipping rope" ], [ "A jump rope. ", "a skipping rope" ], [ "A tree branch crushed on her. ", "Tree branch fell on her" ], [ "They are first cousins. ", "They are cousins." ], [ "A robin. ", "a robin" ], [ "The robin. ", " Her Robin friend" ], [ "He is the gardener. ", "he is the gardener" ], [ "Dickon. ", "Dickon, Martha's younger brother." ], [ "The late Mrs. Craven.", "His late wife" ], [ "Dickon. ", "Dickon" ], [ "Ben Weatherstaff. ", "Ben Weatherstaff" ], [ "10", "10 years old. " ], [ "India", "In India" ], [ "selfish and wealthy", "They are snobs." ], [ "servants", "Her servants " ], [ "cholera", "Cholera." ], [ "an English clergyman", "Archibald Craven, her uncle. " ], [ "Archibald Crane", "Archibald Craven" ], [ "Misselthwaite Manor", "Misslethwait Manor in Yorkshire, England" ], [ "when a tree branch fell on her garden", "a tree fell on her in her garden" ], [ "Colin", "Colin" ] ]

[ [ "BILLY COLE\ngets up off the bench. The rest of the offensive unit\nsprints onto the field. Cole walks. Straight ahead,", "INT. LOCKER ROOM - SAME TIME\nBilly Cole sits, alone, in front of his locker.\nEyes glazed. Face bathed in sweat.", "And so L.A. has a chance to ice\n the game, no pun intended... And\n you gotta be thinking, give the\n ball to Billy Cole. He has had an", "The PHONE CLICKS off. NFL running back Billy Cole stares\nstraight ahead, mouth working spastically.\n CUT TO:", "Cole crosses the goal line. Touchdown.\nDrops the ball.\nTurns, facing the cops. His eyes are insane.\nThe crowd is screaming. People are running back and", "Cole FIRES. Blows out the guy's knee. Ends a career.\nKeeps going.\nWe are now in full-scale panic.", "4.\nCONTINUED:\nThe ball floats through the snowy air. Pitch-out to\nCole.", "He takes it on the run. Tucks it under his arm.\nBehind him, the quarterback bites the dust, leveled.\nCole turns the corner. Picks up a blocker.", "Feet pounding. Arms pumping.\nUp ahead, the free safety barrels toward him. Low and\nhard.\nCole does not blink. He reaches beneath his jersey.", "begin their patterns. Moving like gazelles.\nCole's fingers paw the cold earth. Gouging it.\nHe is like a spring. Coiled and ready.\nThe ball is snapped.", "Cole is oblivious to the bars crashing around him. He\nsmiles and says:\n (CONTINUED)", "Cole adopts a three-point stance.\nEverything happens in hyper-real SLOW MOTION:\nThe snow falls. The receivers breeze past, in motion to", "The bullets go straight through. On the back of his\nhelmet.\nA mixture of blood and fiberglass.\nCole keeps going, jogging for the end zone.", "5.\nCONTINUED:\n COLE\n I'm going to Disneyland...\nPuts the GUN to his helmet. FIRES.\n CUT TO:", "JIMMY'S FACE\nCovered with dirt and mud. Blood, too.\nYoung and proud. Seventy thousand voices tell him he's\nalive. He makes a difference.", "business, Billy. You don't make\n one fifty, you're history, the kid\n steps in. No more job... and no\n more pills, Billy.", "122.\nCONTINUED:\nAs Baynard's man assumes the position --\nMilo hits a concealed button.", "It's a night game at the Coliseum. He's the quarterback.\nThe snap. Jimmy fakes the draw. Rolls right. Around\nhim, all is impact. Sound and fury.", "No, man. I played football.\n Jimmy Dix, L.A. Stallions.\n PATROLMAN\n What position?", "Swings himself onto the raised platform.\nFlattens behind the billboard.\n MILO\n Don't try to hide, Joseph. I've" ], [ "None other than MIKE MILLER, Joe's early morning phone call.\nWe know this because Joe says:\n (CONTINUED)", "10.\nCONTINUED:\n MALE (V.O.)\n Hey, Joe, Mike Miller over at", "The men disperse. One of them drags Joe to his feet.\nA stocky, crag-faced man. He jams a silenced pistol", "Joe.", "From available information, he\n appears to be a free agent. Guy\n by the name of Joe Hallenbeck.\nMilo sits and begins punching keys on a computer.", "Mike Miller screams and clutches at himself.\nThe bullet goes high and wide. Over his head.\nOn the wall is a framed wedding photo. The twin of the", "Who does she hire?\n HALLENBECK\n Ah. She hires my buddy Mike.\n (beat)", "Bessalo looks up, intrigued. McCaskey continues:\n McCASKEY\n Now, according to Hallenbeck, Mike\n Miller came to the house early", "HALLENBECK\n Yeah. Actually, she hired my buddy\n Mike. I'm filling in.\n JIMMY", "82.\nCONTINUED:\n JIMMY\n Joe, man, you don't get it --", "40.\nCONTINUED:\nHe slams into a man. Knocks him flat. Groceries fly.\nJoe doesn't care. He stumbles. Keeps going.", "that, Joe boy, is where I come in.\n HALLENBECK\n (sudden realization)\n Shit, that's what this is about!", "He is obsessed. All vestige of sanity gone.\n MILO\n You fucked up my face, Joseph!\nJoe starts to climb. Scales the wooden structure.", "Milo calls out from the boat:\n MILO\n Easy, Pablo. I want him conscious.\nPablo is kicking Joe's prone form.", "ON GROUND\nJoe rolls over. Looks at Jimmy. Jimmy looks at Joe.\n (CONTINUED)", "Joe swivels around. Balancing on his backside.\nThrusts his legs into the fire.\nStrains. Pulls. Sweat runs in rivers.", "speaks:\n SARAH\n Do what he says, Joe.\nJoe sits. Breathing shallowly.\nEyes locked on Milo.", "doesn't quite match the left. The muscles don't work.\nHallenbeck recovers his composure. As Jimmy climbs to\nhis feet, Joe walks over and stands next to him. Two", "Joe gets in the car. Says nothing.\n JIMMY\n You're backing off, you're not\n gonna do anything? I watch T.V.,", "Does it again, a sickening impact...\nStarts to strangle Joe --\nAnd the truth is, Joe's not thirty anymore." ], [ "A woman, forty-ish, once beautiful, appears in the bedroom\ndoorway. Wearing a terry cloth robe. This is Joe's wife\nSARAH.\n SARAH", "JIMMY\n Yeah, and the last thing I did was\n cheat on her.\n (beat)\n Why do people cheat, Joe?", "He stops. Turns. Looks at her.\nBoys and girls, there is, within Joe Hallenbeck, a spark:\nTiny. Fizzling. Almost gone.", "That's why the car was there,\n Miller was fucking Hallenbeck's\n wife, Hallenbeck just got back\n from out of town, remember?", "He motions to Milo, who disappears through a doorway.\nReappears a moment later.\nHe's got Joe's wife.", "SARAH\n I want to try, Joe. Do you still\n want to try?\nA pause. He leans in and kisses her tenderly.", "SARAH\n You want me to open the closet, Joe?\n Huh? You want me to indulge your\n fucking paranoia, I'll throw the", "Hallenbeck stares straight ahead. Sighs and says:\n HALLENBECK\n He was fucking my wife, Jimmy.\n (beat)", "The old Joe Hallenbeck looks his wife in the eye and\nsays, with deadly calm:\n (CONTINUED)", "speaks:\n SARAH\n Do what he says, Joe.\nJoe sits. Breathing shallowly.\nEyes locked on Milo.", "Careful, Pablo. We don't want to\n get Mrs. Hallenbeck all excited in\n front of hubby.\nHe squats next to Joe.", "Her mother is awake, cradled in Joe's arms.\n HALLENBECK\n Jimmy should be here any minute.\n Then we gotta talk to the cops.", "Joe shoves on the gun. The barrel chokes him.\n HALLENBECK\n My wife.\nGrabs a pen. Shoves it in Marcon's hand.", "Joe looks over... and his face tells the story:\n HALLENBECK\n We're dead.\nExcept, just then, a strange thing happens:", "She smiles and moves off, swishingly. Jimmy watches her\ngo. His gaze wanders across the room to Hallenbeck. He\nfrowns.", "And then she comes on.\nAnd even Joe Hallenbeck must draw in a sharp breath.\n (CONTINUED)", "It isn't. Tell me what she did at\n the club, besides dance.\n JIMMY\n The usual. Waitressing. Get a guy", "Oh, my. Oh, Goddamn. Joseph,\n Joseph, you don't disappoint me.\nHe draws a Walther PPK and approaches Hallenbeck.\nSmiling and cheerful.", "Don't drive away, Joe.\nJoe puts it in gear. Pulls away.\n (CONTINUED)", "Fuck you, Joe, I'm not just gonna\n stand here and die. Mr. Marcon,\n he's lying. We do have the money," ], [ "Where's Mike?\n HALLENBECK\n He died.\n JIMMY\n Sorry to hear it.", "Mike Miller screams and clutches at himself.\nThe bullet goes high and wide. Over his head.\nOn the wall is a framed wedding photo. The twin of the", "47.\nCONTINUED:\n HALLENBECK\n Because Mike was scared. He bailed", "(clears his throat)\n Oh, I forgot to tell you. The\n police want you for killing Mike\n Miller.", "He killed Chet, Milo. The mother-\n fucker just killed him!\nMilo looks toward Hallenbeck. Hallenbeck says nothing.", "cooler, tough guy, is the cops got\n no motive for Miller's death.\n When they find out Mikey was\n dickin' your old lady, seems to", "Mike Miller turns the key in the ignition.\nThe CAR BLOWS to pieces.\nAn ERUPTION OF FLAME.\nFlying glass and metal. The car becomes airborne.", "Cut.\nHe throws the hunting knife. It pierces the guy's neck.\nThe chainsaw clatters to the floor.\nHe does the funny little dance peculiar to those with", "He flies through open air --\nMilo's GUN CHATTERING below, seeking him out --\nAnd just does make it.\nHits the freeway surface and collapses forward, screaming", "The walls are perforated. Baynard and his men are dead.\nThe suitcase's evil twin lies unopened on the table.\nHallenbeck walks over to Baynard's lifeless body.", "EXT. SUBURBAN STREET - AN HOUR LATER\nA mobile crane hoists what's left of Mike Miller and his\nPontiac. Policemen direct traffic, curb bystanders.", "He slams down the phone. Stares, stricken, at McCaskey.\n BESSALO\n I let him go, Mick. He wasted Mike", "The SHOT is SILENCED. What follows is not.\nBecause the bullet blows through the trunk --\nAnd hits three sticks of live dynamite.", "Hallenbeck bends and ruffles its fur.\n HALLENBECK\n Where you want it, Mike? Head\n or gut?", "The guy pitches over dead.\nHallenbeck kneels beside him.\nRetrieves his .38, holsters it. Slips the hitman's pistol\ninto his waistband.", "TWO HITMEN\nmove toward him, triggering THREE SHOT BURSTS.\nThe kid is dead meat. Or so it seems until, without\nwarning --", "JIMMY\n That Mike Miller was fucking your\n wife.\n (beat)\n Only reason you're not in the", "And Hallenbeck moves like a coiled spring. Not drunk at\nall. He takes the broken bottle he's been clutching and\ncuts the guy's throat like a knife through butter.", "HALLENBECK\n They used a car bomb on Mike, it\n figures they'd try it on her, too.\n (stands)", "Blows him backward in a bloody spray. Baynard sags\nagainst the mantel. Collapses, dead.\nECHOES. Silence. Jimmy and Joe are alone with three" ], [ "a car. Then go home and wait for\n my call. Do it.\nJimmy meets Joe's eyes. Nods. Dashes off into the night.", "Oh, my. Oh, Goddamn. Joseph,\n Joseph, you don't disappoint me.\nHe draws a Walther PPK and approaches Hallenbeck.\nSmiling and cheerful.", "Joe gets in the car. Says nothing.\n JIMMY\n You're backing off, you're not\n gonna do anything? I watch T.V.,", "10.\nCONTINUED:\n MALE (V.O.)\n Hey, Joe, Mike Miller over at", "MILO\n (laughs)\n Come now, Joseph, did you really\n think that I'd hand you a loaded\n gun?", "Take him somewhere and kill him.\n HARDGUY\n Yes, sir.\nThe Hardguy crosses the room. Grips Jimmy by the", "Fuck you, Joe, I'm not just gonna\n stand here and die. Mr. Marcon,\n he's lying. We do have the money,", "JIMMY\n Joe, please!\nJoe drops the vial in the water. Flushes.\nJimmy darts forward. Joe shoves him back.", "Don't drive away, Joe.\nJoe puts it in gear. Pulls away.\n (CONTINUED)", "Toward the freeway. Toward Joe. Snarling.\nJoe grabs a broken bottle off the ground. Heaves it.\nMilo puts up an arm, catches a glancing blow. Blood", "Hallenbeck)\n Gag him and stash him.\nAs Milo goes topside, one of the men tapes Joe's mouth.\nThe other opens a cramped storage compartment.", "that, Joe boy, is where I come in.\n HALLENBECK\n (sudden realization)\n Shit, that's what this is about!", "The hitman wheezes laughter. Joe just grins.\n CRAG-FACE\n You're a funny guy. It's a shame", "JIMMY\n Any bright ideas, Joe?\n HALLENBECK\n Gimmee a minute.\n JIMMY", "Mike Miller screams and clutches at himself.\nThe bullet goes high and wide. Over his head.\nOn the wall is a framed wedding photo. The twin of the", "there three days. A cloud of smoke hangs around his\nhead. Mr. Joe Hallenbeck, no less.\n HALLENBECK", "Joe looks over... and his face tells the story:\n HALLENBECK\n We're dead.\nExcept, just then, a strange thing happens:", "Jimmy's at the wheel of a rented Subaru. Hallenbeck\nbeside him. He hands Joe the envelope he found in Cory's\napartment.", "(beat)\n Christ, Joe wasted the bastard\n himself!\nHe stabs a button on the phone. Barks into the receiver:", "It never gets there.\nJoe moves, lightning quick, and suddenly Jimmy's fist\nis trapped. Dead stops. Fingers grinding into palm." ], [ "Joe looks over... and his face tells the story:\n HALLENBECK\n We're dead.\nExcept, just then, a strange thing happens:", "there three days. A cloud of smoke hangs around his\nhead. Mr. Joe Hallenbeck, no less.\n HALLENBECK", "HALLENBECK\n The kind with a wife and kid.\n Look, it's over. My job is done.\n JIMMY", "96.\nCONTINUED:\n HALLENBECK\n You're pretty calm for a man whose", "HALLENBECK\n About fucking time.\n (extends his hand)\n Joe Hallenbeck. I'm a private\n detective.", "that, Joe boy, is where I come in.\n HALLENBECK\n (sudden realization)\n Shit, that's what this is about!", "HALLENBECK\n Yeah. So.\n JIMMY\n (clears his throat)\n You gonna keep it?", "Hallenbeck says nothing.\n (CONTINUED)", "HALLENBECK\n Don't... look at me...\n SARAH\n Shhh. It's okay, Joe. I'm here,", "91.\nJOE HALLENBECK'S UNCONSCIOUS FACE\nWeathered. Sallow. Dark circles under the eyes.", "HALLENBECK\n You're a fuckin' lowlife, Joe.\n (CONTINUED)", "JIMMY AND JOE - BACK TO PRESENT\nDriving.\n HALLENBECK\n Even when he came out of it, he", "HALLENBECK\nsits with his drink untouched before him. Pats his\nsuit pockets, searching for a smoke. Removes a crumpled,\nempty pack, as:", "He stops. Turns. Looks at her.\nBoys and girls, there is, within Joe Hallenbeck, a spark:\nTiny. Fizzling. Almost gone.", "Hallenbeck.\n (CONTINUED)", "Hallenbeck yawns.\n CHET\n Fuck that. Look at him. He's\n nothin'. Guy's a piece of shit.", "151.\nCONTINUED:\n HALLENBECK\n Get in.\nHe's so slick, it's scary.", "HALLENBECK\n Goddammit, Jimmy, I told you -- !\nIt isn't Jimmy.\nStanding on the porch is a tall, thin man with blond", "HALLENBECK\n The job. Seven o'clock, right?\n MILLER\n You still... want the job...?", "HALLENBECK\n Yeah. That's me.\n JIMMY\n You look like the dad on 'The" ], [ "EXT. NIGHTTIME STREET - SAME TIME\nJimmy Dix is behind the wheel of a silver Jag.\nCory is driving a spanking new Ford Fiero.", "JIMMY\n Look, friend, I don't know who you\n are or what's going on. But Cory\n is my girl friend and if she's in", "Joe's daughter, Darian, is standing there.\n DARIAN\n You're Jimmy Dix, aren't you?", "JIMMY\n That's what Cory said. She said\n you were nobody.\nOnly Hallenbeck's eyes move. He looks up, regards Jimmy", "JIMMY\n Hi, Cory. Rough night?\n (CONTINUED)", "Cory and Jimmy are engaged in very hot sex.\nThis is not a love scene; this is a sex scene.\nSigh. I'm not even going to attempt to write this", "JIMMY\n No. Is Cory in trouble?\n HALLENBECK\n I hope not. You tell me.", "crystal glasses. Lifts one in a toast.\n JIMMY\n Alex the pediatrician.\n CORY\n (giggles)", "Is Alex your accountant?\n JIMMY\n No. But he could have been.\n (beat)\n Alex was my son.", "JIMMY\n That's the one.\n CORY\n I had to swerve three times to\n get him.", "Cory is cut down. Blown backward over the hood of her\nFord. Flung to the street.\n JIMMY\n Oh Gooood!!", "JIMMY\n Alex the accountant.\nHe drinks. Hallenbeck frowns, watching him.\n HALLENBECK", "ANOTHER ANGLE\nThe lovely Cory approaches Jimmy at the bar. Harp looks\non.\n CORY", "unerring accuracy. Beside him Hallenbeck frowns, deep in\nthought. Finally, Jimmy speaks:\n JIMMY\n That stuff Cory fed you about a", "Flings open the door.\nLeaps out and runs forward, screaming:\n JIMMY\n Cory, get out of there!!", "JIMMY\n Ha-ha.\n CORY\n So no bottle, then?\n JIMMY", "The man takes a drag off the cigarette, studies the\nsleeping girl. Meet Jimmy Dix. Twenty-seven years old,\nformer National League heartthrob.\nHe shakes his head and mutters:", "83.\nCONTINUED:\n JIMMY\n Oh, sure, Dudley fucking Do-Right,", "JIMMY\n Wasn't like that. Cory could've\n had lots of rich guys. Me, she\n loved.", "JIMMY DIX\nsaunters up, looking less than friendly. He looks at\nHallenbeck. Hallenbeck does not look at him." ], [ "Cory is cut down. Blown backward over the hood of her\nFord. Flung to the street.\n JIMMY\n Oh Gooood!!", "Cory tumbled to some sort of deal\n between Marcon and the senator,\n and they had her killed.\n (beat)", "He killed Chet, Milo. The mother-\n fucker just killed him!\nMilo looks toward Hallenbeck. Hallenbeck says nothing.", "into, but those were professional\n hitters tonight. Mob style.\n (beat)\n Tell me about Cory. What was she\n like?", "JIMMY\n Look, friend, I don't know who you\n are or what's going on. But Cory\n is my girl friend and if she's in", "beat us to it.\n JIMMY\n Beat us to what?\n HALLENBECK\n Whatever evidence Cory was", "Hallenbeck.\n JIMMY\n Who's the stiff?\n CORY\n He's nobody.", "Cory and Jimmy are engaged in very hot sex.\nThis is not a love scene; this is a sex scene.\nSigh. I'm not even going to attempt to write this", "JIMMY\n That's the one.\n CORY\n I had to swerve three times to\n get him.", "JIMMY\n Hi, Cory. Rough night?\n (CONTINUED)", "29.\nCONTINUED:\n CORY\n Arrgh. I've had it to here.", "JIMMY\n That's what Cory said. She said\n you were nobody.\nOnly Hallenbeck's eyes move. He looks up, regards Jimmy", "Too late. Cory is already out of her car, yelling:\n CORY\n Hey, can't you fucking drive??\n (CONTINUED)", "JIMMY\n No. Is Cory in trouble?\n HALLENBECK\n I hope not. You tell me.", "The police won't help you, huh?\n CORY\n Sure. After I'm dead they'll\n perform the autopsy.", "Flings open the door.\nLeaps out and runs forward, screaming:\n JIMMY\n Cory, get out of there!!", "GRAY SEDAN\ncomes up behind Cory. Comes up fast.\nRams her car. Metal crumples. Meanwhile:", "unerring accuracy. Beside him Hallenbeck frowns, deep in\nthought. Finally, Jimmy speaks:\n JIMMY\n That stuff Cory fed you about a", "JIMMY\n Wasn't like that. Cory could've\n had lots of rich guys. Me, she\n loved.", "The walls are perforated. Baynard and his men are dead.\nThe suitcase's evil twin lies unopened on the table.\nHallenbeck walks over to Baynard's lifeless body." ], [ "Joe's daughter, Darian, is standing there.\n DARIAN\n You're Jimmy Dix, aren't you?", "DARIAN\n Fuck you, man. No way.\n JIMMY\n Darian, Goddammit --", "DARIAN, is slumped in a big Lazy-Boy, staring sullenly\nat a movie on TV. Cute kid, cursed to wear ridiculous-\nlooking dental headgear.", "DARIAN\n Daddy!!\nJimmy whirls around, startled.\n JIMMY", "Joe heads into the cockpit, Darian beside him.\nSteers the boat away from the crash site. Toward the\nsenator's boat. Chugs forward on half an engine.", "DARIAN\n (crying)\n They're gonna kill you...!", "DARIAN\n When?\n JIMMY\n This morning. Stay here.\nHe swings over the side, onto the dock.", "INT. DARIAN'S ROOM - SAME TIME", "121.\nCONTINUED:\n DARIAN\n Fuck you.\n JIMMY", "DARIAN (O.S.)\n Nice tux.\nHe turns, and sees Darian Hallenbeck.", "DARIAN\n Don't let them break your other\n arm.\n JIMMY\n Thanks, kid. You're a fuckin'", "DARIAN\nspots him first. Sees her father bobbing like a cork in\nthe ocean, screams:", "DARIAN\n Mommy, what's happening?\nSarah leaps off the couch, cradling Darian and\nmeanwhile --", "(beat)\n The guy's a loser. Big time.\nDarian's face is a mask of confusion.\n (CONTINUED)", "DARIAN\n But, Dad -- !\n HALLENBECK\n Go to bed. This guy's not signing", "EXT. CRASH SITE - MINUTES LATER\nJimmy, Joe and Darian are on deck, chugging through the", "I can see that.\n DARIAN\n I hate you. Leave me alone.\n (CONTINUED)", "JIMMY\n Huh?\nThere is an awkward pause. Darian holds out a football\ncard.\nYoung, smiling Jimmy.", "DARIAN\n Are you really a drug addict?\n JIMMY\n I was. I kicked the habit.", "Hallenbeck enters. Crosses to Darian's bed.\nShe is asleep. She looks vulnerable. Helpless.\nHe leans over and kisses her." ], [ "The PHONE CLICKS off. NFL running back Billy Cole stares\nstraight ahead, mouth working spastically.\n CUT TO:", "INT. LOCKER ROOM - SAME TIME\nBilly Cole sits, alone, in front of his locker.\nEyes glazed. Face bathed in sweat.", "BILLY COLE\ngets up off the bench. The rest of the offensive unit\nsprints onto the field. Cole walks. Straight ahead,", "And so L.A. has a chance to ice\n the game, no pun intended... And\n you gotta be thinking, give the\n ball to Billy Cole. He has had an", "BACK TO SCENE\nHallenbeck scowls and chews three aspirin. Swallows.\nThe PHONE RINGS. He groans. Chain-lights another smoke,", "Hello, Billy. Do you know who\n this is?\nSilence.", "He hangs up.\nMarcon replaces the receiver and chuckles.\n MARCON\n Goddamn fruitcake.", "(beat)\n Christ, Joe wasted the bastard\n himself!\nHe stabs a button on the phone. Barks into the receiver:", "None other than MIKE MILLER, Joe's early morning phone call.\nWe know this because Joe says:\n (CONTINUED)", "Cole is oblivious to the bars crashing around him. He\nsmiles and says:\n (CONTINUED)", "He slams down the phone. Stares, stricken, at McCaskey.\n BESSALO\n I let him go, Mick. He wasted Mike", "Tell me about it. Look, I crawled\n out of a perfectly good bottle to\n answer the phone, what the fuck do\n you want?", "a few calls. Since then I'm just\n playing it out. Day by day.\nJimmy is silent for a moment. Then:\n JIMMY", "Surrounded by football paraphernalia. Paintings.\nTrophies.\nThe PHONE CHIRPS. He picks up the receiver. Stabs a\nbutton.", "Cole crosses the goal line. Touchdown.\nDrops the ball.\nTurns, facing the cops. His eyes are insane.\nThe crowd is screaming. People are running back and", "INT. WOOD-PANELED STUDY - CONTINUOUS ACTION\nMilo enters, all business.\nCrosses to a telephone with a blinking light.", "The Man On the Bed answers it. Speaks haltingly.\n MAN ON BED\n Hello...?\n MALE (V.O.)", "It just happened, Joe. It just\n happened.\n HALLENBECK\n You call me from here this morning?\n MILLER", "She stirs in her sleep.\nMurmurs:\n DARIAN\n Billy...\nHallenbeck recoils.", "Cole FIRES. Blows out the guy's knee. Ends a career.\nKeeps going.\nWe are now in full-scale panic." ], [ "The players are fleeing the field. Shouts. Pandemonium.\nA few brave men gather around the fallen players.", "POLICE\nare on the field now. Running full out. They've got\nriot guns, cocked and locked. Sprinting through the\nsnow.", "41.\nCONTINUED:\nHer eyes go wide with shock.\nThe Hitmen burst from their car. OPEN UP on full auto.", "Cole crosses the goal line. Touchdown.\nDrops the ball.\nTurns, facing the cops. His eyes are insane.\nThe crowd is screaming. People are running back and", "Except another lady says different:\nA single GUNSHOT SPLITS the air.\nMilo's chest explodes with bubbling blood.", "TWO HITMEN\nmove toward him, triggering THREE SHOT BURSTS.\nThe kid is dead meat. Or so it seems until, without\nwarning --", "Sprays the two hardguys. Cuts them to ribbons.\nThen, several things happen at once:\nEverybody goes for a gun.", "Pulls out a GUN.\nPumps THREE SHOTS into the free safety's head.", "The bullets go straight through. On the back of his\nhelmet.\nA mixture of blood and fiberglass.\nCole keeps going, jogging for the end zone.", "BILLY COLE\ngets up off the bench. The rest of the offensive unit\nsprints onto the field. Cole walks. Straight ahead,", "3.\nEXT. FOOTBALL FIELD - DAY (FOURTH QUARTER)\nA deafening CRUNCH as a defensive back hammers a wide", "One Hitman dies immediately:\nDances like a puppet, racked by gunfire.\nBullets go through him. SHATTER the sedan's WINDSHIELD.", "Beside it on the grass, the tennis ball is on fire.\nHallenbeck rolls to his feet. Covered with twigs and\nleaves. Clothing scorched. Stares. Eyes glazed.", "And without missing a beat, the Hitmen turn --\nAnd OPEN FIRE on Jimmy.\nHe takes a running start.\nClears the hood of his Jag in a single leap.", "The guy pitches over dead.\nHallenbeck kneels beside him.\nRetrieves his .38, holsters it. Slips the hitman's pistol\ninto his waistband.", "Hallenbeck nods at the bodies in the street.\n HALLENBECK\n It's all over, compadre.\n MANAGER", "He dives aside, rolls to his feet --\nAnd he's right in Milo's sights.\nMy friends, the fat lady just sang.", "Blows him backward in a bloody spray. Baynard sags\nagainst the mantel. Collapses, dead.\nECHOES. Silence. Jimmy and Joe are alone with three", "Cole FIRES. Blows out the guy's knee. Ends a career.\nKeeps going.\nWe are now in full-scale panic.", "begin their patterns. Moving like gazelles.\nCole's fingers paw the cold earth. Gouging it.\nHe is like a spring. Coiled and ready.\nThe ball is snapped." ], [ "Hallenbeck stares straight ahead. Sighs and says:\n HALLENBECK\n He was fucking my wife, Jimmy.\n (beat)", "That's why the car was there,\n Miller was fucking Hallenbeck's\n wife, Hallenbeck just got back\n from out of town, remember?", "HALLENBECK\n That's what you think. Last night\n I fucked your wife.\nThe gunman cracks up. Hallenbeck grins drunkenly.", "Hallenbeck stares at him.\n JIMMY\n I was married at 19. Sweet young\n thing, looking to get out from", "Bessalo glares at him.\n BESSALO\n Do you care?\nHallenbeck smiles.\n HALLENBECK\n My wife loves me.\nBessalo looks at him like he's grown a tail.", "Hallenbeck turns. Regards his wife with hooded, lifeless\neyes.\n HALLENBECK\n Where was Darian?\n SARAH", "HALLENBECK\n The kind with a wife and kid.\n Look, it's over. My job is done.\n JIMMY", "die, and then there are... ways to\n die. Capisce? You determine your\n wife's fate.\nHe yanks Hallenbeck to his feet.", "HALLENBECK\n I suspected. So how about it, Mike?\n On a scale of one to ten. How was\n she?", "Seated across from him in the boat's cabin.\n MILO\n Your wife's very pretty.\n HALLENBECK", "19.\nCONTINUED:\n HALLENBECK (CONT'D)\n Because someone else was in there,", "46.\nCONTINUED:\n HALLENBECK\n Would she consider the possibility of\n blackmail?", "Hallenbeck enters. Crosses to Darian's bed.\nShe is asleep. She looks vulnerable. Helpless.\nHe leans over and kisses her.", "HALLENBECK\n Office.\nHe brushes past her and crosses to the bed. On the pillow,\na big stuffed cat toy smiles benignly.", "Because he doesn't fuck up.\nShe goes into her room and shuts the door.\nHallenbeck rubs his eyes. Leans against the wall,\nexhausted.", "HALLENBECK\n Excuse me.\nHe leans over and vomits on the lawn.\nOne hand gripping the car fender.\nThe sprinkler goes round and round.", "Hallenbeck says nothing.\n (CONTINUED)", "78.\nCONTINUED:\n HALLENBECK\n No. Anything that much fun, I'd", "She said you were in Vegas. I was\n gonna leave a message on the machine.\n HALLENBECK\n When you found out I was back. Why", "Christ, you slept with three guys.\n SARAH\n You knew about the others?\n HALLENBECK\n I knew." ], [ "Where's Mike?\n HALLENBECK\n He died.\n JIMMY\n Sorry to hear it.", "47.\nCONTINUED:\n HALLENBECK\n Because Mike was scared. He bailed", "Mike Miller screams and clutches at himself.\nThe bullet goes high and wide. Over his head.\nOn the wall is a framed wedding photo. The twin of the", "(clears his throat)\n Oh, I forgot to tell you. The\n police want you for killing Mike\n Miller.", "He killed Chet, Milo. The mother-\n fucker just killed him!\nMilo looks toward Hallenbeck. Hallenbeck says nothing.", "cooler, tough guy, is the cops got\n no motive for Miller's death.\n When they find out Mikey was\n dickin' your old lady, seems to", "Mike Miller turns the key in the ignition.\nThe CAR BLOWS to pieces.\nAn ERUPTION OF FLAME.\nFlying glass and metal. The car becomes airborne.", "He slams down the phone. Stares, stricken, at McCaskey.\n BESSALO\n I let him go, Mick. He wasted Mike", "The walls are perforated. Baynard and his men are dead.\nThe suitcase's evil twin lies unopened on the table.\nHallenbeck walks over to Baynard's lifeless body.", "JIMMY\n That Mike Miller was fucking your\n wife.\n (beat)\n Only reason you're not in the", "Cut.\nHe throws the hunting knife. It pierces the guy's neck.\nThe chainsaw clatters to the floor.\nHe does the funny little dance peculiar to those with", "Hallenbeck bends and ruffles its fur.\n HALLENBECK\n Where you want it, Mike? Head\n or gut?", "The guy pitches over dead.\nHallenbeck kneels beside him.\nRetrieves his .38, holsters it. Slips the hitman's pistol\ninto his waistband.", "otherwise.\n MARCON (V.O.)\n Sid and Jake are dead, Milo.\n Killed in an explosion. Looks", "HALLENBECK\n Exactly. He got spotted. They\n made him, and they killed him.\n Then they took out Cory.", "EXT. SUBURBAN STREET - AN HOUR LATER\nA mobile crane hoists what's left of Mike Miller and his\nPontiac. Policemen direct traffic, curb bystanders.", "The SHOT is SILENCED. What follows is not.\nBecause the bullet blows through the trunk --\nAnd hits three sticks of live dynamite.", "Right? Right. It makes sense.\n Except --\n JIMMY\n Except you told me that Mike was a\n shitty surveillance man.", "HALLENBECK\n They used a car bomb on Mike, it\n figures they'd try it on her, too.\n (stands)", "And Hallenbeck moves like a coiled spring. Not drunk at\nall. He takes the broken bottle he's been clutching and\ncuts the guy's throat like a knife through butter." ], [ "JIMMY\n I never shaved points, Joe. I\n never did.\nJoe is silent. Stone-faced.\n JIMMY", "PLAYER\n Hell, I think the league gave you\n a raw deal.\n JIMMY\n Thanks. What the hell, shit", "Jimmy swears. Stumbles. Sits down hard.\nHallenbeck releases him.", "gambled, well shit, of course I\n gambled, everybody does, and the\n fucking league knows it!\nHe advances on Joe, trembling with anger.", "JIMMY\n Forget it.\n PATROLMAN\n Fuckin' football. Free agents\n ruined the damn game.", "JIMMY\n Alex the accountant.\nHe drinks. Hallenbeck frowns, watching him.\n HALLENBECK", "The man takes a drag off the cigarette, studies the\nsleeping girl. Meet Jimmy Dix. Twenty-seven years old,\nformer National League heartthrob.\nHe shakes his head and mutters:", "JIMMY\n That Mike Miller was fucking your\n wife.\n (beat)\n Only reason you're not in the", "83.\nCONTINUED:\n JIMMY\n Oh, sure, Dudley fucking Do-Right,", "79.\nCONTINUED:\n JIMMY\n Horseshit, he was a scumbag private", "JIMMY'S FACE\nCovered with dirt and mud. Blood, too.\nYoung and proud. Seventy thousand voices tell him he's\nalive. He makes a difference.", "JIMMY\n Why, Joe? Why is there an injury\n report in pro football, huh...?\n Nobody else has a fucking injury", "Jimmy just looks at him.\nAt that moment, McCaskey pokes his head out of Bessalo's\noffice.\n McCASKEY", "JIMMY\n He hit the chick.\n HALLENBECK\n You don't start a fight in a", "A pause. Then, without warning, Jimmy turns --\nAnd slugs Hallenbeck with his good arm. Decks him.\n JIMMY", "Jimmy turns, as if to walk away.\nInstead, he spins back and launches the football.\nIt sings, that's how hard he throws it. And when it", "in the N.F.L.\nJimmy looks at him, puzzled. Didn't they just swap\npunches?\n JIMMY", "JIMMY\n She wasn't a hooker, dickhead.\n HALLENBECK\n He should know, Jimmy. With a", "JIMMY\n Huh?\nThere is an awkward pause. Darian holds out a football\ncard.\nYoung, smiling Jimmy.", "It never gets there.\nJoe moves, lightning quick, and suddenly Jimmy's fist\nis trapped. Dead stops. Fingers grinding into palm." ], [ "Marcon himself.\nSure enough, CONRAD MARCON saunters in, just like he owns\nthe place. Which, by the way, he does. Tall, strong,", "Marcon raises the poker.\nBrings it down on Jimmy's broken arm.", "Marcon has had enough. He pounds his fist on the desk.\n MARCON\n Kill them, Goddammit, waste 'em\n both!", "Mr. Marcon sent us to teach you a\n lesson, Jimmy. Something about\n keeping your big coked-up nose\n out of his fucking business.", "Marcon cocks his gun.\n MARCON\n Sit down, Joe.\nA moment. Joe stands, smouldering. On fire. Sarah", "Marcon says nothing. Just looks at Hallenbeck and\nsmiles.\n HALLENBECK\n Oh, shit.\nHe rubs tired eyes.", "you're a dead man.\nMarcon holds up his hand.\n MARCON\n Wait.\nThe gunmen lower their weapons.", "Marcon's composure falters, but only for a moment.\n MARCON\n I'm glad you're here, Joe. We\n got a few things to discuss.", "called the mob.\nMarcon stares at him. Blinks.", "Call it a financial partnership.\n For a price, I agreed to connect\n Mr. Marcon to the necessary\n people in Washington.\n HALLENBECK", "put out a contract on you. Of\n course, I might be able to call it\n off.\nMarcon stares him down. A pause. Then Marcon smiles:", "143.\nCONTINUED:\n MARCON\n He's nothing, he can't hurt us.", "He turns, and suddenly we realize he's not alone in the\nroom: a STRANGE MAN is seated in the shadows off to one\nside. His face is obscured... Marcon addresses him:", "Marcon finishes writing. Hallenbeck snatches up the\naddress. Stows it in his pocket.\n HALLENBECK\n Okay, Connie, you're gonna walk us", "Marcon stops pacing. Sighs and sits down facing\nHallenbeck.", "Catalina. Marcon will be there.\nHe swings a bag of gear onto the boat. Starts to store\nit.\n DARIAN", "MARCON\n (nods)\n All right. Slow and easy.\n JIMMY\n Sure. Slow and easy.", "142.\nCONTINUED:\nHe crosses to the fireplace. Removes a poker.\n MARCON", "98.\nCONTINUED:\n MARCON\n Exactly. Gambling.", "Fuck you, Joe, I'm not just gonna\n stand here and die. Mr. Marcon,\n he's lying. We do have the money," ], [ "point, there's only one reason\n left nowadays to watch pro-\n football. Can you guess?\nIt begins to dawn on Hallenbeck.", "JIMMY\n Why, Joe? Why is there an injury\n report in pro football, huh...?\n Nobody else has a fucking injury", "People have stopped watching, Joe!\n Everybody's turning the channel,\n they're still looking for heroes,\n you follow? Guys like you. Milo", "Jimmy and Joe step over him.\nJoe braces himself. Draws back his foot. Kicks the\ndoor, as:", "football films. The walls around him are adorned with\nhunting paraphernalia. Rifles. Trophies.\nThere is a KNOCK at the door. He gets up.", "JIMMY\n Forget it.\n PATROLMAN\n Fuckin' football. Free agents\n ruined the damn game.", "It never gets there.\nJoe moves, lightning quick, and suddenly Jimmy's fist\nis trapped. Dead stops. Fingers grinding into palm.", "JIMMY\n I never shaved points, Joe. I\n never did.\nJoe is silent. Stone-faced.\n JIMMY", "Jimmy turns, as if to walk away.\nInstead, he spins back and launches the football.\nIt sings, that's how hard he throws it. And when it", "doesn't quite match the left. The muscles don't work.\nHallenbeck recovers his composure. As Jimmy climbs to\nhis feet, Joe walks over and stands next to him. Two", "Joe gets in the car. Says nothing.\n JIMMY\n You're backing off, you're not\n gonna do anything? I watch T.V.,", "Does it again, a sickening impact...\nStarts to strangle Joe --\nAnd the truth is, Joe's not thirty anymore.", "Cole crosses the goal line. Touchdown.\nDrops the ball.\nTurns, facing the cops. His eyes are insane.\nThe crowd is screaming. People are running back and", "No, man. I played football.\n Jimmy Dix, L.A. Stallions.\n PATROLMAN\n What position?", "Don't drive away, Joe.\nJoe puts it in gear. Pulls away.\n (CONTINUED)", "He takes a moment to gather his thoughts.\n MARCON\n For starters, I'm sure you're\n aware that professional football", "He takes it on the run. Tucks it under his arm.\nBehind him, the quarterback bites the dust, leveled.\nCole turns the corner. Picks up a blocker.", "He climbs to his feet, still doubled over.\n MILLER\n I'm sorry, Joe.\n (CONTINUED)", "FLASHBACK - FOOTBALL FIELD\nSeventy thousand people screaming.\nJimmy in the middle. Younger Jimmy. Fresher Jimmy.", "Joe doesn't even look.\nThe body sits up. Not dead yet...\nJimmy comes through the door. SHOOTS him.\nFollows Joe." ], [ "Marcon himself.\nSure enough, CONRAD MARCON saunters in, just like he owns\nthe place. Which, by the way, he does. Tall, strong,", "Marcon has had enough. He pounds his fist on the desk.\n MARCON\n Kill them, Goddammit, waste 'em\n both!", "Marcon says nothing. Just looks at Hallenbeck and\nsmiles.\n HALLENBECK\n Oh, shit.\nHe rubs tired eyes.", "Marcon cocks his gun.\n MARCON\n Sit down, Joe.\nA moment. Joe stands, smouldering. On fire. Sarah", "Marcon's composure falters, but only for a moment.\n MARCON\n I'm glad you're here, Joe. We\n got a few things to discuss.", "Mr. Marcon sent us to teach you a\n lesson, Jimmy. Something about\n keeping your big coked-up nose\n out of his fucking business.", "you're a dead man.\nMarcon holds up his hand.\n MARCON\n Wait.\nThe gunmen lower their weapons.", "109.\nCONTINUED:\n MARCON\n So far, so good.", "Catalina. Marcon will be there.\nHe swings a bag of gear onto the boat. Starts to store\nit.\n DARIAN", "142.\nCONTINUED:\nHe crosses to the fireplace. Removes a poker.\n MARCON", "put out a contract on you. Of\n course, I might be able to call it\n off.\nMarcon stares him down. A pause. Then Marcon smiles:", "148.\nCONTINUED:\n MARCON\n He's bluffing. He's not connected", "143.\nCONTINUED:\n MARCON\n He's nothing, he can't hurt us.", "Marcon raises the poker.\nBrings it down on Jimmy's broken arm.", "called the mob.\nMarcon stares at him. Blinks.", "Marcon stops pacing. Sighs and sits down facing\nHallenbeck.", "Get him out of here. Take him to\n Mr. Marcon. I'll follow you as\n soon as my business here is\n finished.", "Mr. Marcon?\n (CONTINUED)", "Marcon finishes writing. Hallenbeck snatches up the\naddress. Stows it in his pocket.\n HALLENBECK\n Okay, Connie, you're gonna walk us", "MARCON\n (nods)\n All right. Slow and easy.\n JIMMY\n Sure. Slow and easy." ], [ "122.\nCONTINUED:\nAs Baynard's man assumes the position --\nMilo hits a concealed button.", "146.\nCONTINUED:\n BAYNARD\n (ignores him)", "I want Baynard, Jimmy. I want to\n bring him down. I could use your\n help.\n JIMMY\n Why should I help you?", "Baynard's Aide whistles softly.\nExamines the stacks of bills. Nods, satisfied.\n AIDE\n Okay. We're cool.", "Milo chuckles, shakes his head.\n MILO\n Fascinating.\n HALLENBECK\n When do I kill Baynard?", "MAN\n Shit! Something's going on.\n BAYNARD\n What is it?\n MAN", "face like that, he's gotta be\n paying for it.\n BAYNARD\n You can die fast or slow, so watch\n your mouth.", "99.\nCONTINUED:\n HALLEBECK\n Baynard? Are you nuts? The guy's", "The walls are perforated. Baynard and his men are dead.\nThe suitcase's evil twin lies unopened on the table.\nHallenbeck walks over to Baynard's lifeless body.", "FOR SENATE. He grumbles. Gives it the finger.\n JIMMY\n Baynard, huh? What's the matter,", "Blows him backward in a bloody spray. Baynard sags\nagainst the mantel. Collapses, dead.\nECHOES. Silence. Jimmy and Joe are alone with three", "INT. BAYNARD'S CABIN\nThe Senator actually has his hands on the suitcase to\nopen it, when one of his MEN yells:", "116.\nCONTINUED:\n MILO\n Baynard will not leave his boat.", "The guy relays the order, and:\n\nEXT. HIGH SEAS\nBaynard's Marlineer surges forward.\nFull throttle, heading for shore, as --", "HALLENBECK\n (shrugs)\n My fee.\nHe shuts the case. Shoves it toward Jimmy.", "Oh, I'm not going to kill Baynard,\n Joe.\n HALLENBECK\n Who is?", "He hears VOICES, approaching.\nPulls up short. Ducks into the shadows.\nSenator Baynard goes by, with two bodyguards.\nBrisk. Businesslike.", "EXT. BAYNARD'S BOAT - SAME TIME\nThe once-mighty Marlineer runs aimless circles in the", "Hallenbeck frowns. Opens the case. Reaches in --\nAnd plucks out two crisp $100 bills. Stuffs them in a\npocket. Jimmy stares at him.", "150.\nCONTINUED:\nBaynard draws down on Jimmy, who picks up a flaming log" ], [ "Sarah is now dressed, as Joe supports her across the\nsidewalk toward the stolen Mercedes.\nHe turns to Jimmy. Hands him a set of keys.\n HALLENBECK", "speaks:\n SARAH\n Do what he says, Joe.\nJoe sits. Breathing shallowly.\nEyes locked on Milo.", "SARAH\n I want to try, Joe. Do you still\n want to try?\nA pause. He leans in and kisses her tenderly.", "Snatches up the briefcase.\n CUT TO:", "SARAH\n Yes.\n MILO\n That's a temporary condition,\n Joseph. As you may be aware,", "like you said, 'Get me out of\n this.'\n SARAH\n You can take these guys, Joe.", "Propels him toward the boat.\nAs her husband is being led away, Sarah calls out:\n SARAH\n Joe...!", "SARAH\n Jesus, no -- !\nAnd grabs the gun.\nEverything freezes. She looks at him. He looks at her.\nUnderstanding occurs.", "SARAH\n You want me to open the closet, Joe?\n Huh? You want me to indulge your\n fucking paranoia, I'll throw the", "A woman, forty-ish, once beautiful, appears in the bedroom\ndoorway. Wearing a terry cloth robe. This is Joe's wife\nSARAH.\n SARAH", "The men disperse. One of them drags Joe to his feet.\nA stocky, crag-faced man. He jams a silenced pistol", "He motions to Milo, who disappears through a doorway.\nReappears a moment later.\nHe's got Joe's wife.", "JIMMY\n Shit, Joe... I got all the money\n I need.\nHe shoves it back into the center. Joe nods.", "133.\nCONTINUED:\nHe turns away. Jimmy bends to open the suitcase.", "Her mother is awake, cradled in Joe's arms.\n HALLENBECK\n Jimmy should be here any minute.\n Then we gotta talk to the cops.", "He sighs. Starts to pull the trigger. And Sarah\nscreams --", "fucking deal with you like this -- !\n HALLENBECK\n Three. Last chance.\n SARAH\n Joe, dammit -- !", "Jimmy's at the wheel of a rented Subaru. Hallenbeck\nbeside him. He hands Joe the envelope he found in Cory's\napartment.", "Don't drive away, Joe.\nJoe puts it in gear. Pulls away.\n (CONTINUED)", "EXT. COTTAGE - NIGHT\nThe two men emerge from the house. Joe heads for his\ncar. Jimmy peels off toward a battered GMC Pacer parked\nat the curb." ], [ "No, man. I played football.\n Jimmy Dix, L.A. Stallions.\n PATROLMAN\n What position?", "JIMMY\n The guy on the left is Connie\n Marcon, the owner of the L.A.\n Stallions.", "Cole crosses the goal line. Touchdown.\nDrops the ball.\nTurns, facing the cops. His eyes are insane.\nThe crowd is screaming. People are running back and", "It's a night game at the Coliseum. He's the quarterback.\nThe snap. Jimmy fakes the draw. Rolls right. Around\nhim, all is impact. Sound and fury.", "today's confrontation between the\n L.A. Stallions and the Chicago\n Bears. This is Vern Lindquist\n with Terry Bradshaw, and, yes, my", "He takes it on the run. Tucks it under his arm.\nBehind him, the quarterback bites the dust, leveled.\nCole turns the corner. Picks up a blocker.", "The PHONE CLICKS off. NFL running back Billy Cole stares\nstraight ahead, mouth working spastically.\n CUT TO:", "3.\nEXT. FOOTBALL FIELD - DAY (FOURTH QUARTER)\nA deafening CRUNCH as a defensive back hammers a wide", "James Alexander Dix\n Former quarterback,\n L.A. Stallions", "Around him, sound. Fury. Impact. Confusion.\nAnother defensive back. Straight ahead.\nReacts with almost comical terror. Dives to one side.", "Are you Jimmy Dix? Played for the\n Stallions?\n JIMMY\n '86 and '87, that was me.", "Jimmy turns, as if to walk away.\nInstead, he spins back and launches the football.\nIt sings, that's how hard he throws it. And when it", "He takes a moment to gather his thoughts.\n MARCON\n For starters, I'm sure you're\n aware that professional football", "receiver, nearly decapitates him. The ball rolls free.\nThe back recovers it.\n ANNOUNCER (V.O.)\n ... Big Ray Walton puts a", "HALLENBECK\n James Alexander Dix, L.A. Stallions,\n '86 and '87. Barred from the N.F.L.", "Cole adopts a three-point stance.\nEverything happens in hyper-real SLOW MOTION:\nThe snow falls. The receivers breeze past, in motion to", "JIMMY\n Huh?\nThere is an awkward pause. Darian holds out a football\ncard.\nYoung, smiling Jimmy.", "Followed you with the Stallions.\n Good scrambling ability, seventy\n percent completions from the\n pocket... You had the best gun", "begin their patterns. Moving like gazelles.\nCole's fingers paw the cold earth. Gouging it.\nHe is like a spring. Coiled and ready.\nThe ball is snapped.", "BACK ON DECK\nthe Crewman lowers the binoculars in disbelief:\n CREWMAN\n Son of a bitch! It's Dix, the\n Goddamn quarterback!" ], [ "Cole crosses the goal line. Touchdown.\nDrops the ball.\nTurns, facing the cops. His eyes are insane.\nThe crowd is screaming. People are running back and", "Cole FIRES. Blows out the guy's knee. Ends a career.\nKeeps going.\nWe are now in full-scale panic.", "He takes it on the run. Tucks it under his arm.\nBehind him, the quarterback bites the dust, leveled.\nCole turns the corner. Picks up a blocker.", "The PHONE CLICKS off. NFL running back Billy Cole stares\nstraight ahead, mouth working spastically.\n CUT TO:", "Feet pounding. Arms pumping.\nUp ahead, the free safety barrels toward him. Low and\nhard.\nCole does not blink. He reaches beneath his jersey.", "And so L.A. has a chance to ice\n the game, no pun intended... And\n you gotta be thinking, give the\n ball to Billy Cole. He has had an", "Surrounded by football paraphernalia. Paintings.\nTrophies.\nThe PHONE CHIRPS. He picks up the receiver. Stabs a\nbutton.", "BILLY COLE\ngets up off the bench. The rest of the offensive unit\nsprints onto the field. Cole walks. Straight ahead,", "None other than MIKE MILLER, Joe's early morning phone call.\nWe know this because Joe says:\n (CONTINUED)", "INT. LOCKER ROOM - SAME TIME\nBilly Cole sits, alone, in front of his locker.\nEyes glazed. Face bathed in sweat.", "begin their patterns. Moving like gazelles.\nCole's fingers paw the cold earth. Gouging it.\nHe is like a spring. Coiled and ready.\nThe ball is snapped.", "Cole adopts a three-point stance.\nEverything happens in hyper-real SLOW MOTION:\nThe snow falls. The receivers breeze past, in motion to", "4.\nCONTINUED:\nThe ball floats through the snowy air. Pitch-out to\nCole.", "BACK TO SCENE\nHallenbeck scowls and chews three aspirin. Swallows.\nThe PHONE RINGS. He groans. Chain-lights another smoke,", "The bullets go straight through. On the back of his\nhelmet.\nA mixture of blood and fiberglass.\nCole keeps going, jogging for the end zone.", "He hangs up.\nMarcon replaces the receiver and chuckles.\n MARCON\n Goddamn fruitcake.", "Cole is oblivious to the bars crashing around him. He\nsmiles and says:\n (CONTINUED)", "The Man On the Bed answers it. Speaks haltingly.\n MAN ON BED\n Hello...?\n MALE (V.O.)", "Bessalo looks up, intrigued. McCaskey continues:\n McCASKEY\n Now, according to Hallenbeck, Mike\n Miller came to the house early", "(beat)\n Christ, Joe wasted the bastard\n himself!\nHe stabs a button on the phone. Barks into the receiver:" ], [ "Cole crosses the goal line. Touchdown.\nDrops the ball.\nTurns, facing the cops. His eyes are insane.\nThe crowd is screaming. People are running back and", "He takes it on the run. Tucks it under his arm.\nBehind him, the quarterback bites the dust, leveled.\nCole turns the corner. Picks up a blocker.", "Feet pounding. Arms pumping.\nUp ahead, the free safety barrels toward him. Low and\nhard.\nCole does not blink. He reaches beneath his jersey.", "begin their patterns. Moving like gazelles.\nCole's fingers paw the cold earth. Gouging it.\nHe is like a spring. Coiled and ready.\nThe ball is snapped.", "The PHONE CLICKS off. NFL running back Billy Cole stares\nstraight ahead, mouth working spastically.\n CUT TO:", "Cole is oblivious to the bars crashing around him. He\nsmiles and says:\n (CONTINUED)", "INT. LOCKER ROOM - SAME TIME\nBilly Cole sits, alone, in front of his locker.\nEyes glazed. Face bathed in sweat.", "BILLY COLE\ngets up off the bench. The rest of the offensive unit\nsprints onto the field. Cole walks. Straight ahead,", "Cole adopts a three-point stance.\nEverything happens in hyper-real SLOW MOTION:\nThe snow falls. The receivers breeze past, in motion to", "Cole FIRES. Blows out the guy's knee. Ends a career.\nKeeps going.\nWe are now in full-scale panic.", "The bullets go straight through. On the back of his\nhelmet.\nA mixture of blood and fiberglass.\nCole keeps going, jogging for the end zone.", "Instead, he reaches inside the waistband on his pants.\nRemoves a vial of coke. Dips a spoon.\nThe door opens.\nHallenbeck is standing there with a handful of fresh", "He gets up and goes into the head. Pulls out a glass\nvial. Dips a coke spoon with practiced ease. Sucks it\nup a nostril.", "It's a night game at the Coliseum. He's the quarterback.\nThe snap. Jimmy fakes the draw. Rolls right. Around\nhim, all is impact. Sound and fury.", "He takes a bottle of pills from the locker. Pops three.\nHisses a stream of air through his teeth as we --\n CUT TO:", "Stands, crushes out his cigarette.\nMoves into the bathroom.\nThe Baggie of coke is on the counter.\nHe stares at it with bloodshot eyes.", "FLASHBACK - FOOTBALL FIELD\nSeventy thousand people screaming.\nJimmy in the middle. Younger Jimmy. Fresher Jimmy.", "Extracts one. Lights it.\nSIRENS fill the air.\nAnd Jimmy snaps out of it long enough to reach into his", "4.\nCONTINUED:\nThe ball floats through the snowy air. Pitch-out to\nCole.", "point, there's only one reason\n left nowadays to watch pro-\n football. Can you guess?\nIt begins to dawn on Hallenbeck." ], [ "Cole crosses the goal line. Touchdown.\nDrops the ball.\nTurns, facing the cops. His eyes are insane.\nThe crowd is screaming. People are running back and", "Cole FIRES. Blows out the guy's knee. Ends a career.\nKeeps going.\nWe are now in full-scale panic.", "Feet pounding. Arms pumping.\nUp ahead, the free safety barrels toward him. Low and\nhard.\nCole does not blink. He reaches beneath his jersey.", "He takes it on the run. Tucks it under his arm.\nBehind him, the quarterback bites the dust, leveled.\nCole turns the corner. Picks up a blocker.", "Cole adopts a three-point stance.\nEverything happens in hyper-real SLOW MOTION:\nThe snow falls. The receivers breeze past, in motion to", "BILLY COLE\ngets up off the bench. The rest of the offensive unit\nsprints onto the field. Cole walks. Straight ahead,", "begin their patterns. Moving like gazelles.\nCole's fingers paw the cold earth. Gouging it.\nHe is like a spring. Coiled and ready.\nThe ball is snapped.", "The PHONE CLICKS off. NFL running back Billy Cole stares\nstraight ahead, mouth working spastically.\n CUT TO:", "Cole is oblivious to the bars crashing around him. He\nsmiles and says:\n (CONTINUED)", "INT. LOCKER ROOM - SAME TIME\nBilly Cole sits, alone, in front of his locker.\nEyes glazed. Face bathed in sweat.", "The bullets go straight through. On the back of his\nhelmet.\nA mixture of blood and fiberglass.\nCole keeps going, jogging for the end zone.", "It's a night game at the Coliseum. He's the quarterback.\nThe snap. Jimmy fakes the draw. Rolls right. Around\nhim, all is impact. Sound and fury.", "Jimmy turns, as if to walk away.\nInstead, he spins back and launches the football.\nIt sings, that's how hard he throws it. And when it", "4.\nCONTINUED:\nThe ball floats through the snowy air. Pitch-out to\nCole.", "FLASHBACK - FOOTBALL FIELD\nSeventy thousand people screaming.\nJimmy in the middle. Younger Jimmy. Fresher Jimmy.", "Around him, sound. Fury. Impact. Confusion.\nAnother defensive back. Straight ahead.\nReacts with almost comical terror. Dives to one side.", "And the funny thing is, he's really good.\nPablo overcomes his shock.\n PABLO\n Shit, is he doing that?", "point, there's only one reason\n left nowadays to watch pro-\n football. Can you guess?\nIt begins to dawn on Hallenbeck.", "3.\nEXT. FOOTBALL FIELD - DAY (FOURTH QUARTER)\nA deafening CRUNCH as a defensive back hammers a wide", "He stares at the note, dumbstruck.\n CUT TO:" ], [ "HALLENBECK\n About fucking time.\n (extends his hand)\n Joe Hallenbeck. I'm a private\n detective.", "He stops. Turns. Looks at her.\nBoys and girls, there is, within Joe Hallenbeck, a spark:\nTiny. Fizzling. Almost gone.", "From available information, he\n appears to be a free agent. Guy\n by the name of Joe Hallenbeck.\nMilo sits and begins punching keys on a computer.", "HALLENBECK\n The kind with a wife and kid.\n Look, it's over. My job is done.\n JIMMY", "there three days. A cloud of smoke hangs around his\nhead. Mr. Joe Hallenbeck, no less.\n HALLENBECK", "HALLENBECK\n Don't be. He was a lousy\n surveillance man.\nJimmy leans forward, palms flat on the table.", "The guy pitches over dead.\nHallenbeck kneels beside him.\nRetrieves his .38, holsters it. Slips the hitman's pistol\ninto his waistband.", "EXT. SUBURBAN NEIGHBORHOOD - DAY\nJoe Hallenbeck slides his Plymouth to the curb in front", "INT. BACKSTAGE CORRIDOR - SAME TIME\nJoe Hallenbeck is pounding an already-dented cigarette", "Hallenbeck stares straight ahead. Sighs and says:\n HALLENBECK\n He was fucking my wife, Jimmy.\n (beat)", "EXT. BOULEVARD - NIGHT\nJoe Hallenbeck is running full out.\nHeadlong down the sidewalk. Gasping for breath.\n HALLENBECK\n Move!!\n (CONTINUED)", "HALLENBECK\n Secret Service.\n JIMMY\n You're high. Get outta here.\n (grins)", "Joe looks over... and his face tells the story:\n HALLENBECK\n We're dead.\nExcept, just then, a strange thing happens:", "And then she comes on.\nAnd even Joe Hallenbeck must draw in a sharp breath.\n (CONTINUED)", "I thought you were off the case.\n HALLENBECK\n (scowls)\n Look, dipshit, I told you that to", "They start down the hallway, side by side.\n JIMMY\n You know something, Joe, for a\n private eye, you sure don't go in", "(beat)\n Look, Sergeant. I don't give a\n shit about Joe Hallenbeck. I just\n busted my throwing arm and I'm", "96.\nCONTINUED:\n HALLENBECK\n You're pretty calm for a man whose", "JIMMY\n I think someone disturbed some\n stuff, Joe.\n HALLENBECK\n Well, shit. Looks like somebody", "Hallenbeck yawns.\n CHET\n Fuck that. Look at him. He's\n nothin'. Guy's a piece of shit." ], [ "HALLENBECK\n Secret Service.\n JIMMY\n You're high. Get outta here.\n (grins)", "A long time ago, that son of a bitch\n saved the President's life.", "HALLENBECK\n Exactly. He got spotted. They\n made him, and they killed him.\n Then they took out Cory.", "Cut it out. Look, you sorta saved\n my life. Let me buy you a beer.\n HALLENBECK\n I'm not thirsty. Good night.", "Joe looks over... and his face tells the story:\n HALLENBECK\n We're dead.\nExcept, just then, a strange thing happens:", "Hallenbeck says nothing.\n (CONTINUED)", "96.\nCONTINUED:\n HALLENBECK\n You're pretty calm for a man whose", "HALLENBECK\n The kind with a wife and kid.\n Look, it's over. My job is done.\n JIMMY", "eye.\n HALLENBECK\n What am I, Jimmy?\n JIMMY\n He tried to get you killed.", "The color drains from Hallenbeck's features.\n HALLENBECK\n Jimmy, no!!\nHe sprints across the sidewalk and yanks Jimmy out of the", "here tells me you took a bullet\n for the President, jumped in front\n of a sniper rifle.\nHallenbeck reacts, startled. Looks at Milo.", "HALLENBECK\n About fucking time.\n (extends his hand)\n Joe Hallenbeck. I'm a private\n detective.", "HALLENBECK\n That's what you think. Last night\n I fucked your wife.\nThe gunman cracks up. Hallenbeck grins drunkenly.", "Hallenbeck calmly returns to his seat.\n PABLO\n You killed him! 'Fuckin' A, you\n killed him, he's fuckin' dead!!!", "HALLENBECK\n And my pension. And my marriage.\n Only reason I'm still licensed to\n carry a gun, the man himself made", "The guy pitches over dead.\nHallenbeck kneels beside him.\nRetrieves his .38, holsters it. Slips the hitman's pistol\ninto his waistband.", "Hallenbeck takes a deep breath. Eyes wide. Insane.\nHe is surrounded by corpses. He takes another deep\nbreath.\nPicks up the sniper rifle.\nSlings it over his shoulder.\nHeads for the door.", "And from nowhere, Joe Hallenbeck's hand magically\nappears.\nIntercepts the blow.\nClamps onto Chet's hand and wrenches it.", "Hallenbeck stops in the middle of someone's yard.\nHolsters his gun.\nA neighbor's dog approaches, happily wagging its tail.", "Hallenbeck frowns. Opens the case. Reaches in --\nAnd plucks out two crisp $100 bills. Stuffs them in a\npocket. Jimmy stares at him." ], [ "Hallenbeck stares straight ahead. Sighs and says:\n HALLENBECK\n He was fucking my wife, Jimmy.\n (beat)", "160.\nHALLENBECK\nstares, dumbfounded at Sarah. She look up at him.", "Hallenbeck turns. Regards his wife with hooded, lifeless\neyes.\n HALLENBECK\n Where was Darian?\n SARAH", "Hallenbeck enters. Crosses to Darian's bed.\nShe is asleep. She looks vulnerable. Helpless.\nHe leans over and kisses her.", "HALLENBECK\n Is this a trick question?\n SARAH\n I'll do it, Joe. Okay? And then", "Hallenbeck vomits. Lies bleeding on the dock.\nSarah crawls over to him. As far as the cuffs will\nallow. Cradles his head in her lap.", "Christ, you slept with three guys.\n SARAH\n You knew about the others?\n HALLENBECK\n I knew.", "That's why the car was there,\n Miller was fucking Hallenbeck's\n wife, Hallenbeck just got back\n from out of town, remember?", "HALLENBECK\n That's what you think. Last night\n I fucked your wife.\nThe gunman cracks up. Hallenbeck grins drunkenly.", "Call it a service to dear departed\n Chet.\nHe slams a fist into Hallenbeck's middle.\nSarah cries out in alarm.", "fucking deal with you like this -- !\n HALLENBECK\n Three. Last chance.\n SARAH\n Joe, dammit -- !", "SARAH\n Put the gun down.\n HALLENBECK\n Hmmm? Oh, right, the gun.", "Her voice is ice cold. Joe turns and regards her levelly.\n HALLENBECK\n You okay, Sarah...?\n SARAH", "HALLENBECK\n Don't... look at me...\n SARAH\n Shhh. It's okay, Joe. I'm here,", "HALLENBECK\n The kind with a wife and kid.\n Look, it's over. My job is done.\n JIMMY", "SARAH\n Excuse me?\n HALLENBECK\n (frowns)", "Sarah nestles into the crook of his arm.\n SARAH\n Will the police catch Marcon?\n HALLENBECK", "Hallenbeck yawns.\n CHET\n Fuck that. Look at him. He's\n nothin'. Guy's a piece of shit.", "Hallenbeck stares at him.\n JIMMY\n I was married at 19. Sweet young\n thing, looking to get out from", "HALLENBECK\n Office.\nHe brushes past her and crosses to the bed. On the pillow,\na big stuffed cat toy smiles benignly." ], [ "Mike Miller screams and clutches at himself.\nThe bullet goes high and wide. Over his head.\nOn the wall is a framed wedding photo. The twin of the", "He killed Chet, Milo. The mother-\n fucker just killed him!\nMilo looks toward Hallenbeck. Hallenbeck says nothing.", "Where's Mike?\n HALLENBECK\n He died.\n JIMMY\n Sorry to hear it.", "47.\nCONTINUED:\n HALLENBECK\n Because Mike was scared. He bailed", "The walls are perforated. Baynard and his men are dead.\nThe suitcase's evil twin lies unopened on the table.\nHallenbeck walks over to Baynard's lifeless body.", "(clears his throat)\n Oh, I forgot to tell you. The\n police want you for killing Mike\n Miller.", "He slams down the phone. Stares, stricken, at McCaskey.\n BESSALO\n I let him go, Mick. He wasted Mike", "cooler, tough guy, is the cops got\n no motive for Miller's death.\n When they find out Mikey was\n dickin' your old lady, seems to", "Cut.\nHe throws the hunting knife. It pierces the guy's neck.\nThe chainsaw clatters to the floor.\nHe does the funny little dance peculiar to those with", "HALLENBECK\n Exactly. He got spotted. They\n made him, and they killed him.\n Then they took out Cory.", "The guy pitches over dead.\nHallenbeck kneels beside him.\nRetrieves his .38, holsters it. Slips the hitman's pistol\ninto his waistband.", "Mike Miller turns the key in the ignition.\nThe CAR BLOWS to pieces.\nAn ERUPTION OF FLAME.\nFlying glass and metal. The car becomes airborne.", "He flies through open air --\nMilo's GUN CHATTERING below, seeking him out --\nAnd just does make it.\nHits the freeway surface and collapses forward, screaming", "Blows him backward in a bloody spray. Baynard sags\nagainst the mantel. Collapses, dead.\nECHOES. Silence. Jimmy and Joe are alone with three", "And Hallenbeck moves like a coiled spring. Not drunk at\nall. He takes the broken bottle he's been clutching and\ncuts the guy's throat like a knife through butter.", "Hallenbeck calmly returns to his seat.\n PABLO\n You killed him! 'Fuckin' A, you\n killed him, he's fuckin' dead!!!", "Bessalo looks up, intrigued. McCaskey continues:\n McCASKEY\n Now, according to Hallenbeck, Mike\n Miller came to the house early", "mist. Half the cockpit is blown away, probably by a LAWS\nrocket.\nThe Hatteras pulls up alongside, and Hallenbeck steps to\nthe rail, carrying the Baretta.", "one in Hallenbeck's office. The bullet strikes it dead\ncenter.\nBlows it to pieces.\nSilence. The tinkle of glass hitting the floor.", "Except another lady says different:\nA single GUNSHOT SPLITS the air.\nMilo's chest explodes with bubbling blood." ], [ "EXT. STRIP CLUB - NIGHT\nCory and Jimmy emerge from the club into the parking lot.\nShe scans the area, shaking her head.\n CORY", "Cory is cut down. Blown backward over the hood of her\nFord. Flung to the street.\n JIMMY\n Oh Gooood!!", "Cory and Jimmy are engaged in very hot sex.\nThis is not a love scene; this is a sex scene.\nSigh. I'm not even going to attempt to write this", "JIMMY\n Look, friend, I don't know who you\n are or what's going on. But Cory\n is my girl friend and if she's in", "Hallenbeck.\n JIMMY\n Who's the stiff?\n CORY\n He's nobody.", "And with that, she leans over and moulds her lips to his.\nTime passes. These two know each other, it would seem.\nCory pulls away. Jimmy smiles.", "Stands out like a teamster at a gay rights rally. Supple\nbody. Deep green eyes. Flaxen hair. Her name is CORY.\nShe stops at a table against the wall. Puts down a", "EXT. NIGHTTIME STREET - SAME TIME\nJimmy Dix is behind the wheel of a silver Jag.\nCory is driving a spanking new Ford Fiero.", "JIMMY\n That's what Cory said. She said\n you were nobody.\nOnly Hallenbeck's eyes move. He looks up, regards Jimmy", "JIMMY\n Hi, Cory. Rough night?\n (CONTINUED)", "MALE (V.O.)\n Stripper in West Hollywood. Lives\n alone. Very hot. A three on my\n finger scale. Means I'd cut off", "JIMMY\n Wasn't like that. Cory could've\n had lots of rich guys. Me, she\n loved.", "Too late. Cory is already out of her car, yelling:\n CORY\n Hey, can't you fucking drive??\n (CONTINUED)", "into, but those were professional\n hitters tonight. Mob style.\n (beat)\n Tell me about Cory. What was she\n like?", "The girl in the photos seems young, beautiful, and naive.\nOne shot depicts Cory and a friend in cheerleader outfits.", "You want the fucking evidence that\n the stripper had. I've got it.\n So we can play games, or I can\n hand it over.", "INT. \"BOTTOMLESS PIT\" CLUB - NIGHT\nRowdy strip club in West Hollywood. Just like the name", "in Cory's apartment, isn't it?\n You found this when you found that\n envelope.\nHe crosses to the toilet. Jimmy cries out.", "ANOTHER ANGLE\nThe lovely Cory approaches Jimmy at the bar. Harp looks\non.\n CORY", "JIMMY\n No. Is Cory in trouble?\n HALLENBECK\n I hope not. You tell me." ], [ "The man takes a drag off the cigarette, studies the\nsleeping girl. Meet Jimmy Dix. Twenty-seven years old,\nformer National League heartthrob.\nHe shakes his head and mutters:", "Joe's daughter, Darian, is standing there.\n DARIAN\n You're Jimmy Dix, aren't you?", "Jimmy Dix leaves the bedroom. Pads barefoot down a hall\nlittered with beer cans, food wrappers. A sleeping guy.", "The Hitman swears. Turns, running for the sedan.\nHe knows when a getaway is in order.\nJust one problem. He forgot about Jimmy Dix.", "EXT. OFFSHORE WATERS - IN FOGBANK\nJimmy Dix is clearly lost.\nHe bangs his fist in frustration.\n JIMMY", "JIMMY DIX\nsaunters up, looking less than friendly. He looks at\nHallenbeck. Hallenbeck does not look at him.", "Bad news is, they just pulled\n Jimmy Dix out of a construction\n site on Ventura. He's busted up.\n BESSALO", "BACK ON DECK\nthe Crewman lowers the binoculars in disbelief:\n CREWMAN\n Son of a bitch! It's Dix, the\n Goddamn quarterback!", "A GOON sticks his head in the door.\n GOON\n We've got Jimmy Dix in the trunk.\n PABLO", "usually reserved for standing in line at the DMV.\nJimmy Dix sits at the bar, hooting and whistling. Behind\nthe bar, a black man in a wheelchair serves drinks. His", "He's looking at a man he never thought he'd see again. A\nman who suffers from facial paralysis ever since his head\nbounced off the Georgetown turnpike eight years ago.", "EXT. NIGHTTIME STREET - SAME TIME\nJimmy Dix is behind the wheel of a silver Jag.\nCory is driving a spanking new Ford Fiero.", "Everybody's topside; for the moment, at least, he is\nforgotten.\nHe half crawls, half lurches over to the kitchen nook.", "INT. CONRAD MARCON'S LIVING ROOM - NIGHT\nJimmy Dix is on the floor, and Marcon is kicking him", "on a metal examining table. His ribs are taped. His\narm in a cast.\nTwo men loom over him, sour expressions on their faces:", "A long time ago, that son of a bitch\n saved the President's life.", "The walls are perforated. Baynard and his men are dead.\nThe suitcase's evil twin lies unopened on the table.\nHallenbeck walks over to Baynard's lifeless body.", "INT. SUBARU - DRIVING\nJimmy Dix is actually on the freeway, driving, when he\nlooks across the center divider and sees Hallenbeck.", "No, man. I played football.\n Jimmy Dix, L.A. Stallions.\n PATROLMAN\n What position?", "Oh, that's right, you sometimes\n forget that I'm a detective.\n (lights a cigarette)\n See, first I noticed how tense you" ] ]

[ "WHAT POSITION DID BILLY COLE PLAY?", "WHO IS MIKE MATHEWS TO JOE?", "WHO WAS JOE'S WIFE HAVING AN AFFAIR WITH?", "HOW IS MIKE KILLED?", "WHAT ASSIGNMENT DID MIKE GIVE JOE JUST BEFORE HE DIED?", "WHAT IS JOE HALLENBECK'S CURRENT OCCUPATION?", "WHO IS JIMMY ALEXANDER DIX TO CORY?", "HOW WAS CORY KILLED?", "WHO IS DARIAN TO JOE?", "Who does Billy Cole receive a phone call from?", "How many players were shot on the field?", "Why did Hallenback's wife have an affair?", "How was Mike killed?", "Why was James \"Jimmy\" Alexander banned from the league?", "Who forms an alliance to bring down Marcone?", "Why hasn't Joe watch another football game?", "What does Marcone intend to do?", "How much money does Baynard demand?", "What does Joe and Sarah do after the briefcase of money is recovered?", "Who is the LA Stallions star running back?", "Who does Cole receive a call from at halftime stating Cole better win the game?", "What does Cole ingest at the football game?", "What does Cole do at the football game that is shocking?", "What is Private Investigator Joe Hallenbeck's former job?", "Who's life did Hallenbeck save while a Secret Service agent?", "Who is Hallenbeck's wife Sarah having an affair with?", "How is Mike Matthews killed?", "Who is Cory the stripper's boyfriend?", "What is Dix's former occupation?" ]

[ [ "RUNNING BACK", "Running back." ], [ "HIS BEST FRIEND", "sometime business partner" ], [ "MIKE MATHEWS", "Mike Matthews" ], [ "CAR BOMB", "Car bomb." ], [ "BODYGUARD TO STRIPPER NAMED CORY", "Be a bodyguard for a stripper named Cory." ], [ "PRIVATE INVESTIGATOR", "Private investigator." ], [ "HER BOYFRIEND", "Her boyfriend" ], [ "SHE WAS SHOT", "Shot" ], [ "HIS DAUGHTER", "Darian is Joe's daughter. " ], [ "From someone named Milo.", "Milo" ], [ "three were shot. ", "Three." ], [ "She did it to get his attention.", "To get his attention. " ], [ "He was killed by a car bomb.", "A car bomb. " ], [ "He was banned because of use of drugs and gambling. ", "gambling and drug abuse" ], [ "Joe and Jimmy.", "Joe and Jimmy" ], [ "Because Jimmy was banned from the league. ", "Because Jimmy was banned from the league. " ], [ "He intends to legalize sports gambling by purchasing votes. ", "Legalize sports gambling." ], [ "$6 million. ", "Six million" ], [ "They reconcile the next day. ", "They reconcile. " ], [ "Billy Cole", "Billy Cole" ], [ "Milo", "Milo" ], [ "PCP a drug", "PCP" ], [ "He shoots 3 opposing players to get to the endzone and then kills himself", "Takes PCP and kills three people. " ], [ "Secret Service agent", "secret service agent" ], [ "The President's", "A woman in a hotel that Baynard was torturing. " ], [ "Mike Matthews", "Mike Matthews" ], [ "By a car bomb outside Joe's house", "car bomb" ], [ "James \"Jimmy\" Alexander Dix", "James Alexander Dix" ], [ "L.A. Stallions star quarterback", "Stallion's star quaterback" ] ]

[ [ "INT. CORNELL UNIVERSITY LECTURE HALL, 1931 - ITHACA, NY - DAY", "EXT. CORNELL UNIVERSITY CAMPUS - 1931 - ITHACA, NY - DAY.\n\n The beautiful campus of Cornell University. Jacob runs.", "JACOB\n\n 1931.\n\n CHARLIE\n \"˜31?...You're saying you were there\n for the---?", "JACOB (CONT'D)\n I never took my final exams at\n Cornell. I'm not a real vet.", "AUGUST\n It's the Depression, Cornell. Where\n have you been? Oh right - Cornell.\n Kinko is bathing with his two buckets when August snatches\n one of them away.", "Jacob enters. Kinko is on his bed reading his \"Aristotle\" but\n quickly shuts the book. Queenie growls at Jacob.", "AUGUST (CONT'D)\n Veterinary science?\n (Earl stops with Jacob)\n May I ask what school?\n\n JACOB\n Cornell.", "JACOB (CONT'D)\n ..I'll call my dean at Cornell..If\n I can take my finals again, get my", "AUGUST\n\n (IMPRESSED)\n You're a Cornell graduate?\n Jacob lies and nods...August wonders whether to trust Jacob.", "Queenie sleeps. Kinko reads comic book porn inside a book of\n Aristotle's Poetics. Jacob sits on his bed thinking.", "my arm up a cow's ass more times\n than I cared to remember, I was\n finally going to graduate Cornell\n in Veterinary Science. I was summa", "her Ma'am.\n (Smiles with great joy)\n Man oh man that was...that was a\n life, boy, I'll tell ya...", "Having cleaned up, Jacob is dressing in his own clothes.\n Kinko sits on his cot \"reading Shakespeare\" with a melancholy\n Queenie at his side. When Jacob scratches his shaven balls...", "it. If not, we'll check her for\n parasites.\n Jacob starts to exit. As Kinko reads his book;", "(Charlie smiles. )\n Luckily, the vet at the Albany Zoo\n dropped dead, so I got the job.", "MARLENA\n Tell me the truth. What's wrong\n with him?\n Jacob hesitates before answering, then:", "foot. He decides to help....Approaching the shimmering\n Marlena, Jacob looks like he's been shovelling shit all day.", "EXT. JANKOWSKI HOUSE - ITHACA NY - 1931 - MORNING", "JACOB\n Sure Kinko.\n He moves to exit again. Kinko never looks up from book;\n\n KINKO\n Jacob?", "Jacob peers out to see: Rosie's trunk dip itself into the vat\n of lemonade and drink the entire contents.\n Jacob is amazed. He looks around: Workmen are some distance" ], [ "JACOB (V.O.)\n It was a big day. My final exams.\n\n INT. JANKOWSKI HOUSE - CONTINUOUS - MORNING", "AUGUST (CONT'D)\n Darling, meet Jacob Jankowski,\n Benzini Brothers own veterinarian.", "JACOB\n Hello Rosie, I'm Jacob Jankowski.\n This is Mrs. Marlena Rosenbluth.", "August and Jacob exit onto the platform.\n\n AUGUST\n Are you sure-footed, Jacob\n Jankowski?\n\n JACOB\n I believe so.", "JACOB\n Jacob Jankowski, sir.\n\n AUGUST\n And what is a \"Jacob Jankowski\" and\n why he is on my train?", "JACOB\n Jacob. Jankowski. Nice to meet you.\n\n CAMEL\n You're pretty young for the rails.\n You running from something boy? You\n on the lam?", "His shirt is stained with sweat - as if it took great effort\n for him to get there. As he watches the Circus disappear,\n Jacob looks lost, bewildered and fragile.", "AUGUST (CONT'D)\n ..because it was a lucky day when\n Jacob Jankowski jumped our train.\n Because of him - together with our", "JACOB (CONT'D)\n I never took my final exams at\n Cornell. I'm not a real vet.", "JACOB (CONT'D)\n Ringling Brothers.\n August stops playing cards. The others react with sudden", "INT. JANKOWSKI HOUSE - JACOB'S BATHROOM - 1931 - MORNING", "JACOB\n I hear Ringling has its own vet.\n The other men can't believe Jacob spoke up like this. But it\n amuses August, who faces him and smiles;", "August walks away. Earl escorts Jacob to the menagerie. On\n the way, they pass Barbara. Jacob pauses to hand Queenie to\n her. She has tears in her eyes. Jacob continues with Earl.", "And so I think Jacob Jankowski\n might be a valuable person to have\n around.", "JACOB (V.O.)\n That Fox Bros bull man didn't tell\n us was the elephant tramp who sold\n Rosie to them was Polish...\n August grabs Jacob and kisses him on the mouth.", "Jacob nods. The Coroner exposes first Jacob's father, then\n Jacob's mother. We see only Jacob's expression:", "THE PROCTOR\n Mr. Jankowski? May we have a word?\n Fifty pairs of eyes turn to look at Jacob, who looks up.", "JACOB (V.O.)\n After six years of dissections,\n castrations, foalings and shoving", "Jacob opens the ring stock car and jumps out, holding\n Queenie. He hasn't slept all night.\n As he walks through the circus grounds, working men like Greg", "Jacob jumps down off the platform. Confused and disgusted, he\n takes the bull hook, wedges it under the train and breaks it\n in half." ], [ "Jacob leaps to the roof of Marlena and August's car. At this\n moment, the train is making a curve.\n Jacob climbs down over the side ladder. Beyond him, we see:", "Jacob is rolled awake as the train stops. He is disoriented\n as Blackie, Grady and Bill jump out through the open stock\n car door. Camel is fast asleep, drunk from the jug.", "across the roofs. Jacob has no choice but to follow...\n The two men dance and leap atop the train from car to car\n across the moving train...Jacob grows increasingly confident", "As the train travels, a worn out Jacob sits cramped under a\n bunk beside A CONTORTIONIST taking up little space. Jacob\n voraciously eats a plate of food Camel snuck in for him.", "The train wheels screech as it begins to stop. Jacob rises\n and looks out of open train car doors..", "The train is moving fast. The rain has returned.\n Jacob is making his way towards the back of the train, as it\n moves forward. He holds the knife in his mouth...moving like", "When Jacob hops out, he sees performers and roustabouts all\n gathered by a performer train car, huddling and discussing.\n He crosses to investigate, meeting up with August Diamond Joe\n and Mr. Erwin...", "Jacob's direction. He hears a distant CLANK-CLANK...\n Curious, Jacob puts his shoes on and walks back to a gravel\n path that leads to TRAIN TRACKS just as:", "Somebody smart should figure that\n one out.\n Jacob makes his decision: He runs parallel to the\n train...stumbling over gravel, pitching forward and losing", "Nell is sitting by an open window fanning herself from the\n heat when she sees:\n Jacob wandering behind the back of the train where no one can", "Jacob jumps down off the platform. Confused and disgusted, he\n takes the bull hook, wedges it under the train and breaks it\n in half.", "AUGUST\n All right, Cornell. Come with me.\n August leads Jacob out.\n\n EXT. PLATFORM - TRAIN EN ROUTE - CONTINUOUS - NIGHT", "off a moving train, feed you to my\n lions and you go ahead and shoot my\n star horse anyway. So I think -\n Jacob's an educated man. For Jacob", "As the train travels to Weekhawken, New Jersey...Jacob is\n looking out of open car to NYC skyline across the river.", "JESUS CHRIST!\n The train jerks a curve. Jacob almost falls.\n\n AUGUST (O.S.)", "tracks. Jacob is slipping...slipping...\n With everything he's got, Jacob makes one final \"life or\n death\" effort, managing to get his left knee up over the", "hair blowing wildly in the wind...He points downward.\n Jacob, none too pleased, advances to the edge of the platform\n as the train speeds by, and looks where August is pointing;", "TRAIN AND RUN TOWARDS HIM. JUST AS JACOB GETS TO HIS FEET,\n\n THE MEN REACH HIM - AND BEGIN TO BEAT HIM.", "see him....Nell watches as Jacob tries to reach the train,\n then falls unconscious.\n Nell quickly brings Barbara to the window. Barbara sees Jacob\n and immediately takes charge.", "As the train pulls into Goshen, performers stick their heads\n out the window to see....Jacob sits in the open stock car\n with Kinko and Queenie:" ], [ "Jacob leaps to the roof of Marlena and August's car. At this\n moment, the train is making a curve.\n Jacob climbs down over the side ladder. Beyond him, we see:", "Jacob is rolled awake as the train stops. He is disoriented\n as Blackie, Grady and Bill jump out through the open stock\n car door. Camel is fast asleep, drunk from the jug.", "The train wheels screech as it begins to stop. Jacob rises\n and looks out of open train car doors..", "Jacob jumps down off the platform. Confused and disgusted, he\n takes the bull hook, wedges it under the train and breaks it\n in half.", "Somebody smart should figure that\n one out.\n Jacob makes his decision: He runs parallel to the\n train...stumbling over gravel, pitching forward and losing", "Blackie holds Jacob out on the edge of the open stock car, as\n trees slam against the train almost cutting Jacob's face.", "The train is moving fast. The rain has returned.\n Jacob is making his way towards the back of the train, as it\n moves forward. He holds the knife in his mouth...moving like", "Jacob's direction. He hears a distant CLANK-CLANK...\n Curious, Jacob puts his shoes on and walks back to a gravel\n path that leads to TRAIN TRACKS just as:", "AUGUST\n All right, Cornell. Come with me.\n August leads Jacob out.\n\n EXT. PLATFORM - TRAIN EN ROUTE - CONTINUOUS - NIGHT", "As the train travels to Weekhawken, New Jersey...Jacob is\n looking out of open car to NYC skyline across the river.", "As the train travels, a worn out Jacob sits cramped under a\n bunk beside A CONTORTIONIST taking up little space. Jacob\n voraciously eats a plate of food Camel snuck in for him.", "across the roofs. Jacob has no choice but to follow...\n The two men dance and leap atop the train from car to car\n across the moving train...Jacob grows increasingly confident", "THE MASSIVE TRAIN ENGINE EXPLODES INTO VIEW PASSING HIM.\n Jacob is so close, he is hit by a wall of wind that nearly", "hair blowing wildly in the wind...He points downward.\n Jacob, none too pleased, advances to the edge of the platform\n as the train speeds by, and looks where August is pointing;", "off a moving train, feed you to my\n lions and you go ahead and shoot my\n star horse anyway. So I think -\n Jacob's an educated man. For Jacob", "COME ON THEN!\n Jacob looks up to see:\n August is on the roof of the train: his face moonlit, his", "JESUS CHRIST!\n The train jerks a curve. Jacob almost falls.\n\n AUGUST (O.S.)", "As the train pulls into Goshen, performers stick their heads\n out the window to see....Jacob sits in the open stock car\n with Kinko and Queenie:", "tracks. Jacob is slipping...slipping...\n With everything he's got, Jacob makes one final \"life or\n death\" effort, managing to get his left knee up over the", "EXT. TRAIN TRACKS - GRAVEL/GROUND - NIGHT\n\n\n JACOB ROLLS DOWN THE GRAVEL. BLACKIE AND HIS MEN JUMP OFF THE" ], [ "JACOB\n I hear Ringling has its own vet.\n The other men can't believe Jacob spoke up like this. But it\n amuses August, who faces him and smiles;", "Jacob opens the ring stock car and jumps out, holding\n Queenie. He hasn't slept all night.\n As he walks through the circus grounds, working men like Greg", "CHARLIE, 50's circus manager, and RUSS, a tattooed teen with\n rings through his eyebrows, approach him with a wheelchair.", "the ring! A Star Attraction keeps a\n circus alive. Without it, animals\n eat that and men eat nothing. It\n takes time to find and train", "AUGUST\n Ringling, you say?\n\n JACOB\n Yes. But it was terrible.\n\n AUGUST\n Really? Have you seen our show?", "Marlena blows kisses to the audience. She skips theatrically\n around the ring, with Rosie trotting behind her, August\n hovering beside.", "GRADY\n August Rosenbluth...Lord and Master\n of the Known and Unknown Universes.\n Ringmaster Extraordinaire.\n Jacob looks baffled. Camel laughs as he drinks more;", "Marlena's acts, Ringling got a\n sweet deal. Our son was born our\n first season. We named him Walter.\n He spent the first seven years of", "MOVE! MOVE!\n Rosie hesitates so August strikes her right shoulder with the\n bull hook. The pain sends Rosie flying through the Big Top", "his life with Ringling.", "JACOB (CONT'D)\n Ringling Brothers.\n August stops playing cards. The others react with sudden", "Sitting at a table playing cards are CECIL the Barker,\n DIAMOND JOE (menagerie and ring stock), MR. ERWIN (talent", "figured he'd double down and find\n himself a new fat lady to put him\n really toe to toe with\n Ringling...So he sent Mr. Erwin", "His shirt is stained with sweat - as if it took great effort\n for him to get there. As he watches the Circus disappear,\n Jacob looks lost, bewildered and fragile.", "MARLENA\n There was a parade for the circus.\n At the head, there were six black", "INT. MENAGERIE TENT - WEEHAWKEN, NJ - MOMENTS LATER - NIGHT\n\n Jacob enters to find Greg still treating Rosie.", "Marlena lets go of the halter and leans hard to the left.\n Just as Rosie bolts out of the Big Top, Marlena grabs hold of", "shakes his finger, scolding, as if to say, \"No, no, no\"\n Rosie responds by waving her trunk, mocking him.\n And the crowd bursts into applause.", "121.\n\n INT. MENAGERIE TENT - ALTOONA, PA - DAY", "AUGUST\n Nah, lousy Ringling got here first.\n But we got better! A bull!\n\n JACOB\n A bull?" ], [ "and you don't talk to her. And\n don't mention her to August. Ain't\n no right way to talk about\n somebody's wife and make it sound", "MARLENA (CONT'D)\n August, dear...\n She manages to moves his hand to her mouth and kisses it.", "And then, just as quickly, August's expression softens,\n relaxes, almost into sadness...as if he's about to\n cry....Marlena senses it immediately. She whispers lovingly.", "AUGUST\n A woman? This is not a woman. This\n is my wife you Ivy League lying\n piece of shit! Say, I bet the\n authorities would like to know you\n practise without a license.", "AUGUST\n Many thanks. Forgive me for\n arriving too soon and spoiling the\n surprise.\n August takes out a cigarette and lights it.", "MARLENA\n August, please. We're in public.\n Jacob understands his meaning and is quietly devastated.\n\n AUGUST", "August is beating Rosie, who cries out with each blow. The\n animals are panicking from inside their cages - the lions", "August is happy she is having a good time. When he slides\n next to her and puts his arm around her, Marlena stiffens;", "AUGUST\n Thank you my love.\n He kisses her hand then turns to Jacob;", "JACOB\n August, she's hurt.\n August takes her in his arms. Barbara appears to help.", "AUGUST\n\n (LAUGHS)\n Rex hasn't got any teeth...\n Jacob feels more foolish and walks away, when, just as\n quickly, August's tone of voice turns darker:", "AUGUST\n (Reads and recites)\n Rosie...potoz noge.\n Rosie puts her foot down. August starts to understand.", "AUGUST\n I know you are. Come with me.\n August exits. Jacob doesn't know what this means. He follows.", "(GIGGLES)\n Gently. We have a guest.\n August stares at her. His expression darkens - locking his", "AUGUST\n Pros--Prozze Rosie...daj noge.\n Rosie lifts her foot. August's eyes gleam.\n\n JACOB\n Go on.", "AUGUST (CONT'D)\n How long did you think you could\n keep this from me?\n\n MARLENA\n August, please, there's nothing-", "MARLENA\n\n AUGUST...STOP!!!\n August turns to see her. Enraged, he stops Jacob with:", "AUGUST\n Yes.\n\n JACOB\n Can somebody tell me?\n August suppresses a laugh.", "moment. He returns to Marlena and ushers her out, as August\n continues to beat Rosie.", "AUGUST (CONT'D)\n Jacob, I want to apologize to you,\n in front of my darling Marlena so" ], [ "JACOB\n I hear Ringling has its own vet.\n The other men can't believe Jacob spoke up like this. But it\n amuses August, who faces him and smiles;", "Jacob opens the ring stock car and jumps out, holding\n Queenie. He hasn't slept all night.\n As he walks through the circus grounds, working men like Greg", "When the Big Top is raised, Jacob can't help but be impressed\n with the accomplishment as the local townsfolk (rubes) cheer.", "CHARLIE\n You sound like you know circuses.\n Charlie checks his watch, impatient to get Jacob home.\n\n JACOB\n I should. I was on two.", "His shirt is stained with sweat - as if it took great effort\n for him to get there. As he watches the Circus disappear,\n Jacob looks lost, bewildered and fragile.", "JACOB (CONT'D)\n Ringling Brothers.\n August stops playing cards. The others react with sudden", "Everyone cheers and applauds. Those near Jacob pat him on the\n back, grateful that he saved the circus. Jacob smiles.", "JACOB\n I would do that, sir. I'd like to\n work with the animals.\n August and the others chuckle. Jacob doesn't understand why.\n August crosses to Jacob, as he ridicules:", "Jacob and several other Flying Squadron men struggle to pull\n on cables hoisting up the canvases on the Big Top. It takes a\n tremendous effort. Jacob uses every bit of strength.", "Jacob hears someone entering the menagerie. He turns to see;", "Jacob takes it and marches back. They watch him, curiously.\n Jacob passes Blackie on the way and boldly ignores his\n intimidating stance....Performers and workmen sense a drama", "JACOB (CONT'D)\n Rosie?\n\n EXT. MENAGERIE TENT/MIDWAY - TUXEDO PARK - CONTINUOUS - DAY", "Jacob enters the menagerie, heading straight for Rosie. He\n gets on the ground beneath her and lies down...Rosie raises\n her trunk to allow Jacob to lie beneath her.\n\n DISSOLVE TO:", "JACOB\n Just looking for work, sir.\n\n MR. ERWIN\n Can you fly? Set yourself on fire?\n\n JACOB\n No sir.", "JACOB (V.O.)\n August could have given Barnum a\n run for his money. He spent the\n payroll money on expensive posters", "JACOB\n What happened to this circus?", "JACOB\n But it's the middle of the night.\n\n CAMEL\n Only time circus people live - when\n they don't have to work. Come on...", "Jacob shovels ZEBRA manure, no longer affected by the scent.\n By this point, the menagerie tent has been fully installed:", "JACOB\n Jacob. Jankowski. Nice to meet you.\n\n CAMEL\n You're pretty young for the rails.\n You running from something boy? You\n on the lam?", "As the train travels, a worn out Jacob sits cramped under a\n bunk beside A CONTORTIONIST taking up little space. Jacob\n voraciously eats a plate of food Camel snuck in for him." ], [ "Rosie the command to lift Marlena down with her trunk.\n But Rosie hesitates. August commands her again, with more\n force. But Rosie doesn't move forward...she shuffles a foot", "the crowd. When he back is turned, Rosie hits his butt with\n her trunk. August freezes. The crowd laughs uproariously.", "August is beating Rosie, who cries out with each blow. The\n animals are panicking from inside their cages - the lions", "Marlena watches, full of excitement and praise for August. He\n instructs Marlena where to stand. He commands Rosie who lifts\n Marlena up with her trunk.", "Rosie flicks his behind with her trunk. This time August\n knows it her. He turns to her, tips his hat over his brow and", "Out of the darkness of the car, Rosie appears in the light,\n being guided down the ramp by August, who gently pets her\n trunk, whispering in her ear. Her ears flapping, she purrs\n with affection. Jacob watches.", "August commands Rosie, who lifts Marlena with her trunk and\n places her on the ground.", "MOVE! MOVE!\n Rosie hesitates so August strikes her right shoulder with the\n bull hook. The pain sends Rosie flying through the Big Top", "But when he turns back to Rosie, he is red-faced with real\n anger, poking under her shoulders with the bull hook.\n After three stops and starts, August plunges the bull hook", "The crowd goes wild - clapping, throwing peanuts, whistling.\n Rosie only moves in fits and starts, causing the rest of the\n Spec to pass them by at times. She trots ahead of August and", "(TO ROSIE)\n\n GET UP! UP!!!\n Jacob watches, upset and furious at August's treatment.", "August realizes the crowd loves it. So August, the performer,\n starts to play the infuriated fool to the audience, acting\n comically angry and frustrated with Rosie..", "Rosie, not to be out done (guided by August's Polish\n commands) curls her trunk, lifts her foot and places it on\n her larger ball.", "AUGUST\n (Reads and recites)\n Rosie...potoz noge.\n Rosie puts her foot down. August starts to understand.", "AUGUST\n A bull elephant! Her name is Rosie,\n she's fifty-three and she's", "shakes his finger, scolding, as if to say, \"No, no, no\"\n Rosie responds by waving her trunk, mocking him.\n And the crowd bursts into applause.", "AUGUST\n Get her out of here! NOW!\n Jacob wants to help Rosie but can not disobey August in this", "EXT. TRAINING RING - ASBURY PARK, NJ - DAY\n\n While Jacob coaches August from the sidelines, the company of\n performers and workmen watch August command Rosie in Polish.", "people around her.\n Dick Nesci takes the bull hook and prods under her leg,\n ordering her UP! Rosie just swings her ears and sniffs Dick", "92.\n Jacob and other performers watch anxiously. Will Rosie fail?\n Then August turns to the audience and mimes apologizing to" ], [ "August is beating Rosie, who cries out with each blow. The\n animals are panicking from inside their cages - the lions", "AUGUST, NO!\n Jacob touches August's arm. August turns on Jacob with a\n murderous expression, shoving him to the ground. Jacob is", "AS:\n Rosie lifts the stake as if it weighs nothing and brings it\n down onto August, splitting his head in one clean move. She", "Earl and his men physically dragging a maniacal August out of\n the tent, his bull hook and clothes bloodied by his rage. He\n is kicking and struggling against them like a madman.", "AUGUST\n Good.\n August takes the bull hook from Jacob and walks with cold\n blooded intent towards the menagerie. Jacob panics, realizing\n what August about to do. Jacob follows to stop him;", "AUGUST (CONT'D)\n Ha. You look like me.\n Jacob looks in the mirror and indeed - with Rosie's blood on\n his open shirt, bull hook in hand - he looks like a violent\n man.", "Jacob and August continue beating each other as they roll out\n into the crowd.\n August's madness empowers him. He manages to overpower Jacob", "AUGUST\n Many thanks. Forgive me for\n arriving too soon and spoiling the\n surprise.\n August takes out a cigarette and lights it.", "AUGUST\n\n (LAUGHS)\n Rex hasn't got any teeth...\n Jacob feels more foolish and walks away, when, just as\n quickly, August's tone of voice turns darker:", "of the stampeding animals.\n Marlena lifts her head up from beneath her arms, remaining\n under Rosie. She sees August lifeless body. She looks to", "moment. He returns to Marlena and ushers her out, as August\n continues to beat Rosie.", "continues to hold the stake until August topples forward,\n dead, his skull opened like a hardboiled egg..\n Released of August, Jacob rolls himself under the ropes just", "AUGUST\n I know you are. Come with me.\n August exits. Jacob doesn't know what this means. He follows.", "JACOB\n Please, August, let me try again.\n But August angrily pulls it away and turns on Jacob:", "(THEN:)\n Toss him off, Earl. And make sure\n you see the red light before you\n red light him.\n As Earl drags Jacob in tow, August derides him to the others;", "MARLENA\n\n AUGUST...STOP!!!\n August turns to see her. Enraged, he stops Jacob with:", "68.\n August stands beside with the bull hook. His face is cold and\n still. His fingers clutch and release the bull hook.", "AUGUST\n Like this?\n August squeezes Jacob's sore arm from Rex's attack. Jacob\n cries out in pain as August holds his grip yet speaks calmly;", "AUGUST\n What's this?\n\n EARL\n That stowaway the old drunk took\n under his wing. College boy.\n Jacob tries to explain but Earl bangs him against the wall.", "you're still alive by the end of\n it, I'll get you some food and take\n you to Uncle August.\n Jacob drinks and chokes on the liquor." ], [ "His shirt is stained with sweat - as if it took great effort\n for him to get there. As he watches the Circus disappear,\n Jacob looks lost, bewildered and fragile.", "121.\n\n INT. MENAGERIE TENT - ALTOONA, PA - DAY", "JACOB\n I hear Ringling has its own vet.\n The other men can't believe Jacob spoke up like this. But it\n amuses August, who faces him and smiles;", "Jacob opens the ring stock car and jumps out, holding\n Queenie. He hasn't slept all night.\n As he walks through the circus grounds, working men like Greg", "INT. MENAGERIE TENT - WEEHAWKEN, NJ - MOMENTS LATER - NIGHT\n\n Jacob enters to find Greg still treating Rosie.", "43.\n\n EXT. FOX BROS CIRCUS GROUNDS - GOSHEN NY - NIGHT", "When the Big Top is raised, Jacob can't help but be impressed\n with the accomplishment as the local townsfolk (rubes) cheer.", "Along the way, the circus company taunt and tease him with\n sexy hoots and hollers. Kinko follows him, delighted.", "94.\n\n EXT. CIRCUS GROUNDS - ELMER, NJ - DAY", "CHARLIE\n You sound like you know circuses.\n Charlie checks his watch, impatient to get Jacob home.\n\n JACOB\n I should. I was on two.", "125.\n\n INT. MENAGERIE TENT - PRESENT DAY - NIGHT", "turns and subtly limps out of the Big Top. He follows her.", "An upstate New York town. A CIRCUS is being dismantled...The\n Big Top falls and is gathered up by workmen...Trucks are\n being loaded with animals.", "MARLENA\n There was a parade for the circus.\n At the head, there were six black", "A sunny day. The circus is completely set up. Townsfolk,\n rubes, are already buying tickets for the matinee.", "CECIL, THE BARKER, is \"speechifying\" from a platform beside\n the sideshow entrance, strutting back and forth, as a crowd", "his chest. He dresses it in a tiny\n tuxedo and black patent leather\n shoes. No talent but a real money-\n maker with the rubes. Calls himself", "with all the money. Menagerie\n belongs to the town now. August can\n get anything he wants for a song.\n Jacob and Kinko watch August striding through the grounds as", "4.\n\n INT. CHARLIE'S TRAILER -CIRCUS GROUNDS - TWILIGHT", "INT. MENAGERIE TENT - CONTINUOUS - WEEHAWKEN, NJ - PRE DAWN." ], [ "COP\n Yes, I'm hoping you can. An elderly\n gentleman went missing from the\n nursing home down the street. Staff\n seems to think he came here.", "CHARLIE\n Did you come with the folks from\n the retirement home?\n\n JACOB\n No, I came on my own.\n\n CHARLIE", "AN ELDERLY MAN , JACOB JANKOWSKI - 93 year old - stands\n alone, with a walker in the middle of the empty parking lot.", "(SAD)\n Where'd it all go?\n\n RUSS\n He's seriously old.", "August walks away. Earl escorts Jacob to the menagerie. On\n the way, they pass Barbara. Jacob pauses to hand Queenie to\n her. She has tears in her eyes. Jacob continues with Earl.", "CHARLIE\n Sir, we need to get you out of this\n parking lot. My trucks have to come\n through here. Please...\n He offers the wheelchair. Jacob relents and sits.", "Old Jacob uses his walker to enter the menagerie. He moves to\n each animal meeting his eyes with theirs. Each animal gives\n him a look of acknowledgment.", "His shirt is stained with sweat - as if it took great effort\n for him to get there. As he watches the Circus disappear,\n Jacob looks lost, bewildered and fragile.", "Old Timer rises with a lantern and hobbles on one bad leg,\n inspects Jacob and his nice suit with the lantern...", "Having cleaned up, Jacob is dressing in his own clothes.\n Kinko sits on his cot \"reading Shakespeare\" with a melancholy\n Queenie at his side. When Jacob scratches his shaven balls...", "Jacob struggles to raise himself up. His world spins. He\n holds tight to the bedroll, until the spinning subsides.\n Jacob is a man with a mission. His eyes focus on: Walter's", "He stands. His knees buckle and he crawls out to the ground.\n He stands again. And he walks out of the woods towards the\n flickering light.", "checks everywhere calling out their names. He stops at the\n open stock car door. The rain continues to fall. Jacob\n collapses, holding Queenie to his chest. Tears fill his eyes", "well. Ain't ya Pop?\n Understanding the ruse, Jacob starts to play the part of a\n stroke victim: he opens his mouth, his jaw quivers. He", "Out of the darkness of the car, Rosie appears in the light,\n being guided down the ramp by August, who gently pets her\n trunk, whispering in her ear. Her ears flapping, she purrs\n with affection. Jacob watches.", "August walks away, with Earl and his men in tow. Blackie and\n his men drag the beaten Man away. As they turn, Jacob\n recognizes the Man;", "reaches for his glass with a shaking arm. Charlie helps him.\n Jacob holds out his tongue like a parrot's as Charlie helps\n him drink. The Cop watches with a blank expression. Jacob", "Jacob returns to the ring stock car, hopping down from the\n roof. The Horses are stirring, agitated. He calms them...\n And then Jacob sees: the door to Walter's room is open. He", "Jacob opens the ring stock car and jumps out, holding\n Queenie. He hasn't slept all night.\n As he walks through the circus grounds, working men like Greg", "As Rosie passes, we see AN OLD WOMAN standing in front of her\n green shuttered house waving with delight. We see she has a\n abundant vegetable garden which Rosie eyes covertly." ], [ "THE PROCTOR\n Mr. Jankowski? May we have a word?\n Fifty pairs of eyes turn to look at Jacob, who looks up.", "JACOB (V.O.)\n It was a big day. My final exams.\n\n INT. JANKOWSKI HOUSE - CONTINUOUS - MORNING", "MARLENA (CONT'D)\n Jankowski is Polish isn't it?\n\n JACOB\n\n (NODS)\n Is that all right?", "MARLENA (CONT'D)\n I'll be sorry to see you go, Mr.\n Jankowski.\n She exits O.S. with the rifle.", "CHARLIE\n Mr. Jankowski, I would be honored\n if you would have a drink with me\n in my trailer.", "A simple, clapboard house in a middle class neighborhood.\n Jacob runs out, passing his father's sign on the front lawn:\n\n E. JANKOWSKI\n Doctor of Veterinary Medicine", "JACOB\n Jacob Jankowski, sir.\n\n AUGUST\n And what is a \"Jacob Jankowski\" and\n why he is on my train?", "E. JANKOWSKI AND SON\n\n DOCTORS OF VETERINARY MEDICINE", "A mirrored medicine cabinet closes revealing the reflection\n of JACOB JANKOWSKI - 23 years old, handsome, full of energy.", "EXT. JANKOWSKI HOUSE - ITHACA NY - 1931 - MORNING", "JACOB\n Jacob. Jankowski. Nice to meet you.\n\n CAMEL\n You're pretty young for the rails.\n You running from something boy? You\n on the lam?", "INT. JANKOWSKI HOUSE - JACOB'S BATHROOM - 1931 - MORNING", "AN ELDERLY MAN , JACOB JANKOWSKI - 93 year old - stands\n alone, with a walker in the middle of the empty parking lot.", "JACOB\n Jankowski.\n Greg again pushes Rosie's trunk away from the bucket.", "EXT. JANKOWSKI HOUSE - CONTINUOUS - DAY", "And so I think Jacob Jankowski\n might be a valuable person to have\n around.", "JACOB (V.O.)\n They did it to pay for my Ivy\n League education.", "AUGUST (CONT'D)\n Darling, meet Jacob Jankowski,\n Benzini Brothers own veterinarian.", "AUGUST (CONT'D)\n You smell like every kind of shit.\n Why would a college boy want that?", "JACOB (CONT'D)\n I never took my final exams at\n Cornell. I'm not a real vet." ], [ "INT. JANKOWSKI HOUSE - JACOB'S BATHROOM - 1931 - MORNING", "MARLENA (CONT'D)\n Jankowski is Polish isn't it?\n\n JACOB\n\n (NODS)\n Is that all right?", "EXT. JANKOWSKI HOUSE - ITHACA NY - 1931 - MORNING", "JACOB (V.O.)\n It was a big day. My final exams.\n\n INT. JANKOWSKI HOUSE - CONTINUOUS - MORNING", "A simple, clapboard house in a middle class neighborhood.\n Jacob runs out, passing his father's sign on the front lawn:\n\n E. JANKOWSKI\n Doctor of Veterinary Medicine", "THE PROCTOR\n Mr. Jankowski? May we have a word?\n Fifty pairs of eyes turn to look at Jacob, who looks up.", "JACOB\n Jacob Jankowski, sir.\n\n AUGUST\n And what is a \"Jacob Jankowski\" and\n why he is on my train?", "MARLENA (CONT'D)\n I'll be sorry to see you go, Mr.\n Jankowski.\n She exits O.S. with the rifle.", "Jacob sits alone facing Rosie, in her massive stock car made\n of steel, talking to her, in Polish...", "JACOB\n Jacob. Jankowski. Nice to meet you.\n\n CAMEL\n You're pretty young for the rails.\n You running from something boy? You\n on the lam?", "AN ELDERLY MAN , JACOB JANKOWSKI - 93 year old - stands\n alone, with a walker in the middle of the empty parking lot.", "EXT. JANKOWSKI HOUSE - CONTINUOUS - DAY", "E. JANKOWSKI AND SON\n\n DOCTORS OF VETERINARY MEDICINE", "A mirrored medicine cabinet closes revealing the reflection\n of JACOB JANKOWSKI - 23 years old, handsome, full of energy.", "JACOB\n No point in telling a story if all\n you want to know is the end.\n\n CHARLIE\n Sorry. From the beginning.", "JACOB\n Now, let's see...the beginning...\n Well, everything began the same day\n everything ended...Ha, isn't that\n how it always works?...", "AUGUST (CONT'D)\n Darling, meet Jacob Jankowski,\n Benzini Brothers own veterinarian.", "JACOB\n Jankowski.\n Greg again pushes Rosie's trunk away from the bucket.", "AUGUST (CONT'D)\n ..because it was a lucky day when\n Jacob Jankowski jumped our train.\n Because of him - together with our", "CHARLIE\n Mr. Jankowski, I would be honored\n if you would have a drink with me\n in my trailer." ], [ "JACOB (V.O.)\n It was a big day. My final exams.\n\n INT. JANKOWSKI HOUSE - CONTINUOUS - MORNING", "THE PROCTOR\n Mr. Jankowski? May we have a word?\n Fifty pairs of eyes turn to look at Jacob, who looks up.", "MARLENA (CONT'D)\n I'll be sorry to see you go, Mr.\n Jankowski.\n She exits O.S. with the rifle.", "MARLENA (CONT'D)\n Jankowski is Polish isn't it?\n\n JACOB\n\n (NODS)\n Is that all right?", "A mirrored medicine cabinet closes revealing the reflection\n of JACOB JANKOWSKI - 23 years old, handsome, full of energy.", "AN ELDERLY MAN , JACOB JANKOWSKI - 93 year old - stands\n alone, with a walker in the middle of the empty parking lot.", "INT. JANKOWSKI HOUSE - JACOB'S BATHROOM - 1931 - MORNING", "JACOB\n Jacob. Jankowski. Nice to meet you.\n\n CAMEL\n You're pretty young for the rails.\n You running from something boy? You\n on the lam?", "that. First thing you notice about\n a woman's age is her skin.\n Rosie lifts her trunk and begins to explore Jacob's body.", "JACOB\n Jacob Jankowski, sir.\n\n AUGUST\n And what is a \"Jacob Jankowski\" and\n why he is on my train?", "CHARLIE\n Mr. Jankowski, I would be honored\n if you would have a drink with me\n in my trailer.", "A simple, clapboard house in a middle class neighborhood.\n Jacob runs out, passing his father's sign on the front lawn:\n\n E. JANKOWSKI\n Doctor of Veterinary Medicine", "JACOB\n No point in telling a story if all\n you want to know is the end.\n\n CHARLIE\n Sorry. From the beginning.", "EXT. JANKOWSKI HOUSE - ITHACA NY - 1931 - MORNING", "AUGUST (CONT'D)\n Darling, meet Jacob Jankowski,\n Benzini Brothers own veterinarian.", "JACOB\n Now, let's see...the beginning...\n Well, everything began the same day\n everything ended...Ha, isn't that\n how it always works?...", "AUGUST\n You're a genuine curiosity Jacob\n Jankowski. What am I to do with\n you? ... I threaten to throw you", "JACOB\n Hello Rosie, I'm Jacob Jankowski.\n This is Mrs. Marlena Rosenbluth.", "MARLENA\n Tell me the truth. What's wrong\n with him?\n Jacob hesitates before answering, then:", "AUGUST (CONT'D)\n You do right by me, Jacob\n Jankowski...I'll show you what it's" ], [ "MARLENA (CONT'D)\n Jankowski is Polish isn't it?\n\n JACOB\n\n (NODS)\n Is that all right?", "THE PROCTOR\n Mr. Jankowski? May we have a word?\n Fifty pairs of eyes turn to look at Jacob, who looks up.", "MARLENA (CONT'D)\n I'll be sorry to see you go, Mr.\n Jankowski.\n She exits O.S. with the rifle.", "JACOB (V.O.)\n It was a big day. My final exams.\n\n INT. JANKOWSKI HOUSE - CONTINUOUS - MORNING", "INT. JANKOWSKI HOUSE - JACOB'S BATHROOM - 1931 - MORNING", "EXT. JANKOWSKI HOUSE - ITHACA NY - 1931 - MORNING", "E. JANKOWSKI AND SON\n\n DOCTORS OF VETERINARY MEDICINE", "A simple, clapboard house in a middle class neighborhood.\n Jacob runs out, passing his father's sign on the front lawn:\n\n E. JANKOWSKI\n Doctor of Veterinary Medicine", "Jacob sits alone facing Rosie, in her massive stock car made\n of steel, talking to her, in Polish...", "AN ELDERLY MAN , JACOB JANKOWSKI - 93 year old - stands\n alone, with a walker in the middle of the empty parking lot.", "EXT. JANKOWSKI HOUSE - CONTINUOUS - DAY", "downs a coffee as his mother sweetly scolds him in POLISH...\n His father says something supportive in POLISH as well. Jacob", "JACOB\n Jankowski.\n Greg again pushes Rosie's trunk away from the bucket.", "JACOB\n Jacob Jankowski, sir.\n\n AUGUST\n And what is a \"Jacob Jankowski\" and\n why he is on my train?", "JACOB (V.O.)\n I didn't believe the lawyer or the\n bank. My mother worked. They had", "JACOB\n Hello Rosie, I'm Jacob Jankowski.\n This is Mrs. Marlena Rosenbluth.", "JACOB\n Jacob. Jankowski. Nice to meet you.\n\n CAMEL\n You're pretty young for the rails.\n You running from something boy? You\n on the lam?", "CHARLIE\n Mr. Jankowski, I would be honored\n if you would have a drink with me\n in my trailer.", "JACOB (V.O.)\n That Fox Bros bull man didn't tell\n us was the elephant tramp who sold\n Rosie to them was Polish...\n August grabs Jacob and kisses him on the mouth.", "A mirrored medicine cabinet closes revealing the reflection\n of JACOB JANKOWSKI - 23 years old, handsome, full of energy." ], [ "shakes his finger, scolding, as if to say, \"No, no, no\"\n Rosie responds by waving her trunk, mocking him.\n And the crowd bursts into applause.", "Rosie flicks his behind with her trunk. This time August\n knows it her. He turns to her, tips his hat over his brow and", "Marlena looks back and scowls. With dramatic flair, she\n raises one foot and places it on the small ball as if to say,\n \"Take that, elephant!\"", "Marlena watches, full of excitement and praise for August. He\n instructs Marlena where to stand. He commands Rosie who lifts\n Marlena up with her trunk.", "Out of the darkness of her car, the enormous elephant\n emerges, being led down a ramp by Jacob.\n\n EXT. TRAINING RING - TUXEDO PARK, NY - LATE MORNING", "Jacob enters alone. He takes in all the animals who look back\n at him. He crosses to Rosie and stands before her. Her trunk", "Rosie the command to lift Marlena down with her trunk.\n But Rosie hesitates. August commands her again, with more\n force. But Rosie doesn't move forward...she shuffles a foot", "Jacob peers out to see: Rosie's trunk dip itself into the vat\n of lemonade and drink the entire contents.\n Jacob is amazed. He looks around: Workmen are some distance", "GREG\n He's right. He's just an elephant\n tramp. The bull is his.", "walk through, this crowd of working men in constant motion\n part the way to reveal:\n ROSIE THE ELEPHANT: She is gargantuan. Ten feet tall at the", "(TO JACOB)\n You better start on that elephant.\n We need her performing yesterday.", "her tongue to communicate with the horses: they line up at\n her subtle command, they raise their hooves, they bow down to\n her, rise up on their hind legs...", "Out of the darkness of the car, Rosie appears in the light,\n being guided down the ramp by August, who gently pets her\n trunk, whispering in her ear. Her ears flapping, she purrs\n with affection. Jacob watches.", "Jacob enters the menagerie, heading straight for Rosie. He\n gets on the ground beneath her and lies down...Rosie raises\n her trunk to allow Jacob to lie beneath her.\n\n DISSOLVE TO:", "The animals stop moving, as if to give Jacob an\n acknowledgement. Jacob responds with a nod or a smile.\n The Orangutan is stretching it's arm outside it's den for", "Old Jacob uses his walker to enter the menagerie. He moves to\n each animal meeting his eyes with theirs. Each animal gives\n him a look of acknowledgment.", "people around her.\n Dick Nesci takes the bull hook and prods under her leg,\n ordering her UP! Rosie just swings her ears and sniffs Dick", "She clicks her tongue and one White Silver Maned Horse lifts\n a hoof for her to inspect. She clicks for him to take a step.\n Jacob notices the Silver Maned Horse walks tenderly on the", "Rosie's trunk carefully wrap itself around the stake and pull\n it up out of the ground....She then manages to turn herself\n around, her butt to Jacob. Rosie's trunk then dives down and", "the crowd. When he back is turned, Rosie hits his butt with\n her trunk. August freezes. The crowd laughs uproariously." ], [ "August is beating Rosie, who cries out with each blow. The\n animals are panicking from inside their cages - the lions", "the crowd. When he back is turned, Rosie hits his butt with\n her trunk. August freezes. The crowd laughs uproariously.", "then when August reaches her she stops, making August halt\n awkwardly. August feels humiliated until:\n The crowd laughs, thinking it's the act. They applaud.", "JACOB\n I hear Ringling has its own vet.\n The other men can't believe Jacob spoke up like this. But it\n amuses August, who faces him and smiles;", "AUGUST\n Good.\n August takes the bull hook from Jacob and walks with cold\n blooded intent towards the menagerie. Jacob panics, realizing\n what August about to do. Jacob follows to stop him;", "AUGUST (V.O.)\n The circus is nothing without it's\n traditions..\n\n INT. MENAGERIE TENT - SALEM, NJ - DAY", "JACOB (CONT'D)\n Ringling Brothers.\n August stops playing cards. The others react with sudden", "AUGUST\n Ringling, you say?\n\n JACOB\n Yes. But it was terrible.\n\n AUGUST\n Really? Have you seen our show?", "AUGUST\n The cats. You see, meat eaters are\n always more valuable to a circus\n than hay burners. And you saw what\n we had to feed them.", "MOVE! MOVE!\n Rosie hesitates so August strikes her right shoulder with the\n bull hook. The pain sends Rosie flying through the Big Top", "Along the way, the circus company taunt and tease him with\n sexy hoots and hollers. Kinko follows him, delighted.", "August realizes the crowd loves it. So August, the performer,\n starts to play the infuriated fool to the audience, acting\n comically angry and frustrated with Rosie..", "August walks away. Earl escorts Jacob to the menagerie. On\n the way, they pass Barbara. Jacob pauses to hand Queenie to\n her. She has tears in her eyes. Jacob continues with Earl.", "shakes his finger, scolding, as if to say, \"No, no, no\"\n Rosie responds by waving her trunk, mocking him.\n And the crowd bursts into applause.", "92.\n Jacob and other performers watch anxiously. Will Rosie fail?\n Then August turns to the audience and mimes apologizing to", "INT. MENAGERIE TENT - FRIENDSHIP, NJ - DAY\n\n August is filling a bucket with gin and ginger ale for Rosie.", "constrained by her chain. Her eyes fearful.\n Other performers rehearsing in the area begin to watch as\n August strikes Rosie harder and harder. She begins to bleed.", "AUGUST (CONT'D)\n Darling, meet Jacob Jankowski,\n Benzini Brothers own veterinarian.", "The workmen set up the circus with energy and renewed spirit.\n August treating them with pats on the back of gratitude.", "68.\n August stands beside with the bull hook. His face is cold and\n still. His fingers clutch and release the bull hook." ], [ "JACOB\n I hear Ringling has its own vet.\n The other men can't believe Jacob spoke up like this. But it\n amuses August, who faces him and smiles;", "JACOB (CONT'D)\n Ringling Brothers.\n August stops playing cards. The others react with sudden", "AUGUST (CONT'D)\n Darling, meet Jacob Jankowski,\n Benzini Brothers own veterinarian.", "Jacob opens the ring stock car and jumps out, holding\n Queenie. He hasn't slept all night.\n As he walks through the circus grounds, working men like Greg", "his life with Ringling.", "JACOB\n Jacob. Jankowski. Nice to meet you.\n\n CAMEL\n You're pretty young for the rails.\n You running from something boy? You\n on the lam?", "And so I think Jacob Jankowski\n might be a valuable person to have\n around.", "AUGUST\n Ringling, you say?\n\n JACOB\n Yes. But it was terrible.\n\n AUGUST\n Really? Have you seen our show?", "JACOB\n Jacob Jankowski, sir.\n\n AUGUST\n And what is a \"Jacob Jankowski\" and\n why he is on my train?", "JACOB\n Ringling, of course, but that was\n later...\n\n CHARLIE\n I'll need your name when I call the\n home.", "CHARLIE\n You sound like you know circuses.\n Charlie checks his watch, impatient to get Jacob home.\n\n JACOB\n I should. I was on two.", "His shirt is stained with sweat - as if it took great effort\n for him to get there. As he watches the Circus disappear,\n Jacob looks lost, bewildered and fragile.", "EXT. TRAINING RING - ASBURY PARK, NJ - DAY\n\n While Jacob coaches August from the sidelines, the company of\n performers and workmen watch August command Rosie in Polish.", "figured he'd double down and find\n himself a new fat lady to put him\n really toe to toe with\n Ringling...So he sent Mr. Erwin", "Out of the darkness of her car, the enormous elephant\n emerges, being led down a ramp by Jacob.\n\n EXT. TRAINING RING - TUXEDO PARK, NY - LATE MORNING", "the ring! A Star Attraction keeps a\n circus alive. Without it, animals\n eat that and men eat nothing. It\n takes time to find and train", "Marlena's acts, Ringling got a\n sweet deal. Our son was born our\n first season. We named him Walter.\n He spent the first seven years of", "CHARLIE, 50's circus manager, and RUSS, a tattooed teen with\n rings through his eyebrows, approach him with a wheelchair.", "Along the way, the circus company taunt and tease him with\n sexy hoots and hollers. Kinko follows him, delighted.", "JACOB (V.O.)\n When the Nesci Bros. Circus showed,\n we were officially belly up." ], [ "Jacob leaps to the roof of Marlena and August's car. At this\n moment, the train is making a curve.\n Jacob climbs down over the side ladder. Beyond him, we see:", "Jacob jumps down off the platform. Confused and disgusted, he\n takes the bull hook, wedges it under the train and breaks it\n in half.", "Jacob is rolled awake as the train stops. He is disoriented\n as Blackie, Grady and Bill jump out through the open stock\n car door. Camel is fast asleep, drunk from the jug.", "Somebody smart should figure that\n one out.\n Jacob makes his decision: He runs parallel to the\n train...stumbling over gravel, pitching forward and losing", "across the roofs. Jacob has no choice but to follow...\n The two men dance and leap atop the train from car to car\n across the moving train...Jacob grows increasingly confident", "Jacob's direction. He hears a distant CLANK-CLANK...\n Curious, Jacob puts his shoes on and walks back to a gravel\n path that leads to TRAIN TRACKS just as:", "off a moving train, feed you to my\n lions and you go ahead and shoot my\n star horse anyway. So I think -\n Jacob's an educated man. For Jacob", "The train wheels screech as it begins to stop. Jacob rises\n and looks out of open train car doors..", "The train is moving fast. The rain has returned.\n Jacob is making his way towards the back of the train, as it\n moves forward. He holds the knife in his mouth...moving like", "As the train travels, a worn out Jacob sits cramped under a\n bunk beside A CONTORTIONIST taking up little space. Jacob\n voraciously eats a plate of food Camel snuck in for him.", "tracks. Jacob is slipping...slipping...\n With everything he's got, Jacob makes one final \"life or\n death\" effort, managing to get his left knee up over the", "AUGUST\n All right, Cornell. Come with me.\n August leads Jacob out.\n\n EXT. PLATFORM - TRAIN EN ROUTE - CONTINUOUS - NIGHT", "COME ON THEN!\n Jacob looks up to see:\n August is on the roof of the train: his face moonlit, his", "Walter is walking quickly back to the performer train. Jacob\n follows, trying to reason with him. Throughout the scene,\n they are looking out for Blackie's men and speaking low.", "TRAIN AND RUN TOWARDS HIM. JUST AS JACOB GETS TO HIS FEET,\n\n THE MEN REACH HIM - AND BEGIN TO BEAT HIM.", "hair blowing wildly in the wind...He points downward.\n Jacob, none too pleased, advances to the edge of the platform\n as the train speeds by, and looks where August is pointing;", "Blackie holds Jacob out on the edge of the open stock car, as\n trees slam against the train almost cutting Jacob's face.", "JESUS CHRIST!\n The train jerks a curve. Jacob almost falls.\n\n AUGUST (O.S.)", "Nell is sitting by an open window fanning herself from the\n heat when she sees:\n Jacob wandering behind the back of the train where no one can", "see him....Nell watches as Jacob tries to reach the train,\n then falls unconscious.\n Nell quickly brings Barbara to the window. Barbara sees Jacob\n and immediately takes charge." ], [ "JACOB (V.O.)\n I walked and I kept on walking...\n It's a strange feeling becoming an\n orphan the same time you're", "goodbye. But Jacob can not bear it. He looks at her for the\n last time, then rises and exits.", "His shirt is stained with sweat - as if it took great effort\n for him to get there. As he watches the Circus disappear,\n Jacob looks lost, bewildered and fragile.", "For a moment Jacob can't move. This thought stuns him. With\n his house being picked apart and the Bank Representative\n speaking about papers, Jacob can't take it any longer. He", "Jacob is rolled awake as the train stops. He is disoriented\n as Blackie, Grady and Bill jump out through the open stock\n car door. Camel is fast asleep, drunk from the jug.", "Jacob's direction. He hears a distant CLANK-CLANK...\n Curious, Jacob puts his shoes on and walks back to a gravel\n path that leads to TRAIN TRACKS just as:", "JACOB\n My father used to say that to me.\n\n AUGUST\n He must have been a wise man.", "(BEAT)\n They don't reckon he lasted the\n night.\n Jacob is in shock. He can barely walk on...", "JACOB (CONT'D)\n Ringling Brothers.\n August stops playing cards. The others react with sudden", "Jacob stands with his feet in a clear stream. He is no longer\n crying. There are dense woods, pitch black, all around him.", "Jacob struggles out of the woods to a clearing. Squinting\n through the rain with swollen eyes, he sees:", "JACOB (CONT'D)\n I never took my final exams at\n Cornell. I'm not a real vet.", "JACOB (CONT'D)\n No..no..no..no....!!!!\n With Queenie, he rushes back into the ring stock car...he", "Jacob struggles to raise himself up. His world spins. He\n holds tight to the bedroll, until the spinning subsides.\n Jacob is a man with a mission. His eyes focus on: Walter's", "Jacob nods. The Coroner exposes first Jacob's father, then\n Jacob's mother. We see only Jacob's expression:", "for the kill. Blurry-eyed, Jacob staggers back but the others\n refuse to let him leave. In fact, he is picked up bodily,", "21.\n Jacob stops. He tries to not sound emotional when he says:", "off a moving train, feed you to my\n lions and you go ahead and shoot my\n star horse anyway. So I think -\n Jacob's an educated man. For Jacob", "JACOB (CONT'D)\n There's nothing more you can do to\n me. Killing me'll be more trouble", "JACOB (V.O.)\n They did it to pay for my Ivy\n League education." ], [ "moment. He returns to Marlena and ushers her out, as August\n continues to beat Rosie.", "JACOB\n Rosie's going be great. He won't\n hurt her again. I know it.\n\n MARLENA\n Jacob, what you know about August\n is pretty much nothing.", "Marlena and Jacob step away, hearing Rosie cry out. Marlena\n can't bear it. She grabs Jacob's hand for support. Jacob", "JACOB (CONT'D)\n I never told Marlena it was Rosie\n who got August. I didn't want her", "Marlena keeps her rage silent, but it is all the more potent.\n August decides to ignore it. Jacob keeps his eyes on Rosie\n but feels the tension between them.", "MARLENA!\n Marlena sees Jacob and makes a run for him, but August\n quickly grabs her arm and flings her to the ground. She falls", "Jacob is shocked by August's behavior. But Marlena has seen\n it before. She pulls away from Jacob and exits O.S. alone.", "Jacob flips himself which forces August to turn his back on\n Rosie in order to keep his grip on Jacob.\n Marlena covers her head in her arms, not wanting to see.", "MARLENA\n You're welcome, Jacob.\n As Marlena exits with the others, we discover August watching\n from them a distance;\n August's expression tells us he knows what they are hiding.", "Jacob and Marlena turn back to Rosie who stands between them.\n There is a awkward, lovely moment of intimacy between the", "(TO ROSIE)\n\n GET UP! UP!!!\n Jacob watches, upset and furious at August's treatment.", "AUGUST\n Get her out of here! NOW!\n Jacob wants to help Rosie but can not disobey August in this", "(TO JACOB)\n See what you can do with her.\n They exit. Jacob and Marlena are left alone with Rosie as", "in a choke hold. Jacob is losing consciousness.\n Because of Marlena's screams - Earl and his men run to the\n tent. Within seconds, they are pulling August off of Jacob.", "of the stampeding animals.\n Marlena lifts her head up from beneath her arms, remaining\n under Rosie. She sees August lifeless body. She looks to", "JACOB\n I wonder if August got out...\n Marlena looks up at Jacob and starts laughing hysterically,\n as if for no reason. They are both still drunk.", "MARLENA\n Oh Jacob...\n August rushes out and is stopped cold by the sight of\n Marlena in Jacob's arms. He immediately tenses up.", "Jacob commands Rosie, who lifts Marlena off his back and\n places her carefully on the ground. Jacob pets and commands\n Rosie to follow him, but stops when:", "MARLENA (CONT'D)\n Excuse me, Jacob.\n Jacob watches as Marlena attends to August, lifting his legs\n onto the bed, taking off his shoes. August begins snoring.", "MARLENA\n (overlaps, realizing)\n --\"Confessin' that I love you.\"\n Beat. Jacob tries not to laugh. They return to stroking\n Rosie, trying not to look at each other." ], [ "As Rosie passes, we see AN OLD WOMAN standing in front of her\n green shuttered house waving with delight. We see she has a\n abundant vegetable garden which Rosie eyes covertly.", "Rosie flicks his behind with her trunk. This time August\n knows it her. He turns to her, tips his hat over his brow and", "JACOB (V.O.) (CONT'D)\n His accent was awful but Rosie\n obeyed without fail.", "JACOB (V.O.).\n And nothing was too good for Rosie.\n When August found out she liked gin\n and ginger ale, he made sure she\n got both every day, treating her\n like some favorite child...", "Rosie is lying on her side, her foot still chained to the\n stake. She is quivering, riddled with bloodied holes.", "(TO ROSIE)\n\n GET UP! UP!!!\n Jacob watches, upset and furious at August's treatment.", "JACOB (V.O.) (CONT'D)\n August sure was right about Rosie.\n She pulled the people right in.", "Rosie sighs, shifts her weight, then takes a couple of steps\n backward. August is amazed. Jacob is thrilled.", "JACOB\n Rosie, no! Stop!\n Rosie pauses for a moment, flapping her ears at Jacob, then\n shoves a bush of tomatoes in her mouth. Jacob almost laughs.", "Rosie is standing in a vegetable garden calmly feeding\n herself cabbages. The owner is the OLD WOMAN who was", "Rosie heads the line. Marlena sits atop her, in her sequins\n and headdress, grabbing onto Rosie's leather halter.", "JACOB\n Hello Rosie, I'm Jacob Jankowski.\n This is Mrs. Marlena Rosenbluth.", "95.\n\n EXT. ROSIE'S CAR - SALEM, NJ - MORNING", "JACOB (V.O.)\n In that center ring, Rosie became a\n guaranteed star attraction...\n\n INT. ROSIE'S CAR - EN ROUTE - CONTINUOUS - NIGHT", "DICK NESCI\n What's her name?\n\n JACOB\n Gertrude.\n Jacob and Rosie exchange eye contact. Nesci is skeptical.", "JACOB (V.O.)\n It was when I saw Rosie purring\n under his touch as if nothing had\n happened between them, that the\n worst thought occurred to me.", "Out of the darkness of the car, Rosie appears in the light,\n being guided down the ramp by August, who gently pets her\n trunk, whispering in her ear. Her ears flapping, she purrs\n with affection. Jacob watches.", "Jacob watches as Rosie makes it twenty feet down the\n hippodrome track then stops.\n Without missing a beat, Marlena yanks herself upright, beams", "JACOB (CONT'D)\n Rosie?\n\n EXT. MENAGERIE TENT/MIDWAY - TUXEDO PARK - CONTINUOUS - DAY", "JACOB\n Rosie...Up.\n Rosie just looks at him without moving." ], [ "Jacob commands Rosie, who lifts Marlena off his back and\n places her carefully on the ground. Jacob pets and commands\n Rosie to follow him, but stops when:", "Rosie the command to lift Marlena down with her trunk.\n But Rosie hesitates. August commands her again, with more\n force. But Rosie doesn't move forward...she shuffles a foot", "JACOB (V.O.) (CONT'D)\n His accent was awful but Rosie\n obeyed without fail.", "Rosie is lying on her side, her foot still chained to the\n stake. She is quivering, riddled with bloodied holes.", "Out of the darkness of the car, Rosie appears in the light,\n being guided down the ramp by August, who gently pets her\n trunk, whispering in her ear. Her ears flapping, she purrs\n with affection. Jacob watches.", "The crowd goes wild - clapping, throwing peanuts, whistling.\n Rosie only moves in fits and starts, causing the rest of the\n Spec to pass them by at times. She trots ahead of August and", "(TO ROSIE)\n\n GET UP! UP!!!\n Jacob watches, upset and furious at August's treatment.", "JACOB\n Rosie, no! Stop!\n Rosie pauses for a moment, flapping her ears at Jacob, then\n shoves a bush of tomatoes in her mouth. Jacob almost laughs.", "away loading the train. No one else sees her.\n Rosie finishes then turns back into the menagerie.", "people around her.\n Dick Nesci takes the bull hook and prods under her leg,\n ordering her UP! Rosie just swings her ears and sniffs Dick", "EXT. TRAINING RING - ASBURY PARK, NJ - DAY\n\n While Jacob coaches August from the sidelines, the company of\n performers and workmen watch August command Rosie in Polish.", "Jacob watches as Rosie makes it twenty feet down the\n hippodrome track then stops.\n Without missing a beat, Marlena yanks herself upright, beams", "When Jacob bends down for more ointment, Rosie tries to turn\n around but her chain is still staked into the ground. As\n Jacob straightens up, he sees:", "Marlena and Jacob remain still. Suddenly they hear:\n Rosie peeing where she is staked. She too is frightened.", "Rosie sighs, shifts her weight, then takes a couple of steps\n backward. August is amazed. Jacob is thrilled.", "Rosie, not to be out done (guided by August's Polish\n commands) curls her trunk, lifts her foot and places it on\n her larger ball.", "JACOB\n Rosie...Up.\n Rosie just looks at him without moving.", "JACOB (CONT'D)\n Up. Rosie. Up.\n Rosie's trunk starts to sniff around Jacob.", "Rosie's trunk gathers up the stake and then stakes it back\n into the ground. Jacob can't believe his eyes. He laughs.", "Marlena watches, full of excitement and praise for August. He\n instructs Marlena where to stand. He commands Rosie who lifts\n Marlena up with her trunk." ], [ "JACOB (CONT'D)\n I never took my final exams at\n Cornell. I'm not a real vet.", "AUGUST (CONT'D)\n Veterinary science?\n (Earl stops with Jacob)\n May I ask what school?\n\n JACOB\n Cornell.", "JACOB (CONT'D)\n But it's true. I never got my\n degree. I'm not a licensed vet.\n They laugh even harder.", "JACOB\n I hear Ringling has its own vet.\n The other men can't believe Jacob spoke up like this. But it\n amuses August, who faces him and smiles;", "JACOB\n (shouts as he is dragged)\n It was veterinary science! And I\n can tell you one thing - that Star", "JACOB (V.O.)\n After six years of dissections,\n castrations, foalings and shoving", "Jacob goes about caring for the animals - moving from one to\n the next - trying not to be unnerved by August's presence.\n Then August does a surprising thing: He sits in the center of", "JACOB\n I would do that, sir. I'd like to\n work with the animals.\n August and the others chuckle. Jacob doesn't understand why.\n August crosses to Jacob, as he ridicules:", "JACOB\n (Beat. Then:)\n If I'm the show's vet then it's my\n decision, isn't it?", "off a moving train, feed you to my\n lions and you go ahead and shoot my\n star horse anyway. So I think -\n Jacob's an educated man. For Jacob", "Jacob sees Rex, lying on his side in his cage, panting with\n thirst. He brings a bucket of water to Rex's cage and opens", "A simple, clapboard house in a middle class neighborhood.\n Jacob runs out, passing his father's sign on the front lawn:\n\n E. JANKOWSKI\n Doctor of Veterinary Medicine", "AUGUST (CONT'D)\n Darling, meet Jacob Jankowski,\n Benzini Brothers own veterinarian.", "Jacob runs his right hand down the leg to the fetlock. He\n lays his hand on the hoof then place his thumb and forefinger", "Old Jacob uses his walker to enter the menagerie. He moves to\n each animal meeting his eyes with theirs. Each animal gives\n him a look of acknowledgment.", "Jacob enters the menagerie, heading straight for Rosie. He\n gets on the ground beneath her and lies down...Rosie raises\n her trunk to allow Jacob to lie beneath her.\n\n DISSOLVE TO:", "JACOB (CONT'D)\n Up. Rosie. Up.\n Rosie's trunk starts to sniff around Jacob.", "Jacob. He rises, bloodied and beaten, but alive.\n WIDE ANGLE: The empty menagerie except for: Jacob standing,", "Jacob enters alone. He takes in all the animals who look back\n at him. He crosses to Rosie and stands before her. Her trunk", "JACOB (CONT'D)\n Rosie please. My hair hurts.\n Rosie's trunk snakes around him." ], [ "AUGUST, NO!\n Jacob touches August's arm. August turns on Jacob with a\n murderous expression, shoving him to the ground. Jacob is", "JACOB\n Please, August, let me try again.\n But August angrily pulls it away and turns on Jacob:", "Jacob unleashes a rage and a strength we have yet to see in\n him, as he beats August without mercy...\n But August manages to overpower Jacob, unleashing his own", "Jacob and August continue beating each other as they roll out\n into the crowd.\n August's madness empowers him. He manages to overpower Jacob", "AUGUST (CONT'D)\n Ha. You look like me.\n Jacob looks in the mirror and indeed - with Rosie's blood on\n his open shirt, bull hook in hand - he looks like a violent\n man.", "JACOB\n What the hell is wrong with you?\n You think that's funny?\n\n AUGUST", "AUGUST\n\n (LAUGHS)\n Rex hasn't got any teeth...\n Jacob feels more foolish and walks away, when, just as\n quickly, August's tone of voice turns darker:", "AUGUST\n Like this?\n August squeezes Jacob's sore arm from Rex's attack. Jacob\n cries out in pain as August holds his grip yet speaks calmly;", "(TO ROSIE)\n\n GET UP! UP!!!\n Jacob watches, upset and furious at August's treatment.", "AUGUST (V.O.)\n You just can't get enough of\n somebody in your pants, can you?\n Jacob quickly gets up as August strides towards him;", "AUGUST\n I know you are. Come with me.\n August exits. Jacob doesn't know what this means. He follows.", "119.\n August pulls Jacob with a new bull hook, tossing him the\n ground. August glares at him, his eyes full of rage;\n\n AUGUST", "AUGUST (CONT'D)\n Maybe there is someone who\n understands me.\n August smiles. But Jacob is unnerved by the smile...and the\n comparison. Suddenly, Earl enters and looks around, on alert;", "AUGUST\n Good.\n August takes the bull hook from Jacob and walks with cold\n blooded intent towards the menagerie. Jacob panics, realizing\n what August about to do. Jacob follows to stop him;", "Jacob can not breathe..August is squeezing the life from him", "Jacob refuses to let August demean him. He stays silent.", "JACOB\n Friends now?\n August calmly enters the menagerie with the rifle. He walks\n to the center and stops, staring at Jacob.", "Jacob attacks August, pulling him off of Marlena.\n JACOB AND AUGUST FIGHT: savagely pounding each other's faces,", "August who refuses to let it go...\n JACOB AND AUGUST FIGHT SAVAGELY, AMIDST THE STAMPEDE. Like\n madmen fighting with the intention to kill.", "AUGUST (CONT'D)\n It's the only way to train them.\n Watch.\n Jacob steps back.\n\n AUGUST (CONT'D)" ], [ "JACOB\n Please, August, let me try again.\n But August angrily pulls it away and turns on Jacob:", "Jacob refuses to let August demean him. He stays silent.", "Jacob, Marlena and August arrive at the stall to see Silver\n Star is laying down. He is breathing heavily, his rib cage\n rising and falling. Jacob immediately senses the worst.", "AUGUST\n Joe, bad report for Silver Star I'm\n afraid. Jacob here says there's no\n hope. We're going to have to put\n him down...\n Diamond Joe registers a concerned, anxious look to Jacob.", "Jacob goes about caring for the animals - moving from one to\n the next - trying not to be unnerved by August's presence.\n Then August does a surprising thing: He sits in the center of", "AUGUST\n Thank you my love.\n He kisses her hand then turns to Jacob;", "(JACOB NODS)\n I do thank you though. You and\n Silver Star solved a much bigger\n problem for me.\n August pulls a pack of Camels from his pocket.", "JACOB\n Yes sir...\n Jacob, sensing where this is going, gets August's attention;", "August smiles at Marlena who looks back contemptuously, upset\n about Silver Star. August ignores her. Jacob notices the\n exchange between them.", "JACOB\n August, she's hurt.\n August takes her in his arms. Barbara appears to help.", "AUGUST, NO!\n Jacob touches August's arm. August turns on Jacob with a\n murderous expression, shoving him to the ground. Jacob is", "AUGUST\n Good.\n August takes the bull hook from Jacob and walks with cold\n blooded intent towards the menagerie. Jacob panics, realizing\n what August about to do. Jacob follows to stop him;", "JACOB\n I would do that, sir. I'd like to\n work with the animals.\n August and the others chuckle. Jacob doesn't understand why.\n August crosses to Jacob, as he ridicules:", "AUGUST\n Get her out of here! NOW!\n Jacob wants to help Rosie but can not disobey August in this", "(TO ROSIE)\n\n GET UP! UP!!!\n Jacob watches, upset and furious at August's treatment.", "JACOB\n Friends now?\n August calmly enters the menagerie with the rifle. He walks\n to the center and stops, staring at Jacob.", "105.\n They come upon Silver Star's stall - empty - right before the\n door to the next car. They stop.\n\n JACOB\n Does August know where you are?", "August is having a grand time. Jacob smirks. Rex is rubbing\n his mangy coat against the cage bars.\n Jacob fumbles, removing the padlock and laying it at his", "AUGUST\n Go ahead. They get a bucket each.\n Apprehensive, Jacob hops up. August hands him the buckets.", "AUGUST (CONT'D)\n It's the only way to train them.\n Watch.\n Jacob steps back.\n\n AUGUST (CONT'D)" ], [ "JACOB\n Yes sir...\n Jacob, sensing where this is going, gets August's attention;", "JACOB\n Please, August, let me try again.\n But August angrily pulls it away and turns on Jacob:", "AUGUST\n I know you are. Come with me.\n August exits. Jacob doesn't know what this means. He follows.", "JACOB\n I would do that, sir. I'd like to\n work with the animals.\n August and the others chuckle. Jacob doesn't understand why.\n August crosses to Jacob, as he ridicules:", "AUGUST\n Thank you my love.\n He kisses her hand then turns to Jacob;", "AUGUST (CONT'D)\n Jacob?\n Jacob stops and turns back as August asks:", "AUGUST\n Go ahead. They get a bucket each.\n Apprehensive, Jacob hops up. August hands him the buckets.", "JACOB\n To August!\n August nods in gratitude. They tilt their glasses and drink.", "AUGUST\n This is Jacob. He's going to bunk\n with you a while.\n\n JACOB\n How do you do?", "Jacob goes about caring for the animals - moving from one to\n the next - trying not to be unnerved by August's presence.\n Then August does a surprising thing: He sits in the center of", "JACOB\n August, what did you do? August?\n\n INT. KINKO'S ROOM - EN ROUTE TO GOSHEN - MORNING", "Jacob refuses to let August demean him. He stays silent.", "JACOB (V.O.)\n But I didn't trust the new August.\n I kept waiting for the real one to\n show up.", "JACOB\n What the hell is wrong with you?\n You think that's funny?\n\n AUGUST", "JACOB\n Friends now?\n August calmly enters the menagerie with the rifle. He walks\n to the center and stops, staring at Jacob.", "JACOB\n Are you a bull man? August would\n hire you in a minute.", "AUGUST (V.O.)\n You just can't get enough of\n somebody in your pants, can you?\n Jacob quickly gets up as August strides towards him;", "AUGUST\n Get her out of here! NOW!\n Jacob wants to help Rosie but can not disobey August in this", "JACOB\n My father used to say that to me.\n\n AUGUST\n He must have been a wise man.", "JACOB (V.O.)\n And August! Ha, August was a new\n man.." ], [ "AUGUST\n\n (LAUGHS)\n Rex hasn't got any teeth...\n Jacob feels more foolish and walks away, when, just as\n quickly, August's tone of voice turns darker:", "AUGUST\n Many thanks. Forgive me for\n arriving too soon and spoiling the\n surprise.\n August takes out a cigarette and lights it.", "August is beating Rosie, who cries out with each blow. The\n animals are panicking from inside their cages - the lions", "AUGUST\n We got big trouble. Lucinda died.\n Now we've got no center ring star\n act and no sideshow star...\n\n JACOB\n How did she die?", "AUGUST (CONT'D)", "AUGUST (CONT'D)\n Now you don't have to borrow mine.\n Everyone applauds, hugging and kissing Jacob:\n\n JACOB\n Thank you, August.", "AUGUST\n Yes.\n\n JACOB\n Can somebody tell me?\n August suppresses a laugh.", "AUGUST, NO!\n Jacob touches August's arm. August turns on Jacob with a\n murderous expression, shoving him to the ground. Jacob is", "of the stampeding animals.\n Marlena lifts her head up from beneath her arms, remaining\n under Rosie. She sees August lifeless body. She looks to", "August is hysterically laughing. Furious, Jacob storms off;", "AUGUST\n I know you are. Come with me.\n August exits. Jacob doesn't know what this means. He follows.", "JACOB\n Please, August, let me try again.\n But August angrily pulls it away and turns on Jacob:", "continues to hold the stake until August topples forward,\n dead, his skull opened like a hardboiled egg..\n Released of August, Jacob rolls himself under the ropes just", "As the kerosene lamp light flickers in August's face, Kinko\n knows he has no choice. August smiles and turns to leave.", "AUGUST\n Thank you my love.\n He kisses her hand then turns to Jacob;", "And then, just as quickly, August's expression softens,\n relaxes, almost into sadness...as if he's about to\n cry....Marlena senses it immediately. She whispers lovingly.", "that's the real August. The one\n who's generous and charming -\n that's the insane August.\n They hear a fight outside the car. They move to investigate:", "AUGUST\n Thank you. My friend.\n Jacob nods, confused, his anger diffused. As he exits;", "AUGUST\n Like this?\n August squeezes Jacob's sore arm from Rex's attack. Jacob\n cries out in pain as August holds his grip yet speaks calmly;", "AUGUST\n Daj...daj..no-ge.\n Rosie does nothing. August looks to Jacob. Jacob is worried.\n Greg suggests, in a low whisper;" ] ]

[ "What was the main character studying at Cornell in 1931?", "What happened to Jacob Jankowski's parents during his final exam?", "After jumping onto a passing train, who did Jacob meet?", "What train did Jacob jump on?", "Who was the ring master?", "What was August's wife's name?", "What was Jacob hired as for the circus?", "Why is August unable to train Rosie the elephant?", "Who kills August by hitting him in the head with a metal spike?", "Who is the proprietor of the small traveling circus?", "What is the name of the elderly man separated from his nursing home?", "What college did Jankowski attend?", "In what year does Jankowski's story begin?", "How old was Jankowski at the beginning of the story he tells O'Brien?", "How did Jankowski's parents die?", "What is the only language the elephant understands?", "What do the circus employees do in response to August's cruelty? ", "What job did Jankowski work with Ringling Bros.?", "What led Jacob to jump on the train?", "Why did Jacob quit school after his parents died?", "What happens between Marlena and Jacob after Rosie kills August?", "Who was Rosie?", "Why was Rosie unable to follow training commands?", "Where did Jacob attend veterinary school?", "Why did August perpetrate violence against Jacob?", "What did Jacob do against August's wishes regarding the care of Silver?", "Why did August hire Jacob?", "How did August die?" ]

[ [ "Veterinary medicine", "Veternarian Medicine" ], [ "They were killed in a car crash.", "they die in a car crash" ], [ "Camel", "A man named Camel" ], [ "The Benzini Bros. circus train", "Benzini Bros circus train" ], [ "August Rosenbluth", "August was the ring master." ], [ "Marlena Rosenbluth", "Marlena" ], [ "A Vet", "a vet" ], [ "She only understands Polish commands", "She only understands Polish commands" ], [ "Rosie the elephant ", "Rosie" ], [ "Charlie O'Brien", "Charlie O'Brian" ], [ "Jacob Jankowski", "Jacob Jankowski" ], [ "Cornell", "Cornell" ], [ "1923", "1931" ], [ "23 years old", "23" ], [ "In a car crash", "Car accident" ], [ "Polish commands", "Polish" ], [ "Unlock all the animal cages during a performance", "let animals out" ], [ "Veterinarian ", "veterinarian " ], [ "He was homeless upon the death of his parents and had nowhere else to go.", "Jacob's parents were killed in a car crash so he ran away." ], [ "His father left him in debt and there was no money to pay what was owed.", "He had no money" ], [ "They marry and have five children.", "They got jobs with Ringling Bros. and Barnum & Bailey Circus." ], [ "Rosie was an abused circus elephant.", "a circus elephant" ], [ "Rosie only understood Polish.", "she knew Russian commands" ], [ "Cornell.", "Cornell" ], [ "In retaliation for the affair between Jacob and August's wife, Marlena.", "Because Jacob killed Silver" ], [ "Jacob euthanized Silver so he will not suffer.", "Jacob euthanized Silver." ], [ "August needed a vet to treat a case of laminitis in Silver, the circus elephant.", "To be a circus vet." ], [ "He was killed by a blow to the head from a spike wielded by Rosie.", "the elephant hit him on the head with a metal spike" ] ]

[ [ "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "\"Martha,\" he replied \"got married, Mas'r Davy, in the second year. A\nyoung man, a farm-laborer, as come by us on his way to market with his", "\"David had bought an annuity for himself with his money, I know,\" said\nshe, by and by. \"What did he do for you?\"", "\"And my dear boy,\" cried my mother, coming to the elbow-chair in which I\nwas, and caressing me, \"my own little Davy! Is it to be hinted to me", "\"Now, David,\" he said--and I saw that cast again, as he said it--\"you\nmust be far more careful to-day than usual.\" He gave the cane another", "ill-use her in some way or other. What did she propose to herself,\nI should like to know! She had had one husband. She had seen David", "\"Is he indeed?\" said Mr. Dick.\n\n\"And he's like David, too,\" said my aunt, decisively.\n\n\"He is very like David!\" said Mr. Dick.", "his stomach--and so he died, and so she married a young man, and so I\nwasn't provided for.\"", "notice of me, and paid me a good deal of attention, and at last proposed\nto me. And I accepted him. And so we were married,\" said my mother\nsimply.", "\"And how is Master David?\" he says, kindly.\n\nI cannot tell him very well. I give him my hand, which he holds in his.", "\"David's son?\" said Mr. Dick, with an attentive, puzzled face.\n\n\"Exactly so,\" returned my aunt. \"What would you do with him, now?\"", "\"The time was, Mas'r Davy,\" he said, as we came down stairs, \"when I\nthowt this girl, Martha, a'most like the dirt underneath my Em'ly's", "\"I suppose you know, David, that I am not rich. At any rate, you know it\nnow. You have received some considerable education already. Education is", "\"Mrs. David Copperfield, I _think_,\" said Miss Betsey; the emphasis\nreferring, perhaps, to my mother's mourning weeds, and her condition.\n\n\"Yes,\" said my mother, faintly.", "\"According to our reckoning,\" he proceeded, \"Mas'r Davy's here, and\nmine, she is like, one day, to make her own poor solitary course to", "\"He is your brother,\" said my mother, fondling me. \"Davy, my pretty boy!\nMy poor child!\" Then she kissed me more and more, and clasped me round", "\"What foolish, impudent creatures!\" cried my mother, laughing and\ncovering her face. \"What ridiculous men! An't they? Davy dear----\"\n\n\"Well, Ma.\"", "at first and seven afterwards. He paid me a week down (from his own\npocket, I believe), and I gave Mealy sixpence out of it to get my trunk" ], [ "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "didn't like to have him visible about his house, and sent him away to\nsome private asylum-place; though he had been left to his particular", "\"Ready, my dear Jane,\" returned my mother. \"Good bye, Davy. You are\ngoing for your own good. Good bye, my child. You will come home in the\nholidays, and be a better boy.\"", "\"Now, David,\" he said--and I saw that cast again, as he said it--\"you\nmust be far more careful to-day than usual.\" He gave the cane another", "\"David,\" said Mr. Murdstone, one day after dinner when I was going to\nleave the room as usual; \"I am sorry to observe that you are of a sullen\ndisposition.\"", "about him that caught her. However, now we have got her safe at our\nhouse, and got rid of him, we must cheer her up again.\"", "\"I don't know. He left here,\" said Traddles, \"with his mother, who had\nbeen clamouring, and beseeching, and disclosing, the whole time. They", "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "\"And my dear boy,\" cried my mother, coming to the elbow-chair in which I\nwas, and caressing me, \"my own little Davy! Is it to be hinted to me", "\"Go you below, my love,\" said Mr. Murdstone. \"David and I will come\ndown, together. My friend,\" turning a darkening face on Peggotty, when", "been away, and would not have had broken, she said, for a hundred\npounds. I had my own old mug with David on it, and my own old little\nknife and fork that wouldn't cut.", "mother was as far off from me as she could be, and kept her face another\nway so that I never saw it; and that Mr. Murdstone's hand was bound up\nin a large linen wrapper.", "\"Find a voice, David. What about the letter you were speaking of at\nbreakfast?\"\n\n\"Oh!\" said I, taking it out of my pocket. \"It's from my aunt.\"", "As he took me out at the door, my mother ran towards us. Miss Murdstone\nsaid, \"Clara! are you a perfect fool?\" and interfered. I saw my mother\nstop her ears then, and I heard her crying.", "But with no intention of passing many more weary days there. No. I had\nresolved to run away.--To go, by some means or other, down into the", "I knew well--better perhaps than he thought, as far as my poor mother\nwas concerned--and I obeyed him to the letter. I retreated to my own", "My mother starts, colors, and smiles faintly. Mr. Murdstone comes out of\nhis chair, takes the book, throws it at me or boxes my ears with it, and\nturns me out of the room by the shoulders.", "\"He is your brother,\" said my mother, fondling me. \"Davy, my pretty boy!\nMy poor child!\" Then she kissed me more and more, and clasped me round", "\"How do you fare to feel about it, Mas'r Davy?\" he inquired at length.\n\n\"I think that she is living,\" I replied." ], [ "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "\"And how is Master David?\" he says, kindly.\n\nI cannot tell him very well. I give him my hand, which he holds in his.", "\"Is he indeed?\" said Mr. Dick.\n\n\"And he's like David, too,\" said my aunt, decisively.\n\n\"He is very like David!\" said Mr. Dick.", "\"My love, Mas'r Davy--the pride and hope of my art--her that I'd have\ndied for, and would die for now--she's gone!\"\n\n\"Gone?\"", "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "\"Now, David,\" he said--and I saw that cast again, as he said it--\"you\nmust be far more careful to-day than usual.\" He gave the cane another", "\"He is your brother,\" said my mother, fondling me. \"Davy, my pretty boy!\nMy poor child!\" Then she kissed me more and more, and clasped me round", "\"Go you below, my love,\" said Mr. Murdstone. \"David and I will come\ndown, together. My friend,\" turning a darkening face on Peggotty, when", "\"Mas'r Davy, have you seen her?\"\n\n\"Only for a moment, when she was in a swoon,\" I softly answered.\n\nWe walked a little farther, and he said:", "\"Em'ly's in the right in that, Mas'r Davy!\" said Ham. \"Lookee here! As\nEm'ly wishes of it, and as she's hurried and frightened, like, besides,", "\"Oh, Davy!\" she said. \"That you could hurt any one I love! Try to be\nbetter, pray to be better! I forgive you; but I am so grieved, Davy,", "\"I suppose you know, David, that I am not rich. At any rate, you know it\nnow. You have received some considerable education already. Education is", "\"Davy, dear. If I ain't ben azackly as intimate with you. Lately, as I\nused to be. It ain't because I don't love you. Just as well and more, my", "\"How do you fare to feel about it, Mas'r Davy?\" he inquired at length.\n\n\"I think that she is living,\" I replied.", "ill-use her in some way or other. What did she propose to herself,\nI should like to know! She had had one husband. She had seen David", "\"Find a voice, David. What about the letter you were speaking of at\nbreakfast?\"\n\n\"Oh!\" said I, taking it out of my pocket. \"It's from my aunt.\"", "\"The time was, Mas'r Davy,\" he said, as we came down stairs, \"when I\nthowt this girl, Martha, a'most like the dirt underneath my Em'ly's", "Of course I was in love with little Em'ly. I am sure I loved that baby\nquite as truly, quite as tenderly, with greater purity, and more", "\"David had bought an annuity for himself with his money, I know,\" said\nshe, by and by. \"What did he do for you?\"" ], [ "Murdstone and Grinby's warehouse was at the water side. It was down in\nBlackfriars. Modern improvements have altered the place; but it was the", "\"David,\" said Mr. Murdstone, one day after dinner when I was going to\nleave the room as usual; \"I am sorry to observe that you are of a sullen\ndisposition.\"", "Mr. Quinion then formally engaged me to be as useful as I could in the\nwarehouse of Murdstone and Grinby, at a salary, I think, of six", "\"The counting-house, sir?\" I repeated.\n\n\"Of Murdstone and Grinby, in the wine trade,\" he replied.\n\nI suppose I looked uncertain, for he went on hastily:", "\"Go you below, my love,\" said Mr. Murdstone. \"David and I will come\ndown, together. My friend,\" turning a darkening face on Peggotty, when", "wonderful to me that nobody should have made any sign in my behalf. But\nnone was made; and I became, at ten years old, a little labouring hind\nin the service of Murdstone and Grinby.", "\"David Copperfield,\" said Miss Murdstone, beckoning me aside into a\nwindow. \"A word.\"\n\nI confronted Miss Murdstone alone.", "at every step to see Mr. Murdstone or Miss Murdstone lowering out of one\nof them. No face appeared, however; and being come to the house, and", "\"Now, Clara my dear,\" said Mr. Murdstone. \"Recollect! controul yourself,\nalways controul yourself! Davy boy, how do you do?\"", "\"Now, Clara,\" says Mr. Murdstone, \"be firm with the boy. Don't say 'Oh,\nDavy, Davy!' That's childish. He knows his lesson, or he does not know\nit.\"", "\"Now, David,\" said Mr. Murdstone, \"a sullen obdurate disposition is, of\nall tempers, the worst.\"", "\"To answer it in person, however inconvenient the journey,\" pursued Mr.\nMurdstone, \"rather than by letter. This unhappy boy who has run away\nfrom his friends and his occupation--\"", "\"Quinion,\" said Mr. Murdstone, \"take care, if you please. Somebody's\nsharp.\"\n\n\"Who is?\" asked the gentleman, laughing.", "\"Davy! come here!\" and looked at mine.\n\nI saw Miss Murdstone lay her beads down.", "\"Aye! He is sharp enough,\" said Mr. Murdstone, impatiently. \"You had\nbetter let him go. He will not thank you for troubling him.\"", "\"Jane Murdstone, leave it to me, if you please. I say, David, to the\nyoung this is a world for action, and not for moping and droning in. It", "At about mid-day, we set out for the offices of Messrs. Spenlow and\nJorkins in Doctors' Commons. My aunt, who had this other general opinion", "paraded me up and down on the cliff outside, before going to bed. At\nlength the reply from Mr. Murdstone came, and my aunt informed me, to my", "Murdstone. My mother dropped her work, and arose hurriedly, but timidly\nI thought.", "\"You have heard Miss Murdstone,\" said Mr. Spenlow, turning to me. \"I beg\nto ask, Mr. Copperfield, if you have anything to say in reply?\"" ], [ "\"Yes,\" pursued my aunt, \"and he has done a pretty piece of business. He\nhas run away. Ah! His sister, Betsey Trotwood, never would have run", "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "\"Em'ly's run away! Oh, Mas'r Davy, think _how_ she's run away, when I\npray my good and gracious God to kill her (her that is so dear above all", "\"Is he indeed?\" said Mr. Dick.\n\n\"And he's like David, too,\" said my aunt, decisively.\n\n\"He is very like David!\" said Mr. Dick.", "the door, said, \"Ever bless you, Mas'r Davy, be a friend to him, poor\ndear!\" Then, she immediately ran out of the house to wash her face,", "But with no intention of passing many more weary days there. No. I had\nresolved to run away.--To go, by some means or other, down into the", "\"Now, David,\" he said--and I saw that cast again, as he said it--\"you\nmust be far more careful to-day than usual.\" He gave the cane another", "\"You are to unnerstan', Mas'r Davy,\" said he, \"as we have left the Bush\nnow, being so well to do; and have gone right away round to Port", "\"I suppose you know, David, that I am not rich. At any rate, you know it\nnow. You have received some considerable education already. Education is", "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "\"David's son?\" said Mr. Dick, with an attentive, puzzled face.\n\n\"Exactly so,\" returned my aunt. \"What would you do with him, now?\"", "to have gone, but he was hiding. Doen't stay, Mas'r Davy, doen't!\"", "been away, and would not have had broken, she said, for a hundred\npounds. I had my own old mug with David on it, and my own old little\nknife and fork that wouldn't cut.", "\"At the time I speak of, as the time when papa spoke to me,\" pursued\nAgnes, \"he had told papa that he was going away; that he was very sorry,", "unhappy since she died. I have been slighted, and taught nothing, and\nthrown upon myself, and put to work not fit for me. It made me run away", "\"And how is Master David?\" he says, kindly.\n\nI cannot tell him very well. I give him my hand, which he holds in his.", "of an evening, she always shrunk from accepting his escort home, and ran\naway with me instead. And sometimes, as we were running gaily across the\nCathedral yard together, expecting to meet nobody, we would meet Mr.", "At last I ran away myself, whenever I saw an emissary of the police\napproaching with some new intelligence; and lived a stealthy life until", "offered to, but ran away and hid herself. By and by, when we had dined\nin a sumptuous manner off boiled dabs, melted butter, and potatoes, with" ], [ "\"Is he indeed?\" said Mr. Dick.\n\n\"And he's like David, too,\" said my aunt, decisively.\n\n\"He is very like David!\" said Mr. Dick.", "\"David's son?\" said Mr. Dick, with an attentive, puzzled face.\n\n\"Exactly so,\" returned my aunt. \"What would you do with him, now?\"", "\"Mr. Dick,\" said my aunt, \"you have heard me mention David Copperfield?\nNow don't pretend not to have a memory, because you and I know better.\"", "or plaything. My aunt, with whom she gradually became familiar, always\ncalled her Little Blossom; and the pleasure of Miss Lavinia's life was", "\"Aye, Mas'r Davy!\" he returned. \"My sister, you see, she's that fond of\nyou and yourn, and that accustomed to think on'y of her own country,", "I was going to suggest, with a modest sense of my youth and the\nfamiliarity I had been already guilty of, that I had better give him the\nfull benefit of that name, when my aunt went on to say:", "An aunt of my father's, and consequently a great-aunt of mine, of whom I\nshall have more to relate by and by, was the principal magnate of our", "\"And my dear boy,\" cried my mother, coming to the elbow-chair in which I\nwas, and caressing me, \"my own little Davy! Is it to be hinted to me", "\"And nice people they were, who had the audacity to call him mad,\"\npursued my aunt. \"Mr. Dick is a sort of distant connexion of mine--it", "\"I suppose not,\" returned my aunt, rather grudging the admission; \"but\nit's very aggravating. However, she's Barkis _now_. That's some comfort.\nBarkis is uncommonly fond of you, Trot.\"", "thing.\" I never saw my aunt unbend more systematically to anyone. She\ncourted Jip, though Jip never responded; listened, day after day, to the", "\"Mas'r Davy,\" said he. And the old name in the old tone fell so", "been away, and would not have had broken, she said, for a hundred\npounds. I had my own old mug with David on it, and my own old little\nknife and fork that wouldn't cut.", "I spoke to her, and she started, and cried out. But seeing me, she\ncalled me her dear Davy, her own boy! and coming half across the room to", "The hysterics called up Peggotty. The moment my aunt was restored, she\nflew at Peggotty, and calling her a silly old creature, hugged her with", "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "\"Certainly, certainly. Call him Trotwood, certainly,\" said Mr. Dick.\n\"David's son's Trotwood.\"\n\n\"Trotwood Copperfield, you mean,\" returned my aunt.", "\"Thank you, aunt,\" said Dora, faintly. \"But, don't, please!\"\n\n\"No?\" said my aunt, taking off her spectacles.", "\"My dear,\" I argued, \"you will soon know him well, and like him of all\nthings. And here is my aunt coming soon; and you'll like her of all\nthings too, when you know her.\"", "beggar, no beggar, no beggar, sir!\" went on to say, that from his\nwindow he had afterwards, and late at night, seen my aunt give this" ], [ "\"Uriah Heep is a great relief to me,\" said Mr. Wickfield, in the same\ndull voice. \"It's a load off my mind, Trotwood, to have such a partner.\"", "\"My Uriah,\" said Mrs. Heep, \"has looked forward to this, sir, a long\nwhile. He had his fears that our umbleness stood in the way, and I", "I found Uriah Heep among the company, in a suit of black, and in deep\nhumility. He told me, when I shook hands with him, that he was proud to", "\"Uriah Heep,\" said Mr. Wickfield, in a monotonous forced way, \"is active\nin the business, Trotwood. What he says, I quite concur in. You know I", "in, without knowing it. As I came back, I saw Uriah Heep shutting up the\noffice; and feeling friendly towards everybody, went in and spoke to", "Uriah Heep, with a start, took out of his pocket a bunch of keys, and\nopened a certain drawer; then, suddenly bethought himself of what he was\nabout, and turned again towards us, without looking in it.", "against Uriah and Mrs. Heep. They did just what they liked with me; and\nwormed things out of me that I had no desire to tell, with a certainty I", "I opened the door, and admitted, not only Mr. Wickfield, but Uriah Heep.\nI had not seen Mr. Wickfield for some time. I was prepared for a great", "We had scarcely done so, when Uriah Heep put in his red head and his\nlank hand at the door, and said:\n\n\"Here's Mr. Maldon begs the favor of a word, sir.\"", "Mr. Wickfield hastened to him. Without interchanging a word they went\nslowly out of the room together, Uriah looking after them.", "But, seeing a light in the little round office, and immediately feeling\nmyself attracted towards Uriah Heep, who had a sort of fascination for", "Arrived at Mr. Wickfield's house, I found, in the little lower-room on\nthe ground floor, where Uriah Heep had been of old accustomed to sit,", "\"He is a partaker of glory at present, Master Copperfield,\" said Uriah\nHeep. \"But we have much to be thankful for. How much have I to be\nthankful for, in living with Mr. Wickfield!\"", "It so happened that this chair was opposite a narrow passage, which\nended in the little circular room where I had seen Uriah Heep's", "\"Yes, I thank you, sir!\" said Uriah Heep, looking in that direction.\n\"Far more comfortable here, than ever I was outside. I see my follies\nnow, sir. That's what makes me comfortable.\"", "I had not seen Uriah Heep since the time of the blow. Our visit\nastonished him, evidently; not the less, I dare say, because it", "I saw no more of Uriah Heep, until the day when Agnes left town. I was\nat the coach-office to take leave of her and see her go; and there was", "\"Mr. Wickfield's at home, ma'am,\" said Uriah Heep, \"if you'll please to\nwalk in there\"--pointing with his long hand to the room he meant.", "\"This is a day to be remembered, my Uriah, I am sure,\" said Mrs. Heep,\nmaking the tea, \"when Master Copperfield pays us a visit.\"", "At last Mr. Micawber's difficulties came to a crisis, and he was\narrested early one morning, and carried over to the King's Bench Prison" ], [ "\"When Em'ly got strong again,\" said Mr. Peggotty, after another short\ninterval of silence, \"she cast about to leave that good young creetur,", "\"A new one,\" said Peggotty.\n\n\"A new one?\" I repeated.", "now asked what it was that had gone so much amiss. Em'ly told her, and\nshe--took her home. She did indeed. She took her home,\" said Mr.\nPeggotty, covering his face.", "So Mr. Peggotty went into my old room to fetch little Em'ly. At first\nlittle Em'ly didn't like to come, and then Ham went. Presently they", "\"She attended on Em'ly,\" said Mr. Peggotty, who had released my hand,\nand put his own hand on his heaving chest; \"she attended to my Em'ly,", "Peggotty was naturally in low spirits at leaving what had been her home\nso many years, and where the two strong attachments of her life--for my", "After a stroll about the town, I went to Ham's house. Peggotty had now\nremoved here for good; and had let her own house to the successor of Mr.", "Peggotty had hastened to the chair before the fire. Em'ly, with her arms\naround her neck, kneeled by her, looking up most earnestly into her\nface.", "\"She come,\" said Mr. Peggotty, dropping his voice to an\nawe-stricken whisper, \"to London. She--as had never seen it in her", "I took Peggotty to the coach-office, and saw her off. She cried at\nparting, and confided her brother to my friendship as Ham had done. We\nhad heard nothing of him since he went away, that sunny afternoon.", "\"I took my dear child away last night,\" Mr. Peggotty began, as he raised\nhis eyes to ours, \"to my lodging, wheer I have a long time been", "was bright, the ashes were thrown up, the locker was ready for little\nEmily in her old place. In her own old place sat Peggotty, once more,", "I shook hands with Mr. Peggotty, and passed into the kitchen, while he\nsoftly closed the door. Little Emily was sitting by the fire, with her\nhands before her face. Ham was standing near her.", "As I did not even know where Miss Betsey lived, I wrote a long letter to\nPeggotty, and asked her, incidentally, if she remembered; pretending", "her own hands; but I saw that she was young, and of a fair complexion.\nPeggotty had been crying. So had little Em'ly. Not a word was spoken", "was to get there, and to run into her arms. But Peggotty, instead of\nsharing in these transports, tried to check them (though very kindly),\nand looked confused and out of sorts.", "Little Em'ly was spoiled by them all, in fact; and by no one more than\nMr. Peggotty himself, whom she could have coaxed into anything, by only", "That, you see,\" said Mr. Peggotty, bending over me with great glee,\n\"meets two objects. She says, says Em'ly, 'Theer's home!' she says. And", "Em'ly? Will you, if you please, Peggotty?\"", "\"Little Em'ly,\" I said, glancing at her. \"She is your daughter, isn't\nshe, Mr. Peggotty?\"\n\n\"No, sir. My brother in law, Tom, was _her_ father.\"" ], [ "deplored the untimely death of Mr. Spenlow most sincerely, and shed\ntears in doing so. I entreated her to tell Dora, if Dora were in a state", "\"There is nothing I can say, sir,\" I returned, \"except that all the\nblame is mine. Dora--\"\n\n\"Miss Spenlow, if you please,\" said her father, majestically.", "\"Indeed? Is his new wife young?\"\n\n\"Just of age,\" said Mr. Spenlow. \"So lately, that I should think they\nhad been waiting for that.\"", "Dora Spenlow to distraction!", "I have already said, sir, that I have had my suspicions of Miss Spenlow,\nin reference to David Copperfield, for some time. I have frequently", "mentioning in the material world, but Dora Spenlow, to be astonished\nabout. I said, \"How do you do, Miss Murdstone? I hope you are well.\" She", "But now Mr. Spenlow came out of the house, and Dora went to him, saying,\n\"Look, papa, what beautiful flowers!\" And Miss Mills smiled", "him any more, now she is married, and will break his heart. Of our\ngoing, arm in arm, and Dora stopping and looking back, and saying, \"If I", "heard a voice say, \"Mr. Copperfield, my daughter Dora, and my daughter\nDora's confidential friend!\" It was, no doubt, Mr. Spenlow's voice, but", "Mr. Spenlow was as good as his word. In a week or two, he referred to\nthis engagement, and said, that if I would do him the favor to come down", "possession of it. After perusing it, I taxed Miss Spenlow with having\nmany such letters in her possession; and ultimately obtained from her,\nthe packet which is now in David Copperfield's hand.\"", "\"Miss Murdstone has had the goodness,\" said Mr. Spenlow to me, \"to\naccept the office--if I may so describe it--of my daughter Dora's", "Dora at second hand. The amount of practical wisdom I bestowed upon\nTraddles in this manner was immense, and of the best quality; but it had\nno other effect upon Dora than to depress her spirits, and make her", "\"I feel it, sir, I assure you,\" I returned. \"But I never thought so,\nbefore. Sincerely, honestly, indeed, Mr. Spenlow, I never thought so,\nbefore. I love Miss Spenlow to that extent--\"", "\"I must confess to having entertained my suspicions of Miss Spenlow, in\nreference to David Copperfield, for some time. I observed Miss Spenlow", "clients. Therefore I hinted to Peggotty that she would find Mr. Spenlow\nmuch recovered from the shock of Mr. Barkis's decease; and indeed he\ncame in like a bridegroom.", "\"Pooh! nonsense!\" said Mr. Spenlow, reddening. \"Pray don't tell me to my\nface that you love my daughter, Mr. Copperfield!\"", "\"Mrs. David Copperfield, I _think_,\" said Miss Betsey; the emphasis\nreferring, perhaps, to my mother's mourning weeds, and her condition.\n\n\"Yes,\" said my mother, faintly.", "\"My love!\" said I, \"what nonsense!\"\n\n\"Do you think it is nonsense?\" returned Dora, without looking at me.\n\"Are you sure it is?\"\n\n\"Of course I am!\"", "whips, and walking-sticks. \"Where is Miss Dora?\" said Mr. Spenlow to the\nservant. \"Dora!\" I thought. \"What a beautiful name!\"" ], [ "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "\"I never had the happiness of seeing my father,\" I observed.", "\"I suppose you know, David, that I am not rich. At any rate, you know it\nnow. You have received some considerable education already. Education is", "Here was a coincidence! I immediately went into an explanation how I had\nnever seen my own father; and how my mother and I had always lived by", "\"Now, David,\" he said--and I saw that cast again, as he said it--\"you\nmust be far more careful to-day than usual.\" He gave the cane another", "\"And how is Master David?\" he says, kindly.\n\nI cannot tell him very well. I give him my hand, which he holds in his.", "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "\"Did she tell you why?\" I inquired.\n\n\"I asked her, Mas'r Davy,\" he replied, \"but it is but few words as she\never says, and she on'y got my promise and so went away.\"", "\"Find a voice, David. What about the letter you were speaking of at\nbreakfast?\"\n\n\"Oh!\" said I, taking it out of my pocket. \"It's from my aunt.\"", "\"David,\" said Mr. Murdstone, one day after dinner when I was going to\nleave the room as usual; \"I am sorry to observe that you are of a sullen\ndisposition.\"", "\"David's son?\" said Mr. Dick, with an attentive, puzzled face.\n\n\"Exactly so,\" returned my aunt. \"What would you do with him, now?\"", "hardly believe she will ever rest anywhere. She was the motherless child\nof a sort of cousin of my father's. He died one day. My mother, who was", "been away, and would not have had broken, she said, for a hundred\npounds. I had my own old mug with David on it, and my own old little\nknife and fork that wouldn't cut.", "\"David had bought an annuity for himself with his money, I know,\" said\nshe, by and by. \"What did he do for you?\"", "\"I thought you were his father!\"\n\n\"My brother Joe was _his_ father,\" said Mr. Peggotty.\n\n\"Dead, Mr. Peggotty?\" I hinted, after a respectful pause.", "\"Is he indeed?\" said Mr. Dick.\n\n\"And he's like David, too,\" said my aunt, decisively.\n\n\"He is very like David!\" said Mr. Dick.", "\"David Copperfield,\" said Miss Murdstone, \"I need not enlarge upon\nfamily circumstances. They are not a tempting subject.\"\n\n\"Far from it, ma'am,\" I returned.", "\"I have heerd her tell,\" said Mr. Peggotty, \"as you was early left\nfatherless and motherless, with no friend fur to take, in a rough", "\"He ain't no care, Mas'r Davy,\" said Mr. Peggotty in a solemn\nwhisper--\"keinder no care no-how for his life. When a man's wanted for" ], [ "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "\"David,\" said Mr. Murdstone, one day after dinner when I was going to\nleave the room as usual; \"I am sorry to observe that you are of a sullen\ndisposition.\"", "\"And my dear boy,\" cried my mother, coming to the elbow-chair in which I\nwas, and caressing me, \"my own little Davy! Is it to be hinted to me", "\"Ready, my dear Jane,\" returned my mother. \"Good bye, Davy. You are\ngoing for your own good. Good bye, my child. You will come home in the\nholidays, and be a better boy.\"", "\"Now, David,\" he said--and I saw that cast again, as he said it--\"you\nmust be far more careful to-day than usual.\" He gave the cane another", "\"I don't know. He left here,\" said Traddles, \"with his mother, who had\nbeen clamouring, and beseeching, and disclosing, the whole time. They", "\"I suppose you know, David, that I am not rich. At any rate, you know it\nnow. You have received some considerable education already. Education is", "\"How do you fare to feel about it, Mas'r Davy?\" he inquired at length.\n\n\"I think that she is living,\" I replied.", "been away, and would not have had broken, she said, for a hundred\npounds. I had my own old mug with David on it, and my own old little\nknife and fork that wouldn't cut.", "\"David's son?\" said Mr. Dick, with an attentive, puzzled face.\n\n\"Exactly so,\" returned my aunt. \"What would you do with him, now?\"", "\"Find a voice, David. What about the letter you were speaking of at\nbreakfast?\"\n\n\"Oh!\" said I, taking it out of my pocket. \"It's from my aunt.\"", "\"David had bought an annuity for himself with his money, I know,\" said\nshe, by and by. \"What did he do for you?\"", "\"Quite, Mas'r Davy,\" he returned; \"and told Em'ly, Theer's mighty\ncountries, fur from heer. Our future life lays over the sea.\"", "\"Go you below, my love,\" said Mr. Murdstone. \"David and I will come\ndown, together. My friend,\" turning a darkening face on Peggotty, when", "As well as I could make out, she had come for good, and had no\nintention of ever going again. She began to \"help\" my mother next", "\"Martha,\" he replied \"got married, Mas'r Davy, in the second year. A\nyoung man, a farm-laborer, as come by us on his way to market with his", "Agnes shook her head. \"There is such a change at home,\" said she, \"that\nyou would scarcely know the dear old house. They live with us now.\"\n\n\"They?\" said I.", "\"He is your brother,\" said my mother, fondling me. \"Davy, my pretty boy!\nMy poor child!\" Then she kissed me more and more, and clasped me round" ], [ "\"Find a voice, David. What about the letter you were speaking of at\nbreakfast?\"\n\n\"Oh!\" said I, taking it out of my pocket. \"It's from my aunt.\"", "\"And how is Master David?\" he says, kindly.\n\nI cannot tell him very well. I give him my hand, which he holds in his.", "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "\"Merely this, Miss Trotwood,\" he returned. \"I am here to take David\nback--to take him back unconditionally, to dispose of him as I think", "\"David,\" said Mr. Murdstone, one day after dinner when I was going to\nleave the room as usual; \"I am sorry to observe that you are of a sullen\ndisposition.\"", "\"Now, David,\" he said--and I saw that cast again, as he said it--\"you\nmust be far more careful to-day than usual.\" He gave the cane another", "been away, and would not have had broken, she said, for a hundred\npounds. I had my own old mug with David on it, and my own old little\nknife and fork that wouldn't cut.", "\"Is he indeed?\" said Mr. Dick.\n\n\"And he's like David, too,\" said my aunt, decisively.\n\n\"He is very like David!\" said Mr. Dick.", "\"Yes, yes, Master Davy,\" said Peggotty. \"She's come home. Wait a bit,\nMaster Davy, and I'll--I'll tell you something.\"", "\"David's son?\" said Mr. Dick, with an attentive, puzzled face.\n\n\"Exactly so,\" returned my aunt. \"What would you do with him, now?\"", "\"I suppose you know, David, that I am not rich. At any rate, you know it\nnow. You have received some considerable education already. Education is", "last of all. And heer's your old little bedroom, see, Mas'r Davy! A'most\nas bleak to-night, as 'art could wish!\"", "\"He's at home, sir,\" returned Peggotty, \"but he's bad abed with the\nrheumatics.\"\n\n\"Don't he go over to Blunderstone now?\" I asked.", "Well it may be! What a mind! Annie, my love, I am going to the Study\nwith my paper, for I am a poor creature without news. Miss Trotwood,\nDavid, pray come and see the Doctor.\"", "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "They expected me home before Christmas; but had no idea of my returning\nso soon. I had purposely misled them, that I might have the pleasure of", "\"Mas'r Davy!\" implored Ham. \"Go out a bit, and let me tell him what I\nmust. You doen't ought to hear it, sir.\"", "me. Knowing the unfortunate difference between himself and his mother,\nand what her anxiety of mind was likely to be, I took the liberty of\ncoming home to England, and relating--\"", "\"And my dear boy,\" cried my mother, coming to the elbow-chair in which I\nwas, and caressing me, \"my own little Davy! Is it to be hinted to me" ], [ "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "\"He is your brother,\" said my mother, fondling me. \"Davy, my pretty boy!\nMy poor child!\" Then she kissed me more and more, and clasped me round", "\"And how is Master David?\" he says, kindly.\n\nI cannot tell him very well. I give him my hand, which he holds in his.", "\"Now, David,\" he said--and I saw that cast again, as he said it--\"you\nmust be far more careful to-day than usual.\" He gave the cane another", "\"Is he indeed?\" said Mr. Dick.\n\n\"And he's like David, too,\" said my aunt, decisively.\n\n\"He is very like David!\" said Mr. Dick.", "\"And my dear boy,\" cried my mother, coming to the elbow-chair in which I\nwas, and caressing me, \"my own little Davy! Is it to be hinted to me", "\"Oh, Davy!\" she said. \"That you could hurt any one I love! Try to be\nbetter, pray to be better! I forgive you; but I am so grieved, Davy,", "\"Find a voice, David. What about the letter you were speaking of at\nbreakfast?\"\n\n\"Oh!\" said I, taking it out of my pocket. \"It's from my aunt.\"", "\"David's son?\" said Mr. Dick, with an attentive, puzzled face.\n\n\"Exactly so,\" returned my aunt. \"What would you do with him, now?\"", "\"The time was, Mas'r Davy,\" he said, as we came down stairs, \"when I\nthowt this girl, Martha, a'most like the dirt underneath my Em'ly's", "himself yet, but were a child too, and always at play. I told Em'ly I\nadored her, and that unless she confessed she adored me I should be", "\"My love, Mas'r Davy--the pride and hope of my art--her that I'd have\ndied for, and would die for now--she's gone!\"\n\n\"Gone?\"", "\"I suppose you know, David, that I am not rich. At any rate, you know it\nnow. You have received some considerable education already. Education is", "\"Davy, dear. If I ain't ben azackly as intimate with you. Lately, as I\nused to be. It ain't because I don't love you. Just as well and more, my", "been away, and would not have had broken, she said, for a hundred\npounds. I had my own old mug with David on it, and my own old little\nknife and fork that wouldn't cut.", "but the serious assurance of his friend Copperfield to the contrary, he\nobserved, could deprive him of the impression that his friend\nCopperfield loved and was beloved. After feeling very hot and", "\"David had bought an annuity for himself with his money, I know,\" said\nshe, by and by. \"What did he do for you?\"", "\"David,\" said Mr. Murdstone, one day after dinner when I was going to\nleave the room as usual; \"I am sorry to observe that you are of a sullen\ndisposition.\"" ], [ "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "London in quest of him. He was always wandering about from place to\nplace, with his one object of recovering his niece before him; but was", "are now going to London, David, with Mr. Quinion, to begin the world on\nyour own account.\"", "\"Yes,\" pursued my aunt, \"and he has done a pretty piece of business. He\nhas run away. Ah! His sister, Betsey Trotwood, never would have run", "been away, and would not have had broken, she said, for a hundred\npounds. I had my own old mug with David on it, and my own old little\nknife and fork that wouldn't cut.", "fright and heat, and doubting whether half London might not by this time\nbe turning out for my apprehension, I left the young man to go where he", "But with no intention of passing many more weary days there. No. I had\nresolved to run away.--To go, by some means or other, down into the", "\"Em'ly's run away! Oh, Mas'r Davy, think _how_ she's run away, when I\npray my good and gracious God to kill her (her that is so dear above all", "\"Now, David,\" he said--and I saw that cast again, as he said it--\"you\nmust be far more careful to-day than usual.\" He gave the cane another", "I said, \"Near London,\" which was all I knew.\n\n\"Oh, my eye!\" he said, looking very low-spirited, \"I am sorry for that.\"\n\n\"Why?\" I asked him.", "\"David,\" said Mr. Murdstone, one day after dinner when I was going to\nleave the room as usual; \"I am sorry to observe that you are of a sullen\ndisposition.\"", "\"Because,\" continued Agnes, \"Doctor Strong has acted on his intention of\nretiring, and has come to live in London; and he asked papa, I know, if", "\"If she should make her way to London, which is likely--for where could\nshe lose herself so readily as in this vast city; and what would she\nwish to do, but lose and hide herself, if she does not go home?--\"", "went away by one of the London night coaches, and I know no more about\nhim; except that his malevolence to me at parting was audacious. He", "\"To answer it in person, however inconvenient the journey,\" pursued Mr.\nMurdstone, \"rather than by letter. This unhappy boy who has run away\nfrom his friends and his occupation--\"", "everything else belonging to us, had no particular place of its own;\nand, converting it into money, spent the produce (he was always a\nweak-minded boy) in incessantly riding up and down between London", "\"And how is Master David?\" he says, kindly.\n\nI cannot tell him very well. I give him my hand, which he holds in his.", "\"She--excuse me--Miss D., you know,\" said Traddles, colouring in his\ngreat delicacy, \"lives in London, I believe?\"\n\n\"Oh yes. Near London.\"", "He shook his head when I asked him where he would seek her, and inquired\nif I were going to London to-morrow? I told him I had not gone to-day," ], [ "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "\"I hope so, aunt.\"\n\n\"What do you think?\" inquired Miss Betsey.\n\n\"I think so, aunt.\"", "\"Yes,\" pursued my aunt, \"and he has done a pretty piece of business. He\nhas run away. Ah! His sister, Betsey Trotwood, never would have run", "\"I hope so, aunt.\"\n\n\"Your sister, Betsey Trotwood,\" said my aunt, \"would have been as\nnatural and rational a girl as ever breathed. You'll be worthy of her,\nwon't you?\"", "\"Well! Don't cry!\" said Miss Betsey. \"You were not equally matched,\nchild--if any two people _can_ be equally matched--and so I asked the\nquestion. You were an orphan, weren't you?\"", "\"Mrs. David Copperfield, I _think_,\" said Miss Betsey; the emphasis\nreferring, perhaps, to my mother's mourning weeds, and her condition.\n\n\"Yes,\" said my mother, faintly.", "\"David's son?\" said Mr. Dick, with an attentive, puzzled face.\n\n\"Exactly so,\" returned my aunt. \"What would you do with him, now?\"", "\"Is he indeed?\" said Mr. Dick.\n\n\"And he's like David, too,\" said my aunt, decisively.\n\n\"He is very like David!\" said Mr. Dick.", "\"Betsey Trotwood,\" said my aunt, who had always kept her money matters\nto herself: \"--I don't mean your sister, Trot, my dear, but myself--had", "\"Now you see her,\" said Miss Betsey. My mother bent her head, and begged\nher to walk in.", "\"EH?\" exclaimed Miss Betsey, in a tone of amazement I have never heard\napproached.\n\n\"If you please, aunt, I am your nephew.\"", "\"Is that all?\" repeated my aunt. \"Why, yes, that's all, except, 'And she\nlived happy ever afterwards.' Perhaps I may add that of Betsey yet, one", "\"She couldn't even have a baby like anybody else,\" said my aunt, \"Where\nwas this child's sister, Betsey Trotwood! Not forthcoming. Don't tell\nme!\"\n\nMr. Dick seemed quite frightened.", "\"My good sister takes care of his house, you see, ma'am, and he takes\nkindly to her,\" Mr. Peggotty explained for my aunt's better information.", "\"I hope it's enough, child,\" said my aunt. \"If there had been more money\nto lose, it wouldn't have been all, I dare say. Betsey would have", "\"I am,\" said Mr. Murdstone.\n\n\"You'll excuse my saying, sir,\" returned my aunt, \"that I think it would\nhave been a much better and happier thing if you had left that poor\nchild alone.\"", "\"Well?\" said Miss Betsey, coming back to her chair, as if she had only\nbeen taking a casual look at the prospect; \"and when do you expect----\"", "\"It was a gleam of light upon me, Trot,\" said my aunt, drying her eyes,\n\"when I formed the resolution of being godmother to your sister Betsey", "\"About keeping house, for instance,\" said Miss Betsey.\n\n\"Not much, I fear,\" returned my mother. \"Not so much as I could wish.\nBut Mr. Copperfield was teaching me--\"", "\"Mr. Copperfield,\" said my mother, answering with some difficulty, \"was\nso considerate and good as to secure the reversion of a part of it to\nme.\"\n\n\"How much?\" asked Miss Betsey." ], [ "\"Certainly, certainly. Call him Trotwood, certainly,\" said Mr. Dick.\n\"David's son's Trotwood.\"\n\n\"Trotwood Copperfield, you mean,\" returned my aunt.", "\"Miss Trotwood, Mr. David Copperfield, Mr. Thomas Traddles, and Mr.\nDixon!\"", "\"A new boy, young gentlemen,\" said the Doctor; \"Trotwood Copperfield.\"", "\"Yes, to be sure. Yes. Trotwood Copperfield,\" said Mr. Dick, a little\nabashed.", "\"Merely this, Miss Trotwood,\" he returned. \"I am here to take David\nback--to take him back unconditionally, to dispose of him as I think", "\"Miss Trotwood,\" said Miss Clarissa, \"mentioned in Mr. Copperfield's\nletter, will perhaps call upon us. When visiting is better for the", "\"The name was Mr. Copperfield's choice,\" returned my mother. \"When he\nbought the house, he liked to think that there were rooks about it.\"", "\"This is Miss Trotwood's,\" said the young woman. \"Now you know; and\nthat's all I have got to say.\" With which words she hurried into the", "\"Copperfield, ma'am,\" I said.\n\n\"That won't do,\" returned the lady. \"Nobody's dinner is paid for here,\nin that name.\"", "\"What! Brooks!\"\n\n\"No, sir, David Copperfield,\" I said.", "\"It's her surname,\" said my mother, faintly. \"Mr. Copperfield called her\nby it, because her Christian name was the same as mine.\"", "\"My dear,\" said Mr. Micawber, leading her towards me. \"Here is a\ngentleman of the name of Copperfield, who wishes to renew his\nacquaintance with you.\"", "\"Davy who?\" said the gentleman. \"Jones?\"\n\n\"Copperfield,\" said Mr. Murdstone.", "\"Miss Trotwood,\" rejoined Mr. Murdstone, shrugging his shoulders, as he\nrose, \"if you were a gentleman----\"", "\"Well, Miss Trotwood,\" said Mr. Wickfield; for I soon found that it was\nhe, and that he was a lawyer, and steward of the estates of a rich", "\"No one, Agnes.\"\n\n\"Some one, Trotwood,\" said Agnes, laughing, and holding up her finger.", "\"Ah, Copperfield?\" said Mr. Spenlow. \"You know this gentleman, I\nbelieve?\"", "\"Oh, Trotwood, Trotwood!\" exclaimed Mr. Wickfield, wringing his hands.\n\"What I have come down to be, since I first saw you in this house! I was", "\"But now isn't it, Miss Trotwood, isn't it, David, invigorating,\" said\nMrs. Markleham, mechanically following her with her eyes, \"to find a man", "\"Trotwood,\" said Mr. Dick, laying his finger on the side of his nose,\nafter he had shaken hands with me. \"Before I sit down, I wish to make an\nobservation. You know your aunt?\"" ], [ "\"I remember it,\" she said, gently, \"very well.\"\n\n\"You have a secret,\" said I. \"Let me share it, Agnes.\"\n\nShe cast down her eyes, and trembled.", "Agnes was one of Mr. Dick's friends, very soon; and in often coming to\nthe house, he made acquaintance with Uriah. The friendship between", "I found Agnes alone. The little girls had gone to their own homes now,\nand she was alone by the fire, reading. She put down her book on seeing", "It was not on that evening; but, as I well remember, on the next evening\nbut one, which was a Saturday; that I took Agnes to see Dora. I had", "the afternoon to see Agnes, and had prevailed upon the Doctor to go with\nher; and they had walked home by the fields, the Doctor told me, the", "remembered very well. He said it was like those times, to be alone with\nAgnes and me again; and he wished to Heaven they had never changed. I am", "insisted on my going; and I went. We dined together. After dinner, Agnes\nsat beside him, as of old, and poured out his wine. He took what she", "\"Ah! I thought Miss Agnes would know of it!\" he quietly returned. \"I'm\nglad to find Miss Agnes knows of it. Oh, thank you, Master--Mister\nCopperfield!\"", "him good. It had been matter of conversation with Agnes when she was\nlast in town, and this visit was the result. She and her father came\ntogether. I was not much surprised to hear from her that she had engaged", "\"Dearest husband!\" said Agnes. \"Now that I may call you by that name, I\nhave one thing more to tell you.\"\n\n\"Let me hear it, love.\"", "off. I had put them at a distance, and accepted my inevitable place.\nWhen I read to Agnes what I wrote; when I saw her listening face; moved", "I looked at Agnes when she said these words, without detecting in her\nany consciousness of Uriah's design. Her mild but earnest eyes met mine\nwith their own beautiful frankness, and there was no change in her\ngentle face.", "Agnes shook her head. \"There is such a change at home,\" said she, \"that\nyou would scarcely know the dear old house. They live with us now.\"\n\n\"They?\" said I.", "\"Yes! Agnes, my dear girl!\" I said, bending over her. \"I tried to\ntell you, when we met to-day, something that has been in my thoughts", "\"Agnes! my dear girl! I have come too suddenly upon you.\"\n\n\"No, no! I am so rejoiced to see you, Trotwood!\"", "CHAPTER LX.\n\nAGNES.", "\"He comes to the office down-stairs, every day,\" returned Agnes. \"He was\nin London a week before me. I am afraid on disagreeable business,\nTrotwood.\"", "\"Agnes!\" I joyfully exclaimed. \"Oh, my dear Agnes, of all people in the\nworld, what a pleasure to see you!\"\n\n\"Is it, indeed?\" she said, in her cordial voice.", "\"And you, Agnes,\" I said, by and by. \"Tell me of yourself. You have\nhardly ever told me of your own life, in all this lapse of time!\"", "forgive her, before my Agnes came into this world. He was a very hard\nman, and her mother had long been dead. He repulsed her. He broke her\nheart.\"" ], [ "I suppose we had some notion that this was to end in marriage. We must\nhave had some, because Dora stipulated that we were never to be married", "When we had our first great quarrel (within a week of our betrothal),\nand when Dora sent me back the ring, enclosed in a despairing cocked-hat", "him any more, now she is married, and will break his heart. Of our\ngoing, arm in arm, and Dora stopping and looking back, and saying, \"If I", "\"Dora, my darling!\"\n\n\"No, I am not your darling. Because you _must_ be sorry that you married\nme, or else you wouldn't reason with me!\" returned Dora.", "\"Oh, but reasoning is worse than scolding!\" exclaimed Dora, in despair.\n\"I didn't marry to be reasoned with. If you meant to reason with such a", "\"There can be no disparity in marriage, like unsuitability of mind and\npurpose.\" Those words I remembered too. I had endeavoured to adapt Dora", "ill-use her in some way or other. What did she propose to herself,\nI should like to know! She had had one husband. She had seen David", "\"You always said he was a story-teller,\" sobbed Dora. \"And now you say\nthe same of me! Oh, what shall I do! What shall I do!\"", "\"My dearest Dora! Now, indeed, my own for ever!\"\n\n\"Oh DON'T!\" pleaded Dora. \"Please!\"\n\n\"Are you not my own for ever, Dora?\"", "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "\"What?\" returned Agnes.\n\n\"Well! perhaps Dora, first,\" I admitted, with a blush.\n\n\"Certainly, Dora first, I hope,\" said Agnes, laughing.", "\"Some thinks,\" he said, \"as her affection was ill-bestowed; some, as her\nmarriage was broke off by death. No one knows how 'tis. She might have", "\"Oh, you cruel, cruel boy, to say I am a disagreeable wife!\" cried Dora.\n\n\"Now, my dear Dora, you must know that I never said that!\"", "\"My love!\" said I, \"what nonsense!\"\n\n\"Do you think it is nonsense?\" returned Dora, without looking at me.\n\"Are you sure it is?\"\n\n\"Of course I am!\"", "My father had once been a favorite of hers, I believe; but she was\nmortally affronted by his marriage, on the ground that my mother was \"a", "Her childish way was the most delicious way in the world to me, but it\nwas necessary to be explicit, and I solemnly repeated:\n\n\"Dora, my own life, I am your ruined David!\"", "Dora had often seen him since our marriage, and was quite fond of him. I\nfancy his figure before me now, standing near her sofa, with his rough", "\"You did,\" returned Dora. \"You know you did. You said I hadn't turned\nout well, and compared me to him.\"\n\n\"To whom?\" I asked.", "\"David had bought an annuity for himself with his money, I know,\" said\nshe, by and by. \"What did he do for you?\"", "I took them from her with a most desolate sensation; and, glancing at\nsuch phrases at the top, as \"My ever dearest and own Dora,\" \"My best" ], [ "\"Martha,\" he replied \"got married, Mas'r Davy, in the second year. A\nyoung man, a farm-laborer, as come by us on his way to market with his", "ill-use her in some way or other. What did she propose to herself,\nI should like to know! She had had one husband. She had seen David", "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "\"David had bought an annuity for himself with his money, I know,\" said\nshe, by and by. \"What did he do for you?\"", "\"Is he indeed?\" said Mr. Dick.\n\n\"And he's like David, too,\" said my aunt, decisively.\n\n\"He is very like David!\" said Mr. Dick.", "\"Perhaps she fell in love with her second husband,\" Mr. Dick suggested.\n\n\"Fell in love!\" repeated my aunt, \"What do you mean? What business had\nshe to do it?\"", "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "\"My late wife loved her second husband, madam,\" said Mr. Murdstone, \"and\ntrusted implicitly in him.\"", "\"I suppose you know, David, that I am not rich. At any rate, you know it\nnow. You have received some considerable education already. Education is", "\"Now, David,\" he said--and I saw that cast again, as he said it--\"you\nmust be far more careful to-day than usual.\" He gave the cane another", "\"And how is Master David?\" he says, kindly.\n\nI cannot tell him very well. I give him my hand, which he holds in his.", "Uriah.", "\"David's son?\" said Mr. Dick, with an attentive, puzzled face.\n\n\"Exactly so,\" returned my aunt. \"What would you do with him, now?\"", "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "\"Can't you, indeed, David?\" he said. \"We'll try that.\"", "\"Mas'r Davy, have you seen her?\"\n\n\"Only for a moment, when she was in a swoon,\" I softly answered.\n\nWe walked a little farther, and he said:", "\"Do with David's son?\" said Mr. Dick.\n\n\"Ay,\" replied my aunt, \"with David's son.\"", "\"How do you fare to feel about it, Mas'r Davy?\" he inquired at length.\n\n\"I think that she is living,\" I replied.", "\"The time was, Mas'r Davy,\" he said, as we came down stairs, \"when I\nthowt this girl, Martha, a'most like the dirt underneath my Em'ly's", "his stomach--and so he died, and so she married a young man, and so I\nwasn't provided for.\"" ], [ "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "\"I suppose you know, David, that I am not rich. At any rate, you know it\nnow. You have received some considerable education already. Education is", "\"Is he indeed?\" said Mr. Dick.\n\n\"And he's like David, too,\" said my aunt, decisively.\n\n\"He is very like David!\" said Mr. Dick.", "\"And how is Master David?\" he says, kindly.\n\nI cannot tell him very well. I give him my hand, which he holds in his.", "\"David's son?\" said Mr. Dick, with an attentive, puzzled face.\n\n\"Exactly so,\" returned my aunt. \"What would you do with him, now?\"", "\"Now, David,\" he said--and I saw that cast again, as he said it--\"you\nmust be far more careful to-day than usual.\" He gave the cane another", "\"David,\" said Mr. Murdstone, one day after dinner when I was going to\nleave the room as usual; \"I am sorry to observe that you are of a sullen\ndisposition.\"", "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "\"You are to unnerstan', Mas'r Davy,\" said he, \"as we have left the Bush\nnow, being so well to do; and have gone right away round to Port", "\"How do you fare to feel about it, Mas'r Davy?\" he inquired at length.\n\n\"I think that she is living,\" I replied.", "been away, and would not have had broken, she said, for a hundred\npounds. I had my own old mug with David on it, and my own old little\nknife and fork that wouldn't cut.", "\"Find a voice, David. What about the letter you were speaking of at\nbreakfast?\"\n\n\"Oh!\" said I, taking it out of my pocket. \"It's from my aunt.\"", "\"Merely this, Miss Trotwood,\" he returned. \"I am here to take David\nback--to take him back unconditionally, to dispose of him as I think", "\"Mas'r Davy,\" Ham whispered, drawing me aside, while Mr. Peggotty was\nstowing his bag among the luggage, \"his life is quite broke up. He", "\"Aye, Mas'r Davy!\" he returned. \"My sister, you see, she's that fond of\nyou and yourn, and that accustomed to think on'y of her own country,", "know now, once for all, that I require you to be here, and not there.\nFurther, that I require you to bring obedience here. You know me, David.\nI will have it done.\"", "the door, said, \"Ever bless you, Mas'r Davy, be a friend to him, poor\ndear!\" Then, she immediately ran out of the house to wash her face,", "\"Come, according to promise, to bid farewell to 't, eh, Mas'r Davy!\" he\nsaid, taking up the candle. \"Bare enough now, an't it?\"", "CHAPTER V.\n\nI AM SENT AWAY FROM HOME." ], [ "She slowly, very slowly, broke into a laugh, and pointed at Emily with\nher hand, as if she were a sight of shame for gods and men.", "\"Em'ly,\" he continued, \"will keep along with me--poor child, she's sore\nin need of peace and rest!--until such time as we goes upon our voyage.", "together, and that little Em'ly and I were to accompany them. I had but\na broken sleep the night before, in anticipation of the pleasure of a", "With her own sweet tranquillity, she calmed my agitation; led me back to\nthe time of our parting; spoke to me of Emily, whom she had visited, in", "My old nurse was to go to London with me next day, on the business of\nthe will. Little Emily was passing that day at Mr. Omer's. We were all", "went to it, and come from it, and went to it again. When he went to it\nagain, Em'ly was nigh him. The t'other was inside. He's the man.\"", "she kep it secret, and prevailed upon such neighbours as she had (they\nwas not many near) to keep it secret too. Em'ly was took bad with", "\"It was a little cottage, you may suppose,\" he said, presently, \"but\nshe found space for Em'ly in it,--her husband was away at sea,--and", "Oh, Emily! Unhappy beauty! What a picture rose before me of her sitting\non the far-off shore, among the children like herself when she was", "I changed the subject by referring to Emily. After assuring him that I\ndid not forget how interested he had always been in her, and how kindly", "Em'ly spoke first.\n\n\"Martha wants,\" she said to Ham, \"to go to London.\"\n\n\"Why to London?\" returned Ham.", "\"That done my Em'ly good,\" he resumed, after such emotion as I could not\nbehold without sharing in; and as to my aunt, she wept with all her", "As the door closed, little Em'ly looked at us three in a hurried manner,\nand then hid her face in her hands, and fell to sobbing.", "\"Oh, is there ever night or day, when I don't think of it!\" cried Emily;\nand now I could just see her, on her knees, with her head thrown back,", "\"Oh not that!\" cried Emily. \"Say anything of me; but don't visit my\ndisgrace and shame, more than I have done, on folks who are as honorable", "\"Oh, for Heaven's sake, spare me!\" exclaimed Emily. \"Whoever you are,\nyou know my pitiable story, and for Heaven's sake spare me, if you would\nbe spared yourself!\"", "to the sign of the exquisite, and treated her with an elopement, her\nname's Emily, and she lives in the east? Ha! ha! ha! Mr. Copperfield,", "hurried, upon Em'ly in her sleep. She says to her, 'Rise up from worse\nthan death, and come with me!' Them belonging to the house would have", "\"When Em'ly got strong again,\" said Mr. Peggotty, after another short\ninterval of silence, \"she cast about to leave that good young creetur,", "family there, perhaps even with little Em'ly herself." ], [ "ill-use her in some way or other. What did she propose to herself,\nI should like to know! She had had one husband. She had seen David", "\"David had bought an annuity for himself with his money, I know,\" said\nshe, by and by. \"What did he do for you?\"", "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "\"My love, Mas'r Davy--the pride and hope of my art--her that I'd have\ndied for, and would die for now--she's gone!\"\n\n\"Gone?\"", "\"And how is Master David?\" he says, kindly.\n\nI cannot tell him very well. I give him my hand, which he holds in his.", "\"Some thinks,\" he said, \"as her affection was ill-bestowed; some, as her\nmarriage was broke off by death. No one knows how 'tis. She might have", "\"Mrs. David Copperfield, I _think_,\" said Miss Betsey; the emphasis\nreferring, perhaps, to my mother's mourning weeds, and her condition.\n\n\"Yes,\" said my mother, faintly.", "his stomach--and so he died, and so she married a young man, and so I\nwasn't provided for.\"", "\"It had been left to her, unconditionally, by her first husband,\" Mr.\nMurdstone began, when my aunt caught him up with the greatest\nirascibility and impatience.", "\"Mas'r Davy, have you seen her?\"\n\n\"Only for a moment, when she was in a swoon,\" I softly answered.\n\nWe walked a little farther, and he said:", "\"Well, sir, there were violent quarrels at first, I assure you,\" said\nMr. Chillip; \"but she is quite a shadow now. Would it be considered", "\"How do you fare to feel about it, Mas'r Davy?\" he inquired at length.\n\n\"I think that she is living,\" I replied.", "decease of the old one. He left her so little leisure for being\nmiserable that she said next day she thought she must have been\nbewitched.", "\"And his beautiful wife is a star,\" said Mr. Dick. \"A shining star. I\nhave seen her shine, sir. But,\" bringing his chair nearer, and laying\none hand upon my knee--\"clouds, sir--clouds.\"", "\"I suppose you know, David, that I am not rich. At any rate, you know it\nnow. You have received some considerable education already. Education is", "\"Did she tell you why?\" I inquired.\n\n\"I asked her, Mas'r Davy,\" he replied, \"but it is but few words as she\never says, and she on'y got my promise and so went away.\"", "dead!\" Rosa, kneeling at her feet, by turns caresses her, and quarrels\nwith her; now fiercely telling her, \"I loved him better than you ever", "\"Is he indeed?\" said Mr. Dick.\n\n\"And he's like David, too,\" said my aunt, decisively.\n\n\"He is very like David!\" said Mr. Dick." ], [ "\"Uriah Heep is a great relief to me,\" said Mr. Wickfield, in the same\ndull voice. \"It's a load off my mind, Trotwood, to have such a partner.\"", "\"My Uriah,\" said Mrs. Heep, \"has looked forward to this, sir, a long\nwhile. He had his fears that our umbleness stood in the way, and I", "\"Uriah Heep,\" said Mr. Wickfield, in a monotonous forced way, \"is active\nin the business, Trotwood. What he says, I quite concur in. You know I", "We had scarcely done so, when Uriah Heep put in his red head and his\nlank hand at the door, and said:\n\n\"Here's Mr. Maldon begs the favor of a word, sir.\"", "I found Uriah Heep among the company, in a suit of black, and in deep\nhumility. He told me, when I shook hands with him, that he was proud to", "\"Oh, thank you, Master Copperfield,\" said Uriah Heep, \"for that remark!\nIt is so true! Umble as I am, I know it is _so_ true! Oh, thank you,\nMaster Copperfield!\"", "Uriah Heep, with a start, took out of his pocket a bunch of keys, and\nopened a certain drawer; then, suddenly bethought himself of what he was\nabout, and turned again towards us, without looking in it.", "against Uriah and Mrs. Heep. They did just what they liked with me; and\nwormed things out of me that I had no desire to tell, with a certainty I", "in, without knowing it. As I came back, I saw Uriah Heep shutting up the\noffice; and feeling friendly towards everybody, went in and spoke to", "\"This is a day to be remembered, my Uriah, I am sure,\" said Mrs. Heep,\nmaking the tea, \"when Master Copperfield pays us a visit.\"", "I opened the door, and admitted, not only Mr. Wickfield, but Uriah Heep.\nI had not seen Mr. Wickfield for some time. I was prepared for a great", "\"Mr. Wickfield's at home, ma'am,\" said Uriah Heep, \"if you'll please to\nwalk in there\"--pointing with his long hand to the room he meant.", "\"He is a partaker of glory at present, Master Copperfield,\" said Uriah\nHeep. \"But we have much to be thankful for. How much have I to be\nthankful for, in living with Mr. Wickfield!\"", "I had not seen Uriah Heep since the time of the blow. Our visit\nastonished him, evidently; not the less, I dare say, because it", "\"Uriah,\" she replied, after a moment's hesitation, \"has made himself\nindispensable to papa. He is subtle and watchful. He has mastered papa's", "\"Is Mr. Wickfield at home, Uriah Heep?\" said my aunt.", "I saw no more of Uriah Heep, until the day when Agnes left town. I was\nat the coach-office to take leave of her and see her go; and there was", "\"Oh very imprudent indeed, Master Copperfield,\" returned Uriah, sighing\nmodestly. \"Oh very much so! But I wish you'd call me Uriah, if you\nplease. It's like old times.\"", "present circumstances, mother or self, or Wickfield and Heep, we should\nbe really glad. I may go so far?\" said Uriah, with a sickly smile at his\npartner.", "\"A sweet lady, Master Copperfield!\" said Uriah Heep. \"She has a great\nadmiration for Miss Agnes, Master Copperfield, I believe?\"" ], [ "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "\"I suppose you know, David, that I am not rich. At any rate, you know it\nnow. You have received some considerable education already. Education is", "\"And how is Master David?\" he says, kindly.\n\nI cannot tell him very well. I give him my hand, which he holds in his.", "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "\"Now, David,\" he said--and I saw that cast again, as he said it--\"you\nmust be far more careful to-day than usual.\" He gave the cane another", "\"David's son?\" said Mr. Dick, with an attentive, puzzled face.\n\n\"Exactly so,\" returned my aunt. \"What would you do with him, now?\"", "\"Is he indeed?\" said Mr. Dick.\n\n\"And he's like David, too,\" said my aunt, decisively.\n\n\"He is very like David!\" said Mr. Dick.", "\"According to our reckoning,\" he proceeded, \"Mas'r Davy's here, and\nmine, she is like, one day, to make her own poor solitary course to", "\"Find a voice, David. What about the letter you were speaking of at\nbreakfast?\"\n\n\"Oh!\" said I, taking it out of my pocket. \"It's from my aunt.\"", "\"Quite, Mas'r Davy,\" he returned; \"and told Em'ly, Theer's mighty\ncountries, fur from heer. Our future life lays over the sea.\"", "\"How do you fare to feel about it, Mas'r Davy?\" he inquired at length.\n\n\"I think that she is living,\" I replied.", "be stoical. Clara is greatly strengthened and improved, but we can\nhardly expect so much from her. David, you and I will go up-stairs,\nboy.\"", "\"David,\" said Mr. Murdstone, one day after dinner when I was going to\nleave the room as usual; \"I am sorry to observe that you are of a sullen\ndisposition.\"", "There were two other children; Master Micawber, aged about four, and\nMiss Micawber, aged about three. These, and a dark-complexioned young", "\"David had bought an annuity for himself with his money, I know,\" said\nshe, by and by. \"What did he do for you?\"", "been away, and would not have had broken, she said, for a hundred\npounds. I had my own old mug with David on it, and my own old little\nknife and fork that wouldn't cut.", "\"Can't you, indeed, David?\" he said. \"We'll try that.\"", "the other eight; and it produced various effects upon them of a most\npathetic nature. The two little ones, whom Sophy educates, have only\njust left off de-testing me.\"", "\"Our fortuns, Mas'r Davy,\" he rejoined, \"is soon told. We haven't" ], [ "She slowly, very slowly, broke into a laugh, and pointed at Emily with\nher hand, as if she were a sight of shame for gods and men.", "\"You would like to be a lady?\" I said.\n\nEmily looked at me, and laughed and nodded \"yes.\"", "of his to our little Em'ly. He follers her about, he makes hisself a\nsort o' servant to her, he loses in a great measure his relish for his", "\"If _I_ would be spared!\" returned the other fiercely; \"what is there in\ncommon between _us_, do you think?\"\n\n\"Nothing but our sex,\" said Emily, with a burst of tears.", "\"Oh, for Heaven's sake, spare me!\" exclaimed Emily. \"Whoever you are,\nyou know my pitiable story, and for Heaven's sake spare me, if you would\nbe spared yourself!\"", "\"Oh, is there ever night or day, when I don't think of it!\" cried Emily;\nand now I could just see her, on her knees, with her head thrown back,", "\"No! no!\" cried Emily, clasping her hands together. \"When he first came\ninto my way--that the day had never dawned upon me, and he had met me", "went to it, and come from it, and went to it again. When he went to it\nagain, Em'ly was nigh him. The t'other was inside. He's the man.\"", "all good, which she came to exercise over me at a later time, begins\nalready to descend upon my breast. I love little Em'ly, and I don't", "As I sat beside the bed, when hope was abandoned and all was done, a\nfisherman, who had known me when Emily and I were children, and ever\nsince, whispered my name at the door.", "How merry little Em'ly made herself about it! With what a demure\nassumption of being immensely older and wiser than I, the fairy little", "himself yet, but were a child too, and always at play. I told Em'ly I\nadored her, and that unless she confessed she adored me I should be", "hurried, upon Em'ly in her sleep. She says to her, 'Rise up from worse\nthan death, and come with me!' Them belonging to the house would have", "I changed the subject by referring to Emily. After assuring him that I\ndid not forget how interested he had always been in her, and how kindly", "\"There was a certain person as had know'd our Em'ly, from the time when\nher father was drownded; as had seen her constant; when a babby, when a", "With her own sweet tranquillity, she calmed my agitation; led me back to\nthe time of our parting; spoke to me of Emily, whom she had visited, in", "gravely. \"It's a young woman, sir--a young woman, that Em'ly knowed\nonce, and doen't ought to know no more.\"", "\"I have deserved this,\" cried Emily, \"but it's dreadful! Dear, dear\nlady, think what I have suffered, and how I am fallen! Oh, Martha, come\nback! Oh, home, home!\"", "\"Oh, have some mercy on me!\" cried Emily. \"Show me some compassion, or I\nshall die mad!\"", "A low crying, on the part of Emily, interrupted her here. She stopped,\nand listened to it as if it were music." ], [ "\"No,\" said Steerforth, before I could reply. \"Nothing of the sort. On\nthe contrary, Mr. Copperfield used--or I am much mistaken--to have a\ngreat admiration for her.\"", "\"Good night!\" said I, \"my dear Steerforth! I shall be gone before you\nwake in the morning. Good night!\"", "CHAPTER XX.\n\nSTEERFORTH'S HOME.", "CHAPTER XXIX.\n\nI VISIT STEERFORTH AT HIS HOME, AGAIN.", "\"He did,\" said Steerforth.\n\n\"And pray, what did you mean by that, sir?\" demanded Mr. Creakle,\nturning angrily on his assistant.", "Yes, Steerforth, long removed from the scenes of this poor history! My\nsorrow may bear involuntary witness against you at the Judgment Throne;\nbut my angry thoughts or my reproaches never will, I know!", "\"His feelings!\" repeated Steerforth disdainfully. \"His feelings will\nsoon get the better of it, I'll be bound. His feelings are not like", "I prepared Peggotty for Steerforth's arrival, and it was not long before\nhe came. I am persuaded she knew no difference between his having been a", "House, which brought me round again to Steerforth, who was my great\nsubject. We were very happy; and that evening, as the last of its race,", "Steerforth and I stayed for more than a fortnight in that part of the\ncountry. We were very much together, I need not say; but occasionally we", "\"Silence, Mr. Steerforth!\" said Mr. Mell.\n\n\"Silence yourself,\" said Steerforth, turning red. \"Whom are you talking\nto?\"", "\"So be it!\" returned Steerforth. \"This evening.\"\n\n\"I shall not give them any notice that we are here, you know,\" said I,\ndelighted. \"We must take them by surprise.\"", "asked her. We were all extremely glad to see Traddles so put down, and\nexalted Steerforth to the skies: especially when he told us, as he", "\"You have no best to me, Steerforth,\" said I, \"and no worst. You are\nalways equally loved, and cherished in my heart.\"", "Steerforth only nodded; but with such a pleased expression of interest,\nand of participation in Mr. Peggotty's feelings, that the latter\nanswered him as if he had spoken.", "being J. Steerforth. Steerforth himself confirmed this when it was\nstated, and said that he should like to begin to see him do it. On being", "Rosa did not come back; and no other mention was made of her, until I\nwent with Steerforth into his room to say Good night. Then he laughed", "\"No?\" said Steerforth.\n\n\"Not the ghost of one,\" replied Miss Mowcher.", "\"Mr. Steerforth will be glad to hear how you have rested, sir.\"\n\n\"Thank you,\" said I, \"very well indeed. Is Mr. Steerforth quite well?\"", "\"He can hardly say just now,\" observed Steerforth, carelessly. \"He knows\nwhat he has to do, and he'll do it.\"\n\n\"That I am sure he will,\" said I." ], [ "\"I remember it,\" she said, gently, \"very well.\"\n\n\"You have a secret,\" said I. \"Let me share it, Agnes.\"\n\nShe cast down her eyes, and trembled.", "I found Agnes alone. The little girls had gone to their own homes now,\nand she was alone by the fire, reading. She put down her book on seeing", "CHAPTER LX.\n\nAGNES.", "\"My Agnes!\" he exclaimed, with a sickly, angular contortion of himself.\n\"Would you be so good as call her Agnes, Master Copperfield!\"", "Agnes shook her head. \"There is such a change at home,\" said she, \"that\nyou would scarcely know the dear old house. They live with us now.\"\n\n\"They?\" said I.", "\"No one, Agnes.\"\n\n\"Some one, Trotwood,\" said Agnes, laughing, and holding up her finger.", "\"Dearest husband!\" said Agnes. \"Now that I may call you by that name, I\nhave one thing more to tell you.\"\n\n\"Let me hear it, love.\"", "\"Agnes!\" I joyfully exclaimed. \"Oh, my dear Agnes, of all people in the\nworld, what a pleasure to see you!\"\n\n\"Is it, indeed?\" she said, in her cordial voice.", "mere children. But Agnes, now suddenly lifting up her eyes to mine, and\nspeaking in a different manner, said:", "\"Agnes, I cannot bear to see you so, and think that I have been the\ncause. My dearest girl, dearer to me than anything in life, if you are", "\"Ah, Agnes!\" I returned. \"You are my good Angel!\"\n\nShe smiled rather sadly, I thought, and shook her head.\n\n\"Yes, Agnes, my good Angel! Always my good Angel!\"", "\"Agnes!\" I said, thickly, \"Lorblessmer! Agnes!\"\n\n\"Hush! Pray!\" she answered, I could not conceive why. \"You disturb the\ncompany. Look at the stage!\"", "\"Ah! I thought Miss Agnes would know of it!\" he quietly returned. \"I'm\nglad to find Miss Agnes knows of it. Oh, thank you, Master--Mister\nCopperfield!\"", "\"Agnes! my dear girl! I have come too suddenly upon you.\"\n\n\"No, no! I am so rejoiced to see you, Trotwood!\"", "It is night; and I am with her still. Agnes has arrived; has been among\nus, for a whole day and an evening. She, my aunt, and I, have sat with", "\"Than Agnes,\" he repeated, walking slowly to the great chimney-piece,\nand leaning against it. \"Than Agnes!\"", "Agnes answered with her pleasant laugh, that one good angel (meaning\nDora) was enough; and went on to remind me that the Doctor had been", "\"And you, Agnes,\" I said, by and by. \"Tell me of yourself. You have\nhardly ever told me of your own life, in all this lapse of time!\"", "well that nobody need be uncomfortable about her. Agnes had come to\nLondon to see my aunt, between whom and herself there had been a mutual\nliking these many years: indeed, it dated from the time of my taking up", "\"When I was but a numble clerk, she always looked down upon me. She was\nfor ever having my Agnes backwards and forwards at her ouse, and she was" ], [ "abandoned. Now, David, you understand me, and you know what will be the\nconsequence if you fail to obey me to the letter.\"", "\"I suppose you know, David, that I am not rich. At any rate, you know it\nnow. You have received some considerable education already. Education is", "\"And how is Master David?\" he says, kindly.\n\nI cannot tell him very well. I give him my hand, which he holds in his.", "try to forget it. And as this,\" he added, after these magnanimous words,\n\"is not a fit scene for the boy--David, go to bed!\"", "\"And was David good to you, child?\" asked Miss Betsey, when she had been\nsilent for a little while, and these motions of her head had gradually\nceased. \"Were you comfortable together?\"", "\"Is he indeed?\" said Mr. Dick.\n\n\"And he's like David, too,\" said my aunt, decisively.\n\n\"He is very like David!\" said Mr. Dick.", "\"Now, David,\" he said--and I saw that cast again, as he said it--\"you\nmust be far more careful to-day than usual.\" He gave the cane another", "\"David's son?\" said Mr. Dick, with an attentive, puzzled face.\n\n\"Exactly so,\" returned my aunt. \"What would you do with him, now?\"", "\"Merely this, Miss Trotwood,\" he returned. \"I am here to take David\nback--to take him back unconditionally, to dispose of him as I think", "\"How do you fare to feel about it, Mas'r Davy?\" he inquired at length.\n\n\"I think that she is living,\" I replied.", "\"David had bought an annuity for himself with his money, I know,\" said\nshe, by and by. \"What did he do for you?\"", "\"Find a voice, David. What about the letter you were speaking of at\nbreakfast?\"\n\n\"Oh!\" said I, taking it out of my pocket. \"It's from my aunt.\"", "\"David,\" said Mr. Murdstone, one day after dinner when I was going to\nleave the room as usual; \"I am sorry to observe that you are of a sullen\ndisposition.\"", "\"And my dear boy,\" cried my mother, coming to the elbow-chair in which I\nwas, and caressing me, \"my own little Davy! Is it to be hinted to me", "\"Did she tell you why?\" I inquired.\n\n\"I asked her, Mas'r Davy,\" he replied, \"but it is but few words as she\never says, and she on'y got my promise and so went away.\"", "\"On what's afore me, Mas'r Davy; and over yon.\"\n\n\"On the life before you, do you mean?\" He had pointed confusedly out to\nsea.", "\"Growed, Mas'r Davy bor'? Ain't he growed!\" said Ham.\n\n\"Ain't he growed!\" said Mr. Peggotty.", "\"He is your brother,\" said my mother, fondling me. \"Davy, my pretty boy!\nMy poor child!\" Then she kissed me more and more, and clasped me round", "\"His son?\" said Mr. Dick. \"David's son? Indeed!\"", "\"Aye, Mas'r Davy!\" he returned. \"My sister, you see, she's that fond of\nyou and yourn, and that accustomed to think on'y of her own country," ] ]

[ "When David was seven who did his mother marry?", "To get David out of the way, where was he sent to live by his mother and stepfather?", "With whom is David in love?", "Where did Murdstone send David to work in London?", "When David ran away, to which relative did he run?", "What nickname did David's great-aunt call him?", "Why was Uriah Heep in prison?", "To build a new life, where did Peggotty take Emily?", "How did David's wife, Dora Spenlow, die?", "Why wasn't David's father a part of his life?", "Where was David sent to live after his mother remarried?", "What does David find out when he goes home for the holiday's?", "Who was David in love with during his childhood?", "Why does David run away when he is in London?", "Why did David's aunt Betsey agree to raise him?", "Who renamed David as \"Trotwood Copperfield\"?", "When did David meet Agnes?", "What ended David's marraige with his first wife, Dora?", "Who did David marry second?", "Whose family is David sent to live with?", "Where does Emily move to and with whom?", "How does David's first wife pass away?", "Who is Uriah Heep?", "How many children does David have?", "Who seduces Emily?", "How did Steepforth die?", "Who is Agnes?", "Who raises David?" ]

[ [ "Edward Murdstone", "Edward Murdstone" ], [ "Peggotty's family", "Yarmouth, with Peggotty's family" ], [ "Little Em'ly", "Em'ly" ], [ "For a wine merchant.", "a wine merchant" ], [ "Betsey Trotwood", "His great aunt Betsey" ], [ "Trot", "Trot" ], [ "For defrauding the Bank of England", "Attempting to defraud the Bank of England" ], [ "Australia", "to Australia " ], [ "From a miscarriage.", "Failing to recover from a miscarriage" ], [ "His father died six months before David was born.", "His father died before David was born." ], [ "With their housekeeper Peggotty's family.", "With the housekeeeper's family" ], [ "His mother gave birth to a baby boy.", "His mother had a baby boy" ], [ "Little Em'ly.", "Em'ly" ], [ "There is no one to care for him.", "No one is in the city to care for David." ], [ "She feels pity for him.", "She pities his situation" ], [ "His great-aunt Betsey.", "Betsey Trotwood" ], [ "When he lodged with her father, the lawyer, Mr.Wickfield.", "when he lodges with her and her father" ], [ "She died after being unable to recover from a miscarriage.", "Her death after a miscarriage" ], [ "He married Agnes.", "Agnes" ], [ "The Peggotty's", "Their housekeeper Peggotty" ], [ "Australia with Peggotty, Mrs. Gummidge and the Micawbers", "Australia, with Peggotty" ], [ "A miscarriage early in their marraige", "Failing to recover from a miscarriage" ], [ "Mr. Wickfiel's 15 year old secretary", "Wickfield's secretary" ], [ "Five.", "At least five." ], [ "Steerforth", "Steerforth" ], [ "In a storm", "Died in a storm off the coast while on a ship." ], [ "David's confidant and Mr. Wickfield's daughter.", "The woman David marries eventually." ], [ "Betsey Trotwood", "Multiple people, mostly Peggotty's family" ] ]

[ [ "\"M. Armand Duval; and you don't know him.\"\n\n\"No, but bring them along. Anything is better than the count. I expect\nyou. Come at once.\"", "Armand Duval, and that he will never forgive that. 'Let Marguerite leave\nthe young man,' he said to me, 'and, as in the past, I will give her all", "\"Had she not a lover called Armand Duval?\"\n\n\"Tall and blond?\"\n\n\"Yes.\n\n\"It is quite true.\"", "\"Do you know M. Armand Duval's address?\" I asked.\n\n\"Yes; he lives at Rue de ----; at least, that's where I always go to get\nmy money for the flowers you see there.\"", "Armand handed me his passport, and I went to Rue Jean Jacques Rousseau.\nThere were two letters addressed to Duval. I took them and returned.\nWhen I re-entered the room Armand was dressed and ready to go out.", "I glanced at the card and there read these two words: Armand Duval.", "\"Then, will you permit me to introduce M. Armand Duval?\"\n\n\"I had already authorized Prudence to do so.\"", "It was quite natural, Armand. You told me that your father was the most\nhonest man in the world.\n\nM. Duval returned to his carriage, and set out for Paris.", "M. Duval was deeply agitated; he made no attempt to conceal his\nagitation, and it was with tears in his eyes and a trembling voice that\nhe said to me:", "\"Who was this Armand?\"\n\n\"A fellow who squandered on her the little money he had, and then had to\nleave her. They say he was quite wild about it.\"\n\n\"And she?\"", "\"Come, Armand, open your eyes. Recognise that it is your father who\nspeaks to you, your father who has always loved you, and who only", "\"It is in my bedroom.\"\n\nOn hearing this, Armand Duval seemed to be relieved of a great weight,\nand thanked me as if I had already rendered him a service merely by\nkeeping the book.", "I found Armand in bed. On seeing me he held out a burning hand. \"You\nare feverish,\" I said to him. \"It is nothing, the fatigue of a rapid", "\"Whatever may be your resolution of living otherwise than as you have\nlived, Armand, who loves you, will never consent to the seclusion to", "Armand did not move. His eyes were fixed upon the empty grave; he was as\nwhite as the corpse which we had just seen. He looked as if he had been\nturned to stone.", "Humility.\n\nIt was signed Armand Duval.", "\"I understand,\" I said to Armand, \"and I am at your service. Have you\nseen Julie Duprat?\"\n\n\"Yes, I saw her the day I returned, for the first time.\"", "Through this bewilderment I heard the inspector say to Duval, \"Do you\nidentify?\"\n\n\"Yes,\" replied the young man in a dull voice.", "\"I am here, Armand,\" she said; \"you wished to see me and I have come.\"\n\nAnd letting her head fall on her hands, she burst into tears.\n\nI went up to her.", "\"No,\" she answered, \"I will not leave Armand, and I will not conceal the\nfact that I am living with him. It is folly no doubt, but I love him." ], [ "\"Because,\" said Marguerite, releasing herself from my arms, and, taking\nfrom a great bunch of red camellias a single camellia, she placed it in\nmy buttonhole, \"because one can not always carry out agreements the day\nthey are signed.\"", "A few minutes afterward I saw Marguerite from the street at a window of\none of the large rooms of the restaurant, pulling the camellias of her", "went. She was never seen with any flowers but camellias. At the\nflorist's, Madame Barjon's, she had come to be called \"the Lady of the", "Meanwhile Marguerite called me up to her bed, asked me to open a\ncupboard, and pointed out a cap and a long chemise covered with lace,\nand said in a feeble voice:", "\"There's one, now,\" Marguerite went on, as she took off her dress and\nput on a white dressing-gown, \"there's one who knows very well how to", "\"Did you ever know a certain Marguerite Gautier?\"\n\n\"The Lady of the Camellias?\"\n\n\"Exactly.\"\n\n\"Oh, very well!\"", "\"And when shall I see you again?\" I said, clasping her in my arms.\n\n\"When this camellia changes colour.\"\n\n\"When will it change colour?\"", "thing; I look after her well, and I let her have her camellias at an\nhonest price. She is the dead body that I like the best. You see, sir,", "Scenes of this kind often took place, and though I could not discover\ntheir cause, I could not fail to see in Marguerite signs of disquietude", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "At this moment Marguerite reappeared from her dressing-room, wearing a\ncoquettish little nightcap with bunches of yellow ribbons, technically", "The marble slab stood upright, an iron railing marked the limits of the\nground purchased, and the earth was covered with white camellias. \"What\ndo you say to that?\" said the gardener.\n\n\"It is beautiful.\"", "For twenty-five days of the month the camellias were white, and for five\nthey were red; no one ever knew the reason of this change of colour,", "melodies of Scudo. Marguerite was dressed in white, she leaned on my\narm, saying over to me again under the starry sky the words she had said", "Marguerite rose. \"Adieu, my dear count. Are you going already?\"\n\n\"Yes, I fear I am boring you.\"", "\"Because,\" said Marguerite, and it seemed to me that she blushed\nslightly at this question, \"because it will show that you are the more\nkeen about it, and he will forgive us the sooner.\"", "The dawn found us both awake. Marguerite was livid white. She did not\nspeak a word. From time to time, big tears rolled from her eyes, and", "turned into the most loving and the purest of virgins. Marguerite had\nstill pride and independence, two sentiments which, if they are wounded,", "I made up my mind. That woman should be my mistress. I began by dancing\nwith her. Half an hour afterward, Marguerite, pale as death, put on her\npelisse and left the ball.", "\"Well and good.\"\n\nIn spite of myself I glanced at the bed; it was not unmade. As for\nMarguerite, she was already in her white dressing-gown. We sat down to\ntable." ], [ "Armand Duval, and that he will never forgive that. 'Let Marguerite leave\nthe young man,' he said to me, 'and, as in the past, I will give her all", "one leaves her, no matter for what reason. I know Marguerite; she would\ndie sooner than reply.\"", "\"I don't know. We knew him very little. He was with Marguerite for five\nor six months in the country. When she came back, he had gone.\"\n\n\"And you have never seen him since?\"", "\"It was about this time of the year, on the evening of a day like this,\nthat I first met Marguerite,\" said Armand to me, as if he were listening", "thousand francs from Armand, who did not believe it, but who pretended\nto, out of respect for all those in whose company Marguerite had lived.", "Marguerite loved me. First, her proposal to spend the summer with me in\nthe country, then the certainty that there was no reason why she should", "Chapter 5\n\nA good while elapsed before I heard anything more of Armand, but, on the\nother hand, I was constantly hearing of Marguerite.", "\"Who was this Armand?\"\n\n\"A fellow who squandered on her the little money he had, and then had to\nleave her. They say he was quite wild about it.\"\n\n\"And she?\"", "Marguerite, but that, if I returned to Bougival, I should find her again\nas anxious as I had been, and that she would ask me what had detained me\naway from her so long.", "Marguerite had almost insisted on my going to Paris; she had pretended\nto be calmer when I had proposed staying with her. Had I fallen into", "I knew Marguerite: this unexpected meeting must certainly have upset\nher. No doubt she had heard that I had gone away, and had thus been", "What a sad day we have had to-day, poor M. Armand! This morning\nMarguerite was stifling; the doctor bled her, and her voice has returned", "\"Did she give you the papers that Marguerite had left for you?\"\n\nArmand drew a roll of papers from under his pillow, and immediately put\nthem back.", "six or seven years, and did not know what had become of her from the\nmoment when she had disappeared from home. She came up to Paris in\nhaste, and great was the astonishment of those who had known Marguerite", "\"Because Marguerite, the woman you calumniate, and whom you wish me to\nabandon, is sacrificing all that she possesses in order to live with\nme.\"", "I was very anxious to question Armand on the subject of Marguerite, for\nthe inscription in the book, the young man's hurried journey, his desire", "\"I am here, Armand,\" she said; \"you wished to see me and I have come.\"\n\nAnd letting her head fall on her hands, she burst into tears.\n\nI went up to her.", "I, too, had not seen Armand again. I was beginning to ask myself if,\nwhen he had come to see me, the recent news of Marguerite's death had", "\"No,\" she answered, \"I will not leave Armand, and I will not conceal the\nfact that I am living with him. It is folly no doubt, but I love him.", "It must be said that Marguerite was just then very ill. The past seemed\nto her sensitive nature as if it were one of the main causes of her" ], [ "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "\"Ah, you here?\"' she said, \"where is Marguerite?\"\n\n\"In her dressing-room.\"\n\n\"I will wait. By the way, do you know she thinks you charming?\"", "one leaves her, no matter for what reason. I know Marguerite; she would\ndie sooner than reply.\"", "It may sound childish to tell you all these details, but everything\nrelating to Marguerite is so fresh in my memory that I can not help\nrecalling them now.", "\"Because Marguerite, the woman you calumniate, and whom you wish me to\nabandon, is sacrificing all that she possesses in order to live with\nme.\"", "Marguerite was a woman in the same position as Olympe, and yet I should\nnever have dared say to her the first time I met her what I had said to", "One day Marguerite was in her room. I entered. She was writing. \"To whom\nare you writing?\" I asked. \"To Prudence. Do you want to see what I am\nwriting?\"", "Then began an existence which I shall have some difficulty in describing\nto you. At first Marguerite could not break entirely with her former", "\"Ah, indeed! Well, to return to you. Marguerite asked me all about\nyou: who you were, what you did, what mistresses you had had; in short,", "turned into the most loving and the purest of virgins. Marguerite had\nstill pride and independence, two sentiments which, if they are wounded,", "for the expenses of a woman like Marguerite. A fortune of five hundred\nthousand francs a year is, in France, an enormous fortune; well, my dear", "six or seven years, and did not know what had become of her from the\nmoment when she had disappeared from home. She came up to Paris in\nhaste, and great was the astonishment of those who had known Marguerite", "\"Ah!\" she said, anxiously; \"is Marguerite with you?\"\n\n\"No.\"\n\n\"How is she?\"\n\n\"She is not well.\"", "Now, I was in love with Marguerite. I had nothing more to ask of her.\nNevertheless, though she was only a kept woman, I had so anticipated for", "of Marguerite. Gaston was thoroughly amused; he was a very good sort of\nfellow, but somewhat spoiled by the habits of his youth. For a moment", "Chapter 5\n\nA good while elapsed before I heard anything more of Armand, but, on the\nother hand, I was constantly hearing of Marguerite.", "It must be said that Marguerite was just then very ill. The past seemed\nto her sensitive nature as if it were one of the main causes of her", "When I entered the box Marguerite was in fits of laughter. I would\nrather that she had been sad. My friend introduced me; Marguerite gave\nme a little nod, and said, \"And my sweets?\"", "\"But why should I go where Marguerite goes?\"\n\n\"Because you are her lover, surely!\"\n\n\"Who told you that?\"", "Prudence had strictly sermonized Marguerite in regard to her new manner\nof life; but she had replied that she loved me, that she could not live" ], [ "\"Because,\" said Marguerite, releasing herself from my arms, and, taking\nfrom a great bunch of red camellias a single camellia, she placed it in\nmy buttonhole, \"because one can not always carry out agreements the day\nthey are signed.\"", "A few minutes afterward I saw Marguerite from the street at a window of\none of the large rooms of the restaurant, pulling the camellias of her", "went. She was never seen with any flowers but camellias. At the\nflorist's, Madame Barjon's, she had come to be called \"the Lady of the", "Meanwhile Marguerite called me up to her bed, asked me to open a\ncupboard, and pointed out a cap and a long chemise covered with lace,\nand said in a feeble voice:", "\"Did you ever know a certain Marguerite Gautier?\"\n\n\"The Lady of the Camellias?\"\n\n\"Exactly.\"\n\n\"Oh, very well!\"", "Scenes of this kind often took place, and though I could not discover\ntheir cause, I could not fail to see in Marguerite signs of disquietude", "\"And when shall I see you again?\" I said, clasping her in my arms.\n\n\"When this camellia changes colour.\"\n\n\"When will it change colour?\"", "At this moment Marguerite reappeared from her dressing-room, wearing a\ncoquettish little nightcap with bunches of yellow ribbons, technically", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "Marguerite rose. \"Adieu, my dear count. Are you going already?\"\n\n\"Yes, I fear I am boring you.\"", "thing; I look after her well, and I let her have her camellias at an\nhonest price. She is the dead body that I like the best. You see, sir,", "\"Because,\" said Marguerite, and it seemed to me that she blushed\nslightly at this question, \"because it will show that you are the more\nkeen about it, and he will forgive us the sooner.\"", "I made up my mind. That woman should be my mistress. I began by dancing\nwith her. Half an hour afterward, Marguerite, pale as death, put on her\npelisse and left the ball.", "Marguerite, tired out with this long confession, threw herself back on\nthe sofa, and to stifle a slight cough put up her handkerchief to her\nlips, and from that to her eyes.", "\"There's one, now,\" Marguerite went on, as she took off her dress and\nput on a white dressing-gown, \"there's one who knows very well how to", "I took Marguerite's hand. It was burning, and the poor woman shivered\nunder her fur cloak.\n\nI rolled the arm-chair in which she was sitting up to the fire.", "Marguerite drew the letter from her bosom, and handing it to me with a\nsmile of infinite sweetness, said:\n\n\"Here it is. I have brought it back.\"", "turned into the most loving and the purest of virgins. Marguerite had\nstill pride and independence, two sentiments which, if they are wounded,", "his tears, and buried his heart in it; while Marguerite, a sinner like\nManon, and perhaps converted like her, had died in a sumptuous bed (it", "\"Ah, you here?\"' she said, \"where is Marguerite?\"\n\n\"In her dressing-room.\"\n\n\"I will wait. By the way, do you know she thinks you charming?\"" ], [ "Marguerite had almost insisted on my going to Paris; she had pretended\nto be calmer when I had proposed staying with her. Had I fallen into", "one leaves her, no matter for what reason. I know Marguerite; she would\ndie sooner than reply.\"", "to Marguerite, and bring her back to Paris. You have lived with her\nalone for four or five months; that is quite enough. Shut your eyes now;", "Armand Duval, and that he will never forgive that. 'Let Marguerite leave\nthe young man,' he said to me, 'and, as in the past, I will give her all", "Marguerite loved me. First, her proposal to spend the summer with me in\nthe country, then the certainty that there was no reason why she should", "\"Well, I will arrange that,\" said Marguerite, freeing my hand, and\ninterpreting my words according to her own desire. \"Let us go and see if\nit is to let.\"", "Marguerite, but that, if I returned to Bougival, I should find her again\nas anxious as I had been, and that she would ask me what had detained me\naway from her so long.", "\"I shall take the whole house, and you can look after my place while I\nam away.\"\n\nA week later Marguerite was settled in her country house, and I was\ninstalled at Point du Jour.", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "For a moment it seemed to me as if I could forget all that had passed\nsince I had left Bougival, and I said to Marguerite:\n\n\"Shall we go away and leave Paris?\"", "We sent for Prudence, and all three set off, after Marguerite had given\nNanine orders to tell the duke that she had taken advantage of the fine\nday to go into the country with Mme. Duvernoy.", "Marguerite rose. \"Adieu, my dear count. Are you going already?\"\n\n\"Yes, I fear I am boring you.\"", "\"Well, it is agreed,\" continued Marguerite, when we were alone, \"you\nwon't fall in love with me?\"\n\n\"I will go away.\"\n\n\"So much as that?\"", "of Marguerite. Gaston was thoroughly amused; he was a very good sort of\nfellow, but somewhat spoiled by the habits of his youth. For a moment", "\"But why should I go where Marguerite goes?\"\n\n\"Because you are her lover, surely!\"\n\n\"Who told you that?\"", "\"I don't know. We knew him very little. He was with Marguerite for five\nor six months in the country. When she came back, he had gone.\"\n\n\"And you have never seen him since?\"", "We left the house, and started on our return to Paris, talking over\nthe new plan. I held Marguerite in my arms, and as I got down from the\ncarriage, I had already begun to look upon her arrangement with less\ncritical eyes.", "reasonable. I don't advise you to leave Marguerite, but live with her\nas you did at the beginning. Let her find the means to get out of this", "\"Because Marguerite, the woman you calumniate, and whom you wish me to\nabandon, is sacrificing all that she possesses in order to live with\nme.\"", "six or seven years, and did not know what had become of her from the\nmoment when she had disappeared from home. She came up to Paris in\nhaste, and great was the astonishment of those who had known Marguerite" ], [ "\"Whatever may be your resolution of living otherwise than as you have\nlived, Armand, who loves you, will never consent to the seclusion to", "\"Come, Armand, open your eyes. Recognise that it is your father who\nspeaks to you, your father who has always loved you, and who only", "\"You know very well that she will not do that. So, my dear Armand, let\nher alone. If you saw her you would be ashamed of the way in which you", "\"No,\" she answered, \"I will not leave Armand, and I will not conceal the\nfact that I am living with him. It is folly no doubt, but I love him.", "seek you out, and you will thank me for it. Come, you will go with me,\nArmand, will you not?\" I felt that my father would be right if it had", "all that to Armand, but, absorbed in you, he made no reply. Well, my\ndaughter is about to marry. She is to marry the man whom she loves; she", "Armand Duval, and that he will never forgive that. 'Let Marguerite leave\nthe young man,' he said to me, 'and, as in the past, I will give her all", "\"Our love is not like other loves, my Armand. You love me as if I had\nnever belonged to another, and I tremble lest later on, repenting of", "I found Armand in bed. On seeing me he held out a burning hand. \"You\nare feverish,\" I said to him. \"It is nothing, the fatigue of a rapid", "dear child, of the position that you are losing, and that Armand can\nnever give you. He loves you with all his soul, but he has no fortune", "\"Oh yes, I love you, my Armand,\" she murmured, putting her two arms\naround my neck. \"I love you as I never thought I should ever love. We", "When we were alone, my father rose, and leaning against the\nmantel-piece, said to me:\n\n\"My dear Armand, we have serious matters to discuss.\"\n\n\"I am listening, father.\"", "\"Do not say that, Armand. I would rather anything should happen than\nthat you should quarrel with your family; wait till after to-day, and", "convictions of honour and steadfastness? Think it over, Armand, and do\nnot talk any more such absurdities. Come, leave this woman; your father\nentreats you.\"", "\"No,\" he replied, \"and I should advise you to take him away. He looks\nill.\"\n\n\"Come,\" I said to Armand, taking him by the arm.", "\"He has looked after it well?\" continued Armand. Two big tears rolled\ndown the cheeks of the sick man, and he turned away his head to hide", "\"Do not say that, father; Marguerite loves me, I am sure of it.\"\n\nMy father did not answer; he seemed to say neither yes nor no.", "You love Armand; prove it to him by the sole means which remains to you\nof yet proving it to him, by sacrificing your love to his future. No", "learned what manner of life Armand is leading in Paris, and has declared\nto me that the marriage must be broken off if Armand continues this\nlife. The future of a child who has done nothing against you, and who", "\"Armand,\" continued my father, \"in the name of your sainted mother,\nabandon this life, which you will forget more easily than you think. You" ], [ "Armand Duval, and that he will never forgive that. 'Let Marguerite leave\nthe young man,' he said to me, 'and, as in the past, I will give her all", "\"It was about this time of the year, on the evening of a day like this,\nthat I first met Marguerite,\" said Armand to me, as if he were listening", "\"I shall take the whole house, and you can look after my place while I\nam away.\"\n\nA week later Marguerite was settled in her country house, and I was\ninstalled at Point du Jour.", "Chapter 5\n\nA good while elapsed before I heard anything more of Armand, but, on the\nother hand, I was constantly hearing of Marguerite.", "Armand handed me his passport, and I went to Rue Jean Jacques Rousseau.\nThere were two letters addressed to Duval. I took them and returned.\nWhen I re-entered the room Armand was dressed and ready to go out.", "six or seven years, and did not know what had become of her from the\nmoment when she had disappeared from home. She came up to Paris in\nhaste, and great was the astonishment of those who had known Marguerite", "Armand, still sad, but a little relieved by the narration of his story,\nsoon recovered, and we went together to pay a visit to Prudence and to\nJulie Duprat.", "\"I have been seeing about a place for Armand to stay.\"\n\n\"In the same house?\" asked Prudence, laughing.", "thousand francs from Armand, who did not believe it, but who pretended\nto, out of respect for all those in whose company Marguerite had lived.", "\"No,\" she answered, \"I will not leave Armand, and I will not conceal the\nfact that I am living with him. It is folly no doubt, but I love him.", "\"Did she give you the papers that Marguerite had left for you?\"\n\nArmand drew a roll of papers from under his pillow, and immediately put\nthem back.", "to Marguerite, and bring her back to Paris. You have lived with her\nalone for four or five months; that is quite enough. Shut your eyes now;", "\"I don't know. We knew him very little. He was with Marguerite for five\nor six months in the country. When she came back, he had gone.\"\n\n\"And you have never seen him since?\"", "Marguerite had almost insisted on my going to Paris; she had pretended\nto be calmer when I had proposed staying with her. Had I fallen into", "We left the house, and started on our return to Paris, talking over\nthe new plan. I held Marguerite in my arms, and as I got down from the\ncarriage, I had already begun to look upon her arrangement with less\ncritical eyes.", "one leaves her, no matter for what reason. I know Marguerite; she would\ndie sooner than reply.\"", "\"Whatever may be your resolution of living otherwise than as you have\nlived, Armand, who loves you, will never consent to the seclusion to", "Armand did not move. His eyes were fixed upon the empty grave; he was as\nwhite as the corpse which we had just seen. He looked as if he had been\nturned to stone.", "\"Who was this Armand?\"\n\n\"A fellow who squandered on her the little money he had, and then had to\nleave her. They say he was quite wild about it.\"\n\n\"And she?\"", "\"Well, let us go to Bougival, at the Point du Jour, at Widow Arnould's.\nArmand, order an open carriage.\"\n\nAn hour and a half later we were at Widow Arnould's." ], [ "\"There's one, now,\" Marguerite went on, as she took off her dress and\nput on a white dressing-gown, \"there's one who knows very well how to", "Meanwhile Marguerite called me up to her bed, asked me to open a\ncupboard, and pointed out a cap and a long chemise covered with lace,\nand said in a feeble voice:", "one leaves her, no matter for what reason. I know Marguerite; she would\ndie sooner than reply.\"", "At this moment Marguerite reappeared from her dressing-room, wearing a\ncoquettish little nightcap with bunches of yellow ribbons, technically", "\"Ah, you here?\"' she said, \"where is Marguerite?\"\n\n\"In her dressing-room.\"\n\n\"I will wait. By the way, do you know she thinks you charming?\"", "Prudence had strictly sermonized Marguerite in regard to her new manner\nof life; but she had replied that she loved me, that she could not live", "\"Now understand,\" said Marguerite, \"you are always to say to that idiot\nthat I am not in, or that I will not see him. I am tired out with seeing", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "turned into the most loving and the purest of virgins. Marguerite had\nstill pride and independence, two sentiments which, if they are wounded,", "still being Marguerite's lover. She would cry a little at the beginning,\nbut she would come to accustom herself to it, and you would thank me", "\"This dress worries me,\" continued Marguerite, unhooking her bodice;\n\"give me a dressing-gown. Well, and Prudence?\"", "\"But why should I go where Marguerite goes?\"\n\n\"Because you are her lover, surely!\"\n\n\"Who told you that?\"", "Marguerite seemed to be thinking, for she answered nothing. My heart\nbeat violently while I waited for her reply.", "Marguerite, tired out with this long confession, threw herself back on\nthe sofa, and to stifle a slight cough put up her handkerchief to her\nlips, and from that to her eyes.", "\"You in the way, Marguerite! But how?\"\n\n\"Well, you might have had a woman here,\" said Prudence, \"and it would\nhardly have been amusing for her to see two more arrive.\"", "It may sound childish to tell you all these details, but everything\nrelating to Marguerite is so fresh in my memory that I can not help\nrecalling them now.", "I made up my mind. That woman should be my mistress. I began by dancing\nwith her. Half an hour afterward, Marguerite, pale as death, put on her\npelisse and left the ball.", "\"No, Marguerite,\" I cried, feeling all my love and all my desire\nreawaken at the contact of this woman. \"No, I will forget everything,\nand we will be happy as we promised one another that we would be.\"", "It was a strange night. All Marguerite's life seemed to have passed into\nthe kisses with which she covered me, and I loved her so much that in", "exchanged during that first night. Either Marguerite was very clever\nin deception, or she had conceived for me one of those sudden passions\nwhich are revealed in the first kiss, and which die, often enough, as" ], [ "\"There's one, now,\" Marguerite went on, as she took off her dress and\nput on a white dressing-gown, \"there's one who knows very well how to", "Meanwhile Marguerite called me up to her bed, asked me to open a\ncupboard, and pointed out a cap and a long chemise covered with lace,\nand said in a feeble voice:", "At this moment Marguerite reappeared from her dressing-room, wearing a\ncoquettish little nightcap with bunches of yellow ribbons, technically", "\"Ah, you here?\"' she said, \"where is Marguerite?\"\n\n\"In her dressing-room.\"\n\n\"I will wait. By the way, do you know she thinks you charming?\"", "I made up my mind. That woman should be my mistress. I began by dancing\nwith her. Half an hour afterward, Marguerite, pale as death, put on her\npelisse and left the ball.", "\"Well, I will arrange that,\" said Marguerite, freeing my hand, and\ninterpreting my words according to her own desire. \"Let us go and see if\nit is to let.\"", "still being Marguerite's lover. She would cry a little at the beginning,\nbut she would come to accustom herself to it, and you would thank me", "turned into the most loving and the purest of virgins. Marguerite had\nstill pride and independence, two sentiments which, if they are wounded,", "Little by little I had drawn nearer to Marguerite. I had put my arms\nabout her waist, and I felt her supple body weigh lightly on my clasped\nhands.", "Marguerite shook her head doubtfully, and said:\n\n\"Am I not your slave, your dog? Do with me what you will. Take me; I am\nyours.\"", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "\"No, Marguerite,\" I cried, feeling all my love and all my desire\nreawaken at the contact of this woman. \"No, I will forget everything,\nand we will be happy as we promised one another that we would be.\"", "It was a strange night. All Marguerite's life seemed to have passed into\nthe kisses with which she covered me, and I loved her so much that in", "exchanged during that first night. Either Marguerite was very clever\nin deception, or she had conceived for me one of those sudden passions\nwhich are revealed in the first kiss, and which die, often enough, as", "A few minutes afterward Nanine entered, all out of breath. Marguerite\nrose and talked with her in whispers. When Nanine had gone out\nMarguerite sat down by me again and said, taking my hand:", "in which they mix, know perfectly well, when they are the lovers of a\nwoman like Marguerite, that she could not so much as pay for the rooms\nshe lives in and the servants who wait upon her with what they give", "Prudence had strictly sermonized Marguerite in regard to her new manner\nof life; but she had replied that she loved me, that she could not live", "francs, but he has had his way at last. He knows quite well that\nMarguerite is not in love with him; but he is very nice with her all the", "Now, I was in love with Marguerite. I had nothing more to ask of her.\nNevertheless, though she was only a kept woman, I had so anticipated for", "\"But why should I go where Marguerite goes?\"\n\n\"Because you are her lover, surely!\"\n\n\"Who told you that?\"" ], [ "\"Because he was all but ruined. That's one, if you like, who loved\nMarguerite.\"\n\n\"And she loved him, too, no doubt?\"", "francs, but he has had his way at last. He knows quite well that\nMarguerite is not in love with him; but he is very nice with her all the", "\"That is the Comte de G., who was very much in love with Marguerite; it\nwas he who brought her out. Do you know him?\"", "one breaks with them. Now Marguerite ended with me so lightly that I\nrealize I was a great fool to have been as much in love with her as I\nwas, for I was really very much in love with that girl.\"", "\"But why should I go where Marguerite goes?\"\n\n\"Because you are her lover, surely!\"\n\n\"Who told you that?\"", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "\"Do not say that, father; Marguerite loves me, I am sure of it.\"\n\nMy father did not answer; he seemed to say neither yes nor no.", "Armand Duval, and that he will never forgive that. 'Let Marguerite leave\nthe young man,' he said to me, 'and, as in the past, I will give her all", "\"Well, it is agreed,\" continued Marguerite, when we were alone, \"you\nwon't fall in love with me?\"\n\n\"I will go away.\"\n\n\"So much as that?\"", "of Marguerite. Gaston was thoroughly amused; he was a very good sort of\nfellow, but somewhat spoiled by the habits of his youth. For a moment", "Now, I was in love with Marguerite. I had nothing more to ask of her.\nNevertheless, though she was only a kept woman, I had so anticipated for", "love, far from leading me astray, is capable, on the contrary, of\nsetting me in the right direction. Love always makes a man better,\nno matter what woman inspires it. If you knew Marguerite, you would", "After all, the presence of M. de G. in Marguerite's box was the most\nnatural thing in the world. He had been her lover, he sent her a box, he", "\"You are mad,\" replied Marguerite. \"You know quite well that I don't\nwant you. It is no good at the end of two years to make love to a woman", "\"My life is yours, Marguerite; you need this man no longer. Am I not\nhere? Shall I ever leave you, and can I ever repay you for the happiness", "\"Then, besides that,\" continued Prudence; \"admit that Marguerite loves\nyou enough to give up the count or the duke, in case one of them were to", "\"No, but because you love Marguerite, and you want to have your revenge\nupon her by becoming my lover. You don't deceive a woman like me, my", "\"Yes; but he is an old man, and I am sure that Marguerite is not his\nmistress. Then, it is all very well to accept one liaison, but not two.", "turned into the most loving and the purest of virgins. Marguerite had\nstill pride and independence, two sentiments which, if they are wounded,", "Prudence was no doubt going to make some reply, but I entered suddenly\nand flung myself at Marguerite's feet, covering her hands with tears in\nmy joy at being thus loved." ], [ "You remember, Armand, how the arrival of your father surprised us at\nBougival; you remember the involuntary fright that his arrival caused\nme, and the scene which took place between you and him, which you told\nme of in the evening.", "\"Come, Armand, open your eyes. Recognise that it is your father who\nspeaks to you, your father who has always loved you, and who only", "When we were alone, my father rose, and leaning against the\nmantel-piece, said to me:\n\n\"My dear Armand, we have serious matters to discuss.\"\n\n\"I am listening, father.\"", "learned what manner of life Armand is leading in Paris, and has declared\nto me that the marriage must be broken off if Armand continues this\nlife. The future of a child who has done nothing against you, and who", "\"Do not say that, Armand. I would rather anything should happen than\nthat you should quarrel with your family; wait till after to-day, and", "\"Armand,\" continued my father, \"in the name of your sainted mother,\nabandon this life, which you will forget more easily than you think. You", "Armand did not move. His eyes were fixed upon the empty grave; he was as\nwhite as the corpse which we had just seen. He looked as if he had been\nturned to stone.", "\"No,\" she answered, \"I will not leave Armand, and I will not conceal the\nfact that I am living with him. It is folly no doubt, but I love him.", "all that to Armand, but, absorbed in you, he made no reply. Well, my\ndaughter is about to marry. She is to marry the man whom she loves; she", "I found Armand in bed. On seeing me he held out a burning hand. \"You\nare feverish,\" I said to him. \"It is nothing, the fatigue of a rapid", "\"He has looked after it well?\" continued Armand. Two big tears rolled\ndown the cheeks of the sick man, and he turned away his head to hide", "One duty remained to Armand--to return to his father. He wished me to\naccompany him.", "convictions of honour and steadfastness? Think it over, Armand, and do\nnot talk any more such absurdities. Come, leave this woman; your father\nentreats you.\"", "seek you out, and you will thank me for it. Come, you will go with me,\nArmand, will you not?\" I felt that my father would be right if it had", "Armand Duval, and that he will never forgive that. 'Let Marguerite leave\nthe young man,' he said to me, 'and, as in the past, I will give her all", "It was quite natural, Armand. You told me that your father was the most\nhonest man in the world.\n\nM. Duval returned to his carriage, and set out for Paris.", "misfortune has yet arrived, but one will arrive, and perhaps a greater\none than those which I foresee. Armand might become jealous of a man who", "dear child, of the position that you are losing, and that Armand can\nnever give you. He loves you with all his soul, but he has no fortune", "\"Whatever may be your resolution of living otherwise than as you have\nlived, Armand, who loves you, will never consent to the seclusion to", "I scrutinized Armand, for every moment I was afraid lest the emotions\nwhich he was visibly repressing should prove too much for him; but he" ], [ "Armand Duval, and that he will never forgive that. 'Let Marguerite leave\nthe young man,' he said to me, 'and, as in the past, I will give her all", "\"Do not say that, father; Marguerite loves me, I am sure of it.\"\n\nMy father did not answer; he seemed to say neither yes nor no.", "\"I swear to you, father, that Marguerite knew nothing of this transfer.\"\n\n\"Why, then, do you make it?\"", "seek you out, and you will thank me for it. Come, you will go with me,\nArmand, will you not?\" I felt that my father would be right if it had", "\"Come, Armand, open your eyes. Recognise that it is your father who\nspeaks to you, your father who has always loved you, and who only", "\"Well, I will arrange that,\" said Marguerite, freeing my hand, and\ninterpreting my words according to her own desire. \"Let us go and see if\nit is to let.\"", "\"Armand,\" continued my father, \"in the name of your sainted mother,\nabandon this life, which you will forget more easily than you think. You", "\"It was about this time of the year, on the evening of a day like this,\nthat I first met Marguerite,\" said Armand to me, as if he were listening", "convictions of honour and steadfastness? Think it over, Armand, and do\nnot talk any more such absurdities. Come, leave this woman; your father\nentreats you.\"", "thousand francs from Armand, who did not believe it, but who pretended\nto, out of respect for all those in whose company Marguerite had lived.", "Armand was flushed and delirious; he stammered out disconnected words,\nin which only the name of Marguerite could be distinctly heard.\n\n\"Well?\" I said to the doctor when he had examined the patient.", "Passions are formidable enemies to sentiment. I was prepared for every\nstruggle, even with my father, in order that I might keep Marguerite.\n\n\"Then, the moment is come when you must live otherwise.\"", "all that to Armand, but, absorbed in you, he made no reply. Well, my\ndaughter is about to marry. She is to marry the man whom she loves; she", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "What a sad day we have had to-day, poor M. Armand! This morning\nMarguerite was stifling; the doctor bled her, and her voice has returned", "You remember, Armand, how the arrival of your father surprised us at\nBougival; you remember the involuntary fright that his arrival caused\nme, and the scene which took place between you and him, which you told\nme of in the evening.", "Marguerite had almost insisted on my going to Paris; she had pretended\nto be calmer when I had proposed staying with her. Had I fallen into", "\"No, Marguerite. It is I who will make him believe me. Some of his\nfriends have been telling him tales which have made him angry; but he is", "\"You know very well that she will not do that. So, my dear Armand, let\nher alone. If you saw her you would be ashamed of the way in which you", "When we were alone, my father rose, and leaning against the\nmantel-piece, said to me:\n\n\"My dear Armand, we have serious matters to discuss.\"\n\n\"I am listening, father.\"" ], [ "one leaves her, no matter for what reason. I know Marguerite; she would\ndie sooner than reply.\"", "Armand Duval, and that he will never forgive that. 'Let Marguerite leave\nthe young man,' he said to me, 'and, as in the past, I will give her all", "\"Who was this Armand?\"\n\n\"A fellow who squandered on her the little money he had, and then had to\nleave her. They say he was quite wild about it.\"\n\n\"And she?\"", "\"Did she give you the papers that Marguerite had left for you?\"\n\nArmand drew a roll of papers from under his pillow, and immediately put\nthem back.", "What a sad day we have had to-day, poor M. Armand! This morning\nMarguerite was stifling; the doctor bled her, and her voice has returned", "I was very anxious to question Armand on the subject of Marguerite, for\nthe inscription in the book, the young man's hurried journey, his desire", "Chapter 5\n\nA good while elapsed before I heard anything more of Armand, but, on the\nother hand, I was constantly hearing of Marguerite.", "\"It was about this time of the year, on the evening of a day like this,\nthat I first met Marguerite,\" said Armand to me, as if he were listening", "Marguerite, but that, if I returned to Bougival, I should find her again\nas anxious as I had been, and that she would ask me what had detained me\naway from her so long.", "I, too, had not seen Armand again. I was beginning to ask myself if,\nwhen he had come to see me, the recent news of Marguerite's death had", "Armand was flushed and delirious; he stammered out disconnected words,\nin which only the name of Marguerite could be distinctly heard.\n\n\"Well?\" I said to the doctor when he had examined the patient.", "Armand had not yet returned. I left word for him, begging him to come\nand see me as soon as he arrived, or to send me word where I could find\nhim.", "I knew Marguerite: this unexpected meeting must certainly have upset\nher. No doubt she had heard that I had gone away, and had thus been", "\"I am here, Armand,\" she said; \"you wished to see me and I have come.\"\n\nAnd letting her head fall on her hands, she burst into tears.\n\nI went up to her.", "However, I did not wish to go away without letting Marguerite know why\nI went. Only a man who really cares no more for his mistress leaves her", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "\"Ah!\" she said, anxiously; \"is Marguerite with you?\"\n\n\"No.\"\n\n\"How is she?\"\n\n\"She is not well.\"", "Before the performance was over Marguerite and her friend left the box.\nI rose from my seat.\n\n\"Are you going?\" said Ernest.\n\n\"Yes.\"\n\n\"Why?\"", "\"Well, I will arrange that,\" said Marguerite, freeing my hand, and\ninterpreting my words according to her own desire. \"Let us go and see if\nit is to let.\"", "thousand francs from Armand, who did not believe it, but who pretended\nto, out of respect for all those in whose company Marguerite had lived." ], [ "\"It was about this time of the year, on the evening of a day like this,\nthat I first met Marguerite,\" said Armand to me, as if he were listening", "Chapter 5\n\nA good while elapsed before I heard anything more of Armand, but, on the\nother hand, I was constantly hearing of Marguerite.", "Armand Duval, and that he will never forgive that. 'Let Marguerite leave\nthe young man,' he said to me, 'and, as in the past, I will give her all", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "\"Ah, you here?\"' she said, \"where is Marguerite?\"\n\n\"In her dressing-room.\"\n\n\"I will wait. By the way, do you know she thinks you charming?\"", "Marguerite was a woman in the same position as Olympe, and yet I should\nnever have dared say to her the first time I met her what I had said to", "What a sad day we have had to-day, poor M. Armand! This morning\nMarguerite was stifling; the doctor bled her, and her voice has returned", "\"I am here, Armand,\" she said; \"you wished to see me and I have come.\"\n\nAnd letting her head fall on her hands, she burst into tears.\n\nI went up to her.", "Now, I was in love with Marguerite. I had nothing more to ask of her.\nNevertheless, though she was only a kept woman, I had so anticipated for", "It may sound childish to tell you all these details, but everything\nrelating to Marguerite is so fresh in my memory that I can not help\nrecalling them now.", "I took Marguerite's hand. It was burning, and the poor woman shivered\nunder her fur cloak.\n\nI rolled the arm-chair in which she was sitting up to the fire.", "the way in which Marguerite came to meet her, that another similar\nconversation was going to take place, and I was anxious to hear what\nit was about. The two women shut themselves into a boudoir, and I put", "\"Well, I will arrange that,\" said Marguerite, freeing my hand, and\ninterpreting my words according to her own desire. \"Let us go and see if\nit is to let.\"", "\"Ah, indeed! Well, to return to you. Marguerite asked me all about\nyou: who you were, what you did, what mistresses you had had; in short,", "affinity with certain events of your own existence. I was not absolutely\nat that point in regard to Marguerite, for I had seen and met her, I\nknew her by sight and by reputation; nevertheless, since the moment", "Prudence had strictly sermonized Marguerite in regard to her new manner\nof life; but she had replied that she loved me, that she could not live", "The night before I had found Marguerite sad; that night I found her\nfeverish and agitated. On seeing me, she flung her arms around my neck,", "one leaves her, no matter for what reason. I know Marguerite; she would\ndie sooner than reply.\"", "six or seven years, and did not know what had become of her from the\nmoment when she had disappeared from home. She came up to Paris in\nhaste, and great was the astonishment of those who had known Marguerite", "I made up my mind. That woman should be my mistress. I began by dancing\nwith her. Half an hour afterward, Marguerite, pale as death, put on her\npelisse and left the ball." ], [ "It must be said that Marguerite was just then very ill. The past seemed\nto her sensitive nature as if it were one of the main causes of her", "the young duchess was in the last stage of consumption, and a few days\nafter Marguerite's arrival she died. One morning, the duke, who had", "This is what I was told on the subject. In the spring of 1847 Marguerite\nwas so ill that the doctors ordered her to take the waters, and she went", "Marguerite fell into her last agony at about two o'clock. Never did a\nmartyr suffer such torture, to judge by the cries she uttered. Two or", "Since the day that Marguerite insisted on going to the theatre she has\ngot worse and worse. She has completely lost her voice, and now the use\nof her limbs.", "Marguerite, in fact, as I had found from some friends who knew of the\nlast circumstances of her life, had not a single real friend by her\nbedside during the two months of her long and painful agony.", "been overcome by sickness, and Marguerite's death no longer appeared to\nhim under its former aspect. A kind of consolation had sprung from the", "Prudence had become bankrupt. She told us that Marguerite was the cause\nof it; that during her illness she had lent her a lot of money in the", "Marguerite, tired out with this long confession, threw herself back on\nthe sofa, and to stifle a slight cough put up her handkerchief to her\nlips, and from that to her eyes.", "What a sad day we have had to-day, poor M. Armand! This morning\nMarguerite was stifling; the doctor bled her, and her voice has returned", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "We must add that Marguerite had returned more beautiful than she had\never been; she was but twenty, and her malady, sleeping but not subdued,\ncontinued to give her those feverish desires which are almost always the\nresult of diseases of the chest.", "I could make nothing of these intermittent paroxysms of distress, which\nwent on till morning. Then Marguerite fell into a kind of stupor. She\nhad not slept for two nights.", "Scenes of this kind often took place, and though I could not discover\ntheir cause, I could not fail to see in Marguerite signs of disquietude", "habits, seemed in Marguerite a necessity of forgetting, a fever, a\nnervous irritability. At every glass of champagne her cheeks would flush", "The night before I had found Marguerite sad; that night I found her\nfeverish and agitated. On seeing me, she flung her arms around my neck,", "constitution which must come from daily excesses like this. At length,\nsomething which I had feared and foreseen happened. Toward the end of\nsupper Marguerite was seized by a more violent fit of coughing than any", "one leaves her, no matter for what reason. I know Marguerite; she would\ndie sooner than reply.\"", "Three months afterward a man took pity on her and tried to heal her,\nmorally and physically; but the last shock had been too violent, and\nLouise died of it. The mother still lives; how? God knows.", "his tears, and buried his heart in it; while Marguerite, a sinner like\nManon, and perhaps converted like her, had died in a sumptuous bed (it" ], [ "until it has been seriously acquired. Not being old enough to invent, I\ncontent myself with narrating, and I beg the reader to assure himself of\nthe truth of a story in which all the characters, with the exception of", "I have discovered that one of them experienced a serious love in the\ncourse of her life, that she suffered for it, and that she died of it. I\nhave told the reader all that I learned. It was my duty.", "of by all their lovers at the same moment, for in Paris almost all\nthe lovers of a well-known woman are friends. A few recollections are\nexchanged, and everybody's life goes on as if the incident had never", "\"I must tell you the whole story; you will make a book out of it; no one\nwill believe it, but it will perhaps be interesting to do.\"", "his income, talked with Mme. M., one of our wittiest story-tellers, who\nfrom time to time writes what she says and signs what she writes, while", "\"They tell me there were people who ruined themselves over that girl,\nand lovers that worshipped her; well, when I think there isn't one of", "\"Since you really wish it, I will listen.\"\n\nThis is what he told me, and I have scarcely changed a word of the\ntouching story.", "It may sound childish to tell you all these details, but everything\nrelating to Marguerite is so fresh in my memory that I can not help\nrecalling them now.", "Forgive me if I give you all these details, but you will see that they\nwere the cause of what was to follow. What I tell you is a true and", "I returned to Paris, where I wrote this story just as it had been told\nme. It has only one merit, which will perhaps be denied it; that is,\nthat it is true.", "\"There's one, now,\" Marguerite went on, as she took off her dress and\nput on a white dressing-gown, \"there's one who knows very well how to", "\"Hush,\" said Prudence, listening. Gaston stopped.\n\n\"She is calling me, I think.\"\n\nWe listened. A voice was calling, \"Prudence!\"", "\"They always say she was very much in love with him, but as girls like\nthat are in love. It is no good to ask them for what they can not give.\"\n\n\"What has become of Armand?\"", "her. They do not say to her that they know it; they pretend not to see\nanything, and when they have had enough of it they go their way. If they", "\"We are doubtless intruders,\" I said, \"and now that we, or rather I,\nhave had a second introduction, to blot out the first, it is time for\nGaston and me to be going.\"", "\"There are two young fellows here who won't go.\"\n\n\"Tell them that you must go out.\"\n\n\"I have told them.\"", "herself, and if there is only one who remembers her, he makes up for the\nothers. But we have other poor girls here, just like her and just her", "\"The Comte de N. Ah, my dear friend, there are men made on purpose for\nsuch occasions. To cut a long story short he gave her twenty thousand", "I heard the rustle of dresses, the sound of voices, on the staircase.\nI stood aside, and, without being seen, saw the two women pass me,", "\"She is such a queer girl, one never knows. The night he went away\nshe went to the theatre as usual, and yet she had cried when he said\ngood-bye to her.\"" ], [ "I have discovered that one of them experienced a serious love in the\ncourse of her life, that she suffered for it, and that she died of it. I\nhave told the reader all that I learned. It was my duty.", "now became known for his prodigality. All this was set down to the\ndebauchery of a rich old man, and everything was believed except the", "to you before. You discover that this person was almost touching you and\nhas passed close to you many times in your life without your noticing\nit; you find coincidences in the events which are told you, a real", "I returned to Paris, where I wrote this story just as it had been told\nme. It has only one merit, which will perhaps be denied it; that is,\nthat it is true.", "\"I must tell you the whole story; you will make a book out of it; no one\nwill believe it, but it will perhaps be interesting to do.\"", "The story of Marguerite is an exception, I repeat; had it not been an\nexception, it would not have been worth the trouble of writing it.", "said to be living with an old duke, a foreigner, enormously rich, who\nhad tried to remove her as far as possible from her former life, and, as\nit seemed, entirely to her own satisfaction.", "until it has been seriously acquired. Not being old enough to invent, I\ncontent myself with narrating, and I beg the reader to assure himself of\nthe truth of a story in which all the characters, with the exception of", "of by all their lovers at the same moment, for in Paris almost all\nthe lovers of a well-known woman are friends. A few recollections are\nexchanged, and everybody's life goes on as if the incident had never", "This is what I was told on the subject. In the spring of 1847 Marguerite\nwas so ill that the doctors ordered her to take the waters, and she went", "In a book of Alphonse Karr entitles Am Rauchen, there is a man who one\nevening follows a very elegant woman, with whom he had fallen in love", "In this girl there was at once the virgin whom a mere nothing had turned\ninto a courtesan, and the courtesan whom a mere nothing would have", "\"No, Marguerite. It is I who will make him believe me. Some of his\nfriends have been telling him tales which have made him angry; but he is", "It was a great grief to the duke when his friends, always on the lookout\nfor some scandal on the part of the woman with whom, it seemed to them,", "affinity with certain events of your own existence. I was not absolutely\nat that point in regard to Marguerite, for I had seen and met her, I\nknew her by sight and by reputation; nevertheless, since the moment", "\"They tell me there were people who ruined themselves over that girl,\nand lovers that worshipped her; well, when I think there isn't one of", "Three months afterward a man took pity on her and tried to heal her,\nmorally and physically; but the last shock had been too violent, and\nLouise died of it. The mother still lives; how? God knows.", "It may sound childish to tell you all these details, but everything\nrelating to Marguerite is so fresh in my memory that I can not help\nrecalling them now.", "It is true that there are events of a moment which tell more than the\ncourtship of a year. Of those who were at the supper, I was the only one", "of Marguerite. Gaston was thoroughly amused; he was a very good sort of\nfellow, but somewhat spoiled by the habits of his youth. For a moment" ], [ "It must be said that Marguerite was just then very ill. The past seemed\nto her sensitive nature as if it were one of the main causes of her", "This is what I was told on the subject. In the spring of 1847 Marguerite\nwas so ill that the doctors ordered her to take the waters, and she went", "the young duchess was in the last stage of consumption, and a few days\nafter Marguerite's arrival she died. One morning, the duke, who had", "been overcome by sickness, and Marguerite's death no longer appeared to\nhim under its former aspect. A kind of consolation had sprung from the", "Since the day that Marguerite insisted on going to the theatre she has\ngot worse and worse. She has completely lost her voice, and now the use\nof her limbs.", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "The night before I had found Marguerite sad; that night I found her\nfeverish and agitated. On seeing me, she flung her arms around my neck,", "Marguerite, tired out with this long confession, threw herself back on\nthe sofa, and to stifle a slight cough put up her handkerchief to her\nlips, and from that to her eyes.", "Very pale, her mouth half open, Marguerite tried to recover breath. Now\nand again her bosom was raised by a long sigh, which seemed to\nrelieve her a little, and for a few seconds she would seem to be quite\ncomfortable.", "Marguerite fell into her last agony at about two o'clock. Never did a\nmartyr suffer such torture, to judge by the cries she uttered. Two or", "Marguerite, in fact, as I had found from some friends who knew of the\nlast circumstances of her life, had not a single real friend by her\nbedside during the two months of her long and painful agony.", "I could make nothing of these intermittent paroxysms of distress, which\nwent on till morning. Then Marguerite fell into a kind of stupor. She\nhad not slept for two nights.", "one leaves her, no matter for what reason. I know Marguerite; she would\ndie sooner than reply.\"", "We must add that Marguerite had returned more beautiful than she had\never been; she was but twenty, and her malady, sleeping but not subdued,\ncontinued to give her those feverish desires which are almost always the\nresult of diseases of the chest.", "It may sound childish to tell you all these details, but everything\nrelating to Marguerite is so fresh in my memory that I can not help\nrecalling them now.", "Prudence had become bankrupt. She told us that Marguerite was the cause\nof it; that during her illness she had lent her a lot of money in the", "What a sad day we have had to-day, poor M. Armand! This morning\nMarguerite was stifling; the doctor bled her, and her voice has returned", "to Bagneres. Among the invalids was the daughter of this duke; she\nwas not only suffering from the same complaint, but she was so like\nMarguerite in appearance that they might have been taken for sisters;", "Scenes of this kind often took place, and though I could not discover\ntheir cause, I could not fail to see in Marguerite signs of disquietude", "Meanwhile Marguerite called me up to her bed, asked me to open a\ncupboard, and pointed out a cap and a long chemise covered with lace,\nand said in a feeble voice:" ], [ "\"Because,\" said Marguerite, releasing herself from my arms, and, taking\nfrom a great bunch of red camellias a single camellia, she placed it in\nmy buttonhole, \"because one can not always carry out agreements the day\nthey are signed.\"", "A few minutes afterward I saw Marguerite from the street at a window of\none of the large rooms of the restaurant, pulling the camellias of her", "went. She was never seen with any flowers but camellias. At the\nflorist's, Madame Barjon's, she had come to be called \"the Lady of the", "Meanwhile Marguerite called me up to her bed, asked me to open a\ncupboard, and pointed out a cap and a long chemise covered with lace,\nand said in a feeble voice:", "At this moment Marguerite reappeared from her dressing-room, wearing a\ncoquettish little nightcap with bunches of yellow ribbons, technically", "of seeing her. There was a first night at the Palais Royal. Marguerite\nwas sure to be there. I was at the theatre by seven. The boxes filled", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "A few minutes afterward Nanine entered, all out of breath. Marguerite\nrose and talked with her in whispers. When Nanine had gone out\nMarguerite sat down by me again and said, taking my hand:", "Marguerite rose. \"Adieu, my dear count. Are you going already?\"\n\n\"Yes, I fear I am boring you.\"", "\"Did you ever know a certain Marguerite Gautier?\"\n\n\"The Lady of the Camellias?\"\n\n\"Exactly.\"\n\n\"Oh, very well!\"", "\"There's one, now,\" Marguerite went on, as she took off her dress and\nput on a white dressing-gown, \"there's one who knows very well how to", "the way in which Marguerite came to meet her, that another similar\nconversation was going to take place, and I was anxious to hear what\nit was about. The two women shut themselves into a boudoir, and I put", "\"And when shall I see you again?\" I said, clasping her in my arms.\n\n\"When this camellia changes colour.\"\n\n\"When will it change colour?\"", "\"Ah, you here?\"' she said, \"where is Marguerite?\"\n\n\"In her dressing-room.\"\n\n\"I will wait. By the way, do you know she thinks you charming?\"", "I made up my mind. That woman should be my mistress. I began by dancing\nwith her. Half an hour afterward, Marguerite, pale as death, put on her\npelisse and left the ball.", "Marguerite. I went to my rooms to change my clothes, and, as the weather\nwas fine and it was still early, I made my way to the Champs-Elysees. At", "A few days later there was a great performance at the Opera Comique. The\nfirst person I saw in one of the boxes was Marguerite Gautier.", "I took Marguerite's hand. It was burning, and the poor woman shivered\nunder her fur cloak.\n\nI rolled the arm-chair in which she was sitting up to the fire.", "I took Marguerite's head in my hands; her loosened hair streamed about\nher; I gave her a last kiss, saying: \"When shall I see you again?\"", "Marguerite, tired out with this long confession, threw herself back on\nthe sofa, and to stifle a slight cough put up her handkerchief to her\nlips, and from that to her eyes." ], [ "\"No,\" she answered, \"I will not leave Armand, and I will not conceal the\nfact that I am living with him. It is folly no doubt, but I love him.", "learned what manner of life Armand is leading in Paris, and has declared\nto me that the marriage must be broken off if Armand continues this\nlife. The future of a child who has done nothing against you, and who", "\"But Armand doesn't know her.\"\n\n\"I will introduce him.\"\n\n\"Impossible.\"", "I scrutinized Armand, for every moment I was afraid lest the emotions\nwhich he was visibly repressing should prove too much for him; but he", "Armand did not move. His eyes were fixed upon the empty grave; he was as\nwhite as the corpse which we had just seen. He looked as if he had been\nturned to stone.", "\"Do not say that, Armand. I would rather anything should happen than\nthat you should quarrel with your family; wait till after to-day, and", "misfortune has yet arrived, but one will arrive, and perhaps a greater\none than those which I foresee. Armand might become jealous of a man who", "\"You know very well that she will not do that. So, my dear Armand, let\nher alone. If you saw her you would be ashamed of the way in which you", "Armand Duval, and that he will never forgive that. 'Let Marguerite leave\nthe young man,' he said to me, 'and, as in the past, I will give her all", "\"Whatever may be your resolution of living otherwise than as you have\nlived, Armand, who loves you, will never consent to the seclusion to", "You remember, Armand, how the arrival of your father surprised us at\nBougival; you remember the involuntary fright that his arrival caused\nme, and the scene which took place between you and him, which you told\nme of in the evening.", "\"I have been seeing about a place for Armand to stay.\"\n\n\"In the same house?\" asked Prudence, laughing.", "\"Who was this Armand?\"\n\n\"A fellow who squandered on her the little money he had, and then had to\nleave her. They say he was quite wild about it.\"\n\n\"And she?\"", "I found Armand in bed. On seeing me he held out a burning hand. \"You\nare feverish,\" I said to him. \"It is nothing, the fatigue of a rapid", "At this point Armand stopped.\n\n\"Would you close the window for me?\" he said. \"I am beginning to feel\ncold. Meanwhile, I will get into bed.\"", "all that to Armand, but, absorbed in you, he made no reply. Well, my\ndaughter is about to marry. She is to marry the man whom she loves; she", "\"I am here, Armand,\" she said; \"you wished to see me and I have come.\"\n\nAnd letting her head fall on her hands, she burst into tears.\n\nI went up to her.", "You love Armand; prove it to him by the sole means which remains to you\nof yet proving it to him, by sacrificing your love to his future. No", "Armand, tired by this long narrative, often interrupted by his tears,\nput his two hands over his forehead and closed his eyes to think, or", "dear child, of the position that you are losing, and that Armand can\nnever give you. He loves you with all his soul, but he has no fortune" ], [ "Armand Duval, and that he will never forgive that. 'Let Marguerite leave\nthe young man,' he said to me, 'and, as in the past, I will give her all", "one leaves her, no matter for what reason. I know Marguerite; she would\ndie sooner than reply.\"", "\"Who was this Armand?\"\n\n\"A fellow who squandered on her the little money he had, and then had to\nleave her. They say he was quite wild about it.\"\n\n\"And she?\"", "What a sad day we have had to-day, poor M. Armand! This morning\nMarguerite was stifling; the doctor bled her, and her voice has returned", "one breaks with them. Now Marguerite ended with me so lightly that I\nrealize I was a great fool to have been as much in love with her as I\nwas, for I was really very much in love with that girl.\"", "\"No,\" she answered, \"I will not leave Armand, and I will not conceal the\nfact that I am living with him. It is folly no doubt, but I love him.", "\"It was about this time of the year, on the evening of a day like this,\nthat I first met Marguerite,\" said Armand to me, as if he were listening", "Marguerite rose. \"Adieu, my dear count. Are you going already?\"\n\n\"Yes, I fear I am boring you.\"", "Chapter 5\n\nA good while elapsed before I heard anything more of Armand, but, on the\nother hand, I was constantly hearing of Marguerite.", "\"Did she give you the papers that Marguerite had left for you?\"\n\nArmand drew a roll of papers from under his pillow, and immediately put\nthem back.", "\"Because Marguerite, the woman you calumniate, and whom you wish me to\nabandon, is sacrificing all that she possesses in order to live with\nme.\"", "\"Shall you go and say good-bye to Marguerite?\" she continued, as\nseriously as before.\n\n\"No.\"\n\n\"You are quite right.\"", "However, I did not wish to go away without letting Marguerite know why\nI went. Only a man who really cares no more for his mistress leaves her", "\"But why should I go where Marguerite goes?\"\n\n\"Because you are her lover, surely!\"\n\n\"Who told you that?\"", "Armand was flushed and delirious; he stammered out disconnected words,\nin which only the name of Marguerite could be distinctly heard.\n\n\"Well?\" I said to the doctor when he had examined the patient.", "I, too, had not seen Armand again. I was beginning to ask myself if,\nwhen he had come to see me, the recent news of Marguerite's death had", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "\"I am here, Armand,\" she said; \"you wished to see me and I have come.\"\n\nAnd letting her head fall on her hands, she burst into tears.\n\nI went up to her.", "I knew Marguerite: this unexpected meeting must certainly have upset\nher. No doubt she had heard that I had gone away, and had thus been", "thousand francs from Armand, who did not believe it, but who pretended\nto, out of respect for all those in whose company Marguerite had lived." ], [ "\"She is consumptive, and the sort of life she leads isn't exactly the\nthing to cure her. She has taken to her bed; she is dying.\"\n\nThe heart is a strange thing; I was almost glad at hearing it.", "\"Because she suffers in the chest, and is almost always feverish.\"\n\n\"Hasn't she any lovers?\" I asked.", "the young duchess was in the last stage of consumption, and a few days\nafter Marguerite's arrival she died. One morning, the duke, who had", "The constant sight of dissipation, precocious dissipation, in addition\nto her constant sickly state, had extinguished in her mind all the", "To-day I am ill; I may die of this illness, for I have always had the\npresentiment that I shall die young. My mother died of consumption, and", "been overcome by sickness, and Marguerite's death no longer appeared to\nhim under its former aspect. A kind of consolation had sprung from the", "heal you of this fever, for it is nothing else. Meanwhile, your mistress\nwill console herself; she will take another lover; and when you see what", "constitution which must come from daily excesses like this. At length,\nsomething which I had feared and foreseen happened. Toward the end of\nsupper Marguerite was seized by a more violent fit of coughing than any", "\"But you seem quite well.\"\n\n\"Oh! I have been very ill.\"\n\n\"I know.\"\n\n\"Who told you?\"", "Despite the burning fever which devoured me, I made them dress me and\ntake me to the Vaudeville. Julie put on some rouge for me, without which", "\"They always say she was very much in love with him, but as girls like\nthat are in love. It is no good to ask them for what they can not give.\"\n\n\"What has become of Armand?\"", "ever have said that I, Marguerite Gautier, would have suffered so at the\nmere thought of a new lover? I drank for forgetfulness, and when I woke\nnext day I was beside the count.", "have burned up the heart, dissipation has blunted the feelings. They\nhave long known the words that we say to them, the means we use; they\nhave sold the love that they inspire. They love by profession, and not", "\"She seems much changed, for I did not recognise her,\" I said, with an\nemotion that you will soon understand.\n\n\"She has been ill; the poor girl won't last long.\"", "which permits many women to have many lovers. At another moment I would\nrecall her promises, and endeavour to convince myself that my letter was\nonly too gentle, and that there were not expressions forcible enough to", "offered me; but what would you have? I was dying of ennui, and if one is\nbound to be consumed, it is as well to throw oneself into the flames as", "in affection? The second interpretation seemed the more probable, for\nthe first would have been an impertinent piece of plain speaking which\nMarguerite, whatever her opinion of herself, would never have accepted.", "It must be said that Marguerite was just then very ill. The past seemed\nto her sensitive nature as if it were one of the main causes of her", "or was deceived like everybody else, preserved a perfect dignity in\nresponse to the insults which I heaped upon her daily. Only, she seemed\nto suffer, for whenever I met her she was more and more pale, more", "a duchess. It is simply a kept woman, very much kept, my dear fellow;\ndon't be shy, say anything that comes into your head.\"" ], [ "\"Yes, a book.\"\n\n\"Manon Lescaut?\"\n\n\"Precisely.\"\n\n\"Have you the book still?\"", "Paris. Meanwhile I looked about for a book, for I dared not think. Manon\nLescaut was open on the table. It seemed to me that here and there", "\"A volume, beautifully bound, gilt-edged, entitled Manon Lescaut. There\nis something written on the first page. Ten francs.\"", "In a book of Alphonse Karr entitles Am Rauchen, there is a man who one\nevening follows a very elegant woman, with whom he had fallen in love", "of by all their lovers at the same moment, for in Paris almost all\nthe lovers of a well-known woman are friends. A few recollections are\nexchanged, and everybody's life goes on as if the incident had never", "\"I say, my dear child, that every young man must have his mistress, and\nthat, from the fresh information I have had, I would rather see you the\nlover of Mlle. Gautier than of anyone else.\"", "It was at this time that she read Manon Lescaut, over and over again.\nI found her several times making notes in the book, and she always\ndeclared that when a woman loves, she can not do as Manon did.", "\"Marguerite, let me say to you something which you have no doubt often\nheard, so often that the habit of hearing it has made you believe it no\nlonger, but which is none the less real, and which I will never repeat.\"", "\"Why?\"\n\n\"Because the Comte de N. is still here, and he is boring me to death.\"\n\n\"I can't now.\"\n\n\"What is hindering you?\"", "he would answer for nothing in regard to Mlle. Gautier. This man wanted\nhis money; he was given part payment out of the few thousand francs that", "The person whom she had admitted did not come farther than the\ndining-room. At the first word I recognised the voice of the young Comte\nde N.\n\n\"How are you this evening?\" he said.", "\"And that didn't hinder you from going to bed and sleeping quite\ncomfortably. One knows what that sort of love means.\"\n\n\"There you are mistaken. Do you know what I did that evening, after the\nOpera Comique?\"", "\"Well, let us go to Bougival, at the Point du Jour, at Widow Arnould's.\nArmand, order an open carriage.\"\n\nAn hour and a half later we were at Widow Arnould's.", "Once already she had not replied to the same words, and the Comte de G.,\nyou will remember, had spent the night with her; but that time was so", "\"No. And this one?\" I inquired, pointing to the other miniature.\n\n\"That is the little Vicomte de L. He was obliged to disappear.\"\n\n\"Why?\"", "\"No, at Point du Jour, where we had dinner, the duke and I. While he\nwas admiring the view, I asked Mme. Arnould (she is called Mme. Arnould,", "I have discovered that one of them experienced a serious love in the\ncourse of her life, that she suffered for it, and that she died of it. I\nhave told the reader all that I learned. It was my duty.", "\"In the Champs-Elysees. She was with another woman, very pretty. Who is\nshe?\"\n\n\"What was she like?\"", "\"At the Palais Royal.\"\n\n\"And I at the Opera,\" said he; \"I expected to see you there.\"\n\n\"Why?\"\n\n\"Because Marguerite was there.\"", "You remember, Armand, how the arrival of your father surprised us at\nBougival; you remember the involuntary fright that his arrival caused\nme, and the scene which took place between you and him, which you told\nme of in the evening." ], [ "\"There's one, now,\" Marguerite went on, as she took off her dress and\nput on a white dressing-gown, \"there's one who knows very well how to", "\"Because,\" said Marguerite, releasing herself from my arms, and, taking\nfrom a great bunch of red camellias a single camellia, she placed it in\nmy buttonhole, \"because one can not always carry out agreements the day\nthey are signed.\"", "A few minutes afterward I saw Marguerite from the street at a window of\none of the large rooms of the restaurant, pulling the camellias of her", "Meanwhile Marguerite called me up to her bed, asked me to open a\ncupboard, and pointed out a cap and a long chemise covered with lace,\nand said in a feeble voice:", "At this moment Marguerite reappeared from her dressing-room, wearing a\ncoquettish little nightcap with bunches of yellow ribbons, technically", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "The dawn found us both awake. Marguerite was livid white. She did not\nspeak a word. From time to time, big tears rolled from her eyes, and", "melodies of Scudo. Marguerite was dressed in white, she leaned on my\narm, saying over to me again under the starry sky the words she had said", "turned into the most loving and the purest of virgins. Marguerite had\nstill pride and independence, two sentiments which, if they are wounded,", "A few minutes afterward Nanine entered, all out of breath. Marguerite\nrose and talked with her in whispers. When Nanine had gone out\nMarguerite sat down by me again and said, taking my hand:", "Marguerite rose. \"Adieu, my dear count. Are you going already?\"\n\n\"Yes, I fear I am boring you.\"", "went. She was never seen with any flowers but camellias. At the\nflorist's, Madame Barjon's, she had come to be called \"the Lady of the", "Marguerite. I went to my rooms to change my clothes, and, as the weather\nwas fine and it was still early, I made my way to the Champs-Elysees. At", "Just then, one fine day in summer, Marguerite was awakened by the\nsunlight pouring into her room, and, jumping out of bed, asked me if I\nwould take her into the country for the whole day.", "\"Ah, you here?\"' she said, \"where is Marguerite?\"\n\n\"In her dressing-room.\"\n\n\"I will wait. By the way, do you know she thinks you charming?\"", "of seeing her. There was a first night at the Palais Royal. Marguerite\nwas sure to be there. I was at the theatre by seven. The boxes filled", "\"Well, I will arrange that,\" said Marguerite, freeing my hand, and\ninterpreting my words according to her own desire. \"Let us go and see if\nit is to let.\"", "\"Well and good.\"\n\nIn spite of myself I glanced at the bed; it was not unmade. As for\nMarguerite, she was already in her white dressing-gown. We sat down to\ntable.", "Scenes of this kind often took place, and though I could not discover\ntheir cause, I could not fail to see in Marguerite signs of disquietude", "The night before I had found Marguerite sad; that night I found her\nfeverish and agitated. On seeing me, she flung her arms around my neck," ], [ "Marguerite fell into her last agony at about two o'clock. Never did a\nmartyr suffer such torture, to judge by the cries she uttered. Two or", "It must be said that Marguerite was just then very ill. The past seemed\nto her sensitive nature as if it were one of the main causes of her", "been overcome by sickness, and Marguerite's death no longer appeared to\nhim under its former aspect. A kind of consolation had sprung from the", "one leaves her, no matter for what reason. I know Marguerite; she would\ndie sooner than reply.\"", "the young duchess was in the last stage of consumption, and a few days\nafter Marguerite's arrival she died. One morning, the duke, who had", "I took Marguerite's head in my hands; her loosened hair streamed about\nher; I gave her a last kiss, saying: \"When shall I see you again?\"", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "Very pale, her mouth half open, Marguerite tried to recover breath. Now\nand again her bosom was raised by a long sigh, which seemed to\nrelieve her a little, and for a few seconds she would seem to be quite\ncomfortable.", "Marguerite, in fact, as I had found from some friends who knew of the\nlast circumstances of her life, had not a single real friend by her\nbedside during the two months of her long and painful agony.", "his tears, and buried his heart in it; while Marguerite, a sinner like\nManon, and perhaps converted like her, had died in a sumptuous bed (it", "turned into the most loving and the purest of virgins. Marguerite had\nstill pride and independence, two sentiments which, if they are wounded,", "It may sound childish to tell you all these details, but everything\nrelating to Marguerite is so fresh in my memory that I can not help\nrecalling them now.", "It was a strange night. All Marguerite's life seemed to have passed into\nthe kisses with which she covered me, and I loved her so much that in", "Marguerite, tired out with this long confession, threw herself back on\nthe sofa, and to stifle a slight cough put up her handkerchief to her\nlips, and from that to her eyes.", "What a sad day we have had to-day, poor M. Armand! This morning\nMarguerite was stifling; the doctor bled her, and her voice has returned", "Marguerite rose. \"Adieu, my dear count. Are you going already?\"\n\n\"Yes, I fear I am boring you.\"", "I could make nothing of these intermittent paroxysms of distress, which\nwent on till morning. Then Marguerite fell into a kind of stupor. She\nhad not slept for two nights.", "one breaks with them. Now Marguerite ended with me so lightly that I\nrealize I was a great fool to have been as much in love with her as I\nwas, for I was really very much in love with that girl.\"", "Then began an existence which I shall have some difficulty in describing\nto you. At first Marguerite could not break entirely with her former", "Meanwhile Marguerite called me up to her bed, asked me to open a\ncupboard, and pointed out a cap and a long chemise covered with lace,\nand said in a feeble voice:" ], [ "turned into the most loving and the purest of virgins. Marguerite had\nstill pride and independence, two sentiments which, if they are wounded,", "\"Because Marguerite, the woman you calumniate, and whom you wish me to\nabandon, is sacrificing all that she possesses in order to live with\nme.\"", "love, far from leading me astray, is capable, on the contrary, of\nsetting me in the right direction. Love always makes a man better,\nno matter what woman inspires it. If you knew Marguerite, you would", "Prudence had strictly sermonized Marguerite in regard to her new manner\nof life; but she had replied that she loved me, that she could not live", "It was impossible to see more charm in beauty than in that of\nMarguerite. Excessively tall and thin, she had in the fullest degree the", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "of Marguerite. Gaston was thoroughly amused; he was a very good sort of\nfellow, but somewhat spoiled by the habits of his youth. For a moment", "francs, but he has had his way at last. He knows quite well that\nMarguerite is not in love with him; but he is very nice with her all the", "Marguerite has not been unfaithful to you twenty times, it is because\nshe has an exceptional nature. It is not my fault for not advising", "Charm, sweetness, spontaneity, Marguerite had them all, and I was forced\nfrom time to time to admit that I had no right to ask of her anything", "one leaves her, no matter for what reason. I know Marguerite; she would\ndie sooner than reply.\"", "The more I reflected the more I said to myself that Marguerite had no\nreason for feigning a love which she did not feel, and I said to myself", "Marguerite had a marvellous portrait of herself, by Vidal, the only man\nwhose pencil could do her justice. I had this portrait by me for a few", "It must be said that Marguerite was just then very ill. The past seemed\nto her sensitive nature as if it were one of the main causes of her", "\"What is the good? I came to see you, because you have always been\ncharming to me, and I knew you before I ever knew Marguerite. I owe", "The story of Marguerite is an exception, I repeat; had it not been an\nexception, it would not have been worth the trouble of writing it.", "\"Then, besides that,\" continued Prudence; \"admit that Marguerite loves\nyou enough to give up the count or the duke, in case one of them were to", "Now, I was in love with Marguerite. I had nothing more to ask of her.\nNevertheless, though she was only a kept woman, I had so anticipated for", "\"Because he was all but ruined. That's one, if you like, who loved\nMarguerite.\"\n\n\"And she loved him, too, no doubt?\"", "It may sound childish to tell you all these details, but everything\nrelating to Marguerite is so fresh in my memory that I can not help\nrecalling them now." ], [ "one leaves her, no matter for what reason. I know Marguerite; she would\ndie sooner than reply.\"", "\"Because Marguerite, the woman you calumniate, and whom you wish me to\nabandon, is sacrificing all that she possesses in order to live with\nme.\"", "Then began an existence which I shall have some difficulty in describing\nto you. At first Marguerite could not break entirely with her former", "I made up my mind. That woman should be my mistress. I began by dancing\nwith her. Half an hour afterward, Marguerite, pale as death, put on her\npelisse and left the ball.", "Now, I was in love with Marguerite. I had nothing more to ask of her.\nNevertheless, though she was only a kept woman, I had so anticipated for", "one breaks with them. Now Marguerite ended with me so lightly that I\nrealize I was a great fool to have been as much in love with her as I\nwas, for I was really very much in love with that girl.\"", "The habit or the need of seeing me which Marguerite had now contracted\nhad this good result: that it forced me to leave the gaming-table just", "turned into the most loving and the purest of virgins. Marguerite had\nstill pride and independence, two sentiments which, if they are wounded,", "Marguerite rose. \"Adieu, my dear count. Are you going already?\"\n\n\"Yes, I fear I am boring you.\"", "to Marguerite, and bring her back to Paris. You have lived with her\nalone for four or five months; that is quite enough. Shut your eyes now;", "Marguerite began to laugh.\n\n\"What are you laughing at?\"\n\n\"Nothing.\"\n\n\"Tell me, I beg of you, or I shall think you are still laughing at me.\"", "At the end of six weeks the count was entirely given up, and only the\nduke obliged me to conceal my liaison with Marguerite, and even he was", "leaving it. For the most of them, gambling was a necessity; for me, it\nwas a remedy. Free of Marguerite, I should have been free of gambling.", "Marguerite, tired out with this long confession, threw herself back on\nthe sofa, and to stifle a slight cough put up her handkerchief to her\nlips, and from that to her eyes.", "At last Marguerite gave up going to balls or theatres, for fear of\nmeeting Olympe and me. Then direct impertinences gave way to anonymous", "It must be said that Marguerite was just then very ill. The past seemed\nto her sensitive nature as if it were one of the main causes of her", "Prudence had strictly sermonized Marguerite in regard to her new manner\nof life; but she had replied that she loved me, that she could not live", "still being Marguerite's lover. She would cry a little at the beginning,\nbut she would come to accustom herself to it, and you would thank me", "\"My life is yours, Marguerite; you need this man no longer. Am I not\nhere? Shall I ever leave you, and can I ever repay you for the happiness", "Marguerite had almost insisted on my going to Paris; she had pretended\nto be calmer when I had proposed staying with her. Had I fallen into" ] ]

[ "What is Armand Duval's nationality?", "What does it signify when Marguerite wears a white camelia?", "For what reason does Armand believe Marguerite left the countryside?", "What is Marguerite's profession?", "What does it signify when Marguerite wears a red camelia?", "Who persuades Marguerite to leave the countryside?", "Why does Armand's father disapprove of Armand's love affair with Marguerite?", "Where did Armand and Marguerite live before they left for the countryside together?", "What does Marguerite wear when unavailable for lovemaking?", "What does Marguerite wear when she is available for love making?", "Who falls in love with Marguerite?", "What does Armand's father fear will be damaged by scandal?", "What does Armand's father convince Marguerite to do?", "What does Armand think Marguerite left for?", "What is Marguerite's occupation before meeting Armand?", "What modern disease is believed to be the cause of Marguerite's death?", "What is the gender of the story's narrators?", "What real life personage is the story believed to be about?", "What illness does Marguerite suffer from?", "When does Marguerite wear a red camelia?", "What does Armand fear a scandal would do?", "Why does Armand think Marguerite leaves?", "What do some scholars believe consumption was a euphemism for ?", "Which French novel is mentioned?", "When does Marguerite wear a white flower?", "What is Marguerite's death described as?", "What makes Marguerite virtuous?", "Why does Marguerite leave her courtesan life?" ]

[ [ "French.", "bourgeois" ], [ "That she is available to make love.", "That she is available for love making" ], [ "For another man.", "To be with another man" ], [ "A demimondaine. A courtesan.", "courtesan" ], [ "She is not available for making love.", "that she is menstruating and unavailable to her lovers" ], [ "Armand's father.", "Armand's father" ], [ "That the scandal of their love will ruin Armand's sister's chance of a good marriage.", "He is afraid the scandal will ruin his daughter's chances for marriage. " ], [ "Paris.", "They lived in Paris" ], [ "Red Camellia", "A red Camelia " ], [ "White Camellia", "She wears a white camelia" ], [ "Armand", "Armand" ], [ "Armand's sister's marriage chances", "Armand's sister's chance at marriage" ], [ "leave Armand", "leave Armand" ], [ "The love of another man", "another man" ], [ "A courtesan", "courtesan" ], [ "syphillis", "syphilis" ], [ "male", "The narrators are male" ], [ "Dumas", "Marie Duplessis" ], [ "Consumption/Tuberculosis", "consumption (tuberculosis)" ], [ "when she is menstruating", "When he is on her period and cannot work as a prostitute. " ], [ "destroy Armand's sister's chances of marriage.", "Hurt his sister's marriage chances" ], [ "to be with another man", "for someone else" ], [ "syphyllis", "syphilis" ], [ "Manon Lescaut", "Manon Lescaut" ], [ "when she is available for lovers", "When as a courtesan she is ready for love making" ], [ "an unending agony", "unending agony" ], [ "her love for Armand ", "Her love for Armand" ], [ "to move to the country with Armand", "to be with Armand" ] ]

[ [ "signed by \"Horace Holly,\" a name that at the moment was not familiar to\nme. It ran as follows:--", "\"Believe me, very truly yours, \"L. Horace Holly.[*]", "It was in this very month something over twenty years ago that I, Ludwig\nHorace Holly, was sitting one night in my rooms at Cambridge, grinding", "\"Geoffrey and Jordan.\n\n\"Horace L. Holly, Esq.\"", "I have been searching for some one to whom I could confide the boy and\nthis,\" and he tapped the iron box. \"You are the man, Holly; for, like a", "matter. I wrote to this effect to Mr. Holly, but a week afterwards\nreceived a letter from that gentleman's lawyers, returning my own, with\nthe information that their client and Mr. Leo Vincey had already left", "\"What do you make of that, Uncle Holly,\" said Leo, with a sort of gasp,\nas he replaced it on the table. \"We have been looking for a mystery, and\nwe certainly seem to have found one.\"", "\"They call me Holly, oh Queen,\" I answered.\n\n\"Holly,\" she answered, speaking the word with difficulty, and yet with a\nmost charming accent; \"and what is 'Holly'?\"", "much forgotten as though I had never been. Holly, my friend (to whom, if\nhe will accept the trust, it is my intention to confide you), will have", "at once joined, walking off in their company. I remember being rather\namused because of the change in the expression of the elder man, whose\nname I discovered was Holly, when he saw the ladies advancing. He", "\"Yes; and I verily believe it is my last visit,\" he answered, with a\nghastly attempt at a smile. \"I am done for, Holly. I am done for. I do\nnot believe that I shall see to-morrow.\"", "Here also I am not able to answer, but must leave the reader to form his\nown judgment on the facts before him, as detailed by Mr. Holly in the\nfollowing pages.\n\n\n\nI", "\"Certainly, Uncle Horace,\" answered Leo; for I had brought him up to\ncall me uncle--though he varied the appellation somewhat disrespectfully\nby calling me \"old fellow,\" or even \"my avuncular relative.\"", "been likely to attract an intellect so powerful as that of Ayesha. He is\nnot even, at any rate to my view, particularly interesting. Indeed, one\nmight imagine that Mr. Holly would under ordinary circumstances have", "\"And this man, oh Holly,\" said _She_, pointing to Job; \"best is it\nthat he should tarry also, for if his heart be not high and his courage", "\"So,\" she said softly; \"provided he be not dead, it is no matter, for I\ncan bring him back to life, my Holly. Is that man there thy servant,\nand is that the method wherewith thy servants greet strangers in thy\ncountry?\"", "\"Nay,\" she said, \"enter with me, oh Holly, for of a truth thy\nconversation pleaseth me. Think, oh Holly: for two thousand years have I", "\"Well, my Holly,\" she continued, \"and so those people of mine have found\na prophet, a false prophet thou sayest, for he is not thine own, and,", "greater weights. Now, come, oh Holly, for presently the light will fail\nus.\"", "\"Begins to look as though there were something in the story after all,\nUncle Horace,\" said the exultant Leo; and reflecting on the mysterious\nnegro's head and the equally mysterious stonework, I made no direct\nreply." ], [ "matter. I wrote to this effect to Mr. Holly, but a week afterwards\nreceived a letter from that gentleman's lawyers, returning my own, with\nthe information that their client and Mr. Leo Vincey had already left", "He obeyed, and from the box I took the keys that poor Vincey, Leo's\nfather, had given me on the night of his death. There were three of", "\"What do you make of that, Uncle Holly,\" said Leo, with a sort of gasp,\nas he replaced it on the table. \"We have been looking for a mystery, and\nwe certainly seem to have found one.\"", "\"Thank you, Holly, thank you. There is nothing at all. Swear to me by\nGod that you will be a father to the boy, and follow my directions to\nthe letter.\"", "it was true after all. I must take the boy. Suddenly I remembered the\nletter which Vincey had left with the chest. I fetched and opened it.\nIt only contained such directions as he had already given to me as to", "pointed to Leo's round shaving-glass that had been arranged by Job with\nother things upon his portmanteau; \"give it to this woman, my Holly, and", "picture of Leo's Greek mother--a lovely, dark-eyed creature. On the back\nof it was written, in poor Vincey's handwriting, \"My beloved wife.\"", "\"Very well,\" answered Leo, putting down the miniature, at which he\nhad been gazing affectionately; \"and now let us read the letter,\" and\nwithout further ado he broke the seal, and read aloud as follows:--", "The next thing that I found was a parchment carefully rolled up. I\nunrolled it, and seeing that it was also in Vincey's handwriting, and", "\"It is an accursed lie!\" said Leo. \"My name is not Kallikrates! I am Leo\nVincey; my ancestor was Kallikrates--at least, I believe he was.\"", "To begin, Leo, with his golden curls turned a snowy white, his clothes\nnearly rent from his body, his worn face and his hands a mass of", "calling the attention of the reader to it. He will observe that so far\nas we are made acquainted with him there appears to be nothing in the\ncharacter of Leo Vincey which in the opinion of most people would have", "\"Yes; and I verily believe it is my last visit,\" he answered, with a\nghastly attempt at a smile. \"I am done for, Holly. I am done for. I do\nnot believe that I shall see to-morrow.\"", "pay for the board of the boy. The rest is to accumulate till Leo is\ntwenty-five, so that there may be a sum in hand should he wish to\nundertake the quest of which I spoke.\"", "\"Do you, old fellow,\" answered Leo. \"I will sit upon the other side of\nthe stone to steady it. You must take as much run as you can, and jump\nhigh; and God have mercy on us, say I.\"", "\"My Son Leo,--When you open this, if you ever live to do so, you will\nhave attained to manhood, and I shall have been long enough dead to", "of Leo Vincey. I stared from Leo, standing _there_ alive, to Leo lying\n_there_ dead, and could see no difference; except, perhaps, that the", "night and not have been much the poorer. At daybreak Leo arrived in my\nroom in a dressing-gown, and suggested that we should at once proceed to", "looked at Leo. He was sitting up, holding his hands to his head, and I\nsaw that his face was flushed and his eye bright, and yet yellow round\nthe pupil.", "I have been searching for some one to whom I could confide the boy and\nthis,\" and he tapped the iron box. \"You are the man, Holly; for, like a" ], [ "\"What do you make of that, Uncle Holly,\" said Leo, with a sort of gasp,\nas he replaced it on the table. \"We have been looking for a mystery, and\nwe certainly seem to have found one.\"", "I have been searching for some one to whom I could confide the boy and\nthis,\" and he tapped the iron box. \"You are the man, Holly; for, like a", "Job and Leo bent forward in breathless silence. The key turned, and\nI flung back the lid, and uttered an exclamation, and no wonder, for", "pointed to Leo's round shaving-glass that had been arranged by Job with\nother things upon his portmanteau; \"give it to this woman, my Holly, and", "\"Very well,\" answered Leo, putting down the miniature, at which he\nhad been gazing affectionately; \"and now let us read the letter,\" and\nwithout further ado he broke the seal, and read aloud as follows:--", "He obeyed, and from the box I took the keys that poor Vincey, Leo's\nfather, had given me on the night of his death. There were three of", "I handed the letter to Leo, who glanced at the envelope, and then put it\ndown upon the table, making a motion to me to go on emptying the casket.", "Just then Leo opened his eyes beneath the stimulus of some brandy (of\nwhich we still had a little) that Job had poured down his throat, and\nour conversation came to an end.", "matter. I wrote to this effect to Mr. Holly, but a week afterwards\nreceived a letter from that gentleman's lawyers, returning my own, with\nthe information that their client and Mr. Leo Vincey had already left", "herself, and roared. At that moment Leo fired, the bullet went right\ndown her open mouth and out at the back of her neck, and down she", "looked at Leo. He was sitting up, holding his hands to his head, and I\nsaw that his face was flushed and his eye bright, and yet yellow round\nthe pupil.", "Thus adjured, Leo told her the wonderful story of the casket and of the\npotsherd that, written on by his ancestress, the Egyptian Amenartas, had", "For a moment Leo did not quite realise what had happened. But, when he\ndid, his face was awful to see. With a savage oath he rose from beside", "that they had ever seen. Upon my word, I once or twice thought that they\nwere coming into the boat to gratify it. Leo wanted to fire at them,", "had embraced Leo. If he kissed her back it was a token that he accepted\nher, and the arrangement continued until one of them wearied of it. I", "Hardly were the words out of her mouth, when Leo turned round and\nstretched out his arms, yawned, opened his eyes, and, perceiving a", "\"Hulloa, old fellow!\" whispered Leo, with a return of his old\ncheerfulness, \"have you been paying compliments? I should never have\nthought it of you!\"", "dear Leo, for whose life I began to have great fears. However, I rose to\nfollow him, and as I did so I caught sight of something bright lying on", "reaching Leo's room we found the poor boy in a very bad way. He had woke\nup from his torpor, and was altogether off his head, babbling about some", "To begin, Leo, with his golden curls turned a snowy white, his clothes\nnearly rent from his body, his worn face and his hands a mass of" ], [ "It was Leo. Leo brought back by the wave--back, dead or alive, from the\nvery jaws of Death.\n\n\"Bail out! bail out!\" yelled Job, \"or we shall founder.\"", "Accordingly I went, only to find Job and Ustane in a great state of\ngrief, declaring that Leo was in the throes of death, and that they had", "pointed to Leo's round shaving-glass that had been arranged by Job with\nother things upon his portmanteau; \"give it to this woman, my Holly, and", "matter. I wrote to this effect to Mr. Holly, but a week afterwards\nreceived a letter from that gentleman's lawyers, returning my own, with\nthe information that their client and Mr. Leo Vincey had already left", "After this we managed to get Leo, who was in a very poor way indeed, and\nonly half conscious, safely off to bed, supported by Job and that brave", "\"And this man, oh Holly,\" said _She_, pointing to Job; \"best is it\nthat he should tarry also, for if his heart be not high and his courage", "Just then Leo opened his eyes beneath the stimulus of some brandy (of\nwhich we still had a little) that Job had poured down his throat, and\nour conversation came to an end.", "I wrung my hands in agony. Leo was drowned, and I was left alive to\nmourn him.\n\n\"Look out,\" yelled Job; \"here comes another.\"", "finally, and requested Job and myself to do the same. Leo, of course,\nwas far too ill to do anything of the sort. I did so, and we entered the", "might. I was next to her, then came Job, painfully dragging his plank,\nwhile Leo brought up the rear. It was a wonderful sight to see this", "(with one leg hanging over the side). Apparently, however, he could not\nmake much out of Job, for presently I saw his bearers trot forward to\nLeo's litter.", "I gave a gasp, expecting to see Leo instantly speared; and Job\nejaculated, \"The hussy--well, I never!\" As for Leo, he looked slightly", "one, and we set our foot on the quay at Southampton exactly two years\nfrom the date of our departure upon our wild and seemingly ridiculous\nquest, and I now write these last words with Leo leaning over my", "The first care of Job and myself, after seeing to Leo, was to wash\nourselves and put on clean clothing, for what we were wearing had not", "\"If you stop there, Job, you will die alone,\" I called; \"the light is\ngoing.\"\n\n\"Come, be a man, Job,\" roared Leo; \"it's quite easy.\"", "Accordingly, just before sundown, I was informed that everything was\nready, and, accompanied by Job, went into the cave, where I met Leo,", "greater weights. Now, come, oh Holly, for presently the light will fail\nus.\"", "brought up from the boat with the other things. There I met Job, who,\nhaving been inducted to a similar apartment, had flatly declined to stop", "when they saw us face round upon them. Job was on one side of the rock\nto the left, Leo in the centre, and I to the right. Behind us were", "To begin, Leo, with his golden curls turned a snowy white, his clothes\nnearly rent from his body, his worn face and his hands a mass of" ], [ "\"In short,\" I replied, quoting the saying of a great man whose wisdom\nhas not yet lightened the darkness of the Amahagger, \"thou hast found\nthy position one of greater freedom and less responsibility.\"", "of barbarism behind him, in the shape of a huge Amahagger with a\nproportionately huge spear, than to the seductions of the lady who led", "consented to do it cheerfully in order to promote our safety. It shows\nthat even among those dreadful Amahagger--who are certainly with their", "who he gave us to understand was the Queen of the Amahagger, and learn\nher wishes.", "which, stretching for scores and scores of miles, formed a stronger and\nmore impassable fortification round the various Amahagger households\nthan any that could be built or designed by man. No, there was but", "those who shall eat ye are already hungry for the feast. Knowest thou\nnot that these Amahagger, my children, these dwellers in the caves,", "She sighed deeply, entered, and fell upon her hands and knees, after the\ncustom of the Amahagger people, in the presence of the dread _She_.", "I turned, and followed him down the passage, and when we reached the\ngreat central cave saw that many Amahagger, some robed, and some merely", "felled an Amahagger with his fist, but it was more than man could do to\nhold his own for long against so many, and at last he came crashing down", "\"The name of my people is Amahagger\" (the People of the Rocks).\n\n\"And if a son might ask, what is the name of my father?\"\n\n\"My name is Billali.\"", "For a moment there was a silence of astonishment. The Amahagger had\nnever heard the report of a firearm before, and its effects dismayed", "One of them came forward, and, producing a lamp, lit it from his brazier\n(for the Amahagger when on a journey nearly always carried with them a", "here he broke off, and ran as hard as he could go down the cave, and for\nonce I saw the Amahagger laugh. As for the woman, however, she did", "of each tribe, or, as they call it, \"Household,\" and he is its elected\nand immediate ruler, with the title of \"Father.\" For instance, the man", "came down upon them, and took their women to wife, and the race of the\nAmahagger that is now is a bastard brood of the mighty sons of Kôr, and", "the air, throwing great flashes of light far out into the gloom, through\nwhich the dark forms of the Amahagger flitted to and fro like\ndevils replenishing the infernal fires. We all stood and stared", "bearers and two spare hands, also a band of about fifty armed Amahagger,\nwho were to form the escort and carry the baggage. Three of these", "in any such frivolity; but, as will presently more clearly appear,\nit turned out that an Amahagger dance has little in common with such", "with chilling contempt, by the Amahagger, was, I discovered, in a great\nfright, though I could not quite make out what he was frightened about.", "Amahagger. We watched them winding away with the empty litters like a\nprocession bearing dead men from a battle, till the mists from the marsh" ], [ "\"Shall I raise thee,\" she said, apparently addressing the corpse, \"so\nthat thou standest there before me, as of old? I _can_ do it,\" and she", "\"That which is alive and hath known death, and that which is dead yet\ncan never die, for in the Circle of the Spirit life is naught and death", "\"So,\" she said softly; \"provided he be not dead, it is no matter, for I\ncan bring him back to life, my Holly. Is that man there thy servant,\nand is that the method wherewith thy servants greet strangers in thy\ncountry?\"", "physical susceptibilities. There was something very terrible, and yet\nvery fascinating, about the employment of the remote dead to illumine\nthe orgies of the living; in itself the thing was a satire, both on the", "before the breath of the pestilence which destroyed them, yet are they\nnot dead. E'en now they live; perchance their spirits are drawn towards", "\"I have seen enough, oh Queen,\" I answered. \"My heart is overwhelmed\nby the power of the present Death. Mortality is weak, and easily broken", "\"Behold now, let the Dead and Living meet! Across the gulf of Time they\nstill are one. Time hath no power against Identity, though sleep the", "XXI\n\nTHE DEAD AND LIVING MEET", "\"Dust to dust!--the past to the past!--the dead to the\ndead!--Kallikrates is dead, and is born again!\"", "naught. Dost thou still believe that all things die, even as those very\nJews believed? I tell thee that naught dies. There is no such thing as", "is no such thing as death, Holly, only a change, and, as you may perhaps\nlearn in time to come, I believe that even that change could under\ncertain circumstances be indefinitely postponed,\" and again he broke", "\"Dead!\" he gasped. \"Impossible. _She_ who never dies--dead, how can it\nbe?\" and then, perceiving, I think, that his face was being watched by", "the corpse, and, turning, literally sprang at Ayesha. But she was\nwatching, and, seeing him come, stretched out her hand again, and he", "the quiet form beneath the covering began to quiver, and the winding\nsheet to lift as though it lay on the breast of one who slept. Suddenly\nshe withdrew her hands, and the motion of the corpse seemed to me to", "and for these dead ones shall the end of ends be Life, or shall it be\nDeath? As yet Death is but Life's Night, but out of the night is the", "none have saved our glory from the grave. But I, by my arts and by the\narts of those dead men of Kôr which I have learned, have held thee", "The third sculpture was a picture of the burial of the deceased. There\nhe was, stiff and cold, clothed in a linen robe, and laid out on a stone", "I have waited and my reward is with me.\n\nI have overcome Death, and Death brought back to me him that was dead.\n\nTherefore do I rejoice, for fair is the future.", "with whom the former inhabitants of this country may have had some\nconnection, they were used to receive the viscera of the dead. Leo,", "\"To what purpose?\" she said gloomily. \"Of what good is it to recall the\nsemblance of life when I cannot recall the spirit? Even if thou stoodest" ], [ "should I have against one whose brain was supernaturally sharpened,\nand who had two thousand years of experience, besides all manner of\nknowledge of the secrets of Nature at her command! Feeling that she", "of the woman, whilst it horrified and repelled, attracted in even a\ngreater degree. A person with the experience of two thousand years at\nher back, with the command of such tremendous powers, and the knowledge", "\"Thou thinkest, poor ignorant fool,\" she said to the bewildered woman,\n\"that I have not the power to slay. Stay, there lies a mirror,\" and she", "been. It was rumoured also that she was immortal, and had power over\nall things, but she, Ustane, could say nothing of all that. What she", "\"Are there none in your land who can see without eyes and hear without\nears? Ask no questions; _She_ knew.\"", "\"She has got a Devil,\" called out one of them. \"Run and get a black\ngoat. There, Devil, keep quiet! keep quiet! You shall have the goat\npresently. They have gone to fetch it, Devil.\"", "\"Dead!\" he gasped. \"Impossible. _She_ who never dies--dead, how can it\nbe?\" and then, perceiving, I think, that his face was being watched by", "revenge of the slight put upon her by Job. She sank down dead, and as\nshe did so, to my terror and dismay, Mahomed, by a superhuman effort,", "\"Curse her, because her magic hath prevailed against me.\n\n\"Curse her, because she held my beloved from me.\"\n\nAnd again the flame dwindled and shrank.", "deceived by the extraordinary undulating smoothness of her walk into a\nbelief that she was a white ghost gliding towards him. Indeed, at that\nvery moment the question was settled, for Ayesha herself was in the", "and, so far from accepting a natural explanation of the matter, which\nwas after all, though strange enough in all conscience, nothing more\nthan an instance of glorified and perfected telepathy, he set the whole", "her magic, and he died; but she wept over him, and bore him thence with\nlamentations: and being afraid, me she sent to the mouth of the great", "hitherto an absolute and utter disbeliever in all the hocus-pocus which\nin Europe goes by the name of the supernatural, could believe that I had", "\"I have seen enough, oh Queen,\" I answered. \"My heart is overwhelmed\nby the power of the present Death. Mortality is weak, and easily broken", "\"Curse her through the starry spaces. Let her shadow be accursed.\n\n\"Let my power find her even there.\n\n\"Let her hear me even there. Let her hide herself in the blackness.", "So astonishing was the wondrous sight that one and all of us, save\n_She_, who stood up and stretched her hands towards the fire, sank down\nbefore it, and hid our faces in the sand.", "\"I promised thee a strange sight, my Holly,\" laughed Ayesha, whose\nnerves alone did not seem to be affected; \"and, behold, I have not", "magic, though there is such a thing as understanding and applying the\nforces which are in Nature? Go now, and presently, when I have made the\ndrug ready, I will follow thee.\"[*]", "\"Oh, my lord,\" I heard her whisper, \"so I have found thee! Listen. I am\nin peril of my life from '_She-who-must-be-obeyed_.' Surely the Baboon", "\"Nay, nay, she would slay us. Thou knowest not her power--the Baboon\nthere, he knoweth, for he saw. Nay, there is but one way: if thou wilt" ], [ "deceived by the extraordinary undulating smoothness of her walk into a\nbelief that she was a white ghost gliding towards him. Indeed, at that\nvery moment the question was settled, for Ayesha herself was in the", "to his grief in the passage. Obviously the only hope lay in Ayesha. She,\nand she alone--unless, indeed, she was an imposter, which I could", "\"Ay, for a time; but even to the world are they born again and again. I,\nyes I, Ayesha[*]--for that, stranger, is my name--I say to thee that", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "\"Yet within a very little space shalt thou creep to my knee, and swear\nthat thou dost love me,\" answered Ayesha, with a sweet, mocking laugh.", "even at its memory. Ayesha entered the tomb (for it was a tomb), and we\nfollowed her--I, for one, rejoicing that the mystery of the place was", "[*] After some months of consideration of this statement I\n am bound to confess that I am not quite satisfied of its\n truth. It is perfectly true that Ayesha committed a murder,", "the finger of Providence in the matter. Ayesha locked up in her living\ntomb waiting from age to age for the coming of her lover worked but a", "the corpse, and, turning, literally sprang at Ayesha. But she was\nwatching, and, seeing him come, stretched out her hand again, and he", "\"For what crime?\" I asked, horrified. \"She is guilty of naught that thou\nart not guilty of thyself, oh Ayesha. She loves the man, and he has been", "Then, for the first time, Ayesha spoke to him, and her first words were\na lie. \"She has gone from hence upon a visit,\" she said; \"and, behold,\nin her place am I here as thine handmaiden.\"", "that of any other woman in the world for a whole lifetime. And let me\nadd that, if anybody who doubts this statement, and thinks me foolish\nfor making it, could have seen Ayesha draw her veil and flash out in", "\"Behold the lot of man,\" said the veiled Ayesha, as she drew the winding\nsheets back over the dead lovers, speaking in a solemn, thrilling voice,", "\"As thou wilt, Ayesha,\" I said. \"I fear not thy beauty. I have put my\nheart away from such vanity as woman's loveliness, that passeth like a\nflower.\"", "great impression on him. But I clearly saw that he did not believe in\nthe report of Ayesha's death. He believed indeed that we thought\nthat she was dead, but his explanation was that it had suited her to", "I believe it to be--namely, that Ayesha, seeing further than we can\nsee, perceived the germ and smouldering spark of greatness which lay hid", "\"See now the place where I have slept for these two thousand years,\"\nsaid Ayesha, taking the lamp from Leo's hand and holding it above her", "knowledge of Ayesha's character. For all I knew she might be in the very\nact of consigning me to a horrible doom. But in life we sometimes have", "small change in the order of the World. But Ayesha strong and happy in\nher love, clothed in immortal youth and goddess beauty, and the wisdom" ], [ "XX\n\nTRIUMPH\n\nThen followed a moment of the most painful silence that I ever endured.\nIt was broken by Ayesha, who addressed herself to Leo.", "centuries. True, she offered to let Leo slay her, but very\n probably this was only an experiment to try his temper and\n mental attitude towards her. Ayesha never gave way to", "\"See now the place where I have slept for these two thousand years,\"\nsaid Ayesha, taking the lamp from Leo's hand and holding it above her", "\"Thou wilt presently understand,\" said Ayesha, with a little laugh, when\nLeo asked her; and we certainly did. Scarcely were the words out of her", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "\"But we have a queen already,\" broke in Leo, hastily.\n\n\"It is naught, it is naught,\" said Ayesha; \"she can be overthrown.\"", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "\"I hear thee, Ayesha,\" answered Leo, \"but, of a truth--I am no\ncoward--but I doubt me of that raging flame. How know I that it will", "Then came Leo's turn, and though he looked rather queer, he came across\nlike a rope-dancer. Ayesha stretched out her hand to clasp his own, and", "Her face grew dark as a thunder-cloud. Old as she was, Ayesha had not\noutlived jealousy.\n\n\"Then there is an end,\" she said; \"she must die, even now!\"", "\"I am sure I wish I knew, Mr. Leo,\" said Job, edging suspiciously past\nAyesha, whom he still regarded with the utmost disgust and horror, being", "Leo--needed some food and rest. At six o'clock we, together with Job,\nwaited on Ayesha, who set to work to terrify our poor servant still", "We were as usual shown in by the mutes, and after these had\nretired Ayesha unveiled, and once more bade Leo embrace her, which,", "identity and character in reserve, Ayesha did not talk freely, as she\nusually did. Presently, however, she informed Leo that she had arranged", "according to Ayesha, Leo was to awake, and with it came _She_ herself,\nas usual, veiled.", "Then, for the first time, Ayesha spoke to him, and her first words were\na lie. \"She has gone from hence upon a visit,\" she said; \"and, behold,\nin her place am I here as thine handmaiden.\"", "to his grief in the passage. Obviously the only hope lay in Ayesha. She,\nand she alone--unless, indeed, she was an imposter, which I could", "Leo shrugged his shoulders, being in a condition of half-fascinated,\nhalf-expectant mystification, and as he did so, Ayesha with a sudden", "\"Behold the lot of man,\" said the veiled Ayesha, as she drew the winding\nsheets back over the dead lovers, speaking in a solemn, thrilling voice,", "I asked _She_ to come and see Leo, telling her of his serious condition;\nbut she would not, saying that he certainly would not die before the\nnight, as people never died of that sort of fever except at nightfall" ], [ "I have been searching for some one to whom I could confide the boy and\nthis,\" and he tapped the iron box. \"You are the man, Holly; for, like a", "up, and having put the keys and the letter that Vincey had left away\ninto my despatch-box, and stowed the iron chest in a large portmanteau,\nI turned in, and was soon fast asleep.", "it was true after all. I must take the boy. Suddenly I remembered the\nletter which Vincey had left with the chest. I fetched and opened it.\nIt only contained such directions as he had already given to me as to", "He obeyed, and from the box I took the keys that poor Vincey, Leo's\nfather, had given me on the night of his death. There were three of", "matter. I wrote to this effect to Mr. Holly, but a week afterwards\nreceived a letter from that gentleman's lawyers, returning my own, with\nthe information that their client and Mr. Leo Vincey had already left", "\"open the iron box, and let him see and read the contents, and say\nwhether or no he is willing to undertake the quest. There is no", "\"Thank you, Holly, thank you. There is nothing at all. Swear to me by\nGod that you will be a father to the boy, and follow my directions to\nthe letter.\"", "\"Then the boy must become a ward of Chancery and take his chance. Only\nbe careful that the iron chest is passed on to him by your will. Listen,", "thou Holly, take this phial,\" and she produced a tiny jar of pottery\nfrom the folds of her garment, \"and pour the liquid in it down his", "greater weights. Now, come, oh Holly, for presently the light will fail\nus.\"", "The next thing that I found was a parchment carefully rolled up. I\nunrolled it, and seeing that it was also in Vincey's handwriting, and", "and if I did not, what it would be my duty to do with the curious iron\nchest. I sat there and thought and thought till I began to grow quite\ndisturbed over the whole occurrence: the mysterious midnight visit, the", "pointed to Leo's round shaving-glass that had been arranged by Job with\nother things upon his portmanteau; \"give it to this woman, my Holly, and", "\"Yes; and I verily believe it is my last visit,\" he answered, with a\nghastly attempt at a smile. \"I am done for, Holly. I am done for. I do\nnot believe that I shall see to-morrow.\"", "\"So,\" she said softly; \"provided he be not dead, it is no matter, for I\ncan bring him back to life, my Holly. Is that man there thy servant,\nand is that the method wherewith thy servants greet strangers in thy\ncountry?\"", "\"Hast thou aught to ask me before thou goest, oh Holly?\" she said, after\na few moments' reflection. \"It is but a rude life that thou must live", "friend? Most certainly not. Clearly Vincey was either drunk or mad. That\nbeing so, what did it mean? and what was in the sealed iron chest?", "\"What do you make of that, Uncle Holly,\" said Leo, with a sort of gasp,\nas he replaced it on the table. \"We have been looking for a mystery, and\nwe certainly seem to have found one.\"", "caught the massive lid in both his hands, and with an effort, for the\nhinges had rusted, forced it back. Its removal revealed another case\ncovered with dust. This we extracted from the iron chest without any", "would scarcely have been able to walk, and carry a heavy iron box with\nhim. The whole story, on reflection, seemed to me utterly incredible,\nfor I was not then old enough to be aware how many things happen in" ], [ "the ways of children, and professed himself quite willing to undertake\nthe charge of Master Leo when he arrived. Then, having taken the iron", "it was true after all. I must take the boy. Suddenly I remembered the\nletter which Vincey had left with the chest. I fetched and opened it.\nIt only contained such directions as he had already given to me as to", "matter. I wrote to this effect to Mr. Holly, but a week afterwards\nreceived a letter from that gentleman's lawyers, returning my own, with\nthe information that their client and Mr. Leo Vincey had already left", "\"Very well,\" answered Leo, putting down the miniature, at which he\nhad been gazing affectionately; \"and now let us read the letter,\" and\nwithout further ado he broke the seal, and read aloud as follows:--", "\"You are to undertake to have the boy, Leo, to live with you till he is\ntwenty-five years of age--not to send him to school, remember. On his", "He obeyed, and from the box I took the keys that poor Vincey, Leo's\nfather, had given me on the night of his death. There were three of", "acceptance of the trust, stating that I should be willing to commence\nmy guardianship of Leo in ten days' time. This done I went to the\nauthorities of my college, and, having told them as much of the story", "calling the attention of the reader to it. He will observe that so far\nas we are made acquainted with him there appears to be nothing in the\ncharacter of Leo Vincey which in the opinion of most people would have", "\"I have never seen my boy, Leo, since he was a tiny baby. I never could\nbear to see him, but they tell me that he is a quick and handsome child.", "\"It is an accursed lie!\" said Leo. \"My name is not Kallikrates! I am Leo\nVincey; my ancestor was Kallikrates--at least, I believe he was.\"", "\"Do you, old fellow,\" answered Leo. \"I will sit upon the other side of\nthe stone to steady it. You must take as much run as you can, and jump\nhigh; and God have mercy on us, say I.\"", "\"Perhaps you are both right,\" said Leo, very quietly. \"I express no\nopinion. But I say this. I am going to set the matter at rest once and\nfor all, and if you won't come with me I will go by myself.\"", "Well, I set myself to recovering Leo, who, to my infinite relief, I\nfound was not dead, but only fainting, and in the end I succeeded, as I", "pay for the board of the boy. The rest is to accumulate till Leo is\ntwenty-five, so that there may be a sum in hand should he wish to\nundertake the quest of which I spoke.\"", "has been a trick of his from a child. Now, as a matter of fact, I had no\nintention of allowing Leo to go anywhere by himself, for my own sake, if", "Lionel Vincey, \"Ætate sua 17,\" which was written thereon, I think, by\nLeo's grandfather. To the right of this were the initials \"J. B. V.,\"", "Accordingly I went, only to find Job and Ustane in a great state of\ngrief, declaring that Leo was in the throes of death, and that they had", "\"My Son Leo,--When you open this, if you ever live to do so, you will\nhave attained to manhood, and I shall have been long enough dead to", "Leo, who was growing really attached to this remarkable young person,\nwas in a great state of alarm and distress, and I, to be perfectly", "\"Then the boy must become a ward of Chancery and take his chance. Only\nbe careful that the iron chest is passed on to him by your will. Listen," ], [ "For a moment there was a silence of astonishment. The Amahagger had\nnever heard the report of a firearm before, and its effects dismayed", "\"Thou seest, my Holly,\" said Ayesha, with a little laugh, \"it was\nneedful that I should give these people a lesson in obedience. That girl", "felled an Amahagger with his fist, but it was more than man could do to\nhold his own for long against so many, and at last he came crashing down", "it did, for, as it afterwards transpired, she had availed herself of the\nanthropophagous customs of the Amahagger to organise the whole thing in", "of barbarism behind him, in the shape of a huge Amahagger with a\nproportionately huge spear, than to the seductions of the lady who led", "here he broke off, and ran as hard as he could go down the cave, and for\nonce I saw the Amahagger laugh. As for the woman, however, she did", "herself, and roared. At that moment Leo fired, the bullet went right\ndown her open mouth and out at the back of her neck, and down she", "\"I promised thee a strange sight, my Holly,\" laughed Ayesha, whose\nnerves alone did not seem to be affected; \"and, behold, I have not", "consented to do it cheerfully in order to promote our safety. It shows\nthat even among those dreadful Amahagger--who are certainly with their", "\"Wot ye why I have brought you here to-night, my Holly?\" said Ayesha,\nleaning her head upon her hand and watching the great orb as she rose,", "\"Now, oh Holly,\" Ayesha began, \"how came it that thou who didst hear\nmy words bidding this evil-doer\"--and she pointed to Ustane--\"to go", "the air, throwing great flashes of light far out into the gloom, through\nwhich the dark forms of the Amahagger flitted to and fro like\ndevils replenishing the infernal fires. We all stood and stared", "\"In short,\" I replied, quoting the saying of a great man whose wisdom\nhas not yet lightened the darkness of the Amahagger, \"thou hast found\nthy position one of greater freedom and less responsibility.\"", "caressing Mahomed, and was now gripping him in her arms. The bullet\nstruck her in the back and killed her, and to this day I am glad that", "which, stretching for scores and scores of miles, formed a stronger and\nmore impassable fortification round the various Amahagger households\nthan any that could be built or designed by man. No, there was but", "those who shall eat ye are already hungry for the feast. Knowest thou\nnot that these Amahagger, my children, these dwellers in the caves,", "came down upon them, and took their women to wife, and the race of the\nAmahagger that is now is a bastard brood of the mighty sons of Kôr, and", "She sighed deeply, entered, and fell upon her hands and knees, after the\ncustom of the Amahagger people, in the presence of the dread _She_.", "\"Why doth not that woman leave us, my Holly?\" asked Ayesha from the\nother end of the cave, where she was engaged in carelessly examining\nsome of the sculptures on the wall.", "\"Truly, oh Holly, thou art foolish,\" she answered, almost petulantly.\n\"Where is her sin? Her sin is that she stands between me and my desire." ], [ "\"Behold the house of '_She-who-must-be-obeyed_!'\" he said. \"Had ever a\nqueen such a throne before?\"", "They had a Queen, however. _She_ was their Queen, but she was very\nrarely seen, perhaps once in two or three years, when she came forth to", "of, including the big \"Household,\" where the Queen was, that all the\n\"Households\" lived in caves, in places resembling this stretch of raised", "where a great city had been and fallen, and where there are caves of\nwhich no man hath seen the end; and they brought us to the Queen of the", "\"Ay, oh Queen,\" I answered feebly.\n\n\"Then gaze upon that water,\" and she pointed to the font-like vessel,\nand then, bending forward, held her hand over it.", "\"They call me Holly, oh Queen,\" I answered.\n\n\"Holly,\" she answered, speaking the word with difficulty, and yet with a\nmost charming accent; \"and what is 'Holly'?\"", "\"But here is a strange thing,\" said Ayesha, in astonishment; \"a queen\nwhom her people love! Surely the world must have changed since I dwelt\nin Kôr.\"", "\"Of course not,\" ejaculated Leo; \"I have been wondering whither thou\nhadst gone. Let us go and explain matters to the Queen.\"", "to grovel upon their stomachs, only screwing their heads round a little\nso as to get a view of us with one eye. It seemed that their Queen\nso rarely appeared in public that they were willing to undergo this", "\"Pardon me, oh Queen,\" I said, \"but I am bewildered. Nigh upon two\nthousand years have rolled across the earth since the Jewish Messiah", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "scattered flock of sheep. When they were a fair distance from the daïs,\nhowever, they rose and walked away, leaving the Queen and myself alone,", "she was the Queen of the country, and well disposed towards us, and\nthat it was her pleasure to go veiled; for, though of course I spoke in\nEnglish, I was afraid that she might understand what we were saying from", "When he had gone we discussed the situation, which filled me with\nalarm. I did not at all like the accounts of this mysterious Queen,", "\"He is my adopted son, oh Queen! Shall he be brought in before thee?\"\n\n\"Nay. How long hath the fever taken him?\"\n\n\"This is the third day.\"", "was put to death. Then the female child grew up and took the place of\nthe Queen when its mother died, and had been buried in the great caves.", "her \"hussy\" in good English, but these amenities were forgotten in the\nface of the catastrophe that had overwhelmed her at the hands of her\nQueen.", "sherd. And now it appeared that there was a mysterious Queen clothed by\nrumour with dread and wonderful attributes, and commonly known by the", "fours on the previous day. Here I would have bid the Queen adieu, but\nshe would not.", "\"And what, oh Queen,\" I answered, \"are those things that are dear to\nman? Are they not bubbles? Is not ambition but an endless ladder by" ], [ "centuries. True, she offered to let Leo slay her, but very\n probably this was only an experiment to try his temper and\n mental attitude towards her. Ayesha never gave way to", "\"See now the place where I have slept for these two thousand years,\"\nsaid Ayesha, taking the lamp from Leo's hand and holding it above her", "\"But we have a queen already,\" broke in Leo, hastily.\n\n\"It is naught, it is naught,\" said Ayesha; \"she can be overthrown.\"", "XX\n\nTRIUMPH\n\nThen followed a moment of the most painful silence that I ever endured.\nIt was broken by Ayesha, who addressed herself to Leo.", "\"Thou wilt presently understand,\" said Ayesha, with a little laugh, when\nLeo asked her; and we certainly did. Scarcely were the words out of her", "\"I hear thee, Ayesha,\" answered Leo, \"but, of a truth--I am no\ncoward--but I doubt me of that raging flame. How know I that it will", "Then came Leo's turn, and though he looked rather queer, he came across\nlike a rope-dancer. Ayesha stretched out her hand to clasp his own, and", "Leo--needed some food and rest. At six o'clock we, together with Job,\nwaited on Ayesha, who set to work to terrify our poor servant still", "\"Ay, for a time; but even to the world are they born again and again. I,\nyes I, Ayesha[*]--for that, stranger, is my name--I say to thee that", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "\"I am sure I wish I knew, Mr. Leo,\" said Job, edging suspiciously past\nAyesha, whom he still regarded with the utmost disgust and horror, being", "We were as usual shown in by the mutes, and after these had\nretired Ayesha unveiled, and once more bade Leo embrace her, which,", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "to his grief in the passage. Obviously the only hope lay in Ayesha. She,\nand she alone--unless, indeed, she was an imposter, which I could", "\"Canst thou not guess, oh Holly?\" answered Ayesha. \"Where then is thy\nimagination? It is Truth standing on the World, and calling to its", "according to Ayesha, Leo was to awake, and with it came _She_ herself,\nas usual, veiled.", "\"Wot ye why I have brought you here to-night, my Holly?\" said Ayesha,\nleaning her head upon her hand and watching the great orb as she rose,", "Leo shrugged his shoulders, being in a condition of half-fascinated,\nhalf-expectant mystification, and as he did so, Ayesha with a sudden", "\"Leo!\" said Ayesha, in an absent voice; \"why, that is 'lion' in the\nLatin tongue. The old man hath named happily for once. It is very", "very essence of Life? This, and this alone, would account for the sudden\nand terrible ageing of Ayesha, as the whole length of her two thousand" ], [ "XX\n\nTRIUMPH\n\nThen followed a moment of the most painful silence that I ever endured.\nIt was broken by Ayesha, who addressed herself to Leo.", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "\"See now the place where I have slept for these two thousand years,\"\nsaid Ayesha, taking the lamp from Leo's hand and holding it above her", "\"I hear thee, Ayesha,\" answered Leo, \"but, of a truth--I am no\ncoward--but I doubt me of that raging flame. How know I that it will", "Her face grew dark as a thunder-cloud. Old as she was, Ayesha had not\noutlived jealousy.\n\n\"Then there is an end,\" she said; \"she must die, even now!\"", "centuries. True, she offered to let Leo slay her, but very\n probably this was only an experiment to try his temper and\n mental attitude towards her. Ayesha never gave way to", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "\"Thou wilt presently understand,\" said Ayesha, with a little laugh, when\nLeo asked her; and we certainly did. Scarcely were the words out of her", "Then came Leo's turn, and though he looked rather queer, he came across\nlike a rope-dancer. Ayesha stretched out her hand to clasp his own, and", "\"But we have a queen already,\" broke in Leo, hastily.\n\n\"It is naught, it is naught,\" said Ayesha; \"she can be overthrown.\"", "Then, for the first time, Ayesha spoke to him, and her first words were\na lie. \"She has gone from hence upon a visit,\" she said; \"and, behold,\nin her place am I here as thine handmaiden.\"", "\"I am sure I wish I knew, Mr. Leo,\" said Job, edging suspiciously past\nAyesha, whom he still regarded with the utmost disgust and horror, being", "\"Behold the lot of man,\" said the veiled Ayesha, as she drew the winding\nsheets back over the dead lovers, speaking in a solemn, thrilling voice,", "\"Leo!\" said Ayesha, in an absent voice; \"why, that is 'lion' in the\nLatin tongue. The old man hath named happily for once. It is very", "\"Yet within a very little space shalt thou creep to my knee, and swear\nthat thou dost love me,\" answered Ayesha, with a sweet, mocking laugh.", "We were as usual shown in by the mutes, and after these had\nretired Ayesha unveiled, and once more bade Leo embrace her, which,", "\"As thou wilt, Ayesha,\" I said. \"I fear not thy beauty. I have put my\nheart away from such vanity as woman's loveliness, that passeth like a\nflower.\"", "Leo--needed some food and rest. At six o'clock we, together with Job,\nwaited on Ayesha, who set to work to terrify our poor servant still", "\"Ay, one thing, oh Ayesha,\" I said boldly; but feeling by no means as\nbold as I trust I looked. \"I would gaze upon thy face.\"", "I asked _She_ to come and see Leo, telling her of his serious condition;\nbut she would not, saying that he certainly would not die before the\nnight, as people never died of that sort of fever except at nightfall" ], [ "They had a Queen, however. _She_ was their Queen, but she was very\nrarely seen, perhaps once in two or three years, when she came forth to", "\"Ay, oh Queen,\" I answered feebly.\n\n\"Then gaze upon that water,\" and she pointed to the font-like vessel,\nand then, bending forward, held her hand over it.", "sherd. And now it appeared that there was a mysterious Queen clothed by\nrumour with dread and wonderful attributes, and commonly known by the", "\"Behold the house of '_She-who-must-be-obeyed_!'\" he said. \"Had ever a\nqueen such a throne before?\"", "\"They call me Holly, oh Queen,\" I answered.\n\n\"Holly,\" she answered, speaking the word with difficulty, and yet with a\nmost charming accent; \"and what is 'Holly'?\"", "was put to death. Then the female child grew up and took the place of\nthe Queen when its mother died, and had been buried in the great caves.", "who he gave us to understand was the Queen of the Amahagger, and learn\nher wishes.", "\"But here is a strange thing,\" said Ayesha, in astonishment; \"a queen\nwhom her people love! Surely the world must have changed since I dwelt\nin Kôr.\"", "When he had gone we discussed the situation, which filled me with\nalarm. I did not at all like the accounts of this mysterious Queen,", "\"What does _She_ want?\" she whispered, divided between her fear of the\nterrible Queen and her anxiety to remain near Leo. \"It is surely the", "she was the Queen of the country, and well disposed towards us, and\nthat it was her pleasure to go veiled; for, though of course I spoke in\nEnglish, I was afraid that she might understand what we were saying from", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "\"But we have a queen already,\" broke in Leo, hastily.\n\n\"It is naught, it is naught,\" said Ayesha; \"she can be overthrown.\"", "\"Of course not,\" ejaculated Leo; \"I have been wondering whither thou\nhadst gone. Let us go and explain matters to the Queen.\"", "fours on the previous day. Here I would have bid the Queen adieu, but\nshe would not.", "\"Pardon me, oh Queen,\" I said, \"but I am bewildered. Nigh upon two\nthousand years have rolled across the earth since the Jewish Messiah", "her \"hussy\" in good English, but these amenities were forgotten in the\nface of the catastrophe that had overwhelmed her at the hands of her\nQueen.", "startled eyes. The girl left, and presently returned, followed by two\nmale mutes, to whom the Queen made another sign. Thereon they all three", "\"It is thy beauty that makes me fear, oh Queen,\" I answered humbly,\nscarcely knowing what to say, and I thought that as I did so I heard old", "\"I have seen enough, oh Queen,\" I answered. \"My heart is overwhelmed\nby the power of the present Death. Mortality is weak, and easily broken" ], [ "deceived by the extraordinary undulating smoothness of her walk into a\nbelief that she was a white ghost gliding towards him. Indeed, at that\nvery moment the question was settled, for Ayesha herself was in the", "\"Draw near, draw near!\" cried Ayesha, with a voice of thrilling\nexultation. \"Behold the very Fountain and Heart of Life as it beats in", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "the corpse, and, turning, literally sprang at Ayesha. But she was\nwatching, and, seeing him come, stretched out her hand again, and he", "even at its memory. Ayesha entered the tomb (for it was a tomb), and we\nfollowed her--I, for one, rejoicing that the mystery of the place was", "body, and even in places eaten into the stone. Ayesha stooped down, and,\ntaking a handful of this powder in her grasp, threw it into the air,", "that of any other woman in the world for a whole lifetime. And let me\nadd that, if anybody who doubts this statement, and thinks me foolish\nfor making it, could have seen Ayesha draw her veil and flash out in", "been so shaped as to form a good imitation of a stair. Down this Ayesha\nbegan to climb, springing from step to step, like a chamois, and after", "Then, for the first time, Ayesha spoke to him, and her first words were\na lie. \"She has gone from hence upon a visit,\" she said; \"and, behold,\nin her place am I here as thine handmaiden.\"", "\"Canst thou not guess, oh Holly?\" answered Ayesha. \"Where then is thy\nimagination? It is Truth standing on the World, and calling to its", "Speak, or by the Spirit of Life I will blast thee where thou standest!\"\nand she took one light step towards me, and from her eyes there shone", "\"Wot ye why I have brought you here to-night, my Holly?\" said Ayesha,\nleaning her head upon her hand and watching the great orb as she rose,", "Then came an answering cry of mingled rage and terror. I turned my head.\nAyesha had risen, and was standing with her outstretched hand pointing", "externally, if one touched it it fell in, and revealed the fact that the\nfigure was but a pile of dust. This arose, Ayesha told me, from these", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "very essence of Life? This, and this alone, would account for the sudden\nand terrible ageing of Ayesha, as the whole length of her two thousand", "to his grief in the passage. Obviously the only hope lay in Ayesha. She,\nand she alone--unless, indeed, she was an imposter, which I could", "We made no answer, but gazed at each other with frightened eyes, the\nwhole scene was so dreadful and so solemn. Ayesha advanced, and laid her\nhand upon the corner of the shroud, and once more spoke.", "\"Ay, for a time; but even to the world are they born again and again. I,\nyes I, Ayesha[*]--for that, stranger, is my name--I say to thee that", "had conceived a sort of affection. It appeared that, for reasons not\nnecessary to explain at length, Ayesha had thought it best that, with\nthe exception of herself, we should proceed on foot, and this we were" ], [ "\"See now the place where I have slept for these two thousand years,\"\nsaid Ayesha, taking the lamp from Leo's hand and holding it above her", "oldest man upon the earth was but a babe compared to Ayesha,\n and the wisest man upon the earth was not one-third as wise.", "that of any other woman in the world for a whole lifetime. And let me\nadd that, if anybody who doubts this statement, and thinks me foolish\nfor making it, could have seen Ayesha draw her veil and flash out in", "centuries. True, she offered to let Leo slay her, but very\n probably this was only an experiment to try his temper and\n mental attitude towards her. Ayesha never gave way to", "\"Ay, for a time; but even to the world are they born again and again. I,\nyes I, Ayesha[*]--for that, stranger, is my name--I say to thee that", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "Then, for the first time, Ayesha spoke to him, and her first words were\na lie. \"She has gone from hence upon a visit,\" she said; \"and, behold,\nin her place am I here as thine handmaiden.\"", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "deceived by the extraordinary undulating smoothness of her walk into a\nbelief that she was a white ghost gliding towards him. Indeed, at that\nvery moment the question was settled, for Ayesha herself was in the", "[*] After some months of consideration of this statement I\n am bound to confess that I am not quite satisfied of its\n truth. It is perfectly true that Ayesha committed a murder,", "very essence of Life? This, and this alone, would account for the sudden\nand terrible ageing of Ayesha, as the whole length of her two thousand", "\"But here is a strange thing,\" said Ayesha, in astonishment; \"a queen\nwhom her people love! Surely the world must have changed since I dwelt\nin Kôr.\"", "with roars and bleating and the hissing of snakes. This went on for a\nlong time, till, getting tired of the pantomime, I asked Ayesha if there", "Her face grew dark as a thunder-cloud. Old as she was, Ayesha had not\noutlived jealousy.\n\n\"Then there is an end,\" she said; \"she must die, even now!\"", "which I measured, being between eighteen to twenty feet in diameter at\nthe base, by about seventy feet in height, our little procession was\nhalted, and Ayesha descended from her litter.", "\"Come,\" said Ayesha, after we had gazed and gazed, I know not for how\nlong, \"and I will show you the stony flower of Loveliness and Wonder's", "We made no answer, but gazed at each other with frightened eyes, the\nwhole scene was so dreadful and so solemn. Ayesha advanced, and laid her\nhand upon the corner of the shroud, and once more spoke.", "to his grief in the passage. Obviously the only hope lay in Ayesha. She,\nand she alone--unless, indeed, she was an imposter, which I could", "Then came an answering cry of mingled rage and terror. I turned my head.\nAyesha had risen, and was standing with her outstretched hand pointing", "had conceived a sort of affection. It appeared that, for reasons not\nnecessary to explain at length, Ayesha had thought it best that, with\nthe exception of herself, we should proceed on foot, and this we were" ], [ "He looked and looked, and slowly I perceived that he was drawing nearer\nto her. Suddenly his eye fell upon the corpse of poor Ustane, and he\nshuddered and stopped.", "No doubt she was a wicked person, and no doubt she had murdered Ustane\nwhen she stood in her path, but then she was very faithful, and by a", "at Ustane, who had suddenly stopped speaking. I gazed at the poor\nwoman, and as I gazed there came upon her face that same woeful, fixed", "But Ustane did not move.\n\n\"Go, woman!\"\n\nThen she looked up, and I saw that her face was torn with passion.", "my boy's life at the risk of her own. But Ustane was not the sort of\nyoung person with whom one would care to take liberties unless one were", "Then suddenly there was a disturbance, and involuntarily I opened my\neyes again, and looked towards the scene of murder. The girl Ustane had", "Accordingly I went, only to find Job and Ustane in a great state of\ngrief, declaring that Leo was in the throes of death, and that they had", "his gratitude at finding us alive in our beds, which it appeared was\nmore than he had expected. When I told him of the awful end of poor\nUstane he was even more grateful at our survival, and much shocked,", "obey, for he could not in any way subdue his fear. But it was otherwise\nwith Ustane.", "though Ustane had been no favourite of his, or he of hers, for the\nmatter of that. She called him \"pig\" in bastard Arabic, and he called", "\"Stand,\" said Ayesha, in her coldest voice, \"and come hither.\"\n\nUstane obeyed, standing before her with bowed head.\n\nThen came a pause, which Ayesha broke.", "against the stone couch, was Ustane. She held his hand in one of hers,\nbut she too was dozing, and the two made a pretty, or rather a pathetic,", "and jammed his face against the wall, and Ustane, guessing whose the\ndread presence must be, prostrated herself upon her face.", "\"Go!\"\n\nAnd then Ustane crept past her on her hands and knees, and went.", "been. It was rumoured also that she was immortal, and had power over\nall things, but she, Ustane, could say nothing of all that. What she", "of all that had happened, and more especially of the wicked murder of\nUstane, who was bound to him by ties so close, broke upon him like a", "Ayesha listened in icy silence, and made no remark. When he had\nfinished, however, she addressed Ustane.", "down, and all things end in silence and in ashes. So thou thoughtest\nit a fit time for love, Ustane, my servant--and I, dreaming not that I", "her hand. I looked at Ustane, and then staggered back in horror, for\nthere upon her hair, right across her bronze-like tresses, were three", "But I was deeply anxious to save Ustane, whom I liked and respected,\nfrom the dire fate that overshadowed her at the hands of her mighty\nrival. So I made one more appeal." ], [ "\"How do you account for what my father saw and heard there?\" asked Leo.", "For a moment Leo did not quite realise what had happened. But, when he\ndid, his face was awful to see. With a savage oath he rose from beside", "Accordingly I went, only to find Job and Ustane in a great state of\ngrief, declaring that Leo was in the throes of death, and that they had", "looked at Leo. He was sitting up, holding his hands to his head, and I\nsaw that his face was flushed and his eye bright, and yet yellow round\nthe pupil.", "Well, I set myself to recovering Leo, who, to my infinite relief, I\nfound was not dead, but only fainting, and in the end I succeeded, as I", "did not feel it much at the time. It seemed quite natural that the poor\nfellow should be dead. When Leo came to himself, which he did with a", "I glanced towards him; it was true enough, Leo was in his\ndeath-struggle. I saw his poor face turning ashen, and heard the breath", "To begin, Leo, with his golden curls turned a snowy white, his clothes\nnearly rent from his body, his worn face and his hands a mass of", "By dawn on the following morning Leo was quite light-headed, and fancied\nthat he was divided into halves. I was dreadfully distressed, and began", "Leo. I found him dreadfully bruised, worse even than myself, perhaps\nowing to the excessive whiteness of his skin, and faint and weak with", "\"Nonsense,\" thought I to myself, but I did not like to say it; and,\nindeed, at that moment I was thinking of Leo's life, having forgotten", "\"I have never seen my boy, Leo, since he was a tiny baby. I never could\nbear to see him, but they tell me that he is a quick and handsome child.", "finally, and requested Job and myself to do the same. Leo, of course,\nwas far too ill to do anything of the sort. I did so, and we entered the", "A great fellow bounded up upon the platform, and Leo struck him dead\nwith one blow of his powerful arm, sending the knife right through him.", "It was Leo. Leo brought back by the wave--back, dead or alive, from the\nvery jaws of Death.\n\n\"Bail out! bail out!\" yelled Job, \"or we shall founder.\"", "That night I passed in Leo's room, but he slept through it like the\ndead, never once stirring. I also slept fairly well, as, indeed, I", "reaching Leo's room we found the poor boy in a very bad way. He had woke\nup from his torpor, and was altogether off his head, babbling about some", "\"Very well,\" answered Leo, putting down the miniature, at which he\nhad been gazing affectionately; \"and now let us read the letter,\" and\nwithout further ado he broke the seal, and read aloud as follows:--", "He obeyed, and from the box I took the keys that poor Vincey, Leo's\nfather, had given me on the night of his death. There were three of", "has been a trick of his from a child. Now, as a matter of fact, I had no\nintention of allowing Leo to go anywhere by himself, for my own sake, if" ], [ "\"They call me Holly, oh Queen,\" I answered.\n\n\"Holly,\" she answered, speaking the word with difficulty, and yet with a\nmost charming accent; \"and what is 'Holly'?\"", "\"Nay, nay; oh Holly,\" she answered, \"it is no magic, that is a fiction\nof ignorance. There is no such thing as magic, though there is such a", "\"Nay,\" she said, \"enter with me, oh Holly, for of a truth thy\nconversation pleaseth me. Think, oh Holly: for two thousand years have I", "I have been searching for some one to whom I could confide the boy and\nthis,\" and he tapped the iron box. \"You are the man, Holly; for, like a", "\"My Holly,\" she said, again speaking in Greek, which, to tell the truth,\nalthough I have always been considered a better scholar of the language", "She laughed out in her bell-like notes. \"Bethink thee, Holly,\" she\nanswered; \"bethink thee. It seems that thou knowest the old myths of the", "\"Ah!\" she said, \"perchance thou didst not know. Learn, my Holly, learn:\nthere lies--there lies my lost Kallikrates. Kallikrates, who has come", "\"Truly, oh Holly, thou art foolish,\" she answered, almost petulantly.\n\"Where is her sin? Her sin is that she stands between me and my desire.", "\"Well, my Holly,\" she continued, \"and so those people of mine have found\na prophet, a false prophet thou sayest, for he is not thine own, and,", "\"Oh, so soon, oh Holly!\" she said. \"I wondered how many minutes it would\nneed to bring thee to thy knees. I have not seen a man kneel before", "much forgotten as though I had never been. Holly, my friend (to whom, if\nhe will accept the trust, it is my intention to confide you), will have", "been likely to attract an intellect so powerful as that of Ayesha. He is\nnot even, at any rate to my view, particularly interesting. Indeed, one\nmight imagine that Mr. Holly would under ordinary circumstances have", "\"My marriage had diverted me from a project which I cannot enter into\nnow. I have no time, Holly--I have no time! One day, if you accept my", "greater weights. Now, come, oh Holly, for presently the light will fail\nus.\"", "\"Ah, my Holly,\" she said, \"thou art of a truth like those old Jews--of\nwhom the memory vexes me so sorely--unbelieving, and hard to accept", "\"So! what did I tell thee? Beauty is like the lightning; it is lovely,\nbut it destroys--especially trees, oh Holly!\" and again she nodded and\nlaughed.", "signed by \"Horace Holly,\" a name that at the moment was not familiar to\nme. It ran as follows:--", "at once joined, walking off in their company. I remember being rather\namused because of the change in the expression of the elder man, whose\nname I discovered was Holly, when he saw the ladies advancing. He", "\"Since I was last here, oh Holly,\" she called, \"the support of the\nmoving stone hath lessened somewhat, so that I am not certain if it will", "the waist. But see, give me thy hands--so--now press them round me, and\nthere, with but a little force, thy fingers touch, oh Holly.\"" ], [ "matter. I wrote to this effect to Mr. Holly, but a week afterwards\nreceived a letter from that gentleman's lawyers, returning my own, with\nthe information that their client and Mr. Leo Vincey had already left", "\"Thank you, Holly, thank you. There is nothing at all. Swear to me by\nGod that you will be a father to the boy, and follow my directions to\nthe letter.\"", "pointed to Leo's round shaving-glass that had been arranged by Job with\nother things upon his portmanteau; \"give it to this woman, my Holly, and", "\"What do you make of that, Uncle Holly,\" said Leo, with a sort of gasp,\nas he replaced it on the table. \"We have been looking for a mystery, and\nwe certainly seem to have found one.\"", "\"Very well,\" answered Leo, putting down the miniature, at which he\nhad been gazing affectionately; \"and now let us read the letter,\" and\nwithout further ado he broke the seal, and read aloud as follows:--", "I have been searching for some one to whom I could confide the boy and\nthis,\" and he tapped the iron box. \"You are the man, Holly; for, like a", "finally, and requested Job and myself to do the same. Leo, of course,\nwas far too ill to do anything of the sort. I did so, and we entered the", "He obeyed, and from the box I took the keys that poor Vincey, Leo's\nfather, had given me on the night of his death. There were three of", "two-thirds of what your father left to me, as I consider, in trust for\nyou. There is plenty of cash.\"", "\"Perhaps you are both right,\" said Leo, very quietly. \"I express no\nopinion. But I say this. I am going to set the matter at rest once and\nfor all, and if you won't come with me I will go by myself.\"", "\"Hulloa, old fellow!\" whispered Leo, with a return of his old\ncheerfulness, \"have you been paying compliments? I should never have\nthought it of you!\"", "To begin, Leo, with his golden curls turned a snowy white, his clothes\nnearly rent from his body, his worn face and his hands a mass of", "pay for the board of the boy. The rest is to accumulate till Leo is\ntwenty-five, so that there may be a sum in hand should he wish to\nundertake the quest of which I spoke.\"", "greater weights. Now, come, oh Holly, for presently the light will fail\nus.\"", "\"My Son Leo,--When you open this, if you ever live to do so, you will\nhave attained to manhood, and I shall have been long enough dead to", "\"Yes; and I verily believe it is my last visit,\" he answered, with a\nghastly attempt at a smile. \"I am done for, Holly. I am done for. I do\nnot believe that I shall see to-morrow.\"", "has been a trick of his from a child. Now, as a matter of fact, I had no\nintention of allowing Leo to go anywhere by himself, for my own sake, if", "\"_To my son Leo, should he live to open this casket._\"", "\"Do you, old fellow,\" answered Leo. \"I will sit upon the other side of\nthe stone to steady it. You must take as much run as you can, and jump\nhigh; and God have mercy on us, say I.\"", "looked at Leo. He was sitting up, holding his hands to his head, and I\nsaw that his face was flushed and his eye bright, and yet yellow round\nthe pupil." ], [ "pressed this way and that until at last the lock yielded, and the casket\nstood before us. It was filled to the brim with some brown shredded", "\"open the iron box, and let him see and read the contents, and say\nwhether or no he is willing to undertake the quest. There is no", "Job and Leo bent forward in breathless silence. The key turned, and\nI flung back the lid, and uttered an exclamation, and no wonder, for", "At last, however, breakfast was cleared away, and Job, at my request,\nfetched the chest, and placed it upon the table in a somewhat gingerly\nfashion, as though he mistrusted it. Then he prepared to leave the room.", "ate and hunted and slept and made merry till their time came. But come,\nI will show thee the great pit beneath the cave whereof the writing\nspeaks. Never shall thine eyes witness such another sight.\"", "it was true after all. I must take the boy. Suddenly I remembered the\nletter which Vincey had left with the chest. I fetched and opened it.\nIt only contained such directions as he had already given to me as to", "I have been searching for some one to whom I could confide the boy and\nthis,\" and he tapped the iron box. \"You are the man, Holly; for, like a", "yet open as it was of old time. And now let us start upon the new life\nwhich shall end--who knoweth where?\"", "that I was lost. But no! In another instant my feet struck against a\nrocky floor, and I felt that I was standing upon something solid, and\nout of reach of the wind, which I could hear singing away overhead. As", "which he carried by a handle with his right hand. He placed the box upon\nthe table, and then fell into an awful fit of coughing. He coughed and", "I groped about, and produced something hard, done up in a little linen\nbag. Out of the bag we took first a very beautiful miniature done", "In a couple of minutes both the lamps were alight and revealed a curious\nscene. We were huddled together in a rocky chamber, some ten feet", "and extinguished it, leaving me in utter darkness in the bowels of that\nmysterious place. I took a couple of strides forward so as to clear the", "He obeyed, and from the box I took the keys that poor Vincey, Leo's\nfather, had given me on the night of his death. There were three of", "A tall man of about thirty, with the remains of great personal beauty,\ncame hurrying in, staggering beneath the weight of a massive iron box", "across the plain. Then they came to the cave, and once more one by one\nflung themselves in unending files through the hole into the pit of", "It was, so near as we knew, an hour after sunset when we entered the\ntunnel, so it followed that it had taken us the entire night to crawl\nthrough that dreadful place.", "at last, when despair was entering into our hearts, we once more saw the\nlight of day, and found ourselves outside the tunnel in the rocky fold\non the outer surface of the cliff that, it will be remembered, led into", "which cannot have been less than sixty feet beneath the surface of the\nrock, and was ventilated by curious borings that ran upward, I know not\nwhere. Suddenly the passage ended, and she halted and bade the mutes", "When I came to I noticed a faint ray of light in the passage just behind\nme. I crept to it, and found it was the little stair down which the weak" ], [ "Well, I set myself to recovering Leo, who, to my infinite relief, I\nfound was not dead, but only fainting, and in the end I succeeded, as I", "After this we managed to get Leo, who was in a very poor way indeed, and\nonly half conscious, safely off to bed, supported by Job and that brave", "It was Leo. Leo brought back by the wave--back, dead or alive, from the\nvery jaws of Death.\n\n\"Bail out! bail out!\" yelled Job, \"or we shall founder.\"", "Then he bent down and examined Leo's wound.\n\n\"It is an evil cut,\" he said, \"but the spear has not pierced the\nentrails. He will recover.\"", "Leo. I found him dreadfully bruised, worse even than myself, perhaps\nowing to the excessive whiteness of his skin, and faint and weak with", "For a moment Leo did not quite realise what had happened. But, when he\ndid, his face was awful to see. With a savage oath he rose from beside", "On the following day Leo got up almost entirely recovered. The flesh\nwound in his side was healed, and his constitution, naturally a vigorous", "To begin, Leo, with his golden curls turned a snowy white, his clothes\nnearly rent from his body, his worn face and his hands a mass of", "\"Well!\" said Leo, \"it is a blessing to find anybody to carry us after\nhaving to carry ourselves so long.\"\n\nLeo always takes a cheerful view of things.", "them. But the next a man close to us recovered himself, and seized his\nspear preparatory to making a lunge with it at Leo, who was the nearest\nto him.", "instantly stepped up and caught the girl by either arm. With an oath Leo\nsprang upon the nearest, and hurled him to the ground, and then stood\nover him with his face set, and his fist ready.", "Just then Leo opened his eyes beneath the stimulus of some brandy (of\nwhich we still had a little) that Job had poured down his throat, and\nour conversation came to an end.", "I took Leo by the arm, and pulled him from the prostrate mute, and he,\nhalf bewildered, obeyed the pressure. Then we all set out for the cave", "I heard Leo give a cry, and then suddenly saw him in mid air springing\nup and out like a chamois. It was a splendid leap that he took under the", "Leo, who was growing really attached to this remarkable young person,\nwas in a great state of alarm and distress, and I, to be perfectly", "I turned my head, and as I lay gasping in the throes of that awful\nstruggle I could see that Leo was off the rock now, for the lamplight", "A great fellow bounded up upon the platform, and Leo struck him dead\nwith one blow of his powerful arm, sending the knife right through him.", "reaching Leo's room we found the poor boy in a very bad way. He had woke\nup from his torpor, and was altogether off his head, babbling about some", "looked at Leo. He was sitting up, holding his hands to his head, and I\nsaw that his face was flushed and his eye bright, and yet yellow round\nthe pupil.", "\"Do you, old fellow,\" answered Leo. \"I will sit upon the other side of\nthe stone to steady it. You must take as much run as you can, and jump\nhigh; and God have mercy on us, say I.\"" ], [ "We looked up, and sure enough the woman in question had risen, and was\nescorting the wretched Mahomed from his corner, where, overcome by some", "_She_ shall they go, and her vengeance shall be worthy of her greatness.\nThat man,\" pointing to Mahomed, \"I tell thee that man would have died a", "thine would have slain us as they would have slain our servant,\" and I\npointed towards Mahomed.", "almost with a single movement, they had reached the spot where Mahomed\nwas struggling. He fought like a fiend, shrieking in the abandonment of", "Then came a pause, and I noticed, with horror and a rising of the hair,\nthat the woman next to Mahomed began to fondle him, patting his cheeks", "When it was all over, leaving Mahomed to keep a look out, we managed to\nspend the rest of the night as quietly as the mosquitoes would allow.\n\n\n\nVI", "\"Allah! Allah!\" howled Mahomed, feeling that he had little to hope from\nman, \"protect me! protect me!\"", "his reason his own, and left it to drift upon the sea of circumstance.\nMahomed, the Arab, who was, by the way, treated civilly indeed, but", "with Mahomed's sword. At dark we halted for some hours to rest and enjoy\nthe mosquitoes, but about midnight we went on again, taking advantage", "who taught them. Also I told her that among her own people, the Arabs,\nanother prophet, one Mohammed, had arisen and preached a new faith, to", "caressing Mahomed, and was now gripping him in her arms. The bullet\nstruck her in the back and killed her, and to this day I am glad that", "\"Take the tiller, Mahomed!\" I roared in Arabic. \"We must try and shoot\nthem.\" At the same moment I seized an oar, and got it out, motioning to\nJob to do likewise.", "saw what they would do, they slew the woman, and slew also their servant\nto save him from the horror of the pot. Then those evil ones, ay, those", "Her face grew dark as a thunder-cloud. Old as she was, Ayesha had not\noutlived jealousy.\n\n\"Then there is an end,\" she said; \"she must die, even now!\"", "we were in them. And then the whole scene, down to our final escape,\nrepeated itself, only not quite so violently. Mahomed's skilful steering", "of cannibals, mad with fury at the death of the woman. With a bound I\ncleared the prostrate form of Mahomed. As I flew over him I felt the", "Mahomed, who had died by my hand, which, the fire-stained pot at its\nside, was placed at the end of the irregular line. To the left a body of", "safe among this people for a day. Thou knowest them not. They are tigers\nto lap blood, and even now they hunger for your lives. How thinkest", "man he had just slain, and lifting it high in the air hurled it right at\nthe mob of his assailants, so that the shock and weight of it swept", "\"Oh, Lord! sir, here's a rum go,\" ejaculated Job; and just at that\nmoment a disturbance ensued, and Mahomed came tumbling between us,\nfollowed by a shadowy form with an uplifted spear." ], [ "\"But here is a strange thing,\" said Ayesha, in astonishment; \"a queen\nwhom her people love! Surely the world must have changed since I dwelt\nin Kôr.\"", "with roars and bleating and the hissing of snakes. This went on for a\nlong time, till, getting tired of the pantomime, I asked Ayesha if there", "\"See now the place where I have slept for these two thousand years,\"\nsaid Ayesha, taking the lamp from Leo's hand and holding it above her", "the place before which Ayesha had halted. It turned out to be a chamber\nhollowed in the thickness of the wall, and, from the fact of there still", "deceived by the extraordinary undulating smoothness of her walk into a\nbelief that she was a white ghost gliding towards him. Indeed, at that\nvery moment the question was settled, for Ayesha herself was in the", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "Then came an answering cry of mingled rage and terror. I turned my head.\nAyesha had risen, and was standing with her outstretched hand pointing", "Then, for the first time, Ayesha spoke to him, and her first words were\na lie. \"She has gone from hence upon a visit,\" she said; \"and, behold,\nin her place am I here as thine handmaiden.\"", "body, and even in places eaten into the stone. Ayesha stooped down, and,\ntaking a handful of this powder in her grasp, threw it into the air,", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "which I measured, being between eighteen to twenty feet in diameter at\nthe base, by about seventy feet in height, our little procession was\nhalted, and Ayesha descended from her litter.", "even at its memory. Ayesha entered the tomb (for it was a tomb), and we\nfollowed her--I, for one, rejoicing that the mystery of the place was", "that of any other woman in the world for a whole lifetime. And let me\nadd that, if anybody who doubts this statement, and thinks me foolish\nfor making it, could have seen Ayesha draw her veil and flash out in", "We made no answer, but gazed at each other with frightened eyes, the\nwhole scene was so dreadful and so solemn. Ayesha advanced, and laid her\nhand upon the corner of the shroud, and once more spoke.", "\"Draw near, draw near!\" cried Ayesha, with a voice of thrilling\nexultation. \"Behold the very Fountain and Heart of Life as it beats in", "\"Thou seest, my Holly,\" said Ayesha, with a little laugh, \"it was\nneedful that I should give these people a lesson in obedience. That girl", "\"Come,\" said Ayesha, after we had gazed and gazed, I know not for how\nlong, \"and I will show you the stony flower of Loveliness and Wonder's", "of Kôr, on the contrary, were cut out with the most perfect regularity\nand symmetry. At the mouth of this cave Ayesha halted, and bade us light", "had conceived a sort of affection. It appeared that, for reasons not\nnecessary to explain at length, Ayesha had thought it best that, with\nthe exception of herself, we should proceed on foot, and this we were", "\"I thank thee, oh Ayesha,\" I replied, with as much dignity as I could\ncommand, \"but if there be such a place as thou dost describe, and if in" ], [ "\"I hear thee, Ayesha,\" answered Leo, \"but, of a truth--I am no\ncoward--but I doubt me of that raging flame. How know I that it will", "centuries. True, she offered to let Leo slay her, but very\n probably this was only an experiment to try his temper and\n mental attitude towards her. Ayesha never gave way to", "Then came Leo's turn, and though he looked rather queer, he came across\nlike a rope-dancer. Ayesha stretched out her hand to clasp his own, and", "pillar of flame, were passing like arrows through the rosy air; and now\nthe edge of the pillar itself appeared. Ayesha turned towards it, and", "\"See now the place where I have slept for these two thousand years,\"\nsaid Ayesha, taking the lamp from Leo's hand and holding it above her", "Leo shrugged his shoulders, being in a condition of half-fascinated,\nhalf-expectant mystification, and as he did so, Ayesha with a sudden", "\"I am sure I wish I knew, Mr. Leo,\" said Job, edging suspiciously past\nAyesha, whom he still regarded with the utmost disgust and horror, being", "\"But we have a queen already,\" broke in Leo, hastily.\n\n\"It is naught, it is naught,\" said Ayesha; \"she can be overthrown.\"", "\"Thou wilt presently understand,\" said Ayesha, with a little laugh, when\nLeo asked her; and we certainly did. Scarcely were the words out of her", "Leo--needed some food and rest. At six o'clock we, together with Job,\nwaited on Ayesha, who set to work to terrify our poor servant still", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "XX\n\nTRIUMPH\n\nThen followed a moment of the most painful silence that I ever endured.\nIt was broken by Ayesha, who addressed herself to Leo.", "to his grief in the passage. Obviously the only hope lay in Ayesha. She,\nand she alone--unless, indeed, she was an imposter, which I could", "We were as usual shown in by the mutes, and after these had\nretired Ayesha unveiled, and once more bade Leo embrace her, which,", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "according to Ayesha, Leo was to awake, and with it came _She_ herself,\nas usual, veiled.", "deceived by the extraordinary undulating smoothness of her walk into a\nbelief that she was a white ghost gliding towards him. Indeed, at that\nvery moment the question was settled, for Ayesha herself was in the", "externally, if one touched it it fell in, and revealed the fact that the\nfigure was but a pile of dust. This arose, Ayesha told me, from these", "that of any other woman in the world for a whole lifetime. And let me\nadd that, if anybody who doubts this statement, and thinks me foolish\nfor making it, could have seen Ayesha draw her veil and flash out in", "knowledge of Ayesha's character. For all I knew she might be in the very\nact of consigning me to a horrible doom. But in life we sometimes have" ], [ "\"Stand,\" said Ayesha, in her coldest voice, \"and come hither.\"\n\nUstane obeyed, standing before her with bowed head.\n\nThen came a pause, which Ayesha broke.", "No doubt she was a wicked person, and no doubt she had murdered Ustane\nwhen she stood in her path, but then she was very faithful, and by a", "Her face grew dark as a thunder-cloud. Old as she was, Ayesha had not\noutlived jealousy.\n\n\"Then there is an end,\" she said; \"she must die, even now!\"", "Ayesha listened in icy silence, and made no remark. When he had\nfinished, however, she addressed Ustane.", "Ayesha made a movement so swift that I could scarcely follow it, but it\nseemed to me that she lightly struck the poor girl upon the head with", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "[*] After some months of consideration of this statement I\n am bound to confess that I am not quite satisfied of its\n truth. It is perfectly true that Ayesha committed a murder,", "Then suddenly there was a disturbance, and involuntarily I opened my\neyes again, and looked towards the scene of murder. The girl Ustane had", "He looked and looked, and slowly I perceived that he was drawing nearer\nto her. Suddenly his eye fell upon the corpse of poor Ustane, and he\nshuddered and stopped.", "Then came an answering cry of mingled rage and terror. I turned my head.\nAyesha had risen, and was standing with her outstretched hand pointing", "Then, for the first time, Ayesha spoke to him, and her first words were\na lie. \"She has gone from hence upon a visit,\" she said; \"and, behold,\nin her place am I here as thine handmaiden.\"", "body, and even in places eaten into the stone. Ayesha stooped down, and,\ntaking a handful of this powder in her grasp, threw it into the air,", "But Ustane did not move.\n\n\"Go, woman!\"\n\nThen she looked up, and I saw that her face was torn with passion.", "the corpse, and, turning, literally sprang at Ayesha. But she was\nwatching, and, seeing him come, stretched out her hand again, and he", "\"She is not willing to leave Leo,\" I answered, not knowing what to say.\nAyesha wheeled round, and, pointing to the girl Ustane, said one word,", "We made no answer, but gazed at each other with frightened eyes, the\nwhole scene was so dreadful and so solemn. Ayesha advanced, and laid her\nhand upon the corner of the shroud, and once more spoke.", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "been. It was rumoured also that she was immortal, and had power over\nall things, but she, Ustane, could say nothing of all that. What she", "deceived by the extraordinary undulating smoothness of her walk into a\nbelief that she was a white ghost gliding towards him. Indeed, at that\nvery moment the question was settled, for Ayesha herself was in the", "\"Ayesha, I love thee with all my heart, and so far as forgiveness is\npossible I forgive thee the death of Ustane. For the rest, it is between" ], [ "deceived by the extraordinary undulating smoothness of her walk into a\nbelief that she was a white ghost gliding towards him. Indeed, at that\nvery moment the question was settled, for Ayesha herself was in the", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "the corpse, and, turning, literally sprang at Ayesha. But she was\nwatching, and, seeing him come, stretched out her hand again, and he", "body, and even in places eaten into the stone. Ayesha stooped down, and,\ntaking a handful of this powder in her grasp, threw it into the air,", "We made no answer, but gazed at each other with frightened eyes, the\nwhole scene was so dreadful and so solemn. Ayesha advanced, and laid her\nhand upon the corner of the shroud, and once more spoke.", "even at its memory. Ayesha entered the tomb (for it was a tomb), and we\nfollowed her--I, for one, rejoicing that the mystery of the place was", "Then, for the first time, Ayesha spoke to him, and her first words were\na lie. \"She has gone from hence upon a visit,\" she said; \"and, behold,\nin her place am I here as thine handmaiden.\"", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "Then came a few moments' pause, during which Ayesha seemed to be\ngathering up her strength for the fiery trial, while we clung to each\nother, and waited in utter silence.", "Then came an answering cry of mingled rage and terror. I turned my head.\nAyesha had risen, and was standing with her outstretched hand pointing", "been so shaped as to form a good imitation of a stair. Down this Ayesha\nbegan to climb, springing from step to step, like a chamois, and after", "Her face grew dark as a thunder-cloud. Old as she was, Ayesha had not\noutlived jealousy.\n\n\"Then there is an end,\" she said; \"she must die, even now!\"", "externally, if one touched it it fell in, and revealed the fact that the\nfigure was but a pile of dust. This arose, Ayesha told me, from these", "that of any other woman in the world for a whole lifetime. And let me\nadd that, if anybody who doubts this statement, and thinks me foolish\nfor making it, could have seen Ayesha draw her veil and flash out in", "\"Draw near, draw near!\" cried Ayesha, with a voice of thrilling\nexultation. \"Behold the very Fountain and Heart of Life as it beats in", "pillar of flame, were passing like arrows through the rosy air; and now\nthe edge of the pillar itself appeared. Ayesha turned towards it, and", "\"As thou wilt, Ayesha,\" I said. \"I fear not thy beauty. I have put my\nheart away from such vanity as woman's loveliness, that passeth like a\nflower.\"", "\"I hear thee, Ayesha,\" answered Leo, \"but, of a truth--I am no\ncoward--but I doubt me of that raging flame. How know I that it will", "\"See now the place where I have slept for these two thousand years,\"\nsaid Ayesha, taking the lamp from Leo's hand and holding it above her", "Ayesha made a movement so swift that I could scarcely follow it, but it\nseemed to me that she lightly struck the poor girl upon the head with" ], [ "\"Who is this man?\" she said, pointing to the sleeping form of Leo.\n\n\"The man is my husband,\" she answered in a low voice.\n\n\"Who gave him to thee for a husband?\"", "To begin, Leo, with his golden curls turned a snowy white, his clothes\nnearly rent from his body, his worn face and his hands a mass of", "\"I have never seen my boy, Leo, since he was a tiny baby. I never could\nbear to see him, but they tell me that he is a quick and handsome child.", "Leo's when he was plunged into profound sleep. I can only sum up the\ncloseness of the resemblance by saying that I never saw twins so exactly\nsimilar as that dead and living pair.", "For a moment Leo did not quite realise what had happened. But, when he\ndid, his face was awful to see. With a savage oath he rose from beside", "\"Perhaps you are both right,\" said Leo, very quietly. \"I express no\nopinion. But I say this. I am going to set the matter at rest once and\nfor all, and if you won't come with me I will go by myself.\"", "Leo. I found him dreadfully bruised, worse even than myself, perhaps\nowing to the excessive whiteness of his skin, and faint and weak with", "It was Leo. Leo brought back by the wave--back, dead or alive, from the\nvery jaws of Death.\n\n\"Bail out! bail out!\" yelled Job, \"or we shall founder.\"", "Greek in blood, Leo is, with the exception of his hair, one of the most\nEnglish-looking men I ever saw. He has nothing of the subtle form or", "Well, I set myself to recovering Leo, who, to my infinite relief, I\nfound was not dead, but only fainting, and in the end I succeeded, as I", "\"How do you account for what my father saw and heard there?\" asked Leo.", "\"It is an accursed lie!\" said Leo. \"My name is not Kallikrates! I am Leo\nVincey; my ancestor was Kallikrates--at least, I believe he was.\"", "\"Leo!\" said Ayesha, in an absent voice; \"why, that is 'lion' in the\nLatin tongue. The old man hath named happily for once. It is very", "\"Very well,\" answered Leo, putting down the miniature, at which he\nhad been gazing affectionately; \"and now let us read the letter,\" and\nwithout further ado he broke the seal, and read aloud as follows:--", "Is Leo really a reincarnation of the ancient Kallikrates of whom the\ninscription tells? Or was Ayesha deceived by some strange hereditary", "looked at Leo. He was sitting up, holding his hands to his head, and I\nsaw that his face was flushed and his eye bright, and yet yellow round\nthe pupil.", "\"You are right, sir,\" he answered, \"and if you won't think me very\nfoolish, I should like to say something to you now that Mr. Leo is out", "did not feel it much at the time. It seemed quite natural that the poor\nfellow should be dead. When Leo came to himself, which he did with a", "\"Hulloa, old fellow!\" whispered Leo, with a return of his old\ncheerfulness, \"have you been paying compliments? I should never have\nthought it of you!\"", "\"My Son Leo,--When you open this, if you ever live to do so, you will\nhave attained to manhood, and I shall have been long enough dead to" ], [ "No doubt she was a wicked person, and no doubt she had murdered Ustane\nwhen she stood in her path, but then she was very faithful, and by a", "\"Stand,\" said Ayesha, in her coldest voice, \"and come hither.\"\n\nUstane obeyed, standing before her with bowed head.\n\nThen came a pause, which Ayesha broke.", "Her face grew dark as a thunder-cloud. Old as she was, Ayesha had not\noutlived jealousy.\n\n\"Then there is an end,\" she said; \"she must die, even now!\"", "[*] After some months of consideration of this statement I\n am bound to confess that I am not quite satisfied of its\n truth. It is perfectly true that Ayesha committed a murder,", "Ayesha listened in icy silence, and made no remark. When he had\nfinished, however, she addressed Ustane.", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "Ayesha made a movement so swift that I could scarcely follow it, but it\nseemed to me that she lightly struck the poor girl upon the head with", "Then, for the first time, Ayesha spoke to him, and her first words were\na lie. \"She has gone from hence upon a visit,\" she said; \"and, behold,\nin her place am I here as thine handmaiden.\"", "Then suddenly there was a disturbance, and involuntarily I opened my\neyes again, and looked towards the scene of murder. The girl Ustane had", "He looked and looked, and slowly I perceived that he was drawing nearer\nto her. Suddenly his eye fell upon the corpse of poor Ustane, and he\nshuddered and stopped.", "\"She is not willing to leave Leo,\" I answered, not knowing what to say.\nAyesha wheeled round, and, pointing to the girl Ustane, said one word,", "Then came an answering cry of mingled rage and terror. I turned my head.\nAyesha had risen, and was standing with her outstretched hand pointing", "\"Ayesha, I love thee with all my heart, and so far as forgiveness is\npossible I forgive thee the death of Ustane. For the rest, it is between", "But Ustane did not move.\n\n\"Go, woman!\"\n\nThen she looked up, and I saw that her face was torn with passion.", "\"For what crime?\" I asked, horrified. \"She is guilty of naught that thou\nart not guilty of thyself, oh Ayesha. She loves the man, and he has been", "knowledge of Ayesha's character. For all I knew she might be in the very\nact of consigning me to a horrible doom. But in life we sometimes have", "the corpse, and, turning, literally sprang at Ayesha. But she was\nwatching, and, seeing him come, stretched out her hand again, and he", "that of any other woman in the world for a whole lifetime. And let me\nadd that, if anybody who doubts this statement, and thinks me foolish\nfor making it, could have seen Ayesha draw her veil and flash out in", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "Then Ayesha spoke. \"Forgive me, my guest,\" she said softly, addressing\nhim, \"if I have shocked thee with my justice.\"" ], [ "Then came Leo's turn, and though he looked rather queer, he came across\nlike a rope-dancer. Ayesha stretched out her hand to clasp his own, and", "centuries. True, she offered to let Leo slay her, but very\n probably this was only an experiment to try his temper and\n mental attitude towards her. Ayesha never gave way to", "Leo shrugged his shoulders, being in a condition of half-fascinated,\nhalf-expectant mystification, and as he did so, Ayesha with a sudden", "according to Ayesha, Leo was to awake, and with it came _She_ herself,\nas usual, veiled.", "\"But we have a queen already,\" broke in Leo, hastily.\n\n\"It is naught, it is naught,\" said Ayesha; \"she can be overthrown.\"", "XX\n\nTRIUMPH\n\nThen followed a moment of the most painful silence that I ever endured.\nIt was broken by Ayesha, who addressed herself to Leo.", "\"I am sure I wish I knew, Mr. Leo,\" said Job, edging suspiciously past\nAyesha, whom he still regarded with the utmost disgust and horror, being", "\"Leo!\" said Ayesha, in an absent voice; \"why, that is 'lion' in the\nLatin tongue. The old man hath named happily for once. It is very", "identity and character in reserve, Ayesha did not talk freely, as she\nusually did. Presently, however, she informed Leo that she had arranged", "\"See now the place where I have slept for these two thousand years,\"\nsaid Ayesha, taking the lamp from Leo's hand and holding it above her", "\"I hear thee, Ayesha,\" answered Leo, \"but, of a truth--I am no\ncoward--but I doubt me of that raging flame. How know I that it will", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "\"Thou wilt presently understand,\" said Ayesha, with a little laugh, when\nLeo asked her; and we certainly did. Scarcely were the words out of her", "We were as usual shown in by the mutes, and after these had\nretired Ayesha unveiled, and once more bade Leo embrace her, which,", "Leo--needed some food and rest. At six o'clock we, together with Job,\nwaited on Ayesha, who set to work to terrify our poor servant still", "Is Leo really a reincarnation of the ancient Kallikrates of whom the\ninscription tells? Or was Ayesha deceived by some strange hereditary", "to his grief in the passage. Obviously the only hope lay in Ayesha. She,\nand she alone--unless, indeed, she was an imposter, which I could", "deceived by the extraordinary undulating smoothness of her walk into a\nbelief that she was a white ghost gliding towards him. Indeed, at that\nvery moment the question was settled, for Ayesha herself was in the", "Then, for the first time, Ayesha spoke to him, and her first words were\na lie. \"She has gone from hence upon a visit,\" she said; \"and, behold,\nin her place am I here as thine handmaiden.\"", "\"Who is this man?\" she said, pointing to the sleeping form of Leo.\n\n\"The man is my husband,\" she answered in a low voice.\n\n\"Who gave him to thee for a husband?\"" ], [ "it was true after all. I must take the boy. Suddenly I remembered the\nletter which Vincey had left with the chest. I fetched and opened it.\nIt only contained such directions as he had already given to me as to", "As might be expected, poor Vincey's sudden death created a great stir\nin the College; but, as he was known to be very ill, and a satisfactory", "of the night of poor Vincey's death, and again I asked myself what it\nall meant, and wondered if I should hear anything more of the matter,", "up and began to think that Vincey must have been drinking. I knew that\nhe was, and had been, very ill, but still it seemed impossible that he", "legal principles. So far as I could discover, however, it exactly bore\nout what my friend Vincey had told me on the night of his death. So", "matter. I wrote to this effect to Mr. Holly, but a week afterwards\nreceived a letter from that gentleman's lawyers, returning my own, with\nthe information that their client and Mr. Leo Vincey had already left", "The next thing that I found was a parchment carefully rolled up. I\nunrolled it, and seeing that it was also in Vincey's handwriting, and", "\"All right,\" answered my friend, \"nothing easier. I know Vincey;\nI'll introduce you,\" and he did, and for some minutes we stood", "\"Then the boy must become a ward of Chancery and take his chance. Only\nbe careful that the iron chest is passed on to him by your will. Listen,", "\"No, no,\" he said earnestly. \"Promise me that you won't. I am going to\ndie, and, like a poisoned rat, I wish to die alone.\"", "\"Sir,--Our client, the late M. L. Vincey, Esq., who died on the 9th\ninstant in ---- College, Cambridge, has left behind him a Will, of which", "Vincey, and then into the plain, modern Vincey. It is very curious\nto observe how the idea of revenge, inspired by an Egyptian who lived", "He obeyed, and from the box I took the keys that poor Vincey, Leo's\nfather, had given me on the night of his death. There were three of", "\"There,\" he said, \"I must go, you have the chest, and my will will be\nfound among my papers, under the authority of which the child will be", "that young Vincey showed much aversion to feminine society on this\noccasion. Indeed I remember laughing, and remarking to my friend at\nthe time that he was not the sort of man whom it would be desirable to", "\"Look here, Vincey,\" I said, \"if you are as ill as you think, you had\nbetter let me fetch a doctor.\"", "dark ages, or how it came to have been preserved in the family. My\npoor friend Vincey had, it will be remembered, told me that his Roman", "one, he's Vincey's (that's the god's name) guardian, and supposed to be\nfull of every kind of information. They call him 'Charon.'\" I looked,", "\"Good-bye, my boy,\" I said, \"I hope that we shall meet again, wherever\nit is that we go to.\"\n\nThe fact was I did not expect to live another two minutes.", "and that your wife died; and that you have been the best, indeed almost\nthe only friend I ever had.\"" ], [ "signed by \"Horace Holly,\" a name that at the moment was not familiar to\nme. It ran as follows:--", "It was in this very month something over twenty years ago that I, Ludwig\nHorace Holly, was sitting one night in my rooms at Cambridge, grinding", "\"Believe me, very truly yours, \"L. Horace Holly.[*]", "\"Geoffrey and Jordan.\n\n\"Horace L. Holly, Esq.\"", "matter. I wrote to this effect to Mr. Holly, but a week afterwards\nreceived a letter from that gentleman's lawyers, returning my own, with\nthe information that their client and Mr. Leo Vincey had already left", "\"What do you make of that, Uncle Holly,\" said Leo, with a sort of gasp,\nas he replaced it on the table. \"We have been looking for a mystery, and\nwe certainly seem to have found one.\"", "much forgotten as though I had never been. Holly, my friend (to whom, if\nhe will accept the trust, it is my intention to confide you), will have", "I have been searching for some one to whom I could confide the boy and\nthis,\" and he tapped the iron box. \"You are the man, Holly; for, like a", "\"Yes; and I verily believe it is my last visit,\" he answered, with a\nghastly attempt at a smile. \"I am done for, Holly. I am done for. I do\nnot believe that I shall see to-morrow.\"", "at once joined, walking off in their company. I remember being rather\namused because of the change in the expression of the elder man, whose\nname I discovered was Holly, when he saw the ladies advancing. He", "been likely to attract an intellect so powerful as that of Ayesha. He is\nnot even, at any rate to my view, particularly interesting. Indeed, one\nmight imagine that Mr. Holly would under ordinary circumstances have", "Here also I am not able to answer, but must leave the reader to form his\nown judgment on the facts before him, as detailed by Mr. Holly in the\nfollowing pages.\n\n\n\nI", "\"They call me Holly, oh Queen,\" I answered.\n\n\"Holly,\" she answered, speaking the word with difficulty, and yet with a\nmost charming accent; \"and what is 'Holly'?\"", "\"So,\" she said softly; \"provided he be not dead, it is no matter, for I\ncan bring him back to life, my Holly. Is that man there thy servant,\nand is that the method wherewith thy servants greet strangers in thy\ncountry?\"", "\"Certainly, Uncle Horace,\" answered Leo; for I had brought him up to\ncall me uncle--though he varied the appellation somewhat disrespectfully\nby calling me \"old fellow,\" or even \"my avuncular relative.\"", "\"Nay, nay; oh Holly,\" she answered, \"it is no magic, that is a fiction\nof ignorance. There is no such thing as magic, though there is such a", "is no such thing as death, Holly, only a change, and, as you may perhaps\nlearn in time to come, I believe that even that change could under\ncertain circumstances be indefinitely postponed,\" and again he broke", "\"Well, my Holly,\" she continued, \"and so those people of mine have found\na prophet, a false prophet thou sayest, for he is not thine own, and,", "\"Nay,\" she said, \"enter with me, oh Holly, for of a truth thy\nconversation pleaseth me. Think, oh Holly: for two thousand years have I", "live, for none die on whom the drug takes hold. Think of it now, my\nHolly--think of the wonder of it! He will sleep for twelve hours and\nthen the fever will have left him!\"" ], [ "pointed to Leo's round shaving-glass that had been arranged by Job with\nother things upon his portmanteau; \"give it to this woman, my Holly, and", "Accordingly I went, only to find Job and Ustane in a great state of\ngrief, declaring that Leo was in the throes of death, and that they had", "matter. I wrote to this effect to Mr. Holly, but a week afterwards\nreceived a letter from that gentleman's lawyers, returning my own, with\nthe information that their client and Mr. Leo Vincey had already left", "After this we managed to get Leo, who was in a very poor way indeed, and\nonly half conscious, safely off to bed, supported by Job and that brave", "Accordingly, just before sundown, I was informed that everything was\nready, and, accompanied by Job, went into the cave, where I met Leo,", "finally, and requested Job and myself to do the same. Leo, of course,\nwas far too ill to do anything of the sort. I did so, and we entered the", "\"And this man, oh Holly,\" said _She_, pointing to Job; \"best is it\nthat he should tarry also, for if his heart be not high and his courage", "The first care of Job and myself, after seeing to Leo, was to wash\nourselves and put on clean clothing, for what we were wearing had not", "(with one leg hanging over the side). Apparently, however, he could not\nmake much out of Job, for presently I saw his bearers trot forward to\nLeo's litter.", "It was Leo. Leo brought back by the wave--back, dead or alive, from the\nvery jaws of Death.\n\n\"Bail out! bail out!\" yelled Job, \"or we shall founder.\"", "might. I was next to her, then came Job, painfully dragging his plank,\nwhile Leo brought up the rear. It was a wonderful sight to see this", "Just then Leo opened his eyes beneath the stimulus of some brandy (of\nwhich we still had a little) that Job had poured down his throat, and\nour conversation came to an end.", "when they saw us face round upon them. Job was on one side of the rock\nto the left, Leo in the centre, and I to the right. Behind us were", "\"I am sure I wish I knew, Mr. Leo,\" said Job, edging suspiciously past\nAyesha, whom he still regarded with the utmost disgust and horror, being", "I gave a gasp, expecting to see Leo instantly speared; and Job\nejaculated, \"The hussy--well, I never!\" As for Leo, he looked slightly", "\"If you stop there, Job, you will die alone,\" I called; \"the light is\ngoing.\"\n\n\"Come, be a man, Job,\" roared Leo; \"it's quite easy.\"", "greater weights. Now, come, oh Holly, for presently the light will fail\nus.\"", "\"I have, sir,\" said Job, tapping his Colt, \"but Mr. Leo has only got his\nhunting knife, though that is big enough, surely.\"", "how matters stood, asking at the same time what he thought had best be\ndone. He came with me, and looked at Leo and Job (whom, by the way,", "Presently Leo and Job were bundled out and placed beside me.\n\n\"What on earth is up?\" said Leo, rubbing his eyes." ], [ "Mahomed, who had died by my hand, which, the fire-stained pot at its\nside, was placed at the end of the irregular line. To the left a body of", "revenge of the slight put upon her by Job. She sank down dead, and as\nshe did so, to my terror and dismay, Mahomed, by a superhuman effort,", "caressing Mahomed, and was now gripping him in her arms. The bullet\nstruck her in the back and killed her, and to this day I am glad that", "almost with a single movement, they had reached the spot where Mahomed\nwas struggling. He fought like a fiend, shrieking in the abandonment of", "When it was all over, leaving Mahomed to keep a look out, we managed to\nspend the rest of the night as quietly as the mosquitoes would allow.\n\n\n\nVI", "We looked up, and sure enough the woman in question had risen, and was\nescorting the wretched Mahomed from his corner, where, overcome by some", "with Mahomed's sword. At dark we halted for some hours to rest and enjoy\nthe mosquitoes, but about midnight we went on again, taking advantage", "\"Allah! Allah!\" howled Mahomed, feeling that he had little to hope from\nman, \"protect me! protect me!\"", "Arab companion, Mahomed, lying exhausted on the ground. It appeared that\nhe had not been provided with a litter, but had been forced to run the", "his reason his own, and left it to drift upon the sea of circumstance.\nMahomed, the Arab, who was, by the way, treated civilly indeed, but", "Then came a pause, and I noticed, with horror and a rising of the hair,\nthat the woman next to Mahomed began to fondle him, patting his cheeks", "_She_ shall they go, and her vengeance shall be worthy of her greatness.\nThat man,\" pointing to Mahomed, \"I tell thee that man would have died a", "Mahomed clambered aft, and got hold of the tiller, and with some\ndifficulty Job, who had sometimes pulled a tub upon the homely Cam, got", "\"Steer for your life, Mahomed!\" I yelled. He was a skilful steersman,\nand well acquainted with the dangers of this most perilous coast, and I", "thine would have slain us as they would have slain our servant,\" and I\npointed towards Mahomed.", "of cannibals, mad with fury at the death of the woman. With a bound I\ncleared the prostrate form of Mahomed. As I flew over him I felt the", "\"Take the tiller, Mahomed!\" I roared in Arabic. \"We must try and shoot\nthem.\" At the same moment I seized an oar, and got it out, motioning to\nJob to do likewise.", "\"Oh, Lord! sir, here's a rum go,\" ejaculated Job; and just at that\nmoment a disturbance ensued, and Mahomed came tumbling between us,\nfollowed by a shadowy form with an uplifted spear.", "had to be gone through.[*] I saw Mahomed turn white under his brown\nskin, sickly white with fear.", "\"Allah!\" shouted Mahomed, \"a crocodile has got him by the leg!\" and sure\nenough he had. We could see the long snout with its gleaming lines of\nteeth and the reptile body behind it." ], [ "revenge of the slight put upon her by Job. She sank down dead, and as\nshe did so, to my terror and dismay, Mahomed, by a superhuman effort,", "the corpse, and, turning, literally sprang at Ayesha. But she was\nwatching, and, seeing him come, stretched out her hand again, and he", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "We made no answer, but gazed at each other with frightened eyes, the\nwhole scene was so dreadful and so solemn. Ayesha advanced, and laid her\nhand upon the corner of the shroud, and once more spoke.", "\"I am sure I wish I knew, Mr. Leo,\" said Job, edging suspiciously past\nAyesha, whom he still regarded with the utmost disgust and horror, being", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "Then, for the first time, Ayesha spoke to him, and her first words were\na lie. \"She has gone from hence upon a visit,\" she said; \"and, behold,\nin her place am I here as thine handmaiden.\"", "body, and even in places eaten into the stone. Ayesha stooped down, and,\ntaking a handful of this powder in her grasp, threw it into the air,", "Her face grew dark as a thunder-cloud. Old as she was, Ayesha had not\noutlived jealousy.\n\n\"Then there is an end,\" she said; \"she must die, even now!\"", "deceived by the extraordinary undulating smoothness of her walk into a\nbelief that she was a white ghost gliding towards him. Indeed, at that\nvery moment the question was settled, for Ayesha herself was in the", "Ayesha seated herself upon her cushions, and, having dismissed Job and\nBillali, by signs bade the mutes tend the lamps and retire--all save", "\"As thou wilt, Ayesha,\" I said. \"I fear not thy beauty. I have put my\nheart away from such vanity as woman's loveliness, that passeth like a\nflower.\"", "to his grief in the passage. Obviously the only hope lay in Ayesha. She,\nand she alone--unless, indeed, she was an imposter, which I could", "externally, if one touched it it fell in, and revealed the fact that the\nfigure was but a pile of dust. This arose, Ayesha told me, from these", "Then came a few moments' pause, during which Ayesha seemed to be\ngathering up her strength for the fiery trial, while we clung to each\nother, and waited in utter silence.", "\"That shalt thou see,\" and at a sign from him his bearers started\nforward at a run till they reached the litter in which Job was reposing", "\"Behold the lot of man,\" said the veiled Ayesha, as she drew the winding\nsheets back over the dead lovers, speaking in a solemn, thrilling voice,", "with roars and bleating and the hissing of snakes. This went on for a\nlong time, till, getting tired of the pantomime, I asked Ayesha if there", "The next thing that I remember was opening my eyes and perceiving the\nform of Job, who had now practically recovered from his attack of fever.", "even at its memory. Ayesha entered the tomb (for it was a tomb), and we\nfollowed her--I, for one, rejoicing that the mystery of the place was" ], [ "of barbarism behind him, in the shape of a huge Amahagger with a\nproportionately huge spear, than to the seductions of the lady who led", "\"In short,\" I replied, quoting the saying of a great man whose wisdom\nhas not yet lightened the darkness of the Amahagger, \"thou hast found\nthy position one of greater freedom and less responsibility.\"", "which, stretching for scores and scores of miles, formed a stronger and\nmore impassable fortification round the various Amahagger households\nthan any that could be built or designed by man. No, there was but", "She sighed deeply, entered, and fell upon her hands and knees, after the\ncustom of the Amahagger people, in the presence of the dread _She_.", "those who shall eat ye are already hungry for the feast. Knowest thou\nnot that these Amahagger, my children, these dwellers in the caves,", "consented to do it cheerfully in order to promote our safety. It shows\nthat even among those dreadful Amahagger--who are certainly with their", "who he gave us to understand was the Queen of the Amahagger, and learn\nher wishes.", "I turned, and followed him down the passage, and when we reached the\ngreat central cave saw that many Amahagger, some robed, and some merely", "felled an Amahagger with his fist, but it was more than man could do to\nhold his own for long against so many, and at last he came crashing down", "For a moment there was a silence of astonishment. The Amahagger had\nnever heard the report of a firearm before, and its effects dismayed", "\"The name of my people is Amahagger\" (the People of the Rocks).\n\n\"And if a son might ask, what is the name of my father?\"\n\n\"My name is Billali.\"", "One of them came forward, and, producing a lamp, lit it from his brazier\n(for the Amahagger when on a journey nearly always carried with them a", "here he broke off, and ran as hard as he could go down the cave, and for\nonce I saw the Amahagger laugh. As for the woman, however, she did", "the air, throwing great flashes of light far out into the gloom, through\nwhich the dark forms of the Amahagger flitted to and fro like\ndevils replenishing the infernal fires. We all stood and stared", "came down upon them, and took their women to wife, and the race of the\nAmahagger that is now is a bastard brood of the mighty sons of Kôr, and", "Amahagger. We watched them winding away with the empty litters like a\nprocession bearing dead men from a battle, till the mists from the marsh", "with chilling contempt, by the Amahagger, was, I discovered, in a great\nfright, though I could not quite make out what he was frightened about.", "of each tribe, or, as they call it, \"Household,\" and he is its elected\nand immediate ruler, with the title of \"Father.\" For instance, the man", "bearers and two spare hands, also a band of about fifty armed Amahagger,\nwho were to form the escort and carry the baggage. Three of these", "in any such frivolity; but, as will presently more clearly appear,\nit turned out that an Amahagger dance has little in common with such" ], [ "\"My Son Leo,--When you open this, if you ever live to do so, you will\nhave attained to manhood, and I shall have been long enough dead to", "To begin, Leo, with his golden curls turned a snowy white, his clothes\nnearly rent from his body, his worn face and his hands a mass of", "\"Very well,\" answered Leo, putting down the miniature, at which he\nhad been gazing affectionately; \"and now let us read the letter,\" and\nwithout further ado he broke the seal, and read aloud as follows:--", "opening the chest on Leo's twenty-fifth birthday, and laid down the\noutlines of the boy's education, which was to include Greek, the higher", "He obeyed, and from the box I took the keys that poor Vincey, Leo's\nfather, had given me on the night of his death. There were three of", "On the day preceding Leo's twenty-fifth birthday we both journeyed to\nLondon, and extracted the mysterious chest from the bank where I had", "Job and Leo bent forward in breathless silence. The key turned, and\nI flung back the lid, and uttered an exclamation, and no wonder, for", "Just then Leo opened his eyes beneath the stimulus of some brandy (of\nwhich we still had a little) that Job had poured down his throat, and\nour conversation came to an end.", "\"_To my son Leo, should he live to open this casket._\"", "I grew older. As for his, there was no doubt about its fitness. Leo at\ntwenty-one might have stood for a statue of the youthful Apollo. I never", "\"Do you, old fellow,\" answered Leo. \"I will sit upon the other side of\nthe stone to steady it. You must take as much run as you can, and jump\nhigh; and God have mercy on us, say I.\"", "reaching Leo's room we found the poor boy in a very bad way. He had woke\nup from his torpor, and was altogether off his head, babbling about some", "looked at Leo. He was sitting up, holding his hands to his head, and I\nsaw that his face was flushed and his eye bright, and yet yellow round\nthe pupil.", "pay for the board of the boy. The rest is to accumulate till Leo is\ntwenty-five, so that there may be a sum in hand should he wish to\nundertake the quest of which I spoke.\"", "has been a trick of his from a child. Now, as a matter of fact, I had no\nintention of allowing Leo to go anywhere by himself, for my own sake, if", "I looked at the young man, and saw that he meant what he said. When Leo\nmeans what he says he always puts on a curious look about the mouth. It", "Thus adjured, Leo told her the wonderful story of the casket and of the\npotsherd that, written on by his ancestress, the Egyptian Amenartas, had", "\"Perhaps you are both right,\" said Leo, very quietly. \"I express no\nopinion. But I say this. I am going to set the matter at rest once and\nfor all, and if you won't come with me I will go by myself.\"", "\"I have never seen my boy, Leo, since he was a tiny baby. I never could\nbear to see him, but they tell me that he is a quick and handsome child.", "For a moment Leo did not quite realise what had happened. But, when he\ndid, his face was awful to see. With a savage oath he rose from beside" ], [ "\"Ah,\" he said, when we were out of earshot, \"the fever! I thought so.\nThe Lion has it badly, but he is young, and he may live. As for the Pig,", "\"Greeting to thee, my young stranger lord,\" she said in her softest\nvoice. \"Right glad am I to see thee upon thy feet. Believe me, had I not", "and found the older man quite as interesting in his way as the glorified\nspecimen of humanity at his side. He appeared to be about forty years\nof age, and was I think as ugly as his companion was handsome. To begin", "\"Yes,\" he answered, \"he is the handsomest man in the University, and one\nof the nicest too. They call him 'the Greek god'; but look at the other", "heart, were a young man and a blooming girl. Her head rested on his arm,\nand his lips were pressed against her brow. I opened the man's linen", "\"It's very odd,\" he said to me in English; and then, addressing _She_,\n\"I cannot understand,\" he said; \"the young lady and I--well--in short,\nwe had a regard for each other.\"", "I looked at the young man, and saw that he meant what he said. When Leo\nmeans what he says he always puts on a curious look about the mouth. It", "Some years ago I, the editor, was stopping with a friend, \"_vir\ndoctissimus et amicus neus_,\" at a certain University, which for the", "\"These young parties have a way of looking at one, sir,\" he would say\napologetically, \"which I don't call respectable.\"", "the handsomest young fellow I have ever seen. He was very tall, very\nbroad, and had a look of power and a grace of bearing that seemed as", "did--almost as well as the professor who instructed us both. I always\nwas a great sportsman--it is my one passion--and every autumn we went\naway somewhere shooting or fishing, sometimes to Scotland, sometimes", "A tall man of about thirty, with the remains of great personal beauty,\ncame hurrying in, staggering beneath the weight of a massive iron box", "longer quite young, advanced and publicly kissed Job. I think it was in\nits way the most delightful thing (putting its impropriety aside for", "Leo, who was growing really attached to this remarkable young person,\nwas in a great state of alarm and distress, and I, to be perfectly", "years ago, when he came into my room. You see he evidently hurried his\nown end, poor man. It is absolute balderdash.\"", "How different is the scene that I have now to tell from that which has\njust been told! Gone are the quiet college rooms, gone the wind-swayed", "\"Then,\" he answered, with a faint smile, \"we rise, and kill the old\nones as an example to the young ones, and to show them that we are the", "that young Vincey showed much aversion to feminine society on this\noccasion. Indeed I remember laughing, and remarking to my friend at\nthe time that he was not the sort of man whom it would be desirable to", "It was in this very month something over twenty years ago that I, Ludwig\nHorace Holly, was sitting one night in my rooms at Cambridge, grinding", "\"Yes, you. I have not studied you for two years for nothing. I have\nknown for some time that I could not last, and since I realised the fact" ], [ "ruled over by a _beautiful white woman_ who is seldom seen by them, but\nwho is reported to have power over all things living and dead. Two", "They had a Queen, however. _She_ was their Queen, but she was very\nrarely seen, perhaps once in two or three years, when she came forth to", "and to see the rest turn white, even to the heart.\" And she held the\ncurtain aside with her ivory hand to let me pass in.", "deceived by the extraordinary undulating smoothness of her walk into a\nbelief that she was a white ghost gliding towards him. Indeed, at that\nvery moment the question was settled, for Ayesha herself was in the", "\"Behold the house of '_She-who-must-be-obeyed_!'\" he said. \"Had ever a\nqueen such a throne before?\"", "\"But here is a strange thing,\" said Ayesha, in astonishment; \"a queen\nwhom her people love! Surely the world must have changed since I dwelt\nin Kôr.\"", "But of these matters none could speak with certainty. Only _She_ was\nobeyed throughout the length and breadth of the land, and to question\nher command was instant death. She kept a guard, but had no regular", "with this white sorceress. Nonsense; it must be nonsense! She had warned\nme fairly, and I had refused to take the warning. Curses on the fatal", "\"What is the colour of the men?\" said a deep voice in answer.\n\n\"White is their colour.\"", "absolute rule over the British dominions, and probably over the whole\nearth, and, though I was sure that she would speedily make ours the most\nglorious and prosperous empire that the world has ever seen, it would be", "was put to death. Then the female child grew up and took the place of\nthe Queen when its mother died, and had been buried in the great caves.", "robed in white and armed with great spears and daggers, and men and\nwomen mutes watching with hard curious eyes. Then, seated in her", "\"What does _She_ want?\" she whispered, divided between her fear of the\nterrible Queen and her anxiety to remain near Leo. \"It is surely the", "\"But we have a queen already,\" broke in Leo, hastily.\n\n\"It is naught, it is naught,\" said Ayesha; \"she can be overthrown.\"", "\"I have seen enough, oh Queen,\" I answered. \"My heart is overwhelmed\nby the power of the present Death. Mortality is weak, and easily broken", "to grovel upon their stomachs, only screwing their heads round a little\nso as to get a view of us with one eye. It seemed that their Queen\nso rarely appeared in public that they were willing to undergo this", "sherd. And now it appeared that there was a mysterious Queen clothed by\nrumour with dread and wonderful attributes, and commonly known by the", "She laid her white hand on his head, and looked him fondly in the eyes.\n\"Dost thou wonder, my Kallikrates,\" she said, \"when thou shalt call me", "\"Slay not,\" was the reply. \"Four suns since was the word brought to me\nfrom '_She-who-must-be-obeyed_,' 'White men come; if white men", "\"Oh, my Baboon! my Baboon!\" he cried, \"my dear son, is it indeed thee\nand the Lion? Why, his mane that was ripe as corn is white like" ], [ "\"Come,\" said Ayesha, after we had gazed and gazed, I know not for how\nlong, \"and I will show you the stony flower of Loveliness and Wonder's", "\"See now the place where I have slept for these two thousand years,\"\nsaid Ayesha, taking the lamp from Leo's hand and holding it above her", "We made no answer, but gazed at each other with frightened eyes, the\nwhole scene was so dreadful and so solemn. Ayesha advanced, and laid her\nhand upon the corner of the shroud, and once more spoke.", "Ayesha called to us, and we crept up to her, for she was a little in\nfront, and were rewarded with a view that was positively appalling in", "even at its memory. Ayesha entered the tomb (for it was a tomb), and we\nfollowed her--I, for one, rejoicing that the mystery of the place was", "deceived by the extraordinary undulating smoothness of her walk into a\nbelief that she was a white ghost gliding towards him. Indeed, at that\nvery moment the question was settled, for Ayesha herself was in the", "the place before which Ayesha had halted. It turned out to be a chamber\nhollowed in the thickness of the wall, and, from the fact of there still", "\"I brought you,\" went on Ayesha presently, \"that ye might look upon\nthe most wonderful sight that ever the eye of man beheld--the full moon", "body, and even in places eaten into the stone. Ayesha stooped down, and,\ntaking a handful of this powder in her grasp, threw it into the air,", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "\"Behold the lot of man,\" said the veiled Ayesha, as she drew the winding\nsheets back over the dead lovers, speaking in a solemn, thrilling voice,", "been the means of guiding us to her. Ayesha listened intently, and, when\nhe had finished, spoke to me.", "the corpse, and, turning, literally sprang at Ayesha. But she was\nwatching, and, seeing him come, stretched out her hand again, and he", "Then, for the first time, Ayesha spoke to him, and her first words were\na lie. \"She has gone from hence upon a visit,\" she said; \"and, behold,\nin her place am I here as thine handmaiden.\"", "which I measured, being between eighteen to twenty feet in diameter at\nthe base, by about seventy feet in height, our little procession was\nhalted, and Ayesha descended from her litter.", "But Ayesha merely called to me to take her hand and creep after her.\n\n\n\nXXV\n\nTHE SPIRIT OF LIFE", "Then came an answering cry of mingled rage and terror. I turned my head.\nAyesha had risen, and was standing with her outstretched hand pointing", "\"Now,\" said Ayesha, as she descended from her litter, \"doth our labour\nbut commence, for here do we part with these men, and henceforward must", "We were as usual shown in by the mutes, and after these had\nretired Ayesha unveiled, and once more bade Leo embrace her, which,", "with roars and bleating and the hissing of snakes. This went on for a\nlong time, till, getting tired of the pantomime, I asked Ayesha if there" ], [ "deceived by the extraordinary undulating smoothness of her walk into a\nbelief that she was a white ghost gliding towards him. Indeed, at that\nvery moment the question was settled, for Ayesha herself was in the", "that of any other woman in the world for a whole lifetime. And let me\nadd that, if anybody who doubts this statement, and thinks me foolish\nfor making it, could have seen Ayesha draw her veil and flash out in", "of Queen. I said nothing to this, but only shook my head sadly. Alas!\nI knew too well that Ayesha would appear no more, or at any rate that\nBillali would never see her again.", "\"What is it, Ayesha?\" I cried. \"Is he dead?\"\n\nShe turned, and sprang towards me like a tigress.", "body, and even in places eaten into the stone. Ayesha stooped down, and,\ntaking a handful of this powder in her grasp, threw it into the air,", "to his grief in the passage. Obviously the only hope lay in Ayesha. She,\nand she alone--unless, indeed, she was an imposter, which I could", "the corpse, and, turning, literally sprang at Ayesha. But she was\nwatching, and, seeing him come, stretched out her hand again, and he", "Then came an answering cry of mingled rage and terror. I turned my head.\nAyesha had risen, and was standing with her outstretched hand pointing", "Then, for the first time, Ayesha spoke to him, and her first words were\na lie. \"She has gone from hence upon a visit,\" she said; \"and, behold,\nin her place am I here as thine handmaiden.\"", "[*] After some months of consideration of this statement I\n am bound to confess that I am not quite satisfied of its\n truth. It is perfectly true that Ayesha committed a murder,", "\"Look not so frighted, my Holly,\" said Ayesha, when she had gone. \"I\ntell thee I deal not in magic--there is no such thing. 'Tis only a force", "\"Wot ye why I have brought you here to-night, my Holly?\" said Ayesha,\nleaning her head upon her hand and watching the great orb as she rose,", "\"Ay, for a time; but even to the world are they born again and again. I,\nyes I, Ayesha[*]--for that, stranger, is my name--I say to thee that", "knowledge of Ayesha's character. For all I knew she might be in the very\nact of consigning me to a horrible doom. But in life we sometimes have", "I believe it to be--namely, that Ayesha, seeing further than we can\nsee, perceived the germ and smouldering spark of greatness which lay hid", "even at its memory. Ayesha entered the tomb (for it was a tomb), and we\nfollowed her--I, for one, rejoicing that the mystery of the place was", "of avoiding death, even for a time, or that there is or was a white\nsorceress living in the heart of an African swamp. It is bosh, my boy,", "presence, not without trepidation, for Ayesha was certainly an exception\nto the rule. Familiarity with her might and did breed passion and wonder\nand horror, but it certainly did _not_ breed contempt.", "\"As thou wilt, Ayesha,\" I said. \"I fear not thy beauty. I have put my\nheart away from such vanity as woman's loveliness, that passeth like a\nflower.\"", "\"Thou seest, my Holly,\" said Ayesha, with a little laugh, \"it was\nneedful that I should give these people a lesson in obedience. That girl" ], [ "\"I have never seen my boy, Leo, since he was a tiny baby. I never could\nbear to see him, but they tell me that he is a quick and handsome child.", "To begin, Leo, with his golden curls turned a snowy white, his clothes\nnearly rent from his body, his worn face and his hands a mass of", "Leo, who was growing really attached to this remarkable young person,\nwas in a great state of alarm and distress, and I, to be perfectly", "Leo. I found him dreadfully bruised, worse even than myself, perhaps\nowing to the excessive whiteness of his skin, and faint and weak with", "\"My Son Leo,--When you open this, if you ever live to do so, you will\nhave attained to manhood, and I shall have been long enough dead to", "reaching Leo's room we found the poor boy in a very bad way. He had woke\nup from his torpor, and was altogether off his head, babbling about some", "\"Who is this man?\" she said, pointing to the sleeping form of Leo.\n\n\"The man is my husband,\" she answered in a low voice.\n\n\"Who gave him to thee for a husband?\"", "Accordingly I went, only to find Job and Ustane in a great state of\ngrief, declaring that Leo was in the throes of death, and that they had", "Leo's when he was plunged into profound sleep. I can only sum up the\ncloseness of the resemblance by saying that I never saw twins so exactly\nsimilar as that dead and living pair.", "has been a trick of his from a child. Now, as a matter of fact, I had no\nintention of allowing Leo to go anywhere by himself, for my own sake, if", "It was Leo. Leo brought back by the wave--back, dead or alive, from the\nvery jaws of Death.\n\n\"Bail out! bail out!\" yelled Job, \"or we shall founder.\"", "Well, I set myself to recovering Leo, who, to my infinite relief, I\nfound was not dead, but only fainting, and in the end I succeeded, as I", "For a moment Leo did not quite realise what had happened. But, when he\ndid, his face was awful to see. With a savage oath he rose from beside", "looked at Leo. He was sitting up, holding his hands to his head, and I\nsaw that his face was flushed and his eye bright, and yet yellow round\nthe pupil.", "the ways of children, and professed himself quite willing to undertake\nthe charge of Master Leo when he arrived. Then, having taken the iron", "Leo was of course intensely interested in this stupendous and unequalled\nsight, which was, indeed, enough to awake all the imagination a man", "\"Very well,\" answered Leo, putting down the miniature, at which he\nhad been gazing affectionately; \"and now let us read the letter,\" and\nwithout further ado he broke the seal, and read aloud as follows:--", "we two grew dearer and yet more dear to each other. Few sons have\nbeen loved as I love Leo, and few fathers know the deep and continuous\naffection that Leo bears to me.", "\"Leo!\" said Ayesha, in an absent voice; \"why, that is 'lion' in the\nLatin tongue. The old man hath named happily for once. It is very", "\"_To my son Leo, should he live to open this casket._\"" ], [ "at Ustane, who had suddenly stopped speaking. I gazed at the poor\nwoman, and as I gazed there came upon her face that same woeful, fixed", "my boy's life at the risk of her own. But Ustane was not the sort of\nyoung person with whom one would care to take liberties unless one were", "though Ustane had been no favourite of his, or he of hers, for the\nmatter of that. She called him \"pig\" in bastard Arabic, and he called", "He looked and looked, and slowly I perceived that he was drawing nearer\nto her. Suddenly his eye fell upon the corpse of poor Ustane, and he\nshuddered and stopped.", "preference by advancing and embracing him publicly, in the same way that\nthis handsome and exceedingly prompt young lady, who was called Ustane,", "But Ustane did not move.\n\n\"Go, woman!\"\n\nThen she looked up, and I saw that her face was torn with passion.", "No doubt she was a wicked person, and no doubt she had murdered Ustane\nwhen she stood in her path, but then she was very faithful, and by a", "Billali turned, and seeing that we were alone--for the young lady,\nUstane, had withdrawn when he had begun to speak--said, with a curious\nlittle laugh--", "did not know where Ustane was. Accordingly, after Leo had eaten a hearty\nbreakfast, we adjourned into _She's_ presence, for her mutes had orders\nto admit us at all hours.", "obey, for he could not in any way subdue his fear. But it was otherwise\nwith Ustane.", "\"Stand,\" said Ayesha, in her coldest voice, \"and come hither.\"\n\nUstane obeyed, standing before her with bowed head.\n\nThen came a pause, which Ayesha broke.", "been. It was rumoured also that she was immortal, and had power over\nall things, but she, Ustane, could say nothing of all that. What she", "in a voice that we both recognised as that of Ustane. Without waiting to\nconsult me Leo turned and followed her into the outer darkness, and I,", "\"I have no magic,\" went on Ustane, her rich voice ringing strong and\nfull, \"and I am not a Queen, nor do I live for ever, but a woman's heart", "But I was deeply anxious to save Ustane, whom I liked and respected,\nfrom the dire fate that overshadowed her at the hands of her mighty\nrival. So I made one more appeal.", "Then suddenly there was a disturbance, and involuntarily I opened my\neyes again, and looked towards the scene of murder. The girl Ustane had", "went, followed by Ustane, who did not seem inclined to take the hints I\ngave her that we liked privacy.", "\"And what didst thou see, Ustane?\" I asked, looking her sharply in the\nface.", "and jammed his face against the wall, and Ustane, guessing whose the\ndread presence must be, prostrated herself upon her face.", "I picked up the glass, and held it before Ustane's eyes. She gazed, then\nfelt at her hair, then gazed again, and then sank upon the ground with a\nsort of sob." ], [ "\"Very well,\" answered Leo, putting down the miniature, at which he\nhad been gazing affectionately; \"and now let us read the letter,\" and\nwithout further ado he broke the seal, and read aloud as follows:--", "To begin, Leo, with his golden curls turned a snowy white, his clothes\nnearly rent from his body, his worn face and his hands a mass of", "\"My Son Leo,--When you open this, if you ever live to do so, you will\nhave attained to manhood, and I shall have been long enough dead to", "opening the chest on Leo's twenty-fifth birthday, and laid down the\noutlines of the boy's education, which was to include Greek, the higher", "He obeyed, and from the box I took the keys that poor Vincey, Leo's\nfather, had given me on the night of his death. There were three of", "\"Do you, old fellow,\" answered Leo. \"I will sit upon the other side of\nthe stone to steady it. You must take as much run as you can, and jump\nhigh; and God have mercy on us, say I.\"", "looked at Leo. He was sitting up, holding his hands to his head, and I\nsaw that his face was flushed and his eye bright, and yet yellow round\nthe pupil.", "reaching Leo's room we found the poor boy in a very bad way. He had woke\nup from his torpor, and was altogether off his head, babbling about some", "Job and Leo bent forward in breathless silence. The key turned, and\nI flung back the lid, and uttered an exclamation, and no wonder, for", "Just then Leo opened his eyes beneath the stimulus of some brandy (of\nwhich we still had a little) that Job had poured down his throat, and\nour conversation came to an end.", "Thus adjured, Leo told her the wonderful story of the casket and of the\npotsherd that, written on by his ancestress, the Egyptian Amenartas, had", "On the day preceding Leo's twenty-fifth birthday we both journeyed to\nLondon, and extracted the mysterious chest from the bank where I had", "I grew older. As for his, there was no doubt about its fitness. Leo at\ntwenty-one might have stood for a statue of the youthful Apollo. I never", "For a moment Leo did not quite realise what had happened. But, when he\ndid, his face was awful to see. With a savage oath he rose from beside", "has been a trick of his from a child. Now, as a matter of fact, I had no\nintention of allowing Leo to go anywhere by himself, for my own sake, if", "I looked at the young man, and saw that he meant what he said. When Leo\nmeans what he says he always puts on a curious look about the mouth. It", "Leo was of course intensely interested in this stupendous and unequalled\nsight, which was, indeed, enough to awake all the imagination a man", "I acquiesced with a nod, and then I did a thing I had never done since\nLeo was a little boy. I turned and put my arm round him, and kissed him", "the ways of children, and professed himself quite willing to undertake\nthe charge of Master Leo when he arrived. Then, having taken the iron", "Hardly were the words out of her mouth, when Leo turned round and\nstretched out his arms, yawned, opened his eyes, and, perceiving a" ], [ "\"open the iron box, and let him see and read the contents, and say\nwhether or no he is willing to undertake the quest. There is no", "I have been searching for some one to whom I could confide the boy and\nthis,\" and he tapped the iron box. \"You are the man, Holly; for, like a", "pressed this way and that until at last the lock yielded, and the casket\nstood before us. It was filled to the brim with some brown shredded", "At last, however, breakfast was cleared away, and Job, at my request,\nfetched the chest, and placed it upon the table in a somewhat gingerly\nfashion, as though he mistrusted it. Then he prepared to leave the room.", "A tall man of about thirty, with the remains of great personal beauty,\ncame hurrying in, staggering beneath the weight of a massive iron box", "which he carried by a handle with his right hand. He placed the box upon\nthe table, and then fell into an awful fit of coughing. He coughed and", "and if I did not, what it would be my duty to do with the curious iron\nchest. I sat there and thought and thought till I began to grow quite\ndisturbed over the whole occurrence: the mysterious midnight visit, the", "\"Very well,\" answered Leo, putting down the miniature, at which he\nhad been gazing affectionately; \"and now let us read the letter,\" and\nwithout further ado he broke the seal, and read aloud as follows:--", "business. I scouted the idea as showing an unworthy curiosity. The chest\nhad waited twenty years, I said, so it could very well continue to wait", "Job and Leo bent forward in breathless silence. The key turned, and\nI flung back the lid, and uttered an exclamation, and no wonder, for", "I groped about, and produced something hard, done up in a little linen\nbag. Out of the bag we took first a very beautiful miniature done", "Of course he was very curious about it, and of course I explained to\nhim that his curiosity could not be gratified at present. After that, to\npass the time away, I suggested that he should get himself called to the", "told you something of the extraordinary antiquity of your race. In\nthe contents of this casket you will find sufficient to prove it. The\nstrange legend that you will find inscribed by your remote ancestress", "would scarcely have been able to walk, and carry a heavy iron box with\nhim. The whole story, on reflection, seemed to me utterly incredible,\nfor I was not then old enough to be aware how many things happen in", "caught the massive lid in both his hands, and with an effort, for the\nhinges had rusted, forced it back. Its removal revealed another case\ncovered with dust. This we extracted from the iron chest without any", "Thus adjured, Leo told her the wonderful story of the casket and of the\npotsherd that, written on by his ancestress, the Egyptian Amenartas, had", "\"My Son Leo,--When you open this, if you ever live to do so, you will\nhave attained to manhood, and I shall have been long enough dead to", "externally, if one touched it it fell in, and revealed the fact that the\nfigure was but a pile of dust. This arose, Ayesha told me, from these", "\"_To my son Leo, should he live to open this casket._\"", "yet open as it was of old time. And now let us start upon the new life\nwhich shall end--who knoweth where?\"" ], [ "herself, and roared. At that moment Leo fired, the bullet went right\ndown her open mouth and out at the back of her neck, and down she", "It was Leo. Leo brought back by the wave--back, dead or alive, from the\nvery jaws of Death.\n\n\"Bail out! bail out!\" yelled Job, \"or we shall founder.\"", "I glanced towards him; it was true enough, Leo was in his\ndeath-struggle. I saw his poor face turning ashen, and heard the breath", "\"Perhaps you are both right,\" said Leo, very quietly. \"I express no\nopinion. But I say this. I am going to set the matter at rest once and\nfor all, and if you won't come with me I will go by myself.\"", "A great fellow bounded up upon the platform, and Leo struck him dead\nwith one blow of his powerful arm, sending the knife right through him.", "Accordingly I went, only to find Job and Ustane in a great state of\ngrief, declaring that Leo was in the throes of death, and that they had", "finally, and requested Job and myself to do the same. Leo, of course,\nwas far too ill to do anything of the sort. I did so, and we entered the", "For a moment Leo did not quite realise what had happened. But, when he\ndid, his face was awful to see. With a savage oath he rose from beside", "When I reached Leo's side he was plainly expiring--his golden head was\nslowly turning from side to side, and his mouth was slightly open. I", "looked at Leo. He was sitting up, holding his hands to his head, and I\nsaw that his face was flushed and his eye bright, and yet yellow round\nthe pupil.", "To begin, Leo, with his golden curls turned a snowy white, his clothes\nnearly rent from his body, his worn face and his hands a mass of", "did not feel it much at the time. It seemed quite natural that the poor\nfellow should be dead. When Leo came to himself, which he did with a", "Well, I set myself to recovering Leo, who, to my infinite relief, I\nfound was not dead, but only fainting, and in the end I succeeded, as I", "reaching Leo's room we found the poor boy in a very bad way. He had woke\nup from his torpor, and was altogether off his head, babbling about some", "hours, his life would only be a matter of a day or two. I could not but\nagree with him, so we got Leo into the litter, and started on, Ustane", "\"I hear thee, Ayesha,\" answered Leo, \"but, of a truth--I am no\ncoward--but I doubt me of that raging flame. How know I that it will", "that they had ever seen. Upon my word, I once or twice thought that they\nwere coming into the boat to gratify it. Leo wanted to fire at them,", "Just then Leo opened his eyes beneath the stimulus of some brandy (of\nwhich we still had a little) that Job had poured down his throat, and\nour conversation came to an end.", "has been a trick of his from a child. Now, as a matter of fact, I had no\nintention of allowing Leo to go anywhere by himself, for my own sake, if", "I turned my head, and as I lay gasping in the throes of that awful\nstruggle I could see that Leo was off the rock now, for the lamplight" ], [ "\"All right,\" answered my friend, \"nothing easier. I know Vincey;\nI'll introduce you,\" and he did, and for some minutes we stood", "As might be expected, poor Vincey's sudden death created a great stir\nin the College; but, as he was known to be very ill, and a satisfactory", "Vincey, and then into the plain, modern Vincey. It is very curious\nto observe how the idea of revenge, inspired by an Egyptian who lived", "up and began to think that Vincey must have been drinking. I knew that\nhe was, and had been, very ill, but still it seemed impossible that he", "one, he's Vincey's (that's the god's name) guardian, and supposed to be\nfull of every kind of information. They call him 'Charon.'\" I looked,", "that young Vincey showed much aversion to feminine society on this\noccasion. Indeed I remember laughing, and remarking to my friend at\nthe time that he was not the sort of man whom it would be desirable to", "scholar who taught Greek in England.[*] No doubt, on the fame of this\nnew learning reaching his ears, the Vincey of the day, perhaps that same", "The next thing that I found was a parchment carefully rolled up. I\nunrolled it, and seeing that it was also in Vincey's handwriting, and", "\"Why, what is the matter with you, John?\" I asked of the gyp who waited\non Vincey and myself. \"You look as though you had seen a ghost!\"", "friend? Most certainly not. Clearly Vincey was either drunk or mad. That\nbeing so, what did it mean? and what was in the sealed iron chest?", "it was true after all. I must take the boy. Suddenly I remembered the\nletter which Vincey had left with the chest. I fetched and opened it.\nIt only contained such directions as he had already given to me as to", "calling the attention of the reader to it. He will observe that so far\nas we are made acquainted with him there appears to be nothing in the\ncharacter of Leo Vincey which in the opinion of most people would have", "Lionel Vincey, \"Ætate sua 17,\" which was written thereon, I think, by\nLeo's grandfather. To the right of this were the initials \"J. B. V.,\"", "\"Look here, Vincey,\" I said, \"if you are as ill as you think, you had\nbetter let me fetch a doctor.\"", "dark ages, or how it came to have been preserved in the family. My\npoor friend Vincey had, it will be remembered, told me that his Roman", "legal principles. So far as I could discover, however, it exactly bore\nout what my friend Vincey had told me on the night of his death. So", "of the night of poor Vincey's death, and again I asked myself what it\nall meant, and wondered if I should hear anything more of the matter,", "in the same way, and I have little doubt but that the Vincey\n who wrote them on the potsherd heard them so misquoted at\n that date. Of course, the lines really run:--", "\"It is an accursed lie!\" said Leo. \"My name is not Kallikrates! I am Leo\nVincey; my ancestor was Kallikrates--at least, I believe he was.\"", "my descent without a break. Not that the Vinceys--for that was the final\ncorruption of the name after its bearers took root in English soil--have\nbeen particularly distinguished--they never came much to the fore." ] ]

[ "What is Horace Holly's job title?", "What does Vincey give to Holly, to give to his son Leo on his 25th birthday?", "What did Holly and Leo discover in the box, upon opening it?", "Where did Holly, Leo and Job travel to and become shipwrecked at?", "Who is chief elder of one of the Amahagger tribes?", "Who may have some degree of power to reanimate the dead?", "Who has supernatural powers?", "Who is Ayesha confident of becomming the reincarnation of her former lover?", "What does Ayesha tell Leo before she dies?", "What are the instructions that Vincey gives Holly with the iron box?", "Who does Vincey put in charge of raising his son Leo?", "Why did Holly shoot several of the Amahagger?", "Where is the home of the Queen?", "What does Ayesha say Leo has to do to become immortal?", "What is the last thing Ayesha says to Leo before she dies?", "Who is the queen?", "Why does Ayesha step into the Spirit of Life?", "How long has Ayesha lived?", "How does Ustane die?", "What happened to Leo's father?", "What is Holly's profession?", "What does Leo's father leave Holly and Leo?", "Where does the box take them when they finally open it?", "Who saves Leo after he is injured?", "What did the people intend to do with Mohomed?", "Where does Ayesha and her people live?", "What did Ayesha think would happen to Leo if he bathed in the Pillar of Fire?", "How did Ayesha kill Ustane?", "What happens to Ayesha when she steps into the fire?", "Who is Leo's biological father?", "Why does Ayesha kill Ustane?", "Who does Ayesha believe Leo to be? ", "Who did Vincey want to raise his son once he died?", "What did Horace Holly do for a living? ", "Where did Holly, Leo and Job travel to? ", "How does Mahomed die?", "What happens to Job after seeing Ayesha wither away in the fire?", "Who is the chief elder of the Amahagger tribes?", "How old is Leo when the box is opened?", "Who is the young professor?", "Who is ruled by the white queen?", "What did Ayesha take the two men to go and see? ", "What is ayesha a white sorcess to ?", "Who is leo the son to ?", "Who is ustane?", "How old was leo when leo opened the box?", "What type of box is to be opened?", "Who decided leo should die in the fire?", "Who is vincey?" ]

[ [ "Cambridge University professor", "Cambridge University professor" ], [ "A locked iron box", "A locked iron box" ], [ "\"Sherd of Amenartas\"", "Sheds Amenartas" ], [ "East Africa", "Eastern Africa " ], [ "Billali", "Billali " ], [ "Ayesha", "Ayesha" ], [ "Ayesha", "Ayesha" ], [ "Leo", "Leo" ], [ "\"Forget me not. I shall come again!\"", "\"Forget me not. I shall come again!\"" ], [ "Don't open the box until Leo turns 25", "Don't open the box until Leo turns 25. " ], [ "Holly", "Horace Holly" ], [ "Because some of the Amahagger planned to eat Leo as part of a ritual.", "To protect Mahomed from becoming the natives meal." ], [ "near the ruins of the lost city of K么r.", "Near the ruins of Kor" ], [ "Bathe in fire", "Bathe in the fire of a volcano." ], [ "Forget me not.I shall come once again.", "Forget me not. I shall come again!" ], [ "Ayesha", "Ayesha" ], [ "To allay Leo's fear", "to convince Leo" ], [ "More than 2 millenia", "2 millenia" ], [ "Ayesha strikes her dead with magic.", "Ustane is struck dead by magic from Ayesha." ], [ "He died", "He died." ], [ "He is a professor at a university", "Professor at Cambridge" ], [ "an iron box", "A locked iron box." ], [ "Africa", "Africa" ], [ "Ayesha", "Ustane" ], [ "eat him", "consume him" ], [ "under a volcano", "Africa." ], [ "he would become immortal", "He would become immortal" ], [ "magic", "Ayesha strikes Ustane dead with magic." ], [ "Her immortal magic is gone and she dies.", "She reverts to her true age and withers away." ], [ "Vincey", "Vincey" ], [ "Because she refuses to stay away from Leo", "She refuses to leave Leo" ], [ "The reincarnation of Kallikrates", "Kallikrates reincarnate" ], [ "Horace Holly", "Holly" ], [ "He was a professor", "He was a Cambridge University professor." ], [ "Eastern Africa", "eastern Africa" ], [ "He is accidentally shot by Holly", "Holly shots him" ], [ "Job dies", "Dies" ], [ "Billali", "Billali." ], [ "Leo is 25 years old", "25." ], [ "Horace Holly", "Horace Holly" ], [ "the natives", "The natives." ], [ "pillar of fire", "The Pillar of Fire" ], [ "she is a queen ", "The people of Kor." ], [ "he is vincey son", "Vinceny." ], [ "an amahagger maiden", "A maiden of Amahagger" ], [ "25", "25" ], [ "an iron box", "Iron" ], [ "the queen ayesha", "Ayesha" ], [ "colleague", "Leo's father" ] ]

[ [ "Look at that project. You think anybody\n lives there? It's all for you, Truman.\n A show. The eyes are everywhere.", "INT. STUDIO LOT. DUSK.\n\n Still inside the studio complex, the tram enters the courtyard\n of an indoor shopping mall. Truman gift shops.", "The large On-Air Monitor cuts to Truman, via the point-of-view\n of an approaching PEDESTRIAN. For an instant, the unaware\n Truman looks directly into the lens of the disguised camera.", "CHRISTOF\n Is that the best shot we can get?\n\n SIMEON\n What's to see?\n\n Christof watches Truman, a trace of concern in his eyes.", "Truman makes no effort to save the boat. He shuts the door to\n his world. A sign on the back of the door reads, \"CLOSED SET.", "THE TRUMAN SHOW\n\n\n\n\n A Screen Play", "TRUMAN finally reaches his destination at a well-to-do\n condominium on Bay Street. As he approaches the lobby, he\n realizes he has perspiration showing through the armpits of his\n suit jacket.", "Truman's head slowly drops in surrender, his doubts draining\n away. Marlon embraces Truman in a bearhug.\n\n Truman looks over his shoulder to the sky where a single star\n shines.", "The class roars with laughter and Truman takes his seat.\n\n\n EXT. LOWER MANHATTAN, FINANCIAL DISTRICT. MORNING.", "colossal dimensions. The sky is nothing but a painted backdrop.\n Truman looks upward, straining his eyes to see the top of the\n sky, but it curves away at a steep angle beyond his sight.", "MARLON\n What're we doing here, Truman?\n\n TRUMAN\n This is where it started.", "Truman is immediately picked up by a hidden camera inside\n the building where he exchanges a half-hearted greeting with an\n ancient SECURITY GUARD.\n\n CHRISTOF\n ...looser...", "EXT. LONG ISLAND BEACH. DAY.\n\n TRUMAN runs down the beach towards the cliff he attempted to\n scale as a seven-year-old boy.", "EXT. CITY PARK. DAY.\n\n TRUMAN wanders aimlessly through a city park, observing. We\n sense, <i>truly</i> observing for the first time.", "TRUMAN finds himself on the roof of the soundstage. Outside.\n <i>Really</i> outside for the first time in his life.", "Truman's attention drifts to the logo on the side of the tram -\n \"TRUMAN STUDIO TOUR\". He is suddenly aware of the tourists\n gawking at him.", "Everybody's pretending Truman. Everybody\n but <i>you.</i>\n (pointing to the\n buildings on the horizon)", "Truman takes a seat at the only unoccupied desk, opposite a\n female TRAVEL AGENT. Feeling uneasy about a surveillance camera\n in the corner of the room, he nervously obscures his face with\n his hand.", "The elevator is simply an opening into the body of the building.\n Truman pushes past the Woman to be confronted with the fact that\n the entire office block is nothing but a giant, empty shell with\n no floors above the ground floor.", "A serenity comes over Truman. He lifts up his eyes to the\n mountains on the far horizon. As he stands on the very edge of" ], [ "Truman follows Christof's gaze. Contemptuously tossing Christof\n aside, he retrieves the envelope. Christof crawls to safety,\n thankful to still be alive, suddenly appearing very small and\n insignificant.", "Truman seems to sense the significance Christof has had in his\n life, drawn to and repelled by him at the same time. As they", "Suddenly the doubts flood into Christof's eyes, fearing he\n has misjudged Truman, fearing for his life.", "returns to the monitors, now showing TRUMAN alone at the dock or\n Long Island. Christof stares out the window to conceal an\n expression of quiet vindication.", "It takes all of Truman's will not to hurl the old man into the\n abyss. Christof, petrified, looks to the pristine, white", "As Truman turns his attention back to Christof, he suddenly\n lunges at him, catching him off-guard, the envelope slipping", "from Christof's hand. With a strength he never knew he\n possessed, Truman forces Christof to the edge of the soundstage\n roof, threatening to throw them both off his counterfeit world.", "CHRISTOF\n Is that the best shot we can get?\n\n SIMEON\n What's to see?\n\n Christof watches Truman, a trace of concern in his eyes.", "The Operator looks to Christof for approval and realizes his\n producer's attention has wandered. Christof is staring at the\n sleeping figure of Truman on the On-Air monitor.", "Christof, never taking his eyes from the monitor, leans into\n the microphone.\n\n\n INT. TRUMAN'S HOUSE - KITCHEN. NIGHT.", "From Truman's POV we watch CHLOE approach CHRISTOF. She has a\n pure white envelope in her hands. As Christof looks up to\n acknowledge her, he almost makes eye contact with Truman on the\n tram.", "As predicted, Truman walks by, barely glancing at a newspaper's\n banner headline, \"NUCLEAR POWER PLANT REOPENED\". Christof scans\n the shot options available to him on the video wall.", "Truman's gaze finally falls on the white-haired old man standing\n at the head of the group. CHRISTOF. He approaches Truman", "Christof glances at the TV screen in her hand, showing TRUMAN\n sitting in his office gazing at his composite picture of SYLVIA.\n\n CHRISTOF\n He believes she has the answer.", "CHRISTOF\n (jaw setting firm, referring\n to Truman on the monitor)\n You can't pull him back in without me.\n (more reflective)\n He's just acting out of character.", "CHRISTOF takes his place at the head of the table, a large\n monitor showing TRUMAN drinking coffee in his cubicle at\n American Life plays silently behind Christof's head.", "Truman safely departed, the figure in the bed, rolls out.\n CHRISTOF, fully clothed, relishing the danger of being so close", "TRUMAN spills out of the subway car with hundreds of other\n COMMUTERS. We hear Christof's off-camera voice, as always\n unheard by Truman.", "CHRISTOF\n (staring into the chasm,\n remaining eerily calm)\n You won't do it, Truman. I've watched you\n your whole life.", "As with Truman's previous flashbacks, this scene appears to be\n playing on a television screen. However, on this occasion it is\n also accompanied by CHRISTOF's comments from his perch in the\n tower above the park." ], [ "Sylvia has her finger to Truman's lips. Christof presses\n \"PLAY\" on the mixing desk.", "Christof glances at the TV screen in her hand, showing TRUMAN\n sitting in his office gazing at his composite picture of SYLVIA.\n\n CHRISTOF\n He believes she has the answer.", "SYLVIA\n (from monitor)\n You remember when you were a little boy...\n\n Christof fast forwards, then presses PLAY once again.", "SYLVIA watches agog as the scene in Truman's bedroom on\n her television screen is replaced by the \"TRUMAN\" logo and the\n message, \"TECHNICAL FAULT. PLEASE STAND BY.\"", "From Truman's POV we watch CHLOE approach CHRISTOF. She has a\n pure white envelope in her hands. As Christof looks up to\n acknowledge her, he almost makes eye contact with Truman on the\n tram.", "Truman follows Christof's gaze. Contemptuously tossing Christof\n aside, he retrieves the envelope. Christof crawls to safety,\n thankful to still be alive, suddenly appearing very small and\n insignificant.", "SYLVIA, finger on the button of the phone where she has cut off\n the call, stares at CHRISTOF on her television screen.", "The man backhands Sylvia roughly across the face and bundles\n her into his car. Truman rushes at the man.\n\n TRUMAN\n Leave her alone!", "SYLVIA\n ...Trust that boy...\n\n Christof jabs the \"PAUSE\" button, freezing the picture. He\n recites the words to himself.", "CHRISTOF (V.O.)\n When he decided to go after Sylvia, we\n were forced to intervene once again...", "from Christof's hand. With a strength he never knew he\n possessed, Truman forces Christof to the edge of the soundstage\n roof, threatening to throw them both off his counterfeit world.", "Sylvia focuses on the screen, her breath taken away by the sight\n of TRUMAN at the wheel of the Santa Maria.\n\n\n INT. CONTROL ROOM. DAY.", "CHRISTOF\n Hang up!\n\n Chloe promptly cuts the connection and Truman's phone\n ceases to ring.", "The Operator looks to Christof for approval and realizes his\n producer's attention has wandered. Christof is staring at the\n sleeping figure of Truman on the On-Air monitor.", "It takes all of Truman's will not to hurl the old man into the\n abyss. Christof, petrified, looks to the pristine, white", "returns to the monitors, now showing TRUMAN alone at the dock or\n Long Island. Christof stares out the window to conceal an\n expression of quiet vindication.", "Christof clings desperately to Truman to save himself. The\n studio guards dare not move.", "LAUREN\n (distraught)\n My name's not Lauren! It's <i>Sylvia!</i>\n\n Truman looks into her eyes and believes her.", "CHRISTOF\n Is that the best shot we can get?\n\n SIMEON\n What's to see?\n\n Christof watches Truman, a trace of concern in his eyes.", "Christof, never taking his eyes from the monitor, leans into\n the microphone.\n\n\n INT. TRUMAN'S HOUSE - KITCHEN. NIGHT." ], [ "from Christof's hand. With a strength he never knew he\n possessed, Truman forces Christof to the edge of the soundstage\n roof, threatening to throw them both off his counterfeit world.", "TRUMAN spills out of the subway car with hundreds of other\n COMMUTERS. We hear Christof's off-camera voice, as always\n unheard by Truman.", "It takes all of Truman's will not to hurl the old man into the\n abyss. Christof, petrified, looks to the pristine, white", "Truman follows Christof's gaze. Contemptuously tossing Christof\n aside, he retrieves the envelope. Christof crawls to safety,\n thankful to still be alive, suddenly appearing very small and\n insignificant.", "Christof, never taking his eyes from the monitor, leans into\n the microphone.\n\n\n INT. TRUMAN'S HOUSE - KITCHEN. NIGHT.", "returns to the monitors, now showing TRUMAN alone at the dock or\n Long Island. Christof stares out the window to conceal an\n expression of quiet vindication.", "Christof clings desperately to Truman to save himself. The\n studio guards dare not move.", "CHRISTOF\n Is that the best shot we can get?\n\n SIMEON\n What's to see?\n\n Christof watches Truman, a trace of concern in his eyes.", "CHRISTOF\n (staring into the chasm,\n remaining eerily calm)\n You won't do it, Truman. I've watched you\n your whole life.", "The Operator looks to Christof for approval and realizes his\n producer's attention has wandered. Christof is staring at the\n sleeping figure of Truman on the On-Air monitor.", "From Truman's POV we watch CHLOE approach CHRISTOF. She has a\n pure white envelope in her hands. As Christof looks up to\n acknowledge her, he almost makes eye contact with Truman on the\n tram.", "As predicted, Truman walks by, barely glancing at a newspaper's\n banner headline, \"NUCLEAR POWER PLANT REOPENED\". Christof scans\n the shot options available to him on the video wall.", "Suddenly the doubts flood into Christof's eyes, fearing he\n has misjudged Truman, fearing for his life.", "CHRISTOF takes his place at the head of the table, a large\n monitor showing TRUMAN drinking coffee in his cubicle at\n American Life plays silently behind Christof's head.", "Christof glances at the TV screen in her hand, showing TRUMAN\n sitting in his office gazing at his composite picture of SYLVIA.\n\n CHRISTOF\n He believes she has the answer.", "Truman seems to sense the significance Christof has had in his\n life, drawn to and repelled by him at the same time. As they", "INT. CONTROL ROOM. DAY.\n\n CHRISTOF and the other PRODUCTION STAFF watch TRUMAN from the\n buoy's POV as he sails by.", "CHLOE\n (to Christof, lunging for the control panel)\n You lied, you hypocrite! The only way he can\n leave, is dead!", "But Christof and the other figures on the rooftop no longer\n exist in Truman's mind. Truman gazes at his name for a long", "Truman safely departed, the figure in the bed, rolls out.\n CHRISTOF, fully clothed, relishing the danger of being so close" ], [ "CHRISTOF\n (to the meeting, referring to\n Meryl by her real name)\n Regrettably, I have to inform you that\n Hannah has chosen not to renew her contract.", "All eyes turn to Meryl. She looks at the floor.\n\n CHRISTOF\n I'm sure we can all respect her reasons.", "Meryl gives him an affectionate kiss and exits the back door.\n Truman waits for the sound of Meryl's car to disappear down the\n road and exits himself.", "Despite her protests, Truman drags Meryl out the back door\n and towards his car.", "MERYL\n We could do it right here, like we used to.\n\n The program cuts to a commercial break. The commercial\n is for \"Global Travel\".", "CHRISTOF\n When did he start sleeping like that?\n\n SIMEON\n About the time Meryl left.", "MERYL\n (sensing something odd\n in his demeanor)\n Did something happen today?\n\n Truman turns to her too sharply, his guilt showing.", "MERYL\n Truman!! Come back!!", "MERYL\n (suddenly exasperated)\n Oh. God, everytime you and Marlon--", "MERYL\n They're guilty as hell but they'll walk. No\n witnesses. Her word against theirs.\n (picking up her bag to leave)\n Maybe we could meet for lunch today.", "Meryl doesn't wish to participate in the game and makes for\n the house. Truman holds her arm, forcing her to watch. He\n turns to check his prediction. A convoy of cars approaches.", "Meryl nods, not at all convinced. After an uncomfortable\n pause, she turns and heads back to the house.\n\n\n EXT. CAR WASH. DUSK.", "MERYL\n (pleading)\n Let me out, Truman. You're not right in the head.\n You wanna destroy yourself, you do it on your own!", "MERYL\n (distraught, dropping character,\n forgetting herself)\n They were going to let him kill me!\n\n\n EXT. ABANDONED FREEWAY. NIGHT.", "TRUMAN continues to watch \"Lifestyles\" restlessly. However, as\n he goes to get up from the sofa, MERYL starts to slide down his\n chest towards his lap.", "MERYL\n (rolling her eyes)\n Oh, God. What's got into you?", "MERYL\n (gasping for air)\n Truman, stop it!\n (to the ceiling)\n Don't let him do it!", "Truman looks in her eyes and, with surprising swiftness,\n grabs her wrist and disarms her.\n\n TRUMAN\n No, you're scaring <i>me,</i> Meryl!", "\"Lifestyles Of The Rich And Famous\". MERYL, wearing her robe,\n head against Truman's chest, sips from a bottle of beer.", "Meryl spots the kitchen knife within her reach but Truman beats\n her to it. Grabbing the knife by the blade, he slices his hand." ], [ "gently on Truman's cheek. Truman makes no effort to withdraw.\n He is transfixed by the the man's eyes. He appears to recognize\n him.", "Truman turns from his perch and waves happily down to his\n father. But the smile quickly vanishes when he registers the\n anger and distress on his father's face.", "trying to make eye contact with passers-by. They shy away.\n Truman stops still, his head reeling.", "Upon hearing her remark, Truman's eyes widen. Sensing that she\n too is addressing a third person, he jerks her head around to\n read her face.", "We see a close up of Truman's terrified eyes in his blackened\n face, staring down at the lapping water. It triggers a montage\n of flashbacks. As usual the images all appear to play on a\n television screen.", "FATHER\n (out of breath, clutching his side)\n Truman! Truman! <i>Stop!</i>", "Truman's head slowly drops in surrender, his doubts draining\n away. Marlon embraces Truman in a bearhug.\n\n Truman looks over his shoulder to the sky where a single star\n shines.", "The flashback once again appearing an a television screen, the\n SEVEN-YEAR-OLD TRUMAN sits alongside his father, KIRK, in a\n small sailing dinghy.", "TRUMAN sits on the clifftop, staring out at the view his father\n had been so desperate for him not to see twenty-seven years", "Truman picks up the framed photograph from his desk, containing\n SYLVIA's hidden likeness. Suddenly he wheels on Lawrence,\n pinning him to a cubicle wall.", "Truman's face is thrown into shadow as the boat slips quietly\n past the giant rotating drum. The water beyond the rollers is\n dead calm. Truman stares ahead desperately trying to focus his\n eyes.", "As Truman drinks, he becomes aware of the delighted squeals of\n children coming from the gymnasium of Utopia Elementary School,\n adjacent to the parking lot. The sound of the children triggers\n a memory in his head.", "father...He sees the way Truman is. He\n feels responsible.", "A serenity comes over Truman. He lifts up his eyes to the\n mountains on the far horizon. As he stands on the very edge of", "Truman's gaze finally falls on the white-haired old man standing\n at the head of the group. CHRISTOF. He approaches Truman", "Truman is suddenly aware that the hundreds of other BEACHGOERS\n have stopped their activities to stare at him. Reluctantly", "Truman follows Christof's gaze. Contemptuously tossing Christof\n aside, he retrieves the envelope. Christof crawls to safety,\n thankful to still be alive, suddenly appearing very small and\n insignificant.", "behind him. Truman, spellbound by the man, suddenly wheels\n around to face him. The Homeless Han is in his late-sixties.", "FATHER\n (shouting back)\n It's getting late, Truman.\n\n TRUMAN\n (entreating his father)\n <i>Please!</i>...", "Truman regards his companion in a new light. He comes to a stop\n at the corner where he picked her up." ], [ "Spontaneous cheers and shouts of joy erupt from VIEWERS in their\n various locations - bars, homes and offices. Strangers hug each\n other and dance in celebration.", "However, the passengers are paying less attention than usual.\n They stare, perplexed, at the television monitor above the\n Guide's head, continuing to play the show's only available shot\n of the open door in the sky.", "Even the cynical VIDEO OPERATOR jumps out of his seat - for the\n first time in the film - and lets out a joyous whoop, forgetting\n himself for a moment, caught up in the drama.", "hour. The media is in a feeding frenzy. The phone\n lines are jammed. Every network has a pirated shot\n of Harlon and the dummy.", "TRUMAN's cry echos around bars, offices, shops, homes and\n streets - wherever a television is to be found. No VIEWER\n speaks. They are stunned to silence, many teary eyed.", "Truman is suddenly aware that the hundreds of other BEACHGOERS\n have stopped their activities to stare at him. Reluctantly", "There is an uncomfortable silence in the control room as the\n production crew feel themselves under scrutiny for the first\n time. Christof leans forward and talks soothingly into a\n microphone on the control panel.", "However, I'm pleased to announce that\n television's first on-air conception will\n still take place. You witnessed the initial\n contact this morning.", "The anguish in his voice convinces us that Truman is truly on\n the brink. The young woman now has tears rolling down her\n cheeks. She is at a loss, powerless.", "The large On-Air Monitor cuts to Truman, via the point-of-view\n of an approaching PEDESTRIAN. For an instant, the unaware\n Truman looks directly into the lens of the disguised camera.", "INTERVIEWER\n Before we start taking calls, the huge surge in\n ratings over the last few days, how do you hope\n to sustain that audience now that Truman appears\n to have reconciled himself, returned to \"normal\"?", "CHRISTOF\n The ultimate live television. In competition\n with five other unwanted pregnancies - the\n casting of a show determined by an air date\n - he was the one who arrived on cue.", "Recognizing the importance of the moment, his colleagues stand\n around in awe at Christof's spontaneous performance, arguably\n superior to Marlon's own delivery.", "We see a close up of Truman's terrified eyes in his blackened\n face, staring down at the lapping water. It triggers a montage\n of flashbacks. As usual the images all appear to play on a\n television screen.", "Self-conscious, he takes his seat again almost immediately. His\n COLLEAGUES are transfixed by the live on-air monitor continuing\n to play its only available shot, the open door in the sky -\n Truman out of view.", "No Unauthorized Access.\" Gradually he becomes aware of another\n strange phenomenon taking place in the soundstage. All around\n him, thousands of light fixtures mounted in the cyclorama to", "Look at that project. You think anybody\n lives there? It's all for you, Truman.\n A show. The eyes are everywhere.", "been a more momentous week in the show's\n history. I'm your host, Michael Conners, and\n this is a special edition of \"Tru Talk\", the", "The television behind the bar carries the still graphic.\n BAR PATRONS animatedly discuss Truman's fate over their drinks.\n Some place bets with each other over the outcome.", "Suddenly the taxis and cars directly in front of him start to\n slow for no apparent reason. Truman looks for a way around\n but the cars crab across the street, blocking any passage,\n working together almost as if they are running interference." ], [ "Truman follows Christof's gaze. Contemptuously tossing Christof\n aside, he retrieves the envelope. Christof crawls to safety,\n thankful to still be alive, suddenly appearing very small and\n insignificant.", "from Christof's hand. With a strength he never knew he\n possessed, Truman forces Christof to the edge of the soundstage\n roof, threatening to throw them both off his counterfeit world.", "TRUMAN spills out of the subway car with hundreds of other\n COMMUTERS. We hear Christof's off-camera voice, as always\n unheard by Truman.", "It takes all of Truman's will not to hurl the old man into the\n abyss. Christof, petrified, looks to the pristine, white", "CHRISTOF\n Is that the best shot we can get?\n\n SIMEON\n What's to see?\n\n Christof watches Truman, a trace of concern in his eyes.", "From Truman's POV we watch CHLOE approach CHRISTOF. She has a\n pure white envelope in her hands. As Christof looks up to\n acknowledge her, he almost makes eye contact with Truman on the\n tram.", "Christof glances at the TV screen in her hand, showing TRUMAN\n sitting in his office gazing at his composite picture of SYLVIA.\n\n CHRISTOF\n He believes she has the answer.", "The Operator looks to Christof for approval and realizes his\n producer's attention has wandered. Christof is staring at the\n sleeping figure of Truman on the On-Air monitor.", "Christof, never taking his eyes from the monitor, leans into\n the microphone.\n\n\n INT. TRUMAN'S HOUSE - KITCHEN. NIGHT.", "returns to the monitors, now showing TRUMAN alone at the dock or\n Long Island. Christof stares out the window to conceal an\n expression of quiet vindication.", "CHRISTOF\n (staring into the chasm,\n remaining eerily calm)\n You won't do it, Truman. I've watched you\n your whole life.", "CHLOE\n (to Christof, lunging for the control panel)\n You lied, you hypocrite! The only way he can\n leave, is dead!", "Suddenly the doubts flood into Christof's eyes, fearing he\n has misjudged Truman, fearing for his life.", "CHRISTOF takes his place at the head of the table, a large\n monitor showing TRUMAN drinking coffee in his cubicle at\n American Life plays silently behind Christof's head.", "Truman's gaze finally falls on the white-haired old man standing\n at the head of the group. CHRISTOF. He approaches Truman", "But Christof and the other figures on the rooftop no longer\n exist in Truman's mind. Truman gazes at his name for a long", "Truman seems to sense the significance Christof has had in his\n life, drawn to and repelled by him at the same time. As they", "As predicted, Truman walks by, barely glancing at a newspaper's\n banner headline, \"NUCLEAR POWER PLANT REOPENED\". Christof scans\n the shot options available to him on the video wall.", "Truman makes no effort to save the boat. He shuts the door to\n his world. A sign on the back of the door reads, \"CLOSED SET.", "As with Truman's previous flashbacks, this scene appears to be\n playing on a television screen. However, on this occasion it is\n also accompanied by CHRISTOF's comments from his perch in the\n tower above the park." ], [ "TRUMAN sits on the clifftop, staring out at the view his father\n had been so desperate for him not to see twenty-seven years", "Truman looks down at his feet. A small, tell-tale pile of sand\n has poured out of his tight trouser cuff.", "As Truman drinks, he becomes aware of the delighted squeals of\n children coming from the gymnasium of Utopia Elementary School,\n adjacent to the parking lot. The sound of the children triggers\n a memory in his head.", "TRUMAN\n (referring to his claims report)\n Says here it burnt to the ground.\n\n BOY\n Wishful thinking maybe?", "<i>(a Trumanesque town, conversation,\n etc.)</i> [circa. 1972)", "Truman nods fondly at the memory.", "gently on Truman's cheek. Truman makes no effort to withdraw.\n He is transfixed by the the man's eyes. He appears to recognize\n him.", "trying to make eye contact with passers-by. They shy away.\n Truman stops still, his head reeling.", "behind him. Truman, spellbound by the man, suddenly wheels\n around to face him. The Homeless Han is in his late-sixties.", "From TRUMAN'S POV we see that he is staring up at relief\n letters that proclaim, \"American Life & Accident Insurance,\n Inc.\" above an office building's entrance.", "TRUMAN turns into his street but stops several houses short of\n his own driveway and kills the car's engine. In the light of a", "TRUMAN is out of sight of land, the sea choppier now, rising\n and falling beneath his boat. He nears a large buoy bobbing", "TRUMAN\n That's just it. I think I <i>am</i> somebody.", "TRUMAN finally reaches his destination at a well-to-do\n condominium on Bay Street. As he approaches the lobby, he\n realizes he has perspiration showing through the armpits of his\n suit jacket.", "TRUMAN eats lunch alone on a concrete bench in a cement park.\n From his briefcase he pulls out an old hardcovered book, \"To The\n Ends Of The Earth - The Age Of Exploration\".", "He struggles up a slope onto an adjacent roadway where a\n shopping cart awaits, loaded with soiled plastic bags.\n Looking every inch a derelict, Truman begins to wheel his\n shopping cart through the empty streets of Brooklyn.", "Truman makes no effort to save the boat. He shuts the door to\n his world. A sign on the back of the door reads, \"CLOSED SET.", "A serenity comes over Truman. He lifts up his eyes to the\n mountains on the far horizon. As he stands on the very edge of", "Truman's face is thrown into shadow as the boat slips quietly\n past the giant rotating drum. The water beyond the rollers is\n dead calm. Truman stares ahead desperately trying to focus his\n eyes.", "Upon hearing her remark, Truman's eyes widen. Sensing that she\n too is addressing a third person, he jerks her head around to\n read her face." ], [ "be slowly revealed. A photograph. A close up of SYLVIA's face\n including her eyes, mouth and that perfect, ever-elusive nose.", "SYLVIA watches agog as the scene in Truman's bedroom on\n her television screen is replaced by the \"TRUMAN\" logo and the\n message, \"TECHNICAL FAULT. PLEASE STAND BY.\"", "SYLVIA\n (looking over her shoulder nervously)\n There isn't much time. Just listen.", "SYLVIA\n (covering his lips once again)\n You remember when you were a little boy,\n you stood up in class and said you wanted", "SYLVIA kneels on the floor in front of the television. As\n Christof's cameras dwell on her likeness - the composite picture", "SYLVIA\n (from monitor)\n You remember when you were a little boy...\n\n Christof fast forwards, then presses PLAY once again.", "SYLVIA, dozing on the sofa, suddenly blinks open her eyes as the\n classical music on the television is abruptly replaced by the\n sound of a helicopte's rotor blade.", "SYLVIA joins Truman and their daughter. Together, they exit\n the beach house. We follow them as they make their way onto the\n deserted sand and down towards the sea.\n\n FADE OUT", "Sylvia has her finger to Truman's lips. Christof presses\n \"PLAY\" on the mixing desk.", "SYLVIA. emerging from the kitchen, is taken aback by what she\n sees playing on the screen. The MAN on the balcony catches", "SYLVIA walks up from the seashore where she has been taking a\n late night swim. Hearing the telephone ringing; she rushes\n to pick it up. However, after lifting the receiver, the phone\n continues to ring.", "SYLVIA stands at a bookcase, looking for inspiration. As she\n pulls out a book, a magazine falls to the floor. Truman's", "Simeon punches a button and the image of the sailing ship is\n instantly transferred to the large On-Air monitor.\n\n\n INT. SYLVIA'S BEACH HOUSE. DAY.", "CHRISTOF (V.O.)\n When he decided to go after Sylvia, we\n were forced to intervene once again...", "The sound is coming from her television, left on in the bureau.\n On the screen, TRUMAN sleeps, seemingly undisturbed by the call.\n Sylvia, drying herself, watches with fascination.", "Suddenly we see a child's hand on top of the television screen.\n A BABY stands unsteadily, supporting herself against the\n television set in Sylvia's house.", "The man backhands Sylvia roughly across the face and bundles\n her into his car. Truman rushes at the man.\n\n TRUMAN\n Leave her alone!", "SYLVIA, finger on the button of the phone where she has cut off\n the call, stares at CHRISTOF on her television screen.", "Removing the backing, he exposes the composite picture of SYLVIA\n we witnessed in the flashback of his youth, worn and faded by", "Sylvia retrieves the magazine. In front of a nearby mirror, she\n holds Truman's photographed face next to her own, for a moment" ], [ "Suddenly the doubts flood into Christof's eyes, fearing he\n has misjudged Truman, fearing for his life.", "We see a close up of Truman's terrified eyes in his blackened\n face, staring down at the lapping water. It triggers a montage\n of flashbacks. As usual the images all appear to play on a\n television screen.", "It takes all of Truman's will not to hurl the old man into the\n abyss. Christof, petrified, looks to the pristine, white", "Truman follows Christof's gaze. Contemptuously tossing Christof\n aside, he retrieves the envelope. Christof crawls to safety,\n thankful to still be alive, suddenly appearing very small and\n insignificant.", "Christof, never taking his eyes from the monitor, leans into\n the microphone.\n\n\n INT. TRUMAN'S HOUSE - KITCHEN. NIGHT.", "Truman seems to sense the significance Christof has had in his\n life, drawn to and repelled by him at the same time. As they", "CHRISTOF's dispassionate face is reflected in the screen of a\n television monitor that displays the distraught TRUMAN at the\n water's edge.", "from Christof's hand. With a strength he never knew he\n possessed, Truman forces Christof to the edge of the soundstage\n roof, threatening to throw them both off his counterfeit world.", "CHRISTOF\n Is that the best shot we can get?\n\n SIMEON\n What's to see?\n\n Christof watches Truman, a trace of concern in his eyes.", "CHRISTOF\n (staring into the chasm,\n remaining eerily calm)\n You won't do it, Truman. I've watched you\n your whole life.", "TRUMAN spills out of the subway car with hundreds of other\n COMMUTERS. We hear Christof's off-camera voice, as always\n unheard by Truman.", "CHRISTOF\n (letting his anxiety show)\n Any fucking pretext!\n\n Christof turns his back on the monitors, his mind racing.", "Christof clings desperately to Truman to save himself. The\n studio guards dare not move.", "The Operator looks to Christof for approval and realizes his\n producer's attention has wandered. Christof is staring at the\n sleeping figure of Truman on the On-Air monitor.", "Christof glances at the TV screen in her hand, showing TRUMAN\n sitting in his office gazing at his composite picture of SYLVIA.\n\n CHRISTOF\n He believes she has the answer.", "returns to the monitors, now showing TRUMAN alone at the dock or\n Long Island. Christof stares out the window to conceal an\n expression of quiet vindication.", "Sylvia has her finger to Truman's lips. Christof presses\n \"PLAY\" on the mixing desk.", "CHRISTOF takes his place at the head of the table, a large\n monitor showing TRUMAN drinking coffee in his cubicle at\n American Life plays silently behind Christof's head.", "From Truman's POV we watch CHLOE approach CHRISTOF. She has a\n pure white envelope in her hands. As Christof looks up to\n acknowledge her, he almost makes eye contact with Truman on the\n tram.", "As predicted, Truman walks by, barely glancing at a newspaper's\n banner headline, \"NUCLEAR POWER PLANT REOPENED\". Christof scans\n the shot options available to him on the video wall." ], [ "Lawrence exits the cubicle. Truman's head drops. He picks up\n the framed picture of his wife from his desk. MERYL, early", "The words sting. Truman turns away.\n\n Seeing the pain she's caused, she changes tack.", "Truman is momentarily disappointed. Meryl seizes her chance\n and heads for the house. Truman follows her inside.", "Upon hearing her remark, Truman's eyes widen. Sensing that she\n too is addressing a third person, he jerks her head around to\n read her face.", "TRUMAN\n (confused, calling after her)\n What are you talking about? Lauren! Lauren!\n\n Truman runs after Lauren and holds her by the arms, forcing\n her to face him.", "Truman meets her unforgiving eyes. Without another word, he\n walks out of the apartment.", "TRUMAN\n Shut up!\n\n MERYL\n I'm gonna take a shower.", "TRUMAN\n (ignoring her tears and medical advice)\n Why do you want to have a child with me?\n You can't stand me.\n\n MERYL\n That's not true.", "TRUMAN\n (summoning up courage from somewhere)\n Why, you married?\n\n Lauren smiles despite herself.", "Truman shudders at the sound of his name and backs away from the\n young woman, as if it is she who now represents the threat.", "Truman doesn't seem to share Lawrence's enthusiasm for the\n comely young woman. He is miles away.\n\n\n INT. STUDIO - CONFERENCE ROOM. DAY.", "TRUMAN wheels a lawnmower towards the garage as his wife, MERYL,\n pulls up the drive in her four-year-old Toyota Camry. She has a", "Meryl gives him an affectionate kiss and exits the back door.\n Truman waits for the sound of Meryl's car to disappear down the\n road and exits himself.", "The anguish in his voice convinces us that Truman is truly on\n the brink. The young woman now has tears rolling down her\n cheeks. She is at a loss, powerless.", "Truman looks in her eyes and, with surprising swiftness,\n grabs her wrist and disarms her.\n\n TRUMAN\n No, you're scaring <i>me,</i> Meryl!", "The elevator is simply an opening into the body of the building.\n Truman pushes past the Woman to be confronted with the fact that\n the entire office block is nothing but a giant, empty shell with\n no floors above the ground floor.", "TRUMAN\n (shocked)\n Hey!\n\n MAN\n (to Sylvia)\n Get in the car, Lauren!\n\n Truman jumps up.", "of separation from friends and family, but\n since Truman essentially drives the plot,\n it's a never-ending improvisation. Recent\n events have raised the pressure but also the", "Truman perks up at the commercial while Meryl's attention is\n elsewhere.\n\n TRUMAN\n (abruptly getting up)\n Lemme go to the bathroom.", "TRUMAN\n (catching her wrist)\n No. We're going for a drive.\n\n MERYL\n What?!" ], [ "SYLVIA watches agog as the scene in Truman's bedroom on\n her television screen is replaced by the \"TRUMAN\" logo and the\n message, \"TECHNICAL FAULT. PLEASE STAND BY.\"", "SYLVIA, dozing on the sofa, suddenly blinks open her eyes as the\n classical music on the television is abruptly replaced by the\n sound of a helicopte's rotor blade.", "be slowly revealed. A photograph. A close up of SYLVIA's face\n including her eyes, mouth and that perfect, ever-elusive nose.", "SYLVIA joins Truman and their daughter. Together, they exit\n the beach house. We follow them as they make their way onto the\n deserted sand and down towards the sea.\n\n FADE OUT", "The picture of Sylvia is torn from the compass and lost to the\n sea. His \"HOW TO SAIL\" book skids off the deck.", "SYLVIA\n (covering his lips once again)\n You remember when you were a little boy,\n you stood up in class and said you wanted", "SYLVIA walks up from the seashore where she has been taking a\n late night swim. Hearing the telephone ringing; she rushes\n to pick it up. However, after lifting the receiver, the phone\n continues to ring.", "in their parents' arms. Hanging back from the rest of the\n group, Sylvia's admirer, wheeling his bicycle, turns back", "SYLVIA\n (looking over her shoulder nervously)\n There isn't much time. Just listen.", "SYLVIA\n (from monitor)\n You remember when you were a little boy...\n\n Christof fast forwards, then presses PLAY once again.", "SYLVIA kneels on the floor in front of the television. As\n Christof's cameras dwell on her likeness - the composite picture", "SYLVIA stands at a bookcase, looking for inspiration. As she\n pulls out a book, a magazine falls to the floor. Truman's", "SYLVIA. emerging from the kitchen, is taken aback by what she\n sees playing on the screen. The MAN on the balcony catches", "The sound is coming from her television, left on in the bureau.\n On the screen, TRUMAN sleeps, seemingly undisturbed by the call.\n Sylvia, drying herself, watches with fascination.", "SYLVIA, finger on the button of the phone where she has cut off\n the call, stares at CHRISTOF on her television screen.", "The man backhands Sylvia roughly across the face and bundles\n her into his car. Truman rushes at the man.\n\n TRUMAN\n Leave her alone!", "EXT. SYLVIA'S BEACH HOUSE. DAY.", "CHRISTOF (V.O.)\n When he decided to go after Sylvia, we\n were forced to intervene once again...", "Truman and the hooker, Veronica, seventeen years later. As we\n have just seen imitated, Sylvia and Truman kiss with great", "Recognizing what is playing on the screen, the man regards\n Sylvia with a resigned smile. He mounts the bicycle and rides\n back up the path." ], [ "from Christof's hand. With a strength he never knew he\n possessed, Truman forces Christof to the edge of the soundstage\n roof, threatening to throw them both off his counterfeit world.", "Truman follows Christof's gaze. Contemptuously tossing Christof\n aside, he retrieves the envelope. Christof crawls to safety,\n thankful to still be alive, suddenly appearing very small and\n insignificant.", "It takes all of Truman's will not to hurl the old man into the\n abyss. Christof, petrified, looks to the pristine, white", "Suddenly the doubts flood into Christof's eyes, fearing he\n has misjudged Truman, fearing for his life.", "CHRISTOF\n (enraged)\n I said, \"Cut\"!\n\n Christof lunges forward and presses the button himself.", "As Truman turns his attention back to Christof, he suddenly\n lunges at him, catching him off-guard, the envelope slipping", "Christof clings desperately to Truman to save himself. The\n studio guards dare not move.", "CHLOE\n (to Christof, lunging for the control panel)\n You lied, you hypocrite! The only way he can\n leave, is dead!", "Truman safely departed, the figure in the bed, rolls out.\n CHRISTOF, fully clothed, relishing the danger of being so close", "Christof, never taking his eyes from the monitor, leans into\n the microphone.\n\n\n INT. TRUMAN'S HOUSE - KITCHEN. NIGHT.", "The Operator looks to Christof for approval and realizes his\n producer's attention has wandered. Christof is staring at the\n sleeping figure of Truman on the On-Air monitor.", "CHRISTOF\n (staring into the chasm,\n remaining eerily calm)\n You won't do it, Truman. I've watched you\n your whole life.", "CHRISTOF\n Is that the best shot we can get?\n\n SIMEON\n What's to see?\n\n Christof watches Truman, a trace of concern in his eyes.", "CHRISTOF takes his place at the head of the table, a large\n monitor showing TRUMAN drinking coffee in his cubicle at\n American Life plays silently behind Christof's head.", "Truman seems to sense the significance Christof has had in his\n life, drawn to and repelled by him at the same time. As they", "returns to the monitors, now showing TRUMAN alone at the dock or\n Long Island. Christof stares out the window to conceal an\n expression of quiet vindication.", "CHRISTOF\n (letting his anxiety show)\n Any fucking pretext!\n\n Christof turns his back on the monitors, his mind racing.", "Chloe lunges for the control panel but Christof throws her to\n the floor.\n\n CHRISTOF\n (enraged)\n Do it!", "From Truman's POV we watch CHLOE approach CHRISTOF. She has a\n pure white envelope in her hands. As Christof looks up to\n acknowledge her, he almost makes eye contact with Truman on the\n tram.", "Sylvia has her finger to Truman's lips. Christof presses\n \"PLAY\" on the mixing desk." ], [ "trying to make eye contact with passers-by. They shy away.\n Truman stops still, his head reeling.", "Upon hearing her remark, Truman's eyes widen. Sensing that she\n too is addressing a third person, he jerks her head around to\n read her face.", "Truman is suddenly aware that the hundreds of other BEACHGOERS\n have stopped their activities to stare at him. Reluctantly", "Truman looks down at his feet. A small, tell-tale pile of sand\n has poured out of his tight trouser cuff.", "As Truman drinks, he becomes aware of the delighted squeals of\n children coming from the gymnasium of Utopia Elementary School,\n adjacent to the parking lot. The sound of the children triggers\n a memory in his head.", "As TRUMAN drives, he stares, paranoid, at seemingly innocuous\n features in his Oldsmobile - his rearview mirror, steering wheel", "gently on Truman's cheek. Truman makes no effort to withdraw.\n He is transfixed by the the man's eyes. He appears to recognize\n him.", "However, as Truman continues to stare, it is the building itself\n that takes his interest. An imposing forty-story office", "From TRUMAN'S POV we see that he is staring up at relief\n letters that proclaim, \"American Life & Accident Insurance,\n Inc.\" above an office building's entrance.", "Suspended from the ceiling above his head is a television\n monitor upon which a surveillance picture of Truman, engrossed\n in his book, silently plays.", "Truman bumps into a display of sex paraphenalia, knocking an\n item to the floor.\n\n PATRON\n (remarking on Truman's clumsiness)\n Nervous.", "TRUMAN\n (ignoring the joke, pondering\n the morning's events)\n You know what was really strange about today?", "Truman's attention drifts to the logo on the side of the tram -\n \"TRUMAN STUDIO TOUR\". He is suddenly aware of the tourists\n gawking at him.", "Look at that project. You think anybody\n lives there? It's all for you, Truman.\n A show. The eyes are everywhere.", "Truman's face is thrown into shadow as the boat slips quietly\n past the giant rotating drum. The water beyond the rollers is\n dead calm. Truman stares ahead desperately trying to focus his\n eyes.", "TRUMAN crouches behind a seat on the tram, flare gun still\n trained on the guide's head, taking in the gigantic video wall\n displaying pictures from every facet of his life.", "We see a close up of Truman's terrified eyes in his blackened\n face, staring down at the lapping water. It triggers a montage\n of flashbacks. As usual the images all appear to play on a\n television screen.", "Truman glances up at the street signs along his route and finds\n that they coincide exactly with the streets quoted on the radio.\n Distracted, he almost bowls over an OLD LADY on a crosswalk.", "points a corded microphone at the surf. For a long while we\n watch Truman's impassive face as he makes the recording of the\n lapping waves, staring up at the handful of stars visible", "He feels the eyes of PEDESTRIANS. Is he simply drawing\n attention to himself by his behavior? Truman wheels around," ], [ "Truman follows Christof's gaze. Contemptuously tossing Christof\n aside, he retrieves the envelope. Christof crawls to safety,\n thankful to still be alive, suddenly appearing very small and\n insignificant.", "from Christof's hand. With a strength he never knew he\n possessed, Truman forces Christof to the edge of the soundstage\n roof, threatening to throw them both off his counterfeit world.", "As Truman turns his attention back to Christof, he suddenly\n lunges at him, catching him off-guard, the envelope slipping", "Truman's head slowly drops in surrender, his doubts draining\n away. Marlon embraces Truman in a bearhug.\n\n Truman looks over his shoulder to the sky where a single star\n shines.", "It takes all of Truman's will not to hurl the old man into the\n abyss. Christof, petrified, looks to the pristine, white", "returns to the monitors, now showing TRUMAN alone at the dock or\n Long Island. Christof stares out the window to conceal an\n expression of quiet vindication.", "Christof clings desperately to Truman to save himself. The\n studio guards dare not move.", "Truman safely departed, the figure in the bed, rolls out.\n CHRISTOF, fully clothed, relishing the danger of being so close", "Truman is immediately picked up by a hidden camera inside\n the building where he exchanges a half-hearted greeting with an\n ancient SECURITY GUARD.\n\n CHRISTOF\n ...looser...", "Truman's gaze finally falls on the white-haired old man standing\n at the head of the group. CHRISTOF. He approaches Truman", "TRUMAN spills out of the subway car with hundreds of other\n COMMUTERS. We hear Christof's off-camera voice, as always\n unheard by Truman.", "Truman contemptuously backhands the Guide across the face and\n makes a run for it. The guards give chase. Truman runs into a", "The second Security Guard is rising from his seat to block\n Truman's path to the elevators but Truman reads his mind\n and makes a dash for it.", "Truman seems to sense the significance Christof has had in his\n life, drawn to and repelled by him at the same time. As they", "From Truman's POV we watch CHLOE approach CHRISTOF. She has a\n pure white envelope in her hands. As Christof looks up to\n acknowledge her, he almost makes eye contact with Truman on the\n tram.", "As predicted, Truman walks by, barely glancing at a newspaper's\n banner headline, \"NUCLEAR POWER PLANT REOPENED\". Christof scans\n the shot options available to him on the video wall.", "Marlon shuts his van and gets in. Truman enters the\n passenger side.\n\n MARLON\n Where're we going?\n\n TRUMAN\n The beach.", "Christof glances at the TV screen in her hand, showing TRUMAN\n sitting in his office gazing at his composite picture of SYLVIA.\n\n CHRISTOF\n He believes she has the answer.", "Suddenly the doubts flood into Christof's eyes, fearing he\n has misjudged Truman, fearing for his life.", "The Operator looks to Christof for approval and realizes his\n producer's attention has wandered. Christof is staring at the\n sleeping figure of Truman on the On-Air monitor." ], [ "elaborate set. And it is all housed within an impossibly large\n soundstage.", "Look at that project. You think anybody\n lives there? It's all for you, Truman.\n A show. The eyes are everywhere.", "MARLON\n What're we doing here, Truman?\n\n TRUMAN\n This is where it started.", "The elevator is simply an opening into the body of the building.\n Truman pushes past the Woman to be confronted with the fact that\n the entire office block is nothing but a giant, empty shell with\n no floors above the ground floor.", "By artificial starlight, Truman begins his long descent of the\n step ladder. Below, a studio tram makes its way along the\n soundstage perimeter, on the last tour of the day.", "room. All stare at a single telephone placed in the center of\n the table, anticipating a call. On cue, the phone rings and one", "INT. STUDIO LOT. DUSK.\n\n Still inside the studio complex, the tram enters the courtyard\n of an indoor shopping mall. Truman gift shops.", "A cavernous dressing room contains a long row of identical\n mirrored make-up tables. At the only occupied table, Truman's", "The large On-Air Monitor cuts to Truman, via the point-of-view\n of an approaching PEDESTRIAN. For an instant, the unaware\n Truman looks directly into the lens of the disguised camera.", "Finally, he stands outside the gymnasium. The childrens'\n voices can still be heard. Truman takes a deep breath and\n bursts through the double doors.", "However, I'm pleased to announce that\n television's first on-air conception will\n still take place. You witnessed the initial\n contact this morning.", "However, the passengers are paying less attention than usual.\n They stare, perplexed, at the television monitor above the\n Guide's head, continuing to play the show's only available shot\n of the open door in the sky.", "He finally emerges on a landing. Lungs bursting. One more\n door. He tries the handle. It opens.\n\n\n EXT. SOUNDSTAGE. DUSK.", "No Unauthorized Access.\" Gradually he becomes aware of another\n strange phenomenon taking place in the soundstage. All around\n him, thousands of light fixtures mounted in the cyclorama to", "INT. SCHOOLROOM. DAY, TWENTY-SEVEN YEARS EARLIER.\n\n Once again, the flashback appears to be playing on a television\n screen.", "Christof turns and enters an office adjacent to the balcony,\n containing a state-of-the-art monitor and VCR. Chloe follows.\n Christof plays the cued recording without comment. We focus on\n the screen.", "On the far side of the control room, behind a huge curved\n glass wall on a mezzanine floor, a studio tour tram passes by.\n\n\n INT. STUDIO TRAM. DUSK.", "The cast turn in her direction. Christof has a second occasion\n to question his Assistant's loyalty.\n\n\n INT. A BAR SOMEWHERE. DAY.", "We focus on the lantern room of a nearby lighthouse. From the\n light's POV, through the green hue of a night vision camera, we\n observe Truman get to his feet and walk towards the dark water.", "He looks frantically around him. Nowhere to hide. The\n soundstage stretches for miles in both directions as far as the\n eye can see, an interminable expanse of roof." ], [ "Truman follows Christof's gaze. Contemptuously tossing Christof\n aside, he retrieves the envelope. Christof crawls to safety,\n thankful to still be alive, suddenly appearing very small and\n insignificant.", "Christof glances at the TV screen in her hand, showing TRUMAN\n sitting in his office gazing at his composite picture of SYLVIA.\n\n CHRISTOF\n He believes she has the answer.", "Truman seems to sense the significance Christof has had in his\n life, drawn to and repelled by him at the same time. As they", "returns to the monitors, now showing TRUMAN alone at the dock or\n Long Island. Christof stares out the window to conceal an\n expression of quiet vindication.", "Christof, never taking his eyes from the monitor, leans into\n the microphone.\n\n\n INT. TRUMAN'S HOUSE - KITCHEN. NIGHT.", "The Operator looks to Christof for approval and realizes his\n producer's attention has wandered. Christof is staring at the\n sleeping figure of Truman on the On-Air monitor.", "From Truman's POV we watch CHLOE approach CHRISTOF. She has a\n pure white envelope in her hands. As Christof looks up to\n acknowledge her, he almost makes eye contact with Truman on the\n tram.", "CHRISTOF\n Is that the best shot we can get?\n\n SIMEON\n What's to see?\n\n Christof watches Truman, a trace of concern in his eyes.", "from Christof's hand. With a strength he never knew he\n possessed, Truman forces Christof to the edge of the soundstage\n roof, threatening to throw them both off his counterfeit world.", "CHRISTOF takes his place at the head of the table, a large\n monitor showing TRUMAN drinking coffee in his cubicle at\n American Life plays silently behind Christof's head.", "Christof clings desperately to Truman to save himself. The\n studio guards dare not move.", "Suddenly the doubts flood into Christof's eyes, fearing he\n has misjudged Truman, fearing for his life.", "It takes all of Truman's will not to hurl the old man into the\n abyss. Christof, petrified, looks to the pristine, white", "As predicted, Truman walks by, barely glancing at a newspaper's\n banner headline, \"NUCLEAR POWER PLANT REOPENED\". Christof scans\n the shot options available to him on the video wall.", "Truman's gaze finally falls on the white-haired old man standing\n at the head of the group. CHRISTOF. He approaches Truman", "CHRISTOF\n (staring into the chasm,\n remaining eerily calm)\n You won't do it, Truman. I've watched you\n your whole life.", "CHRISTOF\n (jaw setting firm, referring\n to Truman on the monitor)\n You can't pull him back in without me.\n (more reflective)\n He's just acting out of character.", "As with Truman's previous flashbacks, this scene appears to be\n playing on a television screen. However, on this occasion it is\n also accompanied by CHRISTOF's comments from his perch in the\n tower above the park.", "Christof turns and enters an office adjacent to the balcony,\n containing a state-of-the-art monitor and VCR. Chloe follows.\n Christof plays the cued recording without comment. We focus on\n the screen.", "TRUMAN spills out of the subway car with hundreds of other\n COMMUTERS. We hear Christof's off-camera voice, as always\n unheard by Truman." ], [ "The elevator is simply an opening into the body of the building.\n Truman pushes past the Woman to be confronted with the fact that\n the entire office block is nothing but a giant, empty shell with\n no floors above the ground floor.", "The face of the baby thirty-four years later, still crying.\n TRUMAN BURBANK, thinning hair, a body going soft around the", "gently on Truman's cheek. Truman makes no effort to withdraw.\n He is transfixed by the the man's eyes. He appears to recognize\n him.", "Look at that project. You think anybody\n lives there? It's all for you, Truman.\n A show. The eyes are everywhere.", "trying to make eye contact with passers-by. They shy away.\n Truman stops still, his head reeling.", "behind him. Truman, spellbound by the man, suddenly wheels\n around to face him. The Homeless Han is in his late-sixties.", "Suspended from the ceiling above his head is a television\n monitor upon which a surveillance picture of Truman, engrossed\n in his book, silently plays.", "INT. INSURANCE COMPANY - TWELFTH FLOOR. DAY.\n\n In a cramped, cluttered, windowless cubicle, TRUMAN talks on\n the telephone.", "MARLON\n (suddenly intrigued)\n <i>Who?</i>\n\n TRUMAN\n It doesn't matter. She was too beautiful for here.", "MAN\n (to Sylvia)\n I told you not to come here anymore!\n (to Truman, who is getting\n to his feet)\n Which one are you?", "Truman bumps into a display of sex paraphenalia, knocking an\n item to the floor.\n\n PATRON\n (remarking on Truman's clumsiness)\n Nervous.", "Truman pulls out a wad of money from his pocket and several\n rolls of quarters from Marlon's vending machines. The agent\n looks askance at the pile of cash.", "As Truman drinks, he becomes aware of the delighted squeals of\n children coming from the gymnasium of Utopia Elementary School,\n adjacent to the parking lot. The sound of the children triggers\n a memory in his head.", "Truman's face is thrown into shadow as the boat slips quietly\n past the giant rotating drum. The water beyond the rollers is\n dead calm. Truman stares ahead desperately trying to focus his\n eyes.", "TRUMAN\n (confused, calling after her)\n What are you talking about? Lauren! Lauren!\n\n Truman runs after Lauren and holds her by the arms, forcing\n her to face him.", "lookalike mannequin, dressed in a brown suit identical to his\n own, promoting \"TrumanWear\". He pulls his \"double\" to the\n ground to block the guards' path.", "TRUMAN eats lunch alone on a concrete bench in a cement park.\n From his briefcase he pulls out an old hardcovered book, \"To The\n Ends Of The Earth - The Age Of Exploration\".", "He struggles up a slope onto an adjacent roadway where a\n shopping cart awaits, loaded with soiled plastic bags.\n Looking every inch a derelict, Truman begins to wheel his\n shopping cart through the empty streets of Brooklyn.", "From TRUMAN'S POV we see that he is staring up at relief\n letters that proclaim, \"American Life & Accident Insurance,\n Inc.\" above an office building's entrance.", "TRUMAN finally reaches his destination at a well-to-do\n condominium on Bay Street. As he approaches the lobby, he\n realizes he has perspiration showing through the armpits of his\n suit jacket." ], [ "world he inhabits is counterfeit, there's\n nothing fake about Truman himself. No scripts.\n no cue cards. It's not always Shakespeare but", "Look at that project. You think anybody\n lives there? It's all for you, Truman.\n A show. The eyes are everywhere.", "The large On-Air Monitor cuts to Truman, via the point-of-view\n of an approaching PEDESTRIAN. For an instant, the unaware\n Truman looks directly into the lens of the disguised camera.", "THE TRUMAN SHOW\n\n\n\n\n A Screen Play", "The elevator is simply an opening into the body of the building.\n Truman pushes past the Woman to be confronted with the fact that\n the entire office block is nothing but a giant, empty shell with\n no floors above the ground floor.", "of separation from friends and family, but\n since Truman essentially drives the plot,\n it's a never-ending improvisation. Recent\n events have raised the pressure but also the", "TrumanËsque (<u>Ë</u>sk)<i>a.</i> characteristic\n of the experiences of Truman Burbank", "direction. Of course, the one place we can't\n show you is the story department. There is none.\n (hesitant)\n ...Truman writes the script...", "CHRISTOF\n Is that the best shot we can get?\n\n SIMEON\n What's to see?\n\n Christof watches Truman, a trace of concern in his eyes.", "Truman makes no effort to save the boat. He shuts the door to\n his world. A sign on the back of the door reads, \"CLOSED SET.", "NARRATOR (O.C.)\n You are watching \"Truman - Total Record Of\n A Human Life\". Everything that occurs here", "Truman's head slowly drops in surrender, his doubts draining\n away. Marlon embraces Truman in a bearhug.\n\n Truman looks over his shoulder to the sky where a single star\n shines.", "INT. STUDIO LOT. DUSK.\n\n Still inside the studio complex, the tram enters the courtyard\n of an indoor shopping mall. Truman gift shops.", "TRUMAN finds himself on the roof of the soundstage. Outside.\n <i>Really</i> outside for the first time in his life.", "colossal dimensions. The sky is nothing but a painted backdrop.\n Truman looks upward, straining his eyes to see the top of the\n sky, but it curves away at a steep angle beyond his sight.", "Suspended from the ceiling above his head is a television\n monitor upon which a surveillance picture of Truman, engrossed\n in his book, silently plays.", "Truman's attention drifts to the logo on the side of the tram -\n \"TRUMAN STUDIO TOUR\". He is suddenly aware of the tourists\n gawking at him.", "The scene alternates between a wide master shot, a medium tight\n shot, a close up of Truman's face and two insert shots - one", "TRUMAN spills out of the subway car with hundreds of other\n COMMUTERS. We hear Christof's off-camera voice, as always\n unheard by Truman.", "Truman seems to sense the significance Christof has had in his\n life, drawn to and repelled by him at the same time. As they" ], [ "Safely on the other side of the street, he stands in front of\n the window of an electronics store. He watches a local TV\n news show covering the Santa Maria replica moored near Pier 13.", "TRUMAN finally reaches his destination at a well-to-do\n condominium on Bay Street. As he approaches the lobby, he\n realizes he has perspiration showing through the armpits of his\n suit jacket.", "The sea he has feared since childhood, is nothing but an\n enormous tank. The sky, a massive cyclorama. New York City, an", "Truman looks down at his feet. A small, tell-tale pile of sand\n has poured out of his tight trouser cuff.", "The backyard of a modest but tidy one-story tract home. Beyond\n the plank fence at the end of the property flows a busy\n Expressway.", "He starts to run along the street, suddenly entering another\n building at random. An office block with a bank on the ground", "MARLON\n What're we doing here, Truman?\n\n TRUMAN\n This is where it started.", "A bus suddenly screeches to a halt beside the struggling group,\n doors already open, and before Truman can react, the Old Woman", "The footsteps and shouts of the guards not far behind. Flight\n after flight of stairs. At one point, he loses his grip on the", "He struggles up a slope onto an adjacent roadway where a\n shopping cart awaits, loaded with soiled plastic bags.\n Looking every inch a derelict, Truman begins to wheel his\n shopping cart through the empty streets of Brooklyn.", "Truman's face is thrown into shadow as the boat slips quietly\n past the giant rotating drum. The water beyond the rollers is\n dead calm. Truman stares ahead desperately trying to focus his\n eyes.", "The boy returns the book to the woman, but before doing so rips\n out the last page from the novel and stuffs it in his shirt\n pocket.", "Finally, he stands outside the gymnasium. The childrens'\n voices can still be heard. Truman takes a deep breath and\n bursts through the double doors.", "Pier 13, facing the harbor, his back turned to those beginning\n their next sweep. Suddenly Truman ducks behind one of the green\n and white inflatable canopies that enclose the Wall Street", "INT/EXT. BARROOM/ELECTRONICS STORE/HOME. DUSK.", "Truman nods his agreement and forks over several bills.\n Veronica deposits the money in her purse and perches herself as\n modestly as possible on the edge of the fountain.", "As Truman drinks, he becomes aware of the delighted squeals of\n children coming from the gymnasium of Utopia Elementary School,\n adjacent to the parking lot. The sound of the children triggers\n a memory in his head.", "Truman, obviously terrified, musters the nerve to approach the\n lockers. The three girls look up, surprised by the\n interruption.", "room. All stare at a single telephone placed in the center of\n the table, anticipating a call. On cue, the phone rings and one", "The train pulls into a deserted station. Feeling vulnerable,\n the woman jumps up from her seat and exits. The youths, sensing" ], [ "Truman makes no effort to save the boat. He shuts the door to\n his world. A sign on the back of the door reads, \"CLOSED SET.", "TRUMAN\n Cos I never have. That's why you go places,\n isn't it? Cos you're curious. I haven't", "of separation from friends and family, but\n since Truman essentially drives the plot,\n it's a never-ending improvisation. Recent\n events have raised the pressure but also the", "TRUMAN finds himself on the roof of the soundstage. Outside.\n <i>Really</i> outside for the first time in his life.", "TRUMAN sits on the clifftop, staring out at the view his father\n had been so desperate for him not to see twenty-seven years", "Truman's face is thrown into shadow as the boat slips quietly\n past the giant rotating drum. The water beyond the rollers is\n dead calm. Truman stares ahead desperately trying to focus his\n eyes.", "The elevator is simply an opening into the body of the building.\n Truman pushes past the Woman to be confronted with the fact that\n the entire office block is nothing but a giant, empty shell with\n no floors above the ground floor.", "TRUMAN spills out of the subway car with hundreds of other\n COMMUTERS. We hear Christof's off-camera voice, as always\n unheard by Truman.", "TRUMAN eats lunch alone on a concrete bench in a cement park.\n From his briefcase he pulls out an old hardcovered book, \"To The\n Ends Of The Earth - The Age Of Exploration\".", "Truman tries to right the display and hurriedly exits the store,\n the cameras following his journey as always.\n\n BARMAN\n (exasperated)\n Oh God, he never bought nothing.", "trying to make eye contact with passers-by. They shy away.\n Truman stops still, his head reeling.", "Look at that project. You think anybody\n lives there? It's all for you, Truman.\n A show. The eyes are everywhere.", "Marlon shuts his van and gets in. Truman enters the\n passenger side.\n\n MARLON\n Where're we going?\n\n TRUMAN\n The beach.", "We see a close up of Truman's terrified eyes in his blackened\n face, staring down at the lapping water. It triggers a montage\n of flashbacks. As usual the images all appear to play on a\n television screen.", "INT. STUDIO LOT. DUSK.\n\n Still inside the studio complex, the tram enters the courtyard\n of an indoor shopping mall. Truman gift shops.", "points a corded microphone at the surf. For a long while we\n watch Truman's impassive face as he makes the recording of the\n lapping waves, staring up at the handful of stars visible", "TRUMAN is out of sight of land, the sea choppier now, rising\n and falling beneath his boat. He nears a large buoy bobbing", "As he speeds erratically, TRUMAN glances at the streets either\n side of the freeway, where he discovers a distinct lack of\n moving traffic.", "Truman seems to sense the significance Christof has had in his\n life, drawn to and repelled by him at the same time. As they", "Truman bumps into a display of sex paraphenalia, knocking an\n item to the floor.\n\n PATRON\n (remarking on Truman's clumsiness)\n Nervous." ], [ "Truman's face falls. As he enters the bedroom where his ill\n MOTHER lies gazing at the ceiling, we focus on his EXCHANGE\n STUDENT APPLICATION that he has inadvertently crushed in his\n hands.", "Truman regards his companion in a new light. He comes to a stop\n at the corner where he picked her up.", "Truman is momentarily disappointed. Meryl seizes her chance\n and heads for the house. Truman follows her inside.", "TRUMAN\n (confused, calling after her)\n What are you talking about? Lauren! Lauren!\n\n Truman runs after Lauren and holds her by the arms, forcing\n her to face him.", "As Truman drinks, he becomes aware of the delighted squeals of\n children coming from the gymnasium of Utopia Elementary School,\n adjacent to the parking lot. The sound of the children triggers\n a memory in his head.", "Getting to his feet. Truman holds Meryl by the arms, talking\n excitedly to her the way we imagine he did when they were\n courting.", "When she is ready, Truman tenderly places his arm around her\n shoulder. Veronica responds, hesitantly, becoming immersed in", "The anguish in his voice convinces us that Truman is truly on\n the brink. The young woman now has tears rolling down her\n cheeks. She is at a loss, powerless.", "Suddenly Truman pulls sharply into the curb beside a leggy,\n prostitute, VERONICA, wearing a platinum blonde wig. She is in", "TRUMAN\n Lauren, right?\n\n Her name is carefully written in blue ink on the covers of her\n text books.\n\n LAUREN\n No.", "Upon hearing her remark, Truman's eyes widen. Sensing that she\n too is addressing a third person, he jerks her head around to\n read her face.", "trying to make eye contact with passers-by. They shy away.\n Truman stops still, his head reeling.", "A SEVENTEEN-YEAR-OLD TRUMAN, carrying a stack of books, spies\n LAUREN, sixteen going on thirty-five, wearing the lavender,", "Truman and the hooker, Veronica, seventeen years later. As we\n have just seen imitated, Sylvia and Truman kiss with great", "Truman, obviously terrified, musters the nerve to approach the\n lockers. The three girls look up, surprised by the\n interruption.", "In a secluded corner of the library the SEVENTEEN-YEAR-OLD\n TRUMAN sits at a table surrounded by a stack of glossy women's", "TRUMAN stands in the darkened bedroom in his Hanes underwear\n looking down at his bed. MERYL has fallen asleep waiting for", "Truman nods his agreement and forks over several bills.\n Veronica deposits the money in her purse and perches herself as\n modestly as possible on the edge of the fountain.", "TRUMAN is at the wheel of the Santa Maria, wind filling her\n sails. Covering the face of the ship's compass is Sylvia's\n composite picture.", "Lawrence exits the cubicle. Truman's head drops. He picks up\n the framed picture of his wife from his desk. MERYL, early" ], [ "trying to make eye contact with passers-by. They shy away.\n Truman stops still, his head reeling.", "As Truman drinks, he becomes aware of the delighted squeals of\n children coming from the gymnasium of Utopia Elementary School,\n adjacent to the parking lot. The sound of the children triggers\n a memory in his head.", "and gives him it all, his appetite gone. As the transient\n wheels himself away, Truman loses himself in his book.", "Truman stares down at the street, contemplating stepping out\n into the traffic. However as his foot is poised, the stream", "A serenity comes over Truman. He lifts up his eyes to the\n mountains on the far horizon. As he stands on the very edge of", "Truman looks down at his feet. A small, tell-tale pile of sand\n has poured out of his tight trouser cuff.", "Truman sees there is no point in arguing further. His\n shouts are attracting the interest of PASSERS-BY. A thought\n occurs to him.", "TRUMAN eats lunch alone on a concrete bench in a cement park.\n From his briefcase he pulls out an old hardcovered book, \"To The\n Ends Of The Earth - The Age Of Exploration\".", "Truman makes no effort to save the boat. He shuts the door to\n his world. A sign on the back of the door reads, \"CLOSED SET.", "Truman's face is thrown into shadow as the boat slips quietly\n past the giant rotating drum. The water beyond the rollers is\n dead calm. Truman stares ahead desperately trying to focus his\n eyes.", "TRUMAN is out of sight of land, the sea choppier now, rising\n and falling beneath his boat. He nears a large buoy bobbing", "EXT. CITY PARK. DAY.\n\n TRUMAN wanders aimlessly through a city park, observing. We\n sense, <i>truly</i> observing for the first time.", "EXT. TRUMAN'S BACKYARD. DAY.\n\n TRUMAN, staring at the freeway from the bottom of the garden.\n doesn't bother to look up as MERYL approaches.", "their inflatable life jackets, thoughts of duty invade Truman's\n head. He shuts out the thoughts and turns his back, steering", "points a corded microphone at the surf. For a long while we\n watch Truman's impassive face as he makes the recording of the\n lapping waves, staring up at the handful of stars visible", "From the office window on the twelfth floor, TRUMAN can observe\n the glass building down the street. He ponders the black,\n mirrored box. LAWRENCE appears at his side.", "the fallen fixture is far larger. He looks up into the sky but\n there is no plane in sight. With some effort, Truman picks up", "TRUMAN sits on the clifftop, staring out at the view his father\n had been so desperate for him not to see twenty-seven years", "TRUMAN finally reaches his destination at a well-to-do\n condominium on Bay Street. As he approaches the lobby, he\n realizes he has perspiration showing through the armpits of his\n suit jacket.", "Frustrated, Marlon runs to the bedroom and thumps on the\n window. He can see the shape of Truman lying on the bed but" ], [ "Meryl gives him an affectionate kiss and exits the back door.\n Truman waits for the sound of Meryl's car to disappear down the\n road and exits himself.", "Truman is momentarily disappointed. Meryl seizes her chance\n and heads for the house. Truman follows her inside.", "Truman suddenly veers the Oldsmobile onto the sidewalk.\n\n MERYL\n What the hell are you doing?", "Despite her protests, Truman drags Meryl out the back door\n and towards his car.", "INT. TRUMAN'S CAR. DAY.\n\n TRUMAN holds MERYL's wrist to stop her exiting the car and\n accelerates out of the driveway in reverse without looking.", "Truman rejoins the New Jersey Turnpike, heading back towards\n Queens, the roadway now relatively free of traffic.\n\n MERYL\n Would you please slow down, Truman?", "Marlon shuts his van and gets in. Truman enters the\n passenger side.\n\n MARLON\n Where're we going?\n\n TRUMAN\n The beach.", "Meryl enters the house. Truman restarts the lawnmower and\n obediantly pushes it towards the offending patch of lawn. As", "Truman floors the Oldsmobile. The car flies past the exit for\n Route 276. He continues along the Jersey Turnpike.\n\n MERYL\n Truman, that was the turnoff!", "Meryl doesn't wish to participate in the game and makes for\n the house. Truman holds her arm, forcing her to watch. He\n turns to check his prediction. A convoy of cars approaches.", "forces his way inside. They both tumble onto the waterbed\n causing it to rock back and forth. Gripping Meryl's hair,\n Truman throws aside the bed covers.", "TRUMAN and MERYL are hemmed in by a traffic snarl on the New\n Jersey Turnpike. We observe the Oldsmobile on a television\n lens from the POV of a tail-light on the car ahead.", "Getting to his feet. Truman holds Meryl by the arms, talking\n excitedly to her the way we imagine he did when they were\n courting.", "Meryl looks idly over the fence at the approaching car.\n Finally a Suburu station wagon motors by. Meryl is unimpressed.\n Truman turns his back on the Expressway to continue his game.", "He jumps into his car and slams it into gear, driving over the\n sidewalk and back onto the street. The young woman and the old\n man stare after Truman's car as it roars away.", "MERYL\n (sensing something odd\n in his demeanor)\n Did something happen today?\n\n Truman turns to her too sharply, his guilt showing.", "MERYL and TRUMAN sit at their kitchen table. Truman stoic,\n tears rolling down Meryl's cheeks. Truman's airline ticket\n torn to shreds on the table in front of them.", "Truman perks up at the commercial while Meryl's attention is\n elsewhere.\n\n TRUMAN\n (abruptly getting up)\n Lemme go to the bathroom.", "TRUMAN\n (catching her wrist)\n No. We're going for a drive.\n\n MERYL\n What?!", "TRUMAN continues to watch \"Lifestyles\" restlessly. However, as\n he goes to get up from the sofa, MERYL starts to slide down his\n chest towards his lap." ], [ "We see a close up of Truman's terrified eyes in his blackened\n face, staring down at the lapping water. It triggers a montage\n of flashbacks. As usual the images all appear to play on a\n television screen.", "Suddenly the doubts flood into Christof's eyes, fearing he\n has misjudged Truman, fearing for his life.", "trying to make eye contact with passers-by. They shy away.\n Truman stops still, his head reeling.", "Truman is suddenly struck dumb, the doubts start crowding back\n into his head.", "Upon hearing her remark, Truman's eyes widen. Sensing that she\n too is addressing a third person, he jerks her head around to\n read her face.", "As Truman drinks, he becomes aware of the delighted squeals of\n children coming from the gymnasium of Utopia Elementary School,\n adjacent to the parking lot. The sound of the children triggers\n a memory in his head.", "The anguish in his voice convinces us that Truman is truly on\n the brink. The young woman now has tears rolling down her\n cheeks. She is at a loss, powerless.", "Truman looks down at his feet. A small, tell-tale pile of sand\n has poured out of his tight trouser cuff.", "Truman's face is thrown into shadow as the boat slips quietly\n past the giant rotating drum. The water beyond the rollers is\n dead calm. Truman stares ahead desperately trying to focus his\n eyes.", "MERYL\n (sensing something odd\n in his demeanor)\n Did something happen today?\n\n Truman turns to her too sharply, his guilt showing.", "Truman's head slowly drops in surrender, his doubts draining\n away. Marlon embraces Truman in a bearhug.\n\n Truman looks over his shoulder to the sky where a single star\n shines.", "Marlon remains unconvinced.\n\n TRUMAN\n Maybe I'm being set up for something. You\n ever feel like that, Marlon? Like your\n whole life has been building to something?", "Truman seems to sense the significance Christof has had in his\n life, drawn to and repelled by him at the same time. As they", "As TRUMAN drives, he stares, paranoid, at seemingly innocuous\n features in his Oldsmobile - his rearview mirror, steering wheel", "Truman is suddenly aware that the hundreds of other BEACHGOERS\n have stopped their activities to stare at him. Reluctantly", "EXT. CITY PARK. DAY.\n\n TRUMAN wanders aimlessly through a city park, observing. We\n sense, <i>truly</i> observing for the first time.", "Truman flinches. He was so convinced it would be the police.\n He takes a step back against the hallway wall. Before he can", "gently on Truman's cheek. Truman makes no effort to withdraw.\n He is transfixed by the the man's eyes. He appears to recognize\n him.", "MARLON\n Where <i>what</i> started?\n\n TRUMAN\n Things. Things that don't fit. Loose threads.\n False steps. Slips of the tongue.", "MARLON\n What're we doing here, Truman?\n\n TRUMAN\n This is where it started." ], [ "MARLON's car squeals to a halt outside Truman's house.\n Hurriedly dressed in jeans and coat over a bare chest, he", "Frustrated, Marlon runs to the bedroom and thumps on the\n window. He can see the shape of Truman lying on the bed but", "Marlon shuts his van and gets in. Truman enters the\n passenger side.\n\n MARLON\n Where're we going?\n\n TRUMAN\n The beach.", "Truman pulls out a wad of money from his pocket and several\n rolls of quarters from Marlon's vending machines. The agent\n looks askance at the pile of cash.", "TRUMAN and MARLON, drinking beer, sit in the rear doorway of\n Marion's delivery van, wholesale-sized boxes of candy stacked\n behind them.", "Truman grins a melancholy grin, nearly all the way back. We see\n a close up of Marlon's ear. From inside, unheard by Truman,", "MARLON\n What're we doing here, Truman?\n\n TRUMAN\n This is where it started.", "MARLON\n (staring into Truman's\n eyes, repeating the\n words in his ear)", "Marlon stops walking. Truman continues his inspection. Seeing\n there is no reasoning with him, Marlon hurries to catch him up.\n\n TRUMAN\n I never believed he was dead.", "Truman's head slowly drops in surrender, his doubts draining\n away. Marlon embraces Truman in a bearhug.\n\n Truman looks over his shoulder to the sky where a single star\n shines.", "Behind Truman's back, a motorcycle putters by.\n\n\n INT. TRUMAN'S HOUSE - KITCHEN. DAY.", "Suspended from the ceiling above his head is a television\n monitor upon which a surveillance picture of Truman, engrossed\n in his book, silently plays.", "We see a close up of Truman's terrified eyes in his blackened\n face, staring down at the lapping water. It triggers a montage\n of flashbacks. As usual the images all appear to play on a\n television screen.", "Marlon locks eyes on Truman. Sizing up the situation, he slowly\n but decisively removes the knife from Truman's hand. Meryl", "tape recorder. Marlon picks up the recorder and places it next\n to his ear. The cassette plays the sound of Truman breathing.", "Truman has no answer. We see an aerial shot of Truman and\n Marlon on a television screen, continuing to check the rows of", "Truman is momentarily disappointed. Meryl seizes her chance\n and heads for the house. Truman follows her inside.", "MARLON clanbers headfirst through the opened window and lands\n in an awkward heap on the floor beside TRUMAN's bed.", "Truman is slowly coming around. Marlon's speech from the heart\n soothing away his pain.", "A camera hidden in the room's bedside lamp zooms in to Truman's\n prone outline...while the breathing remains steady, the body\n does not rise and fall." ], [ "through with it. With everything he has, he gathers himself.\n After what seems like an age, he ever so slowly lowers the\n child into the safety of the mother's outstretched arms.", "Truman's head slowly drops in surrender, his doubts draining\n away. Marlon embraces Truman in a bearhug.\n\n Truman looks over his shoulder to the sky where a single star\n shines.", "The boy returns the book to the woman, but before doing so rips\n out the last page from the novel and stuffs it in his shirt\n pocket.", "workers give chase in their cumbersome suits, trying to cut off\n his path to the power plant. As he crests a slight rise beyond\n the plant, he is finally tackled to the ground. However,", "A bus suddenly screeches to a halt beside the struggling group,\n doors already open, and before Truman can react, the Old Woman", "Suddenly, the front door chimes. Startled, Truman lets Meryl up\n for air.", "Truman meets her unforgiving eyes. Without another word, he\n walks out of the apartment.", "YOUTH 1\n We're gonna tell you how it ends, baby.\n\n One of the youths produces a knife from his pocket and waves it\n in the woman's face.", "The Plymouth roars away. Truman stares after it and then\n turns back to the cardigan left on the ground.", "Finally, he stands outside the gymnasium. The childrens'\n voices can still be heard. Truman takes a deep breath and\n bursts through the double doors.", "into it. He screams at the top of his voice. No words. A\n primal scream. A pained, animal howl.", "The anguish in his voice convinces us that Truman is truly on\n the brink. The young woman now has tears rolling down her\n cheeks. She is at a loss, powerless.", "Truman looks down at his feet. A small, tell-tale pile of sand\n has poured out of his tight trouser cuff.", "Feeling Meryl's eyes burning into his back, Truman fires up the\n mower and heads directly towards the symbolically uncut section", "in the trunk. With a sense of finality, he lowers the lid and\n fastens the lock.", "Recognizing what is playing on the screen, the man regards\n Sylvia with a resigned smile. He mounts the bicycle and rides\n back up the path.", "YOUTH 2\n Now you're gonna have to ask me how it ends.", "The woman's second scream is muffled as the train door closes.\n Truman looks up to the emergency handle beside the door. There", "Truman, obviously terrified, musters the nerve to approach the\n lockers. The three girls look up, surprised by the\n interruption.", "and gives him it all, his appetite gone. As the transient\n wheels himself away, Truman loses himself in his book." ] ]

[ "Where does the Truman Show take place?", "How does Truman acts differently from what Christof expected?", "How does Christof make sure that Truman does not see Sylvia again?", "How does Christof make sure that Truman does not want to travel away from the dome?", "Why was Meryl taken off of the show?", "What happens when Truman recognizes his father?", "What caused audiences around the world to become suddenly extremely interested in the show?", "What does Christof tell Truman about the world once Truman finds an escape?", "What town did Truman believe he was a native of?", "Why was Sylvia eventually brought out of the show?", "How did Christof make Truman believe that he was afraid of the water?", "Why was Truman's wife taken off the show?", "What movement did Sylvia become a part of when she was out of the show?", "What drastic move did Christof do that endangered Truman's life just to keep him in the show?", "What incidents did Truman notice that everything seemed centered on him?", "How did Truman escape Marlon and Christof? ", "Where did the whole show actually take place?", "Whom did Christof bring back to give Truman stability after his wife left him?", "Who is Truman Bubank?", "What is unique about the Truman Show?", "Where does the story take place?", "Why has Truman never left the confines of Seahaven?", "Who does Truman fall in love with during college?", "What does Truman fantasize about doing someday?", "What happens when Truman and Meryl go on an impromptu road trip in Seahaven, Florida?", "Why does Truman start questioning the events in his life?", "What does Marlon discover in Truman's basement?", "How does the story end?" ]

[ [ "Within a giant arcological dome in hollywood, california. ", "Seahaven, Florida." ], [ "He falls in love with Sylvia, instead of Meryl. ", "He chooses to conquor his fear and journey into the real world. " ], [ "He tells her to tell Truman that her family is moving to Fiji. ", "He takes her off the set and tells Truman that she has gone to Fiji." ], [ "He makes the other actors make Truman scared of traveling and made his father \"die\" from a boating accident. ", "Aquaphobia and broadcasts about how traveling is dangerous." ], [ "She breaks down and goes out of character while arguing with Truman. ", "Because she has a breakdown and breaks character." ], [ "Christof has the actors drag him off of the set. ", "Actors drag his father away." ], [ "Truman starts to realize that his life is a set up and hides; causing Christof to call the first transmission cut in the shows history. ", "first time the show had a transmission cut" ], [ "He tells him that there is no more truth in the world than what is inside the artificial world he has created for him. ", "There is no more truth in it than inside the dome." ], [ "Seahaven, Florida", "Seahaven, Florida." ], [ "Truman fell in love with her.", "for warning him that his reality was a show" ], [ "He made him believe that this was the cause of his father's death and constantly broadcasting and printing messages of the danger of travelling.", "He tells him he was in a boating accident as a child that killed his father. " ], [ "She broke down because of stress.", "Mental breakdown from stress." ], [ "\"Free Truman\" campaign", "the Free Truman campaign" ], [ "He made a man-made lightning storm when Truman was on the water.", "Caused a lightning storm while he was sailing." ], [ "Falling spotlight, rain falling down only on him", "rain and a spotlight that only falls on him" ], [ "He disappeared through a makeshift tunnel.", "A tunnel in his basement." ], [ "Hollywood", "In a dome in Hollywood." ], [ "His father", "His father. " ], [ "He is the star of a reality show called the Truman Show.", "The unsuspecting star of The Truman Show." ], [ "It is televised 24/7 across the globe.", "It follows an unknowing person for his entire life." ], [ "in the community of Seahaven, Florida.", "Seahaven, Florida." ], [ "He has been diagnosed with aquophobia, thanks to the death of his father in a boating accident.", "He is afraid of water." ], [ "A woman named Sylvia, an actor on the show. ", "Sylvia." ], [ "About leaving Seahaven, Florida, and traveling to Fiji to search for Sylvia.", "Seeing Sylvia again." ], [ "They are met with numerous accidents and events staged by Christof to control Truman's life.", "Their way is blocked by several accidents placed by the producer. " ], [ "He sees his father on the set of the show, a man who was supposively dead.", "He notices events that are only happening to him." ], [ "A hole that Truman used to escape into the town of Seahaven, without the cameras capturing his movements.", "The tunnel he escaped from." ], [ "With Truman sailing a boat into the side of the dome he lives in and exiting to the real world beyond the bubble in pursuit of Sylvia.", "he bows, and leaves" ] ]

[ [ "\"And an unmarried daughter, I believe,\" said Mr Cox, with much moral\nseriousness in his tone. The archdeacon only sighed as each separate", "A hot tear stood in each of the warden's eyes as he looked round upon\nhis married daughter. Why should one sister who was so rich predict", "The warden looked at his daughter, thinking probably at the moment\nthat if Eleanor were contented with him, he need not so much regard", "\"Have you not a daughter, Mr Harding--an unmarried daughter?\"", "\"Well, my dear,\" said he, \"what do you think of that;--is it worth\nwhile to be a warden at that price?\"\n\n\"Oh, papa;--dear papa!\"", "Mr Harding had married early in life, and was the father of two\ndaughters. The eldest, Susan, was born soon after his marriage; the\nother, Eleanor, not till ten years later.", "silence, turning over bitter thoughts in his deep mind. The warden\ntried to talk to his daughter, and she tried to answer him; but they\nboth failed. There were no feelings at present in common between", "Chapter XIX\n\nTHE WARDEN RESIGNS", "The warden hung his head, and made no reply: he could not condescend\nto say that he had not intended to give his son-in-law the slip; and\nas he had not the courage to avow it, he said nothing.", "between them, and as the warden blew out the wax candles, and put his\ninstrument into its case, his daughter stood sad and thoughtful by the", "\"Well, warden, of course you're coming,\" said he, seeing that Mr\nHarding did not prepare to follow him.\n\n\"I wish you'd excuse me,\" said Mr Harding.", "\"Papa,\" she began, \"this is a most serious business.\"\n\n\"Indeed it is,\" said the warden, ringing the bell.\n\n\"I greatly feel the distress of mind you must have endured.\"", "and clerical conversation. When one of them was a bishop and the\nother only a minor canon they were even then much together; but since\ntheir children had married, and Mr Harding had become warden and", "explain all his views, and boldly claim the warden's daughter, urging\nthat the untoward circumstances between them need be no bar to their", "Both her auditors, brother and sister, assented to this, and declared\non their own knowledge that no man lived less addicted to filthy lucre\nthan the warden.", "\"But I shall resign,\" said the warden, very, very meekly.\n\n\"Good heavens! Susan, my dear, what can I say to him?\"", "The warden did not express himself peculiarly gratified at this\nintelligence, and Eleanor, though she had not worked for thanks, and", "Chapter XIII\n\nTHE WARDEN'S DECISION", "the warden, he having designated himself so for the last time, found\nthat it was nearly two o'clock, and that he must prepare for his\njourney. Yes, from this time he never again admitted the name by", "array. The warden endeavoured to induce a charge, but failed\nsignally, not having the tact of a general; his daughter did what she\ncould to comfort the forces under her command, who took in refreshing" ], [ "When John Hiram built a hospital for worn-out old men, worn-out old\nlabouring men, infirm old men past their work, cripples, blind,", "three or four of Hiram's bedesmen are sure to be seen seated. Beyond\nthis row of buttresses, and further from the bridge, and also further", "quarters that Hiram's bedesmen were treated as paupers, whereas the\nproperty to which they were, in effect, heirs was very large; and he", "beyond Hiram's Hospital. To one of these Dr Bold retired to spend\nthe evening of his life, and to die; and here his son John spent his\nholidays, and afterwards his Christmas vacation when he went from", "\"Why,\" said he at last, \"I've taken up the case of these twelve\nold men of Hiram's Hospital, and of course that brings me into", "IV. Hiram's Bedesmen\n V. Dr Grantly Visits the Hospital\n VI. The Warden's Tea Party", "I'll tell you what John Hiram meant: he meant that twelve poor old\nworn-out labourers, men who could no longer support themselves, who", "Hiram's Hospital, as the retreat is called, is a picturesque building\nenough, and shows the correct taste with which the ecclesiastical", "were all busy with the matter, each in his own way, it is not to be\nsupposed that Hiram's bedesmen themselves were altogether passive", "Such was the condition of Hiram's twelve old men when Mr Harding was\nappointed warden; but if they may be considered as well-to-do in the", "The second chapter of course introduced the reader to the more\nespecial inmates of the hospital. Here were discovered eight old\nmen; and it was given to be understood that four vacancies remained", "Too much must not be expected from the flesh and blood even of John\nHiram's bedesmen, and the positive promise of one hundred a year to", "Hiram's will two paid guardians have been selected for the hospital;\nthe law will say two paid servants, and you and I won't quarrel with\nthe name.\"", "On the evening before he left, he summoned all the bedesmen into his\nparlour to wish them good-bye. With Bunce he had been in frequent", "bed-ridden, and such like, do you think he meant to make gentlemen of\nthem? Do you think John Hiram intended to give a hundred a year to", "many guineas; and around sat, and lay, and stood, and leaned, ten of\nthe twelve old men who dwelt with him beneath old John Hiram's roof.", "request they would come and say farewell to their late warden. Soon\nthe noise of aged scuffling feet was heard upon the gravel and in the\nlittle hall, and the eleven men who were enabled to leave their rooms", "house, and by the end of the row of buildings which formed the\nresidences of the bedesmen. It was flagged all round, and the centre", "bedesman; poor old Bunce felt that his days of comfort were gone. The\nhospital had to him been a happy home, but it could be so no longer.", "and find within these walls shelter and food before their death, and a\nlittle leisure to make their peace with God. That was what John Hiram" ], [ "Mr Harding had married early in life, and was the father of two\ndaughters. The eldest, Susan, was born soon after his marriage; the\nother, Eleanor, not till ten years later.", "bishop for having so long omitted to do something for his friend Mr\nHarding. Be this as it may, Susan Harding, some twelve years since,", "and clerical conversation. When one of them was a bishop and the\nother only a minor canon they were even then much together; but since\ntheir children had married, and Mr Harding had become warden and", "Harding. It had, however, but little cordiality in it. Poor old\nmen! how could they be cordial with their sore consciences and shamed", "Mr Harding himself has seen no reason why his daughter should not love\nJohn Bold. He has not been unobservant of her feelings, and perhaps", "\"No, no, no,\" interrupted Mr Harding, who had been listening with\nindescribable misery to the tirade of his son-in-law; \"no, my friends.", "\"Susan,\" said he, \"my mind on this subject is made up; it is not\nwithout much repugnance that I act in opposition to the advice of such", "On the morning after the day last alluded to, Mr Harding, at an early\nhour, walked out of the hospital, with his daughter under his arm, and", "those who were fondest of her was Eleanor Harding; and though Eleanor\nhad never openly talked to her of her brother, each understood the\nother's feelings about him. The brother and sister were sitting", "Mr Harding is a small man, now verging on sixty years, but bearing few\nof the signs of age; his hair is rather grizzled, though not gray;", "Mr Harding was afraid; he was afraid that he was being led to do that\nwhich was not his duty; he was not, however, strong enough to resist,\nso he got up and followed his son-in-law.", "And so they all were gone, and Mr Harding was left alone with his\ndaughter.", "\"Have you not a daughter, Mr Harding--an unmarried daughter?\"", "But Susan didn't want to go till her husband went. She had an idea\nthat her papa might be bullied if she were away: she wasn't tired at\nall, or at least she said so.", "Dear ladies, you are right as to your appreciation of the\ncircumstances, but very wrong as to Miss Harding's character. Miss", "\"Cowardice!\" said the bishop, expostulating. Mr Harding sat unmoved,\ngazing on his son-in-law.", "He thought most about his daughter, naturally. It was true that she\nwas engaged, and he knew enough of his proposed son-in-law to be sure", "\"I believe, Miss Harding, you understand why, at this moment--\" And\nBold hesitated, muttered, stopped, commenced his explanation again,\nand again broke down.\n\nEleanor would not help him in the least.", "again, before you do anything to make it necessary that you and Mr\nHarding should be at variance.\" He did not answer, as she knelt\nthere, leaning on his knees, but by his face she thought that he was", "Mr Harding was not the man to judge harshly of anyone, much less of\nthe daughter whom he now loved better than any living creature; but" ], [ "When John Hiram built a hospital for worn-out old men, worn-out old\nlabouring men, infirm old men past their work, cripples, blind,", "\"You know this lawsuit that I've been engaged in,\" said Bold.\n\nTom Towers intimated that he was aware of the action which was pending\nabout the hospital.", "\"Why,\" said he at last, \"I've taken up the case of these twelve\nold men of Hiram's Hospital, and of course that brings me into", "He explained to her that, though undoubtedly the proceeding against\nthe hospital had commenced solely with himself, many others were now\ninterested in the matter, some of whom were much more influential than", "Hiram's Hospital, as the retreat is called, is a picturesque building\nenough, and shows the correct taste with which the ecclesiastical", "Hiram's will two paid guardians have been selected for the hospital;\nthe law will say two paid servants, and you and I won't quarrel with\nthe name.\"", "beyond Hiram's Hospital. To one of these Dr Bold retired to spend\nthe evening of his life, and to die; and here his son John spent his\nholidays, and afterwards his Christmas vacation when he went from", "And then, without waiting for an answer, he described to her, as he\nbest could, the accusation that was made about Hiram's will; the", "my dear, and see these lawyers myself, and if no better excuse can be\nmade for me than that, I and the hospital will part.\"", "a lawsuit, as you may all guess; and when it seemed necessary that our\nordinary quiet mode of living should be disturbed, I thought it better", "\"And so, Mr Warden,\" said Sir Abraham, \"all our trouble about this\nlawsuit is at an end.\"", "because, through some legal fiction, he who received the greatest\nbenefit from the hospital might be considered only as one of its\nservants.", "and Bold, and the rest of them with their lawsuit among them, and\nwipe his hands altogether of so sorrow-stirring a concern. Ah, what", "quarters that Hiram's bedesmen were treated as paupers, whereas the\nproperty to which they were, in effect, heirs was very large; and he", "dishonest, and they say he is robbing the old men, and taking the\nmoney of the hospital for nothing.\"", "one John Hiram, who had made money in the town as a wool-stapler, and\nin his will he left the house in which he died and certain meadows and", "Chapter IV\n\nHIRAM'S BEDESMEN", "I'll tell you what John Hiram meant: he meant that twelve poor old\nworn-out labourers, men who could no longer support themselves, who", "\"Oh, let them find that out; that's another question: the action is\nbrought against you and Chadwick; that's your defence, and a perfect and\nfull defence it is. Now that I think very satisfactory.\"", "And how fared the hospital under this resolve of its visitor? Badly\nindeed. It is now some years since Mr Harding left it, and the" ], [ "you have made to ruin Mr Harding. Here,\" and he slapped the paper\non the table, \"I have this opinion from the very first lawyer in the\nland; and under these circumstances you expect me to make you a low", "\"'Mr Harding's lawyer and my lawyer!' Did you come here merely to\nrefer me to the lawyers? Upon my word I think the honour of your", "\"You had better let them know that Sir Abraham is of opinion that\nthere is no case at any rate against Mr Harding; and that as the", "Mr Harding could not say that he had.\n\n\"I am sure he disadvised you from it,\" continued the reverend\ncross-examiner.\n\nMr Harding could not deny this.", "Mr Harding was reassured.\n\n\"Waiter,\" said he again, and the waiter again creaked up. \"If anyone\ncalls for me, I am going to dine out, and shall return about eleven\no'clock.\"", "When they were all in their places, Mr Harding rose to address them;\nand then finding himself not quite at home on his legs, he sat down\nagain. \"My dear old friends,\" said he, \"you all know that I am going\nto leave you.\"", "again, before you do anything to make it necessary that you and Mr\nHarding should be at variance.\" He did not answer, as she knelt\nthere, leaning on his knees, but by his face she thought that he was", "himself, never for a moment suspecting that Mr Harding would take upon\nhim to end the matter in a way of his own. Had the lawyers' bills", "contact with Mr Harding. I may have to oppose him, interfere with\nhim,--perhaps injure him.\"", "Mr Harding explained to the lawyer that he knew nothing of this,\nalthough he had heard in a roundabout way that such an intention had", "Mr Harding is a small man, now verging on sixty years, but bearing few\nof the signs of age; his hair is rather grizzled, though not gray;", "as Bold was to see Mr Harding attacked so personally, it still gave\nhim a feeling of elation to find his cause taken up by so powerful\nan advocate: and as to Finney, the attorney, he was beside himself.", "Mr Harding, whose conscience in the matter is clear, and who has never\nfelt that he had received a pound from Hiram's will to which he was", "gospel when it suited his own views, and to set Mr Harding up before\nthe public as an impostor on no other testimony than my chance\nconversation; but when I offer him real evidence opposed to his own", "Sir Abraham is clearly of opinion that he is only a servant, and as\nsuch not liable;--or if you like it, I'll see Mr Harding myself.\"", "to some little difficulties; but perhaps you're right. Mr Bold, I\ndon't think seeing Mr Harding can do any harm.\" Finney saw from the", "Mr Harding was afraid; he was afraid that he was being led to do that\nwhich was not his duty; he was not, however, strong enough to resist,\nso he got up and followed his son-in-law.", "\"Any demand of such a nature which Mr Harding's lawyer may have to\nmake will doubtless be made to my lawyer.\"", "With much difficulty and heartfelt sorrow, Mr Harding refused also\nthis offer. No; his wish was to support himself, however poorly,--not", "he hopes Mr Harding will dine with him.\" This bulletin as to the old\nman's health is a myth; for though he is over eighty he is never ill," ], [ "\"Oh! _The Jupiter_,\" answered the other. \"_The Jupiter_ can break no\nbones. You must bear with that; there is much, of course, which it", "Chapter VII\n\n_THE JUPITER_", "Jupiter_. With such ideas, half ambitious and half awe-struck, had\nBold regarded the silent-looking workshop of the gods; but he had\nnever yet by word or sign attempted to influence the slightest word", "look at _The Jupiter_, and see how futile are their meetings, how vain\ntheir council, how needless all their trouble! With what pride do we", "furthered, and battled for by _The Jupiter_! Perhaps to have his own\nname mentioned as that of the learned gentleman whose efforts had", "Jupiter_, and written up to by two of the most popular authors of the\nday! The idea opened a view into the very world in which he wished\nto live. To what might it not have given rise? what delightful", "great many, no doubt, will read; but of those who understand the\nsubject how many will believe _The Jupiter_? Everyone knows what its\nobject is: it has taken up the case against Lord Guildford and against", "_The Jupiter_; some fifty lines of a narrow column have destroyed all\nhis grace's equanimity, and banished him for ever from the world.\nNo man knows who wrote the bitter words; the clubs talk confusedly of", "\"My dear fellow,\" said he, when Bold had quite done speaking, \"I\nreally cannot answer for _The Jupiter_.\"", "added. He told them how _The Jupiter_ had declared that their warden\nwas no better than a robber, and that what _The Jupiter_ said was", "\"Yes,\" said Bold, almost trembling with hesitation. \"_The Jupiter_,\nyou know, has taken the matter up very strongly. Mr Harding has felt", "It is a fact amazing to ordinary mortals that _The Jupiter_ is never\nwrong. With what endless care, with what unsparing labour, do we not", "provinces men did not talk daily of Tom Towers but they read _The\nJupiter_, and acknowledged that without _The Jupiter_ life was not\nworth having. This kind of hidden but still conscious glory suited", "\"Write to _The Jupiter_,\" suggested the bishop.", "\"And _The Jupiter_?\" said the warden, stopping suddenly.", "and be blessed. None but the fools doubt the wisdom of _The Jupiter_;\nnone but the mad dispute its facts.", "trivial, of too little general interest to be mentioned again in _The\nJupiter_, unless we stir up the subject.\" And the archdeacon again\nlooked exceedingly knowing and worldly wise.", "\"Did you see those articles in _The Jupiter_?\" said Mr Harding,\npiteously, appealing to the sympathy of the lawyer.", "_The Jupiter_. He had been very intimate with Tom Towers, and had\noften discussed with him the affairs of the hospital. Bold could\nnot say that the articles in that paper had been written at his own", "thousand copies of _The Jupiter_ are daily sold, and that each copy is\nread by five persons at the least. Two hundred thousand readers then\nwould hear this accusation against him; two hundred thousand hearts" ], [ "added. He told them how _The Jupiter_ had declared that their warden\nwas no better than a robber, and that what _The Jupiter_ said was", "It is a fact amazing to ordinary mortals that _The Jupiter_ is never\nwrong. With what endless care, with what unsparing labour, do we not", "The article in _The Jupiter_, while it so greatly harassed our poor\nwarden, was an immense triumph to some of the opposite party. Sorry", "_The Jupiter_; some fifty lines of a narrow column have destroyed all\nhis grace's equanimity, and banished him for ever from the world.\nNo man knows who wrote the bitter words; the clubs talk confusedly of", "conclave to the editor of _The Jupiter_; but hitherto that was the\nonly decision to which they had come.", "_The Jupiter_. He had been very intimate with Tom Towers, and had\noften discussed with him the affairs of the hospital. Bold could\nnot say that the articles in that paper had been written at his own", "that some passing allusion might still be made to the hospital in the\ndaily _Jupiter_. He promised, however, that he would use his best\ninfluence to prevent any further personal allusion being made to Mr", "thousand copies of _The Jupiter_ are daily sold, and that each copy is\nread by five persons at the least. Two hundred thousand readers then\nwould hear this accusation against him; two hundred thousand hearts", "great many, no doubt, will read; but of those who understand the\nsubject how many will believe _The Jupiter_? Everyone knows what its\nobject is: it has taken up the case against Lord Guildford and against", "warden, doubling up a number of _The Jupiter_, pointed to the peculiar\narticle which she was to read. It was to the last of the three\nleaders, which are generally furnished daily for the support of the", "\"Did you see those articles in _The Jupiter_?\" said Mr Harding,\npiteously, appealing to the sympathy of the lawyer.", "this of _The Jupiter_? Who that really knows you will think the worse\nof you for what _The Jupiter_ says? And why care for those who do not", "provinces men did not talk daily of Tom Towers but they read _The\nJupiter_, and acknowledged that without _The Jupiter_ life was not\nworth having. This kind of hidden but still conscious glory suited", "lived much, and on whom he greatly depended,--one Tom Towers, a very\nleading genius, and supposed to have high employment on the staff of\n_The Jupiter_.", "Would that not be cowardice? And now let us see the extent of the\nevil which you dread. The _Jupiter_ publishes an article which a", "\"Oh! _The Jupiter_,\" answered the other. \"_The Jupiter_ can break no\nbones. You must bear with that; there is much, of course, which it", "\"Write to _The Jupiter_,\" suggested the bishop.", "furthered, and battled for by _The Jupiter_! Perhaps to have his own\nname mentioned as that of the learned gentleman whose efforts had", "\"Yes,\" said Bold, almost trembling with hesitation. \"_The Jupiter_,\nyou know, has taken the matter up very strongly. Mr Harding has felt", "much delay, with doubtful laws, and the fallible attempts of humanity!\nDoes not _The Jupiter_, coming forth daily with fifty thousand\nimpressions full of unerring decision on every mortal subject, set all" ], [ "When they were all in their places, Mr Harding rose to address them;\nand then finding himself not quite at home on his legs, he sat down\nagain. \"My dear old friends,\" said he, \"you all know that I am going\nto leave you.\"", "With much difficulty and heartfelt sorrow, Mr Harding refused also\nthis offer. No; his wish was to support himself, however poorly,--not", "Mr Harding, we say, is not an unhappy man: he keeps his lodgings, but\nthey are of little use to him, except as being the one spot on earth", "The waiter nodded, but did not this time vouchsafe any reply; and Mr\nHarding, taking up his hat, proceeded out to pass a long day in the\nbest way he could, somewhere out of sight of the archdeacon.", "Mr Harding is a small man, now verging on sixty years, but bearing few\nof the signs of age; his hair is rather grizzled, though not gray;", "\"No,\" continued Mr Harding; \"I am sure you did not wish to turn me\nout; but I thought it best to leave you. I am not a very good hand at", "Harding. He then suggested that he would on that afternoon ride over\nhimself to Dr Grantly, and inform him of his altered intentions on the\nsubject, and with this view, he postponed his immediate return to", "\"At any rate, you'll promise me to take no further step without\nconsultation,\" said the archdeacon. Mr Harding made no answer, but\nslowly proceeded to light his candle.", "After much painful doubting, on one thing only could Mr Harding\nresolve. He determined that at any rate he would take no offence, and", "\"I've come to say good-bye to you, Bell,\" said Mr Harding, speaking\nloud, for the old man was deaf.\n\n\"And are you going away, then, really?\" asked Bell.", "Mr Harding was reassured.\n\n\"Waiter,\" said he again, and the waiter again creaked up. \"If anyone\ncalls for me, I am going to dine out, and shall return about eleven\no'clock.\"", "\"Thank ye, my dear! I think I'll go this afternoon.\" The tamest\nanimal will turn when driven too hard, and even Mr Harding was\nbeginning to fight for his own way.", "When first the news had reached them that Mr Harding was going to\nleave the hospital, it had been received with a kind of triumph;--his", "Mr Harding said he hoped so, but he didn't at all understand what Sir\nAbraham meant. Sir Abraham, with all his sharpness, could not have\nlooked into his heart and read his intentions.", "Mr Harding allowed himself no rest till everything was prepared for\nhis departure from the hospital. It may be as well to mention that he\nwas not driven to the stern necessity of selling all his furniture: he", "Mr Harding was afraid; he was afraid that he was being led to do that\nwhich was not his duty; he was not, however, strong enough to resist,\nso he got up and followed his son-in-law.", "again, before you do anything to make it necessary that you and Mr\nHarding should be at variance.\" He did not answer, as she knelt\nthere, leaning on his knees, but by his face she thought that he was", "he did so; and Mr Harding felt that he had received that for which he\ncame. There was another period of silence, after which the bishop", "The old man took the proffered glass in his shaking hands, and drank\nit eagerly. \"God bless you, Bell!\" said Mr Harding; \"good-bye, my old\nfriend.\"", "All but Bunce, who still remained to make his own farewell. \"There's\npoor old Bell,\" said Mr Harding; \"I mustn't go without saying a word" ], [ "with a reverential stare, and, on the whole, Mr Harding found his\nretreat well chosen. About four o'clock his comfort was disturbed", "When they were all in their places, Mr Harding rose to address them;\nand then finding himself not quite at home on his legs, he sat down\nagain. \"My dear old friends,\" said he, \"you all know that I am going\nto leave you.\"", "Mr Harding is a small man, now verging on sixty years, but bearing few\nof the signs of age; his hair is rather grizzled, though not gray;", "Mr Harding was now standing on the rug, moving uneasily from one foot\nto the other. He made no distinct answer to the archdeacon's last", "\"And you, warden?\"\n\nMr Harding was now stirred to action;--he must speak and move, so he\ngot up and took one turn before he answered.", "Mr Harding, we say, is not an unhappy man: he keeps his lodgings, but\nthey are of little use to him, except as being the one spot on earth", "Mr Harding rose from his seat and paced thoughtfully up and down the\nlibrary, the bishop the while watching him painfully at every turn,", "Mr Harding, seated in his chair, began to play a slow tune on an\nimaginary violoncello.", "Mr Harding was reassured.\n\n\"Waiter,\" said he again, and the waiter again creaked up. \"If anyone\ncalls for me, I am going to dine out, and shall return about eleven\no'clock.\"", "Mr Harding knew not how to resist, and the disagreeable order was\ngiven. The quad, as it was familiarly called, was a small quadrangle,", "\"I can resign,\" said Mr Harding, slowly playing away with his right\nhand, as though the bow were beneath the chair in which he was\nsitting.", "When Mr Harding had listened to this and much more of the same kind\nfor about three hours, he returned to the door of the House, and", "Harding's character. His position was certainly a cruel one: had any\ngentleman called upon him on behalf of Mr Harding he could of course", "Mr Harding was afraid; he was afraid that he was being led to do that\nwhich was not his duty; he was not, however, strong enough to resist,\nso he got up and followed his son-in-law.", "on awhile in silence before he recommenced his attack, during which\nMr Harding, who had still the bow in his hand, played rapidly on an", "\"No, no, no, I suppose not,\" said the bishop, re-seating himself, and\nshading his face with his hands. Mr Harding sat down with his back to", "Mr Harding had got into the gallery, and was denouncing the proposed\nsacrilege, his whole face glowing with a fine theatrical frenzy.", "The waiter nodded, but did not this time vouchsafe any reply; and Mr\nHarding, taking up his hat, proceeded out to pass a long day in the\nbest way he could, somewhere out of sight of the archdeacon.", "As Bold walked silently over the lawn, Mr Harding did not at first\nperceive him, and continued to draw his bow slowly across the", "Having gone through this Mr Harding got into another omnibus, and\nagain returned to the House. Yes, Sir Abraham was there, and was" ], [ "Nevertheless, Mr Harding is becoming uneasy at the rumour which he\nknows to prevail in Barchester on the subject. He is aware that, at", "and clerical conversation. When one of them was a bishop and the\nother only a minor canon they were even then much together; but since\ntheir children had married, and Mr Harding had become warden and", "Chapter III\n\nTHE BISHOP OF BARCHESTER", "Barchester Cathedral. Dr Grantly would have him avoided as the\nplague; but the old Doctor and Mr Harding were fast friends. Young", "about Hiram's estates which is now again prevalent in Barchester.\nNevertheless, Mr Harding and Mr Bold are acquainted with each other;\nwe may say, are friends, considering the great disparity in their", "The bishop and Mr Harding loved each other warmly. They had grown old\ntogether, and had together spent many, many years in clerical pursuits", "There is living at Barchester, a young man, a surgeon, named John\nBold, and both Mr Harding and Dr Grantly are well aware that to him", "Such is the church of St Cuthbert at Barchester, of which Mr Harding\nbecame rector, with a clear income of seventy-five pounds a year.", "Early in life Mr Harding found himself located at Barchester. A fine\nvoice and a taste for sacred music had decided the position in which", "Barchester are the bishop, dean, and canons, with their respective\nwives and daughters.", "SEPTIMUS HARDING,\n\n Warden of Barchester Hospital,\n and Precentor of the Cathedral.\n\n\nHe then wrote the following private note:--", "character in Barchester, so universal was his popularity, that the\nvery fact of his appointment would have quieted louder whispers\nthan those which had been heard; but Mr Harding was an open-handed,", "Mr Harding is still precentor of Barchester; and it is very rarely\nthe case that those who attend the Sunday morning service miss the", "It was long before the people of Barchester forgot to call Mr Harding\nby his long well-known name of Warden. It had become so customary to", "On the morning after Mr Harding's return home he received a note from\nthe bishop full of affection, condolence, and praise. \"Pray come to", "The property was farmed by a gentleman in Barchester, who also acted\nas the bishop's steward,--a man whose father and grandfather had been", "All Barchester was by the ears about it. The bishop, the archdeacon,\nthe warden, the steward, and several other clerical allies, had daily", "and opulent, a decided clergyman of the Church of England, every\ninch of him. \"I suppose I shall see you at Barchester the day after\nto-morrow,\" said he.", "friend's health. There was a gentleness about the bishop to which the\nsoft womanly affection of Mr Harding particularly endeared itself, and", "Harding should be above the world, as the saying is; but, at any rate,\nhe is not above Archdeacon Theophilus Grantly, for he is always more" ], [ "Mr Harding himself has seen no reason why his daughter should not love\nJohn Bold. He has not been unobservant of her feelings, and perhaps", "Mr Harding gave a deep, long-drawn sigh. He did object, very strongly\nobject, to discuss any such subject with John Bold; but he had not the", "Mr Harding determined to open his mind and confess his doubts to\nhis old friend; and to him he went on the morning after John Bold's\nuncourteous visit.", "Nor is there any good reason why Eleanor Harding should not love John\nBold. He has all those qualities which are likely to touch a girl's", "\"And so, Mr Bold, I'm to understand, I believe, that you are desirous\nof abandoning this attack upon Mr Harding.\"", "Eleanor Harding has not plighted her troth to John Bold, nor has she,\nperhaps, owned to herself how dear to her the young reformer is; but", "this John Bold will work great trouble in Barchester. He considers\nthat he is to be regarded as an enemy, and thinks that he should not\nbe admitted into the camp on anything like friendly terms. As John", "to some little difficulties; but perhaps you're right. Mr Bold, I\ndon't think seeing Mr Harding can do any harm.\" Finney saw from the", "Hitherto Bold had taken no steps in the matter in any way annoying\nto Mr Harding personally. Some months since, after a severe battle,", "It was quite clear that Mary Bold did not follow the argument. That\nEleanor Harding should appeal, on behalf of her father, to Bold's", "Dr Grantly felt keenly the injustice of this attack; but what could he\nsay? He certainly had huffed John Bold; he certainly had objected to", "John Bold as a demagogue, for I hardly know how extreme must be a\nman's opinions before he can be justly so called; but Bold is a strong", "as Bold was to see Mr Harding attacked so personally, it still gave\nhim a feeling of elation to find his cause taken up by so powerful\nan advocate: and as to Finney, the attorney, he was beside himself.", "Mr Harding was afraid; he was afraid that he was being led to do that\nwhich was not his duty; he was not, however, strong enough to resist,\nso he got up and followed his son-in-law.", "\"My dear,\" he said, as he adjusted the copious folds of his nightcap,\n\"there was that John Bold at your father's again to-day. I must say\nyour father is very imprudent.\"", "drawing-room, he did not scruple to commence an attack on \"pestilent\"\nJohn Bold in the presence of Miss Harding, though he rightly guessed", "repeated, as Mr Harding spoke of Bold and his visit. \"The archdeacon\nwill set you quite right about that,\" he kindly said, when his friend", "contact with Mr Harding. I may have to oppose him, interfere with\nhim,--perhaps injure him.\"", "It was no wonder that Dr Grantly did not like John Bold, and that his\nwife's suggestion that he should become closely connected with such a", "Mr Harding is a small man, now verging on sixty years, but bearing few\nof the signs of age; his hair is rather grizzled, though not gray;" ], [ "you have made to ruin Mr Harding. Here,\" and he slapped the paper\non the table, \"I have this opinion from the very first lawyer in the\nland; and under these circumstances you expect me to make you a low", "\"'Mr Harding's lawyer and my lawyer!' Did you come here merely to\nrefer me to the lawyers? Upon my word I think the honour of your", "Mr Harding explained to the lawyer that he knew nothing of this,\nalthough he had heard in a roundabout way that such an intention had", "Mr Harding was reassured.\n\n\"Waiter,\" said he again, and the waiter again creaked up. \"If anyone\ncalls for me, I am going to dine out, and shall return about eleven\no'clock.\"", "When they were all in their places, Mr Harding rose to address them;\nand then finding himself not quite at home on his legs, he sat down\nagain. \"My dear old friends,\" said he, \"you all know that I am going\nto leave you.\"", "himself, never for a moment suspecting that Mr Harding would take upon\nhim to end the matter in a way of his own. Had the lawyers' bills", "Mr Harding could not say that he had.\n\n\"I am sure he disadvised you from it,\" continued the reverend\ncross-examiner.\n\nMr Harding could not deny this.", "as Bold was to see Mr Harding attacked so personally, it still gave\nhim a feeling of elation to find his cause taken up by so powerful\nan advocate: and as to Finney, the attorney, he was beside himself.", "Mr Harding, whose conscience in the matter is clear, and who has never\nfelt that he had received a pound from Hiram's will to which he was", "again, before you do anything to make it necessary that you and Mr\nHarding should be at variance.\" He did not answer, as she knelt\nthere, leaning on his knees, but by his face she thought that he was", "After much painful doubting, on one thing only could Mr Harding\nresolve. He determined that at any rate he would take no offence, and", "\"You had better let them know that Sir Abraham is of opinion that\nthere is no case at any rate against Mr Harding; and that as the", "Mr Harding was afraid; he was afraid that he was being led to do that\nwhich was not his duty; he was not, however, strong enough to resist,\nso he got up and followed his son-in-law.", "\"At any rate, you'll promise me to take no further step without\nconsultation,\" said the archdeacon. Mr Harding made no answer, but\nslowly proceeded to light his candle.", "With much difficulty and heartfelt sorrow, Mr Harding refused also\nthis offer. No; his wish was to support himself, however poorly,--not", "contact with Mr Harding. I may have to oppose him, interfere with\nhim,--perhaps injure him.\"", "Christ, and thankful to Almighty God for the good things he has given\nyou. God bless you, my friends!\" and Mr Harding drank his wine.", "\"God bless you, Mr Harding,\" said Bunce; and \"God bless you, Mr\nHarding, God bless you, sir: we know you was always our friend,\" was\nexclaimed by enough of the men to make it appear that the sentiment\nwas general.", "\"Any demand of such a nature which Mr Harding's lawyer may have to\nmake will doubtless be made to my lawyer.\"", "gospel when it suited his own views, and to set Mr Harding up before\nthe public as an impostor on no other testimony than my chance\nconversation; but when I offer him real evidence opposed to his own" ], [ "the hospital was built? Could it be possible that John Bold was\nright, and that the reverend warden of the hospital had been for the\nlast ten years and more the unjust recipient of an income legally and", "When John Hiram built a hospital for worn-out old men, worn-out old\nlabouring men, infirm old men past their work, cripples, blind,", "The building of the hospital itself has not been allowed to go to\nruins. Mr Chadwick, who still holds his stewardship, and pays the", "This man was certainly the pride of the hospital. It had always been\nthe custom that one should be selected as being to some extent in", "the pay to be given to them must depend on the rate of pay for such\nservices, according to their market value at the period in question;\nand those who manage the hospital must be the only judges of this.\"", "because, through some legal fiction, he who received the greatest\nbenefit from the hospital might be considered only as one of its\nservants.", "was eighty pounds a year. The income arising from the wardenship of\nthe hospital was eight hundred, besides the value of the house.", "\"I wish to speak to you about the hospital,\" continued Bold.\n\n\"Well, well, anything I can tell you I shall be most happy--\"\n\n\"It's about the accounts.\"", "dishonest, and they say he is robbing the old men, and taking the\nmoney of the hospital for nothing.\"", "had their due, and therefore in good times they could expect no more.\nIn this manner the income of the warden had increased; the picturesque\nhouse attached to the hospital had been enlarged and adorned, and", "no unfair weapons in carrying out your purposes, I shall have nothing\nto forgive. I presume you think I am not entitled to the income\nI receive from the hospital, and that others are entitled to it.", "about the hospital. In what I do I may appear to be interfering with\nyou, and I hope you will forgive me for doing so.\"", "Chapter V\n\nDR GRANTLY VISITS THE HOSPITAL", "And how fared the hospital under this resolve of its visitor? Badly\nindeed. It is now some years since Mr Harding left it, and the", "to, and that the funds of the hospital have not been properly disposed\nof. As for me, I cannot say what should be the disposition of these", "as it stands at present. I do see--I cannot help seeing, that the\naffairs of the hospital are not arranged according to the will of the\nfounder.\"", "I will tell you what concerns me and the hospital.\"", "of an almshouse at Barchester has become possessed of the\n income of the greater part of the whole institution. Why an\n almshouse should have a warden we cannot pretend to explain,", "The second chapter of course introduced the reader to the more\nespecial inmates of the hospital. Here were discovered eight old\nmen; and it was given to be understood that four vacancies remained", "never so negligent as regards the services of the cathedral,\n it appears palpably clear that he can be entitled to no\n portion of the revenue of the hospital, excepting that which" ], [ "In the meantime Eleanor recollected herself, and again summoned up\nher energies. \"Mr Bold,\" said she, \"I have come here to implore you", "time Eleanor became Mrs Bold, and of course removed to her husband's\nhouse.", "Eleanor Harding has not plighted her troth to John Bold, nor has she,\nperhaps, owned to herself how dear to her the young reformer is; but", "\"My father is not very well,\" said Eleanor.\n\nJohn Bold was very sorry,--so sorry: he hoped it was nothing serious,\nand put on the unmeaningly solemn face which people usually use on\nsuch occasions.", "Nor is there any good reason why Eleanor Harding should not love John\nBold. He has all those qualities which are likely to touch a girl's", "We will, however, now leave her on her way, and go with John Bold to\nPlumstead Episcopi, merely premising that Eleanor on reaching home", "\"Well, Eleanor,\" said he, \"are you for bed?\"\n\n\"Yes,\" said she, moving, \"I suppose so; but papa--Mr Bold was not here\ntonight; do you know why not?\"", "John Bold had not met her since the day when she left him in dudgeon\nin the cathedral close. Since then his whole time had been occupied", "the less surprised; for Mary and Eleanor had daily talked over John\nBold and his conduct, and his love, and Mary would insist on calling", "Mary Bold was older than her brother, and, at the time of our story,\nwas just over thirty. She was not an unattractive young woman, though", "\"My dear,\" he said, as he adjusted the copious folds of his nightcap,\n\"there was that John Bold at your father's again to-day. I must say\nyour father is very imprudent.\"", "little bit of Bishop's; and then, Mr Bold, we'll have a stroll and\na chat till Eleanor comes in and gives us tea.\" And so Bold sat", "Eleanor consulted her father on the subject, she was not ill pleased\nto hear him say, \"Oh, I was thinking of Bold, so I took it into my", "Mr Harding himself has seen no reason why his daughter should not love\nJohn Bold. He has not been unobservant of her feelings, and perhaps", "matter, Bold returned, and Eleanor was forced into sudden action: she\nhad either to accomplish or abandon her plan; and having slipped into\nher friend's bedroom, as the gentleman closed the hall door, she", "\"Oh, Mr Bold,\" said Eleanor, \"do not speak so; I ask nothing for\nmyself; and what I ask for my father, it cannot harm you to grant.\"", "matter to his detriment.\" Bold's heart misgave him as to Eleanor as\nhe said this; and yet he felt that what he said was not untrue. \"I", "and as John Bold's name was mentioned between them, she owned how well\nshe had learned to love him,--\"had loved him once,\" she said, \"but she", "What had passed between Eleanor Harding and Mary Bold need not\nbe told. It is indeed a matter of thankfulness that neither the", "John Bold is a young surgeon, who passed many of his boyish years at\nBarchester. His father was a physician in the city of London, where" ], [ "lived much, and on whom he greatly depended,--one Tom Towers, a very\nleading genius, and supposed to have high employment on the staff of\n_The Jupiter_.", "Towers understood in a moment, from the tone of his friend's voice,\nthat the certain matter referred to the newspaper. He smiled, and\nnodded his head, but made no promise.", "It was here that Tom Towers lived, and cultivated with eminent success\nthe tenth Muse who now governs the periodical press. But let it not", "own importance. It is probable that Tom Towers considered himself\nthe most powerful man in Europe; and so he walked on from day to day,\nstudiously striving to look a man, but knowing within his breast that", "Tom Towers shrugged his shoulders. How could a successful man be in\nthe wrong! \"In that case,\" said he, \"of course you must abandon it.\"", "_The Jupiter_. He had been very intimate with Tom Towers, and had\noften discussed with him the affairs of the hospital. Bold could\nnot say that the articles in that paper had been written at his own", "Towers for ever;\"--\"Freedom of the Press and Tom Towers;\" but what\nmember of Parliament had half his power? It is true that in far-off", "The pamphlet which Tom Towers now pushed across the table was entitled\n\"Modern Charity,\" and was written with the view of proving how much in", "Mr Harding is a small man, now verging on sixty years, but bearing few\nof the signs of age; his hair is rather grizzled, though not gray;", "Tom Towers. He indulged in four rooms on the first floor, each of\nwhich was furnished, if not with the splendour, with probably more\nthan the comfort of Stafford House. Every addition that science", "was much divided as to the propriety of Mr Harding's conduct. The\nmercantile part of the community, the mayor and corporation, and", "\"Look at this,\" said Towers, getting up and turning over the pages of\nthe pamphlet, and pointing to a passage near the end. \"Your friend", "\"Oh yes, the master of the place; the man who takes all the money and\ndoes nothing,\" said Tom Towers, interrupting him.", "It was easy, from his rooms, to see that Tom Towers was a Sybarite,\nthough by no means an idle one. He was lingering over his last cup of", "How calmly impassive was Tom Towers' face, as this innocent little\nproposition was made! Had Bold addressed himself to the doorposts in", "The discretion of Tom Towers was boundless: there was no contradicting\nwhat he said, no arguing against such propositions. He took such high", "\"To ask me,\" said Tom Towers, with the most placid of smiles, and a\nconsummate look of gentle surprise, as though Tom Towers was well\naware that he of all men was the last to meddle in such matters.", "Harding's character. His position was certainly a cruel one: had any\ngentleman called upon him on behalf of Mr Harding he could of course", "When they were all in their places, Mr Harding rose to address them;\nand then finding himself not quite at home on his legs, he sat down\nagain. \"My dear old friends,\" said he, \"you all know that I am going\nto leave you.\"", "discussed together the objects of their ambition and future prospects;\nthen Tom Towers was struggling hard to maintain himself, as a\nbriefless barrister, by shorthand reporting for any of the papers that" ], [ "When John Hiram built a hospital for worn-out old men, worn-out old\nlabouring men, infirm old men past their work, cripples, blind,", "Such was the condition of Hiram's twelve old men when Mr Harding was\nappointed warden; but if they may be considered as well-to-do in the", "Hiram's Hospital, as the retreat is called, is a picturesque building\nenough, and shows the correct taste with which the ecclesiastical", "Chapter XIX\n\nTHE WARDEN RESIGNS", "Hiram's will two paid guardians have been selected for the hospital;\nthe law will say two paid servants, and you and I won't quarrel with\nthe name.\"", "beyond Hiram's Hospital. To one of these Dr Bold retired to spend\nthe evening of his life, and to die; and here his son John spent his\nholidays, and afterwards his Christmas vacation when he went from", "\"Well, warden, of course you're coming,\" said he, seeing that Mr\nHarding did not prepare to follow him.\n\n\"I wish you'd excuse me,\" said Mr Harding.", "Sir Abraham bowed, and declared his clients were entitled to the best\nadvice he could give them; particularly a client so respectable in\nevery way as the Warden of Barchester Hospital.", "\"Very sorry to keep you waiting, Mr Warden,\" said Sir Abraham, shaking\nhands with him; \"and sorry, too, to name so disagreeable an hour;", "\"And who does manage the hospital?\" asked the warden.", "\"Why,\" said he at last, \"I've taken up the case of these twelve\nold men of Hiram's Hospital, and of course that brings me into", "SEPTIMUS HARDING,\n\n Warden of Barchester Hospital,\n and Precentor of the Cathedral.\n\n\nHe then wrote the following private note:--", "And so the warden retired; but, as he closed the door behind him, he\nheard the well-known ejaculation,--slower, lower, more solemn, more\nponderous than ever,--\"Good heavens!\"", "\"And you, warden?\"\n\nMr Harding was now stirred to action;--he must speak and move, so he\ngot up and took one turn before he answered.", "injured as the warden of the hospital.", "IV. Hiram's Bedesmen\n V. Dr Grantly Visits the Hospital\n VI. The Warden's Tea Party", "\"Well, my dear,\" said he, \"what do you think of that;--is it worth\nwhile to be a warden at that price?\"\n\n\"Oh, papa;--dear papa!\"", "The poor warden groaned as he sat perfectly still, looking up at the\nhard-hearted orator who thus tormented him, and the bishop echoed the", "The warden spread his paper on the table, placing it on the\nmeagre blotting-book which the hotel afforded, and sat himself\ndown to write.", "the hospital was built? Could it be possible that John Bold was\nright, and that the reverend warden of the hospital had been for the\nlast ten years and more the unjust recipient of an income legally and" ], [ "Murmurs, very slight murmurs, had been heard in Barchester,--few\nindeed, and far between,--that the proceeds of John Hiram's property", "It is with the greatest pain that I feel myself constrained\n to resign into your Lordship's hands the wardenship of the\n hospital at Barchester, which you so kindly conferred upon\n me, now nearly twelve years since.", "I. Hiram's Hospital\n II. The Barchester Reformer\n III. The Bishop of Barchester", "connected it with Barchester Hospital, and had never thought a moment\non the subject.", "Cummins, could remain there all day in anxious discussion; but what\nmight be said there was no longer matter of interest to him, who was\nso soon to lay aside the name of warden of Barchester Hospital.", "beyond Hiram's Hospital. To one of these Dr Bold retired to spend\nthe evening of his life, and to die; and here his son John spent his\nholidays, and afterwards his Christmas vacation when he went from", "Sir Abraham bowed, and declared his clients were entitled to the best\nadvice he could give them; particularly a client so respectable in\nevery way as the Warden of Barchester Hospital.", "Eleanor took off her bonnet and made the tea. After this manner did\nthe late Warden of Barchester Hospital accomplish his flitting, and\nchange his residence.", "All Barchester was by the ears about it. The bishop, the archdeacon,\nthe warden, the steward, and several other clerical allies, had daily", "SEPTIMUS HARDING,\n\n Warden of Barchester Hospital,\n and Precentor of the Cathedral.\n\n\nHe then wrote the following private note:--", "When John Hiram built a hospital for worn-out old men, worn-out old\nlabouring men, infirm old men past their work, cripples, blind,", "began to be looked on as the upholder of the rights of the poor of\nBarchester. Not long after this success, he heard from different", "Chapter III\n\nTHE BISHOP OF BARCHESTER", "in Barchester for his purpose. In one respect, at any rate, he was\nright: Finney was humility itself.", "and opulent, a decided clergyman of the Church of England, every\ninch of him. \"I suppose I shall see you at Barchester the day after\nto-morrow,\" said he.", "Such is the church of St Cuthbert at Barchester, of which Mr Harding\nbecame rector, with a clear income of seventy-five pounds a year.", "Nevertheless, Mr Harding is becoming uneasy at the rumour which he\nknows to prevail in Barchester on the subject. He is aware that, at", "but the conversation had never referred to anything at Barchester; and\nwhen Finney, the attorney, induced him to interfere with the affairs\nof the hospital, it was against Mr Chadwick that his efforts were to", "stewards to the bishops of Barchester, and farmers of John Hiram's\nestate. The Chadwicks had earned a good name in Barchester; they", "should have been born and bred and spent their days in Barchester; he\nalso appointed that an alms-house should be built for their abode,\nwith a fitting residence for a warden, which warden was also to" ], [ "\"But I shall resign,\" said the warden, very, very meekly.\n\n\"Good heavens! Susan, my dear, what can I say to him?\"", "\"Well, warden, of course you're coming,\" said he, seeing that Mr\nHarding did not prepare to follow him.\n\n\"I wish you'd excuse me,\" said Mr Harding.", "Chapter XIII\n\nTHE WARDEN'S DECISION", "\"I can resign,\" said Mr Harding, slowly playing away with his right\nhand, as though the bow were beneath the chair in which he was\nsitting.", "\"And you, warden?\"\n\nMr Harding was now stirred to action;--he must speak and move, so he\ngot up and took one turn before he answered.", "And so the warden retired; but, as he closed the door behind him, he\nheard the well-known ejaculation,--slower, lower, more solemn, more\nponderous than ever,--\"Good heavens!\"", "the warden, he having designated himself so for the last time, found\nthat it was nearly two o'clock, and that he must prepare for his\njourney. Yes, from this time he never again admitted the name by", "When they were all in their places, Mr Harding rose to address them;\nand then finding himself not quite at home on his legs, he sat down\nagain. \"My dear old friends,\" said he, \"you all know that I am going\nto leave you.\"", "Mr Harding knew not how to resist, and the disagreeable order was\ngiven. The quad, as it was familiarly called, was a small quadrangle,", "Chapter XIX\n\nTHE WARDEN RESIGNS", "When first the news had reached them that Mr Harding was going to\nleave the hospital, it had been received with a kind of triumph;--his", "After much painful doubting, on one thing only could Mr Harding\nresolve. He determined that at any rate he would take no offence, and", "Such was the condition of Hiram's twelve old men when Mr Harding was\nappointed warden; but if they may be considered as well-to-do in the", "Mr Harding was afraid; he was afraid that he was being led to do that\nwhich was not his duty; he was not, however, strong enough to resist,\nso he got up and followed his son-in-law.", "And so the old man went out, and then Mr Harding gave way to his grief\nand he too wept aloud.\n\n\n\n\nChapter XXI\n\nCONCLUSION", "With much difficulty and heartfelt sorrow, Mr Harding refused also\nthis offer. No; his wish was to support himself, however poorly,--not", "Mr Harding is a small man, now verging on sixty years, but bearing few\nof the signs of age; his hair is rather grizzled, though not gray;", "\"It is all over for me in this world,\" said he, as he gave the last\nsqueeze to Mr Harding's hand; \"I have now to forgive those who have", "There was a pause for about a minute, and then the warden, finding\nthat nothing else was coming, lighted his candle, and quietly said,\n\"Good-night.\"\n\n\"Good-night, papa,\" said the lady.", "\"At any rate, you'll promise me to take no further step without\nconsultation,\" said the archdeacon. Mr Harding made no answer, but\nslowly proceeded to light his candle." ], [ "Mr Harding had married early in life, and was the father of two\ndaughters. The eldest, Susan, was born soon after his marriage; the\nother, Eleanor, not till ten years later.", "\"Susan,\" said he, \"my mind on this subject is made up; it is not\nwithout much repugnance that I act in opposition to the advice of such", "But Susan didn't want to go till her husband went. She had an idea\nthat her papa might be bullied if she were away: she wasn't tired at\nall, or at least she said so.", "\"You must be very tired, Susan,\" said he: \"wouldn't you like to go to\nbed?\"", "bishop for having so long omitted to do something for his friend Mr\nHarding. Be this as it may, Susan Harding, some twelve years since,", "his other child, and said, \"I am sure Susan will not ask me to break\nmy word, or to do what I know to be wrong.\"", "\"But I shall resign,\" said the warden, very, very meekly.\n\n\"Good heavens! Susan, my dear, what can I say to him?\"", "to resign his promise. \"Come,\" said he, \"promise Susan to give up\nthis idea of resigning the wardenship.\"", "Not long after the marriage, perhaps six months, when Eleanor's\nbridal-honours were fading, and persons were beginning to call her Mrs", "had married the Rev. Dr Theophilus Grantly, son of the bishop,\narchdeacon of Barchester, and rector of Plumstead Episcopi, and her", "and clerical conversation. When one of them was a bishop and the\nother only a minor canon they were even then much together; but since\ntheir children had married, and Mr Harding had become warden and", "\"Dr Grantly is here, sir,\" greeted his ears before the door was well\nopen, \"and Mrs Grantly. They have a sitting-room above, and are\nwaiting up for you.\"", "together last night;\" and he came and sat beside her, and put his arm\nround her waist as he had done then. \"I have thought much of what the", "Mary Bold was older than her brother, and, at the time of our story,\nwas just over thirty. She was not an unattractive young woman, though", "He was still sitting in the same chair and the same posture, having\nhardly moved a limb for two hours, when Eleanor came back to tea, and\nsucceeded in bringing him with her into the drawing-room.", "\"And an unmarried daughter, I believe,\" said Mr Cox, with much moral\nseriousness in his tone. The archdeacon only sighed as each separate", "\"Oh, Sir Abraham!\" said she, collecting all her house keys into her\nbasket before she descended; \"Sir Abraham won't get Eleanor a husband;", "liked, he and Eleanor would have been married by this time, and we\nshould not have heard one word about all this affair.\"", "and while conversing with Mary: she certainly had not done so. She\nhad been sick at heart to think that a man of whom she could not but\nown to herself that she loved him, of whose regard she had been so", "resent this, nor could she show suspicion by taking another seat; but\nshe felt it to be a most unkind proceeding. And then Mary would talk\nas though they three were joined in some close peculiar bond together;" ], [ "\"Well, warden, of course you're coming,\" said he, seeing that Mr\nHarding did not prepare to follow him.\n\n\"I wish you'd excuse me,\" said Mr Harding.", "\"And you, warden?\"\n\nMr Harding was now stirred to action;--he must speak and move, so he\ngot up and took one turn before he answered.", "SEPTIMUS HARDING,\n\n Warden of Barchester Hospital,\n and Precentor of the Cathedral.\n\n\nHe then wrote the following private note:--", "It was long before the people of Barchester forgot to call Mr Harding\nby his long well-known name of Warden. It had become so customary to", "Mr Harding is a small man, now verging on sixty years, but bearing few\nof the signs of age; his hair is rather grizzled, though not gray;", "And how fared the hospital under this resolve of its visitor? Badly\nindeed. It is now some years since Mr Harding left it, and the", "When first the news had reached them that Mr Harding was going to\nleave the hospital, it had been received with a kind of triumph;--his", "and all you have to do is to remain quiet at the hospital.\" Mr\nHarding still made no reply, but looked meekly into his son-in-law's", "Mr Harding, we say, is not an unhappy man: he keeps his lodgings, but\nthey are of little use to him, except as being the one spot on earth", "Mr Harding allowed himself no rest till everything was prepared for\nhis departure from the hospital. It may be as well to mention that he\nwas not driven to the stern necessity of selling all his furniture: he", "Such was the condition of Hiram's twelve old men when Mr Harding was\nappointed warden; but if they may be considered as well-to-do in the", "Mr Harding knew not how to resist, and the disagreeable order was\ngiven. The quad, as it was familiarly called, was a small quadrangle,", "and clerical conversation. When one of them was a bishop and the\nother only a minor canon they were even then much together; but since\ntheir children had married, and Mr Harding had become warden and", "Chapter XIX\n\nTHE WARDEN RESIGNS", "\"I am neither angry nor displeased with any man in the hospital,\"\nrepeated Mr Harding, emphatically. \"If any man has been wrong,--and", "When they were all in their places, Mr Harding rose to address them;\nand then finding himself not quite at home on his legs, he sat down\nagain. \"My dear old friends,\" said he, \"you all know that I am going\nto leave you.\"", "Bold at once repaired to the hospital. The day was now far advanced,\nbut he knew that Mr Harding dined in the summer at four, that Eleanor", "The poor old bed-ridden creature still kept Mr Harding's hand in his\nown, and the warden thought that he had met with something like warmth", "Harding is as safe in his hospital as I am here in my rectory; that a\nmore futile attempt to destroy a man was never made, than this which", "Mr Harding was reassured.\n\n\"Waiter,\" said he again, and the waiter again creaked up. \"If anyone\ncalls for me, I am going to dine out, and shall return about eleven\no'clock.\"" ], [ "When John Hiram built a hospital for worn-out old men, worn-out old\nlabouring men, infirm old men past their work, cripples, blind,", "Hiram's Hospital, as the retreat is called, is a picturesque building\nenough, and shows the correct taste with which the ecclesiastical", "beyond Hiram's Hospital. To one of these Dr Bold retired to spend\nthe evening of his life, and to die; and here his son John spent his\nholidays, and afterwards his Christmas vacation when he went from", "Hiram's will two paid guardians have been selected for the hospital;\nthe law will say two paid servants, and you and I won't quarrel with\nthe name.\"", "\"Why,\" said he at last, \"I've taken up the case of these twelve\nold men of Hiram's Hospital, and of course that brings me into", "The building of the hospital itself has not been allowed to go to\nruins. Mr Chadwick, who still holds his stewardship, and pays the", "quarters that Hiram's bedesmen were treated as paupers, whereas the\nproperty to which they were, in effect, heirs was very large; and he", "I'll tell you what John Hiram meant: he meant that twelve poor old\nworn-out labourers, men who could no longer support themselves, who", "This man was certainly the pride of the hospital. It had always been\nthe custom that one should be selected as being to some extent in", "one John Hiram, who had made money in the town as a wool-stapler, and\nin his will he left the house in which he died and certain meadows and", "to the good appearance of Hiram's charity. On passing through this\nportal, never closed to anyone from 6 A.M. till 10 P.M., and never", "And how fared the hospital under this resolve of its visitor? Badly\nindeed. It is now some years since Mr Harding left it, and the", "and find within these walls shelter and food before their death, and a\nlittle leisure to make their peace with God. That was what John Hiram", "Chapter IV\n\nHIRAM'S BEDESMEN", "the hospital was built? Could it be possible that John Bold was\nright, and that the reverend warden of the hospital had been for the\nlast ten years and more the unjust recipient of an income legally and", "as it stands at present. I do see--I cannot help seeing, that the\naffairs of the hospital are not arranged according to the will of the\nfounder.\"", "about the hospital. In what I do I may appear to be interfering with\nyou, and I hope you will forgive me for doing so.\"", "because, through some legal fiction, he who received the greatest\nbenefit from the hospital might be considered only as one of its\nservants.", "He explained to her that, though undoubtedly the proceeding against\nthe hospital had commenced solely with himself, many others were now\ninterested in the matter, some of whom were much more influential than", "running up to and joining the deanery, and as little open to the\npublic as the garden of the dean itself. Nothing, therefore, could be\nmore private than the quad of the hospital; and it was there that the" ], [ "Mr Harding had married early in life, and was the father of two\ndaughters. The eldest, Susan, was born soon after his marriage; the\nother, Eleanor, not till ten years later.", "And so they all were gone, and Mr Harding was left alone with his\ndaughter.", "\"Have you not a daughter, Mr Harding--an unmarried daughter?\"", "On the morning after the day last alluded to, Mr Harding, at an early\nhour, walked out of the hospital, with his daughter under his arm, and", "Mr Harding himself has seen no reason why his daughter should not love\nJohn Bold. He has not been unobservant of her feelings, and perhaps", "Mr Harding is a small man, now verging on sixty years, but bearing few\nof the signs of age; his hair is rather grizzled, though not gray;", "Mr Harding was not the man to judge harshly of anyone, much less of\nthe daughter whom he now loved better than any living creature; but", "nation, that Mr Harding directed her attention. It dealt some heavy\nblows on various clerical delinquents; on families who received their", "In about half an hour the untidy girl, not yet dressed for her evening\nlabours, brought him his chop and potatoes, and Mr Harding begged for", "Harding. It had, however, but little cordiality in it. Poor old\nmen! how could they be cordial with their sore consciences and shamed", "those who were fondest of her was Eleanor Harding; and though Eleanor\nhad never openly talked to her of her brother, each understood the\nother's feelings about him. The brother and sister were sitting", "\"No, no, no,\" interrupted Mr Harding, who had been listening with\nindescribable misery to the tirade of his son-in-law; \"no, my friends.", "Dear ladies, you are right as to your appreciation of the\ncircumstances, but very wrong as to Miss Harding's character. Miss", "When Mr Harding met his daughter at breakfast the next morning, there\nwas no further discussion on the matter, nor was the subject mentioned", "and clerical conversation. When one of them was a bishop and the\nother only a minor canon they were even then much together; but since\ntheir children had married, and Mr Harding had become warden and", "We must mention one other peculiarity of Mr Harding. As we have\nbefore stated, he has an income of eight hundred a year, and has no", "Mr Harding was afraid; he was afraid that he was being led to do that\nwhich was not his duty; he was not, however, strong enough to resist,\nso he got up and followed his son-in-law.", "Bold at once repaired to the hospital. The day was now far advanced,\nbut he knew that Mr Harding dined in the summer at four, that Eleanor", "with a reverential stare, and, on the whole, Mr Harding found his\nretreat well chosen. About four o'clock his comfort was disturbed", "The father kissed his daughter, and pressed her to his heart; but\nstill he said nothing: it was so hard to him to speak of his own\nsorrows; he was so shy a man even with his own child!" ], [ "Mr Harding had married early in life, and was the father of two\ndaughters. The eldest, Susan, was born soon after his marriage; the\nother, Eleanor, not till ten years later.", "Harding. It had, however, but little cordiality in it. Poor old\nmen! how could they be cordial with their sore consciences and shamed", "Mr Harding himself has seen no reason why his daughter should not love\nJohn Bold. He has not been unobservant of her feelings, and perhaps", "Mr Harding is a small man, now verging on sixty years, but bearing few\nof the signs of age; his hair is rather grizzled, though not gray;", "And so they all were gone, and Mr Harding was left alone with his\ndaughter.", "\"Have you not a daughter, Mr Harding--an unmarried daughter?\"", "those who were fondest of her was Eleanor Harding; and though Eleanor\nhad never openly talked to her of her brother, each understood the\nother's feelings about him. The brother and sister were sitting", "On the morning after the day last alluded to, Mr Harding, at an early\nhour, walked out of the hospital, with his daughter under his arm, and", "nation, that Mr Harding directed her attention. It dealt some heavy\nblows on various clerical delinquents; on families who received their", "When they were all in their places, Mr Harding rose to address them;\nand then finding himself not quite at home on his legs, he sat down\nagain. \"My dear old friends,\" said he, \"you all know that I am going\nto leave you.\"", "were called, respectively, Charles James, Henry, and Samuel. The two\nyounger (there were five in all) were girls; the elder, Florinda, bore", "Dear ladies, you are right as to your appreciation of the\ncircumstances, but very wrong as to Miss Harding's character. Miss", "\"Oh, Miss Harding!\"", "\"No, no, no,\" interrupted Mr Harding, who had been listening with\nindescribable misery to the tirade of his son-in-law; \"no, my friends.", "Mr Harding was not the man to judge harshly of anyone, much less of\nthe daughter whom he now loved better than any living creature; but", "and clerical conversation. When one of them was a bishop and the\nother only a minor canon they were even then much together; but since\ntheir children had married, and Mr Harding had become warden and", "Harding was much younger than you are, and could not, therefore, know,\nas you may do, to what dangers such an encounter might expose her.", "When the two ladies with the gilt crosses, the old man with his\ncrutch, and the still palpitating housemaid were going, Mr Harding", "\"Nonsense, Mary; Miss Harding's heart is as safe as yours.\"", "In about half an hour the untidy girl, not yet dressed for her evening\nlabours, brought him his chop and potatoes, and Mr Harding begged for" ], [ "a lawsuit, as you may all guess; and when it seemed necessary that our\nordinary quiet mode of living should be disturbed, I thought it better", "and Bold, and the rest of them with their lawsuit among them, and\nwipe his hands altogether of so sorrow-stirring a concern. Ah, what", "\"You know this lawsuit that I've been engaged in,\" said Bold.\n\nTom Towers intimated that he was aware of the action which was pending\nabout the hospital.", "lawsuit and go to Australia, with her of course, leaving _The Jupiter_\nand Mr Finney to complete the case between them. Sometimes as he woke", "\"And so, Mr Warden,\" said Sir Abraham, \"all our trouble about this\nlawsuit is at an end.\"", "He explained to her that, though undoubtedly the proceeding against\nthe hospital had commenced solely with himself, many others were now\ninterested in the matter, some of whom were much more influential than", "lawsuit where one has nothing to gain, but everything to pay, is not\npleasant.\"", "\"Oh, let them find that out; that's another question: the action is\nbrought against you and Chadwick; that's your defence, and a perfect and\nfull defence it is. Now that I think very satisfactory.\"", "that it is awake, I must obey it. When I came here, I did not know\nthat the suit was withdrawn by Mr Bold, and my object was to beg", "He at once went to his lawyer, Finney. Now, Bold was not very fond\nof his attorney, but, as he said, he merely wanted a man who knew the", "\"Oh, well; all that's nothing to the question. The question is,\nwhether this intruding fellow, and a lot of cheating attorneys and", "too late.\" And then, before he could let her know what had caused\nthis sudden resolve, or could point to the fatal paper which lay on\nthe table, she told him that the lawsuit was over, that Bold had", "up a task to which he had pledged himself, and which indeed it would\nnot be easy for him to give up. Lawyers were engaged, and the", "\"I think Sir Abraham will not be long in letting Master Bold know what\nhe's about. I fancy I hear Sir Abraham cross-questioning him at the\nCommon Pleas.\"", "was instigated by the lawyer whom he had employed in the case of the\nturnpike to call upon Mr Chadwick for a statement as to the funds of\nthe estate.", "you have made to ruin Mr Harding. Here,\" and he slapped the paper\non the table, \"I have this opinion from the very first lawyer in the\nland; and under these circumstances you expect me to make you a low", "\"I intend to put an end to the legal proceedings which I have\ncommenced.\"", "\"Each one of you is clearly entitled to one hundred pounds a year by\ncommon law\": such had been the important whisper made by Finney into\nthe ears of Abel Handy, and by him retailed to his eleven brethren.", "whole affair, you see, is already settled, and that with very little\ntrouble or expense. Bold has been compelled to abandon his action,", "And then, without waiting for an answer, he described to her, as he\nbest could, the accusation that was made about Hiram's will; the" ], [ "Mr Harding himself has seen no reason why his daughter should not love\nJohn Bold. He has not been unobservant of her feelings, and perhaps", "\"My dear,\" he said, as he adjusted the copious folds of his nightcap,\n\"there was that John Bold at your father's again to-day. I must say\nyour father is very imprudent.\"", "Eleanor Harding has not plighted her troth to John Bold, nor has she,\nperhaps, owned to herself how dear to her the young reformer is; but", "Nor is there any good reason why Eleanor Harding should not love John\nBold. He has all those qualities which are likely to touch a girl's", "and as John Bold's name was mentioned between them, she owned how well\nshe had learned to love him,--\"had loved him once,\" she said, \"but she", "answering him. She certainly had not prepared herself for an avowal\nof affection, intending, as she had done, to abuse John Bold herself,", "John Bold had not met her since the day when she left him in dudgeon\nin the cathedral close. Since then his whole time had been occupied", "Mary Bold was older than her brother, and, at the time of our story,\nwas just over thirty. She was not an unattractive young woman, though", "still he did judge her wrongly at this moment. He knew that she loved\nJohn Bold; he fully sympathised in her affection; day after day he", "And with a volley of impassioned love, John Bold poured forth the\nfeelings of his heart, swearing, as men do, some truths and many", "John Bold is a young surgeon, who passed many of his boyish years at\nBarchester. His father was a physician in the city of London, where", "\"And all because you didn't like John Bold for a brother-in-law.\nHow is she ever to do better? Papa hasn't got a shilling; and though", "She put on her bonnet as desired, and went up to Mary Bold; this was\nnow her daily haunt, for John Bold was up in London among lawyers and", "We will, however, now leave her on her way, and go with John Bold to\nPlumstead Episcopi, merely premising that Eleanor on reaching home", "him as a brother-in-law, and a very few months ago the very idea had\nexcited his wrath: but now matters were changed; John Bold had shown", "She was quite taken aback by the question. I will not say that she\nhad forgotten herself, and her own love in thinking about John Bold,", "In the meantime Eleanor recollected herself, and again summoned up\nher energies. \"Mr Bold,\" said she, \"I have come here to implore you", "It was no wonder that Dr Grantly did not like John Bold, and that his\nwife's suggestion that he should become closely connected with such a", "John Bold got on his horse and rode off to Plumstead Episcopi; not\nbriskly and with eager spur, as men do ride when self-satisfied with", "had now nothing further to do but to add to the budget of news which\nwas prepared for her father, that John Bold was her accepted lover." ], [ "Harding's place would be at once filled by another. That the new\nwarden could not be a kinder man they all knew; that he would be a\nless friendly one most suspected; and then came the bitter information", "\"And you, warden?\"\n\nMr Harding was now stirred to action;--he must speak and move, so he\ngot up and took one turn before he answered.", "\"Well, warden, of course you're coming,\" said he, seeing that Mr\nHarding did not prepare to follow him.\n\n\"I wish you'd excuse me,\" said Mr Harding.", "Such was the condition of Hiram's twelve old men when Mr Harding was\nappointed warden; but if they may be considered as well-to-do in the", "Chapter XIX\n\nTHE WARDEN RESIGNS", "\"But I shall resign,\" said the warden, very, very meekly.\n\n\"Good heavens! Susan, my dear, what can I say to him?\"", "Harding. It had, however, but little cordiality in it. Poor old\nmen! how could they be cordial with their sore consciences and shamed", "And so the warden retired; but, as he closed the door behind him, he\nheard the well-known ejaculation,--slower, lower, more solemn, more\nponderous than ever,--\"Good heavens!\"", "the warden, he having designated himself so for the last time, found\nthat it was nearly two o'clock, and that he must prepare for his\njourney. Yes, from this time he never again admitted the name by", "It was long before the people of Barchester forgot to call Mr Harding\nby his long well-known name of Warden. It had become so customary to", "Chapter XIII\n\nTHE WARDEN'S DECISION", "The poor warden groaned as he sat perfectly still, looking up at the\nhard-hearted orator who thus tormented him, and the bishop echoed the", "Mr Harding knew not how to resist, and the disagreeable order was\ngiven. The quad, as it was familiarly called, was a small quadrangle,", "\"That's what I want, too,\" said the warden.\n\n\"And to prevent that,\" continued the other, \"we mustn't let any talk\nof resignation get abroad.\"", "When they were all in their places, Mr Harding rose to address them;\nand then finding himself not quite at home on his legs, he sat down\nagain. \"My dear old friends,\" said he, \"you all know that I am going\nto leave you.\"", "and clerical conversation. When one of them was a bishop and the\nother only a minor canon they were even then much together; but since\ntheir children had married, and Mr Harding had become warden and", "Chapter XVIII\n\nTHE WARDEN IS VERY OBSTINATE", "\"Well, my dear,\" said he, \"what do you think of that;--is it worth\nwhile to be a warden at that price?\"\n\n\"Oh, papa;--dear papa!\"", "request they would come and say farewell to their late warden. Soon\nthe noise of aged scuffling feet was heard upon the gravel and in the\nlittle hall, and the eleven men who were enabled to leave their rooms", "Mr Harding's demeanour certainly impressed Bold with a full conviction\nthat the warden felt that he stood on strong grounds, and almost made" ], [ "beyond Hiram's Hospital. To one of these Dr Bold retired to spend\nthe evening of his life, and to die; and here his son John spent his\nholidays, and afterwards his Christmas vacation when he went from", "When John Hiram built a hospital for worn-out old men, worn-out old\nlabouring men, infirm old men past their work, cripples, blind,", "Hiram's Hospital, as the retreat is called, is a picturesque building\nenough, and shows the correct taste with which the ecclesiastical", "I. Hiram's Hospital\n II. The Barchester Reformer\n III. The Bishop of Barchester", "one John Hiram, who had made money in the town as a wool-stapler, and\nin his will he left the house in which he died and certain meadows and", "and as this tale will refer mainly to the cathedral dignitaries of the\ntown in question, we are anxious that no personality may be suspected.\nLet us presume that Barchester is a quiet town in the West of England,", "IV. Hiram's Bedesmen\n V. Dr Grantly Visits the Hospital\n VI. The Warden's Tea Party", "Chapter I\n\nHIRAM'S HOSPITAL", "Chapter IV\n\nHIRAM'S BEDESMEN", "Murmurs, very slight murmurs, had been heard in Barchester,--few\nindeed, and far between,--that the proceeds of John Hiram's property", "least desirous of entering of any in the county. So she got a little\nbedroom for herself behind the sitting-room, and just over the little", "The Rev. Septimus Harding was, a few years since, a beneficed\nclergyman residing in the cathedral town of ----; let us call it", "\"Why,\" said he at last, \"I've taken up the case of these twelve\nold men of Hiram's Hospital, and of course that brings me into", "Hiram's will two paid guardians have been selected for the hospital;\nthe law will say two paid servants, and you and I won't quarrel with\nthe name.\"", "John Bold is a young surgeon, who passed many of his boyish years at\nBarchester. His father was a physician in the city of London, where", "running up to and joining the deanery, and as little open to the\npublic as the garden of the dean itself. Nothing, therefore, could be\nmore private than the quad of the hospital; and it was there that the", "Chapter V\n\nDR GRANTLY VISITS THE HOSPITAL", "\"I wish to speak to you about the hospital,\" continued Bold.\n\n\"Well, well, anything I can tell you I shall be most happy--\"\n\n\"It's about the accounts.\"", "\"Why, it's a long story, and I don't know that I can make you\nunderstand it. John Hiram made a will, and left his property in", "about Hiram's estates which is now again prevalent in Barchester.\nNevertheless, Mr Harding and Mr Bold are acquainted with each other;\nwe may say, are friends, considering the great disparity in their" ], [ "It is a fact amazing to ordinary mortals that _The Jupiter_ is never\nwrong. With what endless care, with what unsparing labour, do we not", "added. He told them how _The Jupiter_ had declared that their warden\nwas no better than a robber, and that what _The Jupiter_ said was", "_The Jupiter_. He had been very intimate with Tom Towers, and had\noften discussed with him the affairs of the hospital. Bold could\nnot say that the articles in that paper had been written at his own", "_The Jupiter_; some fifty lines of a narrow column have destroyed all\nhis grace's equanimity, and banished him for ever from the world.\nNo man knows who wrote the bitter words; the clubs talk confusedly of", "The article in _The Jupiter_, while it so greatly harassed our poor\nwarden, was an immense triumph to some of the opposite party. Sorry", "conclave to the editor of _The Jupiter_; but hitherto that was the\nonly decision to which they had come.", "\"Did you see those articles in _The Jupiter_?\" said Mr Harding,\npiteously, appealing to the sympathy of the lawyer.", "thousand copies of _The Jupiter_ are daily sold, and that each copy is\nread by five persons at the least. Two hundred thousand readers then\nwould hear this accusation against him; two hundred thousand hearts", "great many, no doubt, will read; but of those who understand the\nsubject how many will believe _The Jupiter_? Everyone knows what its\nobject is: it has taken up the case against Lord Guildford and against", "this of _The Jupiter_? Who that really knows you will think the worse\nof you for what _The Jupiter_ says? And why care for those who do not", "that some passing allusion might still be made to the hospital in the\ndaily _Jupiter_. He promised, however, that he would use his best\ninfluence to prevent any further personal allusion being made to Mr", "lived much, and on whom he greatly depended,--one Tom Towers, a very\nleading genius, and supposed to have high employment on the staff of\n_The Jupiter_.", "\"Write to _The Jupiter_,\" suggested the bishop.", "warden, doubling up a number of _The Jupiter_, pointed to the peculiar\narticle which she was to read. It was to the last of the three\nleaders, which are generally furnished daily for the support of the", "provinces men did not talk daily of Tom Towers but they read _The\nJupiter_, and acknowledged that without _The Jupiter_ life was not\nworth having. This kind of hidden but still conscious glory suited", "\"Oh! _The Jupiter_,\" answered the other. \"_The Jupiter_ can break no\nbones. You must bear with that; there is much, of course, which it", "furthered, and battled for by _The Jupiter_! Perhaps to have his own\nname mentioned as that of the learned gentleman whose efforts had", "\"Yes,\" said Bold, almost trembling with hesitation. \"_The Jupiter_,\nyou know, has taken the matter up very strongly. Mr Harding has felt", "\"My dear fellow,\" said he, when Bold had quite done speaking, \"I\nreally cannot answer for _The Jupiter_.\"", "I have before said that he of _The Jupiter_ and John Bold were\nintimate. There was no very great difference in their ages, for" ], [ "It is a fact amazing to ordinary mortals that _The Jupiter_ is never\nwrong. With what endless care, with what unsparing labour, do we not", "provinces men did not talk daily of Tom Towers but they read _The\nJupiter_, and acknowledged that without _The Jupiter_ life was not\nworth having. This kind of hidden but still conscious glory suited", "\"Did you see those articles in _The Jupiter_?\" said Mr Harding,\npiteously, appealing to the sympathy of the lawyer.", "\"Write to _The Jupiter_,\" suggested the bishop.", "_The Jupiter_. He had been very intimate with Tom Towers, and had\noften discussed with him the affairs of the hospital. Bold could\nnot say that the articles in that paper had been written at his own", "The article in _The Jupiter_, while it so greatly harassed our poor\nwarden, was an immense triumph to some of the opposite party. Sorry", "great many, no doubt, will read; but of those who understand the\nsubject how many will believe _The Jupiter_? Everyone knows what its\nobject is: it has taken up the case against Lord Guildford and against", "\"Oh! _The Jupiter_,\" answered the other. \"_The Jupiter_ can break no\nbones. You must bear with that; there is much, of course, which it", "added. He told them how _The Jupiter_ had declared that their warden\nwas no better than a robber, and that what _The Jupiter_ said was", "that some passing allusion might still be made to the hospital in the\ndaily _Jupiter_. He promised, however, that he would use his best\ninfluence to prevent any further personal allusion being made to Mr", "_The Jupiter_; some fifty lines of a narrow column have destroyed all\nhis grace's equanimity, and banished him for ever from the world.\nNo man knows who wrote the bitter words; the clubs talk confusedly of", "thousand copies of _The Jupiter_ are daily sold, and that each copy is\nread by five persons at the least. Two hundred thousand readers then\nwould hear this accusation against him; two hundred thousand hearts", "this of _The Jupiter_? Who that really knows you will think the worse\nof you for what _The Jupiter_ says? And why care for those who do not", "furthered, and battled for by _The Jupiter_! Perhaps to have his own\nname mentioned as that of the learned gentleman whose efforts had", "warden, doubling up a number of _The Jupiter_, pointed to the peculiar\narticle which she was to read. It was to the last of the three\nleaders, which are generally furnished daily for the support of the", "\"My dear fellow,\" said he, when Bold had quite done speaking, \"I\nreally cannot answer for _The Jupiter_.\"", "thing it was to write articles for _The Jupiter_; considering within\nhimself whether by any stretch of the powers within him he could ever\ncome to such distinction; wondering how Tom Towers would take any", "much delay, with doubtful laws, and the fallible attempts of humanity!\nDoes not _The Jupiter_, coming forth daily with fifty thousand\nimpressions full of unerring decision on every mortal subject, set all", "conclave to the editor of _The Jupiter_; but hitherto that was the\nonly decision to which they had come.", "Were it not well for us in our ignorance that we confided all things\nto _The Jupiter_? Would it not be wise in us to abandon useless" ] ]

[ "What is the name of the unmarried daughter of the warden? ", "How many bedesman are at Hiram's Hospital?", "Who is Harding's daughter, Susan, married to? ", "Who brings a lawsuit against Hiram's Hospital? ", "Who recommends that Mr. Harding stand up against the lawsuit? ", "What is the Jupiter? ", "Who is the editor of the Jupiter? ", "What does Mr. Harding decide to do regarding his employment? ", "Mr. Harding takes up another position where? ", "How is Mr. Harding and Bishop of Barchester related?", "Why does John Bold lead a campaign against Mr. Harding?", "Who told Mr. Harding to stand his ground during the lawsuit?", "How does the hospital gets it income?", "When did John Bold and Eleanor get married?", "How did Tom Towers portray Mr. Hardy in his editorials?", "Who is the warden of Hiriam's Hospital?", "What did the Bishop of Barchester do with Hiram's Hospital at the end of the story?", "When does Mr. Harding decide to resign as warden?", "Who is Susan married to?", "Mr. Harding is the warden of what hospital?", "How is Hiram's Hospital supported? ", "How many daughter does Harding have?", "What is the name of Harding oldest daughter? ", "Who starts a lawsuit?", "Who does John Bold end up marrying?", "Who is appointed warden after Harding resigns?", "What fictional county is Hiram's Hospital set in?", "Who is the editor of The Jupiter?", "What kind of publication is The Jupiter?" ]

[ [ "Eleanor", "Eleanor." ], [ "twelve", "twelve" ], [ "Archdeacon Grantly", "Archdeacon Grantly" ], [ "John Bold", "John Bold" ], [ "Archdeacon Grantly", "Dr. Grantly" ], [ "The local newspaper", "newspaper" ], [ "Tom Towers", "Tom Towers" ], [ "He resigns his position", "resigns and becomes a Rector" ], [ "St. Cuthbert's ", "St. Cuthbert's" ], [ "The Bishop of Barchester is Mr. Harding's oldest daughter's father-in-law.", "They are old friends. " ], [ "Mr. Harding was receiving a larger sum of the charity rather than his subordinates. ", "to expose inequality in income apportionment" ], [ "His son-in-law, Dr. Grantly.", "Dr. Grantly. " ], [ "It receives charitable income to the Diocese of Barchester.", "A medieval charitable. " ], [ "After John stops the legal proceedings against Mr. Harding. ", "after stopping leagal proceedings" ], [ "As someone who did not know his job responsibilities and selfish.", "As selfish and derelict in his responsibilities." ], [ "Mr. Hardy", "Harding" ], [ "That the building be vacated.", "leaves the wardenship vacant" ], [ "After feeling guilty about his large income from the charity.", "After a lawsuit is filed and negative editorials about him are published in the newspaper." ], [ "Archdeacon Grantly", "Archdeacon Grantly" ], [ "Hiram's Hospital.", "Hiram's Hospital. " ], [ "It is supported by medieval charitable bequest.", "medievil charitable request by the Diocese of Barchester" ], [ "He has two daughters?", "two" ], [ "Her name is Susan.", "Susan" ], [ "John Bold starts a lawsuit?", "John Bold." ], [ "Her marries Eleanaor.", "Eleanor" ], [ "The position is left vacant.", "nobody" ], [ "The county of Barsetshire.", "Barsetshire" ], [ "Tom Towers is the editor. ", "Tom Towers" ], [ "It is a newspaper.", "A newspaper. " ] ]

[ [ "(CONTINUED)\n\n 53.\nCONTINUED:\n\n\nThe Assistant rushes over to Mariachi.", "She rushes to it, grabs the guitar and tosses it to Mariachi.\nHe catches it, choking after she releases the blade. She is", "Mariachi tries to make sense of it all for a minute before\ngrabbing the gun from under the counter and rushing upstairs.", "33.\nCONTINUED:\n\n\nMariachi gets up and is about to get his guitar case from\nunder the stool.", "Moco fires into Mariachi's left hand. Mariachi grimaces,\ncrumbling to the floor. He keeps a tight grip on his hand.", "Mariachi leaps out. He is about to continue running, but he\nstops, clenches his fists, and turns slowly as the camera\ndollies into his face.", "Domino turns to a counter and her smile fades. She looks like\nshe wants to rip Mariachi's throat out with her teeth. She", "(In between this time, Mariachi escapes with Loco.)\n\nShe returns, slamming it to the floor.", "Mariachi bends to get the ball which makes the sound of a\nscreeching truck as it hits Mariachi's foot. Mariachi notices\nthat it's a man's severed head.", "MARIACHI\n Is he?\n\n DOMINO\n (pause)\n He was.\n\nShe sits next to Mariachi.", "The old man looks over at him as he dies, then turns back as\nif nothing happened. Mariachi bolts back down the hill.\n\nEXT. FRONT BALCONY - HOTEL COAHUILA - DAY", "Mariachi is laying there unconcious, Moco puts his arm around\nMean Dude #5, who is looking very proud, and Moco pulls out a\ncigarette and a match.", "Domino turns around and looks at Mariachi, wondering hard is\nhe's joking. He lifts up a bloody hand, grabs a napkin, and\nthen seems to ask permission with his eyes before wiping his\nhands clean.", "She gets up slowly, and turns to leave. Mariachi settles\nback, smiling triumphantly. Suddenly she darts around and", "Moco is laughing and looking at his men for support, but no\none else laughs. Mariachi tries to stand, but he falls back.", "Mariachi leaps up over a few cars and ends up in a dead end.\nHe turns around, drops the case on the ground and opens it. A", "Mariachi settles back down, closing his eyes. The knife slips\nout of the wall and clangs to the ground. Mariachi jumps\nagain, rolls his eyes, and sinks underwater as the picture", "Mariachi starts to sing but chokes on the words. He starts\nover, playing a \"Rancho Grande\" sounding song with his own\nmade up words.", "gun on him and shoots him in the chest. Mariachi grabs his\ncase and as Mean Dude #5 turns to get s look at him, all he", "Mariachi dashes down the hallway out onto a balcony. He sees\nno way down.\n\nEXT. COURTYARD BALCONY - DAY" ], [ "Mariachi shakes the case, and puts it on the counter as if to\nopen it... but he doesn't need to check it. He knows it's not\nhis guitar.", "INT. MARIACHI'S HOTEL ROOM - DAY\n\nCamera dollies into the guitar case on Mariachi's bed.\n\nEXT. DOWN THE BLOCK - DAY", "Mariachi leaps up over a few cars and ends up in a dead end.\nHe turns around, drops the case on the ground and opens it. A", "DOMINO\n What's wrong?\n\nMariachi looks at her startled, then runs out of the bar with\nthe case.\n\nEXT. AROUND THE CORNER - DAY", "The Clerk peeks over his paper, eyeing the guitar case as\nMariachi goes. He hears the sound of Mariachi's footsteps", "Mean Dudes are watching Azul unsnap his case.\n\nEXT. STREET - DAY\n\nAzul opens the lid, revealing Mariachi's guitar.", "Azul turns to his guitar case and carefully chooses another\nweapon. He grabs the drink and tosses a napkin over his arm\nlike a waiter, then casually follows the Old Dude into the\nbathroom.", "Mariachi rushes in, grabs his jacket and puts it on. He grabs\nhis guitar case and squeezes it tight, his eyes shut. Slow\ndolly into him, as his eyes open.", "The three remaining Dudes notice Azul's guitar case. So does\nthe Bartender. They all look at each other and laugh.", "She rushes to it, grabs the guitar and tosses it to Mariachi.\nHe catches it, choking after she releases the blade. She is", "MARIACHI (CONT'D)\n Thank you, friend.\n\nAs Mariachi walks away, the Clerk notices the guitar case and\nblack clothes and he rereads the card Mean Dude left him.", "EXT. BOYSTOWN SALOON - DAY\n\nAs he crosses the street he notices Azul leaving the saloon\nwith a guitar case. Mariachi runs into the saloon.", "Azul turns and sees Mariachi with his guitar case. Mean Dude\n#5 turns and sees Mariachi, too.\n\n MEAN DUDE #5\n That's him...", "Mariachi is about to race upstairs.\n\n ASSISTANT (CONT'D)\n She gave the case back to that guy. She\n left with him to find you.", "Mariachi leaves it under the stool and takes off the jacket.\n\n MARIACHI\n I never go anywhere without it. Take care\n of it.", "Mariachi pulls out the MAC-10 and blasts the first Mean Dude\nhe sees. He grabs the case and runs out into the street,", "Mariachi is walking around downtown Acuña. He notices a bar\nacross the street and, liking the way it looks, he puts on", "Mariachi opens his room, tosses his guitar onto the bed and\nhangs his jacket in the closet. He has only his white T-shirt", "INT. AMADEUS - DAY\n\nMariachi runs inside and checks to see if his case is still\nthere. Domino comes downstairs.", "gun on him and shoots him in the chest. Mariachi grabs his\ncase and as Mean Dude #5 turns to get s look at him, all he" ], [ "Azul looks out of the jail cell suspiciously. Peering down\nthe hall, he sees the guys with the guns. He hides behind the\nwall, peering out to see what happens next.\n\n 4.", "Azul thinks a moment. He stands up.\n\n AZUL\n They caught the mariachi.\n\nAzul dresses, smiling...", "INT. AZUL IN JAIL CELL - DAY\n\nAzul puts the receiver back up to his mouth.", "Moco pulls out his gun and shoots her in the heart. She falls\nlimp in Azul's arms. Azul tries hold her up, but she's dead.", "Azul hangs up the phone and kicks his Bodyguard awake. The\nBodyguard gets up and peers out the bars as Azul hides in a\ncorner.\n\nINT. TALL MEN IN HALL - DAY", "37.\nCONTINUED:\n\n\nThey walk away leaving Azul wondering what happened.\n\nINT. AMADEUS - DAY", "Azul exits the jail carrying a shotgun. His Bodyguards get\ninside the Tall Men's truck and start it. Azul waits\npatiently for his blue truck.", "AZUL (CONT'D)\n Open the gate or she's dead!", "(CONTINUED)\n\n 32.\nCONTINUED:\n\n\n AZUL\n (into phone)\n Six.", "Moco, glancing at his watch, hangs up.\n\nINT. AZUL IN JAIL CELL - DAY", "Moco shoots Azul in the heart. Azul had his hands to his\nside, and now he falls to his knees. Moco shoots him again,\nand Azul dies next to Domino.", "(CONTINUED)\n\n 41.\nCONTINUED: (2)\n\n\n AZUL\n Why not?", "The Mean Dudes are rounding the corner, but Mean Dude #5, who\nis last, snaps his fingers and motions to the others to keep\nquiet and to watch Azul\n\nINT. AMADEUS - DAY", "As Azul and his Bodyguards exit the block, the Guard with the\nmagazine stands up as if to stop them, but Azul tosses him a\nwad of money and the guard sits back down to count it.", "Azul awakens and grabs the phone.\n\n\n\n (CONTINUED)\n\n 31.\nCONTINUED:", "POV of Rats seeing Azul with three guys around him with guns.\nThey look at each other, start the truck and speed away.\n\nEXT. STREET - DAY", "35.\nCONTINUED:\n AZUL (CONT'D)\n She owns it, now? Then she is Moco's\n girl?", "AZUL\n You thought I could defend myself...\n\nSNAP! SNAP!\n\n AZUL\n ... against three armed men...\n\nSNAP!", "The gate opens and we see Moco standing at a three-quarter\nstance, flanked with his men on both sides. Azul drags Domino\nin and faces her at Moco with a gun to her head.", "Azul grabs Domino and points a gun to her head. He whispers\nto her...\n\n AZUL\n Play along...\n\nHe kicks at the gate." ], [ "MOCO (CONT'D)\n Azul, let her go and you'll get your\n money.\n\n AZUL\n Moco, give me my money or I ruin your\n clothes with her blood.", "AZUL\n Give me my money or I kill her NOW!!!\n\n MOCO\n After all I've done for you, this is how\n you treat me?", "Moco shoots Azul in the heart. Azul had his hands to his\nside, and now he falls to his knees. Moco shoots him again,\nand Azul dies next to Domino.", "Moco pulls out his gun and shoots her in the heart. She falls\nlimp in Azul's arms. Azul tries hold her up, but she's dead.", "The gate opens and we see Moco standing at a three-quarter\nstance, flanked with his men on both sides. Azul drags Domino\nin and faces her at Moco with a gun to her head.", "MOCO\n You feel sorry for her, don't you? See,\n that's why you can't ever be as big as\n me.\n\nAzul slowly looks at Moco.", "AZUL\n (into phone)\n I'm still here, Moco. And so are your", "MARIACHI\n And Moco is sending these men to find\n Azul. So, why do they chase me?\n\n\n\n\n (CONTINUED)", "AZUL\n (into phone)\n Moco... What the hell do you want after\n all these years?\n\nEXT. EL MOCO'S RANCH - DAY", "AZUL (V.O.)\n Really? Well, that's more like it. Just\n like the Moco I used to know.", "Azul turns his MAC-10 onto the Guard instead. A few blasts\nlater Azul and his rats pack up and go as the Guard twitches\nhelplessly on the ground, still clutching the money in his\nbloody hand.", "Azul presses the #-button on his phone. Moco's phone number\nis automatically redialed.\n\nMoco answers.\n\n\n\n (CONTINUED)", "Moco, glancing at his watch, hangs up.\n\nINT. AZUL IN JAIL CELL - DAY", "They drive out to Moco's ranch in Azul's truck. Little do\nthey know, they passed Loco's truck with Mariachi crouched in", "AZUL\n (into phone)\n There's something going on outside. Is\n this a double surprise? Are you getting\n me out today, Moco?\n\nThere is no response from Moco.", "MOCO\n (to Domino)\n I'm sorry he used you to get to me,\n Domino.\n\nAzul cocks the pistol.", "AZUL\n (into phone)\n There are two men here with guns. Did you\n send them?\n\nEXT. EL MOCO'S RANCH - DAY", "35.\nCONTINUED:\n AZUL (CONT'D)\n She owns it, now? Then she is Moco's\n girl?", "Azul is glancing between Domino and Moco.\n\n MOCO (CONT'D)\n ... you had that little monkey climbing\n all over you.", "Azul looks out of the jail cell suspiciously. Peering down\nthe hall, he sees the guys with the guns. He hides behind the\nwall, peering out to see what happens next.\n\n 4." ], [ "DOMINO\n (sighing)\n This place is a gift.\n\n MARIACHI\n From who?\n\n DOMINO\n From Mauricio.", "The phone rings. Domino gets up to answer it. Mariachi\nreaches under his blanket for a small mirror and combs his\nhair, putting spit in his hair to slick it down. He quickly\nstashes the mirror.", "Domino turns around and looks at Mariachi, wondering hard is\nhe's joking. He lifts up a bloody hand, grabs a napkin, and\nthen seems to ask permission with his eyes before wiping his\nhands clean.", "DOMINO\n Maybe he loves his guitar. It's probably\n an antique.", "Slow dolly into the case, which contains a white, well-kept\nclassical guitar. Domino is seeing it, and for a moment she\nalmost believes he is telling the truth.", "DOMINO\n Well, Mauricio sent me flowers, then\n jewelry, then he gave me a job at his\n saloon, then he gave me the whole\n saloon... etc.", "She lifts the lid with her foot. It seems an eternity before\nthe case is fully open. Domino is looking into the case, but\nMariachi is not. He knows what's in there.", "DOMINO\n I have a room upstairs. My room. Don't\n touch anything. I'll be up after awhile\n and we can call a friend of mine.\n\nMariachi shakes her hand.", "MARIACHI\n Is he?\n\n DOMINO\n (pause)\n He was.\n\nShe sits next to Mariachi.", "no money, nothing of value, except this\n guitar and maybe this coat, which they\n could have taken when I left my room, but\n they didn't. They were only interested in", "Moco signals his men to get the money.\n\n DOMINO\n What have you done with Mariachi?\n\n MOCO\n Who?", "You can sometimes find him here. He owns this place.\n\n AZUL\n So you know him?\n\nMAIN MEAN DUDE\n\nWe work for him.", "DOMINO\n What do you have in here? GUNS? KNIVES?\n\nMariachi tries to catch his breath, pausing before answering\nher as if wondering if all this is really happening.", "asks for a refresco, He gets looks again. Domino serves him\nand he asks to see the owner. She says he's looking at the\nowner. He then asks her for work as a mariachi. She says she", "DOMINO\n Here's a little bit I've saved. I want\n you to go get a new guitar.\n\nMariachi starts to put up his hand as if to refuse it.", "DOMINO\n I couldn't pay you. I have no money.\n\n MARIACHI\n This fancy place and you have no money?", "DOMINO (CONT'D)\n He wants me to ride out to his ranch when\n I've decided to be his. He thinks he's\n close to having me.", "DOMINO\n It's the truth.\n\n MARIACHI\n I'll work for room and board, then.\n Please, I'm desperate.", "Screams are heard. The men stand back, and finally look down\nthe steps at the Viejo Clerk who is waving his arms\nfrantically.", "Domino walks over to the counter and picks up a key.\n\n DOMINO\n A motorcycle.\n\nMariachi laughs." ], [ "She rushes to it, grabs the guitar and tosses it to Mariachi.\nHe catches it, choking after she releases the blade. She is", "Mariachi shakes the case, and puts it on the counter as if to\nopen it... but he doesn't need to check it. He knows it's not\nhis guitar.", "33.\nCONTINUED:\n\n\nMariachi gets up and is about to get his guitar case from\nunder the stool.", "Mariachi bends to get the ball which makes the sound of a\nscreeching truck as it hits Mariachi's foot. Mariachi notices\nthat it's a man's severed head.", "Mariachi leaps up over a few cars and ends up in a dead end.\nHe turns around, drops the case on the ground and opens it. A", "Mariachi shoots him in the arm, and Mean Dude #5 drops his\ngun and cowers away in pain. Mariachi then turns the guy's", "Mariachi picks his guitar from the ground. He is in full\nview, but no one is looking at him.", "Mariachi is in back the truck searching for a weapon. The\ntruck stops. Mariachi rolls to the side and gently lifts his\nhead.", "Mariachi is sweating and his face is extremely red. He pauses\nfor a long time before plucking an odd note. She squints as\nif she's caught him. But he eventually starts picking out a\nsweet little melody.", "(CONTINUED)\n\n 53.\nCONTINUED:\n\n\nThe Assistant rushes over to Mariachi.", "Mariachi picks up his guitar and lays some money next to his\nfull drink. He looks disappointed.", "Moco fires into Mariachi's left hand. Mariachi grimaces,\ncrumbling to the floor. He keeps a tight grip on his hand.", "MOCO (CONT'D)\n I bet you play the guitarra real well,\n huh?\n\nMariachi says nothing.", "Mariachi tries to make sense of it all for a minute before\ngrabbing the gun from under the counter and rushing upstairs.", "INT. MARIACHI'S HOTEL ROOM - DAY\n\nCamera dollies into the guitar case on Mariachi's bed.\n\nEXT. DOWN THE BLOCK - DAY", "(CONTINUED)\n\n 28.\nCONTINUED:\n\n\n MARIACHI\n I told you... I am a musician.", "Mariachi opens his room, tosses his guitar onto the bed and\nhangs his jacket in the closet. He has only his white T-shirt", "Mariachi starts to sing but chokes on the words. He starts\nover, playing a \"Rancho Grande\" sounding song with his own\nmade up words.", "Mariachi is laying there unconcious, Moco puts his arm around\nMean Dude #5, who is looking very proud, and Moco pulls out a\ncigarette and a match.", "Mariachi rushes in, grabs his jacket and puts it on. He grabs\nhis guitar case and squeezes it tight, his eyes shut. Slow\ndolly into him, as his eyes open." ], [ "He sees a GUARD outside and finds a way to escape.\n\n\n (CONTINUED)\n\n 49.\nCONTINUED:", "Suddenly, the Guard bolts out the jail waving the wad of\nmoney, as if complaining.", "2.\n\n\n\nINT. JAIL CELLS - DAY", "Azul looks out of the jail cell suspiciously. Peering down\nthe hall, he sees the guys with the guns. He hides behind the\nwall, peering out to see what happens next.\n\n 4.", "INT. JAIL - DAY\n\nThe Guard reading the magazine stands when he sees someone\napproaching the door.\n\nEXT. JAIL - DAY", "Azul exits the jail carrying a shotgun. His Bodyguards get\ninside the Tall Men's truck and start it. Azul waits\npatiently for his blue truck.", "exiting their cells, carrying guns and Molotov cocktails. The\nTall Man drops his gun. Finally, Azul exits his cell carrying\nhis phone. The Bodyguard forces the Tall Men into an empty", "A large truck drives up to the jail, parking beside the\npolice car. Two tall, well-dressed MEN step out. They reach\ninto the cab and pull out machine guns. They walk briskly\ntowards the jail.", "FADE IN:\n\nEXT. A JAIL IN MEXICO - DAY", "cell door effortlessly, and walks out as if to greet them.\nThe Tall Men hear the sound of the other cells opening, so\nthey turn around. The other prisoners on the block begin", "INT. JAIL CELLS - DAY\n\nAzul picks up his phone and makes another call. He talks\nbusiness. In the other cell, prisoners are getting up and\nlooking around. Azul hangs up the phone and writes.", "heard you were getting out soon, and\n figured I should deal with our situation.\n But do you really need me to help you get\n out? From what I hear, you're running", "(In between this time, Mariachi escapes with Loco.)\n\nShe returns, slamming it to the floor.", "The inmates stir, rubbing their dirty faces and trying to sit\nup. The camera dollies slowly down the narrow hallway of the\nblock which has three cells: Two small ones side by side, and", "back at the phone, hesitating to answer it. He looks around\nthe cell block as if someone might be playing a trick on him.\nFinally he answers it, pausing before saying hello. It is El", "MOCO\n (into phone)\n Just hang in there my friend. I won't\n forget that you have been a big part of\n our success. What's wrong.\n\nEXT. JAIL - DAY", "INT. AZUL IN JAIL CELL - DAY\n\nAzul walks to his toilet and stands on it to see out his\nbarred window.", "Close tracking shot of guns as Tall Men open the door and\nenter the jail.\n\nINT. AZUL IN JAIL CELL - DAY", "The Tall Men move slowly towards the big cell, somewhat\ncautious. They see the Bodyguard a second too late, for he\nsticks the shotgun between the bars, and shoots one of them", "The cellmates throw their Molotov cocktails into the cell.\nMoco hears the men screaming as they burn to death. Azul is\nholding the phone at arm's length into the cell." ], [ "Mariachi wraps a tourniquet on his arm, kisses Domino, opens\nAzul's case, sees the weapons, and rides off with it.\n\nMARIACHI ON THE ROAD", "MARIACHI (CONT'D)\n Hire me.\n\nDomino looks at him with a silent \"what?\".", "Mariachi leaves it under the stool and takes off the jacket.\n\n MARIACHI\n I never go anywhere without it. Take care\n of it.", "MARIACHI\n Is he?\n\n DOMINO\n (pause)\n He was.\n\nShe sits next to Mariachi.", "33.\nCONTINUED:\n\n\nMariachi gets up and is about to get his guitar case from\nunder the stool.", "DOMINO\n Here's a little bit I've saved. I want\n you to go get a new guitar.\n\nMariachi starts to put up his hand as if to refuse it.", "DOMINO\n What's wrong?\n\nMariachi looks at her startled, then runs out of the bar with\nthe case.\n\nEXT. AROUND THE CORNER - DAY", "Mariachi shakes the case, and puts it on the counter as if to\nopen it... but he doesn't need to check it. He knows it's not\nhis guitar.", "45.\nCONTINUED: (3)\n\n\n MARIACHI\n And you accept it all? What's the last\n thing he sent you?", "Domino turns around and looks at Mariachi, wondering hard is\nhe's joking. He lifts up a bloody hand, grabs a napkin, and\nthen seems to ask permission with his eyes before wiping his\nhands clean.", "Mariachi stops and thinks... He looks up at her\nquestioningly, then he shrugs an \"OK\" and grabs the money and\njogs out excitedly. Domino is smiling.\n\nEXT. STREET - DAY", "Mariachi leaves. Domino drops the trash can and tells her\nassistant to watch the bar. She heads for the staircase.\n\nINT. DOMINO'S LOFT - DAY", "Mariachi is still in Loco's truck.\n\n MARIACHI\n Stop here.", "DOMINO\n Anything else?\n\n AZUL\n (nodding)\n My guitar case.\n\n DOMINO\n Where's Mariachi?", "The phone rings. Domino gets up to answer it. Mariachi\nreaches under his blanket for a small mirror and combs his\nhair, putting spit in his hair to slick it down. He quickly\nstashes the mirror.", "MARIACHI\n (after a pause)\n Ay, wey...\n\nDomino laughs.\n\n 46.", "MARIACHI\n He's still giving you things?\n\n DOMINO\n He'll never run out of money.\n\n\n (CONTINUED)", "MARIACHI\n I just saw a guy with a guitar case like\n mine. It's him they want.\n\n DOMINO\n (to Assistant)\n Did he say anything?", "Mariachi rides through the semi-open gate... stopping at the\nbodies. He dismounts the bike and holds Domino.", "MOCO\n Bring that musician out here so he can be\n reunited with my Domino.\n\nSome men go to check.\n\nCut back and forth with Mariachi coming." ], [ "She rushes to it, grabs the guitar and tosses it to Mariachi.\nHe catches it, choking after she releases the blade. She is", "The three remaining Dudes notice Azul's guitar case. So does\nthe Bartender. They all look at each other and laugh.", "As the blue truck pulls up, two little rat-like VATOS exit\nthe blue truck, one handing Azul a guitar case. Azul tosses", "Azul turns to his guitar case and carefully chooses another\nweapon. He grabs the drink and tosses a napkin over his arm\nlike a waiter, then casually follows the Old Dude into the\nbathroom.", "The Mean Dude holding the guitar case is frozen with fear. He\nmanages to look up at Azul, who is watching the Mean Dudes", "AZUL\n That's too bad.\n\nAzul turns to the mean Dude sitting to his left, and places\nthe guitar in his hands. The Mean Dude is confused.", "The Clerk peeks over his paper, eyeing the guitar case as\nMariachi goes. He hears the sound of Mariachi's footsteps", "one of the window that has a guitar in the glass. He pulls\nhis money and counts it. He stops after he notices someone's\nreflection in the window. He turns around and sees it is Mean", "Mariachi shakes the case, and puts it on the counter as if to\nopen it... but he doesn't need to check it. He knows it's not\nhis guitar.", "Mean Dudes are watching Azul unsnap his case.\n\nEXT. STREET - DAY\n\nAzul opens the lid, revealing Mariachi's guitar.", "As he walks down the sidewalk, the camera pans into a CLOSEUP\nof another guitar case that is moving towards the Corona\nClub. The camera falls back a little revealing the backside", "faint strumming sound, followed by the sound of the Mean Dude\nslamming the case shut. Azul opens his eyes. The Mean Dude", "Mariachi picks his guitar from the ground. He is in full\nview, but no one is looking at him.", "Azul turns and sees Mariachi with his guitar case. Mean Dude\n#5 turns and sees Mariachi, too.\n\n MEAN DUDE #5\n That's him...", "Slow dolly into the case, which contains a white, well-kept\nclassical guitar. Domino is seeing it, and for a moment she\nalmost believes he is telling the truth.", "Mariachi flings his mace over an electric cable, then stands\non the balcony lip, placing his guitar between his legs.\n\nEXT. STREET SHOT OUTSIDE HOTEL - DAY", "Mariachi rushes in, grabs his jacket and puts it on. He grabs\nhis guitar case and squeezes it tight, his eyes shut. Slow\ndolly into him, as his eyes open.", "AZUL\n ... using this?\n\nHe opens the case and the guitar sparkles at them. The Rats\nexchange glances. They look at the guitar then back at Azul.", "MOCO (CONT'D)\n I bet you play the guitarra real well,\n huh?\n\nMariachi says nothing.", "on a barstool near some OTHER DRINKERS, laying his guitar\ncase down lovingly beneath his stool. He looks around the\nplace, as if sizing it up." ], [ "Mean Dudes are watching Azul unsnap his case.\n\nEXT. STREET - DAY\n\nAzul opens the lid, revealing Mariachi's guitar.", "AZUL\n ... using this?\n\nHe opens the case and the guitar sparkles at them. The Rats\nexchange glances. They look at the guitar then back at Azul.", "As the blue truck pulls up, two little rat-like VATOS exit\nthe blue truck, one handing Azul a guitar case. Azul tosses", "The Mean Dude holding the guitar case is frozen with fear. He\nmanages to look up at Azul, who is watching the Mean Dudes", "camera continues to track past a small table where Azul's\nguitar case lies open. Weapons adorn it, with each knife,\neach gun in its pocket, in its own place. The camera", "Azul turns to his guitar case and carefully chooses another\nweapon. He grabs the drink and tosses a napkin over his arm\nlike a waiter, then casually follows the Old Dude into the\nbathroom.", "faint strumming sound, followed by the sound of the Mean Dude\nslamming the case shut. Azul opens his eyes. The Mean Dude", "The three remaining Dudes notice Azul's guitar case. So does\nthe Bartender. They all look at each other and laugh.", "Without warning Azul bursts from the bathroom and walks\ncalmly to his case. He replaces the weapon, picks up the case\nand leaves.", "AZUL\n That's too bad.\n\nAzul turns to the mean Dude sitting to his left, and places\nthe guitar in his hands. The Mean Dude is confused.", "Azul turns and sees Mariachi with his guitar case. Mean Dude\n#5 turns and sees Mariachi, too.\n\n MEAN DUDE #5\n That's him...", "pulls the missing weapon from his jacket and replaces it in\nthe case. Azul is unamused. He grabs his MAC-10 machine gun", "DOMINO\n Anything else?\n\n AZUL\n (nodding)\n My guitar case.\n\n DOMINO\n Where's Mariachi?", "Slow dolly into the case, which contains a white, well-kept\nclassical guitar. Domino is seeing it, and for a moment she\nalmost believes he is telling the truth.", "She rushes to it, grabs the guitar and tosses it to Mariachi.\nHe catches it, choking after she releases the blade. She is", "EXT. BOYSTOWN SALOON - DAY\n\nAs he crosses the street he notices Azul leaving the saloon\nwith a guitar case. Mariachi runs into the saloon.", "it onto the hood. The Bodyguards wave as they drive away.\nAzul waves back. He opens the case, revealing an arsenal of\nweaponry. Azul notices one piece is missing. One Rat quickly", "The Mean Dudes start walking towards Azul as the camera\ntracks back with them. Azul slams the case shut, wondering\nwhat the hell is going on. He looks up and notices the Mean", "Azul thinks a moment. He stands up.\n\n AZUL\n They caught the mariachi.\n\nAzul dresses, smiling...", "pacing back and forth in front of the sitting Rat. Azul\nenters the room. Throwing his guitar case onto the pool table\nas a grand entrance gesture. The sitting Rat stands beside" ], [ "52.\nCONTINUED: (2)\n\n\nAzul is anxious now.\n\n AZUL\n I swear I'll kill her!", "Moco pulls out his gun and shoots her in the heart. She falls\nlimp in Azul's arms. Azul tries hold her up, but she's dead.", "AZUL\n All I wanted was my rightful share. But\n you've got to kill everybody.", "Moco shoots Azul in the heart. Azul had his hands to his\nside, and now he falls to his knees. Moco shoots him again,\nand Azul dies next to Domino.", "AZUL\n Give me my money or I kill her NOW!!!\n\n MOCO\n After all I've done for you, this is how\n you treat me?", "AZUL (CONT'D)\n Open the gate or she's dead!", "37.\nCONTINUED:\n\n\nThey walk away leaving Azul wondering what happened.\n\nINT. AMADEUS - DAY", "(CONTINUED)\n\n 41.\nCONTINUED: (2)\n\n\n AZUL\n Why not?", "AZUL (CONT'D)\n If you want your mariachi back, come with\n me.\n\n DOMINO\n Why will you help me?", "AZUL (CONT'D)\n Leave me a weapon.\n\nBoth Rats take out their guns. Azul takes Rat #2's gun.", "Azul looks out of the jail cell suspiciously. Peering down\nthe hall, he sees the guys with the guns. He hides behind the\nwall, peering out to see what happens next.\n\n 4.", "MOCO (CONT'D)\n Azul, let her go and you'll get your\n money.\n\n AZUL\n Moco, give me my money or I ruin your\n clothes with her blood.", "Azul rests her on the ground, looking down at her, wondering\nwhy it's all come to this.", "(CONTINUED)\n\n 32.\nCONTINUED:\n\n\n AZUL\n (into phone)\n Six.", "Azul grabs Domino and points a gun to her head. He whispers\nto her...\n\n AZUL\n Play along...\n\nHe kicks at the gate.", "Azul exits the jail carrying a shotgun. His Bodyguards get\ninside the Tall Men's truck and start it. Azul waits\npatiently for his blue truck.", "AZUL\n (into phone)\n Moco... What the hell do you want after\n all these years?\n\nEXT. EL MOCO'S RANCH - DAY", "AZUL (CONT'D)\n That was disloyal of you to leave me out\n there. You should be as loyal to me as\n you are to each other.", "The Mean Dudes are rounding the corner, but Mean Dude #5, who\nis last, snaps his fingers and motions to the others to keep\nquiet and to watch Azul\n\nINT. AMADEUS - DAY", "AZUL\n (into phone)\n I think you should change clothes. I'd\n hate to ruin a white suit with your\n stupid blood." ], [ "MOCO (CONT'D)\n Azul, let her go and you'll get your\n money.\n\n AZUL\n Moco, give me my money or I ruin your\n clothes with her blood.", "Moco pulls out his gun and shoots her in the heart. She falls\nlimp in Azul's arms. Azul tries hold her up, but she's dead.", "Moco shoots Azul in the heart. Azul had his hands to his\nside, and now he falls to his knees. Moco shoots him again,\nand Azul dies next to Domino.", "Moco, glancing at his watch, hangs up.\n\nINT. AZUL IN JAIL CELL - DAY", "AZUL (V.O.)\n Really? Well, that's more like it. Just\n like the Moco I used to know.", "AZUL\n Give me my money or I kill her NOW!!!\n\n MOCO\n After all I've done for you, this is how\n you treat me?", "AZUL\n (into phone)\n I'm still here, Moco. And so are your", "35.\nCONTINUED:\n AZUL (CONT'D)\n She owns it, now? Then she is Moco's\n girl?", "MOCO\n You feel sorry for her, don't you? See,\n that's why you can't ever be as big as\n me.\n\nAzul slowly looks at Moco.", "MARIACHI\n And Moco is sending these men to find\n Azul. So, why do they chase me?\n\n\n\n\n (CONTINUED)", "AZUL\n (into phone)\n Moco... What the hell do you want after\n all these years?\n\nEXT. EL MOCO'S RANCH - DAY", "The gate opens and we see Moco standing at a three-quarter\nstance, flanked with his men on both sides. Azul drags Domino\nin and faces her at Moco with a gun to her head.", "AZUL\n (into phone)\n There's something going on outside. Is\n this a double surprise? Are you getting\n me out today, Moco?\n\nThere is no response from Moco.", "Azul presses the #-button on his phone. Moco's phone number\nis automatically redialed.\n\nMoco answers.\n\n\n\n (CONTINUED)", "AZUL\n (into phone)\n Yeah.\n\nEXT. MOCO'S RANCH - DAY", "MOCO\n (to Domino)\n I'm sorry he used you to get to me,\n Domino.\n\nAzul cocks the pistol.", "AZUL\n (into phone)\n Just like the Moco I used to know. Still\n wearing white?", "Azul is glancing between Domino and Moco.\n\n MOCO (CONT'D)\n ... you had that little monkey climbing\n all over you.", "AZUL\n (into phone)\n There are two men here with guns. Did you\n send them?\n\nEXT. EL MOCO'S RANCH - DAY", "The cellmates throw their Molotov cocktails into the cell.\nMoco hears the men screaming as they burn to death. Azul is\nholding the phone at arm's length into the cell." ], [ "Mariachi is sweating and his face is extremely red. He pauses\nfor a long time before plucking an odd note. She squints as\nif she's caught him. But he eventually starts picking out a\nsweet little melody.", "33.\nCONTINUED:\n\n\nMariachi gets up and is about to get his guitar case from\nunder the stool.", "She rushes to it, grabs the guitar and tosses it to Mariachi.\nHe catches it, choking after she releases the blade. She is", "(CONTINUED)\n\n 53.\nCONTINUED:\n\n\nThe Assistant rushes over to Mariachi.", "MARIACHI\n Is he?\n\n DOMINO\n (pause)\n He was.\n\nShe sits next to Mariachi.", "Mariachi stops and thinks... He looks up at her\nquestioningly, then he shrugs an \"OK\" and grabs the money and\njogs out excitedly. Domino is smiling.\n\nEXT. STREET - DAY", "(In between this time, Mariachi escapes with Loco.)\n\nShe returns, slamming it to the floor.", "Mariachi is walking around downtown Acuña. He notices a bar\nacross the street and, liking the way it looks, he puts on", "Mariachi slowly lifts his eyes to Moco.\n\n MOCO (CONT'D)\n You are very talented.\n\nMariachi stands, hands up.", "She gets up slowly, and turns to leave. Mariachi settles\nback, smiling triumphantly. Suddenly she darts around and", "Mariachi is running through the sidewalks and streets in\nfront os curioso shops, jumping small carts and children and\ncars to escape the two men behind him. He enters a small", "MARIACHI\n Thank you. I'll never forget this.\n\nHe tries to kiss her hand. She slides it away and\neffortlessly slaps him.", "Mariachi staggers into Amadeus and washes his face in a\nfountain by the door. He makes his way to the bar as a patron\npays and leaves.", "Mariachi bends to get the ball which makes the sound of a\nscreeching truck as it hits Mariachi's foot. Mariachi notices\nthat it's a man's severed head.", "Mariachi is in back the truck searching for a weapon. The\ntruck stops. Mariachi rolls to the side and gently lifts his\nhead.", "Mariachi dashes down the hallway out onto a balcony. He sees\nno way down.\n\nEXT. COURTYARD BALCONY - DAY", "INT. MARIACHI'S HOTEL ROOM - DAY\n\nMariachi rushes out of the bathroom towards the door.", "Azul thinks a moment. He stands up.\n\n AZUL\n They caught the mariachi.\n\nAzul dresses, smiling...", "INT. MARIACHI'S HOTEL ROOM - DAY\n\nMariachi bolts up in bed.", "Mariachi wraps a tourniquet on his arm, kisses Domino, opens\nAzul's case, sees the weapons, and rides off with it.\n\nMARIACHI ON THE ROAD" ], [ "MARIACHI\n Is he?\n\n DOMINO\n (pause)\n He was.\n\nShe sits next to Mariachi.", "Domino turns around and looks at Mariachi, wondering hard is\nhe's joking. He lifts up a bloody hand, grabs a napkin, and\nthen seems to ask permission with his eyes before wiping his\nhands clean.", "Domino opens the door abruptly and finds Mariachi taking a\nbath. He bolts upright, pulls a towel up from the floor and\nsits frozen waiting for Domino's next move. She laughs and\nwalks to the counter.", "MARIACHI (CONT'D)\n Hire me.\n\nDomino looks at him with a silent \"what?\".", "Mariachi stops and thinks... He looks up at her\nquestioningly, then he shrugs an \"OK\" and grabs the money and\njogs out excitedly. Domino is smiling.\n\nEXT. STREET - DAY", "DOMINO\n You're a mariachi, all right. And a good\n one.\n\nMariachi bows a solemn thank you.", "DOMINO\n (sighing)\n This place is a gift.\n\n MARIACHI\n From who?\n\n DOMINO\n From Mauricio.", "MARIACHI\n (exhausted)\n Wait a minute... what's your name?\n\n DOMINO\n Domino.", "Mariachi rides through the semi-open gate... stopping at the\nbodies. He dismounts the bike and holds Domino.", "DOMINO (CONT'D)\n You're very modest, Mariachi...\n\nShe squeezes his hair and unsnaps another latch.", "Domino walks out onto her balcony, peering down into the\nstreet.\n\nPOV shot of Mariachi walking through the street.", "Moco signals his men to get the money.\n\n DOMINO\n What have you done with Mariachi?\n\n MOCO\n Who?", "The phone rings. Domino gets up to answer it. Mariachi\nreaches under his blanket for a small mirror and combs his\nhair, putting spit in his hair to slick it down. He quickly\nstashes the mirror.", "22.\nCONTINUED:\n\n\nDomino reaches for her gun under the counter.\n\nThe camera is on Mariachi when she brings it out and points\nat him.", "DOMINO\n What happened to you, Mariachi? Too much\n refresco?\n\n MARIACHI\n I just killed four guys.", "DOMINO\n What's wrong?\n\nMariachi looks at her startled, then runs out of the bar with\nthe case.\n\nEXT. AROUND THE CORNER - DAY", "Domino walks over to the counter and picks up a key.\n\n DOMINO\n A motorcycle.\n\nMariachi laughs.", "DOMINO\n Who are you?!\n\n MARIACHI\n (choking)\n I'm a musician!", "Mariachi leaves. Domino drops the trash can and tells her\nassistant to watch the bar. She heads for the staircase.\n\nINT. DOMINO'S LOFT - DAY", "DOMINO\n I have a room upstairs. My room. Don't\n touch anything. I'll be up after awhile\n and we can call a friend of mine.\n\nMariachi shakes her hand." ], [ "37.\nCONTINUED:\n\n\nThey walk away leaving Azul wondering what happened.\n\nINT. AMADEUS - DAY", "(CONTINUED)\n\n 32.\nCONTINUED:\n\n\n AZUL\n (into phone)\n Six.", "Azul looks out of the jail cell suspiciously. Peering down\nthe hall, he sees the guys with the guns. He hides behind the\nwall, peering out to see what happens next.\n\n 4.", "DOMINO\n They have never seen Azul... only Moco\n knows him. My friend says the description\n Moco gave his men was that he wears\n black, and carries a guitar case. Sounds\n like you, no?", "The Mean Dudes are rounding the corner, but Mean Dude #5, who\nis last, snaps his fingers and motions to the others to keep\nquiet and to watch Azul\n\nINT. AMADEUS - DAY", "of Azul, dressed also in black. Azul walks into the bar.", "Domino is waiting on customers. She glances at her watch. A\nfew seconds later she glances at it again. She looks very\nworried.\n\nINT. AZUL'S HIDEOUT - DAY", "35.\nCONTINUED:\n AZUL (CONT'D)\n She owns it, now? Then she is Moco's\n girl?", "girls sigh a \"oh, it's them\" sigh and slink back to bed. Top\nshot of them trying to wake Azul. Azul wakes up and looks\nover the partition.", "POV of Rats seeing Azul with three guys around him with guns.\nThey look at each other, start the truck and speed away.\n\nEXT. STREET - DAY", "The two other Mean Dudes exchange glances. Mean Dude #5\nstalks after Mariachi, so the other two follow. Mariachi\nlooks to Azul for help. Azul tips the imaginary hat to\nMariachi and walks away.", "Azul hangs up the phone and kicks his Bodyguard awake. The\nBodyguard gets up and peers out the bars as Azul hides in a\ncorner.\n\nINT. TALL MEN IN HALL - DAY", "Azul hangs up. He gets dressed and leaves. The little Rats\nare about to follow, but one Rat walks over to get one look", "AZUL\n Because you know where Moco's ranch is...\n I don't.\n\nDomino calls her Assistant.", "with a straw. The camera pans up the arm to reveal Azul,\nstanding expressionless with his gun sling over his shoulder.", "He points the gun deep into Azul's face and cocks it. Azul\ncloses his eyes. Mean Dude #5 lifts the lid. Azul hears a", "Azul rests her on the ground, looking down at her, wondering\nwhy it's all come to this.", "Azul's phone rings. He looks up at it, startled, as if no one\nhas ever called him before. He glances at his watch, and then", "Moco pulls out his gun and shoots her in the heart. She falls\nlimp in Azul's arms. Azul tries hold her up, but she's dead.", "AZUL (CONT'D)\n Open the gate or she's dead!" ], [ "She rushes to it, grabs the guitar and tosses it to Mariachi.\nHe catches it, choking after she releases the blade. She is", "33.\nCONTINUED:\n\n\nMariachi gets up and is about to get his guitar case from\nunder the stool.", "Mariachi bends to get the ball which makes the sound of a\nscreeching truck as it hits Mariachi's foot. Mariachi notices\nthat it's a man's severed head.", "Moco fires into Mariachi's left hand. Mariachi grimaces,\ncrumbling to the floor. He keeps a tight grip on his hand.", "Mariachi is in back the truck searching for a weapon. The\ntruck stops. Mariachi rolls to the side and gently lifts his\nhead.", "Mariachi shoots him in the arm, and Mean Dude #5 drops his\ngun and cowers away in pain. Mariachi then turns the guy's", "Mariachi shakes the case, and puts it on the counter as if to\nopen it... but he doesn't need to check it. He knows it's not\nhis guitar.", "(CONTINUED)\n\n 53.\nCONTINUED:\n\n\nThe Assistant rushes over to Mariachi.", "Mariachi picks his guitar from the ground. He is in full\nview, but no one is looking at him.", "Mariachi is sweating and his face is extremely red. He pauses\nfor a long time before plucking an odd note. She squints as\nif she's caught him. But he eventually starts picking out a\nsweet little melody.", "Mariachi leaps up over a few cars and ends up in a dead end.\nHe turns around, drops the case on the ground and opens it. A", "Mariachi picks up his guitar and lays some money next to his\nfull drink. He looks disappointed.", "MOCO (CONT'D)\n I bet you play the guitarra real well,\n huh?\n\nMariachi says nothing.", "MARIACHI\n Is he?\n\n DOMINO\n (pause)\n He was.\n\nShe sits next to Mariachi.", "Mariachi settles back down, closing his eyes. The knife slips\nout of the wall and clangs to the ground. Mariachi jumps\nagain, rolls his eyes, and sinks underwater as the picture", "(In between this time, Mariachi escapes with Loco.)\n\nShe returns, slamming it to the floor.", "Mariachi dashes down the hallway out onto a balcony. He sees\nno way down.\n\nEXT. COURTYARD BALCONY - DAY", "Mariachi tries to make sense of it all for a minute before\ngrabbing the gun from under the counter and rushing upstairs.", "INT. MARIACHI'S HOTEL ROOM - DAY\n\nCamera dollies into the guitar case on Mariachi's bed.\n\nEXT. DOWN THE BLOCK - DAY", "Mariachi opens his room, tosses his guitar onto the bed and\nhangs his jacket in the closet. He has only his white T-shirt" ], [ "Moco pulls out his gun and shoots her in the heart. She falls\nlimp in Azul's arms. Azul tries hold her up, but she's dead.", "Moco shoots Azul in the heart. Azul had his hands to his\nside, and now he falls to his knees. Moco shoots him again,\nand Azul dies next to Domino.", "When he rises again he has the gun in his hand. He shoots\nMoco in the chest. Moco falls back and hits the ground hard.\nHe gasps for air...", "Moco's men gather around him. Mean Dude #5 crouches down to\ncheck Moco's throat pulse. Moco's dead. Mean Dude #5 strikes", "MOCO (CONT'D)\n Azul, let her go and you'll get your\n money.\n\n AZUL\n Moco, give me my money or I ruin your\n clothes with her blood.", "MOCO (CONT'D)\n (raising gun)\n Not anymore.", "MOCO (CONT'D)\n (good shot)\n So you're the little mariachi that came\n to town, killed my men, and stole my\n girl...", "MOCO\n (to Domino)\n I'm sorry he used you to get to me,\n Domino.\n\nAzul cocks the pistol.", "The gate opens and we see Moco standing at a three-quarter\nstance, flanked with his men on both sides. Azul drags Domino\nin and faces her at Moco with a gun to her head.", "DOMINO\n I don't know... Anyway, he's killing the\n men of the town drug dealer. The dealer's\n name is Mauricio. But he's known as Moco.", "MOCO\n That's not him.\n\nMoco strikes the match behind Mean Dude #5's head. Mean Dude\n#5 stops smiling.\n\nINT. AMADEUS - DAY", "Moco signals his men to get the money.\n\n DOMINO\n What have you done with Mariachi?\n\n MOCO\n Who?", "MOCO\n (into phone)\n Amigo! I'm glad I've reached you! You've\n not answered all day. Killing ten of my\n men must have been very time consuming!", "MOCO\n You feel sorry for her, don't you? See,\n that's why you can't ever be as big as\n me.\n\nAzul slowly looks at Moco.", "DOMINO\n Only special people can talk to Moco.\n Besides, you've killed a few of his men,", "You hear Moco's voice through the phone. The camera dollies\ninto the Bartender as he screams into the receiver.\n\nThe camera dollies in to the corpses...", "Mariachi barrels down the road on the motorcycle.\n\nEXT. MOCO'S RANCH - DAY\n\nMoco is walking away from the bodies.", "AZUL\n Give me my money or I kill her NOW!!!\n\n MOCO\n After all I've done for you, this is how\n you treat me?", "Moco.", "Mariachi is laying there unconcious, Moco puts his arm around\nMean Dude #5, who is looking very proud, and Moco pulls out a\ncigarette and a match." ], [ "Domino turns around and looks at Mariachi, wondering hard is\nhe's joking. He lifts up a bloody hand, grabs a napkin, and\nthen seems to ask permission with his eyes before wiping his\nhands clean.", "Mariachi stops and thinks... He looks up at her\nquestioningly, then he shrugs an \"OK\" and grabs the money and\njogs out excitedly. Domino is smiling.\n\nEXT. STREET - DAY", "MARIACHI\n Is he?\n\n DOMINO\n (pause)\n He was.\n\nShe sits next to Mariachi.", "DOMINO\n What's wrong?\n\nMariachi looks at her startled, then runs out of the bar with\nthe case.\n\nEXT. AROUND THE CORNER - DAY", "Mariachi wraps a tourniquet on his arm, kisses Domino, opens\nAzul's case, sees the weapons, and rides off with it.\n\nMARIACHI ON THE ROAD", "INT. DOMINO'S LOFT - NIGHT\n\nMariachi is about to lay on the floor. She tosses him a\nblanket.", "Mariachi leaves. Domino drops the trash can and tells her\nassistant to watch the bar. She heads for the staircase.\n\nINT. DOMINO'S LOFT - DAY", "MARIACHI (CONT'D)\n Hire me.\n\nDomino looks at him with a silent \"what?\".", "The phone rings. Domino gets up to answer it. Mariachi\nreaches under his blanket for a small mirror and combs his\nhair, putting spit in his hair to slick it down. He quickly\nstashes the mirror.", "22.\nCONTINUED:\n\n\nDomino reaches for her gun under the counter.\n\nThe camera is on Mariachi when she brings it out and points\nat him.", "AZUL\n Thank you.\n\nEXT. STREET - DAY\n\nMariachi is out on the streets, returning to Domino's.", "33.\nCONTINUED:\n\n\nMariachi gets up and is about to get his guitar case from\nunder the stool.", "Mariachi rides through the semi-open gate... stopping at the\nbodies. He dismounts the bike and holds Domino.", "DOMINO\n What happened to you, Mariachi? Too much\n refresco?\n\n MARIACHI\n I just killed four guys.", "Domino opens the door abruptly and finds Mariachi taking a\nbath. He bolts upright, pulls a towel up from the floor and\nsits frozen waiting for Domino's next move. She laughs and\nwalks to the counter.", "DOMINO\n Is it true?\n\nMariachi nods an ashamed yes.\n\n\n (CONTINUED)", "DOMINO\n I never asked you for anything until now.\n Let Mariachi go.\n\n (CONTINUED)", "MARIACHI\n He's still giving you things?\n\n DOMINO\n He'll never run out of money.\n\n\n (CONTINUED)", "DOMINO\n It's the truth.\n\n MARIACHI\n I'll work for room and board, then.\n Please, I'm desperate.", "MARIACHI\n (after a pause)\n Ay, wey...\n\nDomino laughs.\n\n 46." ], [ "Mariachi leaves it under the stool and takes off the jacket.\n\n MARIACHI\n I never go anywhere without it. Take care\n of it.", "33.\nCONTINUED:\n\n\nMariachi gets up and is about to get his guitar case from\nunder the stool.", "(CONTINUED)\n\n 53.\nCONTINUED:\n\n\nThe Assistant rushes over to Mariachi.", "Mariachi is in back the truck searching for a weapon. The\ntruck stops. Mariachi rolls to the side and gently lifts his\nhead.", "Mariachi tries to make sense of it all for a minute before\ngrabbing the gun from under the counter and rushing upstairs.", "She rushes to it, grabs the guitar and tosses it to Mariachi.\nHe catches it, choking after she releases the blade. She is", "Mariachi settles back down, closing his eyes. The knife slips\nout of the wall and clangs to the ground. Mariachi jumps\nagain, rolls his eyes, and sinks underwater as the picture", "Mariachi wraps a tourniquet on his arm, kisses Domino, opens\nAzul's case, sees the weapons, and rides off with it.\n\nMARIACHI ON THE ROAD", "Mariachi leaps up over a few cars and ends up in a dead end.\nHe turns around, drops the case on the ground and opens it. A", "Azul thinks a moment. He stands up.\n\n AZUL\n They caught the mariachi.\n\nAzul dresses, smiling...", "She gets up slowly, and turns to leave. Mariachi settles\nback, smiling triumphantly. Suddenly she darts around and", "(In between this time, Mariachi escapes with Loco.)\n\nShe returns, slamming it to the floor.", "Mariachi stops and thinks... He looks up at her\nquestioningly, then he shrugs an \"OK\" and grabs the money and\njogs out excitedly. Domino is smiling.\n\nEXT. STREET - DAY", "everywhere. Each one has his gun out and is looking around\nfor the man in black. Mariachi walks slowly, whistling and\nnodding to everyone as they pass. A few look suspiciously at", "gun on him and shoots him in the chest. Mariachi grabs his\ncase and as Mean Dude #5 turns to get s look at him, all he", "Mariachi shakes the case, and puts it on the counter as if to\nopen it... but he doesn't need to check it. He knows it's not\nhis guitar.", "Mariachi is running through the sidewalks and streets in\nfront os curioso shops, jumping small carts and children and\ncars to escape the two men behind him. He enters a small", "Mariachi rushes in, grabs his jacket and puts it on. He grabs\nhis guitar case and squeezes it tight, his eyes shut. Slow\ndolly into him, as his eyes open.", "Mariachi stops in his tracks. He turns back to the Clerk\nslowly... thinking.\n\n MARIACHI\n (walking back slowly)\n You can trust me.", "Mariachi slowly lifts his eyes to Moco.\n\n MOCO (CONT'D)\n You are very talented.\n\nMariachi stands, hands up." ], [ "Moco pulls out his gun and shoots her in the heart. She falls\nlimp in Azul's arms. Azul tries hold her up, but she's dead.", "Moco shoots Azul in the heart. Azul had his hands to his\nside, and now he falls to his knees. Moco shoots him again,\nand Azul dies next to Domino.", "MOCO (CONT'D)\n Azul, let her go and you'll get your\n money.\n\n AZUL\n Moco, give me my money or I ruin your\n clothes with her blood.", "MOCO\n You feel sorry for her, don't you? See,\n that's why you can't ever be as big as\n me.\n\nAzul slowly looks at Moco.", "AZUL\n Give me my money or I kill her NOW!!!\n\n MOCO\n After all I've done for you, this is how\n you treat me?", "AZUL (V.O.)\n Really? Well, that's more like it. Just\n like the Moco I used to know.", "35.\nCONTINUED:\n AZUL (CONT'D)\n She owns it, now? Then she is Moco's\n girl?", "The gate opens and we see Moco standing at a three-quarter\nstance, flanked with his men on both sides. Azul drags Domino\nin and faces her at Moco with a gun to her head.", "AZUL\n (into phone)\n Moco... What the hell do you want after\n all these years?\n\nEXT. EL MOCO'S RANCH - DAY", "MOCO\n (to Domino)\n I'm sorry he used you to get to me,\n Domino.\n\nAzul cocks the pistol.", "Azul is glancing between Domino and Moco.\n\n MOCO (CONT'D)\n ... you had that little monkey climbing\n all over you.", "Moco, glancing at his watch, hangs up.\n\nINT. AZUL IN JAIL CELL - DAY", "AZUL\n (into phone)\n I'm still here, Moco. And so are your", "They drive out to Moco's ranch in Azul's truck. Little do\nthey know, they passed Loco's truck with Mariachi crouched in", "AZUL\n (into phone)\n There's something going on outside. Is\n this a double surprise? Are you getting\n me out today, Moco?\n\nThere is no response from Moco.", "52.\nCONTINUED: (2)\n\n\nAzul is anxious now.\n\n AZUL\n I swear I'll kill her!", "AZUL\n (into phone)\n I've only killed six! You were always bad\n at math, Moco. I guess that's why you", "MARIACHI\n And Moco is sending these men to find\n Azul. So, why do they chase me?\n\n\n\n\n (CONTINUED)", "Azul presses the #-button on his phone. Moco's phone number\nis automatically redialed.\n\nMoco answers.\n\n\n\n (CONTINUED)", "The cellmates throw their Molotov cocktails into the cell.\nMoco hears the men screaming as they burn to death. Azul is\nholding the phone at arm's length into the cell." ], [ "Moco pulls out his gun and shoots her in the heart. She falls\nlimp in Azul's arms. Azul tries hold her up, but she's dead.", "Moco's men gather around him. Mean Dude #5 crouches down to\ncheck Moco's throat pulse. Moco's dead. Mean Dude #5 strikes", "Moco shoots Azul in the heart. Azul had his hands to his\nside, and now he falls to his knees. Moco shoots him again,\nand Azul dies next to Domino.", "When he rises again he has the gun in his hand. He shoots\nMoco in the chest. Moco falls back and hits the ground hard.\nHe gasps for air...", "The gate opens and we see Moco standing at a three-quarter\nstance, flanked with his men on both sides. Azul drags Domino\nin and faces her at Moco with a gun to her head.", "Moco signals his men to get the money.\n\n DOMINO\n What have you done with Mariachi?\n\n MOCO\n Who?", "They drive out to Moco's ranch in Azul's truck. Little do\nthey know, they passed Loco's truck with Mariachi crouched in", "MOCO\n (to Domino)\n I'm sorry he used you to get to me,\n Domino.\n\nAzul cocks the pistol.", "Moco is laughing and looking at his men for support, but no\none else laughs. Mariachi tries to stand, but he falls back.", "MOCO\n That's not him.\n\nMoco strikes the match behind Mean Dude #5's head. Mean Dude\n#5 stops smiling.\n\nINT. AMADEUS - DAY", "MOCO (CONT'D)\n (raising gun)\n Not anymore.", "The cellmates throw their Molotov cocktails into the cell.\nMoco hears the men screaming as they burn to death. Azul is\nholding the phone at arm's length into the cell.", "He has the gun in the back of his pants. You can see it while\nhis back is to the camera and men are approaching him. Moco\ncomes for the show.", "MOCO (CONT'D)\n (good shot)\n So you're the little mariachi that came\n to town, killed my men, and stole my\n girl...", "MOCO\n (into phone)\n Amigo! I'm glad I've reached you! You've\n not answered all day. Killing ten of my\n men must have been very time consuming!", "DOMINO\n I don't know... Anyway, he's killing the\n men of the town drug dealer. The dealer's\n name is Mauricio. But he's known as Moco.", "Moco fires into Mariachi's left hand. Mariachi grimaces,\ncrumbling to the floor. He keeps a tight grip on his hand.", "MOCO (CONT'D)\n Azul, let her go and you'll get your\n money.\n\n AZUL\n Moco, give me my money or I ruin your\n clothes with her blood.", "You hear Moco's voice through the phone. The camera dollies\ninto the Bartender as he screams into the receiver.\n\nThe camera dollies in to the corpses...", "Mariachi is laying there unconcious, Moco puts his arm around\nMean Dude #5, who is looking very proud, and Moco pulls out a\ncigarette and a match." ], [ "33.\nCONTINUED:\n\n\nMariachi gets up and is about to get his guitar case from\nunder the stool.", "Mariachi is in back the truck searching for a weapon. The\ntruck stops. Mariachi rolls to the side and gently lifts his\nhead.", "Mariachi bends to get the ball which makes the sound of a\nscreeching truck as it hits Mariachi's foot. Mariachi notices\nthat it's a man's severed head.", "Mariachi is running through the sidewalks and streets in\nfront os curioso shops, jumping small carts and children and\ncars to escape the two men behind him. He enters a small", "Azul thinks a moment. He stands up.\n\n AZUL\n They caught the mariachi.\n\nAzul dresses, smiling...", "(CONTINUED)\n\n 53.\nCONTINUED:\n\n\nThe Assistant rushes over to Mariachi.", "Mariachi is looking down the balcony trying to find a way to\nescape. Mariachi looks behind him.\n\nINT. HOTEL HALLWAY - DAY", "Mariachi dashes down the hallway out onto a balcony. He sees\nno way down.\n\nEXT. COURTYARD BALCONY - DAY", "Mariachi tries to make sense of it all for a minute before\ngrabbing the gun from under the counter and rushing upstairs.", "Mariachi leaps out. He is about to continue running, but he\nstops, clenches his fists, and turns slowly as the camera\ndollies into his face.", "Mariachi leaps up over a few cars and ends up in a dead end.\nHe turns around, drops the case on the ground and opens it. A", "Mariachi truns for a second to ponder gettin ghis money or\nrisking dying, but then he checks to turn and run. Two", "Mariachi jumps Loco, gets him to drive him to the saloon. He\nalso takes Loco's money.\n\nEXT. BOYSTOWN SALOON - DAY", "Mariachi is still in Loco's truck.\n\n MARIACHI\n Stop here.", "Loco stops the truck and Mariachi gets out. Loco drives back\nwhen Mariachi motions for him to leave. Mariachi watches him\ngo then dashes around the corner to the saloon.", "Mariachi shoots him in the arm, and Mean Dude #5 drops his\ngun and cowers away in pain. Mariachi then turns the guy's", "She rushes to it, grabs the guitar and tosses it to Mariachi.\nHe catches it, choking after she releases the blade. She is", "INT. MARIACHI'S HOTEL ROOM - DAY\n\nMariachi rushes out of the bathroom towards the door.", "The old man looks over at him as he dies, then turns back as\nif nothing happened. Mariachi bolts back down the hill.\n\nEXT. FRONT BALCONY - HOTEL COAHUILA - DAY", "INT. MARIACHI'S HOTEL ROOM - DAY\n\nMariachi bolts up in bed." ], [ "MARIACHI\n Is he?\n\n DOMINO\n (pause)\n He was.\n\nShe sits next to Mariachi.", "MARIACHI (CONT'D)\n Hire me.\n\nDomino looks at him with a silent \"what?\".", "DOMINO\n (into phone)\n No... I've got to go...\n\nShe hangs up.\n\n MARIACHI\n Boyfriend.", "DOMINO\n What's wrong?\n\nMariachi looks at her startled, then runs out of the bar with\nthe case.\n\nEXT. AROUND THE CORNER - DAY", "MARIACHI\n From Mauricio? The man trying to kill me?\n\n DOMINO\n He's not trying to kill you, his man had\n you confused with Azul.", "DOMINO\n Is it true?\n\nMariachi nods an ashamed yes.\n\n\n (CONTINUED)", "Mariachi stops and thinks... He looks up at her\nquestioningly, then he shrugs an \"OK\" and grabs the money and\njogs out excitedly. Domino is smiling.\n\nEXT. STREET - DAY", "MARIACHI\n (exhausted)\n Wait a minute... what's your name?\n\n DOMINO\n Domino.", "Domino turns around and looks at Mariachi, wondering hard is\nhe's joking. He lifts up a bloody hand, grabs a napkin, and\nthen seems to ask permission with his eyes before wiping his\nhands clean.", "DOMINO\n What happened to you, Mariachi? Too much\n refresco?\n\n MARIACHI\n I just killed four guys.", "DOMINO\n (sighing)\n This place is a gift.\n\n MARIACHI\n From who?\n\n DOMINO\n From Mauricio.", "DOMINO\n You're a mariachi, all right. And a good\n one.\n\nMariachi bows a solemn thank you.", "Mariachi wraps a tourniquet on his arm, kisses Domino, opens\nAzul's case, sees the weapons, and rides off with it.\n\nMARIACHI ON THE ROAD", "DOMINO\n It's the truth.\n\n MARIACHI\n I'll work for room and board, then.\n Please, I'm desperate.", "DOMINO\n Maybe they hate your music.\n\nMariachi stares at her expressionless. She stares back at\nhim.", "Domino opens the door abruptly and finds Mariachi taking a\nbath. He bolts upright, pulls a towel up from the floor and\nsits frozen waiting for Domino's next move. She laughs and\nwalks to the counter.", "22.\nCONTINUED:\n\n\nDomino reaches for her gun under the counter.\n\nThe camera is on Mariachi when she brings it out and points\nat him.", "Mariachi leaves. Domino drops the trash can and tells her\nassistant to watch the bar. She heads for the staircase.\n\nINT. DOMINO'S LOFT - DAY", "MARIACHI\n Same thing.\n\n DOMINO\n Look, you now how if you want to impress\n a girl, you send her flowers, candy,\n jewelry until you win her love?", "Domino walks out onto her balcony, peering down into the\nstreet.\n\nPOV shot of Mariachi walking through the street." ], [ "Moco pulls out his gun and shoots her in the heart. She falls\nlimp in Azul's arms. Azul tries hold her up, but she's dead.", "MOCO (CONT'D)\n Azul, let her go and you'll get your\n money.\n\n AZUL\n Moco, give me my money or I ruin your\n clothes with her blood.", "Moco shoots Azul in the heart. Azul had his hands to his\nside, and now he falls to his knees. Moco shoots him again,\nand Azul dies next to Domino.", "AZUL\n Give me my money or I kill her NOW!!!\n\n MOCO\n After all I've done for you, this is how\n you treat me?", "The gate opens and we see Moco standing at a three-quarter\nstance, flanked with his men on both sides. Azul drags Domino\nin and faces her at Moco with a gun to her head.", "AZUL\n (into phone)\n There are two men here with guns. Did you\n send them?\n\nEXT. EL MOCO'S RANCH - DAY", "As Azul and his Bodyguards exit the block, the Guard with the\nmagazine stands up as if to stop them, but Azul tosses him a\nwad of money and the guard sits back down to count it.", "MOCO\n (to Domino)\n I'm sorry he used you to get to me,\n Domino.\n\nAzul cocks the pistol.", "Moco, glancing at his watch, hangs up.\n\nINT. AZUL IN JAIL CELL - DAY", "They drive out to Moco's ranch in Azul's truck. Little do\nthey know, they passed Loco's truck with Mariachi crouched in", "AZUL\n (into phone)\n Moco... What the hell do you want after\n all these years?\n\nEXT. EL MOCO'S RANCH - DAY", "MOCO\n You feel sorry for her, don't you? See,\n that's why you can't ever be as big as\n me.\n\nAzul slowly looks at Moco.", "POV of Rats seeing Azul with three guys around him with guns.\nThey look at each other, start the truck and speed away.\n\nEXT. STREET - DAY", "Azul turns his MAC-10 onto the Guard instead. A few blasts\nlater Azul and his rats pack up and go as the Guard twitches\nhelplessly on the ground, still clutching the money in his\nbloody hand.", "Azul puts his gun down and motions the rats to leave. They\nleave. When they exit, Rat #1 turns to Rat #2 and snaps his\nfingers. Rat #2 shakes his hand. They leave.", "AZUL (V.O.)\n Really? Well, that's more like it. Just\n like the Moco I used to know.", "Azul exits the jail carrying a shotgun. His Bodyguards get\ninside the Tall Men's truck and start it. Azul waits\npatiently for his blue truck.", "MARIACHI\n And Moco is sending these men to find\n Azul. So, why do they chase me?\n\n\n\n\n (CONTINUED)", "AZUL\n (into phone)\n There's something going on outside. Is\n this a double surprise? Are you getting\n me out today, Moco?\n\nThere is no response from Moco.", "AZUL (CONT'D)\n You help me, I'll help you.\n\n DOMINO\n Let's go.\n\nThey leave. The Assistant tends to the bar." ], [ "Azul grabs Domino and points a gun to her head. He whispers\nto her...\n\n AZUL\n Play along...\n\nHe kicks at the gate.", "Moco pulls out his gun and shoots her in the heart. She falls\nlimp in Azul's arms. Azul tries hold her up, but she's dead.", "Azul looks out of the jail cell suspiciously. Peering down\nthe hall, he sees the guys with the guns. He hides behind the\nwall, peering out to see what happens next.\n\n 4.", "The gate opens and we see Moco standing at a three-quarter\nstance, flanked with his men on both sides. Azul drags Domino\nin and faces her at Moco with a gun to her head.", "AZUL (CONT'D)\n Open the gate or she's dead!", "AZUL\n Give me my money or I kill her NOW!!!\n\n MOCO\n After all I've done for you, this is how\n you treat me?", "Moco shoots Azul in the heart. Azul had his hands to his\nside, and now he falls to his knees. Moco shoots him again,\nand Azul dies next to Domino.", "POV of Rats seeing Azul with three guys around him with guns.\nThey look at each other, start the truck and speed away.\n\nEXT. STREET - DAY", "AZUL (CONT'D)\n Leave me a weapon.\n\nBoth Rats take out their guns. Azul takes Rat #2's gun.", "Azul awakens and grabs the phone.\n\n\n\n (CONTINUED)\n\n 31.\nCONTINUED:", "Azul turns his MAC-10 onto the Guard instead. A few blasts\nlater Azul and his rats pack up and go as the Guard twitches\nhelplessly on the ground, still clutching the money in his\nbloody hand.", "Domino is waiting on customers. She glances at her watch. A\nfew seconds later she glances at it again. She looks very\nworried.\n\nINT. AZUL'S HIDEOUT - DAY", "Azul exits the jail carrying a shotgun. His Bodyguards get\ninside the Tall Men's truck and start it. Azul waits\npatiently for his blue truck.", "MOCO (CONT'D)\n Azul, let her go and you'll get your\n money.\n\n AZUL\n Moco, give me my money or I ruin your\n clothes with her blood.", "Azul hangs up the phone and kicks his Bodyguard awake. The\nBodyguard gets up and peers out the bars as Azul hides in a\ncorner.\n\nINT. TALL MEN IN HALL - DAY", "The Mean Dudes are rounding the corner, but Mean Dude #5, who\nis last, snaps his fingers and motions to the others to keep\nquiet and to watch Azul\n\nINT. AMADEUS - DAY", "Azul thinks a moment. He stands up.\n\n AZUL\n They caught the mariachi.\n\nAzul dresses, smiling...", "INT. AZUL'S HIDEOUT - DAY", "He points the gun deep into Azul's face and cocks it. Azul\ncloses his eyes. Mean Dude #5 lifts the lid. Azul hears a", "As Azul and his Bodyguards exit the block, the Guard with the\nmagazine stands up as if to stop them, but Azul tosses him a\nwad of money and the guard sits back down to count it." ], [ "Moco shoots Azul in the heart. Azul had his hands to his\nside, and now he falls to his knees. Moco shoots him again,\nand Azul dies next to Domino.", "Moco pulls out his gun and shoots her in the heart. She falls\nlimp in Azul's arms. Azul tries hold her up, but she's dead.", "MOCO\n (to Domino)\n I'm sorry he used you to get to me,\n Domino.\n\nAzul cocks the pistol.", "The gate opens and we see Moco standing at a three-quarter\nstance, flanked with his men on both sides. Azul drags Domino\nin and faces her at Moco with a gun to her head.", "AZUL\n Give me my money or I kill her NOW!!!\n\n MOCO\n After all I've done for you, this is how\n you treat me?", "MOCO (CONT'D)\n Azul, let her go and you'll get your\n money.\n\n AZUL\n Moco, give me my money or I ruin your\n clothes with her blood.", "When he rises again he has the gun in his hand. He shoots\nMoco in the chest. Moco falls back and hits the ground hard.\nHe gasps for air...", "Azul grabs Domino and points a gun to her head. He whispers\nto her...\n\n AZUL\n Play along...\n\nHe kicks at the gate.", "Azul is glancing between Domino and Moco.\n\n MOCO (CONT'D)\n ... you had that little monkey climbing\n all over you.", "DOMINO\n They have never seen Azul... only Moco\n knows him. My friend says the description\n Moco gave his men was that he wears\n black, and carries a guitar case. Sounds\n like you, no?", "MOCO\n You feel sorry for her, don't you? See,\n that's why you can't ever be as big as\n me.\n\nAzul slowly looks at Moco.", "DOMINO\n The musician your men confused with Azul.\n\n MOCO\n (staring at her)\n So that's why you were busy that night...", "DOMINO\n I don't know... Anyway, he's killing the\n men of the town drug dealer. The dealer's\n name is Mauricio. But he's known as Moco.", "AZUL\n Because you know where Moco's ranch is...\n I don't.\n\nDomino calls her Assistant.", "Azul fires a million bullets into two of the Mean Dudes, (the\nother is holding the case in shock). Their chests explode,\ncausing neat little dollops of flesh and blood fly\neverywhere.", "MARIACHI\n From Mauricio? The man trying to kill me?\n\n DOMINO\n He's not trying to kill you, his man had\n you confused with Azul.", "AZUL\n (into phone)\n I've only killed six! You were always bad\n at math, Moco. I guess that's why you", "RAT #2\n Yes.\n\nAzul gestures to Rat #2.\n\n AZUL\n Then shoot him.", "They drive out to Moco's ranch in Azul's truck. Little do\nthey know, they passed Loco's truck with Mariachi crouched in", "AZUL\n (into phone)\n There are two men here with guns. Did you\n send them?\n\nEXT. EL MOCO'S RANCH - DAY" ], [ "MOCO (CONT'D)\n I bet you play the guitarra real well,\n huh?\n\nMariachi says nothing.", "Moco is laughing and looking at his men for support, but no\none else laughs. Mariachi tries to stand, but he falls back.", "Mariachi slowly lifts his eyes to Moco.\n\n MOCO (CONT'D)\n You are very talented.\n\nMariachi stands, hands up.", "Moco fires into Mariachi's left hand. Mariachi grimaces,\ncrumbling to the floor. He keeps a tight grip on his hand.", "MARIACHI\n And Moco is sending these men to find\n Azul. So, why do they chase me?\n\n\n\n\n (CONTINUED)", "Mariachi is laying there unconcious, Moco puts his arm around\nMean Dude #5, who is looking very proud, and Moco pulls out a\ncigarette and a match.", "MOCO (CONT'D)\n (good shot)\n So you're the little mariachi that came\n to town, killed my men, and stole my\n girl...", "Moco signals his men to get the money.\n\n DOMINO\n What have you done with Mariachi?\n\n MOCO\n Who?", "MOCO\n Bring that musician out here so he can be\n reunited with my Domino.\n\nSome men go to check.\n\nCut back and forth with Mariachi coming.", "33.\nCONTINUED:\n\n\nMariachi gets up and is about to get his guitar case from\nunder the stool.", "INT. MOCO'S RANCH - DAY\n\nMariachi is in a holding cell at the ranch. He twitches,\nfinally waking up.", "they drive through. The truck is facing Moco so he can't see\nMariachi yet. Mean Dude #5 closes the gate and walks over to", "POV Mariachi sees the two Mean Dudes walking at him. Mariachi\nturns and Loco is there to knock him in the face with the", "Mariachi barrels down the road on the motorcycle.\n\nEXT. MOCO'S RANCH - DAY\n\nMoco is walking away from the bodies.", "She rushes to it, grabs the guitar and tosses it to Mariachi.\nHe catches it, choking after she releases the blade. She is", "DUSTY ROAD TO MOCO'S\n\nMariachi is unconcious in the back of Loco's truck. Mean Dude\n#5 and other Mean Dudes are riding in back with Mariachi.", "She gets up slowly, and turns to leave. Mariachi settles\nback, smiling triumphantly. Suddenly she darts around and", "They drive out to Moco's ranch in Azul's truck. Little do\nthey know, they passed Loco's truck with Mariachi crouched in", "Mariachi bends to get the ball which makes the sound of a\nscreeching truck as it hits Mariachi's foot. Mariachi notices\nthat it's a man's severed head.", "Mariachi is running through the sidewalks and streets in\nfront os curioso shops, jumping small carts and children and\ncars to escape the two men behind him. He enters a small" ], [ "Moco's men gather around him. Mean Dude #5 crouches down to\ncheck Moco's throat pulse. Moco's dead. Mean Dude #5 strikes", "MOCO\n That's not him.\n\nMoco strikes the match behind Mean Dude #5's head. Mean Dude\n#5 stops smiling.\n\nINT. AMADEUS - DAY", "When he rises again he has the gun in his hand. He shoots\nMoco in the chest. Moco falls back and hits the ground hard.\nHe gasps for air...", "Moco signals his men to get the money.\n\n DOMINO\n What have you done with Mariachi?\n\n MOCO\n Who?", "The gate opens and we see Moco standing at a three-quarter\nstance, flanked with his men on both sides. Azul drags Domino\nin and faces her at Moco with a gun to her head.", "MEN\n He's gone, sir.\n\n MOCO\n Find him!!", "Moco pulls out his gun and shoots her in the heart. She falls\nlimp in Azul's arms. Azul tries hold her up, but she's dead.", "Moco is laughing and looking at his men for support, but no\none else laughs. Mariachi tries to stand, but he falls back.", "MOCO (CONT'D)\n Azul, let her go and you'll get your\n money.\n\n AZUL\n Moco, give me my money or I ruin your\n clothes with her blood.", "He has the gun in the back of his pants. You can see it while\nhis back is to the camera and men are approaching him. Moco\ncomes for the show.", "Moco shoots Azul in the heart. Azul had his hands to his\nside, and now he falls to his knees. Moco shoots him again,\nand Azul dies next to Domino.", "MOCO\n (to Domino)\n I'm sorry he used you to get to me,\n Domino.\n\nAzul cocks the pistol.", "MOCO (CONT'D)\n (raising gun)\n Not anymore.", "they drive through. The truck is facing Moco so he can't see\nMariachi yet. Mean Dude #5 closes the gate and walks over to", "MOCO\n (into phone)\n Amigo! I'm glad I've reached you! You've\n not answered all day. Killing ten of my\n men must have been very time consuming!", "Azul turns his MAC-10 onto the Guard instead. A few blasts\nlater Azul and his rats pack up and go as the Guard twitches\nhelplessly on the ground, still clutching the money in his\nbloody hand.", "MEAN DUDE #5 (CONT'D)\n He won't get away again, Moco. I promise.", "MOCO\n (into phone)\n Yes, I figured you'd want your money, my\n friend. That is why I have called you. I", "if he was robbed, dashes to the phone and calls Moco's men.", "The cellmates throw their Molotov cocktails into the cell.\nMoco hears the men screaming as they burn to death. Azul is\nholding the phone at arm's length into the cell." ], [ "Mariachi wraps a tourniquet on his arm, kisses Domino, opens\nAzul's case, sees the weapons, and rides off with it.\n\nMARIACHI ON THE ROAD", "DOMINO\n What's wrong?\n\nMariachi looks at her startled, then runs out of the bar with\nthe case.\n\nEXT. AROUND THE CORNER - DAY", "Mariachi leaves. Domino drops the trash can and tells her\nassistant to watch the bar. She heads for the staircase.\n\nINT. DOMINO'S LOFT - DAY", "Domino walks over to the counter and picks up a key.\n\n DOMINO\n A motorcycle.\n\nMariachi laughs.", "Domino turns around and looks at Mariachi, wondering hard is\nhe's joking. He lifts up a bloody hand, grabs a napkin, and\nthen seems to ask permission with his eyes before wiping his\nhands clean.", "Moco signals his men to get the money.\n\n DOMINO\n What have you done with Mariachi?\n\n MOCO\n Who?", "MARIACHI\n Is he?\n\n DOMINO\n (pause)\n He was.\n\nShe sits next to Mariachi.", "Domino opens the door abruptly and finds Mariachi taking a\nbath. He bolts upright, pulls a towel up from the floor and\nsits frozen waiting for Domino's next move. She laughs and\nwalks to the counter.", "Mariachi stops and thinks... He looks up at her\nquestioningly, then he shrugs an \"OK\" and grabs the money and\njogs out excitedly. Domino is smiling.\n\nEXT. STREET - DAY", "Mariachi rides through the semi-open gate... stopping at the\nbodies. He dismounts the bike and holds Domino.", "DOMINO\n What do you have in here? GUNS? KNIVES?\n\nMariachi tries to catch his breath, pausing before answering\nher as if wondering if all this is really happening.", "MARIACHI (CONT'D)\n Hire me.\n\nDomino looks at him with a silent \"what?\".", "DOMINO\n (sighing)\n This place is a gift.\n\n MARIACHI\n From who?\n\n DOMINO\n From Mauricio.", "DOMINO\n Anything else?\n\n AZUL\n (nodding)\n My guitar case.\n\n DOMINO\n Where's Mariachi?", "MOCO\n Bring that musician out here so he can be\n reunited with my Domino.\n\nSome men go to check.\n\nCut back and forth with Mariachi coming.", "22.\nCONTINUED:\n\n\nDomino reaches for her gun under the counter.\n\nThe camera is on Mariachi when she brings it out and points\nat him.", "The phone rings. Domino gets up to answer it. Mariachi\nreaches under his blanket for a small mirror and combs his\nhair, putting spit in his hair to slick it down. He quickly\nstashes the mirror.", "Domino walks out onto her balcony, peering down into the\nstreet.\n\nPOV shot of Mariachi walking through the street.", "INT. AMADEUS - DAY\n\nDomino hands Mariachi a wad of money.\n\nMariachi sees the money and looks up at her bewildered.", "DOMINO\n Here's a little bit I've saved. I want\n you to go get a new guitar.\n\nMariachi starts to put up his hand as if to refuse it." ] ]

[ "Why was the Marachi over come with grief and rage?", "What happened to the Mariachi's guitar case at the bar?", "Who had Azul arrested?", "Why did Moco's thugs let Azul go after they captured him?", "What did Donino' own?", "What rendered the Mariachi useless as a guitar player?", "Who broke out of jail?", "What did the Mariachi take with him to remember Donimo' by?", "Who played the guitar?", "What did Azul have in the guitar case?", "Who did Azul want revenge on?", "What did Moco send to kil Azul?", "Who does Mariachi fall in love with?", "Who besides Mariachi likes Domino?", "Who is the only one who knew what Azul looked like?", "How is Mariachi unable to play guitar again?", "Who killed Moco?", "What does Mariachi take of Dominos at the end of the story?", "What does Mariachi take as protection at the end of the story?", "Why does Azul want vengeance against Moco?", "What mistake do Moco's hit men make?", "What is the Mariachi forced to do in order to stay alive?", "Why is it wrong for the Mariachi to fall for Domino?", "Why do Moco's hit men let Azul go?", "Who does Azul take hostage?", "Why does Moco shoot Azul and Domino?", "Why does Moco taunt the Mariachi?", "What do Moco's henchmen do when they find out he is dead?", "What things of Domino does the Marachi take? " ]

[ [ "Because Moco shot and Killed Domino'", "Because he killed Moco" ], [ "Azul accidentally leaves the bar with it.", "Azul accidentally took it" ], [ "Drug lord, Moco", "Moco" ], [ "Because the case he was carry only contained a guitar", "They find a guitar but no weapons in Azul's guitar case." ], [ "A bar", "Motorbike " ], [ "The shot to his left hand.", "He is shot in the hand" ], [ "Azul", "Azul" ], [ "Pit bull and letter-opener", "her pitbull and her letter opener." ], [ "Mariachi", "The Mariachi." ], [ "Weapons", "Weapons" ], [ "Moco", "Moco, the local drug lord." ], [ "A large group of hitmen", "a large group of hitmen" ], [ "Domino", "Domino." ], [ "Moco", "Moco." ], [ "Moco", "Moco" ], [ "Moco shoots his left hand", "He is shot in the hand" ], [ "Mariachi", "the Mariachi" ], [ "Her pit bull,motorbike and letter opener", "Her pitbull, her letter opener and her motorbike" ], [ "Azul's weapons", "Azul's weapons" ], [ "Because Moco put Azul in jail in Mexico.", "Moco had him arrested " ], [ "They mistake the aspiring mariachi singer as Azul and pursue him instead of Azul. ", "They let Azul go free." ], [ "He is forced to kill the hit men and hide in a bar. ", "To flee with Azul's weapons" ], [ "Because Moco is interested in Domino as well. ", "The drug lord Moco is in love with her." ], [ "They inspect his guitar case and it has a guitar so they assumed it wasn't Azul but a Mariachi.", "Because he has the guitar case of the Mariachi, containing a guitar and not weapons" ], [ "Azul takes Domino hostage in order to trick Moco.", "Domino" ], [ "Moco figures out that Domino loves the Mariachi and in a fit of rage shoots Azul and Domino. ", "He is enraged with jealousy." ], [ "Moco taunts him because he shot his left hand which is needed to play the guitar. ", "He is enraged that Domino loved the Mariachi" ], [ "They walk away from the body and away from Azul. ", "They walk off." ], [ "He takes her bike, dog, and letter opener. ", "He bike,letter opener and dog." ] ]

[ [ "Milo pales as he realizes he is watching a primer on how \n racial killings are done.\n\n He hears a creaking noise behind him, and whirls.", "then shows a mutilated Asian murder victim. (All of this \n footage is made even eerier by the jerky glitches always \n present in streaming video, and its sinister graininess.)", "ALICE\n Teddy was killed last night.\n\n MILO\n What're you -- what?\n\n ALICE\n It was a hate crime.", "vulnerability or a crime primer that describes his scenario. \n Between the obits and the primers, cause and effect is \n (eventually) established.", "ALICE\n Are you saying you think they had \n something to do with his death? Nelson \n said it was an airtight case.", "MILO\n They killed my best friend! I'm living \n with somebody they pay to go to bed", "Milo nods mechanically; he wants to scream. Or run. He \n perceives, amid the echoes, that Gary is standing, smiling, \n saying \"See you later.\" And he's gone.", "MILO\n You thought about it too. You've \n been suspicious for a while. But \n it's not happening in there. It's \n happening in the Day Care.", "A young, chillingly calm NANNY, watching him. The Baby fusses \n in her arms. Milo smiles, keeps moving.", "MILO\n They're surveilling programmers from \n in here. They steal their code. \n Sometimes -- I know this sounds insane -- \n sometimes they kill one.", "Milo is devastated, disbelieving. Now he sees real-time ER \n footage: an Allergy Victim, bloated, twitching, gasping, \n dying...", "Numb now, Milo clicks randomly: crime footage, personal \n records, animations -- it all flies by with Chuck Worman-\n like speed.", "He hears her voice under the Narration, answering an unseen \n Interrogator (sounds like Phil). It's a job interview. Milo", "MILO\n My friend, my best friend, Teddy, \n was killed in Silicon Valley.\n\n BARTON\n My goodness.", "Gunther and Riman rip down the barricade, reach the door. \n They whip it open, guns drawn. They see:\n\n An empty supply room. [The barricade was a decoy.]", "MILO\n What d'you mean?\n\n TEDDY\n I dunno. I guess Larry's got me \n totally suspicious of that place.", "cliché about great minds was true. \n Said it was all about his own guilt.\n (she shrugs)", "NELSON\n It's an airtight case. They found \n the weapon with Teddy's blood on it", "The bomb explodes. The blast is tiny but loud (glass cleaning \n bottles ring; plastic bottles moan).\n\n INT. SECURITY OFFICE - CONTINUOUS", "In a second window, other fingerprints flash by: thousands \n of prints lifted off keyboards in the Day Care.\n\n Shrot waits for a match to click in." ], [ "Milo nods mechanically; he wants to scream. Or run. He \n perceives, amid the echoes, that Gary is standing, smiling, \n saying \"See you later.\" And he's gone.", "He nods. [It's not necessary for us to understand what she's \n saying, just so Milo does.] She holds up an audio copy of \n Gary's book, The Next Highway.", "As Linder chats, the first Houseman sidles up to Gary, \n whispers in his ear. We see Gary smile, excuse himself. He \n and Alice share a look as he moves off.", "Gunther and Riman rip down the barricade, reach the door. \n They whip it open, guns drawn. They see:\n\n An empty supply room. [The barricade was a decoy.]", "A young, chillingly calm NANNY, watching him. The Baby fusses \n in her arms. Milo smiles, keeps moving.", "He looks over his shoulder, then back again, frightened.\n\n MILO\n Please.\n\n DOJ RECEPTIONIST\n Wait in his outer office.", "He hears her voice under the Narration, answering an unseen \n Interrogator (sounds like Phil). It's a job interview. Milo", "MILO\n (he nods)\n They're already watching you. If \n they had to, they'd give him this", "Gunther and Riman grab holstered guns, race out. Randy types \n some more, speaks into the phone:\n\n RANDY\n Public access TV station. KNQR.", "Milo turns, sees Brian (Stanford classmate, Outpost zealot) \n give an envelope to a Guard at the door of #20; he trots", "GUNTHER\n (to Brian)\n Who's seeing this?\n\n BRIAN\n (with dread)\n Who isn't?", "We hear sirens grow near. Gunther watches the broadcast, \n still gripping his gun.\n\n RIMAN\n (to Gunther)\n You know the scenario for this.", "Gunther and Riman have created an opening in the barricade. \n They step through it. They hear the racket the Rent-a-Guard \n is making upstairs. They head that way.", "BACK TO SCENE: COFFEE HOUSE/TERRACE (CONTINUE TITLES)\n\n One of Mitch's colleagues is nodding. DONNY, HARVARD, '97", "MILO\n (he's shaking his \n head)\n Say there's just one \"mole\" working", "He moves to the bathroom door, knocks on it. Opens it. He \n pulls a sleek walkie-talkie from his jacket.\n\n INT. ANOTHER DEN - CONTINUOUS", "He paces, he thinks. She watches him, worried.\n\n MILO\n I know how to get in there. But you've \n gotta help me.", "LARRY\n ...You wanna work -- here?\n\n MILO\n Got out of my other commitment.\n\n Larry hugs Milo. Turns to Lisa:", "We pick out MILO CONNOR, watching keenly. He's 21: clear-\n eyed, alive, innocent. He sits with his best friend, TEDDY \n CHIN, third-generation Chinese-American.", "Milo closes his eyes, leans back: overwhelmed. Suddenly he \n sits forward, whispers almost fervently as he types:\n\n MILO\n Please don't be one of them." ], [ "DIANA (V.O.)\n 20 years ago, Gary had an idea, that's \n all he had. And now the company's \n bigger than IBM.", "behind them we see Seattle: night streets wet-down & \n shimmering; Young People entering a club; Young People \n climbing Mt. Shasta.) Finding Larry's picture, Danny points", "Panning to the window, we see the evacuated Programmers \n enjoying themselves on the lawn. It's a rare, exciting event: \n they jump around, miming explosions.", "REVERSE: SUNNYVALE LOFT - CONTINUOUS\n\n Larry watches with his start-up partners. His eyes close: it \n hurts to see Teddy, again.", "in from everywhere. You know how he \n says \"Any kid working in his garage \n can put us out of business?\" It's", "ALICE\n We gotta go too, honey.\n\n As he heads out with Alice, he unthinkingly stuffs the \n filament in his suit pocket.", "20 screens glow. They hang suspended over a wide, ringed \n table, a chair at each keyboard. Indeed, Gary has spared no", "Milo has finally made it. Sitting at Gary's work station, he \n slips a CD-ROM into the PC. It floods with text. The music", "INT. HALLWAY - CONTINUOUS\n\n They walk up a long carpeted hallway, past open offices where \n Geeks (mostly males under 30) sit at workstations.", "MITCH (V.O.)\n There's this myth that doing a start-\n up is cooler. But there's no community \n with a start-up. No permanence.", "They pass a room in which Geeks play video games. Just outside \n it, a chubby programmer, DESI, sips a Diet Coke.", "Gunther, Riman and Randy climb the metal stairs, turn at a \n landing, climb some more.\n\n When they get to the next landing, Riman opens the door. \n They enter", "They sit. As she inserts the disk, he finds himself looking \n at her. On the screen, the frontier outpost we know as the", "We go with Gary. His smiles fades instantly. He pushes through \n Guests, who thank him for hosting such a brilliant \"do;\" he \n hardly hears them.", "Gunther and Riman grab holstered guns, race out. Randy types \n some more, speaks into the phone:\n\n RANDY\n Public access TV station. KNQR.", "He looks over. Milo looks over. Among the framed \n commendations, awards, degrees we see Milo's childhood \n program, written on Outpost 1.0. Gary has had it framed.", "Under the windows, these words scroll continuously: HUMAN \n KNOWLEDGE BELONGS TO THE WORLD.\n\n Watching, Gary knits his brow: he looks wounded.", "REDMOND\n (he laughs)\n Well, he micro-managed the company \n till it got too big...", "Gary speaks with precise hand gestures: settling the matter. \n Phil and Randy gather their papers, and stand. They exit, \n nodding at Milo as they pass. Then Gary comes out.", "The rumpled Man sits on a radiator, watching CNN on a TV, \n the last remaining piece of furniture. Alice enters, holding \n a jam jar filled water, hands Milo a business card." ], [ "a wall of TV's -- 200 of them -- plays grisly primer footage \n for Shoppers. A guy takes a shiny wrapped copy of Outpost", "20 screens glow. They hang suspended over a wide, ringed \n table, a chair at each keyboard. Indeed, Gary has spared no", "GARY\n The world's seen it now. They know \n it's gonna dominate the convergence \n market even beyond how Outpost '98 \n dominates the desktop.", "working on. No marketing meetings, \n no product seminars. We can't waste \n the time. Half the Valley's working", "MILO\n They're surveilling programmers from \n in here. They steal their code. \n Sometimes -- I know this sounds insane -- \n sometimes they kill one.", "Gunther and Riman grab holstered guns, race out. Randy types \n some more, speaks into the phone:\n\n RANDY\n Public access TV station. KNQR.", "A giant Mondrian digitizes on the wall: the world's largest \n ID card. Milo sinks a little more.", "Under the windows, these words scroll continuously: HUMAN \n KNOWLEDGE BELONGS TO THE WORLD.\n\n Watching, Gary knits his brow: he looks wounded.", "logo appears. It's struck by a bolt from the sky. The outpost \n comes alive with light, music, movie-images through its", "dried Evangelist, Nude Talk Show). Behind the reception desk \n sits a beefy RENT-A-GUARD with an earring.", "Teddy's brother, NELSON, shows Milo the workspace: red \n Stanford pennant, rubber trees on the desk. Milo, in a suit, \n peers at the painted-over epithet on the wall.", "A young, chillingly calm NANNY, watching him. The Baby fusses \n in her arms. Milo smiles, keeps moving.", "He pulls down a menu. RECORDING is highlighted. He clicks \n PLAYBACK. The image hardly changes, but a Guard wanders", "REDMOND\n Here's your world.\n (pointing at the desk)\n Copy of Gary's book, also the audio \n version, narrated by Gary.", "As Milo watches the screens, a pixilated, ghostly image begins \n to appear on all of them: the animated Skywire logo (lightning \n strike, etc.).", "Milo has finally made it. Sitting at Gary's work station, he \n slips a CD-ROM into the PC. It floods with text. The music", "Milo sits with Lisa as she brings up the graphic interface \n she's designed for the Skywire broadcast. It's an Outpost \n desktop, with recognizable logos, fonts, etc.", "RANDY\n (into the phone)\n Nothing. They haven't booted-up yet.\n\n INT. KNQR - CONTINUOUS", "Medical Personnel roll gurneys with bodies out of a new \n Mediterranean mansion. Footage shows bodies (including a few \n children) on bunkbeds, uniformly shod in black Nikes.", "In one window, the Skywire code scrolls slowly past. In the \n other, it says: \"Here's the code for the operating system" ], [ "MILO\n They're surveilling programmers from \n in here. They steal their code. \n Sometimes -- I know this sounds insane -- \n sometimes they kill one.", "Milo sits, watches Shrot encode a new card for him, finding \n his info on a terminal. On a monitor behind Shrot, Milo sees \n Programmers being ushered out of the building.", "INT. DAY CARE COMPUTE ROOM - NIGHT\n\n The yellow coordinates start blinking on. Randy sits at a \n console.", "Milo works the keyboard. Again, the code gets dense and \n obscure as he goes deeper. He succeeds in calling-up a", "Lisa is cabling her laptop into the station's computer. Brian \n boots it up: it runs the satellite. Milo cables the data \n tower into the laptop.", "20 screens glow. They hang suspended over a wide, ringed \n table, a chair at each keyboard. Indeed, Gary has spared no", "Milo has finally made it. Sitting at Gary's work station, he \n slips a CD-ROM into the PC. It floods with text. The music", "Milo brings up the screen that controls the #21 cameras. On \n the monitors, he sees nothing very interesting: a hallway, a \n room under construction...", "Milo is under the table, detaching one of the the black \n plastic data towers that contain the \"primers,\" stored \n surveillance material, etc.", "A giant Mondrian digitizes on the wall: the world's largest \n ID card. Milo sinks a little more.", "Gunther and Riman grab holstered guns, race out. Randy types \n some more, speaks into the phone:\n\n RANDY\n Public access TV station. KNQR.", "A LASER PRINTER spits out code. We are:\n\n INT. MILO'S OFFICE - DAY\n\n Milo watches new Skywire code emerge from his printer.", "In one window, the Skywire code scrolls slowly past. In the \n other, it says: \"Here's the code for the operating system", "3. The cuts accelerate. In a NETWORK CONTROL ROOM, Technicians \n flip switches, trying to bring back scheduled programming.", "'98 from his basket, returns it to the shelf... In the Day \n Care Computer Room, it plays on all the monitors as Randy", "VOICE (SHROT)\n The card's encoded. Tells us who \n came through the door and when.\n\n INT. OFFICE OF PHYSICAL SECURITY - LATER", "In an office with a bank of monitors that play feeds from \n security cameras, BOB SHROT, 40, Head of Physical Security, \n issues Milo his swipe card. Redmond watches.", "He pulls down a menu. RECORDING is highlighted. He clicks \n PLAYBACK. The image hardly changes, but a Guard wanders", "Randy whistles as he heads up the hall. Arriving at the door \n with the Civil Defense sticker, he swipes his card.\n\n INT. DAY CARE COMPUTER ROOM - CONTINUOUS", "Under the windows, these words scroll continuously: HUMAN \n KNOWLEDGE BELONGS TO THE WORLD.\n\n Watching, Gary knits his brow: he looks wounded." ], [ "behind them we see Seattle: night streets wet-down & \n shimmering; Young People entering a club; Young People \n climbing Mt. Shasta.) Finding Larry's picture, Danny points", "Larry Lindholm sits on a couch watching TV. MOVERS are \n carrying out computer equipment all around him. He tries to \n ignore them.", "A young, chillingly calm NANNY, watching him. The Baby fusses \n in her arms. Milo smiles, keeps moving.", "As Linder chats, the first Houseman sidles up to Gary, \n whispers in his ear. We see Gary smile, excuse himself. He \n and Alice share a look as he moves off.", "LARRY\n ...You wanna work -- here?\n\n MILO\n Got out of my other commitment.\n\n Larry hugs Milo. Turns to Lisa:", "Larry switches off the TV as he comes to his feet. A Mover \n passes by, hauling out a monitor. Larry explains:", "LARRY\n May I?\n\n He hugs Lisa, too. A Mover grabs Milo's backpack from the \n floor.", "Riman takes the lightstand from him. The Rent-a-Guard puts \n his hands up, sidles across the hallway as they tear into \n the barricade.", "She kisses him. They head out. We linger. On TV a graphic \n says: SAN LUIS OBISPO, CA: MASS SUICIDE - LIVE. Emergency", "He takes it. They kiss. She watches him go, worried.\n\n EXT./INT. MILO'S HOUSE - NIGHT", "He looks at her, perhaps hearing Teddy's words (\"what're the \n chances?\"). He nods, moves on. She watches him head up the \n hall.", "We go with Gary. His smiles fades instantly. He pushes through \n Guests, who thank him for hosting such a brilliant \"do;\" he \n hardly hears them.", "Now New Age music plays. They move back through the same \n room, but the Cezanne has been replaced by a Hieronymus Bosch \n (bodies roiling in Hell). Milo is -- puzzled.", "Milo and the Houseman cross a long room with a lake view. We \n hear music by Satie. The Craftsman furniture and lamps are \n custom-made. A Cezanne hangs on the wall.", "Milo watches a car pull out of the parking lot, leaving only \n one or two others. He writes down the time.\n\n INT. TOYSTORE - (CONTINUE MONTAGE)", "He moves to the bathroom door, knocks on it. Opens it. He \n pulls a sleek walkie-talkie from his jacket.\n\n INT. ANOTHER DEN - CONTINUOUS", "Up the hall, a young woman (LISA) is about to go into her \n office. She pauses half a second, looks at Milo, goes in. \n She's beautiful.", "HOUSEMAN\n Right here.\n\n He points to a door immediately behind him. As the Houseman \n watches, Milo goes into the\n\n BATHROOM", "She's at Gary's house. On the hot seat. Phil and Randy watch \n her. Gary does, too, but deep in shadow, behind a desk, at a \n remove. Rain falls heavily on the Lake.", "When she's gone, he flips his left arm over and drags the \n tines of his fork against it, making score-marks, like those \n used by allergists to test for sensitivity." ], [ "ALICE\n Teddy was killed last night.\n\n MILO\n What're you -- what?\n\n ALICE\n It was a hate crime.", "MILO\n My friend, my best friend, Teddy, \n was killed in Silicon Valley.\n\n BARTON\n My goodness.", "They smile. For a moment, they've brought Teddy back to life. \n Alice comes up from behind, to fetch Milo.\n\n LARRY\n Take good care of this guy.", "He looks at her, perhaps hearing Teddy's words (\"what're the \n chances?\"). He nods, moves on. She watches him head up the \n hall.", "TEDDY\n Uh. Not exactly.", "MILO\n Were the flags for Teddy?\n\n Gary nods. Spontaneously Milo stands, hugs Gary.", "On the wall beyond Teddy the word GOOK (in blood red) has \n been covered over with paint but still bleeds through.", "Milo brought up Teddy's data, i.e., footage of a young \n Programmer at college, surveillance footage of him typing \n away (from behind), medical records that describe his", "Milo touches the pages, like some talisman of Teddy.\n\n LISA (O.S.)\n Milo? You okay?", "program gets close to fruition. Like \n Teddy. He was almost there.", "She continues inside. He waits, watches Teddy cross the \n sidewalk to join him.\n\n MILO\n ...You got my E-mail?", "TEDDY\n But these, like, White Supremacists \n trashed my office, last week.\n\n MILO\n What?!", "TEDDY\n And your phone messages. You wanna \n do what you do, it's not a crime.\n\n MILO\n Is that how Larry feels?", "TEDDY\n They're in the neighborhood. They \n usually hassle Vietnamese grocers.\n\n MILO\n Jesus, Teddy.", "NELSON\n It's an airtight case. They found \n the weapon with Teddy's blood on it", "DANNY\n 'Couldn't convince Teddy to come?\n\n MILO\n He's pretty tight with his family.", "A brown Buick parks behind Teddy's car. As they speak, a \n rumpled, 50ish MAN in an off-the-rack suit gets out.", "In the first window, Teddy's image dissolves into a handheld \n crime-scene video (marked SV-PD) of a ransacked grocery store.", "We pick out MILO CONNOR, watching keenly. He's 21: clear-\n eyed, alive, innocent. He sits with his best friend, TEDDY \n CHIN, third-generation Chinese-American.", "MILO\n I told Teddy about you.\n\n LISA\n What'd he say?" ], [ "Milo brought up Teddy's data, i.e., footage of a young \n Programmer at college, surveillance footage of him typing \n away (from behind), medical records that describe his", "In an office with a bank of monitors that play feeds from \n security cameras, BOB SHROT, 40, Head of Physical Security, \n issues Milo his swipe card. Redmond watches.", "Milo sits, watches Shrot encode a new card for him, finding \n his info on a terminal. On a monitor behind Shrot, Milo sees \n Programmers being ushered out of the building.", "PHIL\n Yeah, alright.\n (hangs up, briefs \n Gary)\n He's off campus, he's taken some \n surveillance data with him.", "He looks over his shoulder, then back again, frightened.\n\n MILO\n Please.\n\n DOJ RECEPTIONIST\n Wait in his outer office.", "He continues up the hall. He ducks into the service hall.\n\n INT. COMPUTER SECURITY OFFICE - CONTINUOUS\n\n Shrot watches as", "INT. DAY CARE COMPUTE ROOM - NIGHT\n\n The yellow coordinates start blinking on. Randy sits at a \n console.", "MILO\n They're surveilling programmers from \n in here. They steal their code. \n Sometimes -- I know this sounds insane -- \n sometimes they kill one.", "Shrot and Len are in a high-tech office. On a monitor, we \n see a blown-up image of a fingerprint taken from Milo's \n keyboard; Milo's name is printed under it.", "He hears her voice under the Narration, answering an unseen \n Interrogator (sounds like Phil). It's a job interview. Milo", "She nods, manipulates the mouse. He stares at the screen \n strenuously, fighting the impulse to stare at Lisa.\n\n INT. ANTEROOM - GARY'S OFFICE", "Bob Shrot is on the phone. Behind him, a nerdy security \n programmer, LEN DIETZ, is at the console that controls the \n security cameras (the ones Milo futzed with).", "He walks swiftly back toward his office. Then he runs.\n\n INT. PHYSICAL SECURITY OFFICE - CONTINUOUS", "INT. PHYSICAL SECURITY OFFICE - CONTINUOUS\n\n Milo is at work, bringing up schematic screens, diagnosing \n the system with his unique concentration.", "INT. COMPUTER ROOM - DAY CARE - CONTINUOUS\n\n Milo watches eerie crime-scene footage: a Girl with her throat \n slashed.", "Numb now, Milo clicks randomly: crime footage, personal \n records, animations -- it all flies by with Chuck Worman-\n like speed.", "Len is at the console. On a security monitor, he has called-\n up video from a moment ago: Milo hurrying up the hall, almost \n running into Gary's Secretary.", "NELSON\n They trashed his hard disk, all his \n back-ups. Nothing's left.\n\n MILO\n They caught the guys?", "Milo is under the table, detaching one of the the black \n plastic data towers that contain the \"primers,\" stored \n surveillance material, etc.", "INT. PHYSICAL SECURITY OFFICE - CONTINUOUS\n\n Milo, at the keyboard, closes up windows, one by one." ], [ "MILO\n They're surveilling programmers from \n in here. They steal their code. \n Sometimes -- I know this sounds insane -- \n sometimes they kill one.", "MILO\n (he nods)\n They're already watching you. If \n they had to, they'd give him this", "The bomb explodes. The blast is tiny but loud (glass cleaning \n bottles ring; plastic bottles moan).\n\n INT. SECURITY OFFICE - CONTINUOUS", "He looks over his shoulder, then back again, frightened.\n\n MILO\n Please.\n\n DOJ RECEPTIONIST\n Wait in his outer office.", "Only when we cut close do we see that their expressions bear \n no connection to their words.\n\n LISA\n What about the FBI?", "REDMOND\n You'll see alot of that: Department \n of Justice goons snooping around.", "Gunther and Riman grab holstered guns, race out. Randy types \n some more, speaks into the phone:\n\n RANDY\n Public access TV station. KNQR.", "In an office with a bank of monitors that play feeds from \n security cameras, BOB SHROT, 40, Head of Physical Security, \n issues Milo his swipe card. Redmond watches.", "MILO\n (he's shaking his \n head)\n Say there's just one \"mole\" working", "MILO\n You thought about it too. You've \n been suspicious for a while. But \n it's not happening in there. It's \n happening in the Day Care.", "Milo brings up the screen that controls the #21 cameras. On \n the monitors, he sees nothing very interesting: a hallway, a \n room under construction...", "Two DOJ AGENTS depose Gary. (A video-cam records his answers.) \n Two Outpost LAWYERS sit next to him. One of the Agents is \n reading from a document:", "A young, chillingly calm NANNY, watching him. The Baby fusses \n in her arms. Milo smiles, keeps moving.", "ALICE\n Milo, you told me those DOJ Agents \n are all over the place. How could", "Milo sits, watches Shrot encode a new card for him, finding \n his info on a terminal. On a monitor behind Shrot, Milo sees \n Programmers being ushered out of the building.", "Milo traces Randy's steps. He sees the door with the Civil \n Defense sticker, intuits how Randy got here, i.e, how one \n moves, unobserved, between the Day Care and #20.", "The Agents confer. Gary sees Phil, looming outside the open \n door. One of the Agents sees him, too. He doesn't try to \n hide his annoyance:", "He pulls down a menu. RECORDING is highlighted. He clicks \n PLAYBACK. The image hardly changes, but a Guard wanders", "Milo sits down. Everybody's looking at him.\n\n DESI\n \"Sorry about the late notice?\"\n\n INT. PHYSICAL SECURITY OFFICE - DAY", "NELSON\n They trashed his hard disk, all his \n back-ups. Nothing's left.\n\n MILO\n They caught the guys?" ], [ "Under the windows, these words scroll continuously: HUMAN \n KNOWLEDGE BELONGS TO THE WORLD.\n\n Watching, Gary knits his brow: he looks wounded.", "Gunther and Riman grab holstered guns, race out. Randy types \n some more, speaks into the phone:\n\n RANDY\n Public access TV station. KNQR.", "A young, chillingly calm NANNY, watching him. The Baby fusses \n in her arms. Milo smiles, keeps moving.", "Milo nods mechanically; he wants to scream. Or run. He \n perceives, amid the echoes, that Gary is standing, smiling, \n saying \"See you later.\" And he's gone.", "\"DIE GOOK!\" is painted on a wall. Milo looks confused: some \n \"narrative\" is unfolding, but it remains obscure without \n audio.", "Milo closes his eyes, leans back: overwhelmed. Suddenly he \n sits forward, whispers almost fervently as he types:\n\n MILO\n Please don't be one of them.", "In the bottom window, he brings up convoluted text regarding \n the audio. About the only phrases we can understand are:", "He pulls down a menu. RECORDING is highlighted. He clicks \n PLAYBACK. The image hardly changes, but a Guard wanders", "Brian lurches across to the laptop, ejects the CD-ROM. It's \n beige-colored, says Outpost Word.\n\n BRIAN\n ...When did you know?", "On the wall beyond Teddy the word GOOK (in blood red) has \n been covered over with paint but still bleeds through.", "The rumpled Man sits on a radiator, watching CNN on a TV, \n the last remaining piece of furniture. Alice enters, holding \n a jam jar filled water, hands Milo a business card.", "He immediately bashes the KNQR computer with it. Lisa looks \n devastated.\n\n BRIAN\n Hey, hey, relax, relax!", "MILO\n (he's shaking his \n head)\n Say there's just one \"mole\" working", "Now New Age music plays. They move back through the same \n room, but the Cezanne has been replaced by a Hieronymus Bosch \n (bodies roiling in Hell). Milo is -- puzzled.", "He nods. [It's not necessary for us to understand what she's \n saying, just so Milo does.] She holds up an audio copy of \n Gary's book, The Next Highway.", "He hears her voice under the Narration, answering an unseen \n Interrogator (sounds like Phil). It's a job interview. Milo", "Milo has finally made it. Sitting at Gary's work station, he \n slips a CD-ROM into the PC. It floods with text. The music", "ALICE\n Is it over?\n\n LARRY\n They still have to give 'em \n refreshments laced with mind-altering \n drugs.", "Phil reads to Gary as he types.\n\n PHIL\n 19 seconds South. Altitude 431 Miles.\n\n EXT. SPACE - NIGHT", "NELSON\n They trashed his hard disk, all his \n back-ups. Nothing's left.\n\n MILO\n They caught the guys?" ], [ "Milo has tapped into his own file: footage of him lecturing \n at Stanford (as an RA), pointing to a whiteboard.", "Milo brought up Teddy's data, i.e., footage of a young \n Programmer at college, surveillance footage of him typing \n away (from behind), medical records that describe his", "Milo sits in his idling car, staring at his own house, up \n the street. How can he go in there?\n\n He puts the car in gear, does a U-Turn.", "Milo stands in the open door of a refrigerator, as if \n searching for a soda. He's looking up the hall, waiting for \n someone. He consults his watch. 10:53.", "Milo pales as he realizes he is watching a primer on how \n racial killings are done.\n\n He hears a creaking noise behind him, and whirls.", "Milo nods mechanically; he wants to scream. Or run. He \n perceives, amid the echoes, that Gary is standing, smiling, \n saying \"See you later.\" And he's gone.", "Milo watches a car pull out of the parking lot, leaving only \n one or two others. He writes down the time.\n\n INT. TOYSTORE - (CONTINUE MONTAGE)", "Milo paces. He surveys framed diplomas, commendations and \n photos on the wall. He takes comfort in their solidity:", "with his team. Milo studies it, smiles. Move in on the photo, \n till we see the number on Barton's Notre Dame football jersey: \n ND 47.", "MILO watches him walk over to the printer, collect his \n hardcopy, and disappear from view.\n\n Milo listens: the door clicks shut, the whistling recedes.", "Milo, still lost, is getting frantic. He doubles back, cuts \n toward another wing of the house. Through an open doorway he \n sees:", "Milo moves quickly to the wall, reads a chart with the Guards' \n Schedule, runs his finger down it til he finds the name of \n the Guard on the 3 AM shift: DELBERT, KEN.", "HOUSEMAN\n Right here.\n\n He points to a door immediately behind him. As the Houseman \n watches, Milo goes into the\n\n BATHROOM", "Some appreciative laughter in the auditorium. But behind \n Milo, LARRY LINDHOLM squirms in his seat. He whispers:", "Milo sits on a bench. He tries not to look, but his childhood \n hero is partly visible through a glass panel in the door:", "He looks over. Milo looks over. Among the framed \n commendations, awards, degrees we see Milo's childhood \n program, written on Outpost 1.0. Gary has had it framed.", "MILO\n No! Just waiting for my counselor to \n come by and introduce himself.\n\n GARY\n Okay. I'm Gary.", "Milo moves up a hall with unpainted walls, bare floors, \n unconnected wires. The only illumination is from construction \n lights on the concrete floor. Opening doors, he sees:", "MILO\n Mr. Barton, do you remember me?\n\n BARTON\n ...It's -- Milo, isn't it?", "He looks over his shoulder, then back again, frightened.\n\n MILO\n Please.\n\n DOJ RECEPTIONIST\n Wait in his outer office." ], [ "DIANA (V.O.)\n 20 years ago, Gary had an idea, that's \n all he had. And now the company's \n bigger than IBM.", "behind them we see Seattle: night streets wet-down & \n shimmering; Young People entering a club; Young People \n climbing Mt. Shasta.) Finding Larry's picture, Danny points", "Panning to the window, we see the evacuated Programmers \n enjoying themselves on the lawn. It's a rare, exciting event: \n they jump around, miming explosions.", "REVERSE: SUNNYVALE LOFT - CONTINUOUS\n\n Larry watches with his start-up partners. His eyes close: it \n hurts to see Teddy, again.", "in from everywhere. You know how he \n says \"Any kid working in his garage \n can put us out of business?\" It's", "ALICE\n We gotta go too, honey.\n\n As he heads out with Alice, he unthinkingly stuffs the \n filament in his suit pocket.", "MITCH (V.O.)\n There's this myth that doing a start-\n up is cooler. But there's no community \n with a start-up. No permanence.", "We go with Gary. His smiles fades instantly. He pushes through \n Guests, who thank him for hosting such a brilliant \"do;\" he \n hardly hears them.", "20 screens glow. They hang suspended over a wide, ringed \n table, a chair at each keyboard. Indeed, Gary has spared no", "You know what's the bad part? We \n can't talk about work anymore. We're \n competitors! The venture capitalists", "Gary speaks with precise hand gestures: settling the matter. \n Phil and Randy gather their papers, and stand. They exit, \n nodding at Milo as they pass. Then Gary comes out.", "REDMOND\n (he laughs)\n Well, he micro-managed the company \n till it got too big...", "Staring at it, he sits. He begins typing. [The drawing still \n occupies the screen, but in a window he's brought up at the", "Milo watches a car pull out of the parking lot, leaving only \n one or two others. He writes down the time.\n\n INT. TOYSTORE - (CONTINUE MONTAGE)", "His eyes cast about the room for some suitable hardware \n substitute. He digs in his shirt pocket. He takes out his", "PHIL\n 'Start-up not 50 miles from here. \n Kid's on Prozac.\n\n GARY\n Maybe we should all get on it.", "Gunther, Riman and Randy climb the metal stairs, turn at a \n landing, climb some more.\n\n When they get to the next landing, Riman opens the door. \n They enter", "MILO\n Wanted to say goodbye to him...\n\n TEDDY\n Hey, we got seed money for the \n startup! A million-five!", "Gunther and Riman have created an opening in the barricade. \n They step through it. They hear the racket the Rent-a-Guard \n is making upstairs. They head that way.", "MILO\n My friend, my best friend, Teddy, \n was killed in Silicon Valley.\n\n BARTON\n My goodness." ], [ "ALICE POULSON, a very pretty girl of 21 (more hiply dressed \n than the geeks) searches the hall, reading the names over", "Alice is on the phone in the front room. Agitated, she puffs \n on a pencil (surrogate cigarette). We hear Phil through the \n receiver:", "Alice is calling him. Her face hardens, she hangs up.\n\n INT. MOTEL ROOM - LATER\n\n As we pan the Best Western decor (in semi-darkness):", "Alice is at the counter, among children and mothers, \n purchasing a chemistry set.\n\n INT. MILO'S OFFICE - NIGHT (CONTINUE MONTAGE)", "ALICE\n You didn't feel it? So intense.\n\n What's clear is, she liked it. A clap of thunder takes us \n to:", "ALICE\n You are a fanatic.\n\n LARRY\n 'Gonna wait outside.", "INT. THE BEDROOM - A MOMENT LATER\n\n Alice pulls into a dress.\n\n IN THE KITCHEN - CONTINUOUS", "ALICE\n Poor baby. You know that's not true.", "MILO\n (under his breath)\n One more minute...\n\n But here's Alice. She slips into her seat.", "Milo comes eagerly up the path: can't wait to tell Alice \n what just happened. He enters -- pulls up short. Alice is \n waiting for him. She's white.", "ALICE\n That was -- different.\n\n MILO\n ...Different?\n\n Shit. She knows.", "Milo and Alice get out. As they go inside, she pulls a tag \n from the sleeve of his just-bought dinner jacket.", "ALICE\n Then you've gotta ask him about that.\n\n He looks at her: you've gotta be kidding.\n\n ALICE\n It's important.", "ALICE\n \"Like this?\" It's Gary you're talking \n about.\n\n MILO\n (it really hurts)\n You think I don't know that?", "As Milo enters, Alice rushes to meet him.", "INT. MILO & ALICE'S - STUDIO - NIGHT (CONTINUE MONTAGE)\n\n Alice, wearing dishwashing gloves, ties the alarm clock to a \n small Tupperware container with copper wire.", "As Linder chats, the first Houseman sidles up to Gary, \n whispers in his ear. We see Gary smile, excuse himself. He \n and Alice share a look as he moves off.", "ALICE\n Look at me! I'm gonna change.\n\n When she turns away, we see the fear on his face.", "As Milo comes up the path, he sees Alice in the kitchen.", "ALICE\n (as she hangs up)\n Prick.\n\n EXT. MILO & ALICE'S HOUSE - MORNING" ], [ "ALICE\n Teddy was killed last night.\n\n MILO\n What're you -- what?\n\n ALICE\n It was a hate crime.", "MILO\n My friend, my best friend, Teddy, \n was killed in Silicon Valley.\n\n BARTON\n My goodness.", "TEDDY\n They're in the neighborhood. They \n usually hassle Vietnamese grocers.\n\n MILO\n Jesus, Teddy.", "On the wall beyond Teddy the word GOOK (in blood red) has \n been covered over with paint but still bleeds through.", "We pick out MILO CONNOR, watching keenly. He's 21: clear-\n eyed, alive, innocent. He sits with his best friend, TEDDY \n CHIN, third-generation Chinese-American.", "MILO\n It was racially motivated. He's \n Chinese. He was. And... I know \n sometimes the FBI gets involved with \n that. Don't they?", "TEDDY\n And your phone messages. You wanna \n do what you do, it's not a crime.\n\n MILO\n Is that how Larry feels?", "then shows a mutilated Asian murder victim. (All of this \n footage is made even eerier by the jerky glitches always \n present in streaming video, and its sinister graininess.)", "NELSON\n It's an airtight case. They found \n the weapon with Teddy's blood on it", "Milo brought up Teddy's data, i.e., footage of a young \n Programmer at college, surveillance footage of him typing \n away (from behind), medical records that describe his", "He looks at her, perhaps hearing Teddy's words (\"what're the \n chances?\"). He nods, moves on. She watches him head up the \n hall.", "TEDDY\n But these, like, White Supremacists \n trashed my office, last week.\n\n MILO\n What?!", "In the first window, Teddy's image dissolves into a handheld \n crime-scene video (marked SV-PD) of a ransacked grocery store.", "DANNY\n 'Couldn't convince Teddy to come?\n\n MILO\n He's pretty tight with his family.", "MILO\n What d'you mean?\n\n TEDDY\n I dunno. I guess Larry's got me \n totally suspicious of that place.", "TIGHT ON: A PC SCREEN - Teddy Chin's recruitment file is in \n one window, the hate crime footage is in another.", "TEDDY\n Uh. Not exactly.", "MILO\n Were the flags for Teddy?\n\n Gary nods. Spontaneously Milo stands, hugs Gary.", "Milo unpins a picture of himself & Teddy from a board.\n\n MILO\n He told me about the break-in. He \n didn't seem to take it that seriously.", "MILO\n Cause he was a liar. And I hated \n him.\n (mimicking a voice)" ], [ "MILO\n They're surveilling programmers from \n in here. They steal their code. \n Sometimes -- I know this sounds insane -- \n sometimes they kill one.", "Milo sits, watches Shrot encode a new card for him, finding \n his info on a terminal. On a monitor behind Shrot, Milo sees \n Programmers being ushered out of the building.", "RANDY: clicks. A printer across the room start making a hard-\n copy of the purloined code.", "RANDY: brings up a shot of a Programmer at work, zooms in on \n his screen to begin collecting his code.", "ALICE\n They hack into people's programs?", "Milo works the keyboard. Again, the code gets dense and \n obscure as he goes deeper. He succeeds in calling-up a", "medical files, school records, \n pharmacy files. They'd be happy just \n to steal code forever. But when a", "bottom, there is dense, DOS-looking code.] He types furiously -- \n numbers, symbols, backslashes. Whatever he's trying to do is", "Milo brought up Teddy's data, i.e., footage of a young \n Programmer at college, surveillance footage of him typing \n away (from behind), medical records that describe his", "Gary reads the page from the envelope: computer code.\n\n GARY\n This is good. Who did it?", "They've let the Programmers back in. They head up the hall \n as Shrot heads down it. He pushes past them gruffly.", "MILO\n Right, right. But does he ever just, \n like, hand you code?\n\n LISA\n Maybe once. I re-wrote it, anyway.", "In one window, the Skywire code scrolls slowly past. In the \n other, it says: \"Here's the code for the operating system", "INT. GARY'S WORKROOM - NIGHT\n\n Milo writes frantically on his tiny pad, copying from the PC \n screen:", "Milo is under the table, detaching one of the the black \n plastic data towers that contain the \"primers,\" stored \n surveillance material, etc.", "In the lab that began the montage, move past rows of Students \n scribbling madly as the code unfolds, or saving it to their \n hard drives.", "Bob Shrot is on the phone. Behind him, a nerdy security \n programmer, LEN DIETZ, is at the console that controls the \n security cameras (the ones Milo futzed with).", "INT. DAY CARE COMPUTE ROOM - NIGHT\n\n The yellow coordinates start blinking on. Randy sits at a \n console.", "Milo is scrolling the software, trying to figure out which \n of a 1,000 possible glitches is getting in the way.\n\n MILO\n ...He knows.", "In an office with a bank of monitors that play feeds from \n security cameras, BOB SHROT, 40, Head of Physical Security, \n issues Milo his swipe card. Redmond watches." ], [ "MILO\n (he's shaking his \n head)\n Say there's just one \"mole\" working", "Gunther and Riman rip down the barricade, reach the door. \n They whip it open, guns drawn. They see:\n\n An empty supply room. [The barricade was a decoy.]", "The Agents confer. Gary sees Phil, looming outside the open \n door. One of the Agents sees him, too. He doesn't try to \n hide his annoyance:", "Milo turns, sees Brian (Stanford classmate, Outpost zealot) \n give an envelope to a Guard at the door of #20; he trots", "He looks over his shoulder, then back again, frightened.\n\n MILO\n Please.\n\n DOJ RECEPTIONIST\n Wait in his outer office.", "The Agent shifts in his seat. We get an idea of Gary's \n negotiating skill (making the other party look unreasonable, \n while offering nothing).", "MILO\n They killed my best friend! I'm living \n with somebody they pay to go to bed", "Phil hangs up the phone. He turns to Randy, who is with the \n two men: the blond GUNTHER, the pale-eyed RIMAN.", "We hear sirens grow near. Gunther watches the broadcast, \n still gripping his gun.\n\n RIMAN\n (to Gunther)\n You know the scenario for this.", "Only when we cut close do we see that their expressions bear \n no connection to their words.\n\n LISA\n What about the FBI?", "He moves to the bathroom door, knocks on it. Opens it. He \n pulls a sleek walkie-talkie from his jacket.\n\n INT. ANOTHER DEN - CONTINUOUS", "Shrot and Len are in a high-tech office. On a monitor, we \n see a blown-up image of a fingerprint taken from Milo's \n keyboard; Milo's name is printed under it.", "The bomb explodes. The blast is tiny but loud (glass cleaning \n bottles ring; plastic bottles moan).\n\n INT. SECURITY OFFICE - CONTINUOUS", "GUNTHER\n (to Brian)\n Who's seeing this?\n\n BRIAN\n (with dread)\n Who isn't?", "ALICE\n Look at me! I'm gonna change.\n\n When she turns away, we see the fear on his face.", "MILO\n They're surveilling programmers from \n in here. They steal their code. \n Sometimes -- I know this sounds insane -- \n sometimes they kill one.", "He hits enter. The door is kicked open. Gunther & Riman enter, \n Gunther with a gun, Riman still carrying the light stand.", "As Linder chats, the first Houseman sidles up to Gary, \n whispers in his ear. We see Gary smile, excuse himself. He \n and Alice share a look as he moves off.", "ALICE\n (fighting tears)\n Just shut up?\n\n Or is she faking it? Has he lost the trust of all of them? \n He's afraid, now.", "PHIL\n Yeah, alright.\n (hangs up, briefs \n Gary)\n He's off campus, he's taken some \n surveillance data with him." ], [ "REVERSE: SUNNYVALE LOFT - CONTINUOUS\n\n Larry watches with his start-up partners. His eyes close: it \n hurts to see Teddy, again.", "In an office with a bank of monitors that play feeds from \n security cameras, BOB SHROT, 40, Head of Physical Security, \n issues Milo his swipe card. Redmond watches.", "INT. HALLWAY - CONTINUOUS\n\n They walk up a long carpeted hallway, past open offices where \n Geeks (mostly males under 30) sit at workstations.", "As Gary concentrates, two Outpost Senior Managers speak: \n PHIL TATE, 40 (bald); and RANDY GRIMES, 36, (gray eyes).", "Alice looks up at the digital painting: still a Bosch. Her \n face sets grimly.\n\n INT. GARY'S WORKROOM - CONTINUOUS", "He hears her voice under the Narration, answering an unseen \n Interrogator (sounds like Phil). It's a job interview. Milo", "Shrot and Len are in a high-tech office. On a monitor, we \n see a blown-up image of a fingerprint taken from Milo's \n keyboard; Milo's name is printed under it.", "Gary hits a switch. A wood panel slides into the wall, \n revealing a bank of four TV's.\n\n INT. CAR/HIGHWAY - CONTINUOUS", "The rumpled Man sits on a radiator, watching CNN on a TV, \n the last remaining piece of furniture. Alice enters, holding \n a jam jar filled water, hands Milo a business card.", "INT. SATELLITE ROOM (UPSTAIRS) - KNQR - CONTINUOUS", "20 screens glow. They hang suspended over a wide, ringed \n table, a chair at each keyboard. Indeed, Gary has spared no", "LISA\n Mine's not the CEO. He barely \n remembers to take a shower.", "Phil reads to Gary as he types.\n\n PHIL\n 19 seconds South. Altitude 431 Miles.\n\n EXT. SPACE - NIGHT", "He stands in the center of the room making quarter turns. \n Through each of four (open) doorways he sees a perfectly-\n appointed \"den,\" the ultimate expression of bland, rich, \n professionally-decorated taste.", "Gunther and Riman grab holstered guns, race out. Randy types \n some more, speaks into the phone:\n\n RANDY\n Public access TV station. KNQR.", "He walks swiftly back toward his office. Then he runs.\n\n INT. PHYSICAL SECURITY OFFICE - CONTINUOUS", "Teddy's brother, NELSON, shows Milo the workspace: red \n Stanford pennant, rubber trees on the desk. Milo, in a suit, \n peers at the painted-over epithet on the wall.", "He moves to the bathroom door, knocks on it. Opens it. He \n pulls a sleek walkie-talkie from his jacket.\n\n INT. ANOTHER DEN - CONTINUOUS", "She nods, manipulates the mouse. He stares at the screen \n strenuously, fighting the impulse to stare at Lisa.\n\n INT. ANTEROOM - GARY'S OFFICE", "CYBER PUNDIT (ON TV)\n Outpost was his baby, sure. On the \n other hand, we just learned Gary \n Boyd owns the Skywire satellites. \n Personally." ], [ "He pulls down a menu. RECORDING is highlighted. He clicks \n PLAYBACK. The image hardly changes, but a Guard wanders", "20 screens glow. They hang suspended over a wide, ringed \n table, a chair at each keyboard. Indeed, Gary has spared no", "MILO\n (he nods)\n They're already watching you. If \n they had to, they'd give him this", "A giant Mondrian digitizes on the wall: the world's largest \n ID card. Milo sinks a little more.", "a wall of TV's -- 200 of them -- plays grisly primer footage \n for Shoppers. A guy takes a shiny wrapped copy of Outpost", "1. MOVE PAST ROWS & ROWS OF PC's playing surveillance footage, \n a crash-scene upload, and an obituary, in a college computer \n lab. Students watch, agog.", "With the cameras and the swipe cards --", "MILO\n It isn't a broadcast studio. It's -- \n a surveillance post or something. \n That's why they have the dishes on \n top.", "Milo brings up the screen that controls the #21 cameras. On \n the monitors, he sees nothing very interesting: a hallway, a \n room under construction...", "The other windows'll accommodate the \n surveillance stuff you told me about. \n The idea is, this works with anything, \n since we can't edit.", "MILO\n They're surveilling programmers from \n in here. They steal their code. \n Sometimes -- I know this sounds insane -- \n sometimes they kill one.", "Milo sits, watches Shrot encode a new card for him, finding \n his info on a terminal. On a monitor behind Shrot, Milo sees \n Programmers being ushered out of the building.", "In an office with a bank of monitors that play feeds from \n security cameras, BOB SHROT, 40, Head of Physical Security, \n issues Milo his swipe card. Redmond watches.", "Self-contained. They'd have to be, \n like, watching people. Physically.\n (he freezes)\n Oh Jesus.", "Under the windows, these words scroll continuously: HUMAN \n KNOWLEDGE BELONGS TO THE WORLD.\n\n Watching, Gary knits his brow: he looks wounded.", "Milo brought up Teddy's data, i.e., footage of a young \n Programmer at college, surveillance footage of him typing \n away (from behind), medical records that describe his", "VOICE (SHROT)\n The card's encoded. Tells us who \n came through the door and when.\n\n INT. OFFICE OF PHYSICAL SECURITY - LATER", "SHROT\n Un-nh, can't wander around without \n ID now. Just park your ass in that \n chair.\n\n Milo sits. Shrot goes out with the Guard.", "Shrot and Len watch a laser printer, as it spits out line \n after line after line of swipe card entries...\n\n MATCH DISSOLVE TO:", "GUNTHER\n (to Brian)\n Who's seeing this?\n\n BRIAN\n (with dread)\n Who isn't?" ], [ "Gunther and Riman rip down the barricade, reach the door. \n They whip it open, guns drawn. They see:\n\n An empty supply room. [The barricade was a decoy.]", "We hear sirens grow near. Gunther watches the broadcast, \n still gripping his gun.\n\n RIMAN\n (to Gunther)\n You know the scenario for this.", "Gunther and Riman have created an opening in the barricade. \n They step through it. They hear the racket the Rent-a-Guard \n is making upstairs. They head that way.", "Milo pales as he realizes he is watching a primer on how \n racial killings are done.\n\n He hears a creaking noise behind him, and whirls.", "The bomb explodes. The blast is tiny but loud (glass cleaning \n bottles ring; plastic bottles moan).\n\n INT. SECURITY OFFICE - CONTINUOUS", "MILO\n They killed my best friend! I'm living \n with somebody they pay to go to bed", "Riman takes the lightstand from him. The Rent-a-Guard puts \n his hands up, sidles across the hallway as they tear into \n the barricade.", "Gunther and Riman tear through the barricade the Rent-A-Cop \n has erected with ruthless precision.\n\n INT. SATELLITE ROOM - CONTINUOUS", "and their fingerprints. They'd been \n arrested twice for beating-up Asians. \n How come they weren't in jail?", "ALICE\n Teddy was killed last night.\n\n MILO\n What're you -- what?\n\n ALICE\n It was a hate crime.", "Gunther and Riman grab holstered guns, race out. Randy types \n some more, speaks into the phone:\n\n RANDY\n Public access TV station. KNQR.", "He hits enter. The door is kicked open. Gunther & Riman enter, \n Gunther with a gun, Riman still carrying the light stand.", "He looks over his shoulder, then back again, frightened.\n\n MILO\n Please.\n\n DOJ RECEPTIONIST\n Wait in his outer office.", "GUNTHER\n (to Brian)\n Who's seeing this?\n\n BRIAN\n (with dread)\n Who isn't?", "cliché about great minds was true. \n Said it was all about his own guilt.\n (she shrugs)", "He smiles to hide his terror. Is she killing him now? Or \n just testing his reaction? Or is it a sincere overture?\n\n MILO\n Great!", "But then, hearing nearly-distant whistling, he clicks on \n windows furiously: closing them.\n\n INT. DAY CARE BACK ROOM - CONTINUOUS", "Milo's smile freezes. As he stares at Gary, we zoom with a \n reverse dolly so that the background retreats queasily but", "LISA\n Is that my -- scenario?\n (when he hesitates)\n Tell me.\n\n MILO\n They'd frame him.", "A wide shot: they hold each other, alone in the storm.\n\n VOICE (PHIL)\n All his suspicions were allayed?" ], [ "Milo pales as he realizes he is watching a primer on how \n racial killings are done.\n\n He hears a creaking noise behind him, and whirls.", "Under the windows, these words scroll continuously: HUMAN \n KNOWLEDGE BELONGS TO THE WORLD.\n\n Watching, Gary knits his brow: he looks wounded.", "He bows deep, with mock-obeisance. Milo blushes, Redmond \n laughs, he snags Milo's elbow. They walk again, passing a \n service hall with a Civil Defense sign.", "\"DIE GOOK!\" is painted on a wall. Milo looks confused: some \n \"narrative\" is unfolding, but it remains obscure without \n audio.", "Milo nods mechanically; he wants to scream. Or run. He \n perceives, amid the echoes, that Gary is standing, smiling, \n saying \"See you later.\" And he's gone.", "He smiles to hide his terror. Is she killing him now? Or \n just testing his reaction? Or is it a sincere overture?\n\n MILO\n Great!", "She grins. She takes a bite. The moment she looks away, he \n turns over his arm to get a look, face full of fear.", "He pulls down a menu. RECORDING is highlighted. He clicks \n PLAYBACK. The image hardly changes, but a Guard wanders", "Fear seizes Milo. He ejects his the Skywire CD -- it is a \n bright silver color, with a Skywire logo on it -- slips it \n in an equally distinct silver (CD) jewel-case.", "The Rent-A-Guard has joined Milo et al in here. He tries to \n slide a heavy shelf in front of the door, but it's not yet", "Shrot thinks he's being mocked, as usual.\n\n SHROT\n What're you doing?!\n\n Milo sets down one of the towers.", "Milo scrolls his Skywire code, concentrating intensely. Till \n he feels some stickiness on his thumb and forefinger. He \n rubs them together, peers at his keys.", "The tracks are still flat, there's no redness. He shovels a \n large bite into his mouth, ecstatic to be alive. Then another \n bite, greedy with life.", "MILO\n Hey, wait!\n (when the Mover looks)\n Not giving everything away.\n\n The Mover sets it down, moves on.", "behind them we see Seattle: night streets wet-down & \n shimmering; Young People entering a club; Young People \n climbing Mt. Shasta.) Finding Larry's picture, Danny points", "As Milo watches the screens, a pixilated, ghostly image begins \n to appear on all of them: the animated Skywire logo (lightning \n strike, etc.).", "Milo moves quickly to the wall, reads a chart with the Guards' \n Schedule, runs his finger down it til he finds the name of \n the Guard on the 3 AM shift: DELBERT, KEN.", "In the bottom window, he brings up convoluted text regarding \n the audio. About the only phrases we can understand are:", "Milo's smile freezes. As he stares at Gary, we zoom with a \n reverse dolly so that the background retreats queasily but", "Shrot is there, gun drawn. Len stands just behind.\n\n SHROT\n What are you doing?\n\n MILO\n You're better off not knowing." ], [ "Milo is a little dazzled as they shake hands: such a fam- \n iliar face, such a big figure in his young life.\n\n MILO\n ...That's okay.", "MILO\n Mr. Barton, do you remember me?\n\n BARTON\n ...It's -- Milo, isn't it?", "Milo nods mechanically; he wants to scream. Or run. He \n perceives, amid the echoes, that Gary is standing, smiling, \n saying \"See you later.\" And he's gone.", "Milo pales as he realizes he is watching a primer on how \n racial killings are done.\n\n He hears a creaking noise behind him, and whirls.", "Milo, this is Barry Linder, who's \n visiting from Hollywood.", "Milo stands in the open door of a refrigerator, as if \n searching for a soda. He's looking up the hall, waiting for \n someone. He consults his watch. 10:53.", "Milo moves quickly to the wall, reads a chart with the Guards' \n Schedule, runs his finger down it til he finds the name of \n the Guard on the 3 AM shift: DELBERT, KEN.", "Milo watches a car pull out of the parking lot, leaving only \n one or two others. He writes down the time.\n\n INT. TOYSTORE - (CONTINUE MONTAGE)", "MILO\n No! Just waiting for my counselor to \n come by and introduce himself.\n\n GARY\n Okay. I'm Gary.", "He looks over his shoulder, then back again, frightened.\n\n MILO\n Please.\n\n DOJ RECEPTIONIST\n Wait in his outer office.", "Milo, still lost, is getting frantic. He doubles back, cuts \n toward another wing of the house. Through an open doorway he \n sees:", "Milo's smile freezes. As he stares at Gary, we zoom with a \n reverse dolly so that the background retreats queasily but", "HOUSEMAN\n Right here.\n\n He points to a door immediately behind him. As the Houseman \n watches, Milo goes into the\n\n BATHROOM", "Milo sits on a bench. He tries not to look, but his childhood \n hero is partly visible through a glass panel in the door:", "Milo moves low among the high-priced cars, lugging the tower. \n He gets to his Deux Chevaux, opens the trunk --\n\n VOICE\n Hey!", "Gary explodes, with incredulity.\n\n GARY\n Milo? Try to have a clue. Try to \n think.", "INT. MILO'S OFFICE - CONTINUOUS\n\n MILO SCROLLS THE SCREEN:", "Milo sits in his idling car, staring at his own house, up \n the street. How can he go in there?\n\n He puts the car in gear, does a U-Turn.", "Milo moves up a hall with unpainted walls, bare floors, \n unconnected wires. The only illumination is from construction \n lights on the concrete floor. Opening doors, he sees:", "The Houseman looks over his shoulder, sees the closed bathroom \n door, assumes Milo's still inside.\n\n INT. PARTY ROOM - CONTINUOUS" ], [ "We go with Gary. His smiles fades instantly. He pushes through \n Guests, who thank him for hosting such a brilliant \"do;\" he \n hardly hears them.", "GARY\n 'Have a look?\n\n MILO\n Sure.\n\n Gary takes the page. As he reads it over:", "Their eyes are locked. Gary blinks, sags into his chair.", "INT. GARY'S OFFICE - A MOMENT LATER", "Gary (in a suit and tie) has an open American face. But \n something goes on behind his pleasant features and self-\n possessed mien: his desire (or need) to solve the problem at", "Gary hits a switch. A wood panel slides into the wall, \n revealing a bank of four TV's.\n\n INT. CAR/HIGHWAY - CONTINUOUS", "Gary explodes, with incredulity.\n\n GARY\n Milo? Try to have a clue. Try to \n think.", "Gary puts down the book. Something in his tone draws Milo.", "TERRY (V.O.)\n There's this prejudice against super-\n smart people. People like Gary.", "Through all the cuts, we hear Gary's narration:", "GARY (ON THE PHONE)\n Milo? Gary Boyd. I'm hoping you and \n your friend can come up here. We've", "Milo's smile freezes. As he stares at Gary, we zoom with a \n reverse dolly so that the background retreats queasily but", "Gary smiles. There's no way to read it.\n\n EXT. PUBLIC LIBRARY - NIGHT\n\n Establish the humble building, in a Park.", "Gary speaks with precise hand gestures: settling the matter. \n Phil and Randy gather their papers, and stand. They exit, \n nodding at Milo as they pass. Then Gary comes out.", "As Gary concentrates, two Outpost Senior Managers speak: \n PHIL TATE, 40 (bald); and RANDY GRIMES, 36, (gray eyes).", "Milo absorbs it. Even now, he feels something for Gary.", "INT. GARY'S HOUSE - A DEN - CONTINUOUS\n\n Unlike the Housemen, Gary doesn't follow the paintings. He \n moves swiftly, seems to know where Milo is.", "Catching himself, Gary trails off. He sits down, exhales.", "GARY\n Milo. What's up?\n\n MILO\n Well -- you sent for me.\n\n GARY\n Right... Right.", "GARY\n (dark, unsmiling)\n What're you implying.\n\n MILO\n (taken aback)\n Nothing!" ], [ "MILO\n What d'you mean?\n\n TEDDY\n I dunno. I guess Larry's got me \n totally suspicious of that place.", "He looks over his shoulder, then back again, frightened.\n\n MILO\n Please.\n\n DOJ RECEPTIONIST\n Wait in his outer office.", "Milo pales as he realizes he is watching a primer on how \n racial killings are done.\n\n He hears a creaking noise behind him, and whirls.", "Pan off the clock (3:20 AM) to find Milo at his desk, looking \n at the clock with a certain dread. It's time.", "Milo, still lost, is getting frantic. He doubles back, cuts \n toward another wing of the house. Through an open doorway he \n sees:", "Milo arrives at the entrance. Heart pounding, he brings the \n card to the slot. Will he trigger that awful alarm?\n\n He slides the card, the door clicks.", "MILO\n You thought about it too. You've \n been suspicious for a while. But \n it's not happening in there. It's \n happening in the Day Care.", "Milo nods mechanically; he wants to scream. Or run. He \n perceives, amid the echoes, that Gary is standing, smiling, \n saying \"See you later.\" And he's gone.", "MILO watches him walk over to the printer, collect his \n hardcopy, and disappear from view.\n\n Milo listens: the door clicks shut, the whistling recedes.", "This sounds ominous. Lisa wonders what it means. Milo wonders \n what it means. He swallows hard.", "MILO\n They're surveilling programmers from \n in here. They steal their code. \n Sometimes -- I know this sounds insane -- \n sometimes they kill one.", "After a moment, Milo senses something.\n\n Gary stands in the doorway. Watching him. Milo doesn't \n breathe. Gary crosses the room, eyes locked with Milo's.", "Milo sits, watches Shrot encode a new card for him, finding \n his info on a terminal. On a monitor behind Shrot, Milo sees \n Programmers being ushered out of the building.", "Milo moves slowly around the table, studying the screens. \n Not surprisingly, most of the WHERE I WANNA WORK drawings \n are of desks or tables with computers.", "MILO\n (he's shaking his \n head)\n Say there's just one \"mole\" working", "Standing at his window, Milo can see #21. Workers in Hardhats \n come out of it, carrying lunchboxes. Milo holds a small \n writing pad. He notes the time.", "GARY\n What would you tell the kids? At \n your new school? You had to come up \n with a good story, right?\n\n Milo thinks: he's testing me.", "Milo climbs the stairs, fumbles with the swipecard, enters \n the Day Care.\n\n INT. COMPUTER SECURITY OFFICE - CONTINUOUS", "MILO\n He suspects I know something. I think \n he was sort of -- explaining himself", "MILO\n I thought, instead of indulging all \n these paranoid delusions, risking my" ], [ "ALICE\n Teddy was killed last night.\n\n MILO\n What're you -- what?\n\n ALICE\n It was a hate crime.", "We pick out MILO CONNOR, watching keenly. He's 21: clear-\n eyed, alive, innocent. He sits with his best friend, TEDDY \n CHIN, third-generation Chinese-American.", "MILO\n My friend, my best friend, Teddy, \n was killed in Silicon Valley.\n\n BARTON\n My goodness.", "TEDDY\n They're in the neighborhood. They \n usually hassle Vietnamese grocers.\n\n MILO\n Jesus, Teddy.", "He looks at her, perhaps hearing Teddy's words (\"what're the \n chances?\"). He nods, moves on. She watches him head up the \n hall.", "On the wall beyond Teddy the word GOOK (in blood red) has \n been covered over with paint but still bleeds through.", "Milo brought up Teddy's data, i.e., footage of a young \n Programmer at college, surveillance footage of him typing \n away (from behind), medical records that describe his", "MILO\n What d'you mean?\n\n TEDDY\n I dunno. I guess Larry's got me \n totally suspicious of that place.", "They smile. For a moment, they've brought Teddy back to life. \n Alice comes up from behind, to fetch Milo.\n\n LARRY\n Take good care of this guy.", "TEDDY\n But these, like, White Supremacists \n trashed my office, last week.\n\n MILO\n What?!", "TEDDY\n Uh. Not exactly.", "In the first window, Teddy's image dissolves into a handheld \n crime-scene video (marked SV-PD) of a ransacked grocery store.", "then shows a mutilated Asian murder victim. (All of this \n footage is made even eerier by the jerky glitches always \n present in streaming video, and its sinister graininess.)", "Milo touches the pages, like some talisman of Teddy.\n\n LISA (O.S.)\n Milo? You okay?", "MILO\n Were the flags for Teddy?\n\n Gary nods. Spontaneously Milo stands, hugs Gary.", "TEDDY\n And your phone messages. You wanna \n do what you do, it's not a crime.\n\n MILO\n Is that how Larry feels?", "MILO\n I told Teddy about you.\n\n LISA\n What'd he say?", "DANNY\n 'Couldn't convince Teddy to come?\n\n MILO\n He's pretty tight with his family.", "Milo and Teddy look at each other: right. But Danny looks \n like he means it. Milo's grin fades. He takes the phone.\n\n MILO\n ...Hello?", "Teddy's brother, NELSON, shows Milo the workspace: red \n Stanford pennant, rubber trees on the desk. Milo, in a suit, \n peers at the painted-over epithet on the wall." ], [ "Milo nods mechanically; he wants to scream. Or run. He \n perceives, amid the echoes, that Gary is standing, smiling, \n saying \"See you later.\" And he's gone.", "Milo is devastated, disbelieving. Now he sees real-time ER \n footage: an Allergy Victim, bloated, twitching, gasping, \n dying...", "Gunther and Riman rip down the barricade, reach the door. \n They whip it open, guns drawn. They see:\n\n An empty supply room. [The barricade was a decoy.]", "Under the windows, these words scroll continuously: HUMAN \n KNOWLEDGE BELONGS TO THE WORLD.\n\n Watching, Gary knits his brow: he looks wounded.", "A young, chillingly calm NANNY, watching him. The Baby fusses \n in her arms. Milo smiles, keeps moving.", "Milo pales as he realizes he is watching a primer on how \n racial killings are done.\n\n He hears a creaking noise behind him, and whirls.", "But then, hearing nearly-distant whistling, he clicks on \n windows furiously: closing them.\n\n INT. DAY CARE BACK ROOM - CONTINUOUS", "Brian lurches across to the laptop, ejects the CD-ROM. It's \n beige-colored, says Outpost Word.\n\n BRIAN\n ...When did you know?", "Milo closes his eyes, leans back: overwhelmed. Suddenly he \n sits forward, whispers almost fervently as he types:\n\n MILO\n Please don't be one of them.", "He hears her voice under the Narration, answering an unseen \n Interrogator (sounds like Phil). It's a job interview. Milo", "subtly, unconsciously shakes his head, as if to deny what \n his eyes see. The narration begins to fibrillate, again:", "Milo has finally made it. Sitting at Gary's work station, he \n slips a CD-ROM into the PC. It floods with text. The music", "GUNTHER\n (to Brian)\n Who's seeing this?\n\n BRIAN\n (with dread)\n Who isn't?", "He pulls down a menu. RECORDING is highlighted. He clicks \n PLAYBACK. The image hardly changes, but a Guard wanders", "He stands there a moment, breathes deeply. He cracks open \n the door. The Houseman is turning away another Guest; Milo \n makes his move.", "Teddy's brother, NELSON, shows Milo the workspace: red \n Stanford pennant, rubber trees on the desk. Milo, in a suit, \n peers at the painted-over epithet on the wall.", "We tell everybody. At once. So there's \n no secret left to protect. When \n everybody knows, they don't dare \n touch us.", "20 screens glow. They hang suspended over a wide, ringed \n table, a chair at each keyboard. Indeed, Gary has spared no", "Phil reads to Gary as he types.\n\n PHIL\n 19 seconds South. Altitude 431 Miles.\n\n EXT. SPACE - NIGHT", "MILO\n (he nods)\n They're already watching you. If \n they had to, they'd give him this" ], [ "Alice is calling him. Her face hardens, she hangs up.\n\n INT. MOTEL ROOM - LATER\n\n As we pan the Best Western decor (in semi-darkness):", "ALICE\n That was -- different.\n\n MILO\n ...Different?\n\n Shit. She knows.", "Milo comes eagerly up the path: can't wait to tell Alice \n what just happened. He enters -- pulls up short. Alice is \n waiting for him. She's white.", "As Linder chats, the first Houseman sidles up to Gary, \n whispers in his ear. We see Gary smile, excuse himself. He \n and Alice share a look as he moves off.", "ALICE\n Look at me! I'm gonna change.\n\n When she turns away, we see the fear on his face.", "ALICE\n Teddy was killed last night.\n\n MILO\n What're you -- what?\n\n ALICE\n It was a hate crime.", "ALICE\n Then you've gotta ask him about that.\n\n He looks at her: you've gotta be kidding.\n\n ALICE\n It's important.", "Alice is on the phone in the front room. Agitated, she puffs \n on a pencil (surrogate cigarette). We hear Phil through the \n receiver:", "Milo is staggered. She moves to him...\n\n ALICE\n I'm sorry. I'm so sorry.\n\n He hangs onto her, for support.", "He smiles. But his heart's not in it. She hates to see him \n suffer. She picks up her glass.\n\n ALICE\n C'mon. Let's do the toast?", "ALICE\n (fighting tears)\n Just shut up?\n\n Or is she faking it? Has he lost the trust of all of them? \n He's afraid, now.", "ALICE\n It's almost nine, I've been so \n worried!\n (she takes his hands)\n What did you see in there?", "The audio crackles and drops out again. Milo's eyes narrow: \n he sees video of Alice, sitting on a folding chair, speaking \n to someone. She has a harder look, pulls on a Marlboro.", "MILO\n Nothing.\n\n ALICE\n Nothing?\n\n She watches him as he collapses onto the couch.", "ALICE\n He'll tell me when he gets home.\n\n PHIL\n That'll be a test, won't it?", "Alice is at the counter, among children and mothers, \n purchasing a chemistry set.\n\n INT. MILO'S OFFICE - NIGHT (CONTINUE MONTAGE)", "INT. ALICE & MILO'S HOUSE - LATER\n\n Alice is in bed. In the darkness, Milo comes in as quietly \n as possible. But she switches on the bedside lamp.", "She can't lie. She shakes her head.\n\n ALICE\n Just tell me what to do.\n\n BEGIN MONTAGE:", "He doesn't see her smile: is that all. Assuming an \n appropriately concerned expression, she moves toward him:\n\n ALICE\n I was so worried about you.", "He fumbles with his keys. When he gets inside:\n\n MILO\n Alice? Alice!" ], [ "Up the hall, a young woman (LISA) is about to go into her \n office. She pauses half a second, looks at Milo, goes in. \n She's beautiful.", "MILO\n ...She is.\n (turning away from \n Lisa)\n She is!", "LISA\n ...Milo?\n\n MILO\n Hmm?", "LISA\n That's great. I -- didn't know.\n\n MILO\n She saved my life.\n\n EXT. GAS STATION - NIGHT", "LISA\n Then and now.\n (when he looks at her)\n But not right now.\n\n She maintains eye contact. Her meaning is clear.", "Lisa passes behind them, smiles fleetingly at Milo. At a \n table, Randy and Phil note the \"interaction.\" Meantime:", "LISA\n But you said the other --\n\n He rings off. He reads something off a business card.\n\n INT. LISA'S HOUSE - CONTINUOUS", "LISA\n Did you wanna be alone?\n\n MILO\n No. Please.\n\n He indicates she should sit.", "Lisa watches the news report, knowingly.\n\n INT. BUILDING 20 HALLWAY - DAY\n\n Lisa heads up the hall, carrying a CD-ROM.", "in place. Lisa has dialed 911. She's scared.", "INT. PHYSICAL SECURITY OFFICE - DAY\n\n Lisa sits with Bob Shrot. She's unfolding a page of sketch \n paper.", "She nods, manipulates the mouse. He stares at the screen \n strenuously, fighting the impulse to stare at Lisa.\n\n INT. ANTEROOM - GARY'S OFFICE", "MILO\n Lisa.\n\n LISA\n You know my name.\n\n MILO\n You know mine.", "PHIL\n Lisa's an extremely valuable member \n of the Skywire team. We've got our \n eyes on her. You keep yours on Milo.", "LISA\n Oh.\n (she gets bashful)\n I liked you. I was checking you out.", "LISA\n No.\n\n But he holds on.\n\n MILO\n Nobody's gonna hurt you.", "Milo clicks. A MAN's pair of mug shots appear. In the other \n window, a grade-school yearbook photo of Lisa.", "LISA\n You're famous around here.\n\n MILO\n (winces)\n I'm getting a teacher's pet rep.", "Lisa is on the scaffolding, having climbed it brazenly, in \n broad daylight. She holds a small metal box with a meter and", "LISA\n No, I know what you mean. I used to \n spend my life wishing people could" ], [ "Gunther and Riman rip down the barricade, reach the door. \n They whip it open, guns drawn. They see:\n\n An empty supply room. [The barricade was a decoy.]", "Gunther and Riman have created an opening in the barricade. \n They step through it. They hear the racket the Rent-a-Guard \n is making upstairs. They head that way.", "We hear sirens grow near. Gunther watches the broadcast, \n still gripping his gun.\n\n RIMAN\n (to Gunther)\n You know the scenario for this.", "He pulls down a menu. RECORDING is highlighted. He clicks \n PLAYBACK. The image hardly changes, but a Guard wanders", "The bomb explodes. The blast is tiny but loud (glass cleaning \n bottles ring; plastic bottles moan).\n\n INT. SECURITY OFFICE - CONTINUOUS", "He hits enter. The door is kicked open. Gunther & Riman enter, \n Gunther with a gun, Riman still carrying the light stand.", "Under the windows, these words scroll continuously: HUMAN \n KNOWLEDGE BELONGS TO THE WORLD.\n\n Watching, Gary knits his brow: he looks wounded.", "He looks over his shoulder, then back again, frightened.\n\n MILO\n Please.\n\n DOJ RECEPTIONIST\n Wait in his outer office.", "Gunther, Riman and Randy climb the metal stairs, turn at a \n landing, climb some more.\n\n When they get to the next landing, Riman opens the door. \n They enter", "Milo arrives at the entrance. Heart pounding, he brings the \n card to the slot. Will he trigger that awful alarm?\n\n He slides the card, the door clicks.", "A wide shot: they hold each other, alone in the storm.\n\n VOICE (PHIL)\n All his suspicions were allayed?", "Milo turns, sees Brian (Stanford classmate, Outpost zealot) \n give an envelope to a Guard at the door of #20; he trots", "Riman takes the lightstand from him. The Rent-a-Guard puts \n his hands up, sidles across the hallway as they tear into \n the barricade.", "Gunther and Riman grab holstered guns, race out. Randy types \n some more, speaks into the phone:\n\n RANDY\n Public access TV station. KNQR.", "MILO\n (almost silently)\n It's a camera.\n\n EXT. BACK GARDEN - AGAIN", "SHROT\n Un-nh, can't wander around without \n ID now. Just park your ass in that \n chair.\n\n Milo sits. Shrot goes out with the Guard.", "But then, hearing nearly-distant whistling, he clicks on \n windows furiously: closing them.\n\n INT. DAY CARE BACK ROOM - CONTINUOUS", "They have come to a stop in a windowed entryway. Milo watches \n Gary keenly. Gary nods. He knits his brow.", "Gunther and Riman tear through the barricade the Rent-A-Cop \n has erected with ruthless precision.\n\n INT. SATELLITE ROOM - CONTINUOUS", "MILO\n (he nods)\n They're already watching you. If \n they had to, they'd give him this" ], [ "We go with Gary. His smiles fades instantly. He pushes through \n Guests, who thank him for hosting such a brilliant \"do;\" he \n hardly hears them.", "MILO watches him walk over to the printer, collect his \n hardcopy, and disappear from view.\n\n Milo listens: the door clicks shut, the whistling recedes.", "ALICE\n We gotta go too, honey.\n\n As he heads out with Alice, he unthinkingly stuffs the \n filament in his suit pocket.", "The tracks are still flat, there's no redness. He shovels a \n large bite into his mouth, ecstatic to be alive. Then another \n bite, greedy with life.", "Milo, still lost, is getting frantic. He doubles back, cuts \n toward another wing of the house. Through an open doorway he \n sees:", "He's lost.\n\n He starts into one room -- backs up -- goes into another.\n\n INT. ENTRANCE HALL - CONTINUOUS", "TRACK MILO as he wends his way through laughing, chatting \n Guests, dread and determination on his face. He moves away \n from us, enters the\n\n ENTRANCE HALL", "HOUSEMAN\n Right here.\n\n He points to a door immediately behind him. As the Houseman \n watches, Milo goes into the\n\n BATHROOM", "He stands there a moment, breathes deeply. He cracks open \n the door. The Houseman is turning away another Guest; Milo \n makes his move.", "Milo nods mechanically; he wants to scream. Or run. He \n perceives, amid the echoes, that Gary is standing, smiling, \n saying \"See you later.\" And he's gone.", "Looking over his shoulder, Milo hurries to a door at the far \n end of the room, silently cursing the Mondrian that inevitably \n appears.", "But then, hearing nearly-distant whistling, he clicks on \n windows furiously: closing them.\n\n INT. DAY CARE BACK ROOM - CONTINUOUS", "He presses himself into an alcove. Through a chink in the \n unfinished wall he sees:", "a corner. He approaches, convinced the answer lies here. \n Clearing the wall he sees:", "A young, chillingly calm NANNY, watching him. The Baby fusses \n in her arms. Milo smiles, keeps moving.", "Gary speaks with precise hand gestures: settling the matter. \n Phil and Randy gather their papers, and stand. They exit, \n nodding at Milo as they pass. Then Gary comes out.", "FADE TO BLACK:\n\n THE END", "When she's gone, he flips his left arm over and drags the \n tines of his fork against it, making score-marks, like those \n used by allergists to test for sensitivity.", "Catching himself, Gary trails off. He sits down, exhales.", "Milo and Alice get out. As they go inside, she pulls a tag \n from the sleeve of his just-bought dinner jacket." ] ]

[ "Whose murder causes Hoffman to become suspicious about NURV?", "Who agrees to help Hoffman expose NURV?", "What is the name of the company Hoffman and his friends found?", "What is NURV's flagship product?", "Which of NURV's work centers is usurped to transmit code?", "Who moves to Portland with Hoffman?", "How does Teddy die?", "What coworker does NURV have sensitive personal information on?", "What governmental agency has NURV infiltrated?", "What is NURV an abbrevation for?", "Where did Milo Hoffman attend college?", "What company did Hoffman and his friends start?", "Who is Alice Poulson?", "Why was Teddy Chin murdered?", "Who is stealing programming codes?", "Who is the double agent that turn on Hoffman?", "Who is the CEO of NUVR?", "The massive survellince system NUVR has is being used for what purpose?", "Who was arrested as the was trying to murder Hoffmaan?", "What is Skullbocks?", "Who is Milo Hoffman?", "Who is Gary Winston?", "Why does Milo become suspicious after starting his new job?", "What terrible thing happens to Teddy Chin?", "Which huge secret does Hoffman learn about NURV?", "What life-shattering news does Hoffman learn about Alice?", "Who is Lisa Calighan?", "How are Calighan and Winston arrested?", "Where does Hoffman go at the end of the story?" ]

[ [ "Teddy Chin", "Teddy Chin, Hoffman's best friend" ], [ "Lisa Calighan", "Lisa Calighan" ], [ "Skullbocks", "Skullbocks" ], [ "Synapse", "Synapse" ], [ "Building 21", "Building 21" ], [ "Alice Poulson, his girlfriend", "His girlfriend Alice" ], [ "He is murdered.", "He is murdered by NURV" ], [ "Lisa Calighan", "Lisa Calighan" ], [ "The Justice Department", "Justice Department" ], [ "Never Underestimate Radical Vision.", "Never Underestimate Radical Vision" ], [ "Stanford.", "Stanford" ], [ "Skullbocks.", "Skullbocks" ], [ "Hoffman's girlfriend.", "Hoffman's girlfriend, an ex-con hired by NURV to manipulate him." ], [ "To cover up the theif of his programming code.", "Programs were being stolen from him and he needed to be killed to cover their tracks" ], [ "NURV.", "NURV" ], [ " Lisa Calighan.", "His girlfriend" ], [ "Gary Winston.", "Gary Winston" ], [ "To spy on programmers and pilfer their codes.", "Stealing codes." ], [ "Winston.", "Calighan, Winston and his entourage" ], [ "A new software development company", "software company" ], [ "A young owner of Skullbocks", "Stanford Graduate." ], [ "The CEO of NURV who offers Milo a software job at his company", "CEO of NURV" ], [ "The source code is outstanding, but Winston refuses to reveal its source.", "Winston keeps giving him the perfect source code at the perfect time" ], [ "He's found murdered", "He is murdered" ], [ "They're stealing code from programmers and then killing them.", "Theft" ], [ "She's an ex-con, a plant whom NURV hired to manipulate him.", "She was hired by NURV to manipulate him" ], [ "A coworker who agrees to help Hoffman but is really a double agent.", "Friend and co-worker" ], [ "Hoffman's team takes over a NURV work center and transmit the evidence against them.", "Internal security." ], [ "Back to his old job at Skullbocks", "Back to Skullbocks" ] ]

[ [ "He then gave me to understand that the young gentleman, at his emerging\nfrom concealment, had disclosed his passion for Miss Melford, the niece", "of Mr Bramble, of Monmouthshire. Though Mr Dennison little dreamed that\nthis was his old friend Matthew Loyd, he nevertheless furnished his son", "pressing him to his breast), I am that very identical Matthew Loyd of\nGlamorgan.’ Clinker, who had just entered the room with some coals for", "at this scene, ‘You say nothing, Matt (cried she); but I know your\nmind--I know the spite you have to that poor unfortunate animal! I know", "shocked at the consequence of my own folly.’--Then, laying his hand\non Clinker’s head, he added, ‘Stand forth, Matthew Loyd--You see,", "In a word, Grieve was no other than Ferdinand count Fathom, whose\nadventures were printed many years ago. Being a sincere convert to", "Mrs Tabitha chancing to accost her brother by the familiar diminutive\nof Matt, ‘Pray, sir (said the lieutenant), ‘is your name Matthias?’ You", "brother, in behalf of Mr Barton’s passion; and I am sadly afraid that\nmy aunt is already gained over. Yesterday in the forenoon, he had been", "since he was appointed lieutenant of the Severn. He was metamorphosed\ninto an old man, with a wooden leg and a weatherbeaten face, which\nappeared the more ancient from his grey locks, that were truly", "it cannot contain itself; though I am under such agitation of spirits,\nthat you are to expect neither method nor connexion in this address--We\nhave been this day within a hair’s breadth of losing honest Matthew", "The knight being seated in an easy chair, seized my uncle by the hand,\nand bursting into a long and loud laugh, ‘Matt (cried he), crown me with", "immediately called, and being interrogated on the subject, declared that\nthe young fellow’s name was Humphry Clinker. That he had been a love", "am your son Willy, sure enough!’ Before the father, who was quite\nconfounded, could make any return to this tenderness, a decent old woman", "not how you came hither; but, I think, Heaven sent you to prevent my\ngoing distracted--O Matthew! I have lost my dear Harriet!--my poor,", "The poor girl, when I earnestly pressed her on this head, owned with\na flood of tears, that Wilson had actually come to the Hot Well at", "you, Matt! (cried she) what doings are these, to disgrace your own\ncharacter, and disparage your family?’--Then, snatching the bank note", "brought to herself: but, then her feeling took another turn. She shed\na flood of tears, and cried aloud, ‘I know not who you are: but,", "after Miss Liddy, and frightened me with a beard at Bristol Well, is now\nmatthew-murphy’d into a fine young gentleman, son and hare of ‘squire", "it would have been impossible to know him, if my heart had not assisted\nin the discovery. I was so surprised, and so frightened that I fainted\naway, but soon recovered; and found myself supported by him on the", "ignorant of the connexion between this intruder and his mistress, gave\nthe former such a kick in the jaws, as sent him howling to the door--Mrs" ], [ "But, in truth, all this concern was dissembled. In his approaches of\ngallantry to Mrs Tabitha, he had been misled by a mistake of at least", "of Mrs Tabby’s disappointment; for he is, without doubt, aware of her\ndesigns upon his person--The particulars of the denouement you shall\nknow in due season: mean while I am", "But, to take things in order--We left Edinburgh ten days ago; and the\nfurther North we proceed, we find Mrs Tabitha the less manageable; so", "use her best endeavours to provide an agreeable help-mate for our sister\nTabitha, who seems to be quite desperate in her matrimonial designs.", "did not leave the village without doing something for her benefit--Even\nTabitha’s charity was awakened on this occasion. As for the", "Our adventures since we left Scarborough, are scarce worth reciting;\nand yet I must make you acquainted with my sister Tabby’s progress in", "come to make her formal compliments of condolance to Mrs Tabitha, on\nthis domestic calamity; and that prudent maiden, whose passion was", "This invitation might not have been agreeable to the ladies, had they\nknown the real profession of our guest, but this was a secret to all,\nexcept my uncle and myself. Mrs Tabitha, however, would by no means", "believe our aunt, Mrs Tabitha, had entertained hopes of being able to\ndo some execution among the cavaliers at this assembly. She had been", "entertaining: but, as there seemed to be something particular in\nhis attention to Mrs Tabitha, he and I agreed in opinion, that this\nintercourse should be encouraged and improved, if possible, into a", "yet reached no farther than his imagination. It was not long before he\nhad reason to repent his premature declaration; for our aunt Tabitha\nfound means to make such a clamour and confusion, before the flannels", "Mrs Tabitha as his sister, and Liddy as his niece. The old gentleman\nsaluted them very cordially, and seemed struck with the appearance of my", "Tabitha, incensed at this outrage, ran after him, squalling in a tone\nequally disagreeable; while the Baronet followed her on one side,", "One would imagine that these paraphernalia would not have been much\nadmired by a modern fine lady; but Mrs Tabitha was resolved to approve", "I wrote to you in my last, that he had recourse to my mediation, which I\nemployed successfully with my uncle; but Mrs Tabitha held out ‘till the", "he could not comprehend. I told him I thought it was no difficult matter\nto perceive the drift of Mrs Tabitha, which was to ensnare the heart", "Whether our sister Tabby was really struck with his conversation, or is\nresolved to throw at every thing she meets in the shape of a man, till", "their religious society, he told him, that her ladyship was the person\nwho first carried my aunt and sister to the Tabernacle, whither he", "The coach being adjusted, another difficulty occurred--Mrs Tabitha\nabsolutely refused to enter it again, unless another driver could", "will find a retreat without going so far as the wigwams of the Miamis.\nMy sister Tabby is making continual advances to him, in the way of" ], [ "But, in truth, all this concern was dissembled. In his approaches of\ngallantry to Mrs Tabitha, he had been misled by a mistake of at least", "Mrs Tabitha as his sister, and Liddy as his niece. The old gentleman\nsaluted them very cordially, and seemed struck with the appearance of my", "Tabitha, incensed at this outrage, ran after him, squalling in a tone\nequally disagreeable; while the Baronet followed her on one side,", "to Mrs Tabitha, who rejected it with great disgust, bidding him keep his\nsermons for those who had leisure to hear such nonsense.--My uncle sat,", "of Mrs Tabby’s disappointment; for he is, without doubt, aware of her\ndesigns upon his person--The particulars of the denouement you shall\nknow in due season: mean while I am", "Mrs Tabitha chancing to accost her brother by the familiar diminutive\nof Matt, ‘Pray, sir (said the lieutenant), ‘is your name Matthias?’ You", "Whether our sister Tabby was really struck with his conversation, or is\nresolved to throw at every thing she meets in the shape of a man, till", "recollection enough to send his servant with some money to silence those\nnoisy intruders; and they were immediately dismissed, though not without\nsome opposition on the part of Tabitha, who thought it but reasonable", "use her best endeavours to provide an agreeable help-mate for our sister\nTabitha, who seems to be quite desperate in her matrimonial designs.", "Liddy, with great emotion), she’s an angel.’ Tabby chid her for talking\nwith such freedom in company; and the lady of the house said, in a", "Mrs Tabby’s manner with her cast cloaths.--She dresses and endeavours\nto look like her mistress, although her own looks are much more", "come to make her formal compliments of condolance to Mrs Tabitha, on\nthis domestic calamity; and that prudent maiden, whose passion was", "Tabby seems to enjoy herself with peculiar satisfaction. For my part, I\ndetest it so much, that I should not have been able to stay so long in\nthe place if I had not discovered some old friends; whose conversation", "in proportion to her coyness, our aunt is coming. Mrs Tabitha goes more\nthan half way to meet his advances; she mistakes, or affects to mistake,", "of works, and the operations of the spirit. Mrs Tabitha, attended by\nHumphry Clinker, was introduced to one of their conventicles, where they", "All this attention he repaid with a profusion of compliments and\nbenedictions, which were not the less agreeable for being delivered in\nthe Scottish dialect. As for Mrs Tabitha, his respects were particularly", "This invitation might not have been agreeable to the ladies, had they\nknown the real profession of our guest, but this was a secret to all,\nexcept my uncle and myself. Mrs Tabitha, however, would by no means", "to the ladies; and Mrs Tabitha did not fail to compliment him on his\nmodesty in waving the merit of his ancestry, adding, that it was the", "too delicate to exhibit any strong marked signs of their mutual\nsatisfaction, but their eyes are sufficiently expressive--Mrs Tabitha\nLismahago is rather fulsome in signifying her approbation of the", "set an elbow-chair; another shook up the cushion; a third brought a\nstool; and a fourth a pillow, for the accommodation of his feet--\nTwo ladies (of whom Tabby was always one) supported him into the" ], [ "Mr Bramble’s eyes began to glisten, and his teeth to chatter. ‘If stated\nfairly (said he, raising his voice) the question is, whether I have", "there, in some confusion, he made an apology for having taken the\nliberty to trouble him with a letter at Stevenage. He expressed his\nhope, that Mr Bramble had bestowed some consideration on his unhappy", "noise, might look for lodgings elsewhere. Mr Bramble no sooner received\nthis reply, than his eyes began to glisten, his face grew pale, and his", "malice must own, that he is one of the greatest officers in\nChristendom.’ ‘I think he is (said Mr Bramble) but who are these young", "of Mr Bramble, of Monmouthshire. Though Mr Dennison little dreamed that\nthis was his old friend Matthew Loyd, he nevertheless furnished his son", "his betters; and I suppose we shall in time have a whole litter of his\nprogeny at Brambleton-hall. The fellow is stout and lusty, very sober", "He then gave me to understand that the young gentleman, at his emerging\nfrom concealment, had disclosed his passion for Miss Melford, the niece", "Dear Lewis, Your affectionate M. BRAMBLE GLOUCESTER, April 2.\n\n\n\n\nTo Mrs GWYLLIM, house-keeper at Brambleton-hall.", "lamentations of Matthew Bramble. Yet I cannot help thinking I have\nsome right to discharge the overflowings of my spleen upon you, whose\nprovince it is to remove those disorders that occasioned it; and let", "the present (cried Mr Bramble); your lordship has not yet drank a\nbumper to the best in Christendom.’ ‘I’ll drink no more bumpers to-day", "The poor girl, when I earnestly pressed her on this head, owned with\na flood of tears, that Wilson had actually come to the Hot Well at", "brother, in behalf of Mr Barton’s passion; and I am sadly afraid that\nmy aunt is already gained over. Yesterday in the forenoon, he had been", "Mr Bramble was no sooner informed, that her ladyship had acted as the\nprimum mobile of this confederacy, than he concluded she had only made", "atchievement was relished by Mr Bramble, who is impatient, irascible,\nand has the most extravagant ideas of decency and decorum in the", "satellites that attend his motions?’ When Barton told him their names,\n‘To their characters (said Mr Bramble) I am no stranger. One of them,", "which had received some damage, should be repaired; and here we met\nwith an incident which warmly interested the benevolent spirit of Mr\nBramble--As we stood at the window of an inn that fronted the public", "Mr Bramble, perceiving Liddy in great trepidation, assumed a milder\naspect, bidding her be under no concern, for he was not at all", "abominably; but that he had always observed those weeping and praying\nfellows were hypocrites at bottom. Mr Bramble made no reply to this", "uncle grew hot, assured her he had a very great respect for Mr Bramble,\nbut he had still more for his own honour, which had suffered pollution;", "Dear Lewis, Your affectionate friend and servant, MATT. BRAMBLE EDR.\nJuly 18.\n\n\n\n\nTo Mrs MARY JONES, at Brambleton-hall." ], [ "Dennison’s, is that very identical youth who, under the name of Wilson,\nhas made such ravage in my heart!--Yes, my dear friend! Wilson and I are", "conceive the meaning of Wilson’s coming hither:--perhaps, it was in\nquest of us, in order to disclose his real name and situation:--but", "the horseman had alighted, but that he would not enquire without further\norders. I sent him back immediately to know what strangers were in the\nhouse, and he returned with a report that there was one Mr Wilson lately", "her inward thoughts, and disclosed her passion for Mr Wilson; and that’s\nnot his name neither; and thof he acted among the player-men, he is meat", "Wilson, requesting him to come hither; and that as there was no other in\nthe place of that name, he naturally concluded the note was intended", "of Wilson; and, I suppose, treated him with insolence enough. The\ntheatrical hero was too far gone in romance to brook such usage: he", "immediately called, and being interrogated on the subject, declared that\nthe young fellow’s name was Humphry Clinker. That he had been a love", "ashamed to tell you! she fell in love with one of the actors--a handsome\nyoung fellow that goes by the name of Wilson. The rascal soon perceived", "gracious! what d’ye think he said?--‘I am Wilson!’ His features struck\nme that very moment it was Wilson, sure enough! but so disguised, that", "(gracious Heaven!) I instantly discovered to be Wilson! He wore a white\nriding-coat, with the cape buttoned up to his chin; looking remarkably", "so long, under the name of Wilson--He had eloped from college at\nCambridge, to avoid a match that he detested, and acted in different\nparts of the country as a stroller, until the lady in question made", "had lodged, who should pass by but Wilson a-horse back!--I could not be\nmistaken in the person, for I had a full view of him as he advanced; I", "The poor girl, when I earnestly pressed her on this head, owned with\na flood of tears, that Wilson had actually come to the Hot Well at", "he little dreamed that we were in the house--As for the real Mr Wilson,\nwhom I called forth to combat, by mistake, he is the neighbour and", "affected by the censure he passed upon my own indiscretion, as with the\nreflection he made on the conduct of Wilson. He observed, that if he", "house. All this time I was ignorant of what had passed the preceding\nday; and neither of the parties would discover a tittle of the matter.\nThe mayor observed that it was great presumption in Wilson, who was a", "Liddy’s heart was pre-occupied; and immediately the idea of Wilson\nrecurring to his imagination, his family-pride took the alarm. He", "The real Wilson is a great original, and the best tempered,\ncompanionable man I ever knew--I question if ever he was angry or", "for him, and him only--I then gave him to understand, that I had been\ninjured by a person who assumed that name, which person I had actually\nseen within the hour, passing through the street on horseback; that", "The imposture was detected in the sequel, and our Hibernian pamphleteer\nretains no part of his assumed importance, but the bare title of" ], [ "lodgings with her aunt, and Wilson bribed the maid to deliver a letter\ninto her own hands; but it seems Jery had already acquired so much", "has denied our friend--Liddy seems to be of the same opinion. When\nhe addresses himself to her in discourse, she seems to listen with\nreluctance, and industriously avoids all particular communication; but", "Liddy’s fears and perplexities have been much assuaged by the company\nof one Miss Willis, who had been her intimate companion at the", "LYDIA MELFORD\n\nDirect for me, still under cover, to Win; and Jarvis will take care to\nconvey it safe. Adieu.", "LYDIA MELFORD\n\n\n\n\nTo Mrs MARY JONES, at Brambleton-hall.\n\nDEAR MOLLY JONES,", "the impression he had made, and managed matters so as to see her at\na house where she went to drink tea with her governess.--This was the\nbeginning of a correspondence, which they kept up by means of a jade", "The poor girl, when I earnestly pressed her on this head, owned with\na flood of tears, that Wilson had actually come to the Hot Well at", "carry on any correspondence with him, or any other admirer, for the\nfuture, without the privity and approbation of her brother and me.", "Liddy, with great emotion), she’s an angel.’ Tabby chid her for talking\nwith such freedom in company; and the lady of the house said, in a", "towards her poor Liddy. I am sorry you have lost the society of the\nagreeable Miss Vaughn; but, I hope you won’t have cause much longer to", "value of a true friend. O, my dear Letty! what shall I say about poor\nMr Wilson? I have promised to break off all correspondence, and, if", "You have, indeed, reason to be surprised, that I should have concealed\nmy correspondence with miss Blackerby from you, to whom I disclosed all", "and avocations, I should have thought altogether odd, and even\nunnatural, had not I perceived that my sister Liddy had made some\nimpression upon his heart. I cannot say that I have any objection to", "Mr Dennison is an elegant poet, and has written some detached pieces on\nthe subject of his passion for Liddy, which must be very flattering", "her inward thoughts, and disclosed her passion for Mr Wilson; and that’s\nnot his name neither; and thof he acted among the player-men, he is meat", "tears, confessed all the particulars of the correspondence, at the same\ntime giving up three letters, which was all she had received from her", "all the sullen dignity of silence at dinner, seemingly pregnant with\ncomplaint and expostulation. As she had certainly marked Barton for her\nown prey, she cannot possibly favour his suit to Liddy; and therefore", "Mrs Tabitha as his sister, and Liddy as his niece. The old gentleman\nsaluted them very cordially, and seemed struck with the appearance of my", "house; and an immediate union of the two families is to take place in\nthe persons of the young gentleman and your poor Lydia Melford.--You\nwill easily conceive how embarrassing this situation must be to a young", "her capable of carrying on any clandestine correspondence with such a\nfellow, I should at once discard all tenderness, and forget that she was\nconnected with me by the ties of blood--But how is it possible that" ], [ "immediately called, and being interrogated on the subject, declared that\nthe young fellow’s name was Humphry Clinker. That he had been a love", "and poor Clinker sent to prison in a hackney-coach, guarded by the\nconstable, and accompanied by your humble servant. By the way, I was not", "by the parish. We were exceedingly mortified at this disappointment,\nwhich, however, was surmounted by the help of Humphry Clinker, who is a", "for the resolution and activity of his servant Humphry Clinker, whom\nProvidence really seems to have placed near him for the necessity of\nthis occasion.--I would not be thought superstitious; but surely he", "In short, we found that Humphry was, at that very instant, haranguing\nthe felons in the chapel; and that the gaoler’s wife and daughter,", "is now exercising his ministry among the felons in Clerkenwell prison--A\npostilion having sworn a robbery against him, no bail could be taken,", "While we were visiting honest Humphry in Clerkenwell prison, my uncle\nreceived a much more extraordinary visit at his own lodgings. Mr Martin,", "own father? for, 0 Letty, it was discovered that Humphry Clinker was my\nuncle’s natural son.", "himself.--Two days ago he was apprehended for a robbery on the highway,\nand committed, on the evidence of an accomplice. Clinker, having moved", "of works, and the operations of the spirit. Mrs Tabitha, attended by\nHumphry Clinker, was introduced to one of their conventicles, where they", "Clinker, without doubt, thinks himself happy in the removal of a\ndangerous rival, and he is too good a Christian, to repine at Dutton’s", "retired. At the foot of the stair-case, there was a crowd of lacqueys\nand chairmen, and in the midst of them stood Humphry Clinker, exalted", "stood before him, and to whom, indeed, Humphry bore not the smallest\nresemblance; the constable (who was himself a thief-taker) gave me to", "Clinker was so incensed at Dutton, whom he considered as the cause of\nher disgrace, that he upbraided him severely for having turned the", "that he could freely make oath he was not the man: but Humphry himself\nwas by this time pretty well rid of all apprehensions of being hanged;", "The very day after I wrote my last, Clinker was set at liberty. As\nMartin had foretold, the accuser was himself committed for a robbery,", "side of the coach, and began to adjust the footboard, was no other than\nHumphry Clinker--When I handed out Mrs Bramble, she eyed him with a", "loose parcels; and, at length, displayed the individual countenance\nof Humphry Clinker, who had metamorphosed himself in this manner, by", "uncle’s footman, Humphrey Clinker, who is really a deserving young man,\nand one Dutton, my brother’s valet de chambre, a debauched fellow; who,", "GUTENBERG EBOOK THE EXPEDITION OF HUMPHRY CLINKER ***\n\n\n\n\nProduced by Martin Adamson and Andreas Philipp" ], [ "Such was the fortunate issue of this perilous adventure, which\nthreatened abundance of vexation to our family; for the ‘squire is one", "very well afford to keep more servants than were found in the family\nof a man who had not half his fortune. Mrs Baynard ate no supper that\nevening; but was seized with a violent fit, which completed her triumph", "He had therefore ceased struggling against the stream, and endeavoured\nto reconcile himself to ruin, by reflecting that his child at least\nwould inherit his mother’s fortune, which was secured to him by the", "while she herself was embraced by the weeping mother. This moving scene\nwas completed by the entrance of Grieve himself, who falling on his", "which, however, he and his wife had borne with the most exemplary\nresignation. At length, by dint of unwearied attention to the duties of", "The farce is finished, and another piece of a graver cast brought upon\nthe stage.--Our aunt made a desperate attack upon Barton, who had no", "The fatal knots are now tied. The comedy is near a close; and the\ncurtain is ready to drop: but, the latter scenes of this act I shall", "company standing uncovered. The ceremony was closed with the discharge\nof pistols; then we returned to the castle, resumed the bottle, and\nby midnight there was not a sober person in the family, the females", "insisted upon our staying dinner; and their serenity seemed to be\nso little ruffled by what had happened, that we complied with their\ninvitation. The ‘squire had been brought home over night in his", "The nuptial peal of noise and nonsense being rung out in all the usual\nchanges, Mr Baynard thought it high time to make her acquainted with", "have been engaged in a ridiculous adventure, which I shall recount at\nmeeting; and this, I hope, will not be much longer delayed, as we have\nnow performed almost all our visits, and seen every thing that I think", "going up to his mother, kissed one hand; my niece bathed the other with\nher tears; and the good old lady pressed them both in their turns to\nher breast.--The lovers were too much affected to get rid of their", "overwhelmed his parents with terror and affliction; but he was now\nhappily recovered, though still weak and disconsolate. My nephew joining\nus in our walk, I informed him of these circumstances, with which he", "beginning, has been moved by my tears and distress; and is now all\ntenderness and compassion; and my brother is reconciled to me on my\npromise to break off all correspondence with that unfortunate youth;", "cheer, and she, the picture of good nature. All this agreeable prospect\nwas clouded, and had well nigh vanished entirely, in consequence of\na late misunderstanding between the future brothers-in-law, which,", "administering. As for the grandson of the defunct, he is a sober,\nsensible, worldly minded fellow, too intent upon schemes of interest to", "at last, obtained of him a promise of the presentation, when the living\nshould fall. Prankley, on his uncle’s death, quitted Oxford, and made", "Mrs Dennison interposing said, ‘Compose yourselves, my dear\nchildren.--Your mutual happiness shall be our peculiar care.’ The son", "I now sit down to execute the threat in the tail of my last. The truth\nis, I am big with the secret, and long to be delivered. It relates to my\nguardian, who, you know, is at present our principal object in view.", "well nigh ruined the estate, when he was happily carried off by a fever,\nthe immediate consequence of a debauch. Charles, with the approbation of\nhis wife, immediately determined to quit business, and retire into the" ], [ "companion Matthew Loyd. The young gentleman, being impowered to make\nhonourable proposals to my uncle and me, had been in search of us all", "very well afford to keep more servants than were found in the family\nof a man who had not half his fortune. Mrs Baynard ate no supper that\nevening; but was seized with a violent fit, which completed her triumph", "When he was going abroad the last time, he took his passage in a ship\nbound for Leghorn, and his baggage was actually embarked. In going down", "In the afternoon they took leave of their entertainers, and the young\ngentleman, mounting his horse, undertook to conduct their coach through\nthe park, while one of their servants rode round to give notice to the", "persuaded his brother-in-law to carry his wife to Bath; and I believe\nhis parents will accompany him thither.--For my part, I have no", "the gander, and the maids eating butter, which I won’t allow to be\nwasted.--We are now going upon a long journey to the north, whereby I", "house, as there was no company left in London. He would have excused\nhimself from this excursion which was no part of the oeconomical plan he\nhad proposed; but she insisted upon making this sacrifice to his taste", "it cannot contain itself; though I am under such agitation of spirits,\nthat you are to expect neither method nor connexion in this address--We\nhave been this day within a hair’s breadth of losing honest Matthew", "however, Mrs Baynard, in order to exhibit a proof of conjugal obedience,\ndesired of her own accord, that they might pay a visit to his country", "well nigh ruined the estate, when he was happily carried off by a fever,\nthe immediate consequence of a debauch. Charles, with the approbation of\nhis wife, immediately determined to quit business, and retire into the", "intended to take the fellow with him to London, she would not go a foot\nfurther that way--My uncle said nothing with his tongue, though his\nlooks were sufficiently expressive; and next morning Clinker did not", "Of my uncle, I have nothing at present to say; but that we set out\ntomorrow for London en famille. He and the ladies, with the maid and", "make our exit successively by that conveyance. The ‘squire exhorted his\nsister to begin the descent; but, before she could resolve, her woman,", "which, indeed, were equally absurd and intolerable--He therefore hoped\nshe would have no objection to their leaving London in the spring, when\nhe would take the opportunity to dismiss some unnecessary domestics,", "occasions any other way, than by taking to the road, in which he\nhas travelled hitherto with uncommon success.--He pays his respects", "Here, being furnished with letters from my uncle, he took his leave of\nus, with strong symptoms of gratitude and attachment, and set out for\nSunderland, in order to embark in the first collier, bound for the", "servant, with a compliment, importing that we would wait upon him next\nday in person; but that gentleman visited us immediately, and insisted\nupon our going to his own house, until he could provide lodgings for our", "resided in a remote part of the country, and we were five gentlemen with\nas many servants, we carried some provision with us from the next market\ntown, lest we should find him unprepared for our reception. The roads", "depended upon in those matters, are out of the way; one is gone abroad,\ncarpenter of a man of war; and the other, has been silly enough to", "himself a few weeks, and then continued his route for Naples, in order\nto wait for the next opportunity of embarkation--After having twelve\ntimes described this circle, he lately flew off at a tangent to visit" ], [ "Her brother, entirely disarmed by this mild reply, declared, she could\nask him nothing in reason that he would refuse; adding, ‘I hope, sister,\nyou have never found me deficient in natural affection.’", "Mrs Tabitha chancing to accost her brother by the familiar diminutive\nof Matt, ‘Pray, sir (said the lieutenant), ‘is your name Matthias?’ You", "departure from these lodgings. Her brother, eyeing her askance, ‘Pardon\nme, sister (said he) I should be a savage, indeed, were I insensible of", "brother, in behalf of Mr Barton’s passion; and I am sadly afraid that\nmy aunt is already gained over. Yesterday in the forenoon, he had been", "Mrs Tabitha as his sister, and Liddy as his niece. The old gentleman\nsaluted them very cordially, and seemed struck with the appearance of my", "at this scene, ‘You say nothing, Matt (cried she); but I know your\nmind--I know the spite you have to that poor unfortunate animal! I know", "My uncle followed her with a significant look, then, turning to the\npreacher, ‘You hear what my sister says--If you cannot live with me upon", "her abroad to France or Italy, where he might gratify her vanity for\nhalf the expence it cost him in England: and this advice he followed\naccordingly. She was agreeably flattered with the idea of seeing and", "He then gave me to understand that the young gentleman, at his emerging\nfrom concealment, had disclosed his passion for Miss Melford, the niece", "cheer, and she, the picture of good nature. All this agreeable prospect\nwas clouded, and had well nigh vanished entirely, in consequence of\na late misunderstanding between the future brothers-in-law, which,", "sister’s affection. I answered without hesitation, that my sister was\nold enough to judge for herself; and that I should be very far from\ndisapproving any resolution she might take in his favour.--His eyes", "effectually roused. His face grew pale, his teeth chattered, and his\neyes flashed--‘Sister (cried he, in a voice like thunder) I vow to God,", "sister, whom he could not help surveying with a mixture of complacency\nand surprize--‘Sister (said my uncle), there is a poor relation that", "opportunity, and shifting quarters every day of her life!--Besides, she\nhas solemnly promised. No--I can’t think the girl so base--so insensible", "before she thought I was up, and brought her to mistress with her whole\ncargo--Marry, what do’st think she had got in the name of God? Her", "thought proper, after some conflict, to hold out her hand for him to\nkiss, saying, with a demure aspect, ‘Brother, you have been very wicked:", "make our exit successively by that conveyance. The ‘squire exhorted his\nsister to begin the descent; but, before she could resolve, her woman,", "not how you came hither; but, I think, Heaven sent you to prevent my\ngoing distracted--O Matthew! I have lost my dear Harriet!--my poor,", "the simple girl forgot, in the confusion occasioned by her being seen\ntalking to him by my brother, who stopt her on the road, and asked\nwhat business she had with that rascally Jew. She pretended she was", "and so susceptible--and so tender forsooth!--truly, she has got a\nlanguishing eye, and reads romances.--Then there’s her brother, ‘squire" ], [ "Liddy is perfectly recovered; and Mrs Tabitha has no reason to complain.\nNevertheless, I believe, she was, till yesterday, inclined to give the", "wish I could say the same of Liddy--Something uncommon is the matter\nwith that poor girl; her colour fades, her appetite fails, and her", "towards her poor Liddy. I am sorry you have lost the society of the\nagreeable Miss Vaughn; but, I hope you won’t have cause much longer to", "prudence, that the ladies mought not be afear’d. Miss Liddy has been\npuny, and like to go into a decline--I doubt her pore art is too", "disorder remains a secret. The lady directress of the ball, thinking she\nwas overcome by the heat of the place, had her conveyed to another room,\nwhere she soon recovered so well, as to return and join in the country", "has denied our friend--Liddy seems to be of the same opinion. When\nhe addresses himself to her in discourse, she seems to listen with\nreluctance, and industriously avoids all particular communication; but", "Liddy, I hope I shall live long enough to shew how sensible I am of your\naffection--But your spirits are fluttered, child--You want rest--Go", "After dinner we withdrew into another apartment, where the boy began to\nbe impertinently troublesome to my niece Liddy. He wanted a playfellow,", "all the sullen dignity of silence at dinner, seemingly pregnant with\ncomplaint and expostulation. As she had certainly marked Barton for her\nown prey, she cannot possibly favour his suit to Liddy; and therefore", "lodgings of a gentleman on such an errand, without having first asked,\nand obtained permission; her maid was frightened into fits, and Liddy", "yesterday to my niece Liddy, has disordered me in such a manner, that\nI expect to be laid up with another fit of the gout--perhaps, I may", "house; and an immediate union of the two families is to take place in\nthe persons of the young gentleman and your poor Lydia Melford.--You\nwill easily conceive how embarrassing this situation must be to a young", "sister began to make wry faces, and use her smelling-bottle; Liddy\nlooked blank, and Mrs Jenkins dejected; but in a few hours these clouds", "The description of poor Murphy’s sufferings, which threw my sister Liddy\ninto a swoon, extracted some sighs from the breast of Mrs Tabby: when", "the exercise, occasioned by those jaunts, was of service to my sister\nLiddy, whose appetite and spirits begin to revive--Mrs Tabitha displayed", "and was discharged. On our return to our lodgings, my nephew explained\nthe whole mystery; and I own I was exceedingly incensed--Liddy being", "Liddy’s fears and perplexities have been much assuaged by the company\nof one Miss Willis, who had been her intimate companion at the", "cheapening a stay-hook, but was thrown into such a quandary, that she\nforgot the most material part of the information; and when she came\nhome, went into an hysteric fit of laughing. This transaction happened", "other way of saving himself, but by leaving her in possession of\nthe field, and avowing his pretensions to Liddy, by whom he has been", "me at Bath, whither I propose to remove to-morrow; not only on my own\naccount, but for the sake of my niece, Liddy, who is like to relapse." ], [ "In short, we found that Humphry was, at that very instant, haranguing\nthe felons in the chapel; and that the gaoler’s wife and daughter,", "and poor Clinker sent to prison in a hackney-coach, guarded by the\nconstable, and accompanied by your humble servant. By the way, I was not", "Humphry was discharged. When he came home, he expressed great eagerness\nto pay his respects to his master, and here his elocution failed him,", "immediately called, and being interrogated on the subject, declared that\nthe young fellow’s name was Humphry Clinker. That he had been a love", "While we were visiting honest Humphry in Clerkenwell prison, my uncle\nreceived a much more extraordinary visit at his own lodgings. Mr Martin,", "Humphry (said the ‘squire); but as you think it was your duty to save my\nlife at the hazard of your own, I think it is mine to express the sense", "that he could freely make oath he was not the man: but Humphry himself\nwas by this time pretty well rid of all apprehensions of being hanged;", "stood before him, and to whom, indeed, Humphry bore not the smallest\nresemblance; the constable (who was himself a thief-taker) gave me to", "Humphry owned he could not pretend to recollect where he had been on the\nday when the robbery was committed, much less prove a circumstance of", "himself.--Two days ago he was apprehended for a robbery on the highway,\nand committed, on the evidence of an accomplice. Clinker, having moved", "is now exercising his ministry among the felons in Clerkenwell prison--A\npostilion having sworn a robbery against him, no bail could be taken,", "The weight of Wilson’s waggery fell upon honest Humphry and his spouse,\nwho were bedded in an upper room, with the usual ceremony of throwing", "Nevertheless, though Humphry had this double hank upon her inclinations,\nand exerted all his power to maintain the conquest he had made, he found", "his apprenticeship to the mystery; and, in consequence of following the\nhounds through a river, was seized with an inflammation of his bowels,\nwhich has contracted him into his present attitude.", "All things considered, the poor fellow cannot possibly be guilty,\nand yet, I believe, he runs some risque of being hanged. Upon his", "he (the postilion) drove--This deposition was sufficient to justify his\ncommitment; and he was sent accordingly to Clerkenwell prison, whither", "his eyes, and owned, he had taken upon him his old father’s debts, for\nwhich he was now in the prison hard by.", "relief.--As for Humphry, he flew like lightning, to the coach, that was\nby this time filled with water, and, diving into it, brought up the poor", "reconciled, in consequence of an event which hath involved us all in\ntrouble and disquiet. You must know, the poor preacher, Humphry Clinker,", "had pleaded so strenuously for honest Humphry." ], [ "immediately called, and being interrogated on the subject, declared that\nthe young fellow’s name was Humphry Clinker. That he had been a love", "Humphry was discharged. When he came home, he expressed great eagerness\nto pay his respects to his master, and here his elocution failed him,", "Humphry (said the ‘squire); but as you think it was your duty to save my\nlife at the hazard of your own, I think it is mine to express the sense", "stood before him, and to whom, indeed, Humphry bore not the smallest\nresemblance; the constable (who was himself a thief-taker) gave me to", "that he could freely make oath he was not the man: but Humphry himself\nwas by this time pretty well rid of all apprehensions of being hanged;", "In short, we found that Humphry was, at that very instant, haranguing\nthe felons in the chapel; and that the gaoler’s wife and daughter,", "Humphry strolled into the wood, in the course of his meditation, and all\nat once the admiral stood before him, under the shadow of a spreading", "side of the coach, and began to adjust the footboard, was no other than\nHumphry Clinker--When I handed out Mrs Bramble, she eyed him with a", "loose parcels; and, at length, displayed the individual countenance\nof Humphry Clinker, who had metamorphosed himself in this manner, by", "himself her admirer, and, by dint of his outlandish qualifications,\nthrew his rival Clinker out of the saddle of her heart. Humphry may be", "for the resolution and activity of his servant Humphry Clinker, whom\nProvidence really seems to have placed near him for the necessity of\nthis occasion.--I would not be thought superstitious; but surely he", "In a word, Grieve was no other than Ferdinand count Fathom, whose\nadventures were printed many years ago. Being a sincere convert to", "relief.--As for Humphry, he flew like lightning, to the coach, that was\nby this time filled with water, and, diving into it, brought up the poor", "retired. At the foot of the stair-case, there was a crowd of lacqueys\nand chairmen, and in the midst of them stood Humphry Clinker, exalted", "The imposture was detected in the sequel, and our Hibernian pamphleteer\nretains no part of his assumed importance, but the bare title of", "his antagonist. ‘Cold iron (cried Humphry) I shall never use against\nthe life of any human creature; but I am so far from being afraid of", "had pleaded so strenuously for honest Humphry.", "by the parish. We were exceedingly mortified at this disappointment,\nwhich, however, was surmounted by the help of Humphry Clinker, who is a", "The weight of Wilson’s waggery fell upon honest Humphry and his spouse,\nwho were bedded in an upper room, with the usual ceremony of throwing", "While we were visiting honest Humphry in Clerkenwell prison, my uncle\nreceived a much more extraordinary visit at his own lodgings. Mr Martin," ], [ "In short, we found that Humphry was, at that very instant, haranguing\nthe felons in the chapel; and that the gaoler’s wife and daughter,", "Nevertheless, though Humphry had this double hank upon her inclinations,\nand exerted all his power to maintain the conquest he had made, he found", "Humphry (said the ‘squire); but as you think it was your duty to save my\nlife at the hazard of your own, I think it is mine to express the sense", "immediately called, and being interrogated on the subject, declared that\nthe young fellow’s name was Humphry Clinker. That he had been a love", "Humphry was discharged. When he came home, he expressed great eagerness\nto pay his respects to his master, and here his elocution failed him,", "himself her admirer, and, by dint of his outlandish qualifications,\nthrew his rival Clinker out of the saddle of her heart. Humphry may be", "The weight of Wilson’s waggery fell upon honest Humphry and his spouse,\nwho were bedded in an upper room, with the usual ceremony of throwing", "between her surprize at this discovery, and the apprehension of losing\nher sweet-heart, exclaimed in a giggling tone,--‘I wish you joy Mr", "Mrs Winifred Jenkins, in a transport of terror, threw herself out at the\nwindow upon the ladder, while Humphry dropped upon the ground, that", "side of the coach, and began to adjust the footboard, was no other than\nHumphry Clinker--When I handed out Mrs Bramble, she eyed him with a", "was forced from her poise for a season, by snares laid for her vanity,\nHumphry is certainly the north-star to which the needle of her affection", "has been recommended to me for his fidelity, by Mrs Humphreys, a very\ngood sort of a woman, who keeps the inn at Tweedmouth, and is much", "He then gave me to understand that the young gentleman, at his emerging\nfrom concealment, had disclosed his passion for Miss Melford, the niece", "Humphry going down stairs to fetch up a bottle of wine, my uncle\ncongratulated his sister upon having such a reformer in the family; when", "The poor girl, when I earnestly pressed her on this head, owned with\na flood of tears, that Wilson had actually come to the Hot Well at", "stood before him, and to whom, indeed, Humphry bore not the smallest\nresemblance; the constable (who was himself a thief-taker) gave me to", "relief.--As for Humphry, he flew like lightning, to the coach, that was\nby this time filled with water, and, diving into it, brought up the poor", "But, in truth, all this concern was dissembled. In his approaches of\ngallantry to Mrs Tabitha, he had been misled by a mistake of at least", "The count, without speaking another syllable, rushed into the parlour,\ncrying, ‘This is your god-daughter, my dear.’ Mrs Grieve, then seizing", "that he could freely make oath he was not the man: but Humphry himself\nwas by this time pretty well rid of all apprehensions of being hanged;" ], [ "prudence, that the ladies mought not be afear’d. Miss Liddy has been\npuny, and like to go into a decline--I doubt her pore art is too", "house; and an immediate union of the two families is to take place in\nthe persons of the young gentleman and your poor Lydia Melford.--You\nwill easily conceive how embarrassing this situation must be to a young", "towards her poor Liddy. I am sorry you have lost the society of the\nagreeable Miss Vaughn; but, I hope you won’t have cause much longer to", "Letty, I will take no refusal--if you have any friendship--any\nhumanity--you will come.--I desire that immediate application may be\nmade to your mamma; and that the moment her permission is obtained, you", "troubles. Dear Letty! what a pity it is, that a woman of her years\nand discretion, should place her affection upon such an ugly,", "He then gave me to understand that the young gentleman, at his emerging\nfrom concealment, had disclosed his passion for Miss Melford, the niece", "I will not--I must not proceed. Dear Miss Liddy! for Heaven’s sake,\ncontrive, if possible, some means of letting me speak to you before you", "LYDIA MELFORD\n\n\n\n\nTo Mrs MARY JONES, at Brambleton-hall.\n\nDEAR MOLLY JONES,", "three days ago, during which he has not appeared, so that I suppose he\nhas gone. Dear Letty! you see how Fortune takes pleasure in persecuting", "company and counsel--I must, therefore, dear Letty, put your friendship\nto the test--I must beg you will come and do the last offices of\nmaidenhood to your companion Lydia Melford.", "has denied our friend--Liddy seems to be of the same opinion. When\nhe addresses himself to her in discourse, she seems to listen with\nreluctance, and industriously avoids all particular communication; but", "that related to the conduct of a family; and she had no idea of a\ncountry-life. Her understanding did not reach so far as to comprehend\nthe first principles of discretion; and, indeed, if her capacity had", "sin, strolling with spectacles, to get speech of Miss Liddy. But she’s\na dear sweet soul, as innocent as the child unborn. She has tould me all", "to a measure so well calculated to make her happy in life’--‘I beg your\nladyship’s pardon (exclaimed Liddy, with great vivacity) I have nothing", "brother, in behalf of Mr Barton’s passion; and I am sadly afraid that\nmy aunt is already gained over. Yesterday in the forenoon, he had been", "and avocations, I should have thought altogether odd, and even\nunnatural, had not I perceived that my sister Liddy had made some\nimpression upon his heart. I cannot say that I have any objection to", "consideration of interest or fortune’--‘Upon my word, Miss Liddy! (said\nshe) you have profited by the example of your good aunt--I comprehend", "and I neglect her on this occasion. It was, indeed, a day of\npeace-offering.--Mr Dennison insisted upon Liddy’s accepting two bank", "The poor girl, when I earnestly pressed her on this head, owned with\na flood of tears, that Wilson had actually come to the Hot Well at", "support me on this occasion. You know, that of all the young ladies,\nMiss Willis was she that possessed the greatest share of my confidence\nand affection; and, therefore, I fervently wish to have the happiness of" ], [ "servant, Mr Bramble--How d’ye, good Mr Bramble? Your nephew is a pretty\nyoung fellow--Faith and troth, a very pretty fellow!--His father is", "and this is my nephew, Jeremy Melford of Belfield, in the county of\nGlamorgan.’ At that instant the ladies entering the room, he presented", "Mr Bramble’s eyes began to glisten, and his teeth to chatter. ‘If stated\nfairly (said he, raising his voice) the question is, whether I have", "malice must own, that he is one of the greatest officers in\nChristendom.’ ‘I think he is (said Mr Bramble) but who are these young", "Francis, nor St Francis, but simply Mr Melford, nephew to Mr Bramble;\nwho, stepping forward, made his bow at the same time. ‘Odso! no more it", "noise, might look for lodgings elsewhere. Mr Bramble no sooner received\nthis reply, than his eyes began to glisten, his face grew pale, and his", "friend of Mr Bramble.--His name is Mr Dennison, one of the worthiest men\nliving; and his lady is a perfect saint upon earth. They have an only", "He then gave me to understand that the young gentleman, at his emerging\nfrom concealment, had disclosed his passion for Miss Melford, the niece", "his betters; and I suppose we shall in time have a whole litter of his\nprogeny at Brambleton-hall. The fellow is stout and lusty, very sober", "abominably; but that he had always observed those weeping and praying\nfellows were hypocrites at bottom. Mr Bramble made no reply to this", "of Mr Bramble, of Monmouthshire. Though Mr Dennison little dreamed that\nthis was his old friend Matthew Loyd, he nevertheless furnished his son", "this time out of breath, my uncle took the opportunity to tell him he\nhad not been out of England, that his name was Bramble, and that he had", "there, in some confusion, he made an apology for having taken the\nliberty to trouble him with a letter at Stevenage. He expressed his\nhope, that Mr Bramble had bestowed some consideration on his unhappy", "the present (cried Mr Bramble); your lordship has not yet drank a\nbumper to the best in Christendom.’ ‘I’ll drink no more bumpers to-day", "ever falling a sacrifice to the delicacy of my nose. Mr Bramble is\nextravagantly delicate in all his sensations, both of soul and body. I", "circumstances; and asked, if I intended to bring up my nephew to the\nlaw. I told her, that, as he had an independent fortune, he should", "Mr Bramble, perceiving Liddy in great trepidation, assumed a milder\naspect, bidding her be under no concern, for he was not at all", "was my brother Jery, and a friend of his, one Mr Barton, a country\ngentleman, of a good fortune, who had dined at our house--The pleasure", "satellites that attend his motions?’ When Barton told him their names,\n‘To their characters (said Mr Bramble) I am no stranger. One of them,", "and it shall not be my fault, if you continue to make yourself\nridiculous--Mr Bramble, who has no little interest of his own to serve,\nwill, no doubt, contribute all in his power to promote a match" ], [ "Bramble, in consequence of a cursed accident, which I will endeavour\nto explain.--In crossing the country to get into the post road, it was", "retired with his parents, and all the inhabitants of the place were\nassembled at the door.--Mr Bramble, nevertheless, pressed thro’ the", "this time out of breath, my uncle took the opportunity to tell him he\nhad not been out of England, that his name was Bramble, and that he had", "noise, might look for lodgings elsewhere. Mr Bramble no sooner received\nthis reply, than his eyes began to glisten, his face grew pale, and his", "The truth of this remark was confirmed by Mr Bramble from his own\nexperience; but he accounted for it on another principle. He said,", "cousin Bramble (said he), I have always heard there was something keen\nand biting in the air of the Welch mountains.’", "Mr Bramble’s eyes began to glisten, and his teeth to chatter. ‘If stated\nfairly (said he, raising his voice) the question is, whether I have", "reading one of the papers. Mr Bramble, taking his station close by\nhim, ‘There is such a crowd and confusion of chairs in the passage to", "of Mr Bramble, of Monmouthshire. Though Mr Dennison little dreamed that\nthis was his old friend Matthew Loyd, he nevertheless furnished his son", "there, in some confusion, he made an apology for having taken the\nliberty to trouble him with a letter at Stevenage. He expressed his\nhope, that Mr Bramble had bestowed some consideration on his unhappy", "that place we arrived about one O’clock, without farther impediment. Mrs\nBramble, however, found new matter of offence; which, indeed, she has a", "which had received some damage, should be repaired; and here we met\nwith an incident which warmly interested the benevolent spirit of Mr\nBramble--As we stood at the window of an inn that fronted the public", "husband, Baynard and I, will take leave of them at Gloucester, and make\nthe best of our way to Brambleton hall, where I desire you will prepare", "Mrs Bramble, turning from him, said, she had never seen such a filthy\ntatterdemalion, and bid him begone; observing, that he would fill the", "to clear my paternal estate, and resumed my real name; so that I am now\nMatthew Bramble of Brambleton-hall in Monmouthshire, at your service;", "malice must own, that he is one of the greatest officers in\nChristendom.’ ‘I think he is (said Mr Bramble) but who are these young", "and, in the mean time, proceeded on our journey. The roads, having been\nbroken up by the heavy rains in the spring, were so rough, that although", "While Mr Bramble holds conferences with the graver literati of the\nplace, and our females are entertained at visits by the Scotch ladies,", "Mr Bramble, perceiving Liddy in great trepidation, assumed a milder\naspect, bidding her be under no concern, for he was not at all", "In pursuance of this design, Lismahago has been invited to pass the\nwinter at Brambleton-hall, as it will be time enough to execute his" ], [ "Bramble, in consequence of a cursed accident, which I will endeavour\nto explain.--In crossing the country to get into the post road, it was", "The truth of this remark was confirmed by Mr Bramble from his own\nexperience; but he accounted for it on another principle. He said,", "noise, might look for lodgings elsewhere. Mr Bramble no sooner received\nthis reply, than his eyes began to glisten, his face grew pale, and his", "Mr Bramble’s eyes began to glisten, and his teeth to chatter. ‘If stated\nfairly (said he, raising his voice) the question is, whether I have", "and Mr Bramble as gravely replied, that he would take the hint into\nconsideration: but, finding no such provision was made, she now revived", "there, in some confusion, he made an apology for having taken the\nliberty to trouble him with a letter at Stevenage. He expressed his\nhope, that Mr Bramble had bestowed some consideration on his unhappy", "So saying, he bowed, with great solemnity all round, and retired to his\nown lodgings, where he applied a caustic to the wart; but it spread in", "Mrs Bramble, turning from him, said, she had never seen such a filthy\ntatterdemalion, and bid him begone; observing, that he would fill the", "down upon his knees, remained in that posture gaping, with a most\nludicrous aspect of distress. Mrs Bramble flew to the dog, and,", "retired with his parents, and all the inhabitants of the place were\nassembled at the door.--Mr Bramble, nevertheless, pressed thro’ the", "This hint, however, was so unpalatable to Mr Bramble, that he declared,\nwith great warmth, he would rather confine himself for life to", "Mr Bramble, perceiving Liddy in great trepidation, assumed a milder\naspect, bidding her be under no concern, for he was not at all", "forlorn damsel, more dead than alive, through the same opening. Then\nMr Bramble, pulling the door off its hinges with a jerk, laid hold", "In pursuance of this design, Lismahago has been invited to pass the\nwinter at Brambleton-hall, as it will be time enough to execute his", "cowkeeper of Tottenham, who had just arrived at Bath, to drink the\nwaters for indigestion. Mr Bramble had not time to make his remarks upon", "I solemnly assured her he was safe. Mr Bramble hearing the noise, and\nbeing informed of her apprehension, desired she might be brought into", "might have no dependence but upon his own industry and moderation. He\nhad accordingly settled in this village as a practitioner in surgery and\nphysic, and for some years wrestled with all the miseries of indigence,", "which had received some damage, should be repaired; and here we met\nwith an incident which warmly interested the benevolent spirit of Mr\nBramble--As we stood at the window of an inn that fronted the public", "abominably; but that he had always observed those weeping and praying\nfellows were hypocrites at bottom. Mr Bramble made no reply to this", "this time out of breath, my uncle took the opportunity to tell him he\nhad not been out of England, that his name was Bramble, and that he had" ], [ "of Mr Bramble, of Monmouthshire. Though Mr Dennison little dreamed that\nthis was his old friend Matthew Loyd, he nevertheless furnished his son", "to clear my paternal estate, and resumed my real name; so that I am now\nMatthew Bramble of Brambleton-hall in Monmouthshire, at your service;", "retired with his parents, and all the inhabitants of the place were\nassembled at the door.--Mr Bramble, nevertheless, pressed thro’ the", "noise, might look for lodgings elsewhere. Mr Bramble no sooner received\nthis reply, than his eyes began to glisten, his face grew pale, and his", "Bramble, in consequence of a cursed accident, which I will endeavour\nto explain.--In crossing the country to get into the post road, it was", "lamentations of Matthew Bramble. Yet I cannot help thinking I have\nsome right to discharge the overflowings of my spleen upon you, whose\nprovince it is to remove those disorders that occasioned it; and let", "reading one of the papers. Mr Bramble, taking his station close by\nhim, ‘There is such a crowd and confusion of chairs in the passage to", "Mr Bramble’s eyes began to glisten, and his teeth to chatter. ‘If stated\nfairly (said he, raising his voice) the question is, whether I have", "this time out of breath, my uncle took the opportunity to tell him he\nhad not been out of England, that his name was Bramble, and that he had", "malice must own, that he is one of the greatest officers in\nChristendom.’ ‘I think he is (said Mr Bramble) but who are these young", "husband, Baynard and I, will take leave of them at Gloucester, and make\nthe best of our way to Brambleton hall, where I desire you will prepare", "Mrs Bramble, turning from him, said, she had never seen such a filthy\ntatterdemalion, and bid him begone; observing, that he would fill the", "companion Matthew Loyd. The young gentleman, being impowered to make\nhonourable proposals to my uncle and me, had been in search of us all", "make our exit successively by that conveyance. The ‘squire exhorted his\nsister to begin the descent; but, before she could resolve, her woman,", "it cannot contain itself; though I am under such agitation of spirits,\nthat you are to expect neither method nor connexion in this address--We\nhave been this day within a hair’s breadth of losing honest Matthew", "that place we arrived about one O’clock, without farther impediment. Mrs\nBramble, however, found new matter of offence; which, indeed, she has a", "While Mr Bramble holds conferences with the graver literati of the\nplace, and our females are entertained at visits by the Scotch ladies,", "The truth of this remark was confirmed by Mr Bramble from his own\nexperience; but he accounted for it on another principle. He said,", "Millfart goes to Bath along with the Dallisons, and the rest of us\npush home to Wales, to pass our Chrishmarsh at Brampleton-hall--As our", "cowkeeper of Tottenham, who had just arrived at Bath, to drink the\nwaters for indigestion. Mr Bramble had not time to make his remarks upon" ], [ "of Mr Bramble, of Monmouthshire. Though Mr Dennison little dreamed that\nthis was his old friend Matthew Loyd, he nevertheless furnished his son", "lamentations of Matthew Bramble. Yet I cannot help thinking I have\nsome right to discharge the overflowings of my spleen upon you, whose\nprovince it is to remove those disorders that occasioned it; and let", "to clear my paternal estate, and resumed my real name; so that I am now\nMatthew Bramble of Brambleton-hall in Monmouthshire, at your service;", "Bramble, in consequence of a cursed accident, which I will endeavour\nto explain.--In crossing the country to get into the post road, it was", "noise, might look for lodgings elsewhere. Mr Bramble no sooner received\nthis reply, than his eyes began to glisten, his face grew pale, and his", "The truth of this remark was confirmed by Mr Bramble from his own\nexperience; but he accounted for it on another principle. He said,", "Mr Bramble’s eyes began to glisten, and his teeth to chatter. ‘If stated\nfairly (said he, raising his voice) the question is, whether I have", "it cannot contain itself; though I am under such agitation of spirits,\nthat you are to expect neither method nor connexion in this address--We\nhave been this day within a hair’s breadth of losing honest Matthew", "there, in some confusion, he made an apology for having taken the\nliberty to trouble him with a letter at Stevenage. He expressed his\nhope, that Mr Bramble had bestowed some consideration on his unhappy", "this time out of breath, my uncle took the opportunity to tell him he\nhad not been out of England, that his name was Bramble, and that he had", "companion Matthew Loyd. The young gentleman, being impowered to make\nhonourable proposals to my uncle and me, had been in search of us all", "pressing him to his breast), I am that very identical Matthew Loyd of\nGlamorgan.’ Clinker, who had just entered the room with some coals for", "Mrs Bramble, turning from him, said, she had never seen such a filthy\ntatterdemalion, and bid him begone; observing, that he would fill the", "In pursuance of this design, Lismahago has been invited to pass the\nwinter at Brambleton-hall, as it will be time enough to execute his", "cowkeeper of Tottenham, who had just arrived at Bath, to drink the\nwaters for indigestion. Mr Bramble had not time to make his remarks upon", "reading one of the papers. Mr Bramble, taking his station close by\nhim, ‘There is such a crowd and confusion of chairs in the passage to", "cousin Bramble (said he), I have always heard there was something keen\nand biting in the air of the Welch mountains.’", "invitation from the gentleman who gives tea?’ ‘I have my own reasons\n(cried Mr Bramble, with some emotion) and am convinced, more than ever,", "and Mr Bramble as gravely replied, that he would take the hint into\nconsideration: but, finding no such provision was made, she now revived", "and it shall not be my fault, if you continue to make yourself\nridiculous--Mr Bramble, who has no little interest of his own to serve,\nwill, no doubt, contribute all in his power to promote a match" ], [ "to clear my paternal estate, and resumed my real name; so that I am now\nMatthew Bramble of Brambleton-hall in Monmouthshire, at your service;", "of Mr Bramble, of Monmouthshire. Though Mr Dennison little dreamed that\nthis was his old friend Matthew Loyd, he nevertheless furnished his son", "Mr Bramble’s eyes began to glisten, and his teeth to chatter. ‘If stated\nfairly (said he, raising his voice) the question is, whether I have", "MATT. BRAMBLE NOV. 20.\n\n\n\n\nTo Mrs GWYLLIM, at Brambleton-hall.", "noise, might look for lodgings elsewhere. Mr Bramble no sooner received\nthis reply, than his eyes began to glisten, his face grew pale, and his", "estate of a thousand a-year. This gentleman is a declared opponent\nof the ministry in parliament; and having an opulent fortune, piques\nhimself upon living in the country, and maintaining old English", "lamentations of Matthew Bramble. Yet I cannot help thinking I have\nsome right to discharge the overflowings of my spleen upon you, whose\nprovince it is to remove those disorders that occasioned it; and let", "cousin Bramble (said he), I have always heard there was something keen\nand biting in the air of the Welch mountains.’", "retired with his parents, and all the inhabitants of the place were\nassembled at the door.--Mr Bramble, nevertheless, pressed thro’ the", "In pursuance of this design, Lismahago has been invited to pass the\nwinter at Brambleton-hall, as it will be time enough to execute his", "Bramble, in consequence of a cursed accident, which I will endeavour\nto explain.--In crossing the country to get into the post road, it was", "pressing him to his breast), I am that very identical Matthew Loyd of\nGlamorgan.’ Clinker, who had just entered the room with some coals for", "The truth of this remark was confirmed by Mr Bramble from his own\nexperience; but he accounted for it on another principle. He said,", "matrimonial union; in which case there would be a comfortable provision\nfor both; and they might be settled in a house of their own, so that Mr\nBramble should have no more of their company than he desired.", "friend of Mr Bramble.--His name is Mr Dennison, one of the worthiest men\nliving; and his lady is a perfect saint upon earth. They have an only", "it cannot contain itself; though I am under such agitation of spirits,\nthat you are to expect neither method nor connexion in this address--We\nhave been this day within a hair’s breadth of losing honest Matthew", "well nigh ruined the estate, when he was happily carried off by a fever,\nthe immediate consequence of a debauch. Charles, with the approbation of\nhis wife, immediately determined to quit business, and retire into the", "reading one of the papers. Mr Bramble, taking his station close by\nhim, ‘There is such a crowd and confusion of chairs in the passage to", "Yours, MATT. BRAMBLE Oct. 26.\n\n\n\n\nTo Sir WATKIN PHILLIPS, Bart. at Oxon.", "this time out of breath, my uncle took the opportunity to tell him he\nhad not been out of England, that his name was Bramble, and that he had" ], [ "to clear my paternal estate, and resumed my real name; so that I am now\nMatthew Bramble of Brambleton-hall in Monmouthshire, at your service;", "of Mr Bramble, of Monmouthshire. Though Mr Dennison little dreamed that\nthis was his old friend Matthew Loyd, he nevertheless furnished his son", "estate of a thousand a-year. This gentleman is a declared opponent\nof the ministry in parliament; and having an opulent fortune, piques\nhimself upon living in the country, and maintaining old English", "Mr Bramble’s eyes began to glisten, and his teeth to chatter. ‘If stated\nfairly (said he, raising his voice) the question is, whether I have", "noise, might look for lodgings elsewhere. Mr Bramble no sooner received\nthis reply, than his eyes began to glisten, his face grew pale, and his", "MATT. BRAMBLE NOV. 20.\n\n\n\n\nTo Mrs GWYLLIM, at Brambleton-hall.", "Bramble, in consequence of a cursed accident, which I will endeavour\nto explain.--In crossing the country to get into the post road, it was", "lamentations of Matthew Bramble. Yet I cannot help thinking I have\nsome right to discharge the overflowings of my spleen upon you, whose\nprovince it is to remove those disorders that occasioned it; and let", "cousin Bramble (said he), I have always heard there was something keen\nand biting in the air of the Welch mountains.’", "In pursuance of this design, Lismahago has been invited to pass the\nwinter at Brambleton-hall, as it will be time enough to execute his", "retired with his parents, and all the inhabitants of the place were\nassembled at the door.--Mr Bramble, nevertheless, pressed thro’ the", "reading one of the papers. Mr Bramble, taking his station close by\nhim, ‘There is such a crowd and confusion of chairs in the passage to", "pressing him to his breast), I am that very identical Matthew Loyd of\nGlamorgan.’ Clinker, who had just entered the room with some coals for", "The truth of this remark was confirmed by Mr Bramble from his own\nexperience; but he accounted for it on another principle. He said,", "there, in some confusion, he made an apology for having taken the\nliberty to trouble him with a letter at Stevenage. He expressed his\nhope, that Mr Bramble had bestowed some consideration on his unhappy", "it cannot contain itself; though I am under such agitation of spirits,\nthat you are to expect neither method nor connexion in this address--We\nhave been this day within a hair’s breadth of losing honest Matthew", "Yours, MATT. BRAMBLE Oct. 26.\n\n\n\n\nTo Sir WATKIN PHILLIPS, Bart. at Oxon.", "matrimonial union; in which case there would be a comfortable provision\nfor both; and they might be settled in a house of their own, so that Mr\nBramble should have no more of their company than he desired.", "that place we arrived about one O’clock, without farther impediment. Mrs\nBramble, however, found new matter of offence; which, indeed, she has a", "well nigh ruined the estate, when he was happily carried off by a fever,\nthe immediate consequence of a debauch. Charles, with the approbation of\nhis wife, immediately determined to quit business, and retire into the" ], [ "of Mr Bramble, of Monmouthshire. Though Mr Dennison little dreamed that\nthis was his old friend Matthew Loyd, he nevertheless furnished his son", "lamentations of Matthew Bramble. Yet I cannot help thinking I have\nsome right to discharge the overflowings of my spleen upon you, whose\nprovince it is to remove those disorders that occasioned it; and let", "Yours, MATT. BRAMBLE BATH, May 19.\n\n\n\n\nTo Dr LEWIS.\n\nDOCTER LEWS,", "The truth of this remark was confirmed by Mr Bramble from his own\nexperience; but he accounted for it on another principle. He said,", "Mr Bramble’s eyes began to glisten, and his teeth to chatter. ‘If stated\nfairly (said he, raising his voice) the question is, whether I have", "to clear my paternal estate, and resumed my real name; so that I am now\nMatthew Bramble of Brambleton-hall in Monmouthshire, at your service;", "Dear Lewis, Your affectionate friend and servant, MATT. BRAMBLE EDR.\nJuly 18.\n\n\n\n\nTo Mrs MARY JONES, at Brambleton-hall.", "might have no dependence but upon his own industry and moderation. He\nhad accordingly settled in this village as a practitioner in surgery and\nphysic, and for some years wrestled with all the miseries of indigence,", "had the strongest curiosity to know this original; and it was gratified\nby Mr Bramble, who has had him twice at our house to dinner.", "cowkeeper of Tottenham, who had just arrived at Bath, to drink the\nwaters for indigestion. Mr Bramble had not time to make his remarks upon", "Yours always, MATT. BRAMBLE Oct. 8.\n\n\n\n\nTo Dr LEWIS.", "retired with his parents, and all the inhabitants of the place were\nassembled at the door.--Mr Bramble, nevertheless, pressed thro’ the", "noise, might look for lodgings elsewhere. Mr Bramble no sooner received\nthis reply, than his eyes began to glisten, his face grew pale, and his", "pressing him to his breast), I am that very identical Matthew Loyd of\nGlamorgan.’ Clinker, who had just entered the room with some coals for", "friend of Mr Bramble.--His name is Mr Dennison, one of the worthiest men\nliving; and his lady is a perfect saint upon earth. They have an only", "While Mr Bramble holds conferences with the graver literati of the\nplace, and our females are entertained at visits by the Scotch ladies,", "it cannot contain itself; though I am under such agitation of spirits,\nthat you are to expect neither method nor connexion in this address--We\nhave been this day within a hair’s breadth of losing honest Matthew", "side of the coach, and began to adjust the footboard, was no other than\nHumphry Clinker--When I handed out Mrs Bramble, she eyed him with a", "reading one of the papers. Mr Bramble, taking his station close by\nhim, ‘There is such a crowd and confusion of chairs in the passage to", "At dinner, the squire asked him, if he had ever practised physic? ‘Yes,\nand please your honour (said he) among brute beasts; but I never meddle" ], [ "of Mr Bramble, of Monmouthshire. Though Mr Dennison little dreamed that\nthis was his old friend Matthew Loyd, he nevertheless furnished his son", "Bramble having eyed her sometime in silence, ‘Sister (said he), the\nlieutenant is, for aught I know, an honest man and a good officer--he", "Mr Bramble was no sooner informed, that her ladyship had acted as the\nprimum mobile of this confederacy, than he concluded she had only made", "Mrs Tabitha as his sister, and Liddy as his niece. The old gentleman\nsaluted them very cordially, and seemed struck with the appearance of my", "has quitted the scent--I have already told you, that Mrs Tabitha Bramble\nis a maiden of forty-five. In her person, she is tall, raw-boned,", "Mrs Tabitha chancing to accost her brother by the familiar diminutive\nof Matt, ‘Pray, sir (said the lieutenant), ‘is your name Matthias?’ You", "to clear my paternal estate, and resumed my real name; so that I am now\nMatthew Bramble of Brambleton-hall in Monmouthshire, at your service;", "brother, in behalf of Mr Barton’s passion; and I am sadly afraid that\nmy aunt is already gained over. Yesterday in the forenoon, he had been", "such a happy and humourous contrivance.--He begged, however, that Mr\nBramble and his sister would bring him to reason; and this request was", "Mr Bramble’s eyes began to glisten, and his teeth to chatter. ‘If stated\nfairly (said he, raising his voice) the question is, whether I have", "friend of Mr Bramble.--His name is Mr Dennison, one of the worthiest men\nliving; and his lady is a perfect saint upon earth. They have an only", "Dear Lewis, Your affectionate friend and servant, MATT. BRAMBLE EDR.\nJuly 18.\n\n\n\n\nTo Mrs MARY JONES, at Brambleton-hall.", "and Mr Bramble as gravely replied, that he would take the hint into\nconsideration: but, finding no such provision was made, she now revived", "have got into a family of originals, whom I may one day attempt to\ndescribe for your amusement. My aunt, Mrs Tabitha Bramble, is a maiden", "MATT. BRAMBLE NOV. 20.\n\n\n\n\nTo Mrs GWYLLIM, at Brambleton-hall.", "generosity in furnishing the bride with her superfluities of clothes and\nlinen, and her example was followed by my sister; nor did Mr Bramble", "lamentations of Matthew Bramble. Yet I cannot help thinking I have\nsome right to discharge the overflowings of my spleen upon you, whose\nprovince it is to remove those disorders that occasioned it; and let", "of our family among the audience--There was lady Griskin, Mrs Tabitha\nBramble, Mrs Winifred Jenkins, my sister Liddy, and Mr Barton, and all", "charge herself, not only with the delivery of this note, but also with\nthe task of undeceiving Mrs Bramble, for whom I have the most profound\nrespect and veneration, though my affection being otherwise engaged is", "I have other reasons for abridging my stay at Bath--You know sister\nTabby’s complexion--If Mrs Tabitha Bramble had been of any other race," ], [ "make our exit successively by that conveyance. The ‘squire exhorted his\nsister to begin the descent; but, before she could resolve, her woman,", "of Mr Bramble, of Monmouthshire. Though Mr Dennison little dreamed that\nthis was his old friend Matthew Loyd, he nevertheless furnished his son", "departure from these lodgings. Her brother, eyeing her askance, ‘Pardon\nme, sister (said he) I should be a savage, indeed, were I insensible of", "Mrs Tabitha as his sister, and Liddy as his niece. The old gentleman\nsaluted them very cordially, and seemed struck with the appearance of my", "Mrs Tabitha chancing to accost her brother by the familiar diminutive\nof Matt, ‘Pray, sir (said the lieutenant), ‘is your name Matthias?’ You", "such a happy and humourous contrivance.--He begged, however, that Mr\nBramble and his sister would bring him to reason; and this request was", "brother, in behalf of Mr Barton’s passion; and I am sadly afraid that\nmy aunt is already gained over. Yesterday in the forenoon, he had been", "has quitted the scent--I have already told you, that Mrs Tabitha Bramble\nis a maiden of forty-five. In her person, she is tall, raw-boned,", "her abroad to France or Italy, where he might gratify her vanity for\nhalf the expence it cost him in England: and this advice he followed\naccordingly. She was agreeably flattered with the idea of seeing and", "Mr Bramble’s eyes began to glisten, and his teeth to chatter. ‘If stated\nfairly (said he, raising his voice) the question is, whether I have", "lamentations of Matthew Bramble. Yet I cannot help thinking I have\nsome right to discharge the overflowings of my spleen upon you, whose\nprovince it is to remove those disorders that occasioned it; and let", "noise, might look for lodgings elsewhere. Mr Bramble no sooner received\nthis reply, than his eyes began to glisten, his face grew pale, and his", "persuaded his brother-in-law to carry his wife to Bath; and I believe\nhis parents will accompany him thither.--For my part, I have no", "Her brother, entirely disarmed by this mild reply, declared, she could\nask him nothing in reason that he would refuse; adding, ‘I hope, sister,\nyou have never found me deficient in natural affection.’", "Our adventures since we left Scarborough, are scarce worth reciting;\nand yet I must make you acquainted with my sister Tabby’s progress in", "Mr Bramble was no sooner informed, that her ladyship had acted as the\nprimum mobile of this confederacy, than he concluded she had only made", "changed in manners and disposition, that we hardly know or care for one\nanother--In our journey from Bath, my sister Tabby provoked me into a\ntransport of passion; during which, like a man who has drank himself", "Bramble having eyed her sometime in silence, ‘Sister (said he), the\nlieutenant is, for aught I know, an honest man and a good officer--he", "unreasonable woman herself, who was driving on blindly to her own\ndestruction. I advised him to form a plan for retrenching superfluous\nexpence, and try to convince the aunt of the necessity for such", "My uncle followed her with a significant look, then, turning to the\npreacher, ‘You hear what my sister says--If you cannot live with me upon" ], [ "recollection enough to send his servant with some money to silence those\nnoisy intruders; and they were immediately dismissed, though not without\nsome opposition on the part of Tabitha, who thought it but reasonable", "There was, however, another consideration that gave Mrs Tabitha some\ndisturbance. At Newcastle, the servants had been informed by some", "screamed aloud, ‘Lord have mercy upon us, he has seen something!’ Mrs\nTabitha was alarmed, and the whole house in confusion. When he was", "But, in truth, all this concern was dissembled. In his approaches of\ngallantry to Mrs Tabitha, he had been misled by a mistake of at least", "Mrs Tabitha as his sister, and Liddy as his niece. The old gentleman\nsaluted them very cordially, and seemed struck with the appearance of my", "Tabitha, incensed at this outrage, ran after him, squalling in a tone\nequally disagreeable; while the Baronet followed her on one side,", "This invitation might not have been agreeable to the ladies, had they\nknown the real profession of our guest, but this was a secret to all,\nexcept my uncle and myself. Mrs Tabitha, however, would by no means", "including our aunt Tabitha, who screamed, and cried, and tore her hair,\nas if she had been distracted--Sir Thomas had already ordered his people", "with Mrs Tabitha, and his servant had gone out on some occasion or\nother, I dexterously exchanged the labels, and situation of his bottle", "and a female conducted him to the green room, still accompanied by Mrs\nTabitha, who saw him fairly put to bed.--During this whole transaction", "I wrote to you in my last, that he had recourse to my mediation, which I\nemployed successfully with my uncle; but Mrs Tabitha held out ‘till the", "of Mrs Tabby’s disappointment; for he is, without doubt, aware of her\ndesigns upon his person--The particulars of the denouement you shall\nknow in due season: mean while I am", "yet reached no farther than his imagination. It was not long before he\nhad reason to repent his premature declaration; for our aunt Tabitha\nfound means to make such a clamour and confusion, before the flannels", "Mrs Tabitha declared, he was a sober civilized fellow; very respectful,\nand very industrious; and, she believed, a good Christian into", "This compliment and humiliation had some effect upon Tabby; but she made\nno reply; and Clinker, taking silence for consent, gave his attendance", "Mrs Tabby’s manner with her cast cloaths.--She dresses and endeavours\nto look like her mistress, although her own looks are much more", "Mrs Tabitha chancing to accost her brother by the familiar diminutive\nof Matt, ‘Pray, sir (said the lieutenant), ‘is your name Matthias?’ You", "of works, and the operations of the spirit. Mrs Tabitha, attended by\nHumphry Clinker, was introduced to one of their conventicles, where they", "Tabitha, bridling. ‘Yea, madam (replied Micklewhimmen); and it trieth\ndiscretion also’--‘If discretion consists in forsaking a friend in", "set an elbow-chair; another shook up the cushion; a third brought a\nstool; and a fourth a pillow, for the accommodation of his feet--\nTwo ladies (of whom Tabby was always one) supported him into the" ], [ "Mrs Winifred Jenkins, in a transport of terror, threw herself out at the\nwindow upon the ladder, while Humphry dropped upon the ground, that", "Winifred Jenkins, whom I have had occasion to mention more than once in\nthe course of our memoirs. Nature intended Jenkins for something very\ndifferent from the character of her mistress; yet custom and habit have", "whom this country abounds; and pretends to have such manifestations and\nrevelations, as even Clinker himself can hardly believe, though the poor\nfellow is half crazy with enthusiasm. As for Jenkins, she affects", "success. Even Mrs Jenkins will have reason to congratulate herself upon\nthis event, when she cooly reflects upon the matter; for, howsoever she", "Mrs Jenkins, about whose good graces there has been a violent contest\nbetwixt my nephew’s valet, Mr Dutton, and my man, Humphry Clinker.--Jery", "As for Win Jenkins, she has undergone a perfect metamurphysis, and is\nbecome a new creeter from the ammunition of Humphry Clinker, our new", "Liddy struck her head against Mrs Tabitha’s nose with such violence that\nthe blood flowed; and Win. Jenkins was darted through a small window in", "Jenkins, whose province it was to support Chowder on a cushion in\nher lap. I could scarce refrain from laughing when I looked into the", "accompanied Mrs Jenkins to the play. He was dressed in a silk coat, made\nat Paris for his former master, with a tawdry waistcoat of tarnished", "love-sick Jenkins had two fits of the mother; then she relented, and\nthose two cooing turtles were caged for life--Our aunt made an effort of", "made humble remonstrance through the canal of my nephew, setting forth\nthe sincere love and affection mutually subsisting between him and Mrs\nWinifred Jenkins, and praying my consent to their coming together for", "with Mrs Winifred Jenkins. He has even sounded me on the subject; but I\nhave given him no encouragement to prosecute this scheme--I told him", "near the scene of action, where his head and hers were covered, and poor\nJenkins had a fit. Our next care was to apply some sticking plaister to", "was in my power. When I looked into the coach, I could see nothing\ndistinctly, but the nether end of Jenkins, who was kicking her heels and", "with a virtuous young man, who had given so many proofs of his gratitude\nand affection to her uncle.--Mrs. Winifred Jenkins, extremely fluttered", "her abroad to France or Italy, where he might gratify her vanity for\nhalf the expence it cost him in England: and this advice he followed\naccordingly. She was agreeably flattered with the idea of seeing and", "had bought and studied with great attention: that his discourse and\nprayers had brought over Mrs Jenkins and the house-maid to the same", "At their return to London in the beginning of winter, he, with a heavy\nheart, communicated these particulars to me in confidence. Before his", "husband-hunting, after her disappointments at Bath and London. She had\nactually begun to practise upon a certain adventurer, who was in fact", "lank and so dank, that he looked like Father Thames without his sedges,\nembracing Isis, while she cascaded in his urn. Mrs Jenkins was present" ], [ "himself.--Two days ago he was apprehended for a robbery on the highway,\nand committed, on the evidence of an accomplice. Clinker, having moved", "that Clinker was innocent of the fact, and that the real highwayman who\nrobbed the chaise, was no other than that very individual Mr Martin, who", "is now exercising his ministry among the felons in Clerkenwell prison--A\npostilion having sworn a robbery against him, no bail could be taken,", "robbed, importing that the said Clinker was not the person who stopped\nhim on the highway, as well as in consideration of the postilion’s\ncharacter and present circumstances, was pleased to order, that", "apprehended as a highwayman. This incident threw the whole family into\nconfusion. My sister scolded the constable for presuming to enter the", "and poor Clinker sent to prison in a hackney-coach, guarded by the\nconstable, and accompanied by your humble servant. By the way, I was not", "him quite different from the person of the highwayman, he may bear\ntestimony in his behalf--Howsoever it may fare with Clinker, this cursed", "All things considered, the poor fellow cannot possibly be guilty,\nand yet, I believe, he runs some risque of being hanged. Upon his", "The very day after I wrote my last, Clinker was set at liberty. As\nMartin had foretold, the accuser was himself committed for a robbery,", "nephew to wait on the gentleman who was robbed, and beg; he will have\nthe humanity to go and see the prisoner; that, in case he should find", "that the robbery in question was not committed by the prisoner.’", "For my own part, I made no doubt of the fellow’s being mistaken for some\nother person, and I went directly to the justice, in order to procure", "attacked by a great number of highwaymen. My nephew and I rushed out,\nfound his own and his servant’s horse ready saddled in the stable, with", "if this rascally postilion should persist in the falsity to which he is\nsworn (said I), this innocent lad may be brought to the gallows.’", "When I expressed my surprize that the accuser should persist in charging\nClinker, without taking the least notice of the real robber who", "In short, we found that Humphry was, at that very instant, haranguing\nthe felons in the chapel; and that the gaoler’s wife and daughter,", "life at the Old Bailey by impeaching his companions; that being now\nreduced to great poverty, he had made this desperate push, to swear\naway the life of an innocent man, in hopes of having the reward upon his", "Confounded at this information, I asked, ‘Why then is he suffered to\ngo about at his liberty, and this poor innocent fellow treated as a", "But, in truth, all this concern was dissembled. In his approaches of\ngallantry to Mrs Tabitha, he had been misled by a mistake of at least", "Prankley was equally incensed and confounded at this reply. After a\nmoment’s pause, he took him aside towards die window; and, pointing to" ] ]

[ "Who is revealed later in the story to be Matthew's illegitimate child?", "What personal goal does Tabitha have for taking the trip?", "Who serves as the comic foil to Tabitha?", "Who is revealed in Bramble's letters to be \"hot-headed\" and easily angered?", "What revealed to be Wilson's real name?", "Who does Lydia correspond with to mainly discuss her relationship with Wilson?", "Humphrey Clinker is falsely imprisoned for being what?", "What important family events happen during the book's ending?", "Why does Matthew go on a trip with his family and his servants?", "What does Matthew's sister hope to get out of this trip with her brother?", "What is Lydia trying to recover from?", "Why is Humphry incarcerated?", "Who does Humphry turn out to be?", "Who is Humphry's girfriend?", "What does Lydia tell Miss Letitia she is having a hard time handling?", "What does Bramble say about the kind of person his nephew, Jeremy, is?", "Where is Bramble and his family traveling through?", "Where does Bramble go to try to get treatment to feel better?", "Where are Matthew Bramble, his servants along with his family traveling?", "Why is Matthew Bramble traveling?", "What is Matthew Bramble's estate called?", "Where is Matthew Bramble's estate located?", "Who is Matthew Bramble's physician?", "Who is Matthew Bramble's sister?", "Why does Matthew Bramble's sister go on the journey with him?", "Who is Tabitha's servant?", "Who does Jenkins fall in love with at London?", "Who falsely goes to prison being accused of highway robbery?" ]

[ [ "His illegitimate son is Humphrey.", "Jeremy Melford" ], [ "She wants to find herself a husband.", "To look for a husband" ], [ "The comic foil is Win Jenkins.", "Win Jenkins" ], [ "It is Jeremy Medford.", "Jeremy Melford." ], [ "He is George Dennison.", "George Dennison" ], [ "She writes to Miss Letitia Willis.", "Letitia Willis" ], [ "A Highway robber.", "Highway robber" ], [ "There are several weddings.", "Multiple Weddings" ], [ "Matthew is ill and they are seeking treatment to help him get better.", "To improve Matthew Bramble's health. " ], [ "Tabitha is hoping to find herself a husband.", "Search for a husband" ], [ "Lydia is trying to pull herself together from a messy relationship.", "An unfortunate romantic entanglement." ], [ "He is wrongly accused of being a highway robber.", "He was accused of being a highway robber." ], [ "Humphry is Mr. Bramble's son from a fling he had with a barmaid.", "Mr. Bramble's illegitimate son from a barmaid" ], [ "Winifred Jenkins, the maid, is his woman.", "Tabitha Bramble." ], [ "Lydia is having a hard time with handling the way she feels about Wilson and how she should be there for her family.", "Family duty and Wilson " ], [ "Bramble basically says his nephew is short fused, ill tempered and hot headed.", "Hot headed" ], [ "They are traveling through England and Scotland.", "England and Scotland. " ], [ "Bramble goes to different spas to help him get well.", "Various natural spas" ], [ "England and Scotland", "Through England and Scotland." ], [ "To attempt to restore his health", "Restore the health of the gouty" ], [ "Brambleton Hall", "Brambleton Hall." ], [ "In the south-western corner of England", "Brambleton Hall in the southwestern part of England" ], [ "Dr. Lewis", "Dr. Lewis" ], [ "Tabitha", "Tabitha Bramble" ], [ "To find a spouse", "To look for a husband " ], [ "Winifred Jenkins", "Win Jenkins." ], [ "Humphry Clinker ", "Humprey clinker" ], [ "Humphry Clinker", "Humphry Clinker" ] ]

[ [ "Richard Melvyn resolved to live as those around him--start a dairy; run\nit with his family, who would also rear poultry for sale.", "We shore ourselves of all but the bare necessaries of life, but even\nthey for a family of ten are considerable, and it was a mighty tussle to", "Bin Bins had been squandered. He had become so hard up that to pay the\ndrovers in his last venture he was forced to sell the calves of the few\nmilch-cows retained for household uses.", "only the daughter of old hard-up Melvyn, consequently I had little\nweight with the children, which made things very hard for me as a\nteacher.", "offered to take him, and his father had consented to let him go. George\nMelvyn had a large station outback, a large sheep-shearing machine, and", "was too slow and messed up.\" His uncle, George Melvyn, his father's\neldest brother, who had so often and so kindly set us up with cows, had", "Dick Melvyn being my father did not blind me to the fact that he was a\ndespicable, selfish, weak creature, and as such I despised him with the", "was merely the warmth and water which kept them alive. Needless to say,\nwe were on our beam-ends financially. However, with a little help from\nmore fortunate relatives, and with the money obtained from the sale of", "That is where Richard Melvyn fell through. He was crippled with too many\nUtopian ideas of honesty, and was too soft ever to come off anything but", "of the swell Beechams of Five-Bob Downs station. At Goulburn I was only\nthe daughter of old Dick Melvyn, broken-down farmer-cockatoo, well known", "had become far more plebeian and common than the most miserable specimen\nof humanity around him. The support of his family, yet not, its support.\nThe head of his family, yet failing to fulfil the obligations demanded", "\"We have plenty dinner dresses at Five-Bob without any more. It is Miss\nMelvyn we want,\" he said.", "When giving his reason for moving to my mother, he put the matter before\nher thus: The price of cattle and horses had fallen so of late years", "But, alas, at 1.20 we pulled up at Yarnung, where a man came inquiring\nfor a young lady named Melvyn. My fellow passengers collected my", "\"Excuse me, Miss Melvyn, but your grannie has commissioned me to find\nyou as we want to have lunch, and it appears you are the only one who\nknows the run of some of the tucker bags.\"", "\"She thought she'd hit me, but ma settled her. Old poor Melvyn's darter\nwon't try no more of her airs on us.\"", "sent, as the neighbours said the Melvyns ought to pay up the old man's\nbills instead of dressing like swells; and she couldn't help it, and she", "He gave up Bruggabrong, Bin Bin East and Bin Bin West, bought Possum\nGully, a small farm of one thousand acres, and brought us all to live", "swells, and if he did that he would soon be a pauper like my father.\nThis I found was the sentiment of the whole family regarding me. I was", "addressed one word to me beyond \"Good afternoon, Miss Melvyn,\" on his\narrival, and \"Good night, Miss Melvyn,\" when leaving." ], [ "Richard Melvyn resolved to live as those around him--start a dairy; run\nit with his family, who would also rear poultry for sale.", "Dick Melvyn being my father did not blind me to the fact that he was a\ndespicable, selfish, weak creature, and as such I despised him with the", "offered to take him, and his father had consented to let him go. George\nMelvyn had a large station outback, a large sheep-shearing machine, and", "We shore ourselves of all but the bare necessaries of life, but even\nthey for a family of ten are considerable, and it was a mighty tussle to", "was too slow and messed up.\" His uncle, George Melvyn, his father's\neldest brother, who had so often and so kindly set us up with cows, had", "swells, and if he did that he would soon be a pauper like my father.\nThis I found was the sentiment of the whole family regarding me. I was", "\"She thought she'd hit me, but ma settled her. Old poor Melvyn's darter\nwon't try no more of her airs on us.\"", "only the daughter of old hard-up Melvyn, consequently I had little\nweight with the children, which made things very hard for me as a\nteacher.", "of the swell Beechams of Five-Bob Downs station. At Goulburn I was only\nthe daughter of old Dick Melvyn, broken-down farmer-cockatoo, well known", "was merely the warmth and water which kept them alive. Needless to say,\nwe were on our beam-ends financially. However, with a little help from\nmore fortunate relatives, and with the money obtained from the sale of", "life. Your father is lazier if anything, and drinks more than ever. He\nhas got himself into great debt and difficulties, and would have been", "had become far more plebeian and common than the most miserable specimen\nof humanity around him. The support of his family, yet not, its support.\nThe head of his family, yet failing to fulfil the obligations demanded", "He gave up Bruggabrong, Bin Bin East and Bin Bin West, bought Possum\nGully, a small farm of one thousand acres, and brought us all to live", "Bin Bins had been squandered. He had become so hard up that to pay the\ndrovers in his last venture he was forced to sell the calves of the few\nmilch-cows retained for household uses.", "Father took advantage of this Reverend's inconsistency and mortgaged\nPossum Gully. With the money thus obtained he started once more and", "going \"to knuckle under to old Melvyn's darter, the damnedest fool in\nthe world, who's lost all his prawperty, and has to borry money off of\npa.\"", "out. Thus it was with my parents. They had dropped from swelldom to\npeasantism. They were among and of the peasantry. None of their former", "\"Well, miss, please remember me most kindly to yer pa; he was a good\nboss was Dick Melvyn. I hope he's doin' well. I'm Billy Haizelip,", "My father sat reading, and, greeting me in a very quiet fashion,\ncontinued the perusal of his paper. My mother shut her lips tightly,", "intelligence, coupled with his wonderful experience among stock, would,\nthey averred, make a name and fortune for himself dealing or\nauctioneering if he only liked to try. Richard Melvyn began to think so" ], [ "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"Many things. Do you know, gran, that you are robbing the world of an\nartist by keeping Sybylla hidden away in the bush? I must persuade you", "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"Sybylla, you are a dirty careless washer. You've put Stanley's trousers\nin the boil and the colour is coming out of them, and your father's best", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Now, Sybylla, it is foolish to talk like that, for you know that you\ntake no interest in your work. If you'd turn to and help me rear poultry\nand make dresses--and why don't you take to cooking?\"", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"What is the matter, dear Sybylla? Come to bed. Mother has been scolding\nyou. She is always scolding some one. That doesn't matter. You say you", "\"Bore me with no more such trash,\" I said, turning away in disgust.\n\n\"But, Miss Sybylla, what am I to do with it?\"\n\n\"Do with what?\"", "\"Sybylla, you talk at random. The shortcomings of men are no excuse for\nyou to be unwomanly,\" said aunt Helen.\n\n\n\n\nCHAPTER NINETEEN", "\"What with the damned flies, and the tramps, and a pesky thing called\nSybylla, a man's life ain't worth a penny to him,\" said uncle.", "\"Sybylla, never flirt. To play with a man's heart, I think, is one of\nthe most horribly unwomanly actions our sex can be guilty of.\"", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "\"Sybylla! Sybylla, you are getting very vulgar!\"", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Sybylla, Sybylla! That I should ever have nurtured a child to grow up\nlike this! Do you know that--\"" ], [ "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "With stacks of love to all at home, and a whole dray-load for yourself,\nfrom your loving sister,\n\nSybylla.", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "I am truly grieved that Sybylla should have written and worried you.\nTake no notice of her; it is only while she is unused to the place. She", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "Mother laughed. \"That's some of Sybylla's nonsense. She considers Rory\nher especial property, and delights to make the child attempt long", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Sybylla, Sybylla! That I should ever have nurtured a child to grow up\nlike this! Do you know that--\"", "grand-daughter. He says you have been flirting with him. Sybylla, I\nscarcely thought you would be so immodest and unwomanly.\"", "\"Now, Sybylla, none of your crammers. There is no harm in being a bit\ngone on Harry. It's only natural, and just what I'd expect. I've known", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "\"Sybylla, you talk at random. The shortcomings of men are no excuse for\nyou to be unwomanly,\" said aunt Helen.\n\n\n\n\nCHAPTER NINETEEN", "\"Bore me with no more such trash,\" I said, turning away in disgust.\n\n\"But, Miss Sybylla, what am I to do with it?\"\n\n\"Do with what?\"", "\"What is the matter, dear Sybylla? Come to bed. Mother has been scolding\nyou. She is always scolding some one. That doesn't matter. You say you" ], [ "\"Sybylla, do you know what you are doing? Do you love Harry Beecham? Do\nyou mean to marry him?\"", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "\"Now, Sybylla, none of your crammers. There is no harm in being a bit\ngone on Harry. It's only natural, and just what I'd expect. I've known", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "grand-daughter. He says you have been flirting with him. Sybylla, I\nscarcely thought you would be so immodest and unwomanly.\"", "\"Thank you, Sybylla, that is all I want. We will talk about the matter\nmore some other time. I will go up to Caddagat next Sunday. You have", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Now, Sybylla,\" said auntie, laughing, \"you are taking a suspicious\ninterest in my sunburnt young giant. Did I not tell you he was taking\ntime by the forelock when he brought the apples?\"", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Now, Sybylla, it is foolish to talk like that, for you know that you\ntake no interest in your work. If you'd turn to and help me rear poultry\nand make dresses--and why don't you take to cooking?\"", "\"Sybylla, do you know you are a most wonderful girl? Your figure is\nperfect, your style refreshing, and you have a most interesting face. It", "\"Sybylla, never flirt. To play with a man's heart, I think, is one of\nthe most horribly unwomanly actions our sex can be guilty of.\"", "With stacks of love to all at home, and a whole dray-load for yourself,\nfrom your loving sister,\n\nSybylla.", "\"Don't you love me, Syb? I have thought of nothing else but you night\nand day since I saw you first. Can it be possible that you don't care a\nstraw for me?\" and a pained expression came upon his face.", "\"My word, didn't gran make a to-do this morning when I proposed to train\nSybylla for the stage! Do you know that girl is simply reeking with", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"" ], [ "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Now, Sybylla, it is foolish to talk like that, for you know that you\ntake no interest in your work. If you'd turn to and help me rear poultry\nand make dresses--and why don't you take to cooking?\"", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "With stacks of love to all at home, and a whole dray-load for yourself,\nfrom your loving sister,\n\nSybylla.", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "\"Bore me with no more such trash,\" I said, turning away in disgust.\n\n\"But, Miss Sybylla, what am I to do with it?\"\n\n\"Do with what?\"", "\"Thank you, Sybylla, that is all I want. We will talk about the matter\nmore some other time. I will go up to Caddagat next Sunday. You have", "\"Sybylla, you are a dirty careless washer. You've put Stanley's trousers\nin the boil and the colour is coming out of them, and your father's best", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"Sybylla, hurry up and get dressed. Put on your best bib and tucker, and\nI will leave Harry Beecham in your charge, as I want to superintend the\nmaking of some of the dishes myself this evening.\"", "\"What is the matter, dear Sybylla? Come to bed. Mother has been scolding\nyou. She is always scolding some one. That doesn't matter. You say you", "\"Many things. Do you know, gran, that you are robbing the world of an\nartist by keeping Sybylla hidden away in the bush? I must persuade you", "\"Dear me, Sybylla, not in bed yet, and tears, great big tears! Tell me\nwhat is the cause of them.\"\n\nIt was aunt Helen's voice; she had entered and lit the lamp.", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other." ], [ "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Now, Sybylla, it is foolish to talk like that, for you know that you\ntake no interest in your work. If you'd turn to and help me rear poultry\nand make dresses--and why don't you take to cooking?\"", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "I am truly grieved that Sybylla should have written and worried you.\nTake no notice of her; it is only while she is unused to the place. She", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "\"Dear me, Sybylla, not in bed yet, and tears, great big tears! Tell me\nwhat is the cause of them.\"\n\nIt was aunt Helen's voice; she had entered and lit the lamp.", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "the girls is away, I have to get them beds. I am writing about Sybylla.\nI am truly grieved to hear she is such a source of grief and annoyance", "\"Sybylla, you talk at random. The shortcomings of men are no excuse for\nyou to be unwomanly,\" said aunt Helen.\n\n\n\n\nCHAPTER NINETEEN", "\"Bore me with no more such trash,\" I said, turning away in disgust.\n\n\"But, Miss Sybylla, what am I to do with it?\"\n\n\"Do with what?\"", "\"Sybylla, you are a dirty careless washer. You've put Stanley's trousers\nin the boil and the colour is coming out of them, and your father's best", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "\"Ha ha! You, Sybylla, thought this! You, a chit in your teens, an ugly,\npoor, useless, unimportant, little handful of human flesh, and, above,", "\"Sybylla, Sybylla! That I should ever have nurtured a child to grow up\nlike this! Do you know that--\"" ], [ "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "I am truly grieved that Sybylla should have written and worried you.\nTake no notice of her; it is only while she is unused to the place. She", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "I still made no reply, so my mother inquired, \"Well, Sybylla, what do\nyou think of the matter?\"\n\n\"Do you think it absolutely necessary to break up the home?\" I said.", "With stacks of love to all at home, and a whole dray-load for yourself,\nfrom your loving sister,\n\nSybylla.", "\"Dear me, Sybylla, not in bed yet, and tears, great big tears! Tell me\nwhat is the cause of them.\"\n\nIt was aunt Helen's voice; she had entered and lit the lamp.", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "great treat for Sybylla as she has never been in Sydney.\"", "\"What is the matter, dear Sybylla? Come to bed. Mother has been scolding\nyou. She is always scolding some one. That doesn't matter. You say you", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "\"Many things. Do you know, gran, that you are robbing the world of an\nartist by keeping Sybylla hidden away in the bush? I must persuade you", "\"Sybylla, you are a dirty careless washer. You've put Stanley's trousers\nin the boil and the colour is coming out of them, and your father's best", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "this; he therefore deserted her and openly lived with the other woman as\nhis mistress. This forced aunt Helen to return to Caddagat, and her\nmother had induced her to sue for a judicial separation, which was", "\"Now, Sybylla, it is foolish to talk like that, for you know that you\ntake no interest in your work. If you'd turn to and help me rear poultry\nand make dresses--and why don't you take to cooking?\"", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"" ], [ "\"Sybylla, do you know what you are doing? Do you love Harry Beecham? Do\nyou mean to marry him?\"", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Now, Harold, you have compelled Sybylla to come here, you must not let\nthe time drag with her,\" said Miss Beecham.", "use feigning childishness. Harold Beecham is not given to speech--action\nwith him is the same thing. Can you look at me straight, Sybylla, and", "\"Now, Sybylla, none of your crammers. There is no harm in being a bit\ngone on Harry. It's only natural, and just what I'd expect. I've known", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "grand-daughter. He says you have been flirting with him. Sybylla, I\nscarcely thought you would be so immodest and unwomanly.\"", "had--\"Harold will go up for Sybylla on Wednesday afternoon. I do hope\nyou will be able to spare her to me for a while.\"", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Why did you change your clothes, Harold? You surely weren't cold on a\nday like this. Sybylla has changed hers too, when I come to notice it,", "I knew Harold meant what he had said. He was a strong-natured man of\nfirm determinations, and having made up his mind to marry me would never", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"Thank you, Sybylla, that is all I want. We will talk about the matter\nmore some other time. I will go up to Caddagat next Sunday. You have", "\"Bore me with no more such trash,\" I said, turning away in disgust.\n\n\"But, Miss Sybylla, what am I to do with it?\"\n\n\"Do with what?\"", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "\"Intend to accept him!\" I echoed. \"I haven't once thought of such a\npossibility. I never mean to marry anyone.\"\n\n\"Don't you care for Harold? Just a little? Think.\"", "\"Come, Sybylla,\" she said, starting up brightly, \"I have a plan--will\nyou agree to it? Come and take one good long look at yourself in the", "\"Now, Sybylla,\" said auntie, laughing, \"you are taking a suspicious\ninterest in my sunburnt young giant. Did I not tell you he was taking\ntime by the forelock when he brought the apples?\"" ], [ "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "\"Many things. Do you know, gran, that you are robbing the world of an\nartist by keeping Sybylla hidden away in the bush? I must persuade you", "\"Sybylla, you are a dirty careless washer. You've put Stanley's trousers\nin the boil and the colour is coming out of them, and your father's best", "\"Sybylla, Sybylla! That I should ever have nurtured a child to grow up\nlike this! Do you know that--\"", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "With stacks of love to all at home, and a whole dray-load for yourself,\nfrom your loving sister,\n\nSybylla.", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "I am truly grieved that Sybylla should have written and worried you.\nTake no notice of her; it is only while she is unused to the place. She", "\"What is the matter, dear Sybylla? Come to bed. Mother has been scolding\nyou. She is always scolding some one. That doesn't matter. You say you", "\"Thank you, Sybylla, that is all I want. We will talk about the matter\nmore some other time. I will go up to Caddagat next Sunday. You have", "great treat for Sybylla as she has never been in Sydney.\"" ], [ "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "With stacks of love to all at home, and a whole dray-load for yourself,\nfrom your loving sister,\n\nSybylla.", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"What is the matter, dear Sybylla? Come to bed. Mother has been scolding\nyou. She is always scolding some one. That doesn't matter. You say you", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "\"Sybylla, you are a dirty careless washer. You've put Stanley's trousers\nin the boil and the colour is coming out of them, and your father's best", "I am truly grieved that Sybylla should have written and worried you.\nTake no notice of her; it is only while she is unused to the place. She", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "\"Thank you, Sybylla, that is all I want. We will talk about the matter\nmore some other time. I will go up to Caddagat next Sunday. You have", "\"Many things. Do you know, gran, that you are robbing the world of an\nartist by keeping Sybylla hidden away in the bush? I must persuade you", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "\"Dear me, Sybylla, not in bed yet, and tears, great big tears! Tell me\nwhat is the cause of them.\"\n\nIt was aunt Helen's voice; she had entered and lit the lamp.", "\"Bore me with no more such trash,\" I said, turning away in disgust.\n\n\"But, Miss Sybylla, what am I to do with it?\"\n\n\"Do with what?\"" ], [ "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "grand-daughter. He says you have been flirting with him. Sybylla, I\nscarcely thought you would be so immodest and unwomanly.\"", "\"Many things. Do you know, gran, that you are robbing the world of an\nartist by keeping Sybylla hidden away in the bush? I must persuade you", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Dear me, Sybylla, not in bed yet, and tears, great big tears! Tell me\nwhat is the cause of them.\"\n\nIt was aunt Helen's voice; she had entered and lit the lamp.", "\"My word, didn't gran make a to-do this morning when I proposed to train\nSybylla for the stage! Do you know that girl is simply reeking with", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"Now, Sybylla, none of your crammers. There is no harm in being a bit\ngone on Harry. It's only natural, and just what I'd expect. I've known", "Mother laughed. \"That's some of Sybylla's nonsense. She considers Rory\nher especial property, and delights to make the child attempt long", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "\"Now, Sybylla,\" said auntie, laughing, \"you are taking a suspicious\ninterest in my sunburnt young giant. Did I not tell you he was taking\ntime by the forelock when he brought the apples?\"", "With stacks of love to all at home, and a whole dray-load for yourself,\nfrom your loving sister,\n\nSybylla.", "\"Bore me with no more such trash,\" I said, turning away in disgust.\n\n\"But, Miss Sybylla, what am I to do with it?\"\n\n\"Do with what?\"", "\"Sybylla, you talk at random. The shortcomings of men are no excuse for\nyou to be unwomanly,\" said aunt Helen.\n\n\n\n\nCHAPTER NINETEEN" ], [ "\"Your manners are not improving, Sybylla. I fear you must be\nincorrigible,\" said aunt Helen.", "\"Sybylla, you are a dirty careless washer. You've put Stanley's trousers\nin the boil and the colour is coming out of them, and your father's best", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"What is the matter, dear Sybylla? Come to bed. Mother has been scolding\nyou. She is always scolding some one. That doesn't matter. You say you", "I was still admiring my reflection when aunt Helen returned to say that\nEverard and uncle Julius were smoking on the veranda and asking for me.\n\n\"What do you think of yourself, Sybylla?\"", "\"Sybylla! Sybylla, you are getting very vulgar!\"", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "grand-daughter. He says you have been flirting with him. Sybylla, I\nscarcely thought you would be so immodest and unwomanly.\"", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Now, Sybylla, it is foolish to talk like that, for you know that you\ntake no interest in your work. If you'd turn to and help me rear poultry\nand make dresses--and why don't you take to cooking?\"", "\"Bore me with no more such trash,\" I said, turning away in disgust.\n\n\"But, Miss Sybylla, what am I to do with it?\"\n\n\"Do with what?\"", "\"Sybylla, you talk at random. The shortcomings of men are no excuse for\nyou to be unwomanly,\" said aunt Helen.\n\n\n\n\nCHAPTER NINETEEN", "\"Sybylla, Sybylla! That I should ever have nurtured a child to grow up\nlike this! Do you know that--\"", "Mother laughed. \"That's some of Sybylla's nonsense. She considers Rory\nher especial property, and delights to make the child attempt long", "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"Now, Sybylla,\" said auntie, laughing, \"you are taking a suspicious\ninterest in my sunburnt young giant. Did I not tell you he was taking\ntime by the forelock when he brought the apples?\"" ], [ "\"Sybylla, do you know what you are doing? Do you love Harry Beecham? Do\nyou mean to marry him?\"", "use feigning childishness. Harold Beecham is not given to speech--action\nwith him is the same thing. Can you look at me straight, Sybylla, and", "\"Now, Harold, you have compelled Sybylla to come here, you must not let\nthe time drag with her,\" said Miss Beecham.", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "communication with her. As for Harold Beecham, he was nearly as much at\nhome at Caddagat as at Five-Bob Downs. He came and went with that", "\"Sybylla, hurry up and get dressed. Put on your best bib and tucker, and\nI will leave Harry Beecham in your charge, as I want to superintend the\nmaking of some of the dishes myself this evening.\"", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "while Harold Beecham was immensely wealthy. When my installation in the\nrole of invalid took place, one Miss Beecham was away in Melbourne, and\nthe other not well enough to come and see me, but Harold came regularly", "\"Now, Sybylla, none of your crammers. There is no harm in being a bit\ngone on Harry. It's only natural, and just what I'd expect. I've known", "\"Mr Beecham, Harold, I am so sorry I was so unwomanly, and said such\nhorrible things. Will you forgive me, and let us start afresh?\" I", "To begin with, Harold Beecham was gone, and I missed him at every turn.\nI need not worry about being engaged to be married, as four years was a", "Beecham's offer was the one chance of a lifetime. Perhaps he could\nmanage me well enough. Yes; I had better marry him.", "Harold Beecham is my favourite of all the men hereaway. He is\ndelightfully big and quiet. He isn't good-looking, but I like his face.", "Harry Beecham seems to be very much struck with Gertie. I think it would\nbe a good thing, as he is immensely rich, and a very steady young fellow", "Who should surprise us with a visit the other day but Harold Beecham. He\nwas as thin as a whipping-post, and very sunburnt [I smiled, imagining", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "I knew Harold meant what he had said. He was a strong-natured man of\nfirm determinations, and having made up his mind to marry me would never", "\"Sybyller says you's Mr Beecher; when you're done tea, you'd like me if\nI would to 'scort you to farver and the boys, and 'duce you.\"", "I glanced upwards. Horrors! There stood Harold Beecham, as tall and\nbroad as of yore, even more sunburnt than ever, and looking very stylish", "\"My word, didn't gran make a to-do this morning when I proposed to train\nSybylla for the stage! Do you know that girl is simply reeking with" ], [ "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"Now, Sybylla, it is foolish to talk like that, for you know that you\ntake no interest in your work. If you'd turn to and help me rear poultry\nand make dresses--and why don't you take to cooking?\"", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Sybylla, you are a dirty careless washer. You've put Stanley's trousers\nin the boil and the colour is coming out of them, and your father's best", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "With stacks of love to all at home, and a whole dray-load for yourself,\nfrom your loving sister,\n\nSybylla.", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "\"Dear me, Sybylla, not in bed yet, and tears, great big tears! Tell me\nwhat is the cause of them.\"\n\nIt was aunt Helen's voice; she had entered and lit the lamp.", "\"What is the matter, dear Sybylla? Come to bed. Mother has been scolding\nyou. She is always scolding some one. That doesn't matter. You say you", "I am truly grieved that Sybylla should have written and worried you.\nTake no notice of her; it is only while she is unused to the place. She", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "\"Bore me with no more such trash,\" I said, turning away in disgust.\n\n\"But, Miss Sybylla, what am I to do with it?\"\n\n\"Do with what?\"", "\"Many things. Do you know, gran, that you are robbing the world of an\nartist by keeping Sybylla hidden away in the bush? I must persuade you", "\"Sybylla, Sybylla! That I should ever have nurtured a child to grow up\nlike this! Do you know that--\"" ], [ "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "\"Bore me with no more such trash,\" I said, turning away in disgust.\n\n\"But, Miss Sybylla, what am I to do with it?\"\n\n\"Do with what?\"", "\"What is the matter, dear Sybylla? Come to bed. Mother has been scolding\nyou. She is always scolding some one. That doesn't matter. You say you", "I still made no reply, so my mother inquired, \"Well, Sybylla, what do\nyou think of the matter?\"\n\n\"Do you think it absolutely necessary to break up the home?\" I said.", "\"Now, Sybylla, it is foolish to talk like that, for you know that you\ntake no interest in your work. If you'd turn to and help me rear poultry\nand make dresses--and why don't you take to cooking?\"", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "With stacks of love to all at home, and a whole dray-load for yourself,\nfrom your loving sister,\n\nSybylla.", "\"Dear me, Sybylla, not in bed yet, and tears, great big tears! Tell me\nwhat is the cause of them.\"\n\nIt was aunt Helen's voice; she had entered and lit the lamp.", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "I am truly grieved that Sybylla should have written and worried you.\nTake no notice of her; it is only while she is unused to the place. She", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "\"Sybylla, you are a dirty careless washer. You've put Stanley's trousers\nin the boil and the colour is coming out of them, and your father's best", "\"Thank you, Sybylla, that is all I want. We will talk about the matter\nmore some other time. I will go up to Caddagat next Sunday. You have", "\"Many things. Do you know, gran, that you are robbing the world of an\nartist by keeping Sybylla hidden away in the bush? I must persuade you" ], [ "\"Sybylla, do you know what you are doing? Do you love Harry Beecham? Do\nyou mean to marry him?\"", "use feigning childishness. Harold Beecham is not given to speech--action\nwith him is the same thing. Can you look at me straight, Sybylla, and", "\"Now, Harold, you have compelled Sybylla to come here, you must not let\nthe time drag with her,\" said Miss Beecham.", "\"Intend to accept him!\" I echoed. \"I haven't once thought of such a\npossibility. I never mean to marry anyone.\"\n\n\"Don't you care for Harold? Just a little? Think.\"", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "communication with her. As for Harold Beecham, he was nearly as much at\nhome at Caddagat as at Five-Bob Downs. He came and went with that", "who had suffered, who had understood. No; I could never marry Harold\nBeecham.", "I knew Harold meant what he had said. He was a strong-natured man of\nfirm determinations, and having made up his mind to marry me would never", "he needed me. But, but, but, I did not want to marry, and I wished that\nHarold had asked anything of me but that, because--because, I don't know", "\"No, thank you, aunt Gus. It is nothing,\" he said carelessly, and the\nmatter dropped.\n\nHarold Beecham was not a man to invite inquiry concerning himself.", "\"Sybylla, hurry up and get dressed. Put on your best bib and tucker, and\nI will leave Harry Beecham in your charge, as I want to superintend the\nmaking of some of the dishes myself this evening.\"", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "To begin with, Harold Beecham was gone, and I missed him at every turn.\nI need not worry about being engaged to be married, as four years was a", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "\"Now, Sybylla, none of your crammers. There is no harm in being a bit\ngone on Harry. It's only natural, and just what I'd expect. I've known", "\"Mr Beecham, Harold, I am so sorry I was so unwomanly, and said such\nhorrible things. Will you forgive me, and let us start afresh?\" I", "while Harold Beecham was immensely wealthy. When my installation in the\nrole of invalid took place, one Miss Beecham was away in Melbourne, and\nthe other not well enough to come and see me, but Harold came regularly", "\"Bore me with no more such trash,\" I said, turning away in disgust.\n\n\"But, Miss Sybylla, what am I to do with it?\"\n\n\"Do with what?\"", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world," ], [ "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Bore me with no more such trash,\" I said, turning away in disgust.\n\n\"But, Miss Sybylla, what am I to do with it?\"\n\n\"Do with what?\"", "\"Now, Harold, you have compelled Sybylla to come here, you must not let\nthe time drag with her,\" said Miss Beecham.", "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "I knew Harold meant what he had said. He was a strong-natured man of\nfirm determinations, and having made up his mind to marry me would never", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "had--\"Harold will go up for Sybylla on Wednesday afternoon. I do hope\nyou will be able to spare her to me for a while.\"", "use feigning childishness. Harold Beecham is not given to speech--action\nwith him is the same thing. Can you look at me straight, Sybylla, and", "\"Now, Sybylla, none of your crammers. There is no harm in being a bit\ngone on Harry. It's only natural, and just what I'd expect. I've known", "\"Sybylla, never flirt. To play with a man's heart, I think, is one of\nthe most horribly unwomanly actions our sex can be guilty of.\"", "\"Sybylla, Sybylla! That I should ever have nurtured a child to grow up\nlike this! Do you know that--\"", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "I am truly grieved that Sybylla should have written and worried you.\nTake no notice of her; it is only while she is unused to the place. She", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Sybylla, do you know what you are doing? Do you love Harry Beecham? Do\nyou mean to marry him?\"", "\"Now, Sybylla, it is foolish to talk like that, for you know that you\ntake no interest in your work. If you'd turn to and help me rear poultry\nand make dresses--and why don't you take to cooking?\"", "\"Thank you, Sybylla, that is all I want. We will talk about the matter\nmore some other time. I will go up to Caddagat next Sunday. You have", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love" ], [ "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Many things. Do you know, gran, that you are robbing the world of an\nartist by keeping Sybylla hidden away in the bush? I must persuade you", "\"Now, Sybylla, it is foolish to talk like that, for you know that you\ntake no interest in your work. If you'd turn to and help me rear poultry\nand make dresses--and why don't you take to cooking?\"", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"Sybylla, you are a dirty careless washer. You've put Stanley's trousers\nin the boil and the colour is coming out of them, and your father's best", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "\"Miss Sybylla,\" he began, when we were left alone, \"I want to apologize\nto you. I had no right to plague you, but it all comes of the way I love", "they can be good on the stage as well as anywhere else. On account of a\nlittle prejudice it would be a sin to rob Sybylla of the brilliant\ncareer she might have.\"", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"Bore me with no more such trash,\" I said, turning away in disgust.\n\n\"But, Miss Sybylla, what am I to do with it?\"\n\n\"Do with what?\"", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "With stacks of love to all at home, and a whole dray-load for yourself,\nfrom your loving sister,\n\nSybylla.", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Sybylla, do you know what you are doing? Do you love Harry Beecham? Do\nyou mean to marry him?\"", "\"Thank you, Sybylla, that is all I want. We will talk about the matter\nmore some other time. I will go up to Caddagat next Sunday. You have" ], [ "\"My love.\"\n\n\"Love!\" I retorted scornfully. \"There is no such thing.\"\n\n\"But there is, and I have found it.\"", "I was no heroine, only a common little bush-girl, so had to make the\nbest of the situation without any fooling. I raised my eyes from the", "Presently they left off singing and commenced talking. Under the same\ncircumstances a heroine of a story would have slipped away; or, if that", "\"She is not the girl for you. You are not the man who could ever control\nher. What I say may not be complimentary but it is true. Besides, she is", "The little girl assented. I carefully instructed her in what she was to\nsay, and dispatched her. She placed herself in front of Harold--a", "is one of the good old school, who believed that a girl's only proper\nsphere in life was marriage; so, knowing her sentiments, her purpose to", "I looked, and looked again in pleased surprise. I beheld a young girl\nwith eyes and skin of the clearest and brightest, and lips of brilliant", "But then I thought of Gertie, so pretty, so girlish, so understandable,\nso full of innocent winning coquetry. I softened. Could any one help", "\"No, uncle; but there was a poor young fellow here this morning who, I\nfeel sure, was in earnest when he asked for work.\"\n\n\"Helen!\" bawled uncle Jay-Jay.", "Here goes for a full account of my first, my last, my only _real_\nsweetheart, for I considered the professions of that pestiferous\njackeroo as merely a grotesque caricature on the genuine article.", "\"Let her alone, Lucy,\" he said, \"let her alone. The rubbishing\nconventionalities which are the curse of her sex will bother her soon\nenough. Let her alone!\"", "It is just one of your passing fancies. Don't wile her passionate young\nheart away and then leave her to pine and die.\"", "in God, her heroic struggle to keep the home together--which went\nsoaring on beyond my understanding, leaving me a coward weakling,\ngrovelling in the dust.", "bride, and becoming enamoured of another woman, he tried to obtain a\ndivorce. On account of his wife's spotless character he was unable to do", "\"Child! She is eighteen. More than a year older than I was when you\nfirst introduced the subject of matrimony to me, and she is very\nbeautiful, and twenty times as good and lovable as I could ever be even\nin my best moments.\"", "\"Aurora, you mustn't stand staring like that,\" said mother.\n\n\"Yes, I must,\" she replied confidently.\n\n\"Well, and what's your name?\" said Harold laughingly.", "length and detail, in which a full-fledged hero and heroine performed\nthe duties of a hero and heroine in the orthodox manner. Knowing our", "introduction. She was a lady, and looked it, in spite of the piles of\ncoarse mending, and the pair of trousers, almost bullet-proof with", "clean pinafore on the little girl, and combed her golden curls. She was\nall mine--slept with me, obeyed me, championed me; while I--well, I\nworshipped her.", "Peter, junior, had a sweetheart, one Susie Duffy, who lived some miles\non the other side of the Murrumbidgee. He was in the habit of courting" ], [ "\"Sybylla, Sybylla! That I should ever have nurtured a child to grow up\nlike this! Do you know that--\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "I am truly grieved that Sybylla should have written and worried you.\nTake no notice of her; it is only while she is unused to the place. She", "\"Aurora and Roy. I belong to Sybyller, and got to tell you somesing.\"\n\n\"Have you? Let's hear it.\"", "\"Sybylla! Sybylla, you are getting very vulgar!\"", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "Mother laughed. \"That's some of Sybylla's nonsense. She considers Rory\nher especial property, and delights to make the child attempt long", "\"Sybylla, do you know you are a most wonderful girl? Your figure is\nperfect, your style refreshing, and you have a most interesting face. It", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"Many things. Do you know, gran, that you are robbing the world of an\nartist by keeping Sybylla hidden away in the bush? I must persuade you", "\"Come, Sybylla,\" she said, starting up brightly, \"I have a plan--will\nyou agree to it? Come and take one good long look at yourself in the", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"But, Syb, I want you. You are the best and truest girl in the world.\"\n\n\"Och! Sure, the blarney-stone is getting a good rub now,\" I said\nplayfully.", "\"Sybylla!\" said my mother in a shocked tone. \"It is a wonder God doesn't\nstrike you dead; I never heard--\"", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's" ], [ "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Sybylla, do you know you are a most wonderful girl? Your figure is\nperfect, your style refreshing, and you have a most interesting face. It", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "\"Sure, Sybyller, who's that? Is he yer sweetheart? Sure he's as fine a\nman as iver I clapped me eyes on.\"", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"Aurora and Roy. I belong to Sybyller, and got to tell you somesing.\"\n\n\"Have you? Let's hear it.\"", "\"Sybylla! Sybylla, you are getting very vulgar!\"", "\"Sybylla, hurry up and get dressed. Put on your best bib and tucker, and\nI will leave Harry Beecham in your charge, as I want to superintend the\nmaking of some of the dishes myself this evening.\"", "\"Now, Sybylla,\" said auntie, laughing, \"you are taking a suspicious\ninterest in my sunburnt young giant. Did I not tell you he was taking\ntime by the forelock when he brought the apples?\"", "Mother laughed. \"That's some of Sybylla's nonsense. She considers Rory\nher especial property, and delights to make the child attempt long", "\"I'm in no hurry, Syb, and couldn't I help you with that poor little\ndevil?\"\n\n\"I'm only trying to give it another chance of life.\"", "\"Sybylla, Sybylla! That I should ever have nurtured a child to grow up\nlike this! Do you know that--\"", "\"I say, Syb, don't treat a fellow as though he was altogether a\nstranger,\" he said diffidently, leaning against the door-post.", "\"Syb, I want to speak to you,\" he said earnestly, and then came to a\ndead stop.", "\"Syb, you are such a perfect little brick that I couldn't be such a\nbeggarly cur as to let you do that. I knew you were as true as steel", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"But, Syb, I want you. You are the best and truest girl in the world.\"\n\n\"Och! Sure, the blarney-stone is getting a good rub now,\" I said\nplayfully.", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"" ], [ "\"Sybylla, do you know what you are doing? Do you love Harry Beecham? Do\nyou mean to marry him?\"", "\"Now, Harold, you have compelled Sybylla to come here, you must not let\nthe time drag with her,\" said Miss Beecham.", "use feigning childishness. Harold Beecham is not given to speech--action\nwith him is the same thing. Can you look at me straight, Sybylla, and", "\"Intend to accept him!\" I echoed. \"I haven't once thought of such a\npossibility. I never mean to marry anyone.\"\n\n\"Don't you care for Harold? Just a little? Think.\"", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Mr Beecham, Harold, I am so sorry I was so unwomanly, and said such\nhorrible things. Will you forgive me, and let us start afresh?\" I", "To begin with, Harold Beecham was gone, and I missed him at every turn.\nI need not worry about being engaged to be married, as four years was a", "About a week or so after I first met Harold Beecham, aunt Helen allowed\nme to read a letter she had received from the elder of the two Misses\nBeecham. It ran as follows:", "\"Sybylla, hurry up and get dressed. Put on your best bib and tucker, and\nI will leave Harry Beecham in your charge, as I want to superintend the\nmaking of some of the dishes myself this evening.\"", "I knew Harold meant what he had said. He was a strong-natured man of\nfirm determinations, and having made up his mind to marry me would never", "\"Sybyller says you's Mr Beecher; when you're done tea, you'd like me if\nI would to 'scort you to farver and the boys, and 'duce you.\"", "\"Don't you love me, Syb? I have thought of nothing else but you night\nand day since I saw you first. Can it be possible that you don't care a\nstraw for me?\" and a pained expression came upon his face.", "Harold accepted the proposal, and remarked:\n\n\"What is the matter with your niece? It is the first time I ever saw her\nquiet.\"", "\"No, thank you, aunt Gus. It is nothing,\" he said carelessly, and the\nmatter dropped.\n\nHarold Beecham was not a man to invite inquiry concerning himself.", "while Harold Beecham was immensely wealthy. When my installation in the\nrole of invalid took place, one Miss Beecham was away in Melbourne, and\nthe other not well enough to come and see me, but Harold came regularly", "The little girl assented. I carefully instructed her in what she was to\nsay, and dispatched her. She placed herself in front of Harold--a", "Beecham's offer was the one chance of a lifetime. Perhaps he could\nmanage me well enough. Yes; I had better marry him.", "communication with her. As for Harold Beecham, he was nearly as much at\nhome at Caddagat as at Five-Bob Downs. He came and went with that", "\"Now, Sybylla, none of your crammers. There is no harm in being a bit\ngone on Harry. It's only natural, and just what I'd expect. I've known", "\"I'm not offended,\" I returned, leading the way to the house, imagining\nwith a keen pain that Harold Beecham must be wondering how for an\ninstant he could have been foolish enough to fancy such an object two\nyears ago." ], [ "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Sybylla, Sybylla! That I should ever have nurtured a child to grow up\nlike this! Do you know that--\"", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "\"Now, Sybylla, it is foolish to talk like that, for you know that you\ntake no interest in your work. If you'd turn to and help me rear poultry\nand make dresses--and why don't you take to cooking?\"", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"Aurora and Roy. I belong to Sybyller, and got to tell you somesing.\"\n\n\"Have you? Let's hear it.\"", "\"Sybylla, hurry up and get dressed. Put on your best bib and tucker, and\nI will leave Harry Beecham in your charge, as I want to superintend the\nmaking of some of the dishes myself this evening.\"", "\"Come, Sybylla,\" she said, starting up brightly, \"I have a plan--will\nyou agree to it? Come and take one good long look at yourself in the", "\"Sybylla! Sybylla, you are getting very vulgar!\"", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Mr Hawden wants you, Sybylla,\" called aunt Helen. \"See what he wants\nand let him get away to his work, or your grannie will be vexed to see\nhim loitering about all the morning.\"", "I am truly grieved that Sybylla should have written and worried you.\nTake no notice of her; it is only while she is unused to the place. She", "Mother laughed. \"That's some of Sybylla's nonsense. She considers Rory\nher especial property, and delights to make the child attempt long", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"Sybylla, do you know you are a most wonderful girl? Your figure is\nperfect, your style refreshing, and you have a most interesting face. It", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Sybylla should be excused this morning,\" interposed Mr Grey. \"She\nentertained us for hours last night. Little wonder if she feels languid\nthis morning.\"" ], [ "\"Sybylla, do you know what you are doing? Do you love Harry Beecham? Do\nyou mean to marry him?\"", "\"Now, Harold, you have compelled Sybylla to come here, you must not let\nthe time drag with her,\" said Miss Beecham.", "use feigning childishness. Harold Beecham is not given to speech--action\nwith him is the same thing. Can you look at me straight, Sybylla, and", "\"Mr Beecham, Harold, I am so sorry I was so unwomanly, and said such\nhorrible things. Will you forgive me, and let us start afresh?\" I", "\"Intend to accept him!\" I echoed. \"I haven't once thought of such a\npossibility. I never mean to marry anyone.\"\n\n\"Don't you care for Harold? Just a little? Think.\"", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Sybyller says you's Mr Beecher; when you're done tea, you'd like me if\nI would to 'scort you to farver and the boys, and 'duce you.\"", "I knew Harold meant what he had said. He was a strong-natured man of\nfirm determinations, and having made up his mind to marry me would never", "About a week or so after I first met Harold Beecham, aunt Helen allowed\nme to read a letter she had received from the elder of the two Misses\nBeecham. It ran as follows:", "\"I'm not offended,\" I returned, leading the way to the house, imagining\nwith a keen pain that Harold Beecham must be wondering how for an\ninstant he could have been foolish enough to fancy such an object two\nyears ago.", "To begin with, Harold Beecham was gone, and I missed him at every turn.\nI need not worry about being engaged to be married, as four years was a", "\"Sybylla, hurry up and get dressed. Put on your best bib and tucker, and\nI will leave Harry Beecham in your charge, as I want to superintend the\nmaking of some of the dishes myself this evening.\"", "The little girl assented. I carefully instructed her in what she was to\nsay, and dispatched her. She placed herself in front of Harold--a", "\"Let's take a breeze now and have a song or two, but no more dancing for\na while,\" said some of them; but Harold Beecham said, \"One more turn,\nand then we will have a long spell and a change of programme.\"", "while Harold Beecham was immensely wealthy. When my installation in the\nrole of invalid took place, one Miss Beecham was away in Melbourne, and\nthe other not well enough to come and see me, but Harold came regularly", "communication with her. As for Harold Beecham, he was nearly as much at\nhome at Caddagat as at Five-Bob Downs. He came and went with that", "I told her long yarns of how I had spent my time at the Beechams; of the\ndeafening duets Harold and I had played on the piano; and how he would", "last Sunday, again. Syb, say you will be my wife.\"", "\"Don't you love me, Syb? I have thought of nothing else but you night\nand day since I saw you first. Can it be possible that you don't care a\nstraw for me?\" and a pained expression came upon his face.", "\"Harold. I meant what I said last Sunday. If you want me--if I am of any\nuse to you--I will marry you when I attain my majority.\"\n\nHe was satisfied." ], [ "\"Sybylla, Sybylla! That I should ever have nurtured a child to grow up\nlike this! Do you know that--\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "\"Sybylla! Sybylla, you are getting very vulgar!\"", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Aurora and Roy. I belong to Sybyller, and got to tell you somesing.\"\n\n\"Have you? Let's hear it.\"", "Mother laughed. \"That's some of Sybylla's nonsense. She considers Rory\nher especial property, and delights to make the child attempt long", "\"I understand you, Sybylla,\" she said slowly and distinctly, \"but you\nmust not be a coward. There is any amount of love and good in the world,", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "I am truly grieved that Sybylla should have written and worried you.\nTake no notice of her; it is only while she is unused to the place. She", "\"I love you, Sybylla, better than all the rest. I could not do without\nyou,\" and she put her pretty face to mine and kissed me.", "\"Your manners are not improving, Sybylla. I fear you must be\nincorrigible,\" said aunt Helen.", "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"No,\"\n\n\"Can this youngster sing, Helen?\"\n\n\"She sings very nicely to herself sometimes, but I do not know how she\nwould manage before company. Will you try something, Sybylla?\"", "\"Syb, I have been expecting this for some years; now that it is done\nwith, it is a sort of grim relief. The worst of all is that I've had to", "\"Sybylla, never flirt. To play with a man's heart, I think, is one of\nthe most horribly unwomanly actions our sex can be guilty of.\"", "\"Ha ha! You, Sybylla, thought this! You, a chit in your teens, an ugly,\npoor, useless, unimportant, little handful of human flesh, and, above," ], [ "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"Sybylla, Sybylla! That I should ever have nurtured a child to grow up\nlike this! Do you know that--\"", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Sybylla! Sybylla, you are getting very vulgar!\"", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "\"Sybylla!\" said my mother in a shocked tone. \"It is a wonder God doesn't\nstrike you dead; I never heard--\"", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "Mother laughed. \"That's some of Sybylla's nonsense. She considers Rory\nher especial property, and delights to make the child attempt long", "My mother's voice, sharp and cross, roused me. \"Sybylla, you lazy\nunprincipled girl, to sit scheming there while your poor old mother is", "\"Sybylla should be excused this morning,\" interposed Mr Grey. \"She\nentertained us for hours last night. Little wonder if she feels languid\nthis morning.\"", "out. Thus it was with my parents. They had dropped from swelldom to\npeasantism. They were among and of the peasantry. None of their former", "I still made no reply, so my mother inquired, \"Well, Sybylla, what do\nyou think of the matter?\"\n\n\"Do you think it absolutely necessary to break up the home?\" I said.", "of very aristocratic English parents who had left him to the\nguardianship of distant relatives. They had proved criminally\nunscrupulous. By finding a flaw in deeds, or something which none but", "\"Now, Sybylla, it is foolish to talk like that, for you know that you\ntake no interest in your work. If you'd turn to and help me rear poultry\nand make dresses--and why don't you take to cooking?\"", "\"Aurora and Roy. I belong to Sybyller, and got to tell you somesing.\"\n\n\"Have you? Let's hear it.\"", "\"Ha ha! You, Sybylla, thought this! You, a chit in your teens, an ugly,\npoor, useless, unimportant, little handful of human flesh, and, above,", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"Your manners are not improving, Sybylla. I fear you must be\nincorrigible,\" said aunt Helen." ], [ "\"Aurora and Roy. I belong to Sybyller, and got to tell you somesing.\"\n\n\"Have you? Let's hear it.\"", "\"Sybylla, Sybylla! That I should ever have nurtured a child to grow up\nlike this! Do you know that--\"", "\"Harry, this is Sybylla. I'm sure you need no further introduction.\nExcuse me, I have something on the fire which is likely to burn.\" And\naunt Helen hurried off leaving us facing each other.", "\"Syb, I want to speak to you,\" he said earnestly, and then came to a\ndead stop.", "\"Sybylla, I've been studying the matter over a lot lately. It's no use,\nwe cannot afford to keep you at home. You'll have to get something to\ndo.\"", "\"Sybylla! Sybylla, you are getting very vulgar!\"", "\"Sybylla should be excused this morning,\" interposed Mr Grey. \"She\nentertained us for hours last night. Little wonder if she feels languid\nthis morning.\"", "\"There is a great deal of truth in what you say, gran, I admit. You can\napply it to many of our girls, I am sorry to confess, but Sybylla could", "\"Sybylla, what are you doing? Where is your mother?\"\n\n\"I'm ironing. Mother's down at the fowl-house seeing after some\nchickens. What do you want?\"", "Mother laughed. \"That's some of Sybylla's nonsense. She considers Rory\nher especial property, and delights to make the child attempt long", "\"Sybylla, Sybylla,\" said auntie sadly, as if to herself. \"In the first\nflush of girlhood, and so bitter. Why is this?\"", "\"Your name is Sybylla,\" Miss Beecham continued, \"Sybylla Penelope. Your\nmother used to be very dear to me, but I don't know why she doesn't", "\"Syb, you do not answer. May I call you mine? You must, you must, you\nmust!\"", "\"Syb, you are such a perfect little brick that I couldn't be such a\nbeggarly cur as to let you do that. I knew you were as true as steel", "\"Sybylla!\" said my mother in a shocked tone. \"It is a wonder God doesn't\nstrike you dead; I never heard--\"", "\"Syb, I have been expecting this for some years; now that it is done\nwith, it is a sort of grim relief. The worst of all is that I've had to", "\"Now, Sybylla, you are going to think of yourself again. Something has\nput you out. Be sensible for once in a way. What you have said of men's", "\"I'm in no hurry, Syb, and couldn't I help you with that poor little\ndevil?\"\n\n\"I'm only trying to give it another chance of life.\"", "\"Sybylla, hurry up and get dressed. Put on your best bib and tucker, and\nI will leave Harry Beecham in your charge, as I want to superintend the\nmaking of some of the dishes myself this evening.\"", "\"Sybylla, do you know what you are doing? Do you love Harry Beecham? Do\nyou mean to marry him?\"" ] ]

[ "What causes Melvyn's family to reduce subsistence level?", "What does Melvyn's father do as a result of the family lowering their subsistence level?", "What aspect of Sybylla's life does she struggle with?", "With whom is Sybylla sent to live?", "Who proposes marriage to Sybylla?", "What job is Sybylla sent to do in order to relieve her father's debt?", "What does Sybylla suffer from while working as a housekeeper?", "After her breakdown, where does Sybylla live?", "After asking her to marry him a second time, what does Sybylla do to Harold?", "Where did Sybylla Melvyn grow up?", "Who is Sybylla sent to live with after her family's struggles?", "Who does Sybylla meet while living with her grandmother?", "What bad habit does Sybylla's father pick up?", "Harold Beecham proposes what to Sybylla?", "What is Sybylla sent to work as due to her family's debt?", "While working as a housekeeper, Sybylla suffers a physical break down forcing her to return where?", "Harold Beech asks Sybylla to marry but why does she refuse?", "After sending Harold away, what is Sybylla determined to never do?", "What kind of career does Sybylla to have?", "What is the name of the heroine in the story?", "What country did Sybella grow up in?", "What's the name of the wealthy boy Sybella meets?", "When Harold Beecham proposes the first time to Sybella, what is her response?", "What is Sybella employed as when she has to go to work?", "When Harold Beecham proposes for the second time to Sybella how does she respond?", "What was the time period that Sybella was growing up?", "What forced Sybella's parents into poverty?", "Who does Sybella's father owe money to?" ]

[ [ "drought and poor business decision", "poor business decisions" ], [ "drink heavily", "sends her to live on her grandmothers property" ], [ "the monotony", "The monotony of it" ], [ "her grandmother", "She is sent to live on her grandmother's property." ], [ "Harold Beecham", "Harold Beecham" ], [ "governess/housekeeper", "Work as a housekeeper/governess for a neighbor" ], [ "physical breakdown", "a breakdown" ], [ "with her family", "With her family" ], [ "sends him away", "send him away" ], [ "rural Australia.", "rural Australia" ], [ "Grandmother.", "With her grandmother." ], [ "Harold Beecham.", "harold beechum" ], [ "Drinking.", "He develops a drinking problem." ], [ "Marriage.", "marrage" ], [ "Governess/housekeeper.", "A governess and housekeeper." ], [ "Family home.", "with her family" ], [ "Unable to make him happiness. ", "she doesnt believe him" ], [ "Marry.", "marry anyone" ], [ "Writer. ", "She wants to be a writer" ], [ "Sybella Melvyn", "syblla" ], [ "Australia", "In Australia." ], [ "Harold Beecham.", "Harold Beecham" ], [ "She says no.", "She doesn't believe him" ], [ "She is a governess/housekeeper.", "housekeeper" ], [ "She refuses and sends him away.", "She refuses and sends him away." ], [ "The 1890's", "1890s" ], [ "Her father's drinking.", "drought bad business " ], [ "Their illiterate neighbor.", "a illiterate neighbour" ] ]

[ [ "And now, to speak on behalf of his Holiness' 'Catholicism - Wow!' campaign,\nladies and gentlemen of the press, I give you the driving force behind the\nmovement - Cardinal Glick.", "Cardinal Glick stands at the podium, all smiles. He's in mid-speech.\n\n GLICK", "The reporters clap as CARDINAL GLICK takes to the podium. He strikes one as\nmore of an agent than a man of the cloth as he removes his Wayfarers.\n\n GLICK", "'Cardinal Glick has come under fire for the blatant pandering and\nquestionable direction of his church-sanctioned 'Catholicism - Wow!'", "(reads)\n\n\"Cardinal Glick Cuts Ribbon on 'Catholicism - Wow!\"\n\nCampaign.\"\n\n(to Bartleby)", "Cardinal Glick - has the church given any thought to it's position on john\nDoe Jersey? Will he be given the right to die with dignity?\n\nAnother buzz rises from the crowd. Glick rolls his eyes.", "Cardinal Click runs to a pay phone. Sweating and bloody, he looks a mess.\nHe presses '0' and looks around wildly - particularly skyward.\n\n GLICK", "It was a Cardinal.", "The Cardinal blows smoke rings.\n\n GLICK\n\nYou'd like to help out in some way?\n\n BETHANY", "RUFUS\n\nI'm telling you man. this ceremony is a mistake.\n\n GLICK\n\nThe Catholic Church does not make mistakes.", "A hand switches off the t.v. Pan up to Cardinal Click, all smiles.\n\n GLICK\n\nWell...? Doesn't it pop?", "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "A formidable crowd of parishoners surrounds a small stage, ten yards from\nthe front of the church. Banners hang every~ere, heralding 'Catholicism -", "Thank you, Mister Flanagan - one of this parish's chief patrons, who\ndonated the stained-glass likeness of Our Lady of Gleeful Misery that\nwelcomes you as you enter the church every Sunday.", "Jay and Silent Bob adjourn themselves from the group and approach a hat\nrack, where the Cardinal's CASSOCK and MITER hang. Jay nudges Silent Bob.", "We really appreciate you seeing us this late in the day, your Emminence. My\nfriends and I have been traveling all night in hopes of getting a chance to\ntalk to you about the Saint Michael's Re-Dedication ceremony.", "As he speaks, a large shadow falls over him from above. It grows larger,\nenveloping Click. He drops the receiver, drops to his knees, and screams.\n\nEXT SAINT MICHAEL'S - DAY", "HOLY SHIT!! IT'S THE POPE!!\n\nAs the thrall turns excitedly in an effort try to spy the imaginary\npontiff, Liz ducks inside the clinic.", "Your Emminence, it's not a joke. These guys are an accident waiting to\nhappen. And if the re-edication ceremony goes on as planned...\n\n GLICK", "Glick pulls a cover off an object to his right - a two foot figure of\nChrist smiling and giving the 'thumbs up'. The crowd buzzes.\n\n GLICK" ], [ "INT BETHANY'S OFFICE - DAY\n\nBethany sits at her desk, staring into space. A twenty-something girl\nspeaks, butBethany's not really listening. She's extremely preoccupied.", "Bethany and Bartleby slump in their booth, the table loaded with empty\nglasses. Bethany is quite tipsy. Bartleby sips his drinks, and\nsurreptitiously spits it out.", "BETHANY\n\n(to herself)\n\nYou've gotta be kidding me.\n\n(thinks for a beat; then) Hey! Wait!", "Bethany's Catholic.\n\n SERENDIPITY\n\nMy condolences.\n\n BETHANY", "(sits down with them)\n\n BETHANY\n\nNow you show up! Where were you when that psychotic bastard had a knife to\nmy throat?", "BETHANY\n\n(shouting above the music)\n\nWhat are you doing?\n\n JAY", "Bethany comes back and sees the mess. She moves to rush to Jay's side, but\nRufus holds her back An OC Jay laughs.", "But then again, I guess nobody ever does... except maybe you.\n\nINT BETHANY'S OFFICE - DAY", "INT CLINIC - NIGHT\n\nBethany shuts off the lights in the various rooms. She packs up her bag and\nturns on the alarm.\n\nEXT CLINIC - NIGHT", "Bethany goes to make a move, but Rufus holds her back, shaking his head. He\nputs a finger to his lips to quiet her and points back toward the action,\nsmiling.\n\nJay fumes.", "Bethany stares at her for a beat, then at Rufus. Rufus nods affirmatively.\n\n BETHANY\n\nI can't take much more of this.", "BETHANY\n\n(turns on him)\n\nNobody is fucking me! You got that?!\n\n JAY", "Bethany throws her bag on her car roof and rumages through her purse for\nher keys. She hears something and stops. Roller blades can be heard moving\nslowly across the asphalt of the parking lot. Bethany turns quickly.", "BETHANY\n\n(a bit stunned)\n\nExcuse me?\n\n JAY", "Bethany breaks into hysterics.\n\nINT TRAIN CAR - NIGHT\n\nRufus pulls open another door and exits.\n\nINT LOUNGE CAR - NIGHT", "BETHANY\n\nSo then we're screwed?\n\n(shrugs)\n\nShit, that's the best news l've heard in days.", "Bethany sits on a swing in the kiddie-jungle gym, shaking her head. Rufus\njoins her.\n\n RUFUS", "Bethany exits and locks the door behind her. She starts walking.\n\nAs her feet tread lightly toward her car, three small shadows move toward\nher.", "BETHANY\n\nYes.\n\n JAY", "BETHANY\n\nWhat brought you to McHenry?\n\n JAY\n\nHollywood.\n\n BETHANY" ], [ "That guy - the one that they won't take off life support - John Doe Jersey.\nThis is where he's at.\n\n BETHANY\n\nWhat? Where?", "John Doe Jersey bastard behind us, or we can make with the love.\n\nBethany freezes.\n\n BETHANY\n\n(finally!)", "Jay manages to reach into his jacket and pull out a copy of Penthouse. He\nrolls it up and starts beating the kid in the head with it.", "One of the skaters checks him hard into the railing. The Old Man exhales\nviolently and falls to his knees. The two other skaters begin savagely", "BETHANY\n\nNo - about John Doe Jersey?\n\n JAY", "Another Newspaper headline regarding 'John Doe Jersey' fills the frame. It\nis lowered to reveal Jay, Bethany, and Rufus sitting around a makeshift", "The three skaters cease their beating and check the Old Man's pulse.\nSatisfied, they skate away, leaving his crumpled form on the boardwalk.\n\nINT AIRPORT - DAY", "homeless man who was accosted and severely beaten at the New Jersey shore\nlast Tuesday lies in critical but stable condition in one of that area's\nhospitals. He lacks identification and police have had no luck in tracking", "beating on him with their hockey sticks, as he crumbles beneath them.\nRepeatedly their blades crash down hard on his head.", "Shut the fuck up and back away from the midget!\n\nThe Dancer moves to the side.\n\n GANG LEADER\n\n(to Jay)", "Today's second collection will be donated to the John Doe Jersey Life Fund.\nFor those of you who haven't been following the news, an unidentified", "Bethany, Jay, and Silent Bob leap back. The man sits up and rubs his face.\n\n JAY\n\nKILL IT!! KILL IT!!", "Silent Bob gets his hands under the stick that pins him and pushes it up\nhard, into the Triplet's forhead, knocking him off. He rushes to Jay's side", "Dude, I know they were just kids, but we kicked their fucking asses!\n\nBethany stares, mystified. She grabs her purse from the ground.\n\n BETHANY", "He lands before the middle Triplet and open-palm punches him twice in the\nface, grabbing his stick from the falling child's hand and tossing it into\nthe air behind him.", "She runs up to them. They whip around and raise their fists defensively.\n\n BETHANY\n\nSorry.\n\n(beat)", "scratches to a halt and the other viewers scatter toward the door. The Gang\nLeader points his piece at Jay, his posse backing him up.", "Rufus squeezes Bartleby's hand. Bartleby drops the knife and punches Rufus\nin the face. Bethany jumps on Bartleby's back, covering his eyes. They", "into the faces of the two wobbling Triplets. They go down, and the smaller\nfigure leaps forward with a shriek, landing between the fallen pair, elbows\ninto their backs.", "Suddenly, they both snap into a momentary trance. Zombie-like, Jay and\nSilent Bob step to the turntables behind them. Jay puts on headphones and\nbegins scratching a record. A familiar tune begins." ], [ "His brothers and sisters.\n\n BETHANY\n\n(beat)", "Because it was all closely tied in with His family.\n\n BETHANY\n\nHis mother and father?\n\n RUFUS", "So you ask why you got tapped. I'll tell you why: a Christ was the\nsalvation of this world once before. And you're the closest thing to a\nChrist that still walks.\n\n BETHANY", "something to do with knowing when He was going to die. but Christ had this\nvitality that I've never encountered in another person since. You know what\nI'm saving?\n\n BETHANY", "Jesus? Black.\n\n BETHANY\n\nBesides that.\n\n RUFUS", "Shit yeah; it was the least the brother could do. I gave up my sheep and\nfollowed His ass around Jerusalem for three years. And in all that time,", "He goes from twelve years old to thirty. Whole volumes of text about the\neighteen year struggle with His Divine nature prior to His acceptance of it\nwere thown out, forever lost to the faithful.\n\n BETHANY", "(hand on her shoulder)\n\nYou're His great-grand-niece.\n\nBethany's jaw drops. A high-pitched squeak of a word escapes her lips.", "The brother was centered. I mean, He was God, right? But I think He felt\nleft out because He was more than human, you know? We used to sit around", "Wait, wait, wait - Jesus didn't have any brothers or sisters. Mary was a\nvirgin - that's why it's called the Immaculate Conception.\n\n RUFUS", "(incredulous)\n\nWait. wait, wait - Christ? You knew Christ?\n\n RUFUS\n\nKnew him? I saw him naked.", "We ran out of parishoners, so he just started picking up anyone off the\nstreet. You're looking at eons of repression getting purged. If only we'd\nbeen able to jerk off.", "MAN\n\nThat sounds familiar.\n\n BETHANY\n\nJesus, are you okay?\n\n MAN", "Mary gave birth to Christ without having known a man's touch - that's true.\nBut she did have a husband. And do you really think he'd have stayed", "You sound like the Man.\n\n BETHANY\n\n(beat)\n\nWhat was He like?\n\n RUFUS", "BETHANY\n\nWhat's that?\n\n RUFUS\n\nJesus wasn't white; He was black.", "obvious reference to Jesus Christ, who was purportedly raised the son of a\ncarpenter. He represents the Western religions. And in the poem. what do", "But no plan, no matter how intricate, could succeed if the Almighty was in\nthe realm of the quick. So I dispatched Him in a fairly ingenious fashion.\n\n BETHANY", "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "JAY\n\nNo wonder he saw Jesus - homey's rockin' the ganj.\n\n BETHANY\n\n(unrollingit)" ], [ "BETHANY\n\n(to herself)\n\nYou've gotta be kidding me.\n\n(thinks for a beat; then) Hey! Wait!", "Details. Stop a couple of angels from entering and thus negating all\nexistence. God, I hate when people need it spelled out for them.\n\n BETHANY\n\nClarify that.", "Metatron moves to exit.\n\n BETHANY\n\n(beat)\n\nHey.\n\n(Metatron turns)", "BETHANY\n\nSex is a joke in Heaven?\n\n METATRON\n\nThe way I understand it, it's mostly a joke down here too.", "(they start walking)\n\nAt least there I can get turned down while trying to make myself a profit.\n\nBethany freezes. Metatron's words echo in her ear. She shakes her head.", "Somebody's clued them in to a loophole in Catholic dogma that would allow\nthem to reenter Heaven.\n\n BETHANY", "Bethany goes to make a move, but Rufus holds her back, shaking his head. He\nputs a finger to his lips to quiet her and points back toward the action,\nsmiling.\n\nJay fumes.", "BETHANY\n\nNo, the trouble's not from us. It's from these renegade angels who've been\nstuck on earth since the plagues...", "BETHANY\n\nWhat do you mean, kill? I wasn't asked to kill them -just stop them from\ngoing into that church.\n\n RUFUS", "BETHANY\n\nAre you a complete lunatic?! Everyone's out there battling that thing and\nyou want to cower back here and jump my bones?! We have to go down\nfighting!", "BETHANY\n\nBut we do.\n\n METATRON\n\nI know. And you all look so damn stupid doing it. It kills us upstairs.", "Bethany comes back and sees the mess. She moves to rush to Jay's side, but\nRufus holds her back An OC Jay laughs.", "The Voice repeats itself. Bethany darts out of bed and dashes out of the\nroom, quickly returning with a fire extinguisher. While the voice is in", "BETHANY\n\nIs it those two angels I'm supposed to stop?\n\n RUFUS", "BETHANY\n\nWhy?\n\n METATRON\n\nBecause he listened to his friend - a Grigori by the name of Bartleby.", "Bethany exits and locks the door behind her. She starts walking.\n\nAs her feet tread lightly toward her car, three small shadows move toward\nher.", "A belief's a dangerous thing, Bethany. People die for it. People kill for\nit. The whole of existence is in jeopardy right now because of the Catholic", "Azrael pulls his hand away. Bethany is fried, convulsing uncontrolably.\n\n AZRAEL", "The bat Bethany held is now a salmon. She drops it to the floor and freaks.\n\n METATRON\n\nNow just sit down on the bed and shut up!", "BETHANY\n\nLet me guess - you're another angel?\n\n RUFUS\n\nNo, I'm a man - just like you and him." ], [ "Bethany, Rufus, Serendipity, and Jay climb to their feet and crowd around\nSilent Bob. They look to the fallen, unconscious behemoeth, then to Silent\nBob.", "Dude, I know they were just kids, but we kicked their fucking asses!\n\nBethany stares, mystified. She grabs her purse from the ground.\n\n BETHANY", "And from out of nowhere, a large figure swoops down from above, landing on\nthe ground between Bethany and her menacers. The Triplets stop short and", "She runs up to them. They whip around and raise their fists defensively.\n\n BETHANY\n\nSorry.\n\n(beat)", "RUFUS\n\nHoly shit!\n\n BETHANY\n\n(stumbling to her feet)", "BETHANY\n\n(to herself)\n\nYou've gotta be kidding me.\n\n(thinks for a beat; then) Hey! Wait!", "BETHANY\n\n(shouting above the music)\n\nWhat are you doing?\n\n JAY", "The Girl's face says it all. Bethany takes a drag and continues.\n\n BETHANY", "Silent Bob moves over, revealing the new friends.\n\n JAY\n\nThis is Larry and Barry.\n\nBartleby and Loki smile at Bethany.", "Bethany comes back and sees the mess. She moves to rush to Jay's side, but\nRufus holds her back An OC Jay laughs.", "(sits down with them)\n\n BETHANY\n\nNow you show up! Where were you when that psychotic bastard had a knife to\nmy throat?", "BETHANY\n\n(a bit stunned)\n\nExcuse me?\n\n JAY", "Bethany. Rufus, lay and Silent Bob are at a total loss for words.\n\n JAY\n\n(After a long beat)", "Man, they're onto you bad, already. I got here just in time.\n\n BETHANY\n\nHow can you be so composed? We were almost killed.", "Silent Bob peers closer at the bush. Suddenly - a Stygian Triplet leaps out\nat him, pinning him to the ground with his hockey stick.\n\nThe other two Triplets leap on top of Jay and BETHANY", "BETHANY\n\n(turns on him)\n\nNobody is fucking me! You got that?!\n\n JAY", "BETHANY\n\nAre you a complete lunatic?! Everyone's out there battling that thing and\nyou want to cower back here and jump my bones?! We have to go down\nfighting!", "The place is empty, except for Bethany, Rufus, Jay and Silent Bob and A\nBARTENDER.\n\n BETHANY", "BETHANY\n\nSo then we're screwed?\n\n(shrugs)\n\nShit, that's the best news l've heard in days.", "Rufus side-kicks Bethany, nonchalantly.\n\n BETHANY\n\nUh... these guys who think they're renegade angels." ], [ "Silent Bob looks to Serendipity. She nods. He shrugs and swings the club\nwith all his might into Azrael's chest - which caves in, blowing muck and\nshit everywhere.", "Azrael clutches at his sucking chest wound, dropping to his knees. He grabs\nSilent Bob's leg. Silent Bob kicks him onto his back and out cold.\n\n JAY", "Rufus and Jay exit. Silent Bob stares down at Azrael's body. Jay comes back\nand yanks him out the door.\n\nEXT STREET - DAY", "Silent Bob stands like a statue in the Golgothan's path. The demon snarls a\nsmile, moving ever closer. Silent Bob reaches into his coat and pulls a", "Azrael pulls an Uzi from his coat and blows a dozen holes in the Bartender.\nThe Stygian Triplets burst through the doors and everyone jumps to their\nfeet, with the exception of the Bartender, who dies.", "The Stygian Triplets snicker. Silent Bob stares at Azrael, perplexed.\n\n AZRAEL\n\nDon't you know anything?", "Silent Bob gets his hands under the stick that pins him and pushes it up\nhard, into the Triplet's forhead, knocking him off. He rushes to Jay's side", "He puts the gun in his mouth and fires. The screen goes blank.\n\n AZRAEL\n\n(snapping off tv.)", "Bethany, Jay, and Silent Bob leap back. The man sits up and rubs his face.\n\n JAY\n\nKILL IT!! KILL IT!!", "Silent Bob pulls a golf club from out of his coat.\n\n BETHANY\n\nOh my God. We're going straight to Hell, I know it.", "Azrael places his hand over Bethany's eyes. For about ten seconds, we see\nsome of the most fucked up and disturbing imagery that can be crammed into\n240 frames of film.", "(points to Silent Bob)\n\nShoot this piece of shit first.\n\n(to Silent Bob; disgusted)\n\nNo gun!", "While he speaks, Serendipity looks to Silent Bob. Silent Bob snaps to\nattention, and locks eyes with Serendipity. He looks to the golf club, then\nback at her. He nods.", "(to Silent Bob)\n\nSilent Bob - shoot these punk-monkey bitches.\n\nSilent Bob slowly raises his hands in a surrender fashion. Jay looks at\nhim.", "Silent Bob holds the can out to them: it's a small, trial size can of Glade\nAir Freshener. Jay looks at it, then at Silent Bob.\n\n BETHANY", "(points to Silent Bob)\n\n BETHANY\n\n(to Silent Bob)\n\nWhat'd you do?\n\n JAY", "Silent Bob stares wide-eyed up at the approaching demon. And then,\nsomething occurs to him. He stops backing up and stands. The others\ncontinue moving back.\n\n BETHANY", "careen down the aisle, toward Silent Bob. He pulls Bethany off Bartleby's\nback and kicks him out the back door, off the train. He quickly slams the", "Jay drops to the floor, out cold. Silent Bob grabs Loki and hurls him down\nthe aisle. Rufus grabs Bartleby's knife hand. They struggle. Bethany\ncollapses.", "(hiding behind Silent Bob)\n\nI knew it! Mother fucker wants to eat my brain!\n\n BETHANY\n\nI think he was aiming a bit further south." ], [ "No, 'She' hasn't. And we've been unable to locate Her.\n\n RUFUS\n\nMaybe He was killed? Human form has that drawback.", "No, you said that - I just didn't correct you. You were shocked enough -\nhow do you think you would've taken it if I told you the face of God\nbelonged on the back of a milk carton?", "goes: Back in the old days, God was vengeful and hot-tempered, and his\nwrath was bore by the Angel of Death - name of Loki. When Sodom and", "Everyone turns around. Metatron leans against a tree.\n\n METATRON\n\nGod. l've always wanted to say that.", "But no plan, no matter how intricate, could succeed if the Almighty was in\nthe realm of the quick. So I dispatched Him in a fairly ingenious fashion.\n\n BETHANY", "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "The brother was centered. I mean, He was God, right? But I think He felt\nleft out because He was more than human, you know? We used to sit around", "form and splendor functions solely on one principle: God is infallible. To\nprove God wrong would undo reality and everything that is. Up would become\ndown, black would become white, existence would become nothingness. In", "charged with meting out whatever justice God demands. So for their\ninsolence, God decreed that neither Loki nor Bartleby would ever be allowed\nback into Paradise.", "They tell me it's God. If it's not, I'm going to be severely pissed - what\nwith all these years of bossing people around on his behalf and\nexpectorating perfectly good tequila.", "well-hidden. is also responsible for the Lord's whereabouts. Were He to be\nkilled in human form, He'd have immediately returned to Paradise. Somebody", "(looks at Jay)\n\nWell, maybe not like him. At least I was a man. Been dead for nearly two\nthousand years. Here.\n\n(pulls rolled up paper from behind his ear)", "discussion about whether or not murder in the name of God is okay. Now,\nBartleby can run circles around Loki intellectually, not to mention the", "came first, your kind was most revered. And your kind knows forgiveness,\nwhile my kind knows regret. A lesson must be taught. All are accountable...\neven God.", "doesn't involve slaughter. So - very inebriated - Loki tells God he quits:\nthrows down his fiery sword, gives him the finger - which ruins it for the", "power of God's true voice. Were you to hear it, you're mind would cave in\nand your heart would explode within your chest. We went through five Adam's\nbefore we figured that out.\n\n BETHANY", "BETHANY\n\nWhat's he like? God?\n\n METATRON\n\n(thinks)", "He said it himself - he's a demon. You hit a demon with an instrument of\nGod - the pure side's always going to do the most damage.\n\n JAY", "he was good at what he did. But one day, he refused to bear God's wrath any\nlonger.", "God's a skee-ball fanatic.\n\n METATRON\n\nLet's not altogether blow some of the mystery that surrounds Him, alright?" ], [ "fates. so they made sure that She became a He Doesn't stop with God - the\nwhole book is slanted and gender-biased: a woman's responsible for the", "Everyone turns around. Metatron leans against a tree.\n\n METATRON\n\nGod. l've always wanted to say that.", "married to her all those years if he wasn't getting laid? The nature of God\nand the Virgin Birth - those are leaps of faith. But believing a wife never", "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "Whose?\n\n SERENDIPITY\n\nGod's.\n\n BETHANY\n\nYou're saying God's a woman.", "BETHANY\n\nA fifteen year old who came in here said that?\n\n LIZ\n\nShe had gotten knocked up by her pastor.", "They tell me it's God. If it's not, I'm going to be severely pissed - what\nwith all these years of bossing people around on his behalf and\nexpectorating perfectly good tequila.", "LIZ\n\nThen girl, you better get back to church and ask God for a third option.\n\nBETHANY\n\nI think God is dead.", "METATRON\n\nI beg your pardon?\n\n BETHANY\n\nWhen some asshole abortion doctor destroyed my uterus -where was God? When\nmy", "BETHANY\n\n(stunned)\n\nGod is a woman...\n\n SERENDIPITY", "doesn't involve slaughter. So - very inebriated - Loki tells God he quits:\nthrows down his fiery sword, gives him the finger - which ruins it for the", "about anymore, so we're screwing like rabbits - just constanly doing it.\nAnd I wound up getting pregnant. So he begs me to have it. He says we", "But no plan, no matter how intricate, could succeed if the Almighty was in\nthe realm of the quick. So I dispatched Him in a fairly ingenious fashion.\n\n BETHANY", "BETHANY\n\nOh God - you're going to rape me...\n\n METATRON\n\nI'm not going to rape you.", "husband decided he couldn't be with a wife that couldn't bear his children\n- where was\n\nGod? Now all the sudden, after all these years of quiet noninvolvement in\nmy life, He", "she said something like \"There's always a plan.\" And I... just got so\nangry. I mean, I know she was talking about God, right - God had a plan.", "God's a skee-ball fanatic.\n\n METATRON\n\nLet's not altogether blow some of the mystery that surrounds Him, alright?", "Serendipity stands and unbuttons her jeans, dropping them slightly,\nrevealing yet another smooth, sexless crotch, quite like Metatron's.\n\n SERENDIPITY", "could have the infinite patience with impudent children that God has with\nhumanity. A woman can give birth to and nurture both sexes, so", "charged with meting out whatever justice God demands. So for their\ninsolence, God decreed that neither Loki nor Bartleby would ever be allowed\nback into Paradise." ], [ "BETHANY\n\n(to herself)\n\nYou've gotta be kidding me.\n\n(thinks for a beat; then) Hey! Wait!", "Bethany's Catholic.\n\n SERENDIPITY\n\nMy condolences.\n\n BETHANY", "(to Bethany)", "BETHANY\n\nYes.\n\n JAY", "BETHANY", "BETHANY", "Bethany - you of all people should understand what I'm t~'ing to accomplish\nhere. You too have been abandonned. You know what it's like to be cast", "BETHANY\n\nWhat brought you to McHenry?\n\n JAY\n\nHollywood.\n\n BETHANY", "(Bethany nods)", "BETHANY\n\nMeaning?\n\n SERENDIPITY\n\nI'm a muse, stupid.", "BETHANY\n\n(turns on him)\n\nNobody is fucking me! You got that?!\n\n JAY", "BETHANY\n\nWhy not get the pope or someone holy like that?\n\n RUFUS", "BETHANY\n\n...mom. God, it makes sense.\n\n RUFUS\n\n(to Serendipity)", "BETHANY\n\nYou say it as if it's easy.\n\n RUFUS\n\n(oblivious to Jay)", "BETHANY\n\nI don't know why, but...\n\n(composes herself)\n\n...I want to go with you.", "BETHANY\n\n(a bit stunned)\n\nExcuse me?\n\n JAY", "BETHANY\n\nWhy me?\n\n RUFUS", "BETHANY\n\n(shouting above the music)\n\nWhat are you doing?\n\n JAY", "BETHANY\n\nWhat's that?\n\n RUFUS\n\nJesus wasn't white; He was black.", "INT BETHANY'S OFFICE - DAY\n\nBethany sits at her desk, staring into space. A twenty-something girl\nspeaks, butBethany's not really listening. She's extremely preoccupied." ], [ "The three skaters cease their beating and check the Old Man's pulse.\nSatisfied, they skate away, leaving his crumpled form on the boardwalk.\n\nINT AIRPORT - DAY", "knew enough to keep the body alive, but incapacitate Him in another fashion\n- He's trapped in a body.", "The Gang lay about NoMan in trashed, dead positions. They are covered in\nmurky, creamy crap - their wide, white eyes frozen in horror. NoMan scoops", "Between black cards with white credits there are shots of the OLD MAN from\nthe boardwalk being wheeled into a hospital on a gurney, being treated in", "One of the skaters checks him hard into the railing. The Old Man exhales\nviolently and falls to his knees. The two other skaters begin savagely", "Loki begins moaning menacingly, slowly waving an open palm over the figure.\nWhitland looks at it horrified, then at Loki, then back at the figure. He", "A ringing phone is answered by the unseen figure in the chair. We move from\nthe seated Figure, passing by the dead bodies of the home's original", "anew. NoMan lumbers toward them. The group, attempting to gain their\nbearings on the floor, crawls backwards. NoMan pulls a piece of himself\noff, rolling it around in It's hands.", "Bartleby and Loki sit behind the thrall on a black leather couch. Loki is\ncarving something out of an onion, while Bartleby looks on.\n\nWhitland and the rest of the board stare at them.", "My compatriot. Genocide takes a lot out of him. He's weakened. And more\nimportantly. he's now a human being. A condition that carries two\nliabilities: a conscience...", "NoMan is tied to a chair in the middle of the floor. Serendipity draws a\ncircle around him with lipstick. Once finished. she takes a glass of water", "fire, wailing, darkness - the kind of place anyone would do anything to get\nout of. And why? Because he lacks the ability to forgive himself. It is", "The five leap from their perch on the steps, just as the doors explode,\ndumping a torrent of crap on the steps. The body of muck morphs into NoMan", "The flrst struck Triplet leaps out of the darkness at the large figure,\nscreaming something unholy. The large figure catches the kid by the throat\nand quickly", "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "Man, they're onto you bad, already. I got here just in time.\n\n BETHANY\n\nHow can you be so composed? We were almost killed.", "(looks at Jay)\n\nWell, maybe not like him. At least I was a man. Been dead for nearly two\nthousand years. Here.\n\n(pulls rolled up paper from behind his ear)", "Azrael places his hand over Bethany's eyes. For about ten seconds, we see\nsome of the most fucked up and disturbing imagery that can be crammed into\n240 frames of film.", "owners, and come to a stop on the bruised and worn Stygian Triplets seated\non a couch. They look scared.", "And?\n\nBARTLEBY\n\nKeep reading.\n\n LOKI\n\n(reads)" ], [ "Bartleby and Loki sit behind the thrall on a black leather couch. Loki is\ncarving something out of an onion, while Bartleby looks on.\n\nWhitland and the rest of the board stare at them.", "Loki continues carving. Bartleby looks at his friend and shakes his head.\nLoki lifts his head without looking up.\n\n LOKI\n\n(very distracted)", "And?\n\nBARTLEBY\n\nKeep reading.\n\n LOKI\n\n(reads)", "Bartleby leans over and whispers something unheard into Whitland's ear.\nWhitland goes green. Bartleby steps back. Loki stands beside Whitland.\n\n LOKI", "Bartleby and Loki sit in the back. Bartleby reads a map and Loki stares at\nthe gun in his lap. A COUPLE makes out in the seat in front of them.\n\n BARTLEBY", "BARTLEBY\n\n(shakes his head)\n\nThem.\n\n LOKI\n\n(thinks)", "BARTLEBY\n\nNew Jersey.\n\n LOKI\n\nNow that, my friend. is irony.\n\n BARTLEBY", "I'm going home, Loki. And nobody - not even the Almighty Himself - is going\nto make that otherwise.\n\nBartleby releases Loki and smiles. He exits. Loki watches him.", "The Apostle is here!\n\n BARTLEBY\n\nI noticed.\n\n LOKI", "Bartleby smiles at the meet-and-greets, warmed. Loki saddles up beside him,\nkneeling on one of the seats, facing the Nun.\n\n LOKI", "So once he's done with the first born, Loki takes his friend Bartleby out\nfor a post-slaughter drink. And over many rounds, they get into this", "Is that so? Well, let's just...\n\nBartleby throws his other hand forward and twists the Cop's head around in\none brisk motion. Loki's eyes bug out. The crowd takes flight.", "discussion about whether or not murder in the name of God is okay. Now,\nBartleby can run circles around Loki intellectually, not to mention the", "The Man shakes his head and goes back to kissing. Bartleby offers Loki a\n\"Satisfled?' expression. Loki taps the Man on the shoulder.\n\n MAN", "BARTLEBY\n\nOne of the last sacred promises imparted to Peter the first Pope by the Son\nof God before He left was \"Whatever you hold true on earth...\"\n\n LOKI", "Whitland and company stare dumbfounded. Loki finishes carving and stands\nbeside Bartleby.\n\n LOKI\n\n(to Bartleby)", "BARTLEBY\n\nYou're such an asshole.\n\n LOKI\n\nDon't blame me, man. Blame the Commodores.", "Oh, that's being realistic.\n\nBartleby reaches out and grabs Loki, slamming him against the wall.\n\n BARTLEBY", "Bartleby pulls a knife and guts Loki. He stares at Bartleby as he dies,\nconfused and betrayed. Serendipity nods to Rufus and Silent Bob.\n\n BARTLEBY", "LOKI\n\nI rained down sulfur, man. There's a subtle difference.\n\n BARTLEBY\n\nSure." ], [ "Bartleby and Loki sit behind the thrall on a black leather couch. Loki is\ncarving something out of an onion, while Bartleby looks on.\n\nWhitland and the rest of the board stare at them.", "And?\n\nBARTLEBY\n\nKeep reading.\n\n LOKI\n\n(reads)", "Bartleby smiles at the meet-and-greets, warmed. Loki saddles up beside him,\nkneeling on one of the seats, facing the Nun.\n\n LOKI", "Loki continues carving. Bartleby looks at his friend and shakes his head.\nLoki lifts his head without looking up.\n\n LOKI\n\n(very distracted)", "Amidst very little traffic, two figures emerge from the shadows on the\nPennsylvania side. Bartleby and Loki step purposefully past the green sign\nthat welcomes motorists to New Jersey.\n\nINT BAR - DAWN", "article and looks at it. He looks up at the building and nods to Bartleby,\nsmiling. They head toward the front doors.", "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "Bartleby and Loki sit in the back. Bartleby reads a map and Loki stares at\nthe gun in his lap. A COUPLE makes out in the seat in front of them.\n\n BARTLEBY", "They start walking.\n\n BARTLEBY", "I'm going home, Loki. And nobody - not even the Almighty Himself - is going\nto make that otherwise.\n\nBartleby releases Loki and smiles. He exits. Loki watches him.", "And that's the church we're heading to?\n\n BARTLEBY\n\n(steps to ticket window)\n\nIf you want to go home...", "Bartleby leans over and whispers something unheard into Whitland's ear.\nWhitland goes green. Bartleby steps back. Loki stands beside Whitland.\n\n LOKI", "BARTLEBY\n\n(shakes his head)\n\nThem.\n\n LOKI\n\n(thinks)", "So once he's done with the first born, Loki takes his friend Bartleby out\nfor a post-slaughter drink. And over many rounds, they get into this", "BARTLEBY\n\nYou're saying you still go to church?\n\n BETHANY\n\n(laughs)\n\nEvery Sunday.", "The Apostle is here!\n\n BARTLEBY\n\nI noticed.\n\n LOKI", "Whitland and company stare dumbfounded. Loki finishes carving and stands\nbeside Bartleby.\n\n LOKI\n\n(to Bartleby)", "The Man shakes his head and goes back to kissing. Bartleby offers Loki a\n\"Satisfled?' expression. Loki taps the Man on the shoulder.\n\n MAN", "BARTLEBY\n\nOne of the last sacred promises imparted to Peter the first Pope by the Son\nof God before He left was \"Whatever you hold true on earth...\"\n\n LOKI", "BARTLEBY\n\nNew Jersey.\n\n LOKI\n\nNow that, my friend. is irony.\n\n BARTLEBY" ], [ "Rufus. And yes, I'm fine.\n\n JAY\n\nHe's the fuckin' undead!! Cut his head off!!", "RUFUS\n\n(waves to them)\n\nThank you.\n\n(to group)\n\nWhat's that mean?", "RUFUS\n\n(hugs her)\n\nGood luck.\n\nRufus runs up the steps. Serendipity tunrs on the Golgothan.", "Rufus looks at her. He shrugs.\n\n RUFUS\n\nFamily ties.\n\n JAY", "RUFUS\n\nCan you get some answers?\n\n SERENDIPITY\n\nI can give it a shot.", "RUFUS\n\nHoly shit!\n\n BETHANY\n\n(stumbling to her feet)", "Rufus it is, Miss.\n\n(to Silent Bob)\n\nHey, tubby... how's about lending a brother your coat 'till I can find my\nown threads?", "RUFUS\n\nThis is the Voice of God - show some respect.\n\n JAY\n\nThe Voice of God? Where's the rest of Him?", "RUFUS\n\nI'm telling you man. this ceremony is a mistake.\n\n GLICK\n\nThe Catholic Church does not make mistakes.", "RUFUS\n\nBack in the old days with J.C., we walked everywhere. Did you ever hear of\na fat apostle?\n\n(exits)", "RUFUS\n\nSo God's not dead...\n\n JAY\n\nHe's brain dead.", "Is that what he told you? Rufus gets thrown out constantly; at least once a\nmonth, ethereal time. They always bring him back, but only after a few days\nof peace and quiet - free from that black nationalist rhetoric.", "RUFUS\n\nThe voice.\n\n NIETATRON\n\n(mimicking his shock)\n\nThe Apostle!", "(incredulous)\n\nWait. wait, wait - Christ? You knew Christ?\n\n RUFUS\n\nKnew him? I saw him naked.", "Bethany stares at her for a beat, then at Rufus. Rufus nods affirmatively.\n\n BETHANY\n\nI can't take much more of this.", "RUFUS\n\n(rushing him)\n\nC'mon, demon - let's see you try that shit on a brother whose already dead!", "The Triplet that Rufus threw rushes Rufus from behind - hockey stick in\nlancing position. Without looking back, Rufus reaches behind himself,", "RUFUS\n\nYou were tired of doing all the work and getting none of the credit for\nyour ideas.\n\n SERENDIPITY", "RUFUS\n\nDeath is a worry of the living. The dead only worry about decay and\nnecrophiliacs.\n\n JAY", "This sounds so stupid... They're trying to get back into Heaven.\n\nINT TRAIN CAR - NIGHT\n\nRufus passes through another car and opens the door at the end." ], [ "You know you're supposed to be prophets. right? Start acting like prophets.\nYou should have seen that thing coming.\n\n JAY\n\n(to Bethany)", "BETHANY\n\n(to herself)\n\nYou've gotta be kidding me.\n\n(thinks for a beat; then) Hey! Wait!", "BETHANY\n\nWhy not get the pope or someone holy like that?\n\n RUFUS", "BETHANY\n\nYes.\n\n JAY", "Bethany and Rufus react, as does the very surprised Azrael. Serendipity\nstands in the doorway.\n\n SERENDIPITY\n\nAnd that's you.", "Bethany leaps over the bar, pushing over the dead bartender, and blesses\nthe melting-ice filled sink. Serendipity urges Rufus and Jay to follow her,", "(Bethany nods)", "(to Bethany)", "Bethany exits and locks the door behind her. She starts walking.\n\nAs her feet tread lightly toward her car, three small shadows move toward\nher.", "Bethany stares at her for a beat, then at Rufus. Rufus nods affirmatively.\n\n BETHANY\n\nI can't take much more of this.", "Bethany's Catholic.\n\n SERENDIPITY\n\nMy condolences.\n\n BETHANY", "Bethany - you of all people should understand what I'm t~'ing to accomplish\nhere. You too have been abandonned. You know what it's like to be cast", "And from out of nowhere, a large figure swoops down from above, landing on\nthe ground between Bethany and her menacers. The Triplets stop short and", "Jesus? Black.\n\n BETHANY\n\nBesides that.\n\n RUFUS", "BETHANY\n\n...mom. God, it makes sense.\n\n RUFUS\n\n(to Serendipity)", "BETHANY\n\nNo, the trouble's not from us. It's from these renegade angels who've been\nstuck on earth since the plagues...", "Prophets - although they don't quite get it yet. You'll know them right\naway - one speaks, the other listens. The one who speaks - and he will at", "BETHANY", "BETHANY", "BETHANY\n\nSo then we're screwed?\n\n(shrugs)\n\nShit, that's the best news l've heard in days." ], [ "charged with meting out whatever justice God demands. So for their\ninsolence, God decreed that neither Loki nor Bartleby would ever be allowed\nback into Paradise.", "I'm going home, Loki. And nobody - not even the Almighty Himself - is going\nto make that otherwise.\n\nBartleby releases Loki and smiles. He exits. Loki watches him.", "Are you so clueless as to think you can just waltz back into Heaven?\n\n BARTLEBY\n\nWhy not? We're going back clean.", "And?\n\nBARTLEBY\n\nKeep reading.\n\n LOKI\n\n(reads)", "made his move by now to conquer Heaven. And I know he's not responsible for\nBartleby and Loki because he'd have just as much to lose by their return as\neveryone else.", "The Man shakes his head and goes back to kissing. Bartleby offers Loki a\n\"Satisfled?' expression. Loki taps the Man on the shoulder.\n\n MAN", "Bartleby and Loki sit behind the thrall on a black leather couch. Loki is\ncarving something out of an onion, while Bartleby looks on.\n\nWhitland and the rest of the board stare at them.", "So once he's done with the first born, Loki takes his friend Bartleby out\nfor a post-slaughter drink. And over many rounds, they get into this", "Bartleby smiles at the meet-and-greets, warmed. Loki saddles up beside him,\nkneeling on one of the seats, facing the Nun.\n\n LOKI", "You, on the other hand, are an innocent. You lead a good life and have\nnever misused your power here.\n\nShe stares at Bartleby. Loki pats her on the back and urges Bartleby on.", "Loki continues carving. Bartleby looks at his friend and shakes his head.\nLoki lifts his head without looking up.\n\n LOKI\n\n(very distracted)", "BARTLEBY\n\n(shakes his head)\n\nThem.\n\n LOKI\n\n(thinks)", "Bartleby and Loki sit in the back. Bartleby reads a map and Loki stares at\nthe gun in his lap. A COUPLE makes out in the seat in front of them.\n\n BARTLEBY", "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "Bartleby leans over and whispers something unheard into Whitland's ear.\nWhitland goes green. Bartleby steps back. Loki stands beside Whitland.\n\n LOKI", "Whitland and company stare dumbfounded. Loki finishes carving and stands\nbeside Bartleby.\n\n LOKI\n\n(to Bartleby)", "So you're saying you and I can walk through this doorway and go back home?\n\n BARTLEBY\n\nNo - by passing through the doors, our sins are", "Is that so? Well, let's just...\n\nBartleby throws his other hand forward and twists the Cop's head around in\none brisk motion. Loki's eyes bug out. The crowd takes flight.", "Bartlebv exits. Loki turns menacingly on the others.\n\n LOKI", "Bartleby pulls a knife and guts Loki. He stares at Bartleby as he dies,\nconfused and betrayed. Serendipity nods to Rufus and Silent Bob.\n\n BARTLEBY" ], [ "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "BARTLEBY\n\n(shocked)\n\nWhy?\n\n AZRAEL", "BARTLEBY\n\n(miffed; to Whitland)", "BARTLEBY\n\nThere hasn't been an Angel of Death since you quit. Doesn't that mean\nanything to you? Besides, what if you're wrong?", "charged with meting out whatever justice God demands. So for their\ninsolence, God decreed that neither Loki nor Bartleby would ever be allowed\nback into Paradise.", "And?\n\nBARTLEBY\n\nKeep reading.\n\n LOKI\n\n(reads)", "(laughs)\n\nOh God, I'm sorry'. I just assumed...\n\n BARTLEBY", "Bartleby leans against the wall, sitting on the ground. His demeanor has\nchanged. He stares into space.\n\n BARTLEBY\n\nThere sure is.", "BARTLEBY\n\nYou're saying you still go to church?\n\n BETHANY\n\n(laughs)\n\nEvery Sunday.", "Where the hell is everybody? I wake up, and...\n\nHe sees Bartleby. They both freeze.\n\n BARTLEBY\n\nThe Apostle!", "BARTLEBY\n\nMister McGhee, don't make me angry. You wouldn't like me when I'm angry.\n\n COP", "The board member's face is frozen. Bartleby shakes his head and moves\nquickly around the table.\n\n BARTLEBY\n\n(not liking his job)", "article and looks at it. He looks up at the building and nods to Bartleby,\nsmiling. They head toward the front doors.", "BARTLEBY", "BARTLEBY", "I want to hit them.\n\n BARTLEBY\n\nAre you nuts?!\n\n(crumples article)", "BARTLEBY\n\n(releasing dead Cop)", "(looks at Bartleby)\n\nShit man - that is punishment.\n\nEXT CONTRYSIDE - NIGHT\n\nThe Train chugs through the darkness.", "BARTLEBY\n\nDoes it do anything for you?\n\n BETHANY\n\n(thinks)", "(to Bartleby, still not looking up)\n\nYou may proceed, mon ami'.\n\n BARTLEBY\n\nI can't believe you." ], [ "Bethany's Catholic.\n\n SERENDIPITY\n\nMy condolences.\n\n BETHANY", "BETHANY\n\n(to herself)\n\nYou've gotta be kidding me.\n\n(thinks for a beat; then) Hey! Wait!", "BETHANY\n\nSo they're dead too?\n\n RUFUS", "Bethany leaps over the bar, pushing over the dead bartender, and blesses\nthe melting-ice filled sink. Serendipity urges Rufus and Jay to follow her,", "Bethany exits and locks the door behind her. She starts walking.\n\nAs her feet tread lightly toward her car, three small shadows move toward\nher.", "Azrael places his hand over Bethany's eyes. For about ten seconds, we see\nsome of the most fucked up and disturbing imagery that can be crammed into\n240 frames of film.", "Azrael pulls his hand away. Bethany is fried, convulsing uncontrolably.\n\n AZRAEL", "Suddenly, the room explodes in flames. A huge fire that appears to be\nshooting out from the floor ignites mere feet from Bethany's bed. Bethany", "(to Bethany)", "BETHANY\n\nYes.\n\n JAY", "BETHANY\n\nSo then we're screwed?\n\n(shrugs)\n\nShit, that's the best news l've heard in days.", "Bodies, bodies everywhere - partial, whole, bloody - hanging, burning,\nupended. No one is left standing. It's a scene straight out of Hell.\nBethany buries her face in Rufus' chest.", "BETHANY\n\nThat's just it - I don't. I don't think I have any faith left.\n\n LIZ\n\n(making coffee)", "BETHANY\n\nThey can't - it's a mortal sin. You die with a mortal sin on your soul and\nyou burn. They'd go to hell, and that's not what they're after.", "And with that, Nietatron is gone. Bethany looks at her drink. A three-man\nmariachi band surround her and begin playing Prince's 'Little Red\nCorvette'.", "(Bethany nods)", "Bethany comes back and sees the mess. She moves to rush to Jay's side, but\nRufus holds her back An OC Jay laughs.", "LIZ\n\nThen girl, you better get back to church and ask God for a third option.\n\nBETHANY\n\nI think God is dead.", "Bethany's in bed, staring up at the ceiling. From the darkness, a creaking\nfloor board is heard. Bethany reacts, grabbing a bat from under her pillow.\nShe peers into the darkness, defensively wielding her bat.", "Bethany stares at her for a beat, then at Rufus. Rufus nods affirmatively.\n\n BETHANY\n\nI can't take much more of this." ], [ "charged with meting out whatever justice God demands. So for their\ninsolence, God decreed that neither Loki nor Bartleby would ever be allowed\nback into Paradise.", "I'm going home, Loki. And nobody - not even the Almighty Himself - is going\nto make that otherwise.\n\nBartleby releases Loki and smiles. He exits. Loki watches him.", "Bartleby and Loki sit behind the thrall on a black leather couch. Loki is\ncarving something out of an onion, while Bartleby looks on.\n\nWhitland and the rest of the board stare at them.", "And?\n\nBARTLEBY\n\nKeep reading.\n\n LOKI\n\n(reads)", "Loki continues carving. Bartleby looks at his friend and shakes his head.\nLoki lifts his head without looking up.\n\n LOKI\n\n(very distracted)", "Bartleby smiles at the meet-and-greets, warmed. Loki saddles up beside him,\nkneeling on one of the seats, facing the Nun.\n\n LOKI", "BARTLEBY\n\n(shakes his head)\n\nThem.\n\n LOKI\n\n(thinks)", "Bartleby and Loki sit in the back. Bartleby reads a map and Loki stares at\nthe gun in his lap. A COUPLE makes out in the seat in front of them.\n\n BARTLEBY", "BARTLEBY\n\nOne of the last sacred promises imparted to Peter the first Pope by the Son\nof God before He left was \"Whatever you hold true on earth...\"\n\n LOKI", "Bartleby leans over and whispers something unheard into Whitland's ear.\nWhitland goes green. Bartleby steps back. Loki stands beside Whitland.\n\n LOKI", "So once he's done with the first born, Loki takes his friend Bartleby out\nfor a post-slaughter drink. And over many rounds, they get into this", "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "Are you so clueless as to think you can just waltz back into Heaven?\n\n BARTLEBY\n\nWhy not? We're going back clean.", "You, on the other hand, are an innocent. You lead a good life and have\nnever misused your power here.\n\nShe stares at Bartleby. Loki pats her on the back and urges Bartleby on.", "discussion about whether or not murder in the name of God is okay. Now,\nBartleby can run circles around Loki intellectually, not to mention the", "Is that so? Well, let's just...\n\nBartleby throws his other hand forward and twists the Cop's head around in\none brisk motion. Loki's eyes bug out. The crowd takes flight.", "BARTLEBY\n\nNew Jersey.\n\n LOKI\n\nNow that, my friend. is irony.\n\n BARTLEBY", "The Apostle is here!\n\n BARTLEBY\n\nI noticed.\n\n LOKI", "Whitland and company stare dumbfounded. Loki finishes carving and stands\nbeside Bartleby.\n\n LOKI\n\n(to Bartleby)", "made his move by now to conquer Heaven. And I know he's not responsible for\nBartleby and Loki because he'd have just as much to lose by their return as\neveryone else." ], [ "charged with meting out whatever justice God demands. So for their\ninsolence, God decreed that neither Loki nor Bartleby would ever be allowed\nback into Paradise.", "I'm going home, Loki. And nobody - not even the Almighty Himself - is going\nto make that otherwise.\n\nBartleby releases Loki and smiles. He exits. Loki watches him.", "Bartleby and Loki sit behind the thrall on a black leather couch. Loki is\ncarving something out of an onion, while Bartleby looks on.\n\nWhitland and the rest of the board stare at them.", "And?\n\nBARTLEBY\n\nKeep reading.\n\n LOKI\n\n(reads)", "discussion about whether or not murder in the name of God is okay. Now,\nBartleby can run circles around Loki intellectually, not to mention the", "Loki continues carving. Bartleby looks at his friend and shakes his head.\nLoki lifts his head without looking up.\n\n LOKI\n\n(very distracted)", "BARTLEBY\n\n(shakes his head)\n\nThem.\n\n LOKI\n\n(thinks)", "BARTLEBY\n\nOne of the last sacred promises imparted to Peter the first Pope by the Son\nof God before He left was \"Whatever you hold true on earth...\"\n\n LOKI", "BARTLEBY\n\nYou're such an asshole.\n\n LOKI\n\nDon't blame me, man. Blame the Commodores.", "You, on the other hand, are an innocent. You lead a good life and have\nnever misused your power here.\n\nShe stares at Bartleby. Loki pats her on the back and urges Bartleby on.", "made his move by now to conquer Heaven. And I know he's not responsible for\nBartleby and Loki because he'd have just as much to lose by their return as\neveryone else.", "BARTLEBY\n\n(shocked)\n\nWhy?\n\n AZRAEL", "Bartleby leans over and whispers something unheard into Whitland's ear.\nWhitland goes green. Bartleby steps back. Loki stands beside Whitland.\n\n LOKI", "Are you so clueless as to think you can just waltz back into Heaven?\n\n BARTLEBY\n\nWhy not? We're going back clean.", "So once he's done with the first born, Loki takes his friend Bartleby out\nfor a post-slaughter drink. And over many rounds, they get into this", "Bartleby smiles at the meet-and-greets, warmed. Loki saddles up beside him,\nkneeling on one of the seats, facing the Nun.\n\n LOKI", "Bartleby and Loki sit in the back. Bartleby reads a map and Loki stares at\nthe gun in his lap. A COUPLE makes out in the seat in front of them.\n\n BARTLEBY", "Is that so? Well, let's just...\n\nBartleby throws his other hand forward and twists the Cop's head around in\none brisk motion. Loki's eyes bug out. The crowd takes flight.", "LOKI\n\nI rained down sulfur, man. There's a subtle difference.\n\n BARTLEBY\n\nSure.", "The Apostle is here!\n\n BARTLEBY\n\nI noticed.\n\n LOKI" ], [ "And now, to speak on behalf of his Holiness' 'Catholicism - Wow!' campaign,\nladies and gentlemen of the press, I give you the driving force behind the\nmovement - Cardinal Glick.", "'Cardinal Glick has come under fire for the blatant pandering and\nquestionable direction of his church-sanctioned 'Catholicism - Wow!'", "(reads)\n\n\"Cardinal Glick Cuts Ribbon on 'Catholicism - Wow!\"\n\nCampaign.\"\n\n(to Bartleby)", "The reporters clap as CARDINAL GLICK takes to the podium. He strikes one as\nmore of an agent than a man of the cloth as he removes his Wayfarers.\n\n GLICK", "Cardinal Glick stands at the podium, all smiles. He's in mid-speech.\n\n GLICK", "Cardinal Glick - has the church given any thought to it's position on john\nDoe Jersey? Will he be given the right to die with dignity?\n\nAnother buzz rises from the crowd. Glick rolls his eyes.", "\"The Re-dedication of Saint Michael's Church on it's hundredth anniversary\nis the kickoff of a new campaign that seeks to bring the Catholic Church", "RUFUS\n\nI'm telling you man. this ceremony is a mistake.\n\n GLICK\n\nThe Catholic Church does not make mistakes.", "Your Emminence, it's not a joke. These guys are an accident waiting to\nhappen. And if the re-edication ceremony goes on as planned...\n\n GLICK", "\"Updating the church... television spots... Papal consent...\nrededication...\n\n(to Bartleby)\n\nAgain - and?\n\n BARTLEBY", "Glick pulls a cover off an object to his right - a two foot figure of\nChrist smiling and giving the 'thumbs up'. The crowd buzzes.\n\n GLICK", "The Cardinal blows smoke rings.\n\n GLICK\n\nYou'd like to help out in some way?\n\n BETHANY", "A hand switches off the t.v. Pan up to Cardinal Click, all smiles.\n\n GLICK\n\nWell...? Doesn't it pop?", "We really appreciate you seeing us this late in the day, your Emminence. My\nfriends and I have been traveling all night in hopes of getting a chance to\ntalk to you about the Saint Michael's Re-Dedication ceremony.", "We'd like you to cancel the ceremony and the re\n\ndedication.\n\n GLICK\n\n(pauses mid-ash-tap)", "Cardinal Click runs to a pay phone. Sweating and bloody, he looks a mess.\nHe presses '0' and looks around wildly - particularly skyward.\n\n GLICK", "It was a Cardinal.", "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "If you walk through the church's front door on the day of the Re-dedication\nceremony, your soul is wiped clean of any and all existing sin, moreso than", "Thank you, Mister Flanagan - one of this parish's chief patrons, who\ndonated the stained-glass likeness of Our Lady of Gleeful Misery that\nwelcomes you as you enter the church every Sunday." ], [ "And now, to speak on behalf of his Holiness' 'Catholicism - Wow!' campaign,\nladies and gentlemen of the press, I give you the driving force behind the\nmovement - Cardinal Glick.", "Cardinal Glick stands at the podium, all smiles. He's in mid-speech.\n\n GLICK", "The reporters clap as CARDINAL GLICK takes to the podium. He strikes one as\nmore of an agent than a man of the cloth as he removes his Wayfarers.\n\n GLICK", "(reads)\n\n\"Cardinal Glick Cuts Ribbon on 'Catholicism - Wow!\"\n\nCampaign.\"\n\n(to Bartleby)", "'Cardinal Glick has come under fire for the blatant pandering and\nquestionable direction of his church-sanctioned 'Catholicism - Wow!'", "Cardinal Glick - has the church given any thought to it's position on john\nDoe Jersey? Will he be given the right to die with dignity?\n\nAnother buzz rises from the crowd. Glick rolls his eyes.", "The Cardinal blows smoke rings.\n\n GLICK\n\nYou'd like to help out in some way?\n\n BETHANY", "A hand switches off the t.v. Pan up to Cardinal Click, all smiles.\n\n GLICK\n\nWell...? Doesn't it pop?", "RUFUS\n\nI'm telling you man. this ceremony is a mistake.\n\n GLICK\n\nThe Catholic Church does not make mistakes.", "Cardinal Click runs to a pay phone. Sweating and bloody, he looks a mess.\nHe presses '0' and looks around wildly - particularly skyward.\n\n GLICK", "It was a Cardinal.", "Glick pulls a cover off an object to his right - a two foot figure of\nChrist smiling and giving the 'thumbs up'. The crowd buzzes.\n\n GLICK", "Jay and Silent Bob adjourn themselves from the group and approach a hat\nrack, where the Cardinal's CASSOCK and MITER hang. Jay nudges Silent Bob.", "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "As he speaks, a large shadow falls over him from above. It grows larger,\nenveloping Click. He drops the receiver, drops to his knees, and screams.\n\nEXT SAINT MICHAEL'S - DAY", "Thank you, Mister Flanagan - one of this parish's chief patrons, who\ndonated the stained-glass likeness of Our Lady of Gleeful Misery that\nwelcomes you as you enter the church every Sunday.", "Your Emminence, it's not a joke. These guys are an accident waiting to\nhappen. And if the re-edication ceremony goes on as planned...\n\n GLICK", "HOLY SHIT!! IT'S THE POPE!!\n\nAs the thrall turns excitedly in an effort try to spy the imaginary\npontiff, Liz ducks inside the clinic.", "You wanted your body count, you got it. This lot is rife with sin. We'll\njudge them all!\n\nGlick grabs a COP from the crowd and pushes him toward the pair.", "A formidable crowd of parishoners surrounds a small stage, ten yards from\nthe front of the church. Banners hang every~ere, heralding 'Catholicism -" ], [ "If you walk through the church's front door on the day of the Re-dedication\nceremony, your soul is wiped clean of any and all existing sin, moreso than", "RUFUS\n\nI'm telling you man. this ceremony is a mistake.\n\n GLICK\n\nThe Catholic Church does not make mistakes.", "Your Emminence, it's not a joke. These guys are an accident waiting to\nhappen. And if the re-edication ceremony goes on as planned...\n\n GLICK", "We'd like you to cancel the ceremony and the re\n\ndedication.\n\n GLICK\n\n(pauses mid-ash-tap)", "And now, to speak on behalf of his Holiness' 'Catholicism - Wow!' campaign,\nladies and gentlemen of the press, I give you the driving force behind the\nmovement - Cardinal Glick.", "(reads)\n\n\"Cardinal Glick Cuts Ribbon on 'Catholicism - Wow!\"\n\nCampaign.\"\n\n(to Bartleby)", "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "'Cardinal Glick has come under fire for the blatant pandering and\nquestionable direction of his church-sanctioned 'Catholicism - Wow!'", "(steps back)\n\nSoon a cadre of police will arrive, just in time to kill us as we exit the\nchurch. And then this failed experiment called existence will cease to be.", "\"Updating the church... television spots... Papal consent...\nrededication...\n\n(to Bartleby)\n\nAgain - and?\n\n BARTLEBY", "We really appreciate you seeing us this late in the day, your Emminence. My\nfriends and I have been traveling all night in hopes of getting a chance to\ntalk to you about the Saint Michael's Re-Dedication ceremony.", "The reporters clap as CARDINAL GLICK takes to the podium. He strikes one as\nmore of an agent than a man of the cloth as he removes his Wayfarers.\n\n GLICK", "Glick pulls a cover off an object to his right - a two foot figure of\nChrist smiling and giving the 'thumbs up'. The crowd buzzes.\n\n GLICK", "You wanted your body count, you got it. This lot is rife with sin. We'll\njudge them all!\n\nGlick grabs a COP from the crowd and pushes him toward the pair.", "We ran out of parishoners, so he just started picking up anyone off the\nstreet. You're looking at eons of repression getting purged. If only we'd\nbeen able to jerk off.", "Cardinal Glick - has the church given any thought to it's position on john\nDoe Jersey? Will he be given the right to die with dignity?\n\nAnother buzz rises from the crowd. Glick rolls his eyes.", "Well. they're very passionate about it. Dangerously so. They could turn\nviolent if they walk through that arch and nothing happens.\n\n RUFUS", "RUFUS\n\nThey could already be in the church.\n\n SERENDIPITY\n\nWhich means that if they come out, nobody touches them.", "Ladies and Gentlemen - you have been judged as guilty of violations against\nour Almighty Lord. And this very day - I assure you - you will all pay for\nyour tresspasses... in blood.", "\"The Re-dedication of Saint Michael's Church on it's hundredth anniversary\nis the kickoff of a new campaign that seeks to bring the Catholic Church" ], [ "Today's second collection will be donated to the John Doe Jersey Life Fund.\nFor those of you who haven't been following the news, an unidentified", "OC PRIEST\n\nThe greater Illinois chapter of the Right to Life foundation will be\nholding it's bi-annual softball game against the Cook County Pro-Choice\nleague next Sunday at two.", "EXT ST. STEPHEN'S PARISH - DAY\n\nThe church sits on a grassy knoll in Mc Henry - a suburb of Chicago. Some\nkids tear by on bikes and egg it.", "A formidable crowd of parishoners surrounds a small stage, ten yards from\nthe front of the church. Banners hang every~ere, heralding 'Catholicism -", "We ran out of parishoners, so he just started picking up anyone off the\nstreet. You're looking at eons of repression getting purged. If only we'd\nbeen able to jerk off.", "been collecting for your parish reconstruction and go get yourself a nice\npiece of ass. You deserve it.", "Thank you, Mister Flanagan - one of this parish's chief patrons, who\ndonated the stained-glass likeness of Our Lady of Gleeful Misery that\nwelcomes you as you enter the church every Sunday.", "was black. That's why I'm going to help you find stop those angels from\ngetting to that church in exchange for you helping me with my campaign.", "\"The Re-dedication of Saint Michael's Church on it's hundredth anniversary\nis the kickoff of a new campaign that seeks to bring the Catholic Church", "\"Updating the church... television spots... Papal consent...\nrededication...\n\n(to Bartleby)\n\nAgain - and?\n\n BARTLEBY", "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "Dollying down the rows while the Priest rattles on. we pass the\nparishoners. Some listen intently, others are nodding off. One", "to Silent Bob \"Man, we could live phat if we were the blunt-connection in\nShermer, Illinois!\" So we collected some cash we were owed, and caught a\nbus. But when we got here,", "As the congregation flatly joins in the prayer, we stop on BETHANY - a\nbeautiful twenty-something woman who struggles to stay awake. She checks\nher watch and exhales softly.\n\n OC VOICE", "After that, it was a simple matter or waiting for a church to celebrate\ntheir Centennial, and when that finally happened, applying some of the old", "If you walk through the church's front door on the day of the Re-dedication\nceremony, your soul is wiped clean of any and all existing sin, moreso than", "(crowd laughs)\n\nNow, let me just give you a bit of history on this particular little\nhundred years young House of God...\n\n OC BARTLEBY", "ones. Fill them pews, people - that's the key. And cross-promoting - like\nwith the cereal tie-in grabs the little ones as well. Hook 'em while\nthey're young.", "CLICK\n\nThese are the two I was warned about, Officer McChee. Please assist them\noff the church grounds.\n\nThe Cop grabs Bartleby's arm.", "And now, to speak on behalf of his Holiness' 'Catholicism - Wow!' campaign,\nladies and gentlemen of the press, I give you the driving force behind the\nmovement - Cardinal Glick." ], [ "That guy - the one that they won't take off life support - John Doe Jersey.\nThis is where he's at.\n\n BETHANY\n\nWhat? Where?", "John Doe Jersey bastard behind us, or we can make with the love.\n\nBethany freezes.\n\n BETHANY\n\n(finally!)", "homeless man who was accosted and severely beaten at the New Jersey shore\nlast Tuesday lies in critical but stable condition in one of that area's\nhospitals. He lacks identification and police have had no luck in tracking", "BETHANY\n\nNo - about John Doe Jersey?\n\n JAY", "Jay manages to reach into his jacket and pull out a copy of Penthouse. He\nrolls it up and starts beating the kid in the head with it.", "Another Newspaper headline regarding 'John Doe Jersey' fills the frame. It\nis lowered to reveal Jay, Bethany, and Rufus sitting around a makeshift", "beating on him with their hockey sticks, as he crumbles beneath them.\nRepeatedly their blades crash down hard on his head.", "The three skaters cease their beating and check the Old Man's pulse.\nSatisfied, they skate away, leaving his crumpled form on the boardwalk.\n\nINT AIRPORT - DAY", "One of the skaters checks him hard into the railing. The Old Man exhales\nviolently and falls to his knees. The two other skaters begin savagely", "Today's second collection will be donated to the John Doe Jersey Life Fund.\nFor those of you who haven't been following the news, an unidentified", "Cardinal Glick - has the church given any thought to it's position on john\nDoe Jersey? Will he be given the right to die with dignity?\n\nAnother buzz rises from the crowd. Glick rolls his eyes.", "He lands before the middle Triplet and open-palm punches him twice in the\nface, grabbing his stick from the falling child's hand and tossing it into\nthe air behind him.", "You're a man of principle. Where do you come from?\n\n JAY\n\nWe used to live in a small town in Jersey. Real small town. We practically\nknew everybody.", "into the faces of the two wobbling Triplets. They go down, and the smaller\nfigure leaps forward with a shriek, landing between the fallen pair, elbows\ninto their backs.", "Amidst very little traffic, two figures emerge from the shadows on the\nPennsylvania side. Bartleby and Loki step purposefully past the green sign\nthat welcomes motorists to New Jersey.\n\nINT BAR - DAWN", "BARTLEBY\n\nIt's a long trip. There'll be plenty of time later.\n\n(beat)\n\nSo why are you heading to Jersey?", "Rufus squeezes Bartleby's hand. Bartleby drops the knife and punches Rufus\nin the face. Bethany jumps on Bartleby's back, covering his eyes. They", "Rufus and Jay exit. Silent Bob stares down at Azrael's body. Jay comes back\nand yanks him out the door.\n\nEXT STREET - DAY", "Bethany, Jay, and Silent Bob leap back. The man sits up and rubs his face.\n\n JAY\n\nKILL IT!! KILL IT!!", "Jay's face lights up. He punches Silent Bob in the arm.\n\n JAY\n\nSee?! I told you if we hung around outside that place we'd get laid! Thank\nyou!" ], [ "That guy - the one that they won't take off life support - John Doe Jersey.\nThis is where he's at.\n\n BETHANY\n\nWhat? Where?", "John Doe Jersey bastard behind us, or we can make with the love.\n\nBethany freezes.\n\n BETHANY\n\n(finally!)", "homeless man who was accosted and severely beaten at the New Jersey shore\nlast Tuesday lies in critical but stable condition in one of that area's\nhospitals. He lacks identification and police have had no luck in tracking", "Jay manages to reach into his jacket and pull out a copy of Penthouse. He\nrolls it up and starts beating the kid in the head with it.", "Another Newspaper headline regarding 'John Doe Jersey' fills the frame. It\nis lowered to reveal Jay, Bethany, and Rufus sitting around a makeshift", "One of the skaters checks him hard into the railing. The Old Man exhales\nviolently and falls to his knees. The two other skaters begin savagely", "BETHANY\n\nNo - about John Doe Jersey?\n\n JAY", "The three skaters cease their beating and check the Old Man's pulse.\nSatisfied, they skate away, leaving his crumpled form on the boardwalk.\n\nINT AIRPORT - DAY", "Today's second collection will be donated to the John Doe Jersey Life Fund.\nFor those of you who haven't been following the news, an unidentified", "He lands before the middle Triplet and open-palm punches him twice in the\nface, grabbing his stick from the falling child's hand and tossing it into\nthe air behind him.", "Azrael clutches at his sucking chest wound, dropping to his knees. He grabs\nSilent Bob's leg. Silent Bob kicks him onto his back and out cold.\n\n JAY", "beating on him with their hockey sticks, as he crumbles beneath them.\nRepeatedly their blades crash down hard on his head.", "Jay drops to the floor, out cold. Silent Bob grabs Loki and hurls him down\nthe aisle. Rufus grabs Bartleby's knife hand. They struggle. Bethany\ncollapses.", "Silent Bob gets his hands under the stick that pins him and pushes it up\nhard, into the Triplet's forhead, knocking him off. He rushes to Jay's side", "Cardinal Glick - has the church given any thought to it's position on john\nDoe Jersey? Will he be given the right to die with dignity?\n\nAnother buzz rises from the crowd. Glick rolls his eyes.", "Bethany, Jay, and Silent Bob leap back. The man sits up and rubs his face.\n\n JAY\n\nKILL IT!! KILL IT!!", "into the faces of the two wobbling Triplets. They go down, and the smaller\nfigure leaps forward with a shriek, landing between the fallen pair, elbows\ninto their backs.", "Rufus and Jay exit. Silent Bob stares down at Azrael's body. Jay comes back\nand yanks him out the door.\n\nEXT STREET - DAY", "Rufus squeezes Bartleby's hand. Bartleby drops the knife and punches Rufus\nin the face. Bethany jumps on Bartleby's back, covering his eyes. They", "Between black cards with white credits there are shots of the OLD MAN from\nthe boardwalk being wheeled into a hospital on a gurney, being treated in" ], [ "power of God's true voice. Were you to hear it, you're mind would cave in\nand your heart would explode within your chest. We went through five Adam's\nbefore we figured that out.\n\n BETHANY", "(hand on her shoulder)\n\nYou're His great-grand-niece.\n\nBethany's jaw drops. A high-pitched squeak of a word escapes her lips.", "This is no longer God's House. God doesn't live here anymore.\n\nThe crowd turns, aghast. Bartleby pushes his way through them, sheepishly\nfollowed by Loki.", "Whose?\n\n SERENDIPITY\n\nGod's.\n\n BETHANY\n\nYou're saying God's a woman.", "As the congregation flatly joins in the prayer, we stop on BETHANY - a\nbeautiful twenty-something woman who struggles to stay awake. She checks\nher watch and exhales softly.\n\n OC VOICE", "You sound like the Man.\n\n BETHANY\n\n(beat)\n\nWhat was He like?\n\n RUFUS", "MAN\n\nThat sounds familiar.\n\n BETHANY\n\nJesus, are you okay?\n\n MAN", "Everyone turns around. Metatron leans against a tree.\n\n METATRON\n\nGod. l've always wanted to say that.", "Jesus? Black.\n\n BETHANY\n\nBesides that.\n\n RUFUS", "RUFUS\n\nThis is the Voice of God - show some respect.\n\n JAY\n\nThe Voice of God? Where's the rest of Him?", "RUFUS\n\nThe voice.\n\n NIETATRON\n\n(mimicking his shock)\n\nThe Apostle!", "Metatron acts as the voice of God. Any documented occasion when some yahoo\nclaims to have spoken with God, they're speaking to me. Or they're speaking\nto themselves.\n\n BET HANY", "She's now met a seraphim, a dead man, and a muse.\n\nYou can appreciate her frame of mind.\n\n BETHANY", "she said something like \"There's always a plan.\" And I... just got so\nangry. I mean, I know she was talking about God, right - God had a plan.", "The Voice repeats itself. Bethany darts out of bed and dashes out of the\nroom, quickly returning with a fire extinguisher. While the voice is in", "See? Tell a person you're the Metatron and they stare at you blankiy;\nmention something out of a Charlton Heston movie and they're suddenly\ntheology scholars. May I continue uninterrupted?", "She. And how do you know She was listening in the first place?\n\n BARTLEBY\n\n(thinks)\n\nI guess I don't.", "(beat)\n\nApparently not.\n\n(swigs her drink)\n\nHow about you? When did you lose your faith?\n\n BARTLEBY", "The Figure hangs up the phone and rises.\n\n FIGURE\n\nYou say the girl has already met the prophets?\n\nThe Stygian Triplets nod.", "(incredulous)\n\nWait. wait, wait - Christ? You knew Christ?\n\n RUFUS\n\nKnew him? I saw him naked." ], [ "BETHANY\n\n(to herself)\n\nYou've gotta be kidding me.\n\n(thinks for a beat; then) Hey! Wait!", "(to Bethany)", "Bethany's Catholic.\n\n SERENDIPITY\n\nMy condolences.\n\n BETHANY", "BETHANY\n\nI don't know why, but...\n\n(composes herself)\n\n...I want to go with you.", "Bethany - you of all people should understand what I'm t~'ing to accomplish\nhere. You too have been abandonned. You know what it's like to be cast", "BETHANY\n\nWhat do you mean, kill? I wasn't asked to kill them -just stop them from\ngoing into that church.\n\n RUFUS", "BETHANY\n\nAre you a complete lunatic?! Everyone's out there battling that thing and\nyou want to cower back here and jump my bones?! We have to go down\nfighting!", "BETHANY\n\n...mom. God, it makes sense.\n\n RUFUS\n\n(to Serendipity)", "BETHANY\n\nYes.\n\n JAY", "BETHANY\n\nWhy me?\n\n RUFUS", "BETHANY", "BETHANY", "(Bethany nods)", "He could. He could blink them out of existence, destroy that church, turn\nthem into plants. But He'd rather see you take care of this one personally.\n\n BETHANY\n\nWhy me?", "So you ask why you got tapped. I'll tell you why: a Christ was the\nsalvation of this world once before. And you're the closest thing to a\nChrist that still walks.\n\n BETHANY", "BETHANY\n\nWhat's that?\n\n RUFUS\n\nJesus wasn't white; He was black.", "BETHANY\n\nSo then we're screwed?\n\n(shrugs)\n\nShit, that's the best news l've heard in days.", "Bethany stares at her for a beat, then at Rufus. Rufus nods affirmatively.\n\n BETHANY\n\nI can't take much more of this.", "BETHANY\n\nMeaning?\n\n SERENDIPITY\n\nI'm a muse, stupid.", "INT BETHANY'S OFFICE - DAY\n\nBethany sits at her desk, staring into space. A twenty-something girl\nspeaks, butBethany's not really listening. She's extremely preoccupied." ] ]

[ "Where is Cardinal Glink's cathedral located?", "Where does Bethany Sloane work?", "Who beat John Doe Jersey up?", "Who was the last relative of Jesus Christ?", "Who does Bethany have to stop from trying to get back to Heaven?", "Who are drug dealing stoners who rescue Bethany?", "What does Silent Bob use to kill Azrael?", "Who was actually God in mortal form?", "Who does God get pregnant?", "Why is Bethany important?", "Who is trapped inside the old man in a coma?", "What are Bartleby and Loki?", "Why do Bartleby and Loki want to go to the cathedral?", "What is Rufus?", "Who are the prophets that assist Bethany?", "What is the consequence of Bartleby and Loki going back to Heaven?", "Why is Bartleby angry with God?", "What happens to Bethany after she dies?", "Where are Bartleby and Loki banished to from heaven?", "Why are Bartleby and Loki banished from heaven?", "Who is Cardinal Glick rededicating his cathedral in the image of?", "Where is Cardinal Glick's cathedral?", "What will result if you enter Glick's cathedral during rededication?", "Who are donations being solicited for at an Illinois church?", "Where was John Doe Jersey beaten?", "Who beat John Doe Jersey so that he landed in a hospital?", "Who does the voice of God appear to saying she is the last relative of Jesus?", "What is Bethany's mission from God?" ]

[ [ "Red Bank, New Jersey", "Red Bank, New Jersey" ], [ "An abortion clinic", "An abortion clinic." ], [ "The triplets", "the Triplets" ], [ "Bethany", "Metatron" ], [ "Bartleby and Loki", "Bartleby and Loki" ], [ "Jay and Silent Bob", "Jay and Silent Bob" ], [ "Glink's golf club", "Glick's blessed golf club" ], [ "John Doe Jersey", "John Doe Jersey" ], [ "Bethany", "Bethany" ], [ "She is the last living relative of Jesus Christ.", "she is the last relative of jesus" ], [ "God.", "God" ], [ "Fallen angels.", "Fallen angels." ], [ "A ceremony is being performed that will forgive the sins of all who enter, and they will be able to get back into Heaven.", "to kill Bethany " ], [ "The thirteenth apostle. ", "the thirteenth apostle" ], [ "Jay and Silent Bob.", "Jay and Silent Bob" ], [ "It would unmake all of existence. ", "They would nullify all of existence." ], [ "For kicking him out of Heaven and granting free will to humans while requiring service of angels.", "He is angy for his expulsion." ], [ "She is resurrected and impregnated by God.", "She is resurrected and becomes pregnant." ], [ "Wisconsin", "Wisconsin" ], [ "for insubordination after being drunk and resigned as the Angel of Death", "They resigned as the Angel of Death." ], [ "Buddy Christ", "The Buddy Christ." ], [ "Red Bank, New Jersey", "Red Bank, New Jersey" ], [ "you'll get direct entrance to heaven", "all your sin's are forgiven" ], [ "Donations for a beaten homeless man John Doe Jersey", "a comatose homeless man" ], [ "Outside a skee ball arcade in New Jersey", "outside a skee ball arcade in New Jersey" ], [ "The Triplets", "The Triplets" ], [ "Bethany Sloane", "Bethany" ], [ "to save the universe from Bartleby and Loki", "Bethany must stop the angels" ] ]

[ [ "team nearly bankrupt. If we'd had \n another losing season, I would have \n had to sell the team. I knew we", "the equipment was workin'. If I could \n get anybody to come and watch this \n team, none of this would be necessary.", "finish dead last, knockin' attendance \n down to the point where she could \n move the team to Miami.\n (pause)", "If we can force a losing streak for \n a week or two, we can still turn \n this thing around. The fans are used", "RACHEL\n So you'd tell the team, hopefully \n getting them mad enough to knock \n themselves out trying to prove they \n belonged in this league. I think it \n worked.", "popping up and flinging his bat away in frustration. We take \n CUTS of the worried fans, chewing fingernails, wadding up \n programs, hanging their heads, etc.\n\n TAYLOR", "team to me. And I was more than \n showgirl. I was a dancer. Now, I \n know some of you have doubts about", "The players all crowd to the window to get a glimpse of their \n hotel. Hotel is actually overstating it. This place is one \n cut below the YMCA.", "Lynn smiles. He gives her a kiss and watches as she goes \n inside. He stands there a long beat, then turns and walks \n slowly down the steps past his teammates.", "out for the summer, attendance is \n liable to rise. Plus, this team is \n showing signs of improvement. I didn't", "Our attendance is just below 180,000. \n That's bad, but not bad enough.", "The crowd and bleacher band begins to clap as Dorn takes his \n lead. Cerrano swings at the first pitch and misses. An audible \n groan goes through the crowd.", "Everyone around the batting cage has stopped what they're \n doing to see how Brown will react. Brown looks at the contract", "CLAIRE\n Here in Cleveland? I didn't know \n they still had a team.", "TEMPLE\n We're on an austerity program. This \n is what happens when you finish 24 \n games out.", "JOHNNY\n As the Indians go so goes Cleveland, \n huh?\n\n THELMA\n If we ever lost the Indians, Cleveland \n would die.", "before a capacity crowd of 75,000 \n screaming featherheads, the braves \n of the Cuyahoga will leave their", "TAYLOR\n I can't stay.\n (indicating the team)\n We gotta get to the park.\n\n LYNN\n Good luck today, Jake.", "The crowd is on its feet again. The \"GO\" chant starts, \n punctuated by thousands of black-gloved hands punching the \n night air.", "There will be a one-game playoff \n here in Cleveland the day after \n tomorrow to decide the Eastern \n Division Championship, the Indians" ], [ "With that, Rachel turns and walks out. Brown and the others \n can only watch her go.\n\n CUT TO:\n\n OMIT", "RACHEL\n No, we've been losing. What I want \n us to do is finish dead last.\n\n Donovan is stunned. He casts around helplessly for some \n response.", "With that, Rachel gets up and breezes out of the room with \n her entourage, leaving Donovan and the others dumbfounded.", "BROWN\n You tryin' to make me believe you \n wanted us to win all along?\n\n Rachel nods.", "RACHEL\n You wanted to see the Bitch?\n\n BROWN\n Yeh.", "Rachel sticks out her hand. Donovan shakes it somewhat feebly, \n bewildered by this whole development.", "The men applaud, but their hearts are barely in it. The \n Secretary-Bodyguard pulls out a chair at the head of the \n table and Rachel sits.", "RACHEL\n That's what I wanted to talk to you \n about. I want to put together a team \n that will help us relocate to Miami.", "standing up to cheer Cerrano's homer, then remembering he's \n with Rachel. He sits down apologetically. Rachel watches the \n events on the field with a face of cold steel.", "RACHEL\n So you'd tell the team, hopefully \n getting them mad enough to knock \n themselves out trying to prove they \n belonged in this league. I think it \n worked.", "RACHEL\n You think this was all an accident? \n I personally scouted every member of", "Rachel rubs her fingers together, making the money sign to \n Donovan.\n\n DONOVAN\n Well, what are you really worried \n about? The money?", "We GO TO Donovan. He watches Rachel go in disgust.\n\n INT. THE CASCADE BAR - NIGHT", "RACHEL\n I'm serious about this, Charlie. \n It's no secret I've never liked", "The two shake hands. Brown looks at Rachel a beat, still \n looking for some sign of duplicity. Finally he gives her a \n grudging smile of respect.", "RACHEL\n Obviously, Donald didn't feel that \n way or he wouldn't have left the", "We hear cheers as it's ripped away to reveal the photographic \n image of Rachel's cleavage. We PULL BACK to see the life-", "DONOVAN\n What's left to do? You've taken away \n everything you can.\n\n RACHEL\n Not everything.", "Sequence omitted from original script.\n\n INT. RACHEL'S OFFICE - DAY", "Rachel jumps out of her seat, hands above her head. Donovan \n hesitates a beat, then follows suit." ], [ "BROWN\n Rick, I'm not gonna beat around the \n bush here. You got a great arm, one", "TAYLOR\n Okay, let's get nasty here, Rick. \n You know he's lookin' for this pitch. \n Gotta come up with somethin' studly.", "RICKY VAUGHN\n\n Good-looking, muscular, 19-year-old. Sleeveless black T-shirt. \n Talking on a wall phone in a nondescript room.", "Vaughn steps up on the rubber, his face hardened into fierce \n resolve. There's nothing nervous about him now. This kid is \n gonna make somebody pay.", "Hayes steps into the cage and begins a preparatory ritual \n worthy of Babe Ruth -- rubbing dirt on his hands, stretching,", "TAYLOR\n (throwing the ball \n back)\n C'mon, Rick baby, settle down.", "Vaughn, determined to throw a strike, winds and delivers. \n The ball is a perfect strike, right down the middle.", "DOYLE (V.O.)\n So, Ricky Vaughn, roughed up in his \n only other appearance against the", "BROWN\n Okay, Ricky, Haywood likes the hard \n stuff in. Curve him on the hands,", "\"polishing\" his bats with black shoe polish and a brush.\n\n TAYLOR\n\n taking batting practice late at night. He attacks the ball \n swing after swing.", "TAYLOR\n What's the problem, Rick? You're \n throwin' basketballs up there. That \n guy in the dugout botherin' you?", "Vaughn, wearing his new glasses, paces the mound nervously. \n He goes to the rosin bag, wipes his brow, shakes out his", "Vaughn goes into his windup and unleashes a screaming bullet \n toward the plate. Haywood pulls the trigger, but it's already", "BROWN\n Now, there are a lotta pitchers that \n started out wild and, after workin'", "Off steps Ricky Vaughn, a hefty bag over his shoulder. He's \n still sporting his radical do.\n\n PEPPER\n Look at this fuckin' guy.", "Cerrano has drawn some magic signs on his bats. He finishes \n an incantation and then lights the cigar on the fetish doll.", "Brown and Pepper stand behind Taylor for a better view. Vaughn \n goes into his wind-up and fires a screaming fast ball that", "Finally he bends over and grabs his ankles, while one of his \n teammates humps up against him, pretending to bugger him. \n This sends the Yankee bench into hysterics.", "Dorn arrives at the mound, and holds out his hand for the \n ball. Vaughn gives it to him. Dorn rubs it up, staring long", "DOYLE\n Top of the sixth. Rookie sensation, \n Ricky Vaughn, on to pitch now. You \n can close the book on Winters..." ], [ "The team breaks into applause and whistles as Taylor's name \n is announced. Dorn is the only one who seems unhappy about \n it. As Taylor accepts the congratulations of his teammates, \n he turns to Vaughn.", "Lynn smiles. He gives her a kiss and watches as she goes \n inside. He stands there a long beat, then turns and walks \n slowly down the steps past his teammates.", "this team, except Hayes, of course. \n He was a surprise. They all had flaws \n which concealed their real talent,", "Finally he bends over and grabs his ankles, while one of his \n teammates humps up against him, pretending to bugger him. \n This sends the Yankee bench into hysterics.", "RACHEL\n So you'd tell the team, hopefully \n getting them mad enough to knock \n themselves out trying to prove they \n belonged in this league. I think it \n worked.", "Vaughn stomps around on the mound, obviously upset. He glares \n at Dorn a beat before getting back on the mound. Dorn's face \n is non-commital. Brown paces in the dugout.", "Taylor begins kicking dirt on Wingo's shoes, ala Billy Martin. \n Wingo takes a dramatic hop, skip and jump and gives Taylor \n the heave-ho thumb just as Brown arrives. Wingo turns away.", "We PICK UP Vaughn making his way to the back of the bus, \n where Brown has his \"office\" on the last seat. Most of the \n other players are asleep after a late night of partying.", "No sooner has Taylor settled in behind the plate, than Dorn \n starts toward the mound. Vaughn watches him come with fear \n and trepidation.", "feet short of the base. The second baseman, who's waiting \n for him with the ball, makes a motion for him to keep coming. \n Hayes flips him the bird.", "We pick up Taylor sprinting his ass off in a 100-yard time \n trial, staggering across the finish line 10 feet behind \n Cerrano.", "Vaughn charges across the room and jumps Dorn. The men grapple \n and fight all over the room, until Taylor finally gets them \n separated.", "again. Everywhere people are hugging and kissing each other. \n Bobby, Vic and Johnny are going berserk in the bleachers. \n Thelma sits quietly, a tear rolling down her cheek.", "Suddenly, his reverie is interrupted by the sound of applause. \n He turns and looks in the dugout, where Hayes and Vaughn are \n giving him a hand.", "Immediately, 30 arms shoot up behind her in the Italian \"up-\n yours\" gesture. She turns around, but by then the players \n have quickly returned to normal positions.", "The players all crowd to the window to get a glimpse of their \n hotel. Hotel is actually overstating it. This place is one \n cut below the YMCA.", "The Duke does not care for this kind of showmanship.\n\n Brown comes over to talk to Taylor, who's been watching Duke \n from the on-deck circle.", "Taylor breaks away and starts back to the dugout. Playing it \n to the hilt, he throws his glove and mask to the ground on \n the way.", "The Duke finishes his warmups and stares over at Hayes. Hayes \n smiles, snaps his black gloves out of his hip pocket, and \n carefully pulls them on over his hands.", "Down in the dugout, the players are lined up ready to take \n the field. They exchange words of encouragement, hand slaps, \n clenched fists, but all at a very low key level. This is \n tension time." ], [ "We get our fist glimpse of HARRY DOYLE, the Indians' 55-year-\n old radio announcer. Harry's never walked past a bar in anger. \n He's been with the Indians through thin and thinner.", "long time nemesis, the New York \n Yankees, the Big Boys of Broadway, \n who have beaten the Indians like a", "It's the Cleveland Indians' conference room. Three men are \n seated around the table; CHARLIE DONOVAN. the manager, PHIL", "BROWN\n All right, guys, let's take it to \n 'em.\n\n The Indians charge onto the field to a standing ovation.", "Dorn swings at the first pitch and lines a sharp single to \n left. The crowd and the Indian bench suddenly come alive. \n Cerrano moves to the plate.", "Doyle takes a long pull on his Coke and we GO INTO A MONTAGE \n depicting the Indians' progressive disintegration in this \n game. We see:", "DOYLE (V.O.)\n We're in the ninth, two down, man on \n first and the Indians clinging to a", "the Indians, that thought-to-be \n hopeless collection of has-been's \n and never-will-be's is actually", "Thelma calmly knits her blanket with the scores of all the \n Indians' games stitched into it, the Madame La Farge of \n Cleveland. The boys, however, are a little restless.", "FARMER\n Good evening, everybody. The \n incredible has happened. The Indians \n have finished the regular season in", "There will be a one-game playoff \n here in Cleveland the day after \n tomorrow to decide the Eastern \n Division Championship, the Indians", "DOYLE (V.O.)\n High, ball four and they're loaded \n for Haywood, the biggest Indian killer \n of them all.", "DOYLE\n Vaughn in a little trouble here, but \n I'll tell ya, these Cleveland fans \n are great. Listen to them get behind \n Vaughn.", "DOYLE\n ...Safe. The Indians win it. The \n Indians win. Oh my God, the Indians \n win it!!", "In the center field bleachers Thelma's victory blanket \n containing the scores of every Indian game for the season,", "We PICK UP Doyle doing the play-by-play of the Indians' next \n game. He can barely keep his eyes open.", "CUT TO:\n\n INT. INDIANS LOCKER ROOM - DAY\n\n The players are all gathered around, obviously having been \n called together by Brown.", "Yankees. And listen to the roar of \n the crowd as the Indians takes the \n field!", "INT. INDIANS' LOCKER ROOM - DAY\n\n The Indians are undressing after practice.", "DOYLE (V.O.)\n Two down in the ninth, Hayes steps \n in hitting .291, trying to get \n something going for the Tribe." ], [ "BROWN\n Sounds like my kinda team. Have my \n contracts ready.\n\n Brown hangs up.", "BROWN\n You tryin' to make me believe you \n wanted us to win all along?\n\n Rachel nods.", "Meanwhile, Brown is going jaw to jaw with Wingo, outraged at \n the call. Brown pulls a carrot out of his back pocket, and \n offers it to Wingo, who immediately thumbs him out.", "RACHEL\n So you'd tell the team, hopefully \n getting them mad enough to knock \n themselves out trying to prove they \n belonged in this league. I think it \n worked.", "Brown can only shake his head at this whole thing.\n\n RACHEL\n I love this team, Lou. Go get 'em \n tonight.", "BROWN\n All right, guys, let's take it to \n 'em.\n\n The Indians charge onto the field to a standing ovation.", "CUT TO:\n\n INT. INDIANS LOCKER ROOM - DAY\n\n The players are all gathered around, obviously having been \n called together by Brown.", "BROWN\n I figure it's gonna take 32 more \n victories to win this thing. Every \n time we win, we peel a square.\n\n HAYES", "BROWN\n All right, let's gather 'round.\n\n The players turn their attention to Brown.", "BROWN\n Can I have your attention, please? I \n counted up your ballots for team", "BROWN\n Ya know, when I first got to camp I \n figured this team had no chance. I", "INT. CLUBHOUSE - MORNING\n\n Brown is addressing his troops before the first workout.", "BROWN\n She put this team together because \n she thought we'd be bad enough to", "BROWN\n (walking away)\n You better if you wanna make this \n team.", "Brown and Pepper stand behind Taylor for a better view. Vaughn \n goes into his wind-up and fires a screaming fast ball that", "BROWN\n (Patting him on the \n butt)\n O.K., kid, you're my man. Let's go \n get him.", "BROWN\n Rick, I'm not gonna beat around the \n bush here. You got a great arm, one", "Brown flashes a sign out to Hayes. A hint of a smile comes \n over Hayes' face as he dusts himself off.", "BROWN\n That's about it.\n\n HARRIS\n What if we don't finish last?", "DORN\n What! That's Little League shit.\n\n BROWN\n So is this." ], [ "ball is... Downtown, welcome to the \n Happy Hunting Ground. The game is \n tied.", "Taylor catches the ball, he's once again knocked flat by the \n Runner. This time he lies still a beat, and then an arm comes \n up holding the ball.", "Hayes, the trailing runner, catches up with the lead runner, \n and they reach the plate at about the same time, one sliding \n around the Catcher one way, one around the other.", "He smiles and hands Vaughn the ball back. Vaughn returns the \n smile and accepts the ball. While Dorn trots back to his", "Vaughn catches the ball and rifles a throw down to Taylor, \n who puts the tag on the sliding Hayes. Cerrano, who's umping,", "Hayes looks down at his shoe. It's not untied. He notices \n too late that the PITCHER is throwing over to pick him off.", "DOYLE\n Two down in the top of the ninth, \n still tied at 2, Harris working on \n an eight-hitter.\n\n CUT TO:", "Duke comes set again. Hayes leads away. Duke watches him, \n checks him again. We go to SLOW MOTION as Duke kicks and \n comes to the plate.", "DOYLE (V.O.)\n Runner goes, high, Taylor has no \n play. The go-ahead and potential \n winning run is in scoring position.", "As Taylor tries to catch his breath, Dorn and a relief pitcher \n named Gant approach the starting line for the next trial.\n\n HAYES", "TAYLOR\n (to himself)\n Two down. Bottom of the ninth.", "Vaughn has lost it now. He fires to the plate and Haywood \n creams another tape measure job into the upper deck. Hayes", "Taylor, exhausted from the game, lifts his latch and peers \n inside. He's made it, too. Cerrano offers a hand. Taylor \n shakes it and breaks a weary smile.\n\n GENTRY", "Vaughn permits himself a little smile and release from the \n tension. Taylor smiles back, and trots off toward the plate.\n\n THE BLEACHER BAND", "Taylor has no chance to get out of his crouch to catch. The \n ball rockets an inch over Brown's head, and slams into the \n backstop.", "Taylor moves out two steps and makes the catch easily, ending \n the game.", "Hayes' foot catches the corner of the plate. The umpire puts \n the palms down and whips them apart. It's all over, folks. \n\n SLOW MOTION ENDS", "Taylor puts down one finger. Vaughn nods and then winds and \n fires again, another blazing rocket. Haywood takes a wicked", "Taylor goes back behind the dish. Vaughn gets up on the \n rubber. He winds and comes to the plate. Way high this time.", "Vaughn goes into his windup and unleashes a screaming bullet \n toward the plate. Haywood pulls the trigger, but it's already" ], [ "DOYLE (V.O.)\n We're in the ninth, two down, man on \n first and the Indians clinging to a", "DOYLE\n ...Safe. The Indians win it. The \n Indians win. Oh my God, the Indians \n win it!!", "There will be a one-game playoff \n here in Cleveland the day after \n tomorrow to decide the Eastern \n Division Championship, the Indians", "BROWN\n All right, guys, let's take it to \n 'em.\n\n The Indians charge onto the field to a standing ovation.", "Dorn swings at the first pitch and lines a sharp single to \n left. The crowd and the Indian bench suddenly come alive. \n Cerrano moves to the plate.", "END MONTAGE.\n\n THE SCOREBOARD\n\n It shows Yankees 4, Indians 0 after five innings.", "DOYLE (V.O.)\n Dorn up now, two down, bottom of the \n seventh. The Indians running out of \n chances.", "the Tigers, 5 runs, 9 hits, and no \n errors. For the Indians, one run, \n and let's see, one hit.", "Cerrano carries his bat with him, holding it high above his \n head. As Cerrano disappears into the dugout, we go to the \n scoreboard as the 2 goes up.", "FARMER\n Good evening, everybody. The \n incredible has happened. The Indians \n have finished the regular season in", "DOYLE (V.O.)\n Runner goes, high, Taylor has no \n play. The go-ahead and potential \n winning run is in scoring position.", "Doyle takes a long pull on his Coke and we GO INTO A MONTAGE \n depicting the Indians' progressive disintegration in this \n game. We see:", "Burton trots around the bases and is greeted by jubilant \n teammates at the plate. A silent pall falls on the stadium. \n As the \"2\" goes up on the scoreboard, we...", "runs, two hits, three left on, and, \n are you ready, Cleveland? We go to \n the bottom of the ninth, still tied", "DOYLE (V.O.)\n Two down in the ninth, Hayes steps \n in hitting .291, trying to get \n something going for the Tribe.", "In the center field bleachers Thelma's victory blanket \n containing the scores of every Indian game for the season,", "It's the Cleveland Indians' conference room. Three men are \n seated around the table; CHARLIE DONOVAN. the manager, PHIL", "TAYLOR\n (to himself)\n Two down. Bottom of the ninth.", "the Indians, that thought-to-be \n hopeless collection of has-been's \n and never-will-be's is actually", "throwing, rifling a clothesline dart to second base. Hayes \n leaves his feet diving for the bag. The second baseman snaps \n down the tag. Too late. Hayes is in there." ], [ "RACHEL\n That's what I wanted to talk to you \n about. I want to put together a team \n that will help us relocate to Miami.", "RACHEL\n It's hardly a whim. Miami's offered \n to build us a new stadium -- 62,000", "RACHEL\n So you'd tell the team, hopefully \n getting them mad enough to knock \n themselves out trying to prove they \n belonged in this league. I think it \n worked.", "finish dead last, knockin' attendance \n down to the point where she could \n move the team to Miami.\n (pause)", "RACHEL\n Spring training begins in two weeks.\n (throwing a sheet of \n paper on the table)", "Donovan is ushered in by Rachel's Male Secretary. Donovan \n carries his player roster with him.\n\n INT. RACHEL'S OFFICE - DAY CONT", "standing up to cheer Cerrano's homer, then remembering he's \n with Rachel. He sits down apologetically. Rachel watches the \n events on the field with a face of cold steel.", "With that, Rachel gets up and breezes out of the room with \n her entourage, leaving Donovan and the others dumbfounded.", "With that, Rachel turns and walks out. Brown and the others \n can only watch her go.\n\n CUT TO:\n\n OMIT", "RACHEL\n You think this was all an accident? \n I personally scouted every member of", "INT. RACHEL PHELPS' OFFICE - DAY\n\n Rachel is looking out at the empty stadium. There's a KNOCK \n at the door.", "RACHEL\n It's only temporary. Besides, these \n guys weren't playing that good when", "Sequence omitted from original script.\n\n INT. RACHEL'S OFFICE - DAY", "With that Doyle passes out on his face.\n\n RACHEL PHELPS\n\n in her private box at the stadium. With her are Donovan and \n Butler.", "RACHEL\n A quarter of the season's gone, we're \n 15 and 24, seven games out of first.", "RACHEL\n I know that it may not seem the same \n without Donald here this year, but I \n promise you by the end of the season \n this team will have made history.", "Pandemonium breaks loose in Municipal Stadium. Rachel hugs \n Donovan, dances around, punches the air, then hugs Donovan", "DONOVAN\n Mrs. Phelps, you can't just up and \n move a team on a whim...", "BROWN\n You tryin' to make me believe you \n wanted us to win all along?\n\n Rachel nods.", "DONOVAN\n Rachel Phelps would never allow that.\n\n BROWN\n What do you mean?" ], [ "RACHEL\n So you'd tell the team, hopefully \n getting them mad enough to knock \n themselves out trying to prove they \n belonged in this league. I think it \n worked.", "Donovan is ushered in by Rachel's Male Secretary. Donovan \n carries his player roster with him.\n\n INT. RACHEL'S OFFICE - DAY CONT", "With that Doyle passes out on his face.\n\n RACHEL PHELPS\n\n in her private box at the stadium. With her are Donovan and \n Butler.", "INT. RACHEL PHELPS' OFFICE - DAY\n\n Rachel is looking out at the empty stadium. There's a KNOCK \n at the door.", "standing up to cheer Cerrano's homer, then remembering he's \n with Rachel. He sits down apologetically. Rachel watches the \n events on the field with a face of cold steel.", "RACHEL\n I know that it may not seem the same \n without Donald here this year, but I \n promise you by the end of the season \n this team will have made history.", "Pandemonium breaks loose in Municipal Stadium. Rachel hugs \n Donovan, dances around, punches the air, then hugs Donovan", "RACHEL\n No, we've been losing. What I want \n us to do is finish dead last.\n\n Donovan is stunned. He casts around helplessly for some \n response.", "The men applaud, but their hearts are barely in it. The \n Secretary-Bodyguard pulls out a chair at the head of the \n table and Rachel sits.", "With that, Rachel gets up and breezes out of the room with \n her entourage, leaving Donovan and the others dumbfounded.", "Brown can only shake his head at this whole thing.\n\n RACHEL\n I love this team, Lou. Go get 'em \n tonight.", "BROWN\n You tryin' to make me believe you \n wanted us to win all along?\n\n Rachel nods.", "RACHEL\n That's what I wanted to talk to you \n about. I want to put together a team \n that will help us relocate to Miami.", "H) Dorn pulls Vaughn back to his feet, and they hug again.\n\n I) Up in the stands, Rachel watches all this with tears in \n her eyes.", "RACHEL\n I think he'll fit right in with our \n team concept.\n\n DONOVAN\n What exactly is our team concept?", "Brown is stopped short by the sight of Rachel Phelps standing \n in the middle of the locker room as various unclad players \n dive for cover.", "DONOVAN\n Rachel Phelps would never allow that.\n\n BROWN\n What do you mean?", "RACHEL\n Good morning, gentlemen. Welcome to \n another season of Indians' baseball.", "RACHEL\n You think this was all an accident? \n I personally scouted every member of", "RACHEL\n It's hardly a whim. Miami's offered \n to build us a new stadium -- 62,000" ], [ "RACHEL\n It's hardly a whim. Miami's offered \n to build us a new stadium -- 62,000", "RACHEL\n That's what I wanted to talk to you \n about. I want to put together a team \n that will help us relocate to Miami.", "RACHEL\n So you'd tell the team, hopefully \n getting them mad enough to knock \n themselves out trying to prove they \n belonged in this league. I think it \n worked.", "INT. RACHEL PHELPS' OFFICE - DAY\n\n Rachel is looking out at the empty stadium. There's a KNOCK \n at the door.", "Donovan is ushered in by Rachel's Male Secretary. Donovan \n carries his player roster with him.\n\n INT. RACHEL'S OFFICE - DAY CONT", "Pandemonium breaks loose in Municipal Stadium. Rachel hugs \n Donovan, dances around, punches the air, then hugs Donovan", "standing up to cheer Cerrano's homer, then remembering he's \n with Rachel. He sits down apologetically. Rachel watches the \n events on the field with a face of cold steel.", "With that, Rachel gets up and breezes out of the room with \n her entourage, leaving Donovan and the others dumbfounded.", "RACHEL\n I know you will, Charlie. That's why \n I'm movin' you up to General Manager. \n Congratulations.", "With that Doyle passes out on his face.\n\n RACHEL PHELPS\n\n in her private box at the stadium. With her are Donovan and \n Butler.", "finish dead last, knockin' attendance \n down to the point where she could \n move the team to Miami.\n (pause)", "On the speaker again to Lou Brown. Rachel watches, impatient \n for him to close the deal.", "RACHEL\n I know that it may not seem the same \n without Donald here this year, but I \n promise you by the end of the season \n this team will have made history.", "DONOVAN\n Rachel Phelps would never allow that.\n\n BROWN\n What do you mean?", "RACHEL\n Good morning, gentlemen. Welcome to \n another season of Indians' baseball.", "Brown is stopped short by the sight of Rachel Phelps standing \n in the middle of the locker room as various unclad players \n dive for cover.", "RACHEL\n Come in.\n\n The door is opened by a Male Secretary and in steps Lou Brown.", "The two shake hands. Brown looks at Rachel a beat, still \n looking for some sign of duplicity. Finally he gives her a \n grudging smile of respect.", "BROWN\n You tryin' to make me believe you \n wanted us to win all along?\n\n Rachel nods.", "Brown can only shake his head at this whole thing.\n\n RACHEL\n I love this team, Lou. Go get 'em \n tonight." ], [ "Brown can only shake his head at this whole thing.\n\n RACHEL\n I love this team, Lou. Go get 'em \n tonight.", "DONOVAN\n Lou Brown?", "BROWN\n Lou Brown. Nice to meet ya, Hayes.\n\n HAYES\n Thanks. Well, I gotta get my stuff...", "DONOVAN\n Well, if I'm the G.M., who's gonna \n be the Manager?\n\n RACHEL\n I was thinking of Lou Brown.", "TAYLOR\n Take it easy. We got 162 of these to \n go.\n\n Lou Brown enters the locker room.", "DONOVAN\n Lou? This is Charlie Donovan, the \n new G.M. of the Cleveland Indians.", "On the speaker again to Lou Brown. Rachel watches, impatient \n for him to close the deal.", "BROWN\n He was an Allstar in Boston, wasn't \n he?\n\n DONOVAN\n Yeh.", "INT. TOLEDO TIRE STORE - DAY\n\n We PICK UP LOU BROWN, a portly man in his early fifties, \n making his way to his glass-partitioned office.", "BROWN\n Never mind Koufax.\n\n Brown quickly prints some big letters on a legal pad and \n goes to stand about fifteen feet from Vaughn.", "O) LOU BROWN\n\n on the bench. He turns to Pepper with a look that says, \"Can \n you believe this shit?\"\n\n P) TAYLOR", "DORN\n What! That's Little League shit.\n\n BROWN\n So is this.", "BROWN\n All right, guys, let's take it to \n 'em.\n\n The Indians charge onto the field to a standing ovation.", "DONOVAN\n Look, Lou, you been in baseball thirty \n years. Don't you wanna advance some?", "BROWN\n Sixty and sixty-one is hardly a \n helluva job.\n\n DONOVAN\n With this club it is.", "Vaughn gives Dorn a look that indicates this isn't over. Lou \n Brown enters the room.", "RACHEL\n Come in.\n\n The door is opened by a Male Secretary and in steps Lou Brown.", "Taylor begins kicking dirt on Wingo's shoes, ala Billy Martin. \n Wingo takes a dramatic hop, skip and jump and gives Taylor \n the heave-ho thumb just as Brown arrives. Wingo turns away.", "BROWN\n Who's that?\n\n DONOVAN\n I think it's Cerrano. Defected from \n Cuba. Wanted religious freedom.", "Meanwhile, Brown is going jaw to jaw with Wingo, outraged at \n the call. Brown pulls a carrot out of his back pocket, and \n offers it to Wingo, who immediately thumbs him out." ], [ "DOYLE (V.O.)\n So, Ricky Vaughn, roughed up in his \n only other appearance against the", "TAYLOR\n So, you just gonna settle for toilet \n brush, or you got another name?\n\n VAUGHN\n Vaughn. Rick Vaughn.", "Off steps Ricky Vaughn, a hefty bag over his shoulder. He's \n still sporting his radical do.\n\n PEPPER\n Look at this fuckin' guy.", "RICKY VAUGHN\n\n Good-looking, muscular, 19-year-old. Sleeveless black T-shirt. \n Talking on a wall phone in a nondescript room.", "DOYLE\n Top of the sixth. Rookie sensation, \n Ricky Vaughn, on to pitch now. You \n can close the book on Winters...", "TAYLOR\n Jake Taylor.\n (pointing to Vaughn)\n Rick Vaughn.\n\n Hayes doesn't quite know what to make of Vaughn.", "are nipped by the Tigers tonight, 7 \n to 0. The only excitement for the \n tribe provided by Rick Vaughn who", "ARLENE\n (looking over at Vaughn)\n Is that Vaughn, the guy they call \n Wild Thing?", "Vaughn goes into his windup and unleashes a screaming bullet \n toward the plate. Haywood pulls the trigger, but it's already", "Meanwhile, the CROWD has gone nuts at the sight of Vaughn. \n Bobby, Vic and Johnny are blasting out \"Wild Thing\" on the", "The fans are going wild. They're all standing now, yelling \n for a strikeout. Vaughn gets back up on the rubber with the \n look of an animal sighting prey. Taylor gets down to give \n the sign.", "Vaughn, determined to throw a strike, winds and delivers. \n The ball is a perfect strike, right down the middle.", "Vaughn steps up on the rubber, his face hardened into fierce \n resolve. There's nothing nervous about him now. This kid is \n gonna make somebody pay.", "Vaughn winds and delivers a hissing blur toward the plate. \n Haywood takes a ferocious swing and misses. Strike one.", "Vaughn steps up on the rubber for his first pitch. He winds \n and fires. The Yankee LEADOFF HITTER rips a one-hopper to", "Vaughn, wearing his new glasses, paces the mound nervously. \n He goes to the rosin bag, wipes his brow, shakes out his", "Vaughn has lost it now. He fires to the plate and Haywood \n creams another tape measure job into the upper deck. Hayes", "Dorn arrives at the mound, and holds out his hand for the \n ball. Vaughn gives it to him. Dorn rubs it up, staring long", "BROWN\n Rick, I'm not gonna beat around the \n bush here. You got a great arm, one", "Dorn swings at the first pitch and lines a sharp single to \n left. The crowd and the Indian bench suddenly come alive. \n Cerrano moves to the plate." ], [ "INT. CLUBHOUSE - MORNING\n\n Brown is addressing his troops before the first workout.", "Brown can only shake his head at this whole thing.\n\n RACHEL\n I love this team, Lou. Go get 'em \n tonight.", "BROWN\n All right, guys, let's take it to \n 'em.\n\n The Indians charge onto the field to a standing ovation.", "BROWN\n You tryin' to make me believe you \n wanted us to win all along?\n\n Rachel nods.", "BROWN\n Sounds like my kinda team. Have my \n contracts ready.\n\n Brown hangs up.", "CUT TO:\n\n INT. INDIANS LOCKER ROOM - DAY\n\n The players are all gathered around, obviously having been \n called together by Brown.", "BROWN\n All right, let's gather 'round.\n\n The players turn their attention to Brown.", "BROWN\n (Patting him on the \n butt)\n O.K., kid, you're my man. Let's go \n get him.", "Meanwhile, Brown is going jaw to jaw with Wingo, outraged at \n the call. Brown pulls a carrot out of his back pocket, and \n offers it to Wingo, who immediately thumbs him out.", "BROWN\n I figure it's gonna take 32 more \n victories to win this thing. Every \n time we win, we peel a square.\n\n HAYES", "Brown and Pepper stand behind Taylor for a better view. Vaughn \n goes into his wind-up and fires a screaming fast ball that", "BROWN\n Can I have your attention, please? I \n counted up your ballots for team", "Brown flashes a sign out to Hayes. A hint of a smile comes \n over Hayes' face as he dusts himself off.", "RACHEL\n So you'd tell the team, hopefully \n getting them mad enough to knock \n themselves out trying to prove they \n belonged in this league. I think it \n worked.", "BROWN\n (walking away)\n You better if you wanna make this \n team.", "BROWN\n Ya know, when I first got to camp I \n figured this team had no chance. I", "BROWN\n Rick, I'm not gonna beat around the \n bush here. You got a great arm, one", "BROWN\n All right, way to look, way to look. \n Nice catch, Hayes. Don't ever fuckin' \n do it again. Okay, let's get it goin'!", "Lynn smiles. He gives her a kiss and watches as she goes \n inside. He stands there a long beat, then turns and walks \n slowly down the steps past his teammates.", "BROWN\n (to Wingo)\n Hey, don't you go anywhere. I wanna \n have a few words with you.\n\n Brown grabs Taylor and pulls him aside." ], [ "DONOVAN\n Most of these guys never had a prime.\n\n BUTLER\n (pointing to the sheet)\n This guy here is dead.", "team to me. And I was more than \n showgirl. I was a dancer. Now, I \n know some of you have doubts about", "The team breaks into applause and whistles as Taylor's name \n is announced. Dorn is the only one who seems unhappy about \n it. As Taylor accepts the congratulations of his teammates, \n he turns to Vaughn.", "this team, except Hayes, of course. \n He was a surprise. They all had flaws \n which concealed their real talent,", "DONOVAN\n Mrs. Phelps, you can't just up and \n move a team on a whim...", "Immediately, 30 arms shoot up behind her in the Italian \"up-\n yours\" gesture. She turns around, but by then the players \n have quickly returned to normal positions.", "Lynn smiles. He gives her a kiss and watches as she goes \n inside. He stands there a long beat, then turns and walks \n slowly down the steps past his teammates.", "Finally he bends over and grabs his ankles, while one of his \n teammates humps up against him, pretending to bugger him. \n This sends the Yankee bench into hysterics.", "Donovan is ushered in by Rachel's Male Secretary. Donovan \n carries his player roster with him.\n\n INT. RACHEL'S OFFICE - DAY CONT", "The players all crowd to the window to get a glimpse of their \n hotel. Hotel is actually overstating it. This place is one \n cut below the YMCA.", "The crowd and bleacher band begins to clap as Dorn takes his \n lead. Cerrano swings at the first pitch and misses. An audible \n groan goes through the crowd.", "TEMPLE\n Maybe he's the mascot.\n\n Donovan is speechless. Brown breaks into a small smile. Yes, \n sir, this is his kinda team.", "The first is a tall, muscular Latin, PEDRO CERRANO, dressed \n in black from head to toe. He arrives on foot, carrying a", "With that Doyle passes out on his face.\n\n RACHEL PHELPS\n\n in her private box at the stadium. With her are Donovan and \n Butler.", "with Donovan next to her, watching all this good play in \n disgust.\n\n AN ANGEL HITTER", "Donovan's on the phone to another player.\n\n DONOVAN\n Rick, we heard about your pitching \n out at Portland last year...", "DONOVAN\n (incredulous)\n What do ya mean you don't know? This \n is a chance to manage in the big \n leagues.", "It's the Cleveland Indians' conference room. Three men are \n seated around the table; CHARLIE DONOVAN. the manager, PHIL", "tom-toms and the whole stadium, 75,000 strong, is singing \n it. Doyle just pushes the mic forward and lets the crowd do \n it's work.", "The players are dressing out in their uniforms for the first \n day of practice. Vaughn goes in his locker and finds that a" ], [ "RACHEL\n So you'd tell the team, hopefully \n getting them mad enough to knock \n themselves out trying to prove they \n belonged in this league. I think it \n worked.", "RACHEL\n No, we've been losing. What I want \n us to do is finish dead last.\n\n Donovan is stunned. He casts around helplessly for some \n response.", "With that, Rachel gets up and breezes out of the room with \n her entourage, leaving Donovan and the others dumbfounded.", "standing up to cheer Cerrano's homer, then remembering he's \n with Rachel. He sits down apologetically. Rachel watches the \n events on the field with a face of cold steel.", "Rachel crumbles the paper and throws it away.", "Brown is stopped short by the sight of Rachel Phelps standing \n in the middle of the locker room as various unclad players \n dive for cover.", "The men applaud, but their hearts are barely in it. The \n Secretary-Bodyguard pulls out a chair at the head of the \n table and Rachel sits.", "With that Doyle passes out on his face.\n\n RACHEL PHELPS\n\n in her private box at the stadium. With her are Donovan and \n Butler.", "RACHEL\n You think this was all an accident? \n I personally scouted every member of", "Rachel bends down to give her dog, Cha-Cha, a little love \n pat, while Donovan tries to contain his disgust.", "Pandemonium breaks loose in Municipal Stadium. Rachel hugs \n Donovan, dances around, punches the air, then hugs Donovan", "BROWN\n You tryin' to make me believe you \n wanted us to win all along?\n\n Rachel nods.", "We GO TO Donovan. He watches Rachel go in disgust.\n\n INT. THE CASCADE BAR - NIGHT", "We hear cheers as it's ripped away to reveal the photographic \n image of Rachel's cleavage. We PULL BACK to see the life-", "With that, Rachel turns and walks out. Brown and the others \n can only watch her go.\n\n CUT TO:\n\n OMIT", "RACHEL\n You wanted to see the Bitch?\n\n BROWN\n Yeh.", "Lynn continues on into her office. As the door closes, we GO \n TO Taylor's forlorn face.\n\n INT. RACHEL PHELPS' OFFICE - DAY", "Brown can only shake his head at this whole thing.\n\n RACHEL\n I love this team, Lou. Go get 'em \n tonight.", "INT. RACHEL PHELPS' OFFICE - DAY\n\n Rachel is looking out at the empty stadium. There's a KNOCK \n at the door.", "players, and a bubble above her head says, \"YOU GUYS STINK!\" \n A set of designer clothes, of the type Rachel wears, have" ], [ "Taylor points to the left field stands. He imagines a pitch \n coming in, takes a mighty swing and admires the flight of", "Taylor steps back in as Duke gets up on the rubber. Taylor \n digs in his back foot, then points to the left field bleachers \n ala Babe Ruth.", "Taylor and the others yell encouragement to Hayes as he digs \n in at the plate. The Yankee pitcher delivers and Hayes hits", "Vaughn nods and continues to grind the ball as Pepper and \n Taylor leave. The Yankee Hitter steps in.", "The fans are going wild. They're all standing now, yelling \n for a strikeout. Vaughn gets back up on the rubber with the \n look of an animal sighting prey. Taylor gets down to give \n the sign.", "Hayes takes off like a shot, head down, eating up ground. \n Taylor swings and misses. The Yankee catcher comes up", "The next Oakland hitter, steps in. Taylor flashes a sign. \n Vaughn comes to the stretch and delivers. High, ball one.", "Taylor is alone in the stadium, standing near home plate in \n his street clothes, taking in the massive stadium, remembering \n glories past. He steps into the batter's box and takes his \n stance.", "Vaughn finishes his warmups. As Taylor pumps the ball down \n to second, Vaughn hears a voice from the Yankee dug-out.\n\n VOICE\n Hey, jailbird!", "The Yankee third baseman, caught completely unaware, charges \n the ball frantically.\n\n TAYLOR", "Taylor sets down a sign. Two fingers for the curve ball. \n Vaughn shakes it off. Taylor puts down another sign. Vaughn", "Vaughn permits himself a little smile and release from the \n tension. Taylor smiles back, and trots off toward the plate.\n\n THE BLEACHER BAND", "then lets go a steaming fast ball right at Taylor's head. \n Taylor goes down in a swirl of dust, the ball missing him by", "TAYLOR\n I figure you got a 30% chance to \n survive this at bat.\n\n ANOTHER PITCH to the Yankee hitter. It's outside.", "Brown and Pepper stand behind Taylor for a better view. Vaughn \n goes into his wind-up and fires a screaming fast ball that", "Taylor wiggles his fingers around and then puts down the big \n No. 1. Vaughn gives him a quick nod.", "by him. Strike three. 101 on the gun. Taylor leaps up and \n gives Vaughn the fist. The fans are going berserk. MUSIC \n ends.", "YANKEE HITTER\n\n lining a single to right field. Harris mops his brow, \n obviously tiring.\n\n ANOTHER YANKEE HITTER", "No sooner has Taylor settled in behind the plate, than Dorn \n starts toward the mound. Vaughn watches him come with fear \n and trepidation.", "Rexman is trying to ignore Taylor, but failing badly. Taylor \n flashes a sign to Vaughn. Vaughn goes into his windup." ], [ "There will be a one-game playoff \n here in Cleveland the day after \n tomorrow to decide the Eastern \n Division Championship, the Indians", "It's the Cleveland Indians' conference room. Three men are \n seated around the table; CHARLIE DONOVAN. the manager, PHIL", "DOYLE (V.O.)\n We're in the ninth, two down, man on \n first and the Indians clinging to a", "a first place tie with the New York \n Yankees on the strength of a 4-2 win \n over the Tigers in Detroit today.", "DOYLE\n ...Safe. The Indians win it. The \n Indians win. Oh my God, the Indians \n win it!!", "\"INDIANS WIN FIFTH STRAIGHT, CRACK FIRST DIVISION\"\n\n EXT. PARKING LOT - NIGHT", "Doyle takes a long pull on his Coke and we GO INTO A MONTAGE \n depicting the Indians' progressive disintegration in this \n game. We see:", "JOHNNY\n As the Indians go so goes Cleveland, \n huh?\n\n THELMA\n If we ever lost the Indians, Cleveland \n would die.", "BROWN\n All right, guys, let's take it to \n 'em.\n\n The Indians charge onto the field to a standing ovation.", "the Indians, that thought-to-be \n hopeless collection of has-been's \n and never-will-be's is actually", "FARMER\n Good evening, everybody. The \n incredible has happened. The Indians \n have finished the regular season in", "Yankees. And listen to the roar of \n the crowd as the Indians takes the \n field!", "watching TV in a Cleveland working-class bar. Also cheering \n the Indians are several punk and heavy metal kids, their \n faces painted with Indian war paint. Strange bedfellows.\n\n CERRANO", "long time nemesis, the New York \n Yankees, the Big Boys of Broadway, \n who have beaten the Indians like a", "Thelma calmly knits her blanket with the scores of all the \n Indians' games stitched into it, the Madame La Farge of \n Cleveland. The boys, however, are a little restless.", "DOYLE (V.O.)\n Dorn up now, two down, bottom of the \n seventh. The Indians running out of \n chances.", "runs, two hits, three left on, and, \n are you ready, Cleveland? We go to \n the bottom of the ninth, still tied", "the Tigers, 5 runs, 9 hits, and no \n errors. For the Indians, one run, \n and let's see, one hit.", "We get our fist glimpse of HARRY DOYLE, the Indians' 55-year-\n old radio announcer. Harry's never walked past a bar in anger. \n He's been with the Indians through thin and thinner.", "teepees in search of Cleveland's \n first League Championship in over 30 \n years. Standing in the way, their" ], [ "DONOVAN\n Rachel Phelps would never allow that.\n\n BROWN\n What do you mean?", "INT. RACHEL PHELPS' OFFICE - DAY\n\n Rachel is looking out at the empty stadium. There's a KNOCK \n at the door.", "With that Doyle passes out on his face.\n\n RACHEL PHELPS\n\n in her private box at the stadium. With her are Donovan and \n Butler.", "Brown is stopped short by the sight of Rachel Phelps standing \n in the middle of the locker room as various unclad players \n dive for cover.", "hanging a full size blowup of Rachel Phelps on the locker \n room wall. In the picture she's pointing as if out at the", "BODYGUARD enters, clearing the way for MRS. RACHEL PHELPS, a \n flashy, striking woman in her early forties. Despite the", "RACHEL\n Good morning, gentlemen. Welcome to \n another season of Indians' baseball.", "INT. INDIAN EXPRESS - DAY\n\n Complete with all the luxuries of the average school bus. \n Temple is looking at a memo from Rachel Phelps.", "INT. RACHEL PHELPS' OFFICE - DAY\n\n Donovan is present once again. Rachel does not look pleased.", "Lynn continues on into her office. As the door closes, we GO \n TO Taylor's forlorn face.\n\n INT. RACHEL PHELPS' OFFICE - DAY", "standing up to cheer Cerrano's homer, then remembering he's \n with Rachel. He sits down apologetically. Rachel watches the \n events on the field with a face of cold steel.", "RACHEL\n He's managed the Toledo Mud Hens of \n the International League for the \n last 30 years.\n\n This is hardly an impressive credential to Donovan.", "DONOVAN\n Mrs. Phelps, you can't just up and \n move a team on a whim...", "(reading from the \n page)\n \"the ex-showgirl wife of Donald Phelps \n has no business being the owner of a", "RACHEL\n Spring training begins in two weeks.\n (throwing a sheet of \n paper on the table)", "Pandemonium breaks loose in Municipal Stadium. Rachel hugs \n Donovan, dances around, punches the air, then hugs Donovan", "RACHEL\n It's hardly a whim. Miami's offered \n to build us a new stadium -- 62,000", "On the speaker again to Lou Brown. Rachel watches, impatient \n for him to close the deal.", "RACHEL\n So you'd tell the team, hopefully \n getting them mad enough to knock \n themselves out trying to prove they \n belonged in this league. I think it \n worked.", "RACHEL\n You wanted to see the Bitch?\n\n BROWN\n Yeh." ], [ "DONOVAN\n Rachel Phelps would never allow that.\n\n BROWN\n What do you mean?", "RACHEL\n Good morning, gentlemen. Welcome to \n another season of Indians' baseball.", "hanging a full size blowup of Rachel Phelps on the locker \n room wall. In the picture she's pointing as if out at the", "Brown is stopped short by the sight of Rachel Phelps standing \n in the middle of the locker room as various unclad players \n dive for cover.", "It's the Cleveland Indians' conference room. Three men are \n seated around the table; CHARLIE DONOVAN. the manager, PHIL", "JOHNNY\n As the Indians go so goes Cleveland, \n huh?\n\n THELMA\n If we ever lost the Indians, Cleveland \n would die.", "INT. RACHEL PHELPS' OFFICE - DAY\n\n Rachel is looking out at the empty stadium. There's a KNOCK \n at the door.", "standing up to cheer Cerrano's homer, then remembering he's \n with Rachel. He sits down apologetically. Rachel watches the \n events on the field with a face of cold steel.", "With that Doyle passes out on his face.\n\n RACHEL PHELPS\n\n in her private box at the stadium. With her are Donovan and \n Butler.", "The fans go crazy as Cerrano circles the bases.\n\n RACHEL'S BOX (STORYBOARD # 212GG)", "Dorn swings at the first pitch and lines a sharp single to \n left. The crowd and the Indian bench suddenly come alive. \n Cerrano moves to the plate.", "both sides are lined by the entire Cleveland Indians team in \n uniform. They form an arch of bats as she passes. At the top", "DOYLE (V.O.)\n We're in the ninth, two down, man on \n first and the Indians clinging to a", "Thelma calmly knits her blanket with the scores of all the \n Indians' games stitched into it, the Madame La Farge of \n Cleveland. The boys, however, are a little restless.", "watching TV in a Cleveland working-class bar. Also cheering \n the Indians are several punk and heavy metal kids, their \n faces painted with Indian war paint. Strange bedfellows.\n\n CERRANO", "Yankees. And listen to the roar of \n the crowd as the Indians takes the \n field!", "DOYLE\n Hello, everybody, Harry Doyle bidding \n you a Wahoo welcome from beautiful \n Municipal Stadium, where tonight", "filing into Cleveland Municipal Stadium. Tickets being ripped, \n programs sold, etc.\n\n TAYLOR\n\n swinging and hitting a home run into the left field seats.", "INT. INDIAN EXPRESS - DAY\n\n Complete with all the luxuries of the average school bus. \n Temple is looking at a memo from Rachel Phelps.", "The crowd and bleacher band begins to clap as Dorn takes his \n lead. Cerrano swings at the first pitch and misses. An audible \n groan goes through the crowd." ], [ "It's the Cleveland Indians' conference room. Three men are \n seated around the table; CHARLIE DONOVAN. the manager, PHIL", "DONOVAN\n Mrs. Phelps, you can't just up and \n move a team on a whim...", "DONOVAN\n Rachel Phelps would never allow that.\n\n BROWN\n What do you mean?", "FARMER\n Good evening, everybody. The \n incredible has happened. The Indians \n have finished the regular season in", "BROWN\n All right, guys, let's take it to \n 'em.\n\n The Indians charge onto the field to a standing ovation.", "Doyle takes a long pull on his Coke and we GO INTO A MONTAGE \n depicting the Indians' progressive disintegration in this \n game. We see:", "Thelma calmly knits her blanket with the scores of all the \n Indians' games stitched into it, the Madame La Farge of \n Cleveland. The boys, however, are a little restless.", "HAYES\n In other words, Phelps thinks we're \n all dinks. That we don't belong in \n the big leagues.", "Dorn swings at the first pitch and lines a sharp single to \n left. The crowd and the Indian bench suddenly come alive. \n Cerrano moves to the plate.", "CUT TO:\n\n INT. INDIANS LOCKER ROOM - DAY\n\n The players are all gathered around, obviously having been \n called together by Brown.", "DOYLE (V.O.)\n High, ball four and they're loaded \n for Haywood, the biggest Indian killer \n of them all.", "There will be a one-game playoff \n here in Cleveland the day after \n tomorrow to decide the Eastern \n Division Championship, the Indians", "the Indians, that thought-to-be \n hopeless collection of has-been's \n and never-will-be's is actually", "As Vaughan gets to the mound, he sees Patton getting his \n convict uniform on in the Yankee dugout. He looks away to \n see Haywood in the on-deck circle smiling out at him.", "DOYLE (V.O.)\n We're in the ninth, two down, man on \n first and the Indians clinging to a", "We pick up a decrepit old Greyhound bus coming down the \n highway, belching smoke like a diesel semi. On the side we \n see the visage of Chief Wahoo and the words \"Indian Express.\"", "before a capacity crowd of 75,000 \n screaming featherheads, the braves \n of the Cuyahoga will leave their", "DOYLE\n ...Safe. The Indians win it. The \n Indians win. Oh my God, the Indians \n win it!!", "INT. INDIAN EXPRESS - DAY\n\n Complete with all the luxuries of the average school bus. \n Temple is looking at a memo from Rachel Phelps.", "Brown and Pepper stand behind Taylor for a better view. Vaughn \n goes into his wind-up and fires a screaming fast ball that" ], [ "DOYLE (V.O.)\n So, Ricky Vaughn, roughed up in his \n only other appearance against the", "DOYLE\n Top of the sixth. Rookie sensation, \n Ricky Vaughn, on to pitch now. You \n can close the book on Winters...", "Off steps Ricky Vaughn, a hefty bag over his shoulder. He's \n still sporting his radical do.\n\n PEPPER\n Look at this fuckin' guy.", "TAYLOR\n So, you just gonna settle for toilet \n brush, or you got another name?\n\n VAUGHN\n Vaughn. Rick Vaughn.", "RICKY VAUGHN\n\n Good-looking, muscular, 19-year-old. Sleeveless black T-shirt. \n Talking on a wall phone in a nondescript room.", "TAYLOR\n Jake Taylor.\n (pointing to Vaughn)\n Rick Vaughn.\n\n Hayes doesn't quite know what to make of Vaughn.", "ARLENE\n (looking over at Vaughn)\n Is that Vaughn, the guy they call \n Wild Thing?", "Vaughn goes into his windup and unleashes a screaming bullet \n toward the plate. Haywood pulls the trigger, but it's already", "are nipped by the Tigers tonight, 7 \n to 0. The only excitement for the \n tribe provided by Rick Vaughn who", "The fans are going wild. They're all standing now, yelling \n for a strikeout. Vaughn gets back up on the rubber with the \n look of an animal sighting prey. Taylor gets down to give \n the sign.", "Meanwhile, the CROWD has gone nuts at the sight of Vaughn. \n Bobby, Vic and Johnny are blasting out \"Wild Thing\" on the", "Vaughn winds and delivers a hissing blur toward the plate. \n Haywood takes a ferocious swing and misses. Strike one.", "Vaughn, wearing his new glasses, paces the mound nervously. \n He goes to the rosin bag, wipes his brow, shakes out his", "Vaughn, determined to throw a strike, winds and delivers. \n The ball is a perfect strike, right down the middle.", "Vaughn steps up on the rubber, his face hardened into fierce \n resolve. There's nothing nervous about him now. This kid is \n gonna make somebody pay.", "Vaughn steps up on the rubber for his first pitch. He winds \n and fires. The Yankee LEADOFF HITTER rips a one-hopper to", "Dorn swings at the first pitch and lines a sharp single to \n left. The crowd and the Indian bench suddenly come alive. \n Cerrano moves to the plate.", "Vaughn has lost it now. He fires to the plate and Haywood \n creams another tape measure job into the upper deck. Hayes", "Dorn arrives at the mound, and holds out his hand for the \n ball. Vaughn gives it to him. Dorn rubs it up, staring long", "Vaughn paces around on the mound, rubbing up the ball. The \n next hitter, COLEMAN, steps in. Vaughn gets up on the rubber," ], [ "THELMA\n Spring training starts the twelfth. \n How do you think the Indians will do \n this year?\n\n VIC\n They don't look too good.", "It's the Cleveland Indians' conference room. Three men are \n seated around the table; CHARLIE DONOVAN. the manager, PHIL", "BROWN\n All right, guys, let's take it to \n 'em.\n\n The Indians charge onto the field to a standing ovation.", "Dorn swings at the first pitch and lines a sharp single to \n left. The crowd and the Indian bench suddenly come alive. \n Cerrano moves to the plate.", "INT. INDIANS' LOCKER ROOM - DAY\n\n The Indians are undressing after practice.", "RACHEL\n Good morning, gentlemen. Welcome to \n another season of Indians' baseball.", "Feather to another season of Indians \n baseball.\n (pouring some Jack \n Daniels in his Coke)", "MONTAGE SEQUENCE\n\n compressing and detailing the progress of spring training. \n We see:", "We get our fist glimpse of HARRY DOYLE, the Indians' 55-year-\n old radio announcer. Harry's never walked past a bar in anger. \n He's been with the Indians through thin and thinner.", "BROWN\n Welcome to Spring Training, gentlemen. \n Most managers tell you at this time", "his head in his hands. As Taylor gets up and goes to the \n wrong dugout, the MONTAGE ENDS.\n\n EXT. INDIANS' PRACTICE FIELD - LATE AFTERNOON", "CUT TO:\n\n INT. INDIANS LOCKER ROOM - DAY\n\n The players are all gathered around, obviously having been \n called together by Brown.", "JOHNNY\n As the Indians go so goes Cleveland, \n huh?\n\n THELMA\n If we ever lost the Indians, Cleveland \n would die.", "Doyle takes a long pull on his Coke and we GO INTO A MONTAGE \n depicting the Indians' progressive disintegration in this \n game. We see:", "Yankees. And listen to the roar of \n the crowd as the Indians takes the \n field!", "In the center field bleachers Thelma's victory blanket \n containing the scores of every Indian game for the season,", "There will be a one-game playoff \n here in Cleveland the day after \n tomorrow to decide the Eastern \n Division Championship, the Indians", "DOYLE (V.O.)\n We're in the ninth, two down, man on \n first and the Indians clinging to a", "FARMER\n Good evening, everybody. The \n incredible has happened. The Indians \n have finished the regular season in", "TAYLOR\n Didn't think so.\n\n Taylor hangs up, staring off into space.\n\n INT. THE INDIANS' LOCKER ROOM - DAY" ], [ "It's the Cleveland Indians' conference room. Three men are \n seated around the table; CHARLIE DONOVAN. the manager, PHIL", "How would you like to manage the \n Indians this year?", "DONOVAN\n Lou? This is Charlie Donovan, the \n new G.M. of the Cleveland Indians.", "BROWN\n All right, guys, let's take it to \n 'em.\n\n The Indians charge onto the field to a standing ovation.", "DONOVAN\n Hello, Jake? This is Charlie Donovan, \n new G.M. of the Cleveland Indians.", "We get our fist glimpse of HARRY DOYLE, the Indians' 55-year-\n old radio announcer. Harry's never walked past a bar in anger. \n He's been with the Indians through thin and thinner.", "Dorn swings at the first pitch and lines a sharp single to \n left. The crowd and the Indian bench suddenly come alive. \n Cerrano moves to the plate.", "DOYLE (V.O.)\n We're in the ninth, two down, man on \n first and the Indians clinging to a", "CUT TO:\n\n INT. INDIANS LOCKER ROOM - DAY\n\n The players are all gathered around, obviously having been \n called together by Brown.", "the Indians, that thought-to-be \n hopeless collection of has-been's \n and never-will-be's is actually", "THELMA\n You see the new lineup the Indians \n got?\n\n BOBBY\n I never heard of most of 'em.", "FARMER\n Good evening, everybody. The \n incredible has happened. The Indians \n have finished the regular season in", "Doyle takes a long pull on his Coke and we GO INTO A MONTAGE \n depicting the Indians' progressive disintegration in this \n game. We see:", "There will be a one-game playoff \n here in Cleveland the day after \n tomorrow to decide the Eastern \n Division Championship, the Indians", "RACHEL\n Good morning, gentlemen. Welcome to \n another season of Indians' baseball.", "TAYLOR\n Didn't think so.\n\n Taylor hangs up, staring off into space.\n\n INT. THE INDIANS' LOCKER ROOM - DAY", "his head in his hands. As Taylor gets up and goes to the \n wrong dugout, the MONTAGE ENDS.\n\n EXT. INDIANS' PRACTICE FIELD - LATE AFTERNOON", "The Yankee Manager comes to the mound and waves for a new \n pitcher.", "DOYLE (V.O.)\n Dorn up now, two down, bottom of the \n seventh. The Indians running out of \n chances.", "DONOVAN\n Well, if I'm the G.M., who's gonna \n be the Manager?\n\n RACHEL\n I was thinking of Lou Brown." ], [ "Vaughn, determined to throw a strike, winds and delivers. \n The ball is a perfect strike, right down the middle.", "Vaughn steps up on the rubber, his face hardened into fierce \n resolve. There's nothing nervous about him now. This kid is \n gonna make somebody pay.", "Vaughn balks a second and then concentrates on the pad, \n squinting. Unsettled, he squints harder. He even tries closing \n one eye.", "Dorn arrives at the mound, and holds out his hand for the \n ball. Vaughn gives it to him. Dorn rubs it up, staring long", "Vaughn goes into his windup and unleashes a screaming bullet \n toward the plate. Haywood pulls the trigger, but it's already", "Vaughn, wearing his new glasses, paces the mound nervously. \n He goes to the rosin bag, wipes his brow, shakes out his", "THREE SHOTS OF VAUGHN\n\n throwing pitches, followed by:\n\n SHOTS", "He smiles and hands Vaughn the ball back. Vaughn returns the \n smile and accepts the ball. While Dorn trots back to his", "Vaughn has lost it now. He fires to the plate and Haywood \n creams another tape measure job into the upper deck. Hayes", "Vaughn winds and delivers a hissing blur toward the plate. \n Haywood takes a ferocious swing and misses. Strike one.", "Vaughn gets back up on the rubber. As he comes to the stretch, \n he catches sight of the convict again. The guy is doing a", "Vaughn stands on the mound rubbing up the baseball with the \n same intensity we saw in the locker room.", "Vaughn paces around on the mound, rubbing up the ball. The \n next hitter, COLEMAN, steps in. Vaughn gets up on the rubber,", "A) Vaughn on the pitcher's mound. A tin replica of a batter \n has been set up at home plate and rope stretched across the", "Vaughn winds and fires a screamer. Taylor has to leap high \n to come down with it.\n\n DOYLE (V.O.)\n First pitch is a little high...", "Taylor goes back behind the dish. Vaughn gets up on the \n rubber. He winds and comes to the plate. Way high this time.", "Brown and Pepper stand behind Taylor for a better view. Vaughn \n goes into his wind-up and fires a screaming fast ball that", "Coleman finally gets to his feet, still a little shaken. He \n looks around for Vaughn, but he's already disappeared into \n the dugout. Coleman walks down to first under his own power.", "Vaughn steps up on the rubber for his first pitch. He winds \n and fires. The Yankee LEADOFF HITTER rips a one-hopper to", "BROWN\n All right, Vaughn, they tell us you're \n a pitcher. Let's see what you got." ], [ "There will be a one-game playoff \n here in Cleveland the day after \n tomorrow to decide the Eastern \n Division Championship, the Indians", "It's the Cleveland Indians' conference room. Three men are \n seated around the table; CHARLIE DONOVAN. the manager, PHIL", "INT. CLEVELAND RESTAURANT - NIGHT\n\n One of Cleveland's finest. Taylor, Hayes and Vaughn are seated \n at a table.", "OMIT\n\n Sequence omitted from original script.\n\n INT. CLEVELAND LOCKER ROOM - NIGHT", "CUT TO:\n\n EXT. CLEVELAND MUNICIPAL STADIUM - NIGHT", "INT. CLEVELAND ATHLETIC CLUB - NIGHT", "filing into Cleveland Municipal Stadium. Tickets being ripped, \n programs sold, etc.\n\n TAYLOR\n\n swinging and hitting a home run into the left field seats.", "watching TV in a Cleveland working-class bar. Also cheering \n the Indians are several punk and heavy metal kids, their \n faces painted with Indian war paint. Strange bedfellows.\n\n CERRANO", "We begin a SHORT SEQUENCE during which Lynn tries to lose \n Taylor in a chase through Cleveland, car vs. batting helmet.", "well, the newest thing in Cleveland \n is doormat burning as Indian fans \n are standing up and saying \"We won't \n be stepped on anymore\".", "DOYLE\n Vaughn in a little trouble here, but \n I'll tell ya, these Cleveland fans \n are great. Listen to them get behind \n Vaughn.", "teepees in search of Cleveland's \n first League Championship in over 30 \n years. Standing in the way, their", "JOHNNY\n As the Indians go so goes Cleveland, \n huh?\n\n THELMA\n If we ever lost the Indians, Cleveland \n would die.", "CLAIRE\n Here in Cleveland? I didn't know \n they still had a team.", "DONOVAN\n Even so, the League'll never let us \n leave Cleveland. We got a lease with \n the city.", "BROWN\n All right, guys, let's take it to \n 'em.\n\n The Indians charge onto the field to a standing ovation.", "DOYLE\n Yes, sir, they love this club here \n in Cleveland.\n\n Doyle takes a hit of his spiked Coke.", "INT. CLEVELAND LIBRARY - DAY", "Thelma calmly knits her blanket with the scores of all the \n Indians' games stitched into it, the Madame La Farge of \n Cleveland. The boys, however, are a little restless.", "The logistics will have to be worked out in Cleveland, but \n suffice it to say, by the end of the chase she appears to \n have ditched him." ], [ "Vaughn steps up on the rubber for his first pitch. He winds \n and fires. The Yankee LEADOFF HITTER rips a one-hopper to", "Vaughn, determined to throw a strike, winds and delivers. \n The ball is a perfect strike, right down the middle.", "The fans are going wild. They're all standing now, yelling \n for a strikeout. Vaughn gets back up on the rubber with the \n look of an animal sighting prey. Taylor gets down to give \n the sign.", "DOYLE (V.O.)\n Ball eight.\n\n ANOTHER PITCH to a THIRD YANKEE HITTER. He has to jump over \n it.", "Vaughn nods and continues to grind the ball as Pepper and \n Taylor leave. The Yankee Hitter steps in.", "The Yankee pitcher gets set again, and throws Cerrano a big, \n roundhouse curve. He misses it a foot. Strike two.", "by him. Strike three. 101 on the gun. Taylor leaps up and \n gives Vaughn the fist. The fans are going berserk. MUSIC \n ends.", "Vaughn has lost it now. He fires to the plate and Haywood \n creams another tape measure job into the upper deck. Hayes", "Vaughn finishes his warmups. As Taylor pumps the ball down \n to second, Vaughn hears a voice from the Yankee dug-out.\n\n VOICE\n Hey, jailbird!", "EXT. YANKEE STADIUM - DAY\n\n Vaughn is on the mound warming up.", "Vaughn glances over and sees that one of the Yankees is \n dressed in a striped prison uniform. He also wears long", "DOYLE (V.O.)\n We're in the ninth, two down, man on \n first and the Indians clinging to a", "DOYLE (V.O.)\n So, Vaughn pitches in some tough \n luck here as the Yankees put together", "As Vaughan gets to the mound, he sees Patton getting his \n convict uniform on in the Yankee dugout. He looks away to \n see Haywood in the on-deck circle smiling out at him.", "Vaughn goes into his windup and unleashes a screaming bullet \n toward the plate. Haywood pulls the trigger, but it's already", "DOYLE (V.O.)\n Oh, Lordy, three straight heaters \n and the Yankees are blown down. No", "Coleman finally gets to his feet, still a little shaken. He \n looks around for Vaughn, but he's already disappeared into \n the dugout. Coleman walks down to first under his own power.", "Vaughn winds and delivers a hissing blur toward the plate. \n Haywood takes a ferocious swing and misses. Strike one.", "DOYLE (V.O.)\n Ball four.\n\n ANOTHER PITCH to a SECOND YANKEE HITTER. It's low.", "Haywood crushes it to deep left field. Vaughn drops his head, \n not even bothering to look.\n\n VAUGHN\n Oh, shit..." ], [ "Taylor catches the ball, he's once again knocked flat by the \n Runner. This time he lies still a beat, and then an arm comes \n up holding the ball.", "DOYLE\n ...Safe. The Indians win it. The \n Indians win. Oh my God, the Indians \n win it!!", "Taylor, exhausted from the game, lifts his latch and peers \n inside. He's made it, too. Cerrano offers a hand. Taylor \n shakes it and breaks a weary smile.\n\n GENTRY", "Taylor moves out two steps and makes the catch easily, ending \n the game.", "TAYLOR\n Didn't think so.\n\n Taylor hangs up, staring off into space.\n\n INT. THE INDIANS' LOCKER ROOM - DAY", "TAYLOR\n (to himself)\n Two down. Bottom of the ninth.", "Taylor has no chance to get out of his crouch to catch. The \n ball rockets an inch over Brown's head, and slams into the \n backstop.", "BROWN\n All right, guys, let's take it to \n 'em.\n\n The Indians charge onto the field to a standing ovation.", "Hayes takes off like a shot, head down, eating up ground. \n Taylor swings and misses. The Yankee catcher comes up", "Doyle takes a long pull on his Coke and we GO INTO A MONTAGE \n depicting the Indians' progressive disintegration in this \n game. We see:", "his head in his hands. As Taylor gets up and goes to the \n wrong dugout, the MONTAGE ENDS.\n\n EXT. INDIANS' PRACTICE FIELD - LATE AFTERNOON", "third. Taylor, instead of swinging away, shortens up on the \n bat and bunts Duke's pitch down the third base line.", "Vaughn catches the ball and rifles a throw down to Taylor, \n who puts the tag on the sliding Hayes. Cerrano, who's umping,", "Tom goes off to get the beer.\n\n JACK\n What team do you play for, Jake?\n\n TAYLOR\n The Indians.", "by him. Strike three. 101 on the gun. Taylor leaps up and \n gives Vaughn the fist. The fans are going berserk. MUSIC \n ends.", "DOYLE (V.O.)\n Runner goes, high, Taylor has no \n play. The go-ahead and potential \n winning run is in scoring position.", "Dorn swings at the first pitch and lines a sharp single to \n left. The crowd and the Indian bench suddenly come alive. \n Cerrano moves to the plate.", "Brown and Pepper stand behind Taylor for a better view. Vaughn \n goes into his wind-up and fires a screaming fast ball that", "Taylor walks out in front of the plate to throw the ball \n back to Vaughn.\n\n TAYLOR\n Forget the runners, Ricky, get this \n guy at the plate.", "DOYLE (V.O.)\n We're in the ninth, two down, man on \n first and the Indians clinging to a" ] ]

[ "What happens to the team if not enough people show up to watch their games?", "Why does Rachel want to trigger the escape clause?", "How was Ricky's pitching improved?", "When was it discovered that the teammates weren't getting along?", "Which player had the longest history with the Indians?", "What incentive did Brown use to encourage the team to win?", "Who's play tied the game?", "Who scored the final playoff run for the Indians?", "How many plans did Rachel have to move the team to Miami?", "What team does Rachel inherit from her dead father?", "Rachel receives a lucrative deal to move the team to what city?", "Lou Brown was a coach of what former team?", "What is Ricky Vaughn's nickname?", "How does brown entice the team to win?", "Who is the prima donna on the team?", "What does Rachel do to demoralize the team?", "Where does Taylor signal he is going to hit the ball against the Yankees?", "What team do the Cleveland Indians tie in the division?", "What is Rachel Phelps former occupation?", "What baseball team does Rachel Phelps inherit from her deceased husband?", "Where does Phelps want to send the Indians team due to making a lucrative deal?", "What is the rookie Pitcher Ricky Vaughn's nickname?", "Where is spring training for the Indians held?", "Who is the new manager for the Indians?", "How does Vaughn get better at pitching?", "Who does Cleveland face in the playoffs?", "Who does Vaughn strike out in the playoff game with the Yankees in the 9th inning?", "What does Taylor do to win the game for the Indians?" ]

[ [ "The team moves to Miami.", "They will move." ], [ "So she can taken advantage of a lucrative deal", "to move the team to Miami" ], [ "He started wearing glasses.", "Glasses" ], [ "During spring training", "During Spring Training." ], [ "Ricky Dorn", "Roger Dorn" ], [ "A cardboard standup photo of Phelps", "A cardboard cutout of Phelps as a showgirl" ], [ "Pedro Cerrano", "Vaughn" ], [ "Willie \"Mays\" Hayes", "Willie 'Mays' Hayes." ], [ "Two (2)", "One." ], [ "The Cleveland Indiands", "The Cleaveland Indians" ], [ "Miami", "Miami" ], [ "Toledo Hud Hens", "Toledo Mud Hens." ], [ "Wild Thing", "Wild Thing" ], [ "By pulling off the covers for each game they win of a covered cardboard cutout of Rachel when she was a showgirl.", "Undressing a stand-up photo of Phelps." ], [ "Roger Dern", "Roger Dorn." ], [ "She takes away their luxuries. ", "Takes away things like their Jet" ], [ "Center Field", "center field" ], [ "The New York Yankees.", "Yankees" ], [ "Las Vegas showgirl", "Showgirl." ], [ "Cleveland Indians", "The Cleveland Indians." ], [ "Miami", "Florida." ], [ "Wild Thing", "Wild Thing." ], [ "Tuscon", "Tucson" ], [ "Charlie Donovan", "Charlie Donavan" ], [ "He gets glasses", "He gets glasses so he can see better." ], [ "Yankees", "The Yankees." ], [ "Clu Haywood", "Clu Haywood" ], [ "bunts", "He bunts for a squeeze play." ] ]

[ [ "\"You are Grushnitski's friend and will no doubt be his second?\"\n\nThe captain bowed very gravely.\n\n\"You have guessed rightly,\" he answered.", "In vain the captain made various signs to him. Grushnitski would not\neven look.\n\nMeanwhile the doctor had loaded the pistol and handed it to me. On\nseeing that, the captain spat and stamped his foot.", "\"'I suppose you have been transferred from Russia?' I asked.\n\n\"'Exactly, captain,' he answered.\n\n\"I took him by the hand and said:", "\"We are ready,\" answered the captain. \"Take your places, gentlemen!\nDoctor, be good enough to measure six paces\"...\n\n\"Take your places!\" repeated Ivan Ignatevich, in a squeaky voice.", "duration. The captain of dragoons, who was sitting beside him, nudged\nhim with his elbow. Grushnitski started, and answered rapidly, without\nraising his eyes:", "\"Well, my dear Grushnitski, it is a pity that you have missed!\" said\nthe captain. \"Now it is your turn, take your stand! Embrace me first: we\nshall not see each other again!\"", "It was Grushnitski and the captain of dragoons.", "\"Be it so!\" said the captain after an expressive glance at Grushnitski,\nwho nodded his head in token of assent. Every moment he was changing", "The captain winked to Grushnitski, and the latter, thinking that I was\nlosing courage, assumed a haughty air, although, until that moment, his", "\"Vasili Petrovich,\" said the captain, going up to the major; \"he will\nnot surrender. I know him! If it comes to smashing in the door he will", "handsomer still is the young Russian officer, and the lace on his tunic\nis wrought of gold. Like a poplar amongst them he stands, but in gardens\nof ours such trees will grow not nor bloom!'", "\"Mr. Pechorin!\" exclaimed the captain of dragoons. \"Allow me to point\nout that you are not here to preach... Let us lose no time, in case\nanyone should ride through the gorge and we should be seen.\"", "Bidding the captain enter into a conversation with the murderer and\nsetting three Cossacks at the door ready to force it open and rush to my\naid at a given signal, I walked round the hut and approached the fatal\nwindow. My heart was beating violently.", "During supper Grushnitski kept whispering and exchanging winks with the\ncaptain of dragoons.\n\n\n\n\nCHAPTER XI. 14th June.", "\"There is indeed a conspiracy against you,\" he said. \"I found the\ncaptain of dragoons at Grushnitski's, together with another gentleman", "The captain took his arm and led him aside; they whispered together for\na long time. I had arrived in a fairly pacific frame of mind, but all\nthis was beginning to drive me furious.\n\nThe doctor came up to me.", "Meanwhile the captain had loaded his pistols and given one to\nGrushnitski, after whispering something to him with a smile; the other\nhe gave to me.", "something to him with great warmth. His lips were blue, and I saw them\ntrembling; but the captain turned away from him with a contemptuous\nsmile.", "\"Pechorin! Are you asleep? Are you there?\"... cried the captain.\n\n\"I am in bed,\" I answered angrily.\n\n\"Get up! Thieves!... Circassians!\"...", "\"Hey, my good woman!\" said the Cossack captain to the old woman. \"Say a\nword to your son--perhaps he will lend an ear to you... You see, to go" ], [ "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "\"What did you say? What? Pechorin?--Great Heavens!... Did he not serve\nin the Caucasus?\" exclaimed Maksim Maksimych, plucking me by the sleeve.\nHis eyes were sparkling with joy.", "\"Getting bored!\" answered Pechorin, smiling.\n\n\"You remember the life we led in the fortress? A splendid country for\nhunting! You were awfully fond of shooting, you know!... And Bela?\"...", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "into their heads--and the rest join in as a chorus. Pechorin and I\nsat in the place of honour. All at once up came our host's youngest", "\"'Listen, Maksim Maksimych,' said Pechorin, rising to his feet. 'You're\na kind-hearted man, you know; but, if we give that savage back his", "\"Maksim Maksimych,\" I said, going up to him, \"what papers are these that\nPechorin left you?\"\n\n\"Goodness knows! Notes of some sort\"...", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "Because Pechorin, through absent-mindedness or from some other cause,\nhad extended his hand to him when Maksim Maksimych was going to throw", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "the announcement that everything was ready, but still there was no sign\nof Maksim Maksimych. Fortunately Pechorin was sunk in thought as he", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "Pechorin's manservant went out to meet him and informed him that they\nwere going to put to at once; he handed him a box of cigars, received", "\"Mr. Pechorin!\" exclaimed the captain of dragoons. \"Allow me to point\nout that you are not here to preach... Let us lose no time, in case\nanyone should ride through the gorge and we should be seen.\"", "cap, were glued to his forehead; his knees were shaking... He was about\nto throw himself on Pechorin's neck, but the latter, rather coldly,", "I have inserted in this book only those portions of the diary which\nrefer to Pechorin's sojourn in the Caucasus. There still remains in", "In an hour's time a chance of proceeding on our journey presented\nitself. The snowstorm subsided, the sky became clear, and we set off. On\nthe way I involuntarily let the conversation turn on Bela and Pechorin.", "\"I looked at Pechorin. He was taking aim as he galloped...\n\n\"'Don't shoot,' I cried. 'Save the shot! We will catch up with him as it\nis.'" ], [ "\"Maksim Maksimych,\" I said, going up to him, \"what papers are these that\nPechorin left you?\"\n\n\"Goodness knows! Notes of some sort\"...", "\"Wait, wait!\" cried Maksim Maksimych suddenly, holding on to the\ncarriage door. \"I was nearly forgetting altogether. Your papers were", "\"'I suppose you have been transferred from Russia?' I asked.\n\n\"'Exactly, captain,' he answered.\n\n\"I took him by the hand and said:", "Because Pechorin, through absent-mindedness or from some other cause,\nhad extended his hand to him when Maksim Maksimych was going to throw", "slept on quietly had not Maksim Maksimych awakened me as he came into\nthe room. It was then very late. He threw his pipe on the table, began", "\"I will tell you the whole truth,\" answered Grushnitski: \"only please do\nnot betray me. This is how it was: yesterday, a certain man, whose name", "He looked at me in surprise, growled something through his teeth, and\nbegan to rummage in his portmanteau. Out he drew a writing-book and", "as far as the inn, said good-bye to him, and then turned back to the\nfortress. I immediately despatched one of the old soldiers for Maksim\nMaksimych.", "I would have given much to press her hand at that moment.\n\nAll at once I heard rapid and irregular steps... Grushnitski, no\ndoubt!... So it was!", "though, that Maksim Maksimych is a man worthy of all respect... If\nyou admit that, I shall be fully rewarded for my, perhaps, too lengthy\nstory.", "In vain the captain made various signs to him. Grushnitski would not\neven look.\n\nMeanwhile the doctor had loaded the pistol and handed it to me. On\nseeing that, the captain spat and stamped his foot.", "The first day I found the time hang on my hands dreadfully. Early next\nmorning a vehicle drove into the courtyard... Aha! Maksim Maksimych!...", "Meanwhile the captain had loaded his pistols and given one to\nGrushnitski, after whispering something to him with a smile; the other\nhe gave to me.", "\"He turned away, and stretched out his hand to her in farewell. She did\nnot take his hand, but remained silent. But I, standing there behind the", "For two or three minutes no one was able to utter a word. Very quietly\nVulich poured my ducats from the major's purse into his own.", "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "It was already late and dark when I opened the window again and began to\ncall Maksim Maksimych, saying that it was time to go to bed. He muttered\nsomething through his teeth. I repeated my invitation--he made no\nanswer.", "My servant told me that Werner had called, and he handed me two notes:\none from Werner, the other... from Vera.\n\nI opened the first; its contents were as follows:", "her everything. He was a witness of your quarrel with Grushnitski in the\nrestaurant. I have come to warn you. Good-bye. Maybe we shall not meet\nagain: you will be banished somewhere.\"", "I was lying on a couch, my eyes fixed upon the ceiling and my hands\nclasped behind my head, when Werner entered my room. He sat down in an" ], [ "We set off. They told me all that had happened, supplementing their\nstory with a variety of observations on the subject of the strange\npredestination which had saved Vulich from imminent death half an hour\nbefore he actually met his end.", "\"Do you know what has happened?\" said three officers who had come for\nme, speaking all in one voice.\n\nThey were deadly pale.\n\n\"No, what is it?\"", "\"I will tell you the whole truth,\" answered Grushnitski: \"only please do\nnot betray me. This is how it was: yesterday, a certain man, whose name", "the listener cannot commit himself; thirdly, he can learn another's\nsecret; fourthly, sensible people, such as you, prefer listeners to\nspeakers. Now to business; what did Princess Ligovski tell you about", "\"Well, you must know, he seems to have had his suspicions. After a few\ndays, we learned that the old man had been murdered. This is how it\nhappened.\"...\n\nMy attention was aroused anew.", "I told her your name. She knew it well. It appears that your history\ncreated a great stir there... She began to tell us of your adventures,\nmost likely supplementing the gossip of society with observations of her", "\"What has he been telling you?\" she inquired of one of the young men,\nwho had gone back to her out of politeness. \"No doubt a most interesting\nstory--his own exploits in battle?\"...", "Although I have altered all the proper names, those who are mentioned\nin it will probably recognise themselves, and, it may be, will find some\njustification for actions for which they have hitherto blamed a man who", "After about three weeks, I began to observe that Azamat was growing\npale and wasted, just as people in novels do from love, sir. What wonder\neither!...", "The two Cossacks who had met me and followed the murderer had arrived on\nthe scene and raised the wounded man from the ground. But he was already\nat his last gasp and said these three words only--\"he was right!\"", "Then I related the whole dramatic story of our acquaintanceship, our\nlove--concealing it all, of course, under fictitious names.", "BOOK V THE THIRD EXTRACT FROM PECHORIN'S DIARY\n\n\nPRINCESS MARY\n\n\n\n\nCHAPTER I. 11th May.", "\"Tell us, tell us, who was he?\" came from all sides.\n\n\"Pechorin,\" answered Grushnitski.", "\"'What is the matter with you?' I asked.\n\n\"'My horse!... My horse!' he cried, all of a tremble.\n\n\"As a matter of fact I heard the clattering of hoofs.", "telling stories, you would split your sides with laughing. Yes, sir,\na very eccentric man; and he must have been wealthy too. What a lot of\nexpensive trinkets he had!\"...", "\"Not I. Not I,\" came from all sides.\n\n\"There's a queer fellow for you! He does get strange ideas into his\nhead!\"\n\n\"I propose a wager,\" I said in jest.", "Bidding the captain enter into a conversation with the murderer and\nsetting three Cossacks at the door ready to force it open and rush to my\naid at a given signal, I walked round the hut and approached the fatal\nwindow. My heart was beating violently.", "\"He turned away, and stretched out his hand to her in farewell. She did\nnot take his hand, but remained silent. But I, standing there behind the", "\"WELL, then, I'll tell you,\" said Maksim Maksimych. \"About six versts\nfrom the fortress there lived a certain 'friendly' prince. His son, a", "sighed, and wearied her with prayers and reproaches. After the third\nquadrille she had begun to hate him." ], [ "And, so, it is nothing but the desire to be useful that has constrained\nme to print fragments of this diary which fell into my hands by chance.", "appears through the mist as a yellow spot. It is cold; the wind is\nwhistling and rocking the shutters... I am bored!... I will continue my\ndiary which has been interrupted by so many strange events.", "On reading over this page, I observe that I have made a wide digression\nfrom my subject... But what matter?... You see, it is for myself that I", "\"Well, you must know, he seems to have had his suspicions. After a few\ndays, we learned that the old man had been murdered. This is how it\nhappened.\"...\n\nMy attention was aroused anew.", "I have inserted in this book only those portions of the diary which\nrefer to Pechorin's sojourn in the Caucasus. There still remains in", "answered that she would die in the faith in which she had been born.\nA whole day passed thus. What a change that day made in her! Her pale", "\"Two,\" I replied.\n\n\"Tell me one, and I will tell you the other.\"\n\n\"Very well, begin!\" I said, continuing to examine the ceiling and\nsmiling inwardly.", "began stealthily to observe her. She turned away from her companion and\nyawned twice. Decidedly she had grown tired of Grushnitski--I will not\ntalk to her for another two days.", "He looked at me in surprise, growled something through his teeth, and\nbegan to rummage in his portmanteau. Out he drew a writing-book and", "am writing this diary, and, consequently anything that I jot down in it\nwill in time be a valuable reminiscence for me.", "Yesterday, for the first time, Vera made her appearance at the well...\nShe has never gone out of doors since we met in the grotto. We let down\nour tumblers at the same time, and as she bent forward she whispered to\nme:", "Although I have altered all the proper names, those who are mentioned\nin it will probably recognise themselves, and, it may be, will find some\njustification for actions for which they have hitherto blamed a man who", "Then she blushed furiously, glanced round at the gallery, and, having\nassured herself that her mother apparently had not seen anything,\nimmediately regained her composure. By the time Grushnitski had opened", "\"We began to chat about one thing and another... Suddenly I saw Kazbich\nstart, change countenance, and dart to the window; but unfortunately the\nwindow looked on to the back courtyard.", "My servant told me that Werner had called, and he handed me two notes:\none from Werner, the other... from Vera.\n\nI opened the first; its contents were as follows:", "We set off. They told me all that had happened, supplementing their\nstory with a variety of observations on the subject of the strange\npredestination which had saved Vulich from imminent death half an hour\nbefore he actually met his end.", "\"Grigori Aleksandrovich struck his forehead with his fist and sprang\ninto the other room. I went in to see him, and found him walking moodily\nbackwards and forwards with folded arms.", "\"In the evening I had a lengthy explanation with him. I was vexed that\nhis feelings towards the poor girl had changed; to say nothing of his", "\"'What is the matter with you?' I asked.\n\n\"'My horse!... My horse!' he cried, all of a tremble.\n\n\"As a matter of fact I heard the clattering of hoofs.", "BOOK V THE THIRD EXTRACT FROM PECHORIN'S DIARY\n\n\nPRINCESS MARY\n\n\n\n\nCHAPTER I. 11th May." ], [ "had even been his friend, well and good: the artful indiscretion of the\ntrue friend is intelligible to everybody; but I only saw Pechorin", "\"She?\" he answered, raising his eyes heavenward and smiling\ncomplacently. \"I am sorry for you, Pechorin!\"...\n\nHe took his departure.", "disquietude. It was obvious that the old man was mortified by Pechorin's\nneglect, the more so because a short time previously he had been telling", "a talking to that anyone else in his place would have cut me to pieces\non the spot. But Pechorin turned it all to the ridiculous side. I, of", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "\"I thank you, Pechorin... You understand me?\"\n\n\"No; but in any case it is not worth gratitude,\" I answered, not having,\nin fact, any good deed upon my conscience.", "and in all seriousness, shocked to find such an immoral man as Pechorin\nset before them as an example. Others have observed, with much\nacumen, that the author has painted his own portrait and those of", "Pechorin turned just the slightest bit pale and averted his head.\n\n\"Yes, I remember!\" he said, almost immediately forcing a yawn.", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "Possibly some readers would like to know my own opinion of Pechorin's\ncharacter. My answer is: the title of this book. \"But that is malicious\nirony!\" they will say... I know not.", "\"A quarter of an hour later Pechorin returned from hunting. Bela\nthrew herself on his neck without a single complaint, without a single\nreproach for his lengthy absence!... Even I was angry with him by this\ntime!", "more gracious more trustful--but that was all. Pechorin accordingly\ndetermined upon a last expedient. One morning he ordered his horse to be", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "into your soul. Pechorin, deep in thought, kept his gaze fixed upon her,\nand she, for her part, stole glances at him often enough from under her", "\"Love me? Good gracious, Pechorin, what ideas you do have!... How could\nshe possibly love me so soon?... And a well-bred woman, even if she is\nin love, will never say so\"...", "By this time the carriage was a long way off, but Pechorin made a sign\nwith his hand which might be interpreted as meaning:\n\n\"It is doubtful whether I shall return, and there is no reason, either,\nwhy I should!\"", "cap, were glued to his forehead; his knees were shaking... He was about\nto throw himself on Pechorin's neck, but the latter, rather coldly,", "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "\"Getting bored!\" answered Pechorin, smiling.\n\n\"You remember the life we led in the fortress? A splendid country for\nhunting! You were awfully fond of shooting, you know!... And Bela?\"..." ], [ "conquerors! You have but to look--and women melt... But do you know,\nPechorin, what Princess Mary said of you?\"...", "\"She?\" he answered, raising his eyes heavenward and smiling\ncomplacently. \"I am sorry for you, Pechorin!\"...\n\nHe took his departure.", "By this time the carriage was a long way off, but Pechorin made a sign\nwith his hand which might be interpreted as meaning:\n\n\"It is doubtful whether I shall return, and there is no reason, either,\nwhy I should!\"", "Grushnitski smiled complacently.\n\n\"What nonsense!\" he said.\n\n\"I am convinced,\" I continued, \"that Princess Mary is in love with you\nalready.\"", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "flowed afresh. When the wound was bound up again she grew quiet for a\nmoment and begged Pechorin to kiss her. He fell on his knees beside", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "\"Getting bored!\" answered Pechorin, smiling.\n\n\"You remember the life we led in the fortress? A splendid country for\nhunting! You were awfully fond of shooting, you know!... And Bela?\"...", "\"Aha!\" he said: \"so it is you! And yet you did not wish to make the\nacquaintance of Princess Mary otherwise than by saving her from certain\ndeath.\"", "\"'Listen, my dear, good Bela!' continued Pechorin. 'You see how I love\nyou. I am ready to give up everything to make you cheerful once more.", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "\"And so they settled the business--a bad business, to tell the truth!\nI said as much to Pechorin afterwards, but he only answered that a wild", "more gracious more trustful--but that was all. Pechorin accordingly\ndetermined upon a last expedient. One morning he ordered his horse to be", "\"It was like this: in spite of Pechorin's prohibition, she went out of\nthe fortress and down to the river. It was a very hot day, you know, and", "Evidently it was amusing, because they began to laugh loudly like a\ncouple of madmen. Some of those who were surrounding Princess Mary were\nattracted to my side by curiosity, and gradually all of them left her", "BOOK V THE THIRD EXTRACT FROM PECHORIN'S DIARY\n\n\nPRINCESS MARY\n\n\n\n\nCHAPTER I. 11th May.", "\"On the contrary\"... said Princess Mary, blushing.\n\nGrushnitski's face was a picture of delight. He continued:", "cap, were glued to his forehead; his knees were shaking... He was about\nto throw himself on Pechorin's neck, but the latter, rather coldly,", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'" ], [ "about to lose her for ever, Vera became dearer to me than aught in the\nworld--dearer than life, honour, happiness! God knows what strange, what", "she came to herself. We were sitting by her bed. As soon as ever she\nopened her eyes she began to call Pechorin.", "\"Getting bored!\" answered Pechorin, smiling.\n\n\"You remember the life we led in the fortress? A splendid country for\nhunting! You were awfully fond of shooting, you know!... And Bela?\"...", "daughter, a girl of about sixteen, and chanted to Pechorin--how shall I\nput it?--something in the nature of a compliment.\"...", "\"It was like this: in spite of Pechorin's prohibition, she went out of\nthe fortress and down to the river. It was a very hot day, you know, and", "\"'Listen, my dear, good Bela!' continued Pechorin. 'You see how I love\nyou. I am ready to give up everything to make you cheerful once more.", "more gracious more trustful--but that was all. Pechorin accordingly\ndetermined upon a last expedient. One morning he ordered his horse to be", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "\"Yes, she admitted that, from the day she had first cast eyes on\nPechorin, she had often dreamed of him, and that no other man had ever\nproduced such an impression upon her. Yes, they were happy!\"", "into your soul. Pechorin, deep in thought, kept his gaze fixed upon her,\nand she, for her part, stole glances at him often enough from under her", "\"A quarter of an hour later Pechorin returned from hunting. Bela\nthrew herself on his neck without a single complaint, without a single\nreproach for his lengthy absence!... Even I was angry with him by this\ntime!", "\"Love me? Good gracious, Pechorin, what ideas you do have!... How could\nshe possibly love me so soon?... And a well-bred woman, even if she is\nin love, will never say so\"...", "marry. Why this woman-like coquetry? Vera loves me more than Princess\nMary ever will. Had I regarded the latter as an invincible beauty, I", "had even been his friend, well and good: the artful indiscretion of the\ntrue friend is intelligible to everybody; but I only saw Pechorin", "Vera is ill, very ill, although she does not admit it. I fear she has\nconsumption, or that disease which is called \"fievre lente\"--a quite\nunRussian disease, and one for which there is no name in our language.", "I HAVE seen Vera to-day. She has begun to plague me with her jealousy.\nPrincess Mary has taken it into her head, it seems, to confide the", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "[Footnote 20: \"Thou\" is the form of address used in speaking to an\nintimate friend, etc. Pechorin had used the more formal \"you.\"]", "flowed afresh. When the wound was bound up again she grew quiet for a\nmoment and begged Pechorin to kiss her. He fell on his knees beside", "Vera noticed everything, and her sickly countenance was a picture of\nprofound grief. She was sitting in the shadow by the window, buried in a\nwide arm-chair... I pitied her." ], [ "\"WELL, then, I'll tell you,\" said Maksim Maksimych. \"About six versts\nfrom the fortress there lived a certain 'friendly' prince. His son, a", "\"What did you say? What? Pechorin?--Great Heavens!... Did he not serve\nin the Caucasus?\" exclaimed Maksim Maksimych, plucking me by the sleeve.\nHis eyes were sparkling with joy.", "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "At that moment an officer who was sitting in a corner of the room stood\nup, and, coming slowly to the table, surveyed us all with a quiet and\nsolemn glance. He was a native of Servia, as was evident from his name.", "\"Maksim Maksimych,\" I said, going up to him, \"what papers are these that\nPechorin left you?\"\n\n\"Goodness knows! Notes of some sort\"...", "\"'I suppose you have been transferred from Russia?' I asked.\n\n\"'Exactly, captain,' he answered.\n\n\"I took him by the hand and said:", "Grushnitski has called to see me to-day. He flung himself upon my neck;\nhe has been promoted to be an officer. We drank champagne. Doctor Werner\ncame in after him.", "The first day I found the time hang on my hands dreadfully. Early next\nmorning a vehicle drove into the courtyard... Aha! Maksim Maksimych!...", "\"He'll be sure to come running up directly!\" said Maksim Maksimych, with\nan air of triumph. \"I will go outside the gate and wait for him! Ah,\nit's a pity I am not acquainted with Colonel N----!\"", "as far as the inn, said good-bye to him, and then turned back to the\nfortress. I immediately despatched one of the old soldiers for Maksim\nMaksimych.", "\"It is uncanny here! I met an under-officer from the Black Sea\nto-day--he's an acquaintance of mine--he was in my detachment last year.", "\"Yes, I was here under Aleksei Petrovich,\" [3] he answered, assuming an\nair of dignity. \"I was a sub-lieutenant when he came to the Line; and", "of an officer, a young man of about twenty-five. He reported himself to\nme in full uniform, and announced that he had been ordered to remain in", "\"Who goes there?\" An under-officer of Cossacks and a headborough [22]\ncame out. I explained that I was an officer bound for the active-service", "\"I will tell you the whole truth,\" answered Grushnitski: \"only please do\nnot betray me. This is how it was: yesterday, a certain man, whose name", "\"You are not going, then, Maksim Maksimych?\"\n\n\"No, sir!\"\n\n\"But why not?\"", "We set off. They told me all that had happened, supplementing their\nstory with a variety of observations on the subject of the strange\npredestination which had saved Vulich from imminent death half an hour\nbefore he actually met his end.", "Bidding the captain enter into a conversation with the murderer and\nsetting three Cossacks at the door ready to force it open and rush to my\naid at a given signal, I walked round the hut and approached the fatal\nwindow. My heart was beating violently.", "Within a minute I was in my own room, undressed and in bed. My\nmanservant had only just locked the door when Grushnitski and the\ncaptain began knocking for admission.", "into their heads--and the rest join in as a chorus. Pechorin and I\nsat in the place of honour. All at once up came our host's youngest" ], [ "I must now give some explanation of the reasons which have induced me to\nbetray to the public the inmost secrets of a man whom I never knew. If I", "And, so, it is nothing but the desire to be useful that has constrained\nme to print fragments of this diary which fell into my hands by chance.", "that journey. Finally he stopped, as though listening for something,\nsquatted down upon the ground, and laid the parcel beside him.\nConcealing myself behind a projecting rock on the shore, I kept watch", "no knowledge of men and of their foibles, because all his life he has\nbeen interested in nobody but himself. His aim is to make himself the\nhero of a novel. He has so often endeavoured to convince others that he", "my hands a thick writing-book in which he tells the story of his whole\nlife. Some time or other that, too, will present itself before the", "\"For a long time he went on speaking thus, and his words have remained\nstamped upon my memory, because it was the first time that I had heard", "We set off. They told me all that had happened, supplementing their\nstory with a variety of observations on the subject of the strange\npredestination which had saved Vulich from imminent death half an hour\nbefore he actually met his end.", "On reading over this page, I observe that I have made a wide digression\nfrom my subject... But what matter?... You see, it is for myself that I", "On reading over these notes, I have become convinced of the sincerity\nof the man who has so unsparingly exposed to view his own weaknesses and", "travelling-notes, and, consequently, I cannot make the staff-captain\ntell the story sooner than he actually proceeded to tell it. Therefore,", "mind upon itself, and has been written without any egoistical desire of\narousing sympathy or astonishment. Rousseau's Confessions has precisely\nthis defect--he read it to his friends.", "extract some little anecdote out of him--a desire natural to all who\ntravel and make notes.", "\"Now I must explain the cause of my hurried departure; it will seem of\nlittle importance to you, because it concerns me alone.", "In an hour's time a chance of proceeding on our journey presented\nitself. The snowstorm subsided, the sky became clear, and we set off. On\nthe way I involuntarily let the conversation turn on Bela and Pechorin.", "Although I have altered all the proper names, those who are mentioned\nin it will probably recognise themselves, and, it may be, will find some\njustification for actions for which they have hitherto blamed a man who", "am writing this diary, and, consequently anything that I jot down in it\nwill in time be a valuable reminiscence for me.", "He looked at me in surprise, growled something through his teeth, and\nbegan to rummage in his portmanteau. Out he drew a writing-book and", "\"I trembled, dropped my eyes, and began to pray. After a few moments\nI looked up again, and there was my Karagyoz flying along, his tail", "appears through the mist as a yellow spot. It is cold; the wind is\nwhistling and rocking the shutters... I am bored!... I will continue my\ndiary which has been interrupted by so many strange events.", "of something to occupy my thoughts, I took it into my head to write down\nthe story about Bela, which I had heard from Maksim Maksimych--never" ], [ "I can answer for it that Pechorin will turn coward--I will place them\nsix paces apart, devil take it! Are you agreed, gentlemen?\"", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "\"I looked at Pechorin. He was taking aim as he galloped...\n\n\"'Don't shoot,' I cried. 'Save the shot! We will catch up with him as it\nis.'", "quarrel over some silly trifle or other, and will challenge Pechorin\nto a duel... Wait a bit; here is where the joke comes in... He will", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "\"Well, my dear Grushnitski, it is a pity that you have missed!\" said\nthe captain. \"Now it is your turn, take your stand! Embrace me first: we\nshall not see each other again!\"", "\"But, in spite of heat and fatigue, Pechorin didn't like to return\nempty-handed... That is just the kind of man he was; whatever he set", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "cap, were glued to his forehead; his knees were shaking... He was about\nto throw himself on Pechorin's neck, but the latter, rather coldly,", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "\"'Listen, Maksim Maksimych,' said Pechorin, rising to his feet. 'You're\na kind-hearted man, you know; but, if we give that savage back his", "\"'Mitka brought the sword. My duty discharged, I sat down on the bed,\nfacing Pechorin, and said: 'Listen here, Grigori Aleksandrovich, you\nmust admit that this is a bad business.'", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "more gracious more trustful--but that was all. Pechorin accordingly\ndetermined upon a last expedient. One morning he ordered his horse to be", "Grushnitski placed himself opposite me and, at a given signal, began\nto raise his pistol. His knees shook. He aimed right at my forehead...\nUnutterable fury began to seethe within my breast.", "\"'Listen, my dear, good Bela!' continued Pechorin. 'You see how I love\nyou. I am ready to give up everything to make you cheerful once more.", "\"Well, one day Pechorin tried to persuade me to go boar-hunting with\nhim. For a long time I refused. What novelty was a wild boar to me?", "\"At this Pechorin became thoughtful.\n\n\"'Yes,' he answered. 'We must be more cautious--Bela, from this day\nforth you mustn't walk on the rampart any more.'" ], [ "conquerors! You have but to look--and women melt... But do you know,\nPechorin, what Princess Mary said of you?\"...", "BOOK V THE THIRD EXTRACT FROM PECHORIN'S DIARY\n\n\nPRINCESS MARY\n\n\n\n\nCHAPTER I. 11th May.", "marry. Why this woman-like coquetry? Vera loves me more than Princess\nMary ever will. Had I regarded the latter as an invincible beauty, I", "Grushnitski smiled complacently.\n\n\"What nonsense!\" he said.\n\n\"I am convinced,\" I continued, \"that Princess Mary is in love with you\nalready.\"", "I HAVE seen Vera to-day. She has begun to plague me with her jealousy.\nPrincess Mary has taken it into her head, it seems, to confide the", "\"'Listen, my dear, good Bela!' continued Pechorin. 'You see how I love\nyou. I am ready to give up everything to make you cheerful once more.", "\"Love me? Good gracious, Pechorin, what ideas you do have!... How could\nshe possibly love me so soon?... And a well-bred woman, even if she is\nin love, will never say so\"...", "\"Yes, she admitted that, from the day she had first cast eyes on\nPechorin, she had often dreamed of him, and that no other man had ever\nproduced such an impression upon her. Yes, they were happy!\"", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "\"And so they settled the business--a bad business, to tell the truth!\nI said as much to Pechorin afterwards, but he only answered that a wild", "\"She?\" he answered, raising his eyes heavenward and smiling\ncomplacently. \"I am sorry for you, Pechorin!\"...\n\nHe took his departure.", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "\"Getting bored!\" answered Pechorin, smiling.\n\n\"You remember the life we led in the fortress? A splendid country for\nhunting! You were awfully fond of shooting, you know!... And Bela?\"...", "flowed afresh. When the wound was bound up again she grew quiet for a\nmoment and begged Pechorin to kiss her. He fell on his knees beside", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "\"It was like this: in spite of Pechorin's prohibition, she went out of\nthe fortress and down to the river. It was a very hot day, you know, and", "\"A quarter of an hour later Pechorin returned from hunting. Bela\nthrew herself on his neck without a single complaint, without a single\nreproach for his lengthy absence!... Even I was angry with him by this\ntime!", "more gracious more trustful--but that was all. Pechorin accordingly\ndetermined upon a last expedient. One morning he ordered his horse to be", "By this time the carriage was a long way off, but Pechorin made a sign\nwith his hand which might be interpreted as meaning:\n\n\"It is doubtful whether I shall return, and there is no reason, either,\nwhy I should!\"", "\"On the contrary\"... said Princess Mary, blushing.\n\nGrushnitski's face was a picture of delight. He continued:" ], [ "\"What did you say? What? Pechorin?--Great Heavens!... Did he not serve\nin the Caucasus?\" exclaimed Maksim Maksimych, plucking me by the sleeve.\nHis eyes were sparkling with joy.", "\"Maksim Maksimych,\" I said, going up to him, \"what papers are these that\nPechorin left you?\"\n\n\"Goodness knows! Notes of some sort\"...", "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "\"'Listen, Maksim Maksimych,' said Pechorin, rising to his feet. 'You're\na kind-hearted man, you know; but, if we give that savage back his", "Because Pechorin, through absent-mindedness or from some other cause,\nhad extended his hand to him when Maksim Maksimych was going to throw", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "had even been his friend, well and good: the artful indiscretion of the\ntrue friend is intelligible to everybody; but I only saw Pechorin", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "\"Tell us, tell us, who was he?\" came from all sides.\n\n\"Pechorin,\" answered Grushnitski.", "into their heads--and the rest join in as a chorus. Pechorin and I\nsat in the place of honour. All at once up came our host's youngest", "\"Getting bored!\" answered Pechorin, smiling.\n\n\"You remember the life we led in the fortress? A splendid country for\nhunting! You were awfully fond of shooting, you know!... And Bela?\"...", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "the announcement that everything was ready, but still there was no sign\nof Maksim Maksimych. Fortunately Pechorin was sunk in thought as he", "Possibly some readers would like to know my own opinion of Pechorin's\ncharacter. My answer is: the title of this book. \"But that is malicious\nirony!\" they will say... I know not.", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "\"I looked at Pechorin. He was taking aim as he galloped...\n\n\"'Don't shoot,' I cried. 'Save the shot! We will catch up with him as it\nis.'", "\"'LISTEN, Maksim Maksimych,' said Pechorin. 'Mine is an unfortunate\ndisposition; whether it is the result of my upbringing or whether it" ], [ "Possibly some readers would like to know my own opinion of Pechorin's\ncharacter. My answer is: the title of this book. \"But that is malicious\nirony!\" they will say... I know not.", "and in all seriousness, shocked to find such an immoral man as Pechorin\nset before them as an example. Others have observed, with much\nacumen, that the author has painted his own portrait and those of", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "Pechorin? If you admire fictions much more terrible and monstrous, why\nis it that this character, even if regarded merely as a creature of\nthe imagination, cannot obtain quarter at your hands? Is it not because", "a talking to that anyone else in his place would have cut me to pieces\non the spot. But Pechorin turned it all to the ridiculous side. I, of", "\"I thank you, Pechorin... You understand me?\"\n\n\"No; but in any case it is not worth gratitude,\" I answered, not having,\nin fact, any good deed upon my conscience.", "Pechorin, gentlemen, is in fact a portrait, but not of one man only:\nhe is a composite portrait, made up of all the vices which flourish,", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "quarrel over some silly trifle or other, and will challenge Pechorin\nto a duel... Wait a bit; here is where the joke comes in... He will", "\"What did you say? What? Pechorin?--Great Heavens!... Did he not serve\nin the Caucasus?\" exclaimed Maksim Maksimych, plucking me by the sleeve.\nHis eyes were sparkling with joy.", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "had even been his friend, well and good: the artful indiscretion of the\ntrue friend is intelligible to everybody; but I only saw Pechorin", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "I have inserted in this book only those portions of the diary which\nrefer to Pechorin's sojourn in the Caucasus. There still remains in", "I can answer for it that Pechorin will turn coward--I will place them\nsix paces apart, devil take it! Are you agreed, gentlemen?\"", "\"Getting bored!\" answered Pechorin, smiling.\n\n\"You remember the life we led in the fortress? A splendid country for\nhunting! You were awfully fond of shooting, you know!... And Bela?\"...", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "into their heads--and the rest join in as a chorus. Pechorin and I\nsat in the place of honour. All at once up came our host's youngest" ], [ "\"Maksim Maksimych,\" I said, going up to him, \"what papers are these that\nPechorin left you?\"\n\n\"Goodness knows! Notes of some sort\"...", "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "I have inserted in this book only those portions of the diary which\nrefer to Pechorin's sojourn in the Caucasus. There still remains in", "\"What did you say? What? Pechorin?--Great Heavens!... Did he not serve\nin the Caucasus?\" exclaimed Maksim Maksimych, plucking me by the sleeve.\nHis eyes were sparkling with joy.", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "Because Pechorin, through absent-mindedness or from some other cause,\nhad extended his hand to him when Maksim Maksimych was going to throw", "\"'Listen, Maksim Maksimych,' said Pechorin, rising to his feet. 'You're\na kind-hearted man, you know; but, if we give that savage back his", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "BOOK V THE THIRD EXTRACT FROM PECHORIN'S DIARY\n\n\nPRINCESS MARY\n\n\n\n\nCHAPTER I. 11th May.", "FOREWORD TO EXTRACTS FROM PECHORIN'S DIARY\n\nBOOK III. TAMAN\n\nBOOK IV. THE FATALIST", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "BOOK III THE FIRST EXTRACT FROM PECHORIN'S DIARY\n\n\n\n\nTAMAN", "into their heads--and the rest join in as a chorus. Pechorin and I\nsat in the place of honour. All at once up came our host's youngest", "the announcement that everything was ready, but still there was no sign\nof Maksim Maksimych. Fortunately Pechorin was sunk in thought as he", "Pechorin's manservant went out to meet him and informed him that they\nwere going to put to at once; he handed him a box of cigars, received", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "\"Tell us, tell us, who was he?\" came from all sides.\n\n\"Pechorin,\" answered Grushnitski.", "more gracious more trustful--but that was all. Pechorin accordingly\ndetermined upon a last expedient. One morning he ordered his horse to be", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance," ], [ "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "I have inserted in this book only those portions of the diary which\nrefer to Pechorin's sojourn in the Caucasus. There still remains in", "Possibly some readers would like to know my own opinion of Pechorin's\ncharacter. My answer is: the title of this book. \"But that is malicious\nirony!\" they will say... I know not.", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "\"But, in spite of heat and fatigue, Pechorin didn't like to return\nempty-handed... That is just the kind of man he was; whatever he set", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "By this time the carriage was a long way off, but Pechorin made a sign\nwith his hand which might be interpreted as meaning:\n\n\"It is doubtful whether I shall return, and there is no reason, either,\nwhy I should!\"", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "BOOK IV THE SECOND EXTRACT FROM PECHORIN'S DIARY\n\nTHE FATALIST", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "\"I looked at Pechorin. He was taking aim as he galloped...\n\n\"'Don't shoot,' I cried. 'Save the shot! We will catch up with him as it\nis.'", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "and in all seriousness, shocked to find such an immoral man as Pechorin\nset before them as an example. Others have observed, with much\nacumen, that the author has painted his own portrait and those of", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "Pechorin, gentlemen, is in fact a portrait, but not of one man only:\nhe is a composite portrait, made up of all the vices which flourish,", "\"She?\" he answered, raising his eyes heavenward and smiling\ncomplacently. \"I am sorry for you, Pechorin!\"...\n\nHe took his departure.", "Pechorin's manservant went out to meet him and informed him that they\nwere going to put to at once; he handed him a box of cigars, received", "\"And so they settled the business--a bad business, to tell the truth!\nI said as much to Pechorin afterwards, but he only answered that a wild", "\"Getting bored!\" answered Pechorin, smiling.\n\n\"You remember the life we led in the fortress? A splendid country for\nhunting! You were awfully fond of shooting, you know!... And Bela?\"..." ], [ "\"What has he been telling you?\" she inquired of one of the young men,\nwho had gone back to her out of politeness. \"No doubt a most interesting\nstory--his own exploits in battle?\"...", "upon us army men just as they would upon savages. What care they if\nthere is an intellect beneath a numbered forage-cap, and a heart beneath\na thick cloak?\"", "men, who were vying with each other in paying them attention. I took\nup my position on another bench at a little distance off, stopped two\nDragoon officers whom I knew, and proceeded to tell them something.", "At that moment an officer who was sitting in a corner of the room stood\nup, and, coming slowly to the table, surveyed us all with a quiet and\nsolemn glance. He was a native of Servia, as was evident from his name.", "myself and have served in the army: I know that these affairs must take\ntheir course. Good-bye.\"", "Although I have altered all the proper names, those who are mentioned\nin it will probably recognise themselves, and, it may be, will find some\njustification for actions for which they have hitherto blamed a man who", "The young men, Grushnitski amongst them, were having supper at the\nlarge table. As I came in, they all fell silent: evidently they had been", "They are dandies. In letting their wicker-sheathed tumblers down into\nthe well of sulphurous water they assume academical poses. The officials", "\"It seems to me,\" he said, turning to Grushnitski, \"that as you have\nboth shown your readiness to fight, and thereby paid the debt due to the", "\"'I suppose you have been transferred from Russia?' I asked.\n\n\"'Exactly, captain,' he answered.\n\n\"I took him by the hand and said:", "\"What should we rough old men be thinking of to run after you? You young\nmen are fashionable and proud: under the Circassian bullets you are\nfriendly enough with us... but when you meet us afterwards you are\nashamed even to give us your hand!\"", "\"Good gracious! Why, everyone knows these Circassians are a race of\nthieves; they can't keep their hands off anything that is left lying", "\"Oh, these young men! Always taking fire at the wrong moment! The shot\nrang out and the bullet broke one of the horse's hind legs. It gave a", "of ground, or some other imaginary rights. And what then? These lamps,\nlighted, so they fancied, only to illuminate their battles and triumphs,", "with a company in a fortress beyond the Terek--getting on for five years\nago now. One autumn day, a transport arrived with provisions, in charge", "a group of men, amongst them the captain of dragoons, who had manifested\nintentions hostile to the charming Princess. He was particularly well\npleased with something or other, and was rubbing his hands, laughing and", "\"Goodness only knows! Those scoundrels take a lot of killing! In action,\nfor instance, I've seen many a one, sir, stuck all over with bayonets\nlike a sieve, and still brandishing his sabre.\"", "\"We are ready,\" answered the captain. \"Take your places, gentlemen!\nDoctor, be good enough to measure six paces\"...\n\n\"Take your places!\" repeated Ivan Ignatevich, in a squeaky voice.", "He only arrived yesterday, and has already succeeded in quarrelling with\nthree old men who were going to take their places in the baths before\nhim.\n\nDecidedly, his misfortunes are developing a warlike spirit within him.", "of an officer, a young man of about twenty-five. He reported himself to\nme in full uniform, and announced that he had been ordered to remain in" ], [ "I have inserted in this book only those portions of the diary which\nrefer to Pechorin's sojourn in the Caucasus. There still remains in", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "into their heads--and the rest join in as a chorus. Pechorin and I\nsat in the place of honour. All at once up came our host's youngest", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "\"Maksim Maksimych,\" I said, going up to him, \"what papers are these that\nPechorin left you?\"\n\n\"Goodness knows! Notes of some sort\"...", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "BOOK V THE THIRD EXTRACT FROM PECHORIN'S DIARY\n\n\nPRINCESS MARY\n\n\n\n\nCHAPTER I. 11th May.", "Pechorin's manservant went out to meet him and informed him that they\nwere going to put to at once; he handed him a box of cigars, received", "FOREWORD TO EXTRACTS FROM PECHORIN'S DIARY\n\nBOOK III. TAMAN\n\nBOOK IV. THE FATALIST", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "\"But, in spite of heat and fatigue, Pechorin didn't like to return\nempty-handed... That is just the kind of man he was; whatever he set", "In an hour's time a chance of proceeding on our journey presented\nitself. The snowstorm subsided, the sky became clear, and we set off. On\nthe way I involuntarily let the conversation turn on Bela and Pechorin.", "BOOK III THE FIRST EXTRACT FROM PECHORIN'S DIARY\n\n\n\n\nTAMAN", "\"I looked at Pechorin. He was taking aim as he galloped...\n\n\"'Don't shoot,' I cried. 'Save the shot! We will catch up with him as it\nis.'", "she came to herself. We were sitting by her bed. As soon as ever she\nopened her eyes she began to call Pechorin.", "Possibly some readers would like to know my own opinion of Pechorin's\ncharacter. My answer is: the title of this book. \"But that is malicious\nirony!\" they will say... I know not.", "\"What did you say? What? Pechorin?--Great Heavens!... Did he not serve\nin the Caucasus?\" exclaimed Maksim Maksimych, plucking me by the sleeve.\nHis eyes were sparkling with joy." ], [ "quarrel over some silly trifle or other, and will challenge Pechorin\nto a duel... Wait a bit; here is where the joke comes in... He will", "I can answer for it that Pechorin will turn coward--I will place them\nsix paces apart, devil take it! Are you agreed, gentlemen?\"", "\"But, in spite of heat and fatigue, Pechorin didn't like to return\nempty-handed... That is just the kind of man he was; whatever he set", "\"I looked at Pechorin. He was taking aim as he galloped...\n\n\"'Don't shoot,' I cried. 'Save the shot! We will catch up with him as it\nis.'", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "\"It was like this: in spite of Pechorin's prohibition, she went out of\nthe fortress and down to the river. It was a very hot day, you know, and", "By this time the carriage was a long way off, but Pechorin made a sign\nwith his hand which might be interpreted as meaning:\n\n\"It is doubtful whether I shall return, and there is no reason, either,\nwhy I should!\"", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "cap, were glued to his forehead; his knees were shaking... He was about\nto throw himself on Pechorin's neck, but the latter, rather coldly,", "\"At this Pechorin became thoughtful.\n\n\"'Yes,' he answered. 'We must be more cautious--Bela, from this day\nforth you mustn't walk on the rampart any more.'", "more gracious more trustful--but that was all. Pechorin accordingly\ndetermined upon a last expedient. One morning he ordered his horse to be", "\"Mr. Pechorin!\" exclaimed the captain of dragoons. \"Allow me to point\nout that you are not here to preach... Let us lose no time, in case\nanyone should ride through the gorge and we should be seen.\"", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "\"Getting bored!\" answered Pechorin, smiling.\n\n\"You remember the life we led in the fortress? A splendid country for\nhunting! You were awfully fond of shooting, you know!... And Bela?\"...", "flowed afresh. When the wound was bound up again she grew quiet for a\nmoment and begged Pechorin to kiss her. He fell on his knees beside", "\"Gentlemen!\" he said, \"this won't do! Pechorin must be taught a lesson!\nThese Petersburg fledglings always carry their heads high until they get" ], [ "quarrel over some silly trifle or other, and will challenge Pechorin\nto a duel... Wait a bit; here is where the joke comes in... He will", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "\"I looked at Pechorin. He was taking aim as he galloped...\n\n\"'Don't shoot,' I cried. 'Save the shot! We will catch up with him as it\nis.'", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "I can answer for it that Pechorin will turn coward--I will place them\nsix paces apart, devil take it! Are you agreed, gentlemen?\"", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "\"Getting bored!\" answered Pechorin, smiling.\n\n\"You remember the life we led in the fortress? A splendid country for\nhunting! You were awfully fond of shooting, you know!... And Bela?\"...", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "more gracious more trustful--but that was all. Pechorin accordingly\ndetermined upon a last expedient. One morning he ordered his horse to be", "\"She?\" he answered, raising his eyes heavenward and smiling\ncomplacently. \"I am sorry for you, Pechorin!\"...\n\nHe took his departure.", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "cap, were glued to his forehead; his knees were shaking... He was about\nto throw himself on Pechorin's neck, but the latter, rather coldly,", "\"I thank you, Pechorin... You understand me?\"\n\n\"No; but in any case it is not worth gratitude,\" I answered, not having,\nin fact, any good deed upon my conscience.", "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "\"'Listen, my dear, good Bela!' continued Pechorin. 'You see how I love\nyou. I am ready to give up everything to make you cheerful once more.", "\"But, in spite of heat and fatigue, Pechorin didn't like to return\nempty-handed... That is just the kind of man he was; whatever he set", "flowed afresh. When the wound was bound up again she grew quiet for a\nmoment and begged Pechorin to kiss her. He fell on his knees beside", "\"Gentlemen!\" he said, \"this won't do! Pechorin must be taught a lesson!\nThese Petersburg fledglings always carry their heads high until they get" ], [ "I have inserted in this book only those portions of the diary which\nrefer to Pechorin's sojourn in the Caucasus. There still remains in", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "\"Maksim Maksimych,\" I said, going up to him, \"what papers are these that\nPechorin left you?\"\n\n\"Goodness knows! Notes of some sort\"...", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "Possibly some readers would like to know my own opinion of Pechorin's\ncharacter. My answer is: the title of this book. \"But that is malicious\nirony!\" they will say... I know not.", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "and in all seriousness, shocked to find such an immoral man as Pechorin\nset before them as an example. Others have observed, with much\nacumen, that the author has painted his own portrait and those of", "Pechorin, gentlemen, is in fact a portrait, but not of one man only:\nhe is a composite portrait, made up of all the vices which flourish,", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "\"But, in spite of heat and fatigue, Pechorin didn't like to return\nempty-handed... That is just the kind of man he was; whatever he set", "Pechorin's manservant went out to meet him and informed him that they\nwere going to put to at once; he handed him a box of cigars, received", "cap, were glued to his forehead; his knees were shaking... He was about\nto throw himself on Pechorin's neck, but the latter, rather coldly,", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "\"I looked at Pechorin. He was taking aim as he galloped...\n\n\"'Don't shoot,' I cried. 'Save the shot! We will catch up with him as it\nis.'", "THIS novel, known as one of the masterpieces of Russian Literature,\nunder the title \"A Hero of our Time,\" and already translated into at\nleast nine European languages, is now for the first time placed before\nthe general English Reader.", "disquietude. It was obvious that the old man was mortified by Pechorin's\nneglect, the more so because a short time previously he had been telling", "into their heads--and the rest join in as a chorus. Pechorin and I\nsat in the place of honour. All at once up came our host's youngest", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "\"Well, one day Pechorin tried to persuade me to go boar-hunting with\nhim. For a long time I refused. What novelty was a wild boar to me?" ], [ "Although I have altered all the proper names, those who are mentioned\nin it will probably recognise themselves, and, it may be, will find some\njustification for actions for which they have hitherto blamed a man who", "\"WELL, then, I'll tell you,\" said Maksim Maksimych. \"About six versts\nfrom the fortress there lived a certain 'friendly' prince. His son, a", "\"I will tell you the whole truth,\" answered Grushnitski: \"only please do\nnot betray me. This is how it was: yesterday, a certain man, whose name", "\"Two,\" I replied.\n\n\"Tell me one, and I will tell you the other.\"\n\n\"Very well, begin!\" I said, continuing to examine the ceiling and\nsmiling inwardly.", "\"Done,\" answered Vulich in a hollow voice. \"Major, you will be judge.\nHere are fifteen ducats, the remaining five you owe me, kindly add them\nto the others.\"", "\"What has he been telling you?\" she inquired of one of the young men,\nwho had gone back to her out of politeness. \"No doubt a most interesting\nstory--his own exploits in battle?\"...", "I told her your name. She knew it well. It appears that your history\ncreated a great stir there... She began to tell us of your adventures,\nmost likely supplementing the gossip of society with observations of her", "\"Kazbich remained silent for a long, long time. At length, instead of\nanswering, he struck up in an undertone the ancient song:\n\n\n \"Many a beauty among us dwells", "After about three weeks, I began to observe that Azamat was growing\npale and wasted, just as people in novels do from love, sir. What wonder\neither!...", "the listener cannot commit himself; thirdly, he can learn another's\nsecret; fourthly, sensible people, such as you, prefer listeners to\nspeakers. Now to business; what did Princess Ligovski tell you about", "no knowledge of men and of their foibles, because all his life he has\nbeen interested in nobody but himself. His aim is to make himself the\nhero of a novel. He has so often endeavoured to convince others that he", "\"Not one, of course,\" said many of the guests. \"But we have heard of\nthem from trustworthy people.\"...", "We set off. They told me all that had happened, supplementing their\nstory with a variety of observations on the subject of the strange\npredestination which had saved Vulich from imminent death half an hour\nbefore he actually met his end.", "\"'So much the better,' he said. 'I am not in a narrative mood.'\n\n\"'Ensign, you have committed an offence for which I may have to answer\nas well as you.'", "The Translators have taken especial care to preserve both the atmosphere\nof the story and the poetic beauty with which the Poet-novelist imbued\nhis pages.\n\n\n\nCONTENTS", "telling stories, you would split your sides with laughing. Yes, sir,\na very eccentric man; and he must have been wealthy too. What a lot of\nexpensive trinkets he had!\"...", "\"I am writing to you in the full assurance that we shall never see each\nother again. A few years ago on parting with you I thought the same.", "\"Well, you must know, he seems to have had his suspicions. After a few\ndays, we learned that the old man had been murdered. This is how it\nhappened.\"...\n\nMy attention was aroused anew.", "\"Do you know what has happened?\" said three officers who had come for\nme, speaking all in one voice.\n\nThey were deadly pale.\n\n\"No, what is it?\"", "into their heads--and the rest join in as a chorus. Pechorin and I\nsat in the place of honour. All at once up came our host's youngest" ], [ "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "\"What did you say? What? Pechorin?--Great Heavens!... Did he not serve\nin the Caucasus?\" exclaimed Maksim Maksimych, plucking me by the sleeve.\nHis eyes were sparkling with joy.", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "\"Maksim Maksimych,\" I said, going up to him, \"what papers are these that\nPechorin left you?\"\n\n\"Goodness knows! Notes of some sort\"...", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "By this time the carriage was a long way off, but Pechorin made a sign\nwith his hand which might be interpreted as meaning:\n\n\"It is doubtful whether I shall return, and there is no reason, either,\nwhy I should!\"", "\"'Listen, Maksim Maksimych,' said Pechorin, rising to his feet. 'You're\na kind-hearted man, you know; but, if we give that savage back his", "Because Pechorin, through absent-mindedness or from some other cause,\nhad extended his hand to him when Maksim Maksimych was going to throw", "\"Getting bored!\" answered Pechorin, smiling.\n\n\"You remember the life we led in the fortress? A splendid country for\nhunting! You were awfully fond of shooting, you know!... And Bela?\"...", "the announcement that everything was ready, but still there was no sign\nof Maksim Maksimych. Fortunately Pechorin was sunk in thought as he", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "I have inserted in this book only those portions of the diary which\nrefer to Pechorin's sojourn in the Caucasus. There still remains in", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "In an hour's time a chance of proceeding on our journey presented\nitself. The snowstorm subsided, the sky became clear, and we set off. On\nthe way I involuntarily let the conversation turn on Bela and Pechorin.", "into their heads--and the rest join in as a chorus. Pechorin and I\nsat in the place of honour. All at once up came our host's youngest", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "cap, were glued to his forehead; his knees were shaking... He was about\nto throw himself on Pechorin's neck, but the latter, rather coldly,", "Pechorin's manservant went out to meet him and informed him that they\nwere going to put to at once; he handed him a box of cigars, received", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What" ], [ "I have inserted in this book only those portions of the diary which\nrefer to Pechorin's sojourn in the Caucasus. There still remains in", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "cap, were glued to his forehead; his knees were shaking... He was about\nto throw himself on Pechorin's neck, but the latter, rather coldly,", "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "Pechorin's manservant went out to meet him and informed him that they\nwere going to put to at once; he handed him a box of cigars, received", "\"Maksim Maksimych,\" I said, going up to him, \"what papers are these that\nPechorin left you?\"\n\n\"Goodness knows! Notes of some sort\"...", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "\"Mr. Pechorin!\" exclaimed the captain of dragoons. \"Allow me to point\nout that you are not here to preach... Let us lose no time, in case\nanyone should ride through the gorge and we should be seen.\"", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "more gracious more trustful--but that was all. Pechorin accordingly\ndetermined upon a last expedient. One morning he ordered his horse to be", "By this time the carriage was a long way off, but Pechorin made a sign\nwith his hand which might be interpreted as meaning:\n\n\"It is doubtful whether I shall return, and there is no reason, either,\nwhy I should!\"", "BOOK V THE THIRD EXTRACT FROM PECHORIN'S DIARY\n\n\nPRINCESS MARY\n\n\n\n\nCHAPTER I. 11th May.", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "\"I looked at Pechorin. He was taking aim as he galloped...\n\n\"'Don't shoot,' I cried. 'Save the shot! We will catch up with him as it\nis.'", "\"She?\" he answered, raising his eyes heavenward and smiling\ncomplacently. \"I am sorry for you, Pechorin!\"...\n\nHe took his departure.", "\"'Listen, my dear, good Bela!' continued Pechorin. 'You see how I love\nyou. I am ready to give up everything to make you cheerful once more.", "\"And so they settled the business--a bad business, to tell the truth!\nI said as much to Pechorin afterwards, but he only answered that a wild" ], [ "\"Good gracious! Why, everyone knows these Circassians are a race of\nthieves; they can't keep their hands off anything that is left lying", "Meanwhile the alarm became terrific. A Cossack galloped up from the\nfortress. The commotion was general; Circassians were looked for in", "Arrived at the foot of Mount Koishaur, we stopped at a dukhan. [1] About\na score of Georgians and mountaineers were gathered there in a noisy", "Soon afterwards I was transferred to the Caucasus; and that was\nthe happiest time of my life. I hoped that under the bullets of the", "\"Have you no fear of God! You see, you are not one of those cursed\nChechenes, but an honest Christian! Come, if you have done it in an\nunguarded moment there is no help for it! You cannot escape your fate!\"", "He smiled slyly and threw me a meaning glance.\n\n\"You have not been in the Caucasus long, I should say?\"\n\n\"About a year,\" I answered.", "of the Terek--I had ridden with the Abreks to seize the Russian herds.\nWe had no luck, so we scattered in different directions. Four Cossacks", "meaning, and word-paintings which convey no image--especially to\nthose who have never been in the Caucasus. I also omit statistical\nobservations, which I am quite sure nobody would read.", "His arrival in the Caucasus is also the result of his romantic\nfanaticism. I am convinced that on the eve of his departure from his", "First when travelling through the Caucasus. In the first place, however,\nthe Emperor went no farther than Daghestan; and, in the second place,", "\"'You don't know the Circassian women,' I answered. 'They are not at all\nthe same as the Georgian or the Transcaucasian Tartar women--not at all!\nThey have their own principles, they are brought up differently.'", "Whereas these others have no liking for arms, and you'll never see a\ndecent dagger on one of them! Ossetes all over!\"", "that he had been wounded by a wild boar, at another time, that he had\nbeen carried off by a Chechene into the mountains... But, now, I have\ncome to think that he no longer loves me.'", "\"What should we rough old men be thinking of to run after you? You young\nmen are fashionable and proud: under the Circassian bullets you are\nfriendly enough with us... but when you meet us afterwards you are\nashamed even to give us your hand!\"", "principal chain of the Caucasus. We sat in a corner of the bastion, so\nthat we could see everything on both sides. Suddenly I perceived", "\"Take the Circassians, now,\" he continued; \"once let them drink their\nfill of buza [6] at a wedding or a funeral, and out will come their", "with a company in a fortress beyond the Terek--getting on for five years\nago now. One autumn day, a transport arrived with provisions, in charge", "\"'Yes,' replied Kazbich, after an interval of silence. 'There is not\nsuch another to be found in all Kabardia. Once--it was on the other side", "\"You have been a long time in the Chechenes' country?\"", "began. On the right was a cliff, on the left a precipice, so deep that\nan entire village of Ossetes at the bottom looked like a swallow's nest." ], [ "\"It was like this: in spite of Pechorin's prohibition, she went out of\nthe fortress and down to the river. It was a very hot day, you know, and", "flowed afresh. When the wound was bound up again she grew quiet for a\nmoment and begged Pechorin to kiss her. He fell on his knees beside", "\"A quarter of an hour later Pechorin returned from hunting. Bela\nthrew herself on his neck without a single complaint, without a single\nreproach for his lengthy absence!... Even I was angry with him by this\ntime!", "\"She?\" he answered, raising his eyes heavenward and smiling\ncomplacently. \"I am sorry for you, Pechorin!\"...\n\nHe took his departure.", "\"Love me? Good gracious, Pechorin, what ideas you do have!... How could\nshe possibly love me so soon?... And a well-bred woman, even if she is\nin love, will never say so\"...", "\"'Listen, my dear, good Bela!' continued Pechorin. 'You see how I love\nyou. I am ready to give up everything to make you cheerful once more.", "\"Getting bored!\" answered Pechorin, smiling.\n\n\"You remember the life we led in the fortress? A splendid country for\nhunting! You were awfully fond of shooting, you know!... And Bela?\"...", "\"Yes, she admitted that, from the day she had first cast eyes on\nPechorin, she had often dreamed of him, and that no other man had ever\nproduced such an impression upon her. Yes, they were happy!\"", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "By this time the carriage was a long way off, but Pechorin made a sign\nwith his hand which might be interpreted as meaning:\n\n\"It is doubtful whether I shall return, and there is no reason, either,\nwhy I should!\"", "she came to herself. We were sitting by her bed. As soon as ever she\nopened her eyes she began to call Pechorin.", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "into your soul. Pechorin, deep in thought, kept his gaze fixed upon her,\nand she, for her part, stole glances at him often enough from under her", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "\"I looked at Pechorin. He was taking aim as he galloped...\n\n\"'Don't shoot,' I cried. 'Save the shot! We will catch up with him as it\nis.'", "Maksim Maksimych sat down on a little bench outside the gate, and I\nwent to my room. I confess that I also was awaiting this Pechorin's", "cap, were glued to his forehead; his knees were shaking... He was about\nto throw himself on Pechorin's neck, but the latter, rather coldly," ], [ "Possibly some readers would like to know my own opinion of Pechorin's\ncharacter. My answer is: the title of this book. \"But that is malicious\nirony!\" they will say... I know not.", "Pechorin, gentlemen, is in fact a portrait, but not of one man only:\nhe is a composite portrait, made up of all the vices which flourish,", "and in all seriousness, shocked to find such an immoral man as Pechorin\nset before them as an example. Others have observed, with much\nacumen, that the author has painted his own portrait and those of", "\"His name was Grigori Aleksandrovich Pechorin. He was a splendid fellow,\nI can assure you, but a little peculiar. Why, to give you an instance,", "\"But, in spite of heat and fatigue, Pechorin didn't like to return\nempty-handed... That is just the kind of man he was; whatever he set", "Pechorin? If you admire fictions much more terrible and monstrous, why\nis it that this character, even if regarded merely as a creature of\nthe imagination, cannot obtain quarter at your hands? Is it not because", "\"'Where is Pechorin?' I asked.\n\n\"'Hunting.'\n\n\"'When did he go--to-day?'", "I LEARNED not long ago that Pechorin had died on his way back from\nPersia. The news afforded me great delight; it gave me the right to", "\"I thank you, Pechorin... You understand me?\"\n\n\"No; but in any case it is not worth gratitude,\" I answered, not having,\nin fact, any good deed upon my conscience.", "\"I looked at Pechorin. He was taking aim as he galloped...\n\n\"'Don't shoot,' I cried. 'Save the shot! We will catch up with him as it\nis.'", "\"Then I drew level with Pechorin and shouted to him:\n\n\"'It is Kazbich!'\n\n\"He looked at me, nodded, and struck his horse with his whip.", "\"'Listen, Maksim Maksimych,' said Pechorin, rising to his feet. 'You're\na kind-hearted man, you know; but, if we give that savage back his", "\"Whatever you like!\" answered Pechorin. \"Good-bye.\"...\n\n\"So you are off to Persia?... But when will you return?\" Maksim\nMaksimych cried after him.", "\"Come! That will do, that will do!\" said Pechorin, giving him a friendly\nembrace. \"Is it possible that I am not the same as I used to be?... What", "\"'LISTEN, Maksim Maksimych,' said Pechorin. 'Mine is an unfortunate\ndisposition; whether it is the result of my upbringing or whether it", "Hearing no answer, Pechorin took a few steps towards the door. He was\ntrembling, and--shall I tell you?--I think that he was in a state to", "By this time the carriage was a long way off, but Pechorin made a sign\nwith his hand which might be interpreted as meaning:\n\n\"It is doubtful whether I shall return, and there is no reason, either,\nwhy I should!\"", "into your soul. Pechorin, deep in thought, kept his gaze fixed upon her,\nand she, for her part, stole glances at him often enough from under her", "\"And what of Pechorin?\" I asked.", "THIS novel, known as one of the masterpieces of Russian Literature,\nunder the title \"A Hero of our Time,\" and already translated into at\nleast nine European languages, is now for the first time placed before\nthe general English Reader." ] ]

[ "Who is the captain significantly older than the Russian officer?", "Maxim and Pechorin were stationed for some time together in what place?", "What did Maxim hand over to the unnamed narrator?", "Who was the third narrator?", "The diaries seemed to switch from what to what at least once?", "With whom was Pechorin secretly contemptuous?", "What did Pechorin do with Princess Mary?", "Vera used to be what to Pechorin?", "Where does the unnamed officer who serves as our first narrator meet Maxim Maximych?", "What is the narrator's purpose for writing down the details of his journey?", "Why do Pechorin and Grushnitsky alternate place on the cliff's edge during their duel?", "How does Pechorin's love affairs with Princess Mary and Vera end?", "How does Maximych know Pechorin>?", "How does the narrator answer those who would consider the deeds of Pechorin over the top to be real?", "Where does Maximych get Pechorin's diary?", "What is Pechorin's fate as of the publication of his diaries?", "Which nation's are the men in this story serving?", "How does the narrator acquire Pechorin's diary?", "Why does Pechorin engage in a duel by the edge of a cliff?", "Who does Pechorin duel?", "When were Pechorin's notes published?", "How many major narrators are there?", "Where was Maxim stationed with Pechorin?", "Who does the captain give Pechorin's diaries to?", "What tribesmen are local to the Caucasus?", "Who is Pechorin's ex lover?", "What kind of hero is Pechorin?" ]

[ [ "Captain Maxim Maximych", "Captain Maxim Maximych" ], [ "In the Caucasus.", "The Caucasus." ], [ "Pechorin's diaries.", "Pechorin's diaries" ], [ "Pechorin", "Pechorin" ], [ "Past tense to the present tense", "From the past tense to the present tense" ], [ "Grushnitsky", "Grushnitsky" ], [ "Flirted with her.", "Flirts with her" ], [ "An lover", "An ex-lover." ], [ "At his post in the Caucus Mountains.", "In Caucasus." ], [ "In hopes that it might be published.", "For them to be published later" ], [ "So that it can be claimed an accident when one of them dies.", "So the loser's fall can be ruled accidental" ], [ "He rejects one and the other rejects him.", "He rejects one and is abandoned by the other." ], [ "They were stationed together for an unspecified period of time.", "They were both stationed at the Caucasus" ], [ "That Pechorin was as believable as any other villain.", "The deeds of Pechorin are a composition of all of culture's vices and deeds. " ], [ "Pechorin abandoned it when he left that post.", "Caucasus " ], [ "He is dead", "He's dead" ], [ "The were serving in the Russian army", "Russia" ], [ "He got the diaries from Maximych", "Maxim maimych" ], [ "so the loser's death would be called an accident ", "Grushnitsky" ], [ "Grushnitsky", "Grushnitsky" ], [ "after his death", "After he died" ], [ "three", "Three" ], [ "The Caucasus ", "The caucasus mountains" ], [ "the unnamed narrator", "To the unnamed narrator." ], [ "the Ossetian", "Ossetian" ], [ "Vera", "Vera" ], [ "Byronic", "byronic" ] ]

[ [ "sure that there had been something, and she longed most sadly to know\nall about it. Her brother Gregory was in London, keeping his Hilary", "at Hilary. He lay with his back to her, fast asleep, and she kissed him\nlightly, and ran away.", "Hilary took some time to make out this. Then, knowing how barbarous his\naccent was, he weakly endeavoured with his languid eyes to pierce the", "Meanwhile Hilary, upon whom she waited with unwearying love and\ncare, was beginning to rally from his sad disorder and threatening", "as Hilary soon proved himself. And after a few lessons in his duties,\nhe set him to work with might and main to improve his knowledge of\n“colloquial French.”", "product,” as she rather facetiously called poor Mabel, into their\ncastle of lineage. But now, when Hilary was going away, to be drowned", "Hilary, as he walked up the hill (down which he had ridden so\ngallantly, scarcely more than a fortnight since), was touched with", "Hilary, therefore, might be considered, and certainly did consider\nhimself, a remarkably attentive pupil, for he generally was to be", "It was true that Hilary had attained at last the great ambition of his\nlife. He had changed the pen for the sword, the sand for powder, and", "Hilary, Sir Roland’s only son, was now at the Temple, eating his way\nto the bar, or feeding for some other mischief; and Alice, the only", "“Then they don’t know what’s good,” answered Hilary, jumping at another\ncluster; “I was born to teach the Kentish public the proper way to\nsteal cherries.”", "“Hilary, I think you are grown,” Sir Roland said, to break the silence,\nand save his lips from the curve of a yawn. “It is time for you to give\nup growing.”", "“Well, sir,” said Hilary, laughing at the terse mood of the master, “I\nthought you had something to say to me--a very unusual state of mind,”", "wits when she gets within miles of that blessed Hilary.”", "of Hilary’s illness. They had made up their minds that he must die\nwithin a few months; and then Alice, of course, would be the heiress of", "mischief. But let her get a letter from Master Hilary--and you would\nsee what would come over her.”", "“Oh, Hilary, Hilary, Hilary!”", "long, and he must have some news of Hilary. He felt her face, all wet\nwith tears, turned up to him over and over again, and he felt how she", "“No, my dear father,” said Hilary, laughing in recognition of his\nfavourite form; “it is a much more important affair this time. Money,", "“Begone!” said Camilla to him once more, looking so grand that he could\nonly go; and then quietly bolting the old gentleman out. After which\nshe returned to Hilary." ], [ "a century ago she had been. Many good stories (and some even true)\nwere told concerning her doings and sayings in the time of her youth\nand beauty. Doings were always put first, because for these she was", "two centuries), and then the parish pricked up all its ears to hear of\nits own doings. The Rector preached the first part of his sermon in a", "Two hundred years before the day when Alice thus sat listening, an\nancestor of hers had been renowned in Anatolia. The most accomplished", "completed her century) cannot have been much under ninety in the year\nof grace 1811.", "The darkness of the hardest winter of the present century--so far as\nthree-fourths of its span enable us to estimate--was gathering over", "This would not do for his daughter Alice. She was now in that blush of\ntime, when everything is observed by maidens, but everything is not", "CHAPTER LXXV.\n\nSOMETHING LIKE A LEGACY.", "This matter being cleared, and the time brought up, here we are at West\nLorraine in earnest, in the month of October, 1813; long after Hilary’s", "century from this period. But knowing the swiftness of evil chance, he\nexpects it at the earlier time; and whatever its manner or kind may\nbe, Agasicles in all his discoveries has discovered no cure for human", "going on. So he made at his best pace towards it. And here he had not\nfar to seek; for in a large room, hung with pictures, and likely to be", "“Is it all gone?” he asked pretty calmly, when they had cut him free at\nlast, but he could not stand from stiffness. “Do you mean to say that\nthe whole is gone?”", "“The battle of Trafalgar, yes. The 21st of October, seven years ago, as\nI am a man! Lord bless me, it seems but yesterday! How all the country", "On the following day--the month being August, or something very near\nit, in the year 1812 (a year behind the time we got on to)--Mr. Hales,", "“Seventeen years and a half, madam; about last Wednesday fortnight.”", "Upon a very important day (as it proved to be, in his little world),\nthe 18th of June, 1811, Sir Roland Lorraine had enjoyed his dinner with", "In the village of West Lorraine, which lies at the foot of the South\nDown ridge, there lived at this moment, and had lived for three", "“The reason, my Lallie, is simple enough. This happens to be the very\nday when the two hundred years are over; and the astrologer’s will, or\nwhatever the document is, may now be opened.”", "“What a story!” cried Cecil, who was Bonny’s champion, being his\nschoolmistress; “I wish your Dick was half as good a boy. He gets", "Now one afternoon towards Allhallows day, when the air was brisk and\nthe crisp leaves rustled, some under foot and some overhead, Mr.", "the weather), still sat as firmly erect as ever, and still exacted, by\na glance alone, all those little attentions which she looked so worthy\nto receive. The further she became removed from the rising generation," ], [ "Chapman is not what I call a good man.”", "“A most sensible question,” Chapman answered, and fell once more to\nzero in the opinion of his charmer. With all the contempt that can be", "“To hear Captain Chapman’s name alone conduces to my misery.”", "assured him that Captain Chapman would do nothing to hurt or even\nto offend young Alice. And yet, because he regarded Stephen with\ninveterate dislike, he really did for the moment believe it his duty", "inside it. For instance, there was Sir Remnant Chapman (for whom even\nan epitaph must strain its elastic charity); Stephen, his son--who had", "“Chapman, I think,” said Sir Roland Lorraine, to assuage the rising\nstorm, “that we might as well leave these little points (which have", "“You are wrong,” said Sir Roland, with much contempt. “Sir Remnant\nChapman might so have meant it. Struan, you ought to know me better.", "Chapmans had been killed (as mendacious fame reported), only knocked on\nthe head, and legs, and stomach, and other convenient places. Steenie", "Sir Remnant Chapman returned to the house, with a heavy sigh from his\nwithered breast. He had not the goodness in him which is needed to", "Stephen Chapman.”", "time longer. He seemed so bent, and his sight so bad, and requiring so\nmuch refreshment! And then, of course, you would be Lady Chapman if you\ncare about such trifles.”", "blame other people. Please to remember that I said that. And good-bye,\nCaptain Chapman.”", "Sir Remnant’s only son, Stephen Chapman, was now over thirty years of\nage, and everybody said that it was time for him to change his mode", "Roland’s wan and death-like features, he rode forth with a sigh, to\nlook after the Chapmans.", "certainly was not slower. But Stephen Chapman came forth, and met her\nwith that peculiar gaze which would have been insolent from a more\npowerful man, but as proceeding from a little dandy bore rather the", "Chancton Ring, when Chapman, having heard it at least seven times, cut\nhim short rather briskly.", "sees all things with one little eye, and that eye a vicious one. Sir\nRemnant Chapman had no belief in the goodness of woman, or the truth of", "“I will tell you what proves it beyond all dispute. You know how that\nwretched little Captain Chapman looks up when he hates any one, and", "“Captain Chapman!” cried the Rector, with something which in any other\nplace would have been profane; “why, what in the world could he want", "calm resignation of Alice had made their way into his brave old heart;\nand the more he saw of Captain Chapman, the more he looked down on that\nfeather-bed soldier." ], [ "CHAPTER LVIII.\n\nA HERO’S RETURN.", "“Very well, then, all my story is about him, and his deeds.”", "The hero of a hundred fights (otherwise called “Old Beaky”) had just\nscraped through a choking trouble on the score of money with the", "her senseless brother. So came this hero, after all his exploits, back\nto the home of his fathers.", "Now who saved him and his precious salvage? A poor, despised, and yet\nclever boy, whose only name was Bonny. When Gregory Lovejoy had lashed", "for him. He did what many a far greater man, and braver hero has done,\nand will do, when the soul is moving. He burst into a hot flood of\ntears.", "At this very time there happened to be a boy of no rank, and of unknown\norder, quietly jogging homeward. He differed but little from other", "So it came to pass that young Lorraine, weak and weary, and vainly\nseeking a surgeon to bind up his wounds, was compelled to fight once\nmore that night, before he could lay him down and rest.", "“He was first through the breach at Badajos. He has covered himself\nwith glory.”", "right, until they were beaten out of him. His name was “Jack,” and his\nnature was of a level and sturdy order, resenting wrongs, accepting", "The skin had belonged, in the first place, to a very remarkable boar,\na thorough Calydonian hog, who escaped from a farm-yard, and lived", "Then she knew that she had done her duty very bravely; and that it\nwould be a cruel thing to expect her to stay any longer. And, so to", "One man there is, or was, who ought to have been brought forward long\nago. Everybody said the same thing of him--he wanted nothing more than", "and the hermitage of Bonny. That exemplary boy had been all day\npursuing his calling with his usual diligence, and was very busy now,", "“What a story!” cried Cecil, who was Bonny’s champion, being his\nschoolmistress; “I wish your Dick was half as good a boy. He gets", "“Why, you are not fit to walk, or talk, or even to look like a hero.\nYou are the bravest fellow that ever was born. Oh, how proud we are", "him. This, however, was not from any admiration of his valour--though\nFrenchmen are often most chivalrous foes--but because these heroic", "With everybody he had his way. Being unable to fight any more, he had\ncome to look so ferocious, and his battered and shattered body so", "And it was, of course, tenfold more valorous of him to carry on as he\ndid there, when he called to mind that he had at home a lovely wife,", "Whatever he was told, he did with such a will, that presently Mabel\nlooked up, and exclaimed with breathless delight--“Oh, I feel a little" ], [ "And now, on the morning of that same day on which Alice thus had\npledged herself (being the third from her brother’s arrival, of which", "And now there was but one day left; Monday was come, and on the morrow,\nAlice was to be Mrs. Stephen Chapman.", "stratum of womanhood distinct from that of Alice. She would never have\njumped into the river. She would simply have defied them to take her to", "On the third day, Sir Roland moved his eyes, and feebly raised one\nelbow. Alice sat there at his side, as now she was almost always", "came on the Thursday, with their minds made up to be satisfied with\nanything. But they certainly were not very well pleased to find that\nthe fair Mistress Alice had managed to give them the slip entirely. She", "Alice. Old Nanny ran out of her door next day, with a stick, at a boy\nwho cast snowballs, and she slipped on some ice, and in she went; and", "With these words, she disappeared; and when the good rector had mounted\nthe hill, “Alice, Alice!” resounded vainly from the drive among the", "Alice took this turn of matters with all the calmness of despair. It\nwas nothing but a childish thing to long for a few days’ reprieve,", "its birth-place. In a word, Alice Lorraine was bestowing whatever of\nmirth or fun she had left (in the face of the coming conflict), all", "saying what even one man thought, and tens of pages would not contain\nthe half of what one woman said. Enough, that when poor Alice was\nbrought back through the snow-drifts quietly, every moveable person in", "“Another day will only make it worse,” Joyce Aylmer replied, with a\nglance at Alice, which she perfectly understood. “I might be snowed up", "of Hilary’s illness. They had made up their minds that he must die\nwithin a few months; and then Alice, of course, would be the heiress of", "her doll without a word, in the hands of Alice and then ran away, and\ncould never stop sobbing, until her father put the horse in on purpose,", "“Alice, dear Alice, sweet Alice!” he said, as at every approach she\nshrank further away; “lovely Alice, what have I done, that you will not", "As soon as her kind old friend was gone, Alice made fast her door\nagain, and took off her bridal dress, and put on a plain white frock", "When he had slept for two or three hours, with Alice hushing the sound\nof her breath, he was seized with sudden activity. His body had been", "This would not do for his daughter Alice. She was now in that blush of\ntime, when everything is observed by maidens, but everything is not", "Then Alice came forward, commending her soul to God in good Christian\nmanner, and without a fear, or tear, or sigh, committed her body to the\nDeath-bourne.", "far away, fed upon hardships and short rations. Alice, though full\nsometimes of spirits, at other times would run away and fret, and blame", "This was the last quiet day of her life; the last day for thinking of\nlittle things; the last day of properly feeding her pets, her poultry," ], [ "What could Hilary do but yield? He was ordered to be at the Count’s\ndisposal; and thus the Count disposed of him. Nevertheless he", "“Excellently, Count,” said Hilary. And then, in spite of pain, he\nadded, with his usual courtesy, “I have often longed to learn your", "at Hilary. He lay with his back to her, fast asleep, and she kissed him\nlightly, and ran away.", "“Senhor, we can no doctor get,” said the anxious Count to Hilary,\nhaving made up his mind to plunge into English, of which he had tried", "Hilary, as he walked up the hill (down which he had ridden so\ngallantly, scarcely more than a fortnight since), was touched with", "Meanwhile Hilary, upon whom she waited with unwearying love and\ncare, was beginning to rally from his sad disorder and threatening", "Hilary took some time to make out this. Then, knowing how barbarous his\naccent was, he weakly endeavoured with his languid eyes to pierce the", "Camilla declined from him with a tender slope towards Hilary; Hilary\nwent downhill too fast with violent pangs towards Claudia; and Claudia\nrose at the back of the wheel, with her eyes on the distant mountains.", "hand, would have rejoiced to see her the wife of Hilary; but had long\nmade up her mind that he would never return alive from Spain, and that", "Hilary, being thus invoked, though he had no idea what was meant--the\nlanguage being pure Castilian--certainly did look up, and try with very", "as Hilary soon proved himself. And after a few lessons in his duties,\nhe set him to work with might and main to improve his knowledge of\n“colloquial French.”", "Poor Hilary, after looking wildly around, and trying in vain to command\nhis mouth, fell suddenly back, convulsed, distorted, writhing, foaming,", "Hilary Lorraine had fallen, with the usual reaction of a sanguine\ntemperament, into low spirits and disordered health. So that when he", "product,” as she rather facetiously called poor Mabel, into their\ncastle of lineage. But now, when Hilary was going away, to be drowned", "mischief. But let her get a letter from Master Hilary--and you would\nsee what would come over her.”", "As soon as the Count and his daughters knew how much they owed to\nHilary, and saw the weak and wounded plight in which he had laboured", "“Alas! dear Captain,” she said in Spanish, which Hilary was quite pat\nwith now; “we have been lamenting your brief departure. How shall we\nlive when you are lost?”", "exactly as she could have wished. But they happened to be exactly as\nHilary wished, and catching a glimpse of them unawares, he lost all", "Hilary, as usual, adapted himself to the tone and the humour around\nhim. The Spanish officers took to him kindly, and so did the soldiers,", "At any rate, the last thing they thought of was the most likely thing\nof all--that Hilary should fall in love with a good, and sweet, and" ], [ "Hilary, as he walked up the hill (down which he had ridden so\ngallantly, scarcely more than a fortnight since), was touched with", "wits when she gets within miles of that blessed Hilary.”", "Meanwhile Hilary, upon whom she waited with unwearying love and\ncare, was beginning to rally from his sad disorder and threatening", "Hilary, of course, began, as he always managed to begin, with almost\neverybody.\n\n“I am sorry to disturb you, sir; and I have nothing particular to say.”", "It was true that Hilary had attained at last the great ambition of his\nlife. He had changed the pen for the sword, the sand for powder, and", "as Hilary soon proved himself. And after a few lessons in his duties,\nhe set him to work with might and main to improve his knowledge of\n“colloquial French.”", "Hilary’s luck was beginning to turn. For in a few days he received a\ngrand addition to his comforts, and wholesome encouragement to get", "“Oh, Hilary, Hilary, Hilary!”", "at Hilary. He lay with his back to her, fast asleep, and she kissed him\nlightly, and ran away.", "Hilary, therefore, might be considered, and certainly did consider\nhimself, a remarkably attentive pupil, for he generally was to be", "Hence it came to pass that as soon as Hilary Lorraine was quite acquit\nof Oxford leading-strings, and had scrambled into some degree, his", "“How wonderfully good of you, Hilary dear!” she exclaimed, with tears\nin her eyes, and yet a strong inclination to smile, as she watched him.", "product,” as she rather facetiously called poor Mabel, into their\ncastle of lineage. But now, when Hilary was going away, to be drowned", "Hilary gazed at it most intently, and for some moments sadly. But the\nmore he gazed the better and brighter became his own expression. The", "Now, in the summer morning early, Hilary Lorraine, with his most\nsprightly walk and manner, sought his way through the crowded alleys,", "Camilla declined from him with a tender slope towards Hilary; Hilary\nwent downhill too fast with violent pangs towards Claudia; and Claudia\nrose at the back of the wheel, with her eyes on the distant mountains.", "“Who am I?” said Hilary, trying to get up a sprightly laugh. “Well, I\nthink you must have seen me once or twice in the course of your long\nlife, Miss Lorraine.”", "Be that as it may, it is quite certain that Hilary, though he had\nshown no skill, had some little luck in the present case. For the", "But Hilary Lorraine, from childhood, had no mother to help him. What\nhe had to help him was good birth, good looks, good abilities, a very", "Here again was a chance for Hilary; and without thinking, he worked it\nwell. In his quick, and perhaps too sudden, way of taking impression of" ], [ "“Confound the fellow!” cried the conscious Hilary; “how he beats about\nthe bush! Will he never have it out and be done with it? What an", "Meanwhile Hilary, upon whom she waited with unwearying love and\ncare, was beginning to rally from his sad disorder and threatening", "With these words he ran off; and Hilary, following his directions,\nenjoyed the greatest of all the mere bodily joys a man can be blessed", "Hilary, as he walked up the hill (down which he had ridden so\ngallantly, scarcely more than a fortnight since), was touched with", "Hilary’s bright face lost its radiance, as his conscience pricked him.\nWas it about Mabel? Of course it must be. And what the dickens was he", "to. Therefore it was wrong of Hilary, and showed him in a despicable\nlight, that because the young ladies would not look at him much, he", "believed that Hilary had fallen into some scrape of which he was now\nashamed. At the same time, he took care to spread it abroad (for the", "“No, I may tell that, I do believe,” said Hilary, after one moment’s", "The Rev. Struan Hales sate down, marvelling if he were a clumsy oaf,\nand gave Hilary no small credit for catching such deeply sagacious and", "Hilary took some time to make out this. Then, knowing how barbarous his\naccent was, he weakly endeavoured with his languid eyes to pierce the", "at Hilary. He lay with his back to her, fast asleep, and she kissed him\nlightly, and ran away.", "For Hilary, now that all danger was past, grew faint; while he scorned\nhimself for doing so in the presence of the ladies.", "speak, through excitement and exhaustion. But he made signs to Hilary\nthat he had something to say of great importance, and presently led him\ninto a narrow archway.", "Poor Hilary tried in vain to look as if he took it lightly. Even his\nbright and buoyant nature could not lift head against the sea of\ntroubles all in front of him.", "Hilary read this letter twice; and then put it by, to be read again;\nfor some of it touched him sadly. Then he delivered the orders he", "“I have no convoy,” said Hilary, dropping his voice into very sad\nmusic. “All is lost. It is partly your fault. You were ordered to meet\nme at the Zujar ford.”", "Hilary, of course, began, as he always managed to begin, with almost\neverybody.\n\n“I am sorry to disturb you, sir; and I have nothing particular to say.”", "“The saints are good to me,” Hilary answered, little suspecting the\ntruth of the case: “they grant me the chance of saying what I have long\ndesired to say to you.”", "as Hilary soon proved himself. And after a few lessons in his duties,\nhe set him to work with might and main to improve his knowledge of\n“colloquial French.”", "Poor Hilary, after looking wildly around, and trying in vain to command\nhis mouth, fell suddenly back, convulsed, distorted, writhing, foaming," ], [ "This matter being cleared, and the time brought up, here we are at West\nLorraine in earnest, in the month of October, 1813; long after Hilary’s", "On the following day--the month being August, or something very near\nit, in the year 1812 (a year behind the time we got on to)--Mr. Hales,", "Now one afternoon towards Allhallows day, when the air was brisk and\nthe crisp leaves rustled, some under foot and some overhead, Mr.", "In the village of West Lorraine, which lies at the foot of the South\nDown ridge, there lived at this moment, and had lived for three", "“Is it all gone?” he asked pretty calmly, when they had cut him free at\nlast, but he could not stand from stiffness. “Do you mean to say that\nthe whole is gone?”", "a century ago she had been. Many good stories (and some even true)\nwere told concerning her doings and sayings in the time of her youth\nand beauty. Doings were always put first, because for these she was", "taken more time almost in telling than in befalling. Although it had\nbeen a long summer’s day, to them it had passed as a rapid dream. So", "that it will go on without interrupting the story. Now, papa, no more\ndelay.”", "But now there is just time to say that it must have been broad August,\nwhen the fields were growing white for harvest, after the swath of", "This was the last quiet day of her life; the last day for thinking of\nlittle things; the last day of properly feeding her pets, her poultry,", "“The battle of Trafalgar, yes. The 21st of October, seven years ago, as\nI am a man! Lord bless me, it seems but yesterday! How all the country", "Even now, all has not been told; for by bringing the cook good news\nof her sweetheart, and the parlourmaid dry sticks to light her fire,", "“Seventeen years and a half, madam; about last Wednesday fortnight.”", "It was now the end of June, and the cherries must be getting ripe. The\nday had been very hot and sultry, and Hilary came into chambers later", "“No, Alice, it waits its due time, of course. Three months is its time,\nI believe, for running, before it destroys the family. Your marriage", "At the date of this journey, the Colonel’s two daughters were still\naway at a boarding-school; but they were to come and spend the", "For a very long time he got no answer, except a little smothered sob,\nand two great tears that would have their way. “Darling Mabel, look", "“It is quite early,” she said to herself; “nothing--not even three\no’clock. I get into the stupidest, fearfullest ways, from such", "For, on this very day, there had been the great Midsummer haul at\nShoreham. It was the old custom of the place; but even custom must", "“I have got it! I have got it!” cried a young voice, as if in answer,\nalthough too sudden of approach for that. “Father, here it is! Mother," ], [ "ever has imposed on me. And the boy is almost a sort of cousin of my\nown. The first family in the kingdom, sir.”", "they were sisters, although they behaved very differently. For one\nwas kneeling in a helpless manner, with streaming eyes, and strained\nhands clasping the feet of a marble crucifix. She had not the courage", "And now it is an accursed truth that the men who had been such glorious\nheroes, such good brethren to one another, strong, and grand, and", "“Very well, then, all my story is about him, and his deeds.”", "“Indeed!” the other answered, beginning to suspect; “are you then the\nfather of that young lady----”", "Alice Lorraine, with no small excitement, heard from her father’s lips\nthis story of their common ancestor. Part of it was already known to", "“Certainly not. I am very glad that they were of poor Hilary’s\nregiment; because that proves they were story-tellers. There is not an", "Now one of the girls--it was never known which, because all three\ndenied it--stupidly let the sick cousin know that the master of the", "then knock his excellent uncle down. But now, make it up like a dear\ngood girl; and tell me this great secret.”", "“What a story!” cried Cecil, who was Bonny’s champion, being his\nschoolmistress; “I wish your Dick was half as good a boy. He gets", "“Oh, papa, a story, a story! That will make up for everything. What a\nlovely pleasure! There is nothing I love half so much as listening to", "“Oh, yes,” answered Mabel, no less oblivious; “my brother Charles used\nto catch a good many. They are such a treat to my dear mother, and so", "“Now best-loved father,” she exclaimed, perceiving that his face was\nset to tell her very little, “behold how many helpless ones depend upon", "that it will go on without interrupting the story. Now, papa, no more\ndelay.”", "The second of the three who fretted with anxiety and fear, was Hilary’s\nyoung sister Alice. Proud as she was of birth, and position, and", "the younger was away at sea, and whenever he came home told stories\nof foreign fruit which drove his father into a perfect fury. So that\nnow it was Martin’s main desire to marry his only daughter to some one", "Even now, all has not been told; for by bringing the cook good news\nof her sweetheart, and the parlourmaid dry sticks to light her fire,", "She despised him too much to run away, as he had hoped that she would\ndo. She heard his weak step, and weaker breath, and stopped, and faced\nhim quietly.", "“My father, my lord,” answered Gregory like a man, though blushing like\nhis sister Mabel. “He has not seen me for a long time, my lord, and he", "about them. They never did understand me at home; and I suppose they\nnever will. But it does not matter. Wait a bit.”" ], [ "Sir Roland felt the truth of this. And he feared in his heart that he\nmight be pushing his only son a little too hard, in reliance upon his\nhonour.", "Sir Roland knew quite well that it was not his dear father at all, but\nhis mother, who had insisted upon that very stringent and ill-advised", "Sir Roland says.”", "“It is a very poor offer, Sir Roland. At first sight it seems fair\nenough. But you, with your knowledge of youth, and especially such a", "as they used to be. But, thank the Lord, they get on, on the whole as\nwell as can be expected. But Sir Roland will not help us; and the young", "“Any affliction of hers,” said Sir Roland, “will involve at least her\nfather.”", "Sir Roland broke off lamely thus, because his child was attending,\nmore than himself, to what he was talking of. Like other men, he was", "Sir Roland knew well that this was not true. He had said it without\nthinking; and, with his pure love of truth, he began to condemn himself", "Sir Roland looked at him with great surprise. This was not like Hilary.\nHilary, perhaps, had never been under fatherly control as he ought to\nbe; but still, he had taken things easily as yet, and held himself shy\nof conflict.", "“Your excellent father,” Sir Roland answered, kissing away his child’s\nexcitement. “Your loving father does all this, my pet, and brings you", "again. And he thought that this plan of his son would do so, either in\nmoney or in kind. Yet having formed some misty sketch of the character\nof Sir Roland, each of these Chapmans wished the other to begin the", "“It is written in Latin,” Sir Roland said, “and has been handed from\nfather to son unsealed, and as you see it, from the time of the prince\ntill our time.”", "attacks. Sir Roland will not have the smallest idea that--that anything\nhas happened to you.”", "“Now, if you please,” Sir Roland said, with a very clear and determined\nvoice--“if you please, we will drop this subject. Your son may be a", "Inasmuch as he added to these resources the further recommendation of\na fine appearance and gentle manners, good position and fair estates,\nit may be supposed that Sir Roland was in strong demand among his", "“My dear mother,” Sir Roland answered, keeping his own opinions to\nhimself, “you clearly know how to manage young girls, a great deal", "been at school, and taken childish peeps at the world, and burnished\nup their selfishness by conflict with one another; but Sir Roland had\nkept to the family custom, and taught and trained his daughter at", "He meant Sir Roland; but would not tell them. He had met the groom from\nCoombe Lorraine; and he knew how the power of life has dropped, from a\nscore of years to threescore.", "sold. And Sir Roland cannot love her as she used to think, or he\nwould have had nothing to do with it. It must be fearfully bitter for", "Whatever Sir Roland’s trouble was, it did not engross his thoughts so\nmuch as to make him neglect his favourite. He answered her wistful gaze" ], [ "sure that there had been something, and she longed most sadly to know\nall about it. Her brother Gregory was in London, keeping his Hilary", "Meanwhile Hilary, upon whom she waited with unwearying love and\ncare, was beginning to rally from his sad disorder and threatening", "at Hilary. He lay with his back to her, fast asleep, and she kissed him\nlightly, and ran away.", "Hilary took some time to make out this. Then, knowing how barbarous his\naccent was, he weakly endeavoured with his languid eyes to pierce the", "Hilary, as he walked up the hill (down which he had ridden so\ngallantly, scarcely more than a fortnight since), was touched with", "Hilary Lorraine enjoyed his sudden delivery from London, and the fresh\ndelight of the dewy country, with such loud approval, and such noisy", "“Begone!” said Camilla to him once more, looking so grand that he could\nonly go; and then quietly bolting the old gentleman out. After which\nshe returned to Hilary.", "The excellent people of Coombe Lorraine as yet were in happy ignorance\nof all these fine doings on Hilary’s part. Sir Roland knew only too", "product,” as she rather facetiously called poor Mabel, into their\ncastle of lineage. But now, when Hilary was going away, to be drowned", "as Hilary soon proved himself. And after a few lessons in his duties,\nhe set him to work with might and main to improve his knowledge of\n“colloquial French.”", "“Who am I?” said Hilary, trying to get up a sprightly laugh. “Well, I\nthink you must have seen me once or twice in the course of your long\nlife, Miss Lorraine.”", "long, and he must have some news of Hilary. He felt her face, all wet\nwith tears, turned up to him over and over again, and he felt how she", "of Hilary’s illness. They had made up their minds that he must die\nwithin a few months; and then Alice, of course, would be the heiress of", "Hilary, of course, began, as he always managed to begin, with almost\neverybody.\n\n“I am sorry to disturb you, sir; and I have nothing particular to say.”", "The next day was Sunday; and Hilary (having brought a small bag of\nclothes with him) spent a good deal of the early time in attending to", "wits when she gets within miles of that blessed Hilary.”", "It was true that Hilary had attained at last the great ambition of his\nlife. He had changed the pen for the sword, the sand for powder, and", "things, and so on, before you see poor Hilary.”", "Hilary, Sir Roland’s only son, was now at the Temple, eating his way\nto the bar, or feeding for some other mischief; and Alice, the only", "Suddenly Alice became aware of something moving near her; and almost\nbefore she had time to be frightened, Hilary leaped from behind a" ], [ "“No, no, of course not,” she said, and then she turned away and looked\nout of the window, reflecting that Hilary was right enough. Neither\nloss nor gain of money could long interfere at all with her.", "Hilary’s bright face lost its radiance, as his conscience pricked him.\nWas it about Mabel? Of course it must be. And what the dickens was he", "of Hilary’s illness. They had made up their minds that he must die\nwithin a few months; and then Alice, of course, would be the heiress of", "“Oh, Hilary, Hilary, Hilary!”", "upon them; foretelling their troubles plentifully, and never failing\nto enhance them. And now on the very day after young Hilary’s conflict", "Poor Hilary tried in vain to look as if he took it lightly. Even his\nbright and buoyant nature could not lift head against the sea of\ntroubles all in front of him.", "Here again was a chance for Hilary; and without thinking, he worked it\nwell. In his quick, and perhaps too sudden, way of taking impression of", "Meanwhile Hilary, upon whom she waited with unwearying love and\ncare, was beginning to rally from his sad disorder and threatening", "“I have no convoy,” said Hilary, dropping his voice into very sad\nmusic. “All is lost. It is partly your fault. You were ordered to meet\nme at the Zujar ford.”", "product,” as she rather facetiously called poor Mabel, into their\ncastle of lineage. But now, when Hilary was going away, to be drowned", "of honour, on the part of the Montalvans. If the money lost had\nbeen Hilary’s own, the Count of Zamora (all compact of chivalry and", "to. Therefore it was wrong of Hilary, and showed him in a despicable\nlight, that because the young ladies would not look at him much, he", "exactly as she could have wished. But they happened to be exactly as\nHilary wished, and catching a glimpse of them unawares, he lost all", "Hilary’s blade spun round and round, and his right arm flew off at the\nelbow; and the crash was descending upon his poor head, when a stern", "mischief. But let her get a letter from Master Hilary--and you would\nsee what would come over her.”", "“You shall swing for this,” he screamed to his showman, just as Hilary\ncame up; “you shall swing for this, you,” etc., etc.", "of my poor grandson. Poor Hilary! He has done great things, and spent\nno money of his own; and indeed he had none of his own to spend; and", "“Well, I scarcely seem to know,” said Hilary, gathering all his\ncourage, “whether there is in all the world a thing so important as\nmoney.”", "things, and so on, before you see poor Hilary.”", "believed that Hilary had fallen into some scrape of which he was now\nashamed. At the same time, he took care to spread it abroad (for the" ], [ "It was true that Hilary had attained at last the great ambition of his\nlife. He had changed the pen for the sword, the sand for powder, and", "Casting by every outward sign that he ever had been a soldier, Hilary\nLorraine set forth on his sad retreat from this fine advance; afoot,", "“Begone!” said Camilla to him once more, looking so grand that he could\nonly go; and then quietly bolting the old gentleman out. After which\nshe returned to Hilary.", "at Hilary. He lay with his back to her, fast asleep, and she kissed him\nlightly, and ran away.", "not conquer him. This was a dangerous turn of events for Hilary; and\nit was lucky for him that he was promptly called away. For his host\ngot despatches which compelled him to cut short hospitality; and", "Hilary felt that he had been shot enough, and to spare, already; and\nso, while slowly and painfully plodding his way back to the great", "Hilary, as he walked up the hill (down which he had ridden so\ngallantly, scarcely more than a fortnight since), was touched with", "“Come now, Colonel, you are too bad,” cried Hilary, blushing with\npleasure, “they never could put me on the Staff again. It is impossible\nthat they could have the impudence.”", "“I have no convoy,” said Hilary, dropping his voice into very sad\nmusic. “All is lost. It is partly your fault. You were ordered to meet\nme at the Zujar ford.”", "For Hilary, now that all danger was past, grew faint; while he scorned\nhimself for doing so in the presence of the ladies.", "With these words he ran off; and Hilary, following his directions,\nenjoyed the greatest of all the mere bodily joys a man can be blessed", "The Colonel dropped the subject in the clumsiest manner possible. He\nwas under medical orders not to say a word that might stir up Hilary;", "product,” as she rather facetiously called poor Mabel, into their\ncastle of lineage. But now, when Hilary was going away, to be drowned", "Meanwhile Hilary, upon whom she waited with unwearying love and\ncare, was beginning to rally from his sad disorder and threatening", "that regiment came, and laid his one hand on Hilary’s shoulder, and\nlooked into his bright blue eyes. In all the army there was no braver,", "do. And not only Hilary now, but all the British army found it hard to\nget anything to eat. As for money--there was none, or next to none,", "The Colonel had lost two sons in battle, younger men than Hilary,\notherwise he might not have stopped to enter into an ensign’s mind. But", "Hilary read this letter twice; and then put it by, to be read again;\nfor some of it touched him sadly. Then he delivered the orders he", "Suddenly Alice became aware of something moving near her; and almost\nbefore she had time to be frightened, Hilary leaped from behind a", "What could Hilary do but yield? He was ordered to be at the Count’s\ndisposal; and thus the Count disposed of him. Nevertheless he" ], [ "of Hilary’s illness. They had made up their minds that he must die\nwithin a few months; and then Alice, of course, would be the heiress of", "“Drowning people catch at straws,” she answered with a shudder of\nmemory.\n\n“And you could not even drown yourself. You were too clumsy to do even\nthat.”", "The vigour of youth had fought against this robbery of humanity so\nlong and hard that Alice, the only spectator of the conflict, began to", "When he had slept for two or three hours, with Alice hushing the sound\nof her breath, he was seized with sudden activity. His body had been", "“Alice, dear Alice, sweet Alice!” he said, as at every approach she\nshrank further away; “lovely Alice, what have I done, that you will not", "Alice took this turn of matters with all the calmness of despair. It\nwas nothing but a childish thing to long for a few days’ reprieve,", "She looked round her favourite room once more, and nodded farewell to\neverything, and went to seek death with a firmer step than a bride’s\ntowards a bridegroom.", "With these words, she disappeared; and when the good rector had mounted\nthe hill, “Alice, Alice!” resounded vainly from the drive among the", "far away, fed upon hardships and short rations. Alice, though full\nsometimes of spirits, at other times would run away and fret, and blame", "her doll without a word, in the hands of Alice and then ran away, and\ncould never stop sobbing, until her father put the horse in on purpose,", "old woman at Lower Chancton, to ask whether she had been frightened;\nand, when he had turned the corner of a difficult plantation, Alice\ntook her course for that which she had made up her mind to do.", "Alice went back, with a sigh, to her own little room to sit and think\nawhile. She knew that she had seen the last of a man whom she could", "This would not do for his daughter Alice. She was now in that blush of\ntime, when everything is observed by maidens, but everything is not", "When the worthy old butler was gone at last, and the long dark room lay\nsilent, Alice ran up to her father’s side, to wish him, over a sip of", "“You are always talking at me about that now. And I have had almost\nless than nothing. And even that drop I should not have had, if Alice\nhad not upset me so.”", "stratum of womanhood distinct from that of Alice. She would never have\njumped into the river. She would simply have defied them to take her to", "them, he had made up his mind to go, ere any mischief should arise\nfrom it. He had no idea how vastly Alice scorned poor Steenie Chapman,", "Then Alice came forward, commending her soul to God in good Christian\nmanner, and without a fear, or tear, or sigh, committed her body to the\nDeath-bourne.", "On the third day, Sir Roland moved his eyes, and feebly raised one\nelbow. Alice sat there at his side, as now she was almost always", "afterwards--it came upon Alice as a heavy blow that she never might\nhappen to see him again. Although her father had tried to keep her from\nthe excitement of the times, and the gasp of the public for dreadful" ], [ "“Roland, now you go too far. It is not the Grower that I indite of,\nbut his charming daughter. If you could but once be persuaded to see\nher----”", "has done it? And what will every one say, when they hear that he--that\nhe would like to marry the daughter of a Grower?”", "Of course he made earnest inquiries about all the farmers of the\nneighbourhood, and led the conversation gently to the Grower and his", "His daughter obeyed without a word, and hid her disappointment. “It\nis only to wait till to-morrow,” she thought, “and then to fill him a", "The Grower pushed two grey curls aside, and looked up with a grand\namazement. Here was a girl, who at dinner-time even would scarcely say", "Now, his daughter allowed him to follow out his meditation quietly; and\nthen she said as they went down the hill, warily heeding each other’s\nsteps--", "Miss Lorraine to be scouring the country, like a yeoman’s daughter, she\nalways had to start with a trusty groom; but she generally managed to\nget rid of him.", "to think of. He perceived that they were come to hurry him about a\nthing he was not ripe with. Knowing his daughter’s steadfast nature,", "maltster. But his views for his daughter were different, and he thought\nit high time that her folly should pass. Her mother, on the other", "“To be sure, sir. She lives in Kent, and her name is Mabel Lovejoy, the\ndaughter of Mr. Martin Lovejoy.”", "“Father to me, father dearest,” she was whispering to him, in the\nnative tongue which charms the old, as having lulled their cradles;", "This would not do for his daughter Alice. She was now in that blush of\ntime, when everything is observed by maidens, but everything is not", "“Yes,” said Sir Roland, smiling at his daughter’s style of description,\n“that of course is the lady; and the portrait is clearly a likeness. At", "Mrs. Lovejoy’s lecture to her daughter seemed likely to come just a\nlittle too late, as so many excellent lessons do. For as soon as he", "“That is my name,” he answered, after kissing her in a timid manner;\n“but not my nature; at the present moment I am not so very hilarious.”", "the younger was away at sea, and whenever he came home told stories\nof foreign fruit which drove his father into a perfect fury. So that\nnow it was Martin’s main desire to marry his only daughter to some one", "“After her father, more likely, Martin. But she has given her promise,\nand she will keep it, and the time is very nearly up, you know.”", "proud of the name of “Maggie.” She had now recovered entirely from her\nten-guinea feast of dahlias, and was as pleased as the Rector himself,", "“Most of us do that,” answered the parson; “but what shall I say to his\ndaughter?”", "his daughter Alice. In those days men were not content to feed in the\nfashion of owls, or wild ducks, who have lain abed all day. In winter" ], [ "If any man in all the world is worthy to marry dear Alice, it is Major\nAylmer.”", "of the family was to be redeemed by the sacrifice of Alice. For, among\nother points, it had been arranged upon the treaty of marriage, that", "to this great purpose. I hope to have still a few years left--but\ntwo things I must see accomplished before I can leave this world in\npeace. Alice must marry Captain Chapman, upon the conditions which I", "“Captain Chapman and my Alice! Such a thought never entered my mind. Do\nyou know that poor Alice is little more than seventeen years old? And\nCaptain Chapman must be--let me see----”", "And now there was but one day left; Monday was come, and on the morrow,\nAlice was to be Mrs. Stephen Chapman.", "of Hilary’s illness. They had made up their minds that he must die\nwithin a few months; and then Alice, of course, would be the heiress of", "This would not do for his daughter Alice. She was now in that blush of\ntime, when everything is observed by maidens, but everything is not", "He had never known what pure love was; he had lessened his small\ncapacity for it, by his loose and wicked life; but in spite of all\nthat, for the first time Alice began to inspire him with it. This is", "Sir Roland had long been unwilling to give his favourite Alice to\nsuch a man as Captain Chapman seemed to be. Although, through his own", "“Alice, dear Alice, sweet Alice!” he said, as at every approach she\nshrank further away; “lovely Alice, what have I done, that you will not", "“But perhaps, sir, your young ladies is not quite so particular, and\nromantic like, as our poor dear Miss Alice.”", "“You mean to say that you really want to settle down with Alice! A girl\nof half your age and ten times your power of life! Come, Stephen!”", "Alice would have declined the escort of any other stranger; but she had\nheard such noble stories of this Major Aylmer, and felt such pity for a", "them, he had made up his mind to go, ere any mischief should arise\nfrom it. He had no idea how vastly Alice scorned poor Steenie Chapman,", "“Alice,” Sir Roland answered, smiling at her knowledge of him, “you\nhappen to be particularly right in that conjecture. I should never", "the brother wisely, as the sister shut the door and fled, “that the\nman who marries Alice won’t almost have caught a Tartar. She is very", "“Yes. Your grandmother tells me so. I was very busy at that time; and\nyou were away continually. And whenever I wanted you, I always heard\n‘Miss Alice is with Captain Chapman.’”", "with that view. But there are several hitches in your little plan: for\ninstance, Alice hates Captain Chapman, and Hilary loves a girl without\na penny--though the Grower must have had good markets lately, according", "Alice, though startled for a moment by this unexpected encounter, could\nnot help smiling at the ill-matched brilliance of her suitor’s apparel.", "marriage. “What earthly objection can there be?” he argued with Mrs.\nPipkins, now Alice’s only partisan, except old Mr. Binns, the butler;" ], [ "The second of the three who fretted with anxiety and fear, was Hilary’s\nyoung sister Alice. Proud as she was of birth, and position, and", "Hilary, who had never dreamed that she could speak sharply; “ever since\nmy sister’s disgrace, he thinks that his duty is to watch me! Ah! what", "“Now Greg, my boy,” cried Hilary, suddenly coming to the rescue; “I\ncalled your sister down here on purpose to tell me what those things\nin the water are. They look almost like some sort of fish!”", "to her brother Hilary; and, like a young girl, she was saying to\nherself as he went on--“Shall I ever be fit to compare with that lovely", "Poor Hilary, after looking wildly around, and trying in vain to command\nhis mouth, fell suddenly back, convulsed, distorted, writhing, foaming,", "Meanwhile Hilary, upon whom she waited with unwearying love and\ncare, was beginning to rally from his sad disorder and threatening", "Suddenly Alice became aware of something moving near her; and almost\nbefore she had time to be frightened, Hilary leaped from behind a", "of Hilary’s illness. They had made up their minds that he must die\nwithin a few months; and then Alice, of course, would be the heiress of", "at Hilary. He lay with his back to her, fast asleep, and she kissed him\nlightly, and ran away.", "“Heart,” she was going to say, no doubt, but was spared the trouble;\nfor down fell Hilary, stunned by a crashing blow from that dark corner;", "Claudia (who cared not one half-real for Hilary, or what became of\nhim; and who never prayed for herself, or told her beads, or did any", "again. The only trouble, to her knowledge, which her father had to deal\nwith, was the unstable and romantic character of young Hilary. This he\nnever discussed with her, nor even alluded to it; for that would have", "a filbert over the Guadiana) fell from her snowy forehead forward; and\nHilary was done for.", "Camilla declined from him with a tender slope towards Hilary; Hilary\nwent downhill too fast with violent pangs towards Claudia; and Claudia\nrose at the back of the wheel, with her eyes on the distant mountains.", "Then Hilary, sipping a little rum-and-water, wandered through his\nstory; not telling it brightly, as once he might have done, but hiding\nnothing consciously.", "long, and he must have some news of Hilary. He felt her face, all wet\nwith tears, turned up to him over and over again, and he felt how she", "Hilary allowed himself to be kissed with brotherly resignation; and\nthen he called merrily after her--“Now, Lallie, mind, you must look", "It was pitiful to see how humble this poor girl was now become. The\naccident to the Chapmans, her father’s “stroke,” poor Hilary’s ruin,", "“No, no, of course not,” she said, and then she turned away and looked\nout of the window, reflecting that Hilary was right enough. Neither\nloss nor gain of money could long interfere at all with her.", "sure that there had been something, and she longed most sadly to know\nall about it. Her brother Gregory was in London, keeping his Hilary" ], [ "sure that there had been something, and she longed most sadly to know\nall about it. Her brother Gregory was in London, keeping his Hilary", "at Hilary. He lay with his back to her, fast asleep, and she kissed him\nlightly, and ran away.", "Since he first met Mabel Lovejoy, Hilary had been changing much, and\nin every way for the better. Her gentleness, and soft regard, and", "At any rate, the last thing they thought of was the most likely thing\nof all--that Hilary should fall in love with a good, and sweet, and", "“Miss Lovejoy!” cried Hilary; “how you amaze me! Why, I thought it was", "These doings of Hilary and his love--for his love he declared her to\nbe for ever, whether she would have him for hers or not--seem to have", "Meanwhile Hilary, upon whom she waited with unwearying love and\ncare, was beginning to rally from his sad disorder and threatening", "of love on his part; but had told with all her dear warm heart the\npleasure, the pride, and the love she felt. Hilary had this letter in\nhis pocket; and it made him inclined to be critical.", "long, and he must have some news of Hilary. He felt her face, all wet\nwith tears, turned up to him over and over again, and he felt how she", "again. The only trouble, to her knowledge, which her father had to deal\nwith, was the unstable and romantic character of young Hilary. This he\nnever discussed with her, nor even alluded to it; for that would have", "Hilary, as he walked up the hill (down which he had ridden so\ngallantly, scarcely more than a fortnight since), was touched with", "“Then Hilary Lorraine is no gentleman. He has forgotten you; and is\ndeeply in love with a Spanish lady.”", "the infatuated Hilary, for the last time, at her father’s board. She\nwished him good night, and good-bye, with a glance of deep meaning and", "Hilary took some time to make out this. Then, knowing how barbarous his\naccent was, he weakly endeavoured with his languid eyes to pierce the", "Hilary Lorraine had fallen, with the usual reaction of a sanguine\ntemperament, into low spirits and disordered health. So that when he", "Hilary was delighted to watch these things, so entirely new to him. He\nhad that fatal gift of sliding into other people’s minds, and wondering", "“Heart,” she was going to say, no doubt, but was spared the trouble;\nfor down fell Hilary, stunned by a crashing blow from that dark corner;", "Hilary Lorraine enjoyed his sudden delivery from London, and the fresh\ndelight of the dewy country, with such loud approval, and such noisy", "as Hilary soon proved himself. And after a few lessons in his duties,\nhe set him to work with might and main to improve his knowledge of\n“colloquial French.”", "product,” as she rather facetiously called poor Mabel, into their\ncastle of lineage. But now, when Hilary was going away, to be drowned" ], [ "again. The only trouble, to her knowledge, which her father had to deal\nwith, was the unstable and romantic character of young Hilary. This he\nnever discussed with her, nor even alluded to it; for that would have", "“No, my dear father,” said Hilary, laughing in recognition of his\nfavourite form; “it is a much more important affair this time. Money,", "Sir Roland looked at him with great surprise. This was not like Hilary.\nHilary, perhaps, had never been under fatherly control as he ought to\nbe; but still, he had taken things easily as yet, and held himself shy\nof conflict.", "the infatuated Hilary, for the last time, at her father’s board. She\nwished him good night, and good-bye, with a glance of deep meaning and", "at Hilary. He lay with his back to her, fast asleep, and she kissed him\nlightly, and ran away.", "These doings of Hilary and his love--for his love he declared her to\nbe for ever, whether she would have him for hers or not--seem to have", "of love on his part; but had told with all her dear warm heart the\npleasure, the pride, and the love she felt. Hilary had this letter in\nhis pocket; and it made him inclined to be critical.", "Knowing that her father had not any bad news of Hilary, from whom\nhe had received a very affectionate letter that morning, Alice was", "that shame was done to good birth even by becoming conscious of it,\nexcept upon great occasions. And so, without giving much offence, or\npretending to be a champion, Hilary used to shield young Lovejoy from", "Hilary should be kept from visiting the farm just now; and the other,\nthat the Grower must be told of all this love-affair.", "Hilary looked at his male parent with affectionate sagacity. He had\nsome little doubts about his being asleep, or, at any rate, quite so", "“Begone!” said Camilla to him once more, looking so grand that he could\nonly go; and then quietly bolting the old gentleman out. After which\nshe returned to Hilary.", "Meanwhile Hilary, upon whom she waited with unwearying love and\ncare, was beginning to rally from his sad disorder and threatening", "Hilary, as he walked up the hill (down which he had ridden so\ngallantly, scarcely more than a fortnight since), was touched with", "Hilary took some time to make out this. Then, knowing how barbarous his\naccent was, he weakly endeavoured with his languid eyes to pierce the", "Hilary Lorraine enjoyed his sudden delivery from London, and the fresh\ndelight of the dewy country, with such loud approval, and such noisy", "stand in front of his daughters. But Hilary, with much presence of\nmind, faced them, as if he were in command, and cried “Halt!” as their\nofficer.", "“Then they don’t know what’s good,” answered Hilary, jumping at another\ncluster; “I was born to teach the Kentish public the proper way to\nsteal cherries.”", "“Confound the fellow!” cried the conscious Hilary; “how he beats about\nthe bush! Will he never have it out and be done with it? What an", "Hilary’s bright face lost its radiance, as his conscience pricked him.\nWas it about Mabel? Of course it must be. And what the dickens was he" ], [ "do. And not only Hilary now, but all the British army found it hard to\nget anything to eat. As for money--there was none, or next to none,", "It was true that Hilary had attained at last the great ambition of his\nlife. He had changed the pen for the sword, the sand for powder, and", "Hilary, as he walked up the hill (down which he had ridden so\ngallantly, scarcely more than a fortnight since), was touched with", "them, being reminded, perhaps, of his manger; and Hilary, dismounting,\nfound a solitary guinea lying in the dust, the last of fifty thousand.", "“No, no, of course not,” she said, and then she turned away and looked\nout of the window, reflecting that Hilary was right enough. Neither\nloss nor gain of money could long interfere at all with her.", "Hilary’s blade spun round and round, and his right arm flew off at the\nelbow; and the crash was descending upon his poor head, when a stern", "What could Hilary do but yield? He was ordered to be at the Count’s\ndisposal; and thus the Count disposed of him. Nevertheless he", "of honour, on the part of the Montalvans. If the money lost had\nbeen Hilary’s own, the Count of Zamora (all compact of chivalry and", "Casting by every outward sign that he ever had been a soldier, Hilary\nLorraine set forth on his sad retreat from this fine advance; afoot,", "“I have no convoy,” said Hilary, dropping his voice into very sad\nmusic. “All is lost. It is partly your fault. You were ordered to meet\nme at the Zujar ford.”", "for in a foreign land as Hilary in his sore heart believed. In his\nregiment there was a certain old major, lame, and addicted to violent\nlanguage, but dry and sensible according to his lights, and truthful,", "Poor Hilary tried in vain to look as if he took it lightly. Even his\nbright and buoyant nature could not lift head against the sea of\ntroubles all in front of him.", "The Colonel had lost two sons in battle, younger men than Hilary,\notherwise he might not have stopped to enter into an ensign’s mind. But", "“Come now, Colonel, you are too bad,” cried Hilary, blushing with\npleasure, “they never could put me on the Staff again. It is impossible\nthat they could have the impudence.”", "Hilary certainly could not make anything very good out of this. And\ncheerful though his nature was, and tolerably magnanimous, he could not", "“Well, I scarcely seem to know,” said Hilary, gathering all his\ncourage, “whether there is in all the world a thing so important as\nmoney.”", "of my poor grandson. Poor Hilary! He has done great things, and spent\nno money of his own; and indeed he had none of his own to spend; and", "Hilary read this letter twice; and then put it by, to be read again;\nfor some of it touched him sadly. Then he delivered the orders he", "at Hilary. He lay with his back to her, fast asleep, and she kissed him\nlightly, and ran away.", "At Waterloo, Hilary worked his right arm much harder than he worked it\nthrough the rest of his life; because there he lost it. When the French" ], [ "This matter being cleared, and the time brought up, here we are at West\nLorraine in earnest, in the month of October, 1813; long after Hilary’s", "On the following day--the month being August, or something very near\nit, in the year 1812 (a year behind the time we got on to)--Mr. Hales,", "a century ago she had been. Many good stories (and some even true)\nwere told concerning her doings and sayings in the time of her youth\nand beauty. Doings were always put first, because for these she was", "“Seventeen years and a half, madam; about last Wednesday fortnight.”", "But now there is just time to say that it must have been broad August,\nwhen the fields were growing white for harvest, after the swath of", "This would not do for his daughter Alice. She was now in that blush of\ntime, when everything is observed by maidens, but everything is not", "“No, Alice, it waits its due time, of course. Three months is its time,\nI believe, for running, before it destroys the family. Your marriage", "It was now the end of June, and the cherries must be getting ripe. The\nday had been very hot and sultry, and Hilary came into chambers later", "“Is it all gone?” he asked pretty calmly, when they had cut him free at\nlast, but he could not stand from stiffness. “Do you mean to say that\nthe whole is gone?”", "For a very long time he got no answer, except a little smothered sob,\nand two great tears that would have their way. “Darling Mabel, look", "“The battle of Trafalgar, yes. The 21st of October, seven years ago, as\nI am a man! Lord bless me, it seems but yesterday! How all the country", "“It is quite early,” she said to herself; “nothing--not even three\no’clock. I get into the stupidest, fearfullest ways, from such", "taken more time almost in telling than in befalling. Although it had\nbeen a long summer’s day, to them it had passed as a rapid dream. So", "In the village of West Lorraine, which lies at the foot of the South\nDown ridge, there lived at this moment, and had lived for three", "Now one afternoon towards Allhallows day, when the air was brisk and\nthe crisp leaves rustled, some under foot and some overhead, Mr.", "that it will go on without interrupting the story. Now, papa, no more\ndelay.”", "Even now, all has not been told; for by bringing the cook good news\nof her sweetheart, and the parlourmaid dry sticks to light her fire,", "This was the last quiet day of her life; the last day for thinking of\nlittle things; the last day of properly feeding her pets, her poultry,", "years; when it broke forth suddenly in greater volume, and ran for\nthree months only. But in that short time the fortune of the family\nfell from its loftiest to its lowest; and never thenceforth was it", "time. You will wait for me there, if you are an English gentleman.”" ], [ "Chapman is not what I call a good man.”", "“A most sensible question,” Chapman answered, and fell once more to\nzero in the opinion of his charmer. With all the contempt that can be", "inside it. For instance, there was Sir Remnant Chapman (for whom even\nan epitaph must strain its elastic charity); Stephen, his son--who had", "“The beautiful gazing at the beautiful!” said Chapman, with his eyes so\nfixed as to receive his view of the landscape (if at all) by deputy.", "He is living on sixpence a-day, I believe--virtuous fellow, most rare\nyoung man! Why, if that dirty Steve Chapman now had been treated as you", "Chapman, and having small faith in converted rakes, he resolved to be\nneutral for the present; and so rode home to his dinner.", "time longer. He seemed so bent, and his sight so bad, and requiring so\nmuch refreshment! And then, of course, you would be Lady Chapman if you\ncare about such trifles.”", "sees all things with one little eye, and that eye a vicious one. Sir\nRemnant Chapman had no belief in the goodness of woman, or the truth of", "“Chapman, I think,” said Sir Roland Lorraine, to assuage the rising\nstorm, “that we might as well leave these little points (which have", "Sir Remnant Chapman returned to the house, with a heavy sigh from his\nwithered breast. He had not the goodness in him which is needed to", "assured him that Captain Chapman would do nothing to hurt or even\nto offend young Alice. And yet, because he regarded Stephen with\ninveterate dislike, he really did for the moment believe it his duty", "“I will tell you what proves it beyond all dispute. You know how that\nwretched little Captain Chapman looks up when he hates any one, and", "“To hear Captain Chapman’s name alone conduces to my misery.”", "and such as often exposed the lad to laughter in good society. One of\nhis best friends used to say that Hilary wanted a vice or two to make", "“even if Captain Chapman is rather lazy, and a little too fond of\nhis wine-glass; both points are in her favour, ma’am. She will manage", "The Rector--of all men the most hospitable, though himself so sober\nin the morning--revived Captain Chapman, or at least refreshed him,", "not even a dubious preference for the truth, at first sight, against\na lie. Captain Chapman, however, could do one manly thing, and only", "He hath so much to see to with them Chapman lot, that he must not leave\nhome nohow. The coach is a-coming for you now just.”", "“Holloa, Chapman! what are you about? Why, you look like one of\nBottler’s pigs, when they run about with their throats cut! Where is my", "blame other people. Please to remember that I said that. And good-bye,\nCaptain Chapman.”" ], [ "to see. Hilary let them get ready, and waited till he saw that their\nmoney was burning. Meanwhile Crusty John was grinning one of his most\nexperienced grins.", "of Hilary’s illness. They had made up their minds that he must die\nwithin a few months; and then Alice, of course, would be the heiress of", "mischief. But let her get a letter from Master Hilary--and you would\nsee what would come over her.”", "at Hilary. He lay with his back to her, fast asleep, and she kissed him\nlightly, and ran away.", "It was true that Hilary had attained at last the great ambition of his\nlife. He had changed the pen for the sword, the sand for powder, and", "upon them; foretelling their troubles plentifully, and never failing\nto enhance them. And now on the very day after young Hilary’s conflict", "“Confound the fellow!” cried the conscious Hilary; “how he beats about\nthe bush! Will he never have it out and be done with it? What an", "With these words he ran off; and Hilary, following his directions,\nenjoyed the greatest of all the mere bodily joys a man can be blessed", "“No, no, of course not,” she said, and then she turned away and looked\nout of the window, reflecting that Hilary was right enough. Neither\nloss nor gain of money could long interfere at all with her.", "What could Hilary do but yield? He was ordered to be at the Count’s\ndisposal; and thus the Count disposed of him. Nevertheless he", "“I have no convoy,” said Hilary, dropping his voice into very sad\nmusic. “All is lost. It is partly your fault. You were ordered to meet\nme at the Zujar ford.”", "Hilary’s bright face lost its radiance, as his conscience pricked him.\nWas it about Mabel? Of course it must be. And what the dickens was he", "them, being reminded, perhaps, of his manger; and Hilary, dismounting,\nfound a solitary guinea lying in the dust, the last of fifty thousand.", "“No more of that, an you love me. I believe the little rascal peppered\nhimself to get a guinea out of me. But as to Hilary, will you allow me", "believed that Hilary had fallen into some scrape of which he was now\nashamed. At the same time, he took care to spread it abroad (for the", "faith, to believe that poor Hilary had got the money buried somewhere\non the Downs, and would dig it up like a morel, as soon as the stir of", "“No, I may tell that, I do believe,” said Hilary, after one moment’s", "“Well, I scarcely seem to know,” said Hilary, gathering all his\ncourage, “whether there is in all the world a thing so important as\nmoney.”", "“Begone!” said Camilla to him once more, looking so grand that he could\nonly go; and then quietly bolting the old gentleman out. After which\nshe returned to Hilary.", "“I scarcely know whether he knows it yet. Hilary wanted to tell him;\nbut I persuaded him to leave it altogether to me. And so I told my" ], [ "product,” as she rather facetiously called poor Mabel, into their\ncastle of lineage. But now, when Hilary was going away, to be drowned", "Since he first met Mabel Lovejoy, Hilary had been changing much, and\nin every way for the better. Her gentleness, and soft regard, and", "any second thoughts concerning Hilary. Hilary, on the other hand, was\nto be acknowledged as the cavalier of Mabel; to help her when she\nwanted helping, and to talk when she wanted talking; although it might", "On the other hand, the rarest work and the most tantalizing tricks were\ngoing on, at a proper distance, between young Mabel and Hilary. They", "What passed between Mabel and Hilary may better be imagined duly, than\nput into clumsy words.\n\n\n\n\nCHAPTER LXIV.\n\nIMPENDING DARKNESS.", "Hilary saw that his host was vexed; but he felt quite certain in his\nown heart that Mabel could never be so rude, or show such resentment", "Hilary’s bright face lost its radiance, as his conscience pricked him.\nWas it about Mabel? Of course it must be. And what the dickens was he", "mischief. But let her get a letter from Master Hilary--and you would\nsee what would come over her.”", "of shame. Hilary loved Mabel still, with all his better heart and\nsoul; her pure and kind and playful glance, and the music of her true", "saluted, and dashed off. Hilary opened it, and found a most lovely\nminiature of Mabel. There was the good, bright, clever face; the calm", "too like Claudia’s to be trusted all at once. Moreover, Hilary thought\nof Mabel, of all her goodness, and proven trust; and Spanish ladies,", "Meanwhile Hilary, upon whom she waited with unwearying love and\ncare, was beginning to rally from his sad disorder and threatening", "Hilary did not look as if anything came amiss to him, as now he lay at\nthe feet of Mabel, on the slope of the sweet rich sward, listening only", "again. The only trouble, to her knowledge, which her father had to deal\nwith, was the unstable and romantic character of young Hilary. This he\nnever discussed with her, nor even alluded to it; for that would have", "Moreover, he thought that if Mabel took the smallest delight in Hilary,\nshe could not have answered as she had done, when that pious youth,\nin the early evening, expressed his sincere desire to attend another\nperformance of Divine service.", "wits when she gets within miles of that blessed Hilary.”", "at Hilary. He lay with his back to her, fast asleep, and she kissed him\nlightly, and ran away.", "Suddenly Alice became aware of something moving near her; and almost\nbefore she had time to be frightened, Hilary leaped from behind a", "For Mabel was glad to turn away as quickly as possible, after a\nlittle well-managed curtsey to Hilary, whom she had not seen for the", "of Hilary’s illness. They had made up their minds that he must die\nwithin a few months; and then Alice, of course, would be the heiress of" ] ]

[ "What was Hilary studying for in London?", "In what century was this story set?", "What was wrong with Chapman?", "Who was the hero in this story?", "On what day did Alice throw herself into the river?", "In what country did Hilary fall under the countess' spell?", "Where did Hilary start on the road to fame?", "Who did Hilary confess his folly to?", "When does the story take place?", "How are the story's protagonists related?", "Why does Sir Roland sign his son up for military service?", "What was Hilary doing in London?", "Who caused Hilary to lose money?", "Why did Hilary leave the army?", "When does Alice try to kill herself?", "What is the farmer's daughter's name?", "Who wanted to marry Alice?", "What happened after Hilary's sister jumped into a river?", "What subject is Hilary studying in London when he falls in love?", "What did Hilary's father do when Hilary confessed his love for the Kentish farmer's daughter?", "How much money did Hilary lose while serving in the army?", "What is the time period for the story?", "What is Chapman's principal vice?", "Who tricks Hilary out of the money he was entrusted with?", "How did Hilary come to know Mabel?" ]

[ [ "The bar", "The bar." ], [ "19th century", "19th century" ], [ "Chapman was a drunk.", "He was a drunk." ], [ "Hilary", "Hilary and Alice" ], [ "Her wedding day", "on her wedding day" ], [ "Spain", "Spain" ], [ "At Badajos", "Badojos" ], [ "His father", "His father. " ], [ "early 19th century", "early 19th century" ], [ "they are brother and sister", "brother and sister" ], [ "to keep Hilary away from the farmer's daughter", "Falls in love with the daughter of a farmer." ], [ "studying for the bar", "studying the bar" ], [ "a Spanish countess", "The countess" ], [ "The money he lost was military funds", "lost 50000 pounds of the army's money to a spanish countess" ], [ "just before the wedding", "To avoid her arranged marriage." ], [ "Mabel", "Mabel" ], [ "Chapman", "Chapman" ], [ "she was rescued after being carried for a mile", "She is rescued and revived after floating a mile." ], [ "Law", "Law" ], [ "Paid to get him an officer's commission in the military.", "Sends him to military duty in Spain." ], [ "50,000 pounds", "50,000 pounds." ], [ "Early 1800s", "The early 19th century." ], [ "Drinking", "drinking" ], [ "A Spanish countess", "The countess" ], [ "She was the sister of a classmate.", "She was the sister of a fellow student." ] ]

[ [ "during the night had told her something of the probable antecedents of\nTroubert's life; she was able, without misleading Birotteau, to show", "Abbe Troubert, after discreetly knocking at the door, obeyed Birotteau's\ninvitation and entered the room. This visit, which the two abbe's", "and Monsieur l'Abbe Chapeloud. The Abbe Troubert still lived. The Abbe\nChapeloud was dead; and Birotteau had stepped into his place.", "Yet the Abbe Troubert, now fifty years of age, had entirely removed,\npartly by the circumspection of his conduct and the apparent lack of all", "Birotteau, on the other hand, was all expansion, all frankness; he loved\ngood things and was amused by trifles with the simplicity of a man who", "day when Birotteau went to live with her she had undertaken to keep in\nhealth and contentment two priests; namely, Monsieur l'Abbe Troubert", "It would be impossible to find two figures which presented so many\ncontrasts to each other as those of the two abbes. Troubert, tall", "\"Monsieur Birotteau does not find us agreeable enough,\" said the Abbe\nTroubert to Mademoiselle Gamard's friends when she was forced to tell", "yet make out. The Abbe Troubert is too deep to be fathomed at once. Our\ndear Birotteau is at the beginning of his troubles. Besides, would he", "The Abbe Birotteau, a short little man, apoplectic in constitution and\nabout sixty years old, had already gone through several attacks of gout.", "Mademoiselle Gamard, more especially the Abbe Troubert; the said\nBirotteau does hereby engage, in consideration of certain sums of money", "Birotteau, frightened at the length of time which had elapsed between\nthe question and the answer,--for he had, for the first time in", "\"You mean Poirel?\"\n\n\"No, Troubert.\"", "Birotteau left the house dismayed. Troubert assumed in his eyes the\ndimensions of an Egyptian pyramid. The hands of that man were in Paris,\nhis elbows in the Cloister of Saint-Gatien.", "Early in the autumn of 1826 the Abbe Birotteau, the principal personage\nof this history, was overtaken by a shower of rain as he returned", "Hearing the last words Birotteau made a feeble bow as if to take leave\nof the old maid, and left the house precipitately. He was afraid if he", "The Abbe Birotteau had been about ten days at the Alouette, when, one\nmorning while he was breakfasting, the porter came to say that Monsieur", "The late Abbe Chapeloud, in life a canon of Saint-Gatien, had been an\nintimate friend of the Abbe Birotteau. Every time that the latter paid", "\"Monsieur,\" said Birotteau, amazed, and again interrupting the lawyer,\n\"I did not suppose it necessary to employ, as it were, legal means to--\"", "of his friend. The harmless Birotteau clasped his hands as if to pray,\nand wept with distress at the sight of human horrors that his own" ], [ "The apartment, reached by a stone staircase, was on the side of the\nhouse that faced south. The Abbe Troubert occupied the ground-floor, and", "The Abbe Birotteau was making his way to this house, where he had lived\nfor the last two years. His apartment had been (as was now the canonry)", "francs to the Abbe Birotteau. The day on which the dispositions in her\nwill were made known Monseigneur Hyacinthe, Bishop of Troyes, was on", "At the moment when Monseigneur Hyacinthe, Bishop of Troyes, drove along\nthe quay Saint-Symphorien in a post-chaise on his way to Paris poor", "adorned the vast room, then lately painted, his envy of Chapeloud's\napartment became a monomania hidden within his breast. To live there, to", "\"Not there, monsieur le vicaire; the Abbe Troubert is in your old\napartment.\"", "apartment.\" And yet--Birotteau having an excellent heart, contracted\nideas, and a limited mind--he did not go so far as to think of means by", "Birotteau, on receiving his legacy, came to settle in writing the terms\nof his board she saw he was so in love with the apartment, for which he", "Chapeloud's apartment; and it was strengthened by all those feelings\nof pride, egotism, envy, and vanity which pre-exist in the breasts of\nworldly people.", "When the Abbe Chapeloud died, the old maid, who desired a lodger with\nquiet ways, naturally thought of the vicar. Before the canon's will was", "Mademoiselle Gamard the first floor of the main building, looking on the\nstreet. When Chapeloud took possession of his rooms they were bare\nof furniture, and the ceilings were blackened with smoke. The stone", "vicar sat by him reading the \"Quotidienne\" aloud: \"This time you will\ncertainly get the apartment. I feel it is all over with me now.\"", "Poor Birotteau never imagined in his childish brain that anything could\never separate him from that house where he expected to live and die with", "concentrated themselves for Birotteau in the deep and secret longing he\nfelt for an apartment like that which the Abbe Chapeloud had created for", "After accepting his happiness in the old maid's salon for six months\nwith tolerable patience, Birotteau deserted the house of an evening,", "Birotteau left the house dismayed. Troubert assumed in his eyes the\ndimensions of an Egyptian pyramid. The hands of that man were in Paris,\nhis elbows in the Cloister of Saint-Gatien.", "The late Abbe Chapeloud, in life a canon of Saint-Gatien, had been an\nintimate friend of the Abbe Birotteau. Every time that the latter paid", "those that politeness demanded, and those which necessarily exist\nbetween two persons living under the same roof. Thus, though he and\nthe Abbe Troubert took their regular three meals a day, he avoided the", "Abbe Troubert, after discreetly knocking at the door, obeyed Birotteau's\ninvitation and entered the room. This visit, which the two abbe's", "The Abbe Birotteau had been about ten days at the Alouette, when, one\nmorning while he was breakfasting, the porter came to say that Monsieur" ], [ "Accordingly, it was found that the Abbe Chapeloud had left his library\nand all his furniture to his friend Birotteau. The possession of these", "later, another lady gave the canon a set of furniture for his bedroom,\nthe covering of which she had embroidered under the eyes of the worthy\nman without his ever suspecting its destination. The bedroom then had", "When the Abbe Chapeloud died, the old maid, who desired a lodger with\nquiet ways, naturally thought of the vicar. Before the canon's will was", "empty. Moreover, Chapeloud's uncle, an old Oratorian, had left him his\ncollection in folio of the Fathers of the Church, and several other\nimportant works that were precious to a priest.", "The two priests went downstairs together, each armed with a huge folio\nwhich they laid on one of the side tables in the dining-room.", "The Abbe Birotteau spent the first days of his mourning in verifying the\nbooks in _his_ library, in making use of _his_ furniture, in examining", "day when Birotteau went to live with her she had undertaken to keep in\nhealth and contentment two priests; namely, Monsieur l'Abbe Troubert", "The new bishop made over Mademoiselle Gamard's house by deed of gift to\nthe Chapter of the cathedral; he gave Chapeloud's books and bookcases", "which to make his friend bequeath to him the library and the furniture.", "having left the Abbe Chapeloud two thousand francs, he spent that sum on\nthe purchase of an oak bookcase, the relic of a chateau pulled down by", "The priest remained impassible, but his calm exterior was an indication\nof violent emotion. Monsieur Bourbonne alone had fathomed the secret of\nthat apparent tranquillity. The priest had triumphed!", "by his bed to keep him company, there arose in the depths of his\nconsciousness, in spite of himself, a crowd of thoughts the simple\nformula of which was always, \"If Chapeloud dies I can have this", "mantelpieces, which were very badly cut, had never been painted. At\nfirst, the only furniture the poor canon could put in was a bed, a", "At last they reached the Alouette, where the priest's friends gave him\nsuch tender care that towards evening he grew calmer and was able to\ngive them an account of what had happened during the morning.", "lodged while there according to the terms originally agreed upon. When\nthe vicar had signed the document, Monsieur Caron took it and asked\nwhere his client was to send the things left by the abbe in her house", "flourish to the sprinkler and aspersed the coffin with holy water.\"\nMonsieur de Bourbonne picked up the tongs and imitated the priest's", "priests sat opposite to each other in cane-seated arm-chairs on either\nside of the square table, the head of which was taken by the landlady,", "\"Why?\"\n\n\"I have just learned that the Abbe Troubert is appointed vicar-general\nin place of the other man, who died yesterday.\"", "table, a few chairs, and the books he possessed. The apartment was like\na beautiful woman in rags. But two or three years later, an old lady", "When he eyes fell on these few remnants of his possessions the unhappy\npriest sat down and hid his face in his hands to conceal his tears" ], [ "Caron desired to speak with him. Monsieur Caron was Mademoiselle\nGamard's laywer, and had charge of her affairs. Birotteau, not", "Birotteau might succeed him, was given to another. Mademoiselle Gamard\nhaving cheerfully agreed to take the vicar to board, the latter was", "the cathedral and Birotteau was made vicar of it. Chapeloud then went to\nboard with Mademoiselle Gamard. When Birotteau first came to visit", "make her master bear, or a woman her husband, were instinctively divined\nby Mademoiselle Gamard and used upon Birotteau. The way in which she", "Accordingly, it was found that the Abbe Chapeloud had left his library\nand all his furniture to his friend Birotteau. The possession of these", "The new bishop made over Mademoiselle Gamard's house by deed of gift to\nthe Chapter of the cathedral; he gave Chapeloud's books and bookcases", "Birotteau left the room confounded. In the direful necessity of\nconsulting no one, he now judged Mademoiselle Gamard as he would", "things, so keenly desired, and the prospect of being taken to board by\nMademoiselle Gamard, certainly did allay the grief which Birotteau felt", "of the deed, Mademoiselle Gamard had the law on her side, and in equity,\nthat is to say outside of strict legal justice, the Abbe Birotteau would", "said Sophie Gamard agrees to take into her house, on the above-named\nstipulated condition, the said Francois Birotteau; and whereas it is", "Mademoiselle Gamard's house solely out of friendship for the vicar, the\nold maid triumphed in receiving her, and saw that, thanks to Birotteau,", "Mademoiselle Gamard, more especially the Abbe Troubert; the said\nBirotteau does hereby engage, in consideration of certain sums of money", "other more and more. The Abbe Birotteau soon became intolerable to\nMademoiselle Gamard. Eighteen months after she had taken him to board,", "After hearing these terrible words, Birotteau forgot the canonry and ran\ndownstairs as quickly as a young man to find Mademoiselle Gamard. He", "The late Abbe Chapeloud, in life a canon of Saint-Gatien, had been an\nintimate friend of the Abbe Birotteau. Every time that the latter paid", "\"Here is the deed of relinquishment,\" said Madame de Listomere; \"it ends\nall discussion, and makes them over to Mademoiselle Gamard.\" She laid", "\"Monsieur,\" said Birotteau, amazed, and again interrupting the lawyer,\n\"I did not suppose it necessary to employ, as it were, legal means to--\"", "\"I could not avoid a feeling of compassion. Birotteau, whose feeble\nnature must be well known to you, entreated me to see Madaemoiselle\nGamard and to obtain as the price of his renunciation--\"", "nothing by his relinquishment. Mademoiselle Gamard died the next day.\nNo one felt surprised when her will was opened to find that she had", "hitherto attributed to him; that Mademoiselle Gamard, known to be a\nkindly woman and easy to live with, had put Birotteau under obligations" ], [ "has just received a frightful blow, which shows the most determined\nhatred. He is appointed curate of Saint-Symphorien.\"", "receive him, never doubting that he would soon be a canon. Monsieur de\nBourbonne asked to see the paper, the deed of relinquishment, which the", "Greatly astonished by this information he started for Paris immediately,\nand went at once to the minister, who seemed to be amazed himself, and", "his powers to the Abbe Troubert provisionally. The canonry will, of\ncourse, depend wholly upon him. Now last evening, at Mademoiselle de la", "time, and begged him to find out the real intentions of his Excellency\nin a matter which threatened the loss of his whole future. He waited in\nhis uncle's carriage with the utmost anxiety for the end of the session.", "by his bed to keep him company, there arose in the depths of his\nconsciousness, in spite of himself, a crowd of thoughts the simple\nformula of which was always, \"If Chapeloud dies I can have this", "Chapter of Saint-Gatien), assuring him that no one deserved such\npromotion as he, whose rights, long overlooked, were indisputable.", "Birotteau had been placed in an armchair in the sun on a terrace above\nthe road. The unhappy priest, smitten by the archbishop, was pale and", "Birotteau drew the fatal stamped paper from his pocket and gave it\nto Monsieur de Bourbonne, who read it rapidly and soon came upon the\nfollowing clause:--", "\"Why?\"\n\n\"I have just learned that the Abbe Troubert is appointed vicar-general\nin place of the other man, who died yesterday.\"", "Caron desired to speak with him. Monsieur Caron was Mademoiselle\nGamard's laywer, and had charge of her affairs. Birotteau, not", "The priest remained impassible, but his calm exterior was an indication\nof violent emotion. Monsieur Bourbonne alone had fathomed the secret of\nthat apparent tranquillity. The priest had triumphed!", "The late Abbe Chapeloud, in life a canon of Saint-Gatien, had been an\nintimate friend of the Abbe Birotteau. Every time that the latter paid", "of his quasi-colleague. He opened the window and called to her harshly,\ntelling her to come at once to the abbe; then, turning round to his", "\"The vicar-general, to whom the appointments to office are entrusted, is\nvery ill,\" said Mademoiselle Salomon, \"and the archbishop has delegated", "he said, motioning as he did so to a friend of Troubert, a councillor of\nthe Prefecture, who was present. The lieutenant therefore continued:--", "Birotteau, frightened at the length of time which had elapsed between\nthe question and the answer,--for he had, for the first time in", "see the Abbe Troubert and ask him to push your claims to the canonry,\nand you'll see how cordially he will receive you.\"", "seek his company, had steadily opposed, though secretly and with much\njudgment, the elevation of the Abbe Troubert. He had even adroitly", "The poor, bewildered abbe cried aloud: \"Chapeloud was right when he said\nthat if Troubert could drag him by the feet out of his grave he would do\nit! He sleeps in Chapeloud's bed!\"" ], [ "The Abbe Birotteau was making his way to this house, where he had lived\nfor the last two years. His apartment had been (as was now the canonry)", "and Monsieur l'Abbe Chapeloud. The Abbe Troubert still lived. The Abbe\nChapeloud was dead; and Birotteau had stepped into his place.", "Early in the autumn of 1826 the Abbe Birotteau, the principal personage\nof this history, was overtaken by a shower of rain as he returned", "Birotteau might succeed him, was given to another. Mademoiselle Gamard\nhaving cheerfully agreed to take the vicar to board, the latter was", "The late Abbe Chapeloud, in life a canon of Saint-Gatien, had been an\nintimate friend of the Abbe Birotteau. Every time that the latter paid", "The Abbe Birotteau had been about ten days at the Alouette, when, one\nmorning while he was breakfasting, the porter came to say that Monsieur", "The conference between the lawyer and Birotteau was short. The vicar\ncame back quite terrified.\n\n\"He wants me to sign a paper stating my relinquishment of domicile.\"", "Poor Birotteau never imagined in his childish brain that anything could\never separate him from that house where he expected to live and die with", "Hearing the last words Birotteau made a feeble bow as if to take leave\nof the old maid, and left the house precipitately. He was afraid if he", "The new bishop made over Mademoiselle Gamard's house by deed of gift to\nthe Chapter of the cathedral; he gave Chapeloud's books and bookcases", "Birotteau left the house dismayed. Troubert assumed in his eyes the\ndimensions of an Egyptian pyramid. The hands of that man were in Paris,\nhis elbows in the Cloister of Saint-Gatien.", "Birotteau had been placed in an armchair in the sun on a terrace above\nthe road. The unhappy priest, smitten by the archbishop, was pale and", "the cathedral and Birotteau was made vicar of it. Chapeloud then went to\nboard with Mademoiselle Gamard. When Birotteau first came to visit", "house, by preventing his advancement in the church, and closing the\nbest salons in Tours against him. By what magic wand had the present\ntransformation taken place? Surely these things belonged to Birotteau?", "The news of Birotteau's removal from Madame de Listomere's house seemed\nall the more amazing because the reason of it was wholly impenetrable.", "The Abbe Birotteau, a short little man, apoplectic in constitution and\nabout sixty years old, had already gone through several attacks of gout.", "Mademoiselle de Villenoix, who returned to Tours the next morning, took\nBirotteau with her and set him down on the quay of the cathedral leaving", "After accepting his happiness in the old maid's salon for six months\nwith tolerable patience, Birotteau deserted the house of an evening,", "grades among the saints. But the covetous desire for the apartment which\nthe Abbe Birotteau was now inhabiting (a very harmless desire in", "during the night had told her something of the probable antecedents of\nTroubert's life; she was able, without misleading Birotteau, to show" ], [ "resulted in destroying the whole fabric. Mademoiselle Salomon remained\nto him. But, alas, in losing his old illusions the poor priest dared not\ntrust in any later friendship.", "At last they reached the Alouette, where the priest's friends gave him\nsuch tender care that towards evening he grew calmer and was able to\ngive them an account of what had happened during the morning.", "Chapeloud's bed, and disinheriting at last the friend of Chapeloud, the\nman who, for so many years, had confined him to Mademoiselle Gamard's", "But alas! the abbe Birotteau himself caused this cherished hope to\nmiscarry. Now if those persons who in the course of their lives have", "of his friend. The harmless Birotteau clasped his hands as if to pray,\nand wept with distress at the sight of human horrors that his own", "\"Of the fourteen persons now present,\" he said, in a low voice, \"not\none will stand by you a fortnight hence. If the time comes when you need", "Nevertheless, these friends, enchanted to escape one evening a week in\nthe Cloister, the darkest, dreariest, and most out of the way corner in\nTours, blessed the poor vicar in their hearts.", "Birotteau was so bewildered by the upsetting of all his ideas, by the\nrapidity of events which found him defenceless, by the ease with which", "as if the abbe were a hundred miles from Tours, from his friends, from\neverything! It is a frightful exile, and all the more cruel because he", "Saint-Symphorien was suspended. His superiors judged him guilty. The\nmurderer of Sophie Gamard was also a swindler. If Monseigneur Troubert", "friends gathered round him before a comfortable fire, Birotteau naively\nrelated the history of his troubles. His hearers, who were beginning to", "The late Abbe Chapeloud, in life a canon of Saint-Gatien, had been an\nintimate friend of the Abbe Birotteau. Every time that the latter paid", "pleasure of taking his friends into his confidence,--a last but cruel\naggravation of his misery. The little amount of tact which he derived\nfrom his timidity made him fear to seem ridiculous in concerning himself", "stayed longer that he should break down utterly, and give too great a\ntriumph to his implacable enemies. Walking like a drunken man he at last", "Birotteau left the house dismayed. Troubert assumed in his eyes the\ndimensions of an Egyptian pyramid. The hands of that man were in Paris,\nhis elbows in the Cloister of Saint-Gatien.", "The priest remained impassible, but his calm exterior was an indication\nof violent emotion. Monsieur Bourbonne alone had fathomed the secret of\nthat apparent tranquillity. The priest had triumphed!", "became dangerously ill. The whole town rang with pity and false\ncommiseration: \"Mademoiselle Gamard's sensitive nature has not been\nable to bear the scandal of this lawsuit. In spite of the justice of", "The Abbe Troubert followed the body of his friend to the grave; at\nthe verge of which he delivered a discourse in which, thanks to his", "After mature deliberation all present promised their assistance to the\nAbbe Birotteau in the struggle which was now inevitable between the poor", "doubt no longer that he was under an eye of hatred turned fully upon\nhim. From that moment he fell into despair, seeing everywhere the\nskinny, clawlike fingers of Mademoiselle Gamard ready to hook into his" ], [ "\"Troubert will be made vicar-general,\" said Monsieur de Bourbonne,\nsententiously.", "\"Why?\"\n\n\"I have just learned that the Abbe Troubert is appointed vicar-general\nin place of the other man, who died yesterday.\"", "\"The vicar-general, to whom the appointments to office are entrusted, is\nvery ill,\" said Mademoiselle Salomon, \"and the archbishop has delegated", "year, it seemed probable that he would soon be raised to the office of\nvicar-general of the archbishopric. His competitors themselves desired\nthe appointment, so that their own plans might have time to mature", "All Tours was soon aware that Madame la Baronne de Listomere, widow of\na lieutenant-general, had invited the Abbe Birotteau, vicar of", "The new bishop made over Mademoiselle Gamard's house by deed of gift to\nthe Chapter of the cathedral; he gave Chapeloud's books and bookcases", "It was true. The vicar-general was feeling the delightful sensation\nwhich Mirabeau was unable to subdue when in the days of his power he\nfound gates opening to his carriage which were barred to him in earlier\ndays.", "Meanwhile Mademoiselle Salomon de Villenoix was announced. She came from\nTours in the hope of being useful to the poor abbe, and the news she", "has just received a frightful blow, which shows the most determined\nhatred. He is appointed curate of Saint-Symphorien.\"", "you have been talking slightingly of a certain Abbe Troubert, the\nvicar-general, but a very important personage in the province, where he\nrepresents the Jesuits. I have made myself responsible to the minister", "his powers to the Abbe Troubert provisionally. The canonry will, of\ncourse, depend wholly upon him. Now last evening, at Mademoiselle de la", "Nevertheless, these friends, enchanted to escape one evening a week in\nthe Cloister, the darkest, dreariest, and most out of the way corner in\nTours, blessed the poor vicar in their hearts.", "Saint-Gatien and leave Tours. Don't say where you are going, but find\nsome distant parish where Troubert cannot get hold of you.\"", "Five months later the vicar-general was made Bishop of Troyes; and\nMadame de Listomere was dead, leaving an annuity of fifteen hundred", "less easy to a priest; but it must be remembered that the vicar, whose\nfriendship was faithful, did not fail to take a daily walk with his\nfriend along their usual path in the Mail de Tours, never once depriving", "the cathedral and Birotteau was made vicar of it. Chapeloud then went to\nboard with Mademoiselle Gamard. When Birotteau first came to visit", "The Abbe Chapeloud, a man of great good sense, whose amiability had made\nthe leaders of the diocese and the members of the best society in Tours", "Mademoiselle de Villenoix, who returned to Tours the next morning, took\nBirotteau with her and set him down on the quay of the cathedral leaving", "Birotteau might succeed him, was given to another. Mademoiselle Gamard\nhaving cheerfully agreed to take the vicar to board, the latter was", "THE VICAR OF TOURS\n\n\nBy Honore De Balzac\n\n\n\nTranslated by Katharine Prescott Wormeley" ], [ "and Monsieur l'Abbe Chapeloud. The Abbe Troubert still lived. The Abbe\nChapeloud was dead; and Birotteau had stepped into his place.", "The Abbe Birotteau was making his way to this house, where he had lived\nfor the last two years. His apartment had been (as was now the canonry)", "Abbe Troubert, after discreetly knocking at the door, obeyed Birotteau's\ninvitation and entered the room. This visit, which the two abbe's", "Poor Birotteau never imagined in his childish brain that anything could\never separate him from that house where he expected to live and die with", "house, by preventing his advancement in the church, and closing the\nbest salons in Tours against him. By what magic wand had the present\ntransformation taken place? Surely these things belonged to Birotteau?", "day when Birotteau went to live with her she had undertaken to keep in\nhealth and contentment two priests; namely, Monsieur l'Abbe Troubert", "Mademoiselle Gamard, more especially the Abbe Troubert; the said\nBirotteau does hereby engage, in consideration of certain sums of money", "said Sophie Gamard agrees to take into her house, on the above-named\nstipulated condition, the said Francois Birotteau; and whereas it is", "and belonging to him. Birotteau replied that they could be sent to\nMadame de Listomere's,--that lady making him a sign that she would", "during the night had told her something of the probable antecedents of\nTroubert's life; she was able, without misleading Birotteau, to show", "\"Not concern him?\" cried the baron; \"isn't he enjoying the use of the\nAbbe Birotteau's household property? I remember that when I called on", "Mademoiselle Gamard's house solely out of friendship for the vicar, the\nold maid triumphed in receiving her, and saw that, thanks to Birotteau,", "\"Monsieur Birotteau does not find us agreeable enough,\" said the Abbe\nTroubert to Mademoiselle Gamard's friends when she was forced to tell", "\"He is living in your house,\" said Troubert, interrupting her.", "For twelve years the Abbe Birotteau had seen his friend Chapeloud in\nthat house without ever giving a thought to the motive of the canon's", "Early in the autumn of 1826 the Abbe Birotteau, the principal personage\nof this history, was overtaken by a shower of rain as he returned", "Birotteau left the house dismayed. Troubert assumed in his eyes the\ndimensions of an Egyptian pyramid. The hands of that man were in Paris,\nhis elbows in the Cloister of Saint-Gatien.", "The late Abbe Chapeloud, in life a canon of Saint-Gatien, had been an\nintimate friend of the Abbe Birotteau. Every time that the latter paid", "\"I do not suppose, monsieur,\" said Birotteau at last, \"that you intend\nto deprive me of the things that belong to me. Mademoiselle may have", "his powers to the Abbe Troubert provisionally. The canonry will, of\ncourse, depend wholly upon him. Now last evening, at Mademoiselle de la" ], [ "Abbe Troubert, after discreetly knocking at the door, obeyed Birotteau's\ninvitation and entered the room. This visit, which the two abbe's", "and Monsieur l'Abbe Chapeloud. The Abbe Troubert still lived. The Abbe\nChapeloud was dead; and Birotteau had stepped into his place.", "during the night had told her something of the probable antecedents of\nTroubert's life; she was able, without misleading Birotteau, to show", "day when Birotteau went to live with her she had undertaken to keep in\nhealth and contentment two priests; namely, Monsieur l'Abbe Troubert", "Yet the Abbe Troubert, now fifty years of age, had entirely removed,\npartly by the circumspection of his conduct and the apparent lack of all", "\"Monsieur Birotteau does not find us agreeable enough,\" said the Abbe\nTroubert to Mademoiselle Gamard's friends when she was forced to tell", "yet make out. The Abbe Troubert is too deep to be fathomed at once. Our\ndear Birotteau is at the beginning of his troubles. Besides, would he", "The Abbe Birotteau, a short little man, apoplectic in constitution and\nabout sixty years old, had already gone through several attacks of gout.", "Mademoiselle Gamard, more especially the Abbe Troubert; the said\nBirotteau does hereby engage, in consideration of certain sums of money", "Birotteau, on the other hand, was all expansion, all frankness; he loved\ngood things and was amused by trifles with the simplicity of a man who", "It would be impossible to find two figures which presented so many\ncontrasts to each other as those of the two abbes. Troubert, tall", "The Abbe Birotteau had been about ten days at the Alouette, when, one\nmorning while he was breakfasting, the porter came to say that Monsieur", "The late Abbe Chapeloud, in life a canon of Saint-Gatien, had been an\nintimate friend of the Abbe Birotteau. Every time that the latter paid", "Early in the autumn of 1826 the Abbe Birotteau, the principal personage\nof this history, was overtaken by a shower of rain as he returned", "\"You mean Poirel?\"\n\n\"No, Troubert.\"", "Birotteau, frightened at the length of time which had elapsed between\nthe question and the answer,--for he had, for the first time in", "Hearing the last words Birotteau made a feeble bow as if to take leave\nof the old maid, and left the house precipitately. He was afraid if he", "These words explained to the naval officer the nature of Troubert's\nsecret occupations, about which Birotteau often remarked in his silly\nway: \"I can't think what he does with himself,--sitting up all night.\"", "Birotteau left the house dismayed. Troubert assumed in his eyes the\ndimensions of an Egyptian pyramid. The hands of that man were in Paris,\nhis elbows in the Cloister of Saint-Gatien.", "\"Monsieur,\" said Birotteau, amazed, and again interrupting the lawyer,\n\"I did not suppose it necessary to employ, as it were, legal means to--\"" ], [ "The late Abbe Chapeloud, in life a canon of Saint-Gatien, had been an\nintimate friend of the Abbe Birotteau. Every time that the latter paid", "Early in the autumn of 1826 the Abbe Birotteau, the principal personage\nof this history, was overtaken by a shower of rain as he returned", "and Monsieur l'Abbe Chapeloud. The Abbe Troubert still lived. The Abbe\nChapeloud was dead; and Birotteau had stepped into his place.", "The Abbe Birotteau was making his way to this house, where he had lived\nfor the last two years. His apartment had been (as was now the canonry)", "day when Birotteau went to live with her she had undertaken to keep in\nhealth and contentment two priests; namely, Monsieur l'Abbe Troubert", "initiative, and told the affair wherever they could to the injury of\nBirotteau. The lawyer, whose practice was exclusively among the most\ndevout church people, amazed Madame de Listomere by advising her not", "All Tours was soon aware that Madame la Baronne de Listomere, widow of\na lieutenant-general, had invited the Abbe Birotteau, vicar of", "Birotteau had been placed in an armchair in the sun on a terrace above\nthe road. The unhappy priest, smitten by the archbishop, was pale and", "the cathedral and Birotteau was made vicar of it. Chapeloud then went to\nboard with Mademoiselle Gamard. When Birotteau first came to visit", "The Abbe Birotteau had been about ten days at the Alouette, when, one\nmorning while he was breakfasting, the porter came to say that Monsieur", "grades among the saints. But the covetous desire for the apartment which\nthe Abbe Birotteau was now inhabiting (a very harmless desire in", "Birotteau might succeed him, was given to another. Mademoiselle Gamard\nhaving cheerfully agreed to take the vicar to board, the latter was", "francs to the Abbe Birotteau. The day on which the dispositions in her\nwill were made known Monseigneur Hyacinthe, Bishop of Troyes, was on", "from the sight of others. The Abbe Poirel was canon! He, Birotteau, had\nneither home, nor means, nor furniture!", "Poor Birotteau never imagined in his childish brain that anything could\never separate him from that house where he expected to live and die with", "The Abbe Birotteau, a short little man, apoplectic in constitution and\nabout sixty years old, had already gone through several attacks of gout.", "Mademoiselle Gamard, more especially the Abbe Troubert; the said\nBirotteau does hereby engage, in consideration of certain sums of money", "house, by preventing his advancement in the church, and closing the\nbest salons in Tours against him. By what magic wand had the present\ntransformation taken place? Surely these things belonged to Birotteau?", "of his friend. The harmless Birotteau clasped his hands as if to pray,\nand wept with distress at the sight of human horrors that his own", "Birotteau left the house dismayed. Troubert assumed in his eyes the\ndimensions of an Egyptian pyramid. The hands of that man were in Paris,\nhis elbows in the Cloister of Saint-Gatien." ], [ "Accordingly, it was found that the Abbe Chapeloud had left his library\nand all his furniture to his friend Birotteau. The possession of these", "The Abbe Birotteau spent the first days of his mourning in verifying the\nbooks in _his_ library, in making use of _his_ furniture, in examining", "\"Where can I put my things?\" cried Birotteau; \"my books, my beautiful\nbook-shelves, and pictures, my red furniture, and all my treasures?\"", "\"Take it out of my library,\" replied Birotteau, reminded by the canon's\nwords of the greatest happiness of his life.", "from the sight of others. The Abbe Poirel was canon! He, Birotteau, had\nneither home, nor means, nor furniture!", "Hearing the last words Birotteau made a feeble bow as if to take leave\nof the old maid, and left the house precipitately. He was afraid if he", "Birotteau, on the other hand, was all expansion, all frankness; he loved\ngood things and was amused by trifles with the simplicity of a man who", "Birotteau was so bewildered by the upsetting of all his ideas, by the\nrapidity of events which found him defenceless, by the ease with which", "But alas! the abbe Birotteau himself caused this cherished hope to\nmiscarry. Now if those persons who in the course of their lives have", "The news of Birotteau's removal from Madame de Listomere's house seemed\nall the more amazing because the reason of it was wholly impenetrable.", "After hearing these terrible words, Birotteau forgot the canonry and ran\ndownstairs as quickly as a young man to find Mademoiselle Gamard. He", "the more intense because it was spent on petty things and in the\nmidst of a narrow sphere. Birotteau was one of those beings who are\npredestined to suffer because, being unable to see things, they cannot", "friends gathered round him before a comfortable fire, Birotteau naively\nrelated the history of his troubles. His hearers, who were beginning to", "Birotteau left the room confounded. In the direful necessity of\nconsulting no one, he now judged Mademoiselle Gamard as he would", "house, by preventing his advancement in the church, and closing the\nbest salons in Tours against him. By what magic wand had the present\ntransformation taken place? Surely these things belonged to Birotteau?", "Poor Birotteau never imagined in his childish brain that anything could\never separate him from that house where he expected to live and die with", "of his friend. The harmless Birotteau clasped his hands as if to pray,\nand wept with distress at the sight of human horrors that his own", "\"The deed is in my library,\" replied Birotteau.\n\n\"Do you know the tenor of it?\" said Monsieur de Bourbonne to the lawyer.", "\"I do not suppose, monsieur,\" said Birotteau at last, \"that you intend\nto deprive me of the things that belong to me. Mademoiselle may have", "attentions which for eighteen months had made life sweet to him. Now,\nas the nature of narrow minds induces them to study trifles, Birotteau\nplunged suddenly into deep meditation on these four circumstances," ], [ "The Abbe Birotteau was making his way to this house, where he had lived\nfor the last two years. His apartment had been (as was now the canonry)", "Birotteau might succeed him, was given to another. Mademoiselle Gamard\nhaving cheerfully agreed to take the vicar to board, the latter was", "Abbe Troubert, after discreetly knocking at the door, obeyed Birotteau's\ninvitation and entered the room. This visit, which the two abbe's", "Birotteau, on receiving his legacy, came to settle in writing the terms\nof his board she saw he was so in love with the apartment, for which he", "apartment.\" And yet--Birotteau having an excellent heart, contracted\nideas, and a limited mind--he did not go so far as to think of means by", "grades among the saints. But the covetous desire for the apartment which\nthe Abbe Birotteau was now inhabiting (a very harmless desire in", "and Monsieur l'Abbe Chapeloud. The Abbe Troubert still lived. The Abbe\nChapeloud was dead; and Birotteau had stepped into his place.", "Hearing the last words Birotteau made a feeble bow as if to take leave\nof the old maid, and left the house precipitately. He was afraid if he", "The Abbe Birotteau had been about ten days at the Alouette, when, one\nmorning while he was breakfasting, the porter came to say that Monsieur", "Poor Birotteau never imagined in his childish brain that anything could\never separate him from that house where he expected to live and die with", "Accordingly, it was found that the Abbe Chapeloud had left his library\nand all his furniture to his friend Birotteau. The possession of these", "The Abbe Birotteau spent the first days of his mourning in verifying the\nbooks in _his_ library, in making use of _his_ furniture, in examining", "said Sophie Gamard agrees to take into her house, on the above-named\nstipulated condition, the said Francois Birotteau; and whereas it is", "Birotteau left the room confounded. In the direful necessity of\nconsulting no one, he now judged Mademoiselle Gamard as he would", "After accepting his happiness in the old maid's salon for six months\nwith tolerable patience, Birotteau deserted the house of an evening,", "Birotteau, on the other hand, was all expansion, all frankness; he loved\ngood things and was amused by trifles with the simplicity of a man who", "the cathedral and Birotteau was made vicar of it. Chapeloud then went to\nboard with Mademoiselle Gamard. When Birotteau first came to visit", "\"Not concern him?\" cried the baron; \"isn't he enjoying the use of the\nAbbe Birotteau's household property? I remember that when I called on", "Mademoiselle Gamard the first floor of the main building, looking on the\nstreet. When Chapeloud took possession of his rooms they were bare\nof furniture, and the ceilings were blackened with smoke. The stone", "from the sight of others. The Abbe Poirel was canon! He, Birotteau, had\nneither home, nor means, nor furniture!" ], [ "\"I do not suppose, monsieur,\" said Birotteau at last, \"that you intend\nto deprive me of the things that belong to me. Mademoiselle may have", "Hearing the last words Birotteau made a feeble bow as if to take leave\nof the old maid, and left the house precipitately. He was afraid if he", "Poor Birotteau never imagined in his childish brain that anything could\never separate him from that house where he expected to live and die with", "The Abbe Birotteau spent the first days of his mourning in verifying the\nbooks in _his_ library, in making use of _his_ furniture, in examining", "Accordingly, it was found that the Abbe Chapeloud had left his library\nand all his furniture to his friend Birotteau. The possession of these", "the more intense because it was spent on petty things and in the\nmidst of a narrow sphere. Birotteau was one of those beings who are\npredestined to suffer because, being unable to see things, they cannot", "\"Monsieur,\" said Birotteau, amazed, and again interrupting the lawyer,\n\"I did not suppose it necessary to employ, as it were, legal means to--\"", "But alas! the abbe Birotteau himself caused this cherished hope to\nmiscarry. Now if those persons who in the course of their lives have", "Birotteau, frightened at the length of time which had elapsed between\nthe question and the answer,--for he had, for the first time in", "\"Where can I put my things?\" cried Birotteau; \"my books, my beautiful\nbook-shelves, and pictures, my red furniture, and all my treasures?\"", "Birotteau was too good and kind not to obey in a great crisis the\nunreflecting impulse of the moment. Besides, his life was already in the", "of his friend. The harmless Birotteau clasped his hands as if to pray,\nand wept with distress at the sight of human horrors that his own", "The news of Birotteau's removal from Madame de Listomere's house seemed\nall the more amazing because the reason of it was wholly impenetrable.", "Birotteau left the room confounded. In the direful necessity of\nconsulting no one, he now judged Mademoiselle Gamard as he would", "apartment.\" And yet--Birotteau having an excellent heart, contracted\nideas, and a limited mind--he did not go so far as to think of means by", "Birotteau, on the other hand, was all expansion, all frankness; he loved\ngood things and was amused by trifles with the simplicity of a man who", "Birotteau was so bewildered by the upsetting of all his ideas, by the\nrapidity of events which found him defenceless, by the ease with which", "\"Not concern him?\" cried the baron; \"isn't he enjoying the use of the\nAbbe Birotteau's household property? I remember that when I called on", "house, by preventing his advancement in the church, and closing the\nbest salons in Tours against him. By what magic wand had the present\ntransformation taken place? Surely these things belonged to Birotteau?", "from the sight of others. The Abbe Poirel was canon! He, Birotteau, had\nneither home, nor means, nor furniture!" ], [ "Poor Birotteau never imagined in his childish brain that anything could\never separate him from that house where he expected to live and die with", "Hearing the last words Birotteau made a feeble bow as if to take leave\nof the old maid, and left the house precipitately. He was afraid if he", "\"Where can I put my things?\" cried Birotteau; \"my books, my beautiful\nbook-shelves, and pictures, my red furniture, and all my treasures?\"", "apartment.\" And yet--Birotteau having an excellent heart, contracted\nideas, and a limited mind--he did not go so far as to think of means by", "could make a retreat for themselves in the solitude of their own\nhearts.\" Then, reverting to Birotteau's affairs, he added that \"such", "The Abbe Birotteau was making his way to this house, where he had lived\nfor the last two years. His apartment had been (as was now the canonry)", "After accepting his happiness in the old maid's salon for six months\nwith tolerable patience, Birotteau deserted the house of an evening,", "The Abbe Birotteau spent the first days of his mourning in verifying the\nbooks in _his_ library, in making use of _his_ furniture, in examining", "of his friend. The harmless Birotteau clasped his hands as if to pray,\nand wept with distress at the sight of human horrors that his own", "Birotteau had been placed in an armchair in the sun on a terrace above\nthe road. The unhappy priest, smitten by the archbishop, was pale and", "\"Then Birotteau shall go to the law. If he loses at Tours he may win at\nOrleans; if he loses at Orleans, he'll win in Paris,\" cried the Baron de\nListomere.", "by his bed to keep him company, there arose in the depths of his\nconsciousness, in spite of himself, a crowd of thoughts the simple\nformula of which was always, \"If Chapeloud dies I can have this", "Birotteau, on the other hand, was all expansion, all frankness; he loved\ngood things and was amused by trifles with the simplicity of a man who", "But alas! the abbe Birotteau himself caused this cherished hope to\nmiscarry. Now if those persons who in the course of their lives have", "from the sight of others. The Abbe Poirel was canon! He, Birotteau, had\nneither home, nor means, nor furniture!", "the more intense because it was spent on petty things and in the\nmidst of a narrow sphere. Birotteau was one of those beings who are\npredestined to suffer because, being unable to see things, they cannot", "Accordingly, it was found that the Abbe Chapeloud had left his library\nand all his furniture to his friend Birotteau. The possession of these", "Birotteau left the room confounded. In the direful necessity of\nconsulting no one, he now judged Mademoiselle Gamard as he would", "\"I do not suppose, monsieur,\" said Birotteau at last, \"that you intend\nto deprive me of the things that belong to me. Mademoiselle may have", "Birotteau might succeed him, was given to another. Mademoiselle Gamard\nhaving cheerfully agreed to take the vicar to board, the latter was" ], [ "Caron desired to speak with him. Monsieur Caron was Mademoiselle\nGamard's laywer, and had charge of her affairs. Birotteau, not", "\"Monsieur,\" said Birotteau, amazed, and again interrupting the lawyer,\n\"I did not suppose it necessary to employ, as it were, legal means to--\"", "The conference between the lawyer and Birotteau was short. The vicar\ncame back quite terrified.\n\n\"He wants me to sign a paper stating my relinquishment of domicile.\"", "\"The deed is in my library,\" replied Birotteau.\n\n\"Do you know the tenor of it?\" said Monsieur de Bourbonne to the lawyer.", "Hearing the last words Birotteau made a feeble bow as if to take leave\nof the old maid, and left the house precipitately. He was afraid if he", "Birotteau drew the fatal stamped paper from his pocket and gave it\nto Monsieur de Bourbonne, who read it rapidly and soon came upon the\nfollowing clause:--", "and belonging to him. Birotteau replied that they could be sent to\nMadame de Listomere's,--that lady making him a sign that she would", "Abbe Troubert, after discreetly knocking at the door, obeyed Birotteau's\ninvitation and entered the room. This visit, which the two abbe's", "initiative, and told the affair wherever they could to the injury of\nBirotteau. The lawyer, whose practice was exclusively among the most\ndevout church people, amazed Madame de Listomere by advising her not", "\"Nevertheless, monsieur,\" replied the lawyer, \"you must have had some\nagreement in the matter with Mademoiselle, for she has sent me to", "The Abbe Birotteau had been about ten days at the Alouette, when, one\nmorning while he was breakfasting, the porter came to say that Monsieur", "would strike the public as an act of ingratitude;\" and so forth. Letting\nBirotteau go before them to the staircase, the lawyer detained Madame de", "Birotteau, on the other hand, was all expansion, all frankness; he loved\ngood things and was amused by trifles with the simplicity of a man who", "she would have laughed had she known if it) that her affection for her\nnephew had an almost criminal motive. She took Birotteau to her lawyer,", "of the deed, Mademoiselle Gamard had the law on her side, and in equity,\nthat is to say outside of strict legal justice, the Abbe Birotteau would", "enlisted in a matter which threw such excitement into their vapid\nprovincial lives, a servant was sent to bring back Monsieur Caron.\nThe lawyer returned with surprising celerity, which alarmed no one but", "The Abbe Birotteau spent the first days of his mourning in verifying the\nbooks in _his_ library, in making use of _his_ furniture, in examining", "Birotteau might succeed him, was given to another. Mademoiselle Gamard\nhaving cheerfully agreed to take the vicar to board, the latter was", "Mademoiselle Gamard was plainly guilty of intentional fraud. The Radical\nlawyer accordingly began the affair by serving a writ on Mademoiselle", "\"Not concern him?\" cried the baron; \"isn't he enjoying the use of the\nAbbe Birotteau's household property? I remember that when I called on" ], [ "Troubert also is a mediator. Weigh your words; study the inflection of\nthe man's voice. If he strokes his chin you have got him.\"", "\"You mean Poirel?\"\n\n\"No, Troubert.\"", "It would be impossible to find two figures which presented so many\ncontrasts to each other as those of the two abbes. Troubert, tall", "Troubert.", "These words gave the vicar a frightful shock. He was forced to\ncomprehend both Troubert's character and the depths of the revenge so", "may cause you much trouble. After all, the court would certainly give a\nverdict in his favour, and Troubert must fear that. He may forgive\nyou for beginning the struggle, but if they were defeated he would be", "Gamard and the Abbe Troubert but slightly, he saw only the superficial\naspects of their characters; few persons bare their defects at once,\nthey generally take on a becoming veneer.", "he said, motioning as he did so to a friend of Troubert, a councillor of\nthe Prefecture, who was present. The lieutenant therefore continued:--", "There is no doubt that Troubert would have been in other times a\nHildebrand or an Alexander the Sixth. In these days the Church is no", "\"Monsieur,\" said the Abbe Troubert, coldly, not permitting any sign of\nemotion to appear on his face, \"Mademoiselle Gamard told me yesterday", "Abbe Troubert, after discreetly knocking at the door, obeyed Birotteau's\ninvitation and entered the room. This visit, which the two abbe's", "knew no spite or malice. The Abbe Troubert roused, at first sight, an\ninvoluntary feeling of fear, while the vicar's presence brought a kindly", "many persons of her social sphere believed that the Abbe Troubert had\ndesigns on the old maid's property, and was binding her to him unawares\nwith infinite patience, and really directing her while he seemed to be", "deceiving each other, Monsieur Troubert,\" thought she. \"Don't you feel\nthe sarcasm of that answer?\")", "Troubert's eyes which fixed themselves upon him.", "Yet the Abbe Troubert, now fifty years of age, had entirely removed,\npartly by the circumspection of his conduct and the apparent lack of all", "These words explained to the naval officer the nature of Troubert's\nsecret occupations, about which Birotteau often remarked in his silly\nway: \"I can't think what he does with himself,--sitting up all night.\"", "\"Troubert will be made vicar-general,\" said Monsieur de Bourbonne,\nsententiously.", "and Monsieur l'Abbe Chapeloud. The Abbe Troubert still lived. The Abbe\nChapeloud was dead; and Birotteau had stepped into his place.", "\"He is living in your house,\" said Troubert, interrupting her." ], [ "The new bishop made over Mademoiselle Gamard's house by deed of gift to\nthe Chapter of the cathedral; he gave Chapeloud's books and bookcases", "At the moment when Monseigneur Hyacinthe, Bishop of Troyes, drove along\nthe quay Saint-Symphorien in a post-chaise on his way to Paris poor", "Five months later the vicar-general was made Bishop of Troyes; and\nMadame de Listomere was dead, leaving an annuity of fifteen hundred", "When the baron is promoted, his uncle peer of France, and Troubert\na bishop, you can make Birotteau a canon if you choose. Meantime", "his powers to the Abbe Troubert provisionally. The canonry will, of\ncourse, depend wholly upon him. Now last evening, at Mademoiselle de la", "has just received a frightful blow, which shows the most determined\nhatred. He is appointed curate of Saint-Symphorien.\"", "of ecclesiastical affairs told me just now that Troubert was certain to\nbe made bishop before long; if he takes a dislike to our family he could", "Chapter of Saint-Gatien), assuring him that no one deserved such\npromotion as he, whose rights, long overlooked, were indisputable.", "who had rolled only one year earlier so vacuous but so content along the\nCloister. The bishop cast one look of pity and contempt upon his victim;\nthen he consented to forget him, and went his way.", "francs to the Abbe Birotteau. The day on which the dispositions in her\nwill were made known Monseigneur Hyacinthe, Bishop of Troyes, was on", "\"Why?\"\n\n\"I have just learned that the Abbe Troubert is appointed vicar-general\nin place of the other man, who died yesterday.\"", "and Monsieur l'Abbe Chapeloud. The Abbe Troubert still lived. The Abbe\nChapeloud was dead; and Birotteau had stepped into his place.", "Saint-Gatien and leave Tours. Don't say where you are going, but find\nsome distant parish where Troubert cannot get hold of you.\"", "Birotteau might succeed him, was given to another. Mademoiselle Gamard\nhaving cheerfully agreed to take the vicar to board, the latter was", "receive him, never doubting that he would soon be a canon. Monsieur de\nBourbonne asked to see the paper, the deed of relinquishment, which the", "The late Abbe Chapeloud, in life a canon of Saint-Gatien, had been an\nintimate friend of the Abbe Birotteau. Every time that the latter paid", "When the Abbe Chapeloud died, the old maid, who desired a lodger with\nquiet ways, naturally thought of the vicar. Before the canon's will was", "see the Abbe Troubert and ask him to push your claims to the canonry,\nand you'll see how cordially he will receive you.\"", "Birotteau had been placed in an armchair in the sun on a terrace above\nthe road. The unhappy priest, smitten by the archbishop, was pale and", "\"Yes, or in the cemetery, but God's will be done!\" and Troubert raised\nhis eyes to heaven resignedly. \"I came,\" he said, \"to ask you to lend me" ], [ "arrangements of the household had ever come up between them. The Abbe\nChapeloud had taken note of the spinster's angles, asperities, and", "evil intentions would doubtless have been fathomed much sooner by a more\nintelligent man. Old maids have a special talent for accentuating the\nwords and actions which their dislikes suggest to them. They scratch", "referred usually to the succulent dinner he had just eaten; and it was a\nvery rare thing if during the walks of each week he did not say at least\nfourteen times, \"That excellent spinster certainly has a vocation for", "\"Haven't you read your deed?\" said the old maid, in a tone which would\nhave to be rendered in music before the shades of meaning that hatred is\nable to put into the accent of every word could be fully shown.", "crabbedness, and had so arranged his avoidance of her that he obtained\nwithout the least difficulty all the concessions that were necessary\nto the happiness and tranquility of his life. The result was that", "\"devotes.\" Her aquiline nose was the feature that chiefly proclaimed\nthe despotism of her nature, and the flat shape of her forehead the\nnarrowness of her mind. Her movements had an odd abruptness which", "Mademoiselle Gamard's house solely out of friendship for the vicar, the\nold maid triumphed in receiving her, and saw that, thanks to Birotteau,", "No creature of the feminine gender was ever more capable of presenting\nto the mind the elegaic nature of an old maid than Mademoiselle Sophie", "Such was the friend, the abiding guest of Mademoiselle Gamard, who\nnow came, the morning after the old maid had, as it were, declared war", "As long as the old maid exercised her vengeance in an underhand way, and\nthe vicar was able to shut his eyes to it and refuse to believe in her", "himself, and the poor man fancied that if he left her house for a few\ndays he might extinguish, for want of fuel, the dislike the old maid", "and a lawsuit. With the subtle vanity which is common to old maids, and\nthe fanatic self-love which characterizes them, Mademoiselle Gamard was", "she held herself very erect, and justified the remark of a naturalist\nwho once explained the peculiar gait of old maids by declaring that\ntheir joints were consolidating. When she walked her movements were not", "poor abbe perceived, unfortunately too late, the defects which she\nshared with all old maids, and those which were peculiar to herself.\nThe bad points of others show out so strongly against the good that", "\"Confound her! what an agreement!\" cried the old gentleman. \"The said\nSophie Gamard is armed with claws.\"", "birth to the bitterness of ill-will. In fact, before an old maid blames\nherself for her isolation she blames others, and there is but one step\nbetween reproach and the desire for revenge.", "Old maids who have never yielded in their habits of life or in their\ncharacters to other lives and other characters, as the fate of woman", "taught him to understand the bitterness that the sense of being kept\noutside the social pale puts into the heart of an old maid; he therefore", "a creature of the female sex becomes void of meaning; selfish and\ncold, she creates repulsion. This implacable judgment of the world is\nunfortunately too just to leave old maids in ignorance of its causes.", "precluded all grace; the mere motion with which she twitched her\nhandkerchief from her bag and blew her nose with a loud noise would have\nshown her character and habits to a keen observer. Being rather tall," ], [ "day when Birotteau went to live with her she had undertaken to keep in\nhealth and contentment two priests; namely, Monsieur l'Abbe Troubert", "and Monsieur l'Abbe Chapeloud. The Abbe Troubert still lived. The Abbe\nChapeloud was dead; and Birotteau had stepped into his place.", "francs to the Abbe Birotteau. The day on which the dispositions in her\nwill were made known Monseigneur Hyacinthe, Bishop of Troyes, was on", "The late Abbe Chapeloud, in life a canon of Saint-Gatien, had been an\nintimate friend of the Abbe Birotteau. Every time that the latter paid", "Abbe Troubert, after discreetly knocking at the door, obeyed Birotteau's\ninvitation and entered the room. This visit, which the two abbe's", "It would be impossible to find two figures which presented so many\ncontrasts to each other as those of the two abbes. Troubert, tall", "friend Chapeloud. Marianne was surprised at the vicar's visit. He told\nher that he had come to see the Abbe Troubert, and turned towards the", "his powers to the Abbe Troubert provisionally. The canonry will, of\ncourse, depend wholly upon him. Now last evening, at Mademoiselle de la", "All Tours was soon aware that Madame la Baronne de Listomere, widow of\na lieutenant-general, had invited the Abbe Birotteau, vicar of", "you have been talking slightingly of a certain Abbe Troubert, the\nvicar-general, but a very important personage in the province, where he\nrepresents the Jesuits. I have made myself responsible to the minister", "Mademoiselle Gamard, more especially the Abbe Troubert; the said\nBirotteau does hereby engage, in consideration of certain sums of money", "\"Monsieur,\" said the Abbe Troubert, coldly, not permitting any sign of\nemotion to appear on his face, \"Mademoiselle Gamard told me yesterday", "The Abbe Birotteau was making his way to this house, where he had lived\nfor the last two years. His apartment had been (as was now the canonry)", "\"Monsieur Birotteau does not find us agreeable enough,\" said the Abbe\nTroubert to Mademoiselle Gamard's friends when she was forced to tell", "The Abbe Chapeloud, a man of great good sense, whose amiability had made\nthe leaders of the diocese and the members of the best society in Tours", "knew no spite or malice. The Abbe Troubert roused, at first sight, an\ninvoluntary feeling of fear, while the vicar's presence brought a kindly", "\"They are books I wanted,\" replied the Abbe Troubert. \"Monsieur\nBirotteau has been kind enough to lend them to me.\"", "But alas! the abbe Birotteau himself caused this cherished hope to\nmiscarry. Now if those persons who in the course of their lives have", "Incalculable they were! According to the Abbe Chapeloud none of the\npriests who inhabited the city of Tours, not even the archbishop, had", "The Abbe Birotteau had been about ten days at the Alouette, when, one\nmorning while he was breakfasting, the porter came to say that Monsieur" ], [ "It would be impossible to find two figures which presented so many\ncontrasts to each other as those of the two abbes. Troubert, tall", "Birotteau, on the other hand, was all expansion, all frankness; he loved\ngood things and was amused by trifles with the simplicity of a man who", "Abbe Troubert, after discreetly knocking at the door, obeyed Birotteau's\ninvitation and entered the room. This visit, which the two abbe's", "and Monsieur l'Abbe Chapeloud. The Abbe Troubert still lived. The Abbe\nChapeloud was dead; and Birotteau had stepped into his place.", "during the night had told her something of the probable antecedents of\nTroubert's life; she was able, without misleading Birotteau, to show", "\"You mean Poirel?\"\n\n\"No, Troubert.\"", "\"Monsieur Birotteau does not find us agreeable enough,\" said the Abbe\nTroubert to Mademoiselle Gamard's friends when she was forced to tell", "yet make out. The Abbe Troubert is too deep to be fathomed at once. Our\ndear Birotteau is at the beginning of his troubles. Besides, would he", "day when Birotteau went to live with her she had undertaken to keep in\nhealth and contentment two priests; namely, Monsieur l'Abbe Troubert", "These words explained to the naval officer the nature of Troubert's\nsecret occupations, about which Birotteau often remarked in his silly\nway: \"I can't think what he does with himself,--sitting up all night.\"", "Birotteau left the house dismayed. Troubert assumed in his eyes the\ndimensions of an Egyptian pyramid. The hands of that man were in Paris,\nhis elbows in the Cloister of Saint-Gatien.", "of his friend. The harmless Birotteau clasped his hands as if to pray,\nand wept with distress at the sight of human horrors that his own", "Mademoiselle Gamard, more especially the Abbe Troubert; the said\nBirotteau does hereby engage, in consideration of certain sums of money", "Troubert also is a mediator. Weigh your words; study the inflection of\nthe man's voice. If he strokes his chin you have got him.\"", "Gamard and the Abbe Troubert but slightly, he saw only the superficial\naspects of their characters; few persons bare their defects at once,\nthey generally take on a becoming veneer.", "\"Monsieur,\" said Birotteau, amazed, and again interrupting the lawyer,\n\"I did not suppose it necessary to employ, as it were, legal means to--\"", "the more intense because it was spent on petty things and in the\nmidst of a narrow sphere. Birotteau was one of those beings who are\npredestined to suffer because, being unable to see things, they cannot", "At that remark Mademoiselle Gamard cast her most gracious look on the\nAbbe Troubert, and immediately turned her eyes with terrible severity on\nBirotteau, who fortunately by that time was looking on his plate.", "The Abbe Birotteau, a short little man, apoplectic in constitution and\nabout sixty years old, had already gone through several attacks of gout.", "But alas! the abbe Birotteau himself caused this cherished hope to\nmiscarry. Now if those persons who in the course of their lives have" ], [ "Birotteau, on the other hand, was all expansion, all frankness; he loved\ngood things and was amused by trifles with the simplicity of a man who", "of his friend. The harmless Birotteau clasped his hands as if to pray,\nand wept with distress at the sight of human horrors that his own", "\"Monsieur,\" said Birotteau, amazed, and again interrupting the lawyer,\n\"I did not suppose it necessary to employ, as it were, legal means to--\"", "did wrong.\" Self-interest and native talent are the only infallible\nand lucid guides. Now the Abbe Birotteau, whose goodness amounted to", "of his spirit and the power of his mind. He simply crushed Birotteau by\ntelling him that \"these things amazed him all the more because he should", "Hearing the last words Birotteau made a feeble bow as if to take leave\nof the old maid, and left the house precipitately. He was afraid if he", "Early in the autumn of 1826 the Abbe Birotteau, the principal personage\nof this history, was overtaken by a shower of rain as he returned", "The Abbe Birotteau, a short little man, apoplectic in constitution and\nabout sixty years old, had already gone through several attacks of gout.", "Poor Birotteau never imagined in his childish brain that anything could\never separate him from that house where he expected to live and die with", "the more intense because it was spent on petty things and in the\nmidst of a narrow sphere. Birotteau was one of those beings who are\npredestined to suffer because, being unable to see things, they cannot", "But alas! the abbe Birotteau himself caused this cherished hope to\nmiscarry. Now if those persons who in the course of their lives have", "Birotteau was too good and kind not to obey in a great crisis the\nunreflecting impulse of the moment. Besides, his life was already in the", "apartment.\" And yet--Birotteau having an excellent heart, contracted\nideas, and a limited mind--he did not go so far as to think of means by", "attentions which for eighteen months had made life sweet to him. Now,\nas the nature of narrow minds induces them to study trifles, Birotteau\nplunged suddenly into deep meditation on these four circumstances,", "The Abbe Birotteau opened his eyes at hearing he had once possessed so\nenormous a fortune.", "\"Not concern him?\" cried the baron; \"isn't he enjoying the use of the\nAbbe Birotteau's household property? I remember that when I called on", "that moral system, which makes them pass through life instead of really\nliving it, is added a feeble character, external things assume an\nextraordinary power over them. Birotteau was like certain vegetables;", "The Abbe Birotteau spent the first days of his mourning in verifying the\nbooks in _his_ library, in making use of _his_ furniture, in examining", "\"I do not suppose, monsieur,\" said Birotteau at last, \"that you intend\nto deprive me of the things that belong to me. Mademoiselle may have", "Birotteau, frightened at the length of time which had elapsed between\nthe question and the answer,--for he had, for the first time in" ], [ "Birotteau might succeed him, was given to another. Mademoiselle Gamard\nhaving cheerfully agreed to take the vicar to board, the latter was", "The Abbe Birotteau had been about ten days at the Alouette, when, one\nmorning while he was breakfasting, the porter came to say that Monsieur", "and Monsieur l'Abbe Chapeloud. The Abbe Troubert still lived. The Abbe\nChapeloud was dead; and Birotteau had stepped into his place.", "Hearing the last words Birotteau made a feeble bow as if to take leave\nof the old maid, and left the house precipitately. He was afraid if he", "After accepting his happiness in the old maid's salon for six months\nwith tolerable patience, Birotteau deserted the house of an evening,", "The Abbe Birotteau was making his way to this house, where he had lived\nfor the last two years. His apartment had been (as was now the canonry)", "Birotteau, on the other hand, was all expansion, all frankness; he loved\ngood things and was amused by trifles with the simplicity of a man who", "Abbe Troubert, after discreetly knocking at the door, obeyed Birotteau's\ninvitation and entered the room. This visit, which the two abbe's", "Poor Birotteau never imagined in his childish brain that anything could\never separate him from that house where he expected to live and die with", "of his friend. The harmless Birotteau clasped his hands as if to pray,\nand wept with distress at the sight of human horrors that his own", "The Abbe Birotteau spent the first days of his mourning in verifying the\nbooks in _his_ library, in making use of _his_ furniture, in examining", "the cathedral and Birotteau was made vicar of it. Chapeloud then went to\nboard with Mademoiselle Gamard. When Birotteau first came to visit", "\"Not concern him?\" cried the baron; \"isn't he enjoying the use of the\nAbbe Birotteau's household property? I remember that when I called on", "and belonging to him. Birotteau replied that they could be sent to\nMadame de Listomere's,--that lady making him a sign that she would", "Birotteau left the house dismayed. Troubert assumed in his eyes the\ndimensions of an Egyptian pyramid. The hands of that man were in Paris,\nhis elbows in the Cloister of Saint-Gatien.", "\"Monsieur,\" said Birotteau, amazed, and again interrupting the lawyer,\n\"I did not suppose it necessary to employ, as it were, legal means to--\"", "could make a retreat for themselves in the solitude of their own\nhearts.\" Then, reverting to Birotteau's affairs, he added that \"such", "The late Abbe Chapeloud, in life a canon of Saint-Gatien, had been an\nintimate friend of the Abbe Birotteau. Every time that the latter paid", "Mademoiselle de Villenoix, who returned to Tours the next morning, took\nBirotteau with her and set him down on the quay of the cathedral leaving", "Accordingly, it was found that the Abbe Chapeloud had left his library\nand all his furniture to his friend Birotteau. The possession of these" ], [ "has just received a frightful blow, which shows the most determined\nhatred. He is appointed curate of Saint-Symphorien.\"", "The new bishop made over Mademoiselle Gamard's house by deed of gift to\nthe Chapter of the cathedral; he gave Chapeloud's books and bookcases", "Saint-Gatien and leave Tours. Don't say where you are going, but find\nsome distant parish where Troubert cannot get hold of you.\"", "who had rolled only one year earlier so vacuous but so content along the\nCloister. The bishop cast one look of pity and contempt upon his victim;\nthen he consented to forget him, and went his way.", "Birotteau might succeed him, was given to another. Mademoiselle Gamard\nhaving cheerfully agreed to take the vicar to board, the latter was", "and of nothingness in its business; a colorless barren life in which\nstrong feelings were misfortunes, and the absence of emotion happiness.\nThe poor priest's paradise was changed, in a moment, into hell. His", "But that evening the poor vicar, suffering the torments of a man under\nsentence of death who awaits in the condemned cell at Bicetre the result", "The conference between the lawyer and Birotteau was short. The vicar\ncame back quite terrified.\n\n\"He wants me to sign a paper stating my relinquishment of domicile.\"", "Birotteau had been placed in an armchair in the sun on a terrace above\nthe road. The unhappy priest, smitten by the archbishop, was pale and", "to see his old friends. He has taken to his bed, just now, with fever.\nThe parsonage at Saint-Symphorien is very cold and damp, and the parish", "To explain the misery of the poor vicar it should be said that being\nendowed by nature with an empty and sonorous loquacity, like the", "\"The vicar-general, to whom the appointments to office are entrusted, is\nvery ill,\" said Mademoiselle Salomon, \"and the archbishop has delegated", "A few days after the case was brought the baron was promoted to the rank\nof captain. As a measure of ecclesiastical discipline, the curate of", "The cause of this desertion is plain enough. Although the vicar was one\nof those to whom heaven is hereafter to belong in virtue of the decree", "As he heard these words the poor abbe turned pale.", "against the poor vicar, to pay his brother a visit and show him marks of\nfriendship.", "These words struck the vicar a blow, which he felt the more because his\nlate revery had made him completely happy. He said nothing and followed", "The priest remained impassible, but his calm exterior was an indication\nof violent emotion. Monsieur Bourbonne alone had fathomed the secret of\nthat apparent tranquillity. The priest had triumphed!", "But, unhappily for the vicar, forces were not equal between these\npersons of the best society and the old maid supported by the Abbe", "Nevertheless, these friends, enchanted to escape one evening a week in\nthe Cloister, the darkest, dreariest, and most out of the way corner in\nTours, blessed the poor vicar in their hearts." ], [ "Birotteau might succeed him, was given to another. Mademoiselle Gamard\nhaving cheerfully agreed to take the vicar to board, the latter was", "A few days after the case was brought the baron was promoted to the rank\nof captain. As a measure of ecclesiastical discipline, the curate of", "year, it seemed probable that he would soon be raised to the office of\nvicar-general of the archbishopric. His competitors themselves desired\nthe appointment, so that their own plans might have time to mature", "When the Abbe Chapeloud died, the old maid, who desired a lodger with\nquiet ways, naturally thought of the vicar. Before the canon's will was", "\"But you will soon be settled in the archbishop's palace,\" said the\nkindly vicar, who wanted everybody to be happy.", "\"Why?\"\n\n\"I have just learned that the Abbe Troubert is appointed vicar-general\nin place of the other man, who died yesterday.\"", "has just received a frightful blow, which shows the most determined\nhatred. He is appointed curate of Saint-Symphorien.\"", "When the baron is promoted, his uncle peer of France, and Troubert\na bishop, you can make Birotteau a canon if you choose. Meantime", "The vicar rang loudly, as if to let the servant know she was not to\nkeep him waiting. Then he stood close to the door to avoid, if he could,", "The vicar, now half a canon, was about to ring again, when he let go the\nbell-pull, hearing a man's step on the staircase. In a minute more the", "As long as the old maid exercised her vengeance in an underhand way, and\nthe vicar was able to shut his eyes to it and refuse to believe in her", "by certain elevated thoughts which prevented his taking due notice\nof the petty details of life.\" He made the vicar observe, but without\nappearing to censure the conduct of a man whose age and connections", "\"The vicar-general, to whom the appointments to office are entrusted, is\nvery ill,\" said Mademoiselle Salomon, \"and the archbishop has delegated", "The canon passed into the library and stayed there while the vicar\ndressed. Presently the breakfast bell rang, and the gouty vicar", "These words struck the vicar a blow, which he felt the more because his\nlate revery had made him completely happy. He said nothing and followed", "These words gave the vicar a frightful shock. He was forced to\ncomprehend both Troubert's character and the depths of the revenge so", "There was this difference between the late Chapeloud and the vicar,--one\nwas a shrewd and clever egoist, the other a simple-minded and clumsy", "Gamard, seen from afar and through the prism of those material\nfelicities which the vicar dreamed of enjoying in her house, seemed to\nhim a perfect being, a faultless Christian, essentially charitable, the", "\"Troubert will be made vicar-general,\" said Monsieur de Bourbonne,\nsententiously.", "Mademoiselle Gamard's house solely out of friendship for the vicar, the\nold maid triumphed in receiving her, and saw that, thanks to Birotteau," ], [ "The conference between the lawyer and Birotteau was short. The vicar\ncame back quite terrified.\n\n\"He wants me to sign a paper stating my relinquishment of domicile.\"", "\"On hearing of her illness,\" replied the baroness, \"I entreated Monsieur\nBirotteau to relinquish his claims; I have brought the document,", "Birotteau drew the fatal stamped paper from his pocket and gave it\nto Monsieur de Bourbonne, who read it rapidly and soon came upon the\nfollowing clause:--", "Hearing the last words Birotteau made a feeble bow as if to take leave\nof the old maid, and left the house precipitately. He was afraid if he", "\"Is that all?\" said Madame de Listomere. \"Then sign it at once,\" she\nadded, turning to Birotteau. \"If you positively decide to leave her\nhouse, there can be no harm in declaring that such is your will.\"", "He signed the paper, by which he declared that he left Mademoiselle\nGamard's house of his own wish and will, and that he had been fed and", "of his friend. The harmless Birotteau clasped his hands as if to pray,\nand wept with distress at the sight of human horrors that his own", "Birotteau was too good and kind not to obey in a great crisis the\nunreflecting impulse of the moment. Besides, his life was already in the", "Accordingly, it was found that the Abbe Chapeloud had left his library\nand all his furniture to his friend Birotteau. The possession of these", "But alas! the abbe Birotteau himself caused this cherished hope to\nmiscarry. Now if those persons who in the course of their lives have", "\"Monsieur,\" said Birotteau, amazed, and again interrupting the lawyer,\n\"I did not suppose it necessary to employ, as it were, legal means to--\"", "Birotteau, on the other hand, was all expansion, all frankness; he loved\ngood things and was amused by trifles with the simplicity of a man who", "The new bishop made over Mademoiselle Gamard's house by deed of gift to\nthe Chapter of the cathedral; he gave Chapeloud's books and bookcases", "The late Abbe Chapeloud, in life a canon of Saint-Gatien, had been an\nintimate friend of the Abbe Birotteau. Every time that the latter paid", "francs to the Abbe Birotteau. The day on which the dispositions in her\nwill were made known Monseigneur Hyacinthe, Bishop of Troyes, was on", "Birotteau might succeed him, was given to another. Mademoiselle Gamard\nhaving cheerfully agreed to take the vicar to board, the latter was", "The Abbe Birotteau opened his eyes at hearing he had once possessed so\nenormous a fortune.", "house, by preventing his advancement in the church, and closing the\nbest salons in Tours against him. By what magic wand had the present\ntransformation taken place? Surely these things belonged to Birotteau?", "Birotteau left the house dismayed. Troubert assumed in his eyes the\ndimensions of an Egyptian pyramid. The hands of that man were in Paris,\nhis elbows in the Cloister of Saint-Gatien.", "Mademoiselle Gamard, more especially the Abbe Troubert; the said\nBirotteau does hereby engage, in consideration of certain sums of money" ], [ "Abbe Troubert, after discreetly knocking at the door, obeyed Birotteau's\ninvitation and entered the room. This visit, which the two abbe's", "Caron desired to speak with him. Monsieur Caron was Mademoiselle\nGamard's laywer, and had charge of her affairs. Birotteau, not", "Hearing the last words Birotteau made a feeble bow as if to take leave\nof the old maid, and left the house precipitately. He was afraid if he", "\"Monsieur,\" said Birotteau, amazed, and again interrupting the lawyer,\n\"I did not suppose it necessary to employ, as it were, legal means to--\"", "Birotteau drew the fatal stamped paper from his pocket and gave it\nto Monsieur de Bourbonne, who read it rapidly and soon came upon the\nfollowing clause:--", "The Abbe Birotteau had been about ten days at the Alouette, when, one\nmorning while he was breakfasting, the porter came to say that Monsieur", "and belonging to him. Birotteau replied that they could be sent to\nMadame de Listomere's,--that lady making him a sign that she would", "house, by preventing his advancement in the church, and closing the\nbest salons in Tours against him. By what magic wand had the present\ntransformation taken place? Surely these things belonged to Birotteau?", "The Abbe Birotteau was making his way to this house, where he had lived\nfor the last two years. His apartment had been (as was now the canonry)", "Birotteau, on the other hand, was all expansion, all frankness; he loved\ngood things and was amused by trifles with the simplicity of a man who", "\"Not concern him?\" cried the baron; \"isn't he enjoying the use of the\nAbbe Birotteau's household property? I remember that when I called on", "brought completely changed the aspect of the affair. As she entered,\nevery one except Monsieur de Bourbonne was urging Birotteau to hold his", "opened a window to get a better light on the folio volume he was\nreading. Birotteau stood as if a thunderbolt had stricken him.", "said Sophie Gamard agrees to take into her house, on the above-named\nstipulated condition, the said Francois Birotteau; and whereas it is", "Birotteau might succeed him, was given to another. Mademoiselle Gamard\nhaving cheerfully agreed to take the vicar to board, the latter was", "\"It is half-past four, Monsieur Birotteau. You know we are not to wait\nfor you.\"", "Poor Birotteau never imagined in his childish brain that anything could\never separate him from that house where he expected to live and die with", "of his friend. The harmless Birotteau clasped his hands as if to pray,\nand wept with distress at the sight of human horrors that his own", "\"The deed is in my library,\" replied Birotteau.\n\n\"Do you know the tenor of it?\" said Monsieur de Bourbonne to the lawyer.", "The Abbe Birotteau spent the first days of his mourning in verifying the\nbooks in _his_ library, in making use of _his_ furniture, in examining" ], [ "The priest remained impassible, but his calm exterior was an indication\nof violent emotion. Monsieur Bourbonne alone had fathomed the secret of\nthat apparent tranquillity. The priest had triumphed!", "At last they reached the Alouette, where the priest's friends gave him\nsuch tender care that towards evening he grew calmer and was able to\ngive them an account of what had happened during the morning.", "priest and his antagonists and all their adherents. A true presentiment,\nan infallible provincial instinct, led them to couple the names of", "The two priests went downstairs together, each armed with a huge folio\nwhich they laid on one of the side tables in the dining-room.", "A slight smile wandered over the priests face and was lost in its\nwrinkles.", "\"They do not belong to me,\" said the priest, on his guard.", "But when he did perceive it, he set to work, with the inquisitorial\nsagacity which priests acquire by directing consciences and burrowing", "day when Birotteau went to live with her she had undertaken to keep in\nhealth and contentment two priests; namely, Monsieur l'Abbe Troubert", "less easy to a priest; but it must be remembered that the vicar, whose\nfriendship was faithful, did not fail to take a daily walk with his\nfriend along their usual path in the Mail de Tours, never once depriving", "priest,--these were the subjects of their daily conversation. During\ndinner he invariably paid her certain indirect compliments; the fish\nhad an excellent flavor; the seasoning of a sauce was delicious;", "It would be impossible to find two figures which presented so many\ncontrasts to each other as those of the two abbes. Troubert, tall", "There was this difference between the late Chapeloud and the vicar,--one\nwas a shrewd and clever egoist, the other a simple-minded and clumsy", "the full meaning of the duel of words which now took place between the\npriest and the lady, it is necessary to unveil the thoughts that each\nhid from the other under spoken sentences of apparent insignificance.", "has just received a frightful blow, which shows the most determined\nhatred. He is appointed curate of Saint-Symphorien.\"", "\"Ah! I did not think of it!\" replied Monsieur de Bourbonne, gazing at\nthe priest with a sort of pity.", "desires of his life; in fact they do present accurately the ambition of\na priest, who, considering himself on the highroad to eternity, can wish", "a priest, a desire formed anew every evening and now, apparently, very\nnear accomplishment; in short, he had wrapped himself so completely", "who had rolled only one year earlier so vacuous but so content along the\nCloister. The bishop cast one look of pity and contempt upon his victim;\nthen he consented to forget him, and went his way.", "even more yellow than his usually bilious skin, for any trace of the\nfeelings he must have excited in that mysterious priest.", "empty. Moreover, Chapeloud's uncle, an old Oratorian, had left him his\ncollection in folio of the Fathers of the Church, and several other\nimportant works that were precious to a priest." ] ]

[ "What is the age difference between Birotteau and Troubert?", "Where was Francois when Hyacinthe moved into his apartment?", "Which of the two priests received furniture from someone who died?", "How did Gamard gain control over Birotteau's belongings?", "What appointment did Francois want to receive?", "Where was the parish Birotteau relocated to, according to the story?", "What happened after Francois' friends stopped supporting him?", "Who becomes the Vicar-General of the Tours diocese?", "Who owns the house where Birotteau and Troubert reside?", "How much older is Birotteau than Troubert?", "What is the name of the parish where Birotteau is the priest?", "Why did Birotteau lose his furniture and library?", "Who winds up in Birotteau's vacant apartment?", "Why is Birotteau unable to get his belongings back?", "Where does Birotteau believe he will wind up once he gives up his room?", "Who's lawyer serves Birotteau with possession papers?", "What type of person is Troubert?", "Who becomes Bishop of Troyes?", "Who is the crabby spinster? ", "Where are Abbe Francois Birrotteau and Abbe Hyacinthe Troubert priests? ", "How are Birotteau and Troubert different? ", "What is Birotteau's pride? ", "Who takes over Birotteau's quarters when he goes away for a break? ", "Who is demoted to a poorer parish? ", "Who is promoted to vicar? ", "Who had Birotteau sign the document that forfeited his worldly goods? ", "Who serves Birotteau the possession order? ", "Which priest is younger? " ]

[ [ "10 years", "10 years" ], [ "the country", "In the country " ], [ "Birotteau", "Birotteau" ], [ "he signed a document giving her control if he left her home for an extended period", "Birotteau signed over his belongings to Gamard's earlier." ], [ "to the cathedral's canonry", "Cathedral" ], [ "2 or 3 miles outside of Tours", "He is relocated to a poorer parish, three miles out of Tours." ], [ "he gave up on the idea of suing for his property", "He is demoted to a poorer parish." ], [ "Troubert", "Troubert becomes the vicar-general." ], [ "Sophie Gamard.", "Sophie gamard" ], [ "10 years older.", "10." ], [ "Saint-Gatien de Tours.", "Sainte-Gaiten Tours" ], [ "He failed to review the contract for his boarding and was away for a fortnight.", "He sidnged a paper to Mile Gamard giving his possessions to him without clearly reading it." ], [ "Troubert", "Troubert ends up in Birotteau's vacant apartment." ], [ "His friends in the Tours aristocracy begin to withdraw their support and he is unable to file suit. ", "Trourbert now lives and owns his belongings" ], [ "The canonry of the Cathedral. ", "cathedral" ], [ "Mlle Gamard.", "landlady's lawyer" ], [ "He is an ambitious and career driven. ", "Other worldly introspective gentle" ], [ "Troubert. ", "Hyacinthe Troubert" ], [ "Sophie Garnard", "Sophie Gamard" ], [ "Tours ", "They are priests at Tours." ], [ "Birotteau is gentle while Troubert is ambitious", "Troubert is ambitious, Birotteau is not." ], [ "His library and furiture", "His furniture and library." ], [ "Troubert", "Mlle Gamard" ], [ "Birotteau", "Birotteau" ], [ "Troubert", "Troubert." ], [ "Sophie Garnard", "Mile Gamard" ], [ "His landlandy's lawyer", "landlady's lawyer" ], [ "Troubert", "Troubert is younger." ] ]

[ [ "Grant takes in the beautiful tropical terrain. This place is the\nopposite of the Badlands. There is elaborate planting everywhere:", "ON GRANT - He fiddles with the radio in his cruiser. No r\nesponse still.\n\n GRANT\n I wouldn't like to see dinosaurs running\n around Costa Rica.", "GRANT\n Well it gives us ten more hours.\n (to Timmy)\n Let's see if we can raise the Costa Rican\n Coast Guard on that thing.", "Regis calls Grant on the walkie-talkie.\n\n REGIS (TO WALKIE)\n You know, Dr. Grant, Hammond likes to\n come here in the evening and just sit.", "ELLIE\n - because Gennaro is paying us sixty\n thousand dollars to observe some resort\n of Hammond's in Costa Rica. And that's -", "Hammond greets Grant and Ellie warmly. Then \nHammond baits Grant.", "True, and Grant's thinking the same thing. He looks aro\nund, surveying\nthe misty forest. He looks straight up into the beautiful, tall trees\nthat ring the wide-open grassy meadow.", "comes forward and actually hugs Grant, much to Grant's embarrassment.", "tell you where Grant and the kids are and\n you can go and get them. But every-\n thing's working. Half past ten and we've", "GRANT\n - enough money to keep us free of\n commercial affiliations for two summers.\n All right, all right. Good.\n\nThen, half-kidding with Ellie:", "the radio and phone lines\n open. You'll find those kids and my good\n friend, Dr. Grant. I'm sure they'll want", "The raptor is almost on the kids. Grant coughs conspicuously. The\nraptor whirls, studies Grant. He looks back at the children.\n\nGrant speaks into the headset.", "GRANT\n Up there.\n\n TIM\n Climb? Again? I can't climb again?\n\nGrant smiles.", "HAMMOND\n Donald, in bringing my old friend, Alan\n Grant, you've brought an excellent critic\n to observe the viability of my island and", "GRANT\n He's here.\n\nThe goat is tethered in the middle of the fi\neld, thirty yards from the\nnearest tree. Grant scans the tree for the T-Rex.", "GRANT\n Wise guy. Let's go, Ellie.\n\nGrant and Ellie board the limo amidst many goodbyes from the students.\nThe limo pulls away.", "Grant do\nesn't listen. He is simply intoxicated with the pastoral beauty\nof the gentle, grazing dinosaurs. Suddenly, he looks away with a deep\nconcern. Ellie looks at him questioningly.", "GRANT\n A herbivore grazing area. Excellent.\n\nGrant starts to walk toward it. Timmy stops. Lets sits on a tree root.", "GRANT\n Go! Go away. Go! Get out of here!\n\nThe trike whimpers and watches the three of them walk on. Lex is\nheartbroken.", "Grant and the kids huddle and watch the last under-bellies oscillate\nabove them. The stampede goes past. They lie there, unable to move.\nThey watch the herd trample on." ], [ "replication, commonly known as cloning.\n To explain what cloning means, I'm going\n to need my own clone - John Hammond.", "always some microscopic mosquito\n contamination. But at the molecular\n level, that was enough. Every dinosaur\n received the same genetic massage, the", "The clone dissolves into a cascade of blood as WE SEE a magnified view\nof the bloodstream. ANIMATION begins which illuminates the parts of the\nblood and its actions. Hammond provides voiceover for the visuals.", "GRANT\n You created mutant forms that you further\n mutated to create amus\nement attractions.\n You made biological puppets with\n heartbeats and an early death sentence.", "WU\n We use unfertilized crocodile ova as our\n breeding medium.\n\n HAMMOND\n Our primordial soup.", "WU\n Yes, they are, The embryos are\n mechanically inserted and then hatched in\n this room. But we've managed to", "HAMMOND\n Okay John, hold out your finger.\n\n 2ND HAMMOND\n Why?\n\n HAMMOND\n I need some of your\n genetic material.", "HAMMOND\n Come on, that's enough of this! And I\n thought to reproduce myself I had to do it\n the old-fashioned way.", "BEAT.\n\n GRANT\n Yes?\n\n HAMMOND\n Dinosaurs.\n (superbly proud)\n I've been cloning dinosaurs!", "Grant injects the egg, then gently rolls it on the ground. The raptor\nforgets the headset. He comes forward and sniffs the egg, then sucks it\nup, swallowing it whole.", "Grant and the mother hadrosaur stare at each other. She sniffs his\nfoot. He moves closer, straddling a branch. He lifts up her lip and\nexamines her gums.", "will extract those blood cells and obtain\n paleo-DNA, the how-to-build instruction\n book of an extinct creature.", "So you see, Ellie, I'm not creating dino-\n saurs. Fossils left behind the information,\n the map of how to bring them back. I'm", "HAMMOND\n I didn't create them. I found a way to\n wake them up, to stir them out of their\n prehistoric slumber.", "HAMMOND\n As you well know, long ago, creatures ten\n times larger than whales roamed our\n adolescent Earth. And then mass,\n mysterious extinction created a time\n barrier unscalable until ... now.", "HAMMOND\n I created genetic miracles!\n\n GRANT\n You created a park to generate a profit-\n making merchandising operation.", "They hear A SOFT BLEATING. In the center of the field, a small cage\nrises into view, lifted on hydraulics from underground. The cage bars", "MULDOON\n Nedry could steal the eggs, get back and\n reset the whole show. No one would ever\n miss him.\n\n ARNOLD\n Watch this.", "HAMMOND\n You are standing in the middle of the\n most powerful genetics factory created\n since the expulsion from Eden.", "Another Hammond appears, projected on the screen beside the real one.\n\n 2ND HAMMOND\n Hi, John!\n\n HAMMOND\n Hi, John." ], [ "always some microscopic mosquito\n contamination. But at the molecular\n level, that was enough. Every dinosaur\n received the same genetic massage, the", "GRANT\n \n I think that they could never completely \n isolate the dinosaur DNA. There was", "replication, commonly known as cloning.\n To explain what cloning means, I'm going\n to need my own clone - John Hammond.", "MULDOON\n Nedry could steal the eggs, get back and\n reset the whole show. No one would ever\n miss him.\n\n ARNOLD\n Watch this.", "BEAT.\n\n GRANT\n Yes?\n\n HAMMOND\n Dinosaurs.\n (superbly proud)\n I've been cloning dinosaurs!", "at those animals, and wiggles those\n little forearms of hers in frustration.\n But the T-Rex territory is completely\n enclosed with trenches and fences.", "Grant injects the egg, then gently rolls it on the ground. The raptor\nforgets the headset. He comes forward and sniffs the egg, then sucks it\nup, swallowing it whole.", "necessary to provide even a partial\n strand of DNA. And without a complete\n strand, we don't have a dinosaur.", "GRANT\n We don't have the science. There's no\n source of dinosaur DNA.\n\nHammond's proud, excited face shifts to one that divulges modestly.", "HAMMOND\n Jurassic Park is the most advanced\n amusement park in the world. We work\n with genetics - life's essential building", "WU\n We use unfertilized crocodile ova as our\n breeding medium.\n\n HAMMOND\n Our primordial soup.", "HAMMOND\n I created genetic miracles!\n\n GRANT\n You created a park to generate a profit-\n making merchandising operation.", "All those eggs on tables. No moving sensors. Nedry pulls a portable\nincubator away from the dozens lined up against the wall. Its", "HAMMOND\n Oh balls. I will not terminate the raptors\n just because they're behaving normally.\n They're hunters. Why can't we contain them\n properly?", "HAMMOND\n Wu says he can make a foot high\n \n triceratops. We'll sell pets as living\n souvenirs. Bio-engineered to eat only\n food we sell, of course.", "breathing down my neck. That's why I\n wanted you and Dr. Grant \nhere on my\n island - you have to help me keep the", "Grant do\nesn't listen. He is simply intoxicated with the pastoral beauty\nof the gentle, grazing dinosaurs. Suddenly, he looks away with a deep\nconcern. Ellie looks at him questioningly.", "Nedry's face drips with sweat. The incubator slips out of his sweaty\npalms. Catches it with his knee. Nedry curses and with one forceful\nboost, he lifts the incubator shoulder height.", "It falls directly onto the last raptor, squashing him flat. Dead.\n\n GRANT\n (grimly)\n And then there were none.", "HAMMOND\n Do you mean those raptor\ns could be loose?\n\n ARNOLD\n I'm afraid so." ], [ "LEX\n Actually, I never really saw one. Just\n assumed.\n\n GRANT\n Assumed?\n\nShe nods. Grant and Timmy resume looking.", "TIMMY\n (softly)\n Lex? Lex?\n\nSILENCE. No movement from Lex.", "Lex SCREAMS. Grant turns to see the Rex return. He squeezes Lex tight.\nThe animal goes right past them, back to his toy - Tim's land cruiser!", "Lex lets herself slide off Grant and runs into the woods. Timmy\nfollows. Grant follows, squinting. Finally, he sees. A big smile.", "Lex jumps right into her Grandpa's arms. Timmy s\nhyly walks up and\nembraces him. Hammond shines. Gennaro holds in his fury.", "EXT PARK - NIGHT\n\nSomewhere in the dark park, laced by low fog, Grant, Timmy and Lex walk.\n\n LEX\n I'm tired.", "LEX\n The fence.\n\n GRANT\n (squinting)\n No.\n\n TIMMY\n Oh I do, right there!", "IN THE CAR AHEAD, Lex and Timmy stare open-mouthed. Regis looks at the\nanimal and then at the group's reverie. He smiles knowingly: he's been", "TIMMY\n Lex! Lex! You're okay, you're okay!\n\nLex is overcome with fear. Timmy grabs a preservers and puts it on.", "GRANT\n Okay with the fence, Timmy?\n\nTimmy eyes it. Nods hesitantly. They start to climb. Lex climbs easily.", "LEX\n Starved.\n\nTimmy looks behind the counter. He sees boxes of goods. He moves a\nstack of umbrellas out of his way. Lex gets up and pulls one out.", "Grant holds Lex close. She watches the terrible cloud with a quiet\nhorror. Timmy makes the first move to leave.\n\n TIMMY\n Let's go. Now!", "Lex hesitates but doesn't want to be left behind. She runs betw\neen\nGrant and Timmy. Then they all hear it.", "Timmy looks up at Grant. Grant kneels down by Lex. Lex embraces Grant.\n\n GRANT\n You ready?\n\nShe wipes her tears.", "Lex and Timmy let out a sigh of relief. The tension is gone.\n\n LEX\n I didn't want to see him get eaten. I\n liked the goat.", "TIMMY\n Are you ok? Be quiet and don't move.\n\nLex barely nods and grabs Timmy's hand.", "GRANT\n Outta the way, kids! Run!\n\nGrant grabs Lex, lifting her bodily off the ground, and carries her like\na football. Timmy runs beside them.", "LEX\n He just left us. He just left us all\n alone. Timmy, Timmy how could he do\n that? We're all alone! We're all alone!", "GRANT\n Tim, I think there's a motion sensor\n across the field and down there.\n\n TIM\n Where's Lex?", "LEX\n The waterfall stopped.\n\n TIMMY\n Waterfalls aren't supposed to stop.\n\n GRANT\n I think they cut the power. Hey -" ], [ "Muldoon and Ellie drive into the storm. Suddenly, he slams on his\nbrakes. In front of him, a tree has fallen, completely blocking the", "Hammond gets up and stands before the big windows overlooking the park.\nThe quartz FLOODLIGHTS outside their area COME ON with a rosy glow and\nthe dark jungle is opened again to their inspection.", "Grant holds Lex close. She watches the terrible cloud with a quiet\nhorror. Timmy makes the first move to leave.\n\n TIMMY\n Let's go. Now!", "Grant and the kids huddle and watch the last under-bellies oscillate\nabove them. The stampede goes past. They lie there, unable to move.\nThey watch the herd trample on.", "AFTER A LONG MOMENT, the tyrannosaur walks away, disappears into the\nshadows. Regis waits another long moment and releases his tree.", "She zips by A STUDENT guarding the cordoned area. He tries to stop her.\n\n STUDENT\n Dr. Sattler! Dr. Grant is thinking!", "Arnold looks at Hammond, who now stares out into the park. Without\nturning, Hammond nods his consent.\n\n ARNOLD\n Okay.", "She points. On the horizon, a limousine speeds toward them, leaving a\ndusty wake.\n\nGrant sets the rules for his departure, giving instructions individually\nas Ellie pulls him away, carrying their bags.", "Scared Workers huddle together, many a\nre injured. Hammond sits on the\nfloor, in a meditative trance.", "Wu and Ellie nod seriously and test radio contact. We starts his way\nacross the lawn, Muldoon limps behind with his launcher. Ellie stands\nready at the open \ngate.", "He races to the electric fence. RAIN PELTS him now. Water beads on his\nface. Lightning flashes on the 10,000 volts warning.", "Grant and Hammond make their way down below to the loading area for the\npark tour. A little ahead is Gennaro and Ellie. Gennaro chatters on\nwhile Ellie energetically explores the area, looking at the plants.", "Nedry heads back to his jeep, his fat body strobed by its high beams.\nHe jumps in the jeep and drives through. Behind him, the open gates\nmove recklessly in the stormy night.", "to rest on a lower branch. He lets himself down. Now he si\nts on a\nbranch, a few feet below the cruiser.", "Grant slowly relaxes, lets go. So do the children. Around the raft,\nthe water level begins to drain. Gradually, Grant and the kids are left", "There is a huge TRICERATOPS lying on its side, moving very slowly,\nbreathing laboriously. HARDING, the tall, balding park vet, kneels on", "Nedry sits behind the wheel, unseeing as the Spitter watches patiently\nturns his blind eyes that way.", "Regis is shaking uncontrollably. Suddenly he throws open his door and\nbolts off into the rain, leaving the door open. No move from the Rex.", "Ellie walks over to the large model of the park that Hammond revealed.\nShe looks at the miniature dinosaurs that sit in different sectors of\nthe park. She picks up the plastic Rex, examines it, drops it back in.", "As soon as Muldoon is gone, there is movement. Even above the sirens,\nan animalistic breathing, grunting can be heard. Obscured by steam and" ], [ "ELLIE\n So the very process itself was flawed.", "were not up to par with my dream. They\n failed me. The park, I promise you, is\n safe. It really is.", "HAMMOND\n Don't forget to thank me when you pick up\n your Nobel prize.\n\nHammond and Wu resume the tour.", "ARNOLD\n Better rout the tour back. They can\n start again sun-up tomorrow morning.", "Grant is unimpressed. He holds a hand out to Hammond. Hammond tries a\nnew approach.", "Grant and Hammond make their way down below to the loading area for the\npark tour. A little ahead is Gennaro and Ellie. Gennaro chatters on\nwhile Ellie energetically explores the area, looking at the plants.", "All eyes swing that way. Grant doesn't see a thing. Nor do the others.", "She brushes by Harding and studies Gennaro's pasty, sleeping face. Air\nblows in and out of his dry lips. She examines the gauze wrapped around\nhis wounded leg. It seeps with blood.", "No answer. Grant dimly discerns green branches of pine trees through\nthe mist. Some are very close. Ellie's hands grasps her seat cushion.\n\n ELLIE\n This is not fun.", "Muldoon inspects an extremely discouraging sight. The thick mesh that\ncovered the pit has been chewed through and ripped open. With heavy gun\nin one hand, Muldoon shines his flashlight into the pit. It's empty.", "Regis leads on, taking Gennaro's arm and talking to him like and old\nfriend. Nedry lumbers in the middle, alone. At the rear, Grant and", "Nedry chuckles, lines up three peanuts on the table. One after the\nother, he throws them in the air. He gulps down two, misses one. It\nskids across the glossy floor.", "REGIS\n Hey! Great day for a tour!\n\n GENNARO\n Looks like rain to me.", "Grant stumbles deep in the gloomy recesses of the building. He pushes\npast drums of herbicide, tree-pruning equipment, spare tires, coils of", "Hammond slowly climbs a steep hill covered with creeping growth. He\nalmost reaches the top when he slips. He falls to the soft ground and", "HAMMOND\n They comb this island like a bunch of\n accountants. They don't experience the\n wonder, the awe of it all.", "Arnold smiles and punches a button. WE HEAR the pre-recorded tour voice\nand some chatter of the kids.", "As soon as he has done so, he knows he's made a mistake. He looks\naround frantically. Sees the Rex trot down the road toward \nhim.\n\n REGIS\n Noooooo!", "poorly funded plan that I've headed.\n This is a plan to which I committed all\n of my personal resources, literally\n billions of dollars. And Donald Gennaro", "Muldoon yells again. No answer at all. Muldoon curses and leaves." ], [ "It's Gennaro. His limp body stops at her feet. She covers her mouth.\nMuldoon runs to her.", "Gennaro shakes hands \nawkwardly with Ross and leaves. Ross paces. Fed-\nup, he whispers to himself.\n\n ROSS\n Costa Rica, my ass.", "GENNARO\n Hammond asked to place the calls himself.\n I think he wants to pretend the park is\n not in trouble. That it's just a social\n invitation, showing off the island.", "GRANT\n Gennaro? This guy knows what he's doing,\n Right? Hey, Gennaro? I'm talking to you!", "HAMMOND\n Gennaro, for once in your life, let\n something really move you.\n\nIn the cruiser, Gennaro rubs his neck. He turns to Grant.", "Gennaro is face-down. Muldoon takes his pulse.\n\n MULDOON\n Thank God. (beat) We have to carry him.\n First I have to ...", "A smile comes across Gennaro's face. As he smiles he motions with his\nhands he doesn't mean any harm. Grant and Ellie stare at him.", "Gennaro is soaked. He opens one eye and looks about, very frightened.\nHe speaks a mantra.\n\n GENNARO\n No problem. Relax, relax.", "MULDOON\n We found Gennaro. He'd badly injured.\n Harding's tending to him in your", "Gennaro plops back in his seat and ponders the scene before him. A\nglazed look fills his face.\n\n GENNARO\n My God, we're going to make a fortune\n here!", "Hammond turns to Gennaro. Gennaro smiles nervously at their clash.", "GENNARO\n It seemed wise at the time. We all\n wanted the park to happen. It was in\n lieu of fees.", "Behind him, Ellie's whole person is awestruck, immobile. Gennaro\nsquints, straining to make sense of this unbelievable reality.", "GENNARO\n That Rex didn't even give me his full\n attention. That's what hurts. I was\n just an afterthought. I gave him my full\n attention.", "Muldoon and Ellie carry Gennaro to the jeep. They lay him on the back\nseat. Muldoon jumps in back with him. He keeps wrapping the wounds.", "GENNARO\n Holy shit! Any suggestions what we do\n now?\n\n GRANT\n \n Can't think of a thing.", "ROSS\n \n In any case, I agree an inspection is\n overdue. Who are your site experts?\n\nGennaro tosses a list on Ross' desk. He check it out.", "Gennaro just grins and shakes his head. He's very high on morphine. He\nwants to speak but Hammond keeps talking. After each sentence, Gennaro\nenthusiastically agrees with a nod.", "GENNARO\n Insists nothing's wrong on the island.\n\n ROSS\n You know him. Do you believe him?", "NEDRY\n Just think, Gennaro -\n (laughs harder)\n - you gotta agree it's funny! These two," ], [ "always some microscopic mosquito\n contamination. But at the molecular\n level, that was enough. Every dinosaur\n received the same genetic massage, the", "GRANT\n \n I think that they could never completely \n isolate the dinosaur DNA. There was", "Grant injects the egg, then gently rolls it on the ground. The raptor\nforgets the headset. He comes forward and sniffs the egg, then sucks it\nup, swallowing it whole.", "BEAT.\n\n GRANT\n Yes?\n\n HAMMOND\n Dinosaurs.\n (superbly proud)\n I've been cloning dinosaurs!", "Grant and the mother hadrosaur stare at each other. She sniffs his\nfoot. He moves closer, straddling a branch. He lifts up her lip and\nexamines her gums.", "The cracked egg is nudged open. The cute scaly head of a six-inch baby\nraptor nuzzles its way out of the shell. It shakes off a few pieces of", "MULDOON\n Nedry could steal the eggs, get back and\n reset the whole show. No one would ever\n miss him.\n\n ARNOLD\n Watch this.", "All those eggs on tables. No moving sensors. Nedry pulls a portable\nincubator away from the dozens lined up against the wall. Its", "replication, commonly known as cloning.\n To explain what cloning means, I'm going\n to need my own clone - John Hammond.", "HARDING\n We make these dinosaurs in the lab,\n sweetheart. But they do form attachments.\n Freda has a little one that follows her\n around, thinks Freda's his mom.", "WU\n We use unfertilized crocodile ova as our\n breeding medium.\n\n HAMMOND\n Our primordial soup.", "nd flying squirrels. The strange, prehistoric world impresses Grant\nand Ellie. Even Nedry and Gennaro take in the vegetal wonder.", "CLOSE ON - her mouth as Grant's hand touches the side of her tongue. He\nsees little tiny bumps.\n\nThe hadrosaur lets out a low groan. Grant is puzzled, rubs harder.", "Grant do\nesn't listen. He is simply intoxicated with the pastoral beauty\nof the gentle, grazing dinosaurs. Suddenly, he looks away with a deep\nconcern. Ellie looks at him questioningly.", "The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS\ngraze. They stand on their hind legs to get at high palm trees, then", "HAMMOND\n ... Jurassic Park. What we do here is\n made possible through the miracle of DNA", "THEIR POV - The hadrosaur is feeding four scampering, baby hadrosaurs.\nLetting the fruit tumble from her mouth into theirs. Lex YELLS:", "When she returns, all three quickly gather fruits and throw them into\nher mouth. The hadrosaur pulls back with her giant mouthful of fruit.\nShe pulls further and further back and then her huge head turns and\nmoves down.", "The kids burrow into the rib cage of the Rex. They break off floating\nrubs and hurl them back at the raptor. The raptor is undeterred,\nclosing the gap on the kids.", "necessary to provide even a partial\n strand of DNA. And without a complete\n strand, we don't have a dinosaur." ], [ "JURASSIC PARK\n\n\n\n First Draft\n by\n MICHAEL CRICHTON", "THE CAMERA DESCENDS to Isla Nublar, slowly reveling in its natural\nbeauty and finally coming to earth in the midst of the verdant jungle.", "HAMMOND\n Jurassic Park is the most advanced\n amusement park in the world. We work\n with genetics - life's essential building", "nd flying squirrels. The strange, prehistoric world impresses Grant\nand Ellie. Even Nedry and Gennaro take in the vegetal wonder.", "The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS\ngraze. They stand on their hind legs to get at high palm trees, then", "HAMMOND\n Ladies and Gentlemen, Jurassic Park. Not\n a resort, not a scien\ntific conservatory,", "The center of all this activity is one man. In a roped-off area that\ncircumscribes the exposed bones of the raptor, is DR. ALAN GRANT, head", "HAMMOND\n ... Jurassic Park. What we do here is\n made possible through the miracle of DNA", "bad this situation actually is, Donald.\n But if there's a problem on that island -\n don't be afraid to screw Hammond and burn\n Jurassic Park to the ground.", "at those animals, and wiggles those\n little forearms of hers in frustration.\n But the T-Rex territory is completely\n enclosed with trenches and fences.", "CUT TO:\n\nESTABLISHING AERIAL - the primordial beauty of Isla Nublar at dawn.\n\n\nEXT VISITOR'S CENTER - DAWN", "HOOT! HOOT! A distinctive HOOTING. Nedry looks up in fear. SILENCE.", "There is a huge TRICERATOPS lying on its side, moving very slowly,\nbreathing laboriously. HARDING, the tall, balding park vet, kneels on", "Ellie walks over to the large model of the park that Hammond revealed.\nShe looks at the miniature dinosaurs that sit in different sectors of\nthe park. She picks up the plastic Rex, examines it, drops it back in.", "They pass a crude sign nailed to a tree: Welcome to Jurassic Park.\nGrant cringes at the sign. Ellie nudges him to loosen up.", "in a single day. Many brightly colored hours are allocated to the\ndinosaurs. Man receives the last second of the day. Ellie joins Grant.", "Nedry heads back to his jeep, his fat body strobed by its high beams.\nHe jumps in the jeep and drives through. Behind him, the open gates\nmove recklessly in the stormy night.", "Nedry starts moving toward his jeep. Again, the HOOT! Nedry stops,\nlooks right, looks left. A RUSTLE in the trees. Nedry's head cocks.", "The earth SHAKES. A low rumble is heard and felt as the hadrosaurs begin\nto run in a parallel direction to the course of Grant and the kids.", "Looking through trees, lit by the strong beams, Nedry sees a SPITTER in\nthe eerie mist. Now it's gone. Now it's back. It circles Nedry\nwarily, hunting him. Nedry stares." ], [ "JURASSIC PARK\n\n\n\n First Draft\n by\n MICHAEL CRICHTON", "HAMMOND\n Jurassic Park is the most advanced\n amusement park in the world. We work\n with genetics - life's essential building", "HAMMOND\n Ladies and Gentlemen, Jurassic Park. Not\n a resort, not a scien\ntific conservatory,", "nd flying squirrels. The strange, prehistoric world impresses Grant\nand Ellie. Even Nedry and Gennaro take in the vegetal wonder.", "There is a huge TRICERATOPS lying on its side, moving very slowly,\nbreathing laboriously. HARDING, the tall, balding park vet, kneels on", "HAMMOND\n ... Jurassic Park. What we do here is\n made possible through the miracle of DNA", "They pass a crude sign nailed to a tree: Welcome to Jurassic Park.\nGrant cringes at the sign. Ellie nudges him to loosen up.", "THE CAMERA DESCENDS to Isla Nublar, slowly reveling in its natural\nbeauty and finally coming to earth in the midst of the verdant jungle.", "Ellie walks over to the large model of the park that Hammond revealed.\nShe looks at the miniature dinosaurs that sit in different sectors of\nthe park. She picks up the plastic Rex, examines it, drops it back in.", "PRE-RECORDED VOICE\n Welcome to Jurassic Park. You are now\n entering the lost world of the", "Ellie and Grant jump into the world of Jurassic Park.\n\n\nEXT LUSH TROPICAL FOREST - MORNING", "Nedry heads back to his jeep, his fat body strobed by its high beams.\nHe jumps in the jeep and drives through. Behind him, the open gates\nmove recklessly in the stormy night.", "The center of all this activity is one man. In a roped-off area that\ncircumscribes the exposed bones of the raptor, is DR. ALAN GRANT, head", "HOOT! HOOT! A distinctive HOOTING. Nedry looks up in fear. SILENCE.", "HAMMOND\n I created genetic miracles!\n\n GRANT\n You created a park to generate a profit-\n making merchandising operation.", "The earth SHAKES. A low rumble is heard and felt as the hadrosaurs begin\nto run in a parallel direction to the course of Grant and the kids.", "bad this situation actually is, Donald.\n But if there's a problem on that island -\n don't be afraid to screw Hammond and burn\n Jurassic Park to the ground.", "The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS\ngraze. They stand on their hind legs to get at high palm trees, then", "Nedry jumps out and looks up. His high beams illuminate a huge electric\nfence prominently labeled: DANGER! 10,000 Volts!", "HAMMOND\n Oh you don't know. There are wonderful\n plans in the works, sites already\n purchased for Euro-Jurassic and Jurassic\n Japan." ], [ "JURASSIC PARK\n\n\n\n First Draft\n by\n MICHAEL CRICHTON", "HAMMOND\n Jurassic Park is the most advanced\n amusement park in the world. We work\n with genetics - life's essential building", "HAMMOND\n Ladies and Gentlemen, Jurassic Park. Not\n a resort, not a scien\ntific conservatory,", "HAMMOND\n I created genetic miracles!\n\n GRANT\n You created a park to generate a profit-\n making merchandising operation.", "HAMMOND\n ... Jurassic Park. What we do here is\n made possible through the miracle of DNA", "They pass a crude sign nailed to a tree: Welcome to Jurassic Park.\nGrant cringes at the sign. Ellie nudges him to loosen up.", "nd flying squirrels. The strange, prehistoric world impresses Grant\nand Ellie. Even Nedry and Gennaro take in the vegetal wonder.", "Ellie walks over to the large model of the park that Hammond revealed.\nShe looks at the miniature dinosaurs that sit in different sectors of\nthe park. She picks up the plastic Rex, examines it, drops it back in.", "The center of all this activity is one man. In a roped-off area that\ncircumscribes the exposed bones of the raptor, is DR. ALAN GRANT, head", "Nedry heads back to his jeep, his fat body strobed by its high beams.\nHe jumps in the jeep and drives through. Behind him, the open gates\nmove recklessly in the stormy night.", "THE CAMERA DESCENDS to Isla Nublar, slowly reveling in its natural\nbeauty and finally coming to earth in the midst of the verdant jungle.", "There is a huge TRICERATOPS lying on its side, moving very slowly,\nbreathing laboriously. HARDING, the tall, balding park vet, kneels on", "With a ROAR of its own, the copter breaks into the blue sky and soars.\naway, leaving an angry T-Rex alone. Unnoticed by the frustrated Rex,\nHammond slips away and walks into the jungle.", "MULDOON\n Nedry could steal the eggs, get back and\n reset the whole show. No one would ever\n miss him.\n\n ARNOLD\n Watch this.", "in a single day. Many brightly colored hours are allocated to the\ndinosaurs. Man receives the last second of the day. Ellie joins Grant.", "Nedry sits in a corner at a keyboard with a pile of papers next to him,\ntyping away. JOHN ARNOLD, 45, park supervisor, sits directing the", "Nedry starts moving toward his jeep. Again, the HOOT! Nedry stops,\nlooks right, looks left. A RUSTLE in the trees. Nedry's head cocks.", "PRE-RECORDED VOICE\n Welcome to Jurassic Park. You are now\n entering the lost world of the", "Ellie and Grant jump into the world of Jurassic Park.\n\n\nEXT LUSH TROPICAL FOREST - MORNING", "HAMMOND\n And this is the right side of my brain.\n The entire park is safely controlled from\n here. John Arnold, that genius over" ], [ "were not up to par with my dream. They\n failed me. The park, I promise you, is\n safe. It really is.", "EPA, he's behind schedule, and the in-\n vestors are getting nervous. There have\n been too many rumors, too many accidents.", "ARNOLD\n It's natural. They can't fully\n appreciate that we've engineered the\n animals and the park for total safety.", "HAMMOND\n But there are deadlines. The park opens\n next summer. And it requires full-grown", "here has kindly helped me raise that sum\n again from wealthy Japanese. They love\n theme parks. I have recruited pre-\n eminent scientific minds from hallowed", "HAMMOND\n I created genetic miracles!\n\n GRANT\n You created a park to generate a profit-\n making merchandising operation.", "HAMMOND\n And this is the right side of my brain.\n The entire park is safely controlled from\n here. John Arnold, that genius over", "activities of the park and chain-smoking. There are large windows\nlooking out to the park, one of which is cracked and being replaced from\nthe outside by a TEAM OF WORKMEN.", "GENNARO\n ... so naturally, Hammond's going to\n present everything in the best light. I\n need to know that this park is safe.", "HAMMOND\n I'm sure we will. After all, I keep\n telling everyone, this park is made for\n children.", "HAMMOND\n Look at them. Leaning out the windows,\n so eager. They can't wait to see it.\n They have come for the danger.", "Arnold points to the transparent map of the park. On it, bright red\nlines snake out, moving throughout the park, as electricity surges\nthrough the fences.\n\n MULDOON\n Motion sensors?", "Muldoon drives out into the park in Harding's jeep. THREE WORKERS\ntravel with him. Each carries a rifle.\n\n\nEXT GRANT'S TREE - DAWN", "ELLIE\n I'm here to investigate this park. And\n there's\n plenty you haven't told me.\n\n WU\n That's absurd.", "Two safety fences separate Nedry from the electric fence. He races to\nthe first one, pulls out a key chain. He tries one key, then another,\nand another. It f", "There is a huge TRICERATOPS lying on its side, moving very slowly,\nbreathing laboriously. HARDING, the tall, balding park vet, kneels on", "Ellie walks over to the large model of the park that Hammond revealed.\nShe looks at the miniature dinosaurs that sit in different sectors of\nthe park. She picks up the plastic Rex, examines it, drops it back in.", "EXT BACK ROADS, PARK - MORNING\n\nMuldoon and workers drive rapidly in the jeep. Suddenly,\n Muldoon slams\non the brakes.", "GRANT\n You park is doomed. Now come with me.\n \n HAMMOND", "Grant and Hammond make their way down below to the loading area for the\npark tour. A little ahead is Gennaro and Ellie. Gennaro chatters on\nwhile Ellie energetically explores the area, looking at the plants." ], [ "Grant and Hammond make their way down below to the loading area for the\npark tour. A little ahead is Gennaro and Ellie. Gennaro chatters on\nwhile Ellie energetically explores the area, looking at the plants.", "Hammond gets up and stands before the big windows overlooking the park.\nThe quartz FLOODLIGHTS outside their area COME ON with a rosy glow and\nthe dark jungle is opened again to their inspection.", "Muldoon drives out into the park in Harding's jeep. THREE WORKERS\ntravel with him. Each carries a rifle.\n\n\nEXT GRANT'S TREE - DAWN", "Regis leads on, taking Gennaro's arm and talking to him like and old\nfriend. Nedry lumbers in the middle, alone. At the rear, Grant and", "Arnold looks at Hammond, who now stares out into the park. Without\nturning, Hammond nods his consent.\n\n ARNOLD\n Okay.", "Grant stares up at it, thinking. Footsteps echo behind him as Regis,\nEllie, Gennaro, and Nedry look around the unfinished building.", "Wu and Ellie nod seriously and test radio contact. We starts his way\nacross the lawn, Muldoon limps behind with his launcher. Ellie stands\nready at the open \ngate.", "activities of the park and chain-smoking. There are large windows\nlooking out to the park, one of which is cracked and being replaced from\nthe outside by a TEAM OF WORKMEN.", "GRANT\n You park is doomed. Now come with me.\n \n HAMMOND", "EXT TOUR START - DAY\n\nThe group gathers. TWO ELECTRIC CARS glide to a stop behind them.\nRegis leans out of the first one.", "Outside, Hammond leads Gennaro, Grant and Ellie. He points out the\nstaff living quarters, a group of graceful teepees. Next to their\nhomes, WORKERS hang laundry and cook on grills.", "Grant grabs both the kids' hands and they begin to run.\n\n\nBACK ON TOUR REST AREA -", "EXT BACK ROADS, PARK - MORNING\n\nMuldoon and workers drive rapidly in the jeep. Suddenly,\n Muldoon slams\non the brakes.", "WU\n Now, there's four.\n\nMuldoon helps Wu back inside the fence. He waves for Ellie to come in\nand join them.", "Grant and Ellie nod impatiently. \n Hammond sets the scene.", "He points and the three of them look over the edge where the waterfall\nonce poured. There's a shimmering rainbow and beyond that, in the mist\nis the visitor's center.", "HAMMOND\n Take a look at these, Donald. Have you\n seen these? These are great.\n\nHammond dumps things out of the bag. They are souvenirs of the park.", "Ellie and Harding pull in, in their own gas-powered jeep. Muldoon is\nwaiting for them. Now there's a rifle slung over his shoulder. Harding\njumps out of the jeep.", "Hammond, pleased, watches the giant screen that displays the tour group.\nMuldoon limps into the control room. Arnold looks over.\n\n MULDOON\n Just checking in. Everything ok?", "The Visitor's Center is in sight. They all turn to each other. Elated.\n\n LEX\n We did it!\n\n TIM\n We made it!" ], [ "Nedry's face drips with sweat. The incubator slips out of his sweaty\npalms. Catches it with his knee. Nedry curses and with one forceful\nboost, he lifts the incubator shoulder height.", "always some microscopic mosquito\n contamination. But at the molecular\n level, that was enough. Every dinosaur\n received the same genetic massage, the", "GRANT\n We don't have the science. There's no\n source of dinosaur DNA.\n\nHammond's proud, excited face shifts to one that divulges modestly.", "HAMMOND\n Jurassic Park is the most advanced\n amusement park in the world. We work\n with genetics - life's essential building", "HAMMOND\n Wu says he can make a foot high\n \n triceratops. We'll sell pets as living\n souvenirs. Bio-engineered to eat only\n food we sell, of course.", "HAMMOND\n Oh balls. I will not terminate the raptors\n just because they're behaving normally.\n They're hunters. Why can't we contain them\n properly?", "MULDOON\n Nedry could steal the eggs, get back and\n reset the whole show. No one would ever\n miss him.\n\n ARNOLD\n Watch this.", "at those animals, and wiggles those\n little forearms of hers in frustration.\n But the T-Rex territory is completely\n enclosed with trenches and fences.", "All those eggs on tables. No moving sensors. Nedry pulls a portable\nincubator away from the dozens lined up against the wall. Its", "MULDOON\n No they're not, Ellie.\n\nMuldoon slams the door shut on Wu and the raptor. Wu's screams are\nhorrific.", "Grant injects the egg, then gently rolls it on the ground. The raptor\nforgets the headset. He comes forward and sniffs the egg, then sucks it\nup, swallowing it whole.", "The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS\ngraze. They stand on their hind legs to get at high palm trees, then", "nd flying squirrels. The strange, prehistoric world impresses Grant\nand Ellie. Even Nedry and Gennaro take in the vegetal wonder.", "The kids burrow into the rib cage of the Rex. They break off floating\nrubs and hurl them back at the raptor. The raptor is undeterred,\nclosing the gap on the kids.", "HAMMOND\n Do you mean those raptor\ns could be loose?\n\n ARNOLD\n I'm afraid so.", "Two safety fences separate Nedry from the electric fence. He races to\nthe first one, pulls out a key chain. He tries one key, then another,\nand another. It f", "Nedry jumps out and pulls his incubator to the ground. He begins to\ndrag it through the mud, toward the ship. CAPTAIN FARRELL comes to meet", "Nedry jumps out and looks up. His high beams illuminate a huge electric\nfence prominently labeled: DANGER! 10,000 Volts!", "HAMMOND\n ... Jurassic Park. What we do here is\n made possible through the miracle of DNA", "TIMMY\n Real dinosaurs, Grandpa? Don't they want\n to just kill each other?\n\nHammond excitedly punches a button - colored display grids light up." ], [ "hit WHTE-RBT. OBJ, it initiates a set of\n commands that turned the whole goddamn\n park off. Hammond was right about him.", "ARNOLD\n Because Nedry messed with the code.\n That's why I'm checking it.", "Arnold gets up and goes to the main panel. He opens the doors and\nuncovers the metal swing-latches over the safety switches. \n He pops them\noff, one after another.", "Still nothing. LIST WHTE-RBT.OBJ. The screen fills with data. Each\nline defines another security system that has been shut off: SECURITY\nPERIM", "HAMMOND\n And this is the right side of my brain.\n The entire park is safely controlled from\n here. John Arnold, that genius over", "Arnold types in a command. The screen flickers and changes. Arnold and\nMuldoon look out the window as lights come on through out the park.\n\n ARNOLD\n Hot damn!", "Arnold points to the transparent map of the park. On it, bright red\nlines snake out, moving throughout the park, as electricity surges\nthrough the fences.\n\n MULDOON\n Motion sensors?", "Two safety fences separate Nedry from the electric fence. He races to\nthe first one, pulls out a key chain. He tries one key, then another,\nand another. It f", "Nedry races through the series of security doors. He ignores the\nsecurity x-ray device and just SHOVES each door open with his hand.\n\n\nBACK ON CRUISERS, REST AREA -", "Nedry punches in a code.\n\nCLOSE ON \n- Nedry's fat finger punching a last key.\n\nCLOSE ON - amber video display terminal as a countdown begins.", "WU\n All the security doors are open. Someone\n has been in my laboratory and the eggs\n have been disturbed.\n\nThe camera pushes in on Hammond's face.", "WU\n If I did that I'd leave a way to turn it\n back on. In case I had to. I'm sure\n Nedry did. You're find it.", "Nedry heads back to his jeep, his fat body strobed by its high beams.\nHe jumps in the jeep and drives through. Behind him, the open gates\nmove recklessly in the stormy night.", "Arnold looks at Hammond, who now stares out into the park. Without\nturning, Hammond nods his consent.\n\n ARNOLD\n Okay.", "ARNOLD\n Nedry jammed all the communication lines.\n He inserted some command, a lockout into", "Nedry's data-filled screen blinks off. Nedry looks up to the rack of\nmonitors. Unnoticed by Hammond or Arnold two more monitors go blank.\nThen a third one.", "They go through a series of security doors. To get them open, Hammond\nplaces his palm on a screen before each door. Each time, it lights up", "were not up to par with my dream. They\n failed me. The park, I promise you, is\n safe. It really is.", "He falls against the jeep, rubbing his eyes. The Spitter calmly hops to\nthe embankment and watches the blinded Nedry weave drunkenly in the", "ARNOLD\n That's true. Keychecks will give me a\n record of every button Nedry pushed." ], [ "ARNOLD\n Because Nedry messed with the code.\n That's why I'm checking it.", "Two safety fences separate Nedry from the electric fence. He races to\nthe first one, pulls out a key chain. He tries one key, then another,\nand another. It f", "Nedry races through the series of security doors. He ignores the\nsecurity x-ray device and just SHOVES each door open with his hand.\n\n\nBACK ON CRUISERS, REST AREA -", "Nedry heads back to his jeep, his fat body strobed by its high beams.\nHe jumps in the jeep and drives through. Behind him, the open gates\nmove recklessly in the stormy night.", "MULDOON\n Nedry could steal the eggs, get back and\n reset the whole show. No one would ever\n miss him.\n\n ARNOLD\n Watch this.", "ARNOLD\n Nedry jammed all the communication lines.\n He inserted some command, a lockout into", "Nedry jumps out and looks up. His high beams illuminate a huge electric\nfence prominently labeled: DANGER! 10,000 Volts!", "Nedry's face drips with sweat. The incubator slips out of his sweaty\npalms. Catches it with his knee. Nedry curses and with one forceful\nboost, he lifts the incubator shoulder height.", "Nedry curses. He spins the wheel. The tires spin and spray. The\njeep's hopelessly stuck in the gully. From Nedry's seat in the jeep, he", "Nedry jumps out and pulls his incubator to the ground. He begins to\ndrag it through the mud, toward the ship. CAPTAIN FARRELL comes to meet", "Nedry's data-filled screen blinks off. Nedry looks up to the rack of\nmonitors. Unnoticed by Hammond or Arnold two more monitors go blank.\nThen a third one.", "Nedry swerves. The jeep skids. Nedry tries to over-steer, can't bring\nthe careening jeep under control.", "Nedry pulls open the jeep door, \nthrusts his head in, slams it against\nthe door frame. Now Nedry heaves his whole body into the jeep. The", "WU\n If I did that I'd leave a way to turn it\n back on. In case I had to. I'm sure\n Nedry did. You're find it.", "Nedry starts moving toward his jeep. Again, the HOOT! Nedry stops,\nlooks right, looks left. A RUSTLE in the trees. Nedry's head cocks.", "Nedry runs to the second gate. He slips in the mud. He slides to the\nground, dropping keys in a muddy pool.", "Nedry grabs the handles of the incubator and runs with it. The\nincubator careens on one wheel as he turns the corner and exits.\n\n\nBACK ON CONTROL ROOM -", "HAMMOND\n Where the hell is Nedry? Where is he?\n Did anybody check the damn john?\n\nHammond storms out.", "Nedry, in true distress, clutches his own throat. He clumsily runs\ntoward Baker, toppling chairs as he goes. Nedry grabs Baker's hand and", "Nedry punches in a code.\n\nCLOSE ON \n- Nedry's fat finger punching a last key.\n\nCLOSE ON - amber video display terminal as a countdown begins." ], [ "NEDRY\n Look pal, you make a career in biogenetic\n industrial espionage, and you're bound to", "WU\n Yes, they are, The embryos are\n mechanically inserted and then hatched in\n this room. But we've managed to", "MULDOON\n Nedry could steal the eggs, get back and\n reset the whole show. No one would ever\n miss him.\n\n ARNOLD\n Watch this.", "NERVOUS, NEDRY BREATHES in a labored fashion. He looks this way and\nthat. He closes his eyes and with one superhuman effort, he heaves the", "Nedry's face drips with sweat. The incubator slips out of his sweaty\npalms. Catches it with his knee. Nedry curses and with one forceful\nboost, he lifts the incubator shoulder height.", "NEDRY\n But, boy, he's really got his product!\n Oh yes siree, massive, gargantuan, money-", "Bakers kneels down next to Nedry, who is beginning to turn blue.\n\n BAKER\n The deal stands. Take it or leave it.\n\nBaker glances at his watch.", "Nedry jumps out and pulls his incubator to the ground. He begins to\ndrag it through the mud, toward the ship. CAPTAIN FARRELL comes to meet", "At the other end of the room, GRANT ENTERS quickly. He surveys the\nsituation. Quickly, he grabs an egg off a table. He reaches into one", "Grant injects the egg, then gently rolls it on the ground. The raptor\nforgets the headset. He comes forward and sniffs the egg, then sucks it\nup, swallowing it whole.", "Nedry storms in, wheeling his incubator. He stop suddenly and listens.\nApproaching FOOTSTEPS.\n\n NEDRY\n Oh, shit!", "Nedry grabs the handles of the incubator and runs with it. The\nincubator careens on one wheel as he turns the corner and exits.\n\n\nBACK ON CONTROL ROOM -", "NEDRY\n Just think, Gennaro -\n (laughs harder)\n - you gotta agree it's funny! These two,", "Nedry makes a superhuman effort just to nod his head. Baker nods back\nand SLAMS his fist into Nedry's solar plexus. It works.", "He falls against the jeep, rubbing his eyes. The Spitter calmly hops to\nthe embankment and watches the blinded Nedry weave drunkenly in the", "Nedry, in true distress, clutches his own throat. He clumsily runs\ntoward Baker, toppling chairs as he goes. Nedry grabs Baker's hand and", "NEDRY\n Ok. Ok. Here.\n\nNedry pulls an aerosol can out of the baggy crotch of his pants.", "NEDRY\n Let the other guy put in all the work,\n all the R and D. You take the finished", "(yells after the men with the incubator)\n Careful with that thing! It's worth more\n than the ship.\n (to the Captain)", "They reach an endless row of incubators, lined up along the wall,\nbeneath a viewing area like those found in an OB-GYN ward." ], [ "NERVOUS, NEDRY BREATHES in a labored fashion. He looks this way and\nthat. He closes his eyes and with one superhuman effort, he heaves the", "Nedry's face drips with sweat. The incubator slips out of his sweaty\npalms. Catches it with his knee. Nedry curses and with one forceful\nboost, he lifts the incubator shoulder height.", "Grant injects the egg, then gently rolls it on the ground. The raptor\nforgets the headset. He comes forward and sniffs the egg, then sucks it\nup, swallowing it whole.", "MULDOON\n Nedry could steal the eggs, get back and\n reset the whole show. No one would ever\n miss him.\n\n ARNOLD\n Watch this.", "Nedry grabs the handles of the incubator and runs with it. The\nincubator careens on one wheel as he turns the corner and exits.\n\n\nBACK ON CONTROL ROOM -", "He falls against the jeep, rubbing his eyes. The Spitter calmly hops to\nthe embankment and watches the blinded Nedry weave drunkenly in the", "WU\n Yes, they are, The embryos are\n mechanically inserted and then hatched in\n this room. But we've managed to", "Nedry sucks in a huge gulp of air. He sits up\n, rubbing his belly. As\nBaker leaves the room:", "Nedry jumps out and pulls his incubator to the ground. He begins to\ndrag it through the mud, toward the ship. CAPTAIN FARRELL comes to meet", "At the other end of the room, GRANT ENTERS quickly. He surveys the\nsituation. Quickly, he grabs an egg off a table. He reaches into one", "Nedry makes a superhuman effort just to nod his head. Baker nods back\nand SLAMS his fist into Nedry's solar plexus. It works.", "Nedry heads back to his jeep, his fat body strobed by its high beams.\nHe jumps in the jeep and drives through. Behind him, the open gates\nmove recklessly in the stormy night.", "NEDRY\n Look pal, you make a career in biogenetic\n industrial espionage, and you're bound to", "Nedry storms in, wheeling his incubator. He stop suddenly and listens.\nApproaching FOOTSTEPS.\n\n NEDRY\n Oh, shit!", "Nedry chuckles, lines up three peanuts on the table. One after the\nother, he throws them in the air. He gulps down two, misses one. It\nskids across the glossy floor.", "Nedry, in true distress, clutches his own throat. He clumsily runs\ntoward Baker, toppling chairs as he goes. Nedry grabs Baker's hand and", "squeezes it tightly, imploring Baker for help. Baker coolly shakes his\nhand loose and shoves Nedry to the floor. Baker looks down at the prone\nand desperate Nedry.", "Nedry returns the radio to its hiding place. He sucks in his gut to\nmake the crawl out of the narrow space.", "electrical cord goes flying. Furiously, Nedry fills the incubator with\neggs, one after the other.", "NEDRY\n But, boy, he's really got his product!\n Oh yes siree, massive, gargantuan, money-" ], [ "THE CAMERA DESCENDS to Isla Nublar, slowly reveling in its natural\nbeauty and finally coming to earth in the midst of the verdant jungle.", "HAMMOND\n Jurassic Park is the most advanced\n amusement park in the world. We work\n with genetics - life's essential building", "HAMMOND\n Ladies and Gentlemen, Jurassic Park. Not\n a resort, not a scien\ntific conservatory,", "Ellie walks over to the large model of the park that Hammond revealed.\nShe looks at the miniature dinosaurs that sit in different sectors of\nthe park. She picks up the plastic Rex, examines it, drops it back in.", "JURASSIC PARK\n\n\n\n First Draft\n by\n MICHAEL CRICHTON", "nd flying squirrels. The strange, prehistoric world impresses Grant\nand Ellie. Even Nedry and Gennaro take in the vegetal wonder.", "They pass a crude sign nailed to a tree: Welcome to Jurassic Park.\nGrant cringes at the sign. Ellie nudges him to loosen up.", "PRE-RECORDED VOICE\n Welcome to Jurassic Park. You are now\n entering the lost world of the", "HAMMOND\n ... Jurassic Park. What we do here is\n made possible through the miracle of DNA", "INT/EXT HELICOPTER IN SKY - DAWN\n\nOn the helicopter tail is a little blue logo that reads: Isla Nublar.", "Ellie and Grant jump into the world of Jurassic Park.\n\n\nEXT LUSH TROPICAL FOREST - MORNING", "PILOT\n That's Isla Nublar. Buckle up, the\n descent is a little hairy.", "HAMMOND\n Oh you don't know. There are wonderful\n plans in the works, sites already\n purchased for Euro-Jurassic and Jurassic\n Japan.", "CUT TO:\n\nESTABLISHING AERIAL - the primordial beauty of Isla Nublar at dawn.\n\n\nEXT VISITOR'S CENTER - DAWN", "The center of all this activity is one man. In a roped-off area that\ncircumscribes the exposed bones of the raptor, is DR. ALAN GRANT, head", "Muldoon's tracking leads him to the equipment graveyard where Nedry was\nlost. He sees his stolen red jeep. He rushes to it. On the passenger", "EXT PARK ROAD - NIGHT\n\nNedry's red jeep flies down the park road.\n\nCLOSE ON - Nedry's wheel as he turns it.", "Nedry heads back to his jeep, his fat body strobed by its high beams.\nHe jumps in the jeep and drives through. Behind him, the open gates\nmove recklessly in the stormy night.", "HAMMOND\n Dr. Grant, don't abandon this beautiful\n place. I need a man just like you to\n help me get my park back on its feet\n again. And it will be on its feet again.", "HAMMOND\n I created genetic miracles!\n\n GRANT\n You created a park to generate a profit-\n making merchandising operation." ], [ "JURASSIC PARK\n\n\n\n First Draft\n by\n MICHAEL CRICHTON", "HAMMOND\n Jurassic Park is the most advanced\n amusement park in the world. We work\n with genetics - life's essential building", "HAMMOND\n Ladies and Gentlemen, Jurassic Park. Not\n a resort, not a scien\ntific conservatory,", "HAMMOND\n ... Jurassic Park. What we do here is\n made possible through the miracle of DNA", "nd flying squirrels. The strange, prehistoric world impresses Grant\nand Ellie. Even Nedry and Gennaro take in the vegetal wonder.", "HAMMOND\n I created genetic miracles!\n\n GRANT\n You created a park to generate a profit-\n making merchandising operation.", "They pass a crude sign nailed to a tree: Welcome to Jurassic Park.\nGrant cringes at the sign. Ellie nudges him to loosen up.", "There is a huge TRICERATOPS lying on its side, moving very slowly,\nbreathing laboriously. HARDING, the tall, balding park vet, kneels on", "PRE-RECORDED VOICE\n Welcome to Jurassic Park. You are now\n entering the lost world of the", "Ellie walks over to the large model of the park that Hammond revealed.\nShe looks at the miniature dinosaurs that sit in different sectors of\nthe park. She picks up the plastic Rex, examines it, drops it back in.", "MULDOON\n Nedry could steal the eggs, get back and\n reset the whole show. No one would ever\n miss him.\n\n ARNOLD\n Watch this.", "THE CAMERA DESCENDS to Isla Nublar, slowly reveling in its natural\nbeauty and finally coming to earth in the midst of the verdant jungle.", "TIMMY\n I know you. You wrote my book. Lost\n World of The Dinosaurs. It's awesome.\n\n LEX\n Timmy's got dinosaurs on the brain.", "Nedry heads back to his jeep, his fat body strobed by its high beams.\nHe jumps in the jeep and drives through. Behind him, the open gates\nmove recklessly in the stormy night.", "Looking through trees, lit by the strong beams, Nedry sees a SPITTER in\nthe eerie mist. Now it's gone. Now it's back. It circles Nedry\nwarily, hunting him. Nedry stares.", "Ellie and Grant jump into the world of Jurassic Park.\n\n\nEXT LUSH TROPICAL FOREST - MORNING", "The center of all this activity is one man. In a roped-off area that\ncircumscribes the exposed bones of the raptor, is DR. ALAN GRANT, head", "HOOT! HOOT! A distinctive HOOTING. Nedry looks up in fear. SILENCE.", "Nedry starts moving toward his jeep. Again, the HOOT! Nedry stops,\nlooks right, looks left. A RUSTLE in the trees. Nedry's head cocks.", "in a single day. Many brightly colored hours are allocated to the\ndinosaurs. Man receives the last second of the day. Ellie joins Grant." ], [ "necessary to provide even a partial\n strand of DNA. And without a complete\n strand, we don't have a dinosaur.", "GRANT\n Mosquitos that sucked the blood of\n dinosaurs. That's your source of DNA\n \n material? My God! It just might work.", "always some microscopic mosquito\n contamination. But at the molecular\n level, that was enough. Every dinosaur\n received the same genetic massage, the", "So you see, Ellie, I'm not creating dino-\n saurs. Fossils left behind the information,\n the map of how to bring them back. I'm", "GRANT\n \n I think that they could never completely \n isolate the dinosaur DNA. There was", "WU\n The computers make sever\nal trillion\n calculations to provide us with a\n complete DNA strand - the genetic code of\n an extinct animal.", "will extract those blood cells and obtain\n paleo-DNA, the how-to-build instruction\n book of an extinct creature.", "GRANT\n We don't have the science. There's no\n source of dinosaur DNA.\n\nHammond's proud, excited face shifts to one that divulges modestly.", "Grant and the mother hadrosaur stare at each other. She sniffs his\nfoot. He moves closer, straddling a branch. He lifts up her lip and\nexamines her gums.", "HAMMOND\n I know what it's done. I've made\n triceratops and gallimimus and a T-Rex.", "in a single day. Many brightly colored hours are allocated to the\ndinosaurs. Man receives the last second of the day. Ellie joins Grant.", "ELLIE\n Hey you cretaceous dromaeosaur, you can't\n catch me. Hey, come and get me, you\n flat-snouted Mongolian beast. Hey!", "Grant injects the egg, then gently rolls it on the ground. The raptor\nforgets the headset. He comes forward and sniffs the egg, then sucks it\nup, swallowing it whole.", "There is a huge TRICERATOPS lying on its side, moving very slowly,\nbreathing laboriously. HARDING, the tall, balding park vet, kneels on", "CLOSE ON - her mouth as Grant's hand touches the side of her tongue. He\nsees little tiny bumps.\n\nThe hadrosaur lets out a low groan. Grant is puzzled, rubs harder.", "Gennaro sprints for his life. He's not even a distant match for the T-\nRex jogging behind him.\n\nGennaro dives into the LADIES ROOM.", "The hadrosaur HONKS. Lex covers her ears. Grant smiles and motions to\nLex. He picks a big fruit off the tree and tosses it into the", "Grant brushes the bone with a toothbrush. Then he decides on a quicker\nway to clean it. He licks it. Excited by his discovery, he gets to his\nfeet and addresses his students, who listen raptly.", "HAMMOND\n ... Jurassic Park. What we do here is\n made possible through the miracle of DNA", "The Rex bends down, bumps the windshield with his nose. Just stays\nthere, breathing heavily. In the distance, the flashlight goes on\nagain. The Rex raises his head suddenly. Grant g\nrabs his walkie." ], [ "in a single day. Many brightly colored hours are allocated to the\ndinosaurs. Man receives the last second of the day. Ellie joins Grant.", "at those animals, and wiggles those\n little forearms of hers in frustration.\n But the T-Rex territory is completely\n enclosed with trenches and fences.", "always some microscopic mosquito\n contamination. But at the molecular\n level, that was enough. Every dinosaur\n received the same genetic massage, the", "HARDING\n We make these dinosaurs in the lab,\n sweetheart. But they do form attachments.\n Freda has a little one that follows her\n around, thinks Freda's his mom.", "When she returns, all three quickly gather fruits and throw them into\nher mouth. The hadrosaur pulls back with her giant mouthful of fruit.\nShe pulls further and further back and then her huge head turns and\nmoves down.", "The T-Rex hunts down the herd. He targets his prey. A young hadrosaur.", "It falls directly onto the last raptor, squashing him flat. Dead.\n\n GRANT\n (grimly)\n And then there were none.", "The earth SHAKES. A low rumble is heard and felt as the hadrosaurs begin\nto run in a parallel direction to the course of Grant and the kids.", "Grant and the mother hadrosaur stare at each other. She sniffs his\nfoot. He moves closer, straddling a branch. He lifts up her lip and\nexamines her gums.", "Timmy grabs the box of toy dinosaurs. He winds one up and sends it off\nacross the hall. The raptor glances over at the moving toy. Timmy\ngrabs another, whispers as he winds it.", "nd flying squirrels. The strange, prehistoric world impresses Grant\nand Ellie. Even Nedry and Gennaro take in the vegetal wonder.", "She finds a box of wind-up dinosaur toys. She winds one. Sends it\nwalking to Timmy.\n\n TIMMY\n Tired! He carried you the whole way.", "Grant do\nesn't listen. He is simply intoxicated with the pastoral beauty\nof the gentle, grazing dinosaurs. Suddenly, he looks away with a deep\nconcern. Ellie looks at him questioningly.", "The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS\ngraze. They stand on their hind legs to get at high palm trees, then", "Grant and kids run for their lives. Behind them the duckbills charge\nwith surprising speed. Their enormous bodies charge in a tight group,\nkicking up dirt, rocks, whole trees as they thunder along.", "THEIR POV - The hadrosaur is feeding four scampering, baby hadrosaurs.\nLetting the fruit tumble from her mouth into theirs. Lex YELLS:", "THE ANIMAL toys with the cruiser. Like a dog with its bone, the\ndinosaur pushes the cruiser along with his head. He pushes it past the", "TIMMY\n I know you. You wrote my book. Lost\n World of The Dinosaurs. It's awesome.\n\n LEX\n Timmy's got dinosaurs on the brain.", "HAMMOND\n I know what it's done. I've made\n triceratops and gallimimus and a T-Rex.", "CLOSE ON - Grant as his eyes slowly roll back and ... he faints.\n\nThe dinosaur casually moves away as Ellie comes to Grant's aid." ], [ "always some microscopic mosquito\n contamination. But at the molecular\n level, that was enough. Every dinosaur\n received the same genetic massage, the", "Grant and the mother hadrosaur stare at each other. She sniffs his\nfoot. He moves closer, straddling a branch. He lifts up her lip and\nexamines her gums.", "GRANT\n \n I think that they could never completely \n isolate the dinosaur DNA. There was", "The cracked egg is nudged open. The cute scaly head of a six-inch baby\nraptor nuzzles its way out of the shell. It shakes off a few pieces of", "Grant injects the egg, then gently rolls it on the ground. The raptor\nforgets the headset. He comes forward and sniffs the egg, then sucks it\nup, swallowing it whole.", "The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS\ngraze. They stand on their hind legs to get at high palm trees, then", "There is a huge TRICERATOPS lying on its side, moving very slowly,\nbreathing laboriously. HARDING, the tall, balding park vet, kneels on", "HAMMOND\n As you well know, long ago, creatures ten\n times larger than whales roamed our\n adolescent Earth. And then mass,\n mysterious extinction created a time\n barrier unscalable until ... now.", "The earth SHAKES. A low rumble is heard and felt as the hadrosaurs begin\nto run in a parallel direction to the course of Grant and the kids.", "Grant do\nesn't listen. He is simply intoxicated with the pastoral beauty\nof the gentle, grazing dinosaurs. Suddenly, he looks away with a deep\nconcern. Ellie looks at him questioningly.", "nd flying squirrels. The strange, prehistoric world impresses Grant\nand Ellie. Even Nedry and Gennaro take in the vegetal wonder.", "When she returns, all three quickly gather fruits and throw them into\nher mouth. The hadrosaur pulls back with her giant mouthful of fruit.\nShe pulls further and further back and then her huge head turns and\nmoves down.", "in a single day. Many brightly colored hours are allocated to the\ndinosaurs. Man receives the last second of the day. Ellie joins Grant.", "at those animals, and wiggles those\n little forearms of hers in frustration.\n But the T-Rex territory is completely\n enclosed with trenches and fences.", "All those eggs on tables. No moving sensors. Nedry pulls a portable\nincubator away from the dozens lined up against the wall. Its", "The T-Rex hunts down the herd. He targets his prey. A young hadrosaur.", "It falls directly onto the last raptor, squashing him flat. Dead.\n\n GRANT\n (grimly)\n And then there were none.", "Grant and kids run for their lives. Behind them the duckbills charge\nwith surprising speed. Their enormous bodies charge in a tight group,\nkicking up dirt, rocks, whole trees as they thunder along.", "Hadrosaurs run alongside of them. Grant\n hears the crashing of trees.\nHe takes a glance over his shoulder.", "Gennaro waves to Regis that all is okay. Grant slowly revives. He\nlooks back at the brachiosaur, groggily, smiling away. He looks at" ], [ "There is a huge TRICERATOPS lying on its side, moving very slowly,\nbreathing laboriously. HARDING, the tall, balding park vet, kneels on", "The T-Rex hunts down the herd. He targets his prey. A young hadrosaur.", "Grant studies the nearby grass and bushes. Timmy quietly follows Grant.\n\nEllie lifts a huge eyelid on the triceratops. A runny eye just stares.", "Grant do\nesn't listen. He is simply intoxicated with the pastoral beauty\nof the gentle, grazing dinosaurs. Suddenly, he looks away with a deep\nconcern. Ellie looks at him questioningly.", "The earth SHAKES. A low rumble is heard and felt as the hadrosaurs begin\nto run in a parallel direction to the course of Grant and the kids.", "Grant and the mother hadrosaur stare at each other. She sniffs his\nfoot. He moves closer, straddling a branch. He lifts up her lip and\nexamines her gums.", "The cruisers come to a stop. In the distance, A HERD OF GALLIMIMUS\ngraze. They stand on their hind legs to get at high palm trees, then", "As the hadrosaur gallops into the shadowy treeline, the Rex lunges\nfiercely. The Rex and its victim are enveloped \nin dust.", "The hadrosaur HONKS. Lex covers her ears. Grant smiles and motions to\nLex. He picks a big fruit off the tree and tosses it into the", "They share a frightened, apprehensive look. Muldoon gets on his knees\nand and touches a muddies area.\n\n MULDOON\n T-Rex tracks.", "Hadrosaurs run alongside of them. Grant\n hears the crashing of trees.\nHe takes a glance over his shoulder.", "Lex pushes the fruit closer. The BABY TRICERATOPS comes out of the\nbrush, squeaking as it goes. It nibbles the fruit. Lex rolls another.", "Looking through trees, lit by the strong beams, Nedry sees a SPITTER in\nthe eerie mist. Now it's gone. Now it's back. It circles Nedry\nwarily, hunting him. Nedry stares.", "CLOSE ON - Grant as his eyes slowly roll back and ... he faints.\n\nThe dinosaur casually moves away as Ellie comes to Grant's aid.", "With a ROAR, the T-Rex bursts from the trees, just a hundred yards away\nstraight toward the hadrosaurs.\n\n LEX\n I told you I heard something!", "The dinosaur stands in front of the cruiser, his whole chest heaving,\nhis forelimbs pawing the air.\n\nTimmy whispers to Lex.", "Grant and kids run for their lives. Behind them the duckbills charge\nwith surprising speed. Their enormous bodies charge in a tight group,\nkicking up dirt, rocks, whole trees as they thunder along.", "A distinct HOOTING in the distance. Then a loud TRUMPETING. Grant and\nEllie stop. Nedry doesn't look up. Regis flashes his salesman's smile.", "When she returns, all three quickly gather fruits and throw them into\nher mouth. The hadrosaur pulls back with her giant mouthful of fruit.\nShe pulls further and further back and then her huge head turns and\nmoves down.", "CLOSE ON - her mouth as Grant's hand touches the side of her tongue. He\nsees little tiny bumps.\n\nThe hadrosaur lets out a low groan. Grant is puzzled, rubs harder." ], [ "MULDOON\n Nedry could steal the eggs, get back and\n reset the whole show. No one would ever\n miss him.\n\n ARNOLD\n Watch this.", "LEX (TO WALKIE)\n Yeah, he's stealing them, Dr. Grant!\n He's stealing my Grandpa's eggs!", "Grant and the mother hadrosaur stare at each other. She sniffs his\nfoot. He moves closer, straddling a branch. He lifts up her lip and\nexamines her gums.", "Nedry's face drips with sweat. The incubator slips out of his sweaty\npalms. Catches it with his knee. Nedry curses and with one forceful\nboost, he lifts the incubator shoulder height.", "Grant injects the egg, then gently rolls it on the ground. The raptor\nforgets the headset. He comes forward and sniffs the egg, then sucks it\nup, swallowing it whole.", "squeezes it tightly, imploring Baker for help. Baker coolly shakes his\nhand loose and shoves Nedry to the floor. Baker looks down at the prone\nand desperate Nedry.", "THE ANIMAL toys with the cruiser. Like a dog with its bone, the\ndinosaur pushes the cruiser along with his head. He pushes it past the", "There is a huge TRICERATOPS lying on its side, moving very slowly,\nbreathing laboriously. HARDING, the tall, balding park vet, kneels on", "Muldoon inspects an extremely discouraging sight. The thick mesh that\ncovered the pit has been chewed through and ripped open. With heavy gun\nin one hand, Muldoon shines his flashlight into the pit. It's empty.", "The hadrosaur HONKS. Lex covers her ears. Grant smiles and motions to\nLex. He picks a big fruit off the tree and tosses it into the", "The Rex bends down, bumps the windshield with his nose. Just stays\nthere, breathing heavily. In the distance, the flashlight goes on\nagain. The Rex raises his head suddenly. Grant g\nrabs his walkie.", "The dinosaur stands in front of the cruiser, his whole chest heaving,\nhis forelimbs pawing the air.\n\nTimmy whispers to Lex.", "ELLIE\n Hey you cretaceous dromaeosaur, you can't\n catch me. Hey, come and get me, you\n flat-snouted Mongolian beast. Hey!", "in a single day. Many brightly colored hours are allocated to the\ndinosaurs. Man receives the last second of the day. Ellie joins Grant.", "Grant do\nesn't listen. He is simply intoxicated with the pastoral beauty\nof the gentle, grazing dinosaurs. Suddenly, he looks away with a deep\nconcern. Ellie looks at him questioningly.", "wonder. You fainted when you saw the\n brachiosaur. Alan, look, let's not\n argue. The problem is that my employees", "Timmy grabs the box of toy dinosaurs. He winds one up and sends it off\nacross the hall. The raptor glances over at the moving toy. Timmy\ngrabs another, whispers as he winds it.", "So you see, Ellie, I'm not creating dino-\n saurs. Fossils left behind the information,\n the map of how to bring them back. I'm", "AFTER A LONG MOMENT, the tyrannosaur walks away, disappears into the\nshadows. Regis waits another long moment and releases his tree.", "toward the raptor. The raptor gobbles it in one bite. Timmy shoves Lex\nout of the way and begins to toss the steaks on the floor. One after the" ], [ "Ellie turns and races toward a ventilation shaft. She dives into it.\nThe raptor gets there a second late and smashes against the shaft wall.", "The kids burrow into the rib cage of the Rex. They break off floating\nrubs and hurl them back at the raptor. The raptor is undeterred,\nclosing the gap on the kids.", "Muldoon slides shut the heavy gate, bashing the raptor's head with all\nhis might. The raptor shudders, caught in the gate. Stunned, for a\nsecond, it doesn't move.", "Wu runs faster. The raptor gains on him. Wu screams, runs spastically.\nWu and the raptor are neck-and-neck\n, equally close to the open door.", "With the raptor in hot pursuit, the kids and Grant come flying. Tim and\nLex jump over the railing, leaping onto the skeletal display. Grant\ngoes for the stairs, jumping down them three at a time.", "It falls directly onto the last raptor, squashing him flat. Dead.\n\n GRANT\n (grimly)\n And then there were none.", "The raptor smashes against the shaft again and gets inside. Ellie\nscrambles up. The raptor snarls and spits but it is momentarily pinned.", "Grant leaps up the scaffolding, grabs a beam, swings his weight onto it,\nand slams it into the T-Rex's neck. The neck shatters and the massive\nhead of the T-Rex drops free.", "ELLIE\n Come on, Wu! Come on! Run!\n\nThe raptor is inches from Wu. Both are closer and closer to the door.", "Ellie fires a fire-extinguisher into the furious face of the Rex and its\njaws relax. The copter escapes and starts to climb high into the sky.", "Ellie dives inside the safety of the fence, losing her headset as she\ngoes. The gate is almost closed. The raptor lunges.", "The kids are stuck at the end of the rib cage - it's closed off by the\nskeleton and they can't break through. They're imprisoned. The raptor\nis pushing through the rib cage, bones crackling as it goes.", "Muldoon fires at the raptor. Misses. No time to reload.", "The raptor immediately begins to gnaw at the iron bars that block the\nskylight. Below, they shake off shards of glass and huddle in the\ncorners. Ellie turns to Muldoon.", "SMASH! Ellie SCREAMS as a raptor lunges at her. He jumps down\n from\nabove the water pipe Ellie banged her head on.", "CLOSE ON - The raptor's glistening eyes register the children.\n\nHe begins to stalk. The kids SCREAM. This time there is nowhere to go.", "They practically race as a group to keep up with Hammond. The security\ndoor seals shit, leaving Nedry and Arnold alone again.\n\n NEDRY\n Thanks for the kind word, Mr. Hammond.", "The kids race around the dead raptor to Grant. Grant grabs his headset\nas the three run out of the room. Grant addresses Timmy as they run.", "The raptor is almost on the kids. Grant coughs conspicuously. The\nraptor whirls, studies Grant. He looks back at the children.\n\nGrant speaks into the headset.", "ELLIE AND MULDOON'S POV - Wu runs frantically. The raptor jerks out of\nthe gate, inside of the fence. He races after Wu." ], [ "HAMMOND\n My laboratory, Lex. It will be yours and\n Timmy's someday.\n\n\nINT AMBER ROOM, LABORATORY - CONTINUING ACTION", "TIMMY\n That stuff turns you into a mutant!\n\nHe contorts his face into strange shapes. As Hammond leads them all in\nLex pulls on his pocket.", "TIMMY\n (softly)\n Lex? Lex?\n\nSILENCE. No movement from Lex.", "Lex jumps right into her Grandpa's arms. Timmy s\nhyly walks up and\nembraces him. Hammond shines. Gennaro holds in his fury.", "TIMMY\n Shut up.\n\nLex and Timmy stare at each other. No fighting - now. They relax.", "LEX\n Starved.\n\nTimmy looks behind the counter. He sees boxes of goods. He moves a\nstack of umbrellas out of his way. Lex gets up and pulls one out.", "TIMMY\n (mumbles)\n It's ok, Lex. Everything's gonna be okay.\n\n CUT TO:", "There is a thud, and then a THUD, and then a THUD. Tim and Lex share a", "LEX\n Actually, I never really saw one. Just\n assumed.\n\n GRANT\n Assumed?\n\nShe nods. Grant and Timmy resume looking.", "LEX\n Grandpa!\n\nHammond looks up, delighted. Arms open. Gennaro pulls him close.", "TIMMY\n Lex! Lex! You're okay, you're okay!\n\nLex is overcome with fear. Timmy grabs a preservers and puts it on.", "GRANT\n Outta the way, kids! Run!\n\nGrant grabs Lex, lifting her bodily off the ground, and carries her like\na football. Timmy runs beside them.", "The cruiser SLAMS DOWN on its side, the windows splat in the mud. Lex\nfalls he\nlplessly against the side window and lies motionless. Timmy\nfalls beside her, banging his head. He reaches for Lex.", "Timmy looks up at Grant. Grant kneels down by Lex. Lex embraces Grant.\n\n GRANT\n You ready?\n\nShe wipes her tears.", "Hammond and his group turn off the corridor and reach a door marked:\nCAUTION: Teratogenic Substances. Timmy backs off, grabs Lex's arm.", "HAMMOND\n Timmy, there's electric fences and moats\n and video surveillance at all times.\n There", "Hammond leads Grant, Ellie, Gennaro, Timmy, and Lex out of an elevator\nand down an endless corridor. A WORKMAN ON CRUTCHES passes them.", "HAMMOND\n Don't mind the signs. They're only legal\n precautions.\n\nGennaro frowns. The door opens and Lex peeks in.", "LEX\n He just left us. He just left us all\n alone. Timmy, Timmy how could he do\n that? We're all alone! We're all alone!", "GRANT\n Okay with the fence, Timmy?\n\nTimmy eyes it. Nods hesitantly. They start to climb. Lex climbs easily." ], [ "Arnold gets up and goes to the main panel. He opens the doors and\nuncovers the metal swing-latches over the safety switches. \n He pops them\noff, one after another.", "Two safety fences separate Nedry from the electric fence. He races to\nthe first one, pulls out a key chain. He tries one key, then another,\nand another. It f", "hit WHTE-RBT. OBJ, it initiates a set of\n commands that turned the whole goddamn\n park off. Hammond was right about him.", "Arnold points to the transparent map of the park. On it, bright red\nlines snake out, moving throughout the park, as electricity surges\nthrough the fences.\n\n MULDOON\n Motion sensors?", "Arnold types in a command. The screen flickers and changes. Arnold and\nMuldoon look out the window as lights come on through out the park.\n\n ARNOLD\n Hot damn!", "Arnold looks at Hammond, who now stares out into the park. Without\nturning, Hammond nods his consent.\n\n ARNOLD\n Okay.", "Nedry races through the series of security doors. He ignores the\nsecurity x-ray device and just SHOVES each door open with his hand.\n\n\nBACK ON CRUISERS, REST AREA -", "Still nothing. LIST WHTE-RBT.OBJ. The screen fills with data. Each\nline defines another security system that has been shut off: SECURITY\nPERIM", "Nedry heads back to his jeep, his fat body strobed by its high beams.\nHe jumps in the jeep and drives through. Behind him, the open gates\nmove recklessly in the stormy night.", "They go through a series of security doors. To get them open, Hammond\nplaces his palm on a screen before each door. Each time, it lights up", "HAMMOND\n And this is the right side of my brain.\n The entire park is safely controlled from\n here. John Arnold, that genius over", "Nedry jumps out and looks up. His high beams illuminate a huge electric\nfence prominently labeled: DANGER! 10,000 Volts!", "Arnold flips on three safeties, and covers them again with latch covers.\nHolding his breath, he\n turns on the main power switch.", "Wu and Ellie nod seriously and test radio contact. We starts his way\nacross the lawn, Muldoon limps behind with his launcher. Ellie stands\nready at the open \ngate.", "Hammond gets up and stands before the big windows overlooking the park.\nThe quartz FLOODLIGHTS outside their area COME ON with a rosy glow and\nthe dark jungle is opened again to their inspection.", "He falls against the jeep, rubbing his eyes. The Spitter calmly hops to\nthe embankment and watches the blinded Nedry weave drunkenly in the", "Ellie and Muldoon run to the building. They push open the steel-clad\nsecurity door and dive inside. Wu limping, chases after them. With a", "Ellie dives inside the safety of the fence, losing her headset as she\ngoes. The gate is almost closed. The raptor lunges.", "Ellie races like a gazelle across the open lawn. She's very fast and\ngraceful. She ducks into the generator building.\n\nAbove it all, Hammond watches at the small viewing window.", "Grant reaches across to the other car door and tries the outer door\nhandle. This one opens and very slowly, he pushes open the door. Grant\ngingerly holds it half-open in mid-air." ] ]

[ "Who invites Grant and Sattler to Costa Rica?", "Which two creatures helped to make the cloning process possible?", "How was breeding of the cloned dinosaurs supposed to be prevented?", "Where was Tim's grandfather while he toured the park with Lex?", "Who does Sattler remain with when the tropical storms approaches the Park?", "Why was the tour not a success?", "Which Park employee's actions led to the death of Gennaro?", "How were the cloned dinosaurs able to breed?", "What populates the island of Jurassic Park?", "What is Jurassic Park?", "Who creates Jurassic Park?", "What takes place before the parks investors demand that the park be certified for safety?", "Who joins the team of experts for a tour of the park?", "How do the bio-engineers keep the dinosaurs from breeding on Jurassic Park?", "Who is responsible for disabling the park's security code?", "Why does Nedry disable the security system?", "Who pays Nerdy to steal the embryo?", "What happens to Nerdy after he steals the embryo?", "Where is the theme park Jurassic Park located?", "Who created Jurassic Park?", "What animal's DNA was used to fill in the gaps from the dinosaur genome?", "Why were all the dinosaurs made female?", "Why were the dinosaurs able to breed?", "The group encounters a sick dinosaur. What kind of dinosaur was it?", "Who was bribed by Dodgson to steal dinosaur embryos?", "How does the group escape when they are cornered by raptors at the end of the story?", "What is Hammond's relationship with Lex and Tim Murphy?", "Who first deacitivates the park's security system?" ]

[ [ "Hammond", "the lawyer, Gennaro" ], [ "mosquitoes and frogs", "Mosquitoes and frogs." ], [ "all the clones were female", "By making all dinosaurs female." ], [ "in the park's control room", "The control room." ], [ "the veterinarian", "The veterinarian. " ], [ "the dinosaurs did not appear", "No dinosaurs appear" ], [ "Nedry", "Ray Arnold" ], [ "the frog DNA used to create them came from a type of frog that can switch sexes", "Their frog DNA" ], [ "Cloned Dinosaurs. ", "Dinosaurs" ], [ "A dinosaur inhabited theme park.", "A dinosaur theme park containing real cloned dinosaurs. " ], [ "John Hammond and his bio-engineering company, InGen.", "John Hammond and his bioengineering company." ], [ "One of the park workers is killed by one of the dinosaurs. ", "A worker is killed by a raptor" ], [ "Hammond's grandchildren.", "Lex and Tim Murphy. " ], [ "They ensure that all of the cloned dinosaurs are female. ", "all were female" ], [ "Dennis Nedry.", "Dennis Nedry" ], [ "To steal a dinosaur embryo.", "To get access to the storage room. " ], [ "By Dodgson, a corporate rival to Hammond.", "Dogson. " ], [ "He is killed by a Dinosaur.", "He is killed by a dinosaur." ], [ "Isla Nublar", "Isla Nublar" ], [ "John Hammond", "John Hammond. " ], [ "Frog DNA", "Frogs" ], [ "To prevent breeding.", "To prevent breeding" ], [ "The frog DNA enabled them to switch genders", "Because they could switch to another sex." ], [ "Triceratops", "Triceratops." ], [ "Dennis Nedry", "Dennis Nedry, the computer programmer." ], [ "The Tyrannosaurus appears and attacks the raptors.", "They escape when the T-rex attacks the raptors" ], [ "He is their grandfather", "He is their grandfather." ], [ "Dennis Nedry", "Nedry" ] ]

[ [ "PAMELA\n Oh, Jesus! He didn't kick her\n out, he put her in a nut house!\n He shipped her off to this clinic\n in Wisconsin.", "Pamela drops her coat on the floor. She pulls her\n sweater off over her head. Doug's anguish is as great\n as Pamela's humiliation. He cannot bear any more if\n this -- he walks out the door.", "Pam's composure begins to weaken, but she quickly returns\n to the car before she can lose control. Doug turns the\n hose back on. He doesn't look up as she drives away.", "Doug dissolves into tears. He lowers his head and\n shields his eyes with his hand. Helen leans over and\n strokes his hair. After a few moments, he rises and\n wipes away his tears with a dish towel.", "Doug lobs the baseball back to her and goes inside.\n Helen sits on the porch steps and now the true toll that\n Joan's visit has taken on Helen becomes apparent -- a", "Jacey stops and stares with open-faced misery at the tent\n on the Abbott's front yard (the installation of the tent\n indicates that the Abbott's are having yet another of the\n many parties they throw every year).", "Doug lounges on his bed reading a textbook. It is\n raining outside. He is startled by a TAPPING on the\n windowpane. Pamela is outside on the fire escape. He\n ignores her.", "Doug starts with panic, rears back, cracks his head on\n the bottom of the table, and then, as his head rebounds\n from the blow, he accidentally impales himself in his", "Mrs. Horton help me, so she went\n and got Mom out of her classroom,\n but I wouldn't let Mom help me\n either. I told her to go get you.", "of the library is destroyed by the flabbergasted\n reactions of the students. Eleanor is momentarily\n concerned about his welfare, but she cannot help but\n laugh, too.", "him and tries to button her blouse, but she can't see the\n buttons for her tears. She begins to sob and runs out of\n the room.", "from the others. He's ill-at-ease. His conversation\n with Jacey resonates within him. As he looks over the\n gathering, he's pained to discover how easy it is to see", "afraid you would if you heard from\n someone else. She's all right.\n (MORE)\n (CONTINUED)", "and... well, some mornings I'd be\n crying before I even woke up.\n Then you were born. And Jacey\n just got lost in there. I didn't", "Pam pushes Doug down the hall away from the front stairs\n and whispers urgently:\n\n PAMELA\n Get out of here! Get out!", "JACEY\n Leave me alone, just leave me\n alone.\n\n Helen climbs the stairs, collects Doug at the top\n landing, and leads him away.", "have anything for him. Mother\n took him over. He'd cry or call\n for me, and then I'd hear Mother\n answer him, and I'd go back to", "Doug spins and slugs Ted in the jaw -- sending him\n reeling into the other dancers. Everyone pulls away from\n Doug and Pam. Doug massages his fist and looks\n helplessly at Pamela:", "46 CONTINUED: 46\n\n They are both seized with fright as they hear the front\n DOOR OPEN below and Peter's angry voice:", "The Plymouth is parked on a dirt lane separating two\n cornfields. Jacey sits on the fender of the car nursing\n on a bottle of beer. Doug urinates between two rows of\n corn." ], [ "DOUG\n Then why did she sell the patent?\n\n (CONTINUED)\n\n 22.", "JACEY\n He owns the company 'cause that\n patent saved the company's ass\n after the war, when all the war\n contracts dried up.", "JACEY\n Midwest Steel Desk. Dad's file\n cabinet drawer. Lloyd Abbott\n screwed mom out of Dad's patent\n after he died.\n\n DOUG\n Says who?", "JACEY\n After Dad died... Mom... had an\n affair with Lloyd Abbott. That's\n how he got Dad's patent away from\n her.", "Doug watches Jacey jump into the Plymouth and speed down\n the driveway and then up the street.\n\n Doug SHUTS OFF the LAWN MOWER and walks over to Pam.", "DOUG\n Well, maybe Mom sold it 'cause we\n needed the money.\n\n JACEY\n What money? We never had any\n money. Money had nothing to do\n with it.", "As Jacey turns up the driveway, a light snaps on in the\n garage. The garage doors are open, Doug sits on the edge", "DOUG\n A letter of agreement between\n Lloyd Abbott and Dad. Dad sold\n him the file drawer patent -- not\n Mom.\n\n (CONTINUED)", "DOUG\n Like a photograph. I never knew\n him. He died like a month before\n I was even born. Jacey probably", "JACEY\n Yeah, I'll go pick it up.\n\n HELEN\n Take Doug with you.", "Jacey smiles and then kisses her. Doug is spying on them\n from the safety of the crowd. Jacey winks at Doug. Doug\n shakes his head in wonder.", "DOUG\n I think my dad was like Jacey is.\n Some guys are just dare-devils. I", "Doug follows Jacey inside as he rings up the sale.\n\n DOUG\n Know what?", "The distance between Jacey and Doug is telling, as is the\n difference in their behavior. Doug leans against a wall\n with his hands in his pockets, his eyes cast down on his", "Doug is occupied with the lawn mower; he doesn't notice\n Pam and Jacey at first. (Jacey and Pam have to speak\n over the din of the LAWN MOWER.)", "Doug takes off with Jacey in hot pursuit. A few beats\n later, Helen steps out onto the front porch and discovers\n her sons and the porch swing missing.", "As Doug opens the screen door Jacey dives into him --\n they fall into the porch swing with such force that its", "JACEY HOLT and DOUG HOLT walk along the sidewalk on their\n way to school. Jacey is seventeen; he's as handsome and", "Doug and Jacey clean their hands with turpentine. Doug\n picks up a ping-pong paddle and bounces the ball on it,", "JACEY\n Nothing. I just outlived my\n usefulness, that's all.\n\n DOUG\n How were you `useful' to her?" ], [ "Pamela Abbott walks across the quad. Pam is 19 years old\n now, her beauty in full bloom. Doug jogs over to her.\n\n DOUG\n Hi.", "Doug steals lustful looks at Eleanor from behind his\n book. She is seated across the table from him. The\n library is filled with students poring over their", "The sunset provides a convenient excuse for their\n silence. But then Pam realizes he is staring at her.\n\n DOUG\n Hi.\n\n PAMELA\n Hi.", "him and tries to button her blouse, but she can't see the\n buttons for her tears. She begins to sob and runs out of\n the room.", "Doug almost doesn't recognize her. She is twenty years\n old now and very grown-up, very stylish in her stewardess\n uniform. She smiles at him.", "PAMELA\n How long is your mom gone?\n\n DOUG\n Two weeks. She goes up every\n summer to see this friend she went\n to college with.", "Doug lounges on his bed reading a textbook. It is\n raining outside. He is startled by a TAPPING on the\n windowpane. Pamela is outside on the fire escape. He\n ignores her.", "They dance past a group of young men on the sidelines\n (Jacey's senior classmates), they are all edgy with envy,\n waiting like predators for their chance to dance with\n Eleanor.", "The distance between Jacey and Doug is telling, as is the\n difference in their behavior. Doug leans against a wall\n with his hands in his pockets, his eyes cast down on his", "148 EXT. BRYN MAWR DORMITORY - DAY 148\n\n Pamela approaches her dorm. She stops as she sees Doug\n waiting beside the entrance. She turns and walks away.", "She gives him a sultry smile, turns and glides into a\n classroom as the BELL RINGS. The corridor is quickly\n vacated by all but Jacey -- he savors the aftertaste of\n Eleanor's smile.", "HELEN\n Thank you, Lloyd.\n\n They pass each other and head their separate ways. Their\n chance meeting has not gone unobserved:", "Doug dissolves into tears. He lowers his head and\n shields his eyes with his hand. Helen leans over and\n strokes his hair. After a few moments, he rises and\n wipes away his tears with a dish towel.", "Doug stares at her as if he's never seen her before.\n\n PAMELA\n What are you looking at?\n\n DOUG\n You.", "(Alice and Peter have separated)... and, finally, Pamela\n dancing with a handsome young man (TED). She is the\n belle of the ball, radiant and suddenly mature in her", "ruse is revealed as he stares up Eleanor's skirt at the\n soft triangle that her white panties cover between her\n parted legs. Eleanor's hand lowers a piece of notebook", "Doug knocks on the door. Eleanor opens it, she's dressed\n for work in her stewardess uniform. She's obviously\n surprised to find Doug on her doorstep, but she greets\n him with a warm smile.", "He gets out of bed, unlatches the window, then returns to\n the bed and his book. Pamela opens the window (with", "leans over and kisses her, sweetly and tenderly, and for\n a long time. They will always remember this kiss.", "Penn men and attractive coeds from Radcliffe, Mt.\n Hollyoke, and Byrn Mawr. Doug sits in the middle of the\n sofa wedged between two coeds having separate, but" ], [ "JACEY HOLT and DOUG HOLT walk along the sidewalk on their\n way to school. Jacey is seventeen; he's as handsome and", "109.\n\n166 INT. HOLT HOME - DINING ROOM - NEXT DAY 166", "DOUG\n Well, it was sort of a car wreck.\n He drowned, or froze to death, or\n both, I don't know. He was trying\n to drive out to Mud Island.", "31 EXT. HOLT HOME - STREET - DAY (SECONDS LATER) 31", "102 INT. HOLT HOME - LIVING ROOM - NIGHT (WEEKS LATER) 102", "156 INT. HOLT HOME - LIVING ROOM - NIGHT (CHRISTMAS, 1959) 156", "74.\n\n110 EXT. HOLT HOME - FRONT PORCH - NIGHT 110", "126 INT. HOLT HOME - DINING ROOM - LATER THAT NIGHT 126", "The Holt family drives home from the restaurant -- Jacey\n driving, Helen in front, and Doug in the back seat.", "171 EXT. HOLT HOME - DRIVEWAY - DAY 171", "109 INT. HOLT HOME - DINING ROOM - NIGHT 109", "157 INT. HOLT HOME - KITCHEN - CONTINUOUS ACTION - NIGHT 157", "HELEN HOLT is seated at the dining table. She was\n grading a stack of spelling tests with a red pencil when", "DOUG\n Nope.\n\n\n71 EXT. HOLT HOME - GARAGE - NIGHT (SHORT TIME LATER) 71", "61 INT. HOLT DINING ROOM AND FRONT DOOR - CONTINUOUS ACTION 61", "106 INT. HOLT HOME - KITCHEN - DAY (TWO WEEKS LATER) 106", "54 EXT. HOLT HOME - DRIVEWAY - DAY 54", "29 INT. HOLT HOME - KITCHEN - DAY (SHORT TIME LATER) 29", "DOUG\n Like a photograph. I never knew\n him. He died like a month before\n I was even born. Jacey probably", "114 EXT. HOLT HOME - STREET - YARD - DAY (FIVE DAYS LATER) 114\n\n Doug is mowing the front lawn." ], [ "JACEY\n Yeah, I'll go pick it up.\n\n HELEN\n Take Doug with you.", "As Jacey turns up the driveway, a light snaps on in the\n garage. The garage doors are open, Doug sits on the edge", "Doug watches Jacey jump into the Plymouth and speed down\n the driveway and then up the street.\n\n Doug SHUTS OFF the LAWN MOWER and walks over to Pam.", "DOUG\n Jesus Christ!\n\n Jacey's back and buttocks are severely bruised. Jacey\n wraps the towel around his waist and turns to his\n brother.", "Jacey smiles and then kisses her. Doug is spying on them\n from the safety of the crowd. Jacey winks at Doug. Doug\n shakes his head in wonder.", "Jacey turns and walks out through the door they came in.\n Doug walks over to his seat in the front row -- he\n hesitates when he sees Lloyd Abbott standing in the back\n of the parlor.", "The distance between Jacey and Doug is telling, as is the\n difference in their behavior. Doug leans against a wall\n with his hands in his pockets, his eyes cast down on his", "Doug turns and finds Jacey at the foot of the stairs.\n\n DOUG\n Fuck you.\n\n Doug continues up the stairs -- Jacey pursues him.", "Jacey races up a driveway -- Doug is nowhere to be seen.\n\n JACEY\n Come on, weasel dick! Come on\n out, you chicken shit!", "JACEY\n Hey, Doug! Get my suitcase!\n\n The car pulls away and Doug irritably fetches Jacey's\n bag.", "Doug and Jacey scramble to their feet, their clothes are\n ripped and disheveled.\n\n JACEY\n You're dead, dip shit!", "DOUG\n Okay. See you.\n\n Doug turns and walks away. Jacey climbs onto the bus.", "DOUG\n (puzzled)\n Had to what? What?\n\n PAMELA\n Tell Jacey I'm sorry.\n\n Pam drives away.", "Doug is occupied with the lawn mower; he doesn't notice\n Pam and Jacey at first. (Jacey and Pam have to speak\n over the din of the LAWN MOWER.)", "Doug takes off with Jacey in hot pursuit. A few beats\n later, Helen steps out onto the front porch and discovers\n her sons and the porch swing missing.", "Doug follows Jacey inside as he rings up the sale.\n\n DOUG\n Know what?", "120 EXT. PLYMOUTH (STREETS OF HALEY) - DAY 120\n\n Jacey speeds recklessly back into town.", "Jacey (behind the wheel) and Doug drive into town in the\n Plymouth coupe. After a long silence:", "DOUG\n Fuck you.\n\n JACEY\n I'm sorry.\n\n DOUG\n Apologize to her, you asshole!", "They kiss but are almost instantly interrupted by the\n SLAM of the SCREEN DOOR. Doug looks up and does a\n surprised take as he sees Alice going up the stairs\n followed by Jacey." ], [ "Lloyd and Joan Abbott applaud their daughter. Joan\n stands to take a snapshot. Alice is occupied with her\n restless and fussy eighteen-month-old daughter, Susan.", "Joan Abbott has been watching them from the front seat of\n Lloyd's brand-new 1959 Cadillac. She pretends to repair\n her lipstick with her compact mirror as Lloyd slips\n behind the wheel.", "The band improvises a FANFARE as Lloyd Abbott and his\n wife, JOAN ABBOTT, step up onto the bandstand. Joan has", "by the time he reaches Lloyd Abbott. Lloyd scrutinizes\n Doug, then:", "to avoid Joan's eyes, but then he sees Lloyd Abbott.\n Lloyd's stare is even more discomforting. Pamela senses\n the change in Doug's mood, but she is unaware of the", "Lloyd and Joan Abbott watch Susan riding her new pony, a\n gift from her grandparents. A new generation of Abbott\n parties has begun.", "Lloyd Abbott's 1957 Cadillac pulls up to the pumps.\n Lloyd is behind the wheel, Joan sits next to him, Eleanor", "Helen finds herself face-to-face with Lloyd Abbott as\n they both attempt to pass through a narrow space between\n two parked vehicles. They are both caught off-guard --", "and cruises down the street. Lloyd is a well-dressed-\n and-fed man in his mid-forties. A Midwestern burgher, he", "Jacey turns and walks out through the door they came in.\n Doug walks over to his seat in the front row -- he\n hesitates when he sees Lloyd Abbott standing in the back\n of the parlor.", "HELEN\n After Charlie died Lloyd Abbott\n started dropping by on his way\n home from work. He felt so bad", "me to stop sleeping with her\n husband, with Lloyd. I was\n speechless. She was gone before I\n could find my tongue.", "are captured by a pair of headlights. Lloyd Abbott\n climbs out of his parked (1958) Cadillac.", "JACEY\n Alice!\n\n Lloyd Abbott steps in the front door and drops his car\n keys into the silver bowl on the hall table.", "playing, the adults are dancing, Joan Abbott is flitting\n from guest-to-guest, Alice is dutifully silent while\n Peter dominates the talk at their table, Lloyd is with", "up the long driveway towards the glowing \"big-top\" tent.\n Doug trails his hand over Lloyd Abbott's Cadillac,", "LLOYD\n You can talk inside. It's late.\n\n Pamela and Alice go inside the house.\n\n Jacey exhales, he is ashen.", "JACEY\n After Dad died... Mom... had an\n affair with Lloyd Abbott. That's\n how he got Dad's patent away from\n her.", "all before I became Lloyd Abbott\n -- Mr. Abbott. That was back when\n I still had chicken shit on my\n shoes and twelve cents in my", "Lloyd Abbott pulls his (1957) Cadillac up to the pumps.\n The DING-DING of the BELL HOSE summons Jacey. He wears a\n Texaco uniform complete with bow tie and cap." ], [ "The Plymouth is parked on a dirt lane separating two\n cornfields. Jacey sits on the fender of the car nursing\n on a bottle of beer. Doug urinates between two rows of\n corn.", "DOUG\n How long did this go on?\n\n HELEN\n About eight years or so, it was\n when you boys were still at home.", "The Plymouth drives along the two-lane blacktop past the\n fields of tall, green corn. Doug is driving, Helen sits\n beside him. She reacts to something in the distance:", "Joan Abbott has been watching them from the front seat of\n Lloyd's brand-new 1959 Cadillac. She pretends to repair\n her lipstick with her compact mirror as Lloyd slips\n behind the wheel.", "It is almost two o'clock in the morning. Helen has dozed\n off in her chair with a book on her lap. She is startled", "place way out on Ditch Road near\n County Line. That was ages ago.\n Poor Lloyd had to walk all that\n way in to school and then back", "Pam's convertible is parked in a weed-choked yard. Pam\n and Doug hurl rocks at the windows, trying to break what\n is left of the shattered windows on the weather-beaten,\n two-story farmhouse.", "Helen approaches the foot of the stairs drying her hands\n with a dish towel. She listens for a beat, then steps\n out on the front porch. Doug is brushing a coat of green\n enamel on the repaired porch swing.", "Doug still waiting beside the entrance for some sign of\n Pam. He's tired, cold, and hungry. He grinds out his\n cigarette with his heel and walks away.", "and cruises down the street. Lloyd is a well-dressed-\n and-fed man in his mid-forties. A Midwestern burgher, he", "He gets out of bed, unlatches the window, then returns to\n the bed and his book. Pamela opens the window (with", "Doug exhales with bewilderment, stubs out his cigarette,\n then awkwardly slides down the sofa to Pamela. She holds\n perfectly still as Doug slowly moves his mouth to hers", "Doug lobs the baseball back to her and goes inside.\n Helen sits on the porch steps and now the true toll that\n Joan's visit has taken on Helen becomes apparent -- a", "Doug kisses her again and as they kiss he stares at a\n framed photograph of Eleanor amongst an assortment of\n family photos on the long table behind the sofa. It is", "Doug drives home from the bus depot in the old Plymouth.\n He slows as he sees... the party tent in the Abbotts'\n front yard (with its canvas sides rolled up).", "ELEANOR ABBOTT gathers some books from her locker.\n Eleanor is sixteen, outgoing, sarcastic, and very", "ruse is revealed as he stares up Eleanor's skirt at the\n soft triangle that her white panties cover between her\n parted legs. Eleanor's hand lowers a piece of notebook", "curb. Someone dies, people try to\n be helpful. But he was by here so\n often that people started to talk.\n It was fairly obvious that he", "Doug lounges on his bed reading a textbook. It is\n raining outside. He is startled by a TAPPING on the\n windowpane. Pamela is outside on the fire escape. He\n ignores her.", "Doug steals lustful looks at Eleanor from behind his\n book. She is seated across the table from him. The\n library is filled with students poring over their" ], [ "23.\n\n39 EXT. STREETS OF HALEY - LATER THAT DAY 39", "35 EXT. STREETS OF HALEY - DAY (SHORT TIME LATER) 35", "stay in Haley if they have any\n starch. The only eligible man\n around was Drew Carter, but he\n smells like his dog.", "exudes the status he enjoys as one of the preeminent\n pillars of this community. Doug is embarrassed by\n Lloyd's passing, but Jacey evidently experiences a deeper", "INVENTING THE ABBOTTS - Rev. 3/20/96 16.\n\n24 EXT. DOWNTOWN HALEY - INSIDE CADILLAC 24", "and cruises down the street. Lloyd is a well-dressed-\n and-fed man in his mid-forties. A Midwestern burgher, he", "than what she is: a forty-one-year-old widow raising two\n teenage sons on a school teacher's salary. (She teaches\n second grade at Haley Elementary School.)", "prettiest and seemingly most conventional of the three\n sisters. Peter is the scion of a wealthy Pittsburgh\n family. He and his bride-to-be smile and acknowledge the", "16 EXT. STREET (HALEY) - NIGHT (SHORT TIME LATER) 16", "-- on the front yard of the Abbott mansion. The\n residence is on Main Street, four blocks from where the\n commercial district begins. The mature, over-arching\n trees makes this street of prosperous houses a grand\n promenade.", "155 EXT. SHOP (DOWNTOWN HALEY) - DAY 155", "Doug and Jacey wrestle and grapple in the muddy soil,\n cursing each other and crushing the rows of green crops.\n MRS. PORTER appears at her back door brandishing a broom.", "Helen sits in a lawn chair in the back yard wearing a\n large straw hat and reading a book. Doug and Jacey are\n repairing and painting the fence. Helen looks up from\n her book:", "14 EXT. SIDEWALK (HALEY) - NIGHT 14", "The Plymouth is parked on a dirt lane separating two\n cornfields. Jacey sits on the fender of the car nursing\n on a bottle of beer. Doug urinates between two rows of\n corn.", "120 EXT. PLYMOUTH (STREETS OF HALEY) - DAY 120\n\n Jacey speeds recklessly back into town.", "DOUG\n 'Night.\n\n\n72 INT. WOMEN'S APPAREL STORE (DOWNTOWN HALEY) - DAY 72\n(WINTER, 1958)", "from the others. He's ill-at-ease. His conversation\n with Jacey resonates within him. As he looks over the\n gathering, he's pained to discover how easy it is to see", "I know you. I know you better\n than you know me. I know all\n there is to know about screwing\n your way into a wealthy family.", "PAMELA\n He doesn't care what I do, as long\n as I don't do it in Haley.\n\n DOUG\n Then what's the problem?" ], [ "Doug and Jacey wrestle and grapple in the muddy soil,\n cursing each other and crushing the rows of green crops.\n MRS. PORTER appears at her back door brandishing a broom.", "Despite his mother's advice, a nauseated grimace falls\n over Jacey's face when he sees that his younger brother\n has arrived. He is dancing with Eleanor.", "prettiest and seemingly most conventional of the three\n sisters. Peter is the scion of a wealthy Pittsburgh\n family. He and his bride-to-be smile and acknowledge the", "The Plymouth is parked on a dirt lane separating two\n cornfields. Jacey sits on the fender of the car nursing\n on a bottle of beer. Doug urinates between two rows of\n corn.", "Doug kisses her again and as they kiss he stares at a\n framed photograph of Eleanor amongst an assortment of\n family photos on the long table behind the sofa. It is", "Susan's third birthday party is underway, dozens of well-\n dressed children and their parents are in attendance.\n Alice (who is very pregnant) and Peter Vanlaningham and", "He gets out of bed, unlatches the window, then returns to\n the bed and his book. Pamela opens the window (with", "Doug dissolves into tears. He lowers his head and\n shields his eyes with his hand. Helen leans over and\n strokes his hair. After a few moments, he rises and\n wipes away his tears with a dish towel.", "Pam is in love with Doug, she has been since they were\n children. Doug is mellowed by his tender feelings for\n her. For a golden minute they are in pleasurable bubble", "from the others. He's ill-at-ease. His conversation\n with Jacey resonates within him. As he looks over the\n gathering, he's pained to discover how easy it is to see", "He kisses her with such ardor that she interprets his\n answer to be yes, when in reality Doug is only trying to", "I know you. I know you better\n than you know me. I know all\n there is to know about screwing\n your way into a wealthy family.", "Helen approaches the foot of the stairs drying her hands\n with a dish towel. She listens for a beat, then steps\n out on the front porch. Doug is brushing a coat of green\n enamel on the repaired porch swing.", "DOUG\n She likes to read.\n\n JACEY\n She reads too much.\n (CONTINUED)", "He peers into the silvery, dim light and sees Jacey and\n Eleanor naked on an old daybed near the coal bin in the", "ruse is revealed as he stares up Eleanor's skirt at the\n soft triangle that her white panties cover between her\n parted legs. Eleanor's hand lowers a piece of notebook", "(Alice and Peter have separated)... and, finally, Pamela\n dancing with a handsome young man (TED). She is the\n belle of the ball, radiant and suddenly mature in her", "HELEN\n What a wonderful night. What a\n wonderful day. My two Ivy League\n boys.", "46 CONTINUED: 46\n\n They are both seized with fright as they hear the front\n DOOR OPEN below and Peter's angry voice:", "Jacey smiles and then kisses her. Doug is spying on them\n from the safety of the crowd. Jacey winks at Doug. Doug\n shakes his head in wonder." ], [ "DOUG\n I think my dad was like Jacey is.\n Some guys are just dare-devils. I", "Doug watches Jacey jump into the Plymouth and speed down\n the driveway and then up the street.\n\n Doug SHUTS OFF the LAWN MOWER and walks over to Pam.", "JACEY\n Christ, use your imagination.\n\n Doug has no reply to that.", "Doug turns and finds Jacey at the foot of the stairs.\n\n DOUG\n Fuck you.\n\n Doug continues up the stairs -- Jacey pursues him.", "DOUG\n Jesus Christ!\n\n Jacey's back and buttocks are severely bruised. Jacey\n wraps the towel around his waist and turns to his\n brother.", "DOUG\n Like a photograph. I never knew\n him. He died like a month before\n I was even born. Jacey probably", "Doug walks away, leaving Jacey sitting on the steps,\n clutching a banister for support. He presses his palm to\n his eyebrow to squelch the flow of blood.", "The distance between Jacey and Doug is telling, as is the\n difference in their behavior. Doug leans against a wall\n with his hands in his pockets, his eyes cast down on his", "JACEY\n Hey, Doug! Get my suitcase!\n\n The car pulls away and Doug irritably fetches Jacey's\n bag.", "As Jacey turns up the driveway, a light snaps on in the\n garage. The garage doors are open, Doug sits on the edge", "DOUG\n (puzzled)\n Had to what? What?\n\n PAMELA\n Tell Jacey I'm sorry.\n\n Pam drives away.", "JACEY\n Yeah, I'll go pick it up.\n\n HELEN\n Take Doug with you.", "DOUG\n Okay. See you.\n\n Doug turns and walks away. Jacey climbs onto the bus.", "Jacey races up a driveway -- Doug is nowhere to be seen.\n\n JACEY\n Come on, weasel dick! Come on\n out, you chicken shit!", "Doug and Jacey scramble to their feet, their clothes are\n ripped and disheveled.\n\n JACEY\n You're dead, dip shit!", "JACEY\n Leave me alone, just leave me\n alone.\n\n Helen climbs the stairs, collects Doug at the top\n landing, and leads him away.", "DOUG\n Fuck you.\n\n JACEY\n I'm sorry.\n\n DOUG\n Apologize to her, you asshole!", "Jacey turns and walks out through the door they came in.\n Doug walks over to his seat in the front row -- he\n hesitates when he sees Lloyd Abbott standing in the back\n of the parlor.", "Jacey smiles and then kisses her. Doug is spying on them\n from the safety of the crowd. Jacey winks at Doug. Doug\n shakes his head in wonder.", "Doug takes off with Jacey in hot pursuit. A few beats\n later, Helen steps out onto the front porch and discovers\n her sons and the porch swing missing." ], [ "over to Doug. She is his age (fifteen), the youngest of\n the Abbott girls, and the least stuck-up.", "Lloyd and Joan Abbott applaud their daughter. Joan\n stands to take a snapshot. Alice is occupied with her\n restless and fussy eighteen-month-old daughter, Susan.", "ELEANOR ABBOTT gathers some books from her locker.\n Eleanor is sixteen, outgoing, sarcastic, and very", "popular. She is the middle of the three Abbott\n daughters. Eleanor closes her locker, turns and\n discovers Jacey standing behind her. He follows her down", "DOUG\n Pam, I guess. I don't know.\n Didn't open the envelope. I mean,\n come on, every time an Abbott girl\n gets her period they have some\n party.", "INVENTING THE ABBOTTS - Rev. 2/16/96 8.\n\n11 CONTINUED: 11", "INVENTING THE ABBOTTS - Rev. 2/16/96 7.\n\n10 CONTINUED: 10", "INVENTING THE ABBOTTS - Rev. 2/16/96 35.\n\n64 EXT. STREET - HOLT HOME - DAY 64", "INVENTING THE ABBOTTS - Rev. 3/20/96 3.\n\n4CONTINUED: 4", "INVENTING THE ABBOTTS - Rev. 2/16/96 10.", "Joan Abbott has been watching them from the front seat of\n Lloyd's brand-new 1959 Cadillac. She pretends to repair\n her lipstick with her compact mirror as Lloyd slips\n behind the wheel.", "INVENTING THE ABBOTTS - Rev. 2/16/96 34.", "INVENTING THE ABBOTTS - Rev. 2/16/96 79.\n\n118 CONTINUED: 118", "INVENTING THE ABBOTTS - Rev. 3/20/96 85.\n\n127 CONTINUED: (3) 127", "INVENTING THE ABBOTTS - Rev. 2/16/96 26.\n\n43 CONTINUED: 43", "INVENTING THE ABBOTTS - Rev. 3/20/96 77.\n\n112 CONTINUED: 112", "Abbott pulls up alongside Doug and tails him in her 1958\n Dodge Custom Royal Lancer convertible (with the top\n down).", "INVENTING THE ABBOTTS - Rev. 3/20/96 20.\n\n35 CONTINUED: 35", "INVENTING THE ABBOTTS - Rev. 3/20/96 80.\n\n122 CONTINUED: 122", "INVENTING THE ABBOTTS - Rev. 3/20/96 95.\n\n143 CONTINUED: (3) 143" ], [ "151 CONTINUED: (2) 151\n\n DOUG\n Just your way of evening the score\n with Lloyd Abbott, right?", "JACEY\n After Dad died... Mom... had an\n affair with Lloyd Abbott. That's\n how he got Dad's patent away from\n her.", "by the time he reaches Lloyd Abbott. Lloyd scrutinizes\n Doug, then:", "Jacey turns and walks out through the door they came in.\n Doug walks over to his seat in the front row -- he\n hesitates when he sees Lloyd Abbott standing in the back\n of the parlor.", "118 INT. BOATHOUSE - DAY 118\n\n Jacey discovers Lloyd Abbott waiting for him.\n\n (CONTINUED)", "Jacey hops into the PLYMOUTH and PEELS OUT as he speeds\n away. Lloyd Abbott steps out of the boathouse and\n approaches the station wagon.", "the back seat). Jacey glares at Lloyd as he walks around\n the car and gets in behind the wheel.", "Jacey turns and stares at Lloyd -- then brushes past him\n on his way out the door.", "to avoid Joan's eyes, but then he sees Lloyd Abbott.\n Lloyd's stare is even more discomforting. Pamela senses\n the change in Doug's mood, but she is unaware of the", "JACEY\n I know. I mean, I do now.\n\n DOUG\n Then what the hell did Pam ever do\n to deserve your revenge?", "Lloyd absorbs this information without surrendering his\n composure -- but Jacey cannot conceal his shock.\n\n LLOYD\n Get in the car.", "JACEY\n Alice!\n\n Lloyd Abbott steps in the front door and drops his car\n keys into the silver bowl on the hall table.", "He hands Jacey a five-spot and gets into his car. Lloyd\n drives away in his Cadillac. Jacey crumbles the five", "Joan Abbott has been watching them from the front seat of\n Lloyd's brand-new 1959 Cadillac. She pretends to repair\n her lipstick with her compact mirror as Lloyd slips\n behind the wheel.", "JACEY\n Midwest Steel Desk. Dad's file\n cabinet drawer. Lloyd Abbott\n screwed mom out of Dad's patent\n after he died.\n\n DOUG\n Says who?", "JACEY\n Eleanor was just looking for a way\n out. A way out of the whole\n Abbott world. And it turns out", "JACEY\n You son-of-a-bitch! Where is\n she?!\n\n LLOYD\n Behind you, Mr. Holt...", "ELEANOR\n Who?\n\n LLOYD\n Jacey.\n\n ELEANOR\n Why?", "She walks OUT OF VIEW. Lloyd steps up behind Jacey and\n says softly but with piercing intensity:", "Lloyd Abbott pulls his (1957) Cadillac up to the pumps.\n The DING-DING of the BELL HOSE summons Jacey. He wears a\n Texaco uniform complete with bow tie and cap." ], [ "JACEY\n I know. I mean, I do now.\n\n DOUG\n Then what the hell did Pam ever do\n to deserve your revenge?", "it into the back of Jacey's head. Jacey turns and shoots\n a perturbed look at Doug -- Doug smiles:", "Jacey snorts with incredulous laughter.\n\n JACEY\n You're gonna what?\n\n (CONTINUED)", "Doug turns and finds Jacey at the foot of the stairs.\n\n DOUG\n Fuck you.\n\n Doug continues up the stairs -- Jacey pursues him.", "DOUG\n Jesus Christ!\n\n Jacey's back and buttocks are severely bruised. Jacey\n wraps the towel around his waist and turns to his\n brother.", "Jacey doesn't respond to the kiss Eleanor gives him, but\n when she places her hand on his crotch, he yanks her hand", "Jacey smiles and then kisses her. Doug is spying on them\n from the safety of the crowd. Jacey winks at Doug. Doug\n shakes his head in wonder.", "I know that's what Jacey thinks.\n I could always tell by the way he\n looked at me -- even when he was a", "the back seat). Jacey glares at Lloyd as he walks around\n the car and gets in behind the wheel.", "it is Jacey. He's seated beside the door. He rises and\n leads her across the row of empty seats to the exit.", "Doug walks away, leaving Jacey sitting on the steps,\n clutching a banister for support. He presses his palm to\n his eyebrow to squelch the flow of blood.", "As Jacey turns up the driveway, a light snaps on in the\n garage. The garage doors are open, Doug sits on the edge", "from the others. He's ill-at-ease. His conversation\n with Jacey resonates within him. As he looks over the\n gathering, he's pained to discover how easy it is to see", "Jacey races up a driveway -- Doug is nowhere to be seen.\n\n JACEY\n Come on, weasel dick! Come on\n out, you chicken shit!", "JACEY\n Yes, sir. I know.\n (CONTINUED)\n\n 11.", "88 CONTINUED: (2) 88\n\n JACEY\n Then I'll make you a deal.", "JACEY\n Yeah, I remember.\n\n (CONTINUED)\n\n 21.", "Doug spins and delivers a wild, roundhouse punch that\n lands brutally on the side of Jacey's face -- the impact", "Jacey bolts upright, throwing her off of him, and shouts:\n\n JACEY\n Get out!!!\n\n Doug drops the bowl and scoop and charges out of the\n garage.", "Jacey idly surveys the gathering with irritable boredom.\n He is only there at his mother's insistence. His eyes\n settle on... Alice Abbott." ], [ "over to Doug. She is his age (fifteen), the youngest of\n the Abbott girls, and the least stuck-up.", "INVENTING THE ABBOTTS - Rev. 2/16/96 5.\n\n7CONTINUED: 7\n\n DOUG\n Yeah.", "of true affinity. But their bubble begins to deflate as\n Doug sees Joan Abbott staring at them. Her disapproval\n is unmistakable. Doug steers Pam around the dance floor", "PAMELA\n So then just stop it!\n\n DOUG\n Stop what?!\n\n PAMELA\n Stop treating me like an Abbott!", "DOUG\n Pam, I guess. I don't know.\n Didn't open the envelope. I mean,\n come on, every time an Abbott girl\n gets her period they have some\n party.", "Pamela Abbott walks across the quad. Pam is 19 years old\n now, her beauty in full bloom. Doug jogs over to her.\n\n DOUG\n Hi.", "Abbott pulls up alongside Doug and tails him in her 1958\n Dodge Custom Royal Lancer convertible (with the top\n down).", "DOUG\n Pamela Abbott, please. Tell her\n Doug is here.\n\n CLERK #2\n She's not here.", "Pam is in love with Doug, she has been since they were\n children. Doug is mellowed by his tender feelings for\n her. For a golden minute they are in pleasurable bubble", "Doug drives home from the bus depot in the old Plymouth.\n He slows as he sees... the party tent in the Abbotts'\n front yard (with its canvas sides rolled up).", "DOUG\n I hate this town. I hate the\n Abbotts.\n\n He slaps the back of a chair and knocks it over.", "by the time he reaches Lloyd Abbott. Lloyd scrutinizes\n Doug, then:", "to avoid Joan's eyes, but then he sees Lloyd Abbott.\n Lloyd's stare is even more discomforting. Pamela senses\n the change in Doug's mood, but she is unaware of the", "Lloyd and Joan Abbott applaud their daughter. Joan\n stands to take a snapshot. Alice is occupied with her\n restless and fussy eighteen-month-old daughter, Susan.", "DOUG\n The Abbotts. I don't know why...\n why couldn't he just forget 'em?\n Just pretend they didn't even\n exist?", "DOUG\n You sure?\n (CONTINUED)\n\n INVENTING THE ABBOTTS - Rev. 3/20/96 102.", "51 EXT. ABBOTT HOME - WINDOW - NIGHT 51\n\n Doug squeezes out of the small window, his legs dangling\n six feet above a large rose bush directly under him.", "Doug kisses her again and as they kiss he stares at a\n framed photograph of Eleanor amongst an assortment of\n family photos on the long table behind the sofa. It is", "The Abbott house is decked with snow. Doug sits behind\n the wheel of the Plymouth. He's parked down the street.", "Doug sees Joan Abbott prompting Ted to cut in on his\n dance with Pamela. Doug's bitterness swells.\n\n DOUG\n I hear Alice and Peter are getting\n a divorce." ], [ "ELEANOR\n Hi, Daddy.\n\n LLOYD\n What are you doing out here?\n\n ELEANOR\n Fucking Jacey.", "Jacey doesn't respond to the kiss Eleanor gives him, but\n when she places her hand on his crotch, he yanks her hand", "DOUG\n What's that mean?\n\n JACEY\n You know what it means.\n\n DOUG\n What happened with you and\n Eleanor?", "back of the garage. She is on top of Jacey, riding him\n rhythmically. Eleanor is facing Doug. She reacts without\n alarm or shame when she notices Doug staring at her. She", "off. Eleanor walks over and gets into the car. Lloyd\n gazes at Jacey for a beat, then gets in the car and\n drives away.", "She starts to walk away, but Jacey pulls her back and\n kisses her fiercely -- Eleanor responds with equal heat.", "PAMELA\n You don't know my father. You\n don't know how he is about Jacey.\n He blames him for everything that\n happened with Eleanor.", "ruse is revealed as he stares up Eleanor's skirt at the\n soft triangle that her white panties cover between her\n parted legs. Eleanor's hand lowers a piece of notebook", "JACEY\n Eleanor was just looking for a way\n out. A way out of the whole\n Abbott world. And it turns out", "ELEANOR\n I know. My father called me.\n (MORE)\n\n (CONTINUED)\n\n 108.", "ELEANOR (O.S.)\n Hi.\n\n Jacey finds Eleanor standing in the garage doorway.\n\n ELEANOR\n Congratulations.", "Doug steals lustful looks at Eleanor from behind his\n book. She is seated across the table from him. The\n library is filled with students poring over their", "Jacey and Eleanor are copulating on a blanket beneath a\n canopy of tall trees near the river. Jacey is on top,\n Eleanor has her legs clenched around his hips.", "of the library is destroyed by the flabbergasted\n reactions of the students. Eleanor is momentarily\n concerned about his welfare, but she cannot help but\n laugh, too.", "now. No Jacey and Eleanor or\n Jacey and Alice. That's what\n stinks about being the youngest,\n we have to sweep up after", "She gives him a sultry smile, turns and glides into a\n classroom as the BELL RINGS. The corridor is quickly\n vacated by all but Jacey -- he savors the aftertaste of\n Eleanor's smile.", "He peers into the silvery, dim light and sees Jacey and\n Eleanor naked on an old daybed near the coal bin in the", "Despite his mother's advice, a nauseated grimace falls\n over Jacey's face when he sees that his younger brother\n has arrived. He is dancing with Eleanor.", "ELEANOR\n It stinks in here.\n\n JACEY\n I dropped something.\n (CONTINUED)\n\n 15.", "it. I mean... Eleanor has lots of\n boyfriends. I think Jacey likes\n her more than she likes him." ], [ "Pamela Abbott walks across the quad. Pam is 19 years old\n now, her beauty in full bloom. Doug jogs over to her.\n\n DOUG\n Hi.", "PAMELA\n Hi.\n\n DOUG\n Hi.", "Doug stares at her as if he's never seen her before.\n\n PAMELA\n What are you looking at?\n\n DOUG\n You.", "The sunset provides a convenient excuse for their\n silence. But then Pam realizes he is staring at her.\n\n DOUG\n Hi.\n\n PAMELA\n Hi.", "They kiss -- then Pamela pulls away. Doug studies her,\n then:\n\n DOUG\n You have a boyfriend, right?\n\n PAMELA\n No.", "DOUG\n Hi.\n\n PAMELA\n Hi.\n (CONTINUED)", "Pam is in love with Doug, she has been since they were\n children. Doug is mellowed by his tender feelings for\n her. For a golden minute they are in pleasurable bubble", "DOUG\n Hi.\n\n PAMELA\n Hi.\n\n DOUG\n You want to see something?\n\n PAMELA\n What?", "PAMELA\n How long is your mom gone?\n\n DOUG\n Two weeks. She goes up every\n summer to see this friend she went\n to college with.", "Pamela dashes up the stairs. Doug comes out of the den\n looking for her. He is quite shaken:", "DOUG\n Did you miss the bus?\n\n Pam laughs and Doug suddenly realizes:", "PAMELA\n No, I did.\n\n DOUG\n How?\n\n Pam climbs down off the stage and starts up the aisle.", "PAMELA\n Hi.\n\n DOUG\n What's up?", "PAMELA\n Doug? Hey!\n\n\n141 INT./EXT. DOUG'S DORM ROOM/FIRE ESCAPE - THAT NIGHT 141", "PAMELA\n How long have you been here?\n\n DOUG\n A while.\n\n PAMELA\n Are you okay?", "PAMELA\n Okay. Bye.\n\n DOUG\n Bye.\n\n Doug watches her cross the street.", "PAMELA\n I forgot.\n\n The breath goes out of Doug as if he'd been struck in the\n stomach.", "Doug grimaces as he recognizes her.\n\n HELEN\n It is Pam. Pull over.", "PAMELA (O.S.)\n How come you're going to summer\n school?\n\n Doug turns to find Pam at the driveway gate.", "KNOCK on the front door. Doug goes to answer it. He\n opens the door and finds Pamela standing there with her\n coat in her hand. He is pleasantly surprised; Pam is" ], [ "JACEY\n Yeah, I'll go pick it up.\n\n HELEN\n Take Doug with you.", "As Jacey turns up the driveway, a light snaps on in the\n garage. The garage doors are open, Doug sits on the edge", "Jacey smiles and then kisses her. Doug is spying on them\n from the safety of the crowd. Jacey winks at Doug. Doug\n shakes his head in wonder.", "The distance between Jacey and Doug is telling, as is the\n difference in their behavior. Doug leans against a wall\n with his hands in his pockets, his eyes cast down on his", "DOUG\n Jesus Christ!\n\n Jacey's back and buttocks are severely bruised. Jacey\n wraps the towel around his waist and turns to his\n brother.", "Doug watches Jacey jump into the Plymouth and speed down\n the driveway and then up the street.\n\n Doug SHUTS OFF the LAWN MOWER and walks over to Pam.", "67 CONTINUED: 67\n\n DOUG\n I don't.\n\n JACEY\n Then why are you going?", "Jacey turns and walks out through the door they came in.\n Doug walks over to his seat in the front row -- he\n hesitates when he sees Lloyd Abbott standing in the back\n of the parlor.", "Jacey (behind the wheel) and Doug drive into town in the\n Plymouth coupe. After a long silence:", "Doug turns and finds Jacey at the foot of the stairs.\n\n DOUG\n Fuck you.\n\n Doug continues up the stairs -- Jacey pursues him.", "JACEY\n Hey, Doug! Get my suitcase!\n\n The car pulls away and Doug irritably fetches Jacey's\n bag.", "Jacey races up a driveway -- Doug is nowhere to be seen.\n\n JACEY\n Come on, weasel dick! Come on\n out, you chicken shit!", "DOUG\n (puzzled)\n Had to what? What?\n\n PAMELA\n Tell Jacey I'm sorry.\n\n Pam drives away.", "Doug and Jacey scramble to their feet, their clothes are\n ripped and disheveled.\n\n JACEY\n You're dead, dip shit!", "DOUG\n Okay. See you.\n\n Doug turns and walks away. Jacey climbs onto the bus.", "Doug takes off with Jacey in hot pursuit. A few beats\n later, Helen steps out onto the front porch and discovers\n her sons and the porch swing missing.", "Doug is occupied with the lawn mower; he doesn't notice\n Pam and Jacey at first. (Jacey and Pam have to speak\n over the din of the LAWN MOWER.)", "JACEY\n Christ, use your imagination.\n\n Doug has no reply to that.", "JACEY\n What's wrong with you?\n\n DOUG\n Nothing.", "JACEY\n Leave me alone, just leave me\n alone.\n\n Helen climbs the stairs, collects Doug at the top\n landing, and leads him away." ], [ "DOUG\n Jesus Christ!\n\n Jacey's back and buttocks are severely bruised. Jacey\n wraps the towel around his waist and turns to his\n brother.", "Doug turns and finds Jacey at the foot of the stairs.\n\n DOUG\n Fuck you.\n\n Doug continues up the stairs -- Jacey pursues him.", "As Jacey turns up the driveway, a light snaps on in the\n garage. The garage doors are open, Doug sits on the edge", "The distance between Jacey and Doug is telling, as is the\n difference in their behavior. Doug leans against a wall\n with his hands in his pockets, his eyes cast down on his", "Jacey smiles and then kisses her. Doug is spying on them\n from the safety of the crowd. Jacey winks at Doug. Doug\n shakes his head in wonder.", "JACEY\n Yeah, I'll go pick it up.\n\n HELEN\n Take Doug with you.", "DOUG\n She likes to read.\n\n JACEY\n She reads too much.\n (CONTINUED)", "DOUG\n Fuck you.\n\n JACEY\n I'm sorry.\n\n DOUG\n Apologize to her, you asshole!", "Jacey races up a driveway -- Doug is nowhere to be seen.\n\n JACEY\n Come on, weasel dick! Come on\n out, you chicken shit!", "Jacey sits in his favorite armchair reading the Sunday\n newspaper. Doug sits in the middle of the sofa. Jacey\n scrutinizes his brooding younger brother.", "DOUG\n Found this in one of the boxes in\n the basement.\n\n JACEY\n What is it?", "HELEN\n Then how did...?\n\n DOUG\n Jacey.\n\n (CONTINUED)", "DOUG\n What's that mean?\n\n JACEY\n You know what it means.\n\n DOUG\n What happened with you and\n Eleanor?", "DOUG\n Like a photograph. I never knew\n him. He died like a month before\n I was even born. Jacey probably", "DOUG\n (puzzled)\n Had to what? What?\n\n PAMELA\n Tell Jacey I'm sorry.\n\n Pam drives away.", "DOUG\n (explodes with irony)\n Shit! Yeah, right...\n (slight beat)\n I mean... thanks. Thanks anyway.\n I know her home address.", "Doug watches Jacey jump into the Plymouth and speed down\n the driveway and then up the street.\n\n Doug SHUTS OFF the LAWN MOWER and walks over to Pam.", "Doug and Jacey scramble to their feet, their clothes are\n ripped and disheveled.\n\n JACEY\n You're dead, dip shit!", "DOUG\n (stunned; almost\n ill)\n Christ...\n\n (CONTINUED)\n\n 84.", "JACEY\n Don't tell Mom.\n\n DOUG\n Oh, shit...\n\n (CONTINUED)" ], [ "JACEY HOLT and DOUG HOLT walk along the sidewalk on their\n way to school. Jacey is seventeen; he's as handsome and", "The Holt family drives home from the restaurant -- Jacey\n driving, Helen in front, and Doug in the back seat.", "114 EXT. HOLT HOME - STREET - YARD - DAY (FIVE DAYS LATER) 114\n\n Doug is mowing the front lawn.", "DOUG\n Nope.\n\n\n71 EXT. HOLT HOME - GARAGE - NIGHT (SHORT TIME LATER) 71", "DOUG\n Like a photograph. I never knew\n him. He died like a month before\n I was even born. Jacey probably", "Doug watches Jacey jump into the Plymouth and speed down\n the driveway and then up the street.\n\n Doug SHUTS OFF the LAWN MOWER and walks over to Pam.", "DOUG\n How long did this go on?\n\n HELEN\n About eight years or so, it was\n when you boys were still at home.", "ELEANOR\n You going home? Back to Hole-in- the-Ground,\n Illinois.\n\n DOUG\n My mother died.", "Doug dissolves into tears. He lowers his head and\n shields his eyes with his hand. Helen leans over and\n strokes his hair. After a few moments, he rises and\n wipes away his tears with a dish towel.", "JACEY\n Yeah, I'll go pick it up.\n\n HELEN\n Take Doug with you.", "126 INT. HOLT HOME - DINING ROOM - LATER THAT NIGHT 126", "Doug takes off with Jacey in hot pursuit. A few beats\n later, Helen steps out onto the front porch and discovers\n her sons and the porch swing missing.", "HELEN\n Jacey? Doug?\n\n\n81 EXT. HOLT HOME AND STREET - NIGHT 81", "63 INT. HOLT HOME - ENTRYWAY 63\n\n Eager to hear what is being said, Doug dashes through the\n living room to the front door.", "DOUG\n If he passes his exams. He will.\n\n ELEANOR\n I'm so sorry, Doug.", "DOUG\n I don't hate you.\n\n\n70 INT. HOLT HOME - DOUG'S BEDROOM - LATER THAT NIGHT 70", "PAMELA\n He died in a car wreck, right?\n\n DOUG\n You never heard about that?\n\n PAMELA\n About what?", "Doug drives home from the bus depot in the old Plymouth.\n He slows as he sees... the party tent in the Abbotts'\n front yard (with its canvas sides rolled up).", "Jacey races up a driveway -- Doug is nowhere to be seen.\n\n JACEY\n Come on, weasel dick! Come on\n out, you chicken shit!", "102 INT. HOLT HOME - LIVING ROOM - NIGHT (WEEKS LATER) 102" ], [ "Lloyd and Joan Abbott applaud their daughter. Joan\n stands to take a snapshot. Alice is occupied with her\n restless and fussy eighteen-month-old daughter, Susan.", "Joan Abbott has been watching them from the front seat of\n Lloyd's brand-new 1959 Cadillac. She pretends to repair\n her lipstick with her compact mirror as Lloyd slips\n behind the wheel.", "by the time he reaches Lloyd Abbott. Lloyd scrutinizes\n Doug, then:", "Lloyd and Joan Abbott watch Susan riding her new pony, a\n gift from her grandparents. A new generation of Abbott\n parties has begun.", "Lloyd Abbott's 1957 Cadillac pulls up to the pumps.\n Lloyd is behind the wheel, Joan sits next to him, Eleanor", "LLOYD\n I have plans for my daughters, Mr.\n Holt, and they don't include you.", "Abbott pulls up alongside Doug and tails him in her 1958\n Dodge Custom Royal Lancer convertible (with the top\n down).", "over to Doug. She is his age (fifteen), the youngest of\n the Abbott girls, and the least stuck-up.", "popular. She is the middle of the three Abbott\n daughters. Eleanor closes her locker, turns and\n discovers Jacey standing behind her. He follows her down", "to avoid Joan's eyes, but then he sees Lloyd Abbott.\n Lloyd's stare is even more discomforting. Pamela senses\n the change in Doug's mood, but she is unaware of the", "up the long driveway towards the glowing \"big-top\" tent.\n Doug trails his hand over Lloyd Abbott's Cadillac,", "INVENTING THE ABBOTTS - Rev. 2/16/96 35.\n\n64 EXT. STREET - HOLT HOME - DAY 64", "are captured by a pair of headlights. Lloyd Abbott\n climbs out of his parked (1958) Cadillac.", "INVENTING THE ABBOTTS - Rev. 2/16/96 8.\n\n11 CONTINUED: 11", "INVENTING THE ABBOTTS - Rev. 2/16/96 7.\n\n10 CONTINUED: 10", "Lloyd Abbott pulls his (1957) Cadillac up to the pumps.\n The DING-DING of the BELL HOSE summons Jacey. He wears a\n Texaco uniform complete with bow tie and cap.", "Jacey turns and walks out through the door they came in.\n Doug walks over to his seat in the front row -- he\n hesitates when he sees Lloyd Abbott standing in the back\n of the parlor.", "HELEN\n After Charlie died Lloyd Abbott\n started dropping by on his way\n home from work. He felt so bad", "Helen finds herself face-to-face with Lloyd Abbott as\n they both attempt to pass through a narrow space between\n two parked vehicles. They are both caught off-guard --", "INVENTING THE ABBOTTS - Rev. 3/20/96 3.\n\n4CONTINUED: 4" ], [ "from the others. He's ill-at-ease. His conversation\n with Jacey resonates within him. As he looks over the\n gathering, he's pained to discover how easy it is to see", "JACEY\n I know. I mean, I do now.\n\n DOUG\n Then what the hell did Pam ever do\n to deserve your revenge?", "it into the back of Jacey's head. Jacey turns and shoots\n a perturbed look at Doug -- Doug smiles:", "DOUG\n Jesus Christ!\n\n Jacey's back and buttocks are severely bruised. Jacey\n wraps the towel around his waist and turns to his\n brother.", "I know that's what Jacey thinks.\n I could always tell by the way he\n looked at me -- even when he was a", "pause in reaction to the crowded parlor, it overflows\n with mourners. Jacey explodes under his breath, so that\n only Doug can hear:", "Jacey idly surveys the gathering with irritable boredom.\n He is only there at his mother's insistence. His eyes\n settle on... Alice Abbott.", "the back seat). Jacey glares at Lloyd as he walks around\n the car and gets in behind the wheel.", "HELEN\n I think he will.\n\n JACEY\n Not much.", "Jacey smiles and then kisses her. Doug is spying on them\n from the safety of the crowd. Jacey winks at Doug. Doug\n shakes his head in wonder.", "Jacey snorts with incredulous laughter.\n\n JACEY\n You're gonna what?\n\n (CONTINUED)", "JACEY\n Yes, sir. I know.\n (CONTINUED)\n\n 11.", "JACEY\n Because there's no one else you\n can tell them to. Because I'm the\n only person you know who will", "Doug turns and finds Jacey at the foot of the stairs.\n\n DOUG\n Fuck you.\n\n Doug continues up the stairs -- Jacey pursues him.", "knocks him down onto the steps. Jacey's eyebrow has\n split open, he is blinded by blood.", "DOUG\n I think my dad was like Jacey is.\n Some guys are just dare-devils. I", "onto a counterweight carriage, then he releases the line\n and flies a canvas backdrop up into the loft. He locks\n off the line, wipes his brow, turns, and finds Jacey", "Jacey doesn't respond to the kiss Eleanor gives him, but\n when she places her hand on his crotch, he yanks her hand", "Jacey races up a driveway -- Doug is nowhere to be seen.\n\n JACEY\n Come on, weasel dick! Come on\n out, you chicken shit!", "88 CONTINUED: (2) 88\n\n JACEY\n Then I'll make you a deal." ], [ "DOUG\n She likes to read.\n\n JACEY\n She reads too much.\n (CONTINUED)", "Despite his mother's advice, a nauseated grimace falls\n over Jacey's face when he sees that his younger brother\n has arrived. He is dancing with Eleanor.", "Jacey doesn't respond to the kiss Eleanor gives him, but\n when she places her hand on his crotch, he yanks her hand", "Jacey's eyes follow Alice -- she notices his stare as she\n passes by with Susan in her arms.", "He peers into the silvery, dim light and sees Jacey and\n Eleanor naked on an old daybed near the coal bin in the", "it. I mean... Eleanor has lots of\n boyfriends. I think Jacey likes\n her more than she likes him.", "Jacey smiles and then kisses her. Doug is spying on them\n from the safety of the crowd. Jacey winks at Doug. Doug\n shakes his head in wonder.", "I know that's what Jacey thinks.\n I could always tell by the way he\n looked at me -- even when he was a", "popular. She is the middle of the three Abbott\n daughters. Eleanor closes her locker, turns and\n discovers Jacey standing behind her. He follows her down", "from the others. He's ill-at-ease. His conversation\n with Jacey resonates within him. As he looks over the\n gathering, he's pained to discover how easy it is to see", "The distance between Jacey and Doug is telling, as is the\n difference in their behavior. Doug leans against a wall\n with his hands in his pockets, his eyes cast down on his", "Jacey idly surveys the gathering with irritable boredom.\n He is only there at his mother's insistence. His eyes\n settle on... Alice Abbott.", "Jacey stops and stares with open-faced misery at the tent\n on the Abbott's front yard (the installation of the tent\n indicates that the Abbott's are having yet another of the\n many parties they throw every year).", "They dance past a group of young men on the sidelines\n (Jacey's senior classmates), they are all edgy with envy,\n waiting like predators for their chance to dance with\n Eleanor.", "JACEY\n She loves me.\n\n HELEN\n Has she agreed to marry you?\n\n (CONTINUED)", "Doug watches Jacey jump into the Plymouth and speed down\n the driveway and then up the street.\n\n Doug SHUTS OFF the LAWN MOWER and walks over to Pam.", "Doug turns and finds Jacey at the foot of the stairs.\n\n DOUG\n Fuck you.\n\n Doug continues up the stairs -- Jacey pursues him.", "JACEY\n Oh, Christ!\n\n7 INT. DINING ROOM - EVENING (MAGIC HOURMINUTES LATER) 7", "Jacey turns and sees Alice standing at the top of the\n stairs. She is pale and drawn and wearing a bathrobe.", "And Helen finds Jacey frowning at her. He opens the door\n so that she can get into the Plymouth (Doug is already in" ], [ "seemingly self-confident as his younger brother is\n rumpled and impulsive. Doug is fifteen, a popular\n culture chameleon who takes on the colors and", "Doug almost doesn't recognize her. She is twenty years\n old now and very grown-up, very stylish in her stewardess\n uniform. She smiles at him.", "DOUG\n Okay. See you.\n\n Doug turns and walks away. Jacey climbs onto the bus.", "DOUG\n If he passes his exams. He will.\n\n ELEANOR\n I'm so sorry, Doug.", "DOUG\n Some people never change.\n\n He wipes her tears from her cheeks with his fingers, then\n gives a short, but sweet, kiss. Then he smiles:", "Doug comes out of the apartment house and walks up the\n sidewalk. Tears begins to stream down his face. He\n begins to run and run as fast as he can.", "Doug dissolves into tears. He lowers his head and\n shields his eyes with his hand. Helen leans over and\n strokes his hair. After a few moments, he rises and\n wipes away his tears with a dish towel.", "Pam is in love with Doug, she has been since they were\n children. Doug is mellowed by his tender feelings for\n her. For a golden minute they are in pleasurable bubble", "over to Doug. She is his age (fifteen), the youngest of\n the Abbott girls, and the least stuck-up.", "DOUG\n Did you miss the bus?\n\n Pam laughs and Doug suddenly realizes:", "The distance between Jacey and Doug is telling, as is the\n difference in their behavior. Doug leans against a wall\n with his hands in his pockets, his eyes cast down on his", "DOUG\n It's all right, it is stupid.\n Real stupid. He did it on a bet.\n He bet someone twenty bucks that", "DOUG\n When I was cleaning you up, wiping\n the puke off your face, I suddenly\n realized how much I miss you --\n how much I love you. How's that\n for stupid?", "Doug looks up from the brochure and comes face-to-face\n with a mannequin wearing a bra, girdle, and stockings.\n He almost flinches with surprise and blushes profusely:", "by the time he reaches Lloyd Abbott. Lloyd scrutinizes\n Doug, then:", "The sunset provides a convenient excuse for their\n silence. But then Pam realizes he is staring at her.\n\n DOUG\n Hi.\n\n PAMELA\n Hi.", "Doug's mind works in several directions at once as he\n tries to figure out how much he should or could tell her.\n\n (CONTINUED)", "Doug is occupied with the lawn mower; he doesn't notice\n Pam and Jacey at first. (Jacey and Pam have to speak\n over the din of the LAWN MOWER.)", "Doug stares at her as if he's never seen her before.\n\n PAMELA\n What are you looking at?\n\n DOUG\n You.", "Doug snaps his book shut.\n\n DOUG\n You want to hear something stupid?\n\n PAMELA\n What?" ], [ "Pam is in love with Doug, she has been since they were\n children. Doug is mellowed by his tender feelings for\n her. For a golden minute they are in pleasurable bubble", "They kiss -- then Pamela pulls away. Doug studies her,\n then:\n\n DOUG\n You have a boyfriend, right?\n\n PAMELA\n No.", "and kisses her. Then he concludes the kiss to check her\n reaction; she timidly smiles. He kisses her again with\n greater fervor. Doug creeps his hand up her blouse and", "Doug allows Pam to pull him out onto the dance floor. He\n feels like a dolt, but she arranges his hands on her and\n they begin to dance. She gazes into his eyes and smiles:", "Jacey smiles and then kisses her. Doug is spying on them\n from the safety of the crowd. Jacey winks at Doug. Doug\n shakes his head in wonder.", "PAMELA\n Do you love me, Doug? Do you?", "Doug knocks on the door. Eleanor opens it, she's dressed\n for work in her stewardess uniform. She's obviously\n surprised to find Doug on her doorstep, but she greets\n him with a warm smile.", "DOUG\n Some people never change.\n\n He wipes her tears from her cheeks with his fingers, then\n gives a short, but sweet, kiss. Then he smiles:", "Doug stares at her as if he's never seen her before.\n\n PAMELA\n What are you looking at?\n\n DOUG\n You.", "Doug kisses her again and as they kiss he stares at a\n framed photograph of Eleanor amongst an assortment of\n family photos on the long table behind the sofa. It is", "DOUG\n Okay. See you.\n\n Doug turns and walks away. Jacey climbs onto the bus.", "DOUG\n Hi.\n\n PAMELA\n Hi.\n\n DOUG\n You want to see something?\n\n PAMELA\n What?", "Doug dissolves into tears. He lowers his head and\n shields his eyes with his hand. Helen leans over and\n strokes his hair. After a few moments, he rises and\n wipes away his tears with a dish towel.", "PAMELA\n Okay. Bye.\n\n DOUG\n Bye.\n\n Doug watches her cross the street.", "He kisses her with such ardor that she interprets his\n answer to be yes, when in reality Doug is only trying to", "Doug standing on the other side of the glass watching her\n from the sidewalk. Doug writes a message on the plate\n glass window with his index finger (printing the letters", "over to Doug. She is his age (fifteen), the youngest of\n the Abbott girls, and the least stuck-up.", "DOUG\n Tell Pam I love her.\n\n Eleanor looks at him.\n\n DOUG\n Tell her... just tell her that.", "of true affinity. But their bubble begins to deflate as\n Doug sees Joan Abbott staring at them. Her disapproval\n is unmistakable. Doug steers Pam around the dance floor", "Doug almost doesn't recognize her. She is twenty years\n old now and very grown-up, very stylish in her stewardess\n uniform. She smiles at him." ], [ "Pam's composure begins to weaken, but she quickly returns\n to the car before she can lose control. Doug turns the\n hose back on. He doesn't look up as she drives away.", "Doug grimaces as he recognizes her.\n\n HELEN\n It is Pam. Pull over.", "Doug allows Pam to pull him out onto the dance floor. He\n feels like a dolt, but she arranges his hands on her and\n they begin to dance. She gazes into his eyes and smiles:", "DOUG\n There. We're doing it.\n\n PAMELA\n (through her tears)\n Doing what?", "Pam awkwardly rises and Doug guides her to the door.", "Pam pushes Doug down the hall away from the front stairs\n and whispers urgently:\n\n PAMELA\n Get out of here! Get out!", "DOUG\n Hi.\n\n PAMELA\n Hi.\n\n DOUG\n You want to see something?\n\n PAMELA\n What?", "PAMELA\n No, I did.\n\n DOUG\n How?\n\n Pam climbs down off the stage and starts up the aisle.", "Pamela drops her coat on the floor. She pulls her\n sweater off over her head. Doug's anguish is as great\n as Pamela's humiliation. He cannot bear any more if\n this -- he walks out the door.", "They kiss -- then Pamela pulls away. Doug studies her,\n then:\n\n DOUG\n You have a boyfriend, right?\n\n PAMELA\n No.", "PAMELA\n I forgot.\n\n The breath goes out of Doug as if he'd been struck in the\n stomach.", "Doug snaps his book shut.\n\n DOUG\n You want to hear something stupid?\n\n PAMELA\n What?", "PAMELA\n Okay. Bye.\n\n DOUG\n Bye.\n\n Doug watches her cross the street.", "Doug leads Pam by the hand down the aisle from the lobby.\n\n PAMELA\n What are we doing here?\n\n DOUG\n I want to show you something.", "Pam is stung by his flippancy, she begins to cry.\n\n DOUG\n What are you crying for?", "Pamela dashes up the stairs. Doug comes out of the den\n looking for her. He is quite shaken:", "Doug stares at her as if he's never seen her before.\n\n PAMELA\n What are you looking at?\n\n DOUG\n You.", "Doug spins and slugs Ted in the jaw -- sending him\n reeling into the other dancers. Everyone pulls away from\n Doug and Pam. Doug massages his fist and looks\n helplessly at Pamela:", "DOUG\n What's going on?\n\n She looks at Doug with tears in her eyes.\n\n PAMELA\n I had to... for Alice's sake.", "Pam sits on the bed as Doug pulls her stained turtleneck\n sweater off over her head (she's wearing a bra).\n\n DOUG\n What were you drinking, Sterno?" ], [ "PAMELA\n Oh, Jesus! He didn't kick her\n out, he put her in a nut house!\n He shipped her off to this clinic\n in Wisconsin.", "Pam's composure begins to weaken, but she quickly returns\n to the car before she can lose control. Doug turns the\n hose back on. He doesn't look up as she drives away.", "Doug dissolves into tears. He lowers his head and\n shields his eyes with his hand. Helen leans over and\n strokes his hair. After a few moments, he rises and\n wipes away his tears with a dish towel.", "Pamela drops her coat on the floor. She pulls her\n sweater off over her head. Doug's anguish is as great\n as Pamela's humiliation. He cannot bear any more if\n this -- he walks out the door.", "Doug lobs the baseball back to her and goes inside.\n Helen sits on the porch steps and now the true toll that\n Joan's visit has taken on Helen becomes apparent -- a", "Pam pushes Doug down the hall away from the front stairs\n and whispers urgently:\n\n PAMELA\n Get out of here! Get out!", "Jacey stops and stares with open-faced misery at the tent\n on the Abbott's front yard (the installation of the tent\n indicates that the Abbott's are having yet another of the\n many parties they throw every year).", "of the library is destroyed by the flabbergasted\n reactions of the students. Eleanor is momentarily\n concerned about his welfare, but she cannot help but\n laugh, too.", "Doug spins and slugs Ted in the jaw -- sending him\n reeling into the other dancers. Everyone pulls away from\n Doug and Pam. Doug massages his fist and looks\n helplessly at Pamela:", "from the others. He's ill-at-ease. His conversation\n with Jacey resonates within him. As he looks over the\n gathering, he's pained to discover how easy it is to see", "JACEY\n Leave me alone, just leave me\n alone.\n\n Helen climbs the stairs, collects Doug at the top\n landing, and leads him away.", "Doug lounges on his bed reading a textbook. It is\n raining outside. He is startled by a TAPPING on the\n windowpane. Pamela is outside on the fire escape. He\n ignores her.", "PAMELA\n She's all right, we took her to\n the hospital...\n\n JACEY\n I'll get dressed...", "Doug starts with panic, rears back, cracks his head on\n the bottom of the table, and then, as his head rebounds\n from the blow, he accidentally impales himself in his", "46 CONTINUED: 46\n\n They are both seized with fright as they hear the front\n DOOR OPEN below and Peter's angry voice:", "He hurls his GLASS at her and it SHATTERS on the door\n jamb. Joan recoils in dumb-founded shock and backs out", "Doug watches Jacey jump into the Plymouth and speed down\n the driveway and then up the street.\n\n Doug SHUTS OFF the LAWN MOWER and walks over to Pam.", "and... well, some mornings I'd be\n crying before I even woke up.\n Then you were born. And Jacey\n just got lost in there. I didn't", "him and tries to button her blouse, but she can't see the\n buttons for her tears. She begins to sob and runs out of\n the room.", "Pam's convertible is parked in a weed-choked yard. Pam\n and Doug hurl rocks at the windows, trying to break what\n is left of the shattered windows on the weather-beaten,\n two-story farmhouse." ], [ "DOUG\n Found this in one of the boxes in\n the basement.\n\n JACEY\n What is it?", "Jacey smiles and then kisses her. Doug is spying on them\n from the safety of the crowd. Jacey winks at Doug. Doug\n shakes his head in wonder.", "As Jacey turns up the driveway, a light snaps on in the\n garage. The garage doors are open, Doug sits on the edge", "JACEY\n Yeah, I'll go pick it up.\n\n HELEN\n Take Doug with you.", "Doug turns and finds Jacey at the foot of the stairs.\n\n DOUG\n Fuck you.\n\n Doug continues up the stairs -- Jacey pursues him.", "Doug and Jacey scramble to their feet, their clothes are\n ripped and disheveled.\n\n JACEY\n You're dead, dip shit!", "The distance between Jacey and Doug is telling, as is the\n difference in their behavior. Doug leans against a wall\n with his hands in his pockets, his eyes cast down on his", "Doug watches Jacey jump into the Plymouth and speed down\n the driveway and then up the street.\n\n Doug SHUTS OFF the LAWN MOWER and walks over to Pam.", "DOUG\n Jesus Christ!\n\n Jacey's back and buttocks are severely bruised. Jacey\n wraps the towel around his waist and turns to his\n brother.", "DOUG\n She likes to read.\n\n JACEY\n She reads too much.\n (CONTINUED)", "Jacey races up a driveway -- Doug is nowhere to be seen.\n\n JACEY\n Come on, weasel dick! Come on\n out, you chicken shit!", "Doug takes off with Jacey in hot pursuit. A few beats\n later, Helen steps out onto the front porch and discovers\n her sons and the porch swing missing.", "Jacey sits in his favorite armchair reading the Sunday\n newspaper. Doug sits in the middle of the sofa. Jacey\n scrutinizes his brooding younger brother.", "HELEN\n Then how did...?\n\n DOUG\n Jacey.\n\n (CONTINUED)", "Doug follows Jacey to the door of the bus. Neither one\n of them knows how to say good-bye, after an awkward beat:\n\n (CONTINUED)", "Jacey turns and walks out through the door they came in.\n Doug walks over to his seat in the front row -- he\n hesitates when he sees Lloyd Abbott standing in the back\n of the parlor.", "Doug standing on the other side of the glass watching her\n from the sidewalk. Doug writes a message on the plate\n glass window with his index finger (printing the letters", "JACEY\n Hey, Doug! Get my suitcase!\n\n The car pulls away and Doug irritably fetches Jacey's\n bag.", "JACEY\n Christ, use your imagination.\n\n Doug has no reply to that.", "JACEY\n Leave me alone, just leave me\n alone.\n\n Helen climbs the stairs, collects Doug at the top\n landing, and leads him away." ], [ "of true affinity. But their bubble begins to deflate as\n Doug sees Joan Abbott staring at them. Her disapproval\n is unmistakable. Doug steers Pam around the dance floor", "Pamela Abbott walks across the quad. Pam is 19 years old\n now, her beauty in full bloom. Doug jogs over to her.\n\n DOUG\n Hi.", "PAMELA\n So then just stop it!\n\n DOUG\n Stop what?!\n\n PAMELA\n Stop treating me like an Abbott!", "to avoid Joan's eyes, but then he sees Lloyd Abbott.\n Lloyd's stare is even more discomforting. Pamela senses\n the change in Doug's mood, but she is unaware of the", "Doug allows Pam to pull him out onto the dance floor. He\n feels like a dolt, but she arranges his hands on her and\n they begin to dance. She gazes into his eyes and smiles:", "DOUG\n Pamela Abbott, please. Tell her\n Doug is here.\n\n CLERK #2\n She's not here.", "Pam is in love with Doug, she has been since they were\n children. Doug is mellowed by his tender feelings for\n her. For a golden minute they are in pleasurable bubble", "DOUG\n Pam, I guess. I don't know.\n Didn't open the envelope. I mean,\n come on, every time an Abbott girl\n gets her period they have some\n party.", "HELEN\n Isn't that Pamela Abbott?\n\n In the distance Pamela struggles with a jack as she tries\n to remove a flat tire on her convertible.", "(Alice and Peter have separated)... and, finally, Pamela\n dancing with a handsome young man (TED). She is the\n belle of the ball, radiant and suddenly mature in her", "The sunset provides a convenient excuse for their\n silence. But then Pam realizes he is staring at her.\n\n DOUG\n Hi.\n\n PAMELA\n Hi.", "PAMELA\n Yeah. Shit.\n\n\n104 EXT. ABBOTT HOME - STREET - LATER THAT NIGHT 104", "Pamela takes his hand, gently unfolds it, and with her\n index finger she writes on his palm, \"I love you.\"", "PAMELA\n But... oh, Jesus... how do we\n start all over again?\n\n Pam's eyes fill with tears. Doug steps over to her and\n embraces her tenderly, holding her close.", "They kiss -- then Pamela pulls away. Doug studies her,\n then:\n\n DOUG\n You have a boyfriend, right?\n\n PAMELA\n No.", "massages her breast. Pamela struggles to suppress her\n surprise, which he mistakes as a sign of her approval.\n Emboldened by her lack of resistance, he slips his hand", "PAMELA\n No, I did.\n\n DOUG\n How?\n\n Pam climbs down off the stage and starts up the aisle.", "Pam's composure begins to weaken, but she quickly returns\n to the car before she can lose control. Doug turns the\n hose back on. He doesn't look up as she drives away.", "Pam's wet clothes have been draped over the radiator.\n Pam is passed out, tucked in under the covers. Doug sits\n on the edge of the bed gently cleaning her face with a\n damp washcloth.", "PAMELA\n 'Cause I've always have been.\n You... block-head.\n\n He kisses her, then he gazes at her and strokes her hair." ] ]

[ "Who is sent to a mental hospital in the story?", "What patent did Doug and J.C.'s late father sell?", "In the story who get reunited in college after being apart two years?", "Why did the Holt brothers' father lose his life?", "What brings Doug and J.C. back to Haley?", "Who is Lloyd Abbott's wife?", "What time frame is the story based in?", "Who is the wealthiest member of the Haley community?", "What two families are intertwined in the story?", "What happened to JC and Doug's father? ", "What are the names of the Abbott girls? ", "Why does JC want revenge on Lloyd Abbott? ", "What does JC plan to do to get revenge? ", "Which Abbott daughter did Doug fall in love with? ", "What happened to Eleanor after her father caught her with JC? ", "How long had passed before Doug and Pamela met up in college?", "Why did JC and Doug return to Hailey? ", "What was revealed in the letter from JC and Doug's father?", "What happened to Lacy and Doug Holt's father?", "What are the names of Loyd Abbott's daughters?", "How does J.C. plan to get revenge for his fathers death?", "Which daughter does J.C. obsess over?", "What does Doug realize as he grows more mature?", "Who does Doug fall in love with?", "What does Pamela force Doug to do?", "Who is sent to a mental hospital?", "Who wrote the letter that J.C. and Doug found?", "Who got Abbott's blessing for a relationship with Pamela?" ]

[ [ "Eleanor Abbott", "Eleanor" ], [ "A patent for a 1937 DeSoto Coupe convertible.", "for a 1937 DeSoto Coupe convertible" ], [ "Doug Holt and Pamela Abbott", "Doug and Pamela" ], [ "He made a bet with Lloyd Abbot that resulted in his death.", "a supposed bet" ], [ "Their mothers death.", "Their mother's death" ], [ "Joan Abbott", "Joan" ], [ "The 1950s.", "1950's" ], [ "Lloyd Abbott", "Lloyd abbott" ], [ "The Abbotts and the Holts.", "The Abbotts and the Holts" ], [ "He died as a result of a bet. ", "He died" ], [ "Alice, Eleanor, and Pamela", "Alice, Eleanor, and Pamela" ], [ "He blames Lloyd for his father's death. ", "misunderstanding of circumstances around his father's death" ], [ "He wants to marry Alice Abbott.", "seduction of the Abbott daughters" ], [ "Pamela.", "Pamela" ], [ "She was sent to a mental hospital. ", "She was sent to a mental hospital. " ], [ "Two years.", "2 years" ], [ "Their mother died.", "their mother died" ], [ "He sold the patent for a DeSoto Coupe convertible. ", "he sold their patent" ], [ "Lost his life via a bet with his business partner.", "he died" ], [ "Alice, Eleanor, and Pamela", "Alice, Eleanor, and Pamela" ], [ "By seducing Abbott's daughters.", "seduce the Abbott daughters" ], [ "Alice", "Alice" ], [ "Everything that glitters is not gold.", "all that glitters is not gold" ], [ "Pamela", "Pamela" ], [ "Appreciate her for who she is, not what she can offer.", "Appreciate her for who she is, not what she can offer him" ], [ "Eleanor", "Eleanor " ], [ "Their father.", "Their late father" ], [ "Doug", "Doug" ] ]

[ [ "Reed and Sue pull apart. Reed turns to Ben, excited.", "REED\n No more thinking, no more variables...\n Sue Storm...will you...\n (she's gone)\n Sue? Sue? You there?", "Ben seems to relax and Reed lets go. Ben walks out. Sue\n comes to Reed's side. He's bleeding.", "He motions to Reed and Sue together.\n\n REED\n Come on, this is nothing.\n\n Sue looks a little hurt.", "She looks at Reed, eyes narrow. She becomes invisible. As\n she focuses on Reed -- and gets angry -- a small, clear FORCE", "Reed glances over his shoulder. He stares. Sue follows his\n gaze to see: Johnny's FINGERTIPS are on fire. He SNAPS his\n fingers. They GO OUT. He's totally unharmed.", "She flips through it. It's filled with pictures of Reed and\n his inventions -- a lot less fancy than Victor's multimedia\n globe. She stops at a picture of her and Reed in COLLEGE.", "REED (CONT'D)\n I mean, you broke up with me, right?\n\n SUE\n Are you kidding?", "INT. SPACE STATION - AIR LOCK - SAME TIME\n\n Sue rounds a corner, sees Reed and Johnny.\n\n SUE\n Johnny! Reed!", "INT. BAXTER BUILDING - HALLWAY - NIGHT\n\n Sue follows Reed. He flips through a file, excited.", "Reed goes to kiss her.\n\n SUE (V.O.) (CONT'D)\n That's my nose, genius... These are my\n lips.", "Victor looks at that image of Reed and Sue on the screen.\n\n VICTOR\n The only thing he's closer to is\n Sue...", "Reed's face is SQUEEZED on both sides by Sue's invisible\n hands. She pulls him into a KISS. Lips touch. Soft,", "Reed considers. But Sue cuts him short with a look.\n\n DING! The elevator stops.\n\n INT. BAXTER BUILDING - ATRIUM - MOMENTS LATER", "BEHIND THE ACTION: Reed, Sue, Johnny and Ben walk past. News\n crews barely notice, passing without even taking a picture. \n Our \"Fantastic Four\" are not exactly big news. Not yet.", "Then snaps back into place. Reed stares at his arm in\n disbelief. Sue's eyes widen as well. The rest of Sue\n reappears. They look at each other: mutual alarm.", "Reed's face is SQUEEZED on both sides by Sue's invisible\n hands. She pulls him into a KISS and reappears.", "JOHNNY (CONT'D)\n You talk to Reed and Sue about this?", "She sees Johnny and Ben inside, watching -- in on a secret. \n\n Reed looks her square in the eye. Unflinching.", "Victor watches a bank of videoscreens. He has the Baxter\n Building under surveillance. He sees Reed and Sue on\n monitors. He toys with Sue's diamond ring in his gloved\n hand." ], [ "Just past the press area, they see...one woman standing,\n waiting. This is DEBBIE, Ben's fiancée. And for the first", "Ben sees something GLISTENING on the ground. He stoops over\n to pick up...her ENGAGEMENT RING. His big fingers can't grip", "Ben looks at the little ENGAGEMENT RING on her finger.\n\n BEN\n Soon as I'm back, I'm gonna trade that\n in for a bigger rock.", "Ben and Alicia step out together. The crowd quiets, turns. \n A few whispers flutter. Alicia leans close to Ben, and slips\n her arm into his. The party goes back to normal.", "She walks off. He watches her go. The way her hair moves. \n The lines of her neck. The light on her skin. This woman is\n the most beautiful thing Ben has ever seen. He's falling\n hard.", "He keeps his eyes on Alicia, who talks to guests.\n \n Ben hangs back, happy to watch her. A few patrons pass him,", "Ben keeps his eyes on Alicia. He overhears two BOHEMIAN\n GIRLS, who assume he's a statue.", "He takes a step closer. She backs away faster, tripping over\n her robe, falling into the street. A car screeches to a\n halt. Ben instinctively steps out to help, but she scurries\n back.", "Ben looks up the street, into the 2nd story window of a\n modest, working-class home. His eyes go soft when he sees\n Debbie grab the phone.", "Ben sees a familiar face in the masses: DEBBIE. Ben steps\n toward her, but she stops him with a look. She places\n something on the ground and runs off into the crowd.", "him. But Ben is gone. She looks disappointed, hearing his\n heavy FOOTSTEPS get softer and softer in the distance.", "Reed looks at Ben's face, feeling the guilt. Ben is lost in\n thought, looking at Deb's ENGAGEMENT RING. Johnny leaps in.", "Ben spins, looking for Sue. He can't see her. But he does\n see...A CAR INCHES AWAY, WITH GAS TANK FLAMING!", "SUE\n No, I'm sorry, for pushing you out.\n\n He nods. A beat between them. He looks around, sees Ben.", "They can see Ben outside the window, still twenty yards away. \n The entire corridor rumbles. Lights flicker and spark. They\n watch helplessly.", "BEN\n Trust me, this ain't one of those\n times.\n\n She smiles softly, takes her cane, and starts to head out.", "Her shout wakes NEIGHBORS. Lights flicker on. Ben knows he\n has to go. He looks at Debbie, sensing this is the last time", "SUE\n Ben! Slow down...\n\n Ben glances sideways at her, doesn't stop. She catches up.", "BEN\n I'll be watching over you.\n\n DEBBIE\n Just get back soon, or I start looking\n for a new groom.", "BEN (CONT'D)\n You go through something like this,\n makes you appreciate having the right\n woman in your life." ], [ "SUE\n I'm driving.\n\n JOHNNY (ON TV)\n Dude. That's my sister.", "SUE (CONT'D)\n He didn't mean it. You know Johnny. \n He's always been a hothead --", "SUE\n Thank you, that's generous, but I\n think I should stay here. With my\n brother. Until we get a handle on\n this.", "SUE\n No, I'm sorry, for pushing you out.\n\n He nods. A beat between them. He looks around, sees Ben.", "SUE\n Ben?!\n\n She helps him out of the rubble. He is beaten, battered.\n\n JOHNNY (O.S.)\n Sue!", "SUE\n Well, he's welcome to ride shotgun,\n but we already have a pilot on our\n payroll. You remember my brother\n Johnny...", "SUE (CONT'D)\n Ben's out there. Let's go get him.", "Their eyes lock. A heated beat. No more secrets. Their\n faces are close. A kiss is coming. Closer, closer. Sue\n disappears.", "SUE\n What are you doing --\n\n JOHNNY\n Sis. Let me take care of you for\n once.", "As if suddenly made aware of their vulnerability, Sue and\n Reed stand, backing off. As they part, we see:", "SUE\n We need to find him.\n\n Victor redirects his attention to Sue.\n\n SUE (CONT'D)\n Victor, I'm sorry I --", "SUE (CONT'D)\n It's just business.\n\n VICTOR\n I think you both know my Director of\n Genetic Research, Susan Storm.", "Sue and Reed lock eyes. Reed tries to move his mouth. He\n has something to tell her, struggling just to move his lips\n and get the words out.", "SUE\n Victor, are you feeling alright?\n\n He considers, but never shows weakness. He nods.", "Reed loses consciousness. Sue carries him out.\n\n INT. VICTOR'S OFFICE - NIGHT\n\n Victor watches, his eyes narrow, looking at his hands.", "SUE\n Great minds think alike.\n\n VICTOR (O.S.)\n Guess some think faster than others.", "SUE (CONT'D)\n Bruises...from the bridge?\n\n He nods, rolls down his sleeves.", "SUE\n Reed. Shh. Just be quiet. And look\n up.\n\n He slowly looks up. The stars seem to calm him.", "VICTOR\n (under breath, seething)\n Reed... He got what he wanted...\n (looking at Sue)\n Everything he wanted...he took from me.", "SUE (CONT'D)\n (quiet, playful)\n Come find me.\n\n Reed tentatively leans into the kiss, and..." ], [ "The Businessman looks out, ready to jump. He doesn't see Ben\n (or doesn't realize Ben is not a statue).", "We swoop toward this epic monument. On a steel girder above\n the road, we see...a STATUE. BEN. He sits on the edge of", "He is pulling the truck back onto the bridge, inch by inch. \n His footsteps THUD. With monumental effort, he levels the\n truck. Firemen scurry over hoses and ladders, some climbing\n over Ben.", "Ben stands in the middle of the chaos, staring at the\n destruction. He sees the tow-truck DRIVER bleeding, trapped\n in his cab. Ben moves to this burning hunk of steel.", "BEN\n It's not him. It's them.\n (pointing to crowd)\n I can't live like this.", "EXT. STREET/ALLEY - DAY\n\n Sue wades through the throng of New Yorkers. Tries to catch\n up with Ben...whose presence parts the crowd like Moses.", "They can see Ben outside the window, still twenty yards away. \n The entire corridor rumbles. Lights flicker and spark. They\n watch helplessly.", "while his legs thrash over speeding traffic. Cars and trucks\n SKIM right underfoot. Ben shakes his head.", "He takes a step closer. She backs away faster, tripping over\n her robe, falling into the street. A car screeches to a\n halt. Ben instinctively steps out to help, but she scurries\n back.", "SUE\n No, I'm sorry, for pushing you out.\n\n He nods. A beat between them. He looks around, sees Ben.", "Ben sees a familiar face in the masses: DEBBIE. Ben steps\n toward her, but she stops him with a look. She places\n something on the ground and runs off into the crowd.", "Suddenly, the concrete roof HOLDS STEADY...because...BEN is\n holding it up! He stands beside the stanchion, like Atlas\n holding the world. People run out, safe.", "The cat falls into frame. At the last instant, Ben sticks\n out his hand and the cat lands safely in his palm. He hands\n the cat to the girl. Barely acknowledges her profuse thanks. \n He just moves on.", "Ben spins, looking for Sue. He can't see her. But he does\n see...A CAR INCHES AWAY, WITH GAS TANK FLAMING!", "SUE\n Ben, you got what we all wanted. \n You need to stay here. It's too\n dangerous.\n\n She heads off. Ben watches her go, helpless.", "BEN (CONT'D)\n You think you got trouble? Take a\n good look, pal, how bad could it be?\n\n The Businessman looks at Ben, terrified. Ben steps forward.", "Ben looks up, deer in headlights. He sees a massive TRUCK\n bearing down on the Businessman.\n\n BEN (CONT'D)\n This is really not my day.", "Reed tends to Sue who has fainted from her effort. Ben steps\n back from the truck and slumps to the street exhausted. Wary\n cops close in to cover him with weapons, but...", "Ben puts the seat down, with the Driver on it. He lunges\n behind a truck. The cops try to follow, but FLAMES push them\n back. Ben lurches away, head down, self-conscious.", "Ben just stands there, frozen. His eyes dart around the\n room, paranoid now. Aware of people staring, laughing. He" ], [ "Victor looks at the scar, enraged by this defect. It\n glistens in the silver tray. His eyes are bloodshot,\n sleepless.", "VICTOR\n (under breath, seething)\n Reed... He got what he wanted...\n (looking at Sue)\n Everything he wanted...he took from me.", "dead. Smoke rises from his body. Victor stands, power\n swelling.", "VICTOR (CONT'D)\n Funny how things turn out, isn't it?\n\n REED\n Hilarious.", "Reed slowly turns to see...DOOM. His body, his face.\n\n REED\n Victor...? What, what happened to\n you? What did you do to your --", "Victor enters, still adrenalized. He turns to the light\n switch, and the lights come on. He approaches his screens,\n and the monitors flicker to life. His powers are growing.", "VICTOR\n Susan. What are you doing?\n\n He is cold as ice. If he's hurt, he'll never show it.", "He motions to the wreckage.\n\n BEN\n (struggling, weak)\n The machine works. And Vic's gone\n Mister Hyde on us --", "Victor shakes out his hand, and sees...a rippling METALLIC\n SHELL under the skin. He stares at it in horror. The dark\n surface pulsates with electric energy. What is he\n becoming...?", "With one cobra-swift move, Victor thrusts his metallic arm\n into the doctor, killing him instantly. Victor retracts his\n arm, and looks at it, shocked by his own strength.", "VICTOR (CONT'D)\n Now I'm going to take it back. Piece\n by bloody piece...\n\n His fist clenches. We hear METALLIC SFX.", "VICTOR\n Don't worry about me. Worry about\n yourself.\n\n Reed looks around, seeing his lab turned inside out.", "VICTOR\n God, I've been so worried about you.\n\n She notices the scar on his head.\n\n SUE\n Victor, your scar --", "REED\n Victor, are you...are you okay? \n\n Victor turns away.", "VICTOR\n Very simple. I cure them. If I can\n cure these freaks, then I can cure\n anyone. What better way to restore my\n reputation?", "Victor leans forward, fixated on that machine. As he gets\n closer, his screens go STATICKY. He absentmindedly picks at\n his SCAR. In shadows, we see skin peeling off.", "VICTOR\n Please, no apologies. I've arranged\n for your things to be moved to one of\n my condos. You'll have round-the\n clock care.", "VICTOR (CONT'D)\n In my case, it's not just a metaphor.", "The doors close, and Victor really LETS LOOSE. He SLAMS his\n fist into a STEEL WALL. The wall BUCKLES, steel DENTING.", "VICTOR (CONT'D)\n (quiet)\n I'll take it from here, Leonard.\n\n Leonard nods, all too eager to get the hell out of here." ], [ "dead. Smoke rises from his body. Victor stands, power\n swelling.", "Victor looks at the scar, enraged by this defect. It\n glistens in the silver tray. His eyes are bloodshot,\n sleepless.", "The chamber doors open. Thing enters. He looks around this\n sterile box. An animal in a cage. Victor pushes a control;", "He motions to the wreckage.\n\n BEN\n (struggling, weak)\n The machine works. And Vic's gone\n Mister Hyde on us --", "that bad. He's just a little...\n (seeing the statue)\n Larger than life.", "Reed loses consciousness. Sue carries him out.\n\n INT. VICTOR'S OFFICE - NIGHT\n\n Victor watches, his eyes narrow, looking at his hands.", "VICTOR (CONT'D)\n Now I'm going to take it back. Piece\n by bloody piece...\n\n His fist clenches. We hear METALLIC SFX.", "Victor leans forward, fixated on that machine. As he gets\n closer, his screens go STATICKY. He absentmindedly picks at\n his SCAR. In shadows, we see skin peeling off.", "VICTOR (CONT'D)\n Funny how things turn out, isn't it?\n\n REED\n Hilarious.", "The doors close, and Victor really LETS LOOSE. He SLAMS his\n fist into a STEEL WALL. The wall BUCKLES, steel DENTING.", "He motions to his men. They all stand. Victor is the lone\n man sitting. PUSH IN on Victor's face, his inner rage", "VICTOR\n God, I've been so worried about you.\n\n She notices the scar on his head.\n\n SUE\n Victor, your scar --", "That does it. A surge of electricity courses through Victor. \n His eyes narrow, and the electricity crackles down his leg to\n THE GROUND. The electric spark hits the water and...", "VICTOR (CONT'D)\n (quiet)\n I'll take it from here, Leonard.\n\n Leonard nods, all too eager to get the hell out of here.", "VICTOR\n Susan. What are you doing?\n\n He is cold as ice. If he's hurt, he'll never show it.", "VICTOR (CONT'D)\n You think I brought you here to talk\n about us? Please. This is business.", "With one cobra-swift move, Victor thrusts his metallic arm\n into the doctor, killing him instantly. Victor retracts his\n arm, and looks at it, shocked by his own strength.", "VICTOR\n I'm just saying, I know what it's like\n to lose something you love. To see it\n slip away, and know it's never coming\n back.", "VICTOR\n Please, no apologies. I've arranged\n for your things to be moved to one of\n my condos. You'll have round-the\n clock care.", "thinking he's just an inanimate statue." ], [ "EXT. SPACE STATION AIR LOCK - DAY\n\n The exterior air lock door slides open. In agonizing,\n weightless slow motion Ben reaches to haul himself inside.", "Johnny steps out of the air-lock and shuts the door. He\n looks through a small window to see Ben give the thumbs up. \n THE AIRLOCK DOOR opens, and Ben gracefully steps into space.", "The leading edge of the cloud hits: Ben is pelted by a\n hissing mass of space dust, splattering his suit with orange", "Reed and Johnny scramble to open the interior air lock door. \n Sue joins them, as they pull Ben in. They try to remove his\n helmet. We don't see his face, but he's clearly unconscious.", "BEN\n A few days in space, it'll be great,\n what's the worst that could happen?", "A wake of turbulence from the cloud hits Ben, making it\n harder to maneuver. The cloud's tendrils snake toward him.\n\n INT. SPACE STATION - AIRLOCK DOOR - SAME TIME", "Ben sees Johnny motioning for Ben to look behind him. Ben\n turns and sees: THE COSMIC STORM, rumbling toward the\n station. Not close, but not far. That gets Ben's attention.", "A big photo of Ben Grimm in his astronaut heyday occupies a\n place over the bar. Ben enters, and the bar goes SILENT. He\n moves through the crowd. People clear out of the way.", "Ben just stands there, frozen. His eyes dart around the\n room, paranoid now. Aware of people staring, laughing. He", "the doors of the chamber slowly close and seal. Thing shuts\n his eyes. He just wants to be Ben again.", "BEN (O.S.)\n Where...where am I?\n\n JOHNNY\n Back on Earth. Victor's medical\n facility... We're in quarantine.", "Ben and Johnny read his eyes, as we CUT TO --\n\n INT. SPACE STATION - AIR LOCK - LATER", "BEN (INTO RADIO)\n Roger that, on my way.\n\n He turns back towards the ship. BEHIND HIM, the storm grows.", "REED\n Yes. Yes it is.\n\n Johnny and Ben exchange a look. Reed keeps looking at the\n stars, eyes wide, like a little kid.", "Reed and Johnny stand by the airlock, waiting for Ben. They\n heard the automated voice. It panics Reed.\n\n REED\n Come on, Ben, come on...", "BEN (CONT'D)\n Damn, I've been wanting to do that.\n\n Reed manages the thinnest smile as Ben starts disconnecting\n the tubes from Reed.", "BEN\n I spent my whole life protecting you,\n from the schoolyard to the stars. For", "They can see Ben outside the window, still twenty yards away. \n The entire corridor rumbles. Lights flicker and spark. They\n watch helplessly.", "Ben preps for a space walk, putting on a helmet and boots. \n Johnny unloads a set of clear sample boxes off of a cart,\n each containing a variety of plants.", "Beat. And...BEN GRIMM steps out. Not The Thing. No more\n rocks. BEN GRIMM. Naked, tired, but finally A NORMAL MAN." ], [ "Reed sighs. It's going to be a long process.\n\n INT. BAXTER BUILDING LAB - DAY", "REED (CONT'D)\n (high-pitched voice)\n We'll...continue this later.\n\n INT. BAXTER BUILDING LABS - DAY", "Reed and Sue enter. Reed is looking for something. Sue\n slows down, staring at this sprawling space, jam-packed with", "Reed looks at his hand. Shakes his wrist. He looks at\n Victor.\n\n INT. BAXTER BUILDING - HALL - DAY", "Frustrated, Reed looks at the smoking system. And we CUT TO --\n\n INT. BAXTER BUILDING - LAB - DAY", "Reed considers. But Sue cuts him short with a look.\n\n DING! The elevator stops.\n\n INT. BAXTER BUILDING - ATRIUM - MOMENTS LATER", "Reed enters the room carrying a stack of boxes that no normal\n man could balance. But he is not normal. His arms are", "Reed wears the uniform under his labcoat. He checks his\n equations over and over, making notes upon notes.", "VICTOR\n Don't worry about me. Worry about\n yourself.\n\n Reed looks around, seeing his lab turned inside out.", "They turn a corner and find Reed, entering by another door.", "Victor walks out. Reed looks unsure, as we CUT TO --\n\n INT. BAXTER BUILDING TRANSFORMATION LAB - DAY", "A SERIES OF TIME-LAPSE SHOTS: REED works around the Baxter\n Building, spending hours searching for the cure. He checks\n charts, writes equations, paces, frustrated.", "Reed is a little surprised that Victor is so familiar with\n his machine. He points to a SECURE CHAMBER on the blueprint.", "The elevator opens. They step out. They might be on the\n 20th floor, but Reed owns the building from here to floor\n sixty. It's a massive atrium, lit by skylights far above --", "Reed loses consciousness. Sue carries him out.\n\n INT. VICTOR'S OFFICE - NIGHT\n\n Victor watches, his eyes narrow, looking at his hands.", "Reed passes a mirror, slowing, seeing his gray hairs. He\n keeps going. He passes a partially open door. He stops when", "They head for the elevator. Reed carries a small, black box. \n As they enter the elevator, steel doors shut and we CUT TO --", "Reed decides they can't wait any longer. He kneels to the\n floor. He concentrates, not sure if it will work...", "Sue enters. She sees the shields, the technicians, the VDI\n logo. And she is deeply worried. She steps over to Reed. \n Sparks fly behind them. Drills scream.", "INT. BAXTER BUILDING - LAB - DAY\n\n Reed and Johnny now. Johnny exercises. Reed stands nearby. \n Clipboard in hand." ], [ "dead. Smoke rises from his body. Victor stands, power\n swelling.", "Victor looks at the scar, enraged by this defect. It\n glistens in the silver tray. His eyes are bloodshot,\n sleepless.", "The chamber doors open. Thing enters. He looks around this\n sterile box. An animal in a cage. Victor pushes a control;", "VICTOR\n Susan. What are you doing?\n\n He is cold as ice. If he's hurt, he'll never show it.", "VICTOR (CONT'D)\n Funny how things turn out, isn't it?\n\n REED\n Hilarious.", "A noise, and she turns, flinching slightly, surprised to\n see...VICTOR. He smiles, standing at the door, watching her.", "INT. VICTOR'S OFFICE - NIGHT", "INT. VICTOR'S OFFICE - NIGHT", "INT. VICTOR'S OFFICE - DAY", "VICTOR (CONT'D)\n You think I brought you here to talk\n about us? Please. This is business.", "Victor leans forward, fixated on that machine. As he gets\n closer, his screens go STATICKY. He absentmindedly picks at\n his SCAR. In shadows, we see skin peeling off.", "Victor enters, still adrenalized. He turns to the light\n switch, and the lights come on. He approaches his screens,\n and the monitors flicker to life. His powers are growing.", "VICTOR\n God, I've been so worried about you.\n\n She notices the scar on his head.\n\n SUE\n Victor, your scar --", "Victor sits enthralled. He leans forward, breathless.\n\n INT. BAXTER BUILDING - TRANSFORMATION LAB - NIGHT", "On an expansive parapet with a billion-dollar view, Victor\n prepares a romantic dinner-setting as his staff scurry about. \n He checks every fork and knife, with a slightly manic energy.", "With one cobra-swift move, Victor thrusts his metallic arm\n into the doctor, killing him instantly. Victor retracts his\n arm, and looks at it, shocked by his own strength.", "Victor is a step ahead. Reed pauses, thrown for a beat. Ben\n wakes up, suspicious. Victor notices. He notices\n everything.", "VICTOR (CONT'D)\n In my case, it's not just a metaphor.", "VICTOR (CONT'D)\n Don't forget who you work for, Susan. \n So get to work. And do your job.", "The doors close, and Victor really LETS LOOSE. He SLAMS his\n fist into a STEEL WALL. The wall BUCKLES, steel DENTING." ], [ "The leading edge of the cloud hits: Ben is pelted by a\n hissing mass of space dust, splattering his suit with orange", "Victor rushes into the room, looks at the monitors. Sees the\n others near the airlock on one screen, and the approaching\n cloud on another. Anxiety creeps across his face.", "EXT. SPACE STATION - DAY\n\n As quickly as it came, the cloud passes on and whirls away,\n leaving the space station intact. Power quietly flickers on.", "A wake of turbulence from the cloud hits Ben, making it\n harder to maneuver. The cloud's tendrils snake toward him.\n\n INT. SPACE STATION - AIRLOCK DOOR - SAME TIME", "INT. SPACE STATION - COMMAND CENTER - SAME\n\n Victor and Sue lead the others into the command center.", "SUE\n We can monitor the cloud's approach\n and observe the tests from here.\n\n BEN\n Is it safe?", "Reed raises his head, revealing his flattened face. He steps\n over to see...a PLANT SAMPLE from space, glass box shattered. \n Red sparks swirl around the plant, like the cosmic storm --", "Johnny steps out of the air-lock and shuts the door. He\n looks through a small window to see Ben give the thumbs up. \n THE AIRLOCK DOOR opens, and Ben gracefully steps into space.", "Silence. Time resumes. All four pick up exactly where they\n left off, unaware of anything that just happened to them.\n\n INT. SPACE STATION COMMAND CENTER - DAY", "BEN\n A few days in space, it'll be great,\n what's the worst that could happen?", "REED (CONT'D)\n In six weeks another cloud with the\n same elemental profile will pass", "Reed and Johnny scramble to open the interior air lock door. \n Sue joins them, as they pull Ben in. They try to remove his\n helmet. We don't see his face, but he's clearly unconscious.", "INT. SPACE STATION AIR LOCK/COMMAND CENTER - DAY\n\n AUTOMATED VOICE\n Event threshold in ten seconds. \n TEN...", "The craft's nose is pointed straight up, ready for launch. \n WORKERS IN JUMPSUITS are scattered around the two-hundred\n foot tall scaffolding, performing routine checks.", "Ben preps for a space walk, putting on a helmet and boots. \n Johnny unloads a set of clear sample boxes off of a cart,\n each containing a variety of plants.", "We push in on the shuttle, and follow the ship as it leaves\n Earth's atmosphere. BOOM -- booster rockets fall away and\n the shuttle fires its thrusters. The hologram transitions\n to...", "REED\n Look, we went up to space to find a\n way to understand DNA, to cure", "Reed and Johnny stand by the airlock, waiting for Ben. They\n heard the automated voice. It panics Reed.\n\n REED\n Come on, Ben, come on...", "in the back, ripping through his suit. The exterior door\n shuts and seals. The station loses all power. DARKNESS.", "Ben and Johnny read his eyes, as we CUT TO --\n\n INT. SPACE STATION - AIR LOCK - LATER" ], [ "VICTOR\n Ben did this?\n\n REED\n He's had some kind of...reaction to\n exposure from the cloud. And he's not\n the only one.", "Reed looks up at the cosmic storm. He opens his arms, ready\n to risk his life. And...WHHHM! He JOLTS in JUMP-CUT-MOTION,", "REED (CONT'D)\n Of course...of course...the cloud...\n\n THE COSMIC STORM swirls, terrifying. We slowly PULL BACK TO --", "Reed raises his head, revealing his flattened face. He steps\n over to see...a PLANT SAMPLE from space, glass box shattered. \n Red sparks swirl around the plant, like the cosmic storm --", "VICTOR\n Darwin discovered evolution. Now we --\n I -- will define it. Only in America\n could...\n\n The red cloud of cosmic rays wash over the Earth.", "The leading edge of the cloud hits: Ben is pelted by a\n hissing mass of space dust, splattering his suit with orange", "The city lights fill the sky, and give it a quiet, eerie\n glow. Suddenly, a BRIGHT FLASH emerges from the window of\n the Baxter Building. The rest of the city lights dim\n slightly.", "EXT. SPACE STATION - DAY\n\n As quickly as it came, the cloud passes on and whirls away,\n leaving the space station intact. Power quietly flickers on.", "She looks at them, surprised, confused. Her invisible fields\n SPIRAL OUT, partially CONTAINING the blast. But the flames", "The transformation chamber is up and running. Numbers count\n down. The storm swirls in the chamber. Reed now wears the\n UNIFORM. He opens the door:", "JOHNNY\n Now what is up with that?\n\n REED\n (deadpan)\n The cloud has fundamentally altered\n our DNA.", "REED (O.S.)\n My research suggests that exposure to\n a high-energy cosmic storm born on\n solar winds might have triggered the\n evolution of early planetary life.", "Ben sees Johnny motioning for Ben to look behind him. Ben\n turns and sees: THE COSMIC STORM, rumbling toward the\n station. Not close, but not far. That gets Ben's attention.", "SUE\n It has to be the cloud. It's\n fundamentally altered our DNA.", "REED (CONT'D)\n In six weeks another cloud with the\n same elemental profile will pass", "From their vantage point, they see the missile explode. \n Flames dance. Sue's eyes darken, as Doom grips her neck.", "Reed SLUMPS TO THE GROUND. His eyes flutter back. Dead...? \n His body is warped, twisted -- one half remains tense, hard,\n while the other half is loose, soft, almost melted.", "REED (V.O.)\n Our uniforms were exposed to the storm\n like us. So they can transform like\n us, becoming invisible, changing size\n on demand or remaining impervious to\n flame.", "knees. Her force field fades. The light flickers out. As\n everyone's eyes adjust, we hear...THUD. THUD. And --", "BODY. A massive WAVE OF ENERGY. It SWOOPS past a car, which\n WARPS, MELTS (half the car is not inside the force-field)." ], [ "dead. Smoke rises from his body. Victor stands, power\n swelling.", "Victor looks at the scar, enraged by this defect. It\n glistens in the silver tray. His eyes are bloodshot,\n sleepless.", "VICTOR (CONT'D)\n In my case, it's not just a metaphor.", "Victor enters, still adrenalized. He turns to the light\n switch, and the lights come on. He approaches his screens,\n and the monitors flicker to life. His powers are growing.", "VICTOR (CONT'D)\n Now I'm going to take it back. Piece\n by bloody piece...\n\n His fist clenches. We hear METALLIC SFX.", "The chamber doors open. Thing enters. He looks around this\n sterile box. An animal in a cage. Victor pushes a control;", "Reed slowly turns to see...DOOM. His body, his face.\n\n REED\n Victor...? What, what happened to\n you? What did you do to your --", "Victor shakes out his hand, and sees...a rippling METALLIC\n SHELL under the skin. He stares at it in horror. The dark\n surface pulsates with electric energy. What is he\n becoming...?", "He motions to the wreckage.\n\n BEN\n (struggling, weak)\n The machine works. And Vic's gone\n Mister Hyde on us --", "VICTOR\n Susan. What are you doing?\n\n He is cold as ice. If he's hurt, he'll never show it.", "VICTOR (CONT'D)\n Funny how things turn out, isn't it?\n\n REED\n Hilarious.", "The doors close, and Victor really LETS LOOSE. He SLAMS his\n fist into a STEEL WALL. The wall BUCKLES, steel DENTING.", "Victor leans forward, fixated on that machine. As he gets\n closer, his screens go STATICKY. He absentmindedly picks at\n his SCAR. In shadows, we see skin peeling off.", "He motions to his men. They all stand. Victor is the lone\n man sitting. PUSH IN on Victor's face, his inner rage", "VICTOR\n I'm just saying, I know what it's like\n to lose something you love. To see it\n slip away, and know it's never coming\n back.", "VICTOR (CONT'D)\n You think I brought you here to talk\n about us? Please. This is business.", "A noise, and she turns, flinching slightly, surprised to\n see...VICTOR. He smiles, standing at the door, watching her.", "VICTOR\n (under breath, seething)\n Reed... He got what he wanted...\n (looking at Sue)\n Everything he wanted...he took from me.", "VICTOR\n Don't worry about me. Worry about\n yourself.\n\n Reed looks around, seeing his lab turned inside out.", "VICTOR (CONT'D)\n (quiet)\n I'll take it from here, Leonard.\n\n Leonard nods, all too eager to get the hell out of here." ], [ "Reed presses the remote. Another hologram appears: A SHUTTLE\n slowly approaching AN ORBITING SPACE STATION. Both bear the\n VON DOOM INDUSTRIES logo. Victor smiles, more intrigued.", "VICTOR\n He also said we'd avoid that storm in\n space. And we know how that turned\n out.", "JOHNNY\n Really? With a name like Von Doom? \n Never saw that one coming.\n\n Sue looks around. Only one question. Dead serious:", "From their vantage point, they see the missile explode. \n Flames dance. Sue's eyes darken, as Doom grips her neck.", "REED\n Oh god Ben. Are you okay?\n (amazed)\n You did it, you really did it...\n\n DOOM\n No, Reed. I did.", "JOHNNY\n Gotcha. Okay. Supernova bad.\n\n Reed looks at the control panels.\n\n SUE\n He cooked the equipment.", "DOOM\n Everyone thought I was safe behind\n those shields...\n\n BEN\n Victor, the machine worked for me. It\n can work for you --", "REED\n Uh, during our recent mission to the\n Von Doom space station, we were\n exposed to as yet-unidentified", "Doom lets up on Reed and reaches into a crate, and pulls out\n a military-issue ROCKET-LAUNCHER. He aims at the city\n skyline, locking onto his target: JOHNNY STORM.", "VICTOR\n Reed, you need to get up here so we\n can close the shields! Now!\n\n Sue glares at Victor. His lack of compassion shocks her.", "Suddenly, WHOOSH! The lab door flies open. Reed enters. \n Doom steps back into the shadows.\n\n DOOM (CONT'D)\n Right on cue.", "SUE\n Victor. You always thought you were\n god.\n\n Doom has a hand behind his back, generating an energy blast.", "Doom whips Reed into the night. As Doom turns, people cower,\n horrified by his face. They clear out, and...", "Nothing at all. No more movement. Doom is dead.\n\n Ben turns to Reed.", "VICTOR (CONT'D)\n He couldn't generate enough power for\n the machine to reach critical mass. \n Yet another mistake for \"Mr.\n Fantastic.\"", "Reed slowly turns to see...DOOM. His body, his face.\n\n REED\n Victor...? What, what happened to\n you? What did you do to your --", "BAM! Ben HITS Doom harder than any living thing has ever\n been hit. The force sends Doom back through the air, toward", "INT. SPACE STATION - COMMAND CENTER/OBSERVATION DECK - SAME\n\n Sue watches the monitor, also helpless.\n\n SUE\n Johnny... Reed...", "Reed raises his head, revealing his flattened face. He steps\n over to see...a PLANT SAMPLE from space, glass box shattered. \n Red sparks swirl around the plant, like the cosmic storm --", "Doom BLASTS an electrical BOLT at Reed, KNOCKING Reed through\n the huge window! Reed's body RUBBER-BANDS from the blast." ], [ "With one cobra-swift move, Victor thrusts his metallic arm\n into the doctor, killing him instantly. Victor retracts his\n arm, and looks at it, shocked by his own strength.", "Reed slowly turns to see...DOOM. His body, his face.\n\n REED\n Victor...? What, what happened to\n you? What did you do to your --", "On those words, the HOLOGRAM TRANSFORMS TO...Von Doom's", "Doom keeps FIRING his bolts. They SLAM into Reed's body,\n RUBBERBAND his skin, and DISTEND OUT his back without\n breaking. He strains, agonizing.", "They turn to Doom, who stands with metal skin slightly singed\n and melted, making him look all the more menacing.\n\n DOOM\n This is going to be fun.", "Victor shakes out his hand, and sees...a rippling METALLIC\n SHELL under the skin. He stares at it in horror. The dark\n surface pulsates with electric energy. What is he\n becoming...?", "Doom whips Reed into the night. As Doom turns, people cower,\n horrified by his face. They clear out, and...", "BAM! Ben HITS Doom harder than any living thing has ever\n been hit. The force sends Doom back through the air, toward", "DOOM. A true statue now -- a hard, cold solid piece of\n METAL. Frozen forever. Reed, Sue, Ben, and Johnny -- The", "Doom BLASTS an electrical BOLT at Reed, KNOCKING Reed through\n the huge window! Reed's body RUBBER-BANDS from the blast.", "DOOM steps through the smoke. Unharmed. His metallic body\n GLOWS WHITE, TRAILING MOLTEN METAL. Sue, Ben, Johnny look", "Reed tries to move but can't even ball his hand into a fist.\n\n DOOM (CONT'D)\n Allow me.", "Lights brighten, revealing the face behind the voice: VICTOR\n VON DOOM. 35, handsome, commanding. He looks almost...", "CLOSE ON: an X-RAY. Victor's ARM. The metallic\n transformation is higher now. PULL BACK TO REVEAL: Victor", "DOCTOR\n I don't really know. A compound\n organic-metallic alloy. Stronger than\n titanium or carbon steel. Harder than\n diamonds --", "The water CURLS around his chest, RACES down his arms, and\n SHOOTS right off his wrists toward Doom!\n\n DOOM\n No.", "Reed focuses, and pulls. His arm snakes out from under the\n door and snaps back into place. His flesh and bones\n reforming before their eyes. Johnny stares at Reed.", "Suddenly, WHOOSH! The lab door flies open. Reed enters. \n Doom steps back into the shadows.\n\n DOOM (CONT'D)\n Right on cue.", "Simple, strong. Doom turns to see...REED. Alone. Bruised\n and battered. Slowly stepping toward him. Doom smiles.", "Doom clenches his fist and BLASTS Ben, sending him flying\n backwards across the room -- knocked unconscious.\n\n DOOM (CONT'D)\n One down, three to go." ], [ "THE THING\n You don't know what it's like out\n there. Walking around like some kind\n of circus freak. People staring,\n whispering --", "The Thing opens his mouth, a beat, then he screams in agony. \n Struggling violently inside. To escape? Extend the moment:\n Condensation obscures the chamber window: The Thing vanishes.", "THE THING\n God. I was good looking.", "JOHNNY\n That's it. Just The Thing. We would\n have gone with The Rock, but it was\n taken. And \"Thing\" pretty much sums\n it up.", "The chamber doors open. Thing enters. He looks around this\n sterile box. An animal in a cage. Victor pushes a control;", "ALICIA\n I wouldn't know anything about that.\n\n THE THING\n I mean...", "The Thing rounds the corner. Sees a crowd of girls lined up\n near a red PORSCHE parked out front...with \"TORCHED\" on the\n plates. Ben slows down, smiles.", "THE THING\n This ain't permanent. My friend\n Reed's working on a cure...I think.\n\n She gets closer, running her hands across his arm.", "THE THING\n 'Scuse me.", "As they kiss, a tear runs down Thing's cheek. The tape ends,\n and he sits in darkness for a beat. A long, lonely beat.", "The news plays on the TV. Head Banker Ned Cecil freezes the\n screen on an image of...THE THING. He turns to Victor, who\n sits with the rest of the bankers. Cold, sterile\n environment.", "INT. TRANSFORMATION CHAMBER - NIGHT\n\n Leonard leads The Thing inside. The ominous chamber sits\n with its door open. Victor enters from the control station.", "THING\n (quiet, smiling)\n Flame on, kid.", "THE THING\n You know, you could'a run an ad in the\n personals.", "THE THING\n If you're trying to cheer me up you're\n doing a helluva job --", "Now we PULL BACK to reveal DEBBIE and BEN on a SCREEN. The\n Thing watches the old videotape. He smiles sadly at his old", "THE THING\n Skeptical...?\n\n Ben doesn't trust him. But Victor is hitting pressure\n points.", "Their eyes adjust; there's a huge hole where the window used\n to be. They rush to it. Looking out they see SOMETHING\n LARGE in the distance, running away.", "JOHNNY\n What is that thing?\n\n SUE\n I think that thing is Ben.", "SLOW MOVE IN on the chamber, The Thing's face in the window. \n The chamber activates. The storm strikes hard." ], [ "Doom lets up on Reed and reaches into a crate, and pulls out\n a military-issue ROCKET-LAUNCHER. He aims at the city\n skyline, locking onto his target: JOHNNY STORM.", "She turns VISIBLE, holding back the pole with a FORCEFIELD. \n Using her power, she FLINGS the pole from Doom's grip. It\n skids along the street. Reed helps Ben to his feet.", "Doom steps toward Sue, about to deliver the final blow.\n\n DOOM\n (quiet, cruel)\n And so four became none. It's my time\n now.", "Doom BLASTS an electrical BOLT at Reed, KNOCKING Reed through\n the huge window! Reed's body RUBBER-BANDS from the blast.", "Doom whips Reed into the night. As Doom turns, people cower,\n horrified by his face. They clear out, and...", "REED\n The power...I need...more power...to\n control...the storm --\n\n SUE\n You need a doctor.", "Doom clenches his fist and BLASTS Ben, sending him flying\n backwards across the room -- knocked unconscious.\n\n DOOM (CONT'D)\n One down, three to go.", "JOHNNY\n Really? With a name like Von Doom? \n Never saw that one coming.\n\n Sue looks around. Only one question. Dead serious:", "Doom keeps FIRING. Sue struggles with her force-fields. The\n impact is too much. Her nose starts to bleed.\n\n SUE\n Can't...hold...on...", "REED\n Oh god Ben. Are you okay?\n (amazed)\n You did it, you really did it...\n\n DOOM\n No, Reed. I did.", "He SPINS, GRABS her! Doom grips her neck, SLAMMING her to\n the ground beside Reed. She lays there, beaten, visible.", "BAM! Ben HITS Doom harder than any living thing has ever\n been hit. The force sends Doom back through the air, toward", "The transformation chamber is up and running. Numbers count\n down. The storm swirls in the chamber. Reed now wears the\n UNIFORM. He opens the door:", "DOOM. A true statue now -- a hard, cold solid piece of\n METAL. Frozen forever. Reed, Sue, Ben, and Johnny -- The", "Nothing at all. No more movement. Doom is dead.\n\n Ben turns to Reed.", "Doom smiles. Reed sees her. She is about to drop her hands,\n vulnerable, but..............REED STRETCHES HIS WHOLE BODY!", "Ben LIFTS the car and THROWS it at Doom. WHMM! It FLIES\n through the air, and WHAM! Hits hard, knocking Doom back", "DOOM\n Never better, Jimmy. And it's Doctor\n Doom now.\n\n EXT. BAXTER BUILDING - NIGHT", "Suddenly, WHOOSH! The lab door flies open. Reed enters. \n Doom steps back into the shadows.\n\n DOOM (CONT'D)\n Right on cue.", "Simple, strong. Doom turns to see...REED. Alone. Bruised\n and battered. Slowly stepping toward him. Doom smiles." ], [ "Victor leans forward, fixated on that machine. As he gets\n closer, his screens go STATICKY. He absentmindedly picks at\n his SCAR. In shadows, we see skin peeling off.", "Reed lies in bed, weak, recuperating. When the power surges,\n we MOVE in on him: he looks up in alarm, knowing that", "They can see Ben outside the window, still twenty yards away. \n The entire corridor rumbles. Lights flicker and spark. They\n watch helplessly.", "palpable. A few quick surges of electricity emanate from his\n body. This man is getting stronger, more electric.", "As two workers move the heavy door in place -- a crackle of\n ELECTRICITY moves over Doom's body. Leonard's CELLPHONE goes", "Sue enters. She sees the shields, the technicians, the VDI\n logo. And she is deeply worried. She steps over to Reed. \n Sparks fly behind them. Drills scream.", "in the back, ripping through his suit. The exterior door\n shuts and seals. The station loses all power. DARKNESS.", "He leans ever closer, so the static starts to swallow Reed. \n A hard, deadly beat. Victor's eyes narrow, zooming", "the down-button, the button lights up (as if the circuit\n responded to him). Reed exhales, shaken. Victor steps into --", "That does it. A surge of electricity courses through Victor. \n His eyes narrow, and the electricity crackles down his leg to\n THE GROUND. The electric spark hits the water and...", "He motions to the wreckage.\n\n BEN\n (struggling, weak)\n The machine works. And Vic's gone\n Mister Hyde on us --", "A view from Brooklyn: Manhattan glistens in the distance. \n CAMERA MOVES down to A TRAIN YARD, where we find empty cargo\n trains. We PUSH IN on the main track, where...", "flicker with static -- he's too close, but he can't pull\n back. He sees: REED TURNS ON THE MACHINE. Hits a countdown.", "Reed shakes his head, defending himself.\n\n REED\n Mass-produced? This isn't a\n toaster. You have no idea how it\n works.", "stains. Larger particles, small pellets, pepper him. Ben\n hauls himself in the last few feet by pulling on his tether.", "Victor rushes into the room, looks at the monitors. Sees the\n others near the airlock on one screen, and the approaching\n cloud on another. Anxiety creeps across his face.", "heading for his car. As he goes, the structure lights start\n to flicker. Ned looks up, watches the lights go out one by", "The rest of its lights GO OUT, FLICKERING in a power surge.", "He steps closer. Electrodes course over his metal skin.", "From their vantage point, they see the missile explode. \n Flames dance. Sue's eyes darken, as Doom grips her neck." ], [ "With one cobra-swift move, Victor thrusts his metallic arm\n into the doctor, killing him instantly. Victor retracts his\n arm, and looks at it, shocked by his own strength.", "Doom keeps FIRING his bolts. They SLAM into Reed's body,\n RUBBERBAND his skin, and DISTEND OUT his back without\n breaking. He strains, agonizing.", "Reed slowly turns to see...DOOM. His body, his face.\n\n REED\n Victor...? What, what happened to\n you? What did you do to your --", "Reed tries to move but can't even ball his hand into a fist.\n\n DOOM (CONT'D)\n Allow me.", "SUE\n Victor. You always thought you were\n god.\n\n Doom has a hand behind his back, generating an energy blast.", "BAM! Ben HITS Doom harder than any living thing has ever\n been hit. The force sends Doom back through the air, toward", "On those words, the HOLOGRAM TRANSFORMS TO...Von Doom's", "Lights brighten, revealing the face behind the voice: VICTOR\n VON DOOM. 35, handsome, commanding. He looks almost...", "Doom lets up on Reed and reaches into a crate, and pulls out\n a military-issue ROCKET-LAUNCHER. He aims at the city\n skyline, locking onto his target: JOHNNY STORM.", "Doom smiles, reaches out his hand -- ELECTRICITY builds from\n his shoulders, coursing down his arms to his fingertips.", "Doom BLASTS an electrical BOLT at Reed, KNOCKING Reed through\n the huge window! Reed's body RUBBER-BANDS from the blast.", "REED\n Oh god Ben. Are you okay?\n (amazed)\n You did it, you really did it...\n\n DOOM\n No, Reed. I did.", "Reed focuses, and pulls. His arm snakes out from under the\n door and snaps back into place. His flesh and bones\n reforming before their eyes. Johnny stares at Reed.", "Suddenly, WHOOSH! The lab door flies open. Reed enters. \n Doom steps back into the shadows.\n\n DOOM (CONT'D)\n Right on cue.", "NEWSCASTER (ON TV) (CONT'D)\n Reports have surfaced that Von Doom\n Industries may be filing for", "Doom clenches his fist and BLASTS Ben, sending him flying\n backwards across the room -- knocked unconscious.\n\n DOOM (CONT'D)\n One down, three to go.", "DOOM steps through the smoke. Unharmed. His metallic body\n GLOWS WHITE, TRAILING MOLTEN METAL. Sue, Ben, Johnny look", "VICTOR'S ARM. Victor steps forward, and reveals himself to\n Ben: ELECTRICITY PUMPS THROUGH HIS BODY. His skin is part", "EXT. VON DOOM COMPOUND - ESTABLISHING - DAY\n\n A modern facility of glass and stone, nestled in the forest. \n In stark contrast to the lush greenery surrounding it.", "The water CURLS around his chest, RACES down his arms, and\n SHOOTS right off his wrists toward Doom!\n\n DOOM\n No." ], [ "VICTOR\n Good. Then you're just in time to\n hear the great Reed Richards ask me\n for help.", "Reed slowly turns to see...DOOM. His body, his face.\n\n REED\n Victor...? What, what happened to\n you? What did you do to your --", "REED RICHARDS and BEN GRIMM head toward the soaring glass-box\n atrium of VDI Headquarters. Designed to inspire awe, it\n does.", "REED\n Oh god Ben. Are you okay?\n (amazed)\n You did it, you really did it...\n\n DOOM\n No, Reed. I did.", "Suddenly, WHOOSH! The lab door flies open. Reed enters. \n Doom steps back into the shadows.\n\n DOOM (CONT'D)\n Right on cue.", "EXT. VON DOOM COMPOUND HOSPITAL PATIO - DAY\n\n Ben finds Reed on a patio with a panoramic view. Reed works\n at a laptop computer.", "Reed presses the remote. Another hologram appears: A SHUTTLE\n slowly approaching AN ORBITING SPACE STATION. Both bear the\n VON DOOM INDUSTRIES logo. Victor smiles, more intrigued.", "Doom whips Reed into the night. As Doom turns, people cower,\n horrified by his face. They clear out, and...", "Lights brighten, revealing the face behind the voice: VICTOR\n VON DOOM. 35, handsome, commanding. He looks almost...", "He drips to the sidewalk, where...Doom steps out. He catches\n Reed's face, holds it close.\n\n DOOM\n Why the long face?", "JOHNNY\n Really? With a name like Von Doom? \n Never saw that one coming.\n\n Sue looks around. Only one question. Dead serious:", "Doom BLASTS an electrical BOLT at Reed, KNOCKING Reed through\n the huge window! Reed's body RUBBER-BANDS from the blast.", "But Victor sees something between Reed and Sue on the wall. \n He leans closer, and the camera ZOOMS IN, as if responding to\n his will. He ZOOMS all the way to a CLOSE UP of:", "Victor watches a bank of videoscreens. He has the Baxter\n Building under surveillance. He sees Reed and Sue on\n monitors. He toys with Sue's diamond ring in his gloved\n hand.", "VICTOR (CONT'D)\n ...but I think I'll get a second\n opinion.\n\n INT. BAXTER BUILDING - REED'S OFFICE - NIGHT", "Ben just glares at Reed. This is going to be a long trip. \n As they follow after Sue, we CUT BACK TO --\n\n VICTOR ON STAGE", "NED CECIL (CONT'D)\n (relieved, almost)\n Von Doom? Gave me a little shock. No\n hard feelings, right? Nothing\n personal.", "Reed follows Ben's eyes to...SUE. She joins them. Doors\n shut.\n\n INT. VON DOOM INDUSTRIES STAIRCASE - CONTINUOUS", "INT. VON DOOM INDUSTRIES TOWER - ELEVATOR - MOMENTS LATER\n\n Reed and Ben step into the elevator.", "SUE\n Where is Reed?\n\n BEN\n Victor must've taken him.\n\n INT. VON DOOM - CONFERENCE ROOM - NIGHT" ], [ "He mispronounces Latveria, dripping condescension.\n\n NED CECIL (CONT'D)\n Maybe that's where you belong, back in\n the \"old country.\"", "DOOM\n Never better, Jimmy. And it's Doctor\n Doom now.\n\n EXT. BAXTER BUILDING - NIGHT", "DOOM (O.S.)\n How romantic.\n\n SUE\n Victor, please --\n\n DOOM\n It's Doctor Doom to you.", "VICTOR (V.O.) (CONT'D)\n ...a little country boy from Latveria\n build one of the biggest companies in", "Doom whips Reed into the night. As Doom turns, people cower,\n horrified by his face. They clear out, and...", "Lights brighten, revealing the face behind the voice: VICTOR\n VON DOOM. 35, handsome, commanding. He looks almost...", "Suddenly, WHOOSH! The lab door flies open. Reed enters. \n Doom steps back into the shadows.\n\n DOOM (CONT'D)\n Right on cue.", "INT. BAXTER BUILDING - REVERSION LAB - NIGHT\n\n Doom looks out the window, smiling at his old friend's fall.", "EXT. VON DOOM COMPOUND - ESTABLISHING - DAY\n\n A modern facility of glass and stone, nestled in the forest. \n In stark contrast to the lush greenery surrounding it.", "INT. VON DOOM COMPOUND - VICTOR'S OFFICE - EARLY EVENING", "Doom lets up on Reed and reaches into a crate, and pulls out\n a military-issue ROCKET-LAUNCHER. He aims at the city\n skyline, locking onto his target: JOHNNY STORM.", "BAM! Ben HITS Doom harder than any living thing has ever\n been hit. The force sends Doom back through the air, toward", "BEN\n LEAVE ME ALONE!!!\n\n INT. VON DOOM COMPOUND - OUTSIDE BEN'S ROOM - EARLY EVENING", "He drips to the sidewalk, where...Doom steps out. He catches\n Reed's face, holds it close.\n\n DOOM\n Why the long face?", "Doom clenches his fist and BLASTS Ben, sending him flying\n backwards across the room -- knocked unconscious.\n\n DOOM (CONT'D)\n One down, three to go.", "INT. VON DOOM INDUSTRIES TOWER - OFFICE - DAY\n\n A large, dark office. Ben in the corner. He yawns,\n watches...", "VICTOR\n It's pronounced Latveria.\n (looking down at the dead body)\n This meeting's over, Ned.\n\n Victor walks away, the final lights going to DARKNESS.", "EXT. VON DOOM COMPOUND HOSPITAL PATIO - DAY\n\n Ben finds Reed on a patio with a panoramic view. Reed works\n at a laptop computer.", "JOHNNY\n Really? With a name like Von Doom? \n Never saw that one coming.\n\n Sue looks around. Only one question. Dead serious:", "Reed slowly turns to see...DOOM. His body, his face.\n\n REED\n Victor...? What, what happened to\n you? What did you do to your --" ], [ "the doors of the chamber slowly close and seal. Thing shuts\n his eyes. He just wants to be Ben again.", "Now we PULL BACK to reveal DEBBIE and BEN on a SCREEN. The\n Thing watches the old videotape. He smiles sadly at his old", "VICTOR (CONT'D)\n Tell me...do you want to be Ben Grimm\n again?\n\n Ben keeps his eyes on the machine. His dream is alive.", "As they kiss, a tear runs down Thing's cheek. The tape ends,\n and he sits in darkness for a beat. A long, lonely beat.", "The Thing rounds the corner. Sees a crowd of girls lined up\n near a red PORSCHE parked out front...with \"TORCHED\" on the\n plates. Ben slows down, smiles.", "The chamber doors open. Thing enters. He looks around this\n sterile box. An animal in a cage. Victor pushes a control;", "BEN GRIMM stands front and center. Not the Thing. But BEN\n GRIMM. A normal man. He smiles wide, shaking his head.", "Reed and Sue return, laughing quietly, bodies close. Reed\n turns on the lights, and they flinch when they see...BEN. He\n sits waiting, scowling. They stop laughing immediately.", "Ben nods. Reed was wrong before. Ben gets closer to the\n machine, drawn to it. He wants to believe, so badly.", "Johnny takes his place alongside the others. The four of\n them stand as one. Johnny turns to Thing.\n\n JOHNNY\n Had a little relapse, huh?", "SUE\n We know the machine works. It worked\n on Ben, it'll work on you. We can\n turn you back --", "JOHNNY\n What is that thing?\n\n SUE\n I think that thing is Ben.", "Beat. And...BEN GRIMM steps out. Not The Thing. No more\n rocks. BEN GRIMM. Naked, tired, but finally A NORMAL MAN.", "He motions to the wreckage.\n\n BEN\n (struggling, weak)\n The machine works. And Vic's gone\n Mister Hyde on us --", "Ben puts the seat down, with the Driver on it. He lunges\n behind a truck. The cops try to follow, but FLAMES push them\n back. Ben lurches away, head down, self-conscious.", "Ben grabs it from him. Then slowly raises it to look and see\n that...except for some serious stubble, Ben's totally normal.", "BEN (CONT'D)\n Damn, I've been wanting to do that.\n\n Reed manages the thinnest smile as Ben starts disconnecting\n the tubes from Reed.", "Finally, he sits at his long desk, looking at a wall where\n Ben's CHARTS are projected (both Ben and Thing's anatomies).", "THE THING\n Skeptical...?\n\n Ben doesn't trust him. But Victor is hitting pressure\n points.", "Ben considers. Despite it all, he's a good friend. And a\n good man. As he gets into the car, we hear THROBBING MUSIC\n IN --" ], [ "Doom sits at the head of the table in an eerie parallel to\n the opening scene. Those mysterious CRATES loom in shadows. \n He wears a green HOOD, and METAL MASK over his scarred face.", "coats him. Doom steps closer, a sadistic smile.", "through his MASK. Doom and Ben square off, but...", "Doom whips Reed into the night. As Doom turns, people cower,\n horrified by his face. They clear out, and...", "Doom sees his REFLECTION in a window: scarred skin, metallic\n veins. A monster. Infuriated, he SHATTERS the window with\n an iron fist, and bounds into the night.", "They turn to Doom, who stands with metal skin slightly singed\n and melted, making him look all the more menacing.\n\n DOOM\n This is going to be fun.", "Doom keeps FIRING his bolts. They SLAM into Reed's body,\n RUBBERBAND his skin, and DISTEND OUT his back without\n breaking. He strains, agonizing.", "Lights brighten, revealing the face behind the voice: VICTOR\n VON DOOM. 35, handsome, commanding. He looks almost...", "HE IS DOOM.\n\n BEN (CONT'D)\n Vic... What the...?", "DOOM (O.S.)\n How romantic.\n\n SUE\n Victor, please --\n\n DOOM\n It's Doctor Doom to you.", "Suddenly, WHOOSH! The lab door flies open. Reed enters. \n Doom steps back into the shadows.\n\n DOOM (CONT'D)\n Right on cue.", "SUE\n What has he done to you?\n\n Reed's eyes shift to see...Doom emerge from the darkness.", "He drips to the sidewalk, where...Doom steps out. He catches\n Reed's face, holds it close.\n\n DOOM\n Why the long face?", "DOOM smiles, nods, stronger than Ben now.\n\n DOOM\n Take a good look, Ben. This is what a\n man looks like who embraces his\n destiny.", "to the floor. As Doom stalks closer, Sue gathers her\n strength to...GO INVISIBLE.", "DING! The elevator opens. Doom strides out. He passes our\n friend O'HOOLIHAN, who looks scared.", "Reed slowly turns to see...DOOM. His body, his face.\n\n REED\n Victor...? What, what happened to\n you? What did you do to your --", "SUE\n Victor. You always thought you were\n god.\n\n Doom has a hand behind his back, generating an energy blast.", "DOOM (CONT'D)\n Painful...?\n\n Doom seems to enjoy every CRACK. He leans closer.", "BAM! Ben HITS Doom harder than any living thing has ever\n been hit. The force sends Doom back through the air, toward" ], [ "SUE (CONT'D)\n He didn't mean it. You know Johnny. \n He's always been a hothead --", "SUE\n Ben?!\n\n She helps him out of the rubble. He is beaten, battered.\n\n JOHNNY (O.S.)\n Sue!", "EXT. STREETS - DAY\n\n Sue looks at Johnny, more disappointed than angry.\n\n SUE\n Damn it, Johnny.", "SUE\n I'm driving.\n\n JOHNNY (ON TV)\n Dude. That's my sister.", "SUE\n Grow up, Johnny. You want to run\n around on fire for the rest of your\n life?", "JOHNNY (CONT'D)\n (shouting: to Ben)\n You're gonna pay for that, Pebbles.\n (seeing Sue)\n What?!", "SUE\n What are you doing --\n\n JOHNNY\n Sis. Let me take care of you for\n once.", "JOHNNY\n Flame on, flame off. Flame on, flame\n off --\n\n SUE\n Johnny.", "Finally, Johnny's supernova fades. He collapses to the\n ground, exhausted, smoking. Sue exhales and falls to her", "This hits home. Sue is quiet. Johnny turns to go.\n\n SUE\n Johnny, slow down. Think. You know\n mom didn't raise us to --", "Johnny heads for the exit.\n\n SUE\n Johnny, slow down. Let's think this\n through, a second.", "SUE\n Is that what you call it? \"Real\"?\n\n JOHNNY\n At least it beats living in a lab like\n somebody's science project.", "Sue reaches out to stop him, but Johnny DIVES HEROICALLY OFF\n THE EDGE! He FLAMES ON! The missile follows his arc. As he", "SUE\n But Johnny...you can't fly.\n\n Johnny considers, a half-beat. He looks out. Under breath:", "SUE\n We're not taking them out. Johnny, we\n need to stay here till we've stabilized.\n \n Johnny shakes his head, frustrated.", "JOHNNY\n What is that thing?\n\n SUE\n I think that thing is Ben.", "SUE\n You two need a time-out.\n\n JOHNNY\n Blockhead started it!", "EXT. NYC ARENA - A LITTLE LATER\n\n Johnny and the Hot Babe exit, signing autographs for girls in\n the line. Sue and Reed approach, glare like angry parents.", "SUE\n Well, he's welcome to ride shotgun,\n but we already have a pilot on our\n payroll. You remember my brother\n Johnny...", "JOHNNY\n Damn, I love this job.\n\n Reed and Sue slowly lock eyes, thinking the same thing.\n\n BEN\n Job, huh...?" ], [ "CHIEF FIREMAN (CONT'D)\n That's what they're calling you. The\n Fantastic Four.\n\n JOHNNY\n Nice.", "Fantastic Four. For the first time they strike a heroic\n pose. Leonard enters, with a phone in his hand.", "SUE\n You gave us names? What are you, the\n \"face\" of the Fantastic Four now?\n\n Ben marches up. Hands balled into fists.", "And we are gonna blow your minds. \n There's a new day dawning. The day of\n the Fantastic Four.", "BEHIND THE ACTION: Reed, Sue, Johnny and Ben walk past. News\n crews barely notice, passing without even taking a picture. \n Our \"Fantastic Four\" are not exactly big news. Not yet.", "Fantastic Four -- exhale. They stand as one, in roiling\n smoke. A beat.", "The Fantastic Four enter. They are greeted by JIMMY\n O'HOOLIHAN, an old-time doorman with a kind smile.", "X-GAMES REPORTER (ON TV)\n That's easy to remember. And Reed\n Richards? He's the leader. So\n what's he? Mr. Fantastic?", "As they kiss, people emerge, stepping out of hiding. The sun\n rises around them. The Fantastic Four step into the new dawn\n of a new day. And we slowly DISSOLVE TO --", "FANTASTIC FOUR\n\n\n by\n\n Mark Frost and Michael France", "She turns to Reed, who gives a sheepish shrug, and peels back\n his labcoat revealing a \"4\" stitched onto his chest too.\n\n REED\n He talked me into it.", "He strides into the night, leaving Sue alone. A dark night. \n The Fantastic Four is no more. The family is split apart.", "NEWSCASTER (ON TV)\n ...the Fantastic Four put on quite a\n show last night. They landed in every\n major headline in the northern\n hemisphere. In related news...", "FLASH! Johnny explodes in a PULSE of BRIGHT WHITE LIGHT,\n which starts to HEAT UP everything surrounding it. Reed\n doesn't miss a beat. He's in total command now.", "One MONITOR rolls the news. IMAGES of the FANTASTIC FOUR. \n Victor leans closer, and the VOLUME automatically goes up.", "The city lights fill the sky, and give it a quiet, eerie\n glow. Suddenly, a BRIGHT FLASH emerges from the window of\n the Baxter Building. The rest of the city lights dim\n slightly.", "Doom FIRES superpowered ENERGY BOLTS. The electric charges\n surge through the air toward the Fantastic Four, but --", "REVEAL: Reed, Sue, and Johnny step out to look at themselves\n in a mirror wearing the uniforms. No boots, no gloves. Not\n yet. (The uniforms will develop, like our heroes).", "JOHNNY\n Really? With a name like Von Doom? \n Never saw that one coming.\n\n Sue looks around. Only one question. Dead serious:", "Johnny takes his place alongside the others. The four of\n them stand as one. Johnny turns to Thing.\n\n JOHNNY\n Had a little relapse, huh?" ], [ "JOHNNY\n Not even Ben deserves that.\n\n EXT. BROOKLYN BRIDGE - DAY", "Ben puts the seat down, with the Driver on it. He lunges\n behind a truck. The cops try to follow, but FLAMES push them\n back. Ben lurches away, head down, self-conscious.", "him. But Ben is gone. She looks disappointed, hearing his\n heavy FOOTSTEPS get softer and softer in the distance.", "They can see Ben outside the window, still twenty yards away. \n The entire corridor rumbles. Lights flicker and spark. They\n watch helplessly.", "A FIGURE exits, wearing that ragged trenchcoat and fedora. \n Ben disappears into the dark night, and we CUT TO --\n\n EXT. BROOKLYN STREET - NIGHT", "This was Ben's plan, but he really isn't feeling well,\n unsteady when he walks away. He looks down at his stomach.", "He is pulling the truck back onto the bridge, inch by inch. \n His footsteps THUD. With monumental effort, he levels the\n truck. Firemen scurry over hoses and ladders, some climbing\n over Ben.", "He takes a step closer. She backs away faster, tripping over\n her robe, falling into the street. A car screeches to a\n halt. Ben instinctively steps out to help, but she scurries\n back.", "SUE\n No, I'm sorry, for pushing you out.\n\n He nods. A beat between them. He looks around, sees Ben.", "BEN\n It's not him. It's them.\n (pointing to crowd)\n I can't live like this.", "Ben nearly knocks people over as he stomps down the street,\n mind tossing and turning. People stare, point. A LITTLE\n GIRL and FRIEND run up to him.", "Victor turns to Leonard, disappointed with him.\n\n VICTOR\n Leonard. Think bigger.\n\n EXT. BROOKLYN BRIDGE - DAY", "EXT. ANOTHER BROOKLYN STREET - NIGHT\n\n Ben passes a window in a gallery, and almost misses A LARGE\n SCULPTURE of his bust.", "Ben just stands there, frozen. His eyes dart around the\n room, paranoid now. Aware of people staring, laughing. He", "Ben eyeballs Johnny, suddenly reaches up as if to grab him. \n Johnny flinches. But Ben just reaches for Johnny's zipper,\n adjusts his uniform.", "The Reporter nods toward Ben. Ben's fists tighten, the sound\n of rocks crushing together. Reed feels the pain.", "He looks at her, knowing what she means. Where she means.\n\n EXT. BROOKLYN STREETS - DAY", "EXT. STREET/ALLEY - DAY\n\n Sue wades through the throng of New Yorkers. Tries to catch\n up with Ben...whose presence parts the crowd like Moses.", "Ben stands in the middle of the chaos, staring at the\n destruction. He sees the tow-truck DRIVER bleeding, trapped\n in his cab. Ben moves to this burning hunk of steel.", "BEN\n I got a surprise for you too.\n\n EXT. BROOKLYN HOUSE - NIGHT" ], [ "The Fantastic Four enter. They are greeted by JIMMY\n O'HOOLIHAN, an old-time doorman with a kind smile.", "SUE\n You gave us names? What are you, the\n \"face\" of the Fantastic Four now?\n\n Ben marches up. Hands balled into fists.", "BEHIND THE ACTION: Reed, Sue, Johnny and Ben walk past. News\n crews barely notice, passing without even taking a picture. \n Our \"Fantastic Four\" are not exactly big news. Not yet.", "Fantastic Four. For the first time they strike a heroic\n pose. Leonard enters, with a phone in his hand.", "CHIEF FIREMAN (CONT'D)\n That's what they're calling you. The\n Fantastic Four.\n\n JOHNNY\n Nice.", "And we are gonna blow your minds. \n There's a new day dawning. The day of\n the Fantastic Four.", "Fantastic Four -- exhale. They stand as one, in roiling\n smoke. A beat.", "He strides into the night, leaving Sue alone. A dark night. \n The Fantastic Four is no more. The family is split apart.", "As they kiss, people emerge, stepping out of hiding. The sun\n rises around them. The Fantastic Four step into the new dawn\n of a new day. And we slowly DISSOLVE TO --", "FANTASTIC FOUR\n\n\n by\n\n Mark Frost and Michael France", "X-GAMES REPORTER (ON TV)\n That's easy to remember. And Reed\n Richards? He's the leader. So\n what's he? Mr. Fantastic?", "VICTOR\n Johnny. Let's be honest here. Ben,\n Reed, Sue. Good people, all. But", "Johnny takes his place alongside the others. The four of\n them stand as one. Johnny turns to Thing.\n\n JOHNNY\n Had a little relapse, huh?", "The kids FLINCH. Ben trudges on. Johnny smiles bright,\n doing hand-signs for F4. Sue pulls him toward --\n\n INT. BAXTER BUILDING - LOBBY - DAY", "REED RICHARDS and BEN GRIMM head toward the soaring glass-box\n atrium of VDI Headquarters. Designed to inspire awe, it\n does.", "One MONITOR rolls the news. IMAGES of the FANTASTIC FOUR. \n Victor leans closer, and the VOLUME automatically goes up.", "Reed glances over his shoulder. He stares. Sue follows his\n gaze to see: Johnny's FINGERTIPS are on fire. He SNAPS his\n fingers. They GO OUT. He's totally unharmed.", "NEWSCASTER (ON TV)\n ...the Fantastic Four put on quite a\n show last night. They landed in every\n major headline in the northern\n hemisphere. In related news...", "INT. VON DOOM COMPOUND - HALLWAY - EARLY EVENING\n\n DOUBLE DOORS burst open. Reed, Sue, and Johnny urgently\n walk.", "She turns to Reed, who gives a sheepish shrug, and peels back\n his labcoat revealing a \"4\" stitched onto his chest too.\n\n REED\n He talked me into it." ], [ "Reed slowly turns to see...DOOM. His body, his face.\n\n REED\n Victor...? What, what happened to\n you? What did you do to your --", "Doom lets up on Reed and reaches into a crate, and pulls out\n a military-issue ROCKET-LAUNCHER. He aims at the city\n skyline, locking onto his target: JOHNNY STORM.", "JOHNNY\n Really? With a name like Von Doom? \n Never saw that one coming.\n\n Sue looks around. Only one question. Dead serious:", "Doom whips Reed into the night. As Doom turns, people cower,\n horrified by his face. They clear out, and...", "NED CECIL (CONT'D)\n (relieved, almost)\n Von Doom? Gave me a little shock. No\n hard feelings, right? Nothing\n personal.", "Suddenly, WHOOSH! The lab door flies open. Reed enters. \n Doom steps back into the shadows.\n\n DOOM (CONT'D)\n Right on cue.", "REED\n Oh god Ben. Are you okay?\n (amazed)\n You did it, you really did it...\n\n DOOM\n No, Reed. I did.", "SUE\n Victor. You always thought you were\n god.\n\n Doom has a hand behind his back, generating an energy blast.", "O'HOOLIHAN\n Mr. Von Doom? Are you oka--\n\n Doom casually SWIPES, sending him through revolving doors.", "INT. BAXTER BUILDING - REVERSION LAB - NIGHT\n\n Doom looks out the window, smiling at his old friend's fall.", "SUE\n What has he done to you?\n\n Reed's eyes shift to see...Doom emerge from the darkness.", "Lights brighten, revealing the face behind the voice: VICTOR\n VON DOOM. 35, handsome, commanding. He looks almost...", "Simple, strong. Doom turns to see...REED. Alone. Bruised\n and battered. Slowly stepping toward him. Doom smiles.", "Doom steps toward Sue, about to deliver the final blow.\n\n DOOM\n (quiet, cruel)\n And so four became none. It's my time\n now.", "Doom clenches his fist and BLASTS Ben, sending him flying\n backwards across the room -- knocked unconscious.\n\n DOOM (CONT'D)\n One down, three to go.", "INT. VON DOOM COMPOUND - BEN'S ROOM - EARLY EVENING\n\n They open the door. The room is trashed. Every stick of\n furniture smashed to splinters.", "INT. VON DOOM COMPOUND - VICTOR'S OFFICE - EARLY EVENING", "REED\n Sue, I need some of that anger, rage,\n frustration --\n\n SUE\n (looking at Doom)\n I'm sure I can come up with something.", "BAM! Ben HITS Doom harder than any living thing has ever\n been hit. The force sends Doom back through the air, toward", "Doom BLASTS an electrical BOLT at Reed, KNOCKING Reed through\n the huge window! Reed's body RUBBER-BANDS from the blast." ], [ "Sue struggles to lift Reed -- half of his body is STRETCHED\n OUT, devoid of any semblance of bone structure. One side of\n his face looks like it's MELTING OFF.", "Doom keeps FIRING his bolts. They SLAM into Reed's body,\n RUBBERBAND his skin, and DISTEND OUT his back without\n breaking. He strains, agonizing.", "Suddenly, his arm STRETCHES, THIN ENOUGH TO CREEP UNDER THE\n DOORJAMB.", "A creepy rippling movement begins beneath the sheet and\n gradually intensifies, reflected in the fabric's surface: the\n contours of Ben's body are changing, inflating, growing rough", "Reed focuses, and pulls. His arm snakes out from under the\n door and snaps back into place. His flesh and bones\n reforming before their eyes. Johnny stares at Reed.", "JOHNNY\n How far's that rubber bend?\n\n Reed keeps moving, slowly. His muscles and tendons laboring.", "BEN\n You look like an eighties rock band.\n\n SUE\n (to Ben)\n The suit will stretch. You should try\n it --", "Reed SLUMPS TO THE GROUND. His eyes flutter back. Dead...? \n His body is warped, twisted -- one half remains tense, hard,\n while the other half is loose, soft, almost melted.", "Johnny slowly pulls himself up. The paint on the truck\n begins to bubble around his hand. Beaten, bruised, he\n stands. Heating up. Both his hands are now flaming fists of\n fury.", "REED (V.O.)\n Our uniforms were exposed to the storm\n like us. So they can transform like\n us, becoming invisible, changing size\n on demand or remaining impervious to\n flame.", "get a grip. His ARM streeetches, and SNAP! He falls like a\n SLINKY, out of control. Half his body loose, half hard.", "His face tightens, pained. We hear the faint SQUEAK of his\n skin.", "With one cobra-swift move, Victor thrusts his metallic arm\n into the doctor, killing him instantly. Victor retracts his\n arm, and looks at it, shocked by his own strength.", "Reed's arm wriggles under the door. It bends upward, swiping\n clumsily, until it finally grabs the knob. Rubbery fingers\n find the latch and unlock the door.", "Then snaps back into place. Reed stares at his arm in\n disbelief. Sue's eyes widen as well. The rest of Sue\n reappears. They look at each other: mutual alarm.", "He holds up an ACTION FIGURE of BEN: a horribly bloated body\n topped by a tiny pinhead. Johnny pushes a button and --", "He slips on his trench-coat -- now way too large. He\n collapses. He stares at his hands, his arms...it worked.", "The undies drop. The cops stare open-mouthed. They turn to\n look at Reed, astonished. He sheepishly shrugs his\n shoulders.", "He POKES his finger into Reed's chest, which INDENTS around\n it like the Pillsbury Doughboy. Ben pushes Reed back. Hard.", "Reed tries desperately to move, but he is FROZEN. It takes\n every last ounce of strength to lift one finger, which makes\n a CRACCCKKKKING sound." ] ]

[ "Who is Reed Richard's ex- Girlfriend?", "Who is Ben's fiance?", "Who is Sue's brother?", "At which famous landmark does Ben prevent a man from committing suicide?", "What does Victor rename himself as?", "Where is Victor's \"statue\" sent?", "What does Ben begin to call himself, after his exposure in space?", "Where is Reed's lab located?", "What is Victor's job at the outset of the story?", "How many people travel into space to test the biological sample of the cloud?", "What happened to those who received exposure to the cosmic energy clouds?", "What does Victor begin calling himself?", "Who does Von Doom blame for the failure of the space flight?", "What material does Von Doom's arm turn into?", "What is The Thing?", "What do the Storms do to help defeat Doctor Doom at the end of the story?", "What does the dock master's electronic manifest's electromagnetic interference imply?", "What can Von Doom's new arm do?", "How did Reed Richards and Victor Von Doom meet?", "Where is Dr. Doom's native land?", "Why does Ben change back into the Thing?", "Why does Doom wear a mask and cape?", "Who is Sue to to Johnny?", "How does the name Fantastic Four come about?", "Why was Ben upset while on the Brooklyn Bridge?", "Who are the members of the Fantastic Four?", "Why is Von Doom seeking revenge?", "Whose body can stretch like rubber?" ]

[ [ "Sue Storm", "sue storm" ], [ "Debbie", "Debbie." ], [ "Johnny Storm", "Johnny Storm" ], [ "The Brooklyn Bridge", "the Brooklyn Bridge" ], [ "Dr. Doom", "Dr Doom" ], [ "Latveria", "Latveria" ], [ "The Thing", "the Thing" ], [ "The Baxter Building", "Von Doom's Space Station." ], [ "CEO of Von Doom Industries", "owner of spacestation" ], [ "Five", "5" ], [ "They developed superpowers", "They develop super powers" ], [ "Doctor Doom", "Doctor Doom" ], [ "Reed", "reed" ], [ "Metal", "organic metal" ], [ "A highly durable rock creature", "a rock-like creature with super human strength" ], [ "Surround him in intense heat", "Wrap him in heat." ], [ "Doctor Doom is alive", "that Dr Doom may be still alive" ], [ "Produce bolts of electricity", "produce bolts of electricity" ], [ "They both attended MIT.", "At MIT." ], [ "Latveria.", "Latveria" ], [ "To use his powers against Dr. Doom", "to rescue Sue" ], [ "To hide his scarring and deformation.", "to hide his disfigurement" ], [ "She is his sister.", "sister" ], [ "The media created the name to describe Ben, Reed, and Johnny and Sue Storm.", "the press labels them that at the bridge" ], [ "Because his fiancee, Debbie, broke up with him.", "because his fiance had left him" ], [ "Sue Storm, Johnny Storm, Ben Grim and Reed Richards.", "Dr. Reed, Johnny and Sue storm, and Ben" ], [ "He blames Richards for the botched spaceflight that caused him to lose Von Doom Industries.", "because he blames reed for his condition and disfigurement" ], [ "Reed Richards.", "Reed" ] ]

[ [ "Old Mr. Salton was delighted when Adam's reply arrived and sent a groom\nhot-foot to his crony, Sir Nathaniel de Salis, to inform him that his\ngrand-nephew was due at Southampton on the twelfth of June.", "shown by a letter which she wrote later in the day to Adam Salton, and\nsent to him by hand. It ran as follows:", "Adam spoke to his own man, Davenport, who was standing by, having arrived\nwith the bailiff of Lesser Hill, who had followed Mr. Salton in a pony", "Mr. Salton introduced Adam to Mr. Watford and his grand-daughters, and\nthey all moved on together. Of course neighbours in the position of the", "Adam Salton sauntered into the Empire Club, Sydney, and found awaiting\nhim a letter from his grand-uncle. He had first heard from the old", "\"Is Mr. Adam Salton in?\" she asked.\n\n\"He has just come in, a few minutes ago. He has gone up to the study,\"\nreplied a servant.", "Adam Salton followed the line of the Brow, and refreshed his memory as to\nthe various localities. He got home to Lesser Hill just as Sir Nathaniel", "When old Mr. Salton had retired for the night, Adam and Sir Nathaniel\nreturned to the study. Things went with great regularity at Lesser Hill,\nso they knew that there would be no interruption to their talk.", "Adam Salton, from his hiding-place, saw and wondered. In a few minutes\nhe moved from his place and went home to Lesser Hill, fully determined\nthat seven o'clock would find him in some hidden place behind Diana's\nGrove.", "Salton. He knew already that his old friend wanted his grand-nephew to\nlearn all he could of the subject in hand, and so had during his journey", "Watfords knew all about Adam Salton, his relationship, circumstances, and\nprospects. So it would have been strange indeed if both girls did not\ndream of possibilities of the future. In agricultural England, eligible", "From his wife's room Adam Salton went straight to the study in the tower,\nwhere he knew Sir Nathaniel would be at that hour. The old man was", "looked at the old men and quickly made up her mind as to the identity of\nthe stranger. \"You must be Mr. Adam Salton of Lesser Hill. I am Lady", "full relationship by calling him by his Christian name. After a long\ntalk on affairs of interest, they retired to the cabin, which the elder\nwas to share. Richard Salton put his hands affectionately on the boy's", "His bed saw little of Adam Salton for the remainder of that night. He\nand Mimi walked hand in hand in the brightening dawn round by the Brow to", "\"I came over early as you wished. I suppose this is your grand-nephew--I\nam glad to meet you, Mr. Adam Salton. I am Nathaniel de Salis, and your\nuncle is one of my oldest friends.\"", "\"Adam, there are three of us.\" Salton looked at his old friend as he\nspoke, and that old friend's eyes blazed.\n\n\"Ay, three of us,\" he said, and his voice rang.", "\"I think we ought to be moving,\" Mr. Salton said to Adam. \"I have some\nthings to do in Liverpool, and I am sure that both Mr. Caswall and Lady\nArabella would like to get under weigh for Castra Regis.\"", "Then, quite unexpectedly, the negro noticed the presence of a third\nperson--Adam Salton! He pulled out a pistol and shot at him, happily", "gentleman less than a year before, when Richard Salton had claimed\nkinship, stating that he had been unable to write earlier, as he had" ], [ "Adam Salton followed the line of the Brow, and refreshed his memory as to\nthe various localities. He got home to Lesser Hill just as Sir Nathaniel", "From his wife's room Adam Salton went straight to the study in the tower,\nwhere he knew Sir Nathaniel would be at that hour. The old man was", "Adam Salton, from his hiding-place, saw and wondered. In a few minutes\nhe moved from his place and went home to Lesser Hill, fully determined\nthat seven o'clock would find him in some hidden place behind Diana's\nGrove.", "When old Mr. Salton had retired for the night, Adam and Sir Nathaniel\nreturned to the study. Things went with great regularity at Lesser Hill,\nso they knew that there would be no interruption to their talk.", "When the dusk began to thicken, Mr. Salton and Sir Nathaniel walked\nhome--the trap had been sent away early in the day--leaving Adam to", "Old Mr. Salton was delighted when Adam's reply arrived and sent a groom\nhot-foot to his crony, Sir Nathaniel de Salis, to inform him that his\ngrand-nephew was due at Southampton on the twelfth of June.", "\"I think we ought to be moving,\" Mr. Salton said to Adam. \"I have some\nthings to do in Liverpool, and I am sure that both Mr. Caswall and Lady\nArabella would like to get under weigh for Castra Regis.\"", "\"Indeed,\" Richard Salton went on, \"I am in hopes that you will make your\npermanent home here. You see, my dear boy, you and I are all that remain", "His bed saw little of Adam Salton for the remainder of that night. He\nand Mimi walked hand in hand in the brightening dawn round by the Brow to", "Adam spoke to his own man, Davenport, who was standing by, having arrived\nwith the bailiff of Lesser Hill, who had followed Mr. Salton in a pony", "Mr. Salton introduced Adam to Mr. Watford and his grand-daughters, and\nthey all moved on together. Of course neighbours in the position of the", "\"Is Mr. Adam Salton in?\" she asked.\n\n\"He has just come in, a few minutes ago. He has gone up to the study,\"\nreplied a servant.", "Adam Salton went for a walk before returning to Lesser Hill; he felt that\nit might be well, not only to steady his nerves, shaken by the horrible", "looked at the old men and quickly made up her mind as to the identity of\nthe stranger. \"You must be Mr. Adam Salton of Lesser Hill. I am Lady", "Adam Salton sauntered into the Empire Club, Sydney, and found awaiting\nhim a letter from his grand-uncle. He had first heard from the old", "Watfords knew all about Adam Salton, his relationship, circumstances, and\nprospects. So it would have been strange indeed if both girls did not\ndream of possibilities of the future. In agricultural England, eligible", "They spent the night at Cheltenham, and on the following morning resumed\ntheir journey to Stafford. Adam's eyes were in constant employment, and", "As the dusk was closing down, they drove on to Lesser Hill, Mr. Salton's\nhouse. It was now too dark to see any details of their surroundings.", "Salton. He knew already that his old friend wanted his grand-nephew to\nlearn all he could of the subject in hand, and so had during his journey", "shown by a letter which she wrote later in the day to Adam Salton, and\nsent to him by hand. It ran as follows:" ], [ "construct an immense kite, adhering as well as they could to the lines of\na hawk. Then he and his men, with a sufficiency of cord, began to fly it", "and more weight, until he found out that the lifting power of the kite\nwas considerable. He then determined to take a step further, and send to", "afflicted with the same trouble every season, knew how to deal with it.\nThey made a vast kite, which they caused to be flown over the centre spot", "Caswall took a personal interest in the keeping of the great kite flying.\nHe had a vast coil of cord efficient for the purpose, which worked on a", "He made his way whilst he was speaking to the corner of the turret whence\nflew the giant kite, and from which the runners ascended. Mimi looked", "it had been on the previous evening. He looked out of the window where\nhigh in air flew, as usual, the giant kite. He unlocked the wicket gate", "then to disappear. So long as that kite was flying overhead the birds\nlay low and the crop was saved. Accordingly Caswall ordered his men to", "For a few seconds Mimi saw it as it rushed along the sagging line to the\nkite. When close to it, there was a loud crack, and a sudden light", "enormous height. The wind was steadily from the north, so the trend of\nthe kite was to the south. All day long, runners of increasing magnitude", "it with her, reeling out the wire as she went, thus keeping, in a way, in\ntouch with the kite. Then she glided swiftly to the wicket, through", "at times the kite rose to an enormous height, as well as travelling for\ngreat distances laterally. In fact, the kite became, in a short time,", "host so well as to deceive even Adam. They all went out on the turret\nroof, where he explained to his guests the mechanism for raising and\nlowering the kite, taking also the opportunity of testing the movements", "Somehow, the mishap to the kite gave new hope to Mimi. It was as though\nthe side issues had been shorn away, so that the main struggle was", "the box and carried up to the kite. Edgar was in a state of tumultuous\nexcitement, shouting and yelling at the top of his voice and dancing\nabout like a lunatic.", "Regis, and saw that the workmen had refixed the kite, which had risen\nagain and was beginning to float out to its former station.", "of the incursion. The kite was shaped like a great hawk; and the moment\nit rose into the air the birds began to cower and seek protection--and", "his wonderful kite, which he was showing off, in order to fascinate her\nimaginary rival, Mimi.", "astonished when presently he saw the missing kite struggling as usual\nagainst the controlling cord. But it had gone to the further side of the", "treasures and rare objects in his collections. He went amongst them in\nsimple, idle curiosity, his main object being to discover some strange\nitem which he might use for experiment with the kite. He had already", "which they had been strangers so long, they all looked towards Castra\nRegis, from whose high tower the great kite had been flying as usual. But" ], [ "When Adam got back to the carriage, carefully carrying the box with the\nmongoose, Sir Nathaniel said: \"Hullo! what have you got there?\"\n\n\"A mongoose.\"\n\n\"What for?\"", "When Adam got back to Lesser Hill, he went to the coach-house where the\nbox with the mongoose was kept, and took it with him, intending to finish", "\"Of course not, my boy. What kind of animal is it that you want?\"\n\n\"A mongoose.\"\n\n\"A mongoose! What on earth do you want it for?\"", "Adam had gone for an early morning survey of the place in which he was\ninterested, taking with him the mongoose in its box. He arrived at the", "When Adam got home, he put the mongoose in his box, and locked the door\nof the room. The other mongoose--the one from Nepaul--was safely locked", "\"Why, sir?\" said Adam. \"Is the killing of a mongoose--no matter by\nwhom--so serious a thing as all that?\"\n\nHis companion smoked on quietly for quite another few minutes before he\nspoke.", "Hitherto the mongoose had been quiet, like a playful affectionate kitten;\nbut when the two got close, Adam was horrified to see the mongoose, in a", "he had to get another mongoose, and he was able to tell Adam that he had\nseen the steward, who told him much that he wanted to know, and had also", "\"Do you want something special, or will an ordinary mongoose do?\"\n\n\"Well, of course I want a good one. But I see no need for anything\nspecial. It is for ordinary use.\"", "Then, quite unexpectedly, the negro noticed the presence of a third\nperson--Adam Salton! He pulled out a pistol and shot at him, happily", "\"Well, it's pleasant to be rid of them, big or little. That is a good\nmongoose, I am sure; he'll clear out all such vermin round here,\" said\nMr. Salton.", "\"Let us begin with what you have told me. First take the conduct of the\nmongoose. He was quiet, even friendly and affectionate with you. He\nonly attacked the snakes, which is, after all, his business in life.\"", "To his intense astonishment the mongoose allowed her to pet him, take him\nup in her arms and fondle him. As she was going in his direction, they\nwalked on together.", "\"Mongoose,\" said Adam, and then added explanatorily: \"I was out with the\nmongoose just after three.\"", "\"But, God bless my soul, you didn't expect to get a snake like the\nLambton worm, did you? Why, a mongoose, to tackle a monster like that--if", "Lady Arabella looked more than ever disdainful and was passing on; the\nmongoose jumped at her in a furious attack. Adam rushed forward with his", "When dusk had fallen, Adam took the new mongoose--not the one from\nNepaul--and, carrying the box slung over his shoulder, strolled towards", "called at the farm and heard from Mimi of the last battle of wills, but\nit had only one consequence. He got from Ross several more mongooses,", "Adam Salton, from his hiding-place, saw and wondered. In a few minutes\nhe moved from his place and went home to Lesser Hill, fully determined\nthat seven o'clock would find him in some hidden place behind Diana's\nGrove.", "His bed saw little of Adam Salton for the remainder of that night. He\nand Mimi walked hand in hand in the brightening dawn round by the Brow to" ], [ "CHAPTER V--THE WHITE WORM", "Adam held out the letter he was carrying. It was in a blazoned envelope.\n\n\"Ha!\" said Sir Nathaniel, \"from the White Worm! I expected something of\nthe kind.\"", "Adam's young bride was proud of her man, but she blanched at the thought\nof the ghastly White Worm. Adam saw this and at once reassured her.", "of fact somewhere. Could it be possible that some of them--all of them\nhad been mistaken, that there had been no White Worm at all? On either", "Sir Nathaniel realised that Adam was right; the White Worm had no\nsupernatural powers and could not harm them until she discovered their\nhiding place. It was agreed, therefore, that the two men should go\ntogether.", "\"The White Worm--yes!\"\n\nAdam noticed that from now on, his friend never spoke of Lady Arabella\notherwise, except when he wished to divert the suspicion of others.", "She must lure him to the White Worm's hole--but how? She glanced around\nand quickly made up her mind. The man's whole thoughts were absorbed by", "away up into the heart of the Peak. The White Worm, in her own proper\nshape, certainly has great facilities for the business on which she is", "romance than the Roman name. In Mercian tongue it was 'The Lair of the\nWhite Worm.' This needs a word of explanation at the beginning.", "\"Simply and solely because the snake or worm _was_ white. We are near\nthe county of Stafford, where the great industry of china-burning was", "by the lady who was attacked by the mongoose was 'The Lair of the White\nWorm.' If any of these things be so, our difficulties have multiplied", "control of this ghastly White Worm.\"", "the room. All this is _a propos_ of a suggestion on my part that the\nwell-hole was a way by which the White Worm (whatever it was) went and", "come to my knowledge, I have come to the conclusion that the foul White\nWorm obtained control of her body, just as her soul was leaving its\nearthly tenement--that would explain the sudden revival of energy, the", "some masses of enormous bulk were forced up through the well-hole with\ninconceivable violence, and, suddenly expanding as they came into larger\nspace, disclosed sections of the White Worm which Adam and Sir Nathaniel", "\"We know, my boy,\" he said, \"that the unfortunate Lady Arabella is dead,\nand that the foul carcase of the Worm has been torn to pieces--pray God\nthat its evil soul will never more escape from the nethermost hell.\"", "was given? We know that there was a snake which in early days was called\na worm; but why white?\"", "moments with an appearance of unconcern. In all probability, nothing\nrequiring such care will occur. The White Worm will not try force,", "\"Well, I have vowed to destroy that White Worm, and my being able to do\nwhatever I may choose with the Lair would facilitate matters and avoid\ncomplications.\"", "satisfied her that the White Worm in _propria persona_ was not visible.\nSo she sat down in the window-seat and enjoyed the pleasure of a full" ], [ "\"All shall be as you wish, Adam. And now as to what we are to do? We\ncannot murder Lady Arabella off-hand. Therefore we shall have to put", "Then, quite unexpectedly, the negro noticed the presence of a third\nperson--Adam Salton! He pulled out a pistol and shot at him, happily", "suspected suicide, though no pistol was found near the body. He may have\ndiscovered something--God knows what!--so possibly Lady Arabella may\nherself have killed him. Putting together many small matters that have", "Lady Arabella had instructed her solicitors to hurry on with the\nconveyance of Diana's Grove, so no time was lost in letting Adam Salton", "Adam Salton, from his hiding-place, saw and wondered. In a few minutes\nhe moved from his place and went home to Lesser Hill, fully determined\nthat seven o'clock would find him in some hidden place behind Diana's\nGrove.", "with Mimi Salton, despite her unselfish, unchanging devotion for those\nshe loved. So it was even with Lady Arabella, who, under the instincts", "\"I think we ought to be moving,\" Mr. Salton said to Adam. \"I have some\nthings to do in Liverpool, and I am sure that both Mr. Caswall and Lady\nArabella would like to get under weigh for Castra Regis.\"", "\"Is Mr. Adam Salton in?\" she asked.\n\n\"He has just come in, a few minutes ago. He has gone up to the study,\"\nreplied a servant.", "From his wife's room Adam Salton went straight to the study in the tower,\nwhere he knew Sir Nathaniel would be at that hour. The old man was", "Arabella March of Diana's Grove.\" As she spoke she turned slightly to\nMr. Salton, who took the hint and made a formal introduction.", "shown by a letter which she wrote later in the day to Adam Salton, and\nsent to him by hand. It ran as follows:", "Watfords knew all about Adam Salton, his relationship, circumstances, and\nprospects. So it would have been strange indeed if both girls did not\ndream of possibilities of the future. In agricultural England, eligible", "His bed saw little of Adam Salton for the remainder of that night. He\nand Mimi walked hand in hand in the brightening dawn round by the Brow to", "Adam Salton followed the line of the Brow, and refreshed his memory as to\nthe various localities. He got home to Lesser Hill just as Sir Nathaniel", "\"Adam, there are three of us.\" Salton looked at his old friend as he\nspoke, and that old friend's eyes blazed.\n\n\"Ay, three of us,\" he said, and his voice rang.", "looked at the old men and quickly made up her mind as to the identity of\nthe stranger. \"You must be Mr. Adam Salton of Lesser Hill. I am Lady", "over her should not pass. He felt, therefore, that the occasion was one\nfor extra carefulness in the watching of all that went on. Ever since he\nhad come to the conclusion that Lady Arabella was trying to steal the", "Arabella, who had caught sight of her leaving the house and had never\nagain lost touch with her. It was a case of the hunter being hunted. For", "of surprise on his face was so much greater than Lady Arabella had\nexpected--though she thought she was prepared to meet anything that might\noccur--that she stood still, in sheer amazement. Cold-blooded as she was", "Mr. Salton introduced Adam to Mr. Watford and his grand-daughters, and\nthey all moved on together. Of course neighbours in the position of the" ], [ "\"I came over early as you wished. I suppose this is your grand-nephew--I\nam glad to meet you, Mr. Adam Salton. I am Nathaniel de Salis, and your\nuncle is one of my oldest friends.\"", "friend, Sir Nathaniel de Salis, who, like myself, is a free-holder near\nCastra Regis--his estate, Doom Tower, is over the border of Derbyshire,", "As he spoke, Sir Nathaniel turned and looked at Mr. Salton--a keen look\nwhich implied a full understanding.", "Old Mr. Salton was delighted when Adam's reply arrived and sent a groom\nhot-foot to his crony, Sir Nathaniel de Salis, to inform him that his\ngrand-nephew was due at Southampton on the twelfth of June.", "The cordiality with which Sir Nathaniel and Adam met, made the imparting\nof information easy. Sir Nathaniel was a clever man of the world, who", "When they were alone, Sir Nathaniel explained that he had taken his old\nfriend, Mr. Salton, into full confidence, and that in future all would\nwork together.", "\"How do you do, Sir Nathaniel? How do you do, Mr. Salton? I hope you\nhave not met with any accident. Look at me!\"", "From his wife's room Adam Salton went straight to the study in the tower,\nwhere he knew Sir Nathaniel would be at that hour. The old man was", "it was not till Salton declared that they had now entered on the last\nstage of their journey, that he referred to Sir Nathaniel's coming.", "Adam Salton followed the line of the Brow, and refreshed his memory as to\nthe various localities. He got home to Lesser Hill just as Sir Nathaniel", "The two old men once more looked at each other steadily. Then, lest the\nmood of his listener should change with delay, Sir Nathaniel began at\nonce:", "Mr. Salton, and Sir Nathaniel were all concerned in the issue, partly\nfrom kindness of heart--for none of them could see suffering, even of", "When old Mr. Salton had retired for the night, Adam and Sir Nathaniel\nreturned to the study. Things went with great regularity at Lesser Hill,\nso they knew that there would be no interruption to their talk.", "Nathaniel then persuaded old Mr. Salton to allow his nephew to spend a\nfew weeks with him at Doom Tower, and it was here that Mimi became Adam's", "When the two men had lighted their pipes, Sir Nathaniel began.", "Sir Nathaniel's voice was calm and self-possessed. When he was engaged\nin any struggle of wits he was all diplomatist.", "scene, but to get his thoughts into some sort of order, so as to be ready\nto enter on the matter with Sir Nathaniel. He was a little embarrassed", "Sir Nathaniel smiled in a fatherly way.\n\n\"To marry, a husband is required. And that husband should be you.\"\n\n\"Yes, yes.\"", "Adam knocked at Sir Nathaniel's door in the grey of the morning, and, on\nbeing bidden, came into the room. He had several letters in his hand.\nSir Nathaniel sat up in bed.\n\n\"Well!\"", "\"That is all; but its history contains the histories of all the others--in\nfact, the whole history of early England.\" Sir Nathaniel, seeing the\nexpectant look on Adam's face, went on:" ], [ "Sir Nathaniel realised that Adam was right; the White Worm had no\nsupernatural powers and could not harm them until she discovered their\nhiding place. It was agreed, therefore, that the two men should go\ntogether.", "Adam held out the letter he was carrying. It was in a blazoned envelope.\n\n\"Ha!\" said Sir Nathaniel, \"from the White Worm! I expected something of\nthe kind.\"", "Then, quite unexpectedly, the negro noticed the presence of a third\nperson--Adam Salton! He pulled out a pistol and shot at him, happily", "She must lure him to the White Worm's hole--but how? She glanced around\nand quickly made up her mind. The man's whole thoughts were absorbed by", "Adam Salton, from his hiding-place, saw and wondered. In a few minutes\nhe moved from his place and went home to Lesser Hill, fully determined\nthat seven o'clock would find him in some hidden place behind Diana's\nGrove.", "Adam's young bride was proud of her man, but she blanched at the thought\nof the ghastly White Worm. Adam saw this and at once reassured her.", "\"The White Worm--yes!\"\n\nAdam noticed that from now on, his friend never spoke of Lady Arabella\notherwise, except when he wished to divert the suspicion of others.", "\"Adam, there are three of us.\" Salton looked at his old friend as he\nspoke, and that old friend's eyes blazed.\n\n\"Ay, three of us,\" he said, and his voice rang.", "Watfords knew all about Adam Salton, his relationship, circumstances, and\nprospects. So it would have been strange indeed if both girls did not\ndream of possibilities of the future. In agricultural England, eligible", "Adam Salton went for a walk before returning to Lesser Hill; he felt that\nit might be well, not only to steady his nerves, shaken by the horrible", "CHAPTER V--THE WHITE WORM", "From his wife's room Adam Salton went straight to the study in the tower,\nwhere he knew Sir Nathaniel would be at that hour. The old man was", "some masses of enormous bulk were forced up through the well-hole with\ninconceivable violence, and, suddenly expanding as they came into larger\nspace, disclosed sections of the White Worm which Adam and Sir Nathaniel", "\"I think we ought to be moving,\" Mr. Salton said to Adam. \"I have some\nthings to do in Liverpool, and I am sure that both Mr. Caswall and Lady\nArabella would like to get under weigh for Castra Regis.\"", "shown by a letter which she wrote later in the day to Adam Salton, and\nsent to him by hand. It ran as follows:", "Adam Salton followed the line of the Brow, and refreshed his memory as to\nthe various localities. He got home to Lesser Hill just as Sir Nathaniel", "\"Well, I have vowed to destroy that White Worm, and my being able to do\nwhatever I may choose with the Lair would facilitate matters and avoid\ncomplications.\"", "When old Mr. Salton had retired for the night, Adam and Sir Nathaniel\nreturned to the study. Things went with great regularity at Lesser Hill,\nso they knew that there would be no interruption to their talk.", "of fact somewhere. Could it be possible that some of them--all of them\nhad been mistaken, that there had been no White Worm at all? On either", "His bed saw little of Adam Salton for the remainder of that night. He\nand Mimi walked hand in hand in the brightening dawn round by the Brow to" ], [ "They visited Diana's Grove first, not only because it was nearer, but\nalso because it was the place where most description was required, and", "CHAPTER III--DIANA'S GROVE", "said there were many small deaths. At Diana's Grove his bearing was\ndifferent. There was a distinct sense of enjoyment about him, especially", "as the keen breeze swept aside the cloud of acrid smoke which marked the\nsite of the once lordly castle. As for Diana's Grove, they looked in", "from the tower, and, with inconceivable rapidity, running along the\nground in the direction of Diana's Grove, reached the dark silent house,\nwhich in the instant burst into flame at a hundred different points.", "There was evidently something about Diana's Grove which both interested\nand baffled him. Before leaving, he moved all over the place", "besides Diana's Grove. This was manifestly of Roman origin, or of\nGrecian accepted as Roman. The other is more pregnant of adventure and", "it--so far as he could ascertain--was Diana's Grove. He had an\ninclination to take Lady Arabella into his confidence in the matter, but", "order is not observed in my narration. I suppose you have seen the house\nat Diana's Grove?\"", "At a little before seven Adam stole softly out of the house and took the\nback-way to the rear of Diana's Grove. The place seemed silent and", "but the two places that interested him most were Mercy Farm and Diana's\nGrove. At first the movements about those spots were of a humble\nkind--those that belong to domestic service or agricultural needs--the", "\"I have remembered an interesting fact about Diana's Grove--there is, I\nhave long understood, some strange mystery about that house. It may be", "admirably on this occasion. He watched her enter the private gate of\nDiana's Grove, and then, taking a roundabout course and keeping out of", "\"Well, that is all right. I don't think the morning has been altogether\nthrown away.\"\n\nAnd she walked slowly back to Diana's Grove.", "The consequences of that meeting in the dusk of Diana's Grove were acute\nand far-reaching, and not only to the two engaged in it. From Oolanga,", "\"The old name translated means 'Diana's Grove.' Then the next one higher\nthan it, but just beyond it, is called '_Mercy_'--in all probability a", "\"Do you think, sir, that it would be well for me to buy Diana's Grove?\"\n\n\"God bless my soul!\" said the old man, startled, \"why on earth would you\nwant to do that?\"", "That afternoon Adam decided to do a little exploring. As he passed\nthrough the wood outside the gate of Diana's Grove, he thought he saw the", "As she sought her own rooms in Diana's Grove, she went over the whole\nsubject again and again, always finding in the face of Lilla Watford a", "walked back to Diana's Grove, she almost congratulated herself on her new\nsettlement in life. That the idea was becoming fixed in her mind, was" ], [ "admiration and willingness to learn from him. Accordingly the\nconversation, which began on the most friendly basis, soon warmed to an\ninterest above proof, as the old man spoke of it next day to Richard", "\"I too, sir, would like to do something,\" replied Adam. \"I want to find\nout where Ross, the animal merchant, lives--I want to take a small animal", "Adam read this over several times, and then, his mind being made up, he\nwent to Mimi and asked if she had any objection. She answered--after a", "\"Go on!\" said the other kindly. \"Tell me all, and count at any rate on\nmy sympathy, and on my approval and help if I can see my way.\"\n\nAccordingly Adam proceeded:", "\"Thank you, Adam, for that.\" The old, man's eyes filled and his voice\ntrembled. Then, after a long silence between them, he went on: \"When I", "\"All shall be as you wish, Adam. And now as to what we are to do? We\ncannot murder Lady Arabella off-hand. Therefore we shall have to put", "than in youth. When they were both in the study, where Sir Nathaniel\nfollowed him, Adam at once began to tell his companion of what had", "which, if I am right, will add great value to the place.\" Adam listened.\n\"Has it ever struck you why the old name, 'The Lair of the White Worm,'", "\"Adam, I greatly fear that the time has come for us--for you and me, at\nall events--to speak out plainly to one another. Does not there seem\nsomething very mysterious about this?\"", "full relationship by calling him by his Christian name. After a long\ntalk on affairs of interest, they retired to the cabin, which the elder\nwas to share. Richard Salton put his hands affectionately on the boy's", "\"I have no objection, Adam--in fact, if I had, I should have to overcome\nit. I fear there can be no more reserved thoughts between us.\"\n\n\"Indeed, sir, that sounds serious, worse than serious!\"", "\"Indeed,\" Richard Salton went on, \"I am in hopes that you will make your\npermanent home here. You see, my dear boy, you and I are all that remain", "themselves. Adam had a suspicion that, though she answered regretfully,\nshe was in reality relieved. When he had got into the carriage with the", "\"Painful duty!\"\n\n\"Yes,\" said Adam boldly. \"Painful to you, though to me it would be all\njoyful.\"", "Adam. All I have shall belong to you; and if love and good wishes, or\nthe memory of them, can make life sweeter, yours shall be a happy one.", "\"That is all; but its history contains the histories of all the others--in\nfact, the whole history of early England.\" Sir Nathaniel, seeing the\nexpectant look on Adam's face, went on:", "\"My friend, you have no idea of that man's impudence. Would you believe\nthat he wants me to marry him?\"\n\n\"No!\" said Adam incredulously, amused in spite of himself.", "\"Adam, my boy,\" he said at last, \"this matter appears to me to be far\nmore serious even than you think. It forces me to break confidence with", "time become accustomed to him, and was willing to let himself be handled\nfreely. Adam lifted him up and put him on his shoulder and walked on.\nPresently he saw a lady advancing towards him, and recognised Lady", "The cordiality with which Sir Nathaniel and Adam met, made the imparting\nof information easy. Sir Nathaniel was a clever man of the world, who" ], [ "The fact was that Edgar Caswall was, if not mad, close to the\nborder-line. Madness in its first stage--monomania--is a lack of", "The proceedings were a repetition of the battle of souls of the former\nvisit. On this occasion, however, Edgar Caswall had only the presence of", "Edgar Caswall tortured his brain for a long time unavailingly, to think\nof some means of getting rid of what he, as well as his neighbours, had", "After a few days, men began to grow desperate; their very words as well\nas their senses seemed to be in chains. Edgar Caswall again tortured his", "That night Edgar Caswall had slept badly. The tragic occurrence of the\nday was on his mind, and he kept waking and thinking of it. After an", "\"I shall be delighted to tell you anything so far as my knowledge goes.\nWell, the first Caswall in our immediate record is an Edgar, head of the", "The second victory of Mimi Watford made Edgar Caswall more moody than\never. He felt thrown back on himself, and this, added to his absorbing", "answered to the flapping of the runner in a sort of hollow intermittent\nmurmur. Edgar Caswall, who was now wholly obsessed by the kite and all", "went on in a conversational tone, such as he had used when he spoke of\nthe coming to the farm of Edgar Caswall: \"When Mr. Caswall came in, the", "After all, Edgar Caswall was a gentleman by custom and habit, so he rose\nto the occasion.", "\"There is only one other person whose good opinion she could wish to\nkeep--Edgar Caswall. He is the only one who fills the bill. Her lies", "was ajar, and the light from within showed brilliantly through the\nopening. She saw Edgar Caswall walking restlessly to and fro in the\nroom, with his hands clasped behind his back. She opened the door", "on the Peak--is coming to stay with me for the festivities to welcome\nEdgar Caswall. He is just the sort of man you will like. He is devoted", "Edgar Caswall was the first to recover from the interruption of the\nfalling kite. After a few minutes he seemed to have quite recovered his", "Edgar Caswall, grandfather of the man who is coming here--and he was the\nonly one who stayed even a short time. This man's grandfather, also\nnamed Edgar--they keep the tradition of the family Christian", "Edgar Caswall sat in the gloom of the great room, occasionally stirred to\ncuriosity when the drifting clouds allowed a little light to fall from", "Caswall was now so irritable that even this small thing upset him. As he\nwas distrait and wanted to talk to somebody, he sent for Simon Chester,", "was in a seething passion. More than ever she was set upon bringing\nEdgar Caswall to her feet. The obstacles she had encountered, the", "one of the curiosities of Castra Regis and all around it. Edgar began to\nattribute to it, in his own mind, almost human qualities. It became to", "In the early days of this amusement Edgar Caswall spent hours. Hundreds\nof such messengers flew along the string, until soon he bethought him of" ], [ "then to disappear. So long as that kite was flying overhead the birds\nlay low and the crop was saved. Accordingly Caswall ordered his men to", "Edgar Caswall tortured his brain for a long time unavailingly, to think\nof some means of getting rid of what he, as well as his neighbours, had", "answered to the flapping of the runner in a sort of hollow intermittent\nmurmur. Edgar Caswall, who was now wholly obsessed by the kite and all", "In the early days of this amusement Edgar Caswall spent hours. Hundreds\nof such messengers flew along the string, until soon he bethought him of", "The fact was that Edgar Caswall was, if not mad, close to the\nborder-line. Madness in its first stage--monomania--is a lack of", "was ajar, and the light from within showed brilliantly through the\nopening. She saw Edgar Caswall walking restlessly to and fro in the\nroom, with his hands clasped behind his back. She opened the door", "cousin. Her hand swept the air in front of Edgar Caswall, seeming to\ndrive him backward more and more by each movement, till at last he seemed", "the farmhouse. She did not approve of the personality of Edgar Caswall,\nand his struggle with Mimi had frightened her; but he was unmistakably an", "Edgar Caswall was the first to recover from the interruption of the\nfalling kite. After a few minutes he seemed to have quite recovered his", "Left alone in the turret-room, Edgar Caswall carefully locked the door\nand hung a handkerchief over the keyhole. Next, he inspected the", "After a few days, men began to grow desperate; their very words as well\nas their senses seemed to be in chains. Edgar Caswall again tortured his", "enormous flocks of birds, most of them pigeons with white cowls. Not\nonly were their wings whirring, but their cooing was plainly audible.", "come to regard as a plague of birds. At last he recalled a circumstance\nwhich promised a solution of the difficulty. The experience was of some", "Caswall said something in reply, but his words were carried away on the\nstorm. However, one of her objects was effected: she knew now exactly", "Edgar Caswall sat in the gloom of the great room, occasionally stirred to\ncuriosity when the drifting clouds allowed a little light to fall from", "to fear there. They seem much more afraid of her than she of them.\" All\nthe same he began to beat on the ground with a stick which was lying", "In his many travels, Edgar Caswall had been accustomed to use the\nsextant, and was now an expert in the matter. By the aid of this and", "That night Edgar Caswall had slept badly. The tragic occurrence of the\nday was on his mind, and he kept waking and thinking of it. After an", "The proceedings were a repetition of the battle of souls of the former\nvisit. On this occasion, however, Edgar Caswall had only the presence of", "quickly enough--indeed, it did not seem to move at all--in the right\ndirection. Edgar Caswall was not an ardent wooer. From the very first" ], [ "and the breach was soon made good. Adam was gathering the tools which he\nhad been using--which, after the manner of all workmen, had been\nscattered about--when he noticed that several black snakes had crawled", "Adam went quietly on with his breakfast. Killing a few snakes in a\nmorning was no new experience to him. He left the room the moment", "snakes. He did not seem to see Adam. No one was to be seen at Mercy\nexcept a few workmen in the farmyard, so, after waiting on the chance of", "\"To kill snakes.\"\n\n\"Good!\" The old man remembered the mound of stones. No explanation was\nneeded.\n\nWhen Ross heard what was wanted, he asked:", "\"Snakes,\" said Adam, helping himself to a grilled kidney.\n\n\"Four snakes. I don't understand.\"", "When Adam got back to Lesser Hill, he went to the coach-house where the\nbox with the mongoose was kept, and took it with him, intending to finish", "\"Why, sir?\" said Adam. \"Is the killing of a mongoose--no matter by\nwhom--so serious a thing as all that?\"\n\nHis companion smoked on quietly for quite another few minutes before he\nspoke.", "Adam had gone for an early morning survey of the place in which he was\ninterested, taking with him the mongoose in its box. He arrived at the", "Adam put up a rough corrugated-iron shed behind the Grove, in which he\nstored his explosives. All being ready for his great attempt whenever", "\"That is a good argument, sir,\" Adam went on, \"but a dangerous one. If\nwe followed it out, it would lead us to believe that Lady Arabella is a\nsnake.\"", "\"To kill snakes!\"\n\nSir Nathaniel laughed.\n\n\"I heard Lady Arabella's invitation to you to come to Diana's Grove.\"", "a record of his own. He killed a king cobra that had been seen in the\nRajah's garden. But I don't suppose we have any snakes of the kind in", "\"Let us begin with what you have told me. First take the conduct of the\nmongoose. He was quiet, even friendly and affectionate with you. He\nonly attacked the snakes, which is, after all, his business in life.\"", "He sniffed round as if he was enjoying the scent. The matter and manner\nof his speech were so revolting that instinctively Adam's hand wandered", "When Adam got home, he put the mongoose in his box, and locked the door\nof the room. The other mongoose--the one from Nepaul--was safely locked", "\"Now, from what you tell me, the negro had just come from the direction\nof Diana's Grove, carrying the dead snakes which the mongoose had killed\nthe previous morning. Might not the scent have been carried that way?\"", "When Adam got back to the carriage, carefully carrying the box with the\nmongoose, Sir Nathaniel said: \"Hullo! what have you got there?\"\n\n\"A mongoose.\"\n\n\"What for?\"", "at the Mound of Stone what he had begun the previous morning with regard\nto the extermination. He found that the snakes were even more easily\nattacked than on the previous day; no less than six were killed in the", "\"Well, it's pleasant to be rid of them, big or little. That is a good\nmongoose, I am sure; he'll clear out all such vermin round here,\" said\nMr. Salton.", "Hitherto the mongoose had been quiet, like a playful affectionate kitten;\nbut when the two got close, Adam was horrified to see the mongoose, in a" ], [ "Lady Arabella looked more than ever disdainful and was passing on; the\nmongoose jumped at her in a furious attack. Adam rushed forward with his", "Lady Arabella--that is why I questioned you so closely about the mongoose\nand its strange attack upon Lady Arabella. You will think it strange", "Lady Arabella; the other was the special mongoose which had already\nkilled the king-cobra in Nepaul. When both the animals had been safely", "To his intense astonishment the mongoose allowed her to pet him, take him\nup in her arms and fondle him. As she was going in his direction, they\nwalked on together.", "Hitherto the mongoose had been quiet, like a playful affectionate kitten;\nbut when the two got close, Adam was horrified to see the mongoose, in a", "stone steps outside stood Oolanga, with the mongoose box slung over his\nshoulder. Lady Arabella stood a little on one side, and the African,", "close to him, with the instinct of one used to such vermin. In an\ninstant he was alone beside the mound with Lady Arabella, who appeared", "Lady Arabella's anger, now fully awake, was all for Oolanga. She moved\ntowards him with her hands extended, and had just seized him when the", "Arabella, who had caught sight of her leaving the house and had never\nagain lost touch with her. It was a case of the hunter being hunted. For", "\"Let us begin with what you have told me. First take the conduct of the\nmongoose. He was quiet, even friendly and affectionate with you. He\nonly attacked the snakes, which is, after all, his business in life.\"", "the mongoose tight to him, and, lifting his hat to his companion, moved\nquickly towards Lesser Hill; he and Lady Arabella lost sight of each\nother in the thickening gloom.", "state of the wildest fury, with every hair standing on end, jump from his\nshoulder and run towards Lady Arabella. It looked so furious and so\nintent on attack that he called a warning.", "Arabella, and instinctively drew back behind the curtain. When she had\nascertained, by peeping out several times, that the lady had not seen", "It was thus that the negro became aware of Lady Arabella's venture into\nthe house, as she thought, unseen. He took more care than ever, since he", "Arabella, the only colour to be seen on her being blood-marks on her face\nand hands and throat. Otherwise, she was calm and unruffled, as when", "when Lady Arabella, who had been gazing at him with fixed eyes, caught\nhis hand and tried to stop his movement. She was, however, unable to do", "her, she watched more carefully, all her instinctive hatred flooding back\nat the sight of her. Lady Arabella was moving swiftly and stealthily,\nlooking back and around her at intervals, as if she feared to be", "\"Of course not, my boy. What kind of animal is it that you want?\"\n\n\"A mongoose.\"\n\n\"A mongoose! What on earth do you want it for?\"", "When Adam got back to the carriage, carefully carrying the box with the\nmongoose, Sir Nathaniel said: \"Hullo! what have you got there?\"\n\n\"A mongoose.\"\n\n\"What for?\"", "with the mongoose. Of course the African did not know that he was seen\nby anyone, least of all by the man whose property he had with him." ], [ "Arabella, who had caught sight of her leaving the house and had never\nagain lost touch with her. It was a case of the hunter being hunted. For", "suspected suicide, though no pistol was found near the body. He may have\ndiscovered something--God knows what!--so possibly Lady Arabella may\nherself have killed him. Putting together many small matters that have", "Arabella, the only colour to be seen on her being blood-marks on her face\nand hands and throat. Otherwise, she was calm and unruffled, as when", "\"All shall be as you wish, Adam. And now as to what we are to do? We\ncannot murder Lady Arabella off-hand. Therefore we shall have to put", "Lady Arabella's anger, now fully awake, was all for Oolanga. She moved\ntowards him with her hands extended, and had just seized him when the", "over her should not pass. He felt, therefore, that the occasion was one\nfor extra carefulness in the watching of all that went on. Ever since he\nhad come to the conclusion that Lady Arabella was trying to steal the", "of surprise on his face was so much greater than Lady Arabella had\nexpected--though she thought she was prepared to meet anything that might\noccur--that she stood still, in sheer amazement. Cold-blooded as she was", "Arabella, and instinctively drew back behind the curtain. When she had\nascertained, by peeping out several times, that the lady had not seen", "Arabella under her own hand. These two accounts do not agree. Therefore\nwe must take it that one of the two is lying.\"", "When Lady Arabella had crept away in her usual noiseless fashion, the two\nothers remained for a while in their places on the turret roof: Caswall", "This was more than Lady Arabella's curious dual nature could stand--the\nghoulish element in her rose triumphant, and she abandoned all idea of\nmarriage with Edgar Caswall, gloating fiendishly over the thought of\nrevenge.", "Lady Arabella, who alone could have guessed, was now so absorbed in her\nmatrimonial pursuit of Edgar Caswall, that she had neither time nor", "It was thus that the negro became aware of Lady Arabella's venture into\nthe house, as she thought, unseen. He took more care than ever, since he", "\"Apparently, sir.\"\n\n\"And that Lady Arabella is the liar!\"\n\n\"Apparently--as I am not.\"", "back to the place from which he had got it. Then he concealed himself\nnear the iron door and waited, manifestly with the intent of remaining\nthere till someone came near. Presently Lady Arabella, moving", "was full of valuables, and that he believed that Lady Arabella had come\nto try to steal it. His purpose of using for his own advantage the", "when Lady Arabella, who had been gazing at him with fixed eyes, caught\nhis hand and tried to stop his movement. She was, however, unable to do", "Lady Arabella, but could not locate her. It was only when he saw the old-\nfashioned travelling carriage approach and heard the sound of cheering", "close to him, with the instinct of one used to such vermin. In an\ninstant he was alone beside the mound with Lady Arabella, who appeared", "\"We know, my boy,\" he said, \"that the unfortunate Lady Arabella is dead,\nand that the foul carcase of the Worm has been torn to pieces--pray God\nthat its evil soul will never more escape from the nethermost hell.\"" ], [ "study of him. He is a man who gets on well with niggers, and they open\ntheir hearts to him. It seems that this Oolanga is quite a great person", "Oolanga was dimly conscious that he was being flouted; but his anger was\nno less keen because of the measure of his ignorance. So he gave way to", "to tell Oolanga that he wanted to see him at once in the turret-room. The\nanswer came back that the African had not been seen since the previous\nevening.", "Forthwith she proceeded to tell him about Oolanga and his strange\nsuspicions of her honesty. Caswall laughed and made her explain all the\ndetails. His final comment was enlightening.", "Oolanga had his dreams like other men. In such cases he saw himself as a\nyoung sun-god, as beautiful as the eye of dusky or even white womanhood", "with him as they walked. When they got near Mercy, she turned and looked\naround her, expecting to see Oolanga or some sign of him. He was,", "noiselessly through the shade, approached the door. When he saw her\nclose enough to touch it, Oolanga stepped forward from his concealment,", "Oolanga came close behind Lady Arabella, and in a hushed voice, suitable\nto the importance of his task, and in deference to the respect he had for", "Lady Arabella's anger, now fully awake, was all for Oolanga. She moved\ntowards him with her hands extended, and had just seized him when the", "arranged for Oolanga to come to Lesser Hill the following day. At this\npoint Adam saw his way sufficiently clear to admit Davenport to some\nextent into his confidence. He had come to the conclusion that it would", "servant has plenty of opportunity of watching his betters and forming\nopinions regarding them. Oolanga was in his way a clever, unscrupulous", "Oolanga's awful shriek, and the hideous black face, now grown grey with\nterror, disappearing into the impenetrable gloom of the mysterious", "configuration as the outer door of the room where was the well-hole\nwherein Oolanga had disappeared. Something in the sight alarmed him, and", "of concealment near at hand Oolanga appeared, and came close to her. Adam\nnoticed, with surprised amusement, that over his shoulder was the box", "stone steps outside stood Oolanga, with the mongoose box slung over his\nshoulder. Lady Arabella stood a little on one side, and the African,", "\"We must, therefore, try to find a reason for her lying. She has nothing\nto fear from Oolanga, who is dead. Therefore the only reason which could", "deserted, so he took the opportunity of concealing himself near the spot\nwhence he had seen Oolanga trying to investigate whatever was concealed", "combination of these two ideas was seen later in the day. Oolanga\nsecretly followed her home. He was an expert at this game, and succeeded", "far side of the house, close to where the rocky frontage of the cliff\nfell away, he saw Oolanga crouched behind the irregular trunk of a great", "her an added terror that the black shadow of Oolanga, whom she dreaded,\nwould follow hard on his master. A load was lifted from her mind when he" ], [ "\"All shall be as you wish, Adam. And now as to what we are to do? We\ncannot murder Lady Arabella off-hand. Therefore we shall have to put", "over her should not pass. He felt, therefore, that the occasion was one\nfor extra carefulness in the watching of all that went on. Ever since he\nhad come to the conclusion that Lady Arabella was trying to steal the", "interested. He had agreed with Sir Nathaniel that they should not do\nanything with regard to the mystery of Lady Arabella's fear of the", "\"It is not merely that I love Mimi, but I have reason to look on Lady\nArabella as her enemy,\" Adam continued.\n\n\"Her enemy?\"", "suspected suicide, though no pistol was found near the body. He may have\ndiscovered something--God knows what!--so possibly Lady Arabella may\nherself have killed him. Putting together many small matters that have", "\"How, I know not; but I am beginning to have an idea.\"\n\n\"To her?\" asked Adam, in momentary consternation.\n\nSir Nathaniel shivered perceptibly.", "Sir Nathaniel had come to the conclusion that, for some reason which he\ndid not understand, Lady Arabella had changed her plans, and, for the", "\"That is a good argument, sir,\" Adam went on, \"but a dangerous one. If\nwe followed it out, it would lead us to believe that Lady Arabella is a\nsnake.\"", "a mysterious box, which he took to contain something valuable. Seeing\nthat Lady Arabella was secretly following Adam, he was confirmed in this", "was full of valuables, and that he believed that Lady Arabella had come\nto try to steal it. His purpose of using for his own advantage the", "Adam and Oolanga both had pistols; Lady Arabella, who had not one, was\nprobably the most ready of them all in the theory of shooting, but that", "back to the place from which he had got it. Then he concealed himself\nnear the iron door and waited, manifestly with the intent of remaining\nthere till someone came near. Presently Lady Arabella, moving", "Sir Nathaniel had been narrowly observing his hostess, and took the first\nopportunity afforded him of whispering to Adam:", "Arabella, who had caught sight of her leaving the house and had never\nagain lost touch with her. It was a case of the hunter being hunted. For", "\"To kill snakes!\"\n\nSir Nathaniel laughed.\n\n\"I heard Lady Arabella's invitation to you to come to Diana's Grove.\"", "When Lady Arabella had crept away in her usual noiseless fashion, the two\nothers remained for a while in their places on the turret roof: Caswall", "\"As God sees us, it is true; and you know it. You came to Mercy Farm on\npurpose to break her--if you could. And the accomplice of your guilt,\nLady Arabella March, came for the same purpose.\"", "Lady Arabella's anger, now fully awake, was all for Oolanga. She moved\ntowards him with her hands extended, and had just seized him when the", "alone with Lady Arabella he kept looking round him in a strange way, as\nthough trying to escape. When they had come out on the roadway Adam held", "\"Apparently, sir.\"\n\n\"And that Lady Arabella is the liar!\"\n\n\"Apparently--as I am not.\"" ], [ "\"My friend, you have no idea of that man's impudence. Would you believe\nthat he wants me to marry him?\"\n\n\"No!\" said Adam incredulously, amused in spite of himself.", "Adam's young bride was proud of her man, but she blanched at the thought\nof the ghastly White Worm. Adam saw this and at once reassured her.", "Adam read this over several times, and then, his mind being made up, he\nwent to Mimi and asked if she had any objection. She answered--after a", "themselves. Adam had a suspicion that, though she answered regretfully,\nshe was in reality relieved. When he had got into the carriage with the", "Adam, followed by Sir Nathaniel, rushed forward and joined her--Adam\ncatching his wife by the arm and holding her tight. It was well that he", "wife. But that was only the first step in their plans; before going\nfurther, however, Adam took his bride off to the Isle of Man. He wished", "\"How, I know not; but I am beginning to have an idea.\"\n\n\"To her?\" asked Adam, in momentary consternation.\n\nSir Nathaniel shivered perceptibly.", "twenty, the other not quite so old. So soon as Adam's eyes met those of\nthe younger girl, who stood nearest to him, some sort of electricity", "\"Then, my dear Adam, I need not wait to offer congratulations. She is\nindeed a very charming young lady. I do not think I ever saw a girl who", "Adam. All I have shall belong to you; and if love and good wishes, or\nthe memory of them, can make life sweeter, yours shall be a happy one.", "Since her marriage to Adam and their coming to stay at Doom Tower, Mimi\nhad been fettered by fear of the horrible monster at Diana's Grove. But", "Adam took her to her room and made her undress and get into bed, taking\ncare that the room was well lighted both by sunshine and lamps. The only", "\"I take it then, Adam, that at the right time I may be allowed to know\nwho the lady is?\"\n\nAdam laughed a low, sweet laugh, such as ripples from a happy heart.", "time become accustomed to him, and was willing to let himself be handled\nfreely. Adam lifted him up and put him on his shoulder and walked on.\nPresently he saw a lady advancing towards him, and recognised Lady", "\"And free it for ever from a monster,\" added Adam, as he left the room to\nfind his wife.\n\n\n\n\nCHAPTER XXV--THE LAST BATTLE", "Adam, from the moment of their eyes meeting, felt as if they were already\nfriends. The meeting was a new note of welcome to those that had already\nsounded in his ears.", "Adam, leaving his wife free to follow her own desires with regard to\nLilla and her grandfather, busied himself with filling the well-hole with", "Adam, appalled, drew his wife to him and held her close. As far as he\ncould estimate by the interval between lightning and thunder-clap, the", "\"Go on!\" said the other kindly. \"Tell me all, and count at any rate on\nmy sympathy, and on my approval and help if I can see my way.\"\n\nAccordingly Adam proceeded:", "Both his companions noticed how much Adam was taken by the pretty girl,\nand spoke of her to him in a way which made his heart warm to them." ], [ "Adam's young bride was proud of her man, but she blanched at the thought\nof the ghastly White Worm. Adam saw this and at once reassured her.", "She must lure him to the White Worm's hole--but how? She glanced around\nand quickly made up her mind. The man's whole thoughts were absorbed by", "CHAPTER V--THE WHITE WORM", "away up into the heart of the Peak. The White Worm, in her own proper\nshape, certainly has great facilities for the business on which she is", "Adam saw a medley of green and red lights blaze in a whirling circle, and\nas it sank down into the well, a pair of blazing green eyes became fixed,", "of fact somewhere. Could it be possible that some of them--all of them\nhad been mistaken, that there had been no White Worm at all? On either", "Adam held out the letter he was carrying. It was in a blazoned envelope.\n\n\"Ha!\" said Sir Nathaniel, \"from the White Worm! I expected something of\nthe kind.\"", "satisfied her that the White Worm in _propria persona_ was not visible.\nSo she sat down in the window-seat and enjoyed the pleasure of a full", "\"The White Worm--yes!\"\n\nAdam noticed that from now on, his friend never spoke of Lady Arabella\notherwise, except when he wished to divert the suspicion of others.", "Sir Nathaniel realised that Adam was right; the White Worm had no\nsupernatural powers and could not harm them until she discovered their\nhiding place. It was agreed, therefore, that the two men should go\ntogether.", "the room. All this is _a propos_ of a suggestion on my part that the\nwell-hole was a way by which the White Worm (whatever it was) went and", "\"Simply and solely because the snake or worm _was_ white. We are near\nthe county of Stafford, where the great industry of china-burning was", "come to my knowledge, I have come to the conclusion that the foul White\nWorm obtained control of her body, just as her soul was leaving its\nearthly tenement--that would explain the sudden revival of energy, the", "some masses of enormous bulk were forced up through the well-hole with\ninconceivable violence, and, suddenly expanding as they came into larger\nspace, disclosed sections of the White Worm which Adam and Sir Nathaniel", "which had been visible earlier. The worst parts were the great masses of\nthe flesh of the monstrous Worm, in all its red and sickening aspect.\nSuch fragments had been bad enough before, but now they were infinitely", "which we see is the vast bed of china clay through which the Worm\noriginally found its way down to its lair. I can catch the glint of the", "Then he rubbed his eyes in sheer amazement. Up the stone steps from the\nnarrow door by which he had entered, glided the white-clad figure of Lady", "She turned on him with blazing eyes, the green tint in them glowing like\nemeralds.", "had seen looking over the trees with its enormous eyes of emerald-green\nflickering like great lamps in a gale.", "She was clad as usual in tight-fitting white, which accentuated her thin,\nsinuous figure." ], [ "interest in the hope of a victory of his mesmeric powers, became a deep\nand settled purpose of revenge. The chief object of his animosity was,", "\"Yes. A rank and unscrupulous enemy who is bent on her destruction.\"\n\nSir Nathaniel went to the door, looked outside it and returned, locking\nit carefully behind him.", "For a time silence reigned, and the two stood looking fixedly at each\nother. Mimi was the first to speak.\n\n\"You murderer! Lilla is dead!\"", "CHAPTER XIX--AN ENEMY IN THE DARK", "her if need be. She stands in your way, and I hate her. Never take your\neyes off her. Never mind Lilla--she is afraid of you. You are already", "When a nigger suspects he is being laughed at, all the ferocity of his\nnature comes to the front; and this man was of the lowest kind.", "Then, quite unexpectedly, the negro noticed the presence of a third\nperson--Adam Salton! He pulled out a pistol and shot at him, happily", "been found in the fields, bleeding from open wounds. There have been\nother matters--many of them apparently trivial in themselves. Some\nsinister influence has been at work, and I admit that I have suspected", "human malignity. This being has enough evil in his face to frighten even\na strong man. It is little wonder that the sight of it put that poor\ngirl into a dead faint!\"", "Lady Arabella's anger, now fully awake, was all for Oolanga. She moved\ntowards him with her hands extended, and had just seized him when the", "\"It is not merely that I love Mimi, but I have reason to look on Lady\nArabella as her enemy,\" Adam continued.\n\n\"Her enemy?\"", "to fear there. They seem much more afraid of her than she of them.\" All\nthe same he began to beat on the ground with a stick which was lying", "hands. Their skins seemed damp and sticky, and they were covered all\nover with ants and other insects. They looked loathsome, so after a\nglance, he passed on.", "\"As God sees us, it is true; and you know it. You came to Mercy Farm on\npurpose to break her--if you could. And the accomplice of your guilt,\nLady Arabella March, came for the same purpose.\"", "Lady Arabella looked more than ever disdainful and was passing on; the\nmongoose jumped at her in a furious attack. Adam rushed forward with his", "Now the black eyebrows made a thick line across his face, under which his\neyes shone and glittered ominously. Mimi recognised the danger, and", "Again and again was the gesture repeated, the man falling back from her\nat each movement. Towards the door he retreated, she following. There", "\"There is only one other person whose good opinion she could wish to\nkeep--Edgar Caswall. He is the only one who fills the bill. Her lies", "His lust and greed were afire, while his vanity had been wounded to the\ncore. Lady Arabella's icy nature was not so deeply stirred, though she", "At first Edgar Caswall was courteous and polite, even thoughtful; but\nafter a little while, when he found her resistance to his domination" ], [ "full relationship by calling him by his Christian name. After a long\ntalk on affairs of interest, they retired to the cabin, which the elder\nwas to share. Richard Salton put his hands affectionately on the boy's", "admiration and willingness to learn from him. Accordingly the\nconversation, which began on the most friendly basis, soon warmed to an\ninterest above proof, as the old man spoke of it next day to Richard", "\"I understand, Adam, that your uncle has posted you regarding the\nrelationships of the Caswall family?\"\n\n\"Partly, sir; but I understood that I was to hear minuter details from\nyou--if you would be so good.\"", "The cordiality with which Sir Nathaniel and Adam met, made the imparting\nof information easy. Sir Nathaniel was a clever man of the world, who", "Adam spoke to his own man, Davenport, who was standing by, having arrived\nwith the bailiff of Lesser Hill, who had followed Mr. Salton in a pony", "than in youth. When they were both in the study, where Sir Nathaniel\nfollowed him, Adam at once began to tell his companion of what had", "contact with the inmates of his own house. It was with an immense sense\nof relief that Adam heard that his uncle had telegraphed to the", "Adam held out the letter he was carrying. It was in a blazoned envelope.\n\n\"Ha!\" said Sir Nathaniel, \"from the White Worm! I expected something of\nthe kind.\"", "Adam knocked at Sir Nathaniel's door in the grey of the morning, and, on\nbeing bidden, came into the room. He had several letters in his hand.\nSir Nathaniel sat up in bed.\n\n\"Well!\"", "\"That is all; but its history contains the histories of all the others--in\nfact, the whole history of early England.\" Sir Nathaniel, seeing the\nexpectant look on Adam's face, went on:", "\"Adam, I greatly fear that the time has come for us--for you and me, at\nall events--to speak out plainly to one another. Does not there seem\nsomething very mysterious about this?\"", "landing-stage. There his uncle introduced himself to Mr. Caswall, and\nfollowed this up by introducing Sir Nathaniel and then Adam. The new-", "twenty, the other not quite so old. So soon as Adam's eyes met those of\nthe younger girl, who stood nearest to him, some sort of electricity", "happened. Sir Nathaniel looked graver and graver as the narration\nproceeded, and when Adam had stopped he remained silent for several\nminutes, before speaking.", "\"Thank you, Adam, for that.\" The old, man's eyes filled and his voice\ntrembled. Then, after a long silence between them, he went on: \"When I", "\"Your narrative, my dear Adam, is altogether admirable. I think I may\nnow take it that we are both well versed in the actual facts, and that", "\"Go on!\" said the other kindly. \"Tell me all, and count at any rate on\nmy sympathy, and on my approval and help if I can see my way.\"\n\nAccordingly Adam proceeded:", "fact, your uncle is so old and dear a friend, that, with your permission,\nI shall drop formality with you altogether and speak of you and to you as\nAdam, as though you were his son.\"", "\"I came over early as you wished. I suppose this is your grand-nephew--I\nam glad to meet you, Mr. Adam Salton. I am Nathaniel de Salis, and your\nuncle is one of my oldest friends.\"", "Adam did so, and immediately shrank back as though his eyes had opened on\npressing danger. His companion set his mind at rest by saying in a low\nvoice:" ], [ "contact with the inmates of his own house. It was with an immense sense\nof relief that Adam heard that his uncle had telegraphed to the", "admiration and willingness to learn from him. Accordingly the\nconversation, which began on the most friendly basis, soon warmed to an\ninterest above proof, as the old man spoke of it next day to Richard", "The cordiality with which Sir Nathaniel and Adam met, made the imparting\nof information easy. Sir Nathaniel was a clever man of the world, who", "Adam knocked at Sir Nathaniel's door in the grey of the morning, and, on\nbeing bidden, came into the room. He had several letters in his hand.\nSir Nathaniel sat up in bed.\n\n\"Well!\"", "the older branch of the family with whom his people had long lost touch.\nSome interesting correspondence had ensued. Adam eagerly opened the\nletter which had only just arrived, and conveyed a cordial invitation to", "Adam held out the letter he was carrying. It was in a blazoned envelope.\n\n\"Ha!\" said Sir Nathaniel, \"from the White Worm! I expected something of\nthe kind.\"", "than in youth. When they were both in the study, where Sir Nathaniel\nfollowed him, Adam at once began to tell his companion of what had", "\"Adam, I greatly fear that the time has come for us--for you and me, at\nall events--to speak out plainly to one another. Does not there seem\nsomething very mysterious about this?\"", "\"Thank you, Adam, for that.\" The old, man's eyes filled and his voice\ntrembled. Then, after a long silence between them, he went on: \"When I", "full relationship by calling him by his Christian name. After a long\ntalk on affairs of interest, they retired to the cabin, which the elder\nwas to share. Richard Salton put his hands affectionately on the boy's", "\"I understand, Adam, that your uncle has posted you regarding the\nrelationships of the Caswall family?\"\n\n\"Partly, sir; but I understood that I was to hear minuter details from\nyou--if you would be so good.\"", "\"Go on!\" said the other kindly. \"Tell me all, and count at any rate on\nmy sympathy, and on my approval and help if I can see my way.\"\n\nAccordingly Adam proceeded:", "Adam spoke to his own man, Davenport, who was standing by, having arrived\nwith the bailiff of Lesser Hill, who had followed Mr. Salton in a pony", "\"I too, sir, would like to do something,\" replied Adam. \"I want to find\nout where Ross, the animal merchant, lives--I want to take a small animal", "Adam, from the moment of their eyes meeting, felt as if they were already\nfriends. The meeting was a new note of welcome to those that had already\nsounded in his ears.", "\"All right, sir.\" Adam was filled with curiosity, but he thought it\nbetter not to hurry matters. All would come in good time. Then the\nthree men returned home, leaving Mr. Caswall to spend the night in\nLiverpool.", "oak. The man was so intent on watching someone, or something, that he\ndid not guard against being himself watched. This suited Adam, for he\ncould thus make scrutiny at will.", "Old Mr. Salton was delighted when Adam's reply arrived and sent a groom\nhot-foot to his crony, Sir Nathaniel de Salis, to inform him that his\ngrand-nephew was due at Southampton on the twelfth of June.", "Adam took from his pocket Lady Arabella's letter, with the manifest\nintention of reading it, he did not make any comment. Finally, when Adam", "\"Adam, my boy,\" he said at last, \"this matter appears to me to be far\nmore serious even than you think. It forces me to break confidence with" ], [ "Arabella, who had caught sight of her leaving the house and had never\nagain lost touch with her. It was a case of the hunter being hunted. For", "Arabella, and instinctively drew back behind the curtain. When she had\nascertained, by peeping out several times, that the lady had not seen", "It was thus that the negro became aware of Lady Arabella's venture into\nthe house, as she thought, unseen. He took more care than ever, since he", "back to the place from which he had got it. Then he concealed himself\nnear the iron door and waited, manifestly with the intent of remaining\nthere till someone came near. Presently Lady Arabella, moving", "great snake, such as tradition pointed to living in the well-hole. In\nfine, therefore, Lady Arabella wanted the general belief to be that there", "Lady Arabella took in her hand a small key which hung at the end of her\nwatch-chain, and moved to a small door, low down, round the corner, and a", "close to him, with the instinct of one used to such vermin. In an\ninstant he was alone beside the mound with Lady Arabella, who appeared", "\"You feel sure that you saw Lady Arabella seize the negro round the neck,\nand drag him down with her into the hole?\"\n\n\"Absolutely certain, sir, otherwise I should have gone to her\nassistance.\"", "Mimi, trying to keep as far from him as possible, moved across the stone\nfloor of the turret roof, and found a niche which concealed her. It was\nnot far from Lady Arabella's place of hiding.", "Lady Arabella, crouching in the lobby behind the door, heard every word\nthat had been said, and formed her own opinion of it. It seemed evident", "Lady Arabella looked more than ever disdainful and was passing on; the\nmongoose jumped at her in a furious attack. Adam rushed forward with his", "When Lady Arabella had crept away in her usual noiseless fashion, the two\nothers remained for a while in their places on the turret roof: Caswall", "Lady Arabella was much surprised. She had not seen the negro for several\ndays, and had almost forgotten his existence. Oolanga would have been", "Arabella, the only colour to be seen on her being blood-marks on her face\nand hands and throat. Otherwise, she was calm and unruffled, as when", "Lady Arabella--that is why I questioned you so closely about the mongoose\nand its strange attack upon Lady Arabella. You will think it strange", "occasion of pouring it into the well-hole, which it will in time choke.\nThus Lady Arabella, in her guise of the White Worm, will find herself cut", "Lady Arabella; the other was the special mongoose which had already\nkilled the king-cobra in Nepaul. When both the animals had been safely", "Lady Arabella's anger, now fully awake, was all for Oolanga. She moved\ntowards him with her hands extended, and had just seized him when the", "or pause, the seething contents of the hole rose, after the manner of a\nbubbling spring, and Adam saw part of the thin form of Lady Arabella,", "Presently, however, he heard a light tap at his door, then the door\nopened slowly, and he could see the flash of Lady Arabella's white dress\nthrough the opening." ], [ "and the breach was soon made good. Adam was gathering the tools which he\nhad been using--which, after the manner of all workmen, had been\nscattered about--when he noticed that several black snakes had crawled", "Adam went quietly on with his breakfast. Killing a few snakes in a\nmorning was no new experience to him. He left the room the moment", "snakes. He did not seem to see Adam. No one was to be seen at Mercy\nexcept a few workmen in the farmyard, so, after waiting on the chance of", "\"Snakes,\" said Adam, helping himself to a grilled kidney.\n\n\"Four snakes. I don't understand.\"", "\"To kill snakes.\"\n\n\"Good!\" The old man remembered the mound of stones. No explanation was\nneeded.\n\nWhen Ross heard what was wanted, he asked:", "When Adam got back to Lesser Hill, he went to the coach-house where the\nbox with the mongoose was kept, and took it with him, intending to finish", "Adam had gone for an early morning survey of the place in which he was\ninterested, taking with him the mongoose in its box. He arrived at the", "\"Well, it's pleasant to be rid of them, big or little. That is a good\nmongoose, I am sure; he'll clear out all such vermin round here,\" said\nMr. Salton.", "He sniffed round as if he was enjoying the scent. The matter and manner\nof his speech were so revolting that instinctively Adam's hand wandered", "Adam put up a rough corrugated-iron shed behind the Grove, in which he\nstored his explosives. All being ready for his great attempt whenever", "\"That is a good argument, sir,\" Adam went on, \"but a dangerous one. If\nwe followed it out, it would lead us to believe that Lady Arabella is a\nsnake.\"", "it with a quick gliding motion. She was already among the snakes when he\ncalled out to warn her. But there seemed to be no need of warning. The", "at the Mound of Stone what he had begun the previous morning with regard\nto the extermination. He found that the snakes were even more easily\nattacked than on the previous day; no less than six were killed in the", "\"Now, from what you tell me, the negro had just come from the direction\nof Diana's Grove, carrying the dead snakes which the mongoose had killed\nthe previous morning. Might not the scent have been carried that way?\"", "When Adam got home, he put the mongoose in his box, and locked the door\nof the room. The other mongoose--the one from Nepaul--was safely locked", "Adam did so, and immediately shrank back as though his eyes had opened on\npressing danger. His companion set his mind at rest by saying in a low\nvoice:", "Then, quite unexpectedly, the negro noticed the presence of a third\nperson--Adam Salton! He pulled out a pistol and shot at him, happily", "\"Why, sir?\" said Adam. \"Is the killing of a mongoose--no matter by\nwhom--so serious a thing as all that?\"\n\nHis companion smoked on quietly for quite another few minutes before he\nspoke.", "When Adam got back to the carriage, carefully carrying the box with the\nmongoose, Sir Nathaniel said: \"Hullo! what have you got there?\"\n\n\"A mongoose.\"\n\n\"What for?\"", "blackness which had been around them. There was light enough to see by,\nthough not sufficient to distinguish things at a distance. Adam's eyes" ], [ "then to disappear. So long as that kite was flying overhead the birds\nlay low and the crop was saved. Accordingly Caswall ordered his men to", "Caswall said something in reply, but his words were carried away on the\nstorm. However, one of her objects was effected: she knew now exactly", "Caswall, and he to give back before her oncoming. Once again her\nvigorous passes drove him to the door. He was just going out backward", "answered to the flapping of the runner in a sort of hollow intermittent\nmurmur. Edgar Caswall, who was now wholly obsessed by the kite and all", "Caswall moved to the door leading to the turret stair by which the roof\nwas reached, and spoke in a peremptory way, whose tone alone made her\nfeel defiant.\n\n\"Come! I want you.\"", "Edgar Caswall tortured his brain for a long time unavailingly, to think\nof some means of getting rid of what he, as well as his neighbours, had", "Caswall was now so irritable that even this small thing upset him. As he\nwas distrait and wanted to talk to somebody, he sent for Simon Chester,", "The fact was that Edgar Caswall was, if not mad, close to the\nborder-line. Madness in its first stage--monomania--is a lack of", "\"Mr. Caswall,\" she said loudly, so as to make sure of being heard through\nthe blustering of the wind and the perpetual cracking of the electricity.", "on all sorts of questions. The nigger waited a while and then\ndisappeared as on the other occasion. Mr. Caswall's eyes were as usual", "Caswall of Castra Regis, who arrives home from Africa to-day. It is a\nnotable home-coming; all the countryside want to do him honour.\" She", "followed closely by the negro, who was puffing hard as if he had been\nrunning--so it was probably he who watched. Mr. Caswall was very cool", "There is, or used to be, a belief in this part of the world that the\nCaswall family had some strange power of making the wills of other", "the farmhouse. She did not approve of the personality of Edgar Caswall,\nand his struggle with Mimi had frightened her; but he was unmistakably an", "Caswall, who had never before seen any of these things, except those\nwhich he had collected himself, found a constant amusement and interest", "When Caswall asked him to describe what he had seen when the chest was\nopen, he got very agitated, and, despite all his efforts to remain calm,", "was ajar, and the light from within showed brilliantly through the\nopening. She saw Edgar Caswall walking restlessly to and fro in the\nroom, with his hands clasped behind his back. She opened the door", "Edgar Caswall sat in the gloom of the great room, occasionally stirred to\ncuriosity when the drifting clouds allowed a little light to fall from", "In the early days of this amusement Edgar Caswall spent hours. Hundreds\nof such messengers flew along the string, until soon he bethought him of", "When Lady Arabella had crept away in her usual noiseless fashion, the two\nothers remained for a while in their places on the turret roof: Caswall" ], [ "Sir Nathaniel realised that Adam was right; the White Worm had no\nsupernatural powers and could not harm them until she discovered their\nhiding place. It was agreed, therefore, that the two men should go\ntogether.", "Adam held out the letter he was carrying. It was in a blazoned envelope.\n\n\"Ha!\" said Sir Nathaniel, \"from the White Worm! I expected something of\nthe kind.\"", "Adam's young bride was proud of her man, but she blanched at the thought\nof the ghastly White Worm. Adam saw this and at once reassured her.", "\"The White Worm--yes!\"\n\nAdam noticed that from now on, his friend never spoke of Lady Arabella\notherwise, except when he wished to divert the suspicion of others.", "She must lure him to the White Worm's hole--but how? She glanced around\nand quickly made up her mind. The man's whole thoughts were absorbed by", "CHAPTER V--THE WHITE WORM", "of fact somewhere. Could it be possible that some of them--all of them\nhad been mistaken, that there had been no White Worm at all? On either", "some masses of enormous bulk were forced up through the well-hole with\ninconceivable violence, and, suddenly expanding as they came into larger\nspace, disclosed sections of the White Worm which Adam and Sir Nathaniel", "\"Well, I have vowed to destroy that White Worm, and my being able to do\nwhatever I may choose with the Lair would facilitate matters and avoid\ncomplications.\"", "\"All shall be as you wish, Adam. And now as to what we are to do? We\ncannot murder Lady Arabella off-hand. Therefore we shall have to put", "Nathaniel had been expecting the White Worm's vengeance to fall upon\nthemselves.", "Worm, but Adam reassured him.", "\"We know, my boy,\" he said, \"that the unfortunate Lady Arabella is dead,\nand that the foul carcase of the Worm has been torn to pieces--pray God\nthat its evil soul will never more escape from the nethermost hell.\"", "THE LAIR OF THE WHITE WORM\n\n\nTo my friend Bertha Nicoll with affectionate esteem.\n\n\n\n\nCHAPTER I--ADAM SALTON ARRIVES", "away up into the heart of the Peak. The White Worm, in her own proper\nshape, certainly has great facilities for the business on which she is", "\"Why, sir?\" said Adam. \"Is the killing of a mongoose--no matter by\nwhom--so serious a thing as all that?\"\n\nHis companion smoked on quietly for quite another few minutes before he\nspoke.", "come to my knowledge, I have come to the conclusion that the foul White\nWorm obtained control of her body, just as her soul was leaving its\nearthly tenement--that would explain the sudden revival of energy, the", "Adam put up a rough corrugated-iron shed behind the Grove, in which he\nstored his explosives. All being ready for his great attempt whenever", "by the lady who was attacked by the mongoose was 'The Lair of the White\nWorm.' If any of these things be so, our difficulties have multiplied", "Adam did so, and immediately shrank back as though his eyes had opened on\npressing danger. His companion set his mind at rest by saying in a low\nvoice:" ], [ "Sir Nathaniel realised that Adam was right; the White Worm had no\nsupernatural powers and could not harm them until she discovered their\nhiding place. It was agreed, therefore, that the two men should go\ntogether.", "CHAPTER V--THE WHITE WORM", "She must lure him to the White Worm's hole--but how? She glanced around\nand quickly made up her mind. The man's whole thoughts were absorbed by", "Adam's young bride was proud of her man, but she blanched at the thought\nof the ghastly White Worm. Adam saw this and at once reassured her.", "\"The White Worm--yes!\"\n\nAdam noticed that from now on, his friend never spoke of Lady Arabella\notherwise, except when he wished to divert the suspicion of others.", "Adam held out the letter he was carrying. It was in a blazoned envelope.\n\n\"Ha!\" said Sir Nathaniel, \"from the White Worm! I expected something of\nthe kind.\"", "of fact somewhere. Could it be possible that some of them--all of them\nhad been mistaken, that there had been no White Worm at all? On either", "\"We know, my boy,\" he said, \"that the unfortunate Lady Arabella is dead,\nand that the foul carcase of the Worm has been torn to pieces--pray God\nthat its evil soul will never more escape from the nethermost hell.\"", "away up into the heart of the Peak. The White Worm, in her own proper\nshape, certainly has great facilities for the business on which she is", "\"Well, I have vowed to destroy that White Worm, and my being able to do\nwhatever I may choose with the Lair would facilitate matters and avoid\ncomplications.\"", "The Worm is already master of all the elements except fire--and I do not\nsee how fire can be used for the attack. It has only to sink into the", "\"Simply and solely because the snake or worm _was_ white. We are near\nthe county of Stafford, where the great industry of china-burning was", "control of this ghastly White Worm.\"", "romance than the Roman name. In Mercian tongue it was 'The Lair of the\nWhite Worm.' This needs a word of explanation at the beginning.", "satisfied her that the White Worm in _propria persona_ was not visible.\nSo she sat down in the window-seat and enjoyed the pleasure of a full", "some masses of enormous bulk were forced up through the well-hole with\ninconceivable violence, and, suddenly expanding as they came into larger\nspace, disclosed sections of the White Worm which Adam and Sir Nathaniel", "by the lady who was attacked by the mongoose was 'The Lair of the White\nWorm.' If any of these things be so, our difficulties have multiplied", "come to my knowledge, I have come to the conclusion that the foul White\nWorm obtained control of her body, just as her soul was leaving its\nearthly tenement--that would explain the sudden revival of energy, the", "moments with an appearance of unconcern. In all probability, nothing\nrequiring such care will occur. The White Worm will not try force,", "occasion of pouring it into the well-hole, which it will in time choke.\nThus Lady Arabella, in her guise of the White Worm, will find herself cut" ], [ "\"You feel sure that you saw Lady Arabella seize the negro round the neck,\nand drag him down with her into the hole?\"\n\n\"Absolutely certain, sir, otherwise I should have gone to her\nassistance.\"", "\"We know, my boy,\" he said, \"that the unfortunate Lady Arabella is dead,\nand that the foul carcase of the Worm has been torn to pieces--pray God\nthat its evil soul will never more escape from the nethermost hell.\"", "suspected suicide, though no pistol was found near the body. He may have\ndiscovered something--God knows what!--so possibly Lady Arabella may\nherself have killed him. Putting together many small matters that have", "Arabella, who had caught sight of her leaving the house and had never\nagain lost touch with her. It was a case of the hunter being hunted. For", "Lady Arabella's anger, now fully awake, was all for Oolanga. She moved\ntowards him with her hands extended, and had just seized him when the", "close to him, with the instinct of one used to such vermin. In an\ninstant he was alone beside the mound with Lady Arabella, who appeared", "It was thus that the negro became aware of Lady Arabella's venture into\nthe house, as she thought, unseen. He took more care than ever, since he", "back to the place from which he had got it. Then he concealed himself\nnear the iron door and waited, manifestly with the intent of remaining\nthere till someone came near. Presently Lady Arabella, moving", "Arabella, the only colour to be seen on her being blood-marks on her face\nand hands and throat. Otherwise, she was calm and unruffled, as when", "When Lady Arabella had crept away in her usual noiseless fashion, the two\nothers remained for a while in their places on the turret roof: Caswall", "when Lady Arabella, who had been gazing at him with fixed eyes, caught\nhis hand and tried to stop his movement. She was, however, unable to do", "over her should not pass. He felt, therefore, that the occasion was one\nfor extra carefulness in the watching of all that went on. Ever since he\nhad come to the conclusion that Lady Arabella was trying to steal the", "Lady Arabella felt that it was well she was within reach of help, or he\nmight have offered her brutal violence--even have killed her.", "Lady Arabella looked more than ever disdainful and was passing on; the\nmongoose jumped at her in a furious attack. Adam rushed forward with his", "or pause, the seething contents of the hole rose, after the manner of a\nbubbling spring, and Adam saw part of the thin form of Lady Arabella,", "Arabella, and instinctively drew back behind the curtain. When she had\nascertained, by peeping out several times, that the lady had not seen", "was full of valuables, and that he believed that Lady Arabella had come\nto try to steal it. His purpose of using for his own advantage the", "\"All shall be as you wish, Adam. And now as to what we are to do? We\ncannot murder Lady Arabella off-hand. Therefore we shall have to put", "Silent-footed as he was, Lady Arabella heard him coming, and turned to\nmeet him. It was somewhat hard to see in the gloom, for, as usual, he", "out from the heap of stones and were gathering round him. This naturally\noccupied his mind, and he was not thinking of anything else when he\nnoticed Lady Arabella, who had opened the door of the carriage, slip from" ], [ "But, my dear boy, you must remember that all this took place thousands of\nyears ago. You must remember, too, that all records of the kind that", "At a little before seven Adam stole softly out of the house and took the\nback-way to the rear of Diana's Grove. The place seemed silent and", "\"That is so, sir. I suppose I had better begin by telling you all I\nknow--all that has happened since I left you yesterday?\"", "orders being shouted out, doors shutting, and somewhere, seemingly far\nback in the house, a strange noise. Every nerve of the horses was\nstrained as they dashed recklessly along the road. The two men held Mimi", "happened. Sir Nathaniel looked graver and graver as the narration\nproceeded, and when Adam had stopped he remained silent for several\nminutes, before speaking.", "more, so upset him that he had fainted. When he recovered, the chest was\nclosed. From that time the then Mr. Edgar had never spoken about it\nagain.", "place at such a time, and to all lesser considerations, and made up her\nmind to forestall them. She stealthily and noiselessly crept through the", "He was home just as the clocks were striking six. He was pale and upset,\nbut otherwise looked strong and alert. The old man summed up his\nappearance and manner thus: \"Braced up for battle.\"", "anxious, and the time passed slowly. The only comfort was the arrival\nthe next morning of a strong packing case, locked, from Ross, the key", "Adam felt that he could tell his story best on the spot. The absolute\ndestruction of the place and everything in it seen in the broad daylight", "CHAPTER X--THE KITE\n\n\nOn the following day, a little after four o'clock, Adam set out for\nMercy.", "than in youth. When they were both in the study, where Sir Nathaniel\nfollowed him, Adam at once began to tell his companion of what had", "again, and slept for a long time. He awoke hungry and made a hearty\nmeal. Then towards evening, having locked himself in, he fell asleep", "\"Tell us all about it, Adam. There are still a few minutes before\ndinner, and we shall all have better appetites when we have come to some\nconclusion on this matter.\"", "she was less than a year old. His wife died on the same day. She is a\ngood girl--as good as she is pretty. The other is her first cousin, the", "\"Won't you tell me now--I see we cannot be overheard--and if anything\nstrikes you as we go along, just run it in. I shall understand.\"\n\nSo old Salton spoke:", "\"So much for the fortified heights; but the hollows too have their own\nstory. But how the time passes! We must hurry home, or your uncle will\nwonder what has become of us.\"", "They found him at a place where the avenue widened so as to let carriages\npass each other. The little creature seemed quite changed. He had been", "They said no more on the subject till after dinner, when they were\nensconced in Sir Nathaniel's study, which was on the top storey. Doom", "March would put this right. However, it was not a happy marriage, and\neventually her husband was found shot through the head. I have always" ], [ "Old Mr. Salton was delighted when Adam's reply arrived and sent a groom\nhot-foot to his crony, Sir Nathaniel de Salis, to inform him that his\ngrand-nephew was due at Southampton on the twelfth of June.", "Adam Salton sauntered into the Empire Club, Sydney, and found awaiting\nhim a letter from his grand-uncle. He had first heard from the old", "shown by a letter which she wrote later in the day to Adam Salton, and\nsent to him by hand. It ran as follows:", "Watfords knew all about Adam Salton, his relationship, circumstances, and\nprospects. So it would have been strange indeed if both girls did not\ndream of possibilities of the future. In agricultural England, eligible", "Salton. He knew already that his old friend wanted his grand-nephew to\nlearn all he could of the subject in hand, and so had during his journey", "full relationship by calling him by his Christian name. After a long\ntalk on affairs of interest, they retired to the cabin, which the elder\nwas to share. Richard Salton put his hands affectionately on the boy's", "\"I came over early as you wished. I suppose this is your grand-nephew--I\nam glad to meet you, Mr. Adam Salton. I am Nathaniel de Salis, and your\nuncle is one of my oldest friends.\"", "gentleman less than a year before, when Richard Salton had claimed\nkinship, stating that he had been unable to write earlier, as he had", "Adam spoke to his own man, Davenport, who was standing by, having arrived\nwith the bailiff of Lesser Hill, who had followed Mr. Salton in a pony", "Adam Salton followed the line of the Brow, and refreshed his memory as to\nthe various localities. He got home to Lesser Hill just as Sir Nathaniel", "\"Is Mr. Adam Salton in?\" she asked.\n\n\"He has just come in, a few minutes ago. He has gone up to the study,\"\nreplied a servant.", "looked at the old men and quickly made up her mind as to the identity of\nthe stranger. \"You must be Mr. Adam Salton of Lesser Hill. I am Lady", "When old Mr. Salton had retired for the night, Adam and Sir Nathaniel\nreturned to the study. Things went with great regularity at Lesser Hill,\nso they knew that there would be no interruption to their talk.", "From his wife's room Adam Salton went straight to the study in the tower,\nwhere he knew Sir Nathaniel would be at that hour. The old man was", "Then, quite unexpectedly, the negro noticed the presence of a third\nperson--Adam Salton! He pulled out a pistol and shot at him, happily", "Adam Salton, from his hiding-place, saw and wondered. In a few minutes\nhe moved from his place and went home to Lesser Hill, fully determined\nthat seven o'clock would find him in some hidden place behind Diana's\nGrove.", "\"I think we ought to be moving,\" Mr. Salton said to Adam. \"I have some\nthings to do in Liverpool, and I am sure that both Mr. Caswall and Lady\nArabella would like to get under weigh for Castra Regis.\"", "Adam knocked at Sir Nathaniel's door in the grey of the morning, and, on\nbeing bidden, came into the room. He had several letters in his hand.\nSir Nathaniel sat up in bed.\n\n\"Well!\"", "Mr. Salton introduced Adam to Mr. Watford and his grand-daughters, and\nthey all moved on together. Of course neighbours in the position of the", "contact with the inmates of his own house. It was with an immense sense\nof relief that Adam heard that his uncle had telegraphed to the" ], [ "Adam Salton, from his hiding-place, saw and wondered. In a few minutes\nhe moved from his place and went home to Lesser Hill, fully determined\nthat seven o'clock would find him in some hidden place behind Diana's\nGrove.", "From his wife's room Adam Salton went straight to the study in the tower,\nwhere he knew Sir Nathaniel would be at that hour. The old man was", "Adam Salton followed the line of the Brow, and refreshed his memory as to\nthe various localities. He got home to Lesser Hill just as Sir Nathaniel", "When old Mr. Salton had retired for the night, Adam and Sir Nathaniel\nreturned to the study. Things went with great regularity at Lesser Hill,\nso they knew that there would be no interruption to their talk.", "His bed saw little of Adam Salton for the remainder of that night. He\nand Mimi walked hand in hand in the brightening dawn round by the Brow to", "Adam spoke to his own man, Davenport, who was standing by, having arrived\nwith the bailiff of Lesser Hill, who had followed Mr. Salton in a pony", "Old Mr. Salton was delighted when Adam's reply arrived and sent a groom\nhot-foot to his crony, Sir Nathaniel de Salis, to inform him that his\ngrand-nephew was due at Southampton on the twelfth of June.", "When the dusk began to thicken, Mr. Salton and Sir Nathaniel walked\nhome--the trap had been sent away early in the day--leaving Adam to", "Mr. Salton introduced Adam to Mr. Watford and his grand-daughters, and\nthey all moved on together. Of course neighbours in the position of the", "\"I think we ought to be moving,\" Mr. Salton said to Adam. \"I have some\nthings to do in Liverpool, and I am sure that both Mr. Caswall and Lady\nArabella would like to get under weigh for Castra Regis.\"", "Adam Salton went for a walk before returning to Lesser Hill; he felt that\nit might be well, not only to steady his nerves, shaken by the horrible", "\"Is Mr. Adam Salton in?\" she asked.\n\n\"He has just come in, a few minutes ago. He has gone up to the study,\"\nreplied a servant.", "shown by a letter which she wrote later in the day to Adam Salton, and\nsent to him by hand. It ran as follows:", "looked at the old men and quickly made up her mind as to the identity of\nthe stranger. \"You must be Mr. Adam Salton of Lesser Hill. I am Lady", "Adam Salton sauntered into the Empire Club, Sydney, and found awaiting\nhim a letter from his grand-uncle. He had first heard from the old", "\"All right, sir.\" Adam was filled with curiosity, but he thought it\nbetter not to hurry matters. All would come in good time. Then the\nthree men returned home, leaving Mr. Caswall to spend the night in\nLiverpool.", "Then, quite unexpectedly, the negro noticed the presence of a third\nperson--Adam Salton! He pulled out a pistol and shot at him, happily", "They spent the night at Cheltenham, and on the following morning resumed\ntheir journey to Stafford. Adam's eyes were in constant employment, and", "\"Adam, there are three of us.\" Salton looked at his old friend as he\nspoke, and that old friend's eyes blazed.\n\n\"Ay, three of us,\" he said, and his voice rang.", "\"I came over early as you wished. I suppose this is your grand-nephew--I\nam glad to meet you, Mr. Adam Salton. I am Nathaniel de Salis, and your\nuncle is one of my oldest friends.\"" ], [ "Mesmer. The trunk has been kept in my room for safety; but I shall send\nit down here now.\"", "author goes into the question of the close association of the then Edgar\nCaswall with Mesmer in Paris. He speaks of Caswall being a pupil and the", "earliest times some extraordinary mesmeric or hypnotic faculty. Indeed,\na skilled eye could read so much in their physiognomy. That shot of", "CHAPTER XI--MESMER'S CHEST", "more nervous she grew, the harder Mr. Caswall stared. It was evident to\nme that he had come prepared for some sort of mesmeric or hypnotic", "fellow worker of Mesmer, and states that though, when the latter left\nFrance, he took away with him a vast quantity of philosophical and\nelectric instruments, he was never known to use them again. He once made", "\"Oh, sir, I entreat you not to touch it. That trunk probably contains\nsecrets which Dr. Mesmer told my master. Told them to his ruin!\"\n\n\"How do you mean? What ruin?\"", "wished to help and support him. The moment when she had gone across the\nroom to stand beside him in his mesmeric struggle, had been the very", "One day he made a discovery in Mesmer's chest which he thought he would\nutilise with regard to the runners. This was a great length of wire,", "impregnated with some mysterious quality, partly hypnotic, partly\nmesmeric, which seems to take away from eyes that meet them all power of", "momentarily revealed to her, as they passed out, Edgar's face,\nconcentrated as it was whenever he intended to use his mesmeric power.", "interest in the hope of a victory of his mesmeric powers, became a deep\nand settled purpose of revenge. The chief object of his animosity was,", "the mystery which surrounded him. And in this frame of mind, sleep made\nanother and more successful essay. This time he enjoyed peaceful\nslumber, restful alike to his wearied body and his overwrought brain.", "mysterious treasures of his house, especially Mesmer's chest. He sat\nmuch on the roof of the tower, brooding over his thwarted passion. The", "consciousness, and without any special act of will she stood up. She lit\na lamp and looked at her cousin. There was no doubt that Lilla was dead;", "There was silence in the room, during which the twilight stole on\nimperceptibly. It was Adam who again broke the silence.\n\n\"Do you know, uncle, if we have any second sight in our family?\"", "\"Adam, I greatly fear that the time has come for us--for you and me, at\nall events--to speak out plainly to one another. Does not there seem\nsomething very mysterious about this?\"", "of doubt and inability to believe in the reality of things, though it had\nnot affected him to the same extent. The idea, however, that his wife", "mainly of metal and glass--great pieces in strange forms--on another\ntable. He was conscious of being still asleep, and of acting rather in\nobedience to some unseen and unknown command than in accordance with any", "back to the place from which he had got it. Then he concealed himself\nnear the iron door and waited, manifestly with the intent of remaining\nthere till someone came near. Presently Lady Arabella, moving" ], [ "and the breach was soon made good. Adam was gathering the tools which he\nhad been using--which, after the manner of all workmen, had been\nscattered about--when he noticed that several black snakes had crawled", "Adam went quietly on with his breakfast. Killing a few snakes in a\nmorning was no new experience to him. He left the room the moment", "snakes. He did not seem to see Adam. No one was to be seen at Mercy\nexcept a few workmen in the farmyard, so, after waiting on the chance of", "\"To kill snakes.\"\n\n\"Good!\" The old man remembered the mound of stones. No explanation was\nneeded.\n\nWhen Ross heard what was wanted, he asked:", "\"Snakes,\" said Adam, helping himself to a grilled kidney.\n\n\"Four snakes. I don't understand.\"", "at the Mound of Stone what he had begun the previous morning with regard\nto the extermination. He found that the snakes were even more easily\nattacked than on the previous day; no less than six were killed in the", "\"Well, it's pleasant to be rid of them, big or little. That is a good\nmongoose, I am sure; he'll clear out all such vermin round here,\" said\nMr. Salton.", "it with a quick gliding motion. She was already among the snakes when he\ncalled out to warn her. But there seemed to be no need of warning. The", "blackness which had been around them. There was light enough to see by,\nthough not sufficient to distinguish things at a distance. Adam's eyes", "When Adam got back to Lesser Hill, he went to the coach-house where the\nbox with the mongoose was kept, and took it with him, intending to finish", "Adam did so, and immediately shrank back as though his eyes had opened on\npressing danger. His companion set his mind at rest by saying in a low\nvoice:", "Adam put up a rough corrugated-iron shed behind the Grove, in which he\nstored his explosives. All being ready for his great attempt whenever", "\"Now, from what you tell me, the negro had just come from the direction\nof Diana's Grove, carrying the dead snakes which the mongoose had killed\nthe previous morning. Might not the scent have been carried that way?\"", "Of the house as such, there was, even at the short distance from which\nthey looked, no trace. Adam resolutely turned his back on the", "\"That is a good argument, sir,\" Adam went on, \"but a dangerous one. If\nwe followed it out, it would lead us to believe that Lady Arabella is a\nsnake.\"", "Adam had gone for an early morning survey of the place in which he was\ninterested, taking with him the mongoose in its box. He arrived at the", "clear. He pointed with a sweeping gesture, as though calling Adam's\nattention to the extent of the view. Having done so, he covered the", "\"Why, sir?\" said Adam. \"Is the killing of a mongoose--no matter by\nwhom--so serious a thing as all that?\"\n\nHis companion smoked on quietly for quite another few minutes before he\nspoke.", "At a little before seven Adam stole softly out of the house and took the\nback-way to the rear of Diana's Grove. The place seemed silent and", "a record of his own. He killed a king cobra that had been seen in the\nRajah's garden. But I don't suppose we have any snakes of the kind in" ], [ "Lady Arabella's anger, now fully awake, was all for Oolanga. She moved\ntowards him with her hands extended, and had just seized him when the", "Oolanga came close behind Lady Arabella, and in a hushed voice, suitable\nto the importance of his task, and in deference to the respect he had for", "Lady Arabella was much surprised. She had not seen the negro for several\ndays, and had almost forgotten his existence. Oolanga would have been", "Adam and Oolanga both had pistols; Lady Arabella, who had not one, was\nprobably the most ready of them all in the theory of shooting, but that", "Forthwith she proceeded to tell him about Oolanga and his strange\nsuspicions of her honesty. Caswall laughed and made her explain all the\ndetails. His final comment was enlightening.", "stone steps outside stood Oolanga, with the mongoose box slung over his\nshoulder. Lady Arabella stood a little on one side, and the African,", "Arabella, the only colour to be seen on her being blood-marks on her face\nand hands and throat. Otherwise, she was calm and unruffled, as when", "suspected suicide, though no pistol was found near the body. He may have\ndiscovered something--God knows what!--so possibly Lady Arabella may\nherself have killed him. Putting together many small matters that have", "Arabella, who had caught sight of her leaving the house and had never\nagain lost touch with her. It was a case of the hunter being hunted. For", "It was thus that the negro became aware of Lady Arabella's venture into\nthe house, as she thought, unseen. He took more care than ever, since he", "in some form ostensibly human. Lady Arabella and Oolanga arrived almost\nsimultaneously, and Adam was surprised to notice what effect their", "Oolanga was dimly conscious that he was being flouted; but his anger was\nno less keen because of the measure of his ignorance. So he gave way to", "study of him. He is a man who gets on well with niggers, and they open\ntheir hearts to him. It seems that this Oolanga is quite a great person", "the well-hole. In another instant she had seized Oolanga, and with a\nswift rush had drawn him, her white arms encircling him, down with her\ninto the gaping aperture.", "\"We must, therefore, try to find a reason for her lying. She has nothing\nto fear from Oolanga, who is dead. Therefore the only reason which could", "then presently break up--Adam Salton going one way, and Lady Arabella,\nfollowed by the nigger, another. Then Oolanga disappeared amongst the", "combination of these two ideas was seen later in the day. Oolanga\nsecretly followed her home. He was an expert at this game, and succeeded", "over her should not pass. He felt, therefore, that the occasion was one\nfor extra carefulness in the watching of all that went on. Ever since he\nhad come to the conclusion that Lady Arabella was trying to steal the", "to tell Oolanga that he wanted to see him at once in the turret-room. The\nanswer came back that the African had not been seen since the previous\nevening.", "of concealment near at hand Oolanga appeared, and came close to her. Adam\nnoticed, with surprised amusement, that over his shoulder was the box" ], [ "\"Adam, there are three of us.\" Salton looked at his old friend as he\nspoke, and that old friend's eyes blazed.\n\n\"Ay, three of us,\" he said, and his voice rang.", "Adam spoke to his own man, Davenport, who was standing by, having arrived\nwith the bailiff of Lesser Hill, who had followed Mr. Salton in a pony", "\"I think we ought to be moving,\" Mr. Salton said to Adam. \"I have some\nthings to do in Liverpool, and I am sure that both Mr. Caswall and Lady\nArabella would like to get under weigh for Castra Regis.\"", "who studiously kept out of his way. Adam Salton simply marked time,\nkeeping ready to deal with anything that might affect his friends. He", "Mr. Salton introduced Adam to Mr. Watford and his grand-daughters, and\nthey all moved on together. Of course neighbours in the position of the", "with Mimi Salton, despite her unselfish, unchanging devotion for those\nshe loved. So it was even with Lady Arabella, who, under the instincts", "Lady Arabella to support him--Oolanga being absent; but Mimi lacked the\nsupport of Adam Salton, which had been of such effective service before.", "Lady Arabella had instructed her solicitors to hurry on with the\nconveyance of Diana's Grove, so no time was lost in letting Adam Salton", "Then, quite unexpectedly, the negro noticed the presence of a third\nperson--Adam Salton! He pulled out a pistol and shot at him, happily", "full relationship by calling him by his Christian name. After a long\ntalk on affairs of interest, they retired to the cabin, which the elder\nwas to share. Richard Salton put his hands affectionately on the boy's", "His bed saw little of Adam Salton for the remainder of that night. He\nand Mimi walked hand in hand in the brightening dawn round by the Brow to", "When old Mr. Salton had retired for the night, Adam and Sir Nathaniel\nreturned to the study. Things went with great regularity at Lesser Hill,\nso they knew that there would be no interruption to their talk.", "Watfords knew all about Adam Salton, his relationship, circumstances, and\nprospects. So it would have been strange indeed if both girls did not\ndream of possibilities of the future. In agricultural England, eligible", "Adam Salton followed the line of the Brow, and refreshed his memory as to\nthe various localities. He got home to Lesser Hill just as Sir Nathaniel", "From his wife's room Adam Salton went straight to the study in the tower,\nwhere he knew Sir Nathaniel would be at that hour. The old man was", "Arabella March of Diana's Grove.\" As she spoke she turned slightly to\nMr. Salton, who took the hint and made a formal introduction.", "Salton. He knew already that his old friend wanted his grand-nephew to\nlearn all he could of the subject in hand, and so had during his journey", "Old Mr. Salton was delighted when Adam's reply arrived and sent a groom\nhot-foot to his crony, Sir Nathaniel de Salis, to inform him that his\ngrand-nephew was due at Southampton on the twelfth of June.", "shown by a letter which she wrote later in the day to Adam Salton, and\nsent to him by hand. It ran as follows:", "With his friend's aid, Adam secured the property without loss of time.\nThen he went to see his uncle, and told him about it. Mr. Salton was" ], [ "\"I came over early as you wished. I suppose this is your grand-nephew--I\nam glad to meet you, Mr. Adam Salton. I am Nathaniel de Salis, and your\nuncle is one of my oldest friends.\"", "Sir Nathaniel had been narrowly observing his hostess, and took the first\nopportunity afforded him of whispering to Adam:", "over her should not pass. He felt, therefore, that the occasion was one\nfor extra carefulness in the watching of all that went on. Ever since he\nhad come to the conclusion that Lady Arabella was trying to steal the", "interested. He had agreed with Sir Nathaniel that they should not do\nanything with regard to the mystery of Lady Arabella's fear of the", "\"How, I know not; but I am beginning to have an idea.\"\n\n\"To her?\" asked Adam, in momentary consternation.\n\nSir Nathaniel shivered perceptibly.", "a mysterious box, which he took to contain something valuable. Seeing\nthat Lady Arabella was secretly following Adam, he was confirmed in this", "From his wife's room Adam Salton went straight to the study in the tower,\nwhere he knew Sir Nathaniel would be at that hour. The old man was", "Old Mr. Salton was delighted when Adam's reply arrived and sent a groom\nhot-foot to his crony, Sir Nathaniel de Salis, to inform him that his\ngrand-nephew was due at Southampton on the twelfth of June.", "Sir Nathaniel had come to the conclusion that, for some reason which he\ndid not understand, Lady Arabella had changed her plans, and, for the", "Watfords knew all about Adam Salton, his relationship, circumstances, and\nprospects. So it would have been strange indeed if both girls did not\ndream of possibilities of the future. In agricultural England, eligible", "When old Mr. Salton had retired for the night, Adam and Sir Nathaniel\nreturned to the study. Things went with great regularity at Lesser Hill,\nso they knew that there would be no interruption to their talk.", "\"That is a good argument, sir,\" Adam went on, \"but a dangerous one. If\nwe followed it out, it would lead us to believe that Lady Arabella is a\nsnake.\"", "The cordiality with which Sir Nathaniel and Adam met, made the imparting\nof information easy. Sir Nathaniel was a clever man of the world, who", "\"It is not merely that I love Mimi, but I have reason to look on Lady\nArabella as her enemy,\" Adam continued.\n\n\"Her enemy?\"", "Arabella, who had caught sight of her leaving the house and had never\nagain lost touch with her. It was a case of the hunter being hunted. For", "suspected suicide, though no pistol was found near the body. He may have\ndiscovered something--God knows what!--so possibly Lady Arabella may\nherself have killed him. Putting together many small matters that have", "looked at the old men and quickly made up her mind as to the identity of\nthe stranger. \"You must be Mr. Adam Salton of Lesser Hill. I am Lady", "When Lady Arabella had crept away in her usual noiseless fashion, the two\nothers remained for a while in their places on the turret roof: Caswall", "\"All shall be as you wish, Adam. And now as to what we are to do? We\ncannot murder Lady Arabella off-hand. Therefore we shall have to put", "Lady Arabella had instructed her solicitors to hurry on with the\nconveyance of Diana's Grove, so no time was lost in letting Adam Salton" ], [ "\"I came over early as you wished. I suppose this is your grand-nephew--I\nam glad to meet you, Mr. Adam Salton. I am Nathaniel de Salis, and your\nuncle is one of my oldest friends.\"", "friend, Sir Nathaniel de Salis, who, like myself, is a free-holder near\nCastra Regis--his estate, Doom Tower, is over the border of Derbyshire,", "As he spoke, Sir Nathaniel turned and looked at Mr. Salton--a keen look\nwhich implied a full understanding.", "Old Mr. Salton was delighted when Adam's reply arrived and sent a groom\nhot-foot to his crony, Sir Nathaniel de Salis, to inform him that his\ngrand-nephew was due at Southampton on the twelfth of June.", "Nathaniel then persuaded old Mr. Salton to allow his nephew to spend a\nfew weeks with him at Doom Tower, and it was here that Mimi became Adam's", "Nathaniel, as an old diplomatist, had a way of understanding, as if by\nforeknowledge, the true inwardness of things, and asked suddenly, but in", "From his wife's room Adam Salton went straight to the study in the tower,\nwhere he knew Sir Nathaniel would be at that hour. The old man was", "The cordiality with which Sir Nathaniel and Adam met, made the imparting\nof information easy. Sir Nathaniel was a clever man of the world, who", "Mr. Salton, and Sir Nathaniel were all concerned in the issue, partly\nfrom kindness of heart--for none of them could see suffering, even of", "Adam Salton followed the line of the Brow, and refreshed his memory as to\nthe various localities. He got home to Lesser Hill just as Sir Nathaniel", "\"How do you do, Sir Nathaniel? How do you do, Mr. Salton? I hope you\nhave not met with any accident. Look at me!\"", "The two old men once more looked at each other steadily. Then, lest the\nmood of his listener should change with delay, Sir Nathaniel began at\nonce:", "it was not till Salton declared that they had now entered on the last\nstage of their journey, that he referred to Sir Nathaniel's coming.", "Salton. He knew already that his old friend wanted his grand-nephew to\nlearn all he could of the subject in hand, and so had during his journey", "When they were alone, Sir Nathaniel explained that he had taken his old\nfriend, Mr. Salton, into full confidence, and that in future all would\nwork together.", "Nathaniel pointed out to you to-day. The girls are his grand-daughters,\nthe elder, Lilla, being the only child of his elder son, who died when", "\"That is all; but its history contains the histories of all the others--in\nfact, the whole history of early England.\" Sir Nathaniel, seeing the\nexpectant look on Adam's face, went on:", "\"Now, in what way did he look?\" asked Sir Nathaniel.\n\n\"There was nothing in itself offensive; but no one could help noticing\nit.\"", "than in youth. When they were both in the study, where Sir Nathaniel\nfollowed him, Adam at once began to tell his companion of what had", "scene, but to get his thoughts into some sort of order, so as to be ready\nto enter on the matter with Sir Nathaniel. He was a little embarrassed" ], [ "She must lure him to the White Worm's hole--but how? She glanced around\nand quickly made up her mind. The man's whole thoughts were absorbed by", "the room. All this is _a propos_ of a suggestion on my part that the\nwell-hole was a way by which the White Worm (whatever it was) went and", "CHAPTER V--THE WHITE WORM", "away up into the heart of the Peak. The White Worm, in her own proper\nshape, certainly has great facilities for the business on which she is", "Sir Nathaniel realised that Adam was right; the White Worm had no\nsupernatural powers and could not harm them until she discovered their\nhiding place. It was agreed, therefore, that the two men should go\ntogether.", "Adam's young bride was proud of her man, but she blanched at the thought\nof the ghastly White Worm. Adam saw this and at once reassured her.", "\"Well, I have vowed to destroy that White Worm, and my being able to do\nwhatever I may choose with the Lair would facilitate matters and avoid\ncomplications.\"", "some masses of enormous bulk were forced up through the well-hole with\ninconceivable violence, and, suddenly expanding as they came into larger\nspace, disclosed sections of the White Worm which Adam and Sir Nathaniel", "of fact somewhere. Could it be possible that some of them--all of them\nhad been mistaken, that there had been no White Worm at all? On either", "Adam held out the letter he was carrying. It was in a blazoned envelope.\n\n\"Ha!\" said Sir Nathaniel, \"from the White Worm! I expected something of\nthe kind.\"", "come to my knowledge, I have come to the conclusion that the foul White\nWorm obtained control of her body, just as her soul was leaving its\nearthly tenement--that would explain the sudden revival of energy, the", "\"The White Worm--yes!\"\n\nAdam noticed that from now on, his friend never spoke of Lady Arabella\notherwise, except when he wished to divert the suspicion of others.", "\"We know, my boy,\" he said, \"that the unfortunate Lady Arabella is dead,\nand that the foul carcase of the Worm has been torn to pieces--pray God\nthat its evil soul will never more escape from the nethermost hell.\"", "\"Simply and solely because the snake or worm _was_ white. We are near\nthe county of Stafford, where the great industry of china-burning was", "occasion of pouring it into the well-hole, which it will in time choke.\nThus Lady Arabella, in her guise of the White Worm, will find herself cut", "Nathaniel had been expecting the White Worm's vengeance to fall upon\nthemselves.", "satisfied her that the White Worm in _propria persona_ was not visible.\nSo she sat down in the window-seat and enjoyed the pleasure of a full", "control of this ghastly White Worm.\"", "which we see is the vast bed of china clay through which the Worm\noriginally found its way down to its lair. I can catch the glint of the", "At last the explosive power, which was not yet exhausted, evidently\nreached the main store of dynamite which had been lowered into the worm" ], [ "\"Well, that is all right. I don't think the morning has been altogether\nthrown away.\"\n\nAnd she walked slowly back to Diana's Grove.", "There was evidently something about Diana's Grove which both interested\nand baffled him. Before leaving, he moved all over the place", "\"Do you think, sir, that it would be well for me to buy Diana's Grove?\"\n\n\"God bless my soul!\" said the old man, startled, \"why on earth would you\nwant to do that?\"", "CHAPTER III--DIANA'S GROVE", "said there were many small deaths. At Diana's Grove his bearing was\ndifferent. There was a distinct sense of enjoyment about him, especially", "walked back to Diana's Grove, she almost congratulated herself on her new\nsettlement in life. That the idea was becoming fixed in her mind, was", "mind to sell Diana's Grove, I have put off and put off the doing of it\n till now. The place is my own property, and no one has to be", "They visited Diana's Grove first, not only because it was nearer, but\nalso because it was the place where most description was required, and", "it--so far as he could ascertain--was Diana's Grove. He had an\ninclination to take Lady Arabella into his confidence in the matter, but", "The incidents of the day proved much as Adam expected. At Mercy Farm, at\nDiana's Grove, at Castra Regis, and a few other spots, the negro stopped", "At a little before seven Adam stole softly out of the house and took the\nback-way to the rear of Diana's Grove. The place seemed silent and", "as the keen breeze swept aside the cloud of acrid smoke which marked the\nsite of the once lordly castle. As for Diana's Grove, they looked in", "\"I have remembered an interesting fact about Diana's Grove--there is, I\nhave long understood, some strange mystery about that house. It may be", "but the two places that interested him most were Mercy Farm and Diana's\nGrove. At first the movements about those spots were of a humble\nkind--those that belong to domestic service or agricultural needs--the", "besides Diana's Grove. This was manifestly of Roman origin, or of\nGrecian accepted as Roman. The other is more pregnant of adventure and", "As she sought her own rooms in Diana's Grove, she went over the whole\nsubject again and again, always finding in the face of Lilla Watford a", "order is not observed in my narration. I suppose you have seen the house\nat Diana's Grove?\"", "\"The old name translated means 'Diana's Grove.' Then the next one higher\nthan it, but just beyond it, is called '_Mercy_'--in all probability a", "from the tower, and, with inconceivable rapidity, running along the\nground in the direction of Diana's Grove, reached the dark silent house,\nwhich in the instant burst into flame at a hundred different points.", "admirably on this occasion. He watched her enter the private gate of\nDiana's Grove, and then, taking a roundabout course and keeping out of" ], [ "When Adam got back to Lesser Hill, he went to the coach-house where the\nbox with the mongoose was kept, and took it with him, intending to finish", "When Adam got back to the carriage, carefully carrying the box with the\nmongoose, Sir Nathaniel said: \"Hullo! what have you got there?\"\n\n\"A mongoose.\"\n\n\"What for?\"", "\"Why, sir?\" said Adam. \"Is the killing of a mongoose--no matter by\nwhom--so serious a thing as all that?\"\n\nHis companion smoked on quietly for quite another few minutes before he\nspoke.", "\"Well, it's pleasant to be rid of them, big or little. That is a good\nmongoose, I am sure; he'll clear out all such vermin round here,\" said\nMr. Salton.", "Then, quite unexpectedly, the negro noticed the presence of a third\nperson--Adam Salton! He pulled out a pistol and shot at him, happily", "When Adam got home, he put the mongoose in his box, and locked the door\nof the room. The other mongoose--the one from Nepaul--was safely locked", "called at the farm and heard from Mimi of the last battle of wills, but\nit had only one consequence. He got from Ross several more mongooses,", "Adam had gone for an early morning survey of the place in which he was\ninterested, taking with him the mongoose in its box. He arrived at the", "\"Of course not, my boy. What kind of animal is it that you want?\"\n\n\"A mongoose.\"\n\n\"A mongoose! What on earth do you want it for?\"", "Hitherto the mongoose had been quiet, like a playful affectionate kitten;\nbut when the two got close, Adam was horrified to see the mongoose, in a", "Adam Salton, from his hiding-place, saw and wondered. In a few minutes\nhe moved from his place and went home to Lesser Hill, fully determined\nthat seven o'clock would find him in some hidden place behind Diana's\nGrove.", "Lady Arabella looked more than ever disdainful and was passing on; the\nmongoose jumped at her in a furious attack. Adam rushed forward with his", "\"Let us begin with what you have told me. First take the conduct of the\nmongoose. He was quiet, even friendly and affectionate with you. He\nonly attacked the snakes, which is, after all, his business in life.\"", "His bed saw little of Adam Salton for the remainder of that night. He\nand Mimi walked hand in hand in the brightening dawn round by the Brow to", "\"Adam, there are three of us.\" Salton looked at his old friend as he\nspoke, and that old friend's eyes blazed.\n\n\"Ay, three of us,\" he said, and his voice rang.", "Adam Salton went for a walk before returning to Lesser Hill; he felt that\nit might be well, not only to steady his nerves, shaken by the horrible", "\"But, God bless my soul, you didn't expect to get a snake like the\nLambton worm, did you? Why, a mongoose, to tackle a monster like that--if", "he had to get another mongoose, and he was able to tell Adam that he had\nseen the steward, who told him much that he wanted to know, and had also", "\"I think we ought to be moving,\" Mr. Salton said to Adam. \"I have some\nthings to do in Liverpool, and I am sure that both Mr. Caswall and Lady\nArabella would like to get under weigh for Castra Regis.\"", "Adam Salton followed the line of the Brow, and refreshed his memory as to\nthe various localities. He got home to Lesser Hill just as Sir Nathaniel" ], [ "Salton. He knew already that his old friend wanted his grand-nephew to\nlearn all he could of the subject in hand, and so had during his journey", "\"I came over early as you wished. I suppose this is your grand-nephew--I\nam glad to meet you, Mr. Adam Salton. I am Nathaniel de Salis, and your\nuncle is one of my oldest friends.\"", "Old Mr. Salton was delighted when Adam's reply arrived and sent a groom\nhot-foot to his crony, Sir Nathaniel de Salis, to inform him that his\ngrand-nephew was due at Southampton on the twelfth of June.", "Adam Salton sauntered into the Empire Club, Sydney, and found awaiting\nhim a letter from his grand-uncle. He had first heard from the old", "gentleman less than a year before, when Richard Salton had claimed\nkinship, stating that he had been unable to write earlier, as he had", "shown by a letter which she wrote later in the day to Adam Salton, and\nsent to him by hand. It ran as follows:", "contact with the inmates of his own house. It was with an immense sense\nof relief that Adam heard that his uncle had telegraphed to the", "full relationship by calling him by his Christian name. After a long\ntalk on affairs of interest, they retired to the cabin, which the elder\nwas to share. Richard Salton put his hands affectionately on the boy's", "\"Indeed,\" Richard Salton went on, \"I am in hopes that you will make your\npermanent home here. You see, my dear boy, you and I are all that remain", "Adam spoke to his own man, Davenport, who was standing by, having arrived\nwith the bailiff of Lesser Hill, who had followed Mr. Salton in a pony", "From his wife's room Adam Salton went straight to the study in the tower,\nwhere he knew Sir Nathaniel would be at that hour. The old man was", "found it very difficult to trace his grand-nephew's address. Adam was\ndelighted and replied cordially; he had often heard his father speak of", "Nathaniel then persuaded old Mr. Salton to allow his nephew to spend a\nfew weeks with him at Doom Tower, and it was here that Mimi became Adam's", "\"Is Mr. Adam Salton in?\" she asked.\n\n\"He has just come in, a few minutes ago. He has gone up to the study,\"\nreplied a servant.", "Adam Salton followed the line of the Brow, and refreshed his memory as to\nthe various localities. He got home to Lesser Hill just as Sir Nathaniel", "\"I think we ought to be moving,\" Mr. Salton said to Adam. \"I have some\nthings to do in Liverpool, and I am sure that both Mr. Caswall and Lady\nArabella would like to get under weigh for Castra Regis.\"", "looked at the old men and quickly made up her mind as to the identity of\nthe stranger. \"You must be Mr. Adam Salton of Lesser Hill. I am Lady", "Then, quite unexpectedly, the negro noticed the presence of a third\nperson--Adam Salton! He pulled out a pistol and shot at him, happily", "Mr. Salton introduced Adam to Mr. Watford and his grand-daughters, and\nthey all moved on together. Of course neighbours in the position of the", "\"Adam, there are three of us.\" Salton looked at his old friend as he\nspoke, and that old friend's eyes blazed.\n\n\"Ay, three of us,\" he said, and his voice rang." ], [ "Adam's young bride was proud of her man, but she blanched at the thought\nof the ghastly White Worm. Adam saw this and at once reassured her.", "Adam held out the letter he was carrying. It was in a blazoned envelope.\n\n\"Ha!\" said Sir Nathaniel, \"from the White Worm! I expected something of\nthe kind.\"", "Sir Nathaniel realised that Adam was right; the White Worm had no\nsupernatural powers and could not harm them until she discovered their\nhiding place. It was agreed, therefore, that the two men should go\ntogether.", "She must lure him to the White Worm's hole--but how? She glanced around\nand quickly made up her mind. The man's whole thoughts were absorbed by", "\"The White Worm--yes!\"\n\nAdam noticed that from now on, his friend never spoke of Lady Arabella\notherwise, except when he wished to divert the suspicion of others.", "\"All shall be as you wish, Adam. And now as to what we are to do? We\ncannot murder Lady Arabella off-hand. Therefore we shall have to put", "CHAPTER V--THE WHITE WORM", "\"Well, I have vowed to destroy that White Worm, and my being able to do\nwhatever I may choose with the Lair would facilitate matters and avoid\ncomplications.\"", "some masses of enormous bulk were forced up through the well-hole with\ninconceivable violence, and, suddenly expanding as they came into larger\nspace, disclosed sections of the White Worm which Adam and Sir Nathaniel", "of fact somewhere. Could it be possible that some of them--all of them\nhad been mistaken, that there had been no White Worm at all? On either", "strange and inexplicable craving for maiming and killing, as well as many\nother matters with which I need not trouble you now, Adam. As I said", "THE LAIR OF THE WHITE WORM\n\n\nTo my friend Bertha Nicoll with affectionate esteem.\n\n\n\n\nCHAPTER I--ADAM SALTON ARRIVES", "\"Why, sir?\" said Adam. \"Is the killing of a mongoose--no matter by\nwhom--so serious a thing as all that?\"\n\nHis companion smoked on quietly for quite another few minutes before he\nspoke.", "\"I too, sir, would like to do something,\" replied Adam. \"I want to find\nout where Ross, the animal merchant, lives--I want to take a small animal", "Nathaniel had been expecting the White Worm's vengeance to fall upon\nthemselves.", "He sniffed round as if he was enjoying the scent. The matter and manner\nof his speech were so revolting that instinctively Adam's hand wandered", "away up into the heart of the Peak. The White Worm, in her own proper\nshape, certainly has great facilities for the business on which she is", "\"We know, my boy,\" he said, \"that the unfortunate Lady Arabella is dead,\nand that the foul carcase of the Worm has been torn to pieces--pray God\nthat its evil soul will never more escape from the nethermost hell.\"", "doing so, falling into the mysterious hole. As he swayed back to firm\nfoothold, he turned his own gun on her and shot. Instinctively Adam", "come to my knowledge, I have come to the conclusion that the foul White\nWorm obtained control of her body, just as her soul was leaving its\nearthly tenement--that would explain the sudden revival of energy, the" ], [ "They visited Diana's Grove first, not only because it was nearer, but\nalso because it was the place where most description was required, and", "CHAPTER III--DIANA'S GROVE", "There was evidently something about Diana's Grove which both interested\nand baffled him. Before leaving, he moved all over the place", "\"Do you think, sir, that it would be well for me to buy Diana's Grove?\"\n\n\"God bless my soul!\" said the old man, startled, \"why on earth would you\nwant to do that?\"", "from the tower, and, with inconceivable rapidity, running along the\nground in the direction of Diana's Grove, reached the dark silent house,\nwhich in the instant burst into flame at a hundred different points.", "it--so far as he could ascertain--was Diana's Grove. He had an\ninclination to take Lady Arabella into his confidence in the matter, but", "mind to sell Diana's Grove, I have put off and put off the doing of it\n till now. The place is my own property, and no one has to be", "besides Diana's Grove. This was manifestly of Roman origin, or of\nGrecian accepted as Roman. The other is more pregnant of adventure and", "\"The old name translated means 'Diana's Grove.' Then the next one higher\nthan it, but just beyond it, is called '_Mercy_'--in all probability a", "as the keen breeze swept aside the cloud of acrid smoke which marked the\nsite of the once lordly castle. As for Diana's Grove, they looked in", "but the two places that interested him most were Mercy Farm and Diana's\nGrove. At first the movements about those spots were of a humble\nkind--those that belong to domestic service or agricultural needs--the", "\"Well, that is all right. I don't think the morning has been altogether\nthrown away.\"\n\nAnd she walked slowly back to Diana's Grove.", "said there were many small deaths. At Diana's Grove his bearing was\ndifferent. There was a distinct sense of enjoyment about him, especially", "\"I have remembered an interesting fact about Diana's Grove--there is, I\nhave long understood, some strange mystery about that house. It may be", "peculiar sinuous way in which Lady Arabella moves--well, I feel certain\nthat the white thing that I saw in the wood was the mistress of Diana's\nGrove!\"", "The consequences of that meeting in the dusk of Diana's Grove were acute\nand far-reaching, and not only to the two engaged in it. From Oolanga,", "order is not observed in my narration. I suppose you have seen the house\nat Diana's Grove?\"", "As she sought her own rooms in Diana's Grove, she went over the whole\nsubject again and again, always finding in the face of Lilla Watford a", "admirably on this occasion. He watched her enter the private gate of\nDiana's Grove, and then, taking a roundabout course and keeping out of", "\"To kill snakes!\"\n\nSir Nathaniel laughed.\n\n\"I heard Lady Arabella's invitation to you to come to Diana's Grove.\"" ], [ "Arabella, who had caught sight of her leaving the house and had never\nagain lost touch with her. It was a case of the hunter being hunted. For", "Arabella, the only colour to be seen on her being blood-marks on her face\nand hands and throat. Otherwise, she was calm and unruffled, as when", "Lady Arabella's anger, now fully awake, was all for Oolanga. She moved\ntowards him with her hands extended, and had just seized him when the", "over her should not pass. He felt, therefore, that the occasion was one\nfor extra carefulness in the watching of all that went on. Ever since he\nhad come to the conclusion that Lady Arabella was trying to steal the", "unscrupulous and stealthy--and a savage--he looked to dishonest means. He\nsaw plainly enough that Lady Arabella was making a dead set at his", "her, she watched more carefully, all her instinctive hatred flooding back\nat the sight of her. Lady Arabella was moving swiftly and stealthily,\nlooking back and around her at intervals, as if she feared to be", "This was more than Lady Arabella's curious dual nature could stand--the\nghoulish element in her rose triumphant, and she abandoned all idea of\nmarriage with Edgar Caswall, gloating fiendishly over the thought of\nrevenge.", "suddenly developed within her. Lady Arabella's entry, in her usual\nunconcerned, haughty, supercilious way, heightened the effect, so that", "of surprise on his face was so much greater than Lady Arabella had\nexpected--though she thought she was prepared to meet anything that might\noccur--that she stood still, in sheer amazement. Cold-blooded as she was", "Arabella gliding up the stairs towards his master's room, he took it for\ngranted that she was there for no good, and doubled his watching\nintentness and caution.", "Arabella, and instinctively drew back behind the curtain. When she had\nascertained, by peeping out several times, that the lady had not seen", "\"All shall be as you wish, Adam. And now as to what we are to do? We\ncannot murder Lady Arabella off-hand. Therefore we shall have to put", "something of his feeling. Lady Arabella looked like a soulless, pitiless\nbeing, not human, unless it revived old legends of transformed human\nbeings who had lost their humanity in some transformation or in the sweep", "Arabella was cold-blooded, and she was prepared to go through all that\nmight be necessary of indifference, and even insult, to become chatelaine", "was full of valuables, and that he believed that Lady Arabella had come\nto try to steal it. His purpose of using for his own advantage the", "when Lady Arabella, who had been gazing at him with fixed eyes, caught\nhis hand and tried to stop his movement. She was, however, unable to do", "\"That is a good argument, sir,\" Adam went on, \"but a dangerous one. If\nwe followed it out, it would lead us to believe that Lady Arabella is a\nsnake.\"", "It was thus that the negro became aware of Lady Arabella's venture into\nthe house, as she thought, unseen. He took more care than ever, since he", "His lust and greed were afire, while his vanity had been wounded to the\ncore. Lady Arabella's icy nature was not so deeply stirred, though she", "Arabella under her own hand. These two accounts do not agree. Therefore\nwe must take it that one of the two is lying.\"" ], [ "then to disappear. So long as that kite was flying overhead the birds\nlay low and the crop was saved. Accordingly Caswall ordered his men to", "Edgar Caswall tortured his brain for a long time unavailingly, to think\nof some means of getting rid of what he, as well as his neighbours, had", "Caswall was now so irritable that even this small thing upset him. As he\nwas distrait and wanted to talk to somebody, he sent for Simon Chester,", "The fact was that Edgar Caswall was, if not mad, close to the\nborder-line. Madness in its first stage--monomania--is a lack of", "Caswall said something in reply, but his words were carried away on the\nstorm. However, one of her objects was effected: she knew now exactly", "answered to the flapping of the runner in a sort of hollow intermittent\nmurmur. Edgar Caswall, who was now wholly obsessed by the kite and all", "than do ordinary men. Caswall's mental disturbance was not hard to\nidentify. Every asylum is full of such cases--men and women, who,", "When Caswall asked him to describe what he had seen when the chest was\nopen, he got very agitated, and, despite all his efforts to remain calm,", "Caswall, and he to give back before her oncoming. Once again her\nvigorous passes drove him to the door. He was just going out backward", "were held apart, and the silence of nature proclaimed the calm before the\nstorm. Caswall felt the effect of the gathering electric force. A sort\nof wild exultation grew upon him, such as he had sometimes felt just", "After a few days, men began to grow desperate; their very words as well\nas their senses seemed to be in chains. Edgar Caswall again tortured his", "to fear there. They seem much more afraid of her than she of them.\" All\nthe same he began to beat on the ground with a stick which was lying", "In the early days of this amusement Edgar Caswall spent hours. Hundreds\nof such messengers flew along the string, until soon he bethought him of", "\"Mr. Caswall,\" she said loudly, so as to make sure of being heard through\nthe blustering of the wind and the perpetual cracking of the electricity.", "Caswall of Castra Regis, who arrives home from Africa to-day. It is a\nnotable home-coming; all the countryside want to do him honour.\" She", "come to regard as a plague of birds. At last he recalled a circumstance\nwhich promised a solution of the difficulty. The experience was of some", "the farmhouse. She did not approve of the personality of Edgar Caswall,\nand his struggle with Mimi had frightened her; but he was unmistakably an", "cease; but the instant it was pulled down, the birds rose up in even\ngreater numbers; all those who depended in any way on agriculture sent\npitiful protests to Castra Regis.", "There is, or used to be, a belief in this part of the world that the\nCaswall family had some strange power of making the wills of other", "shone through it. Her form expanded till it stood out majestically.\nLifting her right hand, she stepped forward towards Caswall, and with a\nbold sweep of her arm seemed to drive some strange force towards him." ], [ "Arabella, who had caught sight of her leaving the house and had never\nagain lost touch with her. It was a case of the hunter being hunted. For", "\"All shall be as you wish, Adam. And now as to what we are to do? We\ncannot murder Lady Arabella off-hand. Therefore we shall have to put", "alone with Lady Arabella he kept looking round him in a strange way, as\nthough trying to escape. When they had come out on the roadway Adam held", "Lady Arabella's anger, now fully awake, was all for Oolanga. She moved\ntowards him with her hands extended, and had just seized him when the", "a mysterious box, which he took to contain something valuable. Seeing\nthat Lady Arabella was secretly following Adam, he was confirmed in this", "\"That is a good argument, sir,\" Adam went on, \"but a dangerous one. If\nwe followed it out, it would lead us to believe that Lady Arabella is a\nsnake.\"", "over her should not pass. He felt, therefore, that the occasion was one\nfor extra carefulness in the watching of all that went on. Ever since he\nhad come to the conclusion that Lady Arabella was trying to steal the", "\"It is not merely that I love Mimi, but I have reason to look on Lady\nArabella as her enemy,\" Adam continued.\n\n\"Her enemy?\"", "Lady Arabella looked more than ever disdainful and was passing on; the\nmongoose jumped at her in a furious attack. Adam rushed forward with his", "Adam and Oolanga both had pistols; Lady Arabella, who had not one, was\nprobably the most ready of them all in the theory of shooting, but that", "engaged on his own researches regarding Lady Arabella, it was only\nnatural that there should be some crossing of each other's tracks. This\nis what did actually happen.", "When Lady Arabella had crept away in her usual noiseless fashion, the two\nothers remained for a while in their places on the turret roof: Caswall", "in some form ostensibly human. Lady Arabella and Oolanga arrived almost\nsimultaneously, and Adam was surprised to notice what effect their", "At the gate of Castra Regis they were extra careful. When drawing near,\nAdam stumbled upon the wire that Lady Arabella had left trailing on the\nground.", "close to him, with the instinct of one used to such vermin. In an\ninstant he was alone beside the mound with Lady Arabella, who appeared", "He started with long steps towards Lesser Hill, and Adam was soon\nfurtively running in order to keep up with him.\n\n\n\n\nCHAPTER IV--THE LADY ARABELLA MARCH", "Lady Arabella, but could not locate her. It was only when he saw the old-\nfashioned travelling carriage approach and heard the sound of cheering", "It was thus that the negro became aware of Lady Arabella's venture into\nthe house, as she thought, unseen. He took more care than ever, since he", "As Lady Arabella walked home with Adam from Castra Regis, she asked him\nif she might make a request. Permission having been accorded, she", "her, she watched more carefully, all her instinctive hatred flooding back\nat the sight of her. Lady Arabella was moving swiftly and stealthily,\nlooking back and around her at intervals, as if she feared to be" ], [ "Adam Salton sauntered into the Empire Club, Sydney, and found awaiting\nhim a letter from his grand-uncle. He had first heard from the old", "Adam Salton followed the line of the Brow, and refreshed his memory as to\nthe various localities. He got home to Lesser Hill just as Sir Nathaniel", "Salton. He knew already that his old friend wanted his grand-nephew to\nlearn all he could of the subject in hand, and so had during his journey", "His bed saw little of Adam Salton for the remainder of that night. He\nand Mimi walked hand in hand in the brightening dawn round by the Brow to", "Adam Salton went for a walk before returning to Lesser Hill; he felt that\nit might be well, not only to steady his nerves, shaken by the horrible", "Old Mr. Salton was delighted when Adam's reply arrived and sent a groom\nhot-foot to his crony, Sir Nathaniel de Salis, to inform him that his\ngrand-nephew was due at Southampton on the twelfth of June.", "Adam Salton, from his hiding-place, saw and wondered. In a few minutes\nhe moved from his place and went home to Lesser Hill, fully determined\nthat seven o'clock would find him in some hidden place behind Diana's\nGrove.", "From his wife's room Adam Salton went straight to the study in the tower,\nwhere he knew Sir Nathaniel would be at that hour. The old man was", "Mr. Salton introduced Adam to Mr. Watford and his grand-daughters, and\nthey all moved on together. Of course neighbours in the position of the", "\"I came over early as you wished. I suppose this is your grand-nephew--I\nam glad to meet you, Mr. Adam Salton. I am Nathaniel de Salis, and your\nuncle is one of my oldest friends.\"", "Watfords knew all about Adam Salton, his relationship, circumstances, and\nprospects. So it would have been strange indeed if both girls did not\ndream of possibilities of the future. In agricultural England, eligible", "looked at the old men and quickly made up her mind as to the identity of\nthe stranger. \"You must be Mr. Adam Salton of Lesser Hill. I am Lady", "When the dusk began to thicken, Mr. Salton and Sir Nathaniel walked\nhome--the trap had been sent away early in the day--leaving Adam to", "\"Is Mr. Adam Salton in?\" she asked.\n\n\"He has just come in, a few minutes ago. He has gone up to the study,\"\nreplied a servant.", "With his friend's aid, Adam secured the property without loss of time.\nThen he went to see his uncle, and told him about it. Mr. Salton was", "Nathaniel then persuaded old Mr. Salton to allow his nephew to spend a\nfew weeks with him at Doom Tower, and it was here that Mimi became Adam's", "When old Mr. Salton had retired for the night, Adam and Sir Nathaniel\nreturned to the study. Things went with great regularity at Lesser Hill,\nso they knew that there would be no interruption to their talk.", "Then, quite unexpectedly, the negro noticed the presence of a third\nperson--Adam Salton! He pulled out a pistol and shot at him, happily", "\"I think we ought to be moving,\" Mr. Salton said to Adam. \"I have some\nthings to do in Liverpool, and I am sure that both Mr. Caswall and Lady\nArabella would like to get under weigh for Castra Regis.\"", "away. He found his uncle and Sir Nathaniel in the study, having an early\ncup of tea, amplified to the dimensions of a possible breakfast. Adam" ], [ "CHAPTER V--THE WHITE WORM", "away up into the heart of the Peak. The White Worm, in her own proper\nshape, certainly has great facilities for the business on which she is", "of fact somewhere. Could it be possible that some of them--all of them\nhad been mistaken, that there had been no White Worm at all? On either", "Sir Nathaniel realised that Adam was right; the White Worm had no\nsupernatural powers and could not harm them until she discovered their\nhiding place. It was agreed, therefore, that the two men should go\ntogether.", "She must lure him to the White Worm's hole--but how? She glanced around\nand quickly made up her mind. The man's whole thoughts were absorbed by", "\"The White Worm--yes!\"\n\nAdam noticed that from now on, his friend never spoke of Lady Arabella\notherwise, except when he wished to divert the suspicion of others.", "Adam held out the letter he was carrying. It was in a blazoned envelope.\n\n\"Ha!\" said Sir Nathaniel, \"from the White Worm! I expected something of\nthe kind.\"", "romance than the Roman name. In Mercian tongue it was 'The Lair of the\nWhite Worm.' This needs a word of explanation at the beginning.", "the room. All this is _a propos_ of a suggestion on my part that the\nwell-hole was a way by which the White Worm (whatever it was) went and", "Adam's young bride was proud of her man, but she blanched at the thought\nof the ghastly White Worm. Adam saw this and at once reassured her.", "by the lady who was attacked by the mongoose was 'The Lair of the White\nWorm.' If any of these things be so, our difficulties have multiplied", "\"Simply and solely because the snake or worm _was_ white. We are near\nthe county of Stafford, where the great industry of china-burning was", "\"Well, I have vowed to destroy that White Worm, and my being able to do\nwhatever I may choose with the Lair would facilitate matters and avoid\ncomplications.\"", "the White Worm.' I would like to ask if there is anything not\nnecessarily of evil import about any of the places?\"", "satisfied her that the White Worm in _propria persona_ was not visible.\nSo she sat down in the window-seat and enjoyed the pleasure of a full", "moments with an appearance of unconcern. In all probability, nothing\nrequiring such care will occur. The White Worm will not try force,", "Nathaniel had been expecting the White Worm's vengeance to fall upon\nthemselves.", "some masses of enormous bulk were forced up through the well-hole with\ninconceivable violence, and, suddenly expanding as they came into larger\nspace, disclosed sections of the White Worm which Adam and Sir Nathaniel", "\"We know, my boy,\" he said, \"that the unfortunate Lady Arabella is dead,\nand that the foul carcase of the Worm has been torn to pieces--pray God\nthat its evil soul will never more escape from the nethermost hell.\"", "come to my knowledge, I have come to the conclusion that the foul White\nWorm obtained control of her body, just as her soul was leaving its\nearthly tenement--that would explain the sudden revival of energy, the" ], [ "\"All shall be as you wish, Adam. And now as to what we are to do? We\ncannot murder Lady Arabella off-hand. Therefore we shall have to put", "interested. He had agreed with Sir Nathaniel that they should not do\nanything with regard to the mystery of Lady Arabella's fear of the", "over her should not pass. He felt, therefore, that the occasion was one\nfor extra carefulness in the watching of all that went on. Ever since he\nhad come to the conclusion that Lady Arabella was trying to steal the", "Sir Nathaniel had come to the conclusion that, for some reason which he\ndid not understand, Lady Arabella had changed her plans, and, for the", "Sir Nathaniel had been narrowly observing his hostess, and took the first\nopportunity afforded him of whispering to Adam:", "\"How, I know not; but I am beginning to have an idea.\"\n\n\"To her?\" asked Adam, in momentary consternation.\n\nSir Nathaniel shivered perceptibly.", "\"That is a good argument, sir,\" Adam went on, \"but a dangerous one. If\nwe followed it out, it would lead us to believe that Lady Arabella is a\nsnake.\"", "\"It is not merely that I love Mimi, but I have reason to look on Lady\nArabella as her enemy,\" Adam continued.\n\n\"Her enemy?\"", "The cordiality with which Sir Nathaniel and Adam met, made the imparting\nof information easy. Sir Nathaniel was a clever man of the world, who", "suspected suicide, though no pistol was found near the body. He may have\ndiscovered something--God knows what!--so possibly Lady Arabella may\nherself have killed him. Putting together many small matters that have", "than in youth. When they were both in the study, where Sir Nathaniel\nfollowed him, Adam at once began to tell his companion of what had", "CHAPTER XXIII--IN THE ENEMY'S HOUSE\n\n\nSir Nathaniel was in the library next morning, after breakfast, when Adam\ncame to him carrying a letter.", "Adam knocked at Sir Nathaniel's door in the grey of the morning, and, on\nbeing bidden, came into the room. He had several letters in his hand.\nSir Nathaniel sat up in bed.\n\n\"Well!\"", "\"Now!\" said Sir Nathaniel, and settled down to listen, looking at Adam\nsteadily and listening attentively that he might miss nothing--even the\ninflection of a word.", "\"Apparently, sir.\"\n\n\"And that Lady Arabella is the liar!\"\n\n\"Apparently--as I am not.\"", "a mysterious box, which he took to contain something valuable. Seeing\nthat Lady Arabella was secretly following Adam, he was confirmed in this", "was full of valuables, and that he believed that Lady Arabella had come\nto try to steal it. His purpose of using for his own advantage the", "\"To kill snakes!\"\n\nSir Nathaniel laughed.\n\n\"I heard Lady Arabella's invitation to you to come to Diana's Grove.\"", "From his wife's room Adam Salton went straight to the study in the tower,\nwhere he knew Sir Nathaniel would be at that hour. The old man was", "Sir Nathaniel realised that Adam was right; the White Worm had no\nsupernatural powers and could not harm them until she discovered their\nhiding place. It was agreed, therefore, that the two men should go\ntogether." ] ]

[ "What did Richard Salton contacted Adam Salton for?", "Where was Richard Salton's house to which Adam Salton traveled to?", "What was the giant kite for?", "For what did Adam Salton buy a mongoose?", "What is the White Worm?", "Whose murder by Arabella did Adam Salton witness?", "Who is Sir Nathaniel de Salis?", "How was Adam Salton planning to kill the White Worm?", "How was Diana's Grove destroyed?", "What does Richard want for Adam?", "What does Edward Caswell want to recreate?", "What does Edward Caswell use to scare away pigeons?", "What does Adam purchase to kill snakes on his property?", "What does Arabella do when the mongoose attacks her?", "Who does Arabella murder?", "Who witnesses the murder of Oolanga?", "Who do Adam, Richard, and Nathaniel suspect Arabella wants to kill?", "Who does Adam marry?", "What color are the White Worm's eyes?", "Who is the antagonist in the story?", "How is Adam related to Richard?", "Why does Richard initially contact Adam?", "What lives in a hole at Arabella's house?", "What does Adam buy to get rid of the black snakes he found?", "What does Caswall have to scare away pigeons?", "What was Adam's plan to kill the White Worm?", "How is the White Worm defeated?", "Who is killed by Arabella when she drags him into the pit?", "When does the story take place?", "Why did Richard Salton contact Adam Salton in 1860?", "Where did Adam go to meet Richard Salton?", "What is mesmerism?", "What did Adam do to get rid of the black snakes on the property?", "How did Arabella murder Oolanga?", "Who is the friend of Richard Salton who Adam worked with to stop Arabella?", "What did Adam and Nathaniel de Salis suspect about Arabella?", "To which character was Nathaniel de Salis compared to?", "What was the White Worm seeking to do as it went out of the pit?", "What happened to Diana's Grove in the end?", "Why does Adam Salton decide he needs to buy mongooses to set loose upon the property?", "Why does Richard Salton wish to contact his nephew Adam?", "How does Adam want to kill White Worm?", "What finally is the reason for Diana's Grove destruction?", "What action does Arabella take to show she is evil?", "What does Caswall have to scare off the crazed pigeons that are attacking his fields?", "Who teams up with Adam to hunt down Arabella to stop her?", "Before visiting his uncle, where was Adam Salton originally from?", "Where does the White Worm live?", "Who does Adam and Sir Nathaniel suspect that Arabella wants to murder next?" ]

[ [ "To establish a relationship between the last two members of the family. ", "To begin a relationship." ], [ "In Mercia, Lesser Hill", "Mercia, Lesser Hill" ], [ "To scare away pigeons that attacked Edgar Caswall fields.", "To scare pigeons." ], [ "For hunting down the snakes he discovered on the property.", "To kill the black snakes." ], [ "A giant snake like creature that lives in a pit in Arabella's house.", "The White Worm is a snake-like monster that lives in a pit and eats anything thrown to it" ], [ "The murder of the African servant, Oolanga.", "The servant Oolanga." ], [ "A friend of Richard Salton who hunts down Arabella", "Richard Salton's friend who is plotting with Adam to stop Arabella" ], [ "Pouring sand into the pit and using dynamite.", "Blow it up with dynamite." ], [ "Lightning ignites the dynamite that Adam Salton brought.", "lightning ignites the dynamite that had been planted to kill the White Worm" ], [ "To be his heir", "To make him his heir." ], [ "Mesmerism", "mesmerism" ], [ "A kite shaped like a hawk", "a kite shaped like a hawk" ], [ "A mongoose", "a mongoose" ], [ "Shoots it", "she shoots it" ], [ "Oolanga", "Oolanga an African." ], [ "Adam", "Adam" ], [ "Mimi Watford", "Mimi Watford." ], [ "Mimi Watford", "Mimi Watford" ], [ "Green", "The White Worm has green eyes that glow." ], [ "Arabella", "Arabella" ], [ "Richard is Adam's great-uncle", "richard is his great uncle" ], [ "He wants to make Adam his heir", "So they can establish a relationship" ], [ "the White Worm", "A large monster snake." ], [ "a mongoose", "a mongoose" ], [ "a kite shaped like a hawk", "A kite in the shape of a hawk." ], [ "sand and dynamite in its pit", "Sand and dynamite." ], [ "a lightning storm ignites the dyamite", "sand is poured into its pit to trap it, and then dynamite is used to kill it" ], [ "the servant, Oolanga", "Oolanga." ], [ "1860", "1860." ], [ "To establish their relationship, since they are the last two members of their family and he wants to make Adam his heir.", "Richard Salton wanted to reconnect with Adam Salton, his last known relative." ], [ "Richard's house in Mercia, Lesser Hill.", "The town named Mercia." ], [ "It's a precursor to hypnotism.", "The precursor to hypnotism." ], [ "He bought a mongoose to take them out.", "buys a mongoose" ], [ "She dragged him down to this hole or pit.", "by dragging him into a pit" ], [ "Sir Nathaniel de Salis", "Sir Nathaniel de Salis" ], [ "That Arabella wants to murder Mimi Watford.", "That she wants to murder Mimi Watford." ], [ "Van Helsing", "Nathaniel is compared to Van Helsing." ], [ "It sought to kill Adam and Mimi in the forest.", "Attack Adam and Mimi." ], [ " A thunderstorm and lightning destroyed it.", "lightning during a thunderstorm ignites dynamite" ], [ "There are black snakes on his property.", "to get rid of the black snakes" ], [ " He wants to make him his heir to his estate.", "Richard Salton wants to get to know Adam his last know relative, and make Adam his heir." ], [ "He plans to fill the pit full of sand and blow the White Worm up with dynamite.", "By pouring sand into the pit and using dynamite" ], [ "A thunderstorm arrives and lightning strikes the dynamite.", "lightning ignited the dynamite brought there to kill the White Worm" ], [ "She killed the servant.", "She kills a mongoose with her bare hands." ], [ "He has a giant hawk-shaped kite .", "a giant hawk-shaped kite" ], [ "Sir Nathaniel de Salis.", "Sir Nathaniel de Salis" ], [ "Adamn Salton was originally from Australia.", "Australia" ], [ "In a giant pit inside of Arabella's house.", "in a pit in Arabella's house in Diana's Grove" ], [ " Mimi Watford.", "Mimi Watford." ] ]

[ [ "Doth but so try the wife of Salisbury,\nWhither she will hear a wanton's tale or no,\nLest being therein guilty by my stay,", "And to my daughter make a recantation\nOf all the virtue I have preacht to her:\nI'll say, she must forget her husband Salisbury,\nIf she remember to embrace the king;", "KING EDWARD.\nDidst thou not swear to give me what I would?\n\nCOUNTESS.\nI did, my liege, so what you would I could.", "COUNTESS.\nI will, my Liege.\n\nKING EDWARD.\nSwear, Countess, that thou wilt.\n\nCOUNTESS.\nBy heaven, I will.", "COUNTESS.\nMy father on his blessing hath commanded--\n\nKING EDWARD.\nThat thou shalt yield to me?", "KING EDWARD.\nHow near then shall I be to remedy?\n\n\nCOUNTESS.\nAs near, my Liege, as all my woman's power\nCan pawn it self to buy thy remedy.", "KING EDWARD.\n--Thou liest, she hath not; but I would she had.\n\nAUDLEY.\nAll love and duty to my Lord the King!", "KING EDWARD.\nName them, fair Countess, and, by heaven, I will.\n\nCOUNTESS.\nIt is their lives that stand between our love,\nThat I would have choked up, my sovereign.", "COUNTESS.\nMy thrice loving liege,\nYour Queen and Salisbury, my wedded husband,\nWho living have that title in our love,\nThat we cannot bestow but by their death.", "That will in such a suit seduce his child?\nThen, 'wife of Salisbury'; shall I so begin?\nNo, he's my friend, and where is found the friend", "KING EDWARD.\nAh, Lady, I am blunt and cannot straw\nThe flowers of solace in a ground of shame:--\nSince I came hither, Countess, I am wronged.", "WARWICK.\nI cannot; nor I would not, if I could.\n\n\nKING EDWARD.\nBut, if thou dost, what shall I say to thee?", "KING EDWARD.\nPardon me, countess, I will come no near;\nI dreamed to night of treason, and I fear.\n\nCOUNTESS.\nFar from this place let ugly treason lie!", "KING EDWARD.\nThis fellow is well read in poetry,\nAnd hath a lusty and persuasive spirit;\nI will acquaint him with my passion,", "KING EDWARD.\nWhat office were it, to suggest a man\nTo break a lawful and religious vow?\n\nWARWICK.\nAn office for the devil, not for man.", "COUNTESS.\nAye, dear my liege, your due.\n\nKING EDWARD.\nAnd that, my dearest love, can be no less\nThan right for right and tender love for love.", "SALISBURY.\nWhy, so thou shalt; take Horse, and post from hence:\nOnly before thou goest, swear by thy faith,", "Renowned Edward, give me leave, I pray,\nTo lead my soldiers where I may relieve\nYour Grace's son, in danger to be slain.", "Upon my soul, had Edward, prince of Wales,\nEngaged his word, writ down his noble hand\nFor all your knights to pass his father's land,", "KING EDWARD.\nNo farther off, than her conspiring eye,\nWhich shoots infected poison in my heart," ], [ "With blood of those that fought to be thy bane.\nArise, Prince Edward, trusty knight at arms:\nThis day thou hast confounded me with joy,\nAnd proud thy self fit heir unto a king.", "AUDLEY.\nO joyful sight! victorious Edward lives!\n\nDERBY.\nWelcome, brave Prince!\n\nKING EDWARD.\nWelcome, Plantagenet!", "[Enter Prince Edward, Lord Awdley, and Soldiers.]\n\nKING EDWARD.\nWelcome, fair Prince! How hast thou sped, my son,\nSince thy arrival on the coast of France?", "To put his princely son, black Edward, in.\nAnd as thou travelst westward from this place,\nSome two leagues hence there is a lofty hill,", "LORRAIN.\nThe most renowned prince, King John of France,\nDoth greet thee, Edward, and by me commands,", "AUDLEY.\nEdward Plantagenet, prince of Wales,\nReceive this lance into thy manly hand;\nUse it in fashion of a brazen pen,", "KING EDWARD.\nTut, let him fight; we gave him arms to day,\nAnd he is laboring for a knighthood, man.\n\n[Enter Derby.]", "PRINCE EDWARD.\nDefiance, French man? we rebound it back,\nEven to the bottom of thy master's throat.", "PRINCE EDWARD.\nCourage, Artois! a fig for feathered shafts,\nWhen feathered fowls do bandy on our side!", "PRINCE EDWARD.\nNow, John in France, & lately John of France,\nThy bloody Ensigns are my captive colours;", "KING JOHN.\nThy fortune, not thy force, hath conquered us.\n\nPRINCE EDWARD.\nAn argument that heaven aides the right.", "AUDLEY.\nVictorious Prince,--that thou art so, behold\nA Caesar's fame in king's captivity--", "Look back upon the humble vale beneath--\nHumble of late, but now made proud with arms--\nAnd thence behold the wretched prince of Wales,", "Eleven Princes of esteem, Four score Barons,\nA hundred and twenty knights, and thirty thousand\nCommon soldiers; and, of our men, a thousand.", "KING JOHN.\nCome, Charles, and arm thee; Edward is entrapped,\nThe Prince of Wales is fallen into our hands,\nAnd we have compassed him; he cannot escape.", "CHARLES.\nBut will your highness fight to day?\n\nKING JOHN.\nWhat else, my son? he's scarce eight thousand strong,\nAnd we are threescore thousand at the least.", "To draw forth bloody stratagems in France,\nAnd print thy valiant deeds in honor's book:\nFight and be valiant, vanquish where thou comest!", "John, of the house of Valois, now their king:\nThe reason was, they say, the Realm of France,\nReplete with Princes of great parentage,", "Or as a bear fast chained unto a stake,\nStood famous Edward, still expecting when\nThose dogs of France would fasten on his flesh.", "[Enter Lodowick.]\n\nHow now?\n\nLODOWICK.\nMy liege, the drum that stroke the lusty march,\nStands with Prince Edward, your thrice valiant son." ], [ "[Exit.]\n\n\n\nACT IV. SCENE III. Poitou. Fields near Poitiers.\nThe French camp; Tent of the Duke of Normandy.", "KING EDWARD.\nWhat, have our men the overthrow at Poitiers?\nOr is our son beset with too much odds?", "Great servitor to bloody Mars in arms,\nThe French man's terror, and his country's fame,\nTriumphant rideth like a Roman peer,", "CHARLES.\nFly, father, fly! the French do kill the French,\nSome that would stand let drive at some that fly;\nOur drums strike nothing but discouragement,", "ARTOIS.\nNeither, my Lord: but narrowly beset\nWith turning Frenchmen, whom he did pursue,\nAs tis impossible that he should scape,\nExcept your highness presently descend.", "Therefore, my friends, consider this in brief:\nHe that you fight for is your natural King;\nHe against whom you fight, a foreigner:", "To draw forth bloody stratagems in France,\nAnd print thy valiant deeds in honor's book:\nFight and be valiant, vanquish where thou comest!", "FOUR.\nFly, country men and citizens of France!\nSweet flowering peace, the root of happy life,\nIs quite abandoned and expulst the land;", "Then, to protect your Country and your King,\nLet but the haughty Courage of your hearts\nAnswer the number of your able hands,\nAnd we shall quickly chase these fugitives.", "PRINCE EDWARD.\nTowards Poitiers, noble father, and his sons.", "Retreat is sounded; one side hath the worse;\nO, if it be the French, sweet fortune, turn;\nAnd, in thy turning, change the forward winds,", "With blood of those that fought to be thy bane.\nArise, Prince Edward, trusty knight at arms:\nThis day thou hast confounded me with joy,\nAnd proud thy self fit heir unto a king.", "That we perforce were fain to give them way,\nAnd they are landed.--Thus my tale is done:\nWe have untimely lost, and they have won.", "Now is begun the heavy day at Sea:\nFight, Frenchmen, fight; be like the field of Bears,\nWhen they defend their younglings in the Caves!", "But I will make you shrink your snaily horns!\nFirst, therefore, Audley, this shall be thy charge,\nGo levy footmen for our wars in France;", "Is come to France, and with a lowly mind\nDoth vale the bonnet of his victory:\nReceive, dread Lord, the custom of my fraught,", "And from the fragrant garden of her womb\nYour gracious self, the flower of Europe's hope,\nDerived is inheritor to France.\nBut note the rancor of rebellious minds:", "It was delivered me at Cresses field\nBy one that is an aged Hermit there.\n[Reads.] 'When feathered foul shall make thine army tremble,", "Subdue my self? and be my enemy's friend?\nIt must not be.--Come, boy, forward, advance!\nLet's with our colours sweet the Air of France.", "PHILIP.\nFather, range your battles, prate no more;\nThese English fain would spend the time in words,\nThat, night approaching, they might escape unfought." ], [ "CAPTAIN.\nThe Burgesses of Callis, mighty king,\nHave by a counsel willingly decreed\nTo yield the town and Castle to your hands,\nUpon condition it will please your grace\nTo grant them benefit of life and goods.", "Six CITIZENS of Calais.\nA CAPTAIN, and\nA POOR INHABITANT, of the same.\nAnother CAPTAIN.", "That we perforce were fain to give them way,\nAnd they are landed.--Thus my tale is done:\nWe have untimely lost, and they have won.", "Phillip, prevail; we yield to thy request:\nThese men shall live to boast of clemency,\nAnd, tyranny, strike terror to thy self.", "The two days' respite is not yet expired,\nAnd we are come with willingness to bear\nWhat torturing death or punishment you please,\nSo that the trembling multitude be saved.", "And surely we had died, but that the Duke,\nMore full of honor than his angry sire,\nProcured our quick deliverance from thence;", "CAPTAIN.\nWhy, this it is to trust a broken staff:\nHad we not been persuaded, John our King\nWould with his army have relieved the town,", "FIRST CITIZEN.\nAh, noble Prince, take pity on this town,\nAnd hear us, mighty king:\nWe claim the promise that your highness made;", "Yet those that would submit we kindly pardoned,\nBut who in scorn refused our proffered peace,\nEndured the penalty of sharp revenge.", "ARTOIS.\nNeither, my Lord: but narrowly beset\nWith turning Frenchmen, whom he did pursue,\nAs tis impossible that he should scape,\nExcept your highness presently descend.", "He straight will fold his bloody colours up,\nAnd ransom shall redeem lives forfeited;\nIf not, this day shall drink more English blood,\nThan ere was buried in our British earth.", "And you, high vaunting Charles of Normandy,\nThat once to day sent me a horse to fly,\nAre now the subjects of my clemency.", "And kings approach the nearest unto God\nBy giving life and safety unto men:\nAs thou intendest to be king of France,\nSo let her people live to call thee king;", "Surprised, and brought us prisoners to the king,\nWho, proud of this, and eager of revenge,\nCommanded straight to cut off all our heads:", "[Exit.]\n\n\nACT V. SCENE I. Picardy. The English Camp before\nCalais.\n\n[Enter King Edward, Queen Phillip, Derby, soldiers.]", "ARTOIS.\nThe soundest counsel I can give his grace,\nIs to surrender ere he be constrained.\nA voluntary mischief hath less scorn,\nThan when reproach with violence is borne.", "[Enter six Citizens in their Shirts, bare foot, with\nhalters about their necks.]\n\nALL.\nMercy, king Edward, mercy, gracious Lord!", "Upon my soul, had Edward, prince of Wales,\nEngaged his word, writ down his noble hand\nFor all your knights to pass his father's land,", "And, as the reaking vapour in the wind\nTurned but aside, I like wise might discern\nThe poor inhabitants, escaped the flame,\nFall numberless upon the soldiers' pikes.", "Then, to protect your Country and your King,\nLet but the haughty Courage of your hearts\nAnswer the number of your able hands,\nAnd we shall quickly chase these fugitives." ], [ "KING EDWARD.\nPoor silly men, much wronged and more distressed!\nGo, Derby, go, and see they be relieved;\nCommand that victuals be appointed them,\nAnd give to every one five Crowns a piece.", "KING EDWARD.\nThanks, Percy, for thy news, with all my heart!\nWhat was he took him prisoner in the field?", "AUDLEY.\nO joyful sight! victorious Edward lives!\n\nDERBY.\nWelcome, brave Prince!\n\nKING EDWARD.\nWelcome, Plantagenet!", "With blood of those that fought to be thy bane.\nArise, Prince Edward, trusty knight at arms:\nThis day thou hast confounded me with joy,\nAnd proud thy self fit heir unto a king.", "KING EDWARD.\nLady, stand up; I come to bring thee peace,\nHow ever thereby I have purchased war.", "PRINCE EDWARD.\nMy gracious father, here receive the gift.\n\n[Presenting him with King John's crown.]", "KING JOHN.\nCome, Charles, and arm thee; Edward is entrapped,\nThe Prince of Wales is fallen into our hands,\nAnd we have compassed him; he cannot escape.", "[Enter Prince Edward in triumph, bearing in his hands\nhis chivered Lance, and the King of Boheme, borne\nbefore, wrapped in the Colours. They run and imbrace him.]", "KING EDWARD.\nDidst thou not swear to give me what I would?\n\nCOUNTESS.\nI did, my liege, so what you would I could.", "KING EDWARD.\nWell, then we'll have a Pursiuvant despatched,\nTo summon Copland hither out of hand,\nAnd with him he shall bring his prisoner king.", "KING EDWARD.\nThy ransom, John, hereafter shall be known:\nBut first to England thou must cross the seas,", "[Enter Prince Edward, Lord Awdley, and Soldiers.]\n\nKING EDWARD.\nWelcome, fair Prince! How hast thou sped, my son,\nSince thy arrival on the coast of France?", "KING EDWARD.\nThen thus our steeled Battles shall be ranged:\nThe leading of the vaward, Ned, is thine;", "KING EDWARD.\nTut, let him fight; we gave him arms to day,\nAnd he is laboring for a knighthood, man.\n\n[Enter Derby.]", "KING EDWARD.\nAye, well thou hast deserved a knighthood, Ned!\nAnd, therefore, with thy sword, yet reaking warm\n\n[His Sword borne by a Soldier.]", "KING EDWARD.\nWhy, there it goes! That very smile of hers\nHath ransomed captive France, and set the King,", "KING EDWARD.\nContemptuous villains, call ye now for truce?\nMine ears are stopped against your bootless cries:--\nSound, drums alarum; draw threatening swords!", "KING EDWARD.\nWhat, have our men the overthrow at Poitiers?\nOr is our son beset with too much odds?", "KING EDWARD.\nSo, John of France, I see you keep your word:\nYou promised to be sooner with our self", "KING EDWARD.\nLorrain, behold the sharpness of this steel:\n\n[Drawing his.]" ], [ "KING EDWARD.\nNo farther off, than her conspiring eye,\nWhich shoots infected poison in my heart,", "KING EDWARD.\nName them, fair Countess, and, by heaven, I will.\n\nCOUNTESS.\nIt is their lives that stand between our love,\nThat I would have choked up, my sovereign.", "KING EDWARD.\nO monstrous line! Put in the next a sword,\nAnd I shall woo her to cut of my head.\nBlot, blot, good Lodowick! Let us hear the next.", "KING EDWARD.\nNo more; thy husband and the Queen shall die.\nFairer thou art by far than Hero was,", "KING EDWARD.\n--Thou liest, she hath not; but I would she had.\n\nAUDLEY.\nAll love and duty to my Lord the King!", "KING EDWARD.\nAudley, content; I will not have a man,\nOn pain of death, sent forth to succour him:", "KING EDWARD.\nDidst thou not swear to give me what I would?\n\nCOUNTESS.\nI did, my liege, so what you would I could.", "KING EDWARD.\nLeast, yielding here, I pine in shameful love,\nCome, we'll pursue the Scots;--Artois, away!", "KING EDWARD.\nEven by that power I swear, that gives me now\nThe power to be ashamed of my self,\nI never mean to part my lips again", "KING EDWARD.\nAh, Lady, I am blunt and cannot straw\nThe flowers of solace in a ground of shame:--\nSince I came hither, Countess, I am wronged.", "COUNTESS.\nI will, my Liege.\n\nKING EDWARD.\nSwear, Countess, that thou wilt.\n\nCOUNTESS.\nBy heaven, I will.", "KING EDWARD.\nWhat says my fair love? is she resolute?", "KING EDWARD.\nThen take thy self a little way a side,\nAnd tell thy self, a King doth dote on thee;", "KING EDWARD.\nPardon me, countess, I will come no near;\nI dreamed to night of treason, and I fear.\n\nCOUNTESS.\nFar from this place let ugly treason lie!", "KING EDWARD.\nHow near then shall I be to remedy?\n\n\nCOUNTESS.\nAs near, my Liege, as all my woman's power\nCan pawn it self to buy thy remedy.", "KING EDWARD.\nThy beauty makes them guilty of their death\nAnd gives in evidence that they shall die;\nUpon which verdict I, their Judge, condemn them.", "KING EDWARD.\nThis fellow is well read in poetry,\nAnd hath a lusty and persuasive spirit;\nI will acquaint him with my passion,", "KING EDWARD.\nI did not bid thee talk of chastity,\nTo ransack so the treasure of her mind;", "KING EDWARD.\nI wish no more of thee than thou maist give:--\nNor beg I do not, but I rather buy--", "My poor chaste blood. Swear, Edward, swear,\nOr I will strike and die before thee here." ], [ "KING EDWARD.\nTut, let him fight; we gave him arms to day,\nAnd he is laboring for a knighthood, man.\n\n[Enter Derby.]", "KING EDWARD.\nOur God be praised! Now, John of France, I hope,\nThou knowest King Edward for no wantoness,", "KING EDWARD.\nDidst thou not swear to give me what I would?\n\nCOUNTESS.\nI did, my liege, so what you would I could.", "KING EDWARD.\nEven by that power I swear, that gives me now\nThe power to be ashamed of my self,\nI never mean to part my lips again", "With blood of those that fought to be thy bane.\nArise, Prince Edward, trusty knight at arms:\nThis day thou hast confounded me with joy,\nAnd proud thy self fit heir unto a king.", "[Enter King Edward.]", "KING EDWARD.\nThis fellow is well read in poetry,\nAnd hath a lusty and persuasive spirit;\nI will acquaint him with my passion,", "KING EDWARD.\nThat needs no further question; and I know,\nHis conscience witnesseth, it is my right.--", "KING EDWARD.\nNow wants there nought but knighthood, which deferred\nWe leave, till thou hast won it in the field.", "KING EDWARD.\nThen take thy self a little way a side,\nAnd tell thy self, a King doth dote on thee;", "KING EDWARD.\nLeast, yielding here, I pine in shameful love,\nCome, we'll pursue the Scots;--Artois, away!", "KING EDWARD.\nPoor silly men, much wronged and more distressed!\nGo, Derby, go, and see they be relieved;\nCommand that victuals be appointed them,\nAnd give to every one five Crowns a piece.", "KING EDWARD.\nLorrain, behold the sharpness of this steel:\n\n[Drawing his.]", "KING EDWARD.\nSee, how occasion laughs me in the face!\nNo sooner minded to prepare for France,", "KING EDWARD.\nThen will he win a world of honor too,\nIf he by valour can redeem him thence;\nIf not, what remedy? we have more sons\nThan one, to comfort our declining age.", "KING EDWARD.\nThen thus our steeled Battles shall be ranged:\nThe leading of the vaward, Ned, is thine;", "KING EDWARD.\nEdward Plantagenet, in the name of God,\nAs with this armour I impale thy breast,", "In sign whereof receive this Coronet,\nBear it unto him, and, withal, mine oath,\nNever to be but Edward's faithful friend.", "KING EDWARD.\nAye, well thou hast deserved a knighthood, Ned!\nAnd, therefore, with thy sword, yet reaking warm\n\n[His Sword borne by a Soldier.]", "KING EDWARD.\nThy ransom, John, hereafter shall be known:\nBut first to England thou must cross the seas," ], [ "KING EDWARD.\nSo, John of France, I see you keep your word:\nYou promised to be sooner with our self", "KING EDWARD.\nOur God be praised! Now, John of France, I hope,\nThou knowest King Edward for no wantoness,", "KING EDWARD.\nWhere's the French man by whose cunning guide\nWe found the shallow of this River Somme,\nAnd had directions how to pass the sea?\n\nGOBIN.\nHere, my good Lord.", "KING EDWARD.\nSee, how occasion laughs me in the face!\nNo sooner minded to prepare for France,", "KING EDWARD.\nShe shall be welcome; and, to wait her coming,\nI'll pitch my tent near to the sandy shore.\n\n[Enter a French Captain.]", "KING EDWARD.\nHow art thou called? tell me thy name.\n\nGOBIN.\nGobin de Graie, if please your excellence.", "LORRAIN.\nThe most renowned prince, King John of France,\nDoth greet thee, Edward, and by me commands,", "AUDLEY.\nThe Duke of Lorrain, having crossed the seas,\nEntreats he may have conference with your highness.\n\nKING EDWARD.\nAdmit him, Lords, that we may hear the news.", "KING EDWARD.\nThat needs no further question; and I know,\nHis conscience witnesseth, it is my right.--", "KING EDWARD.\nWhy, there it goes! That very smile of hers\nHath ransomed captive France, and set the King,", "ACT IV. SCENE II. Picardy. The English Camp before\nCalais.\n\n[Enter King Edward and Derby, with Soldiers.]", "KING EDWARD.\nDidst thou not swear to give me what I would?\n\nCOUNTESS.\nI did, my liege, so what you would I could.", "KING JOHN.\nEdward, know that John, the true king of France,\nMusing thou shouldst encroach upon his land,", "[Enter Prince Edward, Lord Awdley, and Soldiers.]\n\nKING EDWARD.\nWelcome, fair Prince! How hast thou sped, my son,\nSince thy arrival on the coast of France?", "KING EDWARD.\nThy ransom, John, hereafter shall be known:\nBut first to England thou must cross the seas,", "KING EDWARD.\nWe presently will meet thee, John of France:--\nAnd, English Lords, let us resolve this day,", "[Alarum. Enter a many French men flying. After them\nPrince Edward, running. Then enter King John and Duke\nof Lorrain.]", "KING EDWARD.\nLorrain, behold the sharpness of this steel:\n\n[Drawing his.]", "KING EDWARD.\nWhat, have our men the overthrow at Poitiers?\nOr is our son beset with too much odds?", "KING EDWARD.\nTut, let him fight; we gave him arms to day,\nAnd he is laboring for a knighthood, man.\n\n[Enter Derby.]" ], [ "LORRAIN.\nThe most renowned prince, King John of France,\nDoth greet thee, Edward, and by me commands,", "KING EDWARD.\nOur God be praised! Now, John of France, I hope,\nThou knowest King Edward for no wantoness,", "With blood of those that fought to be thy bane.\nArise, Prince Edward, trusty knight at arms:\nThis day thou hast confounded me with joy,\nAnd proud thy self fit heir unto a king.", "ACT IV. SCENE II. Picardy. The English Camp before\nCalais.\n\n[Enter King Edward and Derby, with Soldiers.]", "KING EDWARD.\nShe shall be welcome; and, to wait her coming,\nI'll pitch my tent near to the sandy shore.\n\n[Enter a French Captain.]", "AUDLEY.\nO joyful sight! victorious Edward lives!\n\nDERBY.\nWelcome, brave Prince!\n\nKING EDWARD.\nWelcome, Plantagenet!", "KING EDWARD.\nHow art thou called? tell me thy name.\n\nGOBIN.\nGobin de Graie, if please your excellence.", "ACT I. SCENE I. London. A Room of State in the\nPalace. Flourish.\n\n[Enter King Edward, Derby, Prince Edward, Audley, and\nArtois.]", "[Exit.]\n\n\nACT V. SCENE I. Picardy. The English Camp before\nCalais.\n\n[Enter King Edward, Queen Phillip, Derby, soldiers.]", "KING EDWARD.\nSo, John of France, I see you keep your word:\nYou promised to be sooner with our self", "In sign whereof receive this Coronet,\nBear it unto him, and, withal, mine oath,\nNever to be but Edward's faithful friend.", "KING EDWARD.\nAway with mourning, Phillip, wipe thine eyes;--\nSound, Trumpets, welcome in Plantagenet!", "KING EDWARD.\nTut, let him fight; we gave him arms to day,\nAnd he is laboring for a knighthood, man.\n\n[Enter Derby.]", "KING JOHN.\nEdward, know that John, the true king of France,\nMusing thou shouldst encroach upon his land,", "KING EDWARD.\nDidst thou not swear to give me what I would?\n\nCOUNTESS.\nI did, my liege, so what you would I could.", "KING EDWARD.\nWhy, there it goes! That very smile of hers\nHath ransomed captive France, and set the King,", "[Alarum. Enter a many French men flying. After them\nPrince Edward, running. Then enter King John and Duke\nof Lorrain.]", "AUDLEY.\nThe Duke of Lorrain, having crossed the seas,\nEntreats he may have conference with your highness.\n\nKING EDWARD.\nAdmit him, Lords, that we may hear the news.", "KING EDWARD.\nThat needs no further question; and I know,\nHis conscience witnesseth, it is my right.--", "KING EDWARD.\nGo, draw the same, I tell thee in what form.\n\nLODOWICK.\nI go.\n\n[Exit Lodowick.]" ], [ "David of Scotland, lately up in arms,\nThinking, belike, he soonest should prevail,\nYour highness being absent from the Realm,\nIs, by the fruitful service of your peers", "The confident and boisterous boasting Scot,\nThat swore before my walls they would not back\nFor all the armed power of this land,\nWith faceless fear that ever turns his back,", "Her wit more fluent. What a strange discourse\nUnfolded she of David and his Scots!\n'Even thus', quoth she, 'he spake', and then spoke broad,", "Will, with these forces that I have at hand,\nMarch, and once more repulse the traitorous Scot.\nBut, Sirs, be resolute: we shall have wars", "But straight, forgetting of his former oath,\nHe made invasion on the bordering Towns:\nBarwick is won, Newcastle spoiled and lost,", "COUNTESS.\nNo war to you, my liege; the Scots are gone,\nAnd gallop home toward Scotland with their hate.", "There is no summer but in her cheerful looks,\nNor frosty winter but in her disdain.\nI cannot blame the Scots that did besiege her,", "DERBY.\nCopland, my Lord, and David, King of Scots.\n\nKING EDWARD.\nIs this the proud presumptuous Esquire of the North,\nThat would not yield his prisoner to my Queen?", "[Enter a Scot in haste.]", "That we perforce were fain to give them way,\nAnd they are landed.--Thus my tale is done:\nWe have untimely lost, and they have won.", "But burn their neighbor towns, and so persist\nWith eager Rods beyond their City York.\nAnd never shall our bonny riders rest,\nNor rusting canker have the time to eat", "To be the scornful captive of a Scot,\nEither to be wooed with broad untuned oaths,\nOr forced by rough insulting barbarism;", "With epithites and accents of the Scot,\nBut somewhat better than the Scot could speak:\n'And thus', quoth she, and answered then her self--", "KING EDWARD.\nLeast, yielding here, I pine in shameful love,\nCome, we'll pursue the Scots;--Artois, away!", "KING EDWARD.\nIf it be so, then let our covenant stand:\nWe take possession of the town in peace,", "If he looked pale, it was with guilty fear,\nTo dote amiss, being a mighty king.\nThen, Scottish wars, farewell; I fear twill prove", "CAPTAIN.\nThe Burgesses of Callis, mighty king,\nHave by a counsel willingly decreed\nTo yield the town and Castle to your hands,\nUpon condition it will please your grace\nTo grant them benefit of life and goods.", "COUNTESS.\nMy Lords of Scotland, will ye stay and drink?\n\nKING DAVID.\nShe mocks at us, Douglas; I cannot endure it.", "And presently they are as resty stiff,\nAs twere a many over ridden jades.\nThen, French men, scorn that such should be your Lords,", "LORRAINE.\nAll but the Scot, who solemnly protests,\nAs heretofore I have informed his grace,\nNever to sheath his Sword or take a truce." ], [ "And now the tyrant hath begirt with siege\nThe Castle of Rocksborough, where inclosed\nThe Countess Salisbury is like to perish.", "If I could hold him death but at a bay,\nTill I did see my liege thy royal father,\nMy soul should yield this Castle of my flesh,", "And there be begirt that Haven town with siege.\nNow lies it on an upshot; therefore strike,\nAnd wistly follow, whiles the game's on foot.", "Cry out: Enough, spare England now for pity!\nFarewell, and tell him that you leave us here\nBefore this Castle; say, you came from us,", "CAPTAIN.\nWhy, this it is to trust a broken staff:\nHad we not been persuaded, John our King\nWould with his army have relieved the town,", "CAPTAIN.\nThe Burgesses of Callis, mighty king,\nHave by a counsel willingly decreed\nTo yield the town and Castle to your hands,\nUpon condition it will please your grace\nTo grant them benefit of life and goods.", "Look back upon the humble vale beneath--\nHumble of late, but now made proud with arms--\nAnd thence behold the wretched prince of Wales,", "We will intrench our selves on every side,\nThat neither vituals nor supply of men\nMay come to succour this accursed town:\nFamine shall combat where our swords are stopped.", "For like a half Moon, opening but one way,\nIt rounds us in; there at our backs are lodged\nThe fatal Crossbows, and the battle there\nIs governed by the rough Chattillion.", "ARTOIS.\nNeither, my Lord: but narrowly beset\nWith turning Frenchmen, whom he did pursue,\nAs tis impossible that he should scape,\nExcept your highness presently descend.", "There is no summer but in her cheerful looks,\nNor frosty winter but in her disdain.\nI cannot blame the Scots that did besiege her,", "Then thus it stands: the valley for our flight\nThe king binds in; the hills on either hand\nAre proudly royalized by his sons;\nAnd on the Hill behind stands certain death", "Whose thousands had entrenched me round about,\nAnd lay as thick upon my battered crest,\nAs on an Anvil, with their ponderous glaves:", "Under safe conduct of the Dauphin's seal,\nDid travail that way, finding him distressed,\nA troop of Lances met us on the way,", "Until their lofty tops were seen no more.\nAll shifts were tried, both for defence and hurt:\nAnd now the effect of valor and of force,\nOf resolution and of cowardice,", "KING JOHN.\nCome, Charles, and arm thee; Edward is entrapped,\nThe Prince of Wales is fallen into our hands,\nAnd we have compassed him; he cannot escape.", "PRINCE EDWARD.\nCheerily, bold man, thy soul is all too proud\nTo yield her City for one little breach;", "Or as a bear fast chained unto a stake,\nStood famous Edward, still expecting when\nThose dogs of France would fasten on his flesh.", "The confident and boisterous boasting Scot,\nThat swore before my walls they would not back\nFor all the armed power of this land,\nWith faceless fear that ever turns his back,", "Eleven Princes of esteem, Four score Barons,\nA hundred and twenty knights, and thirty thousand\nCommon soldiers; and, of our men, a thousand." ], [ "COUNTESS.\nI will, my Liege.\n\nKING EDWARD.\nSwear, Countess, that thou wilt.\n\nCOUNTESS.\nBy heaven, I will.", "KING EDWARD.\nDidst thou not swear to give me what I would?\n\nCOUNTESS.\nI did, my liege, so what you would I could.", "COUNTESS.\nMy father on his blessing hath commanded--\n\nKING EDWARD.\nThat thou shalt yield to me?", "DERBY.\nThe Countess' mind, my liege?\n\nKING EDWARD.\nI mean the Emperour:--leave me alone.\n\nAUDLEY.\nWhat is his mind?", "COUNTESS.\nWhat might I speak to make my sovereign stay?\n\nKING EDWARD.\nWhat needs a tongue to such a speaking eye,\nThat more persuades than winning Oratory?", "KING EDWARD.\n--Thou liest, she hath not; but I would she had.\n\nAUDLEY.\nAll love and duty to my Lord the King!", "KING EDWARD.\nName them, fair Countess, and, by heaven, I will.\n\nCOUNTESS.\nIt is their lives that stand between our love,\nThat I would have choked up, my sovereign.", "My poor chaste blood. Swear, Edward, swear,\nOr I will strike and die before thee here.", "WARWICK.\nI cannot; nor I would not, if I could.\n\n\nKING EDWARD.\nBut, if thou dost, what shall I say to thee?", "KING EDWARD.\nPardon me, countess, I will come no near;\nI dreamed to night of treason, and I fear.\n\nCOUNTESS.\nFar from this place let ugly treason lie!", "COUNTESS.\nResolute to be dissolute; and, therefore, this:\nKeep but thy word, great king, and I am thine.", "KING EDWARD.\nAh, Lady, I am blunt and cannot straw\nThe flowers of solace in a ground of shame:--\nSince I came hither, Countess, I am wronged.", "COUNTESS.\nSo is your desire: if the law\nCan hinder you to execute the one,\nLet it forbid you to attempt the other.", "COUNTESS.\nBut that your lips were sacred, my Lord,\nYou would profane the holy name of love.\nThat love you offer me you cannot give,", "COUNTESS.\nAye, dear my liege, your due.\n\nKING EDWARD.\nAnd that, my dearest love, can be no less\nThan right for right and tender love for love.", "[Exeunt.]\n\n\nACT I. SCENE II. Roxborough. Before the Castle.\n\n[Enter the Countess.]", "KING EDWARD.\nHow near then shall I be to remedy?\n\n\nCOUNTESS.\nAs near, my Liege, as all my woman's power\nCan pawn it self to buy thy remedy.", "COUNTESS.\nAfter the French ambassador, my liege,\nAnd tell him, that you dare not ride to York;\nExcuse it that your bonny horse is lame.", "KING EDWARD.\nThus from the heart's aboundance speaks the tongue;\nCountess for Emperour: and indeed, why not?", "And never hence forth to solicit me;\nOr else, by heaven, this sharp pointed knife\nShall stain thy earth with that which thou would stain," ], [ "[Enter Prince Edward, Lord Awdley, and Soldiers.]\n\nKING EDWARD.\nWelcome, fair Prince! How hast thou sped, my son,\nSince thy arrival on the coast of France?", "KING EDWARD.\nOur God be praised! Now, John of France, I hope,\nThou knowest King Edward for no wantoness,", "With blood of those that fought to be thy bane.\nArise, Prince Edward, trusty knight at arms:\nThis day thou hast confounded me with joy,\nAnd proud thy self fit heir unto a king.", "KING EDWARD.\nTut, let him fight; we gave him arms to day,\nAnd he is laboring for a knighthood, man.\n\n[Enter Derby.]", "KING EDWARD.\nWhy, there it goes! That very smile of hers\nHath ransomed captive France, and set the King,", "KING EDWARD.\nSee, how occasion laughs me in the face!\nNo sooner minded to prepare for France,", "Renowned Edward, give me leave, I pray,\nTo lead my soldiers where I may relieve\nYour Grace's son, in danger to be slain.", "[Enter Artois.]\n\nARTOIS.\nRescue, king Edward! rescue for thy son!", "KING EDWARD.\nAh, France, why shouldest thou be thus obstinate\nAgainst the kind embracement of thy friends?", "KING EDWARD.\nSo, John of France, I see you keep your word:\nYou promised to be sooner with our self", "LORRAIN.\nThen, Edward, here, in spite of all thy Lords,\nI do pronounce defiance to thy face.", "PRINCE EDWARD.\nCourage, Artois! a fig for feathered shafts,\nWhen feathered fowls do bandy on our side!", "PRINCE EDWARD.\nNo, dear Artois; but choked with dust and smoke,\nAnd stepped aside for breath and fresher air.", "ARTOIS.\nO, would my life might ransom him from death!\n\nKING EDWARD.\nBut soft, me thinks I hear\n\n[Retreat sounded.]", "CHARLES.\nFly, father, fly! the French do kill the French,\nSome that would stand let drive at some that fly;\nOur drums strike nothing but discouragement,", "PRINCE EDWARD.\nI have assembled, my dear Lord and father,\nThe choicest buds of all our English blood\nFor our affairs in France; and here we come\nTo take direction from your majesty.", "LORRAIN.\nThe most renowned prince, King John of France,\nDoth greet thee, Edward, and by me commands,", "Or as a bear fast chained unto a stake,\nStood famous Edward, still expecting when\nThose dogs of France would fasten on his flesh.", "To draw forth bloody stratagems in France,\nAnd print thy valiant deeds in honor's book:\nFight and be valiant, vanquish where thou comest!", "KING JOHN.\nEdward, I know what right thou hast in France;\nAnd ere I basely will resign my Crown,\nThis Champion field shall be a pool of blood,\nAnd all our prospect as a slaughter house." ], [ "With blood of those that fought to be thy bane.\nArise, Prince Edward, trusty knight at arms:\nThis day thou hast confounded me with joy,\nAnd proud thy self fit heir unto a king.", "But, ere we went, 'Salute your king', quoth he,\n'Bid him provide a funeral for his son:\nTo day our sword shall cut his thread of life;", "Hooped with a bond of iron round about.\nAfter which sight, to Callice spur amain,\nAnd say, the prince was smothered and not slain:", "HERALD.\nRejoice, my Lord; ascend the imperial throne!\nThe mighty and redoubted prince of Wales,", "Then thus it stands: the valley for our flight\nThe king binds in; the hills on either hand\nAre proudly royalized by his sons;\nAnd on the Hill behind stands certain death", "Here stood a battaile of ten thousand horse,\nThere twice as many pikes in quadrant wise,\nHere Crossbows, and deadly wounding darts:", "When thus the lineage of le Bew was out,\nThe French obscured your mother's Privilege,\nAnd, though she were the next of blood, proclaimed", "Either to clear us of that scandalous crime,\nOr be intombed in our innocence.\nAnd, Ned, because this battle is the first", "Therefore, my friends, consider this in brief:\nHe that you fight for is your natural King;\nHe against whom you fight, a foreigner:", "Look back upon the humble vale beneath--\nHumble of late, but now made proud with arms--\nAnd thence behold the wretched prince of Wales,", "Thou shalt retain as great a Seigniorie:\nFor we create thee Earl of Richmond here.\nAnd now go forwards with our pedigree:\nWho next succeeded Phillip le Bew?", "KING EDWARD.\nThen thus our steeled Battles shall be ranged:\nThe leading of the vaward, Ned, is thine;", "That ever yet thou foughtest in pitched field,\nAs ancient custom is of Martialists,\nTo dub thee with the tip of chivalry,", "John, of the house of Valois, now their king:\nThe reason was, they say, the Realm of France,\nReplete with Princes of great parentage,", "Whose thousands had entrenched me round about,\nAnd lay as thick upon my battered crest,\nAs on an Anvil, with their ponderous glaves:", "MOUNTAGUE.\nCracked and dissevered, my renowned Lord.\nThe treacherous King no sooner was informed\nOf your with drawing of your army back,", "LORRAIN.\nThen, Edward, here, in spite of all thy Lords,\nI do pronounce defiance to thy face.", "For like a half Moon, opening but one way,\nIt rounds us in; there at our backs are lodged\nThe fatal Crossbows, and the battle there\nIs governed by the rough Chattillion.", "Eleven Princes of esteem, Four score Barons,\nA hundred and twenty knights, and thirty thousand\nCommon soldiers; and, of our men, a thousand.", "Or as a bear fast chained unto a stake,\nStood famous Edward, still expecting when\nThose dogs of France would fasten on his flesh." ], [ "KING EDWARD.\nLorrain, behold the sharpness of this steel:\n\n[Drawing his.]", "KING EDWARD.\nWhat, have our men the overthrow at Poitiers?\nOr is our son beset with too much odds?", "KING EDWARD.\nHow art thou called? tell me thy name.\n\nGOBIN.\nGobin de Graie, if please your excellence.", "KING EDWARD.\nThen thus our steeled Battles shall be ranged:\nThe leading of the vaward, Ned, is thine;", "KING EDWARD.\nPoor silly men, much wronged and more distressed!\nGo, Derby, go, and see they be relieved;\nCommand that victuals be appointed them,\nAnd give to every one five Crowns a piece.", "KING EDWARD.\nLeast, yielding here, I pine in shameful love,\nCome, we'll pursue the Scots;--Artois, away!", "KING EDWARD.\nThy ransom, John, hereafter shall be known:\nBut first to England thou must cross the seas,", "KING EDWARD.\nTut, let him fight; we gave him arms to day,\nAnd he is laboring for a knighthood, man.\n\n[Enter Derby.]", "KING EDWARD.\nEdward Plantagenet, in the name of God,\nAs with this armour I impale thy breast,", "KING EDWARD.\nOur God be praised! Now, John of France, I hope,\nThou knowest King Edward for no wantoness,", "With blood of those that fought to be thy bane.\nArise, Prince Edward, trusty knight at arms:\nThis day thou hast confounded me with joy,\nAnd proud thy self fit heir unto a king.", "KING EDWARD.\nWhy, there it goes! That very smile of hers\nHath ransomed captive France, and set the King,", "KING EDWARD.\nWhere's the French man by whose cunning guide\nWe found the shallow of this River Somme,\nAnd had directions how to pass the sea?\n\nGOBIN.\nHere, my good Lord.", "KING EDWARD.\nThen will he win a world of honor too,\nIf he by valour can redeem him thence;\nIf not, what remedy? we have more sons\nThan one, to comfort our declining age.", "KING EDWARD.\nIgnoble David! hast thou none to grieve\nBut silly Ladies with thy threatening arms?", "KING EDWARD.\nContemptuous villains, call ye now for truce?\nMine ears are stopped against your bootless cries:--\nSound, drums alarum; draw threatening swords!", "KING EDWARD.\nAh, Lady, I am blunt and cannot straw\nThe flowers of solace in a ground of shame:--\nSince I came hither, Countess, I am wronged.", "KING EDWARD.\nLady, stand up; I come to bring thee peace,\nHow ever thereby I have purchased war.", "KING EDWARD.\nDidst thou not swear to give me what I would?\n\nCOUNTESS.\nI did, my liege, so what you would I could.", "KING EDWARD.\nName them, fair Countess, and, by heaven, I will.\n\nCOUNTESS.\nIt is their lives that stand between our love,\nThat I would have choked up, my sovereign." ], [ "Look back upon the humble vale beneath--\nHumble of late, but now made proud with arms--\nAnd thence behold the wretched prince of Wales,", "With all endeavor sought to break our ranks,\nAnd make their way to the encompassed prince:\nDispose of him as please your majesty.", "Eleven Princes of esteem, Four score Barons,\nA hundred and twenty knights, and thirty thousand\nCommon soldiers; and, of our men, a thousand.", "Hooped with a bond of iron round about.\nAfter which sight, to Callice spur amain,\nAnd say, the prince was smothered and not slain:", "Under safe conduct of the Dauphin's seal,\nDid travail that way, finding him distressed,\nA troop of Lances met us on the way,", "PRINCE EDWARD.\nYes, my good Lord, and not two hours ago,\nWith full a hundred thousand fighting men--", "Here stood a battaile of ten thousand horse,\nThere twice as many pikes in quadrant wise,\nHere Crossbows, and deadly wounding darts:", "With blood of those that fought to be thy bane.\nArise, Prince Edward, trusty knight at arms:\nThis day thou hast confounded me with joy,\nAnd proud thy self fit heir unto a king.", "PRINCE EDWARD.\nNo, dear Artois; but choked with dust and smoke,\nAnd stepped aside for breath and fresher air.", "Whose thousands had entrenched me round about,\nAnd lay as thick upon my battered crest,\nAs on an Anvil, with their ponderous glaves:", "ARTOIS.\nNeither, my Lord: but narrowly beset\nWith turning Frenchmen, whom he did pursue,\nAs tis impossible that he should scape,\nExcept your highness presently descend.", "Upon the one side of the river's bank\nAnd on the other both, his multitudes.\nI feared he would have cropped our smaller power:\nBut happily, perceiving your approach,", "He hath with drawn himself to Cressey plains;\nWhere, as it seemeth by his good array,\nHe means to bid us battle presently.", "And there be begirt that Haven town with siege.\nNow lies it on an upshot; therefore strike,\nAnd wistly follow, whiles the game's on foot.", "To put his princely son, black Edward, in.\nAnd as thou travelst westward from this place,\nSome two leagues hence there is a lofty hill,", "[Enter Artois.]\n\nARTOIS.\nGood news, my Lord; the prince is hard at hand,\nAnd with him comes Lord Awdley and the rest,\nWhom since our landing we could never meet.", "[Exeunt.]\n\n\nACT IV. SCENE IV. The same. The English Camp.\n\n[Enter Prince Edward, Audley, and others.]", "Surprised, and brought us prisoners to the king,\nWho, proud of this, and eager of revenge,\nCommanded straight to cut off all our heads:", "And, as the reaking vapour in the wind\nTurned but aside, I like wise might discern\nThe poor inhabitants, escaped the flame,\nFall numberless upon the soldiers' pikes.", "Then thus it stands: the valley for our flight\nThe king binds in; the hills on either hand\nAre proudly royalized by his sons;\nAnd on the Hill behind stands certain death" ], [ "KING EDWARD.\nMy promise? Well, I do confess as much:\nBut I do require the chiefest Citizens", "KING EDWARD.\nPoor silly men, much wronged and more distressed!\nGo, Derby, go, and see they be relieved;\nCommand that victuals be appointed them,\nAnd give to every one five Crowns a piece.", "KING EDWARD.\nThy beauty makes them guilty of their death\nAnd gives in evidence that they shall die;\nUpon which verdict I, their Judge, condemn them.", "KING EDWARD.\nGo, get you hence, return unto the town,\nAnd if this kindness hath deserved your love,\nLearn then to reverence Edward as your king.--\n\n[Exeunt Citizens.]", "KING EDWARD.\nName them, fair Countess, and, by heaven, I will.\n\nCOUNTESS.\nIt is their lives that stand between our love,\nThat I would have choked up, my sovereign.", "[Enter six Citizens in their Shirts, bare foot, with\nhalters about their necks.]\n\nALL.\nMercy, king Edward, mercy, gracious Lord!", "KING EDWARD.\nWell, then we'll have a Pursiuvant despatched,\nTo summon Copland hither out of hand,\nAnd with him he shall bring his prisoner king.", "KING EDWARD.\nNo more, Queen Phillip, pacify your self;\nCopland, except he can excuse his fault,", "KING EDWARD.\nAudley, content; I will not have a man,\nOn pain of death, sent forth to succour him:", "KING EDWARD.\nContemptuous villains, call ye now for truce?\nMine ears are stopped against your bootless cries:--\nSound, drums alarum; draw threatening swords!", "KING EDWARD.\nAh, Lady, I am blunt and cannot straw\nThe flowers of solace in a ground of shame:--\nSince I came hither, Countess, I am wronged.", "KING EDWARD.\nPardon me, countess, I will come no near;\nI dreamed to night of treason, and I fear.\n\nCOUNTESS.\nFar from this place let ugly treason lie!", "KING EDWARD.\nThey will so! Then, belike, they may command,\nDispose, elect, and govern as they list.", "KING EDWARD.\nI thank thee then; thou hast done little ill,\nBut what is done, is passing, passing ill.", "Surprised, and brought us prisoners to the king,\nWho, proud of this, and eager of revenge,\nCommanded straight to cut off all our heads:", "KING EDWARD.\nNed, thou and Audley shall pursue them still;\nMy self and Derby will to Calice straight,", "KING EDWARD.\nThen thus our steeled Battles shall be ranged:\nThe leading of the vaward, Ned, is thine;", "KING EDWARD.\nIgnoble David! hast thou none to grieve\nBut silly Ladies with thy threatening arms?", "[Enter King Edward, Warwick, Artois, with others.]\n\nKING EDWARD.\nWhat, are the stealing Foxes fled and gone,\nBefore we could uncouple at their heels?", "KING EDWARD.\nOur God be praised! Now, John of France, I hope,\nThou knowest King Edward for no wantoness," ], [ "With blood of those that fought to be thy bane.\nArise, Prince Edward, trusty knight at arms:\nThis day thou hast confounded me with joy,\nAnd proud thy self fit heir unto a king.", "[Enter Prince Edward in triumph, bearing in his hands\nhis chivered Lance, and the King of Boheme, borne\nbefore, wrapped in the Colours. They run and imbrace him.]", "AUDLEY.\nO joyful sight! victorious Edward lives!\n\nDERBY.\nWelcome, brave Prince!\n\nKING EDWARD.\nWelcome, Plantagenet!", "[Enter Prince Edward.]", "PRINCE EDWARD.\nSuccessfully, I thank the gracious heavens:\nSome of their strongest Cities we have won,", "PRINCE EDWARD.\nNo, dear Artois; but choked with dust and smoke,\nAnd stepped aside for breath and fresher air.", "PRINCE EDWARD.\nCourage, Artois! a fig for feathered shafts,\nWhen feathered fowls do bandy on our side!", "PRINCE EDWARD.\nMy gracious father, here receive the gift.\n\n[Presenting him with King John's crown.]", "[Enter Prince Edward, Lord Awdley, and Soldiers.]\n\nKING EDWARD.\nWelcome, fair Prince! How hast thou sped, my son,\nSince thy arrival on the coast of France?", "PRINCE EDWARD.\nYes, my good Lord, and not two hours ago,\nWith full a hundred thousand fighting men--", "KING EDWARD.\nThanks, Percy, for thy news, with all my heart!\nWhat was he took him prisoner in the field?", "[Exeunt.]\n\n\nACT IV. SCENE IV. The same. The English Camp.\n\n[Enter Prince Edward, Audley, and others.]", "KING EDWARD.\nPoor silly men, much wronged and more distressed!\nGo, Derby, go, and see they be relieved;\nCommand that victuals be appointed them,\nAnd give to every one five Crowns a piece.", "[Enter Lodowick.]\n\nHow now?\n\nLODOWICK.\nMy liege, the drum that stroke the lusty march,\nStands with Prince Edward, your thrice valiant son.", "PRINCE EDWARD.\nCheerily, bold man, thy soul is all too proud\nTo yield her City for one little breach;", "PRINCE EDWARD.\nDeath's name is much more mighty than his deeds;\nThy parcelling this power hath made it more.", "PRINCE EDWARD.\nBack with the beast unto the beast that sent him!\nTell him I cannot sit a coward's horse;", "HERALD.\nI go.\n\n[Exit.]\n\n[Enter another Herald.]\n\nPRINCE EDWARD.\nWhat news with thee?", "PRINCE EDWARD.\nHere is a note, my gracious Lord, of those\nThat in this conflict of our foes were slain:", "PRINCE EDWARD.\nDefiance, French man? we rebound it back,\nEven to the bottom of thy master's throat." ], [ "ACT I. SCENE I. London. A Room of State in the\nPalace. Flourish.\n\n[Enter King Edward, Derby, Prince Edward, Audley, and\nArtois.]", "[Enter King Edward.]", "With blood of those that fought to be thy bane.\nArise, Prince Edward, trusty knight at arms:\nThis day thou hast confounded me with joy,\nAnd proud thy self fit heir unto a king.", "KING EDWARD.\nAway with mourning, Phillip, wipe thine eyes;--\nSound, Trumpets, welcome in Plantagenet!", "KING EDWARD.\nThat needs no further question; and I know,\nHis conscience witnesseth, it is my right.--", "AUDLEY.\nO joyful sight! victorious Edward lives!\n\nDERBY.\nWelcome, brave Prince!\n\nKING EDWARD.\nWelcome, Plantagenet!", "KING EDWARD.\nDidst thou not swear to give me what I would?\n\nCOUNTESS.\nI did, my liege, so what you would I could.", "KING EDWARD.\nThy ransom, John, hereafter shall be known:\nBut first to England thou must cross the seas,", "KING EDWARD.\nOur God be praised! Now, John of France, I hope,\nThou knowest King Edward for no wantoness,", "[Enter Lodowick.]\n\nHow now?\n\nLODOWICK.\nMy liege, the drum that stroke the lusty march,\nStands with Prince Edward, your thrice valiant son.", "KING EDWARD.\nOf such estate, that hers is as a throne,\nAnd my estate the footstool where she treads:", "PRINCE EDWARD.\nMy gracious father, here receive the gift.\n\n[Presenting him with King John's crown.]", "KING EDWARD.\nEdward Plantagenet, in the name of God,\nAs with this armour I impale thy breast,", "[Enter Lodowick.]\n\nKING EDWARD.\nhast thou pen, ink, and paper ready, Lodowick?\n\nLODOWICK.\nReady, my liege.", "ACT III. SCENE V. The Same.\n\n[Enter King Edward and Audley.]", "KING EDWARD.\nWhy, there it goes! That very smile of hers\nHath ransomed captive France, and set the King,", "KING EDWARD.\nSee, how occasion laughs me in the face!\nNo sooner minded to prepare for France,", "KING EDWARD.\nLorrain, behold the sharpness of this steel:\n\n[Drawing his.]", "LODOWICK.\nWhat is the other fault, my sovereign Lord?\n\nKING EDWARD.\nRead o'er the line again.", "Edward's great linage, by the mother's side,\nFive hundred years hath held the scepter up:\nJudge then, conspiratours, by this descent," ], [ "COUNTESS.\nI will, my Liege.\n\nKING EDWARD.\nSwear, Countess, that thou wilt.\n\nCOUNTESS.\nBy heaven, I will.", "COUNTESS.\nMy thrice loving liege,\nYour Queen and Salisbury, my wedded husband,\nWho living have that title in our love,\nThat we cannot bestow but by their death.", "KING EDWARD.\nDidst thou not swear to give me what I would?\n\nCOUNTESS.\nI did, my liege, so what you would I could.", "Doth but so try the wife of Salisbury,\nWhither she will hear a wanton's tale or no,\nLest being therein guilty by my stay,", "COUNTESS.\nMy father on his blessing hath commanded--\n\nKING EDWARD.\nThat thou shalt yield to me?", "KING EDWARD.\nName them, fair Countess, and, by heaven, I will.\n\nCOUNTESS.\nIt is their lives that stand between our love,\nThat I would have choked up, my sovereign.", "And to my daughter make a recantation\nOf all the virtue I have preacht to her:\nI'll say, she must forget her husband Salisbury,\nIf she remember to embrace the king;", "KING EDWARD.\nHow near then shall I be to remedy?\n\n\nCOUNTESS.\nAs near, my Liege, as all my woman's power\nCan pawn it self to buy thy remedy.", "KING EDWARD.\n--Thou liest, she hath not; but I would she had.\n\nAUDLEY.\nAll love and duty to my Lord the King!", "COUNTESS.\nAye, dear my liege, your due.\n\nKING EDWARD.\nAnd that, my dearest love, can be no less\nThan right for right and tender love for love.", "DERBY.\nThe Countess' mind, my liege?\n\nKING EDWARD.\nI mean the Emperour:--leave me alone.\n\nAUDLEY.\nWhat is his mind?", "WARWICK.\nI cannot; nor I would not, if I could.\n\n\nKING EDWARD.\nBut, if thou dost, what shall I say to thee?", "COUNTESS.\nWhat might I speak to make my sovereign stay?\n\nKING EDWARD.\nWhat needs a tongue to such a speaking eye,\nThat more persuades than winning Oratory?", "COUNTESS.\nSo is your desire: if the law\nCan hinder you to execute the one,\nLet it forbid you to attempt the other.", "SALISBURY.\nWhy, so thou shalt; take Horse, and post from hence:\nOnly before thou goest, swear by thy faith,", "LODOWICK.\nWhat is the other fault, my sovereign Lord?\n\nKING EDWARD.\nRead o'er the line again.", "KING EDWARD.\nIf thou speakst true, then have I my redress:\nEngage thy power to redeem my Joys,\nAnd I am joyful, Countess; else I die.", "KING EDWARD.\nThus from the heart's aboundance speaks the tongue;\nCountess for Emperour: and indeed, why not?", "KING EDWARD.\nAudley, content; I will not have a man,\nOn pain of death, sent forth to succour him:", "That will in such a suit seduce his child?\nThen, 'wife of Salisbury'; shall I so begin?\nNo, he's my friend, and where is found the friend" ], [ "And now the tyrant hath begirt with siege\nThe Castle of Rocksborough, where inclosed\nThe Countess Salisbury is like to perish.", "Cry out: Enough, spare England now for pity!\nFarewell, and tell him that you leave us here\nBefore this Castle; say, you came from us,", "DERBY.\nCopland, my Lord, and David, King of Scots.\n\nKING EDWARD.\nIs this the proud presumptuous Esquire of the North,\nThat would not yield his prisoner to my Queen?", "And there be begirt that Haven town with siege.\nNow lies it on an upshot; therefore strike,\nAnd wistly follow, whiles the game's on foot.", "Warwick, I make thee Warden of the North:\nThou, Prince of Wales, and Audley, straight to Sea;\nScour to New-haven; some there stay for me:", "There is no summer but in her cheerful looks,\nNor frosty winter but in her disdain.\nI cannot blame the Scots that did besiege her,", "But straight, forgetting of his former oath,\nHe made invasion on the bordering Towns:\nBarwick is won, Newcastle spoiled and lost,", "David of Scotland, lately up in arms,\nThinking, belike, he soonest should prevail,\nYour highness being absent from the Realm,\nIs, by the fruitful service of your peers", "The confident and boisterous boasting Scot,\nThat swore before my walls they would not back\nFor all the armed power of this land,\nWith faceless fear that ever turns his back,", "ARTOIS.\nNeither, my Lord: but narrowly beset\nWith turning Frenchmen, whom he did pursue,\nAs tis impossible that he should scape,\nExcept your highness presently descend.", "Will, with these forces that I have at hand,\nMarch, and once more repulse the traitorous Scot.\nBut, Sirs, be resolute: we shall have wars", "CAPTAIN.\nThe Burgesses of Callis, mighty king,\nHave by a counsel willingly decreed\nTo yield the town and Castle to your hands,\nUpon condition it will please your grace\nTo grant them benefit of life and goods.", "But burn their neighbor towns, and so persist\nWith eager Rods beyond their City York.\nAnd never shall our bonny riders rest,\nNor rusting canker have the time to eat", "Look back upon the humble vale beneath--\nHumble of late, but now made proud with arms--\nAnd thence behold the wretched prince of Wales,", "CAPTAIN.\nWhy, this it is to trust a broken staff:\nHad we not been persuaded, John our King\nWould with his army have relieved the town,", "ONE.\nContent thee, man; they are far enough from hence,\nAnd will be met, I warrant ye, to their cost,\nBefore they break so far into the Realm.", "Fie, Lords, is it not a shame that English boys,\nWhose early days are yet not worth a beard,\nShould in the bosom of your kingdom thus,", "ACT IV. SCENE II. Picardy. The English Camp before\nCalais.\n\n[Enter King Edward and Derby, with Soldiers.]", "PHILIP.\nFather, range your battles, prate no more;\nThese English fain would spend the time in words,\nThat, night approaching, they might escape unfought.", "We will intrench our selves on every side,\nThat neither vituals nor supply of men\nMay come to succour this accursed town:\nFamine shall combat where our swords are stopped." ], [ "[Enter Lodowick.]\n\nHow now?\n\nLODOWICK.\nMy liege, the drum that stroke the lusty march,\nStands with Prince Edward, your thrice valiant son.", "To put his princely son, black Edward, in.\nAnd as thou travelst westward from this place,\nSome two leagues hence there is a lofty hill,", "KING EDWARD.\nName them, fair Countess, and, by heaven, I will.\n\nCOUNTESS.\nIt is their lives that stand between our love,\nThat I would have choked up, my sovereign.", "KING JOHN.\nCome, Charles, and arm thee; Edward is entrapped,\nThe Prince of Wales is fallen into our hands,\nAnd we have compassed him; he cannot escape.", "KING EDWARD.\nThen will he win a world of honor too,\nIf he by valour can redeem him thence;\nIf not, what remedy? we have more sons\nThan one, to comfort our declining age.", "[Enter Prince Edward, Lord Awdley, and Soldiers.]\n\nKING EDWARD.\nWelcome, fair Prince! How hast thou sped, my son,\nSince thy arrival on the coast of France?", "KING EDWARD.\nOur God be praised! Now, John of France, I hope,\nThou knowest King Edward for no wantoness,", "KING EDWARD.\nThy ransom, John, hereafter shall be known:\nBut first to England thou must cross the seas,", "With blood of those that fought to be thy bane.\nArise, Prince Edward, trusty knight at arms:\nThis day thou hast confounded me with joy,\nAnd proud thy self fit heir unto a king.", "KING EDWARD.\nWhat, have our men the overthrow at Poitiers?\nOr is our son beset with too much odds?", "KING EDWARD.\nLord Audley, whiles our son is in the chase,\nWith draw our powers unto this little hill,\nAnd here a season let us breath our selves.", "[Enter Artois.]\n\nARTOIS.\nRescue, king Edward! rescue for thy son!", "KING EDWARD.\nI see the boy; oh, how his mother's face,\nModeled in his, corrects my strayed desire,", "[Enter King Edward.]", "KING EDWARD.\nEdward Plantagenet, in the name of God,\nAs with this armour I impale thy breast,", "KING EDWARD.\nAway with mourning, Phillip, wipe thine eyes;--\nSound, Trumpets, welcome in Plantagenet!", "AUDLEY.\nO joyful sight! victorious Edward lives!\n\nDERBY.\nWelcome, brave Prince!\n\nKING EDWARD.\nWelcome, Plantagenet!", "ACT I. SCENE I. London. A Room of State in the\nPalace. Flourish.\n\n[Enter King Edward, Derby, Prince Edward, Audley, and\nArtois.]", "KING EDWARD.\nTut, let him fight; we gave him arms to day,\nAnd he is laboring for a knighthood, man.\n\n[Enter Derby.]", "KING EDWARD.\nHow art thou called? tell me thy name.\n\nGOBIN.\nGobin de Graie, if please your excellence." ], [ "QUEEN PHILLIP.\nAh me, is this my welcome into France?\nIs this the comfort that I looked to have,\nWhen I should meet with my beloved son?", "QUEEN PHILLIP.\nBe this a token to express my joy,\n\n[Kisses him.]\n\nFor inward passion will not let me speak.", "QUEEN PHILLIP.\nBut, Copland, thou didst scorn the king's command,\nNeglecting our commission in his name.", "PHILIPPA, Edward's Queen.\nCountess of SALISBURY.\nA FRENCH WOMAN.", "QUEEN PHILLIP.\nAh, be more mild unto these yielding men!\nIt is a glorious thing to stablish peace,", "KING EDWARD.\nNo more, Queen Phillip, pacify your self;\nCopland, except he can excuse his fault,", "PHILLIP.\nA flight, a flight!\n\nKING JOHN.\nCoward, what flight? thou liest, there needs no flight.\n\nPHILLIP.\nA flight.", "ARTOIS.\nShe was, my Lord; and only Isabel\nWas all the daughters that this Phillip had,\nWhom afterward your father took to wife;", "KING JOHN.\nAll dismayed:\n\n[Enter Phillip.]\n\nWhat fearful words are those thy looks presage?", "KING EDWARD.\nAway with mourning, Phillip, wipe thine eyes;--\nSound, Trumpets, welcome in Plantagenet!", "Struggles to kiss them: on our left hand lies\nPhillip, the younger issue of the king,\nCoating the other hill in such array,", "PHILIP.\nFather, range your battles, prate no more;\nThese English fain would spend the time in words,\nThat, night approaching, they might escape unfought.", "[Exit.]\n\n\nACT V. SCENE I. Picardy. The English Camp before\nCalais.\n\n[Enter King Edward, Queen Phillip, Derby, soldiers.]", "KING EDWARD.\nI pray thee, Phillip, let displeasure pass;\nThis man doth please me, and I like his words:", "[Enter Prince Edward, king John, Phillip, Audley, Artois.]", "PRINCE EDWARD.\nHerald of Phillip, greet thy Lord from me:\nAll good that he can send, I can receive;", "KING EDWARD.\nContent thee, Phillip; tis not tears will serve\nTo call him back, if he be taken hence:", "COUNTESS.\nWhat might I speak to make my sovereign stay?\n\nKING EDWARD.\nWhat needs a tongue to such a speaking eye,\nThat more persuades than winning Oratory?", "PERCY.\nThe Queen's, my Lord, her self by this at Sea,\nAnd purposeth, as soon as wind will serve,\nTo land at Callis, and to visit you.", "Here by my side doth hang my wedding knifes:\nTake thou the one, and with it kill thy Queen,\nAnd learn by me to find her where she lies;" ], [ "KING EDWARD.\nShe shall be welcome; and, to wait her coming,\nI'll pitch my tent near to the sandy shore.\n\n[Enter a French Captain.]", "KING EDWARD.\nSo, John of France, I see you keep your word:\nYou promised to be sooner with our self", "KING EDWARD.\nWhere's the French man by whose cunning guide\nWe found the shallow of this River Somme,\nAnd had directions how to pass the sea?\n\nGOBIN.\nHere, my good Lord.", "LORRAIN.\nThe most renowned prince, King John of France,\nDoth greet thee, Edward, and by me commands,", "[Alarum. Enter a many French men flying. After them\nPrince Edward, running. Then enter King John and Duke\nof Lorrain.]", "And, lowly at his stirrup, comes afoot\nKing John of France, together with his son,\nIn captive bonds; whose diadem he brings", "KING EDWARD.\nWe presently will meet thee, John of France:--\nAnd, English Lords, let us resolve this day,", "[Enter King Edward.]", "KING EDWARD.\nWhy, there it goes! That very smile of hers\nHath ransomed captive France, and set the King,", "KING EDWARD.\nLady, stand up; I come to bring thee peace,\nHow ever thereby I have purchased war.", "[Enter Prince Edward, Lord Awdley, and Soldiers.]\n\nKING EDWARD.\nWelcome, fair Prince! How hast thou sped, my son,\nSince thy arrival on the coast of France?", "KING EDWARD.\nOur God be praised! Now, John of France, I hope,\nThou knowest King Edward for no wantoness,", "ACT IV. SCENE II. Picardy. The English Camp before\nCalais.\n\n[Enter King Edward and Derby, with Soldiers.]", "KING EDWARD.\nAh, France, why shouldest thou be thus obstinate\nAgainst the kind embracement of thy friends?", "KING EDWARD.\nSee, how occasion laughs me in the face!\nNo sooner minded to prepare for France,", "KING EDWARD.\nHe shall be welcome; that's the thing we crave.\n\n[Enter King John, Dukes of Normandy and Lorrain,\nKing of Boheme, young Phillip, and Soldiers.]", "KING EDWARD.\nWell, then we'll have a Pursiuvant despatched,\nTo summon Copland hither out of hand,\nAnd with him he shall bring his prisoner king.", "KING JOHN.\nEdward, know that John, the true king of France,\nMusing thou shouldst encroach upon his land,", "KING EDWARD.\nLorrain, behold the sharpness of this steel:\n\n[Drawing his.]", "AUDLEY.\nThe Duke of Lorrain, having crossed the seas,\nEntreats he may have conference with your highness.\n\nKING EDWARD.\nAdmit him, Lords, that we may hear the news." ], [ "KING EDWARD.\nWell, then we'll have a Pursiuvant despatched,\nTo summon Copland hither out of hand,\nAnd with him he shall bring his prisoner king.", "KING EDWARD.\nNo more, Queen Phillip, pacify your self;\nCopland, except he can excuse his fault,", "KING EDWARD.\nLady, stand up; I come to bring thee peace,\nHow ever thereby I have purchased war.", "Now, might we hear of our affairs abroad,\nWe would, till gloomy Winter were o'er spent,\nDispose our men in garrison a while.\nBut who comes here?\n\n[Enter Copland and King David.]", "KING JOHN.\nCome, Charles, and arm thee; Edward is entrapped,\nThe Prince of Wales is fallen into our hands,\nAnd we have compassed him; he cannot escape.", "[Exeunt.]\n\n\nACT IV. SCENE IV. The same. The English Camp.\n\n[Enter Prince Edward, Audley, and others.]", "KING EDWARD.\nSo, John of France, I see you keep your word:\nYou promised to be sooner with our self", "LORRAIN.\nThe most renowned prince, King John of France,\nDoth greet thee, Edward, and by me commands,", "ACT III. SCENE V. The Same.\n\n[Enter King Edward and Audley.]", "KING EDWARD.\nThis fellow is well read in poetry,\nAnd hath a lusty and persuasive spirit;\nI will acquaint him with my passion,", "[Exeunt.]\n\n\nACT IV. SCENE IX. The same. The English Camp.\n\n[Enter prince Edward, King John, Charles, and all,\nwith Ensigns spread.]", "[Enter Prince Edward, king John, Phillip, Audley, Artois.]", "[Enter King Edward.]", "ACT I. SCENE I. London. A Room of State in the\nPalace. Flourish.\n\n[Enter King Edward, Derby, Prince Edward, Audley, and\nArtois.]", "PERCY.\nA Esquire, my Lord; John Copland is his name:\nWho since, intreated by her Majesty,\nDenies to make surrender of his prize", "KING EDWARD.\nOur God be praised! Now, John of France, I hope,\nThou knowest King Edward for no wantoness,", "And, lowly at his stirrup, comes afoot\nKing John of France, together with his son,\nIn captive bonds; whose diadem he brings", "[Enter Lodowick.]\n\nHow now?\n\nLODOWICK.\nMy liege, the drum that stroke the lusty march,\nStands with Prince Edward, your thrice valiant son.", "ACT IV. SCENE II. Picardy. The English Camp before\nCalais.\n\n[Enter King Edward and Derby, with Soldiers.]", "See, see, Artois doth bring with him along\nThe late good counsel giver to my soul.\nWelcome, Artois; and welcome, Phillip, too:" ], [ "[Enter Prince Edward in triumph, bearing in his hands\nhis chivered Lance, and the King of Boheme, borne\nbefore, wrapped in the Colours. They run and imbrace him.]", "The stern Polonian, and the warlike Dane,\nThe king of Bohemia, and of Sicily,\nAre all become confederates with us,", "This sacrifice, this first fruit of my sword,\nCropped and cut down even at the gate of death,\nThe king of Boheme, father, whom I slew;", "KING OF BOHEMIA.\nKing John of France, as league and neighborhood\nRequires, when friends are any way distrest,\nI come to aide thee with my country's force.", "With blood of those that fought to be thy bane.\nArise, Prince Edward, trusty knight at arms:\nThis day thou hast confounded me with joy,\nAnd proud thy self fit heir unto a king.", "Mean space, my Lords, tis best we be dispersed\nTo several places, least they chance to land:\nFirst you, my Lord, with your Bohemian Troops,", "[Enter the King of Bohemia, with Danes, and a\nPolonian Captain, with other soldiers, another way.]", "[Exeunt King John, Charles, Philip, Lorrain, Boheme,\nand Forces.]", "KING EDWARD.\nHe shall be welcome; that's the thing we crave.\n\n[Enter King John, Dukes of Normandy and Lorrain,\nKing of Boheme, young Phillip, and Soldiers.]", "KING JOHN.\nWelcome, Bohemian king, and welcome all:\nThis your great kindness I will not forget.", "KING EDWARD.\nWhy, there it goes! That very smile of hers\nHath ransomed captive France, and set the King,", "AUDLEY.\nVictorious Prince,--that thou art so, behold\nA Caesar's fame in king's captivity--", "KING JOHN.\nCome, Charles, and arm thee; Edward is entrapped,\nThe Prince of Wales is fallen into our hands,\nAnd we have compassed him; he cannot escape.", "AUDLEY.\nO joyful sight! victorious Edward lives!\n\nDERBY.\nWelcome, brave Prince!\n\nKING EDWARD.\nWelcome, Plantagenet!", "KING JOHN.\nThy fortune, not thy force, hath conquered us.\n\nPRINCE EDWARD.\nAn argument that heaven aides the right.", "Therefore, my friends, consider this in brief:\nHe that you fight for is your natural King;\nHe against whom you fight, a foreigner:", "The confident and boisterous boasting Scot,\nThat swore before my walls they would not back\nFor all the armed power of this land,\nWith faceless fear that ever turns his back,", "And, lowly at his stirrup, comes afoot\nKing John of France, together with his son,\nIn captive bonds; whose diadem he brings", "[Exit.]\n\n\nACT V. SCENE I. Picardy. The English Camp before\nCalais.\n\n[Enter King Edward, Queen Phillip, Derby, soldiers.]", "AUDLEY.\nThis sudden, mighty, and expedient head\nThat they have made, fair prince, is wonderful.\nBefore us in the valley lies the king," ], [ "KING EDWARD.\nMy promise? Well, I do confess as much:\nBut I do require the chiefest Citizens", "KING EDWARD.\nPoor silly men, much wronged and more distressed!\nGo, Derby, go, and see they be relieved;\nCommand that victuals be appointed them,\nAnd give to every one five Crowns a piece.", "KING EDWARD.\nThy beauty makes them guilty of their death\nAnd gives in evidence that they shall die;\nUpon which verdict I, their Judge, condemn them.", "[Enter six Citizens in their Shirts, bare foot, with\nhalters about their necks.]\n\nALL.\nMercy, king Edward, mercy, gracious Lord!", "KING EDWARD.\nGo, get you hence, return unto the town,\nAnd if this kindness hath deserved your love,\nLearn then to reverence Edward as your king.--\n\n[Exeunt Citizens.]", "KING EDWARD.\nName them, fair Countess, and, by heaven, I will.\n\nCOUNTESS.\nIt is their lives that stand between our love,\nThat I would have choked up, my sovereign.", "KING EDWARD.\nWell, then we'll have a Pursiuvant despatched,\nTo summon Copland hither out of hand,\nAnd with him he shall bring his prisoner king.", "KING EDWARD.\nAudley, content; I will not have a man,\nOn pain of death, sent forth to succour him:", "KING EDWARD.\nAh, Lady, I am blunt and cannot straw\nThe flowers of solace in a ground of shame:--\nSince I came hither, Countess, I am wronged.", "KING EDWARD.\nContemptuous villains, call ye now for truce?\nMine ears are stopped against your bootless cries:--\nSound, drums alarum; draw threatening swords!", "KING EDWARD.\nNo more, Queen Phillip, pacify your self;\nCopland, except he can excuse his fault,", "KING EDWARD.\nThy ransom, John, hereafter shall be known:\nBut first to England thou must cross the seas,", "[Enter King Edward.]", "KING EDWARD.\nDidst thou not swear to give me what I would?\n\nCOUNTESS.\nI did, my liege, so what you would I could.", "KING EDWARD.\nIf it be so, then let our covenant stand:\nWe take possession of the town in peace,", "KING EDWARD.\nHow art thou called? tell me thy name.\n\nGOBIN.\nGobin de Graie, if please your excellence.", "KING EDWARD.\nI thank thee then; thou hast done little ill,\nBut what is done, is passing, passing ill.", "KING EDWARD.\nThat needs no further question; and I know,\nHis conscience witnesseth, it is my right.--", "KING EDWARD.\nGo, draw the same, I tell thee in what form.\n\nLODOWICK.\nI go.\n\n[Exit Lodowick.]", "KING EDWARD.\nThey will so! Then, belike, they may command,\nDispose, elect, and govern as they list." ], [ "[Exit.]\n\n\nACT V. SCENE I. Picardy. The English Camp before\nCalais.\n\n[Enter King Edward, Queen Phillip, Derby, soldiers.]", "ACT IV. SCENE II. Picardy. The English Camp before\nCalais.\n\n[Enter King Edward and Derby, with Soldiers.]", "CAPTAIN.\nThe Burgesses of Callis, mighty king,\nHave by a counsel willingly decreed\nTo yield the town and Castle to your hands,\nUpon condition it will please your grace\nTo grant them benefit of life and goods.", "[Enter six Citizens in their Shirts, bare foot, with\nhalters about their necks.]\n\nALL.\nMercy, king Edward, mercy, gracious Lord!", "KING EDWARD.\nGo, get you hence, return unto the town,\nAnd if this kindness hath deserved your love,\nLearn then to reverence Edward as your king.--\n\n[Exeunt Citizens.]", "KING EDWARD.\nWhy, there it goes! That very smile of hers\nHath ransomed captive France, and set the King,", "KING EDWARD.\nPoor silly men, much wronged and more distressed!\nGo, Derby, go, and see they be relieved;\nCommand that victuals be appointed them,\nAnd give to every one five Crowns a piece.", "KING EDWARD.\nThis fellow is well read in poetry,\nAnd hath a lusty and persuasive spirit;\nI will acquaint him with my passion,", "KING EDWARD.\nShe shall be welcome; and, to wait her coming,\nI'll pitch my tent near to the sandy shore.\n\n[Enter a French Captain.]", "[Enter Artois.]\n\nARTOIS.\nRescue, king Edward! rescue for thy son!", "COUNTESS.\nWhat might I speak to make my sovereign stay?\n\nKING EDWARD.\nWhat needs a tongue to such a speaking eye,\nThat more persuades than winning Oratory?", "KING EDWARD.\nI pray thee, Phillip, let displeasure pass;\nThis man doth please me, and I like his words:", "KING EDWARD.\nAudley, content; I will not have a man,\nOn pain of death, sent forth to succour him:", "CAPTAIN.\nWhy, this it is to trust a broken staff:\nHad we not been persuaded, John our King\nWould with his army have relieved the town,", "KING JOHN.\nCome, Charles, and arm thee; Edward is entrapped,\nThe Prince of Wales is fallen into our hands,\nAnd we have compassed him; he cannot escape.", "ARTOIS.\nO, would my life might ransom him from death!\n\nKING EDWARD.\nBut soft, me thinks I hear\n\n[Retreat sounded.]", "KING EDWARD.\nLeast, yielding here, I pine in shameful love,\nCome, we'll pursue the Scots;--Artois, away!", "KING JOHN.\nThy fortune, not thy force, hath conquered us.\n\nPRINCE EDWARD.\nAn argument that heaven aides the right.", "KING EDWARD.\nMy promise? Well, I do confess as much:\nBut I do require the chiefest Citizens", "KING EDWARD.\nIf it be so, then let our covenant stand:\nWe take possession of the town in peace," ] ]

[ "What was Edward willing to do for the Earl of Salisbury's wife?", "Which member of royalty did the Black Prince defeat to initially prove his battle strength?", "Which country's troops win the battle at Poitiers?", "How were the prominent citizens of Calais saved from punishment after losing the battle?", "Which members of royalty were delivered to King Edward, after battles?", "Who was willing to kill herself rather than be with King Edward?", "What made King Edward dedicate himself fully to his role as king?", "How did King Edward learn that he was supposed to be the new French king?", "Who informed King Edward that he is the real heir of France's previous king?", "What did the Scots take over?", "Who was holding the besieged castle?", "What was the countess' eventual threat if Edward did not stop pursuing her?", "Edward joined the army in France to fight for what?", "What was the battle for the throne called?", "Which king lost to King Edward?", "Where did the prince find himself surrounded and outnumbered?", "How many leading citizens did King Edward want punished?", "What did Prince Edward do in his victory?", "Edward has just inherited the throne of what country?", "The Countess of Salisbury agrees to take her husband's life if Edward does what in return?", "What country has beseiged a castle in the north of England?", "What is the name of King Edward's son?", "Who is Queen Philippa?", "Who brings the French king to King Edward?", "Who does Sir John Copeland bring to Edward?", "Who defeats the King of Bohemia?", "King Edward demands how many citizens should face punishement?", "Who persuades King Edward to pardon the citizens of Calais?" ]

[ [ "kill his own wife", "Take the life of his wife." ], [ "the king of Bohemia", "the King of Bohemia" ], [ "England", "The English" ], [ "Queen Philippa convinced King Edward to pardon them", "Edwards wife talks him out of it" ], [ "The king of the Scots and the French King", "The French King, the king of Scots" ], [ "the Countess of Salibury", "The Countess of Salisbury" ], [ "The shame he felt at wanting another man's wife so badly that he would be willing to kill his own wife", "rejection from the woman he loved" ], [ "The Count of Artois told him", "The Count of Artois." ], [ "The Count of Artois", "The Count of Artois. " ], [ "The Scots were besieging a castle in northern England.", "A castle" ], [ "The Countess of Salisbury", "The Countess of Salisbury " ], [ "She will kill herself.", "She would take her own life." ], [ "The French throne.", "To claim the French throne." ], [ "The Battle of Crecy.", "Battle of Crecy" ], [ "The King of Bohemia.", "the king of the Scots" ], [ "In Poitiers", "Poitiers. " ], [ "Six.", "Six" ], [ "Brought with him the captured French king.", "He captured the French king." ], [ "France", "France" ], [ "Kill his wife", "kill his wife" ], [ "Scotland", "the Scots" ], [ "Edward, the black prince", "Edward " ], [ "King Edward's wife", "King Edward's wife. " ], [ "Prince Edward", "A French ambassador" ], [ "the king of Scotland", "King of the Scots" ], [ "Prince Edward", "Prince Edward" ], [ "six", "Six" ], [ "Queen Philippa", "Queen Phillipa" ] ]

[ [ "daughter Rosamond was born; the second time when Mrs. Treverton died.\nOn each occasion the elder brother wrote to say that, if the younger\nwould retract the atrocious words he had spoken against his", "and by the only child of the house of Treverton--a little girl named\nRosamond, aged, at that time, nearly five years.", "\"Whose!\"\n\n\"The handwriting of the late Mrs. Treverton.\"\n\n\"Of your mother?\"\n\n\"Of the late Mrs. Treverton.\"", "read the first of the two signatures--\"Rosamond Treverton.\" She\nfaintly repeated two syllables of that familiar Christian name--the", "\"Cry!\" exclaimed the vicar, contemptuously. \"Rosamond Treverton is not\none of the puling, sentimental sort, I can tell you. A fine, buxom,", "information they wanted, and that this person was no other than\nRosamond's own cross-grained relative, Andrew Treverton.", "the letter that had been written on Mrs. Treverton's death-bed. She\ndrew it from her bosom once more, and crushed it up angrily in her\nfingers.", "\"Yes. She is, I understand, a daughter of that Captain Treverton who\nwas lost with his ship a year ago in the West Indies. Perhaps you may\nremember the account of the disaster in the newspapers?\"", "\"Not the doctor--not even your master,\" said Mrs. Treverton, and\npointed to the door. The hand was weak; but even in that momentary\naction of it there was no mistaking the gesture of command.", "had been severed by death. She knew that Mrs. Treverton, in the last\ndays of her illness, had earnestly recommended her maid to Captain\nTreverton's kindness and protection, and she felt assured that the", "\"To be sure she is!\" rejoined the vicar. \"Her father, Captain\nTreverton, is the head of the family. Not that there's much family to", "\"As the name of the Treverton family,\" she continued, after a pause,\nduring which her hand had been restlessly moving the letter to and fro", "Rosamond carried the box to the window, blew the dust off the top of\nit, and read, on a parchment label nailed to the cover: \"Papers. John\nArthur Treverton. 1760.\"", "by four votes. Price fifty pounds each. J. A. Treverton.\" The next\nlayer of papers had no inscription. Rosamond opened them, and read on", "is the daughter of Captain Treverton, whose dreadful shipwreck we all\nread about in the papers. I knew her father in my early days, and on", "Mrs. Treverton's bed-chamber was a large, lofty room, situated in the\nwestern front of the house, and consequently overlooking the sea-view.", "\"The Secret must be told,\" answered Mrs. Treverton. \"My husband ought\nto know it, and must know it. I tried to tell him, and my courage", "fraud practiced on Captain Treverton and the asserted parentage of the\nchild. Telling Mr. Frankland that he would do well to have Mrs.", "Mrs. Treverton's eyes had softened and moistened when she spoke of her\nlove for her husband. She lay silent for a few minutes; the working of", "Rosamond turned her back on him contemptuously.\n\nMr. Treverton chuckled with an air of supreme satisfaction." ], [ "daughter Rosamond was born; the second time when Mrs. Treverton died.\nOn each occasion the elder brother wrote to say that, if the younger\nwould retract the atrocious words he had spoken against his", "\"To be sure she is!\" rejoined the vicar. \"Her father, Captain\nTreverton, is the head of the family. Not that there's much family to", "and by the only child of the house of Treverton--a little girl named\nRosamond, aged, at that time, nearly five years.", "\"Call him my father,\" said Rosamond, sadly. \"Remember how he loved me,\nand how I loved him, and say 'my father' still.\"", "\"Cry!\" exclaimed the vicar, contemptuously. \"Rosamond Treverton is not\none of the puling, sentimental sort, I can tell you. A fine, buxom,", "Treverton and his father before him. He came to the hotel fully\nexpecting to be consulted on some difficulties connected with the\nPorthgenna estate, which the local agent was perhaps unable to settle,", "by four votes. Price fifty pounds each. J. A. Treverton.\" The next\nlayer of papers had no inscription. Rosamond opened them, and read on", "\"Yes. She is, I understand, a daughter of that Captain Treverton who\nwas lost with his ship a year ago in the West Indies. Perhaps you may\nremember the account of the disaster in the newspapers?\"", "is the daughter of Captain Treverton, whose dreadful shipwreck we all\nread about in the papers. I knew her father in my early days, and on", "read the first of the two signatures--\"Rosamond Treverton.\" She\nfaintly repeated two syllables of that familiar Christian name--the", "\"Whose!\"\n\n\"The handwriting of the late Mrs. Treverton.\"\n\n\"Of your mother?\"\n\n\"Of the late Mrs. Treverton.\"", "Rosamond carried the box to the window, blew the dust off the top of\nit, and read, on a parchment label nailed to the cover: \"Papers. John\nArthur Treverton. 1760.\"", "so she is one of the Cornish Trevertons? I knew something of Andrew\nyears ago. He was a bachelor, like myself, Miss Sturch. His Apparatus", "Rosamond turned her back on him contemptuously.\n\nMr. Treverton chuckled with an air of supreme satisfaction.", "Rosamond, is one of the oldest in England: even _my_ father's family\nhardly dates back so far; and we were landed gentry when many a name", "Mr. Treverton carefully placed a thick stick which he carried with him\nupright between his knees, crossed his hands on the top of it, rested\nhis chin on them, and, in that investigating position, stared steadily\nin Rosamond's face.", "information they wanted, and that this person was no other than\nRosamond's own cross-grained relative, Andrew Treverton.", "consolation to him in his affliction. If any human being can make him\nhappy for the rest of his life, Rosamond Treverton is the girl to do\nit.\"", "fraud practiced on Captain Treverton and the asserted parentage of the\nchild. Telling Mr. Frankland that he would do well to have Mrs.", "\"I told you, Madam,\" said the old man, when Rosamond raised her head\nfrom the letters, \"that I was frightened and sorry for Sarah when she" ], [ "subject of the interior of Porthgenna Tower by referring to his former\nknowledge of the Treverton family, and to his natural interest in the\nold house with which their name and fortunes had been so closely", "Treverton and his father before him. He came to the hotel fully\nexpecting to be consulted on some difficulties connected with the\nPorthgenna estate, which the local agent was perhaps unable to settle,", "Treverton, Esquire, Lord of the Manor of Porthgenna, One of his\nMajesty's Justices of the Peace, F.R.S., etc., etc., etc., this work,", "\"'Treverton,' said he, 'if you will sell Porthgenna Tower at the price\nat which you bought it in, when you tried to dispose of it by auction,", "Porthgenna Tower, and had dispatched a messenger with a letter to\nBayswater, announcing his intention of calling upon Andrew Treverton\nthat afternoon, on private business of importance relating to the", "look of Porthgenna Tower, and in the right over the mine and\nfisheries, which the purchase of the estate included, that flattered\nhis notions of restoring the family greatness. Here he and his son", "to Porthgenna Tower, or I shall never get on with my story. When\nCaptain Treverton had once made up his mind to sell the place, I have", "surprised at Mr. Frankland's readiness to purchase Porthgenna Tower;\nand Captain Treverton, it is hardly necessary to say, was not long in", "generation who had lived at Porthgenna Tower in the by-gone days when\nall traditions connected with the north rooms were still fresh in the\nmemories of the inhabitants of the house. The people who lived in it", "journey that evening, and had then returned to Porthgenna Tower to\nmake his report, and to claim his promised reward.", "\"Leonard Frankland's father,\" said the vicar. \"It is rather a long\nstory, that sale of Porthgenna Tower, with some curious circumstances", "therefore, whose recollections were likely to be of any service to Mr.\nand Mrs. Frankland, was indisputably the brother of the old owner of\nPorthgenna Tower.", "with the Porthgenna neighborhood. Whether this be the fact\n or no, it is indisputably certain that she is familiar with\n the interior of Porthgenna Tower, and that she has an", "came here, describes Porthgenna Tower as a Mansion, and uses the word\nSpacious in speaking of the west staircase. I regret to find, Sir,", "acquainted than themselves with the old local arrangements of the\ninterior of Porthgenna Tower, the vicar declared it to be his opinion\nthat there was only one individual living who could afford them the", "That was the title-page. The next leaf contained an engraved view of\nPorthgenna Tower from the West. Then came several pages devoted to the", "Treverton could venture to ask for it, if it was situated in these\nparts. Old Frankland was well aware of that fact, and attached all\npossible importance to it. Besides, there was something in the feudal", "domestic authority, was also waiting in doubt inside the walls. This\nperson was no other than the housekeeper of Porthgenna Tower; and the\ncause of her perplexity was nothing less than the letter which had", "Porthgenna Tower. And, what is more, Phippen, at the first opportunity\nhe could get, he sold the place--sold it, out and out, mine,", "\"So the life they led in that ancient house of Porthgenna began\nhappily for them all,\" continued the old man. \"The love that the" ], [ "engaged long before this cruel affliction befell young Frankland--the\nfathers, on both sides, having lived as near neighbors in these parts\nfor years. Well, when the blindness came, Leonard at once offered to", "as--\" Rosamond stopped, and looked anxiously into Mr. Frankland's\nface. \"Lenny!\" she said, sadly, putting her cheek against his, \"are\nyou angry with me still?\"", "\"No, no--Frankland,\" answered the vicar, \"Leonard Frankland. And not\nblind from his birth by any means. It is not much more than a year ago\nsince he could see almost as well as any of us.\"", "\"Rosamond!\" said Mr. Frankland. There was an accent of sorrow in his\nvoice this time, as well as an accent of remonstrance. Rosamond's", "\"Rosamond!\" cried Mr. Frankland, suddenly changing color, and starting\nin his chair--\"I think I can guess who Mrs. Jazeph is!\"\n\n\"Good gracious, Lenny! What do you mean?\"", "prematurely steadied and saddened his character. Merely introducing\nher husband and herself to him, as persons who were deeply interested\nin his patient at the lodging-house, Rosamond left it to Leonard to", "As Mr. Frankland turned in that direction, Rosamond whispered to him:\n\"Don't be hard on her, Lenny.\"", "exactly as Leonard dictated it. When it had been placed in the\npost-bag, and when the other letters of the morning had been read and\nanswered, Mr. Frankland reminded his wife of the intention she had", "She stopped. The smile had vanished from Leonard's face, and he had\nturned a little away from her. \"What is the use, Rosamond, of\nsupposing events that never could have happened?\" he asked rather\nimpatiently.", "Mr. Frankland's blindness, and the cause of it; about the lamentable\ncondition in which his wife had arrived at the hotel; and about the", "She turned her head away as she spoke, but Leonard was too quick for\nher. His inquiring fingers touched her cheek. \"Rosamond, you are\ncrying,\" he said.", "had been done, and when the leaf on which Mrs. Frankland had written\nhad been folded outward, so that it might be the first page to catch\nthe eye, Leonard directed that the paper should be given to the old", "\"My dear Rosamond,\" interposed Mr. Frankland, \"you are lamenting\neffects, and forgetting causes altogether. Remember what a state of", "\"Hush, hush, love!\" said Mr. Frankland, getting seriously alarmed by\nthe violence of Rosamond's agitation. \"Never mind repeating the words", "the hall, and asked permission to speak with Mrs. Frankland for a few\nminutes. Leaving Rosamond to her interview with the doctor, Uncle", "\"Did you not get a message from me this afternoon?\" asked the doctor,\nappealing to Mrs. Frankland.\n\n\"To be sure I did,\" replied Rosamond. \"A very kind, flattering message\nabout a new nurse.\"", "The landlady placed herself by Mr. Frankland's side.\n\n\"Is it late?\" asked Leonard.\n\n\"Oh no, Sir; not ten o'clock yet.\"", "your ears. Poor blind young Frankland is a happy man at last--I have\nmarried him to our dear Rosamond Treverton this very morning!\"", "\"Leonard Frankland's father,\" said the vicar. \"It is rather a long\nstory, that sale of Porthgenna Tower, with some curious circumstances", "particulars into which Mrs. Frankland had not thought it advisable to\nenter in her letter. The plain facts of the case were, that a little\ndiscussion had arisen between the husband and wife in relation to the" ], [ "herself, and that Sarah Leeson's mistress had long since forbidden\nevery one, from her husband downward, to ruffle her maid's\ntranquillity by inquisitive questions.", "\"Gott im Himmel! it's her voice--it's Sarah Leeson!\" cried the old\nman, running up to his visitor as nimbly as if he was a boy again,", "When the nurse returned she had nothing to report but that she had\nfollowed Sarah Leeson to her own bedroom, had seen her enter it, had\nlistened outside, and had heard her lock the door.", "recovering from a slight illness, or reposing after unusual fatigue.\nEven Sarah Leeson, who had watched her all through her malady, could", "the married lady, Mrs. Treverton, and I am your maid who waits on you,\nSarah Leeson.' At that, the glimmering on Sarah's mind breaks in at", "\"Mistress,\" said Sarah Leeson, standing close to the curtains, but not\nwithdrawing them, \"my master has left the room, and has sent me here\nin his place.\"", "Sarah Leeson, instead of entering her mistress's room, stood looking\nafter her master attentively, with her pale cheeks turned to a deathly", "told his errand. Before he had done speaking the door was quietly and\nquickly opened, and Sarah Leeson confronted him on the threshold, with\nher candle in her hand.", "\"To think of Sarah coming at last!\" he said, pressing her into a\nchair. \"After all these years and years, to think of Sarah Leeson\ncoming to see Uncle Joseph again!\"", "Four hours afterward Captain Treverton desired one of the servants at\nPorthgenna Tower to inform Sarah Leeson that he wished to hear all she", "The earth to which we all return had closed over Her: the weary\npilgrimage of Sarah Leeson had come to its quiet end at last. The", "Having put away the plays, Sarah went back to her mistress; and, with\nmore of dread and bewilderment in her face than grief, opened her lips", "stimulated by confused remembrances of stage words and stage\nsituations, had been accepted by Sarah Leeson as the most sacred and\ninviolable engagement to which she could bind herself. The threat of", "Sarah bolted the door, returned irresolutely to the bedside, fixed her\nlarge, eager, startled eyes inquiringly on her mistress's face, and,\nsuddenly bending over her, said in a whisper:", "\"Leeson,\" said Rosamond, pressing her husband's hand significantly\nunder the table. \"Your niece's name is Sarah Leeson?\"", "The instant Sarah Leeson had turned the key of her bedroom door, she\ntook the sheet of note-paper from its place of concealment in her", "\"Sarah still, but not Sarah Leeson,\" said Mrs. Jazeph, pressing her\nthin, trembling hands firmly together, and looking down on the floor\nwhile she spoke.", "need speak no more of that until we are assured of the necessity of\nrestoring the money. My immediate anxiety, and your immediate anxiety,\nmust turn now on the discovery of Sarah Leeson--no! on the discovery", "into her room where Sarah is at work for her, and walks about and\nfinds fault; and one day lets the evil temper fly out of her at her", "weeks pass, after the death of the mining man, and Sarah in the body\nsuffers less, but in the mind suffers more. The mistress, who is kind" ], [ "bedroom of Porthgenna Tower, and placed the leaves delicately and\ncarefully between the pages. As she did this, the wind blew open the", "They proceeded down the path without another moment of delay. When\nthey had reached the end of it, they stood opposite the eastern\nboundary wall of Porthgenna Tower. The principal entrance to the", "That was the title-page. The next leaf contained an engraved view of\nPorthgenna Tower from the West. Then came several pages devoted to the", "There, below them, was the dark, lonesome, spacious structure of\nPorthgenna Tower, with the sunlight already stealing round toward the", "with the Porthgenna neighborhood. Whether this be the fact\n or no, it is indisputably certain that she is familiar with\n the interior of Porthgenna Tower, and that she has an", "Mr. Frankland started. \"Is there such a room at Porthgenna?\" he asked,\neagerly.\n\n\"I never heard of it,\" said Rosamond.", "before the one found out from the other that Porthgenna Tower was for\nsale. On first hearing this, old Frankland asked a few questions about\nthe place, but said not a word on the subject of purchasing it. Soon", "north rooms habitable. On the receipt of this communication, the\nbuilder withdrew himself and his men as soon as the west stairs and\nbanisters had been made secure; and Porthgenna Tower was again left to", "They turned again, and took the downward path before them. In less\nthan a minute they had lost sight of Porthgenna Tower, of the old", "journey that evening, and had then returned to Porthgenna Tower to\nmake his report, and to claim his promised reward.", "There was no help for it. She must run the risk of betraying every\nthing, or brave the double trial of leaving Porthgenna Tower, and\nleaving it secretly.", "domestic authority, was also waiting in doubt inside the walls. This\nperson was no other than the housekeeper of Porthgenna Tower; and the\ncause of her perplexity was nothing less than the letter which had", "acquainted than themselves with the old local arrangements of the\ninterior of Porthgenna Tower, the vicar declared it to be his opinion\nthat there was only one individual living who could afford them the", "occurrence at Porthgenna Tower. The few persons who had any occasion\nto come to the house on domestic business always entered by a small\nside gate, which was left on the latch in the day-time.", "adorned the library at Porthgenna Tower. Covered with dust, and\nscattered in all directions and positions over the floor, lay hundreds\nand hundreds of volumes, cast out of their packing-cases as coals are", "\"Uncle! we have been followed every step of the way from Porthgenna\nTower to this place.\"\n\n\"So! so! And how do you know that?\" inquired Uncle Joseph.", "at Porthgenna Tower longer than is needful. I lost nearly a\n whole day in taking the keys off the ring, and fitting them\n at hazard to the right doors. And I occupied some hours of", "On a certain morning, about three weeks after Mrs. Frankland had\nwritten to the housekeeper at Porthgenna Tower to mention the period\nat which her husband and herself might be expected there, Mr.", "speaking. It ceased instantaneously when she said the words\n\"Porthgenna Tower;\" and for one moment there was a dead silence in the\nroom.", "book, with no other light to direct him than the faint glimmer of the\ntwo guiding words--Porthgenna Tower. Having got them firmly fixed in\nhis mind, his next object was to search until he found them printed on" ], [ "Leonard smiled. \"That vivid fancy of yours, my dear, takes strange\nflights sometimes,\" he said, quietly.", "any part of it, and that he could be of no further use in the present\nearly stage of the proceedings, rose to take his leave. Leonard\nengaged to communicate with him again in the course of the day, if", "He addressed the question to Rosamond first, and then repeated it to\nLeonard. They both answered in the affirmative, and entreated him to\ngo on.", "Rosamond started back in her chair and clasped her hands in dismay.\n\"Oh, Lenny,\" she said simply, \"I have thought so much of you, since I\nfound the letter, that I never remembered this!\"", "\"Why do you stop?\" asked Leonard.\n\n\"I was afraid--\" she began, and paused again.", "and that I have got.\" She advanced a few steps farther, reached the\ntable on which the letter lay, and placed her hand on it, keeping her\neyes still fixed intently on Leonard's face.", "Meanwhile Leonard, who sat near the fire-place, and whose color was\nrising angrily once more, had been feeling for the bell-rope, and had\njust succeeded in getting it into his hand as Mr. Treverton approached\nthe door.", "exactly as Leonard dictated it. When it had been placed in the\npost-bag, and when the other letters of the morning had been read and\nanswered, Mr. Frankland reminded his wife of the intention she had", "CHAPTER VI.\n\nTHE TELLING OF THE SECRET.", "he said those words! How could I tell him the Secret? how could I give\nhim the letter, with his wife dead that morning--with nobody but you\nto comfort him--with the awful truth crushing down upon my heart, at", "Leonard's sensitive ear detected a change in her voice. \"Is there any\nthing that alarms you in the picture?\" he asked, half in jest, half in\nearnest.", "\"Would you really care to hear all my thoughts?\" asked Leonard.\n\n\"Yes; all. I shall be jealous of any thoughts that you keep to\nyourself. Tell me what you were thinking of just now! Me?\"", "had been done, and when the leaf on which Mrs. Frankland had written\nhad been folded outward, so that it might be the first page to catch\nthe eye, Leonard directed that the paper should be given to the old", "She turned her head away as she spoke, but Leonard was too quick for\nher. His inquiring fingers touched her cheek. \"Rosamond, you are\ncrying,\" he said.", "Leonard stopped her before she could say any more. \"Let me try, for\nonce, if I can't make a discovery for myself,\" he said, a little", "This advice was too plainly valuable to be neglected. At Leonard's\nrequest, Mr. Nixon drew out at once a form of declaration, affirming", "\"There are two persons who could be intrusted with it,\" answered\nLeonard. \"One is the old man whom you have seen by your patient's\nbedside. The other is my wife.\"", "After the first natural burst of astonishment was over, the effect of\nthe disclosure of the Secret on Uncle Joseph exhibited the most", "the truth at all hazards and all sacrifices. Hear me out, Lenny,\nbefore you judge.\" Hot tears rushed into her eyes; but she dashed them", "of irresolution in her face, placed the folded paper boldly in his\nhand. \"Keep that, Lenny,\" she said, turning deadly pale, but still not" ], [ "ANDREW TREVERTON.\"", "and trying to look shocked. I know Andrew Treverton's early history as\nwell as you do. I know that he was treated with the basest ingratitude", "communicate with Andrew Treverton, as he had proposed, without a\nmoment's delay.", "application to Andrew Treverton had remained unanswered; but he added\nthat it had, nevertheless, produced results which no one could\npossibly have anticipated. For information on the subject of those", "Frankland's request, the letter which informed Andrew Treverton of his\nbrother's decease, and of the circumstances under which the captain", "information they wanted, and that this person was no other than\nRosamond's own cross-grained relative, Andrew Treverton.", "and I announce my own name--Andrew Treverton.\"", "do, knowing, in the first place, that Mr. Andrew Treverton can not be\ndealt with according to the established usages of society; and\nknowing, in the second place, that the information which his servant", "they ought to adopt. He had already compromised himself a little in\nhis own estimation, by assuming a character which really did not\nbelong to him, when he made his application to Andrew Treverton; and", "believing that if a clew to the position of the Myrtle Room existed\nany where, Andrew Treverton was the man to lay his hand on it.", "Porthgenna Tower, and had dispatched a messenger with a letter to\nBayswater, announcing his intention of calling upon Andrew Treverton\nthat afternoon, on private business of importance relating to the", "In the second place, there was the chance, even if Andrew Treverton's\nmemory was not to be trusted, that he might possess written or", "Starting at the beginning of the march of life out of step with the\nrest of the mortal regiment, Andrew Treverton paid the penalty of his", "disliked Andrew Treverton personally, and strongly as he disapproved\nof the old misanthrope's principles, he was willing to set aside his", "so she is one of the Cornish Trevertons? I knew something of Andrew\nyears ago. He was a bachelor, like myself, Miss Sturch. His Apparatus", "were given in such a manner, as to satisfy him that his wife had no\nmoral right to the fortune that she possessed, he would restore it at\nonce to the person who had--Mr. Andrew Treverton.", "the attempt on the plan which he had just suggested. If Mr. and Mrs.\nFrankland could devise any better means of opening communications\nwith Andrew Treverton, or if they had discovered any new method of", "It was baking-day in the establishment of Mr. Andrew Treverton when\nthe messenger intrusted with Doctor Chennery's letter found his way to", "and the estrangement between the two brothers has continued to the\npresent time. You understand now why Captain Treverton could not\nprivately consult Andrew's inclinations before he publicly announced", "well as in London, who knew the Treverton family personally or by\nreputation. From this objection he passed to another, which admitted\nthe possible genuineness of the letter as a written document; but" ], [ "died before the term was out, and that caused the marriage to be put\noff again. But no delays could alter Rosamond--six years, instead of", "\"When I left my place, Miss Treverton was a little girl of five years\nold. She is a married woman now--so beautiful, so clever, such a", "daughter Rosamond was born; the second time when Mrs. Treverton died.\nOn each occasion the elder brother wrote to say that, if the younger\nwould retract the atrocious words he had spoken against his", "She turned her head away as she spoke, but Leonard was too quick for\nher. His inquiring fingers touched her cheek. \"Rosamond, you are\ncrying,\" he said.", "Rosamond opened the letter, drew a stool to her husband's feet, and,\nsitting down with her arms on his knees, read as follows:\n\n \"TO LEONARD FRANKLAND, ESQ.:", "\"Of course,\" continued Doctor Chennery. \"Well, since Mrs. Treverton\ndied, fifteen years ago, Captain Treverton has never been near", "She stopped. The smile had vanished from Leonard's face, and he had\nturned a little away from her. \"What is the use, Rosamond, of\nsupposing events that never could have happened?\" he asked rather\nimpatiently.", "by four votes. Price fifty pounds each. J. A. Treverton.\" The next\nlayer of papers had no inscription. Rosamond opened them, and read on", "marriage, Rosamond,\" she said. \"I used to be fond of reading it over\nand over again to myself when I was alone, and trying to fancy how", "prematurely steadied and saddened his character. Merely introducing\nher husband and herself to him, as persons who were deeply interested\nin his patient at the lodging-house, Rosamond left it to Leonard to", "Rosamond answered his request by relating the substance of the\nconversation which had passed between her husband and the doctor. She\nthen, with many preparatory cautions, proceeded to instruct the old", "\"Not five minutes!\" repeated Rosamond, whispering to her husband\nagain. \"Do you hear that, Lenny? In five minutes we might be in the\nMyrtle Room!\"", "\"The future?\" asked Leonard. \"What future, Rosamond, can you possibly\nmean?\"", "had been severed by death. She knew that Mrs. Treverton, in the last\ndays of her illness, had earnestly recommended her maid to Captain\nTreverton's kindness and protection, and she felt assured that the", "the letter that had been written on Mrs. Treverton's death-bed. She\ndrew it from her bosom once more, and crushed it up angrily in her\nfingers.", "the hall, and asked permission to speak with Mrs. Frankland for a few\nminutes. Leaving Rosamond to her interview with the doctor, Uncle", "think it would have staggered _him_. Both these people,\" continued Mr.\nTreverton, looking perplexedly from Rosamond to Leonard, and from", "\"Look at it, my dear,\" said her mother. \"I want you to know it again.\nWhen my time comes to leave you, Rosamond, lay it on my bosom with", "\"Try to suppose (what is much more probable) that it only leads into\nanother room,\" suggested Leonard.\n\nRosamond threw the door wide open, suddenly. Her husband was right. It\nmerely led into the next room.", "had died. All that Rosamond now wrote, in her husband's name and her\nown, to ask of Mr. Nixon, was that he would endeavor to call at their" ], [ "\"This,\" she replied. \"I mean to make the main interest of the story\ncentre in two young married people. They shall be very fond of each", "character, or in the use of a story for the development of social\ntheories, or for the redress of a wrong against humanity and\ncivilization; but in his own domain he stands alone, without a rival.", "With last words such as those, the sad and simple story of the old man\ncame to an end. After waiting a little to recover her self-possession", "continually in addressing himself to others. Personally, he could not\nbe called a handsome man. His eyes were watery, large, and light gray;\nthey were always rolling from side to side in a state of moist", "\"I can't say, my love, that I approve of your idea. Your story will\ndecoy the reader into feeling an interest in a woman who turns out to\nbe an impostor.\"", "CHAPTER III.\n\nTHE STORY OF THE PAST.\n\n\nThe afternoon wore away and the evening came, and still there were no\nsigns of Uncle Joseph's return.", "She entered the room softly. The one window in it looked toward the\nwest, and on that side of the bed the chair was placed which Uncle", "\"She is there,\" he whispered eagerly. \"I leave you to go in by\nyourself, for it is best that you should be alone with her at first. I", "She checked herself. But the few words she had said were spoken with\nsuch a suddenly heightened color, and with such an extraordinary\nemphasis and resolution of tone, that the old man opened his eyes as", "\"My niece, Sarah,\" said Uncle Joseph, \"the only child of my sister\nAgatha. It is for the love of Sarah, if you please, that I am here", "failed me. I can not trust you to tell him, after I am gone. It must\nbe written. Take you the pen; my sight is failing, my touch is dull.\nTake the pen, and write what I tell you.\"", "She dresses, according to our experience of her, with\n extreme propriety and neatness, and in dark colors. Her\n eyes have a singular expression of timidity, her voice is", "away passionately, and went on. \"The wife shall grow up to womanhood,\nand shall marry, in total ignorance--mind that!--in total ignorance of\nher real history. The sudden disclosure of the truth shall overwhelm", "She heard nothing, she was conscious of nothing, until she felt a\ntouch on her shoulder--a light touch from a hand that trembled. Every\npulse in her body bounded in answer to it, and she looked up.", "since the day when she was born. She was a little, plump, quiet,\nwhite-skinned, smiling, neatly dressed girl, wound up accurately to\nthe performance of certain duties at certain times; and possessed of", "The old man was right. There was very little to read in the letters,\nand they grew progressively shorter as they became more recent in\ndate. All four were written in the formal, conventionally correct", "Who can this woman really be? She is a perfect stranger to both of us;\nwe are brought into contact with her by the merest accident; and we\nfind that she knows something about our own house of which we were", "begun to tell the third inside passenger--a rigid old lady, who stared\nat him in speechless amazement--the whole history of the musical box,\nending the narrative by setting it playing, in defiance of all the", "\"As Sarah began with me,\" he said, \"so I, for my part, must begin\nalso--which means to say, that I go down now through the years that", "Uncle Joseph sighed, and said no more. He led the way across the road\nand down the by-street to his house. The cheerful man in the shop was" ], [ "moment of her future life. When she roused herself at last, and pushed\naway the paper and rose to her feet, she stood quite still for an", "Sixteen long years--such years of sorrow, such years of suffering,\nsuch years of change, counted by the pulses of the living heart!--had", "years, long and lonely and very many, since we two had met. I was\nafraid that many more would pass again, and I tried to make her stop", "away passionately, and went on. \"The wife shall grow up to womanhood,\nand shall marry, in total ignorance--mind that!--in total ignorance of\nher real history. The sudden disclosure of the truth shall overwhelm", "\"When I left my place, Miss Treverton was a little girl of five years\nold. She is a married woman now--so beautiful, so clever, such a", "\"And all the years after!\" said the old man. \"The lonesome years and\nyears among strangers, with no sight of the child that was growing up,", "\"If a week from this time passes,\" continued Leonard, \"and we hear\nnothing from you, we must conclude, then, either that some unforeseen", "future, and of the influence which the change in their fortunes ought\nto be allowed to exercise on their plans and projects for the time to\ncome. After exhausting this topic, the conversation turned next on the", "future,\" she whispered pleadingly; \"try to think of the time when my\nchild will help you to recall those old days without their sorrow--the", "between her husband and herself which ended in the disclosure of the\nSecret, she led her mother, with compassionate abruptness, to speak of\nthe future, of the time when she would be able to travel again, of the", "said nothing. There is some consolation in that thought. When years\nhave passed over us both, Lenny, and when time begins to set his mark", "years, and she may know of somebody in our neighborhood who might suit\nyou, though I don't.\" With those words, Mrs. Norbury rang the bell,", "\"As Sarah began with me,\" he said, \"so I, for my part, must begin\nalso--which means to say, that I go down now through the years that", "years). There was no mother's face present, to make the household\npicture complete. Doctor Chennery had been a widower since the birth\nof his youngest child.", "\"In two months,\" she exclaimed joyfully, \"I shall see the dear old\nplace again! In two months, Lenny, our profane feet will be raising\nthe dust in the solitudes of the North Rooms.\"", "yet no hurry to part. So the weeks go on, and the sea-captain sails\naway again for his long cruises; and about the same time also the", "\"Not five minutes!\" repeated Rosamond, whispering to her husband\nagain. \"Do you hear that, Lenny? In five minutes we might be in the\nMyrtle Room!\"", "forever. She had been gone some hours when the letter was opened--and\nshe has never been seen or heard of since that time. This circumstance\nseemed to make almost as strong an impression on my father's mind as", "events and present perils. She started, staggered backward, and raised\nboth her hands wildly to her head--paused so for a few seconds--then", "disappointed, even if they did not arrive until the fifth. The fifth\ncame, and still nothing happened. The sixth, seventh, eighth, and" ], [ "Rosamond sat down again by her husband's side. \"This is a very strange\naccident,\" she said, in a low, serious tone. \"It must be something", "Rosamond answered his request by relating the substance of the\nconversation which had passed between her husband and the doctor. She\nthen, with many preparatory cautions, proceeded to instruct the old", "Rosamond met both these difficulties with her usual directness and\ndecision. The idea of her husband traveling any where, under any", "Rosamond paused, but never raised her head from the letter.\n She heard her husband lay his hand suddenly on the table;\n she heard him start to his feet; she heard him draw his", "Rosamond listened thankfully, but it was with a wandering attention,\nwith a mind ill at ease. When she had taken leave of her husband, and", "At those last words, the smile which had been dawning on Rosamond's\nface when her husband addressed her, vanished from it in a moment. She", "\"Indeed I am,\" said Rosamond. \"I was born there; and my husband and I\nwere on our way to Cornwall when we were obliged to stop, on my", "drew her to him gently, and kissed her cheek. \"You are right,\nRosamond,\" he said. \"The one faithful friend to me in my blindness,\nwho never fails, is my wife.\"", "Rosamond took her husband's arm, and guided him to the path that led\nout of the church-yard. As they passed from sight, Uncle Joseph knelt", "Rosamond opened the letter, drew a stool to her husband's feet, and,\nsitting down with her arms on his knees, read as follows:\n\n \"TO LEONARD FRANKLAND, ESQ.:", "\"Rosamond!\"\n\nAt the sound of his voice her lips moved, and her fingers closed\nfaster on the paper that they held; but she neither stepped forward\nnor spoke.\n\n\"Rosamond!\"", "Rosamond looked at him tenderly, and smiled. \"My poor dear!\" she said.\n\"Your man sitting down is, in reality, a miniature copy of the famous", "Rosamond looked at her husband in astonishment. \"Why need we tell the\nSecret to any one?\" she asked.", "midway between Rosamond--who was sitting, with the child, near the\nwindow--and her husband, who occupied the sofa at the lower end of the\nroom. In this position, which enabled him to address himself", "and to steady her voice, Rosamond touched her husband to draw his\nattention to herself, and whispered to him--", "\"Why don't you speak?\" exclaimed Rosamond, looking at him in growing\nalarm. \"Why don't you tell us how she bore it?\"", "reality. Rosamond shuddered, and looked at her husband. \"Oh, Lenny!\"\nshe murmured, \"the first news of your blindness was a sore trial to\nme--but what was it to this!\"", "The first practical suggestion, after the letter had been laid aside\nin despair, emanated from Rosamond. She proposed that her husband and", "Mr. Frankland's blindness, and the cause of it; about the lamentable\ncondition in which his wife had arrived at the hotel; and about the", "The instant Rosamond's eyes fell on it she shuddered, and hurriedly\nadvanced toward her husband with the picture in her hand.\n\n\"Well, what have you found now?\" he inquired, hearing her approach." ], [ "\"Call me 'mother' again,\" she said, as Rosamond took the gloves from\nher and thanked her with a kiss for folding them up. \"I have never", "\"Mother!\" cried Rosamond, raising her on the pillow. \"I have come\nback. Don't you know me?\"", "\"Rosamond!\"\n\nAt the sound of his voice her lips moved, and her fingers closed\nfaster on the paper that they held; but she neither stepped forward\nnor spoke.\n\n\"Rosamond!\"", "\"Call him my father,\" said Rosamond, sadly. \"Remember how he loved me,\nand how I loved him, and say 'my father' still.\"", "means of bringing Rosamond's mother to her bedside. To him she now\nwrote, acknowledging the promise which she had made on leaving West", "Rosamond answered his request by relating the substance of the\nconversation which had passed between her husband and the doctor. She\nthen, with many preparatory cautions, proceeded to instruct the old", "He paused, and looked at Rosamond. Her head was bent down over her\nchild; her tears were dropping slowly, one by one, on the bosom of his", "Rosamond opened the letter.\n\nOn one side of it was a crossed check, drawn in her name, for Forty\nThousand Pounds.\n\nOn the other side were these lines of explanation:", "She turned her head away as she spoke, but Leonard was too quick for\nher. His inquiring fingers touched her cheek. \"Rosamond, you are\ncrying,\" he said.", "Rosamond said nothing, as she stooped over the baby to kiss him in her\nturn. Her lips rested on his cheek a little above where Mrs. Jazeph's", "Rosamond looked at him tenderly, and smiled. \"My poor dear!\" she said.\n\"Your man sitting down is, in reality, a miniature copy of the famous", "A cry burst from Rosamond's lips, as if the pain of the blow had\npassed, at the instant of its infliction, from her husband to herself.", "\"Look at it, my dear,\" said her mother. \"I want you to know it again.\nWhen my time comes to leave you, Rosamond, lay it on my bosom with", "Rosamond glanced at the paper. There indeed was the signature, \"S.\nJazeph;\" and underneath it were added, in faintly traced lines of\nparenthesis, these explanatory words--\"Formerly, Sarah Leeson.\"", "He put the question to Rosamond, who was toying thoughtfully with one\nof the baby's hands which was resting in hers. \"I think Mrs. Treverton", "\"Gracious goodness! who are you?\" exclaimed Rosamond. \"A woman or a\nghost?\"", "\"Rosamond!\" cried Mr. Frankland, suddenly changing color, and starting\nin his chair--\"I think I can guess who Mrs. Jazeph is!\"\n\n\"Good gracious, Lenny! What do you mean?\"", "\"No!\" cried Rosamond, warmly. \"A true woman--a woman who never stooped\nto a deception--a woman full of faults and failings, but a teller of", "daughter Rosamond was born; the second time when Mrs. Treverton died.\nOn each occasion the elder brother wrote to say that, if the younger\nwould retract the atrocious words he had spoken against his", "Rosamond was still speaking on these topics, her mother was still\nlistening to her with growing interest in every word that she said,\nwhen Uncle Joseph returned. He brought in with him a basket of" ], [ "\"I told you, Madam,\" said the old man, when Rosamond raised her head\nfrom the letters, \"that I was frightened and sorry for Sarah when she", "\"Leeson,\" said Rosamond, pressing her husband's hand significantly\nunder the table. \"Your niece's name is Sarah Leeson?\"", "Rosamond answered his request by relating the substance of the\nconversation which had passed between her husband and the doctor. She\nthen, with many preparatory cautions, proceeded to instruct the old", "\"Poor creature!\" said Rosamond, sighing as she put down the letter.\n\"We know now why she warned me so anxiously not to go into the Myrtle", "\"Go! Don't stop to talk--pray go at once!\" cried Rosamond, as the\ndoctor attempted to reply to Mr. Frankland.", "The last words struck cold on Rosamond's heart. She drew back suddenly\nwith a movement of alarm--checked herself the instant after, and bent", "\"Rosamond!\"\n\nAt the sound of his voice her lips moved, and her fingers closed\nfaster on the paper that they held; but she neither stepped forward\nnor spoke.\n\n\"Rosamond!\"", "\"Oh, go back, then, yourself!\" cried Rosamond. \"Go, for God's sake,\nwithout wasting another moment, and make her think of me as she ought!", "On this point Doctor Chennery entertained a conviction of the\nstrongest kind, and he warned Rosamond beforehand that she must expect", "\"Don't speak of it now!\" said Rosamond. \"Don't let us refer again to\nthe past: I know all I ought to know, all I wish to know of it. We", "\"Oh, hush! hush! I shall do nothing but cry if you talk to me like\nthat!\" said Rosamond. \"Let us forget that we have ever been", "Rosamond looked at her husband in astonishment. \"Why need we tell the\nSecret to any one?\" she asked.", "\"You are in trouble, Sarah,\" he said, quietly. \"You tell me that, and\nI see it is true in your face. Are you grieving for your husband?\"", "\"Were you speaking to me, Rosamond?\"\n\n\"Yes, love. I was saying--\" She paused, and, with trembling fingers,\nfolded up the paper again, exactly in the form in which she had found\nit.", "and noticed that Rosamond's color was heightened. \"I am afraid you\nhave been talking and exciting yourself a little too much,\" he went\non. \"If you will excuse me for venturing on the suggestion, Mr.", "\"Rosamond! Rosamond! pray don't forget yourself!\" interposed the quiet\nvoice of Mr. Frankland.", "\"Why don't you speak?\" exclaimed Rosamond, looking at him in growing\nalarm. \"Why don't you tell us how she bore it?\"", "Sarah started. \"What reasons?\" she asked, looking up quickly.\n\nUncle Joseph felt her hand turn cold, and tremble in his. \"Hush!\nhush!\" he said, \"leave the talking to me.\"", "\"Quite right,\" said the doctor. \"It is best that she should\nwithdraw.--Let me recommend you to leave us for a little while,\" he\nadded, touching Sarah on the arm.", "\"Because you will be ill again with talking about it. You will be\nlooking into that corner, and dreaming with your eyes open. You are\ntoo ill--yes, yes, Sarah; you are too ill.\"" ], [ "Rosamond opened the letter.\n\nOn one side of it was a crossed check, drawn in her name, for Forty\nThousand Pounds.\n\nOn the other side were these lines of explanation:", "\"To that man!\" exclaimed Rosamond. \"To that man who is a stranger to\nus, who holds our very name in contempt! Are we to be made poor that\nhe may be made rich?--\"", "At those last words, the smile which had been dawning on Rosamond's\nface when her husband addressed her, vanished from it in a moment. She", "\"Rosamond!\"\n\nAt the sound of his voice her lips moved, and her fingers closed\nfaster on the paper that they held; but she neither stepped forward\nnor spoke.\n\n\"Rosamond!\"", "\"Rosamond!\" cried Mr. Frankland, suddenly changing color, and starting\nin his chair--\"I think I can guess who Mrs. Jazeph is!\"\n\n\"Good gracious, Lenny! What do you mean?\"", "\"Were you speaking to me, Rosamond?\"\n\n\"Yes, love. I was saying--\" She paused, and, with trembling fingers,\nfolded up the paper again, exactly in the form in which she had found\nit.", "\"Yes, yes,\" said the old man, nodding to Rosamond with an air of\nrelief. \"That question is easy; easier even than you think, for it\nbrings me straight to the beginning of all that I have got to say.\"", "\"In that case,\" rejoined the doctor, looking at Rosamond, \"there can\nbe no doubt that this lady is the fittest person to undertake the", "Rosamond's heart sank within her as he opened the letter and passed\nhis finger over the writing inside, with a mock expression of anxiety,\nand a light jest about sharing all treasures discovered at Porthgenna\nwith his wife.", "Rosamond answered his request by relating the substance of the\nconversation which had passed between her husband and the doctor. She\nthen, with many preparatory cautions, proceeded to instruct the old", "He had followed, he said, the advice which Rosamond had given to him\nat Porthgenna, by taking a letter addressed to \"S. J.\" to the", "affairs. Now that you have made me consent to this compromise,\nRosamond, I must justify it as completely as possible to others as\nwell as to myself.\"", "\"No!\" cried Rosamond, warmly. \"A true woman--a woman who never stooped\nto a deception--a woman full of faults and failings, but a teller of", "\"Call him my father,\" said Rosamond, sadly. \"Remember how he loved me,\nand how I loved him, and say 'my father' still.\"", "the house and lands which her father sold. Rosamond being an only\nchild, the purchase-money of Porthgenna, which old Frankland once", "marriage, Rosamond,\" she said. \"I used to be fond of reading it over\nand over again to myself when I was alone, and trying to fancy how", "\"Look at it, my dear,\" said her mother. \"I want you to know it again.\nWhen my time comes to leave you, Rosamond, lay it on my bosom with", "daughter Rosamond was born; the second time when Mrs. Treverton died.\nOn each occasion the elder brother wrote to say that, if the younger\nwould retract the atrocious words he had spoken against his", "died before the term was out, and that caused the marriage to be put\noff again. But no delays could alter Rosamond--six years, instead of", "\"You don't say so!\" exclaimed Rosamond. \"But of course it must be. Who\nelse could have come in with you? I ought to have known that. Pray come" ], [ "With last words such as those, the sad and simple story of the old man\ncame to an end. After waiting a little to recover her self-possession", "discovery in the Myrtle Room, and how you made it. Secondly, I have\ngot your money. Thirdly, I mean to keep it. What do you think of\nthat?\"", "cut, and got to the end first. Pray, of your goodness to me, ask\nnothing about it! Be satisfied, if you please, with knowing that she", "ended at the bottom of the opening sheet. He read it down to the\nsignature--then looked up to the address, and went through it again\nfrom the beginning. His lips still continued to work round the", "\"Take your money back again. First, because you and your\n husband are the only two people I have ever met with who are", "On examination the box proved to be full of papers. At the top of the\nuppermost packet were written these words: \"Election expenses. I won", "The plan thus proposed was the plan followed. When the coach stopped\nto change horses, Uncle Joseph and his niece were waiting to take\ntheir places by it. They found all the inside seats but one", "What's the use of talking nonsense about your money? You must leave it\nto somebody.\"", "Ting, ting, ting! He jingles; he has in his inside money. Aha, my\nfriend, my good Leather, you shall be lighter and leaner before you", "begun to tell the third inside passenger--a rigid old lady, who stared\nat him in speechless amazement--the whole history of the musical box,\nending the narrative by setting it playing, in defiance of all the", "The old man was right. There was very little to read in the letters,\nand they grew progressively shorter as they became more recent in\ndate. All four were written in the formal, conventionally correct", "Rosamond opened the letter.\n\nOn one side of it was a crossed check, drawn in her name, for Forty\nThousand Pounds.\n\nOn the other side were these lines of explanation:", "features, and in respect of weight, height, and size, they appear to\nme to be mere average human creatures of the regular civilized sort.\nAnd yet, there they sit, taking the loss of a fortune of forty", "\"You have told a charming story, Chennery,\" he said, \"and you have\nended it with a charming sentiment. But, my dear friend, though your", "we know already,\" replied Leonard. \"We know you have got the money;\nand we never doubted that you meant to keep it.\"", "not likely to be made rascals by being made rich. Secondly,\n because you have told the truth, when letting it out meant\n losing money, and keeping it in, saving a fortune. Thirdly,", "The third door was locked, but the rusty key from the first cupboard\nopened it. Inside, there was but one object--a small wooden box,", "\"That is your opinion, is it?\" said Mr. Treverton. \"You, who have lost\nthe money, speak to me, who have got it, in that manner, do", "Uncle Joseph sighed, and said no more. He led the way across the road\nand down the by-street to his house. The cheerful man in the shop was", "\"Oh!\" said Mr. Treverton. \"Then it seems you care no more for the loss\nof the money than he does?\"" ], [ "had been severed by death. She knew that Mrs. Treverton, in the last\ndays of her illness, had earnestly recommended her maid to Captain\nTreverton's kindness and protection, and she felt assured that the", "\"You have been with me ever since my marriage,\" Mrs. Treverton went\non. \"You have been my friend more than my servant. Do you refuse my", "\"I was speaking of the late Mrs. Treverton,\" said the housekeeper, in\nher severest tones of reproof, \"and not of the ghost story about the", "Mrs. Treverton's eyes had softened and moistened when she spoke of her\nlove for her husband. She lay silent for a few minutes; the working of", "Mrs. Treverton's bed-chamber was a large, lofty room, situated in the\nwestern front of the house, and consequently overlooking the sea-view.", "the married lady, Mrs. Treverton, and I am your maid who waits on you,\nSarah Leeson.' At that, the glimmering on Sarah's mind breaks in at", "possession which had been written by Mrs. Treverton to her husband.\nThey treated of ordinary domestic subjects, and she had read them\noften enough to become thoroughly acquainted with the peculiarities of", "\"Whose!\"\n\n\"The handwriting of the late Mrs. Treverton.\"\n\n\"Of your mother?\"\n\n\"Of the late Mrs. Treverton.\"", "receiving for answer, She is Mrs. Treverton's maid; few would have\nrefrained from the attempt to extract some secret information for", "A look from Mrs. Treverton stopped her before she could utter another\nword. The lips of the dying woman were moving rapidly. Sarah put her", "\"When I left my place, Miss Treverton was a little girl of five years\nold. She is a married woman now--so beautiful, so clever, such a", "found in the Myrtle Room, as well as in ascertaining all the details\nof the extraordinary fraud which had been practiced by Mrs. Treverton\non her husband. She pleaded also her own natural anxiety to make all", "between her husband and herself which ended in the disclosure of the\nSecret, she led her mother, with compassionate abruptness, to speak of\nthe future, of the time when she would be able to travel again, of the", "the letter that had been written on Mrs. Treverton's death-bed. She\ndrew it from her bosom once more, and crushed it up angrily in her\nfingers.", "\"Whatever do you think she's doing now?\" cried Miss Mowlem, with\nwidely opened eyes and highly elevated hands.\n\n\"Nothing that's useful,\" answered Mrs. Mowlem, with sarcastic\nreadiness.", "which her mistress's words had aroused, waited for the next command.\nSome minutes elapsed before Mrs. Treverton spoke again. She still\nretained her senses sufficiently to be vaguely conscious of the effect", "to speak. Mrs. Treverton held up her hand, as a sign that she had\nanother order to give.", "\"The Secret must be told,\" answered Mrs. Treverton. \"My husband ought\nto know it, and must know it. I tried to tell him, and my courage", "\"Not the doctor--not even your master,\" said Mrs. Treverton, and\npointed to the door. The hand was weak; but even in that momentary\naction of it there was no mistaking the gesture of command.", "that Mistress Treverton was the maid who waited on her. Not till they\nwere far back on their way home with the child did the two change\ngowns again, and return each to her proper place. The first friend at" ], [ "The last words died away very softly. The lips that had been forming\nthem so laboriously parted on a sudden and closed again no more. Sarah", "With last words such as those, the sad and simple story of the old man\ncame to an end. After waiting a little to recover her self-possession", "\"He is dead. Dead and forgiven.\" She murmured the last three words in\na whisper to herself.", "The doctor, followed by the nurse and by one of the servants, entered\nthe room; and, hurrying to the bedside, saw at a glance that the time\nfor his attendance there had passed away forever. He spoke first to\nthe servant who had followed him.", "\"The music stopped so when little Joseph died!\"\n\n\n\n\nBook V.\n\n\n\n\nCHAPTER I.", "Joseph, my brother Max, my sister Agatha and the husband she married,\nthe good and noble Englishman, Leeson--they are all, all gone!\"", "\"I grieve that I ever met him,\" she answered. \"I grieve that I ever\nmarried him. Now that he is dead, I can not grieve--I can only forgive\nhim.\"", "\"She has killed herself!\" cried Sarah, running in terror to the door.\n\n\"Stop!\" said the voice from the bed, more resolute than ever, already.\n\"Stop! Come back and prop me up higher on the pillows.\"", "Sarah falls on her knees, and cries out suddenly to be let go away to\nhide and die, and be heard of no more. That was all the answer she", "Cornwall together, if she had lived. Will you let us still go back\ntogether now that she has died?\"", "box, and vacantly repeated to himself the same words over and over\nagain: \"They are all gone--my brother Max, my wife, my little Joseph,", "The room in which Mrs. Treverton lay dying was on the floor beneath.\nSarah hesitated twice before she knocked at the door. It was opened by\nCaptain Treverton.", "\"I can add no more, for death is very near me. How the fraud\n was committed, and what my other motives were, I must leave", "failed me. I can not trust you to tell him, after I am gone. It must\nbe written. Take you the pen; my sight is failing, my touch is dull.\nTake the pen, and write what I tell you.\"", "The old man shook his head sadly. \"When I showed you her letter,\" he\nsaid, \"what did I tell you? She is so ill, Madam, that not even the\nmessage your kindness gave to me will do her any good.\"", "worse, flickered and flickered, and went out at last like the flame of\na candle. His mother died--luckily for her, poor soul--before that", "now. She is the one last morsel of my flesh and blood that is left to\nme in the world. The rest, they are all gone! My wife, my little", "\"Of course,\" continued Doctor Chennery. \"Well, since Mrs. Treverton\ndied, fifteen years ago, Captain Treverton has never been near", "\"So he did,\" returned the vicar, \"in his wife's lifetime. But since\nher death, which happened as long ago as the year 'twenty-nine--let me", "\"My mistress was dying,\" she said--\"my mistress was very near her\ngrave, when she made me take my oath on the Bible. She made me swear" ], [ "daughter Rosamond was born; the second time when Mrs. Treverton died.\nOn each occasion the elder brother wrote to say that, if the younger\nwould retract the atrocious words he had spoken against his", "\"Whose!\"\n\n\"The handwriting of the late Mrs. Treverton.\"\n\n\"Of your mother?\"\n\n\"Of the late Mrs. Treverton.\"", "read the first of the two signatures--\"Rosamond Treverton.\" She\nfaintly repeated two syllables of that familiar Christian name--the", "and by the only child of the house of Treverton--a little girl named\nRosamond, aged, at that time, nearly five years.", "Rosamond carried the box to the window, blew the dust off the top of\nit, and read, on a parchment label nailed to the cover: \"Papers. John\nArthur Treverton. 1760.\"", "fraud practiced on Captain Treverton and the asserted parentage of the\nchild. Telling Mr. Frankland that he would do well to have Mrs.", "\"Cry!\" exclaimed the vicar, contemptuously. \"Rosamond Treverton is not\none of the puling, sentimental sort, I can tell you. A fine, buxom,", "Frankland's real parentage. He expatiated on the improbability of Mrs.\nTreverton's alleged fraud upon her husband having been committed\nwithout other persons besides her maid and herself being in the", "Rosamond opened the letter.\n\nOn one side of it was a crossed check, drawn in her name, for Forty\nThousand Pounds.\n\nOn the other side were these lines of explanation:", "information they wanted, and that this person was no other than\nRosamond's own cross-grained relative, Andrew Treverton.", "by four votes. Price fifty pounds each. J. A. Treverton.\" The next\nlayer of papers had no inscription. Rosamond opened them, and read on", "\"Mother!\" cried Rosamond, raising her on the pillow. \"I have come\nback. Don't you know me?\"", "Rosamond answered his request by relating the substance of the\nconversation which had passed between her husband and the doctor. She\nthen, with many preparatory cautions, proceeded to instruct the old", "\"Call me 'mother' again,\" she said, as Rosamond took the gloves from\nher and thanked her with a kiss for folding them up. \"I have never", "He paused, and looked at Rosamond. Her head was bent down over her\nchild; her tears were dropping slowly, one by one, on the bosom of his", "means of bringing Rosamond's mother to her bedside. To him she now\nwrote, acknowledging the promise which she had made on leaving West", "the letter that had been written on Mrs. Treverton's death-bed. She\ndrew it from her bosom once more, and crushed it up angrily in her\nfingers.", "\"Call him my father,\" said Rosamond, sadly. \"Remember how he loved me,\nand how I loved him, and say 'my father' still.\"", "\"Yes. She is, I understand, a daughter of that Captain Treverton who\nwas lost with his ship a year ago in the West Indies. Perhaps you may\nremember the account of the disaster in the newspapers?\"", "\"Look at it, my dear,\" said her mother. \"I want you to know it again.\nWhen my time comes to leave you, Rosamond, lay it on my bosom with" ], [ "had been severed by death. She knew that Mrs. Treverton, in the last\ndays of her illness, had earnestly recommended her maid to Captain\nTreverton's kindness and protection, and she felt assured that the", "daughter Rosamond was born; the second time when Mrs. Treverton died.\nOn each occasion the elder brother wrote to say that, if the younger\nwould retract the atrocious words he had spoken against his", "fraud practiced on Captain Treverton and the asserted parentage of the\nchild. Telling Mr. Frankland that he would do well to have Mrs.", "\"The Secret must be told,\" answered Mrs. Treverton. \"My husband ought\nto know it, and must know it. I tried to tell him, and my courage", "which she had written from her mistress's dictation, and hid it in her\nbosom. The last look of Mrs. Treverton's eyes fastened sternly and", "Rosamond said nothing, as she stooped over the baby to kiss him in her\nturn. Her lips rested on his cheek a little above where Mrs. Jazeph's", "the letter that had been written on Mrs. Treverton's death-bed. She\ndrew it from her bosom once more, and crushed it up angrily in her\nfingers.", "and by the only child of the house of Treverton--a little girl named\nRosamond, aged, at that time, nearly five years.", "that Mistress Treverton was the maid who waited on her. Not till they\nwere far back on their way home with the child did the two change\ngowns again, and return each to her proper place. The first friend at", "\"You have been with me ever since my marriage,\" Mrs. Treverton went\non. \"You have been my friend more than my servant. Do you refuse my", "\"Call me 'mother' again,\" she said, as Rosamond took the gloves from\nher and thanked her with a kiss for folding them up. \"I have never", "read the first of the two signatures--\"Rosamond Treverton.\" She\nfaintly repeated two syllables of that familiar Christian name--the", "\"Whose!\"\n\n\"The handwriting of the late Mrs. Treverton.\"\n\n\"Of your mother?\"\n\n\"Of the late Mrs. Treverton.\"", "consolation to him in his affliction. If any human being can make him\nhappy for the rest of his life, Rosamond Treverton is the girl to do\nit.\"", "Mrs. Treverton's eyes had softened and moistened when she spoke of her\nlove for her husband. She lay silent for a few minutes; the working of", "found in the Myrtle Room, as well as in ascertaining all the details\nof the extraordinary fraud which had been practiced by Mrs. Treverton\non her husband. She pleaded also her own natural anxiety to make all", "together now!\" As she said the words, she twined her arms round\nRosamond's neck, and pressed her lips rapturously on the lips of her\nchild.", "means of bringing Rosamond's mother to her bedside. To him she now\nwrote, acknowledging the promise which she had made on leaving West", "\"It is such an easy question to answer,\" pleaded Rosamond. \"I only\nwanted to hear whether she has got my message--whether she knows that\nI am waiting and longing to see her, if she will but let me come?\"", "honor of addressing as Mrs. Frankland, and whom no unsubstantiated\ndocument in existence should induce him to believe to be any other\nthan the daughter of his old friend and client, Captain Treverton." ], [ "which she had written from her mistress's dictation, and hid it in her\nbosom. The last look of Mrs. Treverton's eyes fastened sternly and", "the letter that had been written on Mrs. Treverton's death-bed. She\ndrew it from her bosom once more, and crushed it up angrily in her\nfingers.", "\"Well, well; there is no help for that now. Tell me, Sarah, what the\nsomething is which the letter is hidden in.\"\n\n\"I am afraid of the very walls hearing me.\"", "The room in which Mrs. Treverton lay dying was on the floor beneath.\nSarah hesitated twice before she knocked at the door. It was opened by\nCaptain Treverton.", "Sarah obeyed; and Mrs. Treverton taking the paper from her, pointed to\nit solemnly, with a return of the stage gesture which had escaped her\na little while back.", "A look from Mrs. Treverton stopped her before she could utter another\nword. The lips of the dying woman were moving rapidly. Sarah put her", "Captain Treverton, in which she confessed to having kept a secret from\nhis knowledge which had been left in her charge to divulge; adding,", "\"The book-case tells us nothing,\" said Rosamond, slowly putting the\npapers back in the box. \"Shall we try the writing-table by the\nfire-place, next?\"", "The instant Sarah Leeson had turned the key of her bedroom door, she\ntook the sheet of note-paper from its place of concealment in her", "found in the Myrtle Room, as well as in ascertaining all the details\nof the extraordinary fraud which had been practiced by Mrs. Treverton\non her husband. She pleaded also her own natural anxiety to make all", "the married lady, Mrs. Treverton, and I am your maid who waits on you,\nSarah Leeson.' At that, the glimmering on Sarah's mind breaks in at", "\"The Secret must be told,\" answered Mrs. Treverton. \"My husband ought\nto know it, and must know it. I tried to tell him, and my courage", "Rosamond carried the box to the window, blew the dust off the top of\nit, and read, on a parchment label nailed to the cover: \"Papers. John\nArthur Treverton. 1760.\"", "\"I told you, Madam,\" said the old man, when Rosamond raised her head\nfrom the letters, \"that I was frightened and sorry for Sarah when she", "Rosamond? And yet that was a likely place to hide it in. Nobody had\never found the picture. Why should any body find the letter that was\nhid in it?\"", "\"Whose!\"\n\n\"The handwriting of the late Mrs. Treverton.\"\n\n\"Of your mother?\"\n\n\"Of the late Mrs. Treverton.\"", "by four votes. Price fifty pounds each. J. A. Treverton.\" The next\nlayer of papers had no inscription. Rosamond opened them, and read on", "\"Leeson,\" said Rosamond, pressing her husband's hand significantly\nunder the table. \"Your niece's name is Sarah Leeson?\"", "Saying those words, she attempted to remove the Bible softly out of\nher mistress's sight. The action attracted Mrs. Treverton's attention,\nand roused her sinking faculties into observation of present things.", "\"I never swore to give him the letter,\" she said. \"There was no crime\nin the hiding of it. You found it in a picture, Rosamond? They used to" ], [ "He had followed, he said, the advice which Rosamond had given to him\nat Porthgenna, by taking a letter addressed to \"S. J.\" to the", "\"I may say all, now, that I wished to say at Porthgenna?\"\n\n\"All,\" he answered. \"If you can trust yourself, Rosamond, it is\nfittest that he should hear it from your lips.\"", "Porthgenna church-yard, they noticed that his dim eyes brightened\nsuddenly, and that his wandering attention followed every word they\nsaid. After a while he rose from his chair, approached Rosamond, and", "that year an engagement of long standing, which he had made with her\nhusband and herself, to spend his autumn holiday with them at\nPorthgenna Tower. Rosamond's heart yearned for a sight of her old", "\"I must speak of her and of Mr. Frankland, uncle. Porthgenna Tower\nbelongs to her husband now, and they are both going to live there.\"\n\n\"Ah! we are getting back into the straight road at last.\"", "Rosamond's heart sank within her as he opened the letter and passed\nhis finger over the writing inside, with a mock expression of anxiety,\nand a light jest about sharing all treasures discovered at Porthgenna\nwith his wife.", "Rosamond has persuaded him to make this his last cruise. She has a\nplan for getting him back to Porthgenna, to live there with her", "the house and lands which her father sold. Rosamond being an only\nchild, the purchase-money of Porthgenna, which old Frankland once", "him, for the first time, at Porthgenna Tower. He tried to add to his\nfirst words of greeting an apology for being late; but Rosamond", "Rosamond had noticed there when she first saw him at Porthgenna. \"I\nshall put back my singing-bird into his cage, and shall ask, when that", "\"Now we are on the subject of Porthgenna, Rosamond, let us be serious\nfor one moment. It is clear to me that these repairs of the north", "\"Ah! I forgot all about the letter,\" said Rosamond, running to the\ntable. \"It is for you, Lenny--and, goodness me! here's the Porthgenna\npostmark on it.\"", "\"In that case, then, we had better say two months hence for the visit\nto Porthgenna. Is your writing-case in the room, Rosamond?\"\n\n\"Yes; close by us, on the table.\"", "look of Porthgenna Tower, and in the right over the mine and\nfisheries, which the purchase of the estate included, that flattered\nhis notions of restoring the family greatness. Here he and his son", "would inherit the name of Frankland, and who (if the infant luckily\nturned out to be a boy) would cause a sensation throughout West\nCornwall as heir to the Porthgenna estate.", "\"I thought you were saying something more about our old house,\"\ncontinued Rosamond. \"I thought I heard you say that I ought not to go\nto Porthgenna, or that you would not go there in my place, or\nsomething of that sort.\"", "his inquiries at Porthgenna. How it was to be answered was not very\neasy to discover. Mrs. Frankland had nothing to suggest, Mr. Frankland", "\"We will try and forget Porthgenna Tower now,\" said Rosamond. \"Shall\nwe talk about other places where I have lived, which you have never", "Porthgenna, she had only to say so. If she had not, it was mere waste\nof breath to talk any more, for he was deaf in both ears to every", "marriage, Rosamond,\" she said. \"I used to be fond of reading it over\nand over again to myself when I was alone, and trying to fancy how" ], [ "Porthgenna, Sarah had asserted the literal truth. Jacob had tracked\nthem to the inn, had waited a little while about the door, to\nascertain if there was any likelihood of their continuing their", "south side of the building, and led through the servants' offices to\nthe great hall and the west staircase. Sarah's old experience of\nPorthgenna guided her instinctively toward this part of the house. She", "describing on the spot for the benefit of her husband. This suggestion\nwas immediately acted on. The young couple left Porthgenna, and only\nreturned on the evening of the second day.", "was a miner at Porthgenna; her mother is my maid, Sarah\n Leeson.\"", "she had opened on her way to the north side of Porthgenna Tower, she\nretraced her steps to the housekeeper's room, entered it without", "\"I must speak of her and of Mr. Frankland, uncle. Porthgenna Tower\nbelongs to her husband now, and they are both going to live there.\"\n\n\"Ah! we are getting back into the straight road at last.\"", "Four hours afterward Captain Treverton desired one of the servants at\nPorthgenna Tower to inform Sarah Leeson that he wished to hear all she", "Porthgenna, she had only to say so. If she had not, it was mere waste\nof breath to talk any more, for he was deaf in both ears to every", "with the Porthgenna neighborhood. Whether this be the fact\n or no, it is indisputably certain that she is familiar with\n the interior of Porthgenna Tower, and that she has an", "post-town of Porthgenna to the time when they stopped, by Sarah's\ndesire, at the coach-office in Truro, they had seen nothing to excite", "\"Suppose I meant our future at Porthgenna?\" she said, moistening her\ndry lips with a few drops of water. \"Shall we stay here as long as we", "Porthgenna church-yard, they noticed that his dim eyes brightened\nsuddenly, and that his wandering attention followed every word they\nsaid. After a while he rose from his chair, approached Rosamond, and", "his inquiries at Porthgenna. How it was to be answered was not very\neasy to discover. Mrs. Frankland had nothing to suggest, Mr. Frankland", "own inclinations; and then, to the amazement of her husband and her\nfriends, she immediately decided on going to Porthgenna. She had\nformed this strange project, and was now resolved on executing it,", "returned to Porthgenna, he came back with a new report relating to Mr.\nand Mrs. Frankland, which excited the housekeeper's interest in an\nextraordinary degree. In two different quarters, each highly", "On a certain morning, about three weeks after Mrs. Frankland had\nwritten to the housekeeper at Porthgenna Tower to mention the period\nat which her husband and herself might be expected there, Mr.", "\"There can be no doubt, now,\" said Leonard, when his wife had read to\nthe end; \"Mrs. Jazeph, Sarah Leeson, and the servant who disappeared\nfrom Porthgenna Tower, are one and the same person.\"", "\"Yes?\"\n\n\"Well, when she came to the bedside, she knelt down close at my ear,\nand whispered all on a sudden--'When you go to Porthgenna, keep out of\nthe Myrtle Room!'\"", "Rosamond had noticed there when she first saw him at Porthgenna. \"I\nshall put back my singing-bird into his cage, and shall ask, when that", "master's name written outside, she listened again at the door; and,\nafter satisfying herself that no one was yet stirring, began to\ndescend the stairs at Porthgenna Tower for the last time." ], [ "\"The book-case tells us nothing,\" said Rosamond, slowly putting the\npapers back in the box. \"Shall we try the writing-table by the\nfire-place, next?\"", "\"Rosamond!\"\n\nAt the sound of his voice her lips moved, and her fingers closed\nfaster on the paper that they held; but she neither stepped forward\nnor spoke.\n\n\"Rosamond!\"", "Rosamond's heart sank within her as he opened the letter and passed\nhis finger over the writing inside, with a mock expression of anxiety,\nand a light jest about sharing all treasures discovered at Porthgenna\nwith his wife.", "Rosamond answered his request by relating the substance of the\nconversation which had passed between her husband and the doctor. She\nthen, with many preparatory cautions, proceeded to instruct the old", "\"Were you speaking to me, Rosamond?\"\n\n\"Yes, love. I was saying--\" She paused, and, with trembling fingers,\nfolded up the paper again, exactly in the form in which she had found\nit.", "Rosamond paused, but never raised her head from the letter.\n She heard her husband lay his hand suddenly on the table;\n she heard him start to his feet; she heard him draw his", "finding one. At last, Rosamond proposed, in despair, that they should\nseek the advice of some fourth person who could be depended on; and\nasked her husband's permission to write a confidential statement of", "Rosamond looked at her husband in astonishment. \"Why need we tell the\nSecret to any one?\" she asked.", "Rosamond opened the letter, drew a stool to her husband's feet, and,\nsitting down with her arms on his knees, read as follows:\n\n \"TO LEONARD FRANKLAND, ESQ.:", "with his hand, and taking great pains to arrange them all in a\nperfectly straight line. A glance at the first of the little series\nshowed Rosamond that the handwriting in it was the same as the", "Rosamond opened the letter.\n\nOn one side of it was a crossed check, drawn in her name, for Forty\nThousand Pounds.\n\nOn the other side were these lines of explanation:", "The instant Rosamond's eyes fell on it she shuddered, and hurriedly\nadvanced toward her husband with the picture in her hand.\n\n\"Well, what have you found now?\" he inquired, hearing her approach.", "\"On my account! Lift up your head, Rosamond, and come nearer to me. I\nfeel something on my hand which tells me that you are crying.\"", "Thus encouraged, Rosamond plainly and simply related all that had\nhappened in her room on the previous evening, up to the time when she", "Rosamond went to the table, examined it narrowly, and then tried to\nraise the top. \"It is made to open, for I see the key-hole,\" she said.", "Rosamond carried the box to the window, blew the dust off the top of\nit, and read, on a parchment label nailed to the cover: \"Papers. John\nArthur Treverton. 1760.\"", "The last words struck cold on Rosamond's heart. She drew back suddenly\nwith a movement of alarm--checked herself the instant after, and bent", "Rosamond spread the all-important document out on the table with\ntrembling hands, looked it over eagerly for a few moments, and laid\nher finger on the square that represented the position of the Myrtle\nRoom.", "marriage, Rosamond,\" she said. \"I used to be fond of reading it over\nand over again to myself when I was alone, and trying to fancy how", "A cry burst from Rosamond's lips, as if the pain of the blow had\npassed, at the instant of its infliction, from her husband to herself." ], [ "\"Ah! I forgot all about the letter,\" said Rosamond, running to the\ntable. \"It is for you, Lenny--and, goodness me! here's the Porthgenna\npostmark on it.\"", "Rosamond's heart sank within her as he opened the letter and passed\nhis finger over the writing inside, with a mock expression of anxiety,\nand a light jest about sharing all treasures discovered at Porthgenna\nwith his wife.", "She turned her head away as she spoke, but Leonard was too quick for\nher. His inquiring fingers touched her cheek. \"Rosamond, you are\ncrying,\" he said.", "\"There can be no doubt, now,\" said Leonard, when his wife had read to\nthe end; \"Mrs. Jazeph, Sarah Leeson, and the servant who disappeared\nfrom Porthgenna Tower, are one and the same person.\"", "\"Leonard Frankland's father,\" said the vicar. \"It is rather a long\nstory, that sale of Porthgenna Tower, with some curious circumstances", "He addressed the question to Rosamond first, and then repeated it to\nLeonard. They both answered in the affirmative, and entreated him to\ngo on.", "\"I may say all, now, that I wished to say at Porthgenna?\"\n\n\"All,\" he answered. \"If you can trust yourself, Rosamond, it is\nfittest that he should hear it from your lips.\"", "She stopped. The smile had vanished from Leonard's face, and he had\nturned a little away from her. \"What is the use, Rosamond, of\nsupposing events that never could have happened?\" he asked rather\nimpatiently.", "Porthgenna church-yard, they noticed that his dim eyes brightened\nsuddenly, and that his wandering attention followed every word they\nsaid. After a while he rose from his chair, approached Rosamond, and", "Rosamond opened the letter, drew a stool to her husband's feet, and,\nsitting down with her arms on his knees, read as follows:\n\n \"TO LEONARD FRANKLAND, ESQ.:", "\"Rosamond! Rosamond!\" said Leonard, smiling at his wife's transparent\nsophistries, \"you are trying to reason like a Jesuit.\"", "Rosamond started back in her chair and clasped her hands in dismay.\n\"Oh, Lenny,\" she said simply, \"I have thought so much of you, since I\nfound the letter, that I never remembered this!\"", "Four days afterward, Rosamond and Leonard and Uncle Joseph met\ntogether in the cemetery of the church of Porthgenna.", "He had followed, he said, the advice which Rosamond had given to him\nat Porthgenna, by taking a letter addressed to \"S. J.\" to the", "that year an engagement of long standing, which he had made with her\nhusband and herself, to spend his autumn holiday with them at\nPorthgenna Tower. Rosamond's heart yearned for a sight of her old", "\"Dear, simple, warm-hearted old man!\" said Rosamond, as the door\nclosed. \"I wanted to tell him every thing, Lenny. Why did you stop\nme?\"", "\"I must speak of her and of Mr. Frankland, uncle. Porthgenna Tower\nbelongs to her husband now, and they are both going to live there.\"\n\n\"Ah! we are getting back into the straight road at last.\"", "him, for the first time, at Porthgenna Tower. He tried to add to his\nfirst words of greeting an apology for being late; but Rosamond", "Before Leonard could answer, he was interrupted by a knock at the\ndoor, and Rosamond was surprised by the appearance of the", "Rosamond has persuaded him to make this his last cruise. She has a\nplan for getting him back to Porthgenna, to live there with her" ], [ "very necessary that you should know. Captain Treverton died without\nleaving a will. His only property was the purchase-money of this house\nand estate; and you inherited it, as his next of kin--\"", "Treverton could venture to ask for it, if it was situated in these\nparts. Old Frankland was well aware of that fact, and attached all\npossible importance to it. Besides, there was something in the feudal", "fortune that you possess; and it must be restored at once to the\nperson who _is_ Captain Treverton's next of kin--or, in other words,\nto his brother.\"", "Treverton and his father before him. He came to the hotel fully\nexpecting to be consulted on some difficulties connected with the\nPorthgenna estate, which the local agent was perhaps unable to settle,", "fraud practiced on Captain Treverton and the asserted parentage of the\nchild. Telling Mr. Frankland that he would do well to have Mrs.", "\"To be sure she is!\" rejoined the vicar. \"Her father, Captain\nTreverton, is the head of the family. Not that there's much family to", "Treverton's death; but no offers were made for the property which it\nwas possible to accept. The ruinous state of the house, the bad\ncultivation of the land, legal difficulties in connection with the", "Treverton's face to warrant the suspicion of ill-treatment, or even of\nharsh words. His countenance was kind, hearty, and open; and the tears", "\"Yes. She is, I understand, a daughter of that Captain Treverton who\nwas lost with his ship a year ago in the West Indies. Perhaps you may\nremember the account of the disaster in the newspapers?\"", "is the daughter of Captain Treverton, whose dreadful shipwreck we all\nread about in the papers. I knew her father in my early days, and on", "\"Who the devil would you have me leave my money to?\" cried Mr.\nTreverton, overhearing him. \"To my brother, who thinks me a brute now;", "and by the only child of the house of Treverton--a little girl named\nRosamond, aged, at that time, nearly five years.", "had been severed by death. She knew that Mrs. Treverton, in the last\ndays of her illness, had earnestly recommended her maid to Captain\nTreverton's kindness and protection, and she felt assured that the", "well as in London, who knew the Treverton family personally or by\nreputation. From this objection he passed to another, which admitted\nthe possible genuineness of the letter as a written document; but", "Treverton was the eldest of the two brothers, and that he always\nlived, when he was on shore, at the family place in Cornwall?\"", "of Captain Treverton's occupation, and having been well\n looked after since, are in tolerably sound condition. I\n should say two hundred pounds would cover the expense of", "Frankland's real parentage. He expatiated on the improbability of Mrs.\nTreverton's alleged fraud upon her husband having been committed\nwithout other persons besides her maid and herself being in the", "Robert Chennery believed some such plan or printed account might be\nfound among the collection of books belonging to Mr. Treverton. The\nthird point was that this same Robert Chennery would receive the loan", "\"Whose!\"\n\n\"The handwriting of the late Mrs. Treverton.\"\n\n\"Of your mother?\"\n\n\"Of the late Mrs. Treverton.\"", "The servant had evidently touched intentionally on one of the master's\nsore points. Mr. Treverton thumped his crust of bread on the table,\nand looked up angrily at Shrowl." ], [ "the house and lands which her father sold. Rosamond being an only\nchild, the purchase-money of Porthgenna, which old Frankland once", "Rosamond has persuaded him to make this his last cruise. She has a\nplan for getting him back to Porthgenna, to live there with her", "He had followed, he said, the advice which Rosamond had given to him\nat Porthgenna, by taking a letter addressed to \"S. J.\" to the", "Porthgenna church-yard, they noticed that his dim eyes brightened\nsuddenly, and that his wandering attention followed every word they\nsaid. After a while he rose from his chair, approached Rosamond, and", "\"I must speak of her and of Mr. Frankland, uncle. Porthgenna Tower\nbelongs to her husband now, and they are both going to live there.\"\n\n\"Ah! we are getting back into the straight road at last.\"", "\"I may say all, now, that I wished to say at Porthgenna?\"\n\n\"All,\" he answered. \"If you can trust yourself, Rosamond, it is\nfittest that he should hear it from your lips.\"", "Rosamond's heart sank within her as he opened the letter and passed\nhis finger over the writing inside, with a mock expression of anxiety,\nand a light jest about sharing all treasures discovered at Porthgenna\nwith his wife.", "that year an engagement of long standing, which he had made with her\nhusband and herself, to spend his autumn holiday with them at\nPorthgenna Tower. Rosamond's heart yearned for a sight of her old", "would inherit the name of Frankland, and who (if the infant luckily\nturned out to be a boy) would cause a sensation throughout West\nCornwall as heir to the Porthgenna estate.", "\"Ah! I forgot all about the letter,\" said Rosamond, running to the\ntable. \"It is for you, Lenny--and, goodness me! here's the Porthgenna\npostmark on it.\"", "\"Now we are on the subject of Porthgenna, Rosamond, let us be serious\nfor one moment. It is clear to me that these repairs of the north", "\"In that case, then, we had better say two months hence for the visit\nto Porthgenna. Is your writing-case in the room, Rosamond?\"\n\n\"Yes; close by us, on the table.\"", "Rosamond opened the letter.\n\nOn one side of it was a crossed check, drawn in her name, for Forty\nThousand Pounds.\n\nOn the other side were these lines of explanation:", "him, for the first time, at Porthgenna Tower. He tried to add to his\nfirst words of greeting an apology for being late; but Rosamond", "\"I thought you were saying something more about our old house,\"\ncontinued Rosamond. \"I thought I heard you say that I ought not to go\nto Porthgenna, or that you would not go there in my place, or\nsomething of that sort.\"", "his inquiries at Porthgenna. How it was to be answered was not very\neasy to discover. Mrs. Frankland had nothing to suggest, Mr. Frankland", "look of Porthgenna Tower, and in the right over the mine and\nfisheries, which the purchase of the estate included, that flattered\nhis notions of restoring the family greatness. Here he and his son", "Frankland--using the word 'received,' so that she may believe at first\nthat it was sent to you from Porthgenna by post. If you find that she", "\"So the life they led in that ancient house of Porthgenna began\nhappily for them all,\" continued the old man. \"The love that the", "Rosamond had noticed there when she first saw him at Porthgenna. \"I\nshall put back my singing-bird into his cage, and shall ask, when that" ] ]

[ "Who is Rosamud Treverton's mother?", "Who is Rosamud Trevertons's father?", "HWat was the original hieress Treverton of Porthagenna Tower famous for?", "What was wrong with the man Leonard Frankland whom Rosamud married? ", "What does Sarah Leeson return to work at Protagenna Tower as?", "Where was the Secret hidden in Porthagenna Tower?", "After the secret is revealed to Leonard,what did he do? ", "Who was Andrew Treverton?", "How many years passed between Mrs, Trevertons's death and Rosamud marries Leonard?", "Who is the main character of the story? ", "How many years in the future does the story jump? ", "What disabilty does Rosamund's husband have? ", "Who is Rosamund's real mother? ", "What does Sarah warn Rosamund to do? ", "Who is supposed to get the inheritance when Rosamund's true idenity is discovered?", "Who ends up with the money at the end of the story?", "What job did Mrs Traverton have before she was a mother?", "Who dies in the story?", "Who is the biological mother of Rosamund Treverton?", "Why does Mrs. Treverton secretely accept Rosamund as her own child?", "Where does Sarah hide Mrs. Treverton's confession regarding Rosamund's parentage?", "Considered the heiress to Porthgenna, whom does Rosamund marry?", "How does Sarah regain admittance to Porthgenna?", "What causes Rosamund to find the secret confession?", "How does Leonard react to the confession that proves Rosamund is not the true heir of Porthgenna?", "What relationship does the real heir have to the Treverton inheritance?", "How does Rosamund legitimately gain the inheritance of Porthgenna?" ]

[ [ "Sarah Leeson", "Sarah Leeson" ], [ "a local miner", "a local miner" ], [ "An actress", "acting" ], [ "He was blind.", "He is blind." ], [ "A servant", "A servant" ], [ "In an unused room", "unused room" ], [ "He still accepted Rosamud and skipped the inheritance. ", "Accepts who his wife really is." ], [ "A villainious servant and heir to Porthagenna Tower", "Mrs. Treverton's brother" ], [ "Twentyyears. ", "20" ], [ "Rosamund Treverton", "Rosamund Treverton" ], [ "20 years", "about twenty years." ], [ "He is blind", "he is blind" ], [ "Sarah Leeson", "Sarah Leeson" ], [ "Stay away from the room with the message hidden in it. ", "Avoid the room in which the secret is hidden" ], [ "Her brother Andrew. ", "Andrew Treverton" ], [ "Rodamund", "Rosamund" ], [ "An actress", "Actress" ], [ "Mrs Traverton", "Mrs Treverton" ], [ "Sarah Leeson, the servant of Mrs. Treverton", "Sarah Leeson" ], [ "Mrs. Treverton is childless and she wants to give her husband a child.", "To give her husband an heir" ], [ "Sarah hides the paper in an unused room at Porthgenna.", "In a unused room." ], [ "Leonard Frankland.", "Leonard Frankland" ], [ "Sarah becomes an employee under an assumed name.", "Her alias" ], [ "Sarah gives her a message that leads her to the secret hiding place.", "a visit to Porthgenna" ], [ "Leonard accepts the fact that Rosamund is an illigitamate child, but refused to accept her inheritance.", "accepts it" ], [ "Andrew is the brother of Mrs. Trevorton.", "The real heir is Rosamund's brother Andrew" ], [ "Andrew Treverton refuses to accept the inheritance.", "Andrew refuses it" ] ]

[ [ "Cooper grabs him, pulling him back. Grant starts to struggle,\n\tbut he's certainly no match. A well-practiced fist hits him\n\tdead on.\n\n\tCUT TO BLACK.", "Then --\n\n\tCooper FIRES at the grimacing aircraft. A projectile rockets\n\tinto the plane and EXPLODES with a fireball.\n\n\tNash and Cooper exchange a satisfied smile.", "We are looking down on Cooper from behind. As the plane\n\tapproaches,\n\n\tA SHADOW", "GRANT'S P.O.V. -- blurry and disorientated. He finds himself lying\n\ton the floor of the plane.", "18 \tINT. PLANE - DAY \t\t\t\t\t \t\t18\n\n\tGrant wakes up with a start, disoriented. Billy is leaning over\n\thim.", "Cooper's the quiet muscle of the bunch, a weapons specialist. He\n\tfinishes loading a massive gun, essentially a hand-cannon. It's\n\taimed at Nash's grimacing aircraft.", "GRANT (CONT'D)\n\t\tSounds bigger.\n\n\tNash and Udesky come RUNNING out of the jungle, headed for\n\tthe plane.", "32\tEXT. RUNWAY - DAY\t\t\t\t\t\t\t32\n\n\tSuddenly, two hundred yards ahead of the plane,\n\n\tCOOPER", "Looking out the window, Grant notices they're flying awfully\n\tlow. Just then, he hears a MECHANICAL HUM and a LOW RUSH from\n\toutside. Now wanting to believe --", "AMANDA\n\t\tIt's going to be all right. Just...\n\n\tGrant is out of his seat, heading for the cockpit. He'll wrestle\n\tthe controls if he has to.", "Admit it. You're excited.\n\n\tGrant will admit nothing.\n\n\tCalling back from the cockpit...", "And idea, Grant very deliberately places in his hand on the line,\n\tpulling away at the last moment. The pteranodon itself bites\n\tthrough the line.", "GRANT\n\t\tWe need to head for the coast.\n\n\t\t\t\tERIC\n\t\tAre you sure?\n\n\t\t\t\tGRANT\n\t\tWhy?", "GRANT\n\t\tThis way!\n\n\tGrant leads the group out the open end of the cockpit. They\n\tmake a mad dash for the jungle.", "Before anyone else can talk, Grant puts his hand out. He wants\n\teveryone to shut up while he plans their next move.", "Grant looks in, prepared to see anything in the wreckage. But\n\tthe cabin is surprisingly intact, just a little blood. There are\n\tthree gashes on the driver's seat back. Grant measures their\n\tspacing with his fingers.", "GRANT\n\t\tNo, I'm sorry, but no. We'll savage what we\n\t\tcan from the plane. Then we head for the", "Grant, Paul, Amanda and Eric hurry to meet him.\n\n\tGrant is overjoyed to see him alive. But his smile quickly\n\tfades as he sees", "Seeing the explosion, the SECOND CHOPPER PILOT takes off. Eric,\n\tAmanda and Paul are on board, but Grant is still running up.\n\tThe helicopter passes right over him.", "Grant takes his hand off Eric's mouth. They both stay\n\tcompletely silent.\n\n\tAll this time, the sat-phone is RINGING.\n\n\tThan it stops." ], [ "Grant looks to Amanda, who shouts through a bull horn.\n\n\t\t\t\tAMANDA\n\t\t\t(on-bullhorn)\n\t\tERRR-IIIC!", "Amanda is at the edge of the tarmac calling into the jungle on a\n\tBULLHORN.\n\n\tBilly and a groggy Grant emerge from the airplane. Paul trots\n\tover.", "Billy puts it to his lips and blows through it like a conch shell.\n\tThe resulting SOUND is unique and piercing, the cry of an", "The barge finishes rounding the curve, and the ringing grows\n\tLOUDER. The suspense is excruciating until finally...", "He SHOUTS with joy. Paul, Amanda and Eric wave their arms,\n\tmaking as much motion as possible. The helicopters -- big\n\tmilitary choppers -- change direction, heading straight for\n\tthem.", "It's moving behind them, and it's close.\n\n\tWe hear the RINGING move from left to right as it passes. So\n\tfar, its has no idea they're there.", "All turn to Paul. Clearing away the clinging defecation, he\n\tholds up to a beeper. And still the phone RINGS.", "AMANDA\n\t\t\t(on the bullhorn)\n\t\tWhat's a bad idea?\n\n\tAs in on cue, there is a DEAFENING ROAR from the jungle.", "But he's cut off by a SECOND ROAR, the sound of someone\n\tSCREAMING.\n\n\tAnd then the line goes dead.", "He blows through it, the same EERIE PITCH we heard before. On\n\tthe third try, he's able to approximate the \"egg\" cry he heard", "Grant YELLS at the first chopper, trying to wave it away. But\n\tthe noise of the blades is DEAFENDING.", "are no more than 20 yards away, also hiding. An involuntary\n\treflex, Eric calls out...\n\n\t\t\t\tERIC\n\t\tMon! Dad!", "He points to a heavy crane assembly, designed for lifting cages\n\toff the large boats. Now well accustomed to fleeing on\n\tcommand, Amanda sends Eric up first, climbing the scaffolding\n\tlike a jungle gym.", "Paul hands the bulky phone up to Nash, who dials out.\n\n\tGrant unstraps himself, climbs to the back to the side door and shoves.\n\tThe door opens a few inches before hitting a branch.", "Regaining his balance, Eric peers forward, but the fog prevents\n\thim from seeing more than fifteen feet ahead. There is an EERIE\n\tSILENCE. Eric calls out timidly.", "He doesn't say anything for a moment, trying to make sure\n\tthey're real. They are. And they're coming closer.", "As the barge begins to round another bend. a FAMILIAR HIGH-\n\tPITCHED SOUND pierces the darkness. Muffled but unmistakable,\n\tit is the RINGING SAT-PHONE.", "SILENCE.\n\n\t\t\t\tPAUL\n\t\tDr. Grant?\n\n\tMore silence. Then, out of the fog, a distant voice call out --", "Ever the scientist, Dr. Grant tests a theory even in the face of\n\tdanger: he holds up the intact egg so that the raptors can see it.\n\tThey suddenly go crazy, howling the same phrase but LOUDER.", "They begin to jump at him, eventually, hopping up on each\n\tother’s backs. It's only a matter of time till they reach him." ], [ "AMANDA\n\t\tOur son is on this island. We need your help\n\t\tto find him.\n\n\tStill crunched against the tree, Paul pulls out a photo from his\n\tshirt pocket.", "In the tress, Paul and Amanda scurry again for cover.\n\n\tBetween the fallen trunks, Grant attempts to get away on his\n\thands and knees.", "Amanda's knees buckle. Regaining her balance, she runs off into\n\tthe jungle.\n\n\tPaul quickly follows.", "Trying to pull Paul up, Amanda nearly loses her balance. This\n\ttime, Paul catchers her.\n\n\tBilly climbs up a nearby tree of his own in sight of Paul and Amanda.", "Amanda is at the edge of the tarmac calling into the jungle on a\n\tBULLHORN.\n\n\tBilly and a groggy Grant emerge from the airplane. Paul trots\n\tover.", "Looking across the clearing, Eric is startled to see\n\n\tPAUL AND AMANDA", "AMANDA\n\t\tJust drop it Paul!\n\n\tThe Kirby's conversation trails off into the jungle. Udesky\n\tmoves up next to Grant and Billy.", "Amanda yanks Paul out of their path. They Scramble over to\n\tBilly.", "Everyone's moved to different branches, trying to settle in for\n\tthe night. Paul keeps looking over to the tearful Amanda, about\n\tto say something. He finally does.", "All listen for a response. Nothing. Paul and Amanda exchange a\n\tdespondent look.", "Paul and Amanda emerge from the water by the canyon wall and\n\tfind their son hiding behind a rock, searching the skies for\n\tBilly.", "Paul and Amanda spot Eric with Grant. They're a thousand\n\temotions at once: relieved, disbelieving, terrified, overjoyed.", "Eric nods and heads back to Paul and Amanda. Grant forges on,\n\tapproaching the speedboat wreckage. He doesn't know what he'll\n\tfind, but he needs to look.", "Grant and Amanda now come pounding down the catwalk trying to\n\tcatch up with Paul.\n\n\t\t\t\tAMANDA\n\t\t\t(shouting)\n\t\tPaul! Where is he? Can you see him?", "Grant rushes forward with Paul right after him. Amanda takes\n\tEric to safety down river.", "AMANDA\n\t\tHe's not a kill, he's still alive.\n\n\tShe breaks from Paul's grip and drops to the ground. She's only\n\ta foot away from the tree when", "PAUL\n\t\tI just want you know, Amanda. It's not\n\t\tyour fault what happened.\n\n\tAmanda looks over, not sure what his absolution.", "Grant, Paul, Amanda and Eric hurry to meet him.\n\n\tGrant is overjoyed to see him alive. But his smile quickly\n\tfades as he sees", "PAUL\n\t\t\t(calling out)\n\t\tEric! Are you here?\n\n\t\t\t\tAMANDA\n\t\tEric!", "As the second chopper touches down on the beach, Eric, Amanda\n\tand Paul load in. Grant is running their way." ], [ "Eric points excitedly at the islands as Ben films him with the\n\tcamera.\n\n\tThen, a sudden TUG on the thing line cause Ben to drop the camera,\n\twhich now dangles from his neck.", "AMANDA\n\t\tA friend. We were vacationing. Eric wanted\n\t\tto see the island and the dinosaurs, so Ben\n\t\tfound a guy who would take them parasailing.\n\t\tThey never came back.", "Strapped together, Ben and Eric lean back over the passing\n\twater, intently watching for Enrique's signal.\n\n\tAs the boat picks up speed, Enrique eyes the speedometer.", "Ben and Eric clamber onto a makeshift PLATFORM that hangs over\n\tthe back of the board. Dangling from Ben's neck is a CAMCORDER.", "Ben glances over at Eric, staring in horror at something \n\tbelow. Following his gaze, Ben finds that their boat is only\n\tmoments away from crashing into A LARGE REEF.", "Ben and Eric look down to find that the boat has disappeared\n\tinto the low bank of FOG.", "Sensing his cue to leave, Grant gets up and starts walking down\n\tthe beach. Eric hurries to follow him. He speaks\n\tconspiratorially, not wanting to alarm his parents.", "By the time the boat emerges on the far side of the mist...THEIR\n\tIS NO SIGN OF ENRIQUE. The deck is splattered with blood.\n\n\tAs Ben considers the driverless boat...", "With a lurch the terrifying descent in finally over, and the\n\tjungle floor is just ten feet away, swaying back and forth\n\tbeneath Ben and Eric's feet.", "Eric runs over, and Ben puts his arm around him as they run to\n\tthe camera.\n\n\tPaul reacts to this image but holds his tongue.\n\n\tTHE VIDEO SCREEN -", "are no more than 20 yards away, also hiding. An involuntary\n\treflex, Eric calls out...\n\n\t\t\t\tERIC\n\t\tMon! Dad!", "AMANDA\n\t\tEric! Eric! Are you there honey? Ben!\n\t\tErriccc!\n\n\tHer calls continue as we FADE UP to...", "The minute Grant's inside, Eric goes back to work re-sealing\n\tthe door. This 13-year old boy has become astonishingly\n\tefficient at staying alive.", "A panicked Ben turns to Eric.\n\n\t\t\t\tBEN\n\t\tUnclip your line!", "Finally, the others are able to pull her away. As they untangle\n\tthe lines, the men are able to get the first view of the remains\n\tof Ben Hillenbrand, still caught in his harness.", "GRANT\n\t\tOn the island.\n\n\tEric truly can't believe it. He hoped to be rescued but...", "Ben and Eric nod excitedly and give the thumbs up. Ben lifts the\n\tcamcorder to the record the action.", "Once the sail is finally out of sight, Eric breaks from Grant's\n\thold and dashes to his parents' arms. They coop him up. Hug\n\thim, kiss him, their affection unquenchable. He's crying.", "Grant, Paul, Amanda and Eric hurry to meet him.\n\n\tGrant is overjoyed to see him alive. But his smile quickly\n\tfades as he sees", "GRANT\n\t\tA few of us survived. A lot more died. And we\n\t\twere better prepared and better armed.\n\t\t\t(finally)\n\t\tHow many days have they been missing?" ], [ "Climbing higher in a tree, Grant is just feet above a growing\n\tpack of raptors. He scales one branch, the next, finally\n\treaching a perch that the dinosaurs can't jump to.", "Letting the others get ahead of him, Grant looks back. Much to\n\this dismay, the raptors are ignoring the hadrosaurs.", "In an effort to escape the oncoming raptors, Grant leads the\n\tgroup right into the stampeding heard of hadrosaurs.", "Indeed, the pack weaves its way through the herd -- the raptors\n\tonly want them.\n\n\tIn the chaos of the stampede, everyone loses sight of each other.", "He gently drops the bag to the ground. Although the raptors are\n\tinterested, pulling out the unbroken egg, they're still by no means\n\tplacated. The song may have changed, but they still want Grant\n\tdead.", "And idea, Grant very deliberately places in his hand on the line,\n\tpulling away at the last moment. The pteranodon itself bites\n\tthrough the line.", "Ever the scientist, Dr. Grant tests a theory even in the face of\n\tdanger: he holds up the intact egg so that the raptors can see it.\n\tThey suddenly go crazy, howling the same phrase but LOUDER.", "Grant looks around with amazement. It's vindication of his\n\ttheory on raptor communication, but it couldn't come at a worse\n\ttime.", "Finally, Eric hands Grant the raptor claw.\n\n\tGrant uses it to rip the line. The fibers break and fray, but\n\tthe pteranodon keeps coming closer.", "Grant, Paul and Amanda duck into another. Before they can\n\tswing the cage door shut behind them, however, the raptor SLAMS\n\tinto it, driving the door into the cage.", "Grant dives down between two fallen trees as the Spinosaurus and T-\n\tRex circle one another like gladiators, each searching for the\n\tother's weakness.", "Grant immediately covers the boy’s mouth. But it's to late.\n\tThe dinosaur has stopped. We still can't see it. We don't know how\n\tclose it is.", "Grant spins to the far side of the ladder. The pteranodon goes\n\tto bite him again, but finds it head caught between the rungs.\n\tAs it tries to free itself, it just gets more entangled.", "Unable to walk, Udesky attempts to crawl away from the animals.\n\tThe effort clearly causes him great pain. Strangely, the\n\traptors suddenly don't seem interested in him anymore.", "GRANT\n\t\tRaptors.\n\nAnd as he says the words, off in the distance, we hear\n\tthe cry of some herbivores, around by the chorus of\n\tsnarls.", "Tyrannosaurus staggers back, wounded.\n\n\tDown below, Grant is splashed by the blood pouring from the\n\tdinosaur, as he slowly makes his way towards his fellow humans.", "Grant chases after us, catching a rung just as it goes over the\n\twater. Behind him, pteranodons are circling the wreckage of\n\tthe first chopper and starting to go after the second.", "It lunges at Grant with gaping jaws. Grant leaps out of\n\tthe way just in time as the dinosaur\n\n\tRIPS OFF\n\n\tthe entire wheelhouse.", "They stop, thinking they've outrun it.\n\n\tGrant directs the group through some underbrush and into --", "Grant is the last to climb, reaching the first section as\n\tSpinosaurus returns from the water, SLAMMING into the base of\n\tthe crane. The whole assembly SHUDDERS, threatening to rip into\n\tthe water." ], [ "Spinosaurus crushes the life out of its adversary, and T-Rex\n\topens and closes its jaw a mere inches from our terrified \n\tfriends.\n\n\tFinally, Grant reaches the others.", "Meanwhile, the fight continues. Spinosaurus rallies, shaking\n\toff many of the raptors, but they just keep coming. Their\n\thooked claws dig in, scraping the meat to the bone.", "Spinosaurus puts up a brave fight to the end, but finally\n\tcollapses, dead. The raptors continue to shred it to ribbons.", "Spinosaurus easily handles the first few, but like ants they\n\tjust keep coming. They climb up his back, slicing, into him with\n\ttheir razor-sharp claws.", "Looking at his adversaries, Spinosaurus ROARS. And suddenly\n\tthe raptors attack.", "Grant is the last to climb, reaching the first section as\n\tSpinosaurus returns from the water, SLAMMING into the base of\n\tthe crane. The whole assembly SHUDDERS, threatening to rip into\n\tthe water.", "ELLIE\n\t\tAlan?\n\n\tShe can hear the Spinosaurus ROAR.\n\n\t\t\t\tELLIE (CONT'D)\n\t\tAlan? Alan!", "T-Rex presses the attack, slamming its tail into the flank of\n\tits adversary. Spinosaurus is knocked back, and Grant is again\n\tforced to duck for cover.", "Plastered against an immense tree, the group watches in horror\n\tas T-Rex starts to rise but is thrown back down as Spinosaurus\n\tlatches onto its throat.", "Spinosaurus lunges for the T-rex with gaping jaws and manages to\n\ttopple T-Rex off its feet and sends the falling dinosaur to the\n\tground.", "Laying flat on his back, Grant lets out a terrified GASP as the\n\tgiant foot of Spinosaurus lands across the two trunks mere\n\tinches from his face.", "As Spinosaurus struggles to regain its balance, T-Rex dives\n\tforward. Spinosaurus is driven backwards as T-Rex tries to\n\tgrip its throat.", "GRANT\n\t\tCome on!\n\n\tSpinosaurus lets out a victorious HOWL, and the blood-drenched\n\tprofessor leads the group through the undergrowth.", "Now on its side, Spinosaurus fights back ferociously. It slashes\n\tat T-Rex with its long arms and razor sharp claws, then finally\n\tkicks the animal with one mammoth foot.", "Spinosaurus is going after the heroic Mr. Kirby, who dives,\n\tswimming underwater. He's trying to lead it away from his\n\tfamily.", "All exchange looks of sheer PANIC, expecting Spinosaurus to\n\tleap out at any moment. Grant scans the river banks.\n\n\t\t\t\tGRANT\n\t\tKeep quiet.", "Paul surfaces out of the breath and disoriented. Spinosaurus\n\tpushes past the boat. If anyone is going to save his family, it\n\thas to be him.\n\n\tAnd so he dives.", "Spinosaurus stops for a beat, confused How this sound could be\n\tcoming from a non-raptor. But then keeps SMASHING.", "Spinosaurus grabs the cage and Paul, throwing both straight up\n\tout of the water. Paul flies twenty feet away, further from the\n\tshore.\n\n\t\t\t\tAMANDA\n\t\tPAUL!", "The companions scurry out of the way, but as they do so, the\n\thead of the T-Rex now lands almost directly on top of them." ], [ "He gently drops the bag to the ground. Although the raptors are\n\tinterested, pulling out the unbroken egg, they're still by no means\n\tplacated. The song may have changed, but they still want Grant\n\tdead.", "Ever the scientist, Dr. Grant tests a theory even in the face of\n\tdanger: he holds up the intact egg so that the raptors can see it.\n\tThey suddenly go crazy, howling the same phrase but LOUDER.", "inside, the white and green yolk still dripping from the pieces\n\tof the shell. There's another intact egg beside it.\n\n\tThis is what the raptors where chasing.", "GRANT\n\t\t\t(takes it)\n\t\tA raptor claw. I use to have one. A fossil.\n\n\t\t\t\tERIC\n\t\tMine's new.", "BILLY (CONT'D)\n\t\tI thought if we could get a raptor back\n\t\tto the mainland, we could get serious money", "Finally, Eric hands Grant the raptor claw.\n\n\tGrant uses it to rip the line. The fibers break and fray, but\n\tthe pteranodon keeps coming closer.", "The group exits the rear of the lab building and finds itself in\n\ta large equipment yard. The CALL of the raptor is still audible\n\tas they head for the tree line.", "He unzips the bag to find\n\n\tA BROKEN RAPTOR EGG", "They are forced back against a chain-like wall, trapped in a\n\tsmall triangle space by the advancing door. The angry\n\tRaptor is now inches away through the cage door.", "They push hard on the cage door, swinging it and the raptor\n\tright through the opening of the cage.\n\n\tNow the raptor is trapped in a small triangular space, the door\n\tgoing right to the ceiling.", "Unable to walk, Udesky attempts to crawl away from the animals.\n\tThe effort clearly causes him great pain. Strangely, the\n\traptors suddenly don't seem interested in him anymore.", "Bored with waiting, the raptors go back to finish off Udesky,\n\tmaking a meal out of it. Up in the branches, the survivors are\n\thorrified and sickened.", "Grant slowly wakes in his chair, groggy. All the other\n\tpassengers are fast asleep. Then Grant turns to his right.\n\n\tA RAPTOR", "Suddenly, one of the raptors SLASHES at him again. But it's\n\tdelicately not a mortal blow, just a very painful one. Udesky\n\tCRIES OUT, louder this time.", "In back, Paul and Eric get the ladder mechanism to begin to\n\tretract. It reels Grant in faster. It also reels in the\n\tpteranodon, which may be caught, but is still plenty dangerous.", "Then, suddenly, the raptor looks up. We follow its gaze. The top\n\tof their triangular enclose is wide open.", "Grant, Paul and Amanda duck into another. Before they can\n\tswing the cage door shut behind them, however, the raptor SLAMS\n\tinto it, driving the door into the cage.", "As the Raptor gains ground, Udesky and Billy run into one of the\n\topen cages, SLAMMING the door behind them.", "Just now noticing the others' stare, Paul looks down into one\n\tof the bowls at his feet, a half-buried nest. It's filled with\n\tfootball-sized eggs, laid in a spiral.", "Grant looks around with amazement. It's vindication of his\n\ttheory on raptor communication, but it couldn't come at a worse\n\ttime." ], [ "Grant and Billy exchange a dubious look, than begin pulling the\n\tparasail out of the tree. As they do so, the sail gets caught on\n\ta branch.", "A parasail chute is caught in the branches of a tree. A yellow\n\tlife vest hangs limply from a branch.\n\n\tPaul rushes over, unsnags it, and examines the label.", "Finally, the others are able to pull her away. As they untangle\n\tthe lines, the men are able to get the first view of the remains\n\tof Ben Hillenbrand, still caught in his harness.", "He struggles to control the parasail, swooping dangerously\n\tclose to the canyon wall, barely avoiding it.\n\n\tUp ahead he catches sight of Eric and steers towards him.", "THE PARASAIL CHUTE\n\n\tblossoms above him.\n\n\tNot only does it slows Billy's descent, but he even manages to\n\tcatch an updraft and begin to rise.", "Instead of tumbling down to the river, he finds himself\n\tswinging from his harness - the parasail snagged on a rock\n\tspire above him.", "Eric and Ben frantically unclip their lines. Catching an\n\tupdraft, the parasailers float upward.", "And it's not just any boat either -- it's the same Dino-Soar\n\tboat that was pulling the parasail. Eric hasn’t seen it yet, so\n\tGrant stops him.", "WOOOSH! A brightly colored PARASAIL blossoms behind the boat,\n\thoisting Ben and Eric aloft. In a big BLOCK LETTERS on the\n\tparasail is stitched \"DINO-SOAR.\"", "And as Udesky fiddles with the flashlight, Grant and Billy\n\tconsider the parasail.\n\n\t\t\t\tBILLY\n\t\tIt looks intact.", "They pull harder. The branch bends, but the sail won't come\n\tloose. One last tug and than, SNAP. The branch breaks, the chute\n\tfalls away to reveal…\n\n\tA SKELETON.", "As they keep walking, Grant notices something rammed against\n\tthe rocks ahead. It's a speedboat, its hull ripped open from the\n\timpact.", "Strapped together, Ben and Eric lean back over the passing\n\twater, intently watching for Enrique's signal.\n\n\tAs the boat picks up speed, Enrique eyes the speedometer.", "The five survivors search through the wreckage, trying to find\n\tanything useful. The task is grim. Mindful of Grant's \n\twarnings, they move quickly and quietly.", "shoots past, tearing out a piece of the parasail in its beak.", "already wearing life-vests -- strap themselves into a two-\n\tperson PARASAIL HARNESS.", "Then, unseen by the group, a\n\n\tGIGANTIC FIN\n\n\trises from the water just fifty yards from the barge. It's\n\theaded right to them and closing fast.", "Billy bobs to the surface and spots the group downstream. He\n\twaves and begins to swim towards them. Soon he nears the shore\n\tand gets to his feet, wading as he comes.", "Ben grabs the end of the RIPCORD attached to the harness. He and\n\tEric braces themselves.", "Letting go of Paul, Grant takes the photo, a Sears-style\n\tportrait of the boy we saw Parasailing at the beginning. He\n\tshakes his head, disbelieving. He hands the photo to Billy." ], [ "He gently drops the bag to the ground. Although the raptors are\n\tinterested, pulling out the unbroken egg, they're still by no means\n\tplacated. The song may have changed, but they still want Grant\n\tdead.", "inside, the white and green yolk still dripping from the pieces\n\tof the shell. There's another intact egg beside it.\n\n\tThis is what the raptors where chasing.", "The gigantic creature lunges at him. Billy dodges away as best\n\the can. The pteranodon's frustrated bite severs a crucial\n\tjuncture on Billy's harness, and Billy is able to wriggle free.", "As Billy swoops past, Eric jumps and grabs onto his boot. He is\n\tyanked up and out of the nest. But than, MOTHER PTERANODON", "And now several pteranodons are heading their way. Difficult\n\tas it is to leave Billy behind, Grant and Paul make a run for it.", "Ever the scientist, Dr. Grant tests a theory even in the face of\n\tdanger: he holds up the intact egg so that the raptors can see it.\n\tThey suddenly go crazy, howling the same phrase but LOUDER.", "BILLY (CONT'D)\n\t\tI thought if we could get a raptor back\n\t\tto the mainland, we could get serious money", "The two pteranodons who were pursuing Billy now land on nearby\n\tledges and consider how best to dispatch their prey.", "Billy SCREAMS as the ENTIRE FLOCK of pteranodons now swarms\n\taround him, picking him apart with their beaks and claws.\n\n\t\t\t\tGRANT\n\t\tBilly!", "As the Raptor gains ground, Udesky and Billy run into one of the\n\topen cages, SLAMMING the door behind them.", "Just then Billy is knocked down by the lead pteranodon. It\n\tstrikes from behind with a brutal, calculated beak to the head.\n\tBilly stumbles and falls to the ground.", "Billy circles, making his approach.\n\n\tIn the nest, Eric kicks at the hatchlings, but they're\n\tundeterred. Billy and Eric will only have one chance.", "Bored with waiting, the raptors go back to finish off Udesky,\n\tmaking a meal out of it. Up in the branches, the survivors are\n\thorrified and sickened.", "Unable to walk, Udesky attempts to crawl away from the animals.\n\tThe effort clearly causes him great pain. Strangely, the\n\traptors suddenly don't seem interested in him anymore.", "Billy stays behind, moving back up the platform to try to\n\tkeep the dinosaur in view. With a new idea, he races back up the\n\tstairs to the observation room. He has a way to save Eric.", "Finally, Eric hands Grant the raptor claw.\n\n\tGrant uses it to rip the line. The fibers break and fray, but\n\tthe pteranodon keeps coming closer.", "A tremendous ROAR causes Billy to look behind him. He can't\n\thelp but steal a glimpse of this terrifying, but utterly\n\tfascinating, animal.\n\n\tGrant yanks him forward.", "Just now noticing the others' stare, Paul looks down into one\n\tof the bowls at his feet, a half-buried nest. It's filled with\n\tfootball-sized eggs, laid in a spiral.", "He unzips the bag to find\n\n\tA BROKEN RAPTOR EGG", "BILLY (CONT'D)\n\t\tI got some great pictures of the nest. You\n\t\tknow this proves raptors raised their young\n\t\tin colonies." ], [ "In an effort to escape the oncoming raptors, Grant leads the\n\tgroup right into the stampeding heard of hadrosaurs.", "Tyrannosaurus staggers back, wounded.\n\n\tDown below, Grant is splashed by the blood pouring from the\n\tdinosaur, as he slowly makes his way towards his fellow humans.", "Letting the others get ahead of him, Grant looks back. Much to\n\this dismay, the raptors are ignoring the hadrosaurs.", "Suddenly Grant spots...\n\n\t\t\t\tGRANT\n\t\tThere. There! An Apatosaur. Look at the\n\t\tcoloration.", "Suddenly, all is chaos. Hadrosaurs race past, splitting up the\n\tgroup.", "Concealed by the dense undergrowth, the unseen dinosaur bears\n\tdown on them -- mowing down the young trees which TOPPLE all\n\taround them.\n\n\tGrant spots a grove of", "Udesky swings hard, but the dinosaurs feints. From behind him,\n\tanother raptor slashes at the back of his legs, severing his\n\tmuscles. Udesky CRIES OUT and drops to the ground.", "The companions scurry out of the way, but as they do so, the\n\thead of the T-Rex now lands almost directly on top of them.", "Spinosaurus crushes the life out of its adversary, and T-Rex\n\topens and closes its jaw a mere inches from our terrified \n\tfriends.\n\n\tFinally, Grant reaches the others.", "Obeying, the group FREEZES for a few long beats. Then Udesky\n\ttakes off running.\n\n\tAnd T-Rex ROARS.", "T-Rex presses the attack, slamming its tail into the flank of\n\tits adversary. Spinosaurus is knocked back, and Grant is again\n\tforced to duck for cover.", "Before them lies an immense unmoving SAUROPOD.\n\n\t\t\t\tGRANT\n\t\tDon't worry. It's dead.\n\n\tThen a full-grown bull", "And now several pteranodons are heading their way. Difficult\n\tas it is to leave Billy behind, Grant and Paul make a run for it.", "Responding to the growls, a herd of grazing HADROSAURS suddenly\n\tflees across the open space. Then, in the distance behind the\n\therd\n\n\tA PACK OF RAPTORS", "With an earth-shuttering CRASH, the dinosaur lands between\n\tGrant and the rest of the group.", "Laying flat on his back, Grant lets out a terrified GASP as the\n\tgiant foot of Spinosaurus lands across the two trunks mere\n\tinches from his face.", "As the hadrosaurs WHIP PAST, Paul and Amanda climb up into a\n\ttree. A raptor leaps at Paul, barely missing his leg.", "Grant immediately covers the boy’s mouth. But it's to late.\n\tThe dinosaur has stopped. We still can't see it. We don't know how\n\tclose it is.", "He picks up a fallen branch as these dinosaurs cautiously\n\tapproach. Not more than a few feet away, the leader of the trio\n\tstops, peering at him.", "It lunges at Grant with gaping jaws. Grant leaps out of\n\tthe way just in time as the dinosaur\n\n\tRIPS OFF\n\n\tthe entire wheelhouse." ], [ "Grant takes his hand off Eric's mouth. They both stay\n\tcompletely silent.\n\n\tAll this time, the sat-phone is RINGING.\n\n\tThan it stops.", "Grant is heading up to the other three when he hears the sat-\n\tphone RING. He spots it, just about to fall into the water.\n\tDives for it, answering...", "The sat-phone BEEPS again, this time much LOUDER.\n\n\tAmanda and Eric watch Grant, realizing their fate may hang on\n\tthis single call. Paul struggles without success to start the\n\tmotor.", "Dropping the dead phone, Grant scrambles towards the front of\n\tthe boat and joins Paul, Amanda and Eric, who have taken refuge\n\tin the dinosaur cage.", "A phone is RINGING, very faintly. Without a word to each other,\n\tGrant and Eric decide its coming from the right.", "The Kirby’s hear the recorded voice and let out a collective,\n\theavy sigh. Grant shuts off the phone.", "Grant snatches the RINGING SAT-PHONE from Amanda's hands,\n\tpresses a button, and puts it to his ear.", "Paul hands the bulky phone up to Nash, who dials out.\n\n\tGrant unstraps himself, climbs to the back to the side door and shoves.\n\tThe door opens a few inches before hitting a branch.", "Once the sail is finally out of sight, Eric breaks from Grant's\n\thold and dashes to his parents' arms. They coop him up. Hug\n\thim, kiss him, their affection unquenchable. He's crying.", "Paul and Amanda spot Eric with Grant. They're a thousand\n\temotions at once: relieved, disbelieving, terrified, overjoyed.", "Grant re-settles, trying to get comfortable. Billy is across\n\tfrom him, finishing cleaning his camera lenses before putting\n\tthem back in the ragged case.", "Grant, Paul, Amanda and Eric hurry to meet him.\n\n\tGrant is overjoyed to see him alive. But his smile quickly\n\tfades as he sees", "69M\tEXT. JUNGLE - DAY\t\t\t\t\t\t\t69M\n\n\tStill following the faint RINGING, Grant and Eric turn to find\n\n\tA SAIL", "Grant doesn't answer, still listening to the reverberations. \nThen a couple shots are heard.\n\n\t\t\t\tBILLY\n\t\t\t(low)\n\t\tIs it a rex?", "Amanda is at the edge of the tarmac calling into the jungle on a\n\tBULLHORN.\n\n\tBilly and a groggy Grant emerge from the airplane. Paul trots\n\tover.", "BILLY\n\tAlan. We're almost there.\n\n\tThe adrenaline still surging through him, Grant turns and looks\n\n\tTHROUGH THE WINDOW.", "As the barge begins to round another bend. a FAMILIAR HIGH-\n\tPITCHED SOUND pierces the darkness. Muffled but unmistakable,\n\tit is the RINGING SAT-PHONE.", "Amanda and Paul keep close to each other. Further back, Grant\n\tspots Billy's fallen camera back. He grabs it as he runs past.\n\n\tLooking back, Billy sees that Grant now has his back...", "As the second chopper touches down on the beach, Eric, Amanda\n\tand Paul load in. Grant is running their way.", "With that he leaves, A beat later, Billy follows. He has\n\tgenuine sympathy for the Kirby's, but he's logical enough to\n\tknow Grant is right.\n\n\tBACK WITH PAUL AND AMANDA" ], [ "The group emerges from the jungles and enters the compound.\n\tThey walk through an overgrown parking lot, littered with\n\tabandoned vehicles. Some are lying on their side. Others are\n\toverturned completely.", "As the hadrosaurs WHIP PAST, Paul and Amanda climb up into a\n\ttree. A raptor leaps at Paul, barely missing his leg.", "At the dock up ahead, Amanda and Eric have found a rusty,\n\twaterlogged barge that's somehow still floating. Carrying a\n\ttarp-covered cage, the boat was meant for transporting dinos\n\tup and down the river.", "The group exits the rear of the lab building and finds itself in\n\ta large equipment yard. The CALL of the raptor is still audible\n\tas they head for the tree line.", "Grant, Paul and Amanda duck into another. Before they can\n\tswing the cage door shut behind them, however, the raptor SLAMS\n\tinto it, driving the door into the cage.", "Reeling, Amanda comes to a stop in an area with thick\n\tundergrowth. It's danger here, very still and quiet.", "Dropping the dead phone, Grant scrambles towards the front of\n\tthe boat and joins Paul, Amanda and Eric, who have taken refuge\n\tin the dinosaur cage.", "AMANDA\n\t\tHe's not a kill, he's still alive.\n\n\tShe breaks from Paul's grip and drops to the ground. She's only\n\ta foot away from the tree when", "Amanda is at the edge of the tarmac calling into the jungle on a\n\tBULLHORN.\n\n\tBilly and a groggy Grant emerge from the airplane. Paul trots\n\tover.", "Unable to walk, Udesky attempts to crawl away from the animals.\n\tThe effort clearly causes him great pain. Strangely, the\n\traptors suddenly don't seem interested in him anymore.", "He points to a heavy crane assembly, designed for lifting cages\n\toff the large boats. Now well accustomed to fleeing on\n\tcommand, Amanda sends Eric up first, climbing the scaffolding\n\tlike a jungle gym.", "A jungle valley stretches before them. Not far off in A VAST\n\tCOMPOUND - comprised of several buildings. One building alone\n\tseems to cover several acres.", "Amanda's knees buckle. Regaining her balance, she runs off into\n\tthe jungle.\n\n\tPaul quickly follows.", "In the tress, Paul and Amanda scurry again for cover.\n\n\tBetween the fallen trunks, Grant attempts to get away on his\n\thands and knees.", "PAUL\n\t\t\t(loud whisper to Amanda)\n\t\tStop that. Dr. Grant says this is dangerous\n\t\tterritory.", "AMANDA\n\t\tBecause \"Dr. Grant\" isn't looking for Eric.\n\t\tDr. Grant is looking for the coast.", "The companions scurry out of the way, but as they do so, the\n\thead of the T-Rex now lands almost directly on top of them.", "Something about this specimen catches Amanda’s attention. She\n\tbends forward, getting very close to the glass. She peers right\n\tinto the eyes of the nightmarish creature. Then --\n\n\tAN ACTUAL RAPTOR", "It swings down directly at Amanda. She SCREAMS.", "The dinosaur JAMS its snout into the fuselage and lunges for\n\tAmanda in the first row. She yanks her legs back as the jaws\n\tSNAP SHUT." ], [ "Ever the scientist, Dr. Grant tests a theory even in the face of\n\tdanger: he holds up the intact egg so that the raptors can see it.\n\tThey suddenly go crazy, howling the same phrase but LOUDER.", "He gently drops the bag to the ground. Although the raptors are\n\tinterested, pulling out the unbroken egg, they're still by no means\n\tplacated. The song may have changed, but they still want Grant\n\tdead.", "And idea, Grant very deliberately places in his hand on the line,\n\tpulling away at the last moment. The pteranodon itself bites\n\tthrough the line.", "Finally, Eric hands Grant the raptor claw.\n\n\tGrant uses it to rip the line. The fibers break and fray, but\n\tthe pteranodon keeps coming closer.", "Grant immediately covers the boy’s mouth. But it's to late.\n\tThe dinosaur has stopped. We still can't see it. We don't know how\n\tclose it is.", "Grant looks around with amazement. It's vindication of his\n\ttheory on raptor communication, but it couldn't come at a worse\n\ttime.", "GRANT\n\t\t\t(takes it)\n\t\tA raptor claw. I use to have one. A fossil.\n\n\t\t\t\tERIC\n\t\tMine's new.", "Climbing higher in a tree, Grant is just feet above a growing\n\tpack of raptors. He scales one branch, the next, finally\n\treaching a perch that the dinosaurs can't jump to.", "Letting the others get ahead of him, Grant looks back. Much to\n\this dismay, the raptors are ignoring the hadrosaurs.", "In an effort to escape the oncoming raptors, Grant leads the\n\tgroup right into the stampeding heard of hadrosaurs.", "Grant spins to the far side of the ladder. The pteranodon goes\n\tto bite him again, but finds it head caught between the rungs.\n\tAs it tries to free itself, it just gets more entangled.", "In back, Paul and Eric get the ladder mechanism to begin to\n\tretract. It reels Grant in faster. It also reels in the\n\tpteranodon, which may be caught, but is still plenty dangerous.", "Spinosaurus crushes the life out of its adversary, and T-Rex\n\topens and closes its jaw a mere inches from our terrified \n\tfriends.\n\n\tFinally, Grant reaches the others.", "It lunges at Grant with gaping jaws. Grant leaps out of\n\tthe way just in time as the dinosaur\n\n\tRIPS OFF\n\n\tthe entire wheelhouse.", "Grant is the last to climb, reaching the first section as\n\tSpinosaurus returns from the water, SLAMMING into the base of\n\tthe crane. The whole assembly SHUDDERS, threatening to rip into\n\tthe water.", "Buffeted by the wind, Grant climbs the ladder up towards the\n\tchopper. A pteranodon flies up right behind him, trying to\n\tbite. It catches Grant's shoulder.", "Before them lies an immense unmoving SAUROPOD.\n\n\t\t\t\tGRANT\n\t\tDon't worry. It's dead.\n\n\tThen a full-grown bull", "GRANT (CONT'D)\n\t\tNobody move a muscle.\n\n\tRemember: the T-Rex tracks motion.", "Grant slowly wakes in his chair, groggy. All the other\n\tpassengers are fast asleep. Then Grant turns to his right.\n\n\tA RAPTOR", "Grant has cut through the cord. He started on the second when\n\tthe pteranodon SNAPS at him, going for his hand. There's\n\tnowhere for Grant to cut without the pteranodon getting him." ], [ "PAUL (cont'd)\n\t\tEric has always been headstrong, and you\n\t\tthrow Ben Hildebrand into the mix and well...\n\n\t\t\t\tAMANDA\n\t\tWell what?", "AMANDA\n\t\tHe's with a man named Ben Hildebrand.\n\n\t\t\t\tBILLY\n\t\tWho's that?", "Eric runs over, and Ben puts his arm around him as they run to\n\tthe camera.\n\n\tPaul reacts to this image but holds his tongue.\n\n\tTHE VIDEO SCREEN -", "Ben and Eric clamber onto a makeshift PLATFORM that hangs over\n\tthe back of the board. Dangling from Ben's neck is a CAMCORDER.", "Ben and Eric nod excitedly and give the thumbs up. Ben lifts the\n\tcamcorder to the record the action.", "Eyes swollen from the gas. Grant stumbles, barely able to see as\n\tthe other person pulls him along. It's only now we can identify\n\this rescuer as\n\n\tERIC KIRBY,", "Ben grabs the end of the RIPCORD attached to the harness. He and\n\tEric braces themselves.", "A VOICE\n\t\tListen to your mother.\n\n\tOut of the darkness steps Paul Kirby. Amanda is knocked over\n\twith surprise. Eric runs to him, nearly tackling him.", "PAUL\n\t\tNever had a doubt. Never did. Us Kirby men,\n\t\twe stick around, huh?\n\n\t\t\t\tERIC\n\t\tWe do.", "AMANDA\n\t\tEric! Eric! Are you there honey? Ben!\n\t\tErriccc!\n\n\tHer calls continue as we FADE UP to...", "Strapped together, Ben and Eric lean back over the passing\n\twater, intently watching for Enrique's signal.\n\n\tAs the boat picks up speed, Enrique eyes the speedometer.", "A panicked Ben turns to Eric.\n\n\t\t\t\tBEN\n\t\tUnclip your line!", "ERIC (CONT'D)\n\t\tBen!", "Finally, the others are able to pull her away. As they untangle\n\tthe lines, the men are able to get the first view of the remains\n\tof Ben Hillenbrand, still caught in his harness.", "The sound of PUMPLING is followed by the sight of Eric DROPPING\t\t\n\tinto the frame, landing on the ground rolling. He stands and\n\tlooks back up at Ben.", "AMANDA\n\t\tA friend. We were vacationing. Eric wanted\n\t\tto see the island and the dinosaurs, so Ben\n\t\tfound a guy who would take them parasailing.\n\t\tThey never came back.", "Eric and Ben frantically unclip their lines. Catching an\n\tupdraft, the parasailers float upward.", "ERIC\n\t\tI'm all right\n\n\t\t\t\tBEN (O.S)\n\t\t\t(weaker)\n\t\tWe're going to get out of this, pal.", "Once the sail is finally out of sight, Eric breaks from Grant's\n\thold and dashes to his parents' arms. They coop him up. Hug\n\thim, kiss him, their affection unquenchable. He's crying.", "Sensing his cue to leave, Grant gets up and starts walking down\n\tthe beach. Eric hurries to follow him. He speaks\n\tconspiratorially, not wanting to alarm his parents." ], [ "Once the sail is finally out of sight, Eric breaks from Grant's\n\thold and dashes to his parents' arms. They coop him up. Hug\n\thim, kiss him, their affection unquenchable. He's crying.", "Eric points excitedly at the islands as Ben films him with the\n\tcamera.\n\n\tThen, a sudden TUG on the thing line cause Ben to drop the camera,\n\twhich now dangles from his neck.", "As the second chopper touches down on the beach, Eric, Amanda\n\tand Paul load in. Grant is running their way.", "Grant and Eric press back against a tree, keep perfectly\n\tstill as they hear the THOOOOMB, THOOOOMB, THOOOMB of the", "Grant, Paul, Amanda and Eric hurry to meet him.\n\n\tGrant is overjoyed to see him alive. But his smile quickly\n\tfades as he sees", "Strapped together, Ben and Eric lean back over the passing\n\twater, intently watching for Enrique's signal.\n\n\tAs the boat picks up speed, Enrique eyes the speedometer.", "Grant takes his hand off Eric's mouth. They both stay\n\tcompletely silent.\n\n\tAll this time, the sat-phone is RINGING.\n\n\tThan it stops.", "GRANT\n\t\tMr. Kirby, trust me, on this island, there is\n\t\tno such thing as safe. We have to get back in\n\t\tthis plane...", "Sensing his cue to leave, Grant gets up and starts walking down\n\tthe beach. Eric hurries to follow him. He speaks\n\tconspiratorially, not wanting to alarm his parents.", "As Grant and Eric walk, both stop, hearing a strange sound. But\n\tfor a change, it's not an ominous one.\n\n\tIt's a human one.", "The minute Grant's inside, Eric goes back to work re-sealing\n\tthe door. This 13-year old boy has become astonishingly\n\tefficient at staying alive.", "ON ERIC AND GRANT\n\n\tlooking back at the island.\n\n\t\t\t\tERIC\n\t\tI hope they don't. I want to come back\n\t\tsomeday.", "Ben and Eric clamber onto a makeshift PLATFORM that hangs over\n\tthe back of the board. Dangling from Ben's neck is a CAMCORDER.", "99A\tUP ON THE BOW\t\t\t\t\t\t\t99A\n\n\tGrant is beside Eric, keeping watch, but also feeling the weight\n\tof Billy's death.", "GRANT\n\t\t\t(disbelieving)\n\t\tI have never been on this island!\n\n\t\t\t\tPAUL\n\t\tSure you have. You wrote that book...", "Grant looks down to the wet sand around him, finding a trail of\n\tthree-toed tracks.\n\n\t\t\t\tERIC (CONT'D)\n\t\tWe're safe!", "GRANT\n\t\tOn the island.\n\n\tEric truly can't believe it. He hoped to be rescued but...", "GRANT\n\t\tWe need to head for the coast.\n\n\t\t\t\tERIC\n\t\tAre you sure?\n\n\t\t\t\tGRANT\n\t\tWhy?", "GRANT\n\t\tWhich one do you prefer?\n\n\t\t\t\tERIC\n\t\tThe first one. Before you where on the island.\n\t\tYou liked dinosaurs back then.", "And it's not just any boat either -- it's the same Dino-Soar\n\tboat that was pulling the parasail. Eric hasn’t seen it yet, so\n\tGrant stops him." ], [ "All turn to Paul. Clearing away the clinging defecation, he\n\tholds up to a beeper. And still the phone RINGS.", "The sat-phone BEEPS again, this time much LOUDER.\n\n\tAmanda and Eric watch Grant, realizing their fate may hang on\n\tthis single call. Paul struggles without success to start the\n\tmotor.", "A large bowl of mud and branches the size of a satellite dish.\n\tEric lands right on top of a pile of dinosaur bones picked\n\tclean. Mixed among is one human skull.", "And bracing themselves and hocking their breath, they PLUNGE\n\ttheir arms into their respective dung-heaps. After a few\n\tmoments of this disgusting search...", "Paul hands the bulky phone up to Nash, who dials out.\n\n\tGrant unstraps himself, climbs to the back to the side door and shoves.\n\tThe door opens a few inches before hitting a branch.", "Grant is heading up to the other three when he hears the sat-\n\tphone RING. He spots it, just about to fall into the water.\n\tDives for it, answering...", "Grant takes his hand off Eric's mouth. They both stay\n\tcompletely silent.\n\n\tAll this time, the sat-phone is RINGING.\n\n\tThan it stops.", "Returning to their bleak task, they shovel the excrement with\n\ttheir arms. Finally:\n\n\t\t\t\tAMANDA\n\t\tI've got it! I've got it!", "The five survivors search through the wreckage, trying to find\n\tanything useful. The task is grim. Mindful of Grant's \n\twarnings, they move quickly and quietly.", "Dropping the dead phone, Grant scrambles towards the front of\n\tthe boat and joins Paul, Amanda and Eric, who have taken refuge\n\tin the dinosaur cage.", "We are one the edge of a dry lake bed, part of an aircraft\n\tgraveyard. Wrecked planes lie all around.\n\n\tWe hear a phone RINGING...", "But as it gets in close, it smells them. Even a dinosaur won't\n\teat something that is covered in shit. After a beat, the\n\tCarnotaur turns and walks away, back into the jungle.", "NASH\n\t\tWho's got the sat-phone?\n\n\t\t\t\tPAUL\n\t\tRight here!", "As the barge begins to round another bend. a FAMILIAR HIGH-\n\tPITCHED SOUND pierces the darkness. Muffled but unmistakable,\n\tit is the RINGING SAT-PHONE.", "Just now noticing the others' stare, Paul looks down into one\n\tof the bowls at his feet, a half-buried nest. It's filled with\n\tfootball-sized eggs, laid in a spiral.", "dropped to the ground. A giant foot steps in the way as the snout\n\tof the creature reaches down and quickly devourers the screaming\npilot.", "Bored with waiting, the raptors go back to finish off Udesky,\n\tmaking a meal out of it. Up in the branches, the survivors are\n\thorrified and sickened.", "Sitting on the reception counter is an official-looking\n\ttelephone. Everyone has the same thought, but no one dares.\n\tFinally -", "Finally, the others are able to pull her away. As they untangle\n\tthe lines, the men are able to get the first view of the remains\n\tof Ben Hillenbrand, still caught in his harness.", "The group emerges from the jungles and enters the compound.\n\tThey walk through an overgrown parking lot, littered with\n\tabandoned vehicles. Some are lying on their side. Others are\n\toverturned completely." ], [ "Spinosaurus crushes the life out of its adversary, and T-Rex\n\topens and closes its jaw a mere inches from our terrified \n\tfriends.\n\n\tFinally, Grant reaches the others.", "Spinosaurus puts up a brave fight to the end, but finally\n\tcollapses, dead. The raptors continue to shred it to ribbons.", "T-Rex presses the attack, slamming its tail into the flank of\n\tits adversary. Spinosaurus is knocked back, and Grant is again\n\tforced to duck for cover.", "Spinosaurus is going after the heroic Mr. Kirby, who dives,\n\tswimming underwater. He's trying to lead it away from his\n\tfamily.", "Meanwhile, the fight continues. Spinosaurus rallies, shaking\n\toff many of the raptors, but they just keep coming. Their\n\thooked claws dig in, scraping the meat to the bone.", "Grant is the last to climb, reaching the first section as\n\tSpinosaurus returns from the water, SLAMMING into the base of\n\tthe crane. The whole assembly SHUDDERS, threatening to rip into\n\tthe water.", "Grant dives down between two fallen trees as the Spinosaurus and T-\n\tRex circle one another like gladiators, each searching for the\n\tother's weakness.", "GRANT\n\t\tCome on!\n\n\tSpinosaurus lets out a victorious HOWL, and the blood-drenched\n\tprofessor leads the group through the undergrowth.", "Grant chases after us, catching a rung just as it goes over the\n\twater. Behind him, pteranodons are circling the wreckage of\n\tthe first chopper and starting to go after the second.", "Laying flat on his back, Grant lets out a terrified GASP as the\n\tgiant foot of Spinosaurus lands across the two trunks mere\n\tinches from his face.", "Looking at his adversaries, Spinosaurus ROARS. And suddenly\n\tthe raptors attack.", "As Spinosaurus struggles to regain its balance, T-Rex dives\n\tforward. Spinosaurus is driven backwards as T-Rex tries to\n\tgrip its throat.", "Now on its side, Spinosaurus fights back ferociously. It slashes\n\tat T-Rex with its long arms and razor sharp claws, then finally\n\tkicks the animal with one mammoth foot.", "Tyrannosaurus staggers back, wounded.\n\n\tDown below, Grant is splashed by the blood pouring from the\n\tdinosaur, as he slowly makes his way towards his fellow humans.", "Spinosaurus easily handles the first few, but like ants they\n\tjust keep coming. They climb up his back, slicing, into him with\n\ttheir razor-sharp claws.", "All exchange looks of sheer PANIC, expecting Spinosaurus to\n\tleap out at any moment. Grant scans the river banks.\n\n\t\t\t\tGRANT\n\t\tKeep quiet.", "Before them lies an immense unmoving SAUROPOD.\n\n\t\t\t\tGRANT\n\t\tDon't worry. It's dead.\n\n\tThen a full-grown bull", "But as it gets in close, it smells them. Even a dinosaur won't\n\teat something that is covered in shit. After a beat, the\n\tCarnotaur turns and walks away, back into the jungle.", "In an effort to escape the oncoming raptors, Grant leads the\n\tgroup right into the stampeding heard of hadrosaurs.", "ELLIE\n\t\tAlan?\n\n\tShe can hear the Spinosaurus ROAR.\n\n\t\t\t\tELLIE (CONT'D)\n\t\tAlan? Alan!" ], [ "The minute Grant's inside, Eric goes back to work re-sealing\n\tthe door. This 13-year old boy has become astonishingly\n\tefficient at staying alive.", "Grant takes a better look around Eric's tiny hideaway,\n\timpressed with what he's been able to scavenge. Among the many", "On the far side of the tipped over vehicle, Eric pulls open a\n\thatch -- his hiding place. The door opens part way.\n\n\tEric motions for Grant to follow.", "AMANDA\n\t\tBecause \"Dr. Grant\" isn't looking for Eric.\n\t\tDr. Grant is looking for the coast.", "Grant looks down to the wet sand around him, finding a trail of\n\tthree-toed tracks.\n\n\t\t\t\tERIC (CONT'D)\n\t\tWe're safe!", "Grant, Paul, Amanda and Eric hurry to meet him.\n\n\tGrant is overjoyed to see him alive. But his smile quickly\n\tfades as he sees", "Sensing his cue to leave, Grant gets up and starts walking down\n\tthe beach. Eric hurries to follow him. He speaks\n\tconspiratorially, not wanting to alarm his parents.", "Dropping the dead phone, Grant scrambles towards the front of\n\tthe boat and joins Paul, Amanda and Eric, who have taken refuge\n\tin the dinosaur cage.", "Paul and Amanda spot Eric with Grant. They're a thousand\n\temotions at once: relieved, disbelieving, terrified, overjoyed.", "ERIC\n\t\t\t(yelling over)\n\t\tDr. Grant! Helicopters are coming!", "GRANT\n\t\tOn the island.\n\n\tEric truly can't believe it. He hoped to be rescued but...", "ERIC\n\t\tYou're Alan Grant, aren't you?\n\t\t\t(off surprised reaction)\n\t\tI read both of your books.", "GRANT\n\t\tEric...\n\n\tThe boy holds up a hand. He listens for a moment. He doesn't\n\thear anything outside.", "Grant takes his hand off Eric's mouth. They both stay\n\tcompletely silent.\n\n\tAll this time, the sat-phone is RINGING.\n\n\tThan it stops.", "As Grant and Eric walk, both stop, hearing a strange sound. But\n\tfor a change, it's not an ominous one.\n\n\tIt's a human one.", "Grant and Eric press back against a tree, keep perfectly\n\tstill as they hear the THOOOOMB, THOOOOMB, THOOOMB of the", "Once the sail is finally out of sight, Eric breaks from Grant's\n\thold and dashes to his parents' arms. They coop him up. Hug\n\thim, kiss him, their affection unquenchable. He's crying.", "He points to a heavy crane assembly, designed for lifting cages\n\toff the large boats. Now well accustomed to fleeing on\n\tcommand, Amanda sends Eric up first, climbing the scaffolding\n\tlike a jungle gym.", "Eric nods and heads back to Paul and Amanda. Grant forges on,\n\tapproaching the speedboat wreckage. He doesn't know what he'll\n\tfind, but he needs to look.", "Eyes swollen from the gas. Grant stumbles, barely able to see as\n\tthe other person pulls him along. It's only now we can identify\n\this rescuer as\n\n\tERIC KIRBY," ], [ "AMANDA\n\t\tJust drop it Paul!\n\n\tThe Kirby's conversation trails off into the jungle. Udesky\n\tmoves up next to Grant and Billy.", "A VOICE\n\t\tListen to your mother.\n\n\tOut of the darkness steps Paul Kirby. Amanda is knocked over\n\twith surprise. Eric runs to him, nearly tackling him.", "AMANDA\n\t\tOur son is on this island. We need your help\n\t\tto find him.\n\n\tStill crunched against the tree, Paul pulls out a photo from his\n\tshirt pocket.", "flies right overhead. Paul and Amanda are confused, until the\n\tsecond helicopter starts to land -- the first on is there to \n\tcover them.", "AMANDA\n\t\tHe's not a kill, he's still alive.\n\n\tShe breaks from Paul's grip and drops to the ground. She's only\n\ta foot away from the tree when", "Paul is momentarily stymied, but Amanda rallies.\n\n\t\t\t\tAMANDA\n\t\tYou see, that's just the thing. Paul and I\n\t\thave special permission to fly low.", "Amanda is at the edge of the tarmac calling into the jungle on a\n\tBULLHORN.\n\n\tBilly and a groggy Grant emerge from the airplane. Paul trots\n\tover.", "Amanda's knees buckle. Regaining her balance, she runs off into\n\tthe jungle.\n\n\tPaul quickly follows.", "In the tress, Paul and Amanda scurry again for cover.\n\n\tBetween the fallen trunks, Grant attempts to get away on his\n\thands and knees.", "PAUL KIRBY is a talkative optimist with\t\t\t\t\n\tno \"off\" switch. His wife AMANDA KIRBY, just", "Amanda pushes them away from the dock as Alan and Paul climb\n\ton board.\n\n\n98\tEXT. ON THE BARGE - CONTINUOUS DAY\t\t\t\t98", "With that he leaves, A beat later, Billy follows. He has\n\tgenuine sympathy for the Kirby's, but he's logical enough to\n\tknow Grant is right.\n\n\tBACK WITH PAUL AND AMANDA", "Trying to pull Paul up, Amanda nearly loses her balance. This\n\ttime, Paul catchers her.\n\n\tBilly climbs up a nearby tree of his own in sight of Paul and Amanda.", "PAUL\n\t\tSee? He's okay. He's alive! Everything's\n\t\tgoing to be all right now.\n\n\tAmanda brings a hand to her mouth, silently nodding her head.", "AMANDA\n\t\tA friend. We were vacationing. Eric wanted\n\t\tto see the island and the dinosaurs, so Ben\n\t\tfound a guy who would take them parasailing.\n\t\tThey never came back.", "Amanda yanks Paul out of their path. They Scramble over to\n\tBilly.", "As the second chopper touches down on the beach, Eric, Amanda\n\tand Paul load in. Grant is running their way.", "Udesky waits by the door, hustling everyone inside. Nash\n\thurries into the cockpit. Everyone scrambles to a seat. Amanda\n\tclimbs next to Paul.", "Yanking the starter rope one final time, Paul finally gets the\n\tengine to turn over, PUTTERING along. Amanda is beside him,\n\tbailing water.", "Grant rushes forward with Paul right after him. Amanda takes\n\tEric to safety down river." ], [ "And now several pteranodons are heading their way. Difficult\n\tas it is to leave Billy behind, Grant and Paul make a run for it.", "The two pteranodons who were pursuing Billy now land on nearby\n\tledges and consider how best to dispatch their prey.", "The gigantic creature lunges at him. Billy dodges away as best\n\the can. The pteranodon's frustrated bite severs a crucial\n\tjuncture on Billy's harness, and Billy is able to wriggle free.", "Grant chases after us, catching a rung just as it goes over the\n\twater. Behind him, pteranodons are circling the wreckage of\n\tthe first chopper and starting to go after the second.", "At the treeline, the upper branches are shaking. At first, it\n\tlooks like it's just the wind off the chopper, but\n\tsomething more is happening.\n\t\n\tA PTERANODON", "Eric CRIES OUT and dashes back down the teetering catwalk.\n\n\tThe Pteranodon ruses to its feet, spreads its thirty-foot wings\n\tand flies directly at him.", "THE PTERANODON\n\n\tcarries Eric deeper into the canyon. The creature's wings beat\n\tsteadily overhead, and the WIND is fierce. Eric looks down and\n\tsees the river far below.", "Finally, Eric hands Grant the raptor claw.\n\n\tGrant uses it to rip the line. The fibers break and fray, but\n\tthe pteranodon keeps coming closer.", "Terrified, the Costa Rican CHOPPER PILOT veers away, but the\n\tpteranodons are already on him. They SMASH at the windows,\n\tgrabbing on the skids, The chopper rolls wildly.", "As Grant reaches the cabin, they shut off the ladder engine.\n\tThe pteranodon is still working its way free, pulling itself closer\n\tand closer.", "A MAMMOTH PTERANADON has landed beside him and looks him\n\tstraight in the eye.", "Billy SCREAMS as the ENTIRE FLOCK of pteranodons now swarms\n\taround him, picking him apart with their beaks and claws.\n\n\t\t\t\tGRANT\n\t\tBilly!", "Grant and Amanda come up behind him. Suddenly,\n\n\tA SECOND PTERANODON", "THE ENTIRE FLOCK OF PTERANODONS\n\n\tdiving down from above in angry pursuit of their lost prey.", "Just then Billy is knocked down by the lead pteranodon. It\n\tstrikes from behind with a brutal, calculated beak to the head.\n\tBilly stumbles and falls to the ground.", "emerges from the fog, racing toward his father. And then\n\t\n\tTHE PTERANODON", "The Pteranodon swoops over an isolated outcropping of rocks at\n\tthe end of the canyon and drops Eric into --", "But as it gets in close, it smells them. Even a dinosaur won't\n\teat something that is covered in shit. After a beat, the\n\tCarnotaur turns and walks away, back into the jungle.", "Just as the pteranodons are about to swoop in for the kill, Alan\n\tand Paul dive back into the river...", "In back, Paul and Eric get the ladder mechanism to begin to\n\tretract. It reels Grant in faster. It also reels in the\n\tpteranodon, which may be caught, but is still plenty dangerous." ], [ "Then, from the deep in the forest, a new RAPTOR CRY. The feasting\n\traptors look up, listening, then suddenly run off into the dark\n\tjungle.", "Then, suddenly, the raptor looks up. We follow its gaze. The top\n\tof their triangular enclose is wide open.", "Bored with waiting, the raptors go back to finish off Udesky,\n\tmaking a meal out of it. Up in the branches, the survivors are\n\thorrified and sickened.", "The raptor pack moves into the hunting formation. One ALPHA-MALE\n\tRAPTOR. slightly larger than the others, leads the charge up the\n\tmiddle.", "But then MORE RAPTORS come. And even MORE. Soon there are\n\tdozens gathering, circling.", "THERE ARE MORE RAPTORS.", "He gently drops the bag to the ground. Although the raptors are\n\tinterested, pulling out the unbroken egg, they're still by no means\n\tplacated. The song may have changed, but they still want Grant\n\tdead.", "The raptor begins to make a LOW, HAUNTING MOAN.", "Then one of the raptors looks over to see the survivors\n\tswimming away.", "inside, the white and green yolk still dripping from the pieces\n\tof the shell. There's another intact egg beside it.\n\n\tThis is what the raptors where chasing.", "Suddenly, one of the raptors SLASHES at him again. But it's\n\tdelicately not a mortal blow, just a very painful one. Udesky\n\tCRIES OUT, louder this time.", "Indeed, the pack weaves its way through the herd -- the raptors\n\tonly want them.\n\n\tIn the chaos of the stampede, everyone loses sight of each other.", "Udesky has nearly reached a tree of his own when he finds\n\thimself\n\n\tHEADED OFF\n\n\tby a raptor. He turns to the other way, but finds", "The raptors stare up at them, angry their plan didn't work.\n\n\t\t\t\tPAUL\n\t\tThey couldn’t climb up, so they were trying\n\t\tto get us to come down.", "The group exits the rear of the lab building and finds itself in\n\ta large equipment yard. The CALL of the raptor is still audible\n\tas they head for the tree line.", "Pack mentality takes over, and after the first ten raptors take\n\toff running, so do the rest, some tripping over their feet\n\tblindly.", "Grant chases after us, catching a rung just as it goes over the\n\twater. Behind him, pteranodons are circling the wreckage of\n\tthe first chopper and starting to go after the second.", "Letting the others get ahead of him, Grant looks back. Much to\n\this dismay, the raptors are ignoring the hadrosaurs.", "The two pteranodons who were pursuing Billy now land on nearby\n\tledges and consider how best to dispatch their prey.", "Finally, Eric hands Grant the raptor claw.\n\n\tGrant uses it to rip the line. The fibers break and fray, but\n\tthe pteranodon keeps coming closer." ], [ "Paul hands the bulky phone up to Nash, who dials out.\n\n\tGrant unstraps himself, climbs to the back to the side door and shoves.\n\tThe door opens a few inches before hitting a branch.", "CHARLIE\n\t\tOkay.\n\n\tNot sure what to do with the phone, Charlie makes a logical\n\tchoice and hangs it back up.\n\n\tHe walks away to his mom.", "Dropping the dead phone, Grant scrambles towards the front of\n\tthe boat and joins Paul, Amanda and Eric, who have taken refuge\n\tin the dinosaur cage.", "A phone is RINGING, very faintly. Without a word to each other,\n\tGrant and Eric decide its coming from the right.", "All turn to Paul. Clearing away the clinging defecation, he\n\tholds up to a beeper. And still the phone RINGS.", "We are one the edge of a dry lake bed, part of an aircraft\n\tgraveyard. Wrecked planes lie all around.\n\n\tWe hear a phone RINGING...", "The Kirby’s hear the recorded voice and let out a collective,\n\theavy sigh. Grant shuts off the phone.", "But he's cut off by a SECOND ROAR, the sound of someone\n\tSCREAMING.\n\n\tAnd then the line goes dead.", "Charlie leads Ellie into the room. Hands her the phone. Of\n\tcourse, it's just a DIAL TONE.\n\n\t\t\t\tELLIE\n\t\tWas somebody on the phone?", "Suddenly, Paul frantically searches his pockets as the others\n\tanxiously watch.\n\n\t\t\t\tAMANDA\n\t\tYou had the phone the whole time?", "Paul moves the motor and pulls the start cord. The engine\n\tsputters but won't come to life.\n\n\tAnd now the phone BEEPS. The battery is getting even weaker.", "And Paul wracks his memory...\n\n\t\t\t\tPAUL\n\t\tThe plane. I got a call on the plane, put it in\n\t\tmy coat pocket, and...", "Sitting on the reception counter is an official-looking\n\ttelephone. Everyone has the same thought, but no one dares.\n\tFinally -", "As the barge begins to round another bend. a FAMILIAR HIGH-\n\tPITCHED SOUND pierces the darkness. Muffled but unmistakable,\n\tit is the RINGING SAT-PHONE.", "are no more than 20 yards away, also hiding. An involuntary\n\treflex, Eric calls out...\n\n\t\t\t\tERIC\n\t\tMon! Dad!", "Grant is heading up to the other three when he hears the sat-\n\tphone RING. He spots it, just about to fall into the water.\n\tDives for it, answering...", "The sat-phone BEEPS again, this time much LOUDER.\n\n\tAmanda and Eric watch Grant, realizing their fate may hang on\n\tthis single call. Paul struggles without success to start the\n\tmotor.", "A large bowl of mud and branches the size of a satellite dish.\n\tEric lands right on top of a pile of dinosaur bones picked\n\tclean. Mixed among is one human skull.", "Grant takes his hand off Eric's mouth. They both stay\n\tcompletely silent.\n\n\tAll this time, the sat-phone is RINGING.\n\n\tThan it stops.", "Grant snatches the RINGING SAT-PHONE from Amanda's hands,\n\tpresses a button, and puts it to his ear." ], [ "Indeed, the pack weaves its way through the herd -- the raptors\n\tonly want them.\n\n\tIn the chaos of the stampede, everyone loses sight of each other.", "The entire pack is now standing still, watching him. In the\n\tcenter, the Alpha Male lets out a sort of BARK. Responding to the\n\tcry, the other raptors CALL BACK.", "They stop, thinking they've outrun it.\n\n\tGrant directs the group through some underbrush and into --", "The group continues their relentless pace, putting as much \n\tdistance as they can between themselves and the beast. Paul\n\tKirby looks like he's about to have a heart attack. Even Billy\n\tis gasping for air.", "And after an agonizing beat, the beast moves. At first we're\n\tnot sure which direction it's headed, but finally we can tell\n\tits moving away.", "The raptor pack moves into the hunting formation. One ALPHA-MALE\n\tRAPTOR. slightly larger than the others, leads the charge up the\n\tmiddle.", "Pack mentality takes over, and after the first ten raptors take\n\toff running, so do the rest, some tripping over their feet\n\tblindly.", "Suddenly, one of the creatures is attacked by another. We hear\n\tROLLING, SNARLING, HISSING, just seeing the outline of the", "There may be a pheremonal element to the mist as well -- they\n\tseem panicked, disoriented.", "They begin to jump at him, eventually, hopping up on each\n\tother’s backs. It's only a matter of time till they reach him.", "But as it gets in close, it smells them. Even a dinosaur won't\n\teat something that is covered in shit. After a beat, the\n\tCarnotaur turns and walks away, back into the jungle.", "From the lab building, the raptor we left imprisoned now BURSTS\n\tout one of the doors and HOWLS to the pack -- the same cry we\n\theard in the lab.", "As he approaches, Billy is packing up the rest of the chute in a\n\tbackpack. He stops short from what he sees.", "Concealed by the dense undergrowth, the unseen dinosaur bears\n\tdown on them -- mowing down the young trees which TOPPLE all\n\taround them.\n\n\tGrant spots a grove of", "Unable to walk, Udesky attempts to crawl away from the animals.\n\tThe effort clearly causes him great pain. Strangely, the\n\traptors suddenly don't seem interested in him anymore.", "flies right overhead. Paul and Amanda are confused, until the\n\tsecond helicopter starts to land -- the first on is there to \n\tcover them.", "Nowhere else to run, the group scatters into the brush as the\n\ttwo behemoth predators rush forward, their ROARS thunderous.", "A tremendous ROAR causes Billy to look behind him. He can't\n\thelp but steal a glimpse of this terrifying, but utterly\n\tfascinating, animal.\n\n\tGrant yanks him forward.", "are no more than 20 yards away, also hiding. An involuntary\n\treflex, Eric calls out...\n\n\t\t\t\tERIC\n\t\tMon! Dad!", "This may be dino-tear gas, but it's not good for humans either.\n\tUp in the tree, Grant's eyes immediately burn from the vapor\n\tHe squints to see through the fog, where he spots" ], [ "He gently drops the bag to the ground. Although the raptors are\n\tinterested, pulling out the unbroken egg, they're still by no means\n\tplacated. The song may have changed, but they still want Grant\n\tdead.", "inside, the white and green yolk still dripping from the pieces\n\tof the shell. There's another intact egg beside it.\n\n\tThis is what the raptors where chasing.", "Ever the scientist, Dr. Grant tests a theory even in the face of\n\tdanger: he holds up the intact egg so that the raptors can see it.\n\tThey suddenly go crazy, howling the same phrase but LOUDER.", "The group exits the rear of the lab building and finds itself in\n\ta large equipment yard. The CALL of the raptor is still audible\n\tas they head for the tree line.", "Unable to walk, Udesky attempts to crawl away from the animals.\n\tThe effort clearly causes him great pain. Strangely, the\n\traptors suddenly don't seem interested in him anymore.", "Bored with waiting, the raptors go back to finish off Udesky,\n\tmaking a meal out of it. Up in the branches, the survivors are\n\thorrified and sickened.", "They are forced back against a chain-like wall, trapped in a\n\tsmall triangle space by the advancing door. The angry\n\tRaptor is now inches away through the cage door.", "They push hard on the cage door, swinging it and the raptor\n\tright through the opening of the cage.\n\n\tNow the raptor is trapped in a small triangular space, the door\n\tgoing right to the ceiling.", "Then, from the deep in the forest, a new RAPTOR CRY. The feasting\n\traptors look up, listening, then suddenly run off into the dark\n\tjungle.", "Finally, Eric hands Grant the raptor claw.\n\n\tGrant uses it to rip the line. The fibers break and fray, but\n\tthe pteranodon keeps coming closer.", "Then, suddenly, the raptor looks up. We follow its gaze. The top\n\tof their triangular enclose is wide open.", "GRANT\n\t\t\t(takes it)\n\t\tA raptor claw. I use to have one. A fossil.\n\n\t\t\t\tERIC\n\t\tMine's new.", "He unzips the bag to find\n\n\tA BROKEN RAPTOR EGG", "There are several rows of oversized steel cages, apparently\n\tused for containing young dinosaurs. Many of the cage doors are\n\tstanding open.", "Letting the others get ahead of him, Grant looks back. Much to\n\this dismay, the raptors are ignoring the hadrosaurs.", "Just now noticing the others' stare, Paul looks down into one\n\tof the bowls at his feet, a half-buried nest. It's filled with\n\tfootball-sized eggs, laid in a spiral.", "Udesky swings hard, but the dinosaurs feints. From behind him,\n\tanother raptor slashes at the back of his legs, severing his\n\tmuscles. Udesky CRIES OUT and drops to the ground.", "Suddenly, one of the raptors SLASHES at him again. But it's\n\tdelicately not a mortal blow, just a very painful one. Udesky\n\tCRIES OUT, louder this time.", "The pilot CRIES OUT in agony. The others passengers grab onto\n\this arms, trying to pull him back. But it's no use. The dinosaur\n\trips Nash out of their grasp and down the aisle.", "Indeed, the pack weaves its way through the herd -- the raptors\n\tonly want them.\n\n\tIn the chaos of the stampede, everyone loses sight of each other." ], [ "The Kirby’s hear the recorded voice and let out a collective,\n\theavy sigh. Grant shuts off the phone.", "The group continues their relentless pace, putting as much \n\tdistance as they can between themselves and the beast. Paul\n\tKirby looks like he's about to have a heart attack. Even Billy\n\tis gasping for air.", "INTO THE RIVER.\n\n\tGrant and the Kirby’s are still inside.", "GRANT\n\t\tMr. and Mrs. Kirby! If you look out the right\n\t\tyou can see...", "A VOICE\n\t\tListen to your mother.\n\n\tOut of the darkness steps Paul Kirby. Amanda is knocked over\n\twith surprise. Eric runs to him, nearly tackling him.", "AMANDA\n\t\tJust drop it Paul!\n\n\tThe Kirby's conversation trails off into the jungle. Udesky\n\tmoves up next to Grant and Billy.", "BILLY\n\t\tSo how do you know the Kirby's?\n\n\tand we reveal...", "PAUL\n\t\tI guarantee it'll be worth your while.\n\n\tBehind Kirby, Bill furtively rubs his thumb and fingers\n\ttogether, indicating the guy is loaded.", "The Kirby's look to Grant as if they've offered him an amazing\n\tgift. But Grant just sighs and smooths the tablecloth.", "Eyes swollen from the gas. Grant stumbles, barely able to see as\n\tthe other person pulls him along. It's only now we can identify\n\this rescuer as\n\n\tERIC KIRBY,", "With that he leaves, A beat later, Billy follows. He has\n\tgenuine sympathy for the Kirby's, but he's logical enough to\n\tknow Grant is right.\n\n\tBACK WITH PAUL AND AMANDA", "PAUL\n\t\tNever had a doubt. Never did. Us Kirby men,\n\t\twe stick around, huh?\n\n\t\t\t\tERIC\n\t\tWe do.", "By his expression, we see Billy would have to lie.\n\n\t\t\t\tBILLY\n\t\tI think they're looking for someone.", "PAUL KIRBY is a talkative optimist with\t\t\t\t\n\tno \"off\" switch. His wife AMANDA KIRBY, just", "All the while, they're trying to spot Paul.", "Paul knows he's caught.\n\n\t\t\t\tGRANT\n\t\tThere is no Kirby Enterprises, is there?", "Everyone's moved to different branches, trying to settle in for\n\tthe night. Paul keeps looking over to the tearful Amanda, about\n\tto say something. He finally does.", "The five survivors search through the wreckage, trying to find\n\tanything useful. The task is grim. Mindful of Grant's \n\twarnings, they move quickly and quietly.", "Spinosaurus is going after the heroic Mr. Kirby, who dives,\n\tswimming underwater. He's trying to lead it away from his\n\tfamily.", "Billy looks up to see a MAN and a WOMAN getting out of \t\n\ta Cadillac. Cheryl is pointing them in the direction of the \t\t\n\ttent." ], [ "GRANT\n\t\t\t(disbelieving)\n\t\tI have never been on this island!\n\n\t\t\t\tPAUL\n\t\tSure you have. You wrote that book...", "GRANT\n\t\tOn the island.\n\n\tEric truly can't believe it. He hoped to be rescued but...", "AMANDA\n\t\tOur son is on this island. We need your help\n\t\tto find him.\n\n\tStill crunched against the tree, Paul pulls out a photo from his\n\tshirt pocket.", "BILLY\n\t\tThat was Isla Nublar. This is Isla Sorna.\n\t\tThe second island.", "PAUL\n\t\tWe needed somebody who knew the lay of the\n\t\tland. Somebody who'd been to this island before.", "Eric points excitedly at the islands as Ben films him with the\n\tcamera.\n\n\tThen, a sudden TUG on the thing line cause Ben to drop the camera,\n\twhich now dangles from his neck.", "19 \tEXT. SKY - COUNTINUOUS DAY \t\t\t\t\t19\n\n\tWe watch the plane descend sharply to the island.", "GRANT\n\t\tMr. Kirby, trust me, on this island, there is\n\t\tno such thing as safe. We have to get back in\n\t\tthis plane...", "coast. There may be a boat left, something to\n\t\tget us off this island.", "GRANT (cont'd)\n\t\tI can blame the people who made this island.\n\t\tBut I can't blame the people who want to see\n\t\tit. To study it.", "He points to a heavy crane assembly, designed for lifting cages\n\toff the large boats. Now well accustomed to fleeing on\n\tcommand, Amanda sends Eric up first, climbing the scaffolding\n\tlike a jungle gym.", "Morning on Isla Sorna. A low mist hangs tight to the forest\n\tfloor as Eric seals up his hideaway for hopefully the last time.", "The image now CUTS to a shot from aboard Enrique's boat\n\tspeeding towards ISLA SORNA -- the start of the movie. Eric\n\tpoints excitedly at the island and smiles at the camera.", "The five survivors search through the wreckage, trying to find\n\tanything useful. The task is grim. Mindful of Grant's \n\twarnings, they move quickly and quietly.", "As they keep walking, Grant notices something rammed against\n\tthe rocks ahead. It's a speedboat, its hull ripped open from the\n\timpact.", "The other three aren't as lucky. The cage rotates as it descends\n\tand lands on the river bottom with the door side down, trapping\n\tthem inside.", "The foursome sit back on the wide beach, one facing\n\teach direction, keeping watch. A light rain is falling, but they\n\tdon't seem to notice.\n\n\tTrying to keep his boy's spirit up...", "Sensing his cue to leave, Grant gets up and starts walking down\n\tthe beach. Eric hurries to follow him. He speaks\n\tconspiratorially, not wanting to alarm his parents.", "Finally, the others are able to pull her away. As they untangle\n\tthe lines, the men are able to get the first view of the remains\n\tof Ben Hillenbrand, still caught in his harness.", "The fearsome beast now lifts the stern of the boat clear out of\n\tthe water.\n\n\tThe cage SCRAPES across the deck and SLAMS into the gunwale,\n\ttoppling off the barge and" ], [ "BILLY\n\t\tDr. Grant was.\n\n\t\t\t\tAMANDA\n\t\tWell Dr. Grant isn't here, so we're going to\n\t\thave to figure out what to do ourselves.", "AMANDA\n\t\tBecause \"Dr. Grant\" isn't looking for Eric.\n\t\tDr. Grant is looking for the coast.", "MAN \t\t\t\t\t\t\n\t\tDr. Grant?", "AMANDA\n\t\tDr. Grant says this, Dr. Grant says that...", "BILLY\n\t\tDr. Grant!\n\n\tGrant has just returned, a bag over his shoulder.\n\n\t\t\t\tGRANT\n\t\tMr. Brennan.", "PAUL\n\t\tNo, no, see Dr. Grant, you're the best. You've\n\t\tseen these animals in the flesh. No one else\n\t\thas come close to you.", "Grant, Paul, Amanda and Eric hurry to meet him.\n\n\tGrant is overjoyed to see him alive. But his smile quickly\n\tfades as he sees", "PAUL\n\t\tDr. Grant if you'd just sit tight, we'll\n\t\texplain this all in a jiffy.\n\n\t\t\t\tGRANT\n\t\tThis plane can not land!", "SILENCE.\n\n\t\t\t\tPAUL\n\t\tDr. Grant?\n\n\tMore silence. Then, out of the fog, a distant voice call out --", "Ellie hands off the baby.\n\n\t\t\t\tELLIE\n\t\tMark, this is Alan Grant.", "Checking in on clients, Udesky stops at the edge of the\n\tthicket. Something raises the hairs on the back of his neck.\n\n\t\t\t\tUDESKY\n\t\tDr. Grant!", "PAUL\n\t\tIt's no use, Dr. Grant. No use.\n\n\tGrant can't take his eyes off Billy, whose BLOOD stains the\n\twater rushing by.", "Spinosaurus crushes the life out of its adversary, and T-Rex\n\topens and closes its jaw a mere inches from our terrified \n\tfriends.\n\n\tFinally, Grant reaches the others.", "AMANDA\n\t\tHe's smart, Dr. Grant. And he knows so much\n\t\tabout dinosaurs.", "Grant immediately covers the boy’s mouth. But it's to late.\n\tThe dinosaur has stopped. We still can't see it. We don't know how\n\tclose it is.", "Dropping the dead phone, Grant scrambles towards the front of\n\tthe boat and joins Paul, Amanda and Eric, who have taken refuge\n\tin the dinosaur cage.", "Grant looks to Amanda, who shouts through a bull horn.\n\n\t\t\t\tAMANDA\n\t\t\t(on-bullhorn)\n\t\tERRR-IIIC!", "AMANDA\n\t\tDr. Grant, you don't know how important it is\n\t\tfor us to have you come along. It would make\n\t\tall the difference.", "The two men shake hands, and we now realize it is Grant\n\twho is the stranger in this household. Little Charlie runs to\n\this father, showing his dinosaur.", "GRANT (O.S.)\n\t\tCome on over. One at a time.\n\n\tAmanda steps tentatively forwards. Eric is clinging to her." ], [ "The companions scurry out of the way, but as they do so, the\n\thead of the T-Rex now lands almost directly on top of them.", "Spinosaurus crushes the life out of its adversary, and T-Rex\n\topens and closes its jaw a mere inches from our terrified \n\tfriends.\n\n\tFinally, Grant reaches the others.", "Spinosaurus puts up a brave fight to the end, but finally\n\tcollapses, dead. The raptors continue to shred it to ribbons.", "Now on its side, Spinosaurus fights back ferociously. It slashes\n\tat T-Rex with its long arms and razor sharp claws, then finally\n\tkicks the animal with one mammoth foot.", "Before them lies an immense unmoving SAUROPOD.\n\n\t\t\t\tGRANT\n\t\tDon't worry. It's dead.\n\n\tThen a full-grown bull", "T-Rex presses the attack, slamming its tail into the flank of\n\tits adversary. Spinosaurus is knocked back, and Grant is again\n\tforced to duck for cover.", "Tyrannosaurus staggers back, wounded.\n\n\tDown below, Grant is splashed by the blood pouring from the\n\tdinosaur, as he slowly makes his way towards his fellow humans.", "As Spinosaurus struggles to regain its balance, T-Rex dives\n\tforward. Spinosaurus is driven backwards as T-Rex tries to\n\tgrip its throat.", "Obeying, the group FREEZES for a few long beats. Then Udesky\n\ttakes off running.\n\n\tAnd T-Rex ROARS.", "Plastered against an immense tree, the group watches in horror\n\tas T-Rex starts to rise but is thrown back down as Spinosaurus\n\tlatches onto its throat.", "Spinosaurus lunges for the T-rex with gaping jaws and manages to\n\ttopple T-Rex off its feet and sends the falling dinosaur to the\n\tground.", "Finally, Eric hands Grant the raptor claw.\n\n\tGrant uses it to rip the line. The fibers break and fray, but\n\tthe pteranodon keeps coming closer.", "Udesky swings hard, but the dinosaurs feints. From behind him,\n\tanother raptor slashes at the back of his legs, severing his\n\tmuscles. Udesky CRIES OUT and drops to the ground.", "Grant is the last to climb, reaching the first section as\n\tSpinosaurus returns from the water, SLAMMING into the base of\n\tthe crane. The whole assembly SHUDDERS, threatening to rip into\n\tthe water.", "Unable to walk, Udesky attempts to crawl away from the animals.\n\tThe effort clearly causes him great pain. Strangely, the\n\traptors suddenly don't seem interested in him anymore.", "But as it gets in close, it smells them. Even a dinosaur won't\n\teat something that is covered in shit. After a beat, the\n\tCarnotaur turns and walks away, back into the jungle.", "ELLIE\n\t\tAlan?\n\n\tShe can hear the Spinosaurus ROAR.\n\n\t\t\t\tELLIE (CONT'D)\n\t\tAlan? Alan!", "They push hard on the cage door, swinging it and the raptor\n\tright through the opening of the cage.\n\n\tNow the raptor is trapped in a small triangular space, the door\n\tgoing right to the ceiling.", "Everyone runs. T-Rex is right behind them.\n\n\n45\tEXT. JUNGLE - DAY\t\t\t\t\t\t\t45", "In back, Paul and Eric get the ladder mechanism to begin to\n\tretract. It reels Grant in faster. It also reels in the\n\tpteranodon, which may be caught, but is still plenty dangerous." ], [ "Spinosaurus puts up a brave fight to the end, but finally\n\tcollapses, dead. The raptors continue to shred it to ribbons.", "Bored with waiting, the raptors go back to finish off Udesky,\n\tmaking a meal out of it. Up in the branches, the survivors are\n\thorrified and sickened.", "Unable to walk, Udesky attempts to crawl away from the animals.\n\tThe effort clearly causes him great pain. Strangely, the\n\traptors suddenly don't seem interested in him anymore.", "The companions scurry out of the way, but as they do so, the\n\thead of the T-Rex now lands almost directly on top of them.", "They are forced back against a chain-like wall, trapped in a\n\tsmall triangle space by the advancing door. The angry\n\tRaptor is now inches away through the cage door.", "Udesky swings hard, but the dinosaurs feints. From behind him,\n\tanother raptor slashes at the back of his legs, severing his\n\tmuscles. Udesky CRIES OUT and drops to the ground.", "Spinosaurus crushes the life out of its adversary, and T-Rex\n\topens and closes its jaw a mere inches from our terrified \n\tfriends.\n\n\tFinally, Grant reaches the others.", "He gently drops the bag to the ground. Although the raptors are\n\tinterested, pulling out the unbroken egg, they're still by no means\n\tplacated. The song may have changed, but they still want Grant\n\tdead.", "The pilot CRIES OUT in agony. The others passengers grab onto\n\this arms, trying to pull him back. But it's no use. The dinosaur\n\trips Nash out of their grasp and down the aisle.", "They push hard on the cage door, swinging it and the raptor\n\tright through the opening of the cage.\n\n\tNow the raptor is trapped in a small triangular space, the door\n\tgoing right to the ceiling.", "Suddenly, one of the raptors SLASHES at him again. But it's\n\tdelicately not a mortal blow, just a very painful one. Udesky\n\tCRIES OUT, louder this time.", "Meanwhile, the fight continues. Spinosaurus rallies, shaking\n\toff many of the raptors, but they just keep coming. Their\n\thooked claws dig in, scraping the meat to the bone.", "As the hadrosaurs WHIP PAST, Paul and Amanda climb up into a\n\ttree. A raptor leaps at Paul, barely missing his leg.", "Tyrannosaurus staggers back, wounded.\n\n\tDown below, Grant is splashed by the blood pouring from the\n\tdinosaur, as he slowly makes his way towards his fellow humans.", "In an effort to escape the oncoming raptors, Grant leads the\n\tgroup right into the stampeding heard of hadrosaurs.", "Finally, Eric hands Grant the raptor claw.\n\n\tGrant uses it to rip the line. The fibers break and fray, but\n\tthe pteranodon keeps coming closer.", "Grant, Paul and Amanda duck into another. Before they can\n\tswing the cage door shut behind them, however, the raptor SLAMS\n\tinto it, driving the door into the cage.", "Ever the scientist, Dr. Grant tests a theory even in the face of\n\tdanger: he holds up the intact egg so that the raptors can see it.\n\tThey suddenly go crazy, howling the same phrase but LOUDER.", "Letting the others get ahead of him, Grant looks back. Much to\n\this dismay, the raptors are ignoring the hadrosaurs.", "Just then Billy is knocked down by the lead pteranodon. It\n\tstrikes from behind with a brutal, calculated beak to the head.\n\tBilly stumbles and falls to the ground." ] ]

[ "Why does Cooper knock Grant out on the plane?", "What does the use of the megaphone attract?", "Who were Paul and Amanda looking for on the island?", "How long were Ben and Eric missing on the island?", "How does Grant confuse the pack of raptors?", "How many people does the Spinosaurus eat?", "Who took raptor eggs for funding?", "What is attached to the parasail the group finds?", "How many raptor eggs did Billy take?", "What kind of dinosaurs formed the stampeding herd that separated Grant and Udesky from the others?", "Where is the satellite phone when its ringing reunites Grant and Eric with Billy and the Kirbys?", "Whose abandoned compound was Amanda in when ambushed by raptors?", "How did Grant acquire the Velociraptor larynx he used to confuse the raptors?", "What is Ben Hildebrand's and Eric Kirby's relationship?", "How long has Eric and Ben been on Isla Soma when Grant, the Kirbys and crew land on the Island?", "Why was the satellite phone buried in feces when the group found it?", "What other carnivore did Spinosaurus kill in pursuit of Grant, the Kirbys and crew?", "Where had Eric been surviving before rescuing Dr. Grant?", "What was Paul and Amanda Kirby's ruse to get onto Isla Soma?", "What are the Pteranodons looking for at the end of the story?", "What are the raptors searching for?", "Where is the phone buried?", "What is used to confuse the pack?", "Who took the raptor eggs?", "Who are the Kirby's looking for?", "What is the name of the island?", "Who is Dr. Grant's assistant?", "What kills the T-Rex?", "Who is killed by the raptors?" ]

[ [ "Grant opposes to the plans of landing on the island.", "Grant opposes landing on the island" ], [ "A Spinosaurus.", "Spinosaurus" ], [ "Their son Eric and Amanda's boyfriend Ben.", "their son Eric" ], [ "Eight weeks.", "eight weeks" ], [ "By using a replicated raptor larynx.", "using a replicated larynx" ], [ "Two.", "two" ], [ "Billy.", "Billy" ], [ "Ben's corpse.", "Ben's corpse" ], [ "Two.", "Two" ], [ "Corythosaurus and Parasaurophus", "Corythosaurus and Parasaurolophus" ], [ "Inside the Spinosaurus", "I can't tell where it was, just that they had given it to Paul" ], [ "InGen", "InGen" ], [ "It was replicated by Billy with a 3D printer.", "a 3D printer" ], [ "Ben is the boyfriend of Eric's mother", "Ben is Eric's mom's boyfriend" ], [ "Eight Weeks", "eight weeks, except Ben is dead" ], [ "Paul had given it to Nash before he was eaten.", "The Spinosaurus ate it" ], [ "Tyrannosaurus", "Spinosaurus killed the T. Rex" ], [ "In and overturned water truck", "in an overturned water truck" ], [ "A wealth couple wo were willing to fund Dr. Grants research for an aerial tour of the island.", "offer Grant funding" ], [ "New nesting grounds", "new nesting grounds" ], [ "Eggs", "raptor eggs" ], [ "Feces", "In Spinosaurus feces" ], [ "Replicated raptor larynx", "A replica raptor larynx used to emulate raptor sounds" ], [ "Billy", "Billy" ], [ "Their son Eric", "Eric and Ben" ], [ "Isla Sorna", "Isla Sorna" ], [ "Billy", "Billy Brennan" ], [ "Spinosaurus", "the Spinosaurus" ], [ "Udesky", "Udesky" ] ]

[ [ "Miller pulls him into the Airlock. Five seconds have passed \n since the airlock door opened.\n\n INT. EVENT HORIZON -- AIRLOCK NO. 3", "INT. EVENT HORIZON - CORRIDOR TO BRIDGE\n\n Miller approaches the door to the Bridge. It is open...\n\n INT. EVENT HORIZON - BRIDGE", "Weir's eyes open wide in hope and fear.\n\n INT. EVENT HORIZON - SECOND CONTAINMENT\n\n Even the emergency lights go out. Total darkness.", "MILLER\n Boarding party, sound off... Peters, \n do you read me... . Peters...\n\n INT. EVENT HORIZON - BRIDGE", "Miller gets to his feet. Almost allows himself to relax. \n Then he sees his shadow before him, dancing in the growing \n red light. He turns...\n\n INT. EVENT HORIZON - SECOND CONTAINMENT", "INT. EVENT HORIZON - BRIDGE\n\n Peters pushes free of the body.\n\n PETERS\n (professional)\n I found one.", "MILLER\n Dr. Weir's right. Get on board the \n Event Horizon. I'll meet you at the \n airlock.", "INT. EVENT HORIZON - BRIDGE\n\n Miller switches off the video. No one says anything.\n\n MILLER\n We're leaving.", "Miller curses under his breath, moves even faster...\n\n BACK TO:\n\n INT. EVENT HORIZON - AIRLOCK NO. 3", "WEIR\n The Event Horizon only had life \n support for eighteen months. It seems \n impossible, but in light of the", "The Event Horizon looms enormous as the Lewis and Clark hangs \n off the port stern, dwarfed by the giant ship.\n\n INT. LEWIS AND CLARK - BRIDGE", "Miller dives for the door. Before Weir can fire,\n\n EXT. EVENT HORIZON - BRIDGE WINDOW (HANGING SECTION)", "a search and rescue team, investigate \n the source of the transmission. If \n it really is the Event Horizon, \n they'll attempt a salvage.", "INT. EVENT HORIZON - CORRIDOR TO BRIDGE\n\n Starck and Miller collapse against the door. A moment passes \n between them. Just happy to be breathing...", "INT. EVENT HORIZON - SECOND CONTAINMENT\n\n ...barely makes it...", "Miller moves through the Event Horizon superstructure, \n recklessly leaping from one beam to another, trying to build \n up speed.\n\n MILLER\n Patch me through to him.", "With his free hand, Weir reaches for the navigation console. \n Flips a series of switches with gore caked fingers.\n\n INT. EVENT HORIZON - BRIDGE (ENLARGED CONSOLE)", "The OUTER AIRLOCK DOOR of the Event Horizon waits for them.\n\n INT. LEWIS AND CLARK - BRIDGE", "Cooper clings to the forward section, watching the Event \n Horizon recede as he tumbles into space. His FRENZIED \n BREATHING is the only sound.", "Cooper points the full tank away from the Event Horizon and \n OPENS IT...\n\n The blast of pressurized air pushes him towards the ship, \n leaving the wreckage of the Lewis and Clark behind." ], [ "The Event Horizon was the culmination \n of a secret government project to \n create a spacecraft capable of faster-\n than-light flight.", "The Event Horizon was created for \n one reason: to go faster than light. \n Imagine mankind exploring new solar \n systems, colonizing new worlds. Seven", "THE EVENT HORIZON, right in front of them. A black \n labyrinthine blasphemy against Neptune's arctic blue. Cloud \n banks encircle the ship as if it were the eye of a hurricane.", "immense gravitational power to create \n the gateway. That's how the Event \n Horizon travels faster than light.", "WEIR\n It was the ship's maiden voyage, to \n test the drive. The Event Horizon", "Miller moves through the Event Horizon superstructure, \n recklessly leaping from one beam to another, trying to build \n up speed.\n\n MILLER\n Patch me through to him.", "The SILENT EXPLOSION tears the Lewis and Clark into two \n pieces, spiralling away from each other and from the Event \n Horizon. Metal shards, like confetti, fill the space between \n them.", "WEIR\n What was made public about the Event \n Horizon, that she was a deep space", "EXT. EVENT HORIZON - LEWIS AND CLARK - MODEL\n\n The Lewis and Clark carefully maneuvers in close to the Event \n Horizon's airlock.", "missiles at the Event Horizon until \n I am satisfied that she has been \n destroyed.\n (beat)\n Fuck this ship.", "WEIR\n The Event Horizon only had life \n support for eighteen months. It seems \n impossible, but in light of the", "The Event Horizon looms enormous as the Lewis and Clark hangs \n off the port stern, dwarfed by the giant ship.\n\n INT. LEWIS AND CLARK - BRIDGE", "Horizon, Event Horizon, do you \n read...? This is the Lewis and Clark, \n hailing...\n (she continues B.G.)", "INT. EVENT HORIZON - CORRIDOR TO BRIDGE\n\n Miller approaches the door to the Bridge. It is open...\n\n INT. EVENT HORIZON - BRIDGE", "MILLER\n Starck, give me a read.\n\n A scan of the Event Horizon appears across Starck's screen.", "The Event Horizon has passed beyond \n our plane of reality, and like \n Lazarus, returned from the dead.", "WEIR\n The Event Horizon.\n\n The others turn to stare at Weir.\n\n SMITH\n What?", "The Lewis and Clark and the Event Horizon, locked together \n in Neptune orbit. Lights shine from the Horizon as power is", "WEIR\n (excited)\n It's the Event Horizon. She's come \n back.\n\n Hollis answers drily.", "EXT. LEWIS AND CLARK - EVENT HORIZON - MODEL\n\n The docking collar umbilicus extends to the Event Horizon's \n airlock." ], [ "A monitor tears free, SMASHES into him. HE IS SUCKED OUT.\n\n Miller pulls himself through the door as it begins to shut. \n He is safe...", "She is gone. Weir lets his head fall to the floor of the \n deck, breathing in ragged SOBS.\n\n CUT TO:", "He rushes to Peters. Reaches out to touch her but pulls his \n hand back. Her eyes are black, eight-ball hemorrhage darkening \n the irises. She is dead.", "Peters reaches out to touch the body. It falls away from \n her. No longer her son, but the body of the astronaut. It \n hits the door and shatters.", "...drags her to the door... through the door...\n\n ...as the compressor tears free, sucked into space...\n\n ...and the door SNAPS shut, missing them by a fraction.", "The Core turns deepest black. A darkness that light cannot \n penetrate. For a second, Justin's white suit is captured \n against the hungry void...", "The ship HOWLS as air rushes out, ripping Weir off his feet. \n Weir catches himself in the broken window, trying to pull \n himself back in...", "INT. EVENT HORIZON - SECOND CONTAINMENT - (SEX AND SUICIDE \n INTERCUT)\n\n Weir stares at Claire in shock. She walks to him. Slowly.", "Miller swings his body around, heads across the umbilicus to \n the Event Horizon. He moves in great leaps, using the magnetic", "He does, putting his hands on her hips. He slides from his \n chair to the floor to his knees. He presses his face to her \n pale belly and cries. SOBS wrack his body...", "INT. EVENT HORIZON - SECOND CONTAINMENT\n\n She caresses his face. Lifts his face to hers. Her mouth is \n slack. Her hair hangs in front of her eyes.", "Reality. Weir's eyes open. He presses against the glass of \n the tank, trying to force it open, panicked. The others are \n already stepping from open tanks.", "Miller gets to his feet. Almost allows himself to relax. \n Then he sees his shadow before him, dancing in the growing \n red light. He turns...\n\n INT. EVENT HORIZON - SECOND CONTAINMENT", "Miller stares as the Burning Man turns and vanishes into a \n bulkhead, leaving the wall blackened and burned with his \n passing.\n\n INT. EVENT HORIZON - WEIR'S DUCT", "The spell breaks and she RUNS...\n\n INT. EVENT HORIZON - GENERIC CORRIDOR", "Miller, Peters and Justin float down the brightly lit \n umbilicus into the Event Horizon, all in EVA suits. Justin's \n safety line trails out behind him.", "Weir's eyes open wide in hope and fear.\n\n INT. EVENT HORIZON - SECOND CONTAINMENT\n\n Even the emergency lights go out. Total darkness.", "Cooper clings to the forward section, watching the Event \n Horizon recede as he tumbles into space. His FRENZIED \n BREATHING is the only sound.", "Weir kicks Miller savagely. Miller slides through the coolant, \n comes to rest beneath a walkway. He attempts to rise, \n collapses back into the sludge.", "of fluid hang motionless, sticking to Justin's suit, leeching \n away his light and swallowing him in darkness." ], [ "The Event Horizon was the culmination \n of a secret government project to \n create a spacecraft capable of faster-\n than-light flight.", "THE EVENT HORIZON, right in front of them. A black \n labyrinthine blasphemy against Neptune's arctic blue. Cloud \n banks encircle the ship as if it were the eye of a hurricane.", "INT. EVENT HORIZON - BRIDGE\n\n Miller switches off the video. No one says anything.\n\n MILLER\n We're leaving.", "The Event Horizon was created for \n one reason: to go faster than light. \n Imagine mankind exploring new solar \n systems, colonizing new worlds. Seven", "EXT. EVENT HORIZON - LEWIS AND CLARK - MODEL\n\n The Lewis and Clark carefully maneuvers in close to the Event \n Horizon's airlock.", "missiles at the Event Horizon until \n I am satisfied that she has been \n destroyed.\n (beat)\n Fuck this ship.", "WEIR\n It was the ship's maiden voyage, to \n test the drive. The Event Horizon", "The Lewis and Clark and the Event Horizon, locked together \n in Neptune orbit. Lights shine from the Horizon as power is", "Horizon, Event Horizon, do you \n read...? This is the Lewis and Clark, \n hailing...\n (she continues B.G.)", "The Event Horizon looms enormous as the Lewis and Clark hangs \n off the port stern, dwarfed by the giant ship.\n\n INT. LEWIS AND CLARK - BRIDGE", "WEIR\n The USAC intercepted a radio \n transmission from a decaying orbit \n around Neptune. The source has been \n identified as the Event Horizon.", "INT. EVENT HORIZON - CORRIDOR TO BRIDGE\n\n Miller approaches the door to the Bridge. It is open...\n\n INT. EVENT HORIZON - BRIDGE", "EXT. NEPTUNE - LEWIS AND CLARK - EVENT HORIZON - MODEL\n\n The Lewis and Clark maneuvers in close to the Event Horizon, \n dwarfed by the dark ship.", "The Lewis and Clark moves even closer. Vanishing into the \n shadow of the Event Horizon.\n\n INT. LEWIS AND CLARK - BRIDGE", "Weir's eyes open wide in hope and fear.\n\n INT. EVENT HORIZON - SECOND CONTAINMENT\n\n Even the emergency lights go out. Total darkness.", "EXT. LEWIS AND CLARK - EXPLODED HULL SECTION\n\n Cooper watches the Event Horizon fall farther and farther \n away.", "Cooper clings to the forward section, watching the Event \n Horizon recede as he tumbles into space. His FRENZIED \n BREATHING is the only sound.", "MOVE towards the ship until its shadow consumes all...\n\n DELETE SCENE\n\n INT. EVENT HORIZON - GRAVITY COUCH BAY", "The SILENT EXPLOSION tears the Lewis and Clark into two \n pieces, spiralling away from each other and from the Event \n Horizon. Metal shards, like confetti, fill the space between \n them.", "WEIR\n What was made public about the Event \n Horizon, that she was a deep space" ], [ "INT. EVENT HORIZON - CORRIDOR TO BRIDGE\n\n Miller approaches the door to the Bridge. It is open...\n\n INT. EVENT HORIZON - BRIDGE", "The Event Horizon looms enormous as the Lewis and Clark hangs \n off the port stern, dwarfed by the giant ship.\n\n INT. LEWIS AND CLARK - BRIDGE", "INT. EVENT HORIZON - BRIDGE\n\n Peters pushes free of the body.\n\n PETERS\n (professional)\n I found one.", "With his free hand, Weir reaches for the navigation console. \n Flips a series of switches with gore caked fingers.\n\n INT. EVENT HORIZON - BRIDGE (ENLARGED CONSOLE)", "Gravity has scattered debris and freeze-dried blood about \n the room. The crew (Justin and Smith excepted) tries to relax \n on the chairs of dead men. Their faces are wan and haggard.", "THE EVENT HORIZON, right in front of them. A black \n labyrinthine blasphemy against Neptune's arctic blue. Cloud \n banks encircle the ship as if it were the eye of a hurricane.", "CUT TO:\n\n INT. EVENT HORIZON - MEDICAL/SCIENCE", "CUT TO:\n\n INT. EVENT HORIZON - MEDICAL/SCIENCE", "INT. EVENT HORIZON - MAIN ACCESS CORRIDOR - WITH AIRLOCKS\n\n ANOTHER ANGLE. The ship seems to breathe. The lights \n flicker...", "INT. EVENT HORIZON - GENERIC CORRIDOR\n\n The ship seems to breathe. The lights flicker...", "MILLER\n Boarding party, sound off... Peters, \n do you read me... . Peters...\n\n INT. EVENT HORIZON - BRIDGE", "He finds a computer console.\n\n INT. EVENT HORIZON - CORRIDOR TO BRIDGE\n\n Peters opens the door.", "INT. EVENT HORIZON - MAIN ACCESS CORRIDOR - NO AIRLOCKS\n\n ANOTHER ANGLE. The ship seems to breathe. The lights \n flicker...", "Miller gets to his feet. Almost allows himself to relax. \n Then he sees his shadow before him, dancing in the growing \n red light. He turns...\n\n INT. EVENT HORIZON - SECOND CONTAINMENT", "Its shadow swallows all in darkness.\n\n DISSOLVE TO:\n\n INT. EVENT HORIZON - GRAVITY COUCH BAY", "The SHRIEKING winds carry the foredecks back towards the \n whirlpool, towards the black hole...\n\n INT. EVENT HORIZON - CORRIDOR (ROLLOVER SET)", "INT. EVENT HORIZON - MAIN ACCESS CORRIDOR (FOR VIDEO)\n\n Corridor. The entire original crew assembled, playing catch \n with the stuffed dog", "MILLER\n Dr. Weir's right. Get on board the \n Event Horizon. I'll meet you at the \n airlock.", "Weir's eyes open wide in hope and fear.\n\n INT. EVENT HORIZON - SECOND CONTAINMENT\n\n Even the emergency lights go out. Total darkness.", "Miller stares as the Burning Man turns and vanishes into a \n bulkhead, leaving the wall blackened and burned with his \n passing.\n\n INT. EVENT HORIZON - WEIR'S DUCT" ], [ "Weir just stares at the ruined face, rapt. Starck notices.\n\n STARCK\n You okay?\n\n Weir nods, not taking his eyes from the screen.", "INT. EVENT HORIZON - BRIDGE (FOR VIDEO)\n\n Bridge. KILPACK addresses the camera. His face is flushed \n with excitement.", "Miller, Starck, DJ watch the video. Peters turns away, \n miserable. Unable to watch...\n\n INT. EVENT HORIZON - BRIDGE THE VIDEO SCREEN", "Gravity has scattered debris and freeze-dried blood about \n the room. The crew (Justin and Smith excepted) tries to relax \n on the chairs of dead men. Their faces are wan and haggard.", "CUT TO:\n\n INT. EVENT HORIZON - BRIDGE\n\n Peters sits in front of the screen. The log is still \n distorted.", "The INTERCOM interrupts them:\n\n PETERS (O.S.)\n (intercom)\n Captain Miller, Dr. Weir? I found \n the final log entry.", "the briefest suggestion of a SCREAMING FACE, obscured by \n STATIC and ROLL before the screen CUTS to static entirely.\n\n The rest of the crew's POV screens go dead as...", "WEIR\n A black hole.\n\n The crew stares at him, stunned.\n\n CUT TO:", "Grim smiles all around.\n\n MILLER\n Peters, I want you to go through the \n ship's log, see if we can't find \n some answers.", "On her monitor, Peters' POV shifts as she complies.\n\n STARCK\n What is it?\n\n WEIR\n Ship's log.", "Weir peers eagerly at the monitors.\n\n WEIR\n Any survivors?\n\n MILLER (O.S.)\n (radio)\n Negative.", "INT. LEWIS AND CLARK - AIRLOCK BAY\n\n PAN across the faces of the astronauts. No hope. Except for \n Weir:", "INT. EVENT HORIZON - MAIN ACCESS CORRIDOR (FOR VIDEO)\n\n Corridor. The entire original crew assembled, playing catch \n with the stuffed dog", "Miller gets to his feet. Stares out the window upon the \n wreckage of his ship, spiralling away. He hits the intercom \n with his forearm.", "With his free hand, Weir reaches for the navigation console. \n Flips a series of switches with gore caked fingers.\n\n INT. EVENT HORIZON - BRIDGE (ENLARGED CONSOLE)", "INT. EVENT HORIZON - SECOND CONTAINMENT\n\n She caresses his face. Lifts his face to hers. Her mouth is \n slack. Her hair hangs in front of her eyes.", "The crew stares at the ship rushing past the viewport. A \n huge spherical structure looms eerily ahead.", "MILLER\n Dr. Weir...!\n\n Weir sticks his head into the bridge.\n\n MILLER\n I think you want to see this.", "Weir catches his breath. He looks up. The crew surrounds \n him, concerned.\n\n WEIR\n I'm alright now. I'm alright...", "INT. EVENT HORIZON - BRIDGE\n\n Miller switches off the video. No one says anything.\n\n MILLER\n We're leaving." ], [ "The INTERCOM interrupts them:\n\n PETERS (O.S.)\n (intercom)\n Captain Miller, Dr. Weir? I found \n the final log entry.", "Miller gets to his feet. Almost allows himself to relax. \n Then he sees his shadow before him, dancing in the growing \n red light. He turns...\n\n INT. EVENT HORIZON - SECOND CONTAINMENT", "Miller, Starck, DJ watch the video. Peters turns away, \n miserable. Unable to watch...\n\n INT. EVENT HORIZON - BRIDGE THE VIDEO SCREEN", "MILLER\n Peters is right. Its like something \n reaching into your mind. Seeing your \n thoughts and making them real. Smith, \n did you or Cooper experience anything \n unusual?", "Miller opens the Inner Door. Peters and DJ rush in.\n\n PETERS\n Oh God... Justin...", "Miller runs to the next coupling. Repeats the process...\n\n INT. EVENT HORIZON - GRAVITY COUCH BAY", "MILLER\n Dr. Weir...!\n\n Weir sticks his head into the bridge.\n\n MILLER\n I think you want to see this.", "Miller races across the surface of the Event Horizon, the \n only sounds, his LABOURED BREATHING, and Justin's tortured \n VOICE, patched through on his radio:", "DJ\n No.\n\n Miller sees something in DJ's expression.\n\n MILLER\n What is it?", "Miller stares dead-on into Weir's hellish face...\n\n ...and raises his right hand. HE'S HOLDING THE DETONATOR.", "...and finds DJ, suspended above the table, neatly dissected. \n His organs have been laid out carefully before him on the \n steel table.\n\n MILLER\n Oh my God.", "Miller dives for the door. Before Weir can fire,\n\n EXT. EVENT HORIZON - BRIDGE WINDOW (HANGING SECTION)", "...and the VISION is gone. Miller is alone, BREATHING hard.\n\n INT. EVENT HORIZON - FIRST CONTAINMENT", "MILLER\n Oh, God, DJ, what do I... how do \n I...\n\n DJ\n Please... kill...", "Miller assists Weir in removing bolts from an access panel. \n The panel falls away, revealing a cramped duct leading into \n the ship's circuitry.", "Miller kneels, removing the cover from the last explosive. \n Flips a switch.\n\n A small cover pops open. Miller reaches in, removes a RADIO \n DETONATOR.", "A monitor tears free, SMASHES into him. HE IS SUCKED OUT.\n\n Miller pulls himself through the door as it begins to shut. \n He is safe...", "Miller stares as the Burning Man turns and vanishes into a \n bulkhead, leaving the wall blackened and burned with his \n passing.\n\n INT. EVENT HORIZON - WEIR'S DUCT", "Peters sits at the workstation. Miller, DJ and Weir stand \n behind her, watching.\n\n A VIDEO SCREEN", "His helmet light flickers. He hesitates...\n\n INT. EVENT HORIZON - MEDICAL/SCIENCE\n\n Miller's helmet light flickers..." ], [ "MILLER\n Dr. Weir's right. Get on board the \n Event Horizon. I'll meet you at the \n airlock.", "INT. EVENT HORIZON - CORRIDOR TO BRIDGE\n\n Miller approaches the door to the Bridge. It is open...\n\n INT. EVENT HORIZON - BRIDGE", "THE EVENT HORIZON, right in front of them. A black \n labyrinthine blasphemy against Neptune's arctic blue. Cloud \n banks encircle the ship as if it were the eye of a hurricane.", "INT. EVENT HORIZON - BRIDGE\n\n Miller switches off the video. No one says anything.\n\n MILLER\n We're leaving.", "Gravity has scattered debris and freeze-dried blood about \n the room. The crew (Justin and Smith excepted) tries to relax \n on the chairs of dead men. Their faces are wan and haggard.", "The Event Horizon was the culmination \n of a secret government project to \n create a spacecraft capable of faster-\n than-light flight.", "The Event Horizon looms enormous as the Lewis and Clark hangs \n off the port stern, dwarfed by the giant ship.\n\n INT. LEWIS AND CLARK - BRIDGE", "MILLER\n All hands. Dr. Weir is missing. I \n want him found and restrained.\n\n INT. EVENT HORIZON - BRIDGE", "INT. EVENT HORIZON - BRIDGE\n\n Peters pushes free of the body.\n\n PETERS\n (professional)\n I found one.", "missiles at the Event Horizon until \n I am satisfied that she has been \n destroyed.\n (beat)\n Fuck this ship.", "MILLER\n Boarding party, sound off... Peters, \n do you read me... . Peters...\n\n INT. EVENT HORIZON - BRIDGE", "Miller moves through the Event Horizon superstructure, \n recklessly leaping from one beam to another, trying to build \n up speed.\n\n MILLER\n Patch me through to him.", "Weir's eyes open wide in hope and fear.\n\n INT. EVENT HORIZON - SECOND CONTAINMENT\n\n Even the emergency lights go out. Total darkness.", "Cooper clings to the forward section, watching the Event \n Horizon recede as he tumbles into space. His FRENZIED \n BREATHING is the only sound.", "WEIR\n (to himself)\n I won't. I won't leave. This is my \n ship.\n\n INT. EVENT HORIZON - SECOND CONTAINMENT", "WEIR\n It beats dying, Mister Smith.\n\n INT. EVENT HORIZON - MEDICAL/SCIENCE", "WEIR\n (excited)\n It's the Event Horizon. She's come \n back.\n\n Hollis answers drily.", "With his free hand, Weir reaches for the navigation console. \n Flips a series of switches with gore caked fingers.\n\n INT. EVENT HORIZON - BRIDGE (ENLARGED CONSOLE)", "MILLER\n Starck, what the hell is going on?\n\n INT. EVENT HORIZON - BRIDGE\n\n Starck peers at the Engineering board:", "Miller curses under his breath, moves even faster...\n\n BACK TO:\n\n INT. EVENT HORIZON - AIRLOCK NO. 3" ], [ "WEIR\n The Event Horizon.\n\n The others turn to stare at Weir.\n\n SMITH\n What?", "WEIR\n It beats dying, Mister Smith.\n\n INT. EVENT HORIZON - MEDICAL/SCIENCE", "Weir's eyes open wide in hope and fear.\n\n INT. EVENT HORIZON - SECOND CONTAINMENT\n\n Even the emergency lights go out. Total darkness.", "WEIR\n (excited)\n It's the Event Horizon. She's come \n back.\n\n Hollis answers drily.", "With his free hand, Weir reaches for the navigation console. \n Flips a series of switches with gore caked fingers.\n\n INT. EVENT HORIZON - BRIDGE (ENLARGED CONSOLE)", "INT. EVENT HORIZON -- BRIDGE\n\n Weir listens to", "MILLER\n Dr. Weir's right. Get on board the \n Event Horizon. I'll meet you at the \n airlock.", "WEIR\n (to himself)\n I won't. I won't leave. This is my \n ship.\n\n INT. EVENT HORIZON - SECOND CONTAINMENT", "Miller follows after Weir.\n\n CUT TO:\n\n INT. EVENT HORIZON - SECOND CONTAINMENT", "INT. EVENT HORIZON - FIRST CONTAINMENT\n\n Weir wanders into First Containment, brooding.", "WEIR\n Hmmm. Claire used to tell me I loved \n the Event Horizon more than I loved", "INT. EVENT HORIZON -- GENERIC CORRIDOR\n\n Miller follows Weir out of the Gravity Couch Bay.", "A LOW MOAN escapes Weir's lips. He cradles his head in his \n hands.\n\n EXT. EVENT HORIZON - (MILLER'S CROSSING)", "THE EVENT HORIZON, right in front of them. A black \n labyrinthine blasphemy against Neptune's arctic blue. Cloud \n banks encircle the ship as if it were the eye of a hurricane.", "WEIR\n Your fear. Do you remember the \n Goliath, Miller?\n\n INT. EVENT HORIZON - MAIN ACCESS CORRIDOR - NO AIRLOCKS", "INT. EVENT HORIZON - BRIDGE\n\n Weir sits alone, listening to the VOICES on the intercom.", "WEIR\n A black hole.\n\n The crew stares at him, stunned.\n\n CUT TO:", "The Event Horizon was created for \n one reason: to go faster than light. \n Imagine mankind exploring new solar \n systems, colonizing new worlds. Seven", "Miller stares as the Burning Man turns and vanishes into a \n bulkhead, leaving the wall blackened and burned with his \n passing.\n\n INT. EVENT HORIZON - WEIR'S DUCT", "INT. EVENT HORIZON - CORRIDOR TO BRIDGE\n\n Miller approaches the door to the Bridge. It is open...\n\n INT. EVENT HORIZON - BRIDGE" ], [ "The Event Horizon was the culmination \n of a secret government project to \n create a spacecraft capable of faster-\n than-light flight.", "The Event Horizon was created for \n one reason: to go faster than light. \n Imagine mankind exploring new solar \n systems, colonizing new worlds. Seven", "THE EVENT HORIZON, right in front of them. A black \n labyrinthine blasphemy against Neptune's arctic blue. Cloud \n banks encircle the ship as if it were the eye of a hurricane.", "WEIR\n The Event Horizon.\n\n The others turn to stare at Weir.\n\n SMITH\n What?", "...the Event Horizon in all its horrific glory, hanging skew \n in the center of the hurricane like a mote in God's eye.", "immense gravitational power to create \n the gateway. That's how the Event \n Horizon travels faster than light.", "Horizon, Event Horizon, do you \n read...? This is the Lewis and Clark, \n hailing...\n (she continues B.G.)", "Cooper clings to the forward section, watching the Event \n Horizon recede as he tumbles into space. His FRENZIED \n BREATHING is the only sound.", "The Event Horizon has passed beyond \n our plane of reality, and like \n Lazarus, returned from the dead.", "The SILENT EXPLOSION tears the Lewis and Clark into two \n pieces, spiralling away from each other and from the Event \n Horizon. Metal shards, like confetti, fill the space between \n them.", "The Event Horizon looms enormous as the Lewis and Clark hangs \n off the port stern, dwarfed by the giant ship.\n\n INT. LEWIS AND CLARK - BRIDGE", "INT. EVENT HORIZON - CORRIDOR TO BRIDGE\n\n Miller approaches the door to the Bridge. It is open...\n\n INT. EVENT HORIZON - BRIDGE", "Miller races across the surface of the Event Horizon, the \n only sounds, his LABOURED BREATHING, and Justin's tortured \n VOICE, patched through on his radio:", "Miller swings his body around, heads across the umbilicus to \n the Event Horizon. He moves in great leaps, using the magnetic", "WEIR\n (excited)\n It's the Event Horizon. She's come \n back.\n\n Hollis answers drily.", "Miller moves through the Event Horizon superstructure, \n recklessly leaping from one beam to another, trying to build \n up speed.\n\n MILLER\n Patch me through to him.", "Weir's eyes open wide in hope and fear.\n\n INT. EVENT HORIZON - SECOND CONTAINMENT\n\n Even the emergency lights go out. Total darkness.", "MILLER\n Starck, give me a read.\n\n A scan of the Event Horizon appears across Starck's screen.", "Its shadow swallows all in darkness.\n\n DISSOLVE TO:\n\n INT. EVENT HORIZON - GRAVITY COUCH BAY", "Starck awakens but the SCREAMS continue as the Event Horizon \n calls out to her... she SCREAMS... hands on her body... the \n CRIES stop..." ], [ "The Event Horizon was the culmination \n of a secret government project to \n create a spacecraft capable of faster-\n than-light flight.", "The Event Horizon was created for \n one reason: to go faster than light. \n Imagine mankind exploring new solar \n systems, colonizing new worlds. Seven", "INT. EVENT HORIZON - CORRIDOR TO BRIDGE\n\n Miller approaches the door to the Bridge. It is open...\n\n INT. EVENT HORIZON - BRIDGE", "THE EVENT HORIZON, right in front of them. A black \n labyrinthine blasphemy against Neptune's arctic blue. Cloud \n banks encircle the ship as if it were the eye of a hurricane.", "The Event Horizon looms enormous as the Lewis and Clark hangs \n off the port stern, dwarfed by the giant ship.\n\n INT. LEWIS AND CLARK - BRIDGE", "Miller moves through the Event Horizon superstructure, \n recklessly leaping from one beam to another, trying to build \n up speed.\n\n MILLER\n Patch me through to him.", "MILLER\n Starck, give me a read.\n\n A scan of the Event Horizon appears across Starck's screen.", "WEIR\n (excited)\n It's the Event Horizon. She's come \n back.\n\n Hollis answers drily.", "MILLER\n Dr. Weir's right. Get on board the \n Event Horizon. I'll meet you at the \n airlock.", "INT. EVENT HORIZON - BRIDGE", "INT. EVENT HORIZON - BRIDGE", "INT. EVENT HORIZON - BRIDGE", "INT. EVENT HORIZON - BRIDGE", "\"EVENT HORIZON\"\n\n Screenplay by\n\n Philip Eisner\n\n SHOOTING DRAFT", "WEIR\n It was the ship's maiden voyage, to \n test the drive. The Event Horizon", "EXT. EVENT HORIZON - LEWIS AND CLARK - MODEL\n\n The Lewis and Clark carefully maneuvers in close to the Event \n Horizon's airlock.", "missiles at the Event Horizon until \n I am satisfied that she has been \n destroyed.\n (beat)\n Fuck this ship.", "WEIR\n What was made public about the Event \n Horizon, that she was a deep space", "MILLER\n Starck, what the hell is going on?\n\n INT. EVENT HORIZON - BRIDGE\n\n Starck peers at the Engineering board:", "WEIR\n It beats dying, Mister Smith.\n\n INT. EVENT HORIZON - MEDICAL/SCIENCE" ], [ "Evidence of long term habitation. Personalized lockers. Fold-\n down bunks, chairs, tables; currently stowed for docking. A \n modular galley.", "Gravity has scattered debris and freeze-dried blood about \n the room. The crew (Justin and Smith excepted) tries to relax \n on the chairs of dead men. Their faces are wan and haggard.", "The crew stares at the ship rushing past the viewport. A \n huge spherical structure looms eerily ahead.", "INT. EVENT HORIZON - BRIDGE\n\n Peters pushes free of the body.\n\n PETERS\n (professional)\n I found one.", "INT. LEWIS AND CLARK - BRIDGE\n\n The flight crew assembled. Data flashes across the main \n monitors on the bridge.", "STARCK\n (into intercom)\n Skipper, the bio-scan just went off \n the scale...\n\n INT. EVENT HORIZON - MEDICAL/SCIENCE", "STARCK\n If they were in stasis, I'd get a \n location, but these readings, they're \n all over the ship. It doesn't make \n any sense.", "The Event Horizon looms enormous as the Lewis and Clark hangs \n off the port stern, dwarfed by the giant ship.\n\n INT. LEWIS AND CLARK - BRIDGE", "INT. LEWIS AND CLARK - BRIDGE\n\n Smith keeps a tight hand on the controls. The crew stare out \n the viewport at the abandoned craft.", "STARCK\n There's not enough radiation to throw \n off the scan. I'm picking up trace \n life forms, but I can't get a lock \n on the location.", "Miller and Weir are barely visible in the darkness.\n\n MILLER\n Goddammit! Starck, get those files \n and vacate. I want off this ship.", "On her monitor, Peters' POV shifts as she complies.\n\n STARCK\n What is it?\n\n WEIR\n Ship's log.", "STARCK\n Maybe one of the original crew?\n\n MILLER\n No. It was someone else.\n\n STARCK\n Who?", "units are off line. I'm showing deep \n cold. The crew couldn't survive unless \n they were in stasis.", "MILLER\n The science workstation has power, \n I'll see if I can find the crew from \n here.\n\n INT. LEWIS AND CLARK - BRIDGE", "The hatch opens, allowing Peters and Miller entrance into \n the forward decks. These areas were intended for human \n habitation, and seem similar in design to the Lewis and Clark, \n only larger.", "WEIR\n Could it be the crew? If they were \n in suspended animation, wouldn't \n that effect the scan?", "STARCK\n I didn't say that, I said the bio-\n readings correspond to what happened \n to you, the ship is reacting to us...", "PETERS\n That means they didn't abandon ship.\n\n MILLER\n So where are they? Starck, any luck \n with the bio-scan?", "WEIR\n A black hole.\n\n The crew stares at him, stunned.\n\n CUT TO:" ], [ "Miller, Smith and Cooper cling to the Lewis and Clark's hull. \n They carefully remove an access panel, revealing scorched \n wiring.", "CUT TO:\n\n EXT. LEWIS AND CLARK - MODEL", "CUT TO:\n\n EXT. NEPTUNE - LEWIS AND CLARK - MODEL\n\n The Lewis and Clark closes in on the blue planet.", "The Lewis and Clark pulls away from Daylight station, turns \n towards the depths of space. It is a tough-looking spacecraft, \n all engine.\n\n Sequence omitted from original script.", "...the wave hits them, threatening to tear the Lewis and \n Clark apart. The ship shudders violently. Consoles EXPLODE \n with sparks. Weir and the others hold on for dear life.", "EXT. LEWIS AND CLARK - EXPLODED HULL SECTION", "INT. LEWIS AND CLARK - EXPLOSION\n\n WHITE LIGHT. A MASSIVE EXPLOSION...", "SILENCE. The Lewis and Clark drifts towards Neptune.\n\n INT. LEWIS AND CLARK - QUARTERS", "EXT. LEWIS AND CLARK - HULL SECTION\n\n Cooper examines the weld on the baffle plate. It's solid.", "INT. LEWIS AND CLARK - MEDICAL CLOSE ON WEIR", "The Lewis and Clark clings to the giant craft, as \n insignificant as a tick. An even smaller figure clings to \n the hull of the Lewis and Clark...", "INT. LEWIS AND CLARK - BRIDGE\n\n Smith keeps a tight hand on the controls. The crew stare out \n the viewport at the abandoned craft.", "INT. LEWIS AND CLARK - BRIDGE", "INT. LEWIS AND CLARK - BRIDGE", "INT. LEWIS AND CLARK - BRIDGE", "EXT. LEWIS AND CLARK - HULL SECTION\n\n Cooper looks at Smith.\n\n COOPER\n Cross your fingers.", "SILENCE. The engine flares white hot. The Lewis and Clark \n lances forward.\n\n CUT TO:", "MILLER\n Just get your gear back onto the \n Lewis and Clark, doctor, or you'll \n find yourself looking for a ride \n home.", "INT. LEWIS AND CLARK - BRIDGE\n\n The crew assembled.", "The Lewis and Clark and the Event Horizon, locked together \n in Neptune orbit. Lights shine from the Horizon as power is" ], [ "CUT TO:\n\n INT. EVENT HORIZON - BRIDGE\n\n Peters sits in front of the screen. The log is still \n distorted.", "Miller, Starck, DJ watch the video. Peters turns away, \n miserable. Unable to watch...\n\n INT. EVENT HORIZON - BRIDGE THE VIDEO SCREEN", "INT. EVENT HORIZON - BRIDGE\n\n Miller switches off the video. No one says anything.\n\n MILLER\n We're leaving.", "INT. EVENT HORIZON - CORRIDOR TO BRIDGE\n\n Miller approaches the door to the Bridge. It is open...\n\n INT. EVENT HORIZON - BRIDGE", "INT. EVENT HORIZON - BRIDGE (FOR VIDEO)\n\n Bridge. KILPACK addresses the camera. His face is flushed \n with excitement.", "missiles at the Event Horizon until \n I am satisfied that she has been \n destroyed.\n (beat)\n Fuck this ship.", "INT. EVENT HORIZON - BRIDGE\n\n Peters takes a small probe from her belt, inserts it into \n the video deck.", "On her monitor, Peters' POV shifts as she complies.\n\n STARCK\n What is it?\n\n WEIR\n Ship's log.", "Miller moves through the Event Horizon superstructure, \n recklessly leaping from one beam to another, trying to build \n up speed.\n\n MILLER\n Patch me through to him.", "INT. EVENT HORIZON - MEDICAL/SCIENCE\n\n Peters sits before the computer workstation, running the \n ship's log, forwarding through hours of boring footage. Rubs \n her eyes.", "The INTERCOM interrupts them:\n\n PETERS (O.S.)\n (intercom)\n Captain Miller, Dr. Weir? I found \n the final log entry.", "Weir's eyes open wide in hope and fear.\n\n INT. EVENT HORIZON - SECOND CONTAINMENT\n\n Even the emergency lights go out. Total darkness.", "Miller races across the surface of the Event Horizon, the \n only sounds, his LABOURED BREATHING, and Justin's tortured \n VOICE, patched through on his radio:", "Her voice cracks as she says it. She looks anything but.\n\n INT. EVENT HORIZON - MEDICAL/SCIENCE\n\n The reports come, one on the other...", "With his free hand, Weir reaches for the navigation console. \n Flips a series of switches with gore caked fingers.\n\n INT. EVENT HORIZON - BRIDGE (ENLARGED CONSOLE)", "PETERS\n Nothing. It's nothing.\n\n CUT TO:\n\n INT. EVENT HORIZON - AIRLOCK NO. 2", "WEIR\n (quiet)\n John Kilpack.\n\n INT. EVENT HORIZON - SECOND CONTAINMENT (FOR VIDEO)", "WEIR\n (excited)\n It's the Event Horizon. She's come \n back.\n\n Hollis answers drily.", "MILLER\n Dr. Weir's right. Get on board the \n Event Horizon. I'll meet you at the \n airlock.", "INT. EVENT HORIZON - MAIN ACCESS CORRIDOR (FOR VIDEO)\n\n Corridor. The entire original crew assembled, playing catch \n with the stuffed dog" ], [ "MILLER\n We blow the Corridor. Use the \n foredecks as a lifeboat, separate it \n from the rest of the ship. We stay \n put...", "She is gone. Weir lets his head fall to the floor of the \n deck, breathing in ragged SOBS.\n\n CUT TO:", "ships were incinerated. The Skipper \n and three others just made it to a \n lifeboat. Captain Miller was able...", "The Lewis and Clark clings to the giant craft, as \n insignificant as a tick. An even smaller figure clings to \n the hull of the Lewis and Clark...", "The ship HOWLS as air rushes out, ripping Weir off his feet. \n Weir catches himself in the broken window, trying to pull \n himself back in...", "The strobe of the red light reveals a man floating at the \n helm, slowly spinning. He is dead, perfectly preserved in", "hours, we will run out of breathable \n air. Our primary objective is now \n survival. That means we focus on \n repairing the Lewis and Clark and", "A naked WOMAN sits at the helm, her back to us. Completely \n still. Her skin is very pale. Water pools around her chair. \n Weir stands behind her.", "Cooper catches him, holds him tight as the wave carries them \n towards the wall. Cooper sees a control rod -- a long metal", "Miller, Smith and Cooper cling to the Lewis and Clark's hull. \n They carefully remove an access panel, revealing scorched \n wiring.", "Cooper points the full tank away from the Event Horizon and \n OPENS IT...\n\n The blast of pressurized air pushes him towards the ship, \n leaving the wreckage of the Lewis and Clark behind.", "In the distance, the POUNDING begins again. Moving away from \n them.\n\n The ship systems station BEEPS. A warning light flashes on \n the console.", "Miller gets to his feet. Stares out the window upon the \n wreckage of his ship, spiralling away. He hits the intercom \n with his forearm.", "...A BODY floating at the helm, the face illuminated by \n Peters' helmet lights. His swollen tongue clogs his gaping,", "...drags her to the door... through the door...\n\n ...as the compressor tears free, sucked into space...\n\n ...and the door SNAPS shut, missing them by a fraction.", "Gravity has scattered debris and freeze-dried blood about \n the room. The crew (Justin and Smith excepted) tries to relax \n on the chairs of dead men. Their faces are wan and haggard.", "Weir climbs up the ladder to the flight deck.\n\n WEIR\n Where is she?\n\n SMITH\n Dead ahead, 5000 meters.", "Their journey seems endless. The darkness almost seems a \n living thing as it surrounds them.", "An emergency beacon. Under-floor lights go on.", "PULSE of the ship is loud here, a deep THRUM that steals \n their breath. Weir's voice is a reverent WHISPER:" ], [ "It was like a wave breaking over \n him, a wave of fire. And then he was \n gone.\n (beat)", "She is gone. Weir lets his head fall to the floor of the \n deck, breathing in ragged SOBS.\n\n CUT TO:", "A monitor tears free, SMASHES into him. HE IS SUCKED OUT.\n\n Miller pulls himself through the door as it begins to shut. \n He is safe...", "He doesn't hesitate but leaps, soaring across the chasm \n towards the airlock.\n\n JUSTIN\n (radio)\n ...I don't want to die...!", "MILLER\n I, I tried to go back for him, to \n save him, but I couldn't get to him", "Reality. Weir's eyes open. He presses against the glass of \n the tank, trying to force it open, panicked. The others are \n already stepping from open tanks.", "DJ\n They thought it said, \"Liberatis \n me,\" \"Save me,\" but it's not \"me.\" \n It's \"tutemet:\" \"Save yourself.\"", "The ship HOWLS as air rushes out, ripping Weir off his feet. \n Weir catches himself in the broken window, trying to pull \n himself back in...", "...and the POUNDING stops. They remain frozen for a moment. \n Afraid to breathe.\n\n Weir shakes the trance.", "Cooper points the full tank away from the Event Horizon and \n OPENS IT...\n\n The blast of pressurized air pushes him towards the ship, \n leaving the wreckage of the Lewis and Clark behind.", "He rushes to Peters. Reaches out to touch her but pulls his \n hand back. Her eyes are black, eight-ball hemorrhage darkening \n the irises. She is dead.", "DJ puts a tube in the Justin's mouth immediately, feeding \n him oxygen.\n\n PETERS\n I've got a pulse, he's alive...", "Miller hesitates, looking from Starck back into the safety \n of the ship. The door continues to shut. In seconds, he will \n be safe. And she will be dead.", "ships were incinerated. The Skipper \n and three others just made it to a \n lifeboat. Captain Miller was able...", "Finally, Weir emerges from the gloom. He searches among the \n surgical instruments until his blood caked hands find a \n needle... and thread...", "lot like Justin. Edmund Corrick, \n from Decatur, Georgia. He got caught \n when the pressure doors sealed, one", "closed on his arm. Severed it at the \n wrist. The pain of that must have \n been... He passed out and...", "One of the tanks has been activated. Swaddled in bandages, \n Justin floats within, suspended in green gel. The others -- \n DJ, Starck, Peters, Miller, Weir -- look exhausted.", "He wheezes out all his air...\n\n EXT. EVENT HORIZON -- AIRLOCK NO. 3", "He hits Weir again. HARD. Blood gushes from Weir's skull, \n filling the runes on his face.\n\n Weir staggers. Miller attacks. Again and again and again..." ], [ "Starck looks around uncomprehending at the faces around her.\n\n IT'S A RESCUE TEAM\n\n Cooper pushes them aside. She clings to him, CRYING...", "Starck grabs him. He tries to shake her off, but she traps \n his arm in a wrist-lock. He turns on her, his face furious...", "The figure doesn't move. Miller slowly circles around the \n helm...\n\n It's Starck. Bound with wire in a sadomasochistic pose, \n unconscious.", "Miller hesitates, looking from Starck back into the safety \n of the ship. The door continues to shut. In seconds, he will \n be safe. And she will be dead.", "Starck rushes to him, takes his helmet off.\n\n He SUCKS air in, COUGHS it out.\n\n COOPER\n Let me breathe, let me breathe...", "STARCK\n (gasping for air)\n Please... help, help me...", "Starck follows Miller's gaze to a workstations's flashing \n display: GRAVITY DRIVE ENGAGED. ACTIVATION 00:06:43:01...", "Starck gets to her feet, staggers away...\n\n INT. EVENT HORIZON - MAIN ACCESS CORRIDOR - BY FIRST \n CONTAINTMENT", "STARCK (O.S.)\n Don't leave me!\n\n Miller turns. Starck clings to a console, barely able to \n resist the winds that try to suck her into the void.", "STARCK (O.S.)\n (intercom)\n Miller, come in ...\n\n Miller finds the intercom:", "STARCK (O.S.)\n (intercom)\n Weir.\n\n MILLER\n He's dead...", "STARCK\n You're okay now, it's over...\n\n MILLER\n (sees something)\n It's not over. It's just starting.", "CUT TO:\n\n INT. EVENT HORIZON - AIRLOCK BAY NO. 3\n\n Starck works the airlock control panel without success.", "STARCK\n Look at the size of that thing.\n\n Weir explains the view out the cockpit window.", "Starck catches Cooper looking at her ass as she strips to \n her undergarments. Cooper grins. She flips him off, not \n bothering to turn around.", "No response. He slowly moves to peer up the ladder...\n\n ...as Starck CRASHES down, bloody but alive.\n\n COOPER\n What...?", "Starck's voice is tiny.\n\n STARCK\n Miller...\n\n FADE TO:\n\n SPACE - MODEL", "STARCK\n Run!\n\n She shoves him away...\n\n Weir appears at the top of the ladder, crawling down headfirst \n like a spider...", "PETERS\n (tiny voice)\n Starck...\n\n Starck turns, sees the screen.", "THUMP. THUMP. Starck turns. Sees the bloody tank. Sees \n something moving inside it.\n\n She slowly crosses to the tank. Peers at it..." ], [ "Miller turns to walk away. Weir grabs Miller, wheeling him \n around, almost frenzied.", "He hits Weir again. HARD. Blood gushes from Weir's skull, \n filling the runes on his face.\n\n Weir staggers. Miller attacks. Again and again and again...", "He SMASHES Miller with a backhand that ignites Miller's \n clothes and sends him flying. The detonator falls from", "This time Weir is ready. He catches the scrubber and tears \n it from Miller's grasp. SMASHES Miller to the floor with a \n single blow. Miller GROANS.", "MILLER writhes in Weir's grip. His hands flail out to the \n sides. One hand brushes a long steel cannister sunk in the \n muck. A CO2 scrubber...", "MILLER\n NO!\n\n His hand closes on the scrubber and he swings it across Weir's \n head. Weir reels back, stunned.", "Smith goes for Weir.\n\n SMITH\n He's fucking lying, you know \n something...!\n\n Miller heads him off, grabs him.", "Weir kicks Miller savagely. Miller slides through the coolant, \n comes to rest beneath a walkway. He attempts to rise, \n collapses back into the sludge.", "Miller shoves Weir back into the wall. The two stare at each \n other. Adversaries...\n\n The lights cut to emergency lighting.", "Miller throws a wicked right. Weir catches Miller's fist. \n SQUEEZES until blood wells up between his fingers. Then slings", "MILLER\n (not breaking stride)\n Kill it.\n\n Cooper reaches up, turns off the box.", "MILLER\n SHUT UP! SHUT UP!\n\n The Burning Man YELLS and raises his arm in accusation...", "...and the VISION is gone. Miller is alone, BREATHING hard.\n\n INT. EVENT HORIZON - FIRST CONTAINMENT", "WEIR STANDS THERE, STARING WITH EYES SEWN SHUT.\n\n Miller reaches for the gun...", "MILLER\n (radio)\n Justin. I won't let you die.\n\n Miller's words give Justin hope. He regains some control.", "The figure doesn't move. Miller slowly circles around the \n helm...\n\n It's Starck. Bound with wire in a sadomasochistic pose, \n unconscious.", "Miller against a cooling tank with BONE CRACKING force. Miller \n collapses into the slime, barely able to raise his head to \n breathe.", "Miller gets to his feet.\n\n MILLER\n You can't have them!", "Then stops. She stares over Miller's shoulder like a deer \n caught in the headlights.\n\n Miller looks behind him...", "Cooper throws the ball at him, hard. Weir ducks. It bounces \n wildly around the room. Miller catches it.\n\n MILLER\n Cooper! Enough!" ], [ "Weir exhales.\n\n WEIR\n Very well.\n\n CUT TO:", "WEIR\n Weir is dead.\n\n MILLER\n Then who the fuck are you?", "Weir opens his eyes, waking from dream. Sweat beads his \n ascetic, etched face. Many years a scientist.", "Weir folds the paper, lining up point A over point B... then \n THRUSTING his pen through both, skewering the pin-up.", "WEIR\n It means nothing.", "Reality. Weir's eyes open. He presses against the glass of \n the tank, trying to force it open, panicked. The others are \n already stepping from open tanks.", "WEIR\n Better if I just show you.\n\n Weir's hands reach down and he grabs Miller by the skull. \n Miller GASPS as he sees...", "WEIR\n (stammering)\n Don't... don't do this...\n\n MILLER\n It's done.", "WEIR\n (cutting him off)\n No, he didn't.\n\n COOPER\n You weren't there. I saw it.", "WEIR\n Justin just tried to kill himself. \n The man is clearly insane.\n\n DJ\n How would you explain your own \n behavior?", "Weir slowly stalks towards him.\n\n WEIR\n There is no Devil. There is no God. \n There is only... NOTHING.", "The sound mercifully cuts off to STATIC. Lyle stops the tape.\n\n Weir sits there, stunned.", "WEIR\n ...is zero. That's what the \n singularity does: it folds space, so", "A LOW MOAN escapes Weir's lips. He cradles his head in his \n hands.\n\n EXT. EVENT HORIZON - (MILLER'S CROSSING)", "WEIR\n You're insane. You've lost your mind.", "WEIR\n A black hole.\n\n The crew stares at him, stunned.\n\n CUT TO:", "Smith goes for Weir.\n\n SMITH\n He's fucking lying, you know \n something...!\n\n Miller heads him off, grabs him.", "Finally, Weir emerges from the gloom. He searches among the \n surgical instruments until his blood caked hands find a \n needle... and thread...", "WEIR\n I don't remember saying that.\n (covers with a joke)\n Maybe I'm insane, too.\n\n Weir exits.", "This time Weir is ready. He catches the scrubber and tears \n it from Miller's grasp. SMASHES Miller to the floor with a \n single blow. Miller GROANS." ], [ "And the ship vanished from all our \n scopes. No radar contact, no enhanced \n optical, no radio contact of any \n kind. They disappeared without a", "CUT TO:\n\n EXT. INTERPLANETARY SPACE - MODEL\n\n The Lewis and Clark flashes silently past, heading deeper \n and deeper into space.", "HOLLIS\n That ship was lost in deep space, \n seven years ago. If the Titanic sailed", "The crew stares at the ship rushing past the viewport. A \n huge spherical structure looms eerily ahead.", "But if Dr. Weir is right, this ship \n has passed beyond the boundaries of \n our universe, of reality. Who knows", "The Lewis and Clark pulls away from Daylight station, turns \n towards the depths of space. It is a tough-looking spacecraft, \n all engine.\n\n Sequence omitted from original script.", "Miller and Weir are barely visible in the darkness.\n\n MILLER\n Goddammit! Starck, get those files \n and vacate. I want off this ship.", "The turbulence subsides. The bridge crew stares at the massive \n craft. The only sound, the PROXIMITY WARNING. Finally:", "Starck's voice is tiny.\n\n STARCK\n Miller...\n\n FADE TO:\n\n SPACE - MODEL", "The Lewis and Clark races SILENTLY past. The engine at its \n aft holds a sustained fusion reaction like the sun.\n\n GRAPHIC: U.S.S. Lewis and Clark. 56 days out.", "STARCK\n (into radio)\n This is U.S. Aerospace Command vessel \n Lewis and Clark, hailing Event", "EXT. EVENT HORIZON - LEWIS AND CLARK - MODEL\n\n The Lewis and Clark carefully maneuvers in close to the Event \n Horizon's airlock.", "The Event Horizon looms enormous as the Lewis and Clark hangs \n off the port stern, dwarfed by the giant ship.\n\n INT. LEWIS AND CLARK - BRIDGE", "missiles at the Event Horizon until \n I am satisfied that she has been \n destroyed.\n (beat)\n Fuck this ship.", "Miller gets to his feet. Stares out the window upon the \n wreckage of his ship, spiralling away. He hits the intercom \n with his forearm.", "STARCK\n It must be hard, being so far away \n from her.\n\n WEIR\n Yes. I miss her. She died. Two years \n now.", "THE EVENT HORIZON, right in front of them. A black \n labyrinthine blasphemy against Neptune's arctic blue. Cloud \n banks encircle the ship as if it were the eye of a hurricane.", "Starck follows Miller's gaze to a workstations's flashing \n display: GRAVITY DRIVE ENGAGED. ACTIVATION 00:06:43:01...", "The Event Horizon was the culmination \n of a secret government project to \n create a spacecraft capable of faster-\n than-light flight.", "In the distance, the POUNDING begins again. Moving away from \n them.\n\n The ship systems station BEEPS. A warning light flashes on \n the console." ], [ "On her monitor, Peters' POV shifts as she complies.\n\n STARCK\n What is it?\n\n WEIR\n Ship's log.", "Miller, Starck, DJ watch the video. Peters turns away, \n miserable. Unable to watch...\n\n INT. EVENT HORIZON - BRIDGE THE VIDEO SCREEN", "The INTERCOM interrupts them:\n\n PETERS (O.S.)\n (intercom)\n Captain Miller, Dr. Weir? I found \n the final log entry.", "INT. EVENT HORIZON - BRIDGE\n\n Peters takes a small probe from her belt, inserts it into \n the video deck.", "CUT TO:\n\n INT. EVENT HORIZON - BRIDGE\n\n Peters sits in front of the screen. The log is still \n distorted.", "The crew stares at the ship rushing past the viewport. A \n huge spherical structure looms eerily ahead.", "INT. EVENT HORIZON - BRIDGE\n\n Miller switches off the video. No one says anything.\n\n MILLER\n We're leaving.", "INT. EVENT HORIZON - BRIDGE (FOR VIDEO)\n\n Bridge. KILPACK addresses the camera. His face is flushed \n with excitement.", "And the ship vanished from all our \n scopes. No radar contact, no enhanced \n optical, no radio contact of any \n kind. They disappeared without a", "She is gone. Weir lets his head fall to the floor of the \n deck, breathing in ragged SOBS.\n\n CUT TO:", "INT. EVENT HORIZON - MEDICAL/SCIENCE\n\n Peters sits before the computer workstation, running the \n ship's log, forwarding through hours of boring footage. Rubs \n her eyes.", "The Lewis and Clark pulls away from Daylight station, turns \n towards the depths of space. It is a tough-looking spacecraft, \n all engine.\n\n Sequence omitted from original script.", "Gravity has scattered debris and freeze-dried blood about \n the room. The crew (Justin and Smith excepted) tries to relax \n on the chairs of dead men. Their faces are wan and haggard.", "Miller looks around. Dr. Weir has vanished.\n\n MILLER\n Weir? WEIR!\n\n He slams the intercom:", "Weir peers eagerly at the monitors.\n\n WEIR\n Any survivors?\n\n MILLER (O.S.)\n (radio)\n Negative.", "CUT TO:\n\n EXT. INTERPLANETARY SPACE - MODEL\n\n The Lewis and Clark flashes silently past, heading deeper \n and deeper into space.", "INT. EVENT HORIZON - MAIN ACCESS CORRIDOR (FOR VIDEO)\n\n Corridor. The entire original crew assembled, playing catch \n with the stuffed dog", "MILLER\n Dr. Weir...!\n\n Weir sticks his head into the bridge.\n\n MILLER\n I think you want to see this.", "Grim smiles all around.\n\n MILLER\n Peters, I want you to go through the \n ship's log, see if we can't find \n some answers.", "The Event Horizon looms enormous as the Lewis and Clark hangs \n off the port stern, dwarfed by the giant ship.\n\n INT. LEWIS AND CLARK - BRIDGE" ], [ "...and finds DJ, suspended above the table, neatly dissected. \n His organs have been laid out carefully before him on the \n steel table.\n\n MILLER\n Oh my God.", "Miller looks around. Dr. Weir has vanished.\n\n MILLER\n Weir? WEIR!\n\n He slams the intercom:", "PETERS\n What happened to him?\n\n DJ shakes his head. Miller eyes the bloodstain above them.", "MILLER\n I want to know what caused that noise. \n I want to know why one of my crew \n tried to throw himself out of the \n airlock.", "MILLER\n DJ. The Clark's gone. Smith and Cooper \n are dead.\n\n INT. EVENT HORIZON - MEDICAL/SCIENCE", "DJ\n What happened?\n\n MILLER (O.S.)\n (intercom)\n Weir. He used one of the explosives \n from the Corridor.", "Miller gets to his feet. Stares out the window upon the \n wreckage of his ship, spiralling away. He hits the intercom \n with his forearm.", "MILLER\n Goddammit, DJ, it was not a \n hallucination! I saw a man, he was \n on fire. And then he disappeared.", "Miller and Weir are barely visible in the darkness.\n\n MILLER\n Goddammit! Starck, get those files \n and vacate. I want off this ship.", "Gravity has scattered debris and freeze-dried blood about \n the room. The crew (Justin and Smith excepted) tries to relax \n on the chairs of dead men. Their faces are wan and haggard.", "Miller, Smith and Cooper cling to the Lewis and Clark's hull. \n They carefully remove an access panel, revealing scorched \n wiring.", "MILLER\n Dr. Weir...!\n\n Weir sticks his head into the bridge.\n\n MILLER\n I think you want to see this.", "DJ\n No.\n\n Miller sees something in DJ's expression.\n\n MILLER\n What is it?", "MILLER\n \"Save yourself. From Hell.\"\n (beat)\n What are you saying, are you saying \n that this ship is possessed?", "Miller, Starck, DJ watch the video. Peters turns away, \n miserable. Unable to watch...\n\n INT. EVENT HORIZON - BRIDGE THE VIDEO SCREEN", "DJ\n I've been listening to the \n transmission. And I think Houston \n made a mistake in the translation.\n\n MILLER\n Go on.", "DJ looks at Miller. He does not have an answer. The intercom \n CRACKLES:", "MILLER\n Not acceptable. I want to know what's \n causing those readings. If the crew \n is dead, I want the bodies, I want \n the crew found.", "MILLER\n Oh shit...!\n\n Debris swirls around him... the wave sweeps him up... SLAMS \n him into a bulkhead...", "The vibration subsides.\n\n MILLER\n Can anybody hear me...\n\n PETERS (O.S.)\n (radio)\n Skipper..." ], [ "...the wave hits them, threatening to tear the Lewis and \n Clark apart. The ship shudders violently. Consoles EXPLODE \n with sparks. Weir and the others hold on for dear life.", "INT. LEWIS AND CLARK - BRIDGE\n\n Weir looks at Justin's POV screen: a grainy image of the \n First Containment Seal.", "WEIR\n It's possible that a burst of gravity \n waves escaped from the Core, \n distorting space-time. They could be \n what hit the Lewis and Clark.", "This time Weir is ready. He catches the scrubber and tears \n it from Miller's grasp. SMASHES Miller to the floor with a \n single blow. Miller GROANS.", "The ship HOWLS as air rushes out, ripping Weir off his feet. \n Weir catches himself in the broken window, trying to pull \n himself back in...", "INT. LEWIS AND CLARK - MEDICAL CLOSE ON WEIR", "INT. LEWIS AND CLARK - EXPLOSION\n\n WHITE LIGHT. A MASSIVE EXPLOSION...", "Weir exhales.\n\n WEIR\n Very well.\n\n CUT TO:", "She is gone. Weir lets his head fall to the floor of the \n deck, breathing in ragged SOBS.\n\n CUT TO:", "Cooper points the full tank away from the Event Horizon and \n OPENS IT...\n\n The blast of pressurized air pushes him towards the ship, \n leaving the wreckage of the Lewis and Clark behind.", "Miller meets the crew as they evacuate the Lewis and Clark. \n Weir leads the way, eager; Smith hangs back.\n\n MILLER\n Everybody okay?", "INT. LEWIS AND CLARK - BRIDGE\n\n SMITH\n (to Weir)\n It is now.\n (to Miller)\n We're locked in.", "Weir climbs up the ladder to the flight deck.\n\n WEIR\n Where is she?\n\n SMITH\n Dead ahead, 5000 meters.", "Weir peers eagerly at the monitors.\n\n WEIR\n Any survivors?\n\n MILLER (O.S.)\n (radio)\n Negative.", "WEIR\n You've reached the outer airlock \n door.\n\n INT. LEWIS AND CLARK - UMBILICUS", "LYLE\n The official inquiry blamed Weir's \n design for the ship's loss.", "SILENCE. The engine flares white hot. The Lewis and Clark \n lances forward.\n\n CUT TO:", "Weir hits him, sending Miller across the bridge into a \n bulkhead. Weir picks up the nailgun, examines it.\n\n Miller slowly gets to his feet.", "The SILENT EXPLOSION tears the Lewis and Clark into two \n pieces, spiralling away from each other and from the Event \n Horizon. Metal shards, like confetti, fill the space between \n them.", "WEIR (O.S.)\n (radio)\n They're explosive charges.\n\n MILLER\n I can see that, what're they for?" ], [ "Gravity has scattered debris and freeze-dried blood about \n the room. The crew (Justin and Smith excepted) tries to relax \n on the chairs of dead men. Their faces are wan and haggard.", "MILLER\n I want to know what caused that noise. \n I want to know why one of my crew \n tried to throw himself out of the \n airlock.", "The crew stares at the ship rushing past the viewport. A \n huge spherical structure looms eerily ahead.", "PULSE of the ship is loud here, a deep THRUM that steals \n their breath. Weir's voice is a reverent WHISPER:", "Miller gets to his feet. Almost allows himself to relax. \n Then he sees his shadow before him, dancing in the growing \n red light. He turns...\n\n INT. EVENT HORIZON - SECOND CONTAINMENT", "Weir's eyes open wide in hope and fear.\n\n INT. EVENT HORIZON - SECOND CONTAINMENT\n\n Even the emergency lights go out. Total darkness.", "INT. EVENT HORIZON - MAIN ACCESS CORRIDOR - WITH AIRLOCKS\n\n ANOTHER ANGLE. The ship seems to breathe. The lights \n flicker...", "The strobe of the red light reveals a man floating at the \n helm, slowly spinning. He is dead, perfectly preserved in", "Alone, each sound would raise the hair on your neck. Together, \n they are unbearable.", "the briefest suggestion of a SCREAMING FACE, obscured by \n STATIC and ROLL before the screen CUTS to static entirely.\n\n The rest of the crew's POV screens go dead as...", "INT. EVENT HORIZON - MAIN ACCESS CORRIDOR - NO AIRLOCKS\n\n ANOTHER ANGLE. The ship seems to breathe. The lights \n flicker...", "Weir catches his breath. He looks up. The crew surrounds \n him, concerned.\n\n WEIR\n I'm alright now. I'm alright...", "Suddenly, the ship SHUDDERS VIOLENTLY.\n\n Weir braces himself in the doorway, staring out the forward \n window into the roiling azure clouds.", "The crew, except for Cooper. DJ whets a scalpel against the \n leg of his jumpsuit, an unconscious gesture. FLICK. FLICK. \n FLICK.", "The SHRIEKING winds carry the foredecks back towards the \n whirlpool, towards the black hole...\n\n INT. EVENT HORIZON - CORRIDOR (ROLLOVER SET)", "The crew listen, look at one another. The recording ends \n abruptly.\n\n SMITH\n What the hell is that?", "The Event Horizon looms enormous as the Lewis and Clark hangs \n off the port stern, dwarfed by the giant ship.\n\n INT. LEWIS AND CLARK - BRIDGE", "THE VISIONS CONTINUE:\n\n INT. EVENT HORIZON - MEDICAL/SCIENCE (VISIONS FROM HELL)", "Weir peers eagerly at the monitors.\n\n WEIR\n Any survivors?\n\n MILLER (O.S.)\n (radio)\n Negative.", "INT. EVENT HORIZON - GENERIC CORRIDOR\n\n The ship seems to breathe. The lights flicker..." ], [ "Starck looks around uncomprehending at the faces around her.\n\n IT'S A RESCUE TEAM\n\n Cooper pushes them aside. She clings to him, CRYING...", "Starck grabs him. He tries to shake her off, but she traps \n his arm in a wrist-lock. He turns on her, his face furious...", "The figure doesn't move. Miller slowly circles around the \n helm...\n\n It's Starck. Bound with wire in a sadomasochistic pose, \n unconscious.", "Starck rushes to him, takes his helmet off.\n\n He SUCKS air in, COUGHS it out.\n\n COOPER\n Let me breathe, let me breathe...", "STARCK\n (gasping for air)\n Please... help, help me...", "PETERS\n (tiny voice)\n Starck...\n\n Starck turns, sees the screen.", "STARCK (O.S.)\n (intercom)\n Miller, come in ...\n\n Miller finds the intercom:", "Starck follows Miller's gaze to a workstations's flashing \n display: GRAVITY DRIVE ENGAGED. ACTIVATION 00:06:43:01...", "STARCK\n Maybe one of the original crew?\n\n MILLER\n No. It was someone else.\n\n STARCK\n Who?", "Starck catches Cooper looking at her ass as she strips to \n her undergarments. Cooper grins. She flips him off, not \n bothering to turn around.", "Starck gets to her feet, staggers away...\n\n INT. EVENT HORIZON - MAIN ACCESS CORRIDOR - BY FIRST \n CONTAINTMENT", "The crew stares at him. Starck decides to play.\n\n STARCK\n A straight line.", "Weir just stares at the ruined face, rapt. Starck notices.\n\n STARCK\n You okay?\n\n Weir nods, not taking his eyes from the screen.", "No response. He slowly moves to peer up the ladder...\n\n ...as Starck CRASHES down, bloody but alive.\n\n COOPER\n What...?", "STARCK (O.S.)\n (intercom)\n Weir.\n\n MILLER\n He's dead...", "STARCK\n Run!\n\n She shoves him away...\n\n Weir appears at the top of the ladder, crawling down headfirst \n like a spider...", "Peters leads Starck and DJ down the corridor towards the \n Forward Airlock bay. They round a corner in time to see a \n figure moving in the Airlock.", "Miller hesitates, looking from Starck back into the safety \n of the ship. The door continues to shut. In seconds, he will \n be safe. And she will be dead.", "THUMP. THUMP. Starck turns. Sees the bloody tank. Sees \n something moving inside it.\n\n She slowly crosses to the tank. Peers at it...", "STARCK\n I'll do it --\n\n MILLER\n No. I'll be right back.\n\n Miller opens the door." ], [ "Starck looks around uncomprehending at the faces around her.\n\n IT'S A RESCUE TEAM\n\n Cooper pushes them aside. She clings to him, CRYING...", "Miller, Smith and Cooper cling to the Lewis and Clark's hull. \n They carefully remove an access panel, revealing scorched \n wiring.", "Gravity has scattered debris and freeze-dried blood about \n the room. The crew (Justin and Smith excepted) tries to relax \n on the chairs of dead men. Their faces are wan and haggard.", "She is gone. Weir lets his head fall to the floor of the \n deck, breathing in ragged SOBS.\n\n CUT TO:", "Weir peers eagerly at the monitors.\n\n WEIR\n Any survivors?\n\n MILLER (O.S.)\n (radio)\n Negative.", "ships were incinerated. The Skipper \n and three others just made it to a \n lifeboat. Captain Miller was able...", "A young boy, maybe five years old. His legs are withered, \n useless things. The skin remains a crystallized surface, but \n the eyes look straight at her, alive.", "Finally, Weir emerges from the gloom. He searches among the \n surgical instruments until his blood caked hands find a \n needle... and thread...", "MILLER\n (to Weir)\n You're convinced the crew could still \n be alive? After seven years?", "...and the POUNDING stops. They remain frozen for a moment. \n Afraid to breathe.\n\n Weir shakes the trance.", "The INTERCOM interrupts them:\n\n PETERS (O.S.)\n (intercom)\n Captain Miller, Dr. Weir? I found \n the final log entry.", "PETERS\n That means they didn't abandon ship.\n\n MILLER\n So where are they? Starck, any luck \n with the bio-scan?", "MILLER\n Starck... Cooper...\n\n Weir's grotesque face is inches from his. He reaches down \n and pulls Miller from the dripping ooze...", "hours, we will run out of breathable \n air. Our primary objective is now \n survival. That means we focus on \n repairing the Lewis and Clark and", "Justin, Starck and Cooper, crucified upside-down upon the \n Third Seal...\n\n INT. EVENT HORIZON - SECOND CONTAINMENT", "Miller meets the crew as they evacuate the Lewis and Clark. \n Weir leads the way, eager; Smith hangs back.\n\n MILLER\n Everybody okay?", "Miller, Peters and Justin float down the brightly lit \n umbilicus into the Event Horizon, all in EVA suits. Justin's \n safety line trails out behind him.", "Miller gets to his feet. Almost allows himself to relax. \n Then he sees his shadow before him, dancing in the growing \n red light. He turns...\n\n INT. EVENT HORIZON - SECOND CONTAINMENT", "Peters, Starck and DJ rush from the Bridge, leaving Weir \n behind.\n\n INT. EVENT HORIZON - MAIN ACCESS CORRIDOR NO. 2 - WITH \n AIRLOCKS", "DJ puts a tube in the Justin's mouth immediately, feeding \n him oxygen.\n\n PETERS\n I've got a pulse, he's alive..." ], [ "He rushes to Peters. Reaches out to touch her but pulls his \n hand back. Her eyes are black, eight-ball hemorrhage darkening \n the irises. She is dead.", "Peters reaches out to touch the body. It falls away from \n her. No longer her son, but the body of the astronaut. It \n hits the door and shatters.", "Peters starts to look up but the flash dies away. She never \n saw the horror behind her.\n\n Peters turns her attention back to her tiny crystal. She \n traps the it, returns the container to her belt.", "WEIR\n No. I saw nothing.\n\n PETERS\n I did.\n\n All heads turn to her.", "Peters turns back. Too late to see. Again, the child's WHISPER \n draws her onward.\n\n PETERS\n Denny? Denny, come to Mommy...", "PETERS\n I've seen bodies before. This is \n different.\n\n She falls silent, unwilling to say more.", "Peters hits hard, lies before the Core, an offering of flesh \n and blood. Her legs twist beneath her, shattered; blood pools \n around her head. Her chest heaves: still alive.", "PETERS\n Do you know what it was?\n\n JUSTIN\n (muffled)\n It gets inside you. It shows you \n things... horrible things...", "PETERS\n Denny?\n\n She runs forward into a junction. The lights flicker red.\n\n PETERS\n Denny...?", "PETERS\n Justin...?\n\n She turns. Justin lies on the floor in a heap, completely \n covered by his sheet. She crosses to him. Pulls back the \n sheet...", "On the threshold of hearing, a distant POUNDING. Not a \n heartbeat. Metal on metal. Something trying to get out. \n Something trying to get in.\n\n Peters wakes with a start.", "Peters' bloody grinning child, devouring his mother...\n\n INT. EVENT HORIZON - SECOND CONTAINMENT", "...THE WALL BEHIND PETERS, CASED IN A FROZEN EXPLOSION OF \n BLOOD AND TISSUE. Someone died here in a violent and terrible \n way.", "Peters enters. Looks around: a small antechamber for crew \n briefings, with chairs and a display table. Red crystals \n float in a crimson mist around her.", "Peters SCREAMS. DJ clutches her to him, backs away from the \n door.", "Peters' light, too, remains dark, but Neptune's blue light \n fills the Bridge. The frozen corpse floats before her. No \n longer a man.", "PETERS\n About an hour ago. In medical. I saw \n my son. He was lying on one of the \n examination tables and his legs \n were...\n (she trails off)", "...A BODY floating at the helm, the face illuminated by \n Peters' helmet lights. His swollen tongue clogs his gaping,", "Behind Peters, the process refines, accelerates... pieces \n coming together like a jigsaw...\n\n Peters turns around. Sees the screen. The coffee slips from \n her hand to the floor.", "PETERS\n\n ducks her head and enters the access duct.\n\n PETERS\n Denny...?\n\n CUT TO:" ], [ "Starck grabs him. He tries to shake her off, but she traps \n his arm in a wrist-lock. He turns on her, his face furious...", "Starck looks around uncomprehending at the faces around her.\n\n IT'S A RESCUE TEAM\n\n Cooper pushes them aside. She clings to him, CRYING...", "Starck rushes to him, takes his helmet off.\n\n He SUCKS air in, COUGHS it out.\n\n COOPER\n Let me breathe, let me breathe...", "The figure doesn't move. Miller slowly circles around the \n helm...\n\n It's Starck. Bound with wire in a sadomasochistic pose, \n unconscious.", "Starck gets to her feet, staggers away...\n\n INT. EVENT HORIZON - MAIN ACCESS CORRIDOR - BY FIRST \n CONTAINTMENT", "CUT TO:\n\n INT. EVENT HORIZON - AIRLOCK BAY NO. 3\n\n Starck works the airlock control panel without success.", "INT. EVENT HORIZON - CORRIDOR (ROLLOVER SET)\n\n The EXPLOSION knocks Starck and Cooper down. They hold on \n tightly as...", "Starck follows Miller's gaze to a workstations's flashing \n display: GRAVITY DRIVE ENGAGED. ACTIVATION 00:06:43:01...", "STARCK (O.S.)\n Don't leave me!\n\n Miller turns. Starck clings to a console, barely able to \n resist the winds that try to suck her into the void.", "INT. EVENT HORIZON - CORRIDOR TO BRIDGE\n\n Starck and Miller collapse against the door. A moment passes \n between them. Just happy to be breathing...", "The crew stares at him. Starck decides to play.\n\n STARCK\n A straight line.", "Miller YELLS and rips a compressor from its mount, wedges it \n in the door to keep it open. He keeps one hand on the door, \n reaches the other hand to Starck.", "Starck helps DJ and Peters carry Justin from the Airlock. \n Miller sits there, exhausted. Reaches up and pulls his helmet \n off.\n\n CUT TO:", "Miller hesitates, looking from Starck back into the safety \n of the ship. The door continues to shut. In seconds, he will \n be safe. And she will be dead.", "STARCK\n (gasping for air)\n Please... help, help me...", "INT. EVENT HORIZON - BRIDGE\n\n Starck GASPS as the CRY resounds through the bridge.", "INT. EVENT HORIZON - AIRLOCK BAY NO. 3\n\n Starck at the intercom. The others huddle by the door.", "Weir, Starck and Smith continue to hold on tightly as the \n vibration builds... and builds...\n\n STARCK\n Here comes another one! Hold on!", "Starck pushes Weir ahead of her, Smith follows hard as they \n run the length of the ship for the airlock bay.\n\n INT. EVENT HORIZON - MEDICAL/SCIENCE", "Peters leads Starck and DJ down the corridor towards the \n Forward Airlock bay. They round a corner in time to see a \n figure moving in the Airlock." ], [ "The Event Horizon looms enormous as the Lewis and Clark hangs \n off the port stern, dwarfed by the giant ship.\n\n INT. LEWIS AND CLARK - BRIDGE", "The ship HOWLS as air rushes out, ripping Weir off his feet. \n Weir catches himself in the broken window, trying to pull \n himself back in...", "The crew stares at the ship rushing past the viewport. A \n huge spherical structure looms eerily ahead.", "INT. EVENT HORIZON - MAIN ACCESS CORRIDOR - WITH AIRLOCKS\n\n ANOTHER ANGLE. The ship seems to breathe. The lights \n flicker...", "Gravity has scattered debris and freeze-dried blood about \n the room. The crew (Justin and Smith excepted) tries to relax \n on the chairs of dead men. Their faces are wan and haggard.", "INT. EVENT HORIZON - GENERIC CORRIDOR\n\n The ship seems to breathe. The lights flicker...", "The SHRIEKING winds carry the foredecks back towards the \n whirlpool, towards the black hole...\n\n INT. EVENT HORIZON - CORRIDOR (ROLLOVER SET)", "The Lewis and Clark moves even closer. Vanishing into the \n shadow of the Event Horizon.\n\n INT. LEWIS AND CLARK - BRIDGE", "INT. EVENT HORIZON - MAIN ACCESS CORRIDOR - NO AIRLOCKS\n\n ANOTHER ANGLE. The ship seems to breathe. The lights \n flicker...", "Suddenly, the ship SHUDDERS VIOLENTLY.\n\n Weir braces himself in the doorway, staring out the forward \n window into the roiling azure clouds.", "A monitor tears free, SMASHES into him. HE IS SUCKED OUT.\n\n Miller pulls himself through the door as it begins to shut. \n He is safe...", "Miller stares as the Burning Man turns and vanishes into a \n bulkhead, leaving the wall blackened and burned with his \n passing.\n\n INT. EVENT HORIZON - WEIR'S DUCT", "Miller assists Weir in removing bolts from an access panel. \n The panel falls away, revealing a cramped duct leading into \n the ship's circuitry.", "Peters enters. Looks around: a small antechamber for crew \n briefings, with chairs and a display table. Red crystals \n float in a crimson mist around her.", "INT. EVENT HORIZON - AIRLOCK BAY NO. 3\n\n They are stunned to hear his voice. Peters answers:", "A small, silent EXPLOSION blossoms in the aft section of the \n ship...\n\n INT. EVENT HORIZON - MAIN ACCESS CORRIDOR - NO AIRLOCKS", "INT. EVENT HORIZON - AIRLOCK BAY NO. 3\n\n They race into the bay even as Justin steps into the Airlock. \n He is naked.", "...drags her to the door... through the door...\n\n ...as the compressor tears free, sucked into space...\n\n ...and the door SNAPS shut, missing them by a fraction.", "Miller pulls him into the Airlock. Five seconds have passed \n since the airlock door opened.\n\n INT. EVENT HORIZON -- AIRLOCK NO. 3", "INT. LEWIS AND CLARK - BRIDGE\n\n Smith keeps a tight hand on the controls. The crew stare out \n the viewport at the abandoned craft." ] ]

[ "How long does it take for a rescue party to board the Event Horizon at the end of the story?", "What was the Event Horizon built to test?", "Who attempts suicide after being pulled into the portal?", "Where was the Event Horizon voyaging to when it disappeared?", "What does the crew find upon boarding the Event Horizon at the begining of the story?", "What is wrong with the captain's face when the crew sees him at the end of the video log?", "What do Miller and D. J. bellieve to be true of the portal after they view the video log?", "What forced the crew to board the Event Horizon near the begining of the story?", "Where does Weir believe the Event Horizon portal lures people?", "What is the Event Horizon?", "Who designed the Event Horizon?", "What did the crew find evidence of on the starship?", "How was the Lewis and Clark damaged?", "What was on the video log of the Event Horizon?", "What is used as a lifeboat?", "Who sacrificed himself to save the others?", "Who does Starck see as a rescuer?", "Who overpowers Miller?", "What is Weir's theory? ", "What is the name of the starship that vanished on its way to Proxima Centauri?", "What does the video log of the vanished ship show?", "What does Miller and D.J presume to have happened that caused the havoc on the vanished ship?", "Why does Weir blow up the Lewis and Clark?", "What kind of emotions do the hallucinations play upon for the crew?", "Who does Starck recognize as a rescuer in disguise?", "What three surviving people do the rescuers find?", "Who is Peters hallucinating that leads to her death?", "Who restrains Starck after the rescue crew arrives?", "When the crew first boards the vanished ship, who is almost sucked into a portal?" ]

[ [ "72 days", "72" ], [ "an experimental gravity drive", "a gravity drive" ], [ "Justin", "Engineer Ensign Justin." ], [ "Proxima Centuari", "Proxima Centauri" ], [ "a massacure", "Evidence of a massacre. " ], [ "His eyes are gouged", "He has gouged out his own eyes." ], [ "They believe it is linked to an unknown universe.", "The gravity drive opened into a previously unknown dimension, which turned the ship into a sentient being that torments its occupants." ], [ "The gravity portal activated, causing a shock wave.", "a distress call" ], [ "back to hell", "Hell" ], [ "It is a starship that disappeared during its voyage.", "starship" ], [ "Dr. William Weir. ", "Dr. William Weir" ], [ "They found evidence of a massacre. ", "a massacre" ], [ "It was damaged by a shock wave. ", "Weir destroys it with an explosive device." ], [ "The video showed the Event Horizon's crew going insane and mutilating each other. ", "The Event Horizon's captain speaking Latin with his eyes gouged out." ], [ "The ship's forward section is used. ", "half of the Event Horizon" ], [ "Miller. ", "Miller" ], [ "Starck sees Weir. ", "Weir" ], [ "Weir does. ", "Weir" ], [ "His theory is that this horrible dimension lures people back into hell after being tormented.", "That the Event Horizon is now a sentiment being that torments anyone on it." ], [ "the Event Horizon", "the Event Horizon" ], [ "That the crew went crazy and killed each other", "The crew went insane and mutilated each other." ], [ "A portal opened to an unknown universe and turned the ship into its own sentient evil being", "influence from an unknown dimension turned the ship into a hellish tormenting sentient being " ], [ "He becomes possessed by the ship", "He is possessed by evil" ], [ "They play on the crews regrets and fears", "hellish" ], [ "Weir", "Weir" ], [ "Strack, Justin, and Cooper", "starck cooper Justin" ], [ "her son", "Her son." ], [ "Cooper", "Cooper" ], [ "Justin", "Justin" ] ]

[ [ "SAMANTHA\n I don't know.\n (beat)\n It's coming back, though. All these... \n little details about him.", "Samantha, having survived. Laid up now in an austere hospital \n room. Listening to silence. Stares out the window at a sunlit \n tree. Head bandaged. Frowns:", "MEMORY FLASH: A CLIFF overlooking the ocean. Darkness. \n Sheeting rain. Our heroine (for it is unquestionably SAMANTHA)", "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER", "Samantha opens her eyes. Blinks. Hazy, out of focus. Tries \n to rub her eyes, can't. Hands. Something's wrong, what the", "SAMANTHA\n I speak French.\n\n PSYCHIATRIST\n You do.", "SAMANTHA\n *My full name*. Please...!\n\n A pause. Then:\n\n NATHAN\n You don't know your name.", "SAMANTHA\n I'm *remembering*, Hal. Things are \n coming back. Trust me, I'm a chef, I \n know it.", "SAMANTHA (V.O.)\n 3000 days. I teach now, fifth grade. \n I have the key, I wear it around my", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "SAMANTHA (V.O.)\n Eight years. I keep hiring detectives, \n but they never find anything.", "SAMANTHA\n She said her wrist hurt. I didn't \n know it was broken, God. I can't \n even remember what I said to her...!", "Henessey is trembling; Samantha comatose. Nathan steals a \n look in the rear view mirror. Gets his first good view of \n Samantha. Reacts, stunned:", "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "SAMANTHA\n Thanks for the drink. But no. I don't \n know you.\n\n Timothy nods slowly.", "SAMANTHA\n Age four, kid's unbelievable.\n (sighs)\n I'm too old for this, Earl.", "SAMANTHA\n I can feel her. Like a ghost.\n (beat)", "DAEDALUS\n Well, good afternoon. If it isn't \n the forgetful spy. How you feeling?\n\n SAMANTHA\n Not-so fresh." ], [ "SAMANTHA (V.O.)\n Eight years. I keep hiring detectives, \n but they never find anything.", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "SAMANTHA\n A private detective's coming by, \n he... he's found something.\n (beat)", "SAMANTHA\n I don't know.\n (beat)\n It's coming back, though. All these... \n little details about him.", "INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER", "SAMANTHA\n Mr. Windeman, please let him help \n you. I know this man, I... I'm pretty \n sure I slept with him.", "SAMANTHA\n Excuse me.\n\n The girls whirl around, startled -- Samantha is leaning on \n the desk behind them. Busted. She smiles amiably:", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "Samantha smiles thinly. The man's a lunatic.\n\n INT. STORAGE FACILITY - DAY", "NATHAN\n Who... who is this?\n\n SAMANTHA\n You tell me, Mr. Windeman.", "He holds up the envelope: addresses to one *Nathan Windeman*. \n Fishes in his coat, brings out Samantha's CHECK. Written to \n him, earlier that day... identical handwriting. CUT TO:", "Samantha, having survived. Laid up now in an austere hospital \n room. Listening to silence. Stares out the window at a sunlit \n tree. Head bandaged. Frowns:", "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "SAMANTHA\n I can feel her. Like a ghost.\n (beat)", "SLAM CUT TO:\n\n SAMANTHA - ON THE PHONE TO HER SHRINK - INTERCUT\n\n Jubilant, can't contain herself:", "MEMORY FLASH: A CLIFF overlooking the ocean. Darkness. \n Sheeting rain. Our heroine (for it is unquestionably SAMANTHA)", "SAMANTHA is tied to that wheel. Lashed to its SIDE, affixed \n to it like a goddess to a Greek sailing ship. Now the bad", "SAMANTHA\n Had to, he... he would've killed \n her... Had to... Oh God I took him,", "SAMANTHA\n I speak French.\n\n PSYCHIATRIST\n You do." ], [ "SAMANTHA\n Had to, he... he would've killed \n her... Had to... Oh God I took him,", "He turns to Samantha -- except Sam isn't there. Her arm shoots \n out-! CLAMPS on one of the men. By the throat. Catches him", "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "He gets into the car. Starts the engine. Samantha reacts, \n distraught. Leans in, kills the ignition. Pulls him out of \n the car.", "SAMANTHA\n Right, he was, you got a problem \n with that? Pasty Joe, we called him.", "Henessey swears. Swings wide, when suddenly a HAND clutches \n his arm. He looks over and suppresses a shiver -- Samantha's", "Henessey is trembling; Samantha comatose. Nathan steals a \n look in the rear view mirror. Gets his first good view of \n Samantha. Reacts, stunned:", "HAL is standing in the doorway. Wide-eyed. He has seen \n Samantha break the man's neck. She looks at him, frowns.", "SAMANTHA\n So?\n\n HENESSEY\n So you shot a guy in the head \n yesterday. We wait outside.", "He stands, heads off. Samantha nervously lights a cigarette. \n The bartender suddenly puts a BEER in front of her. She \n reaches for her purse. He waves it away, points beside her. \n She turns...", "Samantha shoots him a look. ON A TV above the bar, a British-\n sounding CNN announcer is saying:", "JACK kicks Samantha in the gut. She collapses onto the stairs. \n Splinters the banister. That's when he sees CAITLIN. Top of \n the stairs, paralyzed.", "Samantha didn't even look. Didn't need to. Here comes JACK. \n Up the staircase. Reloading. Samantha launches herself down", "Jack raises his arm for the killing stroke -- Samantha takes \n Hal's cream pie from the counter and shatters every bone in \n his face.", "Henessey stares at her. As Nathan reaches for the envelope, \n his coat falls open and Samantha GASPS; his left side is \n soaked with blood.", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "The DOOR bangs open and Samantha comes out of the house. \n Carrying bandages. Alcohol. Crosses to the tree stump, kneels \n before Nathan. His voice is a harsh rasp:", "HENESSEY\n No more killing.\n\n Samantha's voice is cool and level:\n\n SAMANTHA\n No more killing.", "She laughs again. Henessey favors her with a look reserved \n for people with major deformities. Suddenly she says:\n\n SAMANTHA\n Pull over.", "SAMANTHA\n *Drive up the fucking hill*.\n\n Now Henessey shivers. Cranks the wheel as we CUT TO:" ], [ "VOICE (O.S.)\n Your old colleague, One-Eyed Jack...? \n Recently escaped from a high-security", "Sam's cry is a veritable shriek. HAL LAUNCHES himself from \n the kitchen doorway. Pounces on Jack, snarling -- brave,", "JACK. On the ground. Fires, *wham*--! The wall DISAPPEARS \n three inches from Caitlin's head. Blown to shreds, you can", "prison, as you're aware. But listen \n to this: prior to his escape, seems \n he saw something on TV that disturbed", "Samantha didn't even look. Didn't need to. Here comes JACK. \n Up the staircase. Reloading. Samantha launches herself down", "TIMOTHY bolts from the house, clutching a bleeding hand. \n Running hellbent for leather. Reaches a parked car. Leaps in \n and kicks over the engine as, behind him --", "Then she's up and running. Along the cliff, toward the car... \n Jack, HOWLING in pain, stumbling... Draws his gun and shoots \n her. In the head.", "JACK kicks Samantha in the gut. She collapses onto the stairs. \n Splinters the banister. That's when he sees CAITLIN. Top of \n the stairs, paralyzed.", "He exits. Daedalus, alone with his captive. On her features, \n unbridled HATRED. He chuckles:", "He takes off for the lake at a dead run. Behind him, the \n bloodied Nathan DRAGS himself to his feet and lurches off \n the porch, stumbling. Weaving. Refusing to go down.", "The happy news chatter continues. Jack isn't listening. Jack \n isn't talking or breathing either. He's simply STARING at \n the TV screen, jaw slack...", "HENESSEY\n ...and here's the jail here, see...? \n Escape chute for the Borian, he's a", "They have to drag Timothy inside the car. The engine ROARS \n as it leaps forward, trailing the other FIVE -- Scarred and \n hideous, he stares after Charly, screaming:", "Charly casts about for an escape route. Set into the brick \n wall, a huge steel DOOR. She flings it open -- MEAT LOCKER. \n Nothing there, no help. Eyes darting. Possessed.", "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "Henessey flies out of the parking lot and INTO the WOODS as \n the firestorm RAGES TO HEAVEN behind him. Cars, heading his", "Hooting out loud. Tears, streaming... He manages to bring \n himself under control. Stops, gestures to the CELLAR ACCESS, \n the dark awaits...", "CAITLIN darts in and out of the trees. Frightened. In the \n background, men rush back and forth. The MOTEL burns merrily.", "And as Timothy PEELS OUT, spraying mud, we pull UP, UP, AND \n AWAY... Into the sky, moving ever higher, gunfire fading...", "distant CRACKS. The bad men go away, catapulted backwards. \n Henessey shouts into the radio:" ], [ "terrorist's visa was CIA, they \n *facilitated* the bombing. Purely to \n justify a budget increase. Of course,", "Meanwhile, I just got around to \n reading the papers, there's the small \n matter of an incident upstate. Long", "CHARLY\n Theory, my ass. I think some \n terrorists were planning a strike.", "PERKINS\n No. This time, the terrorist event \n will come off precisely as planned.", "bombing...? The CIA had advance \n knowledge, don't think they didn't. \n Worse, the diplomat who issued the", "After he was murdered in 1971, his \n friend Perkins recruited you for \n Chapter, a black bag operation working", "America. Across the board, an \n intelligence blackout. We had to \n recruit any eyes and ears we could", "CHARLY\n You'll get all the money you want at \n the next budget hearing, won't you...? \n All you need is a major terrorist \n incident.", "CHARLY\n Easy, Mitch.\n (to Timothy)\n How you gonna blame it on terrorists?", "PERKINS\n It's not without precedent. 1993, \n remember the World Trade Center", "CHARLY\n Never really existed. Like Nathan \n said, she was a total fabrication, I \n made her up.", "Henessey reacts, startled. Timothy chuckles:\n\n TIMOTHY\n Truck goes, hundreds dead -- rescue \n teams within minutes, guess what \n they find...?", "The head of the CIA pipes up:\n\n CIA DIRECTOR\n Mr. President, please calm down. The \n CIA bears no responsibility for this \n problem.", "HENESSEY\n Charly, Timothy rigged the tanker to \n go off early. We got fifteen minutes. \n No more.\n\n On her reaction we CUT TO:", "they'd no way of knowing the \n terrorists would botch the job.", "BACK ON THE SLEIGH\n\n CHARLY throws herself flat next to Santa.\n\n CHARLY\n Sorry, man. Government agents, high \n level conspiracy.", "fact, I had every confidence that \n your amnesia was genuine -- until \n you showed up *here*. You follow?\n (beat)", "terrorist on ice, waiting to play \n patsy.\n (points)\n What's in the sack?", "This time the terrorists can't muck \n it up... because we've killed them \n and taken over.", "He slams home the knife. We don't see it, but we FEEL the \n impact. The FBI man's face contorts in SHOCK. Twisted. Inches \n away from Timothy, their eyes lock..." ], [ "terrorist's visa was CIA, they \n *facilitated* the bombing. Purely to \n justify a budget increase. Of course,", "CHARLY\n Theory, my ass. I think some \n terrorists were planning a strike.", "The head of the CIA pipes up:\n\n CIA DIRECTOR\n Mr. President, please calm down. The \n CIA bears no responsibility for this \n problem.", "PERKINS\n No. This time, the terrorist event \n will come off precisely as planned.", "bombing...? The CIA had advance \n knowledge, don't think they didn't. \n Worse, the diplomat who issued the", "He slams home the knife. We don't see it, but we FEEL the \n impact. The FBI man's face contorts in SHOCK. Twisted. Inches \n away from Timothy, their eyes lock...", "Three GOVERNMENT AGENTS. Faces drawn, haggard. Pit-stained \n shirts, day old sandwiches. Carrying photographs of Charly", "BACK ON THE SLEIGH\n\n CHARLY throws herself flat next to Santa.\n\n CHARLY\n Sorry, man. Government agents, high \n level conspiracy.", "After he was murdered in 1971, his \n friend Perkins recruited you for \n Chapter, a black bag operation working", "CHARLY\n Easy, Mitch.\n (to Timothy)\n How you gonna blame it on terrorists?", "HERE COMES HENESSEY, powers across the lot, pedal to the \n metal. Followed at a distance of fifty yards by half a dozen \n squawling GOVERNMENT VEHICLES, flashers turning.", "PERKINS\n It's not without precedent. 1993, \n remember the World Trade Center", "Henessey reacts, startled. Timothy chuckles:\n\n TIMOTHY\n Truck goes, hundreds dead -- rescue \n teams within minutes, guess what \n they find...?", "CHARLY\n You'll get all the money you want at \n the next budget hearing, won't you...? \n All you need is a major terrorist \n incident.", "America. Across the board, an \n intelligence blackout. We had to \n recruit any eyes and ears we could", "Government sedan, KILLS THE PASSENGER. Collapses him over \n the doorframe. Gun clatters to the street, car speeds off --\n\n INT. GOVERNMENT SEDAN - DRIVING", "Meanwhile, I just got around to \n reading the papers, there's the small \n matter of an incident upstate. Long", "She goes SIDESLIPPING at superhuman speed. Tacks alongside \n the government sedan. Targets the bald guy's head. Raises", "BACKSEAT\n I got him.\n\n The backseat agent hefts an AK-47 assault rifle.\n\n WITH HENESSEY - DRIVING", "they'd no way of knowing the \n terrorists would botch the job." ], [ "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "SAMANTHA\n *My full name*. Please...!\n\n A pause. Then:\n\n NATHAN\n You don't know your name.", "NATHAN\n Charlene, darling --\n\n SAMANTHA\n My name is Caine. Samantha Caine.", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "NATHAN\n Who... who is this?\n\n SAMANTHA\n You tell me, Mr. Windeman.", "INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER", "SAMANTHA\n Excuse me.\n\n The girls whirl around, startled -- Samantha is leaning on \n the desk behind them. Busted. She smiles amiably:", "SAMANTHA (O.S.)\n My full name, please.", "SAMANTHA\n Oh, SHIT!", "SAMANTHA is tied to that wheel. Lashed to its SIDE, affixed \n to it like a goddess to a Greek sailing ship. Now the bad", "SAMANTHA\n ...Nobody... fuck you...", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "Samantha. Seeing her eyelids flutter, he tosses her a cherry \n wave. Gone is the gee-whiz country boy schtick; in its place,", "Samantha endures as much as she can. Speaks up:\n\n SAMANTHA\n \"Movin' in.\"", "He holds up the envelope: addresses to one *Nathan Windeman*. \n Fishes in his coat, brings out Samantha's CHECK. Written to \n him, earlier that day... identical handwriting. CUT TO:", "SAMANTHA\n Right, he was, you got a problem \n with that? Pasty Joe, we called him.", "SAMANTHA\n Had to, he... he would've killed \n her... Had to... Oh God I took him,", "SAMANTHA\n Thanks for the drink. But no. I don't \n know you.\n\n Timothy nods slowly.", "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "He turns to Samantha -- except Sam isn't there. Her arm shoots \n out-! CLAMPS on one of the men. By the throat. Catches him" ], [ "SAMANTHA (V.O.)\n 3000 days. I teach now, fifth grade. \n I have the key, I wear it around my", "SAMANTHA\n Excuse me.\n\n The girls whirl around, startled -- Samantha is leaning on \n the desk behind them. Busted. She smiles amiably:", "INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER", "Samantha, having survived. Laid up now in an austere hospital \n room. Listening to silence. Stares out the window at a sunlit \n tree. Head bandaged. Frowns:", "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "Samantha. Seeing her eyelids flutter, he tosses her a cherry \n wave. Gone is the gee-whiz country boy schtick; in its place,", "Samantha endures as much as she can. Speaks up:\n\n SAMANTHA\n \"Movin' in.\"", "Samantha sets her sailing. Laughs excitedly. The bike weaves, \n side to side... hits the curb and topples with a CRASH. Spills", "SAMANTHA\n In front of little Billy, age four, \n yeah. \"Look, Mommy, Mrs. Claus chooses \n to go butt-mining.\"", "SAMANTHA\n This is all I ever wanted.\n\n At which point, young Caitlin says:\n\n CAITLIN\n How would you know?", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "SLAM CUT TO:\n\n SAMANTHA - ON THE PHONE TO HER SHRINK - INTERCUT\n\n Jubilant, can't contain herself:", "SAMANTHA\n Age four, kid's unbelievable.\n (sighs)\n I'm too old for this, Earl.", "SAMANTHA is tied to that wheel. Lashed to its SIDE, affixed \n to it like a goddess to a Greek sailing ship. Now the bad", "SAMANTHA\n So now you're a sharpshooter?\n\n HENESSEY\n Ho, ho.", "EXT. HILLTOP - OVERLOOKING TOWN - NIGHT\n\n SAMANTHA flops on the frozen ground in a stand of pine trees.", "SAMANTHA\n I speak French.\n\n PSYCHIATRIST\n You do.", "SAMANTHA\n Had to, he... he would've killed \n her... Had to... Oh God I took him,", "SAMANTHA\n I'm... um, I mean... what?" ], [ "A tired TV set drones to an audience of one. Let's call him \n ONE-EYED JACK. In fact, let's give him one eye, the other", "The happy news chatter continues. Jack isn't listening. Jack \n isn't talking or breathing either. He's simply STARING at \n the TV screen, jaw slack...", "prison, as you're aware. But listen \n to this: prior to his escape, seems \n he saw something on TV that disturbed", "top TV is on, the Three Stooges. Samantha is on the phone, \n saying:", "Samantha shoots him a look. ON A TV above the bar, a British-\n sounding CNN announcer is saying:", "watches TV nearby. In her lap, a Pomeranian cleans itself. \n Windeman scowls:", "A TELEVISION IMAGE fills the screen. Black and white. Grainy. \n The legend: BELFAST, NORTHERN IRELAND, over footage of a", "CHARLY\n Absolutely. Oh, and afterwards? Oh \n my God, afterwards I said the most", "KTVA news journeyed to Upper Sandusky, \n where Santa's own *Mrs*. Kringle \n turned out to celebrate her hubby's", "GREGORY\n Saw him on the telly. Think he'd \n kill me? I'm a nasty one, I am.", "CHARLY\n Never really existed. Like Nathan \n said, she was a total fabrication, I \n made her up.", "SILVER-HAIRED MAN\n On TV, that's correct. It's two weeks \n old, intelligence just caught it.", "NATHAN\n (nods)\n I saw the news report, they found a \n shell casing a thousand yards away, \n helluva shot.", "The snapped-in-two hitman announces Nathan's arrival by FLYING \n THROUGH THE WINDOW in an explosion of glass. Caroms off a \n table and bounces head over heels. Hits, dead.", "VOICE (O.S.)\n The man was overheard talking to \n himself under sedation.\n (beat)\n He said Charly Baltimore's alive, \n sir.", "speaking on TV. A CALENDAR on the table identifies the date \n as June 23, 1971.", "NATHAN\n My star pupil...\n (smiles thinly)\n That man in Pennsylvania yesterday... \n The one at the diner, that was hers, \n wasn't it...?", "replaced by a PATCH. He smokes cigarettes, stubs them out on \n the chair's armrest. Throws offhand glances at the TV screen.", "last season it was a different faggy \n guy. Okay. Here's what we do; get on \n the horn to amnesia chick, tell her", "Black indeed. Deep. Empty. Out of the darkness, we hear a \n NEWS COMMENTATOR. Voice scratchy. Indistinct. Far away or \n long ago..." ], [ "MEMORY FLASH: A CLIFF overlooking the ocean. Darkness. \n Sheeting rain. Our heroine (for it is unquestionably SAMANTHA)", "SAMANTHA\n I don't know.\n (beat)\n It's coming back, though. All these... \n little details about him.", "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "SAMANTHA\n I'm *remembering*, Hal. Things are \n coming back. Trust me, I'm a chef, I \n know it.", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "Samantha, having survived. Laid up now in an austere hospital \n room. Listening to silence. Stares out the window at a sunlit \n tree. Head bandaged. Frowns:", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER", "SAMANTHA\n I speak French.\n\n PSYCHIATRIST\n You do.", "SLAM CUT TO:\n\n SAMANTHA - ON THE PHONE TO HER SHRINK - INTERCUT\n\n Jubilant, can't contain herself:", "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "Samantha smiles thinly. The man's a lunatic.\n\n INT. STORAGE FACILITY - DAY", "SAMANTHA\n *My full name*. Please...!\n\n A pause. Then:\n\n NATHAN\n You don't know your name.", "SAMANTHA (V.O.)\n 3000 days. I teach now, fifth grade. \n I have the key, I wear it around my", "SAMANTHA\n She said her wrist hurt. I didn't \n know it was broken, God. I can't \n even remember what I said to her...!", "SAMANTHA\n Excuse me.\n\n The girls whirl around, startled -- Samantha is leaning on \n the desk behind them. Busted. She smiles amiably:", "Samantha opens her eyes. Blinks. Hazy, out of focus. Tries \n to rub her eyes, can't. Hands. Something's wrong, what the", "SAMANTHA\n Yeah, well. I caught you and forgot \n you. Sorry.", "DAEDALUS\n Well, good afternoon. If it isn't \n the forgetful spy. How you feeling?\n\n SAMANTHA\n Not-so fresh.", "SAMANTHA\n I'm... um, I mean... what?" ], [ "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "GIRL #1\n That's her?\n\n Caitlin nods. Kid #2:\n\n GIRL #2\n That's who?", "Caitlin, dead.\n\n The rage explodes in the form of a kick which SHATTERS the \n lock on the trunk. *Dammit*, she needs a fucking miracle.", "CAITLIN\n Am I gonna die...?\n\n From a dark and cold place, Caitlin has led her home. Charly's \n eyes, like steel. A harsh whisper:", "CAITLIN\n *Don't you die*, you get up now, \n Goddammit...! Life is pain, you just", "CAITLIN\n Daddy, make her stop!", "You don't want to ever be on the receiving end of the LOOK \n she gives him... Steps into the freezer, holding Caitlin. As \n the door starts to swing shut, she says:", "SAMANTHA\n Caitlin.\n\n HENESSEY\n Yeah, whatever. Um, could he be \n the...?", "CAITLIN\n His name is Mr. Perkins, my Mom named \n him for me.\n\n GIRL #1 points, whispers excitedly:", "In the end, Caitlin relents. RUNS, toward the surrounding \n woods... Charly watches her go. Nods, satisfied -- Collapses.", "Charly looks up, face haggard and depleted... Caitlin's eyes, \n alive again. No longer dulled. Kid reaches inside her CAST \n and brings out a pack of matches.", "CHARLY\n I love you, Caitlin, oh God, do you \n know how much I love you...?\n\n Caitlin pulls back, looks flush in her mother's face.", "Perkins crosses to the bed. Rubs tired eyes. Gazes down at \n Caitlin. Asleep, a syringe on the nightstand beside her. \n Next to a brown paper bag.", "CAITLIN darts in and out of the trees. Frightened. In the \n background, men rush back and forth. The MOTEL burns merrily.", "JACK kicks Samantha in the gut. She collapses onto the stairs. \n Splinters the banister. That's when he sees CAITLIN. Top of \n the stairs, paralyzed.", "HENESSEY\n Yeah, yeah. What else, we got a \n fucking lightning rod on the roof...? \n No, Caitlin, *don't check*.", "Caitlin to the pavement. Now's she's CRYING.", "CHARLY\n I know.\n\n Henessey starts to fade... breathing labored... Reaches up... \n strokes Caitlin's hair. Smiles at her:", "CAITLIN\n Swear.\n\n GIRL #2\n Too weird.\n\n A voice interrupts their reverie:", "SAMANTHA\n This is all I ever wanted.\n\n At which point, young Caitlin says:\n\n CAITLIN\n How would you know?" ], [ "Henessey is trembling; Samantha comatose. Nathan steals a \n look in the rear view mirror. Gets his first good view of \n Samantha. Reacts, stunned:", "Samantha didn't even look. Didn't need to. Here comes JACK. \n Up the staircase. Reloading. Samantha launches herself down", "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "She laughs again. Henessey favors her with a look reserved \n for people with major deformities. Suddenly she says:\n\n SAMANTHA\n Pull over.", "He gets into the car. Starts the engine. Samantha reacts, \n distraught. Leans in, kills the ignition. Pulls him out of \n the car.", "Henessey stares at her. As Nathan reaches for the envelope, \n his coat falls open and Samantha GASPS; his left side is \n soaked with blood.", "SAMANTHA\n Mr. Windeman, please let him help \n you. I know this man, I... I'm pretty \n sure I slept with him.", "SAMANTHA\n So?\n\n HENESSEY\n So you shot a guy in the head \n yesterday. We wait outside.", "SAMANTHA\n (sotto)\n What are you doing?\n\n HENESSEY\n Pork. On your nine.", "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "SAMANTHA\n So now you're a sharpshooter?\n\n HENESSEY\n Ho, ho.", "He turns to Samantha -- except Sam isn't there. Her arm shoots \n out-! CLAMPS on one of the men. By the throat. Catches him", "He stands, heads off. Samantha nervously lights a cigarette. \n The bartender suddenly puts a BEER in front of her. She \n reaches for her purse. He waves it away, points beside her. \n She turns...", "She ignores him. Focuses through the scope. POV SAMANTHA: \n Framed in spectral GREEN, the diner's interior. Hostages. \n Crying mothers. Children, catatonic.", "Samantha, having survived. Laid up now in an austere hospital \n room. Listening to silence. Stares out the window at a sunlit \n tree. Head bandaged. Frowns:", "JACK kicks Samantha in the gut. She collapses onto the stairs. \n Splinters the banister. That's when he sees CAITLIN. Top of \n the stairs, paralyzed.", "Clothes to kill for. Smooth velvet. Creamy silk. The finest, \n the best. The sexiest. Sam peeks at the tags:", "Samantha. Seeing her eyelids flutter, he tosses her a cherry \n wave. Gone is the gee-whiz country boy schtick; in its place,", "INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER" ], [ "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "SAMANTHA\n *My full name*. Please...!\n\n A pause. Then:\n\n NATHAN\n You don't know your name.", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "NATHAN\n Charlene, darling --\n\n SAMANTHA\n My name is Caine. Samantha Caine.", "INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER", "NATHAN\n Who... who is this?\n\n SAMANTHA\n You tell me, Mr. Windeman.", "SAMANTHA\n Excuse me.\n\n The girls whirl around, startled -- Samantha is leaning on \n the desk behind them. Busted. She smiles amiably:", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "Samantha endures as much as she can. Speaks up:\n\n SAMANTHA\n \"Movin' in.\"", "SAMANTHA (O.S.)\n My full name, please.", "SAMANTHA is tied to that wheel. Lashed to its SIDE, affixed \n to it like a goddess to a Greek sailing ship. Now the bad", "SAMANTHA\n Oh, SHIT!", "SAMANTHA\n Thanks for the drink. But no. I don't \n know you.\n\n Timothy nods slowly.", "Samantha. Seeing her eyelids flutter, he tosses her a cherry \n wave. Gone is the gee-whiz country boy schtick; in its place,", "SAMANTHA\n ...Nobody... fuck you...", "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "SLAM CUT TO:\n\n SAMANTHA - ON THE PHONE TO HER SHRINK - INTERCUT\n\n Jubilant, can't contain herself:", "He holds up the envelope: addresses to one *Nathan Windeman*. \n Fishes in his coat, brings out Samantha's CHECK. Written to \n him, earlier that day... identical handwriting. CUT TO:", "Samantha smiles thinly. The man's a lunatic.\n\n INT. STORAGE FACILITY - DAY", "Samantha is suddenly holding a cigarette. She raises it to \n her lips. Her reflection MIRRORS her precisely. Except" ], [ "SAMANTHA\n Had to, he... he would've killed \n her... Had to... Oh God I took him,", "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "Samantha endures as much as she can. Speaks up:\n\n SAMANTHA\n \"Movin' in.\"", "SAMANTHA\n This is all I ever wanted.\n\n At which point, young Caitlin says:\n\n CAITLIN\n How would you know?", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "Samantha is suddenly holding a cigarette. She raises it to \n her lips. Her reflection MIRRORS her precisely. Except", "He holds up the envelope: addresses to one *Nathan Windeman*. \n Fishes in his coat, brings out Samantha's CHECK. Written to \n him, earlier that day... identical handwriting. CUT TO:", "Samantha takes the keys from him. Breathes deeply of the \n chill night air. Smiling. Surveys the scene... their friends. \n The neighborhood. Sighs:", "INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER", "SAMANTHA\n That man who tried to hurt us...? If \n I stay here... other people will \n come. I have to leave. Just for a \n little while.", "Without warning, her head snaps upward -- Eyes cold. Voice, \n not her own:\n\n SAMANTHA\n Watch your back. I'm not done yet.", "SAMANTHA\n *My full name*. Please...!\n\n A pause. Then:\n\n NATHAN\n You don't know your name.", "Samantha, having survived. Laid up now in an austere hospital \n room. Listening to silence. Stares out the window at a sunlit \n tree. Head bandaged. Frowns:", "SAMANTHA\n No... that's what's strange.\n (shakes her head)\n If I saw him on the street, I... I \n wouldn't... oh.", "SAMANTHA\n Excuse me.\n\n The girls whirl around, startled -- Samantha is leaning on \n the desk behind them. Busted. She smiles amiably:", "SAMANTHA\n That's for a portable phone. I keep \n it with me, you call me anytime, you \n don't worry about the bill. And last \n but not least --", "SAMANTHA\n Oh, SHIT!", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "NATHAN\n Who... who is this?\n\n SAMANTHA\n You tell me, Mr. Windeman.", "SAMANTHA is tied to that wheel. Lashed to its SIDE, affixed \n to it like a goddess to a Greek sailing ship. Now the bad" ], [ "terrorist's visa was CIA, they \n *facilitated* the bombing. Purely to \n justify a budget increase. Of course,", "The head of the CIA pipes up:\n\n CIA DIRECTOR\n Mr. President, please calm down. The \n CIA bears no responsibility for this \n problem.", "After he was murdered in 1971, his \n friend Perkins recruited you for \n Chapter, a black bag operation working", "bombing...? The CIA had advance \n knowledge, don't think they didn't. \n Worse, the diplomat who issued the", "TIMOTHY\n Already did, Mitch, someone already \n did. Perkins got stuck with a double \n agent, someone trusted, highly placed.", "America. Across the board, an \n intelligence blackout. We had to \n recruit any eyes and ears we could", "AIDE\n ...They'll push for dismantlement of \n our apparatus in Chile, but we've \n got a degree of plausible \n deniability...", "CIA DIRECTOR\n Sir! That controversy has been \n thoroughly dealt with, and if there \n still exists a leak, perhaps this... \n woman agent of his --", "CHARLY\n Easy, Mitch.\n (to Timothy)\n How you gonna blame it on terrorists?", "The assassin called TIMOTHY sits down two stools away.\n\n TIMOTHY\n For you. Another in a long line of \n bad investments.", "HENESSEY\n Who?\n\n TIMOTHY\n Me.\n (chuckles)\n Chinks are paying me to bring down \n Chapter.", "CHARLY\n Yes, Mr. President, you have my \n assurance that Perkins' latest \n operation has been rendered beyond \n salvage.", "BEHIND HIM, a second HITMAN. Blown to tatters. The KNIFE \n meant for Henessey arcs through the air...", "He hangs up. Dead silence. HOLD on Charly's face... until \n slowly, ever so slowly, the camera pulls back to REVEAL:", "He slams home the knife. We don't see it, but we FEEL the \n impact. The FBI man's face contorts in SHOCK. Twisted. Inches \n away from Timothy, their eyes lock...", "Henessey reacts, startled. Timothy chuckles:\n\n TIMOTHY\n Truck goes, hundreds dead -- rescue \n teams within minutes, guess what \n they find...?", "CHARLY\n Theory, my ass. I think some \n terrorists were planning a strike.", "slow. Better yet, I'll try it. You \n lost an operative, a trained \n counterassassin, and you just saw", "BACK ON THE SLEIGH\n\n CHARLY throws herself flat next to Santa.\n\n CHARLY\n Sorry, man. Government agents, high \n level conspiracy.", "PERKINS\n No. This time, the terrorist event \n will come off precisely as planned." ], [ "He holds up the envelope: addresses to one *Nathan Windeman*. \n Fishes in his coat, brings out Samantha's CHECK. Written to \n him, earlier that day... identical handwriting. CUT TO:", "He hangs up. Dead silence. HOLD on Charly's face... until \n slowly, ever so slowly, the camera pulls back to REVEAL:", "Amnesia's over, folks, because we're clearly looking at a \n changed woman: This one's name is CHARLY BALTIMORE, and she \n hasn't seen the light of day in eight years.", "After he was murdered in 1971, his \n friend Perkins recruited you for \n Chapter, a black bag operation working", "BEHIND HIM, a second HITMAN. Blown to tatters. The KNIFE \n meant for Henessey arcs through the air...", "HENESSEY\n Oh, Jesus...! That's how she knew \n all that shit, not from *dating* him -- \n she *studied* the fucker to take him \n out!", "TIMOTHY\n Already did, Mitch, someone already \n did. Perkins got stuck with a double \n agent, someone trusted, highly placed.", "last season it was a different faggy \n guy. Okay. Here's what we do; get on \n the horn to amnesia chick, tell her", "CHARLY\n It's why he thought I had him killed.\n\n Henessey huddles, watching her closely.", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "HENESSEY\n Who?\n\n TIMOTHY\n Me.\n (chuckles)\n Chinks are paying me to bring down \n Chapter.", "MITCH HENESSEY\n\n At the wheel. Making a suicide run. Face a FRIGHT MASK of \n deadly purpose. We have no idea why someone who looks like \n him is alive.", "Samantha didn't even look. Didn't need to. Here comes JACK. \n Up the staircase. Reloading. Samantha launches herself down", "Henessey stares at her. As Nathan reaches for the envelope, \n his coat falls open and Samantha GASPS; his left side is \n soaked with blood.", "As they approach the other car, the engine stops. The door \n opens and a middle aged man emerges -- IT AIN'T NATHAN. He \n pauses, lighting a cigarette.", "NATHAN\n You blithering idiot, the son of a \n bitch wasn't her lover, he was her \n target, he's Daedalus!", "HENESSEY (V.O.)\n Dear Mom: I was tortured, now I'm in \n Atlantic City. The girl of my dreams", "He slams home the knife. We don't see it, but we FEEL the \n impact. The FBI man's face contorts in SHOCK. Twisted. Inches \n away from Timothy, their eyes lock...", "NATHAN\n My star pupil...\n (smiles thinly)\n That man in Pennsylvania yesterday... \n The one at the diner, that was hers, \n wasn't it...?", "I'm trying to pull of the biggest \n job of my career. I have to know. \n How much you really remember... and" ], [ "Henessey is so shocked he's LAUGHING:\n\n HENESSEY\n Beautiful. Fuckin' beautiful.", "Henessey reacts, startled. Timothy chuckles:\n\n TIMOTHY\n Truck goes, hundreds dead -- rescue \n teams within minutes, guess what \n they find...?", "A gray-suited SENTRY. Poised on a wooded slope. He puts a \n walkie-talkie to his lips and says:\n\n SENTRY\n All clear.", "She laughs again. Henessey favors her with a look reserved \n for people with major deformities. Suddenly she says:\n\n SAMANTHA\n Pull over.", "Nathan has pulled over in a grove of pine trees. The car is \n covered with branches. He watches through a gap as two police \n cars go by on the distant highway.", "PARTY in progress. Laughter. Mingling. In the corner, CAITLIN \n puts pipe cleaner antlers on the gerbil. Samantha shepherds", "The assassin called TIMOTHY sits down two stools away.\n\n TIMOTHY\n For you. Another in a long line of \n bad investments.", "On the porch, a CRICKET chirps. HAL comes out, sits beside \n his wife CHARLY as she finishes eating. Says softly:", "The guy stares, mouth working.\n\n BEARDED MAN\n Lady, I have a gun!", "TIMOTHY across the room, a good forty feet.\n\n TIMOTHY\n Left nut, five bucks I make it.", "SAMANTHA\n Hush. Go to the garage and get me \n something, anything. A veggie, go, \n man, go! I'm hot to trot.", "TIMOTHY\n You wanna know the plan?\n\n He casually points to the neighboring valley, where Christmas \n lights twinkle.", "Like backlit monsters, they approach, hulking. Matter of \n yards, now... She flashes a naughty little smile --\n\n Goes backward off the cliff and rockets earthward.", "The tanker slides, DETONATING planters one by one... Comes \n to rest in a central COURTYARD. Lies there, a hissing \n dinosaur.", "Samantha smiles thinly. The man's a lunatic.\n\n INT. STORAGE FACILITY - DAY", "The flame races across the room. Hits the steel door. And \n zip! Vanishes through the NOTCH. A pause...\n\n THE BASEMENT BLOWS SKY-HIGH.", "He throws open a door off the passage: THERE'S TIMOTHY. \n Perched on the edge of a conference table, tamping a pack of \n smokes. Perkins reacts, stunned.", "HENESSEY (V.O.)\n Dear Mom: I was tortured, now I'm in \n Atlantic City. The girl of my dreams", "TIMOTHY\n Okay, here's how we do it. Drive to \n Harrison, find their main bus stop.", "Yes, it certainly is. CUT TO:\n\n INT. SITUATION BRIEFING ROOM - SAME TIME" ], [ "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "GIRL #1\n (excitedly)\n Her Mom, she's got amnesia.\n\n GIRL #2\n Swear?", "MEMORY FLASH: A CLIFF overlooking the ocean. Darkness. \n Sheeting rain. Our heroine (for it is unquestionably SAMANTHA)", "Samantha, having survived. Laid up now in an austere hospital \n room. Listening to silence. Stares out the window at a sunlit \n tree. Head bandaged. Frowns:", "Henessey is trembling; Samantha comatose. Nathan steals a \n look in the rear view mirror. Gets his first good view of \n Samantha. Reacts, stunned:", "SAMANTHA\n I just... got a flash of something, \n I...\n (blinks)\n I hurt my father.", "SAMANTHA\n I don't know.\n (beat)\n It's coming back, though. All these... \n little details about him.", "Samantha opens her eyes. Blinks. Hazy, out of focus. Tries \n to rub her eyes, can't. Hands. Something's wrong, what the", "SAMANTHA\n Had to, he... he would've killed \n her... Had to... Oh God I took him,", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "SAMANTHA\n She said her wrist hurt. I didn't \n know it was broken, God. I can't \n even remember what I said to her...!", "INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "SAMANTHA\n I speak French.\n\n PSYCHIATRIST\n You do.", "SAMANTHA\n I'm *remembering*, Hal. Things are \n coming back. Trust me, I'm a chef, I \n know it.", "She laughs again. Henessey favors her with a look reserved \n for people with major deformities. Suddenly she says:\n\n SAMANTHA\n Pull over.", "SAMANTHA is tied to that wheel. Lashed to its SIDE, affixed \n to it like a goddess to a Greek sailing ship. Now the bad", "SAMANTHA\n *My full name*. Please...!\n\n A pause. Then:\n\n NATHAN\n You don't know your name.", "The DOOR bangs open and Samantha comes out of the house. \n Carrying bandages. Alcohol. Crosses to the tree stump, kneels \n before Nathan. His voice is a harsh rasp:" ], [ "terrorist's visa was CIA, they \n *facilitated* the bombing. Purely to \n justify a budget increase. Of course,", "The head of the CIA pipes up:\n\n CIA DIRECTOR\n Mr. President, please calm down. The \n CIA bears no responsibility for this \n problem.", "After he was murdered in 1971, his \n friend Perkins recruited you for \n Chapter, a black bag operation working", "America. Across the board, an \n intelligence blackout. We had to \n recruit any eyes and ears we could", "He hangs up. Dead silence. HOLD on Charly's face... until \n slowly, ever so slowly, the camera pulls back to REVEAL:", "CIA DIRECTOR\n Sir! That controversy has been \n thoroughly dealt with, and if there \n still exists a leak, perhaps this... \n woman agent of his --", "Henessey is so shocked he's LAUGHING:\n\n HENESSEY\n Beautiful. Fuckin' beautiful.", "SAMANTHA\n (sotto)\n What are you doing?\n\n HENESSEY\n Pork. On your nine.", "He slams home the knife. We don't see it, but we FEEL the \n impact. The FBI man's face contorts in SHOCK. Twisted. Inches \n away from Timothy, their eyes lock...", "HENESSEY\n Who?\n\n TIMOTHY\n Me.\n (chuckles)\n Chinks are paying me to bring down \n Chapter.", "CHARLY\n It's why he thought I had him killed.\n\n Henessey huddles, watching her closely.", "NATHAN\n Then quit. You're an assassin for \n the United States government.\n (beat)\n I ought to know, I trained you.", "TIMOTHY\n Already did, Mitch, someone already \n did. Perkins got stuck with a double \n agent, someone trusted, highly placed.", "He clicks off. Charly drops the receiver. Turns, looks behind: \n They're coming for her.", "BACK ON THE SLEIGH\n\n CHARLY throws herself flat next to Santa.\n\n CHARLY\n Sorry, man. Government agents, high \n level conspiracy.", "HENESSEY (V.O.)\n Dear Mom: I was tortured, now I'm in \n Atlantic City. The girl of my dreams", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "CHARLY\n Yes, Mr. President, you have my \n assurance that Perkins' latest \n operation has been rendered beyond \n salvage.", "AIDE\n ...They'll push for dismantlement of \n our apparatus in Chile, but we've \n got a degree of plausible \n deniability...", "SAMANTHA\n So?\n\n HENESSEY\n So you shot a guy in the head \n yesterday. We wait outside." ], [ "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER", "see outdoors. Samantha doesn't miss a beat. Grabs her daughter -- \n flings her OUTSIDE. Through the hole in the wall. Takes her", "Samantha and daughter CAITLIN sing a hearty chorus of \"Frere \n Jaques.\" Sam giggles , Caitlin looks nervous; astride her", "SAMANTHA\n Hey, you!\n\n The kid leaps into her arms, as we HEAR:", "SAMANTHA\n Excuse me.\n\n The girls whirl around, startled -- Samantha is leaning on \n the desk behind them. Busted. She smiles amiably:", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "SAMANTHA\n This is all I ever wanted.\n\n At which point, young Caitlin says:\n\n CAITLIN\n How would you know?", "Samantha endures as much as she can. Speaks up:\n\n SAMANTHA\n \"Movin' in.\"", "The girls look at her like she's grown a tail.\n\n SAMANTHA\n *Kidding*.\n\n CUT TO:", "SAMANTHA\n Age four, kid's unbelievable.\n (sighs)\n I'm too old for this, Earl.", "girls in their ample laps. SAMANTHA consults her watch:", "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "She laughs again. Henessey favors her with a look reserved \n for people with major deformities. Suddenly she says:\n\n SAMANTHA\n Pull over.", "Samantha, having survived. Laid up now in an austere hospital \n room. Listening to silence. Stares out the window at a sunlit \n tree. Head bandaged. Frowns:", "SAMANTHA\n Oh, SHIT!", "SAMANTHA\n *My full name*. Please...!\n\n A pause. Then:\n\n NATHAN\n You don't know your name.", "Samantha. Seeing her eyelids flutter, he tosses her a cherry \n wave. Gone is the gee-whiz country boy schtick; in its place,", "SAMANTHA\n *Drive up the fucking hill*.\n\n Now Henessey shivers. Cranks the wheel as we CUT TO:" ], [ "Samantha, having survived. Laid up now in an austere hospital \n room. Listening to silence. Stares out the window at a sunlit \n tree. Head bandaged. Frowns:", "MEMORY FLASH: A CLIFF overlooking the ocean. Darkness. \n Sheeting rain. Our heroine (for it is unquestionably SAMANTHA)", "SAMANTHA is tied to that wheel. Lashed to its SIDE, affixed \n to it like a goddess to a Greek sailing ship. Now the bad", "The DOOR bangs open and Samantha comes out of the house. \n Carrying bandages. Alcohol. Crosses to the tree stump, kneels \n before Nathan. His voice is a harsh rasp:", "SAMANTHA (V.O.)\n Eight years. I keep hiring detectives, \n but they never find anything.", "SAMANTHA BREAKS THE SURFACE. Gasping for air. Wheezing. \n Choking. The FREEZING WIND plasters the nightgown to her.", "INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "EXT. HILLTOP - OVERLOOKING TOWN - NIGHT\n\n SAMANTHA flops on the frozen ground in a stand of pine trees.", "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "SAMANTHA\n I can feel her. Like a ghost.\n (beat)", "SAMANTHA\n Had to, he... he would've killed \n her... Had to... Oh God I took him,", "Samantha reacts, floored.", "SAMANTHA\n Age four, kid's unbelievable.\n (sighs)\n I'm too old for this, Earl.", "She laughs again. Henessey favors her with a look reserved \n for people with major deformities. Suddenly she says:\n\n SAMANTHA\n Pull over.", "Samantha. Seeing her eyelids flutter, he tosses her a cherry \n wave. Gone is the gee-whiz country boy schtick; in its place,", "SAMANTHA\n *Drive up the fucking hill*.\n\n Now Henessey shivers. Cranks the wheel as we CUT TO:", "Henessey is trembling; Samantha comatose. Nathan steals a \n look in the rear view mirror. Gets his first good view of \n Samantha. Reacts, stunned:", "the bathroom. Sees the deputies. Grabs SAMANTHA by the elbow. \n Tosses down a fin, steers her toward the door." ], [ "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "Samantha, having survived. Laid up now in an austere hospital \n room. Listening to silence. Stares out the window at a sunlit \n tree. Head bandaged. Frowns:", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "see outdoors. Samantha doesn't miss a beat. Grabs her daughter -- \n flings her OUTSIDE. Through the hole in the wall. Takes her", "Samantha takes the keys from him. Breathes deeply of the \n chill night air. Smiling. Surveys the scene... their friends. \n The neighborhood. Sighs:", "SAMANTHA BREAKS THE SURFACE. Gasping for air. Wheezing. \n Choking. The FREEZING WIND plasters the nightgown to her.", "INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER", "EXT. HILLTOP - OVERLOOKING TOWN - NIGHT\n\n SAMANTHA flops on the frozen ground in a stand of pine trees.", "He gets into the car. Starts the engine. Samantha reacts, \n distraught. Leans in, kills the ignition. Pulls him out of \n the car.", "The DOOR bangs open and Samantha comes out of the house. \n Carrying bandages. Alcohol. Crosses to the tree stump, kneels \n before Nathan. His voice is a harsh rasp:", "Samantha endures as much as she can. Speaks up:\n\n SAMANTHA\n \"Movin' in.\"", "Samantha reacts, floored.", "Henessey is trembling; Samantha comatose. Nathan steals a \n look in the rear view mirror. Gets his first good view of \n Samantha. Reacts, stunned:", "Samantha shakes her head, grinning, dices to pieces a last, \n lovely radish. Ends with a flourish, TA-DAH-! Doesn't think:", "Samantha sets her sailing. Laughs excitedly. The bike weaves, \n side to side... hits the curb and topples with a CRASH. Spills", "Samantha didn't even look. Didn't need to. Here comes JACK. \n Up the staircase. Reloading. Samantha launches herself down", "Samantha opens her eyes. Blinks. Hazy, out of focus. Tries \n to rub her eyes, can't. Hands. Something's wrong, what the", "Samantha smiles thinly. The man's a lunatic.\n\n INT. STORAGE FACILITY - DAY", "SAMANTHA\n I can feel her. Like a ghost.\n (beat)", "SAMANTHA\n Excuse me.\n\n The girls whirl around, startled -- Samantha is leaning on \n the desk behind them. Busted. She smiles amiably:" ], [ "She hefts a SUITCASE onto a bench. OPENS it -- Draws a sharp \n breath:\n\n SAMANTHA\n Ay-i-yi!", "Meanwhile, her hands, still pawing through the suitcase... A \n SHAPE. She feels it. At the bottom of the case. Lifts up the", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "Samantha smiles thinly. The man's a lunatic.\n\n INT. STORAGE FACILITY - DAY", "INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER", "Caitlin looks at the floor. Doesn't respond. Samantha reaches \n in a cupboard. Produces a box of CANDLES. Lights a match, \n touches flame to one of them.", "Turns, checks to make sure the door is locked. Props her \n SUITCASE on the sink and opens it. Flips back the mound of \n clothing --", "HENESSEY\n Anything else in there?\n\n SAMANTHA\n Hmm...? Uh, no. Just... more clothes.", "SAMANTHA\n That's funny, there's a cheap suit \n all over him like a cheap suit.", "And there it is. The pieces, disassembled, of an M-40 sniper \n rifle. Her trembling hands find the parts, seemingly of their", "Samantha is suddenly holding a cigarette. She raises it to \n her lips. Her reflection MIRRORS her precisely. Except", "Henessey stares at her. As Nathan reaches for the envelope, \n his coat falls open and Samantha GASPS; his left side is \n soaked with blood.", "Samantha didn't even look. Didn't need to. Here comes JACK. \n Up the staircase. Reloading. Samantha launches herself down", "IN SAMANTHA'S LAP\n\n Her fingers unconsciously fiddle with something. Damp, \n crumpled. The ENVELOPE. One address left.", "She reaches behind her head. Unhooks the KEY, the one she \n wears around her neck.\n\n SAMANTHA\n For luck.", "Samantha, having survived. Laid up now in an austere hospital \n room. Listening to silence. Stares out the window at a sunlit \n tree. Head bandaged. Frowns:", "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "The reflection grins. There's blood on its TEETH.\n\n INT. SAMANTHA'S HOME - DAY" ], [ "He gets into the car. Starts the engine. Samantha reacts, \n distraught. Leans in, kills the ignition. Pulls him out of \n the car.", "He holds up the envelope: addresses to one *Nathan Windeman*. \n Fishes in his coat, brings out Samantha's CHECK. Written to \n him, earlier that day... identical handwriting. CUT TO:", "AT THE LAKESIDE -- Luke walks behind Samantha. Talking softly \n in her ear, smiling... She hears something. A RATCHETING", "NATHAN\n Who... who is this?\n\n SAMANTHA\n You tell me, Mr. Windeman.", "SAMANTHA\n Excuse me?\n\n TIMOTHY\n Just saw the ring on your finger.\n\n He reveals a surprisingly WINNING smile, says:", "SAMANTHA\n Thanks for the drink. But no. I don't \n know you.\n\n Timothy nods slowly.", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "SAMANTHA\n No... that's what's strange.\n (shakes her head)\n If I saw him on the street, I... I \n wouldn't... oh.", "He cannot stop staring. It's Samantha, it *has* to be...", "He turns to Samantha -- except Sam isn't there. Her arm shoots \n out-! CLAMPS on one of the men. By the throat. Catches him", "HENESSEY\n The guy's story checks out. Sam knows \n things about him. Stuff only a lover \n would know.", "Samantha smiles thinly. The man's a lunatic.\n\n INT. STORAGE FACILITY - DAY", "He stands, heads off. Samantha nervously lights a cigarette. \n The bartender suddenly puts a BEER in front of her. She \n reaches for her purse. He waves it away, points beside her. \n She turns...", "Henessey is trembling; Samantha comatose. Nathan steals a \n look in the rear view mirror. Gets his first good view of \n Samantha. Reacts, stunned:", "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "She laughs again. Henessey favors her with a look reserved \n for people with major deformities. Suddenly she says:\n\n SAMANTHA\n Pull over.", "SAMANTHA\n Mr. Windeman, please let him help \n you. I know this man, I... I'm pretty \n sure I slept with him.", "SAMANTHA\n Had to, he... he would've killed \n her... Had to... Oh God I took him,", "Samantha is suddenly holding a cigarette. She raises it to \n her lips. Her reflection MIRRORS her precisely. Except", "Henessey stares at her. As Nathan reaches for the envelope, \n his coat falls open and Samantha GASPS; his left side is \n soaked with blood." ], [ "SAMANTHA is tied to that wheel. Lashed to its SIDE, affixed \n to it like a goddess to a Greek sailing ship. Now the bad", "He crosses toward a large RED BUTTON. Set into a wooden beam. \n Samantha thrashes at the bindings. Looks down at the water \n where it intercepts the mammoth wheel. Fighting panic:", "Samantha struggles against her bonds. No dice. Subsides. \n Takes a look around at her predicament. TIMOTHY stands at \n the edge of the ice. Watching her intently. Smiles thinly:", "SAMANTHA\n Is... is this a torture thing...?", "He gets into the car. Starts the engine. Samantha reacts, \n distraught. Leans in, kills the ignition. Pulls him out of \n the car.", "Samantha smiles thinly. The man's a lunatic.\n\n INT. STORAGE FACILITY - DAY", "He turns to Samantha -- except Sam isn't there. Her arm shoots \n out-! CLAMPS on one of the men. By the throat. Catches him", "AT THE LAKESIDE -- Luke walks behind Samantha. Talking softly \n in her ear, smiling... She hears something. A RATCHETING", "Samantha struggles to her feet. Dazed. Jack abandons the \n shotgun. Takes the IRON down from its spot on the shelf -- \n Slams it against her head.", "The DOOR bangs open and Samantha comes out of the house. \n Carrying bandages. Alcohol. Crosses to the tree stump, kneels \n before Nathan. His voice is a harsh rasp:", "Caitlin looks at the floor. Doesn't respond. Samantha reaches \n in a cupboard. Produces a box of CANDLES. Lights a match, \n touches flame to one of them.", "Samantha opens her eyes. Blinks. Hazy, out of focus. Tries \n to rub her eyes, can't. Hands. Something's wrong, what the", "the bathroom. Sees the deputies. Grabs SAMANTHA by the elbow. \n Tosses down a fin, steers her toward the door.", "Eyes cold and lifeless. She is not herself. CUT TO:\n\n INT. SAMANTHA'S HOUSE - TWILIGHT", "Henessey is trembling; Samantha comatose. Nathan steals a \n look in the rear view mirror. Gets his first good view of \n Samantha. Reacts, stunned:", "Henessey opens the envelope. Extracts a black and white HEAD \n SHOT of Samantha, says immediately:", "A SHIRTLESS MAN is tied to a chair. Weeping. Before him, \n what looks like a young GQ model. Blonde. Gorgeous. Impeccably", "SAMANTHA\n Had to, he... he would've killed \n her... Had to... Oh God I took him,", "JACK kicks Samantha in the gut. She collapses onto the stairs. \n Splinters the banister. That's when he sees CAITLIN. Top of \n the stairs, paralyzed.", "SAMANTHA\n What... what do you want...?\n\n The reflection eyes her grimly. Haggard. Tired." ], [ "Late, very late now. Henessey, driving. Beside him, Charly \n reclines, lost in reverie. Features bathed in passing \n roadlights. Henessey grinds out a butt:", "He looks over. She's asleep, hasn't heard a word. Face slack, \n lips slightly parted. The toughness banished from her \n features. In its place, a lingering sadness. CUT TO:", "Amnesia's over, folks, because we're clearly looking at a \n changed woman: This one's name is CHARLY BALTIMORE, and she \n hasn't seen the light of day in eight years.", "HENESSEY (V.O.)\n Dear Mom: I was tortured, now I'm in \n Atlantic City. The girl of my dreams", "HENESSEY\n Oh, Jesus...! That's how she knew \n all that shit, not from *dating* him -- \n she *studied* the fucker to take him \n out!", "She rubs her eyes. Her voice breaks. She's utterly miserable. \n Henessey leans in, says softly:", "She hangs up as HAL ENTERS behind her... She doesn't turn \n around. Samples the topping of a cream pie. Stares at the \n linoleum floor. He regards her with angry, vindictive eyes:", "way. So I let him seduce me. Had a \n steel needle under the pillow, figured \n to stick him *en flagrante*, that", "He hangs up. Dead silence. HOLD on Charly's face... until \n slowly, ever so slowly, the camera pulls back to REVEAL:", "The Bronco glides along. Charly in the passenger seat, eyes \n roving like a hawk's. THE CAINE HOUSE is peaceful and quiet. \n Christmas lights, still burning dimly.", "After he was murdered in 1971, his \n friend Perkins recruited you for \n Chapter, a black bag operation working", "Watching her family, far away. Fighting emotion. That's when \n she hears A HORN HONKING. Her head whips around, toward the", "A MOTHER SITS in the glow of a Winnie the Pooh nightlight. \n Next to her sleeping daughter's bed -- back to the very \n beginning of the film, it's been a long kiss goodnight.", "Like backlit monsters, they approach, hulking. Matter of \n yards, now... She flashes a naughty little smile --\n\n Goes backward off the cliff and rockets earthward.", "Early morning quiet. HENESSEY and SAMANTHA are throwing \n suitcases into the back of his battered Chrysler.", "PARTY in progress. Laughter. Mingling. In the corner, CAITLIN \n puts pipe cleaner antlers on the gerbil. Samantha shepherds", "Set back from the mountain road, a lonely MOTEL. A neon sign: \n *Deer Lick Motel*, No vacancies. The sign sits atop a rusty \n pole. Blinks forlornly.", "She laughs again. Henessey favors her with a look reserved \n for people with major deformities. Suddenly she says:\n\n SAMANTHA\n Pull over.", "Henessey nods. Pause -- she does something unexpected. Leans \n over and kisses him hard on the lips. He reacts, startled. \n She pulls back, the oddest look on her face.", "Nathan has pulled over in a grove of pine trees. The car is \n covered with branches. He watches through a gap as two police \n cars go by on the distant highway." ], [ "GIRL #1\n That's her?\n\n Caitlin nods. Kid #2:\n\n GIRL #2\n That's who?", "SAMANTHA (V.O.)\n Her name is Caitlin. She's my daughter \n and when I woke up on that long-ago", "In the end, Caitlin relents. RUNS, toward the surrounding \n woods... Charly watches her go. Nods, satisfied -- Collapses.", "CAITLIN\n Am I gonna die...?\n\n From a dark and cold place, Caitlin has led her home. Charly's \n eyes, like steel. A harsh whisper:", "Caitlin, dead.\n\n The rage explodes in the form of a kick which SHATTERS the \n lock on the trunk. *Dammit*, she needs a fucking miracle.", "You don't want to ever be on the receiving end of the LOOK \n she gives him... Steps into the freezer, holding Caitlin. As \n the door starts to swing shut, she says:", "Charly looks up, face haggard and depleted... Caitlin's eyes, \n alive again. No longer dulled. Kid reaches inside her CAST \n and brings out a pack of matches.", "JACK kicks Samantha in the gut. She collapses onto the stairs. \n Splinters the banister. That's when he sees CAITLIN. Top of \n the stairs, paralyzed.", "CHARLY\n I know.\n\n Henessey starts to fade... breathing labored... Reaches up... \n strokes Caitlin's hair. Smiles at her:", "CHARLY\n I love you, Caitlin, oh God, do you \n know how much I love you...?\n\n Caitlin pulls back, looks flush in her mother's face.", "CAITLIN\n Daddy, make her stop!", "She goes under the blade. SLAMS him. Down they go, hit the \n dirt -- CAITLIN beats feet, vanishes into the smoke.", "SAMANTHA\n Caitlin.\n\n HENESSEY\n Yeah, whatever. Um, could he be \n the...?", "CAITLIN\n His name is Mr. Perkins, my Mom named \n him for me.\n\n GIRL #1 points, whispers excitedly:", "CAITLIN darts in and out of the trees. Frightened. In the \n background, men rush back and forth. The MOTEL burns merrily.", "Caitlin looks at the floor. Doesn't respond. Samantha reaches \n in a cupboard. Produces a box of CANDLES. Lights a match, \n touches flame to one of them.", "Everyone goes silent. The knife, quivering. Caitlin and Hal \n turn as one, gaping at her. She shrugs numbly. Blinks.", "SAMANTHA\n This is all I ever wanted.\n\n At which point, young Caitlin says:\n\n CAITLIN\n How would you know?", "Perkins crosses to the bed. Rubs tired eyes. Gazes down at \n Caitlin. Asleep, a syringe on the nightstand beside her. \n Next to a brown paper bag.", "Caitlin to the pavement. Now's she's CRYING." ], [ "Caitlin, dead.\n\n The rage explodes in the form of a kick which SHATTERS the \n lock on the trunk. *Dammit*, she needs a fucking miracle.", "In the end, Caitlin relents. RUNS, toward the surrounding \n woods... Charly watches her go. Nods, satisfied -- Collapses.", "CAITLIN\n Am I gonna die...?\n\n From a dark and cold place, Caitlin has led her home. Charly's \n eyes, like steel. A harsh whisper:", "CAITLIN darts in and out of the trees. Frightened. In the \n background, men rush back and forth. The MOTEL burns merrily.", "She goes under the blade. SLAMS him. Down they go, hit the \n dirt -- CAITLIN beats feet, vanishes into the smoke.", "Charly looks up, face haggard and depleted... Caitlin's eyes, \n alive again. No longer dulled. Kid reaches inside her CAST \n and brings out a pack of matches.", "You don't want to ever be on the receiving end of the LOOK \n she gives him... Steps into the freezer, holding Caitlin. As \n the door starts to swing shut, she says:", "Caitlin to the pavement. Now's she's CRYING.", "Henessey stomps the brake. SLEWS to a stop, tires cooking...! \n KICKS open the passenger door as Charly collapses into the \n car, CAITLIN in her arms. The kid says:", "SHE GRABS THE GUN BARREL. Wrenches the gun...! On the steps \n CAITLIN howls, eyes like saucers --\n\n CAITLIN\n Mommy...!", "She raises her gun. Fires. BAM-! Lock springs to pieces. \n CAITLIN tumbles to the pavement, dazed and confused. Casts \n about --", "CHARLY\n I know.\n\n Henessey starts to fade... breathing labored... Reaches up... \n strokes Caitlin's hair. Smiles at her:", "JACK kicks Samantha in the gut. She collapses onto the stairs. \n Splinters the banister. That's when he sees CAITLIN. Top of \n the stairs, paralyzed.", "Caitlin in tow, SMOKE everywhere. Running flat out across \n the compound. Eyes ticking back and forth, missing nothing...", "INT. HOUSE - LATER - EVERYTHING'S PACKED\n\n Sam's looked better. Kneels beside Caitlin, says softly:", "Grabs his coat. Brings out the gun, it GOES OFF--!\n\n Charly dives for cover. Rips the knife from her own shoulder \n and flings it.", "CAITLIN\n My wrist hurts...!\n\n *Snap*. Something lets go. Suddenly Samantha's right in her \n face:", "CAITLIN\n *Don't you die*, you get up now, \n Goddammit...! Life is pain, you just", "Everyone goes silent. The knife, quivering. Caitlin and Hal \n turn as one, gaping at her. She shrugs numbly. Blinks.", "He takes off for the lake at a dead run. Behind him, the \n bloodied Nathan DRAGS himself to his feet and lurches off \n the porch, stumbling. Weaving. Refusing to go down." ], [ "She gets up. We RUN with her to the front door -- she flings \n it open and collides with MITCHELL HENESSEY. Private dick. \n Runs right into him.", "CHARLY (V.O.)\n *End run, Mitch, go wide*!\n\n He breaks for the truck.", "A tired TV set drones to an audience of one. Let's call him \n ONE-EYED JACK. In fact, let's give him one eye, the other", "Samantha shoots him a look. ON A TV above the bar, a British-\n sounding CNN announcer is saying:", "He hangs up. Dead silence. HOLD on Charly's face... until \n slowly, ever so slowly, the camera pulls back to REVEAL:", "CHARLY\n Don't go there, Mitch, you don't \n want to know.\n\n HENESSEY\n I'm here. Suppose you tell me.", "MITCH\n (lights a smoke)\n Forget it. They looked like cops. We \n pulled it off, didn't we?", "The happy news chatter continues. Jack isn't listening. Jack \n isn't talking or breathing either. He's simply STARING at \n the TV screen, jaw slack...", "CHARLY\n So, Mitch. Still think I'm warm and \n fuzzy?", "watches TV nearby. In her lap, a Pomeranian cleans itself. \n Windeman scowls:", "top TV is on, the Three Stooges. Samantha is on the phone, \n saying:", "BACK DOWN BELOW\n\n The smoke clears and Mitch sees the tanker. Right there, \n thirty yards away. Yellow UTILITY BOX. No one in the way.", "CHARLY\n Hey, Mitch. Glad you're awake. Uh-\n oh, you're seeping.\n\n She grabs a washcloth. Frowns, says:", "He pats her arm. Smiles reassuringly. A pause. She stares.\n\n SAMANTHA\n That's it? That's your helpful story? \n Jesus Christ!", "CHARLY\n Not someone. Me. I filed them off.\n (beat)\n There's a briefcase in Box 406, Mitch.", "He looks over. She's asleep, hasn't heard a word. Face slack, \n lips slightly parted. The toughness banished from her \n features. In its place, a lingering sadness. CUT TO:", "replaced by a PATCH. He smokes cigarettes, stubs them out on \n the chair's armrest. Throws offhand glances at the TV screen.", "MITCH\n You want I should hire actors, for \n Chrissake? These guys are cheap, \n they work for food.", "As they approach the other car, the engine stops. The door \n opens and a middle aged man emerges -- IT AIN'T NATHAN. He \n pauses, lighting a cigarette.", "FADE OUT. Pause. Blackness.\n\n FADE IN:" ] ]

[ "How long ago did \"Samantha\" loose her memory?", "What type of people did Samantha hire to help reveal her past?", "What is the nickname of the person Samantha killed with her bare hands?", "Where did Jack escape from?", "What was the false flag event that took place in NY referred to as?", "What government agency was behind the NY attack?", "What was Samantha's real name?", "What was Samantha's profession before becomming a school teacher?", "Who was interviewed by Larry King on TV?", "What was Samantha's job before she lost her memory?", "Who is Caitlin's biological father?", "Who was involved in 'Project Honeymon' and is Samantha's target?", "What is Samantha's real name?", "Which identity did Samantha choose in the end?", "Which group was the CIA staged to blame 'Project Honeymon' for?", "Who were the mastermind of restaging 'Project Honeymon'?", "Where is 'Project Honeymon' planned to be staged?", "What caused Samantha's amnesia?", "What's the CIA's reason behind 'Project Honeymon'?", "What is the name of Samantha's daughter?", "Where was Samantha washed ashore eight years earlier?", "What takes place that causes Samantha to rediscover the skills she posseses?", "What does Samantha discover in a suitcase that she is supposed to assemble?", "Samantha believes that Luke is her fiancee, but he is actually what?", "What does Luke do to torture Samantha?", "What was \"Project Honeymoon\"?", "Who turns out to be Caitlyn's biological father?", "When trying to rescue Caitlyn, who is gravely injured?", "Who interviews Mitch on TV in the end?" ]

[ [ "8 years ago", "8 years" ], [ "Private Investigators", "private investigators" ], [ "One-Eyed Jack", "One-Eyed Jack" ], [ "Prison", "Jail" ], [ "Project Honeymoon", "Project Honeymoon" ], [ "The CIA", "CIA" ], [ "Charlene Elizabeth \"Charly\" Baltimore", "Charly" ], [ "An expert CIA assassin", "CIA assassin" ], [ "Mitch", "Mitch Henessey" ], [ "CIA Assassin", "CIA assassin" ], [ "Timothy", "Timothy" ], [ "Luke", "Luke" ], [ "Charlene Elizabeth \"Charly\" Baltimore ", "Charlene Elizabeth ''Charly'' Baltimore" ], [ "School teacher", "Samantha Caine" ], [ "Islamist terrorists", "Islamic terrorists" ], [ "Leland Perkins and Timothy ", "Leland Perkins, her former boss at the CIA" ], [ "Niagara Falls, New York", "Niagara Falls" ], [ "Concussion from a car accident", "Car accident" ], [ "To increase offshore operation funding ", "To fake Islamic terrorism" ], [ "Caitlyn", "Caitlin" ], [ "On a New Jersey beach", "New Jersey" ], [ "She is in a car accident", "Car accident" ], [ "A sniper rifle", "a sniper rifle" ], [ "Her last assassination target, \"Daedalus\"", "Her last assassination target. " ], [ "Straps her to a large water wheel and holds her underwater", "He straps her to a large water wheel" ], [ "A false flag chemical bomb detonation in downtown Niagra Falls, New York", "a false flag chemical bomb detonation planned by the CIA to place blame on Islamic terrorists" ], [ "Timothy", "Timothy" ], [ "Mitch", "Mitch Henessey" ], [ "Larry King", "Larry King" ] ]

[ [ "the Queen, who loves him passionately, and . . . Check!\" he added,\nmoving one of his pieces.", "The Queen herself, attracted by the novelty of the spectacle, and her\nheart ever yearning for the near presence of the man she still loved so", "Mary paused and suddenly laid an eager hand on his wrist.\n\n\"Methought you cared nothing for the affairs of state,\" she said with\nsome sadness, \"and still less as to who shall rule over the heart of\nyour Queen.\"", "Then only did Mary Tudor's self-control entirely desert her. Forgetting\nall her dignity and pride, her self-will and masterfulness, she clung to\nthe man she loved with passionate ardour, sobbing and entreating.", "\"Mary Tudor loves you too well . . .\" protested Lord Everingham.", "on which he came back to the Court, but Mary Tudor, bent on winning his\nlove, had resolutely kept him away from the beautiful girl who, she\ninstinctively felt, would prove a formidable rival.", "It had been easy enough up to now. His Grace, partly in order to please\nhis friends, even if only half believing that his influence would\nprevent Mary Tudor from contracting an alien marriage, had been in\nconstant attendance on the Queen.", "\"I hardly know how to understand Your Eminence,\" he said guardedly. \"I\nneed hardly say that my fondest hope was to see Queen Mary wedded to", "CHAPTER XXXI\n\nMARYE, THE QUEENE", "She paused a moment, whilst all three of them crowded round Her Grace of\nLincoln's chair.\n\nThen Ursula said solemnly--\n\n\"The Queen is in love with my future husband!\"", "\"I pray you do not trouble to deny it. Let us admit that it is so. Do\nyou not think then that Queen Mary will have a like suspicion as\nyourself?\"\n\n\"Probably.\"", "\"Go back, my lord, to your royal master,\" said Queen Mary with lofty\ncontempt. \"My word is my bond, and my pledge to him is sacred; but tell", "Certes no one could accuse him of intriguing for his own political\nadvancement. Mary Tudor's own avowed penchant for him was so well known,", "\"Nay, my lord,\" rejoined Mary Tudor earnestly, for he had turned to the\nQueen, prepared to proffer his request on his knees, \"meseems a grievous", "It amused him to watch the discomfited faces of his political\nantagonists, whose presence now Mary seemed completely to ignore. Her\nwhole personality was transformed in his presence: she looked ten years", "\"Nay,\" he said, with gentle suavity, \"my only desire is to rouse in the\nheart of the Queen of England love for my royal master, the King of", "But Mary Tudor, though at times capable of noble and just impulses, was\nfar too blinded by her own passion to give up the joy of this victory", "Yet Mary Tudor, wilfully forgetting for the moment her pledge to the\nSpaniards, longing to enjoy these last few hours when she was still", "Queen of England. He hoped before many hours had elapsed to obtain from\nMary Tudor an actual letter, writ in her own hand to her royal\nbetrothed.", "Etiquette forbade her retirement until the Queen granted her leave, and\nMary seemed desirous to keep her close at hand, as a contrast, perhaps,\nto the exuberant joy which prevailed among the other ladies and\ngentlemen there." ], [ "the country at large and to Wessex himself. With his whole heart and\nsoul he believed that, at this moment, the Duke's marriage with Lady", "\"Aye! she is affianced to the Duke of Wessex.\"\n\n\"Well, and what of it, child?\"", "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "\"His Grace of Wessex,\" suggested Alicia archly, despite the Duchess's\nwarning frown.\n\n\"Alas, no!\" sighed Ursula, \"for he has never been allowed to see me.\"", "\"With the Duke of Wessex . . .\" she retorted after a slight hesitation,\n\"There! . . . now wilt let me go?\"", "\"Now, child, have no fear,\" said the Cardinal gently. \"Tell me . . . you\nwish to speak with the Duke of Wessex?\"\n\nShe turned resolutely towards him.", "\"His Grace of Wessex did come upon us, and seeing me held with violence,\nI, who was his betrothed, to save mine honour, the Duke did strike Don\nMiguel down.\"", "his honour and on his deathbed that she should wed the Duke of Wessex,\nwhenever he claimed her hand, or live her life in a convent. Nay, I but", "\"If the Duke of Wessex be inclined to marry, believe me, my lord\nMarquis, that it shall be none other than the Queen of England! Whom may", "\"A fine scheme indeed, my lord,\" interrupted the Queen impatiently, \"to\nsend the Duke of Wessex courting after my waiting-maid.\"", "\"They call you fickle, and say the Duke of Wessex loves many women a\nlittle . . . but constantly, not at all.\"\n\nHe came a step closer to her, and tried to meet her eyes.", "Wessex was nominally plighted to the lady. True, 'twas an engagement\nundertaken by the lady's own father, without the consent of the parties", "The Duke had urged that his trial should come on speedily. This was\nreadily granted, for he was the Duke of Wessex still. The trial itself", "The Duke of Wessex had saved her life; she was proud of that, and since\nthat day she had had a burning ambition to see him again. She had hoped", "No doubt that the Earl of Truro, lying on his deathbed, had but little\nreal perception of what he was doing, when he forced his daughter to\nswear that she would marry Wessex or remain single to the end of her\ndays.", "To the Duke of Wessex, the most favoured man in England, the grand\nseigneur with one foot on the throne, the idea of suffering a false", "\"But you seem to know me, fair one,\" he said after a while.\n\n\"Who does not know His Grace of Wessex?\" she responded, making a pretty\ncurtsy.", "whilst trying to reconquer the volatile Duke's allegiance. But if Wessex\ndoes not wed the Lady Ursula . . . what then? Will his friends prevail?", "A few seconds' quick reflection soon made it clear to him that a quarrel\nwith the Duke of Wessex would, at this juncture, greatly endanger his", "\"The Duke of Wessex?\" rejoined His Eminence with well-played\nastonishment. \"Nay, methought I spied him just now in the distance,\nkeeping the vows he once made to the Lady Ursula Glynde.\"" ], [ "As for Lady Ursula, he swore to himself that no harm should ultimately\ncome to her. She would be a tool, a necessary pawn in this game of\ncross-purposes, which had the freedom and greatness of England for its\nultimate aim.", "\"Lady Ursula Glynde,\" said Lord Chandois finally and with solemn\nearnestness, \"do you swear upon your honour and conscience that you have\nspoken the truth?\"", "\"Your Eminence,\" said Ursula very quietly after a little while, \"you\nsaid just now that I could save His Grace of Wessex from unmerited\ndisgrace and death. Tell me now, what must I do?\"", "\"Nay! perhaps you exaggerate the danger,\" he said. \"The Lady Ursula\nmight prefer the convent to being a duchess. She has never seen Your\nGrace, she is rich and high-born, she may be pious----\"", "CHAPTER VI\n\nTHE LADY URSULA", "\"Ursula has been questioned,\" she continued, \"but she remains obdurately\nsilent. Believe me, my lord, you waste your chivalry in defence of a\nwanton.\"", "\"No, Your Majesty,\" replied Ursula, returning to earth at sound of the\nQueen's kindly voice, \"Lady Alicia tells me that a girl . . . a poor,", "\"And 'tis small wonder that Ursula should wish to catch sight of the man\nwhom her father vowed she should wed or else enter into a convent,\"\nconcluded Alicia defiantly.", "But Ursula was thirteen years old then, and held an oath to her father\nto be the most sacred thing in the world. She had not seen Wessex for", "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "\"An Your Grace would believe me,\" added Barbara consolingly, \"I think\n'tis but a bit of foolish curiosity on the Lady Ursula's part.\"\n\nBut Her Grace would not be consoled.", "She had so earnestly looked forward to the moment when she would say to\nhim that she in sooth was none other than Lady Ursula Glynde, the woman", "\"I humbly beseech your lordship,\" he said firmly, \"and you, my lords, to\nhear the evidence of the Lady Ursula Glynde. There has been no time to", "\"I, Ursula Glynde,\" she replied firmly, \"daughter of the Earl of Truro.\"", "\"But gossip has it,\" said the Marquis at last, with assumed nonchalance,\n\"that Lady Ursula's father--the Earl of Truro, was it not?--swore upon", "\"A lie, Your Majesty,\" protested the Cardinal.\n\n\"The truth!\" protested Ursula loudly. \"I pray Your Majesty to look on me\nand him and see on whose face is writ the word--fear.\"", "PART II\n THE LADY URSULA", "\"Tis wrong they should be so tuned--Lady Ursula, they say, is your\npromised wife.\"\n\n\"But I do not love her . . . never could love her whilst----\"", "\"The Lady Ursula is very beautiful,\" rejoined the Spaniard.\n\n\"Possibly--but you surprise me.\"\n\n\"Your Grace has never seen her?\"", "\"Lady Ursula, this is most unseemly,\" she said as coldly as she could.\n\"How came you by this poem?\"\n\nUrsula threw her arms round the feebly-resisting old dame." ], [ "taken place. The moonlight still streamed in through the open window.\nShe could not see into the corners of the great hall, but straight in\nfront of her was another massive door, exactly similar to the one in", "Alicia, in the eagerness of telling her thrilling story, had somewhat\nlost her breath; but now she made a vigorous effort to resume.", "One fatal autumn afternoon, and what a change in the destinies of his\nlife! Yesterday he was the first gentleman in England, loved by many,", "It had been a hot day. The heads of this pack of country folk had been\noverheated with sack and spiced ale; an unreasoning, maniacal terror,", "\"Sh--sh--sh!\" she whispered, as she dragged her unwilling companion\nafter her, \"do you see them? . . . right over there . . . they are", "Everything so far had been but preliminary, the somewhat dull, lengthy\nprologue of the coming palpitating drama. But at last the curtain was\nabout to rise on the first act, and the chief actor was ready to step\nupon the stage.", "Westminster and Hampton Court in these heart-breaking daydreams. She\nhardly realized where she was and what she was doing. Once only, when", "She waited a few moments, whilst every spectator there seemed to hear\nhis own heart beat with the intensity of his excitement. Then she began\nspeaking in a firm and even voice, somewhat low at first, but gaining in\nstrength and volume as she proceeded.", "Alas! she was just two seconds too late. The next instant she felt her\nwaist seized firmly from behind, whilst a merry voice shouted--\n\n\"Cornered at last!\"", "He had only spoken to her for about half an hour, then had sat opposite\nto her in a boat among the reeds, in the cool of the afternoon, with the", "The women, too, knew that mischief was brewing. They drew closer to one\nanother and shivered with cold beneath their kerchiefs, in spite of the\nwarmth of this beautiful late summer's afternoon.", "So wrapped up was she in these important rites, that she did not hear a\nmuffled footstep upon the gravel. The next moment she felt two firm\nhands upon her waist, whilst a laughing voice completed the daisy's\nprophecy,--", "How long they stood thus, heart to heart, they themselves could never\nhave said. The sound of many voices in the near distance roused them\nfrom their dream. Ursula started in alarm.", "He gave her his hand, and she covered it with kisses, and then she\npassed out of his life, ever remembered by him, ever comforted, happy in\nthe peaceful and silent home which the Queen had so royally provided for\nher.", "They had no need to be told twice. Still silently they picked up their\ncaps, one or two of them scratched their addled pates. They were ashamed\nand really frightened, and had quite forgotten all about the witch.", "The ladies and gentlemen on the terrace had all watched this little\nscene from afar. After a while the curiosity of all these gay idlers was", "CHAPTER XXVII\n\nTHE FIGHT", "All was noise, merriment, and laughter, save in one spot--an\nout-of-the-way, half-hidden corner of the fair, where the sister", "Once more she tried the handle of the big door in front of her: it\nyielded, and she found herself back in the room where the fight had just", "She did not reply at once, and a strange, almost awesome silence fell\nupon the scene. Not a sound from any portion of the Palace. Even from" ], [ "\"My lord Cardinal,\" rejoined Mary firmly, \"you are aware of the fact\nthat His Grace of Wessex is on the eve of being tried by his peers, for\na heinous crime of which he is innocent.\"", "\"A lie, Your Majesty,\" protested the Cardinal.\n\n\"The truth!\" protested Ursula loudly. \"I pray Your Majesty to look on me\nand him and see on whose face is writ the word--fear.\"", "\"Nay!\" retorted the Cardinal bitingly, \"His Grace of Wessex is more\ncompetent than I to solve the riddle of a woman's heart. The Lady Ursula", "\"Your Eminence,\" said Ursula very quietly after a little while, \"you\nsaid just now that I could save His Grace of Wessex from unmerited\ndisgrace and death. Tell me now, what must I do?\"", "\"But I do not wish to be a nun,\" protested Ursula, as tears began to\ngather in her eyes, \"and I do want to wed Wessex, who is handsome--and", "\"And you are beautiful now, Ursula. But of what avail is it? You cannot\nwed His Grace of Wessex, for he'll never ask you to be his wife. He'll\nmarry the Queen. All England wishes it.\"", "The Cardinal tried to protest, but already Mary had acquiesced in\nWessex' wish, with a nod of the head.\n\n\"I have naught to refuse you, my dear lord,\" she said sadly.", "\"Did I not say that I would attempt the impossible?\" said the Cardinal,\nunperturbed.\n\n\"The impossible indeed, an you wish to appeal to that wench,\" retorted\nMary drily.", "\"Now, child, have no fear,\" said the Cardinal gently. \"Tell me . . . you\nwish to speak with the Duke of Wessex?\"\n\nShe turned resolutely towards him.", "our Queen. But this is where your diplomacy escapes me. Once Wessex is\nturned away from the Lady Ursula, he will, we hope, naturally turn to", "The Cardinal, well aware of this, skilfully working too on the Queen's\nstill restive jealousy, had suggested to Mary that Ursula Glynde should\nawait the Duke of Wessex in the hall at fifteen minutes before the hour.", "fallen into so clumsy a trap. A thousand suggestions now occurred to her\nof what she might have done to prevent the meeting between Wessex and\nUrsula, which the Cardinal had obviously planned.", "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "\"I pray you speak.\"\n\n\"To speak to the Lady Ursula Glynde.\"\n\nA long bitter laugh of the keenest disappointment came from Mary Tudor's\noppressed heart.", "\"Your Eminence seems to be the prime mover in this drama of puppets,\"\nrejoined Ursula drily, \"and the Queen will put every obstacle in my way\nunless Your Eminence interferes.\"", "She would not let the girl speak, she would see her go, humiliated, with\nhead bent, forcibly swallowing her tears of shame. Mary only regretted\nthis: that Wessex could not be witness of this scene.", "On the other hand, was it not dangerous to allow an interview to take\nplace between Wessex and Ursula? In a flash the Cardinal reviewed the", "\"Ursula has been questioned,\" she continued, \"but she remains obdurately\nsilent. Believe me, my lord, you waste your chivalry in defence of a\nwanton.\"", "\"Then Your Eminence can set your wits to attempt the impossible,\"\nrejoined Mary curtly.\n\n\"But why should Your Majesty suggest this strange task to me?\" he urged\nwith the same well-feigned surprise.", "quick, anxious look on Wessex and then had smiled with satisfaction.\nUrsula caught both look and smile, and also that sudden hardening of the\nCardinal's clever face, and knew that her last chance had gone." ], [ "She would not let the girl speak, she would see her go, humiliated, with\nhead bent, forcibly swallowing her tears of shame. Mary only regretted\nthis: that Wessex could not be witness of this scene.", "\"Holy Virgin!\" she exclaimed under her breath, \"if it should be the\nQueen!\"\n\nBut Wessex held her tightly, and she struggled in vain.", "of Wessex, and in order not to make these machinations too obvious, some\nof us are also relegated in the background in her company.\"", "Wessex had seemed relieved when the Queen entered, and Ursula knew that\nnever again would she be allowed to see him alone, never again would she\nbe able to speak to him undisturbed.", "Her one idea, however, had remained, that of a marriage with Wessex. By\nright and precedence she could claim a place in the Queen of England's", "\"My lord of Wessex,\" she resumed more firmly, \"will you try to think\nthat you are before a sincere and devoted friend; not before your Queen,", "our Queen. But this is where your diplomacy escapes me. Once Wessex is\nturned away from the Lady Ursula, he will, we hope, naturally turn to", "on which he came back to the Court, but Mary Tudor, bent on winning his\nlove, had resolutely kept him away from the beautiful girl who, she\ninstinctively felt, would prove a formidable rival.", "Wessex took her hand in his. She was trembling from head to foot. The\ninward, real Mary Tudor had risen to the surface for this one brief", "That Wessex hung back when Mary herself was holding out her hand to him\nseemed to this enthusiast almost a sacrilege.\n\n\"But surely you have ambition, my lord?\" he said at last.", "But the tears, which she tried in vain to suppress, were not caused by\nthe Queen's harsh words, but by the terrible doubts which assailed her\nwhen she thought of Wessex.\n\nHad he heard?", "But Wessex was slowly coming to himself. His horror had vanished,\nleaving him calm before this terrible revelation. With the privilege\never accorded to him by the fond Queen, he now placed a firm hand upon\nher arm.", "recognize that Mary Tudor had distinctly intended to administer a snub\nto the entire diplomatic corps, by her marked preference for Wessex'\nsole company.", "Mary Tudor saw the look and its response from Wessex' eyes. She saw the\nend of the one dream which had filled her dull, rigid life and rendered", "CHAPTER XXXI\n\nMARYE, THE QUEENE", "\"Nothing, wench! His Grace of Wessex does not desire thy company, and I\ncannot allow thee to molest him. If thou'lt depart in peace, there'll be", "\"It is the fear of a woman has kept me away from Court,\" he whispered\nsolemnly, \"but that woman is not the Queen of England.\"\n\n\"Who is it then?\"", "\"I hardly know how to understand Your Eminence,\" he said guardedly. \"I\nneed hardly say that my fondest hope was to see Queen Mary wedded to", "the country at large and to Wessex himself. With his whole heart and\nsoul he believed that, at this moment, the Duke's marriage with Lady", "\"My lord Cardinal,\" rejoined Mary firmly, \"you are aware of the fact\nthat His Grace of Wessex is on the eve of being tried by his peers, for\na heinous crime of which he is innocent.\"" ], [ "And Wessex perforce had to hold his peace, whilst Ursula resumed her\ntale more calmly.", "Wessex had seemed relieved when the Queen entered, and Ursula knew that\nnever again would she be allowed to see him alone, never again would she\nbe able to speak to him undisturbed.", "\"His Grace of Wessex comes back to Court to-day,\" rejoined Ursula,\n\"after an absence of many months.\"\n\n\"Well?--what of him?\"", "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "by Wessex, and the praises of his personality sung on every side. Ursula\nwas still too young to be in love with aught else save with love itself,", "It was just the opening and shutting of a door--the claw of the cat upon\nthe neck of the mouse. At first sound of Wessex' name Ursula had risen", "\"The page has gone to bid His Grace of Wessex attend upon you here, my\nchild,\" said the good old Duchess, as she took Ursula's cold hands in", "helped to bring about. They had shaped themselves in exact opposition to\nhis keenest expectations. How to part Wessex from Lady Ursula, with whom\nhis volatile Grace was probably by then more than half in love, became", "The Queen's jealous eyes had already noted the cold salutation with\nwhich Wessex so readily left Ursula's side, in order to turn to the", "But Ursula was thirteen years old then, and held an oath to her father\nto be the most sacred thing in the world. She had not seen Wessex for", "Was not Wessex' position with regard to the Lady Ursula a peculiar one?\nTied to her and yet free, affianced, yet not necessarily bound, his own\nattitude towards her was sure to be influenced by the girl's own\npersonality.", "And while His Grace of Wessex was slowly wending his way towards the\nchamber where he had been so eagerly expected, Lady Ursula, defiant and\nrebellious, was being peremptorily marshalled off in an opposite\ndirection.", "quick, anxious look on Wessex and then had smiled with satisfaction.\nUrsula caught both look and smile, and also that sudden hardening of the\nCardinal's clever face, and knew that her last chance had gone.", "But already Wessex had recovered himself.\n\n\"Your Majesty is mistaken,\" he rejoined calmly. \"I know naught of Lady\nUrsula Glynde, and I defend no one by confessing my crime.\"", "\"His Grace of Wessex,\" suggested Alicia archly, despite the Duchess's\nwarning frown.\n\n\"Alas, no!\" sighed Ursula, \"for he has never been allowed to see me.\"", "\"His Grace has never seen me since I was so long,\" said Ursula with a\nshort, impatient sigh, and stretching out a round arm decked with a", "Wessex' whole soul writhed at the words, the touch, the attitude of the\nman towards her; an hour ago, when he stood beside her, he would have\nbartered a kingdom for the joy of taking her hand.", "\"But I do not wish to be a nun,\" protested Ursula, as tears began to\ngather in her eyes, \"and I do want to wed Wessex, who is handsome--and", "\"And you are beautiful now, Ursula. But of what avail is it? You cannot\nwed His Grace of Wessex, for he'll never ask you to be his wife. He'll\nmarry the Queen. All England wishes it.\"", "\"Your Eminence,\" said Ursula very quietly after a little while, \"you\nsaid just now that I could save His Grace of Wessex from unmerited\ndisgrace and death. Tell me now, what must I do?\"" ], [ "The room itself seemed empty. Wessex had gone, and she had not spoken to\nhim. That was the one great thought which detached itself from the", "Until this moment he had perhaps not quite realized that His Grace of\nWessex had been hard hit. Having wilfully put away from his own life", "anxiety for its welfare, cried out loudly within him. The very thought\nof meeting Wessex face to face at this moment was terrible to him, and", "Wessex' whole soul writhed at the words, the touch, the attitude of the\nman towards her; an hour ago, when he stood beside her, he would have\nbartered a kingdom for the joy of taking her hand.", "With an impatient frown, Wessex deliberately turned his back on the\ngorgeous pile: it represented boredom to him, politics and dullness, and", "But Wessex was slowly coming to himself. His horror had vanished,\nleaving him calm before this terrible revelation. With the privilege\never accorded to him by the fond Queen, he now placed a firm hand upon\nher arm.", "helped to bring about. They had shaped themselves in exact opposition to\nhis keenest expectations. How to part Wessex from Lady Ursula, with whom\nhis volatile Grace was probably by then more than half in love, became", "She made an effort to steady her voice, and avoided meeting the anxious\nlook which Wessex had cast upon her.", "sorrow kept in check, lest indifferent eyes read its miserable tale; and\nWessex, moving like an automaton among his friends, answering at random,", "Wessex had need of all his firmness, and of all his courage, to free\nhimself as gently as he could from her clinging arms. He waited until", "Had he entertained the slightest doubt as to whether the little dramatic\nepisode just enacted had borne its bitter fruit, he would have seen it\nsummarily dispelled with the first glance which he had cast at Wessex.", "of Wessex, and in order not to make these machinations too obvious, some\nof us are also relegated in the background in her company.\"", "Perhaps Wessex would not have taken notice of it, except that his every\nthought was filled with a strange excitement since the rencontre of the", "ran out, in eager curiosity to see whence came the sound. Her first cry,\non seeing that strange moonlit combat, was one of sheer terror; then she\nrecognized Wessex, and gave him a cry of warning.", "the country at large and to Wessex himself. With his whole heart and\nsoul he believed that, at this moment, the Duke's marriage with Lady", "It was just the opening and shutting of a door--the claw of the cat upon\nthe neck of the mouse. At first sound of Wessex' name Ursula had risen", "At sound of her voice Wessex had started. His face became deathly pale\nand his hand gripped the massive bar of wood before him, until every", "\"I have never seen her,\" retorted Wessex placidly. \"At any rate, not\nsince she was in her cradle. I certainly didn't like her then.\"", "Everingham could not leave the Palace without bidding farewell to\nWessex. For the first time in his life he wished to avoid his friend,", "To Wessex it seemed as if years had elapsed since he had closed the door\nof the small inner room behind him, shutting out from his sight the\nbeautiful vision which had filled his soul with gladness." ], [ "\"But I do not wish to be a nun,\" protested Ursula, as tears began to\ngather in her eyes, \"and I do want to wed Wessex, who is handsome--and", "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "\"And you are beautiful now, Ursula. But of what avail is it? You cannot\nwed His Grace of Wessex, for he'll never ask you to be his wife. He'll\nmarry the Queen. All England wishes it.\"", "Was not Wessex' position with regard to the Lady Ursula a peculiar one?\nTied to her and yet free, affianced, yet not necessarily bound, his own\nattitude towards her was sure to be influenced by the girl's own\npersonality.", "helped to bring about. They had shaped themselves in exact opposition to\nhis keenest expectations. How to part Wessex from Lady Ursula, with whom\nhis volatile Grace was probably by then more than half in love, became", "by Wessex, and the praises of his personality sung on every side. Ursula\nwas still too young to be in love with aught else save with love itself,", "\"His Grace of Wessex,\" suggested Alicia archly, despite the Duchess's\nwarning frown.\n\n\"Alas, no!\" sighed Ursula, \"for he has never been allowed to see me.\"", "And Wessex perforce had to hold his peace, whilst Ursula resumed her\ntale more calmly.", "whom I would trust my child,' he said to me; 'swear to me, Ursula, that\nif Wessex claims you not, that you will never marry any one else, but", "our Queen. But this is where your diplomacy escapes me. Once Wessex is\nturned away from the Lady Ursula, he will, we hope, naturally turn to", "\"If the Lady Ursula honoured some one else than my unworthy self. . . .\nIs that your meaning, my lord?\" queried Wessex, as Don Miguel had made a\nslight pause in his impetuous speech.", "Wessex' whole soul writhed at the words, the touch, the attitude of the\nman towards her; an hour ago, when he stood beside her, he would have\nbartered a kingdom for the joy of taking her hand.", "\"Nay!\" retorted the Cardinal bitingly, \"His Grace of Wessex is more\ncompetent than I to solve the riddle of a woman's heart. The Lady Ursula", "But already Wessex had recovered himself.\n\n\"Your Majesty is mistaken,\" he rejoined calmly. \"I know naught of Lady\nUrsula Glynde, and I defend no one by confessing my crime.\"", "Wessex had seemed relieved when the Queen entered, and Ursula knew that\nnever again would she be allowed to see him alone, never again would she\nbe able to speak to him undisturbed.", "\"But I wish him to marry me,\" quoth Ursula with a resolute tap of her\nhigh-heeled shoe against the ground. \"Yes, me! and I want that witch", "\"Tis wrong they should be so tuned--Lady Ursula, they say, is your\npromised wife.\"\n\n\"But I do not love her . . . never could love her whilst----\"", "It was just the opening and shutting of a door--the claw of the cat upon\nthe neck of the mouse. At first sound of Wessex' name Ursula had risen", "the country at large and to Wessex himself. With his whole heart and\nsoul he believed that, at this moment, the Duke's marriage with Lady", "But Ursula was thirteen years old then, and held an oath to her father\nto be the most sacred thing in the world. She had not seen Wessex for" ], [ "\"But I do not wish to be a nun,\" protested Ursula, as tears began to\ngather in her eyes, \"and I do want to wed Wessex, who is handsome--and", "whom I would trust my child,' he said to me; 'swear to me, Ursula, that\nif Wessex claims you not, that you will never marry any one else, but", "But Ursula was thirteen years old then, and held an oath to her father\nto be the most sacred thing in the world. She had not seen Wessex for", "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "\"And you are beautiful now, Ursula. But of what avail is it? You cannot\nwed His Grace of Wessex, for he'll never ask you to be his wife. He'll\nmarry the Queen. All England wishes it.\"", "\"Your Eminence,\" said Ursula very quietly after a little while, \"you\nsaid just now that I could save His Grace of Wessex from unmerited\ndisgrace and death. Tell me now, what must I do?\"", "\"And 'tis small wonder that Ursula should wish to catch sight of the man\nwhom her father vowed she should wed or else enter into a convent,\"\nconcluded Alicia defiantly.", "And Wessex perforce had to hold his peace, whilst Ursula resumed her\ntale more calmly.", "Was not Wessex' position with regard to the Lady Ursula a peculiar one?\nTied to her and yet free, affianced, yet not necessarily bound, his own\nattitude towards her was sure to be influenced by the girl's own\npersonality.", "our Queen. But this is where your diplomacy escapes me. Once Wessex is\nturned away from the Lady Ursula, he will, we hope, naturally turn to", "No doubt that the Earl of Truro, lying on his deathbed, had but little\nreal perception of what he was doing, when he forced his daughter to\nswear that she would marry Wessex or remain single to the end of her\ndays.", "Wessex had seemed relieved when the Queen entered, and Ursula knew that\nnever again would she be allowed to see him alone, never again would she\nbe able to speak to him undisturbed.", "\"Once His Grace has ceased to think of Lady Ursula, I and my party will\nonce more work heart and soul to bring about the alliance of Wessex with\nthe Queen.\"", "\"If the Lady Ursula honoured some one else than my unworthy self. . . .\nIs that your meaning, my lord?\" queried Wessex, as Don Miguel had made a\nslight pause in his impetuous speech.", "his honour and on his deathbed that she should wed the Duke of Wessex,\nwhenever he claimed her hand, or live her life in a convent. Nay, I but", "\"Nay! perhaps you exaggerate the danger,\" he said. \"The Lady Ursula\nmight prefer the convent to being a duchess. She has never seen Your\nGrace, she is rich and high-born, she may be pious----\"", "\"But I wish him to marry me,\" quoth Ursula with a resolute tap of her\nhigh-heeled shoe against the ground. \"Yes, me! and I want that witch", "helped to bring about. They had shaped themselves in exact opposition to\nhis keenest expectations. How to part Wessex from Lady Ursula, with whom\nhis volatile Grace was probably by then more than half in love, became", "And she replied equally solemnly--\n\n\"I swear it upon mine honour and conscience.\"\n\n\"'Tis false from beginning to end,\" protested Wessex loudly.", "\"His Grace of Wessex,\" suggested Alicia archly, despite the Duchess's\nwarning frown.\n\n\"Alas, no!\" sighed Ursula, \"for he has never been allowed to see me.\"" ], [ "The Queen's ultimatum was almost a fiat. His Eminence saw himself and\nhis retinue ignominiously quitting the English Court and", "CHAPTER XXV\n\nTHE CARDINAL'S MOVE\n\n\nHis Eminence had been left all alone in the room after the passage of\nHer Majesty to her own apartments.", "The Queen peremptorily ordered every one out of the room, then she\nturned with real Tudor-like fury upon His Eminence.", "\"Nay! an you were that now, you could not understand all that England\nexpects of you. The Queen is harassed by the Cardinal and the Spanish", "But His Eminence the Cardinal de Moreno left the presence of the Queen\nof England with a smile of satisfaction and a sigh of anticipated\ntriumph.", "The Cardinal watched her until the door closed upon her and he was quite\nsure that she was well out of hearing. Then he approached the Queen and\nsaid in his most suave manner--", "Mary Tudor had dismissed her ladies, for she wished to speak with the\nCardinal de Moreno alone.", "\"And while you fled from Court the Queen of England has almost promised\nto wed the Spanish king,\" said Everingham bitterly.\n\nHe watched his friend keenly as he spoke and paused a moment before he\nadded pointedly--", "\"A madwoman and a wanton,\" here protested the Cardinal with all the\nvigour at his command. \"Surely Your Majesty will not believe this\nmiserable creature's calumnies.\"", "The Cardinal had withdrawn from the Queen's presence after an obeisance\nmarked with deep respect. He wished to be alone to think over this new", "That was her bond, and already the Cardinal had claimed its fulfilment.\nThe Queen of England stood definitely pledged to give her hand to Philip\nII, King of Spain.", "\"My time is ever at Your Majesty's service,\" replied the Cardinal\nhumbly. \"In what way may I have the honour to serve the Queen of England\nto-day?\"", "\"But that is where we differ, milor. His Eminence the Cardinal de Moreno\nand myself both hope that the Queen of England will wed our master King\nPhilip of Spain.\"", "The Cardinal looked benevolently compassionate. At heart he was more\nthan glad to think that this blundering Englishman would be well out of", "\"I think not, Your Majesty,\" replied the Cardinal blandly. \"'Tis many\ndays yet which I shall hope to spend in Your Majesty's company.\"\n\n\"Yet the skein is still entangled, my lord.\"", "victory which she knew he coveted. The task was a difficult one; not\nimpossible--for the Cardinal never admitted that anything was\nimpossible. But he was peculiarly placed, and he knew the value of royal", "\"The Duke hath made confession,\" said the Cardinal, and his voice seemed\nto come as if in direct answer to her thoughts. \"In an hour at most\njudgment will be pronounced against him, and then sentence of death.\"", "\"Hush! the small opportunity, my lord Marquis,\" whispered the Cardinal\nin reply.\n\n\"Have I the honour of following Your Majesty?\" he added respectfully,\nbowing to the Queen.", "\"No,\" she said firmly, \"for there is that between Your Eminence and me\nwhich, if known to the Queen of England, would for ever ruin your\nposition in any court of Europe.\"", "Awed, horrified, every one listened. Mary Tudor herself hung upon the\ngirl's lips. The Cardinal made a final effort to preserve his outward\ncomposure." ], [ "soon a King of Spain will rule over England and capture the heart of our\nQueen.\"", "The Queen herself, attracted by the novelty of the spectacle, and her\nheart ever yearning for the near presence of the man she still loved so", "the Queen, who loves him passionately, and . . . Check!\" he added,\nmoving one of his pieces.", "alluring with the Queen telling her beads, the foreign ambassadors\nruling England, the Privy Council at loggerheads, the people grumbling,\nand the ladies yawning. Brrr!\"", "\"As sure as I am of the fact that the Queen of England is the most\ngracious lady in Europe,\" he replied, with all the courtly grace which", "\"Well,\" she said imperturbably, \"you can't deny that the Queen is old!\n. . . and ugly! . . . and ill-tempered! . . .\"", "\"God bless our Queen,\" said the Duke of Wessex loudly, and the words\nwere taken up again and again by two hundred lusty throats, gentlemen", "\"And out of sheer boredom,\" quoth Everingham with a sigh of deep\ndisappointment, \"you piqued the Queen of England.\"", "\"If the Duke of Wessex be inclined to marry, believe me, my lord\nMarquis, that it shall be none other than the Queen of England! Whom may", "The next instant the door at the further end of the room was thrown\nopen, and the Queen entered followed by some of her ladies. She was", "From now and to the end of her days she would be Queen alone--the woman\nlay buried amongst the autumn leaves which strewed the walks of old\nHampton Court Palace.", "Then he thought of the Queen of England. No longer young, with but\nlittle taste in ornament and dress, and certes quite unversed in all\nthose wiles, which might have drawn this brilliant butterfly into her\nnet.", "The next moment there was a knock at the door, a clash of arms, the\nsound of voices, and two minutes later His Grace of Wessex was in the\npresence of the Queen.", "\"Ah, my sweet Queen,\" he said with gentle sadness, \"I am and always will\nbe your most devoted subject--but do you not see how impossible it is\nthat I should accept this great honour, which you would deign to confer\nupon me?\"", "\"Nay,\" he said, with gentle suavity, \"my only desire is to rouse in the\nheart of the Queen of England love for my royal master, the King of", "over the girl who had become her rival. At any rate, Fate had done one\ngreat thing for her: she was the Queen, ruling as every Tudor had ruled,\nby divine right, absolutely, unquestionably.", "\"I have thought--much,\" he replied quietly. \"Life holds nothing very\ntempting at best, does it? The honour of the Queen of England and mine", "CHAPTER XXIII\n\nCHECK TO THE QUEEN", "Her one idea, however, had remained, that of a marriage with Wessex. By\nright and precedence she could claim a place in the Queen of England's", "That was her bond, and already the Cardinal had claimed its fulfilment.\nThe Queen of England stood definitely pledged to give her hand to Philip\nII, King of Spain." ], [ "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "helped to bring about. They had shaped themselves in exact opposition to\nhis keenest expectations. How to part Wessex from Lady Ursula, with whom\nhis volatile Grace was probably by then more than half in love, became", "And Wessex perforce had to hold his peace, whilst Ursula resumed her\ntale more calmly.", "\"His Grace of Wessex comes back to Court to-day,\" rejoined Ursula,\n\"after an absence of many months.\"\n\n\"Well?--what of him?\"", "Was not Wessex' position with regard to the Lady Ursula a peculiar one?\nTied to her and yet free, affianced, yet not necessarily bound, his own\nattitude towards her was sure to be influenced by the girl's own\npersonality.", "It was just the opening and shutting of a door--the claw of the cat upon\nthe neck of the mouse. At first sound of Wessex' name Ursula had risen", "And while His Grace of Wessex was slowly wending his way towards the\nchamber where he had been so eagerly expected, Lady Ursula, defiant and\nrebellious, was being peremptorily marshalled off in an opposite\ndirection.", "Wessex had seemed relieved when the Queen entered, and Ursula knew that\nnever again would she be allowed to see him alone, never again would she\nbe able to speak to him undisturbed.", "\"The page has gone to bid His Grace of Wessex attend upon you here, my\nchild,\" said the good old Duchess, as she took Ursula's cold hands in", "by Wessex, and the praises of his personality sung on every side. Ursula\nwas still too young to be in love with aught else save with love itself,", "But already Wessex had recovered himself.\n\n\"Your Majesty is mistaken,\" he rejoined calmly. \"I know naught of Lady\nUrsula Glynde, and I defend no one by confessing my crime.\"", "\"If the Lady Ursula honoured some one else than my unworthy self. . . .\nIs that your meaning, my lord?\" queried Wessex, as Don Miguel had made a\nslight pause in his impetuous speech.", "CHAPTER VI\n\nTHE LADY URSULA", "\"Once His Grace has ceased to think of Lady Ursula, I and my party will\nonce more work heart and soul to bring about the alliance of Wessex with\nthe Queen.\"", "But Ursula was thirteen years old then, and held an oath to her father\nto be the most sacred thing in the world. She had not seen Wessex for", "It had come about so strangely.\n\nShe was not exquisite \"Fanny,\" mysterious, elusive, after all. She was\nLady Ursula Glynde.\n\nWell! what mattered that?", "The Queen's jealous eyes had already noted the cold salutation with\nwhich Wessex so readily left Ursula's side, in order to turn to the", "She had so earnestly looked forward to the moment when she would say to\nhim that she in sooth was none other than Lady Ursula Glynde, the woman", "our Queen. But this is where your diplomacy escapes me. Once Wessex is\nturned away from the Lady Ursula, he will, we hope, naturally turn to", "\"My lord of Wessex,\" said the High Steward sternly, \"in the name of\njustice and for the dignity of this court, I charge you to be silent.\"\n\nThen he once more addressed the Lady Ursula." ], [ "\"But I do not wish to be a nun,\" protested Ursula, as tears began to\ngather in her eyes, \"and I do want to wed Wessex, who is handsome--and", "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "\"And you are beautiful now, Ursula. But of what avail is it? You cannot\nwed His Grace of Wessex, for he'll never ask you to be his wife. He'll\nmarry the Queen. All England wishes it.\"", "helped to bring about. They had shaped themselves in exact opposition to\nhis keenest expectations. How to part Wessex from Lady Ursula, with whom\nhis volatile Grace was probably by then more than half in love, became", "Was not Wessex' position with regard to the Lady Ursula a peculiar one?\nTied to her and yet free, affianced, yet not necessarily bound, his own\nattitude towards her was sure to be influenced by the girl's own\npersonality.", "\"His Grace of Wessex,\" suggested Alicia archly, despite the Duchess's\nwarning frown.\n\n\"Alas, no!\" sighed Ursula, \"for he has never been allowed to see me.\"", "whom I would trust my child,' he said to me; 'swear to me, Ursula, that\nif Wessex claims you not, that you will never marry any one else, but", "our Queen. But this is where your diplomacy escapes me. Once Wessex is\nturned away from the Lady Ursula, he will, we hope, naturally turn to", "And Wessex perforce had to hold his peace, whilst Ursula resumed her\ntale more calmly.", "by Wessex, and the praises of his personality sung on every side. Ursula\nwas still too young to be in love with aught else save with love itself,", "\"If the Lady Ursula honoured some one else than my unworthy self. . . .\nIs that your meaning, my lord?\" queried Wessex, as Don Miguel had made a\nslight pause in his impetuous speech.", "\"Nay!\" retorted the Cardinal bitingly, \"His Grace of Wessex is more\ncompetent than I to solve the riddle of a woman's heart. The Lady Ursula", "But already Wessex had recovered himself.\n\n\"Your Majesty is mistaken,\" he rejoined calmly. \"I know naught of Lady\nUrsula Glynde, and I defend no one by confessing my crime.\"", "Wessex had seemed relieved when the Queen entered, and Ursula knew that\nnever again would she be allowed to see him alone, never again would she\nbe able to speak to him undisturbed.", "And while His Grace of Wessex was slowly wending his way towards the\nchamber where he had been so eagerly expected, Lady Ursula, defiant and\nrebellious, was being peremptorily marshalled off in an opposite\ndirection.", "Wessex' whole soul writhed at the words, the touch, the attitude of the\nman towards her; an hour ago, when he stood beside her, he would have\nbartered a kingdom for the joy of taking her hand.", "But Ursula was thirteen years old then, and held an oath to her father\nto be the most sacred thing in the world. She had not seen Wessex for", "\"Tis wrong they should be so tuned--Lady Ursula, they say, is your\npromised wife.\"\n\n\"But I do not love her . . . never could love her whilst----\"", "\"Your Eminence,\" said Ursula very quietly after a little while, \"you\nsaid just now that I could save His Grace of Wessex from unmerited\ndisgrace and death. Tell me now, what must I do?\"", "\"Once His Grace has ceased to think of Lady Ursula, I and my party will\nonce more work heart and soul to bring about the alliance of Wessex with\nthe Queen.\"" ], [ "\"But I do not wish to be a nun,\" protested Ursula, as tears began to\ngather in her eyes, \"and I do want to wed Wessex, who is handsome--and", "\"And you are beautiful now, Ursula. But of what avail is it? You cannot\nwed His Grace of Wessex, for he'll never ask you to be his wife. He'll\nmarry the Queen. All England wishes it.\"", "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "whom I would trust my child,' he said to me; 'swear to me, Ursula, that\nif Wessex claims you not, that you will never marry any one else, but", "Was not Wessex' position with regard to the Lady Ursula a peculiar one?\nTied to her and yet free, affianced, yet not necessarily bound, his own\nattitude towards her was sure to be influenced by the girl's own\npersonality.", "our Queen. But this is where your diplomacy escapes me. Once Wessex is\nturned away from the Lady Ursula, he will, we hope, naturally turn to", "helped to bring about. They had shaped themselves in exact opposition to\nhis keenest expectations. How to part Wessex from Lady Ursula, with whom\nhis volatile Grace was probably by then more than half in love, became", "by Wessex, and the praises of his personality sung on every side. Ursula\nwas still too young to be in love with aught else save with love itself,", "Wessex had seemed relieved when the Queen entered, and Ursula knew that\nnever again would she be allowed to see him alone, never again would she\nbe able to speak to him undisturbed.", "And Wessex perforce had to hold his peace, whilst Ursula resumed her\ntale more calmly.", "\"Your Eminence,\" said Ursula very quietly after a little while, \"you\nsaid just now that I could save His Grace of Wessex from unmerited\ndisgrace and death. Tell me now, what must I do?\"", "\"But I wish him to marry me,\" quoth Ursula with a resolute tap of her\nhigh-heeled shoe against the ground. \"Yes, me! and I want that witch", "\"Once His Grace has ceased to think of Lady Ursula, I and my party will\nonce more work heart and soul to bring about the alliance of Wessex with\nthe Queen.\"", "But Ursula was thirteen years old then, and held an oath to her father\nto be the most sacred thing in the world. She had not seen Wessex for", "\"Nay! perhaps you exaggerate the danger,\" he said. \"The Lady Ursula\nmight prefer the convent to being a duchess. She has never seen Your\nGrace, she is rich and high-born, she may be pious----\"", "\"His Grace of Wessex,\" suggested Alicia archly, despite the Duchess's\nwarning frown.\n\n\"Alas, no!\" sighed Ursula, \"for he has never been allowed to see me.\"", "\"If the Lady Ursula honoured some one else than my unworthy self. . . .\nIs that your meaning, my lord?\" queried Wessex, as Don Miguel had made a\nslight pause in his impetuous speech.", "\"The page has gone to bid His Grace of Wessex attend upon you here, my\nchild,\" said the good old Duchess, as she took Ursula's cold hands in", "Her one idea, however, had remained, that of a marriage with Wessex. By\nright and precedence she could claim a place in the Queen of England's", "Wessex' whole soul writhed at the words, the touch, the attitude of the\nman towards her; an hour ago, when he stood beside her, he would have\nbartered a kingdom for the joy of taking her hand." ], [ "Wessex had seemed relieved when the Queen entered, and Ursula knew that\nnever again would she be allowed to see him alone, never again would she\nbe able to speak to him undisturbed.", "The Queen's jealous eyes had already noted the cold salutation with\nwhich Wessex so readily left Ursula's side, in order to turn to the", "our Queen. But this is where your diplomacy escapes me. Once Wessex is\nturned away from the Lady Ursula, he will, we hope, naturally turn to", "\"But I do not wish to be a nun,\" protested Ursula, as tears began to\ngather in her eyes, \"and I do want to wed Wessex, who is handsome--and", "She paused a moment, whilst all three of them crowded round Her Grace of\nLincoln's chair.\n\nThen Ursula said solemnly--\n\n\"The Queen is in love with my future husband!\"", "\"And you are beautiful now, Ursula. But of what avail is it? You cannot\nwed His Grace of Wessex, for he'll never ask you to be his wife. He'll\nmarry the Queen. All England wishes it.\"", "\"Once His Grace has ceased to think of Lady Ursula, I and my party will\nonce more work heart and soul to bring about the alliance of Wessex with\nthe Queen.\"", "helped to bring about. They had shaped themselves in exact opposition to\nhis keenest expectations. How to part Wessex from Lady Ursula, with whom\nhis volatile Grace was probably by then more than half in love, became", "But Wessex was slowly coming to himself. His horror had vanished,\nleaving him calm before this terrible revelation. With the privilege\never accorded to him by the fond Queen, he now placed a firm hand upon\nher arm.", "And while His Grace of Wessex was slowly wending his way towards the\nchamber where he had been so eagerly expected, Lady Ursula, defiant and\nrebellious, was being peremptorily marshalled off in an opposite\ndirection.", "And Wessex perforce had to hold his peace, whilst Ursula resumed her\ntale more calmly.", "But the tears, which she tried in vain to suppress, were not caused by\nthe Queen's harsh words, but by the terrible doubts which assailed her\nwhen she thought of Wessex.\n\nHad he heard?", "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "\"Your Majesty . . .\" retorted Ursula, proud and rebellious at this\nslight put upon her, and forgetting for the moment even the invisible\npresence of the man she loved.", "\"Ursula has been questioned,\" she continued, \"but she remains obdurately\nsilent. Believe me, my lord, you waste your chivalry in defence of a\nwanton.\"", "\"Your Eminence,\" said Ursula very quietly after a little while, \"you\nsaid just now that I could save His Grace of Wessex from unmerited\ndisgrace and death. Tell me now, what must I do?\"", "quick, anxious look on Wessex and then had smiled with satisfaction.\nUrsula caught both look and smile, and also that sudden hardening of the\nCardinal's clever face, and knew that her last chance had gone.", "\"The page has gone to bid His Grace of Wessex attend upon you here, my\nchild,\" said the good old Duchess, as she took Ursula's cold hands in", "\"'Tis quite true what Alicia says,\" here interposed Barbara, pouting;\n\"everything is done to keep Ursula out of His Grace's way. And we, too,\nare made the scapegoats of this silly intrigue.\"", "As Queen now she once more turned to Ursula. Justice in her demanded\nthat every wrong should be righted, every misdoer punished." ], [ "soon a King of Spain will rule over England and capture the heart of our\nQueen.\"", "\"But that is where we differ, milor. His Eminence the Cardinal de Moreno\nand myself both hope that the Queen of England will wed our master King\nPhilip of Spain.\"", "That was her bond, and already the Cardinal had claimed its fulfilment.\nThe Queen of England stood definitely pledged to give her hand to Philip\nII, King of Spain.", "When Philip of Spain desired to wed Mary of England he chose the one man\nin all Europe most able to carry his wishes through. A perfect grand", "\"Ah, my lord! I have more need of friends just now than cities! Whilst\nyou go to France your Queen will wed King Philip of Spain.\"\n\n\"I hope not, Your Majesty,\" he rejoined earnestly.", "\"And I to win the Queen's hand for Philip of Spain. Until then? . . .\"\n\n\"Armed truce, Your Eminence.\"", "own popularity at the English Court, and thereby minimize his chances of\ncarrying through the negotiations entrusted to him by King Philip of\nSpain.", "latter's too sudden reappearance at Hampton Court. In any case now he\nhad still some days before him during which he could consolidate his\nsuccess, by establishing direct intercourse between King Philip and the", "see me for fear he should fall in love with me. And my lord Cardinal is\nfurious because he wants the Queen to marry Philip of Spain, and he is", "\"No!\" rejoined Mary quietly, \"but if you succeed I will give you in\nreward anything which you may ask.\"\n\n\"Anything, my daughter? Even your hand in marriage to King Philip of\nSpain?\"", "ambassador. Philip but desires her hand in order to lay the iron heel of\nSpain upon the neck of submissive England. Your Grace can save us all.\nMary loves you, would wed you to-morrow.\"", "Grace. Still, if I do not succeed in parting those two young people whom\nmy diplomacy hath brought together, then Mary Tudor sends me and the\nSpanish Ambassador back to Philip to-morrow.\"", "\"If Your Eminence succeeds in effecting the impossible,\" replied Mary\nfirmly, \"I will marry King Philip of Spain.\"", "Spain. He is young and goodly to look at, a faithful and gallant\ngentleman, whom it will be difficult to lure from Your Grace's side,", "\"It shall be, since Your Eminence wishes it.\"\n\n\"And to-night I will announce the joyful news by special messenger to\nthe King of Spain,\" he added significantly.", "Under the leadership of His Eminence the Cardinal de Moreno he certainly\nhoped to bring about the marriage of Philip with the Queen of England.", "of Spain, also the Duc de Noailles, who represented the King of France,\nand Scheyfne, who watched over the interests of the Emperor Charles V in", "\"And while you fled from Court the Queen of England has almost promised\nto wed the Spanish king,\" said Everingham bitterly.\n\nHe watched his friend keenly as he spoke and paused a moment before he\nadded pointedly--", "\"Nay! an you were that now, you could not understand all that England\nexpects of you. The Queen is harassed by the Cardinal and the Spanish", "There! there! calm your fears. Have I not told you that Her Majesty hath\ncommanded my presence at Court? We'll set our poor wits to oust Spanish" ], [ "Proud, rich, fastidious Wessex! this is the end of all things! Pomp and\nceremony, gorgeous robes and costly apparels! these to speed thee on thy", "England. Wessex, a firm yet unostentatious adherent of the new faith,\nwas to him an opponent in every sense.", "But Wessex was slowly coming to himself. His horror had vanished,\nleaving him calm before this terrible revelation. With the privilege\never accorded to him by the fond Queen, he now placed a firm hand upon\nher arm.", "\"Well, Harry, my friend, I think that's the last of them . . .\" said\nWessex lightly as he finally put up his sword and mounted the steps to\nthe platform.", "Oh! the humiliation of it all! Wessex suddenly felt that all his anger\nhad vanished. The whole thing was so contemptible, the banality of the", "the country at large and to Wessex himself. With his whole heart and\nsoul he believed that, at this moment, the Duke's marriage with Lady", "\"Ah yes! I had forgot,\" said Wessex quietly, as he rose to his feet. He\ndrew his sword from its sheath, and with one quick, sudden wrench, broke", "Mary Tudor saw the look and its response from Wessex' eyes. She saw the\nend of the one dream which had filled her dull, rigid life and rendered", "Had he entertained the slightest doubt as to whether the little dramatic\nepisode just enacted had borne its bitter fruit, he would have seen it\nsummarily dispelled with the first glance which he had cast at Wessex.", "Wessex' whole soul writhed at the words, the touch, the attitude of the\nman towards her; an hour ago, when he stood beside her, he would have\nbartered a kingdom for the joy of taking her hand.", "Fallen Wessex indeed!", "She knew all that, yet she did not hesitate. Her love for Wessex had\nfilled all her life--first as a child, then as an ignorant girl", "\"Ah! there you have me, my lord,\" rejoined Everingham with a sigh. \"All\nEngland is at one with us in a burning desire to see Wessex wedded to", "But already Lord Everingham had put up his sword and gone to Wessex with\nhands outstretched.\n\n\"Wessex!\" he said with unmistakable delight. \"By Our Lady, this is a\njoyful surprise!\"", "\"My lords,\" said Wessex in a final appeal, which he himself felt was a\nhopeless one, \"I thank you from my heart, but I cannot accept this", "Wessex possessed neither. He was just a man touched for the first time\nin his life with the strongest passion of which human creatures are", "Until this moment he had perhaps not quite realized that His Grace of\nWessex had been hard hit. Having wilfully put away from his own life", "helped to bring about. They had shaped themselves in exact opposition to\nhis keenest expectations. How to part Wessex from Lady Ursula, with whom\nhis volatile Grace was probably by then more than half in love, became", "Wessex broke into a long, forced laugh, which expressed all the\nbitterness and anguish of his heart.", "Wessex had need of all his firmness, and of all his courage, to free\nhimself as gently as he could from her clinging arms. He waited until" ], [ "the Queen, who loves him passionately, and . . . Check!\" he added,\nmoving one of his pieces.", "The Queen herself, attracted by the novelty of the spectacle, and her\nheart ever yearning for the near presence of the man she still loved so", "Then only did Mary Tudor's self-control entirely desert her. Forgetting\nall her dignity and pride, her self-will and masterfulness, she clung to\nthe man she loved with passionate ardour, sobbing and entreating.", "Mary paused and suddenly laid an eager hand on his wrist.\n\n\"Methought you cared nothing for the affairs of state,\" she said with\nsome sadness, \"and still less as to who shall rule over the heart of\nyour Queen.\"", "It had been easy enough up to now. His Grace, partly in order to please\nhis friends, even if only half believing that his influence would\nprevent Mary Tudor from contracting an alien marriage, had been in\nconstant attendance on the Queen.", "\"Mary Tudor loves you too well . . .\" protested Lord Everingham.", "CHAPTER XXXI\n\nMARYE, THE QUEENE", "\"I hardly know how to understand Your Eminence,\" he said guardedly. \"I\nneed hardly say that my fondest hope was to see Queen Mary wedded to", "on which he came back to the Court, but Mary Tudor, bent on winning his\nlove, had resolutely kept him away from the beautiful girl who, she\ninstinctively felt, would prove a formidable rival.", "She paused a moment, whilst all three of them crowded round Her Grace of\nLincoln's chair.\n\nThen Ursula said solemnly--\n\n\"The Queen is in love with my future husband!\"", "\"I pray you do not trouble to deny it. Let us admit that it is so. Do\nyou not think then that Queen Mary will have a like suspicion as\nyourself?\"\n\n\"Probably.\"", "Certes no one could accuse him of intriguing for his own political\nadvancement. Mary Tudor's own avowed penchant for him was so well known,", "\"Go back, my lord, to your royal master,\" said Queen Mary with lofty\ncontempt. \"My word is my bond, and my pledge to him is sacred; but tell", "\"Nay, my lord,\" rejoined Mary Tudor earnestly, for he had turned to the\nQueen, prepared to proffer his request on his knees, \"meseems a grievous", "Queen of England. He hoped before many hours had elapsed to obtain from\nMary Tudor an actual letter, writ in her own hand to her royal\nbetrothed.", "Was not good Queene Marye, beloved daughter of the great King Henry\nVIII, crowned at last? crowned in Westminster Abbey, as all her loyal", "But Mary Tudor, though at times capable of noble and just impulses, was\nfar too blinded by her own passion to give up the joy of this victory", "It amused him to watch the discomfited faces of his political\nantagonists, whose presence now Mary seemed completely to ignore. Her\nwhole personality was transformed in his presence: she looked ten years", "\"If the Duke of Wessex be inclined to marry, believe me, my lord\nMarquis, that it shall be none other than the Queen of England! Whom may", "Yet Mary Tudor, wilfully forgetting for the moment her pledge to the\nSpaniards, longing to enjoy these last few hours when she was still" ], [ "the country at large and to Wessex himself. With his whole heart and\nsoul he believed that, at this moment, the Duke's marriage with Lady", "\"Aye! she is affianced to the Duke of Wessex.\"\n\n\"Well, and what of it, child?\"", "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "\"If the Duke of Wessex be inclined to marry, believe me, my lord\nMarquis, that it shall be none other than the Queen of England! Whom may", "\"His Grace of Wessex did come upon us, and seeing me held with violence,\nI, who was his betrothed, to save mine honour, the Duke did strike Don\nMiguel down.\"", "\"With the Duke of Wessex . . .\" she retorted after a slight hesitation,\n\"There! . . . now wilt let me go?\"", "\"Now, child, have no fear,\" said the Cardinal gently. \"Tell me . . . you\nwish to speak with the Duke of Wessex?\"\n\nShe turned resolutely towards him.", "\"His Grace of Wessex,\" suggested Alicia archly, despite the Duchess's\nwarning frown.\n\n\"Alas, no!\" sighed Ursula, \"for he has never been allowed to see me.\"", "his honour and on his deathbed that she should wed the Duke of Wessex,\nwhenever he claimed her hand, or live her life in a convent. Nay, I but", "The Duke had urged that his trial should come on speedily. This was\nreadily granted, for he was the Duke of Wessex still. The trial itself", "\"A fine scheme indeed, my lord,\" interrupted the Queen impatiently, \"to\nsend the Duke of Wessex courting after my waiting-maid.\"", "The Duke of Wessex had saved her life; she was proud of that, and since\nthat day she had had a burning ambition to see him again. She had hoped", "\"They call you fickle, and say the Duke of Wessex loves many women a\nlittle . . . but constantly, not at all.\"\n\nHe came a step closer to her, and tried to meet her eyes.", "whilst trying to reconquer the volatile Duke's allegiance. But if Wessex\ndoes not wed the Lady Ursula . . . what then? Will his friends prevail?", "\"My lords,\" said Lord Chandois, once more rising from his seat, \"you\nhave heard the evidence of this lady, and Robert Duke of Wessex having", "No doubt that the Earl of Truro, lying on his deathbed, had but little\nreal perception of what he was doing, when he forced his daughter to\nswear that she would marry Wessex or remain single to the end of her\ndays.", "\"But you seem to know me, fair one,\" he said after a while.\n\n\"Who does not know His Grace of Wessex?\" she responded, making a pretty\ncurtsy.", "To the Duke of Wessex, the most favoured man in England, the grand\nseigneur with one foot on the throne, the idea of suffering a false", "\"The page has gone to bid His Grace of Wessex attend upon you here, my\nchild,\" said the good old Duchess, as she took Ursula's cold hands in", "\"Robert, Duke of Wessex,\" he said, and his voice trembled as he spoke,\n\"Duke of Dorchester, Earl of Launceston, Wexford, and Bridthorpe, Baron" ], [ "But Ursula was thirteen years old then, and held an oath to her father\nto be the most sacred thing in the world. She had not seen Wessex for", "\"And 'tis small wonder that Ursula should wish to catch sight of the man\nwhom her father vowed she should wed or else enter into a convent,\"\nconcluded Alicia defiantly.", "\"Ursula!\" came in ever-recurring feeble protests from the old dowager.\n\nBut the young girl was wholly unabashed.", "\"And there is the man who before me has looked in Ursula's eyes,\" mused\nthe Duke. \"To think that I have a fancy for killing that young", "\"Think you he will come?\" asked Ursula dully.\n\n\"I doubt not but he will, my dear. His Grace owes you his life.\"\n\n\"Yes?\"", "\"Your Eminence,\" said Ursula very quietly after a little while, \"you\nsaid just now that I could save His Grace of Wessex from unmerited\ndisgrace and death. Tell me now, what must I do?\"", "When Ursula finally succeeded in escaping from her room, where she had\nbeen forcibly confined--almost a prisoner--in the charge of two", "\"The die is cast, Margaret mine,\" said Ursula, trying vainly to steady\nher voice, which was trembling, and her knees which were shaking beneath", "whom I would trust my child,' he said to me; 'swear to me, Ursula, that\nif Wessex claims you not, that you will never marry any one else, but", "\"A lie, Your Majesty,\" protested the Cardinal.\n\n\"The truth!\" protested Ursula loudly. \"I pray Your Majesty to look on me\nand him and see on whose face is writ the word--fear.\"", "As for Lady Ursula, he swore to himself that no harm should ultimately\ncome to her. She would be a tool, a necessary pawn in this game of\ncross-purposes, which had the freedom and greatness of England for its\nultimate aim.", "\"Ursula has been questioned,\" she continued, \"but she remains obdurately\nsilent. Believe me, my lord, you waste your chivalry in defence of a\nwanton.\"", "\"No! no! no! Ursula!\" she said, clinging to the other girl, not daring\nto look up at the awesome figure of the lean magician. \"I implore you,\ngive up the thought.\"", "knew Ursula had told nothing but a strangely concocted lie. To him, who\nhad--as he thought--seen her with the blood of Don Miguel still warm", "Ursula watched him with wild, burning eyes. Was the truth dawning at\nlast? She, as the woman, was bent on knowing what lay hidden beneath the", "\"But I wish him to marry me,\" quoth Ursula with a resolute tap of her\nhigh-heeled shoe against the ground. \"Yes, me! and I want that witch", "\"I, Ursula Glynde,\" she replied firmly, \"daughter of the Earl of Truro.\"", "She laughed, a long, merry, rippling laugh which set his ears tingling\nwith the desire to hear it once again. Ursula was indeed enjoying\nherself thoroughly.", "\"No, Your Majesty,\" replied Ursula, returning to earth at sound of the\nQueen's kindly voice, \"Lady Alicia tells me that a girl . . . a poor,", "\"The page has gone to bid His Grace of Wessex attend upon you here, my\nchild,\" said the good old Duchess, as she took Ursula's cold hands in" ], [ "Under the leadership of His Eminence the Cardinal de Moreno he certainly\nhoped to bring about the marriage of Philip with the Queen of England.", "\"But that is where we differ, milor. His Eminence the Cardinal de Moreno\nand myself both hope that the Queen of England will wed our master King\nPhilip of Spain.\"", "Then they alighted upon the Cardinal de Moreno, who, pale to the lips,\nstrove in vain to smother the growing agitation which had mastered him", "The Cardinal de Moreno, envoy in chief of His Majesty the King of Spain,\nhad given the matter a political significance. In the name of his royal", "or by her more distinguished guests for the reception of important\nvisitors. It was here that Lord Everingham, anxious, perturbed, vaguely\nashamed of his own actions, had sought out the Cardinal de Moreno after", "Mary Tudor had dismissed her ladies, for she wished to speak with the\nCardinal de Moreno alone.", "Ursula had been quite right when she asserted with bitter sarcasm that\nHis Eminence the Cardinal de Moreno seemed to be the prime mover in the", "The Cardinal de Moreno now stood beside the dead body of his friend.\n\n\"Your Grace! and? . . .\"", "But His Eminence the Cardinal de Moreno left the presence of the Queen\nof England with a smile of satisfaction and a sigh of anticipated\ntriumph.", "proclamation than a felon awaiting his trial. Then, as he looked all\naround him, his eyes lighted on my lord the Cardinal de Moreno and on a", "His Eminence the Cardinal de Moreno alone, seeing her turn towards the\ngardens, ventured on a remark.", "But when she alighted she suddenly became conscious that the Cardinal de\nMoreno was standing before her, his delicate white hand outstretched to", "\"My lord Cardinal,\" rejoined Mary firmly, \"you are aware of the fact\nthat His Grace of Wessex is on the eve of being tried by his peers, for\na heinous crime of which he is innocent.\"", "His Eminence the Cardinal, the Duc de Noailles, Scheyfne, Don Miguel de\nSuarez, all were seeking to obtain a definite promise from Mary. The", "So accurately had the Cardinal de Moreno calculated his chance of final\nsuccess that he himself was able to lead the Queen of England to the\nGreat Hall for the approaching ceremony, at the very moment when Wessex\nand Ursula were on the point of understanding one another.", "\"I hardly know how to understand Your Eminence,\" he said guardedly. \"I\nneed hardly say that my fondest hope was to see Queen Mary wedded to", "\"No!\" rejoined Mary quietly, \"but if you succeed I will give you in\nreward anything which you may ask.\"\n\n\"Anything, my daughter? Even your hand in marriage to King Philip of\nSpain?\"", "To reach them he had to go along the cloisters, and traverse the great\naudience chamber, which lay between his suite of rooms and that occupied\nby the Cardinal de Moreno and Don Miguel de Suarez.", "usual to-night. The Cardinal de Moreno and the Marquis de Suarez were\nthe first to go. They occupied the magnificent suite of chambers wherein", "\"His Eminence the Cardinal de Moreno;--I desire his presence here at\nonce.\"" ], [ "CHAPTER XXXI\n\nMARYE, THE QUEENE", "It had been easy enough up to now. His Grace, partly in order to please\nhis friends, even if only half believing that his influence would\nprevent Mary Tudor from contracting an alien marriage, had been in\nconstant attendance on the Queen.", "She had stepped away from him and was looking him fearlessly in the\nface, resolved to question and cross-question until she understood\neverything, when the door was suddenly opened and Mary Tudor appeared,", "There was a clash of steel against steel, a few words of command, the\nsound of retreating footsteps, then silence.\n\nQueen Mary Tudor was alone with her grief.", "accordance with Queen Mary's ultimatum, but he would probably bury his\ndisillusionment and sorrow on some remote estate of his, far from Court\nand political strife.", "Etiquette forbade her retirement until the Queen granted her leave, and\nMary seemed desirous to keep her close at hand, as a contrast, perhaps,\nto the exuberant joy which prevailed among the other ladies and\ngentlemen there.", "Mary paused and suddenly laid an eager hand on his wrist.\n\n\"Methought you cared nothing for the affairs of state,\" she said with\nsome sadness, \"and still less as to who shall rule over the heart of\nyour Queen.\"", "\"I pray you do not trouble to deny it. Let us admit that it is so. Do\nyou not think then that Queen Mary will have a like suspicion as\nyourself?\"\n\n\"Probably.\"", "\"Go back, my lord, to your royal master,\" said Queen Mary with lofty\ncontempt. \"My word is my bond, and my pledge to him is sacred; but tell", "Everything was ready for the departure. The gentlemen who composed the\nmission sent by Mary Tudor to the Queen Regent of Scotland were\nproceeding to Edinburgh by water. They would ride to Greenwich to-night,\nthen embark in the early dawn.", "of murder. And in one of the smaller chambers of her own private\napartments at Hampton Court, Mary Tudor sat alone, praying and thinking,\nthinking and praying again.", "close to that door, when I entered with Her Majesty. What Queen Mary\nguessed or feared, alas! I cannot tell. The charming lady had just", "He gave her his hand, and she covered it with kisses, and then she\npassed out of his life, ever remembered by him, ever comforted, happy in\nthe peaceful and silent home which the Queen had so royally provided for\nher.", "Mary Tudor had indeed finished her afternoon orisons. She had recited\nher rosary in the chapel, kneeling before the altar and surrounded by", "The Queen herself, attracted by the novelty of the spectacle, and her\nheart ever yearning for the near presence of the man she still loved so", "\"Nay, my lord,\" rejoined Mary Tudor earnestly, for he had turned to the\nQueen, prepared to proffer his request on his knees, \"meseems a grievous", "Was not good Queene Marye, beloved daughter of the great King Henry\nVIII, crowned at last? crowned in Westminster Abbey, as all her loyal", "on which he came back to the Court, but Mary Tudor, bent on winning his\nlove, had resolutely kept him away from the beautiful girl who, she\ninstinctively felt, would prove a formidable rival.", "had dispersed when Mary strolled off with the Duke; only two or three\nladies, in immediate attendance on the Queen, were laughing and\nchattering close by.", "When Mary Tudor, closely followed by some of her ladies and courtiers,\nthus reached the scene where the little drama was being enacted, they" ], [ "\"Who goes there?\"\n\nAlmost immediately afterwards the strong light of a lanthorn was\nprojected on the figure of the Cardinal.", "He looked up and saw the Cardinal's piercing eyes fixed steadily upon\nhim. For one moment he hesitated. His Eminence looked so sure of", "CHAPTER XXXVII\n\nTHE CARDINAL'S PUPPETS", "\"Gone eavesdropping on my lord Cardinal,\" replied the Duke with a smile,\nas he spied the crimson robes on the top of the steps, \"to find out how", "The Cardinal smiled with gentle benevolence. Versed though he was in all\nthe tricks and deceptions which were an integral part of his calling, no", "The Cardinal very softly put the key back into the lock, and waited.\n\nVery soon the door was vigorously shaken. His Eminence retired to the\nfurther end of the room and called loudly--", "against his will, was allowing the Cardinal to take the lead. He felt\nout of his own intellectual depths in this slough of intrigue wherein he", "The Cardinal, at sound of the Duke's name, had gradually drawn nearer to\nthe group. Lord Everingham, impelled by the same natural curiosity, had\nfollowed him.", "had entered the Hall a little while ago, accompanied by His Eminence the\nCardinal, and had since then sat, dull and rigid, beside him, seemingly\ntaking no notice of the proceedings. A hurried conversation carried on", "Then they alighted upon the Cardinal de Moreno, who, pale to the lips,\nstrove in vain to smother the growing agitation which had mastered him", "The Cardinal watched her until the door closed upon her and he was quite\nsure that she was well out of hearing. Then he approached the Queen and\nsaid in his most suave manner--", "The Cardinal looked benevolently compassionate. At heart he was more\nthan glad to think that this blundering Englishman would be well out of", "\"The Duke hath made confession,\" said the Cardinal, and his voice seemed\nto come as if in direct answer to her thoughts. \"In an hour at most\njudgment will be pronounced against him, and then sentence of death.\"", "The Cardinal had taken the precaution of placing himself with his back\nto the light which entered, grey and mournful, through the tall leaded", "Perched on the platform, and assisted by a humbler henchman, armed with\nbig drum and cymbals, the worthy Abra, in high-peaked cap and flowing", "And though he could not now see her face the Cardinal studied her every\nmovement. He could see her figure stiffen with the iron determination to", "\"With pleasure, my dear lord,\" responded the Cardinal urbanely. \"Ah! had\nI your years and you mine, 'twere my pleasure to serve you. . . . And", "Five minutes later, the Cardinal stood before her, placid, urbane,\npicturesque in his brilliant, flowing robes, with one white, richly", "The Cardinal drew nearer and recognized Lord Everingham, the closest\nfriend, the most intimate companion His Grace of Wessex was known to\nhave.", "\"I am aware,\" replied the Cardinal gently, \"that His Grace stands\nself-convicted of the murder of my friend and colleague Don Miguel,\nMarquis de Suarez, a guest at Your Majesty's Court.\"" ], [ "\"My lord Cardinal,\" rejoined Mary firmly, \"you are aware of the fact\nthat His Grace of Wessex is on the eve of being tried by his peers, for\na heinous crime of which he is innocent.\"", "\"Now, child, have no fear,\" said the Cardinal gently. \"Tell me . . . you\nwish to speak with the Duke of Wessex?\"\n\nShe turned resolutely towards him.", "The Cardinal tried to protest, but already Mary had acquiesced in\nWessex' wish, with a nod of the head.\n\n\"I have naught to refuse you, my dear lord,\" she said sadly.", "\"Only because . . .\" said the Cardinal with seeming hesitation, \"you\nmust forgive an old man, my child . . . methought you loved His Grace of\nWessex and . . .\"", "\"Did I not say that I would attempt the impossible?\" said the Cardinal,\nunperturbed.\n\n\"The impossible indeed, an you wish to appeal to that wench,\" retorted\nMary drily.", "She would not let the girl speak, she would see her go, humiliated, with\nhead bent, forcibly swallowing her tears of shame. Mary only regretted\nthis: that Wessex could not be witness of this scene.", "and the Cardinal that the Duke should not obtain more than a glimpse at\nthe wench. At any moment, after the first shock of surprise, Wessex", "\"I hardly know how to understand Your Eminence,\" he said guardedly. \"I\nneed hardly say that my fondest hope was to see Queen Mary wedded to", "Wessex took her hand in his. She was trembling from head to foot. The\ninward, real Mary Tudor had risen to the surface for this one brief", "\"A madwoman and a wanton,\" here protested the Cardinal with all the\nvigour at his command. \"Surely Your Majesty will not believe this\nmiserable creature's calumnies.\"", "That Wessex hung back when Mary herself was holding out her hand to him\nseemed to this enthusiast almost a sacrilege.\n\n\"But surely you have ambition, my lord?\" he said at last.", "\"Nay!\" retorted the Cardinal bitingly, \"His Grace of Wessex is more\ncompetent than I to solve the riddle of a woman's heart. The Lady Ursula", "\"No, my lord Cardinal, not unheard,\" retorted Mary Tudor haughtily. \"We\nhave seen strange things to-day, and can only guess at the terrible", "fallen into so clumsy a trap. A thousand suggestions now occurred to her\nof what she might have done to prevent the meeting between Wessex and\nUrsula, which the Cardinal had obviously planned.", "The Cardinal, well aware of this, skilfully working too on the Queen's\nstill restive jealousy, had suggested to Mary that Ursula Glynde should\nawait the Duke of Wessex in the hall at fifteen minutes before the hour.", "\"My lord Cardinal,\" she said in a quivering voice, which she did not\neven try to steady, \"an you had your master's wishes at heart, you have\nindeed gone the wrong way to work.\"", "\"Then Your Eminence can set your wits to attempt the impossible,\"\nrejoined Mary curtly.\n\n\"But why should Your Majesty suggest this strange task to me?\" he urged\nwith the same well-feigned surprise.", "The Cardinal watched her until the door closed upon her and he was quite\nsure that she was well out of hearing. Then he approached the Queen and\nsaid in his most suave manner--", "Mary paused and suddenly laid an eager hand on his wrist.\n\n\"Methought you cared nothing for the affairs of state,\" she said with\nsome sadness, \"and still less as to who shall rule over the heart of\nyour Queen.\"", "on which he came back to the Court, but Mary Tudor, bent on winning his\nlove, had resolutely kept him away from the beautiful girl who, she\ninstinctively felt, would prove a formidable rival." ], [ "CHAPTER VI\n\nTHE LADY URSULA", "\"The Lady Ursula is very beautiful,\" rejoined the Spaniard.\n\n\"Possibly--but you surprise me.\"\n\n\"Your Grace has never seen her?\"", "As for Lady Ursula, he swore to himself that no harm should ultimately\ncome to her. She would be a tool, a necessary pawn in this game of\ncross-purposes, which had the freedom and greatness of England for its\nultimate aim.", "you love the Lady Ursula Glynde? . . . Ye heavens! what a number of\ncircumlocutions to arrive at this simple little fact! You love her . . .", "She paused a moment, whilst all three of them crowded round Her Grace of\nLincoln's chair.\n\nThen Ursula said solemnly--\n\n\"The Queen is in love with my future husband!\"", "The game had become doubly interesting now, and so much more important.\nThe Duke, obviously deeply in love with Lady Ursula, would certainly", "\"Tis wrong they should be so tuned--Lady Ursula, they say, is your\npromised wife.\"\n\n\"But I do not love her . . . never could love her whilst----\"", "Love? Well, it scarce could be called that as yet. In spite of her score\nof years, Ursula had remained a child in thought, in feelings, in", "\"Lady Ursula, this is most unseemly,\" she said as coldly as she could.\n\"How came you by this poem?\"\n\nUrsula threw her arms round the feebly-resisting old dame.", "PART II\n THE LADY URSULA", "She had so earnestly looked forward to the moment when she would say to\nhim that she in sooth was none other than Lady Ursula Glynde, the woman", "by Wessex, and the praises of his personality sung on every side. Ursula\nwas still too young to be in love with aught else save with love itself,", "\"Ursula has been questioned,\" she continued, \"but she remains obdurately\nsilent. Believe me, my lord, you waste your chivalry in defence of a\nwanton.\"", "\"An Your Grace would believe me,\" added Barbara consolingly, \"I think\n'tis but a bit of foolish curiosity on the Lady Ursula's part.\"\n\nBut Her Grace would not be consoled.", "Once more she turned with her usual affectionate gentleness towards the\nDuke. Throughout this brief, seemingly indifferent scene, Ursula had\nstood by, like an image carved in stone.", "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "that he has fallen seriously in love with Lady Ursula in one hour: his\nown amour-propre will suffer a very transitory pang _et tout sera dit_.\"", "\"If the Lady Ursula honoured some one else than my unworthy self. . . .\nIs that your meaning, my lord?\" queried Wessex, as Don Miguel had made a\nslight pause in his impetuous speech.", "\"Nay! perhaps you exaggerate the danger,\" he said. \"The Lady Ursula\nmight prefer the convent to being a duchess. She has never seen Your\nGrace, she is rich and high-born, she may be pious----\"", "our Queen. But this is where your diplomacy escapes me. Once Wessex is\nturned away from the Lady Ursula, he will, we hope, naturally turn to" ], [ "\"But I do not wish to be a nun,\" protested Ursula, as tears began to\ngather in her eyes, \"and I do want to wed Wessex, who is handsome--and", "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "\"And you are beautiful now, Ursula. But of what avail is it? You cannot\nwed His Grace of Wessex, for he'll never ask you to be his wife. He'll\nmarry the Queen. All England wishes it.\"", "helped to bring about. They had shaped themselves in exact opposition to\nhis keenest expectations. How to part Wessex from Lady Ursula, with whom\nhis volatile Grace was probably by then more than half in love, became", "Was not Wessex' position with regard to the Lady Ursula a peculiar one?\nTied to her and yet free, affianced, yet not necessarily bound, his own\nattitude towards her was sure to be influenced by the girl's own\npersonality.", "\"His Grace of Wessex,\" suggested Alicia archly, despite the Duchess's\nwarning frown.\n\n\"Alas, no!\" sighed Ursula, \"for he has never been allowed to see me.\"", "whom I would trust my child,' he said to me; 'swear to me, Ursula, that\nif Wessex claims you not, that you will never marry any one else, but", "our Queen. But this is where your diplomacy escapes me. Once Wessex is\nturned away from the Lady Ursula, he will, we hope, naturally turn to", "And Wessex perforce had to hold his peace, whilst Ursula resumed her\ntale more calmly.", "by Wessex, and the praises of his personality sung on every side. Ursula\nwas still too young to be in love with aught else save with love itself,", "\"If the Lady Ursula honoured some one else than my unworthy self. . . .\nIs that your meaning, my lord?\" queried Wessex, as Don Miguel had made a\nslight pause in his impetuous speech.", "\"Nay!\" retorted the Cardinal bitingly, \"His Grace of Wessex is more\ncompetent than I to solve the riddle of a woman's heart. The Lady Ursula", "But already Wessex had recovered himself.\n\n\"Your Majesty is mistaken,\" he rejoined calmly. \"I know naught of Lady\nUrsula Glynde, and I defend no one by confessing my crime.\"", "Wessex had seemed relieved when the Queen entered, and Ursula knew that\nnever again would she be allowed to see him alone, never again would she\nbe able to speak to him undisturbed.", "And while His Grace of Wessex was slowly wending his way towards the\nchamber where he had been so eagerly expected, Lady Ursula, defiant and\nrebellious, was being peremptorily marshalled off in an opposite\ndirection.", "Wessex' whole soul writhed at the words, the touch, the attitude of the\nman towards her; an hour ago, when he stood beside her, he would have\nbartered a kingdom for the joy of taking her hand.", "But Ursula was thirteen years old then, and held an oath to her father\nto be the most sacred thing in the world. She had not seen Wessex for", "\"Tis wrong they should be so tuned--Lady Ursula, they say, is your\npromised wife.\"\n\n\"But I do not love her . . . never could love her whilst----\"", "\"Your Eminence,\" said Ursula very quietly after a little while, \"you\nsaid just now that I could save His Grace of Wessex from unmerited\ndisgrace and death. Tell me now, what must I do?\"", "\"Once His Grace has ceased to think of Lady Ursula, I and my party will\nonce more work heart and soul to bring about the alliance of Wessex with\nthe Queen.\"" ], [ "Wessex, for that is common knowledge. But since His Grace's meeting with\nthe beautiful Lady Ursula, I fully expect to hear him declare his\nintention of keeping his troth to her.\"", "Was not Wessex' position with regard to the Lady Ursula a peculiar one?\nTied to her and yet free, affianced, yet not necessarily bound, his own\nattitude towards her was sure to be influenced by the girl's own\npersonality.", "helped to bring about. They had shaped themselves in exact opposition to\nhis keenest expectations. How to part Wessex from Lady Ursula, with whom\nhis volatile Grace was probably by then more than half in love, became", "our Queen. But this is where your diplomacy escapes me. Once Wessex is\nturned away from the Lady Ursula, he will, we hope, naturally turn to", "\"Once His Grace has ceased to think of Lady Ursula, I and my party will\nonce more work heart and soul to bring about the alliance of Wessex with\nthe Queen.\"", "\"But I do not wish to be a nun,\" protested Ursula, as tears began to\ngather in her eyes, \"and I do want to wed Wessex, who is handsome--and", "And Wessex perforce had to hold his peace, whilst Ursula resumed her\ntale more calmly.", "\"If the Lady Ursula honoured some one else than my unworthy self. . . .\nIs that your meaning, my lord?\" queried Wessex, as Don Miguel had made a\nslight pause in his impetuous speech.", "Wessex was nominally plighted to the lady. True, 'twas an engagement\nundertaken by the lady's own father, without the consent of the parties", "the country at large and to Wessex himself. With his whole heart and\nsoul he believed that, at this moment, the Duke's marriage with Lady", "\"His Grace of Wessex comes back to Court to-day,\" rejoined Ursula,\n\"after an absence of many months.\"\n\n\"Well?--what of him?\"", "And while His Grace of Wessex was slowly wending his way towards the\nchamber where he had been so eagerly expected, Lady Ursula, defiant and\nrebellious, was being peremptorily marshalled off in an opposite\ndirection.", "But Ursula was thirteen years old then, and held an oath to her father\nto be the most sacred thing in the world. She had not seen Wessex for", "by Wessex, and the praises of his personality sung on every side. Ursula\nwas still too young to be in love with aught else save with love itself,", "\"And you are beautiful now, Ursula. But of what avail is it? You cannot\nwed His Grace of Wessex, for he'll never ask you to be his wife. He'll\nmarry the Queen. All England wishes it.\"", "whilst trying to reconquer the volatile Duke's allegiance. But if Wessex\ndoes not wed the Lady Ursula . . . what then? Will his friends prevail?", "\"His Grace of Wessex,\" suggested Alicia archly, despite the Duchess's\nwarning frown.\n\n\"Alas, no!\" sighed Ursula, \"for he has never been allowed to see me.\"", "\"My lord of Wessex,\" said the High Steward sternly, \"in the name of\njustice and for the dignity of this court, I charge you to be silent.\"\n\nThen he once more addressed the Lady Ursula.", "whom I would trust my child,' he said to me; 'swear to me, Ursula, that\nif Wessex claims you not, that you will never marry any one else, but", "Wessex had seemed relieved when the Queen entered, and Ursula knew that\nnever again would she be allowed to see him alone, never again would she\nbe able to speak to him undisturbed." ] ]

[ "Who does Queen Mary love?", "Who is the Duke of Wessex semi-betrothed to?", "What did Lady Ursula promise her father on his deathbed?", "Where does the story take place?", "What does Mary tell the Cardinal when she discovers he is trying to marry Wessex and Ursula?", "Who is Queen Mary trying to keep away from Wessex?", "At the beginning of the story when was the last time Wessex had seen Ursula?", "Who does Wessex purposefully avoid at the beginning of the story?", "Why doesn't Wessex want to marry Ursula at the beginning of the story?", "What did Ursula promise her father she would do if she did not marry Wessex?", "Why did the Queen want the Cardinal to leave England?", "What country does the Queen rule over?", "When was the last time Wessex saw Lady Ursula at the beginning of the story?", "Why does Wessex not want to marry Ursula?", "What is Ursula afraid of losing if she marries Wessex?", "How does Ursula feel when she figures out the Queen is trying to keep she and Wessex apart?", "What country does Phillip II rule over?", "In the end, what does Wessex lose?", "Queen Mary loves who?", "Who is the Duke of Wessex betrothed to?", "What did Ursula promise her father before he died?", "The Cardinal de Moreno is trying marry Mary with whom?", "Where does Queen Mary live?", "Who is the Cardinals henchman?", "What does the Cardinal try to do to stop Mary from loving Wessex?", "Who does Lady Ursula love?", "Why does Wessex not want to marry Ursula?", "When was Wessex betrothed to Lady Ursula?" ]

[ [ "Duke of Wessex", "the duke Robert d'Escalade " ], [ "Lady Ursula", "Lady Ursula Glynde." ], [ "If she didn't marry Wessex she would go to a convent", "To enter a convent if she doesn't marry Wessex." ], [ "England", "England." ], [ "To leave England immediately and she will not marry Philip", "She tells him to break up Ursula and Wessex" ], [ "Ursula", "Ursula" ], [ "At her infancy", "When she was an infant" ], [ "Ursula", "Lady Ursula" ], [ "He doesn't like the idea of having his wife pushed upon him", "He doesn't like the idea of arranged marriage." ], [ "She would join a convent.", "Go into a convent" ], [ "She discovered he was trying to marry Wessex and Lady Ursula so she would marry Phillip II.", "He was part of a scheme to separate her from her love" ], [ "England", "England." ], [ "He had not seen her since infancy.", "When she was an infant." ], [ "He does not like being told who to marry.", "He doesn't want to be told who to marry." ], [ "Her independence.", "Her independence" ], [ "She is angry.", "She is angry." ], [ "Spain", "Spain." ], [ "His freedom.", "his freedom" ], [ "Robert d'Escalade.", "Wessex." ], [ "Lady Ursula.", "Lady Ursula" ], [ "If she did not marry Wessex, she would go to a convent.", "To go to a convent if she does not marry Wessex." ], [ "Philip II of Spain.", "Philip II of Spain." ], [ "England.", "England." ], [ "Don Mignel.", "Don Mignel" ], [ "He tries to marry Wessex and Lady Ursula.", "He tries to marry Wessex and Ursula" ], [ "Wessex.", "Wessex." ], [ "He doesn't want a wife chosen for him.", "He doesn't want to be forced to marry" ], [ "During infancy.", "From her birth" ] ]

[ [ "CORA\n Ellen, I have no memory of this \n whatsoever.\n\n NICOLE\n You were just standing there looking \n at me. Then you pulled --", "CORA\n Ellen, I have no memory of this \n whatsoever.\n\n NICOLE\n You were just standing there looking \n at me.", "Cora takes one step forward. CU her fuzzy slippers stopping \n right on the yellow tape mark. Cora waits momentarily until \n Wolf has reframed both her and Nicole, then lets out a huge \n laugh.", "The scene begins at the pickup point. Miraculously, both \n Cora and Nicole are just as concentrated and engaged as they \n were in the run-through.", "CORA\n Ellen, I have no memory --\n\n Suddenly there is a tremendous EXPLOSION sending bits of \n glass flying through the frame. Cora jumps, clutching her \n chest.", "She means it. Cora glances up at her, seeing for the first \n time how pain and defeat have drawn the life from Nicole's", "There is a heavy, stunned silence as the scene ends. Nicole \n and Cora are in each other's arms. Pam and Cybil share a \n piece of tissue. CUT TO: an extreme CU of Nick.", "Camera slips into a CU of Nicole. She closes her eyes as the \n two women continue talking about her. Screen goes BLACK.\n\n INT. SET APT. DAY. B/W", "From the moment Nicole opens her mouth it is obvious there \n has been a remarkable change in her. Every word now has the \n stunning clarity of truth. Cora is completely engulfed in \n the moment.", "A BLACK scrim, held by the Gaffer, passes in front of the \n camera, revealing the set with Nicole and Cora settling in \n for a take.", "Cora finally stops circling Nicole and stops abruptly. \n Suddenly she raises the apple right out in front of Nicole.", "INT. SET APT. THE COUCH. DAY. B/W\n\n Nicole gets up quietly and sits next to Cora on the couch, \n wordlessly taking her hand in hers.", "NICOLE\n OK.\n\n Nick moves back to the set, leaving Nicole in the shadows. \n Camera stays on her as she begins emotionally preparing \n herself once again.", "The set is quiet, subdued. Nick sits on the couch with Nicole \n and Cora. Wolf sits groggily behind the camera wiping the \n sweat from his face. Wanda addresses the crew.", "As the scene begins again, it is obvious that both actresses \n are completely distracted. Nick's face betrays a rapidly \n increasing anxiety.", "blankly out at Nick, Tito, and Nicole on the set some distance \n away. Cora however stares at the side of his head with such \n intensity Wolf can't help but turn to her.", "Nick moves behind the camera and looks through the eyepiece. \n Another CU of Nicole fills the frame. The image is visually \n and emotionally breathtaking.", "The Sound man gives Nicole his headphones and rewinds the \n tape recorder for her. The first several lines of the last \n take are heard through the headphones.\n\n INT. OFF THE SET. DAY", "Nick speaks uneasily to Nicole and Cora. He is a wreck and \n his insistent smile of encouragement looks absolutely \n demented.", "Nick looks for Nicole but sees only Cora standing by the \n couch. Les has both arms up the back of her dress, running \n the wire to her radio mike. She's wearing stockings rolled \n down to just above her knees." ], [ "NICK\n And, action.\n\n INT. THE DREAM. TAKE TWO", "CLAPPER\n Scene six, take two!\n\n NICK\n And, action.\n\n INT. THE SCENE. TAKE TWO. DAY", "SOUND\n And, that's a cut on room tone.\n\n The room erupts with activity. Everyone moves and talks at \n once. Nick whispers something to Nicole then runs off.", "Suddenly, everything becomes quiet except for Nick's labored \n breathing and the Scriptgirl's sniffles. Nick leans over and \n touches Nicole's shoulder.", "NICK\n And, action.\n\n INT. APT. THE SCENE: TAKE 2. COLOR", "NICK\n Oh, hold on. Let me think a second.\n\n The set grows suddenly quiet as Nick begins pacing rapidly, \n muttering to himself.", "As the scene begins again, it is obvious that both actresses \n are completely distracted. Nick's face betrays a rapidly \n increasing anxiety.", "NICK\n And, action.\n\n INT. THE SET. TAKE ONE", "The Sound man gives Nicole his headphones and rewinds the \n tape recorder for her. The first several lines of the last \n take are heard through the headphones.\n\n INT. OFF THE SET. DAY", "Nick follows Palomino behind the set, stopping just beside \n the fake set window. Palomino whirls on Nick and whispers \n fiercely.", "Nick walks over and stands beside the camera.\n\n INT. SET APT. BY THE CAMERA. DAY. B/W", "CLAPPER\n Scene six, take three.\n (hits the sticks)\n\n NICK\n And, action.", "CLAPPER\n Scene six, take one.\n (hits the sticks)\n\n NICK\n Action.", "CLAPPER\n Scene six, take six.\n (hits the sticks)\n\n NICK\n Action.", "Nick moves behind the camera and looks through the eyepiece. \n Another CU of Nicole fills the frame. The image is visually \n and emotionally breathtaking.", "Tito glances up at her quickly.\n\n NICK\n Shhhh! No. Now come on, Mom. You've \n got to be quiet. Absolutely quiet. \n OK?", "The camera DOLLIES swiftly back away from Nick. He stares at \n it in stunned amazement. Just then a DOOR closes right into \n the lens turning the frame into complete BLACKNESS.", "CLAPPER\n Scene six, take five.\n (hits the sticks)\n\n NICK\n Action.", "CLAPPER\n Scene six, take four.\n (hits the sticks)\n\n NICK\n Action.", "NICK\n Cut. It's OK. No big deal.\n\n Nick's voice has the rigid tremble of someone barely able to \n keep from screaming." ], [ "In the dim light of the hotel room, CHAD PALOMINO dresses \n quickly. He is young, handsome, with long blond hair. A WOMAN", "Tito opens the door and walks in, staring hard at Nicole. \n His sky-blue tuxedo gleams in the rich light. He walks around", "The camera starts to dolly, however Chad does not move. He \n goes out of frame forcing Wolf to pan abruptly to Nicole.", "This is the same hotel room from Part Two, in which we saw \n Nicole and Chad Palomino. At the moment Wanda and Chad lie \n panting in the sweat-soaked sheets.", "NICK\n One second, Chad.\n\n Nick approaches the bed and speaks quietly to Chad and Nicole.", "INT. THE SET. DAY\n\n The camera reveals Nicole now seated in her spot on the bed. \n She rises as Nick and Palomino reappear and approach her \n from behind the set.", "INT. APT. THE SCENE: TAKE 3. COLOR\n\n The scene begins once again. Remarkably, Nicole's enormous \n commitment is just as full and sharp. Nick is in ecstasy.", "Right on his cue, Palomino walks to the bed. As the camera \n moves into the 2-shot he begins stroking Nicole's hair with \n extreme care and concentration.", "Nick turns and spots Nicole by herself in a dark corner of \n the set and walks over to her.\n\n INT. SET APT. A CORNER. DAY. B/W", "INT. SET APT. THE SCENE: TAKE 5. COLOR\n\n Once again the scene begins. Nicole shows the first signs of \n losing her concentration.", "SACHIKO, the Costume Designer putting the finishing touches \n to Nicole's costume, which appears to be an elaborate white \n wedding gown. Nick stands nearby, smoking.", "Nicole nods politely then looks to the Makeup corner where \n Nick sits talking earnestly to his mother.\n\n INT. MAKEUP CORNER", "Palomino tiptoes again back to his spot. Nicole raises her \n head and nods once to Nick. She seems to have aroused some \n real emotion in herself.", "Nick looks for Nicole but sees only Cora standing by the \n couch. Les has both arms up the back of her dress, running \n the wire to her radio mike. She's wearing stockings rolled \n down to just above her knees.", "A sudden amazed alarm fills Nicole. The living room grows \n strangely quiet.", "As Nicole continues, one by one the crew turn and watch this \n exquisite moment happening before them. Nick's face is lit \n with rapture.", "billows around him. At his feet, dressed in Nicole's wedding \n gown, Wanda sobs hysterically.", "INT. SET APT. THE SCENE: TAKE 7. COLOR\n\n The scene begins again. Nicole is lifeless; she's merely \n saying the lines.", "NICOLE\n OK.\n\n Nick moves back to the set, leaving Nicole in the shadows. \n Camera stays on her as she begins emotionally preparing \n herself once again.", "The Sound man gives Nicole his headphones and rewinds the \n tape recorder for her. The first several lines of the last \n take are heard through the headphones.\n\n INT. OFF THE SET. DAY" ], [ "In the dim light of the hotel room, CHAD PALOMINO dresses \n quickly. He is young, handsome, with long blond hair. A WOMAN", "NICK\n Cut. Very good.\n\n WOLF\n Not for camera. Chad was completely \n out of frame.", "Tito hurls his top hat and gloves to the floor and walks \n out. Everyone stares at Nick who is frozen in stunned silence. \n Finally Wanda approaches him hesitantly.", "NICK\n Listen, Chad. I didn't want to say \n this in front of Wolf but it makes \n you look a little... gay.", "NICK\n But don't worry about it. Just take \n your attention off yourself and put \n it on Chad. Work off him a little \n more.", "NICOLE\n It makes perfect sense. I just haven't \n found it yet. I'll get it though.\n\n NICK\n What about you, Chad?", "WOMAN\n Chad; hold it. This was a one-time \n deal. You know it, I know it. There \n is no need for melodrama.", "NICK\n Yeah, I think the lying on the bed \n is not quite working, Chad. Let's \n try one with the original blocking.", "The camera starts to dolly, however Chad does not move. He \n goes out of frame forcing Wolf to pan abruptly to Nicole.", "TITO\n Why?\n\n NICK\n I told you why.\n\n TITO\n Tell me again.", "The Gaffer slips his own script out of his back pocket and \n begins leafing through it.\n\n GAFFER\n Hey thanks, Chad. Actually I wrote a \n script.", "NICK\n I'm glad you feel that way, Chad. \n And I just want to tell you, I'm \n really happy we can work together.", "WOLF\n Personal, professional, emotional. \n It's doing a number on me. And now \n you're telling me you're going to \n fire me.", "Amid thunderous applause Nick bounds on the stage and accepts \n an Oscar from Chad. He stands grinning like an idiot as the \n applause continues.\n\n INT. THE SET. DAY", "NICK\n No. He's absolutely right.\n\n Nick sighs heavily and sinks to sit on the dolly in silence. \n Wolf appears behind him, still wiping his eyes.", "AC\n (whispers)\n In the bathroom... he doesn't feel \n good.\n\n NICK\n (whispers)\n Get him! Get him!", "NICK\n Chad, how would you describe this \n scene, in one word?\n\n PALOMINO\n Great. It's a great scene, man.", "the lines of what Chad has been doing. \n Maybe that would help me find \n something.", "GAFFER\n Hey, Chad.\n\n PALOMINO\n Hey, whatya say.", "NICK\n Yeah, Chad. What happened; I thought \n you were going to hold back till \n \"me\"?" ], [ "A sudden amazed alarm fills Nicole. The living room grows \n strangely quiet.", "Nicole snaps awake with a jolt. She glances quickly at the \n clock which reads 4:35. The sound of the shower still running \n in the bathroom.", "Nicole remains seated on the bed, lowering her head and \n closing her eyes as she attempts to generate some emotion \n for the scene. Everyone watches her in complete silence.", "Camera slips into a CU of Nicole. She closes her eyes as the \n two women continue talking about her. Screen goes BLACK.\n\n INT. SET APT. DAY. B/W", "Under the onslaught of escalating hair-stroking, Nicole \n suddenly jerks her head away hard. Palomino jumps up and \n begins pacing at the rear of the set.", "As Nicole continues, one by one the crew turn and watch this \n exquisite moment happening before them. Nick's face is lit \n with rapture.", "From the moment Nicole opens her mouth it is obvious there \n has been a remarkable change in her. Every word now has the \n stunning clarity of truth. Cora is completely engulfed in \n the moment.", "Nicole leaps out of bed and races into the bathroom. As the \n camera follows her, she closes the bathroom door, right \n against the lens, turning the image to total BLACKNESS.", "Palomino snaps, and lunges for Nicole. She leaps to the other \n side of the bed.", "Nicole stands motionless as a few more emaciated puffs of \n smoke hang in the air.\n\n NICOLE\n I am so hungry.", "Right on his cue, Palomino walks to the bed. As the camera \n moves into the 2-shot he begins stroking Nicole's hair with \n extreme care and concentration.", "INT. APT. THE SCENE: TAKE 3. COLOR\n\n The scene begins once again. Remarkably, Nicole's enormous \n commitment is just as full and sharp. Nick is in ecstasy.", "INT. THE SET. DAY\n\n The camera reveals Nicole now seated in her spot on the bed. \n She rises as Nick and Palomino reappear and approach her \n from behind the set.", "Something in Nick's voice makes Nicole glance up at him. He \n looks away quickly. The moment is awkward, as if they both \n realize he has inadvertently revealed something. Just then \n Palomino approaches.", "INT. SET APT. THE SCENE: TAKE 7. COLOR\n\n The scene begins again. Nicole is lifeless; she's merely \n saying the lines.", "Nick turns to Nicole and stops in midsentence. He looks at \n her for a long moment. Nicole returns his gaze then suddenly \n looks away.", "Nicole rolls free as Nick and Palomino wrestle on the bed. \n Nick gets Palomino in a vicious headlock and starts pounding \n his head against the mattress.", "Cora finally stops circling Nicole and stops abruptly. \n Suddenly she raises the apple right out in front of Nicole.", "Suddenly the door opens behind him and Nicole walks in.\n\n NICOLE\n Oh, Nick! I'm sorry!", "She means it. Cora glances up at her, seeing for the first \n time how pain and defeat have drawn the life from Nicole's" ], [ "Wolf walks off. The Gaffer kneels to inspect the smoke machine \n closer.", "TITO\n Why does it have to be a dwarf?\n\n NICK\n What?", "Nick walks off quickly, muttering to himself. A moment later \n Wolf strolls up to Wanda.", "Wolf walks off. The Gaffer slips the AC a shrewd wink then \n walks over and stands next to Palomino, giving him a big, \n friendly grin.", "NICK\n No. He's absolutely right.\n\n Nick sighs heavily and sinks to sit on the dolly in silence. \n Wolf appears behind him, still wiping his eyes.", "Wolf walks away from Wanda without a word. The entire crew \n watches this.\n\n INT. A CORNER. DAY\n\n Nick, Palomino, and Nicole confer, all three smoking.", "Tito hurls his top hat and gloves to the floor and walks \n out. Everyone stares at Nick who is frozen in stunned silence. \n Finally Wanda approaches him hesitantly.", "TITO\n Why does my character have to be a \n dwarf?\n\n NICK\n He doesn't have to be a dwarf.", "NICK\n Good, Tito, that's your cue.\n\n The fake door opens and Tito enters wearing his top hat and \n carrying a golden apple in his gloved hands.", "will go \"whoa whoa whoa, must be a \n dream, there's a fucking dwarf in \n it!\" Well, I'm sick of it. You can", "The camera holds on Tito pacing slowly, alone on the set. He \n is smoking fiercely, holding his top hat with one hand. \n Suddenly he begins laughing in a loud, stage bellow.", "Palomino disappears behind the set, a jerk of his head \n indicating his wish for Nick to follow him.", "WOLF\n In private.\n\n NICK\n (sighs in exasperation)\n Alright.\n\n Nick follows Wolf off the set.", "A dented, ancient smoke machine squats forlornly in the middle \n of the set. WOLF (with eyepatch), the GAFFER, AC, BOOM MAN,", "WOLF\n So do I.\n\n WANDA\n Well, good. Still friends?\n\n WOLF\n Sure.", "Wolf doesn't answer, though he stands a mere foot away, \n watching the Gaffer set up a light.\n\n WANDA\n Wolf?", "WANDA\n Put your eyepatch on.\n\n WOLF\n I lost it.\n\n WANDA\n Is that little light set yet?", "Just then Tito walks in.\n\n NICK\n Hey, Tito. You look great, man.\n\n TITO\n I feel like shit.", "Tito walks in, stares at her hard, then walks around her \n once with the golden apple just beyond her outstretched hands.", "Tito enters, stares at her hard and walks around her in a \n circle holding the apple just beyond her reach. The smoke is" ], [ "Wolf walks off. The Gaffer kneels to inspect the smoke machine \n closer.", "Wolf walks off. The Gaffer slips the AC a shrewd wink then \n walks over and stands next to Palomino, giving him a big, \n friendly grin.", "TITO\n Why does it have to be a dwarf?\n\n NICK\n What?", "Wolf walks away from Wanda without a word. The entire crew \n watches this.\n\n INT. A CORNER. DAY\n\n Nick, Palomino, and Nicole confer, all three smoking.", "NICK\n No. He's absolutely right.\n\n Nick sighs heavily and sinks to sit on the dolly in silence. \n Wolf appears behind him, still wiping his eyes.", "Nick walks off quickly, muttering to himself. A moment later \n Wolf strolls up to Wanda.", "As the Gaffer and Boom man drag off the almost unconscious \n Palomino, the Scriptgirl takes one faltering step after him.", "Wolf makes a slight motion with his head toward Wanda who is \n standing some distance away watching them. Seeing the two \n men looking at her Wanda shoots them a hard glare which \n prompts Wolf and Nick to turn away quickly.", "Suddenly the BOOM dips all the way into the shot.\n\n INT. SET APT. DAY. B/W", "Tito hurls his top hat and gloves to the floor and walks \n out. Everyone stares at Nick who is frozen in stunned silence. \n Finally Wanda approaches him hesitantly.", "CU the light the Gaffer had been holding the scrim before. \n It is smoking and shattered.\n\n NICK\n Jesus fucking Christ!", "The camera holds on Tito pacing slowly, alone on the set. He \n is smoking fiercely, holding his top hat with one hand. \n Suddenly he begins laughing in a loud, stage bellow.", "The camera DOLLIES swiftly back away from Nick. He stares at \n it in stunned amazement. Just then a DOOR closes right into \n the lens turning the frame into complete BLACKNESS.", "Suddenly the BOOM drops into frame again.\n\n INT. SET APT. DAY. B/W\n\n WOLF\n Boom's in.", "As Palomino stares at him blankly, the Gaffer slams the door. \n The car pulls out.\n\n INT. THE SET. DAY", "Wolf slaps the AC's palm, then the Gaffer's standing right \n beside him. He turns gleefully to the next person but seeing \n it is Wanda he rigidly turns away.", "this is to the crew. They all stand around him in shock, \n afraid to move or speak. Finally Wolf turns to the AC and \n puts his hand on his shoulder, like a father to his young", "TITO\n Why does my character have to be a \n dwarf?\n\n NICK\n He doesn't have to be a dwarf.", "The AC bursts through a door at the end of the hallway and \n walks quickly toward the camera. Without knocking he pushes \n open the bathroom door and suddenly stops short.", "Wolf (still wearing his eyepatch) walks over and sits quietly \n in a chair beside Cora. He does not speak to her and gazes" ], [ "WANDA\n Oh, alright! Quiet. Quiet! Shut up!! \n Thirty seconds of room tone. The \n sooner you're quiet the sooner we're \n done.", "The camera DOLLIES slowly through the standing, silent group, \n passing over faces in different degrees of thought.\n\n CU the Sound man's stopwatch, the giant second hand showing \n ten seconds have passed.", "CU the tape recorder spinning in quiet precision.\n\n CU the stopwatch, its giant second hand showing five seconds \n have passed.", "SOUND\n I need to record room tone. I'll \n need thirty seconds of silence.", "WS, the entire room. Nick's last word echoes throughout the \n silent set. Suddenly he stops in the center of the demolished \n set and lets out a long, wrenching scream.", "CU the Sound man's stopwatch showing twenty-five seconds \n have passed. The camera stays on the watch until the final \n five seconds have elapsed.", "As the silence continues the mood on the set gradually \n changes. One by one people drift into their own private worlds \n of reflection.", "SOUND\n And, that's a cut on room tone.\n\n The room erupts with activity. Everyone moves and talks at \n once. Nick whispers something to Nicole then runs off.", "The smoke machine emits a loud hiss and dies, filling the \n room with sudden silence. Slowly the smoke begins to clear \n as the crew moves around muttering and coughing.", "MS the Sound man, alternately watching his recorder and his \n stopwatch. Behind him the Boom man holds the mike in position \n to record general ambiance while staring off into the \n distance.", "The Sound man gives Nicole his headphones and rewinds the \n tape recorder for her. The first several lines of the last \n take are heard through the headphones.\n\n INT. OFF THE SET. DAY", "The Sound man stops the recorder at the end of the take, \n sets the machine in standby mode, and picks up his crossword", "INT. THE SET. DAY\n\n MS Nicole. She jerks her head slightly in response to this \n moment of thought.\n\n CU the stopwatch, showing fifteen seconds have passed.", "Suddenly, everything becomes quiet except for Nick's labored \n breathing and the Scriptgirl's sniffles. Nick leans over and \n touches Nicole's shoulder.", "The GAFFER lies on the bed staring absently at the AC sitting \n motionless beside the camera a few feet away. Neither speaks \n for a long moment.", "There is a strained moment of silence on the set as everyone \n witnesses this rebuke.", "NICK\n Then what the fuck is it!!?\n\n AC\n It's somebody's watch!\n\n Everybody holds their watches up to their ears.", "There is a heavy, stunned silence as the scene ends. Nicole \n and Cora are in each other's arms. Pam and Cybil share a \n piece of tissue. CUT TO: an extreme CU of Nick.", "CORA\n (whispers to Nick)\n What's room tone?", "Nicole leaps out of bed and races into the bathroom. As the \n camera follows her, she closes the bathroom door, right \n against the lens, turning the image to total BLACKNESS." ], [ "WOLF\n You want to just shoot Ellen, Nick? \n She could be in the dream by herself.", "NICK\n What do you think, Wolf?\n\n WOLF\n I don't like it. This is Ellen's \n scene.", "NICK\n And, action.\n\n INT. THE DREAM. TAKE TWO", "NICK\n And, action.\n\n INT. THE DREAM. TAKE ONE. DAY", "NICK\n OK, Ellen is standing there. The \n smoke is flowing in and: Ellen's \n line.\n\n NICOLE\n I am so hungry.", "AC\n (whispers)\n In the bathroom... he doesn't feel \n good.\n\n NICK\n (whispers)\n Get him! Get him!", "Nick speaks uneasily to Nicole and Cora. He is a wreck and \n his insistent smile of encouragement looks absolutely \n demented.", "NICK\n Oh yeah?\n\n NICOLE\n Yeah. You were in the dream.\n\n NICK\n Was I freaking out?", "Nick turns on a light and sits up in bed, drenched in sweat \n and still breathing heavily.\n\n NICK\n God...\n (this is not a sigh \n of relief)", "CORA\n Ellen, I have no memory --\n\n Suddenly there is a tremendous EXPLOSION sending bits of \n glass flying through the frame. Cora jumps, clutching her \n chest.", "NICK\n No. He's absolutely right.\n\n Nick sighs heavily and sinks to sit on the dolly in silence. \n Wolf appears behind him, still wiping his eyes.", "NICK\n Ellen, come on now; concentrate. \n Remember; you're marrying Damian", "beside him, absorbed in her own thoughts. Suddenly she looks \n up and her eyes meet Nick's. She slips him the barest hint \n of a smile.", "NICK\n Look, Tito. It's not that big a deal. \n It's a dream, alright. Strange things", "As the scene begins again, it is obvious that both actresses \n are completely distracted. Nick's face betrays a rapidly \n increasing anxiety.", "There is a heavy, stunned silence as the scene ends. Nicole \n and Cora are in each other's arms. Pam and Cybil share a \n piece of tissue. CUT TO: an extreme CU of Nick.", "NICK\n OK, here's the shot. We start wide \n with Ellen standing absolutely still \n right in the middle of the frame. \n You got that, Wolf?", "WANDA\n Going again, please stand by.\n\n NICK\n OK, Ellen, good. You're on to \n something there.", "WS, the entire room. Nick's last word echoes throughout the \n silent set. Suddenly he stops in the center of the demolished \n set and lets out a long, wrenching scream.", "CORA\n Ellen, I have no memory of this \n whatsoever.\n\n NICOLE\n You were just standing there looking \n at me. Then you pulled --" ], [ "The scene begins at the pickup point. Miraculously, both \n Cora and Nicole are just as concentrated and engaged as they \n were in the run-through.", "Cora takes one step forward. CU her fuzzy slippers stopping \n right on the yellow tape mark. Cora waits momentarily until \n Wolf has reframed both her and Nicole, then lets out a huge \n laugh.", "Nick looks for Nicole but sees only Cora standing by the \n couch. Les has both arms up the back of her dress, running \n the wire to her radio mike. She's wearing stockings rolled \n down to just above her knees.", "The camera starts to dolly, however Chad does not move. He \n goes out of frame forcing Wolf to pan abruptly to Nicole.", "Nick moves behind the camera and looks through the eyepiece. \n Another CU of Nicole fills the frame. The image is visually \n and emotionally breathtaking.", "A BLACK scrim, held by the Gaffer, passes in front of the \n camera, revealing the set with Nicole and Cora settling in \n for a take.", "Camera slips into a CU of Nicole. She closes her eyes as the \n two women continue talking about her. Screen goes BLACK.\n\n INT. SET APT. DAY. B/W", "like Nureyev with the camera. When he pans suddenly with \n Cora the whole crew ducks wildly and dives out of camera \n range.", "blankly out at Nick, Tito, and Nicole on the set some distance \n away. Cora however stares at the side of his head with such \n intensity Wolf can't help but turn to her.", "Everyone watches the AC unfasten the camera in silence. Nicole \n stands alone on the set in her wedding dress, still holding", "From the moment Nicole opens her mouth it is obvious there \n has been a remarkable change in her. Every word now has the \n stunning clarity of truth. Cora is completely engulfed in \n the moment.", "NICOLE\n OK.\n\n Nick moves back to the set, leaving Nicole in the shadows. \n Camera stays on her as she begins emotionally preparing \n herself once again.", "There is a heavy, stunned silence as the scene ends. Nicole \n and Cora are in each other's arms. Pam and Cybil share a \n piece of tissue. CUT TO: an extreme CU of Nick.", "INT. SET APT. THE COUCH. DAY. B/W\n\n Nicole gets up quietly and sits next to Cora on the couch, \n wordlessly taking her hand in hers.", "As Nicole continues, one by one the crew turn and watch this \n exquisite moment happening before them. Nick's face is lit \n with rapture.", "CORA\n (behind the door)\n I'm ready, Nick!\n\n INT. BY THE CAMERA. DAY", "Cora finally stops circling Nicole and stops abruptly. \n Suddenly she raises the apple right out in front of Nicole.", "NICOLE\n (whispers)\n Cora, don't even think that. You're", "The set is quiet, subdued. Nick sits on the couch with Nicole \n and Cora. Wolf sits groggily behind the camera wiping the \n sweat from his face. Wanda addresses the crew.", "Nicole leaps out of bed and races into the bathroom. As the \n camera follows her, she closes the bathroom door, right \n against the lens, turning the image to total BLACKNESS." ], [ "NICK\n And, action.\n\n INT. THE DREAM. TAKE TWO", "NICK\n And, action.\n\n INT. THE DREAM. TAKE ONE. DAY", "NICK\n Oh yeah?\n\n NICOLE\n Yeah. You were in the dream.\n\n NICK\n Was I freaking out?", "for the light on Nick's face. Nick reaches over and shuts \n off his clock radio. The digital dial shows 4:00 A.M. The \n beeping finally stops.", "CU of Nicole. She turns away, unable to watch anymore. The \n beeping continues.", "have a lock-up?! Nothing? You don't \n hear a beeping sound?\n (to Nick)\n The street's quiet.", "NICK\n Then what the fuck is it!!?\n\n AC\n It's somebody's watch!\n\n Everybody holds their watches up to their ears.", "In the middle of this final, delicate moment an insistent \n electronic beeping is heard.\n\n INT. SET APT. DAY. B/W", "Nick turns on a light and sits up in bed, drenched in sweat \n and still breathing heavily.\n\n NICK\n God...\n (this is not a sigh \n of relief)", "Nick speaks uneasily to Nicole and Cora. He is a wreck and \n his insistent smile of encouragement looks absolutely \n demented.", "Something in Nick's voice makes Nicole glance up at him. He \n looks away quickly. The moment is awkward, as if they both \n realize he has inadvertently revealed something. Just then \n Palomino approaches.", "WS, the entire room. Nick's last word echoes throughout the \n silent set. Suddenly he stops in the center of the demolished \n set and lets out a long, wrenching scream.", "As the scene begins again, it is obvious that both actresses \n are completely distracted. Nick's face betrays a rapidly \n increasing anxiety.", "Nick suddenly looks up and sees everybody staring at him; \n Nicole in her wedding gown, Wolf with his eyepatch, his mother \n still eating the apple, Wanda, the crew.", "NICK\n Cut. It's OK. No big deal.\n\n Nick's voice has the rigid tremble of someone barely able to \n keep from screaming.", "Suddenly, everything becomes quiet except for Nick's labored \n breathing and the Scriptgirl's sniffles. Nick leans over and \n touches Nicole's shoulder.", "Nick is working with the crew and the actors. The set consists \n of two flats (one with the fake door) joined to make a corner. \n The flats are painted fire-engine red.", "NICK\n No. He's absolutely right.\n\n Nick sighs heavily and sinks to sit on the dolly in silence. \n Wolf appears behind him, still wiping his eyes.", "MS Nick, his head and body jerking in a sudden spasm. He \n finishes the last word of his speech in a choked whisper and \n the Sound man frowns hard at him.", "SOUND\n And, that's a cut on room tone.\n\n The room erupts with activity. Everyone moves and talks at \n once. Nick whispers something to Nicole then runs off." ], [ "Nick turns to Nicole and stops in midsentence. He looks at \n her for a long moment. Nicole returns his gaze then suddenly \n looks away.", "Suddenly, on an impulse surprising both of them, Nick and \n Nicole embrace. Just then Wanda steps up.\n\n WANDA\n Going again, Nick?", "NICOLE\n Nick...\n\n NICK\n Yeah?\n\n Nicole stares at Nick for a long moment then smiles briefly \n and turns away.", "Palomino tiptoes again back to his spot. Nicole raises her \n head and nods once to Nick. She seems to have aroused some \n real emotion in herself.", "Something in Nick's voice makes Nicole glance up at him. He \n looks away quickly. The moment is awkward, as if they both \n realize he has inadvertently revealed something. Just then \n Palomino approaches.", "As Nicole continues, one by one the crew turn and watch this \n exquisite moment happening before them. Nick's face is lit \n with rapture.", "(smiles at Nicole)\n I've got nothing to say to you. Just \n let it happen. It's all there.", "NICOLE\n OK.\n\n Nick moves back to the set, leaving Nicole in the shadows. \n Camera stays on her as she begins emotionally preparing \n herself once again.", "The Sound man gives Nicole his headphones and rewinds the \n tape recorder for her. The first several lines of the last \n take are heard through the headphones.\n\n INT. OFF THE SET. DAY", "Under the onslaught of escalating hair-stroking, Nicole \n suddenly jerks her head away hard. Palomino jumps up and \n begins pacing at the rear of the set.", "Nick speaks uneasily to Nicole and Cora. He is a wreck and \n his insistent smile of encouragement looks absolutely \n demented.", "NICOLE\n Well, then: loved. How does that \n sound?\n\n PALOMINO\n It sounds like the champagne talking.", "NICOLE\n Well, then: loved. How does that \n sound?\n\n PALOMINO\n It sounds like the champagne talking.", "The camera starts to dolly, however Chad does not move. He \n goes out of frame forcing Wolf to pan abruptly to Nicole.", "NICK\n Then the kiss. How's that feel?\n\n PALOMINO\n Great.\n\n NICK\n Nicole?", "INT. APT. THE SCENE: TAKE 3. COLOR\n\n The scene begins once again. Remarkably, Nicole's enormous \n commitment is just as full and sharp. Nick is in ecstasy.", "She means it. Cora glances up at her, seeing for the first \n time how pain and defeat have drawn the life from Nicole's", "Right on his cue, Palomino walks to the bed. As the camera \n moves into the 2-shot he begins stroking Nicole's hair with \n extreme care and concentration.", "Nicole glares at Nick for a moment then abruptly turns and \n walks off the set. Nick stares after her in confusion then \n quickly follows her.", "Nicole stands motionless as a few more emaciated puffs of \n smoke hang in the air.\n\n NICOLE\n I am so hungry." ], [ "Under the onslaught of escalating hair-stroking, Nicole \n suddenly jerks her head away hard. Palomino jumps up and \n begins pacing at the rear of the set.", "Right on his cue, Palomino walks to the bed. As the camera \n moves into the 2-shot he begins stroking Nicole's hair with \n extreme care and concentration.", "Palomino tiptoes again back to his spot. Nicole raises her \n head and nods once to Nick. She seems to have aroused some \n real emotion in herself.", "The camera starts to dolly, however Chad does not move. He \n goes out of frame forcing Wolf to pan abruptly to Nicole.", "Nick speaks uneasily to Nicole and Cora. He is a wreck and \n his insistent smile of encouragement looks absolutely \n demented.", "The woman's face is pale and drawn. As Nicole leans closer \n her mother reaches out and gently brushes a strand of hair \n away from her face. The gesture is one of love, acceptance,", "Nicole rolls free as Nick and Palomino wrestle on the bed. \n Nick gets Palomino in a vicious headlock and starts pounding \n his head against the mattress.", "As Nicole continues, one by one the crew turn and watch this \n exquisite moment happening before them. Nick's face is lit \n with rapture.", "face. On an impulse Cora reaches out and gently lifts a strand \n of Nicole's hair from her eyes.", "As she tries to separate Nicole and Palomino, Palomino shoves \n her hard, knocking her down. Instantly Wolf leaps off the \n camera and runs up to Palomino.", "NICK\n One second, Chad.\n\n Nick approaches the bed and speaks quietly to Chad and Nicole.", "Something in Nick's voice makes Nicole glance up at him. He \n looks away quickly. The moment is awkward, as if they both \n realize he has inadvertently revealed something. Just then \n Palomino approaches.", "Nick turns to Nicole and stops in midsentence. He looks at \n her for a long moment. Nicole returns his gaze then suddenly \n looks away.", "NICK\n Are you alright?\n\n NICOLE\n Don't touch me.\n\n EXT. DAY. THE STREET OUTSIDE THE SET", "Nicole remains seated on the bed, lowering her head and \n closing her eyes as she attempts to generate some emotion \n for the scene. Everyone watches her in complete silence.", "NICOLE\n OK.\n\n Nick moves back to the set, leaving Nicole in the shadows. \n Camera stays on her as she begins emotionally preparing \n herself once again.", "Nick looks for Nicole but sees only Cora standing by the \n couch. Les has both arms up the back of her dress, running \n the wire to her radio mike. She's wearing stockings rolled \n down to just above her knees.", "an exaggerated effort to keep the smoke away from Nicole by \n blowing it hard out the side of her mouth. Jeff glances back \n at the two women in the rearview mirror. No one speaks.", "INT. APT. THE SCENE: TAKE 3. COLOR\n\n The scene begins once again. Remarkably, Nicole's enormous \n commitment is just as full and sharp. Nick is in ecstasy.", "A sudden amazed alarm fills Nicole. The living room grows \n strangely quiet." ], [ "In the dim light of the hotel room, CHAD PALOMINO dresses \n quickly. He is young, handsome, with long blond hair. A WOMAN", "NICK\n But don't worry about it. Just take \n your attention off yourself and put \n it on Chad. Work off him a little \n more.", "The camera starts to dolly, however Chad does not move. He \n goes out of frame forcing Wolf to pan abruptly to Nicole.", "NICK\n Listen, Chad. I didn't want to say \n this in front of Wolf but it makes \n you look a little... gay.", "Tito hurls his top hat and gloves to the floor and walks \n out. Everyone stares at Nick who is frozen in stunned silence. \n Finally Wanda approaches him hesitantly.", "NICK\n Cut. Very good.\n\n WOLF\n Not for camera. Chad was completely \n out of frame.", "NICK\n Yeah, I think the lying on the bed \n is not quite working, Chad. Let's \n try one with the original blocking.", "NICOLE\n It makes perfect sense. I just haven't \n found it yet. I'll get it though.\n\n NICK\n What about you, Chad?", "WOMAN\n Chad; hold it. This was a one-time \n deal. You know it, I know it. There \n is no need for melodrama.", "WANDA\n Oh, I can't make it. I have to go \n see Chad; he's extremely ill.", "NICK\n I'm glad you feel that way, Chad. \n And I just want to tell you, I'm \n really happy we can work together.", "The Gaffer slips his own script out of his back pocket and \n begins leafing through it.\n\n GAFFER\n Hey thanks, Chad. Actually I wrote a \n script.", "TITO\n Why?\n\n NICK\n I told you why.\n\n TITO\n Tell me again.", "Wolf walks away from Wanda without a word. The entire crew \n watches this.\n\n INT. A CORNER. DAY\n\n Nick, Palomino, and Nicole confer, all three smoking.", "NICK\n No. He's absolutely right.\n\n Nick sighs heavily and sinks to sit on the dolly in silence. \n Wolf appears behind him, still wiping his eyes.", "the lines of what Chad has been doing. \n Maybe that would help me find \n something.", "Wolf walks off. The Gaffer kneels to inspect the smoke machine \n closer.", "WANDA\n (big smile)\n Why, thank you, Chad.", "WOLF\n Plus Chad is completely out of the \n light down there.", "NICK\n Yeah, Chad. What happened; I thought \n you were going to hold back till \n \"me\"?" ], [ "The camera holds on Tito pacing slowly, alone on the set. He \n is smoking fiercely, holding his top hat with one hand. \n Suddenly he begins laughing in a loud, stage bellow.", "Tito hurls his top hat and gloves to the floor and walks \n out. Everyone stares at Nick who is frozen in stunned silence. \n Finally Wanda approaches him hesitantly.", "Tito enters, walks around her holding the apple just beyond \n her reach then moves to his mark. The camera dollies into a \n CU. He does not laugh.\n\n INT. THE SET. DAY", "TITO\n Why?\n\n NICK\n I told you why.\n\n TITO\n Tell me again.", "TITO\n Well, fucking knock!!\n\n Tito grabs his hat and gloves and marches down the hall, the \n AC staring after him in astonishment.", "Just then Tito walks in.\n\n NICK\n Hey, Tito. You look great, man.\n\n TITO\n I feel like shit.", "Wolf walks away from Wanda without a word. The entire crew \n watches this.\n\n INT. A CORNER. DAY\n\n Nick, Palomino, and Nicole confer, all three smoking.", "WANDA\n Clear the set! Ellen! Tito! Please \n step off the set!\n\n TITO (V.O.)\n I'm off the set!", "Nicole glares at Nick for a moment then abruptly turns and \n walks off the set. Nick stares after her in confusion then \n quickly follows her.", "Nick walks back on the set and addresses Nicole and Tito.", "TITO\n Put a stool in the bathroom.\n\n Tito walks out, followed immediately by Sachiko, leaving \n Nicole alone with Nick.", "Wolf walks off. The Gaffer kneels to inspect the smoke machine \n closer.", "Tito opens the door and walks in, staring hard at Nicole. \n His sky-blue tuxedo gleams in the rich light. He walks around", "NICK\n OK, good. Very good.\n (laughs)\n Tito, I think we're having a little", "He stops and the camera dollies into his CLOSE-UP. Nick \n watches in hopeful expectation. He waits and waits but Tito \n does not laugh.", "TITO\n Then why is he?! Is that the only \n way you can make this a dream; put a \n dwarf in it?", "Tito enters, stares at her hard and walks around her in a \n circle holding the apple just beyond her reach. The smoke is", "INT. THE SET. DAY\n\n Nick paces tensely in front of Nicole and Tito.", "Tito walks in, stares at her hard, then walks around her \n once with the golden apple just beyond her outstretched hands.", "TITO\n (muttering)\n I swear to Christ, one of these days \n I'm going to punch somebody in the \n balls!" ], [ "At the sound of his mother's voice, Nick looks up. He sees \n her snatch the apple from Nicole's hand and march back out \n the door, closing it behind her.", "Nick suddenly looks up and sees everybody staring at him; \n Nicole in her wedding gown, Wolf with his eyepatch, his mother \n still eating the apple, Wanda, the crew.", "INT. OFF THE SET. DAY\n\n Nick escorts his mother back to her chair.", "CORA\n Hi, Nicky.\n\n Nick gapes in utter astonishment.\n\n NICK\n Mom!", "MS Nick standing next to his mother who drapes one arm \n casually over Nick's shoulder. Nick glances up and sees Nicole", "INT. A CORNER OF THE SET. DAY\n\n Nick sets a chair for his mother and helps her sit down. \n Nicole joins Tito on the set and talks quietly to him.", "Nicole nods politely then looks to the Makeup corner where \n Nick sits talking earnestly to his mother.\n\n INT. MAKEUP CORNER", "CORA\n Oh Jesus, you sound just like your \n father...\n\n NICK\n Mom, I'm serious.", "Tito glances up at her quickly.\n\n NICK\n Shhhh! No. Now come on, Mom. You've \n got to be quiet. Absolutely quiet. \n OK?", "beside him, absorbed in her own thoughts. Suddenly she looks \n up and her eyes meet Nick's. She slips him the barest hint \n of a smile.", "NICK\n There. How's that, Mom? Can you see?\n\n CORA\n Is the little fellow going to do \n gymnastics?", "NICK\n Where is it!! You motherfucker! You \n cock-sucking motherfucking bastard! \n Where the fuck are you!? Where!! \n Where!!", "Nick speaks uneasily to Nicole and Cora. He is a wreck and \n his insistent smile of encouragement looks absolutely \n demented.", "As the scene begins again, it is obvious that both actresses \n are completely distracted. Nick's face betrays a rapidly \n increasing anxiety.", "The woman's face is pale and drawn. As Nicole leans closer \n her mother reaches out and gently brushes a strand of hair \n away from her face. The gesture is one of love, acceptance,", "Something in Nick's voice makes Nicole glance up at him. He \n looks away quickly. The moment is awkward, as if they both \n realize he has inadvertently revealed something. Just then \n Palomino approaches.", "JEFF\n She was waiting outside Nick's \n apartment when I went to pick up his \n notebook. She said she was looking", "NICK\n Mom, you've got to stop doing this. \n I'm serious. I'm a little upset with \n you. You could have gotten lost, or \n hurt.", "NICK\n Mom, listen to me. I don't want you \n to move from this chair. Do you \n understand?", "NICK\n Cut. It's OK. No big deal.\n\n Nick's voice has the rigid tremble of someone barely able to \n keep from screaming." ], [ "Tito enters, walks around her holding the apple just beyond \n her reach then moves to his mark. The camera dollies into a \n CU. He does not laugh.\n\n INT. THE SET. DAY", "Tito enters, stares at her hard and walks around her in a \n circle holding the apple just beyond her reach. The smoke is", "her in a circle holding the golden apple just beyond her \n reach. He stops on his mark and the camera dollies into a CU", "NICK\n Good, Tito, that's your cue.\n\n The fake door opens and Tito enters wearing his top hat and \n carrying a golden apple in his gloved hands.", "Tito walks in, stares at her hard, then walks around her \n once with the golden apple just beyond her outstretched hands.", "Wolf glides forward with the camera, framing an amazing CU \n of the apple with Nicole seen behind it. Nicole reaches out,", "The camera holds on Tito pacing slowly, alone on the set. He \n is smoking fiercely, holding his top hat with one hand. \n Suddenly he begins laughing in a loud, stage bellow.", "NICK\n No, just the apple. And Tito, right \n after we dolly in give me a little \n laugh there.\n\n TITO\n A little laugh?", "A dented, ancient smoke machine squats forlornly in the middle \n of the set. WOLF (with eyepatch), the GAFFER, AC, BOOM MAN,", "NICK\n You walk around her once, hold the \n apple out, that's right; just beyond", "Right on cue Cora walks through the door, holding the golden \n apple out in front of her. She circles Nicole with", "The set erupts in applause.\n\n SOUND\n Hold it! Hold it! Hold it!\n\n WANDA\n What?!", "on the stool. He picks up the hamburger and takes a huge \n bite out of it. This shot holds for quite some time as he \n continues to chew.", "Cora finally stops circling Nicole and stops abruptly. \n Suddenly she raises the apple right out in front of Nicole.", "Amid thunderous applause Nick bounds on the stage and accepts \n an Oscar from Chad. He stands grinning like an idiot as the \n applause continues.\n\n INT. THE SET. DAY", "hand places a garnish of parsley on it then carries the plate \n to the lunch counter. Camera PANS to reveal the GAFFER sitting", "NICK\n OK, here we go. Ellen, you've got to \n keep reaching for that apple. I don't", "Wanda crosses the set and assumes her position beside the \n camera. Wolf sits behind it, barely a foot away.\n\n WOLF\n My eye is killing me.", "INT. THE SET. DAY\n\n MS The Gaffer. A hopeful, delicious smile spreading over his \n face.", "TITO\n Why does it have to be a dwarf?\n\n NICK\n What?" ], [ "The camera holds on Tito pacing slowly, alone on the set. He \n is smoking fiercely, holding his top hat with one hand. \n Suddenly he begins laughing in a loud, stage bellow.", "Tito enters, walks around her holding the apple just beyond \n her reach then moves to his mark. The camera dollies into a \n CU. He does not laugh.\n\n INT. THE SET. DAY", "NICK\n Good, Tito, that's your cue.\n\n The fake door opens and Tito enters wearing his top hat and \n carrying a golden apple in his gloved hands.", "Tito hurls his top hat and gloves to the floor and walks \n out. Everyone stares at Nick who is frozen in stunned silence. \n Finally Wanda approaches him hesitantly.", "Just then Tito walks in.\n\n NICK\n Hey, Tito. You look great, man.\n\n TITO\n I feel like shit.", "NICK\n OK, good. Very good.\n (laughs)\n Tito, I think we're having a little", "TITO\n Put a stool in the bathroom.\n\n Tito walks out, followed immediately by Sachiko, leaving \n Nicole alone with Nick.", "TITO\n Well, fucking knock!!\n\n Tito grabs his hat and gloves and marches down the hall, the \n AC staring after him in astonishment.", "He stops and the camera dollies into his CLOSE-UP. Nick \n watches in hopeful expectation. He waits and waits but Tito \n does not laugh.", "Tito opens the door and walks in, staring hard at Nicole. \n His sky-blue tuxedo gleams in the rich light. He walks around", "WANDA\n Clear the set! Ellen! Tito! Please \n step off the set!\n\n TITO (V.O.)\n I'm off the set!", "TITO\n Why?\n\n NICK\n I told you why.\n\n TITO\n Tell me again.", "Nick walks back on the set and addresses Nicole and Tito.", "Tito enters, stares at her hard and walks around her in a \n circle holding the apple just beyond her reach. The smoke is", "so thick both of them are barely visible. Just as Tito gets \n to his mark the smoke machine backfires with a tremendous \n explosion and begins filling the room with dense, blinding", "CU Tito looking none too happy about this representation.\n\n NICK\n OK? It seems pretty simple.\n\n NICOLE\n Let's just try it.", "TITO\n What kind of laugh?\n\n NICK\n Just a laugh.\n\n TITO\n Show me.", "NICOLE\n (alarmed)\n What did I say?\n\n TITO\n Toto.", "WANDA\n (into her walkie)\n OK, let's get the A Team in please! \n Nick, Ellen, Mr. Tito!\n\n INT. THE SET. DAY", "INT. THE SET. DAY\n\n Nick paces tensely in front of Nicole and Tito." ], [ "A battered 35mm movie camera stands alone on a wooden tripod \n surrounded by blackness. Opening credits begin. An almost", "Wolf grabs the camera and puts it on his shoulder (hand-held) \n as the rest of the crew moves quickly and silently into \n position. On a terse signal from Nick the camera starts \n rolling.", "The camera holds on Tito pacing slowly, alone on the set. He \n is smoking fiercely, holding his top hat with one hand. \n Suddenly he begins laughing in a loud, stage bellow.", "From the moment Nick calls \"action\" the film will cut directly \n to the shot the set camera is filming. The shot is fluid,", "Suddenly a door opens directly in front of the camera, wiping \n the lens and revealing the following scene in Black and White.\n\n EXT. STREET. NYC. NIGHT", "The Gaffer and Boom man pour liberal amounts of gas and oil \n into the T-160.\n\n INT. THE SET. DAY", "Camera pans up to reveal CORA, a small woman in her early \n 60s, pacing beneath the awning of her residential hotel. She \n appears to be rehearsing dialogue with herself.", "Nick is working with the crew and the actors. The set consists \n of two flats (one with the fake door) joined to make a corner. \n The flats are painted fire-engine red.", "WANDA\n Roll camera!\n\n AC\n Rolling!\n\n CLAPPER\n Scene six, take three!", "WANDA\n Roll camera!\n\n AC\n Rolling!\n\n CLAPPER\n Scene six, take two!", "The scene begins at the pickup point. Miraculously, both \n Cora and Nicole are just as concentrated and engaged as they \n were in the run-through.", "WANDA\n Roll camera!\n\n AC\n Rolling!\n\n CLAPPER\n Scene six, take four!", "WANDA\n Roll camera!\n\n AC\n Rolling!\n\n CLAPPER\n Scene six, take four!", "WANDA\n Roll camera!\n\n AC\n Rolling!\n\n CLAPPER\n Scene six, take one!", "WANDA\n Roll camera!\n\n AC\n Rolling!\n\n CLAPPER\n Scene six, take one!", "determination, seemingly oblivious to Nick and the rest of \n the crew hovering behind Wolf as he begins following her \n with the hand-held camera. Wolf is now in his element; gliding", "WANDA\n Roll camera!\n\n AC\n Rolling!\n\n CLAPPER\n Scene six, take five!", "NICK\n And, action.\n\n INT. THE SET. TAKE ONE", "Wanda stands alone by the camera, looking around at the \n bustling crew like a battalion commander watching her troops \n in battle. Nick approaches her.", "WANDA\n Roll sound!\n\n SOUND\n Speed!\n\n WANDA\n Roll camera!" ], [ "Several members of the crew loiter around the table. The \n Scriptgirl approaches carrying a donut in one hand and a cup", "In the weak light filtering out of their battered van, BERT \n and CYBIL -- the Craft Service Managers, finish setting out", "Nicole turns away and walks past Jeff to the Craft Service \n table.", "breakfast supplies on a 6' table. They work in almost complete \n silence, both nearly paralyzed with sleep. A cheap walkie-", "talkie, lying beside a paper plate of soggy Oreos, sputters \n and buzzes occasionally. Other items on the table include a", "mangled banana, seven grapes, and a box of chocolate covered \n donuts.", "A dented, ancient smoke machine squats forlornly in the middle \n of the set. WOLF (with eyepatch), the GAFFER, AC, BOOM MAN,", "on the stool. He picks up the hamburger and takes a huge \n bite out of it. This shot holds for quite some time as he \n continues to chew.", "Tito enters, stares at her hard and walks around her in a \n circle holding the apple just beyond her reach. The smoke is", "Tito enters, walks around her holding the apple just beyond \n her reach then moves to his mark. The camera dollies into a \n CU. He does not laugh.\n\n INT. THE SET. DAY", "INT. SET APT. THE SCENE: TAKE 7. COLOR\n\n The scene begins again. Nicole is lifeless; she's merely \n saying the lines.", "The camera DOLLIES slowly through the standing, silent group, \n passing over faces in different degrees of thought.\n\n CU the Sound man's stopwatch, the giant second hand showing \n ten seconds have passed.", "INT. THE SET. DAY\n\n MS Nicole. She jerks her head slightly in response to this \n moment of thought.\n\n CU the stopwatch, showing fifteen seconds have passed.", "At that moment a large truck grinds around the corner and \n shudders to a stop in front of the building. Bert replaces \n the carton of milk neatly beside the orange juice.", "The set is quiet, subdued. Nick sits on the couch with Nicole \n and Cora. Wolf sits groggily behind the camera wiping the \n sweat from his face. Wanda addresses the crew.", "hand places a garnish of parsley on it then carries the plate \n to the lunch counter. Camera PANS to reveal the GAFFER sitting", "INT. SET APT. THE SCENE: TAKE 5. COLOR\n\n Once again the scene begins. Nicole shows the first signs of \n losing her concentration.", "Wanda crosses the set and assumes her position beside the \n camera. Wolf sits behind it, barely a foot away.\n\n WOLF\n My eye is killing me.", "The camera holds on Tito pacing slowly, alone on the set. He \n is smoking fiercely, holding his top hat with one hand. \n Suddenly he begins laughing in a loud, stage bellow.", "The Gaffer and Boom man pour liberal amounts of gas and oil \n into the T-160.\n\n INT. THE SET. DAY" ], [ "NICK\n Ready!\n\n INT. THE SET. DAY\n\n Nick rushes back onto the set.", "NICK\n Oh, sure.\n\n INT. THE SET. DAY", "Nick is working with the crew and the actors. The set consists \n of two flats (one with the fake door) joined to make a corner. \n The flats are painted fire-engine red.", "NICK\n And, action.\n\n INT. THE SET. TAKE ONE", "INT. THE SET. DAY\n\n Nick paces tensely in front of Nicole and Tito.", "INT. THE SET. DAY\n\n NICK\n And cut!!\n\n General mayhem erupts on the set.", "Nick rushes up to his position by the camera.\n\n NICK\n Is my notebook here yet, Wanda?\n\n WANDA\n Any minute, Nick.", "INT. THE SET. DAY\n\n The camera reveals Nicole now seated in her spot on the bed. \n She rises as Nick and Palomino reappear and approach her \n from behind the set.", "WANDA (V.O.)\n Nick! Nick!\n\n NICK\n One second!\n\n Nick hesitates a moment then rushes back to the set.", "Nick walks back on the set and addresses Nicole and Tito.", "NICK\n And, action.\n\n INT. THE DREAM. TAKE ONE. DAY", "NICK\n And, action.\n\n INT. THE SCENE. TAKE THREE. DAY", "Nick walks over and stands beside the camera.\n\n INT. SET APT. BY THE CAMERA. DAY. B/W", "INT. THE SET. DAY\n\n NICK\n And, cut. Very good. Wolf?", "Amid thunderous applause Nick bounds on the stage and accepts \n an Oscar from Chad. He stands grinning like an idiot as the \n applause continues.\n\n INT. THE SET. DAY", "The set is quiet, subdued. Nick sits on the couch with Nicole \n and Cora. Wolf sits groggily behind the camera wiping the \n sweat from his face. Wanda addresses the crew.", "Nick gets up slowly and whispers intensely to Wanda, Wolf, \n and the rest of the crew.\n\n NICK\n Roll camera. Roll sound. Let's go. \n Right away.", "Everyone watches Nick demolish the set in stunned, open-\n mouthed amazement. Nick turns to the crew in rage.", "INT. SET APT. DAY. B/W\n\n Nick joins Wanda and Wolf on the set couch and chair.\n\n NICK\n What's up?", "NICK (V.O.)\n And action on the run-through.\n\n INT. SET APT. DAY. B/W" ], [ "She means it. Cora glances up at her, seeing for the first \n time how pain and defeat have drawn the life from Nicole's", "face. On an impulse Cora reaches out and gently lifts a strand \n of Nicole's hair from her eyes.", "From the moment Nicole opens her mouth it is obvious there \n has been a remarkable change in her. Every word now has the \n stunning clarity of truth. Cora is completely engulfed in \n the moment.", "Cora finally stops circling Nicole and stops abruptly. \n Suddenly she raises the apple right out in front of Nicole.", "Cora takes one step forward. CU her fuzzy slippers stopping \n right on the yellow tape mark. Cora waits momentarily until \n Wolf has reframed both her and Nicole, then lets out a huge \n laugh.", "CORA\n Ellen, I have no memory of this \n whatsoever.\n\n NICOLE\n You were just standing there looking \n at me. Then you pulled --", "Cora immediately lights a cigarette. Nicole instinctively \n wrinkles her nose and turns away. Cora notices this and makes", "Nick speaks uneasily to Nicole and Cora. He is a wreck and \n his insistent smile of encouragement looks absolutely \n demented.", "The woman's face is pale and drawn. As Nicole leans closer \n her mother reaches out and gently brushes a strand of hair \n away from her face. The gesture is one of love, acceptance,", "blankly out at Nick, Tito, and Nicole on the set some distance \n away. Cora however stares at the side of his head with such \n intensity Wolf can't help but turn to her.", "Nick looks for Nicole but sees only Cora standing by the \n couch. Les has both arms up the back of her dress, running \n the wire to her radio mike. She's wearing stockings rolled \n down to just above her knees.", "CORA\n Ellen, I have no memory of this \n whatsoever.\n\n NICOLE\n You were just standing there looking \n at me.", "The scene begins at the pickup point. Miraculously, both \n Cora and Nicole are just as concentrated and engaged as they \n were in the run-through.", "INT. SET APT. THE COUCH. DAY. B/W\n\n Nicole gets up quietly and sits next to Cora on the couch, \n wordlessly taking her hand in hers.", "Palomino tiptoes again back to his spot. Nicole raises her \n head and nods once to Nick. She seems to have aroused some \n real emotion in herself.", "NICOLE\n Good morning, \"Mom.\"\n\n CORA\n (gruff)\n Morning.", "As Nicole continues, one by one the crew turn and watch this \n exquisite moment happening before them. Nick's face is lit \n with rapture.", "Right on cue Cora walks through the door, holding the golden \n apple out in front of her. She circles Nicole with", "NICOLE\n (whispers)\n Cora, don't even think that. You're", "the golden apple. Her face is frozen in dismay. Suddenly \n CORA comes through the set door and marches up to Nicole." ], [ "The camera starts to dolly, however Chad does not move. He \n goes out of frame forcing Wolf to pan abruptly to Nicole.", "As she tries to separate Nicole and Palomino, Palomino shoves \n her hard, knocking her down. Instantly Wolf leaps off the \n camera and runs up to Palomino.", "blankly out at Nick, Tito, and Nicole on the set some distance \n away. Cora however stares at the side of his head with such \n intensity Wolf can't help but turn to her.", "As Nicole continues, one by one the crew turn and watch this \n exquisite moment happening before them. Nick's face is lit \n with rapture.", "Wolf glides forward with the camera, framing an amazing CU \n of the apple with Nicole seen behind it. Nicole reaches out,", "Wolf meets Nick's eyes and gives an extremely melancholy \n nod. Nick turns to address Nicole and Tito and the edge \n immediately slips back into his voice.", "NICOLE\n Good.\n\n NICK\n Wolf, any thoughts?\n\n WOLF\n Nope.", "graceful and in richly, beautiful COLOR. Nicole's performance \n is very strong; flawed only slightly by her nervousness.", "Wolf makes a slight motion with his head toward Wanda who is \n standing some distance away watching them. Seeing the two \n men looking at her Wanda shoots them a hard glare which \n prompts Wolf and Nick to turn away quickly.", "determination, seemingly oblivious to Nick and the rest of \n the crew hovering behind Wolf as he begins following her \n with the hand-held camera. Wolf is now in his element; gliding", "From the moment Nicole opens her mouth it is obvious there \n has been a remarkable change in her. Every word now has the \n stunning clarity of truth. Cora is completely engulfed in \n the moment.", "Cora takes one step forward. CU her fuzzy slippers stopping \n right on the yellow tape mark. Cora waits momentarily until \n Wolf has reframed both her and Nicole, then lets out a huge \n laugh.", "NICOLE\n OK.\n\n Nick moves back to the set, leaving Nicole in the shadows. \n Camera stays on her as she begins emotionally preparing \n herself once again.", "Nicole remains seated on the bed, lowering her head and \n closing her eyes as she attempts to generate some emotion \n for the scene. Everyone watches her in complete silence.", "Nick suddenly looks up and sees everybody staring at him; \n Nicole in her wedding gown, Wolf with his eyepatch, his mother \n still eating the apple, Wanda, the crew.", "Under the onslaught of escalating hair-stroking, Nicole \n suddenly jerks her head away hard. Palomino jumps up and \n begins pacing at the rear of the set.", "WOLF\n (snaps)\n Of course I can see!\n\n For a moment Nick looks like he might snap back at Wolf but \n he draws a deep breath and continues.", "Nicole stays seated, though Palomino moves around making a \n great show of loosening up.\n\n NICOLE\n I've always admired you from afar.", "NICOLE\n I've always admired you from afar.\n\n Palomino moves immediately to the bed, changing his blocking \n and causing the camera crew and Nicole considerable confusion.", "very intimate scene and a lot of \n tension on the set doesn't help. OK? \n Now, Wolf, let's just go through the" ], [ "This is the same hotel room from Part Two, in which we saw \n Nicole and Chad Palomino. At the moment Wanda and Chad lie \n panting in the sweat-soaked sheets.", "INT. THE SET. DAY\n\n The camera reveals Nicole now seated in her spot on the bed. \n She rises as Nick and Palomino reappear and approach her \n from behind the set.", "Tito opens the door and walks in, staring hard at Nicole. \n His sky-blue tuxedo gleams in the rich light. He walks around", "INT. APT. THE SCENE: TAKE 3. COLOR\n\n The scene begins once again. Remarkably, Nicole's enormous \n commitment is just as full and sharp. Nick is in ecstasy.", "Nicole rolls free as Nick and Palomino wrestle on the bed. \n Nick gets Palomino in a vicious headlock and starts pounding \n his head against the mattress.", "As Nicole continues, one by one the crew turn and watch this \n exquisite moment happening before them. Nick's face is lit \n with rapture.", "A sudden amazed alarm fills Nicole. The living room grows \n strangely quiet.", "INT. SET APT. THE SCENE: TAKE 5. COLOR\n\n Once again the scene begins. Nicole shows the first signs of \n losing her concentration.", "Nick turns and spots Nicole by herself in a dark corner of \n the set and walks over to her.\n\n INT. SET APT. A CORNER. DAY. B/W", "Supervisor and CYBIL sitting on the floor smoking. Though \n separated by the wall, Nicole hears everything the two women \n say.", "Nicole remains seated on the bed, lowering her head and \n closing her eyes as she attempts to generate some emotion \n for the scene. Everyone watches her in complete silence.", "Right on his cue, Palomino walks to the bed. As the camera \n moves into the 2-shot he begins stroking Nicole's hair with \n extreme care and concentration.", "INT. THE SET. DAY\n\n Nick paces tensely in front of Nicole and Tito.", "INT. SET APT. THE SCENE: TAKE 7. COLOR\n\n The scene begins again. Nicole is lifeless; she's merely \n saying the lines.", "The Sound man gives Nicole his headphones and rewinds the \n tape recorder for her. The first several lines of the last \n take are heard through the headphones.\n\n INT. OFF THE SET. DAY", "INT. A CHEAP HOTEL ROOM", "Nicole nods politely then looks to the Makeup corner where \n Nick sits talking earnestly to his mother.\n\n INT. MAKEUP CORNER", "Nick looks for Nicole but sees only Cora standing by the \n couch. Les has both arms up the back of her dress, running \n the wire to her radio mike. She's wearing stockings rolled \n down to just above her knees.", "Suddenly the door opens behind him and Nicole walks in.\n\n NICOLE\n Oh, Nick! I'm sorry!", "Lorde reenters as Nick leaves. Palomino sits in the chair \n beside Nicole and Lorde immediately begins his makeup. No \n one speaks.\n\n INT. THE SET. DAY" ], [ "NICK\n And, action.\n\n INT. THE DREAM. TAKE ONE. DAY", "NICK\n And, action.\n\n INT. THE DREAM. TAKE TWO", "WS, the entire room. Nick's last word echoes throughout the \n silent set. Suddenly he stops in the center of the demolished \n set and lets out a long, wrenching scream.", "NICK\n No. He's absolutely right.\n\n Nick sighs heavily and sinks to sit on the dolly in silence. \n Wolf appears behind him, still wiping his eyes.", "Nick speaks uneasily to Nicole and Cora. He is a wreck and \n his insistent smile of encouragement looks absolutely \n demented.", "Tito hurls his top hat and gloves to the floor and walks \n out. Everyone stares at Nick who is frozen in stunned silence. \n Finally Wanda approaches him hesitantly.", "Nick turns on a light and sits up in bed, drenched in sweat \n and still breathing heavily.\n\n NICK\n God...\n (this is not a sigh \n of relief)", "Everyone watches Nick demolish the set in stunned, open-\n mouthed amazement. Nick turns to the crew in rage.", "There is a heavy, stunned silence as the scene ends. Nicole \n and Cora are in each other's arms. Pam and Cybil share a \n piece of tissue. CUT TO: an extreme CU of Nick.", "As the scene begins again, it is obvious that both actresses \n are completely distracted. Nick's face betrays a rapidly \n increasing anxiety.", "The camera DOLLIES swiftly back away from Nick. He stares at \n it in stunned amazement. Just then a DOOR closes right into \n the lens turning the frame into complete BLACKNESS.", "INT. THE SET. THE DREAM. DAY\n\n Nicole takes the silent \"action\" cue from Nick.\n\n NICOLE\n I am so hungry.", "He stops and the camera dollies into his CLOSE-UP. Nick \n watches in hopeful expectation. He waits and waits but Tito \n does not laugh.", "Suddenly, everything becomes quiet except for Nick's labored \n breathing and the Scriptgirl's sniffles. Nick leans over and \n touches Nicole's shoulder.", "AC\n (whispers)\n In the bathroom... he doesn't feel \n good.\n\n NICK\n (whispers)\n Get him! Get him!", "NICK\n I'm exhausted. I dreamt I was on the \n set all night. I was just trying to \n do one shot and everything kept going \n wrong.", "Nick suddenly looks up and sees everybody staring at him; \n Nicole in her wedding gown, Wolf with his eyepatch, his mother \n still eating the apple, Wanda, the crew.", "Suddenly Nick loses it. He starts running around the set, \n ripping things apart, knocking over tables, lamps, chairs.", "NICK\n Look, Tito. It's not that big a deal. \n It's a dream, alright. Strange things", "Suddenly Nick staggers to his feet and rushes at Palomino. \n His momentum knocks all three backwards onto the bed, \n Palomino's head cracking Nicole in the teeth." ], [ "NICK\n Listen, Chad. I didn't want to say \n this in front of Wolf but it makes \n you look a little... gay.", "NICK\n I'm glad you feel that way, Chad. \n And I just want to tell you, I'm \n really happy we can work together.", "NICK\n Yeah, Chad. What happened; I thought \n you were going to hold back till \n \"me\"?", "NICK\n Now wait a second, Chad. There's no \n reason for hostility.", "NICK\n What is it, Chad?", "NICK\n Cut. Very good.\n\n WOLF\n Not for camera. Chad was completely \n out of frame.", "NICK\n One second, Chad. You ready for one, \n Wolf?\n\n WOLF\n Hell, I been ready.", "NICK\n But don't worry about it. Just take \n your attention off yourself and put \n it on Chad. Work off him a little \n more.", "Nick suddenly sees Palomino is wearing a black eyepatch.\n\n NICK\n Chad, what are you doing?", "Nick speaks uneasily to Nicole and Cora. He is a wreck and \n his insistent smile of encouragement looks absolutely \n demented.", "NICK\n Chad, how would you describe this \n scene, in one word?\n\n PALOMINO\n Great. It's a great scene, man.", "NICK\n Wait a second, Chad. Just talk to \n me. What's going on!?", "Tito hurls his top hat and gloves to the floor and walks \n out. Everyone stares at Nick who is frozen in stunned silence. \n Finally Wanda approaches him hesitantly.", "Amid thunderous applause Nick bounds on the stage and accepts \n an Oscar from Chad. He stands grinning like an idiot as the \n applause continues.\n\n INT. THE SET. DAY", "NICK\n One second, Chad.\n\n Nick approaches the bed and speaks quietly to Chad and Nicole.", "NICK\n Yeah, I think the lying on the bed \n is not quite working, Chad. Let's \n try one with the original blocking.", "Suddenly Nick staggers to his feet and rushes at Palomino. \n His momentum knocks all three backwards onto the bed, \n Palomino's head cracking Nicole in the teeth.", "NICK\n Cut. It's OK. No big deal.\n\n Nick's voice has the rigid tremble of someone barely able to \n keep from screaming.", "As soon as Wolf and Nick reach the darkened corner, Wolf \n whirls to face Nick.\n\n WOLF\n I really don't like being spoken to \n like that, Nick!", "Everyone watches Nick demonstrate the laugh. He seems unaware \n he resembles a drunken, slightly annoyed idiot." ], [ "TITO\n Why?\n\n NICK\n I told you why.\n\n TITO\n Tell me again.", "NICK\n OK, good. Very good.\n (laughs)\n Tito, I think we're having a little", "TITO\n Then why is he?! Is that the only \n way you can make this a dream; put a \n dwarf in it?", "TITO\n Well, fucking knock!!\n\n Tito grabs his hat and gloves and marches down the hall, the \n AC staring after him in astonishment.", "Just then Tito walks in.\n\n NICK\n Hey, Tito. You look great, man.\n\n TITO\n I feel like shit.", "NICK\n No, Tito; that's not --", "NICOLE\n (alarmed)\n What did I say?\n\n TITO\n Toto.", "Tito glances up at her quickly.\n\n NICK\n Shhhh! No. Now come on, Mom. You've \n got to be quiet. Absolutely quiet. \n OK?", "Tito hurls his top hat and gloves to the floor and walks \n out. Everyone stares at Nick who is frozen in stunned silence. \n Finally Wanda approaches him hesitantly.", "Tito enters, walks around her holding the apple just beyond \n her reach then moves to his mark. The camera dollies into a \n CU. He does not laugh.\n\n INT. THE SET. DAY", "The camera holds on Tito pacing slowly, alone on the set. He \n is smoking fiercely, holding his top hat with one hand. \n Suddenly he begins laughing in a loud, stage bellow.", "Tito enters, stares at her hard and walks around her in a \n circle holding the apple just beyond her reach. The smoke is", "TITO\n What do you want?!\n\n AC\n I need to use the bathroom. Kind of \n an emergency.", "Tito opens the door and walks in, staring hard at Nicole. \n His sky-blue tuxedo gleams in the rich light. He walks around", "TITO\n What kind of laugh?\n\n NICK\n Just a laugh.\n\n TITO\n Show me.", "TITO\n Put a stool in the bathroom.\n\n Tito walks out, followed immediately by Sachiko, leaving \n Nicole alone with Nick.", "TITO\n (muttering)\n I swear to Christ, one of these days \n I'm going to punch somebody in the \n balls!", "NICK\n Look, Tito. It's not that big a deal. \n It's a dream, alright. Strange things", "CU Tito looking none too happy about this representation.\n\n NICK\n OK? It seems pretty simple.\n\n NICOLE\n Let's just try it.", "TITO\n I laughed." ], [ "At the sound of his mother's voice, Nick looks up. He sees \n her snatch the apple from Nicole's hand and march back out \n the door, closing it behind her.", "Tito glances up at her quickly.\n\n NICK\n Shhhh! No. Now come on, Mom. You've \n got to be quiet. Absolutely quiet. \n OK?", "INT. OFF THE SET. DAY\n\n Nick escorts his mother back to her chair.", "Nick suddenly looks up and sees everybody staring at him; \n Nicole in her wedding gown, Wolf with his eyepatch, his mother \n still eating the apple, Wanda, the crew.", "Nicole nods politely then looks to the Makeup corner where \n Nick sits talking earnestly to his mother.\n\n INT. MAKEUP CORNER", "NICK\n That's great, man. Beautiful.\n\n WANDA\n Ready, Nick?", "CORA\n (behind the door)\n I'm ready, Nick!\n\n INT. BY THE CAMERA. DAY", "beside him, absorbed in her own thoughts. Suddenly she looks \n up and her eyes meet Nick's. She slips him the barest hint \n of a smile.", "INT. A CORNER OF THE SET. DAY\n\n Nick sets a chair for his mother and helps her sit down. \n Nicole joins Tito on the set and talks quietly to him.", "MS Nick standing next to his mother who drapes one arm \n casually over Nick's shoulder. Nick glances up and sees Nicole", "As the scene begins again, it is obvious that both actresses \n are completely distracted. Nick's face betrays a rapidly \n increasing anxiety.", "Nick rushes up to his position by the camera.\n\n NICK\n Is my notebook here yet, Wanda?\n\n WANDA\n Any minute, Nick.", "SOUND\n I could use another but definitely \n acceptable.\n\n Nick runs up to his mother and throws his arms around her. \n Nicole stands beside him.", "NICK\n Ready!\n\n INT. THE SET. DAY\n\n Nick rushes back onto the set.", "WANDA\n Ready, Nick?\n\n WOLF\n Look at this a second, Nick.", "The woman's face is pale and drawn. As Nicole leans closer \n her mother reaches out and gently brushes a strand of hair \n away from her face. The gesture is one of love, acceptance,", "NICK\n There. How's that, Mom? Can you see?\n\n CORA\n Is the little fellow going to do \n gymnastics?", "CORA\n Hi, Nicky.\n\n Nick gapes in utter astonishment.\n\n NICK\n Mom!", "NICOLE\n OK.\n\n Suddenly Wanda yells out.\n\n WANDA\n Ready, Nick?!", "Nicole approaches, holding up the hem of her wedding gown. \n There is a subtle tension smoldering between her and Nick." ] ]

[ "What happened during the scene about Ellen's abuse that Cora and Nicole were shooting?", "What sound prevents Nick from getting his perfect take two shot?", "Why is Chad getting dressed in Nicole's room?", "Why does Chad quit/get fired from the story?", "What happens just before Nicole suddenly wakes up in her bed?", "What does the dwarf say before walking off stage?", "Who saves the shot after the dwarf walked off?", "What happens during the 30 seconds of room silence when the mixer accidentally recorded it?", "During Nick's dream sequence, Whom does Ellen say beat her as a child?", "Why was the unexpectedly good performance by Cora and Nicole not caught on camera?", "What was causing the beeping sound that work Nick from his dream?", "How does Nicole respond to Chad's request to get together again after they spent the night together?", "What happens when Chad strokes Nicole's head in an attempt to calm her down?", "Why does Chad quit?", "Why does Tito walk off set?", "Who is Nick's mother?", "What kind of fruit does the dwarf hold during his performance on set?", "After Tito leaves the set, who steps in to act in his place?", "In what city does the filming take place?", "What item has been on the craft service table for more than a week?", "What time is Nick Reve due on the set?", "Who does Cora's gesture remind Nicole of?", "Why didn't Wolf capture Nicole's passionate performance?", "Who else is in Nicole's hotel room?", "What ruins the final take in Nick's dream?", "What does Nick call Chad, which prompts a fight?", "What does Tito object to?", "What does Nick's mother grab before announcing she is ready?" ]

[ [ "Cora kept forgetting her lines, and Nicole became more and more careless", "The mic boom is visible, the camera assistant loses his focus on the shots, Cora forgets her lines, and Nicole being unfocused and careless." ], [ "the beeping of his alarm clock", "a beeping sound distracts the actors" ], [ "They had just had sex", "They slept together" ], [ "Because Nicole tells everyone that she and Chad had sex and that she wasn't remotely interested in him", "He quit because Nicole told everyone she wasn't interested in him." ], [ "Nick apologizes , kisses Nicole, and tells her he loves her", "they kiss" ], [ "He says that dwarfs don't even dream of other dwarfs", "a cliche" ], [ "his mother takes the apple and pulls off the perfect scene", "Nick's mother" ], [ "everyone went quiet and daydreams of other things. ", "They daydream." ], [ "Her father", "nick" ], [ "Wolf (cameraman/cinematographer) was in the bathroom throwing up.", "Because it is a rehearsal without camera." ], [ "His alarm clock was going off.", "It was Nick's own alarm clock." ], [ "Nicole declines the offer.", "Turns him down" ], [ "Nicole loses her temper with Chad.", "She briefly loses her cool" ], [ "Nicole announces to the crew that she isn't interested in him.", "He loses his temper." ], [ "He says the dream sequence is cliche.", "Cora walked onto the set" ], [ "Cora", "Cora." ], [ "an apple", "An apple" ], [ "Cora, Nick's mother.", "Nick's mother" ], [ "New York City", "new york city" ], [ "Milk", "A carton of milk" ], [ "4:30 AM", "4;30am" ], [ "Her mother", "Her Terminally-ill mother." ], [ "He was vomiting in the toilet", "He was vomiting the whole time" ], [ "Chad", "Chad Palomino" ], [ "A beeping sound", "Tito walks off the set" ], [ "\"Hostess Twinkie motherfucker\"", "Hostess Twinkie Motherfucker" ], [ "The dream sequence", "Complains that the dream sequence is a cliche." ], [ "An apple", "She grabs the pole and moves to Tito's mark." ] ]

[ [ "LENNY\n That's right. Clips.\n (Lenny leans in,\n working the guy)", "Lenny palms a roll of bills from the guy as he slips a\n squid tape into the pocket of the businessman's suit\n jacket. Lenny claps him on the shoulder and walks away.", "Max sticks Lenny's Glock in his waistband, keeping his own\n .45 trained on Lenny. Lenny knows the next bullet is for\n him. He does what he does best... talk.", "BACK TO: Lenny, as he's hustled out the rear door.\n\n LENNY\n Thanks for the tip.\n\n CUT TO:", "And you see in his eyes that it isn't going to go that\n way. Spreg edges forward and takes the tape. Then he\n points his pistol at Lenny's head, about to fire--", "Lenny follows with his wardrobe bag. The homeboys give\n Lenny the eye as he brushes past them. Mace chills them\n with a glare.", "The guy whips around, putting the muzzle of a .38 in\n Lenny's face.", "LENNY\n So lay it off to somebody else.\n\n TICK\n Come on, Lenny. I got expenses. I\n got to get this rig fixed. Look at\n it...", "Lenny gets to the front door of the Coral Lounge, turns\n just in time to see the tow-truck pulling out. Lenny runs\n after his car, yelling, watching it recede.", "CUT TO LENNY, on his bed, smiling. He punches Fast\n Forward.\n\n BACK TO POV. A kinetic blur of digital hash, then...", "MAX\n Problem is, Lenny knows everybody.\n\n MACE\n Take the tape to the cops.", "LENNY\n Mace, you're my friend. I need you.\n Plus I'll give you 25% of what I\n make tonight.", "end. But all Lenny cares about is what's on the tape. He\n hits PLAY.", "the money, networking. No dialogue. A pantomime of Lenny\n working his prime turf. She stares at him for a while,\n then looks at her watch. Sighs.", "CUT TO:\n\n EXT. RETINAL FETISH\n\n Beemer deposits Lenny on the curb and goes back inside.", "Lenny looks at the envelope, which has \"Nero\" hand-printed\n in block letters. Tex takes a pull from a flask as he", "LENNY\n We got to make another copy of this.\n Little life insurance.\n\n MACE\n You know what this tape could do if it\n gets out.", "Mace, having a cigarette with other security drivers,\n watches Lenny through the tall windows of the old Spanish\n house. She sees him working the room, rubbing up against", "He quickly moves around the car and climbs in the back\n door. Lenny grabs his Haliburton but instead of getting\n out, he leans through the divider window, next to Mace.", "LENNY\n Way I look at it, I actually perform\n a humanitarian service. I save\n lives.\n\n MACE\n Uh huh, I wanna hear this part." ], [ "Lenny freaks out and scrambles to pick them up, trying to\n stop her, push her away. They struggle for a pathetic,\n tragic moment.", "Lenny is right behind her now. He puts his hands on her\n shoulders, tenderly.", "Lenny looks down at her, gazing at the object of his\n quest. She looks up at him, her wet eyes seemingly at the\n bottom of a deep well from which he cannot save her.", "The woman is FAITH JUSTIN. We recognize her from playback\n as Lenny's ex-girlfriend. But now her hair has been dyed", "Lenny is mesmerized. He has seen this before, many times.\n But it always has the same effect on him. He is\n transported into another world by her, a world in which\n there is only the two of them.", "LENNY\n You still like me, don't you? We're\n still buddies?\n\n She hates it that she can't resist his pathetic charm.", "We hear Lenny's voice complaining a mile a minute, and we\n realize the POV is his. The girl takes our hands, skating", "She has stopped the car, torn the trodes from Lenny's head\n and tossed them out the window. Now she's yanking him out\n of the car by his lapels.", "... toward the bedroom. And we see the truth of his\n reality. Lenny's crib is a shit-box. It is a small one-", "viciously behind her back. They go around a chain-link\n divider and double back, heading for the exit. Lenny\n staggers to the chainlink, sagging to his knees again as", "Lenny. His eyes are full of emotion.\n He grabs her in his arms, fiercely, and kisses her... like", "LENNY\n But she was different. There was a\n light in her eyes... and she had\n this voice. It was scary, all that", "the money, networking. No dialogue. A pantomime of Lenny\n working his prime turf. She stares at him for a while,\n then looks at her watch. Sighs.", "Lenny gets to the front door of the Coral Lounge, turns\n just in time to see the tow-truck pulling out. Lenny runs\n after his car, yelling, watching it recede.", "The woman is FAITH JUSTIN, a singer. Lenny is desperately\n in love with her. It's not hard to see why. She is", "Lenny seems to crumple. He knows he has to let go. But\n it is so painful.", "Lenny recovers enough to size up Vita, who is still a\n little stunned. She has blood dripping in her eyes and\n can't see too well.", "LENNY\n She said \"If they get me\". They.\n Which means the whole sex-killer\n thing is a cover, which means\n somebody whacked her for a reason.", "She bridles like a startled horse. Lenny looks at what\n she sees: a red beam, sweeping the parking lot. Must be\n the cops. He turns back...", "MACE\n Forget her.\n\n LENNY\n She still loves me." ], [ "IRIS knows the cops are behind her. She is terrified to\n turn. Finally she can't stand it any more. She breaks\n into a run. The patrol car speeds up suddenly, roaring\n after her.", "Iris trips on the landing, spins sprawling across the\n filthy tile floor, and comes up running. Panting with\n fear and exertion she clears the turnstiles like a\n hurdler.", "Suddenly Iris breaks from behind a column up ahead at a\n full sprint. Spreg unleashes his size 13 cop shoes,\n thundering along the platform to intercept her. Engelman\n straight-arms his pistol.", "CUT TO: TRAN'S LOFT as a tear-streaked and frantic Iris is\n telling Tran about how the cops tried to kill her (we", "Iris screams as Spreg lunges through the opening next to\n her like some uniformed nightmare and grabs her. He is\n still running alongside, pulling on her. Trying to drag\n her right out through the window.", "Iris clears the doors just as they hiss shut. Her\n momentum carries her clear across the car, where she slams", "She jerks back through the window and drops to the floor.\n A couple of shots hit the metal outside. We see Iris has", "Thinking fast Iris dives to his side of the car and\n presses herself up against the solid wall next to the\n door, where he can't see her.", "CUT TO: TWO NIGHTS AGO, Iris, wearing a wig, leaves Tran's\n table with Diamanda and moves toward... a booth in the", "Crawling out of the side window. A frenzy now.\n Whip pan to see the cops pulling up.", "She takes a Squid tape from her pocket, and scribbles a\n note on the label: \"HELP ME. IRIS.\" She drops the tape", "Iris sprints along in her bare feet, all-out like a track\n runner. The black-and-white screeches to the curb next to\n her and the cops jump out.", "IRIS\n Can we go to your car? There's\n something you have to see right\n away.\n\n He nods and steers her toward the front door of the Coral\n Lounge.", "FAITH\n So finally he gives Iris some cash\n and tells her to check into the\n hotel under a wrong name till he\n figures out what to do.", "INT. UNDERGROUND PARKING GARAGE\n\n POV: squid tape of Iris' death. Quick barrages of the\n savage imagery interspersed with bursts of static...", "Strickland motions with his eyes and the cop grabs for\n her. Mace twists viciously out of his grip, knocks him\n down and vanishes out the door.", "Spreg drops away, behind the speeding train, holding a\n red wig. He looks at it stupidly, then raises his pistol\n and fires at Iris.", "Max and Mace support a semi-conscious Lenny, hustling him\n to the car. As they are putting him in the car, TWO LAPD\n OFFICERS come through the crowd, eyeing the bleeding\n Lenny.", "rooftops nearby. They see patrol cars passing on cross-\n streets, lights flashing. It feels like the entire LAPD\n is looking for them.", "wrist to the base of the tower. That's when THREE LAPD\n COPS in riot gear burst through the surrounding crowd and" ], [ "Max sits in the open door of his car ten feet away, trodes\n on, playing back the tape. His face is transformed into", "MAN (MAX)\n Where is he?\n\n Bobby, the bartender, cocks his eye toward the restrooms.\n\n CUT TO:", "INT./ EXT. MAX'S CAR - NIGHT\n\n As Max drives along a crowded downtown street.", "CUT TO:\n\n INT. TEX'S ROOM\n\n While Max stalls, Faith talks.", "INT. BALLROOM/BONAVENTURE HOTEL\n\n TIGHT ON MAX, leaning against a pillar. He looks over his\n shoulder, around the column.", "MAX\n I was gonna tell ya. Hey, it's just\n a job. I feel like shit about it.\n\n LENNY\n You should feel like shit.", "MAX\n You alright? Y'okay?\n\n LENNY\n Yeah. No, not really.\n\n MAX\n Let's work it.", "MAX\n You just did.\n\n LENNY\n Jesus!", "Max is stronger and heavier than Lenny, but Lenny has one\n advantage: Max has managed to make him really angry.\n Lenny gives a guttural cry and drives Max backward into", "Max pulls out his knife and flicks it open. Lenny throws\n a lamp. Max ducks and charges through. Lenny spins away\n from the downthrust.", "MAX (V.O.)\n Hey, the last day of the world and\n you spend it in bed.\n\n LENNY\n W'sup, Max?", "MAX\n I'm on her.\n\n Lenny climbs the stairs to the MAIN FLOOR, pushing his way\n through the crowd.", "MAX\n To the end of all things!\n (slugs down the shot)\n You know how I know it's the end of", "As he is going over, Max grabs Lenny's tie, pulling him\n over. Max is dangling 12 stories above the oblivious", "Max's hand along a glass edge, cutting it, and Max drops\n the gun. Lenny reaches for it, but Max kicks it away a", "MAX\n Only he doesn't know about me and\n Faith. So I say to myself, if I\n turn the job down, he just gets", "MAX\n He's got her up in the room, under\n guard. And he's still working the\n party... acting smooth like nothin's\n nothin'. So buddy... I say we work\n a trade.", "Lenny wakes up to the sound of the phone ringing. He is\n on the couch, still clothed. He hears Max's voice on the\n answer machine and groggily grabs the receiver.", "TRAN\n Let's go get her. We're late.\n\n Max shows up suddenly, right in front of him. Stopping\n him.", "Max punches Lenny brutally in the face, then in the gut,\n and grabs him with both hands. He hurls him against the" ], [ "MACE\n But I mean isn't he Faith's new--\n (she mouths the word\n \"boyfriend\")", "She looks at him and, after a moment, he nods and leaves.\n As the door closes behind him, Faith tosses her towel on\n the table. She looks frightened and alone.", "He turns her to him. They begin to make love. Faith's\n face fills our field of view, eyes closed in dreamy\n passion.", "Our eyes whip to Faith. She is freaking out. We see\n Max's reflection in the mirror as he talks to her, talking\n fast.", "Faith's body shakes as the killer comes... she cries out\n herself, in pain... or is it? The killers hand releases\n the belt. We see Faith gasping for breath and moaning.", "Mace sees Faith... FAITH, escorted by a couple of cops,\n passing near them. She is in handcuffs and her eyes are\n dull. Mace turns back to Lenny...", "He opens his briefcase, pops the tape into the deck, puts\n the Squid rig on and closes his eyes. Maybe he can forget\n about Faith a minute. He punches PLAY.", "Duncan and Beemer form a loose protective shell around\n them as the press bears down, shouting out questions.\n Tran ushers Faith into a waiting limo and climbs in after", "Faith hugs him, and he clutches her. Mace locks her jaw\n and looks away. This is hard for her.\n\n CUT TO:", "Suddenly the POV whips sideways to the mirrored closet\n doors along one wall. In the mirror is a reflection of\n the bed and on it Faith. And on her...\n\n ... MAX.", "Lenny looks between Faith and Max, feeling like the\n asshole of the western world. Faith moves up close to\n Max. She puts her hands lightly on his shoulders,", "We are following Faith, now holding her skates, up the\n steps to a beach apartment. Inside it is funky and\n comfortable.", "Faith like she is in a spotlight. We move up behind her\n and take the towel away, and now we see Lenny standing\n behind Faith in the mirror over the dresser.", "He turns OFF the record button. STATIC. Then TAPE\n RESTARTS. We see the two of them standing together,\n reflected in a mirror.\n\n We are Faith now.", "(he grabs Faith by\n the arm, steps\n closer)\n Take her. Right now. If she wants", "Mace gives up, shakes her head and Lenny plunges into the\n crowd... toward Faith. Several patrons greet him, just as\n in the Coral Lounge, but uncharacteristically, Lenny\n virtually ignores them.", "Then Faith kisses Lenny's bare chest. We are looking down\n at her, looking down across our body, Lenny's body, as", "Approaching the main table now. Ringside. Tran sees him;\n no reaction. Now Faith sees him: her reaction's a little\n tougher to read. Pissed off, maybe, or just tense.", "-- brushes past Faith's cheek, barely touching her. His\n fingers pick up a strand of hair, tuck it like a treasure\n behind her ear... fingers touching her head now... a", "Faith whirls to a stop as the band crashes in a final\n downbeat. The spotlight goes out and the set is over.\n\n ON TRAN, clapping. Watching." ], [ "Spreg drops away, behind the speeding train, holding a\n red wig. He looks at it stupidly, then raises his pistol\n and fires at Iris.", "Iris trips on the landing, spins sprawling across the\n filthy tile floor, and comes up running. Panting with\n fear and exertion she clears the turnstiles like a\n hurdler.", "LENNY\n Iris is dead. She was murdered.\n\n Faith stiffens. We see the fear, now, exposed.\n\n FAITH\n Who did it?", "Iris screams as Spreg lunges through the opening next to\n her like some uniformed nightmare and grabs her. He is\n still running alongside, pulling on her. Trying to drag\n her right out through the window.", "Iris is feeling and seeing what he sees and feels... She\n feels her own pain and humiliation swirling with the\n killer's exhilaration.", "We look down, and recognize the dress Iris was wearing\n when we first saw her, two nights ago. She puts her", "Suddenly Iris breaks from behind a column up ahead at a\n full sprint. Spreg unleashes his size 13 cop shoes,\n thundering along the platform to intercept her. Engelman\n straight-arms his pistol.", "Iris clears the doors just as they hiss shut. Her\n momentum carries her clear across the car, where she slams", "IRIS\n Can we go to your car? There's\n something you have to see right\n away.\n\n He nods and steers her toward the front door of the Coral\n Lounge.", "nobody in sight. We clamp our hand over Iris' mouth and\n drag her back into her room, locking the door.", "Looking down... one shoe on, one shoe off. Iris' hand\n takes off the remaining shoe, clutches it to her chest.\n We move forward into the dark train-yard as--", "INT. UNDERGROUND PARKING GARAGE\n\n POV: squid tape of Iris' death. Quick barrages of the\n savage imagery interspersed with bursts of static...", "CLOSE on Iris' body, in a bag, being loaded into the\n coroner's van.\n\n CUT TO:", "LENNY\n Wait a minute. Now I'm remembering.\n I killed Iris too, didn't I?", "CUT TO: TRAN'S LOFT as a tear-streaked and frantic Iris is\n telling Tran about how the cops tried to kill her (we", "Lenny see Iris' terrified face. Literally. It floats\n iridescent on his living room wall, fading slowly.", "IRIS knows the cops are behind her. She is terrified to\n turn. Finally she can't stand it any more. She breaks\n into a run. The patrol car speeds up suddenly, roaring\n after her.", "It is Iris. She is wearing a T-shirt and panties.\n Probably ready for bed. She looks like she can't sleep.\n Pours the Scotch shakily.", "She jerks back through the window and drops to the floor.\n A couple of shots hit the metal outside. We see Iris has", "TO POV, as the killer's hand calmly moves Iris' head from\n side to side... studying her dead face. Her staring eyes." ], [ "She shoots Engelman in the chest from 8 feet. He\n convulses and drops instantly to the pavement, flopping", "Engelman and Spreg jump out of the truck, taking cover\n behind it. They rake the limo with bursts from their AK-\n 47s.", "SPREG\n YOU FUCKING NIGGER BITCH!!\n\n He raises Engelman's pistol, points it at her and...", "Like a scene from a nightmare the blood-drenched Spreg,\n completely unhinged, lurches toward them. Engelman's body\n slides over the ground, leaving a snail-track of blood a\n foot wide.", "Engelman is leaning out the passenger side window with an\n AK-47 assault rifle. He rips off several burst which", "The TV screen shows a murder scene with cops milling\n around, yellow plastic over three crumpled forms on the\n ground. It cuts to a file photo of a severe-featured\n black man.", "He and Engelman empty their magazines at the limo as it\n pulls away. No damage. They realize the limo is a bullet\n proof security model and run to their pickup truck, parked", "Engelman's leg. Engelman screams in pain. Mace twists\n out of his grip. Engelman shoots the dog.", "The truck stays right with them. Engelman fires bursts at\n the tires, shredding them off the rims. The limo thunders\n along on steel rims, throwing rooster-tails of orange\n sparks.", "knees. Engelman shoots her again. Then raises his gun\n toward us.", "Engelman hesitates and then spins toward us. Diamanda is\n screaming, backing away from Engelman. Spreg shoots\n Replay four more times.", "Engelman's yelling something at him we can't hear. Spreg\n turns, eyes wide with adrenaline.\n\n SPREG\n Get the bitches.", "ENGELMAN LUNGES, grabbing a gun from the holster of the\n closest cop. He waves them back with it. Then puts it in\n his mouth and fires.", "massive, barrel-chested street-lifer in his mid-forties,\n and DWAYNE ENGELMAN, an aggressive hard-on in his twenties", "Spreg looks around the empty street. Looks at Engelman.\n Down at Jeriko, proned out on the pavement. Replay's\n laughter in his ears.", "He points at the two prone cops.\n\n STRICKLAND\n (to the nearest\n officers)\n These two are under arrest for\n murder.", "Lifting the dead weight of Engelman by the handcuff, he\n begins to drag the body, lurching toward Mace. He keeps", "Engelman catches a glimpse of Mace running. He points to\n her position and Spreg charges after her. He has his\n baton laid back along his forearm and is clubbing people\n out of the way as he runs.", "As Engelman pulls out Jeriko's wallet, looks at his ID,\n Jeriko checks name tags.", "star Jeriko One and bandmember James\n Polton, known to fans as \"Replay\".\n A third body, that of a woman, has\n not yet been identified. With his" ], [ "It is JERIKO ONE. He is laughing, talking to someone in\n the back seat. Iris looks and we see REPLAY, Jeriko's", "wasn't sure, so he started with the\n surveillance. A couple nights ago\n he wires up Iris and sends her and\n the other girl, Diamanda, over to", "Iris' POV swings around and looks down, seeing Jeriko's\n hand caressing her thigh. She puts her hand on his chest", "LENNY\n How did it happen? What was Iris\n doing riding around with Jeriko\n wearing a wire?\n\n FAITH\n We should talk alone.", "Retinal Fetish where Jeriko One sits with Replay. Iris\n stands over Jeriko for just a moment. Then he nods,\n smiles a little, and moves over to make room for her in", "MAX\n Hey, he was going to kill you. And\n this ratfuck paid to have Iris\n killed, to save his own sorry ass.", "Suddenly Iris breaks from behind a column up ahead at a\n full sprint. Spreg unleashes his size 13 cop shoes,\n thundering along the platform to intercept her. Engelman\n straight-arms his pistol.", "Jeriko and Replay are both swearing. He pulls the car\n down the ramp, stopping on a deserted street in a\n warehouse district. Our POV looks around nervously.", "Spreg drops away, behind the speeding train, holding a\n red wig. He looks at it stupidly, then raises his pistol\n and fires at Iris.", "JERIKO\n It's a song about a cop who meets\n his worst nightmare, a nigger with\n enough political juice to crush his\n ass like a stink bug. You're gonna\n be famous.", "LENNY\n Faith, we know about Jeriko. Iris\n made me a copy of the tape.", "Iris trips on the landing, spins sprawling across the\n filthy tile floor, and comes up running. Panting with\n fear and exertion she clears the turnstiles like a\n hurdler.", "IRIS\n (to Lenny)\n I mean talk private. Please, I'm in\n trouble, and so is Faith.", "CUT TO: TWO NIGHTS AGO, Iris, wearing a wig, leaves Tran's\n table with Diamanda and moves toward... a booth in the", "IRIS knows the cops are behind her. She is terrified to\n turn. Finally she can't stand it any more. She breaks\n into a run. The patrol car speeds up suddenly, roaring\n after her.", "JERIKO\n That's right. And you're gonna be\n in my next song, motherfucker, it's\n called Robo-Spreg.", "LENNY\n Iris is dead. She was murdered.\n\n Faith stiffens. We see the fear, now, exposed.\n\n FAITH\n Who did it?", "Iris is feeling and seeing what he sees and feels... She\n feels her own pain and humiliation swirling with the\n killer's exhilaration.", "Iris screams as Spreg lunges through the opening next to\n her like some uniformed nightmare and grabs her. He is\n still running alongside, pulling on her. Trying to drag\n her right out through the window.", "MAX\n Yup. He was Jeriko's manager.\n (to screen)\n Bummer, Tran! Lost your golden\n goose. Couldn't happen to a nicer\n guy." ], [ "pulling the knife handle out of Max's hand. Max tackles\n him and they crash together through a sliding glass door\n onto the balcony. Explosion of flying glass.", "Max pulls out his knife and flicks it open. Lenny throws\n a lamp. Max ducks and charges through. Lenny spins away\n from the downthrust.", "Max punches Lenny brutally in the face, then in the gut,\n and grabs him with both hands. He hurls him against the", "Max pulls a dazed Lenny to his feet and rushes him\n backward toward the railing. At the last instant, Lenny", "As he is going over, Max grabs Lenny's tie, pulling him\n over. Max is dangling 12 stories above the oblivious", "twists with all his strength and spins Max into the\n railing, using his weight against him. He pushes hard and\n Max topples.", "Max's hand along a glass edge, cutting it, and Max drops\n the gun. Lenny reaches for it, but Max kicks it away a", "Tran freaks at that point but Max jams the gun deep into\n his throat, up to the trigger guard, choking off his\n words.", "wall. Lenny staggers off the wall into several vicious\n punches from Max. We feel the tide turning. Lenny goes\n down to one knee.", "The knife embeds itself in his shoulder blade, sunk into\n the bone. Lenny punches Max in the throat and jerks away,", "Max is stronger and heavier than Lenny, but Lenny has one\n advantage: Max has managed to make him really angry.\n Lenny gives a guttural cry and drives Max backward into", "K-BANG! Faith shrieks, thinking Max shot him. But it's\n just the start of the fireworks outside (remember all this\n has already happened relative to Lenny entering the\n suite).", "Our eyes whip to Faith. She is freaking out. We see\n Max's reflection in the mirror as he talks to her, talking\n fast.", "the doorframe. They tumble together into the living room,\n falling together over the couch. Lenny pounds Max's hand\n against the glass coffee table, shattering it. He forces", "Max and Mace support a semi-conscious Lenny, hustling him\n to the car. As they are putting him in the car, TWO LAPD\n OFFICERS come through the crowd, eyeing the bleeding\n Lenny.", "The Wearer crosses to the balcony door. Opens it quietly\n and goes outside, moving to the wall dividing this room's\n balcony from the one next door.", "She stares, transfixed, as Max reaches for the deck. He\n punches PLAY. Max puts his hand over Tran's mouth to", "INT. BALLROOM/BONAVENTURE HOTEL\n\n TIGHT ON MAX, leaning against a pillar. He looks over his\n shoulder, around the column.", "Lenny can barely breathe from the tension. He notices\n that one balcony door is open. The roar of the crowd", "Mace watches them recede. Then she bends to Lenny. Max\n arrives a moment later and they lift him to his feet.\n\n CUT TO:" ], [ "LENNY\n Superconducting QUantum Interference\n Device. SQUID. Got it? There's\n gonna be a test.", "Iris was wired. Spreg just stares at the SQUID NET, eyes\n going crazy wide.\n\n ENGELMAN\n Oh shit.", "box, the size of a cigarette case. It is a SQUID NET.", "... and with a nightmarish sense of destiny a SQUID TAPE\n falls out into his hand.\n\n CUT TO:", "deck we saw earlier in the POV. Also in the bag is the\n SQUID NET, a matrix of sensors designed to conform to the\n human head (this is different from playback trodes). The", "EDUARDO\n What's all this squid shit?\n\n As Lenny works, fitting the network of sensors over\n Eduardo's head, he holds class.", "Lenny smiles and pulls out a SQUID-net. He motions\n Eduardo into the shadows.", "His \"hair\" comes off in her hands. A prosthetic wig,\n containing the squid-net array. Max's head is shaved to a", "Tick holds up a zip-lock bag containing the Walkman-sized\n stainless steel CORTICAL RESONANCE RECORDER, the record", "takes a squid-deck out of a drawer and sticks the tape in.\n He puts on the headset and pushes PLAY.", "She takes a Squid tape from her pocket, and scribbles a\n note on the label: \"HELP ME. IRIS.\" She drops the tape", "He opens his briefcase, pops the tape into the deck, puts\n the Squid rig on and closes his eyes. Maybe he can forget\n about Faith a minute. He punches PLAY.", "the receptor rig... what I'm putting\n on your head... sends a signal to\n the recorder.\n (Lenny holds up the", "The hands go out of sight and then reappear holding a set\n of trodes. They are placed on her head... the spidery\n gecko-hand device almost disappearing in her black hair.", "LENNY\n Okay, let's get you wired up. I\n hope this axle grease you got in\n your hair doesn't screw up the squid\n receptors.", "Lenny sits on the bed and puts the trodes back on. The\n fireworks and screaming outside sound like some\n nightmarish war, like the sound of the world coming to an", "He puts a set of playback trodes carefully on his head,\n fishes around in a shoe box among a bunch of tapes,\n squinting at the hand-written labels: they all say\n \"FAITH.\" Only the dates are different.", "TIGHT SLOWMO SHOTS... ABSTRACT: SQUID tapes and money\n changing hands. A SQUID tape sliding sensuously into a\n deck.", "the wig. The sensors are connected by wires, in a pattern\n like the veins of a leaf, bundling to a small, flat metal", "... at Tran sitting in a chair, tranced out under playback\n trodes, his eyes closed. She softly closes the sliding" ], [ "deck we saw earlier in the POV. Also in the bag is the\n SQUID NET, a matrix of sensors designed to conform to the\n human head (this is different from playback trodes). The", "Mace watches, concerned, as Lenny puts the trodes back on\n and hits playback.\n\n Squid POVs: strobe-like images of Iris' rape and death,\n separated by burst of static...", "are about the size of DAT tapes, and hold about 30 minutes\n of sensory experience... everything a person sees, hears,\n and feels... recorded directly from the cerebral cortex at", "Iris was wired. Spreg just stares at the SQUID NET, eyes\n going crazy wide.\n\n ENGELMAN\n Oh shit.", "playback freaks, all trapped into Squid nirvana: post-\n modern opium dens. Sinister and scary. He glimpses", "takes a squid-deck out of a drawer and sticks the tape in.\n He puts on the headset and pushes PLAY.", "... at Tran sitting in a chair, tranced out under playback\n trodes, his eyes closed. She softly closes the sliding", "Mace sees how serious he is. She nods: OK. He puts the\n trodes on her.\n\n LENNY\n Sorry this has to be your first\n playback.", "He quickly sets up his playback deck on the table. He\n puts on the trodes and pulls the tape out of his pocket.", "He puts a set of playback trodes carefully on his head,\n fishes around in a shoe box among a bunch of tapes,\n squinting at the hand-written labels: they all say\n \"FAITH.\" Only the dates are different.", "Tick's slumped in the back of the van with playback trodes\n on his head. He's breathing, but otherwise he's still.", "As Mace pulls out, Lenny starts fitting a pair of playback\n trodes to his head. Mace glances at him in disgust. He\n hits his playback button.", "and over the forehead. PLAYBACK \"TRODES\". Lenny whips\n off the trodes, gasping as if he got gutpunched.", "the receptor rig... what I'm putting\n on your head... sends a signal to\n the recorder.\n (Lenny holds up the", "Tick holds up a zip-lock bag containing the Walkman-sized\n stainless steel CORTICAL RESONANCE RECORDER, the record", "Lenny sits down and put the tape in his playback deck. He\n picks up the trodes and places them on his head. He\n notices his hands are shaking. He takes a deep breath and\n punches PLAY.", "LENNY\n Superconducting QUantum Interference\n Device. SQUID. Got it? There's\n gonna be a test.", "He hits play and Mace reacts as the sensory input hits\n her. She opens her eyes...\n\n LENNY\n Keep your eyes closed, or you'll see\n double.", "He opens his briefcase, pops the tape into the deck, puts\n the Squid rig on and closes his eyes. Maybe he can forget\n about Faith a minute. He punches PLAY.", "... and with a nightmarish sense of destiny a SQUID TAPE\n falls out into his hand.\n\n CUT TO:" ], [ "LENNY\n (seeing Iris)\n Hey, Iris, you okay?\n\n IRIS\n Lenny, I got to talk to you, it's\n serious...", "LENNY\n Iris is dead. She was murdered.\n\n Faith stiffens. We see the fear, now, exposed.\n\n FAITH\n Who did it?", "LENNY\n Who was just here?\n\n TICK\n Iris, man. Pay attention.", "LENNY\n Don't know. But this guy's real\n damaged goods. Iris knew someone\n was after her... and she said you", "FAITH\n (startled, turning\n to him)\n You talked to Iris? When?\n\n LENNY\n Tonight.", "MAX\n (as Lenny reacts to\n the name)\n There it is, the magic fuckin' word.\n\n Lenny takes Iris by the arm and pulls her away from the\n bar.", "Lenny see Iris' terrified face. Literally. It floats\n iridescent on his living room wall, fading slowly.", "LENNY\n Snuff clip. It was Iris. She said\n she needed my help and I... aw\n Jesus, Mace... the sick fucker\n killed her.", "Lenny drops the cutesy role.\n\n LENNY\n So why Max... why d'ya have to do\n Iris? She never hurt anybody.", "Lenny and Iris come out the front door.\n\n IRIS\n It's a bad situation... if they get\n me I know they're going to -- OH\n SHIT!", "LENNY\n Wait, wait... wait a minute. Iris\n was here?!", "IRIS\n (to Lenny)\n I mean talk private. Please, I'm in\n trouble, and so is Faith.", "A figure moves stealthily from the shadows and approached\n Lenny's car: Iris, hair dyed black now, wearing jeans and", "LENNY\n Wait a minute. Now I'm remembering.\n I killed Iris too, didn't I?", "LENNY\n Yeah, OK, whatever you say. Just\n answer one question. Is anything\n wrong? Iris said you might be in\n trouble.", "LENNY\n How did it happen? What was Iris\n doing riding around with Jeriko\n wearing a wire?\n\n FAITH\n We should talk alone.", "CUT TO: Iris, working her way from the front door, staying\n on the fringe of the crowd, wary, moving toward Max and\n Lenny at the bar.", "As Lenny unlocks the door, all he hears is Iris' \"I'll\n call later.\" He picks up the phone as the connection\n breaks.\n\n CUT TO:", "LENNY doesn't stop to play back Iris' message, or any of\n the twenty others on his machine. He just deadbolts the\n door and locks a steel bar across the door frame, then\n carries his Haliburton...", "FAITH\n Look, Tran... Lenny just came by to\n give me some bad news. An old\n friend of mine has been murdered.\n You remember Iris?" ], [ "Iris was wired. Spreg just stares at the SQUID NET, eyes\n going crazy wide.\n\n ENGELMAN\n Oh shit.", "Suddenly Iris breaks from behind a column up ahead at a\n full sprint. Spreg unleashes his size 13 cop shoes,\n thundering along the platform to intercept her. Engelman\n straight-arms his pistol.", "the receptor rig... what I'm putting\n on your head... sends a signal to\n the recorder.\n (Lenny holds up the", "She takes a Squid tape from her pocket, and scribbles a\n note on the label: \"HELP ME. IRIS.\" She drops the tape", "Mace watches, concerned, as Lenny puts the trodes back on\n and hits playback.\n\n Squid POVs: strobe-like images of Iris' rape and death,\n separated by burst of static...", "Tick holds up a zip-lock bag containing the Walkman-sized\n stainless steel CORTICAL RESONANCE RECORDER, the record", "Lenny see Iris' terrified face. Literally. It floats\n iridescent on his living room wall, fading slowly.", "Strickland looks Spreg in the eye and holds up Lenny's\n squid tape. Spreg and Engelman react, knowing they are", "SPREG STANDS on the platform, watching the train\n disappear, as Engelman runs up. Spreg looks at the wig in\n his hand, disgusted. He turns it and looks inside, at the\n cap.", "wasn't sure, so he started with the\n surveillance. A couple nights ago\n he wires up Iris and sends her and\n the other girl, Diamanda, over to", "She takes Engelman's cuffs from his belt. Spreg glares at\n her through the blood running into his eyes. She raises\n the baton.", "She shoots Engelman in the chest from 8 feet. He\n convulses and drops instantly to the pavement, flopping", "ENGELMAN\n Facing us, where we can see it.\n\n Lenny slowly opens the Haliburton. He takes out the tape\n and holds it out toward Spreg.", "INT. UNDERGROUND PARKING GARAGE\n\n POV: squid tape of Iris' death. Quick barrages of the\n savage imagery interspersed with bursts of static...", "... at Tran sitting in a chair, tranced out under playback\n trodes, his eyes closed. She softly closes the sliding", "Like a scene from a nightmare the blood-drenched Spreg,\n completely unhinged, lurches toward them. Engelman's body\n slides over the ground, leaving a snail-track of blood a\n foot wide.", "Engelman hesitates and then spins toward us. Diamanda is\n screaming, backing away from Engelman. Spreg shoots\n Replay four more times.", "As Engelman pulls out Jeriko's wallet, looks at his ID,\n Jeriko checks name tags.", "CUT TO: TRAN'S LOFT as a tear-streaked and frantic Iris is\n telling Tran about how the cops tried to kill her (we", "The hands go out of sight and then reappear holding a set\n of trodes. They are placed on her head... the spidery\n gecko-hand device almost disappearing in her black hair." ], [ "We look down, and recognize the dress Iris was wearing\n when we first saw her, two nights ago. She puts her", "It is Iris. She is wearing a T-shirt and panties.\n Probably ready for bed. She looks like she can't sleep.\n Pours the Scotch shakily.", "Iris trips on the landing, spins sprawling across the\n filthy tile floor, and comes up running. Panting with\n fear and exertion she clears the turnstiles like a\n hurdler.", "Iris clears the doors just as they hiss shut. Her\n momentum carries her clear across the car, where she slams", "IRIS\n Can we go to your car? There's\n something you have to see right\n away.\n\n He nods and steers her toward the front door of the Coral\n Lounge.", "Iris is feeling and seeing what he sees and feels... She\n feels her own pain and humiliation swirling with the\n killer's exhilaration.", "CUT TO: TRAN'S LOFT as a tear-streaked and frantic Iris is\n telling Tran about how the cops tried to kill her (we", "IRIS knows the cops are behind her. She is terrified to\n turn. Finally she can't stand it any more. She breaks\n into a run. The patrol car speeds up suddenly, roaring\n after her.", "Iris screams as Spreg lunges through the opening next to\n her like some uniformed nightmare and grabs her. He is\n still running alongside, pulling on her. Trying to drag\n her right out through the window.", "Thinking fast Iris dives to his side of the car and\n presses herself up against the solid wall next to the\n door, where he can't see her.", "Suddenly Iris breaks from behind a column up ahead at a\n full sprint. Spreg unleashes his size 13 cop shoes,\n thundering along the platform to intercept her. Engelman\n straight-arms his pistol.", "FAITH\n That night Iris calls up, freaking.\n She comes over and Tran watches the", "MACE\n Because Iris knew somebody was after\n her.\n\n Lenny, wound up like a Swiss movement, starts pacing.", "Lenny see Iris' terrified face. Literally. It floats\n iridescent on his living room wall, fading slowly.", "FAITH\n (startled, turning\n to him)\n You talked to Iris? When?\n\n LENNY\n Tonight.", "lipstick into a purse which is belted to her waist. Iris\n turns her head and we see the driver.", "LENNY\n Iris is dead. She was murdered.\n\n Faith stiffens. We see the fear, now, exposed.\n\n FAITH\n Who did it?", "Iris can now see herself as the Wearer sees her... wide-\n eyed with terror, white-lipped, weeping. Helpless. And\n she can feel what he feels.", "Iris sprints along in her bare feet, all-out like a track\n runner. The black-and-white screeches to the curb next to\n her and the cops jump out.", "wasn't sure, so he started with the\n surveillance. A couple nights ago\n he wires up Iris and sends her and\n the other girl, Diamanda, over to" ], [ "Lenny pushes \"End\" on his cellular and looks at Mace. The\n first-time impact of the Squid experience, and the killing", "As Mace pulls out, Lenny starts fitting a pair of playback\n trodes to his head. Mace glances at him in disgust. He\n hits his playback button.", "LENNY\n Jesus, Mace. Back off.\n\n MACE\n This guy is someone you know, one of\n your squid-head contacts.", "... until Mace yanks the trodes off and Lenny sags back on\n the couch. He rubs his eyes. He is seeing ghosts,", "Mace watches, concerned, as Lenny puts the trodes back on\n and hits playback.\n\n Squid POVs: strobe-like images of Iris' rape and death,\n separated by burst of static...", "As Lenny and Mace cruise the night streets, passing the\n ongoing pageant of cops and decay. Mace glances at Lenny,\n sitting next to her in front, and at his omnipresent\n Haliburton.", "And Mace sits stone still. Shakes. For a beat. And\n another. Then she tears the trodes off and throws them\n across the room, near where Lenny is on the cellular.", "They pull up to the checkpoint; Lenny squirrels into the\n seat, hiding in the shadows, as Mace flashes her security\n pass and the cop waves them on.\n\n Lenny lets his breath out slowly.", "ON LENNY, sweating and barely able to breath. Mace stops\n the tape... concerned by Lenny's reaction. He opens his", "MACE\n Lenny, you're turning into some\n kinda squid-head low-life. You're", "Lenny smiles and pulls out a SQUID-net. He motions\n Eduardo into the shadows.", "LENNY\n Mace, you're my friend. I need you.\n Plus I'll give you 25% of what I\n make tonight.", "Lenny follows with his wardrobe bag. The homeboys give\n Lenny the eye as he brushes past them. Mace chills them\n with a glare.", "MACE\n Get in here. Come on Lenny, move\n it. MOVE!!\n\n Mace yanks him toward her and he tumbles in.", "LENNY\n So am I. Just trying to get by.\n\n MACE\n No, you're just trying to get off.", "Lenny and Mace are both limping, bruised, cut up. Lenny's\n arm is drenched with blood from his shoulder wound. They\n support each other like two soldiers after a battle.", "INSIDE the car, Mace spots him and scowls.\n\n MACE\n Dammit, Lenny, you made me late.\n\n Lenny opening the door before the car stops.", "Mace circles around the car and catches him as he sags to\n his knees. She holds his shoulders while he throws up\n again.\n\n MACE\n My God, Lenny. What is it?", "MACE\n (hissing through her\n teeth)\n What the fuck are you doing?\n\n LENNY\n (winning smile,\n innocent)\n Coming with you.", "MACE\n No. It didn't.\n\n Lenny's eyes are brimming with tears. He makes no attempt\n to hide it... doesn't brush them away." ], [ "Mace accompanies Lenny into the pounding din of the\n Retinal Fetish. The place is a fringe hangout, a", "Mace watches, concerned, as Lenny puts the trodes back on\n and hits playback.\n\n Squid POVs: strobe-like images of Iris' rape and death,\n separated by burst of static...", "As Mace pulls out, Lenny starts fitting a pair of playback\n trodes to his head. Mace glances at him in disgust. He\n hits his playback button.", "MACE\n Get in here. Come on Lenny, move\n it. MOVE!!\n\n Mace yanks him toward her and he tumbles in.", "INT. RETINAL FETISH\n\n A grungy black corridor. The thunder of music gets louder\n with each step as Lenny and Mace walk down the corridor\n with purposeful strides.", "MACE\n Because Iris knew somebody was after\n her.\n\n Lenny, wound up like a Swiss movement, starts pacing.", "Lenny hoists him overhead and goes out the door. Cecile\n catches up to Mace in the hall, just as she is opening a\n locked cabinet and pulling out a little .380 auto, holster\n and ammo.", "INSIDE the car, Mace spots him and scowls.\n\n MACE\n Dammit, Lenny, you made me late.\n\n Lenny opening the door before the car stops.", "The cop steps back, giving Mace room to push Lenny back up\n in the seat. She surreptitiously kicks the tape under the\n car, over to the driver's side.", "Mace, having a cigarette with other security drivers,\n watches Lenny through the tall windows of the old Spanish\n house. She sees him working the room, rubbing up against", "Lenny follows with his wardrobe bag. The homeboys give\n Lenny the eye as he brushes past them. Mace chills them\n with a glare.", "Requiem for Iris. Mace watches Lenny rubbing his eyes,\n waiting for the Tylenols to hit.", "Mace watches them recede. Then she bends to Lenny. Max\n arrives a moment later and they lift him to his feet.\n\n CUT TO:", "LENNY\n Snuff clip. It was Iris. She said\n she needed my help and I... aw\n Jesus, Mace... the sick fucker\n killed her.", "MACE\n Whatup Lenny?\n\n LENNY\n (hands shaking)\n Jesus, Mace!\n\n CUT TO:", "MACE\n (hissing through her\n teeth)\n What the fuck are you doing?\n\n LENNY\n (winning smile,\n innocent)\n Coming with you.", "A small and dingy place. Cecile has done her best to make\n it a home.\n\n Mace and Lenny go into the kitchen and shut the door.", "MACE\n (resigned)\n Driving Mr. Lenny.\n\n CUT TO:\n\n INT. LIMO - NIGHT", "Lenny looks up, in the direction of the hotel. Mace\n follows his glance. They notice for the first time: cop\n lights; cop cars; ambulance; coroner's wagon.", "Mace gets very, very close to Lenny, and her voice drops\n to an odd, cold... lethal-sounding... growl." ], [ "wasn't sure, so he started with the\n surveillance. A couple nights ago\n he wires up Iris and sends her and\n the other girl, Diamanda, over to", "We look down, and recognize the dress Iris was wearing\n when we first saw her, two nights ago. She puts her", "It is Iris. She is wearing a T-shirt and panties.\n Probably ready for bed. She looks like she can't sleep.\n Pours the Scotch shakily.", "FAITH\n So finally he gives Iris some cash\n and tells her to check into the\n hotel under a wrong name till he\n figures out what to do.", "IRIS\n Can we go to your car? There's\n something you have to see right\n away.\n\n He nods and steers her toward the front door of the Coral\n Lounge.", "MAX\n Hey, he was going to kill you. And\n this ratfuck paid to have Iris\n killed, to save his own sorry ass.", "Iris is feeling and seeing what he sees and feels... She\n feels her own pain and humiliation swirling with the\n killer's exhilaration.", "CUT TO: TWO NIGHTS AGO, Iris, wearing a wig, leaves Tran's\n table with Diamanda and moves toward... a booth in the", "Suddenly Iris breaks from behind a column up ahead at a\n full sprint. Spreg unleashes his size 13 cop shoes,\n thundering along the platform to intercept her. Engelman\n straight-arms his pistol.", "IRIS\n (to Lenny)\n I mean talk private. Please, I'm in\n trouble, and so is Faith.", "Iris trips on the landing, spins sprawling across the\n filthy tile floor, and comes up running. Panting with\n fear and exertion she clears the turnstiles like a\n hurdler.", "CUT TO: TRAN'S LOFT as a tear-streaked and frantic Iris is\n telling Tran about how the cops tried to kill her (we", "FAITH\n (startled, turning\n to him)\n You talked to Iris? When?\n\n LENNY\n Tonight.", "Iris can now see herself as the Wearer sees her... wide-\n eyed with terror, white-lipped, weeping. Helpless. And\n she can feel what he feels.", "Iris' POV swings around and looks down, seeing Jeriko's\n hand caressing her thigh. She puts her hand on his chest", "FAITH\n That night Iris calls up, freaking.\n She comes over and Tran watches the", "Spreg drops away, behind the speeding train, holding a\n red wig. He looks at it stupidly, then raises his pistol\n and fires at Iris.", "She takes a Squid tape from her pocket, and scribbles a\n note on the label: \"HELP ME. IRIS.\" She drops the tape", "IN POV we see Iris go into the bedroom, out of sight. We\n can hear the television on in there. Using a steel jimmy", "LENNY\n Iris is dead. She was murdered.\n\n Faith stiffens. We see the fear, now, exposed.\n\n FAITH\n Who did it?" ], [ "MACE\n Come on, Lenny. Let's go to a\n party.\n\n CUT TO:", "Mace, having a cigarette with other security drivers,\n watches Lenny through the tall windows of the old Spanish\n house. She sees him working the room, rubbing up against", "Mace accompanies Lenny into the pounding din of the\n Retinal Fetish. The place is a fringe hangout, a", "MACE\n (hissing through her\n teeth)\n What the fuck are you doing?\n\n LENNY\n (winning smile,\n innocent)\n Coming with you.", "CUT TO:\n\n INT. HOTEL BALLROOM\n\n Lenny and Mace emerge from a service door into the\n glitterati crowd, heading into the ballroom.", "Lenny follows with his wardrobe bag. The homeboys give\n Lenny the eye as he brushes past them. Mace chills them\n with a glare.", "Lenny and Mace are both limping, bruised, cut up. Lenny's\n arm is drenched with blood from his shoulder wound. They\n support each other like two soldiers after a battle.", "MACE\n (grinning)\n Hey, Lenny. We made it.\n\n LENNY\n Yeah. We did.", "MACE\n Get in here. Come on Lenny, move\n it. MOVE!!\n\n Mace yanks him toward her and he tumbles in.", "the house and backyard. Mace scowls deeply as Lenny gets\n out of the car and starts into the party with Mr. Fumitsu.", "Mace gives up, shakes her head and Lenny plunges into the\n crowd... toward Faith. Several patrons greet him, just as\n in the Coral Lounge, but uncharacteristically, Lenny\n virtually ignores them.", "LENNY\n (into phone)\n Hang on. Hang on, Max.\n (looks at Mace)\n You see?", "CUT TO Lenny and Mace cutting the chain off the gate with\n the long-handled bolt-cutters. They enter the yard. Mace", "INSIDE the car, Mace spots him and scowls.\n\n MACE\n Dammit, Lenny, you made me late.\n\n Lenny opening the door before the car stops.", "As Lenny and Mace cruise the night streets, passing the\n ongoing pageant of cops and decay. Mace glances at Lenny,\n sitting next to her in front, and at his omnipresent\n Haliburton.", "LENNY\n (upbeat again)\n Come on, Mace. This is gonna be a", "LENNY\n So am I. Just trying to get by.\n\n MACE\n No, you're just trying to get off.", "MACE\n Whatup Lenny?\n\n LENNY\n (hands shaking)\n Jesus, Mace!\n\n CUT TO:", "chest, knocking him down. Lenny and Mace scramble into\n the car, starting it up.", "Lenny and Mace pull in with a SQUEAL of brakes and park\n the car. Sound of rock music -- some kind of refried\n psychedelia -- coming from Tick's van down the ramp." ], [ "Engelman catches a glimpse of Mace running. He points to\n her position and Spreg charges after her. He has his\n baton laid back along his forearm and is clubbing people\n out of the way as he runs.", "Engelman's leg. Engelman screams in pain. Mace twists\n out of his grip. Engelman shoots the dog.", "Lifting the dead weight of Engelman by the handcuff, he\n begins to drag the body, lurching toward Mace. He keeps", "pain. Mace sees the cops running in to arrest Spreg and\n Engelman. One of them unhooks Spreg from the tower.", "Mace gets to him through the crowd, and then whirls like a\n cat as the Posse arrives. She stands guard over him like", "He starts toward her and Mace pushes people out of the\n way, breaking into a run. Engelman charges after her,\n pulling out his rover to call Spreg.\n\n CUT TO:", "Mace steps up beside him. Guys behind her looking on,\n slack-jawed. Mace pays no attention to them. Strickland,\n stern and flinty-eyed, raises one eyebrow.", "Now both Spreg and Engelman are stalking Mace through the\n crowd. Spreg catches a glimpse of her running and he", "the two cops, SPREG AND ENGELMAN, out of uniform, but\n looking very serious with their pistols aimed at Lenny and\n Mace. They have been following Lenny, knowing sooner or", "Mace just seems to vanish. She reappears over the trunk\n of the limo and puts two rounds squarely into Spreg's", "STRICKLAND\n Get some medical attention for this\n woman.\n\n Lenny pushes through from behind Strickland. He runs to\n Mace and kneels next to her.", "Lenny and Mace are both limping, bruised, cut up. Lenny's\n arm is drenched with blood from his shoulder wound. They\n support each other like two soldiers after a battle.", "Mace is like a she-panther. She rips the baton out of his\n hands and cracks him once across the windpipe. He drops", "CUT TO: an eerie NIGHT VISION SHOT of Mace and Lenny\n getting into the limo. Then we see: Spreg and Engelman,\n the two street Hun cops. Watching.", "Mace is scanning warily as she circles the hotel, looking\n for a way back in. She turns and sees ENGELMAN in the", "The cop steps back, giving Mace room to push Lenny back up\n in the seat. She surreptitiously kicks the tape under the\n car, over to the driver's side.", "Mace watches them recede. Then she bends to Lenny. Max\n arrives a moment later and they lift him to his feet.\n\n CUT TO:", "She shoots Engelman in the chest from 8 feet. He\n convulses and drops instantly to the pavement, flopping", "Mace hugs herself, at the center of it, unable to get up.\n Within seconds there are twenty cops there, and more on\n the way, forming a human wall. They get the crowd settled\n down.", "Lenny hoists him overhead and goes out the door. Cecile\n catches up to Mace in the hall, just as she is opening a\n locked cabinet and pulling out a little .380 auto, holster\n and ammo." ], [ "LENNY\n Superconducting QUantum Interference\n Device. SQUID. Got it? There's\n gonna be a test.", "box, the size of a cigarette case. It is a SQUID NET.", "Iris was wired. Spreg just stares at the SQUID NET, eyes\n going crazy wide.\n\n ENGELMAN\n Oh shit.", "deck we saw earlier in the POV. Also in the bag is the\n SQUID NET, a matrix of sensors designed to conform to the\n human head (this is different from playback trodes). The", "are about the size of DAT tapes, and hold about 30 minutes\n of sensory experience... everything a person sees, hears,\n and feels... recorded directly from the cerebral cortex at", "Tick holds up a zip-lock bag containing the Walkman-sized\n stainless steel CORTICAL RESONANCE RECORDER, the record", "the receptor rig... what I'm putting\n on your head... sends a signal to\n the recorder.\n (Lenny holds up the", "... and with a nightmarish sense of destiny a SQUID TAPE\n falls out into his hand.\n\n CUT TO:", "takes a squid-deck out of a drawer and sticks the tape in.\n He puts on the headset and pushes PLAY.", "EDUARDO\n What's all this squid shit?\n\n As Lenny works, fitting the network of sensors over\n Eduardo's head, he holds class.", "Lenny smiles and pulls out a SQUID-net. He motions\n Eduardo into the shadows.", "He opens his briefcase, pops the tape into the deck, puts\n the Squid rig on and closes his eyes. Maybe he can forget\n about Faith a minute. He punches PLAY.", "She takes a Squid tape from her pocket, and scribbles a\n note on the label: \"HELP ME. IRIS.\" She drops the tape", "... at Tran sitting in a chair, tranced out under playback\n trodes, his eyes closed. She softly closes the sliding", "The hands go out of sight and then reappear holding a set\n of trodes. They are placed on her head... the spidery\n gecko-hand device almost disappearing in her black hair.", "Lenny sits on the bed and puts the trodes back on. The\n fireworks and screaming outside sound like some\n nightmarish war, like the sound of the world coming to an", "His \"hair\" comes off in her hands. A prosthetic wig,\n containing the squid-net array. Max's head is shaved to a", "He puts a set of playback trodes carefully on his head,\n fishes around in a shoe box among a bunch of tapes,\n squinting at the hand-written labels: they all say\n \"FAITH.\" Only the dates are different.", "the wig. The sensors are connected by wires, in a pattern\n like the veins of a leaf, bundling to a small, flat metal", "Mace watches, concerned, as Lenny puts the trodes back on\n and hits playback.\n\n Squid POVs: strobe-like images of Iris' rape and death,\n separated by burst of static..." ], [ "takes a squid-deck out of a drawer and sticks the tape in.\n He puts on the headset and pushes PLAY.", "Mace watches, concerned, as Lenny puts the trodes back on\n and hits playback.\n\n Squid POVs: strobe-like images of Iris' rape and death,\n separated by burst of static...", "playback freaks, all trapped into Squid nirvana: post-\n modern opium dens. Sinister and scary. He glimpses", "deck we saw earlier in the POV. Also in the bag is the\n SQUID NET, a matrix of sensors designed to conform to the\n human head (this is different from playback trodes). The", "He quickly sets up his playback deck on the table. He\n puts on the trodes and pulls the tape out of his pocket.", "are about the size of DAT tapes, and hold about 30 minutes\n of sensory experience... everything a person sees, hears,\n and feels... recorded directly from the cerebral cortex at", "He opens his briefcase, pops the tape into the deck, puts\n the Squid rig on and closes his eyes. Maybe he can forget\n about Faith a minute. He punches PLAY.", "... and with a nightmarish sense of destiny a SQUID TAPE\n falls out into his hand.\n\n CUT TO:", "He puts a set of playback trodes carefully on his head,\n fishes around in a shoe box among a bunch of tapes,\n squinting at the hand-written labels: they all say\n \"FAITH.\" Only the dates are different.", "Iris was wired. Spreg just stares at the SQUID NET, eyes\n going crazy wide.\n\n ENGELMAN\n Oh shit.", "... at Tran sitting in a chair, tranced out under playback\n trodes, his eyes closed. She softly closes the sliding", "He puts it into the deck. The deck closes. He punches\n PLAY.\n\n CUT TO:", "Moving quickly now. Our hands unbuckle the fanny pack.\n Pull out something... a set of playback trodes. Our hands", "Lenny sits down and put the tape in his playback deck. He\n picks up the trodes and places them on his head. He\n notices his hands are shaking. He takes a deep breath and\n punches PLAY.", "As Mace pulls out, Lenny starts fitting a pair of playback\n trodes to his head. Mace glances at him in disgust. He\n hits his playback button.", "Tick holds up a zip-lock bag containing the Walkman-sized\n stainless steel CORTICAL RESONANCE RECORDER, the record", "LENNY\n Superconducting QUantum Interference\n Device. SQUID. Got it? There's\n gonna be a test.", "the receptor rig... what I'm putting\n on your head... sends a signal to\n the recorder.\n (Lenny holds up the", "Max sits in the open door of his car ten feet away, trodes\n on, playing back the tape. His face is transformed into", "Mace sees how serious he is. She nods: OK. He puts the\n trodes on her.\n\n LENNY\n Sorry this has to be your first\n playback." ], [ "LENNY\n Hi, Dave, this is Lenny.\n (pause)\n Nero. Lenny Nero. That's right.", "LENNY NERO is low thirties. Handsome. Charming. And you\n better check to see if you still have your ring after you", "Lenny looks back at the living room. Suddenly he notices\n something on the coffee table. It is an envelope, with\n NERO hand-printed on it. He is drawn to it, hypnotically.\n He opens it...", "As Lenny is hanging up he notices something. A MANILA\n ENVELOPE stuck between the steel bars and the glass of his\n front window, next to the door. \"NERO\" is printed on the\n envelope.", "Lenny is with a guy everybody knows as \"TICK\", a pale-\n skinned creature of the night in T-shirt and leather\n jacket. Tick is a bottomfeeder in the techno-underground\n of the near future.", "LENNY\n Too bad about your guy Jeriko.\n Tough break.\n\n TRAN\n Show a little respect, Nero. The\n man was an important artist.", "Lenny's BMW cruises past an overturned burning car. There\n is no-one around. He barely glances at it. Common sight", "Lenny looks at the envelope, which has \"Nero\" hand-printed\n in block letters. Tex takes a pull from a flask as he", "LENNY\n I worked Vice, Narcotics... Violent\n Crimes... and I saw every known", "... toward the bedroom. And we see the truth of his\n reality. Lenny's crib is a shit-box. It is a small one-", "LENNY\n You're not a client anymore, Tran.\n I wouldn't sell you the sweat off a\n dead dog's balls.", "LENNY\n Mr. Fumitsu, good evening sir,\n Leonard Nero, Security Express.\n Lornette Mason here is just", "CUT TO LENNY in the here and now. Lost in playback memory\n bliss. He inhales sharply behind a wave of electronically\n recorded pleasure.", "Lenny opens his eyes. He fumbles open the car door and\n practically rolls out onto the sidewalk. The trodes pull", "Lenny takes off the trodes. He is wrung out, drenched\n with sweat. We see that there is a figure standing in the", "the bed in his underwear, looking lonely and depressed.\n This is the private Lenny: No plans. No dreams. Nothing\n to look forward to but another day of the hustle.", "CUT TO:\n\n EXT. RETINAL FETISH\n\n Beemer deposits Lenny on the curb and goes back inside.", "LENNY\n No, wrong... I sell experiences.\n Sex is only part of it.\n\n MACE\n Buncha techno-perv jerkoffs.", "The case holds Lenny's personal playback deck, his trodes,\n and a rack of the little tapes in which he deals. They", "The Fetish is a street-tech hangout, a meeting place for a\n lot of digital-underground types that Lenny knows. You" ], [ "It is Iris. She is wearing a T-shirt and panties.\n Probably ready for bed. She looks like she can't sleep.\n Pours the Scotch shakily.", "We look down, and recognize the dress Iris was wearing\n when we first saw her, two nights ago. She puts her", "Iris is feeling and seeing what he sees and feels... She\n feels her own pain and humiliation swirling with the\n killer's exhilaration.", "Iris trips on the landing, spins sprawling across the\n filthy tile floor, and comes up running. Panting with\n fear and exertion she clears the turnstiles like a\n hurdler.", "Iris clears the doors just as they hiss shut. Her\n momentum carries her clear across the car, where she slams", "Iris can now see herself as the Wearer sees her... wide-\n eyed with terror, white-lipped, weeping. Helpless. And\n she can feel what he feels.", "IRIS\n Can we go to your car? There's\n something you have to see right\n away.\n\n He nods and steers her toward the front door of the Coral\n Lounge.", "lipstick into a purse which is belted to her waist. Iris\n turns her head and we see the driver.", "Iris screams as Spreg lunges through the opening next to\n her like some uniformed nightmare and grabs her. He is\n still running alongside, pulling on her. Trying to drag\n her right out through the window.", "Suddenly Iris breaks from behind a column up ahead at a\n full sprint. Spreg unleashes his size 13 cop shoes,\n thundering along the platform to intercept her. Engelman\n straight-arms his pistol.", "IRIS knows the cops are behind her. She is terrified to\n turn. Finally she can't stand it any more. She breaks\n into a run. The patrol car speeds up suddenly, roaring\n after her.", "CUT TO: TWO NIGHTS AGO, Iris, wearing a wig, leaves Tran's\n table with Diamanda and moves toward... a booth in the", "CUT TO: TRAN'S LOFT as a tear-streaked and frantic Iris is\n telling Tran about how the cops tried to kill her (we", "FAITH\n That night Iris calls up, freaking.\n She comes over and Tran watches the", "She takes a Squid tape from her pocket, and scribbles a\n note on the label: \"HELP ME. IRIS.\" She drops the tape", "IN POV we see Iris go into the bedroom, out of sight. We\n can hear the television on in there. Using a steel jimmy", "Thinking fast Iris dives to his side of the car and\n presses herself up against the solid wall next to the\n door, where he can't see her.", "Iris' POV swings around and looks down, seeing Jeriko's\n hand caressing her thigh. She puts her hand on his chest", "Lenny see Iris' terrified face. Literally. It floats\n iridescent on his living room wall, fading slowly.", "FAITH\n (startled, turning\n to him)\n You talked to Iris? When?\n\n LENNY\n Tonight." ], [ "MACE\n But I mean isn't he Faith's new--\n (she mouths the word\n \"boyfriend\")", "She looks at him and, after a moment, he nods and leaves.\n As the door closes behind him, Faith tosses her towel on\n the table. She looks frightened and alone.", "Our eyes whip to Faith. She is freaking out. We see\n Max's reflection in the mirror as he talks to her, talking\n fast.", "He turns her to him. They begin to make love. Faith's\n face fills our field of view, eyes closed in dreamy\n passion.", "Faith's body shakes as the killer comes... she cries out\n herself, in pain... or is it? The killers hand releases\n the belt. We see Faith gasping for breath and moaning.", "Mace sees Faith... FAITH, escorted by a couple of cops,\n passing near them. She is in handcuffs and her eyes are\n dull. Mace turns back to Lenny...", "Faith hugs him, and he clutches her. Mace locks her jaw\n and looks away. This is hard for her.\n\n CUT TO:", "He opens his briefcase, pops the tape into the deck, puts\n the Squid rig on and closes his eyes. Maybe he can forget\n about Faith a minute. He punches PLAY.", "Duncan and Beemer form a loose protective shell around\n them as the press bears down, shouting out questions.\n Tran ushers Faith into a waiting limo and climbs in after", "We are following Faith, now holding her skates, up the\n steps to a beach apartment. Inside it is funky and\n comfortable.", "Faith like she is in a spotlight. We move up behind her\n and take the towel away, and now we see Lenny standing\n behind Faith in the mirror over the dresser.", "FAITH\n You can't just... kill him.\n\n MAX\n I'm not. Just a little poach job.\n\n FAITH\n Jesus.", "Suddenly the POV whips sideways to the mirrored closet\n doors along one wall. In the mirror is a reflection of\n the bed and on it Faith. And on her...\n\n ... MAX.", "Faith passes within a few inches of him. He slips down\n the chainlink, into unconsciousness, as her image is lost\n in the pounding darkness.", "Lenny looks between Faith and Max, feeling like the\n asshole of the western world. Faith moves up close to\n Max. She puts her hands lightly on his shoulders,", "Faith whirls to a stop as the band crashes in a final\n downbeat. The spotlight goes out and the set is over.\n\n ON TRAN, clapping. Watching.", "Then Faith kisses Lenny's bare chest. We are looking down\n at her, looking down across our body, Lenny's body, as", "-- brushes past Faith's cheek, barely touching her. His\n fingers pick up a strand of hair, tuck it like a treasure\n behind her ear... fingers touching her head now... a", "FAITH\n That night Iris calls up, freaking.\n She comes over and Tran watches the", "FAITH\n I don't feel anything. Is it on?\n\n LENNY\n Forget it's there.\n\n FAITH\n Make me forget it, baby." ], [ "Lenny moves around the bed and reaches down to the foot of\n the figure, grasping the edge of the sheet with a\n trembling hand. With horrified apprehension he pulls on\n the sheet.", "Lenny is starting to black out. In agony he gropes with\n his free hand to his own shoulder blade, finding the", "His eyes go wide. Hyperventilating, Lenny moves silently\n into the bedroom. He fishes around under the bed and", "Now moving stealthily toward him. Kneeling down beside\n him. Lenny, burned out from the night before, is deep", "LENNY'S guts have turned to water. He is shaking his head\n in horror...\n\n LENNY\n No, no, no...", "Lit by miles of fluorescent. Empty and echoing. Close on\n Lenny. He has something on his head. Something that", "... toward the bedroom. And we see the truth of his\n reality. Lenny's crib is a shit-box. It is a small one-", "Lenny looks back at the living room. Suddenly he notices\n something on the coffee table. It is an envelope, with\n NERO hand-printed on it. He is drawn to it, hypnotically.\n He opens it...", "viciously behind her back. They go around a chain-link\n divider and double back, heading for the exit. Lenny\n staggers to the chainlink, sagging to his knees again as", "Lenny looks down at her, gazing at the object of his\n quest. She looks up at him, her wet eyes seemingly at the\n bottom of a deep well from which he cannot save her.", "Lenny takes this in. All the fight goes out of him. This\n is just too overwhelming.\n\n LENNY\n Jesus.", "Lenny recovers enough to size up Vita, who is still a\n little stunned. She has blood dripping in her eyes and\n can't see too well.", "Lenny opens his eyes. He fumbles open the car door and\n practically rolls out onto the sidewalk. The trodes pull", "Lenny takes off the trodes. He is wrung out, drenched\n with sweat. We see that there is a figure standing in the", "The huge elevator, with Lenny its sole occupant, descends\n through the shadows toward the first floor. Lenny watches\n the shadow patterns on the wall through the iron grillwork\n door. He's still thinking about Faith...", "As Lenny is hanging up he notices something. A MANILA\n ENVELOPE stuck between the steel bars and the glass of his\n front window, next to the door. \"NERO\" is printed on the\n envelope.", "into Lenny. Not noticing, he gets up, still woozy, and\n staggers to his wardrobe bag across the room.", "Lenny seems to crumple. He knows he has to let go. But\n it is so painful.", "LENNY tears the trodes from his head. He clutches his\n stomach, gasping for breath. Carrying the playback deck,", "Lenny and Mace are both limping, bruised, cut up. Lenny's\n arm is drenched with blood from his shoulder wound. They\n support each other like two soldiers after a battle." ], [ "pulling the knife handle out of Max's hand. Max tackles\n him and they crash together through a sliding glass door\n onto the balcony. Explosion of flying glass.", "MAX\n To the end of all things!\n (slugs down the shot)\n You know how I know it's the end of", "Max pulls a dazed Lenny to his feet and rushes him\n backward toward the railing. At the last instant, Lenny", "Max punches Lenny brutally in the face, then in the gut,\n and grabs him with both hands. He hurls him against the", "Max sits in the open door of his car ten feet away, trodes\n on, playing back the tape. His face is transformed into", "Tran freaks at that point but Max jams the gun deep into\n his throat, up to the trigger guard, choking off his\n words.", "Max is stronger and heavier than Lenny, but Lenny has one\n advantage: Max has managed to make him really angry.\n Lenny gives a guttural cry and drives Max backward into", "Max's hand along a glass edge, cutting it, and Max drops\n the gun. Lenny reaches for it, but Max kicks it away a", "K-BANG! Faith shrieks, thinking Max shot him. But it's\n just the start of the fireworks outside (remember all this\n has already happened relative to Lenny entering the\n suite).", "Mace watches them recede. Then she bends to Lenny. Max\n arrives a moment later and they lift him to his feet.\n\n CUT TO:", "Max sticks Lenny's Glock in his waistband, keeping his own\n .45 trained on Lenny. Lenny knows the next bullet is for\n him. He does what he does best... talk.", "twists with all his strength and spins Max into the\n railing, using his weight against him. He pushes hard and\n Max topples.", "Max pulls out his knife and flicks it open. Lenny throws\n a lamp. Max ducks and charges through. Lenny spins away\n from the downthrust.", "MAX\n To the jungle! Where outa the blue\n some shitbird can cap you in the\n back of the head and ruin your whole\n day.\n\n He downs it in two fierce gulps.", "She shoots Engelman in the chest from 8 feet. He\n convulses and drops instantly to the pavement, flopping", "wall. Lenny staggers off the wall into several vicious\n punches from Max. We feel the tide turning. Lenny goes\n down to one knee.", "handle of the knife. He jerks it out of himself. Max\n sees it coming a split second before it happens.", "The knife embeds itself in his shoulder blade, sunk into\n the bone. Lenny punches Max in the throat and jerks away,", "MAX\n And he records it. Thrill kill.\n Wants to see it again. And again.\n\n LENNY\n He records himself raping and\n killing her--", "MAN (MAX)\n Where is he?\n\n Bobby, the bartender, cocks his eye toward the restrooms.\n\n CUT TO:" ], [ "... until Tick slips off the trodes. He's been totaled by\n what he's seen.", "The last thing he expected. Lenny leans close and sees\n that Tran is breathing shallowly, but his eyes are vacant.\n He looks like Tick did.", "TICK\n Well... the guy's fucked up.\n\n MACE\n We know that, Tick.", "Tick's slumped in the back of the van with playback trodes\n on his head. He's breathing, but otherwise he's still.", "LENNY\n (as he starts to\n examine Tick)\n He's been cooked-off\n\n MAX\n Is he dead?", "TICK\n Fuck that! The last part's the\n best. You dry-dive six stories and\n blammo! Jack right into the Big\n Black.", "TICK\n No, I mean the killer's got some\n kind of distortion in his visual\n cortex. The color and gray-scale\n values are all messed up, like color\n blindness.", "Mace hits \"Off\" on the built-in CD player. The sudden\n silence is creepy. Lenny gets right in front of Tick's\n eyes, shouting at him, at the top of his lungs.", "LENNY\n Well you could've at least warned\n me. You know I hate the zap... when\n they die. It just brings down your\n whole day. Jeez, Tick.", "Lenny is with a guy everybody knows as \"TICK\", a pale-\n skinned creature of the night in T-shirt and leather\n jacket. Tick is a bottomfeeder in the techno-underground\n of the near future.", "TICK\n Now that is cold, Lenny. I always\n bring you choice.\n\n Lenny fishes around in a cardboard box at Tick's feet,\n pulling out a tape.", "TICK\n Yeah, she came by last night.\n Shaking like a junkie, wanting me to\n make a copy of some clip.\n\n LENNY\n What clip? What was it?", "Tick holds up a zip-lock bag containing the Walkman-sized\n stainless steel CORTICAL RESONANCE RECORDER, the record", "TICK'S POV: We see a roaring blizzard of inchoate static.\n Somewhere in the middle of it is a suggestion of Lenny's", "It gets quiet and still. Tinkling glass as Lane moves.\n Then SPAZ is screaming. The car is upside down.", "TICK\n Ha! That's for fucking sure.\n\n LENNY\n What else you got?\n\n CUT TO:", "LENNY\n Whoever killed Iris did Tick. It's\n the same sick wirehead shit. Same", "TICK\n Yeah, when did that start? Come on,\n man! It's what people want to see,\n and you know it.", "TICK\n Lookit, you see the peak period\n ratios there? Could be some kind of\n tumor or brain lesion or something.", "LENNY\n No. But his frontal lobes are like\n two runny eggs. They put an\n amplifier in-line to boost the\n signal till it french-fried his\n brain." ], [ "LENNY\n Jesus, Mace. Back off.\n\n MACE\n This guy is someone you know, one of\n your squid-head contacts.", "Lenny pushes \"End\" on his cellular and looks at Mace. The\n first-time impact of the Squid experience, and the killing", "As Mace pulls out, Lenny starts fitting a pair of playback\n trodes to his head. Mace glances at him in disgust. He\n hits his playback button.", "Mace watches, concerned, as Lenny puts the trodes back on\n and hits playback.\n\n Squid POVs: strobe-like images of Iris' rape and death,\n separated by burst of static...", "Lenny smiles and pulls out a SQUID-net. He motions\n Eduardo into the shadows.", "MACE\n Lenny, you're turning into some\n kinda squid-head low-life. You're", "... until Mace yanks the trodes off and Lenny sags back on\n the couch. He rubs his eyes. He is seeing ghosts,", "MACE\n And gives it to you.\n\n LENNY\n Wants to share.", "And Mace sits stone still. Shakes. For a beat. And\n another. Then she tears the trodes off and throws them\n across the room, near where Lenny is on the cellular.", "Mace accompanies Lenny into the pounding din of the\n Retinal Fetish. The place is a fringe hangout, a", "Strickland looks Spreg in the eye and holds up Lenny's\n squid tape. Spreg and Engelman react, knowing they are", "LENNY\n (handing Tex a Squid)\n Present. Something I had made. Let\n me know what you think.", "MACE\n Whatup Lenny?\n\n LENNY\n (hands shaking)\n Jesus, Mace!\n\n CUT TO:", "MACE\n Yeah. You gave up your hot tub tape\n to save me. That's real progress\n for you.\n\n LENNY\n It was a tough call.", "LENNY\n Mace, you're my friend. I need you.\n Plus I'll give you 25% of what I\n make tonight.", "MACE\n (hissing through her\n teeth)\n What the fuck are you doing?\n\n LENNY\n (winning smile,\n innocent)\n Coming with you.", "LENNY\n Way I look at it, I actually perform\n a humanitarian service. I save\n lives.\n\n MACE\n Uh huh, I wanna hear this part.", "The cop steps back, giving Mace room to push Lenny back up\n in the seat. She surreptitiously kicks the tape under the\n car, over to the driver's side.", "They pull up to the checkpoint; Lenny squirrels into the\n seat, hiding in the shadows, as Mace flashes her security\n pass and the cop waves them on.\n\n Lenny lets his breath out slowly.", "EDUARDO\n What's all this squid shit?\n\n As Lenny works, fitting the network of sensors over\n Eduardo's head, he holds class." ], [ "Engelman and Spreg jump out of the truck, taking cover\n behind it. They rake the limo with bursts from their AK-\n 47s.", "She shoots Engelman in the chest from 8 feet. He\n convulses and drops instantly to the pavement, flopping", "Like a scene from a nightmare the blood-drenched Spreg,\n completely unhinged, lurches toward them. Engelman's body\n slides over the ground, leaving a snail-track of blood a\n foot wide.", "We see Engelman and Spreg crouching down... trying to aim\n through the wheels. Hear the impotent pop of their guns\n over the roar of the train.", "Strickland looks Spreg in the eye and holds up Lenny's\n squid tape. Spreg and Engelman react, knowing they are", "Engelman's yelling something at him we can't hear. Spreg\n turns, eyes wide with adrenaline.\n\n SPREG\n Get the bitches.", "He and Engelman empty their magazines at the limo as it\n pulls away. No damage. They realize the limo is a bullet\n proof security model and run to their pickup truck, parked", "ENGELMAN LUNGES, grabbing a gun from the holster of the\n closest cop. He waves them back with it. Then puts it in\n his mouth and fires.", "Engelman's leg. Engelman screams in pain. Mace twists\n out of his grip. Engelman shoots the dog.", "knees. Engelman shoots her again. Then raises his gun\n toward us.", "The truck stays right with them. Engelman fires bursts at\n the tires, shredding them off the rims. The limo thunders\n along on steel rims, throwing rooster-tails of orange\n sparks.", "Engelman and Spreg are standing above them, scanning the\n black water over the barrels of their AKs.\n\n SPREG\n Let's get out of here.", "Engelman catches a glimpse of Mace running. He points to\n her position and Spreg charges after her. He has his\n baton laid back along his forearm and is clubbing people\n out of the way as he runs.", "SPREG STANDS on the platform, watching the train\n disappear, as Engelman runs up. Spreg looks at the wig in\n his hand, disgusted. He turns it and looks inside, at the\n cap.", "ENGELMAN\n She's a hooker, vice'll have her in\n the book. We can pick her up later.\n\n SPREG\n No. Now.", "the two cops, SPREG AND ENGELMAN, out of uniform, but\n looking very serious with their pistols aimed at Lenny and\n Mace. They have been following Lenny, knowing sooner or", "A shot hits the metal space-frame next to her head. She\n spins to see Engelman, charging toward her. Before he can", "The cops are closer now. We see that they are SPREG and\n ENGELMAN.", "Lifting the dead weight of Engelman by the handcuff, he\n begins to drag the body, lurching toward Mace. He keeps", "pain. Mace sees the cops running in to arrest Spreg and\n Engelman. One of them unhooks Spreg from the tower." ] ]

[ "Who does Lenny agree to purchase the robbery clip from?", "Who is Lenny's ex-girlfriend?", "How does Iris escape from the LAPD?", "What is Max's occupation?", "Who is Faith's new boyfriend?", "Where is Iris murdered?", "Steckler and Engleman murder what rapper?", "Who hired Iris to spy on Jeriko?", "Who throws Max off of the balcony?", "What is a SQUID?", "What can someone experience when watching a playback from a SQUID?", "Who is Iris to Lenny?", "How did Engleman discover Iris' SQUID recorder?", "What did Iris do for a living?", "How does Mace feel about Lenny's SQUID dealing business?", "Where does Mace take Lenny to watch Iris' disc?", "What did Philo hire Iris to do?", "How did Lenny and Mace get into Philo's party?", "Who helps Mace overcome Steckler and Engleman?", "What does a SQUID device record?", "What happens when you experience a SQUID disc being played back?", "What was Lenny Nero's former career?", "What is Iris' profession?", "Who is Faith's boyfriend?", "What does Lenny find with Philo Giant's body?", "How does Max die?", "Why did Tick become brain dead?", "Why does Lenny give a SQUID disc to Mace?", "What crime do Steckler and Engleman try to cover up?" ]

[ [ "Tick", "Tick" ], [ "Faith Justin", "Faith Justin " ], [ "She gets on rapid transit", "rapid transit" ], [ "Private investigator", "he is a private investigator" ], [ "Philo Gant", "philo gant" ], [ "Sunset Regent Hotel", "at the Sunset Regent hotel" ], [ "Jeriko One", "Jeriko" ], [ "Philo", "Philo" ], [ "Lenny", "Lenny" ], [ "An illegal recording device.", "a device that records experiences" ], [ "They experience the wearer's emotions and sensations.", "memories and physical sensations" ], [ "His ex-girlfriend's friend.", "she is a friend of his ex-girlfriend" ], [ "He pulled off her wig.", "He pulled off her wig" ], [ "She was a prostitute.", "prostitute" ], [ "She disapproves of it.", "He disapproves" ], [ "Mace takes him to her brother's house.", "Her brother's house" ], [ "Spy on Jeriko.", "spy" ], [ "They sneak in.", "They sneak in " ], [ "Strickland.", "Strickland" ], [ "It records the wearer's cerebral cortex ", "The cerebral cortex of the wearer" ], [ "You experience the wearer's memories and physical sensations", "You experience the physical and mental sensations of the recording" ], [ "Los Angeles police officer", "Cop " ], [ "Prostitute ", "prostitute" ], [ "Philo Gant", "Philo Gant" ], [ "A SQUID disc", "a SQUID disc " ], [ "He is thrown from a balcony by Lenny", "he is thrown from the balcony" ], [ "He was fed highly amplified SQUID signals.", "He was forced into exposure of highly amplified SQUID signals." ], [ "So she can give it to the police commissioner ", "So she can give it to Strickland." ], [ "The murder of rapper Jeriko One", "murder" ] ]

[ [ "I can. We want to get her out of her melancholy if possible. I have a\nsort of feeling, you know, that among us we made the train run over\nhim.\"", "the train. He was quite certain the gentleman knew of the train; but\nyet he could not say. The gentleman walked down before the train o'\npurpose; but perhaps he didn't mean to do himself an injury. There", "his business. He was waiting, he said, for a train from Liverpool,\nintending, when his friend arrived, to go with him to Dulwich by a", "Lopez heeded not the call, and the rush was too late. With quick,\nbut still with gentle and apparently unhurried steps, he walked down\nbefore the flying engine--and in a moment had been knocked into", "traffic. As he did so the pundit called to him, and then made a rush\nat him,--for our friend's back was turned to the coming train. But", "destroyed himself. Such sensitiveness is simply a disease. One can\nnever punish any fault in the world if the sinner can revenge himself\nupon us by rushing into eternity. Sometimes I see him shiver and", "crushed by an express train on the London and North Western Line, and\nthat there was no evidence to show how his presence on the line had\nbeen occasioned. Of course Mr. Wharton had employed counsel, and of", "Ferdinand Lopez walked backwards and forwards as though waiting for\nthe coming of some especial train. The crowd is ever so great that\na man might be supposed to walk there from morning to night without", "\"All right, old fellow,\" said Lopez, retreating. The next train was\nthe Liverpool train; and it seemed that our friend's friend had not", "nature of which would permit it to outlive the crash of the train.\nNo card was found, no scrap of paper with his name; and it was\ndiscovered at last that when he left the house on the fatal morning", "\"That was soon after the poor man had killed himself,--when she was\ngoing away. Of course I only left a card. But I shall see her now if", "followed him round. At that moment there came a shriek louder than\nall the other shrieks, and the morning express down from Euston to\nInverness was seen coming round the curve at a thousand miles an", "along the platform, not noticing the man, reaching a spot that was\nunoccupied;--and there he stood fixed. And as he stood the express", "was by no means easy in the early periods of the day. As he went\ninto town by his train, he would think of his wife and family and of\nthe terrible things that might happen to them. But yet, up to this", "all know the result. It was found in those gory shreds and tatters\nof a poor human being with which the Tenway Railway Station was\nbespattered.\"", "minute passes without a train going here or there, some rushing by\nwithout noticing Tenway in the least, crashing through like flashes\nof substantial lightning, and others stopping, disgorging and taking", "with all his troubles, acknowledging to himself that his career\nhad been a failure, and that, therefore, it might be brought with\nadvantage to an end? \"After all,\" said he to himself, \"that may be", "up towards the edge of the platform, when the pundit followed him,\ntelling him that this was not his train. Lopez then ran a few yards", "After a while he went back into the hall and took a first-class\nreturn ticket, not for Birmingham, but for the Tenway Junction. It", "The pundit still had his eye on our friend when the shriek and the\nwhirr of the express from the north was heard. Lopez walked quickly" ], [ "This was marvellous to him,--that his wife, who as Lady Glencora\nPalliser had been so conspicuous for a wild disregard of social rules", "this to the Duke of St. Bungay, except the young woman whom he had\npetted all his life as Lady Glencora. \"But I am very serious,\" she", "This was a heavy blow, and one which Ferdinand Lopez was not the\nman to bear with equanimity. From the moment in which the Duchess", "about this collection of people down at Gatherum,\" continued the\nyounger Duke. \"Glencora is impulsive, and has overdone the thing.", "Of course the Duke had read the article in the privacy of his own\nroom, and of course the article had nearly maddened him with anger", "capacity, but in his rank and wealth. It might, in fact, be the\ncase that it was his wife the Duchess,--that Lady Glencora of whose", "The two wives of the two men were in the pony carriage, and the\nlittle Lady Glencora, the Duchess's eldest daughter, was sitting", "form. The proclamation had been especially necessary because the Duke\nwas Prime Minister. The agent did not think that Mr. Lopez should\nbe in the least angry with the Duke. Everything would be done that", "\"Certainly not,\" said the Duke, with a scowl that was terrible even\nto his wife. \"I wished to speak to you, but I wished to speak to you\nalone.\"", "But the Duke, though he was by far too magnanimous to be angry with\nPhineas Finn because Phineas would not fall into his views respecting", "\"What made him talk of that to-day?\" he said, turning at her almost\nangrily and thinking at once of the Duke's cheque.", "\"He hated it,--in his heart. And so do I. And so does Glencora. I\ndon't see why any man should have his private life interrupted by", "The Duke of St. Bungay had been very much disappointed. He had\ncontradicted with a repetition of noes the assertion of the Duchess", "Switzerland. But the Duke,--he was Mr. Palliser then,--followed her\nvery soon and it all came right.\"", "her father had been loud in denouncing before the wretch had\ndestroyed himself,--had been especially against the Duke of Omnium.\nAnd now the Duchess came forward to say that it should be forgiven", "He had certainly contrived to make that letter as oppressive as\npossible. He had been clever enough to put into it words which were\nsure to wound the poor Duke and to confound the Duchess. And having", "of the Government, had proposed. The Duke had so offended him that\nhe conceived himself bound to regard the Duke as his enemy. But he\nknew,--and he could not escape from the knowledge,--that England did", "have been with her. The Duke had given directions which made it\nnecessary that Locock's coming should be postponed for a day, and\nthis was another grievance. She was put out a good deal, and began to", "\"What is the meaning of that?\" The Duchess was not skilled in hiding\nher feelings, at any rate from him, and declared to him at once by\nher voice and eye that the proposed change was not gratifying to her.", "arrangement which had been effected by the Duchess in the early\nautumn had passed off without any wonderful effects. It had been done\nby her in pique, and the result had been apparently so absurd that it" ], [ "This was marvellous to him,--that his wife, who as Lady Glencora\nPalliser had been so conspicuous for a wild disregard of social rules", "capacity, but in his rank and wealth. It might, in fact, be the\ncase that it was his wife the Duchess,--that Lady Glencora of whose", "this to the Duke of St. Bungay, except the young woman whom he had\npetted all his life as Lady Glencora. \"But I am very serious,\" she", "estimation as Lady Glencora Palliser,--whose position had been all\nher own and had not depended on her husband,--than now she had done", "The two wives of the two men were in the pony carriage, and the\nlittle Lady Glencora, the Duchess's eldest daughter, was sitting", "come uppermost for the moment. One would have been inclined to say\nthat politics were altogether unnecessary to her, and that as Duchess\nof Omnium, lately known as Lady Glencora Palliser, she had a wider", "\"Forty to sleep, my lady?\" To Pritchard the Duchess had for many\nyears been Lady Glencora, and she perhaps understood that her\nmistress liked the old appellation.", "\"Oh, Glencora!\"", "Silverbridge. Glencora will bear a great deal,--but since she has\ntaken up politics, by George, you had better not touch her there.\" At", "\"Glencora, in these matters you must allow me to judge for myself,\nand I will judge. I will never say that I didn't do it;--but that it\nwas my wife who did.\"", "were true to her. There was a feeling abroad that \"Glencora\" was\na \"good sort of fellow\" and ought to be supported. And when the", "\"I thought it was going to be very particular.\"\n\n\"It's Glencora's doing.\"", "about this collection of people down at Gatherum,\" continued the\nyounger Duke. \"Glencora is impulsive, and has overdone the thing.", "Plantagenet Palliser was the last man from whom the Duke of St.\nBungay would have expected romance at any time, and, least of all,", "Switzerland. But the Duke,--he was Mr. Palliser then,--followed her\nvery soon and it all came right.\"", "that abandonment of her project which she so often threatened, but\nnot enough to make her triumphant. She was too clever not to see\nthat she was ridiculed. She knew that men called her Glencora among", "\"A very much better name, to my thinking. We are all Whigs, of\ncourse. A Palliser who was not a Whig would be held to have disgraced", "\"Glencora, I don't think you know how much you add to my troubles, or\nyou would not speak to me like that.\"", "\"As to that, Glencora, I must judge for myself.\"\n\n\"Oh yes,--you have been jury, and judge, and executioner.\"", "\"Was that necessary, Glencora?\"" ], [ "were true to her. There was a feeling abroad that \"Glencora\" was\na \"good sort of fellow\" and ought to be supported. And when the", "Silverbridge. Glencora will bear a great deal,--but since she has\ntaken up politics, by George, you had better not touch her there.\" At", "\"Glencora, in these matters you must allow me to judge for myself,\nand I will judge. I will never say that I didn't do it;--but that it\nwas my wife who did.\"", "capacity, but in his rank and wealth. It might, in fact, be the\ncase that it was his wife the Duchess,--that Lady Glencora of whose", "This was marvellous to him,--that his wife, who as Lady Glencora\nPalliser had been so conspicuous for a wild disregard of social rules", "\"I thought it was going to be very particular.\"\n\n\"It's Glencora's doing.\"", "about this collection of people down at Gatherum,\" continued the\nyounger Duke. \"Glencora is impulsive, and has overdone the thing.", "that abandonment of her project which she so often threatened, but\nnot enough to make her triumphant. She was too clever not to see\nthat she was ridiculed. She knew that men called her Glencora among", "\"Oh, Glencora!\"", "this to the Duke of St. Bungay, except the young woman whom he had\npetted all his life as Lady Glencora. \"But I am very serious,\" she", "\"I am afraid Glencora has overdone it. I don't know why I should\ntrouble you by saying so, but it makes me uneasy.\"\n\n\"I can't see why.\"", "\"Glencora, I don't think you know how much you add to my troubles, or\nyou would not speak to me like that.\"", "\"As to that, Glencora, I must judge for myself.\"\n\n\"Oh yes,--you have been jury, and judge, and executioner.\"", "\"He hated it,--in his heart. And so do I. And so does Glencora. I\ndon't see why any man should have his private life interrupted by", "estimation as Lady Glencora Palliser,--whose position had been all\nher own and had not depended on her husband,--than now she had done", "The two wives of the two men were in the pony carriage, and the\nlittle Lady Glencora, the Duchess's eldest daughter, was sitting", "herself,--that she had devoted herself to the work of cementing and\nconsolidating the Coalition by the graceful hospitality which the\nwealth of herself and her husband enabled her to dispense. She had", "\"Forty to sleep, my lady?\" To Pritchard the Duchess had for many\nyears been Lady Glencora, and she perhaps understood that her\nmistress liked the old appellation.", "\"In the first place, Glencora, let me ask you not to speak to me\nagain about the seat for Silverbridge. I am not at present prepared", "\"Was that necessary, Glencora?\"" ], [ "And there was Captain Gunner, who defended the Duchess, but who\nacknowledged that the Duke was the \"most consumedly stuck-up", "laughed, knowing that he had been considered by some to have been\na little violent when defending the Duke. \"But we put all that\naside when we really think, and can give the Conservative credit", "had been so firm. \"But,\"--and Mr. Sprugeon shrugged his shoulders as\nhe spoke,--\"when a nobleman like the Duke chooses to have a way of", "the proper spirit, and political capital might to some extent be\nmade of it. The loss of Silverbridge, though it bruised, broke\nno bones. But the Duke had again expressed himself with unusual", "received by the failure of that candidate. So far, at any rate,\"\nhe thought, \"it must be admitted that the Duke had been free from", "Mr. Sprugeon. The fact is that the Duke won't be seen in it, but that\nthe Duchess does not mean that the borough shall quite slip through\ntheir fingers.\"", "referred to the Duke's kind countenance had been learned by heart,\nand was thrown trippingly off the tongue with a kind of twang. The\nMajor had perceived that he had not been at once interrupted when", "him. And the Duke has deserved it. He's a poor, vacillating creature,\nled by the Duchess; and she,--according to all that one hears,--she", "till we see the Duke. What a charming morning;--is it not? How sweet\nit would be down in the country.\" March had gone out like a lamb, and", "not contain a more honourable man than the Duke. He was delighted\nthat the Duke should be vexed, and thwarted, and called ill names in", "Old Lord Brock used them extensively, though by no means as your\nGrace has done. But the spirit of the world has changed since then.\"\n\"The spirit of the world never changes,\" said the Duchess, in her", "\"I think, sir,\" said the Duke, \"that your proposition is the most\nunbecoming and the most impertinent that ever was addressed to me.\"", "Duke again looked ducal, but on this occasion Sir Orlando did not\nobserve his countenance. \"For myself, I think, I am in favour of", "\"I quite believe in the Duke,\" said Mr. Roby, almost alarmed by the\nsuggestion which his new friend had seemed to make.", "generally. The borough was blessed by the vicinity of the Duke. But,\nlooking at the present perhaps unprecedented crisis in affairs, Mr.\nDu Boung was prepared to give no more than a very cautious support to", "\"Well, no;--if the Duke likes it. I had an idea that the Duke would\nnot like the display of the thing. There he is. Do you see him in the", "everything there must be something wrong.\" The Duke, as he said this,\nwas preaching to himself. He was telling himself that, though he saw\nthe better way, he was allowing himself to walk on in that which was", "strong that I do not dare to abstain from expressing it.\" The Duke\nbowed again and smiled. He had intended that the smile should be", "esteemed, always self-satisfied, and always Duke of St. Bungay. But\nwith our Duke it was very different. Patriotism with him was a fever,", "\"After a fashion he did. There are circumstances in which a man\ncannot help himself.\" This was diplomatical, because it left the\nCaptain to suppose that the Duke was the man who could not help\nhimself." ], [ "And Phineas Finn was instructed by the Duke as to the answer that was\nto be given. The Duke of Omnium in giving these instructions made a", "ill-treated between the Duke and the Duchess. No doubt Phineas Finn,\nwho was now described by some opponents as the Duke's creature, had", "But the Duke, though he was by far too magnanimous to be angry with\nPhineas Finn because Phineas would not fall into his views respecting", "But Phineas Finn had read the Duke's character rightly in saying that\nhe was neither gregarious nor communicative, and therefore but little", "The Duke, before he went to Matching, twice reminded Phineas Finn\nthat he was expected there in a day or two. \"The Duchess says that", "\"Mr. Finn!\"\n\n\"Yes;--Phineas Finn,--the man who was tried.\"", "and through Mr. Monk of Phineas Finn. And now he felt that he had no\nfriend left in whom to trust,--for the old Duke had become cold and", "after Phineas Finn's speech there was nothing more to be said on the\nmatter. Everybody of course knew that the Duchess had been the chief", "It was soon apparent to Phineas that the Duke's manner to him was\nentirely altered, so much so that he was compelled to acknowledge to", "hear it but Phineas Finn and his wife, and they, at least, were\ntrustworthy. The Duke suggested that he had better get back to the\nhouse as soon as possible. There might be something to be done", "the office Finn had held. Other changes and other complications\nbecame necessary, and Mr. Quintus Slide, who hated Phineas Finn\neven worse than the poor Duke, found ample scope for his patriotic", "CHAPTER LXII\n\nPhineas Finn Has a Book to Read", "Our old friend Phineas Finn, who had now reached a higher place in\npolitics than even his political dreams had assigned to him, though", "the world would have heard it. It is probable, too, that nothing was\nsaid about these newspaper articles. Things if left to themselves\nwill generally die at last. The old Duke and Phineas Finn and", "to the quick by the accusation that he had hounded Ferdinand Lopez\nto his death. The Prime Minister had defended himself in the House\nagainst the first charge by means of Phineas Finn, and now required", "\"I know the Duke's faults,\" said Phineas; \"but these men know nothing\nof his virtues, and when I hear them abuse him I cannot stand it.\"", "for Tipperary.\" Phineas Finn, having seen, or thought that he had\nseen, all this, began, from the very first moment of his appointment,\nto consider painfully within himself whether the genuine services of", "by Phineas Finn. The Prime Minister had at first been inclined to be\nled by the old Duke. There was no doubt to him but that the measure\nwas desirable and would come, but there might well be a question", "Phineas Finn, for instance, Barrington Erle, and Mr. Rattler were on\nthe committee of the club. But the club, as a club, was not averse", "and Phineas Finn and his wife, and Lord and Lady Cantrip, Barrington\nErle, and one or two others. But at this period there came a great" ], [ "That scheme of going to Guatemala had been in the first instance\npropounded by Lopez with the object of frightening Mr. Wharton", "It cannot be supposed that Ferdinand Lopez at this time was a very\nhappy man. He had, at any rate, once loved his wife, and would have", "himself and his daughter of this terrible incubus, even if it were\nonly for a time. If Lopez would but once go to Guatemala, leaving his", "At the time with which we are now concerned Ferdinand Lopez was\nthirty-three years old, and as he had begun life early he had been", "shine among them as Ferdinand Lopez. He was of too good a nature to\nbe stirred to injustice against his friend by the soreness of this", "their attributes, and acting on that, she had given herself and all\nher happiness into the keeping of Ferdinand Lopez. Now, there was\ngradually coming upon her a change in her convictions,--a change that", "will be pleasant. But the subject is one very difficult to broach\nwhen no previous light has been thrown on it. Ferdinand Lopez,\nhowever, was not the man to stand shivering on the brink when a", "and evident capabilities for his business. At last a verdict was\ngiven,--that the man's name was Ferdinand Lopez, that he had been", "to do.\" Then Ferdinand Lopez took his departure and Sexty Parker was\nleft alone in his bewilderment.", "clinging to the widow of such a man as Ferdinand Lopez! If there were\nany doubt, then she would be prepared to do all she could to prevent", "whom Mr. Wharton at once concluded that he was there as being the\nfriend of Ferdinand Lopez. If so, how much influence must Ferdinand", "that Lopez was not a rich man, and that Emily, as well as her father,\nwas discontented and unhappy. She had latterly heard of the Guatemala", "by personal animosity to the man. Then Lopez took his departure. \"Oh,\nFerdinand,\" she said, \"I do so hope you may be successful.\"", "in the House, which should have been hostile, had been asked in a\nfriendly spirit. In this way there came to be a party who spoke and\nwrote of Ferdinand Lopez as though he had been a martyr.", "Fletcher,--as indeed she had for a time liked Ferdinand Lopez,--and\nfelt that her conscience would be easier if she could assist in this", "FERDINAND LOPEZ.\n\n Mr. Arthur Fletcher.", "It was not, therefore, surprising that Ferdinand Lopez should\nvolunteer no statements to the old lawyer about money, and that he", "The end of February had come, and as far as Mrs. Lopez knew she was\nto start for Guatemala in a month's time. And yet there was so much", "\"Guatemala! Where is Guatemala, Ferdinand?\"\n\n\"You can answer my question though your geography is deficient.\"\n\n\"He has said nothing about your going anywhere.\"", "Fair, in which Lopez had offered to carry Lizzie Eustace away with\nhim to Guatemala. \"He was industrious. His ideas about money were" ], [ "no degree caused by what had been said in Parliament, but had been\nthe result of his continued failures in life and final absolute ruin.\nHe fretted and fumed and was very wretched,--and at last expressed", "of money.\" Even to Mr. Crumpy he could not be reticent. \"She is an\nobject of pity,\" he said. \"Her husband was ruined by the infamous", "\"What is fixed?\"\n\n\"That I am ruined. That there isn't a penny to come from any source.\"\n\n\"Wharton has got money,\" said Sexty.", "himself, as many other men have done before him, because he had run\nthrough his money and had no chance left of redeeming himself. But to\nthe world at large, the disgrace brought upon him by the explanation", "succeeded, being sometimes utterly impecunious, but still with a\ncapacity of living. Now he had laden himself with a burden of which\nthe very intensity of his love immensely increased the weight. As for", "And yet how was it with him now? He was penniless. He was rejected by\nhis father-in-law. He was feared, and, as he thought, detested by his", "\"Then you have married my girl and started into the world with a\nbusiness based on £5000, and which had so far miscarried that within\na month or two after your marriage you were driven to apply to me for\nfunds!\"", "ruined. She wept and bewailed herself till I pitied her almost more\nthan myself;--but then she had children.\"", "utterly ruined. He regarded his fate as does a card-player who day\nafter day holds sixes and sevens when other men have the aces and", "\"See what, my love?\"\n\n\"See his ruin, and my unhappiness, and my baby. Oh,--oh,--oh!\"", "And then everything had gone badly with him since his marriage. He\nwas apt, when thinking over his affairs, to attribute all this to the", "a bad condition, very violent, drinking hard, declaring himself to\nbe a ruined man, and swearing that if this and that were not done\nhe would have bitter revenge. Sexty still believed in the wealth of", "The catastrophe described in the last chapter had taken place during\nthe first week in March. By the end of that month old Mr. Wharton", "far he himself were responsible for his present misfortunes. No doubt\nhe had begun the world well. His father had been little better than a\ntravelling pedlar, but had made some money by selling jewellery, and", "The next day he confirmed his own fears, and before a week was\ngone he had written down the sum as gone. He told nobody. He did\nnot like to confess his folly. But he made some inquiry about his", "When we were at Dovercourt, I told you how it was going to be. His\nbusiness has left him, and now there is nothing. What are we to do?\"", "every word that had been spoken, and was aware that his own poverty\nhad been suggested as the cause for such a proceeding. It was a great\nthing for him in every way. He would live for nothing, and would also", "\"Such a misery,--such a destruction of everything no man ever\nheard of before!\" said Mr. Wharton. To this she made no reply,", "And so by degrees the blow had come full home to him. He had been\ntwice refused. Then rumours had reached him,--not at first that he", "Then the father told the story as well as he knew how. His son\nhad lost some money, and he had called his son a gambler;--and\nconsequently his son would not come near him. \"It is bad to lose them\nboth, Arthur.\"" ], [ "her parties. It was quite the thing to go to the Duchess's, whether\nat Richmond or in London. But people abused her and laughed at\nher. They said that she intrigued to get political support for her", "her. The Duchess possessed a pretty little villa down at Richmond, on\nthe river, called The Horns, and gave parties there when there were", "The Duchess was on the whole very successful with her parties. There\nwere people who complained that she had everybody; that there was no", "The Duchess, though she had lately been considerably restrained by\nthe condition of the Duke's mind, and by the effects of her own\npolitical and social mistakes, still from time to time made renewed", "\"The Duchess, no doubt, knows all about it.\" Then there was a little\npause. \"She is obliged to have all sorts of people,\" said the Duke\napologetically.", "and hostess. He found a small party there, but not so small as the\nDuchess had once suggested to him. \"Your wife will be there, of", "CHAPTER LVI\n\nWhat the Duchess Thought of Her Husband", "the Duke's own observations, which were, Mr. Warburton thought,\nhostile to the interests of the party. The Duchess had only smiled\nand made a little grimace, with which the private secretary was", "The hospitality of the Duke's house had been maintained almost\nthroughout the autumn. Just at the end of October they went to\nMatching, for what the Duchess called a quiet month,--which, however,", "It was at the Horns at an afternoon party, given there in the gardens\nby the Duchess, early in July, that Arthur Fletcher first saw Emily", "party, and was always satisfied to have him as a guest. The Duchess,\ntherefore, had taken it for granted that Mrs. Finn would come to", "\"Isn't the Duchess giving a great many parties?\" asked Mrs.\nHapperton.", "by the Duke himself, but by the Duchess;--and that the Duke paid the\nmoney when he found that the Duchess had promised more than she could", "\"Against the Duchess herself we wish to say not a word. She is known\nas exercising a wide if not a discriminate hospitality. We believe", "Mr. Sprugeon. The fact is that the Duke won't be seen in it, but that\nthe Duchess does not mean that the borough shall quite slip through\ntheir fingers.\"", "of opening their hearts to a Duchess, and who might almost be talked\ninto anything in an ecstasy.\"", "by the curious. The Duchess, newly a duchess then and very keen in\nreference to her husband's rank, had instigated him to demand the", "Things had not gone altogether smoothly with the Duchess herself\nsince the breaking up of the party at Gatherum Castle,--nor perhaps", "parliamentary capacity, but by social arrangements, such as his\nDuchess, and his Duchess alone, could carry out. She and she only\nwould have the spirit and the money and the sort of cleverness", "\"The Duchess, I fear, is almost too much engaged to see as much of\nher guests individually as she ought to do. To me your being here is\na great pleasure.\"" ], [ "\"It will be a great expense to you, and will stand altogether in the\nway of your profession. As far as Emily is concerned, I should think\nmy father would be dead against it.\"\n\n\"Then he would be unreasonable.\"", "\"He has dealt very fairly by me. He has done all he could to get rid\nof the man,--both with him and with her. He has told Emily that he\nwill have nothing to do with the man. And she will do nothing without\nhis sanction.\"", "Lopez had been twice with the father pressing his suit and had been\ntwice repulsed, with as absolute denial as words could convey. Emily,\nhowever, had declared her own feeling openly, expressing her wish to", "of has been to me and has made an offer for Emily.\" As he said this\nhe looked anxiously into his sister-in-law's face, in order that", "day,--which he did very strongly,--Emily raised no difficulties in\nthe way of his wishes. The father, foolishly enough, would at first", "\"And so I dare say can Mr. Lopez.\" At this moment Emily entered the\nroom. \"My dear,\" said her father, \"I am speaking to your aunt. Would", "to be their father's slaves.\" Emily said nothing further to her aunt\non that occasion, but finding that she must in truth \"have it out\"\nwith her father presently, gave herself up to reflection. It might", "\"Do you mean that Emily--favours him?\"\n\n\"I am afraid so.\"", "serviceable to him before he started. Any home for Emily must be\nexpensive; and no home in their present circumstances could be so\nreputable for her as one under her father's roof. He therefore almost", "for us?\" Emily could not but remember her husband's intense desire to\nobtain money from her father not yet three months since, as though\nall the world depended on his getting it,--and his subsequent", "to assure himself that Emily's father would be adverse to his\nproposition. He had not felt much doubt before, but now he was", "Wharton. Emily, he said, would of course accompany her father on such\nan occasion. Then there were long letters from Mary Wharton, and even", "Emily had been nearly half-an-hour with her father before Mr.\nWharton's heavy step was heard upon the stairs. And when he reached", "about his writing to you.\" On hearing this Emily looked very\nwretched. \"I could not restrain myself from doing that. Come;--you\nmust admit that he shouldn't have written.\"", "Emily did not like the idea of telling her father anything which he\nmight not like to hear; but her husband's behests were to her in\nthese, her early married days, quite imperative.", "about him,--wanted the money and wanted to be off. So here they are,\nand Emily can do as she likes.\" Of course the rooms were regarded\nfrom that moment as the home for the next twelve months of Mr. and", "\"I will not have it so. In this matter, Emily, I will be master,--as\nit is fit that I should be. I will not have you talk to your father\nabout Mr. Fletcher.\"", "arrangements as to my property before Emily's marriage. Those\narrangements I think I shall now alter. I am greatly distressed with\nEverett; and from what I see and from a few words which have dropped", "Emily; and I, believing him to be a gentleman and well to do in the\nworld, have referred him to you. Can that have been wrong?\"", "\"Very well. Then I shall know how to act. But, Mr. Wharton, I must\nsay this, you know Emily has a will of her own, and you must not hold" ], [ "Lizzie Eustace, if you will say the word, I will take you to that\nland of glorious happiness.\"", "Ferdinand Lopez and Lady Eustace had not parted when they last saw\neach other on the pleasantest terms. He had been very affectionate,", "\"What is the use of all this, Ferdinand? You do not love me. You did\nnot marry me because I loved you.\"\n\n\"By heaven I did;--for that and that only.\"", "Fair, in which Lopez had offered to carry Lizzie Eustace away with\nhim to Guatemala. \"He was industrious. His ideas about money were", "And so Ferdinand went down, to meet his love,--to encounter her for\nthe first time as her recognised future husband and engaged lover.\nPassionate, declared, and thorough as was her love for this man, the", "\"I dare say I am, Ferdinand. I do not in the least know what it all\nmeans. But I do know this, that you ought not, in papa's absence, to", "\"Not that, Ferdinand;--do not say that!\"\n\n\"Well; we shall see.\"", "he do love her. There would have been something of reconciliation,\nsomething of a promise of future kindness in a kiss, which even\nFerdinand would not have grudged. It would, for her, have robbed", "\"I believe you are in love with him, my dear,\" said Lizzie Eustace.", "\"No, Ferdinand. Of course I will do as you bid me. I will do anything\nthat I can do. But you had better tell him. His nature is such that", "would Ferdinand Lopez do so, thought Emily to herself. \"But in all\nsuch matters, my dear, the great thing is like to like. I have spoken", "with a grain of truth when he had told the Duchess that he was not\nmarrying for money. Ferdinand Lopez was not an honest man or a good", "\"I have your father's consent to marry your sister,\" said Ferdinand\nimmediately on entering Everett's room.\n\n\"I knew it must come soon,\" said the invalid.", "Eustace, pretty as ever, and sharp and witty, with the old passion\nfor some excitement, the old proneness to pretend to trust everybody,\nand the old incapacity for trusting anybody. Ferdinand Lopez had", "Then he had escaped from her house and had never again seen Lizzie\nEustace. She had not thought very much about it. Had he returned to\nher the next day with some more tempting proposition for making money", "\"You need think of nothing else. Ask him what he pleases to allow you\nto spend, and then I will tell you what to get.\"\n\n\"I will never ask him for anything, Ferdinand.\"", "anything Lizzie Eustace knew to the contrary. And here our hero took\nadvantage of his name. Don Diego di Lopez had been the first to raise", "\"Would it not be better from you? I only ask, Ferdinand. I never have\neven spoken to him about money, and of course he would know that you\nhad dictated what I said.\"", "Mrs. Leslie, who had introduced her to Mrs. Dick Roby, and through\nMrs. Roby to Ferdinand Lopez. Lady Eustace was in the enjoyment of a", "\"Ferdinand, I am so happy! Are you happy?\"\n\n\"My love; my darling!\"\n\n\"You have never doubted me, I know,--since you first knew it.\"" ], [ "purpose, instead of in his own way! Why should any one want Ferdinand\nLopez to be in Parliament? Ferdinand Lopez had paid no attention to\nthe great political questions of the Commonwealth. He knew nothing of", "\"I don't know that he would care about it very much. He seems always\nto laugh at people who want to get into Parliament. But if you have\nset your heart upon it, Ferdinand--\"", "her husband being in Parliament, and that his sympathies and even\nhis wishes were on the other side. When Mrs. Roby suggested that\nit would be a very nice thing for them all to have Ferdinand in", "a large fortune it may be nice to have some place to go to. But why\nit should be nice for Ferdinand Lopez I cannot understand. Everett\nhas some idea in his head when he talks about Parliament,--though I", "Parliament,--she always called him Ferdinand now,--Mr. Wharton railed\nat her. \"Why should it be a nice thing? I wonder whether you have any", "once that he must first have become a candidate without knowing who\nwould be his opponent. But Ferdinand had assured her as a matter of\nfact that Fletcher had known all about it. \"I suppose in politics", "\"What is the use of all this, Ferdinand? You do not love me. You did\nnot marry me because I loved you.\"\n\n\"By heaven I did;--for that and that only.\"", "Mr. Sprugeon and Mr. Sprout between them had soon decided that\nMr. Ferdinand Lopez should be run for the borough as the \"Castle\"", "\"Ferdinand, I have been thinking about it very much. I must beg you\nto allow me to remain. I ask it of you as if I were asking my life.\"\n\n\"Your father has put you up to this.\"", "\"Why do you say that, Ferdinand?\"\n\n\"Because you and your father make cabals behind my back. If there is\nanything I hate it is that kind of thing.\"", "becoming real politicians than the men who sit in Parliament with\nempty hands and with time at their own disposal. But when a man has\nbeen placed by circumstances as I am now, he does begin to think.\"", "\"Because they don't know Ferdinand they are determined to insult him.\nIt is an insult never to mention even his name. And to refuse to come", "\"No, Ferdinand. Of course I will do as you bid me. I will do anything\nthat I can do. But you had better tell him. His nature is such that", "\"I dare say I am, Ferdinand. I do not in the least know what it all\nmeans. But I do know this, that you ought not, in papa's absence, to", "\"Ferdinand has been speaking to me about my fortune.\" It had gone\nmuch against the grain with her to write these words, \"my fortune.\"", "\"I shall not make you happier, Ferdinand.\"\n\n\"Do you think that it is a fine thing for a man to live in such a\ncountry as that all alone?\"", "\"Oh, Ferdinand!\"\n\n\"You don't understand, but I do. He deserves to be horsewhipped for\ndaring to write to you, and if I can come across him he shall have\nit.\"", "also some sharp things against Lopez himself, till his companion\nbegan to think that the wine he had drunk had been as bad as the\ncigars. \"I can't understand your wanting to go into Parliament,\" he", "He had telegraphed to her, acquainting her with his defeat, and\ntelling her to expect his return. \"Oh, Ferdinand,\" she said, \"I am so\nunhappy about this. It has made me so wretched!\"", "in the House, which should have been hostile, had been asked in a\nfriendly spirit. In this way there came to be a party who spoke and\nwrote of Ferdinand Lopez as though he had been a martyr." ], [ "in Parliament, to which I have, with my whole heart, given my poor\nassistance.\" The Duke remembered how the bathers' clothes were", "quite smoothly with the Duke. It was now March. The House was again\nsitting, and they were both in London,--but till they came to town\nthey had remained at the Castle, and that huge mansion had not", "And there was Captain Gunner, who defended the Duchess, but who\nacknowledged that the Duke was the \"most consumedly stuck-up", "removal of the family to London. The Duke had already been up to\nLondon for the meeting of Parliament, and had now come back to\nGatherum, purporting to return to London with his wife. Then it was", "generally. The borough was blessed by the vicinity of the Duke. But,\nlooking at the present perhaps unprecedented crisis in affairs, Mr.\nDu Boung was prepared to give no more than a very cautious support to", "wide his arms and asked her with affected dismay whether he was to\nkeep Parliament sitting in order that more ribbons might be sold!\n\"There is nothing to be done,\" said the Duke almost angrily.", "supported by Lord Drummond and another of his old friends. At the\nadvice of the elder Duke, a paragraph was hatched, in which it was", "of anticipating the debate. He contrived, however, before he sat\ndown, to say some very heavy things against his late chief, and\nespecially to congratulate the Duke on the services of the honourable", "The proposition almost took away the Duke's breath. \"Why do you want\na crowd, like that?\"\n\n\"Just to show them that we are not beaten because we are turned out.\"", "laughed, knowing that he had been considered by some to have been\na little violent when defending the Duke. \"But we put all that\naside when we really think, and can give the Conservative credit", "There is no man in England knows so well as he does what should be\ndone in such a case as this.\" The Prime Minister frowned and said\nnothing. \"My dear Duke,\" continued Lord Cantrip, \"I can give you no", "of the Government, had proposed. The Duke had so offended him that\nhe conceived himself bound to regard the Duke as his enemy. But he\nknew,--and he could not escape from the knowledge,--that England did", "But her strongest dependence was on the old Duke. The party at the\nCastle was almost broken up when she consulted him. She had been so", "But he, the Duke of St. Bungay, had brought his friend into the\ntrouble, and it was certainly his duty to extricate him from it. The", "\"I mean in Parliament, your Grace. I am very fairly off as regards\nprivate means, and would stand all the racket of the expense of a", "ducal than he had ever seen him look before. Sir Orlando remembered\nthe old Duke, and suddenly found that the uncle and nephew were very\nlike each other. But it does not become the Leader of the House of", "tongue,--meaning all the Duke's friends,--the thing would wear itself\nout. But it was apparent to those who were nearest to the minister,", "done by the Duke in this matter was or was not indiscreet, I shall\nprobably have the House with me when I say that it savours much more\nstrongly of nobility than of indiscretion.\"", "On our own side, in our old party, there are a score of men who\ndetest the Duke, though they would fain be true to the Government.\nThey have voted with him through thick and thin, and he has not", "parliamentary capacity, but by social arrangements, such as his\nDuchess, and his Duchess alone, could carry out. She and she only\nwould have the spirit and the money and the sort of cleverness" ], [ "\"I don't know that he would care about it very much. He seems always\nto laugh at people who want to get into Parliament. But if you have\nset your heart upon it, Ferdinand--\"", "purpose, instead of in his own way! Why should any one want Ferdinand\nLopez to be in Parliament? Ferdinand Lopez had paid no attention to\nthe great political questions of the Commonwealth. He knew nothing of", "Parliament,--she always called him Ferdinand now,--Mr. Wharton railed\nat her. \"Why should it be a nice thing? I wonder whether you have any", "her husband being in Parliament, and that his sympathies and even\nhis wishes were on the other side. When Mrs. Roby suggested that\nit would be a very nice thing for them all to have Ferdinand in", "\"Ferdinand, I have been thinking about it very much. I must beg you\nto allow me to remain. I ask it of you as if I were asking my life.\"\n\n\"Your father has put you up to this.\"", "\"Why do you say that, Ferdinand?\"\n\n\"Because you and your father make cabals behind my back. If there is\nanything I hate it is that kind of thing.\"", "a large fortune it may be nice to have some place to go to. But why\nit should be nice for Ferdinand Lopez I cannot understand. Everett\nhas some idea in his head when he talks about Parliament,--though I", "\"I shall not make you happier, Ferdinand.\"\n\n\"Do you think that it is a fine thing for a man to live in such a\ncountry as that all alone?\"", "\"Not that, Ferdinand;--do not say that!\"\n\n\"Well; we shall see.\"", "also some sharp things against Lopez himself, till his companion\nbegan to think that the wine he had drunk had been as bad as the\ncigars. \"I can't understand your wanting to go into Parliament,\" he", "\"Ferdinand, it will be better that we should not speak about my\nfather. I will in all things strive to do as you would have me, but I\ncannot hear him abused. If you have anything to say, go to Everett.\"", "\"Because they don't know Ferdinand they are determined to insult him.\nIt is an insult never to mention even his name. And to refuse to come", "\"What is the use of all this, Ferdinand? You do not love me. You did\nnot marry me because I loved you.\"\n\n\"By heaven I did;--for that and that only.\"", "\"Ferdinand has been speaking to me about my fortune.\" It had gone\nmuch against the grain with her to write these words, \"my fortune.\"", "He had telegraphed to her, acquainting her with his defeat, and\ntelling her to expect his return. \"Oh, Ferdinand,\" she said, \"I am so\nunhappy about this. It has made me so wretched!\"", "to do.\" Then Ferdinand Lopez took his departure and Sexty Parker was\nleft alone in his bewilderment.", "\"No, Ferdinand. Of course I will do as you bid me. I will do anything\nthat I can do. But you had better tell him. His nature is such that", "\"Whatever he does for me will be sufficient for me. I am not afraid\nof my father, Ferdinand.\"\n\n\"You shall be afraid of me before I have done with you,\" said he,\nleaving the room.", "\"And must I not speak to papa about it?\"\n\n\"No!\"\n\n\"Ferdinand, you make too little, I think, of the associations and\naffections of a whole life.\"", "he do love her. There would have been something of reconciliation,\nsomething of a promise of future kindness in a kiss, which even\nFerdinand would not have grudged. It would, for her, have robbed" ], [ "This was a heavy blow, and one which Ferdinand Lopez was not the\nman to bear with equanimity. From the moment in which the Duchess", "\"Why do you say that, Ferdinand?\"\n\n\"Because you and your father make cabals behind my back. If there is\nanything I hate it is that kind of thing.\"", "\"What is the use of all this, Ferdinand? You do not love me. You did\nnot marry me because I loved you.\"\n\n\"By heaven I did;--for that and that only.\"", "by the curious. The Duchess, newly a duchess then and very keen in\nreference to her husband's rank, had instigated him to demand the", "\"The Duchess wants to get it for this man, Ferdinand Lopez.\"\n\n\"But it has not been promised yet?\"", "\"What is the meaning of that?\" The Duchess was not skilled in hiding\nher feelings, at any rate from him, and declared to him at once by\nher voice and eye that the proposed change was not gratifying to her.", "displeased the Duchess, who was ambitious both on her own behalf and\nthat of her lord,--and who thought that a Duke of Omnium should be", "\"The Duke is so good a man that I hardly like to admit even\nthat;--but I fear it is so. He is fretful and he makes enemies.\"\n\n\"I sometimes think that he is ill.\"", "thought that any delay would be injurious and open to suspicion\nafter what had been said and done, and was urgent in his arguments.\nThe Duke gave way, but he did so almost sullenly, signifying his", "he do love her. There would have been something of reconciliation,\nsomething of a promise of future kindness in a kiss, which even\nFerdinand would not have grudged. It would, for her, have robbed", "him. And the Duke has deserved it. He's a poor, vacillating creature,\nled by the Duchess; and she,--according to all that one hears,--she", "induced her to ask for the promise. The old Duke had known them both\nwell, but had hardly as yet given the Duchess credit for so true a\ndevotion to her husband. It now seemed to him that though she had", "pleasure to go back to ladies and gentlemen.\" This the Duchess said\nin her extreme bitterness.", "the Duchess to be in earnest in her sorrow. \"She so mixes up her\nmirth and woe together,\" said the Duke, \"that I myself sometimes can\nhardly understand her.\"", "not contain a more honourable man than the Duke. He was delighted\nthat the Duke should be vexed, and thwarted, and called ill names in", "He had certainly contrived to make that letter as oppressive as\npossible. He had been clever enough to put into it words which were\nsure to wound the poor Duke and to confound the Duchess. And having", "indication, of anger. \"Dear Duke,\" she said, \"you must not be angry\nwith me. Who is there to whom I can speak but you?\"", "\"Whatever he does for me will be sufficient for me. I am not afraid\nof my father, Ferdinand.\"\n\n\"You shall be afraid of me before I have done with you,\" said he,\nleaving the room.", "\"What made him talk of that to-day?\" he said, turning at her almost\nangrily and thinking at once of the Duke's cheque.", "everything there must be something wrong.\" The Duke, as he said this,\nwas preaching to himself. He was telling himself that, though he saw\nthe better way, he was allowing himself to walk on in that which was" ], [ "Throughout the autumn the Duke had been an unhappy man. While the\nabsolute work of the Session had lasted he had found something\nto console him; but now, though he was surrounded by private", "When the Duke said that he feared that his wishes were not\nunderstood, and spoke of the inefficacy of his former declaration,", "everything there must be something wrong.\" The Duke, as he said this,\nwas preaching to himself. He was telling himself that, though he saw\nthe better way, he was allowing himself to walk on in that which was", "indifferent. The old Duke, he thought, was tired of his work and\nanxious for rest. It was the old Duke who had brought him into this", "stagers till it is useless to try them any longer; and if there is to\nbe a fresh man, no one would be more likely than the Duke.\"", "himself any further in that election. He was very sorry for what had\noccurred;--very sorry indeed. It was no doubt a pity that the Duke", "circumstances,--and they were thanked accordingly by the Duke, with\nsomething of real cordial gratitude. But when the actual adjustment\nof things was in hand, the Duke, having but little power of assuming", "CHAPTER XXVII\n\nThe Duke's Misery", "\"He has been worried,\" said the old Duke, \"and must take time\nto recover himself. He has but one fault,--he is a little too", "The Duke of St. Bungay had been very much disappointed. He had\ncontradicted with a repetition of noes the assertion of the Duchess", "When the Duke was announced he rose to greet his old friend almost\nwith fervour. \"It is a shame,\" he said, \"to bring you out so late. I\nought to have gone to you.\"", "thought that any delay would be injurious and open to suspicion\nafter what had been said and done, and was urgent in his arguments.\nThe Duke gave way, but he did so almost sullenly, signifying his", "him. And he himself, when he first came to his dukedom, was not as\nhe was now. Duties, though they were heavy enough, were lighter then.", "\"No doubt. A king has to know where to draw the line. But the Duke\ndraws no intentional line at all. He is not by nature gregarious or\ncommunicative, and is therefore hardly fitted to be the head of a\nministry.\"", "It may therefore be understood that things were not going very\nsmoothly with the Duke and Duchess; and it may also be understood", "its interest in the country, had it not been that their chief was\nvery sore on the subject. The old Duke's work at this time consisted\nalmost altogether in nursing the younger Duke. It did sometimes occur", "to the strugglers as anything that is done now. You can't alter the\nmen, and you must use them.\" The younger Duke sat down and sighed\nover the degenerate patriotism of the age.", "lamentably unsuccessful. The Duke had declared that there should be\nno more rural crowds, no repetition of what he called London turned\nloose on his own grounds. He could not forget the necessity which had", "\"Well, no;--if the Duke likes it. I had an idea that the Duke would\nnot like the display of the thing. There he is. Do you see him in the", "\"I am afraid you will find the Duke very urgent.\"" ], [ "It cannot be supposed that Ferdinand Lopez at this time was a very\nhappy man. He had, at any rate, once loved his wife, and would have", "At the time with which we are now concerned Ferdinand Lopez was\nthirty-three years old, and as he had begun life early he had been", "and evident capabilities for his business. At last a verdict was\ngiven,--that the man's name was Ferdinand Lopez, that he had been", "shine among them as Ferdinand Lopez. He was of too good a nature to\nbe stirred to injustice against his friend by the soreness of this", "The abuse which was now publicly heaped on the name of Ferdinand\nLopez hit the man very hard; but not so hard perhaps as his rejection", "to do.\" Then Ferdinand Lopez took his departure and Sexty Parker was\nleft alone in his bewilderment.", "FERDINAND LOPEZ.\n\n Mr. Arthur Fletcher.", "It was not, therefore, surprising that Ferdinand Lopez should\nvolunteer no statements to the old lawyer about money, and that he", "by personal animosity to the man. Then Lopez took his departure. \"Oh,\nFerdinand,\" she said, \"I do so hope you may be successful.\"", "Ferdinand Lopez, who in other respects had much in his circumstances\non which to congratulate himself, suffered trouble in his mind", "given. It will be remembered that Ferdinand Lopez destroyed himself\nin March, now three months since. The act had been more than a nine\ndays' wonder, having been kept in the memory of many men by the", "Ferdinand Lopez should bear the results of her own folly. Though\nsince his death she had never spoken a syllable against him,--if\nthose passionate words be excepted which Arthur himself had drawn", "This was a heavy blow, and one which Ferdinand Lopez was not the\nman to bear with equanimity. From the moment in which the Duchess", "The reader will no doubt think that Ferdinand Lopez must have been\nvery hardly driven indeed by circumstances before he would have made", "It was a disgrace to him,--to him within his own bosom,--that she\nshould have preferred to him such a one as Ferdinand Lopez, and this", "in the House, which should have been hostile, had been asked in a\nfriendly spirit. In this way there came to be a party who spoke and\nwrote of Ferdinand Lopez as though he had been a martyr.", "him, this denunciation of his cruelty, this assurance that he had\ncaused the death of Ferdinand Lopez, was very grievous to him. It", "their attributes, and acting on that, she had given herself and all\nher happiness into the keeping of Ferdinand Lopez. Now, there was\ngradually coming upon her a change in her convictions,--a change that", "as it might be. And this silence certainly suited Ferdinand Lopez at\nthe time. To tell the truth of him,--though he was not absolutely\npenniless, he was altogether propertyless. He had been speculating", "will be pleasant. But the subject is one very difficult to broach\nwhen no previous light has been thrown on it. Ferdinand Lopez,\nhowever, was not the man to stand shivering on the brink when a" ], [ "so thin and wan and wretched, that looking in the glass she hardly\nknew her own face. \"Ferdinand,\" she said to him, \"I know he will not\nlive. The Doctor says so.\"", "It cannot be supposed that Ferdinand Lopez at this time was a very\nhappy man. He had, at any rate, once loved his wife, and would have", "would Ferdinand Lopez do so, thought Emily to herself. \"But in all\nsuch matters, my dear, the great thing is like to like. I have spoken", "across \"Ferdinand's\" face, but he said nothing. Emily of a sudden\ndrew herself up, unconsciously,--and then at once relaxed her", "\"I think, Ferdinand, it is more than that. She says that--\"\n\n\"To tell you the truth, Emily, I don't care a d---- what she says.\nNow give me some tea.\"", "These preparations to Emily were so sad as almost to break her heart.\nShe had never as yet packed up her widow's weeds. She had never as", "\"What is the use of all this, Ferdinand? You do not love me. You did\nnot marry me because I loved you.\"\n\n\"By heaven I did;--for that and that only.\"", "He had telegraphed to her, acquainting her with his defeat, and\ntelling her to expect his return. \"Oh, Ferdinand,\" she said, \"I am so\nunhappy about this. It has made me so wretched!\"", "my old friends, Ferdinand, and have given myself heart and soul to\nyou. No woman did so with a truer love or more devoted intention of\ndoing her duty to her husband. Your affairs shall be my affairs.\"", "he do love her. There would have been something of reconciliation,\nsomething of a promise of future kindness in a kiss, which even\nFerdinand would not have grudged. It would, for her, have robbed", "On that evening, at Wharton, Emily still wore her mourning dress. No\none, indeed, dared to speak to her on the subject, and Mary was even", "was Emily to all of them. But they never so described her even in\nspeaking to the servants. And the servants themselves, as far as was\npossible, avoided the odious word. The thing was to be buried, if not", "Ferdinand Lopez should bear the results of her own folly. Though\nsince his death she had never spoken a syllable against him,--if\nthose passionate words be excepted which Arthur himself had drawn", "And so Ferdinand went down, to meet his love,--to encounter her for\nthe first time as her recognised future husband and engaged lover.\nPassionate, declared, and thorough as was her love for this man, the", "\"Emily!\"\n\n\"Yes;--if you would never see me again. I know it all, and that would\nbe best.\" She was now walking about the room. \"Why should you see it\nall?\"", "\"I shall not make you happier, Ferdinand.\"\n\n\"Do you think that it is a fine thing for a man to live in such a\ncountry as that all alone?\"", "their attributes, and acting on that, she had given herself and all\nher happiness into the keeping of Ferdinand Lopez. Now, there was\ngradually coming upon her a change in her convictions,--a change that", "after the affair, and had kept his room for a fortnight. During this\ntime Lopez came to see him daily, and daily Emily Wharton had to take", "Emily was silent for a moment, and then with an effort,--with intense\npain,--she said a word or two which she thought had better be at once\nspoken. \"He went because he does not like to hear that name.\"", "\"Not that, Ferdinand;--do not say that!\"\n\n\"Well; we shall see.\"" ], [ "Though the thing had been long a-doing, still it had come\nsuddenly,--so that at the first proposition to form a coalition\nministry, the newspapers had hardly known whether to assist or to", "understood by the coalesced parties,--by everybody, in fact, except\nhimself. It had, perhaps, been found that in the state of things\nthen existing, a ministry could be best kept together, not by", "take an interest in such things, and the writers in newspapers, had\nalmost doubted whether, in the emergency which had been supposed to\nbe so peculiar, any Government could be formed. There had been,--so", "themselves,--would be supplied with sure seats in Parliament and\na probable share in the Government. But no such results had been\nachieved. There had been a want of something,--some deficiency felt", "By the time that the Easter holidays were over,--holidays which had\nbeen used so conveniently for the making of a new government,--the", "of the Government, had proposed. The Duke had so offended him that\nhe conceived himself bound to regard the Duke as his enemy. But he\nknew,--and he could not escape from the knowledge,--that England did", "a century, was aware that the Coalition which he had created had done\nits work, and was almost convinced that it would not be permitted to\nremain very much longer in power. He had seen symptoms of impatience", "and, though antagonistic to British feelings generally, had carried\non the Government. But what might succeed the Coalition, nobody had\nknown. The Radicals and Liberals together would be too strong for Mr.", "government can be formed by Sir Orlando Drought and Sir Timothy\nBeeswax. Any secession is a weakness,--of course; but I think he may", "\"The most practicable arrangement, I am sure, will be for you to\nform your Government without hampering yourself with a beaten\npredecessor.\"\n\n\"Not beaten,\" said Lord Cantrip.", "the Duke told himself,--it was all a blank. The policy confided\nto him and expected at his hands was that of keeping together a\nCoalition Ministry. That was a task that did not satisfy him. And", "for which the Lord Chancellor had made himself responsible. It was\ntherefore now almost a Government measure. The manipulation of this\nmeasure had been one of the causes of the prolonged sitting of the", "continued, \"and I may say not very happy. Of course the big wigs of\na party have to settle among themselves who shall be their leader,\nand when this party was formed they settled, at your advice, that", "Government. He felt that he would be mean not to stretch out his hand\nand take the prize destined for him. The Duke was a poor timid man\nwho had very little to say for himself. Then came the little episode", "that loyalty to the present Head of the Government was his duty. He\nhad sat for too many years on the same bench with Sir Orlando to\nbelieve much in his power of governing the country. Therefore, when", "sagacity of the elder Duke;--so that there grew up an idea that the\nCoalition was really the proper thing. In one respect it certainly\nwas successful. The Home Rulers, or Irish party generally, were left", "that his friend Phineas Finn should be included in the Government.\nMr. Gresham yielded, though poor Phineas was not among the most\nfavoured friends of that statesman. And so the Government was formed,", "was being conceded to them. It was not a great measure, and poor\nPhineas himself hardly believed in it. And thus the Duke's ministry\ncame to be called the Faineants.", "with a Minister on any point. And as he had never been satisfied\nwith a Liberal Government, it was not probable that he should endure\na Coalition in silence. At the end of a rather lengthy speech, he", "political combination than that at present existing,--by which of\ncourse was meant the dethronement of the present Prime Minister,--Mr.\nRoby had snubbed him! Then there had been slight official" ], [ "Fair, in which Lopez had offered to carry Lizzie Eustace away with\nhim to Guatemala. \"He was industrious. His ideas about money were", "leave his wife at home and take Lizzie Eustace with him to Guatemala.\nGuatemala was very distant, and it would matter little there whether", "his heart, and even this Mr. Wharton would not do. And very soon\nafter the engagement Lopez left London and went to the Duke's place\nin the country. His objects in doing this and his aspirations in", "Lizzie Eustace, if you will say the word, I will take you to that\nland of glorious happiness.\"", "course,\" Lady Eustace had said. Then Lopez had smiled, and shrugging\nhis shoulders had left the room.", "anything Lizzie Eustace knew to the contrary. And here our hero took\nadvantage of his name. Don Diego di Lopez had been the first to raise", "Then he had escaped from her house and had never again seen Lizzie\nEustace. She had not thought very much about it. Had he returned to\nher the next day with some more tempting proposition for making money", "them together, and Lizzie allowed her friend to go, although the last\nwords that Lopez had spoken had been, as he thought, a fair prelude", "\"Yes, indeed.\" For Lizzie Eustace had gone through hard days in her\ntime.\n\n\"I certainly will fly from such a country to those golden shores on\nwhich man may be free and unshackled.\"", "Ferdinand Lopez and Lady Eustace had not parted when they last saw\neach other on the pleasantest terms. He had been very affectionate,", "there had lately sprung up in the heart of Lady Eustace a desire to\nmultiply her means by successful speculation. This was the friend\nwith whom Lopez had lately become intimate, and by whose aid he hoped", "\"I believe you are in love with him, my dear,\" said Lizzie Eustace.", "passed it now, with this man in the house with him, was horrible to\nhim. For Lopez, though he had more than once threatened that he would\ncarry his wife to another home, had taken no steps towards getting", "looked at it, could he make a joy even of her presence during the few\nintervening weeks. Lopez proposed to take his bride into Italy for\nthe winter months, and to stay there at any rate through December", "And during all this time Lopez was still resident in Mr. Wharton's\nhouse. \"Papa,\" she said to him one day, \"this is the cruellest thing\nof all. Why don't you tell him that he must go?\"", "Lopez allowed four days to pass by, during each of which he was\ncloseted for a time with Lady Eustace, and then made an attempt to", "declaring that if her husband bade her to go with him,--she would\ngo. On this night Lopez sat up in the dining-room, and as soon as he", "her family;--and I am divided.\" But she would willingly stay if Lopez\nwould bid her stay. It now seemed that he could not go without the", "far as her memory would serve her, the very words which Lopez had\nspoken to her this evening. She would ask nothing from him. He had\nalready told her that the man was to be rejected, and had refused to", "Lopez;--but he was not quite sure, and he would not tell her. But on\nthe following morning, somewhat before noon, having himself gone out" ], [ "Wharton had been very short, replied as shortly to his cousin. \"Dear\nAbel,--We all hope that Emily will be happy, though of course we", "Wharton. Emily, he said, would of course accompany her father on such\nan occasion. Then there were long letters from Mary Wharton, and even", "\"Very well. Then I shall know how to act. But, Mr. Wharton, I must\nsay this, you know Emily has a will of her own, and you must not hold", "say that Emily Wharton was bound to accept Arthur Fletcher, merely\nbecause such a marriage was fitting,--although she did think that\nthere was much perverseness in the girl, who might have taught", "\"You must do as you please about that. But to tell you the truth, Mr.\nWharton, I think the mischief is done. Such a girl as Emily, when she", "her younger son should marry Emily Wharton. Something of the truth\nas to Emily Wharton's £60,000 was, of course, known to the Longbarns", "\"Fancy a girl like Emily Wharton,\" said he, not condescending to\nnotice her little joke, \"throwing over a fellow like Arthur for a\ngreasy, black foreigner.\"\n\n\"A foreigner!\"", "Then there came a letter, or rather two letters, from Mary\nWharton;--one to Mr. Wharton and the other to Emily. To tell the", "\"There is a romance there, you know. Mr. Fletcher was in love with\nEmily Wharton, and she threw him over for Lopez. They say he has not\nheld up his head since.\"", "at once, but the visit to Wharton might be accelerated; and the\ndetails of the residence abroad might be there arranged. It was\nfixed, therefore, that Mr. Wharton and Emily should go down to", "the world. It was not only that Emily Wharton should not have become\nhis wife, but that the woman whom he loved with so perfect a love\nshould have been sacrificed to so vile a creature as this man. He", "Wharton returned to London. Everett, of course, remained, as he\nwas still learning the lesson of which he was in truth becoming a\nlittle weary; and at last Emily had also been persuaded to stay in", "Then Mr. Wharton told his whole story. \"Nonsense of Emily's!\" he\nbegan. \"Yes, it is nonsense,--worse than you think. But she doesn't", "Everett seems to have taken up with Wharton as though it belonged\nto him already. And Emily--! Well, my dear boy, let us hope that it", "He would make no attempt to throw off the load. It was now far back\nin his life, as much at least as three years, since he had first\nassured himself of his desire to make Emily Wharton the companion", "\"Emily Wharton?\"\n\n\"Yes;--your cousin Emily. Don't say anything to him, but be as good\nto him as you know how.\"", "Wharton, and also that Emily had refused him. To Arthur of course the\nfeeling that it was so could not but be an additional vexation; but\nthe knowledge had grown up and had become common in the two families", "a meeting at her own house on behalf of the lover,--as to which\narrangement Emily Wharton had herself been altogether innocent. Emily\nhad met the man in her aunt's house, not expecting to meet him, and", "On that evening, at Wharton, Emily still wore her mourning dress. No\none, indeed, dared to speak to her on the subject, and Mary was even", "he resolved that whatever Wharton might say to him on this night he\nwould not notice. He was too wise to raise a further impediment to\nhis marriage by quarrelling with Emily's brother." ], [ "\"A very much better name, to my thinking. We are all Whigs, of\ncourse. A Palliser who was not a Whig would be held to have disgraced", "conduct from the tyranny of the House of Palliser. And it was thought\nthat he might like an opportunity of making himself known in the\nHouse. But he was simply indignant when the suggestion was made", "Our old friend Phineas Finn, who had now reached a higher place in\npolitics than even his political dreams had assigned to him, though", "Plantagenet Palliser was the last man from whom the Duke of St.\nBungay would have expected romance at any time, and, least of all,", "Switzerland. But the Duke,--he was Mr. Palliser then,--followed her\nvery soon and it all came right.\"", "were stories told of certain bursts of words which had come from\nhim in former days in the House of Commons. These had occasionally\nsurprised men and induced them to declare that Planty Pall,--as he", "Queen's Government and the good of the country were their only\nconsiderations. Lord Thrift made way for Sir Orlando Drought at the\nAdmiralty, because it was felt on all sides that Sir Orlando could", "CHAPTER LXXVIII\n\nThe New Ministry", "who had worked their way from the very ranks. But even a duke cannot\nbecome Prime Minister by favour. Surely he had done something of\nwhich he might be proud. And so he tried to console himself.", "the Government. Three or four of the morning papers were of opinion\nthat though Sir Orlando had been a strong man, and a good public\nservant, the Ministry might exist without him. But the \"People's", "that office, and he had been satisfied. But he had none of that\nsatisfaction now. There were men under him who were really at\nwork. The Lord Chancellor had legal reforms on foot. Mr. Monk", "that his friend Phineas Finn should be included in the Government.\nMr. Gresham yielded, though poor Phineas was not among the most\nfavoured friends of that statesman. And so the Government was formed,", "simply Mrs. Palliser, and her husband had been a junior clerk in\nthe Treasury, such a visit would have been a courtesy; and it was", "Plantagenet is fit for. He wants always to be doing something that\nshall be really useful, and a man has to toil at that and really to\nknow things. But a Prime Minister should never go beyond generalities", "the Government,--and had not failed, for there he was, still the\nHead of the Government, with a majority at his back, and the six\nmonths' vacation before him. They who were entitled to speak to him", "seemed to him that all the real work of the Government had been\nfilched from him by his colleagues, and that he was stuck up in\npretended authority,--a kind of wooden Prime Minister, from whom no", "There is no man in England knows so well as he does what should be\ndone in such a case as this.\" The Prime Minister frowned and said\nnothing. \"My dear Duke,\" continued Lord Cantrip, \"I can give you no", "which second self he, as a Peer of Parliament and as Prime Minister,\nis not responsible. In other words we are informed that the privilege\nbelonging to the Palliser family at Silverbridge was exercised, not", "\"Not at all. Mr. Daubeny is Prime Minister. I have undertaken to form\na ministry, if I find it practicable, with the assistance of such", "the place. He never understood that to be Prime Minister in England\nis as much as to be an Emperor in France, and much more than being\nPresident in America. Oh, how I did labour for him,--and how he did" ], [ "At the time with which we are now concerned Ferdinand Lopez was\nthirty-three years old, and as he had begun life early he had been", "shine among them as Ferdinand Lopez. He was of too good a nature to\nbe stirred to injustice against his friend by the soreness of this", "in the House, which should have been hostile, had been asked in a\nfriendly spirit. In this way there came to be a party who spoke and\nwrote of Ferdinand Lopez as though he had been a martyr.", "It cannot be supposed that Ferdinand Lopez at this time was a very\nhappy man. He had, at any rate, once loved his wife, and would have", "Mr. Sprugeon and Mr. Sprout between them had soon decided that\nMr. Ferdinand Lopez should be run for the borough as the \"Castle\"", "and evident capabilities for his business. At last a verdict was\ngiven,--that the man's name was Ferdinand Lopez, that he had been", "FERDINAND LOPEZ.\n\n Mr. Arthur Fletcher.", "by personal animosity to the man. Then Lopez took his departure. \"Oh,\nFerdinand,\" she said, \"I do so hope you may be successful.\"", "The abuse which was now publicly heaped on the name of Ferdinand\nLopez hit the man very hard; but not so hard perhaps as his rejection", "last it came to be believed that the Major had been turned out by the\norder of the Duchess, because he had ventured to put himself forward\nas an opponent to Ferdinand Lopez, and the Major felt himself really", "It was not, therefore, surprising that Ferdinand Lopez should\nvolunteer no statements to the old lawyer about money, and that he", "Then the name of the opposition candidate was whispered to Lopez. It\nwas Arthur Fletcher! Lopez started, and asked some questions as to", "the Hall, and there had been sympathetic expressions of hope that all\nmight yet be well. But at that time little or nothing had been known\nof Ferdinand Lopez.", "This was a heavy blow, and one which Ferdinand Lopez was not the\nman to bear with equanimity. From the moment in which the Duchess", "Ferdinand Lopez, who in other respects had much in his circumstances\non which to congratulate himself, suffered trouble in his mind", "once that he must first have become a candidate without knowing who\nwould be his opponent. But Ferdinand had assured her as a matter of\nfact that Fletcher had known all about it. \"I suppose in politics", "whom Mr. Wharton at once concluded that he was there as being the\nfriend of Ferdinand Lopez. If so, how much influence must Ferdinand", "\"I think every one allows that Ferdinand Lopez is a gentleman.\"\n\n\"Who was his father?\"\n\n\"I didn't happen to know him, sir.\"", "have been made to Ferdinand Lopez by the Duke on the score of the\nelection at Silverbridge. Some persons spoke to him on the subject.\nOne or two friends at the club asked him what he supposed to be the", "still common in the columns of the \"People's Banner,\" and was never\nmentioned without being read by the unfortunate Duke. But others had\nceased to talk of Ferdinand Lopez." ], [ "This was a heavy blow, and one which Ferdinand Lopez was not the\nman to bear with equanimity. From the moment in which the Duchess", "reader need only see the passage in which Ferdinand Lopez made his\ndemand,--through her hand.", "\"The Duchess wants to get it for this man, Ferdinand Lopez.\"\n\n\"But it has not been promised yet?\"", "\"What do you think of Ferdinand Lopez?\" asked the Duchess, with\nstudied abruptness.", "last it came to be believed that the Major had been turned out by the\norder of the Duchess, because he had ventured to put himself forward\nas an opponent to Ferdinand Lopez, and the Major felt himself really", "have been made to Ferdinand Lopez by the Duke on the score of the\nelection at Silverbridge. Some persons spoke to him on the subject.\nOne or two friends at the club asked him what he supposed to be the", "shine among them as Ferdinand Lopez. He was of too good a nature to\nbe stirred to injustice against his friend by the soreness of this", "still common in the columns of the \"People's Banner,\" and was never\nmentioned without being read by the unfortunate Duke. But others had\nceased to talk of Ferdinand Lopez.", "with a grain of truth when he had told the Duchess that he was not\nmarrying for money. Ferdinand Lopez was not an honest man or a good", "his father-in-law,--that special sum having been given to him for\nthat special purpose. And Lopez, when he wrote to the Duke, assured", "At the time with which we are now concerned Ferdinand Lopez was\nthirty-three years old, and as he had begun life early he had been", "It cannot be supposed that Ferdinand Lopez at this time was a very\nhappy man. He had, at any rate, once loved his wife, and would have", "On his arrival in London Ferdinand Lopez found a letter waiting for\nhim from the Duchess. This came into his hand immediately on his", "and evident capabilities for his business. At last a verdict was\ngiven,--that the man's name was Ferdinand Lopez, that he had been", "Mr. Lopez had in fact come there as the Duke's nominee, and as the\nDuke had no nominee, Mr. Lopez was in fact \"nowhere.\"", "in the House, which should have been hostile, had been asked in a\nfriendly spirit. In this way there came to be a party who spoke and\nwrote of Ferdinand Lopez as though he had been a martyr.", "Lopez should have been brought down there under false ideas. He had\nall through told Mr. Sprugeon that the Duke had been in earnest, but", "form. The proclamation had been especially necessary because the Duke\nwas Prime Minister. The agent did not think that Mr. Lopez should\nbe in the least angry with the Duke. Everything would be done that", "It was not as he sat at the breakfast table that Ferdinand Lopez made\nup his mind to pocket the Duke's money and to say nothing about it to", "much, Mr. Lopez,\" the Duchess had said; \"but you may be sure I will\nnot forget you.\" Then it had been settled between them that the" ], [ "This was marvellous to him,--that his wife, who as Lady Glencora\nPalliser had been so conspicuous for a wild disregard of social rules", "were true to her. There was a feeling abroad that \"Glencora\" was\na \"good sort of fellow\" and ought to be supported. And when the", "capacity, but in his rank and wealth. It might, in fact, be the\ncase that it was his wife the Duchess,--that Lady Glencora of whose", "estimation as Lady Glencora Palliser,--whose position had been all\nher own and had not depended on her husband,--than now she had done", "this to the Duke of St. Bungay, except the young woman whom he had\npetted all his life as Lady Glencora. \"But I am very serious,\" she", "\"Forty to sleep, my lady?\" To Pritchard the Duchess had for many\nyears been Lady Glencora, and she perhaps understood that her\nmistress liked the old appellation.", "come uppermost for the moment. One would have been inclined to say\nthat politics were altogether unnecessary to her, and that as Duchess\nof Omnium, lately known as Lady Glencora Palliser, she had a wider", "The two wives of the two men were in the pony carriage, and the\nlittle Lady Glencora, the Duchess's eldest daughter, was sitting", "\"Glencora, in these matters you must allow me to judge for myself,\nand I will judge. I will never say that I didn't do it;--but that it\nwas my wife who did.\"", "Silverbridge. Glencora will bear a great deal,--but since she has\ntaken up politics, by George, you had better not touch her there.\" At", "that abandonment of her project which she so often threatened, but\nnot enough to make her triumphant. She was too clever not to see\nthat she was ridiculed. She knew that men called her Glencora among", "she contemplated, they might do so without touching the Palliser\nproperty. Of that she was quite sure. And the squandering was to be\nall for his glory,--so that he might retain his position as a popular", "about this collection of people down at Gatherum,\" continued the\nyounger Duke. \"Glencora is impulsive, and has overdone the thing.", "answered. There were some who thought that the matter was so serious\nthat the Prime Minister could not get over it. Others had heard in\nthe clubs that Lady Glen, as the Duchess was still called, was to be", "\"I thought it was going to be very particular.\"\n\n\"It's Glencora's doing.\"", "had caused so many troubles,--and Mrs. Grey, who in days now long\npassed had been almost as necessary to Lady Glencora as was now her", "herself. The Duchess bowed from her seat, and smiled sweetly,--as\nshe had learned to smile since her husband had become Prime Minister.", "efforts to keep together the Coalition by giving dinners, balls, and\ngarden parties, and by binding to herself the gratitude and worship\nof young parliamentary aspirants. In carrying out her plans, she had", "herself,--that she had devoted herself to the work of cementing and\nconsolidating the Coalition by the graceful hospitality which the\nwealth of herself and her husband enabled her to dispense. She had", "His wife was at first inclined to think that an action should be\ntaken, but she was more easily convinced than Lord Chiltern. \"I had" ], [ "intimated to the Fletchers that she was disposed to receive with\nfavour the addresses of Ferdinand Lopez. As she remembered this it", "Fletcher,--as indeed she had for a time liked Ferdinand Lopez,--and\nfelt that her conscience would be easier if she could assist in this", "there had lately sprung up in the heart of Lady Eustace a desire to\nmultiply her means by successful speculation. This was the friend\nwith whom Lopez had lately become intimate, and by whose aid he hoped", "their attributes, and acting on that, she had given herself and all\nher happiness into the keeping of Ferdinand Lopez. Now, there was\ngradually coming upon her a change in her convictions,--a change that", "Mrs. Leslie, who had introduced her to Mrs. Dick Roby, and through\nMrs. Roby to Ferdinand Lopez. Lady Eustace was in the enjoyment of a", "clinging to the widow of such a man as Ferdinand Lopez! If there were\nany doubt, then she would be prepared to do all she could to prevent", "This was marvellous to him,--that his wife, who as Lady Glencora\nPalliser had been so conspicuous for a wild disregard of social rules", "this to the Duke of St. Bungay, except the young woman whom he had\npetted all his life as Lady Glencora. \"But I am very serious,\" she", "\"Glencora, in these matters you must allow me to judge for myself,\nand I will judge. I will never say that I didn't do it;--but that it\nwas my wife who did.\"", "It cannot be supposed that Ferdinand Lopez at this time was a very\nhappy man. He had, at any rate, once loved his wife, and would have", "scheme, and had of course expressed her horror. But she sympathised\nwith Lopez rather than with his wife, thinking that if Mr. Wharton\nwould only open his pockets wide enough things might still be right.", "capacity, but in his rank and wealth. It might, in fact, be the\ncase that it was his wife the Duchess,--that Lady Glencora of whose", "intimacy with the Duchess of Omnium encouraged him in this way of\nthinking. The Duchess was up in town in February, and Lopez left a", "would Ferdinand Lopez do so, thought Emily to herself. \"But in all\nsuch matters, my dear, the great thing is like to like. I have spoken", "Slide, had naturally thrown much suspicion on the incident when it\nbecame known to the Editor that Ferdinand Lopez had been entertained\nby the Duke and Duchess of Omnium. \"We have always felt some slight", "with a grain of truth when he had told the Duchess that he was not\nmarrying for money. Ferdinand Lopez was not an honest man or a good", "that words would fail her to say that which ought to be said. \"So you\nhave given yourself to--one Ferdinand Lopez!\"", "in the House, which should have been hostile, had been asked in a\nfriendly spirit. In this way there came to be a party who spoke and\nwrote of Ferdinand Lopez as though he had been a martyr.", "Ferdinand Lopez and Lady Eustace had not parted when they last saw\neach other on the pleasantest terms. He had been very affectionate,", "\"Oh dear, no. I only just wanted to 'ear how it was. And as to\nembarking your money, my lady, with Ferdinand Lopez,--I wouldn't do\nit.\"" ], [ "say that Emily Wharton was bound to accept Arthur Fletcher, merely\nbecause such a marriage was fitting,--although she did think that\nthere was much perverseness in the girl, who might have taught", "the world. It was not only that Emily Wharton should not have become\nhis wife, but that the woman whom he loved with so perfect a love\nshould have been sacrificed to so vile a creature as this man. He", "yet it was impossible to induce Emily to think of her husband without\nregret. It had been only too manifest during the last year of their\nmarried life that she had felt horror rather than love towards him.", "Wharton had been very short, replied as shortly to his cousin. \"Dear\nAbel,--We all hope that Emily will be happy, though of course we", "\"You must do as you please about that. But to tell you the truth, Mr.\nWharton, I think the mischief is done. Such a girl as Emily, when she", "Wharton, and also that Emily had refused him. To Arthur of course the\nfeeling that it was so could not but be an additional vexation; but\nthe knowledge had grown up and had become common in the two families", "\"There is a romance there, you know. Mr. Fletcher was in love with\nEmily Wharton, and she threw him over for Lopez. They say he has not\nheld up his head since.\"", "service. During all this time Mr. Wharton was very wretched. If he\ncould have freed his daughter from her marriage by half his fortune\nhe would have done it without a second thought. If he could have", "\"It is my fault,\" said Emily, bursting out into self-reproach,--\"my\nfault that I married him.\"\n\n\"Whether married or single he would have preyed upon Mr. Parker to\nthe same extent.\"", "\"My dear Emily,\" said Mr. Wharton, striving to wax into anger that he\nmight be firm against her, \"I don't think that it becomes you to ask", "Then Mr. Wharton told his whole story. \"Nonsense of Emily's!\" he\nbegan. \"Yes, it is nonsense,--worse than you think. But she doesn't", "He would make no attempt to throw off the load. It was now far back\nin his life, as much at least as three years, since he had first\nassured himself of his desire to make Emily Wharton the companion", "Wharton. Nothing could shake her but the ascertained unworthiness of\nthe man,--and not that unless it were ascertained beneath her own\neyes. And then years must pass by before she would yield to another", "MARY WHARTON.\n\n\nThis letter made poor Emily very angry for a day or two. \"It is as\nunreasonable as it is ill-natured,\" she said to her brother.", "Wharton. Of anything that may have passed between them Emily was\naltogether ignorant. She observed, or thought that she observed, that\nher father was more silent with her,--perhaps less tender than he had", "On that evening, at Wharton, Emily still wore her mourning dress. No\none, indeed, dared to speak to her on the subject, and Mary was even", "probably be very uncomfortable if I found myself in her society;\nbut I believe her to be a good sort of woman in her way.\" Emily sat\nperfectly silent, knowing that her husband had been rebuked, but", "a meeting at her own house on behalf of the lover,--as to which\narrangement Emily Wharton had herself been altogether innocent. Emily\nhad met the man in her aunt's house, not expecting to meet him, and", "Wharton returned to London. Everett, of course, remained, as he\nwas still learning the lesson of which he was in truth becoming a\nlittle weary; and at last Emily had also been persuaded to stay in", "Then there came a letter, or rather two letters, from Mary\nWharton;--one to Mr. Wharton and the other to Emily. To tell the" ], [ "this to the Duke of St. Bungay, except the young woman whom he had\npetted all his life as Lady Glencora. \"But I am very serious,\" she", "about this collection of people down at Gatherum,\" continued the\nyounger Duke. \"Glencora is impulsive, and has overdone the thing.", "capacity, but in his rank and wealth. It might, in fact, be the\ncase that it was his wife the Duchess,--that Lady Glencora of whose", "This was a heavy blow, and one which Ferdinand Lopez was not the\nman to bear with equanimity. From the moment in which the Duchess", "\"What made him talk of that to-day?\" he said, turning at her almost\nangrily and thinking at once of the Duke's cheque.", "\"Certainly not,\" said the Duke, with a scowl that was terrible even\nto his wife. \"I wished to speak to you, but I wished to speak to you\nalone.\"", "form. The proclamation had been especially necessary because the Duke\nwas Prime Minister. The agent did not think that Mr. Lopez should\nbe in the least angry with the Duke. Everything would be done that", "The two wives of the two men were in the pony carriage, and the\nlittle Lady Glencora, the Duchess's eldest daughter, was sitting", "\"He hated it,--in his heart. And so do I. And so does Glencora. I\ndon't see why any man should have his private life interrupted by", "He had certainly contrived to make that letter as oppressive as\npossible. He had been clever enough to put into it words which were\nsure to wound the poor Duke and to confound the Duchess. And having", "Of course the Duke had read the article in the privacy of his own\nroom, and of course the article had nearly maddened him with anger", "her father had been loud in denouncing before the wretch had\ndestroyed himself,--had been especially against the Duke of Omnium.\nAnd now the Duchess came forward to say that it should be forgiven", "But the Duke, though he was by far too magnanimous to be angry with\nPhineas Finn because Phineas would not fall into his views respecting", "have been with her. The Duke had given directions which made it\nnecessary that Locock's coming should be postponed for a day, and\nthis was another grievance. She was put out a good deal, and began to", "still his wrath against the Duke and Duchess remained, and he was\nwont to indulge it with very violent language as he sat upon one of", "This was marvellous to him,--that his wife, who as Lady Glencora\nPalliser had been so conspicuous for a wild disregard of social rules", "of the Government, had proposed. The Duke had so offended him that\nhe conceived himself bound to regard the Duke as his enemy. But he\nknew,--and he could not escape from the knowledge,--that England did", "him to fill it was responsible. What right had he, the Duke of St.\nBungay, to be angry because his friend was not all-wise at all", "\"What is the meaning of that?\" The Duchess was not skilled in hiding\nher feelings, at any rate from him, and declared to him at once by\nher voice and eye that the proposed change was not gratifying to her.", "pleasure to go back to ladies and gentlemen.\" This the Duchess said\nin her extreme bitterness." ] ]

[ "Who takes his own life by a train?", "Why was the Duke furious with Glencora Palliser?", "Who is Glencora to Plantagenet Palliser? ", "Glencora attempts to support her husband by doing what?", "The Duke is spiritedly defended where?", "Who is Phineas Finn to the Duke?", "Who does Ferdinand Lopez try to persuade into running away to Guatemala?", "What causes financial ruin?", "Where does the Duchess hold parties to support the Duke?", "Who does Emily's father think she should marry?", "What does Ferdinand propose to Lizzie Eustace?", "Why does Ferdinand decide to run for parliament?", "Who helps defend the Duke in front of the house of parliament?", "Why does Ferdinand give up his attempt to join parliament?", "Why is the Duke angry after the Duchess encourages Ferdinand?", "What does the Duke find discouraging about his new position?", "How does Ferdinand Lopez end his life?", "What does Emily do after Ferdinand's death?", "Why was a compromise government formed?", "Where did Lopez want Lizzie Eustace to run away with him?", "Who did Emily Wharton choose to marry?", "What was Plantagenet Palliser's title in the new government?", "Who did Ferdinand Lopez campaign against?", "What did Ferdinand Lopez demand from the Duke?", "How did Lady Glencora Palliser try to support her husband?", "What did Lady Glencora encourage Ferdinand Lopez to do?", "Why did Emily Wharton regret her marriage choice?", "Why was to Duke angry at Glencora?" ]

[ [ "Ferdinand Lopez. ", "Ferdinand Lopez" ], [ "Glencora disobeyed the Duke's explicit order not to interfere in the election. ", "Because she interfered in the election." ], [ "Plantagenet's wife. ", "his wife" ], [ "Hosting lavish parties. ", "hosting lavish parties " ], [ "The House of Commons. ", "The House of Commons " ], [ "An old colleague. ", "his defender" ], [ "Lizzie Eustace. ", "Lizzie Eustace" ], [ "Ferdinand's high-risk gambles. ", "risky gambles" ], [ "Gatherum Castle in Barsetshire", "Gahterum Castle" ], [ "Arthur Fletcher", "Arthur Fletcher" ], [ "That they go to Guatemala together.", "He proposes she run away with him to Guatemala." ], [ "The Duchess motivates him to do it.", "He does so because Glencora encourages him to and because Arthur Fletcher is his rival in love." ], [ "Phineas Finn", "Phineas Finn" ], [ "He knows he cannot beat Arthur Fletcher.", "He doesn't believe he will win" ], [ "She meddled with the election", "She led Ferdinand to believe the Duke would endorse him." ], [ "The government is ineffective", "He cannot accomplish anything because his government is too weak" ], [ "By jumping in front of a train at Tenway Junction", "By putting himself in front of a train" ], [ "Marries Arthur Fletcher", "she marries Arthur Fletcher." ], [ "The Whigs and the Tories could not form a government on their own.", "Neither the Whigs nor the Tories were able to form a government" ], [ "Guatemala", "To Guatemala" ], [ "Ferdinand Lopez", "Arthur Fletcher" ], [ "Prime Minister", "Prime Minister" ], [ "Arthur Fletcher?", "Arthur Fletcher." ], [ "Reimbursement for election expenses", "reimbursement for election expenses." ], [ "By having lavish parties", "By being hostess at lavish parties" ], [ "Stand for Parliament", "She encouraged him to run or stand for parliament." ], [ "Lopez treated her badly", "Ferdinand, her husband, runs against her former suitor" ], [ "She interfered with the election", "She supported a candidate without his approval." ] ]

[ [ "At first Anne and Gilbert talked of going home to Avonlea for\nChristmas; but eventually they decided to stay in Four Winds. \"I want\nto spend the first Christmas of our life together in our own home,\"\ndecreed Anne.", "\"YOU know, Anne-girl,\" said Gilbert, smiling into her eyes. At that\nmoment there were certainly two perfectly happy people sitting on the\ndoorstep of a little white house on the Four Winds Harbor shore.", "\"Indeed I am, dear.\"\n\n\"And leave this darling spot--our house of dreams?\" said Anne\nincredulously. \"Oh, Gilbert, it's--it's unthinkable!\"", "\"Oh, beautiful, beautiful,\" murmured Anne. \"I shall love Four Winds,\nGilbert. Where is our house?\"", "Anne looked about her with bright, appreciative eyes as she followed\nMrs. Doctor Dave upstairs. She liked the appearance of her new home\nvery much. It seemed to have the atmosphere of Green Gables and the\nflavor of her old traditions.", "\"History repeats itself,\" said Gilbert, joining her as she passed the\nBlythe gate. \"Do you remember our first walk down this hill, Anne--our\nfirst walk together anywhere, for that matter?\"", "\"We have been very happy here, haven't we, Anne-girl?\" said Gilbert,\nhis voice full of feeling.", "Anne choked, unable to answer. Gilbert waited for her at the fir-tree\ngate, while she went over the house and said farewell to every room.", "\"Just one of earth's many millions of homes, Anne--girl--but\nours--OURS--our beacon in 'a naughty world.' When a fellow has a home", "\"But there IS a brook--and it actually cuts across one corner of the\ngarden.\"\n\n\"Then,\" said Anne, with a long sigh of supreme satisfaction, \"this\nhouse you have found IS my house of dreams and none other.\"", "\"Gilbert!\" Anne's voice was full of protest. \"Surely you don't mean\nit!\"\n\n\"I do, indeed. And I have decided that it is my duty to broach the\nsubject to Leslie.\"", "\"I wish you would call me Anne,\" exclaimed Anne impulsively. \"It would\nseem more HOMEY. Everyone in Four Winds, except my husband, calls me", "\"He's Gilbert Blythe,\" said Marilla contentedly. Marilla would have\ndied the death before she would have put into words the thought that", "It was the first time Gilbert had said \"my wife\" to anybody but Anne,\nand he narrowly escaped bursting with the pride of it. The old captain", "Anne was vastly impressed with this, and informed Gilbert that she\nmeant to make it an inflexible rule never, under any circumstances, to", "\"You've made this little house just about perfect,\" he told Anne. \"It\nnever was so nice before. Mistress Selwyn had your taste and she did", "And now she must leave it. She knew that, even while she had contended\nagainst the idea to Gilbert. The little house was outgrown. Gilbert's", "Anne said something of this to Gilbert as they walked home.\n\n\"Why don't you try your hand at it yourself, Anne?\"\n\nAnne shook her head.", "\"Suppose we buy it, Anne?\" remarked Gilbert quietly.\n\nAnne dropped her sewing and stared at him.\n\n\"You're not in earnest, Gilbert?\"", "Anne joyfully agreed, and next day Leslie was installed as an inmate of\nthe little house of dreams. Miss Cornelia warmly approved of the\narrangement." ], [ "and Dr. David Blythe has been practicing there for fifty years. He is\nGilbert's great-uncle, you know. He is going to retire, and Gilbert is", "to take over his practice. Dr. Blythe is going to keep his house,\nthough, so we shall have to find a habitation for ourselves. I don't", "\"Gilbert looks very young for a doctor. I'm afraid people won't have\nmuch confidence in him,\" said Mrs. Jasper Bell gloomily. Then she shut", "Doctor Dave, who had a forty years' feud with the over-harbor people,\nlaughed and subsided.\n\n\"Who lives in that brilliant emerald house about half a mile up the\nroad?\" asked Gilbert.", "Gilbert laid down the ponderous medical tome over which he had been\nporing until the increasing dusk of the March evening made him desist.", "\"That might be fitly called a CAT-astrophe,\" said Gilbert.\n\n\"Oh, you may laugh, doctor, dear, but it would be no laughing matter.\"", "\"I suppose,\" said Gilbert, sitting down with a resigned air, \"the only\nthing to do in a case of this kind is to have patience and go at the\nmatter categorically. Whom is your letter from?\"", "\"Gilbert!\" Anne's voice was full of protest. \"Surely you don't mean\nit!\"\n\n\"I do, indeed. And I have decided that it is my duty to broach the\nsubject to Leslie.\"", "eyes she wandered over the little domain where she had reigned so happy\na queen. The Morgan place was all that Gilbert claimed. The grounds\nwere beautiful, the house old enough to have dignity and repose and", "\"We DO think of it. But Gilbert believes that a doctor should put the\nwelfare of a patient's mind and body before all other considerations.\"", "Susan, coming in on the heels of the laughter, echoed it with a\nresounding sigh.\n\n\"Why, Susan, what is the matter?\" asked Gilbert.", "\"Life here with just the two of us is so sweet, Gilbert. It spoils it\na little to have anyone else. Susan is a dear soul, but she is an\noutsider. It won't hurt me to do the work here.\"", "\"You must take your doctor's advice,\" said Gilbert. \"There's an old\nproverb to the effect that shoemakers' wives go barefoot and doctors'", "\"Gilbert!\"\n\n\"If you had married Roy Gardner, now,\" continued Gilbert mercilessly,\n\"YOU could have been 'a leader in social and intellectual circles far\naway from Four Winds.'\"", "Gilbert smiled rather sadly as he went away. Anne, her pale face\nblanched with its baptism of pain, her eyes aglow with the holy passion", "There was a strange solemnity about the little scene. Anne and Leslie\nbowed as those receiving a benediction. Gilbert suddenly brushed his", "Anne choked, unable to answer. Gilbert waited for her at the fir-tree\ngate, while she went over the house and said farewell to every room.", "\"Rhoda Allonby would not be a living woman today if I had been afraid\nof making a certain experiment,\" argued Gilbert. \"I took the risk--and\nsaved her life.\"", "home as she had deliberately intended to do. She did not refer to the\nburning question at all, but she chatted amiably of other matters, and\nGilbert understood that he was forgiven under protest.", "\"She's quite a character,\" chuckled Doctor Dave. \"A most inveterate\nman-hater!\"\n\n\"Sour grapes?\" queried Gilbert, laughing." ], [ "my opinion! Well, he went to one out-of-the-way place, and there he\nfound a man he knew at first sight it was Dick Moore, though he had a", "and took on another and left for home; and that was all they ever found\nout about her. By degrees people began to talk of Dick Moore as one\nthat was dead. Almost everyone believed that he was, though no one", "Moore died soon after Dick was brought home and it was found he was\nalmost bankrupt. When things were settled up there was nothing for", "\"Dick Moore came into her life that summer. His father, Abner Moore,\nkept store at the Glen, but Dick had a sea-going streak in him from his", "\"Dick! Dick Moore! HE'S happy enough. He's a better behaved and more\nreputable member of society now than he ever was before.", "\"Dick Moore?\" echoed Anne, sitting up alertly. \"Why, what in the world\nhave you to say about Dick Moore?\"", "\"It's not of you--or ourselves--I want to talk. It's about Dick Moore.\"", "Dick Moore better now than I ever did when he was in his right\nsenses--though the Lord knows that isn't saying much. I was down there", "\"Not at all. I rather like poor Dick Moore. He seems so pitiful and\nappealing, somehow.\"", "of complaint to me. Have you ever seen Dick Moore?\"", "cousin, George Moore, of Nova Scotia, who, it seems, always resembled\nhim very strikingly. Dick Moore died of yellow fever thirteen years\nago in Cuba.\"", "Dick Moore occasionally as an accepted fact, and not give undue\nmorbidness to the subject by avoiding it. She was right, for Leslie's\nair of constraint suddenly vanished. Evidently she had been wondering", "\"There is NO Dick! The man we have thought Dick Moore--whom everybody\nin Four Winds has believed for twelve years to be Dick Moore--is his", "Dick Moore when I saw him first down in Cuby. If it hadn't a-bin for\nhis eyes I mightn't a-known him, with his beard and fat. You know, I", "Oh, that poor, heart-broken girl! I never see Dick Moore but I want to\nrun a knife clean through him.\"", "conclusion that if Dick Moore were taken to a good hospital and the\noperation of trephining performed on several places in his skull, his\nmemory and faculties might be restored.\"", "knew that Dick Moore wasn't the kind of man Leslie could ever fancy, in\nspite of his good looks and dashing ways. Of course, there was no", "had never seen George Moore, you know. I remember now that Dick once\nmentioned casually that he had a cousin in Nova Scotia who looked as", "\"Of course there is no great rush, dearie. But Dick Moore's been dead\nfor thirteen years and Leslie has wasted enough of her life for him.", "would mean for Leslie if Dick Moore were to be restored to his right\nsenses? Just stop and think! She's unhappy enough now; but life as" ], [ "his own place, my dear, wee man-child. But little Joy has hers, and\nalways will have it. If she had lived she would have been over a year", "spent her bridal moon; here wee Joyce had lived her one brief day; here\nthe sweetness of motherhood had come again with Little Jem; here she", "been befrilled and belaced for dimpled limbs and downy head. Little\nJoy was never to sleep there; she had found a colder, narrower bed.", "\"Little Joyce,\" she murmured, when Marilla came in to see the baby.\n\"We planned to call her that if she were a girlie. There were so many", "At first she was too weak and too happy to notice that Gilbert and the\nnurse looked grave and Marilla sorrowful. Then, as subtly, and coldly,", "true, Mistress Blythe. You'll see your little Joyce again some day.\"", "violated the very first moment Little Jem was laid in her arms. \"Oh,\nthe darling itty wee sing!\" she had exclaimed. And she had continued", "\"The Lord has given and the Lord has taken away, dearie,\" she said\nthrough her own tears. \"Blessed be the name of the Lord.\"\n\nThen she went away, leaving Anne and Gilbert alone together with their\ndead.", "Anne and Leslie had another cry the next week when they shortened\nLittle Jem. Anne felt the tragedy of it until evening when in his long\nnightie she found her own dear baby again.", "vigils of joy and some of sorrow had been kept there; and today she\nmust leave it forever. Henceforth it would be hers no more;", "The next day, the small white Joy was laid in a velvet casket which\nLeslie had lined with apple-blossoms, and taken to the graveyard of the", "Blake was an added sting. Phil had heard of the baby's birth, but not\nof its death, and she wrote Anne a congratulatory letter of sweet mirth\nwhich hurt her horribly.", "of motherhood, did not need to be told to think of her baby. She\nthought of nothing else. For a few hours she tasted of happiness so", "\"Yes, the eighth baby arrived a fortnight ago,\" said Miss Cornelia,\nfrom a rocker before the fire of the little house one chilly October", "\"I was so glad when you brought the little dress; and since I had to\nlose little Joyce I like to think that the dress she wore was the one\nyou made for her when you let yourself love me.\"", "\"It was God's will, Anne,\" said Marilla, helpless before the riddle of\nthe universe--the WHY of undeserved pain. \"And little Joy is better\noff.\"", "there was none on the Island. Alice--Alice--the first baby ever born\nin that little house. No baby ever brought more joy! I've dandled her", "\"It was the first of July when the house was finished. The\nschoolmaster began to count the days then. We used to see him walking\nalong the shore, and we'd say to each other, 'She'll soon be with him\nnow.'", "\"So you are to have THAT, too,\" she said in a choked voice. And\nwithout another word she had turned and gone across the fields", "\"This baby will take Joy's place,\" said Marilla." ], [ "\"Leslie!\" he said, holding out his hand. It was the first time he had\never called her by her name; but the hand Leslie gave him was cold; and", "Leslie was trembling and growing almost incoherent with the violence of\nher emotion.\n\n\"Don't, Leslie,\" implored Anne, \"oh, don't. I understand--don't talk\nof it any more.\"", "letters when Leslie was with them. The girl's flush and pallor at such\nmoments spoke all too eloquently of the emotion that filled her being.", "I love Leslie. LOVE her! That seems too weak a word!\"", "\"I will do everything I can for her,\" said Anne. Her interest in\nLeslie Moore, which had been vivid ever since she had seen her driving", "\"But--oh, it's so--so shameful,\" murmured Leslie. \"To love\nhim--unsought--and when I'm not free to love anybody.\"", "almost have to believe that Leslie doesn't--doesn't like me. Sometimes\nI surprise a look in her eyes that seems to show resentment and", "proud, and keeping everyone but me at a distance. I won't BE kept at a\ndistance, believe ME! I've just stuck to Leslie as close as I knew how\nin spite of everything.\"", "of patience. She loved her mother. Leslie is clannish--her own could\nnever do wrong in her eyes. Well, they buried Frank West beside", "Leslie said something in a very low and tremulous voice. Their hands\nand lips met; it was life's supreme moment for them and as they stood", "\"I wonder if YOU would like ME,\" said Leslie seriously. She was not\nfishing for a compliment. She looked out across the waves that were", "\"So do I,\" said Leslie. \"She is the best friend I have in the world.\"", "Captain Jim listened in amazed silence while Gilbert said what he had\ncome to say. Anne, who knew how the old man worshipped Leslie, felt", "\"Anne, my happiness frightens me,\" whispered Leslie. \"It seems too\ngreat to be real--I'm afraid to speak of it--to think of it. It seems", "Leslie's lips were trembling and her whole form was tense with emotion.\nBut Anne laughed heartlessly. She bent over and kissed Leslie's\nupturned reproachful face.", "She laughed bitterly. Anne slipped her arm around her.\n\n\"Leslie, is it that you have learned to care for Mr. Ford?\"\n\nLeslie turned herself about passionately.", "it's a staggering thing. And Leslie has sacrificed the best years of\nher life to nursing a man who hadn't any claim on her! Oh, drat the", "Anne put her arms about Leslie and kissed her. Leslie returned the\nkiss warmly. She looked pale and tired, and she gave a little sigh as", "homeward. Anne was deeply hurt; for the moment she felt as if she\ncould never like Leslie again. But when Leslie came over a few", "reason, that Leslie harbored a queer, indefinable resentment towards\nher. At times, this secret consciousness marred the delight of their" ], [ "operation has been performed and followed by normal results. But it is\ntoo soon to know whether Dick's faculties will be eventually restored,\nwholly or in part. His memory would not be likely to return to him all", "conclusion that if Dick Moore were taken to a good hospital and the\noperation of trephining performed on several places in his skull, his\nmemory and faculties might be restored.\"", "removed. But if, as I believe, his loss of memory and other faculties\nis due merely to the pressure on the brain centers of certain depressed\nareas of bone, then he can be cured.\"", "\"Have I lost my friend?\" said Anne with a sigh. \"If the operation is\nsuccessful and Dick Moore finds himself again Leslie will retreat into\nsome remote fastness of her soul where none of us can ever find her.\"", "\"I took the opportunity to examine the scars on his head thoroughly.\nI've always thought Dick was a very interesting case from a medical", "matter to Leslie. She accepted the fact of Dick's operation, referred\nto it when necessary in a business-like way, and ignored it when it was", "his memory and knows who he is. He says Dick took yellow fever in\nCuba, and the Four Sisters had to sail without him. George stayed\nbehind to nurse him. But he died very shortly afterwards.", "\"Dick! Dick Moore! HE'S happy enough. He's a better behaved and more\nreputable member of society now than he ever was before.", "But she had promised to write. Ten days after Gilbert's return the\nletter came. Leslie wrote that the operation had been successfully\nperformed and that Dick was making a good recovery.", "my opinion! Well, he went to one out-of-the-way place, and there he\nfound a man he knew at first sight it was Dick Moore, though he had a", "it never occurred to me to question Dick's identity. Any change in him\nseemed to me just the result of the accident.", "moment he remembered his own name. I saw him looking at me with an\nintelligent but puzzled expression. I said, 'Do you know me, Dick?'", "Some instinct made Anne keep away from Leslie for the next three days.\nOn the third evening Leslie came down to the little house and told\nGilbert that she had made up her mind; she would take Dick to Montreal\nand have the operation.", "with the report that the Montreal surgeon whom they had consulted\nagreed with him that there was a good chance of Dick's restoration.", "\"No,\" she said dully. \"There isn't any hope. Dick will never be\nbetter--and even if his memory were to come back--oh, Anne, it would be", "\"But Dick isn't your patient in that respect,\" cried Anne, taking\nanother tack. \"If Leslie had asked you if anything could be done for", "\"Anne, do you mean to tell me it's true what I've heard--that Dr.\nBlythe has told Leslie Dick can be cured, and that she is going to take\nhim to Montreal to have him operated on?\"", "Dick--George, I should say--home. Of course, we all thought Dick had\nchanged considerable--he'd got so lumpish and fat. But we put that", "\"That is for her to decide,\" persisted Gilbert stubbornly.\n\n\"You say you think that Dick can be cured. But are you SURE of it?\"", "\"And Dick--George, I mean? Is his memory fully restored?\"" ], [ "\"And do you mean to tell me, Anne, dearie, that Dick Moore has turned\nout not to be Dick Moore at all but somebody else? Is THAT what you\nphoned up to me today?\"", "\"There is NO Dick! The man we have thought Dick Moore--whom everybody\nin Four Winds has believed for twelve years to be Dick Moore--is his", "my opinion! Well, he went to one out-of-the-way place, and there he\nfound a man he knew at first sight it was Dick Moore, though he had a", "\"It's not of you--or ourselves--I want to talk. It's about Dick Moore.\"", "\"Dick Moore?\" echoed Anne, sitting up alertly. \"Why, what in the world\nhave you to say about Dick Moore?\"", "He answered, 'I never saw you before. Who are you? And my name is not\nDick. I am George Moore, and Dick died of yellow fever yesterday!", "of complaint to me. Have you ever seen Dick Moore?\"", "and took on another and left for home; and that was all they ever found\nout about her. By degrees people began to talk of Dick Moore as one\nthat was dead. Almost everyone believed that he was, though no one", "\"Dick! Dick Moore! HE'S happy enough. He's a better behaved and more\nreputable member of society now than he ever was before.", "Moore died soon after Dick was brought home and it was found he was\nalmost bankrupt. When things were settled up there was nothing for", "\"Yes, I know,\" said the girl. \"I am Leslie Moore--Mrs. Dick Moore,\"\nshe added stiffly.", "big beard. Captain Jim got it shaved off and then there was no\ndoubt--Dick Moore it was--his body at least. His mind wasn't there--as", "\"Not at all. I rather like poor Dick Moore. He seems so pitiful and\nappealing, somehow.\"", "cousin, George Moore, of Nova Scotia, who, it seems, always resembled\nhim very strikingly. Dick Moore died of yellow fever thirteen years\nago in Cuba.\"", "Dick Moore when I saw him first down in Cuby. If it hadn't a-bin for\nhis eyes I mightn't a-known him, with his beard and fat. You know, I", "Dick Moore better now than I ever did when he was in his right\nsenses--though the Lord knows that isn't saying much. I was down there", "Oh, that poor, heart-broken girl! I never see Dick Moore but I want to\nrun a knife clean through him.\"", "\"Dick Moore came into her life that summer. His father, Abner Moore,\nkept store at the Glen, but Dick had a sea-going streak in him from his", "Dick Moore occasionally as an accepted fact, and not give undue\nmorbidness to the subject by avoiding it. She was right, for Leslie's\nair of constraint suddenly vanished. Evidently she had been wondering", "notice it. Remember what her life has been--and is--and must always\nbe, I suppose, for creatures like Dick Moore live forever, I" ], [ "\"Leslie's going to take him,\" she announced. \"She jumped at the\nchance. She wants to make a little money to shingle the roof of her", "\"Leslie!\" he said, holding out his hand. It was the first time he had\never called her by her name; but the hand Leslie gave him was cold; and", "Leslie, having once made up her mind what to do, proceeded to do it\nwith characteristic resolution and speed. House-cleaning must be", "enough to put herself through Redmond College. That had been her\nfather's pet scheme--he wanted her to have what he had lost. Leslie", "Leslie that I believe it is possible that Dick can be restored to\nhimself; there my responsibility ends. It will be for her to decide\nwhat she will do.\"", "Some instinct made Anne keep away from Leslie for the next three days.\nOn the third evening Leslie came down to the little house and told\nGilbert that she had made up her mind; she would take Dick to Montreal\nand have the operation.", "made and many things to be thought over. When Leslie had got the\ninformation she wanted she went home. Anne wanted to walk part of the\nway with her.", "little money--enough to give her a year at Queen's Academy. Leslie had\nmade up her mind to pass for a teacher if she could, and then earn", "Leslie, after her first anguish was over, found it possible to go on\nwith life after all, as most of us do, no matter what our particular", "Leslie was trembling and growing almost incoherent with the violence of\nher emotion.\n\n\"Don't, Leslie,\" implored Anne, \"oh, don't. I understand--don't talk\nof it any more.\"", "\"Well, what did Leslie say?\" she demanded when he came in.\n\n\"Very little. I think she felt rather dazed.\"\n\n\"And is she going to have the operation?\"", "Dick Moore occasionally as an accepted fact, and not give undue\nmorbidness to the subject by avoiding it. She was right, for Leslie's\nair of constraint suddenly vanished. Evidently she had been wondering", "\"I will do everything I can for her,\" said Anne. Her interest in\nLeslie Moore, which had been vivid ever since she had seen her driving", "\"Well,\" she resumed, \"it was all over--they buried little Kenneth in\nthat graveyard over the harbor, and after a while Leslie went back to", "of patience. She loved her mother. Leslie is clannish--her own could\nnever do wrong in her eyes. Well, they buried Frank West beside", "\"So you've been over to see Leslie,\" he said, when he rejoined her.\n\n\"I didn't go in,\" said Anne, and told what she had seen. Captain Jim\nsighed.", "proud, and keeping everyone but me at a distance. I won't BE kept at a\ndistance, believe ME! I've just stuck to Leslie as close as I knew how\nin spite of everything.\"", "\"I was sixteen,\" said Leslie, rising, and picking up the cap and jacket\nlying beside her. \"I am twenty-eight now. Well, I must go back.\"", "\"Well, that's just what Leslie is doing,\" said Anne crisply. \"And it\nisn't altogether pleasant for her, either. I hope you won't mind Dick.", "matter to Leslie. She accepted the fact of Dick's operation, referred\nto it when necessary in a business-like way, and ignored it when it was" ], [ "Anne and Leslie had another cry the next week when they shortened\nLittle Jem. Anne felt the tragedy of it until evening when in his long\nnightie she found her own dear baby again.", "\"The Lord has given and the Lord has taken away, dearie,\" she said\nthrough her own tears. \"Blessed be the name of the Lord.\"\n\nThen she went away, leaving Anne and Gilbert alone together with their\ndead.", "\"Gilbert,\" whispered Anne imploringly, \"the baby--is all right--isn't\nshe? Tell me--tell me.\"", "Green Gables was a busy and joyous house that forenoon. Diana arrived\nearly, with little Fred and Small Anne Cordelia, to lend a hand. Davy", "\"I have read somewhere,\" laughed Anne, \"that the first child is a poem\nbut the tenth is very prosy prose. Perhaps Mrs. MacNab thought that\nthe twelfth was merely an old tale re-told.\"", "\"What are you going to call him?\" asked Miss Cornelia.\n\n\"Anne has settled his name,\" answered Gilbert.", "\"Really, Gilbert, we must be getting on in years,\" said Anne, with a\nhalf-rueful smile, \"when children who were six when we thought", "\"Oh, how horrible!\" said Anne, shuddering. \"The poor, poor child!\"", "strange to think of Anne being married. In a way she just seems to me\nthe little girl Matthew brought home here fourteen years ago. I can't", "\"Poor, poor girl!\" said Anne again. Her own happiness seemed to\nreproach her. What right had she to be so happy when another human\nsoul must be so miserable?", "talk \"baby talk\" to her children. Gilbert agreed with her, and they\nmade a solemn compact on the subject--a compact which Anne shamelessly", "Diana had found the name in some trashy novel, and wondered that Fred\nhadn't more sense than to allow it. But Diana and Anne smiled at each", "\"Gilbert!\" Anne's voice was full of protest. \"Surely you don't mean\nit!\"\n\n\"I do, indeed. And I have decided that it is my duty to broach the\nsubject to Leslie.\"", "\"The best dream of all has come true,\" said Anne, pale and rapturous.\n\"Oh, Marilla, I hardly dare believe it, after that horrible day last", "\"Queen Anne, you're as queenly as ever. I've got fearfully thin since\nthe babies came. I'm not half so good-looking; but I think Jo likes", "\"It was God's will, Anne,\" said Marilla, helpless before the riddle of\nthe universe--the WHY of undeserved pain. \"And little Joy is better\noff.\"", "\"I can't believe THAT,\" cried Anne bitterly. Then, seeing that Marilla\nlooked shocked, she added passionately, \"Why should she be born at", "\"Anne wouldn't let us disturb you when there was no need. Nobody was\ncalled until about two hours ago. There was no 'passage perilous' this\ntime.\"", "Blake was an added sting. Phil had heard of the baby's birth, but not\nof its death, and she wrote Anne a congratulatory letter of sweet mirth\nwhich hurt her horribly.", "\"James Matthew--after the two finest gentlemen I've ever known--not\neven saving your presence,\" said Anne with a saucy glance at Gilbert.\n\nGilbert smiled." ], [ "At first Anne and Gilbert talked of going home to Avonlea for\nChristmas; but eventually they decided to stay in Four Winds. \"I want\nto spend the first Christmas of our life together in our own home,\"\ndecreed Anne.", "\"YOU know, Anne-girl,\" said Gilbert, smiling into her eyes. At that\nmoment there were certainly two perfectly happy people sitting on the\ndoorstep of a little white house on the Four Winds Harbor shore.", "\"Well, thank goodness that Anne and Gilbert really are going to be\nmarried after all. It's what I've always prayed for,\" said Mrs.", "One evening Anne and Gilbert finally walked down to the Four Winds\nlight. The day had begun sombrely in gray cloud and mist, but it had", "\"Oh, beautiful, beautiful,\" murmured Anne. \"I shall love Four Winds,\nGilbert. Where is our house?\"", "It was late September when Anne and Gilbert were able to pay Four Winds\nlight their promised visit. They had often planned to go, but\nsomething always occurred to prevent them. Captain Jim had \"dropped\nin\" several times at the little house.", "The laughter of the goodnights died away. Anne and Gilbert walked hand\nin hand around their garden. The brook that ran across the corner", "\"Oh, Anne, where? I do hope it's near here.\"\n\n\"No-o-o, that's the drawback. Gilbert is going to settle at Four Winds\nHarbor--sixty miles from here.\"", "Gilbert was a long while in turning round; then he bent over Anne and\nlooked in her eyes. Marilla, listening fearfully outside the door,", "\"Indeed I am, dear.\"\n\n\"And leave this darling spot--our house of dreams?\" said Anne\nincredulously. \"Oh, Gilbert, it's--it's unthinkable!\"", "busy to indulge regret and when evening came the house was stripped and\nbare. Anne and Gilbert were alone in it to say farewell. Leslie and", "Anne laughed and slipped away to Lover's Lane, where Gilbert found her;\nand neither of them seemed to entertain much fear, or hope, that their\nmarried life would cure them of romance.", "There was a strange solemnity about the little scene. Anne and Leslie\nbowed as those receiving a benediction. Gilbert suddenly brushed his", "\"Gilbert!\" Anne's voice was full of protest. \"Surely you don't mean\nit!\"\n\n\"I do, indeed. And I have decided that it is my duty to broach the\nsubject to Leslie.\"", "Philippa and her Reverend Jo arrived at Green Gables the day before the\nwedding. Anne and Phil had a rapturous meeting which presently", "The moon had just risen when Anne and Gilbert went to the door with\ntheir guests. Four Winds Harbor was beginning to be a thing of dream", "their shadows Anne and Gilbert talked in lover-fashion of their new\nhome and their new life together.", "evening; and they contrived to have a quietly pleasant little supper\ntime, sitting long around the table and chatting over all the details\nof the day. While they were sitting there Anne and Gilbert were", "Anne choked, unable to answer. Gilbert waited for her at the fir-tree\ngate, while she went over the house and said farewell to every room.", "One evening Gilbert abruptly proposed that they go down and see Captain\nJim. With a sinking heart Anne agreed, and they set forth. Two weeks" ], [ "both of the lean kind. Dick had higher color than George, and his hair\nwas a shade lighter. But their features were just alike, and they both", "much alike that they can fill each other's places and their nearest and\ndearest can't tell between them. In those days you could tell easy\nenough which was George and which was Dick, if you saw them together", "cousin, George Moore, of Nova Scotia, who, it seems, always resembled\nhim very strikingly. Dick Moore died of yellow fever thirteen years\nago in Cuba.\"", "had never seen George Moore, you know. I remember now that Dick once\nmentioned casually that he had a cousin in Nova Scotia who looked as", "They were double cousins, you see. Their fathers were brothers and\ntheir mothers were twin sisters, and they did look a terrible lot", "alike. Of course,\" added Miss Cornelia scornfully, \"it wasn't one of\nthose freak resemblances you read of in novels where two people are so", "scamps. George Moore was a little taller and a good deal fatter than\nDick--though neither of them was what you would call fat--they were", "he or Leslie had ever heard about the Nova Scotia cousin looking so\nmuch like Dick. Nobody ever thought of him when Captain Jim brought", "Dick--George, I should say--home. Of course, we all thought Dick had\nchanged considerable--he'd got so lumpish and fat. But we put that", "his memory and knows who he is. He says Dick took yellow fever in\nCuba, and the Four Sisters had to sail without him. George stayed\nbehind to nurse him. But he died very shortly afterwards.", "had that queer freak of eyes--one blue and one hazel. They weren't\nmuch alike in any other way, though. George was a real nice fellow,", "He answered, 'I never saw you before. Who are you? And my name is not\nDick. I am George Moore, and Dick died of yellow fever yesterday!", "my opinion! Well, he went to one out-of-the-way place, and there he\nfound a man he knew at first sight it was Dick Moore, though he had a", "But he never seemed to care for Dick, though he had been so fond of him\nonce. He would snap and growl at him as if he were a stranger. I was", "though he was a scalawag for mischief, and some said he had a liking\nfor a glass even then. But everybody liked him better than Dick. He", "Dick Moore when I saw him first down in Cuby. If it hadn't a-bin for\nhis eyes I mightn't a-known him, with his beard and fat. You know, I", "moment he remembered his own name. I saw him looking at me with an\nintelligent but puzzled expression. I said, 'Do you know me, Dick?'", "and took on another and left for home; and that was all they ever found\nout about her. By degrees people began to talk of Dick Moore as one\nthat was dead. Almost everyone believed that he was, though no one", "\"And Dick--George, I mean? Is his memory fully restored?\"", "It always seemed to me that if I had been homely Dick would never have\nthought of me. I hated my beauty because it had attracted him, but" ], [ "and Dr. David Blythe has been practicing there for fifty years. He is\nGilbert's great-uncle, you know. He is going to retire, and Gilbert is", "\"Gilbert!\" Anne's voice was full of protest. \"Surely you don't mean\nit!\"\n\n\"I do, indeed. And I have decided that it is my duty to broach the\nsubject to Leslie.\"", "Gilbert was accustomed to refer to himself as \"an old married man.\"\nBut he still looked upon Anne with the incredulous eyes of a lover. He", "\"Life here with just the two of us is so sweet, Gilbert. It spoils it\na little to have anyone else. Susan is a dear soul, but she is an\noutsider. It won't hurt me to do the work here.\"", "Gilbert; they were cold and bright; and she proceeded to discuss\ndetails with him in a crisp, business-like way. There were plans to be", "Gilbert looked at Anne.", "Gilbert laughed and clasped tighter the girlish hand that wore his\nring. Anne's engagement ring was a circlet of pearls. She had refused\nto wear a diamond.", "Gilbert drove up the poplar lane. The door of the little house opened,\nand a warm glow of firelight flickered out into the dusk. Gilbert", "Susan, coming in on the heels of the laughter, echoed it with a\nresounding sigh.\n\n\"Why, Susan, what is the matter?\" asked Gilbert.", "home as she had deliberately intended to do. She did not refer to the\nburning question at all, but she chatted amiably of other matters, and\nGilbert understood that he was forgiven under protest.", "\"That might be fitly called a CAT-astrophe,\" said Gilbert.\n\n\"Oh, you may laugh, doctor, dear, but it would be no laughing matter.\"", "bombard Anne with precisely the same arguments with which the latter\nhad attacked Gilbert; and Anne valiantly defended her husband with the\nweapons he had used for his own protection. Long was the fray, but", "\"Gilbert looks very young for a doctor. I'm afraid people won't have\nmuch confidence in him,\" said Mrs. Jasper Bell gloomily. Then she shut", "Gilbert went out to the kitchen in response to Anne's beckoning. Anne\nshut the door and gave him a connubial lecture.", "\"Gilbert, who is the girl we have just passed?\" asked Anne, in a low\nvoice.\n\n\"I didn't notice any girl,\" said Gilbert, who had eyes only for his\nbride.", "\"Gilbert!\"\n\n\"If you had married Roy Gardner, now,\" continued Gilbert mercilessly,\n\"YOU could have been 'a leader in social and intellectual circles far\naway from Four Winds.'\"", "\"Perhaps he has fallen asleep over his life-book,\" she said anxiously,\n\"or become so absorbed in it that he has forgotten the light.\"\n\nGilbert shook his head.", "It was the first time Gilbert had said \"my wife\" to anybody but Anne,\nand he narrowly escaped bursting with the pride of it. The old captain", "\"Not with that light and that loveliness for company. Who lives in\nthat house, Gilbert?\"", "Gilbert smiled rather sadly as he went away. Anne, her pale face\nblanched with its baptism of pain, her eyes aglow with the holy passion" ], [ "\"Leslie!\" he said, holding out his hand. It was the first time he had\never called her by her name; but the hand Leslie gave him was cold; and", "\"It must have been a relief to Leslie. But she never said anything.\nFrom the day of her marriage she was just what she is now--cold and", "\"Well,\" she resumed, \"it was all over--they buried little Kenneth in\nthat graveyard over the harbor, and after a while Leslie went back to", "\"Of course there is no great rush, dearie. But Dick Moore's been dead\nfor thirteen years and Leslie has wasted enough of her life for him.", "of patience. She loved her mother. Leslie is clannish--her own could\nnever do wrong in her eyes. Well, they buried Frank West beside", "\"Leslie's going to take him,\" she announced. \"She jumped at the\nchance. She wants to make a little money to shingle the roof of her", "Leslie, after her first anguish was over, found it possible to go on\nwith life after all, as most of us do, no matter what our particular", "\"And Leslie gave in--she loved her mother so much she would have done\nanything to save her pain. She married Dick Moore. None of us knew", "to it, and may never remember it. It probably happened very soon after\nDick's death. We may find out more particulars when Leslie writes\nagain.\"", "Dick Moore occasionally as an accepted fact, and not give undue\nmorbidness to the subject by avoiding it. She was right, for Leslie's\nair of constraint suddenly vanished. Evidently she had been wondering", "She laughed bitterly. Anne slipped her arm around her.\n\n\"Leslie, is it that you have learned to care for Mr. Ford?\"\n\nLeslie turned herself about passionately.", "Ever since the day on which she had made her confession to Anne Leslie\nhad been a changed creature. There was no trace of her old coldness", "\"There isn't a very great deal to tell. Leslie's letter was short.\nShe didn't go into particulars. This man--George Moore--has recovered", "thought keeps coming into my mind. What about Owen Ford? We both know\nLeslie was fond of him. Did it ever occur to you that he was fond of\nher?\"", "course, that poor Leslie had to be the one to find him. She went into\nthe parlor that morning, singing, with some fresh flowers for the", "A fortnight later Leslie Moore came home alone to the old house where\nshe had spent so many bitter years. In the June twilight she went over\nthe fields to Anne's, and appeared with ghost-like suddenness in the\nscented garden.", "Anne put her arms about Leslie and kissed her. Leslie returned the\nkiss warmly. She looked pale and tired, and she gave a little sigh as", "Leslie was the first to become aware of him. Even in the twilight\nAnne could see the sudden whiteness that swept over her beautiful face,\nblotting out the crimson of lip and cheeks.", "Leslie was trembling and growing almost incoherent with the violence of\nher emotion.\n\n\"Don't, Leslie,\" implored Anne, \"oh, don't. I understand--don't talk\nof it any more.\"", "Leslie, having once made up her mind what to do, proceeded to do it\nwith characteristic resolution and speed. House-cleaning must be" ], [ "\"So that is one thing off the poor girl's mind,\" Miss Cornelia told\nAnne, \"and off mine too. Now, if Dick gets well enough to work again", "\"Anne, do you mean to tell me it's true what I've heard--that Dr.\nBlythe has told Leslie Dick can be cured, and that she is going to take\nhim to Montreal to have him operated on?\"", "\"Reform your grandmother!\" retorted Miss Cornelia. \"Dick Moore got the\ninjuries that left him as he is in a drunken brawl. He DESERVES his", "Some instinct made Anne keep away from Leslie for the next three days.\nOn the third evening Leslie came down to the little house and told\nGilbert that she had made up her mind; she would take Dick to Montreal\nand have the operation.", "\"She'd rather have it so,\" Miss Cornelia told Anne. \"She can't bear\ntaking Dick where there are strangers. Christmas is always a hard time\nfor Leslie. She and her father used to make a lot of it.\"", "\"But Dick isn't your patient in that respect,\" cried Anne, taking\nanother tack. \"If Leslie had asked you if anything could be done for", "after all,\" added Miss Cornelia, brightening up hopefully, \"perhaps\nnothing can be done for Dick.\"", "Anne remembered that Miss Cornelia had given her a very different\nimpression of Leslie's mother. But had not love the truer vision?\nStill, it WAS selfish of Rose West to make her daughter marry Dick\nMoore.", "Anne wondered secretly why, if this were so, Miss Cornelia had never\nmentioned Mrs. Dick Moore to her. Miss Cornelia had certainly talked\nfreely about every other individual in or near Four Winds.", "\"Now, you needn't Miss Cornelia me, Anne, dearie. ANYBODY would have\nthought the same. If the Montreal doctors can make a rational creature\nout of Dick Moore they're wonders.\"", "certain you women pulled strings. But Anne, undutiful wife, won't tell\nme. Will you, Miss Cornelia?\"", "Captain Jim and Miss Cornelia came to dinner. Leslie and Dick had been\ninvited, but Leslie made excuse; they always went to her Uncle Isaac\nWest's for Christmas, she said.", "worse, even worse, than it is now. This is something you can't\nunderstand, you happy bride. Anne, did Miss Cornelia ever tell you how\nI came to marry Dick?\"", "\"Don't quote that old ninny to me,\" cried Miss Cornelia. \"And I don't\ncare who agrees with him. Think--THINK what it means to that poor\nhunted, harried girl.\"", "\"That's just like a man. But I expected better things of you, Anne,\"\nsaid Miss Cornelia, more in sorrow than in wrath; then she proceeded to", "\"Nobody knows how Dick was hurt, Miss Cornelia. It may not have been\nin a drunken brawl at all. He may have been waylaid and robbed.\"", "\"Have I lost my friend?\" said Anne with a sigh. \"If the operation is\nsuccessful and Dick Moore finds himself again Leslie will retreat into\nsome remote fastness of her soul where none of us can ever find her.\"", "\"Well, it's inhuman cruelty, that's what it is,\" said Miss Cornelia,\nviolently agitated. \"I did think Dr. Blythe was a decent man. I", "\"And mind you this, Anne, dearie,\" said Miss Cornelia, who had not yet\nwholly relieved her mind, \"You mustn't think Leslie is an infidel", "\"Dr. Blythe thought it was his duty to tell Leslie that there was a\nchance for Dick,\" said Anne with spirit, \"and,\" she added, loyalty to\nGilbert getting the better of her, \"I agree with him.\"" ], [ "\"Leslie!\" he said, holding out his hand. It was the first time he had\never called her by her name; but the hand Leslie gave him was cold; and", "of patience. She loved her mother. Leslie is clannish--her own could\nnever do wrong in her eyes. Well, they buried Frank West beside", "\"Well,\" she resumed, \"it was all over--they buried little Kenneth in\nthat graveyard over the harbor, and after a while Leslie went back to", "\"It must have been a relief to Leslie. But she never said anything.\nFrom the day of her marriage she was just what she is now--cold and", "Dick Moore occasionally as an accepted fact, and not give undue\nmorbidness to the subject by avoiding it. She was right, for Leslie's\nair of constraint suddenly vanished. Evidently she had been wondering", "\"It's an iniquitous shame,\" she declared, almost in tears. \"That's\njust what it is--an iniquitous shame. Poor, poor Leslie!\"", "\"Of course there is no great rush, dearie. But Dick Moore's been dead\nfor thirteen years and Leslie has wasted enough of her life for him.", "\"Kenneth was my brother,\" went on Leslie. \"Oh, I can't tell you how I\nloved him. And he was cruelly killed. Do you know how?\"\n\n\"Yes.\"", "course, that poor Leslie had to be the one to find him. She went into\nthe parlor that morning, singing, with some fresh flowers for the", "After a moment's struggle, Leslie regained a measure of self-control.\n\n\"Then father's health got worse and he grew despondent--his mind became\nunbalanced--you've heard all that, too?\"", "\"If it comes to that, whatever are YOU doing here?\" said Leslie, trying\nto laugh. The effort was a failure. She looked very pale and tired;", "the wheel went right over his little body and crushed the life out of\nit. And mind you, Anne, Leslie saw it. She was looking down from the", "Leslie said something in a very low and tremulous voice. Their hands\nand lips met; it was life's supreme moment for them and as they stood", "\"There isn't a very great deal to tell. Leslie's letter was short.\nShe didn't go into particulars. This man--George Moore--has recovered", "Leslie was trembling and growing almost incoherent with the violence of\nher emotion.\n\n\"Don't, Leslie,\" implored Anne, \"oh, don't. I understand--don't talk\nof it any more.\"", "But she had promised to write. Ten days after Gilbert's return the\nletter came. Leslie wrote that the operation had been successfully\nperformed and that Dick was making a good recovery.", "it's a staggering thing. And Leslie has sacrificed the best years of\nher life to nursing a man who hadn't any claim on her! Oh, drat the", "Anne was miserably silent, hampered by her deductions from her\nconversation with Owen. Leslie went on feverishly, as if she found\nrelief in speech.", "Captain Jim listened in amazed silence while Gilbert said what he had\ncome to say. Anne, who knew how the old man worshipped Leslie, felt", "matter to Leslie. She accepted the fact of Dick's operation, referred\nto it when necessary in a business-like way, and ignored it when it was" ], [ "\"The keeper of the lighthouse on Four Winds Point. You'll love that\nFour Winds light, Anne. It's a revolving one, and it flashes like a", "The lighthouse star still kept a nightly vigil; a substitute keeper had\nbeen sent to the Point, until such time as an all-wise government could", "They found Marshall Elliott at the lighthouse. At first Anne felt\ninclined to resent the intrusion of this long-haired, long-bearded", "collaborators. The frontispiece was a photograph of Captain Jim\nhimself, standing at the door of the lighthouse, looking across the", "\"The First Mate and I will have nothing to do till spring except keep\nwarm and amuse ourselves. The last lighthouse keeper used always to", "It was arranged that the tiny room off the living room at the\nlighthouse should be given over to Owen for a workshop. It was\nnecessary that Captain Jim should be near him as he wrote, for", "\"I put this fireplace in myself,\" remarked Captain Jim. \"The\nGovernment don't give lighthouse keepers such luxuries. Look at the", "the tower, and Captain Jim showed and explained the mechanism of the\ngreat light. Finally they found themselves in the dining room, where a\nfire of driftwood was weaving flames of wavering, elusive, sea-born", "in the living room of the lighthouse, but another man was--a handsome,\nmiddle-aged man, with a strong, clean-shaven chin, who was unknown to", "She went out, closing and locking the door behind her. Gilbert was\nwaiting for her with a smile. The lighthouse star was gleaming", "in the eerie twilight, or sat on the rocks below the lighthouse until\nthe darkness drove them back to the cheer of the driftwood fire. Then\nCaptain Jim would brew them tea and tell them", "and he looked wistfully about him. He knew he was somewhere near his\ndestination, but he could not yet see it. The big, white light-house", "\"The third and fourth are--keep your eye on him.\"\n\n\"I believe you,\" said Miss Cornelia emphatically.\n\n\n\nCHAPTER 38", "\"Our latch-string will always be out for you,\" promised Anne. \"And do\nyou know that the old sea captain who keeps the Four Winds light knew", "While they \"whacked,\" Anne listened or dreamed. Sometimes Leslie went\nto the lighthouse with them, and she and Anne wandered along the shore", "\"Not with that light and that loveliness for company. Who lives in\nthat house, Gilbert?\"", "has always been a matter of pride with Captain Jim to start the light\nthe moment the sun sets, and put it out the moment it rises.\"", "\"Every soul in the Glen and along the shore was at the old wharf to\nmeet her. The schoolmaster had been watching there all night. How we\ncheered as she sailed up the channel.\"", "\"Well, yes, I know it. I reckon I'm the only person living in Four\nWinds now that can remember the schoolmaster's bride as she was when", "\"Those Booths are all a mite queer,\" said Captain Jim. \"Billy seemed\nthe sanest of the lot till he got married and then this queer jealous" ], [ "\"And Leslie gave in--she loved her mother so much she would have done\nanything to save her pain. She married Dick Moore. None of us knew", "\"Yes, I know,\" said the girl. \"I am Leslie Moore--Mrs. Dick Moore,\"\nshe added stiffly.", "Anne remembered that Miss Cornelia had given her a very different\nimpression of Leslie's mother. But had not love the truer vision?\nStill, it WAS selfish of Rose West to make her daughter marry Dick\nMoore.", "Dick Moore occasionally as an accepted fact, and not give undue\nmorbidness to the subject by avoiding it. She was right, for Leslie's\nair of constraint suddenly vanished. Evidently she had been wondering", "knew that Dick Moore wasn't the kind of man Leslie could ever fancy, in\nspite of his good looks and dashing ways. Of course, there was no", "would mean for Leslie if Dick Moore were to be restored to his right\nsenses? Just stop and think! She's unhappy enough now; but life as", "interest was overdue some years, and Dick just went and told Mrs. West\nthat if Leslie wouldn't marry him he'd get his father to foreclose the", "\"Of course there is no great rush, dearie. But Dick Moore's been dead\nfor thirteen years and Leslie has wasted enough of her life for him.", "Leslie that I believe it is possible that Dick can be restored to\nhimself; there my responsibility ends. It will be for her to decide\nwhat she will do.\"", "anything to do with you, much less chumming with you as she does. I\nknow Leslie Moore too well not to be sure of that.\"", "\"Leslie!\" he said, holding out his hand. It was the first time he had\never called her by her name; but the hand Leslie gave him was cold; and", "Blythe'd run over and see to that boil on Dick Moore's neck. It's\ngetting past Leslie's skill. I'm sure I don't know what Dick Moore", "\"Dr. Blythe thought it was his duty to tell Leslie that there was a\nchance for Dick,\" said Anne with spirit, \"and,\" she added, loyalty to\nGilbert getting the better of her, \"I agree with him.\"", "Leslie took Dick to Montreal early in May. Gilbert went with her, to\nhelp her, and make the necessary arrangements for her. He came home", "Some instinct made Anne keep away from Leslie for the next three days.\nOn the third evening Leslie came down to the little house and told\nGilbert that she had made up her mind; she would take Dick to Montreal\nand have the operation.", "\"But Dick isn't your patient in that respect,\" cried Anne, taking\nanother tack. \"If Leslie had asked you if anything could be done for", "\"It must have been a relief to Leslie. But she never said anything.\nFrom the day of her marriage she was just what she is now--cold and", "\"I will do everything I can for her,\" said Anne. Her interest in\nLeslie Moore, which had been vivid ever since she had seen her driving", "Oh, that poor, heart-broken girl! I never see Dick Moore but I want to\nrun a knife clean through him.\"", "her pride would not suffer, and it MIGHT convince him that he should\nlet Dick Moore alone. Shall I--shall I? No, after all, I cannot. A" ], [ "Owen had not much doubt that he would find a publisher. He knew that\nhe had written a great book--a book that would score a wonderful", "\"Isn't that beautiful?\" said Owen, pointing to it with the air of a man\nwho puts a certain conversation behind him.", "\"Perhaps,\" said Owen dreamily, \"it is the prisoned infinite in us\ncalling out to its kindred infinite as expressed in that visible\nperfection.\"", "It was arranged that the tiny room off the living room at the\nlighthouse should be given over to Owen for a workshop. It was\nnecessary that Captain Jim should be near him as he wrote, for", "\"This house was builded and consecrated by love,\" said Owen. \"Such\nhouses, MUST exert an influence over those who live in them. And this", "Captain Jim was still more excited when he discovered that Owen Ford\nwas what he called a \"real writing man.\" He gazed at him as at a", "\"I knew when I looked at Owen Ford that he was the very man for it,\"\nshe told Gilbert. \"Both humor and passion were in his face, and that,", "Captain Jim was more excited than ever when Owen Ford told him of his\nplan. At last his cherished dream was to be realized and his", "He looked upon the little room where Owen worked as a sacred shrine.\nOwen talked everything over with Captain Jim, but he would not let him\nsee the manuscript.", "While talking, Captain Jim watched Owen Ford from the corner of his eye\nas the latter examined the life-book; and presently observing that his", "\"We'll collaborate,\" cried Owen delightedly. \"You will give the soul\nand I the body. Oh, we'll write a famous book between us, Captain Jim.\nAnd we'll get right to work.\"", "now--oh, I'm glad that I have it. It's all I have to offer Owen,--his\nartist soul delights in it. I feel as if I do not come to him quite", "\"I should like nothing better than to see it, Captain Boyd,\" said Owen.\n\"If it is half as wonderful as your tales it will be worth seeing.\"", "\"Some evenings a strange odor blows down the air of this garden, like a\nphantom perfume,\" said Owen. \"I have never been able to discover from", "have been one of the greatest happiness for him--with the quick,\npainless ending he had hoped for in the morning. I am glad for Owen's", "guest was lost in its pages, he turned smilingly to his cupboard and\nproceeded to make a pot of tea. Owen Ford separated himself from the", "\"Captain Jim is such good company for others that one can't imagine him\nbeing anything but good company for himself,\" said Owen. \"But he must", "hand over his eyes; Owen Ford was rapt as one who can see visions. All\nwere silent for a space. The little house of dreams added another", "full. I never was lonely for a moment. Before Owen came there used to\nbe horrible moments--when I had been with you and Gilbert--and then had", "One day in late September Owen Ford's book came at last. Captain Jim\nhad gone faithfully to the Glen post office every day for a month," ], [ "\"The Lord has given and the Lord has taken away, dearie,\" she said\nthrough her own tears. \"Blessed be the name of the Lord.\"\n\nThen she went away, leaving Anne and Gilbert alone together with their\ndead.", "Anne and Leslie had another cry the next week when they shortened\nLittle Jem. Anne felt the tragedy of it until evening when in his long\nnightie she found her own dear baby again.", "\"What are you going to call him?\" asked Miss Cornelia.\n\n\"Anne has settled his name,\" answered Gilbert.", "\"Little Joyce,\" she murmured, when Marilla came in to see the baby.\n\"We planned to call her that if she were a girlie. There were so many", "\"I ENVY Anne,\" said Leslie suddenly and fiercely, \"and I'd envy her\neven if she had died! She was a mother for one beautiful day. I'd\ngladly give my life for THAT!\"", "\"Gilbert,\" whispered Anne imploringly, \"the baby--is all right--isn't\nshe? Tell me--tell me.\"", "and he died when he wasn't much over twenty. Seems to me I'd have\ngiven anything on earth, Anne, dearie, if he'd only lived.\"", "\"It was God's will, Anne,\" said Marilla, helpless before the riddle of\nthe universe--the WHY of undeserved pain. \"And little Joy is better\noff.\"", "\"He's Gilbert Blythe,\" said Marilla contentedly. Marilla would have\ndied the death before she would have put into words the thought that", "Blake was an added sting. Phil had heard of the baby's birth, but not\nof its death, and she wrote Anne a congratulatory letter of sweet mirth\nwhich hurt her horribly.", "child. I hated 'Anne' and I called myself 'Cordelia' in imagination.\"", "\"Oh, how horrible!\" said Anne, shuddering. \"The poor, poor child!\"", "talk \"baby talk\" to her children. Gilbert agreed with her, and they\nmade a solemn compact on the subject--a compact which Anne shamelessly", "\"I can't believe THAT,\" cried Anne bitterly. Then, seeing that Marilla\nlooked shocked, she added passionately, \"Why should she be born at", "She was never to know. Early the next morning Anne awakened to find\nGilbert bending over her, fully dressed, and with an expression of\nanxiety on his face.", "Gilbert smiled rather sadly as he went away. Anne, her pale face\nblanched with its baptism of pain, her eyes aglow with the holy passion", "\"The best dream of all has come true,\" said Anne, pale and rapturous.\n\"Oh, Marilla, I hardly dare believe it, after that horrible day last", "\"I have read somewhere,\" laughed Anne, \"that the first child is a poem\nbut the tenth is very prosy prose. Perhaps Mrs. MacNab thought that\nthe twelfth was merely an old tale re-told.\"", "\"Poor, poor girl!\" said Anne again. Her own happiness seemed to\nreproach her. What right had she to be so happy when another human\nsoul must be so miserable?", "At first she was too weak and too happy to notice that Gilbert and the\nnurse looked grave and Marilla sorrowful. Then, as subtly, and coldly," ], [ "Anne looked about her with bright, appreciative eyes as she followed\nMrs. Doctor Dave upstairs. She liked the appearance of her new home\nvery much. It seemed to have the atmosphere of Green Gables and the\nflavor of her old traditions.", "\"I wish you would call me Anne,\" exclaimed Anne impulsively. \"It would\nseem more HOMEY. Everyone in Four Winds, except my husband, calls me", "\"Just one of earth's many millions of homes, Anne--girl--but\nours--OURS--our beacon in 'a naughty world.' When a fellow has a home", "At first Anne and Gilbert talked of going home to Avonlea for\nChristmas; but eventually they decided to stay in Four Winds. \"I want\nto spend the first Christmas of our life together in our own home,\"\ndecreed Anne.", "strange to think of Anne being married. In a way she just seems to me\nthe little girl Matthew brought home here fourteen years ago. I can't", "\"Indeed I am, dear.\"\n\n\"And leave this darling spot--our house of dreams?\" said Anne\nincredulously. \"Oh, Gilbert, it's--it's unthinkable!\"", "\"Oh, beautiful, beautiful,\" murmured Anne. \"I shall love Four Winds,\nGilbert. Where is our house?\"", "\"Why, Mrs. Doctor, dear, it will be splendid. The Morgan house is such\na fine, big one.\"\n\n\"I hate big houses,\" sobbed Anne.", "Anne choked, unable to answer. Gilbert waited for her at the fir-tree\ngate, while she went over the house and said farewell to every room.", "Anne looked and forgot for a time the girl with the splendid, resentful\neyes. The first glimpse of her new home was a delight to eye and", "\"But there IS a brook--and it actually cuts across one corner of the\ngarden.\"\n\n\"Then,\" said Anne, with a long sigh of supreme satisfaction, \"this\nhouse you have found IS my house of dreams and none other.\"", "\"It has all such a heart-broken, reproachful look, hasn't it?\" said\nAnne. \"Oh, I shall be so homesick at the Glen tonight!\"", "the long lane with its banks of goldenrod. Anne turned at its end to\nwave her last good-bye. She was gone--Green Gables was her home no", "\"Oh, go away, Susan, go away,\" said Anne forlornly. \"Cellars and\npantries and closets don't make a HOME. Why don't you weep with those\nwho weep?\"", "There was a certain tang of romance and adventure in the atmosphere of\ntheir new home which Anne had never found in Avonlea. There, although", "\"You've made this little house just about perfect,\" he told Anne. \"It\nnever was so nice before. Mistress Selwyn had your taste and she did", "\"The best dream of all has come true,\" said Anne, pale and rapturous.\n\"Oh, Marilla, I hardly dare believe it, after that horrible day last", "leave her home. She had come there as a bride--and she had loved\nfather so--and all her memories were there. Even yet, Anne, when I", "\"History repeats itself,\" said Gilbert, joining her as she passed the\nBlythe gate. \"Do you remember our first walk down this hill, Anne--our\nfirst walk together anywhere, for that matter?\"", "\"I've found a nest for us, Anne.\"\n\n\"Oh, where? Not right in the village, I hope. I wouldn't like that\naltogether.\"" ], [ "and Dr. David Blythe has been practicing there for fifty years. He is\nGilbert's great-uncle, you know. He is going to retire, and Gilbert is", "\"I'm going to phone for Uncle Dave,\" said Gilbert, pretending to start\nfor the house.", "\"Gilbert!\" Anne's voice was full of protest. \"Surely you don't mean\nit!\"\n\n\"I do, indeed. And I have decided that it is my duty to broach the\nsubject to Leslie.\"", "By which Gilbert understood that, no matter what came of it, there\nwould be no I-told-you-so's. But he was not wholly comforted. Duty in", "\"I suppose,\" said Gilbert, sitting down with a resigned air, \"the only\nthing to do in a case of this kind is to have patience and go at the\nmatter categorically. Whom is your letter from?\"", "\"For instance,\" said Gilbert, laughing, \"let us hope he will be able to\npropose on his own account. Anne, would you have married Billy if he\nhad asked you himself, instead of getting Jane to do it for him?\"", "\"What will you do?\" asked Gilbert. \"Come with me?\"", "Gilbert's suggestion! Well, I am punished: I shall never be able to\nhave a different opinion from Gilbert's again! If I try to have, he", "\"That is for her to decide,\" persisted Gilbert stubbornly.\n\n\"You say you think that Dick can be cured. But are you SURE of it?\"", "Gilbert; they were cold and bright; and she proceeded to discuss\ndetails with him in a crisp, business-like way. There were plans to be", "\"Life here with just the two of us is so sweet, Gilbert. It spoils it\na little to have anyone else. Susan is a dear soul, but she is an\noutsider. It won't hurt me to do the work here.\"", "\"I heard he was taking notice already,\" said Captain Jim, winking at\nGilbert. \"Wasn't he up to your place one Sunday lately, with his\nfuneral blacks on, and a boiled collar?\"", "\"I'm so sorry Gilbert is away,\" said Anne. \"He had to go--Allan Lyons\nat the Glen has met with a serious accident. He will not likely be", "little lot beyond the fir grove and set it out with strawberry plants\nfor us. Gilbert is so busy he will never get time for it this fall.\nDo you know anyone we can get?\"", "\"What is it?\" she asked gaily. \"You look fearfully solemn, Gilbert. I\nreally haven't done anything naughty today. Ask Susan.\"", "Captain Jim listened in amazed silence while Gilbert said what he had\ncome to say. Anne, who knew how the old man worshipped Leslie, felt", "\"Here is Gilbert, and you are coming back with us,\" said Anne, who had\nno intention of leaving Leslie to wander alone on the sand-bar on such", "\"So Gilbert didn't go back on you after all,\" said Mrs. Harmon Andrews,\ncontriving to convey an expression of surprise in her tone. \"Well, the", "So I came over and told Gilbert. Oh, Anne, you must have thought me\nhateful in those weeks before I went away. I didn't mean to be--but I", "\"Don't say 'decision' yet, Gilbert. Consult somebody else. Ask\nCaptain Jim what he thinks about it.\"\n\n\"Very well. But I'll not promise to abide by his opinion, Anne." ], [ "Captain Jim had no fish. He seldom went out in his boat that summer,\nand his long tramping expeditions were over. He spent a great deal of", "Captain Jim was silent for a space, gazing into the glowing fire in a\nquest of the bygones. Then, with a sigh, he resumed his story.", "\"Yes, he sleeps--well,\" he added quietly. \"Anne, Captain Jim has\ncrossed the bar.\"", "at their credulous expense. But in this, as they found later, they did\nhim injustice. His tales were all literally true. Captain Jim had the", "\"Oh, no, you don't, dearie,\" said Miss Cornelia. \"No person with any\nbowels of compassion could.\"\n\n\"Captain Jim does.\"", "Captain Jim's eyes were shining. They were looking at the Four Winds\nHarbor of sixty years agone, with a battered old ship sailing through\nthe sunrise splendor.", "\"I must be going now,\" said Captain Jim slowly at last. He took up his\nhat and looked lingeringly about the room.\n\n\"Good night, all of you,\" he said, as he went out.", "Captain Jim never said a boastful word, but it was impossible to help\nseeing what a hero the man had been--brave, true, resourceful,", "Captain Jim was a high-souled, simple-minded old man, with eternal\nyouth in his eyes and heart. He had a tall, rather ungainly figure,", "\"Oh, I don't know, dearie. I never remember of Captain Jim making up\nto anybody. He was edging on old as far as my memory goes. He's", "\"Captain Jim is a good man, but he's kind of vexing in one way. You\nCAN'T make him mad. I've tried for twenty years and he just keeps on", "\"Ay, ay,\" he called cheerily back to her. But Captain Jim had sat by\nthe old fireside of the house of dreams for the last time.\n\nAnne went slowly back to the others.", "Captain Jim was a passionate worshipper of beauty. Every lovely thing\nheard or seen gave him a deep, subtle, inner joy that irradiated his", "has begun. But apart from him about the only men in the world I've\nmuch use for are the old doctor and Captain Jim.\"", "Captain Jim had come up that afternoon to bring Anne a load of shells\nfor her garden, and a little bunch of sweet-grass which he had found in\na ramble over the sand dunes.", "\"Captain Jim seems very frail and bent this spring. The winter has\naged him,\" said Anne sadly. \"I am afraid that he will soon be going to\nseek lost Margaret. I can't bear to think of it.\"", "\"But meanwhile, Captain Jim is growing old,\" said Anne, sorrowfully,\n\"and there is nobody to write his life-book.\"\n\n\n\nCHAPTER 18", "It could not be denied that Captain Jim was a homely man. His spare\njaws, rugged mouth, and square brow were not fashioned on the lines of", "\"Oh, you can take that thing home with you if you want to,\" said\nCaptain Jim, as if the \"thing\" were not his most treasured possession.", "\"Speaking of books, A Mad Love come to an end at last two weeks ago,\"\nremarked Captain Jim musingly. \"It run to one hundred and three" ], [ "Moore haunts the place--and Miss Bryant spends most of her time, I\nthink, cooking up nice things for you. Susan doesn't like it very", "\"Why do you hate the men so, Miss Bryant?\"", "well. She thinks she can cook as well as Miss Bryant.\"", "almost grasp it and it is gone. Perhaps amid this peace and\nloveliness, I shall be able to capture it. Miss Bryant tells me that\nyou write.\"", "CHAPTER 8\n\nMISS CORNELIA BRYANT COMES TO CALL", "the same age, I reckon. We both belong to the race that knows Joseph,\nas Cornelia Bryant would say.\"", "\"Miss Cornelia Bryant. She'll likely be over to see you soon, seeing\nyou're Presbyterians. If you were Methodists she wouldn't come at all.\nCornelia has a holy horror of Methodists.\"", "\"That must be either Miss Cornelia Bryant or Mrs. Moore coming to\ncall,\" she said.", "fifty years to his drowned sweetheart. \"You won't mind if I talk a\ngood deal about her, will you, Mistress Blythe? It's a pleasure to", "\"Even goddesses must live,\" said Anne. \"And Leslie isn't a goddess.\nShe's just a very beautiful woman, as human as the rest of us. Did\nMiss Bryant tell you about Mr. Moore?\"", "anybody was looking, of course. If Miss Cornelia Bryant had seen me\nshe would have forboded a gloomy prospect for poor young Dr. Blythe.\"", "\"If Cornelia Bryant was sick, it would not be Doctor Dave or the\nMethodist doctor she would send for,\" sniffed Susan. \"She would have", "years old, and I'd always promised myself that I'd go to her funeral.\"", "Moore all her life. Though, mind you, Mistress Blythe, I daresay she'd\nchoose her life now, such as it is, rather than the life she lived with", "Diana Wright, three years older than when we last saw her, had grown\nsomewhat matronly in the intervening time. But her eyes were as black", "very old lady, Miss Elizabeth Russell. She died last spring, and as\nshe had no near relatives she left her property to the Glen St. Mary\nChurch. Her furniture is still in the house, and I bought most of", "it was months old. The little, little thing! Oh, the poor, young Mrs.\nDoctor!\"", "actually set out by the schoolmaster's bride, and she has been dead for\nthirty years. Yet they bloom on every summer. Look at those red", "\"It's many a year since there was a Christmas dinner here, Mistress\nBlythe,\" said Captain Jim. \"Miss Russell always went to her friends in", "When I was a girl twenty-five was the first corner. But you look quite\nyoung. Red-headed people always do.\"" ], [ "\"And Leslie gave in--she loved her mother so much she would have done\nanything to save her pain. She married Dick Moore. None of us knew", "\"I was sixteen,\" said Leslie, rising, and picking up the cap and jacket\nlying beside her. \"I am twenty-eight now. Well, I must go back.\"", "\"It must have been a relief to Leslie. But she never said anything.\nFrom the day of her marriage she was just what she is now--cold and", "\"Leslie!\" he said, holding out his hand. It was the first time he had\never called her by her name; but the hand Leslie gave him was cold; and", "of patience. She loved her mother. Leslie is clannish--her own could\nnever do wrong in her eyes. Well, they buried Frank West beside", "spent about a month here. Leslie never saw him; she was only about\neight or nine then and I remember now that she spent that whole winter", "\"Of course there is no great rush, dearie. But Dick Moore's been dead\nfor thirteen years and Leslie has wasted enough of her life for him.", "\"Yes, I know,\" said the girl. \"I am Leslie Moore--Mrs. Dick Moore,\"\nshe added stiffly.", "\"Well, when Leslie was twelve years old, the first dreadful thing\nhappened. She worshipped little Kenneth--he was four years younger", "\"I have been married twelve years,\" said Leslie.\n\nHere was another unbelievable thing.", "\"Leslie's going to take him,\" she announced. \"She jumped at the\nchance. She wants to make a little money to shingle the roof of her", "started farming. He married Rose Elliott from over harbor. Rose was\nreckoned the beauty of Four Winds--Leslie takes her looks from her", "Leslie was the first to become aware of him. Even in the twilight\nAnne could see the sudden whiteness that swept over her beautiful face,\nblotting out the crimson of lip and cheeks.", "Mr. and Mrs. Marshall Elliott were living comfortably and harmoniously\nin the green house. Leslie was busy with sewing, for she and Owen were\nto be married at Christmas. Anne wondered what she would do when\nLeslie was gone.", "Anne put her arms about Leslie and kissed her. Leslie returned the\nkiss warmly. She looked pale and tired, and she gave a little sigh as", "Leslie was trembling and growing almost incoherent with the violence of\nher emotion.\n\n\"Don't, Leslie,\" implored Anne, \"oh, don't. I understand--don't talk\nof it any more.\"", "Captain Jim listened in amazed silence while Gilbert said what he had\ncome to say. Anne, who knew how the old man worshipped Leslie, felt", "interest was overdue some years, and Dick just went and told Mrs. West\nthat if Leslie wouldn't marry him he'd get his father to foreclose the", "\"Well,\" she resumed, \"it was all over--they buried little Kenneth in\nthat graveyard over the harbor, and after a while Leslie went back to", "letters when Leslie was with them. The girl's flush and pallor at such\nmoments spoke all too eloquently of the emotion that filled her being." ], [ "Captain Jim took charge of Dick frequently, in order to set her free.\nThey went boating on the harbor and up the three pretty rivers that", "big beard. Captain Jim got it shaved off and then there was no\ndoubt--Dick Moore it was--his body at least. His mind wasn't there--as", "at their credulous expense. But in this, as they found later, they did\nhim injustice. His tales were all literally true. Captain Jim had the", "ashamed of it--because, you see, I had hated and despised Dick so much\nbefore he went away. When I heard that Captain Jim was bringing him", "Captain Jim was more excited than ever when Owen Ford told him of his\nplan. At last his cherished dream was to be realized and his", "Captain Jim was silent for a space, gazing into the glowing fire in a\nquest of the bygones. Then, with a sigh, he resumed his story.", "light. At the gate she met two men--Captain Jim with a lantern, and\nanother who she knew must be Dick Moore--a big man, badly gone to fat,", "Captain Jim's eyes were shining. They were looking at the Four Winds\nHarbor of sixty years agone, with a battered old ship sailing through\nthe sunrise splendor.", "envelope was gone. They let him stay on--he learned to do a few odd\njobs about the place--and there Captain Jim found him. He brought him", "Captain Jim had come up that afternoon to bring Anne a load of shells\nfor her garden, and a little bunch of sweet-grass which he had found in\na ramble over the sand dunes.", "my opinion! Well, he went to one out-of-the-way place, and there he\nfound a man he knew at first sight it was Dick Moore, though he had a", "\"Oh, no, you don't, dearie,\" said Miss Cornelia. \"No person with any\nbowels of compassion could.\"\n\n\"Captain Jim does.\"", "he or Leslie had ever heard about the Nova Scotia cousin looking so\nmuch like Dick. Nobody ever thought of him when Captain Jim brought", "\"I must be going now,\" said Captain Jim slowly at last. He took up his\nhat and looked lingeringly about the room.\n\n\"Good night, all of you,\" he said, as he went out.", "Captain Jim was a high-souled, simple-minded old man, with eternal\nyouth in his eyes and heart. He had a tall, rather ungainly figure,", "\"Ay, ay,\" he called cheerily back to her. But Captain Jim had sat by\nthe old fireside of the house of dreams for the last time.\n\nAnne went slowly back to the others.", "Captain Jim had no fish. He seldom went out in his boat that summer,\nand his long tramping expeditions were over. He spent a great deal of", "Captain Jim never said a boastful word, but it was impossible to help\nseeing what a hero the man had been--brave, true, resourceful,", "Then Captain Jim told the story--an old, old forgotten story, for it\nwas over fifty years since Margaret had fallen asleep one day in her", "He began work on the book the very next morning, and flung himself into\nit heart and soul. As for Captain Jim, he was a happy man that summer." ], [ "\"The Lord has given and the Lord has taken away, dearie,\" she said\nthrough her own tears. \"Blessed be the name of the Lord.\"\n\nThen she went away, leaving Anne and Gilbert alone together with their\ndead.", "Anne and Leslie had another cry the next week when they shortened\nLittle Jem. Anne felt the tragedy of it until evening when in his long\nnightie she found her own dear baby again.", "\"Gilbert,\" whispered Anne imploringly, \"the baby--is all right--isn't\nshe? Tell me--tell me.\"", "\"I ENVY Anne,\" said Leslie suddenly and fiercely, \"and I'd envy her\neven if she had died! She was a mother for one beautiful day. I'd\ngladly give my life for THAT!\"", "\"But she won't be my baby,\" said Anne, with trembling lips. \"Oh, she\nmay be, as Longfellow says, 'a fair maiden clothed with celestial", "\"It was God's will, Anne,\" said Marilla, helpless before the riddle of\nthe universe--the WHY of undeserved pain. \"And little Joy is better\noff.\"", "Gilbert smiled rather sadly as he went away. Anne, her pale face\nblanched with its baptism of pain, her eyes aglow with the holy passion", "\"I can't believe THAT,\" cried Anne bitterly. Then, seeing that Marilla\nlooked shocked, she added passionately, \"Why should she be born at", "Anne looked in some surprise at the white garment spread over Miss\nCornelia's ample lap. It was certainly a baby's dress, and it was most", "At first she was too weak and too happy to notice that Gilbert and the\nnurse looked grave and Marilla sorrowful. Then, as subtly, and coldly,", "\"Oh, how horrible!\" said Anne, shuddering. \"The poor, poor child!\"", "\"I must go and see it. I just love babies,\" said Anne, smiling to\nherself over a thought too dear and sacred to be put into words.", "She was never to know. Early the next morning Anne awakened to find\nGilbert bending over her, fully dressed, and with an expression of\nanxiety on his face.", "Blake was an added sting. Phil had heard of the baby's birth, but not\nof its death, and she wrote Anne a congratulatory letter of sweet mirth\nwhich hurt her horribly.", "\"Poor, poor girl!\" said Anne again. Her own happiness seemed to\nreproach her. What right had she to be so happy when another human\nsoul must be so miserable?", "and caught up the little bleeding, warm, dead body, Anne--they had to\ntear it from her before she would let it go. They sent for me--I can't\ntalk of it.\"", "\"Queen Anne, you're as queenly as ever. I've got fearfully thin since\nthe babies came. I'm not half so good-looking; but I think Jo likes", "life. And after all the dreams and hopes she once had! You can\nimagine what it has been like for her, Anne, dearie--with her beauty", "talk \"baby talk\" to her children. Gilbert agreed with her, and they\nmade a solemn compact on the subject--a compact which Anne shamelessly", "first time. It was quite a tragedy. Suppose he cried? Suppose Susan\ndid not know just exactly what to do for him? Susan was calm and\nserene." ], [ "\"Anne, I have just had a letter from Owen,\" said Leslie, entering with\na bright face. \"And, oh! I have such good news. He writes me that he", "Leslie had gone back into the house and now met them at the front door.\nShe greeted Owen Ford with cold civility, and told him in a", "Owen Ford came to the little house one August evening when Leslie and\nAnne were absorbed in worshipping the baby. He paused at the open door", "thought keeps coming into my mind. What about Owen Ford? We both know\nLeslie was fond of him. Did it ever occur to you that he was fond of\nher?\"", "Anne was miserably silent, hampered by her deductions from her\nconversation with Owen. Leslie went on feverishly, as if she found\nrelief in speech.", "Anne and Gilbert discreetly melted away; but when Owen had gone Anne\nreturned, to find Leslie standing by the hearth.", "\"I wonder if it would be right for me to tell him that Leslie cares for\nOwen,\" she thought. \"He would never let her suspect that he knew, so", "Leslie came over to the house of dreams one frosty October night, when\nmoonlit mists were hanging over the harbor and curling like silver", "\"Leslie, you are an adorable goose. Owen Ford didn't rush from the\nPacific to the Atlantic from a burning desire to see ME. Neither do I", "\"Owen loves your beauty, Leslie. Who would not? But it's foolish of\nyou to say or think that that is all you bring him. HE will tell you", "The door was open. Beyond, in the dimly lighted room, sat Leslie\nMoore, with her arms flung out on the table and her head bent upon", "Owen Ford came over the next evening with a note to Anne from Leslie;\nthey spent the sunset time in the garden and then went for a moonlit", "for you, Leslie. The year in which you saw it brought your life's best\ngift for you--your love for Owen Ford. Now, go right to bed and have a\ngood sleep.\"", "Owen Ford left Four Winds the next morning. In the evening Anne went\nover to see Leslie, but found nobody. The house was locked and there", "\"Leslie!\" he said, holding out his hand. It was the first time he had\never called her by her name; but the hand Leslie gave him was cold; and", "\"The writer man has just arrived here. I'm going to drive him down to\nyour place, and you can show him the way over to Leslie's. It's", "Owen Ford wrote in the mornings. The afternoons were generally spent\nin some merry outing with the Blythes. Leslie often went, too, for", "\"You are setting a feast of fat things before me,\" said Leslie,\njoyously. Then, as the clock struck ten, she rose, half unwillingly.", "\"No. Captain Jim is over home,\" said Leslie. \"He--he made me come\nhere,\" she added, half defiantly.", "\"So you've been over to see Leslie,\" he said, when he rejoined her.\n\n\"I didn't go in,\" said Anne, and told what she had seen. Captain Jim\nsighed." ], [ "operation has been performed and followed by normal results. But it is\ntoo soon to know whether Dick's faculties will be eventually restored,\nwholly or in part. His memory would not be likely to return to him all", "conclusion that if Dick Moore were taken to a good hospital and the\noperation of trephining performed on several places in his skull, his\nmemory and faculties might be restored.\"", "matter to Leslie. She accepted the fact of Dick's operation, referred\nto it when necessary in a business-like way, and ignored it when it was", "But she had promised to write. Ten days after Gilbert's return the\nletter came. Leslie wrote that the operation had been successfully\nperformed and that Dick was making a good recovery.", "\"Have I lost my friend?\" said Anne with a sigh. \"If the operation is\nsuccessful and Dick Moore finds himself again Leslie will retreat into\nsome remote fastness of her soul where none of us can ever find her.\"", "his memory and knows who he is. He says Dick took yellow fever in\nCuba, and the Four Sisters had to sail without him. George stayed\nbehind to nurse him. But he died very shortly afterwards.", "with the report that the Montreal surgeon whom they had consulted\nagreed with him that there was a good chance of Dick's restoration.", "Some instinct made Anne keep away from Leslie for the next three days.\nOn the third evening Leslie came down to the little house and told\nGilbert that she had made up her mind; she would take Dick to Montreal\nand have the operation.", "\"Dick! Dick Moore! HE'S happy enough. He's a better behaved and more\nreputable member of society now than he ever was before.", "my opinion! Well, he went to one out-of-the-way place, and there he\nfound a man he knew at first sight it was Dick Moore, though he had a", "\"I took the opportunity to examine the scars on his head thoroughly.\nI've always thought Dick was a very interesting case from a medical", "\"But Dick isn't your patient in that respect,\" cried Anne, taking\nanother tack. \"If Leslie had asked you if anything could be done for", "Dick--George, I should say--home. Of course, we all thought Dick had\nchanged considerable--he'd got so lumpish and fat. But we put that", "\"Anne, do you mean to tell me it's true what I've heard--that Dr.\nBlythe has told Leslie Dick can be cured, and that she is going to take\nhim to Montreal to have him operated on?\"", "it never occurred to me to question Dick's identity. Any change in him\nseemed to me just the result of the accident.", "Leslie that I believe it is possible that Dick can be restored to\nhimself; there my responsibility ends. It will be for her to decide\nwhat she will do.\"", "\"That is for her to decide,\" persisted Gilbert stubbornly.\n\n\"You say you think that Dick can be cured. But are you SURE of it?\"", "and took on another and left for home; and that was all they ever found\nout about her. By degrees people began to talk of Dick Moore as one\nthat was dead. Almost everyone believed that he was, though no one", "Leslie took Dick to Montreal early in May. Gilbert went with her, to\nhelp her, and make the necessary arrangements for her. He came home", "deal. She will have to borrow the money, or sell her little property.\nAnd suppose the operation is a failure and Dick remains the same." ], [ "\"That's Marshall Elliott--a mighty fine man with jest one streak of\nfoolishness in him. I s'pose you wondered what his object was in\nturning himself into a sort of dime museum freak.\"", "\"Captain Jim, who was that who just went out?\" she asked, as Captain\nJim came in.\n\n\"Marshall Elliott,\" answered the captain.", "\"Are you going to marry Marshall Elliott?\" exclaimed Anne, recovering\nher power of speech under this second shock.", "eccentric into the familiar little circle. But Marshall Elliott soon\nproved his legitimate claim to membership in the household of Joseph.\nHe was a witty, intelligent, well-read man, rivalling Captain Jim", "\"You'll see a hundred,\" said Marshall Elliott.\n\nCaptain Jim shook his head.", "They found Marshall Elliott at the lighthouse. At first Anne felt\ninclined to resent the intrusion of this long-haired, long-bearded", "\"I'm not going to marry the best man in the world,\" retorted Miss\nCornelia. \"Marshall Elliott is a long way from being the best.\"", "There was something so infectious in the rollicking tunes which Captain\nJim played that very soon Marshall Elliott's feet began to twitch. He", "\"Yes. I could have had him any time these twenty years if I'd lifted\nmy finger. But do you suppose I was going to walk into church beside a\nperambulating haystack like that?\"", "\"Well, I reckon I can manage Marshall Elliott,\" said Miss Cornelia\nplacidly. \"But let us hear your rules.\"\n\n\"The first one is, catch him.\"", "tease Miss Cornelia, despite Anne's imploring eyes, \"I fear your day of\nindependence is done. As you know, Marshall Elliott is a very\ndetermined man.\"", "do in heaven, where there's probably no politics, is more than I can\nfathom. This Marshall Elliott was born a Grit. I'm a Grit myself in", "loose and overflowed in crimson cheek and glowing eye and grace of\nmotion. Even the aspect of Marshall Elliott, with his long beard and", "moderation, but there's no moderation about Marshall. Fifteen years\nago there was a specially bitter general election. Marshall fought for", "\"Marshall Elliott!\" cried Anne. \"Oh, Captain Jim--it wasn't--yes, it\nWAS his voice--oh, Captain Jim, I didn't know him--and I was quite", "at Marshall without shaking all over.\"", "Mr. and Mrs. Marshall Elliott were living comfortably and harmoniously\nin the green house. Leslie was busy with sewing, for she and Owen were\nto be married at Christmas. Anne wondered what she would do when\nLeslie was gone.", "today for yourselves. Marshall stuck to his word.\"", "you? Shows what party politics will do for a man. Marshall kept quiet\nand got his hair and beard disposed of and went home. When his old", "\"He'd have done it, too, and Gus knew it, for Marshall is as strong as\nan ox and Gus is only a midget of a man. So he gave in and towed" ] ]

[ "What does Anne label her first home with Gilbert? ", "Whose medical practice is Gilbert taking over?", "What country was Dick Moore found in?", "What happens to Joyce soon after she is born?", "Who does Leslie develop deep feelings for?", "Where does Dick undergo the surgery on his brain?", "What is the real identity of the alleged Dick Moore? ", "What field of study does Leslie decide to take up?", "What is the name of Anne's second child?", "Where do Anne and Gilbert get married?", "Why did George and Dick look so much alike?", "What does Gilbert do for a living?", "Once Leslie finds out her husband has died, who does she become engaged to?", "Why didn't Anne and Miss Cornelia want Dick to have the surgery?", "What disease killed Leslie's husband?", "Who is the keeper of the lighthouse?", "Who forced Leslie to marry Dick Moore?", "Where does Owen find his inspiration?", "What did Anne name her first child, who died shortly after birth?", "What does Anne call her first home?", "What is Gilbert going to do for his Uncle?", "What does Captain Jim do now that he's not a sailor anymore?", "About how old is Miss Bryant?", "How old was Leslie when she got married?", "Where did Captain Jim find Dick?", "What happens to Anne's first baby?", "What is Owen doing at Leslie's house?", "Where does Dick undergo the surgery?", "What did Marshall Elliot refuse to do for twenty years?" ]

[ [ "House of dreams", "House of Dreams. " ], [ "His uncle's practice", "his uncle" ], [ "Cuba", "Cuba." ], [ "She dies", "She dies" ], [ "Owen Ford", "Owen Ford" ], [ "In Montreal", "Montreal" ], [ "He is really his cousin George", "Dick's cousin George" ], [ "Nursing", "Nursing." ], [ "James Matthew", "James Matthew " ], [ "Green Gables Orchard", "The Green Gables orchard" ], [ "Their mothers were sisters and their fathers were brothers.", "brothers" ], [ "He's a doctor.", "doctor" ], [ "Owen Ford", "Owen" ], [ "They didn't want Leslie's life to become harder if Dick resumed to his normal self.", "He was a horrible person to his wife." ], [ "Yellow fever", "Yellow fever" ], [ "Captain Jim", "Captain Jim" ], [ "Her mother", "Her mother" ], [ "In Captain Jim's diary.", "Captain Jim's shipbook diary. " ], [ "Joyce", "Joyce" ], [ "House of Dreams.", "house of dreams" ], [ "Take over his medical practice.", "Take over his medical practice" ], [ "He's the keeper of the lighthouse.", "lighthouse keeper" ], [ "She's in her 40's.", "In her 40's" ], [ "16.", "16" ], [ "In Cuba.", "Cuba" ], [ "It dies after birth.", "she dies" ], [ "He's writing a novel.", "Writing a novel" ], [ "In Montreal.", "Montreal " ], [ "Shave his beard.", "Shave his beard off" ] ]

[ [ "It must have been a little after three o'clock in the afternoon that it\nhappened--the afternoon of June 3rd, 1916. It seems incredible that", "opened my eyes after listening to a torrent of invective against\nGermany and Germans. Tell me, please, all that happened after the ship\nsank.\"", "[1] Late in July, 1916, an item in the shipping news mentioned a\nSwedish sailing vessel, Balmen, Rio de Janeiro to Barcelona, sunk by a", "Atlantic and starve to death if there was any way out of it. The\nsailing ship saw us while we were still a long way off, as was", "The sinking tug drew us far below the surface; but I had seized her the\nmoment I struck the water, and so we went down together, and together", "pointed its stern straight toward the sky and plunged out of sight. My\nhand missed the girl's by a fraction of an inch, and I saw her slip", "the ship went down. I remember all that happened before--oh, but I wish\nthat I might forget it!\" A sob broke her voice. \"The beasts!\" she", "Even while the passengers were crowding the starboard rail and\nscrambling into the few boats left to us, the submarine commenced\nshelling the ship. I saw one shell burst in a group of women and", "which to cling. My eyes were directed toward the point at which the\nliner had disappeared when there came from the depths of the ocean the\nmuffled reverberation of an explosion, and almost simultaneously a", "\"Come on, boy!\" I cried, and running to the side of the ship, dived\nheadforemost over the rail. When I came up, the first thing I saw was", "September 3, 1916: Three months ago today the torpedo from the U-33\nstarted me from the peaceful deck of the American liner upon the", "when it rolled completely over and sank. We were caught in the suction\nonly enough to be drawn backward a few yards, neither of us being\ncarried beneath the surface. I glanced hurriedly about for something to", "geyser of water in which were shattered lifeboats, human bodies, steam,\ncoal, oil, and the flotsam of a liner's deck leaped high above the", "von Schoenvorts. The _Geier_ had sunk while we were still battling upon\nour deck, and afterward we had drawn away toward the north, leaving the", "A second shell exploded upon the deck. One of the lifeboats,\nfrightfully overcrowded, swung at a dangerous angle from its davits. A", "by their useless lifebelts. Some were torn and mangled; others lay\nrolling quietly to the motion of the sea, their countenances composed\nand peaceful; others were set in hideous lines of agony or horror.", "Shrieking and screaming, the German was dragged from the deck, and the\nmoment the reptile was clear of the boat, it dived beneath the surface", "I stood rigid, spellbound, watching the white wake of the torpedo. It\nstruck us on the starboard side almost amidships. The vessel rocked as", "That was all; Benson was dead. We threw his body overboard.", "All the time the lifeboats had been pulling away from the danger of the\nsinking liner, and now, though I yelled at the top of my lungs, they" ], [ "have always managed to outdistance him; yet I have done it, until just\nas you discovered me. Fate was kind to us, Bowen.\"", "rubble to the valley bottom, and I had just reached the top of this\nwhen there arose to my ears an agonized cry--\"Bowen! Bowen! Quick, my\nlove, quick!\"", "As soon as I had assured myself that such was the case, I made my\npreparations to follow and rescue her. Olson, Whitely, and Wilson each", "(Signed) Bowen J. Tyler, Jr. Lys La R. Tyler.", "\"Bowen!\" she cried. \"Your knife! Your knife!\"", "\"Thank God, man!\" was all he said as he reached forth and dragged me\ninto the tower. I was cold and numb and rather all in. Another few", "\"They are in trouble,\" I answered for all, \"and it's up to us to get\nback to them. Drop that carcass,\" I directed the men carrying the", "moment later Olson returned, and the girl followed him. \"Quick!\" I\nwhispered to the big Irishman, and made for the bow compartment where", "rather than for mine. She was saved, and none too soon. She could not\nhave lived through another night upon the Channel; she might not have\nlived through the coming day.", "intervened. We ran as fast as we could around the lower end of the\nharbor, scrambled up the cliffs and at last stood upon their summit in", "who carried me. Instantly he went backward to the deck, and as he did\nso he threw his arms outwards to save himself, freeing me. I fell", "without assistance. The rough men were gentle as mothers with the\ngirl. Plying us both with questions they hustled her to the captain's", "As we joined our own party, I found the tug's mate checking up our\nsurvivors. There were ten of us left, not including the girl. Our", "The tug came close beside us, and a man on deck threw us a rope.\nWilling hands dragged us to the deck, Nobs scrambling nimbly aboard", "Benson died that night. He remained defiant almost to the last; but\njust before he went out, he motioned to me, and I leaned over to catch\nthe faintly whispered words.", "for her. It is a hard, fierce, dangerous life, and I shall pray always\nthat we shall be rescued from it--for her sake.", "So for the thousandth time I thank the strange fate which sent that\nlifeboat hurtling upward from the green pit of destruction to which it", "I must have lain there bound and uncomfortable for two or three hours\nwhen at last So-ta entered the cave. She carried a sharp knife--mine,\nin fact, and with it she cut my bonds.", "The sinking tug drew us far below the surface; but I had seized her the\nmoment I struck the water, and so we went down together, and together", "another, for Nob's great jaws had closed upon his throat. Then I\nsprang toward the edge of the deck closest to the girl upon the sinking\ntug." ], [ "It must have been a little after three o'clock in the afternoon that it\nhappened--the afternoon of June 3rd, 1916. It seems incredible that", "A German was standing near Bradley--just in front of him. The\nEnglishman struck the fellow a frantic blow upon the neck and at the", "But peace upon the Channel has been but a transitory thing since\nAugust, 1914. It proved itself such that morning, for I had scarce", "what's on the U-33. The dirty boches are shellin' the fort. Come on!\"\nAnd he grasped his rifle and started on a run toward the lake. It was", "The sole aim of each of us was to hurl one of the opposing force into\nthe sea. I shall never forget the hideous expression upon the face of", "They had been broken upon the night that Lys had been seen talking with\nvon Schoenvorts. I think that it was this last thought which hurt me\nthe worst. I could look the other disaster in the face with", "day. Most of the time we drifted idly upon the surface, but toward\nnoon we sighted smoke due west, and having found that only enemies\ninhabited the world for us, I ordered that the other engine be started", "world for you,\" I ended lamely. She did not withdraw her hand, and she\nlooked up into my face with tears on her cheeks and I read in her eyes", "opened my eyes after listening to a torrent of invective against\nGermany and Germans. Tell me, please, all that happened after the ship\nsank.\"", "ourselves into the hands of the authorities, when we should all\nprobably be interned for the duration of the war. To my surprise he\nagreed that this was fair and told me that they would accept my", "of a shriek. We all looked up as the noise approached apparently just\nabove us, and a moment later there followed a terrific explosion which", "When he had gone, the girl raised her eyes to mine. \"He is the German\nof whom I spoke,\" she said. \"He is Baron von Schoenvorts.\"", "fled at our approach. For two days we cruised up and down the Channel\ntrying to tell some one, who would listen, that we were friends; but no", "welcome heat of the stifling compartment. They brought us hot soup and\ncoffee, and then those who were not on duty sat around and helped me\ndamn the Kaiser and his brood.", "One of them threw to his rear a small branch that he had just chopped\noff, and as misfortune would have it, it struck von Schoenvorts across", "\"Then under the bottom, wi' the best o' luck an' give 'em hell!\" cried\na young fellow who had been in the trenches.", "\"Forgive me,\" I managed to stammer. \"It is the only way. You will die\nof exposure if you are not warmed, and Nobs and I are the only means we", "at least was far more unpleasant than the sudden onslaught of the\nprehistoric reptile. Two of the men, both Germans, were stripping a", "the only thing I came near making quite sure of was death. I cannot\nsee even now how I escaped it. I was standing on the edge of the\nconning-tower, when a heavy palm suddenly struck me between the", "one would listen. After our encounter with the first warship I had\ngiven instructions that a wireless message be sent out explaining our\npredicament; but to my chagrin I discovered that both sending and" ], [ "Shrieking and screaming, the German was dragged from the deck, and the\nmoment the reptile was clear of the boat, it dived beneath the surface", "We hoisted the Union Jack and remained on deck, asking Bradley to go\nbelow and assign to each member of the crew his duty, placing one\nEnglishman with a pistol beside each German.\n\n\"Half speed ahead,\" I commanded.", "with red blood. Beside me came Nobs, silent now, and grim. Germans\nwere emerging from the open hatch to take part in the battle on deck.", "the Germans, I found that all except the commander were willing to\nresume their posts and aid in bringing the vessel into an English port.\nI believe that they were relieved at the prospect of being detained at", "A German was standing near Bradley--just in front of him. The\nEnglishman struck the fellow a frantic blow upon the neck and at the", "at least was far more unpleasant than the sudden onslaught of the\nprehistoric reptile. Two of the men, both Germans, were stripping a", "posted as to his duties, and the German members of the crew understood\nthat it was obedience or death for them, as each was accompanied by a", "survivors. Fortunately the small boats presented a rather poor target,\nwhich, combined with the bad marksmanship of the Germans preserved\ntheir occupants from harm; and after a few minutes a blotch of smoke", "A single glance at the vessel's deck assured me that the battle was\nover and that we had been victorious, for I saw our survivors holding a\nhandful of the enemy at pistol points while one by one the rest of the", "The creatures were approaching perilously close before I dropped\nthrough the hatchway and slammed down the cover. Then I went into the\ntower and ordered full speed ahead, hoping to distance the fearsome", "boches and damaged machinery. There were no Germans below, and\neverything was intact and in ship-shape working order. I then ordered\nall hands below except one man who was to act as lookout. Questioning", "More rapidly now we closed the distance between ourselves and the\nstranger, until I could plainly see the red ensign of the British\nmerchant marine. My heart swelled with pride at the thought that", "we were eating was the same one that ate the German. It was some time\nbefore we could persuade the girl to continue her meal, but at last\nBradley prevailed upon her, pointing out that we had come upstream", "small, swift cruiser-raider, and above her floated the German\nman-of-war's flag. A boat had just been lowered, and I could see it", "Bradley was now running from one to another of our men, and though some\nof the Germans saw and heard him, they seemed too stunned for action.", "We were approaching the U-boat at half speed now, and I could almost\ndistinguish the features of the men upon her deck. A sailor stepped to", "the engine-room, and the tug reduced speed. The U-boat ceased firing\nand ordered the tug to come about and approach. Our momentum had", "boche. What happened in the next few seconds happened so quickly that\ndetails are rather blurred in my memory. I saw the helmsman lunge", "As soon as the boche and his guard were aboard again, I called all\nhands on deck, including von Schoenvorts, and there I explained to them", "the deck. It was the first time that she or the German officer had\nseen each other's faces since we had boarded the U-boat. I was" ], [ "At last I gave up the search and set off toward Fort Dinosaur. For a\nweek--a week filled with the terrors and dangers of a primeval world--I", "left the fort--Fort Dinosaur we named it--and hurl it far outward over\nthe cliff-top into the Pacific. What current washes the shore of", "well started, and then we returned to Fort Dinosaur, as I feared that\nBradley might return and be worried by our absence. The U-33 merely", "what's on the U-33. The dirty boches are shellin' the fort. Come on!\"\nAnd he grasped his rifle and started on a run toward the lake. It was", "luring us upon her deadly rocks. Well, we'll accept her challenge.\nWe'll land upon Caprona. Along that long front there must be a", "compound and set out upon the well-marked spoor of the abductor. Not\nonce did I turn my eyes backward toward Fort Dinosaur. I have not", "tribe had entered the fort and carried her off. While I stood stunned\nand horrified at the frightful evidence before me, there came from the\ndirection of the great lake an increasing sound that rose to the volume", "\"I'm going to see what that thing is on shore,\" I replied. \"If it's a\nman, it may mean that Caprona is inhabited, or it may merely mean that", "hurled from the cliffs above. Such being the case, Caprona was\ninhabitable, if not inhabited, by man; but how to reach the inhabitable", "south--that is, upon our right; and almost immediately after we came\nupon a large island five or six miles in length; and at fifty miles\nthere was a still larger river than the last coming in from the", "any other name. Then we disembarked and went inland about five miles,\nwhere we came upon a small lake entirely filled with oil, from the\ncenter of which a geyser of oil spouted.", "Caprona and sailed away. I believe, sir, that we are looking upon the\ncoast of Caprona, uncharted and forgotten for two hundred years.\"", "extended for hundreds of miles. He could make no landing; nor in the\nseveral days he cruised about it did he see sign of life. He called it", "\"That is easily discovered now that we have found it,\" I answered. \"It\ncan't come from the ocean; so it must come from the land. All that we\nhave to do is follow it, and sooner or later we shall come upon its\nsource.\"", "upon a huge cavern. It is the abode of some mighty winged creature of\nthe Triassic--or rather it was. Now it is mine. I slew the thing and", "threaten us, we climb into trees, and we have learned not to fire at\nany of the dinosaurs unless we can keep out of their reach for at least", "Jurassic. It charged us as savagely as a mad bull, and one would have\nthought it intended to destroy and devour the mighty U-boat, as I\nverily believe it did intend.", "vulnerable spot. We will find it, Bradley, for we must find it. We\nmust find water on Caprona, or we must die.\"", "any side of the fort, and was about one hundred and thirty-five feet\nsquare on the outside, with walls three feet thick at the bottom and\nabout a foot and a half wide at the top, and fifteen feet high. It", "The creatures were approaching perilously close before I dropped\nthrough the hatchway and slammed down the cover. Then I went into the\ntower and ordered full speed ahead, hoping to distance the fearsome" ], [ "Caprona and sailed away. I believe, sir, that we are looking upon the\ncoast of Caprona, uncharted and forgotten for two hundred years.\"", "luring us upon her deadly rocks. Well, we'll accept her challenge.\nWe'll land upon Caprona. Along that long front there must be a", "\"What do you make of it?\" I asked him.\n\n\"Did you ever hear of Caproni?\" he asked.\n\n\"An early Italian navigator?\" I returned.", "hurled from the cliffs above. Such being the case, Caprona was\ninhabitable, if not inhabited, by man; but how to reach the inhabitable", "hope that we might see and attract the attention of a passing ship. Our\nexploration has determined one thing which will probably be of little\nvalue to us and never heard of beyond Caprona's walls--this crater was", "Caprona. The game, however, seemed wary; for the instant the animals\ndiscovered us, they threw up their heads and tails and went cavorting", "\"I'm going to see what that thing is on shore,\" I replied. \"If it's a\nman, it may mean that Caprona is inhabited, or it may merely mean that", "it have been of a seafaring race. Therefore I deduced that it was\nnative to Caprona--that it lived inland, and that it had fallen or been", "It was a week ago that I wrote the preceding paragraph, which I thought\nwould end the written record of my life upon Caprona. I had paused to", "\"If you are right, it might account for much of the deviation of the\ncompass during the past two days,\" I suggested. \"Caprona has been", "distant cliffs, and here they appeared only a trifle less precipitous\nthan those which bound Caprona on the seaward side. My theory is that", "known to do, leaving only the summit of Caprona above the sea. The\nencircling walls, the central lake, the hot springs which feed the lake,", "who had no weapons and no language. In that word I recognized what to\nme seemed the most remarkable discovery I had made upon Caprona, for\nunless it were mere coincidence, I had come upon a word that had been", "in a far distant era Caprona was a mighty mountain--perhaps the world's\nmightiest mountain--and that in some titanic eruption volcanic action", "and majestically through the plunging, hissing mass. I was mighty glad\nthat our entrance into the interior of Caprona had been inside a", "Caprona I know not; whither my bottle will be borne I cannot even\nguess; but I have done all that mortal man may do to notify the world", "vulnerable spot. We will find it, Bradley, for we must find it. We\nmust find water on Caprona, or we must die.\"", "which had been woven when Caprona was a fiery mount upon a great\nland-mass teeming with life. It linked the unfathomable then to the", "The morning's search brought us no shred of hope. Caprona was\nimpregnable--that was the decision of all; yet we kept on. It must", "and sent two of my own men to guard him, for from what little we had\nseen of Caprona, or Caspak as we learned later to call the interior, we" ], [ "was a cloudy day, though warm, as it always is in Caspak. It seemed\nodd to realize that just a few miles away winter lay upon the", "called Caspak. When we asked him how far it extended, he waved both\narms about his head in an all-including gesture which took in,", "preparations to refine it. If he succeeds, we shall have the means for\nleaving Caspak and returning to our own world. I can scarce believe the", "\"A shell!\" he cried. \"And there ain't no shells in Caspak besides", "Caspak, I slunk forward, taking advantage of whatever cover I could\nfind, until from behind a bush I could distinctly see the creatures\nassembled by the fire. They were human and yet not human. I should", "varieties which we had not before encountered in Caspak. Just before\nmaking camp we were charged by an enormous woolly rhinoceros, which", "them. The two dead men they left where they had fallen, nor gave them\na second glance--thus cheap is life upon Caspak.", "sufficient food for their immediate needs; but why bother? The food\nproblem of Caspak is not one to cause worry to her inhabitants.", "ever see the outer world again. Ahm's repeated assertions that there\nare human beings like ourselves in Caspak have roused the men to a keen", "of Caspak; but never a trace of them did I find. It was raining most\nof the time now, and the weather was as near cold as it ever seems to\nget on Caprona.", "and sent two of my own men to guard him, for from what little we had\nseen of Caprona, or Caspak as we learned later to call the interior, we", "strange voyage which has ended here in Caspak. We have settled down to\nan acceptance of our fate, for all are convinced that none of us will", "He asked me who I was, from whence I came and what my intentions were.\nI replied that I was a stranger in Caspak, that I was lost and that my", "Galu or any other creature in Caspak who possessed such things?\"", "the gigantic truth which even yet I may only guess at--the thing that\nsets Caspak apart from all the rest of the world far more definitely\nthan her isolated geographical position or her impregnable barrier of", "lesser carnivora of Caspak. In a moment the three would charge! A\nfutile shot would but tend more greatly to enrage the one it chanced to", "any other name. Then we disembarked and went inland about five miles,\nwhere we came upon a small lake entirely filled with oil, from the\ncenter of which a geyser of oil spouted.", "Caspak, we had never yet seen a child or an old man or woman.", "Caspakian world; but she told me very frankly that whenever I returned,\nshe would leave her mate and come to me, as she preferred me above all", "beasts which make the nights of Caspak hideous. A shuddering sob ran\nthrough Lys' figure. \"O God,\" she cried, \"give me the strength to" ], [ "touches being put on today. I quit about a week ago and commenced\nworking on this chronicle for our strange adventures, which will\naccount for any minor errors in chronology which may have crept in;", "hunter experiences in a lifetime, and yet he covered it all in a few\nlines. Yes, we are becoming accustomed to adventure. Not a day passes", "It was a week ago that I wrote the preceding paragraph, which I thought\nwould end the written record of my life upon Caprona. I had paused to", "I had to smile as I read Bradley's report. In those four days he had\ndoubtless passed through more adventures than an African big-game", "discovered something, or at least thought that he had. He called down\nfor a bucket and a rope, and when they were passed up to him, he", "Benson died that night. He remained defiant almost to the last; but\njust before he went out, he motioned to me, and I leaned over to catch\nthe faintly whispered words.", "difficulties on his return to Italy. It was the fashion to scoff at\nhis claims, but I recall reading one of his works--his only one, I", "killed myself doing it. When I glanced up, that little head on the end\nof its long neck was coming straight down on top of me, and once more I", "are content. If God wills it, we shall live out our lives here. If He\nwills otherwise, then this manuscript which I shall now consign to the", "And so at last we turned into our narrow bunks, hopeful, happy and at\npeace with ourselves, our lives and our God, to awaken the following", "I was soaked above the knees doing it; and then I sat down in the sand\nand opened it, and in the long twilight read the manuscript, neatly\nwritten and tightly folded, which was its contents.", "I am about done. Presently I shall fold these pages and push them into\nmy thermos bottle. I shall cork it and screw the cap tight, and then I", "my side and slipped something hard and cold into my hand. I did not\nhave to look at it to know that it was a heavy pistol. \"Tyke 'er an'\nuse 'er,\" was all he said.", "lived over the events of the evening. At last I turned in and fell\nasleep, dreaming happy dreams and planning for the future, for even in", "It would be difficult, even impossible, to set down in writing my\nsensations at that moment. All I can particularly recall is that I", "Our return journey occupied two days and was as filled with adventure\nas usual. We are all becoming accustomed to adventure. It is beginning\nto pall on us. We suffered no casualties and there was no illness.", "The very first day we entered the South Pacific we had an adventure. It\nturned out to be quite the most exciting adventure I had ever", "having glanced from his thick skull, stunning him. We decided to take\nhim with us to camp, and by means of belts we managed to secure his\nhands behind his back and place a leash around his neck before he", "arms. All the fears and sorrows of the past were wiped away, and once\nagain I was the happiest of men.", "He didn't die for a half-hour after that; nor did he speak\nagain--aloud; but just a few seconds before he went to meet his Maker," ], [ "\"Take von Schoenvorts, for instance,\" I continued: \"he would doubtless\nbe glad to die and take us all with him, could he prevent in no other", "When he had gone, the girl raised her eyes to mine. \"He is the German\nof whom I spoke,\" she said. \"He is Baron von Schoenvorts.\"", "\"Then two men have lied,\" she asserted without heat. \"I have not\nspoken to Baron von Schoenvorts other than in your presence when first", "von Schoenvorts. The _Geier_ had sunk while we were still battling upon\nour deck, and afterward we had drawn away toward the north, leaving the", "Schoenvorts was among them. On the floor lay Benson, moaning, and\nbeyond him stood the girl, a revolver in one hand. I looked about,\nbewildered.", "Von Schoenvorts had succeeded in refining the oil! The cur had broken\nhis every pledge and was leaving us there to our fates. He had even", "\"I could not believe it,\" I said; \"and yet two of my men reported\nhaving seen you in conversation with von Schoenvorts late at night upon", "the Englishmen; while von Schoenvorts was to act as an additional\nsecond lieutenant and have charge of his own men. The four of us were\nto constitute a military court under which men might be tried and", "She was looking at me now with those great eyes of hers, very wide and\nround.\n\n\"Who told you that I spoke with Baron von Schoenvorts at night, or any\nother time?\" she asked.", "Olson and von Schoenvorts came up a minute later with their men; then\nwe all cautiously approached the still form upon the ground. The", "They had been broken upon the night that Lys had been seen talking with\nvon Schoenvorts. I think that it was this last thought which hurt me\nthe worst. I could look the other disaster in the face with", "had hurt her. I reached the door to the crew's room just behind her\nand in time to see von Schoenvorts lean forward and whisper something\nto her as she passed; but she must have guessed that she might be", "As soon as the boche and his guard were aboard again, I called all\nhands on deck, including von Schoenvorts, and there I explained to them", "excuse to pull the trigger. Like all his kind and all other bullies,\nvon Schoenvorts was a coward at heart, and so he dropped his hand to", "and myself disembarked, while von Schoenvorts and his German crew\nreturned to refine the oil. The next day Plesser and two other Germans", "Schoenvorts had taken it into his fool head to cruise up along the\nPacific coast of North America and prey upon all sorts and conditions\nof merchantmen.", "von Schoenvorts wanted for the purpose of erecting a crude refinery.\nWe went up the coast some ten or twelve miles in the U-33, tying up to", "After dinner we all went on deck and watched the unfamiliar scenes of a\nCapronian night--that is, all but von Schoenvorts. There was less to", "fellow across the face, breaking his nose. I grabbed von Schoenvorts'\narm and jerked him away before he could strike again, if such had been", "\"A shell from the U-33!\" exclaimed von Schoenvorts.\n\n\"What can be after signifyin'?\" queried Olson." ], [ "The Land that Time Forgot\n\n\nBy\n\nEdgar Rice Burroughs", "End of Project Gutenberg's The Land That Time Forgot, by Edgar Rice Burroughs", "GUTENBERG EBOOK THE LAND THAT TIME FORGOT ***\n\n\n\n\nProduced by Judith Boss. HTML version by Al Haines.", "was a cloudy day, though warm, as it always is in Caspak. It seemed\nodd to realize that just a few miles away winter lay upon the", "at least was far more unpleasant than the sudden onslaught of the\nprehistoric reptile. Two of the men, both Germans, were stripping a", "time. The first two boats we sighted made off as fast as they could\ngo; and the third, a huge freighter, fired on us, forcing us to", "luring us upon her deadly rocks. Well, we'll accept her challenge.\nWe'll land upon Caprona. Along that long front there must be a", "At last I gave up the search and set off toward Fort Dinosaur. For a\nweek--a week filled with the terrors and dangers of a primeval world--I", "The sole aim of each of us was to hurl one of the opposing force into\nthe sea. I shall never forget the hideous expression upon the face of", "fled at our approach. For two days we cruised up and down the Channel\ntrying to tell some one, who would listen, that we were friends; but no", "day. Most of the time we drifted idly upon the surface, but toward\nnoon we sighted smoke due west, and having found that only enemies\ninhabited the world for us, I ordered that the other engine be started", "called Caspak. When we asked him how far it extended, he waved both\narms about his head in an all-including gesture which took in,", "It must have been a little after three o'clock in the afternoon that it\nhappened--the afternoon of June 3rd, 1916. It seems incredible that", "land was infested by these and similar horrid monsters, life would be\nimpossible upon it, and we decided that we would only search long\nenough to find and take aboard fresh water and such meat and fruits as", "With a rueful smile, I directed that our original course be resumed,\nand once again we set off toward merry England. That was three months\nago, and we haven't arrived yet; nor is there any likelihood that we\never shall.", "the ship went down. I remember all that happened before--oh, but I wish\nthat I might forget it!\" A sob broke her voice. \"The beasts!\" she", "them. The two dead men they left where they had fallen, nor gave them\na second glance--thus cheap is life upon Caspak.", "A German was standing near Bradley--just in front of him. The\nEnglishman struck the fellow a frantic blow upon the neck and at the", "touches being put on today. I quit about a week ago and commenced\nworking on this chronicle for our strange adventures, which will\naccount for any minor errors in chronology which may have crept in;", "Caprona and sailed away. I believe, sir, that we are looking upon the\ncoast of Caprona, uncharted and forgotten for two hundred years.\"" ], [ "\"I tell you,\" I said angrily, \"that I am from another country, far from\nCaspak, far beyond the high cliffs. I do not know who the Galus may", "Greenland! As a descriptive appellation, it is a sorry joke--but my\nstory has nothing to do with Greenland, nothing to do with me; so I\nshall get through with the one and the other as rapidly as possible.", "been taken from me. How they did it without awakening me I cannot tell\nyou. It was humiliating, but it was true. To-jo stood above me. The", "It must have been a little after three o'clock in the afternoon that it\nhappened--the afternoon of June 3rd, 1916. It seems incredible that", "With a rueful smile, I directed that our original course be resumed,\nand once again we set off toward merry England. That was three months\nago, and we haven't arrived yet; nor is there any likelihood that we\never shall.", "I had at last stumbled into a country inhabited by human beings. I\nwould find them; they would direct me to the cliffs; perhaps they would", "\"We all come from there,\" he said. \"After a while we go there.\" And\nthis time he jerked his head toward the north. \"Be Galus,\" he\nconcluded.", "She insisted, and I insisted; but at last we compromised. I was to\nescort her as far as the country of the Kro-lu and then I was to go", "We were about a quarter of a mile from the rest of our party, and in\nfull sight of them as they lay in the tall grass watching us. That they", "In another fifty yards there was a second turn, this time toward the\nleft! but it was more of a gentle curve, and we took it without", "fled at our approach. For two days we cruised up and down the Channel\ntrying to tell some one, who would listen, that we were friends; but no", "A German was standing near Bradley--just in front of him. The\nEnglishman struck the fellow a frantic blow upon the neck and at the", "Lys shuddered, and I put my arm around her and drew her to me; and thus\nwe sat throughout the hot night. She told me of her abduction and of", "their base and almost concealing them from our view. To the west the\ncountry was flat and sparsely wooded, and here it was that we saw our", "For three days we continued upon our way, until we arrived outside a\nvillage of thatched huts just at dusk. So-ta said that she would enter", "him back. We followed the stream upward through a beautiful country\nfor about five miles, and then came upon its source in a little\nboulder-strewn clearing. From among the rocks bubbled fully twenty", "The girl drew back from me with a little exclamation of surprise and\ndisappointment. \"I thought you were an American,\" she said. \"I had no\nidea you were a--a--\"", "More rapidly now we closed the distance between ourselves and the\nstranger, until I could plainly see the red ensign of the British\nmerchant marine. My heart swelled with pride at the thought that", "I went on in the direction I thought was south but which I now imagine\nmust have been about due north, without detecting a single familiar\nobject. In a dense wood I suddenly stumbled upon a thing which at", "waters, and that was damp and warm. Gradually, we commenced to divest\nourselves of our clothing, retaining only sufficient for modesty; but" ], [ "of the hull of the U-33 and endeavored to scramble upon the deck to\ndevour us. A dozen shots rang out as we who were armed drew our", "Never could aim have been truer. I signaled back to Olson: \"Let 'er\ngo!\" The U-33 trembled from stem to stern as the torpedo shot from its", "tube; then I ran back to the conning-tower, praying in my heart of\nhearts that the U-33 had not swung her bow away from the prey. No,\nthank God!", "\"To the diving-stations!\" I commanded, and in less than a minute the\ndeck was deserted, the conning-tower covers had slammed to and the U-33", "the engine-room, and the tug reduced speed. The U-boat ceased firing\nand ordered the tug to come about and approach. Our momentum had", "\"A shell from the U-33!\" exclaimed von Schoenvorts.\n\n\"What can be after signifyin'?\" queried Olson.", "what's on the U-33. The dirty boches are shellin' the fort. Come on!\"\nAnd he grasped his rifle and started on a run toward the lake. It was", "Our bow was pointed straight toward the U-boat now as I heard word\npassed to the engine for full speed ahead. I instantly grasped the", "we came aboard the U-33. And please, when you address me, remember\nthat to others than my intimates I am Miss La Rue.\"", "we came up--a few yards from the U-boat. The first thing I heard was\nNobs barking furiously; evidently he had missed me and was searching.", "opened my eyes after listening to a torrent of invective against\nGermany and Germans. Tell me, please, all that happened after the ship\nsank.\"", "torpedo. Bradley happened to be looking toward the conning-tower and\nsaw me. I sprang on deck and ran toward him. \"Quick!\" I whispered.", "We kept steadily to our westward course, and as the U-33 was one of the\nfastest submersibles we had ever turned out, I knew that we must be", "The sinking tug drew us far below the surface; but I had seized her the\nmoment I struck the water, and so we went down together, and together", "rubble to the valley bottom, and I had just reached the top of this\nwhen there arose to my ears an agonized cry--\"Bowen! Bowen! Quick, my\nlove, quick!\"", "regained consciousness. We then retraced our steps for our meat being\nconvinced by our own experience that those aboard the U-33 had been\nable to frighten off this party with a single shell--but when we came", "return to your quarters and dress your wound.\" Then he saluted and\nmarched stiffly off toward the U-33.", "survivors to the attention of the single boat which had been making its\nway toward us when Olson launched the torpedo. I suppose the poor\ndevils never reached land, and if they did, they most probably perished", "As I swam toward the submarine with the girl, Nobs' persistent barking\nattracted the attention of some of the tug's crew, so that as soon as", "I then had arms and ammunition issued to the Germans, and leaving\nBradley and five men to guard the U-33, the balance of us went ashore." ], [ "As I gave the command which sent the U-33 slowly ahead, I could not but\nfeel a certain uncanny presentiment of evil. Where were we going?", "We kept steadily to our westward course, and as the U-33 was one of the\nfastest submersibles we had ever turned out, I knew that we must be", "what's on the U-33. The dirty boches are shellin' the fort. Come on!\"\nAnd he grasped his rifle and started on a run toward the lake. It was", "\"A shell from the U-33!\" exclaimed von Schoenvorts.\n\n\"What can be after signifyin'?\" queried Olson.", "of the hull of the U-33 and endeavored to scramble upon the deck to\ndevour us. A dozen shots rang out as we who were armed drew our", "Our first concern was to fill the water tanks of the U-33 with fresh\nwater, and that having been accomplished, we set out to hunt for game", "things; but it was useless. Not only could any of them easily\noutdistance the U-33, but the further upstream we progressed the", "\"To the diving-stations!\" I commanded, and in less than a minute the\ndeck was deserted, the conning-tower covers had slammed to and the U-33", "explained that the U-33 would cruise in these waters for a time,\nsinking neutral and enemy shipping indiscriminately, and looking for\none of the German raiders that was supposed to be in these parts.", "Never could aim have been truer. I signaled back to Olson: \"Let 'er\ngo!\" The U-33 trembled from stem to stern as the torpedo shot from its", "wall upon the left as it was driven on by the mighty current, and I\nfeared for the safety of the U-33 in making so sharp a turn under such", "We kept to our westerly course for several hours when the lookout's cry\nannounced a sail. I ordered the U-33's course altered, and we bore", "We were already rather close in; but I ordered the U-33's prow turned\ninshore and we crept slowly along, constantly dipping up the water and", "regained consciousness. We then retraced our steps for our meat being\nconvinced by our own experience that those aboard the U-33 had been\nable to frighten off this party with a single shell--but when we came", "for the exercise was telling on us who had been cooped up for so long\nin the confined interior of the U-33. Puffing and panting, we plodded", "I went on deck with a rifle, twenty of which were aboard the U-33. At\nsight of me a huge thing charged and climbed to the deck. I retreated", "we came aboard the U-33. And please, when you address me, remember\nthat to others than my intimates I am Miss La Rue.\"", "the U-33 and the urgency of our need for what we took. We addressed\nboth to any British agent with the request that the owners of the", "tube; then I ran back to the conning-tower, praying in my heart of\nhearts that the U-33 had not swung her bow away from the prey. No,\nthank God!", "made preparations to test its water. To land, it would be necessary to\nrun the U-33 close in to the shore, at least as close as we could, for" ], [ "their base and almost concealing them from our view. To the west the\ncountry was flat and sparsely wooded, and here it was that we saw our", "\"I've got it!\" I exclaimed suddenly. \"Look there!\" And I pointed at\nthe base of the cliff ahead of us, which the receding tide was", "unsuccessful. It took us three weeks to build all the houses, which we\nconstructed close by a cold spring some two miles from the harbor.", "Toward noon we discovered a beach, the first we had seen. It was a\nnarrow strip of sand at the base of a part of the cliff that seemed", "to be gone several weeks and to follow along their base in search of a\npoint where they may be scaled. He took Sinclair, Brady, James, and", "von Schoenvorts wanted for the purpose of erecting a crude refinery.\nWe went up the coast some ten or twelve miles in the U-33, tying up to", "And so we approached the coast upon which no living eyes had ever\nrested. Straight from the ocean's depths rose towering cliffs, shot", "extended for hundreds of miles. He could make no landing; nor in the\nseveral days he cruised about it did he see sign of life. He called it", "The creatures were approaching perilously close before I dropped\nthrough the hatchway and slammed down the cover. Then I went into the\ntower and ordered full speed ahead, hoping to distance the fearsome", "\"Watch!\" she cried, and ran eagerly toward the base of the cliff. Like\na squirrel she clambered swiftly aloft, so that I was forced to exert", "imagine, and in this warm climate, and in warm water, it was almost\nunendurable. So we decided to construct a palisaded camp.", "coastline of bald cliffs. As darkness threatened, we drew away and lay\nwell off the coast all night. We had not as yet really commenced to", "yards of the shore. As we cruised slowly along, two of the boches\nagain saw what they believed to be a man, or manlike creature, watching", "On the edge of the lake we helped von Schoenvorts build his primitive\nrefinery. We worked with him for two days until he got things fairly", "remained longer,\" I thought; but when I was quite close to the base of\nthe cliffs, I saw that which dashed my hopes and my happiness to earth.", "The following morning we commenced work upon our camp, Bradley, Olson,\nvon Schoenvorts, Miss La Rue, and I having sat up half the night", "At last I came to the great barrier-cliffs; and after three days of mad\neffort--of maniacal effort--I scaled them. I built crude ladders; I", "a great section of rock and set it upon the surface of the earth. It\nwas now quite dark, and as I crept around the edge of the cliff, I saw\nat a little distance a great fire around which were many", "elsewhere. I also detailed men to stand watch during the night and\nappointed Olson officer of the watch for the entire night, telling him\nto bring his blankets on deck and get what rest he could. At dinner we", "hope that we might see and attract the attention of a passing ship. Our\nexploration has determined one thing which will probably be of little\nvalue to us and never heard of beyond Caprona's walls--this crater was" ], [ "A single glance at the vessel's deck assured me that the battle was\nover and that we had been victorious, for I saw our survivors holding a\nhandful of the enemy at pistol points while one by one the rest of the", "game and our prisoner we made a cheerful return to the boat, where we\nfound that all were safe. On the shore a little north of where we lay\nthere were the corpses of twenty of the wild creatures who had attacked", "Of course I did not take in all these details upon the instant of my\ncapture, for I was busy with other matters. Three of the warriors were", "having glanced from his thick skull, stunning him. We decided to take\nhim with us to camp, and by means of belts we managed to secure his\nhands behind his back and place a leash around his neck before he", "There was, therefore, nothing to do but put the man in irons. As we\nwere preparing to put this decision into force, the girl descended from", "prisoners, including the commander. His lieutenant had been killed.", "succeeded in decapitating it. Then the two men went on deck through\nthe main hatch, and while one kept watch, the other cut a hind quarter", "tribe had entered the fort and carried her off. While I stood stunned\nand horrified at the frightful evidence before me, there came from the\ndirection of the great lake an increasing sound that rose to the volume", "taken his pistol from him, and then had found it an easy matter to\ndisarm the cook and the remaining two Englishmen below. After that it\nhad been comparatively simple to stand at the foot of the ladder and", "Atlantic and starve to death if there was any way out of it. The\nsailing ship saw us while we were still a long way off, as was", "My men were all armed now with both rifles and pistols, each having\nplenty of ammunition. I ordered one of the Germans ashore with a line,", "land was infested by these and similar horrid monsters, life would be\nimpossible upon it, and we decided that we would only search long\nenough to find and take aboard fresh water and such meat and fruits as", "the Germans, I found that all except the commander were willing to\nresume their posts and aid in bringing the vessel into an English port.\nI believe that they were relieved at the prospect of being detained at", "fled at our approach. For two days we cruised up and down the Channel\ntrying to tell some one, who would listen, that we were friends; but no", "dropped him again. Once more was this repeated before I was able to\nreach him and cut his throat; then I looked around for my companions,\nas I wanted them to come and carry the meat home; but I could see", "We hoisted the Union Jack and remained on deck, asking Bradley to go\nbelow and assign to each member of the crew his duty, placing one\nEnglishman with a pistol beside each German.\n\n\"Half speed ahead,\" I commanded.", "As we joined our own party, I found the tug's mate checking up our\nsurvivors. There were ten of us left, not including the girl. Our", "The inadequate boat finally arrived at a precarious landing, the\nnatives, waist-deep in the surf, assisting. I was carried ashore, and", "\"Take him away,\" I directed the two men who guarded him, \"and put him\nin irons.\"", "without assistance. The rough men were gentle as mothers with the\ngirl. Plying us both with questions they hustled her to the captain's" ], [ "\"That is easily discovered now that we have found it,\" I answered. \"It\ncan't come from the ocean; so it must come from the land. All that we\nhave to do is follow it, and sooner or later we shall come upon its\nsource.\"", "discovered something, or at least thought that he had. He called down\nfor a bucket and a rope, and when they were passed up to him, he", "any other name. Then we disembarked and went inland about five miles,\nwhere we came upon a small lake entirely filled with oil, from the\ncenter of which a geyser of oil spouted.", "land was infested by these and similar horrid monsters, life would be\nimpossible upon it, and we decided that we would only search long\nenough to find and take aboard fresh water and such meat and fruits as", "Toward noon we discovered a beach, the first we had seen. It was a\nnarrow strip of sand at the base of a part of the cliff that seemed", "extended for hundreds of miles. He could make no landing; nor in the\nseveral days he cruised about it did he see sign of life. He called it", "hope that we might see and attract the attention of a passing ship. Our\nexploration has determined one thing which will probably be of little\nvalue to us and never heard of beyond Caprona's walls--this crater was", "With water, food, and oil aboard, we felt that we had obtained a new\nlease of life. Now, too, we knew definitely where we were, and I", "was pouring out into the sea. \"It's the subterranean channel of an\ninland river,\" I cried. \"It flows through a land covered with", "\"I've got it!\" I exclaimed suddenly. \"Look there!\" And I pointed at\nthe base of the cliff ahead of us, which the receding tide was", "south--that is, upon our right; and almost immediately after we came\nupon a large island five or six miles in length; and at fifty miles\nthere was a still larger river than the last coming in from the", "on until within about a mile of the harbor we came upon a sight that\nbrought us all up standing. We had been passing through a little\nheavier timber than was usual to this part of the country, when we", "The inadequate boat finally arrived at a precarious landing, the\nnatives, waist-deep in the surf, assisting. I was carried ashore, and", "And so we approached the coast upon which no living eyes had ever\nrested. Straight from the ocean's depths rose towering cliffs, shot", "It was Whitely who discovered the first clue--a huge human-like\nfootprint in the soft earth beside the spring, and indications of a\nstruggle in the mud.", "Atlantic and starve to death if there was any way out of it. The\nsailing ship saw us while we were still a long way off, as was", "I had at last stumbled into a country inhabited by human beings. I\nwould find them; they would direct me to the cliffs; perhaps they would", "who had no weapons and no language. In that word I recognized what to\nme seemed the most remarkable discovery I had made upon Caprona, for\nunless it were mere coincidence, I had come upon a word that had been", "a great section of rock and set it upon the surface of the earth. It\nwas now quite dark, and as I crept around the edge of the cliff, I saw\nat a little distance a great fire around which were many", "resembling what we have seen disgorged by this river. Beyond those\ncliffs lie fertile lands and fresh water--perhaps, game!\"" ], [ "as did the shes of the Sto-lu. \"Ata,\" explained So-ta, when I\nquestioned her as to the purpose of this matutinal rite; but that was\nlater.", "They were all much interested in me and examined my clothing and\nequipment carefully, handling and feeling and smelling of each article.\nI learned from them that their people were known as Band-lu, or", "spear-men; Tsa's race was called Sto-lu--hatchet-men. Below these in\nthe scale of evolution came the Bo-lu, or club-men, and then the Alus,", "Sto-lu; nor in any cave was there sign of life.", "meeting with To-jo. On the sixth day I came to the cliffs of the\nSto-lu, and my heart beat fast as I approached them, for here was Lys.", "\"Come!\" she said. \"So-ta will go with you back to the Galus. It is\ntime that So-ta left the Band-lu. Together we will go to the Kro-lu,", "idea seemed to be that the Kro-lus were a more advanced people than the\nBand-lus. I pondered a long time upon all that I had heard, before", "encountered and with the range of type represented in each tribe. For\nexample, among the Band-lu were such types as So-ta, who seemed to me", "beginning.\" His surprise showed upon his face before he voiced it in\nwords. \"There are no Galus there,\" he said.", "if I understood her. From her gestures I deduced that the Kro-lus were\na people who were armed with bows and arrows, had vessels in which to", "\"So-ta soon to be Kro-lu,\" she confided in a low whisper. I asked her\nwhat a Kro-lu might be, and she tried to explain, but I do not yet know", "Galu, that she was his and that he defied anyone to question his right\nof possession. It appeared to me, as I afterward learned was the fact,\nthat I was witnessing the most primitive of marriage ceremonies. The", "stove. Lys, followed by Nobs, appeared as I entered the centrale. She\nmet me with a pleasant \"Good morning!\" which I am afraid I replied to", "\"We all come from there,\" he said. \"After a while we go there.\" And\nthis time he jerked his head toward the north. \"Be Galus,\" he\nconcluded.", "It was an hour later before the tribe began to stir about. We watched\nthem from our \"apartment,\" as Lys called it. Neither men nor women wore", "fellows to harm us. He calls us Galus and says that in a short time he\nwill be a Galu. It is not quite clear to us what he means. He says", "was both refined and chaste. She had been the wife of To-jo. Among\nthe Kro-lu she would find another mate after the manner of the strange", "sleep came to me. I tried to find some connection between these\nvarious races that would explain the universal hope which each of them\nharbored that some day they would become Galus. So-ta had given me a", "\"Forgive me,\" I managed to stammer. \"It is the only way. You will die\nof exposure if you are not warmed, and Nobs and I are the only means we", "There was one among the lot, evidently the leader of them, who bore a\nclose resemblance to the so-called Neanderthal man of La" ], [ "At last I gave up the search and set off toward Fort Dinosaur. For a\nweek--a week filled with the terrors and dangers of a primeval world--I", "well started, and then we returned to Fort Dinosaur, as I feared that\nBradley might return and be worried by our absence. The U-33 merely", "compound and set out upon the well-marked spoor of the abductor. Not\nonce did I turn my eyes backward toward Fort Dinosaur. I have not", "all the meat that I could conveniently carry, I set off in the\ndirection of the cliffs. I must have gone about a mile before the\ntruth dawned upon me--I was lost, hopelessly lost.", "left the fort--Fort Dinosaur we named it--and hurl it far outward over\nthe cliff-top into the Pacific. What current washes the shore of", "I went on in the direction I thought was south but which I now imagine\nmust have been about due north, without detecting a single familiar\nobject. In a dense wood I suddenly stumbled upon a thing which at", "landed those of us that were to return to the fort and then retraced\nits course toward the oil-well. Olson, Whitely, Wilson, Miss La Rue,", "dropped him again. Once more was this repeated before I was able to\nreach him and cut his throat; then I looked around for my companions,\nas I wanted them to come and carry the meat home; but I could see", "looked upon it since--nor in all likelihood shall I ever look upon it\nagain. The trail led northwest until it reached the western end of the", "him back. We followed the stream upward through a beautiful country\nfor about five miles, and then came upon its source in a little\nboulder-strewn clearing. From among the rocks bubbled fully twenty", "slightly removed from the ape. Hope, then, still lived. For another\nthree days I searched north and south, east and west for the hatchetmen", "only desire was to find my way back to my companions. He asked where\nthey were and I told him toward the south somewhere, using the\nCaspakian phrase which, literally translated, means \"toward the", "what's on the U-33. The dirty boches are shellin' the fort. Come on!\"\nAnd he grasped his rifle and started on a run toward the lake. It was", "\"They are in trouble,\" I answered for all, \"and it's up to us to get\nback to them. Drop that carcass,\" I directed the men carrying the", "killed myself doing it. When I glanced up, that little head on the end\nof its long neck was coming straight down on top of me, and once more I", "having glanced from his thick skull, stunning him. We decided to take\nhim with us to camp, and by means of belts we managed to secure his\nhands behind his back and place a leash around his neck before he", "out its long neck and opened its mighty jaws and grabbed for me; but I\nwasn't there. I had tumbled backward into the tower, and I mighty near", "she sought by night and by day to elude the great brute. For a time\nNobs had been all the protection she required; but one day he", "battle from the time we left the fort until we arrived at camp. The\nmind of man can scarce conceive the plethora of carnivorous life in", "extended for hundreds of miles. He could make no landing; nor in the\nseveral days he cruised about it did he see sign of life. He called it" ], [ "Benson died that night. He remained defiant almost to the last; but\njust before he went out, he motioned to me, and I leaned over to catch\nthe faintly whispered words.", "And so at last we turned into our narrow bunks, hopeful, happy and at\npeace with ourselves, our lives and our God, to awaken the following", "That was all; Benson was dead. We threw his body overboard.", "It was Nobs who finally awoke her. He got up, stretched, turned around\na few times and lay down again, and the girl opened her eyes and looked", "\"Forgive me,\" I managed to stammer. \"It is the only way. You will die\nof exposure if you are not warmed, and Nobs and I are the only means we", "They had been broken upon the night that Lys had been seen talking with\nvon Schoenvorts. I think that it was this last thought which hurt me\nthe worst. I could look the other disaster in the face with", "descended the ladder into the centrale. I was the last to come, and\nwhen I reached the bottom, I found myself looking into the muzzle of a", "I saw that we had reached the end of our rope. Below all was\nquiet--not a man remained. A door opened at the end of the narrow", "lived over the events of the evening. At last I turned in and fell\nasleep, dreaming happy dreams and planning for the future, for even in", "inscrutable forces of the sea shall fall into friendly hands. However,\nwe are each without hope. And so we say good-bye in this, our last\nmessage to the world beyond the barrier cliffs.", "nerve to deliver it. Nobs had come over and nosed his muzzle into her\nlap, and she stroked his ugly face, and at last she leaned over and put", "I had perhaps the fraction of a second longer to live when I heard an\nangry growl behind us mingle with a cry of pain and rage from the giant", "dropped him again. Once more was this repeated before I was able to\nreach him and cut his throat; then I looked around for my companions,\nas I wanted them to come and carry the meat home; but I could see", "It was a sad leave-taking as in silence I shook hands with each of the\nthree remaining men. Even poor Nobs appeared dejected as we quit the", "killed myself doing it. When I glanced up, that little head on the end\nof its long neck was coming straight down on top of me, and once more I", "coat and made a pillow for her head. I chafed her hands and arms and\nfeet. I worked over her for an hour, and at last I was rewarded by a", "pointed its stern straight toward the sky and plunged out of sight. My\nhand missed the girl's by a fraction of an inch, and I saw her slip", "are content. If God wills it, we shall live out our lives here. If He\nwills otherwise, then this manuscript which I shall now consign to the", "I knew the end was near and, almost involuntarily, I did that which I\nhad not done since childhood--I prayed. After that I felt better.\n\nI clung and waited, but the water rose no higher.", "October 8, 1916: This is the last entry I shall make upon my\nmanuscript. When this is done, I shall be through. Though I may pray" ], [ "After reading this far, my interest, which already had been stimulated\nby the finding of the manuscript, was approaching the boiling-point. I", "I was soaked above the knees doing it; and then I sat down in the sand\nand opened it, and in the long twilight read the manuscript, neatly\nwritten and tightly folded, which was its contents.", "are content. If God wills it, we shall live out our lives here. If He\nwills otherwise, then this manuscript which I shall now consign to the", "in the few yards I had to cover to reach that lonely grave and stoop\nthat I might read the rude characters scratched upon the simple\nheadstone. This is what I read:", "Antarctic upon the other. Presently I shall stuff my folded manuscript\ninto the thermos bottle I have carried with me for the purpose since I", "It was a week ago that I wrote the preceding paragraph, which I thought\nwould end the written record of my life upon Caprona. I had paused to", "touches being put on today. I quit about a week ago and commenced\nworking on this chronicle for our strange adventures, which will\naccount for any minor errors in chronology which may have crept in;", "were similar to the language of Ahm, though much fuller, for there were\nmany words I could not understand. However I caught the gist of what he\nwas saying--which in effect was that he had found and captured this", "It was Whitely who discovered the first clue--a huge human-like\nfootprint in the soft earth beside the spring, and indications of a\nstruggle in the mud.", "I must have lain there bound and uncomfortable for two or three hours\nwhen at last So-ta entered the cave. She carried a sharp knife--mine,\nin fact, and with it she cut my bonds.", "organic and alive, but that for some time it had been dead. Nobs\nhalted, sniffed and growled. A little later he sat down upon his", "It was enough. It recalled me from the forgotten eon to which my brain\nhad flown and left me once again a modern man battling with a clumsy,", "difficulties on his return to Italy. It was the fashion to scoff at\nhis claims, but I recall reading one of his works--his only one, I", "slightly removed from the ape. Hope, then, still lived. For another\nthree days I searched north and south, east and west for the hatchetmen", "Then I found a tiny handkerchief close to the outer wall. Lys had been\nstolen! It was all too plain. Some hideous member of the ape-man", "They had been broken upon the night that Lys had been seen talking with\nvon Schoenvorts. I think that it was this last thought which hurt me\nthe worst. I could look the other disaster in the face with", "As Nobs and I approached the recumbent figure farther up the beach, I\nwas appraised by my nose that whether man or not, the thing had once been", "gone. If I had stumbled upon the grave of one of the party, was it not\nwithin reason to believe that the bones of the others lay scattered\nsomewhere near?", "arms. All the fears and sorrows of the past were wiped away, and once\nagain I was the happiest of men.", "succeeded in decapitating it. Then the two men went on deck through\nthe main hatch, and while one kept watch, the other cut a hind quarter" ], [ "After reading this far, my interest, which already had been stimulated\nby the finding of the manuscript, was approaching the boiling-point. I", "I was soaked above the knees doing it; and then I sat down in the sand\nand opened it, and in the long twilight read the manuscript, neatly\nwritten and tightly folded, which was its contents.", "are content. If God wills it, we shall live out our lives here. If He\nwills otherwise, then this manuscript which I shall now consign to the", "Antarctic upon the other. Presently I shall stuff my folded manuscript\ninto the thermos bottle I have carried with me for the purpose since I", "October 8, 1916: This is the last entry I shall make upon my\nmanuscript. When this is done, I shall be through. Though I may pray", "touches being put on today. I quit about a week ago and commenced\nworking on this chronicle for our strange adventures, which will\naccount for any minor errors in chronology which may have crept in;", "There was absolutely nothing about the body to suggest that it might\npossibly in life have known a maritime experience. It was the body of\na low type of man or a high type of beast. In neither instance would", "It was Whitely who discovered the first clue--a huge human-like\nfootprint in the soft earth beside the spring, and indications of a\nstruggle in the mud.", "that it reaches the haunts of civilized man, my better judgment tells\nme that it will never be perused by other eyes than mine, and that even", "It was a week ago that I wrote the preceding paragraph, which I thought\nwould end the written record of my life upon Caprona. I had paused to", "in the few yards I had to cover to reach that lonely grave and stoop\nthat I might read the rude characters scratched upon the simple\nheadstone. This is what I read:", "Then I found a tiny handkerchief close to the outer wall. Lys had been\nstolen! It was all too plain. Some hideous member of the ape-man", "organic and alive, but that for some time it had been dead. Nobs\nhalted, sniffed and growled. A little later he sat down upon his", "I am about done. Presently I shall fold these pages and push them into\nmy thermos bottle. I shall cork it and screw the cap tight, and then I", "a great section of rock and set it upon the surface of the earth. It\nwas now quite dark, and as I crept around the edge of the cliff, I saw\nat a little distance a great fire around which were many", "\"For three days he has pursued me,\" she said, \"through this horrible\nworld. How I have passed through in safety I cannot guess, nor how I", "slightly removed from the ape. Hope, then, still lived. For another\nthree days I searched north and south, east and west for the hatchetmen", "\"Forgive me,\" I managed to stammer. \"It is the only way. You will die\nof exposure if you are not warmed, and Nobs and I are the only means we", "difficulties on his return to Italy. It was the fashion to scoff at\nhis claims, but I recall reading one of his works--his only one, I", "were similar to the language of Ahm, though much fuller, for there were\nmany words I could not understand. However I caught the gist of what he\nwas saying--which in effect was that he had found and captured this" ], [ "touches being put on today. I quit about a week ago and commenced\nworking on this chronicle for our strange adventures, which will\naccount for any minor errors in chronology which may have crept in;", "\"Forgive me,\" I managed to stammer. \"It is the only way. You will die\nof exposure if you are not warmed, and Nobs and I are the only means we", "\"For three days he has pursued me,\" she said, \"through this horrible\nworld. How I have passed through in safety I cannot guess, nor how I", "Presently she resumed as though she had not ceased speaking. \"I went\ndown and down and down. I thought I should never cease to sink. I", "She looked up at me with a smile. \"I imagine that I am frightened and\nblue,\" she said, \"and I know that I am very, very homesick and lonely.\"", "When he had gone, the girl raised her eyes to mine. \"He is the German\nof whom I spoke,\" she said. \"He is Baron von Schoenvorts.\"", "been taken from me. How they did it without awakening me I cannot tell\nyou. It was humiliating, but it was true. To-jo stood above me. The", "You have read the opening paragraph, and if you are an imaginative\nidiot like myself, you will want to read the rest of it; so I shall", "I must have lain there bound and uncomfortable for two or three hours\nwhen at last So-ta entered the cave. She carried a sharp knife--mine,\nin fact, and with it she cut my bonds.", "during his tour of duty. Benson gave me a knowing smile, as much as to\nsay: \"Well, you and I know who did this.\" Yet I could not believe\nthat it was the girl.", "reported to me the previous night. In fact, as I had given the matter\nthought, it seemed incredible that the girl could have passed through\nmy room, in which Bradley and I slept, and then carried on a", "It was Nobs who finally awoke her. He got up, stretched, turned around\na few times and lay down again, and the girl opened her eyes and looked", "I looked long and carefully and could have sworn that the thing I saw\nwas the sprawled figure of a human being. Miss La Rue was on deck with", "The man saluted and left me; but for an hour or more I tossed,\nrestless, upon my hard bunk in an agony of jealousy and fear. Finally I", "made the poor egg think he had seen her doing the same thing. I am\nsorry--sorry that my plans failed. I hate you.\"", "There was absolutely nothing about the body to suggest that it might\npossibly in life have known a maritime experience. It was the body of\na low type of man or a high type of beast. In neither instance would", "Lys shuddered, and I put my arm around her and drew her to me; and thus\nwe sat throughout the hot night. She told me of her abduction and of", "It was a week ago that I wrote the preceding paragraph, which I thought\nwould end the written record of my life upon Caprona. I had paused to", "nerve to deliver it. Nobs had come over and nosed his muzzle into her\nlap, and she stroked his ugly face, and at last she leaned over and put", "There seemed no one to dispute his claims when he said, or rather\nshouted, in stentorian tones: \"I am Tsa. This is my she. Who wishes\nher more than Tsa?\"" ], [ "pointed its stern straight toward the sky and plunged out of sight. My\nhand missed the girl's by a fraction of an inch, and I saw her slip", "The sinking tug drew us far below the surface; but I had seized her the\nmoment I struck the water, and so we went down together, and together", "when it rolled completely over and sank. We were caught in the suction\nonly enough to be drawn backward a few yards, neither of us being\ncarried beneath the surface. I glanced hurriedly about for something to", "All the time the lifeboats had been pulling away from the danger of the\nsinking liner, and now, though I yelled at the top of my lungs, they", "bent on our destruction,\" she said, \"and it looks like the same boat\nthat sunk us yesterday.\"", "which to cling. My eyes were directed toward the point at which the\nliner had disappeared when there came from the depths of the ocean the\nmuffled reverberation of an explosion, and almost simultaneously a", "Shrieking and screaming, the German was dragged from the deck, and the\nmoment the reptile was clear of the boat, it dived beneath the surface", "boat. \"They see us,\" she said at last. \"There is a man answering your\nsignal.\" She was right. A lump came into my throat--for her sake", "That was all; Benson was dead. We threw his body overboard.", "Atlantic and starve to death if there was any way out of it. The\nsailing ship saw us while we were still a long way off, as was", "ahead of me a lifeboat shot bow foremost out of the ocean almost its\nentire length to flop down upon its keel with a mighty splash. It must", "A second shell exploded upon the deck. One of the lifeboats,\nfrightfully overcrowded, swung at a dangerous angle from its davits. A", "leaned over the boat's side and drew her quickly in to the comparative\nsafety which God had given me. I removed her life-belt and my soggy", "by their useless lifebelts. Some were torn and mangled; others lay\nrolling quietly to the motion of the sea, their countenances composed\nand peaceful; others were set in hideous lines of agony or horror.", "another, for Nob's great jaws had closed upon his throat. Then I\nsprang toward the edge of the deck closest to the girl upon the sinking\ntug.", "\"Keep close in,\" I directed Bradley, and then I dived over the side and\nstruck out for the narrow beach. There was another splash directly", "time. The first two boats we sighted made off as fast as they could\ngo; and the third, a huge freighter, fired on us, forcing us to", "survivors to the attention of the single boat which had been making its\nway toward us when Olson launched the torpedo. I suppose the poor\ndevils never reached land, and if they did, they most probably perished", "opened my eyes after listening to a torrent of invective against\nGermany and Germans. Tell me, please, all that happened after the ship\nsank.\"", "was submerging--possibly for the last time. I know that I had this\nfeeling, and I think that most of the others did." ], [ "bent on our destruction,\" she said, \"and it looks like the same boat\nthat sunk us yesterday.\"", "That was all; Benson was dead. We threw his body overboard.", "boat. \"They see us,\" she said at last. \"There is a man answering your\nsignal.\" She was right. A lump came into my throat--for her sake", "The sinking tug drew us far below the surface; but I had seized her the\nmoment I struck the water, and so we went down together, and together", "my side and slipped something hard and cold into my hand. I did not\nhave to look at it to know that it was a heavy pistol. \"Tyke 'er an'\nuse 'er,\" was all he said.", "pointed its stern straight toward the sky and plunged out of sight. My\nhand missed the girl's by a fraction of an inch, and I saw her slip", "opened my eyes after listening to a torrent of invective against\nGermany and Germans. Tell me, please, all that happened after the ship\nsank.\"", "Benson died that night. He remained defiant almost to the last; but\njust before he went out, he motioned to me, and I leaned over to catch\nthe faintly whispered words.", "when it rolled completely over and sank. We were caught in the suction\nonly enough to be drawn backward a few yards, neither of us being\ncarried beneath the surface. I glanced hurriedly about for something to", "Shrieking and screaming, the German was dragged from the deck, and the\nmoment the reptile was clear of the boat, it dived beneath the surface", "\"If you will note the boat's course a half-hour after Benson goes on\nduty,\" she said, \"you will know what I mean, and you will understand", "And try it again we did, only to be almost rammed by a huge freighter.\nLater we were fired upon by a destroyer, and two merchantmen turned and", "\"I did it alone,\" he said. \"I did it because I hate you--I hate all\nyour kind. I was kicked out of your shipyard at Santa Monica. I was", "time. The first two boats we sighted made off as fast as they could\ngo; and the third, a huge freighter, fired on us, forcing us to", "reversing of the engines, and our speed quickly lessened. Then I saw\nwhat that madman of a skipper planned since his first scheme had gone\nwrong.", "another, for Nob's great jaws had closed upon his throat. Then I\nsprang toward the edge of the deck closest to the girl upon the sinking\ntug.", "wanted to injure Americans, whom I hated more. I threw the wireless\napparatus overboard. I destroyed the chronometer and the sextant. I", "boat and came out of her room to investigate. She was just in time to\nsee Benson at the diving rudders. When he saw her, he raised his", "A second shell exploded upon the deck. One of the lifeboats,\nfrightfully overcrowded, swung at a dangerous angle from its davits. A", "A single glance at the vessel's deck assured me that the battle was\nover and that we had been victorious, for I saw our survivors holding a\nhandful of the enemy at pistol points while one by one the rest of the" ], [ "As soon as I had assured myself that such was the case, I made my\npreparations to follow and rescue her. Olson, Whitely, and Wilson each", "\"Thank God, man!\" was all he said as he reached forth and dragged me\ninto the tower. I was cold and numb and rather all in. Another few", "\"They are in trouble,\" I answered for all, \"and it's up to us to get\nback to them. Drop that carcass,\" I directed the men carrying the", "rather than for mine. She was saved, and none too soon. She could not\nhave lived through another night upon the Channel; she might not have\nlived through the coming day.", "intervened. We ran as fast as we could around the lower end of the\nharbor, scrambled up the cliffs and at last stood upon their summit in", "The sinking tug drew us far below the surface; but I had seized her the\nmoment I struck the water, and so we went down together, and together", "As we joined our own party, I found the tug's mate checking up our\nsurvivors. There were ten of us left, not including the girl. Our", "for her. It is a hard, fierce, dangerous life, and I shall pray always\nthat we shall be rescued from it--for her sake.", "who carried me. Instantly he went backward to the deck, and as he did\nso he threw his arms outwards to save himself, freeing me. I fell", "without assistance. The rough men were gentle as mothers with the\ngirl. Plying us both with questions they hustled her to the captain's", "The tug came close beside us, and a man on deck threw us a rope.\nWilling hands dragged us to the deck, Nobs scrambling nimbly aboard", "pointed its stern straight toward the sky and plunged out of sight. My\nhand missed the girl's by a fraction of an inch, and I saw her slip", "pistol and fired point-blank at her, but he missed and she fired--and\ndidn't miss. The two shots awakened everyone, and as our men were", "It was Nobs who finally awoke her. He got up, stretched, turned around\na few times and lay down again, and the girl opened her eyes and looked", "evidenced by her efforts to escape. There was scarcely any wind,\nhowever, and her case was hopeless; so when we drew near and signaled", "another, for Nob's great jaws had closed upon his throat. Then I\nsprang toward the edge of the deck closest to the girl upon the sinking\ntug.", "So for the thousandth time I thank the strange fate which sent that\nlifeboat hurtling upward from the green pit of destruction to which it", "for herself. It did not take me long to liberate myself, and then I\nwas at her side. \"How can I thank you?\" I started; but she shut me up\nwith a word.", "I must have lain there bound and uncomfortable for two or three hours\nwhen at last So-ta entered the cave. She carried a sharp knife--mine,\nin fact, and with it she cut my bonds.", "There was, therefore, nothing to do but put the man in irons. As we\nwere preparing to put this decision into force, the girl descended from" ], [ "hope that we might see and attract the attention of a passing ship. Our\nexploration has determined one thing which will probably be of little\nvalue to us and never heard of beyond Caprona's walls--this crater was", "to be gone several weeks and to follow along their base in search of a\npoint where they may be scaled. He took Sinclair, Brady, James, and", "The creatures were approaching perilously close before I dropped\nthrough the hatchway and slammed down the cover. Then I went into the\ntower and ordered full speed ahead, hoping to distance the fearsome", "a great section of rock and set it upon the surface of the earth. It\nwas now quite dark, and as I crept around the edge of the cliff, I saw\nat a little distance a great fire around which were many", "their base and almost concealing them from our view. To the west the\ncountry was flat and sparsely wooded, and here it was that we saw our", "\"I've got it!\" I exclaimed suddenly. \"Look there!\" And I pointed at\nthe base of the cliff ahead of us, which the receding tide was", "The following morning we commenced work upon our camp, Bradley, Olson,\nvon Schoenvorts, Miss La Rue, and I having sat up half the night", "extended for hundreds of miles. He could make no landing; nor in the\nseveral days he cruised about it did he see sign of life. He called it", "Bradley passed the order down into the ship and a moment later the\ngun-crew clambered up the narrow ladder and at my direction trained", "\"Watch!\" she cried, and ran eagerly toward the base of the cliff. Like\na squirrel she clambered swiftly aloft, so that I was forced to exert", "unsuccessful. It took us three weeks to build all the houses, which we\nconstructed close by a cold spring some two miles from the harbor.", "With a loud-yelled command, he leaped to the slippery deck of the\nsubmersible, and at his heels came his hardy crew. I sprang from the", "Thinking to attract attention from inside the craft, I again ran down\nthe ladder and onto the small deck only to find that the steel covers", "\"I did it alone,\" he said. \"I did it because I hate you--I hate all\nyour kind. I was kicked out of your shipyard at Santa Monica. I was", "At last I came to the great barrier-cliffs; and after three days of mad\neffort--of maniacal effort--I scaled them. I built crude ladders; I", "As we drifted about upon that vast expanse of loneliness it is not\nstrange that we should quickly become well acquainted. Constantly we", "land was infested by these and similar horrid monsters, life would be\nimpossible upon it, and we decided that we would only search long\nenough to find and take aboard fresh water and such meat and fruits as", "imagine, and in this warm climate, and in warm water, it was almost\nunendurable. So we decided to construct a palisaded camp.", "elsewhere. I also detailed men to stand watch during the night and\nappointed Olson officer of the watch for the entire night, telling him\nto bring his blankets on deck and get what rest he could. At dinner we", "On the edge of the lake we helped von Schoenvorts build his primitive\nrefinery. We worked with him for two days until he got things fairly" ], [ "posted as to his duties, and the German members of the crew understood\nthat it was obedience or death for them, as each was accompanied by a", "When I got down into the centrale, I saw the Germans lined up on one\nside with a couple of my men with pistols standing over them. Von", "the Germans, I found that all except the commander were willing to\nresume their posts and aid in bringing the vessel into an English port.\nI believe that they were relieved at the prospect of being detained at", "A German was standing near Bradley--just in front of him. The\nEnglishman struck the fellow a frantic blow upon the neck and at the", "We hoisted the Union Jack and remained on deck, asking Bradley to go\nbelow and assign to each member of the crew his duty, placing one\nEnglishman with a pistol beside each German.\n\n\"Half speed ahead,\" I commanded.", "at least was far more unpleasant than the sudden onslaught of the\nprehistoric reptile. Two of the men, both Germans, were stripping a", "When he had gone, the girl raised her eyes to mine. \"He is the German\nof whom I spoke,\" she said. \"He is Baron von Schoenvorts.\"", "the Germans. Almost simultaneously they commenced vomiting. They\ncouldn't suggest any explanation for it. I asked them what they had\neaten, and found they had eaten nothing other than the food cooked for", "boches and damaged machinery. There were no Germans below, and\neverything was intact and in ship-shape working order. I then ordered\nall hands below except one man who was to act as lookout. Questioning", "with red blood. Beside me came Nobs, silent now, and grim. Germans\nwere emerging from the open hatch to take part in the battle on deck.", "assisting the girl down the ladder and still retained a hold upon her\narm--possibly after such support was no longer necessary--when she\nturned and looked squarely into the face of the German. Each voiced a", "pistol in the hands of Baron Friedrich von Schoenvorts--I saw all my\nmen lined up at one side with the remaining eight Germans standing\nguard over them.", "Bradley was now running from one to another of our men, and though some\nof the Germans saw and heard him, they seemed too stunned for action.", "My men were all armed now with both rifles and pistols, each having\nplenty of ammunition. I ordered one of the Germans ashore with a line,", "of Benson we had been nine and nine--nine Germans and nine \"Allies,\" as\nwe called ourselves, now there were but eight Germans. We never", "the girl in the crew's room about midnight talking with the German\ncommander, but as there hadn't seemed to him to be any harm in that, he", "we were eating was the same one that ate the German. It was some time\nbefore we could persuade the girl to continue her meal, but at last\nBradley prevailed upon her, pointing out that we had come upstream", "he had known fear; nor can I blame him. After the girl I sent Bradley\nand most of the Allies and then the Germans who were on deck--von\nSchoenvorts being still in irons below.", "\"Who could it have been?\" she cried. \"The Germans would be crazy to do\nit, for their lives are as much at stake as ours.\"", "I then had arms and ammunition issued to the Germans, and leaving\nBradley and five men to guard the U-33, the balance of us went ashore." ], [ "It was further understood that we were to act as a military\norganization under military rules and discipline--I as commander, with\nBradley as my first lieutenant and Olson as my second, in command of", "prisoners, including the commander. His lieutenant had been killed.", "A second shell passed over us, and then I gave the command to change\nour direction, at the same time directing Bradley to go below and give", "At first the pistols cracked amidst the cursing of the men and the loud\ncommands of the commander and his junior; but presently we were too", "Bradley passed the order down into the ship and a moment later the\ngun-crew clambered up the narrow ladder and at my direction trained", "The sailor immediately straightened up, faced his officer, clicked his\nheels together and saluted. \"Pig!\" roared the Baron, and struck the", "With a loud-yelled command, he leaped to the slippery deck of the\nsubmersible, and at his heels came his hardy crew. I sprang from the", "and the second shot grazed the cabin, warning the belligerent\ntug-captain that it was time to obey. Once again an order went down to", "(Signed) Bowen J. Tyler, Jr. Lys La R. Tyler.", "We hoisted the Union Jack and remained on deck, asking Bradley to go\nbelow and assign to each member of the crew his duty, placing one\nEnglishman with a pistol beside each German.\n\n\"Half speed ahead,\" I commanded.", "the Englishmen; while von Schoenvorts was to act as an additional\nsecond lieutenant and have charge of his own men. The four of us were\nto constitute a military court under which men might be tried and", "my side and slipped something hard and cold into my hand. I did not\nhave to look at it to know that it was a heavy pistol. \"Tyke 'er an'\nuse 'er,\" was all he said.", "elsewhere. I also detailed men to stand watch during the night and\nappointed Olson officer of the watch for the entire night, telling him\nto bring his blankets on deck and get what rest he could. At dinner we", "Benson died that night. He remained defiant almost to the last; but\njust before he went out, he motioned to me, and I leaned over to catch\nthe faintly whispered words.", "were not on duty below streamed up the ladder, Olson bringing Nobs\nunder one arm. For several minutes no one spoke; I think they must", "It took me just about thirty seconds to break the elbow of one of my\nassailants, trip another and send him stumbling backward among his", "I couldn't imagine how it had happened; but it had. Later I learned\nthat they had first overpowered Benson, who was asleep in his bunk, and", "taken his pistol from him, and then had found it an easy matter to\ndisarm the cook and the remaining two Englishmen below. After that it\nhad been comparatively simple to stand at the foot of the ladder and", "delighted. Immediately I was put in command, and the first thing I did\nwas to go below with Olson and inspect the craft thoroughly for hidden", "pistol and fired point-blank at her, but he missed and she fired--and\ndidn't miss. The two shots awakened everyone, and as our men were" ], [ "The inadequate boat finally arrived at a precarious landing, the\nnatives, waist-deep in the surf, assisting. I was carried ashore, and", "south--that is, upon our right; and almost immediately after we came\nupon a large island five or six miles in length; and at fifty miles\nthere was a still larger river than the last coming in from the", "any other name. Then we disembarked and went inland about five miles,\nwhere we came upon a small lake entirely filled with oil, from the\ncenter of which a geyser of oil spouted.", "extended for hundreds of miles. He could make no landing; nor in the\nseveral days he cruised about it did he see sign of life. He called it", "They were all much interested in me and examined my clothing and\nequipment carefully, handling and feeling and smelling of each article.\nI learned from them that their people were known as Band-lu, or", "\"We all come from there,\" he said. \"After a while we go there.\" And\nthis time he jerked his head toward the north. \"Be Galus,\" he\nconcluded.", "It was an hour later before the tribe began to stir about. We watched\nthem from our \"apartment,\" as Lys called it. Neither men nor women wore", "Atlantic and starve to death if there was any way out of it. The\nsailing ship saw us while we were still a long way off, as was", "Caprona and sailed away. I believe, sir, that we are looking upon the\ncoast of Caprona, uncharted and forgotten for two hundred years.\"", "The water of the inland sea was very warm, almost hot, and the\natmosphere was hot and heavy above it. It seemed strange that beyond", "Galu, that she was his and that he defied anyone to question his right\nof possession. It appeared to me, as I afterward learned was the fact,\nthat I was witnessing the most primitive of marriage ceremonies. The", "the fact of the smallness of the beach, the enormous depth of\nsurrounding water and the great distance at which Caprona lies from her\nnearest neighbor.", "She has learned to speak it, and so have I, to some extent. It was\nhe--his name he says is Am, or Ahm--who told us that this country is", "it have been of a seafaring race. Therefore I deduced that it was\nnative to Caprona--that it lived inland, and that it had fallen or been", "fled at our approach. For two days we cruised up and down the Channel\ntrying to tell some one, who would listen, that we were friends; but no", "hope that we might see and attract the attention of a passing ship. Our\nexploration has determined one thing which will probably be of little\nvalue to us and never heard of beyond Caprona's walls--this crater was", "Greenland! As a descriptive appellation, it is a sorry joke--but my\nstory has nothing to do with Greenland, nothing to do with me; so I\nshall get through with the one and the other as rapidly as possible.", "For three days we continued upon our way, until we arrived outside a\nvillage of thatched huts just at dusk. So-ta said that she would enter", "I had at last stumbled into a country inhabited by human beings. I\nwould find them; they would direct me to the cliffs; perhaps they would", "might come to their village and spend the night with them. I was loath\nto lose so much time; but the fellow was obdurate, and so I accompanied" ] ]

[ "What body of water did the ship sink into in 1916?", "Who is rescued with Bowen J. Tyler?", "Which World War is happening?", "Who overtakes the German crew?", "What is the name of the island where Fort Dinosaur is located?", "Which Italian explorer first discovered Caprona in 1721?", "What kind of fossil fuel was found on Caspak Island?", "What did Tyler do after writing down his adventures and experiences?", "Who is Von Schoenvorts?", "What war was going on during The Land that Time Forgot? ", "In what country was the story taking place?", "Who rescued Bowen J. Tyler from the sunken U-33? ", "What happened to the U-33 to cause worry in the story? ", "What was the name of the base the crew built on the coast? ", "Who did the castaways take prisoners?", "What natural resource was discovered on the island?", "What were the Sto-lu?", "What does Tyler do when he is unable to find his way back to Fort Dinosaur? ", "What is the last thing that happens?", "Where is the manuscript recovered?", "What is the manuscript found in?", "Who does the narrative supposedly belong to?", "Where did Tyler's boat sink? ", "Who sunk Tyler's boat?", "Who is rescued with Tyler?", "What is the name of the base that the crew build?", "Who is in control of the Germans?", "Who is 2nd in command after Tyler?", "What is the native name of the island?" ]

[ [ "The English Channel", "English Channel" ], [ "Lys La Rue", "His Airedale Terrier and Lys La Rue" ], [ "World War I", "World War One" ], [ "The British", "The British" ], [ "Caspak", "Caprona" ], [ "Caproni", "Caproni" ], [ "Oil", "Oil" ], [ "Put them in a thermos and threw it out to sea", "Casts it out to sea in his thermos." ], [ "The original sub commander", "The original sub commander" ], [ "World War One", "World War I" ], [ "Off the coast of Greenland", "Caprona" ], [ "Lys La Rue", "A British tug boat. " ], [ "It was low on fuel. ", "The navigation equipment is sabotaged." ], [ "Fort Dinosaur ", "Fort Dinosaur" ], [ "Ahm, a Neanderthal Man", "Ahm, a Neanderthal man." ], [ "Oil", "They discovered oil." ], [ "Hatchet Men", "Primitive humanoids known as hatchet men. " ], [ "He goes to the cliffs and hopes he can attract help. ", "Goes to the barrier cliffs to attract rescue." ], [ "Tyler casts his story out to sea in his thermos. ", "Tyler completes the account of his adventures and casts it to see. " ], [ "Off the coast of Greenland?", "In a thermos off the coast of Greenland" ], [ "A thermos", "A Thermos." ], [ "Bowen J. Tyler", "Bowen J Tyler" ], [ "The English Channel", "English Channel." ], [ "The Germans", "The German U-boat U-33." ], [ "Lys Larue", "Lys La Rue" ], [ "Fort Dinosaur", "Fort Dinosaur." ], [ "Von Schoenvorts", "Von Shoenvorts" ], [ "Bradley", "Bradley" ], [ "Caspak", "Caspak" ] ]

[ [ "John at dusk tied to the bed with his two bank ties. Nadia \n is on top. They are having sex.\n\n Hands stacking bank notes into the back of a cash machine. \n Fast, mechanical.", "JOHN\n (thrown)\n Right.\n\n BRANCH MANAGER\n You can see why it's sensitive?", "INT. NATIONAL WESTMINSTER BANK - DAY\n\n The doors slide apart and John enters his branch. The place \n is full of customers. He cheeks himself through the security \n door and into the back.", "At the bank, John walks to his desk. His phone rings. He \n answers it.\n\n Silence. Then soft breathing. John listens intently and looks \n around.", "John punches in the security code. He opens the safe door \n and goes inside, closing it behind him. We see his stricken \n face peering through the toughened glass.", "We move fast through the banking hall to the furthest counter. \n The blind snaps up to reveal John, wearing a smart suit.", "to their problems. But, you see, I'm \n not in that line of work anymore. \n Nowadays I'm a bank robber.", "John's skilled hands loading a stack of banknotes into a \n drawer. The cashier next along, Clare, smiles at him.\n\n CLARE\n Good weekend?", "INT. ROOM IN THE BANK - DAY\n\n A close up of John's face. He closes his eyes, falls \n backwards, and is caught in the arms of a colleague.", "John sits back down. He steals side-glances at her. Her mouth. \n Her red-painted fingers knitting fast.\n\n John flips through the channels --", "INT. BANK - DAY\n\n John sits at his desk in the open plan office. He looks \n nervous.", "is a folded note marked John. John holds it in his hands -- \n Slowly, deliberately, he screws it up, and drops it in the \n case like a bin.", "JOHN\n Even so I always felt the decision \n to burst in and rob it very much \n remained with me.", "YURI\n He wants the money from your bank.\n\n JOHN\n I'll fuckin' give it to him! We'll \n go down there.", "JOHN\n I've got eight hundred pounds. Oh \n Jesus.\n\n The penny drops.\n\n JOHN\n Oh Jesus.", "John studies the faces of his fellow dupes and at last comes \n to his own picture. Despite himself tears come to his eyes.", "John scoops up the money, refasten the case and stand to see \n them all watching him, as the five Trust and Letting Go \n fallers crash to the ground in unison.", "John in a pub with a four colleagues from the bank. He sips \n his half, half listening to the conversation. It all seems", "John takes another step down the hallway. There, by the door \n are the two guitar cases full of money. Next to them is", "John ducks down, panting, swallowing hard. At once he springs \n up and skirts the building again. He finds a window to the \n next suite." ], [ "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT", "Nadia speaks. John waits uncomfortably. Silence.\n\n YURI\n She says she watched you at the \n airport.\n\n John stops.", "John finishes tying up Yuri, and removes his passport from \n his jacket. Behind Nadia another plane arcs up into the night \n sky.", "Yuri takes John's left hand and pulls off Nadia's ring. He \n puts it in his pocket.\n\n INT. MOTEL BEDROOM - NIGHT", "John begins to swim toward Alexei. Just as he gets near, \n Alexei lets Nadia surface, coughing and spluttering -- she \n shouts at Alexei in Russian, angry.", "NADIA\n (to John)\n Get your money.\n\n John collects the cases and they head for the door. Nadia \n stops to look back at Alexei. A final look.", "John, Nadia and Alexei pose with the cake. Nadia puts her \n arm round John and Alexei. With a FLASH! Yuri takes a \n Polaroid.", "YURI\n John, I'm sorry. It's my fault.\n\n Alexei shouts again. Nadia is frozen with terror.", "John shrugs. He takes them.\n\n NADIA\n Goodbye.\n\n John nods and turns. Nadia watches him walk away.", "Suddenly she turns and points straight at John. The Policeman \n look straight at him. As they head towards him, Nadia picks \n up the cases and walks away.\n\n John sits frozen as the Police approach.", "ALEXEI\n What? What are you doing?\n\n NADIA\n (to John)\n What are you doing here?", "JOHN\n Listen. I didn't go rooting around \n in your private stuff.\n\n John remembers he did. Nadia looks across knowingly.", "He looks desperately across at Yuri. Yuri is now pointing \n the big knife at John's ribs. The Russian shrugs almost \n apologetically.", "Alexei, dressed in a suit, stands outside John's house, \n looking up. Nadia is in the window, her lipstick smeared. \n They gaze at each other.", "JOHN\n I do. I want to very badly.\n\n NADIA\n So you're just going to be vindictive", "John steps out of his hiding place and approaches the group. \n Alexei has Nadia falling about laughing about something. He \n smiles at her then nods to John.", "JOHN\n Fuck off.\n\n Nadia is just looking at him.\n\n JOHN\n Fuck off. You started it.", "NADIA\n What are you doing here?\n\n John and Nadia look at each other.\n\n ALEXEI\n What the fuck is he doing here?", "Alexei kneels again and appeals to her. Nadia is resisting \n and yells back, but something Alexei says seems to melt her \n resolve.", "He takes his shirt off -- Nadia glances up -- With horror, \n she sees John in the doorway.\n\n Alexei turns to see John stand by the door, holding a little \n silver gun." ], [ "Yuri goes into the bathroom, leaving Nadia and Alexei alone \n on the bed.\n\n Alexei runs his hand across Nadia's cheek.", "Alexei says he's coming. He kisses Nadia again and leaves.\n\n Nadia is alone. She looks very sad and confused. She moves \n towards the window and stares out into the blackness.", "YURI\n John, I'm sorry. It's my fault.\n\n Alexei shouts again. Nadia is frozen with terror.", "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT", "NADIA\n (to John)\n Get your money.\n\n John collects the cases and they head for the door. Nadia \n stops to look back at Alexei. A final look.", "YURI\n He says sit down. Or he'll cut her.\n\n Alexei and Yuri shout at each other. Nadia begins crying.", "Alexei, Yuri and Nadia sit in a small clearing. A blanket, \n cushions, bread and vodka are scattered around. Yuri is", "Alexei kneels again and appeals to her. Nadia is resisting \n and yells back, but something Alexei says seems to melt her \n resolve.", "YURI\n What?\n\n Yuri speaks to Nadia in fast Russian.", "Nadia pulls her arm away. Alexei crouches down in front of \n her and puts a hand on her knee, coaxing her.\n\n Alexei takes her by the arm and leads her away.", "John finishes tying up Yuri, and removes his passport from \n his jacket. Behind Nadia another plane arcs up into the night \n sky.", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "Nadia speaks in Russian to Yuri.\n\n YURI\n She says she has a secret to tell.\n\n JOHN\n What?", "He takes Alexei's passport from his pocket, but Alexei is \n only watching Nadia.\n\n ALEXEI\n Don't do this.", "Nadia speaks. John waits uncomfortably. Silence.\n\n YURI\n She says she watched you at the \n airport.\n\n John stops.", "YURI\n (shaking his head)\n Of course not. Alexei, he's is my \n problem.\n\n JOHN\n Right.", "John, Nadia and Alexei pose with the cake. Nadia puts her \n arm round John and Alexei. With a FLASH! Yuri takes a \n Polaroid.", "Yuri takes John's left hand and pulls off Nadia's ring. He \n puts it in his pocket.\n\n INT. MOTEL BEDROOM - NIGHT", "Nadia leans over the bed, and searches in her bag. Alexei \n watches her closely. She comes back up with the jumper she \n has knitted.", "ALEXEI\n What. You're what? You're with this \n creep now.\n\n NADIA\n Leave him!" ], [ "Russia can I cut a long story short. \n Okay. Nadia is my little cousin. \n Except she's not. But we say cousin.", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "Gradually, we get the sense we are being watched. A woman \n stands nearby. She is about twenty, very beautiful, tired \n and laden with luggage.\n\n JOHN\n Nadia?", "The waitress leaves them. Nadia lights a cigarette and they \n sit in tense silence, the pain of betrayal, and recent \n violence, thick in the air.", "JOHN\n (to Yuri)\n So hang on. You're both Nadia's \n cousins?", "Sometimes Germany, sometimes France, but otherwise the \n pictures are the same, each 'fiancee' beaming with his arm \n round Nadia, Alexei looking on.", "Nadia pulls her arm away. Alexei crouches down in front of \n her and puts a hand on her knee, coaxing her.\n\n Alexei takes her by the arm and leads her away.", "NADIA\n She's alive?\n\n Nadia starts to laugh. Long and loud. We have never seen her \n laugh before.", "We see that Nadia is one behind in the queue. The Police \n turn and walk away.\n\n INT. AIRPORT BOARDING GATE - FLIGHT 1311 TO MOSCOW - DAY", "Alexei says he's coming. He kisses Nadia again and leaves.\n\n Nadia is alone. She looks very sad and confused. She moves \n towards the window and stares out into the blackness.", "Nadia leaves the bathroom, hair wrapped in a towel, and heads \n straight towards us.\n\n INT. NADIA'S BEDROOM - DAY", "He tosses it onto the back seat.\n\n They drive. He sees Nadia looking at England.", "WOMAN'S VOICE\n Nadia!\n\n The girl looks round.\n\n WOMAN'S VOICE\n Nadia!", "Nadia speaks. John waits uncomfortably. Silence.\n\n YURI\n She says she watched you at the \n airport.\n\n John stops.", "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT", "Nadia sits on her bed alone, pulling on black stockings and \n attaching them to suspenders.\n\n The street cricketers run for cover as a thunder storm breaks \n over the close.", "NADIA\n Tell me about it.\n\n Pause. She speaks softly in Russian. We see the subtitle:", "In Russian, the first man introduces Nadia to the other man, \n who is relighting the candles with a Zippo. It seems they \n haven't met before.", "His head cocks, he stiffens. Nadia walks right into the \n kitchen. She's changed, jeans and a tee shirt. Nadia takes", "Through the crowd, fifty feet away, getting a light off two \n policeman; it's her.\n\n Nadia blows out smoke, and speaks to the policeman. John \n watches her. He smiles." ], [ "The girl hurries towards them and we realise the couple are \n John and Sophia, the girl her child. She sits down with them.\n\n THE END", "JOHN\n Sophia. Hello Sophia. Mine's still \n John.\n\n SOPHIA\n Hello John.", "They stop opposite the automatic boarding doors. Nadia turns \n to John.\n\n NADIA\n My name's Sophia.", "Gradually, we get the sense we are being watched. A woman \n stands nearby. She is about twenty, very beautiful, tired \n and laden with luggage.\n\n JOHN\n Nadia?", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "The doors slide open. John and Sophia walk through, and \n disappear.\n\n SFX. The roar of Jet engines.\n\n EXT. AIRPORT RUNWAY - NIGHT", "NADIA\n She's alive?\n\n Nadia starts to laugh. Long and loud. We have never seen her \n laugh before.", "We see Alexei's face over her shoulder, behind her back, \n unreadable. Behind his back she rubs her wrists.\n\n INT. BATHROOM - NIGHT", "She speaks to him in Russian and we see the subtitles.\n\n NADIA\n (in Russian)\n You're a big surprise, you know.\n\n Pause.", "Nadia sits on her bed alone, pulling on black stockings and \n attaching them to suspenders.\n\n The street cricketers run for cover as a thunder storm breaks \n over the close.", "Alexei kneels again and appeals to her. Nadia is resisting \n and yells back, but something Alexei says seems to melt her \n resolve.", "Through the crowd, fifty feet away, getting a light off two \n policeman; it's her.\n\n Nadia blows out smoke, and speaks to the policeman. John \n watches her. He smiles.", "it there, holding her at arms length. She doesn't react, but \n just looks levelly back at him. They sit like this for about \n ten seconds, looking at each other.", "NADIA\n She's alive!! She is not dead?\n\n JOHN\n Laugh it up.", "NADIA\n Except for Small Eyes.\n\n JOHN\n Except for Small Eyes.\n\n She laughs again.", "Nadia stops knitting and takes her shirt off and stretches \n back to sunbathe in her black bra. Alexei takes the knife he", "The young girl from the very first scene lowers the binoculars \n and lets them hang around her neck. She squints up at the \n sun.\n\n A voice calls her.", "NADIA\n Today is bath day.\n\n JOHN\n Sorry?\n\n She studies her book. Looks up.", "Nadia comes out. He looks at her.\n\n JOHN\n You're pregnant.\n\n Nadia looks at the floor.", "In Russian, the first man introduces Nadia to the other man, \n who is relighting the candles with a Zippo. It seems they \n haven't met before." ], [ "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT", "Nadia speaks. John waits uncomfortably. Silence.\n\n YURI\n She says she watched you at the \n airport.\n\n John stops.", "Nadia speaks in Russian to Yuri.\n\n YURI\n She says she has a secret to tell.\n\n JOHN\n What?", "YURI\n John, I'm sorry. It's my fault.\n\n Alexei shouts again. Nadia is frozen with terror.", "John, Nadia and Alexei pose with the cake. Nadia puts her \n arm round John and Alexei. With a FLASH! Yuri takes a \n Polaroid.", "John begins to swim toward Alexei. Just as he gets near, \n Alexei lets Nadia surface, coughing and spluttering -- she \n shouts at Alexei in Russian, angry.", "ALEXEI\n What? What are you doing?\n\n NADIA\n (to John)\n What are you doing here?", "NADIA\n What are you doing here?\n\n John and Nadia look at each other.\n\n ALEXEI\n What the fuck is he doing here?", "John finishes tying up Yuri, and removes his passport from \n his jacket. Behind Nadia another plane arcs up into the night \n sky.", "John steps out of his hiding place and approaches the group. \n Alexei has Nadia falling about laughing about something. He \n smiles at her then nods to John.", "Yuri speaks to Nadia in Russian, she replies looking at John.\n\n JOHN\n What was that?", "Alexei, dressed in a suit, stands outside John's house, \n looking up. Nadia is in the window, her lipstick smeared. \n They gaze at each other.", "YURI\n (shaking his head)\n Of course not. Alexei, he's is my \n problem.\n\n JOHN\n Right.", "YURI\n Sit down please.\n\n John sits across the table from Nadia.", "Alexei kicks John in the ribs.\n\n NADIA\n (in Russian)\n Stop it!", "Yuri takes John's left hand and pulls off Nadia's ring. He \n puts it in his pocket.\n\n INT. MOTEL BEDROOM - NIGHT", "JOHN\n Listen. I didn't go rooting around \n in your private stuff.\n\n John remembers he did. Nadia looks across knowingly.", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "Alexei notices marks on Nadia's midriff. He asks her about \n them in Russian.\n\n John goes white, unable to understand Nadia's explanation. \n He has no idea what she told him.", "NADIA\n (to John)\n Get your money.\n\n John collects the cases and they head for the door. Nadia \n stops to look back at Alexei. A final look." ], [ "Alexei kneels again and appeals to her. Nadia is resisting \n and yells back, but something Alexei says seems to melt her \n resolve.", "Nadia pulls her arm away. Alexei crouches down in front of \n her and puts a hand on her knee, coaxing her.\n\n Alexei takes her by the arm and leads her away.", "Alexei says he's coming. He kisses Nadia again and leaves.\n\n Nadia is alone. She looks very sad and confused. She moves \n towards the window and stares out into the blackness.", "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT", "He takes Alexei's passport from his pocket, but Alexei is \n only watching Nadia.\n\n ALEXEI\n Don't do this.", "ALEXEI\n What. You're what? You're with this \n creep now.\n\n NADIA\n Leave him!", "Alexei holds Nadia tight and looks like he might even kiss \n her. But instead he ducks her and holds her under the water.\n\n John treads water nearby. She's been under a long time.", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "Across the airport, Nadia lowers her binoculars. We pull \n back to see she is standing next to Alexei.", "Nadia speaks. John waits uncomfortably. Silence.\n\n YURI\n She says she watched you at the \n airport.\n\n John stops.", "NADIA\n Stop.\n\n Alexei turns round to see Nadia holding the knife. He is \n dumbstruck.", "NADIA\n (to John)\n Get your money.\n\n John collects the cases and they head for the door. Nadia \n stops to look back at Alexei. A final look.", "Nadia leans over the bed, and searches in her bag. Alexei \n watches her closely. She comes back up with the jumper she \n has knitted.", "NADIA\n So?\n\n Alexei says \"SSShhh\" He is counting in his head. He stops.", "NADIA\n What are you doing here?\n\n John and Nadia look at each other.\n\n ALEXEI\n What the fuck is he doing here?", "cord and stops six inches short. In the confusion. Alexei \n grabs Nadia's wrist and forces her to the ground. He grabs", "ALEXEI\n You have. You've actually fallen for \n this prick.\n\n NADIA\n No I haven't.", "ALEXEI\n What? What are you doing?\n\n NADIA\n (to John)\n What are you doing here?", "Suddenly Alexei steps between them in the doorway. As he \n moves out of view, we see he is holding his hunting knife. \n John hears Nadia cry out, from inside the kitchen. He drops \n his mail and rushes forward.", "John begins to swim toward Alexei. Just as he gets near, \n Alexei lets Nadia surface, coughing and spluttering -- she \n shouts at Alexei in Russian, angry." ], [ "The doors slide open. John and Sophia walk through, and \n disappear.\n\n SFX. The roar of Jet engines.\n\n EXT. AIRPORT RUNWAY - NIGHT", "EXT. AIRPORT - NIGHT\n\n John hurries out of the exit to catch the trio leaving a \n different exit fifty yards away, where they get into a taxi.", "On the other side of the airport, John stands in front of \n the exit to the taxi ranks. He's got nowhere to go. Passengers \n swirl around him.", "They stop opposite the automatic boarding doors. Nadia turns \n to John.\n\n NADIA\n My name's Sophia.", "The girl hurries towards them and we realise the couple are \n John and Sophia, the girl her child. She sits down with them.\n\n THE END", "At the roundabout it turns round and starts coming back up \n the road. John hides behind a car, and watches the taxi pull \n up outside a small hotel about fifty yards away. He watches \n the trio head into the hotel.", "EXT. AIRPORT - NIGHT\n\n John runs across a car park and over a low fence.\n\n EXT. SLIP ROAD TO AIRPORT - NIGHT", "John wanders away from the gate. He stands about in the swirl \n in the middle of the airport. People bustle by. Everyone \n going somewhere.", "JOHN\n Shut up. Have you got your passport?\n\n NADIA\n Yes.\n\n They drive along.", "JOHN\n Sophia. Hello Sophia. Mine's still \n John.\n\n SOPHIA\n Hello John.", "INT. AIRPORT TRAVELATOR - DAY\n\n John slides across the screen, motionless, towards Arrivals.\n\n INT. AIRPORT - DAY.", "They stand there.\n\n INT. AIRPORT LIFT - DAY\n\n Nadia and John stand side by side in a huge lift.", "Nadia speaks. John waits uncomfortably. Silence.\n\n YURI\n She says she watched you at the \n airport.\n\n John stops.", "FLASHBACK - INT. AIRPORT - DAY\n\n John watches the passengers stream out of the arrivals gate. \n A woman is greeted and spun around.", "JOHN\n We can talk in the car.\n\n A deafening roll of thunder.\n\n EXT. AIRPORT CAR PARK - DAY", "INT. AIRPORT BOARDING CORRIDOR - DAY\n\n John walks without looking back. He turns to see Nadia is \n behind him. As they round the corner, she hands him a case.", "She glances around it. Then back at John. He nods to himself, \n looking tense and pale.\n\n INT. JOHN'S UPSTAIRS LANDING - DAY", "They head for the motorway. The silence in the car lasts \n just long enough for John to feel he is breaking it.", "John pushes his passport and ticket under the perspex window. \n He glances at Nadia, then looks at the young airport official, \n the blood beating in his ears.", "John looks sick. He speaks very quietly.\n\n JOHN\n Get in the car.\n\n He gets inside. Nadia is left standing there. She gets in \n too." ], [ "JOHN\n Sophia. Hello Sophia. Mine's still \n John.\n\n SOPHIA\n Hello John.", "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT", "Alexei, dressed in a suit, stands outside John's house, \n looking up. Nadia is in the window, her lipstick smeared. \n They gaze at each other.", "The girl hurries towards them and we realise the couple are \n John and Sophia, the girl her child. She sits down with them.\n\n THE END", "JOHN\n Good night.\n\n Alexei stares at John as he backs out of the room.\n\n INT. JOHN'S BEDROOM - NIGHT", "ALEXEI\n What? What are you doing?\n\n NADIA\n (to John)\n What are you doing here?", "JOHN\n What? What does he want?\n\n Alexei speaks.\n\n JOHN\n What did he say? Tell me!", "Alexei kicks John in the ribs.\n\n NADIA\n (in Russian)\n Stop it!", "YURI\n He says why did you send to Russia \n for a wife.\n\n Silence. John suddenly looks sick.", "Alexei speaks.\n\n JOHN\n What did he say?\n\n YURI\n He says he feels safe here.", "They stop opposite the automatic boarding doors. Nadia turns \n to John.\n\n NADIA\n My name's Sophia.", "John steps out of his hiding place and approaches the group. \n Alexei has Nadia falling about laughing about something. He \n smiles at her then nods to John.", "NADIA\n (to John)\n Get your money.\n\n John collects the cases and they head for the door. Nadia \n stops to look back at Alexei. A final look.", "Alexei says he's coming. He kisses Nadia again and leaves.\n\n Nadia is alone. She looks very sad and confused. She moves \n towards the window and stares out into the blackness.", "YURI\n (shaking his head)\n Of course not. Alexei, he's is my \n problem.\n\n JOHN\n Right.", "NADIA\n What are you doing here?\n\n John and Nadia look at each other.\n\n ALEXEI\n What the fuck is he doing here?", "The doors slide open. John and Sophia walk through, and \n disappear.\n\n SFX. The roar of Jet engines.\n\n EXT. AIRPORT RUNWAY - NIGHT", "Alexei notices marks on Nadia's midriff. He asks her about \n them in Russian.\n\n John goes white, unable to understand Nadia's explanation. \n He has no idea what she told him.", "John begins to swim toward Alexei. Just as he gets near, \n Alexei lets Nadia surface, coughing and spluttering -- she \n shouts at Alexei in Russian, angry.", "JOHN\n So, uh, Alexei, which I know isn't \n his name...\n\n NADIA\n I don't want to talk about him." ], [ "She glances around it. Then back at John. He nods to himself, \n looking tense and pale.\n\n INT. JOHN'S UPSTAIRS LANDING - DAY", "John composes himself. He puts his head back round the door \n as if there's a real chance it will be shot off. She's facing", "As John climbs out of his car he eyes the boys. The boys eye \n him, and his new friend.\n\n INT. JOHN'S HOUSE - DAY", "John sits on the edge of the bed, holding his head in his \n hands. The door has just shut behind him. He looks at his \n left hand. He has the ring on.", "John scrambles back to the previous window. With real effort \n he presses it open. He pulls himself up and drops inside.\n\n INT. ALEXEI'S BEDROOM - NIGHT", "There is a photo of John, about three years ago, arm in arm \n with a plain, thin-looking girl, with small eyes. Another of \n him kissing her on the cheek.", "John turns to face the road ahead.\n\n JOHN\n (to himself)\n Oh Jesus.\n\n He drives in silence.", "John, frozen-headed, floats down the hall, up the stairs \n into the bathroom, locks the door, sits on the toilet.\n\n INT. JOHN'S KITCHEN - DAY", "John ducks down, panting, swallowing hard. At once he springs \n up and skirts the building again. He finds a window to the \n next suite.", "Eventually his manager approaches.\n\n BRANCH MANAGER\n Quick word John?\n\n He leans over the desk.", "John dries himself in silence. He pulls on his trousers, \n sits down to do his socks. One sock on, he walks to the \n smaller bedroom. He opens the door and peers inside.", "They head for the motorway. The silence in the car lasts \n just long enough for John to feel he is breaking it.", "is a folded note marked John. John holds it in his hands -- \n Slowly, deliberately, he screws it up, and drops it in the \n case like a bin.", "JOHN\n (thrown)\n Right.\n\n BRANCH MANAGER\n You can see why it's sensitive?", "She nods.\n\n JOHN\n I'm John.\n\n They shake hands.", "We move fast through the banking hall to the furthest counter. \n The blind snaps up to reveal John, wearing a smart suit.", "He hears the bathroom door close before venturing up.\n\n INT. BEDROOM - DAY\n\n John sits on the edge of his bed. He cocks his head:", "John outside. He is four inches from the knife.\n\n JOHN\n Oh Jesus.", "John strides towards us down St. Albans High Street, carrying \n the two guitar cases, his raincoat flapping. His eyes look \n glazed, the busy street sounds around him muffled.", "John runs across a grass verge and another car park. He sees \n the taxi rounding the corner and head down the road in front \n of him." ], [ "NADIA\n (to John)\n Get your money.\n\n John collects the cases and they head for the door. Nadia \n stops to look back at Alexei. A final look.", "John shrugs. He takes them.\n\n NADIA\n Goodbye.\n\n John nods and turns. Nadia watches him walk away.", "JOHN\n Give me some money.\n\n NADIA\n I don't have any money.\n\n John stops squeezing petrol.", "John watches Nadia walk over to the dresser and search the \n drawers. She goes over to the bed and looks under the pillow. \n There she finds what she is looking for. Alexei's hunting \n knife.", "Nadia's bag. Crouching, John opens the bag and searches \n inside. He finds what he is looking for; the Silver Cigarette \n Lighter-Pistol.", "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT", "John finishes tying up Yuri, and removes his passport from \n his jacket. Behind Nadia another plane arcs up into the night \n sky.", "John begins to swim toward Alexei. Just as he gets near, \n Alexei lets Nadia surface, coughing and spluttering -- she \n shouts at Alexei in Russian, angry.", "JOHN\n What?\n\n NADIA\n You...\n\n JOHN\n I got what I paid for.", "John is still looking at Nadia -- He closes his eyes.\n\n JOHN\n No.\n\n EXT. OUTSIDE POLICE STATION - DAY", "John at dusk tied to the bed with his two bank ties. Nadia \n is on top. They are having sex.\n\n Hands stacking bank notes into the back of a cash machine. \n Fast, mechanical.", "CLOSE UP On Nadia's terrified eyes, imploring John to help \n her.\n\n INT. / EXT. JOHN'S CAR - DAY", "JOHN\n Fuck off.\n\n Nadia is just looking at him.\n\n JOHN\n Fuck off. You started it.", "Nadia speaks. John waits uncomfortably. Silence.\n\n YURI\n She says she watched you at the \n airport.\n\n John stops.", "JOHN\n Shut up. Have you got your passport?\n\n NADIA\n Yes.\n\n They drive along.", "John carries the guitar cases full of money. Nadia just has \n her small camouflaged hold all. They walk quickly together \n in silence and come to a stop at the departure lounge gate \n 12.", "Suddenly she turns and points straight at John. The Policeman \n look straight at him. As they head towards him, Nadia picks \n up the cases and walks away.\n\n John sits frozen as the Police approach.", "John steps out of his hiding place and approaches the group. \n Alexei has Nadia falling about laughing about something. He \n smiles at her then nods to John.", "John and Nadia on her bed, Nadia tearing off his tee shirt. \n She gets on top.\n\n EXT. JOHN'S CLOSE - DAY", "NADIA\n What are you doing here?\n\n John and Nadia look at each other.\n\n ALEXEI\n What the fuck is he doing here?" ], [ "Alexei says he's coming. He kisses Nadia again and leaves.\n\n Nadia is alone. She looks very sad and confused. She moves \n towards the window and stares out into the blackness.", "NADIA\n (to John)\n Get your money.\n\n John collects the cases and they head for the door. Nadia \n stops to look back at Alexei. A final look.", "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT", "Alexei kneels again and appeals to her. Nadia is resisting \n and yells back, but something Alexei says seems to melt her \n resolve.", "Nadia pulls her arm away. Alexei crouches down in front of \n her and puts a hand on her knee, coaxing her.\n\n Alexei takes her by the arm and leads her away.", "He takes Alexei's passport from his pocket, but Alexei is \n only watching Nadia.\n\n ALEXEI\n Don't do this.", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "Yuri goes into the bathroom, leaving Nadia and Alexei alone \n on the bed.\n\n Alexei runs his hand across Nadia's cheek.", "Alexei removes his hand. Now he seems shocked. He lights a \n cigarette.\n\n NADIA\n We're having a baby.\n\n Pause.", "Nadia leans over the bed, and searches in her bag. Alexei \n watches her closely. She comes back up with the jumper she \n has knitted.", "ALEXEI\n I love you. I don't need to tell you \n that.\n\n Nadia looks at the floor.", "ALEXEI\n What. You're what? You're with this \n creep now.\n\n NADIA\n Leave him!", "NADIA\n So?\n\n Alexei says \"SSShhh\" He is counting in his head. He stops.", "Alexei, dressed in a suit, stands outside John's house, \n looking up. Nadia is in the window, her lipstick smeared. \n They gaze at each other.", "ALEXEI\n You have. You've actually fallen for \n this prick.\n\n NADIA\n No I haven't.", "NADIA\n Stop.\n\n Alexei turns round to see Nadia holding the knife. He is \n dumbstruck.", "Nadia still stands by the window, one hand behind her back. \n Alexei sits on the bed. The scene is subtitled.", "NADIA\n What?\n\n They sit there in silence. Alexei is so big, and she is so \n small.", "Suddenly Alexei steps between them in the doorway. As he \n moves out of view, we see he is holding his hunting knife. \n John hears Nadia cry out, from inside the kitchen. He drops \n his mail and rushes forward.", "NADIA\n Do you like it?\n\n ALEXEI\n Yeah.\n\n He is still staring at her." ], [ "INT. SMALLER MOTEL BEDROOM - DAY\n\n Tied to the radiator, gagged with duct tape, is Nadia.", "Some hours later, it's dark outside. John still tied to the \n bidet. The door opens a crack and somebody slips inside. We", "John at dusk tied to the bed with his two bank ties. Nadia \n is on top. They are having sex.\n\n Hands stacking bank notes into the back of a cash machine. \n Fast, mechanical.", "John in the shower, just standing there, letting the water \n hit him.\n\n INT. MOTEL MAIN SUITE - DAY", "Bright sunlight pours through a high window. John is still \n on the toilet. He begins to try to struggle free.", "Yuri in the bathroom, he undoes his flies pees. At the other \n end of the bathroom, tied to the bidet, gagged, is John.\n\n YURI\n How you doing?", "hallway into the bedroom to find Alexei, heartbroken, tied \n and bound to a desk chair.", "Yuri takes John's left hand and pulls off Nadia's ring. He \n puts it in his pocket.\n\n INT. MOTEL BEDROOM - NIGHT", "A second tie is pulled from a hanger in the cupboard. Quickly \n and skillfully she ties her hands together, pulling it tight", "John, frozen-headed, floats down the hall, up the stairs \n into the bathroom, locks the door, sits on the toilet.\n\n INT. JOHN'S KITCHEN - DAY", "Nadia lights a cigarette. John notices that on both wrists \n she has bold red marks from the ties. He freezes.", "After a great deal of fierce deadpan shimmying and pulling, \n he succeeds in loosening his bindings. Freeing an arm, he \n yanks the duct tape from his mouth and sits there panting.", "John sits on the edge of the bed, holding his head in his \n hands. The door has just shut behind him. He looks at his \n left hand. He has the ring on.", "She glances around it. Then back at John. He nods to himself, \n looking tense and pale.\n\n INT. JOHN'S UPSTAIRS LANDING - DAY", "At the roundabout it turns round and starts coming back up \n the road. John hides behind a car, and watches the taxi pull \n up outside a small hotel about fifty yards away. He watches \n the trio head into the hotel.", "He sits on the bed facing her. They stay like that for a \n long moment before he reaches over and starts untying her \n knots. He peels the tape off her mouth. Suddenly he slaps \n her across the face.", "Nadia kneels over John holding the knitting needles. She \n presses one to his skin and we watch it drawn across his \n chest in close up, up to his neck.\n\n His eyes are fixed on hers.", "He hears the bathroom door close before venturing up.\n\n INT. BEDROOM - DAY\n\n John sits on the edge of his bed. He cocks his head:", "John scrambles back to the previous window. With real effort \n he presses it open. He pulls himself up and drops inside.\n\n INT. ALEXEI'S BEDROOM - NIGHT", "NADIA\n No. But you tend to tie them up.\n\n John freezes. He looks across. Nadia gives nothing back." ], [ "Suddenly she turns and points straight at John. The Policeman \n look straight at him. As they head towards him, Nadia picks \n up the cases and walks away.\n\n John sits frozen as the Police approach.", "John shrugs. He takes them.\n\n NADIA\n Goodbye.\n\n John nods and turns. Nadia watches him walk away.", "Nadia speaks. John waits uncomfortably. Silence.\n\n YURI\n She says she watched you at the \n airport.\n\n John stops.", "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT", "JOHN\n Fuck off.\n\n Nadia is just looking at him.\n\n JOHN\n Fuck off. You started it.", "John looks at the Policeman, then at Nadia. The seconds pass.\n\n POLICEMAN\n Sir? Can I help you?", "Through the crowd, fifty feet away, getting a light off two \n policeman; it's her.\n\n Nadia blows out smoke, and speaks to the policeman. John \n watches her. He smiles.", "JOHN\n I do. I want to very badly.\n\n NADIA\n So you're just going to be vindictive", "John stops the car.\n\n JOHN\n Get out.\n\n She sits there.\n\n NADIA\n Excuse me?", "Nadia comes out. He looks at her.\n\n JOHN\n You're pregnant.\n\n Nadia looks at the floor.", "John is still looking at Nadia -- He closes his eyes.\n\n JOHN\n No.\n\n EXT. OUTSIDE POLICE STATION - DAY", "CLOSE UP On Nadia's terrified eyes, imploring John to help \n her.\n\n INT. / EXT. JOHN'S CAR - DAY", "NADIA\n You don't understand you either.\n\n John turns to her.", "NADIA\n What are you doing here?\n\n John and Nadia look at each other.\n\n ALEXEI\n What the fuck is he doing here?", "JOHN\n Shut up. Have you got your passport?\n\n NADIA\n Yes.\n\n They drive along.", "JOHN\n Because it was a lie.\n\n She smiles.\n\n NADIA\n No it wasn't.", "John watches Nadia walk over to the dresser and search the \n drawers. She goes over to the bed and looks under the pillow. \n There she finds what she is looking for. Alexei's hunting \n knife.", "He looks at Nadia, the girl he came back for, angrily pointing \n the knife at him. He suddenly looks completely punctured. \n John has struggled up again and stands behind him. They are \n both looking at Nadia.", "She is just looking at him.\n\n JOHN\n I don't want to talk about it.\n\n NADIA\n Why not?", "JOHN\n Listen. I didn't go rooting around \n in your private stuff.\n\n John remembers he did. Nadia looks across knowingly." ], [ "John is still looking at Nadia -- He closes his eyes.\n\n JOHN\n No.\n\n EXT. OUTSIDE POLICE STATION - DAY", "Suddenly she turns and points straight at John. The Policeman \n look straight at him. As they head towards him, Nadia picks \n up the cases and walks away.\n\n John sits frozen as the Police approach.", "John shrugs. He takes them.\n\n NADIA\n Goodbye.\n\n John nods and turns. Nadia watches him walk away.", "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT", "Nadia turns and walks out, leaving John marooned, gasping in \n and blowing out, angry almost, buttoning his trousers.\n\n EXT. JOHN'S CLOSE - NIGHT", "INT. JOHN'S BEDROOM - NIGHT\n\n John lying in bed staring out at a streetlight.\n\n INT. NADIA'S ROOM - DAY", "John and Nadia on her bed, Nadia tearing off his tee shirt. \n She gets on top.\n\n EXT. JOHN'S CLOSE - DAY", "NADIA\n (to John)\n Get your money.\n\n John collects the cases and they head for the door. Nadia \n stops to look back at Alexei. A final look.", "NADIA\n Goodbye.\n\n They shake.\n\n JOHN\n What will you do now?\n\n Nadia shrugs.", "JOHN\n I'll get an ashtray.\n\n With John gone, Nadia stops unpacking. She walks to the window \n and stares out over the rooftops of the estate.", "The car parks on the top floor. John turns off the engine. \n He looks at Nadia in his rear view mirror but she seems in \n shock.\n\n INT. HIGH STREET - DAY", "John frog marches Nadia down the corridor to the Ladies. She \n wrestles her arm free again and disappears inside.", "CLOSE UP On Nadia's terrified eyes, imploring John to help \n her.\n\n INT. / EXT. JOHN'S CAR - DAY", "John stops the car.\n\n JOHN\n Get out.\n\n She sits there.\n\n NADIA\n Excuse me?", "Nadia puts a cigarette in her mouth and pops the dashboard \n lighter. John takes the cigarette and throws it out the \n window, followed by the lighter. Nadia just gazes out of the \n window.", "Nadia speaks. John waits uncomfortably. Silence.\n\n YURI\n She says she watched you at the \n airport.\n\n John stops.", "JOHN\n Fuck off.\n\n Nadia is just looking at him.\n\n JOHN\n Fuck off. You started it.", "almost a minute, until Nadia pulls herself together, when \n without looking across John restarts the engine and pulls \n away.", "Nadia hesitates. There's just a touch of regret in this \n goodbye.\n\n NADIA\n John. These are for you.", "The waitress leaves them. Nadia lights a cigarette and they \n sit in tense silence, the pain of betrayal, and recent \n violence, thick in the air." ], [ "Alexei kneels again and appeals to her. Nadia is resisting \n and yells back, but something Alexei says seems to melt her \n resolve.", "Nadia pulls her arm away. Alexei crouches down in front of \n her and puts a hand on her knee, coaxing her.\n\n Alexei takes her by the arm and leads her away.", "Alexei says he's coming. He kisses Nadia again and leaves.\n\n Nadia is alone. She looks very sad and confused. She moves \n towards the window and stares out into the blackness.", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "NADIA\n Stop.\n\n Alexei turns round to see Nadia holding the knife. He is \n dumbstruck.", "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT", "Alexei holds Nadia tight and looks like he might even kiss \n her. But instead he ducks her and holds her under the water.\n\n John treads water nearby. She's been under a long time.", "NADIA\n So?\n\n Alexei says \"SSShhh\" He is counting in his head. He stops.", "ALEXEI\n What. You're what? You're with this \n creep now.\n\n NADIA\n Leave him!", "Nadia leans over the bed, and searches in her bag. Alexei \n watches her closely. She comes back up with the jumper she \n has knitted.", "He takes Alexei's passport from his pocket, but Alexei is \n only watching Nadia.\n\n ALEXEI\n Don't do this.", "INT. KITCHEN - DAY\n\n Nadia is tied to a chair. Alexei pulls a gag tight around \n her mouth and holds the knife to her throat.", "Nadia stops knitting and takes her shirt off and stretches \n back to sunbathe in her black bra. Alexei takes the knife he", "NADIA\n Do you like it?\n\n ALEXEI\n Yeah.\n\n He is still staring at her.", "NADIA\n (to John)\n Get your money.\n\n John collects the cases and they head for the door. Nadia \n stops to look back at Alexei. A final look.", "NADIA\n What are you doing here?\n\n John and Nadia look at each other.\n\n ALEXEI\n What the fuck is he doing here?", "NADIA\n What?\n\n They sit there in silence. Alexei is so big, and she is so \n small.", "John begins to swim toward Alexei. Just as he gets near, \n Alexei lets Nadia surface, coughing and spluttering -- she \n shouts at Alexei in Russian, angry.", "ALEXEI\n You have. You've actually fallen for \n this prick.\n\n NADIA\n No I haven't.", "cord and stops six inches short. In the confusion. Alexei \n grabs Nadia's wrist and forces her to the ground. He grabs" ], [ "NADIA\n She's alive?\n\n Nadia starts to laugh. Long and loud. We have never seen her \n laugh before.", "JOHN\n I don't know.\n\n NADIA\n What was her name?\n\n JOHN\n What's your name?", "NADIA\n My name isn't Nadia.\n\n John stares back at her.\n\n EXT. HAPPY EATER CAR PARK - DAY", "WOMAN'S VOICE\n Nadia!\n\n The girl looks round.\n\n WOMAN'S VOICE\n Nadia!", "They stop opposite the automatic boarding doors. Nadia turns \n to John.\n\n NADIA\n My name's Sophia.", "Gradually, we get the sense we are being watched. A woman \n stands nearby. She is about twenty, very beautiful, tired \n and laden with luggage.\n\n JOHN\n Nadia?", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "NADIA\n Stop.\n\n Alexei turns round to see Nadia holding the knife. He is \n dumbstruck.", "Nadia stops knitting and takes her shirt off and stretches \n back to sunbathe in her black bra. Alexei takes the knife he", "Nadia stares back at him. The seconds pass. She speaks in a \n whisper.\n\n NADIA\n I'll kill you if you try.", "Alexei kneels again and appeals to her. Nadia is resisting \n and yells back, but something Alexei says seems to melt her \n resolve.", "NADIA\n Except for Small Eyes.\n\n JOHN\n Except for Small Eyes.\n\n She laughs again.", "We see that Nadia is one behind in the queue. The Police \n turn and walk away.\n\n INT. AIRPORT BOARDING GATE - FLIGHT 1311 TO MOSCOW - DAY", "NADIA\n So?\n\n Alexei says \"SSShhh\" He is counting in his head. He stops.", "Nadia speaks. John waits uncomfortably. Silence.\n\n YURI\n She says she watched you at the \n airport.\n\n John stops.", "She speaks to him in Russian and we see the subtitles.\n\n NADIA\n (in Russian)\n You're a big surprise, you know.\n\n Pause.", "NADIA\n She's alive!! She is not dead?\n\n JOHN\n Laugh it up.", "Nadia pulls her arm away. Alexei crouches down in front of \n her and puts a hand on her knee, coaxing her.\n\n Alexei takes her by the arm and leads her away.", "Her head hits the radiator. Nadia gasps hard from the shock \n of the blow. Without warning she slaps his face, equally \n hard.", "Nadia leans over the bed, and searches in her bag. Alexei \n watches her closely. She comes back up with the jumper she \n has knitted." ], [ "JOHN\n Sophia. Hello Sophia. Mine's still \n John.\n\n SOPHIA\n Hello John.", "The doors slide open. John and Sophia walk through, and \n disappear.\n\n SFX. The roar of Jet engines.\n\n EXT. AIRPORT RUNWAY - NIGHT", "They stop opposite the automatic boarding doors. Nadia turns \n to John.\n\n NADIA\n My name's Sophia.", "Alexei, dressed in a suit, stands outside John's house, \n looking up. Nadia is in the window, her lipstick smeared. \n They gaze at each other.", "John steps out of his hiding place and approaches the group. \n Alexei has Nadia falling about laughing about something. He \n smiles at her then nods to John.", "John collapses in an armchair, rubbing his eyes. He looks \n shattered.\n\n The Russians have gone.\n\n INT. MOTEL BATHROOM - DAY", "The Aeroflot desk official holds the passport and studies at \n John. With his four day beard there is a resemblance, but \n it's far from perfect.", "The girl hurries towards them and we realise the couple are \n John and Sophia, the girl her child. She sits down with them.\n\n THE END", "JOHN\n Good night.\n\n Alexei stares at John as he backs out of the room.\n\n INT. JOHN'S BEDROOM - NIGHT", "John shrugs. He takes them.\n\n NADIA\n Goodbye.\n\n John nods and turns. Nadia watches him walk away.", "JOHN\n I need to know who you are first \n please.\n\n YURI\n Oh.\n (Yuri stands)\n We are Russian.", "We see John at the wheel of his Rover, sunglasses on, wind \n in his hair, fleeing from the scene of the crime. Nadia", "NADIA\n (to John)\n Get your money.\n\n John collects the cases and they head for the door. Nadia \n stops to look back at Alexei. A final look.", "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT", "JOHN\n Shut up. Have you got your passport?\n\n NADIA\n Yes.\n\n They drive along.", "Nadia turns and walks out, leaving John marooned, gasping in \n and blowing out, angry almost, buttoning his trousers.\n\n EXT. JOHN'S CLOSE - NIGHT", "John finishes tying up Yuri, and removes his passport from \n his jacket. Behind Nadia another plane arcs up into the night \n sky.", "He looks desperately across at Yuri. Yuri is now pointing \n the big knife at John's ribs. The Russian shrugs almost \n apologetically.", "JOHN\n What? What does he want?\n\n Alexei speaks.\n\n JOHN\n What did he say? Tell me!", "He stops asks a question in Russian.\n\n JOHN\n What was that?\n\n YURI\n Oh nothing." ], [ "hallway into the bedroom to find Alexei, heartbroken, tied \n and bound to a desk chair.", "JOHN\n Good night.\n\n Alexei stares at John as he backs out of the room.\n\n INT. JOHN'S BEDROOM - NIGHT", "INT. KITCHEN - DAY\n\n Nadia is tied to a chair. Alexei pulls a gag tight around \n her mouth and holds the knife to her throat.", "Alexei gently lowers the gag and kisses her on the mouth. \n She returns the kiss hungrily.\n\n John spots them in the mirror and nearly crashes the car.", "Some hours later, it's dark outside. John still tied to the \n bidet. The door opens a crack and somebody slips inside. We", "JOHN\n What's he doing? What the fuck are \n you doing? Leave her alone.\n\n Alexei addresses John.", "JOHN\n What? What does he want?\n\n Alexei speaks.\n\n JOHN\n What did he say? Tell me!", "In the impasse, John picks up a lamp and hurls it at Alexei's \n head. It is going to hit him, but reaches the length of its", "John at dusk tied to the bed with his two bank ties. Nadia \n is on top. They are having sex.\n\n Hands stacking bank notes into the back of a cash machine. \n Fast, mechanical.", "John opens the bathroom door a crack. He is at the opposite \n end of a corridor from the bedroom. He can hear Alexei's \n voice.", "John begins to swim toward Alexei. Just as he gets near, \n Alexei lets Nadia surface, coughing and spluttering -- she \n shouts at Alexei in Russian, angry.", "John tries to reach across to her but Alexei draws the knife \n and holds it to his face.\n\n JOHN\n Just leave her alone.", "Yuri in the bathroom, he undoes his flies pees. At the other \n end of the bathroom, tied to the bidet, gagged, is John.\n\n YURI\n How you doing?", "John steps out of his hiding place and approaches the group. \n Alexei has Nadia falling about laughing about something. He \n smiles at her then nods to John.", "EXT. OUTSIDE ALEXEI'S SUITE - NIGHT\n\n John stares through the window at the scene.", "Alexei stands. John takes a step back. Alexei walks calmly \n towards John and throws a punch. It catches John right on \n the chin and he hits the wall and goes down very fast.", "Bright sunlight pours through a high window. John is still \n on the toilet. He begins to try to struggle free.", "EXT. OUTSIDE ALEXEI'S SUITE - NIGHT\n\n John's face at the window. Almost cheek to cheek with Nadia.", "Alexei kicks John in the ribs.\n\n NADIA\n (in Russian)\n Stop it!", "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT" ], [ "CUT TO:\n\n A blurred face sharpening into focus, John Buckingham, about \n thirty-two, sitting on his patio, his garden behind, fields \n beyond.", "JOHN\n This is John Buckingham from St \n Albans. I need to speak to you", "mowing his lawn, a young boy bouncing up and down on a garden \n trampoline, to arrive on the patio of John Buckingham. He", "John's fingers in close-up, type JOHN BUCKINGHAM, and his \n AMEX number into his PC. Finished, he stops, and rests his \n face on his hands.", "BRANCH MANAGER\n Ah John. This is Robert Moseley, \n Head of South East New Business. \n Robert, this is John Buckingham.", "JOHN\n (thrown)\n Right.\n\n BRANCH MANAGER\n You can see why it's sensitive?", "NADIA\n You didn't deserve me John Buckingham.\n\n JOHN\n Whatever.\n\n NADIA\n I'm sorry.", "We move fast through the banking hall to the furthest counter. \n The blind snaps up to reveal John, wearing a smart suit.", "Eventually his manager approaches.\n\n BRANCH MANAGER\n Quick word John?\n\n He leans over the desk.", "The Policeman help John to the front of the gate, where he \n is shown to the front of the queue. The Policeman explains \n to the airline staff.", "INT. OPEN-PLAN OFFICE - DAY\n\n John walks through the open plan office. His Branch Manager \n is there with another bank official, and Clare.", "INT. NATIONAL WESTMINSTER BANK - DAY\n\n The doors slide apart and John enters his branch. The place \n is full of customers. He cheeks himself through the security \n door and into the back.", "She glances around it. Then back at John. He nods to himself, \n looking tense and pale.\n\n INT. JOHN'S UPSTAIRS LANDING - DAY", "INT. BRANCH MANAGER'S OFFICE - DAY\n\n John back in the room. The report has finished and the manager \n is scrutinising him in silence.", "John composes himself. He puts his head back round the door \n as if there's a real chance it will be shot off. She's facing", "JOHN\n I'll give you a tune later.\n\n The Branch Manager takes John to one side and stage-whispers.", "John strides towards us down St. Albans High Street, carrying \n the two guitar cases, his raincoat flapping. His eyes look \n glazed, the busy street sounds around him muffled.", "John slides down a rocky slope. He scans the forest, but \n there's no-one around. He hurries through high bracken then \n stops suddenly by a large oak.", "We see John's face.\n\n JOHN\n Binoculars.", "There is a photo of John, about three years ago, arm in arm \n with a plain, thin-looking girl, with small eyes. Another of \n him kissing her on the cheek." ], [ "CUT TO:\n\n A blurred face sharpening into focus, John Buckingham, about \n thirty-two, sitting on his patio, his garden behind, fields \n beyond.", "JOHN\n This is John Buckingham from St \n Albans. I need to speak to you", "mowing his lawn, a young boy bouncing up and down on a garden \n trampoline, to arrive on the patio of John Buckingham. He", "We move fast through the banking hall to the furthest counter. \n The blind snaps up to reveal John, wearing a smart suit.", "Nadia sits on her bed alone, pulling on black stockings and \n attaching them to suspenders.\n\n The street cricketers run for cover as a thunder storm breaks \n over the close.", "INT. NATIONAL WESTMINSTER BANK - DAY\n\n The doors slide apart and John enters his branch. The place \n is full of customers. He cheeks himself through the security \n door and into the back.", "John's fingers in close-up, type JOHN BUCKINGHAM, and his \n AMEX number into his PC. Finished, he stops, and rests his \n face on his hands.", "Door opening and shutting; feet padding along landing; door \n closing. Silence. He squeezes his door open and peers down \n the dark landing. The coast is clear.\n\n INT. BATHROOM - DAY", "Miraculously it roars throatily to life, he floors it and \n the Rover tears away from the station and off down the road\n\n INT. MOVING CAR - DAY", "NADIA\n You didn't deserve me John Buckingham.\n\n JOHN\n Whatever.\n\n NADIA\n I'm sorry.", "Cars tear through the night along the carriage way, past a \n Happy Eater. We pan round, across the motorway to a single \n storey run-down Motel.", "At the roundabout it turns round and starts coming back up \n the road. John hides behind a car, and watches the taxi pull \n up outside a small hotel about fifty yards away. He watches \n the trio head into the hotel.", "BRANCH MANAGER\n Ah John. This is Robert Moseley, \n Head of South East New Business. \n Robert, this is John Buckingham.", "John strides towards us down St. Albans High Street, carrying \n the two guitar cases, his raincoat flapping. His eyes look \n glazed, the busy street sounds around him muffled.", "He tosses it onto the back seat.\n\n They drive. He sees Nadia looking at England.", "He puts her suitcase down on the landing, and opens a door. \n Without looking inside:\n\n JOHN\n Bathroom.\n\n He closes it.", "John navigates his way round the Rover in the rain to find \n her kneeling on the verge, throwing up. He puts a hand on", "John hauls ass towards us straight down the middle of the \n road, a guitar case in either hand, footsteps clapping loudly \n on the wet cobbles. Alarms sound, dogs bark.", "Eventually his manager approaches.\n\n BRANCH MANAGER\n Quick word John?\n\n He leans over the desk.", "John dries himself in silence. He pulls on his trousers, \n sits down to do his socks. One sock on, he walks to the \n smaller bedroom. He opens the door and peers inside." ], [ "John's fingers in close-up, type JOHN BUCKINGHAM, and his \n AMEX number into his PC. Finished, he stops, and rests his \n face on his hands.", "CUT TO:\n\n A blurred face sharpening into focus, John Buckingham, about \n thirty-two, sitting on his patio, his garden behind, fields \n beyond.", "Bluffers guide to the Internet. She opens an old copy of The \n Lion, The Witch and The Wardrobe. Inside is written 'John \n Buckingham Class 3F'.", "An officer dumps a pile of porno magazines and videos on the \n bed. He then spots the belts tied to the bedstead and points", "Door opening and shutting; feet padding along landing; door \n closing. Silence. He squeezes his door open and peers down \n the dark landing. The coast is clear.\n\n INT. BATHROOM - DAY", "Alone in his bedroom, John holds the now-finished jumper up \n to himself. He tries it on. It's a good four sizes too big,", "She pops a pickled onion in her mouth, and watches. We see \n the images close and pixellated, as we did the marriage videos", "Nadia sees something at the bottom of the cupboard. She bends \n down to retrieve a black dustbin liner. She reaches in and \n pulls out a small stack of hardcore pornographic magazines.", "The Rover pulls into the driveway. John opens the glove \n compartment and removes the ring Nadia gave him, and puts it \n back on. He collects a brown paper package from the passenger \n seat.", "mowing his lawn, a young boy bouncing up and down on a garden \n trampoline, to arrive on the patio of John Buckingham. He", "He puts her suitcase down on the landing, and opens a door. \n Without looking inside:\n\n JOHN\n Bathroom.\n\n He closes it.", "John beholds the pile. \"Wet N' Wild\" is on top.\n\n He rises slowly from the table and sleepwalks from the \n kitchen.", "The shower has stopped. In a panic he replaces the picture, \n the photographs, the gun lighter, the brochure, and the \n binoculars.\n\n INT. LANDING - DAY", "She upends the bag and a half dozen videos fall out. She \n picks up a magazine and begins flicking through it \n impassively.\n\n INT. LOUNGE - DAY", "He pads downstairs in his pants, picks up his mail from the \n doormat and peers into the living room. The sleeping bags \n and guitar cases have gone. About to peruse his mail, his \n eye is caught by something else.", "Some hours later, it's dark outside. John still tied to the \n bidet. The door opens a crack and somebody slips inside. We", "JOHN\n This is John Buckingham from St \n Albans. I need to speak to you", "He looks through them. He slowly lowers them. He's seen \n something. He stands and crosses the room.", "After a great deal of fierce deadpan shimmying and pulling, \n he succeeds in loosening his bindings. Freeing an arm, he \n yanks the duct tape from his mouth and sits there panting.", "There it is. The Double Bed. John frowns gravely.\n\n Without warning, he marches out. She comes out onto the \n landing to catch John plus suitcase kicking open another \n door and vanishing inside." ], [ "A brochure of prospective husbands provided by the marriage \n agency. After a dozen or so photos he comes across his page \n but the photo has been cut out. He sees his name in the \n strange lettering, under the hole.", "YURI\n He says why did you send to Russia \n for a wife.\n\n Silence. John suddenly looks sick.", "She speaks to him in Russian and we see the subtitles.\n\n NADIA\n (in Russian)\n You're a big surprise, you know.\n\n Pause.", "Gradually, we get the sense we are being watched. A woman \n stands nearby. She is about twenty, very beautiful, tired \n and laden with luggage.\n\n JOHN\n Nadia?", "Suddenly Alexei steps between them in the doorway. As he \n moves out of view, we see he is holding his hunting knife. \n John hears Nadia cry out, from inside the kitchen. He drops \n his mail and rushes forward.", "They say goodbye in Russian. Even though we don't see \n subtitles, it's a telling exchange. She kisses him, and he \n watches her leave him and walk across the floor.", "JOHN\n I don't know.\n\n NADIA\n What was her name?\n\n JOHN\n What's your name?", "Nadia stops knitting and takes her shirt off and stretches \n back to sunbathe in her black bra. Alexei takes the knife he", "The young girl from the very first scene lowers the binoculars \n and lets them hang around her neck. She squints up at the \n sun.\n\n A voice calls her.", "NADIA\n Why else would you send off for me? \n If you just wanted sex just go to a \n prostitute.", "Through the crowd, fifty feet away, getting a light off two \n policeman; it's her.\n\n Nadia blows out smoke, and speaks to the policeman. John \n watches her. He smiles.", "it there, holding her at arms length. She doesn't react, but \n just looks levelly back at him. They sit like this for about \n ten seconds, looking at each other.", "Nadia speaks. John waits uncomfortably. Silence.\n\n YURI\n She says she watched you at the \n airport.\n\n John stops.", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "She nods.\n\n JOHN\n I'm John.\n\n They shake hands.", "Alexei, dressed in a suit, stands outside John's house, \n looking up. Nadia is in the window, her lipstick smeared. \n They gaze at each other.", "We see Alexei's face over her shoulder, behind her back, \n unreadable. Behind his back she rubs her wrists.\n\n INT. BATHROOM - NIGHT", "In her open suitcase lies a small wooden chest. He lifts it \n out and puts it on the bed, hesitates, then opens it.", "Alexei kneels again and appeals to her. Nadia is resisting \n and yells back, but something Alexei says seems to melt her \n resolve.", "John looks glazed. The room falls silent.\n\n JOHN\n Hello.\n\n Yuri translates -- She replies." ], [ "A brochure of prospective husbands provided by the marriage \n agency. After a dozen or so photos he comes across his page \n but the photo has been cut out. He sees his name in the \n strange lettering, under the hole.", "She speaks to him in Russian and we see the subtitles.\n\n NADIA\n (in Russian)\n You're a big surprise, you know.\n\n Pause.", "YURI\n He says why did you send to Russia \n for a wife.\n\n Silence. John suddenly looks sick.", "Suddenly Alexei steps between them in the doorway. As he \n moves out of view, we see he is holding his hunting knife. \n John hears Nadia cry out, from inside the kitchen. He drops \n his mail and rushes forward.", "Gradually, we get the sense we are being watched. A woman \n stands nearby. She is about twenty, very beautiful, tired \n and laden with luggage.\n\n JOHN\n Nadia?", "They say goodbye in Russian. Even though we don't see \n subtitles, it's a telling exchange. She kisses him, and he \n watches her leave him and walk across the floor.", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "NADIA\n Why else would you send off for me? \n If you just wanted sex just go to a \n prostitute.", "Through the crowd, fifty feet away, getting a light off two \n policeman; it's her.\n\n Nadia blows out smoke, and speaks to the policeman. John \n watches her. He smiles.", "The young girl from the very first scene lowers the binoculars \n and lets them hang around her neck. She squints up at the \n sun.\n\n A voice calls her.", "Nadia speaks in Russian to Yuri.\n\n YURI\n She says she has a secret to tell.\n\n JOHN\n What?", "Nadia speaks. John waits uncomfortably. Silence.\n\n YURI\n She says she watched you at the \n airport.\n\n John stops.", "Alexei, dressed in a suit, stands outside John's house, \n looking up. Nadia is in the window, her lipstick smeared. \n They gaze at each other.", "In Russian, the first man introduces Nadia to the other man, \n who is relighting the candles with a Zippo. It seems they \n haven't met before.", "Nadia stops knitting and takes her shirt off and stretches \n back to sunbathe in her black bra. Alexei takes the knife he", "NADIA\n You know, in Russia, there's no work \n for women. It's a different world.", "In her open suitcase lies a small wooden chest. He lifts it \n out and puts it on the bed, hesitates, then opens it.", "John looks glazed. The room falls silent.\n\n JOHN\n Hello.\n\n Yuri translates -- She replies.", "We see Alexei's face over her shoulder, behind her back, \n unreadable. Behind his back she rubs her wrists.\n\n INT. BATHROOM - NIGHT", "She puts them back in her bag. John watches her. He sees her \n wrist again. She lights a cigarette, and blows the smoke \n into the air." ], [ "NADIA\n Syevodnya\n\n JOHN\n Happy Birthday. Happy Birthday.\n\n He puts his hand on her shoulder.", "INT. JOHN'S LOUNGE - NIGHT\n\n Nadia sits alone at the dining room table. Suddenly the lights \n go out. John enters, carrying a small birthday cake glowing \n with candles.", "John, Nadia and Alexei pose with the cake. Nadia puts her \n arm round John and Alexei. With a FLASH! Yuri takes a \n Polaroid.", "Nadia is smiling at them as they squabble.", "A man bursts in carrying Nadia in his arms. He spins her \n round in the candlelight, kisses her, puts her down and goes", "Nadia leaves the bathroom, hair wrapped in a towel, and heads \n straight towards us.\n\n INT. NADIA'S BEDROOM - DAY", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "NADIA\n She's alive?\n\n Nadia starts to laugh. Long and loud. We have never seen her \n laugh before.", "leaving John alone with the cake. Nadia whooping and shouting \n excitedly. Other voices. Shouting. Shouting in Russian.", "He looks at Nadia, the girl he came back for, angrily pointing \n the knife at him. He suddenly looks completely punctured. \n John has struggled up again and stands behind him. They are \n both looking at Nadia.", "NADIA\n Party.\n (pause)\n Party. Syevodnya.\n\n John nods, smiling.", "We see that Nadia is one behind in the queue. The Police \n turn and walk away.\n\n INT. AIRPORT BOARDING GATE - FLIGHT 1311 TO MOSCOW - DAY", "Gradually, we get the sense we are being watched. A woman \n stands nearby. She is about twenty, very beautiful, tired \n and laden with luggage.\n\n JOHN\n Nadia?", "His head cocks, he stiffens. Nadia walks right into the \n kitchen. She's changed, jeans and a tee shirt. Nadia takes", "Nadia appears from the kitchenette area. They all seem more \n relaxed, more themselves, as if what we've seen before was \n an act. For the first time in the film their conversation \n appears as English subtitles.", "The milkman hops a low fence between two houses. He waves to \n a man watering his rose trees.\n\n INT. NADIA'S ROOM - DAY", "The morning. Nadia opens her eyes in the sun-filled room.\n\n INT. LANDING - DAY", "The front doorbell rings. A loud long burst. Nadia's face \n transforms into a big grin. She hurries out into the hall,", "Alexei watches Nadia approach John, and see him shake her \n hand.\n\n They walk away together.\n\n FLASHBACK - EXT. JOHN'S STREET - NIGHT", "The waitress leaves them. Nadia lights a cigarette and they \n sit in tense silence, the pain of betrayal, and recent \n violence, thick in the air." ], [ "Suddenly Alexei steps between them in the doorway. As he \n moves out of view, we see he is holding his hunting knife. \n John hears Nadia cry out, from inside the kitchen. He drops \n his mail and rushes forward.", "Alexei holds Nadia tight and looks like he might even kiss \n her. But instead he ducks her and holds her under the water.\n\n John treads water nearby. She's been under a long time.", "Alexei opens one of the cases and looks inside. He takes a \n deep breath and swears in Russian.\n\n He shows what is in the case to Nadia. Her eyes widen.", "JOHN\n Good night.\n\n Alexei stares at John as he backs out of the room.\n\n INT. JOHN'S BEDROOM - NIGHT", "Alexei speaks.\n\n JOHN\n What did he say?\n\n YURI\n He says he feels safe here.", "The kettle boils. Alexei takes the kettle and holds it over \n Nadia's head.\n\n John springs up.", "ALEXEI\n (softly)\n So. How many times did you have to \n fuck him?\n\n INT. BATHROOM - NIGHT", "We see Alexei's face over her shoulder, behind her back, \n unreadable. Behind his back she rubs her wrists.\n\n INT. BATHROOM - NIGHT", "Alexei kneels again and appeals to her. Nadia is resisting \n and yells back, but something Alexei says seems to melt her \n resolve.", "We hear the Russian lovers' voices next door. John is \n absolutely terrified, breathing hard and shaking, holding \n the little gun.\n\n INT. ALEXEI'S SUITE - NIGHT", "Alexei says he's coming. He kisses Nadia again and leaves.\n\n Nadia is alone. She looks very sad and confused. She moves \n towards the window and stares out into the blackness.", "He takes Alexei's passport from his pocket, but Alexei is \n only watching Nadia.\n\n ALEXEI\n Don't do this.", "JOHN\n What? What does he want?\n\n Alexei speaks.\n\n JOHN\n What did he say? Tell me!", "John tries to reach across to her but Alexei draws the knife \n and holds it to his face.\n\n JOHN\n Just leave her alone.", "He takes his shirt off -- Nadia glances up -- With horror, \n she sees John in the doorway.\n\n Alexei turns to see John stand by the door, holding a little \n silver gun.", "INT. KITCHEN - DAY\n\n Nadia is tied to a chair. Alexei pulls a gag tight around \n her mouth and holds the knife to her throat.", "Nadia pulls her arm away. Alexei crouches down in front of \n her and puts a hand on her knee, coaxing her.\n\n Alexei takes her by the arm and leads her away.", "hallway into the bedroom to find Alexei, heartbroken, tied \n and bound to a desk chair.", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "YURI\n (shaking his head)\n Of course not. Alexei, he's is my \n problem.\n\n JOHN\n Right." ], [ "NADIA\n You didn't deserve me John Buckingham.\n\n JOHN\n Whatever.\n\n NADIA\n I'm sorry.", "NADIA\n (to John)\n Get your money.\n\n John collects the cases and they head for the door. Nadia \n stops to look back at Alexei. A final look.", "The subtitle appears: You've saved me.\n\n Nadia looks down at the floor. She smiles.\n\n CLOSE SHOT: The passport is snapped shut and pushed back \n through.", "Alexei kneels again and appeals to her. Nadia is resisting \n and yells back, but something Alexei says seems to melt her \n resolve.", "Nadia's bag. Crouching, John opens the bag and searches \n inside. He finds what he is looking for; the Silver Cigarette \n Lighter-Pistol.", "John shrugs. He takes them.\n\n NADIA\n Goodbye.\n\n John nods and turns. Nadia watches him walk away.", "NADIA\n Goodbye.\n\n They shake.\n\n JOHN\n What will you do now?\n\n Nadia shrugs.", "Nadia stops knitting and takes her shirt off and stretches \n back to sunbathe in her black bra. Alexei takes the knife he", "JOHN\n What?\n\n NADIA\n You...\n\n JOHN\n I got what I paid for.", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "that you must pay someone to have \n sex like a prostitute. Nadia is a \n prostitute. I'm sorry.", "Nadia leans over the bed, and searches in her bag. Alexei \n watches her closely. She comes back up with the jumper she \n has knitted.", "NADIA\n She's alive?\n\n Nadia starts to laugh. Long and loud. We have never seen her \n laugh before.", "NADIA\n Say thank you.\n\n ALEXEI\n Thank you.", "NADIA\n Stop.\n\n Alexei turns round to see Nadia holding the knife. He is \n dumbstruck.", "John finishes tying up Yuri, and removes his passport from \n his jacket. Behind Nadia another plane arcs up into the night \n sky.", "A man bursts in carrying Nadia in his arms. He spins her \n round in the candlelight, kisses her, puts her down and goes", "Nadia stares back at him. The seconds pass. She speaks in a \n whisper.\n\n NADIA\n I'll kill you if you try.", "The waitress leaves them. Nadia lights a cigarette and they \n sit in tense silence, the pain of betrayal, and recent \n violence, thick in the air.", "NADIA\n We'll pretend it never happened.\n\n JOHN\n So. What's it like having to fuck \n men you hate?" ], [ "to their problems. But, you see, I'm \n not in that line of work anymore. \n Nowadays I'm a bank robber.", "JOHN\n I've got eight hundred pounds. Oh \n Jesus.\n\n The penny drops.\n\n JOHN\n Oh Jesus.", "John scoops up the money, refasten the case and stand to see \n them all watching him, as the five Trust and Letting Go \n fallers crash to the ground in unison.", "John studies the faces of his fellow dupes and at last comes \n to his own picture. Despite himself tears come to his eyes.", "After a great deal of fierce deadpan shimmying and pulling, \n he succeeds in loosening his bindings. Freeing an arm, he \n yanks the duct tape from his mouth and sits there panting.", "YURI\n He wants the money from your bank.\n\n JOHN\n I'll fuckin' give it to him! We'll \n go down there.", "Inside the house is full of police, ransacking his possessions \n and dusting fingerprints. A policeman is standing reading \n The English-Russian Dictionary.", "INT. NATIONAL WESTMINSTER BANK - DAY\n\n The doors slide apart and John enters his branch. The place \n is full of customers. He cheeks himself through the security \n door and into the back.", "CUT TO:\n\n A blurred face sharpening into focus, John Buckingham, about \n thirty-two, sitting on his patio, his garden behind, fields \n beyond.", "We move fast through the banking hall to the furthest counter. \n The blind snaps up to reveal John, wearing a smart suit.", "John punches in the security code. He opens the safe door \n and goes inside, closing it behind him. We see his stricken \n face peering through the toughened glass.", "The large oak doors of the bank swing open.\n\n VOICE OVER\n Most of the time he develops several \n alternative solutions to problems...", "John's fingers in close-up, type JOHN BUCKINGHAM, and his \n AMEX number into his PC. Finished, he stops, and rests his \n face on his hands.", "INT. ROOM IN THE BANK - DAY\n\n A close up of John's face. He closes his eyes, falls \n backwards, and is caught in the arms of a colleague.", "NADIA\n You didn't deserve me John Buckingham.\n\n JOHN\n Whatever.\n\n NADIA\n I'm sorry.", "We see John at the wheel of his Rover, sunglasses on, wind \n in his hair, fleeing from the scene of the crime. Nadia", "John takes another step down the hallway. There, by the door \n are the two guitar cases full of money. Next to them is", "At the bank, John walks to his desk. His phone rings. He \n answers it.\n\n Silence. Then soft breathing. John listens intently and looks \n around.", "NADIA\n They don't blame you. When a bank \n employee does this they understand. \n You get your life back. Anyway I bet \n you hated that bank.", "Miraculously it roars throatily to life, he floors it and \n the Rover tears away from the station and off down the road\n\n INT. MOVING CAR - DAY" ], [ "NADIA\n She's alive?\n\n Nadia starts to laugh. Long and loud. We have never seen her \n laugh before.", "JOHN\n I don't know.\n\n NADIA\n What was her name?\n\n JOHN\n What's your name?", "NADIA\n My name isn't Nadia.\n\n John stares back at her.\n\n EXT. HAPPY EATER CAR PARK - DAY", "WOMAN'S VOICE\n Nadia!\n\n The girl looks round.\n\n WOMAN'S VOICE\n Nadia!", "They stop opposite the automatic boarding doors. Nadia turns \n to John.\n\n NADIA\n My name's Sophia.", "Gradually, we get the sense we are being watched. A woman \n stands nearby. She is about twenty, very beautiful, tired \n and laden with luggage.\n\n JOHN\n Nadia?", "Nadia, glimpsed through the crowd. We spy someone standing \n about twenty feet behind her. It is Alexei.\n\n We watch Alexei approach her. She looks up and is completely \n thrown.", "NADIA\n Stop.\n\n Alexei turns round to see Nadia holding the knife. He is \n dumbstruck.", "Nadia stops knitting and takes her shirt off and stretches \n back to sunbathe in her black bra. Alexei takes the knife he", "Nadia stares back at him. The seconds pass. She speaks in a \n whisper.\n\n NADIA\n I'll kill you if you try.", "Alexei kneels again and appeals to her. Nadia is resisting \n and yells back, but something Alexei says seems to melt her \n resolve.", "NADIA\n Except for Small Eyes.\n\n JOHN\n Except for Small Eyes.\n\n She laughs again.", "We see that Nadia is one behind in the queue. The Police \n turn and walk away.\n\n INT. AIRPORT BOARDING GATE - FLIGHT 1311 TO MOSCOW - DAY", "NADIA\n So?\n\n Alexei says \"SSShhh\" He is counting in his head. He stops.", "Nadia speaks. John waits uncomfortably. Silence.\n\n YURI\n She says she watched you at the \n airport.\n\n John stops.", "She speaks to him in Russian and we see the subtitles.\n\n NADIA\n (in Russian)\n You're a big surprise, you know.\n\n Pause.", "NADIA\n She's alive!! She is not dead?\n\n JOHN\n Laugh it up.", "Nadia pulls her arm away. Alexei crouches down in front of \n her and puts a hand on her knee, coaxing her.\n\n Alexei takes her by the arm and leads her away.", "Her head hits the radiator. Nadia gasps hard from the shock \n of the blow. Without warning she slaps his face, equally \n hard.", "Nadia leans over the bed, and searches in her bag. Alexei \n watches her closely. She comes back up with the jumper she \n has knitted." ] ]

[ "In one sentence, please describe why John was forced to steal from his job as a bank clerk?", "Why did John want to take Nadia to the police after Yuri and Alexei left with the money?", "Why did Yuri and Alexei leave Nadia behind?", "What country did Nadia's cousin and friend visit her from?", "Who is Sophia?", "What did John learn about Nadia, Yuri and Alexei?", "Why did Alexei kidnap Nadia from the airport?", "Where did John and Sophia go to from the Airport?", "Why did Sophia go to Russia with Alexei, instead of John?", "What is John's job?", "How does John get the money needed to pay the ransom for Nadia?", "Why does Alexei leave Nadia behind?", "What was John tied to in the motel?", "Why does John take Nadia to turn her into the police?", "Where does John leave Nadia after deciding against turning her into the police?", "Why is Nadia kidnapped by Alexei?", "What is Nadia's real name?", "Who is John disguised as when he leaves with Sophia to Russia?", "What does John tie Alexei to?", "What is John Buckingham's job?", "In what city does Buckingham work?", "What does Buckingham order on the internet?", "What is the mail-order bride's name?", "Where is the mail-order bride from?", "Who shows up to celebrate Nadia's birthday?", "Who does Alexei hold hostage?", "What does Buckingham do to pay the ransom for Nadia?", "What does Buckingham realize after he robs the bank and pays ransom?", "What is Nadia's real name?" ]

[ [ "Because Nadia's cousin and friend held her for ransom money.", "His wife was held hostage and he needed money to pay the ransom." ], [ "Because John realized Nadia was a part of the con to have him steal money and he wanted to clear his name.", "He hoped he would be able to clear his name as a bank robber." ], [ "They realized she was pregnant with Johns' baby.", "Because she is pregnant" ], [ "Russia", "Russia." ], [ "Sophia is Nadia's real name.", "Sophia is a criminal posing as a mail-order bride named Nadia." ], [ "They have been scamming men in Switzerland and Germany in the same manner they did with John.", "That they carried out the same scam in other countries." ], [ "He wanted for her to have her baby with him after all.", "HE decided that he wanted Nadia to have the baby." ], [ "To Russia", "Russia" ], [ "She did go with John, but John had changed his name to Alexei since John was wanted for Robbery.", "because Alexei is actually John" ], [ "Bank clerk", "bank clerk" ], [ "Robs his own bank", "He stole from his bank." ], [ "Because she was pregnant", "Alexei discovered that she was already pregnant." ], [ "A toilet", "toilet" ], [ "He hopes to clear his name as a wanted bank robber", "St Albans" ], [ "The Airport", "The airport" ], [ "Because he now wants her to have the baby", "Alexei wants Nadia to have the baby." ], [ "Sophia", "Sophia" ], [ "Alexei", "Alexei" ], [ "A chair", "a chair" ], [ "Bank clerk", "bank clerk " ], [ "St. Albans", "St. Albans." ], [ "a mail-order bride", "mail order bride" ], [ "Nadia", "Nadia/Sophia" ], [ "Russia", "Russia" ], [ "Nadia's cousin Yuri and his friend Alexei", "Yuri and Alexei" ], [ "Nadia", "Nadia/Sophia" ], [ "He steals from the bank he works for", "He steals from the bank where he works." ], [ "Nadia, Alexei, and Yuri are cons who duped him", "He was conned" ], [ "Sophia", "Sophia" ] ]

[ [ "MITCHELL\n Today we welcome Brian Clough as he\n starts his new job as manager of Leeds\n United, taking over from Don Revie -", "1974 season, and a first chance to get\n a look at Brian Clough's Leeds...", "CLOUGH and TAYLOR cry out in shock..\n\n CLOUGH\n Leeds..!\n\n TAYLOR\n Fucking hell..!", "CLOUGH leads his Leeds PLAYERS out. 67,000 FANS screaming and\n shouting.\n\n A stony-faced BREMNER behind him.", "Afterwards: the LEEDS and DERBY players file off the pitch.\n BREMNER brushes roughly past CLOUGH...\n\n\n\n\n (CO NTINU ED)", "MITCHELL\n And in fact, you went on record and\n said so, Brian Clough. Again and\n again. That Leeds should, in fact, be\n relegated.", "CLOUGH\n Well, let's see where we are in a\n year's time, Donald Revie.\n REVIE\n Dear oh dear..", "`LEEDS UNITED FOOTBALL CLUB' written on the side of the\n stadium. CLOUGH smiles, then puts his foot down. The car\n accelerates past the turning. The BOYS' smiles fade.", "CLOUGH turns, to see REVIE. Waving back. Acknowledging the\n crowd.\n\n The LEEDS FANS chant, \"There's only one Don Revie!\"", "The inevitable roar as Leeds convert, followed by,\n \"Beeeeeep\", the sound of the final WHISTLE. CLOUGH stares in\n disbelief. Robbed. Deflated.", "manager of Leeds United. We'll be\n talking not just to Brian Clough, but\n also to the man he replaced, who's\n success he couldn't emulate, Don", "CLOUGH looks out of the window to see DON REVIE signing\n autographs, shaking hands with adoring LEEDS FANS outside..\n\n VOICE\n What's going on?", "CLOUGH looks up. Desperate to know. Derby or Leeds?\n But it's only 4.35. Game still not over. Not by a long way.", "CLOUGH\n Right, last time there was a whole\n division between you and Leeds. Not\n now. Not today. Today we're here as", "CLOUGH\n My name's Brian Clough, and I once had\n the pleasure of playing for England\n against you in an Under-23 match.", "CLOUGH (cont'd)\n Football is a beautiful game, Austin.\n It needs to be played beautifully. I\n think Leeds have sold themselves\n short...", "your obsession with Leeds.\n CLOUGH\n Don't be daft. We won the league,\n Pete. We're top dogs in Derby now. And", "CLOUGH (cont'd)\n 4th March 1968. See? I even remember\n the date. You came to Derby County,", "MACKAY\n Two wins from two. What's not to\n enjoy? You?\n CLOUGH\n Loving it. Different class, Leeds.\n Proper club. BIG club.", "SAM LONGSON walks through corridors of Elland Road, carrying\n the team sheet. Walking towards the dressing-rooms. He turns\n a corner and runs into CLOUGH.." ], [ "CLOUGH\n (a knowing smile)\n \"Didn't know who I was!\" Pull the\n other one.\n\n REVIE\n It's the truth.", "CLOUGH\n Obviously, Austin, my initial reaction\n is one of shock at finding myself here\n with Revie...", "He sees REVIE in the crowd.\n\n CLOUGH's eyes.\n\n REVIE's eyes.", "CLOUGH (cont'd)\n I'll see you in fucking court,\n Lorimer!\n\n CLOUGH's eyes meet REVIE's eyes along the touchline.", "CLOUGH turns, to see REVIE. Waving back. Acknowledging the\n crowd.\n\n The LEEDS FANS chant, \"There's only one Don Revie!\"", "REVIE is put in the seat beside CLOUGH. Avoiding CLOUGH's\n eyes. REVIE rolls his neck, crosses his legs. Vast,\n intimidating REVIE. Ready for battle.", "CLOUGH takes his seat alone in the dugout. Unseen by him, in\n the stands behind him...\n\n DON REVIE arrives, shaking hands, taking a seat.", "CLOUGH watches. His expression changes. His eyes burn into\n REVIE's.", "CLOUGH stares at REVIE and his lieutenants in their\n neighbouring dug-out.", "But REVIE walks past without shaking hands, without talking,\n without even breaking stride..\n\n ..and disappears into the stadium, deep in conversation with\n Les Cocker and Syd Owen.", "CLOUGH cranes his neck. Watches DON REVIE, 40's. Thick-set.\n Severe, forbidding, intimidating, in a huddle with his", "The door flies open. CLOUGH storms into his office. He walks\n over to the desk. DON REVIE's desk.\n He unwraps the parcel, and takes out an axe.", "CLOUGH\n Because I thought it was the best job\n in the country.\n\n REVIE\n Of course it was the best job in the\n country.", "CLOUGH looks out of the window to see DON REVIE signing\n autographs, shaking hands with adoring LEEDS FANS outside..\n\n VOICE\n What's going on?", "CLOUGH's interview continues on a TV in a sitting-room, where\n it is being watched by Don Revie, sitting in an armchair...", "CLOUGH\n ...but in answer to your question, six\n weeks is hardly a long time to be\n given a chance in any job. I would\n hope Revie would get a lot longer time\n in his.", "CLOUGH stops. TAYLOR looks up. Sees CLOUGH. Their eyes meet.\n CLOUGH's eyes. TAYLOR's eyes.", "TAYLOR\n Now sent it out wide!\n\n CLOUGH doesn't join in. He continues to stare at REVIE in his\n dugout.\n\n Suddenly:", "CLOUGH\n Well are you surprised? What else was\n I going to do?? After what you did...\n\n REVIE\n What did I do?", "CLOUGH (cont'd)\n Like to see Don fucking Revie do that,\n eh?" ], [ "A NEWSREADER announces that Derby County have won the First\n Division Championship.", "CLOUGH\n Derby County winning the championship\n is a victory for decency, for honesty\n and for football. Because they don't", "country, at Derby, and managed to get\n the sack. Who had one of the best\n partners in the game, in Peter Taylor,\n and threw him away. Who was given the", "your obsession with Leeds.\n CLOUGH\n Don't be daft. We won the league,\n Pete. We're top dogs in Derby now. And", "CLOUGH\n That's right. You were Chairman of\n Derby County before I came here. I\n remember that. When Derby County were", "had heard of you. There would BE no\n Derby County without me, no league\n title, no Champions of England; not\n without Brian Clough.", "CLOUGH\n We're going to create a footballing\n dynasty here. Derby could be one of\n the greats alongside United,\n Liverpool, Leeds..", "beat the best, and be the best, and\n that's all the people of Derby want.\n To see their team on top of the tree,", "JIMMY\n \"To the directors of Derby County\n Football Club. We, the undersigned\n players, are unanimous in our support", "CLOUGH (cont'd)\n 4th March 1968. See? I even remember\n the date. You came to Derby County,", "CLOUGH\n My employer?\n\n LONGSON\n Chairman of Derby County. And Chairman\n LONG before you ever showed up.", "A goal. But scored by whom? Derby or Leeds?\n\n CLOUGH looks up at the clock. The clock on the wall shows\n it's 4.20.", "80 EXT. DERBY STREET - DAY - (1972) 80\n\n CLOUGH, still celebrating, and still surrounded by PLAYERS\n and FANS", "CLOUGH, TAYLOR and ROY MACFARLAND hold aloft a large trophy,\n travelling on board an open-top bus, through Derby. The whole\n town has taken to the streets.", "The Leeds Coach arrives at Derby. Hydraulic brakes\n hissssssss. Doors open. Boots, shoes, walk down steps.", "CLOUGH looks up. Desperate to know. Derby or Leeds?\n But it's only 4.35. Game still not over. Not by a long way.", "25 INT. MANAGER'S OFFICE - DERBY - LATE AFTERNOON - (1968) 25\n\n The two empty glasses waiting on the table.", "105 INT. DERBY DRESSING-ROOM - BASEBALL GROUND - DAY - (1973) 105", "the people of Derby want us to \n achieve, but when you've got a \n chairman not wanting to put his hand", "It's a little place up the M1 called\n Derby.\n (a beat)\n May we come in?" ], [ "CLOUGH (cont'd)\n In fact, I wrote you a card saying as\n much. Did you not get it? From\n Majorca?", "TAYLOR rubs his hands in excitement, \"Here we go\". But CLOUGH\n is miles away. Still cannot let the insult go. He stares over\n at the visiting team dug-out..", "TAYLOR\n (horrified)\n WHAT??!?\n\n CLOUGH\n What do you think?", "CLOUGH (cont'd)\n \"Due to the complete breakdown in\n communication with the chairman, Peter\n Taylor and I find it is impossible to", "CLOUGH stops. TAYLOR looks up. Sees CLOUGH. Their eyes meet.\n CLOUGH's eyes. TAYLOR's eyes.", "TAYLOR looks at CLOUGH. Their eyes meet. A poignant moment.\n\n TAYLOR\n They've kicked you out, already?", "CLOUGH\n I'm nothing without you.\n\n TAYLOR\n \"Please, please baby, take me back.\"\n\n CLOUGH\n Fuck off..!", "CLOUGH\n I apologize for being a twat.\n\n TAYLOR\n \"Unreservedly.\"", "TAYLOR\n Are you going to stop it?\n\n CLOUGH\n No, I want to fight him!", "CLOUGH visits PETER TAYLOR in a large, crowded ward of old,\n infirm, dying people. It's a shock.\n\n CLOUGH\n Heart attack, eh?", "CLOUGH\n You sure?\n\n TAYLOR\n Never been more sure of anything in my\n life.", "CLOUGH (cont'd)\n You bastards!", "TAYLOR\n Now sent it out wide!\n\n CLOUGH doesn't join in. He continues to stare at REVIE in his\n dugout.\n\n Suddenly:", "CLOUGH storms off. PETER TAYLOR is left alone. Looks pale.\n Momentarily holds his chest...\n\n JIMMY\n You all right?", "CLOUGH\n What? And you'd sooner fester down\n there? With all those fucking Tories?\n In that blue-rinse retirement home by\n the sea?", "CLOUGH\n They have.\n\n TAYLOR\n So how long was that?\n\n CLOUGH\n Forty-four days.", "CLOUGH doesn't answer, and storms off in the opposite\n direction. TAYLOR is left alone, visibly anxious.", "CLOUGH\n I love you, y'know.\n\n TAYLOR\n I know. But it won't stop you.", "MACKAY\n Why would I do that?\n\n CLOUGH\n Exorcise the bloody place. Get rid of\n me.", "TAYLOR\n I've heard he wants out of Sunderland,\n too. They're all jumping ship up\n there.\n\n CLOUGH thinks for a moment, then..." ], [ "CLOUGH\n ...but in answer to your question, six\n weeks is hardly a long time to be\n given a chance in any job. I would\n hope Revie would get a lot longer time\n in his.", "CLOUGH looks up. Desperate to know. Derby or Leeds?\n But it's only 4.35. Game still not over. Not by a long way.", "CLOUGH (cont'd)\n You bastards!", "CLOUGH\n Yes, Pete's at Brighton now. He had\n the opportunity to come with me, but\n Brighton was his choice. Leeds was\n mine.", "CLOUGH and TAYLOR cry out in shock..\n\n CLOUGH\n Leeds..!\n\n TAYLOR\n Fucking hell..!", "CLOUGH leads his Leeds PLAYERS out. 67,000 FANS screaming and\n shouting.\n\n A stony-faced BREMNER behind him.", "The inevitable roar as Leeds convert, followed by,\n \"Beeeeeep\", the sound of the final WHISTLE. CLOUGH stares in\n disbelief. Robbed. Deflated.", "CLOUGH (cont'd)\n Football is a beautiful game, Austin.\n It needs to be played beautifully. I\n think Leeds have sold themselves\n short...", "CLOUGH\n Plus three and a half grand for Jimmy\n Gordon. And an agreement that Leeds\n United will pay both our income taxes\n for the next three years.", "`LEEDS UNITED FOOTBALL CLUB' written on the side of the\n stadium. CLOUGH smiles, then puts his foot down. The car\n accelerates past the turning. The BOYS' smiles fade.", "CLOUGH\n I only did because of HIM!\n (points at LONGSON)\n You can't get rid of us. It'd be a\n disaster for the club. For the whole\n of Derby.", "SAM LONGSON walks through corridors of Elland Road, carrying\n the team sheet. Walking towards the dressing-rooms. He turns\n a corner and runs into CLOUGH..", "CLOUGH\n No, you saw me Don. But considered me\n beneath you. Looked down on me. And\n dismissed me. Just like you did every\n other club and every other manager in\n the country.", "CLOUGH\n Well, go on then. Sign him.\n TAYLOR\n What? We can't. Longson's already told\n us. Club's in debt.", "CLOUGH\n No. Nor do I. Don't worry, they'll\n never let us. We just won them the\n championship. But it will strengthen\n our position and force them to get rid\n of Longson.", "CLOUGH (cont'd)\n Anyway, I want you all to know, I'm\n not in the slightest bit critical of\n your performance today. Not a bit of\n it. You were terrific out there...", "CLOUGH\n You've all done a terrific job of\n getting me the sack. So I'm not\n letting you out of here for the second\n half, until you've finished the\n bottle.", "CLOUGH\n They have.\n\n TAYLOR\n So how long was that?\n\n CLOUGH\n Forty-four days.", "CLOUGH\n You can't manage a team that's not\n your own people. Not what you know.\n Anyway the Protest Movement in Derby\n is still in full flow. We could still\n get our jobs back.", "CLOUGH\n A joke? All right. There's this bloke\n walking about in London, when all of a\n sudden, the city gets hit by a Russian\n `A' bomb. Booooooooom." ], [ "CLOUGH\n Yes, Pete's at Brighton now. He had\n the opportunity to come with me, but\n Brighton was his choice. Leeds was\n mine.", "CLOUGH looks up. Desperate to know. Derby or Leeds?\n But it's only 4.35. Game still not over. Not by a long way.", "CLOUGH gets into his car, and roars out, past glowering\n BREMNER, glowering GILES, glowering HUNTER, glowering\n GIRLFRIENDS and WIVES.", "CLOUGH leads his Leeds PLAYERS out. 67,000 FANS screaming and\n shouting.\n\n A stony-faced BREMNER behind him.", "`LEEDS UNITED FOOTBALL CLUB' written on the side of the\n stadium. CLOUGH smiles, then puts his foot down. The car\n accelerates past the turning. The BOYS' smiles fade.", "TAYLOR looks at CLOUGH. Their eyes meet. A poignant moment.\n\n TAYLOR\n They've kicked you out, already?", "CLOUGH and TAYLOR cry out in shock..\n\n CLOUGH\n Leeds..!\n\n TAYLOR\n Fucking hell..!", "hands. You just went to Leeds with no\n thought for the club, no thought for\n the players. Just on some kind of mad\n personal vendetta with me.", "CLOUGH watches the desk burn in a small bonfire outside.\n MANNY CUSSINS and several DIRECTORS walk out.\n They are surprised to see CLOUGH by the fire holding an\n axe...", "CLOUGH's face: watching the Leeds PLAYERS board the bus...\n\n CUT TO:", "CLOUGH's car pulls up outside his house in Derby. He closes\n his eyes. Breathes a private sigh of relief. Home. At last.\n\n Safe. Surrounded by people who love him.", "CLOUGH (cont'd)\n Football is a beautiful game, Austin.\n It needs to be played beautifully. I\n think Leeds have sold themselves\n short...", "SAM LONGSON walks through corridors of Elland Road, carrying\n the team sheet. Walking towards the dressing-rooms. He turns\n a corner and runs into CLOUGH..", "CLOUGH\n Plus three and a half grand for Jimmy\n Gordon. And an agreement that Leeds\n United will pay both our income taxes\n for the next three years.", "The LEEDS PLAYERS follow. Finally O'HARE and MCGOVERN, too.\n\n A deathly silence. CLOUGH is left alone in the dressing-room.", "CLOUGH (cont'd)\n So he decides that he's had enough,\n that he can't bear being this lonely,", "CLOUGH\n Right, last time there was a whole\n division between you and Leeds. Not\n now. Not today. Today we're here as", "CLOUGH (cont'd)\n You bastards!", "Inside the car: CLOUGH drives, staring at the road ahead.\n Talk on the radio of CLOUGH's dismissal..", "CLOUGH walks out into the drizzle and towards the LEEDS\n PLAYERS.." ], [ "CLOUGH stops. TAYLOR looks up. Sees CLOUGH. Their eyes meet.\n CLOUGH's eyes. TAYLOR's eyes.", "TAYLOR rubs his hands in excitement, \"Here we go\". But CLOUGH\n is miles away. Still cannot let the insult go. He stares over\n at the visiting team dug-out..", "CLOUGH doesn't answer, and storms off in the opposite\n direction. TAYLOR is left alone, visibly anxious.", "CLOUGH manages a smile. Moved.\n\n TAYLOR (cont'd)\n I'm only half-joking, you know. Have\n we still got jobs?", "TAYLOR holds CLOUGH tight, and whispers...\n\n TAYLOR\n You'll only fuck me up again, won't\n you?", "TAYLOR starts to walk. CLOUGH calls after him..\n\n\n\n\n (CO NTINU ED)", "CLOUGH tails off, realizing he has no option..\n\n CLOUGH (cont'd)\n \"Please, please baby, take me back.\"", "TAYLOR looks at CLOUGH. Their eyes meet. A poignant moment.\n\n TAYLOR\n They've kicked you out, already?", "CLOUGH visits PETER TAYLOR in a large, crowded ward of old,\n infirm, dying people. It's a shock.\n\n CLOUGH\n Heart attack, eh?", "TAYLOR\n Hey, you would never have FOUND him if\n it weren't for me.\n\n CLOUGH stops, rings the doorbell. Looks at TAYLOR.", "CLOUGH\n It's beautiful. A thing of fucking\n beauty!!\n CLOUGH grabs TAYLOR's head, kisses him. OVER THIS: we fade in\n the roar from the crowd...", "TAYLOR (cont'd)\n Who's just accepted the job.\n\n Deathly silence. The crowds part. CLOUGH sits up, and\n stares..", "TAYLOR turns. Sees CLOUGH on his knees. Begging for\n forgiveness.\n\n TAYLOR\n \"I apologize unreservedly for being a\n twat\".", "TAYLOR\n No one's rung, have they? You've\n scared them all off.\n\n CLOUGH\n It's only been a couple of weeks.", "CLOUGH\n I'm nothing without you.\n\n TAYLOR\n \"Please, please baby, take me back.\"\n\n CLOUGH\n Fuck off..!", "CLOUGH stares. Hand still outstretched. He looks over at\n PETER TAYLOR, who can't help smiling, `Forget it'.", "CLOUGH gets up. Walks out of the room..\n\n\n33 INT. TAYLOR HOUSE - HALL - DAY - (1968) 33", "TAYLOR\n Now sent it out wide!\n\n CLOUGH doesn't join in. He continues to stare at REVIE in his\n dugout.\n\n Suddenly:", "CLOUGH\n I love you, y'know.\n\n TAYLOR\n I know. But it won't stop you.", "TAYLOR\n (horrified)\n WHAT??!?\n\n CLOUGH\n What do you think?" ], [ "country, at Derby, and managed to get\n the sack. Who had one of the best\n partners in the game, in Peter Taylor,\n and threw him away. Who was given the", "CLOUGH's car pulls up outside his house in Derby. He closes\n his eyes. Breathes a private sigh of relief. Home. At last.\n\n Safe. Surrounded by people who love him.", "CLOUGH\n You can't manage a team that's not\n your own people. Not what you know.\n Anyway the Protest Movement in Derby\n is still in full flow. We could still\n get our jobs back.", "CLOUGH sees the paper. \"MACKAY TO BE DERBY MANAGER\". CLOUGH's\n face. Devastated.", "CLOUGH turns a corner to the dressing-rooms and the tunnel,\n then sees PETER TAYLOR up ahead entering the tunnel from the\n pitch with several Derby PLAYERS..", "CLOUGH walks towards him. Hand outstretched..\n\n CLOUGH\n Welcome to Derby, Don. Pleasure to\n meet you. I'm Brian Clough.", "CLOUGH is working a session with the Derby PLAYERS. A car\n screeches into the car park behind. A red-faced, apoplectic\n SAM LONGSON gets out..", "80 EXT. DERBY STREET - DAY - (1972) 80\n\n CLOUGH, still celebrating, and still surrounded by PLAYERS\n and FANS", "continue our good work for Derby\n County. We therefore wish to tender\n our resignations with immediate\n effect.\"", "CLOUGH looks up. Desperate to know. Derby or Leeds?\n But it's only 4.35. Game still not over. Not by a long way.", "CLOUGH walks into the manager's office. The empty chair. The\n bare desk. His desk. Don's desk.\n\n CLOUGH takes a seat in the chair.", "CLOUGH sits in his dug-out. While JIMMY GORDON and TAYLOR are\n calling out instructions to the Derby players on the pitch...", "BRIAN CLOUGH, PETER TAYLOR and the Derby Army disembark.\n CLOUGH's face: as he looks up at the writing on the side of", "CLOUGH\n That's right. You were Chairman of\n Derby County before I came here. I\n remember that. When Derby County were", "CLOUGH\n ...but in answer to your question, six\n weeks is hardly a long time to be\n given a chance in any job. I would\n hope Revie would get a lot longer time\n in his.", "The Derby PLAYERS train on a football pitch in a public park.\n CLOUGH turns to TAYLOR..", "your obsession with Leeds.\n CLOUGH\n Don't be daft. We won the league,\n Pete. We're top dogs in Derby now. And", "and respect for Mr. Clough and Mr.\n Taylor and ask that they be reinstated\n as manager and assistant manager of\n the club.\"", "CLOUGH (cont'd)\n 4th March 1968. See? I even remember\n the date. You came to Derby County,", "MITCHELL\n Today we welcome Brian Clough as he\n starts his new job as manager of Leeds\n United, taking over from Don Revie -" ], [ "Flashlights pop as DON REVIE, (late 40's), the most\n successful manager in English football, walks out in front of", "CLOUGH takes his seat alone in the dugout. Unseen by him, in\n the stands behind him...\n\n DON REVIE arrives, shaking hands, taking a seat.", "CLOUGH\n ...but in answer to your question, six\n weeks is hardly a long time to be\n given a chance in any job. I would\n hope Revie would get a lot longer time\n in his.", "Through the front door we see: DON REVIE, SYD OWEN and LES\n COCKER walking to their bus, chuckling to themselves, deep in\n discussion, already thinking about the next match.", "REVIE (cont'd)\n Yesterday afternoon at 3.00, I\n accepted the FA's offer to become the\n next manager of the England national\n football team.", "country, at Derby, and managed to get\n the sack. Who had one of the best\n partners in the game, in Peter Taylor,\n and threw him away. Who was given the", "MITCHELL\n Good evening. Tonight the football\n world was stunned by the news that\n Brian Clough has been sacked as", "CLOUGH\n The best manager in the country, Don\n Revie. Played for Sunderland, like me,\n as a centre-forward, like me, and\n England, like me.", "The door flies open. CLOUGH storms into his office. He walks\n over to the desk. DON REVIE's desk.\n He unwraps the parcel, and takes out an axe.", "CLOUGH\n What about proper clubs? Like\n Manchester United? Or Spurs? Or\n England, now Alf's gone. Wouldn't you\n fancy that?", "BOLTON\n Especially not Billy bloody Bremner.\n\n CLOUGH smiles nervously, visibly relieved...\n CLOUGH\n Is that it, then?", "But there's some fellow in London,\n England named....\"Brian Clough\"...\n (audience laughter)\n Anyway I heard all the way in America,", "TAYLOR\n I know. You're buggered. Billy\n Bremner's the heart and soul of that\n team.\n CLOUGH\n Plus Mike Jones and Eddie Gray are\n injured.", "But REVIE walks past without shaking hands, without talking,\n without even breaking stride..\n\n ..and disappears into the stadium, deep in conversation with\n Les Cocker and Syd Owen.", "The Leeds coach pulls into the Derby car park. Doors open.\n DON REVIE and SYD OWEN disembark.", "manager of Leeds United. We'll be\n talking not just to Brian Clough, but\n also to the man he replaced, who's\n success he couldn't emulate, Don", "We've embarked on a huge program of\n refurbishment and improvements. New\n stands. Better floodlights. We need a\n good run in Europe to pay for it.", "TAYLOR\n Someone like Colin Todd.\n CLOUGH\n (sharp intake)\n Oooh, now you're talking. Lovely pair\n of feet.", "You lot may all be internationals and\n have won all the domestic honours\n there are to win under Don Revie, but\n as far as I'm concerned, the first", "Suddenly, DAVE MACKAY looks up, sees the television. Calls\n for quiet!!\n\n ON TV: a live awards presentation. From London. DON REVIE is\n being presented with an award..." ], [ "CLOUGH looks up. Desperate to know. Derby or Leeds?\n But it's only 4.35. Game still not over. Not by a long way.", "CLOUGH\n Right, last time there was a whole\n division between you and Leeds. Not\n now. Not today. Today we're here as", "`LEEDS UNITED FOOTBALL CLUB' written on the side of the\n stadium. CLOUGH smiles, then puts his foot down. The car\n accelerates past the turning. The BOYS' smiles fade.", "CLOUGH leads his Leeds PLAYERS out. 67,000 FANS screaming and\n shouting.\n\n A stony-faced BREMNER behind him.", "CLOUGH\n Yes, Pete's at Brighton now. He had\n the opportunity to come with me, but\n Brighton was his choice. Leeds was\n mine.", "SAM LONGSON walks through corridors of Elland Road, carrying\n the team sheet. Walking towards the dressing-rooms. He turns\n a corner and runs into CLOUGH..", "CLOUGH and TAYLOR cry out in shock..\n\n CLOUGH\n Leeds..!\n\n TAYLOR\n Fucking hell..!", "MACKAY\n Two wins from two. What's not to\n enjoy? You?\n CLOUGH\n Loving it. Different class, Leeds.\n Proper club. BIG club.", "The inevitable roar as Leeds convert, followed by,\n \"Beeeeeep\", the sound of the final WHISTLE. CLOUGH stares in\n disbelief. Robbed. Deflated.", "A goal. But scored by whom? Derby or Leeds?\n\n CLOUGH looks up at the clock. The clock on the wall shows\n it's 4.20.", "CLOUGH (cont'd)\n Football is a beautiful game, Austin.\n It needs to be played beautifully. I\n think Leeds have sold themselves\n short...", "Here they are. The Leeds PLAYERS. Long hair and long faces.\n Surly. Truculent. Dangerous.", "CLOUGH looks out of the window to see DON REVIE signing\n autographs, shaking hands with adoring LEEDS FANS outside..\n\n VOICE\n What's going on?", "CLOUGH \n Beating Leeds United, obviously. \n Always a particular pleasure that.", "hands. You just went to Leeds with no\n thought for the club, no thought for\n the players. Just on some kind of mad\n personal vendetta with me.", "CLOUGH\n Of course it's our strongest side.\n It's Leeds United. Would you prefer I\n sent out the apprentices?", "MITCHELL\n Today we welcome Brian Clough as he\n starts his new job as manager of Leeds\n United, taking over from Don Revie -", "CLOUGH turns, to see REVIE. Waving back. Acknowledging the\n crowd.\n\n The LEEDS FANS chant, \"There's only one Don Revie!\"", "\"LEEDS UNITED FOOTBALL CLUB\" written on the side of the\n stadium.\n\n CLOUGH's car driver past.", "CLOUGH's face: staring out at the Leeds PLAYERS waiting on\n the training pitch. A deep breath." ], [ "CLOUGH\n Meaning he hasn't signed.\n\n TAYLOR\n Exactly.", "and respect for Mr. Clough and Mr.\n Taylor and ask that they be reinstated\n as manager and assistant manager of\n the club.\"", "CLOUGH stops. TAYLOR looks up. Sees CLOUGH. Their eyes meet.\n CLOUGH's eyes. TAYLOR's eyes.", "CLOUGH\n Well, go on then. Sign him.\n TAYLOR\n What? We can't. Longson's already told\n us. Club's in debt.", "CLOUGH is joined by TAYLOR and JIMMY GORDON.", "TAYLOR\n I've heard he wants out of Sunderland,\n too. They're all jumping ship up\n there.\n\n CLOUGH thinks for a moment, then...", "CLOUGH continues. PETER TAYLOR stands beside him, visibly\n pale, stressed...\n CLOUGH", "TAYLOR looks at CLOUGH. Their eyes meet. A poignant moment.\n\n TAYLOR\n They've kicked you out, already?", "CLOUGH manages a smile. Moved.\n\n TAYLOR (cont'd)\n I'm only half-joking, you know. Have\n we still got jobs?", "CLOUGH looks out of the window to see DON REVIE signing\n autographs, shaking hands with adoring LEEDS FANS outside..\n\n VOICE\n What's going on?", "CLOUGH\n You sure?\n\n TAYLOR\n Never been more sure of anything in my\n life.", "signed most of them personally. Knew\n their backgrounds. Their parents.\n Their streets. I was a father to them.\n In that club every morning. Massaging", "CLOUGH visits PETER TAYLOR in a large, crowded ward of old,\n infirm, dying people. It's a shock.\n\n CLOUGH\n Heart attack, eh?", "TAYLOR (cont'd)\n Who's just accepted the job.\n\n Deathly silence. The crowds part. CLOUGH sits up, and\n stares..", "CLOUGH and TAYLOR, surrounded by FRIENDS and FAMILIES, with\n flowers, telegrams, bottles of champagne, boxes of cigars.\n Watching the Mohammed Ali on television.", "PETER TAYLOR is working in the garden. He looks up to see\n CLOUGH standing in the gate to his house..", "BRIAN CLOUGH, PETER TAYLOR and the Derby Army disembark.\n CLOUGH's face: as he looks up at the writing on the side of", "CLOUGH stares. Hand still outstretched. He looks over at\n PETER TAYLOR, who can't help smiling, `Forget it'.", "\"MR. D. MACKAY - MANAGER\".\n\n CLOUGH stares at the sign as he parks his car in the space\n beside it. A stab in his heart.", "TAYLOR\n Like I said. You're buggered.\n\n CLOUGH\n What do I do, Pete? I need new\n players. Tell me who to buy." ], [ "A goal. But scored by whom? Derby or Leeds?\n\n CLOUGH looks up at the clock. The clock on the wall shows\n it's 4.20.", "CLOUGH looks up. Desperate to know. Derby or Leeds?\n But it's only 4.35. Game still not over. Not by a long way.", "Presently, RRROOOOAAAARRRRR goes up. Goal Leeds. REVIE and\n his henchmen get to their feet. Applauding. 1-0.", "your obsession with Leeds.\n CLOUGH\n Don't be daft. We won the league,\n Pete. We're top dogs in Derby now. And", "The inevitable roar as Leeds convert, followed by,\n \"Beeeeeep\", the sound of the final WHISTLE. CLOUGH stares in\n disbelief. Robbed. Deflated.", "CAPTION: \"DERBY 0 - LEEDS 2\"\n\n\n\n\n (CO NTINU ED)", "`LEEDS UNITED FOOTBALL CLUB' written on the side of the\n stadium. CLOUGH smiles, then puts his foot down. The car\n accelerates past the turning. The BOYS' smiles fade.", "\"RRRRROOOOOOOAAAAAARRRRRR\", a roar goes up. Goal Leeds. REVIE\n and his henchmen leap to their feet, delighted. Applauding.", "Afterwards: the LEEDS and DERBY players file off the pitch.\n BREMNER brushes roughly past CLOUGH...\n\n\n\n\n (CO NTINU ED)", "CLOUGH and TAYLOR cry out in shock..\n\n CLOUGH\n Leeds..!\n\n TAYLOR\n Fucking hell..!", "MACKAY\n Two wins from two. What's not to\n enjoy? You?\n CLOUGH\n Loving it. Different class, Leeds.\n Proper club. BIG club.", "CUSSINS\n Well, we can't have Leeds United being\n outdone by Derby County, can we? So\n Martin here is going to take you over\n to his showroom and get you sorted\n out.", "The PLAYERS clatter out, studs rattling down the tunnel, into\n the roar of the CROWD..\n\n CAPTION: LEEDS 5 - DERBY 0", "The Leeds coach pulls into the Derby car park. Doors open.\n DON REVIE and SYD OWEN disembark.", "CLOUGH's face: stinging with humiliation. And as if that\n weren't bad enough...\n\n \"RRROOOOAAARRRRR\", Luton score a goal.", "The Leeds Coach arrives at Derby. Hydraulic brakes\n hissssssss. Doors open. Boots, shoes, walk down steps.", "CAPTION: \"HALF-TIME: DERBY 0, LEEDS 1\"", "76 A TELEPROMPTER RATTLES ACROSS OUR SCREEN: 76\n\n Derby beat Huddersfield Town - 3-0", "CAPTION: `BURY'\n GOAL!! Derby score. CLOUGH and TAYLOR leap to their feet.", "GOAL!! Derby score. CLOUGH and TAYLOR leap to their feet.\n\n\n43 EXT. DUGOUT - BURY - DAY - (1968) 43" ], [ "Here they are. The Leeds PLAYERS. Long hair and long faces.\n Surly. Truculent. Dangerous.", "LONGSON\n We're at Juventus mid-week. Semi-final\n of the European Cup. Biggest night in\n the club's history!! Couldn't you just\n field...", "LONGSON\n You know what I mean..\n\n CLOUGH\n Against their biggest rivals?\n (CO NTINU ED)", "MACKAY\n Two wins from two. What's not to\n enjoy? You?\n CLOUGH\n Loving it. Different class, Leeds.\n Proper club. BIG club.", "Presently, RRROOOOAAAARRRRR goes up. Goal Leeds. REVIE and\n his henchmen get to their feet. Applauding. 1-0.", "The LEEDS PLAYERS follow. Finally O'HARE and MCGOVERN, too.\n\n A deathly silence. CLOUGH is left alone in the dressing-room.", "TAYLOR\n Yes, Brighton is a small club..\n\n CLOUGH\n Fucking midgets.", "BOLTON\n Especially not Billy bloody Bremner.\n\n CLOUGH smiles nervously, visibly relieved...\n CLOUGH\n Is that it, then?", "hands. You just went to Leeds with no\n thought for the club, no thought for\n the players. Just on some kind of mad\n personal vendetta with me.", "We've embarked on a huge program of\n refurbishment and improvements. New\n stands. Better floodlights. We need a\n good run in Europe to pay for it.", "CLOUGH and TAYLOR cry out in shock..\n\n CLOUGH\n Leeds..!\n\n TAYLOR\n Fucking hell..!", "The most important night in Derby's history as the Derby\n players arrive in Turin to play against mighty Juventus..", "No matter how good you think you are,\n or how clever, or how many fancy new\n friends you make on the telly, the\n reality of footballing life is this:", "\"RRRRROOOOOOOAAAAAARRRRRR\", a roar goes up. Goal Leeds. REVIE\n and his henchmen leap to their feet, delighted. Applauding.", "\"rejects\".\n (a beat)\n We've a game Saturday. Against Queens\n Park Rangers. Or had you forgotten?", "CLOUGH\n Congratulations, lads! Beautiful! That\n was as perfect a half of terrible\n football as I've ever seen. The plan", "CLOUGH (cont'd)\n We're going all the way, lads. Inter\n Milan, Barcelona. We're going to win\n silverware Don Revie could only dream\n of.", "CLOUGH's face: stinging with humiliation. And as if that\n weren't bad enough...\n\n \"RRROOOOAAARRRRR\", Luton score a goal.", "SAM LONGSON walks through corridors of Elland Road, carrying\n the team sheet. Walking towards the dressing-rooms. He turns\n a corner and runs into CLOUGH..", "`LEEDS UNITED FOOTBALL CLUB' written on the side of the\n stadium. CLOUGH smiles, then puts his foot down. The car\n accelerates past the turning. The BOYS' smiles fade." ], [ "CLOUGH (cont'd)\n If you ask me, the best thing for\n British football, the quickest way to", "CLOUGH\n Of course it's our strongest side.\n It's Leeds United. Would you prefer I\n sent out the apprentices?", "CLOUGH\n Because I thought it was the best job\n in the country.\n\n REVIE\n Of course it was the best job in the\n country.", "CLOUGH\n I want it perfect. Like a fucking\n carpet. We've got proper footballers\n coming. Who know how to keep the ball\n on the deck.", "CLOUGH\n The best manager in the country, Don\n Revie. Played for Sunderland, like me,\n as a centre-forward, like me, and\n England, like me.", "CLOUGH\n C'mon, double the fine. Treble it.\n Anything. Don't suspend him for that\n long. He's my Captain. The best player\n I've got.", "The game starts. CLOUGH, leading by example, anxious to prove\n himself, is soon darting about, calling out...", "CLOUGH\n Congratulations, lads! Beautiful! That\n was as perfect a half of terrible\n football as I've ever seen. The plan", "CLOUGH\n He offered us a job. And now someone\n else has offered us a better one..and\n not just anyone. The best team in the", "CLOUGH's face: stinging with humiliation. And as if that\n weren't bad enough...\n\n \"RRROOOOAAARRRRR\", Luton score a goal.", "CLOUGH looks up. Desperate to know. Derby or Leeds?\n But it's only 4.35. Game still not over. Not by a long way.", "REVIE\n No, no, no, no.\n CLOUGH\n And still play attractive, clean\n football. Without cheating!\n\n REVIE\n See, there he goes again..", "CLOUGH\n (over his shoulder)\n Because losing wasn't enough, was it?\n You only had to be the first\n Englishman to be sent off at Wembley.", "CLOUGH turns to see JIMMY GORDON..\n\n CLOUGH\n The last two words of every story ever\n written is what's going on. \"The\n fucking end.\"", "The LEEDS PLAYERS follow. Finally O'HARE and MCGOVERN, too.\n\n A deathly silence. CLOUGH is left alone in the dressing-room.", "The inevitable roar as Leeds convert, followed by,\n \"Beeeeeep\", the sound of the final WHISTLE. CLOUGH stares in\n disbelief. Robbed. Deflated.", "CLOUGH\n That open goal? Looked like a\n deliberate fucking miss to me. A miss\n to get your manager the sack.", "CLOUGH (cont'd)\n Mr. Lorimer, I hope you were listening\n because you're as good a footballer as", "LONGSON\n You know what I mean..\n\n CLOUGH\n Against their biggest rivals?\n (CO NTINU ED)", "CLOUGH\n But the way I see it, there's no point\n being in this game unless you want to" ], [ "TAYLOR\n It's too late. I'd have helped you\n once. But not now. Not after what was\n said. We're on our own now. Each man\n for himself. Remember?", "TAYLOR\n Impressive.\n\n TAYLOR strains not to show his satisfaction..\n\n TAYLOR (cont'd)\n So what are you doing here?", "TAYLOR (cont'd)\n Who's just accepted the job.\n\n Deathly silence. The crowds part. CLOUGH sits up, and\n stares..", "But in the clench, TAYLOR's smile fades, his expression\n suddenly becoming serious.", "TAYLOR\n No, we won't. It's over, Brian.\n They'll never take us back. Not now.", "TAYLOR rubs his hands in excitement, \"Here we go\". But CLOUGH\n is miles away. Still cannot let the insult go. He stares over\n at the visiting team dug-out..", "TAYLOR\n (horrified)\n WHAT??!?\n\n CLOUGH\n What do you think?", "CLOUGH stops. TAYLOR looks up. Sees CLOUGH. Their eyes meet.\n CLOUGH's eyes. TAYLOR's eyes.", "CLOUGH doesn't answer, and storms off in the opposite\n direction. TAYLOR is left alone, visibly anxious.", "TAYLOR (cont'd)\n C'mon, keep your shape! Close him\n down!\n\n JIMMY\n Think, Alan! To feet!", "TAYLOR opens his mouth, is about to protest..", "TAYLOR's face: freeing and condemning himself at once..\n\n TAYLOR\n Never.", "TAYLOR\n And that's the trouble with you. Too\n much ambition. Too much greed. Too\n much everything.", "(unseen by anyone else)...\n ...TAYLOR is white-faced, holding his chest.", "TAYLOR looks at CLOUGH. Their eyes meet. A poignant moment.\n\n TAYLOR\n They've kicked you out, already?", "TAYLOR\n Please...give it a year. Give it a \n chance.\n\n CLOUGH\n A year? It'd be death. Death for us\n all.", "TAYLOR\n I've heard he's a superstitious twat.\n (calling out)\n Ey..! Help him, someone HELP him..!", "TAYLOR\n I've heard he wants out of Sunderland,\n too. They're all jumping ship up\n there.\n\n CLOUGH thinks for a moment, then...", "TAYLOR starts to walk. CLOUGH calls after him..\n\n\n\n\n (CO NTINU ED)", "walk the last hundred yards.\n TAYLOR mutters under his breath, \"Soppy twat\"." ], [ "CLOUGH walks into the manager's office. The empty chair. The\n bare desk. His desk. Don's desk.\n\n CLOUGH takes a seat in the chair.", "and respect for Mr. Clough and Mr.\n Taylor and ask that they be reinstated\n as manager and assistant manager of\n the club.\"", "CLOUGH\n The sad thing is, it won't work. You\n can't change a manager like a pair of\n socks. It'll happen once, to me - and\n never again.", "\"MR. D. MACKAY - MANAGER\".\n\n CLOUGH stares at the sign as he parks his car in the space\n beside it. A stab in his heart.", "manager of Leeds United. We'll be\n talking not just to Brian Clough, but\n also to the man he replaced, who's\n success he couldn't emulate, Don", "MITCHELL\n Good evening. Tonight the football\n world was stunned by the news that\n Brian Clough has been sacked as", "CLOUGH\n ...but in answer to your question, six\n weeks is hardly a long time to be\n given a chance in any job. I would\n hope Revie would get a lot longer time\n in his.", "CLOUGH\n You can't manage a team that's not\n your own people. Not what you know.\n Anyway the Protest Movement in Derby\n is still in full flow. We could still\n get our jobs back.", "CLOUGH (cont'd)\n \"Due to the complete breakdown in\n communication with the chairman, Peter\n Taylor and I find it is impossible to", "TAYLOR\n Someone like Colin Todd.\n CLOUGH\n (sharp intake)\n Oooh, now you're talking. Lovely pair\n of feet.", "CLOUGH sees the paper. \"MACKAY TO BE DERBY MANAGER\". CLOUGH's\n face. Devastated.", "CLOUGH continues. PETER TAYLOR stands beside him, visibly\n pale, stressed...\n CLOUGH", "MITCHELL\n Today we welcome Brian Clough as he\n starts his new job as manager of Leeds\n United, taking over from Don Revie -", "CLOUGH\n The best manager in the country, Don\n Revie. Played for Sunderland, like me,\n as a centre-forward, like me, and\n England, like me.", "CLOUGH\n Dave Mackay?!? He's a hundred and\n fucking fifty.\n\n TAYLOR\n I admit he's not young.", "CLOUGH stares. Hand still outstretched. He looks over at\n PETER TAYLOR, who can't help smiling, `Forget it'.", "CLOUGH watches the desk burn in a small bonfire outside.\n MANNY CUSSINS and several DIRECTORS walk out.\n They are surprised to see CLOUGH by the fire holding an\n axe...", "CLOUGH takes his seat alone in the dugout. Unseen by him, in\n the stands behind him...\n\n DON REVIE arrives, shaking hands, taking a seat.", "CLOUGH storms off. PETER TAYLOR is left alone. Looks pale.\n Momentarily holds his chest...\n\n JIMMY\n You all right?", "But there's some fellow in London,\n England named....\"Brian Clough\"...\n (audience laughter)\n Anyway I heard all the way in America," ], [ "CLOUGH (cont'd)\n You bastards!", "CLOUGH (cont'd)\n I've spoken to the referee already.\n Given him a piece of my mind. And come\n Monday morning, mark my word, I shall\n be taking this further...", "CLOUGH\n Would you like to hear my contrite\n reply?\n\n CLOUGH pulls out a letter..", "40\n67 CON TINUE D: 67\n\n Already fearing the rocket they will get, the lash of his\n tongue..", "CLOUGH\n What? And you'd sooner fester down\n there? With all those fucking Tories?\n In that blue-rinse retirement home by\n the sea?", "CLOUGH (cont'd)\n \"Try, try, try to separate them, it's\n an illusion. Try, try, try and you\n will only come to this conclusion..\"", "CLOUGH (cont'd)\n What am I going to do if they suspend\n you? You're my best player. I tell\n you, I've a mind to fine you two weeks\n wages!", "CLOUGH\n I'm about to go home and work out how\n much I want in severance pay. Don't\n worry, I'll make sure your job is\n safe.", "CLOUGH\n You're wrong. He bloody is.\n\n A silence. CLOUGH continues to drive.", "CLOUGH limps down a corridor. In a thunderous mood. Holding\n the parcel. PEOPLE scatter.", "CLOUGH\n There I am making a big song and dance\n to the media about our new approach.\n Our new attitude. Our new ethics. And", "CLOUGH shoots his cuffs. Rolls his neck. A boxer on his way\n to the ring. A gladiator on his way to the circus.", "CLOUGH cannot bear it a moment longer. He opens the door.\n\n 43", "A beat. CLOUGH thinks, then..\n\n\n\n (CO NTINU ED)", "CLOUGH gets into his car, and roars out, past glowering\n BREMNER, glowering GILES, glowering HUNTER, glowering\n GIRLFRIENDS and WIVES.", "CLOUGH (cont'd)\n And he suddenly feels very, very\n lonely because there's no one else to", "CLOUGH walks to the door. He turns, and indicates the desk.\n\n CLOUGH (cont'd)\n Ever tempted to burn that bloody desk?\n Chop it up and burn it?", "CLOUGH\n (up-beat, clapping hands)\n All right, gentlemen, gather around,\n please.", "CLOUGH (cont'd)\n You'd bloody DO that, too - wouldn't\n you? Come all this way, then just", "Silence. CLOUGH shakes himself dry." ], [ "Revie.", "CLOUGH\n Don Revie. Prepares a file on every\n game. Leaves nothing to chance. Knows\n every opponents formations.\n Strategies. Everything.", "REVIE (cont'd)\n Obviously that involves me leaving\n Leeds United after 13 happy and\n successful years, which makes me very", "REVIE\n No, no, no, no.\n CLOUGH\n And still play attractive, clean\n football. Without cheating!\n\n REVIE\n See, there he goes again..", "CLOUGH cranes his neck. Watches DON REVIE, 40's. Thick-set.\n Severe, forbidding, intimidating, in a huddle with his", "But REVIE walks past without shaking hands, without talking,\n without even breaking stride..\n\n ..and disappears into the stadium, deep in conversation with\n Les Cocker and Syd Owen.", "Flashlights pop as DON REVIE, (late 40's), the most\n successful manager in English football, walks out in front of", "REVIE is put in the seat beside CLOUGH. Avoiding CLOUGH's\n eyes. REVIE rolls his neck, crosses his legs. Vast,\n intimidating REVIE. Ready for battle.", "GILES\n Well, you haven't told us a single\n thing about how QPR will play. Mr\n Revie would have files and dossiers", "He sees REVIE in the crowd.\n\n CLOUGH's eyes.\n\n REVIE's eyes.", "subject)\n You know he was Revie's first choice\n for getting your job.", "CLOUGH\n (a knowing smile)\n \"Didn't know who I was!\" Pull the\n other one.\n\n REVIE\n It's the truth.", "Outside: DON REVIE walks down into the car park and towards\n his car - cheered and clapped every step of the way by LEEDS\n FANS..\n\n The Messiah of West Yorkshire...", "DON REVIE's face, half-asleep. Visibly irritated. He sits up\n in bed. A stout Yorkshire matron wakes beside him.\n REVIE\n Who is this?", "REVIE and his lieutenants. Whispering among themselves.\n Huddled in thought. Huddled in strategy. Huddled in\n malevolence.", "CLOUGH\n ...but in answer to your question, six\n weeks is hardly a long time to be\n given a chance in any job. I would\n hope Revie would get a lot longer time\n in his.", "JEAN\n Mr. Revie's.\n (CO NTINU ED)\n\n 8\n9 CON TINUE D: 9", "CLOUGH turns, to see REVIE. Waving back. Acknowledging the\n crowd.\n\n The LEEDS FANS chant, \"There's only one Don Revie!\"", "TAYLOR\n Yes, but even if we won them it would \n always be Revie's achievements. HIS\n team..\n (MO RE) (CO NTINU ED)", "TAYLOR\n You're picking the wrong enemy. The\n enemy's not Longson. It's Revie. And" ], [ "Flashlights pop as DON REVIE, (late 40's), the most\n successful manager in English football, walks out in front of", "CLOUGH takes his seat alone in the dugout. Unseen by him, in\n the stands behind him...\n\n DON REVIE arrives, shaking hands, taking a seat.", "MITCHELL\n Good evening. Tonight the football\n world was stunned by the news that\n Brian Clough has been sacked as", "Through the front door we see: DON REVIE, SYD OWEN and LES\n COCKER walking to their bus, chuckling to themselves, deep in\n discussion, already thinking about the next match.", "REVIE (cont'd)\n Yesterday afternoon at 3.00, I\n accepted the FA's offer to become the\n next manager of the England national\n football team.", "BOLTON\n Especially not Billy bloody Bremner.\n\n CLOUGH smiles nervously, visibly relieved...\n CLOUGH\n Is that it, then?", "country, at Derby, and managed to get\n the sack. Who had one of the best\n partners in the game, in Peter Taylor,\n and threw him away. Who was given the", "CLOUGH\n What about proper clubs? Like\n Manchester United? Or Spurs? Or\n England, now Alf's gone. Wouldn't you\n fancy that?", "CLOUGH\n ...but in answer to your question, six\n weeks is hardly a long time to be\n given a chance in any job. I would\n hope Revie would get a lot longer time\n in his.", "But there's some fellow in London,\n England named....\"Brian Clough\"...\n (audience laughter)\n Anyway I heard all the way in America,", "But REVIE walks past without shaking hands, without talking,\n without even breaking stride..\n\n ..and disappears into the stadium, deep in conversation with\n Les Cocker and Syd Owen.", "The Leeds coach pulls into the Derby car park. Doors open.\n DON REVIE and SYD OWEN disembark.", "TAYLOR\n I know. You're buggered. Billy\n Bremner's the heart and soul of that\n team.\n CLOUGH\n Plus Mike Jones and Eddie Gray are\n injured.", "We've embarked on a huge program of\n refurbishment and improvements. New\n stands. Better floodlights. We need a\n good run in Europe to pay for it.", "On the training ground: DAVE MACKAY, barrel-chested and\n older, voice like a bullhorn, is already bossing about the\n young players, urging them to \"think\"..", "TAYLOR\n Someone like Colin Todd.\n CLOUGH\n (sharp intake)\n Oooh, now you're talking. Lovely pair\n of feet.", "REVIE\n You'd expect nothing less having been\n their manager for 13 years. But the\n fact is I'm here today as manager of\n England...", "CLOUGH\n The best manager in the country, Don\n Revie. Played for Sunderland, like me,\n as a centre-forward, like me, and\n England, like me.", "Presently, RRROOOOAAAARRRRR goes up. Goal Leeds. REVIE and\n his henchmen get to their feet. Applauding. 1-0.", "The LEEDS PLAYERS follow. Finally O'HARE and MCGOVERN, too.\n\n A deathly silence. CLOUGH is left alone in the dressing-room." ], [ "MITCHELL\n Good evening. Tonight the football\n world was stunned by the news that\n Brian Clough has been sacked as", "country, at Derby, and managed to get\n the sack. Who had one of the best\n partners in the game, in Peter Taylor,\n and threw him away. Who was given the", "CLOUGH\n ...but in answer to your question, six\n weeks is hardly a long time to be\n given a chance in any job. I would\n hope Revie would get a lot longer time\n in his.", "REVIE (cont'd)\n Yesterday afternoon at 3.00, I\n accepted the FA's offer to become the\n next manager of the England national\n football team.", "Flashlights pop as DON REVIE, (late 40's), the most\n successful manager in English football, walks out in front of", "BOLTON\n Especially not Billy bloody Bremner.\n\n CLOUGH smiles nervously, visibly relieved...\n CLOUGH\n Is that it, then?", "REVIE\n You'd expect nothing less having been\n their manager for 13 years. But the\n fact is I'm here today as manager of\n England...", "CLOUGH\n The sad thing is, it won't work. You\n can't change a manager like a pair of\n socks. It'll happen once, to me - and\n never again.", "CLOUGH\n (over his shoulder)\n Because losing wasn't enough, was it?\n You only had to be the first\n Englishman to be sent off at Wembley.", "COMMITTEE CHAIRMAN\n William Bremner, your conduct in the\n Charity Shield match was deplorable\n and cannot be tolerated.\n\n CLOUGH\n It was.", "But REVIE walks past without shaking hands, without talking,\n without even breaking stride..\n\n ..and disappears into the stadium, deep in conversation with\n Les Cocker and Syd Owen.", "TAYLOR\n I know. You're buggered. Billy\n Bremner's the heart and soul of that\n team.\n CLOUGH\n Plus Mike Jones and Eddie Gray are\n injured.", "CLOUGH\n That open goal? Looked like a\n deliberate fucking miss to me. A miss\n to get your manager the sack.", "We've embarked on a huge program of\n refurbishment and improvements. New\n stands. Better floodlights. We need a\n good run in Europe to pay for it.", "CLOUGH\n The best manager in the country, Don\n Revie. Played for Sunderland, like me,\n as a centre-forward, like me, and\n England, like me.", "continue our good work for Derby\n County. We therefore wish to tender\n our resignations with immediate\n effect.\"", "TAYLOR\n No, it's that superstition, isn't it?\n Every away cup ties, Revie makes them", "CAPTION 1: \"DON REVIE FAILED AS ENGLAND MANAGER.\"", "CLOUGH takes his seat alone in the dugout. Unseen by him, in\n the stands behind him...\n\n DON REVIE arrives, shaking hands, taking a seat.", "CLOUGH (cont'd)\n If you ask me, the best thing for\n British football, the quickest way to" ], [ "CLOUGH reaches the door..\n\n CLOUGH (cont'd)\n Were you his secretary?\n\n JEAN\n I was. For thirteen happy years.", "CLOUGH (cont'd) \n He's a very, very talented man and his \n record is unsurpassable. But I just", "CLOUGH (cont'd)\n You bastards!", "CLOUGH\n My employer?\n\n LONGSON\n Chairman of Derby County. And Chairman\n LONG before you ever showed up.", "CLOUGH continues. PETER TAYLOR stands beside him, visibly\n pale, stressed...\n CLOUGH", "CLOUGH\n What?\n\n LONGSON\n Y'know...", "and respect for Mr. Clough and Mr.\n Taylor and ask that they be reinstated\n as manager and assistant manager of\n the club.\"", "CLOUGH (cont'd)\n And he suddenly feels very, very\n lonely because there's no one else to", "The game starts. CLOUGH, leading by example, anxious to prove\n himself, is soon darting about, calling out...", "Clough...you are not taking my job.\n I'm the talker. Now, Clough...enough.\n STOP IT!", "Yes, Mr. Clough.", "CLOUGH\n Who? Johnny Giles?\n\n CLOUGH looks over at GILES, who turns away, resumes\n training....", "CLOUGH (cont'd)\n \"Try, try, try to separate them, it's\n an illusion. Try, try, try and you\n will only come to this conclusion..\"", "CLOUGH visits PETER TAYLOR in a large, crowded ward of old,\n infirm, dying people. It's a shock.\n\n CLOUGH\n Heart attack, eh?", "A commotion breaks out. TV JOURNALISTS ask questions, sensing\n a great story. CLOUGH continues answering as, beside him,", "CLOUGH (cont'd)\n Mr. Lorimer, I hope you were listening\n because you're as good a footballer as", "CLOUGH is joined by TAYLOR and JIMMY GORDON.", "SAM LONGSON walks through corridors of Elland Road, carrying\n the team sheet. Walking towards the dressing-rooms. He turns\n a corner and runs into CLOUGH..", "CLOUGH\n I only did because of HIM!\n (points at LONGSON)\n You can't get rid of us. It'd be a\n disaster for the club. For the whole\n of Derby.", "CLOUGH (cont'd)\n Is that what they say?\n\n MCGOVERN\n Yes, Boss." ], [ "CLOUGH and TAYLOR cry out in shock..\n\n CLOUGH\n Leeds..!\n\n TAYLOR\n Fucking hell..!", "CLOUGH leads his Leeds PLAYERS out. 67,000 FANS screaming and\n shouting.\n\n A stony-faced BREMNER behind him.", "Afterwards: the LEEDS and DERBY players file off the pitch.\n BREMNER brushes roughly past CLOUGH...\n\n\n\n\n (CO NTINU ED)", "CLOUGH\n Right, last time there was a whole\n division between you and Leeds. Not\n now. Not today. Today we're here as", "MITCHELL\n Today we welcome Brian Clough as he\n starts his new job as manager of Leeds\n United, taking over from Don Revie -", "CLOUGH (cont'd)\n Football is a beautiful game, Austin.\n It needs to be played beautifully. I\n think Leeds have sold themselves\n short...", "`LEEDS UNITED FOOTBALL CLUB' written on the side of the\n stadium. CLOUGH smiles, then puts his foot down. The car\n accelerates past the turning. The BOYS' smiles fade.", "The inevitable roar as Leeds convert, followed by,\n \"Beeeeeep\", the sound of the final WHISTLE. CLOUGH stares in\n disbelief. Robbed. Deflated.", "CLOUGH turns, to see REVIE. Waving back. Acknowledging the\n crowd.\n\n The LEEDS FANS chant, \"There's only one Don Revie!\"", "CLOUGH looks out of the window to see DON REVIE signing\n autographs, shaking hands with adoring LEEDS FANS outside..\n\n VOICE\n What's going on?", "CLOUGH\n Yes, Pete's at Brighton now. He had\n the opportunity to come with me, but\n Brighton was his choice. Leeds was\n mine.", "CLOUGH looks up. Desperate to know. Derby or Leeds?\n But it's only 4.35. Game still not over. Not by a long way.", "MACKAY\n Two wins from two. What's not to\n enjoy? You?\n CLOUGH\n Loving it. Different class, Leeds.\n Proper club. BIG club.", "SAM LONGSON walks through corridors of Elland Road, carrying\n the team sheet. Walking towards the dressing-rooms. He turns\n a corner and runs into CLOUGH..", "your obsession with Leeds.\n CLOUGH\n Don't be daft. We won the league,\n Pete. We're top dogs in Derby now. And", "BOLTON\n Especially not Billy bloody Bremner.\n\n CLOUGH smiles nervously, visibly relieved...\n CLOUGH\n Is that it, then?", "The LEEDS PLAYERS follow. Finally O'HARE and MCGOVERN, too.\n\n A deathly silence. CLOUGH is left alone in the dressing-room.", "CLOUGH\n Plus three and a half grand for Jimmy\n Gordon. And an agreement that Leeds\n United will pay both our income taxes\n for the next three years.", "A goal. But scored by whom? Derby or Leeds?\n\n CLOUGH looks up at the clock. The clock on the wall shows\n it's 4.20.", "CLOUGH (cont'd)\n Not much of a welcome, was it? And not\n so much as a smile from Johnny Giles." ], [ "CLOUGH\n Dave Mackay?!? He's a hundred and\n fucking fifty.\n\n TAYLOR\n I admit he's not young.", "CLOUGH\n Well, go on then. Sign him.\n TAYLOR\n What? We can't. Longson's already told\n us. Club's in debt.", "CLOUGH\n What? Dave MACKAY?\n\n TAYLOR\n It's in the evening paper.", "CLOUGH\n Meaning he hasn't signed.\n\n TAYLOR\n Exactly.", "CLOUGH and TAYLOR watch from the touchline as their new team\n led by MACKAY plays in a match. CLOUGH watches in\n admiration...", "and respect for Mr. Clough and Mr.\n Taylor and ask that they be reinstated\n as manager and assistant manager of\n the club.\"", "TAYLOR\n Like I said. You're buggered.\n\n CLOUGH\n What do I do, Pete? I need new\n players. Tell me who to buy.", "TAYLOR\n I've heard he wants out of Sunderland,\n too. They're all jumping ship up\n there.\n\n CLOUGH thinks for a moment, then...", "\"MR. D. MACKAY - MANAGER\".\n\n CLOUGH stares at the sign as he parks his car in the space\n beside it. A stab in his heart.", "CLOUGH\n Give you a hundred grand.\n\n MACKAY\n One thirty. Final offer.\n CLOUGH is about to explode, then..", "MACKAY\n Two wins from two. What's not to\n enjoy? You?\n CLOUGH\n Loving it. Different class, Leeds.\n Proper club. BIG club.", "CLOUGH sees the paper. \"MACKAY TO BE DERBY MANAGER\". CLOUGH's\n face. Devastated.", "TAYLOR\n You asked me to find a player with a\n good head. Experience.\n (whispering, furtive)\n I've found one! He's perfect. Dave\n Mackay.", "TAYLOR (cont'd)\n Who's just accepted the job.\n\n Deathly silence. The crowds part. CLOUGH sits up, and\n stares..", "TAYLOR\n I know. You're buggered. Billy\n Bremner's the heart and soul of that\n team.\n CLOUGH\n Plus Mike Jones and Eddie Gray are\n injured.", "TAYLOR looks at CLOUGH. Their eyes meet. A poignant moment.\n\n TAYLOR\n They've kicked you out, already?", "TAYLOR\n (horrified)\n WHAT??!?\n\n CLOUGH\n What do you think?", "MACKAY\n Why would I do that?\n\n CLOUGH\n Exorcise the bloody place. Get rid of\n me.", "CLOUGH turns to TAYLOR...\n\n CLOUGH\n First thing Monday morning, I want you\n to go and find me that player. A wise\n head.", "TAYLOR\n Someone like Colin Todd.\n CLOUGH\n (sharp intake)\n Oooh, now you're talking. Lovely pair\n of feet." ], [ "CAPTION 7: \"PETER TAYLOR DIED OF A HEART ATTACK BEFORE THEY\n COULD MAKE UP.\"", "A gasp among the JOURNALISTS. A burst of flashlights. The\n BOARD MEMBERS look down at the floor in silence. Bereaved\n fathers losing their favourite son.", "A commotion breaks out. TV JOURNALISTS ask questions, sensing\n a great story. CLOUGH continues answering as, beside him,", "JIMMY GORDON backs off, visibly frightened. CLOUGH lies on\n the floor. In agony. Holding his knee.", "CLOUGH visits PETER TAYLOR in a large, crowded ward of old,\n infirm, dying people. It's a shock.\n\n CLOUGH\n Heart attack, eh?", "CLOUGH: a dagger in his heart..\n\n CLOUGH\n Come on.", "CLOUGH (cont'd)\n And he suddenly feels very, very\n lonely because there's no one else to", "Visibly anxious, CLOUGH starts pacing again. Presently,\n another deafening...\n\n RRRRROOOOOAAAAARRRRRRR", "The first is that his SON is already asleep. The second is,\n there is a tear running down his own cheek.", "CLOUGH storms off. PETER TAYLOR is left alone. Looks pale.\n Momentarily holds his chest...\n\n JIMMY\n You all right?", "The LEEDS PLAYERS follow. Finally O'HARE and MCGOVERN, too.\n\n A deathly silence. CLOUGH is left alone in the dressing-room.", "TAYLOR\n I know. You're buggered. Billy\n Bremner's the heart and soul of that\n team.\n CLOUGH\n Plus Mike Jones and Eddie Gray are\n injured.", "\"MR. D. MACKAY - MANAGER\".\n\n CLOUGH stares at the sign as he parks his car in the space\n beside it. A stab in his heart.", "They roar with laughter. Cheers and celebration. Everyone\n roughing up CLOUGH's hair, patting him on the back.\n\n CUT TO:", "TAYLOR (cont'd)\n Who's just accepted the job.\n\n Deathly silence. The crowds part. CLOUGH sits up, and\n stares..", "BREMNER (cont'd)\n More's the fucking pity.\n\n CUT TO:", "CLOUGH\n A joke? All right. There's this bloke\n walking about in London, when all of a\n sudden, the city gets hit by a Russian\n `A' bomb. Booooooooom.", "Silence. CLOUGH shakes himself dry.", "CLOUGH sighs and goes. MCGOVERN and O'HARE roll their eyes.\n MACKENZIE stubs his cigarette, and hurries after them..", "But REVIE walks past without shaking hands, without talking,\n without even breaking stride..\n\n ..and disappears into the stadium, deep in conversation with\n Les Cocker and Syd Owen." ], [ "and respect for Mr. Clough and Mr.\n Taylor and ask that they be reinstated\n as manager and assistant manager of\n the club.\"", "CLOUGH manages a smile. Moved.\n\n TAYLOR (cont'd)\n I'm only half-joking, you know. Have\n we still got jobs?", "TAYLOR\n I've heard he wants out of Sunderland,\n too. They're all jumping ship up\n there.\n\n CLOUGH thinks for a moment, then...", "CLOUGH stops. TAYLOR looks up. Sees CLOUGH. Their eyes meet.\n CLOUGH's eyes. TAYLOR's eyes.", "CLOUGH\n You sure?\n\n TAYLOR\n Never been more sure of anything in my\n life.", "TAYLOR (cont'd)\n Who's just accepted the job.\n\n Deathly silence. The crowds part. CLOUGH sits up, and\n stares..", "TAYLOR\n (horrified)\n WHAT??!?\n\n CLOUGH\n What do you think?", "CLOUGH continues. PETER TAYLOR stands beside him, visibly\n pale, stressed...\n CLOUGH", "CLOUGH's face: OVER THIS: the sound of a ringing phone. The\n sound of a familiar voice at the other end..\n\n TAYLOR (O.S.)\n Hello?", "CLOUGH (cont'd)\n \"Due to the complete breakdown in\n communication with the chairman, Peter\n Taylor and I find it is impossible to", "CLOUGH\n We need someone with a good head.\n Experience.\n\n TAYLOR\n I know. Our lot were like headless\n chickens out there today.", "PETER TAYLOR, seven years older than CLOUGH, his closest\n friend, his only true friend, appears breathlessly in the\n doorway back from a fish and chips run...", "TAYLOR\n No one's rung, have they? You've\n scared them all off.\n\n CLOUGH\n It's only been a couple of weeks.", "TAYLOR starts to walk. CLOUGH calls after him..\n\n\n\n\n (CO NTINU ED)", "TAYLOR holds CLOUGH tight, and whispers...\n\n TAYLOR\n You'll only fuck me up again, won't\n you?", "CLOUGH visits PETER TAYLOR in a large, crowded ward of old,\n infirm, dying people. It's a shock.\n\n CLOUGH\n Heart attack, eh?", "TAYLOR looks at CLOUGH. Their eyes meet. A poignant moment.\n\n TAYLOR\n They've kicked you out, already?", "TAYLOR\n Mike Bamber is a good man..\n CLOUGH\n Oh, do me a favour..", "CLOUGH stares. Hand still outstretched. He looks over at\n PETER TAYLOR, who can't help smiling, `Forget it'.", "TAYLOR rubs his hands in excitement, \"Here we go\". But CLOUGH\n is miles away. Still cannot let the insult go. He stares over\n at the visiting team dug-out.." ], [ "TAYLOR (cont'd)\n Who's just accepted the job.\n\n Deathly silence. The crowds part. CLOUGH sits up, and\n stares..", "and respect for Mr. Clough and Mr.\n Taylor and ask that they be reinstated\n as manager and assistant manager of\n the club.\"", "TAYLOR\n I've heard he wants out of Sunderland,\n too. They're all jumping ship up\n there.\n\n CLOUGH thinks for a moment, then...", "CLOUGH\n He offered us a job. And now someone\n else has offered us a better one..and\n not just anyone. The best team in the", "TAYLOR looks at CLOUGH. Their eyes meet. A poignant moment.\n\n TAYLOR\n They've kicked you out, already?", "CLOUGH visits PETER TAYLOR in a large, crowded ward of old,\n infirm, dying people. It's a shock.\n\n CLOUGH\n Heart attack, eh?", "CLOUGH manages a smile. Moved.\n\n TAYLOR (cont'd)\n I'm only half-joking, you know. Have\n we still got jobs?", "CLOUGH stops. TAYLOR looks up. Sees CLOUGH. Their eyes meet.\n CLOUGH's eyes. TAYLOR's eyes.", "CLOUGH and TAYLOR, surrounded by FRIENDS and FAMILIES, with\n flowers, telegrams, bottles of champagne, boxes of cigars.\n Watching the Mohammed Ali on television.", "TAYLOR\n No one's rung, have they? You've\n scared them all off.\n\n CLOUGH\n It's only been a couple of weeks.", "CLOUGH is joined by TAYLOR and JIMMY GORDON.", "TAYLOR rubs his hands in excitement, \"Here we go\". But CLOUGH\n is miles away. Still cannot let the insult go. He stares over\n at the visiting team dug-out..", "CLOUGH stares. Hand still outstretched. He looks over at\n PETER TAYLOR, who can't help smiling, `Forget it'.", "CLOUGH (cont'd)\n \"Due to the complete breakdown in\n communication with the chairman, Peter\n Taylor and I find it is impossible to", "CLOUGH\n We need someone with a good head.\n Experience.\n\n TAYLOR\n I know. Our lot were like headless\n chickens out there today.", "CLOUGH\n Because I thought it was the best job\n in the country.\n\n REVIE\n Of course it was the best job in the\n country.", "CLOUGH\n What? Dave MACKAY?\n\n TAYLOR\n It's in the evening paper.", "CLOUGH continues. PETER TAYLOR stands beside him, visibly\n pale, stressed...\n CLOUGH", "CLOUGH storms off. PETER TAYLOR is left alone. Looks pale.\n Momentarily holds his chest...\n\n JIMMY\n You all right?", "TAYLOR\n (horrified)\n WHAT??!?\n\n CLOUGH\n What do you think?" ], [ "CLOUGH\n (a knowing smile)\n \"Didn't know who I was!\" Pull the\n other one.\n\n REVIE\n It's the truth.", "REVIE is put in the seat beside CLOUGH. Avoiding CLOUGH's\n eyes. REVIE rolls his neck, crosses his legs. Vast,\n intimidating REVIE. Ready for battle.", "CLOUGH\n Obviously, Austin, my initial reaction\n is one of shock at finding myself here\n with Revie...", "CLOUGH turns, to see REVIE. Waving back. Acknowledging the\n crowd.\n\n The LEEDS FANS chant, \"There's only one Don Revie!\"", "But REVIE walks past without shaking hands, without talking,\n without even breaking stride..\n\n ..and disappears into the stadium, deep in conversation with\n Les Cocker and Syd Owen.", "CLOUGH cranes his neck. Watches DON REVIE, 40's. Thick-set.\n Severe, forbidding, intimidating, in a huddle with his", "CLOUGH\n ...but in answer to your question, six\n weeks is hardly a long time to be\n given a chance in any job. I would\n hope Revie would get a lot longer time\n in his.", "CLOUGH takes his seat alone in the dugout. Unseen by him, in\n the stands behind him...\n\n DON REVIE arrives, shaking hands, taking a seat.", "CLOUGH (cont'd)\n I'll see you in fucking court,\n Lorimer!\n\n CLOUGH's eyes meet REVIE's eyes along the touchline.", "TAYLOR\n Now sent it out wide!\n\n CLOUGH doesn't join in. He continues to stare at REVIE in his\n dugout.\n\n Suddenly:", "REVIE\n No, no, no, no.\n CLOUGH\n And still play attractive, clean\n football. Without cheating!\n\n REVIE\n See, there he goes again..", "He sees REVIE in the crowd.\n\n CLOUGH's eyes.\n\n REVIE's eyes.", "CLOUGH\n Because I thought it was the best job\n in the country.\n\n REVIE\n Of course it was the best job in the\n country.", "The door flies open. CLOUGH storms into his office. He walks\n over to the desk. DON REVIE's desk.\n He unwraps the parcel, and takes out an axe.", "CLOUGH\n The best manager in the country, Don\n Revie. Played for Sunderland, like me,\n as a centre-forward, like me, and\n England, like me.", "CLOUGH \n Don Revie? Ooooh. \n (shudders playfully) \n Don't mention that name to me.", "CLOUGH looks out of the window to see DON REVIE signing\n autographs, shaking hands with adoring LEEDS FANS outside..\n\n VOICE\n What's going on?", "CLOUGH (cont'd)\n Like to see Don fucking Revie do that,\n eh?", "CLOUGH stares at REVIE and his lieutenants in their\n neighbouring dug-out.", "CLOUGH's interview continues on a TV in a sitting-room, where\n it is being watched by Don Revie, sitting in an armchair..." ], [ "Outside: DON REVIE walks down into the car park and towards\n his car - cheered and clapped every step of the way by LEEDS\n FANS..\n\n The Messiah of West Yorkshire...", "Flashlights pop as DON REVIE, (late 40's), the most\n successful manager in English football, walks out in front of", "REVIE (cont'd)\n Obviously that involves me leaving\n Leeds United after 13 happy and\n successful years, which makes me very", "CLOUGH\n The best manager in the country, Don\n Revie. Played for Sunderland, like me,\n as a centre-forward, like me, and\n England, like me.", "CLOUGH (cont'd)\n Don Revie?\n\n\n\n\n (CO NTINU ED)", "CLOUGH turns, to see REVIE. Waving back. Acknowledging the\n crowd.\n\n The LEEDS FANS chant, \"There's only one Don Revie!\"", "CLOUGH's interview continues on a TV in a sitting-room, where\n it is being watched by Don Revie, sitting in an armchair...", "You lot may all be internationals and\n have won all the domestic honours\n there are to win under Don Revie, but\n as far as I'm concerned, the first", "CLOUGH cranes his neck. Watches DON REVIE, 40's. Thick-set.\n Severe, forbidding, intimidating, in a huddle with his", "CLOUGH (cont'd)\n Like to see Don fucking Revie do that,\n eh?", "DON REVIE speaking to JOURNALISTS outside his home..", "The Leeds coach pulls into the Derby car park. Doors open.\n DON REVIE and SYD OWEN disembark.", "CLOUGH, sitting in the sand, sunning-himself. (Reading a \n newspaper about DON REVIE's flirting with the England job). \n\n 82", "50 EXT. WEMBLEY STADIUM - DAY - (1974) 50\n DON REVIE sits in the stadium watching as:", "4A\n5B CON TINUE D: 5B\n\n MITCHELL\n \"That type of operation?\" I presume\n you're referring to Don Revie..", "DON REVIE's face, half-asleep. Visibly irritated. He sits up\n in bed. A stout Yorkshire matron wakes beside him.\n REVIE\n Who is this?", "CLOUGH \n Don Revie? Ooooh. \n (shudders playfully) \n Don't mention that name to me.", "MITCHELL\n Today we welcome Brian Clough as he\n starts his new job as manager of Leeds\n United, taking over from Don Revie -", "Immediately, as soon as they see REVIE, the LEEDS FANS start\n cheering, \"There's only one Don Revie..\"", "Presently, a middle-aged matron, JEAN REID, Don Revie's\n faithful SECRETARY for 13 years, appears in the doorway.." ] ]

[ "What year did the conflict begin between Brian Clough and Leeds?", "Why did Clough assumed that Revie would acknowledge him?", "When did Derby win their first league championship?", "Why did Clough and Taylor argue in Majorca?", "How long did Clough last, before he was terminated from Leeds?", "Where does Clough go after he is fired from Leeds?", "What happens when Clough tries to reconcile with Taylor?", "Who gets the Derby managerial job when Clough resigns?", "Who replaces Alf Ramsey?", "Since when has Clough's conflict with Leeds been happening?", "Who is signed by Clough and Taylor?", "What score does Derby and Leeds match result in in 1969?", "Who do the club go against in the semi-finals?", "Why does Clough Use his best squad in the last match?", "What happens to taylor as a result of the defeat?", "Who is appointed manager instead of Clough?", "To whom will Clough threaten a sever punishment?", "Who is Revie known for researching?", "Who is Alf Ramsey replaced by?", "Why was Alf Ramsey replaced?", "Who is Clough's longtime assistant?", "When did the conflict between Leeds and Clough begin?", "Why did Clough and Taylor sign Mackey?", "Who suffered a heart attack?", "How did Clough try to secure Taylor's position?", "Where were Clough and Taylor offered jobs?", "What was Revie's reason for not acknowledging Clough?", "Where did Don Revie spend the rest of his career?" ]

[ [ "1968", "1968" ], [ "Because they were from the same town and played on the same team", "They were similar men and had grown up in the same area" ], [ "In 1972", "1972" ], [ "They argued about whether to stay at Brighton or go to Leeds", "Clough wanted to leave Brighton for Leeds" ], [ "44 days", "44 days" ], [ "He goes back to Brighton", "an interview on yorkshire television" ], [ "They work things out", "clough kneeled before taylor" ], [ "Dave Mackay", "DAVE MACKEY" ], [ "Don Revie", "Don Revie" ], [ "1968 FA Cup", "1968 FA Cup match" ], [ "Dave Mackay and several other players.", "Brighton and Hove Albion" ], [ "5--0", "Derby lose 5-0" ], [ "Juventus", "Juventus" ], [ "Because of his pride and determination", "purely out of pride and determination to beat Revie" ], [ "Taylor suffers a heart attack", "has a heart attack" ], [ "Mackay", "Dave Mackay" ], [ "Any player mentions the former manager's name", "Anyone who mentions the former managers name" ], [ "Every opponent his team has faced", "ALL OF HIS TEAM'S OPPONENTS" ], [ "Don Revie.", "don revie" ], [ "He failed to qualify for the 1974 FIFA World Cup.", "failed to qualify" ], [ "Peter Taylor.", "Peter Taylor" ], [ "In a 1968 FA World Cup match.", "on 1968 FA cup match" ], [ "Their team was not good on a technical level.", "HIS TECHNICAL SKILLS" ], [ "Taylor", "Peter Taylor" ], [ "By offering his and Taylor's resignations.", "by offering their resignations to the chairman" ], [ "At Brighton & Hove Albion.", "BRIGHTON AND HOVE ALBION" ], [ "He claims he didn't know who he was.", "That he didn't know who Clough was at the time" ], [ "In the Middle East.", "Middle East" ] ]

[ [ "WOMAN \nOh my God! Stop that! What are you doing?\n\nBateman wheels around and shoots her. She falls screaming \nto the floor.", "Silence. Bateman stares out the window, then down at the \ndrawing of a headless woman he's been doodling on the back \ncover of Sports Illustrated.", "Bateman ushering them out the door impatiently. They \nare both sobbing, badly bruised and bleeding. Bateman has a", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "Carruthers tries to kiss him on the lips but Bateman backs \naway. He drops his hands from Carruthers' neck. Carruthers \nimmediately takes them and places them back. Bateman drops \nthem again.", "The occupants of nearby tables begin to stare. Bateman is\nbecoming increasingly agitated and embarrassed.", "Bateman rises up off the bed, suddenly appearing behind \nChristie. There is blood on his face.", "The Waiter sets down plates containing tiny, elaborately \ndecorated starters. As he does so we hear Bateman's \ndescription of each of the men at the table.", "INT. EVELYN'S BEDROOM - LATER THE SAME EVENING \n\nBateman and Evelyn are lying on her bed watching television.", "back to Bateman. The sound of his urinating is heard until Bateman \napproaches, then abruptly stops. Slowly, Bateman brings his hands", "INT. COURTNEY'S BEDROOM - NIGHT\nBateman and Courtney are in Courtney's bed. Bateman is on", "Bateman walks to his bathroom, taking a large ax out of the\nshower. He takes two Valium.", "LATER:\n\nBateman is sitting in his armchair, phone book in hand, \njerking off. He is squealing into the phone and breathing.", "Bateman unbuttons his shirt and makes advances to get \nEvelyn to have sex with him. She ignores him, watching the", "BATEMAN \nExcuse me.\n\nHe gets up from the table. As Bateman walks away, Van \nPatten grabs a waiter.", "Bateman pours lime over Paul Owen's body, which is lying in \na bathtub. He plays Huey Lewis, smokes a cigar, watches the \nbody dissolve.", "is the sound of Bateman's heavy breathing. Slowly he starts to \nsqueeze. Almost in slow motion, Carruthers turns around.", "Bateman escorts her into the living room and brings her a \nglass of wine. Christie enters, sitting next to Sabrina on the \ncouch, and Bateman sits across from them. There is a \nlong silence.", "Carruthers looks down at Bateman's wrists as if lost in \nthought. Then he lowers his head and kisses Bateman's" ], [ "Bateman pours lime over Paul Owen's body, which is lying in \na bathtub. He plays Huey Lewis, smokes a cigar, watches the \nbody dissolve.", "Bateman is sitting at his desk, with the latest copy of \nSports Illustrated in front of him and his Walkman playing \nKenny G. We hear the MUSIC until Jean enters and he takes \nthe Walkman off.", "Bateman puts on \"Hip To Be Square.\"\n\nBATEMAN crosses the room and picks up the ax.", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "Bateman moves to the CD player. He takes a CD out of its \ncase and slides it in the machine.", "BATEMAN \n(Talking to Owen like a child) \nPaul, give me your Amex card. Good boy.\nBateman slaps the card down, looks at the check.", "Bateman goes over to his CDs and scans his vast collection. \nHe takes one out and examines it.", "The living room: Bateman is maniacally doing abdominal \ncrunches as the television plays a video of Texas Chainsaw \nMassacre. There is a pile of horror videos on his coffee table, \nnext to a copy of GQ.", "Silence. Bateman stares out the window, then down at the \ndrawing of a headless woman he's been doodling on the back \ncover of Sports Illustrated.", "back to Bateman. The sound of his urinating is heard until Bateman \napproaches, then abruptly stops. Slowly, Bateman brings his hands", "is the sound of Bateman's heavy breathing. Slowly he starts to \nsqueeze. Almost in slow motion, Carruthers turns around.", "KIMBALL \nHuey Lewis and the News. Great stuff. Heard it? I \njust bought it on my way here.\n\nBateman stares at the CD - stunned, terrified.", "The sounds of the bar fade down. The following voiceover runs \nover images of Bateman and his friends ordering drinks, talking \non portable phones, talking, laughing - combined with images of", "BATEMAN \nNow, Carnes, listen to me. Listen very, very carefully. I killed \nPaul Owen and I liked it. I can't make myself any clearer", "INT. HARRY'S BAR - EARLY EVENING \nAs the film ends the camera moves CLOSE on Bateman. He is \nleaning back in his leather armchair, drinking a double Scotch, \nhis eyes blank.", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "Bateman walks to his bathroom, taking a large ax out of the\nshower. He takes two Valium.", "INT. EVELYN'S BEDROOM - LATER THE SAME EVENING \n\nBateman and Evelyn are lying on her bed watching television.", "INT. PAUL OWEN'S APARTMENT BUILDING - DAY\n\nBateman walks into the lobby of Paul Owen's building. He \nhas a surgical mask in one hand.", "The music muffles his voice. She turns around. He is \nsmiling at her. She gives him his change impassively.\n\nINT. BATEMAN'S APARTMENT- MORNING" ], [ "Bateman pours lime over Paul Owen's body, which is lying in \na bathtub. He plays Huey Lewis, smokes a cigar, watches the \nbody dissolve.", "Bateman walks to his bathroom, taking a large ax out of the\nshower. He takes two Valium.", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "Bateman rises up off the bed, suddenly appearing behind \nChristie. There is blood on his face.", "Silence. Bateman stares out the window, then down at the \ndrawing of a headless woman he's been doodling on the back \ncover of Sports Illustrated.", "BATEMAN \n(Talking to Owen like a child) \nPaul, give me your Amex card. Good boy.\nBateman slaps the card down, looks at the check.", "BATEMAN \nNow, Carnes, listen to me. Listen very, very carefully. I killed \nPaul Owen and I liked it. I can't make myself any clearer", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "back to Bateman. The sound of his urinating is heard until Bateman \napproaches, then abruptly stops. Slowly, Bateman brings his hands", "Bateman ushering them out the door impatiently. They \nare both sobbing, badly bruised and bleeding. Bateman has a", "WOMAN \nOh my God! Stop that! What are you doing?\n\nBateman wheels around and shoots her. She falls screaming \nto the floor.", "Bateman opens a cupboard where there are a lot of neatly\nordered weapons - an ax, a rifle, a chain saw, duct tape, \ntwine and a nail gun.", "is the sound of Bateman's heavy breathing. Slowly he starts to \nsqueeze. Almost in slow motion, Carruthers turns around.", "INT. PAUL OWEN'S APARTMENT BUILDING - DAY\n\nBateman walks into the lobby of Paul Owen's building. He \nhas a surgical mask in one hand.", "He points the nail gun at the back of Jean's head.\nThe phone RINGS. Startled, Bateman hides the nail gun", "LATER:\n\nBateman is sitting in his armchair, phone book in hand, \njerking off. He is squealing into the phone and breathing.", "INT. EVELYN'S BEDROOM - LATER THE SAME EVENING \n\nBateman and Evelyn are lying on her bed watching television.", "Bateman wheels around and shoots him. He runs toward the \nrevolving doors. As he swings around in the doors, he", "INT. HARRY'S BAR - EARLY EVENING \nAs the film ends the camera moves CLOSE on Bateman. He is \nleaning back in his leather armchair, drinking a double Scotch, \nhis eyes blank.", "BATEMAN \nNo. It's all right. I'm not very good at controlling \nit anyway.\n\nSilence, as Bateman walks around his apartment, opens up \nhis knife drawer, looking at the knives." ], [ "Bateman is lying on top of Courtney in her bed, after sex. \nStill panting, he rolls off her, onto his back. He feels", "Silence. Bateman stares out the window, then down at the \ndrawing of a headless woman he's been doodling on the back \ncover of Sports Illustrated.", "WOMAN \nOh my God! Stop that! What are you doing?\n\nBateman wheels around and shoots her. She falls screaming \nto the floor.", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "LATER:\n\nBateman is sitting in his armchair, phone book in hand, \njerking off. He is squealing into the phone and breathing.", "Bateman unbuttons his shirt and makes advances to get \nEvelyn to have sex with him. She ignores him, watching the", "Carruthers tries to kiss him on the lips but Bateman backs \naway. He drops his hands from Carruthers' neck. Carruthers \nimmediately takes them and places them back. Bateman drops \nthem again.", "Bateman ushering them out the door impatiently. They \nare both sobbing, badly bruised and bleeding. Bateman has a", "back to Bateman. The sound of his urinating is heard until Bateman \napproaches, then abruptly stops. Slowly, Bateman brings his hands", "INT. EVELYN'S BEDROOM - LATER THE SAME EVENING \n\nBateman and Evelyn are lying on her bed watching television.", "INT. COURTNEY'S BEDROOM - NIGHT\nBateman and Courtney are in Courtney's bed. Bateman is on", "Bateman pours lime over Paul Owen's body, which is lying in \na bathtub. He plays Huey Lewis, smokes a cigar, watches the \nbody dissolve.", "Bateman cruises around in the limo. It pulls up alongside \nCHRISTIE, a pretty blonde hooker in shorts and leather jacket. \nBateman opens his window to speak to her.", "Bateman takes his raincoat off, still panting. He folds the \ncoat carefully in half, bloody side in, and drapes it neatly \nover the back of a chair.", "Bateman turns around and watches a solitary young woman walk \npast him. He collects his money, placing it carefully in his \nwallet, and then walks toward her, whistling. He catches up", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "Bateman is at a table with Evelyn. They are both drawing on \nthe tablecloth. Bateman is drawing Christie with the \nchainsaw in her back.\n\nEVELYN \nI want a firm commitment.", "She keeps talking.\n\nBATEMAN Listen. I cannot understand you.\n\nBateman starts laughing, slaps his hand down on the \ncounter.", "The Waiter sets down plates containing tiny, elaborately \ndecorated starters. As he does so we hear Bateman's \ndescription of each of the men at the table.", "Bateman leaves Daisy's apartment carrying a suitcase. He pauses \nin the hallway and tucks some long blonde hair back inside the \ncase." ], [ "Bateman pours lime over Paul Owen's body, which is lying in \na bathtub. He plays Huey Lewis, smokes a cigar, watches the \nbody dissolve.", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "BATEMAN \nNow, Carnes, listen to me. Listen very, very carefully. I killed \nPaul Owen and I liked it. I can't make myself any clearer", "Silence. Bateman stares out the window, then down at the \ndrawing of a headless woman he's been doodling on the back \ncover of Sports Illustrated.", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "BATEMAN \nWhat are you trying to say to me?\n\nHer husband has taken Bateman's horribly bloodstained \nsheets out of the bag and is staring at them.", "Bateman ushering them out the door impatiently. They \nare both sobbing, badly bruised and bleeding. Bateman has a", "BATEMAN \n(Talking to Owen like a child) \nPaul, give me your Amex card. Good boy.\nBateman slaps the card down, looks at the check.", "INT. PAUL OWEN'S APARTMENT BUILDING - DAY\n\nBateman walks into the lobby of Paul Owen's building. He \nhas a surgical mask in one hand.", "BATEMAN \nExcuse me.\n\nHe gets up from the table. As Bateman walks away, Van \nPatten grabs a waiter.", "Kimball sits down and crosses his legs with a \nself-assurance that makes Bateman so nervous he forgets to \ncarry on with his fake conversation. Kimball looks up at \nhim curiously, noticing the silence.", "Bateman is at a table with Evelyn. They are both drawing on \nthe tablecloth. Bateman is drawing Christie with the \nchainsaw in her back.\n\nEVELYN \nI want a firm commitment.", "Bateman escorts her into the living room and brings her a \nglass of wine. Christie enters, sitting next to Sabrina on the \ncouch, and Bateman sits across from them. There is a \nlong silence.", "INT. EVELYN'S BEDROOM - LATER THE SAME EVENING \n\nBateman and Evelyn are lying on her bed watching television.", "LATER: \nPaul Owen is very drunk. BATEMAN cold sober.\n\nBATEMAN \nI like to dissect girls. Did you know I'm utterly insane?", "Bateman rises up off the bed, suddenly appearing behind \nChristie. There is blood on his face.", "INT. HARRY'S BAR - EARLY EVENING \nAs the film ends the camera moves CLOSE on Bateman. He is \nleaning back in his leather armchair, drinking a double Scotch, \nhis eyes blank.", "Carruthers looks down at Bateman's wrists as if lost in \nthought. Then he lowers his head and kisses Bateman's", "Responding to the gunshot, A POLICE CAR SIREN WAILS in the \ndistance. Bateman breaks into a run. The police car \nscreeches after him.", "She keeps talking.\n\nBATEMAN Listen. I cannot understand you.\n\nBateman starts laughing, slaps his hand down on the \ncounter." ], [ "Carruthers tries to kiss him on the lips but Bateman backs \naway. He drops his hands from Carruthers' neck. Carruthers \nimmediately takes them and places them back. Bateman drops \nthem again.", "Bateman unbuttons his shirt and makes advances to get \nEvelyn to have sex with him. She ignores him, watching the", "Bateman walks to his bathroom, taking a large ax out of the\nshower. He takes two Valium.", "Bateman pulls on his gloves as he \nenters the men's room. Carruthers is standing in a stall with his", "Bateman walks into his bathroom, urinates while trying to \nsee his reflection in a poster for Les Miserables above his \ntoilet.", "Bateman ushering them out the door impatiently. They \nare both sobbing, badly bruised and bleeding. Bateman has a", "A mirror-lined bathroom. Bateman is luxuriating in the \nshower steam, scrubbing his body, admiring his muscles.", "back to Bateman. The sound of his urinating is heard until Bateman \napproaches, then abruptly stops. Slowly, Bateman brings his hands", "Bateman is lying on top of Courtney in her bed, after sex. \nStill panting, he rolls off her, onto his back. He feels", "Bateman pours lime over Paul Owen's body, which is lying in \na bathtub. He plays Huey Lewis, smokes a cigar, watches the \nbody dissolve.", "Bateman rises up off the bed, suddenly appearing behind \nChristie. There is blood on his face.", "LATER:\n\nBateman is sitting in his armchair, phone book in hand, \njerking off. He is squealing into the phone and breathing.", "BATEMAN \n(Watching Luis going into the men's room) \nKeep touching me like that and you'll draw back a stump.\n\nMcDERMOTT \nWhoa, hold on there, little buddy.", "Bateman closes the door firmly on KIMBALL. He closes his \neyes and leans against the door, sweating.\n\nINT. BATEMAN'S APARTMENT - AFTERNOON", "in a menacing way that suggests he might push him over \nthe railing. Price turns around, wild-eyed, just as Bateman \nis reaching for him.", "INT. BATEMAN'S APARTMENT - NIGHT \n\nChristie is in the bathtub, Bateman is pouring in white \nmilky bath oil.", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "INT. EVELYN'S BEDROOM - LATER THE SAME EVENING \n\nBateman and Evelyn are lying on her bed watching television.", "INT. COURTNEY'S BEDROOM - NIGHT\nBateman and Courtney are in Courtney's bed. Bateman is on", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky." ], [ "McDermott and Van Patten look at each other and then back \nat Bateman. Bateman starts to laugh, and the other two uneasily\njoin In.\n\nLuis Carruthers walks up to the table.", "Bateman is lying on top of Courtney in her bed, after sex. \nStill panting, he rolls off her, onto his back. He feels", "They exchange air kisses. As soon as Luis turns his back, \nBateman sneaks a kiss on Courtney's neck.\n\nCOURTNEY \n(Whispering) \nStop it!", "COURTNEY \nLuis is a despicable twit.\n\nBATEMAN \nYes, Luis is a despicable twit. I hate him.\n\nHe keeps fucking her.", "BATEMAN \nWhat are you trying to say to me?\n\nHer husband has taken Bateman's horribly bloodstained \nsheets out of the bag and is staring at them.", "Carruthers looks down at Bateman's wrists as if lost in \nthought. Then he lowers his head and kisses Bateman's", "Bateman looks at him in silence, \npanicking.", "BATEMAN \n(Watching Luis going into the men's room) \nKeep touching me like that and you'll draw back a stump.\n\nMcDERMOTT \nWhoa, hold on there, little buddy.", "Carruthers tries to kiss him on the lips but Bateman backs \naway. He drops his hands from Carruthers' neck. Carruthers \nimmediately takes them and places them back. Bateman drops \nthem again.", "Bateman rises up off the bed, suddenly appearing behind \nChristie. There is blood on his face.", "BATEMAN doesn't respond. We see that every space on the \npuzzle has been filled in with the words MEAT or BONE. Jean \ndrops the folder on his desk and then walks out.", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "Bateman returns back to his friends' table, in a daze.\nThey are all looking at the television, where Ronald \nReagan is giving a speech about Iran Contra. They are", "Kimball sits down and crosses his legs with a \nself-assurance that makes Bateman so nervous he forgets to \ncarry on with his fake conversation. Kimball looks up at \nhim curiously, noticing the silence.", "CARRUTHERS \nPatrick? Is that you?\n\nBATEMAN \nNo, Luis. It's not me. You're mistaken.", "EXT. STREET - NIGHT\n\nBATEMAN is trying to hail a cab. Owen's body is at his \nfeet. Luis Carruthers and a Japanese girl walk up to him.", "Bateman comes into the bar, a little cleaned up from the \nprevious scene (he's smoothed his hair), but still panicking \nand disheveled. He spots his friends in a corner, sits down, \nstill breathing heavily.", "Bateman ushering them out the door impatiently. They \nare both sobbing, badly bruised and bleeding. Bateman has a", "CARRUTHERS \n(Reaching out to touch it) \nIt looks so soft.\n\nBATEMAN \n(Catching Luis hand) \nYour compliment was sufficient Luis.", "BATEMAN \nListen, you're dating Luis, he's in Arizona. You're fucking me, \nand we haven't made plans. What could you possibly be up to \ntonight?" ], [ "INT. EVELYN'S BEDROOM - LATER THE SAME EVENING \n\nBateman and Evelyn are lying on her bed watching television.", "Bateman is at a table with Evelyn. They are both drawing on \nthe tablecloth. Bateman is drawing Christie with the \nchainsaw in her back.\n\nEVELYN \nI want a firm commitment.", "Bateman unbuttons his shirt and makes advances to get \nEvelyn to have sex with him. She ignores him, watching the", "Price is whispering in Evelyn's ear. Everyone else is \nquietly eating, except Bateman, who is drinking and watching \nEvelyn and Price.", "Evelyn begins to cry.\n\nEVELYN \nNo, no, no.\n\nBATEMAN \nI know my behavior is...erratic sometimes.", "BATEMAN \nCecelia is, well...you know (Cecelia. I think \nshe's having dinner with...Evelyn Williams.", "EVELYN WILLIAMS, Patrick Bateman's \nfiancée, is making notes with a gold Cross pen and sipping", "EVELYN \nTalk about what, Patrick? What is there to talk \nabout?\n\nBATEMAN \nIt's over, Evelyn. It's all over", "BATEMAN (V.O.) \nI'm trying to listen to the new George \nMichael tape but Evelyn-my supposed fiancée-keeps buzzing \nin my ear.", "BATEMAN \n(Looking uncomfortably around the room) \nIf you really want to do something for me, you can stop making \nthis scene right now.\n\nEVELYN \nOh God, I can't believe this.", "EVELYN \nWhat do you want to do with that, floss with it?\n\nBateman flops back down beside her and stares at the television.", "Bateman escorts her into the living room and brings her a \nglass of wine. Christie enters, sitting next to Sabrina on the \ncouch, and Bateman sits across from them. There is a \nlong silence.", "BATEMAN \nYes, I am.\n\nEVELYN \nBut what about the past? Our past?\n\nBATEMAN \nWe never really shared one.", "Bateman ushering them out the door impatiently. They \nare both sobbing, badly bruised and bleeding. Bateman has a", "BATEMAN (V.O.)\nI am fairly sure that Timothy and Evelyn \nare having an affair. Timothy is the only interesting", "She reaches desperately across the table and takes his \nhand. Bateman pulls his hand away.\n\nEVELYN \n(Sobbing) \nWhat do you want me to do, what is it you want?", "Bateman turns around and watches a solitary young woman walk \npast him. He collects his money, placing it carefully in his \nwallet, and then walks toward her, whistling. He catches up", "opposite corner of the room. He bears a \nsuperficial resemblance to Bateman.", "EVELYN \nEverybody's rich.\n\nBATEMAN \nHe's good-looking.\n\nEVELYN \nEverybody's good-looking, Patrick.", "Carruthers looks down at Bateman's wrists as if lost in \nthought. Then he lowers his head and kisses Bateman's" ], [ "Bateman stands at an ATM, enjoying the reassuring sound of \n$500 in fresh bills thudding from the machine. As he turns \nto leave, he notices someone across the street.", "It is 3 a.m. Bateman is standing at an ATM, listening to the \ncomforting sound of fresh bills thudding out of the machine.", "the machine. The screen reads: FEED ME A STRAY CAT.\nBateman begins to attempt to shove the kitten into the \ndeposit slot with some difficulty. The kitten squeals. He", "The small mangy cat rubs against him. He picks it up and \nwalks toward an ATM, holding the cat. He puts his card in", "Bateman walks calmly into the empty caverns of Wall Street. \nCars drift past, their headlights momentarily illuminating the \nbody left twitching on the ground.", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "LATER:\n\nBateman is sitting in his armchair, phone book in hand, \njerking off. He is squealing into the phone and breathing.", "EXTREME WIDE SHOT of the street. Bateman's shadowed figure\nis hunched over the Homeless Man, stabbing him in the stomach.\nThe dog barks wildly and Bateman stomps on it until it is \nsilent.", "The guy walks away, utterly unfazed. Bateman wanders down \nthe street, banging his briefcase against walls, garbage \ncans, etc.\n\nEXT. MIDTOWN PHONE BOOTH - DAY", "Bateman walks into his bathroom, urinates while trying to \nsee his reflection in a poster for Les Miserables above his \ntoilet.", "Bateman turns around and watches a solitary young woman walk \npast him. He collects his money, placing it carefully in his \nwallet, and then walks toward her, whistling. He catches up", "Bateman wanders away.\n\nHe looks back uneasily at KIMBALL, who is watching him from \nthe bar. A GUY WITH DREADLOCKS walks by.", "Bateman searches his pockets \nfor pills. He finds three different pills and swallows \nthem. He's sweating, and takes his jacket off to wipe his \nface, dialing a number.", "back to Bateman. The sound of his urinating is heard until Bateman \napproaches, then abruptly stops. Slowly, Bateman brings his hands", "The occupants of nearby tables begin to stare. Bateman is\nbecoming increasingly agitated and embarrassed.", "Bateman enters the revolving \ndoor of an office building, panicking and breathing \nheavily. He is sweating, his hair is wild, and he looks", "Bateman is lying on top of Courtney in her bed, after sex. \nStill panting, he rolls off her, onto his back. He feels", "I Bateman makes his way through the crowd to the bar, and \ntries to attract the bartender's attention. He is wearing a \nsuit and his tie is loosened. Kimball approaches him.", "Carruthers looks down at Bateman's wrists as if lost in \nthought. Then he lowers his head and kisses Bateman's", "INT. BATEMAN'S OFFICE - LATE AFTERNOON \n\nBateman sits at his desk wearing Wayfarers doing the New York \nTimes crossword puzzle at dusk." ], [ "We follow Christie out of the room, panicking, screaming.\n\nChristie runs down a darkened hallway, frantically opening \ndoors, looking for an escape.", "Christie turns her head and sees him. She screams and leaps \noff the bed, running out of the room. She slams the", "Christie falls, tries to get up. Bateman grabs her leg. He \ntries to bite it.\n\nShe kicks him in the face and gets up, running toward the \nfront door.", "Bateman runs after her.\n\nShe runs down the hall screaming and banging on doors.", "They run through the bedroom and into the bathroom. \nChristie trips over Elizabeth's body, which is half in the \nbathtub.\n\nBoth are slipping on the floor, which is slick with blood.", "He runs after her.\n\nBATEMAN \nNot the face, you bitch. Not the fucking face, you \npiece of bitch trash!\n\nChristie, screaming, makes it out the front door.", "She moves to the elevator, pounding hysterically on the \nbuttons. She sees the stairwell and runs for it.\n\nBateman sees this and runs after her, revving the chainsaw.", "She runs toward the nearest door. Finding herself in the \nmain hallway, she begins to jog toward the front door, then \nruns.\n\nBateman appears from nowhere, holding the chainsaw, \nspattered with blood.", "Bateman enters carrying the bottle of wine and two glasses.\nChristie, who seems frightened, sips her wine and stares at \nthe floor. There is an awkward silence.", "Christie screams and changes direction. Bateman leaps at \nher, bellowing.", "FROM BATEMAN'S POV we see Christie's body sprawled facedown \nat the bottom of the stairwell. The chainsaw sticks out of \nher back like a sword.", "Bateman rises up off the bed, suddenly appearing behind \nChristie. There is blood on his face.", "Bateman escorts her into the living room and brings her a \nglass of wine. Christie enters, sitting next to Sabrina on the \ncouch, and Bateman sits across from them. There is a \nlong silence.", "wanders down the hallway, looking for familiar signs. He stops \nat the closet where we last saw two dead girls hanging. He \nopens the door and the light switches on, but it is empty. Mrs.", "She backs away slowly, into another dark room, lit only by \nthe light from a television set. Through the darkness she \nsees a head on the top of the TV and starts to whimper.", "Christie SCREAMS OFFSCREEN, then is suddenly silent.", "incoherent tangle of arms and legs. The only sounds are \nmoans, heavy breathing and the slapping of flesh against \nflesh. CLOSE ON Christie's head and shoulders. Her eyes are", "She opens a closet. The closet lights up as she opens the \ndoor and sees two dead, women hanging inside. She screams,", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "INT. BATEMAN'S APARTMENT - NIGHT \n\nChristie is in the bathtub, Bateman is pouring in white \nmilky bath oil." ], [ "It is 3 a.m. Bateman is standing at an ATM, listening to the \ncomforting sound of fresh bills thudding out of the machine.", "Bateman stands at an ATM, enjoying the reassuring sound of \n$500 in fresh bills thudding from the machine. As he turns \nto leave, he notices someone across the street.", "The small mangy cat rubs against him. He picks it up and \nwalks toward an ATM, holding the cat. He puts his card in", "the machine. The screen reads: FEED ME A STRAY CAT.\nBateman begins to attempt to shove the kitten into the \ndeposit slot with some difficulty. The kitten squeals. He", "His hand shaking, Bateman lifts up the card and stares at it \nuntil it fills the screen.\n\nHe lets it fall. The SOUND RETURNS TO NORMAL.", "physically saw him was...at an automated teller. I can't \nremember which...just one that was near, um, Nell's.", "BATEMAN doesn't respond. We see that every space on the \npuzzle has been filled in with the words MEAT or BONE. Jean \ndrops the folder on his desk and then walks out.", "CARNES \nIt was a pretty long message, wasn't it?\n\nBATEMAN \nWhat exactly do you mean?\n\nCARNES \nThe message you left.", "The camera moves up to a sign on the wall behind him: \n\"THIS IS NOT AN EXIT.\"\n\nCREDITS ROLL", "The music muffles his voice. She turns around. He is \nsmiling at her. She gives him his change impassively.\n\nINT. BATEMAN'S APARTMENT- MORNING", "Bateman walks calmly into the empty caverns of Wall Street. \nCars drift past, their headlights momentarily illuminating the \nbody left twitching on the ground.", "McDERMOTT (Whispering) \nI think he's lying.\n\nBateman takes out his wallet and pulls out a card.", "The guy walks away, utterly unfazed. Bateman wanders down \nthe street, banging his briefcase against walls, garbage \ncans, etc.\n\nEXT. MIDTOWN PHONE BOOTH - DAY", "Long pause. The Maitre D' starts giggling quietly and then \nmore loudly until the laughter is almost hysterical and he \nhangs up the phone.\n\nINT. TAXI- NIGHT", "Bateman pulls out an expensive-looking wallet and hands her \na $50.\n\nShe turns her back and searches the cash register for \nchange.", "BATEMAN \nHello.\n\nThe woman looks suspicious for a moment and then, seeing \nhis smile, smiles back.\n\nINT. DRY CLEANERS - DAY", "BATEMAN \nSo, Harold, did you get my message?\n\nCarnes lights a cigarette, stalling. Then laughs.", "Bateman returns back to his friends' table, in a daze.\nThey are all looking at the television, where Ronald \nReagan is giving a speech about Iran Contra. They are", "The sounds of the bar fade down. The following voiceover runs \nover images of Bateman and his friends ordering drinks, talking \non portable phones, talking, laughing - combined with images of", "Bateman enters the revolving \ndoor of an office building, panicking and breathing \nheavily. He is sweating, his hair is wild, and he looks" ], [ "Jean is alone in Bateman's office, looking through his diary. \nWe see the pages that she is looking at. They are filled with", "Jean sits at Bateman's desk. She looks around, and then opens \nhis desk drawer and tentatively begins to search through it.\n\nINT. HARRY'S BAR - EVENING", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "Bateman walks past the desk of JEAN, his secretary, pulling \nhis Walkman from around his neck. Jean is attractive, \nwholesome, earnest. She smiles shyly. She loves him.", "Jean exits. Bateman straightens some magazines in his \noffice, lifts a painting off the wall and puts it back at a", "Jean knocks gently on the half-open door and walks in with \na folder in her hand. Bateman ignores her.\n\nJEAN \nDoin' the crossword?", "Bateman is sitting at his desk, with the latest copy of \nSports Illustrated in front of him and his Walkman playing \nKenny G. We hear the MUSIC until Jean enters and he takes \nthe Walkman off.", "JEAN (O.S.) \nPatrick Bateman's office.\n\nBATEMAN \nJean? Hello? Jean?", "KIMBALL takes out a small black notepad and the same gold \nCross pen that Bateman and his friends all use. Bateman buzzes \nJean.\n\nJEAN (O.S.) \nPatrick?", "He points the nail gun at the back of Jean's head.\nThe phone RINGS. Startled, Bateman hides the nail gun", "Silence. Bateman stares out the window, then down at the \ndrawing of a headless woman he's been doodling on the back \ncover of Sports Illustrated.", "BATEMAN \nI'm not here. And high heels. I like high heels.\n\nAs Jean leaves, Bateman clicks on the TV set in one corner \nof the room and starts watching Jeopardy!", "Bateman watches intently as KIMBALL writes something down \nin his notebook, then crosses something out. Jean enters", "LATER:\n\nBateman is sitting in his armchair, phone book in hand, \njerking off. He is squealing into the phone and breathing.", "INT. BATEMAN'S OFFICE - LATE AFTERNOON \n\nBateman sits at his desk wearing Wayfarers doing the New York \nTimes crossword puzzle at dusk.", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "Bateman takes his raincoat off, still panting. He folds the \ncoat carefully in half, bloody side in, and drapes it neatly \nover the back of a chair.", "Jean, and Jean looking through her date book. He watches for \na moment, frozen with anxiety. He then bursts in, shutting \nthe door behind him.", "BATEMAN doesn't respond. We see that every space on the \npuzzle has been filled in with the words MEAT or BONE. Jean \ndrops the folder on his desk and then walks out.", "back to Bateman. The sound of his urinating is heard until Bateman \napproaches, then abruptly stops. Slowly, Bateman brings his hands" ], [ "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "Bateman pours lime over Paul Owen's body, which is lying in \na bathtub. He plays Huey Lewis, smokes a cigar, watches the \nbody dissolve.", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "BATEMAN \nWell, what's the topic of discussion?\n\nKIMBALL \nThe disappearance of Paul Owen.", "BATEMAN \nExcuse me.\n\nHe gets up from the table. As Bateman walks away, Van \nPatten grabs a waiter.", "Silence. Bateman stares out the window, then down at the \ndrawing of a headless woman he's been doodling on the back \ncover of Sports Illustrated.", "KIMBALL \nNothing like that. I'm just a private investigator.\n\nBATEMAN \nAh, I see...Yes. Paul's disappearance...Yes.", "Kimball sits down and crosses his legs with a \nself-assurance that makes Bateman so nervous he forgets to \ncarry on with his fake conversation. Kimball looks up at \nhim curiously, noticing the silence.", "Bateman ushering them out the door impatiently. They \nare both sobbing, badly bruised and bleeding. Bateman has a", "BATEMAN \nNow, Carnes, listen to me. Listen very, very carefully. I killed \nPaul Owen and I liked it. I can't make myself any clearer", "INT. PAUL OWEN'S APARTMENT BUILDING - DAY\n\nBateman walks into the lobby of Paul Owen's building. He \nhas a surgical mask in one hand.", "BATEMAN \nWhat are you trying to say to me?\n\nHer husband has taken Bateman's horribly bloodstained \nsheets out of the bag and is staring at them.", "INT. EVELYN'S BEDROOM - LATER THE SAME EVENING \n\nBateman and Evelyn are lying on her bed watching television.", "Bateman escorts her into the living room and brings her a \nglass of wine. Christie enters, sitting next to Sabrina on the \ncouch, and Bateman sits across from them. There is a \nlong silence.", "Carruthers looks down at Bateman's wrists as if lost in \nthought. Then he lowers his head and kisses Bateman's", "LATER: \nPaul Owen is very drunk. BATEMAN cold sober.\n\nBATEMAN \nI like to dissect girls. Did you know I'm utterly insane?", "The occupants of nearby tables begin to stare. Bateman is\nbecoming increasingly agitated and embarrassed.", "The camera moves in on Bateman as his narration begins:\n\nBATEMAN (V.O.)\nWe're sitting in Pastels, this nouvelle Northern California \nplace on the Upper East Side.", "BATEMAN \n(Talking to Owen like a child) \nPaul, give me your Amex card. Good boy.\nBateman slaps the card down, looks at the check.", "Their conversation fades down as we hear Bateman's \nthoughts." ], [ "BATEMAN \n(Talking to Owen like a child) \nPaul, give me your Amex card. Good boy.\nBateman slaps the card down, looks at the check.", "His hand shaking, Bateman lifts up the card and stares at it \nuntil it fills the screen.\n\nHe lets it fall. The SOUND RETURNS TO NORMAL.", "INT. PAUL OWEN'S APARTMENT BUILDING - DAY\n\nBateman walks into the lobby of Paul Owen's building. He \nhas a surgical mask in one hand.", "BATEMAN \n(Choking with anxiety) \nImpressive. Very nice. Let's see Paul Owen's card.", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "LATER:\n\nBateman is sitting in his armchair, phone book in hand, \njerking off. He is squealing into the phone and breathing.", "Bateman pours lime over Paul Owen's body, which is lying in \na bathtub. He plays Huey Lewis, smokes a cigar, watches the \nbody dissolve.", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "INT. BATEMAN'S OFFICE - LATE AFTERNOON \n\nBateman sits at his desk wearing Wayfarers doing the New York \nTimes crossword puzzle at dusk.", "Bateman takes his raincoat off, still panting. He folds the \ncoat carefully in half, bloody side in, and drapes it neatly \nover the back of a chair.", "Kimball sits down and crosses his legs with a \nself-assurance that makes Bateman so nervous he forgets to \ncarry on with his fake conversation. Kimball looks up at \nhim curiously, noticing the silence.", "Silence. Bateman stares out the window, then down at the \ndrawing of a headless woman he's been doodling on the back \ncover of Sports Illustrated.", "INT. BATEMAN'S OFFICE - NIGHT \n\nBateman stands looking out \nthrough the floor-length windows at a panoramic night view \nof the city and the river.", "back to Bateman. The sound of his urinating is heard until Bateman \napproaches, then abruptly stops. Slowly, Bateman brings his hands", "Bateman searches his pockets \nfor pills. He finds three different pills and swallows \nthem. He's sweating, and takes his jacket off to wipe his \nface, dialing a number.", "Bateman leaves Daisy's apartment carrying a suitcase. He pauses \nin the hallway and tucks some long blonde hair back inside the \ncase.", "He hangs up. He throws the Walkman which is around his neck \ninto a nearby trash can, and wipes his face with his \njacket.\n\nINT. BATEMAN'S OFFICE- SAME DAY", "The guy walks away, utterly unfazed. Bateman wanders down \nthe street, banging his briefcase against walls, garbage \ncans, etc.\n\nEXT. MIDTOWN PHONE BOOTH - DAY", "BATEMAN \nExcuse me.\n\nHe gets up from the table. As Bateman walks away, Van \nPatten grabs a waiter.", "Bateman walks to his bathroom, taking a large ax out of the\nshower. He takes two Valium." ], [ "BATEMAN \n(Talking to Owen like a child) \nPaul, give me your Amex card. Good boy.\nBateman slaps the card down, looks at the check.", "The occupants of nearby tables begin to stare. Bateman is\nbecoming increasingly agitated and embarrassed.", "BATEMAN \n(Choking with anxiety) \nImpressive. Very nice. Let's see Paul Owen's card.", "Bateman stares at his own card and then enviously at \nMcDermott's. \n\nBATEMAN (V.O.)\nI can't believe that Price prefers McDermott's card to mine.", "His hand shaking, Bateman lifts up the card and stares at it \nuntil it fills the screen.\n\nHe lets it fall. The SOUND RETURNS TO NORMAL.", "INT. PAUL OWEN'S APARTMENT BUILDING - DAY\n\nBateman walks into the lobby of Paul Owen's building. He \nhas a surgical mask in one hand.", "Bateman storms out of the men's room, bumping into a waiter \nand several customers and cursing. Noticing the maitre d'", "Bateman enters the revolving \ndoor of an office building, panicking and breathing \nheavily. He is sweating, his hair is wild, and he looks", "LATER:\n\nBateman is sitting in his armchair, phone book in hand, \njerking off. He is squealing into the phone and breathing.", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "The Waiter sets down plates containing tiny, elaborately \ndecorated starters. As he does so we hear Bateman's \ndescription of each of the men at the table.", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "Bateman pours lime over Paul Owen's body, which is lying in \na bathtub. He plays Huey Lewis, smokes a cigar, watches the \nbody dissolve.", "KIMBALL takes out a small black notepad and the same gold \nCross pen that Bateman and his friends all use. Bateman buzzes \nJean.\n\nJEAN (O.S.) \nPatrick?", "in a menacing way that suggests he might push him over \nthe railing. Price turns around, wild-eyed, just as Bateman \nis reaching for him.", "Bateman ushering them out the door impatiently. They \nare both sobbing, badly bruised and bleeding. Bateman has a", "Kimball sits down and crosses his legs with a \nself-assurance that makes Bateman so nervous he forgets to \ncarry on with his fake conversation. Kimball looks up at \nhim curiously, noticing the silence.", "Bateman hangs up, opens up the Zagat's guide and dials the \nnumber for Dorsia with trembling fingers. It's busy and so", "Dressed in silk boxer shorts, Bateman stands in front of a \nhuge walk-in closet, filled with rows of expensive shirts, \nshoes and designer suits, organized according to color and \ntone.", "BATEMAN \nExcuse me.\n\nHe gets up from the table. As Bateman walks away, Van \nPatten grabs a waiter." ], [ "Dressed in silk boxer shorts, Bateman stands in front of a \nhuge walk-in closet, filled with rows of expensive shirts, \nshoes and designer suits, organized according to color and \ntone.", "Kimball sits down and crosses his legs with a \nself-assurance that makes Bateman so nervous he forgets to \ncarry on with his fake conversation. Kimball looks up at \nhim curiously, noticing the silence.", "INT. HARRY'S BAR - EARLY EVENING \nAs the film ends the camera moves CLOSE on Bateman. He is \nleaning back in his leather armchair, drinking a double Scotch, \nhis eyes blank.", "The Waiter sets down plates containing tiny, elaborately \ndecorated starters. As he does so we hear Bateman's \ndescription of each of the men at the table.", "Carruthers looks down at Bateman's wrists as if lost in \nthought. Then he lowers his head and kisses Bateman's", "BATEMAN \nExcuse me.\n\nHe gets up from the table. As Bateman walks away, Van \nPatten grabs a waiter.", "The living room: Bateman is maniacally doing abdominal \ncrunches as the television plays a video of Texas Chainsaw \nMassacre. There is a pile of horror videos on his coffee table, \nnext to a copy of GQ.", "Carruthers tries to kiss him on the lips but Bateman backs \naway. He drops his hands from Carruthers' neck. Carruthers \nimmediately takes them and places them back. Bateman drops \nthem again.", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "The sounds of the bar fade down. The following voiceover runs \nover images of Bateman and his friends ordering drinks, talking \non portable phones, talking, laughing - combined with images of", "rarity in this crowd), puppyish and eager to please. He \nwears the same type of designer clothes as Price and \nBateman, but with foppish tendencies: velvet jackets,", "BATEMAN (V.O.) \nThere is an idea of a Patrick Bateman, some \nkind of abstraction, hut there is no real me, only an", "BATEMAN \n(Talking to Owen like a child) \nPaul, give me your Amex card. Good boy.\nBateman slaps the card down, looks at the check.", "INT. EVELYN'S BEDROOM - LATER THE SAME EVENING \n\nBateman and Evelyn are lying on her bed watching television.", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "The occupants of nearby tables begin to stare. Bateman is\nbecoming increasingly agitated and embarrassed.", "McDermott and Van Patten look at each other and then back \nat Bateman. Bateman starts to laugh, and the other two uneasily\njoin In.\n\nLuis Carruthers walks up to the table.", "the machine. The screen reads: FEED ME A STRAY CAT.\nBateman begins to attempt to shove the kitten into the \ndeposit slot with some difficulty. The kitten squeals. He", "Bateman escorts her into the living room and brings her a \nglass of wine. Christie enters, sitting next to Sabrina on the \ncouch, and Bateman sits across from them. There is a \nlong silence.", "Bateman opens the door of a mirrored cabinet, which is \nstocked with immaculate rows of skin care products. He \nbegins selecting bottles jars and brushes, laying them in \nreadiness on the marble counter." ], [ "The occupants of nearby tables begin to stare. Bateman is\nbecoming increasingly agitated and embarrassed.", "BATEMAN (V.0.) \nMy name is Patrick Bateman. I am \ntwenty-six years old. I live in the American Garden", "BATEMAN (V.O.) \nThere is an idea of a Patrick Bateman, some \nkind of abstraction, hut there is no real me, only an", "Silence. Bateman stares out the window, then down at the \ndrawing of a headless woman he's been doodling on the back \ncover of Sports Illustrated.", "The camera moves in on Bateman as his narration begins:\n\nBATEMAN (V.O.)\nWe're sitting in Pastels, this nouvelle Northern California \nplace on the Upper East Side.", "The Waiter sets down plates containing tiny, elaborately \ndecorated starters. As he does so we hear Bateman's \ndescription of each of the men at the table.", "INT. BATEMAN'S OFFICE - NIGHT \n\nBateman stands looking out \nthrough the floor-length windows at a panoramic night view \nof the city and the river.", "opposite corner of the room. He bears a \nsuperficial resemblance to Bateman.", "INT. BATEMAN'S OFFICE - LATE AFTERNOON \n\nBateman sits at his desk wearing Wayfarers doing the New York \nTimes crossword puzzle at dusk.", "BATEMAN \nHarold, it's Bateman. Patrick Bateman. You're my \nlawyer so I think you should know-I've killed a lot of", "INT. HARRY'S BAR - EARLY EVENING \nAs the film ends the camera moves CLOSE on Bateman. He is \nleaning back in his leather armchair, drinking a double Scotch, \nhis eyes blank.", "LATER:\n\nBateman is sitting in his armchair, phone book in hand, \njerking off. He is squealing into the phone and breathing.", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "A mirror-lined bathroom. Bateman is luxuriating in the \nshower steam, scrubbing his body, admiring his muscles.", "Kimball sits down and crosses his legs with a \nself-assurance that makes Bateman so nervous he forgets to \ncarry on with his fake conversation. Kimball looks up at \nhim curiously, noticing the silence.", "Bateman takes his raincoat off, still panting. He folds the \ncoat carefully in half, bloody side in, and drapes it neatly \nover the back of a chair.", "Dressed in silk boxer shorts, Bateman stands in front of a \nhuge walk-in closet, filled with rows of expensive shirts, \nshoes and designer suits, organized according to color and \ntone.", "Bateman is lying on top of Courtney in her bed, after sex. \nStill panting, he rolls off her, onto his back. He feels", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "BATEMAN \nWhat are you talking about? Bateman is what?\n\nCARNES \nOh Christ. He can barely pick up an escort girl, let \nalone...what was it you said he did to her?" ], [ "BATEMAN \nHarold, it's Bateman. Patrick Bateman. You're my \nlawyer so I think you should know-I've killed a lot of", "Patrick Bateman! I talk to you on the phone all the time! \nDon't you recognize me? You're my lawyer.", "INT. HARRY'S BAR - EARLY EVENING \nAs the film ends the camera moves CLOSE on Bateman. He is \nleaning back in his leather armchair, drinking a double Scotch, \nhis eyes blank.", "I Bateman makes his way through the crowd to the bar, and \ntries to attract the bartender's attention. He is wearing a \nsuit and his tie is loosened. Kimball approaches him.", "INT. COURTNEY'S BEDROOM - NIGHT\nBateman and Courtney are in Courtney's bed. Bateman is on", "Kimball sits down and crosses his legs with a \nself-assurance that makes Bateman so nervous he forgets to \ncarry on with his fake conversation. Kimball looks up at \nhim curiously, noticing the silence.", "Bateman is lying on top of Courtney in her bed, after sex. \nStill panting, he rolls off her, onto his back. He feels", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "INT. BATEMAN'S OFFICE - LATE AFTERNOON \n\nBateman sits at his desk wearing Wayfarers doing the New York \nTimes crossword puzzle at dusk.", "The sounds of the bar fade down. The following voiceover runs \nover images of Bateman and his friends ordering drinks, talking \non portable phones, talking, laughing - combined with images of", "INT. EVELYN'S BEDROOM - LATER THE SAME EVENING \n\nBateman and Evelyn are lying on her bed watching television.", "The occupants of nearby tables begin to stare. Bateman is\nbecoming increasingly agitated and embarrassed.", "INT. BATEMAN'S OFFICE - NIGHT \n\nBateman stands looking out \nthrough the floor-length windows at a panoramic night view \nof the city and the river.", "Bateman ushering them out the door impatiently. They \nare both sobbing, badly bruised and bleeding. Bateman has a", "Bateman and Luis Carruthers are seated at a long table in \nthe conference room at Pierce & Pierce, which looks out onto \na spectacular view of Manhattan.", "BATEMAN \nExcuse me.\n\nHe gets up from the table. As Bateman walks away, Van \nPatten grabs a waiter.", "McDermott and Van Patten look at each other and then back \nat Bateman. Bateman starts to laugh, and the other two uneasily\njoin In.\n\nLuis Carruthers walks up to the table.", "BATEMAN \nI'm joking. Come on, get in.\n\nAs they drive uptown, Bateman dials the cell-phone. He \nreads off a credit card number.", "LATER:\n\nBateman is sitting in his armchair, phone book in hand, \njerking off. He is squealing into the phone and breathing.", "Bateman comes into the bar, a little cleaned up from the \nprevious scene (he's smoothed his hair), but still panicking \nand disheveled. He spots his friends in a corner, sits down, \nstill breathing heavily." ], [ "The camera moves in on Bateman as his narration begins:\n\nBATEMAN (V.O.)\nWe're sitting in Pastels, this nouvelle Northern California \nplace on the Upper East Side.", "The occupants of nearby tables begin to stare. Bateman is\nbecoming increasingly agitated and embarrassed.", "INT. HARRY'S BAR - EARLY EVENING \nAs the film ends the camera moves CLOSE on Bateman. He is \nleaning back in his leather armchair, drinking a double Scotch, \nhis eyes blank.", "BATEMAN \nExcuse me.\n\nHe gets up from the table. As Bateman walks away, Van \nPatten grabs a waiter.", "The Waiter sets down plates containing tiny, elaborately \ndecorated starters. As he does so we hear Bateman's \ndescription of each of the men at the table.", "Kimball sits down and crosses his legs with a \nself-assurance that makes Bateman so nervous he forgets to \ncarry on with his fake conversation. Kimball looks up at \nhim curiously, noticing the silence.", "Carruthers tries to kiss him on the lips but Bateman backs \naway. He drops his hands from Carruthers' neck. Carruthers \nimmediately takes them and places them back. Bateman drops \nthem again.", "She keeps talking.\n\nBATEMAN Listen. I cannot understand you.\n\nBateman starts laughing, slaps his hand down on the \ncounter.", "Bateman unbuttons his shirt and makes advances to get \nEvelyn to have sex with him. She ignores him, watching the", "Price is whispering in Evelyn's ear. Everyone else is \nquietly eating, except Bateman, who is drinking and watching \nEvelyn and Price.", "Bateman hangs up, opens up the Zagat's guide and dials the \nnumber for Dorsia with trembling fingers. It's busy and so", "Bateman returns back to his friends' table, in a daze.\nThey are all looking at the television, where Ronald \nReagan is giving a speech about Iran Contra. They are", "Courtney almost falls asleep while looking at her menu, and \nstarts to slide off of her chair. Bateman grabs her by both \nshoulders and props her up.", "Bateman hangs up the phone. The helicopter searchlight \ncircles back, briefly illuminating the room. The camera rises \nup over Bateman huddled in the corner, staring blankly at the \nsky.", "Bateman is at a table with Evelyn. They are both drawing on \nthe tablecloth. Bateman is drawing Christie with the \nchainsaw in her back.\n\nEVELYN \nI want a firm commitment.", "BATEMAN \nI'm joking. Come on, get in.\n\nAs they drive uptown, Bateman dials the cell-phone. He \nreads off a credit card number.", "BATEMAN \nHarold, it's Bateman. Patrick Bateman. You're my \nlawyer so I think you should know-I've killed a lot of", "INT. EVELYN'S BEDROOM - LATER THE SAME EVENING \n\nBateman and Evelyn are lying on her bed watching television.", "The sounds of the bar fade down. The following voiceover runs \nover images of Bateman and his friends ordering drinks, talking \non portable phones, talking, laughing - combined with images of", "McDERMOTT \nBecause Bateman won't give the maitre d' head.\n(He guffaws)\n\nBateman throws a swizzle stick at him." ], [ "BATEMAN \n(Faintly irritable) \nWhat is it?\n\nJEAN \nPatrick?", "I checked it out and what happened is, he mistook a Hubert \nAinsworth for Paul, so...", "BATEMAN \nTell him I'm at lunch.\n\nJEAN \n(whispering) \nPatrick, I think he knows you're here. \nIt's only ten-thirty.", "killed him, for no reason whatsoever would be too \nridiculous. Isn't that right, Patrick?", "BATEMAN (V.O.) \nOwen has mistaken me for this dickhead Marcus Halberstam. \nIt seems logical because Marcus also works at P&P and in", "VICTORIA \nPatrick?\n\nShe takes off her sunglasses.\n\nVICTORIA \nHi, Patrick. I thought that was you.", "CARRUTHERS \nGod, Patrick. Why here?\n\nHe strokes Bateman's hair.", "BATEMAN \n(Whispering) \nYou're at Paul Owen s.\n\nELIZABETH \nWho?\n\nBATEMAN \n(Whispering) \nPaul Owen.", "BATEMAN \nWhat are I doing?\n\nJEAN (O.S.) \nWhere are you? Patrick, what's wrong?", "ELIZABETH \n(Laughing) \nPatrick, you re a lunatic.\n\nBATEMAN \nCome on. Don't you find Christie attractive?", "(Turning to Patrick) \nYou were hanging out with that bimbo Allison Poole. \n(Sarcastically) \nHot number.", "He hangs up.\n\nBATEMAN I'm Paul. My name is Paul 0wen, have you'got that? \nYou are Christie. You are to respond only to Christie. Is \nthat clear?", "BATEMAN \nOh God, what did you say, you dumb bitch?\n\nJEAN (O.S.) \nPatrick? I can't hear you.", "BATEMAN \n(Condescendingly) \nYe-es, Je-an?\n\nJEAN \nPatrick, a Mr. Donald KIMBALL is here to see you.", "Bateman answers the door.\n\nBATEMAN \nYou've arrived! How lovely, let me take your coat. \nI'm Paul. How good of you to come.", "COURTNEY \n(Sarcastically) \nIsn't that special? \n(A pause) \nPatrick?\n\nBATEMAN \nYes, Courtney?", "JEAN (O.S.) \nWhat is it, Patrick? Are you alright?\n\nBATEMAN \nStop sounding so Fucking sad! Jesus!", "ELIZABETH \nThose are Sarah Lawrence guys, Patrick. You're making me \nfeel weird.\n\nLATER:", "Bateman gets into the cab.\n\nCARRUTHERS \nCall me please, Patrick.\n\nBATEMAN \nJesus lives, Luis.", "We follow BATEMAN from behind as he walks up to Owen, the \nax raised over his head.\n\nBATEMAN \nHey, Paul?" ], [ "BATEMAN \nWell, what's the topic of discussion?\n\nKIMBALL \nThe disappearance of Paul Owen.", "BATEMAN \n(Faintly irritable) \nWhat is it?\n\nJEAN \nPatrick?", "killed him, for no reason whatsoever would be too \nridiculous. Isn't that right, Patrick?", "KIMBALL \nSo, the night he disappeared? Any new thoughts on \nwhat you did?\n\nBATEMAN \nI'm not really sure. I had a shower...and some \nsorbet?", "BATEMAN \nDo you have any witnesses or fingerprints?\n\nKIMBALL \nWell, there's a message on his answering machine saying he \nwent to London.", "KIMBALL \nDo you remember where you were on the night of \nPaul's disappearance? \n(He checks his notebook) \nWhich was on the twentieth of December?", "got away There was someone else there, maybe a model, I \ncan't remember but she's dead too. And Paul Owen. I killed \nPaul Owen with an ax, in the face. His body is dissolving", "VICTORIA \nPatrick?\n\nShe takes off her sunglasses.\n\nVICTORIA \nHi, Patrick. I thought that was you.", "BATEMAN \nWhat are I doing?\n\nJEAN (O.S.) \nWhere are you? Patrick, what's wrong?", "Bateman ushering them out the door impatiently. They \nare both sobbing, badly bruised and bleeding. Bateman has a", "Responding to the gunshot, A POLICE CAR SIREN WAILS in the \ndistance. Bateman breaks into a run. The police car \nscreeches after him.", "BATEMAN \nHow's the investigation going? Taken anyone \nin for \"formal questioning?\" (He makes quotation marks \nin the air and laughs a not-so-relaxed laugh)", "She hangs up.\n\nELIZABETH \nDid you know that guy who disappeared? Didn't he work at Pierce \n& Pierce, too? Was he a friend of yours?", "(Turning to Patrick) \nYou were hanging out with that bimbo Allison Poole. \n(Sarcastically) \nHot number.", "EVELYN \nTalk about what, Patrick? What is there to talk \nabout?\n\nBATEMAN \nIt's over, Evelyn. It's all over", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "KIMBALL \nNothing like that. I'm just a private investigator.\n\nBATEMAN \nAh, I see...Yes. Paul's disappearance...Yes.", "ELIZABETH \n(Laughing) \nPatrick, you re a lunatic.\n\nBATEMAN \nCome on. Don't you find Christie attractive?", "wanders down the hallway, looking for familiar signs. He stops \nat the closet where we last saw two dead girls hanging. He \nopens the door and the light switches on, but it is empty. Mrs.", "COURTNEY \n(Sarcastically) \nIsn't that special? \n(A pause) \nPatrick?\n\nBATEMAN \nYes, Courtney?" ], [ "EXTREME WIDE SHOT of the street. Bateman's shadowed figure\nis hunched over the Homeless Man, stabbing him in the stomach.\nThe dog barks wildly and Bateman stomps on it until it is \nsilent.", "The dog starts to whimper.\n\nBATEMAN \nWhy don't you get another one? Why don't , you get another job?\n\nHOMELESS MAN \nI'm not...", "The Homeless Man stares at Bateman, struggling to sit up.\n\nBATEMAN \nYou want some money?. Some...food?", "cardboard sign is attached to the front of the cart: I AM \nHOMELESS AND HUNGRY PLEASE HELP ME. A small, thin dog lies \nnext to him.", "Courtney picks up the black cat and starts petting its \nhead. Bateman heads down the hallway to the front door.\n\nCOURTNEY \nPatrick?\n\nBATEMAN \nYes?", "The Homeless Man nods and starts to cry. Bateman reaches \ninto his pocket and pulls out a $I 0 bill, then changes his \nmind and holds out a $5 instead.", "BATEMAN \nIt's cold out, too, isn't it?\n\nHOMELESS MAN \nI'm so hungry.", "killed him, for no reason whatsoever would be too \nridiculous. Isn't that right, Patrick?", "the machine. The screen reads: FEED ME A STRAY CAT.\nBateman begins to attempt to shove the kitten into the \ndeposit slot with some difficulty. The kitten squeals. He", "BATEMAN \nDo you know what a fucking loser ,you are?\n\nHOMELESS MAN'S POV as Bateman lunges at him with the knife.", "gun. and a man, some old faggot with a dog. Last week I \nkilled another girl with a chainsaw-I had to, she almost", "BATEMAN \n(Faintly irritable) \nWhat is it?\n\nJEAN \nPatrick?", "BATEMAN \n(Petting the dog) \nShhhh...it's okay.", "CARRUTHERS \nGod, Patrick. Why here?\n\nHe strokes Bateman's hair.", "The small mangy cat rubs against him. He picks it up and \nwalks toward an ATM, holding the cat. He puts his card in", "BATEMAN \nIs this what you need?\n\nThe Homeless Man nods, looks away, wipes his nose.\n\nHOMELESS MAN \nI'm so hungry.", "something lumpy underneath him and pulls out a stuffed toy, \na black cat with blue jewel eyes. There is silence.", "takes a gun from out of his pocket and points it at the \nkitten. He doesn't notice the woman waiting behind him.", "BATEMAN \nListen, what's your name?\n\nHOMELESS MAN\nAl.\n\nBATEMAN \nSpeak up. Come on.", "Bateman walks into his bathroom, urinates while trying to \nsee his reflection in a poster for Les Miserables above his \ntoilet." ], [ "MAITRE D'\nYour friend has already been seated. Follow me, Mr. Halberstam.\n\nPaul Owen is seated at a table underneath an enormous pair of \nram's horns. He is arguing with the WAITER.", "CARNES \nBecause I had dinner with Paul Owen twice in \nLondon...just ten days ago.\n\nBATEMAN \nNo, you...didn't?", "Anyway, I'm at Paul Norman's and I'll try you later and if I \ndon't see you at Canal Bar tomorrow night I'm going to sic my", "BATEMAN \nSo, Harold, did you get my message?\n\nCarnes lights a cigarette, stalling. Then laughs.", "I checked it out and what happened is, he mistook a Hubert \nAinsworth for Paul, so...", "BATEMAN \nNo. Yes. I mean yes, I did. In the Times. But...\ndoesn't Paul Owen still live here?\n\nMRS. WOLFE \nThere was no ad in the Times.", "He sits back on the white sofa and surveys the scene. He \nchecks his Rolex and lights a cigar.\n\nOFFSCREEN, Paul Owen's last faint sighs are heard.", "A moment of stunned silence.\n\nBATEMAN \nOh, right. Of course...We had wanted Paul Owen \nto come. But he said he had plans...I guess I had dinner \nwith Victoria...the following night.", "KIMBALL \n(As he writes without looking up) \nWhere did Paul hang out?\n\nBATEMAN \nHang...out?", "INT. PAUL OWEN'S APARTMENT BUILDING - DAY\n\nBateman walks into the lobby of Paul Owen's building. He \nhas a surgical mask in one hand.", "got away There was someone else there, maybe a model, I \ncan't remember but she's dead too. And Paul Owen. I killed \nPaul Owen with an ax, in the face. His body is dissolving", "The camera moves in on Bateman as his narration begins:\n\nBATEMAN (V.O.)\nWe're sitting in Pastels, this nouvelle Northern California \nplace on the Upper East Side.", "BATEMAN \nTell him I'm at lunch.\n\nJEAN \n(whispering) \nPatrick, I think he knows you're here. \nIt's only ten-thirty.", "KIMBALL \nWell...When was the last time you were with Paul Owen?", "BATEMAN \nBut wait, Harold, what do you mean?\n\nCarnes isn't really listening.", "A silence during which the sound of the air conditioner \nbecomes deafening.\n\nKIMBALL \nSo...there's nothing you can tell me about Paul \nOwen?", "BATEMAN \n(Whispering) \nYou're at Paul Owen s.\n\nELIZABETH \nWho?\n\nBATEMAN \n(Whispering) \nPaul Owen.", "KIMBALL \nWell, to each his own. So-lunch, Thursday? I'll \ncall your secretary about reservations.\n\nBATEMAN \nI'll be there.", "have lunch or dinner or something. Hilarious, Davis. A killer.", "KIMBALL \nWhat can you tell me about Paul Owen?\n\nBATEMAN \nWell...\n\nHe coughs, shakes two Nuprin into his hand and swallows \nthem dry." ], [ "Bateman rises up off the bed, suddenly appearing behind \nChristie. There is blood on his face.", "He runs after her.\n\nBATEMAN \nNot the face, you bitch. Not the fucking face, you \npiece of bitch trash!\n\nChristie, screaming, makes it out the front door.", "Christie turns her head and sees him. She screams and leaps \noff the bed, running out of the room. She slams the", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "Bateman opens a cupboard where there are a lot of neatly\nordered weapons - an ax, a rifle, a chain saw, duct tape, \ntwine and a nail gun.", "FROM BATEMAN'S POV we see Christie's body sprawled facedown \nat the bottom of the stairwell. The chainsaw sticks out of \nher back like a sword.", "Bateman enters carrying the bottle of wine and two glasses.\nChristie, who seems frightened, sips her wine and stares at \nthe floor. There is an awkward silence.", "We follow Christie out of the room, panicking, screaming.\n\nChristie runs down a darkened hallway, frantically opening \ndoors, looking for an escape.", "Bateman knots a silk scarf around Christie's neck - rather \nmenacingly - then helps her into some suede gloves.", "Bateman is at a table with Evelyn. They are both drawing on \nthe tablecloth. Bateman is drawing Christie with the \nchainsaw in her back.\n\nEVELYN \nI want a firm commitment.", "Christie falls, tries to get up. Bateman grabs her leg. He \ntries to bite it.\n\nShe kicks him in the face and gets up, running toward the \nfront door.", "Bateman escorts her into the living room and brings her a \nglass of wine. Christie enters, sitting next to Sabrina on the \ncouch, and Bateman sits across from them. There is a \nlong silence.", "CHRISTIE \nAlright.\n\nHe pours her a shot of vodka and makes her drink it.", "Responding to the gunshot, A POLICE CAR SIREN WAILS in the \ndistance. Bateman breaks into a run. The police car \nscreeches after him.", "Christie screams and changes direction. Bateman leaps at \nher, bellowing.", "Bateman walks to his bathroom, taking a large ax out of the\nshower. He takes two Valium.", "killed him, for no reason whatsoever would be too \nridiculous. Isn't that right, Patrick?", "Bateman takes his raincoat off, still panting. He folds the \ncoat carefully in half, bloody side in, and drapes it neatly \nover the back of a chair.", "Bateman asleep in his bed with Christie and Sabrina \non either side of him. Sabrina accidentally touches his \nwrist. Bateman's eyes open.", "He opens the drawer in which are a nail gun, a coat hanger, \na rusty butter knife and a half-smoked cigar. He turns" ], [ "It is 3 a.m. Bateman is standing at an ATM, listening to the \ncomforting sound of fresh bills thudding out of the machine.", "Bateman stands at an ATM, enjoying the reassuring sound of \n$500 in fresh bills thudding from the machine. As he turns \nto leave, he notices someone across the street.", "Bateman gets into the cab.\n\nCARRUTHERS \nCall me please, Patrick.\n\nBATEMAN \nJesus lives, Luis.", "the machine. The screen reads: FEED ME A STRAY CAT.\nBateman begins to attempt to shove the kitten into the \ndeposit slot with some difficulty. The kitten squeals. He", "CARRUTHERS \nGod, Patrick. Why here?\n\nHe strokes Bateman's hair.", "BATEMAN \n(Faintly irritable) \nWhat is it?\n\nJEAN \nPatrick?", "BATEMAN \nTell him I'm at lunch.\n\nJEAN \n(whispering) \nPatrick, I think he knows you're here. \nIt's only ten-thirty.", "JEAN (O.S.) \nWhat is it, Patrick? Are you alright?\n\nBATEMAN \nStop sounding so Fucking sad! Jesus!", "PRICE \n(Screaming) \nListen to me, Patrick. I'm leaving.\n\nBATEMAN \nWhere to? Are you going to go get a gram?", "The small mangy cat rubs against him. He picks it up and \nwalks toward an ATM, holding the cat. He puts his card in", "BATEMAN \nOh God, what did you say, you dumb bitch?\n\nJEAN (O.S.) \nPatrick? I can't hear you.", "CARRUTHERS Is something wrong? Patrick...you're sweating.\n\nEXT. STREET- EVENING \n\nThe financial district. The streets are eerily deserted.", "McDermott and Van Patten look at each other and then back \nat Bateman. Bateman starts to laugh, and the other two uneasily\njoin In.\n\nLuis Carruthers walks up to the table.", "She tries to sit up.\n\nBATEMAN \nOh Jesus. I'm going home.\n\nCOURTNEY \nPatrick. Turn on the Light.\nHe turns on the light.", "BATEMAN \nExcuse me.\n\nHe gets up from the table. As Bateman walks away, Van \nPatten grabs a waiter.", "BATEMAN \nWhat are I doing?\n\nJEAN (O.S.) \nWhere are you? Patrick, what's wrong?", "Price and Bateman finally get a stall and rush in. Price is \nsweating.\n\nPRICE \nI'm shaking. You open it.\n\nBateman opens a tiny packet of coke.", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "McDERMOTT (Whispering) \nI think he's lying.\n\nBateman takes out his wallet and pulls out a card.", "killed him, for no reason whatsoever would be too \nridiculous. Isn't that right, Patrick?" ], [ "CARRUTHERS \nPatrick? Is that you?\n\nBATEMAN \nNo, Luis. It's not me. You're mistaken.", "killed him, for no reason whatsoever would be too \nridiculous. Isn't that right, Patrick?", "is the beating of his heart as he stares at the card enviously. \nLuis plucks it from his hand and walks away, pleased with \nhimself.", "McDermott and Van Patten look at each other and then back \nat Bateman. Bateman starts to laugh, and the other two uneasily\njoin In.\n\nLuis Carruthers walks up to the table.", "Carruthers tries to kiss him on the lips but Bateman backs \naway. He drops his hands from Carruthers' neck. Carruthers \nimmediately takes them and places them back. Bateman drops \nthem again.", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "COURTNEY \nWaiting for Luis to call me. He said he'd call \ntonight. Oh don't be difficult, Patrick.", "COURTNEY \nListen...Patrick. Can we talk?\n\nBATEMAN \nYou look marvelous. There's nothing to say. You're \ngoing to marry Luis. Next week, no Less.", "ELIZABETH \n(Laughing) \nPatrick, you re a lunatic.\n\nBATEMAN \nCome on. Don't you find Christie attractive?", "They exchange air kisses. As soon as Luis turns his back, \nBateman sneaks a kiss on Courtney's neck.\n\nCOURTNEY \n(Whispering) \nStop it!", "EXT. STREET - NIGHT\n\nBATEMAN is trying to hail a cab. Owen's body is at his \nfeet. Luis Carruthers and a Japanese girl walk up to him.", "COURTNEY \nLuis is a despicable twit.\n\nBATEMAN \nYes, Luis is a despicable twit. I hate him.\n\nHe keeps fucking her.", "CARRUTHERS \n(Reaching out to touch it) \nIt looks so soft.\n\nBATEMAN \n(Catching Luis hand) \nYour compliment was sufficient Luis.", "He points the nail gun at the back of Jean's head.\nThe phone RINGS. Startled, Bateman hides the nail gun", "Bateman gets into the cab.\n\nCARRUTHERS \nCall me please, Patrick.\n\nBATEMAN \nJesus lives, Luis.", "Bateman wheels around and shoots him. He runs toward the \nrevolving doors. As he swings around in the doors, he", "in a menacing way that suggests he might push him over \nthe railing. Price turns around, wild-eyed, just as Bateman \nis reaching for him.", "CARRUTHERS \nGod, Patrick. Why here?\n\nHe strokes Bateman's hair.", "She tries to sit up.\n\nBATEMAN \nOh Jesus. I'm going home.\n\nCOURTNEY \nPatrick. Turn on the Light.\nHe turns on the light.", "BATEMAN \nTell him I'm at lunch.\n\nJEAN \n(whispering) \nPatrick, I think he knows you're here. \nIt's only ten-thirty." ], [ "Bateman walks past the desk of JEAN, his secretary, pulling \nhis Walkman from around his neck. Jean is attractive, \nwholesome, earnest. She smiles shyly. She loves him.", "VICTORIA \nPatrick?\n\nShe takes off her sunglasses.\n\nVICTORIA \nHi, Patrick. I thought that was you.", "a bottle of mineral water. Evelyn is blonde, classically \nbeautiful, expensively educated, and utterly pleased with \nherself. She usually addresses Patrick as if he were a", "(Turning to Patrick) \nYou were hanging out with that bimbo Allison Poole. \n(Sarcastically) \nHot number.", "BATEMAN \n(Faintly irritable) \nWhat is it?\n\nJEAN \nPatrick?", "BATEMAN \nJean?\n\nJEAN \n(Re-enters office) \nYes, Patrick?\n\nBATEMAN \nWould you like to accompany me to dinner?", "COURTNEY \nMmmm...thanks, Patrick. \n\nShe falls asleep at the table.", "Bateman gets into the cab.\n\nCARRUTHERS \nCall me please, Patrick.\n\nBATEMAN \nJesus lives, Luis.", "ELIZABETH \nThose are Sarah Lawrence guys, Patrick. You're making me \nfeel weird.\n\nLATER:", "EVELYN \nPatrick I know you're there. Pick up the phone, you bad boy.", "CARRUTHERS \nGod, Patrick. Why here?\n\nHe strokes Bateman's hair.", "ELIZABETH \n(Laughing) \nPatrick, you re a lunatic.\n\nBATEMAN \nCome on. Don't you find Christie attractive?", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "EVELYN WILLIAMS, Patrick Bateman's \nfiancée, is making notes with a gold Cross pen and sipping", "BATEMAN \nTell him I'm at lunch.\n\nJEAN \n(whispering) \nPatrick, I think he knows you're here. \nIt's only ten-thirty.", "killed him, for no reason whatsoever would be too \nridiculous. Isn't that right, Patrick?", "COURTNEY \n(Sarcastically) \nIsn't that special? \n(A pause) \nPatrick?\n\nBATEMAN \nYes, Courtney?", "Bateman enters P&P, walks up the corridor and pauses outside \nthe door to his office. He sees KIMBALL in conversation with", "Jean is alone in Bateman's office, looking through his diary. \nWe see the pages that she is looking at. They are filled with", "EVELYN \nTalk about what, Patrick? What is there to talk \nabout?\n\nBATEMAN \nIt's over, Evelyn. It's all over" ], [ "He runs out of the alley.\n\nEXT. STREET - NIGHT\n\nAs he reaches the street, he finds A PHALANX OF POLICE CARS\napproaching.", "police cars. It catches fire and explodes. The flames light \nup the scene, illuminating the bodies of policemen both living \nand dead.", "Responding to the gunshot, A POLICE CAR SIREN WAILS in the \ndistance. Bateman breaks into a run. The police car \nscreeches after him.", "Bateman manages to shoot the cop in the face while both of \nthem have their hands on the gun, then shoots him again. He \nreloads the gun. The sound of more COP CARS arriving.", "Bateman ducks down behind a parked car and continues\nshooting wildly. A bullet hits the gas tank of one of the", "COP CAR \nHalt. Put down your weapon.\n\nThe cops leap out and fire a warning shot in the air. \nBateman shoots at them. The police return fire.", "one, setting off a cacophony of CAR ALARMS.\nTHE SOUND OF POLICE SIRENS draws near.", "CARRUTHERS Is something wrong? Patrick...you're sweating.\n\nEXT. STREET- EVENING \n\nThe financial district. The streets are eerily deserted.", "Bateman gets into the cab.\n\nCARRUTHERS \nCall me please, Patrick.\n\nBATEMAN \nJesus lives, Luis.", "killed him, for no reason whatsoever would be too \nridiculous. Isn't that right, Patrick?", "NEW ANGLE: Bateman flees from the scene. The camera follows \nhim as he runs along a row of Porsches, trying to open each", "CARRUTHERS \nGod, Patrick. Why here?\n\nHe strokes Bateman's hair.", "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "Bateman walks calmly into the empty caverns of Wall Street. \nCars drift past, their headlights momentarily illuminating the \nbody left twitching on the ground.", "Bateman wheels around and shoots him. He runs toward the \nrevolving doors. As he swings around in the doors, he", "comprehending any of this. I killed him. I did it, Carnes. \nI'm Patrick Bateman. I chopped Owen's fucking head off.", "Below him he sees a SWAT TEAM swarming over the roof of the \nopposite building. There are ambulances standing by, flares \neverywhere, distant sirens.", "COP CAR (O.S.)\nHALT STOP. PUT DOWN YOUR WEAPON.\n\nBateman ducks down an alley.\n\nEXT. ALLEY - NIGHT", "BATEMAN \n(Faintly irritable) \nWhat is it?\n\nJEAN \nPatrick?", "He points the nail gun at the back of Jean's head.\nThe phone RINGS. Startled, Bateman hides the nail gun" ], [ "behind his back. The answering machine picks up. As Bateman \nlistens he discreetly places the nail gun behind the couch. \nHe sits down opposite Jean, enjoying her discomfort as she", "BATEMAN \nSo, Harold, did you get my message?\n\nCarnes lights a cigarette, stalling. Then laughs.", "EVELYN \nPatrick I know you're there. Pick up the phone, you bad boy.", "Bateman gets into the cab.\n\nCARRUTHERS \nCall me please, Patrick.\n\nBATEMAN \nJesus lives, Luis.", "BATEMAN \n(Faintly irritable) \nWhat is it?\n\nJEAN \nPatrick?", "JEAN (O.S.) \nWhat is it, Patrick? Are you alright?\n\nBATEMAN \nStop sounding so Fucking sad! Jesus!", "BATEMAN \nTell him I'm at lunch.\n\nJEAN \n(whispering) \nPatrick, I think he knows you're here. \nIt's only ten-thirty.", "he puts it on speakerphone, constant redial. He waits with \nhis head in his hands, sweating with anxiety, until there \nis finally an answer.", "BATEMAN \nHarold, it's Bateman. Patrick Bateman. You're my \nlawyer so I think you should know-I've killed a lot of", "killed him, for no reason whatsoever would be too \nridiculous. Isn't that right, Patrick?", "EVELYN \nTalk about what, Patrick? What is there to talk \nabout?\n\nBATEMAN \nIt's over, Evelyn. It's all over", "The sounds of the bar fade down. The following voiceover runs \nover images of Bateman and his friends ordering drinks, talking \non portable phones, talking, laughing - combined with images of", "Courtney picks up the black cat and starts petting its \nhead. Bateman heads down the hallway to the front door.\n\nCOURTNEY \nPatrick?\n\nBATEMAN \nYes?", "PRICE \n(Screaming) \nListen to me, Patrick. I'm leaving.\n\nBATEMAN \nWhere to? Are you going to go get a gram?", "Silence. \n\nBATEMAN \nSend him in, I guess. As she exits, he picks up the cordless \nphone and pretends to talk to someone at the other end.", "BATEMAN \nOh God, what did you say, you dumb bitch?\n\nJEAN (O.S.) \nPatrick? I can't hear you.", "COURTNEY \n(Sarcastically) \nIsn't that special? \n(A pause) \nPatrick?\n\nBATEMAN \nYes, Courtney?", "VICTORIA \nPatrick?\n\nShe takes off her sunglasses.\n\nVICTORIA \nHi, Patrick. I thought that was you.", "LATER:\n\nBateman is sitting in his armchair, phone book in hand, \njerking off. He is squealing into the phone and breathing.", "He hangs up. He throws the Walkman which is around his neck \ninto a nearby trash can, and wipes his face with his \njacket.\n\nINT. BATEMAN'S OFFICE- SAME DAY" ] ]

[ "Who is the second man Bateman murders?", "What song does Bateman play for Paul before murdering Paul?", "What does Bateman murder Paul with?", "What does Bateman do to the prostitutes after having sex with them?", "Who interviews Bateman about Paul's murder?", "What does Batemen attempt to do to Luis in a bathroom?", "What does Luis think Bateman's attack means?", "What is Evelyn's relationship to Bateman?", "What animal does Bateman find at an ATM?", "What does Christie discover as she searches for an exit?", "What message does the ATM display?", "What does Jean find in Bateman's office journal?", "Who interviews Bateman about Paul's disappearance?", "What does Bateman do after he sees Paul Allen's business card?", "Why is Bateman enraged by Paul Allen's business card?", "What do Bateman and his associates flaunt as a display of vanity?", "What is Bateman's occupation?", "Who is Bateman's lawyer?", "What does Bateman try to convince Harold of at the restaurant?", "Who does Paul mistake Patrick for?", "Whose disappearance do the police interview Patrick regarding?", "What type of animal is the homeless man's pet that Patrick kills?", "Where did Harold say he had lunch with Paul?", "What type of weapon does Patrick chase Christie with?", "What command does the ATM give Patrick?", "What does Luis do when Patrick tries to kill him?", "Who is Patrick's secretary?", "How does Patrick destroy the police cars?", "What does Patrick tell Harold via answering machine?" ]

[ [ "Paul", "Paul." ], [ "\"Hip to be Square\"", "hip to be square" ], [ "An axe", "An axe." ], [ "Beats and tortures them", "He tortures them." ], [ "Donald Kimball", "Donald Kimball" ], [ "Strangle Luis", "choke him to dead" ], [ "That Bateman is attracted to Luis", "a sexual advance" ], [ "Evelyn is Bateman's fiance", "His fiance." ], [ "A kitten", "kitten" ], [ "Multiple female corpses.", "Multiple female corpses. " ], [ "\"Feed me a stray cat.\"", "feed me the stray" ], [ "Drawings of murder, mutilation, and rape.", "Drawing of murder and other crimes." ], [ "Donald Kimball.", "Donald Kimball" ], [ "He kills a homeless man and the man's dog.", "He invites him over and murders Paul." ], [ "It is superior to his.", "superiority" ], [ "Their business cards.", "Business cards" ], [ "He is an investment banker.", "An Investment Banker." ], [ "Harold.", "Harold" ], [ "That he is a serial killer.", "He is a derial killer" ], [ "Marcus Halberstram", "Marcus Halbertstram." ], [ "Paul Allen", "paul" ], [ "dog", "A dog" ], [ "London", "in london" ], [ "chainsaw", "chainsaw" ], [ "\"feed me a stray cat\"", "feed me a stray cat" ], [ "confesses his love", "confesses his sexual desire for him" ], [ "Jean", "Jean." ], [ "by shooting their gas tanks", "shooting their gas tanks" ], [ "He confesses to his crimes.", "He confesses to the murders." ] ]

[ [ "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "Half the beasts draw nigher;\nHalf the fishes of the streams\n Would dart up to admire:\nBut when Margaret plucked a flag-flower,", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "I let my neighbours pass me, ones and twos\n And groups; the latest said the night grew chill,\nAnd hastened: but I loitered, while the dews\n Fell fast I loitered still.", "Evening by evening\nAmong the brookside rushes,\nLaura bowed her head to hear,\nLizzie veiled her blushes:", "Stung by that word the Prince was fain\nTo start on his tedious road again.\nHe crossed the stream where a ford was plain,", "No wilful squirrel wags,\nThe beasts and birds are fast asleep.'\nBut Laura loitered still among the rushes\nAnd said the bank was steep.", "Those in the town could see and hear\nA shaded river flowing near;\nThe broad deep bed could hardly hold", "'Here dwell in safety,\n Here dwell alone,\nWith a clear stream\n And a mossy stone. 20", "And talked with it the while.\nAnd by her hut far down the lane\n Some say they would not pass at night,\nLest they should hear an unked strain", "Dragon-flies flash to and fro;\nAshen branches hang out keys,\n Oaks put forth the rosy shoot,\nWandering herds wax sleek at ease,", "Whereon they grow, and pure the wave they drink\nWith lilies at the brink,\nAnd sugar-sweet their sap.'", "There winds and waters\n Grow lulled and scarcely speak;\nThere twilight lingers\n The longest in the skies.", "Sun-glow flushed their comely cheeks,\n Wind-play tossed their hair,\nCreeping things among the grass\n Stroked them here and there;", "Marked where the red-brown field-mouse ran,\nLoitered a while for a deep-stream bath,\n Yawned for a fellow-man.", "Lagging he moved, and apt to swerve;\nLazy of limb, but quick of nerve.\nAt length the water-bed took a curve,", "Held water to her lips, and cooled her face\nWith tears and fanning leaves:\nBut when the first birds chirped about their eaves, 530", "On a sloped sandy beach,\nWhich the spring-tide billows reach,\nStand a watchful throng\nWho have hoped and waited long:", "Fair Margaret stayed alone at home,\n Awhile she sang her song,\nAwhile sat silent, then she thought:\n 'My sisters loiter long.'", "Some writhed into the ground,\nSome dived into the brook\nWith ring and ripple,\nSome scudded on the gale without a sound," ], [ "Fell sick and died\nIn her gay prime,\nIn earliest Winter time\nWith the first glazing rime,\nWith the first snow-fall of crisp Winter time.", "His lights are out, his feast is done;\nHis bowl that sparkled to the brim\nIs drained, is broken, cannot hold;\nMy blood is chill, his blood is cold;", "His death is full, and mine begun. 30", "Found them no more, but dwindled and grew grey;\nThen fell with the first snow,\nWhile to this day no grass will grow\nWhere she lies low:", "He was born in the Spring,\nAnd died before the harvesting:\nOn the last warm summer day 10\nHe left us; he would not stay", "While autumn grips me with its fingers wan\nAnd frets me with its fitful windy sigh.\nWhen autumn passes then must winter numb,", "Came at length the starting-day,\nWith last words, and last words to say,\nWith bodiless cries from far away--", "At the death of night and the birth of day,\nWhen the owl left off his sober play,\nAnd the bat hung himself out of the way,", "I will tell you when they parted:\nWhen plenteous Autumn sheaves were brown, 10\nThen they parted heavy-hearted;", "Then she sighed one rattling sigh\nAnd stared on with sightless eye:--\nThe one who loved me was gone.", "Meanwhile the strong wind had come forth\nFrom the chill regions of the North,\nThe mighty wind invisible.\nAnd the low waves began to swell;", "Cold he lies, as cold as stone,\n With his clotted curls about his face:\nThe comeliest corpse in all the world\n And worthy of a queen's embrace.", "Slept, died, behind the grate;\nHer heart was starving all this while\n You made it wait.", "Grew gross in soulless love, a sluggish wife;\nOne famished died for love. Thus two of three\n Took death for love and won him after strife;", "Empty nests show black and grim,\nShort-lived sunshine gives no heat,\n Undue buds are nipped by frost, 30", "The rest, shut out in death and shame,\nStrove all too late that Feast to win,\nTheir die was cast, and fixed their lot; 30", "For cold thy bed to rest upon,\n And cold the falling year\n Whose withered leaves are lost and sere.' 10", "My heart is breaking for a little love.\n Though winter frosts are done,\n And birds pair every one,\nAnd leaves peep out, for springtide is begun.", "Summer friend showeth,\n Out in the fields\n Summer wheat groweth;\n But in the winter\n When summer heat is dead", "That met death at a thousand sources;\nCold limbs and putrifying flesh;\nLong love-locks clotted to a mesh\nThat stifled; stiffened mouths beneath" ], [ "Found them no more, but dwindled and grew grey;\nThen fell with the first snow,\nWhile to this day no grass will grow\nWhere she lies low:", "Thus the dead man stayed in his grave,\nSelf-chosen, the dead man in his cave; 260\nThere he stayed, were he fool or knave,", "Nought we place above his face\n To mark the spot,\nBut it shows a barren place\n In our lot.", "And talked with it the while.\nAnd by her hut far down the lane\n Some say they would not pass at night,\nLest they should hear an unked strain", "Just saved, without pulse or breath,--\nScarcely saved from the gulp of death;\nLaid where a willow shadoweth--", "Off he set. The grass grew rare,\nA blight lurked in the darkening air,\nThe very moss grew hueless and spare,", "The last daisy stood all astunt;\nBehind his back the soil lay bare,\n But barer in front.", "'Oh, what's that in the hollow, so pale I quake to follow?'\n 'Oh, that's a thin dead body which waits th' eternal term.'", "Life nursed in its grave by Death.", "Out it flashed from a yawn-mouthed cave,\nLike a red-hot eye from a grave. 170\nNo man stood there of whom to crave", "Slept, died, behind the grate;\nHer heart was starving all this while\n You made it wait.", "And all the while she milked and milked\n The grave cow heavy-laden:\nI've seen grand ladies plumed and silked,\n But not a sweeter maiden;", "Dig my grave for two, with a stone to show it,\n And on the stone write my name;\nIf he never comes, I shall never know it,\n But sleep on all the same.", "All are not equal here,\nAnd when the sleepers wake\nThey make a difference.\n'All equal in the grave'--\nThat shows an obvious sense:", "How long I stayed alone\nWith the corpse I never knew,\nFor I fainted dead as stone:\nWhen I came to life once more", "And watchers by the dead have heard\n A windy swell from miles away,\nWith sobs and screams, but not a word\n Distinct for them to say:", "Gone from sweet sunshine\n Underneath the sod,\nTurned from warm flesh and blood\n To senseless clod,", "Cold he lies, as cold as stone,\n With his clotted curls about his face:\nThe comeliest corpse in all the world\n And worthy of a queen's embrace.", "They stood together on the strand,\n They only, each by each;\nHome, her home, was close at hand,\n Utterly out of reach.", "And there are graves enough in earth;\nWhy should the cold sea, tempest-torn,\nBury those whom it hath not borne?'" ], [ "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "Dogged her with gibe or curse\nOr something worse:\nBut not one goblin skurried after,\nNor was she pricked by fear; 460", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "She clipped a precious golden lock,\nShe dropped a tear more rare than pearl,\nThen sucked their fruit globes fair or red:\nSweeter than honey from the rock,", "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "But sweet-tooth Laura spoke in haste:\n'Good folk, I have no coin;\nTo take were to purloin:", "Of juice that syrupped all her face,\nAnd lodged in dimples of her chin,\nAnd streaked her neck which quaked like curd.\nAt last the evil people,", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "Worn out by her resistance,\nFlung back her penny, kicked their fruit\nAlong whichever road they took, 440\nNot leaving root or stone or shoot;", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550", "But put a silver penny in her purse,\nKissed Laura, crossed the heath with clumps of furze\nAt twilight, halted by the brook:" ], [ "Talked as modest maidens should:\nLizzie with an open heart, 210\nLaura in an absent dream,\nOne content, one sick in part;", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "Till Laura dwindling 320\nSeemed knocking at Death's door:\nThen Lizzie weighed no more\nBetter and worse;", "Trudged home, her pitcher dripping all the way;\nSo crept to bed, and lay\nSilent till Lizzie slept;\nThen sat up in a passionate yearning,", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "Evening by evening\nAmong the brookside rushes,\nLaura bowed her head to hear,\nLizzie veiled her blushes:", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Lizzie uttered not a word; 430\nWould not open lip from lip\nLest they should cram a mouthful in:\nBut laughed in heart to feel the drip", "Tender Lizzie could not bear\nTo watch her sister's cankerous care 300\nYet not to share.\nShe night and morning", "Yet I listened where I lay:\nA bustle came below,\nA clear voice said: 'I know;\nI will see her first alone,", "In each ear, shut eyes and ran:\nCurious Laura chose to linger\nWondering at each merchant man. 70\nOne had a cat's face,", "Life out of death.\nThat night long Lizzie watched by her,\nCounted her pulse's flagging stir,\nFelt for her breath,", "Laura most like a leaping flame.\nThey drew the gurgling water from its deep;\nLizzie plucked purple and rich golden flags, 220", "Her throbbing music had not done,\nAnd she had listened silently;\nBut now the wind had changed, and she\nHeard the sweet song no more, but heard", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "'Come buy, come buy.' 90\nWhen they reached where Laura was\nThey stood stock still upon the moss,\nLeering at each other," ], [ "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "'No,' said Lizzie, 'No, no, no;\nTheir offers should not charm us,\nTheir evil gifts would harm us.'\nShe thrust a dimpled finger", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "Tender Lizzie could not bear\nTo watch her sister's cankerous care 300\nYet not to share.\nShe night and morning", "'I go for strawberry leaves,'\n Meggan said one day:\n'Fair Margaret can bide at home,\n But you come with me, May;", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "In a smart, ache, tingle,\nLizzie went her way;\nKnew not was it night or day;", "'Thank you,' said Lizzie: 'But one waits\nAt home alone for me:\nSo without further parleying,\nIf you will not sell me any", "Caught the goblins' cry:\n'Come buy our orchard fruits,\nCome buy, come buy:'--\nBeside the brook, along the glen,", "She clipped a precious golden lock,\nShe dropped a tear more rare than pearl,\nThen sucked their fruit globes fair or red:\nSweeter than honey from the rock," ], [ "Trudged home, her pitcher dripping all the way;\nSo crept to bed, and lay\nSilent till Lizzie slept;\nThen sat up in a passionate yearning,", "Tender Lizzie could not bear\nTo watch her sister's cankerous care 300\nYet not to share.\nShe night and morning", "Lizzie met her at the gate\nFull of wise upbraidings:\n'Dear, you should not stay so late,", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "'No,' said Lizzie, 'No, no, no;\nTheir offers should not charm us,\nTheir evil gifts would harm us.'\nShe thrust a dimpled finger", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Lizzie uttered not a word; 430\nWould not open lip from lip\nLest they should cram a mouthful in:\nBut laughed in heart to feel the drip", "Life out of death.\nThat night long Lizzie watched by her,\nCounted her pulse's flagging stir,\nFelt for her breath,", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "Shaking with aguish fear, and pain,\nShe kissed and kissed her with a hungry mouth.", "Hugged Lizzie but not twice or thrice;\nHer gleaming locks showed not one thread of grey, 540\nHer breath was sweet as May", "Bullied and besought her,\nScratched her, pinched her black as ink,\nKicked and knocked her,\nMauled and mocked her,", "Till Laura dwindling 320\nSeemed knocking at Death's door:\nThen Lizzie weighed no more\nBetter and worse;", "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "Elbowed and jostled her, 400\nClawed with their nails,\nBarking, mewing, hissing, mocking,", "In a smart, ache, tingle,\nLizzie went her way;\nKnew not was it night or day;", "Talked as modest maidens should:\nLizzie with an open heart, 210\nLaura in an absent dream,\nOne content, one sick in part;", "By day she stands a lie: by night she stands\n In all the naked horror of the truth\nWith pushing horns and clawed and clutching hands." ], [ "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "She cried 'Laura,' up the garden,\n'Did you miss me?\nCome and kiss me.\nNever mind my bruises,", "Day after day, night after night,\nLaura kept watch in vain 270\nIn sullen silence of exceeding pain.", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "Till Laura dwindling 320\nSeemed knocking at Death's door:\nThen Lizzie weighed no more\nBetter and worse;", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550", "Talked as modest maidens should:\nLizzie with an open heart, 210\nLaura in an absent dream,\nOne content, one sick in part;", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "Shaking with aguish fear, and pain,\nShe kissed and kissed her with a hungry mouth.", "'She laid her body as the ground,\n Her tender body as the ground to those\nWho passed; her harpstrings cannot sound 50\nIn a strange land; discrowned\n She sits, and drunk with woes.'--", "In each ear, shut eyes and ran:\nCurious Laura chose to linger\nWondering at each merchant man. 70\nOne had a cat's face,", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "But put a silver penny in her purse,\nKissed Laura, crossed the heath with clumps of furze\nAt twilight, halted by the brook:", "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "I planted daisies there a year ago 160\nThat never blow.\nYou should not loiter so.'\n'Nay, hush,' said Laura:", "And new buds with new day\nOpened of cup-like lilies on the stream,\nLaura awoke as from a dream,\nLaughed in the innocent old way,", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "Trudged home, her pitcher dripping all the way;\nSo crept to bed, and lay\nSilent till Lizzie slept;\nThen sat up in a passionate yearning,", "One cried: 'Oh blessèd she who no more pain,\n Who no more disappointment shall receive.'-- 110\nOne answered: 'Not so: she must live again;\n Strengthen thou her to live.'" ], [ "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "'No,' said Lizzie, 'No, no, no;\nTheir offers should not charm us,\nTheir evil gifts would harm us.'\nShe thrust a dimpled finger", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "Evening by evening\nAmong the brookside rushes,\nLaura bowed her head to hear,\nLizzie veiled her blushes:", "Talked as modest maidens should:\nLizzie with an open heart, 210\nLaura in an absent dream,\nOne content, one sick in part;", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "Backwards up the mossy glen\nTurned and trooped the goblin men,\nWith their shrill repeated cry,", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "Of juice that syrupped all her face,\nAnd lodged in dimples of her chin,\nAnd streaked her neck which quaked like curd.\nAt last the evil people,", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "Twilight is not good for maidens;\nShould not loiter in the glen\nIn the haunts of goblin men.\nDo you not remember Jeanie," ], [ "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "So these two fair sisters\n Went with innocent will\nUp the hill and down again,\n And round the homestead hill:", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "SISTER MAUDE\n\n\nWho told my mother of my shame,\n Who told my father of my dear?\nOh who but Maude, my sister Maude,\n Who lurked to spy and peer.", "That sultry noon had waned away,\n Shadows had waxen great:\n'Surely,' she thought within herself,\n 'My sisters loiter late.' 160", "Fair Margaret stayed alone at home,\n Awhile she sang her song,\nAwhile sat silent, then she thought:\n 'My sisters loiter long.'", "Talked as modest maidens should:\nLizzie with an open heart, 210\nLaura in an absent dream,\nOne content, one sick in part;", "Evening by evening\nAmong the brookside rushes,\nLaura bowed her head to hear,\nLizzie veiled her blushes:", "His mother said 'fie,' and his sisters cried 'shame,'\n His highborn ladies cried 'shame' from their place: 30\nThey said 'fie' when they only heard my name,\n But fell silent when they saw my face.", "'What is your grief? now tell me, sweet,\n That I may grieve,' my sister said; 10\nAnd stayed a white embroidering hand\n And raised a golden head:", "Now they in turn have led our own away;\n Our daughters and our sisters and our wives\n Sore weeping as they weep who curse the day,", "And win the fiery antidote:\nThen joining hands to little hands 560\nWould bid them cling together,\n'For there is no friend like a sister", "Tender Lizzie could not bear\nTo watch her sister's cankerous care 300\nYet not to share.\nShe night and morning", "Long ago and long ago,\n And long ago still,\nThere dwelt three merry maidens\n Upon a distant hill.", "So Margaret sang her sisters home 210\n In their marriage mirth;\nSang free birds out of the sky,\n Beasts along the earth,", "In sorrow till I die.'--\n 'Go seek in sorrow, sister,\n And find in sorrow too:\n If thus you shame our father's name", "At cockcrow we were sister-maids, 150\n We may be brides at noon.'\nSaid Meggan, 'Yes;' May said not 'No.'", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "NOBLE SISTERS", "But poison in the blood;\n(Men sell not such in any town:)\nWould tell them how her sister stood\nIn deadly peril to do her good," ], [ "Evening by evening\nAmong the brookside rushes,\nLaura bowed her head to hear,\nLizzie veiled her blushes:", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "That sultry noon had waned away,\n Shadows had waxen great:\n'Surely,' she thought within herself,\n 'My sisters loiter late.' 160", "So these two fair sisters\n Went with innocent will\nUp the hill and down again,\n And round the homestead hill:", "There winds and waters\n Grow lulled and scarcely speak;\nThere twilight lingers\n The longest in the skies.", "And talked with it the while.\nAnd by her hut far down the lane\n Some say they would not pass at night,\nLest they should hear an unked strain", "Night and morning, noon and even,\nTheir sound fills her dreams with Heaven:\nThe long strife at lent is striven:", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "Held water to her lips, and cooled her face\nWith tears and fanning leaves:\nBut when the first birds chirped about their eaves, 530", "Neighbours here and neighbours there\n Heard one scream, as if a bird\nShrilly screaming cleft the air:--\n That was all they heard.", "Fair Margaret stayed alone at home,\n Awhile she sang her song,\nAwhile sat silent, then she thought:\n 'My sisters loiter long.'", "Her throbbing music had not done,\nAnd she had listened silently;\nBut now the wind had changed, and she\nHeard the sweet song no more, but heard", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "As they went on, at length a sound\nCame trembling on the air around;\nThe undistinguishable hum", "Sun-glow flushed their comely cheeks,\n Wind-play tossed their hair,\nCreeping things among the grass\n Stroked them here and there;", "She heard the gentle turtle-dove\nTell to its mate a tale of love; 10\nShe saw the glancing swallows fly,\nEver a social company;", "Laura most like a leaping flame.\nThey drew the gurgling water from its deep;\nLizzie plucked purple and rich golden flags, 220", "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "I heard them chirping round the house;\nAnd all the herds\nWere out at grass when I grew strong, 290\nAnd days were waxen long,", "At last, as they went on, the noise\nWas heard of the sea's mighty voice;\nAnd soon the ocean could be seen" ], [ "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "But sweet-tooth Laura spoke in haste:\n'Good folk, I have no coin;\nTo take were to purloin:", "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Hug me, kiss me, suck my juices\nSqueezed from goblin fruits for you,\nGoblin pulp and goblin dew. 470", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "Caught the goblins' cry:\n'Come buy our orchard fruits,\nCome buy, come buy:'--\nBeside the brook, along the glen,", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "Of your fruits though much and many,\nGive me back my silver penny\nI tossed you for a fee.'--\nThey began to scratch their pates, 390", "In each ear, shut eyes and ran:\nCurious Laura chose to linger\nWondering at each merchant man. 70\nOne had a cat's face,", "Tossed them her penny.\n'Nay, take a seat with us,\nHonour and eat with us,'\nThey answered grinning: 370", "'No,' said Lizzie, 'No, no, no;\nTheir offers should not charm us,\nTheir evil gifts would harm us.'\nShe thrust a dimpled finger", "'Come buy, come buy.' 90\nWhen they reached where Laura was\nThey stood stock still upon the moss,\nLeering at each other,", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550" ], [ "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Till Laura dwindling 320\nSeemed knocking at Death's door:\nThen Lizzie weighed no more\nBetter and worse;", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550", "Trudged home, her pitcher dripping all the way;\nSo crept to bed, and lay\nSilent till Lizzie slept;\nThen sat up in a passionate yearning,", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "Talked as modest maidens should:\nLizzie with an open heart, 210\nLaura in an absent dream,\nOne content, one sick in part;", "Tender Lizzie could not bear\nTo watch her sister's cankerous care 300\nYet not to share.\nShe night and morning", "Life out of death.\nThat night long Lizzie watched by her,\nCounted her pulse's flagging stir,\nFelt for her breath,", "'No,' said Lizzie, 'No, no, no;\nTheir offers should not charm us,\nTheir evil gifts would harm us.'\nShe thrust a dimpled finger", "Laura most like a leaping flame.\nThey drew the gurgling water from its deep;\nLizzie plucked purple and rich golden flags, 220", "Hugged Lizzie but not twice or thrice;\nHer gleaming locks showed not one thread of grey, 540\nHer breath was sweet as May", "Evening by evening\nAmong the brookside rushes,\nLaura bowed her head to hear,\nLizzie veiled her blushes:", "Sometimes I read to her,\nSometimes we merely sit and talk.\nShe noticed once my ring 320\nAnd made me tell its history:", "Lizzie met her at the gate\nFull of wise upbraidings:\n'Dear, you should not stay so late,", "Lizzie uttered not a word; 430\nWould not open lip from lip\nLest they should cram a mouthful in:\nBut laughed in heart to feel the drip", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:" ], [ "Day after day, night after night,\nLaura kept watch in vain 270\nIn sullen silence of exceeding pain.", "Held water to her lips, and cooled her face\nWith tears and fanning leaves:\nBut when the first birds chirped about their eaves, 530", "And new buds with new day\nOpened of cup-like lilies on the stream,\nLaura awoke as from a dream,\nLaughed in the innocent old way,", "Trudged home, her pitcher dripping all the way;\nSo crept to bed, and lay\nSilent till Lizzie slept;\nThen sat up in a passionate yearning,", "Laura most like a leaping flame.\nThey drew the gurgling water from its deep;\nLizzie plucked purple and rich golden flags, 220", "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "Evening by evening\nAmong the brookside rushes,\nLaura bowed her head to hear,\nLizzie veiled her blushes:", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550", "No wilful squirrel wags,\nThe beasts and birds are fast asleep.'\nBut Laura loitered still among the rushes\nAnd said the bank was steep.", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "By day she stands a lie: by night she stands\n In all the naked horror of the truth\nWith pushing horns and clawed and clutching hands.", "She cried 'Laura,' up the garden,\n'Did you miss me?\nCome and kiss me.\nNever mind my bruises,", "She trembled, tho' the voice was mild;\nShe trembled like a frightened child;--\nTill she looked up, and then she saw", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "If he comes the next day\n He'll not find her at all,\nHe may tear his curling hair,\n Beat his breast and call.", "I planted daisies there a year ago 160\nThat never blow.\nYou should not loiter so.'\n'Nay, hush,' said Laura:", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310" ], [ "Till Laura dwindling 320\nSeemed knocking at Death's door:\nThen Lizzie weighed no more\nBetter and worse;", "Day after day, night after night,\nLaura kept watch in vain 270\nIn sullen silence of exceeding pain.", "Talked as modest maidens should:\nLizzie with an open heart, 210\nLaura in an absent dream,\nOne content, one sick in part;", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "She cried 'Laura,' up the garden,\n'Did you miss me?\nCome and kiss me.\nNever mind my bruises,", "'Come buy, come buy.' 90\nWhen they reached where Laura was\nThey stood stock still upon the moss,\nLeering at each other,", "Shaking with aguish fear, and pain,\nShe kissed and kissed her with a hungry mouth.", "Her lips began to scorch,\nThat juice was wormwood to her tongue,\nShe loathed the feast:", "Trudged home, her pitcher dripping all the way;\nSo crept to bed, and lay\nSilent till Lizzie slept;\nThen sat up in a passionate yearning,", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "Laura most like a leaping flame.\nThey drew the gurgling water from its deep;\nLizzie plucked purple and rich golden flags, 220", "Tender Lizzie could not bear\nTo watch her sister's cankerous care 300\nYet not to share.\nShe night and morning", "Of juice that syrupped all her face,\nAnd lodged in dimples of her chin,\nAnd streaked her neck which quaked like curd.\nAt last the evil people," ], [ "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "One day remembering her kernel-stone\nShe set it by a wall that faced the south;\nDewed it with tears, hoped for a root,", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "I planted daisies there a year ago 160\nThat never blow.\nYou should not loiter so.'\n'Nay, hush,' said Laura:", "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "Who knows upon what soil they fed\nTheir hungry thirsty roots?'\n'Come buy,' call the goblins\nHobbling down the glen.", "She clipped a precious golden lock,\nShe dropped a tear more rare than pearl,\nThen sucked their fruit globes fair or red:\nSweeter than honey from the rock,", "She cried 'Laura,' up the garden,\n'Did you miss me?\nCome and kiss me.\nNever mind my bruises,", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550", "Off he set. The grass grew rare,\nA blight lurked in the darkening air,\nThe very moss grew hueless and spare,", "Hug me, kiss me, suck my juices\nSqueezed from goblin fruits for you,\nGoblin pulp and goblin dew. 470" ], [ "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "Of your fruits though much and many,\nGive me back my silver penny\nI tossed you for a fee.'--\nThey began to scratch their pates, 390", "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "Caught the goblins' cry:\n'Come buy our orchard fruits,\nCome buy, come buy:'--\nBeside the brook, along the glen,", "'No,' said Lizzie, 'No, no, no;\nTheir offers should not charm us,\nTheir evil gifts would harm us.'\nShe thrust a dimpled finger", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "'Thank you,' said Lizzie: 'But one waits\nAt home alone for me:\nSo without further parleying,\nIf you will not sell me any", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Who knows upon what soil they fed\nTheir hungry thirsty roots?'\n'Come buy,' call the goblins\nHobbling down the glen.", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "Backwards up the mossy glen\nTurned and trooped the goblin men,\nWith their shrill repeated cry,", "Tossed them her penny.\n'Nay, take a seat with us,\nHonour and eat with us,'\nThey answered grinning: 370", "Hug me, kiss me, suck my juices\nSqueezed from goblin fruits for you,\nGoblin pulp and goblin dew. 470", "Lizzie uttered not a word; 430\nWould not open lip from lip\nLest they should cram a mouthful in:\nBut laughed in heart to feel the drip", "In each ear, shut eyes and ran:\nCurious Laura chose to linger\nWondering at each merchant man. 70\nOne had a cat's face," ], [ "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "Trudged home, her pitcher dripping all the way;\nSo crept to bed, and lay\nSilent till Lizzie slept;\nThen sat up in a passionate yearning,", "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "Till Laura dwindling 320\nSeemed knocking at Death's door:\nThen Lizzie weighed no more\nBetter and worse;", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "'Come buy, come buy.' 90\nWhen they reached where Laura was\nThey stood stock still upon the moss,\nLeering at each other,", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "'No,' said Lizzie, 'No, no, no;\nTheir offers should not charm us,\nTheir evil gifts would harm us.'\nShe thrust a dimpled finger", "'Thank you,' said Lizzie: 'But one waits\nAt home alone for me:\nSo without further parleying,\nIf you will not sell me any", "GUTENBERG EBOOK GOBLIN MARKET ***\n\n\n\n\nProduced by Andrew Sly." ], [ "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "Shaking with aguish fear, and pain,\nShe kissed and kissed her with a hungry mouth.", "Dogged her with gibe or curse\nOr something worse:\nBut not one goblin skurried after,\nNor was she pricked by fear; 460", "Of juice that syrupped all her face,\nAnd lodged in dimples of her chin,\nAnd streaked her neck which quaked like curd.\nAt last the evil people,", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "How should it cloy with length of use?\nShe sucked and sucked and sucked the more\nFruits which that unknown orchard bore;\nShe sucked until her lips were sore;", "The luscious fat distilled upon his chin,\nExuded from his nostrils and his eyes, 30\nWhile still like hungry death he fed his maw;", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Her lips began to scorch,\nThat juice was wormwood to her tongue,\nShe loathed the feast:", "Worn out by her resistance,\nFlung back her penny, kicked their fruit\nAlong whichever road they took, 440\nNot leaving root or stone or shoot;", "She clipped a precious golden lock,\nShe dropped a tear more rare than pearl,\nThen sucked their fruit globes fair or red:\nSweeter than honey from the rock,", "How she met them in the moonlight,\nTook their gifts both choice and many,\nAte their fruits and wore their flowers 150\nPlucked from bowers" ], [ "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "Caught the goblins' cry:\n'Come buy our orchard fruits,\nCome buy, come buy:'--\nBeside the brook, along the glen,", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "Who knows upon what soil they fed\nTheir hungry thirsty roots?'\n'Come buy,' call the goblins\nHobbling down the glen.", "Backwards up the mossy glen\nTurned and trooped the goblin men,\nWith their shrill repeated cry,", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "Once discerning even one goblin\nRacing, whisking, tumbling, hobbling;\nLet alone the herds\nThat used to tramp along the glen,", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "In each ear, shut eyes and ran:\nCurious Laura chose to linger\nWondering at each merchant man. 70\nOne had a cat's face,", "Fair eves that fly;\nCome buy, come buy:\nOur grapes fresh from the vine, 20\nPomegranates full and fine,", "Twilight is not good for maidens;\nShould not loiter in the glen\nIn the haunts of goblin men.\nDo you not remember Jeanie,", "Hug me, kiss me, suck my juices\nSqueezed from goblin fruits for you,\nGoblin pulp and goblin dew. 470", "And blue-black beetles transact business,\n And gnats fly in a host,\nAnd furry caterpillars hasten\n That no time be lost,\nAnd moths grow fat and thrive,\nAnd ladybirds arrive.", "Down the glen tramp little men.\nOne hauls a basket,\nOne bears a plate,\nOne lugs a golden dish\nOf many pounds weight.", "Sweet to tongue and sound to eye; 30\nCome buy, come buy.'", "'Done,' quoth the Prince, and the bargain stood,\nFirst he piled on resinous wood,\nNext plied the bellows in hopeful mood;", "'Come buy, come buy.' 90\nWhen they reached where Laura was\nThey stood stock still upon the moss,\nLeering at each other," ], [ "Evening by evening\nAmong the brookside rushes,\nLaura bowed her head to hear,\nLizzie veiled her blushes:", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "Fair Margaret stayed alone at home,\n Awhile she sang her song,\nAwhile sat silent, then she thought:\n 'My sisters loiter long.'", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "So these two fair sisters\n Went with innocent will\nUp the hill and down again,\n And round the homestead hill:", "That sultry noon had waned away,\n Shadows had waxen great:\n'Surely,' she thought within herself,\n 'My sisters loiter late.' 160", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "Talked as modest maidens should:\nLizzie with an open heart, 210\nLaura in an absent dream,\nOne content, one sick in part;", "'I go for strawberry leaves,'\n Meggan said one day:\n'Fair Margaret can bide at home,\n But you come with me, May;", "Now they in turn have led our own away;\n Our daughters and our sisters and our wives\n Sore weeping as they weep who curse the day,", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "And win the fiery antidote:\nThen joining hands to little hands 560\nWould bid them cling together,\n'For there is no friend like a sister", "Held water to her lips, and cooled her face\nWith tears and fanning leaves:\nBut when the first birds chirped about their eaves, 530", "Half the beasts draw nigher;\nHalf the fishes of the streams\n Would dart up to admire:\nBut when Margaret plucked a flag-flower,", "Out of the church she followed them\n With a lofty step and mien:\nHis bride was like a village maid,\n Maude Clare was like a queen.", "I sit and watch my sister's face:\n How little altered since the hours\nWhen she, a kind, light-hearted girl,\n Gathered her garden flowers;", "So both were silent, she and I:\n She laid her work aside, and went\nInto the garden-walks, like spring,\n All gracious with content,", "They stood together on the strand,\n They only, each by each;\nHome, her home, was close at hand,\n Utterly out of reach.", "So they went forth together, he\nHelping her forward tenderly.\nThe hedges bowed beneath his hand;\nForth from the streams came the dry land 60" ], [ "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "But sweet-tooth Laura spoke in haste:\n'Good folk, I have no coin;\nTo take were to purloin:", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550", "In each ear, shut eyes and ran:\nCurious Laura chose to linger\nWondering at each merchant man. 70\nOne had a cat's face,", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "Tossed them her penny.\n'Nay, take a seat with us,\nHonour and eat with us,'\nThey answered grinning: 370", "Dogged her with gibe or curse\nOr something worse:\nBut not one goblin skurried after,\nNor was she pricked by fear; 460", "Backwards up the mossy glen\nTurned and trooped the goblin men,\nWith their shrill repeated cry,", "'Come buy, come buy.' 90\nWhen they reached where Laura was\nThey stood stock still upon the moss,\nLeering at each other,", "'No,' said Lizzie, 'No, no, no;\nTheir offers should not charm us,\nTheir evil gifts would harm us.'\nShe thrust a dimpled finger", "One may lead a horse to water,\nTwenty cannot make him drink.\nThough the goblins cuffed and caught her,\nCoaxed and fought her,", "Hug me, kiss me, suck my juices\nSqueezed from goblin fruits for you,\nGoblin pulp and goblin dew. 470" ], [ "'Good folk,' said Lizzie,\nMindful of Jeanie:\n'Give me much and many:'--\nHeld out her apron,", "But feared to pay too dear.\nShe thought of Jeanie in her grave,\nWho should have been a bride;\nBut who for joys brides hope to have", "Twilight is not good for maidens;\nShould not loiter in the glen\nIn the haunts of goblin men.\nDo you not remember Jeanie,", "Skene looked at his pale young wife:--\n 'Is the time come?'--'The time is come!'--\nYoung, strong, and so full of life:\n The agony struck them dumb.", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "Out of the church she followed them\n With a lofty step and mien:\nHis bride was like a village maid,\n Maude Clare was like a queen.", "Trudged home, her pitcher dripping all the way;\nSo crept to bed, and lay\nSilent till Lizzie slept;\nThen sat up in a passionate yearning,", "Of juice that syrupped all her face,\nAnd lodged in dimples of her chin,\nAnd streaked her neck which quaked like curd.\nAt last the evil people,", "She was a careless, fearless girl,\n And made her answer plain,\nOutspoken she to earl or churl,\n Kindhearted in the main,", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "But Jessie she comes home no more,\n No more again.", "Alas, one point in all my plan\n My serious thoughts demur to: 60\nSeven years have passed for maid and man,\n Seven years have passed for her too;", "'Fie, sister, fie, a wicked lie,\n A lie, a wicked lie, 50\nI have none other love but him,", "She wore a kerchief on her neck,\n Her bare arm showed its dimple,\nHer apron spread without a speck,\n Her air was frank and simple. 10", "Sometimes I read to her,\nSometimes we merely sit and talk.\nShe noticed once my ring 320\nAnd made me tell its history:", "SISTER MAUDE\n\n\nWho told my mother of my shame,\n Who told my father of my dear?\nOh who but Maude, my sister Maude,\n Who lurked to spy and peer.", "Let the blot pass unseen;\nYea, let her never guess\nI hold the tangled clue\nShe huddles out of view.\nFriend, servant, almost child,", "But the race must die with her\nThough she's a lofty dame,\nFor she's unmarried still.\nPoor people say she's good", "But here she paused; our eyes had met,\n And I was whitening with the jeer;\nShe rose: 'I went too far,' she said;\n Spoke low: 'Forgive me, dear.", "And gowns and idleness, 480\nTake comfort in a jeer;\nOf course the ladies guess\nJust so much of my history" ], [ "Talked as modest maidens should:\nLizzie with an open heart, 210\nLaura in an absent dream,\nOne content, one sick in part;", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "Till Laura dwindling 320\nSeemed knocking at Death's door:\nThen Lizzie weighed no more\nBetter and worse;", "'Good folk,' said Lizzie,\nMindful of Jeanie:\n'Give me much and many:'--\nHeld out her apron,", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "Tender Lizzie could not bear\nTo watch her sister's cankerous care 300\nYet not to share.\nShe night and morning", "Trudged home, her pitcher dripping all the way;\nSo crept to bed, and lay\nSilent till Lizzie slept;\nThen sat up in a passionate yearning,", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "Lizzie uttered not a word; 430\nWould not open lip from lip\nLest they should cram a mouthful in:\nBut laughed in heart to feel the drip", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550", "'No,' said Lizzie, 'No, no, no;\nTheir offers should not charm us,\nTheir evil gifts would harm us.'\nShe thrust a dimpled finger", "SISTER MAUDE\n\n\nWho told my mother of my shame,\n Who told my father of my dear?\nOh who but Maude, my sister Maude,\n Who lurked to spy and peer.", "Evening by evening\nAmong the brookside rushes,\nLaura bowed her head to hear,\nLizzie veiled her blushes:", "Lizzie met her at the gate\nFull of wise upbraidings:\n'Dear, you should not stay so late,", "Laura most like a leaping flame.\nThey drew the gurgling water from its deep;\nLizzie plucked purple and rich golden flags, 220", "Hugged Lizzie but not twice or thrice;\nHer gleaming locks showed not one thread of grey, 540\nHer breath was sweet as May", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'" ], [ "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "Once discerning even one goblin\nRacing, whisking, tumbling, hobbling;\nLet alone the herds\nThat used to tramp along the glen,", "Backwards up the mossy glen\nTurned and trooped the goblin men,\nWith their shrill repeated cry,", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Caught the goblins' cry:\n'Come buy our orchard fruits,\nCome buy, come buy:'--\nBeside the brook, along the glen,", "A day went by, a week went by. One day I heard it said:\n'Men are clamouring, women, children, clamouring to be fed;\nMen like famished dogs are howling in the streets for bread.'", "Every beast and bird and fish\n Came mustering to the sound, 200\nEvery man and every maid\n From miles of country round:", "At last, as they went on, the noise\nWas heard of the sea's mighty voice;\nAnd soon the ocean could be seen", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "In each ear, shut eyes and ran:\nCurious Laura chose to linger\nWondering at each merchant man. 70\nOne had a cat's face,", "Neighbours here and neighbours there\n Heard one scream, as if a bird\nShrilly screaming cleft the air:--\n That was all they heard.", "Then a hundred sad voices lifted a wail,\nAnd a hundred glad voices piped on the gale:\n'Time is short, life is short,' they took up the tale:", "Of welcome, and the snail-paced even was heard;\nOne parrot-voiced and jolly\nCried 'Pretty Goblin' still for 'Pretty Polly;'--", "And talked with it the while.\nAnd by her hut far down the lane\n Some say they would not pass at night,\nLest they should hear an unked strain", "Who knows upon what soil they fed\nTheir hungry thirsty roots?'\n'Come buy,' call the goblins\nHobbling down the glen.", "As they went on, at length a sound\nCame trembling on the air around;\nThe undistinguishable hum", "When no man watcheth over it?\nThese had deep calm; but all around\nThere was a deadly smothered sound, 240\nThe choking cry of agony" ], [ "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "Worn out by her resistance,\nFlung back her penny, kicked their fruit\nAlong whichever road they took, 440\nNot leaving root or stone or shoot;", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Day after day, night after night,\nLaura kept watch in vain 270\nIn sullen silence of exceeding pain.", "Must she then buy no more such dainty fruit?\nMust she no more such succous pasture find,\nGone deaf and blind?", "Of juice that syrupped all her face,\nAnd lodged in dimples of her chin,\nAnd streaked her neck which quaked like curd.\nAt last the evil people,", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "She clipped a precious golden lock,\nShe dropped a tear more rare than pearl,\nThen sucked their fruit globes fair or red:\nSweeter than honey from the rock,", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "She cried 'Laura,' up the garden,\n'Did you miss me?\nCome and kiss me.\nNever mind my bruises,", "Till Laura dwindling 320\nSeemed knocking at Death's door:\nThen Lizzie weighed no more\nBetter and worse;", "How should it cloy with length of use?\nShe sucked and sucked and sucked the more\nFruits which that unknown orchard bore;\nShe sucked until her lips were sore;", "Tore her gown and soiled her stocking,\nTwitched her hair out by the roots,\nStamped upon her tender feet,\nHeld her hands and squeezed their fruits", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550", "'Come buy, come buy.' 90\nWhen they reached where Laura was\nThey stood stock still upon the moss,\nLeering at each other,", "Her throbbing music had not done,\nAnd she had listened silently;\nBut now the wind had changed, and she\nHeard the sweet song no more, but heard", "She turn'd to Nell: 'My Lady Nell,\n I have a gift for you;\nThough, were it fruit, the bloom were gone,\n Or, were it flowers, the dew." ], [ "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "Tender Lizzie could not bear\nTo watch her sister's cankerous care 300\nYet not to share.\nShe night and morning", "Till Laura dwindling 320\nSeemed knocking at Death's door:\nThen Lizzie weighed no more\nBetter and worse;", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "Talked as modest maidens should:\nLizzie with an open heart, 210\nLaura in an absent dream,\nOne content, one sick in part;", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Trudged home, her pitcher dripping all the way;\nSo crept to bed, and lay\nSilent till Lizzie slept;\nThen sat up in a passionate yearning,", "Life out of death.\nThat night long Lizzie watched by her,\nCounted her pulse's flagging stir,\nFelt for her breath,", "Laura most like a leaping flame.\nThey drew the gurgling water from its deep;\nLizzie plucked purple and rich golden flags, 220", "Lizzie uttered not a word; 430\nWould not open lip from lip\nLest they should cram a mouthful in:\nBut laughed in heart to feel the drip", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550", "Evening by evening\nAmong the brookside rushes,\nLaura bowed her head to hear,\nLizzie veiled her blushes:", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Day after day, night after night,\nLaura kept watch in vain 270\nIn sullen silence of exceeding pain.", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "'No,' said Lizzie, 'No, no, no;\nTheir offers should not charm us,\nTheir evil gifts would harm us.'\nShe thrust a dimpled finger", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:" ], [ "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "'No,' said Lizzie, 'No, no, no;\nTheir offers should not charm us,\nTheir evil gifts would harm us.'\nShe thrust a dimpled finger", "Backwards up the mossy glen\nTurned and trooped the goblin men,\nWith their shrill repeated cry,", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "Tender Lizzie could not bear\nTo watch her sister's cankerous care 300\nYet not to share.\nShe night and morning", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "Twilight is not good for maidens;\nShould not loiter in the glen\nIn the haunts of goblin men.\nDo you not remember Jeanie,", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "Lizzie met her at the gate\nFull of wise upbraidings:\n'Dear, you should not stay so late,", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "Lizzie uttered not a word; 430\nWould not open lip from lip\nLest they should cram a mouthful in:\nBut laughed in heart to feel the drip", "Once discerning even one goblin\nRacing, whisking, tumbling, hobbling;\nLet alone the herds\nThat used to tramp along the glen,", "Dogged her with gibe or curse\nOr something worse:\nBut not one goblin skurried after,\nNor was she pricked by fear; 460", "Trudged home, her pitcher dripping all the way;\nSo crept to bed, and lay\nSilent till Lizzie slept;\nThen sat up in a passionate yearning,", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:" ], [ "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "Till Laura dwindling 320\nSeemed knocking at Death's door:\nThen Lizzie weighed no more\nBetter and worse;", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "Talked as modest maidens should:\nLizzie with an open heart, 210\nLaura in an absent dream,\nOne content, one sick in part;", "Tender Lizzie could not bear\nTo watch her sister's cankerous care 300\nYet not to share.\nShe night and morning", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Laura most like a leaping flame.\nThey drew the gurgling water from its deep;\nLizzie plucked purple and rich golden flags, 220", "Trudged home, her pitcher dripping all the way;\nSo crept to bed, and lay\nSilent till Lizzie slept;\nThen sat up in a passionate yearning,", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550", "Evening by evening\nAmong the brookside rushes,\nLaura bowed her head to hear,\nLizzie veiled her blushes:", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "Life out of death.\nThat night long Lizzie watched by her,\nCounted her pulse's flagging stir,\nFelt for her breath,", "Hugged Lizzie but not twice or thrice;\nHer gleaming locks showed not one thread of grey, 540\nHer breath was sweet as May", "Lizzie met her at the gate\nFull of wise upbraidings:\n'Dear, you should not stay so late,", "She cried 'Laura,' up the garden,\n'Did you miss me?\nCome and kiss me.\nNever mind my bruises,", "Lizzie uttered not a word; 430\nWould not open lip from lip\nLest they should cram a mouthful in:\nBut laughed in heart to feel the drip", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "'Come buy, come buy.' 90\nWhen they reached where Laura was\nThey stood stock still upon the moss,\nLeering at each other," ], [ "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "Caught the goblins' cry:\n'Come buy our orchard fruits,\nCome buy, come buy:'--\nBeside the brook, along the glen,", "Who knows upon what soil they fed\nTheir hungry thirsty roots?'\n'Come buy,' call the goblins\nHobbling down the glen.", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Backwards up the mossy glen\nTurned and trooped the goblin men,\nWith their shrill repeated cry,", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "In each ear, shut eyes and ran:\nCurious Laura chose to linger\nWondering at each merchant man. 70\nOne had a cat's face,", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "Once discerning even one goblin\nRacing, whisking, tumbling, hobbling;\nLet alone the herds\nThat used to tramp along the glen,", "The whisk-tailed merchant bade her taste\nIn tones as smooth as honey,\nThe cat-faced purr'd,\nThe rat-faced spoke a word 110", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "Fair eves that fly;\nCome buy, come buy:\nOur grapes fresh from the vine, 20\nPomegranates full and fine,", "And blue-black beetles transact business,\n And gnats fly in a host,\nAnd furry caterpillars hasten\n That no time be lost,\nAnd moths grow fat and thrive,\nAnd ladybirds arrive.", "Down the glen tramp little men.\nOne hauls a basket,\nOne bears a plate,\nOne lugs a golden dish\nOf many pounds weight.", "Sweet to tongue and sound to eye; 30\nCome buy, come buy.'", "Twilight is not good for maidens;\nShould not loiter in the glen\nIn the haunts of goblin men.\nDo you not remember Jeanie,", "Hug me, kiss me, suck my juices\nSqueezed from goblin fruits for you,\nGoblin pulp and goblin dew. 470", "'Come buy, come buy.' 90\nWhen they reached where Laura was\nThey stood stock still upon the moss,\nLeering at each other," ], [ "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "But sweet-tooth Laura spoke in haste:\n'Good folk, I have no coin;\nTo take were to purloin:", "She clipped a precious golden lock,\nShe dropped a tear more rare than pearl,\nThen sucked their fruit globes fair or red:\nSweeter than honey from the rock,", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Of your fruits though much and many,\nGive me back my silver penny\nI tossed you for a fee.'--\nThey began to scratch their pates, 390", "She turn'd to Nell: 'My Lady Nell,\n I have a gift for you;\nThough, were it fruit, the bloom were gone,\n Or, were it flowers, the dew.", "Heap my golden plates with fruit,\n Golden fruit, fresh-plucked and ripe; 10\n Strike the bells and breathe the pipe;", "'Nay,' cried he, 'but fix your own fee.'--\nShe laughed, 'You may give the full moon to me; 80\nOr else sit under this apple-tree", "Grapes for the asking,\nPears red with basking\nOut in the sun,\nPlums on their twigs; 360", "Worn out by her resistance,\nFlung back her penny, kicked their fruit\nAlong whichever road they took, 440\nNot leaving root or stone or shoot;", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550", "Fair eves that fly;\nCome buy, come buy:\nOur grapes fresh from the vine, 20\nPomegranates full and fine,", "'Come buy, come buy.' 90\nWhen they reached where Laura was\nThey stood stock still upon the moss,\nLeering at each other,", "In each ear, shut eyes and ran:\nCurious Laura chose to linger\nWondering at each merchant man. 70\nOne had a cat's face,", "Must she then buy no more such dainty fruit?\nMust she no more such succous pasture find,\nGone deaf and blind?", "Tossed them her penny.\n'Nay, take a seat with us,\nHonour and eat with us,'\nThey answered grinning: 370" ], [ "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "Of juice that syrupped all her face,\nAnd lodged in dimples of her chin,\nAnd streaked her neck which quaked like curd.\nAt last the evil people,", "Grew gross in soulless love, a sluggish wife;\nOne famished died for love. Thus two of three\n Took death for love and won him after strife;", "She clipped a precious golden lock,\nShe dropped a tear more rare than pearl,\nThen sucked their fruit globes fair or red:\nSweeter than honey from the rock,", "Oh, who knows the truth,\nHow she perished in her youth,\nAnd like a queen went down\nPale in her royal crown:", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "Slept, died, behind the grate;\nHer heart was starving all this while\n You made it wait.", "Fell sick and died\nIn her gay prime,\nIn earliest Winter time\nWith the first glazing rime,\nWith the first snow-fall of crisp Winter time.", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "But the race must die with her\nThough she's a lofty dame,\nFor she's unmarried still.\nPoor people say she's good", "You trifled at the gate:\nThe enchanted dove upon her branch\n Died without a mate; 480\nThe enchanted princess in her tower", "Then she sighed one rattling sigh\nAnd stared on with sightless eye:--\nThe one who loved me was gone.", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "How should it cloy with length of use?\nShe sucked and sucked and sucked the more\nFruits which that unknown orchard bore;\nShe sucked until her lips were sore;", "'One I saw, a poor old fool with ashes on his head,\nWhimpering because a girl had snatched his crust of bread:\nThen he dropped; when some one raised him, it turned out he was dead.'", "The luscious fat distilled upon his chin,\nExuded from his nostrils and his eyes, 30\nWhile still like hungry death he fed his maw;", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "Found them no more, but dwindled and grew grey;\nThen fell with the first snow,\nWhile to this day no grass will grow\nWhere she lies low:", "Her lips began to scorch,\nThat juice was wormwood to her tongue,\nShe loathed the feast:" ], [ "And new buds with new day\nOpened of cup-like lilies on the stream,\nLaura awoke as from a dream,\nLaughed in the innocent old way,", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie,", "Laura most like a leaping flame.\nThey drew the gurgling water from its deep;\nLizzie plucked purple and rich golden flags, 220", "She trembled, tho' the voice was mild;\nShe trembled like a frightened child;--\nTill she looked up, and then she saw", "'Come buy, come buy.' 90\nWhen they reached where Laura was\nThey stood stock still upon the moss,\nLeering at each other,", "Shaking with aguish fear, and pain,\nShe kissed and kissed her with a hungry mouth.", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Evening by evening\nAmong the brookside rushes,\nLaura bowed her head to hear,\nLizzie veiled her blushes:", "No wilful squirrel wags,\nThe beasts and birds are fast asleep.'\nBut Laura loitered still among the rushes\nAnd said the bank was steep.", "Laura stretched her gleaming neck\nLike a rush-imbedded swan,\nLike a lily from the beck,\nLike a moonlit poplar branch,\nLike a vessel at the launch\nWhen its last restraint is gone.", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Day after day, night after night,\nLaura kept watch in vain 270\nIn sullen silence of exceeding pain.", "But put a silver penny in her purse,\nKissed Laura, crossed the heath with clumps of furze\nAt twilight, halted by the brook:", "She cried 'Laura,' up the garden,\n'Did you miss me?\nCome and kiss me.\nNever mind my bruises,", "When she raised her lustrous eyes\n A beast peeped at the door;\nWhen she downward cast her eyes\n A fish gasped on the floor;", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "By day she stands a lie: by night she stands\n In all the naked horror of the truth\nWith pushing horns and clawed and clutching hands.", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted" ], [ "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "One day remembering her kernel-stone\nShe set it by a wall that faced the south;\nDewed it with tears, hoped for a root,", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "Worn out by her resistance,\nFlung back her penny, kicked their fruit\nAlong whichever road they took, 440\nNot leaving root or stone or shoot;", "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "Laura rose with Lizzie:\nFetched in honey, milked the cows,\nAired and set to rights the house,\nKneaded cakes of whitest wheat,", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Their lives bound up in tender lives;\nLaura would call the little ones\nAnd tell them of her early prime,\nThose pleasant days long gone 550", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "Off he set. The grass grew rare,\nA blight lurked in the darkening air,\nThe very moss grew hueless and spare,", "Laura most like a leaping flame.\nThey drew the gurgling water from its deep;\nLizzie plucked purple and rich golden flags, 220", "Caught the goblins' cry:\n'Come buy our orchard fruits,\nCome buy, come buy:'--\nBeside the brook, along the glen,", "Held water to her lips, and cooled her face\nWith tears and fanning leaves:\nBut when the first birds chirped about their eaves, 530", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Without me to tend them!\nThe Tree of Life was ours,\nTree twelvefold-fruited,\nMost lofty tree that flowers,\nMost deeply rooted:" ], [ "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "'No,' said Lizzie, 'No, no, no;\nTheir offers should not charm us,\nTheir evil gifts would harm us.'\nShe thrust a dimpled finger", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Caught the goblins' cry:\n'Come buy our orchard fruits,\nCome buy, come buy:'--\nBeside the brook, along the glen,", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Who knows upon what soil they fed\nTheir hungry thirsty roots?'\n'Come buy,' call the goblins\nHobbling down the glen.", "'Thank you,' said Lizzie: 'But one waits\nAt home alone for me:\nSo without further parleying,\nIf you will not sell me any", "Hug me, kiss me, suck my juices\nSqueezed from goblin fruits for you,\nGoblin pulp and goblin dew. 470", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "Of your fruits though much and many,\nGive me back my silver penny\nI tossed you for a fee.'--\nThey began to scratch their pates, 390", "Tender Lizzie could not bear\nTo watch her sister's cankerous care 300\nYet not to share.\nShe night and morning", "Covered close lest they should look;\nLaura reared her glossy head,\nAnd whispered like the restless brook:\n'Look, Lizzie, look, Lizzie," ], [ "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "'No,' said Lizzie, 'No, no, no;\nTheir offers should not charm us,\nTheir evil gifts would harm us.'\nShe thrust a dimpled finger", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "Morning and evening\nMaids heard the goblins cry:\n'Come buy our orchard fruits,\nCome buy, come buy:", "'Thank you,' said Lizzie: 'But one waits\nAt home alone for me:\nSo without further parleying,\nIf you will not sell me any", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "Caught the goblins' cry:\n'Come buy our orchard fruits,\nCome buy, come buy:'--\nBeside the brook, along the glen,", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "Tender Lizzie could not bear\nTo watch her sister's cankerous care 300\nYet not to share.\nShe night and morning", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "At length slow evening came:\nThey went with pitchers to the reedy brook;\nLizzie most placid in her look,", "Hug me, kiss me, suck my juices\nSqueezed from goblin fruits for you,\nGoblin pulp and goblin dew. 470", "Lizzie uttered not a word; 430\nWould not open lip from lip\nLest they should cram a mouthful in:\nBut laughed in heart to feel the drip", "Who knows upon what soil they fed\nTheir hungry thirsty roots?'\n'Come buy,' call the goblins\nHobbling down the glen." ], [ "Laura turned cold as stone\nTo find her sister heard that cry alone,\nThat goblin cry,\n'Come buy our fruits, come buy.'", "She heard the tramp of goblin men,\nThe voice and stir\nPoor Laura could not hear;\nLonged to buy fruit to comfort her, 310", "'Lie close,' Laura said, 40\nPricking up her golden head:\n'We must not look at goblin men,\nWe must not buy their fruits:", "She never caught again the goblin cry:\n'Come buy, come buy;'--\nShe never spied the goblin men\nHawking their fruits along the glen:", "Of dish and fruit to offer her:\n'Come buy, come buy,' was still their cry.\nLaura stared but did not stir,\nLonged but had no money:", "Eat me, drink me, love me;\nLaura, make much of me:\nFor your sake I have braved the glen\nAnd had to do with goblin merchant men.'", "Worn out by her resistance,\nFlung back her penny, kicked their fruit\nAlong whichever road they took, 440\nNot leaving root or stone or shoot;", "And ruined in my ruin,\nThirsty, cankered, goblin-ridden?'--\nShe clung about her sister,\nKissed and kissed and kissed her:", "Till Lizzie urged, 'O Laura, come;\nI hear the fruit-call but I dare not look:\nYou should not loiter longer at this brook:", "Laughed every goblin\nWhen they spied her peeping: 330\nCame towards her hobbling,", "Must she then buy no more such dainty fruit?\nMust she no more such succous pasture find,\nGone deaf and blind?", "Dogged her with gibe or curse\nOr something worse:\nBut not one goblin skurried after,\nNor was she pricked by fear; 460", "Day after day, night after night,\nLaura kept watch in vain 270\nIn sullen silence of exceeding pain.", "'Oh,' cried Lizzie, 'Laura, Laura,\nYou should not peep at goblin men.'\nLizzie covered up her eyes, 50", "But sweet-tooth Laura spoke in haste:\n'Good folk, I have no coin;\nTo take were to purloin:", "Of juice that syrupped all her face,\nAnd lodged in dimples of her chin,\nAnd streaked her neck which quaked like curd.\nAt last the evil people,", "Laura started from her chair,\nFlung her arms up in the air,\nClutched her hair:\n'Lizzie, Lizzie, have you tasted", "How should it cloy with length of use?\nShe sucked and sucked and sucked the more\nFruits which that unknown orchard bore;\nShe sucked until her lips were sore;", "Tore her gown and soiled her stocking,\nTwitched her hair out by the roots,\nStamped upon her tender feet,\nHeld her hands and squeezed their fruits", "Till Laura dwindling 320\nSeemed knocking at Death's door:\nThen Lizzie weighed no more\nBetter and worse;" ], [ "Found them no more, but dwindled and grew grey;\nThen fell with the first snow,\nWhile to this day no grass will grow\nWhere she lies low:", "But feared to pay too dear.\nShe thought of Jeanie in her grave,\nWho should have been a bride;\nBut who for joys brides hope to have", "Some are laughing, some are weeping;\nShe is sleeping, only sleeping.\nRound her rest wild flowers are creeping;", "Nought we place above his face\n To mark the spot,\nBut it shows a barren place\n In our lot.", "And all the while she milked and milked\n The grave cow heavy-laden:\nI've seen grand ladies plumed and silked,\n But not a sweeter maiden;", "Just saved, without pulse or breath,--\nScarcely saved from the gulp of death;\nLaid where a willow shadoweth--", "And talked with it the while.\nAnd by her hut far down the lane\n Some say they would not pass at night,\nLest they should hear an unked strain", "Slept, died, behind the grate;\nHer heart was starving all this while\n You made it wait.", "Cold he lies, as cold as stone,\n With his clotted curls about his face:\nThe comeliest corpse in all the world\n And worthy of a queen's embrace.", "Dig my grave for two, with a stone to show it,\n And on the stone write my name;\nIf he never comes, I shall never know it,\n But sleep on all the same.", "The last daisy stood all astunt;\nBehind his back the soil lay bare,\n But barer in front.", "And watchers by the dead have heard\n A windy swell from miles away,\nWith sobs and screams, but not a word\n Distinct for them to say:", "They knelt in silent anguish by her bed,\n And could not weep; but calmly there she lay.\n All pain had left her; and the sun's last ray", "Gone from sweet sunshine\n Underneath the sod,\nTurned from warm flesh and blood\n To senseless clod,", "Thus the dead man stayed in his grave,\nSelf-chosen, the dead man in his cave; 260\nThere he stayed, were he fool or knave,", "'She laid her body as the ground,\n Her tender body as the ground to those\nWho passed; her harpstrings cannot sound 50\nIn a strange land; discrowned\n She sits, and drunk with woes.'--", "I planted daisies there a year ago 160\nThat never blow.\nYou should not loiter so.'\n'Nay, hush,' said Laura:", "Off he set. The grass grew rare,\nA blight lurked in the darkening air,\nThe very moss grew hueless and spare,", "'Oh, what's that in the hollow, so pale I quake to follow?'\n 'Oh, that's a thin dead body which waits th' eternal term.'", "They stood together on the strand,\n They only, each by each;\nHome, her home, was close at hand,\n Utterly out of reach." ] ]

[ "Who lingers at the stream? ", "Who died at the beginning of winter? ", "What is strange about the grave in the story? ", "What did Laura save from the goblin's fruit? ", "What does Lizzie hear, that Laura doesn't?", "What does Lizzie take with her, to trade for goblin fruit? ", "Who attacks Lizzie? ", "What does Laura believe she needs to make her feel better? ", "Who do Laura and Lizzie tell about the evil of goblin fruit?", "What are the names of the sisters? ", "While getting water from the well at twilight what sounds do the sisters hear?", "What does Laura offer the goblins for a piece of fruit?", "What was the story Lizzie reminds Laura about?", "What does Laura realize the next day while getting water?", "Why does Laura get sick?", "What happens when Laura plants the seed from the goblin fruit?", "What do the goblins do when they realize Lizzie wants to buy a piece of fruit using a silver coin?", "What happens when Lizzie returns home to Laura from the goblin market?", "What happens to Laura as she again ate the goblin fruit?", "What do the goblins sell?", "Which sister stays at the stream?", "What does Laura offer to the goblins?", "Who is Jeanie?", "What does Laura say after Lizzie tells her about Jeanie?", "Who can hear the goblins on the second day in the story?", "What happens to Laura after she can't get any more fruit?", "What does Lizzie do to try and help Laura?", "Why do the goblins turn on Lizzie?", "Who is Laura to Lizzie?", "What do the goblin merchants sell?", "What does Laura offer for the golin fruit?", "Who is the girl that died from eating too much goblin fruit?", "Why was Laura horrified at the stream?", "What happened when Laura planted the saved goblin fruit seeds?", "What do the goblins do when they discover Lizzie is trying to buy goblin fruit to help her sister?", "What does Lizzie plan to use to pay for the goblin fruit?", "What happens to Laura when she can not get any more goblin fruit?", "What is the strange thing about Jeanie's grave?" ]

[ [ "Laura ", "Laura" ], [ "Jeanie ", "Jeanie" ], [ "Grass doesn't grow on it", "no grass grows on it." ], [ "A seed ", "A seed" ], [ "The goblin's voices ", "the goblins" ], [ "A silver penny ", "Silver" ], [ "The goblins ", "The goblins." ], [ "More goblin fruit ", "more fruit" ], [ "Their children ", "Their children." ], [ "Laura and Lizzie", "Laura and Lizzie" ], [ "the noises of the goblins selling their wares at the market", "goblin chanting of their fruit" ], [ "a bit of her hair and a tear", "a locket of hair and a tear" ], [ "A story about Jeanie, another girl ate the goblin's fruit and died after being really sick", "The tale of a girl named Jeanie who ate goblin fruit and died." ], [ "Lizzie can still hear the goblin's market but after eating the fruit, she can no longer hear them.", "she doesn't hear the goblin's chanting" ], [ "She's craving the goblin fruit and can't get any of their food", "she craves the forbidden bruit but can" ], [ "Nothing grows from the seed", "Nothing grew." ], [ "they got angry, tried to force her to eat the fruit, then they covered her in pulp and juice from the fruit", "They beat Lizzie and try to force feed her the fruit." ], [ "Lizzie feeds Laura the pulp and fruit from her body.", "She is in a trance" ], [ "Laura was disgusted by the taste of the fruit and was completely healed by morning. ", "It tasted disgusting" ], [ "Fruit", "Fruits" ], [ "Laura", "Laura" ], [ "Some of her hair and a tear", "A lock of her hair and a tear" ], [ "A girl who died after eating the goblins' fruit", "A girl who had died after eating the goblins' fruit." ], [ "That tomorrow night, she will get more fruit from the goblins", "She says she will get more fruit the next night." ], [ "Only Lizzie", "Lizzie" ], [ "She starts to die.", "She becomes very ill." ], [ "She goes to the goblins to buy some fruit.", "feed Laura goblin fruit" ], [ "They realize she wants the fruit to help another person.", "because she wanted to buy their fruit for sister not eat it herself" ], [ "Her sister.", "She is her sister." ], [ "Fruit.", "Different types of fruit" ], [ "A lock of hair and a tear.", "A lock of her hair and a tear more rare than a pearl." ], [ "Jeanie", "Neither girl dies." ], [ "She could no longer hear the goblins' voices.", "She can no longer hear the goblins' voices." ], [ "Nothing grew.", "It doesn't grow" ], [ "They attack her.", "They assault her and try to physically force her to eat their fruit." ], [ "A silver penny.", "silver" ], [ "She gets sick.", "She withers away and begins to die." ], [ "Grass does not grow over it.", "No grass grows over it" ] ]

[ [ "EXT. SPACE - LATER\n\nMegatron and the other dented, dinged and dead Decepticon\nbodies float through space. we follow the wailing Megatron\nand the others down to:", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "Megatron falls! Prime falls to his knees, tries to rise,\ncollapses to his side and falls slowly back. HOT ROD runs\nover to him.", "MEGATRON\n Fall! Fall!\n\nMegatron tosses Hot Rod aside like a rag doll and stands\nabove the dying Prime.", "Hot Rod pulls Daniel back as Megatron's BLAST SHEARS OFF the\nVIEWING PLATFORM which crumbles and falls down the steep\nmountain!\n\n HOT ROD\n Hang on!", "EXT. SPACE - THE BATTLE\n\nUnicron shoots down more Decepticons with his remaining eye,\nwhile he crushes the Junkion ship.\n\nINT. THE JUNKION SHIP", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "The massive planet transforms, arms and legs fold out of the\nenormous body, hands unfold from the arms, jets from it's\nback propel it towards... ... Cybertron, which, now looks\nlonely and vulnerable in space.", "ends in a blinding flash and Galvatron - who still resembles\nMegatron - laughs and flexes his muscles and stretches. His\nvoice is deeper, different from Megatron's", "MEGATRON\n You have nothing to fear. I have already\n crushed Optimus Prime with my bare hands.\n\n UNICRON\n You exaggerate.", "Then, suddenly two red, burning eyes light up above the\nmatrix, and we see the hideous form of Galvatron.", "They transform to robot mode and fly away.\n\n GRIMLOCK\n Me, Grimlock, need new strategy.\n\n CUT TO:", "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "ANGLE ON THE SHUTTLE\n\nSuddenly it cracks open, and Decepticons shoot out of the\nwreckage like toys from a pinata.\n\nCLOSE - MEGATRON", "As it explodes, flinging the Autobots inside down toward the\nQuintesson's planet.\n\n CUT TO:", "MEGATRON\n hurls himself at Optimus Prime... ....\n both tumble into the walls of the City..." ], [ "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "give them an Energon goody. Kup reaches\n into his belt, presses a button and pulls\n out an Energon cube. Hot Rod, somewhat", "other Autobots also transform. Daniel\n and Spike jump into him. Then, in a\n continuous line, he shoots off, the other\n Autobots racing behind him.", "Rotating satellite dishes on the surface spark with\nelectricity. Dissolve inside Unicron to reveal scenes of\nPrime's death and the passing of the Matrix to Ultra Magnus", "The massive planet transforms, arms and legs fold out of the\nenormous body, hands unfold from the arms, jets from it's\nback propel it towards... ... Cybertron, which, now looks\nlonely and vulnerable in space.", "Pan as Hot Rod looks over various different bits of junk,\nuntil he sees the glowing shape of the Autobot Matrix\napparently suspended in mid air.\n\n HOT ROD\n The Autobot Matrix!", "He holds the Autobot Matrix.\n\n\n (CONTINUED)\n\n 84.\nCONTINUED:", "convert to Auto mode again and drive the Energon into Autobot\nCity. In short, it should be clear that the purpose of\nAutobot City is to harvest energy. All the while, Hot Rod and", "MEGATRON\n State your business.\n\n UNICRON\n Bring me the Autobot Matrix. It is the\n one thing - the only thing that can stand\n in my way.", "OPTIMUS PRIME\n (gasping)\n Nor was I, but one day, an Autobot shall\n rise from our ranks and use the powers of\n the Matrix to light our darkest hour.", "An incredible display of fireworks goes off, seemingly\nblowing Unicron to smithereens.\n\nON BUMBLEBEE AND SPIKE", "ANOTHER MOON\n This is the second moon. It is much\n closer to Cybertron than the first one.\n This is where Bumblebee and Spike are\n stationed.", "RODIMUS PRIME\n Autobots, transform and roll out. Rodimus\n Prime transforms into truck mode as the", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "All of his lights go out, including his eyes.\n\n DISSOLVE TO:\n\n 31.\n\n\n\nUNICRON", "(CONTINUED)\n\n 4.\nCONTINUED:\n\n\n BUMBLEBEE\n Bumblebee and Spike here.", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "all the Decepticons put together.\n Somehow we must destroy it before it\n devours Cybertron.", "SPIKE\n It's like a terrible nightmare, Ultra\n Magnus.\n\n BUMBLEBEE\n This thing - this juggernaut just ripped\n the first moon to shreds.", "shot. Then, slowly, Ultra Magnus moves it into his own chest,\ncloses the door, and the light is gone, save for a momentary,\nand extremely powerful glow from his eyes." ], [ "The missiles streak toward them.\n\n\n\n (CONTINUED)\n\n 53.\nCONTINUED:", "(CONTINUED)\n\n 39.\nCONTINUED:", "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "(CONTINUED)", "(CONTINUED)\n\n 13.\nCONTINUED:", "(CONTINUED)\n\n 29.\nCONTINUED:", "(CONTINUED)\n\n 59.\nCONTINUED:", "(CONTINUED)\n\n 5.\nCONTINUED:", "(CONTINUED)\n\n 17.\nCONTINUED:", "(CONTINUED)\n\n 21.\nCONTINUED:", "(CONTINUED)\n\n 26.\nCONTINUED:", "(CONTINUED)\n\n 51.\nCONTINUED:", "(CONTINUED)\n\n 92.\nCONTINUED:", "(CONTINUED)\n\n 106.\nCONTINUED:", "(CONTINUED)\n\n 44.\nCONTINUED:", "(CONTINUED)\n\n 35.\nCONTINUED:", "(CONTINUED)\n\n 33.\nCONTINUED:", "(CONTINUED)\n\n 100.\nCONTINUED:", "(CONTINUED)\n\n 68.\nCONTINUED:", "(CONTINUED)\n\n 64.\nCONTINUED:" ], [ "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "All turn and look off, reacting as two Guards thunder in,\ngrab Granix and pull him back out of the door. {NOTE: Another\ninstance of the spelling of Granix}", "The missiles streak toward them.\n\n\n\n (CONTINUED)\n\n 53.\nCONTINUED:", "The creature is KRANIX. We will meet him later on in a very\ndifferent context, but for now, he is running from the ever-\ngrowing mist that threatens to engulf him.", "... Suddenly, shots tear into the junk all around them as...\n\nANGLE ON A SWEEP\n\nROARS towards them...\n\nANGLE ON PERCEPTOR", "ANOTHER ANGLE - THE PANIC\n\nAs Kranix runs, another creature, ARBLUS, calls to him.", "SPRINGER\n Sees something in the distance.\n\n\n\n (CONTINUED)\n\n 99.\nCONTINUED:", "THE CHASE\n The Quintessons start to flee, but it's\n clear that the Sharkticons, who climb\n over the stacked bodies of other\n Sharkticons, are going to catch them.", "Kup and Hot Rod walk along a swampy, marshy area. Suddenly,\nthere are several loud gurgles, and we can see the shapes of", "He roars with a mad power-rush, gets into Cyclonus (who will\nbe his personal ship) and leading the armada, takes off for\nthe distant stars.", "KUP AND HOT ROD ON THE RED DESERT SHORE OF THE ENERGY SEA\n\nKup stands impatiently while Hot Rod reassembles them.", "as a figure moves forward slightly and speaks in a harsh,\nbass'o voice. It is GRANIX. We saw him in the first scene,", "around like shards of glass hit by a .45. ... finally, he\nis engulfed by an incoming swarm, and it looks like his\nattack is foiled.", "killing everybody else in his party. He wears a necklace of\nSharkticon teeth, packs a three bladed laser knife and a\nspecial SLING which hurls FIRE STONES. He fears nothing,", "SPRINGER\n I'm almost out of energy. Suddenly, he\n looks up and sees one of the creatures\n explode above\n\nHIM.\n\nThen another explodes, then another.", "His arms and legs caught by the four ropes, he knows he's\njust about had it. He struggles for one last moment, then...\n\nANGLE ON THE SWEEPS AND ULTRA MAGNUS", "His head is turned so all assembled can see. His eyes flicker\nweakly, his voice RUMBLES with overtone of vast weariness and\nresignation", "BLASTER\n Lookout and shout! Yow! Explosions rock\n the Crows Nest. Blaster swivels around\n and tilts to see...", "Springer leads the way and Blurr, Arcee, Daniel and Perceptor\nfollow and we MOVE TO A ROAD WARRIOR STYLE CHASE as Springer", "ARBLUS\n Transform and flee, Kranix! You must\n warn all you meet of the horror of" ], [ "BUMBLEBEE\n All clear, Jazz.\n (pause)", "He has a portable communication device. Spike and Bumble can\nbe seen on it. Springer, Kup, the Dinobots, Blurr, and Hot", "(CONTINUED)\n\n 4.\nCONTINUED:\n\n\n BUMBLEBEE\n Bumblebee and Spike here.", "BUMBLEBEE\n We'll try 'n slow it down...\n\n SPIKE\n But you'd better get here fast because...\n Suddenly, static obscures the\n transmission.", "They stand together a communication console. Spike is now\n35 years old. Bumblebee looks as he has always looked, save", "ON BUMBLEBEE AND SPIKE\n\nThey try to fly away.\n\n (CONTINUED)", "They slap palms. Then, they look up, horrified.\n\n BUMBLEBEE\n It isn't even dented.", "An incredible display of fireworks goes off, seemingly\nblowing Unicron to smithereens.\n\nON BUMBLEBEE AND SPIKE", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "They transform to robot mode and fly away.\n\n GRIMLOCK\n Me, Grimlock, need new strategy.\n\n CUT TO:", "BUMBLEBEE\n now with a new bumpersticker which is a\n Unicron with a red circle and slash\n through it, looks very fidgety.", "BUMBLEBEE\n Let's get out of here.\n\n 77.\n\n\n\nBUMBLEBEE AND SPIKE", "They clear out a circle in the center of the pit and\ntransform to humanoid mode.\n\n HOT ROD\n Didn't even bend a fender.", "And then Spike comes rolling down, followed by Bumblebee!\n\n DANIEL\n Bumblebee! Dad!\n\nON CLIFFJUMPER, JAZZ, AND SPIKE", "BLASTER\n He reacts to muffled transmission from\n Jazz.", "He looks back, and to his horror sees Jazz, Bumblebee and his\nfather about to be dropped in. He keeps firing. The panel\nstarts exploding!", "BUMBLEBEE\n Five, four, three, two, one...\n\nON THE SECOND MOON AND UNICRON\n\nBLAMMMOLA!", "BLASTS of enemy fire continue to rock the crows nest as\nPerceptor answers\n\n PERCEPTOR\n Blaster, Ultra Magnus sends orders to\n contact Optimus Prime for reinforcements.", "Now, for the first time, we see what is really going on.\nUnicron looms behind it, about to do the big munch.\n\nANGLE ON BUMBLEBEE AND SPIKE", "a metallic reef, bounces, manages to right himself, shaking\nhis head as he regains equilibrium, and... Then he transforms\ninto auto mode modified for undersea action and starts riding" ], [ "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "ON DANIEL\n Daniel, a classic twelve year old\n American boy watches the portable viewer\n which is like an over-sized Boy Scout", "He struggles to get free before he is crunched by the still\ntransforming city. In the nick of time, he shoots a \"shoe\nhorn\" like projection from his wrist and pulls his boot", "DANIEL\n (calling excitedly)\n Hurry or we'll miss it!\n\n HOT ROD\n lopes up hill after Daniel.", "BLASTER\n Lookout and shout! Yow! Explosions rock\n the Crows Nest. Blaster swivels around\n and tilts to see...", "...SCAVENGER AND SHRAPNEL, knocking them over.\n\n DANIEL (V.O.)\n Wooooh!!", "She starts helping him into the exo-suit.\n\n ON DANIEL\n as he gets inside the \"suit\" which fits\n over his body like a grid-work metal\n \"cage.\"", "SPRINGER\n Sees something in the distance.\n\n\n\n (CONTINUED)\n\n 99.\nCONTINUED:", "DANIEL\n Kup, Hot Rod! Look!\n (he points)\n\nTHEIR P.O.V. - THE CONSTRUCTICONS", "Then, he tosses the rod into the water.\n\nON DANIEL RIDING HIS HOVERBOARD UP THE HILL", "ARCEE\n (pushing, manages to speak to\n Hot Rod. She likes him but\n doesn't want to go too far)\n I was afraid you'd be trapped outside the\n city walls.", "They slap palms. Then, they look up, horrified.\n\n BUMBLEBEE\n It isn't even dented.", "The creature is KRANIX. We will meet him later on in a very\ndifferent context, but for now, he is running from the ever-\ngrowing mist that threatens to engulf him.", "DANIEL\n I'm okay. They don't even see me.\n\nANGLE ON THE AUTOBOTS", "HOT ROD\n (a flash of hope)\n Prime!\n (looks off at Prime)\n\nHIS P.O.V. - OPTIMUS PRIME", "INSIDE THE SHUTTLE\n\nSpringer grabs her hand and pulls her in, narrowly avoiding a\nbarrage Daniel is watching, terrified.\n\n DANIEL\n That was close!", "around like shards of glass hit by a .45. ... finally, he\nis engulfed by an incoming swarm, and it looks like his\nattack is foiled.", "ON RUMBLE\n as he starts PILE DRIVER MOTION on Crows\n Nest windows\n\n RUMBLE\n First we crack the shell. Then we crack\n the nuts inside.", "as it sticks out a metal tongue and gives him a LOUD\nRASPBERRY\n\n BACK TO SCENE", "ON SCAVENGER\n as he starts reaching for Daniel\n\n SCAVENGER\n Human germ!" ], [ "MEGATRON\n State your business.\n\n UNICRON\n Bring me the Autobot Matrix. It is the\n one thing - the only thing that can stand\n in my way.", "MEGATRON\n You have nothing to fear. I have already\n crushed Optimus Prime with my bare hands.\n\n UNICRON\n You exaggerate.", "UNICRON\n No. It has been passed to their new\n leader. Get it for me.\n\n MEGATRON\n Why should I? What's in it for me?", "UNICRON\n I am Unicron.\n\n MEGATRON\n Show yourself!\n\n UNICRON\n I have summoned you here for a purpose.", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "UNICRON\n Then where is the matrix?\n\n GALVATRON\n Destroyed, with him.", "ends in a blinding flash and Galvatron - who still resembles\nMegatron - laughs and flexes his muscles and stretches. His\nvoice is deeper, different from Megatron's", "MEGATRON!\n\nIn all his glory.\n\n MEGATRON\n Die Autobots!", "All of his lights go out, including his eyes.\n\n DISSOLVE TO:\n\n 31.\n\n\n\nUNICRON", "MEGATRON\n And...\n\n UNICRON\n And nothing.\n\nYou belong to me now.", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "all the Decepticons put together.\n Somehow we must destroy it before it\n devours Cybertron.", "Then, suddenly two red, burning eyes light up above the\nmatrix, and we see the hideous form of Galvatron.", "UNICRON\n Perhaps I misjudged you. Proceed on your\n way to oblivion. The Mist appears and\n starts to dissolve Megatron.", "ON MEGATRON\n as he spots a gun on the ground ahead of\n him\n\n MEGATRON\n No more, Optimus Prime! Grant me mercy,\n I beg of you!", "MEGATRON\n Fall! Fall!\n\nMegatron tosses Hot Rod aside like a rag doll and stands\nabove the dying Prime.", "UNICRON\n The matrix can not be destroyed.\n (pause)\n And Ultra Magnus lives on the planet of\n Junk. Stalk him. Cut him open! And\n bring the matrix to me.", "UNICRON\n Welcome, Megatron.\n\n MEGATRON\n (looking around)\n Who said that?", "UNICRON\n You have failed.\n\n GALVATRON\n No, Unicron. Ultra Magnus is dead." ], [ "(CONTINUED)\n\n 71.\nCONTINUED:", "(CONTINUED)\n\n 74.\nCONTINUED:", "This thing looks like a metal version of a \"venus fly trap,\"\nand it has a malevolent red eye which lights up. Swoop walks\npast it in humanoid mode.\n\n 70.", "73.\nCONTINUED:", "(CONTINUED)\n\n 17.\nCONTINUED:", "72.\nCONTINUED:", "7.\nCONTINUED:\n MEGATRON (CONT'D)\n But when we slip by their security", "(CONTINUED)\n\n 67.\nCONTINUED: (2)", "(CONTINUED)\n\n 87.\nCONTINUED:", "They run over to a small space ship as... ... The timer\ncounts down.\n\n THE SPACESHIP\n takes off.\n\nANGLE ON THE SECOND MOON", "Suddenly, boosters fire from the back side of the junk, and\nsomewhere under all of the junk, we realize is a real space\nship. Maybe the junk is the space ship. It takes off, bits\nand pieces of junk flying off as it moves.", "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "EXT. ANGLE ON THE SHIP\n\nIt sits next to a gigantic alien-made moon. Suddenly, a\nhatch opens and a massive grabber that looks like a lobster\nclaw shoots out at it.", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "(CONTINUED)\n\n 2.\nCONTINUED:\n\nPAN FORWARD to SHOW that this hideous planet is on a direct\ncollision course with...", "SPRINGER\n Sees something in the distance.\n\n\n\n (CONTINUED)\n\n 99.\nCONTINUED:", "KUP (V.O.)\n Reminds me of the Niter Slave Mines on\n Golgonath Seven....\n\n HOT ROD\n Every place reminds you of some place\n else.....", "The two robots, taken by surprise, fall backwards. PAN FROM\nthe fallen robots to an area behind a tree. For just a", "A CONTROL\n .. which controls the whole thing.\n\n ON DANIEL\n He runs up a catwalk towards it....\n\nANGLE ON DANIEL", "At first, we see nothing unusual or suspicious. Then,\npulling closer, we see that the top of the moon is covered\nwith moon camouflage \"netting\" and underneath it is a huge" ], [ "(CONTINUED)\n\n 71.\nCONTINUED:", "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "A CONTROL\n .. which controls the whole thing.\n\n ON DANIEL\n He runs up a catwalk towards it....\n\nANGLE ON DANIEL", "as a figure moves forward slightly and speaks in a harsh,\nbass'o voice. It is GRANIX. We saw him in the first scene,", "(CONTINUED)\n\n 74.\nCONTINUED:", "This thing looks like a metal version of a \"venus fly trap,\"\nand it has a malevolent red eye which lights up. Swoop walks\npast it in humanoid mode.\n\n 70.", "(CONTINUED)\n\n 2.\nCONTINUED:\n\nPAN FORWARD to SHOW that this hideous planet is on a direct\ncollision course with...", "(CONTINUED)\n\n 17.\nCONTINUED:", "SPRINGER\n Sees something in the distance.\n\n\n\n (CONTINUED)\n\n 99.\nCONTINUED:", "73.\nCONTINUED:", "His head is turned so all assembled can see. His eyes flicker\nweakly, his voice RUMBLES with overtone of vast weariness and\nresignation", "7.\nCONTINUED:\n MEGATRON (CONT'D)\n But when we slip by their security", "SPRINGER\n (translating)\n We're outnumbered!\n\nHe turns and FIRES from his hip.\n\nDIRGE IN JET MODE", "They run over to a small space ship as... ... The timer\ncounts down.\n\n THE SPACESHIP\n takes off.\n\nANGLE ON THE SECOND MOON", "All turn and look off, reacting as two Guards thunder in,\ngrab Granix and pull him back out of the door. {NOTE: Another\ninstance of the spelling of Granix}", "72.\nCONTINUED:", "(CONTINUED)\n\n 87.\nCONTINUED:", "(CONTINUED)\n\n 67.\nCONTINUED: (2)", "The two robots, taken by surprise, fall backwards. PAN FROM\nthe fallen robots to an area behind a tree. For just a", "INT. THE CORRIDOR IN UNICRON -- SAME TIME\n\nKup, Arcee, Springer and Daniel dash down the corridor.\nSuddenly, Daniel's foot is caught in a maze of wiring." ], [ "home planet of Cybertron. But from\n secret staging grounds on two of\n Cybertron's moons the valiant Autobots", "There are TWO MECHANISTIC MOONS orbiting the huge planet\nCybertron. But we are most concerned with a small, greenish\nmetal one.", "The massive planet transforms, arms and legs fold out of the\nenormous body, hands unfold from the arms, jets from it's\nback propel it towards... ... Cybertron, which, now looks\nlonely and vulnerable in space.", "ANOTHER MOON\n This is the second moon. It is much\n closer to Cybertron than the first one.\n This is where Bumblebee and Spike are\n stationed.", "CYCLONUS\n The Autobots have been terminated!", "Their bodies are turned from battered Decepticons to...\n\n\n\n\n (CONTINUED)\n\n 36.\nCONTINUED:", "NARRATOR\n It is the year 2005. The treacherous\n Decepticons have conquered the Autobots'", "cache of futuristic weapons. This is the Autobot staging\nground for an assault on Cybertron. DOLLY THROUGH THE COMPLEX\nuntil we arrive at a Command Center where several Autobots", "THEIR BATTLE\n shakes the Earth...\n\n...buckling City walls, menacing the Autobots inside. Hot\nRod and Kup are released during the struggle.", "Unicron's head orbits Cybertron. PAN to Cybertron where and\nPUSH IN on Rodimus Prime, Arcee, Kup, Springer, Ultra Magnus,", "ANGLE ON CYBERTRON\n\nDecepticon troopers man a massive gun emplacement as... ...\nUnicron's huge hand reaches down... ... scraping buildings\nand... ... tearing out gun emplacements.", "HOT ROD\n (continuing)\n Time out, for Cybertron's sake!\n\nON AUTO-COMBATANT'S FACE", "They charge Kup and Hot Rod Kup and Hot Rod fire into them,\ndestroying several, but are.... ... Soon overrun. The\nSharkticons crawl all over them, munching on their metal.", "EXT. THE SECOND MOON OF CYBERTRON\n\nPAN ACROSS an enormous stockpile of weaponry as we hear the\nterrible roar we have come to associate with Unicron.", "all the Decepticons put together.\n Somehow we must destroy it before it\n devours Cybertron.", "streak out of Cybertron and begin firing on the enormous\nplanet. Here, we see the true scale of Unicron. The fighters\nare the size of bees as they attack.\n\nANGLE ON UNICRON", "At first, we see only the face of a sinister Quintesson\ngatekeeper, backed up by heavily armed Sharkticons.\n\n QUINTESSON\n Greetings, noble strangers.", "ON STARSCREAM AND MEGATRON\n\nAs they enter the now empty ship, a number of Decepticons\nflood past them, taking positions and searching for other\nliving Autobots.", "Ultra Magnus in car carrier mode barrels out of city carrying\nseveral Autobots. He and the others transform into robot\nmode and fire lasers at the Decepticons.", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees..." ], [ "Optimus Prime leader and hero of the Autobots charges into\ncertain doom. As he battles his way through the Decepticons,", "THE AUTOBOT LEADERSHIP MATRIX,\n\n-- and holds it for a moment in his hand.\n\nANGLE ON ALL", "OPTIMUS PRIME\n (gasping)\n Nor was I, but one day, an Autobot shall\n rise from our ranks and use the powers of\n the Matrix to light our darkest hour.", "RODIMUS PRIME\n Autobots, transform and roll out. Rodimus\n Prime transforms into truck mode as the", "other Autobots also transform. Daniel\n and Spike jump into him. Then, in a\n continuous line, he shoots off, the other\n Autobots racing behind him.", "He holds the Autobot Matrix.\n\n\n (CONTINUED)\n\n 84.\nCONTINUED:", "Autobot and ULTRA MAGNUS, the large and\n soldierly City Commander.", "Ultra Magnus in car carrier mode barrels out of city carrying\nseveral Autobots. He and the others transform into robot\nmode and fire lasers at the Decepticons.", "OPTIMUS PRIME\n (reaches up with right hand\n with great effort)\n Ultra Magnus! It is to you, old friend,\n I shall pass the matrix as it was passed\n to me ....", "Springer leads the way and Blurr, Arcee, Daniel and Perceptor\nfollow and we MOVE TO A ROAD WARRIOR STYLE CHASE as Springer", "THE OTHER AUTOBOTS\n\nseveral yards down the junk-lined corridor.\n\n PERCEPTOR (O.S.)\n Your estimated survival time is 10\n seconds.", "Ironhide transforms and Races toward a mountain, which stands\nabout a half mile from the secret Autobot facility.\n\n OPTIMUS PRIME (V.O.)\n Jazz, report security status.", "as he steps away from Junkion line of reconstruction and into\ngroup consisting of Hot Rod, Kup and Springer.\n\n SPRINGER AND OTHERS\n (Ad lib jubilation)\n Ultra Magnus!", "BLASTS of enemy fire continue to rock the crows nest as\nPerceptor answers\n\n PERCEPTOR\n Blaster, Ultra Magnus sends orders to\n contact Optimus Prime for reinforcements.", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "OPTIMUS PRIME\n (using remaining strength to\n makes himself heard)\n Autobots...do not grieve... Soon, I shall\n be one with the matrix.", "NARRATOR\n It is the year 2005. The treacherous\n Decepticons have conquered the Autobots'", "A distraught Ultra Magnus nods, reaches out with free hand\nand points his forefinger at Optimus Prime's chest. Then,", "BIRD'S EYE VIEW - THE AUTOBOTS\n\nThey dash through the maze-like walls of junk, pursued by\nSweeps, who strike them from above...", "ON SPRINGER\n as he stops and Arcee, Daniel, Perceptor\n and Blurr stop around him. They close\n ranks and look out at the Junkions grimly" ], [ "This is the closest thing the Decepticons have to a throne\nroom. It is a massive, circular room with tombs of old\nleaders, and a raised area where Starscream stands.\n\n 37.", "The Decepticon leader stands a hundred yards away, vanishing\nand reappearing with the shifting waves of Generic\nDecepticons that charge back and forth.\n\n PRIME (V.O.)\n No matter the cost.", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "STARSCREAM\n Well, as Megatron has, how shall we say -\n departed. I nominate myself as the new\n leader.\n\nON THE CONSTRUCTICONS", "UNICRON\n No. It has been passed to their new\n leader. Get it for me.\n\n MEGATRON\n Why should I? What's in it for me?", "ON STARSCREAM AND MEGATRON\n\nAs they enter the now empty ship, a number of Decepticons\nflood past them, taking positions and searching for other\nliving Autobots.", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "Optimus Prime leader and hero of the Autobots charges into\ncertain doom. As he battles his way through the Decepticons,", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "UNICRON\n I am Unicron.\n\n MEGATRON\n Show yourself!\n\n UNICRON\n I have summoned you here for a purpose.", "Then, suddenly two red, burning eyes light up above the\nmatrix, and we see the hideous form of Galvatron.", "charges headlong into the Decepticon forces which separate\nhim from Megatron. Decepticons fire on him, but he takes\nthe shots, and... Spinning and whirling like the Sundance", "ends in a blinding flash and Galvatron - who still resembles\nMegatron - laughs and flexes his muscles and stretches. His\nvoice is deeper, different from Megatron's", "SHOCKWAVE\n Decepticons...we're under\n attack...Scramble - Then his voice is cut\n off as...\n\nSHOCKWAVE'S POV - OUT HIS WINDOW", "MEGATRON\n You have nothing to fear. I have already\n crushed Optimus Prime with my bare hands.\n\n UNICRON\n You exaggerate.", "NARRATOR\n It is the year 2005. The treacherous\n Decepticons have conquered the Autobots'", "UNICRON\n Perhaps I misjudged you. Proceed on your\n way to oblivion. The Mist appears and\n starts to dissolve Megatron.", "(they look at each other) What did he say his name was. He\ndidn't.\n\n GALVATRON\n Galvatron.\n\nDECEPTICONS", "UNICRON\n You have failed.\n\n GALVATRON\n No, Unicron. Ultra Magnus is dead.", "(CONTINUED)\n\n 11.\nCONTINUED:\n\n\n HOUND\n Decepticons!" ], [ "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "ULTRA MAGNUS\n Hurry!\n\nBlurr blurs up ramp. Arcee reaches the ramp as the shuttle\ntakes off horizontally.", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "EXT. SPACE - LATER\n\nMegatron and the other dented, dinged and dead Decepticon\nbodies float through space. we follow the wailing Megatron\nand the others down to:", "UNICRON\n No. It has been passed to their new\n leader. Get it for me.\n\n MEGATRON\n Why should I? What's in it for me?", "The massive planet transforms, arms and legs fold out of the\nenormous body, hands unfold from the arms, jets from it's\nback propel it towards... ... Cybertron, which, now looks\nlonely and vulnerable in space.", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "Rotating satellite dishes on the surface spark with\nelectricity. Dissolve inside Unicron to reveal scenes of\nPrime's death and the passing of the Matrix to Ultra Magnus", "BLASTS of enemy fire continue to rock the crows nest as\nPerceptor answers\n\n PERCEPTOR\n Blaster, Ultra Magnus sends orders to\n contact Optimus Prime for reinforcements.", "as Arcee transforms and moves off in one direction. Daniel\nlooks at Blurr who is starting to transform\n\n\n\n (CONTINUED)", "INT. THE CORRIDOR IN UNICRON -- SAME TIME\n\nKup, Arcee, Springer and Daniel dash down the corridor.\nSuddenly, Daniel's foot is caught in a maze of wiring.", "shot. Then, slowly, Ultra Magnus moves it into his own chest,\ncloses the door, and the light is gone, save for a momentary,\nand extremely powerful glow from his eyes.", "Then, suddenly two red, burning eyes light up above the\nmatrix, and we see the hideous form of Galvatron.", "Everyone is in a jumbled tangle - Ultra Magnus beneath Blurr,\nPerceptor upside down and hanging from torn end of stairway,\nArcee crouched over Daniel and Springer with half his body\nsticking through the hull", "Where Springer and Arcee clear the twisted remains of Autobot\ndefenders away from a CATAPULT LIKE TORPEDO LAUNCHER.\n\nPOV - THROUGH LAUNCHER PORT", "ends in a blinding flash and Galvatron - who still resembles\nMegatron - laughs and flexes his muscles and stretches. His\nvoice is deeper, different from Megatron's", "ANGLE ON THE COCKPIT\n\nArcee, Perceptor, Springer, Blurr are crowded together in\ncramped remnant of cockpit as Daniel and Ultra Magnus sit at\nthe control deck", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "Unicron's head orbits Cybertron. PAN to Cybertron where and\nPUSH IN on Rodimus Prime, Arcee, Kup, Springer, Ultra Magnus," ], [ "He holds the Autobot Matrix.\n\n\n (CONTINUED)\n\n 84.\nCONTINUED:", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "shot. Then, slowly, Ultra Magnus moves it into his own chest,\ncloses the door, and the light is gone, save for a momentary,\nand extremely powerful glow from his eyes.", "EXT. SPACE - THE BATTLE\n\nUnicron shoots down more Decepticons with his remaining eye,\nwhile he crushes the Junkion ship.\n\nINT. THE JUNKION SHIP", "He looks back, and to his horror sees Jazz, Bumblebee and his\nfather about to be dropped in. He keeps firing. The panel\nstarts exploding!", "All of his lights go out, including his eyes.\n\n DISSOLVE TO:\n\n 31.\n\n\n\nUNICRON", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "An incredible display of fireworks goes off, seemingly\nblowing Unicron to smithereens.\n\nON BUMBLEBEE AND SPIKE", "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:", "OPTIMUS PRIME\n (reaches up with right hand\n with great effort)\n Ultra Magnus! It is to you, old friend,\n I shall pass the matrix as it was passed\n to me ....", "ends in a blinding flash and Galvatron - who still resembles\nMegatron - laughs and flexes his muscles and stretches. His\nvoice is deeper, different from Megatron's", "Then, suddenly two red, burning eyes light up above the\nmatrix, and we see the hideous form of Galvatron.", "Pan as Hot Rod looks over various different bits of junk,\nuntil he sees the glowing shape of the Autobot Matrix\napparently suspended in mid air.\n\n HOT ROD\n The Autobot Matrix!", "Hot Rod arrives at a viewing platform carved in mountainside\nand TRANSFORMS back to humanoid mode. Daniel rushes to a set\nof PUBLIC VIEWING BINOCULARS and peers into them.", "as Moon shatters like a hollow egg and is sucked completely\ninto Unicron's maw which closes around it with a snap.\n\n CUT TO:", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "Rotating satellite dishes on the surface spark with\nelectricity. Dissolve inside Unicron to reveal scenes of\nPrime's death and the passing of the Matrix to Ultra Magnus", "He stands on a ledge on Unicron and desperately tries to open\nthe matrix, but no cigar.\n\n GALVATRON\n No!!!\n\nANGLE ON CYBERTRON", "Until all are one... Continue the struggle... (sags, gasps,\nhanging on) Transfer the Matrix of Leadership.\n\nTIGHTEN SHOT ON ULTRA MAGNUS AND OPTIMUS PRIME", "EXT. SPACE - LATER\n\nMegatron and the other dented, dinged and dead Decepticon\nbodies float through space. we follow the wailing Megatron\nand the others down to:" ], [ "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "At first, we see only the face of a sinister Quintesson\ngatekeeper, backed up by heavily armed Sharkticons.\n\n QUINTESSON\n Greetings, noble strangers.", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "SHOCKWAVE\n Decepticons...we're under\n attack...Scramble - Then his voice is cut\n off as...\n\nSHOCKWAVE'S POV - OUT HIS WINDOW", "Hot Rod's vision, now, infinitely better than human vision,\nspots something truly disturbing -- -- Starscream, and\nseveral Constructicons inside the ship!", "ON STARSCREAM AND MEGATRON\n\nAs they enter the now empty ship, a number of Decepticons\nflood past them, taking positions and searching for other\nliving Autobots.", "UNICRON\n No. It has been passed to their new\n leader. Get it for me.\n\n MEGATRON\n Why should I? What's in it for me?", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "This is the closest thing the Decepticons have to a throne\nroom. It is a massive, circular room with tombs of old\nleaders, and a raised area where Starscream stands.\n\n 37.", "MEGATRON\n State your business.\n\n UNICRON\n Bring me the Autobot Matrix. It is the\n one thing - the only thing that can stand\n in my way.", "NARRATOR\n It is the year 2005. The treacherous\n Decepticons have conquered the Autobots'", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "ON WAVES SPREADING THROUGH SPACE\n\n CUT TO:\n\nMEGATRON LEADING ASSAULT ON TRANSFORMED AUTOBOT CITY", "They transform to robot mode and fly away.\n\n GRIMLOCK\n Me, Grimlock, need new strategy.\n\n CUT TO:", "Spike and the Autobots are about to go in.\n\n CLIFFJUMPER\n Hurry!\n\n DANIEL\n Starts frying the command console!", "They charge Kup and Hot Rod Kup and Hot Rod fire into them,\ndestroying several, but are.... ... Soon overrun. The\nSharkticons crawl all over them, munching on their metal.", "In mid-air\n\n MEGATRON\n (shouting to forces)\n Attack!\n (he looks down and fires)\n\nHOT ROD AND DANIEL" ], [ "WRECK-GAR\n No fuss, no muss.\n (to others)\n Hurry, hurry. Sale must end! Rush right\n on down to bridge and test drive latest\n with no obligation.", "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "a metallic reef, bounces, manages to right himself, shaking\nhis head as he regains equilibrium, and... Then he transforms\ninto auto mode modified for undersea action and starts riding", "DANIEL\n Kup, Hot Rod! Look!\n (he points)\n\nTHEIR P.O.V. - THE CONSTRUCTICONS", "They slap palms. Then, they look up, horrified.\n\n BUMBLEBEE\n It isn't even dented.", "WRECK-GAR\n By George kimosabes your smashed up,\n blotto friend, soon like brand new with\n ninety day warranty all iciban parts and\n labor is!", "HOT ROD\n I don't believe it.\n\nINT. THE QUINTESSON SHIP - SAME TIME", "scoops him off his hoverboard, TRANSFORMS\n to automotive mode and RIDES OVER CREST\n OF HILL with Daniel in the front seat.", "He reaches into his body, and about where a heart or some\nother organ would be, he pulls out a Watchman.\n\n THE WATCHMAN\n On it is a crazy Eddy-type commercial.", "if their vehicle breaks down, the driver will become the\nvehicle, and the vehicle will transform to become the driver.\nThey are gibbering, singing almost a wild kind of junk-rock,", "THE AUTO COMBATANT\n\nThen hammers its fists on top of his head...\n\nON HOT ROD\n\nIrked.", "KUP\n What do you know about it lad?\n\n HOT ROD\n It's just a feeling.\n\nHot Rod looks up and sees something.", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "shot. Then, slowly, Ultra Magnus moves it into his own chest,\ncloses the door, and the light is gone, save for a momentary,\nand extremely powerful glow from his eyes.", "HOT ROD\n (a flash of hope)\n Prime!\n (looks off at Prime)\n\nHIS P.O.V. - OPTIMUS PRIME", "HOT ROD\n (SHOUTING)\n WHoooooooaaah\n\nANGLE ON BOTTOM OF MOUNTAIN SLOPE - BLITZWING", "His head is turned so all assembled can see. His eyes flicker\nweakly, his voice RUMBLES with overtone of vast weariness and\nresignation", "ANGLE ON THE ASSEMBLY LINE\n\nJazz drops in, then Bumblebee, then Spike.\n\n DANIEL\n turns around and sees this.", "Suddenly, boosters fire from the back side of the junk, and\nsomewhere under all of the junk, we realize is a real space\nship. Maybe the junk is the space ship. It takes off, bits\nand pieces of junk flying off as it moves.", "HOT ROD\n What!?\n\nDANIEL'S P.O.V - BINOCULAR MATTE - THE SHUTTLE" ], [ "BUMBLEBEE\n All clear, Jazz.\n (pause)", "He has a portable communication device. Spike and Bumble can\nbe seen on it. Springer, Kup, the Dinobots, Blurr, and Hot", "(CONTINUED)\n\n 4.\nCONTINUED:\n\n\n BUMBLEBEE\n Bumblebee and Spike here.", "BUMBLEBEE\n We'll try 'n slow it down...\n\n SPIKE\n But you'd better get here fast because...\n Suddenly, static obscures the\n transmission.", "They stand together a communication console. Spike is now\n35 years old. Bumblebee looks as he has always looked, save", "ON BUMBLEBEE AND SPIKE\n\nThey try to fly away.\n\n (CONTINUED)", "They slap palms. Then, they look up, horrified.\n\n BUMBLEBEE\n It isn't even dented.", "An incredible display of fireworks goes off, seemingly\nblowing Unicron to smithereens.\n\nON BUMBLEBEE AND SPIKE", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "They transform to robot mode and fly away.\n\n GRIMLOCK\n Me, Grimlock, need new strategy.\n\n CUT TO:", "BUMBLEBEE\n now with a new bumpersticker which is a\n Unicron with a red circle and slash\n through it, looks very fidgety.", "BUMBLEBEE\n Let's get out of here.\n\n 77.\n\n\n\nBUMBLEBEE AND SPIKE", "They clear out a circle in the center of the pit and\ntransform to humanoid mode.\n\n HOT ROD\n Didn't even bend a fender.", "And then Spike comes rolling down, followed by Bumblebee!\n\n DANIEL\n Bumblebee! Dad!\n\nON CLIFFJUMPER, JAZZ, AND SPIKE", "BLASTER\n He reacts to muffled transmission from\n Jazz.", "He looks back, and to his horror sees Jazz, Bumblebee and his\nfather about to be dropped in. He keeps firing. The panel\nstarts exploding!", "BUMBLEBEE\n Five, four, three, two, one...\n\nON THE SECOND MOON AND UNICRON\n\nBLAMMMOLA!", "BLASTS of enemy fire continue to rock the crows nest as\nPerceptor answers\n\n PERCEPTOR\n Blaster, Ultra Magnus sends orders to\n contact Optimus Prime for reinforcements.", "Now, for the first time, we see what is really going on.\nUnicron looms behind it, about to do the big munch.\n\nANGLE ON BUMBLEBEE AND SPIKE", "a metallic reef, bounces, manages to right himself, shaking\nhis head as he regains equilibrium, and... Then he transforms\ninto auto mode modified for undersea action and starts riding" ], [ "shot. Then, slowly, Ultra Magnus moves it into his own chest,\ncloses the door, and the light is gone, save for a momentary,\nand extremely powerful glow from his eyes.", "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "He reaches into his body, and about where a heart or some\nother organ would be, he pulls out a Watchman.\n\n THE WATCHMAN\n On it is a crazy Eddy-type commercial.", "He bashes in Megatron's torso casing, fracturing the sides\nwhich split, spilling wires, fuses, lights, circuitry.", "around like shards of glass hit by a .45. ... finally, he\nis engulfed by an incoming swarm, and it looks like his\nattack is foiled.", "pressing a button on Prime's chest, a small, secret doorway\nopens, and we see something extremely bright glowing in\nthere. Ultra Magnus, nearly blinded by the intense light,", "...denting the walls and causing the\n electronic panels inside to short\n circuit, surrounding them with a fiery\n nimbus of crackling electrical energy.", "Unicron writhes in space, tearing himself apart, ripping off\na leg, and sending out sparks like a roman candle.\n\n CUT TO:", "BLAAAM!\n\nHe hits the panel and lights and sparks fly out, causing the\ngigantic robot to flicker momentarily.\n\nANGLE ON UNICRON", "give them an Energon goody. Kup reaches\n into his belt, presses a button and pulls\n out an Energon cube. Hot Rod, somewhat", "All of his lights go out, including his eyes.\n\n DISSOLVE TO:\n\n 31.\n\n\n\nUNICRON", "He reaches the flickering panel.\n\n DANIEL\n What do I do? It doesn't have any\n buttons or anything.\n\nANGLE ON SPIKE - TRACKING", "His head is turned so all assembled can see. His eyes flicker\nweakly, his voice RUMBLES with overtone of vast weariness and\nresignation", "He looks down.\n\n SPIKE\n Shoot it, Son.\n\n DANIEL\n But I don't have a gun.", "He looks down at his hand and concentrates as hard as he can.\nThen, a spark comes out. It grows longer.\n\nANGLE ON THE MACHINE", "When it is hit, it pours a torrent of liquid which... ...\nGoes over the swarm of Antibodies, but hits Daniel... ...\nCarrying him away in a flood of glowing liquid.", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "charges headlong into the Decepticon forces which separate\nhim from Megatron. Decepticons fire on him, but he takes\nthe shots, and... Spinning and whirling like the Sundance", "An arm and a leg dangle uselessly as the Autobot essence\nspreads throughout the body, blowing circuits. Suddenly,", "He struggles to get free before he is crunched by the still\ntransforming city. In the nick of time, he shoots a \"shoe\nhorn\" like projection from his wrist and pulls his boot" ], [ "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:", "The last of the weak Decepticons is tossed, and the others\ndust off their hands.", "The ship is packed with living, dead and wounded Decepticons.\nStarscream addresses them like an Athenian Orator.", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "... Several Decepticon troopers hanging from cables like\nshirts at a dry cleaners are dropped into the bubbling vat,\nand in moments converted to nothing... ... Then, Cliffjumper\nand Jazz roll out of the line...", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "EXT. SPACE - LATER\n\nMegatron and the other dented, dinged and dead Decepticon\nbodies float through space. we follow the wailing Megatron\nand the others down to:", "This is the closest thing the Decepticons have to a throne\nroom. It is a massive, circular room with tombs of old\nleaders, and a raised area where Starscream stands.\n\n 37.", "Their bodies are turned from battered Decepticons to...\n\n\n\n\n (CONTINUED)\n\n 36.\nCONTINUED:", "An arm and a leg dangle uselessly as the Autobot essence\nspreads throughout the body, blowing circuits. Suddenly,", "EXT. SPACE - THE BATTLE\n\nUnicron shoots down more Decepticons with his remaining eye,\nwhile he crushes the Junkion ship.\n\nINT. THE JUNKION SHIP", "The Junkions move Ultra Magnus' mangled body through an\namazing assembly line, quickly piecing together his body\nparts, using junk when they can't find a part. Then, they", "MEGATRON\n The point is, he is dead! And the Matrix\n died with him.", "They transform to robot mode and fly away.\n\n GRIMLOCK\n Me, Grimlock, need new strategy.\n\n CUT TO:", "All of his lights go out, including his eyes.\n\n DISSOLVE TO:\n\n 31.\n\n\n\nUNICRON", "Rotating satellite dishes on the surface spark with\nelectricity. Dissolve inside Unicron to reveal scenes of\nPrime's death and the passing of the Matrix to Ultra Magnus", "ANGLE ON THE SHIP\n\nAs the ship tumbles through, it dumps off the various\nAutobots like rubbish and disintegrates.\n\nANGLE ON HOT ROD", "As it explodes, flinging the Autobots inside down toward the\nQuintesson's planet.\n\n CUT TO:", "They charge Kup and Hot Rod Kup and Hot Rod fire into them,\ndestroying several, but are.... ... Soon overrun. The\nSharkticons crawl all over them, munching on their metal.", "machine and is crunched into energon\n cubes, while the solid material, is\n separated into it's component metals and\n plastics, formed into ingots and sent" ], [ "home planet of Cybertron. But from\n secret staging grounds on two of\n Cybertron's moons the valiant Autobots", "Optimus Prime leader and hero of the Autobots charges into\ncertain doom. As he battles his way through the Decepticons,", "OPTIMUS PRIME\n (gasping)\n Nor was I, but one day, an Autobot shall\n rise from our ranks and use the powers of\n the Matrix to light our darkest hour.", "The massive planet transforms, arms and legs fold out of the\nenormous body, hands unfold from the arms, jets from it's\nback propel it towards... ... Cybertron, which, now looks\nlonely and vulnerable in space.", "NARRATOR\n It is the year 2005. The treacherous\n Decepticons have conquered the Autobots'", "cache of futuristic weapons. This is the Autobot staging\nground for an assault on Cybertron. DOLLY THROUGH THE COMPLEX\nuntil we arrive at a Command Center where several Autobots", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "Unicron's head orbits Cybertron. PAN to Cybertron where and\nPUSH IN on Rodimus Prime, Arcee, Kup, Springer, Ultra Magnus,", "RODIMUS PRIME\n Autobots, transform and roll out. Rodimus\n Prime transforms into truck mode as the", "He holds the Autobot Matrix.\n\n\n (CONTINUED)\n\n 84.\nCONTINUED:", "Autobot and ULTRA MAGNUS, the large and\n soldierly City Commander.", "UNICRON\n No. It has been passed to their new\n leader. Get it for me.\n\n MEGATRON\n Why should I? What's in it for me?", "There are TWO MECHANISTIC MOONS orbiting the huge planet\nCybertron. But we are most concerned with a small, greenish\nmetal one.", "all the Decepticons put together.\n Somehow we must destroy it before it\n devours Cybertron.", "THE OTHER AUTOBOTS\n\nseveral yards down the junk-lined corridor.\n\n PERCEPTOR (O.S.)\n Your estimated survival time is 10\n seconds.", "THEIR P.O.V. - UNICRON Destroying CYBERTRON\n\n HOT ROD (V.O.)\n Doesn't it remind you of something, Kup?", "This is the closest thing the Decepticons have to a throne\nroom. It is a massive, circular room with tombs of old\nleaders, and a raised area where Starscream stands.\n\n 37.", "THE AUTOBOT LEADERSHIP MATRIX,\n\n-- and holds it for a moment in his hand.\n\nANGLE ON ALL", "OPTIMUS PRIME\n (reaches up with right hand\n with great effort)\n Ultra Magnus! It is to you, old friend,\n I shall pass the matrix as it was passed\n to me ....", "ANGLE ON OPTIMUS PRIME\n\nHe stands over a holographic map which shows various invasion\nplans for Cybertron." ], [ "This is the closest thing the Decepticons have to a throne\nroom. It is a massive, circular room with tombs of old\nleaders, and a raised area where Starscream stands.\n\n 37.", "UNICRON\n No. It has been passed to their new\n leader. Get it for me.\n\n MEGATRON\n Why should I? What's in it for me?", "The Decepticon leader stands a hundred yards away, vanishing\nand reappearing with the shifting waves of Generic\nDecepticons that charge back and forth.\n\n PRIME (V.O.)\n No matter the cost.", "all the Decepticons put together.\n Somehow we must destroy it before it\n devours Cybertron.", "NARRATOR\n It is the year 2005. The treacherous\n Decepticons have conquered the Autobots'", "ON STARSCREAM AND MEGATRON\n\nAs they enter the now empty ship, a number of Decepticons\nflood past them, taking positions and searching for other\nliving Autobots.", "home planet of Cybertron. But from\n secret staging grounds on two of\n Cybertron's moons the valiant Autobots", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "UNICRON\n I am Unicron.\n\n MEGATRON\n Show yourself!\n\n UNICRON\n I have summoned you here for a purpose.", "The massive planet transforms, arms and legs fold out of the\nenormous body, hands unfold from the arms, jets from it's\nback propel it towards... ... Cybertron, which, now looks\nlonely and vulnerable in space.", "There are TWO MECHANISTIC MOONS orbiting the huge planet\nCybertron. But we are most concerned with a small, greenish\nmetal one.", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "ends in a blinding flash and Galvatron - who still resembles\nMegatron - laughs and flexes his muscles and stretches. His\nvoice is deeper, different from Megatron's", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "charges headlong into the Decepticon forces which separate\nhim from Megatron. Decepticons fire on him, but he takes\nthe shots, and... Spinning and whirling like the Sundance", "UNICRON\n You have failed.\n\n GALVATRON\n No, Unicron. Ultra Magnus is dead.", "MEGATRON\n You have nothing to fear. I have already\n crushed Optimus Prime with my bare hands.\n\n UNICRON\n You exaggerate.", "Optimus Prime leader and hero of the Autobots charges into\ncertain doom. As he battles his way through the Decepticons,", "He roars with a mad power-rush, gets into Cyclonus (who will\nbe his personal ship) and leading the armada, takes off for\nthe distant stars." ], [ "NARRATOR\n It is the year 2005. The treacherous\n Decepticons have conquered the Autobots'", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "Then, suddenly two red, burning eyes light up above the\nmatrix, and we see the hideous form of Galvatron.", "EXT. SPACE - LATER\n\nMegatron and the other dented, dinged and dead Decepticon\nbodies float through space. we follow the wailing Megatron\nand the others down to:", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "UNICRON\n I am Unicron.\n\n MEGATRON\n Show yourself!\n\n UNICRON\n I have summoned you here for a purpose.", "UNICRON\n No. It has been passed to their new\n leader. Get it for me.\n\n MEGATRON\n Why should I? What's in it for me?", "Megatron falls! Prime falls to his knees, tries to rise,\ncollapses to his side and falls slowly back. HOT ROD runs\nover to him.", "ends in a blinding flash and Galvatron - who still resembles\nMegatron - laughs and flexes his muscles and stretches. His\nvoice is deeper, different from Megatron's", "At first, we see only the face of a sinister Quintesson\ngatekeeper, backed up by heavily armed Sharkticons.\n\n QUINTESSON\n Greetings, noble strangers.", "UNICRON\n You have failed.\n\n GALVATRON\n No, Unicron. Ultra Magnus is dead.", "Everyone is in a jumbled tangle - Ultra Magnus beneath Blurr,\nPerceptor upside down and hanging from torn end of stairway,\nArcee crouched over Daniel and Springer with half his body\nsticking through the hull", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:", "UNICRON\n Welcome, Megatron.\n\n MEGATRON\n (looking around)\n Who said that?", "MEGATRON\n Nobody summons Megatron!\n\n UNICRON\n Then it pleases me to be the first.", "Hot Rod pulls Daniel back as Megatron's BLAST SHEARS OFF the\nVIEWING PLATFORM which crumbles and falls down the steep\nmountain!\n\n HOT ROD\n Hang on!", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "Rotating satellite dishes on the surface spark with\nelectricity. Dissolve inside Unicron to reveal scenes of\nPrime's death and the passing of the Matrix to Ultra Magnus" ], [ "He looks back, and to his horror sees Jazz, Bumblebee and his\nfather about to be dropped in. He keeps firing. The panel\nstarts exploding!", "DANIEL\n Wow! Dad's exo-suit. He told me about\n it but I never saw it.\n\n ARCEE\n Here, try it on.", "OPTIMUS PRIME\n (reaches up with right hand\n with great effort)\n Ultra Magnus! It is to you, old friend,\n I shall pass the matrix as it was passed\n to me ....", "As Daniel looks up and Arcee moves over to him protectively.\nHot Rod looks at Arcee in the same way she is looking at\nDaniel.\n\n ARCEE\n Stay close to me, Daniel...", "SPIKE\n Hey, Ironhide, tell my son, Daniel, I\n miss him, and tell him I'll be coming\n home as soon as we've kicked Megatron's\n tail across the galaxy.", "(CONTINUED)\n\n 4.\nCONTINUED:\n\n\n BUMBLEBEE\n Bumblebee and Spike here.", "ARCEE\n The Decepticons are retreating.\n\n KUP\n Prime did it. He turned the tide! He\n shoots (O.S.) into...", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "as Arcee transforms and moves off in one direction. Daniel\nlooks at Blurr who is starting to transform\n\n\n\n (CONTINUED)", "other Autobots also transform. Daniel\n and Spike jump into him. Then, in a\n continuous line, he shoots off, the other\n Autobots racing behind him.", "He suddenly flips around twice in mid-air then regains his\nfeet and leans way over against Arcee for support. She laughs\nand pats his shoulder", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "(CONTINUED)\n\n 20.\nCONTINUED:\n\n\nArcee starts to push beside him.", "And then Spike comes rolling down, followed by Bumblebee!\n\n DANIEL\n Bumblebee! Dad!\n\nON CLIFFJUMPER, JAZZ, AND SPIKE", "Megatron falls! Prime falls to his knees, tries to rise,\ncollapses to his side and falls slowly back. HOT ROD runs\nover to him.", "BUMBLEBEE\n We'll try 'n slow it down...\n\n SPIKE\n But you'd better get here fast because...\n Suddenly, static obscures the\n transmission.", "Everyone is in a jumbled tangle - Ultra Magnus beneath Blurr,\nPerceptor upside down and hanging from torn end of stairway,\nArcee crouched over Daniel and Springer with half his body\nsticking through the hull", "He holds the Autobot Matrix.\n\n\n (CONTINUED)\n\n 84.\nCONTINUED:", "ARCEE\n I think Daniel can make himself useful\n with....this! It used to be Spike's.\n (holds Grid-like metal frame\n \"suit\")", "INT. THE CORRIDOR IN UNICRON -- SAME TIME\n\nKup, Arcee, Springer and Daniel dash down the corridor.\nSuddenly, Daniel's foot is caught in a maze of wiring." ], [ "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "96.\nCONTINUED:\n\n\n HOT ROD\n I knew there had to be a first time....\n (using intercom)\n Battle stations!", "DANIEL\n Kup, Hot Rod! Look!\n (he points)\n\nTHEIR P.O.V. - THE CONSTRUCTICONS", "WRECK-GAR\n No fuss, no muss.\n (to others)\n Hurry, hurry. Sale must end! Rush right\n on down to bridge and test drive latest\n with no obligation.", "a metallic reef, bounces, manages to right himself, shaking\nhis head as he regains equilibrium, and... Then he transforms\ninto auto mode modified for undersea action and starts riding", "DANIEL\n (calling excitedly)\n Hurry or we'll miss it!\n\n HOT ROD\n lopes up hill after Daniel.", "HOT ROD\n What!?\n\nDANIEL'S P.O.V - BINOCULAR MATTE - THE SHUTTLE", "THE AUTO COMBATANT\n\nThen hammers its fists on top of his head...\n\nON HOT ROD\n\nIrked.", "scoops him off his hoverboard, TRANSFORMS\n to automotive mode and RIDES OVER CREST\n OF HILL with Daniel in the front seat.", "HOT ROD\n I don't have to explain my so called\n violation to you or anyone...\n\n KUP\n (tugs him along roughly)\n He said \"later!\"", "(CONTINUED)", "He reaches into his body, and about where a heart or some\nother organ would be, he pulls out a Watchman.\n\n THE WATCHMAN\n On it is a crazy Eddy-type commercial.", "improperly so it wobbles and he rides\n unevenly with much chugging and oil\n spewing", "HOT ROD\n (a flash of hope)\n Prime!\n (looks off at Prime)\n\nHIS P.O.V. - OPTIMUS PRIME", "WRECK-GAR\n By George kimosabes your smashed up,\n blotto friend, soon like brand new with\n ninety day warranty all iciban parts and\n labor is!", "HOT ROD\n But what about our problems. We need a\n ship.\n\n WHEELIE\n WHEELIE You get a ship if I get a trip.", "KUP\n What do you know about it lad?\n\n HOT ROD\n It's just a feeling.\n\nHot Rod looks up and sees something.", "HOT ROD\n (nodding, smiling)\n Bah weep graaaagnah wheep ni ni bong?\n (MORE)\n\n\n (CONTINUED)", "HOT ROD\n This is it! Now take a squint through\n those babies.\n\n DANIEL\n Hot Rod, look! There's a hole in the\n shuttle!", "HOT ROD\n (sarcastic)\n Sure, that's all I got to think about.\n\n KUP\n I know what part you forgot." ], [ "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "All of his lights go out, including his eyes.\n\n DISSOLVE TO:\n\n 31.\n\n\n\nUNICRON", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "UNICRON\n Then where is the matrix?\n\n GALVATRON\n Destroyed, with him.", "Spike and the Autobots are about to go in.\n\n CLIFFJUMPER\n Hurry!\n\n DANIEL\n Starts frying the command console!", "INT. UNICRON'S HEAD - SAME TIME\n\nThe cruiser rips through the eye socket and smashes through\nseveral electrical membranes that are, in fact, Unicron's\nbrain.", "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "systems in their own ship and destroy\n Autobot city, the Autobots will be\n vanquished forever!", "EXT. SPACE - THE BATTLE\n\nUnicron shoots down more Decepticons with his remaining eye,\nwhile he crushes the Junkion ship.\n\nINT. THE JUNKION SHIP", "cache of futuristic weapons. This is the Autobot staging\nground for an assault on Cybertron. DOLLY THROUGH THE COMPLEX\nuntil we arrive at a Command Center where several Autobots", "SHOCKWAVE\n Decepticons...we're under\n attack...Scramble - Then his voice is cut\n off as...\n\nSHOCKWAVE'S POV - OUT HIS WINDOW", "As yet more Decepticon fighters rip out of the planet, it\nlooks like Unicron is going to have a field day tearing it\napart.\n\n CUT TO:", "EXT. SPACE - LATER\n\nMegatron and the other dented, dinged and dead Decepticon\nbodies float through space. we follow the wailing Megatron\nand the others down to:", "UNICRON\n The matrix can not be destroyed.\n (pause)\n And Ultra Magnus lives on the planet of\n Junk. Stalk him. Cut him open! And\n bring the matrix to me.", "as Moon shatters like a hollow egg and is sucked completely\ninto Unicron's maw which closes around it with a snap.\n\n CUT TO:", "At first, we see only the face of a sinister Quintesson\ngatekeeper, backed up by heavily armed Sharkticons.\n\n QUINTESSON\n Greetings, noble strangers.", "As it explodes, flinging the Autobots inside down toward the\nQuintesson's planet.\n\n CUT TO:", "(CONTINUED)\n\n 18.\nCONTINUED:\n\n\n MEGATRON\n Soundwave! Jam that transmission." ], [ "Springer leads the way and Blurr, Arcee, Daniel and Perceptor\nfollow and we MOVE TO A ROAD WARRIOR STYLE CHASE as Springer", "and Arcee ride on either side of Daniel and Perceptor with\nBlurr bringing up the rear- - zig zagging back and forth to\nkeep the Junkions from getting at Daniel.", "INT. THE CORRIDOR IN UNICRON -- SAME TIME\n\nKup, Arcee, Springer and Daniel dash down the corridor.\nSuddenly, Daniel's foot is caught in a maze of wiring.", "other Autobots also transform. Daniel\n and Spike jump into him. Then, in a\n continuous line, he shoots off, the other\n Autobots racing behind him.", "They transform to robot mode and fly away.\n\n GRIMLOCK\n Me, Grimlock, need new strategy.\n\n CUT TO:", "GALVATRON\n flies up to a ridge in advance of his\n forces, motioning to them to split off\n and follow...\n\nEXT. JUNKION - THE CHASE", "BIRD'S EYE VIEW - THE AUTOBOTS\n\nThey dash through the maze-like walls of junk, pursued by\nSweeps, who strike them from above...", "Everyone is in a jumbled tangle - Ultra Magnus beneath Blurr,\nPerceptor upside down and hanging from torn end of stairway,\nArcee crouched over Daniel and Springer with half his body\nsticking through the hull", "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:", "(CONTINUED)\n\n 69.\nCONTINUED:\n\n\nWith that, the four Dinobots head towards the \"primrose\npath.\"", "Prime stands outside the dented shuttle with Sunstreaker and\nHound. As he talks he shoots at a swarm of Decepticons who\nbattle their way towards him.", "ON SPRINGER\n as he stops and Arcee, Daniel, Perceptor\n and Blurr stop around him. They close\n ranks and look out at the Junkions grimly", "He takes off.\n\n ULTRA MAGNUS\n Stays behind, taking a few shots at...\n\n SWEEPS\n which streak over in deadly formations.", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "Hot Rod's vision, now, infinitely better than human vision,\nspots something truly disturbing -- -- Starscream, and\nseveral Constructicons inside the ship!", "He looks back, and to his horror sees Jazz, Bumblebee and his\nfather about to be dropped in. He keeps firing. The panel\nstarts exploding!", "The Decepticon leader stands a hundred yards away, vanishing\nand reappearing with the shifting waves of Generic\nDecepticons that charge back and forth.\n\n PRIME (V.O.)\n No matter the cost.", "SHOCKWAVE\n Decepticons...we're under\n attack...Scramble - Then his voice is cut\n off as...\n\nSHOCKWAVE'S POV - OUT HIS WINDOW", "They charge Kup and Hot Rod Kup and Hot Rod fire into them,\ndestroying several, but are.... ... Soon overrun. The\nSharkticons crawl all over them, munching on their metal.", "Spike and the Autobots are about to go in.\n\n CLIFFJUMPER\n Hurry!\n\n DANIEL\n Starts frying the command console!" ], [ "A CONTROL\n .. which controls the whole thing.\n\n ON DANIEL\n He runs up a catwalk towards it....\n\nANGLE ON DANIEL", "INSIDE THE SHUTTLE\n\nSpringer grabs her hand and pulls her in, narrowly avoiding a\nbarrage Daniel is watching, terrified.\n\n DANIEL\n That was close!", "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "ON SCAVENGER\n as he starts reaching for Daniel\n\n SCAVENGER\n Human germ!", "The missiles streak toward them.\n\n\n\n (CONTINUED)\n\n 53.\nCONTINUED:", "HOT ROD\n This is it! Now take a squint through\n those babies.\n\n DANIEL\n Hot Rod, look! There's a hole in the\n shuttle!", "SPRINGER\n (to Daniel)\n Looks like we're shipmates, squirt!\n\n DANIEL\n All right!", "Suddenly, boosters fire from the back side of the junk, and\nsomewhere under all of the junk, we realize is a real space\nship. Maybe the junk is the space ship. It takes off, bits\nand pieces of junk flying off as it moves.", "INT. ULTRA MAGNUS' SHUTTLE - \"COCKPIT\"\n\nshuttle ROCKS WITH DIRECT HITS as Ultra Magnus struggles with\ncontrols", "ULTRA MAGNUS\n (cryptic)\n Then that's exactly what they're gonna\n see.\n\n CUT TO:", "JAZZ\n (on communicator device)\n Talk to me, Earth! We got a situation\n out here!\n\n CUT TO:", "EXT. ANGLE ON THE SHIP\n\nIt sits next to a gigantic alien-made moon. Suddenly, a\nhatch opens and a massive grabber that looks like a lobster\nclaw shoots out at it.", "as they man control panel in cockpit. In the background,\nBlurr and Arcee work to patch other holes in hull and Daniel", "Kup moves OFF with Hot Rod and Daniel.\n\n CUT TO:\n\nBLASTER ON FORTIFIED \" CROWS NEST\" LOOKOUT TOWER", "PERCEPTOR\n It appears that my lacerations were\n primarily superficial.\n\n ULTRA MAGNUS\n Then move it...\n\nANGLE ON PERCEPTOR", "moving into battle stations in the b.g. and ALARMS SOUND.\nDaniel looks on in awe.", "ON DANIEL\n Daniel, a classic twelve year old\n American boy watches the portable viewer\n which is like an over-sized Boy Scout", "They turn around and see Daniel about to be munched by the\nantibodies.\n\n ARCEE\n Daniel!\n\n 102.", "She starts helping him into the exo-suit.\n\n ON DANIEL\n as he gets inside the \"suit\" which fits\n over his body like a grid-work metal\n \"cage.\"", "PERCEPTOR\n With an accelerated ignition procedure\n the ceramic housings might create a\n magnetic flux.\n\n ULTRA MAGNUS\n (baffled)\n What?" ], [ "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "DANIEL\n Kup, Hot Rod! Look!\n (he points)\n\nTHEIR P.O.V. - THE CONSTRUCTICONS", "SPRINGER (V.O.)\n It can't be....it's.....Hot Rod! He's\n alive!", "They slap palms. Then, they look up, horrified.\n\n BUMBLEBEE\n It isn't even dented.", "HOT ROD\n What!?\n\nDANIEL'S P.O.V - BINOCULAR MATTE - THE SHUTTLE", "KUP\n disgustedly watches Hot Rod drive up the\n mountain.\n\n KUP (CONT'D)\n (to sound like swearing)\n Cam bustin', turbo revvin' young punk.", "HOT ROD\n I don't believe it.\n\nINT. THE QUINTESSON SHIP - SAME TIME", "HOT ROD\n (a flash of hope)\n Prime!\n (looks off at Prime)\n\nHIS P.O.V. - OPTIMUS PRIME", "WRECK-GAR\n No fuss, no muss.\n (to others)\n Hurry, hurry. Sale must end! Rush right\n on down to bridge and test drive latest\n with no obligation.", "ANGLE ON THE ASSEMBLY LINE\n\nJazz drops in, then Bumblebee, then Spike.\n\n DANIEL\n turns around and sees this.", "His head is turned so all assembled can see. His eyes flicker\nweakly, his voice RUMBLES with overtone of vast weariness and\nresignation", "Hot Rod arrives at a viewing platform carved in mountainside\nand TRANSFORMS back to humanoid mode. Daniel rushes to a set\nof PUBLIC VIEWING BINOCULARS and peers into them.", "KUP\n What do you know about it lad?\n\n HOT ROD\n It's just a feeling.\n\nHot Rod looks up and sees something.", "scoops him off his hoverboard, TRANSFORMS\n to automotive mode and RIDES OVER CREST\n OF HILL with Daniel in the front seat.", "And then Spike comes rolling down, followed by Bumblebee!\n\n DANIEL\n Bumblebee! Dad!\n\nON CLIFFJUMPER, JAZZ, AND SPIKE", "... Suddenly, shots tear into the junk all around them as...\n\nANGLE ON A SWEEP\n\nROARS towards them...\n\nANGLE ON PERCEPTOR", "a metallic reef, bounces, manages to right himself, shaking\nhis head as he regains equilibrium, and... Then he transforms\ninto auto mode modified for undersea action and starts riding", "HOT ROD\n (SHOUTING)\n WHoooooooaaah\n\nANGLE ON BOTTOM OF MOUNTAIN SLOPE - BLITZWING", "(CONTINUED)\n\n 82.\nCONTINUED:\n\n\nUltra Magnus turns to see...", "its opening and gives Hot Rod a swift\n kick in the rear, sending him flying\n (o.s.)" ], [ "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:", "The ship is packed with living, dead and wounded Decepticons.\nStarscream addresses them like an Athenian Orator.", "The last of the weak Decepticons is tossed, and the others\ndust off their hands.", "EXT. SPACE - THE BATTLE\n\nUnicron shoots down more Decepticons with his remaining eye,\nwhile he crushes the Junkion ship.\n\nINT. THE JUNKION SHIP", "EXT. SPACE - LATER\n\nMegatron and the other dented, dinged and dead Decepticon\nbodies float through space. we follow the wailing Megatron\nand the others down to:", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "... Several Decepticon troopers hanging from cables like\nshirts at a dry cleaners are dropped into the bubbling vat,\nand in moments converted to nothing... ... Then, Cliffjumper\nand Jazz roll out of the line...", "This is the closest thing the Decepticons have to a throne\nroom. It is a massive, circular room with tombs of old\nleaders, and a raised area where Starscream stands.\n\n 37.", "Their bodies are turned from battered Decepticons to...\n\n\n\n\n (CONTINUED)\n\n 36.\nCONTINUED:", "An incredible display of fireworks goes off, seemingly\nblowing Unicron to smithereens.\n\nON BUMBLEBEE AND SPIKE", "As yet more Decepticon fighters rip out of the planet, it\nlooks like Unicron is going to have a field day tearing it\napart.\n\n CUT TO:", "Despite the fact that their thrusters are on full power, they\nare still sucked into...\n\nUNICRON...\n\nWhose great mouth shuts when he's got the human and the\nAutobot.", "Rotating satellite dishes on the surface spark with\nelectricity. Dissolve inside Unicron to reveal scenes of\nPrime's death and the passing of the Matrix to Ultra Magnus", "All of his lights go out, including his eyes.\n\n DISSOLVE TO:\n\n 31.\n\n\n\nUNICRON", "HOT ROD\n This is the end of the road, Galvatron.\n With that, he picks up the Decepticon and\n throws him through...\n\nEXT. UNICRON - SAME TIME", "They transform to robot mode and fly away.\n\n GRIMLOCK\n Me, Grimlock, need new strategy.\n\n CUT TO:", "The Junkions move Ultra Magnus' mangled body through an\namazing assembly line, quickly piecing together his body\nparts, using junk when they can't find a part. Then, they", "As it explodes, flinging the Autobots inside down toward the\nQuintesson's planet.\n\n CUT TO:", "Unicron tears off the tower and crushes it as...\n\nA FLEET OF DECEPTICON SHIPS" ], [ "He takes off. As we rise higher and higher in the atmosphere,\nwe see the horror wrought by the hideous and still mysterious", "Unicron writhes in space, tearing himself apart, ripping off\na leg, and sending out sparks like a roman candle.\n\n CUT TO:", "As yet more Decepticon fighters rip out of the planet, it\nlooks like Unicron is going to have a field day tearing it\napart.\n\n CUT TO:", "COVER where the Courtyard was. He winces in mid-air and flies\naway as the city continues to transform to a fortress below.", "(CONTINUED)\n\n 26.\nCONTINUED:", "The missiles streak toward them.\n\n\n\n (CONTINUED)\n\n 53.\nCONTINUED:", "(CONTINUED)\n\n 17.\nCONTINUED:", "The Decepticon plane looks slightly ridiculous with cloak on\nhis shoulders and Thrust and Ramjet at his side, weapons held\nhigh, but ready for action should anybody question", "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "(CONTINUED)\n\n 67.\nCONTINUED: (2)", "(CONTINUED)\n\n 106.\nCONTINUED:", "(CONTINUED)\n\n 21.\nCONTINUED:", "to fight a war and an army to boot. The screen is bathed in\nsmoke and fire which slowly clears.", "The ship is packed with living, dead and wounded Decepticons.\nStarscream addresses them like an Athenian Orator.", "(CONTINUED)", "(CONTINUED)\n\n 92.\nCONTINUED:", "Suddenly, boosters fire from the back side of the junk, and\nsomewhere under all of the junk, we realize is a real space\nship. Maybe the junk is the space ship. It takes off, bits\nand pieces of junk flying off as it moves.", "He is flying a very wobbly course past Pluto...\n\n ASTROTRAIN\n Stop squabbling or we're gonna crash.\n\n DISSOLVE TO:", "(CONTINUED)\n\n 86.\nCONTINUED: (2)", "(CONTINUED)\n\n 56.\nCONTINUED:" ], [ "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "(CONTINUED)\n\n 5.\nCONTINUED:", "He struggles to get free before he is crunched by the still\ntransforming city. In the nick of time, he shoots a \"shoe\nhorn\" like projection from his wrist and pulls his boot", "SPRINGER\n Sees something in the distance.\n\n\n\n (CONTINUED)\n\n 99.\nCONTINUED:", "(CONTINUED)\n\n 59.\nCONTINUED:", "Then, suddenly two red, burning eyes light up above the\nmatrix, and we see the hideous form of Galvatron.", "pump, and not far away a hydroelectric dam catches millions\nof volts. Near all of these various things are energon\ncompressors, which turn the raw energy into energon cubes. IN", "(CONTINUED)\n\n 55.\nCONTINUED:", "discharging tubes and \"plasma\" bottle\n devices hooked up to his arms and into\n his gaping middle wound.", "TRANSFORMING - - the center line of the\n floor snaps shut like the halves of a\n gigantic steel shelled clam, trapping", "(CONTINUED)\n\n 51.\nCONTINUED:", "device, hits a button, and watches, it\n transforms into a hoverboard and rides\n it, like a surfer up a steep, grassy", "NARRATOR\n It is the year 2005. The treacherous\n Decepticons have conquered the Autobots'", "Hot Rod arrives at a viewing platform carved in mountainside\nand TRANSFORMS back to humanoid mode. Daniel rushes to a set\nof PUBLIC VIEWING BINOCULARS and peers into them.", "A hideous transformation is beginning. The surface of the\nplanet in front of Galvatron opens up, and we see that the\nhideous light comes from eyes set on a hideous head!", "shot. Then, slowly, Ultra Magnus moves it into his own chest,\ncloses the door, and the light is gone, save for a momentary,\nand extremely powerful glow from his eyes.", "The two robots, taken by surprise, fall backwards. PAN FROM\nthe fallen robots to an area behind a tree. For just a", "KRANIX\n Arblus! No!\n\nANGLE ON KRANIX\n\nThe mist threatens to engulf him too. He transforms into a\nsmall rocket ship and...", "This thing looks like a metal version of a \"venus fly trap,\"\nand it has a malevolent red eye which lights up. Swoop walks\npast it in humanoid mode.\n\n 70.", "ARBLUS\n Transform and flee, Kranix! You must\n warn all you meet of the horror of" ], [ "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "ends in a blinding flash and Galvatron - who still resembles\nMegatron - laughs and flexes his muscles and stretches. His\nvoice is deeper, different from Megatron's", "UNICRON\n I am Unicron.\n\n MEGATRON\n Show yourself!\n\n UNICRON\n I have summoned you here for a purpose.", "MEGATRON\n Nobody summons Megatron!\n\n UNICRON\n Then it pleases me to be the first.", "MEGATRON\n You have nothing to fear. I have already\n crushed Optimus Prime with my bare hands.\n\n UNICRON\n You exaggerate.", "UNICRON\n Welcome, Megatron.\n\n MEGATRON\n (looking around)\n Who said that?", "MEGATRON!\n\nIn all his glory.\n\n MEGATRON\n Die Autobots!", "MEGATRON\n State your business.\n\n UNICRON\n Bring me the Autobot Matrix. It is the\n one thing - the only thing that can stand\n in my way.", "MEGATRON\n Fall! Fall!\n\nMegatron tosses Hot Rod aside like a rag doll and stands\nabove the dying Prime.", "ON STARSCREAM AND MEGATRON\n\nAs they enter the now empty ship, a number of Decepticons\nflood past them, taking positions and searching for other\nliving Autobots.", "Then, suddenly two red, burning eyes light up above the\nmatrix, and we see the hideous form of Galvatron.", "UNICRON\n No. It has been passed to their new\n leader. Get it for me.\n\n MEGATRON\n Why should I? What's in it for me?", "Megatron attempts to kick Prime in the throat... ...Prime\ncatches his foot, twists it... ... and hurls Megatron\nbackwards into a metal pile.", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "MEGATRON\n (pleading)\n No, no. I accept your terms. I accept!", "MEGATRON\n And...\n\n UNICRON\n And nothing.\n\nYou belong to me now.", "UNICRON\n Perhaps I misjudged you. Proceed on your\n way to oblivion. The Mist appears and\n starts to dissolve Megatron.", "ON MEGATRON\n as he spots a gun on the ground ahead of\n him\n\n MEGATRON\n No more, Optimus Prime! Grant me mercy,\n I beg of you!", "(CONTINUED)\n\n 18.\nCONTINUED:\n\n\n MEGATRON\n Soundwave! Jam that transmission." ], [ "The missiles streak toward them.\n\n\n\n (CONTINUED)\n\n 53.\nCONTINUED:", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "SPRINGER\n I'm almost out of energy. Suddenly, he\n looks up and sees one of the creatures\n explode above\n\nHIM.\n\nThen another explodes, then another.", "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "He looks down on the swarm of fighters and... ...Breathes\nfire down on them. The fighters POP and burn like popcorn in\na blowtorch. In moments they disappear like sparks from a\nfire.", "They fire (O.S.) at...\n\nA LARGE ASTEROID\n\nWith incredible precision, the rays strike the asteroid,\nsplitting it in two parts.", "Suddenly, boosters fire from the back side of the junk, and\nsomewhere under all of the junk, we realize is a real space\nship. Maybe the junk is the space ship. It takes off, bits\nand pieces of junk flying off as it moves.", "Unicron tears off the tower and crushes it as...\n\nA FLEET OF DECEPTICON SHIPS", "He looks back, and to his horror sees Jazz, Bumblebee and his\nfather about to be dropped in. He keeps firing. The panel\nstarts exploding!", "He roars with a mad power-rush, gets into Cyclonus (who will\nbe his personal ship) and leading the armada, takes off for\nthe distant stars.", "All of his lights go out, including his eyes.\n\n DISSOLVE TO:\n\n 31.\n\n\n\nUNICRON", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "as Moon shatters like a hollow egg and is sucked completely\ninto Unicron's maw which closes around it with a snap.\n\n CUT TO:", "Unicron writhes in space, tearing himself apart, ripping off\na leg, and sending out sparks like a roman candle.\n\n CUT TO:", "Then, the \"mountain\" which must be made of paper mache or\nsomething blows away revealing -- The shuttle!", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "As yet more Decepticon fighters rip out of the planet, it\nlooks like Unicron is going to have a field day tearing it\napart.\n\n CUT TO:", "(CONTINUED)\n\n 2.\nCONTINUED:\n\nPAN FORWARD to SHOW that this hideous planet is on a direct\ncollision course with...", "Strange robotic creatures scramble around the planet in a\nwild panic. It looks like Pompeii must have looked as\nVesuvius erupted.\n\nANGLE ON ONE OF THE CREATURES - TRACKING", "EXT. SPACE - THE BATTLE\n\nUnicron shoots down more Decepticons with his remaining eye,\nwhile he crushes the Junkion ship.\n\nINT. THE JUNKION SHIP" ], [ "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "WRECK-GAR\n No fuss, no muss.\n (to others)\n Hurry, hurry. Sale must end! Rush right\n on down to bridge and test drive latest\n with no obligation.", "DANIEL\n Kup, Hot Rod! Look!\n (he points)\n\nTHEIR P.O.V. - THE CONSTRUCTICONS", "KUP\n What do you know about it lad?\n\n HOT ROD\n It's just a feeling.\n\nHot Rod looks up and sees something.", "a metallic reef, bounces, manages to right himself, shaking\nhis head as he regains equilibrium, and... Then he transforms\ninto auto mode modified for undersea action and starts riding", "scoops him off his hoverboard, TRANSFORMS\n to automotive mode and RIDES OVER CREST\n OF HILL with Daniel in the front seat.", "improperly so it wobbles and he rides\n unevenly with much chugging and oil\n spewing", "DANIEL\n (calling excitedly)\n Hurry or we'll miss it!\n\n HOT ROD\n lopes up hill after Daniel.", "THE AUTO COMBATANT\n\nThen hammers its fists on top of his head...\n\nON HOT ROD\n\nIrked.", "WRECK-GAR\n By George kimosabes your smashed up,\n blotto friend, soon like brand new with\n ninety day warranty all iciban parts and\n labor is!", "if their vehicle breaks down, the driver will become the\nvehicle, and the vehicle will transform to become the driver.\nThey are gibbering, singing almost a wild kind of junk-rock,", "HOT ROD\n I don't have to explain my so called\n violation to you or anyone...\n\n KUP\n (tugs him along roughly)\n He said \"later!\"", "HOT ROD\n What!?\n\nDANIEL'S P.O.V - BINOCULAR MATTE - THE SHUTTLE", "ANOTHER ANGLE\n A miraculous transformation takes place.\n ... Hot Rod begins to grow at an\n alarming rate. ... Age shows on his\n face. ... He is stronger and wiser.", "HOT ROD\n But what about our problems. We need a\n ship.\n\n WHEELIE\n WHEELIE You get a ship if I get a trip.", "They slap palms. Then, they look up, horrified.\n\n BUMBLEBEE\n It isn't even dented.", "He reaches into his body, and about where a heart or some\nother organ would be, he pulls out a Watchman.\n\n THE WATCHMAN\n On it is a crazy Eddy-type commercial.", "KUP (O.S.)\n Oh yeah, we inversed polarities.\n\n HOT ROD (O.S.)\n That'll tear the ship apart!", "HOT ROD\n (nodding, smiling)\n Bah weep graaaagnah wheep ni ni bong?\n (MORE)\n\n\n (CONTINUED)", "HOT ROD\n This is it! Now take a squint through\n those babies.\n\n DANIEL\n Hot Rod, look! There's a hole in the\n shuttle!" ], [ "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "His head is turned so all assembled can see. His eyes flicker\nweakly, his voice RUMBLES with overtone of vast weariness and\nresignation", "around like shards of glass hit by a .45. ... finally, he\nis engulfed by an incoming swarm, and it looks like his\nattack is foiled.", "Hot Rod looks up and a pair of futuristic binoculars pop out\nof his eyes.\n\n 10.", "around him like bees. ... Rays streak\n from his one good eye. ...\n (MORE)\n (CONTINUED)", "SPRINGER\n Sees something in the distance.\n\n\n\n (CONTINUED)\n\n 99.\nCONTINUED:", "He struggles to get free before he is crunched by the still\ntransforming city. In the nick of time, he shoots a \"shoe\nhorn\" like projection from his wrist and pulls his boot", "He reaches into his body, and about where a heart or some\nother organ would be, he pulls out a Watchman.\n\n THE WATCHMAN\n On it is a crazy Eddy-type commercial.", "shot. Then, slowly, Ultra Magnus moves it into his own chest,\ncloses the door, and the light is gone, save for a momentary,\nand extremely powerful glow from his eyes.", "KUP\n What do you know about it lad?\n\n HOT ROD\n It's just a feeling.\n\nHot Rod looks up and sees something.", "as a figure moves forward slightly and speaks in a harsh,\nbass'o voice. It is GRANIX. We saw him in the first scene,", "BLASTER\n Lookout and shout! Yow! Explosions rock\n the Crows Nest. Blaster swivels around\n and tilts to see...", "ON DANIEL\n Daniel, a classic twelve year old\n American boy watches the portable viewer\n which is like an over-sized Boy Scout", "The bright light, which emanates from the perfect crystal,\nseems to blind everybody and washes all color out of the", "KUP\n (entranced)\n Nope, never seen anything like it.\n\n\n\n\n (CONTINUED)", "pressing a button on Prime's chest, a small, secret doorway\nopens, and we see something extremely bright glowing in\nthere. Ultra Magnus, nearly blinded by the intense light,", "into... .... A glowing lake. ... He stays under for a\nmoment, and then bobs up to see...", "ON WRECK-GAR\n as he gnashes his teeth and grins and\n then BLINKS HIS EYES which roll to show", "DANIEL\n Kup, Hot Rod! Look!\n (he points)\n\nTHEIR P.O.V. - THE CONSTRUCTICONS", "The \"Crows Nest\" has windows all around and Blaster's seat\nrotates so he can watch action and broadcast battle reports" ], [ "The missiles streak toward them.\n\n\n\n (CONTINUED)\n\n 53.\nCONTINUED:", "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "All turn and look off, reacting as two Guards thunder in,\ngrab Granix and pull him back out of the door. {NOTE: Another\ninstance of the spelling of Granix}", "charges headlong into the Decepticon forces which separate\nhim from Megatron. Decepticons fire on him, but he takes\nthe shots, and... Spinning and whirling like the Sundance", "LEAD QUINTESSON\n I repeat, guilty...or innocent.\n\n JURORS\n Guilty!!", "Shockwave talks into a communications device, as alarms sound\nand troopers run everywhere.", "DANIEL\n He looks o.s. towards the others.\n\n DANIEL\n Help...\n\nANGLE ON KUP AND ARCEE", "His head is turned so all assembled can see. His eyes flicker\nweakly, his voice RUMBLES with overtone of vast weariness and\nresignation", "BLASTER\n Lookout and shout! Yow! Explosions rock\n the Crows Nest. Blaster swivels around\n and tilts to see...", "(CONTINUED)\n\n 5.\nCONTINUED:", "... Suddenly, shots tear into the junk all around them as...\n\nANGLE ON A SWEEP\n\nROARS towards them...\n\nANGLE ON PERCEPTOR", "and Arcee ride on either side of Daniel and Perceptor with\nBlurr bringing up the rear- - zig zagging back and forth to\nkeep the Junkions from getting at Daniel.", "(CONTINUED)\n\n 13.\nCONTINUED:", "(CONTINUED)\n\n 69.\nCONTINUED:\n\n\nWith that, the four Dinobots head towards the \"primrose\npath.\"", "(CONTINUED)\n\n 17.\nCONTINUED:", "Suddenly, every antibody in the wall begins exploding, and\nthrough the carnage, we see Bumblebee, Spike, Daniel,\nCliffjumper and Jazz.\n\nANGLE ON THE BATTLE", "Kup moves OFF with Hot Rod and Daniel.\n\n CUT TO:\n\nBLASTER ON FORTIFIED \" CROWS NEST\" LOOKOUT TOWER", "LEAD QUINTESSON\n (to jury of Quintessons)\n Guilty.....Or innocent. I repeat.\n\n KRANIX\n Spare me this mockery of justice.", "(CONTINUED)", "He takes off. As we rise higher and higher in the atmosphere,\nwe see the horror wrought by the hideous and still mysterious" ], [ "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "DANIEL\n He looks o.s. towards the others.\n\n DANIEL\n Help...\n\nANGLE ON KUP AND ARCEE", "Putting Daniel under one arm, he pivots and kicks up at...\n...Hook and Scavenger who are descending on him in humanoid", "All turn and look off, reacting as two Guards thunder in,\ngrab Granix and pull him back out of the door. {NOTE: Another\ninstance of the spelling of Granix}", "He looks back, and to his horror sees Jazz, Bumblebee and his\nfather about to be dropped in. He keeps firing. The panel\nstarts exploding!", "He struggles to get free before he is crunched by the still\ntransforming city. In the nick of time, he shoots a \"shoe\nhorn\" like projection from his wrist and pulls his boot", "Grimlock, in dino mode, slaps him with his tail, knocking him\naway an instant before he steps into the hole...", "His arms and legs caught by the four ropes, he knows he's\njust about had it. He struggles for one last moment, then...\n\nANGLE ON THE SWEEPS AND ULTRA MAGNUS", "His head is turned so all assembled can see. His eyes flicker\nweakly, his voice RUMBLES with overtone of vast weariness and\nresignation", "He is about to pounce on Slag when a massive tree, which is\nactually more like a sword, suddenly is spring and arcs", "...SCAVENGER AND SHRAPNEL, knocking them over.\n\n DANIEL (V.O.)\n Wooooh!!", "Daniel, unscathed by the things, which hover over his head,\nmunching their way towards the Autobots, gets his foot free.", "SPRINGER (V.O.)\n It can't be....it's.....Hot Rod! He's\n alive!", "The last of the antibodies is blown away, and Kup, Arcee and\nSpringer sit up amidst a pile of antibody bodies.\n\n SPRINGER\n That's what I call the nick of time.", "THE END", "They turn around and see Daniel about to be munched by the\nantibodies.\n\n ARCEE\n Daniel!\n\n 102.", "Kup and Hot Rod walk along a swampy, marshy area. Suddenly,\nthere are several loud gurgles, and we can see the shapes of", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "Then, he tosses the rod into the water.\n\nON DANIEL RIDING HIS HOVERBOARD UP THE HILL", "The creature is KRANIX. We will meet him later on in a very\ndifferent context, but for now, he is running from the ever-\ngrowing mist that threatens to engulf him." ], [ "His head is turned so all assembled can see. His eyes flicker\nweakly, his voice RUMBLES with overtone of vast weariness and\nresignation", "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "as a figure moves forward slightly and speaks in a harsh,\nbass'o voice. It is GRANIX. We saw him in the first scene,", "All turn and look off, reacting as two Guards thunder in,\ngrab Granix and pull him back out of the door. {NOTE: Another\ninstance of the spelling of Granix}", "their hands and dancing around, taking Arcee's hand and...\n... taking Springer and Perceptor and Daniel out into center\nof a square dance type gathering, moving back and forth with", "Kup and Hot Rod walk along a swampy, marshy area. Suddenly,\nthere are several loud gurgles, and we can see the shapes of", "... Suddenly, shots tear into the junk all around them as...\n\nANGLE ON A SWEEP\n\nROARS towards them...\n\nANGLE ON PERCEPTOR", "WRECK-GAR\n Operators are standing by! They laugh in\n guttural, clanking sounds and look out at\n Springer and the others who keep working\n as we", "This is the closest thing the Decepticons have to a throne\nroom. It is a massive, circular room with tombs of old\nleaders, and a raised area where Starscream stands.\n\n 37.", "BLASTER\n Lookout and shout! Yow! Explosions rock\n the Crows Nest. Blaster swivels around\n and tilts to see...", "The ship is packed with living, dead and wounded Decepticons.\nStarscream addresses them like an Athenian Orator.", "to the ground. Suddenly, a SQUEAKY, ODDLY\n CHILDISH VOICE speaks from o.s.", "(CONTINUED)\n\n 17.\nCONTINUED:", "Sharkticons march Kup and Hot Rod into a HOLDING PEN within a\nwalled compound. As we FOLLOW THEM INTO PEN we PULL BACK and\nPAN to establish that entry procession is being watched by...", "DISSOLVE TO:\n\nEXT. THE PRIMROSE PATH\n\nThey step along the primrose path, not noticing as sinister\nthings start to happen all around them.", "Kup, Springer, Daniel and Arcee are scattered about the floor\nin the giant, flickering chamber.\n\n DANIEL\n Where's Hot Rod?", "ANGLE ON THE ASSEMBLY LINE\n\nJazz drops in, then Bumblebee, then Spike.\n\n DANIEL\n turns around and sees this.", "(CONTINUED)\n\n 69.\nCONTINUED:\n\n\nWith that, the four Dinobots head towards the \"primrose\npath.\"", "ON SPRINGER\n as he stops and Arcee, Daniel, Perceptor\n and Blurr stop around him. They close\n ranks and look out at the Junkions grimly", "as Daniel moves out to join them" ], [ "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "They transform to robot mode and fly away.\n\n GRIMLOCK\n Me, Grimlock, need new strategy.\n\n CUT TO:", "ON STARSCREAM AND MEGATRON\n\nAs they enter the now empty ship, a number of Decepticons\nflood past them, taking positions and searching for other\nliving Autobots.", "ON ESCAPE POD\n\nas it BLASTS OFF and away from Unicron with an EXPLOSION. For\na moment, it looks like they are going to get clean away,\nbut...", "Hot Rod's vision, now, infinitely better than human vision,\nspots something truly disturbing -- -- Starscream, and\nseveral Constructicons inside the ship!", "EXT. SPACE - THE BATTLE\n\nUnicron shoots down more Decepticons with his remaining eye,\nwhile he crushes the Junkion ship.\n\nINT. THE JUNKION SHIP", "(CONTINUED)\n\n 11.\nCONTINUED:\n\n\n HOUND\n Decepticons!", "He looks back, and to his horror sees Jazz, Bumblebee and his\nfather about to be dropped in. He keeps firing. The panel\nstarts exploding!", "charges headlong into the Decepticon forces which separate\nhim from Megatron. Decepticons fire on him, but he takes\nthe shots, and... Spinning and whirling like the Sundance", "Daniel, unscathed by the things, which hover over his head,\nmunching their way towards the Autobots, gets his foot free.", "As yet more Decepticon fighters rip out of the planet, it\nlooks like Unicron is going to have a field day tearing it\napart.\n\n CUT TO:", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "DECEPTICONS\n\n (AD LIB)\n Beat it! Spare me!\n\nANGLE ON STARSCREAM AND MEGATRON", "The last of the weak Decepticons is tossed, and the others\ndust off their hands.", "EXT. SPACE - LATER\n\nMegatron and the other dented, dinged and dead Decepticon\nbodies float through space. we follow the wailing Megatron\nand the others down to:", "race away... ... Galvatron jumps after\n him and catches him... ... Hot Rod,\n nearly pinned by Galvatron transforms to\n humanoid mode.", "He takes off.\n\n ULTRA MAGNUS\n Stays behind, taking a few shots at...\n\n SWEEPS\n which streak over in deadly formations.", "SHOCKWAVE\n Decepticons...we're under\n attack...Scramble - Then his voice is cut\n off as...\n\nSHOCKWAVE'S POV - OUT HIS WINDOW" ], [ "This is the closest thing the Decepticons have to a throne\nroom. It is a massive, circular room with tombs of old\nleaders, and a raised area where Starscream stands.\n\n 37.", "UNICRON\n No. It has been passed to their new\n leader. Get it for me.\n\n MEGATRON\n Why should I? What's in it for me?", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "STARSCREAM\n Well, as Megatron has, how shall we say -\n departed. I nominate myself as the new\n leader.\n\nON THE CONSTRUCTICONS", "home planet of Cybertron. But from\n secret staging grounds on two of\n Cybertron's moons the valiant Autobots", "ON STARSCREAM AND MEGATRON\n\nAs they enter the now empty ship, a number of Decepticons\nflood past them, taking positions and searching for other\nliving Autobots.", "The massive planet transforms, arms and legs fold out of the\nenormous body, hands unfold from the arms, jets from it's\nback propel it towards... ... Cybertron, which, now looks\nlonely and vulnerable in space.", "The Decepticon leader stands a hundred yards away, vanishing\nand reappearing with the shifting waves of Generic\nDecepticons that charge back and forth.\n\n PRIME (V.O.)\n No matter the cost.", "UNICRON\n I am Unicron.\n\n MEGATRON\n Show yourself!\n\n UNICRON\n I have summoned you here for a purpose.", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "Unicron's head orbits Cybertron. PAN to Cybertron where and\nPUSH IN on Rodimus Prime, Arcee, Kup, Springer, Ultra Magnus,", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "all the Decepticons put together.\n Somehow we must destroy it before it\n devours Cybertron.", "There are TWO MECHANISTIC MOONS orbiting the huge planet\nCybertron. But we are most concerned with a small, greenish\nmetal one.", "Optimus Prime leader and hero of the Autobots charges into\ncertain doom. As he battles his way through the Decepticons,", "ANGLE ON CYBERTRON\n\nDecepticon troopers man a massive gun emplacement as... ...\nUnicron's huge hand reaches down... ... scraping buildings\nand... ... tearing out gun emplacements.", "ends in a blinding flash and Galvatron - who still resembles\nMegatron - laughs and flexes his muscles and stretches. His\nvoice is deeper, different from Megatron's", "A hideous transformation is beginning. The surface of the\nplanet in front of Galvatron opens up, and we see that the\nhideous light comes from eyes set on a hideous head!", "UNICRON\n Welcome, Megatron.\n\n MEGATRON\n (looking around)\n Who said that?" ], [ "OPTIMUS PRIME\n (reaches up with right hand\n with great effort)\n Ultra Magnus! It is to you, old friend,\n I shall pass the matrix as it was passed\n to me ....", "EXT. THE EDGE OF THE EARTH'S ATMOSPHERE\n\nas Optimus Prime's Space Shuttle hurtles in.", "ANGLE ON PRIME\n\nAs he watches the shuttle shoot into the distance.\n\n PRIME\n Now, all we need is a little Energon and\n a lot of luck.", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "MEGATRON\n (gloating)\n Farewell, Prime!\n\nAs Megatron hurls the laser dagger as we CHANGE ANGLE to -", "He holds the Autobot Matrix.\n\n\n (CONTINUED)\n\n 84.\nCONTINUED:", "Rotating satellite dishes on the surface spark with\nelectricity. Dissolve inside Unicron to reveal scenes of\nPrime's death and the passing of the Matrix to Ultra Magnus", "EXT. SPACE - THE BATTLE\n\nUnicron shoots down more Decepticons with his remaining eye,\nwhile he crushes the Junkion ship.\n\nINT. THE JUNKION SHIP", "EXT. SPACE - LATER\n\nMegatron and the other dented, dinged and dead Decepticon\nbodies float through space. we follow the wailing Megatron\nand the others down to:", "OPTIMUS PRIME\n (using remaining strength to\n makes himself heard)\n Autobots...do not grieve... Soon, I shall\n be one with the matrix.", "Unicron writhes in space, tearing himself apart, ripping off\na leg, and sending out sparks like a roman candle.\n\n CUT TO:", "OPTIMUS PRIME\n (gasping)\n Nor was I, but one day, an Autobot shall\n rise from our ranks and use the powers of\n the Matrix to light our darkest hour.", "The massive planet transforms, arms and legs fold out of the\nenormous body, hands unfold from the arms, jets from it's\nback propel it towards... ... Cybertron, which, now looks\nlonely and vulnerable in space.", "EXT. SPACE - THE BATTLE\n\nUnicron suddenly lets out a scream and lets go of the Junkion\nship, sending it hurtling.\n\n 108.", "Pan as Hot Rod looks over various different bits of junk,\nuntil he sees the glowing shape of the Autobot Matrix\napparently suspended in mid air.\n\n HOT ROD\n The Autobot Matrix!", "A distraught Ultra Magnus nods, reaches out with free hand\nand points his forefinger at Optimus Prime's chest. Then,", "ASTROTRAIN\n Jettison some weight, or I'll never make\n it to Cybertron.\n\nINT. ASTROTRAIN", "shot. Then, slowly, Ultra Magnus moves it into his own chest,\ncloses the door, and the light is gone, save for a momentary,\nand extremely powerful glow from his eyes.", "INT. THE JUNKION SHIP\n\nIt tumbles through space.\n\nAUTOBOTS AND JUNKIONS", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders." ], [ "NARRATOR\n It is the year 2005. The treacherous\n Decepticons have conquered the Autobots'", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "Then, suddenly two red, burning eyes light up above the\nmatrix, and we see the hideous form of Galvatron.", "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:", "An incredible display of fireworks goes off, seemingly\nblowing Unicron to smithereens.\n\nON BUMBLEBEE AND SPIKE", "EXT. SPACE - LATER\n\nMegatron and the other dented, dinged and dead Decepticon\nbodies float through space. we follow the wailing Megatron\nand the others down to:", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "UNICRON\n I am Unicron.\n\n MEGATRON\n Show yourself!\n\n UNICRON\n I have summoned you here for a purpose.", "MEGATRON\n Nobody summons Megatron!\n\n UNICRON\n Then it pleases me to be the first.", "The massive planet transforms, arms and legs fold out of the\nenormous body, hands unfold from the arms, jets from it's\nback propel it towards... ... Cybertron, which, now looks\nlonely and vulnerable in space.", "There are TWO MECHANISTIC MOONS orbiting the huge planet\nCybertron. But we are most concerned with a small, greenish\nmetal one.", "BUMBLEBEE\n Five, four, three, two, one...\n\nON THE SECOND MOON AND UNICRON\n\nBLAMMMOLA!", "UNICRON\n Welcome, Megatron.\n\n MEGATRON\n (looking around)\n Who said that?", "ends in a blinding flash and Galvatron - who still resembles\nMegatron - laughs and flexes his muscles and stretches. His\nvoice is deeper, different from Megatron's", "Rotating satellite dishes on the surface spark with\nelectricity. Dissolve inside Unicron to reveal scenes of\nPrime's death and the passing of the Matrix to Ultra Magnus", "UNICRON\n No. It has been passed to their new\n leader. Get it for me.\n\n MEGATRON\n Why should I? What's in it for me?", "MEGATRON!\n\nIn all his glory.\n\n MEGATRON\n Die Autobots!", "At first, we see only the face of a sinister Quintesson\ngatekeeper, backed up by heavily armed Sharkticons.\n\n QUINTESSON\n Greetings, noble strangers.", "home planet of Cybertron. But from\n secret staging grounds on two of\n Cybertron's moons the valiant Autobots" ], [ "Hot Rod's vision, now, infinitely better than human vision,\nspots something truly disturbing -- -- Starscream, and\nseveral Constructicons inside the ship!", "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "SHOCKWAVE\n Decepticons...we're under\n attack...Scramble - Then his voice is cut\n off as...\n\nSHOCKWAVE'S POV - OUT HIS WINDOW", "ON STARSCREAM AND MEGATRON\n\nAs they enter the now empty ship, a number of Decepticons\nflood past them, taking positions and searching for other\nliving Autobots.", "This is the closest thing the Decepticons have to a throne\nroom. It is a massive, circular room with tombs of old\nleaders, and a raised area where Starscream stands.\n\n 37.", "EXT. SPACE - THE BATTLE\n\nUnicron shoots down more Decepticons with his remaining eye,\nwhile he crushes the Junkion ship.\n\nINT. THE JUNKION SHIP", "The Decepticon plane looks slightly ridiculous with cloak on\nhis shoulders and Thrust and Ramjet at his side, weapons held\nhigh, but ready for action should anybody question", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "ANGLE ON IRONHIDE\n\nHe peers into a monitor. As he speaks, we see the monitor\nPAN to an area where a huge Decepticon Symbol is emblazoned\non Cybertron.", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "STARSCREAM\n He ducks away from the door.\n\n STARSCREAM (CONT'D)\n I'm hit!\n\nANGLE ON MEGATRON", "They transform to robot mode and fly away.\n\n GRIMLOCK\n Me, Grimlock, need new strategy.\n\n CUT TO:", "ANGLE ON THE SHUTTLE\n\nSuddenly it cracks open, and Decepticons shoot out of the\nwreckage like toys from a pinata.\n\nCLOSE - MEGATRON", "Then, suddenly two red, burning eyes light up above the\nmatrix, and we see the hideous form of Galvatron.", "In mid-air\n\n MEGATRON\n (shouting to forces)\n Attack!\n (he looks down and fires)\n\nHOT ROD AND DANIEL", "like a Top 40 Deejay. Perceptor climbs up ladder into \"Crows\nNest\" from lower level. As Blaster speaks, we see Decepticons", "The massive planet transforms, arms and legs fold out of the\nenormous body, hands unfold from the arms, jets from it's\nback propel it towards... ... Cybertron, which, now looks\nlonely and vulnerable in space.", "(CONTINUED)\n\n 11.\nCONTINUED:\n\n\n HOUND\n Decepticons!", "Prime stands outside the dented shuttle with Sunstreaker and\nHound. As he talks he shoots at a swarm of Decepticons who\nbattle their way towards him." ], [ "Then, he sees.\n\n\n (CONTINUED)\n\n 104.\nCONTINUED:", "He struggles to get free before he is crunched by the still\ntransforming city. In the nick of time, he shoots a \"shoe\nhorn\" like projection from his wrist and pulls his boot", "His head is turned so all assembled can see. His eyes flicker\nweakly, his voice RUMBLES with overtone of vast weariness and\nresignation", "as a figure moves forward slightly and speaks in a harsh,\nbass'o voice. It is GRANIX. We saw him in the first scene,", "All turn and look off, reacting as two Guards thunder in,\ngrab Granix and pull him back out of the door. {NOTE: Another\ninstance of the spelling of Granix}", "BLASTER\n Lookout and shout! Yow! Explosions rock\n the Crows Nest. Blaster swivels around\n and tilts to see...", "COVER where the Courtyard was. He winces in mid-air and flies\naway as the city continues to transform to a fortress below.", "At first, we see nothing unusual or suspicious. Then,\npulling closer, we see that the top of the moon is covered\nwith moon camouflage \"netting\" and underneath it is a huge", "TRANSFORM.\n\n CUT TO:\n\n 16.\n\n\n\nINT. CITY SIDE OF DRAWBRIDGE", "Kup and Hot Rod walk along a swampy, marshy area. Suddenly,\nthere are several loud gurgles, and we can see the shapes of", "Daniel clips \"cage\" of Exo-Suit shut and stands up inside the\ngridwork which makes him taller and broader. He moves\nawkwardly, barely able to advance a step", "The Decepticon plane looks slightly ridiculous with cloak on\nhis shoulders and Thrust and Ramjet at his side, weapons held\nhigh, but ready for action should anybody question", "barrels through a sign which reads: \"STOP -THIS AREA OFF\nLIMITS\", almost knocking Kup over in dust and wind", "toward him. The machete like blade strikes the ground,\nbetween Grimlock and Slag narrowly missing them. He turns\nand sees the thing stocking in the ground.", "This thing looks like a metal version of a \"venus fly trap,\"\nand it has a malevolent red eye which lights up. Swoop walks\npast it in humanoid mode.\n\n 70.", "as he MOVES ONTO SCENE in Humanoid mode, showing battle burns\nand scars. Then, he converts to train mode, and rolls through", "He tumbles out of the rubbish and down a deep pit (which we\ncan assume is a robotic sinus or something)\n\nEXT. THE BRAIN AREA", "... Suddenly, shots tear into the junk all around them as...\n\nANGLE ON A SWEEP\n\nROARS towards them...\n\nANGLE ON PERCEPTOR", "as they make it through an archway which TRANSFORMS INTO A\nSTEEL SHIELD as they run through", "He is FIRING at ARMORED DOOR, trying to melt through when he\nreacts to SOUND of Blaster's broadcast for help, stops, and\nlooks up at CROWS NEST." ], [ "As Daniel looks up and Arcee moves over to him protectively.\nHot Rod looks at Arcee in the same way she is looking at\nDaniel.\n\n ARCEE\n Stay close to me, Daniel...", "They slap palms. Then, they look up, horrified.\n\n BUMBLEBEE\n It isn't even dented.", "He suddenly flips around twice in mid-air then regains his\nfeet and leans way over against Arcee for support. She laughs\nand pats his shoulder", "(CONTINUED)\n\n 4.\nCONTINUED:\n\n\n BUMBLEBEE\n Bumblebee and Spike here.", "WRECK-GAR\n hugs Hot Rod, and Perceptor who winces\n and tries to enjoy it, and then hugs\n Daniel, Wheelie, Arcee, laughing and\n dancing as SINGING goes.", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "And then Spike comes rolling down, followed by Bumblebee!\n\n DANIEL\n Bumblebee! Dad!\n\nON CLIFFJUMPER, JAZZ, AND SPIKE", "other Autobots also transform. Daniel\n and Spike jump into him. Then, in a\n continuous line, he shoots off, the other\n Autobots racing behind him.", "HOT ROD\n (likes her, too, but tries to\n be cool and collected)\n Hey, I wasn't worried for a micro-second,\n Arcee!", "He looks back, and to his horror sees Jazz, Bumblebee and his\nfather about to be dropped in. He keeps firing. The panel\nstarts exploding!", "(CONTINUED)\n\n 20.\nCONTINUED:\n\n\nArcee starts to push beside him.", "Everyone is in a jumbled tangle - Ultra Magnus beneath Blurr,\nPerceptor upside down and hanging from torn end of stairway,\nArcee crouched over Daniel and Springer with half his body\nsticking through the hull", "as Arcee transforms and moves off in one direction. Daniel\nlooks at Blurr who is starting to transform\n\n\n\n (CONTINUED)", "ARCEE\n (pushing, manages to speak to\n Hot Rod. She likes him but\n doesn't want to go too far)\n I was afraid you'd be trapped outside the\n city walls.", "moment, we see a small yellow Autobot in robot mode. There,\nthen, as quickly as we realize what it is, it transforms into\nautomode and vanishes in a flash. It was Wheelie.", "INT THE CRUISER\n\nLights go off, and the Autobots are thrown around like toys.\n\nANGLE THROUGH THE VIEWSCREEN", "ARCEE, a lovely female Autobot of about\n Hot Rod's age, SPRINGER, a very muscular\n and bantering \"Indiana Jones\" type", "lube him, dust him, spray him and polish him. Then, Wreck-Gar\nhits a switch, and Ultra Magnus' eye lights go on.", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:" ], [ "BUMBLEBEE\n All clear, Jazz.\n (pause)", "He has a portable communication device. Spike and Bumble can\nbe seen on it. Springer, Kup, the Dinobots, Blurr, and Hot", "(CONTINUED)\n\n 4.\nCONTINUED:\n\n\n BUMBLEBEE\n Bumblebee and Spike here.", "BUMBLEBEE\n We'll try 'n slow it down...\n\n SPIKE\n But you'd better get here fast because...\n Suddenly, static obscures the\n transmission.", "They stand together a communication console. Spike is now\n35 years old. Bumblebee looks as he has always looked, save", "ON BUMBLEBEE AND SPIKE\n\nThey try to fly away.\n\n (CONTINUED)", "They slap palms. Then, they look up, horrified.\n\n BUMBLEBEE\n It isn't even dented.", "An incredible display of fireworks goes off, seemingly\nblowing Unicron to smithereens.\n\nON BUMBLEBEE AND SPIKE", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "They transform to robot mode and fly away.\n\n GRIMLOCK\n Me, Grimlock, need new strategy.\n\n CUT TO:", "BUMBLEBEE\n now with a new bumpersticker which is a\n Unicron with a red circle and slash\n through it, looks very fidgety.", "BUMBLEBEE\n Let's get out of here.\n\n 77.\n\n\n\nBUMBLEBEE AND SPIKE", "They clear out a circle in the center of the pit and\ntransform to humanoid mode.\n\n HOT ROD\n Didn't even bend a fender.", "And then Spike comes rolling down, followed by Bumblebee!\n\n DANIEL\n Bumblebee! Dad!\n\nON CLIFFJUMPER, JAZZ, AND SPIKE", "BLASTER\n He reacts to muffled transmission from\n Jazz.", "He looks back, and to his horror sees Jazz, Bumblebee and his\nfather about to be dropped in. He keeps firing. The panel\nstarts exploding!", "BUMBLEBEE\n Five, four, three, two, one...\n\nON THE SECOND MOON AND UNICRON\n\nBLAMMMOLA!", "BLASTS of enemy fire continue to rock the crows nest as\nPerceptor answers\n\n PERCEPTOR\n Blaster, Ultra Magnus sends orders to\n contact Optimus Prime for reinforcements.", "Now, for the first time, we see what is really going on.\nUnicron looms behind it, about to do the big munch.\n\nANGLE ON BUMBLEBEE AND SPIKE", "a metallic reef, bounces, manages to right himself, shaking\nhis head as he regains equilibrium, and... Then he transforms\ninto auto mode modified for undersea action and starts riding" ], [ "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:", "Sharkticons march Kup and Hot Rod into a HOLDING PEN within a\nwalled compound. As we FOLLOW THEM INTO PEN we PULL BACK and\nPAN to establish that entry procession is being watched by...", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "CUT TO:\n\nINT. THE SHUTTLE\n\nIronhide and Prowl sit at the controls, running a series of\npre-launch tests.", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "Ironhide transforms and Races toward a mountain, which stands\nabout a half mile from the secret Autobot facility.\n\n OPTIMUS PRIME (V.O.)\n Jazz, report security status.", "Spike and the Autobots are about to go in.\n\n CLIFFJUMPER\n Hurry!\n\n DANIEL\n Starts frying the command console!", "He looks back, and to his horror sees Jazz, Bumblebee and his\nfather about to be dropped in. He keeps firing. The panel\nstarts exploding!", "NARRATOR\n It is the year 2005. The treacherous\n Decepticons have conquered the Autobots'", "INT. THE CORRIDOR IN UNICRON -- SAME TIME\n\nKup, Arcee, Springer and Daniel dash down the corridor.\nSuddenly, Daniel's foot is caught in a maze of wiring.", "They transform to robot mode and fly away.\n\n GRIMLOCK\n Me, Grimlock, need new strategy.\n\n CUT TO:", "other Autobots also transform. Daniel\n and Spike jump into him. Then, in a\n continuous line, he shoots off, the other\n Autobots racing behind him.", "It zooms towards a whopper of a planet, surrounded by several\nsmall moons. We will later learn that this planet is\nQuintesson, but for now, it's mysterious. The moleculon\nmissiles streak after it like sidewinders.", "They slap palms. Then, they look up, horrified.\n\n BUMBLEBEE\n It isn't even dented.", "And then Spike comes rolling down, followed by Bumblebee!\n\n DANIEL\n Bumblebee! Dad!\n\nON CLIFFJUMPER, JAZZ, AND SPIKE", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "INT THE CRUISER\n\nLights go off, and the Autobots are thrown around like toys.\n\nANGLE THROUGH THE VIEWSCREEN", "INT. THE SHUTTLE\n\nIronhide is at the controls.", "Hot Rod's vision, now, infinitely better than human vision,\nspots something truly disturbing -- -- Starscream, and\nseveral Constructicons inside the ship!", "Despite the fact that their thrusters are on full power, they\nare still sucked into...\n\nUNICRON...\n\nWhose great mouth shuts when he's got the human and the\nAutobot." ], [ "This is the closest thing the Decepticons have to a throne\nroom. It is a massive, circular room with tombs of old\nleaders, and a raised area where Starscream stands.\n\n 37.", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "EXT. SPACE - LATER\n\nMegatron and the other dented, dinged and dead Decepticon\nbodies float through space. we follow the wailing Megatron\nand the others down to:", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "The shuttle takes off, leaving a number of generic\nDecepticons behind, who immediately raise their hands upon\nrealizing that they are surrounded by Autobots.\n\n DISSOLVE TO:", "Sharkticons march Kup and Hot Rod into a HOLDING PEN within a\nwalled compound. As we FOLLOW THEM INTO PEN we PULL BACK and\nPAN to establish that entry procession is being watched by...", "shot. Then, slowly, Ultra Magnus moves it into his own chest,\ncloses the door, and the light is gone, save for a momentary,\nand extremely powerful glow from his eyes.", "MEGATRON\n as he commands his troops.\n\n MEGATRON\n Their defenses are broken. Let the\n slaughter begin.\n\nThen he turns and sees...", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "Ironhide transforms and Races toward a mountain, which stands\nabout a half mile from the secret Autobot facility.\n\n OPTIMUS PRIME (V.O.)\n Jazz, report security status.", "7.\nCONTINUED:\n MEGATRON (CONT'D)\n But when we slip by their security", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "Hot Rod pulls Daniel back as Megatron's BLAST SHEARS OFF the\nVIEWING PLATFORM which crumbles and falls down the steep\nmountain!\n\n HOT ROD\n Hang on!", "Hot Rod's vision, now, infinitely better than human vision,\nspots something truly disturbing -- -- Starscream, and\nseveral Constructicons inside the ship!", "UNICRON\n No. It has been passed to their new\n leader. Get it for me.\n\n MEGATRON\n Why should I? What's in it for me?", "cache of futuristic weapons. This is the Autobot staging\nground for an assault on Cybertron. DOLLY THROUGH THE COMPLEX\nuntil we arrive at a Command Center where several Autobots", "ends in a blinding flash and Galvatron - who still resembles\nMegatron - laughs and flexes his muscles and stretches. His\nvoice is deeper, different from Megatron's", "MEGATRON\n State your business.\n\n UNICRON\n Bring me the Autobot Matrix. It is the\n one thing - the only thing that can stand\n in my way.", "They transform to robot mode and fly away.\n\n GRIMLOCK\n Me, Grimlock, need new strategy.\n\n CUT TO:", "Despite the fact that their thrusters are on full power, they\nare still sucked into...\n\nUNICRON...\n\nWhose great mouth shuts when he's got the human and the\nAutobot." ], [ "shot. Then, slowly, Ultra Magnus moves it into his own chest,\ncloses the door, and the light is gone, save for a momentary,\nand extremely powerful glow from his eyes.", "Decepticons make way for Starscream as he tosses the nearly\nlifeless Megatron into the shuttle and gets in. Then,\nstanding at the door, he kicks other Decepticons away.", "ends in a blinding flash and Galvatron - who still resembles\nMegatron - laughs and flexes his muscles and stretches. His\nvoice is deeper, different from Megatron's", "MEGATRON\n He's furious.\n\n MEGATRON (CONT'D)\n You imbecile, our cover is blown!", "Megatron falls! Prime falls to his knees, tries to rise,\ncollapses to his side and falls slowly back. HOT ROD runs\nover to him.", "It is empty. The Autobots and Spike sit at the bottom,\nsmoking but alright.\n\n SPIKE\n You did it!\n\n CUT TO:", "lube him, dust him, spray him and polish him. Then, Wreck-Gar\nhits a switch, and Ultra Magnus' eye lights go on.", "A distraught Ultra Magnus nods, reaches out with free hand\nand points his forefinger at Optimus Prime's chest. Then,", "The Junkions move Ultra Magnus' mangled body through an\namazing assembly line, quickly piecing together his body\nparts, using junk when they can't find a part. Then, they", "charges headlong into the Decepticon forces which separate\nhim from Megatron. Decepticons fire on him, but he takes\nthe shots, and... Spinning and whirling like the Sundance", "He holds the Autobot Matrix.\n\n\n (CONTINUED)\n\n 84.\nCONTINUED:", "Suddenly, the ground he stands on drops away, and he falls\nthrough space... ... Landing on a protruding plate which\nsticks out of Unicron's chest.\n\nGALVATRON - CLOSE", "Then, suddenly two red, burning eyes light up above the\nmatrix, and we see the hideous form of Galvatron.", "give them an Energon goody. Kup reaches\n into his belt, presses a button and pulls\n out an Energon cube. Hot Rod, somewhat", "They roar away.\n\n ON UNICRON\n His mist surrounds the planet...\n\nON BUMBLEBEE AND SPIKE\n\nThey stop their ship in space.", "MEGATRON\n Fall! Fall!\n\nMegatron tosses Hot Rod aside like a rag doll and stands\nabove the dying Prime.", "ON MEGATRON\n as he spots a gun on the ground ahead of\n him\n\n MEGATRON\n No more, Optimus Prime! Grant me mercy,\n I beg of you!", "The massive planet transforms, arms and legs fold out of the\nenormous body, hands unfold from the arms, jets from it's\nback propel it towards... ... Cybertron, which, now looks\nlonely and vulnerable in space.", "pressing a button on Prime's chest, a small, secret doorway\nopens, and we see something extremely bright glowing in\nthere. Ultra Magnus, nearly blinded by the intense light,", "Hot Rod's vision, now, infinitely better than human vision,\nspots something truly disturbing -- -- Starscream, and\nseveral Constructicons inside the ship!" ] ]

[ "Where did Megatron crash at?", "What is the Allspark?", "Who destroyed a United States military base?", "Who in particular pursues Captain Lennox across the desert? ", "How does Bumblebee communicate?", "Who is Sam's high school crush?", "What would Megatron do with the Allspark? ", "What is Sector Seven? ", "Who is Sector Seven's director?", "Which two factions were involved in a civil war in Cybertron?", "Who was the leader of the Autobots?", "Who was the leader of the Decepticons?", "Who was the explorer who activated Megatron's navigational system in the Arctic circle?", "Who ends up with the possession of the glasses with the AllSpark’s coordinates?", "Who attacks the US Military base in Qatar to find information on Megatron & AllSpark?", "What does Sam's Chevrolet car turn out to be?", "How does Bumblebee communicate?", "Into whose chest does Sam ram the cube killing its spark?", "Where are the dead decepticons disposed off by the US Government?", "Who led the Autobots during the civil war that consumed the planet Cybertron several thousand years ago?", "Who led the Decepticons during the civil war that consumed the planet Cybertron several thousand years ago?", "Who discovered the frozen Megatron in the Artic Circle in 1895?", "Who is Sam Witwicky to Archibald Witwicky?", "What kind of car did Sam buy as his first car?", "What Is attacked and destroyed by Blackout in Qatar when Blackout attempts to hack the military network in search of information on Megatron and the AllSpark?", "Who leads the team of soldiers that escaped across the desert, while being pursued by Blackout's drone Scorponok?", "Who does analyst Maggie Madsen catch onboard Air Force One hacking into the network?", "Who does Sam's Camaro turn out to be?", "Where does the United States government dispose of the dead Decepticons?", "What plane was torn apart in civil war between two factions?", "Who discovered the frozen transformer in 1895?", "Who is Megatron?", "Who destroys the US Military Base?", "What is so special about Sam's Car?", "What is the special about Sam's glasses?", "Who leads the investigation into the attack?", "Who rescues Sam ?", "Where do the group gather ?", "Which decepticon escapes?", "Who is the leader of the Decepticons on planet Cybertron?", "What mystical artifact does Optimus Prime jettison into space?", "In what year did Archibald Witwicky discover Megatron?", "Which Decepticon hacks into the Pentagon network, while aboard Air Force One?", "What is Barricade's disguise?", "Who is Sam Witwicky's high school crush?", "How does Bumblebee communicate?", "Which top secret government branch captures Sam and Mikaela?", "Where is Megatron held frozen by Sector Seven?", "Who puts the AllSpark into Megatron's chest?" ]

[ [ "In the Artic Circle", "Arctic Circle" ], [ "A mystical artifact that brings life to the planet", "An artifact that brings life to the planet." ], [ "Blackout", "Blackout" ], [ "Scorponok", "Scorponok" ], [ "Through his car radio", "through his car radio" ], [ "Mikaela Barnes", "Mikaela Banes." ], [ "He would create a new army and destroy mankind", "Turn Earth's technology into an army to wipe out mankind" ], [ "A top secret government branch", "A secret government branch." ], [ "Tom Banachek", "Tom Banachek" ], [ "Autobots and Decepticons", "Decepticons and the Autobots." ], [ "Optimus Prime", "Optimus Prime" ], [ "Megatron", "Megatron." ], [ "Archibald Witwicky", "Archibald Witwicky" ], [ "Sam Witwicky", "Sam Witwicky" ], [ "Blackout", "Blackout" ], [ "Autobot Bumblebee", "an Autobot scout named Bumblebee" ], [ "Through the car radio", "car radio" ], [ "Megatron", "Megatron." ], [ "Laurentian Abyss", "because the Decepticons' plan was to destroy mankind" ], [ "Optimus Prime", "Optimus Prime" ], [ "Megaton ", "Megatron." ], [ "Explorer Archibald Witwicky", "Archibald Witwicky" ], [ "His great-great-grandson", "great-great grandson" ], [ "A Chevrolet Camaro", "Chevy Camaro." ], [ "A United States military base", "a U.S. Military Base" ], [ "Captain William Lennox", "Captain Lennox" ], [ "Frenzy ", "Frenzy." ], [ "Bumblebee", "an Autobot named Bumblebee" ], [ "In the Laurentian Abyss", "The Laurentian Abyss." ], [ "Cybertron", "Cybertron." ], [ "Archibald Witwicky", "Archibald Witwicky." ], [ "The leader of the Decepticons", "leader of the Decepticons" ], [ "Blackout", "Blackout" ], [ "It is a transformer", "It is an autobot that communicates through the radio." ], [ "It has the allspark coordinates", "The AllSpark's coordinates are embedded in them." ], [ "Secretary of Defense", "John Keller, the secretary of defense, investigates the attack." ], [ "Bumblebee", "Bumblebee" ], [ "The Hoover Dam", "at Hoover Dam" ], [ "Starscream", "Starscream" ], [ "Megatron.", "Megatron" ], [ "The AllSpark.", "The Allspark." ], [ "1895.", "1895." ], [ "Frenzy.", "Frenzy" ], [ "Police car.", "a police car" ], [ "Mikaela Banes.", "Mikaela" ], [ "Through his car radio.", "through his car radio" ], [ "Sector Seven.", "Sector Seven" ], [ "Hoover Dam.", "at Hoover Dam" ], [ "Sam Witwicky.", "Sam" ] ]

[ [ "Take a pound of oatmeal, a pound of coarse brown sugar, and a spoonful\nof arsenic. Mix well together and put the composition into an earthen\njar. Put a tablespoonful at a place in runs frequented by rats.", "It is often claimed that phosphorus eaten by rats or mice dries up or\nmummifies the body so that no odor results. The statement has no", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "Burlington, Ohio, a rat hunt took place some years ago in which each of\nthe two sides killed over 8,000 rats, the beaten party serving a banquet\nto the winners.", "but many of the so-called sparrow clubs are really sparrow and rat\nclubs, for the destruction of both pests is the avowed object of the\norganizations. A sparrow club in Kent, England, accomplished the", "The following suspected errors have been changed in this text:\n Page 6: \"highdays\" changed to \"highways\"", "[Transcriber's Note:", "means confines its activities to the inside of buildings, but is often\nfound in open fields, where its depredations in shock and stack are well\nknown.", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "They are weighted near the ends of the box and so adjusted that they\nswing easily. An animal stepping upon the cover beyond the rods is\nprecipitated into the box, while the cover immediately swings back to", "foundation in fact. No known poison will prevent decomposition of the\nbody of an animal that died from its effects. Equally misleading is the\nstatement that rats poisoned with phosphorus do not die on the premises.", "off of the birds and mammals that prey upon them. Animals that on the\nwhole are decidedly beneficial, since they subsist upon harmful insects\nand rodents, are habitually destroyed by some farmers and sportsmen", "At this rate a pair of rats, breeding uninterruptedly and without\ndeaths, would at the end of three years (18 generations) be increased to\n359,709,482 individuals.", "in the markets, and destroys by pollution ten times as much as it\nactually eats. It destroys eggs and young poultry, and eats the eggs and", "after sucking the blood of their victim. Sometimes they remain for hours\nin the burrows or escape by other exits and are lost. There is danger\nthat these lost ferrets may adapt themselves to wild conditions and", "necessary precautions and the absence of concerted endeavors. We have\nrendered our work abortive by continuing to provide subsistence and\nhiding places for the animals. If these advantages are denied,", "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "because they occasionally kill a chicken or a game bird.", "adults refuse to enter the most innocent-looking trap. And yet trapping,\nif persistently followed, is one of the most effective ways of\ndestroying the animals.", "suspicious than rats and are much more easily trapped. Small guillotine\ntraps baited with oatmeal will soon rid an ordinary dwelling of the\nsmaller pests." ], [ "trigger. An old rat will go under such a contrivance to feed without\nfear.", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "Rats and mice are practically omnivorous, feeding upon all kinds of\nanimal and vegetable matter. The brown rat makes its home in the open", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "Past attempts to exterminate rats and mice have failed, not so much\nbecause of lack of effective means as because of the neglect of", "The necessity of cooperation and organization in the work of rat\ndestruction is of the utmost importance. To destroy all the animals on", "On many a farm, if the grain eaten and wasted by rats and mice could be\nsold, the proceeds would more than pay all the farmer's taxes.", "Many organizations already formed should be interested in destroying\nrats. Boards of trade, civic societies, and citizens' associations in\ntowns and farmers' and women's clubs in rural communities will find the", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "suspicious than rats and are much more easily trapped. Small guillotine\ntraps baited with oatmeal will soon rid an ordinary dwelling of the\nsmaller pests.", "circumstances they are useful aids to the rat catcher, but their value\nis greatly overestimated. For effective work they require experienced\nhandling and the additional services of a dog or two. Dogs and ferrets", "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "For centuries the world has been fighting rats without organization and\nat the same time has been feeding them and building for them fortresses", "Not only are mice and rats, especially the brown rat, a cause of\ndestruction and damage to property, but they are also a constant menace", "End of the Project Gutenberg EBook of House Rats and Mice, by David E. Lantz", "helped by dogs, in three days killed 1,645 rats.", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "to undertake the capture of an animal as formidable as the brown rat.\nBirds and mice are much more to its liking. Cats that are fearless of", "to bolt the rats, which are killed by the dogs. If unmuzzled ferrets are\nsent into rat retreats, they are apt to make a kill and then lie up" ], [ "must be thoroughly accustomed to each other, and the former must be\nquiet and steady instead of noisy and excitable. The ferret is used only", "Take a pound of oatmeal, a pound of coarse brown sugar, and a spoonful\nof arsenic. Mix well together and put the composition into an earthen\njar. Put a tablespoonful at a place in runs frequented by rats.", "trigger. An old rat will go under such a contrivance to feed without\nfear.", "necessary precautions and the absence of concerted endeavors. We have\nrendered our work abortive by continuing to provide subsistence and\nhiding places for the animals. If these advantages are denied,", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "An old formula for poisoning rats and mice with arsenic is the\nfollowing, adapted from an English source:", "thoroughly mixed with eight ounces of toasted cheese or of butter and\nmeal and put out in runs of rats or mice. Another formula recommends two", "Owing to its slower operation, no doubt a larger portion escape into the\nopen before dying than when strychnin is used.", "and these placed in rat runs or burrows; or oatmeal may be moistened\nwith a strychnin sirup and small quantities laid in the same way.", "results obtained, arsenic is dearer than strychnin. Besides, arsenic is\nextremely variable in its effect upon rats, and if the animals survive a", "It is often claimed that phosphorus eaten by rats or mice dries up or\nmummifies the body so that no odor results. The statement has no", "necessary to moisten all the oatmeal with the sirup. Wheat and corn are\nexcellent alternative baits. The grain should be soaked overnight in the\nstrychnin sirup.", "on milk. A little sulphur in the milk at intervals is a corrective\nagainst the bad effects of a constant rat or mouse diet. Cats often die\nfrom eating these rodents.", "is possible the animals usually leave the premises in search of water.\nFor this reason the poison may frequently, though not always, be used in\nhouses without disagreeable consequences.", "sufficient quantity. In the small doses fed to rats and mice it would be\nharmless to domestic animals. Its action upon rats is slow, and if exit", "Strychnia sulphate is the best form to use. The dry crystals may be\ninserted in small pieces of raw meat, Vienna sausage, or toasted cheese,", "foundation in fact. No known poison will prevent decomposition of the\nbody of an animal that died from its effects. Equally misleading is the\nstatement that rats poisoned with phosphorus do not die on the premises.", "adults refuse to enter the most innocent-looking trap. And yet trapping,\nif persistently followed, is one of the most effective ways of\ndestroying the animals.", "for concealment. If we are to fight them on equal terms we must deny\nthem food and hiding places. We must organize and unite to rid\ncommunities of these pests. The time to begin is now.", "is all the more necessary to exercise extreme caution to prevent\naccidents. In several States notice of intention to lay poison must be\ngiven to persons living in the neighborhood. Poison for rats should" ], [ "[Illustration: FIG. 8.--Cage trap with catch of rats.]", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "in rat-proof cages, or pounds, constructed of wire netting. Wooden boxes\ncontaining reserve food held in depots for a considerable time or", "=Cage trap.=--When rats are abundant, the large French wire cage traps\nmay be used to advantage. They should be made of stiff wire, well", "Cage traps may be baited and left open for several nights until the rats\nare accustomed to enter them to obtain food. They should then be closed", "trigger. An old rat will go under such a contrivance to feed without\nfear.", "Notwithstanding the fact that sometimes a large number of rats may be\ntaken at a time in cage traps, a few good guillotine traps intelligently\nused will prove more effective in the long run.", "They are weighted near the ends of the box and so adjusted that they\nswing easily. An animal stepping upon the cover beyond the rods is\nprecipitated into the box, while the cover immediately swings back to", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "means confines its activities to the inside of buildings, but is often\nfound in open fields, where its depredations in shock and stack are well\nknown.", "make them practically rat-proof; and foodstuffs, as flour, seeds, and\nmeats, may always be protected in wire cages at slight expense. The\npublic should be protected from insanitary stores by a system of rigid", "trap and an old cloth or bag or a bunch of hay or straw thrown\ncarelessly over the top. Often the trap may be placed with the entrance\nopposite a rat hole and fitting it so closely that rats can not pass", "adults refuse to enter the most innocent-looking trap. And yet trapping,\nif persistently followed, is one of the most effective ways of\ndestroying the animals.", "=Steel trap.=--The ordinary steel trap (No. 0 or 1) may sometimes be\nsatisfactorily employed to capture a rat. The animal is usually caught", "its place. Besides rats, the trap is well adapted to capture larger\nanimals, as minks, raccoons, opossums, and cats. It is especially useful", "circumstances they are useful aids to the rat catcher, but their value\nis greatly overestimated. For effective work they require experienced\nhandling and the additional services of a dog or two. Dogs and ferrets", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly" ], [ "trigger. An old rat will go under such a contrivance to feed without\nfear.", "[Illustration: FIG. 8.--Cage trap with catch of rats.]", "They are weighted near the ends of the box and so adjusted that they\nswing easily. An animal stepping upon the cover beyond the rods is\nprecipitated into the box, while the cover immediately swings back to", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "=Cage trap.=--When rats are abundant, the large French wire cage traps\nmay be used to advantage. They should be made of stiff wire, well", "Notwithstanding the fact that sometimes a large number of rats may be\ntaken at a time in cage traps, a few good guillotine traps intelligently\nused will prove more effective in the long run.", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "adults refuse to enter the most innocent-looking trap. And yet trapping,\nif persistently followed, is one of the most effective ways of\ndestroying the animals.", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "Cage traps may be baited and left open for several nights until the rats\nare accustomed to enter them to obtain food. They should then be closed", "circumstances they are useful aids to the rat catcher, but their value\nis greatly overestimated. For effective work they require experienced\nhandling and the additional services of a dog or two. Dogs and ferrets", "=Figure-4 trigger trap.=--The old-fashioned box trap set with a\nfigure-4 trigger is sometimes useful to secure a wise old rat that", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "in rat-proof cages, or pounds, constructed of wire netting. Wooden boxes\ncontaining reserve food held in depots for a considerable time or", "to bolt the rats, which are killed by the dogs. If unmuzzled ferrets are\nsent into rat retreats, they are apt to make a kill and then lie up", "On many a farm, if the grain eaten and wasted by rats and mice could be\nsold, the proceeds would more than pay all the farmer's taxes.", "make them practically rat-proof; and foodstuffs, as flour, seeds, and\nmeats, may always be protected in wire cages at slight expense. The\npublic should be protected from insanitary stores by a system of rigid", "Complete working drawings for the practical rat-proof corncrib shown in\nfigures 3 and 4 may be obtained from the Office of Public Roads and\nRural Engineering of the department." ], [ "field, the hedge row, and the river bank, as well as in stone walls,\npiers, and all kinds of buildings. It destroys grains when newly", "On many a farm, if the grain eaten and wasted by rats and mice could be\nsold, the proceeds would more than pay all the farmer's taxes.", "Not only are mice and rats, especially the brown rat, a cause of\ndestruction and damage to property, but they are also a constant menace", "Past attempts to exterminate rats and mice have failed, not so much\nbecause of lack of effective means as because of the neglect of", "means confines its activities to the inside of buildings, but is often\nfound in open fields, where its depredations in shock and stack are well\nknown.", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "necessary precautions and the absence of concerted endeavors. We have\nrendered our work abortive by continuing to provide subsistence and\nhiding places for the animals. If these advantages are denied,", "is all the more necessary to exercise extreme caution to prevent\naccidents. In several States notice of intention to lay poison must be\ngiven to persons living in the neighborhood. Poison for rats should", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "relied upon to keep the farm premises reasonably free from rats.", "For centuries the world has been fighting rats without organization and\nat the same time has been feeding them and building for them fortresses", "End of the Project Gutenberg EBook of House Rats and Mice, by David E. Lantz", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "While the use of poison is the best and quickest way to get rid of rats\nand mice, the odor from the dead animals makes the method impracticable", "They are weighted near the ends of the box and so adjusted that they\nswing easily. An animal stepping upon the cover beyond the rods is\nprecipitated into the box, while the cover immediately swings back to", "The necessity of cooperation and organization in the work of rat\ndestruction is of the utmost importance. To destroy all the animals on", "for concealment. If we are to fight them on equal terms we must deny\nthem food and hiding places. We must organize and unite to rid\ncommunities of these pests. The time to begin is now.", "and mice if placed in inexpensive rat-proof containers covered with wire\nnetting. Sometimes all that is needed to prevent serious waste is the\napplication of concrete to holes in the basement wall or the slight", "the premises of a single farmer in a community has little permanent\nvalue, since they are soon replaced from near-by farms. If, however, the" ], [ "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "Owing to their cunning, it is not always easy to clear rats from\npremises by trapping; if food is abundant, it is impossible. A few", "Past attempts to exterminate rats and mice have failed, not so much\nbecause of lack of effective means as because of the neglect of", "9. The keeping of provisions, seed grain, and foodstuffs in rat-proof\ncontainers.\n\n10. Keeping effective rat dogs, especially on farms and in city\nwarehouses.", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "11. The systematic destruction of rats, whenever and wherever possible,\nby (_a_) trapping, (_b_) poisoning, and (_c_) organized hunts.", "suspicious than rats and are much more easily trapped. Small guillotine\ntraps baited with oatmeal will soon rid an ordinary dwelling of the\nsmaller pests.", "To secure permanent results any general campaign for the elimination of\nrats must aim at _building the animals out of shelter and food_.\nBuilding reforms depend on municipal ordinances and legislative", "Notwithstanding the fact that sometimes a large number of rats may be\ntaken at a time in cage traps, a few good guillotine traps intelligently\nused will prove more effective in the long run.", "far as the exclusion of rats is concerned.", "Cooperative efforts to destroy rats have taken various forms in\ndifferent localities. In cities, municipal employees have occasionally\nbeen set at work hunting rats from their retreats, with at least", "through without entering the trap. If a single rat is caught it may be\nleft in the trap as a decoy to others.", "For centuries the world has been fighting rats without organization and\nat the same time has been feeding them and building for them fortresses", "At this rate a pair of rats, breeding uninterruptedly and without\ndeaths, would at the end of three years (18 generations) be increased to\n359,709,482 individuals.", "to bolt the rats, which are killed by the dogs. If unmuzzled ferrets are\nsent into rat retreats, they are apt to make a kill and then lie up" ], [ "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "in buildings is not so satisfactory, because it is difficult to confine\nthe gases. Moreover, when effective, the odor from the dead rats is\nhighly objectionable in occupied buildings.", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "helped by dogs, in three days killed 1,645 rats.", "to bolt the rats, which are killed by the dogs. If unmuzzled ferrets are\nsent into rat retreats, they are apt to make a kill and then lie up", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "At this rate a pair of rats, breeding uninterruptedly and without\ndeaths, would at the end of three years (18 generations) be increased to\n359,709,482 individuals.", "stores. Each is effective if the gas can be confined and made to reach\nthe retreats of the animals. Owing to the great danger from fire", "Hydrocyanic-acid gas is effective in destroying all animal life in\nbuildings. It has been successfully used to free elevators and", "Notwithstanding the fact that sometimes a large number of rats may be\ntaken at a time in cage traps, a few good guillotine traps intelligently\nused will prove more effective in the long run.", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "destruction of 28,000 sparrows and 16,000 rats in three seasons by the\nannual expenditure of but £6 ($29.20) in prize money. Had ordinary", "It is often claimed that phosphorus eaten by rats or mice dries up or\nmummifies the body so that no odor results. The statement has no", "and freshly baited, when a larger catch may be expected, especially of\nyoung rats (fig. 8). As many as 25, and even more, partly grown rats", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "Burlington, Ohio, a rat hunt took place some years ago in which each of\nthe two sides killed over 8,000 rats, the beaten party serving a banquet\nto the winners.", "Past attempts to exterminate rats and mice have failed, not so much\nbecause of lack of effective means as because of the neglect of", "dogs and men kill the trapped rodents. Large numbers are destroyed in\nthis way, and the plan with modifications may be utilized in America\nwith satisfactory results. A wire netting of fine mesh may be used for" ], [ "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "Cooperative efforts to destroy rats have taken various forms in\ndifferent localities. In cities, municipal employees have occasionally\nbeen set at work hunting rats from their retreats, with at least", "Past attempts to exterminate rats and mice have failed, not so much\nbecause of lack of effective means as because of the neglect of", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "For centuries the world has been fighting rats without organization and\nat the same time has been feeding them and building for them fortresses", "11. The systematic destruction of rats, whenever and wherever possible,\nby (_a_) trapping, (_b_) poisoning, and (_c_) organized hunts.", "suspicious than rats and are much more easily trapped. Small guillotine\ntraps baited with oatmeal will soon rid an ordinary dwelling of the\nsmaller pests.", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "DOMESTIC ANIMALS.\n\nAmong domestic animals employed to kill rats are the dog, the cat, and\nthe ferret.", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "WASHINGTON: GOVERNMENT PRINTING OFFICE: 1917\n\n\nThe rat is the worst animal pest in the world.", "helped by dogs, in three days killed 1,645 rats.", "Many organizations already formed should be interested in destroying\nrats. Boards of trade, civic societies, and citizens' associations in\ntowns and farmers' and women's clubs in rural communities will find the", "To secure permanent results any general campaign for the elimination of\nrats must aim at _building the animals out of shelter and food_.\nBuilding reforms depend on municipal ordinances and legislative", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "farmers of an entire township or county unite in efforts to get rid of\nrats, much more lasting results may be attained. If continued from year\nto year, such organized efforts are very effective.", "dogs and men kill the trapped rodents. Large numbers are destroyed in\nthis way, and the plan with modifications may be utilized in America\nwith satisfactory results. A wire netting of fine mesh may be used for", "The necessity of cooperation and organization in the work of rat\ndestruction is of the utmost importance. To destroy all the animals on" ], [ "[Transcriber's Note:", "The following suspected errors have been changed in this text:\n Page 6: \"highdays\" changed to \"highways\"", "Burlington, Ohio, a rat hunt took place some years ago in which each of\nthe two sides killed over 8,000 rats, the beaten party serving a banquet\nto the winners.", "At this rate a pair of rats, breeding uninterruptedly and without\ndeaths, would at the end of three years (18 generations) be increased to\n359,709,482 individuals.", "In both city and country, wooden floors of sidewalks, areas, and porches\nare commonly laid upon timbers resting on the ground. Under such floors", "Take a pound of oatmeal, a pound of coarse brown sugar, and a spoonful\nof arsenic. Mix well together and put the composition into an earthen\njar. Put a tablespoonful at a place in runs frequented by rats.", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "Thus a pair, breeding uninterruptedly and without deaths, could in three\nyears (18 generations) produce a posterity of 359,709,480 individuals.", "It carries bubonic plague and many other diseases fatal to man and has\nbeen responsible for more untimely deaths among human beings than all\nthe wars of history.", "trigger. An old rat will go under such a contrivance to feed without\nfear.", "It is often claimed that phosphorus eaten by rats or mice dries up or\nmummifies the body so that no odor results. The statement has no", "after sucking the blood of their victim. Sometimes they remain for hours\nin the burrows or escape by other exits and are lost. There is danger\nthat these lost ferrets may adapt themselves to wild conditions and", "necessary precautions and the absence of concerted endeavors. We have\nrendered our work abortive by continuing to provide subsistence and\nhiding places for the animals. If these advantages are denied,", "means confines its activities to the inside of buildings, but is often\nfound in open fields, where its depredations in shock and stack are well\nknown.", "bounties been paid for this destruction, the tax on the community would\nhave been about £250 (over $1,200).", "temporary benefit to the community. Thus, in 1904, at Folkestone,\nEngland, a town of about 25,000 inhabitants, the corporation employees,", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "off of the birds and mammals that prey upon them. Animals that on the\nwhole are decidedly beneficial, since they subsist upon harmful insects\nand rodents, are habitually destroyed by some farmers and sportsmen", "is possible the animals usually leave the premises in search of water.\nFor this reason the poison may frequently, though not always, be used in\nhouses without disagreeable consequences.", "They are weighted near the ends of the box and so adjusted that they\nswing easily. An animal stepping upon the cover beyond the rods is\nprecipitated into the box, while the cover immediately swings back to" ], [ "helped by dogs, in three days killed 1,645 rats.", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "circumstances they are useful aids to the rat catcher, but their value\nis greatly overestimated. For effective work they require experienced\nhandling and the additional services of a dog or two. Dogs and ferrets", "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "to bolt the rats, which are killed by the dogs. If unmuzzled ferrets are\nsent into rat retreats, they are apt to make a kill and then lie up", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "Cooperative efforts to destroy rats have taken various forms in\ndifferent localities. In cities, municipal employees have occasionally\nbeen set at work hunting rats from their retreats, with at least", "laws as well as financial aid in prosecuting the work. The campaign of\nDanish and Swedish organizations for the destruction of rats had the\nhelp of governmental appropriations. The legislatures of California,", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "End of the Project Gutenberg EBook of House Rats and Mice, by David E. Lantz", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "DOMESTIC ANIMALS.\n\nAmong domestic animals employed to kill rats are the dog, the cat, and\nthe ferret.", "dogs and men kill the trapped rodents. Large numbers are destroyed in\nthis way, and the plan with modifications may be utilized in America\nwith satisfactory results. A wire netting of fine mesh may be used for", "To secure permanent results any general campaign for the elimination of\nrats must aim at _building the animals out of shelter and food_.\nBuilding reforms depend on municipal ordinances and legislative", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "suspicious than rats and are much more easily trapped. Small guillotine\ntraps baited with oatmeal will soon rid an ordinary dwelling of the\nsmaller pests.", "For centuries the world has been fighting rats without organization and\nat the same time has been feeding them and building for them fortresses", "trigger. An old rat will go under such a contrivance to feed without\nfear.", "=Ferrets.=--Tame ferrets, like weasels, are inveterate foes of rats, and\ncan follow the rodents into their retreats. Under favorable" ], [ "trigger. An old rat will go under such a contrivance to feed without\nfear.", "They are weighted near the ends of the box and so adjusted that they\nswing easily. An animal stepping upon the cover beyond the rods is\nprecipitated into the box, while the cover immediately swings back to", "necessary to moisten all the oatmeal with the sirup. Wheat and corn are\nexcellent alternative baits. The grain should be soaked overnight in the\nstrychnin sirup.", "Take a pound of oatmeal, a pound of coarse brown sugar, and a spoonful\nof arsenic. Mix well together and put the composition into an earthen\njar. Put a tablespoonful at a place in runs frequented by rats.", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "suspicious than rats and are much more easily trapped. Small guillotine\ntraps baited with oatmeal will soon rid an ordinary dwelling of the\nsmaller pests.", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "necessary precautions and the absence of concerted endeavors. We have\nrendered our work abortive by continuing to provide subsistence and\nhiding places for the animals. If these advantages are denied,", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "have been taken at a time in one of these traps. It is better to cover\nthe trap than to leave it exposed. A short board should be laid on the", "circumstances they are useful aids to the rat catcher, but their value\nis greatly overestimated. For effective work they require experienced\nhandling and the additional services of a dog or two. Dogs and ferrets", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "after sucking the blood of their victim. Sometimes they remain for hours\nin the burrows or escape by other exits and are lost. There is danger\nthat these lost ferrets may adapt themselves to wild conditions and", "Oatmeal (rolled oats) is recommended as a bait for guillotine traps made\nwith wooden base and trigger plate (fig. 7). These traps are especially", "refuses to be enticed into a modern trap. Better still is a simple\ndeadfall--a flat stone or a heavy plank--supported by a figure-4", "adults refuse to enter the most innocent-looking trap. And yet trapping,\nif persistently followed, is one of the most effective ways of\ndestroying the animals.", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "must be thoroughly accustomed to each other, and the former must be\nquiet and steady instead of noisy and excitable. The ferret is used only", "The following suspected errors have been changed in this text:\n Page 6: \"highdays\" changed to \"highways\"" ], [ "[Transcriber's Note:", "Thus a pair, breeding uninterruptedly and without deaths, could in three\nyears (18 generations) produce a posterity of 359,709,480 individuals.", "The following suspected errors have been changed in this text:\n Page 6: \"highdays\" changed to \"highways\"", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "At this rate a pair of rats, breeding uninterruptedly and without\ndeaths, would at the end of three years (18 generations) be increased to\n359,709,482 individuals.", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "The space within the walls should be grouted thoroughly with cement and\nbroken stone and finished with rich concrete for a floor. Upon this the\nstructure may be built. Even the walls of the crib may be of concrete.", "Take a pound of oatmeal, a pound of coarse brown sugar, and a spoonful\nof arsenic. Mix well together and put the composition into an earthen\njar. Put a tablespoonful at a place in runs frequented by rats.", "must be thoroughly accustomed to each other, and the former must be\nquiet and steady instead of noisy and excitable. The ferret is used only", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "used successfully when rubbed into fresh fish or spread on buttered\ntoast. Another method is to mix twelve parts by weight of corn meal and\none part of arsenic with whites of eggs into a stiff dough.", "It is often claimed that phosphorus eaten by rats or mice dries up or\nmummifies the body so that no odor results. The statement has no", "means confines its activities to the inside of buildings, but is often\nfound in open fields, where its depredations in shock and stack are well\nknown.", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "refuses to be enticed into a modern trap. Better still is a simple\ndeadfall--a flat stone or a heavy plank--supported by a figure-4", "top is level with the rat run. It is fixed with a cover of light wood or\nmetal in two sections, the sections fitting nicely inside the box and\nworking independently. They turn on rods, to which they are fastened.", "propagation. It is a common practice to leave offal of slaughtered\nanimals to be eaten by rats and swine, and this is the chief means of", "coming to be generally understood, its use is rapidly extending to all\nkinds of buildings. The processes of mixing and laying this material\nrequire little skill or special knowledge, and workmen of ordinary", "after sucking the blood of their victim. Sometimes they remain for hours\nin the burrows or escape by other exits and are lost. There is danger\nthat these lost ferrets may adapt themselves to wild conditions and", "Burlington, Ohio, a rat hunt took place some years ago in which each of\nthe two sides killed over 8,000 rats, the beaten party serving a banquet\nto the winners." ], [ "Many organizations already formed should be interested in destroying\nrats. Boards of trade, civic societies, and citizens' associations in\ntowns and farmers' and women's clubs in rural communities will find the", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "farmers of an entire township or county unite in efforts to get rid of\nrats, much more lasting results may be attained. If continued from year\nto year, such organized efforts are very effective.", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "There is danger that organized rat hunts will be followed by long\nintervals of indifference and inaction. This may be prevented by\noffering prizes covering a definite period of effort. Such prizes", "On many a farm, if the grain eaten and wasted by rats and mice could be\nsold, the proceeds would more than pay all the farmer's taxes.", "For centuries the world has been fighting rats without organization and\nat the same time has been feeding them and building for them fortresses", "The necessity of cooperation and organization in the work of rat\ndestruction is of the utmost importance. To destroy all the animals on", "Cooperative efforts to destroy rats have taken various forms in\ndifferent localities. In cities, municipal employees have occasionally\nbeen set at work hunting rats from their retreats, with at least", "Past attempts to exterminate rats and mice have failed, not so much\nbecause of lack of effective means as because of the neglect of", "WASHINGTON: GOVERNMENT PRINTING OFFICE: 1917\n\n\nThe rat is the worst animal pest in the world.", "and freshly baited, when a larger catch may be expected, especially of\nyoung rats (fig. 8). As many as 25, and even more, partly grown rats", "Owing to their cunning, it is not always easy to clear rats from\npremises by trapping; if food is abundant, it is impossible. A few", "Rats and mice are practically omnivorous, feeding upon all kinds of\nanimal and vegetable matter. The brown rat makes its home in the open", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "Rats find abundant food in country slaughterhouses; reform in the\nmanagement of these is badly needed. Such places are centers of rat" ], [ "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "and freshly baited, when a larger catch may be expected, especially of\nyoung rats (fig. 8). As many as 25, and even more, partly grown rats", "to undertake the capture of an animal as formidable as the brown rat.\nBirds and mice are much more to its liking. Cats that are fearless of", "[Illustration: FIG. 8.--Cage trap with catch of rats.]", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "trigger. An old rat will go under such a contrivance to feed without\nfear.", "to bolt the rats, which are killed by the dogs. If unmuzzled ferrets are\nsent into rat retreats, they are apt to make a kill and then lie up", "circumstances they are useful aids to the rat catcher, but their value\nis greatly overestimated. For effective work they require experienced\nhandling and the additional services of a dog or two. Dogs and ferrets", "trap and an old cloth or bag or a bunch of hay or straw thrown\ncarelessly over the top. Often the trap may be placed with the entrance\nopposite a rat hole and fitting it so closely that rats can not pass", "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "They are weighted near the ends of the box and so adjusted that they\nswing easily. An animal stepping upon the cover beyond the rods is\nprecipitated into the box, while the cover immediately swings back to", "Burlington, Ohio, a rat hunt took place some years ago in which each of\nthe two sides killed over 8,000 rats, the beaten party serving a banquet\nto the winners.", "Cage traps may be baited and left open for several nights until the rats\nare accustomed to enter them to obtain food. They should then be closed", "Notwithstanding the fact that sometimes a large number of rats may be\ntaken at a time in cage traps, a few good guillotine traps intelligently\nused will prove more effective in the long run.", "helped by dogs, in three days killed 1,645 rats.", "its place. Besides rats, the trap is well adapted to capture larger\nanimals, as minks, raccoons, opossums, and cats. It is especially useful" ], [ "Many organizations already formed should be interested in destroying\nrats. Boards of trade, civic societies, and citizens' associations in\ntowns and farmers' and women's clubs in rural communities will find the", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "farmers of an entire township or county unite in efforts to get rid of\nrats, much more lasting results may be attained. If continued from year\nto year, such organized efforts are very effective.", "Burlington, Ohio, a rat hunt took place some years ago in which each of\nthe two sides killed over 8,000 rats, the beaten party serving a banquet\nto the winners.", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "Texas, Indiana, and Hawaii have in recent years passed laws or made\nappropriations to aid in rat riddance. It is probable that\nwell-organized efforts of communities would soon win legislative support", "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "There is danger that organized rat hunts will be followed by long\nintervals of indifference and inaction. This may be prevented by\noffering prizes covering a definite period of effort. Such prizes", "At this rate a pair of rats, breeding uninterruptedly and without\ndeaths, would at the end of three years (18 generations) be increased to\n359,709,482 individuals.", "Cooperative efforts to destroy rats have taken various forms in\ndifferent localities. In cities, municipal employees have occasionally\nbeen set at work hunting rats from their retreats, with at least", "the paper, so that the rats fell into the barrel (fig. 9 (1)). Many\nvariations of the plan, but few improvements upon it, have been\nsuggested by agricultural writers since that time. Reports are", "relied upon to keep the farm premises reasonably free from rats.", "On many a farm, if the grain eaten and wasted by rats and mice could be\nsold, the proceeds would more than pay all the farmer's taxes.", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "and freshly baited, when a larger catch may be expected, especially of\nyoung rats (fig. 8). As many as 25, and even more, partly grown rats", "For centuries the world has been fighting rats without organization and\nat the same time has been feeding them and building for them fortresses", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "WASHINGTON: GOVERNMENT PRINTING OFFICE: 1917\n\n\nThe rat is the worst animal pest in the world." ], [ "trigger. An old rat will go under such a contrivance to feed without\nfear.", "They are weighted near the ends of the box and so adjusted that they\nswing easily. An animal stepping upon the cover beyond the rods is\nprecipitated into the box, while the cover immediately swings back to", "[Illustration: FIG. 8.--Cage trap with catch of rats.]", "The space within the walls should be grouted thoroughly with cement and\nbroken stone and finished with rich concrete for a floor. Upon this the\nstructure may be built. Even the walls of the crib may be of concrete.", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "Burlington, Ohio, a rat hunt took place some years ago in which each of\nthe two sides killed over 8,000 rats, the beaten party serving a banquet\nto the winners.", "have been taken at a time in one of these traps. It is better to cover\nthe trap than to leave it exposed. A short board should be laid on the", "in rat-proof cages, or pounds, constructed of wire netting. Wooden boxes\ncontaining reserve food held in depots for a considerable time or", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "after sucking the blood of their victim. Sometimes they remain for hours\nin the burrows or escape by other exits and are lost. There is danger\nthat these lost ferrets may adapt themselves to wild conditions and", "Cage traps may be baited and left open for several nights until the rats\nare accustomed to enter them to obtain food. They should then be closed", "refuses to be enticed into a modern trap. Better still is a simple\ndeadfall--a flat stone or a heavy plank--supported by a figure-4", "adults refuse to enter the most innocent-looking trap. And yet trapping,\nif persistently followed, is one of the most effective ways of\ndestroying the animals.", "necessary precautions and the absence of concerted endeavors. We have\nrendered our work abortive by continuing to provide subsistence and\nhiding places for the animals. If these advantages are denied,", "Notwithstanding the fact that sometimes a large number of rats may be\ntaken at a time in cage traps, a few good guillotine traps intelligently\nused will prove more effective in the long run.", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "means confines its activities to the inside of buildings, but is often\nfound in open fields, where its depredations in shock and stack are well\nknown.", "top is level with the rat run. It is fixed with a cover of light wood or\nmetal in two sections, the sections fitting nicely inside the box and\nworking independently. They turn on rods, to which they are fastened." ], [ "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "Past attempts to exterminate rats and mice have failed, not so much\nbecause of lack of effective means as because of the neglect of", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "Owing to their cunning, it is not always easy to clear rats from\npremises by trapping; if food is abundant, it is impossible. A few", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "Cooperative efforts to destroy rats have taken various forms in\ndifferent localities. In cities, municipal employees have occasionally\nbeen set at work hunting rats from their retreats, with at least", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "To secure permanent results any general campaign for the elimination of\nrats must aim at _building the animals out of shelter and food_.\nBuilding reforms depend on municipal ordinances and legislative", "in buildings is not so satisfactory, because it is difficult to confine\nthe gases. Moreover, when effective, the odor from the dead rats is\nhighly objectionable in occupied buildings.", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "dogs and men kill the trapped rodents. Large numbers are destroyed in\nthis way, and the plan with modifications may be utilized in America\nwith satisfactory results. A wire netting of fine mesh may be used for", "suspicious than rats and are much more easily trapped. Small guillotine\ntraps baited with oatmeal will soon rid an ordinary dwelling of the\nsmaller pests.", "For centuries the world has been fighting rats without organization and\nat the same time has been feeding them and building for them fortresses", "Notwithstanding the fact that sometimes a large number of rats may be\ntaken at a time in cage traps, a few good guillotine traps intelligently\nused will prove more effective in the long run.", "Many modern public buildings are so constructed that rats can find no\nlodgment in the walls or foundations, and yet in a few years, through", "Rats may be destroyed in their burrows in the fields and along river\nbanks, levees, and dikes by carbon bisulphid.[7] A wad of cotton or", "If rat-proof buildings are not available, it is possible, by the use of\nconcrete in basements and the other precautions just mentioned, to make\nan ordinary building practically safe for food storage.", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was" ], [ "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "They are weighted near the ends of the box and so adjusted that they\nswing easily. An animal stepping upon the cover beyond the rods is\nprecipitated into the box, while the cover immediately swings back to", "on milk. A little sulphur in the milk at intervals is a corrective\nagainst the bad effects of a constant rat or mouse diet. Cats often die\nfrom eating these rodents.", "planted, while growing, and in the shock, stack, mow, crib, granary,\nmill, elevator, or ship's hold, and also in the bin and feed trough. It", "trigger. An old rat will go under such a contrivance to feed without\nfear.", "On many a farm, if the grain eaten and wasted by rats and mice could be\nsold, the proceeds would more than pay all the farmer's taxes.", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "means confines its activities to the inside of buildings, but is often\nfound in open fields, where its depredations in shock and stack are well\nknown.", "relied upon to keep the farm premises reasonably free from rats.", "like care on farms and suburban premises. This includes the storage of\nwaste and garbage in tightly covered vessels and the prompt disposal of\nit each day.", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "=Cats.=--However valuable cats may be as mousers, few learn to catch\nrats. The ordinary house cat is too well fed and consequently too lazy", "to protect poultry yards, game preserves, and the like. The trap should\nbe placed along the fence outside the yard, and behind a shelter of\nboards or brush that leans against the fence.", "the paper, so that the rats fell into the barrel (fig. 9 (1)). Many\nvariations of the plan, but few improvements upon it, have been\nsuggested by agricultural writers since that time. Reports are", "its place. Besides rats, the trap is well adapted to capture larger\nanimals, as minks, raccoons, opossums, and cats. It is especially useful", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "[Illustration: FIG. 4.--Floor plan of rat-proof corncrib shown in figure\n3.]" ], [ "On many a farm, if the grain eaten and wasted by rats and mice could be\nsold, the proceeds would more than pay all the farmer's taxes.", "Rats and mice are practically omnivorous, feeding upon all kinds of\nanimal and vegetable matter. The brown rat makes its home in the open", "Past attempts to exterminate rats and mice have failed, not so much\nbecause of lack of effective means as because of the neglect of", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "Not only are mice and rats, especially the brown rat, a cause of\ndestruction and damage to property, but they are also a constant menace", "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "End of the Project Gutenberg EBook of House Rats and Mice, by David E. Lantz", "The Biological Survey has made numerous laboratory and field experiments\nwith various agencies for destroying rats and mice. The results form the\nchief basis for the following recommendations:\n\n\nTRAPS.", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "traps may be used to advantage, and a dozen is none too many for an\nordinary barn or dwelling infested with rats. House mice are less", "thoroughly mixed with eight ounces of toasted cheese or of butter and\nmeal and put out in runs of rats or mice. Another formula recommends two", "circumstances they are useful aids to the rat catcher, but their value\nis greatly overestimated. For effective work they require experienced\nhandling and the additional services of a dog or two. Dogs and ferrets", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "At this rate a pair of rats, breeding uninterruptedly and without\ndeaths, would at the end of three years (18 generations) be increased to\n359,709,482 individuals.", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "to undertake the capture of an animal as formidable as the brown rat.\nBirds and mice are much more to its liking. Cats that are fearless of", "Rats may be destroyed in their burrows in the fields and along river\nbanks, levees, and dikes by carbon bisulphid.[7] A wad of cotton or", "to bolt the rats, which are killed by the dogs. If unmuzzled ferrets are\nsent into rat retreats, they are apt to make a kill and then lie up" ], [ "It carries bubonic plague and many other diseases fatal to man and has\nbeen responsible for more untimely deaths among human beings than all\nthe wars of history.", "Take a pound of oatmeal, a pound of coarse brown sugar, and a spoonful\nof arsenic. Mix well together and put the composition into an earthen\njar. Put a tablespoonful at a place in runs frequented by rats.", "[Transcriber's Note:", "At this rate a pair of rats, breeding uninterruptedly and without\ndeaths, would at the end of three years (18 generations) be increased to\n359,709,482 individuals.", "The following suspected errors have been changed in this text:\n Page 6: \"highdays\" changed to \"highways\"", "everywhere. Communities should not postpone efforts, however, while\nwaiting for legislative cooperation, but should at once organize and\nbegin repressive operations. Wherever health is threatened the Public", "In both city and country, wooden floors of sidewalks, areas, and porches\nare commonly laid upon timbers resting on the ground. Under such floors", "temporary benefit to the community. Thus, in 1904, at Folkestone,\nEngland, a town of about 25,000 inhabitants, the corporation employees,", "Burlington, Ohio, a rat hunt took place some years ago in which each of\nthe two sides killed over 8,000 rats, the beaten party serving a banquet\nto the winners.", "trigger. An old rat will go under such a contrivance to feed without\nfear.", "to the health of man. It has been proved that they are the chief means\nof perpetuating and transmitting bubonic plague and that they play\nimportant rôles in conveying other diseases to human beings. They are", "It is often claimed that phosphorus eaten by rats or mice dries up or\nmummifies the body so that no odor results. The statement has no", "means confines its activities to the inside of buildings, but is often\nfound in open fields, where its depredations in shock and stack are well\nknown.", "field, the hedge row, and the river bank, as well as in stone walls,\npiers, and all kinds of buildings. It destroys grains when newly", "on milk. A little sulphur in the milk at intervals is a corrective\nagainst the bad effects of a constant rat or mouse diet. Cats often die\nfrom eating these rodents.", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "2. The virulence decreases with the age of the cultures. They\ndeteriorate in warm weather and in bright sunlight.", "is possible the animals usually leave the premises in search of water.\nFor this reason the poison may frequently, though not always, be used in\nhouses without disagreeable consequences.", "Owing to its slower operation, no doubt a larger portion escape into the\nopen before dying than when strychnin is used." ], [ "the premises of a single farmer in a community has little permanent\nvalue, since they are soon replaced from near-by farms. If, however, the", "On many a farm, if the grain eaten and wasted by rats and mice could be\nsold, the proceeds would more than pay all the farmer's taxes.", "relied upon to keep the farm premises reasonably free from rats.", "means confines its activities to the inside of buildings, but is often\nfound in open fields, where its depredations in shock and stack are well\nknown.", "=Caution.=--In the United States there are few laws which prohibit the\nlaying of poisons on lands owned or controlled by the poisoner. Hence it", "[Transcriber's Note:", "like care on farms and suburban premises. This includes the storage of\nwaste and garbage in tightly covered vessels and the prompt disposal of\nit each day.", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "field, the hedge row, and the river bank, as well as in stone walls,\npiers, and all kinds of buildings. It destroys grains when newly", "planted, while growing, and in the shock, stack, mow, crib, granary,\nmill, elevator, or ship's hold, and also in the bin and feed trough. It", "the farmer and the game preserver. Rats actually destroy more poultry\nand game, both eggs and young chicks, than all the birds and wild\nmammals combined; yet some of their enemies among our most useful birds", "farmers of an entire township or county unite in efforts to get rid of\nrats, much more lasting results may be attained. If continued from year\nto year, such organized efforts are very effective.", "the inclosure. The scheme is applicable at the removal of grain, straw,\nor haystacks, as well as brush piles.", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "propagation. It is a common practice to leave offal of slaughtered\nanimals to be eaten by rats and swine, and this is the chief means of", "in the markets, and destroys by pollution ten times as much as it\nactually eats. It destroys eggs and young poultry, and eats the eggs and", "=Fence and battue.=--In the rice fields of the Far East the natives\nbuild numerous piles of brush and rice straw, and leave them for several", "Burlington, Ohio, a rat hunt took place some years ago in which each of\nthe two sides killed over 8,000 rats, the beaten party serving a banquet\nto the winners.", "must be thoroughly accustomed to each other, and the former must be\nquiet and steady instead of noisy and excitable. The ferret is used only", "From its home among filth it visits dwellings and storerooms to pollute\nand destroy human food." ], [ "thoroughly mixed with eight ounces of toasted cheese or of butter and\nmeal and put out in runs of rats or mice. Another formula recommends two", "and these placed in rat runs or burrows; or oatmeal may be moistened\nwith a strychnin sirup and small quantities laid in the same way.", "Take a pound of oatmeal, a pound of coarse brown sugar, and a spoonful\nof arsenic. Mix well together and put the composition into an earthen\njar. Put a tablespoonful at a place in runs frequented by rats.", "trigger. An old rat will go under such a contrivance to feed without\nfear.", "on milk. A little sulphur in the milk at intervals is a corrective\nagainst the bad effects of a constant rat or mouse diet. Cats often die\nfrom eating these rodents.", "sufficient quantity. In the small doses fed to rats and mice it would be\nharmless to domestic animals. Its action upon rats is slow, and if exit", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "An old formula for poisoning rats and mice with arsenic is the\nfollowing, adapted from an English source:", "necessary to moisten all the oatmeal with the sirup. Wheat and corn are\nexcellent alternative baits. The grain should be soaked overnight in the\nstrychnin sirup.", "must be thoroughly accustomed to each other, and the former must be\nquiet and steady instead of noisy and excitable. The ferret is used only", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "very deadly in its action, and rats seem to eat it readily. The poison\nis used in several ways. Two ounces of dry squills, powdered, may be", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "On many a farm, if the grain eaten and wasted by rats and mice could be\nsold, the proceeds would more than pay all the farmer's taxes.", "Rats and mice are practically omnivorous, feeding upon all kinds of\nanimal and vegetable matter. The brown rat makes its home in the open", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "suspicious than rats and are much more easily trapped. Small guillotine\ntraps baited with oatmeal will soon rid an ordinary dwelling of the\nsmaller pests.", "It is often claimed that phosphorus eaten by rats or mice dries up or\nmummifies the body so that no odor results. The statement has no", "teaspoonful at a place. If a single application of the poison fails to\nkill or drive away all rats from the premises, it should be repeated\nwith a change of bait." ], [ "on milk. A little sulphur in the milk at intervals is a corrective\nagainst the bad effects of a constant rat or mouse diet. Cats often die\nfrom eating these rodents.", "End of the Project Gutenberg EBook of House Rats and Mice, by David E. Lantz", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "=Cats.=--However valuable cats may be as mousers, few learn to catch\nrats. The ordinary house cat is too well fed and consequently too lazy", "On many a farm, if the grain eaten and wasted by rats and mice could be\nsold, the proceeds would more than pay all the farmer's taxes.", "DOMESTIC ANIMALS.\n\nAmong domestic animals employed to kill rats are the dog, the cat, and\nthe ferret.", "to undertake the capture of an animal as formidable as the brown rat.\nBirds and mice are much more to its liking. Cats that are fearless of", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "trigger. An old rat will go under such a contrivance to feed without\nfear.", "off of the birds and mammals that prey upon them. Animals that on the\nwhole are decidedly beneficial, since they subsist upon harmful insects\nand rodents, are habitually destroyed by some farmers and sportsmen", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "circumstances they are useful aids to the rat catcher, but their value\nis greatly overestimated. For effective work they require experienced\nhandling and the additional services of a dog or two. Dogs and ferrets", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "They are weighted near the ends of the box and so adjusted that they\nswing easily. An animal stepping upon the cover beyond the rods is\nprecipitated into the box, while the cover immediately swings back to", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "It is often claimed that phosphorus eaten by rats or mice dries up or\nmummifies the body so that no odor results. The statement has no", "and mice if placed in inexpensive rat-proof containers covered with wire\nnetting. Sometimes all that is needed to prevent serious waste is the\napplication of concrete to holes in the basement wall or the slight", "suspicious than rats and are much more easily trapped. Small guillotine\ntraps baited with oatmeal will soon rid an ordinary dwelling of the\nsmaller pests.", "its place. Besides rats, the trap is well adapted to capture larger\nanimals, as minks, raccoons, opossums, and cats. It is especially useful", "Rats and mice are practically omnivorous, feeding upon all kinds of\nanimal and vegetable matter. The brown rat makes its home in the open" ], [ "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "For centuries the world has been fighting rats without organization and\nat the same time has been feeding them and building for them fortresses", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "helped by dogs, in three days killed 1,645 rats.", "[Illustration: FIG. 1.--Brown rat.]", "Burlington, Ohio, a rat hunt took place some years ago in which each of\nthe two sides killed over 8,000 rats, the beaten party serving a banquet\nto the winners.", "Cooperative efforts to destroy rats have taken various forms in\ndifferent localities. In cities, municipal employees have occasionally\nbeen set at work hunting rats from their retreats, with at least", "Rats and mice are practically omnivorous, feeding upon all kinds of\nanimal and vegetable matter. The brown rat makes its home in the open", "Not only are mice and rats, especially the brown rat, a cause of\ndestruction and damage to property, but they are also a constant menace", "To secure permanent results any general campaign for the elimination of\nrats must aim at _building the animals out of shelter and food_.\nBuilding reforms depend on municipal ordinances and legislative", "WASHINGTON: GOVERNMENT PRINTING OFFICE: 1917\n\n\nThe rat is the worst animal pest in the world.", "11. The systematic destruction of rats, whenever and wherever possible,\nby (_a_) trapping, (_b_) poisoning, and (_c_) organized hunts.", "to bolt the rats, which are killed by the dogs. If unmuzzled ferrets are\nsent into rat retreats, they are apt to make a kill and then lie up", "Past attempts to exterminate rats and mice have failed, not so much\nbecause of lack of effective means as because of the neglect of", "The necessity of cooperation and organization in the work of rat\ndestruction is of the utmost importance. To destroy all the animals on", "which alone is sufficient to attract and sustain a small army of rats,\nis commonly left in waste baskets or other open receptacles. Strictly" ], [ "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "For centuries the world has been fighting rats without organization and\nat the same time has been feeding them and building for them fortresses", "WASHINGTON: GOVERNMENT PRINTING OFFICE: 1917\n\n\nThe rat is the worst animal pest in the world.", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "Burlington, Ohio, a rat hunt took place some years ago in which each of\nthe two sides killed over 8,000 rats, the beaten party serving a banquet\nto the winners.", "At this rate a pair of rats, breeding uninterruptedly and without\ndeaths, would at the end of three years (18 generations) be increased to\n359,709,482 individuals.", "through without entering the trap. If a single rat is caught it may be\nleft in the trap as a decoy to others.", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "Cooperative efforts to destroy rats have taken various forms in\ndifferent localities. In cities, municipal employees have occasionally\nbeen set at work hunting rats from their retreats, with at least", "The necessity of cooperation and organization in the work of rat\ndestruction is of the utmost importance. To destroy all the animals on", "trigger. An old rat will go under such a contrivance to feed without\nfear.", "the paper, so that the rats fell into the barrel (fig. 9 (1)). Many\nvariations of the plan, but few improvements upon it, have been\nsuggested by agricultural writers since that time. Reports are", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "propagation. It is a common practice to leave offal of slaughtered\nanimals to be eaten by rats and swine, and this is the chief means of", "Rats and mice are practically omnivorous, feeding upon all kinds of\nanimal and vegetable matter. The brown rat makes its home in the open", "Past attempts to exterminate rats and mice have failed, not so much\nbecause of lack of effective means as because of the neglect of", "Unlike the brown rat the black rat rarely migrates to the fields. It has\ndisappeared from most parts of the Northern States, but is occasionally", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2))." ], [ "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "[Illustration: FIG. 8.--Cage trap with catch of rats.]", "trigger. An old rat will go under such a contrivance to feed without\nfear.", "circumstances they are useful aids to the rat catcher, but their value\nis greatly overestimated. For effective work they require experienced\nhandling and the additional services of a dog or two. Dogs and ferrets", "to undertake the capture of an animal as formidable as the brown rat.\nBirds and mice are much more to its liking. Cats that are fearless of", "They are weighted near the ends of the box and so adjusted that they\nswing easily. An animal stepping upon the cover beyond the rods is\nprecipitated into the box, while the cover immediately swings back to", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "and freshly baited, when a larger catch may be expected, especially of\nyoung rats (fig. 8). As many as 25, and even more, partly grown rats", "suspicious than rats and are much more easily trapped. Small guillotine\ntraps baited with oatmeal will soon rid an ordinary dwelling of the\nsmaller pests.", "its place. Besides rats, the trap is well adapted to capture larger\nanimals, as minks, raccoons, opossums, and cats. It is especially useful", "adults refuse to enter the most innocent-looking trap. And yet trapping,\nif persistently followed, is one of the most effective ways of\ndestroying the animals.", "trap and an old cloth or bag or a bunch of hay or straw thrown\ncarelessly over the top. Often the trap may be placed with the entrance\nopposite a rat hole and fitting it so closely that rats can not pass", "End of the Project Gutenberg EBook of House Rats and Mice, by David E. Lantz", "Notwithstanding the fact that sometimes a large number of rats may be\ntaken at a time in cage traps, a few good guillotine traps intelligently\nused will prove more effective in the long run.", "dogs and men kill the trapped rodents. Large numbers are destroyed in\nthis way, and the plan with modifications may be utilized in America\nwith satisfactory results. A wire netting of fine mesh may be used for", "=Steel trap.=--The ordinary steel trap (No. 0 or 1) may sometimes be\nsatisfactorily employed to capture a rat. The animal is usually caught", "=Figure-4 trigger trap.=--The old-fashioned box trap set with a\nfigure-4 trigger is sometimes useful to secure a wise old rat that", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while" ], [ "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "and these placed in rat runs or burrows; or oatmeal may be moistened\nwith a strychnin sirup and small quantities laid in the same way.", "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "trigger. An old rat will go under such a contrivance to feed without\nfear.", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "top is level with the rat run. It is fixed with a cover of light wood or\nmetal in two sections, the sections fitting nicely inside the box and\nworking independently. They turn on rods, to which they are fastened.", "In a large barn near Washington, a few years ago, piles of unhusked corn\nwere left in the loft and were soon infested with rats. A wooden pen was", "The space within the walls should be grouted thoroughly with cement and\nbroken stone and finished with rich concrete for a floor. Upon this the\nstructure may be built. Even the walls of the crib may be of concrete.", "to bolt the rats, which are killed by the dogs. If unmuzzled ferrets are\nsent into rat retreats, they are apt to make a kill and then lie up", "It is often claimed that phosphorus eaten by rats or mice dries up or\nmummifies the body so that no odor results. The statement has no", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "and mice if placed in inexpensive rat-proof containers covered with wire\nnetting. Sometimes all that is needed to prevent serious waste is the\napplication of concrete to holes in the basement wall or the slight", "means confines its activities to the inside of buildings, but is often\nfound in open fields, where its depredations in shock and stack are well\nknown.", "planted, while growing, and in the shock, stack, mow, crib, granary,\nmill, elevator, or ship's hold, and also in the bin and feed trough. It", "Rats may be destroyed in their burrows in the fields and along river\nbanks, levees, and dikes by carbon bisulphid.[7] A wad of cotton or", "Rats and mice are practically omnivorous, feeding upon all kinds of\nanimal and vegetable matter. The brown rat makes its home in the open", "They are weighted near the ends of the box and so adjusted that they\nswing easily. An animal stepping upon the cover beyond the rods is\nprecipitated into the box, while the cover immediately swings back to", "For a rat-proof crib a well-drained site should be chosen. The outer\nwalls, laid in cement, should be sunk about 20 inches into the ground.", "thoroughly mixed with eight ounces of toasted cheese or of butter and\nmeal and put out in runs of rats or mice. Another formula recommends two" ], [ "set down surrounding the piles in turn and the corn thrown out until\ndogs were able to get at the rats. In this way several men and dogs\nkilled 500 rats in a single day.", "were caught in a warehouse in a single night. The plan involved tolling\nthe rats to the place and feeding them for several nights on the tops of\nbarrels covered with coarse brown paper. Afterwards a cross was cut in", "Side hunts in which rats are the only animals that count in the contest\nhave sometimes been organized and successfully carried out. At New", "days until many rats have taken shelter in them. A portable bamboo\ninclosure several feet in height is then set up around each pile in\nsuccession and the straw and brush are thrown out over the top, while", "to bolt the rats, which are killed by the dogs. If unmuzzled ferrets are\nsent into rat retreats, they are apt to make a kill and then lie up", "through without entering the trap. If a single rat is caught it may be\nleft in the trap as a decoy to others.", "by the foot, and its squealing has a tendency to frighten other rats.\nThe trap may be set in a shallow pan or box and covered with bran or", "and freshly baited, when a larger catch may be expected, especially of\nyoung rats (fig. 8). As many as 25, and even more, partly grown rats", "Notwithstanding the fact that sometimes a large number of rats may be\ntaken at a time in cage traps, a few good guillotine traps intelligently\nused will prove more effective in the long run.", "frequently made of large catches of rats by means of a barrel fitted\nwith a light cover of wood, hinged on a rod so as to turn with the\nweight of a rat (fig. 9 (2)).", "helped by dogs, in three days killed 1,645 rats.", "[Illustration: FIG. 8.--Cage trap with catch of rats.]", "At this rate a pair of rats, breeding uninterruptedly and without\ndeaths, would at the end of three years (18 generations) be increased to\n359,709,482 individuals.", "trap and an old cloth or bag or a bunch of hay or straw thrown\ncarelessly over the top. Often the trap may be placed with the entrance\nopposite a rat hole and fitting it so closely that rats can not pass", "boxes should be used, one considerably larger than the other and each\nhaving one or more holes in the sides large enough to admit rats. The\npoisoned bait should be placed on the bottom and near the middle of the", "rats, however, and have learned to hunt and destroy them are often very\nuseful about stables and warehouses. They should be lightly fed, chiefly", "the paper, so that the rats fell into the barrel (fig. 9 (1)). Many\nvariations of the plan, but few improvements upon it, have been\nsuggested by agricultural writers since that time. Reports are", "reinforced. Many of those sold in stores are useless, because a\nfull-grown rat can bend the light wires apart and so escape.", "To secure permanent results any general campaign for the elimination of\nrats must aim at _building the animals out of shelter and food_.\nBuilding reforms depend on municipal ordinances and legislative", "11. The systematic destruction of rats, whenever and wherever possible,\nby (_a_) trapping, (_b_) poisoning, and (_c_) organized hunts." ] ]

[ "Who Killed Mr. Frisby?", "Why do the rats agree to help Ms. Frisby?", "Why did Ms. Frisby volunteer to drug Dragon?", "Who put Ms. Frisby in a cage?", "Who saves Ms. Frisby from the cage?", "Why does Ms. Frisby need their house moved?", "Why do 10 rats stay behind when the other evacuate?", "How many rats escape the gases?", "How did the rats know they were going to be exterminated?", "What happened to Timothy's father?", "Who helped the rats escape from NIMH?", "When does the owl agree to help Timothy get moved?", "How did Nicodemus learn to read?", "Why are some rats interested in establishing a new farming colony?", "When did Billy catch Mrs. Frisby?", "When did people become interested in the rat colony on Mr. Fitzgibbons' farm?", "Who rescued Timothy's mother from the cage?", "How did the rats fool the exterminators?", "Where was the farm cat's bowl?", "Who is the head of the field mice?", "What ailment does Timothy have?", "Who is the farmer on the property?", "Who gives Mrs. Frisby medication for Timothy?", "Whose life does Mrs. Frisby save from the Cat?", "Who is the leader of the rats?", "What rat left the colony because they disagreed with \"The Plan\"?", "Who catches Mrs. Frisby?", "Where does Billy put Mrs. Frisby?", "Out of the 10 rats in the hole, how many escape?" ]

[ [ "Dragon", "Dragon, the cat" ], [ "out of respect for her husband for helping them escape NIMH", "Her husband made their escape from the lab possible." ], [ "because she was small enough to fit through the hole to get to Dragon's bowl", "The other rats were too large to fit into the hole in the wall." ], [ "Billy", "Billy." ], [ "Justin", "Justin" ], [ "So her son Timothy can recover from illness and to avoid the plow.", "Because the farmer Mr. Fitzgibbons is about to plow the field." ], [ "To make it appear they have not abandoned the hole.", "To make it look as though the rat hole wasn't abandoned" ], [ "8", "8" ], [ "Ms. Frisby overheard a conversation while in the cage.", "Mrs. Frisby overhead the Fitzgibbons talking about it." ], [ "he was killed by the farmer's cat", "Dragon killed him." ], [ "Mr. Frisby and Mr. Ages", "Mrs. Frisby" ], [ "when he learns Mrs. Frisby is Jonathan's window", "After he confirms that Mrs. Frisbey is Jonathan's widow." ], [ "the humans at NIMH performed experiments on him which increased his intelligence", "Because of drugs given to the rats." ], [ "they don't want to be dependent on humans any longer", "To end their dependence upon humans" ], [ "when she tried to drug the cat", "When she sneaks into the house to drug Dragon the cat" ], [ "After the rats were electrocuted at the hardware store", "After a group of rats electrocuted themselves at a hardware store trying to steal parts for a small motor." ], [ "Justin", "Justin" ], [ "by destroying their underground rooms and filling some with garbage, in order to appear like regular rats", "They filled the holes with rubbish to look like normal rats." ], [ "inside the house", "Inside the house." ], [ "Mrs. Frisby", "Mrs. Frisby is the head of the field mice." ], [ "Pneumonia", "He has pneumonia." ], [ "Mr. Fitzgibbon", "Mr. Fitzgibbon." ], [ "Mr. Ages", "Mr. Ages." ], [ "Jeremy", "Jeremy, a young crow." ], [ "Nicodemus", "Nicodemus" ], [ "Jenner", "Jenner" ], [ "Billy", "Billy." ], [ "In a cage", "in a cage" ], [ "Eight", "8 rats escape" ] ]

[ [ "Carl in his 60's. They still work happily side by side at\n the zoo. Carl's cart lifts off the ground. He casually\n leans an elbow on it.", "Carl closes his eyes and smiles. He's lucky to be with her.\n\n \n\n EXT. ZOO - DAY", "Carl shuts his door. He closes the curtains.\n He peeks out the window. The injured worker is helped to his\n feet. A police car pulls up.", "Carl looks at the bird's wounds. He looks to the rock maze,\n then to his house.\n He knows the right thing to do. And he hates himself for it.", "Carl drops down from the ceiling and stands on the cage. He\n bangs his cane. All the dogs turn.\n He grabs a ball from his cane and waves it in the air.", "The dirigible turns, revealing Carl's house sneaking up\n behind.\n\n \n\n INT. CARL'S HOUSE, LIVING ROOM", "CARL\n Afternoon.\n Carl turns the other way. The bird. It HONKS at him.\n\n \n Dug drops the slobbery ball on Carl's lap.", "CARL\n Aaah! Shoo, shoo! Get out of here.\n\n \n Carl shoos the bird away. The bird mimics him.", "Carl screams. He lets go of his balloon. It floats through\n a broken part of the ceiling and disappears.\n Ellie circles Carl accusingly.", "INT. DIRIGIBLE, CAGE ROOM\n\n\n \n Carl opens the cage door.", "CARL\n (to Ellie)\n But I told him no --\n (catches himself)\n I told you no! N-O.\n The bird HISSES at Carl.", "Carl backs into his house.\n\n \n\n INT. CARL'S LIVING ROOM", "Carl sits at the campfire, the others asleep. He shakes his\n head and looks up at the house.\n\n CARL\n What have I got myself into, Ellie?", "CARL\n Dug! Bring `er over!\n Dug winches in the hose caddy, pulling the house closer to\n the dirigible ramp.\n\n \n Carl carries Russell into the house.", "CARL\n Aaahh...\n\n \n\n EXT. MOUNTAIN JUNGLE", "Carl flings the hose, HOOKING it to the ramp railing. Using\n his cane as a zip line, Carl slides to Russell, catching him\n just as Russell slides off the ramp edge. They land safely\n together.", "CARL\n I don't want you to touch it!\n Carl HITS the worker with his cane. He falls to the sidewalk.\n The worker rubs his head. Blood.", "The bird pats Carl on the head with its beak.\n\n CARL\n Hey. Beat it! Vamoose! Scram!", "Carl and the bird make it to the top of the dirigible.\n Suddenly, a trap door opens. Carl GASPS... but it's Dug!", "MUNTZ\n I promise to capture the beast...\n alive!\n\n \n In the theater, young Carl smiles." ], [ "She turns to an engraving of a large waterfall. A small hand-\n drawn picture of Ellie's clubhouse is glued to the top.", "YOUNG ELLIE\n I'm gonna move my clubhouse there,\n and park it right next to the\n falls. Who knows what lives up\n there? And once I get there...", "her overalls are patched and dirty.\n The old house has been transformed into a make-believe\n dirigible cockpit. Ellie steers, the wheel made from a rusty", "ELLIE, an eight year old girl, her mussy red hair barely\n visible beneath her flight helmet and goggles. Bare footed,", "Their house now matches Ellie's colorful CLUB HOUSE DRAWING\n from her childhood Adventure Book.\n\n \n\n 11.", "Carl takes out Ellie's childhood drawing. Next to him stands\n the real house, just like Ellie wanted.", "YOUNG ELLIE\n You and me, we're in a club now.\n\n \n Carl smiles.", "Behind him, Ellie sweeps the floor. Their dream has gone\n unfulfilled.\n\n \n Carl has an idea.", "Inside the living room, Ellie's photo crashes to the floor.\n\n \n\n EXT. MOUNTAIN, LABYRINTH GATE - CONTINUOUS", "INT. CARL'S ROOM - MOMENTS LATER\n\n\n \n The two hunker under a blanket tent with a flashlight. Ellie\n whispers, as if to protect a National Secret.", "Carl rights Ellie's chair, sets the lamp upright, slides the\n table into position.\n He pushes their two chairs back into their place.", "Ellie pushes her Adventure Book toward him. She weakly pats\n his cheek and adjusts his tie.\n\n \n He kisses her on the forehead.", "The photo of Ellie rocks and slides off the wall. Carl\n lunges to catch it.\n\n \n\n EXT. CARL'S HOUSE, FLOATING", "CARL\n (to house)\n Don't worry, Ellie. I got it.\n The wind clears the fog, slowly revealing a crescent shaped,\n flat-topped mountain on which they stand.", "Ellie paints a MURAL of their house atop Paradise Falls over", "CARL\n Oh my Ellie would have loved all\n this. You know, it's because of\n you she had this dream to come down\n here and live by Paradise Falls.", "YOUNG ELLIE\n It's like America... but south.\n Wanna know where I'm gonna live?", "YOUNG ELLIE\n Well, go ahead.\n She pushes him out onto the beam.\n\n YOUNG ELLIE\n Go on.", "Carl sighs. He managed to bring the house to the falls, but\n Ellie never made it.\n He closes the book. But as he does, Carl sees something he\n hadn't before.", "Carl screams. He lets go of his balloon. It floats through\n a broken part of the ceiling and disappears.\n Ellie circles Carl accusingly." ], [ "As Alpha lunges again, Dug jams the shade over Alpha's head.\n Alpha's head is stuck, trapped by the cone.\n The dogs all GASP.", "The dogs close in on Russell. Alpha bites at his heels.\n Carl fends off Alpha with his cane.", "MUNTZ\n And they wouldn't believe me. Just\n wait till they get a look at you.\n\n \n Alpha enters.", "DUG\n Alpha? I am not Alpha, he is-\n\n (REALIZING)\n Oohhhh!", "ALPHA\n Master will be most pleased we have\n found them, and will ask of them\n many questions.\n (commanding, to Carl)\n Come!", "Beta and Gamma look at each other.\n\n BETA\n Hey Alpha, I think there's\n something wrong with your collar.\n You must have bumped it.", "ALPHA\n (deep scary voice)\n Thank you Master.\n Russell reacts.", "Dug is conflicted.\n\n \n Alpha walks forward and stares menacingly at Carl.\n He turns toward Dug.", "Alpha throws Dug viciously across the room. Alpha throws him\n again and Dug crashes into the steering wheel, knocking a", "BETA\n Ah man, Master will not be pleased.\n We'd better tell him someone took\n the bird, right Alpha?\n ALPHA, a Doberman pinscher, sits with his back to them.", "ALPHA\n (high pitched voice)\n No! No! Stop your laughing! Get\n this off of me!", "ALPHA\n I know, I know! Have you seen the\n bird?\n\n DUG\n Why yes, the bird is my prisoner\n now.", "He hears growling and turns around. There stands Alpha and\n the other dogs.\n\n DUG\n Hi.", "DOG WALLA\n Yes, Alpha.\n\n \n\n 92.", "Alpha powers up a video screen on Beta's collar.\n\n ALPHA (CONT'D)\n This is Alpha calling Dug. Come\n in, Dug.", "Muntz and Alpha exchange glances.\n\n MUNTZ\n Follow you? Impossible. How?", "Alpha bites Dug by the neck and throws him out of the path.\n\n \n The bird carries Carl, Russell dragging along behind. She\n rounds a corner. Russell SWINGS OUT over the abyss.", "ALPHA\n Allow no one to be entering through\n these doors. Guard well that bird,\n my minions.\n\n \n\n CARL", "ALPHA\n Do not mention Dug to me at this\n time. His fool's errand will keep\n him most occupied, most occupied", "ALPHA\n Master! The small mailman has\n returned.\n\n MUNTZ\n What?" ], [ "Dug wears a high-tech collar. The dog's thoughts come out of\n it as words through a speaker. It can talk. Unfortunately,\n it talks non-stop.", "DUG\n Oh I can bark!\n Dug BARKS.", "DUG\n And here's howling!\n Dug HOWLS. The bird HISSES at Dug.\n\n \n\n 48.", "DUG\n You are my master?!\n Dug lunges forward and overwhelms Carl with dog kisses.\n\n DUG\n Oh boy. Oh boy!", "The bird drags Dug, still clamped onto it's leg.\n\n \n\n DUG\n Oh please oh please oh PLEASE be my\n prisoner!", "Dug crazily searches and sniffs, looking for the bird.\n\n DUG\n Find the bird. Find the bird...", "RUSSELL\n (on video screen)\n Hey Dug! Who you talking to?\n\n \n The video screen goes blank. The dogs BARK excitedly.", "The bird \"hugs\" Russell goodbye and pats Carl on the head\n with her beak. She HISSES at Dug.", "DUG\n No, my pack is not following us!\n Boy they are dumb.\n Dug scampers back to Carl and Russell, who pull the house\n from behind a tree canopy.", "CARL\n Dug!\n Dug jumps up on Carl, licking his face.", "DUG\n Uh... POINT!\n Dug points to a grate in the wall.", "DUG\n Oh it is, because my master is\n smart.\n\n \n\n 47.", "The screen shows ground moving past: the view from Dug's\n collar.\n\n \n\n DUG\n Hi Alpha. Hey, your voice sounds\n funny.", "He turns. Dug. With the ball in his mouth.\n\n \n\n DUG\n Hi, Master.", "DUG\n My master is good and smart.\n\n CARL\n It's not possible.", "(points to Dug)\n ...and I don't want you here.\n (points to Russell)\n I'm stuck with you. And if you two", "DUG\n Listen you dog! Sit!\n Surprised at Dug's moxy, Alpha sits. All other dogs sit too.", "BAM! The bird tackles Dug and HISSES.", "DUG\n That man there says I can take the\n bird and I love that man there like\n he is my master.\n\n \n The bird HISSES.", "He hears growling and turns around. There stands Alpha and\n the other dogs.\n\n DUG\n Hi." ], [ "The ship corrects again. Carl climbs back inside.\n Muntz comes at Carl.\n\n \n\n CARL\n Come on, Kevin!", "Muntz hurls a lit lantern. Flames burst up beneath the house.\n\n \n Heat waves ripple up. Balloons POP. Carl's house LOWERS\n into the fire.", "Carl climbs. Muntz grabs Carl's foot. Carl defends himself\n with his cane, knocking Muntz off the ladder. Muntz catches\n on to a rung of the ladder.", "INT. CARL'S HOUSE, LIVING ROOM\n\n\n \n Kevin lunges, pushing past Muntz and knocking the rifle from\n his hands.", "Muntz gestures to a pylon, where Carl ties off the house.\n Muntz and the dogs walk up the gangplank of the dirigible.", "MUNTZ\n Enough! I'm taking that bird back\n with me alive or dead!\n Carl trips and falls to the floor. Muntz is about to deal\n the final blow.", "CARL\n Come on, Kevin!\n Carl helps Dug onto the porch. He climbs up himself...\n\n \n BLAM! Muntz appears on top of the dirigible with a rifle!", "CARL\n It's really him!\n (to Russell)\n That's Charles Muntz!\n\n RUSSELL", "Carl rushes to shake Muntz's hand. Muntz is charmed.\n\n \n\n MUNTZ\n Well, you're a man of good taste!", "CARL\n Come on!\n\n \n Muntz advances on Carl, who struggles to protect the bird.", "Muntz is about to throw a switch when he looks out the\n porthole. Flying toward him is CARL'S HOUSE!", "He watches Carl and the bird climb.\n\n \n Muntz descends the ladder.\n\n \n\n EXT. DIRIGIBLE, TOP - DAY", "CARL\n But it ran off! It's gone now.\n\n \n Muntz stares.", "MUNTZ\n Nice talking with you.\n\n \n Muntz slams the door.\n Light emerges from the floor. Russell is on the ramp, which\n is opening. Russell REACTS.", "Carl and Muntz STRUGGLE to move. Muntz CRACKS his back free\n and kicks Carl in the chest, knocking him against a trophy.", "MUNTZ\n It's here.\n He turns back to Carl... but they're gone.\n\n MUNTZ\n (to dogs)\n Get them!", "MUNTZ\n Any last words, Fredricksen? Come\n on, spit it out!\n Carl spits his FALSE TEETH at Muntz. He falls backwards.", "Carl swings his cane and hits Muntz on the head. The tennis\n balls bounce the cane off Muntz and smack Carl in the face.", "MUNTZ\n Alpha! Fredricksen's coming back.\n Guard that bird. If you see the\n old man, you know what to do.", "Behind the door, Muntz is waiting for them. He grabs a sword\n from the wall display and attacks.\n Dug hears and BITES Muntz on the leg." ], [ "A bullet blasts through Carl's balloon strings. A third of\n them break or shoot skyward. The house plummets, crashing\n onto the dirigible.", "CARL\n No, Russell! No!\n Carl runs back to his house and tries in desperation to lift\n it. He struggles, but the house doesn't budge. The balloons\n have lost too much helium.", "Carl looks into the distance. His house, now empty, floats\n softly down into the clouds, and disappears.", "EXT. CARL'S HOUSE, FLOATING - CONTINUOUS\n\n\n \n The house flies off into the sky.", "Carl pulls on the tether, knocking Russell over. Carl falls,\n pulling the house into a tall rock. SMASH!\n Carl GASPS. He turns his anger to the group.", "Carl LANDS HARD but safely across the river chasm. The dogs\n are stuck on the other side.\n Carl painfully gets up. He looks up at his house. It's\n still intact.", "Carl sighs. He managed to bring the house to the falls, but\n Ellie never made it.\n He closes the book. But as he does, Carl sees something he\n hadn't before.", "Slowly, one corner of the house lifts. Then another.\n Carl struggles to push a refrigerator from the porch. It\n teeters... and falls. The house lifts off!", "EXT. MOUNTAIN, ROCKY TERRAIN - DAY\n\n\n \n Now barely aloft, Carl pulls the house across the rocky\n landscape.", "Muntz hurls a lit lantern. Flames burst up beneath the house.\n\n \n Heat waves ripple up. Balloons POP. Carl's house LOWERS\n into the fire.", "BAM!!! The house CRASHES into the ground.\n\n \n Russell and Carl fly off the porch and onto the ground. They\n land hard.", "The house slides toward the edge, Russell, Dug and Kevin\n still inside.\n\n \n\n CARL\n No!", "The tiny house is heading for a MASSIVE STORM.\n Carl STRUGGLES to steer the house away but is blown into the\n storm. The steering mechanism recoils and sends Carl flying.", "EXT. CARL'S HOUSE, PORCH\n\n Carl and Russell stand on the porch as the house moves down\n into and through the thick, dark clouds.", "Muntz is about to throw a switch when he looks out the\n porthole. Flying toward him is CARL'S HOUSE!", "Carl's house is floating away!\n\n \n Carl runs after the GARDEN HOSE dragging across the ground.", "The house slides farther over the edge.\n\n \n Carl struggles to hold on. The hose caddy is ripping free\n from the house! The bolts pop from the wooden siding... it's\n about to go!", "EXT. CARL'S HOUSE, FLOATING\n\n The house soars into the air, sails billowing.", "Russell and others duck inside and slam the door.\n\n \n The house tilts, threatening to tip off at any second. Carl\n holds on for his life.", "CARL\n Dug! Bring `er over!\n Dug winches in the hose caddy, pulling the house closer to\n the dirigible ramp.\n\n \n Carl carries Russell into the house." ], [ "CARL\n No, Russell! No!\n Carl runs back to his house and tries in desperation to lift\n it. He struggles, but the house doesn't budge. The balloons\n have lost too much helium.", "The house floats against the sky. The hose descends from the\n house and \"Y\"s to tie to both Carl and Russell. They wear\n the hose like a harness, pulling the house as they walk.", "EXT. CARL'S HOUSE, FLOATING - CONTINUOUS\n\n\n \n The house flies off into the sky.", "EXT. CARL'S HOUSE, FLOATING\n\n The house soars into the air, sails billowing.", "A giant tarp rises behind Carl's house. It unfolds to reveal\n\n THOUSANDS OF BALLOONS.", "CARL\n Russell!\n Carl steers his house to the dirigible.", "The dirigible turns, revealing Carl's house sneaking up\n behind.\n\n \n\n INT. CARL'S HOUSE, LIVING ROOM", "Slowly, one corner of the house lifts. Then another.\n Carl struggles to push a refrigerator from the porch. It\n teeters... and falls. The house lifts off!", "EXT. MOUNTAIN, ROCKY TERRAIN - DAY\n\n\n \n Now barely aloft, Carl pulls the house across the rocky\n landscape.", "EXT. CARL'S HOUSE\n\n The house turns.\n Carl looks out the window, satisfied. He checks the balloons.", "CARL\n Dug! Bring `er over!\n Dug winches in the hose caddy, pulling the house closer to\n the dirigible ramp.\n\n \n Carl carries Russell into the house.", "Muntz is about to throw a switch when he looks out the\n porthole. Flying toward him is CARL'S HOUSE!", "A bullet blasts through Carl's balloon strings. A third of\n them break or shoot skyward. The house plummets, crashing\n onto the dirigible.", "EXT. CARL'S HOUSE, FLOATING\n\n The house drifts through the clouds.", "The house slows and lowers atop the airship. Carl HOISTS the\n bird up onto the porch.", "Muntz hurls a lit lantern. Flames burst up beneath the house.\n\n \n Heat waves ripple up. Balloons POP. Carl's house LOWERS\n into the fire.", "The biplanes fire and strafe Carl's house with darts.\n Russell SCREAMS, swaying beneath it on the hose.", "94.\n\n \n\n \n Carl is THROWN from the house onto the airship.", "INT. CARL'S HOUSE, LIVING ROOM\n\n Inside the house, Carl adjusts his steering, scans the skies.", "Carl looks into the distance. His house, now empty, floats\n softly down into the clouds, and disappears." ], [ "RUSSELL\n Wow.\n\n \n Carl smiles.", "CARL\n (far in the distance)\n Russell!\n\n RUSSELL\n Huh?", "CARL\n No.\n\n \n Carl slams the door, leaving Russell alone.\n Beat. The door opens again.", "INT. CARL'S HOUSE, LIVING ROOM\n\n Confused, Russell follows Carl's directions. He Dug and the\n bird huddle together.", "Carl can't watch.\n An off screen SMACK! Russell walks to Carl. Miraculously,\n he looks unscathed.", "Carl follows Russell into the living room. Russell chuckles\n and points at the photo of young Ellie.", "Carl and Russell look around. In the midst, some 100 feet\n away, they see the FIGURE OF A MAN.\n\n CARL\n Oh! Hello sir! Thank goodness.", "Carl listens through the door. Is the kid gone? He opens it.\n\n \n\n RUSSELL\n \"Good afternoon. My name is\n Russell.\"", "EXT. CARL'S HOUSE, WINDOW - CONTINUOUS\n\n Russell and Carl arrive at the window.", "CARL\n Darn thing.\n (calling back)\n C'mon, Russell, would you hurry it up?\n\n \n Russell plods forward, dragging his feet.", "Carl grabs Russell and runs.\n\n \n\n CARL\n C'mon Russell!", "But Russell is nowhere to be seen.\n\n \n A shadow crosses Carl. He looks up to see Russell floating\n off, hanging from a BUNCH OF BALLOONS.", "CARL\n Whoah! Hey, hey!\n Russell JUMPS onto Carl's leg and the extra weight pulls them\n to the ground.", "CUT TO:\n Carl stands beside Russell at the window. Russell's fall had\n been a daydream.", "CARL\n Russell! Get out of there!\n Russell, Dug and Kevin run toward the front porch.\n\n \n BLAM! A bullet smashes the door jam next to them.", "RUSSELL\n That building's so close I could\n almost touch it.\n\n \n That gives Carl an idea.\n\n CUT TO:", "CARL\n (calls after Russell)\n Bring it back here when you find\n it!\n Carl rolls his eyes and begins to close his door.\n\n \n He stops short.", "RUSSELL\n You mean assist you?\n\n \n\n CARL\n Yeah, yeah. Whatever.", "CARL\n (humoring him)\n Oh, did you?\n\n \n\n RUSSELL\n Are they tall?", "RUSSELL\n That might sound boring, but I\n think the boring stuff is the stuff\n I remember the most.\n They walk in silence. Carl understands." ], [ "YOUNG ELLIE\n Charles Muntz, explorer. When I get\n big, I'm going where he's going:\n South America.\n She turns the page to a map.", "Young Carl stares, mouth agape, wearing leather flight helmet\n and goggles -- just like his idol on the silver screen.", "Carl's face warms. Ellie lived the life she wanted: she saw\n adventure in everyday life.", "CARL\n Him!\n\n \n\n DOG WALLA\n Yes! It is him! He is!", "Carl sighs. He managed to bring the house to the falls, but\n Ellie never made it.\n He closes the book. But as he does, Carl sees something he\n hadn't before.", "INT. CARL'S HOUSE, LIVING ROOM\n\n\n \n Carl sets a compass next to the map of South America.", "Carl looks around, still enthralled.", "CARL\n The Charles Muntz?\n\n \n Muntz gives him the \"thumbs up.\"", "Carl vacuums the Adventure Shrine on the mantle. Carl smiles\n at a photo of Ellie as a child, wearing her flight helmet and", "The WILDERNESS EXPLORER CALL sets off Carl's hearing aid.\n\n \n\n 37.", "Carl calls for help: the WILDERNESS EXPLORER CALL.\n\n RUSSELL\n You leave Mr. Fredricksen alone!", "Muntz's \"Explorer's Society\" badge is ceremoniously RIPPED\n from his jacket.\n Carl GASPS.", "Muntz, and good luck capturing the\n Monster of Paradise Falls!\n Carl looks like he just witnessed a miracle.", "CARL\n Oh my Ellie would have loved all\n this. You know, it's because of\n you she had this dream to come down\n here and live by Paradise Falls.", "CARL\n It's really him!\n (to Russell)\n That's Charles Muntz!\n\n RUSSELL", "CARL\n There it is. Ellie, it's so\n beautiful.\n\n \n The landscape is stunning.", "YOUNG ELLIE\n You know him.\n Carl smiles excitedly.", "MUNTZ\n Hm, excellent choice.\n (to Carl)\n I found it on safari with", "Of everyone watching in the modest, small town theater, no\n one is more enthralled than 8 year old CARL FREDRICKSEN.", "\"THANKS FOR THE ADVENTURE -- NOW GO HAVE A NEW ONE!\n\n LOVE, ELLIE.\"\n Carl smiles." ], [ "MUNTZ\n Enough! I'm taking that bird back\n with me alive or dead!\n Carl trips and falls to the floor. Muntz is about to deal\n the final blow.", "MUNTZ\n And I will not come back until I do!\n The crowd CHEERS.\n\n \n Muntz gives his thumbs up from the cockpit as the dirigible\n lifts off.", "MUNTZ\n An old man taking his house to\n Paradise Falls.\n\n \n He drops the helmet. It rolls to Carl's feet.", "MUNTZ\n Nice talking with you.\n\n \n Muntz slams the door.\n Light emerges from the floor. Russell is on the ramp, which\n is opening. Russell REACTS.", "Muntz speaks to a crowded auditorium, on stage beside a\n curtained object.\n\n MUNTZ\n Gentlemen, I give you: the Monster\n of Paradise Falls!", "CARL\n It's really him!\n (to Russell)\n That's Charles Muntz!\n\n RUSSELL", "Cameras flash as Muntz stands heroic, striking his signature\n \"thumbs up\" stance.\n\n MUNTZ\n \"Adventure is out there!\"", "Muntz, and good luck capturing the\n Monster of Paradise Falls!\n Carl looks like he just witnessed a miracle.", "MUNTZ\n Well, if you're here, Fredricksen\n can't be far behind.\n\n \n\n INT. DIRIGIBLE, TROPHY ROOM", "NEWSREEL ANNOUNCER (V.O.)\n Humiliated, Muntz vows a return to\n Paradise Falls and promises to\n capture the beast... alive!", "MUNTZ\n Alpha! Fredricksen's coming back.\n Guard that bird. If you see the\n old man, you know what to do.", "MUNTZ\n Any last words, Fredricksen? Come\n on, spit it out!\n Carl spits his FALSE TEETH at Muntz. He falls backwards.", "The ship corrects again. Carl climbs back inside.\n Muntz comes at Carl.\n\n \n\n CARL\n Come on, Kevin!", "Carl rushes to shake Muntz's hand. Muntz is charmed.\n\n \n\n MUNTZ\n Well, you're a man of good taste!", "CARL\n But it ran off! It's gone now.\n\n \n Muntz stares.", "Behind the door, Muntz is waiting for them. He grabs a sword\n from the wall display and attacks.\n Dug hears and BITES Muntz on the leg.", "CARL\n Come on!\n\n \n Muntz advances on Carl, who struggles to protect the bird.", "MUNTZ\n It's here.\n He turns back to Carl... but they're gone.\n\n MUNTZ\n (to dogs)\n Get them!", "Muntz enters.\n\n MUNTZ\n Where's your elderly friend?\n\n \n Russell blows the leaf blower in Muntz's face.", "MUNTZ\n Careful. We want her in good shape\n for my return.\n\n \n\n RUSSELL\n Let her go! Stop!" ], [ "Carl shuts his door. He closes the curtains.\n He peeks out the window. The injured worker is helped to his\n feet. A police car pulls up.", "Carl's face warms. Ellie lived the life she wanted: she saw\n adventure in everyday life.", "Carl sighs. He managed to bring the house to the falls, but\n Ellie never made it.\n He closes the book. But as he does, Carl sees something he\n hadn't before.", "FADE TO BLACK.\n\n \n\n \n\n INT. CARL'S BEDROOM - MORNING - SEVERAL YEARS LATER", "Behind him, Ellie sweeps the floor. Their dream has gone\n unfulfilled.\n\n \n Carl has an idea.", "Carl closes his eyes and smiles. He's lucky to be with her.\n\n \n\n EXT. ZOO - DAY", "FLASH! A photo is taken of the wedding couple: Carl and\n Ellie, now 19. She jumps at him and gives him a big kiss.", "Carl screams. He lets go of his balloon. It floats through\n a broken part of the ceiling and disappears.\n Ellie circles Carl accusingly.", "Carl looks out the window. Ellie sits alone under a tree,\n the wind in her hair.\n\n \n\n 12.", "CARL\n Yeah.\n\n \n\n 57.", "RUSSELL\n Wow.\n\n \n Carl smiles.", "Carl and Ellie sit side by side in their chairs, reading.\n Without looking up from their books, they hold hands.", "Carl struggles to tie his tie. Ellie helps. They walk out\n the front door arm in arm.", "INT. DOCTOR'S OFFICE - AFTERNOON\n\n Carl touches Ellie's shoulder as the doctor explains. Ellie\n drops her head in her hands.", "INT. CARL'S HOUSE, LIVING ROOM - CONTINUOUS", "INT. CARL'S HOUSE, LIVING ROOM - CONTINUOUS", "33.\n\n \n\n \n\n CARL", "Carl follows Russell into the living room. Russell chuckles\n and points at the photo of young Ellie.", "Carl in his 60's. They still work happily side by side at\n the zoo. Carl's cart lifts off the ground. He casually\n leans an elbow on it.", "CARL\n There it is. Ellie, it's so\n beautiful.\n\n \n The landscape is stunning." ], [ "Carl shuts his door. He closes the curtains.\n He peeks out the window. The injured worker is helped to his\n feet. A police car pulls up.", "INT. CARL'S HOUSE, LIVING ROOM - CONTINUOUS", "INT. CARL'S HOUSE, LIVING ROOM - CONTINUOUS", "Carl backs into his house.\n\n \n\n INT. CARL'S LIVING ROOM", "INT. CARL'S HOUSE, LIVING ROOM - DAY - CONTINUOUS", "CARL\n Yeah.\n\n \n\n 57.", "INT. CARL'S HOUSE, LIVING ROOM - AFTERNOON", "FADE TO BLACK.\n\n \n\n \n\n INT. CARL'S BEDROOM - MORNING - SEVERAL YEARS LATER", "33.\n\n \n\n \n\n CARL", "Carl in his 60's. They still work happily side by side at\n the zoo. Carl's cart lifts off the ground. He casually\n leans an elbow on it.", "Behind him, Ellie sweeps the floor. Their dream has gone\n unfulfilled.\n\n \n Carl has an idea.", "CARL\n I don't want you to touch it!\n Carl HITS the worker with his cane. He falls to the sidewalk.\n The worker rubs his head. Blood.", "CARL\n Aaah! Shoo, shoo! Get out of here.\n\n \n Carl shoos the bird away. The bird mimics him.", "INT. CARL'S HOUSE, LIVING ROOM\n\n\n \n Carl kneels by the fireplace and cuts at the balloon strings.", "Carl sighs. He managed to bring the house to the falls, but\n Ellie never made it.\n He closes the book. But as he does, Carl sees something he\n hadn't before.", "Carl screams. He lets go of his balloon. It floats through\n a broken part of the ceiling and disappears.\n Ellie circles Carl accusingly.", "CARL\n Afternoon.\n Carl turns the other way. The bird. It HONKS at him.\n\n \n Dug drops the slobbery ball on Carl's lap.", "Carl rights Ellie's chair, sets the lamp upright, slides the\n table into position.\n He pushes their two chairs back into their place.", "Carl waves at a high-rise window washer, who tentatively\n waves back.\n The house crests the top of a building, drifting over and away\n from the city. Carl looks out his window. Good riddance.", "Carl sits at the campfire, the others asleep. He shakes his\n head and looks up at the house.\n\n CARL\n What have I got myself into, Ellie?" ], [ "CARL\n Now, whether you assist me or not,\n I am going to Paradise Falls if it\n kills me.", "CARL\n Oh my Ellie would have loved all\n this. You know, it's because of\n you she had this dream to come down\n here and live by Paradise Falls.", "Carl looks at the Adventure Shrine, and the PAINTING of their\n house by Paradise Falls.\n He holds the Shady Oaks pamphlet.", "CARL\n Dug! Bring `er over!\n Dug winches in the hose caddy, pulling the house closer to\n the dirigible ramp.\n\n \n Carl carries Russell into the house.", "CARL\n So long boys! I'll send you a\n postcard from Paradise Falls!\n\n \n\n INT. APARTMENT - CONTINUOUS", "CARL\n No, Russell! No!\n Carl runs back to his house and tries in desperation to lift\n it. He struggles, but the house doesn't budge. The balloons\n have lost too much helium.", "Ahead, a giant rock sits in their path. Carl tugs at the\n house but it CRASHES against the rock, pulling Russell onto\n the ground.\n\n CARL\n Russell!", "Carl pulls on the tether, knocking Russell over. Carl falls,\n pulling the house into a tall rock. SMASH!\n Carl GASPS. He turns his anger to the group.", "He looks over. He's finally made it: Paradise Falls.\n Torrents of water careen over the massive cliff edge.", "Carl waits, standing by the tree his house is tied to.\n\n RUSSELL (O.S.)\n Mr. Fredricksen? Am I supposed to\n dig the hole before or after?", "Muntz hurls a lit lantern. Flames burst up beneath the house.\n\n \n Heat waves ripple up. Balloons POP. Carl's house LOWERS\n into the fire.", "EXT. MOUNTAIN, ROCKY TERRAIN - DAY\n\n\n \n Now barely aloft, Carl pulls the house across the rocky\n landscape.", "Across it, some ten miles away, is PARADISE FALLS.\n Carl stares. He can't believe it.", "Carl sighs. He managed to bring the house to the falls, but\n Ellie never made it.\n He closes the book. But as he does, Carl sees something he\n hadn't before.", "The Paradise Falls jar rolls past Carl. He chases after it.\n Ellie's chair slides across the room. Carl gasps and runs to\n protect it.", "EXT. CARL'S HOUSE, PORCH\n\n Carl and Russell stand on the porch as the house moves down\n into and through the thick, dark clouds.", "Muntz is about to throw a switch when he looks out the\n porthole. Flying toward him is CARL'S HOUSE!", "The house floats against the sky. The hose descends from the\n house and \"Y\"s to tie to both Carl and Russell. They wear\n the hose like a harness, pulling the house as they walk.", "The tiny house is heading for a MASSIVE STORM.\n Carl STRUGGLES to steer the house away but is blown into the\n storm. The steering mechanism recoils and sends Carl flying.", "EXT. PARADISE FALLS - AFTERNOON\n \n On top of Paradise Falls sits Carl's house, just as Ellie\n imagined it.\n\n\n THE END" ], [ "YOUNG ELLIE\n My name's Ellie.\n\n \n She grabs his hand.\n Carl blushes as she pulls him out of the room.", "CARL\n There it is. Ellie, it's so\n beautiful.\n\n \n The landscape is stunning.", "The photo of Ellie rocks and slides off the wall. Carl\n lunges to catch it.\n\n \n\n EXT. CARL'S HOUSE, FLOATING", "CARL\n Sheesh! Can you believe this, Ellie?\n\n \n\n RUSSELL\n Ellie?\n (gets idea)", "Carl joins Ellie. He hands her the Adventure Book. She smiles.", "CARL\n Oh my Ellie would have loved all\n this. You know, it's because of\n you she had this dream to come down\n here and live by Paradise Falls.", "Carl screams. He lets go of his balloon. It floats through\n a broken part of the ceiling and disappears.\n Ellie circles Carl accusingly.", "Carl does.\n\n YOUNG ELLIE\n Good. You promised. No backing out.\n\n \n Carl shakes his head \"no.\"", "INT. DOCTOR'S OFFICE - AFTERNOON\n\n Carl touches Ellie's shoulder as the doctor explains. Ellie\n drops her head in her hands.", "YOUNG ELLIE\n You know him.\n Carl smiles excitedly.", "CARL\n (to Ellie)\n But I told him no --\n (catches himself)\n I told you no! N-O.\n The bird HISSES at Carl.", "Carl's face warms. Ellie lived the life she wanted: she saw\n adventure in everyday life.", "CARL\n We're on our way, Ellie.\n Carl kneels at the fireplace and plunks the balloon strings", "Behind him, Ellie sweeps the floor. Their dream has gone\n unfulfilled.\n\n \n Carl has an idea.", "Carl takes out Ellie's childhood drawing. Next to him stands\n the real house, just like Ellie wanted.", "CARL\n Quite a sight, huh Ellie?\n (noticing mailbox)\n Uhp, mail's here.", "YOUNG ELLIE\n I am about to let you see something\n I have never shown to another human\n being. Ever. In my life.\n Carl's eyes widen in alarm.", "Carl follows Russell into the living room. Russell chuckles\n and points at the photo of young Ellie.", "INT. CARL'S HOUSE, CLOSET\n\n Carl pulls out a suitcase. A book tips over. Ellie's\n Adventure Book.", "INT. CARL'S HOUSE, LIVING ROOM\n\n Carl kisses a photo of Ellie." ], [ "RUSSELL\n Wow.\n\n \n Carl smiles.", "Russell stops... but goes back to reading.\n\n RUSSELL\n \"Are you in need of any assistance\n today Sir?\"", "Russell smiles at the thought.", "RUSSELL\n \"Good afternoon. My name is\n Russell. And I am a Wilderness", "RUSSELL\n Well, I didn't have to go then!\n Russell goes limp and lies face down in the dirt.", "CARL\n (far in the distance)\n Russell!\n\n RUSSELL\n Huh?", "But Russell is nowhere to be seen.\n\n \n A shadow crosses Carl. He looks up to see Russell floating\n off, hanging from a BUNCH OF BALLOONS.", "RUSSELL\n That might sound boring, but I\n think the boring stuff is the stuff\n I remember the most.\n They walk in silence. Carl understands.", "Russell points to his SASH. It is covered with badges except\n for one glaringly empty space.", "Nothing. He looks left. Nothing. He looks right. Russell.\n He looks... Russell?!!", "RUSSELL\n Here, snipe... Come on out, snipe.\n Snipe!\n The footprints continue for a time, then stop.", "RUSSELL\n There!\n Russell struggles with a tent pole, trying to winch it into\n place.", "RUSSELL\n Look at that one! That one looks\n like a dog!\n The \"rock\" walks forward.\n\n RUSSELL\n It is a dog!", "He walks off. Russell falls in behind.\n An angry dawn breaks.\n\n \n\n 78.", "On the collar screen, the dogs get a fleeting glimpse of a\n boy's face. It's Russell.", "INT. CARL'S HOUSE, LIVING ROOM\n\n Confused, Russell follows Carl's directions. He Dug and the\n bird huddle together.", "RUSSELL\n Ha! Gotcha!\n\n \n Russell peers into the shrub.", "RUSSELL\n Yes!!\n Russell is served a hot dog. His waiter can't resist and\n eats a bite.", "CUT TO:\n Carl stands beside Russell at the window. Russell's fall had\n been a daydream.", "Russell makes the Explorer Sign: his thumbs form a \"W\", his\n fingers the \"wings\" of a bird, then the \"claws\" of a bear." ], [ "Dug wears a high-tech collar. The dog's thoughts come out of\n it as words through a speaker. It can talk. Unfortunately,\n it talks non-stop.", "RUSSELL\n Uh-huh. Speak.\n\n \n\n DUG\n Hi there.", "DUG\n That man there says I can take the\n bird and I love that man there like\n he is my master.\n\n \n The bird HISSES.", "DUG\n Oh I can bark!\n Dug BARKS.", "DUG\n Oh, yes. Oh, yes. Since I have\n said that, I can see how you would\n think that.\n\n \n\n 60.", "DUG\n Oh it is, because my master is\n smart.\n\n \n\n 47.", "DUG\n And here's howling!\n Dug HOWLS. The bird HISSES at Dug.\n\n \n\n 48.", "DUG\n I am warning you, once again, bird!\n\n RUSSELL\n Hey! Quit it!", "DUG\n Oh boy, oh boy! I will get it and\n then bring it back!\n\n \n\n CARL", "DUG (O.S.)\n Master, over here!\n\n \n\n 71.", "DUG\n My master is good and smart.\n\n CARL\n It's not possible.", "DUG\n Uh... POINT!\n Dug points to a grate in the wall.", "RUSSELL\n (on video screen)\n Hey Dug! Who you talking to?\n\n \n The video screen goes blank. The dogs BARK excitedly.", "As Alpha lunges again, Dug jams the shade over Alpha's head.\n Alpha's head is stuck, trapped by the cone.\n The dogs all GASP.", "DUG\n Hey, that is the bird! I have\n never seen one up close but this is\n the bird.\n (to Carl)\n May I take your bird back to camp\n as my prisoner?", "DUG\n I am jumping on you now, bird.\n\n \n Russell tries to separate them, which pulls on Carl's tether.", "DUG\n A ball! Oh boy oh boy! A ball!", "DUG\n You are my master?!\n Dug lunges forward and overwhelms Carl with dog kisses.\n\n DUG\n Oh boy. Oh boy!", "The bird drags Dug, still clamped onto it's leg.\n\n \n\n DUG\n Oh please oh please oh PLEASE be my\n prisoner!", "Dug crazily searches and sniffs, looking for the bird.\n\n DUG\n Find the bird. Find the bird..." ], [ "RUSSELL\n Wow.\n\n \n Carl smiles.", "CARL\n (to Camp Master)\n I'm here for him.\n\n CAMP MASTER STRAUCH\n Congratulations, Russell. Sir...", "RUSSELL\n You mean assist you?\n\n \n\n CARL\n Yeah, yeah. Whatever.", "CARL\n No.\n\n \n Carl slams the door, leaving Russell alone.\n Beat. The door opens again.", "CARL\n Russell!\n\n \n\n RUSSELL\n I'm gonna help Kevin even if you\n won't!", "INT. CARL'S HOUSE, LIVING ROOM\n\n Confused, Russell follows Carl's directions. He Dug and the\n bird huddle together.", "Carl can't watch.\n An off screen SMACK! Russell walks to Carl. Miraculously,\n he looks unscathed.", "As he finishes the script, Russell smiles up at Carl.\n\n \n\n CARL\n No.", "CARL\n Well! It's been a wonderful\n evening, but we'd better be going.\n\n \n Carl gets up and pulls Russell from the table.", "CARL\n No.\n\n \n Russell falls to his knees, pleading.", "CARL\n (far in the distance)\n Russell!\n\n RUSSELL\n Huh?", "CARL\n (calls after Russell)\n Bring it back here when you find\n it!\n Carl rolls his eyes and begins to close his door.\n\n \n He stops short.", "CARL\n Russell, for assisting the elderly,\n and for performing above and beyond\n the call of duty, I would like to", "Carl and Russell look around. In the midst, some 100 feet\n away, they see the FIGURE OF A MAN.\n\n CARL\n Oh! Hello sir! Thank goodness.", "But Russell is nowhere to be seen.\n\n \n A shadow crosses Carl. He looks up to see Russell floating\n off, hanging from a BUNCH OF BALLOONS.", "INT. CARL'S HOUSE - CONTINUOUS\n\n\n \n Carl sets Russell, still bound, down in the front hall.", "Somehow energized, Russell jams his pack into Carl's hands,\n secures his rope to a tree and tromps off into the shrubs.", "CARL\n Russell! Get out of there!\n Russell, Dug and Kevin run toward the front porch.\n\n \n BLAM! A bullet smashes the door jam next to them.", "CARL\n Now, when you get up there, go\n ahead and hoist me up! Got it?!\n\n \n Russell continues to grunt and strain off screen.", "CARL\n Sorry Russell. We've lost enough\n time already.\n\n \n\n RUSSELL\n Yeah..." ], [ "CARL\n I'm Carl Fredricksen. My wife and\n I, we were your biggest fans!", "RUSSELL\n What was that, Mr. Fredricksen?\n\n \n\n CARL\n We can't be close to the ground yet.", "RUSSELL\n (nearly silent)\n Mr. Fredricksen, there's a big", "RUSSELL\n Sorry about your house, Mr.\n Fredricksen.\n\n \n Carl smiles. He puts his arm around Russell.", "CARL\n It's really him!\n (to Russell)\n That's Charles Muntz!\n\n RUSSELL", "Carl waits, standing by the tree his house is tied to.\n\n RUSSELL (O.S.)\n Mr. Fredricksen? Am I supposed to\n dig the hole before or after?", "Cameras flash as Muntz stands heroic, striking his signature\n \"thumbs up\" stance.\n\n MUNTZ\n \"Adventure is out there!\"", "YOUNG ELLIE\n Charles Muntz, explorer. When I get\n big, I'm going where he's going:\n South America.\n She turns the page to a map.", "MUNTZ\n Any last words, Fredricksen? Come\n on, spit it out!\n Carl spits his FALSE TEETH at Muntz. He falls backwards.", "Behind him, Carl is climbing the side of the dirigible for\n dear life, Muntz closing in.", "Russell steers the house toward Carl.\n\n RUSSELL\n Mr. Fredricksen!", "The house floats off into the sky, leaving a huge pile of\n things. Beside it sits Carl and Ellie's chairs, side by side\n atop Paradise Falls.", "RUSSELL\n Wow! This is great! You should try\n this, Mr. Fredricksen! Look, there's", "The house floats against the sky. The hose descends from the\n house and \"Y\"s to tie to both Carl and Russell. They wear\n the hose like a harness, pulling the house as they walk.", "Carl climbs. Muntz grabs Carl's foot. Carl defends himself\n with his cane, knocking Muntz off the ladder. Muntz catches\n on to a rung of the ladder.", "Carl and Ellie look across the attic at the balloon. Between\n them the floor has collapsed, save one rickety beam. Carl GULPS.", "YOUNG ELLIE\n My Adventure Book!\n It's a reused photo album with the words \"My Adventure Book\"\n written across it. She opens it to a photo of Charles Muntz.", "CARL\n The Charles Muntz?\n\n \n Muntz gives him the \"thumbs up.\"", "INT. CARL'S HOUSE, LIVING ROOM - CONTINUOUS\n\n Carl and Ellie's things are strewn across the floor, a mess\n from the rough journey.", "CARL\n Come on, Kevin!\n Carl helps Dug onto the porch. He climbs up himself...\n\n \n BLAM! Muntz appears on top of the dirigible with a rifle!" ], [ "CARL\n It's really him!\n (to Russell)\n That's Charles Muntz!\n\n RUSSELL", "NEWSREEL ANNOUNCER (V.O.)\n Why, our subject today: Charles\n Muntz!\n\n A massive DIRIGIBLE descends on an airfield.", "CARL\n The Charles Muntz?\n\n \n Muntz gives him the \"thumbs up.\"", "(EXCITED)\n It is?!?\n\n (CONSIDERS)\n Who's Charles Muntz?", "YOUNG ELLIE\n Charles Muntz, explorer. When I get\n big, I'm going where he's going:\n South America.\n She turns the page to a map.", "NEWSREEL ANNOUNCER (V.O.)\n Here's Charles Muntz piloting his\n famous dirigible!!", "MUNTZ\n And I will not come back until I do!\n The crowd CHEERS.\n\n \n Muntz gives his thumbs up from the cockpit as the dirigible\n lifts off.", "Cameras flash as Muntz stands heroic, striking his signature\n \"thumbs up\" stance.\n\n MUNTZ\n \"Adventure is out there!\"", "Carl rushes to shake Muntz's hand. Muntz is charmed.\n\n \n\n MUNTZ\n Well, you're a man of good taste!", "Muntz's dirigible ascends into the sky. Dug and all of\n MUNTZ'S DOGS stick their heads out the dirigible windows,\n barking as they fly into the sunset.", "MUNTZ\n Enough! I'm taking that bird back\n with me alive or dead!\n Carl trips and falls to the floor. Muntz is about to deal\n the final blow.", "NEWSREEL ANNOUNCER (V.O.)\n Yes, as Muntz himself says:\n \"Adventure is--\"", "Behind him, Carl is climbing the side of the dirigible for\n dear life, Muntz closing in.", "INT. DIRIGIBLE, COCKPIT\n\n Muntz scans the horizon. Suddenly the in-ship communicator\n comes to life.", "CARL\n But it ran off! It's gone now.\n\n \n Muntz stares.", "CARL\n Come on!\n\n \n Muntz advances on Carl, who struggles to protect the bird.", "INT. DIRIGIBLE, CAGE ROOM\n\n Muntz stares into the bird's cage, mesmerized. She's\n miserable and scared.", "MUNTZ\n Alpha! Fredricksen's coming back.\n Guard that bird. If you see the\n old man, you know what to do.", "MUNTZ\n Any last words, Fredricksen? Come\n on, spit it out!\n Carl spits his FALSE TEETH at Muntz. He falls backwards.", "Muntz speaks to a crowded auditorium, on stage beside a\n curtained object.\n\n MUNTZ\n Gentlemen, I give you: the Monster\n of Paradise Falls!" ], [ "Behind him, Ellie sweeps the floor. Their dream has gone\n unfulfilled.\n\n \n Carl has an idea.", "INT. DOCTOR'S OFFICE - AFTERNOON\n\n Carl touches Ellie's shoulder as the doctor explains. Ellie\n drops her head in her hands.", "INT. CARL'S ROOM - MOMENTS LATER\n\n\n \n The two hunker under a blanket tent with a flashlight. Ellie\n whispers, as if to protect a National Secret.", "Carl sits at the campfire, the others asleep. He shakes his\n head and looks up at the house.\n\n CARL\n What have I got myself into, Ellie?", "Carl joins Ellie. He hands her the Adventure Book. She smiles.", "INT. CARL'S HOUSE, LIVING ROOM - CONTINUOUS\n\n Carl and Ellie's things are strewn across the floor, a mess\n from the rough journey.", "Carl does.\n\n YOUNG ELLIE\n Good. You promised. No backing out.\n\n \n Carl shakes his head \"no.\"", "The photo of Ellie rocks and slides off the wall. Carl\n lunges to catch it.\n\n \n\n EXT. CARL'S HOUSE, FLOATING", "INT. CARL'S HOUSE, CLOSET\n\n Carl pulls out a suitcase. A book tips over. Ellie's\n Adventure Book.", "Carl sighs. He managed to bring the house to the falls, but\n Ellie never made it.\n He closes the book. But as he does, Carl sees something he\n hadn't before.", "CARL\n There it is. Ellie, it's so\n beautiful.\n\n \n The landscape is stunning.", "INT. CARL AND ELLIE'S HOUSE, FRONT HALL - 3 YEARS LATER\n\n Ellie struggles to tie Carl's tie as they rush out the door.", "Carl takes out Ellie's childhood drawing. Next to him stands\n the real house, just like Ellie wanted.", "Carl screams. He lets go of his balloon. It floats through\n a broken part of the ceiling and disappears.\n Ellie circles Carl accusingly.", "Carl faces the house. He touches Ellie's dented mailbox.\n\n \n\n CARL\n What do I do now, Ellie?", "CARL\n We're on our way, Ellie.\n Carl kneels at the fireplace and plunks the balloon strings", "Carl rights Ellie's chair, sets the lamp upright, slides the\n table into position.\n He pushes their two chairs back into their place.", "INT. CARL'S HOUSE, LIVING ROOM\n\n Carl kisses a photo of Ellie.", "CARL\n Oh my Ellie would have loved all\n this. You know, it's because of\n you she had this dream to come down\n here and live by Paradise Falls.", "CARL\n (to house)\n Don't worry, Ellie. I got it.\n The wind clears the fog, slowly revealing a crescent shaped,\n flat-topped mountain on which they stand." ], [ "CONSTRUCTION WORKER STEVE\n No no, let me take care of that for you.\n\n \n Carl grabs the mailbox, trying to wrestle it from the worker.", "The worker bangs on the mailbox, trying to fix it.\n\n CARL\n Don't touch that!", "Carl shuts his door. He closes the curtains.\n He peeks out the window. The injured worker is helped to his\n feet. A police car pulls up.", "Carl backs up toward his door, cradling his mailbox. What\n has he done?\n\n \n Passerbys stare.\n Workers gather, as does the REAL ESTATE DEVELOPER.", "CARL\n I don't want you to touch it!\n Carl HITS the worker with his cane. He falls to the sidewalk.\n The worker rubs his head. Blood.", "CONSTRUCTION WORKER STEVE\n Okay, keep her coming... And...\n stop. Stop! STOP!!\n The truck hits Ellie's mailbox, crushing the front.", "CARL\n What? Hey! Hey you! What do you\n think you're doing?\n\n CONSTRUCTION WORKER STEVE\n I am so sorry, sir...", "21.\n\n \n\n \n Carl is shocked. He runs to the box.", "Carl faces the house. He touches Ellie's dented mailbox.\n\n \n\n CARL\n What do I do now, Ellie?", "CARL\n I believe I made my position to\n your boss quite clear.\n\n CONSTRUCTION FOREMAN TOM\n You poured prune juice in his gas tank.", "CARL\n Quite a sight, huh Ellie?\n (noticing mailbox)\n Uhp, mail's here.", "CARL\n\n (STRUGGLING)\n Get away from our mailbox!", "Carl walks to the mailbox. He touches Ellie's faded\n HANDPRINT and smiles.\n\n \n He looks through the mail.", "Carl pulls on the tether, knocking Russell over. Carl falls,\n pulling the house into a tall rock. SMASH!\n Carl GASPS. He turns his anger to the group.", "Carl can't watch.\n An off screen SMACK! Russell walks to Carl. Miraculously,\n he looks unscathed.", "Carl looks at the bird's wounds. He looks to the rock maze,\n then to his house.\n He knows the right thing to do. And he hates himself for it.", "A bullet blasts through Carl's balloon strings. A third of\n them break or shoot skyward. The house plummets, crashing\n onto the dirigible.", "CARL\n Shady Oaks Retirement. Oh brother.\n\n \n Carl notices DUST on his mailbox.", "CARL\n Russell! Get out of there!\n Russell, Dug and Kevin run toward the front porch.\n\n \n BLAM! A bullet smashes the door jam next to them.", "Carl climbs. Muntz grabs Carl's foot. Carl defends himself\n with his cane, knocking Muntz off the ladder. Muntz catches\n on to a rung of the ladder." ], [ "CARL\n No, Russell! No!\n Carl runs back to his house and tries in desperation to lift\n it. He struggles, but the house doesn't budge. The balloons\n have lost too much helium.", "EXT. CARL'S HOUSE, FLOATING\n\n The house soars into the air, sails billowing.", "The house floats against the sky. The hose descends from the\n house and \"Y\"s to tie to both Carl and Russell. They wear\n the hose like a harness, pulling the house as they walk.", "CARL\n Huh?\n\n \n\n \n\n EXT. CARL'S HOUSE, FLOATING", "EXT. CARL'S HOUSE, FLOATING\n\n The house drifts through the clouds.", "A giant tarp rises behind Carl's house. It unfolds to reveal\n\n THOUSANDS OF BALLOONS.", "EXT. CARL'S HOUSE, FLOATING - CONTINUOUS\n\n\n \n The house flies off into the sky.", "EXT. CARL'S HOUSE, FLOATING\n\n\n \n A small cluster of balloons fly up and away from the house.", "Carl's house is floating away!\n\n \n Carl runs after the GARDEN HOSE dragging across the ground.", "CARL\n Russell!\n Carl steers his house to the dirigible.", "Carl looks into the distance. His house, now empty, floats\n softly down into the clouds, and disappears.", "The dirigible turns, revealing Carl's house sneaking up\n behind.\n\n \n\n INT. CARL'S HOUSE, LIVING ROOM", "EXT. CARL'S HOUSE\n\n The house turns.\n Carl looks out the window, satisfied. He checks the balloons.", "Muntz hurls a lit lantern. Flames burst up beneath the house.\n\n \n Heat waves ripple up. Balloons POP. Carl's house LOWERS\n into the fire.", "The house floats motionless above an ocean of clouds.\n\n \n\n EXT. CARL'S HOUSE, WINDOW", "Slowly, one corner of the house lifts. Then another.\n Carl struggles to push a refrigerator from the porch. It\n teeters... and falls. The house lifts off!", "A bullet blasts through Carl's balloon strings. A third of\n them break or shoot skyward. The house plummets, crashing\n onto the dirigible.", "CARL\n Dug! Bring `er over!\n Dug winches in the hose caddy, pulling the house closer to\n the dirigible ramp.\n\n \n Carl carries Russell into the house.", "EXT. CARL'S HOUSE, FLOATING\n\n\n \n The house lowers into the fog.", "Carl shows off his new BALLOON CART and uniform. Behind him\n the balloons lift his cart off the ground. Carl jumps to\n catch it. She giggles." ], [ "CARL\n \"Kevin\"?\n\n RUSSELL\n Yeah, that's his name I just gave\n him.", "He breathes a SIGH OF RELIEF.\n\n RUSSELL (O.S.)\n Kevin!", "Russell sits up with a SNORT.\n\n RUSSELL\n Where's Kevin? He's wandered off!\n Kevin! Dug, find Kevin!", "CARL\n I'm getting Kevin. You stay here!\n\n \n\n RUSSELL\n But I want to help!", "76.\n\n \n\n \n\n RUSSELL\n That's it, go Kevin! Go find your\n babies!", "Distracted Russell finally notices the skeleton.\n\n \n\n RUSSELL\n Hey, that looks like Kevin!", "90.\n\n \n\n \n Carl collects his teeth and motions for Kevin.", "CARL\n Russell!\n\n \n\n RUSSELL\n I'm gonna help Kevin even if you\n won't!", "85.\n\n \n\n \n\n RUSSELL\n You came back for Kevin! Let's go\n get her.", "Carl looks above to see the house's momentum pulling forward.\n\n \n\n RUSSELL\n Hang on to Kevin!", "Kevin is reenergized by the sound of her babies. She runs\n off ahead. Carl and Russell LAUGH.", "RUSSELL\n Kevin!\n Carl beats out the flames with his jacket. He extinguishes\n the flames.\n\n \n Carl collapses on the side of his house.", "INT. CARL'S HOUSE, LIVING ROOM\n\n\n \n Kevin lunges, pushing past Muntz and knocking the rifle from\n his hands.", "CARL\n I'm sorry Kevin. Let's get you out\n of here.", "Russell YAWNS and lies down on the rock next to Carl.\n\n RUSSELL\n Can Kevin go with us?", "RUSSELL\n You okay, Kevin?\n Kevin goes back to sleep. Russell looks at her BANDAGED LEG.", "CARL\n Come on, Kevin.", "RUSSELL\n You gave away Kevin. You just gave\n her away.", "From the distant labyrinth of rocks, the BIRD BABIES call.\n Kevin CALLS back to them. She tries to stand, but can't.\n\n \n Russell runs to her side.", "CARL\n Huh, where's my cane? I just had\n it here...\n Kevin starts HACKING. She COUGHS up the cane." ], [ "Dug wears a high-tech collar. The dog's thoughts come out of\n it as words through a speaker. It can talk. Unfortunately,\n it talks non-stop.", "DUG\n And here's howling!\n Dug HOWLS. The bird HISSES at Dug.\n\n \n\n 48.", "DUG\n You are my master?!\n Dug lunges forward and overwhelms Carl with dog kisses.\n\n DUG\n Oh boy. Oh boy!", "CARL\n Dug!\n Dug jumps up on Carl, licking his face.", "Dug crazily searches and sniffs, looking for the bird.\n\n DUG\n Find the bird. Find the bird...", "DUG\n Oh I can bark!\n Dug BARKS.", "He turns. Dug. With the ball in his mouth.\n\n \n\n DUG\n Hi, Master.", "DUG\n My name is Dug. I have just met\n you and I love you.\n\n \n Dug jumps up on to Carl.", "DUG\n No, my pack is not following us!\n Boy they are dumb.\n Dug scampers back to Carl and Russell, who pull the house\n from behind a tree canopy.", "DUG\n Go on Master! I will stop the\n dogs!\n Dug jumps down to block the path of the approaching dogs.", "DUG\n Oh it is, because my master is\n smart.\n\n \n\n 47.", "The bird \"hugs\" Russell goodbye and pats Carl on the head\n with her beak. She HISSES at Dug.", "DUG\n Uh... POINT!\n Dug points to a grate in the wall.", "DUG\n My master is good and smart.\n\n CARL\n It's not possible.", "(points to Dug)\n ...and I don't want you here.\n (points to Russell)\n I'm stuck with you. And if you two", "DUG\n Oh I am ready to not be up high.\n Carl LAUGHS heartily as Dug jumps on him and licks his face.", "DUG\n A ball! Oh boy oh boy! A ball!", "CARL (O.S.)\n Good boy, Dug. You're a good boy!\n\n \n\n EXT. OPEN SKY - DAY", "CARL\n Russell, don't touch that. It could\n be radioactive or something.\n Dug sniffs the ground around Carl and Russell.", "72.\n\n \n\n \n\n DUG\n Stop you dogs!!\n\n \n The dogs run around Dug." ], [ "MUNTZ\n Any last words, Fredricksen? Come\n on, spit it out!\n Carl spits his FALSE TEETH at Muntz. He falls backwards.", "MUNTZ\n Enough! I'm taking that bird back\n with me alive or dead!\n Carl trips and falls to the floor. Muntz is about to deal\n the final blow.", "MUNTZ\n Nice talking with you.\n\n \n Muntz slams the door.\n Light emerges from the floor. Russell is on the ramp, which\n is opening. Russell REACTS.", "CARL\n But it ran off! It's gone now.\n\n \n Muntz stares.", "MUNTZ\n And I will not come back until I do!\n The crowd CHEERS.\n\n \n Muntz gives his thumbs up from the cockpit as the dirigible\n lifts off.", "CARL\n Come on!\n\n \n Muntz advances on Carl, who struggles to protect the bird.", "Carl climbs. Muntz grabs Carl's foot. Carl defends himself\n with his cane, knocking Muntz off the ladder. Muntz catches\n on to a rung of the ladder.", "Muntz hurls a lit lantern. Flames burst up beneath the house.\n\n \n Heat waves ripple up. Balloons POP. Carl's house LOWERS\n into the fire.", "Behind him, Carl is climbing the side of the dirigible for\n dear life, Muntz closing in.", "Behind the door, Muntz is waiting for them. He grabs a sword\n from the wall display and attacks.\n Dug hears and BITES Muntz on the leg.", "Muntz enters.\n\n MUNTZ\n Where's your elderly friend?\n\n \n Russell blows the leaf blower in Muntz's face.", "Muntz's dirigible ascends into the sky. Dug and all of\n MUNTZ'S DOGS stick their heads out the dirigible windows,\n barking as they fly into the sunset.", "OLD MAN SWORD FIGHT!\n Muntz smashes his trophy collection as he swings for Carl.\n His sword gets stuck in a mounted skeleton.", "Muntz gestures to a pylon, where Carl ties off the house.\n Muntz and the dogs walk up the gangplank of the dirigible.", "The ship corrects again. Carl climbs back inside.\n Muntz comes at Carl.\n\n \n\n CARL\n Come on, Kevin!", "Muntz hangs for a moment... It's thousands of feet from the\n ground....\n He falls.\n\n \n\n 96.", "Muntz kicks Dug loose and out the door. He slams it shut.", "Carl swings his cane and hits Muntz on the head. The tennis\n balls bounce the cane off Muntz and smack Carl in the face.", "Carl rushes to shake Muntz's hand. Muntz is charmed.\n\n \n\n MUNTZ\n Well, you're a man of good taste!", "MUNTZ\n An old man taking his house to\n Paradise Falls.\n\n \n He drops the helmet. It rolls to Carl's feet." ], [ "They salute each other. Russell gives Carl a hug. Carl\n returns it.\n Russell's mom sits in the audience with Dug. Russell proudly\n shows her the badge.", "CARL\n (to Camp Master)\n I'm here for him.\n\n CAMP MASTER STRAUCH\n Congratulations, Russell. Sir...", "Somehow energized, Russell jams his pack into Carl's hands,\n secures his rope to a tree and tromps off into the shrubs.", "RUSSELL\n Wow.\n\n \n Carl smiles.", "INT. CARL'S HOUSE, LIVING ROOM\n\n Confused, Russell follows Carl's directions. He Dug and the\n bird huddle together.", "CARL\n Russell! Get out of there!\n Russell, Dug and Kevin run toward the front porch.\n\n \n BLAM! A bullet smashes the door jam next to them.", "He looks over to Ellie's empty chair. On the arm is\n Russell's sash. Carl picks it up.\n He looks to Ellie's chair.\n\n \n He crosses his heart.", "CARL\n (calls after Russell)\n Bring it back here when you find\n it!\n Carl rolls his eyes and begins to close his door.\n\n \n He stops short.", "CARL\n No.\n\n \n Russell falls to his knees, pleading.", "Carl can't watch.\n An off screen SMACK! Russell walks to Carl. Miraculously,\n he looks unscathed.", "INT. CARL'S HOUSE - CONTINUOUS\n\n\n \n Carl sets Russell, still bound, down in the front hall.", "The Camp Master hands Carl the badge and continues down the\n line.\n\n \n\n 99.", "CARL\n No.\n\n \n Carl slams the door, leaving Russell alone.\n Beat. The door opens again.", "RUSSELL\n Yeah, I gave her some of my\n chocolate. She goes ga-ga for it.\n\n \n Carl swipes the chocolate from Russell and pockets it.", "CARL\n Well! It's been a wonderful\n evening, but we'd better be going.\n\n \n Carl gets up and pulls Russell from the table.", "CARL\n (struggling to hold on)\n Don't jerk around so much, kid!\n\n \n The rope slips through Carl's hands. Russell FALLS.", "But Russell is nowhere to be seen.\n\n \n A shadow crosses Carl. He looks up to see Russell floating\n off, hanging from a BUNCH OF BALLOONS.", "CARL\n (far in the distance)\n Russell!\n\n RUSSELL\n Huh?", "CARL\n Russell, give me your knife!\n\n \n Carl saws frantically at the net.", "Carl flings the hose, HOOKING it to the ramp railing. Using\n his cane as a zip line, Carl slides to Russell, catching him\n just as Russell slides off the ramp edge. They land safely\n together." ] ]

[ "What job does Carl have at the zoo?", "Where does Ellie want to move her clubhouse?", "Who is Alpha?", "Why can Dug talk?", "When Muntz sets Carl's house on fire and captures Keven, what does Carl do?", "Where does Carl's house land at the end of the story?", "How does Carl make his house fly?", "Why do Russell and Carl initially meet?", "Who was the famous explorer that Carl idolized?", "Why did Muntz want to return to Paradise Falls?", "Who became Carl's wife?", "What type of work did Carl do for a living?", "How did Carl plan to get his home to Paradise Falls?", "Who was Ellie to Carl?", "What was Russell's occupation?", "What allowed Dug to speak?", "What was Russell's final reward for helping Carl?", "Who is 9 year old Carl Fredricksen's hero?", "What is Charles Muntz famous for?", "After Ellie miscarries what plan does she and Carl make?", "What happens after Carl injures a construction worker for messing up his mailbox?", "What does Carl use to make his house float?", "Who is Kevin?", "What is so special about Dug the golden retriever?", "How does Muntz die?", "What did Carl give to Russell for his final merit badge?" ]

[ [ "He sells toy balloons.", "He sells balloons " ], [ "She wants to move it to a cliff that looks over Paradise Falls.", "A cliff overlooking Paradise Falls. " ], [ "Alpha is a doberman and the leader of a pack of dogs.", "a doberman" ], [ "He wears a special collar that lets him talk.", "He has on a special collar." ], [ "Carl chooses to save the house instead of rescuing Kevin.", "Carl puts out the fire." ], [ "The house lands on a cliff beside Paradise Falls.", "The cliff next to Paradise Falls." ], [ "He attaches thousands of helium balloons to it.", "Balloons. " ], [ "Russell is trying to earn a Wilderness Explorer badge for helping the elderly.", "Russel is trying to earn his badge for helping the elderly " ], [ "Charles Muntz", "Charles Muntz" ], [ "To catch a large exotic bird", "Because he was accused of fabricating bird" ], [ "Ellie", "Ellie" ], [ "Sold toy balloons", "Sells toy balloons" ], [ "He planned to turn his home into a flying house by attaching thousands of helium balloons", "Via balloons" ], [ "his wife", "Ellie is Carl's late wife." ], [ "a Wilderness Explorer", "Wilderness Explorer" ], [ "a special collar ", "A special collar " ], [ "a grape soda cap given to Carl by his Carl's wife, Ellie", "His final badge, Ellie's grape soda cap." ], [ "Charles Muntz, a famous explorer", "Charles Muntz." ], [ "for building a skeleton of a giant bird he was reported to have found in Paradise Falls", "Fabricating a skeleton. " ], [ "to visit Paradise Falls", "To move their home to the cliff of Paradise Falls." ], [ "a court says he has to move into a retirement home", "The city says he needs to move to a nursing home, but he turns his house into an airship and goes on an adventure instead " ], [ "thousands of helium balloons tied to the house", "Balloons. " ], [ "a colorful, flightless bird that Russell finds", "A flightless bird. " ], [ "he has a collar that allows him to talk", "wears special collar allows him to speak" ], [ "he gets his foot caught in balloon strings and falls to his death", "He trips over the balloon strings and falls " ], [ "a grape soda cap Ellie gave him when they made their promise to go to Paradise Falls", "A grape soda cap that Ellie had given to Carl." ] ]

[ [ "GUTENBERG EBOOK WAR AND THE FUTURE ***\n\n\n\n\nProduced by Morgan L. Owens and David Widger", "WAR AND THE FUTURE\n\nItaly, France and Britain at War\n\n\nby H. G. Wells\n\n\n\n\nContents", "End of the Project Gutenberg EBook of War and the Future, by H. G. Wells", "Book I. and my \"Modern Utopia,\" Chapter X.] I do not know how it will\nstrike the reader, but to me this war, this slaughter of eight or nine", "again. For the duration of the war he makes shell. He has been\ntemporarily diverted from constructive to destructive industrialism. He\ndid me the honours of his factory. He is a compact, active man in dark", "widely known book of mine, _The World Set Free_ (May, 1914), in which I\nrepresented a world state as arising out of Armageddon, I made the", "as it is great, as an epoch, as \"the War that will end War\"--but of\nthat last, more anon. I do not think I am alone in this inclination to a", "How People Think About the War\n I. Do they Really Think at all?\n II. The Yielding Pacifist and the Conscientious Objector", "schoolmaster and a manufacturer, called _Eclipse or Empire?_ (The title\n_World Might or Downfall?_ had already been secured in another quarter.)\nIt is a book that has been enormously advertised; it has been almost", "written concluded with the words, \"They are the _reductio ad absurdum_\nof war.\" They are, and it is to the engineers, the ironmasters, the", "equally extraordinary. You can often find simultaneously in the same\nPacifist paper, and sometimes even in the utterances of the same writer,\ntwo entirely incompatible statements. The first is that Germany is so", "of the war. He was a little inclined to fatalism, he confessed. There\nwere two stories current of two families of four sons, in each three\nhad been killed and in each there was an attempt to put the fourth in a", "But of that I will write later. My present concern is with General\nJoffre as the antithesis of the Effigy. The effigy,\n\n \"Thou Prince of Peace,\n Thou God of War,\"", "of warfare that has gone on in the last two years does after all open a\nprospect of unmitigated gloom. There has been a good deal of cheap and", "questions of army promotion, of the future of conscription, of the\nfuture of the temporary officer, upon the education of boys in relation\nto army needs. But the war itself was bearing them all upon its way,", "the war, clung to the reasonless proposition, \"the state is only for\nthe Capitalist. This war is got up by Capitalists. Whatever has to be\ndone--_we are rebels._\"", "war has been so altered in the past five and twenty years as to make\nit a new and different process altogether. Much the larger part of this\nalteration has only become effective in the last two years. Everyone is", "of national belligerence are easy, familiar, blatant, and instantly\npresent, the gentler, greater formulae of that wider and newer world\npacifism has still to be generally understood. It is so much easier to", "she had made of war to cow the spirit of mankind. She set the thing\ntrampling through Belgium. She cannot grumble if at last it comes home,", "Cracow, and the guarantees for the future peace of Europe. The machine\nwill be perhaps as big as a destroyer and more heavily armed and\nequipped. It will swim over and through the soil at a pace of ten or" ], [ "challenge to think seems to paralyse the critical intelligence of very\nmany people altogether. They will say, \"This war is going to produce\nenormous changes in everything.\" They will then subside mentally with a", "of authentic opinion in this world of thought about the war are like\ncomparatively rare thin veins of living mentality in a vast world of\ndead repetitions and echoed suggestions. And that being the case, it is", "is all too prone to sneer at their equipment; but I do not see how\nany impartial person can deny that Father Bernard Vaughn is in mental\nenergy, vigour of expression, richness of thought and variety of", "characteristic comment that it was a pity the inventor could not use his\nimagination to better purpose. (That foolish British trick of sneering\nat \"imagination\" has cost us hundreds of thousands of useless casualties", "to convey to him by way of a theory of Britain. He is by no means an\nuncritical listener. I explained that there is an \"inner Britain,\"", "impossible to escape its column-long advertisements; it is billed upon\nthe hoardings, and it is on the whole a very able and right-spirited\nbook. It calls for more and better education, for more scientific", "is a very great disappointment. I have always had a very high opinion of\nthe intellectual values of the leading divines of both the Anglican and\nCatholic communions. The self-styled Intelligentsia of Great Britain", "is thinking very poorly and inadequately and with a merely obstructive\ndisposition; while the churches are merely wasting their energies in\nfutile self-advertisement; while the labour mass is suspicious and", "minds that hang behind the melee and just outside the melee. The\npeculiar beastliness of the German crime is the way the German war cant\nand its consequences have seized upon and paralysed the mental movement", "of the intellectual inferiority of the German to the Western European\nthat is should ever have happened. There was the clearest _a priori_\ncase against the gas-bag. I remember the discussions ten or twelve years", "he has never ventured even to reinvest his little legacy. He is acutely\naware of possessing an exceptionally fine intelligence, but he is\nentirely unconscious of a fundamental unreality. Nothing has ever", "the crack-brained \"loyalties\" arising out of these, that seem still to\nrule men's minds. Years ago I came to the conviction that much of the", "change?\" And then, with an air of superior modesty, they will go on\ndoing--whatever they feel inclined to do. Many others, a degree less\nsimple in their methods, will take some entirely partial aspect, arrive", "it with an air of round-eyed profundity. But to ask in reply, \"Then how\nwill things be different?\" is in many cases to rouse great resentment.", "That is just one survivor of the old tradition. Another is Blight\nthe solicitor, who goes about bewailing the fact that we writers are\n\"holding out false hopes of higher agricultural wages after the war.\"", "Organisation is the life of material and the death of mental and\nspiritual processes. There could be no more melancholy exemplification", "\"Because you are proposing to loosen the grip of a certain narrow and\nlimited class upon British affairs, and you propose it as though it were", "method in our leading. They think we economise brains and waste\nblood. They are shocked at the way in which obviously incompetent or\ninefficient men of the old army class are retained in their positions", "He talked chiefly of the strangeness of this confounded war. It was\nexactly like a sanitary engineer speaking of the unexpected difficulties\nof some particularly nasty inundation. He made little stiff horizontal", "their neighbours. The normal mind craves for decisions, even wrong or\nfalse decisions rather than none. It clutches at comforting falsehoods." ], [ "the first account of these monsters in action given by Mr. Beach Thomas\nor Mr. Philip Gibbs. My friend M. Joseph Reinach has successfully\npassed off long extracts from my story as descriptions of the Tanks upon", "I saw other things that day at X. The Tank is only a beginning in a new\nphase of warfare. Of these other things I may only write in the most\ngeneral terms.", "joke. Never has any such thing so completely masked its wickedness under\nan appearance of genial silliness. The Tank is a creature to which one", "claim a little in this matter. I described one in a story in _The Strand\nMagazine_ in 1903, and my story could stand in parallel columns beside", "and may yet lose us the war.) Tanks were first mooted at the front about\na year and a half ago; Mr. Winston Churchill was then asking questions", "For that peace we struggle against the dull inflexibility of the German\nWill-to-Power.\n\n\n\n\nV. TANKS\n\n\n1", "War is a thing that changes very rapidly, and we have in the Tanks only\nthe first of a great series of offensive developments. They are bound to", "about their practicability; he filled many simple souls with terror;\nthey thought him a most dangerous lunatic. The actual making of the\nTanks arose as an irregular side development of the armoured-car branch", "Since my return I have been able to see the Tank at home, through the\ncourtesy of the Ministry of Munitions. They have progressed far beyond", "So that after all the cheerful amusement the sight of a Tank causes may\nnot be so very unreasonable. These things may be no more than one of", "WAR AND THE FUTURE\n\nItaly, France and Britain at War\n\n\nby H. G. Wells\n\n\n\n\nContents", "like in really wet weather. You hear a shell burst at no great distance.\nYou pass two pages of _The Strand Magazine._ Perhaps thirty yards on\nyou pass a cigarette end. After these sensational incidents the trench", "are so left at the end of the war that the race of armaments continues,\nthat Tank will develop steadily into a tremendous instrument of warfare,\ndriven by engines of scores of thousands of horse-power, tracking on", "Behind the fighting line these monsters will manoeuvre to and fro,\ndestroying the land for all ordinary agricultural purposes for ages to\ncome. The first imaginative account of the land ironclad that was ever", "This logical development of the Tank idea may seem a gloomy prospect for\nmankind. But it is open to question whether the tremendous development", "Said one soldier to me: \"In the old attacks you used to see the British\ndead lying outside the machine-gun emplacements like birds outside a\nbutt with a good shot inside. _Now_, these things walk through.\"\n\n\n3", "modern warfare has attained upon the Somme front. The appearance of\nthe Tank has only increased the offensive advantage. There at present\nwarfare rests.", "Again the Tank is like a slug. The slug, as every biological student\nknows, is unexpectedly complicated inside. The Tank is as crowded", "trench, and it smelt very good indeed.... We hurried across the great\nspaces of rusty desolation upon which every now and again a German shell\nwas bursting....", "to a close. Against the machine gun we are now directing the \"Tank,\"\nwhich goes ahead and puts out the machine gun as soon as it begins to" ], [ "End of the Project Gutenberg EBook of War and the Future, by H. G. Wells", "WAR AND THE FUTURE\n\nItaly, France and Britain at War\n\n\nby H. G. Wells\n\n\n\n\nContents", "About the end of the war there are two chief ways of thinking, there is\na simpler sort of mind which desires merely a date, and a more complex", "as it is great, as an epoch, as \"the War that will end War\"--but of\nthat last, more anon. I do not think I am alone in this inclination to a", "\"To-night,\" said my companion, \"I think we shall declare war upon\nGermany. The decision is being made.\"", "they go back. The war must end in Germany. The French generals have\nno such delusions about German science or foresight or capacity as\ndominates the smart dinner chatter of England. One knows so well that", "beginning of the present war there can be little doubt that we and\nour Allies were still largely unprepared for the full possibilities of\ntrench warfare, we attempted a war of manoeuvres, war at about the grade", "of the war. He was a little inclined to fatalism, he confessed. There\nwere two stories current of two families of four sons, in each three\nhad been killed and in each there was an attempt to put the fourth in a", "This war is altogether unlike any previous war, and its ending, like its\ndevelopment, will follow a course of its own. For a time people's minds", "But the war, universally detested, may go on into 1918 or 1919. Food\nriots, famine, and general disorganisation will come before 1920, if it", "was not of our choosing. It is now merely a question of months before\nyou make your inevitable admission. This is no war to any great", "intelligence of the British military caste. The first rush seemed to\nbear me out, and I opened my paper day by day expecting to read of the\nBritish and French entrenched and the Germans beating themselves to", "Laibach and Trieste,\" they said, \"it isn't an end!\" Lord Northcliffe,\nI am told, came away from Italy with the conviction that the war would\nlast six years.", "not common among the French. The war, the French generals said, might\ntake--well, it certainly looked like taking longer than the winter. Next\nsummer perhaps. Probably, if nothing unforeseen occurred, before a full", "The practical political consequence of the present development of\nwarfare, of the complete revolution in the conditions of warfare since\nthis century began, is to make war absolutely hopeless for any", "reluctant to entrench, and that the French and British had learnt\nthe lesson of the Boer war better than the Germans. I trusted to\nthe melodramatic instinct of the Kaiser. I trusted to the quickened", "of Western Europe. Before 1914 war was theoretically unpopular in every\nEuropean country; we thought of it as something tragic and dreadful.\nNow everyone knows by experience that it is something utterly dirty and", "\"We will have no more war,\" unless you have thought out how to avoid it,\nand mean to bring that end about. It is as if everyone said, \"We will", "not now so evidently in men's minds. The utmost the Allies talk upon\nnow is to say, \"We must end the war on German soil.\" The Germans talk", "Before this war began speculative writers had argued that infantry drill\nin close formation had now no fighting value whatever, that it was no\ndoubt extremely necessary for the handling, packing, forwarding and" ], [ "In throwing out the suggestion that America should ultimately undertake\nthe responsibility of proposing a world peace settlement, I admit that\nI run counter to a great deal of European feeling. Nowhere in Europe now", "The idea that the settlement of this war must be what one might call an\nunimpassioned settlement or, if you will, a scientific settlement or a", "Next comes the League of Peace idea; that there should be an\nInternational Tribunal for the discussion and settlement of\ninternational disputes. That the dominating powers should maintain land", "the present conflict. It is, I venture to assert, the peace of the\nreasonable man in any country whatever. But it needs the attention\nof such a disengaged people as the American people to work it out and", "Let me sketch out here what I conceive to be the essentials of a world\nsettlement. Some of the items are the mere commonplaces of everyone who", "peace. But such an expectation is largely conditioned by these delicate\nquestions of adaptability that my tour of the front has made very urgent\nin my mind. A spiteful German American writer has said that the British", "And I will further confess that when Viscount Grey answered the\nintimations of President Wilson and ex-President Taft of an American\ninitiative to found a World League for Peace, by asking if America", "indeterminate peace settlement. I am no blind believer in the wisdom of\nmankind, but I cannot believe that men are so insensate and headstrong\nas to miss the plain omens of the present situation.", "of our Allies. It has been stated in general terms by Mr. Asquith.\nEvacuation, reparation, due punishment of those responsible for the war,", "In the first place, it is agreed that there would have to be an\nidentical treaty between all the great powers of the world binding them\nto certain things. It would have to provide:--", "next fifty years. They are bound to play a central part in the World\nLeague for the Preservation of Peace that must follow this struggle.\nThere is no question of their practical union. It is a thing that must", "peace, and that much of the mischief might be due to the propaganda\nof the great Powers. I have a prejudice against that blessed Whig", "\"We will have no more war,\" unless you have thought out how to avoid it,\nand mean to bring that end about. It is as if everyone said, \"We will", "workers and the inventive talent of Great Britain and France that we\nmust look to ensure that it is in Germany, the great teacher of war,\nthat this demonstration of war's ultimate absurdity is completed.", "widely known book of mine, _The World Set Free_ (May, 1914), in which I\nrepresented a world state as arising out of Armageddon, I made the", "stable and generally beneficial solution? What all the neutrals want,\nwhat every rational and far-sighted man in the belligerent countries\nwants, what the common sense of the whole world demands, is neither the", "settlement within the compass of the meanest of diplomatic\nintelligences. A peace that will restore competitive armaments has now\nbecome a less desirable prospect for everyone than a continuation of the", "world. The plain right thing is a world shipping control, as impartial\nas the Postal Union. What right and reason and the welfare of coming\ngenerations demand in Poland is a unified and autonomous Poland,", "the proper beginning, of the unprecedented Peace Negotiations to end\nthis unprecedented war? And, I submit, the longer this open discussion\ngoes on before the doors close upon the secret peace congress the better", "kind which wants particulars. To the former class belong most of the men\nout at the front. They are so bored by this war that they would\nwelcome any peace that did not definitely admit defeat--and examine" ], [ "war has been so altered in the past five and twenty years as to make\nit a new and different process altogether. Much the larger part of this\nalteration has only become effective in the last two years. Everyone is", "people had practically nothing to do with their development. They took\nto it very reluctantly--as they have taken to every novelty in this\nwar. One brilliant general scrawled over an early proposal the entirely", "revolutionised since 1914; the military expert is a man trained to think\nof war as essentially an affair of cavalry, infantry in formation, and", "war. Things were bad enough before, when the land forces were still in\na primitive phase of infantry, cavalry and artillery, and when the only\nreal race to develop monsters and destructors was for sea power. But the", "Before this war began speculative writers had argued that infantry drill\nin close formation had now no fighting value whatever, that it was no\ndoubt extremely necessary for the handling, packing, forwarding and", "out, and these enormous changes are still but imperfectly apprehended.\nThe trained and specialised military man probably apprehends them as\nfeebly as anyone.", "War is a thing that changes very rapidly, and we have in the Tanks only\nthe first of a great series of offensive developments. They are bound to", "He talked chiefly of the strangeness of this confounded war. It was\nexactly like a sanitary engineer speaking of the unexpected difficulties\nof some particularly nasty inundation. He made little stiff horizontal", "remember that the military \"expert\" is a man who learnt his business\nbefore 1914, and that the business of war has been absolutely", "with a kind of astonishment of the deadly use to which their works are\nput. They find themselves making the new war as a man might wake out of\nsome drugged condition to find himself strangling his mother.", "Said one soldier to me: \"In the old attacks you used to see the British\ndead lying outside the machine-gun emplacements like birds outside a\nbutt with a good shot inside. _Now_, these things walk through.\"\n\n\n3", "this point--is still as ever the ordinary fighting man, but all the\naccessories and conditions of his personal encounter with the fighting\nman of the other side have been revolutionised in a quarter of a", "Now the grades of warfare that have been developed since the present\nwar began, may be regarded as a series of elaborations and counter\nelaborations of the problem which begins as a line of trenches behind", "I suppose one would still think it was night long after the things about\none had crept out of the darkness into visibility. In comparison with\nall previous wars there has been much more thinking and much more", "and industrialism will win this war. And no class is so innocent of\nthese things as the military caste. Long accustomed as they are to the\nimportance of moral effect they put a brave face upon the business;", "minds. The mechanical development of warfare has consisted largely in\nthe development of facilities for enabling or hindering the infantry\nto get to close quarters. As that has been made easy or difficult the", "beginning of the present war there can be little doubt that we and\nour Allies were still largely unprepared for the full possibilities of\ntrench warfare, we attempted a war of manoeuvres, war at about the grade", "The practical political consequence of the present development of\nwarfare, of the complete revolution in the conditions of warfare since\nthis century began, is to make war absolutely hopeless for any", "defeating quite easily any merely warrior people that is so rash as to\npit itself against it. Within the last sixteen years methods of fighting\nhave been elaborated that have made war an absolutely hopeless adventure", "The development of war has depended largely upon two factors. One of\nthese is invention. New weapons and new methods have become available,\nand have modified tactics, strategy, the relative advantage of offensive" ], [ "For example, there is M. Citroen. Before the war I understand he made\nautomobiles; after the war he wants to turn to and make automobiles", "again. For the duration of the war he makes shell. He has been\ntemporarily diverted from constructive to destructive industrialism. He\ndid me the honours of his factory. He is a compact, active man in dark", "nearly free from the antagonism of employer and employed as any factory\ncan be. The busy sheds I visited near Paris struck me as being the most\nliving and active things in the entire war machine. Everywhere else I", "souvenirs. All good factories are intensely interesting places to visit,\nbut a good munition factory is romantically satisfactory. It is as", "it, and incredulous soldiers of experience watched it at the same time,\ncross trenches and wallow amazingly through muddy exaggerations of small\nholes. Then I repeated the tour inside.", "He took me through every stage of his process. In his office he showed\nme the general story. Here were photographs of certain vacant fields", "My companions were French writers and French military men, and they were\ndiscussing with very keen interest that persistent question, \"the ideal\nbattery.\" But that ambulance sent a shaft of light into our carriage,\nand we stared together.", "up as the privileged tourist of the front, in the big automobile or\nthe reserved compartment, with his officer or so in charge,\npasses--importantly. One meets a pair of eyes that seems to say:", "And next the visitor meets the shell coming up upon a little trolley to\nthe gun. He sees the gunners, as drilled and precise as the men he saw", "X came to my hotel in Paris one day to take me to see a certain\nmunitions organisation. He took from his pocket a picture postcard that", "\"There is much esprit de corps here,\" says M. Citroen.", "down into France. \"You see hundreds and hundreds of new Fiat cars,\" he\nremarked, \"along here--going up to the French front.\"", "Across the great sheds under the shafting--how fine it must look at\nnight!--the shells march, are shaped, cut, fitted with copper bands,\ncalibrated, polished, varnished....", "and so forth of the organisation. As we go about we pass a string of\nelectric trolleys steered by important-looking girls, and loaded with\nshell, finished as far as these works are concerned and on their way", "One of the minor peculiarities of this unprecedented war is the Tour of\nthe Front. After some months of suppressed information--in which even", "who has been the chief partner in the building up of a very big and very\nextensively advertised American business, came to see me on his way back\nto America. He is as interested in his work as a scientific specialist,", "and hot and breathless, could enjoy the same privilege. All this, you\nmust understand, had gone on at a level to which the ordinary tourist", "in Arras.) I cannot imagine what the listening Germans made of it. We\npassed the old gates of that city of fear, still tooting vehemently, and", "I went to see him from Udine. He occupied a moderate-sized country villa\nabout half an hour by automobile from headquarters. I went over with", "As we swung back along the dusty road to Paris at a pace of fifty\nmiles an hour and upwards, driven by a helmeted driver with an aquiline" ], [ "kind which wants particulars. To the former class belong most of the men\nout at the front. They are so bored by this war that they would\nwelcome any peace that did not definitely admit defeat--and examine", "peace. But such an expectation is largely conditioned by these delicate\nquestions of adaptability that my tour of the front has made very urgent\nin my mind. A spiteful German American writer has said that the British", "trying to find the way out of the war, and I am convinced that the\nsame is the case in Germany. That is what makes the Peace-at-any-price", "this prospectus. The German Chancellor is equally elusive. The Kaiser\nhas stampeded the peace-at-any-price people of Great Britain by\nproclaiming that Germany wants peace. We knew that. But what sort", "There is the clearest evidence that nearly everyone is anxious to get\nout of the war now. Nobody at all, except perhaps a few people who may", "the particulars later. The \"tone\" of the German army, to judge by its\ncaptured letters, is even lower. It would welcome peace in any form.", "equally extraordinary. You can often find simultaneously in the same\nPacifist paper, and sometimes even in the utterances of the same writer,\ntwo entirely incompatible statements. The first is that Germany is so", "And I will further confess that when Viscount Grey answered the\nintimations of President Wilson and ex-President Taft of an American\ninitiative to found a World League for Peace, by asking if America", "\"We will have no more war,\" unless you have thought out how to avoid it,\nand mean to bring that end about. It is as if everyone said, \"We will", "mere useless, gibbering, stop-the-war-at-any-price pacifist. Years ago\nmy mind was once darkened very badly for some weeks with a kind of fear", "willing millions. The Allied countries, I submit, have not got nearly\nall the conscientious objectors they deserve.", "wants to do nothing. It just wants effort to stop--even at the price of\nGerman victory. If the whole fabric of society in western Europe were to", "of national belligerence are easy, familiar, blatant, and instantly\npresent, the gentler, greater formulae of that wider and newer world\npacifism has still to be generally understood. It is so much easier to", "of British and foreign sentimentalists who pretend so amusingly to be\nsocialists in the _Labour Leader_, whose conception of foreign policy is\nto give Germany now a peace that would be no more than a breathing time", "the present conflict. It is, I venture to assert, the peace of the\nreasonable man in any country whatever. But it needs the attention\nof such a disengaged people as the American people to work it out and", "mongers. Practically the Allies are saying each to one another, \"Pray\ncome to me and see for yourself that I am very much the human stuff that", "War is an evil thing, but most people who will not learn from reason\nmust have an ugly teacher. This war has brought home to everyone the\nsupremacy of the public need over every sort of individual claim.", "our wild-eyed desperados of _The Morning Post._ But most of the people\nI meet, and most of the people I met on my journey, are pacifists like", "million people, is due almost entirely to this little, almost universal\nlack of clear-headedness; I believe that the share of wickedness in\nmaking war is quite secondary to the share of this universal shallow", "for a fresh outrage upon civilisation, and who would even make heroes of\nthe crazy young assassins of the Dublin crime. I do not understand those\npeople. I do not merely want to stop this war. I want to nail down war" ], [ "GUTENBERG EBOOK WAR AND THE FUTURE ***\n\n\n\n\nProduced by Morgan L. Owens and David Widger", "End of the Project Gutenberg EBook of War and the Future, by H. G. Wells", "WAR AND THE FUTURE\n\nItaly, France and Britain at War\n\n\nby H. G. Wells\n\n\n\n\nContents", "War is a thing that changes very rapidly, and we have in the Tanks only\nthe first of a great series of offensive developments. They are bound to", "war has been so altered in the past five and twenty years as to make\nit a new and different process altogether. Much the larger part of this\nalteration has only become effective in the last two years. Everyone is", "of warfare that has gone on in the last two years does after all open a\nprospect of unmitigated gloom. There has been a good deal of cheap and", "Book I. and my \"Modern Utopia,\" Chapter X.] I do not know how it will\nstrike the reader, but to me this war, this slaughter of eight or nine", "questions of army promotion, of the future of conscription, of the\nfuture of the temporary officer, upon the education of boys in relation\nto army needs. But the war itself was bearing them all upon its way,", "The practical political consequence of the present development of\nwarfare, of the complete revolution in the conditions of warfare since\nthis century began, is to make war absolutely hopeless for any", "next fifty years. They are bound to play a central part in the World\nLeague for the Preservation of Peace that must follow this struggle.\nThere is no question of their practical union. It is a thing that must", "Now the grades of warfare that have been developed since the present\nwar began, may be regarded as a series of elaborations and counter\nelaborations of the problem which begins as a line of trenches behind", "defeating quite easily any merely warrior people that is so rash as to\npit itself against it. Within the last sixteen years methods of fighting\nhave been elaborated that have made war an absolutely hopeless adventure", "And then on the other hand I am aware of much quiet talking. This\nbook tells of how I set out to see the war, and it is largely", "supply of such material to all the other states in the world. This is a\nfar easier task than many people suppose. War has now been so developed\non its mechanical side that the question of its continuance or abolition", "\"We will have no more war,\" unless you have thought out how to avoid it,\nand mean to bring that end about. It is as if everyone said, \"We will", "At present three programmes are before the world of the way in which the\nwar can be ended. The first of these assumes a complete predominance", "of this war. It has to be remembered that war, as the aeroplane and\nthe Tank have made it, has already become an impossible luxury for any", "of the war. He was a little inclined to fatalism, he confessed. There\nwere two stories current of two families of four sons, in each three\nhad been killed and in each there was an attempt to put the fourth in a", "My own manner of testifying must be to tell what I have seen and what\nI have thought during this extraordinary experience. It has been my\nnatural disposition to see this war as something purposeful and epic,", "How People Think About the War\n I. Do they Really Think at all?\n II. The Yielding Pacifist and the Conscientious Objector" ], [ "I am reminded of a story, or rather of the idea for a story that I\nthink I must have read in that curious collection of fantasies and", "He took me through every stage of his process. In his office he showed\nme the general story. Here were photographs of certain vacant fields", "The elementary tales of the world are very few, and Hawthorne's story\nand Lamb's story are, after all, only variations upon the same\ntheme. But can we poor human beings never realise our quality without\ndestruction?", "And then on the other hand I am aware of much quiet talking. This\nbook tells of how I set out to see the war, and it is largely", "receding and falling away behind you. You straighten up and go up hill.\nYou halt and begin to rotate. Through the open door, the green field,", "has never been drawn into the whirl of collective life in any real and\nassimilative fashion. This is what is the matter with both of them.\nHe is a little loose, shy, independent person. Except for eating and", "He becomes an employee between thirteen and fifteen; he is made to do\nwork he does not like for no other purpose that he can see except the\nprofit and glory of a fortunate person called his employer, behind whom", "in profile. He began to talk in excellent English about my journey,\nand I replied, and so talking we went into the study from which he had\nemerged. Then I realised I was talking to the king.", "\"First,\" they say, \"you saw a little round red glow that spread. Then\nyou saw the whole Zeppelin glowing. Oh, it was _beautiful!_ Then it", "claim a little in this matter. I described one in a story in _The Strand\nMagazine_ in 1903, and my story could stand in parallel columns beside", "I swayed and half-extended my hand towards him. But he was still\nthere--sitting, so to speak, on the half of himself.... I was astonished\nthat he did not disappear abruptly during his exposition....\n\n\n2", "And she told me too of the people at dinner, and how as the little\nserving-maid passed about a proud erection of cake and conserve and\ncream, came the familiar \"Pheeee---woooo---_Bang!_\"", "Cuffley one came down too quickly, and the fourth one which came down\nfor its crew to surrender is despised.) I have heard people describe the\ntwo former with eyes shining with enthusiasm.", "Thence to the first stage, the chopping up of the iron bars, the\nfurnace, the punching out of the first shape of the shell; all this is", "the first account of these monsters in action given by Mr. Beach Thomas\nor Mr. Philip Gibbs. My friend M. Joseph Reinach has successfully\npassed off long extracts from my story as descriptions of the Tanks upon", "That night I was in my flat in London. I had finished reading the\naccumulated letters of some weeks, and I was just going comfortably to\nbed.", "and the number of guards, servants, attendants, officials, secretaries,\nministers and the like that I saw in that house were--I counted very\ncarefully--four. Downstairs were three people, a tall soldier of the", "British officers who had just seen them. The filiation was indeed quite\ntraceable. They were my grandchildren--I felt a little like King Lear\nwhen first I read about them. Yet let me state at once that I was", "In the train to Modane this old story recurred again. It is imperative\nthat English readers should understand clearly how thoroughly these\nlittle matters have been _worked_ by the enemy.", "you are. Come and see that I am doing my best--and I think that is\nnot so very bad a best....\" And with that is something else still more" ], [ "has never been drawn into the whirl of collective life in any real and\nassimilative fashion. This is what is the matter with both of them.\nHe is a little loose, shy, independent person. Except for eating and", "He is a man rather after the type of Gladstone; he could be made to look\nlike Gladstone in a caricature, and he has that compelling quality of", "in profile. He began to talk in excellent English about my journey,\nand I replied, and so talking we went into the study from which he had\nemerged. Then I realised I was talking to the king.", "might occupy, like that vague room that is the background of so many\ngood portraits, a great blue-coated figure with a soft voice and rather\ntired eyes, explaining very simply and clearly the difficulties that", "I swayed and half-extended my hand towards him. But he was still\nthere--sitting, so to speak, on the half of himself.... I was astonished\nthat he did not disappear abruptly during his exposition....\n\n\n2", "little figure that, had you seen it in a picture a year or so before the\nwar, you would most certainly have pronounced Chinese. He belonged to a", "he has never ventured even to reinvest his little legacy. He is acutely\naware of possessing an exceptionally fine intelligence, but he is\nentirely unconscious of a fundamental unreality. Nothing has ever", "head, showed a sharp profile, wry lips and a bright excited eye, and\nremarked, \"_That_ was a near one--anyhow.\" He then cut a corner over", "clothes and a bowler hat, with a pencil and notebook conveniently at\nhand. He talked to me in carefully easy French, and watched my face with", "say in London--to \"come it\" over me. He said he had heard of me. He\nhad read _Kipps._ I intimated that though I had written _Kipps_ I had", "claim a little in this matter. I described one in a story in _The Strand\nMagazine_ in 1903, and my story could stand in parallel columns beside", "remarkable. With an air of profound wisdom he returns perpetually to\nhis proposition that there are faults on both sides. To say that is his\nconception of impartiality. I suppose that if a bull gored his sister he", "then, as he talks, away--as if he did not want to be preoccupied by your\nattention. He has a broad, rather broadly modelled face, a soft voice,", "He took me through every stage of his process. In his office he showed\nme the general story. Here were photographs of certain vacant fields", "of little chaps crawling about their private ends like mites in an old\ncheese. The kings are still in their places, not a royal prince has been\nkilled in this otherwise universal slaughter; when the fatuous portraits", "He talked chiefly of the strangeness of this confounded war. It was\nexactly like a sanitary engineer speaking of the unexpected difficulties\nof some particularly nasty inundation. He made little stiff horizontal", "and as I did so a pleasantly smiling man appeared at the door of the\nstudy whom I thought at first must be some minister in attendance. I did\nnot recognise him instantly because on the stamps and coins he is always", "That night I was in my flat in London. I had finished reading the\naccumulated letters of some weeks, and I was just going comfortably to\nbed.", "a Personage or Great Man. They all have the effect of being active and\nable men doing an extremely complicated and difficult but extremely\ninteresting job to the very best of their ability. With me they had all", "who was being advertised like a soap as the coming saviour of England.\nI was curious to meet him. I wanted to talk to him about all sorts of\nthings that would have been profoundly interesting, as for example his" ], [ "He took me through every stage of his process. In his office he showed\nme the general story. Here were photographs of certain vacant fields", "That night I was in my flat in London. I had finished reading the\naccumulated letters of some weeks, and I was just going comfortably to\nbed.", "And then on the other hand I am aware of much quiet talking. This\nbook tells of how I set out to see the war, and it is largely", "and hot and breathless, could enjoy the same privilege. All this, you\nmust understand, had gone on at a level to which the ordinary tourist", "dining at an adjacent table and whom I had not recognised before as a\nwriter I had met some years previously in London, suddenly joined in our\nconversation, with a slightly different explanation. I had been carrying", "I went to see him from Udine. He occupied a moderate-sized country villa\nabout half an hour by automobile from headquarters. I went over with", "life. They play cards and gossip and sleep in the shadows, and may not\nwalk the streets. I had one glimpse of a dark crowded cellar. Now and", "I swayed and half-extended my hand towards him. But he was still\nthere--sitting, so to speak, on the half of himself.... I was astonished\nthat he did not disappear abruptly during his exposition....\n\n\n2", "The second is a little one, but one that has taken hold of my\nimagination. In the settlement of boundaries preceding this war the", "second line. We report ourselves to a young troglodyte in one of these,\nand are given a guide, and so set out on the last part of the journey", "receding and falling away behind you. You straighten up and go up hill.\nYou halt and begin to rotate. Through the open door, the green field,", "muttered some miles away to the west, and a lark sang. But a little way\nfarther on up the road was an intermediate dressing station, rigged up", "In the train to Modane this old story recurred again. It is imperative\nthat English readers should understand clearly how thoroughly these\nlittle matters have been _worked_ by the enemy.", "are taking the stuff the rest of the journey. We are in a flattened\nvillage, all undermined by dug-outs that were in the original German", "One turns aside, and abruptly one is in France--France as one knew it\nbefore the war, on a shady secondary road, past a delightful chateau", "That process goes on two or three miles behind the front line. Very\nclean young men in white overalls do it as if it were a labour of love.", "Emanuele, with an Italian fellow story-writer. The place was as full as\never; we had to wait for a table. It is notable that there were still", "As I ascended the upper track two bandages men were coming down on led\nmules. It was mid-August, and they were suffering from frostbite.", "think that all the rest of the building vanished ages ago--the French\nboys sleep beside the bones of King Childebert the Second. They shelter\nsafely in the prison of Louis the Pious. An ineffective shell from a", "has never been drawn into the whirl of collective life in any real and\nassimilative fashion. This is what is the matter with both of them.\nHe is a little loose, shy, independent person. Except for eating and" ], [ "He took me through every stage of his process. In his office he showed\nme the general story. Here were photographs of certain vacant fields", "increases. But here are three women harvesting, and presently in a\ncornfield are German prisoners working under one old Frenchman. Then\nthe fields become trampled again. Here is a village, not so very much", "In the train to Modane this old story recurred again. It is imperative\nthat English readers should understand clearly how thoroughly these\nlittle matters have been _worked_ by the enemy.", "of common people in his own land. The world overseas had by comparison\na certain glamour. Except that when you said \"United States\" to him he\nwould draw the air sharply between his teeth and beg you not to...", "That night I was in my flat in London. I had finished reading the\naccumulated letters of some weeks, and I was just going comfortably to\nbed.", "in profile. He began to talk in excellent English about my journey,\nand I replied, and so talking we went into the study from which he had\nemerged. Then I realised I was talking to the king.", "and hot and breathless, could enjoy the same privilege. All this, you\nmust understand, had gone on at a level to which the ordinary tourist", "dining at an adjacent table and whom I had not recognised before as a\nwriter I had met some years previously in London, suddenly joined in our\nconversation, with a slightly different explanation. I had been carrying", "claim a little in this matter. I described one in a story in _The Strand\nMagazine_ in 1903, and my story could stand in parallel columns beside", "as quickly as possible and rest and amuse themselves. He watched them\nstanding in queues at the wickets while inside someone counted; so many\nfrancs, so many centimes. It bored him to see this useless, tiresome", "For my third instance I would step from a matter as small as three\nmarket towns and the grazing of a few thousand head of sheep to a matter", "And then on the other hand I am aware of much quiet talking. This\nbook tells of how I set out to see the war, and it is largely", "life. They play cards and gossip and sleep in the shadows, and may not\nwalk the streets. I had one glimpse of a dark crowded cellar. Now and", "and distrust of life through a sudden unexpected encounter one tranquil\nevening with a drowned body. But in this journey in Italy and France,\nalthough I have had glimpses of much death and seen many wounded men,", "One turns aside, and abruptly one is in France--France as one knew it\nbefore the war, on a shady secondary road, past a delightful chateau", "I am reminded of a story, or rather of the idea for a story that I\nthink I must have read in that curious collection of fantasies and", "has never been drawn into the whirl of collective life in any real and\nassimilative fashion. This is what is the matter with both of them.\nHe is a little loose, shy, independent person. Except for eating and", "III. BEHIND THE FRONT\n\n\n1", "I went to see him from Udine. He occupied a moderate-sized country villa\nabout half an hour by automobile from headquarters. I went over with", "receding and falling away behind you. You straighten up and go up hill.\nYou halt and begin to rotate. Through the open door, the green field," ], [ "3", "3", "3", "3", "3", "3", "3", "3", "3", "3", "3", "III. THE RELIGIOUS REVIVAL\n\n\n1", "III. BEHIND THE FRONT\n\n\n1", "For my third instance I would step from a matter as small as three\nmarket towns and the grazing of a few thousand head of sheep to a matter", "three types. First there is a type of person who hates violence and\nthe infliction of pain under any circumstances, and who have a mystical", "III. The Religious Revival\n IV. The Riddle of the British\n V. The Social Changes in Progress\n VI. The Ending of the War", "receding and falling away behind you. You straighten up and go up hill.\nYou halt and begin to rotate. Through the open door, the green field,", "you are. Come and see that I am doing my best--and I think that is\nnot so very bad a best....\" And with that is something else still more", "He becomes an employee between thirteen and fifteen; he is made to do\nwork he does not like for no other purpose that he can see except the\nprofit and glory of a fortunate person called his employer, behind whom", "It is a disaster. It may be a necessary disaster; it may teach a lesson\nthat could be learnt in no other way; but for all that, I insist, it\nremains waste, disorder, disaster." ], [ "or Germany could hold on for another year. There was much secret\nanxiety for France. It has given place now to unstinted confidence and\nadmiration. In their astonishment the British are apt to forget the", "workers and the inventive talent of Great Britain and France that we\nmust look to ensure that it is in Germany, the great teacher of war,\nthat this demonstration of war's ultimate absurdity is completed.", "they go back. The war must end in Germany. The French generals have\nno such delusions about German science or foresight or capacity as\ndominates the smart dinner chatter of England. One knows so well that", "invincible that it is useless to prolong the war since no effort of the\nAllies is likely to produce any material improvement in their position,\nand the second is that Germany is so thoroughly beaten that she is now", "intelligence of the British military caste. The first rush seemed to\nbear me out, and I opened my paper day by day expecting to read of the\nBritish and French entrenched and the Germans beating themselves to", "concentration upon such a process. The Germans willed it. We Allies\nhave but obeyed the German will for warfare because we could not do", "get the war on to German soil before the Tanks have grown to more than\nthree or four times their present size. Then it will not matter so much\nhow much bigger they grow. It will be the German landscape that will", "equally extraordinary. You can often find simultaneously in the same\nPacifist paper, and sometimes even in the utterances of the same writer,\ntwo entirely incompatible statements. The first is that Germany is so", "of the intellectual inferiority of the German to the Western European\nthat is should ever have happened. There was the clearest _a priori_\ncase against the gas-bag. I remember the discussions ten or twelve years", "The battle of the Marne was your misfortune. And Ypres. You lost some\nchances at Ypres. Two can play at destructive industrialism, and now", "For forty years Frankenstein Germany invoked war, turned every\ndevelopment of material and social science to aggressive ends, and at\nlast when she felt the time was ripe she let loose the new monster that", "people do not insist upon that fact. But beware of beating Germany,\nbeware of humiliating Germany; then indeed trouble will come. Germany\nwill begin to dislike us. She will plan a revenge. Turning aside from", "A Frenchman I talked to knew better than that. \"What will happen to\nGermany,\" I asked, \"if we are able to do so to her and so; would she\ntake to dreams of a _Revanche?_\"", "WAR AND THE FUTURE\n\nItaly, France and Britain at War\n\n\nby H. G. Wells\n\n\n\n\nContents", "defeating quite easily any merely warrior people that is so rash as to\npit itself against it. Within the last sixteen years methods of fighting\nhave been elaborated that have made war an absolutely hopeless adventure", "For my own part I never imagined the land ironclad idea would get loose\ninto war. I thought that the military intelligence was essentially\nunimaginative and that such an aggressive military power as Germany,", "The opening phases of the war seemed to contradict this. It did not\nat first suit the German game to fight on this most modern theory,\nand isolated individual action is uncongenial to the ordinary German", "by Germany if she had not fought; but that was not a thing staring her\nplainly in the face as the danger, insult and challenge stared France\nand England in the face. What did stare her in the face was not merely a", "detestable type of English folly, and its voice of despair: \"They _plan_\neverything. They foresee everything.\" This paralysing Germanophobia is", "and the world may be freed from the German will-to-power and all its\nhumiliating and disgusting consequences henceforth for ever. Europe\nnow is no more than a household engaged in holding up and if possible" ], [ "Now first the French have been enormously astonished by the quality of\nthe ordinary British soldiers in our new armies. One Colonial colonel\nsaid something almost incredible to me--almost incredible as coming", "by those they imagine to be abler than themselves. They make the most\ncheerful and generous soldiers in the whole world, without insisting\nupon that democratic respect which the Frenchman exacts. They do not", "He talked of the courage of modern men. He was astonished at the\nquickness with which they came to disregard shrapnel. And they were", "Said one soldier to me: \"In the old attacks you used to see the British\ndead lying outside the machine-gun emplacements like birds outside a\nbutt with a good shot inside. _Now_, these things walk through.\"\n\n\n3", "the gay and gallant wounded. I do a little understand what our soldiers,\nofficers and men alike, have endured and done. And though I know I ought", "\"Here,\" he said, \"are sixty or seventy young Englishmen, all fit for\nmilitary service.... Of course they go under fire, but it is not like\nbeing junior officers in the trenches. Not one of them has been killed\nor wounded.\"", "criticise and they do not trouble themselves much about the general plan\nof operations, so long as they have confidence in the quality and good\nwill of their leading. But British soldiers will of their loading. But", "the common soldier has been a mechanically obedient, almost dehumanised\nman, of the of officer a highly trained autocrat. In two years all this\nhas been absolutely reversed. Individual quality, inventive organisation", "and it is doubtful how far the sanitary precautions of the military\nauthorities avails against a considerable propaganda of disease. A more\nserious argument for the good of war is that it evokes heroic qualities", "I have already mentioned and the newspapers have told abundantly of\nthe pluck, daring, and admirable work of our aviators; what is still", "Before this war began speculative writers had argued that infantry drill\nin close formation had now no fighting value whatever, that it was no\ndoubt extremely necessary for the handling, packing, forwarding and", "Cuffley one came down too quickly, and the fourth one which came down\nfor its crew to surrender is despised.) I have heard people describe the\ntwo former with eyes shining with enthusiasm.", "impressive magnitude of their own effort, the millions of soldiers, the\ninnumerable guns, the endless torrent of supplies that pour into France\nto avenge the little army of Mons. It seems natural to us that we should", "It is not that the war has failed to produce heroes so much as that\nit has produced heroism in a torrent. The great man of this war is the", "One of the people who is often spoken of as if he were doing an enormous\namount of concentrated thinking is \"the man in the trenches.\" We are", "General Joffre. They are three very remarkable and very different men.\nThey have at least one thing in common; it is clear that not one of\nthem has spent ten minutes in all his life in thinking of himself as", "intelligence of the British military caste. The first rush seemed to\nbear me out, and I opened my paper day by day expecting to read of the\nBritish and French entrenched and the Germans beating themselves to", "than soldiers; they are busy in carefully lit rooms, they wear white\noveralls, they have clean hands and laboratory manners. The only really\nromantic figure in the whole of this process, the only figure that has", "They are like jokes by Heath Robinson. One forgets that these things\nhave already saved the lives of many hundreds of our soldiers and\nsmashed and defeated thousands of Germans.", "My companion on this excursion is a man I have admired for years and\nnever met until I came out to see the war, a fellow writer. He is a" ], [ "war has been so altered in the past five and twenty years as to make\nit a new and different process altogether. Much the larger part of this\nalteration has only become effective in the last two years. Everyone is", "War is a thing that changes very rapidly, and we have in the Tanks only\nthe first of a great series of offensive developments. They are bound to", "The practical political consequence of the present development of\nwarfare, of the complete revolution in the conditions of warfare since\nthis century began, is to make war absolutely hopeless for any", "completely by the artillery preparation. Artillery is now the most\nessential instrument of war. You may still get along with rather bad\ninfantry; you may still hold out even after the loss of the aerial", "End of the Project Gutenberg EBook of War and the Future, by H. G. Wells", "WAR AND THE FUTURE\n\nItaly, France and Britain at War\n\n\nby H. G. Wells\n\n\n\n\nContents", "The development of war has depended largely upon two factors. One of\nthese is invention. New weapons and new methods have become available,\nand have modified tactics, strategy, the relative advantage of offensive", "defeating quite easily any merely warrior people that is so rash as to\npit itself against it. Within the last sixteen years methods of fighting\nhave been elaborated that have made war an absolutely hopeless adventure", "war. Things were bad enough before, when the land forces were still in\na primitive phase of infantry, cavalry and artillery, and when the only\nreal race to develop monsters and destructors was for sea power. But the", "and defensive. The other chief factor in the evolution of the war has\nbeen social organisation. As Machiavelli points out in his _Art of War_,\nthere was insufficient social stability in Europe to keep a properly", "this point--is still as ever the ordinary fighting man, but all the\naccessories and conditions of his personal encounter with the fighting\nman of the other side have been revolutionised in a quarter of a", "minds. The mechanical development of warfare has consisted largely in\nthe development of facilities for enabling or hindering the infantry\nto get to close quarters. As that has been made easy or difficult the", "Before this war began speculative writers had argued that infantry drill\nin close formation had now no fighting value whatever, that it was no\ndoubt extremely necessary for the handling, packing, forwarding and", "and industrialism will win this war. And no class is so innocent of\nthese things as the military caste. Long accustomed as they are to the\nimportance of moral effect they put a brave face upon the business;", "I do not say that the horse is entirely obsolescent in this war. In\nwas nothing is obsolete. In the trenches men fight with sticks. In the", "of this war. It has to be remembered that war, as the aeroplane and\nthe Tank have made it, has already become an impossible luxury for any", "remember that the military \"expert\" is a man who learnt his business\nbefore 1914, and that the business of war has been absolutely", "War is an evil thing, but most people who will not learn from reason\nmust have an ugly teacher. This war has brought home to everyone the\nsupremacy of the public need over every sort of individual claim.", "Now the whole of this process of the making and delivery of a shell,\nwhich is the main process of modern warfare, is one that can be far", "Now the grades of warfare that have been developed since the present\nwar began, may be regarded as a series of elaborations and counter\nelaborations of the problem which begins as a line of trenches behind" ], [ "it, and incredulous soldiers of experience watched it at the same time,\ncross trenches and wallow amazingly through muddy exaggerations of small\nholes. Then I repeated the tour inside.", "He took me through every stage of his process. In his office he showed\nme the general story. Here were photographs of certain vacant fields", "and hot and breathless, could enjoy the same privilege. All this, you\nmust understand, had gone on at a level to which the ordinary tourist", "were at the last thirty-five tons of it in the inner chamber. And while\nthe boring machines bored and the work went on, Lieutenant Malvezzi was", "One of the minor peculiarities of this unprecedented war is the Tour of\nthe Front. After some months of suppressed information--in which even", "second line. We report ourselves to a young troglodyte in one of these,\nand are given a guide, and so set out on the last part of the journey", "up as the privileged tourist of the front, in the big automobile or\nthe reserved compartment, with his officer or so in charge,\npasses--importantly. One meets a pair of eyes that seems to say:", "I became interested in the worker's side of this organisation. I insist\non seeing the entrances, the clothes-changing places, the lavatories,", "And next the visitor meets the shell coming up upon a little trolley to\nthe gun. He sees the gunners, as drilled and precise as the men he saw", "dining at an adjacent table and whom I had not recognised before as a\nwriter I had met some years previously in London, suddenly joined in our\nconversation, with a slightly different explanation. I had been carrying", "in profile. He began to talk in excellent English about my journey,\nand I replied, and so talking we went into the study from which he had\nemerged. Then I realised I was talking to the king.", "Across the great sheds under the shafting--how fine it must look at\nnight!--the shells march, are shaped, cut, fitted with copper bands,\ncalibrated, polished, varnished....", "again. For the duration of the war he makes shell. He has been\ntemporarily diverted from constructive to destructive industrialism. He\ndid me the honours of his factory. He is a compact, active man in dark", "That night I was in my flat in London. I had finished reading the\naccumulated letters of some weeks, and I was just going comfortably to\nbed.", "to convey to him by way of a theory of Britain. He is by no means an\nuncritical listener. I explained that there is an \"inner Britain,\"", "I will confess I am glad it did not do so. This tour of the fronts has\nmade me very sad and weary with a succession of ruins. I can bear no", "who has been the chief partner in the building up of a very big and very\nextensively advertised American business, came to see me on his way back\nto America. He is as interested in his work as a scientific specialist,", "\"To Regent Street,\" or \"To Oxford Street,\" or some such lie. It is all\njust trench. For a time you talk, but talking in single file soon palls.", "Lubin I did so very gladly. We lunched together in a pretty little room\nhigh over Knightsbridge, and talked through an afternoon.", "It betrays no military secret to say that commonly the rare tourist to\nthe British offensive passes through Albert, with its great modern red\ncathedral smashed to pieces and the great gilt Madonna and Child" ], [ "the first account of these monsters in action given by Mr. Beach Thomas\nor Mr. Philip Gibbs. My friend M. Joseph Reinach has successfully\npassed off long extracts from my story as descriptions of the Tanks upon", "joke. Never has any such thing so completely masked its wickedness under\nan appearance of genial silliness. The Tank is a creature to which one", "I saw other things that day at X. The Tank is only a beginning in a new\nphase of warfare. Of these other things I may only write in the most\ngeneral terms.", "For that peace we struggle against the dull inflexibility of the German\nWill-to-Power.\n\n\n\n\nV. TANKS\n\n\n1", "and may yet lose us the war.) Tanks were first mooted at the front about\na year and a half ago; Mr. Winston Churchill was then asking questions", "War is a thing that changes very rapidly, and we have in the Tanks only\nthe first of a great series of offensive developments. They are bound to", "are so left at the end of the war that the race of armaments continues,\nthat Tank will develop steadily into a tremendous instrument of warfare,\ndriven by engines of scores of thousands of horse-power, tracking on", "So that after all the cheerful amusement the sight of a Tank causes may\nnot be so very unreasonable. These things may be no more than one of", "about their practicability; he filled many simple souls with terror;\nthey thought him a most dangerous lunatic. The actual making of the\nTanks arose as an irregular side development of the armoured-car branch", "This logical development of the Tank idea may seem a gloomy prospect for\nmankind. But it is open to question whether the tremendous development", "Again the Tank is like a slug. The slug, as every biological student\nknows, is unexpectedly complicated inside. The Tank is as crowded", "Behind the fighting line these monsters will manoeuvre to and fro,\ndestroying the land for all ordinary agricultural purposes for ages to\ncome. The first imaginative account of the land ironclad that was ever", "Since my return I have been able to see the Tank at home, through the\ncourtesy of the Ministry of Munitions. They have progressed far beyond", "modern warfare has attained upon the Somme front. The appearance of\nthe Tank has only increased the offensive advantage. There at present\nwarfare rests.", "It solves two problems. The existing Tank affords a means of advancing\nagainst machine-gun fire and of destroying wire and machine guns without", "claim a little in this matter. I described one in a story in _The Strand\nMagazine_ in 1903, and my story could stand in parallel columns beside", "WAR AND THE FUTURE\n\nItaly, France and Britain at War\n\n\nby H. G. Wells\n\n\n\n\nContents", "Only Mr. C. R. W. Nevinson could do justice to the interior of a Tank.\nYou see a hand gripping something; you see the eyes and forehead of", "like in really wet weather. You hear a shell burst at no great distance.\nYou pass two pages of _The Strand Magazine._ Perhaps thirty yards on\nyou pass a cigarette end. After these sensational incidents the trench", "to a close. Against the machine gun we are now directing the \"Tank,\"\nwhich goes ahead and puts out the machine gun as soon as it begins to" ], [ "THE PASSING OF THE EFFIGY\n\n\n1", "The Passing of the Effigy\n\n The War in Italy (August, 1916)\n I. The Isonzo Front\n II. The Mountain War\n III. Behind the Front", "But of that I will write later. My present concern is with General\nJoffre as the antithesis of the Effigy. The effigy,\n\n \"Thou Prince of Peace,\n Thou God of War,\"", "There is something about these encounters with personages--as if one was\ndealing with an effigy, with something tremendous put up to be seen.", "keeping him out of anything more than the most incidental danger. \"We\ndon't want any historical incidents here,\" he said. I think that might\nwell become an historical phrase. For the life of the Effigy is a series", "a Personage or Great Man. They all have the effect of being active and\nable men doing an extremely complicated and difficult but extremely\ninteresting job to the very best of their ability. With me they had all", "panoplies of the effigy appear. We knew that we and our allies are upon\na greater, graver, more fundamental business than that sort of thing\nnow. We are very near the waking point.", "It is not that the war has failed to produce heroes so much as that\nit has produced heroism in a torrent. The great man of this war is the", "taken the great effigy of German imperialism by the throat is something\nvery composite and complex, but if we personify it at all it is\nsomething more like General Joffre than any other single human figure I", "of human impulses. The acts of the small men in this war dwarf all the\npretensions of the Great Man. Imperatively these multitudinous heroes", "fantastic, wonderful. But the antic Personage, the thing I have called\nthe Effigy, is not new but old, the oldest thing in history, the", "were stuck into great silver stirrups. He might have ridden straight\nout of the Arabian nights. He passed thoughtfully, picking his way\ndelicately among the wire and the shell craters, and coming into", "to responsible management and to efface themselves. He was a man of\nfive-and-forty. Incidentally he mentioned that he had never taken\nanything for his private life out of the great business he had built up", "It seems to be part of the stern resolve of Fate that this, the greatest\nof wars, shall be the least glorious; it is manifestly being decided", "forbid the setting up of effigies. When I was a young man I imitated\nSwift and posed for cynicism; I will confess that now at fifty and", "silliness of outlook. These effigies of emperors and kings and statesmen\nthat lead men into war, these legends of nationality and glory, would", "little figure that, had you seen it in a picture a year or so before the\nwar, you would most certainly have pronounced Chinese. He belonged to a", "Berlin. He is as it were the ordinary common sense of men, incarnate. He\nis the antithesis of the effigy.", "One might fill a thick volume with pictures of men up the scale and down\nworking loyally and devotedly upon the war, to make this point clear\nthat the essential king and the essential loyalty of our side is the", "encouragement. It seems to me that the twilight of the half gods must\nhave come, that we have reached the end of the age when men needed a\nPersonal Figure about which they could rally. The Kaiser is perhaps" ], [ "General Joffre. They are three very remarkable and very different men.\nThey have at least one thing in common; it is clear that not one of\nthem has spent ten minutes in all his life in thinking of himself as", "Joffre. He is something new in history. He is leadership without vulgar\nambition. He is the extreme antithesis to the Imperial boomster of", "But of that I will write later. My present concern is with General\nJoffre as the antithesis of the Effigy. The effigy,\n\n \"Thou Prince of Peace,\n Thou God of War,\"", "There are stories that sound pleasantly true to me about General\nJoffre's ambitions after the war. He is tired; then he will be very", "If I were to set a frontispiece to a book about this War I would make\nGeneral Joffre the frontispiece.\n\n\n4", "the same easy and generalised character as the one in which I had met\nGeneral Joffre a few days before. I gave my hat to a second bodyguard,", "sidelong eyes. It is all dreadfully old-fashioned. General Joffre\nsits in a pleasant little sitting-room in a very ordinary little villa", "taken the great effigy of German imperialism by the throat is something\nvery composite and complex, but if we personify it at all it is\nsomething more like General Joffre than any other single human figure I", "take it?\" As I pushed past him we nodded slightly with an effect of\nmutual understanding. And we said with our nods just exactly what\nGeneral Joffre had said with his horizontal gestures of the hand and", "that was from the nature of the phalanx or the legion. The nucleus\nfact--when I talked to General Joffre he was very insistent upon", "I tried to draw General Castelnau into this dangerous question by\nsuggesting that we might borrow a French general or so, he would say\nonly, \"There is only one way to learn war, and that is to make war.\"", "Is any greater contrast possible than between so implacable, patient,\nreasonable--and above all things _capable_--a being as General Joffre", "French generals. He spoke of it--as one might speak of an inundation.\nAnd of its difficulties and perplexities.", "Both he and General Castelnau were anxious that I should see a French\noffensive sector as well as Soissons. Then I should understand.", "Now first the French have been enormously astonished by the quality of\nthe ordinary British soldiers in our new armies. One Colonial colonel\nsaid something almost incredible to me--almost incredible as coming", "France. They were trenches on an offensive front; they were not those\narchitectural triumphs, those homes from home, that grow to perfection\nupon the less active sections of the great line. They had been first", "But if I had to pick out a single figure to stand for the finest quality\nof the Allies' war, I should I think choose the figure of General", "Joseph Reinach and Colonel Carence, the military writer. Their talk\ntogether and with me in the various messes at which we lunched was for\nthe most part a keen discussion of every detail and every possibility", "There was a good deal of doubt in France about the vigour of the British\neffort, until the Somme offensive. All that had been dispelled in August", "That is the perfected method of the French offensive. I had the pleasure\nof learning its broad outlines in good company, in the company of M." ], [ "The King of Italy has met Mr. Lubin's idea with open hands. (It was\nbecause of this profoundly interesting experiment that in a not very", "strong and very creditable desire to share the ordinary risks of war.\nHe is keenly interested, and unobtrusively bent upon getting as near\nthe fighting as line as possible. But the King of Italy was firm upon", "Just to complete this impression let me repeat a pleasant story about\nthis king and our Prince of Wales, who recently visited the Italian\nfront. The Prince is a source of anxiety on these visits; he has a very", "\"principle of nationality,\" but the King of Italy was not to be drawn\ninto any statement about that. He left the question with his admission\nof its extreme complexity.", "what the King of Italy conveyed by his friendly manner; we said to each\nother that here was the trouble those Germans had brought upon us and\nhere was the task that had to be done.", "I had the experience of meeting a contemporary king upon this journey.\nHe was the first king I had ever met. The Potsdam figure--with perhaps", "was helping to carry dinner in a rest camp. From those stories we came\nto the question whether the uneducated Italians were more superstitious\nthan the uneducated English; the king thought they were much less so.", "calculations made and of the practical effects,\" that is to say, the\nAustrians were largely missing and the Italians were in possession of", "Italy all that she needed.", "There was only one good point about the Austrian thrust. No one could\nhave foretold it. And it did so completely surprise the Italians as to", "he was one of the members of the late Giolotti government--who had been\ntalking very loudly and scornfully of the bargain Italy was making with\nEngland. I assured her that the desire of England was simply to give", "\"Italy,\" said Captain Pirelli, \"isn't a girl. And she hasn't been\nplaying bridge.\"", "France and England were obliged to fight; the necessity was as plain as\ndaylight. The participation of Italy demanded a remoter wisdom. In the\nlong run she would have been swallowed up economically and politically", "in profile. He began to talk in excellent English about my journey,\nand I replied, and so talking we went into the study from which he had\nemerged. Then I realised I was talking to the king.", "to intimate at the outset that he cannot help it, and to justify or at\nany rate utilise his exceptional position by sound hard work. It is an\nage of working kings, with the manners of private gentlemen. The King", "of Italy for example is far more accessible than was the late Pierpont\nMorgan or the late Cecil Rhodes, and he seems to keep a smaller court.", "I doubt if English people fully realise either the economic sturdiness\nor the political courage of their Italian ally. Italy is not merely", "necessary for Italian prosperity and Italy must get them. The Italians\nwant intelligent and helpful capital. They want a helpful France.\nThey want bituminous coal for metallurgical purposes. They want cheap", "It is a novelty to an English mind to find banking thus mixed up with\npolitics, but it is not a novelty in Italy. All over Venetia there are", "first world conference meet at Brissago in Italian Switzerland under the\npresidency of the King of Italy.) So that when I found I could meet Mr." ], [ "was the plain duty of the French military people to criticise British\nmilitary methods sharply if they thought they were wrong. \"It is not\neasy,\" he said. \"Many British officers do not think they have anything", "Wherever I went behind the British lines the officers were going about\nin spurs. These spurs at last got on my nerves. They became symbolical.", "British officers who had just seen them. The filiation was indeed quite\ntraceable. They were my grandchildren--I felt a little like King Lear\nwhen first I read about them. Yet let me state at once that I was", "criticise and they do not trouble themselves much about the general plan\nof operations, so long as they have confidence in the quality and good\nwill of their leading. But British soldiers will of their loading. But", "They became as grave an insult to the tragedy of the war as if they were\nfalse noses. The British officers go for long automobile rides in spurs.", "to learn. And English people do not like being told things. What could\nwe do? We could hardly send a French officer or so to your headquarters\nin a tutorial capacity. You have to do things in your own way.\" When", "journalist let loose. Two-thirds of the junior British officers I met\non this journey were really not \"army men\" at all. One finds that the", "reservations, I would say that the French fall very short of admiration\nof the way in which our higher officers set about their work, they\nare disagreeably impressed by a general want of sedulousness and close", "\"Here,\" he said, \"are sixty or seventy young Englishmen, all fit for\nmilitary service.... Of course they go under fire, but it is not like\nbeing junior officers in the trenches. Not one of them has been killed\nor wounded.\"", "command, has ceased. On the British side our magnificent new subalterns\nand our equally magnificent new non-commissioned officers play the part\nof captains of football teams; they talk their men individually into", "British soldiers will hiss a general when they think he is selfish,\nunfeeling, or a muff. And the socialist propaganda has imported ideas\nof public service into private employment. Labour in Britain has been", "everything I am saying here. And were there not the very gravest doubts\nabout General Smuts in British military circles because he had \"had no\nmilitary training\"? A Canadian expressed the new view very neatly on", "I met a British officer in France who is also a landowner. I got him to\ntalk about his administrative work upon his property. He was very keen\nupon new methods. He said he tried to do his duty by his land.", "are wearing them in India; and the age of the spur has passed. At the\noutset of this war there was an absolute cessation of criticism of the\nmilitary and administrative castes; it is becoming a question whether", "Now first the French have been enormously astonished by the quality of\nthe ordinary British soldiers in our new armies. One Colonial colonel\nsaid something almost incredible to me--almost incredible as coming", "So there is not much to say about how the British think about the\nFrench. They do not think. They feel. At the outbreak of the war, when", "characteristic comment that it was a pity the inventor could not use his\nimagination to better purpose. (That foolish British trick of sneering\nat \"imagination\" has cost us hundreds of thousands of useless casualties", "intelligence of the British military caste. The first rush seemed to\nbear me out, and I opened my paper day by day expecting to read of the\nBritish and French entrenched and the Germans beating themselves to", "I saw rather more of the British than of the French aviators because\nof the vileness of the weather when I visited the latter. It is quite", "Said one soldier to me: \"In the old attacks you used to see the British\ndead lying outside the machine-gun emplacements like birds outside a\nbutt with a good shot inside. _Now_, these things walk through.\"\n\n\n3" ], [ "war has been so altered in the past five and twenty years as to make\nit a new and different process altogether. Much the larger part of this\nalteration has only become effective in the last two years. Everyone is", "and defensive. The other chief factor in the evolution of the war has\nbeen social organisation. As Machiavelli points out in his _Art of War_,\nthere was insufficient social stability in Europe to keep a properly", "defeating quite easily any merely warrior people that is so rash as to\npit itself against it. Within the last sixteen years methods of fighting\nhave been elaborated that have made war an absolutely hopeless adventure", "The development of war has depended largely upon two factors. One of\nthese is invention. New weapons and new methods have become available,\nand have modified tactics, strategy, the relative advantage of offensive", "completely by the artillery preparation. Artillery is now the most\nessential instrument of war. You may still get along with rather bad\ninfantry; you may still hold out even after the loss of the aerial", "this point--is still as ever the ordinary fighting man, but all the\naccessories and conditions of his personal encounter with the fighting\nman of the other side have been revolutionised in a quarter of a", "War is a thing that changes very rapidly, and we have in the Tanks only\nthe first of a great series of offensive developments. They are bound to", "A history of military method for the last few centuries would be a\nrecord of successive alternate steps in which offensive and defensive\ncontrivances pull ahead, first one and then the other. Their relative", "Now the grades of warfare that have been developed since the present\nwar began, may be regarded as a series of elaborations and counter\nelaborations of the problem which begins as a line of trenches behind", "I do not say that the horse is entirely obsolescent in this war. In\nwas nothing is obsolete. In the trenches men fight with sticks. In the", "war. Things were bad enough before, when the land forces were still in\na primitive phase of infantry, cavalry and artillery, and when the only\nreal race to develop monsters and destructors was for sea power. But the", "Before this war began speculative writers had argued that infantry drill\nin close formation had now no fighting value whatever, that it was no\ndoubt extremely necessary for the handling, packing, forwarding and", "One consequence of the growing importance of the aeroplane in warfare is\nthe development of a new military art, the art of camouflage. Camouflage", "minds. The mechanical development of warfare has consisted largely in\nthe development of facilities for enabling or hindering the infantry\nto get to close quarters. As that has been made easy or difficult the", "Such are the landscapes and method of modern war. It is more difficult\nin its nature from war as it was waged in the nineteenth century than", "field guns, whereas cavalry is entirely obsolete, infantry no longer\nfights in formation, and the methods of gunnery have been entirely\nchanged. The military man I observe still runs about the world in spurs,", "revolutionised since 1914; the military expert is a man trained to think\nof war as essentially an affair of cavalry, infantry in formation, and", "Milanese. That is a remark by the way; our interest here is to note that\nmodern war emerges upon history as the sixteenth century unfolds, as\nan affair in which the essential factor is the drilled and trained", "The practical political consequence of the present development of\nwarfare, of the complete revolution in the conditions of warfare since\nthis century began, is to make war absolutely hopeless for any", "Now the whole of this process of the making and delivery of a shell,\nwhich is the main process of modern warfare, is one that can be far" ], [ "matter of forcible suppression. The Yielding Pacifist who will accept\nany sort of peace, and the Conscientious Objector who will not fight at\nall, are not of that opinion.", "1 Among the minor topics that people are talking about behind the\nwestern fronts is the psychology of the Yielding Pacifist and the", "II. THE YIELDING PACIFIST AND THE CONSCIENTIOUS OBJECTOR", "How People Think About the War\n I. Do they Really Think at all?\n II. The Yielding Pacifist and the Conscientious Objector", "I avow myself an extreme Pacifist. I am against the man who first takes\nup the weapon. I carry my pacifism far beyond the ambiguous little group", "instruction to \"turn the other cheek.\" Often they are Quakers. If they\nare consistent they are vegetarians and wear _Lederlos_ boots. They do", "belief in the rightness (and usually the efficacy) of non-resistance.\nThese are generally Christians, and then their cardinal text is the", "our wild-eyed desperados of _The Morning Post._ But most of the people\nI meet, and most of the people I met on my journey, are pacifists like", "of national belligerence are easy, familiar, blatant, and instantly\npresent, the gentler, greater formulae of that wider and newer world\npacifism has still to be generally understood. It is so much easier to", "equally extraordinary. You can often find simultaneously in the same\nPacifist paper, and sometimes even in the utterances of the same writer,\ntwo entirely incompatible statements. The first is that Germany is so", "rational pacifist is hampered not only by belligerency, but by a sort\nof malignant extreme pacifism as impatient and silly as the extremest\npatriotism.", "three types. First there is a type of person who hates violence and\nthe infliction of pain under any circumstances, and who have a mystical", "If the Resentful Employee provides the emotional impulse of the\nresisting pacifist, whose horizon is bounded by his one passionate\ndesire that the particular social system that has treated him so ill", "not desire police protection for their goods. They stand aloof from all\nthe force and conflict of life. They have always done so. This is an\nunderstandable and respectable type. It has numerous Hindu equivalents.", "mere useless, gibbering, stop-the-war-at-any-price pacifist. Years ago\nmy mind was once darkened very badly for some weeks with a kind of fear", "Conscientious Objector. Of course, we are all pacifists nowadays; I know\nof no one who does not want not only to end this war but to put an end", "should collapse and give in, and its leaders and rulers be humiliated\nand destroyed, the intellectual direction of a mischievous pacifism\ncomes from an entirely different class.", "However long he may have to hunt, the blind man who is seeking service\nand an end to bickerings will come to that at last, because of all the\nthousand other things he may clutch at, nothing else can satisfy his\nmanifest need.", "myself who want to _make_ peace by beating the armed man until he gives\nin and admits the error of his ways, disarming him and reorganising the", "yet. Were you neutral because you are too mean and cowardly, or too\nstupidly selfish, or because you had in view an end too great to be" ], [ "In throwing out the suggestion that America should ultimately undertake\nthe responsibility of proposing a world peace settlement, I admit that\nI run counter to a great deal of European feeling. Nowhere in Europe now", "the present conflict. It is, I venture to assert, the peace of the\nreasonable man in any country whatever. But it needs the attention\nof such a disengaged people as the American people to work it out and", "responsible men. There is really no other reason in existence that I\ncan imagine why they should ask themselves the question, \"Have I done my\nbest?\" and that still more important question, \"Am I doing my best now?\"", "practicable proposition. I do not see any such plant springing from the\nEuropean battlefields. It is America's supreme opportunity. And yet it\nis the common sense of the situation, and the solution that must satisfy", "was prepared to back that idea with force, he spoke the doubts of all\nthoughtful European men. No one but an American deeply versed in the\nidiosyncrasies of the American population can answer that question, or", "That is what the finer intelligences of America are beginning to\nrealise, and why men in Europe continually turn their eyes to America,\nwith a surmise, with a doubt.", "matter what thousand other things America may happen to be, seeing that\nit is also that. And so, just as I cling to the belief, in spite of", "ignorant of European persuasion of America's triviality. I would not\nlike to be an American travelling in Europe now, and those I meet here\nand there have some of the air of men who at any moment may be", "I set these things down plainly. There is a very strong disposition in\nall the European countries to believe America fundamentally indifferent\nto the rights and wrongs of the European struggle; sentimentally", "belligerents is an incidental matter. The main question is of the duty\nof a great and fortunate nation towards the rest of the world and the\nfuture of mankind.", "tell us how far the delusion of world isolation which has prevailed in\nAmerica for several generations has been dispelled. But if the answer\nto Lord Grey is \"Yes,\" then I think history will emerge with a complete", "peace. But such an expectation is largely conditioned by these delicate\nquestions of adaptability that my tour of the front has made very urgent\nin my mind. A spiteful German American writer has said that the British", "lightly and contemptuously, to believe that America, as one man put it\nto me recently, \"hasn't the heart to do anything great or the guts to do", "Every country is a mixture of many strands. There is a Base America,\nthere is a Dull America, there is an Ideal and Heroic America. And I\nam convinced that at present Europe underrates and misjudges the\npossibilities of the latter.", "that have thus affected American world prestige. I am telling what I\nhave observed.", "\"What a waste!\" I said. \"Of course you ought not to _own_ these acres;\nwhat you ought to be is the agricultural controller of just as big an\nestate of the public lands as you could manage--with a suitable salary.\"", "justification of the obstinate maintenance of neutrality by America. It\nis the end that reveals a motive. It is our ultimate act that sometimes\nteaches us our original intention. No one can judge the United States", "public benefit, we should have had no genteel indispensables. These\ndiscords in our national unanimity are the direct consequence of our bad", "Occasionally into the writer's study there come to hand drifting\nfragments of the American literature upon the question of\n\"preparedness,\" and American papers discussing the Mexican situation. In", "I state these things in order to make it clear that America will start\nat a disadvantage when she starts upon the mission of salvage and" ], [ "completely by the artillery preparation. Artillery is now the most\nessential instrument of war. You may still get along with rather bad\ninfantry; you may still hold out even after the loss of the aerial", "I do not say that the horse is entirely obsolescent in this war. In\nwas nothing is obsolete. In the trenches men fight with sticks. In the", "War is an evil thing, but most people who will not learn from reason\nmust have an ugly teacher. This war has brought home to everyone the\nsupremacy of the public need over every sort of individual claim.", "Caesars. I would indeed make that the essential thing in my reckoning\nof the war. It is a drama without a hero; without countless incidental", "Upon this question certain things need to be said very plainly. The\ndecisive factor in the sort of war we are now waging is production and", "we out-gun you. We are piling up munitions now faster than you. The\nessentials of this Game of the War Lord are idiotically simple, but it", "minds. The mechanical development of warfare has consisted largely in\nthe development of facilities for enabling or hindering the infantry\nto get to close quarters. As that has been made easy or difficult the", "Such is, so to speak, the primary process of modern warfare. I will\nnot draw the obvious pacifist moral of the intense folly of human", "One might fill a thick volume with pictures of men up the scale and down\nworking loyally and devotedly upon the war, to make this point clear\nthat the essential king and the essential loyalty of our side is the", "When it was too late, in the lift, I thought of the answer to that.\nThere is only one way to make war, and that is by the sacrifice of", "Before this war began speculative writers had argued that infantry drill\nin close formation had now no fighting value whatever, that it was no\ndoubt extremely necessary for the handling, packing, forwarding and", "Now the whole of this process of the making and delivery of a shell,\nwhich is the main process of modern warfare, is one that can be far", "The development of war has depended largely upon two factors. One of\nthese is invention. New weapons and new methods have become available,\nand have modified tactics, strategy, the relative advantage of offensive", "and industrialism will win this war. And no class is so innocent of\nthese things as the military caste. Long accustomed as they are to the\nimportance of moral effect they put a brave face upon the business;", "without. But now that they are loose, now that they are in war, we have\nto face their full possibilities, to use our advantage in them and press", "It seems to be part of the stern resolve of Fate that this, the greatest\nof wars, shall be the least glorious; it is manifestly being decided", "The spectacular side of the war is really an enormous distraction from\nthought. And against thought there also fights the native indolence of\nthe human mind. The human mind, it seems, was originally developed to", "The most dangerous thing in the business so far is concerned is the wide\ndisregard of the fact that national economic fighting is bound to cause\nwar, and the almost universal ignorance of the necessity of subjecting", "The real horror of modern war, when all is said and done, is the\nboredom. To get killed our wounded may be unpleasant, but it is at", "The practical political consequence of the present development of\nwarfare, of the complete revolution in the conditions of warfare since\nthis century began, is to make war absolutely hopeless for any" ], [ "allies, are concerned in setting up a legend, as the Germans are\nconcerned in setting up a legend of themselves to impose upon mankind.\nThey are reality dealers in this war, and the Germans are effigy", "does. The Allies have a winning game before them, but they seem unable\nto discover and promote the military genius needed to harvest an\nunquestionable victory. In the long run this may not be an unmixed evil.", "invincible that it is useless to prolong the war since no effort of the\nAllies is likely to produce any material improvement in their position,\nand the second is that Germany is so thoroughly beaten that she is now", "or Germany could hold on for another year. There was much secret\nanxiety for France. It has given place now to unstinted confidence and\nadmiration. In their astonishment the British are apt to forget the", "And since then I have returned from Italy and I have seen and I do\nunderstand. The Allied offensive was winning; that is to say, it was\ninflicting far greater losses than it experienced; it was steadily", "Germany has submarined. People do not realise that a time may come when\nGermany will be glad and eager to give Russia, France and Italy all that\nthey require of her, when Great Britain may be quite content to let", "necessity to the Allies if they are to win this war outright that the\nlead in inventions and enterprise which the British have won over the\nGermans in this matter should be retained. It is our game now to press", "\"To-night,\" said my companion, \"I think we shall declare war upon\nGermany. The decision is being made.\"", "and the world may be freed from the German will-to-power and all its\nhumiliating and disgusting consequences henceforth for ever. Europe\nnow is no more than a household engaged in holding up and if possible", "as if they could convince us that there is an essential malignity in\nGermans, that until the German powers are stamped down into the mud\nthey will continue to do evil things. All of the Allies have borne the", "concentration upon such a process. The Germans willed it. We Allies\nhave but obeyed the German will for warfare because we could not do", "understanding that will increase and become a fruitful and permanent\nunderstanding between the allied peoples. Neither the English, the\nRussians, the Italians, nor the French, to name only the bigger European", "mongers. Practically the Allies are saying each to one another, \"Pray\ncome to me and see for yourself that I am very much the human stuff that", "get the war on to German soil before the Tanks have grown to more than\nthree or four times their present size. Then it will not matter so much\nhow much bigger they grow. It will be the German landscape that will", "people do not insist upon that fact. But beware of beating Germany,\nbeware of humiliating Germany; then indeed trouble will come. Germany\nwill begin to dislike us. She will plan a revenge. Turning aside from", "A Frenchman I talked to knew better than that. \"What will happen to\nGermany,\" I asked, \"if we are able to do so to her and so; would she\ntake to dreams of a _Revanche?_\"", "There can be no doubt that the Western allies are playing a winning game\nupon the western front, and that this is the front of decision now. It", "so, to Germany. If the wet and mud of November and December have for a\ntime delayed that advance, the force behind has but accumulated for the\nresumption of the thrust.", "It is my unshakeable belief that essentially the Allies fight for a\npermanent world peace, that primarily they do not make war but resist", "of sustaining war at the level to which it has now been brought upon the\nwestern front. These are Britain, France, Germany, and the United States\nof America. Less certainly equal to the effort are Italy, Japan, Russia," ], [ "out, and these enormous changes are still but imperfectly apprehended.\nThe trained and specialised military man probably apprehends them as\nfeebly as anyone.", "people had practically nothing to do with their development. They took\nto it very reluctantly--as they have taken to every novelty in this\nwar. One brilliant general scrawled over an early proposal the entirely", "brave. Liberal-minded people talk of the coming dangers of militarism in\nthe face of events that prove conclusively that professional militarism\nis already as dead as Julius Caesar. What is coming is not so much the", "The professional officer of the old dispensation was a man specialised\nin relation to one of the established \"arms.\" He was an infantryman, a", "dominated by military people, would never produce anything of the sort.\nI thought that this war would be fought out without Tanks and that then\nwar would come to an end. For of course it is mere stupidity that makes", "All military people--people, that is, professionally and primarily\nmilitary--are inclined to be conservative. For thousands of years the\nmilitary tradition has been a tradition of discipline. The conception of", "remember that the military \"expert\" is a man who learnt his business\nbefore 1914, and that the business of war has been absolutely", "military theory as to produce the great essay of Bloch, and to surprise\nthe British military people, who are not accustomed to read books or", "and industrialism will win this war. And no class is so innocent of\nthese things as the military caste. Long accustomed as they are to the\nimportance of moral effect they put a brave face upon the business;", "These gentlemen are just comfortable gentlemen, own brothers to these\nold generals of ours who will not take off their spurs. They are\nprobably quite charming people except that they know nothing of that", "unnecessary to describe to the enquiring specialists. They go over the\nground with the sliding speed of active snails. Behind them trail two\nwheels, supporting a flimsy tail, wheels that strike one as incongruous", "armed with bows and arrows, and they have done very valuable work. But\nthese are exceptional cases. The military use of the horse henceforth\nwill be such an exceptional case. It is ridiculous for these spurs still", "Before this war began speculative writers had argued that infantry drill\nin close formation had now no fighting value whatever, that it was no\ndoubt extremely necessary for the handling, packing, forwarding and", "field guns, whereas cavalry is entirely obsolete, infantry no longer\nfights in formation, and the methods of gunnery have been entirely\nchanged. The military man I observe still runs about the world in spurs,", "everything I am saying here. And were there not the very gravest doubts\nabout General Smuts in British military circles because he had \"had no\nmilitary training\"? A Canadian expressed the new view very neatly on", "The real horror of modern war, when all is said and done, is the\nboredom. To get killed our wounded may be unpleasant, but it is at", "For my own part I never imagined the land ironclad idea would get loose\ninto war. I thought that the military intelligence was essentially\nunimaginative and that such an aggressive military power as Germany,", "Now the operations of this modern infantry, which unlike any preceding\ninfantry in the history of war does not fight in disciplined formations\nbut as highly individualised specialists, are determined almost", "I suppose one would still think it was night long after the things about\none had crept out of the darkness into visibility. In comparison with\nall previous wars there has been much more thinking and much more", "method in our leading. They think we economise brains and waste\nblood. They are shocked at the way in which obviously incompetent or\ninefficient men of the old army class are retained in their positions" ] ]

[ "What was the title of the second part of War and the Future, which was written in 1916?", "Who does wells criticize for their \"mental rigidity\"?", "What was the name of the short story in which Wells says he described a tank?", "When did Wells think was the latest the war would end?", "Who did wells think should undertake the responsibility of a peace settlement?", "What did Wells say had transformed war in a way that war professional were too slow to grasp?", "Andre Citroen gave a tour of what kind of factory?", "What kind of person did Wells say was willing to accept any kind of peace?", "How many parts is War and the Future divided into?", "What is the first part of the story called?", "Who does Wells sketch a portrait of in the first part of the story?", "Where does the second part of the story take place at?", "What country does the third part of the story take place in?", "What is the name of the third part?", "Who does Wells say developed tactics to defeat Germany?", "What soldiers does Wells praise?", "What does Wells claim changes the art of war?", "Who gave the tour in the third part that Wells describes?", "What is the name of the short story where Wells described a tank?", "Who was the great man of the passing of the Effigy war?", "What was Genaral Joffre quality?", "What was king of Italy lack of?", "What were British officers criticised for?", "What transform the art of war?", "What is the Yielding Pacifist?", "What responsibility should American should undertake?", "What is the most esential instrument of war?", "What will help allies defeat Germany?", "What are military professionals are too slow to get?" ]

[ [ "The title is \"The War in Italy\".", "The War in Italy" ], [ "He says this of the officer corps. ", "Officer corps." ], [ "The story was called \"The Land of the Ironclads\".", "The Land Ironclads." ], [ "He thought it could go into 1918 or 1919. ", "1919" ], [ "He thought America should. ", "America" ], [ "He said it was new technologies. ", "New technologies " ], [ "He gave a tour of a munitions factory. ", "munitions" ], [ "He called the \"yielding pacifists\".", "The yielding pacifist. " ], [ "It is divided into 4 parts. ", "Four." ], [ "The Passing of the Effigy", "The Passing of the Effigy" ], [ "General Joffre", "common man" ], [ "Udine", "Italy" ], [ "France", "France." ], [ "The Western War", "\"The Western War\"" ], [ "The Allies", "The allies." ], [ "The British", "British soldiers." ], [ "New technologies", "Artillery" ], [ "Andre Citroen", "Andre Citroen." ], [ "The Land of Ironclads", "The Land of Ironclads." ], [ "The commmon man", "The common man." ], [ "His leadership wihtout looking out for his own best interest.", "His leadership." ], [ "The king was not into royal ceremonies.", "Pomp and regality." ], [ "The officers were critised for their treatment of the soilders.", "Their mental strength." ], [ "New technology", "Technologies." ], [ "Willing to accept any sort of peace.", "someone willing to accept any peace" ], [ "World peace settlement", "world peace settlement " ], [ "Artillery.", "artillery " ], [ "Combination of aerial dominance and photograhy tactics.", "aerial dominance" ], [ "New technoligies transformation of art of war.", "Art of war transformed by technologies." ] ]

[ [ "COYLE\n\t\tYes, sir?\n\n\t\t\t JOE\n\t\tHello. I'm Joe Black. Nice to meet\n\t\tyou.", "pany, crisis for us. I came about\n\t\twith the arrival on the scene of --\n\t\tMr. Joe Black. Mr. Joe who? Joe", "Joe rises to meet Parrish as he approaches.\n\n\t\t\t JOE\n\t\tHappy Birthday, Bill.\n\n\t\t\t PARRISH\n\t\tThank you.", "JOE\n\t\tBill --\n\n\t\t\t PARRISH\n\t\tYes?\n\n\t\t\t JOE\n\t\tYou've got a deal.", "JOE\n\t\tI'm sorry, Bill --\n\n\t\t\t PARRISH\n\t\tThat's okay.\n\n\t\t\t JOE\n\t\tWhat's okay?", "JOE\n\t\tThose were my words, Bill.\n\n\t\t\t PARRISH\n\t\tWell, they're mine now.", "PARRISH\n\t\t\t(to the Board)\n\t\t-- This is Joe Black, a personal", "Joe regards Quince.\n\n\t\t\t JOE\n\t\tGo to Bill Parrish and tell him\n\t\teverything. He'll forgive you.", "JOE\n\t\tBecause that's the kind of man Bill\n\t\tParrish is.\n\n\tA moment.", "PARRISH\n\t\tMoreover, Agent Joe Black here --\n\t\tof course that's not his real name\n\t\t-- smelled out your involvement,", "JOE\n\t\tAs long as it takes.\n\n\tDrew is provoked by the response, but remains polite:\n\n\t\t\t DREW\n\t\tYou and Bill old friends?", "PARRISH\n\t\tAnd - uh - I guess, 'goodnight'.\n\n\t\t\t JOE\n\t\tGood night to you, Bill.", "JOE (cont'd)\n\t\tLet's put it this way. When I go,\n\t\tyou go.\n\n\t\t\t PARRISH\n\t\tWhen you go, I go.", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "DREW (cont'd)\n\t\tWho is Joe Black?\n\n\tParrish stares stoically into the middle distance as\n\tQuince's head sinks into his hands.", "JOE\n\t\tAre you going to fire me, Bill?\n\n\tSilence, Parrish is at a loss.\n\n\tINT. FOYER - NIGHT", "JOE\n\t\tI love her, Bill. She is all that\n\t\tI ever wanted, and I've never wanted", "JOE\n\t\tI won't.\n\n\t\t\t PARRISH\n\t\tHow long have I got?", "DREW\n\t\tIt's just a saying, Mr. Black,\n\n\t\t\t JOE\n\t\tOf whom?", "Black. He attends our Board meet-\n\t\tint, he sleeps at Bill's house, re-\n\t\tsides in his office. Never leaves" ], [ "His hand politely touches her elbow, courteously lending her\n\tsupport.\n\n\t\t\t SUSAN\n\t\tThe coffee shop --\n\n\tThe Young Man nods, pleased with her recognition.", "EXT. CORINTH COFFEE SHOP, YORK AVENUE - DAY\n\n\tThe Young Man holds the door for Susan as they step out\n\tonto the street.", "Susan has squeezed into a seat in the corner. A counterman,\n\twith a smile and a greeting, places a cup of coffee in front", "Susan looks into her coffee.\n\n\t\t\t YOUNG MAN (cont'd)\n\t\tI'm sorry, you mind my saying that?", "The place has cleared out now, the counterman busy bussing\n\ttables laden with dishes and cups, Susan and the Young Man\n\tare still at the counter, but about to leave.", "SUSAN\n\t\tNot at all.\n\n\t\t\t YOUNG MAN\n\t\tHow 'bout another cup of coffee?", "SUSAN (cont'd)\n\t\tRemember that morning in the coffee\n\t\tshop? You said 'What's wrong with\n\t\ttaking care of a woman, she takes\n\t\tcare of you --\"", "He shifts the spoon from hand to hand, starts to stick it in\n\this pocket, realizes this is inappropriate. Susan holds her", "PARRISH\n\t\tWhat?!\n\n\t\t\t SUSAN\n\t\t-- This morning. The Corinth Coffee\n\t\tShop. He was looking for a doctor.", "Susan reaches out for Joe, they kiss, he is awkward but his\n\tvery awkwardness endearing. Susan pulls him closer, they\n\tlinger now, mouths on each other's, then separate.", "SUSAN\n\t\tNo, not anymore. Are you?\n\n\tJoe hears the question but doesn't answer, sits down on the\n\tcouch beside her.", "has seen him, they proceed to a rendezvous that has not been\n\tprearranged but which they intuit. Susan slants through the", "counterman refills his cup and the Young Man ties into the\n\tbreakfast, eating it with such relish that Susan can't take\n\ther eyes off him. He senses her eyes, glances over, his", "She doesn't answer, starts to take off the coat herself, Joe\n\tcomes around her to help, Susan senses him breathing in the\n\tscent at the back of her neck.", "JOE\n\t\tGood-bye, Susan.\n\n\tSusan waves softly to him, heads down the hall, glances back\n\tonce to see Joe has not moved, is watching her depart.", "SUSAN\n\t\tHe wanted to ride back down with\n\t\tyou. Now sit and relax, get some-\n\t\tthing in that flat tummy of yours --\n\n\tBut Parrish only pours coffee.", "JOE\n\t\tThe 'coffee shop' --\n\n\t\t\t SUSAN\n\t\t-- That was the place... and you were\n\t\tthe guy.", "SUSAN\n\t\tYes. Well...thank you, Joe.\n\n\tSusan turns to go, hesitates.", "is putting who he is at great risk, yet he goes right on.\n\tThe powerful contradiction is transmitted to Susan, and in\n\tthe end there is the knowledge they have together made a", "Susan slowly realizes this is the Young Man. She is shaken,\n\ta sudden intake of breath.\n\n\t\t\t YOUNG MAN\n\t\tHey, you all right?" ], [ "seized the upper part of his body. He breaks out in a sweat,\n\this pallor now waxen as the Voice repeats itself:", "Parrish suddenly looks very anxious, Joe stops.\n\n\t\t\t JOE (cont'd)\n\t\tYou seem uncomfortable, Bill.", "his side. And, in my opinion, is\n\t\talways in his ear. Telling him what\n\t\tto do and Bill is listening. Who is", "Although asleep, there is an uncommon restlessness to him.\n\tParrish grips his upper arm as if in pain. Now the severity", "in the first place. He was setting\n\t\tup Bill from day one. Drew and\n\t\tBontecou are going to chop up the", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "at the same time, is terrified by it. He feels himself being\n\tlured by some power he has not only never been aware of, but\n\tis deeply dangerous to partake of; he knows what he is doing", "He rises now, crosses to the bathroom. As he pees, a breeze\n\toutside the window, the wind again, but then the Voice comes\n\tup:", "yet surrounds him. Suddenly Parrish's symptoms sharply\n\tintensify, he is sinking to the floor but somehow grabs a", "Parrish is shocked, stunned, terrified at the word, by what\n\the has comprehended. He surveys the Young Man who, at this\n\tmoment, actually seems bewildered by his effect.", "Parrish sits up again, frightened, but still there is no one\n\tthere, he seems fraught with indecision, should he get up,", "of which is exactly what he has heard before. There is the\n\tsense that someone is there but Parrish cannot see him, and\n\the does not dare look.", "He smiles quizzically, hasn't quite heard her, stands right\n\tin front of her, loose, smiling, disoriented and yet so\n\tappealing. They are riveted on each other, uneasy and yet\n\tclose.", "Silence. Now Joe turns on his heel, heads right out the\n\tfront door. Parrish is left solitary, confounded, staring\n\tat the closed door.", "The clock TICKS on. A sense of foreboding falls over Joe's\n\tface, his fear that he is passing through some barrier, a\n\tpoint of no return.", "Joe is fascinated by the process. Coyle suddenly hears the\n\tsilence, looks up and see Joe, standing up embarrassedly.", "He holds on tight to the corner of the desk, sweat dripping,\n\this skin ashen. Now he addresses the Voice again, searching\n\tfor it in another direction:", "JOE\n\t\tBill --\n\n\t\t\t PARRISH\n\t\tYes?\n\n\t\t\t JOE\n\t\tYou've got a deal.", "of the pain wakes him, he squeezes his arm. The wind comes\n\tup, through the wind a VOICE is heard distantly, or is it the\n\twind itself:", "Parrish ignores her, his attention has been taken by the\n\tVoice. His eyelids flutter, nonplused, edgy and fearful." ], [ "Quince drains his wine, presents it for a refill, when he is\n\thailed by Allison.\n\n\t\t\t ALLISON\n\t\tQuince! Everybody's waiting!", "After a moment.\n\n\t\t\t PARRISH\n\t\tCome in.\n\n\tQuince appears, flushed with excitement.", "The Board meeting has broken up, clusters of members have\n\tlingered, exchanging post-mortems. And enraged Quince has\n\tcornered Drew, out of earshot of the others.", "QUINCE\n\t\tI know. Gum up the works.\n\n\tParrish is about to make some reassuring comment to Quince\n\twhen the Voice suddenly intrudes:", "Quince is struck dumb.", "She bursts into tears all over again.\n\n\t\t\t QUINCE\n\t\tBut he does give a shit. Don't you,\n\t\tBill?", "QUINCE\n\t\tWhat have you done? You've gotten\n\t\tthe old man fired!", "Across the room, Quince has pulled Drew aside:", "PARRISH\n\t\tYes, I believe I do.\n\n\tQuince now drifts off.", "Quince comes running up now.\n\n\t\t\t QUINCE\n\t\tHi, Bill --\n\n\t\t\t PARRISH\n\t\tGood morning, Quince.", "Quince seems uncharacteristically within himself.", "A \"Yes\" is heard, now another \"Yes\", now more \"Yes\"es, all\n\treluctant, \"No\" from Sloane, \"No\" from Quince who realizes", "JOE\n\t\tDo I? I'm a little confused.\n\n\t\t\t QUINCE\n\t\tConfused, huh? About what?", "ALLISON (cont'd)\n\t\t\t(to Quince)\n\t\tDid you hear that?\n\n\tQuince quickly slashes a piece, takes a huge bite.", "INT. PARRISH'S STUDY, COUNTRY ESTATE - NIGHT\n\n\tQuince is \"on the carpet\", sweating through a confession,\n\tParrish moroses but philosophical at his desk.", "Quince falls silent, aquiver with this reality.\n\n\t\t\t QUINCE\n\t\tI'm going to put a stop to this!", "DREW (cont'd)\n\t\t\t(to Quince)\n\t\tWake up and smell the thorns.\n\n\tDrew joins the employee as Quince slumps against the wall.", "Joe watches as Quince dabs at Allison's tears with a napkin.\n\n\t\t\t QUINCE (cont'd)\n\t\tFeel better?", "Quince goes ashen.\n\n\t\t\t DREW (cont'd)\n\t\tIt's just life, Quin-cee.\n\n\tDrew hails an employee across the hall.", "Quince flinches at these words, his hands clasped in front\n\tof him, his knuckles white as Parrish regards Drew, but still\n\tdoes not answer." ], [ "DREW\n\t\tDid you want to have a cup of coffee\n\t\tor something, Bill?\n\n\t\t\t PARRISH\n\t\tI don't think so. Do you?", "including Quince. Everyone sits when Parrish does but Joe,\n\tright at home, spots a tray of refreshments: coffee, pas-\n\ttries, he heads for them.", "The place has cleared out now, the counterman busy bussing\n\ttables laden with dishes and cups, Susan and the Young Man\n\tare still at the counter, but about to leave.", "His hand politely touches her elbow, courteously lending her\n\tsupport.\n\n\t\t\t SUSAN\n\t\tThe coffee shop --\n\n\tThe Young Man nods, pleased with her recognition.", "Susan has squeezed into a seat in the corner. A counterman,\n\twith a smile and a greeting, places a cup of coffee in front", "YOUNG MAN\n\t\tBecause I like you so much.\n\t\t\t(a moment)\n\t\tYou have coffee here every morning,", "The busy medical community at 68th Street and New York Avenue.\n\n\tINT. CORINTH COFFEE SHOP, NEW YORK AVENUE - DAY", "JOE\n\t\tI didn't know her. The body I took\n\t\tknew her. The man she met in the\n\t\tcoffee shop this morning. I - uh -\n\t\ttook him.", "Silence. Now Joe turns on his heel, heads right out the\n\tfront door. Parrish is left solitary, confounded, staring\n\tat the closed door.", "The Clerk, exasperated, murmurs something in his language\n\tand returns to the store. Joe continues on down the street.\n\n\tINT. LIBRARY, PARRISH TOWNHOUSE - NIGHT", "vealing himself to be the Young Man seen previously in the\n\tcoffee shop, but there is a change; he seems odd, off-\n\tcenter, not handsome but terrifyingly beautiful.", "Joe rises to meet Parrish as he approaches.\n\n\t\t\t JOE\n\t\tHappy Birthday, Bill.\n\n\t\t\t PARRISH\n\t\tThank you.", "He rises now, crosses to the bathroom. As he pees, a breeze\n\toutside the window, the wind again, but then the Voice comes\n\tup:", "counterman refills his cup and the Young Man ties into the\n\tbreakfast, eating it with such relish that Susan can't take\n\ther eyes off him. He senses her eyes, glances over, his", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "Joe is fascinated by the process. Coyle suddenly hears the\n\tsilence, looks up and see Joe, standing up embarrassedly.", "JOE (cont'd)\n\t\tSoon.\n\n\tHe takes his hand away, and the Orderly wheels Easter off.", "PARRISH\n\t\tWhat?!\n\n\t\t\t SUSAN\n\t\t-- This morning. The Corinth Coffee\n\t\tShop. He was looking for a doctor.", "Black. He attends our Board meet-\n\t\tint, he sleeps at Bill's house, re-\n\t\tsides in his office. Never leaves", "JOE\n\t\tI'm sorry, Bill --\n\n\t\t\t PARRISH\n\t\tThat's okay.\n\n\t\t\t JOE\n\t\tWhat's okay?" ], [ "Joe rises to meet Parrish as he approaches.\n\n\t\t\t JOE\n\t\tHappy Birthday, Bill.\n\n\t\t\t PARRISH\n\t\tThank you.", "Drew enters with Quince, Quince nods, excusing himself, and\n\tcloses the door behind him.\n\n\t\t\t DREW\n\t\tHi, Bill, happy birthday --", "DREW\n\t\tBill's birthday is the day after\n\t\ttomorrow. There is a provisory by-", "in the first place. He was setting\n\t\tup Bill from day one. Drew and\n\t\tBontecou are going to chop up the", "his side. And, in my opinion, is\n\t\talways in his ear. Telling him what\n\t\tto do and Bill is listening. Who is", "SLOANE (O.S.)\n\t\tBut we want you back, Bill. Mean-\n\t\twhile, enjoy your party, celebrate,", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "Parrish clicks off the SPEAKERPHONE, turns around and looks\n\tout the window again, the party preparations in full swing,\n\tcolored lights are tested, they flicker on and off.", "DREW\n\t\tBefore I do --\n\t\t\t(glances at Joe)\n\t\tI was hoping we might be alone,\n\t\tBill.", "until he is hit by the lights and laughter and MUSIC of the\n\tparty. He drifts into the center and runs right into Susan,", "Black. He attends our Board meet-\n\t\tint, he sleeps at Bill's house, re-\n\t\tsides in his office. Never leaves", "Parrish gazes at the going-on outside which are increasing\n\tin intensity.\n\n\t\t\t PARRISH\n\t\t\t(unconsciously)\n\t\tI hate parties --", "The preparations are building to a climax, all the elaborate\n\tplans coming to fruition.\n\n\t\t\t PARRISH\n\t\tYou know, darling, this is going to\n\t\tbe a wonderful party.", "The guests have formed themselves into a huge audience, the\n\torchestra strikes up \"Happy Birthday\" as Parrish appears", "He rises now, crosses to the bathroom. As he pees, a breeze\n\toutside the window, the wind again, but then the Voice comes\n\tup:", "Parrish is seated by the window, lights from the party\n\tflashing past, the MUSIC and laughter audible but muted,\n\tthe fever of the celebration lost on him, within himself.", "He turns back into the foyer, looks up, Parrish is on the\n\tbalcony, it is clear he has observed Joe and Susan.\n\n\t\t\t JOE\n\t\tHello, Bill.", "Parrish nods and Joe turns with him. They set off now away\n\tfrom the party, up a meadow that leads to a hill overlooking\n\tthe river.", "The Clerk, exasperated, murmurs something in his language\n\tand returns to the store. Joe continues on down the street.\n\n\tINT. LIBRARY, PARRISH TOWNHOUSE - NIGHT", "On a distant fringe of the party, a grass terrace that still\n\tcommands a view of the dance floor, is Joe. His eyes are on" ], [ "in the first place. He was setting\n\t\tup Bill from day one. Drew and\n\t\tBontecou are going to chop up the", "DREW (cont'd)\n\t\tAll of a sudden a guy appears on the\n\t\tscene with the Chairman of one of", "DREW\n\t\tWhat do you think the Board is going\n\t\tto say when I tell them that?\n\n\t\t\t PARRISH\n\t\tI don't care.", "DREW (cont'D)\n\t\tIt's no surprise if I suggest to you\n\t\tthat the Bill Parrish we know is not", "PARRISH\n\t\tPlease. Don't worry about him. And\n\t\tabove all, don't antagonize him.\n\n\tDrew glances over at Joe.", "PARRISH\n\t\tIt's not necessary, Joe. Drew's\n\t\tgoing to step aside --\n\n\t\t\t DREW\n\t\tI'm not stepping anywhere --", "DREW\n\t\tBefore I do --\n\t\t\t(glances at Joe)\n\t\tI was hoping we might be alone,\n\t\tBill.", "DREW\n\t\tDid you want to have a cup of coffee\n\t\tor something, Bill?\n\n\t\t\t PARRISH\n\t\tI don't think so. Do you?", "DREW (cont'd)\n\t\tBill, pardon my candor, but I was\n\t\tconfounded by your decision this\n\t\tmorning.", "DREW (cont'd)\n\t\t\t(to Quince)\n\t\tWake up and smell the thorns.\n\n\tDrew joins the employee as Quince slumps against the wall.", "SLOANE\n\t\tYou're building this thing up too\n\t\tmuch, Drew. He's had advisors be-\n\t\tfore. Nobody tells Bill what to do.", "DREW\n\t\tHow did Bill react to the leads\n\t\tyou've developed?\n\n\t\t\t QUINCE\n\t\tHe was interested.", "DREW (cont'd)\n\t\tThe feeling of the Board is this: we\n\t\tfear Mr. Black is not only influenc-", "The Board is provoked and mystified by Joe and even more by\n\this presence, they cast meaningful glances at Parrish, Drew\n\tcoolly grasps the irritation of the members. Parrish breaks\n\tthe silence.", "DREW\n\t\t\t(to Joe)\n\t\tI get the feeling you've done some\n\t\tbusiness before.\n\n\t\t\t JOE\n\t\tWe have an arrangement now.", "Drew enters with Quince, Quince nods, excusing himself, and\n\tcloses the door behind him.\n\n\t\t\t DREW\n\t\tHi, Bill, happy birthday --", "JOE\n\t\tYou're the poison, Drew. You've\n\t\toperated behind-the-scenes to suborn", "PARRISH\n\t\tProof? We've got plenty of proof.\n\n\t\t\t JOE\n\t\t\t(to Drew)\n\t\tAnd he's talking through his lips.", "DREW\n\t\tThat may be. But I don't like the\n\t\tfucker. I don't like the way he", "DREW\n\t\tGo right ahead. Tell William\n\t\tParrish how you betrayed him at" ], [ "PARRISH\n\t\tDeath!\n\n\t\t\t YOUNG MAN\n\t\tThat's me.", "seized the upper part of his body. He breaks out in a sweat,\n\this pallor now waxen as the Voice repeats itself:", "PARRISH (cont'd)\n\t\tYou're Death?\n\n\t\t\t YOUNG MAN\n\t\tYes.", "possessed. He angles his face in every direction, arbi-\n\ttrarily chooses one and now embarrassedly, unconsciously,\n\tenrage, responds to the Voice.", "PARRISH\n\t\tYou're not Death. You're just a kid\n\t\tin a jacket and a pair of pants.", "is not about to walk through the\n\t\tValley of the Shadow of Death, he's\n\t\tgalloping into it. And the same time,", "pany, crisis for us. I came about\n\t\twith the arrival on the scene of --\n\t\tMr. Joe Black. Mr. Joe who? Joe", "pirates. And, oh yes, I almost\n\t\tforgot, my daughter's fallen in\n\t\tlove with Death.", "He holds on tight to the corner of the desk, sweat dripping,\n\this skin ashen. Now he addresses the Voice again, searching\n\tfor it in another direction:", "JOE\n\t\tI didn't know her. The body I took\n\t\tknew her. The man she met in the\n\t\tcoffee shop this morning. I - uh -\n\t\ttook him.", "He rises now, crosses to the bathroom. As he pees, a breeze\n\toutside the window, the wind again, but then the Voice comes\n\tup:", "PARRISH\n\t\tMoreover, Agent Joe Black here --\n\t\tof course that's not his real name\n\t\t-- smelled out your involvement,", "Although asleep, there is an uncommon restlessness to him.\n\tParrish grips his upper arm as if in pain. Now the severity", "The figure who is the Voice takes a step forward now, no\n\tlonger obscured by the glass he comes into the light, re-", "DREW (cont'd)\n\t\tWho is Joe Black?\n\n\tParrish stares stoically into the middle distance as\n\tQuince's head sinks into his hands.", "The VOICE is gone. Parrish searches the corner, but the\n\troom has lost the quality it had when it was inhabited by", "pulled by a magnet. Now she stops again. It is a man, he\n\tkeeps coming, and now that he is close and recognizes him.", "to one another. Although they are shoulder-to-shoulder,\n\tthere is a distance between them. They walk on past chan-\n\tdeliers in the garden and fake trees with lights woven", "Parrish is absolutely confounded, seized up with pain and\n\tconsternation at this unseen Voice which has such presence\n\tand reality.\n\n\t\t\t PARRISH\n\t\tWho are you?", "JOE\n\t\t'Death and Taxes'.\n\n\tThe door flies open, an anxious Allison appears." ], [ "Susan reaches out for Joe, they kiss, he is awkward but his\n\tvery awkwardness endearing. Susan pulls him closer, they\n\tlinger now, mouths on each other's, then separate.", "ing are so real that an emotional exchange between he and\n\tSusan builds. Joe has found himself in an unexplored land\n\tof feeling and passion, he loves what is happening and yet", "SUSAN\n\t\tYes. Well...thank you, Joe.\n\n\tSusan turns to go, hesitates.", "Her question makes Joe, almost involuntarily, smile. Susan\n\ttakes the opportunity to step back from him. The SOUND of", "Joe is locked on Susan, it is as if there is nobody else in the\n\troom.\n\n\t\t\t JOE\n\t\tYes...", "She doesn't answer, starts to take off the coat herself, Joe\n\tcomes around her to help, Susan senses him breathing in the\n\tscent at the back of her neck.", "JOE\n\t\tGood-bye, Susan.\n\n\tSusan waves softly to him, heads down the hall, glances back\n\tonce to see Joe has not moved, is watching her depart.", "At the kiss's conclusion Susan suddenly notices Joe is\n\tpresent and has been watching. She is shocked, embarrassed,\n\tpleased, conflicted, an instant and wide spectrum of emotions.", "SUSAN\n\t\tIncidentally, 'Joe' what?\n\n\t\t\t JOE\n\t\tBlack.", "SUSAN\n\t\tMe, too.\n\n\tAnother moment.\n\n\t\t\t JOE\n\t\tWhat do we do now?\n\n\tShe smiles.", "Joe comes closer, takes a deep breath.\n\n\t\t\t JOE\n\t\tI love your smell.\n\n\t\t\t SUSAN\n\t\t-- I guess you haven't.", "SUSAN\n\t\tNo, not anymore. Are you?\n\n\tJoe hears the question but doesn't answer, sits down on the\n\tcouch beside her.", "Joe shifts, she smiles at his embarrasement.\n\n\t\t\t SUSAN (cont'd)\n\t\tWell, you've found one, Joe.", "JOE\n\t\tNo.\n\n\tSusan comes closer to Joe.", "lingers, Susan breaks away, reaches for the door, looks back\n\tlongingly at Joe and then she is gone, Joe closing the door\n\tsoftly after her.", "SUSAN\n\t\tJoe?\n\n\tThe apprehensive expression on Joe's face fades away.\n\n\t\t\t JOE\n\t\tYes?", "Susan takes another step closer to Joe.\n\n\t\t\t JOE\n\t\tThank you, I appreciate that.", "Drew enters. He nuzzles Susan's neck, out of the corner of\n\ther eye she sees Joe still observing them.", "Now Susan, close to Joe, leans closer, her nose in Joe's\n\tneck. Joe holds himself very still.\n\n\t\t\t SUSAN (cont'd)\n\t\tI like your smell, too.", "SUSAN\n\t\tIt comforts you, doesn't it?\n\n\t\t\t JOE\n\t\t\t(captivated)\n\t\tYes...I've found that it does." ], [ "in the first place. He was setting\n\t\tup Bill from day one. Drew and\n\t\tBontecou are going to chop up the", "company and sell it off for parts.\n\t\tBontecou was outside, Drew was Mr.\n\t\tInside. And I was the fool who made", "his side. And, in my opinion, is\n\t\talways in his ear. Telling him what\n\t\tto do and Bill is listening. Who is", "JOE\n\t\tPerhaps a merger is a way to bring\n\t\tBill's company into the 21st cen-", "Bontecou concerning his desires for\n\t\tthis company to merge with his, and\n\t\twe wanted to set the details before\n\t\tyou.", "JOE\n\t\tThose were my words, Bill.\n\n\t\t\t PARRISH\n\t\tWell, they're mine now.", "JOE\n\t\t\t(to the Board)\n\t\tWho I am, and my relationship to\n\t\tBill, will be divulged in our own\n\t\tgood time.", "save face. Tell him Bill wants it\n\t\tunderstood in the business community\n\t\the has merely moved upstairs in his\n\t\town company, and the executive", "DREW\n\t\tHow did Bill react to the leads\n\t\tyou've developed?\n\n\t\t\t QUINCE\n\t\tHe was interested.", "Joe rises to meet Parrish as he approaches.\n\n\t\t\t JOE\n\t\tHappy Birthday, Bill.\n\n\t\t\t PARRISH\n\t\tThank you.", "JOE\n\t\tBill --\n\n\t\t\t PARRISH\n\t\tYes?\n\n\t\t\t JOE\n\t\tYou've got a deal.", "JOE\n\t\tBecause that's the kind of man Bill\n\t\tParrish is.\n\n\tA moment.", "Bill, but I got a call last night\n\t\tfrom John Bontecou. Not only is he\n\t\tstill interested, he is sweetening\n\t\this offer.", "DREW\n\t\tI'm just giving you the truth. There\n\t\twas a time when William Parrish liked\n\t\tthe truth.\n\n\tJoe, although across the room, is all attention.", "Quince comes running up now.\n\n\t\t\t QUINCE\n\t\tHi, Bill --\n\n\t\t\t PARRISH\n\t\tGood morning, Quince.", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "YOUNG MAN\n\t\tYou fill the bill, Bill.\n\n\t\t\t PARRISH\n\t\tI do?\n\t\t\t(a moment)\n\t\tHow long will you be staying?", "DREW\n\t\tBefore I do --\n\t\t\t(glances at Joe)\n\t\tI was hoping we might be alone,\n\t\tBill.", "JOE\n\t\tAs long as it takes.\n\n\tDrew is provoked by the response, but remains polite:\n\n\t\t\t DREW\n\t\tYou and Bill old friends?", "PARRISH\n\t\tYou're what?\n\n\t\t\t JOE\n\t\tI think you heard me, Bill." ], [ "YOUNG MAN\n\t\tBill, I am eating dinner with you.\n\t\tAnd your family. And that's what", "YOUNG MAN\n\t\tYou fill the bill, Bill.\n\n\t\t\t PARRISH\n\t\tI do?\n\t\t\t(a moment)\n\t\tHow long will you be staying?", "She searches the Young Man's eyes, his face is open,\n\tcompletely vulnerable, waiting for her response. A long\n\tsilence, the words come out haltingly:", "Quince comes running up now.\n\n\t\t\t QUINCE\n\t\tHi, Bill --\n\n\t\t\t PARRISH\n\t\tGood morning, Quince.", "She looks around once more but the Young Man is still headed\n\tin the opposite direction, his back to her. She turns the\n\tcorner and continues on.\n\n\tON THE YOUNG MAN", "SUSAN\n\t\tFunny, I don't get that feeling.\n\t\tMaybe it's because you found out\n\t\tI'm Bill Parrish's daughter.", "As Parrish and the Young Man enter, Allison is heard in the\n\tbackground.", "Parrish drifts off as the Young Man awkwardly shakes hands\n\twith each person.\n\n\t\t\t ALLISON\n\t\t\t(prompting)\n\t\tDaddy. Does your friend have a name?", "She falls silent now, overcome by the last moments'\n\trevelations. The Young Man senses her discomfort which\n\tis on the edge of pain.", "YOUNG MAN\n\t\tYes.\n\n\tA moment, Parrish beside himself. He cannot bring himself\n\tto speak, finally:", "Susan slowly realizes this is the Young Man. She is shaken,\n\ta sudden intake of breath.\n\n\t\t\t YOUNG MAN\n\t\tHey, you all right?", "The silence is broken by a KNOCK on the door. Parrish, out\n\tof politeness to Joe, does not respond.\n\n\t\t\t QUINCE (O.S.)\n\t\tBill --?", "Parrish ignores her at first, finally he looks at Luisa then\n\tat the Young Man, then once more at both of them as if to", "JOE\n\t\tI love her, Bill. She is all that\n\t\tI ever wanted, and I've never wanted", "ALLISON (cont'd)\n\t\t\t(to the Young Man)\n\t\tHi there --\n\n\t\t\t YOUNG MAN\n\t\tHello.", "DREW\n\t\tI'm just giving you the truth. There\n\t\twas a time when William Parrish liked\n\t\tthe truth.\n\n\tJoe, although across the room, is all attention.", "YOUNG MAN\n\t\tDamn right. Looking for her right\n\t\tnow. Who knows? You might be her.\n\n\tSusan laughs.", "She hurries away down the sidewalk, the Young Man watching\n\ther. Now he turns and starts off in the opposite direction.\n\n\tANOTHER ANGLE - SUSAN", "YOUNG MAN\n\t\tI asked you if I said something\n\t\twrong and you said it was so right\n\t\tit scared you.\n\n\tSusan holds herself very still.", "Parrish, followed by Drew, steps into a waiting limousine,\n\tQuince looks longingly after them. Susan, blowing a kiss\n\tgoodbye to her father, steps out into the street to hustle a\n\tcab." ], [ "The silence is broken by a KNOCK on the door. Parrish, out\n\tof politeness to Joe, does not respond.\n\n\t\t\t QUINCE (O.S.)\n\t\tBill --?", "PARRISH\n\t\tDeath!\n\n\t\t\t YOUNG MAN\n\t\tThat's me.", "Quince comes running up now.\n\n\t\t\t QUINCE\n\t\tHi, Bill --\n\n\t\t\t PARRISH\n\t\tGood morning, Quince.", "in the first place. He was setting\n\t\tup Bill from day one. Drew and\n\t\tBontecou are going to chop up the", "DREW\n\t\tI'm just giving you the truth. There\n\t\twas a time when William Parrish liked\n\t\tthe truth.\n\n\tJoe, although across the room, is all attention.", "Black. He attends our Board meet-\n\t\tint, he sleeps at Bill's house, re-\n\t\tsides in his office. Never leaves", "Joe rises to meet Parrish as he approaches.\n\n\t\t\t JOE\n\t\tHappy Birthday, Bill.\n\n\t\t\t PARRISH\n\t\tThank you.", "After a moment.\n\n\t\t\t PARRISH\n\t\tCome in.\n\n\tQuince appears, flushed with excitement.", "pany, crisis for us. I came about\n\t\twith the arrival on the scene of --\n\t\tMr. Joe Black. Mr. Joe who? Joe", "JOE\n\t\t'Death and Taxes'.\n\n\tThe door flies open, an anxious Allison appears.", "Drew enters with Quince, Quince nods, excusing himself, and\n\tcloses the door behind him.\n\n\t\t\t DREW\n\t\tHi, Bill, happy birthday --", "his side. And, in my opinion, is\n\t\talways in his ear. Telling him what\n\t\tto do and Bill is listening. Who is", "PARRISH (cont'd)\n\t\tYou're Death?\n\n\t\t\t YOUNG MAN\n\t\tYes.", "He rises now, crosses to the bathroom. As he pees, a breeze\n\toutside the window, the wind again, but then the Voice comes\n\tup:", "JOE\n\t\tBill --\n\n\t\t\t PARRISH\n\t\tYes?\n\n\t\t\t JOE\n\t\tYou've got a deal.", "A long silence.\n\n\t\t\t YOUNG MAN\n\t\tIt will come to us.", "is not about to walk through the\n\t\tValley of the Shadow of Death, he's\n\t\tgalloping into it. And the same time,", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "He turns back into the foyer, looks up, Parrish is on the\n\tbalcony, it is clear he has observed Joe and Susan.\n\n\t\t\t JOE\n\t\tHello, Bill.", "DREW\n\t\tHow did Bill react to the leads\n\t\tyou've developed?\n\n\t\t\t QUINCE\n\t\tHe was interested." ], [ "PARRISH\n\t\tDeath!\n\n\t\t\t YOUNG MAN\n\t\tThat's me.", "The silence is broken by a KNOCK on the door. Parrish, out\n\tof politeness to Joe, does not respond.\n\n\t\t\t QUINCE (O.S.)\n\t\tBill --?", "Joe rises to meet Parrish as he approaches.\n\n\t\t\t JOE\n\t\tHappy Birthday, Bill.\n\n\t\t\t PARRISH\n\t\tThank you.", "Drew enters with Quince, Quince nods, excusing himself, and\n\tcloses the door behind him.\n\n\t\t\t DREW\n\t\tHi, Bill, happy birthday --", "in the first place. He was setting\n\t\tup Bill from day one. Drew and\n\t\tBontecou are going to chop up the", "Quince comes running up now.\n\n\t\t\t QUINCE\n\t\tHi, Bill --\n\n\t\t\t PARRISH\n\t\tGood morning, Quince.", "DREW\n\t\tI'm just giving you the truth. There\n\t\twas a time when William Parrish liked\n\t\tthe truth.\n\n\tJoe, although across the room, is all attention.", "his side. And, in my opinion, is\n\t\talways in his ear. Telling him what\n\t\tto do and Bill is listening. Who is", "pany, crisis for us. I came about\n\t\twith the arrival on the scene of --\n\t\tMr. Joe Black. Mr. Joe who? Joe", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "DREW\n\t\tHow did Bill react to the leads\n\t\tyou've developed?\n\n\t\t\t QUINCE\n\t\tHe was interested.", "PARRISH (cont'd)\n\t\tYou're Death?\n\n\t\t\t YOUNG MAN\n\t\tYes.", "YOUNG MAN\n\t\tBill, I am eating dinner with you.\n\t\tAnd your family. And that's what", "JOE\n\t\tBill --\n\n\t\t\t PARRISH\n\t\tYes?\n\n\t\t\t JOE\n\t\tYou've got a deal.", "pirates. And, oh yes, I almost\n\t\tforgot, my daughter's fallen in\n\t\tlove with Death.", "dinner being noted, and the guest himself carefully survey-\n\ted. Finally, Allison breaks the ice:", "JOE\n\t\t\t(to the Board)\n\t\tWho I am, and my relationship to\n\t\tBill, will be divulged in our own\n\t\tgood time.", "After a moment.\n\n\t\t\t PARRISH\n\t\tCome in.\n\n\tQuince appears, flushed with excitement.", "JOE\n\t\t'Death and Taxes'.\n\n\tThe door flies open, an anxious Allison appears.", "Black. He attends our Board meet-\n\t\tint, he sleeps at Bill's house, re-\n\t\tsides in his office. Never leaves" ], [ "in the first place. He was setting\n\t\tup Bill from day one. Drew and\n\t\tBontecou are going to chop up the", "his side. And, in my opinion, is\n\t\talways in his ear. Telling him what\n\t\tto do and Bill is listening. Who is", "JOE\n\t\tBecause that's the kind of man Bill\n\t\tParrish is.\n\n\tA moment.", "Joe rises to meet Parrish as he approaches.\n\n\t\t\t JOE\n\t\tHappy Birthday, Bill.\n\n\t\t\t PARRISH\n\t\tThank you.", "JOE\n\t\tBill --\n\n\t\t\t PARRISH\n\t\tYes?\n\n\t\t\t JOE\n\t\tYou've got a deal.", "The silence is broken by a KNOCK on the door. Parrish, out\n\tof politeness to Joe, does not respond.\n\n\t\t\t QUINCE (O.S.)\n\t\tBill --?", "DREW\n\t\tHow did Bill react to the leads\n\t\tyou've developed?\n\n\t\t\t QUINCE\n\t\tHe was interested.", "Black. He attends our Board meet-\n\t\tint, he sleeps at Bill's house, re-\n\t\tsides in his office. Never leaves", "Quince comes running up now.\n\n\t\t\t QUINCE\n\t\tHi, Bill --\n\n\t\t\t PARRISH\n\t\tGood morning, Quince.", "YOUNG MAN\n\t\tYou fill the bill, Bill.\n\n\t\t\t PARRISH\n\t\tI do?\n\t\t\t(a moment)\n\t\tHow long will you be staying?", "DREW\n\t\tI'm just giving you the truth. There\n\t\twas a time when William Parrish liked\n\t\tthe truth.\n\n\tJoe, although across the room, is all attention.", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "PARRISH\n\t\tAnd - uh - I guess, 'goodnight'.\n\n\t\t\t JOE\n\t\tGood night to you, Bill.", "Parrish suddenly looks very anxious, Joe stops.\n\n\t\t\t JOE (cont'd)\n\t\tYou seem uncomfortable, Bill.", "JOE\n\t\tAs long as it takes.\n\n\tDrew is provoked by the response, but remains polite:\n\n\t\t\t DREW\n\t\tYou and Bill old friends?", "save face. Tell him Bill wants it\n\t\tunderstood in the business community\n\t\the has merely moved upstairs in his\n\t\town company, and the executive", "lost. The race is to the swift,\n\t\tbut could Drew summon a modicum\n\t\tof understanding and allow Bill to", "JOE\n\t\tThose were my words, Bill.\n\n\t\t\t PARRISH\n\t\tWell, they're mine now.", "DREW\n\t\tYeah, Bill, the suspense is killing\n\t\tme.", "He holds on tight to the corner of the desk, sweat dripping,\n\this skin ashen. Now he addresses the Voice again, searching\n\tfor it in another direction:" ], [ "in the first place. He was setting\n\t\tup Bill from day one. Drew and\n\t\tBontecou are going to chop up the", "Moreover, I propose a motion to re-\n\t\tconfirm William Parrish as Chairman\n\t\tof the Board of Parrish Communica-", "his side. And, in my opinion, is\n\t\talways in his ear. Telling him what\n\t\tto do and Bill is listening. Who is", "JOE\n\t\t\t(to the Board)\n\t\tWho I am, and my relationship to\n\t\tBill, will be divulged in our own\n\t\tgood time.", "Joe Black? What is his relationship\n\t\tto Bill Parrish? And most important,\n\t\twhat is behind his influence on our\n\t\tChairman?", "Joe rises to meet Parrish as he approaches.\n\n\t\t\t JOE\n\t\tHappy Birthday, Bill.\n\n\t\t\t PARRISH\n\t\tThank you.", "save face. Tell him Bill wants it\n\t\tunderstood in the business community\n\t\the has merely moved upstairs in his\n\t\town company, and the executive", "JOE\n\t\tThose were my words, Bill.\n\n\t\t\t PARRISH\n\t\tWell, they're mine now.", "JOE\n\t\tBill --\n\n\t\t\t PARRISH\n\t\tYes?\n\n\t\t\t JOE\n\t\tYou've got a deal.", "Parrish suddenly looks very anxious, Joe stops.\n\n\t\t\t JOE (cont'd)\n\t\tYou seem uncomfortable, Bill.", "JOE\n\t\tAre you going to fire me, Bill?\n\n\tSilence, Parrish is at a loss.\n\n\tINT. FOYER - NIGHT", "DREW\n\t\tI'm just giving you the truth. There\n\t\twas a time when William Parrish liked\n\t\tthe truth.\n\n\tJoe, although across the room, is all attention.", "a secret Board meeting. And tell\n\t\tAllison how you got her father\n\t\tfired -- and he lost his company.", "the Board of Directors of Parrish\n\t\tCommunications, we must do so with-\n\t\tout its Chairman.\n\t\t\t(another moment)", "(a moment)\n\t\tAlthough it pains me to say it, in\n\t\tmy opinion Bill Parrish dealt with\n\t\tus peremptorily in dismissing any", "DREW (cont'd)\n\t\tAll of a sudden a guy appears on the\n\t\tscene with the Chairman of one of", "Black. He attends our Board meet-\n\t\tint, he sleeps at Bill's house, re-\n\t\tsides in his office. Never leaves", "The Board meeting has broken up, clusters of members have\n\tlingered, exchanging post-mortems. And enraged Quince has\n\tcornered Drew, out of earshot of the others.", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "company and sell it off for parts.\n\t\tBontecou was outside, Drew was Mr.\n\t\tInside. And I was the fool who made" ], [ "SUSAN\n\t\tHold me --\n\n\tHe holds on tight to her. They are desperately entwined\n\tuntil finally she releases him.", "is putting who he is at great risk, yet he goes right on.\n\tThe powerful contradiction is transmitted to Susan, and in\n\tthe end there is the knowledge they have together made a", "He looks back at Susan as the distance between them widens,\n\tnow he turns and walks on.\n\n\tON SUSAN", "She takes Susan's arm and marches her off, Joe, in thrall,\n\twatches them go as the MUSIC erupts behind them, as 'up'", "Her question makes Joe, almost involuntarily, smile. Susan\n\ttakes the opportunity to step back from him. The SOUND of", "has seen him, they proceed to a rendezvous that has not been\n\tprearranged but which they intuit. Susan slants through the", "Spent, they lie in silence. Finally Susan speaks:", "Approaching the corner, he looks back for Susan yet again,\n\tbut she is gone, still turned he steps off into the street", "Down below, Susan, in a pained reflex, again turns and looks\n\tup towards the hill. There is nobody there. She hesitates,", "Susan is in pain now, she can't summon an answer.\n\n\t\t\t PARRISH (cont'd)\n\t\tAnd I want you to feel that way,\n\t\ttoo.", "SUSAN\n\t\tOf course not, Daddy. I'm sorry.\n\n\tThere is something in Susan's tone that lets him know not a\n\tword has sunk in. Parrish slumps.", "SUSAN\n\t\tEverybody's saying goodbye...\n\n\tThey regard each other, a long pause, they have reached an\n\tunderstanding.", "SUSAN\n\t\tThat felt like a goodbye.\n\n\tJoe's silence is heavy.", "JOE\n\t\tYes. I'm tired.\n\n\tHe excuses himself with an ineffable gesture, now climbs the\n\tstairs, Susan watches him disappear.", "SUSAN\n\t\tI think you want to go to the west\n\t\twing. Through there.\n\n\tSusan indicates yet another door.", "SUSAN (cont'd)\n\t\tWhat are you doing here?\n\n\tSilence.", "SUSAN (cont'd)\n\t\tAnd you said you didn't want me to\n\t\tbe your doctor because you didn't", "Parrish, followed by Drew, steps into a waiting limousine,\n\tQuince looks longingly after them. Susan, blowing a kiss\n\tgoodbye to her father, steps out into the street to hustle a\n\tcab.", "Susan doesn't answer for a moment.\n\n\t\t\t SUSAN\n\t\tI love him.", "searches Susan's face, now takes her hand -- and together\n\tthey start back towards the party." ], [ "in the first place. He was setting\n\t\tup Bill from day one. Drew and\n\t\tBontecou are going to chop up the", "PARRISH\n\t\tAnd - uh - I guess, 'goodnight'.\n\n\t\t\t JOE\n\t\tGood night to you, Bill.", "Joe rises to meet Parrish as he approaches.\n\n\t\t\t JOE\n\t\tHappy Birthday, Bill.\n\n\t\t\t PARRISH\n\t\tThank you.", "his side. And, in my opinion, is\n\t\talways in his ear. Telling him what\n\t\tto do and Bill is listening. Who is", "DREW\n\t\tI'm just giving you the truth. There\n\t\twas a time when William Parrish liked\n\t\tthe truth.\n\n\tJoe, although across the room, is all attention.", "Joe regards Quince.\n\n\t\t\t JOE\n\t\tGo to Bill Parrish and tell him\n\t\teverything. He'll forgive you.", "JOE\n\t\tBecause that's the kind of man Bill\n\t\tParrish is.\n\n\tA moment.", "DREW\n\t\tHow did Bill react to the leads\n\t\tyou've developed?\n\n\t\t\t QUINCE\n\t\tHe was interested.", "JOE\n\t\tBill --\n\n\t\t\t PARRISH\n\t\tYes?\n\n\t\t\t JOE\n\t\tYou've got a deal.", "The silence is broken by a KNOCK on the door. Parrish, out\n\tof politeness to Joe, does not respond.\n\n\t\t\t QUINCE (O.S.)\n\t\tBill --?", "JOE\n\t\tThose were my words, Bill.\n\n\t\t\t PARRISH\n\t\tWell, they're mine now.", "Quince comes running up now.\n\n\t\t\t QUINCE\n\t\tHi, Bill --\n\n\t\t\t PARRISH\n\t\tGood morning, Quince.", "Bill had a great and conclusive\n\t\tmeeting with John Bontecou yester-\n\t\tday, all that remains for us is to\n\t\tput it to a vote.", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "(a moment)\n\t\tAlthough it pains me to say it, in\n\t\tmy opinion Bill Parrish dealt with\n\t\tus peremptorily in dismissing any", "YOUNG MAN\n\t\tYou fill the bill, Bill.\n\n\t\t\t PARRISH\n\t\tI do?\n\t\t\t(a moment)\n\t\tHow long will you be staying?", "JOE\n\t\tI'm sorry, Bill --\n\n\t\t\t PARRISH\n\t\tThat's okay.\n\n\t\t\t JOE\n\t\tWhat's okay?", "Black. He attends our Board meet-\n\t\tint, he sleeps at Bill's house, re-\n\t\tsides in his office. Never leaves", "After a moment.\n\n\t\t\t PARRISH\n\t\t...Am I going to die?", "He rises now, crosses to the bathroom. As he pees, a breeze\n\toutside the window, the wind again, but then the Voice comes\n\tup:" ], [ "SUSAN\n\t\tThe fireworks are about to start.\n\n\tParrish looks up, sees Joe up on the terrace, waiting.", "Joe rises to meet Parrish as he approaches.\n\n\t\t\t JOE\n\t\tHappy Birthday, Bill.\n\n\t\t\t PARRISH\n\t\tThank you.", "They watch the guests gathering to view the fireworks.\n\tJoe's gaze lingers.\n\n\t\t\t PARRISH (cont'd)\n\t\tDid you say goodbye?", "smiles back. Now she heads out with the crowd for the\n\tfireworks. When Parrish senses she is on her way, he turns\n\tand heads up towards Joe.", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "JOE\n\t\tBill --\n\n\t\t\t PARRISH\n\t\tYes?\n\n\t\t\t JOE\n\t\tYou've got a deal.", "Parrish nods and Joe turns with him. They set off now away\n\tfrom the party, up a meadow that leads to a hill overlooking\n\tthe river.", "JOE\n\t\tThose were my words, Bill.\n\n\t\t\t PARRISH\n\t\tWell, they're mine now.", "PARRISH\n\t\tAnd - uh - I guess, 'goodnight'.\n\n\t\t\t JOE\n\t\tGood night to you, Bill.", "Susan smiles, the fireworks finale goes off, the MUSIC comes\n\tup from below, the night fills with light. The Young Man", "JOE\n\t\tAre you going to fire me, Bill?\n\n\tSilence, Parrish is at a loss.\n\n\tINT. FOYER - NIGHT", "She pulls him out of his chair, hustles him out of the room,\n\tJoe right behind them.\n\n\tEXT. LAWNS, COUNTRY ESTATE - NIGHT", "in the first place. He was setting\n\t\tup Bill from day one. Drew and\n\t\tBontecou are going to chop up the", "DREW\n\t\tI'm just giving you the truth. There\n\t\twas a time when William Parrish liked\n\t\tthe truth.\n\n\tJoe, although across the room, is all attention.", "on and disappear over the crest of the hill. A barrage\n\tof fireworks lights up the sky.", "Down below, the party guests' faces are lit by the initial\n\tfireworks display. Among them is Susan, but her interest", "JOE\n\t\tAs long as it takes.\n\n\tDrew is provoked by the response, but remains polite:\n\n\t\t\t DREW\n\t\tYou and Bill old friends?", "Joe disembark. Following the Butler, they make their way\n\tthrough the maelstrom: tents being raised, platforms for\n\tmusic groups, portable pools with clusters of florists", "PARRISH\n\t\tYou're what?\n\n\t\t\t JOE\n\t\tI think you heard me, Bill.", "JOE\n\t\tThank you, anyway.\n\n\tThe Waiter moves off. Joe's attention returns to Parrish and\n\tSusan, the dance number ends, a BOOM." ], [ "searches Susan's face, now takes her hand -- and together\n\tthey start back towards the party.", "SUSAN\n\t\tHold me --\n\n\tHe holds on tight to her. They are desperately entwined\n\tuntil finally she releases him.", "hold each other close for a moment, but then are separated\n\tby a surge of guests. Parrish sees Susan, she smiles but\n\tthere is a tinge of sadness about her. He heads towards her,", "Down below, Susan, in a pained reflex, again turns and looks\n\tup towards the hill. There is nobody there. She hesitates,", "He shifts the spoon from hand to hand, starts to stick it in\n\this pocket, realizes this is inappropriate. Susan holds her", "He looks back at Susan as the distance between them widens,\n\tnow he turns and walks on.\n\n\tON SUSAN", "Some realization is dawning on Susan, it renders her\n\tlightheaded.\n\n\t\t\t JOE (cont'd)\n\t\t...But now I'm back.", "Spent, they lie in silence. Finally Susan speaks:", "Susan reaches out for Joe, they kiss, he is awkward but his\n\tvery awkwardness endearing. Susan pulls him closer, they\n\tlinger now, mouths on each other's, then separate.", "Drew goes, everybody is in shock, Susan pursues him out into\n\tthe hallway.\n\n\t\t\t SUSAN\n\t\tDrew!\n\n\tHe stops.", "Drew goes, Susan turns to find out at the far end of the foyer,\n\the's been observing them. She walks up to him.", "SUSAN (cont'd)\n\t\t-- Here comes our boy now --\n\t\tShall we?\n\n\tEXT. COUNTRY ESTATE - MORNING", "Drew appears unannounced in the doorway, exchanges a tense\n\tglance with Susan, then heads straight for Parrish who seems\n\tsurprised to see him.", "Susan blinks, a long silence, she touches the sleeve of his\n\tjacket, now her hand traces the outline of his face, she", "SUSAN\n\t\tIt'll come back, Daddy.\n\n\t\t\t PARRISH\n\t\tWill it?...", "is putting who he is at great risk, yet he goes right on.\n\tThe powerful contradiction is transmitted to Susan, and in\n\tthe end there is the knowledge they have together made a", "SUSAN\n\t\tAnd I appreciate you, too.\n\n\tA moment between them.", "has seen him, they proceed to a rendezvous that has not been\n\tprearranged but which they intuit. Susan slants through the", "JOE\n\t\tSure.\n\n\tThe doors to the dining room open, Susan appears.", "But he drifts again, now she takes his hand." ], [ "Joe rises to meet Parrish as he approaches.\n\n\t\t\t JOE\n\t\tHappy Birthday, Bill.\n\n\t\t\t PARRISH\n\t\tThank you.", "PARRISH\n\t\tNot my birthday again?\n\n\t\t\t SUSAN\n\t\tYou're only six-five once.", "PARRISH\n\t\tYes, the big 'celebration' of my\n\t\tmandatory retirement birthday.\n\t\tYou're an honored guest, Eddie.", "PARRISH\n\t\tIsn't it enough to be on this earth\n\t\tsixty-five years without having to\n\t\tbe reminded of it.", "The guests have formed themselves into a huge audience, the\n\torchestra strikes up \"Happy Birthday\" as Parrish appears", "PARRISH\n\t\tIn English, please.\n\n\t\t\t DREW\n\t\tMandatory retirement upon our\n\t\tChairman's sixty-fifth birthday.", "JOE\n\t\tBill --\n\n\t\t\t PARRISH\n\t\tYes?\n\n\t\t\t JOE\n\t\tYou've got a deal.", "PARRISH\n\t\tYou 'want to know', I'll tell you.\n\t\tYou're looking at a man who tonight", "Parrish is on the edge of his seat, struggling to hide his\n\tpanic.\n\n\t\t\t VOICE (V.O., cont'd)\n\t\tI'm waiting outside.", "Parrish sits.\n\n\t\t\t VOICE (V.O., cont'd)\n\t\t'-- This relationship has all the\n\t\tpassion of a pair of titmice'.", "PARRISH (cont'd)\n\t\tAnyone here?\n\n\tNo response.\n\n\t\t\t PARRISH (cont'd)\n\t\tI said is anyone here?!", "JOE\n\t\tBecause that's the kind of man Bill\n\t\tParrish is.\n\n\tA moment.", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "YOUNG MAN\n\t\tYou should hope quite a while.\n\n\t\t\t PARRISH\n\t\tAnd then --?\n\n\tThe Young Man nods, gently.", "Alone in his office, Parrish's ebullient mood immediately\n\tchanges. Leaning against the back of the couch, he stares", "Parrish suddenly looks very anxious, Joe stops.\n\n\t\t\t JOE (cont'd)\n\t\tYou seem uncomfortable, Bill.", "PARRISH\n\t\tDeath!\n\n\t\t\t YOUNG MAN\n\t\tThat's me.", "Parrish gazes at the going-on outside which are increasing\n\tin intensity.\n\n\t\t\t PARRISH\n\t\t\t(unconsciously)\n\t\tI hate parties --", "yet surrounds him. Suddenly Parrish's symptoms sharply\n\tintensify, he is sinking to the floor but somehow grabs a", "Parrish tries to get hold of himself, changes gear now.\n\n\t\t\t PARRISH\n\t\tSusan, I don't think Joe is going to\n\t\tbe with us long." ], [ "Parrish smiles complaisantly, they continue on into a break-\n\tfast room where SUSAN, 30, Parrish's younger daughter, is\n\tgrazing at a table laden with cereals and fruits and coffee.", "Parrish, followed by Drew, steps into a waiting limousine,\n\tQuince looks longingly after them. Susan, blowing a kiss\n\tgoodbye to her father, steps out into the street to hustle a\n\tcab.", "SUSAN\n\t\tFunny, I don't get that feeling.\n\t\tMaybe it's because you found out\n\t\tI'm Bill Parrish's daughter.", "SUSAN\n\t\tMe? Internal medicine.\n\n\tThe Young Man smiles.", "SUSAN\n\t\tAnd I'm your daughter and no man\n\t\twill ever be good enough for me.\n\n\t\t\t PARRISH\n\t\tWell, I wasn't going to say that --", "PARRISH\n\t\tSusan is my daughter, she has a\n\t\twonderful life ahead of her and", "JOE\n\t\tSure.\n\n\tThe doors to the dining room open, Susan appears.", "Her question makes Joe, almost involuntarily, smile. Susan\n\ttakes the opportunity to step back from him. The SOUND of", "SUSAN\n\t\tHi, everybody. Sorry to be late -\n\t\thad to have dinner with my depart-\n\t\tment chief --\n\n\t\t\t ALLISON\n\t\tYou ate?", "SUSAN\n\t\tOf course not, Daddy. I'm sorry.\n\n\tThere is something in Susan's tone that lets him know not a\n\tword has sunk in. Parrish slumps.", "SUSAN\n\t\tI think you want to go to the west\n\t\twing. Through there.\n\n\tSusan indicates yet another door.", "PARRISH\n\t\tI know it's none of my business --\n\n\tSusan doesn't answer for a moment, then impulsively kisses her\n\tfather on the cheek.", "SUSAN (cont'd)\n\t\tG'night, Daddy. See you tomorrow.\n\t\tThis is getting interesting.\n\n\tShe goes.", "SUSAN (cont'd)\n\t\tSo you are married.\n\n\t\t\t JOE\n\t\tNo, I'm not.", "SUSAN\n\t\tOh, Dad, you're not old. You'll\n\t\tnever be old.\n\n\tHe takes her in his arms and they dance away.", "SUSAN (cont'd)\n\t\tWhen I called, they said that you\n\t\tand Daddy had just left the office.\n\n\t\t\t JOE\n\t\tHe's taking a nap.", "The place has cleared out now, the counterman busy bussing\n\ttables laden with dishes and cups, Susan and the Young Man\n\tare still at the counter, but about to leave.", "has seen him, they proceed to a rendezvous that has not been\n\tprearranged but which they intuit. Susan slants through the", "Susan is busy giving instructions to a Nurse, a patient on\n\tan examining table beside them. As she finishes, she", "SUSAN (cont'd)\n\t\tWhat are you doing here?\n\n\tSilence." ], [ "SUSAN\n\t\tFunny, I don't get that feeling.\n\t\tMaybe it's because you found out\n\t\tI'm Bill Parrish's daughter.", "SUSAN\n\t\tAnd I'm your daughter and no man\n\t\twill ever be good enough for me.\n\n\t\t\t PARRISH\n\t\tWell, I wasn't going to say that --", "SUSAN (cont'd)\n\t\tSo you are married.\n\n\t\t\t JOE\n\t\tNo, I'm not.", "is putting who he is at great risk, yet he goes right on.\n\tThe powerful contradiction is transmitted to Susan, and in\n\tthe end there is the knowledge they have together made a", "SUSAN\n\t\tYou mean like you loved Mom?\n\n\t\t\t PARRISH\n\t\tForget about me and Mom -- are you\n\t\tgoing to marry him?", "Her question makes Joe, almost involuntarily, smile. Susan\n\ttakes the opportunity to step back from him. The SOUND of", "Susan is examining Parrish very closely.\n\n\t\t\t SUSAN\n\t\tAre you relieved?\n\n\t\t\t PARRISH\n\t\tYes, but --", "PARRISH\n\t\tI know it's none of my business --\n\n\tSusan doesn't answer for a moment, then impulsively kisses her\n\tfather on the cheek.", "YOUNG MAN (cont'd)\n\t\tDon't you feel that way?\n\n\t\t\t SUSAN\n\t\t...We know so little about each\n\t\tother.", "ing are so real that an emotional exchange between he and\n\tSusan builds. Joe has found himself in an unexplored land\n\tof feeling and passion, he loves what is happening and yet", "SUSAN\n\t\tOf course not, Daddy. I'm sorry.\n\n\tThere is something in Susan's tone that lets him know not a\n\tword has sunk in. Parrish slumps.", "SUSAN\n\t\tYes. Well...thank you, Joe.\n\n\tSusan turns to go, hesitates.", "Joe remains silent, rendered extremely anxious by Susan's\n\tinquiries.\n\n\t\t\t SUSAN (cont'd)\n\t\tYou're married, aren't you?", "Susan is staring at him now, he smiles, all open and\n\tvulnerable.\n\n\t\t\t SUSAN\n\t\tI've got to go --", "SUSAN (cont'd)\n\t\tYou must have something really big\n\t\tgoing on with my father --\n\n\t\t\t JOE\n\t\t'Big'?", "SUSAN (cont'd)\n\t\tWhen I called, they said that you\n\t\tand Daddy had just left the office.\n\n\t\t\t JOE\n\t\tHe's taking a nap.", "Susan regards Joe intently, searching his face for an\n\tanswer.\n\n\t\t\t SUSAN\n\t\t\t(gently)\n\t\tThat's it?", "SUSAN\n\t\tI love you, Daddy --\n\n\t\t\t PARRISH\n\t\tThat's why it's okay.\n\n\tThey drift into silence.", "But before he can answer --\n\n\t\t\t ALLISON (cont'd)\n\t\tGlad to hear it!\n\t\t\t(to Susan)\n\t\tLet's go.", "SUSAN\n\t\tI hope so.\n\n\t\t\t PARRISH\n\t\tYou like him, don't you?" ], [ "His hand politely touches her elbow, courteously lending her\n\tsupport.\n\n\t\t\t SUSAN\n\t\tThe coffee shop --\n\n\tThe Young Man nods, pleased with her recognition.", "Susan has squeezed into a seat in the corner. A counterman,\n\twith a smile and a greeting, places a cup of coffee in front", "EXT. CORINTH COFFEE SHOP, YORK AVENUE - DAY\n\n\tThe Young Man holds the door for Susan as they step out\n\tonto the street.", "Susan looks into her coffee.\n\n\t\t\t YOUNG MAN (cont'd)\n\t\tI'm sorry, you mind my saying that?", "The place has cleared out now, the counterman busy bussing\n\ttables laden with dishes and cups, Susan and the Young Man\n\tare still at the counter, but about to leave.", "He shifts the spoon from hand to hand, starts to stick it in\n\this pocket, realizes this is inappropriate. Susan holds her", "SUSAN (cont'd)\n\t\tRemember that morning in the coffee\n\t\tshop? You said 'What's wrong with\n\t\ttaking care of a woman, she takes\n\t\tcare of you --\"", "SUSAN\n\t\tNot at all.\n\n\t\t\t YOUNG MAN\n\t\tHow 'bout another cup of coffee?", "has seen him, they proceed to a rendezvous that has not been\n\tprearranged but which they intuit. Susan slants through the", "Susan reaches out for Joe, they kiss, he is awkward but his\n\tvery awkwardness endearing. Susan pulls him closer, they\n\tlinger now, mouths on each other's, then separate.", "PARRISH\n\t\tWhat?!\n\n\t\t\t SUSAN\n\t\t-- This morning. The Corinth Coffee\n\t\tShop. He was looking for a doctor.", "counterman refills his cup and the Young Man ties into the\n\tbreakfast, eating it with such relish that Susan can't take\n\ther eyes off him. He senses her eyes, glances over, his", "SUSAN\n\t\tNo, not anymore. Are you?\n\n\tJoe hears the question but doesn't answer, sits down on the\n\tcouch beside her.", "JOE\n\t\tThe 'coffee shop' --\n\n\t\t\t SUSAN\n\t\t-- That was the place... and you were\n\t\tthe guy.", "SUSAN\n\t\tHe wanted to ride back down with\n\t\tyou. Now sit and relax, get some-\n\t\tthing in that flat tummy of yours --\n\n\tBut Parrish only pours coffee.", "She doesn't answer, starts to take off the coat herself, Joe\n\tcomes around her to help, Susan senses him breathing in the\n\tscent at the back of her neck.", "JOE\n\t\tGood-bye, Susan.\n\n\tSusan waves softly to him, heads down the hall, glances back\n\tonce to see Joe has not moved, is watching her depart.", "Susan slowly realizes this is the Young Man. She is shaken,\n\ta sudden intake of breath.\n\n\t\t\t YOUNG MAN\n\t\tHey, you all right?", "SUSAN\n\t\tYes. Well...thank you, Joe.\n\n\tSusan turns to go, hesitates.", "Joe is on the right coordinate to meet her, his graceful,\n\tunfailing step carrying him speedily to a destination he is\n\tnot certain of, but where he knows he will find Susan." ], [ "vealing himself to be the Young Man seen previously in the\n\tcoffee shop, but there is a change; he seems odd, off-\n\tcenter, not handsome but terrifyingly beautiful.", "Parrish turns away. But the Young Man, spectacularly, is in\n\tfront of him again.", "His hand politely touches her elbow, courteously lending her\n\tsupport.\n\n\t\t\t SUSAN\n\t\tThe coffee shop --\n\n\tThe Young Man nods, pleased with her recognition.", "YOUNG MAN\n\t\tBecause I like you so much.\n\t\t\t(a moment)\n\t\tYou have coffee here every morning,", "counterman refills his cup and the Young Man ties into the\n\tbreakfast, eating it with such relish that Susan can't take\n\ther eyes off him. He senses her eyes, glances over, his", "The Young Man steps closer to Parrish, his face is inches\n\tfrom a shaking, sweating Parrish's face, the Young Man\n\tdaring Parrish to identify him:", "YOUNG MAN\n\t\tYou fill the bill, Bill.\n\n\t\t\t PARRISH\n\t\tI do?\n\t\t\t(a moment)\n\t\tHow long will you be staying?", "EXT. CORINTH COFFEE SHOP, YORK AVENUE - DAY\n\n\tThe Young Man holds the door for Susan as they step out\n\tonto the street.", "Parrish is shocked, stunned, terrified at the word, by what\n\the has comprehended. He surveys the Young Man who, at this\n\tmoment, actually seems bewildered by his effect.", "Susan slowly realizes this is the Young Man. She is shaken,\n\ta sudden intake of breath.\n\n\t\t\t YOUNG MAN\n\t\tHey, you all right?", "YOUNG MAN\n\t\tYes.\n\n\tA moment, Parrish beside himself. He cannot bring himself\n\tto speak, finally:", "She searches the Young Man's eyes, his face is open,\n\tcompletely vulnerable, waiting for her response. A long\n\tsilence, the words come out haltingly:", "YOUNG MAN (cont'd)\n\t\t\t(gently)\n\t\tWho am I?\n\n\t\t\t PARRISH\n\t\t...Death.", "YOUNG MAN (cont'd)\n\t\tI see you use lots of sugar and\n\t\tcream. Me, too...\n\n\tThey smile at each other, fix up their coffee.", "YOUNG MAN\n\t\tAnd I want to get into my apartment\n\t\tand go to work. Please, what do you\n\t\tsay, another cup of coffee?", "The Young Man hangs up, turns around and sits down to an\n\toverflowing plate of eggs and meat, potatoes and toast, the", "Susan looks into her coffee.\n\n\t\t\t YOUNG MAN (cont'd)\n\t\tI'm sorry, you mind my saying that?", "Another sickening THUD as it lands, the Young Man lies\n\tcrumpled, still.\n\n\t\t\t\t\t\tCUT TO:", "including Quince. Everyone sits when Parrish does but Joe,\n\tright at home, spots a tray of refreshments: coffee, pas-\n\ttries, he heads for them.", "Susan has squeezed into a seat in the corner. A counterman,\n\twith a smile and a greeting, places a cup of coffee in front" ], [ "DREW (cont'd)\n\t\tAll of a sudden a guy appears on the\n\t\tscene with the Chairman of one of", "in the first place. He was setting\n\t\tup Bill from day one. Drew and\n\t\tBontecou are going to chop up the", "DREW (cont'd)\n\t\tAt which time, the Chairman will be\n\t\tnamed Emeritus, he will be welcome", "DREW (cont'd)\n\t\tThe motion is passed. We will of\n\t\tcourse delay the announcement, out", "The Board is provoked and mystified by Joe and even more by\n\this presence, they cast meaningful glances at Parrish, Drew\n\tcoolly grasps the irritation of the members. Parrish breaks\n\tthe silence.", "DREW (cont'd)\n\t\t\t(to the Board)\n\t\tA motion has been brought before\n\t\tthe Board to invoke Article 19 of\n\t\tthe corporate charter.", "DREW (cont'd)\n\t\tBill, pardon my candor, but I was\n\t\tconfounded by your decision this\n\t\tmorning.", "DREW (cont'd)\n\t\tThe lack of response, Bill, is not\n\t\tappropriate. We are your Board, we", "DREW (cont'D)\n\t\tIt's no surprise if I suggest to you\n\t\tthat the Bill Parrish we know is not", "Quince hesitates, then realizes what Drew has on his mind.\n\tHe nods confidently to Drew, then turns importantly to the\n\tBoard.", "DREW\n\t\tBefore I do --\n\t\t\t(glances at Joe)\n\t\tI was hoping we might be alone,\n\t\tBill.", "(a moment)\n\t\tI told Drew and the Board that Bill\n\t\tdepended on you. Drew led me on,\n\t\tbut I had no business telling him", "DREW (cont'd)\n\t\tThe feeling of the Board is this: we\n\t\tfear Mr. Black is not only influenc-", "DREW (cont'd)\n\t\tHow did this all come about? Crisis\n\t\t-- Bill Parrish, crisis -- his com-", "The Board meeting has broken up, clusters of members have\n\tlingered, exchanging post-mortems. And enraged Quince has\n\tcornered Drew, out of earshot of the others.", "DREW (cont'd)\n\t\tThe Board's real unhappy, Pappy --\n\t\tthey felt you dealt with them pre-\n\t\temptorily, you never gave them a\n\t\tchance to speak --", "A silence, everybody shifts, the Board is in shock, Drew is\n\ttrying to maintain his balance.", "Drew enters with Quince, Quince nods, excusing himself, and\n\tcloses the door behind him.\n\n\t\t\t DREW\n\t\tHi, Bill, happy birthday --", "The Board falls silent. Sloane, a peer of Parrish's,\n\tfidgets. Drew milks the moment.", "SLOANE\n\t\tYou're building this thing up too\n\t\tmuch, Drew. He's had advisors be-\n\t\tfore. Nobody tells Bill what to do." ], [ "DREW (cont'd)\n\t\tAll of a sudden a guy appears on the\n\t\tscene with the Chairman of one of", "DREW (cont'd)\n\t\tAt which time, the Chairman will be\n\t\tnamed Emeritus, he will be welcome", "DREW (cont'd)\n\t\tThe lack of response, Bill, is not\n\t\tappropriate. We are your Board, we", "in the first place. He was setting\n\t\tup Bill from day one. Drew and\n\t\tBontecou are going to chop up the", "DREW (cont'D)\n\t\tIt's no surprise if I suggest to you\n\t\tthat the Bill Parrish we know is not", "DREW (cont'd)\n\t\tBill, pardon my candor, but I was\n\t\tconfounded by your decision this\n\t\tmorning.", "DREW\n\t\tBefore I do --\n\t\t\t(glances at Joe)\n\t\tI was hoping we might be alone,\n\t\tBill.", "DREW (cont'd)\n\t\tHow did this all come about? Crisis\n\t\t-- Bill Parrish, crisis -- his com-", "A silence, everybody shifts, the Board is in shock, Drew is\n\ttrying to maintain his balance.", "(a moment)\n\t\tI told Drew and the Board that Bill\n\t\tdepended on you. Drew led me on,\n\t\tbut I had no business telling him", "The Board is provoked and mystified by Joe and even more by\n\this presence, they cast meaningful glances at Parrish, Drew\n\tcoolly grasps the irritation of the members. Parrish breaks\n\tthe silence.", "Drew enters with Quince, Quince nods, excusing himself, and\n\tcloses the door behind him.\n\n\t\t\t DREW\n\t\tHi, Bill, happy birthday --", "DREW (cont'd)\n\t\tThe feeling of the Board is this: we\n\t\tfear Mr. Black is not only influenc-", "Quince hesitates, then realizes what Drew has on his mind.\n\tHe nods confidently to Drew, then turns importantly to the\n\tBoard.", "DREW (cont'd)\n\t\tThe motion is passed. We will of\n\t\tcourse delay the announcement, out", "Drew opens a door, a conference room, a circle of top exec-\n\tutives, now stepping out from the group is a huge, white-\n\thaired man, JOHN BONTECOU, 55.", "The Board meeting has broken up, clusters of members have\n\tlingered, exchanging post-mortems. And enraged Quince has\n\tcornered Drew, out of earshot of the others.", "The Board falls silent. Sloane, a peer of Parrish's,\n\tfidgets. Drew milks the moment.", "DREW (cont'd)\n\t\t\t(to the Board)\n\t\tA motion has been brought before\n\t\tthe Board to invoke Article 19 of\n\t\tthe corporate charter.", "DREW\n\t\tHow did Bill react to the leads\n\t\tyou've developed?\n\n\t\t\t QUINCE\n\t\tHe was interested." ], [ "Joe rises to meet Parrish as he approaches.\n\n\t\t\t JOE\n\t\tHappy Birthday, Bill.\n\n\t\t\t PARRISH\n\t\tThank you.", "JOE\n\t\tThose were my words, Bill.\n\n\t\t\t PARRISH\n\t\tWell, they're mine now.", "JOE\n\t\tBill --\n\n\t\t\t PARRISH\n\t\tYes?\n\n\t\t\t JOE\n\t\tYou've got a deal.", "JOE\n\t\tI'm sorry, Bill --\n\n\t\t\t PARRISH\n\t\tThat's okay.\n\n\t\t\t JOE\n\t\tWhat's okay?", "Joe regards Quince.\n\n\t\t\t JOE\n\t\tGo to Bill Parrish and tell him\n\t\teverything. He'll forgive you.", "PARRISH\n\t\tAnd - uh - I guess, 'goodnight'.\n\n\t\t\t JOE\n\t\tGood night to you, Bill.", "JOE\n\t\tBecause that's the kind of man Bill\n\t\tParrish is.\n\n\tA moment.", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "PARRISH\n\t\tYou're what?\n\n\t\t\t JOE\n\t\tI think you heard me, Bill.", "The clock TICKS on. A sense of foreboding falls over Joe's\n\tface, his fear that he is passing through some barrier, a\n\tpoint of no return.", "his side. And, in my opinion, is\n\t\talways in his ear. Telling him what\n\t\tto do and Bill is listening. Who is", "Joe shakes his head, a firm no. But when he looks and speaks\n\tto Easter again, it is with concern and even regret.", "he made it. And he wants it to be\n\t\trun the way he run it -- with a sense\n\t\tof honor, of dedication, of truth.\n\t\tOkay?", "PARRISH\n\t\tGood morning.\n\n\t\t\t JOE\n\t\tGood morning, Bill.", "JOE\n\t\tAs long as it takes.\n\n\tDrew is provoked by the response, but remains polite:\n\n\t\t\t DREW\n\t\tYou and Bill old friends?", "Drew enters with Quince, Quince nods, excusing himself, and\n\tcloses the door behind him.\n\n\t\t\t DREW\n\t\tHi, Bill, happy birthday --", "Parrish suddenly looks very anxious, Joe stops.\n\n\t\t\t JOE (cont'd)\n\t\tYou seem uncomfortable, Bill.", "PARRISH\n\t\tWhat the hell do you care?\n\n\t\t\t JOE\n\t\tI was just asking, Bill.", "Joe regards Parrish, waits until he has a sense that Parrish\n\thas accepted what Joe has said, then Joe continues:", "JOE\n\t\tAre you going to fire me, Bill?\n\n\tSilence, Parrish is at a loss.\n\n\tINT. FOYER - NIGHT" ], [ "JOE\n\t\tBecause that's the kind of man Bill\n\t\tParrish is.\n\n\tA moment.", "Joe regards Quince.\n\n\t\t\t JOE\n\t\tGo to Bill Parrish and tell him\n\t\teverything. He'll forgive you.", "ing are so real that an emotional exchange between he and\n\tSusan builds. Joe has found himself in an unexplored land\n\tof feeling and passion, he loves what is happening and yet", "Joe rises to meet Parrish as he approaches.\n\n\t\t\t JOE\n\t\tHappy Birthday, Bill.\n\n\t\t\t PARRISH\n\t\tThank you.", "JOE\n\t\tI love her, Bill. She is all that\n\t\tI ever wanted, and I've never wanted", "JOE\n\t\tBill --\n\n\t\t\t PARRISH\n\t\tYes?\n\n\t\t\t JOE\n\t\tYou've got a deal.", "JOE\n\t\tThose were my words, Bill.\n\n\t\t\t PARRISH\n\t\tWell, they're mine now.", "JOE\n\t\tI'm sorry, Bill --\n\n\t\t\t PARRISH\n\t\tThat's okay.\n\n\t\t\t JOE\n\t\tWhat's okay?", "JOE\n\t\tBut she loves you?\n\n\tQuince smiles, nods embarrassedly.\n\n\t\t\t JOE (cont'd)\n\t\tHow do you know?", "She gets up, closes the door, sits back down again next to\n\tJoe. A warm, awkward silence, they move closer to each", "Joe enters, Parrish looks up.\n\n\t\t\t JOE\n\t\t...We should think about getting\n\t\tstarted, Bill.\n\n\tParrish waits.", "PARRISH\n\t\tThank you.\n\n\tJoe nods an acknowledgement, but his face reflects his pain.\n\tParrish regards him sympathetically.", "Joe regards Parrish, waits until he has a sense that Parrish\n\thas accepted what Joe has said, then Joe continues:", "Joe is fascinated by the process. Coyle suddenly hears the\n\tsilence, looks up and see Joe, standing up embarrassedly.", "JOE\n\t\tAs long as it takes.\n\n\tDrew is provoked by the response, but remains polite:\n\n\t\t\t DREW\n\t\tYou and Bill old friends?", "JOE\n\t\tMay I kiss you?\n\n\tShe waits. He kisses her, they fall into a deep embrace.", "PARRISH\n\t\tAnd - uh - I guess, 'goodnight'.\n\n\t\t\t JOE\n\t\tGood night to you, Bill.", "Parrish reaches into his pocket and hands Joe some cash.\n\n\t\t\t PARRISH\n\t\tHere -- this will hold you for a\n\t\twhile.", "PARRISH\n\t\tYou're what?\n\n\t\t\t JOE\n\t\tI think you heard me, Bill.", "Parrish is struck dumb. He looks at Joe pleadingly, shaking\n\this head imperceptibly, but Joe nods to him blithely -- and\n\tthen commandingly." ], [ "Susan has squeezed into a seat in the corner. A counterman,\n\twith a smile and a greeting, places a cup of coffee in front", "until he is hit by the lights and laughter and MUSIC of the\n\tparty. He drifts into the center and runs right into Susan,", "has seen him, they proceed to a rendezvous that has not been\n\tprearranged but which they intuit. Susan slants through the", "over his demi-tasse cup at Joe, Parrish aware of Joe's\n\theightened interest in Susan, and Susan's reciprocation.", "Drew enters. He nuzzles Susan's neck, out of the corner of\n\ther eye she sees Joe still observing them.", "Susan looks into her coffee.\n\n\t\t\t YOUNG MAN (cont'd)\n\t\tI'm sorry, you mind my saying that?", "JOE\n\t\tSure.\n\n\tThe doors to the dining room open, Susan appears.", "He turns back into the foyer, looks up, Parrish is on the\n\tbalcony, it is clear he has observed Joe and Susan.\n\n\t\t\t JOE\n\t\tHello, Bill.", "His hand politely touches her elbow, courteously lending her\n\tsupport.\n\n\t\t\t SUSAN\n\t\tThe coffee shop --\n\n\tThe Young Man nods, pleased with her recognition.", "She doesn't answer, starts to take off the coat herself, Joe\n\tcomes around her to help, Susan senses him breathing in the\n\tscent at the back of her neck.", "Down below, the party guests' faces are lit by the initial\n\tfireworks display. Among them is Susan, but her interest", "Drew goes, Susan turns to find out at the far end of the foyer,\n\the's been observing them. She walks up to him.", "DREW\n\t\tWell, that's very interesting.\n\n\tDrew gazes intently over at Joe who is crossing to Susan,\n\tfor the moment by herself near the piano.", "searches Susan's face, now takes her hand -- and together\n\tthey start back towards the party.", "are on Susan across the room. Her eyes flicker towards him,\n\taware of his gaze.", "Susan appears in the doorway, Joe suddenly senses her, turns\n\taround.\n\n\t\t\t SUSAN\n\t\tYou're here?", "Drew appears unannounced in the doorway, exchanges a tense\n\tglance with Susan, then heads straight for Parrish who seems\n\tsurprised to see him.", "Her question makes Joe, almost involuntarily, smile. Susan\n\ttakes the opportunity to step back from him. The SOUND of", "Parrish is playing solitaire. The SOUND of the front door\n\tclosing, HEELS crossing the foyer, he looks up, at the foyer\n\tdoor is Susan.", "Susan reaches out for Joe, they kiss, he is awkward but his\n\tvery awkwardness endearing. Susan pulls him closer, they\n\tlinger now, mouths on each other's, then separate." ] ]

[ "What is the one condition that Joe Black gives Bill to stay on Earth?", "What happens to the man Susan meets at the coffee shop?", "In the beginning of the story, what strange phenomenon is happening to Bill?", "Why is Quince upset?", "What happens to the man at the coffee shop after Bill \"dies\"?", "What happens before Bill goes to his birthday party?", "Who is the man who is instigating with Drew to take down Bill as chairman bidding for?", "Whose body does Death inhabit?", "What happens to Joe Black when Susan shows feeling for him?", "What was William Bill plan for his company?", "What is the name of William Bill young daughter?", "How did Death came to Willam Bill home?", "How did William Bill introduced Death to his family?", "What did William Bill has to do to stay alive?", "Who wanted William Bill to be voted out as a chairman of his company?", "Why did Death wanted to take Susan away with him?", "What did William Bill did with his remaning hours of his life?", "What did William Bill and Joe Black did during firework?", "Who came back to hold hand with Susan?", "What is Bil Parrish planning as his 65th birthday approaches?", "What is Bills youngest daughter Susan's career choice?", "How does Bill feel about his daughter Susan's relationship and marriage contemplation?", "What happens to the man that Susan meets in the coffee shop?", "How does the young man from the coffee shop manifest himself to Bill following his accident?", "How does Drew get Bill voted out as chairman?", "With Bill out as Chairman, what does Drew do?", "When his last birthday arrives what does Bill try to impart to Joe?", "What does Joe do for Bill following their converstation about true love thta helps Bill?", "How does Susan's interest from the coffee shop arrive at Bills party?" ]

[ [ "If Bill is his guide.", "bill has to be his guide while on earth" ], [ "He gets hit in a multi car accident.", "he disappeared to her but came as Death to her father" ], [ "He is hearing voices.", "he starts to hear voices" ], [ "Drew used information from him to push him out as Board President.", "Quince accidentally gave Drew information that would help him vote Bill out of the board." ], [ "He comes back and falls in love with Susan.", "Death leaves Joe's body and he finds himself alive at the party with Susan." ], [ "He exposes Drew as an member of the IRS.", "He regains control of his company with Joe's help " ], [ "Parrish Communications.", "Parrish Communications " ], [ "The man at the coffee shop.", "A man who died in a car accident." ], [ "Joe falls in love with her.", "he becomes attracted to her" ], [ "William Bill wanted to merge his company with another media company.", "merger" ], [ "Susan", "susan" ], [ "Dealh came to bill home in body of a young man", "they walked away from the party together" ], [ "He intoduced Death as Joe Black", "Joe Black" ], [ "William Bill became Joe Black guide.", "He has to be Death's guide on earth." ], [ "Drew", "drew" ], [ "Because Death was in love with Susan.", "Death is in love with Susan." ], [ "He devoted his time to his daughter Susan.", "He spends them with his daughters at the party " ], [ "They walked away ", "They walk out of view where they disappear, i.e., die." ], [ "Joe", "Death/Joe" ], [ "He is planning to merge his company with another media giant. ", "a party" ], [ "Susan is an internal medicine resident.", "Internal Medicine " ], [ "Bill feels that she is not truly in love and should keep her options open as another opportunity could strike. ", "he's not convinced" ], [ "When he leaves the shop he is struck by multiple cars. ", "is killed in multiple car accident" ], [ "He appears to Bill as \"Death\", says he can remain on earth as long as Bill guides him, and Bill calls him Joe Black. ", "As death " ], [ "He uses Bills strange behavior and reliance on Joe Black to sway the votes to go his way. ", "By convincing the rest of the board members that Bill is incompetent." ], [ "He pushes through the merger that Bill had decided to oppose after all to the dismay of Quince.", "Drew votes Bill out of the board as Chairman." ], [ "He wants him to recognize what true love is and all that that encompasses. ", "The meaning of true love and all it entails, especially honesty and sacrifice." ], [ "He helps Bill to regain control of his company.", "helps him regain his company" ], [ "As he was Joe Black and walks Bill to his great beyond, he appears once Bill leaves not knowing how he got there. ", "he just appears " ] ]

[ [ "\"Cousin Lola.\" (Thus they had broken down the tedious formalities of\ntheir first twenty minutes together.)", "But William would turn to her, and, with the old, dancing light in his\neyes, \"No, Lola,\" he would say, \"not William, but Ickle Boy Baxter!", "\"What question, Lola?\"", "She took his hand.\n\n\"Don't forget!\" she whispered. \"Don't forget Lola!\"\n\nHe stood stock-still. His face was blank, his hand limp. He said\nnothing.", "\"He's looking at Lola Pratt,\" said Mrs. Parcher.", "He maintained his silence and the accompanying icy dignity, whereupon\nshe made a charming little pout.\n\n\"Oo be so tross,\" she said, \"Lola talk to nice Man uvver side of her!\"", "DEAR LOLA--I presume when you are reading these lines it will be this\nafternoon and you will be on the train moving rapidly away from this old", "\"When you were younger!\" Mr. Baxter repeated, with considerable\nirritation. \"How old d' you think you are?\"", "\"Oo tross?\" whispered Lola.\n\nHe spake not.\n\n\"'Twasn't my fault about dancing,\" she said. \"Bad boy! What made you\ncome so late?\"", "Lola Pratt was gone!\n\nWet-eyed, her young hostess of the long summer turned away, and stumbled\nagainst William. \"Why, Willie Baxter!\" she cried, blinking at him.", "William showed sudden interest. \"You did!\" he exclaimed. \"How old were\nyou when you had the first one?\"\n\n\"I 'uz jes' yo' age,\" said the old man. \"I 'uz seventeem.\"", "\"I mean, you take the olden times,\" he went on; \"hardly anybody got\nmarried after they were nineteen or twenty years old, unless they were", "\"Nonsense!\" she said. \"Your figure is exactly like William's. It's the\nfigure that really shows age first, and yours hasn't begun to.\" And she", "\"Mother, I am going on eighteen years of age, and when I ask for a\nsmall sum of money like three dollars and sixty cents I think I might be", "growing old together, attaining to such ages as thirty and even\nthirty-five, still in perfect harmony, and always either dancing in\nthe evenings or strolling hand in hand in the moonlight. Sometimes they", "Mamma said the reason he would feel like that was because he was\nseventeen years old. An' she isn't goin' to tell him anything about it,", "years of age, and had learned to present the appearance of one who\npossesses inside information about life and knows all strangers and most\nacquaintances to be of inferior caste, costume, and intelligence.", "\"Lola saw! Lola saw bad boy Batster under dray bid tree fluttin' wif\ndray bid dirl. Fluttin' all night wif dray bid 'normous dirl!\"", "on the train that day! THEN I KNEW!\" \"And now, Lola?\" William would say.\n\"Do you understand me, NOW?\"", "\"How old were you when you were married?\" William asked, with a manner\nof peculiar earnestness;--it was the manner of one who addresses a\ncolleague." ], [ "\"Poor boy nothing!\" fumed Mr. Baxter. \"He's about lost his mind over\nthat Miss Pratt. Think of his coming out here and starting a regular", "On the wonderful evening of their first meeting William and Miss Pratt\nhad cozily arranged to be called, respectively, \"Ickle boy Baxter\" and", "Lola Pratt was gone!\n\nWet-eyed, her young hostess of the long summer turned away, and stumbled\nagainst William. \"Why, Willie Baxter!\" she cried, blinking at him.", "\"He's in love of Miss Pratt,\" said Jane. \"She's goin' away to-day. She", "And the name! It thrilled him inexpressibly, bringing a tenderness into\nhis eyes and a glow into his bosom. He felt that when he should smoke", "his lips the words, \"The real thing--the real thing at last!\" He\nmeant that, after many imitations had imposed upon him, Love--the real", "But William would turn to her, and, with the old, dancing light in his\neyes, \"No, Lola,\" he would say, \"not William, but Ickle Boy Baxter!", "\"Who was that boy?\" the new neighbor then inquired.\n\n\"It's Freddie,\" said Jane, placidly. \"He's in our Sunday-school. He's in\nlove of me.\"", "This fact, roughly stated, is that a person of seventeen, in love, is\nliable to sit down anywhere. William had dreamily seated himself upon", "\"But now I don't,\" he said. \"Now I think of you by another name when I'm\nalone. It--it just sort of came to me. I was kind of just sitting around", "\"He's looking at Lola Pratt,\" said Mrs. Parcher.", "matter what else played upon the surface of their attention, each kept\nsaying to himself, underneath: \"This is the last night--the last night!\nMiss Pratt is going away--going away to-morrow!\"", "He had seen himself gently placing his box of candy in her hands, some\nof his fingers just touching some of hers and remaining thus lightly in\ncontact to the very last. He had seen himself bending toward the sweet", "\"Don't you think love is sacred?\" he repeated in the deepest tone of\nwhich his vocal cords were capable.\n\n\"Ess,\" said Miss Pratt.", "simple fellows as Joe Bullitt and Johnnie Watson. And although Miss\nPratt continued to make merry with the Man upon her right, it seemed\nto William that this was but outward show. He had a strange, subtle", "It was William who broke the silence. \"How--\" he began, and his voice\ntrembled a little. \"How--how do you--how do you think of me when I'm not\nwith you?\"", "Perhaps he was helped, too, by wondering what Miss Pratt would think of\nhim when she read \"In Dream,\" on the train that afternoon. For reasons", "was in love of Miss Pratt, he'd be mad about somep'm almost every minute\nhe was home. Couldn't anybody say ANYthing to him but he'd just behave", "be again the man he had been in the spring before Miss Pratt came to\nvisit May. And, referring to conversations which he almost continuously", "At last, at last, he sat beside the fairy-like creature, and filled\nhis lungs with infinitesimal particles of violet scent. More: he was no" ], [ "Of course William searched his dressing-table and his father's, although\nhe had been thoroughly over both once before that day. Next he went", "But William would turn to her, and, with the old, dancing light in his\neyes, \"No, Lola,\" he would say, \"not William, but Ickle Boy Baxter!", "At this, the troubled William brought his eyes down from the porch roof\nand forgot his rehearsal. He lifted his hand appealingly. \"Father,\" he\nsaid, \"I GOT to have one!\"", "\"Oh, Willie, perhaps I didn't tell you, but--you remember I'd been\nmissing papa's evening clothes and looking everywhere for days and\ndays?\"\n\n\"Ye--es,\" huskily from William.", "But William persisted heroically. \"Father--\" he said. \"Father, I have\ncome to--\"", "\"You mean papa's evening clothes?\"\n\n\"Yes'm,\" said Jane. \"Willie's got 'em on.\"\n\n\"What!\"", "It was Jane who took up the tale. She had been listening with growing\nexcitement, her eyes fixed piercingly upon William. \"He's got a beard!\"", "a faithful imitation of William walking with Miss Pratt. \"Look, papa!\nThis is the way Willie went. He had it sideways so's he could see Miss.", "petitioned his father, on the following evening. So it went; the torn\nand driven William turning from parent to parent; and surely, since the\nworld began, the special sum of three dollars and sixty cents has never", "she would take him by the hand, and lead him to her father, and say,\n\"Father, this is William.\"", "Thereupon William essayed a ruse--he pretended to nibble at something,\nand then extended his hand as if it held forth a gift of food. \"Look,", "But on Friday William disappeared after breakfast and did not return to\nlunch.\n\n\n\n\nXXIV\n\nCLOTHES MAKE THE MAN", "that William obtain from his father a guarantee to insure the return of\nthe garments in perfect condition. So that was hopeless. And wasn't it\nbetter, also, to wear clothes which had known only one previous occupant", "father's clothes. And that was a form of ruin not to be faced. In the\nprotective darkness and seclusion of William's bedroom, it is possible\nthat smarting eyes relieved themselves by blinking rather energetically;", "enough to make fourteen dollars' worth, an' then Willie could have\nthe suit. Well, an' so Willie came home an' put everything he had that", "But William was no more to be found than the missing apparel. William,\nin fact, after spending some time in the lower back hall, listening to", "\"My soul!\" gasped Mr. Baxter. \"I thought I knew you pretty well, but you\ntalk like a stranger to ME! What is all this? What you WANT?\"\n\n\"A dress-suit!\" said William.", "mother. William looked from one to the other of his parents and seemed\nabout to speak, but did not do so. Instead, he departed for the upper\nfloor again and presently could be heard moving about energetically in", "But William's father was mistaken. Little he knew! William was not upon\nthe porch of the Parchers, with May Parcher and Joe Bullitt and Johnnie", "But William did know, definitely. He had set the baskets upon chairs,\nand now, with pale determination, he was proceeding to fill them. When\nhis task was completed the two baskets contained:" ], [ "It was Jane who took up the tale. She had been listening with growing\nexcitement, her eyes fixed piercingly upon William. \"He's got a beard!\"", "\"Go home!\" repeated William, and then, as Jane stood motionless and\ninarticulate, transfixed by her idea, he said, almost brokenly, to his", "William's period of peculiar sensitiveness dated from that evening, and\nJane, in particular, caused him a great deal of anxiety. In fact, he", "At this, Jane's interest equaled William's. Her eyes consented to leave\nthe busy hands of the aged darky, and, much enlarged, rose to his face.\nAfter a little pause of awe and sympathy she inquired:", "She was merely looking at William and thinking of Mr. Parcher.\n\n\n\n\nIX\n\nLITTLE SISTERS HAVE BIG EARS", "seemed to concern William so nearly; and she well knew that Jane had her\nown way of telling things--or else they remained untold.", "\"Willie?\" said Jane, softly; and, as he made no response, she lifted her\nvoice a little. \"Will-ee!\"\n\n\"Whatchwant!\" he grunted, not moving.", "It was Jane who responded. She was seated upon the floor, disporting\nherself mildly with her paint-box. \"Papa, I know what's the matter with\nWillie,\" she said.", "And what William's state of mind had become is matter for exorbitant\nconjecture. Jane, arriving at his locked door upon an errand, was bidden\nby a thick, unnatural voice to depart.", "\"I suppose so.\" This time it was a moan.\n\nJane proceeded to give him some information. \"My brother Willie isn't\ncomin' back to your house to-night, but he doesn't know it yet.\"", "Jane seemed much less impressed than William, seventeen being a long way\nfrom ten, though, of course, to seventeen itself hardly any information", "times ere this Jane had demonstrated a remarkable faculty for the\nretention of details concerning William. And running hand in hand with\na really superb curiosity, this powerful memory was making Jane an even", "And with that she went hurriedly into William's room and made a brief\ninspection of his clothes-closet and dressing-table. Then, as Jane\nwatched her in awed silence, she strode to the window, and called,\nloudly:", "\"Well, it's about somep'm Willie's been WEARIN',\" Jane began, moving\ncloser to him as they slowly walked onward. \"I can't tell you what they", "\"We saw her,\" said Jane. \"Rannie an' I were there. Willie was goin' to\nchase us, I guess, but we went in the baggage-room behind trunks, an'", "William became oratorical, but not with marked effect, since Jane\nregarded him with unmoved eyes, while Mrs. Baxter continued to be mildly", "\"Will--ee!\" Jane hammered upon the door with her fist. \"Will--ee!\"\n\n\"What you want?\" he shouted.", "Her intention was as plain as the moon. She was presenting in her own\nperson a sketch of William, by this means expressing her opinion of him\nand avenging Jane.", "\"Jane will be very good,\" his mother said. \"I shouldn't think of not\nhaving her, Willie, and you needn't bother about your friends; they'll", "\"There is not!\" Jane protested, and at the moment when she spoke she was\nright. Naturally, however, she lifted her hands to the accused ears, and\nthe unfortunate result was to justify William's statement." ], [ "and manfully as \"Baxter.\" Any direct expression of resentment, however,\nwas difficult, since it was plain that Johnnie Watson intended no\noffense whatever and but spoke out of custom.", "\"Come on,\" Mr. Baxter said to his wife. \"He's down on the Parchers'\nporch, not out in front here. Of course he can't hear you. It's three\nblocks and a half.\"", "Mr. Baxter laughed. \"Well, I don't know what he'd do it ON! I don't\nsuppose he has more than a dollar in his possession.\"", "\"Poor boy nothing!\" fumed Mr. Baxter. \"He's about lost his mind over\nthat Miss Pratt. Think of his coming out here and starting a regular", "Mr. Baxter rose submissively and went upstairs to do as he was bid. But,\nafter fifteen or twenty minutes, during which his footsteps had\nbeen audible in various parts of the house, he called down over the\nbanisters:", "A person of this description was encountered upon the sidewalk within a\nhundred yards of his own home, and William Sylvanus Baxter saw her while", "\"Miss Boke, this is Mr. Baxter,\" said Mrs. Parcher, and she added, with\nwhat seemed to William hideous garrulity, \"He and you both came late,", "Mrs. Baxter screamed faintly.\n\n\"An' he got hung, mamma! If you don't believe it, you can ask One-eye\nBeljus--I guess HE knows! An' you can ask--\"", "\"By George!\" Mr. Baxter got upon his feet. \"The way he talked at dinner,\nI could come pretty near believing he hasn't any more brains LEFT than", "Even now Mr. Baxter grew a little red as he remembered the remarkable\nletter he had written, a few weeks later, to the manager of a passing", "Mr. Baxter's evening clothes. \"Name o' goo'ness!\" Genesis exclaimed, so\nloudly that every one looked up. \"How in the livin' worl' you evuh come", "In the hall, near the open front door, he came to a sudden halt,\nand Mrs. Baxter and Jane heard him calling loudly to the industrious\nGenesis:", "Mr. Baxter, left alone, laughed quietly, lifted his neglected newspaper\nto obtain the light at the right angle, and then allowed it to languish\nupon his lap again. Frowning, he began to tap the floor with his shoe.", "Mrs. Baxter paused, with her hand upon the key of the shaded electric\nlamp. \"I suppose so,\" she said. \"I think perhaps--\" For a moment or", "\"'Got to'!\" Mr. Baxter laughed a laugh that chilled the supplicant\nthrough and through. \"At your age I thought I was lucky if I had ANY", "\"There, there, Willie,\" Mrs. Baxter said. \"You're all wrought up--\"\n\n\"I am NOT wrought up!\" shouted William. \"Why should I be charged with--\"", "\"My soul!\" said Mr. Baxter, under his breath. \"My soul!\"", "had no anxieties connected with his sustenance. As for Mr. Baxter, he\nfelt a little remorse, undoubtedly, but he was also puzzled. So plain", "the tone was vigorously plaintive. Mrs. Baxter laughed and appeared\nto make light of his troubles, whatever they were--and presently\ntheir footsteps were audible from the stairway; the front door closed", "\"That Baxter boy!\" said Mr. Parcher, as William passed on toward the\ndancers. \"What's he think he's imitating--Henry Irving? Look at his\nwalk!\"" ], [ "But William would turn to her, and, with the old, dancing light in his\neyes, \"No, Lola,\" he would say, \"not William, but Ickle Boy Baxter!", "William gazed reverently upon this junk of precious souvenirs; then\nfrom the inner pocket of his coat he brought forth, warm and crumpled,", "And with that she went hurriedly into William's room and made a brief\ninspection of his clothes-closet and dressing-table. Then, as Jane\nwatched her in awed silence, she strode to the window, and called,\nloudly:", "It was Jane who took up the tale. She had been listening with growing\nexcitement, her eyes fixed piercingly upon William. \"He's got a beard!\"", "William's feet and his breath halted spasmodically. For an instant he\nthought she had spoken to him, and then for the first time he perceived", "But William did know, definitely. He had set the baskets upon chairs,\nand now, with pale determination, he was proceeding to fill them. When\nhis task was completed the two baskets contained:", "\"Oh, Willie, perhaps I didn't tell you, but--you remember I'd been\nmissing papa's evening clothes and looking everywhere for days and\ndays?\"\n\n\"Ye--es,\" huskily from William.", "\"What you MEAN talking about such things?\" William demanded. \"In all my\nlife I never heard anything as disgusting! Shame on you!\"", "\"It slid,\" he said, hoarsely. \"I carried it upstairs with me\"--he\nbelieved this--\"and somebody brought it down and left it lying flat on", "She took his hand.\n\n\"Don't forget!\" she whispered. \"Don't forget Lola!\"\n\nHe stood stock-still. His face was blank, his hand limp. He said\nnothing.", "that William obtain from his father a guarantee to insure the return of\nthe garments in perfect condition. So that was hopeless. And wasn't it\nbetter, also, to wear clothes which had known only one previous occupant", "Lola Pratt was gone!\n\nWet-eyed, her young hostess of the long summer turned away, and stumbled\nagainst William. \"Why, Willie Baxter!\" she cried, blinking at him.", "She declared that she loved to watch men smoke, and William's heart, as\nhe sat on the distant fence, was wrung and wrung again by the vision of", "Thereupon William essayed a ruse--he pretended to nibble at something,\nand then extended his hand as if it held forth a gift of food. \"Look,", "And when the white-waistcoated, white-side-burned old man had,\nchuckling, left the room, William would slowly lift his arms; but Lola", "In such emergencies Miss Boke proved herself deft in swinging William\nto act as a buffer, and he several times found himself heavily stricken\nfrom the rear; anon his face would be pressed suffocatingly into Miss", "William did not hear her. Moodily, he had discovered that there was\nsomething amiss with the buckle of his belt, and, having ungirded", "The fact was that William did not even know that he was wet. With his\nhead sidewise and his entranced eyes continuously upon the pretty face", "Of course William searched his dressing-table and his father's, although\nhe had been thoroughly over both once before that day. Next he went", "William's heart leaped, while a joyous warmth spread all over him. And\nthough the execrable lummox immediately propelled Miss Pratt forward--by" ], [ "Mrs. Parcher looked thoughtful, then brightened. \"_I_ know!\" she said.\n\"I'll make May and Lola and their partners come sit in this little", "\"At the Parchers'.\"\n\n\"Oh, I see.\"\n\n\"Yesterday afternoon,\" said Jane, \"when Miss Parcher had the\nSunday-school class for lemonade and cookies.\"", "\"He's looking at Lola Pratt,\" said Mrs. Parcher.", "\"Is she going to visit the Parchers all summer?\" Mr. Baxter insisted.\n\n\"She already has, about,\" said Mrs. Baxter.", "time for next winter. Then he went on and joined that crowd in Mr.\nParcher's yard, around the corner, that's goin' on a trolley-party. I", "the \"parlor,\" library, and dining-room all about equally exposed to the\nporch which ran along the side of the house. Mr. Parcher had no refuge", "\"Mr. Parcher,\" she said, gently.\n\n\n\n\nXII\n\nPROGRESS OF THE SYMPTOMS", "of ever getting a decision. \"Hasn't she got any HOME?\" he demanded,\ntestily. \"Isn't she ever going to quit visiting the Parchers and let\npeople have a little peace?\"", "\"He didn't even come to say good evening to you,\" Mr. Parcher\ninterrupted. \"Talk about MANNERS, nowadays! These young--\"\n\n\"He didn't see us.\"", "Her new friend nodded and seemed to agree. \"I suppose that's what you\nmeant when you said he wasn't coming back but didn't know it yet?\"\n\n\"Yes, Mr. Parcher.\"", "\"G'd afternoon, Mister Parcher,\" she said, gravely.\n\n\"Good afternoon,\" he returned, without much spirit.", "\"Good heavens!\" Mr. Parcher, summoning his memory, had placed the\noccasion and Jane together. \"Did you HEAR all that?\"\n\n\"Yes.\" Jane nodded. \"I told mamma all what you said.\"", "She enfolded May Parcher, kissed her devotedly; then, with Flopit once\nmore under her arm, she ran and jumped upon the steps just as the train", "\"Well, anyway, Mr. Parcher,\" said Jane, \"mamma said--well, she said\nshe's sure Willie wouldn't come here in the evening any more when YOU're", "\"Mamma,\" Jane said, slowly, \"I think--I think Mr. Parcher is a very nice\nman. Mamma?\"\n\n\"Yes, dear?\"", "But Miss Parcher had begun to applaud the musicians for an encore. She\nshook her head. \"Next's the third extra,\" she said. \"And, anyhow, this", "of Mr. Parcher; for Mr. Parcher caught sight of his wife just then, and\nwent to join her as she sank wearily upon the front steps.", "Mr. Parcher smiled. \"How I happen to know is a secret,\" he said. \"I\nforgot about that. His little sister, Jane, told me that Mrs. Baxter had", "heard much and thought more, had asked May Parcher to bring her guest\nfor iced tea, that afternoon. A few others of congenial age had been", "William in sweet unconsciousness, while Miss Parcher entertained the\noverflow (consisting of Mr. Johnnie Watson) at the other end of the\nporch. Listening perforce to the conversation of the former couple" ], [ "He maintained his silence and the accompanying icy dignity, whereupon\nshe made a charming little pout.\n\n\"Oo be so tross,\" she said, \"Lola talk to nice Man uvver side of her!\"", "But William would turn to her, and, with the old, dancing light in his\neyes, \"No, Lola,\" he would say, \"not William, but Ickle Boy Baxter!", "She took his hand.\n\n\"Don't forget!\" she whispered. \"Don't forget Lola!\"\n\nHe stood stock-still. His face was blank, his hand limp. He said\nnothing.", "\"Cousin Lola.\" (Thus they had broken down the tedious formalities of\ntheir first twenty minutes together.)", "\"What question, Lola?\"", "\"Oo tross?\" whispered Lola.\n\nHe spake not.\n\n\"'Twasn't my fault about dancing,\" she said. \"Bad boy! What made you\ncome so late?\"", "Miss Pratt became intensely serious.\n\n\"It's my DREAM!\" she said.", "for him. And as she chattered chummily on, revealing this increasing\ncordiality all the while--though her more obvious topics were dancing,", "Even a prospect thus curtailed revealed her as a smudged and dusty\nlittle girl; and, evidently, her mother must have been preoccupied with", "\"He's looking at Lola Pratt,\" said Mrs. Parcher.", "\"Lola saw! Lola saw bad boy Batster under dray bid tree fluttin' wif\ndray bid dirl. Fluttin' all night wif dray bid 'normous dirl!\"", "Her intention was as plain as the moon. She was presenting in her own\nperson a sketch of William, by this means expressing her opinion of him\nand avenging Jane.", "At this subtle hint the three unfortunates held their breath, and then\nlost it as the lovely girl acquiesced in the horrible exchange. As for", "\"Look,\" she said. \"Look at ME!\"\n\nBut she lacked the other's genius, lost her balance, and fell. Born\npersistent, she immediately got to her feet and made fresh efforts.", "on the train that day! THEN I KNEW!\" \"And now, Lola?\" William would say.\n\"Do you understand me, NOW?\"", "\"It's my DREAM!\" Miss Pratt exclaimed, again, with the same enthusiasm.\n\"It's my DREAM.\"\n\n\"You would make a glorious actress!\" he said.", "themselves in stillness, though there may have been some silent\ncommuning between them. Then the new neighbor placed her feet far apart\nand leaned backward upon nothing, curving her front outward and her", "Shyly she would advance the one short step she had put between\nthem, while he, with lifted, yearning arms, this time destined to no\ndisappointment----", "may be that he thought \"In Dream\" might show her at last, in one blaze\nof light, what her eyes had sometimes fleetingly intimated she did", "Lola Pratt was gone!\n\nWet-eyed, her young hostess of the long summer turned away, and stumbled\nagainst William. \"Why, Willie Baxter!\" she cried, blinking at him." ], [ "But she was not satisfied. \"Where's that laundryman with the tin thing\non his head?\" she demanded. \"He ought to be arrested for having such a\ndog. It's HIS dog, isn't it? Where is he?\"", "\"Oh, see the fun-ee laundrymans!\" she cried, addressing a cottony\ndoglet's head that bobbed gently up and down over her supporting arm.", "shoulder, not one had fallen upon the tiny white doglet drowsing upon\nher arm. But William was wet--he was still more than merely damp, though\nthey had evidently walked some distance since the rain had ceased to", "She took his hand.\n\n\"Don't forget!\" she whispered. \"Don't forget Lola!\"\n\nHe stood stock-still. His face was blank, his hand limp. He said\nnothing.", "her little parasol and her little dog--her exquisite face always lifted\nplayfully toward his own (with admiration underneath the playfulness),\nand he heard her voice of silver always rippling \"baby-talk\" throughout", "sidewalk toward William's front gate. Her little white cottony dog, with\na heliotrope ribbon round his neck, bobbed his head over her cuddling", "fuzzy white doglet in her arms. \"Ickle boy Baxter t'yin' flatterbox us,\ntunnin' Flopit! No'ty, no'ty flatterbox!\"", "the fluffy head of the dog bobbing languidly over her arm, with the\nmotion of her walking, and he comprehended that Flopit, and not William", "all. It was the figure of a tiny doglet, and it reposed upon the black\nmasculine knees that belonged to the evening bosom.", "Pratt, but she lets me play with that little dog. It's name's Flopit!\"", "\"If he owns that dog,\" asserted the still furious owner of Flopit, \"I\nWILL have him arrested. Where is he? Where is that laundryman?\"", "To William's reddening ear Miss Pratt's voice came clearly as the\nchiming of tiny bells, for she spoke whimsically to her little dog in\nthat tinkling childlike fashion which was part of the spell she cast.", "little dog Flopit in the crook of one arm; and a one-pound box of candy\nin the crook of the other--ineffable, radiant, starry, there she stood!", "said he couldn't stand much more baby-talk. Mamma, she has the loveliest\nlittle white dog, an' Mr. Parcher doesn't like it. He said he couldn't", "\"Good ole doggie,\" he said, huskily. \"Hyuh, Clem! Hyuh, Clem!\"\n\nClematis moved sidelong, retreating with his head low and his tail\ndenoting anxious thoughts.", "burden which she carried nestled in the inner curve of her right arm:\na tiny dog with hair like cotton and a pink ribbon round his neck--an", "Flopit did not smell like a dog; he smelled of violets.\n\n\n\n\nVI\n\nTRUCULENCE", "\"Thishere laundryman,\" said Genesis, resuming--\"thishere laundryman what\nown the dog, I reckon he mus' hopped on 'at street-car what went by.\"", "He maintained his silence and the accompanying icy dignity, whereupon\nshe made a charming little pout.\n\n\"Oo be so tross,\" she said, \"Lola talk to nice Man uvver side of her!\"", "Miss Pratt stood among them, in heliotrope and white, Flopit nestling in\nher arms. She was encircled by girls who were enthusiastically caressing" ], [ "\"Is she going to visit the Parchers all summer?\" Mr. Baxter insisted.\n\n\"She already has, about,\" said Mrs. Baxter.", "been intensified by his daughter's having as a visitor, all summer long,\na howling belle of eighteen who talked baby-talk even at breakfast and", "\"What on earth's the matter with you?\" Mr. Baxter ceased to fan himself;\nMrs. Baxter stopped rocking, and both stared, for it had dawned upon\nthem that something unusual was beginning to take place.", "\"Come on,\" Mr. Baxter said to his wife. \"He's down on the Parchers'\nporch, not out in front here. Of course he can't hear you. It's three\nblocks and a half.\"", "Then his father seemed to be in distress about something. William heard\nhim complaining to Mrs. Baxter, and though the words were indistinct,", "Mrs. Baxter was troubled. During the afternoon she glanced often from\nthe open window of the room where she had gone to sew, but the peaceful", "\"She's been visiting here all summer,\" Miss Boke informed him. \"I was at\na little tea this afternoon, and some of the girls said this Miss Pratt", "In the morning sunshine, Mrs. Baxter stood at the top of the steps of\nthe front porch, addressing her son, who listened impatiently and edged", "At so vital a moment did Mrs. Baxter knock at his door and consoling\nreverie cease to minister unto William. Out of the rosy sky he dropped,", "\"Nonsense!\" Mrs. Baxter in interrupted. \"Come, it's bedtime. I'll go up\nwith you. You mustn't think such nonsense.\"\n\n\"But, mamma--\"", "\"There, there, Willie,\" Mrs. Baxter said. \"You're all wrought up--\"\n\n\"I am NOT wrought up!\" shouted William. \"Why should I be charged with--\"", "In the hall, near the open front door, he came to a sudden halt,\nand Mrs. Baxter and Jane heard him calling loudly to the industrious\nGenesis:", "procession. Mr. Baxter fanned himself with sporadic little bursts of\nenergy which made his straw hat creak, and Mrs. Baxter sighed with the\nheat, and gently rocked her chair.", "Up-stairs, Mrs. Baxter moved to the door of her son's room, pretending\nto be unconscious of the gaze he maintained upon her. Mustering courage", "Mrs. Baxter screamed faintly.\n\n\"An' he got hung, mamma! If you don't believe it, you can ask One-eye\nBeljus--I guess HE knows! An' you can ask--\"", "A person of this description was encountered upon the sidewalk within a\nhundred yards of his own home, and William Sylvanus Baxter saw her while", "\"Dear me!\" Mrs. Baxter exclaimed, not perceiving that she was\ninterrupting an intended oration. \"Willie, you DO look pale! Sit down,", "Mrs. Baxter's lips parted to speak, but she checked herself. \"Fault?\"\nshe said, gravely. \"I wonder whose fault it really is!\"", "Mr. and Mrs. Baxter, having walked a scorched half-mile from church,\ndrooped thankfully into wicker chairs upon their front porch, though", "\"Poor boy nothing!\" fumed Mr. Baxter. \"He's about lost his mind over\nthat Miss Pratt. Think of his coming out here and starting a regular" ], [ "\"He's looking at Lola Pratt,\" said Mrs. Parcher.", "Lola Pratt was gone!\n\nWet-eyed, her young hostess of the long summer turned away, and stumbled\nagainst William. \"Why, Willie Baxter!\" she cried, blinking at him.", "Pratt will think of the people of this town, when she's invited to meet\na few of my friends and the first thing she sees is a nigger in his", "\"Look here, Joe,\" said William, desperately, \"don't you realize that\nthis is the very last night Miss Pratt's going to be in this town?\"", "\"That's that Miss Pratt,\" observed Miss Boke, following William's gaze\nwith some interest. \"You met her yet?\"\n\n\"Yeh,\" said William.", "the town would lie desolate, a hollow shell in the dust, without her.\nMiss Pratt would be gone--gone utterly--gone away on the TRAIN! But", "be very glad to see her. They all know her, except Miss Pratt, perhaps,\nand--\" Mrs. Baxter paused; then she asked, absently: \"By the way,", "Jane glanced round, then stepped a little closer and told the secret\nwith the solemnity it deserved. \"Well, when Miss Pratt first came to", "I came by here with Miss PRATT! That was pleasant, wasn't it? To be\nwalking with a lady on the public street and meet a member of my family\nlooking like that! Oh, LOVELY!\"", "Again finding his voice, and a great deal of it, he demanded: \"Do you\nrealize that Miss PRATT will be here within less than half an hour? What", "Therefore, it was with no little surprise, when the party came out of\nthe barn, that William beheld Miss Pratt, not walking at his side, but", "\"That's Miss Pratt,\" whispered Mrs. Baxter. \"She's talking to Johnnie\nWatson and Joe Bullitt and May Parcher. Let's go home; it's all right.\nOf course I knew it would be.\"", "Miss Pratt uttered a little scream of surprise and recognition. \"It's\nyour little sister!\" she exclaimed, and then, reverting to her favorite", "\"Hi, ole sport!\" he cried, \"I want to meet that Miss Pratt before we\nstart. The car'll be along pretty soon, and I got her picked for the\ngirl I'm goin' to sit by.\"", "right to give the people of this town a poor name when strangers like\nMiss PRATT come to vis--\"", "day--yes, almost the last hour--that Miss Pratt's in this town, you let\nyour only daughter stand there and speak disrespectfully of her--and", "He said since Miss Pratt came to visit, there wasn't anywhere he could\ngo, because Willie Baxter an' Johnnie Watson an' Joe Bullitt an' all the", "\"She's been visiting here all summer,\" Miss Boke informed him. \"I was at\na little tea this afternoon, and some of the girls said this Miss Pratt", "her whittling friend's ear and continued in a whisper: \"He's in love of\nMiss Pratt. She's out walkin' with Joe Bullitt. I was in the front yard", "Miss Pratt stood among them, in heliotrope and white, Flopit nestling in\nher arms. She was encircled by girls who were enthusiastically caressing" ], [ "She took his hand.\n\n\"Don't forget!\" she whispered. \"Don't forget Lola!\"\n\nHe stood stock-still. His face was blank, his hand limp. He said\nnothing.", "He maintained his silence and the accompanying icy dignity, whereupon\nshe made a charming little pout.\n\n\"Oo be so tross,\" she said, \"Lola talk to nice Man uvver side of her!\"", "\"No,\" she said. \"You're going over to that horrible place where you've\nleft your clothes and your watch and all those other things in the two\nbaskets, and you're going to bring them home at once.\"", "\"Cousin Lola.\" (Thus they had broken down the tedious formalities of\ntheir first twenty minutes together.)", "with it, and gained little ground. But all the while, and without\nreference to what went on concerning the hoop, she slowly and\ncontinuously fed herself (with her left hand) small, solemnly relished", "her little parasol and her little dog--her exquisite face always lifted\nplayfully toward his own (with admiration underneath the playfulness),\nand he heard her voice of silver always rippling \"baby-talk\" throughout", "circle of chairs here, and then I'll go and bring Willie and Miss Boke\nto sit with them. I'll give Willie the seat at Lola's left. You keep the\nchairs.\"", "necessarily, yet with excruciating reluctance, accompanying them. But\njust at the moment when he and the lovely creature were side by side,\nand her head turned from him, she spoke that is, she murmured, but he", "But William would turn to her, and, with the old, dancing light in his\neyes, \"No, Lola,\" he would say, \"not William, but Ickle Boy Baxter!", "for it is to be feared that numbers always had weight with her. \"Oh, but\ncigarettes is lubly smell!\" she said. \"Untle Georgiecums maybe be too\n'ittle boy for smokings!\"", "burden which she carried nestled in the inner curve of her right arm:\na tiny dog with hair like cotton and a pink ribbon round his neck--an", "\"What question, Lola?\"", "\"All right; I'll come,\" she said, putting her sewing upon the table and\nrising. \"Men never can find anything,\" she observed, additionally, as\nshe ascended the stairs. \"Especially their own things!\"", "her playful ecstasies. But when he saw her holding what was left of the\nfirst Little Sweetheart for George to light a second at its expiring", "This was Jane. In one hand she held a little stack of sugar-sprinkled\nwafers, which she slowly but steadily depleted, unconscious of the", "on the train that day! THEN I KNEW!\" \"And now, Lola?\" William would say.\n\"Do you understand me, NOW?\"", "She could not wave to her friends, in answer to their gestures of\nfarewell, for her arms were too full of Flopit and roses and candy and", "themselves in stillness, though there may have been some silent\ncommuning between them. Then the new neighbor placed her feet far apart\nand leaned backward upon nothing, curving her front outward and her", "For greater caution they had removed their shoes; and each damsel,\nas she paraded, dangled from each far-extended hand a shoe. And both", "\"Lola saw! Lola saw bad boy Batster under dray bid tree fluttin' wif\ndray bid dirl. Fluttin' all night wif dray bid 'normous dirl!\"" ], [ "William continued: \"Joe, you and I have been friends ever since you and\nI were boys.\" He spoke with emotion, but Joe had no appearance of being", "And when they came to their own house again, there was William sitting\nalone and silent upon the steps of the porch.\n\n\"I thought you'd gone out, Willie,\" said his mother, as they paused\nbeside him.", "a large, ample girl, weighing more than William (this must be definitely\nclaimed in his behalf), and she had been spending the summer at a", "The heart of William had behaved tumultuously the summer long, whenever\nhis eyes beheld those pickets of the Parchers' fence, but now it outdid", "growing steadily more and more even. That is, as affected by William's\nsocial activities, it was uniformly bad. Nevertheless, after heavy\nbrooding, William decided to make one final appeal before he resorted to", "It was William who broke the silence. \"How--\" he began, and his voice\ntrembled a little. \"How--how do you--how do you think of me when I'm not\nwith you?\"", "William looked up absently. \"I used to think that, too,\" he said, with\ndreamy condescension, \"when I was younger.\"\n\nMr. Baxter stared.", "\"Well, it isn't so hard,\" said William, \"if you kind of get the hang\nof it.\" Obviously pleased, he plucked a spear of grass and placed it\nbetween his teeth, adding, \"I always did have a pretty good memory.\"", "them; their faces brightened slowly, and without relapse. It was a\nvisible thing how the world became fairer and better in their eyes\nduring that little while they stood there. And William saw that his", "But William's father was mistaken. Little he knew! William was not upon\nthe porch of the Parchers, with May Parcher and Joe Bullitt and Johnnie", "William in sweet unconsciousness, while Miss Parcher entertained the\noverflow (consisting of Mr. Johnnie Watson) at the other end of the\nporch. Listening perforce to the conversation of the former couple", "\"What you MEAN talking about such things?\" William demanded. \"In all my\nlife I never heard anything as disgusting! Shame on you!\"", "More as in a trance than actually William heard the outbreak of his\nyoung companions; and, during the quarter of an hour subsequent to\nGenesis's performance, the oft-renewed explosions of their mirth made", "It was Jane who took up the tale. She had been listening with growing\nexcitement, her eyes fixed piercingly upon William. \"He's got a beard!\"", "William, meanwhile, made his way toward the \"residence section\" of the\ntown, and presently--with the passage of time found himself eased of his", "William again came to life. \"I was saying that a person's age is\ndifferent according to circumstances,\" he explained, with dignity, if", "George was a big, fat lummox! Painting pictures, such as the billions\nof other young sufferers before him have painted, William saw himself", "But William was no more to be found than the missing apparel. William,\nin fact, after spending some time in the lower back hall, listening to", "But William did know, definitely. He had set the baskets upon chairs,\nand now, with pale determination, he was proceeding to fill them. When\nhis task was completed the two baskets contained:", "One afternoon, having locked his door to secure himself against\nintrusion on the part of his mother or Jane, William seated himself at" ], [ "Lola Pratt was gone!\n\nWet-eyed, her young hostess of the long summer turned away, and stumbled\nagainst William. \"Why, Willie Baxter!\" she cried, blinking at him.", "But William would turn to her, and, with the old, dancing light in his\neyes, \"No, Lola,\" he would say, \"not William, but Ickle Boy Baxter!", "\"That's that Miss Pratt,\" observed Miss Boke, following William's gaze\nwith some interest. \"You met her yet?\"\n\n\"Yeh,\" said William.", "William's heart leaped, while a joyous warmth spread all over him. And\nthough the execrable lummox immediately propelled Miss Pratt forward--by", "On the wonderful evening of their first meeting William and Miss Pratt\nhad cozily arranged to be called, respectively, \"Ickle boy Baxter\" and", "\"Yes m, I HEARD her. An' Willie said, 'I don't know what you'll think\nabout mother.' He said, 'I don't know what you'll think about mother,'\nto Miss Pratt.\"", "Mrs. Baxter disregarded this outburst as he had disregarded her remark\nabout William's pallor. \"You mean Miss Pratt?\" she inquired, dreamily,", "\"He's looking at Lola Pratt,\" said Mrs. Parcher.", "\"I mean Willie, mamma,\" said Jane. \"If it's anything about Miss Pratt.\nhe always talks awful funny. Don't you think Willie talks awful funny if\nit's anything about Miss Pratt, mamma?\"", "They breathed not the starry air that William breathed, but what did it\nmatter to them? The wretched things did not even know that they meant\nnothing to Miss Pratt!", "\"Well, let her!\" returned William, still severe.\n\n\"They said she was goin' to bring a girl to visit her,\" Johnnie began in\na confidential tone. \"They said she was a reg'lar ringdinger and--\"", "simple fellows as Joe Bullitt and Johnnie Watson. And although Miss\nPratt continued to make merry with the Man upon her right, it seemed\nto William that this was but outward show. He had a strange, subtle", "Therefore, it was with no little surprise, when the party came out of\nthe barn, that William beheld Miss Pratt, not walking at his side, but", "Moving forward, she seemed to have in mind a dreadful purpose; there\nwas something about her that made William think she intended casually to\naccompany him and Miss Pratt.\n\n\"You go home!\" he commanded, hoarsely.", "Thus did the one thought divide itself between William and Mr. Parcher,\nkeeping itself deep and pure under all their other thoughts. \"Miss Pratt", "I came by here with Miss PRATT! That was pleasant, wasn't it? To be\nwalking with a lady on the public street and meet a member of my family\nlooking like that! Oh, LOVELY!\"", "\"Look here, Joe,\" said William, desperately, \"don't you realize that\nthis is the very last night Miss Pratt's going to be in this town?\"", "To William's reddening ear Miss Pratt's voice came clearly as the\nchiming of tiny bells, for she spoke whimsically to her little dog in\nthat tinkling childlike fashion which was part of the spell she cast.", "be very glad to see her. They all know her, except Miss Pratt, perhaps,\nand--\" Mrs. Baxter paused; then she asked, absently: \"By the way,", "\"What you MEAN talking about such things?\" William demanded. \"In all my\nlife I never heard anything as disgusting! Shame on you!\"" ], [ "Of course William searched his dressing-table and his father's, although\nhe had been thoroughly over both once before that day. Next he went", "But William persisted heroically. \"Father--\" he said. \"Father, I have\ncome to--\"", "It was Jane who took up the tale. She had been listening with growing\nexcitement, her eyes fixed piercingly upon William. \"He's got a beard!\"", "\"Oh, Willie, perhaps I didn't tell you, but--you remember I'd been\nmissing papa's evening clothes and looking everywhere for days and\ndays?\"\n\n\"Ye--es,\" huskily from William.", "\"You mean papa's evening clothes?\"\n\n\"Yes'm,\" said Jane. \"Willie's got 'em on.\"\n\n\"What!\"", "But William did know, definitely. He had set the baskets upon chairs,\nand now, with pale determination, he was proceeding to fill them. When\nhis task was completed the two baskets contained:", "At this, the troubled William brought his eyes down from the porch roof\nand forgot his rehearsal. He lifted his hand appealingly. \"Father,\" he\nsaid, \"I GOT to have one!\"", "father's clothes. And that was a form of ruin not to be faced. In the\nprotective darkness and seclusion of William's bedroom, it is possible\nthat smarting eyes relieved themselves by blinking rather energetically;", "\"Father,\" William repeated. \"Fath--\"", "petitioned his father, on the following evening. So it went; the torn\nand driven William turning from parent to parent; and surely, since the\nworld began, the special sum of three dollars and sixty cents has never", "Thereupon William essayed a ruse--he pretended to nibble at something,\nand then extended his hand as if it held forth a gift of food. \"Look,", "\"Well, THAT wasn't fair, was it?\" William cried. \"Just because I never\nthought of sneaking in ahead like that, you go and--\"", "But William was no more to be found than the missing apparel. William,\nin fact, after spending some time in the lower back hall, listening to", "William backed to the start and tried it again. \"Father, I have come\nto--\" He paused and gulped, evidently expecting to be interrupted,", "mother. William looked from one to the other of his parents and seemed\nabout to speak, but did not do so. Instead, he departed for the upper\nfloor again and presently could be heard moving about energetically in", "The brutal selfishness of this speech, as well as its cold-blooded\ninsincerity, produced in William the impulse to smite. Fortunately, his", "But on Friday William disappeared after breakfast and did not return to\nlunch.\n\n\n\n\nXXIV\n\nCLOTHES MAKE THE MAN", "One afternoon, having locked his door to secure himself against\nintrusion on the part of his mother or Jane, William seated himself at", "But William's father was mistaken. Little he knew! William was not upon\nthe porch of the Parchers, with May Parcher and Joe Bullitt and Johnnie", "growing steadily more and more even. That is, as affected by William's\nsocial activities, it was uniformly bad. Nevertheless, after heavy\nbrooding, William decided to make one final appeal before he resorted to" ], [ "But William would turn to her, and, with the old, dancing light in his\neyes, \"No, Lola,\" he would say, \"not William, but Ickle Boy Baxter!", "eloquently bitter that it might deserve some such title as A Passion\nBeside the Smoke-house. During the little time that William spent in\nthis sequestration he passed through phases of emotion which would have", "It was William who broke the silence. \"How--\" he began, and his voice\ntrembled a little. \"How--how do you--how do you think of me when I'm not\nwith you?\"", "on the train that day! THEN I KNEW!\" \"And now, Lola?\" William would say.\n\"Do you understand me, NOW?\"", "William, seated upon a stool at her feet, gazed up at the amber head,\ndivinely splashed by the rain of moonlight. The fire with which she", "\"Love,\" William continued, his voice lifting and thrilling to the great\ntheme--\"love is something nobody can ever have but one time in their", "William's gravity became more and more profound. \"Yes, but how can they\npretend like that? Don't you think love is a sacred thing, Cousin Lola?\"", "... Thus William, after a hard day, came to the gates of his romance,\nentering those portals of the moon in triumph. At one stroke his dashing", "and little heavings under impulses as ancient as young love itself. It\nis to be supposed that William considered his condition a lonely one,\nbut if all the seventeen-year-olds who have known such halfhours could", "She declared that she loved to watch men smoke, and William's heart, as\nhe sat on the distant fence, was wrung and wrung again by the vision of", "Dizzy with enchantment, half suffocated, his heart melting within him,\nWilliam turned from the angelic sounds and fairy vision of the window.", "William's feet and his breath halted spasmodically. For an instant he\nthought she had spoken to him, and then for the first time he perceived", "the lover's desire. And yet, even at the beginning of William's\ntwo-hundred-foot advance (later so much discussed) he felt the heat", "William did not see the dog, or it is the plain, anatomical truth\nthat when he saw how pretty the girl was, his heart--his physical", "He placed his poem between the photograph and the letter, closed the\nbox, and tied the tissue-paper about it again with the blue ribbon.", "\"But if he didn't, then he wouldn't,\" said William vehemently. \"But when\na man really loves a girl he will. Now, you take a man like that and", "expression which Gustave Dore would gratefully have found suggestive.\nWilliam was conscious of a voice continually in action near him, but\nnot of what it said. Miss Boke was telling him of the dancing \"up at the", "William opened the box of candy and placed the letter upon the top layer\nof chocolates. Upon the letter he placed a small photograph (wrapped in", "It was Jane who took up the tale. She had been listening with growing\nexcitement, her eyes fixed piercingly upon William. \"He's got a beard!\"", "So I could not call her Lass or Sadie\n So I will call her Milady\n By the sands of the sea\n She always will be" ], [ "Not so with William; his cheeks were flushed, his eyes indignant. \"You\nsee what this child is doing?\" he demanded. \"Are you going to let her\nruin everything?\"", "She was interrupted by the loud, desperate sound of William's fist\nsmiting his writing-table, so sensitive was his condition. \"This is just\nunbearable!\" he cried. \"Nobody's business is safe from that child!\"", "William himself interrupted her. He returned violently to the doorway,\nhis hair still tousled, and, standing upon the threshold, said, sternly:\n\n\"What is that child wearing her best dress for?\"", "\"What you MEAN talking about such things?\" William demanded. \"In all my\nlife I never heard anything as disgusting! Shame on you!\"", "William was annoyed at being called \"Silly Bill\" in a public place, and\nhad not known how to object otherwise than by showing contempt for any\ntopic of conversation proposed by the offender. This latter, being of", "It was Jane who took up the tale. She had been listening with growing\nexcitement, her eyes fixed piercingly upon William. \"He's got a beard!\"", "William's period of peculiar sensitiveness dated from that evening, and\nJane, in particular, caused him a great deal of anxiety. In fact, he", "And what William's state of mind had become is matter for exorbitant\nconjecture. Jane, arriving at his locked door upon an errand, was bidden\nby a thick, unnatural voice to depart.", "William groaned. \"Do you honestly want guests coming to this house\nto see that awful old darky out there and know that HE'S the kind of\nservants we employ? Ye gods!\"", "Miss Boke laughed tolerantly, as if forgiving William for his\nawkwardness, and his hot heart grew hotter with that injustice. She was", "Then his father seemed to be in distress about something. William heard\nhim complaining to Mrs. Baxter, and though the words were indistinct,", "The brutal selfishness of this speech, as well as its cold-blooded\ninsincerity, produced in William the impulse to smite. Fortunately, his", "\"Go home!\" repeated William, and then, as Jane stood motionless and\ninarticulate, transfixed by her idea, he said, almost brokenly, to his", "upon William and his Baby-Talk-Lady, and received from the latter a\nhoneyed greeting, somewhat to the former's astonishment and not at all\nto his pleasure.", "\"I never saw anything as disgusting as long as I've lived!\" William\nannounced. \"I wouldn't 'a' believed it if anybody'd told me a sister of\nmine would eat after--\"", "William, roused to action by this sight, sprang to his feet and took a\nstep toward them. But it was only one weak step.", "William leaped to his feet; this was something he could NOT bear! He\nmade a bloodthirsty dash toward the gate, which the singer was just in\nthe act of passing.", "William's feet and his breath halted spasmodically. For an instant he\nthought she had spoken to him, and then for the first time he perceived", "This deliberate misinterpretation of his motives made it difficult for\nWilliam to speak. \"Do YOU think,\" he began, hoarsely, \"do you THINK--\"", "\"YOU GET OUT O' HERE!\" she croaked.\n\nThe shocking audacity took William's breath. He gasped; he sought for\nwords." ], [ "we saw her go. She got on the cars, an' it went with her in it. Honest,\nshe's gone away, Mr. Parcher.\"", "She took his hand.\n\n\"Don't forget!\" she whispered. \"Don't forget Lola!\"\n\nHe stood stock-still. His face was blank, his hand limp. He said\nnothing.", "Lola Pratt was gone!\n\nWet-eyed, her young hostess of the long summer turned away, and stumbled\nagainst William. \"Why, Willie Baxter!\" she cried, blinking at him.", "\"Well, I guess I must run home,\" she said. And with one lift of her\neyes to his and a shy laugh--laughter being a rare thing for Jane--she\nscampered quickly to the corner and was gone.", "began to move. She stood there, on the lowest step, slowly gliding away\nfrom them, and in her eyes there was a sparkle of tears, left, it may", "DEAR LOLA--I presume when you are reading these lines it will be this\nafternoon and you will be on the train moving rapidly away from this old", "the town would lie desolate, a hollow shell in the dust, without her.\nMiss Pratt would be gone--gone utterly--gone away on the TRAIN! But", "Relieved, Mr. Parcher turned again to speak to Jane--but she was not\nthere. He caught but a glimpse of her, running up the street as fast as\nshe could, hand in hand with her companion.", "She hung it upon his arm, kissed him; and he departed in a desperate\nmanner.", "in Iowa! Hasn't that girl left town yet?\"", "With head bowed in thought she moved away, disappearing into the gray\ndusk, while Jane, on her part, left the window and went to the open", "\"I think she is going soon,\" said Mrs. Baxter. \"The Parchers are to have\na dance for her Friday night, and I understand there's to be a floor", "(a small one, like William's) to the station, once, long ago, when she\nhad been visiting in another town. For just a moment she thought of that", "Jane walked submissively out of the door, leaving it open behind her.\nThen, having gone about six feet farther, she halted and, preserving a", "His symptoms, however, all pointed to its having fled; and his wife,\nlooking up from some computations in laundry charges, had but a vision", "hours past, she made her way between the tubs, and passed on down the\nstreet. Not till the three (and Flopit) were out of sight did William\ncome forth from the hedge.", "Miss Parcher who had been walking beside him, for the truant couple had\nmade their escape at the beginning of the Swedish lady's discourse.", "matter what else played upon the surface of their attention, each kept\nsaying to himself, underneath: \"This is the last night--the last night!\nMiss Pratt is going away--going away to-morrow!\"", "prospective departure, and there was every reason to suppose that she\nmeant to remain all summer. And as any foliage or anything whatever that", "Rannie swung her foot. \"Well,\" she said, \"I guess I haf to find SOMEp'n\nto do! G' night!\"" ], [ "But William would turn to her, and, with the old, dancing light in his\neyes, \"No, Lola,\" he would say, \"not William, but Ickle Boy Baxter!", "\"What question, Lola?\"", "She took his hand.\n\n\"Don't forget!\" she whispered. \"Don't forget Lola!\"\n\nHe stood stock-still. His face was blank, his hand limp. He said\nnothing.", "\"Cousin Lola.\" (Thus they had broken down the tedious formalities of\ntheir first twenty minutes together.)", "He maintained his silence and the accompanying icy dignity, whereupon\nshe made a charming little pout.\n\n\"Oo be so tross,\" she said, \"Lola talk to nice Man uvver side of her!\"", "\"Oo tross?\" whispered Lola.\n\nHe spake not.\n\n\"'Twasn't my fault about dancing,\" she said. \"Bad boy! What made you\ncome so late?\"", "on the train that day! THEN I KNEW!\" \"And now, Lola?\" William would say.\n\"Do you understand me, NOW?\"", "\"Lola saw! Lola saw bad boy Batster under dray bid tree fluttin' wif\ndray bid dirl. Fluttin' all night wif dray bid 'normous dirl!\"", "\"No! Look at ME!\" the little girl cried, becoming semicircular again.\n\"This is the way. I call it 'puttin' your stummick out o' joint.' You\nhaven't got yours out far enough.\"", "for him. And as she chattered chummily on, revealing this increasing\ncordiality all the while--though her more obvious topics were dancing,", "\"He's looking at Lola Pratt,\" said Mrs. Parcher.", "\"They all seem to want to dance with her all the time,\" said Mrs.\nParcher. \"I heard her telling one of the boys, half an hour ago, that", "Miss Pratt became intensely serious.\n\n\"It's my DREAM!\" she said.", "themselves in stillness, though there may have been some silent\ncommuning between them. Then the new neighbor placed her feet far apart\nand leaned backward upon nothing, curving her front outward and her", "Lola Pratt was gone!\n\nWet-eyed, her young hostess of the long summer turned away, and stumbled\nagainst William. \"Why, Willie Baxter!\" she cried, blinking at him.", "At this subtle hint the three unfortunates held their breath, and then\nlost it as the lovely girl acquiesced in the horrible exchange. As for", "Her intention was as plain as the moon. She was presenting in her own\nperson a sketch of William, by this means expressing her opinion of him\nand avenging Jane.", "Even a prospect thus curtailed revealed her as a smudged and dusty\nlittle girl; and, evidently, her mother must have been preoccupied with", "he can generally do just about anything the girl he loves wants him\nto. Say, f'rinstance, she wants him to love her even more than he does", "Shyly she would advance the one short step she had put between\nthem, while he, with lifted, yearning arms, this time destined to no\ndisappointment----" ], [ "Lola Pratt was gone!\n\nWet-eyed, her young hostess of the long summer turned away, and stumbled\nagainst William. \"Why, Willie Baxter!\" she cried, blinking at him.", "\"He's looking at Lola Pratt,\" said Mrs. Parcher.", "\"That's that Miss Pratt,\" observed Miss Boke, following William's gaze\nwith some interest. \"You met her yet?\"\n\n\"Yeh,\" said William.", "received with little cries of admiration and sweet child-words on the\npart of Miss Pratt. It was a long and accursed ride.", "Miss Pratt stood among them, in heliotrope and white, Flopit nestling in\nher arms. She was encircled by girls who were enthusiastically caressing", "Miss Pratt laughed her silvery laugh, murmured politely, and turned no\nfreezing glance upon her neighbor. Indeed, it seemed that she was far", "On the wonderful evening of their first meeting William and Miss Pratt\nhad cozily arranged to be called, respectively, \"Ickle boy Baxter\" and", "\"For US,\" Miss Pratt corrected him, sunnily.\n\n\"Bofe strangers--party for us two--all bofe!\" And she gave him one of\nher looks.", "Therefore, it was with no little surprise, when the party came out of\nthe barn, that William beheld Miss Pratt, not walking at his side, but", "matter what else played upon the surface of their attention, each kept\nsaying to himself, underneath: \"This is the last night--the last night!\nMiss Pratt is going away--going away to-morrow!\"", "As it were in a dream he heard his mother's hospitable greetings at the\ndoor, and then the little party lingered in the hall, detained by Miss\nPratt's discovery of Jane.", "\"That's Miss Pratt,\" whispered Mrs. Baxter. \"She's talking to Johnnie\nWatson and Joe Bullitt and May Parcher. Let's go home; it's all right.\nOf course I knew it would be.\"", "be very glad to see her. They all know her, except Miss Pratt, perhaps,\nand--\" Mrs. Baxter paused; then she asked, absently: \"By the way,", "Jane glanced round, then stepped a little closer and told the secret\nwith the solemnity it deserved. \"Well, when Miss Pratt first came to", "Miss Pratt, that tactful girl, counted four smokers in the group about\nher, and only one abstainer, George. She at once defended the smokers,", "as led by his mother and father, or their friends and relatives. In his\nrapt mind he beheld Miss Pratt walking beside him \"through life,\" with", "They were the entranced William and Miss Pratt; and their appearance\noffered a suggestive contrast in relative humidity. In charming and", "Miss Pratt uttered a little scream of surprise and recognition. \"It's\nyour little sister!\" she exclaimed, and then, reverting to her favorite", "At the farm-house where the party were to dine, Miss Pratt with joy\ndiscovered a harmonium in the parlor, and, seating herself, with all the", "Miss Pratt, in the conservatory. And, after a time, they went together,\nand looked into the door of a room where an indefinite number of little" ], [ "He maintained his silence and the accompanying icy dignity, whereupon\nshe made a charming little pout.\n\n\"Oo be so tross,\" she said, \"Lola talk to nice Man uvver side of her!\"", "But William would turn to her, and, with the old, dancing light in his\neyes, \"No, Lola,\" he would say, \"not William, but Ickle Boy Baxter!", "She took his hand.\n\n\"Don't forget!\" she whispered. \"Don't forget Lola!\"\n\nHe stood stock-still. His face was blank, his hand limp. He said\nnothing.", "\"Cousin Lola.\" (Thus they had broken down the tedious formalities of\ntheir first twenty minutes together.)", "\"What question, Lola?\"", "\"Oo tross?\" whispered Lola.\n\nHe spake not.\n\n\"'Twasn't my fault about dancing,\" she said. \"Bad boy! What made you\ncome so late?\"", "\"He's looking at Lola Pratt,\" said Mrs. Parcher.", "for him. And as she chattered chummily on, revealing this increasing\ncordiality all the while--though her more obvious topics were dancing,", "Even a prospect thus curtailed revealed her as a smudged and dusty\nlittle girl; and, evidently, her mother must have been preoccupied with", "Miss Pratt became intensely serious.\n\n\"It's my DREAM!\" she said.", "Her intention was as plain as the moon. She was presenting in her own\nperson a sketch of William, by this means expressing her opinion of him\nand avenging Jane.", "\"Lola saw! Lola saw bad boy Batster under dray bid tree fluttin' wif\ndray bid dirl. Fluttin' all night wif dray bid 'normous dirl!\"", "At this subtle hint the three unfortunates held their breath, and then\nlost it as the lovely girl acquiesced in the horrible exchange. As for", "on the train that day! THEN I KNEW!\" \"And now, Lola?\" William would say.\n\"Do you understand me, NOW?\"", "Shyly she would advance the one short step she had put between\nthem, while he, with lifted, yearning arms, this time destined to no\ndisappointment----", "Lola Pratt was gone!\n\nWet-eyed, her young hostess of the long summer turned away, and stumbled\nagainst William. \"Why, Willie Baxter!\" she cried, blinking at him.", "\"Look,\" she said. \"Look at ME!\"\n\nBut she lacked the other's genius, lost her balance, and fell. Born\npersistent, she immediately got to her feet and made fresh efforts.", "necessarily, yet with excruciating reluctance, accompanying them. But\njust at the moment when he and the lovely creature were side by side,\nand her head turned from him, she spoke that is, she murmured, but he", "themselves in stillness, though there may have been some silent\ncommuning between them. Then the new neighbor placed her feet far apart\nand leaned backward upon nothing, curving her front outward and her", "\"It's my DREAM!\" Miss Pratt exclaimed, again, with the same enthusiasm.\n\"It's my DREAM.\"\n\n\"You would make a glorious actress!\" he said." ], [ "On the wonderful evening of their first meeting William and Miss Pratt\nhad cozily arranged to be called, respectively, \"Ickle boy Baxter\" and", "Lola Pratt was gone!\n\nWet-eyed, her young hostess of the long summer turned away, and stumbled\nagainst William. \"Why, Willie Baxter!\" she cried, blinking at him.", "\"WHAT!\"\n\n\"Yes,\" said Mrs. Baxter, remaining calm; \"I'm sure I've heard somewhere\nthat she likes to talk 'baby-talk.'\"", "\"Cousin Lola.\" (Thus they had broken down the tedious formalities of\ntheir first twenty minutes together.)", "Mrs. Baxter screamed faintly.\n\n\"An' he got hung, mamma! If you don't believe it, you can ask One-eye\nBeljus--I guess HE knows! An' you can ask--\"", "Mrs. Baxter laughed. \"Set the pan down, Willie.\"\n\n\"Set it DOWN?\" he echoed, incredulously \"With that child in the room and\ngrabbing like--\"", "Jane looked after him placidly. \"Didn't he talk funny!\" she murmured.\n\n\"Yes, dear,\" said Mrs. Baxter. She shook her head and uttered the\nenigmatic words, \"They do.\"", "\"Good gracious! I just said it!\" Mrs. Baxter laughed, and then,\nprobably a little out of patience with him, she gave way to that innate", "\"G' night, mamma.\" But as Mrs. Baxter reached the door Jane's voice was\nheard again.\n\n\"Mamma?\"\n\n\"Yes?\" Mrs. Baxter paused.", "Mrs. Baxter looked a little startled, and her husband frowned. Jane\nmistook their expressions for incredulity. \"They DID, mamma,\" she", "\"There, there, Willie,\" Mrs. Baxter said. \"You're all wrought up--\"\n\n\"I am NOT wrought up!\" shouted William. \"Why should I be charged with--\"", "and spent most of her time in urging upon Mr. Baxter that he should\nbe prompt in dressing for a card-club meeting which he and she were\nto attend that evening. These admonitions of hers were continued so", "\"Yes'm,\" said Adelia. \"He gone mighty near out his head, Miz Baxter.\"\n\n\"What!\"", "Mrs. Baxter regarded him mildly, not replying, and he went on, with loud\nindignation:", "\"Miss Boke, this is Mr. Baxter,\" said Mrs. Parcher, and she added, with\nwhat seemed to William hideous garrulity, \"He and you both came late,", "\"Why, certainly,\" said Mr. Baxter, as they turned. \"Even if Willie were\nas crazy as that, the little girl would have more sense. I wouldn't have", "But William would turn to her, and, with the old, dancing light in his\neyes, \"No, Lola,\" he would say, \"not William, but Ickle Boy Baxter!", "Miss Pratt laughed comfortingly as they started on again. \"Isn't mamma's\nfault, foolish boy Baxter. Ickle dirlies will det datie!\"", "Mr. Baxter's evening clothes. \"Name o' goo'ness!\" Genesis exclaimed, so\nloudly that every one looked up. \"How in the livin' worl' you evuh come", "\"Wait, dearie!\" Mrs. Baxter begged, pacifically. \"I just want to\nexplain--\"\n\n\"'Explain'! Ye gods!\"" ], [ "She was merely looking at William and thinking of Mr. Parcher.\n\n\n\n\nIX\n\nLITTLE SISTERS HAVE BIG EARS", "It was Jane who took up the tale. She had been listening with growing\nexcitement, her eyes fixed piercingly upon William. \"He's got a beard!\"", "Thus a shrill voice, to his ears hideously different from that other,\ninterrupted and dispersed his visions. Little Jane, his ten-year-old", "\"Well, let her!\" returned William, still severe.\n\n\"They said she was goin' to bring a girl to visit her,\" Johnnie began in\na confidential tone. \"They said she was a reg'lar ringdinger and--\"", "William's feet and his breath halted spasmodically. For an instant he\nthought she had spoken to him, and then for the first time he perceived", "Not so with William; his cheeks were flushed, his eyes indignant. \"You\nsee what this child is doing?\" he demanded. \"Are you going to let her\nruin everything?\"", "But William would turn to her, and, with the old, dancing light in his\neyes, \"No, Lola,\" he would say, \"not William, but Ickle Boy Baxter!", "(a small one, like William's) to the station, once, long ago, when she\nhad been visiting in another town. For just a moment she thought of that", "It was William who broke the silence. \"How--\" he began, and his voice\ntrembled a little. \"How--how do you--how do you think of me when I'm not\nwith you?\"", "And when they came to their own house again, there was William sitting\nalone and silent upon the steps of the porch.\n\n\"I thought you'd gone out, Willie,\" said his mother, as they paused\nbeside him.", "And with that she went hurriedly into William's room and made a brief\ninspection of his clothes-closet and dressing-table. Then, as Jane\nwatched her in awed silence, she strode to the window, and called,\nloudly:", "At every possible opportunity William hailed other girls with a hasty\n\"M'av the next 'thyou?\" but he was indeed unfortunate to have arrived so\nlate.", "She was mistaken in part. William had caught no reference to himself,\nbut he had overheard something and he was now alone in his room,", "Miss Pratt uttered a little scream of surprise and recognition. \"It's\nyour little sister!\" she exclaimed, and then, reverting to her favorite", "\"Who IS that CURIOUS child?\" said Miss Pratt, stopping.\n\nWilliam shuddered.\n\n\"Was she calling YOU?\" Miss Pratt asked, incredulously.", "She was interrupted by the loud, desperate sound of William's fist\nsmiting his writing-table, so sensitive was his condition. \"This is just\nunbearable!\" he cried. \"Nobody's business is safe from that child!\"", "\"Ma'am?\" said William, blankly, and the eyes he turned upon here were\nglassy with anxiety. He was still determined to dance on and on and on", "\"Go home!\" repeated William, and then, as Jane stood motionless and\ninarticulate, transfixed by her idea, he said, almost brokenly, to his", "\"I never saw anything as disgusting as long as I've lived!\" William\nannounced. \"I wouldn't 'a' believed it if anybody'd told me a sister of\nmine would eat after--\"", "William, to whom all was audible, shouted, hoarsely, \"I'll see to YOU!\"\nand disappeared from the window.\n\n\"Will he come down here?\" the little girl asked, taking a step toward\nthe gate." ], [ "and manfully as \"Baxter.\" Any direct expression of resentment, however,\nwas difficult, since it was plain that Johnnie Watson intended no\noffense whatever and but spoke out of custom.", "Mr. Baxter's evening clothes. \"Name o' goo'ness!\" Genesis exclaimed, so\nloudly that every one looked up. \"How in the livin' worl' you evuh come", "Mr. Baxter laughed. \"Well, I don't know what he'd do it ON! I don't\nsuppose he has more than a dollar in his possession.\"", "\"Come on,\" Mr. Baxter said to his wife. \"He's down on the Parchers'\nporch, not out in front here. Of course he can't hear you. It's three\nblocks and a half.\"", "\"Poor boy nothing!\" fumed Mr. Baxter. \"He's about lost his mind over\nthat Miss Pratt. Think of his coming out here and starting a regular", "\"My soul!\" said Mr. Baxter, under his breath. \"My soul!\"", "\"By George!\" Mr. Baxter got upon his feet. \"The way he talked at dinner,\nI could come pretty near believing he hasn't any more brains LEFT than", "Even now Mr. Baxter grew a little red as he remembered the remarkable\nletter he had written, a few weeks later, to the manager of a passing", "Mr. Baxter rose submissively and went upstairs to do as he was bid. But,\nafter fifteen or twenty minutes, during which his footsteps had\nbeen audible in various parts of the house, he called down over the\nbanisters:", "\"'Got to'!\" Mr. Baxter laughed a laugh that chilled the supplicant\nthrough and through. \"At your age I thought I was lucky if I had ANY", "\"Miss Boke, this is Mr. Baxter,\" said Mrs. Parcher, and she added, with\nwhat seemed to William hideous garrulity, \"He and you both came late,", "\"Do you?\" Mr. Baxter returned. \"Well, if you make it pretty short,\nyou've got just about long enough to tell us before your bedtime.\"\n\n\"I think he's married,\" said Jane.", "Mrs. Baxter screamed faintly.\n\n\"An' he got hung, mamma! If you don't believe it, you can ask One-eye\nBeljus--I guess HE knows! An' you can ask--\"", "Mr. Baxter, left alone, laughed quietly, lifted his neglected newspaper\nto obtain the light at the right angle, and then allowed it to languish\nupon his lap again. Frowning, he began to tap the floor with his shoe.", "In the hall, near the open front door, he came to a sudden halt,\nand Mrs. Baxter and Jane heard him calling loudly to the industrious\nGenesis:", "A person of this description was encountered upon the sidewalk within a\nhundred yards of his own home, and William Sylvanus Baxter saw her while", "On the wonderful evening of their first meeting William and Miss Pratt\nhad cozily arranged to be called, respectively, \"Ickle boy Baxter\" and", "Mr. Baxter paced the floor. \"Oh, I suppose they COULD manage it. They\ncould go to some little town and give false ages and--\" He broke off.\n\"Adelia was sure he had his suit-case?\"", "Mrs. Baxter paused, with her hand upon the key of the shaded electric\nlamp. \"I suppose so,\" she said. \"I think perhaps--\" For a moment or", "of one you called (Alias) Little Boy Baxter. As I sit here this morning\nthat you are going away at last I look back and I cannot rember any" ], [ "\"Oh, see the fun-ee laundrymans!\" she cried, addressing a cottony\ndoglet's head that bobbed gently up and down over her supporting arm.", "all. It was the figure of a tiny doglet, and it reposed upon the black\nmasculine knees that belonged to the evening bosom.", "But she was not satisfied. \"Where's that laundryman with the tin thing\non his head?\" she demanded. \"He ought to be arrested for having such a\ndog. It's HIS dog, isn't it? Where is he?\"", "Pratt, but she lets me play with that little dog. It's name's Flopit!\"", "her little parasol and her little dog--her exquisite face always lifted\nplayfully toward his own (with admiration underneath the playfulness),\nand he heard her voice of silver always rippling \"baby-talk\" throughout", "the fluffy head of the dog bobbing languidly over her arm, with the\nmotion of her walking, and he comprehended that Flopit, and not William", "She took his hand.\n\n\"Don't forget!\" she whispered. \"Don't forget Lola!\"\n\nHe stood stock-still. His face was blank, his hand limp. He said\nnothing.", "little dog Flopit in the crook of one arm; and a one-pound box of candy\nin the crook of the other--ineffable, radiant, starry, there she stood!", "\"If he owns that dog,\" asserted the still furious owner of Flopit, \"I\nWILL have him arrested. Where is he? Where is that laundryman?\"", "burden which she carried nestled in the inner curve of her right arm:\na tiny dog with hair like cotton and a pink ribbon round his neck--an", "\"Good ole doggie,\" he said, huskily. \"Hyuh, Clem! Hyuh, Clem!\"\n\nClematis moved sidelong, retreating with his head low and his tail\ndenoting anxious thoughts.", "Flopit did not smell like a dog; he smelled of violets.\n\n\n\n\nVI\n\nTRUCULENCE", "He maintained his silence and the accompanying icy dignity, whereupon\nshe made a charming little pout.\n\n\"Oo be so tross,\" she said, \"Lola talk to nice Man uvver side of her!\"", "shoulder, not one had fallen upon the tiny white doglet drowsing upon\nher arm. But William was wet--he was still more than merely damp, though\nthey had evidently walked some distance since the rain had ceased to", "his darlin' 'ickle run,\" said Flopit's mistress, setting the doglet upon\nthe ground. \"That's why sweetest Flopit and I and all of us came for a", "quality and a large quantity of persistence, and it was his hilarious\nopinion that the dog had not gone far. As a matter of fact, the head\nof Clematis was at this moment cautiously extended from behind the", "\"Dogs are always crazy 'bout me,\" they heard him say, for his high voice\nwas but too audible over all other sounds. \"Dogs and chuldren. I dunno", "\"Thishere laundryman,\" said Genesis, resuming--\"thishere laundryman what\nown the dog, I reckon he mus' hopped on 'at street-car what went by.\"", "And Genesis's dog, scratching himself at his master's feet, was the true\ncomplement of Genesis, for although he was a youngish dog, and had not", "To William's reddening ear Miss Pratt's voice came clearly as the\nchiming of tiny bells, for she spoke whimsically to her little dog in\nthat tinkling childlike fashion which was part of the spell she cast." ], [ "\"My soul!\" gasped Mr. Baxter. \"I thought I knew you pretty well, but you\ntalk like a stranger to ME! What is all this? What you WANT?\"\n\n\"A dress-suit!\" said William.", "\"You mean papa's evening clothes?\"\n\n\"Yes'm,\" said Jane. \"Willie's got 'em on.\"\n\n\"What!\"", "\"Oh, Willie, perhaps I didn't tell you, but--you remember I'd been\nmissing papa's evening clothes and looking everywhere for days and\ndays?\"\n\n\"Ye--es,\" huskily from William.", "But on Friday William disappeared after breakfast and did not return to\nlunch.\n\n\n\n\nXXIV\n\nCLOTHES MAKE THE MAN", "Of course William searched his dressing-table and his father's, although\nhe had been thoroughly over both once before that day. Next he went", "that William obtain from his father a guarantee to insure the return of\nthe garments in perfect condition. So that was hopeless. And wasn't it\nbetter, also, to wear clothes which had known only one previous occupant", "father's clothes. And that was a form of ruin not to be faced. In the\nprotective darkness and seclusion of William's bedroom, it is possible\nthat smarting eyes relieved themselves by blinking rather energetically;", "William himself interrupted her. He returned violently to the doorway,\nhis hair still tousled, and, standing upon the threshold, said, sternly:\n\n\"What is that child wearing her best dress for?\"", "enough to make fourteen dollars' worth, an' then Willie could have\nthe suit. Well, an' so Willie came home an' put everything he had that", "growing steadily more and more even. That is, as affected by William's\nsocial activities, it was uniformly bad. Nevertheless, after heavy\nbrooding, William decided to make one final appeal before he resorted to", "suit that was fit to be seen in. You're too young, Willie. I don't want\nyou to get your mind on such stuff, and if I have my way, you won't have", "But William was no more to be found than the missing apparel. William,\nin fact, after spending some time in the lower back hall, listening to", "people too often assume him to be. Thus with William's attire: he could\nill have borne any suggestion that it was not of the mode, but taking", "But William persisted heroically. \"Father--\" he said. \"Father, I have\ncome to--\"", "He had pleaded strongly for a \"dress-suit\" as a fitting recognition\nof his seventeenth birthday anniversary, but he had been denied by", "disguise from himself the damnatory fact that George had flitted with\nthe lady, while he, wretched William, had been permitted to take care of\nthe dog!", "This deliberate misinterpretation of his motives made it difficult for\nWilliam to speak. \"Do YOU think,\" he began, hoarsely, \"do you THINK--\"", "At this, the troubled William brought his eyes down from the porch roof\nand forgot his rehearsal. He lifted his hand appealingly. \"Father,\" he\nsaid, \"I GOT to have one!\"", "William was annoyed at being called \"Silly Bill\" in a public place, and\nhad not known how to object otherwise than by showing contempt for any\ntopic of conversation proposed by the offender. This latter, being of", "It was Jane who took up the tale. She had been listening with growing\nexcitement, her eyes fixed piercingly upon William. \"He's got a beard!\"" ], [ "But William would turn to her, and, with the old, dancing light in his\neyes, \"No, Lola,\" he would say, \"not William, but Ickle Boy Baxter!", "on the train that day! THEN I KNEW!\" \"And now, Lola?\" William would say.\n\"Do you understand me, NOW?\"", "So I could not call her Lass or Sadie\n So I will call her Milady\n By the sands of the sea\n She always will be", "\"Ess. It uz dest WEIRD!\" she answered. \"What ARE dat pitty names?\"\n\n\"I called you,\" said William, huskily and reverently, \"I called you 'My\nBaby-Talk Lady.'\"", "On the wonderful evening of their first meeting William and Miss Pratt\nhad cozily arranged to be called, respectively, \"Ickle boy Baxter\" and", "William, seated upon a stool at her feet, gazed up at the amber head,\ndivinely splashed by the rain of moonlight. The fire with which she", "Lola Pratt was gone!\n\nWet-eyed, her young hostess of the long summer turned away, and stumbled\nagainst William. \"Why, Willie Baxter!\" she cried, blinking at him.", "William's feet and his breath halted spasmodically. For an instant he\nthought she had spoken to him, and then for the first time he perceived", "It was William who broke the silence. \"How--\" he began, and his voice\ntrembled a little. \"How--how do you--how do you think of me when I'm not\nwith you?\"", "She declared that she loved to watch men smoke, and William's heart, as\nhe sat on the distant fence, was wrung and wrung again by the vision of", "She turned to William.\n\n\"COAX him to make pitty singin'? I LOVE his voice--I'm dest CRAZY over\nit. Isn't oo?\"", "Dizzy with enchantment, half suffocated, his heart melting within him,\nWilliam turned from the angelic sounds and fairy vision of the window.", "And with that she went hurriedly into William's room and made a brief\ninspection of his clothes-closet and dressing-table. Then, as Jane\nwatched her in awed silence, she strode to the window, and called,\nloudly:", "It was Jane who took up the tale. She had been listening with growing\nexcitement, her eyes fixed piercingly upon William. \"He's got a beard!\"", "\"I mean like this,\" William explained. \"F'rinstance, when you first\ncame, I always thought of you as 'Milady'--when I wrote that poem, you\nknow.\"", "\"Cousin Lola.\" (Thus they had broken down the tedious formalities of\ntheir first twenty minutes together.)", "Still and cold sat William. Let her talk to the Man at the other side\nof her as she would, and never so gaily, William knew that she was", "William's gravity became more and more profound. \"Yes, but how can they\npretend like that? Don't you think love is a sacred thing, Cousin Lola?\"", "to William. \"Good evening, William,\" she said, pleasantly. \"Don't you\nwant to dance?\"", "eloquently bitter that it might deserve some such title as A Passion\nBeside the Smoke-house. During the little time that William spent in\nthis sequestration he passed through phases of emotion which would have" ], [ "On a warm morning, ten days later, William stood pensively among his\nmother's flowerbeds behind the house, his attitude denoting a low state", "But William did know, definitely. He had set the baskets upon chairs,\nand now, with pale determination, he was proceeding to fill them. When\nhis task was completed the two baskets contained:", "This deliberate misinterpretation of his motives made it difficult for\nWilliam to speak. \"Do YOU think,\" he began, hoarsely, \"do you THINK--\"", "year when he tried to mend his broken doll, William laid the geranium\nblossoms in the cardboard box among the botanical and other relics.", "The door of the living-room was closed, muffling festal noises and\npermitting safe passage through the hall. William cast a hunted look\nover his shoulder; then he approached Clematis.", "Clematis wore his most misleading expression; a stranger would have\nthought him shy and easily turned from his purpose--but William was not", "William, life was of no more use to him. Out of the blue heaven of that\nbright morning's promise had fallen a pall, draping his soul in black", "In vain William murmured to himself, \"Flopit love ole friends best.\"\nPurple and black again descended upon his soul, for he could not", "William was annoyed at being called \"Silly Bill\" in a public place, and\nhad not known how to object otherwise than by showing contempt for any\ntopic of conversation proposed by the offender. This latter, being of", "William's pale, sad face showed a hint of color. With a pang he\nremembered the package of My Little Sweetheart All-Tobacco Cuban", "The laughter of William and Joe Bullitt, designed to express cordiality,\nsuddenly became flaccid and died. If Mr. Crooper had been a sensitive", "And what William's state of mind had become is matter for exorbitant\nconjecture. Jane, arriving at his locked door upon an errand, was bidden\nby a thick, unnatural voice to depart.", "William's ear was deaf to this account of the naming of Clematis; he\nwalked haughtily, but as rapidly as possible, trying to keep a little in", "The full horror of his position was revealed to William in the relieved,\nconfident, proprietor's smile of Miss Boke. For William lived by a code", "William's feet and his breath halted spasmodically. For an instant he\nthought she had spoken to him, and then for the first time he perceived", "William instantly divined the purpose of Clematis. It was debatable\nwhether Clematis had remained upon the premises after the departure of", "eloquently bitter that it might deserve some such title as A Passion\nBeside the Smoke-house. During the little time that William spent in\nthis sequestration he passed through phases of emotion which would have", "that she did not notice William, though she passed near enough to waft a\nbreath of violet scent to his wan nose. A fragment of her silver speech\ntinkled in his ear:", "William, gazing upon the fallen Plutarch, had just offered the\nexplanation, \"Somebody must 'a' thrown it at a bug or something, I\nguess,\" when the second explosion sent its reverberations through the\nhouse.", "William did not hear her. Moodily, he had discovered that there was\nsomething amiss with the buckle of his belt, and, having ungirded" ], [ "we saw her go. She got on the cars, an' it went with her in it. Honest,\nshe's gone away, Mr. Parcher.\"", "She took his hand.\n\n\"Don't forget!\" she whispered. \"Don't forget Lola!\"\n\nHe stood stock-still. His face was blank, his hand limp. He said\nnothing.", "Lola Pratt was gone!\n\nWet-eyed, her young hostess of the long summer turned away, and stumbled\nagainst William. \"Why, Willie Baxter!\" she cried, blinking at him.", "\"Well, I guess I must run home,\" she said. And with one lift of her\neyes to his and a shy laugh--laughter being a rare thing for Jane--she\nscampered quickly to the corner and was gone.", "Relieved, Mr. Parcher turned again to speak to Jane--but she was not\nthere. He caught but a glimpse of her, running up the street as fast as\nshe could, hand in hand with her companion.", "began to move. She stood there, on the lowest step, slowly gliding away\nfrom them, and in her eyes there was a sparkle of tears, left, it may", "the town would lie desolate, a hollow shell in the dust, without her.\nMiss Pratt would be gone--gone utterly--gone away on the TRAIN! But", "She hung it upon his arm, kissed him; and he departed in a desperate\nmanner.", "His symptoms, however, all pointed to its having fled; and his wife,\nlooking up from some computations in laundry charges, had but a vision", "in Iowa! Hasn't that girl left town yet?\"", "DEAR LOLA--I presume when you are reading these lines it will be this\nafternoon and you will be on the train moving rapidly away from this old", "With head bowed in thought she moved away, disappearing into the gray\ndusk, while Jane, on her part, left the window and went to the open", "hours past, she made her way between the tubs, and passed on down the\nstreet. Not till the three (and Flopit) were out of sight did William\ncome forth from the hedge.", "Miss Parcher who had been walking beside him, for the truant couple had\nmade their escape at the beginning of the Swedish lady's discourse.", "Jane walked submissively out of the door, leaving it open behind her.\nThen, having gone about six feet farther, she halted and, preserving a", "(a small one, like William's) to the station, once, long ago, when she\nhad been visiting in another town. For just a moment she thought of that", "Jane, who had accompanied them, immediately darted away, swinging her\nhat by its ribbon and skipping as lithesomely as if she had just come\nforth upon a cool morning.", "\"He just went home,\" said Jane. \"I was 'cross the street from your\nhouse, but I guess he didn't see me. He kept lookin' back at your house.\nMiss Pratt was on the porch.\"", "Mr. Baxter paced the floor. \"Oh, I suppose they COULD manage it. They\ncould go to some little town and give false ages and--\" He broke off.\n\"Adelia was sure he had his suit-case?\"", "Faster she glided; the engine passed from sight round a curve beyond a\nculvert, but for a moment longer they could see the little figure upon" ] ]

[ "How old is Lola?", "What is the first & last name of the boy who thinks he has fallen in love with Lola Pratt?", "What does William steal from his Father to impress Lola?", "How old is William sister's Jane?", "What is thee name of the Baxter's handyman?", "What does William hoard that Lola previously touched?", "What season did the Parcher family host Lola?", "What did Lola aspire to be?", "What was the name of Lola's white lap dog?", "Who disrupts the Baxter's family life during the summer?", "Why is Lola Pratt in town?", "What does Lola bring with her everywhere?", "What do William and his friends do all summer?", "How does William's family feel about Lola Pratt?", "What does William steal from his father?", "What is the title of the poem that William writes to Lola?", "Why did William get upset at his sister and handyman?", "How does Lola leave town?", "What does Lola want to become?", "Who were Lola Pratt's hosts?", "What was Lola aspiring to be?", "What did the Baxter's call Lola?", "What is William's 10-year old sister's name?", "What is the Baxter's handyman name?", "What is the name of Lola's lapdog?", "Why does William steal his father's dress suit?", "What did William call Lola in the poem?", "Why did William hoard dead flowers?", "How did Lola leave town?" ]

[ [ "18", "18" ], [ "William Baxter", "William Baxter" ], [ "William steals his Father's dress suit.", "Nice suit" ], [ "10 years old. ", "Ten" ], [ "Genesis.", "Genesis" ], [ "Dead flowers", "dead flowers" ], [ "Summer", "Summer" ], [ "Lola was an aspiring actress.", "Actress" ], [ "Flopit", "Flopit" ], [ "Lola Pratt", "Lola" ], [ "She is staying as guest at the Parcher family's house.", "Lola is there for the summer." ], [ "A small white lap dog.", "Babytalk" ], [ "They follow Lola Pratt around and try to get her attention.", "Try to get Lola's attention " ], [ "They are not fond of her.", "William's family doesn't share William's opinion of his babytalk lady." ], [ "Dress suits.", "Suit" ], [ "'Milady'", "Milady" ], [ "They didn't treat him like an adult.", "They test him like a child" ], [ "By train.", "On the train." ], [ "An actress.", "actress" ], [ "The Parcher family.", "Parcher family" ], [ "An actress.", "Actress" ], [ "The babytalk lady.", "Milady" ], [ "Jane.", "Jane" ], [ "Genesis.", "Genesis" ], [ "Flopit.", "Flopit" ], [ "To court Lola in the evenings.", "To court Lola in the evenings" ], [ "Milady", "Milady" ], [ "Because Lola touched them.", "Because Lola had touched them" ], [ "On the train.", "Train" ] ]

[ [ "SHREK\n Does anyone else know where to find \n him? Anyone at all?\n \n DONKEY\n Me! Me!", "SHREK\n (heavy sigh) All right. Who knows where \n this Farquaad guy is?", "down. Shrek and Donkey look at him then \n continue on into DuLoc.)\n \n DULOC", "SHREK\n What do you see?\n\n DONKEY\n The whole town's in there.\n\n Inside", "runs to the door and goes outside) Shrek! \n Shrek, there's something I want...(she \n looks and sees the rising sun, and as", "They look around but all is quiet.\n\n SHREK\n It's quiet. Too quiet. Where is everybody?\n \n \n DONKEY\n Hey, look at this!", "it into a balloon animal and presenting it to Shrek. The group \n arriving at a windmill that is near DuLoc.\n \n WINDMILL", "Shrek gets them close to the exit and sets down Donkey and Fiona.\n \n \n SHREK", "SHREK\n All right, hum it.\n\n Donkey begins to hum 'On the Road Again'.\n\n DULOC - KITCHEN", "SHREK\n There it is, Princess. Your future awaits \n you.\n \n FIONA\n That's DuLoc?", "of you shall prove himself...\n \n As Shrek and Donkey walk down the tunnel to get into the arena \n Donkey is humming the DuLoc theme song.", "place. Is that about right?\n \n SHREK\n You know, maybe there's a good reason", "SHREK\n Yeah. An ogre.\n\n DONKEY\n Hey, where you goin'?", "SHREK\n To get... move firewood. (sighs)\n\n Donkey looks over at the large pile of firewood there already \n is.\n \n TIME LAPSE", "Shrek and Donkey come out of the field that is right by the parking \n lot. The castle itself is about 40 stories high.", "and back where you came from! (Pause. \n Then the crowd goes wild.) Oh! (to Donkey) \n You! You're comin' with me.", "SHREK\n Really?\n\n DONKEY\n Really, really.\n\n SHREK\n Oh.", "Donkey faints. Shrek walks over and picks him up as they continue \n on their way.\n \n There is a montage of scenes as the group heads back to DuLoc.", "Shrek is getting ready for dinner. He sits himself down and lights \n a candle made out of earwax. He begins to eat when he hears a", "me, so I guess outside is best, you \n know. Here I go. Good night. (Shrek \n slams the door.) (sigh) I mean, I do" ], [ "Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only", "Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly \n at her image in the mirror.\n \n MORNING", "for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes", "The camera pans over a lot of wedding stuff. Soft music plays \n in the background. Farquaad is in bed, watching as the Magic", "The Gingerbread Man is pulled out of the milk and slammed down \n onto a cookie sheet. Farquaad laughs as he walks over to the", "FARQUAAD\n I'll have you locked back in that tower \n for the rest of your days! I'm king!\n \n \n Shrek manages to get a hand free and he whistles.", "FARQUAAD\n Ugh! It's disgusting! Guards! Guards! \n I order you to get that out of my sight", "Lord Farquaad tomorrow before the sun \n sets and he sees me like this. (begins \n to cry)", "Mirror shows him Princess Fiona.\n \n FARQUAAD\n Again, show me again. Mirror, mirror,", "A masked man is torturing the Gingerbread Man. He's continually \n dunking him in a glass of milk. Lord Farquaad walks in.", "FIONA\n Lord Farquaad? Oh, no, no. (Farquaad \n snaps his fingers) Forgive me, my lord,", "FARQUAAD\n Oh, this is precious. The ogee has fallen \n in love with the princess! Oh, good", "FARQUAAD\n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have", "show up and the dragon leans down and \n eats Farquaad) Aaaah! Aah!\n \n DONKEY", "FARQUAAD\n Uh, Thelonius. (Thelonius holds up a", "It's just a donkey.\n \n FARQUAAD\n Indeed. Knights, new plan! The one who", "FARQUAAD\n That's enough. He's ready to talk.", "Let me put it this way, Princess. Men \n of Farquaad's stature are in short supply. \n (he and Donkey laugh)", "FARQUAAD\n (chuckles and then motions to the priest \n to indulge Fiona) Go on.", "to her waist.) farewell.\n \n FARQUAAD\n Oh, that is so sweet. You don't have" ], [ "for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes", "Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only", "FIONA\n Lord Farquaad? Oh, no, no. (Farquaad \n snaps his fingers) Forgive me, my lord,", "SHREK\n Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you.", "Lord Farquaad tomorrow before the sun \n sets and he sees me like this. (begins \n to cry)", "Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly \n at her image in the mirror.\n \n MORNING", "Mirror shows him Princess Fiona.\n \n FARQUAAD\n Again, show me again. Mirror, mirror,", "SHREK\n (turns to look at Donkey and then back \n at Farquaad) Ah, that's not very nice.", "FARQUAAD\n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have", "FARQUAAD\n I'm not the monster here. You are. You \n and the rest of that fairy tale trash,", "Let me put it this way, Princess. Men \n of Farquaad's stature are in short supply. \n (he and Donkey laugh)", "FARQUAAD\n I'll have you locked back in that tower \n for the rest of your days! I'm king!\n \n \n Shrek manages to get a hand free and he whistles.", "It's just a donkey.\n \n FARQUAAD\n Indeed. Knights, new plan! The one who", "FARQUAAD\n Uh, Thelonius. (Thelonius holds up a", "DONKEY\n Princess, how 'bout if you don't marry \n Farquaad?\n \n FIONA", "FARQUAAD\n Who cares? It's preposterous! Fiona, \n my love, we're but a kiss away from", "The camera pans over a lot of wedding stuff. Soft music plays \n in the background. Farquaad is in bed, watching as the Magic", "THELONIUS\n Three! (holds up 2 fingers) Pick number \n three, my lord!\n \n FARQUAAD\n Okay, okay, uh, number three!", "to her waist.) farewell.\n \n FARQUAAD\n Oh, that is so sweet. You don't have", "FARQUAAD\n Oh, this is precious. The ogee has fallen \n in love with the princess! Oh, good" ], [ "out, as agreed. Take it and go before \n I change my mind. (Shrek takes the paper) \n Forgive me, Princess, for startling", "SHREK\n Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you.", "FIONA\n Lord Farquaad, I accept. Nothing would \n make - -", "FARQUAAD\n Indeed. All right, ogre. I'll make you \n a deal. Go on this quest for me, and", "SHREK\n (turns to look at Donkey and then back \n at Farquaad) Ah, that's not very nice.", "FARQUAAD\n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have", "FARQUAAD\n No, I have a better idea. People of \n DuLoc, I give you our champion!\n \n SHREK\n What?", "FARQUAAD\n I'll have you locked back in that tower \n for the rest of your days! I'm king!\n \n \n Shrek manages to get a hand free and he whistles.", "FIONA\n Lord Farquaad? Oh, no, no. (Farquaad \n snaps his fingers) Forgive me, my lord,", "runs to the door and goes outside) Shrek! \n Shrek, there's something I want...(she \n looks and sees the rising sun, and as", "They smiles at each other.\n\n SHREK\n Um, Princess?\n\n FIONA\n Yes, Shrek?", "You're crazy. I'm just bringing her \n back to Farquaad.\n \n DONKEY", "Oh!\n \n SHREK\n That'll do, Donkey. That'll do. (walks \n towards the castle)", "SHREK\n (heavy sigh) All right. Who knows where \n this Farquaad guy is?", "SHREK\n Really?\n\n DONKEY\n Really, really.\n\n SHREK\n Oh.", "DONKEY\n Yeah, I know. You know, Shrek thinks \n Lord Farquaad's compensating for something,", "for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes", "SHREK\n Yes? Yes, do it. Okay. (continues to \n bounce and sway as he backs Donkey across", "Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only", "FARQUAAD\n Very well, ogre. (holds out a piece \n of paper) The deed to your swamp, cleared" ], [ "over with Fiona on top of him)\n \n DONKEY\n Ahem.", "Donkey just looks up at her.\n\n HEAD GUARD\n Well?", "good night. (goes into the cave and \n puts the bark door up behind her)\n \n \n DONKEY", "quickly to safety as the dragon looks angry and then gives a \n sad whimper as she watches Donkey walk away.\n \n FIONA", "As the priest talks we see Donkey's shadow through one of the \n windows Shrek tosses him up so he can see.", "DONKEY\n (still aimed at her stomach) Listen, \n keep breathing! I'll get you out of \n there!\n \n FIONA\n No!", "DONKEY\n There you are , doing it again just \n like you did to Fiona. All she ever", "He walks up to the door and pauses outside when he hears Donkey \n and Fiona talking.\n \n FIONA", "It's just a donkey.\n \n FARQUAAD\n Indeed. Knights, new plan! The one who", "hands, and her cage drops on Donkey's head. He gets sprinkled \n with fairy dust and he's able to fly.\n \n DONKEY", "OLD WOMAN\n No, no, he talks! He does. (pretends \n to be Donkey) I can talk. I love to", "FIONA\n Oh, no!\n\n DONKEY\n No, help!\n\n FIONA\n Shh!", "DONKEY\n Blue flower, red thorns. Okay, I'm on \n it. Blue flower, red thorns. Don't die", "DONKEY\n Aah!\n\n FIONA\n It's me, in this body.", "A little time has passed and Fiona has calmed down. She just \n hangs there limply while Shrek carries her.\n \n DONKEY", "DONKEY\n (quietly) Mmm, yeah, you know I like \n it like that. Come on, baby. I said", "up with her teeth and carries him off) \n No! Shrek! Shrek! Shrek!\n \n FIONA'S ROOM", "Donkey looks into her eyes as she pets his muzzle, and he quiets \n down.\n \n DONKEY", "He runs inside without catching Donkey, who hits the ground hard.\n \n \n INSIDE CHURCH", "DONKEY\n I guess it's just my animal magnetism.\n \n \n They both laugh." ], [ "Shrek looks at Donkey for a second and then goes to move the \n boulder back in front of the entrance to the cave with Fiona \n still inside.", "SHREK\n Okay, fine. I don't have time for this. \n You go back.\n \n DONKEY\n Shrek, no! Wait!", "Shrek sneaks up behind them and laughs.", "men shrink back away from him. Shrek roars very loudly and long \n and his breath extinguishes all the remaining torches until the \n men are in the dark.", "DONKEY\n (heaves a big sigh) Hey, Shrek, what \n we gonna do when we get our swamp anyway?", "Okay, you two, heard for the exit! I'll \n take care of the dragon.\n \n Shrek grabs a sword and heads back toward the interior of the", "Shrek is getting ready for dinner. He sits himself down and lights \n a candle made out of earwax. He begins to eat when he hears a", "Shrek groans as he gets up off the floor. His back is to Fiona \n so she straightens her dress and lays back down on the bed. She", "Shrek turns and goes over to her. He looks down at Fiona for \n a moment and she puckers her lips. Shrek takes her by the shoulders \n and shakes her away.", "DONKEY\n (chuckles) I was hoping this would be \n a happy ending.\n \n Shrek and Fiona kiss...and the kiss fades into...\n\n THE SWAMP", "DONKEY\n No, you back off.\n\n SHREK\n This is my swamp!\n\n DONKEY\n Our swamp.", "Shrek steps back in shock.", "runs to the door and goes outside) Shrek! \n Shrek, there's something I want...(she \n looks and sees the rising sun, and as", "SHREK\n We? Donkey, there's no \"we\". There's \n no \"our\". There's just me and my swamp.", "out, as agreed. Take it and go before \n I change my mind. (Shrek takes the paper) \n Forgive me, Princess, for startling", "They are once again on their way. They are walking through the \n forest. Shrek belches.\n \n DONKEY\n Shrek!", "me, so I guess outside is best, you \n know. Here I go. Good night. (Shrek \n slams the door.) (sigh) I mean, I do", "for a moment then he spots the guards coming up the path. He \n quickly hides behind Shrek.\n \n HEAD GUARD", "Shrek marches over to the bedroom and throws back the curtain. \n The Big Bad Wolf is sitting in the bed. The wolf just looks at \n him.\n \n BIG BAD WOLF\n What?", "I'll give you your swamp back.\n \n SHREK\n Exactly the way it was?" ], [ "SHREK\n Well, yeah. But the wall's supposed \n to go around my swamp, not through it.", "Shrek. You all right. (They come over \n a hill and you can see Shrek's cottage.) \n Whoa! Look at that. Who'd want to live", "Shrek looks at Donkey for a second and then goes to move the \n boulder back in front of the entrance to the cave with Fiona \n still inside.", "Shrek is getting ready for dinner. He sits himself down and lights \n a candle made out of earwax. He begins to eat when he hears a", "me, so I guess outside is best, you \n know. Here I go. Good night. (Shrek \n slams the door.) (sigh) I mean, I do", "runs to the door and goes outside) Shrek! \n Shrek, there's something I want...(she \n looks and sees the rising sun, and as", "You cut me deep, Shrek. You cut me real \n deep just now. You know what I think? \n I think this whole wall thing is just", "SHREK\n Donkey, I'm warning you.\n\n DONKEY\n Who you trying to keep out?", "for a moment then he spots the guards coming up the path. He \n quickly hides behind Shrek.\n \n HEAD GUARD", "in place like that?\n \n SHREK\n That would be my home.", "Shrek is eating dinner when he hears a sound outside. He goes \n outside to investigate.\n \n SHREK", "SHREK\n Homey touches? Like what? (he hears \n a tearing noise and looks over at Fiona", "men shrink back away from him. Shrek roars very loudly and long \n and his breath extinguishes all the remaining torches until the \n men are in the dark.", "Shrek has found a cave that appears to be in good order. He shoves \n a stone boulder out of the way to reveal the cave.\n \n SHREK\n Hey! Over here.", "Why don't you want to talk about it?\n \n \n SHREK\n Why do you want to talk about it?", "Shrek turns and goes over to her. He looks down at Fiona for \n a moment and she puckers her lips. Shrek takes her by the shoulders \n and shakes her away.", "considered a freak. (pause while he \n looks at Shrek) Well, maybe you do. \n But that's why we gotta stick together.", "stops and she runs into him.) Oh! (Shrek \n ignores her and heads for a wooden door \n off to the side.) Wait. Where are you", "Shrek has built a fire and is cooking the rest of dinner while \n Fiona eats.\n \n FIONA", "Shrek sneaks up behind them and laughs." ], [ "goes flying through the air and crashes through the roof of the \n tallest tower. Fiona wakes up with a jerk and looks at him lying \n on the floor.", "Suddenly the magic of the spell pulls Fiona away. She's lifted \n up into the air and she hovers there while the magic works around \n her.", "She smiles and then continues walking, singing softly. Suddenly \n from out of nowhere, a man swings down and swoops Fiona up into \n a tree.", "FIONA\n (jumps up) Sunset? Oh, no! I mean, it's \n late. I-It's very late.", "Fiona walks out of the cave. She glances at Shrek and Donkey \n who are still sleeping. She wanders off into the woods and comes", "FIONA\n Oh! Oh!", "Another fight sequence begins and Fiona gives a karate yell and \n then proceeds to beat the crap out of the Merry Men. There is", "FIONA\n (looking at the setting sun) \"By night \n one way, by day another.\" (to Shrek)", "Suddenly Fiona falls from the railing. She gets up only she doesn't \n look like herself. She looks like an ogre and Donkey starts freaking \n out.", "You want me to read you a bedtime story? \n I will.\n \n FIONA\n (os) I said good night!", "FIONA\n Good night.\n\n SHREK\n Good night.", "Fiona comes out the door and watches him walk away. She looks \n down and spots the sunflower. She picks it up before going back \n inside the windmill.", "FIONA\n Well...(laughs) when one lives alone, \n uh, one has to learn these things in", "At this point Fiona pulls the 'door' away from the entrance to \n the cave and peaks out. Neither of the guys see her.\n \n SHREK", "Fiona puts the door back.", "over with Fiona on top of him)\n \n DONKEY\n Ahem.", "FIONA\n I tell him, I tell him not. I tell him, \n I tell him not. I tell him. (she quickly", "Shrek breaks the lock on her door and pulls her out and down \n the hallway.\n \n FIONA", "you?\n \n FIONA\n Yes! Yes, that's it. I'm terrified.", "big and the bird explodes. Fiona looks a little sheepish, but \n she eyes the eggs that the bird left behind. Time lapse, Fiona" ], [ "The Gingerbread Man is pulled out of the milk and slammed down \n onto a cookie sheet. Farquaad laughs as he walks over to the", "Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only", "for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes", "show up and the dragon leans down and \n eats Farquaad) Aaaah! Aah!\n \n DONKEY", "FIONA\n Lord Farquaad? Oh, no, no. (Farquaad \n snaps his fingers) Forgive me, my lord,", "Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly \n at her image in the mirror.\n \n MORNING", "the edge!\n \n The dragon belches and Farquaad's crown flies out of her mouth \n and falls to the ground.", "Lord Farquaad tomorrow before the sun \n sets and he sees me like this. (begins \n to cry)", "It's just a donkey.\n \n FARQUAAD\n Indeed. Knights, new plan! The one who", "to her waist.) farewell.\n \n FARQUAAD\n Oh, that is so sweet. You don't have", "FARQUAAD\n Oh, this is precious. The ogee has fallen \n in love with the princess! Oh, good", "Shrek smashes a chair over the guys back. Finally all the men \n are down. Donkey kicks one of them in the helmet, and the ding", "FARQUAAD\n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have", "The camera pans over a lot of wedding stuff. Soft music plays \n in the background. Farquaad is in bed, watching as the Magic", "They all start screaming as the dragon gains on them. Shrek spots \n a descending slide and jumps on. But unfortunately there is a", "He pulls on the chain and it releases and he falls down and bumps \n Donkey out of the way right as the dragon is about to kiss him.", "THELONIUS\n Three! (holds up 2 fingers) Pick number \n three, my lord!\n \n FARQUAAD\n Okay, okay, uh, number three!", "FIONA\n Lord Farquaad, I accept. Nothing would \n make - -", "FARQUAAD\n I'll have you locked back in that tower \n for the rest of your days! I'm king!\n \n \n Shrek manages to get a hand free and he whistles.", "(waves the torch at Shrek.)\n \n Shrek calmly licks his fingers and extinguishes the torch. The" ], [ "SHREK\n Yeah. An ogre.\n\n DONKEY\n Hey, where you goin'?", "Shrek is getting ready for dinner. He sits himself down and lights \n a candle made out of earwax. He begins to eat when he hears a", "SHREK\n Really?\n\n DONKEY\n Really, really.\n\n SHREK\n Oh.", "DONKEY\n Shrek! Shrek! Shrek!\n\n FIONA\n No, it's okay. It's okay.", "SHREK\n Wake up!\n\n FIONA\n What?\n\n SHREK\n Are you Princess Fiona?", "SHREK\n Once upon a time there was a lovely \n princess. But she had an enchantment", "SHREK\n Yes, well, actually, that would be a \n giant. Now, ogres, oh they're much worse.", "But, you know, um, you're kind of an \n orge, and Shrek - - well, you got a \n lot in common.", "SHREK\n Okay! Easy. As you command. Your Highness. \n (takes off his helmet)\n \n FIONA\n You- - You're a- - an ogre.", "SHREK\n Yeah? Well, it does. (Fiona looks at \n him in shock. He looks past her and", "SHREK\n For your information, there's a lot \n more to ogres than people think.\n \n DONKEY\n Example?", "considered a freak. (pause while he \n looks at Shrek) Well, maybe you do. \n But that's why we gotta stick together.", "Shrek. You all right. (They come over \n a hill and you can see Shrek's cottage.) \n Whoa! Look at that. Who'd want to live", "SHREK\n (laughs) I just- - You know - - Oh, \n come on. I was just kidding.\n \n LATER THAT NIGHT", "men shrink back away from him. Shrek roars very loudly and long \n and his breath extinguishes all the remaining torches until the \n men are in the dark.", "Shrek is eating dinner when he hears a sound outside. He goes \n outside to investigate.\n \n SHREK", "DONKEY\n Shrek! Shrek! Shrek!\n\n FIONA\n Shh.\n\n DONKEY\n Shrek!", "runs to the door and goes outside) Shrek! \n Shrek, there's something I want...(she \n looks and sees the rising sun, and as", "FIONA\n Okay. Okay. I can nearly see the head. \n (Shrek grunts as she pulls) It's just", "SHREK\n Example? Okay, um, ogres are like onions. \n (he holds out his onion)\n \n DONKEY\n (sniffs the onion) They stink?" ], [ "The Gingerbread Man is pulled out of the milk and slammed down \n onto a cookie sheet. Farquaad laughs as he walks over to the", "Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly \n at her image in the mirror.\n \n MORNING", "for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes", "Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only", "FARQUAAD\n I'll have you locked back in that tower \n for the rest of your days! I'm king!\n \n \n Shrek manages to get a hand free and he whistles.", "The camera pans over a lot of wedding stuff. Soft music plays \n in the background. Farquaad is in bed, watching as the Magic", "Okay, I'll tell you. Do you know the \n muffin man?\n \n FARQUAAD", "Mirror shows him Princess Fiona.\n \n FARQUAAD\n Again, show me again. Mirror, mirror,", "FARQUAAD\n I'm not the monster here. You are. You \n and the rest of that fairy tale trash,", "FARQUAAD\n Ugh! It's disgusting! Guards! Guards! \n I order you to get that out of my sight", "FIONA\n Lord Farquaad? Oh, no, no. (Farquaad \n snaps his fingers) Forgive me, my lord,", "show up and the dragon leans down and \n eats Farquaad) Aaaah! Aah!\n \n DONKEY", "FARQUAAD\n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have", "And stay out! (looks down and picks \n up a piece of paper. Reads.) \"Wanted. \n Fairy tale creatures.\"(He sighs and", "Lord Farquaad tomorrow before the sun \n sets and he sees me like this. (begins \n to cry)", "SHREK\n (heavy sigh) All right. Who knows where \n this Farquaad guy is?", "SHREK\n Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you.", "FARQUAAD\n That's enough. He's ready to talk.", "just so Farquaad will give you back \n a swamp which you only don't have because \n he filled it full of freaks in the first", "to her waist.) farewell.\n \n FARQUAAD\n Oh, that is so sweet. You don't have" ], [ "FIONA\n Lord Farquaad? Oh, no, no. (Farquaad \n snaps his fingers) Forgive me, my lord,", "Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly \n at her image in the mirror.\n \n MORNING", "FIONA\n Lord Farquaad, I accept. Nothing would \n make - -", "up with her teeth and carries him off) \n No! Shrek! Shrek! Shrek!\n \n FIONA'S ROOM", "for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes", "FARQUAAD\n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have", "Shrek breaks the lock on her door and pulls her out and down \n the hallway.\n \n FIONA", "Fiona and Farquaad are getting married. The whole town is there. \n The prompter card guy holds up a card that says 'Revered Silence'.", "Mirror shows him Princess Fiona.\n \n FARQUAAD\n Again, show me again. Mirror, mirror,", "You're crazy. I'm just bringing her \n back to Farquaad.\n \n DONKEY", "The camera pans over a lot of wedding stuff. Soft music plays \n in the background. Farquaad is in bed, watching as the Magic", "SHREK\n Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you.", "FARQUAAD\n Who cares? It's preposterous! Fiona, \n my love, we're but a kiss away from", "FIONA\n I am, awaiting a knight so bold as to \n rescue me.\n \n SHREK\n Oh, that's nice. Now let's go!", "MIRROR\n Lord Farquaad, you've chosen Princess \n Fiona.", "Fiona walks out of the cave. She glances at Shrek and Donkey \n who are still sleeping. She wanders off into the woods and comes", "FARQUAAD\n (hold a dagger to Fiona's throat) And \n as for you, my wife...\n \n SHREK\n Fiona!", "SHREK\n There it is, Princess. Your future awaits \n you.\n \n FIONA\n That's DuLoc?", "FARQUAAD\n (chuckles and then motions to the priest \n to indulge Fiona) Go on.", "Shrek turns and goes over to her. He looks down at Fiona for \n a moment and she puckers her lips. Shrek takes her by the shoulders \n and shakes her away." ], [ "SHREK\n Ya comin', Donkey?\n\n DONKEY\n I'm right behind ya.", "DONKEY\n Shrek! Shrek! Shrek!\n\n FIONA\n Shh.\n\n DONKEY\n Shrek!", "Shrek and Donkey are sitting around a campfire. They are staring \n up into the sky as Shrek points out certain star constellations \n to Donkey.", "SHREK\n Really?\n\n DONKEY\n Really, really.\n\n SHREK\n Oh.", "DONKEY\n Shrek! Shrek! Shrek!\n\n FIONA\n No, it's okay. It's okay.", "They are once again on their way. They are walking through the \n forest. Shrek belches.\n \n DONKEY\n Shrek!", "SHREK\n Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you.", "SHREK\n (turns to look at Donkey and then back \n at Farquaad) Ah, that's not very nice.", "and runs off. Shrek laughs and goes back about his business and \n begins walking back to his cottage.\n \n DONKEY", "SHREK\n Yeah. An ogre.\n\n DONKEY\n Hey, where you goin'?", "DONKEY\n Go ahead, Shrek.\n\n SHREK\n Uh, Fiona?\n\n FIONA\n Yes, Shrek?", "Donkey faints. Shrek walks over and picks him up as they continue \n on their way.\n \n There is a montage of scenes as the group heads back to DuLoc.", "SHREK\n Does anyone else know where to find \n him? Anyone at all?\n \n DONKEY\n Me! Me!", "SHREK\n (heavy sigh) All right. Who knows where \n this Farquaad guy is?", "SHREK\n Come on, Donkey. I'm right here beside \n ya, okay? For emotional support., we'll", "Shrek and Donkey are walking up to the keep that's supposed to \n house Princess Fiona. It appears to look like a giant volcano.", "Donkey gasps and takes off running as the dragon roars again. \n Shrek manages to grab Donkey out of the way just as the dragon \n breathes fire.", "SHREK\n Yes? Yes, do it. Okay. (continues to \n bounce and sway as he backs Donkey across", "SHREK\n Okay, fine. I don't have time for this. \n You go back.\n \n DONKEY\n Shrek, no! Wait!", "Fiona walks out of the cave. She glances at Shrek and Donkey \n who are still sleeping. She wanders off into the woods and comes" ], [ "SHREK\n Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you.", "out, as agreed. Take it and go before \n I change my mind. (Shrek takes the paper) \n Forgive me, Princess, for startling", "FIONA\n I am, awaiting a knight so bold as to \n rescue me.\n \n SHREK\n Oh, that's nice. Now let's go!", "FARQUAAD\n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have", "just so Farquaad will give you back \n a swamp which you only don't have because \n he filled it full of freaks in the first", "FARQUAAD\n (hold a dagger to Fiona's throat) And \n as for you, my wife...\n \n SHREK\n Fiona!", "SHREK\n I'm not going to.\n\n FIONA\n Take it off.\n\n SHREK\n No!", "DONKEY\n (chuckles) I was hoping this would be \n a happy ending.\n \n Shrek and Fiona kiss...and the kiss fades into...\n\n THE SWAMP", "FIONA\n Good night.\n\n SHREK\n Good night.", "FIONA\n Okay. Okay. I can nearly see the head. \n (Shrek grunts as she pulls) It's just", "FIONA\n Lord Farquaad? Oh, no, no. (Farquaad \n snaps his fingers) Forgive me, my lord,", "FIONA\n Please. I would'st look upon the face \n of my rescuer.\n \n SHREK\n No, no, you wouldn't - - 'st.", "Shrek looks at Donkey for a second and then goes to move the \n boulder back in front of the entrance to the cave with Fiona \n still inside.", "FARQUAAD\n I'll have you locked back in that tower \n for the rest of your days! I'm king!\n \n \n Shrek manages to get a hand free and he whistles.", "up to you. I mean, after all, you did \n rescue me.\n \n SHREK\n Uh, thanks.", "FARQUAAD\n No, I have a better idea. People of \n DuLoc, I give you our champion!\n \n SHREK\n What?", "SHREK\n Wake up!\n\n FIONA\n What?\n\n SHREK\n Are you Princess Fiona?", "Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly \n at her image in the mirror.\n \n MORNING", "SHREK\n There it is, Princess. Your future awaits \n you.\n \n FIONA\n That's DuLoc?", "Shrek turns and goes over to her. He looks down at Fiona for \n a moment and she puckers her lips. Shrek takes her by the shoulders \n and shakes her away." ], [ "love's true form. Take love's true form.\"\n \n \n Suddenly Fiona's eyes open wide. She's consumed by the spell", "FIONA\n You just tell her she's not your true \n love. Everyone knows what happens when \n you find your...(Shrek drops her on", "FIONA\n And what do you know about true love?\n \n \n SHREK\n Well, I - - Uh - - I mean - -", "WHISPERS\n \"Until you find true love's first kiss \n and then take love's true form. Take", "Both Donkey and Shrek burst out laughing.\n\n DONKEY\n You think Shrek is your true love!\n \n \n FIONA\n What is so funny?", "upon her of a fearful sort which could \n only be broken by love's first kiss. \n She was locked away in a castle guarded", "FIONA\n (os) My only chance to live happily \n ever after is to marry my true love.", "Be still, mon cherie, for I am you savior! \n And I am rescuing you from this green...(kisses \n up her arm while Fiona pulls back in", "Suddenly the magic of the spell pulls Fiona away. She's lifted \n up into the air and she hovers there while the magic works around \n her.", "FIONA\n (looking at the setting sun) \"By night \n one way, by day another.\" (to Shrek)", "true love's first kiss... and then take \n love's true form.\"\n \n DONKEY", "Ah, that's beautiful. I didn't know \n you wrote poetry.\n \n FIONA", "She smiles and then continues walking, singing softly. Suddenly \n from out of nowhere, a man swings down and swoops Fiona up into \n a tree.", "What do you mean? Look, I ain't never \n seen you like this before.\n \n FIONA", "FIONA\n No, it's destiny. Oh, you must know \n how it goes. A princess locked in a", "Suddenly Fiona falls from the railing. She gets up only she doesn't \n look like herself. She looks like an ogre and Donkey starts freaking \n out.", "Princess Fiona, beautiful, fair, flawless \n Fiona. I ask your hand in marriage. \n Will you be the perfect bride for the \n perfect groom?", "I don't know. There are those who think \n little of him. (they laugh again) Fiona: \n Stop it. Stop it, both of you. You're", "FIONA\n Please. I would'st look upon the face \n of my rescuer.\n \n SHREK\n No, no, you wouldn't - - 'st.", "goes flying through the air and crashes through the roof of the \n tallest tower. Fiona wakes up with a jerk and looks at him lying \n on the floor." ], [ "Fiona and Farquaad are getting married. The whole town is there. \n The prompter card guy holds up a card that says 'Revered Silence'.", "FARQUAAD\n Who cares? It's preposterous! Fiona, \n my love, we're but a kiss away from", "Shrek turns and goes over to her. He looks down at Fiona for \n a moment and she puckers her lips. Shrek takes her by the shoulders \n and shakes her away.", "SHREK\n (running toward the alter) I object!\n \n \n FIONA\n Shrek?\n\n The whole congregation gasps as they see Shrek.", "FIONA\n Lord Farquaad? Oh, no, no. (Farquaad \n snaps his fingers) Forgive me, my lord,", "Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly \n at her image in the mirror.\n \n MORNING", "...their wedding kiss. Shrek and Fiona are now married. 'I'm \n a Believer' by Smashmouth is played in the background. Shrek", "The camera pans over a lot of wedding stuff. Soft music plays \n in the background. Farquaad is in bed, watching as the Magic", "for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes", "FIONA\n Lord Farquaad, I accept. Nothing would \n make - -", "FARQUAAD\n (hold a dagger to Fiona's throat) And \n as for you, my wife...\n \n SHREK\n Fiona!", "FARQUAAD\n (interrupting) Excellent! I'll start \n the plans, for tomorrow we wed!", "FARQUAAD\n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have", "FARQUAAD\n (chuckles and then motions to the priest \n to indulge Fiona) Go on.", "Mirror shows him Princess Fiona.\n \n FARQUAAD\n Again, show me again. Mirror, mirror,", "Shrek groans as he gets up off the floor. His back is to Fiona \n so she straightens her dress and lays back down on the bed. She", "FIONA\n I am, awaiting a knight so bold as to \n rescue me.\n \n SHREK\n Oh, that's nice. Now let's go!", "SHREK\n Wake up!\n\n FIONA\n What?\n\n SHREK\n Are you Princess Fiona?", "Shrek breaks the lock on her door and pulls her out and down \n the hallway.\n \n FIONA", "Shrek and Fiona kiss. Thelonius takes one of the cards and writes \n 'Awwww' on the back and then shows it to the congregation.\n \n \n CONGREGATION\n Aawww!" ], [ "show up and the dragon leans down and \n eats Farquaad) Aaaah! Aah!\n \n DONKEY", "Eat me! (He spits milk into Farquaad's \n eye.)\n \n FARQUAAD", "The Gingerbread Man is pulled out of the milk and slammed down \n onto a cookie sheet. Farquaad laughs as he walks over to the", "the edge!\n \n The dragon belches and Farquaad's crown flies out of her mouth \n and falls to the ground.", "Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly \n at her image in the mirror.\n \n MORNING", "Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only", "for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes", "around to catch the bugs. She then hands it to Shrek who begins \n eating like it's a treat. As he walks off she licks her fingers.", "to her waist.) farewell.\n \n FARQUAAD\n Oh, that is so sweet. You don't have", "FARQUAAD\n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have", "FARQUAAD\n Oh, this is precious. The ogee has fallen \n in love with the princess! Oh, good", "It's just a donkey.\n \n FARQUAAD\n Indeed. Knights, new plan! The one who", "FIONA\n Lord Farquaad? Oh, no, no. (Farquaad \n snaps his fingers) Forgive me, my lord,", "They all start screaming as the dragon gains on them. Shrek spots \n a descending slide and jumps on. But unfortunately there is a", "FARQUAAD\n (chuckles and then motions to the priest \n to indulge Fiona) Go on.", "Mirror shows him Princess Fiona.\n \n FARQUAAD\n Again, show me again. Mirror, mirror,", "FARQUAAD\n Ugh! It's disgusting! Guards! Guards! \n I order you to get that out of my sight", "Instead the dragon kisses Shreks' butt. She opens her eyes and \n roars. Shrek lets go of the chain and the chandelier falls onto", "THELONIUS\n Three! (holds up 2 fingers) Pick number \n three, my lord!\n \n FARQUAAD\n Okay, okay, uh, number three!", "The camera pans over a lot of wedding stuff. Soft music plays \n in the background. Farquaad is in bed, watching as the Magic" ], [ "FIONA\n You just tell her she's not your true \n love. Everyone knows what happens when \n you find your...(Shrek drops her on", "love's true form. Take love's true form.\"\n \n \n Suddenly Fiona's eyes open wide. She's consumed by the spell", "FIONA\n And what do you know about true love?\n \n \n SHREK\n Well, I - - Uh - - I mean - -", "FIONA\n (os) My only chance to live happily \n ever after is to marry my true love.", "Both Donkey and Shrek burst out laughing.\n\n DONKEY\n You think Shrek is your true love!\n \n \n FIONA\n What is so funny?", "FIONA\n Oh! Oh!", "FIONA\n Shrek, is this true?", "FIONA\n (smiles) I love you too.", "I don't know. There are those who think \n little of him. (they laugh again) Fiona: \n Stop it. Stop it, both of you. You're", "and Fiona break apart and run through the crowd to their awaiting \n carriage. Which is made of a giant onion. Fiona tosses her bouquet", "She smiles and then continues walking, singing softly. Suddenly \n from out of nowhere, a man swings down and swoops Fiona up into \n a tree.", "FIONA\n No, it's destiny. Oh, you must know \n how it goes. A princess locked in a", "goes flying through the air and crashes through the roof of the \n tallest tower. Fiona wakes up with a jerk and looks at him lying \n on the floor.", "Be still, mon cherie, for I am you savior! \n And I am rescuing you from this green...(kisses \n up her arm while Fiona pulls back in", "Suddenly the magic of the spell pulls Fiona away. She's lifted \n up into the air and she hovers there while the magic works around \n her.", "over with Fiona on top of him)\n \n DONKEY\n Ahem.", "Fiona comes out the door and watches him walk away. She looks \n down and spots the sunflower. She picks it up before going back \n inside the windmill.", "FIONA\n Shrek!", "Shrek breaks the lock on her door and pulls her out and down \n the hallway.\n \n FIONA", "SHREK\n I - - I love you.\n\n FIONA\n Really?\n\n SHREK\n Really, really." ], [ "SHREK\n Because- - Because he's just marring \n you so he can be king.", "Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly \n at her image in the mirror.\n \n MORNING", "Mirror shows him Princess Fiona.\n \n FARQUAAD\n Again, show me again. Mirror, mirror,", "Let me put it this way, Princess. Men \n of Farquaad's stature are in short supply. \n (he and Donkey laugh)", "FIONA\n Lord Farquaad, I accept. Nothing would \n make - -", "FARQUAAD\n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have", "FIONA\n Lord Farquaad? Oh, no, no. (Farquaad \n snaps his fingers) Forgive me, my lord,", "SHREK\n Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you.", "for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes", "FARQUAAD\n Who cares? It's preposterous! Fiona, \n my love, we're but a kiss away from", "FARQUAAD\n Princess Fiona. She's perfect. All I \n have to do is just find someone who \n can go...", "Princess Fiona, beautiful, fair, flawless \n Fiona. I ask your hand in marriage. \n Will you be the perfect bride for the \n perfect groom?", "MIRROR\n Lord Farquaad, you've chosen Princess \n Fiona.", "Fiona and Farquaad are getting married. The whole town is there. \n The prompter card guy holds up a card that says 'Revered Silence'.", "You're crazy. I'm just bringing her \n back to Farquaad.\n \n DONKEY", "FARQUAAD\n Princess Fiona.", "FARQUAAD\n Oh, this is precious. The ogee has fallen \n in love with the princess! Oh, good", "DONKEY\n Princess, how 'bout if you don't marry \n Farquaad?\n \n FIONA", "The camera pans over a lot of wedding stuff. Soft music plays \n in the background. Farquaad is in bed, watching as the Magic", "Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only" ], [ "SHREK\n Yeah, my swamp! Where you dumped those \n fairy tale creatures!", "DONKEY\n (chuckles) I was hoping this would be \n a happy ending.\n \n Shrek and Fiona kiss...and the kiss fades into...\n\n THE SWAMP", "SHREK\n Once upon a time there was a lovely \n princess. But she had an enchantment", "SHREK\n Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you.", "SHREK\n Really?\n\n DONKEY\n Really, really.\n\n SHREK\n Oh.", "SHREK\n Wake up!\n\n FIONA\n What?\n\n SHREK\n Are you Princess Fiona?", "SHREK\n (sigh) Okay, fine. Attention, all fairy \n tale things. Do not get comfortable.", "DONKEY\n No, you back off.\n\n SHREK\n This is my swamp!\n\n DONKEY\n Our swamp.", "Shrek gets them close to the exit and sets down Donkey and Fiona.\n \n \n SHREK", "Shrek. You all right. (They come over \n a hill and you can see Shrek's cottage.) \n Whoa! Look at that. Who'd want to live", "SHREK\n What are you doing in my swamp? (this \n echoes and everyone falls silent.)", "out, as agreed. Take it and go before \n I change my mind. (Shrek takes the paper) \n Forgive me, Princess, for startling", "FIONA\n Good night.\n\n SHREK\n Good night.", "up with her teeth and carries him off) \n No! Shrek! Shrek! Shrek!\n \n FIONA'S ROOM", "SHREK\n We? Donkey, there's no \"we\". There's \n no \"our\". There's just me and my swamp.", "They all start screaming as the dragon gains on them. Shrek spots \n a descending slide and jumps on. But unfortunately there is a", "Gasps are heard all around. The 3 good fairies hide inside a \n tent.\n \n SHREK", "SHREK\n What?\n\n PINOCCHIO\n We were forced to come here.", "SHREK\n Okay, fine. I don't have time for this. \n You go back.\n \n DONKEY\n Shrek, no! Wait!", "runs to the door and goes outside) Shrek! \n Shrek, there's something I want...(she \n looks and sees the rising sun, and as" ], [ "The Gingerbread Man is pulled out of the milk and slammed down \n onto a cookie sheet. Farquaad laughs as he walks over to the", "FIONA\n Lord Farquaad? Oh, no, no. (Farquaad \n snaps his fingers) Forgive me, my lord,", "for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes", "Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only", "Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly \n at her image in the mirror.\n \n MORNING", "SHREK\n Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you.", "Lord Farquaad tomorrow before the sun \n sets and he sees me like this. (begins \n to cry)", "FARQUAAD\n I'll have you locked back in that tower \n for the rest of your days! I'm king!\n \n \n Shrek manages to get a hand free and he whistles.", "The camera pans over a lot of wedding stuff. Soft music plays \n in the background. Farquaad is in bed, watching as the Magic", "Mirror shows him Princess Fiona.\n \n FARQUAAD\n Again, show me again. Mirror, mirror,", "A masked man is torturing the Gingerbread Man. He's continually \n dunking him in a glass of milk. Lord Farquaad walks in.", "Okay, I'll tell you. Do you know the \n muffin man?\n \n FARQUAAD", "SHREK\n (heavy sigh) All right. Who knows where \n this Farquaad guy is?", "FARQUAAD\n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have", "FARQUAAD\n Ugh! It's disgusting! Guards! Guards! \n I order you to get that out of my sight", "show up and the dragon leans down and \n eats Farquaad) Aaaah! Aah!\n \n DONKEY", "FARQUAAD\n I'm not the monster here. You are. You \n and the rest of that fairy tale trash,", "THELONIUS\n Three! (holds up 2 fingers) Pick number \n three, my lord!\n \n FARQUAAD\n Okay, okay, uh, number three!", "SHREK\n They'll shave your liver. Squeeze the \n jelly from your eyes! Actually, it's", "FARQUAAD\n That's enough. He's ready to talk." ], [ "FARQUAAD\n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have", "Lord Farquaad tomorrow before the sun \n sets and he sees me like this. (begins \n to cry)", "Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only", "for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes", "FIONA\n Lord Farquaad? Oh, no, no. (Farquaad \n snaps his fingers) Forgive me, my lord,", "Let me put it this way, Princess. Men \n of Farquaad's stature are in short supply. \n (he and Donkey laugh)", "SHREK\n Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you.", "Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly \n at her image in the mirror.\n \n MORNING", "FIONA\n Lord Farquaad, I accept. Nothing would \n make - -", "The camera pans over a lot of wedding stuff. Soft music plays \n in the background. Farquaad is in bed, watching as the Magic", "Mirror shows him Princess Fiona.\n \n FARQUAAD\n Again, show me again. Mirror, mirror,", "THELONIUS\n Three! (holds up 2 fingers) Pick number \n three, my lord!\n \n FARQUAAD\n Okay, okay, uh, number three!", "MIRROR\n Lord Farquaad, you've chosen Princess \n Fiona.", "FARQUAAD\n I'll have you locked back in that tower \n for the rest of your days! I'm king!\n \n \n Shrek manages to get a hand free and he whistles.", "FARQUAAD\n Who cares? It's preposterous! Fiona, \n my love, we're but a kiss away from", "FARQUAAD\n Oh, this is precious. The ogee has fallen \n in love with the princess! Oh, good", "just so Farquaad will give you back \n a swamp which you only don't have because \n he filled it full of freaks in the first", "And what of my groom-to-be? Lord Farquaad? \n What's he like?\n \n SHREK", "DONKEY\n Princess, how 'bout if you don't marry \n Farquaad?\n \n FIONA", "SHREK\n Because- - Because he's just marring \n you so he can be king." ], [ "kills the ogre will be named champion! \n Have it him!\n \n MEN\n Get him!", "and rescue the lovely Princess Fiona \n from the fiery keep of the dragon. If \n for any reason the winner is unsuccessful,", "the first runner-up will take his place \n and so on and so forth. Some of you \n may die, but it's a sacrifice I am willing", "the perfect king! Captain, assemble \n your finest men. We're going to have \n a tournament. (smiles evilly)", "to make. (cheers) Let the tournament \n begin! (He notices Shrek) Oh! What is \n that? It's hideous!", "FARQUAAD\n That champion shall have the honor - \n - no, no - - the privilege to go forth", "FIONA\n The battle is won. You may remove your \n helmet, good Sir Knight.\n \n SHREK", "sounds the end of the match. The audience goes wild.\n \n SHREK\n Oh, yeah! Ah! Ah! Thank you! Thank you", "PRIEST\n ...king and queen.\n\n Outside", "toward the dragon. He misses and he swings back again. He looks \n up and spots that the chandelier is right above the dragons head.", "They hear a trumpet fanfare and head over to the arena.", "castle. He throws the sword down in between several overlapping \n chain links. The chain links are attached to the chandelier that \n is still around the dragons neck.", "As the priest talks we see Donkey's shadow through one of the \n windows Shrek tosses him up so he can see.", "The door opens and the Head Guard walks in.\n\n HEAD GUARD\n My lord! We found it.", "spots a group approaching.) Ah, right \n on time. Princess, I've brought you \n a little something.", "and Fiona break apart and run through the crowd to their awaiting \n carriage. Which is made of a giant onion. Fiona tosses her bouquet", "There is a line of fairy tale creatures. The head of the guard \n sits at a table paying people for bringing the fairy tale creatures", "He looks behind the guard and the guard turns to look as well \n and we see that the other men have run off. The guard tucks tail", "Donkey manages to squish two men into the mud. There is so much \n fighting going on here I'm not going to go into detail. Suffice \n to say that Shrek kicks butt.", "which both Cinderella and Snow White try to catch. But they end \n up getting into a cat fight and so the dragon catches the bouquet" ], [ "Shrek turns and goes over to her. He looks down at Fiona for \n a moment and she puckers her lips. Shrek takes her by the shoulders \n and shakes her away.", "FIONA\n I am, awaiting a knight so bold as to \n rescue me.\n \n SHREK\n Oh, that's nice. Now let's go!", "Fiona walks out of the cave. She glances at Shrek and Donkey \n who are still sleeping. She wanders off into the woods and comes", "FIONA\n Then why didn't he come rescue me?\n \n \n SHREK", "FIONA\n You just tell her she's not your true \n love. Everyone knows what happens when \n you find your...(Shrek drops her on", "FIONA\n Please. I would'st look upon the face \n of my rescuer.\n \n SHREK\n No, no, you wouldn't - - 'st.", "Shrek breaks the lock on her door and pulls her out and down \n the hallway.\n \n FIONA", "Shrek groans as he gets up off the floor. His back is to Fiona \n so she straightens her dress and lays back down on the bed. She", "FIONA\n Okay. Okay. I can nearly see the head. \n (Shrek grunts as she pulls) It's just", "SHREK\n Wake up!\n\n FIONA\n What?\n\n SHREK\n Are you Princess Fiona?", "Shrek looks at Donkey for a second and then goes to move the \n boulder back in front of the entrance to the cave with Fiona \n still inside.", "FIONA\n Shrek's hurt.", "SHREK\n Oh, you were expecting Prince Charming.\n \n \n FIONA", "SHREK\n Yeah? Well, it does. (Fiona looks at \n him in shock. He looks past her and", "FIONA\n Good night.\n\n SHREK\n Good night.", "FIONA\n Shrek!", "FIONA\n That's not the point. (Shrek suddenly", "FIONA\n (looking at the setting sun) \"By night \n one way, by day another.\" (to Shrek)", "FIONA\n Shrek, is this true?", "A little time has passed and Fiona has calmed down. She just \n hangs there limply while Shrek carries her.\n \n DONKEY" ], [ "Suddenly the magic of the spell pulls Fiona away. She's lifted \n up into the air and she hovers there while the magic works around \n her.", "goes flying through the air and crashes through the roof of the \n tallest tower. Fiona wakes up with a jerk and looks at him lying \n on the floor.", "- (Fiona pulls the arrow out) Ugh! (he \n turns to look at Fiona who holds up \n the arrow with a smile) Ow!", "Shrek breaks the lock on her door and pulls her out and down \n the hallway.\n \n FIONA", "and Fiona break apart and run through the crowd to their awaiting \n carriage. Which is made of a giant onion. Fiona tosses her bouquet", "FIONA\n You just tell her she's not your true \n love. Everyone knows what happens when \n you find your...(Shrek drops her on", "love's true form. Take love's true form.\"\n \n \n Suddenly Fiona's eyes open wide. She's consumed by the spell", "Suddenly Fiona falls from the railing. She gets up only she doesn't \n look like herself. She looks like an ogre and Donkey starts freaking \n out.", "Another fight sequence begins and Fiona gives a karate yell and \n then proceeds to beat the crap out of the Merry Men. There is", "FIONA\n No, it's destiny. Oh, you must know \n how it goes. A princess locked in a", "Fiona walks out of the cave. She glances at Shrek and Donkey \n who are still sleeping. She wanders off into the woods and comes", "She smiles and then continues walking, singing softly. Suddenly \n from out of nowhere, a man swings down and swoops Fiona up into \n a tree.", "FIONA\n Oh! Oh!", "Be still, mon cherie, for I am you savior! \n And I am rescuing you from this green...(kisses \n up her arm while Fiona pulls back in", "Fiona comes out the door and watches him walk away. She looks \n down and spots the sunflower. She picks it up before going back \n inside the windmill.", "I don't know. There are those who think \n little of him. (they laugh again) Fiona: \n Stop it. Stop it, both of you. You're", "FIONA\n Now you hold still, and I'll yank this \n thing out. (gives the arrow a little", "over with Fiona on top of him)\n \n DONKEY\n Ahem.", "FIONA\n (like it's obvious) For getting rid \n of Donkey.\n \n SHREK\n Ah.", "upon her of a fearful sort which could \n only be broken by love's first kiss. \n She was locked away in a castle guarded" ], [ "They all start screaming as the dragon gains on them. Shrek spots \n a descending slide and jumps on. But unfortunately there is a", "Donkey gasps and takes off running as the dragon roars again. \n Shrek manages to grab Donkey out of the way just as the dragon \n breathes fire.", "Instead the dragon kisses Shreks' butt. She opens her eyes and \n roars. Shrek lets go of the chain and the chandelier falls onto", "SHREK\n Donkey, look out! (he manages to get \n a hold of the dragons tail and holds", "on) Got ya!\n \n The dragon gets irritated at this and flicks it's tail and Shrek", "SHREK\n Well, at least we know where the princess \n is, but where's the...\n \n DONKEY\n (os) Dragon!", "Okay, you two, heard for the exit! I'll \n take care of the dragon.\n \n Shrek grabs a sword and heads back toward the interior of the", "(to Dragon) Go ahead, HAVE SOME FUN. \n If we need you, I'll whistle. How about \n that? (she nods and goes after the guards)", "Shrek looks at Donkey for a second and then goes to move the \n boulder back in front of the entrance to the cave with Fiona \n still inside.", "DONKEY\n Can I whistle?\n\n SHREK\n No.\n\n DONKEY\n Can I hum it?", "Suddenly the dragon arrives overhead and flies low enough so \n they can climb on.\n \n SHREK", "runs to the door and goes outside) Shrek! \n Shrek, there's something I want...(she \n looks and sees the rising sun, and as", "Shrek turns and goes over to her. He looks down at Fiona for \n a moment and she puckers her lips. Shrek takes her by the shoulders \n and shakes her away.", "I was talkin' about the dragon, Shrek.\n \n \n INSIDE THE CASTLE", "SHREK\n Yeah? Well, it does. (Fiona looks at \n him in shock. He looks past her and", "Fiona walks out of the cave. She glances at Shrek and Donkey \n who are still sleeping. She wanders off into the woods and comes", "Some guards are milling around. Suddenly the dragon lands with \n a boom. The guards all take off running.\n \n DONKEY", "quickly to safety as the dragon looks angry and then gives a \n sad whimper as she watches Donkey walk away.\n \n FIONA", "He pulls on the chain and it releases and he falls down and bumps \n Donkey out of the way right as the dragon is about to kiss him.", "Shrek and Donkey are sitting around a campfire. They are staring \n up into the sky as Shrek points out certain star constellations \n to Donkey." ], [ "Donkey faints. Shrek walks over and picks him up as they continue \n on their way.\n \n There is a montage of scenes as the group heads back to DuLoc.", "Shrek gets them close to the exit and sets down Donkey and Fiona.\n \n \n SHREK", "Shrek looks at Donkey for a second and then goes to move the \n boulder back in front of the entrance to the cave with Fiona \n still inside.", "Fiona walks out of the cave. She glances at Shrek and Donkey \n who are still sleeping. She wanders off into the woods and comes", "DONKEY\n Go ahead, Shrek.\n\n SHREK\n Uh, Fiona?\n\n FIONA\n Yes, Shrek?", "DONKEY\n Shrek! Shrek! Shrek!\n\n FIONA\n No, it's okay. It's okay.", "DONKEY\n Shrek! Shrek! Shrek!\n\n FIONA\n Shh.\n\n DONKEY\n Shrek!", "Shrek and Donkey are walking up to the keep that's supposed to \n house Princess Fiona. It appears to look like a giant volcano.", "down. Shrek and Donkey look at him then \n continue on into DuLoc.)\n \n DULOC", "SHREK\n Donkey, look out! (he manages to get \n a hold of the dragons tail and holds", "SHREK\n All right, hum it.\n\n Donkey begins to hum 'On the Road Again'.\n\n DULOC - KITCHEN", "Donkey gasps and takes off running as the dragon roars again. \n Shrek manages to grab Donkey out of the way just as the dragon \n breathes fire.", "Montage of different scenes. Shrek arriving back home. Fiona \n being fitted for the wedding dress. Donkey at a stream running", "SHREK\n Okay, fine. I don't have time for this. \n You go back.\n \n DONKEY\n Shrek, no! Wait!", "SHREK\n There it is, Princess. Your future awaits \n you.\n \n FIONA\n That's DuLoc?", "SHREK\n Hold the phone. (drops Donkey and begins \n walking after Fiona) Oh! Whoa, whoa,", "They are once again on their way. They are walking through the \n forest. Shrek belches.\n \n DONKEY\n Shrek!", "SHREK\n Well, at least we know where the princess \n is, but where's the...\n \n DONKEY\n (os) Dragon!", "SHREK\n Ya comin', Donkey?\n\n DONKEY\n I'm right behind ya.", "SHREK\n Inside, waiting for us to rescue her. \n (chuckles)\n \n DONKEY" ], [ "Suddenly the magic of the spell pulls Fiona away. She's lifted \n up into the air and she hovers there while the magic works around \n her.", "FIONA\n No, it's destiny. Oh, you must know \n how it goes. A princess locked in a", "love's true form. Take love's true form.\"\n \n \n Suddenly Fiona's eyes open wide. She's consumed by the spell", "Shrek breaks the lock on her door and pulls her out and down \n the hallway.\n \n FIONA", "FIONA\n You just tell her she's not your true \n love. Everyone knows what happens when \n you find your...(Shrek drops her on", "goes flying through the air and crashes through the roof of the \n tallest tower. Fiona wakes up with a jerk and looks at him lying \n on the floor.", "- (Fiona pulls the arrow out) Ugh! (he \n turns to look at Fiona who holds up \n the arrow with a smile) Ow!", "FIONA\n You heard what I said?", "FIONA\n Oh! Oh!", "FIONA\n Now you hold still, and I'll yank this \n thing out. (gives the arrow a little", "and Fiona break apart and run through the crowd to their awaiting \n carriage. Which is made of a giant onion. Fiona tosses her bouquet", "I don't know. There are those who think \n little of him. (they laugh again) Fiona: \n Stop it. Stop it, both of you. You're", "Fiona comes out the door and watches him walk away. She looks \n down and spots the sunflower. She picks it up before going back \n inside the windmill.", "Fiona walks out of the cave. She glances at Shrek and Donkey \n who are still sleeping. She wanders off into the woods and comes", "Suddenly Fiona falls from the railing. She gets up only she doesn't \n look like herself. She looks like an ogre and Donkey starts freaking \n out.", "over with Fiona on top of him)\n \n DONKEY\n Ahem.", "upon her of a fearful sort which could \n only be broken by love's first kiss. \n She was locked away in a castle guarded", "FIONA\n And why not?", "big and the bird explodes. Fiona looks a little sheepish, but \n she eyes the eggs that the bird left behind. Time lapse, Fiona", "FIONA\n (looking at the setting sun) \"By night \n one way, by day another.\" (to Shrek)" ], [ "Fiona goes inside the windmill and closes the door. Donkey looks \n at Shrek with a new eye.\n \n DONKEY", "Suddenly Fiona falls from the railing. She gets up only she doesn't \n look like herself. She looks like an ogre and Donkey starts freaking \n out.", "Fiona walks out of the cave. She glances at Shrek and Donkey \n who are still sleeping. She wanders off into the woods and comes", "Fiona comes out the door and watches him walk away. She looks \n down and spots the sunflower. She picks it up before going back \n inside the windmill.", "Donkey opens the door to the Windmill and walks in. Fiona is \n nowhere to be seen.\n \n DONKEY", "you all right?\n \n FIONA\n (standing up, she's still an ogre) Well,", "At this point Fiona pulls the 'door' away from the entrance to \n the cave and peaks out. Neither of the guys see her.\n \n SHREK", "it into a balloon animal and presenting it to Shrek. The group \n arriving at a windmill that is near DuLoc.\n \n WINDMILL", "FIONA\n (looking at the setting sun) \"By night \n one way, by day another.\" (to Shrek)", "Shrek turns and goes over to her. He looks down at Fiona for \n a moment and she puckers her lips. Shrek takes her by the shoulders \n and shakes her away.", "runs to the door and goes outside) Shrek! \n Shrek, there's something I want...(she \n looks and sees the rising sun, and as", "up with her teeth and carries him off) \n No! Shrek! Shrek! Shrek!\n \n FIONA'S ROOM", "Shrek groans as he gets up off the floor. His back is to Fiona \n so she straightens her dress and lays back down on the bed. She", "SHREK\n Yeah? Well, it does. (Fiona looks at \n him in shock. He looks past her and", "FIONA\n Okay. Okay. I can nearly see the head. \n (Shrek grunts as she pulls) It's just", "SHREK\n Wake up!\n\n FIONA\n What?\n\n SHREK\n Are you Princess Fiona?", "Shrek is walking towards the windmill with a sunflower in his \n hand.\n \n SHREK", "Shrek spots a light in the tallest tower window.", "on the back of his horse)\n \n FIONA\n Fare-thee-well, ogre.", "goes flying through the air and crashes through the roof of the \n tallest tower. Fiona wakes up with a jerk and looks at him lying \n on the floor." ] ]

[ "Who knows how to get to Duloc?", "Who is Farquaad torturing?", "Who tells Lord Farquaad that he is not a king?", "What is the deal that Lord Farquaad makes with Shrek?", "Who carries Donkey into her chambers?", "What does Shrek plan to do once he's back in the swamp?", "What makes Shrek want to build a wall around his house? ", "What happens to Fiona at night? ", "How is Lord Farquaad killed?", "What kind of creature is Shrek?", "Who did Farquaad torture to learn the location of the remaining fairytale creatures?", "Where was Fiona being kept when Farquaad decided he wanted to marry her?", "Who was Shrek's companion in his travels to meet Farquaard?", "What did Farquaard promise to remove from the swamp if Shrek rescued Fiona?", "What would turn Fiona into \"love's true form\"?", "Who interrupted their wedding before Farquaad could kiss Fiona?", "Who devoured Farquaad?", "Who was Fiona's true love?", "Why did Farquaad want to marry Fiona?", "How did the fairytale characters end up in Shrek's swamp?", "Who does Lord Farquaad torture to learn the location of the rest of the fairytale creatures?", "What does Lord Farquaad need to do to become king?", "What prize is given to the winner of the tournament?", "Why is Fiona disappointed when Shrek rescues her?", "How is Fiona's curse broken?", "What happens when Shrek whistles for Dragon?", "Who helps Shrek and Donkey travel to Duloc to stop Fiona's wedding?", "What did FIona think would happen when the curse is broken?", "Who goes to the windmill and discovers Fiona is an ogre?" ]

[ [ "Donkey", "donkey" ], [ "The Gingerbread Man", "the Gingerbread Man" ], [ "The magic mirror", "the mirror" ], [ "He'll remove everyone from the swap if Shrek rescues Fiona", "Offers to remove fairytale creatures from the swamp if Shrek rescues Fiona" ], [ "The Dragon", "The dragon" ], [ "He will build a wall", "put up a fence" ], [ "Because everyone judges him", "to be alone because Shrek feels everyone judges him." ], [ "She turns into an ogre", "She turns into an ogre." ], [ "He is swallowed by the dragon", "donkey and dragon devours him." ], [ "A green ogre.", "an ogre" ], [ "The Gingerbread Man", "gingerbread man" ], [ "In a locked tower.", "Locked in a castle tower." ], [ "A talking donkey.", "donkey" ], [ "The fairytale creatures.", "the fairytale creatures" ], [ "A kiss from her true love.", "A true love's kiss." ], [ "Shrek", "shrek" ], [ "Dragon", "dragon" ], [ "Shrek", "shrek" ], [ "To become king.", "To become a real king" ], [ "Lord Farquaad exiled them to the swamp.", "they were exiled" ], [ "The Gingerbread Man", "gingerbread man" ], [ "He needs to marry a princess.", "Princess Fiona" ], [ "The winner gets to rescue Fiona.", "The privilege to rescue fiona." ], [ "She finds out Shrek is an ogre.", "Because he wasn't romantic about it" ], [ "The curse is only broken by her true love's kiss.", "True love's kiss with shrek" ], [ "Dragon eats Lord Farquaad.", "he bust in and eats farquaad" ], [ "Dragon", "dragon" ], [ "She thought she would become beautiful.", "she would be beautiful" ], [ "Donkey", "donkey" ] ]

[ [ "LINCOLN (CONT'D)\n Jeff City.\n \n Lincoln looks at the Jollys. They are worried and a little\n awed.", "Hay startles awake, then settles. He's used to this.\n \n LINCOLN (CONT'D)\n (he reads a little", "LINCOLN\n (scribbling a note,\n signing the petition:)\n He was afraid, that's all it was.", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "Then he stops, turns back, faces Lincoln, who watches him. A\n beat, and then, in a tone of admiration and cautious", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING\n \n Lincoln is at his desk, Hay feeding him documents to read and", "some strange feeling stops him, and he turns around again.\n Lincoln is walking away, past the petitioners' chairs, down\n the empty hallway.", "seeking out the source of the noise. Lincoln puts his hand on\n Tad's head. He looks down at his son, silent.", "He stops for a moment. Beckwith waits, pencil poised.\n \n Lincoln looks at the note, folds it, tucks it in a band\n inside his hat.", "Lincoln rides slowly, his focus on the ground before him.\n Debris is scattered all around him, along with the bodies of\n fallen soldiers.", "LINCOLN\n I know.\n \n MARY\n Trying not to think about him. How", "Lincoln and Robert are in the buggy driven by the old\n soldier; a young bodyguard soldier sits beside the driver,\n his rifle uselessly tucked under his legs. Lincoln is on one", "Lincoln kneels at the fireplace, stoking the fire. He puts\n more wood in, then stands. Seward watches him, then:", "Tad watches his father shake hands. Lincoln is in his\n element. He stands close to each person, touches each one\n gently, stoops to be nearer them; he puts everyone at ease.", "LINCOLN (CONT'D)\n Not now!\n \n Robert enters. Nicolay stands behind him, apologetic.", "his arm around his father's neck, then tears wildly out of\n the room.\n \n LINCOLN (CONT'D)", "Lincoln stares out towards a barely discernible horizon,\n indicated by a weird, flickering, leaden glow, which appears\n to recede faster than the fast-approaching ship.", "Lincoln pays no attention to Stanton's fulminations and\n continues with his story.\n \n LINCOLN\n It was right after the Revolution,", "Everyone's startled, and confused. They all turn to Lincoln,\n who sits in Major Eckert's chair, wrapped in his shawl.", "Grant, smoking his cigar, his uniform dusty and rumpled, is\n sitting on the small porch. He stares piercingly at Lincoln," ], [ "But let's say the courts decide I\n had no authority to do it. They\n might well decide that. Say there's\n no amendment abolishing slavery.", "those people I freed be ordered\n back into slavery? That's why I'd\n like to get the Thirteenth\n Amendment through the House, and on", "slavery's what they're fighting\n for. Mr. Lincoln, you always says\n so. With the amendment, slavery's\n ended and they'll give up. The war", "passed, shall set at immediate\n liberty four million coloreds while\n manacling the limbs of the white\n race in America. If it is passed -", "the fighting around Wilmington.\n Within ten days time, we might pass\n the Thirteenth Amendment.", "On the matter of the joint\n resolution before us, presenting a\n Thirteenth Amendment to our\n national Constitution, which was", "confederacy, the war would've been\n lost and the Union along with it,\n and instead of abolishing slavery,\n as we hope to do, in two weeks,", "'em. So if in fact the Negroes are\n property according to law, have I\n the right to take the rebels'\n property from `em, if I insist", "(BEAT)\n And come February the first, I\n intend to sign the Thirteenth\n Amendment.", "the Thirteenth Amendment. It's\n going to be so very close.\n You see what you can do.", "the Thirteenth Amendment?\n \n LINCOLN\n I'd like peace immediately.", "to you, I'd've declared every slave\n free the minute the first shell\n struck Fort Sumter; then the border\n states would've gone over to the", "(BEAT)\n I believe you when you insist that\n amending the constitution and\n abolishing slavery will end this\n war. And since you are sending my", "- then Negroes in those states are\n slaves, hence property, hence my\n war powers allow me to confiscate\n `em as such. So I confiscated `em.", "FERNANDO WOOD (CONT'D)\n We are once again asked - nay,\n commanded - to consider a proposed\n thirteenth amendment which, if", "I rise on this sad and solemn day\n to announce that I'm opposed to the\n amendment. We must consider what\n will become of colored folk if four", "JAMES SPEED\n The Emancipation Proclamation's\n merely a war measure. After the war\n the courts'll make a meal of it.", "LINCOLN (CONT'D)\n Two years ago I proclaimed these\n people emancipated - \"then,\n thenceforward and forever free.\"", "ALEXANDER STEPHENS\n Which now extinguishes slavery. And\n with it our economy. All our laws\n will be determined by a Congress of", "The ship, it isn't Wilmington Port,\n it's not a military campaign! It's\n the amendment to abolish slavery!\n Why else would you force me to" ], [ "Our Republicans ain't\n abolitionists. We can't tell our\n people they can vote yes on\n abolishing slavery unless at the", "LINCOLN\n We can find twenty votes.\n \n SEWARD\n Twenty House Democrats who'll vote", "anything, Mr. Secretary. There\n aren't nearly enough votes -\n \n LINCOLN", "Thaddeus Stevens's gang. You need\n our help.\n \n LINCOLN\n Yes, sir, I do.", "vote for the Thirteenth Amendment?\n \n Mrs. Jolly is puzzled, and looks to Mr. Jolly. Then:", "LINCOLN (CONT'D)\n I said nothing of buying anything.\n We need twenty votes was all I\n said. Start of my second term,", "On the matter of the joint\n resolution before us, presenting a\n Thirteenth Amendment to our\n national Constitution, which was", "those people I freed be ordered\n back into slavery? That's why I'd\n like to get the Thirteenth\n Amendment through the House, and on", "predicated on keeping their slaves!\n \n LINCOLN\n What hope for any Democratic votes,\n Willum, if word gets out that I've", "anything? - but say all our fellow\n Republicans vote for it. We'd still\n be twenty votes short.\n \n LINCOLN", "preparation to meet the public.\n \n LINCOLN (CONT'D)\n Seven yeses with Mr. Ellis!\n Thirteen to go!", "godforsaken Republican Party, our\n party - Abraham Lincoln has asked\n us to work with him to accomplish\n the death of slavery in America.", "the Thirteenth Amendment?\n \n LINCOLN\n I'd like peace immediately.", "the amendment.\n \n Mr. Jolly nods. Seward glances at Lincoln, then turns back to\n THE JOLLYS:", "SEWARD\n We need Democratic support. There's\n none to be had.\n \n LINCOLN", "slavery's what they're fighting\n for. Mr. Lincoln, you always says\n so. With the amendment, slavery's\n ended and they'll give up. The war", "AARON HADDAM\n The conservative Republican\n faction's satisfied, and we thank\n Mr. Lincoln. I move to table Mr.", "I can't vote for the amendment, Mr.\n Lincoln.\n \n LINCOLN", "the vote, laid waste, for naught.\n \n LINCOLN\n The Blairs have promised support\n for the amendment if we listen to", "the fighting around Wilmington.\n Within ten days time, we might pass\n the Thirteenth Amendment." ], [ "them, Secretary of State WILLIAM SEWARD, 64, in a thick,\n exquisite winter coat and hat, and Lincoln's dapper assistant", "INT. LINCOLN'S OFFICE, WHITE HOUSE - MORNING\n \n The cabinet has assembled. Lincoln heads the table, Seward at", "Lincoln has closed his eyes.\n 72.\n \n \n SEWARD (CONT'D)", "In a four-door carriage, top down, Seward sits opposite\n Lincoln. Hay, next to Seward, organizes papers in a portfolio\n on his lap.", "Nicolay nods and steps into the anteroom, where dozens more\n petitioners are waiting to speak with Lincoln. Hay confers\n with the doorman. Seward closes the door behind them.", "SEWARD\n (to Lincoln, quietly:)\n The people!\n I begin to see why you're in such a", "18.\n \n \n Seward takes the letter from Mrs. Jolly and hands it to\n Lincoln.", "Davis to send commissioners up to\n Washington with a peace plan.\n \n Lincoln is silent. A horrifying reality dawns for Seward:", "INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY EVENING\n \n Seward stands, stunned. Lincoln sits at the cabinet table.", "scowl. Lincoln sits on the edge of Seward's desk. Yeaman sits\n in a chair facing him.\n \n GEORGE YEAMAN", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "fire's Secretary of State Seward.\n \n Seward nods slightly as he lights a Cuban cigar.", "Lincoln smiles. The Jollys don't get it. Mr. Jolly looks back\n at Seward, who gestures for him to speak, then exhales a\n plume of smoke.", "Lincoln enters the room with Seward.\n \n LINCOLN\n Well, Mr. Representative Ashley!", "INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY EVENING\n \n Seward hands the last prospectus to Nicolay, who unfolds it,", "places it on top of the other prospectuses, and records\n details about Hawkins's appointment in a notebook. Seward\n smokes a cigar, Nicolay a pipe. Lincoln sits, feet up,", "INT. SEWARD'S OFFICE, STATE DEPARTMENT - DAY\n \n Seward sits at his grand desk, looking on with an anxious", "Lincoln kneels at the fireplace, stoking the fire. He puts\n more wood in, then stands. Seward watches him, then:", "LINCOLN\n Six.\n \n SEWARD\n Well, thus far. Plus Graylor's", "INT. LINCOLN'S OFFICE - NIGHT\n \n Lincoln is seated at the head of the cabinet table along with" ], [ "LINCOLN\n We can find twenty votes.\n \n SEWARD\n Twenty House Democrats who'll vote", "predicated on keeping their slaves!\n \n LINCOLN\n What hope for any Democratic votes,\n Willum, if word gets out that I've", "Davis to send commissioners up to\n Washington with a peace plan.\n \n Lincoln is silent. A horrifying reality dawns for Seward:", "slavery's what they're fighting\n for. Mr. Lincoln, you always says\n so. With the amendment, slavery's\n ended and they'll give up. The war", "SEWARD\n We need Democratic support. There's\n none to be had.\n \n LINCOLN", "LINCOLN\n Perhaps.\n \n SEWARD\n We can't afford a single defection", "the amendment.\n \n Mr. Jolly nods. Seward glances at Lincoln, then turns back to\n THE JOLLYS:", "He stands and crosses to Lincoln.\n \n SEWARD\n You could bring the delegates to\n Washington. In exchange for the", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "SEWARD\n If procuring votes with offers of\n employment is what you intend, I'll\n fetch a friend from Albany who can", "that he'd better pay a visit\n to Thaddeus Stevens.\n \n SEWARD\n Pity poor Coffroth.", "Ashley insists you're ensuring\n approval by dispensing patronage to\n otherwise undeserving Democrats.\n \n LINCOLN", "LINCOLN (CONT'D)\n I said nothing of buying anything.\n We need twenty votes was all I\n said. Start of my second term,", "them, Secretary of State WILLIAM SEWARD, 64, in a thick,\n exquisite winter coat and hat, and Lincoln's dapper assistant", "Our Republicans ain't\n abolitionists. We can't tell our\n people they can vote yes on\n abolishing slavery unless at the", "18.\n \n \n Seward takes the letter from Mrs. Jolly and hands it to\n Lincoln.", "SEWARD\n Or pretend to.\n \n LINCOLN\n With all three of my ears.", "On the matter of the joint\n resolution before us, presenting a\n Thirteenth Amendment to our\n national Constitution, which was", "I...\n \n SEWARD\n James, we want you to bring the\n anti-slavery amendment to the floor", "the Thirteenth Amendment. It's\n going to be so very close.\n You see what you can do." ], [ "INT. THE ROOM IN THE ST. CHARLES HOTEL - NIGHT\n \n RICHARD SCHELL\n The remaining lame ducks, on whom", "Latham smoothly holds Hanson back from the group, extending a\n hand, the still pristine portfolio under his arm. He smiles\n as the other NY lame ducks proceed down the stairs, unaware,", "Also indisposed, also abstaining.\n \n Shocked anger from the Democrats. Pendleton starts\n calculating votes on a sheet of paper. Wood grabs it and", "the New York lame ducks, descend the stairs, discussing the\n opening of the amendment debate, to which they've just been\n listening.", "congressman who couldn't manage re-\n election, I felt it unseemly and\n they bargained him down to\n Postmaster.", "Yeaman looks ready to faint. To the consternation of the\n Democrats, a mob of gleeful Republicans rushes across the\n aisle that separates the two parties; they surround Yeaman,", "THADDEUS STEVENS\n We want to show the amendment has\n bipartisan support, you idiot.\n Early in the next Congress, when I", "64 lame duck Democrats. Fully 39 of\n these we deem unredeemable no\n votes.", "Yes sir.\n \n As Nicolay heaves into the room in last place, wheezing\n terribly, Lincoln deliberates for a moment, then writes a", "Blair can say what he pleases,\n since he has no authority over\n anything. If you want to discuss\n peace with President Lincoln,", "- stands stinking the moral carcass\n of the gentleman from Ohio, proof\n that some men are inferior, endowed\n by their Maker with dim wits", "Asa Vintner Litton sees them enter. He looks about, at the\n representatives caucusing, or staring up at the visitors.\n Something powerful strikes him. In a voice coarse with", "Stevens limps out through the aisle to wild Republican\n applause. He looks up to the balcony; Mary is looking down\n approvingly. He looks down before she can see him smile.", "ROBERT LATHAM\n It's not illegal to bribe\n Congressmen. They starve\n otherwise.", "possibilities peace will bring!\n Why tarnish your invaluable luster\n with a battle in the House? It's a\n rats' nest in there, the same gang", "like a barnacle has the effrontery\n to call itself The Democratic\n Party. You are a Dem-o-crat.\n What's the matter with you? Are you", "Nothing surprises you, Asa,\n therefore nothing about you is\n surprising. Perhaps that is why\n your constituents did not re-elect", "All eyes are on Stevens, the chamber quiet except for a\n scratching sound: the journalists have begun scribbling.\n \n FERNANDO WOOD (CONT'D)", "Since the House last voted on the\n amendment there's been an election.\n Sixty-four Democrats lost their\n House seats in November. That's", "THADDEUS STEVENS (CONT'D)\n Your party was beaten, your\n challenger's party now controls the\n House, and hence the House" ], [ "On the matter of the joint\n resolution before us, presenting a\n Thirteenth Amendment to our\n national Constitution, which was", "the Thirteenth Amendment. It's\n going to be so very close.\n You see what you can do.", "bill for the Thirteenth Amendment\n to a vote. Do I hear a second?\n \n ASA VINTNER LITTON", "the fighting around Wilmington.\n Within ten days time, we might pass\n the Thirteenth Amendment.", "vote for the Thirteenth Amendment?\n \n Mrs. Jolly is puzzled, and looks to Mr. Jolly. Then:", "The Thirteenth Amendment. You\n needn't tell me I'm right. I know I\n am.", "those people I freed be ordered\n back into slavery? That's why I'd\n like to get the Thirteenth\n Amendment through the House, and on", "voting, fifty six votes against,\n one hundred nineteen votes for.\n With a margin of two votes -", "(BEAT)\n And come February the first, I\n intend to sign the Thirteenth\n Amendment.", "FERNANDO WOOD (CONT'D)\n We are once again asked - nay,\n commanded - to consider a proposed\n thirteenth amendment which, if", "reduced to 182, which means 122 yes\n votes to reach the requisite two-\n thirds of the House. Assuming all\n Republicans vote for the", "more abstention and the amendment\n will pass -\n \n LINCOLN\n You got a night and a day and a", "LINCOLN\n We can find twenty votes.\n \n SEWARD\n Twenty House Democrats who'll vote", "anything, Mr. Secretary. There\n aren't nearly enough votes -\n \n LINCOLN", "votes must be procured.\n \n SEWARD\n We need two yeses, three\n abstentions, or four yeses and one", "amendment passed in the House of\n Representatives, before the term\n ends, before the Inauguration.\n \n LINCOLN", "appropriate legislation.\"\n 116.\n \n \n Thaddeus Stevens grins, nods, thinking, eyes sparkling.", "passes the recorded vote to the Speaker. There's absolute\n silence.\n \n In the balcony, Mary checks her own tally, not quite", "passed, shall set at immediate\n liberty four million coloreds while\n manacling the limbs of the white\n race in America. If it is passed -", "I want the amendment to pass. So\n that the Constitution's first and\n only mention of slavery is its\n absolute prohibition. For this" ], [ "blank. Lee mounts his waiting horse.\n \n Lee should leave, having just surrendered to Grant inside;", "TITLE: APPOMATTOX COURTHOUSE, VIRGINIA\n \n APRIL 9, 1865", "Terms of surrender.\n \n \n EXT. THE JAMES RIVER DOCK AT CITY POINT, VIRGINIA - DAY", "Grant, lost in thought, stops, taken aback, realizing that\n Lee's still there, astride his horse. Everyone looks at the", "for a moment, and then one by one, the officers of the Union\n Army remove their hats.\n \n Lee is visibly moved by this gesture of respect. He raises", "give him, is to go down to Richmond\n like he said I could, soon as\n Savannah fell, and talk to\n Jefferson Davis. Give me terms I", "unfolds it.\n \n LINCOLN\n \"Lieutenant General Ulysses S.\n Grant, City Point. I have read your", "Lincoln kneels by Tad and looks down at the map, a\n topographical and strategic survey of the no-man's land\n between Union and Confederate forces at Petersburg. He", "LINCOLN (CONT'D)\n \"Have Captain Saunders convey the\n gentlemen aboard the River Queen as\n far as Hampton Roads, Virginia, and", "yar, since your man General\n Schofield set him up there. But\n President Monroe give that tollgate\n to my granpap and Quincy Adams give", "SEWARD\n Surrender and we can discuss\n reconstruction.\n \n ALEXANDER STEPHENS", "soldiers immediately hop out. The commissioners squint,\n blinded, into the dazzling sunlight, at the River Queen,\n Grant's side-wheel steamer, docked on the banks of the James", "EXT. THE MCLEAN HOUSE, APPOMATTOX COURT HOUSE, VIRGINIA -\n AFTERNOON", "Grant, smoking his cigar, his uniform dusty and rumpled, is\n sitting on the small porch. He stares piercingly at Lincoln,", "to the ambulance. The Confederate peace commissioners\n hesitate; Hunter stares in horror at the black soldiers. Then\n Stephens pushes past Hunter. He nods to the soldier.", "slavery's what they're fighting\n for. Mr. Lincoln, you always says\n so. With the amendment, slavery's\n ended and they'll give up. The war", "you. Now hear me: I went to\n Richmond to talk to traitors, to\n smile at and plead with traitors,\n because it'll be spring in two", "Grant observes this from the balcony above. Robert, in a\n captain's uniform, stands near him. Like his mother, Robert\n has a scorecard, and he's keeping track.", "GRANT\n Yes sir, as we discussed.\n \n LINCOLN\n Liberality all around. No", "but he's immobile. Some of the officers of both sides look at\n Lee, some can't bear it. Lee tries out various expressions:\n pride, defiance, blankness." ], [ "MARY\n It was an assassin. Whose intended\n target was you.\n \n LINCOLN", "from their seats.\n \n LEONARD GROVER (CONT'D)\n The President has been shot at\n Ford's Theater!", "MARY LINCOLN sits opposite, in a nightgown, housecoat and\n night cap. She watches him in her vanity mirror.", "Nicolay enters. Lincoln turns to him.\n \n LINCOLN\n Send over to Blair House. Ask", "Lincoln has closed his eyes.\n 72.\n \n \n SEWARD (CONT'D)", "Lincoln and Robert are in the buggy driven by the old\n soldier; a young bodyguard soldier sits beside the driver,\n his rifle uselessly tucked under his legs. Lincoln is on one", "He continues down the hall. Mrs. Keckley starts to enter\n Mary's boudoir, then stops, sensing something amiss. She\n calls quietly after Lincoln:", "He stands and crosses to Lincoln.\n \n SEWARD\n You could bring the delegates to\n Washington. In exchange for the", "LINCOLN (CONT'D)\n \"Have Captain Saunders convey the\n gentlemen aboard the River Queen as\n far as Hampton Roads, Virginia, and", "In a four-door carriage, top down, Seward sits opposite\n Lincoln. Hay, next to Seward, organizes papers in a portfolio\n on his lap.", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "EXT. A BUGGY RIDE THROUGH WASHINGTON - AFTERNOON\n \n A beautiful spring afternoon. Lincoln and Mary are riding in", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING\n \n Lincoln is at his desk, Hay feeding him documents to read and", "Lincoln stands in front of William Hutton's row house,\n talking to Hutton. The funeral wreath still hangs on the door", "Lincoln kneels at the fireplace, stoking the fire. He puts\n more wood in, then stands. Seward watches him, then:", "INT. LINCOLN'S OFFICE - NIGHT\n \n Lincoln is seated at the head of the cabinet table along with", "INT. LINCOLN'S OFFICE, SECOND FLOOR, WHITE HOUSE - NIGHT", "INT. LINCOLN'S OFFICE, WHITE HOUSE - MORNING\n \n The cabinet has assembled. Lincoln heads the table, Seward at", "You should go to Mrs. Lincoln.\n She's in Willie's room.\n \n ROBERT\n She never goes in there.", "INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY EVENING\n \n Seward stands, stunned. Lincoln sits at the cabinet table." ], [ "slavery's what they're fighting\n for. Mr. Lincoln, you always says\n so. With the amendment, slavery's\n ended and they'll give up. The war", "LINCOLN\n After four years of war and near\n 600,000 lives lost. He believes we", "can end this war now.\n My trust in him is marrow deep.\n \n Seward looks up at Lincoln, then down again at the telegram.", "LINCOLN (CONT'D)\n War's nearly done. Ain't that so?\n What use one more corpse? Any more", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "LINCOLN\n Arkansas too, most likely. It'll be\n ratified. Slavery, sir, it's done.", "Lincoln has closed his eyes.\n 72.\n \n \n SEWARD (CONT'D)", "LINCOLN (CONT'D)\n That's my speech.\n \n He smiles at them. They applaud, some laughing. As Lincoln", "LINCOLN\n (LAUGHS)\n We're unready for peace too, ain't\n we? When it comes, it'll present us", "Then he stops, turns back, faces Lincoln, who watches him. A\n beat, and then, in a tone of admiration and cautious", "Davis to send commissioners up to\n Washington with a peace plan.\n \n Lincoln is silent. A horrifying reality dawns for Seward:", "(BEAT)\n I believe you when you insist that\n amending the constitution and\n abolishing slavery will end this\n war. And since you are sending my", "LINCOLN (CONT'D)\n \"Have Captain Saunders convey the\n gentlemen aboard the River Queen as\n far as Hampton Roads, Virginia, and", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING\n \n Lincoln is at his desk, Hay feeding him documents to read and", "\"Office United States Military\n Telegraph, War Dept. For Abraham\n Lincoln, President of the United\n States. January 20, 1865. I will", "LINCOLN\n Once he surrenders, send his boys\n back to their homes, their farms,\n their shops.", "LINCOLN (CONT'D)\n Two years ago I proclaimed these\n people emancipated - \"then,\n thenceforward and forever free.\"", "you're done.\n \n Lincoln stands.\n \n LINCOLN\n (TO NICOLAY:)", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - AFTERNOON\n \n Lincoln stands, waiting. The only sound is the ticking of", "He stops for a moment. Beckwith waits, pencil poised.\n \n Lincoln looks at the note, folds it, tucks it in a band\n inside his hat." ], [ "LINCOLN (CONT'D)\n Two years ago I proclaimed these\n people emancipated - \"then,\n thenceforward and forever free.\"", "from...\n \n LINCOLN\n Well, the people do that, I\n suppose. I signed the Emancipation", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING\n \n Lincoln is at his desk, Hay feeding him documents to read and", "and freedom.\n The nation needs to know that we\n have such plans.\n \n LINCOLN", "slavery's what they're fighting\n for. Mr. Lincoln, you always says\n so. With the amendment, slavery's\n ended and they'll give up. The war", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "LINCOLN (CONT'D)\n \"I ask that, regardless of any\n action I take in the matter of the\n visit of the Richmond", "Then he stops, turns back, faces Lincoln, who watches him. A\n beat, and then, in a tone of admiration and cautious", "JAMES SPEED\n The Emancipation Proclamation's\n merely a war measure. After the war\n the courts'll make a meal of it.", "Davis to send commissioners up to\n Washington with a peace plan.\n \n Lincoln is silent. A horrifying reality dawns for Seward:", "If Lincoln really were a ruling by fiat and martial\n tyrant, Mr. Wood, he'd'a had law affixed his name to his", "LINCOLN (CONT'D)\n That's my speech.\n \n He smiles at them. They applaud, some laughing. As Lincoln", "thought of sharing this country's\n infinite abundance with Negroes.\n \n Lincoln reaches over to Stevens and gives his shoulder a", "predicated on keeping their slaves!\n \n LINCOLN\n What hope for any Democratic votes,\n Willum, if word gets out that I've", "But if I'm a respecter of states'\n laws, how then can I legally free\n `em with my Proclamation, as I", "Mary studies Lincoln, thinking. Then a revelation:\n \n MARY\n I know...I know what it's about.", "years, maybe a Negro colonel. In a\n hundred years - the vote.\n \n Green's offended at the way Clark is talking to Lincoln.", "75.\n \n \n LINCOLN (CONT'D)\n \"Have Captain Saunders convey the", "Hay startles awake, then settles. He's used to this.\n \n LINCOLN (CONT'D)\n (he reads a little", "Blair can say what he pleases,\n since he has no authority over\n anything. If you want to discuss\n peace with President Lincoln," ], [ "Davis to send commissioners up to\n Washington with a peace plan.\n \n Lincoln is silent. A horrifying reality dawns for Seward:", "INT. LINCOLN'S OFFICE, WHITE HOUSE - MORNING\n \n The cabinet has assembled. Lincoln heads the table, Seward at", "INT. LINCOLN'S OFFICE - NIGHT\n \n Lincoln is seated at the head of the cabinet table along with", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING\n \n Lincoln is at his desk, Hay feeding him documents to read and", "Nicolay nods and steps into the anteroom, where dozens more\n petitioners are waiting to speak with Lincoln. Hay confers\n with the doorman. Seward closes the door behind them.", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "LINCOLN (CONT'D)\n Not now!\n \n Robert enters. Nicolay stands behind him, apologetic.", "Then he stops, turns back, faces Lincoln, who watches him. A\n beat, and then, in a tone of admiration and cautious", "We are at an impasse.\n \n ROBERT LATHAM\n Tell Lincoln to deny the rumors.\n Publicly.", "INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY AFTERNOON\n \n Nicolay opens the door to the crowded outer office to admit", "LINCOLN (CONT'D)\n \"Have Captain Saunders convey the\n gentlemen aboard the River Queen as\n far as Hampton Roads, Virginia, and", "Lincoln has closed his eyes.\n 72.\n \n \n SEWARD (CONT'D)", "LINCOLN (CONT'D)\n \"I ask that, regardless of any\n action I take in the matter of the\n visit of the Richmond", "Lincoln smiles. The Jollys don't get it. Mr. Jolly looks back\n at Seward, who gestures for him to speak, then exhales a\n plume of smoke.", "INT. LINCOLN'S OFFICE - EVENING\n \n Lincoln's in the shirtsleeves and vest of his formal evening", "75.\n \n \n LINCOLN (CONT'D)\n \"Have Captain Saunders convey the", "and Attorney General JAMES SPEED, 53.\n \n Nicolay and Hay are in chairs behind Lincoln, taking notes.", "Nicolay enters. Lincoln turns to him.\n \n LINCOLN\n Send over to Blair House. Ask", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - AFTERNOON\n \n Lincoln is at his desk, working, when Hay bursts in. Bilbo", "of talentless hicks and hacks that\n rejected the amendment ten months\n back. We'll lose.\n \n Lincoln smiles." ], [ "slavery's what they're fighting\n for. Mr. Lincoln, you always says\n so. With the amendment, slavery's\n ended and they'll give up. The war", "of talentless hicks and hacks that\n rejected the amendment ten months\n back. We'll lose.\n \n Lincoln smiles.", "the amendment.\n \n Mr. Jolly nods. Seward glances at Lincoln, then turns back to\n THE JOLLYS:", "I can't vote for the amendment, Mr.\n Lincoln.\n \n LINCOLN", "Then he stops, turns back, faces Lincoln, who watches him. A\n beat, and then, in a tone of admiration and cautious", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING\n \n Lincoln is at his desk, Hay feeding him documents to read and", "It's either the amendment or this\n Confederate peace, you cannot have\n both.\n \n LINCOLN", "and freedom.\n The nation needs to know that we\n have such plans.\n \n LINCOLN", "On the matter of the joint\n resolution before us, presenting a\n Thirteenth Amendment to our\n national Constitution, which was", "LINCOLN (CONT'D)\n Two years ago I proclaimed these\n people emancipated - \"then,\n thenceforward and forever free.\"", "more abstention and the amendment\n will pass -\n \n LINCOLN\n You got a night and a day and a", "LINCOLN (CONT'D)\n That's my speech.\n \n He smiles at them. They applaud, some laughing. As Lincoln", "Hay startles awake, then settles. He's used to this.\n \n LINCOLN (CONT'D)\n (he reads a little", "anything, Mr. Secretary. There\n aren't nearly enough votes -\n \n LINCOLN", "(BEAT)\n I believe you when you insist that\n amending the constitution and\n abolishing slavery will end this\n war. And since you are sending my", "the vote, laid waste, for naught.\n \n LINCOLN\n The Blairs have promised support\n for the amendment if we listen to", "If Lincoln really were a ruling by fiat and martial\n tyrant, Mr. Wood, he'd'a had law affixed his name to his", "amendment passed in the House of\n Representatives, before the term\n ends, before the Inauguration.\n \n LINCOLN", "LINCOLN\n Am I in trouble?\n \n WILLIAM SLADE\n No, sir." ], [ "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "Then he stops, turns back, faces Lincoln, who watches him. A\n beat, and then, in a tone of admiration and cautious", "Lincoln has closed his eyes.\n 72.\n \n \n SEWARD (CONT'D)", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING\n \n Lincoln is at his desk, Hay feeding him documents to read and", "Nicolay nods and steps into the anteroom, where dozens more\n petitioners are waiting to speak with Lincoln. Hay confers\n with the doorman. Seward closes the door behind them.", "Davis to send commissioners up to\n Washington with a peace plan.\n \n Lincoln is silent. A horrifying reality dawns for Seward:", "Tad watches his father shake hands. Lincoln is in his\n element. He stands close to each person, touches each one\n gently, stoops to be nearer them; he puts everyone at ease.", "Lincoln kneels at the fireplace, stoking the fire. He puts\n more wood in, then stands. Seward watches him, then:", "Lincoln smiles. The Jollys don't get it. Mr. Jolly looks back\n at Seward, who gestures for him to speak, then exhales a\n plume of smoke.", "Lincoln, suddenly without anyone in line to receive, looks to\n see the backlog forming behind the radicals. He notes the", "Hay startles awake, then settles. He's used to this.\n \n LINCOLN (CONT'D)\n (he reads a little", "INT. LINCOLN'S OFFICE, WHITE HOUSE - MORNING\n \n The cabinet has assembled. Lincoln heads the table, Seward at", "In a four-door carriage, top down, Seward sits opposite\n Lincoln. Hay, next to Seward, organizes papers in a portfolio\n on his lap.", "LINCOLN (CONT'D)\n Jeff City.\n \n Lincoln looks at the Jollys. They are worried and a little\n awed.", "LINCOLN (CONT'D)\n That's my speech.\n \n He smiles at them. They applaud, some laughing. As Lincoln", "INT. LINCOLN'S OFFICE - NIGHT\n \n Lincoln is seated at the head of the cabinet table along with", "can end this war now.\n My trust in him is marrow deep.\n \n Seward looks up at Lincoln, then down again at the telegram.", "of talentless hicks and hacks that\n rejected the amendment ten months\n back. We'll lose.\n \n Lincoln smiles.", "Lincoln, his stovepipe hat atop his head, is mounted on a\n horse on a rise at one end of the field. Behind him, several", "in a rocker next to him, watching his troops pass by as they\n move in to secure the conquered town. Lincoln closes his\n eyes." ], [ "Davis to send commissioners up to\n Washington with a peace plan.\n \n Lincoln is silent. A horrifying reality dawns for Seward:", "Nicolay enters. Lincoln turns to him.\n \n LINCOLN\n Send over to Blair House. Ask", "LINCOLN (CONT'D)\n \"Have Captain Saunders convey the\n gentlemen aboard the River Queen as\n far as Hampton Roads, Virginia, and", "commissioners to me here in\n Washington.\"\n (ANOTHER PAUSE)\n \"A. Lincoln.\" And the date.", "75.\n \n \n LINCOLN (CONT'D)\n \"Have Captain Saunders convey the", "\"Have Captain Saunders convey the\n commissioners to me here in\n Washington.\"\n \n LINCOLN", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "He stands and crosses to Lincoln.\n \n SEWARD\n You could bring the delegates to\n Washington. In exchange for the", "LINCOLN (CONT'D)\n Not now!\n \n Robert enters. Nicolay stands behind him, apologetic.", "He hurries away.\n \n LINCOLN\n We can't lose you.", "The buggy stops outside an army hospital. Lincoln packs up\n his papers.\n \n ROBERT\n I'm not going in.", "Lincoln has closed his eyes.\n 72.\n \n \n SEWARD (CONT'D)", "Nicolay nods and steps into the anteroom, where dozens more\n petitioners are waiting to speak with Lincoln. Hay confers\n with the doorman. Seward closes the door behind them.", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING\n \n Lincoln is at his desk, Hay feeding him documents to read and", "He continues down the hall. Mrs. Keckley starts to enter\n Mary's boudoir, then stops, sensing something amiss. She\n calls quietly after Lincoln:", "Robert shoots an angry, envious glance at Hay's uniform as\n Lincoln, Slade, Mrs. Keckley and Hay leave. Robert calls to\n HIS FATHER:", "EXT. A BUGGY RIDE THROUGH WASHINGTON - AFTERNOON\n \n A beautiful spring afternoon. Lincoln and Mary are riding in", "Lincoln carries Tad out of the room, closing the door.", "there wait until...\"\n (BEAT)\n \"...further advice from me. Do not\n proceed to Washington.\"\n 77.", "In a four-door carriage, top down, Seward sits opposite\n Lincoln. Hay, next to Seward, organizes papers in a portfolio\n on his lap." ], [ "TITLE: APPOMATTOX COURTHOUSE, VIRGINIA\n \n APRIL 9, 1865", "Terms of surrender.\n \n \n EXT. THE JAMES RIVER DOCK AT CITY POINT, VIRGINIA - DAY", "blank. Lee mounts his waiting horse.\n \n Lee should leave, having just surrendered to Grant inside;", "for a moment, and then one by one, the officers of the Union\n Army remove their hats.\n \n Lee is visibly moved by this gesture of respect. He raises", "give him, is to go down to Richmond\n like he said I could, soon as\n Savannah fell, and talk to\n Jefferson Davis. Give me terms I", "EXT. THE MCLEAN HOUSE, APPOMATTOX COURT HOUSE, VIRGINIA -\n AFTERNOON", "Grant, lost in thought, stops, taken aback, realizing that\n Lee's still there, astride his horse. Everyone looks at the", "to the ambulance. The Confederate peace commissioners\n hesitate; Hunter stares in horror at the black soldiers. Then\n Stephens pushes past Hunter. He nods to the soldier.", "OFFICERS OF THE CONFEDERATE AND UNION ARMY stand around in\n the afternoon sun. Everyone's solemn, even stunned by what's\n just happened. No one is speaking.", "you. Now hear me: I went to\n Richmond to talk to traitors, to\n smile at and plead with traitors,\n because it'll be spring in two", "There's a moment of shocked silence.\n \n STANTON (CONT'D)\n Till they surrender.", "slavery's what they're fighting\n for. Mr. Lincoln, you always says\n so. With the amendment, slavery's\n ended and they'll give up. The war", "SEWARD\n Surrender and we can discuss\n reconstruction.\n \n ALEXANDER STEPHENS", "Lincoln kneels by Tad and looks down at the map, a\n topographical and strategic survey of the no-man's land\n between Union and Confederate forces at Petersburg. He", "unfolds it.\n \n LINCOLN\n \"Lieutenant General Ulysses S.\n Grant, City Point. I have read your", "LINCOLN (CONT'D)\n \"Have Captain Saunders convey the\n gentlemen aboard the River Queen as\n far as Hampton Roads, Virginia, and", "but he's immobile. Some of the officers of both sides look at\n Lee, some can't bear it. Lee tries out various expressions:\n pride, defiance, blankness.", "soldiers immediately hop out. The commissioners squint,\n blinded, into the dazzling sunlight, at the River Queen,\n Grant's side-wheel steamer, docked on the banks of the James", "yoked to dead and dying horses and oxen.\n \n A terrible battle is taking place; two infantry companies,\n Negro Union soldiers and white Confederate soldiers, knee-", "Battle Cry of Freedom.\"\n \n Pendleton, with the face of someone who's seen his world\n collapse into ruin, walks straight at Yeaman, who's listening" ], [ "And the war... is done.\n \n The rest of the cabinet applauds, foot stomping, table\n slapping. Only John Usher doesn't join in.", "slavery's what they're fighting\n for. Mr. Lincoln, you always says\n so. With the amendment, slavery's\n ended and they'll give up. The war", "(BEAT)\n I believe you when you insist that\n amending the constitution and\n abolishing slavery will end this\n war. And since you are sending my", "THE AMERICAN CIVIL WAR IS NOW IN ITS FOURTH YEAR", "can end this war now.\n My trust in him is marrow deep.\n \n Seward looks up at Lincoln, then down again at the telegram.", "Yes sir.\n \n As Nicolay heaves into the room in last place, wheezing\n terribly, Lincoln deliberates for a moment, then writes a", "He looks up and across the battlefield; a terrible battle has\n concluded a couple of hours ago.\n \n Looking down, as he rides, he sees soldiers killed by", "LINCOLN\n After four years of war and near\n 600,000 lives lost. He believes we", "to the ambulance. The Confederate peace commissioners\n hesitate; Hunter stares in horror at the black soldiers. Then\n Stephens pushes past Hunter. He nods to the soldier.", "FIRST WHITE SOLDIER\n \"Now we are engaged in a great\n civil war, testing whether that\n nation or any nation so conceived", "Union blue, the casualties of Confederate cannon fire, felled\n as the Union army, about six hours earlier, began its final,\n successful drive to break through Confederate lines.", "and so dedicated can long endure.\n We are, we are, we are met on a\n great battlefield of that war.\"", "LINCOLN (CONT'D)\n War's nearly done. Ain't that so?\n What use one more corpse? Any more", "GRANT\n And we've won the war. Now you have\n to lead us out of it.", "confederacy, the war would've been\n lost and the Union along with it,\n and instead of abolishing slavery,\n as we hope to do, in two weeks,", "OFFICERS OF THE CONFEDERATE AND UNION ARMY stand around in\n the afternoon sun. Everyone's solemn, even stunned by what's\n just happened. No one is speaking.", "Latham jovially collects his winnings. He stops short when\n Lincoln steps into the room, cloak and stovepipe, very tall.", "Battle Cry of Freedom.\"\n \n Pendleton, with the face of someone who's seen his world\n collapse into ruin, walks straight at Yeaman, who's listening", "for a denial that, that there is a\n Confederate peace offer because,\n because there is one! We are\n absolutely guaranteed to lose the\n whole thing -", "for a moment, and then one by one, the officers of the Union\n Army remove their hats.\n \n Lee is visibly moved by this gesture of respect. He raises" ], [ "SEWARD\n One last item, an absurdity, but -\n My associates report that among the\n Representatives a fantastical", "This fight is for The United States\n of America! Nothing \"suffices\". A\n rumor? Nothing! They're not lazy!\n They're busily buying votes! While", "Asa Vintner Litton sees them enter. He looks about, at the\n representatives caucusing, or staring up at the visitors.\n Something powerful strikes him. In a voice coarse with", "Davis to send commissioners up to\n Washington with a peace plan.\n \n Lincoln is silent. A horrifying reality dawns for Seward:", "INT. THE HOUSE CHAMBER, THE CAPITOL - LATE AFTERNOON\n \n Representatives throw papers in the air, embrace, weep,", "rumor's bruited about, which I\n immediately disavowed, that you'd\n allowed bleary old Preston Blair to\n sojourn to Richmond to invite Jeff", "delegation. offer!\n \n SEWARD ROBERT LATHAM\n Groundless. I told you that. And yet the rumors persist.", "Among the few remaining\n representatives who seem remotely\n plausible there is a perceptible\n increase in resistance.", "Yeaman looks ready to faint. To the consternation of the\n Democrats, a mob of gleeful Republicans rushes across the\n aisle that separates the two parties; they surround Yeaman,", "Also indisposed, also abstaining.\n \n Shocked anger from the Democrats. Pendleton starts\n calculating votes on a sheet of paper. Wood grabs it and", "Yeaman doesn't respond. The silence this causes lengthens,\n till representatives begin to look to see what's happened.", "representatives from seceded states. These will of course\n remain unoccupied during the vote.\n \n The first Congressman to arrive, Thaddeus Stevens clumps in.", "All eyes are on Stevens, the chamber quiet except for a\n scratching sound: the journalists have begun scribbling.\n \n FERNANDO WOOD (CONT'D)", "Democrats and Republicans rush to the Speaker to support or\n protest the motion.\n \n In the balcony, Preston slowly stands, saddened and angry.", "Washington's likeness in a water\n closet? Yes, said Mr. Allen, where\n it'll do good service: the whole\n world knows nothing'll make an", "We are at an impasse.\n \n ROBERT LATHAM\n Tell Lincoln to deny the rumors.\n Publicly.", "The chamber's noisy and packed. In the balcony's front row, a\n wall of newspapermen, notebooks at the ready.", "RICHARD SCHELL ROBERT LATHAM\n It's the goddamned rumors There are defections in the\n regarding the Richmond ranks... Yes! The peace", "Wild cheering, applause from the Republicans.\n 37.\n \n \n FERNANDO WOOD", "- beginning with the honorable\n George Pendleton of Ohio.\n \n Applause, boos. Pendleton, taking the podium, is handed" ], [ "Grant, smoking his cigar, his uniform dusty and rumpled, is\n sitting on the small porch. He stares piercingly at Lincoln,", "Then he stops, turns back, faces Lincoln, who watches him. A\n beat, and then, in a tone of admiration and cautious", "unfolds it.\n \n LINCOLN\n \"Lieutenant General Ulysses S.\n Grant, City Point. I have read your", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "Grant stomps onto the porch of the house, followed by his\n staff. Among them is Robert Lincoln.\n 121.", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING\n \n Lincoln is at his desk, Hay feeding him documents to read and", "Nicolay enters. Lincoln turns to him.\n \n LINCOLN\n Send over to Blair House. Ask", "Lincoln kneels at the fireplace, stoking the fire. He puts\n more wood in, then stands. Seward watches him, then:", "GRANT (V.O.) (CONT'D) SEWARD (V.O.)\n \"...from anyone in authority, \"...from anyone in authority,\n Mr. Lincoln...\" Mr. Lincoln...\"", "He stops for a moment. Beckwith waits, pencil poised.\n \n Lincoln looks at the note, folds it, tucks it in a band\n inside his hat.", "Nicolay nods and steps into the anteroom, where dozens more\n petitioners are waiting to speak with Lincoln. Hay confers\n with the doorman. Seward closes the door behind them.", "LINCOLN (CONT'D)\n \"Have Captain Saunders convey the\n gentlemen aboard the River Queen as\n far as Hampton Roads, Virginia, and", "In a four-door carriage, top down, Seward sits opposite\n Lincoln. Hay, next to Seward, organizes papers in a portfolio\n on his lap.", "Lincoln kneels by Tad and looks down at the map, a\n topographical and strategic survey of the no-man's land\n between Union and Confederate forces at Petersburg. He", "INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY EVENING\n \n Seward stands, stunned. Lincoln sits at the cabinet table.", "He stands and crosses to Lincoln.\n \n SEWARD\n You could bring the delegates to\n Washington. In exchange for the", "INT. LINCOLN'S OFFICE, WHITE HOUSE - MORNING\n \n The cabinet has assembled. Lincoln heads the table, Seward at", "Lincoln smiles. The Jollys don't get it. Mr. Jolly looks back\n at Seward, who gestures for him to speak, then exhales a\n plume of smoke.", "Lincoln has closed his eyes.\n 72.\n \n \n SEWARD (CONT'D)", "Green salutes Lincoln as well and glances at Clark, who\n remains, looking down. Green leaves. Clark looks up, salutes\n Lincoln and, turning smartly, walks toward his unit." ], [ "LINCOLN (CONT'D)\n Two years ago I proclaimed these\n people emancipated - \"then,\n thenceforward and forever free.\"", "from...\n \n LINCOLN\n Well, the people do that, I\n suppose. I signed the Emancipation", "slavery's what they're fighting\n for. Mr. Lincoln, you always says\n so. With the amendment, slavery's\n ended and they'll give up. The war", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING\n \n Lincoln is at his desk, Hay feeding him documents to read and", "and freedom.\n The nation needs to know that we\n have such plans.\n \n LINCOLN", "Then he stops, turns back, faces Lincoln, who watches him. A\n beat, and then, in a tone of admiration and cautious", "JAMES SPEED\n The Emancipation Proclamation's\n merely a war measure. After the war\n the courts'll make a meal of it.", "thought of sharing this country's\n infinite abundance with Negroes.\n \n Lincoln reaches over to Stevens and gives his shoulder a", "LINCOLN (CONT'D)\n \"I ask that, regardless of any\n action I take in the matter of the\n visit of the Richmond", "LINCOLN\n It's three forty in the morning.\n \n JOHN NICOLAY\n (not waking up:)", "If Lincoln really were a ruling by fiat and martial\n tyrant, Mr. Wood, he'd'a had law affixed his name to his", "years, maybe a Negro colonel. In a\n hundred years - the vote.\n \n Green's offended at the way Clark is talking to Lincoln.", "those people I freed be ordered\n back into slavery? That's why I'd\n like to get the Thirteenth\n Amendment through the House, and on", "Mary studies Lincoln, thinking. Then a revelation:\n \n MARY\n I know...I know what it's about.", "LINCOLN (CONT'D)\n That's my speech.\n \n He smiles at them. They applaud, some laughing. As Lincoln", "Davis to send commissioners up to\n Washington with a peace plan.\n \n Lincoln is silent. A horrifying reality dawns for Seward:", "LINCOLN\n After four years of war and near\n 600,000 lives lost. He believes we", "LINCOLN\n I'm asking only that you\n disenthrall yourself from the slave\n powers. I'll let you know when", "predicated on keeping their slaves!\n \n LINCOLN\n What hope for any Democratic votes,\n Willum, if word gets out that I've" ], [ "them, Secretary of State WILLIAM SEWARD, 64, in a thick,\n exquisite winter coat and hat, and Lincoln's dapper assistant", "Davis to send commissioners up to\n Washington with a peace plan.\n \n Lincoln is silent. A horrifying reality dawns for Seward:", "INT. LINCOLN'S OFFICE, WHITE HOUSE - MORNING\n \n The cabinet has assembled. Lincoln heads the table, Seward at", "Lincoln has closed his eyes.\n 72.\n \n \n SEWARD (CONT'D)", "INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY EVENING\n \n Seward stands, stunned. Lincoln sits at the cabinet table.", "18.\n \n \n Seward takes the letter from Mrs. Jolly and hands it to\n Lincoln.", "In a four-door carriage, top down, Seward sits opposite\n Lincoln. Hay, next to Seward, organizes papers in a portfolio\n on his lap.", "Lincoln kneels at the fireplace, stoking the fire. He puts\n more wood in, then stands. Seward watches him, then:", "INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY EVENING\n \n Seward hands the last prospectus to Nicolay, who unfolds it,", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "Lincoln enters the room with Seward.\n \n LINCOLN\n Well, Mr. Representative Ashley!", "the amendment.\n \n Mr. Jolly nods. Seward glances at Lincoln, then turns back to\n THE JOLLYS:", "SEWARD\n (to Lincoln, quietly:)\n The people!\n I begin to see why you're in such a", "scowl. Lincoln sits on the edge of Seward's desk. Yeaman sits\n in a chair facing him.\n \n GEORGE YEAMAN", "Nicolay nods and steps into the anteroom, where dozens more\n petitioners are waiting to speak with Lincoln. Hay confers\n with the doorman. Seward closes the door behind them.", "LINCOLN\n We'll hear `em out.\n \n SEWARD", "places it on top of the other prospectuses, and records\n details about Hawkins's appointment in a notebook. Seward\n smokes a cigar, Nicolay a pipe. Lincoln sits, feet up,", "Sailors cheer Lincoln's arrival. Lincoln walks across the\n gangway. Seward greets him amidst the cheers.", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING\n \n Lincoln is at his desk, Hay feeding him documents to read and", "GRANT (V.O.) (CONT'D) SEWARD (V.O.)\n \"...from anyone in authority, \"...from anyone in authority,\n Mr. Lincoln...\" Mr. Lincoln...\"" ], [ "- and radical Republicanism's\n abolitionist fanaticism!\n \n This prompts shouts and boos from the Republicans.", "slavery's what they're fighting\n for. Mr. Lincoln, you always says\n so. With the amendment, slavery's\n ended and they'll give up. The war", "representative. It is, in fact,\n unworthy of a white man!\n \n THADDEUS STEVENS", "Our Republicans ain't\n abolitionists. We can't tell our\n people they can vote yes on\n abolishing slavery unless at the", "Lincoln, suddenly without anyone in line to receive, looks to\n see the backlog forming behind the radicals. He notes the", "the fighting around Wilmington.\n Within ten days time, we might pass\n the Thirteenth Amendment.", "those people I freed be ordered\n back into slavery? That's why I'd\n like to get the Thirteenth\n Amendment through the House, and on", "godforsaken Republican Party, our\n party - Abraham Lincoln has asked\n us to work with him to accomplish\n the death of slavery in America.", "LINCOLN (CONT'D)\n Two years ago I proclaimed these\n people emancipated - \"then,\n thenceforward and forever free.\"", "predicated on keeping their slaves!\n \n LINCOLN\n What hope for any Democratic votes,\n Willum, if word gets out that I've", "passed, shall set at immediate\n liberty four million coloreds while\n manacling the limbs of the white\n race in America. If it is passed -", "appropriate legislation.\"\n 116.\n \n \n Thaddeus Stevens grins, nods, thinking, eyes sparkling.", "Stevens, that Negroes are the same\n as white men are.\n \n THADDEUS STEVENS\n The true purpose of the amendment -", "On the matter of the joint\n resolution before us, presenting a\n Thirteenth Amendment to our\n national Constitution, which was", "- then Negroes in those states are\n slaves, hence property, hence my\n war powers allow me to confiscate\n `em as such. So I confiscated `em.", "equal those whom God created\n unequal!\n \n The Democrats cheer. Mary watches with concern. Mrs. Keckley\n is angry and uncomfortable.", "for full equality, the Negro vote\n and much more. Congress shall\n mandate the seizure of every foot\n of rebel land and every dollar of", "AARON HADDAM\n The conservative Republican\n faction's satisfied, and we thank\n Mr. Lincoln. I move to table Mr.", "Republican.\n \n THADDEUS STEVENS\n I know what he is. This is a\n rhetorical exercise. And Congress", "their practical relations to the\n Union immediately.\n \n Silence.\n \n ALEXANDER STEPHENS" ], [ "Davis to send commissioners up to\n Washington with a peace plan.\n \n Lincoln is silent. A horrifying reality dawns for Seward:", "Grant wants me to bring the secesh\n delegates to Washington.\n \n JOHN HAY\n So... There are secesh delegates?", "rumor's bruited about, which I\n immediately disavowed, that you'd\n allowed bleary old Preston Blair to\n sojourn to Richmond to invite Jeff", "SEWARD\n One last item, an absurdity, but -\n My associates report that among the\n Representatives a fantastical", "We are at an impasse.\n \n ROBERT LATHAM\n Tell Lincoln to deny the rumors.\n Publicly.", "RICHARD SCHELL ROBERT LATHAM\n It's the goddamned rumors There are defections in the\n regarding the Richmond ranks... Yes! The peace", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "Are there Confederate commissioners\n in the Capitol?\n \n JAMES ASHLEY\n I don't... I have no idea where", "to the ambulance. The Confederate peace commissioners\n hesitate; Hunter stares in horror at the black soldiers. Then\n Stephens pushes past Hunter. He nods to the soldier.", "commissioners to me here in\n Washington.\"\n (ANOTHER PAUSE)\n \"A. Lincoln.\" And the date.", "representatives from seceded states. These will of course\n remain unoccupied during the vote.\n \n The first Congressman to arrive, Thaddeus Stevens clumps in.", "If this could be given me in\n writing, as Vice President of the\n Confederacy, I'd bring that\n document with celerity to Jefferson\n Davis.", "their practical relations to the\n Union immediately.\n \n Silence.\n \n ALEXANDER STEPHENS", "Secretary Stanton has sent over to\n tell you that as of half an hour\n ago, the shelling of Wilmington\n harbor has commenced.", "Jefferson Davis is sending three\n delegates: Stephens, Hunter and\n Campbell: Vice President of the\n Confederacy, their former Secretary\n of State, and their Assistant", "delegation. offer!\n \n SEWARD ROBERT LATHAM\n Groundless. I told you that. And yet the rumors persist.", "ALEXANDER STEPHENS\n Did Mr. Lincoln tell you to tell us\n this, General Grant?", "\"Have Captain Saunders convey the\n commissioners to me here in\n Washington.\"\n \n LINCOLN", "But Mr. Blair told us, he, he told\n President Davis we were -\n \n GRANT\n A private citizen like Preston", "LINCOLN (CONT'D)\n \"Have Captain Saunders convey the\n gentlemen aboard the River Queen as\n far as Hampton Roads, Virginia, and" ], [ "from their seats.\n \n LEONARD GROVER (CONT'D)\n The President has been shot at\n Ford's Theater!", "commissioners to me here in\n Washington.\"\n (ANOTHER PAUSE)\n \"A. Lincoln.\" And the date.", "Slade watches till Lincoln turns the corner, and he's gone.\n \n \n INT. A THEATER - NIGHT", "Lincoln and Robert are in the buggy driven by the old\n soldier; a young bodyguard soldier sits beside the driver,\n his rifle uselessly tucked under his legs. Lincoln is on one", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "The audience applauds. In the center box, Tad Lincoln is\n joining in, as is his companion for the evening, Tom Pendel.", "(VOICE SHAKING:)\n The President has been shot.\n \n There are screams of horror from the audience; people leap", "INT. LINCOLN'S OFFICE - NIGHT\n \n Lincoln is seated at the head of the cabinet table along with", "In a four-door carriage, top down, Seward sits opposite\n Lincoln. Hay, next to Seward, organizes papers in a portfolio\n on his lap.", "Lincoln has closed his eyes.\n 72.\n \n \n SEWARD (CONT'D)", "LINCOLN (CONT'D)\n \"Have Captain Saunders convey the\n gentlemen aboard the River Queen as\n far as Hampton Roads, Virginia, and", "LINCOLN\n It's three forty in the morning.\n \n JOHN NICOLAY\n (not waking up:)", "MARY\n It was an assassin. Whose intended\n target was you.\n \n LINCOLN", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING\n \n Lincoln is at his desk, Hay feeding him documents to read and", "MARY LINCOLN sits opposite, in a nightgown, housecoat and\n night cap. She watches him in her vanity mirror.", "the clock. And then the ticking is slowly drowned out as\n bells begin to peal throughout the city. Lincoln raises the\n window as Tad rushes to him. The bells are joined by a", "LINCOLN MARY\n That's right. When you I was in the room with\n refused so much as to comfort Willie, I was holding him in", "MARY\n I knew, I knew, I saw that night he\n was dying.\n \n LINCOLN", "Lincoln opens the door and enters to find his 10 year-old son\n TAD LINCOLN near the hearth, sleeping, sprawled on a very\n large military map. Lead toy soldiers are scattered across", "INT. LINCOLN'S OFFICE - EVENING\n \n Lincoln's in the shirtsleeves and vest of his formal evening" ], [ "from their seats.\n \n LEONARD GROVER (CONT'D)\n The President has been shot at\n Ford's Theater!", "Slade watches till Lincoln turns the corner, and he's gone.\n \n \n INT. A THEATER - NIGHT", "(VOICE SHAKING:)\n The President has been shot.\n \n There are screams of horror from the audience; people leap", "MARY\n It was an assassin. Whose intended\n target was you.\n \n LINCOLN", "Lincoln has closed his eyes.\n 72.\n \n \n SEWARD (CONT'D)", "Lincoln and Robert are in the buggy driven by the old\n soldier; a young bodyguard soldier sits beside the driver,\n his rifle uselessly tucked under his legs. Lincoln is on one", "You should go to Mrs. Lincoln.\n She's in Willie's room.\n \n ROBERT\n She never goes in there.", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "The audience applauds. In the center box, Tad Lincoln is\n joining in, as is his companion for the evening, Tom Pendel.", "He continues down the hall. Mrs. Keckley starts to enter\n Mary's boudoir, then stops, sensing something amiss. She\n calls quietly after Lincoln:", "Nicolay enters. Lincoln turns to him.\n \n LINCOLN\n Send over to Blair House. Ask", "MARY LINCOLN sits opposite, in a nightgown, housecoat and\n night cap. She watches him in her vanity mirror.", "MARY\n I knew, I knew, I saw that night he\n was dying.\n \n LINCOLN", "Robert shoots an angry, envious glance at Hay's uniform as\n Lincoln, Slade, Mrs. Keckley and Hay leave. Robert calls to\n HIS FATHER:", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING\n \n Lincoln is at his desk, Hay feeding him documents to read and", "INT. LINCOLN'S OFFICE, THE WHITE HOUSE - AFTERNOON\n \n Lincoln is at his desk, working, when Hay bursts in. Bilbo", "Lincoln closes his folio.\n \n MARY (CONT'D)\n You're going to try to get the", "In a four-door carriage, top down, Seward sits opposite\n Lincoln. Hay, next to Seward, organizes papers in a portfolio\n on his lap.", "his arm around his father's neck, then tears wildly out of\n the room.\n \n LINCOLN (CONT'D)", "Everyone laughs.\n \n LINCOLN (CONT'D)\n Now, Mr. Allen discovered on" ], [ "LINCOLN\n We can find twenty votes.\n \n SEWARD\n Twenty House Democrats who'll vote", "SEWARD\n If procuring votes with offers of\n employment is what you intend, I'll\n fetch a friend from Albany who can", "Davis to send commissioners up to\n Washington with a peace plan.\n \n Lincoln is silent. A horrifying reality dawns for Seward:", "He stands and crosses to Lincoln.\n \n SEWARD\n You could bring the delegates to\n Washington. In exchange for the", "Ashley insists you're ensuring\n approval by dispensing patronage to\n otherwise undeserving Democrats.\n \n LINCOLN", "SEWARD\n We need Democratic support. There's\n none to be had.\n \n LINCOLN", "predicated on keeping their slaves!\n \n LINCOLN\n What hope for any Democratic votes,\n Willum, if word gets out that I've", "with sweat, and brings it to Lincoln. Lincoln reads it.\n \n LINCOLN\n This is precisely what Mr. Wood", "them, Secretary of State WILLIAM SEWARD, 64, in a thick,\n exquisite winter coat and hat, and Lincoln's dapper assistant", "bribes. It'd speed things up.\n \n SEWARD\n No. Nothing strictly illegal.", "Lincoln enters the room with Seward.\n \n LINCOLN\n Well, Mr. Representative Ashley!", "INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY EVENING\n \n Seward hands the last prospectus to Nicolay, who unfolds it,", "LINCOLN\n Perhaps.\n \n SEWARD\n We can't afford a single defection", "the amendment.\n \n Mr. Jolly nods. Seward glances at Lincoln, then turns back to\n THE JOLLYS:", "18.\n \n \n Seward takes the letter from Mrs. Jolly and hands it to\n Lincoln.", "In a four-door carriage, top down, Seward sits opposite\n Lincoln. Hay, next to Seward, organizes papers in a portfolio\n on his lap.", "LINCOLN\n We'll hear `em out.\n \n SEWARD", "SEWARD\n (to Lincoln, quietly:)\n The people!\n I begin to see why you're in such a", "INT. LINCOLN'S OFFICE, WHITE HOUSE - MORNING\n \n The cabinet has assembled. Lincoln heads the table, Seward at", "Lincoln has closed his eyes.\n 72.\n \n \n SEWARD (CONT'D)" ], [ "On the matter of the joint\n resolution before us, presenting a\n Thirteenth Amendment to our\n national Constitution, which was", "the Thirteenth Amendment. It's\n going to be so very close.\n You see what you can do.", "the fighting around Wilmington.\n Within ten days time, we might pass\n the Thirteenth Amendment.", "vote for the Thirteenth Amendment?\n \n Mrs. Jolly is puzzled, and looks to Mr. Jolly. Then:", "bill for the Thirteenth Amendment\n to a vote. Do I hear a second?\n \n ASA VINTNER LITTON", "voting, fifty six votes against,\n one hundred nineteen votes for.\n With a margin of two votes -", "The Thirteenth Amendment. You\n needn't tell me I'm right. I know I\n am.", "those people I freed be ordered\n back into slavery? That's why I'd\n like to get the Thirteenth\n Amendment through the House, and on", "(BEAT)\n And come February the first, I\n intend to sign the Thirteenth\n Amendment.", "appropriate legislation.\"\n 116.\n \n \n Thaddeus Stevens grins, nods, thinking, eyes sparkling.", "FERNANDO WOOD (CONT'D)\n We are once again asked - nay,\n commanded - to consider a proposed\n thirteenth amendment which, if", "LINCOLN\n We can find twenty votes.\n \n SEWARD\n Twenty House Democrats who'll vote", "more abstention and the amendment\n will pass -\n \n LINCOLN\n You got a night and a day and a", "I want the amendment to pass. So\n that the Constitution's first and\n only mention of slavery is its\n absolute prohibition. For this", "slavery's what they're fighting\n for. Mr. Lincoln, you always says\n so. With the amendment, slavery's\n ended and they'll give up. The war", "amendment passed in the House of\n Representatives, before the term\n ends, before the Inauguration.\n \n LINCOLN", "the Thirteenth Amendment?\n \n LINCOLN\n I'd like peace immediately.", "passed, shall set at immediate\n liberty four million coloreds while\n manacling the limbs of the white\n race in America. If it is passed -", "THADDEUS STEVENS\n We want to show the amendment has\n bipartisan support, you idiot.\n Early in the next Congress, when I", "believing it.\n \n SCHUYLER COLFAX (CONT'D)\n The final vote: eight absent or not" ] ]

[ "What was Lincoln worried about at the beginning of the story?", "What would happen if the Emancipation Proclamation was overturned and the 13th Amendment was defeated?", "Lincoln needed votes from which Republicans to secure the 13th Amendment?", "Who was the Secretary of State under Lincoln? ", "What did Lincoln and Seward use instead of monetary bribes to convince Democrats to vote for the 13th Amendment?", "What does it mean to be a \"lame duck\" with regard to congressional politics?", "How many votes did the 13th Amendment pass by?", "Where did Robert E. Lee surrender to Ulysses S. Grant?", "Where was Abraham Lincoln assassinated?", "How soon does Lincoln expect the war to end?", "What concern does Lincoln have about the Emancipation Proclamation?", "What does lincoln's advisers advise him to do?", "What amendment is Lincoln adamant about ?", "With whom doe lincoln's hopes rely on the most?", "Who does Lincoln instruct to be kept out of washington?", "Who surrenders at Appomattox Courthouse?", "Who wins the civil war?", "What rumor about representatives in washington circulates?", "Where does lincoln exchange words with Ulysses S. Grant?", "What is concerning Lincoln about his 1863 Emancipation Proclamation?", "What did Lincoln and Secretary of State William Seward work on together?", "What issue did Radical Republicans prioritize?", "What was the intention of the rumor regarding the Confederate Representatives in Washington?", "What was the date Lincoln attended the theater where he was shot?", "What was the name of the theater where Lincoln was shot?", "What did Lincoln and Seward offer Democrats, instead of direct monetary bribes?", "What voting margin did the Thirteenth Amendment pass by?" ]

[ [ "The courts overturning his 1863 Emancipation Proclamation and the 13th Amendment being rejected.", "Whether the Emancipation Proclamation would be discarded and proposed Thirteenth Amendment would be discarded." ], [ "Slavery would continue and freed slaves could be re-enslaved.", "Slaves who had been freed could be re-enslaved" ], [ "Western and border state conservative Republicans", "CONSERVATIVES" ], [ "William Seward", "William Seward" ], [ "Promises of federal jobs", "federal job offers" ], [ "A congressperson that lost re-election for the next term", "Politicians who have lost reelection and vote however they want because they have nothing to gain." ], [ "2 votes", "Two votes." ], [ "Appomattox Courthouse", "Appomattox Courthouse" ], [ "Ford's Theatre", "At Ford's Theatre." ], [ "Within a month", "Within a month" ], [ "It will be discarded by the courts after the war", "THAT IT WOULD BE THROWN AWAY IF NOT PASSED BEFORE THE SOUTHERN STATES REJOINED THE COUNTRY AFTER THE CIVIL WAR" ], [ "Wait until the congress is seated", "Wait for a republican heavy congress" ], [ "Thirteenth-Amendment", "1863 Emancipation Proclamation" ], [ "Francis Preston Blair", "Frances Peston Blair." ], [ "Confederate Envoys.", "The Confederate envoys." ], [ "General Robert E. Lee", "General Robert E. Lee." ], [ "The Union", "The Union Army" ], [ "There are confederates.", "There were Confederate representatives in Washington" ], [ "Petersburg.", "PETERSBURG, VIRGINIA ON THE BATTLEFIELD" ], [ "That it may be discarded by the court once the war has concluded.", "He was worried that it would be ruled unconstitutional by the courts." ], [ "Securing democratic votes for the Thirteenth Amendment.", "securing the necessary Democratic votes" ], [ "Ending the war. ", "Ending the Civil War." ], [ "To prompt both Democrats and Republicans to postpone the vote on the Thirteenth Amendment.", "to postpone the vote on the amendment" ], [ "April 14th.", "April 14" ], [ "Ford's Theatre.", "FORD'S THEATRE" ], [ "Federal jobs.", "Federal jobs." ], [ "Two votes.", "Two votes." ] ]

[ [ "Anne is about to turn to her box but she is reluctant to\nleave Guy, who must now join his opponent, Reynolds. As\ntheir eyes hold, in mutual helplessness, Guy suddenly stares\nat her with realization.", "GUY\n What?\n\n BRUNO\n The wedding. You and Anne Burton.\n (a gesture of\n explanation)\n It was in the papers.", "the way so he could marry Anne. In\n a crime of this sort the police first\n go after the husband, and Guy had\n every motive.", "GUY\n Bruno? Yes, yes, it's Guy...I've\n decided to do what you want. I'll", "GUY\n Be right there.\n (turns to Anne)\n I was afraid you wouldn't get here.\n Wish me luck, darling.", "GUY\n (holding her close)\n Anne darling, you're trembling.\n\nAnne draws back and looks into his face as if searching for\nan answer to some question in her mind.", "GUY\n Okay, Tim. Be right with you.\n\nReynolds leaves Anne and Guy rise, and as they walk toward\nthe stadium, we can see Guy start to speak to Anne in a\nwhisper.", "Left alone, Guy and Anne embrace. Anne's nervous tension\ncomes to the surface in a flood of relief.", "GUY\n (awkwardly)\n Well, why do you ask me? You've\n seen her pictures in the paper.\n\n ANNE\n Go on, I want you to tell me.", "Anne comes down the steps and intercepts Guy on the sidewalk.\nShe leads him along a few paces and then stops and faces\nhim.\n\n\nCLOSE TWO SHOT", "For an instant his nervous hands seem to be struggling with\nthe urge to kill Guy.", "She becomes aware that this is the man she has seen call to\nGuy in the art museum, that they have met before. Her eyes\nturn a little in Guy's direction, though she does not look\nat him.", "Guy has been looking at Anne and is concerned at the worry\non her face. He nods in assent to the Senator's suggestion,\nbut puts his hand over Anne's.", "Barbara has been squirming in her seat, then as if jet\npropelled she catapults out of it and runs to Guy, giving\nhim a big hug and a smack on the cheek.", "As Guy is about to enter the front door and we see his name\nposted on a small card as one of the several tenants, he\nhears a soft call from across the street.", "GUY\n Stay away from me, I tell you!\n\nHe leaves Bruno abruptly to rejoin Anne. Bruno looks after\nhim, a little hurt.\n\n\nTWO SHOT", "GUY\n (quickly)\n No, darling.\n (he puts his hand on\n hers and speaks", "Anne is extremely concerned and thoughtful. Suddenly she\ngets an idea and with a pat on Barbara's arm, asks hurriedly:\n\n ANNE\n Do you know where Guy is?", "As Guy is opening the envelope, Barbara speaks to him from\natop a library ladder. She is getting a book from one of\nthe top shelves of a bookcase, which is next to a window.", "GUY\n That I could strang...\n\nAnne quickly puts her fingers over his mouth." ], [ "Anne is about to turn to her box but she is reluctant to\nleave Guy, who must now join his opponent, Reynolds. As\ntheir eyes hold, in mutual helplessness, Guy suddenly stares\nat her with realization.", "the way so he could marry Anne. In\n a crime of this sort the police first\n go after the husband, and Guy had\n every motive.", "GUY\n That I could strang...\n\nAnne quickly puts her fingers over his mouth.", "GUY\n (holding her close)\n Anne darling, you're trembling.\n\nAnne draws back and looks into his face as if searching for\nan answer to some question in her mind.", "GUY\n What?\n\n BRUNO\n The wedding. You and Anne Burton.\n (a gesture of\n explanation)\n It was in the papers.", "GUY\n (awkwardly)\n Well, why do you ask me? You've\n seen her pictures in the paper.\n\n ANNE\n Go on, I want you to tell me.", "I'm sorry, Guy, to be the one to\n tell you. It concerns your wife.\n She's been murdered.", "GUY\n (quickly)\n No, darling.\n (he puts his hand on\n hers and speaks", "ANNE\n (answering Guy's look)\n It can't be helped, darling. It is\n not your fault. It's not as though\n anyone can say you had something to\n do with it.", "Anne comes down the steps and intercepts Guy on the sidewalk.\nShe leads him along a few paces and then stops and faces\nhim.\n\n\nCLOSE TWO SHOT", "GUY\n What for?\n MIRIAM\n To have my baby and be with you.\n\n GUY\n Why me? It's not my baby.", "GUY\n Okay, Tim. Be right with you.\n\nReynolds leaves Anne and Guy rise, and as they walk toward\nthe stadium, we can see Guy start to speak to Anne in a\nwhisper.", "Left alone, Guy and Anne embrace. Anne's nervous tension\ncomes to the surface in a flood of relief.", "GUY\n (sadly)\n You see, Anne, that's why I didn't\n want you to know anything about this.", "ANNE\n (who hasn't taken\n anxious eyes off Guy)\n You can tell them where you were,\n can't you, Guy?", "GUY\n Be right there.\n (turns to Anne)\n I was afraid you wouldn't get here.\n Wish me luck, darling.", "BARBARA\n (ignoring this - to\n Anne and Guy)\n Well, you two. Nothing stands in\n your way now. You can be married\n right away. Think of it -- you're\n free!", "GUY\n Stay away from me, I tell you!\n\nHe leaves Bruno abruptly to rejoin Anne. Bruno looks after\nhim, a little hurt.\n\n\nTWO SHOT", "GUY\n Must be some mistake. It wasn't for\n me.\n\nHis embarrassment grows as Anne looks at him with a puzzled\nexpression.", "Guy has been looking at Anne and is concerned at the worry\non her face. He nods in assent to the Senator's suggestion,\nbut puts his hand over Anne's." ], [ "Bruno opens his eyes and sees Guy.\n\n BRUNO\n Hello, Guy.\n\nTurley has leaned forward to look at the helpless Bruno.", "Bruno is now half awake. Almost without seeing Guy, he\nstaggers to his feet and begins to make his way to the door.\nGuy advances, and with a sharp thrust, pushes Bruno back on\nthe settee.", "BRUNO\n (looks at Guy with\n astonishment)\n But, Guy, you wanted it! We planned\n it on the train together, remember?", "As Bruno continues to stare at him, Guy takes out the Luger.\nFor a moment a look of fear comes into Bruno's face as he\nthinks Guy will probably shoot him. After a pause, Guy tosses\nthe gun on the bed.", "GUY\n (muttering)\n You've got me acting, like a criminal,\n you crazy fool!\n\nBruno for a moment looks menacingly at Guy.", "GUY\n (amused by Bruno)\n Well, what do you want to do?\n\n BRUNO\n You mean before or after I kill him?", "BRUNO\n Now look, Guy, about my father. I\n have the plans made. Two plans. A\n plan of the grounds and a plan of", "BRUNO\n But, Guy --\n\nGuy smashes Bruno in the jaw, in utter disgust, and knocks\nhim back onto the settee. Bruno looks up from his sprawled\nposition, a dull look in his eye.", "We see Guy excuse himself from Barbara, cross to Bruno and\nspeak to him angrily, obviously asking, \"What are you doing\nhere?\" Bruno, however, greets Guy with a smile then turns", "Bruno looks and sees Guy clearly for the first time.\n\n BRUNO\n What happened? I was on a merry-go-\n round somewhere. It made me dizzy.", "GUY\n Bruno? Yes, yes, it's Guy...I've\n decided to do what you want. I'll", "Bruno swings around till his back is to us. He pushes Guy\ntoward the edge, but Guy manages to grab the rein of the", "Guy moves forward, and thrusting his hand in Bruno's open\nshirt, pulls him to his feet. Bruno ignores Guy's violence\nand remain puzzled.", "As Guy comes near to Bruno, the latter turns on him and starts\nto attack him.\n BRUNO\n I want to get off of here! Let me\n off of here! It makes me dizzy.", "Guy looks around desperately, frustrated for a moment as\nTurley eyes him stonily. Then he turns again to Bruno.", "GUY\n (wryly)\n Thanks.\nGuy tries to read but is uneasily aware of Bruno's open\nappraisal.", "Bruno and Guy are finishing lunch. Bruno has been drinking\nand his eyes are bright and feverish. An almost empty liquor\nbottle is near a couple of detective novels covered with", "GUY\n (bitterly)\n And have them say what you did --\n \"Mr. Haines, how did you get him to\n do it?\" And Bruno would say we'd\n planed it together.", "BRUNO\n Wait a minute, Guy. To have to talk.\n We have to arrange things.\n\nGuy turns at the door to his apartment building.", "GUY\n Stay away from me, I tell you!\n\nHe leaves Bruno abruptly to rejoin Anne. Bruno looks after\nhim, a little hurt.\n\n\nTWO SHOT" ], [ "We see Bruno's gloved hands dart quickly to Miriam's throat.\nThe lighter falls down out of picture, and as Bruno's hands", "facing her. Her laughter dies for a moment and she smiles\nat him coyly. Bruno passes her and gets on the horse directly\nbehind her, Miriam glancing at him as her horse comes down.", "CLOSE UP MIRIAM\n\nShe watches Bruno.\n\n\nCLOSE SHOT\n\nBruno looks down at his hands.\n\n\nINSERT", "she then looks to her right, and as she does THE CAMERA PANS\nto show Bruno standing right it her shoulder. Miriam gives\na little start. Bruno smiles at her. With a smirk he walks", "Bruno turns to follow Miriam, his manner casual. As he takes\na few steps, WE PAN ACROSS with him until, over his shoulder,", "Bruno begins to look around for Miriam, who is apparently on\nthe other side of the merry-go-round. He starts to thread\nhis way through the horses which are beginning to move up", "Bruno drops the hammer and glances around at Miriam again.\nHer two boy-friends are calling for her from a little\ndistance.\n\n BOY'S VOICE\n Come On, Miriam. Come On!", "BRUNO\n Is your name Miriam?\n\n MIRIAM\n (with surprise)\n Why yes. How did you --", "GUY\n Miriam...murdered.\n\n ANNE\n (with inner tension)\n She was...strangled.", "MIRIAM\n (calling back)\n Goodnight, Mother. See you later.\n\n\nCLOSE UP\n\nBruno watches Miriam.", "and down. CAMERA FOLLOWING HIM. He passes one or two of\nthe oncoming heads before he reaches Miriam. She is on an\noutside mount which is high in the air when she sees Bruno", "As Bruno starts to advance in the direction of Miriam he is\nmomentarily held up by a small boy in cowboy uniform carrying\na gun and a balloon. The small boy points the gun at Bruno.", "BRUNO (CONT'D)\n (he raises his hands\n toward Mrs.\n Cunningham's throat,", "She gives a coy smile of recognition. CAMERA PULLS BACK to\nreveal the mad and shoulders of Bruno between Miriam and the", "grip her throat, his head moves slightly to blot out Miriam's\nface. His head moves a bit farther until Miriam's face is\nnearly uncovered at the other side of the screen, and we see", "Bruno on his horse, as though he is chasing Miriam. He is a\nlittle more open now in his laughter.\n\n\nGROUP SHOT MIRIAM AND TWO BOYS", "BRUNO\n Each fellow does the other fellow's\n murder. Then there is nothing to\n connect them. The one who had the", "her in a threatening manner, although we do not hear his\nwords. The smile has faded from Miriam's face and something\nlike cringing fear has taken its place. She is drawn and", "Bruno, as he smiles faintly, glancing across at Miriam.\n\n\nCLOSE UP MIRIAM\n\nShe gives a faint smile in return.\n\n\nCLOSE SHOT", "Bruno gives a look in his father's direction, before he speaks\ninto the telephone in a low voice.\n\n BRUNO\n I just wanted to ask how you made\n out with Miriam." ], [ "At this moment the boatman rushes up.\n\n BOATMAN\n (excited)\n There he is! That's the one! That's\n the one who killed her!", "MRS. CUNNINGHAM\n Well, Mr. Antony, you seem very\n interested in the subject of murder.\n\nAnne looks more troubled, then moves on out of the scene.", "GUY\n Miriam...murdered.\n\n ANNE\n (with inner tension)\n She was...strangled.", "I'm sorry, Guy, to be the one to\n tell you. It concerns your wife.\n She's been murdered.", "ANNE\n (quietly)\n What do you mean -- your murder,\n Guy?", "The Burtons are having coffee. Barbara has been glancing\nthrough a new murder mystery with a lurid cover. As Guy\nenters, Anne rises to greet him.", "was murdered. They had it all worked\n out --\n (taps his head)\n in their timetables.", "and me. No connection between them\n at all. Never saw each other before.\n Each of them has somebody he'd like\n to get rid of, but he can't murder", "Bruno is now half awake. Almost without seeing Guy, he\nstaggers to his feet and begins to make his way to the door.\nGuy advances, and with a sharp thrust, pushes Bruno back on\nthe settee.", "ANNE\n (breaks in)\n He stared at her again tonight --\n while his hands were around Mrs.\n Cunningham's throat.", "scrapes, but nothing so ridiculous\n as a murder.\n (she gives a short\n little laugh)\n ANNE", "His body is swaying slightly at the various efforts to drag\nhim away from Mrs. Cunningham. His eyes begin to close, and\nslowly he falls away from the picture in a dead faint on the\nfloor.", "GUY\n Where do you think I'm going? I'm\n going to call the police, of course.\n BRUNO\n But you can't, Guy. We'd both be\n arrested for murder.", "Guy hastily gather together the gun, the note and the\nwrappings and puts them in a dresser drawer. He crosses to\nthe door and opens it. Hennessy enters, carrying a topcoat.", "As Guy's hands unfold the paper and hold it for moment, we\nsee that it is a diagrammed plan of the grounds and the\nInterior of the Anthony house. There are dotted lines along", "BRUNO\n Each fellow does the other fellow's\n murder. Then there is nothing to\n connect them. The one who had the", "BRUNO\n No more than anyone else. No more\n than you, for instance.\n\n MRS. CUNNINGHAM\n Me? I'm not interested in murder.", "the murder itself, Guy, was the awful\n thought that if you had anything to\n do with it we'd be separated, -perhaps", "HAMMOND\n (sourly)\n This is the first time I ever waited\n for a murder suspect to play tennis", "of Guy's picture, which becomes surrounded with large type,\nannouncing the arrest of Guy Haines for the murder of his\nwife Miriam. A sub-heading tells of Guy's cigarette lighter" ], [ "Bruno is now half awake. Almost without seeing Guy, he\nstaggers to his feet and begins to make his way to the door.\nGuy advances, and with a sharp thrust, pushes Bruno back on\nthe settee.", "BRUNO\n But, Guy --\n\nGuy smashes Bruno in the jaw, in utter disgust, and knocks\nhim back onto the settee. Bruno looks up from his sprawled\nposition, a dull look in his eye.", "BRUNO\n Okay, Guy. Want me to tell you one\n of my ideas for murdering my father?", "As Bruno continues to stare at him, Guy takes out the Luger.\nFor a moment a look of fear comes into Bruno's face as he\nthinks Guy will probably shoot him. After a pause, Guy tosses\nthe gun on the bed.", "Bruno opens his eyes and sees Guy.\n\n BRUNO\n Hello, Guy.\n\nTurley has leaned forward to look at the helpless Bruno.", "GUY\n (amused by Bruno)\n Well, what do you want to do?\n\n BRUNO\n You mean before or after I kill him?", "BRUNO\n Now look, Guy, about my father. I\n have the plans made. Two plans. A\n plan of the grounds and a plan of", "GUY\n (muttering)\n You've got me acting, like a criminal,\n you crazy fool!\n\nBruno for a moment looks menacingly at Guy.", "Bruno looks and sees Guy clearly for the first time.\n\n BRUNO\n What happened? I was on a merry-go-\n round somewhere. It made me dizzy.", "We see Guy excuse himself from Barbara, cross to Bruno and\nspeak to him angrily, obviously asking, \"What are you doing\nhere?\" Bruno, however, greets Guy with a smile then turns", "GUY\n Where do you think I'm going? I'm\n going to call the police, of course.\n BRUNO\n But you can't, Guy. We'd both be\n arrested for murder.", "Bruno and Guy are finishing lunch. Bruno has been drinking\nand his eyes are bright and feverish. An almost empty liquor\nbottle is near a couple of detective novels covered with", "Guy moves forward, and thrusting his hand in Bruno's open\nshirt, pulls him to his feet. Bruno ignores Guy's violence\nand remain puzzled.", "GUY\n Stay away from me, I tell you!\n\nHe leaves Bruno abruptly to rejoin Anne. Bruno looks after\nhim, a little hurt.\n\n\nTWO SHOT", "the reins from Guy's hand. He tries to slash at Guy's face.\nThe back of Bruno's head is toward us during this. Guy\nsuddenly leans out across the horse and smashes his fist", "Bruno is stretched out on a settee. He is completely out.\nHis collar and tie are open. Two or three of the male guests\nare just leaving the room. The Senator remains behind for a\nmoment with Guy.", "As Guy comes near to Bruno, the latter turns on him and starts\nto attack him.\n BRUNO\n I want to get off of here! Let me\n off of here! It makes me dizzy.", "GUY\n (wryly)\n Thanks.\nGuy tries to read but is uneasily aware of Bruno's open\nappraisal.", "Anne nods off in the direction of the departed Bruno and\nspeaks in a desperate, low voice.\n\n ANNE\n You didn't meet him for the first\n time the other day, did you, Guy?", "BRUNO\n (looks at Guy with\n astonishment)\n But, Guy, you wanted it! We planned\n it on the train together, remember?" ], [ "As Bruno continues to stare at him, Guy takes out the Luger.\nFor a moment a look of fear comes into Bruno's face as he\nthinks Guy will probably shoot him. After a pause, Guy tosses\nthe gun on the bed.", "Bruno opens his eyes and sees Guy.\n\n BRUNO\n Hello, Guy.\n\nTurley has leaned forward to look at the helpless Bruno.", "BRUNO\n But, Guy --\n\nGuy smashes Bruno in the jaw, in utter disgust, and knocks\nhim back onto the settee. Bruno looks up from his sprawled\nposition, a dull look in his eye.", "Bruno is now half awake. Almost without seeing Guy, he\nstaggers to his feet and begins to make his way to the door.\nGuy advances, and with a sharp thrust, pushes Bruno back on\nthe settee.", "GUY\n Where do you think I'm going? I'm\n going to call the police, of course.\n BRUNO\n But you can't, Guy. We'd both be\n arrested for murder.", "Bruno's hand comes out of his pocket and he hands Miriam's\nglasses to Guy.\n\n\nINSERT", "camera. His hand holds Guy's lighter which he flicks on as\nhe raises it above Miriam's face. 0f Bruno, we see only the\nback of his head and shoulders.", "GUY\n (muttering)\n You've got me acting, like a criminal,\n you crazy fool!\n\nBruno for a moment looks menacingly at Guy.", "Guy makes a move to leave, but Bruno holds on tight.\n\n GUY\n Let me go, Bruno. I had nothing to\n do with this and the police will\n believe me.", "of Guy's picture, which becomes surrounded with large type,\nannouncing the arrest of Guy Haines for the murder of his\nwife Miriam. A sub-heading tells of Guy's cigarette lighter", "BRUNO\n What'd you say her name was -- your\n wife's?\n\n GUY\n Miriam.", "GUY\n (amused by Bruno)\n Well, what do you want to do?\n\n BRUNO\n You mean before or after I kill him?", "Bruno looks and sees Guy clearly for the first time.\n\n BRUNO\n What happened? I was on a merry-go-\n round somewhere. It made me dizzy.", "GUY\n Miriam...murdered.\n\n ANNE\n (with inner tension)\n She was...strangled.", "BRUNO\n (brushing this off)\n Oh, they can't have anything on you.\n (looking past Guy)\n Isn't that Anne Burton? Slight\n improvement over Miriam -- eh, Guy?", "ANNE\n Guy, has he anything that the police\n could trace to you --\n (quoting Bruno)\n Any little thing.", "As we see Bruno's sport shoes move away, the CAMERA MOVES\nPAST MIRIAM'S HEAD until it comes to Guy's lighter pressed\ninto the earth.\n\n\nCLOSE UP BRUNO", "Bruno turns to follow Miriam, his manner casual. As he takes\na few steps, WE PAN ACROSS with him until, over his shoulder,", "GUY\n Well, he'd read about me in the paper.\n He knew about Miriam -- and about\n you. He suggested that if he got\n rid of Miriam for me, I should kill\n his father.", "Bruno and Guy are finishing lunch. Bruno has been drinking\nand his eyes are bright and feverish. An almost empty liquor\nbottle is near a couple of detective novels covered with" ], [ "We see a police car pull up outside Guy's apartment.\n\n\nTWO SHOT", "At this moment the boatman rushes up.\n\n BOATMAN\n (excited)\n There he is! That's the one! That's\n the one who killed her!", "I'm sorry, Guy, to be the one to\n tell you. It concerns your wife.\n She's been murdered.", "His body is swaying slightly at the various efforts to drag\nhim away from Mrs. Cunningham. His eyes begin to close, and\nslowly he falls away from the picture in a dead faint on the\nfloor.", "LONG SHOT (FROM THEIR VIEWPOINT)\n\nThe two policemen come out of the house, get into their car\nand drive off.\n\nGuy's telephone is still ringing.", "the way so he could marry Anne. In\n a crime of this sort the police first\n go after the husband, and Guy had\n every motive.", "Guy is surrounded by police and Campbell stands at his elbow.\nAt this moment the boatman runs in. One of the detectives\nis with him.", "GUY\n Where do you think I'm going? I'm\n going to call the police, of course.\n BRUNO\n But you can't, Guy. We'd both be\n arrested for murder.", "\"I didn't see anything.\" \"What happened to him?\" \"Somebody\nhurt?\" But one small figure stands in the clear. It is\nBarbara, She is still transfixed by what she has seen. Her", "whistle in the distance. Presently a couple of policemen\ncomes running from direction of the main entrance and past\nBruno. He glances at them over his shoulder, then strolls", "We see a police car arrive. One uniformed man and two\ndetectives get out of the car and make their way toward the\nentrance. One of to detectives stands at the entrance while\nthe other two hurry into the grounds.", "the horses, the head of one of them across his chest. Bruno's\nhead sags back somewhat, but is resting on pieces of debris.\nA uniformed policeman looks up from Bruno to Turley:", "POLICEMAN\n This one's in a pretty bad way, Mr.\n Turley.\n\nGuy is shocked at the sight of Bruno.", "MED. SHOT FROM HIS VIEWPOINT\n\nHe sees one police car.\n\n\nCLOSE SHOT GUY", "CLOSEUP GUY\n\nHe looks across at the police, then down at himself with\nsome surprise and disgust, then over at Bruno, suddenly\nconscious he is behaving like a criminal and that Bruno is\nresponsible for his predicament.", "We see the two policemen go into his apartment building.\n\n\nTWO SHOT\n\nGuy is still flattened against the wall to keep out of light.", "GUY\n (looking down at Bruno)\n Can't you get that stuff off him?\n\n POLICEMAN\n No, they've done everything they can\n until the crane comes.", "BARBARA\n (wide-eyed)\n Let's not fool ourselves. The police\n will say Guy wanted Miriam out of", "Bruno and Guy are finishing lunch. Bruno has been drinking\nand his eyes are bright and feverish. An almost empty liquor\nbottle is near a couple of detective novels covered with", "CLOSE SHOT MAN\n\nwatching Guy get into taxi. As we hear the taxi drive away,\nthe man hurries across to a waiting police car.\n\n\nCLOSE SHOT" ], [ "As Bruno continues to stare at him, Guy takes out the Luger.\nFor a moment a look of fear comes into Bruno's face as he\nthinks Guy will probably shoot him. After a pause, Guy tosses\nthe gun on the bed.", "Bruno is now half awake. Almost without seeing Guy, he\nstaggers to his feet and begins to make his way to the door.\nGuy advances, and with a sharp thrust, pushes Bruno back on\nthe settee.", "of Guy's picture, which becomes surrounded with large type,\nannouncing the arrest of Guy Haines for the murder of his\nwife Miriam. A sub-heading tells of Guy's cigarette lighter", "BRUNO\n But, Guy --\n\nGuy smashes Bruno in the jaw, in utter disgust, and knocks\nhim back onto the settee. Bruno looks up from his sprawled\nposition, a dull look in his eye.", "GUY\n Where do you think I'm going? I'm\n going to call the police, of course.\n BRUNO\n But you can't, Guy. We'd both be\n arrested for murder.", "GUY\n Well, he'd read about me in the paper.\n He knew about Miriam -- and about\n you. He suggested that if he got\n rid of Miriam for me, I should kill\n his father.", "BRUNO\n (looks at Guy with\n astonishment)\n But, Guy, you wanted it! We planned\n it on the train together, remember?", "BRUNO\n Now look, Guy, about my father. I\n have the plans made. Two plans. A\n plan of the grounds and a plan of", "Guy makes a move to leave, but Bruno holds on tight.\n\n GUY\n Let me go, Bruno. I had nothing to\n do with this and the police will\n believe me.", "BRUNO\n What'd you say her name was -- your\n wife's?\n\n GUY\n Miriam.", "Bruno opens his eyes and sees Guy.\n\n BRUNO\n Hello, Guy.\n\nTurley has leaned forward to look at the helpless Bruno.", "GUY\n (amused by Bruno)\n Well, what do you want to do?\n\n BRUNO\n You mean before or after I kill him?", "Bruno's hand comes out of his pocket and he hands Miriam's\nglasses to Guy.\n\n\nINSERT", "camera. His hand holds Guy's lighter which he flicks on as\nhe raises it above Miriam's face. 0f Bruno, we see only the\nback of his head and shoulders.", "BRUNO\n (brushing this off)\n Oh, they can't have anything on you.\n (looking past Guy)\n Isn't that Anne Burton? Slight\n improvement over Miriam -- eh, Guy?", "ANNE\n Guy, has he anything that the police\n could trace to you --\n (quoting Bruno)\n Any little thing.", "GUY\n (bitterly)\n And have them say what you did --\n \"Mr. Haines, how did you get him to\n do it?\" And Bruno would say we'd\n planed it together.", "Bruno and Guy are finishing lunch. Bruno has been drinking\nand his eyes are bright and feverish. An almost empty liquor\nbottle is near a couple of detective novels covered with", "GUY\n Miriam...murdered.\n\n ANNE\n (with inner tension)\n She was...strangled.", "GUY\n (muttering)\n You've got me acting, like a criminal,\n you crazy fool!\n\nBruno for a moment looks menacingly at Guy." ], [ "Bruno begins to look around for Miriam, who is apparently on\nthe other side of the merry-go-round. He starts to thread\nhis way through the horses which are beginning to move up", "facing her. Her laughter dies for a moment and she smiles\nat him coyly. Bruno passes her and gets on the horse directly\nbehind her, Miriam glancing at him as her horse comes down.", "EXT. AMUSEMENT PARK LONG SHOT\n\nWe see the bus pull up outside the Amusement Park, and the\nvarious passengers alight. These include Miriam nd her\ncompanions, and Bruno.", "we see a merry-go-round in the background. Miriam and the\ntwo boys are aboard and climbing onto horses. As Bruno goes", "Miriam and her companions are escorted to a small boat with\nelectric motor. Once they are seated the boat chugs away\nfrom the landing stage and off into the darkness.", "From his viewpoint, the girl, whom we now see is Miriam, is\nrunning followed by the two young men. They are calling for\nthe bus not to go - shouting, \"Hi - stop!\" Mrs. Joyce calls\nfrom the porch:", "We see the hard ground whizzing past him. Everything seems\nto be a blur. We get a glimpse of screaming women and the\ncrowds rushing up from the midway.", "It is empty. There is a sudden piercing scream from inside,\nfollowed after a second or two by protestations and giggling\nas Miriam's boat emerges into the light. She is pushing one\nof the boys away from her.", "Miriam on her horse, moving from left to right. Miriam,\nholding the reins, glances back with a gay laugh.\n\n\nSIDE VIEW BRUNO", "her in a threatening manner, although we do not hear his\nwords. The smile has faded from Miriam's face and something\nlike cringing fear has taken its place. She is drawn and", "know who has survived. There is a surge of people milling\nand shouting. Those who have jumped back out of the way\nwhen the merry-go-round toppled, now rush forward again as", "The horses of the merry-go-round are filling the screen as\nthey whizz by, and again we get the picture of Bruno chasing\nMiriam as they rush past the CAMERA, the music and tempo at\na high speed.", "and down. CAMERA FOLLOWING HIM. He passes one or two of\nthe oncoming heads before he reaches Miriam. She is on an\noutside mount which is high in the air when she sees Bruno", "Miriam and her boy friends begin to sing the song being played\non the calliope.\n\n\nCLOSE UP MIRIAM\n\nAs she starts to sing, she glances back.", "She backs away from him and the boys go on picture. Miriam\ngoes in another direction, around, the bushes. George\nobviously misses her, for we hear his voice call out:", "Miriam and her two boy-friends by the sledge hammer concession\nwhere the aim is to swing the hammer hard enough down onto", "Bruno drops the hammer and glances around at Miriam again.\nHer two boy-friends are calling for her from a little\ndistance.\n\n BOY'S VOICE\n Come On, Miriam. Come On!", "The sudden braking causes the whole merry-go-round to topple\nover with a grinding roar.", "We see the silhouettes of the occupants of Miriam's boat on\nthe wall of the tunnel, lit dimly from the light coming from\nthe tunnel exit.", "Bruno on his horse, as though he is chasing Miriam. He is a\nlittle more open now in his laughter.\n\n\nGROUP SHOT MIRIAM AND TWO BOYS" ], [ "the way so he could marry Anne. In\n a crime of this sort the police first\n go after the husband, and Guy had\n every motive.", "Anne is about to turn to her box but she is reluctant to\nleave Guy, who must now join his opponent, Reynolds. As\ntheir eyes hold, in mutual helplessness, Guy suddenly stares\nat her with realization.", "GUY\n What?\n\n BRUNO\n The wedding. You and Anne Burton.\n (a gesture of\n explanation)\n It was in the papers.", "GUY\n (holding her close)\n Anne darling, you're trembling.\n\nAnne draws back and looks into his face as if searching for\nan answer to some question in her mind.", "Left alone, Guy and Anne embrace. Anne's nervous tension\ncomes to the surface in a flood of relief.", "GUY\n Okay, Tim. Be right with you.\n\nReynolds leaves Anne and Guy rise, and as they walk toward\nthe stadium, we can see Guy start to speak to Anne in a\nwhisper.", "GUY\n Be right there.\n (turns to Anne)\n I was afraid you wouldn't get here.\n Wish me luck, darling.", "ANNE\n How did you get him to do it, Guy.\n\n GUY\n I get him to do it?", "GUY\n (awkwardly)\n Well, why do you ask me? You've\n seen her pictures in the paper.\n\n ANNE\n Go on, I want you to tell me.", "As Hennessy watches Anne and Guy go toward the house, his\nrelief, HAMMOND, comes up. Hammond's a zealous, hard-eyed\nsleuth.", "Anne comes down the steps and intercepts Guy on the sidewalk.\nShe leads him along a few paces and then stops and faces\nhim.\n\n\nCLOSE TWO SHOT", "pocket of his dressing gown and looks down at it in his hand.\nIt is Guy's lighter. Suddenly he stuffs it back his pocket\nand turn back to Anne.", "GUY\n (absently)\n We'll know more about that by the\n end of the week...\n (his face brightens\n as he sees Anne)", "ANNE\n We'll be happier then, won't we?\n\n GUY\n I suppose so.", "Anne is extremely concerned and thoughtful. Suddenly she\ngets an idea and with a pat on Barbara's arm, asks hurriedly:\n\n ANNE\n Do you know where Guy is?", "Guy looks at Anne with an expression of growing fear and\nalarm. She goes on inexorably:\n\n ANNE\n What did Miriam look like, Guy.", "ANNE\n (who hasn't taken\n anxious eyes off Guy)\n You can tell them where you were,\n can't you, Guy?", "HENNESSY\n Good luck, Guy.\n\nGuy is so preoccupied with his grim doesn't nod to Hennessy\nuntil Anne nudges him.", "Anne nods off in the direction of the departed Bruno and\nspeaks in a desperate, low voice.\n\n ANNE\n You didn't meet him for the first\n time the other day, did you, Guy?", "GUY\n That I could strang...\n\nAnne quickly puts her fingers over his mouth." ], [ "The two men are now in a clinch. Guy tries to fight off the\nmaddened Bruno. They are flung between the horses, bouncing\none against the other, almost half way around the merry-go-\nround.", "Bruno looks and sees Guy clearly for the first time.\n\n BRUNO\n What happened? I was on a merry-go-\n round somewhere. It made me dizzy.", "As Guy grabs the boy, he staggers forward with him to a small\ngondola. Bruno leaps onto his back but Guy manages to put\nthe boy in the gondola.", "CLOSE SHOT BRUNO AND GUY\n\nAgain they struggles between two horses. On each side of\nthem are two young screaming girls. The two bounce from one\nhorse to the other.", "As Guy comes near to Bruno, the latter turns on him and starts\nto attack him.\n BRUNO\n I want to get off of here! Let me\n off of here! It makes me dizzy.", "Bruno swings around till his back is to us. He pushes Guy\ntoward the edge, but Guy manages to grab the rein of the", "Guy jumps on the merry-go-round after Bruno. Its speed is\nso great that he nearly gets flung off.\n\n\nCLOSE SHOT\nThe detective fires at Guy.", "Bruno is seen to jump on a merry-go-round, which is just\nstarting. Its pace is already pretty fast.\n\n\nMED. SHOT\n\nGuy runs toward Bruno.", "the reins from Guy's hand. He tries to slash at Guy's face.\nThe back of Bruno's head is toward us during this. Guy\nsuddenly leans out across the horse and smashes his fist", "Bruno is now half awake. Almost without seeing Guy, he\nstaggers to his feet and begins to make his way to the door.\nGuy advances, and with a sharp thrust, pushes Bruno back on\nthe settee.", "CLOSE SHOT\n\nBruno edges himself toward Guy. He is hanging on to the\nreins of a horse. His feet manage to roach Guy's knuckles.", "enjoyment. He sees this by suddenly glancing over his\nshoulder. In the b.g. Guy and Bruno are continuing their\nfight. Bruno rises. Guy staggers after him. Bruno again", "Bruno opens his eyes and sees Guy.\n\n BRUNO\n Hello, Guy.\n\nTurley has leaned forward to look at the helpless Bruno.", "As Bruno continues to stare at him, Guy takes out the Luger.\nFor a moment a look of fear comes into Bruno's face as he\nthinks Guy will probably shoot him. After a pause, Guy tosses\nthe gun on the bed.", "as Guy and Turley enter to the spot where Bruno is pinned\nunder the overturned machine. He is caught between two of", "Bruno pulls Guy back further into the shadows. Guy\ninstinctively flattens himself against the wall. He looks\nacross the street again.\n\n\nLONG SHOT (FROM HIS VIEWPOINT)", "nearest horse. The momentum of the machine swings Guy around\nagainst the horse, whose big head towers in the f.g. Bruno,\non this side of the horse pushes forward and tries to grab", "leaps upon Guy. The two men sway toward the CAMERA until\nBruno gets alongside the little boy. The boy now shows some\nanxiety. The three figures now fill the screen with the", "Guy moves forward, and thrusting his hand in Bruno's open\nshirt, pulls him to his feet. Bruno ignores Guy's violence\nand remain puzzled.", "GUY\n (muttering)\n You've got me acting, like a criminal,\n you crazy fool!\n\nBruno for a moment looks menacingly at Guy." ], [ "BRUNO (CONT'D)\n (he raises his hands\n toward Mrs.\n Cunningham's throat,", "Bruno is now half awake. Almost without seeing Guy, he\nstaggers to his feet and begins to make his way to the door.\nGuy advances, and with a sharp thrust, pushes Bruno back on\nthe settee.", "From her viewpoint we see Bruno standing and casually watching\nher. Other people pass around and in front of him, so that\nhe is the only immobile figure.", "Bruno opens his eyes and sees Guy.\n\n BRUNO\n Hello, Guy.\n\nTurley has leaned forward to look at the helpless Bruno.", "As Bruno continues to stare at him, Guy takes out the Luger.\nFor a moment a look of fear comes into Bruno's face as he\nthinks Guy will probably shoot him. After a pause, Guy tosses\nthe gun on the bed.", "We see Bruno's gloved hands dart quickly to Miriam's throat.\nThe lighter falls down out of picture, and as Bruno's hands", "against Bruno's face. Bruno's head goes back until it is in\nthe f.g. in a upside-down position.", "Bruno swings around till his back is to us. He pushes Guy\ntoward the edge, but Guy manages to grab the rein of the", "BRUNO\n But, Guy --\n\nGuy smashes Bruno in the jaw, in utter disgust, and knocks\nhim back onto the settee. Bruno looks up from his sprawled\nposition, a dull look in his eye.", "Bruno is now seated in his accustomed place in the club car.\nHis gloved fingers are quietly toying with Guy's lighter. A\npassenger next to him asks:", "Bruno staggers to his feet. He fumbles at his collar. As\nhe crosses to him, CAMERA MOVES IN to a CLOSER SHOT.", "Guy moves forward, and thrusting his hand in Bruno's open\nshirt, pulls him to his feet. Bruno ignores Guy's violence\nand remain puzzled.", "facing her. Her laughter dies for a moment and she smiles\nat him coyly. Bruno passes her and gets on the horse directly\nbehind her, Miriam glancing at him as her horse comes down.", "BRUNO\n Each fellow does the other fellow's\n murder. Then there is nothing to\n connect them. The one who had the", "As Guy grabs the boy, he staggers forward with him to a small\ngondola. Bruno leaps onto his back but Guy manages to put\nthe boy in the gondola.", "Anne stares at this insane man and sinks on the settee. She\nstarts to cry in sheer frustration. Bruno goes to her\nsympathetically.", "Bruno looks and sees Guy clearly for the first time.\n\n BRUNO\n What happened? I was on a merry-go-\n round somewhere. It made me dizzy.", "Bruno comes to the shore where his boat is moored. He gets\nin and is quickly chugging away. He moves calmly, matter-of-\nfact and not furtively.", "She is watching this rather unorthodox demonstration. The\nCAMERA MOVES UP until her head fills the screen. Her glasses\nglint in the light.\n\n\nCLOSEUP BRUNO", "GUY\n (amused by Bruno)\n Well, what do you want to do?\n\n BRUNO\n You mean before or after I kill him?" ], [ "The room is in darkness except for the dim outline of the\nrecumbent figure in the bed. We hear Guy's voice, in a loud\nwhisper:\n\n GUY\n Mr. Antony!", "As Guy's hands unfold the paper and hold it for moment, we\nsee that it is a diagrammed plan of the grounds and the\nInterior of the Anthony house. There are dotted lines along", "INT. ANTONY HOME ENTRANCE HALL\n\nAs Guy moves in soundlessly and closes the door. He looks\ntoward the stairs which are in shadow.\n\n\nMED. SHOT", "ANNE\n Guy doesn't know I'm here, Mr. Antony.", "He pauses at the first door, then passes it quietly, walking\non to the next one. He turns the knob soundlessly and passes\nthrough into the room.\n\n\nINT. ANTONY BEDROOM LONG SHOT", "Bruno is now half awake. Almost without seeing Guy, he\nstaggers to his feet and begins to make his way to the door.\nGuy advances, and with a sharp thrust, pushes Bruno back on\nthe settee.", "pocket of his dressing gown and looks down at it in his hand.\nIt is Guy's lighter. Suddenly he stuffs it back his pocket\nand turn back to Anne.", "GUY\n (urgently)\n Mr. Antony! Don't be alarmed -- but\n I must talk to you about your son.\n About Bruno. Mr. Antony!", "Anne is about to turn to her box but she is reluctant to\nleave Guy, who must now join his opponent, Reynolds. As\ntheir eyes hold, in mutual helplessness, Guy suddenly stares\nat her with realization.", "the way so he could marry Anne. In\n a crime of this sort the police first\n go after the husband, and Guy had\n every motive.", "Bruno is stretched out on a settee. He is completely out.\nHis collar and tie are open. Two or three of the male guests\nare just leaving the room. The Senator remains behind for a\nmoment with Guy.", "Bruno's father MR. ANTHONY, purposefully enters the living\nroom. He an impeccably dressed business man with an\nuncompromising eye. His entrance momentarily blocks Bruno's\nexit.", "Guy comes out of the window onto the second floor fire escape.\nHe creeps stealthily down and emerges into a narrow alleyway.\nHe steps back into the shadows for a moment when he sees:", "GUY\n (holding her close)\n Anne darling, you're trembling.\n\nAnne draws back and looks into his face as if searching for\nan answer to some question in her mind.", "GUY\n No, that's no good, Anne. I mustn't\n drag anyone else into this mess.\n Come on. Let's go in.\n\nThey go toward the house.", "For an instant his nervous hands seem to be struggling with\nthe urge to kill Guy.", "Guy hastily gather together the gun, the note and the\nwrappings and puts them in a dresser drawer. He crosses to\nthe door and opens it. Hennessy enters, carrying a topcoat.", "Bruno and Guy going out the front door. The man-servant\ndoes not close it immediately, so we are able to HEAR the\ncall for Mr. Antony's car.\n\n\nCLOSEUP BARBARA", "As Bruno continues to stare at him, Guy takes out the Luger.\nFor a moment a look of fear comes into Bruno's face as he\nthinks Guy will probably shoot him. After a pause, Guy tosses\nthe gun on the bed.", "GUY\n Stay away from me, I tell you!\n\nHe leaves Bruno abruptly to rejoin Anne. Bruno looks after\nhim, a little hurt.\n\n\nTWO SHOT" ], [ "the way so he could marry Anne. In\n a crime of this sort the police first\n go after the husband, and Guy had\n every motive.", "BARBARA\n (wide-eyed)\n Let's not fool ourselves. The police\n will say Guy wanted Miriam out of", "BARBARA\n (quickly, to Guy)\n Miriam went there with two boys.\n They were the ones who found her.\n So they're not suspects. But you\n probably will be.", "GUY\n Miriam...murdered.\n\n ANNE\n (with inner tension)\n She was...strangled.", "of Guy's picture, which becomes surrounded with large type,\nannouncing the arrest of Guy Haines for the murder of his\nwife Miriam. A sub-heading tells of Guy's cigarette lighter", "GUY\n Well, he'd read about me in the paper.\n He knew about Miriam -- and about\n you. He suggested that if he got\n rid of Miriam for me, I should kill\n his father.", "We see a police car pull up outside Guy's apartment.\n\n\nTWO SHOT", "SENATOR (CONT'D)\n (back to Guy)\n You had no trouble with the police\n of course, once they verified your\n alibi?", "GUY\n Where do you think I'm going? I'm\n going to call the police, of course.\n BRUNO\n But you can't, Guy. We'd both be\n arrested for murder.", "Guy looks at Anne with an expression of growing fear and\nalarm. She goes on inexorably:\n\n ANNE\n What did Miriam look like, Guy.", "The detective who was holding Guy instinctively relax his\nhold on Guy's arm. Turley turns to Guy, puzzled.", "I'm sorry, Guy, to be the one to\n tell you. It concerns your wife.\n She's been murdered.", "GUY\n (wryly)\n Whatever it is, the police will know\n it. They gave me a present -- come\n take a look.", "Guy makes a move to leave, but Bruno holds on tight.\n\n GUY\n Let me go, Bruno. I had nothing to\n do with this and the police will\n believe me.", "Guy is standing at the telephone which is still ringing. He\nhas Miriam's glasses in his hand. He looks down at them for\na moment, then picks up the receiver. He hesitates, then\nspeaks into the phone.", "He puts his head in the side window and tells the two waiting\ndetectives where Guy has gone.\n\n MAN\n Amusement park.", "MIRIAM\n (taking money from\n customer)\n Even change. Thank you, Madam.\n (she looks up at Guy\n as the woman moves\n off)\n Well -- hello, Guy.", "GUY\n (biting)\n I got over being jealous, a long\n time ago Miriam.\nMiriam's eyes slide toward the other girl clerk who has moved\ncloser, within listening range.", "CLOSE SHOT MAN\n\nwatching Guy get into taxi. As we hear the taxi drive away,\nthe man hurries across to a waiting police car.\n\n\nCLOSE SHOT", "Guy's hands take out the Luger. His hand then picks up\nMiriam's glasses from the drawer, holds them a moment. He\nis about to put them back, then decides to take them along,\nputs them into his pocket." ], [ "BRUNO (CONT'D)\n (he raises his hands\n toward Mrs.\n Cunningham's throat,", "We see Bruno's gloved hands dart quickly to Miriam's throat.\nThe lighter falls down out of picture, and as Bruno's hands", "Bruno rises from the bed and sits on the and of it. He is\nfully dressed, just as he was at the party, in white tie and\ntails.", "Bruno is now half awake. Almost without seeing Guy, he\nstaggers to his feet and begins to make his way to the door.\nGuy advances, and with a sharp thrust, pushes Bruno back on\nthe settee.", "As Bruno continues to stare at him, Guy takes out the Luger.\nFor a moment a look of fear comes into Bruno's face as he\nthinks Guy will probably shoot him. After a pause, Guy tosses\nthe gun on the bed.", "BRUNO\n But, Guy --\n\nGuy smashes Bruno in the jaw, in utter disgust, and knocks\nhim back onto the settee. Bruno looks up from his sprawled\nposition, a dull look in his eye.", "As Bruno starts to advance in the direction of Miriam he is\nmomentarily held up by a small boy in cowboy uniform carrying\na gun and a balloon. The small boy points the gun at Bruno.", "From her viewpoint we see Bruno standing and casually watching\nher. Other people pass around and in front of him, so that\nhe is the only immobile figure.", "Bruno is stretched out on a settee. He is completely out.\nHis collar and tie are open. Two or three of the male guests\nare just leaving the room. The Senator remains behind for a\nmoment with Guy.", "Anne stares at this insane man and sinks on the settee. She\nstarts to cry in sheer frustration. Bruno goes to her\nsympathetically.", "He puts his hand on her shoulder. Anne flings it off. There\nis an awkward pause as Bruno looks down at her. Then he\nbegins to look around restlessly.", "Guy moves forward, and thrusting his hand in Bruno's open\nshirt, pulls him to his feet. Bruno ignores Guy's violence\nand remain puzzled.", "Bruno opens his eyes and sees Guy.\n\n BRUNO\n Hello, Guy.\n\nTurley has leaned forward to look at the helpless Bruno.", "Bruno is now seated in his accustomed place in the club car.\nHis gloved fingers are quietly toying with Guy's lighter. A\npassenger next to him asks:", "GUY\n Stay away from me, I tell you!\n\nHe leaves Bruno abruptly to rejoin Anne. Bruno looks after\nhim, a little hurt.\n\n\nTWO SHOT", "All talk dies out as all eyes turn to Bruno, who is staring\nat Barbara. Except Anne's, who is saying quietly to Bruno:", "against Bruno's face. Bruno's head goes back until it is in\nthe f.g. in a upside-down position.", "BRUNO\n (his tone is teasing)\n Oh, come now, everyone's interested\n in that. Everyone would like to put", "Bruno swings around till his back is to us. He pushes Guy\ntoward the edge, but Guy manages to grab the rein of the", "facing her. Her laughter dies for a moment and she smiles\nat him coyly. Bruno passes her and gets on the horse directly\nbehind her, Miriam glancing at him as her horse comes down." ], [ "All talk dies out as all eyes turn to Bruno, who is staring\nat Barbara. Except Anne's, who is saying quietly to Bruno:", "CLOSE SHOT BARBARA FROM BRUNO VIEWPOINT\n\n BARBARA\n I hope you aren't forgetting our\n little party on Thursday, Madame.", "Bruno stops in the middle of some French to stare at Barbara.\nHer voice continues.", "ANNE\n This is my sister Barbara. Barbara,\n this is Mr. Antony.\n\n\nCLOSEUP BRUNO", "We see Guy excuse himself from Barbara, cross to Bruno and\nspeak to him angrily, obviously asking, \"What are you doing\nhere?\" Bruno, however, greets Guy with a smile then turns", "Bruno is occupied with his French joke, but Anne is looking\nat Guy strangely.\n\n\nTWO SHOT GUY AND BARBARA", "CLOSEUP GUY\n\nHe is still watching Bruno talk to the French couple. Guy\nis unaware of Anne's looks. Suddenly his attention is\narrested by the sound of Barbara's voice calling him.", "the upper hall, with an arrow which points to one room and\nwhere Bruno has indicated in his handwriting, \"My father's\nroom.\" Over this we hear the voices of Barbara and the\nsecretary:", "From her viewpoint we see Bruno standing and casually watching\nher. Other people pass around and in front of him, so that\nhe is the only immobile figure.", "ANNE\n She looked a lot like Barbara, didn't\n she?\n\nGuy suddenly begins to realize what Anne is getting at.", "The group at the table comprising Bruno, Anne and the two\nFrench people. Bruno is preening himself as the others laugh\nuproariously, obviously at something Bruno has said. Anne\ncatches sight of Guy and smiles at him.", "Barbara has been squirming in her seat, then as if jet\npropelled she catapults out of it and runs to Guy, giving\nhim a big hug and a smack on the cheek.", "her, obviously looking for Bruno.", "From Bruno's viewpoint, as Barbara speaks,CAMERA MOVES IN\nCLOSER until to faintest impression of the merry-go-round", "BARBARA\n He was looking at her first. Then\n he looked over at me. He went into\n a sort of trance", "facing her. Her laughter dies for a moment and she smiles\nat him coyly. Bruno passes her and gets on the horse directly\nbehind her, Miriam glancing at him as her horse comes down.", "Guy turns back to Barbara. Barbara looks with interest toward\nBruno.\n\n BARBARA\n Who's the nice looking Frenchman\n with the Darvilles?", "He turn his head and CAMERA PANS him to Barbara, who is\nstanding a few steps from the table beckoning to him.", "she then looks to her right, and as she does THE CAMERA PANS\nto show Bruno standing right it her shoulder. Miriam gives\na little start. Bruno smiles at her. With a smirk he walks", "Bruno rises from the bed and sits on the and of it. He is\nfully dressed, just as he was at the party, in white tie and\ntails." ], [ "As Guy comes into the scene. He stands staring.", "A knot of people are hanging around the entrance, including\na few newspaper photographers. There is a rush of interest\nwhen a taxi pulls up and Guy steps out of it. Guy pushes", "As Guy is about to enter the front door and we see his name\nposted on a small card as one of the several tenants, he\nhears a soft call from across the street.", "Seated behind Guy, apart from the others who are waiting, is\nProfessor Collins, Guy's drunken companion on the train of\nthe night before. The professor is completely sober now,", "GUY\n Bruno. Bruno Antony.\n (reminiscently and a\n little\n compassionately,\n remembering what\n Bruno had said of\n himself)\n A very clever fellow.", "GUY\n (wryly)\n Thanks.\nGuy tries to read but is uneasily aware of Bruno's open\nappraisal.", "There are cars lined up outside on the street. One limousine\nis pulling up in the center, two figures at the passenger\ndoor. One is climbing in. The other is Guy.", "Bruno is now half awake. Almost without seeing Guy, he\nstaggers to his feet and begins to make his way to the door.\nGuy advances, and with a sharp thrust, pushes Bruno back on\nthe settee.", "GUY\n (continuing)\n Right.", "For an instant his nervous hands seem to be struggling with\nthe urge to kill Guy.", "Anne is about to turn to her box but she is reluctant to\nleave Guy, who must now join his opponent, Reynolds. As\ntheir eyes hold, in mutual helplessness, Guy suddenly stares\nat her with realization.", "GUY (CONT'D)\n (glancing at his watch)\n We'll be pulling in soon. I've got\n to change trains.", "We are on the inside of the gates. We see them swing open\nslightly and the figure of Guy edges through them.", "Guy's body is flung out horizontally. We see the crowd behind\nback-up for fear of being knocked over. The screw of tension\nincrease. Over this comes the sound of an approaching\nambulance siren.", "As Guy's hands unfold the paper and hold it for moment, we\nsee that it is a diagrammed plan of the grounds and the\nInterior of the Anthony house. There are dotted lines along", "his way through the people. Two or three bulbs flash. There\nis a murmur from the crowd and we hear Guy's name. He passes\ninto the entrance.", "GUY\n Bruno? Yes, yes, it's Guy...I've\n decided to do what you want. I'll", "(turns to Guy)\n What'll you have, Guy?", "GUY\n Okay, Tim. Be right with you.\n\nReynolds leaves Anne and Guy rise, and as they walk toward\nthe stadium, we can see Guy start to speak to Anne in a\nwhisper.", "Bruno pulls Guy back further into the shadows. Guy\ninstinctively flattens himself against the wall. He looks\nacross the street again.\n\n\nLONG SHOT (FROM HIS VIEWPOINT)" ], [ "The Senator looks inquiringly. Anne makes the introduction.\n\n ANNE\n This is Mr. Antony, father.\n\n SENATOR\n How do you do, sir.", "Anne, Barbara and the Senator are sitting silently in the\nattitudes of waiting. The telephone rings. Anne is instantly\non her feet. Barbara and the Senator watch her anxiously as\nshe goes to answer it.", "distinguished fifty, a man with great pride in tradition,\nhis family and his career. Barbara, Anne's younger sister,\nis a lively seventeen who loves excitement, says exactly", "ANNE BURTON is a beautiful, high-spirited and well-bred young\nwoman. The smile on her face his faded to anxiety as she\nlistens over the telephone which is on the desk.", "His figure tense, he rings the bell. After a moment's wait,\nthe door is opened from inside and Anne Burton stands in the", "REYNOLDS\n We're on in a few minutes, Guy.\n (to Anne)\n How are you, Miss Morton.\n\nAnne acknowledges his greeting with a nod.", "ANNE\n (quietly)\n What do you mean -- your murder,\n Guy?", "ANNE\n (breaks in)\n He stared at her again tonight --\n while his hands were around Mrs.\n Cunningham's throat.", "MRS. ANTONY\n (drawing herself up\n with some hauteur)\n Did Bruno tell you this?\n\n ANNE\n Of course not, Mrs. Antony.", "She realizes he hasn't heard a word she's said and haughtily\nmoves on. The Senator turns to Anne.", "Bruno's father MR. ANTHONY, purposefully enters the living\nroom. He an impeccably dressed business man with an\nuncompromising eye. His entrance momentarily blocks Bruno's\nexit.", "ANNE\n So was I. When we build our house,\n darling, we won't even have glass\n windows. No doorbells, no newspapers,\n no telephone --", "from him, unperturbed and bland. He sees Anne and moves\ntoward her, smiling.", "The Burtons are having coffee. Barbara has been glancing\nthrough a new murder mystery with a lurid cover. As Guy\nenters, Anne rises to greet him.", "MRS. CUNNINGHAM\n Well, Mr. Antony, you seem very\n interested in the subject of murder.\n\nAnne looks more troubled, then moves on out of the scene.", "a chair in which he is sitting. He has obviously heard the\nentire conversation between Anne and his mother. Bruno rises.\nHe is in dressing gown and pajamas.", "Anne and Mrs. Antony are in the middle of a conversation.\nAnne's manner is tense and purposeful, Mrs. Antony's much\nless serious.", "scrapes, but nothing so ridiculous\n as a murder.\n (she gives a short\n little laugh)\n ANNE", "Her face is troubled. CAMERA BEGINS TO PULL BACK. We see\nnow that the reception is in progress and that Anne stands", "Anne and Guy are sitting quietly together. Opposite them is\na man in a clerical collar who is reading a sports magazine.\nOn the cover is a picture of a tennis player in action. The" ], [ "of Guy's picture, which becomes surrounded with large type,\nannouncing the arrest of Guy Haines for the murder of his\nwife Miriam. A sub-heading tells of Guy's cigarette lighter", "GUY\n (tensely)\n Try to think, Anne!\n\n VOICE\n (OFFSCENE)\n Guy Haines! -- Reynolds!", "the way so he could marry Anne. In\n a crime of this sort the police first\n go after the husband, and Guy had\n every motive.", "CLERIC\n I beg your pardon, but aren't you\n Guy Haines?\n\n GUY\n (uncomfortably)\n Yes.", "Through the rear window we see the tracks rushing away from\nus. Seated in the foreground are Guy Haines and a rather\nprofessorial type opposite him, a bespectacled man around\nforty-five or fifty who is extremely drunk.", "BRUNO\n (smiling with sudden\n recognition)\n I beg your pardon, but aren't you\n Guy Haines.", "MIRIAM\n (yelling like a\n fishwife)\n You heard what I said, Guy Haines.", "GUY\n Miriam...murdered.\n\n ANNE\n (with inner tension)\n She was...strangled.", "This is more than a tennis game,\n ladies and gentlemen -- it's a\n desperate fight with Guy Haines\n playing as if his life depended on", "BRUNO\n (delighted, lifts his\n glass in another\n toast)\n To the next Mrs. Haines.\n\nGuy nods curtly.", "Anne is about to turn to her box but she is reluctant to\nleave Guy, who must now join his opponent, Reynolds. As\ntheir eyes hold, in mutual helplessness, Guy suddenly stares\nat her with realization.", "ANNE\n We'll be happier then, won't we?\n\n GUY\n I suppose so.", "Anne nods slowly.\n\n GUY\n (grimly)\n Then he'll think of something. He\n said he would.", "GUY\n (amused by Bruno)\n Well, what do you want to do?\n\n BRUNO\n You mean before or after I kill him?", "ANNE\n Guy, darling -- this is Mr. Antony --\n a friend of Monsieur and Madame\n Darville...\n (to Bruno)\n Guy Haines.\n\n\nCLOSEUP GUY", "For an instant his nervous hands seem to be struggling with\nthe urge to kill Guy.", "GUY\n Okay, Tim. Be right with you.\n\nReynolds leaves Anne and Guy rise, and as they walk toward\nthe stadium, we can see Guy start to speak to Anne in a\nwhisper.", "ANNE\n He's right, Guy. You mustn't do\n anything that would look suspicious.\n You've got to carry on as though\n nothing has happened.", "GUY\n Be right there.\n (turns to Anne)\n I was afraid you wouldn't get here.\n Wish me luck, darling.", "Anne is extremely concerned and thoughtful. Suddenly she\ngets an idea and with a pat on Barbara's arm, asks hurriedly:\n\n ANNE\n Do you know where Guy is?" ], [ "GUY\n (tensely)\n Try to think, Anne!\n\n VOICE\n (OFFSCENE)\n Guy Haines! -- Reynolds!", "of Guy's picture, which becomes surrounded with large type,\nannouncing the arrest of Guy Haines for the murder of his\nwife Miriam. A sub-heading tells of Guy's cigarette lighter", "the way so he could marry Anne. In\n a crime of this sort the police first\n go after the husband, and Guy had\n every motive.", "CLERIC\n I beg your pardon, but aren't you\n Guy Haines?\n\n GUY\n (uncomfortably)\n Yes.", "Through the rear window we see the tracks rushing away from\nus. Seated in the foreground are Guy Haines and a rather\nprofessorial type opposite him, a bespectacled man around\nforty-five or fifty who is extremely drunk.", "BRUNO\n (smiling with sudden\n recognition)\n I beg your pardon, but aren't you\n Guy Haines.", "GUY\n Miriam...murdered.\n\n ANNE\n (with inner tension)\n She was...strangled.", "MIRIAM\n (yelling like a\n fishwife)\n You heard what I said, Guy Haines.", "Anne is about to turn to her box but she is reluctant to\nleave Guy, who must now join his opponent, Reynolds. As\ntheir eyes hold, in mutual helplessness, Guy suddenly stares\nat her with realization.", "ANNE\n (answering Guy's look)\n It can't be helped, darling. It is\n not your fault. It's not as though\n anyone can say you had something to\n do with it.", "GUY\n That I could strang...\n\nAnne quickly puts her fingers over his mouth.", "BARBARA\n (ignoring this - to\n Anne and Guy)\n Well, you two. Nothing stands in\n your way now. You can be married\n right away. Think of it -- you're\n free!", "GUY\n What?\n\n BRUNO\n The wedding. You and Anne Burton.\n (a gesture of\n explanation)\n It was in the papers.", "ANNE\n Guy, darling -- this is Mr. Antony --\n a friend of Monsieur and Madame\n Darville...\n (to Bruno)\n Guy Haines.\n\n\nCLOSEUP GUY", "This is more than a tennis game,\n ladies and gentlemen -- it's a\n desperate fight with Guy Haines\n playing as if his life depended on", "I'm sorry, Guy, to be the one to\n tell you. It concerns your wife.\n She's been murdered.", "ANNE\n He's right, Guy. You mustn't do\n anything that would look suspicious.\n You've got to carry on as though\n nothing has happened.", "Anne comes down the steps and intercepts Guy on the sidewalk.\nShe leads him along a few paces and then stops and faces\nhim.\n\n\nCLOSE TWO SHOT", "HENNESSY\n Good luck, Guy.\n\nGuy is so preoccupied with his grim doesn't nod to Hennessy\nuntil Anne nudges him.", "GUY\n (holding her close)\n Anne darling, you're trembling.\n\nAnne draws back and looks into his face as if searching for\nan answer to some question in her mind." ], [ "BRUNO\n (smiling with sudden\n recognition)\n I beg your pardon, but aren't you\n Guy Haines.", "of Guy's picture, which becomes surrounded with large type,\nannouncing the arrest of Guy Haines for the murder of his\nwife Miriam. A sub-heading tells of Guy's cigarette lighter", "GUY\n Well, he'd read about me in the paper.\n He knew about Miriam -- and about\n you. He suggested that if he got\n rid of Miriam for me, I should kill\n his father.", "MIRIAM\n (yelling like a\n fishwife)\n You heard what I said, Guy Haines.", "BRUNO\n What'd you say her name was -- your\n wife's?\n\n GUY\n Miriam.", "GUY\n (amused by Bruno)\n Well, what do you want to do?\n\n BRUNO\n You mean before or after I kill him?", "ANNE\n Guy, darling -- this is Mr. Antony --\n a friend of Monsieur and Madame\n Darville...\n (to Bruno)\n Guy Haines.\n\n\nCLOSEUP GUY", "BRUNO\n (looks at Guy with\n astonishment)\n But, Guy, you wanted it! We planned\n it on the train together, remember?", "CLERIC\n I beg your pardon, but aren't you\n Guy Haines?\n\n GUY\n (uncomfortably)\n Yes.", "GUY\n (bitterly)\n And have them say what you did --\n \"Mr. Haines, how did you get him to\n do it?\" And Bruno would say we'd\n planed it together.", "introducing himself)\n I'm Bruno Anthony. Bruno. See Guy\n looks up. Bruno indicates his gold\n tie pin which bears his name in cut-", "GUY\n (tensely)\n Try to think, Anne!\n\n VOICE\n (OFFSCENE)\n Guy Haines! -- Reynolds!", "BRUNO\n (a little hurt)\n Oh, come now, Guy. Why should I go\n to Metcalf and kill a total stranger,", "BRUNO\n That's it. Miriam Joyce Haines.\n Played around a lot, I suppose?\n GUY\n Let's not talk about it any more.", "Bruno gives a look in his father's direction, before he speaks\ninto the telephone in a low voice.\n\n BRUNO\n I just wanted to ask how you made\n out with Miriam.", "As Bruno continues to stare at him, Guy takes out the Luger.\nFor a moment a look of fear comes into Bruno's face as he\nthinks Guy will probably shoot him. After a pause, Guy tosses\nthe gun on the bed.", "GUY\n Miriam...murdered.\n\n ANNE\n (with inner tension)\n She was...strangled.", "As Guy comes near to Bruno, the latter turns on him and starts\nto attack him.\n BRUNO\n I want to get off of here! Let me\n off of here! It makes me dizzy.", "BRUNO\n (delighted, lifts his\n glass in another\n toast)\n To the next Mrs. Haines.\n\nGuy nods curtly.", "BRUNO\n Okay, Guy. Want me to tell you one\n of my ideas for murdering my father?" ], [ "BRUNO\n (looks at Guy with\n astonishment)\n But, Guy, you wanted it! We planned\n it on the train together, remember?", "As Guy grabs the boy, he staggers forward with him to a small\ngondola. Bruno leaps onto his back but Guy manages to put\nthe boy in the gondola.", "As Bruno continues to stare at him, Guy takes out the Luger.\nFor a moment a look of fear comes into Bruno's face as he\nthinks Guy will probably shoot him. After a pause, Guy tosses\nthe gun on the bed.", "Bruno is now seated in his accustomed place in the club car.\nHis gloved fingers are quietly toying with Guy's lighter. A\npassenger next to him asks:", "Bruno is now half awake. Almost without seeing Guy, he\nstaggers to his feet and begins to make his way to the door.\nGuy advances, and with a sharp thrust, pushes Bruno back on\nthe settee.", "Bruno opens his eyes and sees Guy.\n\n BRUNO\n Hello, Guy.\n\nTurley has leaned forward to look at the helpless Bruno.", "Bruno looks and sees Guy clearly for the first time.\n\n BRUNO\n What happened? I was on a merry-go-\n round somewhere. It made me dizzy.", "BRUNO\n (sotto voce)\n Bruno, Guy. Bruno Anthony. Don't\n you remember? On the train.", "GUY\n (muttering)\n You've got me acting, like a criminal,\n you crazy fool!\n\nBruno for a moment looks menacingly at Guy.", "GUY\n (wryly)\n Thanks.\nGuy tries to read but is uneasily aware of Bruno's open\nappraisal.", "BRUNO\n But, Guy --\n\nGuy smashes Bruno in the jaw, in utter disgust, and knocks\nhim back onto the settee. Bruno looks up from his sprawled\nposition, a dull look in his eye.", "Guy moves forward, and thrusting his hand in Bruno's open\nshirt, pulls him to his feet. Bruno ignores Guy's violence\nand remain puzzled.", "the reins from Guy's hand. He tries to slash at Guy's face.\nThe back of Bruno's head is toward us during this. Guy\nsuddenly leans out across the horse and smashes his fist", "Bruno swings around till his back is to us. He pushes Guy\ntoward the edge, but Guy manages to grab the rein of the", "Bruno and Guy are finishing lunch. Bruno has been drinking\nand his eyes are bright and feverish. An almost empty liquor\nbottle is near a couple of detective novels covered with", "As Guy comes near to Bruno, the latter turns on him and starts\nto attack him.\n BRUNO\n I want to get off of here! Let me\n off of here! It makes me dizzy.", "Bruno pulls Guy back further into the shadows. Guy\ninstinctively flattens himself against the wall. He looks\nacross the street again.\n\n\nLONG SHOT (FROM HIS VIEWPOINT)", "We see Guy excuse himself from Barbara, cross to Bruno and\nspeak to him angrily, obviously asking, \"What are you doing\nhere?\" Bruno, however, greets Guy with a smile then turns", "Anne watches Guy approach this stranger. She looks downward\nat Bruno's tie pin.\n\n\nCLOSEUP\n\nBruno's tie pin, bearing his name, gleams in the light.", "Guy makes a move to leave, but Bruno holds on tight.\n\n GUY\n Let me go, Bruno. I had nothing to\n do with this and the police will\n believe me." ], [ "We see Bruno's gloved hands dart quickly to Miriam's throat.\nThe lighter falls down out of picture, and as Bruno's hands", "facing her. Her laughter dies for a moment and she smiles\nat him coyly. Bruno passes her and gets on the horse directly\nbehind her, Miriam glancing at him as her horse comes down.", "Bruno begins to look around for Miriam, who is apparently on\nthe other side of the merry-go-round. He starts to thread\nhis way through the horses which are beginning to move up", "Bruno turns to follow Miriam, his manner casual. As he takes\na few steps, WE PAN ACROSS with him until, over his shoulder,", "she then looks to her right, and as she does THE CAMERA PANS\nto show Bruno standing right it her shoulder. Miriam gives\na little start. Bruno smiles at her. With a smirk he walks", "and down. CAMERA FOLLOWING HIM. He passes one or two of\nthe oncoming heads before he reaches Miriam. She is on an\noutside mount which is high in the air when she sees Bruno", "CLOSE UP MIRIAM\n\nShe watches Bruno.\n\n\nCLOSE SHOT\n\nBruno looks down at his hands.\n\n\nINSERT", "Bruno drops the hammer and glances around at Miriam again.\nHer two boy-friends are calling for her from a little\ndistance.\n\n BOY'S VOICE\n Come On, Miriam. Come On!", "BRUNO\n Is your name Miriam?\n\n MIRIAM\n (with surprise)\n Why yes. How did you --", "MIRIAM\n (calling back)\n Goodnight, Mother. See you later.\n\n\nCLOSE UP\n\nBruno watches Miriam.", "As Bruno starts to advance in the direction of Miriam he is\nmomentarily held up by a small boy in cowboy uniform carrying\na gun and a balloon. The small boy points the gun at Bruno.", "She gives a coy smile of recognition. CAMERA PULLS BACK to\nreveal the mad and shoulders of Bruno between Miriam and the", "Bruno on his horse, as though he is chasing Miriam. He is a\nlittle more open now in his laughter.\n\n\nGROUP SHOT MIRIAM AND TWO BOYS", "Again from Bruno's viewpoint, we see Miriam's house. At\nthis moment the front door swings open, emitting a long streak", "MED. SHOT\n\nMiriam comes nearer and nearer to Bruno. With her two\ncompanions she brushes past him and jumps onto the bus. THE\nCAMERA PANS BRUNO AFTER THEM.", "grip her throat, his head moves slightly to blot out Miriam's\nface. His head moves a bit farther until Miriam's face is\nnearly uncovered at the other side of the screen, and we see", "Bruno, as he smiles faintly, glancing across at Miriam.\n\n\nCLOSE UP MIRIAM\n\nShe gives a faint smile in return.\n\n\nCLOSE SHOT", "There are two boats unloading. Bruno's boat is approaching.\nWe hear a loud call from the island. Someone has found\nMiriam.", "GUY\n Miriam...murdered.\n\n ANNE\n (with inner tension)\n She was...strangled.", "Bruno's finger runs down the names until it stops at:\n\n Joyce, Miriam Haines. 2420 Metcalf Avenue." ], [ "We see Bruno's gloved hands dart quickly to Miriam's throat.\nThe lighter falls down out of picture, and as Bruno's hands", "facing her. Her laughter dies for a moment and she smiles\nat him coyly. Bruno passes her and gets on the horse directly\nbehind her, Miriam glancing at him as her horse comes down.", "CLOSE UP MIRIAM\n\nShe watches Bruno.\n\n\nCLOSE SHOT\n\nBruno looks down at his hands.\n\n\nINSERT", "she then looks to her right, and as she does THE CAMERA PANS\nto show Bruno standing right it her shoulder. Miriam gives\na little start. Bruno smiles at her. With a smirk he walks", "Bruno turns to follow Miriam, his manner casual. As he takes\na few steps, WE PAN ACROSS with him until, over his shoulder,", "Bruno begins to look around for Miriam, who is apparently on\nthe other side of the merry-go-round. He starts to thread\nhis way through the horses which are beginning to move up", "Bruno drops the hammer and glances around at Miriam again.\nHer two boy-friends are calling for her from a little\ndistance.\n\n BOY'S VOICE\n Come On, Miriam. Come On!", "BRUNO\n Is your name Miriam?\n\n MIRIAM\n (with surprise)\n Why yes. How did you --", "MIRIAM\n (calling back)\n Goodnight, Mother. See you later.\n\n\nCLOSE UP\n\nBruno watches Miriam.", "As Bruno starts to advance in the direction of Miriam he is\nmomentarily held up by a small boy in cowboy uniform carrying\na gun and a balloon. The small boy points the gun at Bruno.", "and down. CAMERA FOLLOWING HIM. He passes one or two of\nthe oncoming heads before he reaches Miriam. She is on an\noutside mount which is high in the air when she sees Bruno", "GUY\n Miriam...murdered.\n\n ANNE\n (with inner tension)\n She was...strangled.", "Bruno on his horse, as though he is chasing Miriam. He is a\nlittle more open now in his laughter.\n\n\nGROUP SHOT MIRIAM AND TWO BOYS", "She gives a coy smile of recognition. CAMERA PULLS BACK to\nreveal the mad and shoulders of Bruno between Miriam and the", "grip her throat, his head moves slightly to blot out Miriam's\nface. His head moves a bit farther until Miriam's face is\nnearly uncovered at the other side of the screen, and we see", "Bruno, as he smiles faintly, glancing across at Miriam.\n\n\nCLOSE UP MIRIAM\n\nShe gives a faint smile in return.\n\n\nCLOSE SHOT", "BRUNO (CONT'D)\n (he raises his hands\n toward Mrs.\n Cunningham's throat,", "her in a threatening manner, although we do not hear his\nwords. The smile has faded from Miriam's face and something\nlike cringing fear has taken its place. She is drawn and", "Bruno gives a look in his father's direction, before he speaks\ninto the telephone in a low voice.\n\n BRUNO\n I just wanted to ask how you made\n out with Miriam.", "BRUNO\n What'd you say her name was -- your\n wife's?\n\n GUY\n Miriam." ], [ "BARBARA\n (wide-eyed)\n Let's not fool ourselves. The police\n will say Guy wanted Miriam out of", "the way so he could marry Anne. In\n a crime of this sort the police first\n go after the husband, and Guy had\n every motive.", "BARBARA\n (quickly, to Guy)\n Miriam went there with two boys.\n They were the ones who found her.\n So they're not suspects. But you\n probably will be.", "He puts his head in the side window and tells the two waiting\ndetectives where Guy has gone.\n\n MAN\n Amusement park.", "of Guy's picture, which becomes surrounded with large type,\nannouncing the arrest of Guy Haines for the murder of his\nwife Miriam. A sub-heading tells of Guy's cigarette lighter", "GUY\n Miriam...murdered.\n\n ANNE\n (with inner tension)\n She was...strangled.", "ANNE\n (who hasn't taken\n anxious eyes off Guy)\n You can tell them where you were,\n can't you, Guy?", "GUY\n Well, he'd read about me in the paper.\n He knew about Miriam -- and about\n you. He suggested that if he got\n rid of Miriam for me, I should kill\n his father.", "We see a police car pull up outside Guy's apartment.\n\n\nTWO SHOT", "I'm sorry, Guy, to be the one to\n tell you. It concerns your wife.\n She's been murdered.", "GUY\n Where do you think I'm going? I'm\n going to call the police, of course.\n BRUNO\n But you can't, Guy. We'd both be\n arrested for murder.", "Guy looks at Anne with an expression of growing fear and\nalarm. She goes on inexorably:\n\n ANNE\n What did Miriam look like, Guy.", "Guy is standing at the telephone which is still ringing. He\nhas Miriam's glasses in his hand. He looks down at them for\na moment, then picks up the receiver. He hesitates, then\nspeaks into the phone.", "been able to find him. Isn't that\n proof of where I was at nine-thirty\n last night?\nGuy asks this question with a look of near triumph that he", "GUY\n (his eyes blazing)\n Sorry. I'm leaving.\n\nHe starts to exit from the booth. Miriam grabs his arm and\nscreams at him:", "Guy makes a move to leave, but Bruno holds on tight.\n\n GUY\n Let me go, Bruno. I had nothing to\n do with this and the police will\n believe me.", "Guy's hands take out the Luger. His hand then picks up\nMiriam's glasses from the drawer, holds them a moment. He\nis about to put them back, then decides to take them along,\nputs them into his pocket.", "Guy is surrounded by police and Campbell stands at his elbow.\nAt this moment the boatman runs in. One of the detectives\nis with him.", "MIRIAM\n (taking money from\n customer)\n Even change. Thank you, Madam.\n (she looks up at Guy\n as the woman moves\n off)\n Well -- hello, Guy.", "GUY\n (biting)\n I got over being jealous, a long\n time ago Miriam.\nMiriam's eyes slide toward the other girl clerk who has moved\ncloser, within listening range." ], [ "what she thinks and rarely thinks before she says it.\nSuperficially, in height and figure, she resembles Miriam.\nShe also weirs glasses. By her gestures we gather she is", "Miriam's face is pretty because it is still young. She is\nself-centered and inclined to be vindictive. She wears\nharlequin glasses with myopic lenses which tend to make her\neyes look small.", "Guy looks at Anne with an expression of growing fear and\nalarm. She goes on inexorably:\n\n ANNE\n What did Miriam look like, Guy.", "Miriam's mother, dressed all in black, is seated in one of\nthe chairs. She has been staring at the floor, but brings\nher eyes up slowly to glare at Guy with a look of burning\nhatred.", "her in a threatening manner, although we do not hear his\nwords. The smile has faded from Miriam's face and something\nlike cringing fear has taken its place. She is drawn and", "From his viewpoint, the girl, whom we now see is Miriam, is\nrunning followed by the two young men. They are calling for\nthe bus not to go - shouting, \"Hi - stop!\" Mrs. Joyce calls\nfrom the porch:", "facing her. Her laughter dies for a moment and she smiles\nat him coyly. Bruno passes her and gets on the horse directly\nbehind her, Miriam glancing at him as her horse comes down.", "island. Nearby we see the silhouetted figures of Miriam and\nher companions move across the scene, right to left. Miriam\nis pushing George away from her.", "She backs away from him and the boys go on picture. Miriam\ngoes in another direction, around, the bushes. George\nobviously misses her, for we hear his voice call out:", "GEORGE'S VOICE\n Miriam!", "MOVES UP SLOWLY over the boy's shoulders until we get MIRIAM\nIN CLOSE UP. She glances back. Her expression changes to a\ncoy smile of satisfaction as she sees:", "MIRIAM\n Oh!", "CLOSE SHOT MIRIAM\n\nShe turns away and is lost in the crowd.", "Converted to PDF by www.screentalk.org 36.\n\n\n\nMiriam's companions are still searching for her. We hear\ntheir faint voices in the distance.", "Miriam backs out of the bushes until the back of her head is\nin CLOSEUP in the foreground of the shot. Suddenly she hears", "Bruno begins to look around for Miriam, who is apparently on\nthe other side of the merry-go-round. He starts to thread\nhis way through the horses which are beginning to move up", "MIRIAM\n (squealing)\n George, stop it, I tell you!", "MIRIAM (CONT'D)\n Especially when you have Anne Burton\n hanging on your arm.\n\n GUY\n Let's not talk about Anne Burton.", "MIRIAM\n (intimately)\n Now this is cosier. Sort of like\n old times, isn't it, Guy?", "VOICES\n Miriam! Miriam! Where are you?\n\n\nMEDIUM SHOT" ], [ "GUY\n (bitterly)\n And have them say what you did --\n \"Mr. Haines, how did you get him to\n do it?\" And Bruno would say we'd\n planed it together.", "Bruno is now half awake. Almost without seeing Guy, he\nstaggers to his feet and begins to make his way to the door.\nGuy advances, and with a sharp thrust, pushes Bruno back on\nthe settee.", "Bruno opens his eyes and sees Guy.\n\n BRUNO\n Hello, Guy.\n\nTurley has leaned forward to look at the helpless Bruno.", "GUY\n Where do you think I'm going? I'm\n going to call the police, of course.\n BRUNO\n But you can't, Guy. We'd both be\n arrested for murder.", "BRUNO\n Now look, Guy, about my father. I\n have the plans made. Two plans. A\n plan of the grounds and a plan of", "As Bruno continues to stare at him, Guy takes out the Luger.\nFor a moment a look of fear comes into Bruno's face as he\nthinks Guy will probably shoot him. After a pause, Guy tosses\nthe gun on the bed.", "BRUNO\n (looks at Guy with\n astonishment)\n But, Guy, you wanted it! We planned\n it on the train together, remember?", "BRUNO\n But, Guy --\n\nGuy smashes Bruno in the jaw, in utter disgust, and knocks\nhim back onto the settee. Bruno looks up from his sprawled\nposition, a dull look in his eye.", "GUY\n (muttering)\n You've got me acting, like a criminal,\n you crazy fool!\n\nBruno for a moment looks menacingly at Guy.", "GUY\n Well, he'd read about me in the paper.\n He knew about Miriam -- and about\n you. He suggested that if he got\n rid of Miriam for me, I should kill\n his father.", "GUY\n (amused by Bruno)\n Well, what do you want to do?\n\n BRUNO\n You mean before or after I kill him?", "Guy makes a move to leave, but Bruno holds on tight.\n\n GUY\n Let me go, Bruno. I had nothing to\n do with this and the police will\n believe me.", "of Guy's picture, which becomes surrounded with large type,\nannouncing the arrest of Guy Haines for the murder of his\nwife Miriam. A sub-heading tells of Guy's cigarette lighter", "ANNE\n Guy, has he anything that the police\n could trace to you --\n (quoting Bruno)\n Any little thing.", "BRUNO\n (brushing this off)\n Oh, they can't have anything on you.\n (looking past Guy)\n Isn't that Anne Burton? Slight\n improvement over Miriam -- eh, Guy?", "Bruno and Guy are finishing lunch. Bruno has been drinking\nand his eyes are bright and feverish. An almost empty liquor\nbottle is near a couple of detective novels covered with", "BARBARA\n (wide-eyed)\n Let's not fool ourselves. The police\n will say Guy wanted Miriam out of", "GUY\n Miriam...murdered.\n\n ANNE\n (with inner tension)\n She was...strangled.", "camera. His hand holds Guy's lighter which he flicks on as\nhe raises it above Miriam's face. 0f Bruno, we see only the\nback of his head and shoulders.", "BRUNO\n Okay, Guy. Want me to tell you one\n of my ideas for murdering my father?" ] ]

[ "Who does Guy want to marry?", "Why can't Guy marry her?", "What plan does Bruno propose to Guy?", "How does Bruno murder Miriam?", "Where does the murder take place?", "How does Guy murder Bruno's father?", "How can Bruno frame Guy for Miriam's murder?", "Who is killed by the police at the end of the story?", "What did Bruno intend to use to frame Guy for Miriam's murder?", "Which ride did Miriam die on?", "What ambition did Guy have in marrying Anne?", "What ride did Guy and Bruno fight on?", "Where did Bruno demonstrate strangling to someone?", "Why did Guy sneak into Mr. Anthony's bedroom?", "What action did the police take after hearing Guy's alibi for Miriam's murder?", "What happened to Bruno when he demonstrated strangling at the party?", "Who did Barbara at the party remind Bruno of?", "What is Guy's profession?", "What is the profession of Anne Morton's father?", "What does Guy Haines want to do after he marries Anne Morton?", "Why can't Guy Haines marry Anne Morton?", "What does Bruno Anthony want Guy Haines to do in exchange for his murdering Haines' wife Miriam?", "What does Bruno steal from Guy on the train?", "Where does Bruno kill Miriam?", "How does Bruno kill Miriam?", "Where does Guy tell the police he was at the time of Miriam's murder?", "Who physically resembles Miriam?", "How does Bruno plan to incriminate Guy for Miriam's murder?" ]

[ [ "Anne Morton, a senator's daughter", "Anne Morton" ], [ "He is already married to Miriam", "he is married to Miriam" ], [ "That Guy murder Bruno's father and Bruno would murder Miriam", "Bruno will kill Guy's wife if Guy will Kill Bruno's father" ], [ "By straggling her ", "he strangles her" ], [ "at an amusement park", "On the Magic-Isle at an amusement park." ], [ "He doesn't", "he doesn't" ], [ "Bruno stole Guy's lighter and can plant it at the murder scene", "By leaving Guy's lighter." ], [ "Bruno", "Bruno" ], [ "Guy's monogrammed lighter", "his cigarette lighter" ], [ "Magic Isle", "The Magic Isle." ], [ "Political Career", "So he can go into politics." ], [ "The carousel", "a carousel " ], [ "Senator Morton's house", "A party at the Morton house" ], [ "To warn him of Bruno's intent", "to warn him that Bruno wants him dead" ], [ "Assigned an officer to tail Guy", "have him followes" ], [ "He blacked out", "he actually strangles the person" ], [ "Miriam", "Miriam" ], [ "Amateur tennis player", "professional tennis player" ], [ "He is a senator.", "Senator." ], [ "Pursue a political career.", "become a politician" ], [ "He is already married to Miriam.", "His wife Miriam refuses to divorce him" ], [ "Kill Bruno's hated father.", "He wants Guy to kill Bruno's despised father." ], [ "He takes Guy's monogrammed cigarette lighter.", "his cigarette lighter" ], [ "On the \"Magic Isle\" at an amusement park.", "amusement park" ], [ "He strangles her.", "He strangles her." ], [ "On a train.", "On the train." ], [ "Anne Morton's younger sister, Barbara.", "Barbara" ], [ "By planting Guy's stolen cigarette lighter at the amusement park.", "By leaving his lighter at the scene." ] ]

[ [ "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">It is the Nothing, the force destroying", "a tree as the Nothing consumes <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN", "been spared by the Nothing. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "</SPAN>Then our world will disappear, and so will I.<o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Friends, I know why you are all \n here. The nothing is destroying our world. I also know that you have come", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>safer skies. But that was all there \n was left, below them the Nothing enveloped the remaining pieces of land.", "</SPAN>Atreyu looks up, laughs, and waves as he and Artax are headed for \n home.<o:p></o:p></SPAN></P>", "you have told us is also occurring where I live in the west ! A strange \n sort of Nothing is destroying everything.</P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Oh no. The nothing! </P>\n <P", "align=center><SPAN style=\"FONT-FAMILY: Arial\">It's the world of human \n fantasy. Every part ,every<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">found disbelief the Nothing has grown stronger \n and is now attacking the last remaining part of", "style=\"FONT-FAMILY: Arial\">Darkness, pure and black as night. We hear \n Bastian speak.<o:p></o:p></SPAN></P>", "</SPAN>of the Neverending Story.<o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>No, a hole would be something. Nah, \n it was nothing. And it got bigger and bigger. First there was no lake", "style=\"FONT-FAMILY: Arial\">and begins to devour it.<o:p></o:p></SPAN></P>", "die! There's a terrible nothing<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in; TEXT-ALIGN: center\"", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">G'mork laughs and Atreyu grows", "Atreyu tries to hold on as best as he can. The wind blows wilder and \n wilder until finally it tosses Falkor onto his back, and knocks his", "style=\"FONT-FAMILY: Arial\">stops to eat one. Atreyu closes his eyes \n disgusted. <o:p></o:p></SPAN></P>" ], [ "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Atreyu trying to save Artax in the", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Suddenly Artax stops and Atreyu pulls on the", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu or his horse, Artax, had the vaguest", "</SPAN>Atreyu looks up, laughs, and waves as he and Artax are headed for \n home.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu jumps off Artax and pulls him along", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \n </SPAN>Atreyu and Artax had searched the Silver", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">View of Atreyu and Artax near a", "Atreyu tries to hold on as best as he can. The wind blows wilder and \n wilder until finally it tosses Falkor onto his back, and knocks his", "style=\"FONT-FAMILY: Arial\">Atreyu reluctantly gives up on calling Falkor. \n He turns his eyes <o:p></o:p></SPAN></P>", "<P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\">END SCENE: view of \n Atreyu and his horse galloping away from the ivory tower. –Fade", "<P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\">CUT TO: Atreyu &amp; \n Artax<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">As Atreyu pulls himself up on the ledge he sees", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu holds tight to the tree as strong winds", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu does fine until he sees the fallen man,", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">Suddenly he notices that Artax is", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu comes out of an opening and latches onto", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu runs through the gate and just barely", "passenger into the air. Atreyu falls, but Falkor cannot get to him before \n he disappears into the chaos below.<o:p></o:p></SPAN></P>", "<P class=MsoBodyTextIndent2>Atreyu climbs up the muddy mountain and calls \n for Morla several times. The mountain<SPAN" ], [ "align=center><SPAN style=\"FONT-FAMILY: Arial\">Atreyu has to face his true \n self.<o:p></o:p></SPAN></P>", "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">(Atreyu watches through the", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu does fine until he sees the fallen man,", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Close up of Atreyu as the old man speaks to", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">As Atreyu turns a corner he sees a painting of", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of Atreyu. He sticks his hand through the", "style=\"FONT-FAMILY: Arial\">The man looks into a improvised sort of \n telescope and then tells Atreyu to do the same.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu squats down where he's at and looks at", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">As Atreyu pulls himself up on the ledge he sees", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu comes out of an opening and latches onto", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks down, feeling terrible.", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks down at the amulet dangling from", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>Atreyu finds that the beast managed", "</SPAN>Atreyu looks up, laughs, and waves as he and Artax are headed for \n home.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">Atreyu looks around, as does she. \n <o:p></o:p></SPAN></P>", "on Atreyu.)<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">G'mork laughs and Atreyu grows" ], [ "Atreyu tries to hold on as best as he can. The wind blows wilder and \n wilder until finally it tosses Falkor onto his back, and knocks his", "</SPAN>Atreyu looks up, laughs, and waves as he and Artax are headed for \n home.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks down, feeling terrible.", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of Atreyu. He sticks his hand through the", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu does fine until he sees the fallen man,", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \n </SPAN>Atreyu and Artax had searched the Silver", "passenger into the air. Atreyu falls, but Falkor cannot get to him before \n he disappears into the chaos below.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "style=\"FONT-FAMILY: Arial\">Atreyu reluctantly gives up on calling Falkor. \n He turns his eyes <o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu or his horse, Artax, had the vaguest", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Atreyu trying to save Artax in the", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>Atreyu finds that the beast managed", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu holds tight to the tree as strong winds", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu jumps off Artax and pulls him along", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu comes out of an opening and latches onto", "</SPAN>No. Atreyu wouldn't quit now.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The ground shakes and Atreyu falls over", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Suddenly Artax stops and Atreyu pulls on the", "falls out when he gets back to where Falkor and Urgl \n are.<o:p></o:p></SPAN></P>", "on Atreyu.)<o:p></o:p></SPAN></P>" ], [ "who wears the Auryn speaks for the Empress.<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">\" The Auryn\" Could be heard whispered", "style=\"FONT-FAMILY: Arial\">The Empress giving the Auryn to Carion, Carion \n giving the Auryn to Atreyu,<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Well, we haven't seen the \n Auryn in a long time.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">He takes off the Auryn and hands it to her. She", "style=\"FONT-FAMILY: Arial\">Auryn symbol on the cover, in which he's \n reading his <o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">But I lost the Auryn, I", "style=\"FONT-FAMILY: Arial\">coming from the lost necklace. Falkor opens his \n mouth, and plucks the Auryn<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">and discovers that the Auryn is gone. He stands", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Let the Auryn guide \n you.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">The Auryn starts glowing and the fragments \n move, behind them standing<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks down at the amulet dangling from", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu clears his throat to get their", "falls out when he gets back to where Falkor and Urgl \n are.<o:p></o:p></SPAN></P>", "Neverending Story. above these words is a symbol on the cover. The symbol \n is two snakes intertwined with each other and biting each other's tail. As", "align=center><SPAN style=\"FONT-FAMILY: Arial\">of Fantasia. You must hurry \n Atreyu. We do not<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of Atreyu. He sticks his hand through the", "style=\"FONT-FAMILY: Arial\">heart, killing the G’mork. As Atreyu pulls", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">As Atreyu pulls himself up on the ledge he sees" ], [ "style=\"mso-tab-count: 1\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \n </SPAN>Fantasia.\" </P>", "Fantasia.<o:p></o:p></SPAN></P>", "Fantasia.<o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN>the more magnificent Fantasia will become.<o:p></o:p></SPAN></P>", "</SPAN>Then there will be no Fantasia any more.<o:p></o:p></SPAN></P>", "Fantasia was gone.<o:p></o:p></SPAN></P>", "</SPAN>Below them Fantasia has been reborn. Everything appears as before. \n <o:p></o:p></SPAN></P>", "lands of Fantasia. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "</SPAN>Fantasia has totally disappeared ?<o:p></o:p></SPAN></P>", "</SPAN>No, it hasn't. Fantasia can arise in you . <o:p></o:p></SPAN></P>", "Atreyu on his back. They are flying over Fantasia.<o:p></o:p></SPAN></P>", "the same time, elsewhere in Fantasia, a creature<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "was the end of Fantasia. Only a few fragments remained \n <o:p></o:p></SPAN></P>", "<P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\">FADE OUT TO: \n Fantasia<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Two fragments of Fantasia collide and explode", "align=center><SPAN style=\"FONT-FAMILY: Arial\">to get past the boundaries \n of Fantasia.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">Fantasia who’s home was the Shell", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Foolish boy. Don't you know \n anything about Fantasia?<o:p></o:p></SPAN></P>", "fantasia, and Falkor and Atreyu<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN", "align=center><SPAN style=\"FONT-FAMILY: Arial\">But why is Fantasia dying \n then ?<o:p></o:p></SPAN></P>" ], [ "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "to beseech the Empress for help. But I, I have terrible news. The Empress \n herself has become deathly ill. There seems to be a mysterious link", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks straight ahead and Bastian calls", "</SPAN>In your dreams and wishes Bastian.<o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Bastian watches him. As he talks on \n the phone Bastian uncovers the book. The title on the book reads, The", "style=\"FONT-FAMILY: Arial\"><SPAN style=\"mso-spacerun: yes\">&nbsp; \n </SPAN>Bastian, why don't you do what you dream, Bastian", "style=\"FONT-FAMILY: Arial\">The door to the Empress's room opens into the \n courtyard. Lots of creatures from Fantasia await help from the Empress.", "The Empress's head servant comes out of her room and speaks to them all. \n <o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">Darkness, pure and black as night. We hear \n Bastian speak.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>After a while, he sees Bastian", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "object in Moonchild's hand. Bastian looks at it.<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 1in\"><SPAN", "</SPAN>Call my name ! Bastian, please ! Save us ! <o:p></o:p></SPAN></P>", "to him and gives him a hand. He seems to easily open the jar. As Bastians \n father returns to his task of the morning drink concoction Bastian breaks \n the silence.</P>", "up from the book. Both have tears streaming down their face, Bastian blows \n his nose on his handkerchief. Bastian turns the", "son, but we have to get on with things, right? (Bastian looks dejected at \n this answer.) Bastian we each have responsibilities. We can't let Mom's", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp; </SPAN>The home of the \n Empress. She's our only hope.</P>", "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">The man turns away from \n him again. Bastian looks at the book he has. His interest has been", "the old man hangs up the phone, Bastian grabs the book and runs out. The \n old man smiles to himself and looks down at his desk proud to have finally", "reading the story. Bastian looks up then <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN" ], [ "style=\"FONT-FAMILY: Arial\">Darkness, pure and black as night. We hear \n Bastian speak.<o:p></o:p></SPAN></P>", "was the end of Fantasia. Only a few fragments remained \n <o:p></o:p></SPAN></P>", "Fantasia was gone.<o:p></o:p></SPAN></P>", "Fantasia. Atreyu wakes from <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "style=\"FONT-FAMILY: Arial\">Has ended and everyone is leaving. Bastian \n walks out as the lights turn off. <o:p></o:p></SPAN></P>", "</SPAN>Below them Fantasia has been reborn. Everything appears as before. \n <o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">The door to the Empress's room opens into the \n courtyard. Lots of creatures from Fantasia await help from the Empress.", "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "Atreyu on his back. They are flying over Fantasia.<o:p></o:p></SPAN></P>", "</SPAN>Then there will be no Fantasia any more.<o:p></o:p></SPAN></P>", "up from the book. Both have tears streaming down their face, Bastian blows \n his nose on his handkerchief. Bastian turns the", "</SPAN>In your dreams and wishes Bastian.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>After a while, he sees Bastian", "as our young friend awakes from a dream. Bastian quickly sits up as if \n awakening from a nightmare. He looks at a picture of his mom with a sigh", "</SPAN>Fantasia has totally disappeared ?<o:p></o:p></SPAN></P>", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">of Fantasia. You must hurry \n Atreyu. We do not<o:p></o:p></SPAN></P>", "object in Moonchild's hand. Bastian looks at it.<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 1in\"><SPAN", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The eyes open and Bastian cries", "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">The man turns away from \n him again. Bastian looks at the book he has. His interest has been" ], [ "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>After a while, he sees Bastian", "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">Out on the street 3 \n bullies are laughing. As Bastian walks out, they stop.</P>", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "up from the book. Both have tears streaming down their face, Bastian blows \n his nose on his handkerchief. Bastian turns the", "street where they had chased Bastian the day before. They look up at the \n sky as Falkor and Bastian appear and start chasing them. They", "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">The man turns away from \n him again. Bastian looks at the book he has. His interest has been", "the old man hangs up the phone, Bastian grabs the book and runs out. The \n old man smiles to himself and looks down at his desk proud to have finally", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks straight ahead and Bastian calls", "Atreyu on his back. They are flying over Fantasia.<o:p></o:p></SPAN></P>", "Atreyu tries to hold on as best as he can. The wind blows wilder and \n wilder until finally it tosses Falkor onto his back, and knocks his", "falls out when he gets back to where Falkor and Urgl \n are.<o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Bastian watches him. As he talks on \n the phone Bastian uncovers the book. The title on the book reads, The", "style=\"FONT-FAMILY: Arial\">All three bullies shove Bastian into a nearby \n dumpster. <o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">Darkness, pure and black as night. We hear \n Bastian speak.<o:p></o:p></SPAN></P>", "to inflict a wound on Atreyu. He stands and<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "reading the story. Bastian looks up then <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "</SPAN>Call my name ! Bastian, please ! Save us ! <o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">They fly over Rockbiter, the Nighthob, and the \n little man. Bastian waves <o:p></o:p></SPAN></P>", "</SPAN>In your dreams and wishes Bastian.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu clears his throat to get their" ], [ "lands of Fantasia. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "the mountain, hurting his shoulder. He lands in the swamp ground below and \n turns and crawls away to a tree nearby that faces the mountain. He climbs", "align=center><SPAN style=\"FONT-FAMILY: Arial\">It's the world of human \n fantasy. Every part ,every<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">more and more the surrounding land. Atreyu \n calls out for Falkor and this time Falkor <o:p></o:p></SPAN></P>", "Atreyu on his back. They are flying over Fantasia.<o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>safer skies. But that was all there \n was left, below them the Nothing enveloped the remaining pieces of land.", "Suddenly the calm of the camp is interrupted by a great rumbling similar \n to an earthquake.</P>", "place of the book is a note pad barely legible writing on it, it reads: \n </P>\n <P", "Great Plains. Bastian looks down and sees a familiar face from his \n imagination, only now its real.<o:p></o:p></SPAN></P>", "whole length of this Ivory Tower. It is said to be as big as a city. We \n pass over the base of the tower, then it’s mid section, and finally we", "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">The man turns away from \n him again. Bastian looks at the book he has. His interest has been", "crying. He stops suddenly and we see a mountain. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN", "style=\"FONT-FAMILY: Arial\">to them and Rockbiter waves back. They change \n their direction and suddenly below them is a great endless field, the", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of the surrounding rocks. Atreyu follows him on", "Atreyu. The sky is gray and is incredibly windy. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \n </SPAN>Atreyu and Artax had searched the Silver", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Falkor carrying Atreyu over many different", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Bastian watches him. As he talks on \n the phone Bastian uncovers the book. The title on the book reads, The", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu clears his throat to get their", "align=center><SPAN style=\"FONT-FAMILY: Arial\">No, all the land is \n gone.<o:p></o:p></SPAN></P>" ], [ "</SPAN>Then there will be no Fantasia any more.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">It is the Nothing, the force destroying", "</SPAN>Below them Fantasia has been reborn. Everything appears as before. \n <o:p></o:p></SPAN></P>", "the same time, elsewhere in Fantasia, a creature<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN>the more magnificent Fantasia will become.<o:p></o:p></SPAN></P>", "Atreyu on his back. They are flying over Fantasia.<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">But why is Fantasia dying \n then ?<o:p></o:p></SPAN></P>", "Fantasia was gone.<o:p></o:p></SPAN></P>", "was the end of Fantasia. Only a few fragments remained \n <o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">and begins to devour it.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Two fragments of Fantasia collide and explode", "lands of Fantasia. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "align=center><SPAN style=\"FONT-FAMILY: Arial\">of Fantasia. You must hurry \n Atreyu. We do not<o:p></o:p></SPAN></P>", "Fantasia.<o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "Fantasia.<o:p></o:p></SPAN></P>", "</SPAN>Fantasia has totally disappeared ?<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Then you must know what can \n save Fantasia !<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">to get past the boundaries \n of Fantasia.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">Don't worry. We'll reach the boundaries of \n Fantasia.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">The door to the Empress's room opens into the \n courtyard. Lots of creatures from Fantasia await help from the Empress." ], [ "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 2in\"><SPAN", "</SPAN><U>Childlike Empress:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Childlike Empress:</U><o:p></o:p></SPAN></P>", "falls out when he gets back to where Falkor and Urgl \n are.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu clears his throat to get their" ], [ "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks down at the amulet dangling from", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of Atreyu. He sticks his hand through the", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \n </SPAN>Atreyu and Artax had searched the Silver", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">As Atreyu pulls himself up on the ledge he sees", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "on Atreyu.)<o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Atreyu:<o:p></o:p></U></SPAN></P>", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>Atreyu finds that the beast managed", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>" ], [ "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Suddenly Artax stops and Atreyu pulls on the", "Atreyu tries to hold on as best as he can. The wind blows wilder and \n wilder until finally it tosses Falkor onto his back, and knocks his", "</SPAN>No. Atreyu wouldn't quit now.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">heart, killing the G’mork. As Atreyu pulls", "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "to inflict a wound on Atreyu. He stands and<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "<P class=MsoBodyTextIndent2>Atreyu climbs up the muddy mountain and calls \n for Morla several times. The mountain<SPAN", "a smaller opening. It growls wildly at Atreyu <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "</SPAN>Atreyu looks up, laughs, and waves as he and Artax are headed for \n home.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">stops to eat one. Atreyu closes his eyes \n disgusted. <o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">As Atreyu pulls himself up on the ledge he sees", "style=\"FONT-FAMILY: Arial\">more and more the surrounding land. Atreyu \n calls out for Falkor and this time Falkor <o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>" ], [ "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks down, feeling terrible.", "</SPAN>Atreyu looks up, laughs, and waves as he and Artax are headed for \n home.<o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Atreyu trying to save Artax in the", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Sadness. His name was \n Atreyu.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Rockbiter starts crying as Atreyu shakes his", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu or his horse, Artax, had the vaguest", "Atreyu tries to hold on as best as he can. The wind blows wilder and \n wilder until finally it tosses Falkor onto his back, and knocks his", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \n </SPAN>Atreyu and Artax had searched the Silver", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \n </SPAN>(Atreyu looks down saddened.)<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">Atreyu reluctantly gives up on calling Falkor. \n He turns his eyes <o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of Atreyu. He sticks his hand through the", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu does fine until he sees the fallen man,", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu jumps off Artax and pulls him along", "Swamps of Sadness, Morla, and Falkor, <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "</SPAN>Atreyu, why do you look so sad?<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Suddenly Artax stops and Atreyu pulls on the", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "passenger into the air. Atreyu falls, but Falkor cannot get to him before \n he disappears into the chaos below.<o:p></o:p></SPAN></P>", "<P class=MsoBodyTextIndent2>Atreyu climbs up the muddy mountain and calls \n for Morla several times. The mountain<SPAN", "falls out when he gets back to where Falkor and Urgl \n are.<o:p></o:p></SPAN></P>" ], [ "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Morla:<o:p></o:p></U></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "style=\"FONT-FAMILY: Arial\">Morla:<o:p></o:p></SPAN></U></P>", "style=\"FONT-FAMILY: Arial\">Morla:</SPAN></U><SPAN \n style=\"FONT-FAMILY: Arial\"><o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">Morla:</SPAN></U><SPAN \n style=\"FONT-FAMILY: Arial\"><o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </SPAN>Morla the \n ancient one. <o:p></o:p></SPAN></P>", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in; TEXT-ALIGN: center\"", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in; TEXT-ALIGN: center\"", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in; TEXT-ALIGN: center\"", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Morla:</SPAN></U><SPAN", "style=\"FONT-FAMILY: Arial\">To find Morla, the ancient one, the wisest \n being in<o:p></o:p></SPAN></P>", "align=center><U><SPAN style=\"FONT-FAMILY: Arial\">Morla:</SPAN></U><SPAN", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "<P class=MsoBodyTextIndent2>Atreyu climbs up the muddy mountain and calls \n for Morla several times. The mountain<SPAN", "Swamps of Sadness, Morla, and Falkor, <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Morla, I bring terrible \n news. Did you know that<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Are you Morla, the ancient \n one?<o:p></o:p></SPAN></P>" ], [ "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Atreyu has to face his true \n self.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu does fine until he sees the fallen man,", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">(Atreyu watches through the", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Close up of Atreyu as the old man speaks to", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">As Atreyu turns a corner he sees a painting of", "style=\"FONT-FAMILY: Arial\">The man looks into a improvised sort of \n telescope and then tells Atreyu to do the same.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu squats down where he's at and looks at", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of Atreyu. He sticks his hand through the", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">As Atreyu pulls himself up on the ledge he sees", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks down, feeling terrible.", "style=\"FONT-FAMILY: Arial\">Atreyu looks around, as does she. \n <o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks down at the amulet dangling from", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu comes out of an opening and latches onto", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>Atreyu finds that the beast managed", "</SPAN>Atreyu looks up, laughs, and waves as he and Artax are headed for \n home.<o:p></o:p></SPAN></P>", "wolf running after him. As Atreyu <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "you truly are the Atreyu we sent for, you <o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN" ], [ "style=\"FONT-FAMILY: Arial\">heart, killing the G’mork. As Atreyu pulls", "style=\"FONT-FAMILY: Arial\">G’mork:<o:p></o:p></SPAN></U></P>", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">G'mork laughs and Atreyu grows", "style=\"FONT-FAMILY: Arial\">G'mork growls and jumps at him. Atreyu plunges", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "style=\"FONT-FAMILY: Arial\">piece of broken stone and stands up. He then \n yells at G'mork.<o:p></o:p></SPAN></P>", "Atreyu on his back. They are flying over Fantasia.<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">of Fantasia. You must hurry \n Atreyu. We do not<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">I am G'mork. And you, \n whoever you are,<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">(G'mork laughs.) Brave \n warrior, then fight the nothing.<o:p></o:p></SPAN></P>", "</SPAN>Then there will be no Fantasia any more.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">G'mork arrives were they had been and catches", "style=\"FONT-FAMILY: Arial\">that the creature of darkness, the G'mork, was \n already<o:p></o:p></SPAN></P>" ], [ "</SPAN>In your dreams and wishes Bastian.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">Has ended and everyone is leaving. Bastian \n walks out as the lights turn off. <o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>After a while, he sees Bastian", "</SPAN>(Bastian looks around.) <o:p></o:p></SPAN></P>", "the old man hangs up the phone, Bastian grabs the book and runs out. The \n old man smiles to himself and looks down at his desk proud to have finally", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">View of Bastian. He looks up from the", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Bastian flops down on his back and sighs.", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The eyes open and Bastian cries", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Bastian watches him. As he talks on \n the phone Bastian uncovers the book. The title on the book reads, The", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The window bursts open and Bastian climbs up", "<P class=MsoBodyText2 style=\"MARGIN: 0in 189pt 0pt 0.5in\">Bastian \n continues to struggle with the jar until his hand hurts. His father turns", "style=\"FONT-FAMILY: Arial\"><SPAN style=\"mso-spacerun: yes\">&nbsp; \n </SPAN>Bastian, why don't you do what you dream, Bastian", "reading the story. Bastian looks up then <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">The man turns away from \n him again. Bastian looks at the book he has. His interest has been", "CLOSE UP of Bastian.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">(Bastian cries out )<o:p></o:p></SPAN></P>", "</SPAN><U>Bastian:<o:p></o:p></U></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Bastian:<o:p></o:p></U></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Bastian:<o:p></o:p></U></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Bastian:<o:p></o:p></U></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN" ], [ "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">It is the Nothing, the force destroying", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Oh no. The nothing! </P>\n <P", "been spared by the Nothing. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "a tree as the Nothing consumes <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN", "remaining after the Nothing. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "align=center><SPAN style=\"FONT-FAMILY: Arial\">(G'mork laughs.) Brave \n warrior, then fight the nothing.<o:p></o:p></SPAN></P>", "die! There's a terrible nothing<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in; TEXT-ALIGN: center\"", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>No, a hole would be something. Nah, \n it was nothing. And it got bigger and bigger. First there was no lake", "</SPAN><SPAN style=\"mso-spacerun: yes\">&nbsp;&nbsp;</SPAN>Falkor, it's \n like the nothing never was.<o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Friends, I know why you are all \n here. The nothing is destroying our world. I also know that you have come", "style=\"FONT-FAMILY: Arial\">found disbelief the Nothing has grown stronger \n and is now attacking the last remaining part of", "Nothing. Because of Bastians new <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">and forget their dreams. So the nothing grows", "align=center><SPAN style=\"FONT-FAMILY: Arial\">I am the servant of the \n power behind the nothing.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">Nothing….<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">the nothing grows stronger \n everyday.<o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>safer skies. But that was all there \n was left, below them the Nothing enveloped the remaining pieces of land.", "you have told us is also occurring where I live in the west ! A strange \n sort of Nothing is destroying everything.</P>", "between her illness and the nothing. She is dying. So she cannot save \n us...<o:p></o:p></SPAN></P>", "</SPAN>Atreyu looks up, laughs, and waves as he and Artax are headed for \n home.<o:p></o:p></SPAN></P>" ], [ "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">It is the Nothing, the force destroying", "been spared by the Nothing. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Friends, I know why you are all \n here. The nothing is destroying our world. I also know that you have come", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Oh no. The nothing! </P>\n <P", "style=\"FONT-FAMILY: Arial\">found disbelief the Nothing has grown stronger \n and is now attacking the last remaining part of", "a tree as the Nothing consumes <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>No, a hole would be something. Nah, \n it was nothing. And it got bigger and bigger. First there was no lake", "</SPAN><SPAN style=\"mso-spacerun: yes\">&nbsp;&nbsp;</SPAN>Falkor, it's \n like the nothing never was.<o:p></o:p></SPAN></P>", "you have told us is also occurring where I live in the west ! A strange \n sort of Nothing is destroying everything.</P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">(G'mork laughs.) Brave \n warrior, then fight the nothing.<o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>safer skies. But that was all there \n was left, below them the Nothing enveloped the remaining pieces of land.", "style=\"FONT-FAMILY: Arial\">Darkness, pure and black as night. We hear \n Bastian speak.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">and forget their dreams. So the nothing grows", "die! There's a terrible nothing<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in; TEXT-ALIGN: center\"", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">G'mork laughs and Atreyu grows", "one who was chosen to stop the nothing.<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in; TEXT-ALIGN: center\"", "align=center><SPAN style=\"FONT-FAMILY: Arial\">I am the servant of the \n power behind the nothing.<o:p></o:p></SPAN></P>", "remaining after the Nothing. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "Nothing. Because of Bastians new <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "between her illness and the nothing. She is dying. So she cannot save \n us...<o:p></o:p></SPAN></P>" ], [ "</SPAN>Below them Fantasia has been reborn. Everything appears as before. \n <o:p></o:p></SPAN></P>", "</SPAN>Then there will be no Fantasia any more.<o:p></o:p></SPAN></P>", "style=\"mso-tab-count: 1\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \n </SPAN>Fantasia.\" </P>", "</SPAN>the more magnificent Fantasia will become.<o:p></o:p></SPAN></P>", "was the end of Fantasia. Only a few fragments remained \n <o:p></o:p></SPAN></P>", "the same time, elsewhere in Fantasia, a creature<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "Fantasia was gone.<o:p></o:p></SPAN></P>", "Atreyu on his back. They are flying over Fantasia.<o:p></o:p></SPAN></P>", "Fantasia.<o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "Fantasia.<o:p></o:p></SPAN></P>", "</SPAN>Fantasia has totally disappeared ?<o:p></o:p></SPAN></P>", "<P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\">FADE OUT TO: \n Fantasia<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">No one from Fantasia can do \n it, only a human child.<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">to get past the boundaries \n of Fantasia.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Two fragments of Fantasia collide and explode", "</SPAN>No, it hasn't. Fantasia can arise in you . <o:p></o:p></SPAN></P>", "lands of Fantasia. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "style=\"FONT-FAMILY: Arial\">The door to the Empress's room opens into the \n courtyard. Lots of creatures from Fantasia await help from the Empress.", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">Fantasia who’s home was the Shell", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Foolish boy. Don't you know \n anything about Fantasia?<o:p></o:p></SPAN></P>" ], [ "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu clears his throat to get their", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">As Atreyu pulls himself up on the ledge he sees", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu squats down where he's at and looks at", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu does fine until he sees the fallen man,", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Close up of Atreyu as the old man speaks to", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks straight ahead and Bastian calls", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu comes out of an opening and latches onto", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of Atreyu. He sticks his hand through the", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN" ], [ "<P class=MsoBodyTextIndent2>Atreyu climbs up the muddy mountain and calls \n for Morla several times. The mountain<SPAN", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">Atreyu looks around, as does she. \n <o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">more and more the surrounding land. Atreyu \n calls out for Falkor and this time Falkor <o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Close up of Atreyu as the old man speaks to", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "align=center><SPAN style=\"FONT-FAMILY: Arial\">of Fantasia. You must hurry \n Atreyu. We do not<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">Atreyu reluctantly gives up on calling Falkor. \n He turns his eyes <o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">My name's Atreyu. I came here to find the \n Southern Oracle.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu squats down where he's at and looks at", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "</SPAN>Atreyu is sleeping and we hear <o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN" ], [ "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Morla:<o:p></o:p></U></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Morla:</SPAN></U><SPAN", "style=\"FONT-FAMILY: Arial\">Morla:<o:p></o:p></SPAN></U></P>", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </SPAN>Morla the \n ancient one. <o:p></o:p></SPAN></P>", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in; TEXT-ALIGN: center\"", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in; TEXT-ALIGN: center\"", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in; TEXT-ALIGN: center\"", "style=\"FONT-FAMILY: Arial\">To find Morla, the ancient one, the wisest \n being in<o:p></o:p></SPAN></P>", "<P class=MsoBodyTextIndent2>Atreyu climbs up the muddy mountain and calls \n for Morla several times. The mountain<SPAN", "align=center><U><SPAN style=\"FONT-FAMILY: Arial\">Morla:</SPAN></U><SPAN", "style=\"FONT-FAMILY: Arial\">Morla:</SPAN></U><SPAN \n style=\"FONT-FAMILY: Arial\"><o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">Morla:</SPAN></U><SPAN \n style=\"FONT-FAMILY: Arial\"><o:p></o:p></SPAN></P>", "the mountain, hurting his shoulder. He lands in the swamp ground below and \n turns and crawls away to a tree nearby that faces the mountain. He climbs", "Swamps of Sadness, Morla, and Falkor, <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "falls out when he gets back to where Falkor and Urgl \n are.<o:p></o:p></SPAN></P>" ], [ "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Atreyu trying to save Artax in the", "</SPAN>Atreyu looks up, laughs, and waves as he and Artax are headed for \n home.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu jumps off Artax and pulls him along", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of Atreyu. He sticks his hand through the", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">As Atreyu pulls himself up on the ledge he sees", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Suddenly Artax stops and Atreyu pulls on the", "style=\"FONT-FAMILY: Arial\">Atreyu reluctantly gives up on calling Falkor. \n He turns his eyes <o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks down, feeling terrible.", "</SPAN>No. Atreyu wouldn't quit now.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu does fine until he sees the fallen man,", "<P class=MsoBodyTextIndent2>Atreyu climbs up the muddy mountain and calls \n for Morla several times. The mountain<SPAN", "Relieved that Atreyu <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "on Atreyu.)<o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \n </SPAN>Atreyu and Artax had searched the Silver", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu holds tight to the tree as strong winds", "style=\"FONT-FAMILY: Arial\">heart, killing the G’mork. As Atreyu pulls", "</SPAN>Atreyu, why do you look so sad?<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu clears his throat to get their", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu or his horse, Artax, had the vaguest" ], [ "</SPAN>In your dreams and wishes Bastian.<o:p></o:p></SPAN></P>", "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">The man turns away from \n him again. Bastian looks at the book he has. His interest has been", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>After a while, he sees Bastian", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The eyes open and Bastian cries", "style=\"FONT-FAMILY: Arial\"><SPAN style=\"mso-spacerun: yes\">&nbsp; \n </SPAN>Bastian, why don't you do what you dream, Bastian", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Bastian watches him. As he talks on \n the phone Bastian uncovers the book. The title on the book reads, The", "reading the story. Bastian looks up then <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "up from the book. Both have tears streaming down their face, Bastian blows \n his nose on his handkerchief. Bastian turns the", "</SPAN>Call my name ! Bastian, please ! Save us ! <o:p></o:p></SPAN></P>", "object in Moonchild's hand. Bastian looks at it.<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 1in\"><SPAN", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The window bursts open and Bastian climbs up", "the old man hangs up the phone, Bastian grabs the book and runs out. The \n old man smiles to himself and looks down at his desk proud to have finally", "style=\"FONT-FAMILY: Arial\">Darkness, pure and black as night. We hear \n Bastian speak.<o:p></o:p></SPAN></P>", "</SPAN>one. Now, Bastian, you're old enough to get your head out of the \n </P>\n <P class=MsoBodyText2", "as our young friend awakes from a dream. Bastian quickly sits up as if \n awakening from a nightmare. He looks at a picture of his mom with a sigh", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp; </SPAN>Bastian made \n many other wishes and had many other amazing <o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks straight ahead and Bastian calls", "CLOSE UP of Bastian.<o:p></o:p></SPAN></P>", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "to him and gives him a hand. He seems to easily open the jar. As Bastians \n father returns to his task of the morning drink concoction Bastian breaks \n the silence.</P>" ], [ "on Atreyu.)<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of Atreyu. He sticks his hand through the", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>Atreyu finds that the beast managed", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu holds tight to the tree as strong winds", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu clears his throat to get their", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">As Atreyu pulls himself up on the ledge he sees", "</SPAN>No. Atreyu wouldn't quit now.<o:p></o:p></SPAN></P>", "</SPAN>Atreyu is sleeping and we hear <o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of the surrounding rocks. Atreyu follows him on", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Falkor carrying Atreyu over many different", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu does fine until he sees the fallen man,", "</SPAN><U>Atreyu:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Atreyu:<o:p></o:p></U></SPAN></P>", "style=\"FONT-FAMILY: Arial\">heart, killing the G’mork. As Atreyu pulls", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">(Atreyu watches through the", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><U><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu:</SPAN></U><SPAN" ], [ "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">The Southern Oracle by Professor Engywook,", "to beseech the Empress for help. But I, I have terrible news. The Empress \n herself has become deathly ill. There seems to be a mysterious link", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>We are on the same mission. After \n all, if the Empress can't save us, who could? </P>", "style=\"FONT-FAMILY: Arial\">We don't know, but you can ask the Southern \n Oracle.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\"><SPAN style=\"mso-spacerun: yes\">&nbsp;</SPAN>To \n find a cure for the Empress .....and to save our", "Southern Oracle and get me the final<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in; TEXT-ALIGN: center\"", "style=\"FONT-FAMILY: Arial\">I am somewhat of an expert on the Southern \n Oracle.<o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp; </SPAN>The home of the \n Empress. She's our only hope.</P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Is that the Southern Oracle \n ?<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">I am the expert on the Southern \n Oracle.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">Have you ever been to the Southern Oracle", "between her illness and the nothing. She is dying. So she cannot save \n us...<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\"><SPAN style=\"mso-spacerun: yes\">&nbsp;</SPAN>I \n do not know, but if you fail the Empress will surely", "The Empress's head servant comes out of her room and speaks to them all. \n <o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>My people are sending me to the \n Ivory Tower, to the Empress for help</P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">So little fella, you're on \n you're way to the Southern Oracle?<o:p></o:p></SPAN></P>", "who wears the Auryn speaks for the Empress.<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><SPAN style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;</SPAN>I have \n failed you Empress.<o:p></o:p></SPAN></P>", "<P class=MsoBodyTextIndent>The Empress had already sent for the great \n warrior. When he finally<SPAN", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">before the Empress’s" ], [ "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">The man turns away from \n him again. Bastian looks at the book he has. His interest has been", "reading the story. Bastian looks up then <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Bastian watches him. As he talks on \n the phone Bastian uncovers the book. The title on the book reads, The", "the old man hangs up the phone, Bastian grabs the book and runs out. The \n old man smiles to himself and looks down at his desk proud to have finally", "up from the book. Both have tears streaming down their face, Bastian blows \n his nose on his handkerchief. Bastian turns the", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The eyes open and Bastian cries", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The window bursts open and Bastian climbs up", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Bastian watches from inside the store as the", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>After a while, he sees Bastian", "<P class=MsoBodyText2 style=\"MARGIN: 0in 189pt 0pt 0.5in\">With the book \n under his shirt Bastian runs through the hall of his school. He stops", "</SPAN>In your dreams and wishes Bastian.<o:p></o:p></SPAN></P>", "as our young friend awakes from a dream. Bastian quickly sits up as if \n awakening from a nightmare. He looks at a picture of his mom with a sigh", "style=\"FONT-FAMILY: Arial\">The attic is spooky, it is dark and stormy. \n Bastian grabs his <o:p></o:p></SPAN></P>", "object in Moonchild's hand. Bastian looks at it.<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 1in\"><SPAN", "to him and gives him a hand. He seems to easily open the jar. As Bastians \n father returns to his task of the morning drink concoction Bastian breaks \n the silence.</P>", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "align=center>Where do you think you're going wimp? (They chase after him, \n He ducks into a bookstore and the boys run by. )</P>", "</SPAN>one. Now, Bastian, you're old enough to get your head out of the \n </P>\n <P class=MsoBodyText2", "son, but we have to get on with things, right? (Bastian looks dejected at \n this answer.) Bastian we each have responsibilities. We can't let Mom's", "style=\"FONT-FAMILY: Arial\">Darkness, pure and black as night. We hear \n Bastian speak.<o:p></o:p></SPAN></P>" ], [ "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks down, feeling terrible.", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Atreyu trying to save Artax in the", "Atreyu tries to hold on as best as he can. The wind blows wilder and \n wilder until finally it tosses Falkor onto his back, and knocks his", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">VIEW: of Atreyu walking through the swamps", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \n </SPAN>Atreyu and Artax had searched the Silver", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu jumps off Artax and pulls him along", "</SPAN>Atreyu looks up, laughs, and waves as he and Artax are headed for \n home.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of Atreyu. He sticks his hand through the", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Suddenly Artax stops and Atreyu pulls on the", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Rockbiter starts crying as Atreyu shakes his", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu or his horse, Artax, had the vaguest", "falls out when he gets back to where Falkor and Urgl \n are.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu does fine until he sees the fallen man,", "<P class=MsoBodyTextIndent2>Atreyu climbs up the muddy mountain and calls \n for Morla several times. The mountain<SPAN", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>Atreyu finds that the beast managed", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The ground shakes and Atreyu falls over", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu clears his throat to get their", "passenger into the air. Atreyu falls, but Falkor cannot get to him before \n he disappears into the chaos below.<o:p></o:p></SPAN></P>", "wolf running after him. As Atreyu <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN" ], [ "Fantasia.<o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "Fantasia.<o:p></o:p></SPAN></P>", "style=\"mso-tab-count: 1\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \n </SPAN>Fantasia.\" </P>", "</SPAN>Then there will be no Fantasia any more.<o:p></o:p></SPAN></P>", "</SPAN>the more magnificent Fantasia will become.<o:p></o:p></SPAN></P>", "Fantasia was gone.<o:p></o:p></SPAN></P>", "</SPAN>Fantasia has totally disappeared ?<o:p></o:p></SPAN></P>", "</SPAN>No, it hasn't. Fantasia can arise in you . <o:p></o:p></SPAN></P>", "</SPAN>Below them Fantasia has been reborn. Everything appears as before. \n <o:p></o:p></SPAN></P>", "lands of Fantasia. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "Atreyu on his back. They are flying over Fantasia.<o:p></o:p></SPAN></P>", "<P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\">FADE OUT TO: \n Fantasia<o:p></o:p></SPAN></P>", "was the end of Fantasia. Only a few fragments remained \n <o:p></o:p></SPAN></P>", "the same time, elsewhere in Fantasia, a creature<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">Fantasia who’s home was the Shell", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Foolish boy. Don't you know \n anything about Fantasia?<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Two fragments of Fantasia collide and explode", "align=center><SPAN style=\"FONT-FAMILY: Arial\">to get past the boundaries \n of Fantasia.<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">But why is Fantasia dying \n then ?<o:p></o:p></SPAN></P>", "fantasia, and Falkor and Atreyu<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN" ], [ "</SPAN>Then there will be no Fantasia any more.<o:p></o:p></SPAN></P>", "was the end of Fantasia. Only a few fragments remained \n <o:p></o:p></SPAN></P>", "</SPAN>Below them Fantasia has been reborn. Everything appears as before. \n <o:p></o:p></SPAN></P>", "Atreyu on his back. They are flying over Fantasia.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">It is the Nothing, the force destroying", "align=center><SPAN style=\"FONT-FAMILY: Arial\">But why is Fantasia dying \n then ?<o:p></o:p></SPAN></P>", "Fantasia was gone.<o:p></o:p></SPAN></P>", "</SPAN>the more magnificent Fantasia will become.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Two fragments of Fantasia collide and explode", "</SPAN>Fantasia has totally disappeared ?<o:p></o:p></SPAN></P>", "the same time, elsewhere in Fantasia, a creature<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Then you must know what can \n save Fantasia !<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">of Fantasia. You must hurry \n Atreyu. We do not<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">The door to the Empress's room opens into the \n courtyard. Lots of creatures from Fantasia await help from the Empress.", "lands of Fantasia. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "Fantasia.<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">to get past the boundaries \n of Fantasia.<o:p></o:p></SPAN></P>", "Fantasia.<o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Foolish boy. Don't you know \n anything about Fantasia?<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">No one from Fantasia can do \n it, only a human child.<o:p></o:p></SPAN></P>" ], [ "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu clears his throat to get their", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of Atreyu. He sticks his hand through the", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">As Atreyu pulls himself up on the ledge he sees", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Close up of Atreyu as the old man speaks to", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu comes out of an opening and latches onto", "</SPAN><U>Atreyu:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Atreyu:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN>Atreyu is sleeping and we hear <o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN" ], [ "style=\"FONT-FAMILY: Arial\">My name's Atreyu. I came here to find the \n Southern Oracle.<o:p></o:p></SPAN></P>", "<P class=MsoBodyTextIndent2>Atreyu climbs up the muddy mountain and calls \n for Morla several times. The mountain<SPAN", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu clears his throat to get their", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu walks up the stairs that lead to the", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu starts climbing down as Engywook calls", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu goes to a small entrance and bends down", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu approaches another two sphinxes. As he", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu squats down where he's at and looks at", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu comes out of an opening and latches onto" ], [ "</SPAN>Call my name ! Bastian, please ! Save us ! <o:p></o:p></SPAN></P>", "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "</SPAN>In your dreams and wishes Bastian.<o:p></o:p></SPAN></P>", "to beseech the Empress for help. But I, I have terrible news. The Empress \n herself has become deathly ill. There seems to be a mysterious link", "up from the book. Both have tears streaming down their face, Bastian blows \n his nose on his handkerchief. Bastian turns the", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>After a while, he sees Bastian", "style=\"FONT-FAMILY: Arial\"><SPAN style=\"mso-spacerun: yes\">&nbsp;</SPAN>To \n find a cure for the Empress .....and to save our", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Bastian watches him. As he talks on \n the phone Bastian uncovers the book. The title on the book reads, The", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">that saved him? Bastian sits back up and starts", "object in Moonchild's hand. Bastian looks at it.<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 1in\"><SPAN", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>We are on the same mission. After \n all, if the Empress can't save us, who could? </P>", "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">The man turns away from \n him again. Bastian looks at the book he has. His interest has been", "reading the story. Bastian looks up then <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp; </SPAN>The home of the \n Empress. She's our only hope.</P>", "the old man hangs up the phone, Bastian grabs the book and runs out. The \n old man smiles to himself and looks down at his desk proud to have finally", "style=\"FONT-FAMILY: Arial\"><SPAN style=\"mso-spacerun: yes\">&nbsp; \n </SPAN>Bastian, why don't you do what you dream, Bastian", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks straight ahead and Bastian calls", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The eyes open and Bastian cries", "style=\"FONT-FAMILY: Arial\">Darkness, pure and black as night. We hear \n Bastian speak.<o:p></o:p></SPAN></P>" ], [ "was the end of Fantasia. Only a few fragments remained \n <o:p></o:p></SPAN></P>", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>After a while, he sees Bastian", "up from the book. Both have tears streaming down their face, Bastian blows \n his nose on his handkerchief. Bastian turns the", "align=center><SPAN style=\"FONT-FAMILY: Arial\">of Fantasia. You must hurry \n Atreyu. We do not<o:p></o:p></SPAN></P>", "</SPAN>Below them Fantasia has been reborn. Everything appears as before. \n <o:p></o:p></SPAN></P>", "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">Has ended and everyone is leaving. Bastian \n walks out as the lights turn off. <o:p></o:p></SPAN></P>", "Atreyu on his back. They are flying over Fantasia.<o:p></o:p></SPAN></P>", "</SPAN>Then there will be no Fantasia any more.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">The door to the Empress's room opens into the \n courtyard. Lots of creatures from Fantasia await help from the Empress.", "Fantasia was gone.<o:p></o:p></SPAN></P>", "</SPAN>Call my name ! Bastian, please ! Save us ! <o:p></o:p></SPAN></P>", "Fantasia. Atreyu wakes from <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Bastian watches him. As he talks on \n the phone Bastian uncovers the book. The title on the book reads, The", "</SPAN>In your dreams and wishes Bastian.<o:p></o:p></SPAN></P>", "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">The man turns away from \n him again. Bastian looks at the book he has. His interest has been", "style=\"FONT-FAMILY: Arial\">more and more the surrounding land. Atreyu \n calls out for Falkor and this time Falkor <o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">Darkness, pure and black as night. We hear \n Bastian speak.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks straight ahead and Bastian calls" ], [ "style=\"FONT-FAMILY: Arial\">ruins as Atreyu makes his way out of the \n ruins.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks down, feeling terrible.", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">(Atreyu watches through the", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu squats down where he's at and looks at", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>Atreyu finds that the beast managed", "style=\"FONT-FAMILY: Arial\">View of Atreyu on a lying on a beach. Atreyu \n wakes with a start, <o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The ground shakes and Atreyu falls over", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu runs through the gate and just barely", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">As Atreyu turns a corner he sees a painting of", "style=\"FONT-FAMILY: Arial\">Atreyu looks around, as does she. \n <o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">of the surrounding rocks. Atreyu follows him on", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu does fine until he sees the fallen man,", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Rockbiter starts crying as Atreyu shakes his", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu comes out of an opening and latches onto", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \n </SPAN>Atreyu and Artax had searched the Silver", "style=\"FONT-FAMILY: Arial\">Atreyu reluctantly gives up on calling Falkor. \n He turns his eyes <o:p></o:p></SPAN></P>", "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu walks up the stairs that lead to the", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">View of Atreyu stumbling, exhausted through the" ], [ "</SPAN>In your dreams and wishes Bastian.<o:p></o:p></SPAN></P>", "</SPAN>Call my name ! Bastian, please ! Save us ! <o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>After a while, he sees Bastian", "style=\"FONT-FAMILY: Arial\"><SPAN style=\"mso-spacerun: yes\">&nbsp; \n </SPAN>Bastian, why don't you do what you dream, Bastian", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">that saved him? Bastian sits back up and starts", "the old man hangs up the phone, Bastian grabs the book and runs out. The \n old man smiles to himself and looks down at his desk proud to have finally", "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">The man turns away from \n him again. Bastian looks at the book he has. His interest has been", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Bastian watches him. As he talks on \n the phone Bastian uncovers the book. The title on the book reads, The", "Atreyu on his back. They are flying over Fantasia.<o:p></o:p></SPAN></P>", "up from the book. Both have tears streaming down their face, Bastian blows \n his nose on his handkerchief. Bastian turns the", "</SPAN>one. Now, Bastian, you're old enough to get your head out of the \n </P>\n <P class=MsoBodyText2", "reading the story. Bastian looks up then <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The eyes open and Bastian cries", "Fantasia. Atreyu wakes from <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "style=\"FONT-FAMILY: Arial\">Has ended and everyone is leaving. Bastian \n walks out as the lights turn off. <o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">Then you must know what can \n save Fantasia !<o:p></o:p></SPAN></P>", "as our young friend awakes from a dream. Bastian quickly sits up as if \n awakening from a nightmare. He looks at a picture of his mom with a sigh", "style=\"FONT-FAMILY: Arial\">Darkness, pure and black as night. We hear \n Bastian speak.<o:p></o:p></SPAN></P>", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The window bursts open and Bastian climbs up" ], [ "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">The man turns away from \n him again. Bastian looks at the book he has. His interest has been", "the old man hangs up the phone, Bastian grabs the book and runs out. The \n old man smiles to himself and looks down at his desk proud to have finally", "style=\"FONT-FAMILY: Arial\">Has ended and everyone is leaving. Bastian \n walks out as the lights turn off. <o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Bastian watches him. As he talks on \n the phone Bastian uncovers the book. The title on the book reads, The", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>After a while, he sees Bastian", "</SPAN>In your dreams and wishes Bastian.<o:p></o:p></SPAN></P>", "up from the book. Both have tears streaming down their face, Bastian blows \n his nose on his handkerchief. Bastian turns the", "object in Moonchild's hand. Bastian looks at it.<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 1in\"><SPAN", "son, but we have to get on with things, right? (Bastian looks dejected at \n this answer.) Bastian we each have responsibilities. We can't let Mom's", "style=\"FONT-FAMILY: Arial\"><SPAN style=\"mso-spacerun: yes\">&nbsp; \n </SPAN>Bastian, why don't you do what you dream, Bastian", "reading the story. Bastian looks up then <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "to him and gives him a hand. He seems to easily open the jar. As Bastians \n father returns to his task of the morning drink concoction Bastian breaks \n the silence.</P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The window bursts open and Bastian climbs up", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "</SPAN>one. Now, Bastian, you're old enough to get your head out of the \n </P>\n <P class=MsoBodyText2", "<P class=MsoBodyText2 style=\"MARGIN: 0in 189pt 0pt 0.5in\">With the book \n under his shirt Bastian runs through the hall of his school. He stops", "style=\"FONT-FAMILY: Arial\">They fly over Rockbiter, the Nighthob, and the \n little man. Bastian waves <o:p></o:p></SPAN></P>", "as our young friend awakes from a dream. Bastian quickly sits up as if \n awakening from a nightmare. He looks at a picture of his mom with a sigh", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks straight ahead and Bastian calls", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The eyes open and Bastian cries" ], [ "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "align=center><SPAN style=\"FONT-FAMILY: Arial\">of Fantasia. You must hurry \n Atreyu. We do not<o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Atreyu:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">The Empress giving the Auryn to Carion, Carion \n giving the Auryn to Atreyu,<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN" ], [ "<P class=MsoBodyTextIndent2>Atreyu climbs up the muddy mountain and calls \n for Morla several times. The mountain<SPAN", "style=\"FONT-FAMILY: Arial\">To find Morla, the ancient one, the wisest \n being in<o:p></o:p></SPAN></P>", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pauses as the old man", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu squats down where he's at and looks at", "the mountain, hurting his shoulder. He lands in the swamp ground below and \n turns and crawls away to a tree nearby that faces the mountain. He climbs", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu walks back up the stairs. The old man", "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu clears his throat to get their", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Close up of Atreyu as the old man speaks to", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu walks up the stairs that lead to the", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>Atreyu finds that the beast managed", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Morla:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu approaches another two sphinxes. As he", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu goes to a small entrance and bends down", "Atreyu by nuzzling him. <o:p></o:p></SPAN></P>", "</SPAN><U>Morla:<o:p></o:p></U></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN" ], [ "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The eyes open and Bastian cries", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "up from the book. Both have tears streaming down their face, Bastian blows \n his nose on his handkerchief. Bastian turns the", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The window bursts open and Bastian climbs up", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>After a while, he sees Bastian", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Bastian watches him. As he talks on \n the phone Bastian uncovers the book. The title on the book reads, The", "the old man hangs up the phone, Bastian grabs the book and runs out. The \n old man smiles to himself and looks down at his desk proud to have finally", "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">The man turns away from \n him again. Bastian looks at the book he has. His interest has been", "reading the story. Bastian looks up then <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "as our young friend awakes from a dream. Bastian quickly sits up as if \n awakening from a nightmare. He looks at a picture of his mom with a sigh", "style=\"FONT-FAMILY: Arial\">Darkness, pure and black as night. We hear \n Bastian speak.<o:p></o:p></SPAN></P>", "him and he screams in terror.<o:p></o:p></SPAN></P>", "to him and gives him a hand. He seems to easily open the jar. As Bastians \n father returns to his task of the morning drink concoction Bastian breaks \n the silence.</P>", "style=\"FONT-FAMILY: Arial\">(Bastian cries out )<o:p></o:p></SPAN></P>", "</SPAN>Call my name ! Bastian, please ! Save us ! <o:p></o:p></SPAN></P>", "object in Moonchild's hand. Bastian looks at it.<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 1in\"><SPAN", "style=\"FONT-FAMILY: Arial\">Has ended and everyone is leaving. Bastian \n walks out as the lights turn off. <o:p></o:p></SPAN></P>", "Atreyu tries to hold on as best as he can. The wind blows wilder and \n wilder until finally it tosses Falkor onto his back, and knocks his", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu looks straight ahead and Bastian calls", "</SPAN>one. Now, Bastian, you're old enough to get your head out of the \n </P>\n <P class=MsoBodyText2" ], [ "style=\"FONT-FAMILY: Arial\">My name's Atreyu. I came here to find the \n Southern Oracle.<o:p></o:p></SPAN></P>", "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">of Fantasia. You must hurry \n Atreyu. We do not<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Atreyu pulls his horse along saying reassuring", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">heart, killing the G’mork. As Atreyu pulls", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Atreyu:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN" ], [ "Atreyu tries to hold on as best as he can. The wind blows wilder and \n wilder until finally it tosses Falkor onto his back, and knocks his", "his friend Falkor, but Falkor is <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "Falkor laughs.<o:p></o:p></SPAN></P>", "calling for Falkor.)<o:p></o:p></SPAN></P>", "</SPAN><U>Falkor:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Falkor:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Falkor:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Falkor:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Falkor:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Falkor:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Falkor:<o:p></o:p></U></SPAN></P>", "</SPAN><U>Falkor:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Falkor:<o:p></o:p></U></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "</SPAN><U>Falkor:<o:p></o:p></U></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN", "passenger into the air. Atreyu falls, but Falkor cannot get to him before \n he disappears into the chaos below.<o:p></o:p></SPAN></P>", "</SPAN><U>Falkor:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Falkor:<o:p></o:p></U></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Falkor:<o:p></o:p></U></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Falkor:<o:p></o:p></U></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "</SPAN><U>Falkor:<o:p></o:p></U></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN" ], [ "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">It is the Nothing, the force destroying", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Oh no. The nothing! </P>\n <P", "been spared by the Nothing. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "a tree as the Nothing consumes <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>No, a hole would be something. Nah, \n it was nothing. And it got bigger and bigger. First there was no lake", "die! There's a terrible nothing<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in; TEXT-ALIGN: center\"", "remaining after the Nothing. <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Friends, I know why you are all \n here. The nothing is destroying our world. I also know that you have come", "</SPAN><SPAN style=\"mso-spacerun: yes\">&nbsp;&nbsp;</SPAN>Falkor, it's \n like the nothing never was.<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">(G'mork laughs.) Brave \n warrior, then fight the nothing.<o:p></o:p></SPAN></P>", "Nothing. Because of Bastians new <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "style=\"FONT-FAMILY: Arial\">found disbelief the Nothing has grown stronger \n and is now attacking the last remaining part of", "<P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN \n style=\"FONT-FAMILY: Arial\">and forget their dreams. So the nothing grows", "align=center><SPAN style=\"FONT-FAMILY: Arial\">I am the servant of the \n power behind the nothing.<o:p></o:p></SPAN></P>", "you have told us is also occurring where I live in the west ! A strange \n sort of Nothing is destroying everything.</P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>safer skies. But that was all there \n was left, below them the Nothing enveloped the remaining pieces of land.", "style=\"FONT-FAMILY: Arial\">Darkness, pure and black as night. We hear \n Bastian speak.<o:p></o:p></SPAN></P>", "between her illness and the nothing. She is dying. So she cannot save \n us...<o:p></o:p></SPAN></P>", "Neverending Story. above these words is a symbol on the cover. The symbol \n is two snakes intertwined with each other and biting each other's tail. As", "</SPAN>Atreyu looks up, laughs, and waves as he and Artax are headed for \n home.<o:p></o:p></SPAN></P>" ], [ "grain of sand. It is all that remains of my vast \n empire.<o:p></o:p></SPAN></P>", "to beseech the Empress for help. But I, I have terrible news. The Empress \n herself has become deathly ill. There seems to be a mysterious link", "The Empress's head servant comes out of her room and speaks to them all. \n <o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;&nbsp; </SPAN>The home of the \n Empress. She's our only hope.</P>", "style=\"FONT-FAMILY: Arial\">but they could not find a cure for the Empress. \n Neither<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">before the Empress’s", "place that the Empress lives.</P>\n <P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN", "<P class=MsoBodyTextIndent>The Empress had already sent for the great \n warrior. When he finally<SPAN", "him. Before him was the Childlike Empress in person. She sits silently on \n her bed, her gaze never leaves Atreyu.<o:p></o:p></SPAN></P>", "who wears the Auryn speaks for the Empress.<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "style=\"FONT-FAMILY: Arial\">The Empress<o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">She puts the grain into his hand and he looks", "style=\"FONT-FAMILY: Arial\"><SPAN style=\"mso-spacerun: yes\">&nbsp;</SPAN>To \n find a cure for the Empress .....and to save our", "style=\"FONT-FAMILY: Arial\"><SPAN style=\"mso-spacerun: yes\">&nbsp;</SPAN>I \n do not know, but if you fail the Empress will surely", "</SPAN><SPAN style=\"mso-spacerun: yes\">&nbsp;&nbsp;&nbsp;</SPAN>I have \n failed you Empress.<o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>We are on the same mission. After \n all, if the Empress can't save us, who could? </P>", "style=\"FONT-FAMILY: Arial\">Empress.<o:p></o:p></SPAN></P>", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>My people are sending me to the \n Ivory Tower, to the Empress for help</P>", "</SPAN><U>Empress Moonchild:</U><o:p></o:p></SPAN></P>", "</SPAN><U>Empress Moonchild:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\"><SPAN" ], [ "Atreyu on his back. They are flying over Fantasia.<o:p></o:p></SPAN></P>", "Atreyu tries to hold on as best as he can. The wind blows wilder and \n wilder until finally it tosses Falkor onto his back, and knocks his", "street where they had chased Bastian the day before. They look up at the \n sky as Falkor and Bastian appear and start chasing them. They", "it and sees a giant turtle head coming out of the mountain. Bastian \n screams and Atreyu and Morla look around. </P>", "style=\"FONT-FAMILY: Arial\">They fly over Rockbiter, the Nighthob, and the \n little man. Bastian waves <o:p></o:p></SPAN></P>", "passenger into the air. Atreyu falls, but Falkor cannot get to him before \n he disappears into the chaos below.<o:p></o:p></SPAN></P>", "<P class=MsoNormal><SPAN style=\"FONT-FAMILY: Arial\">CUT TO- Bastian riding \n Falkor<o:p></o:p></SPAN></P>", "falls out when he gets back to where Falkor and Urgl \n are.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">more and more the surrounding land. Atreyu \n calls out for Falkor and this time Falkor <o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\"><SPAN \n style=\"mso-spacerun: yes\">&nbsp;</SPAN>After a while, he sees Bastian", "style=\"mso-spacerun: yes\">&nbsp;</SPAN>Bastian watches him. As he talks on \n the phone Bastian uncovers the book. The title on the book reads, The", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">Falkor carrying Atreyu over many different", "style=\"FONT-FAMILY: Arial\">door begins to open. He pauses and looks back \n at Falkor.<o:p></o:p></SPAN></P>", "<P class=MsoBodyText2 style=\"MARGIN-LEFT: 0.5in\">The man turns away from \n him again. Bastian looks at the book he has. His interest has been", "style=\"FONT-FAMILY: Arial\">Atreyu reluctantly gives up on calling Falkor. \n He turns his eyes <o:p></o:p></SPAN></P>", "<P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">The window bursts open and Bastian climbs up", "reading the story. Bastian looks up then <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "dumpster as Falkor flies by them, laughing. They peer out of the dumpster \n and then duck back in.<o:p></o:p></SPAN></P>", "up from the book. Both have tears streaming down their face, Bastian blows \n his nose on his handkerchief. Bastian turns the", "his friend Falkor, but Falkor is <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN" ], [ "style=\"FONT-FAMILY: Arial\">heart, killing the G’mork. As Atreyu pulls", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>", "himself from the carcass of the G’mork,<o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN", "</SPAN><U>G’mork:</U><o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"TEXT-ALIGN: center\" align=center><SPAN", "style=\"FONT-FAMILY: Arial\">piece of broken stone and stands up. He then \n yells at G'mork.<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">G’mork:<o:p></o:p></SPAN></U></P>", "style=\"FONT-FAMILY: Arial\">G'mork growls and jumps at him. Atreyu plunges", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">G'mork arrives were they had been and catches", "<P class=MsoNormal style=\"TEXT-INDENT: 0.5in\"><SPAN \n style=\"FONT-FAMILY: Arial\">G'mork laughs and Atreyu grows", "style=\"FONT-FAMILY: Arial\">escaped the G’mork and the swamps, but what was \n that creature <o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">I am G'mork. And you, \n whoever you are,<o:p></o:p></SPAN></P>", "style=\"FONT-FAMILY: Arial\">that the creature of darkness, the G'mork, was \n already<o:p></o:p></SPAN></P>", "align=center><SPAN style=\"FONT-FAMILY: Arial\">(G'mork laughs.) Brave \n warrior, then fight the nothing.<o:p></o:p></SPAN></P>", "wolf running after him. As Atreyu <o:p></o:p></SPAN></P>\n <P class=MsoNormal style=\"MARGIN-LEFT: 0.5in\"><SPAN" ] ]

[ "What world is being devoured by \"The Nothing\"?", "Where is Atreyu forced to leave his horse, Artax?", "Whose image does Atreyu see in the mirror that reveals the true self?", "What does Atreyu lose in the Sea of Possibilities?", "What is the purpose of the AURYN?", "What is Fantasia representative of?", "When the Empress speaks to Bastian directly, what does she ask him to do?", "What is left of Fantasia when Bastian awakens in blackness with the Empress?", "Who does Bastian bring back to the real world to fight off his bullies?", "What is the name of the land described in the book?", "What force is devouring Fantasia?", "Who is tasked to find the cure for the Childlike Empress's illness?", "What is the name of Atreyu's medallion?", "What does The Nothing summon to stop Atreyu?", "Who does Atreyu lose in the Swamp of Sadness?", "What is Morla?", "Who does Atreyu see in the mirror that shows his true self?", "What does the Gmork say the Fantasia represents?", "What does Bastion wish for at the end?", "What does the Nothing represent?", "Who is responsible for spreading the Nothing?", "Who recreates Fantasia?", "What is Atreyu's direct task?", "Where does Morla suggest that Atreyu seek the answers she lacks?", "Where does Morla live?", "Who saves Atreyu from the Swamp of Sadness when he gives in to the exhaustion?", "What does Bastian wish for?", "What protects Atreyu on his quest?", "What does the Southern Oracle say will save the Empress?", "Why does Bastian enter a bookstore at the beginning of the story?", "Who does Atreyu lose in the swamp?", "What is Fantasia?", "What is destroying Fantasia?", "What is Atreyu given at the beginning of his quest?", "How far must Atreyu travel to reach the Southern Oracle?", "How can Bastian save the empress?", "How much of Fantasia is left after Bastian calls out the empresses new name?", "What does Atreyu see at the shore of the abounded ruins?", "What does Bastian wish for after saving Fantasia?", "Why did Bastian leave a note for Mr. Coreander?", "What task was given to Atreyu by the Empress?", "Where does Atreya find the adviser Morla?", "What happens when Bastian lets out a scream?", "How does the Southeren Oracle tell Atreyu to save the Empress?", "What type creature is Falkor?", "What is represented by The Nothing?", "What is the grain of sand that the Empress has?", "What does Bastian see while flying on Falkor's back?", "Who killed Gmork?" ]

[ [ "Fantasia", "Fantasia" ], [ "Swamps of Sadness", "The swamp." ], [ "Bastian", "Bastian's" ], [ "The AURYN", "AURYN" ], [ "Protection", "To guide and protect " ], [ "Humanity's imagination", "Humanity's imagination." ], [ "Call out her name", "She asked him to call out her new name." ], [ "A grain of sand", "a grain of sand" ], [ "Falkor", "Falkor" ], [ "Fantasia", "Fantasia" ], [ "The Nothing", "The Nothing" ], [ "Atreyu", "Atreyu" ], [ "AURYN", "Auryn" ], [ "Gmork", "Consumes the ruins. " ], [ "Artax, his horse", "His horse. " ], [ "A giant turtle", "A giant turtle" ], [ "Bastion", "Bastian" ], [ "Humanity's imagination", "Humanity's imagination." ], [ "For Falkor to come to the real world and stop his bullies", "To bring Falkor back to the real world." ], [ "adult apathy and cynacism", "adult cynicism that wipes out childhood imagination" ], [ "Gmork", "Loss of imagination" ], [ "Bastian", "Bastian" ], [ "To find a cure for the Empress' illness", "Discover a cure" ], [ "The Southern Oracle", "Visit the Southern Oracle ten thousand miles away." ], [ "The Swamp of Sadness", "In the swamp of sadness " ], [ "Falkor", "Falkor the luckdragon" ], [ "Falkor to come to his reality to get revenge on the bullies by scaring them", "To bring Falkor to the real world to get rid of his bullies" ], [ "The medallion AURYN", "The AURYN" ], [ "She can be saved by a child outside of Fantasia giving her a new name outside of Fantasia", "A human child." ], [ "To escape from bullies.", "hiding from bullies" ], [ "His horse Artex.", "His horse Artax" ], [ "Humanity's imagination", "Another world" ], [ "A force called \"The Nothing\"", "The Nothing" ], [ "A medallion that will guide protect him.", "A medallion named the AURYN." ], [ "Ten thousand miles.", "10,000 miles" ], [ "By giving her a new name from anywhere outside of Fantasia.", "By finding a child to give her a new name." ], [ "A single grain of sand.", "About the size of a small grain of sand." ], [ "A group of paintings showing his quest.", "Paintings." ], [ "To bring Falkor back to his world to get back at his bullies.", "that Falkor would come back to his world and defeat the bullies" ], [ "Because he borrowed the book Mr. Coreander advised him not to take.", "He took a book." ], [ "To find a cure for her illness", "To give her a new name" ], [ "Morla was in the Swamp of Sadness", "The swamp" ], [ "Atreyu and Morla appear to hear the scream.", "Atreyu and Morle hear it" ], [ "Find a human child to give her a new name.", "Giving her a new name" ], [ "Falkor is a Luckdragon.", "A luck dragon" ], [ "The Nothing represents adult apathy and cynicism. ", "the loss of imagination and creativity to adulthood cynicism" ], [ "The grain of sand is all that is remaining of Fantasia.", "All that is left of Fantasia" ], [ "He sees the inhabitants of Fantasia restored.", "Fantasia." ], [ "Atreyu killed Gmork.", "Atreyu" ] ]

[ [ "Peppy is a bit annoyed to have been put in her place, but\n deep down she knows he's right. Nobody knows who she is. She\n puts the newspaper away.", "newspaper, sees the headline, smiles and then folds it back\n up again and returns it to Peppy text-side-up, highlighting\n the headline: Who's that girl ?", "Crash. He looks for something on the inside pages of one paper\n and reads. Next to a large picture of Peppy there's a review of", "that of a butler. Peppy proudly shows him the picture in the\n newspaper. The man leans to take a closer look, unfolds the", "In the room with all the sheets, Peppy is with the maid. The\n maid seems to be telling her what happened with George, how he", "Later on, in the dressing room corridor, Peppy, holding an\n envelope, goes up to George's door. She knocks, waits for a", "of the film in front of the window. We see random photograms\n run by. It's the only sequence they ever shot together, years\n before. Peppy is moved. Without turning round, she asks the", "desk. He takes out a piece of paper. It's the telephone number\n that Peppy had scribbled down for him. He looks at it, moves", "We see Peppy on a shoot, sitting in a chair with her name on\n it, smoking a cigarette. Everyone about her is busy preparing a", "and as it disappears reveals that the upper body belongs to a\nyoung woman. She pulls a face meaning 'Here I am!!' And of\ncourse it's Peppy, except that she immediately realizes who", "He opens the door. It's Peppy. She immediately notices that\n George is drunk. Her smile tenses a little.\n\n Title card: I wanted to talk, I...", "herself into George's arms. They hug for a long time. Peppy\n says into his ear,", "Her joyful expression gradually becomes one of abject\napology, but George is roaring with laughter.\n\nAfter a short pause, Zimmer makes the connection. He checks\nthe front page of the paper, and recognizes her!", "As for Peppy, she's in the theater, watching Tears of love.\n She's with a handsome young man who seems bored.", "up, wearing a magnificent and jauntily positioned chapka over\n one eye. She is incredibly stylish but in no way vampish, more\n the image of a young comedy debut... George looks at her, Peppy", "door\", \"The girl you'll love to love\" \"Young and pretty\", etc.\n with a photo of Peppy each time, posters of the film and then,", "The next morning, Peppy brings breakfast into George's room\n and they eat it together. She laughs, talks, eats, drinks and", "She stops because George is not looking at her anymore. He's\n watching the arrival of the young, smiling, handsome and\n wholesome man who is with Peppy. George bears a melancholy\n smile.", "Peppy, fortunately, has stayed completely natural and doesn't\n seem to take any of it seriously. As the last touch is put in\n place, Peppy gets to her feet and turns round.", "dances with Peppy, and, each time, the nature of their rapport\n changes. To begin with, they are happy and laughing, but then,\n with time, less so. Then they become embarrassed, and then" ], [ "newspaper, sees the headline, smiles and then folds it back\n up again and returns it to Peppy text-side-up, highlighting\n the headline: Who's that girl ?", "Crash. He looks for something on the inside pages of one paper\n and reads. Next to a large picture of Peppy there's a review of", "Peppy is a bit annoyed to have been put in her place, but\n deep down she knows he's right. Nobody knows who she is. She\n puts the newspaper away.", "We see Peppy on a shoot, sitting in a chair with her name on\n it, smoking a cigarette. Everyone about her is busy preparing a", "and as it disappears reveals that the upper body belongs to a\nyoung woman. She pulls a face meaning 'Here I am!!' And of\ncourse it's Peppy, except that she immediately realizes who", "In the room with all the sheets, Peppy is with the maid. The\n maid seems to be telling her what happened with George, how he", "Inside the full bus is the young woman from the day before. Her\n name is Peppy Miller. She is proudly holding \"The Hollywood", "\"Beauty Spot\" talking movie. A huge poster depicts Peppy and\n the people in the line seem excited and delighted to be going", "Peppy enters. She's anxious but the doctor seems reassuring.\n\n Title card: He's not in any danger now. He just needs to\n rest.", "on the front page of \"The Hollywood Reporter\" newspaper, along\n with three other pictures of the scene and the headline WHO'S\n THAT GIRL?", "door\", \"The girl you'll love to love\" \"Young and pretty\", etc.\n with a photo of Peppy each time, posters of the film and then,", "Peppy picks up the can. The label is too damaged to be able\n to read the title of the film. She opens it and unrolls some", "Among the audience is Peppy Miller. She's trying to\n concentrate fully on the film and is pushing away the handsome", "In the street, at the entrance to a movie theater, George sees\n a large \"Beauty Spot\" film poster. The poster shows Peppy close", "We find Peppy and George on a film set, still dancing. The\n piece of jazz they are dancing to has gone so crazy that now", "Peppy bursts into the lobby, talks to a woman at the desk who\n directs her with a raised hand that Peppy immediately follows.\n\n She bounds up the stairs four at a time and comes into a\n corridor,", "Alternate shots of three or four film posters and frames from\n them which illustrate Peppy's rising fame. Her name moves", "Peppy Miller is \"The Guardian Angel\". It's a huge poster on the\n façade of a movie theater. George goes inside. With Jack.", "He opens the door. It's Peppy. She immediately notices that\n George is drunk. Her smile tenses a little.\n\n Title card: I wanted to talk, I...", "herself into George's arms. They hug for a long time. Peppy\n says into his ear," ], [ "The date appears on the screen: 1929\n 13.", "the day's press. The huge headlines talk of a stock market\n crash, a black Thursday, a catastrophe.", "Crossfade to a man's pair of shoes with used heels and uppers.\n George's dog comes to sit at his feet. The date is superimposed\n on the screen: 1931.", "September 14th. There aren't many people in the room, just five\n or six. George is standing at the back, smoking a cigarette.\n 28.", "Her joyful expression gradually becomes one of abject\napology, but George is roaring with laughter.\n\nAfter a short pause, Zimmer makes the connection. He checks\nthe front page of the paper, and recognizes her!", "Now wearing a suit, George is sitting at his desk. Lying in\n front of him are the front pages of newspapers reporting the", "In the evening, George looks out between the curtains, the\n chauffeur is still there. George turns on his heels and gets\n into his Murphy bed.", "George watches the car leave, then goes and sits on a bench\n next to the front door. But the bench breaks and George finds\n himself on the ground next to the dog. George remarks evenly\n to Jack:", "There's hardly anyone in the theater. The people that are there\n look bored more than anything. At the back smoking a cigarette,\n George takes the failure on the chin.\n 22.", "Evening has fallen on the town. It's raining. On the ground\n lies an old page from a newspaper that bears a picture of\n George. A man's feet trample the picture.", "George is in the same position. He still has the pistol in\n his mouth. Visibly, he's heard a BANG from outside, because\n he takes the pistol out of his mouth and looks out the\n window.", "the atmosphere with a knife. The woman hands George the\n newspaper. He knows what's up but tries to laugh it off. She\n doesn't find it funny, is as cold as stone and barely looks", "(91) George is suffocating on the floor. The level of smoke\n is getting ever lower and is slowly covering his face.\n 32.", "They come out of a house that is lost in the hills, climb\n into a Bugatti sports car that the man starts by rubbing two\n wires together, and speed off.", "Title card: We belong to another age, you and I, George.\n Nowadays, the world talks.\n\n He talks to him, looks a little embarrassed, while George\n takes it on the chin, not knowing how to respond.", "It's morning. George opens his front door. His chauffeur is\n outside. The man's expression announces bad news. He's holding", "When he is alone, George looks at himself in the mirror. His\n expression shows that he things he is the stupidest man in\n the world. He mimes shooting himself in the temple with his", "appears on the screen: 1927", "seems to be smiling at him. He smiles back. Then his smile\n becomes strained. He's noticed something. The two theater\n employees are sticking a banner over the poster that reveals", "They come out the house. George is still clutching the reel. A\n crowd has formed, people recognize him. One woman feels sorry\n for him, a man runs for help. George is unconscious." ], [ "\"Beauty Spot\" talking movie. A huge poster depicts Peppy and\n the people in the line seem excited and delighted to be going", "We find Peppy and George on a film set, still dancing. The\n piece of jazz they are dancing to has gone so crazy that now", "Music suddenly begins to play and we see feet dancing in\n another decor. Except that from now on we actually hear the\n sound of the tap steps. We pull back to find Peppy and George", "Among the audience is Peppy Miller. She's trying to\n concentrate fully on the film and is pushing away the handsome", "of the film in front of the window. We see random photograms\n run by. It's the only sequence they ever shot together, years\n before. Peppy is moved. Without turning round, she asks the", "Alternate shots of three or four film posters and frames from\n them which illustrate Peppy's rising fame. Her name moves", "up, wearing a magnificent and jauntily positioned chapka over\n one eye. She is incredibly stylish but in no way vampish, more\n the image of a young comedy debut... George looks at her, Peppy", "magnificent Peppy rising above him. She's playing a scene with\n a young actor we recognize, it's Humphrey Bogart. He's become a", "dances with Peppy, and, each time, the nature of their rapport\n changes. To begin with, they are happy and laughing, but then,\n with time, less so. Then they become embarrassed, and then", "Inside the full bus is the young woman from the day before. Her\n name is Peppy Miller. She is proudly holding \"The Hollywood", "We see Peppy on a shoot, sitting in a chair with her name on\n it, smoking a cigarette. Everyone about her is busy preparing a", "Then it's Peppy's turn. She puts a lot of energy into a few\n top class tap steps, impressing the guy to such an extent", "Her name climbs up the ranks in the title sequences of films,\n until it appears on its own.\n\n\n28 INT. OFFICE - PEPPY/CONTRACT/1927 - DAY 28", "In the street, at the entrance to a movie theater, George sees\n a large \"Beauty Spot\" film poster. The poster shows Peppy close", "and as it disappears reveals that the upper body belongs to a\nyoung woman. She pulls a face meaning 'Here I am!!' And of\ncourse it's Peppy, except that she immediately realizes who", "She starts by bursting into laughter, which draws George's\n attention. He turns round to listen to the rest of Peppy's\n answer.", "The credits run while Peppy and George go back to their\npositions. The camera (ours) pulls back and into frame come\nall the technicians who are setting up the shot, the hair,", "Peppy bursts into the lobby, talks to a woman at the desk who\n directs her with a raised hand that Peppy immediately follows.\n\n She bounds up the stairs four at a time and comes into a\n corridor,", "Peppy picks up the can. The label is too damaged to be able\n to read the title of the film. She opens it and unrolls some", "herself into George's arms. They hug for a long time. Peppy\n says into his ear," ], [ "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "Silent film, illustrated musically, with some title cards to\n indicate the dialogues, with actors whose lips move when they\n speak although we never hear their voices. The images are in\n black and white, in format 1.33.", "Title card: George is a silent movie actor. He belongs to the\n past. Today he's a nobody.", "his own film, beginning \"Tears of Love, Old and Boring\". He\n shuts the paper and searches for something in the drawer of his", "board that shows he's both the film's producer and director.\n The film is called Tears of love, and it tells the tale of an\n English adventurer - played by himself - accompanied by a young", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "In the street, at the entrance to a movie theater, George sees\n a large \"Beauty Spot\" film poster. The poster shows Peppy close", "We see her playing some bit parts, maid, dancer, etc. Her roles\n seem to get a little bigger. We notice that she now wears the\n beauty spot that she'll keep forever.", "George awakes with a start! He's in bed and is having trouble\n shaking off his nightmare.\n\n The film continues as normal: in other words, silent.\n 15.", "Then they look at someone off-shot. They are facing a film\n crew (from their era of course). The director smiles. Zimmer,\n sitting next to him, seems ecstatic. The director speaks and\n we hear what he says.", "An extract from \"Tears of Love\" in which we see George, holding\n the young woman in his arms, take part in a cliché-d African", "\"Beauty Spot\" talking movie. A huge poster depicts Peppy and\n the people in the line seem excited and delighted to be going", "Inside the full bus is the young woman from the day before. Her\n name is Peppy Miller. She is proudly holding \"The Hollywood", "Among the audience is Peppy Miller. She's trying to\n concentrate fully on the film and is pushing away the handsome", "The letters of the titles come up on a title card typical of\n the 1920s. Elegant motifs around the edge of the frame, and,", "Outside, George comes out still smoking his cigarette. On the\n sidewalk, people are cheerfully waiting in line. George walks\n up the line and comes to a movie house that's playing the", "magnificent Peppy rising above him. She's playing a scene with\n a young actor we recognize, it's Humphrey Bogart. He's become a", "of the film in front of the window. We see random photograms\n run by. It's the only sequence they ever shot together, years\n before. Peppy is moved. Without turning round, she asks the" ], [ "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "man who purchased everything at the auction, and that the maid\n is the woman who was bidding against him to raise the sale\n prices. George is looking at them as he leaves the room. He has", "After taking off several other sheets, George realizes that\n she bought everything he had put up for sale: furniture,", "George is now with the auctioneer, he's studying the list of\n items as auction assistants busy themselves around him,\n carrying and packing the sold lots. The auctioneer, who is\n putting on his coat, congratulates George.", "A few crossfades (the display table emptying, faces, hands\n being raised, hammer falling, \"sold\" labels) show us the lots\n disappearing - every single item is sold.", "83 EXT. AUCTION ROOM'S STREET - DAY 83\n\n They leave at the same time. The man crosses the street, we\n follow him.", "objects go under the hammer one by one. We see the three\n monkeys go by, notably, hear no evil, speak no evil, see no\n evil. Two buyers especially are raising the prices by bidding", "In a pawnshop, George, still a little drunk, is selling his\n tuxedo. The pawnbroker and he are visibly disagreeing on the", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "evil\". He thinks for a moment, then pulls of another sheet to\n reveal a piece of furniture. Once again it's a piece that used\n to belong to him and we recognize it from having seen it at the", "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes", "The next morning, George gets up and goes to look from the\n window. The chauffeur has gone. George is a little sad, but\n that's just the way it is... He looks around at his home.", "paintings, objets d'art, souvenirs, etc. He rips off sheets\n one after the other and the objects appear, even down to his", "the one we were used to seeing him in. We do however recognize\n some of the objects, furniture and paintings from his old\n house, notably the huge portrait of him smiling. He goes into", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "Title card: Well done! It all sold, there's nothing left!\n\n George nods but his smile seems a little ironic. He leaves\n the room.", "moment and slowly leaves, looking back at George as she does\n so. He does not look at her. She leaves the room. Once he has\n studied and necklace and is satisfied, George turns back", "George goes into his house that has been disfigured by the\n fire. The flames have changed everything and the atmosphere,\n here again, seems ghostly and sad.\n 39.", "George walks towards them when he sees them. The closer he gets\n to them, however, the more his expression tightens. We realize\n that the butler is none other than the distinguished-looking" ], [ "(91) In the room, among the flames and the smoke, George -\n now breathless - picks one of the reels and tries to turn\n round. He collapses, still holding on to the can.", "An extract from \"Tears of Love\" in which we see George, holding\n the young woman in his arms, take part in a cliché-d African", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "George goes into his house that has been disfigured by the\n fire. The flames have changed everything and the atmosphere,\n here again, seems ghostly and sad.\n 39.", "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "doesn't know what to do anymore and, although the fire is\n spreading quite spectacularly around him, he runs to where\n the reels and films that he has not opened are, and begins", "Once home, he finds a photo of himself on the floor. It has\n been defaced with a scribbled moustache, spectacles and a big", "She rushes into the living room and stops for a moment to look\n at George. George awkwardly tries to hide the pistol behind\n him. She bursts into tears.", "of them. George is delighted at the sight, by the whole scene\n and, realizing this, the young woman steals a kiss. Flash. The\n image becomes static, then dissolves into the printed picture", "and pants, both half burned. On the floor, his shoes are in\n exactly the same state of disrepair.", "eyes, one with hands clasped to its ears and the third\n obscuring its mouth. George comes into the room and kisses\n his wife. She responds with cold indifference. You could cut", "the one we were used to seeing him in. We do however recognize\n some of the objects, furniture and paintings from his old\n house, notably the huge portrait of him smiling. He goes into", "the kitchen which is open onto the rest of the apartment.\n There's nothing in the refrigerator. He looks for something to\n drink but there's only one bottle left in the rack. He lifts it", "still holding the pistol and the gun fires itself.\n Fortunately no one is hurt, but the incident makes Peppy\n laugh and, between sobs and gasps of laughter she throws", "stops, dripping with sweat. Worriedly, he looks around for a\n moment. Then he strikes a match, takes a second to consider\n what he's about to do and throws the match into the middle of", "evil\". He thinks for a moment, then pulls of another sheet to\n reveal a piece of furniture. Once again it's a piece that used\n to belong to him and we recognize it from having seen it at the", "Peppy goes up to George. She notices that his burnt hands\n seem to still be clutching something. She's intrigued. In", "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes", "In the lobby, George is preparing to leave the house. He\n waves at the huge, full-length portrait of himself waving and", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions" ], [ "the set we saw the previous day, and Peppy seems to be trying\n to convince Zimmer of something. She seems to be describing a", "shakes of his head and his apologetic air as he listens to\n Peppy. She finally stops talking and gives him a determined\n look. Zimmer, uncomfortable and sorry, calmly replies.", "tangible. Everyone on the set seems to be waiting for Zimmer\n to react, but to their surprise, after a long moment of\n hesitation, he walks away without saying a thing. Peppy looks", "DIRECTOR\n Cut! Excellent!\n\n Zimmer has both his thumbs up. The director says to Peppy and\n George.", "We see Peppy on a shoot, sitting in a chair with her name on\n it, smoking a cigarette. Everyone about her is busy preparing a", "still holding the pistol and the gun fires itself.\n Fortunately no one is hurt, but the incident makes Peppy\n laugh and, between sobs and gasps of laughter she throws", "A screenplay lies on a table. Peppy and Zimmer are seated\n either side of the table and are talking animatedly. We're on", "Peppy, fortunately, has stayed completely natural and doesn't\n seem to take any of it seriously. As the last touch is put in\n place, Peppy gets to her feet and turns round.", "herself into George's arms. They hug for a long time. Peppy\n says into his ear,", "In the room with all the sheets, Peppy is with the maid. The\n maid seems to be telling her what happened with George, how he", "Even when she's blackmailing, she's still pretty, and Zimmer\n looks at her totally at a loss but at the same time it's", "and as it disappears reveals that the upper body belongs to a\nyoung woman. She pulls a face meaning 'Here I am!!' And of\ncourse it's Peppy, except that she immediately realizes who", "Peppy enters. She's anxious but the doctor seems reassuring.\n\n Title card: He's not in any danger now. He just needs to\n rest.", "Peppy doesn't reply. She just holds him tighter still and\n closes her eyes. Jack is sitting close by, watching them and\n wagging his tail.", "Peppy is a bit annoyed to have been put in her place, but\n deep down she knows he's right. Nobody knows who she is. She\n puts the newspaper away.", "Later on, in the dressing room corridor, Peppy, holding an\n envelope, goes up to George's door. She knocks, waits for a", "As for Peppy, she's in the theater, watching Tears of love.\n She's with a handsome young man who seems bored.", "He opens the door. It's Peppy. She immediately notices that\n George is drunk. Her smile tenses a little.\n\n Title card: I wanted to talk, I...", "Peppy moves away from George and motions to him to listen.\n The shutter slams. Jacks tail thumps. The car shudders... Peppy", "We find Peppy and George on a film set, still dancing. The\n piece of jazz they are dancing to has gone so crazy that now" ], [ "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "and hands it to George before walking off. George reads:\n Kinograph Studios stop all silent productions to work\n exclusively on talkies.", "that the object made a noise. He moves it again, the object\n makes a noise again. George is worried. He tries another object\n and obtains noise again. His dog barks and we hear it! He gets", "Then they look at someone off-shot. They are facing a film\n crew (from their era of course). The director smiles. Zimmer,\n sitting next to him, seems ecstatic. The director speaks and\n we hear what he says.", "Title card: We belong to another age, you and I, George.\n Nowadays, the world talks.\n\n He talks to him, looks a little embarrassed, while George\n takes it on the chin, not knowing how to respond.", "saying, they are all making sound. George tries to talk to them\n but his voice remains silent. One dancer, seeing his fright,\n bursts into throaty laughter. George rushes through the", "seems to be smiling at him. He smiles back. Then his smile\n becomes strained. He's noticed something. The two theater\n employees are sticking a banner over the poster that reveals", "moves it, makes a noise. We hear the noise it makes. Really\n hear it. It's the first time we've heard a sound that comes\n from within the film itself. One second later, George realizes", "In the street, at the entrance to a movie theater, George sees\n a large \"Beauty Spot\" film poster. The poster shows Peppy close", "Title card: I don't need you. Go make your talking movies.\n I'm going to make them a beautiful film!\n 17.", "everywhere, the face that it's a talking movie! Talking,\n talking, talking!", "\"Beauty Spot\" talking movie. A huge poster depicts Peppy and\n the people in the line seem excited and delighted to be going", "doesn't know what to do anymore and, although the fire is\n spreading quite spectacularly around him, he runs to where\n the reels and films that he has not opened are, and begins", "eyes, one with hands clasped to its ears and the third\n obscuring its mouth. George comes into the room and kisses\n his wife. She responds with cold indifference. You could cut", "his own film, beginning \"Tears of Love, Old and Boring\". He\n shuts the paper and searches for something in the drawer of his", "Silent film, illustrated musically, with some title cards to\n indicate the dialogues, with actors whose lips move when they\n speak although we never hear their voices. The images are in\n black and white, in format 1.33.", "On screen we see a card that indicates it's a sound shooting\n test for a talking scene. Then Constance appears, the actress" ], [ "up, wearing a magnificent and jauntily positioned chapka over\n one eye. She is incredibly stylish but in no way vampish, more\n the image of a young comedy debut... George looks at her, Peppy", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "Studios\". Among the medallion framed young portraits, George\n recognizes that of Peppy Miller. He glances up at Zimmer.", "Music suddenly begins to play and we see feet dancing in\n another decor. Except that from now on we actually hear the\n sound of the tap steps. We pull back to find Peppy and George", "Peppy Miller is \"The Guardian Angel\". It's a huge poster on the\n façade of a movie theater. George goes inside. With Jack.", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "herself into George's arms. They hug for a long time. Peppy\n says into his ear,", "In the street, at the entrance to a movie theater, George sees\n a large \"Beauty Spot\" film poster. The poster shows Peppy close", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "She starts by bursting into laughter, which draws George's\n attention. He turns round to listen to the rest of Peppy's\n answer.", "Among the audience is Peppy Miller. She's trying to\n concentrate fully on the film and is pushing away the handsome", "We find Peppy and George on a film set, still dancing. The\n piece of jazz they are dancing to has gone so crazy that now", "Inside the full bus is the young woman from the day before. Her\n name is Peppy Miller. She is proudly holding \"The Hollywood", "She stops because George is not looking at her anymore. He's\n watching the arrival of the young, smiling, handsome and\n wholesome man who is with Peppy. George bears a melancholy\n smile.", "Title card: The name is Miller. Peppy Miller!\n\n She finishes with an exaggerated wink, before walking on,\n leaving behind the impassive butler.", "He opens the door. It's Peppy. She immediately notices that\n George is drunk. Her smile tenses a little.\n\n Title card: I wanted to talk, I...", "Later on, in the dressing room corridor, Peppy, holding an\n envelope, goes up to George's door. She knocks, waits for a", "In the room with all the sheets, Peppy is with the maid. The\n maid seems to be telling her what happened with George, how he", "Peppy starts again, with a beaming smile, waiting for his\n response. George does a few tap steps himself, basic ones,", "large and beautiful pearl necklace. George is intrigued by\n the necklace, and turns away from Peppy. She understands that\n George has his own life, that their embrace was just a stolen" ], [ "Peppy, fortunately, has stayed completely natural and doesn't\n seem to take any of it seriously. As the last touch is put in\n place, Peppy gets to her feet and turns round.", "We see Peppy on a shoot, sitting in a chair with her name on\n it, smoking a cigarette. Everyone about her is busy preparing a", "and as it disappears reveals that the upper body belongs to a\nyoung woman. She pulls a face meaning 'Here I am!!' And of\ncourse it's Peppy, except that she immediately realizes who", "She starts by bursting into laughter, which draws George's\n attention. He turns round to listen to the rest of Peppy's\n answer.", "Then it's Peppy's turn. She puts a lot of energy into a few\n top class tap steps, impressing the guy to such an extent", "Peppy bursts into the lobby, talks to a woman at the desk who\n directs her with a raised hand that Peppy immediately follows.\n\n She bounds up the stairs four at a time and comes into a\n corridor,", "He opens the door. It's Peppy. She immediately notices that\n George is drunk. Her smile tenses a little.\n\n Title card: I wanted to talk, I...", "watching. Instead it's Peppy who's tucking into her food and\n talking and laughing vivaciously. George is with her with an", "Peppy is a bit annoyed to have been put in her place, but\n deep down she knows he's right. Nobody knows who she is. She\n puts the newspaper away.", "up, wearing a magnificent and jauntily positioned chapka over\n one eye. She is incredibly stylish but in no way vampish, more\n the image of a young comedy debut... George looks at her, Peppy", "Peppy is facing her mirror and putting her make up on. She\n takes a break, looking a little sad. Someone (some kind of", "herself into George's arms. They hug for a long time. Peppy\n says into his ear,", "In the room with all the sheets, Peppy is with the maid. The\n maid seems to be telling her what happened with George, how he", "Peppy awakes in bed with a start. She doesn't know what has\n woken her up. She looks around, looks at the phone, seems", "feet. He looks at Peppy lovingly with a beaming smile on his\n face.", "Peppy goes up to George. She notices that his burnt hands\n seem to still be clutching something. She's intrigued. In", "guys with animals, men dressed as cowboys, etc. Peppy is\n among them, sitting next to a man of about sixty who is\n dressed in a highly stylized fashion. His job is obviously", "Peppy enters. She's anxious but the doctor seems reassuring.\n\n Title card: He's not in any danger now. He just needs to\n rest.", "As for Peppy, she's in the theater, watching Tears of love.\n She's with a handsome young man who seems bored.", "dances with Peppy, and, each time, the nature of their rapport\n changes. To begin with, they are happy and laughing, but then,\n with time, less so. Then they become embarrassed, and then" ], [ "His position and demeanor are exactly like when he was watching\n the screening of Tears of Love, from the back of the room with\n the verdict of failure in the air...", "Once home, he finds a photo of himself on the floor. It has\n been defaced with a scribbled moustache, spectacles and a big", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "He doesn't even want to look at it anymore. He looks\n disgusted. Suddenly his shadow separates itself from him and\n moves independently from him. As he shouts at it, it lowers\n its head and doesn't reply.", "As he leaves the dressing room, we see the photograph. He's\n written Woof Woof on it, and signed it with the paw print of\n a dog.", "the one we were used to seeing him in. We do however recognize\n some of the objects, furniture and paintings from his old\n house, notably the huge portrait of him smiling. He goes into", "expression on his face. He seems unhappy to have hurt his\n wife's feelings. Then he realizes that Jack is on the table\n in a ridiculous pose, and signals to him to get down. The dog", "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "Evening has fallen on the town. It's raining. On the ground\n lies an old page from a newspaper that bears a picture of\n George. A man's feet trample the picture.", "George goes into his house that has been disfigured by the\n fire. The flames have changed everything and the atmosphere,\n here again, seems ghostly and sad.\n 39.", "eyes, one with hands clasped to its ears and the third\n obscuring its mouth. George comes into the room and kisses\n his wife. She responds with cold indifference. You could cut", "When he is alone, George looks at himself in the mirror. His\n expression shows that he things he is the stupidest man in\n the world. He mimes shooting himself in the temple with his", "In the lobby, George is preparing to leave the house. He\n waves at the huge, full-length portrait of himself waving and", "She stops because George is not looking at her anymore. He's\n watching the arrival of the young, smiling, handsome and\n wholesome man who is with Peppy. George bears a melancholy\n smile.", "As George leaves in disgust, his eyes are drawn to an\n advertising feature representing the \"new faces of Kinograph", "Breakfasts with George and Doris where the atmosphere is\n increasingly dreadful. Doris scribbles on photos of George in\n the press, draws on moustaches, large spectacles, etc.", "Doris\n P.S.: You should go see Beauty Spot, it's incredible.\n\n George takes it on the chin and leaves, revealing behind him\n the portrait of himself wearing a tuxedo, smiling and waving.", "seems to be smiling at him. He smiles back. Then his smile\n becomes strained. He's noticed something. The two theater\n employees are sticking a banner over the poster that reveals", "causing him pain, but he opens a drawer and takes out his\n belongings: a top hat which he snaps open, and a mask, which\n he puts over his head to conceal his eyes.", "An extract from \"Tears of Love\" in which we see George, holding\n the young woman in his arms, take part in a cliché-d African" ], [ "His position and demeanor are exactly like when he was watching\n the screening of Tears of Love, from the back of the room with\n the verdict of failure in the air...", "Once home, he finds a photo of himself on the floor. It has\n been defaced with a scribbled moustache, spectacles and a big", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "seems to be smiling at him. He smiles back. Then his smile\n becomes strained. He's noticed something. The two theater\n employees are sticking a banner over the poster that reveals", "Evening has fallen on the town. It's raining. On the ground\n lies an old page from a newspaper that bears a picture of\n George. A man's feet trample the picture.", "expression on his face. He seems unhappy to have hurt his\n wife's feelings. Then he realizes that Jack is on the table\n in a ridiculous pose, and signals to him to get down. The dog", "Title card: It would seem that we're ruined.\n\n The chauffeur takes it on the chin with as much reserve as he\n can muster, but George continues.", "Then the image jumps and goes white. George gets up, still half-\n smashed. His shadow is clearly delineated on the white screen.\n He sees it, looks it up and down and then starts to look at it\n sideways.", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "(91) In the room, among the flames and the smoke, George -\n now breathless - picks one of the reels and tries to turn\n round. He collapses, still holding on to the can.", "He doesn't even want to look at it anymore. He looks\n disgusted. Suddenly his shadow separates itself from him and\n moves independently from him. As he shouts at it, it lowers\n its head and doesn't reply.", "George is in the same position. He still has the pistol in\n his mouth. Visibly, he's heard a BANG from outside, because\n he takes the pistol out of his mouth and looks out the\n window.", "As he leaves the dressing room, we see the photograph. He's\n written Woof Woof on it, and signed it with the paw print of\n a dog.", "Doris\n P.S.: You should go see Beauty Spot, it's incredible.\n\n George takes it on the chin and leaves, revealing behind him\n the portrait of himself wearing a tuxedo, smiling and waving.", "Her joyful expression gradually becomes one of abject\napology, but George is roaring with laughter.\n\nAfter a short pause, Zimmer makes the connection. He checks\nthe front page of the paper, and recognizes her!", "When he is alone, George looks at himself in the mirror. His\n expression shows that he things he is the stupidest man in\n the world. He mimes shooting himself in the temple with his", "A little later, George looks at himself in a mirror. We pass\n from him to his reflection, which he hides by placing his drink\n against the mirror.", "eyes, one with hands clasped to its ears and the third\n obscuring its mouth. George comes into the room and kisses\n his wife. She responds with cold indifference. You could cut", "She stops because George is not looking at her anymore. He's\n watching the arrival of the young, smiling, handsome and\n wholesome man who is with Peppy. George bears a melancholy\n smile." ], [ "95 INT. GEORGE'S HOUSE - DAY 95\n\n A completely unconscious George, overcome by the fumes, is\n dragged out of the fire by the policeman.", "until he finally arrives flat out at George's home. The cop\n sees the smoke coming out of the house. He runs into the smoke.", "On the floor, below the smoke, Jack flees the room and runs\n off while George suffocates but continues to struggle with\n the cans of reels.", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "stops, dripping with sweat. Worriedly, he looks around for a\n moment. Then he strikes a match, takes a second to consider\n what he's about to do and throws the match into the middle of", "She rushes into the living room and stops for a moment to look\n at George. George awkwardly tries to hide the pistol behind\n him. She bursts into tears.", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "doesn't know what to do anymore and, although the fire is\n spreading quite spectacularly around him, he runs to where\n the reels and films that he has not opened are, and begins", "George goes into his house that has been disfigured by the\n fire. The flames have changed everything and the atmosphere,\n here again, seems ghostly and sad.\n 39.", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "The masked man then rushes to another cell, and releases a\n young female prisoner. She too is wearing evening dress. As\n she is thanking him he staggers and clutches his ears in\n pain. She's concerned.", "over to the bed and puts her arms tight around him. She is\n terribly moved but, when she releases him from her arms to talk\n to him, she realizes that he has lost consciousness again and", "(91) In the room, among the flames and the smoke, George -\n now breathless - picks one of the reels and tries to turn\n round. He collapses, still holding on to the can.", "The Africans are panicking but there's nothing anyone can do.\n George stops struggling, and looks deep into the eyes of the\n young woman. He says gently:", "Peppy goes up to George. She notices that his burnt hands\n seem to still be clutching something. She's intrigued. In", "goes over to George. She reassures him, motions to him not to\n get upset, then slowly leaves the room before running off down\n the corridor. She knocks at a door then goes back to George's", "still holding the pistol and the gun fires itself.\n Fortunately no one is hurt, but the incident makes Peppy\n laugh and, between sobs and gasps of laughter she throws", "They come out the house. George is still clutching the reel. A\n crowd has formed, people recognize him. One woman feels sorry\n for him, a man runs for help. George is unconscious.", "An extract from \"Tears of Love\" in which we see George, holding\n the young woman in his arms, take part in a cliché-d African", "George walks towards them when he sees them. The closer he gets\n to them, however, the more his expression tightens. We realize\n that the butler is none other than the distinguished-looking" ], [ "George goes into his house that has been disfigured by the\n fire. The flames have changed everything and the atmosphere,\n here again, seems ghostly and sad.\n 39.", "doesn't know what to do anymore and, although the fire is\n spreading quite spectacularly around him, he runs to where\n the reels and films that he has not opened are, and begins", "of them. George is delighted at the sight, by the whole scene\n and, realizing this, the young woman steals a kiss. Flash. The\n image becomes static, then dissolves into the printed picture", "the one we were used to seeing him in. We do however recognize\n some of the objects, furniture and paintings from his old\n house, notably the huge portrait of him smiling. He goes into", "On the floor, below the smoke, Jack flees the room and runs\n off while George suffocates but continues to struggle with\n the cans of reels.", "evil\". He thinks for a moment, then pulls of another sheet to\n reveal a piece of furniture. Once again it's a piece that used\n to belong to him and we recognize it from having seen it at the", "(91) In the room, among the flames and the smoke, George -\n now breathless - picks one of the reels and tries to turn\n round. He collapses, still holding on to the can.", "and pants, both half burned. On the floor, his shoes are in\n exactly the same state of disrepair.", "After taking off several other sheets, George realizes that\n she bought everything he had put up for sale: furniture,", "Once home, he finds a photo of himself on the floor. It has\n been defaced with a scribbled moustache, spectacles and a big", "Peppy goes up to George. She notices that his burnt hands\n seem to still be clutching something. She's intrigued. In", "still holding the pistol and the gun fires itself.\n Fortunately no one is hurt, but the incident makes Peppy\n laugh and, between sobs and gasps of laughter she throws", "As he leaves the dressing room, we see the photograph. He's\n written Woof Woof on it, and signed it with the paw print of\n a dog.", "removed all the sheets, etc. Peppy listens with an inscrutable\n expression on her face. Then, suddenly overcome by a terrible\n thought, she rushes outside.", "95 INT. GEORGE'S HOUSE - DAY 95\n\n A completely unconscious George, overcome by the fumes, is\n dragged out of the fire by the policeman.", "An extract from \"Tears of Love\" in which we see George, holding\n the young woman in his arms, take part in a cliché-d African", "very quickly overrun. The reels burst into flames in an\n instant and give off lots of smoke. Jack is panicking and\n barks incessantly. Suddenly, George seems to lose it. He", "Then the image jumps and goes white. George gets up, still half-\n smashed. His shadow is clearly delineated on the white screen.\n He sees it, looks it up and down and then starts to look at it\n sideways.", "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes", "(64) On screen, George has disappeared into the mire. Only\n one hand stays in the air for several seconds more in a\n tortured pose, that of a dying man trying to hold on to the\n wind." ], [ "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "man who purchased everything at the auction, and that the maid\n is the woman who was bidding against him to raise the sale\n prices. George is looking at them as he leaves the room. He has", "After taking off several other sheets, George realizes that\n she bought everything he had put up for sale: furniture,", "George is now with the auctioneer, he's studying the list of\n items as auction assistants busy themselves around him,\n carrying and packing the sold lots. The auctioneer, who is\n putting on his coat, congratulates George.", "objects go under the hammer one by one. We see the three\n monkeys go by, notably, hear no evil, speak no evil, see no\n evil. Two buyers especially are raising the prices by bidding", "A few crossfades (the display table emptying, faces, hands\n being raised, hammer falling, \"sold\" labels) show us the lots\n disappearing - every single item is sold.", "83 EXT. AUCTION ROOM'S STREET - DAY 83\n\n They leave at the same time. The man crosses the street, we\n follow him.", "In a pawnshop, George, still a little drunk, is selling his\n tuxedo. The pawnbroker and he are visibly disagreeing on the", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "evil\". He thinks for a moment, then pulls of another sheet to\n reveal a piece of furniture. Once again it's a piece that used\n to belong to him and we recognize it from having seen it at the", "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes", "paintings, objets d'art, souvenirs, etc. He rips off sheets\n one after the other and the objects appear, even down to his", "Title card: Well done! It all sold, there's nothing left!\n\n George nods but his smile seems a little ironic. He leaves\n the room.", "the one we were used to seeing him in. We do however recognize\n some of the objects, furniture and paintings from his old\n house, notably the huge portrait of him smiling. He goes into", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "The chauffeur nods. Having finished his mask up, George,\n picks up a photo, looks at it closely and then writes on it.", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "81 INT. AUCTION ROOMS - DAY 81", "As he comes off stage, George gets soundly told off by\n Constance, but, still grinning, he motions towards the\n audience who are still asking for more. The producer,", "moment and slowly leaves, looking back at George as she does\n so. He does not look at her. She leaves the room. Once he has\n studied and necklace and is satisfied, George turns back" ], [ "Peppy goes up to George. She notices that his burnt hands\n seem to still be clutching something. She's intrigued. In", "In the room with all the sheets, Peppy is with the maid. The\n maid seems to be telling her what happened with George, how he", "He opens the door. It's Peppy. She immediately notices that\n George is drunk. Her smile tenses a little.\n\n Title card: I wanted to talk, I...", "room. Peppy is close on her heels. She comes into the room in\n her nightgown. When he sees her, George smiles and she rushes", "still holding the pistol and the gun fires itself.\n Fortunately no one is hurt, but the incident makes Peppy\n laugh and, between sobs and gasps of laughter she throws", "Later on, in the dressing room corridor, Peppy, holding an\n envelope, goes up to George's door. She knocks, waits for a", "herself into George's arms. They hug for a long time. Peppy\n says into his ear,", "desk. He takes out a piece of paper. It's the telephone number\n that Peppy had scribbled down for him. He looks at it, moves", "As for Peppy, she's in the theater, watching Tears of love.\n She's with a handsome young man who seems bored.", "removed all the sheets, etc. Peppy listens with an inscrutable\n expression on her face. Then, suddenly overcome by a terrible\n thought, she rushes outside.", "The next morning, Peppy brings breakfast into George's room\n and they eat it together. She laughs, talks, eats, drinks and", "Peppy doesn't reply. She just holds him tighter still and\n closes her eyes. Jack is sitting close by, watching them and\n wagging his tail.", "dances with Peppy, and, each time, the nature of their rapport\n changes. To begin with, they are happy and laughing, but then,\n with time, less so. Then they become embarrassed, and then", "He gets into a car. Peppy is sitting in the back. She's alone\n and watching George walk off with his unsteady gait. She's sad.", "115 INT. PEPPY'S HOUSE - DAY 115\n\n Peppy gets home in the evening, arms laden with flowers. She's\n happy.", "and as it disappears reveals that the upper body belongs to a\nyoung woman. She pulls a face meaning 'Here I am!!' And of\ncourse it's Peppy, except that she immediately realizes who", "Peppy bursts into the lobby, talks to a woman at the desk who\n directs her with a raised hand that Peppy immediately follows.\n\n She bounds up the stairs four at a time and comes into a\n corridor,", "feet. He looks at Peppy lovingly with a beaming smile on his\n face.", "watching. Instead it's Peppy who's tucking into her food and\n talking and laughing vivaciously. George is with her with an", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the" ], [ "Silent film, illustrated musically, with some title cards to\n indicate the dialogues, with actors whose lips move when they\n speak although we never hear their voices. The images are in\n black and white, in format 1.33.", "of the film in front of the window. We see random photograms\n run by. It's the only sequence they ever shot together, years\n before. Peppy is moved. Without turning round, she asks the", "We find Peppy and George on a film set, still dancing. The\n piece of jazz they are dancing to has gone so crazy that now", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "dances with Peppy, and, each time, the nature of their rapport\n changes. To begin with, they are happy and laughing, but then,\n with time, less so. Then they become embarrassed, and then", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "Music suddenly begins to play and we see feet dancing in\n another decor. Except that from now on we actually hear the\n sound of the tap steps. We pull back to find Peppy and George", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "Among the audience is Peppy Miller. She's trying to\n concentrate fully on the film and is pushing away the handsome", "George awakes with a start! He's in bed and is having trouble\n shaking off his nightmare.\n\n The film continues as normal: in other words, silent.\n 15.", "up, wearing a magnificent and jauntily positioned chapka over\n one eye. She is incredibly stylish but in no way vampish, more\n the image of a young comedy debut... George looks at her, Peppy", "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "As for Peppy, she's in the theater, watching Tears of love.\n She's with a handsome young man who seems bored.", "The credits run while Peppy and George go back to their\npositions. The camera (ours) pulls back and into frame come\nall the technicians who are setting up the shot, the hair,", "\"Beauty Spot\" talking movie. A huge poster depicts Peppy and\n the people in the line seem excited and delighted to be going", "Title card: George is a silent movie actor. He belongs to the\n past. Today he's a nobody.", "and hands it to George before walking off. George reads:\n Kinograph Studios stop all silent productions to work\n exclusively on talkies.", "magnificent Peppy rising above him. She's playing a scene with\n a young actor we recognize, it's Humphrey Bogart. He's become a", "In the room with all the sheets, Peppy is with the maid. The\n maid seems to be telling her what happened with George, how he", "Peppy moves away from George and motions to him to listen.\n The shutter slams. Jacks tail thumps. The car shudders... Peppy" ], [ "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "Music suddenly begins to play and we see feet dancing in\n another decor. Except that from now on we actually hear the\n sound of the tap steps. We pull back to find Peppy and George", "herself into George's arms. They hug for a long time. Peppy\n says into his ear,", "up, wearing a magnificent and jauntily positioned chapka over\n one eye. She is incredibly stylish but in no way vampish, more\n the image of a young comedy debut... George looks at her, Peppy", "She stops because George is not looking at her anymore. He's\n watching the arrival of the young, smiling, handsome and\n wholesome man who is with Peppy. George bears a melancholy\n smile.", "In the street, at the entrance to a movie theater, George sees\n a large \"Beauty Spot\" film poster. The poster shows Peppy close", "He opens the door. It's Peppy. She immediately notices that\n George is drunk. Her smile tenses a little.\n\n Title card: I wanted to talk, I...", "Later on, in the dressing room corridor, Peppy, holding an\n envelope, goes up to George's door. She knocks, waits for a", "We find Peppy and George on a film set, still dancing. The\n piece of jazz they are dancing to has gone so crazy that now", "George walks towards them when he sees them. The closer he gets\n to them, however, the more his expression tightens. We realize\n that the butler is none other than the distinguished-looking", "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "She starts by bursting into laughter, which draws George's\n attention. He turns round to listen to the rest of Peppy's\n answer.", "One couple gets to their feet and leaves the theater. As the\n man reaches George, he recognizes him and casts him a glance", "George is hurt. He gets up and, before he leaves, gestures\n silently that if she wants his place all she has to do is\n take it. She watches him leave and immediately regrets what\n she's just said.", "He gets into a car. Peppy is sitting in the back. She's alone\n and watching George walk off with his unsteady gait. She's sad.", "room. Peppy is close on her heels. She comes into the room in\n her nightgown. When he sees her, George smiles and she rushes", "Peppy starts again, with a beaming smile, waiting for his\n response. George does a few tap steps himself, basic ones,", "then turns and runs. Once out of the decor, he bumps right into\n a worried-looking Zimmer who is followed by his loyal\n assistants. George is in a playful mood. Zimmer tells him:" ], [ "Then it's Peppy's turn. She puts a lot of energy into a few\n top class tap steps, impressing the guy to such an extent", "We see Peppy on a shoot, sitting in a chair with her name on\n it, smoking a cigarette. Everyone about her is busy preparing a", "and as it disappears reveals that the upper body belongs to a\nyoung woman. She pulls a face meaning 'Here I am!!' And of\ncourse it's Peppy, except that she immediately realizes who", "Among the audience is Peppy Miller. She's trying to\n concentrate fully on the film and is pushing away the handsome", "Peppy, fortunately, has stayed completely natural and doesn't\n seem to take any of it seriously. As the last touch is put in\n place, Peppy gets to her feet and turns round.", "Peppy bursts into the lobby, talks to a woman at the desk who\n directs her with a raised hand that Peppy immediately follows.\n\n She bounds up the stairs four at a time and comes into a\n corridor,", "She starts by bursting into laughter, which draws George's\n attention. He turns round to listen to the rest of Peppy's\n answer.", "Music suddenly begins to play and we see feet dancing in\n another decor. Except that from now on we actually hear the\n sound of the tap steps. We pull back to find Peppy and George", "In the room with all the sheets, Peppy is with the maid. The\n maid seems to be telling her what happened with George, how he", "He opens the door. It's Peppy. She immediately notices that\n George is drunk. Her smile tenses a little.\n\n Title card: I wanted to talk, I...", "Later on, in the dressing room corridor, Peppy, holding an\n envelope, goes up to George's door. She knocks, waits for a", "As for Peppy, she's in the theater, watching Tears of love.\n She's with a handsome young man who seems bored.", "herself into George's arms. They hug for a long time. Peppy\n says into his ear,", "We find Peppy and George on a film set, still dancing. The\n piece of jazz they are dancing to has gone so crazy that now", "dances with Peppy, and, each time, the nature of their rapport\n changes. To begin with, they are happy and laughing, but then,\n with time, less so. Then they become embarrassed, and then", "watching. Instead it's Peppy who's tucking into her food and\n talking and laughing vivaciously. George is with her with an", "Peppy is facing her mirror and putting her make up on. She\n takes a break, looking a little sad. Someone (some kind of", "up, wearing a magnificent and jauntily positioned chapka over\n one eye. She is incredibly stylish but in no way vampish, more\n the image of a young comedy debut... George looks at her, Peppy", "Peppy is a bit annoyed to have been put in her place, but\n deep down she knows he's right. Nobody knows who she is. She\n puts the newspaper away.", "Inside the full bus is the young woman from the day before. Her\n name is Peppy Miller. She is proudly holding \"The Hollywood" ], [ "Peppy, fortunately, has stayed completely natural and doesn't\n seem to take any of it seriously. As the last touch is put in\n place, Peppy gets to her feet and turns round.", "We see Peppy on a shoot, sitting in a chair with her name on\n it, smoking a cigarette. Everyone about her is busy preparing a", "and as it disappears reveals that the upper body belongs to a\nyoung woman. She pulls a face meaning 'Here I am!!' And of\ncourse it's Peppy, except that she immediately realizes who", "She starts by bursting into laughter, which draws George's\n attention. He turns round to listen to the rest of Peppy's\n answer.", "Then it's Peppy's turn. She puts a lot of energy into a few\n top class tap steps, impressing the guy to such an extent", "Peppy bursts into the lobby, talks to a woman at the desk who\n directs her with a raised hand that Peppy immediately follows.\n\n She bounds up the stairs four at a time and comes into a\n corridor,", "He opens the door. It's Peppy. She immediately notices that\n George is drunk. Her smile tenses a little.\n\n Title card: I wanted to talk, I...", "watching. Instead it's Peppy who's tucking into her food and\n talking and laughing vivaciously. George is with her with an", "Peppy is a bit annoyed to have been put in her place, but\n deep down she knows he's right. Nobody knows who she is. She\n puts the newspaper away.", "up, wearing a magnificent and jauntily positioned chapka over\n one eye. She is incredibly stylish but in no way vampish, more\n the image of a young comedy debut... George looks at her, Peppy", "Peppy is facing her mirror and putting her make up on. She\n takes a break, looking a little sad. Someone (some kind of", "herself into George's arms. They hug for a long time. Peppy\n says into his ear,", "In the room with all the sheets, Peppy is with the maid. The\n maid seems to be telling her what happened with George, how he", "Peppy awakes in bed with a start. She doesn't know what has\n woken her up. She looks around, looks at the phone, seems", "feet. He looks at Peppy lovingly with a beaming smile on his\n face.", "Peppy goes up to George. She notices that his burnt hands\n seem to still be clutching something. She's intrigued. In", "guys with animals, men dressed as cowboys, etc. Peppy is\n among them, sitting next to a man of about sixty who is\n dressed in a highly stylized fashion. His job is obviously", "Peppy enters. She's anxious but the doctor seems reassuring.\n\n Title card: He's not in any danger now. He just needs to\n rest.", "As for Peppy, she's in the theater, watching Tears of love.\n She's with a handsome young man who seems bored.", "dances with Peppy, and, each time, the nature of their rapport\n changes. To begin with, they are happy and laughing, but then,\n with time, less so. Then they become embarrassed, and then" ], [ "doesn't know what to do anymore and, although the fire is\n spreading quite spectacularly around him, he runs to where\n the reels and films that he has not opened are, and begins", "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "causing him pain, but he opens a drawer and takes out his\n belongings: a top hat which he snaps open, and a mask, which\n he puts over his head to conceal his eyes.", "stops, dripping with sweat. Worriedly, he looks around for a\n moment. Then he strikes a match, takes a second to consider\n what he's about to do and throws the match into the middle of", "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "and pants, both half burned. On the floor, his shoes are in\n exactly the same state of disrepair.", "Totally smashed he starts to violently throw film reels\n against the wall as he hollers. The cans split open and the", "evil\". He thinks for a moment, then pulls of another sheet to\n reveal a piece of furniture. Once again it's a piece that used\n to belong to him and we recognize it from having seen it at the", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "George goes into his house that has been disfigured by the\n fire. The flames have changed everything and the atmosphere,\n here again, seems ghostly and sad.\n 39.", "He doesn't even want to look at it anymore. He looks\n disgusted. Suddenly his shadow separates itself from him and\n moves independently from him. As he shouts at it, it lowers\n its head and doesn't reply.", "Once home, he finds a photo of himself on the floor. It has\n been defaced with a scribbled moustache, spectacles and a big", "paintings, objets d'art, souvenirs, etc. He rips off sheets\n one after the other and the objects appear, even down to his", "throwing them away behind him, as though they've become\n useless. Constance stalks back off into the wings in\n annoyance, but the audience is ecstatic. Once in the wings,", "(91) In the room, among the flames and the smoke, George -\n now breathless - picks one of the reels and tries to turn\n round. He collapses, still holding on to the can.", "his own film, beginning \"Tears of Love, Old and Boring\". He\n shuts the paper and searches for something in the drawer of his", "throwing them frantically over his shoulder as though he's\n looking for one in particular. The ever-increasing denseness\n of the smoke, however, is making the task almost impossible.", "In a pawnshop, George, still a little drunk, is selling his\n tuxedo. The pawnbroker and he are visibly disagreeing on the", "After taking off several other sheets, George realizes that\n she bought everything he had put up for sale: furniture," ], [ "although delighted by the successful reception, makes a weak\n attempt to calm the actress down. As for George, he returns\n to the stage, the audience roars. He pretends to want to", "As he comes off stage, George gets soundly told off by\n Constance, but, still grinning, he motions towards the\n audience who are still asking for more. The producer,", "dances with Peppy, and, each time, the nature of their rapport\n changes. To begin with, they are happy and laughing, but then,\n with time, less so. Then they become embarrassed, and then", "George carries on clowning about, the producer too breaks\n into a beaming smile. He's probably realized that George has\n the audience on his side... Constance, furious, storms off. She", "Her joyful expression gradually becomes one of abject\napology, but George is roaring with laughter.\n\nAfter a short pause, Zimmer makes the connection. He checks\nthe front page of the paper, and recognizes her!", "George smiles kindly at her. She returns the smile but we can\n tell that maybe reality has just reminded them that she is\n working, and he is not. They exchange a last glance before\n she leaves the room.", "He's changed. And even if his suit is still pretty smart, he's\n become more \"common\", less unattainable. He seems to have lost", "Calm restored, he smiles and waves in brotherly fashion to a\n mysterious man who is trying to hide underneath his long cape.\n The man stands up, throws aside his cape and reveals himself to", "He composes himself. She casts him an admiring glance. Then,\n in view of the urgency of their situation, they escape at a\n run.", "She stops because George is not looking at her anymore. He's\n watching the arrival of the young, smiling, handsome and\n wholesome man who is with Peppy. George bears a melancholy\n smile.", "throwing them away behind him, as though they've become\n useless. Constance stalks back off into the wings in\n annoyance, but the audience is ecstatic. Once in the wings,", "George walks towards them when he sees them. The closer he gets\n to them, however, the more his expression tightens. We realize\n that the butler is none other than the distinguished-looking", "George smiles politely. She leaves, taking the handsome jock\n with her. George watches them leave. As does his dog, who\n sits with his head and ears hanging low as though very", "He nods, we see in his eyes that he's terribly happy for her.\n They look at each other, she laughs.", "She smiles at him, picks up the screenplay with delight, and\n leaves. As he moves away she whistles at him. He turns round\n and she vigorously blows him a kiss.", "congratulate each other and slap Zimmer on the back. Zimmer's\n pride seems to grow by the second.", "He says it very nicely, with no ulterior motive, but George\n is cut to the quick. The comment wounds him and Peppy", "George is hurt. He gets up and, before he leaves, gestures\n silently that if she wants his place all she has to do is\n take it. She watches him leave and immediately regrets what\n she's just said.", "effort either. He disdainfully watches Doris eat. She is\n cutting up strawberries using a knife and fork. George watches\n her, smiles and continues to watch. Except it's not Doris he's", "likes it. She turns towards him and, quite naturally, folds\n into his arms. The dog watches them curiously with its head\n leaning to one side. They are probably about to kiss when" ], [ "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "When he is alone, George looks at himself in the mirror. His\n expression shows that he things he is the stupidest man in\n the world. He mimes shooting himself in the temple with his", "Title card: It would seem that we're ruined.\n\n The chauffeur takes it on the chin with as much reserve as he\n can muster, but George continues.", "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "In a pawnshop, George, still a little drunk, is selling his\n tuxedo. The pawnbroker and he are visibly disagreeing on the", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "Then he begins shouting at her and all she can do is lower\nher head, unable to reply. He gestures that she's fired and\nfor her to get out, and she starts to go, completely", "doesn't know what to do anymore and, although the fire is\n spreading quite spectacularly around him, he runs to where\n the reels and films that he has not opened are, and begins", "causing him pain, but he opens a drawer and takes out his\n belongings: a top hat which he snaps open, and a mask, which\n he puts over his head to conceal his eyes.", "stops, dripping with sweat. Worriedly, he looks around for a\n moment. Then he strikes a match, takes a second to consider\n what he's about to do and throws the match into the middle of", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "The next morning, George gets up and goes to look from the\n window. The chauffeur has gone. George is a little sad, but\n that's just the way it is... He looks around at his home.", "George goes into his house that has been disfigured by the\n fire. The flames have changed everything and the atmosphere,\n here again, seems ghostly and sad.\n 39.", "over to the bed and puts her arms tight around him. She is\n terribly moved but, when she releases him from her arms to talk\n to him, she realizes that he has lost consciousness again and", "His position and demeanor are exactly like when he was watching\n the screening of Tears of Love, from the back of the room with\n the verdict of failure in the air...", "As he comes off stage, George gets soundly told off by\n Constance, but, still grinning, he motions towards the\n audience who are still asking for more. The producer,", "George gets up, visibly thinking that he shouldn't have done\n that, that it's wrong. He go gets the keys and a jacket,\n comes back and gives them to the chauffeur.", "follows the indication and finds George lying on the floor,\n totally smashed. He slaps him gently around the face a few\n times in a vain attempt to wake him, then lifts him over his", "In the evening, George looks out between the curtains, the\n chauffeur is still there. George turns on his heels and gets\n into his Murphy bed.", "Once home, he finds a photo of himself on the floor. It has\n been defaced with a scribbled moustache, spectacles and a big" ], [ "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "After taking off several other sheets, George realizes that\n she bought everything he had put up for sale: furniture,", "man who purchased everything at the auction, and that the maid\n is the woman who was bidding against him to raise the sale\n prices. George is looking at them as he leaves the room. He has", "In a pawnshop, George, still a little drunk, is selling his\n tuxedo. The pawnbroker and he are visibly disagreeing on the", "A few crossfades (the display table emptying, faces, hands\n being raised, hammer falling, \"sold\" labels) show us the lots\n disappearing - every single item is sold.", "George is now with the auctioneer, he's studying the list of\n items as auction assistants busy themselves around him,\n carrying and packing the sold lots. The auctioneer, who is\n putting on his coat, congratulates George.", "As he comes off stage, George gets soundly told off by\n Constance, but, still grinning, he motions towards the\n audience who are still asking for more. The producer,", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "paintings, objets d'art, souvenirs, etc. He rips off sheets\n one after the other and the objects appear, even down to his", "evil\". He thinks for a moment, then pulls of another sheet to\n reveal a piece of furniture. Once again it's a piece that used\n to belong to him and we recognize it from having seen it at the", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "throwing them away behind him, as though they've become\n useless. Constance stalks back off into the wings in\n annoyance, but the audience is ecstatic. Once in the wings,", "causing him pain, but he opens a drawer and takes out his\n belongings: a top hat which he snaps open, and a mask, which\n he puts over his head to conceal his eyes.", "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "objects go under the hammer one by one. We see the three\n monkeys go by, notably, hear no evil, speak no evil, see no\n evil. Two buyers especially are raising the prices by bidding", "Title card: Well done! It all sold, there's nothing left!\n\n George nods but his smile seems a little ironic. He leaves\n the room.", "George opens the door and goes into the room, it's a kind of\n storeroom in which everything is covered up with sheets. He", "George walks towards them when he sees them. The closer he gets\n to them, however, the more his expression tightens. We realize\n that the butler is none other than the distinguished-looking", "although delighted by the successful reception, makes a weak\n attempt to calm the actress down. As for George, he returns\n to the stage, the audience roars. He pretends to want to" ], [ "In the room with all the sheets, Peppy is with the maid. The\n maid seems to be telling her what happened with George, how he", "We see Peppy on a shoot, sitting in a chair with her name on\n it, smoking a cigarette. Everyone about her is busy preparing a", "and as it disappears reveals that the upper body belongs to a\nyoung woman. She pulls a face meaning 'Here I am!!' And of\ncourse it's Peppy, except that she immediately realizes who", "He opens the door. It's Peppy. She immediately notices that\n George is drunk. Her smile tenses a little.\n\n Title card: I wanted to talk, I...", "Peppy bursts into the lobby, talks to a woman at the desk who\n directs her with a raised hand that Peppy immediately follows.\n\n She bounds up the stairs four at a time and comes into a\n corridor,", "Later on, in the dressing room corridor, Peppy, holding an\n envelope, goes up to George's door. She knocks, waits for a", "Peppy, fortunately, has stayed completely natural and doesn't\n seem to take any of it seriously. As the last touch is put in\n place, Peppy gets to her feet and turns round.", "desk. He takes out a piece of paper. It's the telephone number\n that Peppy had scribbled down for him. He looks at it, moves", "As for Peppy, she's in the theater, watching Tears of love.\n She's with a handsome young man who seems bored.", "herself into George's arms. They hug for a long time. Peppy\n says into his ear,", "Then it's Peppy's turn. She puts a lot of energy into a few\n top class tap steps, impressing the guy to such an extent", "Peppy is a bit annoyed to have been put in her place, but\n deep down she knows he's right. Nobody knows who she is. She\n puts the newspaper away.", "watching. Instead it's Peppy who's tucking into her food and\n talking and laughing vivaciously. George is with her with an", "Peppy goes up to George. She notices that his burnt hands\n seem to still be clutching something. She's intrigued. In", "She starts by bursting into laughter, which draws George's\n attention. He turns round to listen to the rest of Peppy's\n answer.", "Peppy enters. She's anxious but the doctor seems reassuring.\n\n Title card: He's not in any danger now. He just needs to\n rest.", "115 INT. PEPPY'S HOUSE - DAY 115\n\n Peppy gets home in the evening, arms laden with flowers. She's\n happy.", "We find Peppy and George on a film set, still dancing. The\n piece of jazz they are dancing to has gone so crazy that now", "Among the audience is Peppy Miller. She's trying to\n concentrate fully on the film and is pushing away the handsome", "guys with animals, men dressed as cowboys, etc. Peppy is\n among them, sitting next to a man of about sixty who is\n dressed in a highly stylized fashion. His job is obviously" ], [ "When he is alone, George looks at himself in the mirror. His\n expression shows that he things he is the stupidest man in\n the world. He mimes shooting himself in the temple with his", "over to the bed and puts her arms tight around him. She is\n terribly moved but, when she releases him from her arms to talk\n to him, she realizes that he has lost consciousness again and", "They come out the house. George is still clutching the reel. A\n crowd has formed, people recognize him. One woman feels sorry\n for him, a man runs for help. George is unconscious.", "(120) George puts the pistol into his mouth. Jack is barking\n like mad. George, still in the same position, closes his\n eyes.\n 40.", "stops, dripping with sweat. Worriedly, he looks around for a\n moment. Then he strikes a match, takes a second to consider\n what he's about to do and throws the match into the middle of", "George is in the same position. He still has the pistol in\n his mouth. Visibly, he's heard a BANG from outside, because\n he takes the pistol out of his mouth and looks out the\n window.", "George is hurt. He gets up and, before he leaves, gestures\n silently that if she wants his place all she has to do is\n take it. She watches him leave and immediately regrets what\n she's just said.", "still holding the pistol and the gun fires itself.\n Fortunately no one is hurt, but the incident makes Peppy\n laugh and, between sobs and gasps of laughter she throws", "(91) In the room, among the flames and the smoke, George -\n now breathless - picks one of the reels and tries to turn\n round. He collapses, still holding on to the can.", "On the floor, below the smoke, Jack flees the room and runs\n off while George suffocates but continues to struggle with\n the cans of reels.", "He doesn't even want to look at it anymore. He looks\n disgusted. Suddenly his shadow separates itself from him and\n moves independently from him. As he shouts at it, it lowers\n its head and doesn't reply.", "George cannot forgive her for doing so, he looks at her in\n disgust. She starts to cry.", "He buttons up the collar of his suit in an attempt to hide the\n fact that he doesn't have a shirt then, heads off and loses", "He composes himself. She casts him an admiring glance. Then,\n in view of the urgency of their situation, they escape at a\n run.", "doesn't know what to do anymore and, although the fire is\n spreading quite spectacularly around him, he runs to where\n the reels and films that he has not opened are, and begins", "She rushes into the living room and stops for a moment to look\n at George. George awkwardly tries to hide the pistol behind\n him. She bursts into tears.", "She stops because George is not looking at her anymore. He's\n watching the arrival of the young, smiling, handsome and\n wholesome man who is with Peppy. George bears a melancholy\n smile.", "(91) George is suffocating on the floor. The level of smoke\n is getting ever lower and is slowly covering his face.\n 32.", "understand what's happening, but it's gone and he's still\n there. He begins to holler.", "In the wings, Constance is fuming with rage, but on stage,\n George is pretending with his fingers to pull at the dog, who\n fakes death. Thunderous applause again.\n 5." ], [ "She looks at him flirtatiously. Then she gestures again for\n him to call her, and he nods, even though we think that he", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "An extract from \"Tears of Love\" in which we see George, holding\n the young woman in his arms, take part in a cliché-d African", "He seems to reply that no, it's not her fault, she's got\n nothing to feel bad about. He opens his arms towards her,", "He takes a make-up pencil and draws a beauty spot above her\n upper lip. She looks at herself in the mirror and smiles. She", "eyes, one with hands clasped to its ears and the third\n obscuring its mouth. George comes into the room and kisses\n his wife. She responds with cold indifference. You could cut", "He says it very nicely, with no ulterior motive, but George\n is cut to the quick. The comment wounds him and Peppy", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "likes it. She turns towards him and, quite naturally, folds\n into his arms. The dog watches them curiously with its head\n leaning to one side. They are probably about to kiss when", "George walks towards them when he sees them. The closer he gets\n to them, however, the more his expression tightens. We realize\n that the butler is none other than the distinguished-looking", "George looks at her. She continues.\n\n Title card: I saw Tears of Love.\n\n George nods, and answers.", "board that shows he's both the film's producer and director.\n The film is called Tears of love, and it tells the tale of an\n English adventurer - played by himself - accompanied by a young", "to really call her. In response he casts a glance over to the\n young men waiting for her higher up the stairs, and she\n bursts out laughing. She leans towards him to say something.", "George smiles kindly at her. She returns the smile but we can\n tell that maybe reality has just reminded them that she is\n working, and he is not. They exchange a last glance before\n she leaves the room.", "She stops because George is not looking at her anymore. He's\n watching the arrival of the young, smiling, handsome and\n wholesome man who is with Peppy. George bears a melancholy\n smile.", "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes", "George's chauffeur comes into the room and catches them.\n George swiftly moves aside and there is a moment of\n discomfort. The chauffeur unwraps a parcel and takes out a", "expression of love on his face. He's laughing with her when,\n suddenly, reality bites. He's still sitting opposite Doris,\n and she's staring at him because she doesn't understand why he", "As he comes off stage, George gets soundly told off by\n Constance, but, still grinning, he motions towards the\n audience who are still asking for more. The producer,", "As Zimmer's speaking, she removes her accessories and hat.\n Zimmer is so intrigued he stops talking.\n\n Title card: What are you doing?" ], [ "Music suddenly begins to play and we see feet dancing in\n another decor. Except that from now on we actually hear the\n sound of the tap steps. We pull back to find Peppy and George", "herself into George's arms. They hug for a long time. Peppy\n says into his ear,", "He opens the door. It's Peppy. She immediately notices that\n George is drunk. Her smile tenses a little.\n\n Title card: I wanted to talk, I...", "dances with Peppy, and, each time, the nature of their rapport\n changes. To begin with, they are happy and laughing, but then,\n with time, less so. Then they become embarrassed, and then", "She starts by bursting into laughter, which draws George's\n attention. He turns round to listen to the rest of Peppy's\n answer.", "and as it disappears reveals that the upper body belongs to a\nyoung woman. She pulls a face meaning 'Here I am!!' And of\ncourse it's Peppy, except that she immediately realizes who", "In the room with all the sheets, Peppy is with the maid. The\n maid seems to be telling her what happened with George, how he", "As for Peppy, she's in the theater, watching Tears of love.\n She's with a handsome young man who seems bored.", "feet. He looks at Peppy lovingly with a beaming smile on his\n face.", "Peppy bursts into the lobby, talks to a woman at the desk who\n directs her with a raised hand that Peppy immediately follows.\n\n She bounds up the stairs four at a time and comes into a\n corridor,", "up, wearing a magnificent and jauntily positioned chapka over\n one eye. She is incredibly stylish but in no way vampish, more\n the image of a young comedy debut... George looks at her, Peppy", "The next morning, Peppy brings breakfast into George's room\n and they eat it together. She laughs, talks, eats, drinks and", "Peppy goes up to George. She notices that his burnt hands\n seem to still be clutching something. She's intrigued. In", "room. Peppy is close on her heels. She comes into the room in\n her nightgown. When he sees her, George smiles and she rushes", "She stops because George is not looking at her anymore. He's\n watching the arrival of the young, smiling, handsome and\n wholesome man who is with Peppy. George bears a melancholy\n smile.", "Later on, in the dressing room corridor, Peppy, holding an\n envelope, goes up to George's door. She knocks, waits for a", "Then it's Peppy's turn. She puts a lot of energy into a few\n top class tap steps, impressing the guy to such an extent", "of the film in front of the window. We see random photograms\n run by. It's the only sequence they ever shot together, years\n before. Peppy is moved. Without turning round, she asks the", "He gets into a car. Peppy is sitting in the back. She's alone\n and watching George walk off with his unsteady gait. She's sad.", "We find Peppy and George on a film set, still dancing. The\n piece of jazz they are dancing to has gone so crazy that now" ], [ "man who purchased everything at the auction, and that the maid\n is the woman who was bidding against him to raise the sale\n prices. George is looking at them as he leaves the room. He has", "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "After taking off several other sheets, George realizes that\n she bought everything he had put up for sale: furniture,", "A few crossfades (the display table emptying, faces, hands\n being raised, hammer falling, \"sold\" labels) show us the lots\n disappearing - every single item is sold.", "George is now with the auctioneer, he's studying the list of\n items as auction assistants busy themselves around him,\n carrying and packing the sold lots. The auctioneer, who is\n putting on his coat, congratulates George.", "objects go under the hammer one by one. We see the three\n monkeys go by, notably, hear no evil, speak no evil, see no\n evil. Two buyers especially are raising the prices by bidding", "83 EXT. AUCTION ROOM'S STREET - DAY 83\n\n They leave at the same time. The man crosses the street, we\n follow him.", "In a pawnshop, George, still a little drunk, is selling his\n tuxedo. The pawnbroker and he are visibly disagreeing on the", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "evil\". He thinks for a moment, then pulls of another sheet to\n reveal a piece of furniture. Once again it's a piece that used\n to belong to him and we recognize it from having seen it at the", "Title card: Well done! It all sold, there's nothing left!\n\n George nods but his smile seems a little ironic. He leaves\n the room.", "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes", "paintings, objets d'art, souvenirs, etc. He rips off sheets\n one after the other and the objects appear, even down to his", "The next morning, George gets up and goes to look from the\n window. The chauffeur has gone. George is a little sad, but\n that's just the way it is... He looks around at his home.", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "the one we were used to seeing him in. We do however recognize\n some of the objects, furniture and paintings from his old\n house, notably the huge portrait of him smiling. He goes into", "throwing them away behind him, as though they've become\n useless. Constance stalks back off into the wings in\n annoyance, but the audience is ecstatic. Once in the wings,", "removed all the sheets, etc. Peppy listens with an inscrutable\n expression on her face. Then, suddenly overcome by a terrible\n thought, she rushes outside.", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "As he comes off stage, George gets soundly told off by\n Constance, but, still grinning, he motions towards the\n audience who are still asking for more. The producer," ], [ "Peppy, fortunately, has stayed completely natural and doesn't\n seem to take any of it seriously. As the last touch is put in\n place, Peppy gets to her feet and turns round.", "We see Peppy on a shoot, sitting in a chair with her name on\n it, smoking a cigarette. Everyone about her is busy preparing a", "and as it disappears reveals that the upper body belongs to a\nyoung woman. She pulls a face meaning 'Here I am!!' And of\ncourse it's Peppy, except that she immediately realizes who", "She starts by bursting into laughter, which draws George's\n attention. He turns round to listen to the rest of Peppy's\n answer.", "Then it's Peppy's turn. She puts a lot of energy into a few\n top class tap steps, impressing the guy to such an extent", "Peppy bursts into the lobby, talks to a woman at the desk who\n directs her with a raised hand that Peppy immediately follows.\n\n She bounds up the stairs four at a time and comes into a\n corridor,", "He opens the door. It's Peppy. She immediately notices that\n George is drunk. Her smile tenses a little.\n\n Title card: I wanted to talk, I...", "watching. Instead it's Peppy who's tucking into her food and\n talking and laughing vivaciously. George is with her with an", "Peppy is a bit annoyed to have been put in her place, but\n deep down she knows he's right. Nobody knows who she is. She\n puts the newspaper away.", "up, wearing a magnificent and jauntily positioned chapka over\n one eye. She is incredibly stylish but in no way vampish, more\n the image of a young comedy debut... George looks at her, Peppy", "Peppy is facing her mirror and putting her make up on. She\n takes a break, looking a little sad. Someone (some kind of", "herself into George's arms. They hug for a long time. Peppy\n says into his ear,", "In the room with all the sheets, Peppy is with the maid. The\n maid seems to be telling her what happened with George, how he", "Peppy awakes in bed with a start. She doesn't know what has\n woken her up. She looks around, looks at the phone, seems", "feet. He looks at Peppy lovingly with a beaming smile on his\n face.", "Peppy goes up to George. She notices that his burnt hands\n seem to still be clutching something. She's intrigued. In", "guys with animals, men dressed as cowboys, etc. Peppy is\n among them, sitting next to a man of about sixty who is\n dressed in a highly stylized fashion. His job is obviously", "Peppy enters. She's anxious but the doctor seems reassuring.\n\n Title card: He's not in any danger now. He just needs to\n rest.", "As for Peppy, she's in the theater, watching Tears of love.\n She's with a handsome young man who seems bored.", "dances with Peppy, and, each time, the nature of their rapport\n changes. To begin with, they are happy and laughing, but then,\n with time, less so. Then they become embarrassed, and then" ], [ "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "George walks towards them when he sees them. The closer he gets\n to them, however, the more his expression tightens. We realize\n that the butler is none other than the distinguished-looking", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "As he comes off stage, George gets soundly told off by\n Constance, but, still grinning, he motions towards the\n audience who are still asking for more. The producer,", "He says it very nicely, with no ulterior motive, but George\n is cut to the quick. The comment wounds him and Peppy", "He seems to reply that no, it's not her fault, she's got\n nothing to feel bad about. He opens his arms towards her,", "to really call her. In response he casts a glance over to the\n young men waiting for her higher up the stairs, and she\n bursts out laughing. She leans towards him to say something.", "She looks at him flirtatiously. Then she gestures again for\n him to call her, and he nods, even though we think that he", "Peppy moves away from George and motions to him to listen.\n The shutter slams. Jacks tail thumps. The car shudders... Peppy", "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "As he leaves the dressing room, we see the photograph. He's\n written Woof Woof on it, and signed it with the paw print of\n a dog.", "saying, they are all making sound. George tries to talk to them\n but his voice remains silent. One dancer, seeing his fright,\n bursts into throaty laughter. George rushes through the", "eyes, one with hands clasped to its ears and the third\n obscuring its mouth. George comes into the room and kisses\n his wife. She responds with cold indifference. You could cut", "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes", "The chauffeur nods. Having finished his mask up, George,\n picks up a photo, looks at it closely and then writes on it.", "George visibly doesn't know what to think and, although he\n remains pleasant, becomes somewhat reserved. It's as though\n something has come between them. The chauffeur places the", "George, who at first seemed very surprised, slowly begins a\n snigger which gradually has become a belly laugh when the\n actress earnestly ends her monologue.\n 14.", "The masked man then rushes to another cell, and releases a\n young female prisoner. She too is wearing evening dress. As\n she is thanking him he staggers and clutches his ears in\n pain. She's concerned.", "Title card: We belong to another age, you and I, George.\n Nowadays, the world talks.\n\n He talks to him, looks a little embarrassed, while George\n takes it on the chin, not knowing how to respond." ], [ "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "Outside, we are in front of a typically American movie theater\n decked out with all the accessories of a grand première. The\n entrance is lit up, there are crowds gathered on the sidewalk,", "seems to be smiling at him. He smiles back. Then his smile\n becomes strained. He's noticed something. The two theater\n employees are sticking a banner over the poster that reveals", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "The date appears on the screen: 1929\n 13.", "September 14th. There aren't many people in the room, just five\n or six. George is standing at the back, smoking a cigarette.\n 28.", "He opens a closet. Inside, a tuxedo hangs among a number of\n bare hangers.\n\n\n74 INT. PAWNSHOP - DAY 74", "notices that the explosions are in fact pretty and\n inoffensive. He consults a calendar dial on the control panel\n that shows it is July 14th, immediately understands, and", "He opens the door. It's Peppy. She immediately notices that\n George is drunk. Her smile tenses a little.\n\n Title card: I wanted to talk, I...", "It's morning. George opens his front door. His chauffeur is\n outside. The man's expression announces bad news. He's holding", "previous day at the première arrives. His name is Zimmer, and\nhe's flanked by - and followed around at every moment by -\ntwo secretaries and two assistants. One of them hands him The", "Outside, George comes out still smoking his cigarette. On the\n sidewalk, people are cheerfully waiting in line. George walks\n up the line and comes to a movie house that's playing the", "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes", "George opens the door and goes into the room, it's a kind of\n storeroom in which everything is covered up with sheets. He", "causing him pain, but he opens a drawer and takes out his\n belongings: a top hat which he snaps open, and a mask, which\n he puts over his head to conceal his eyes.", "Outside, the shutter is still slamming and the car is still\n shuddering. Peppy opens her eyes. Visibly, she's had an idea.", "looking people are waiting. They sit down and Zimmer, very\n proudly and self-confidently, gestures to an assistant who\n passes on the message to the projectionist. The room goes dark.", "doesn't know what to do anymore and, although the fire is\n spreading quite spectacularly around him, he runs to where\n the reels and films that he has not opened are, and begins" ], [ "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "She quickly goes up the stairs and into George's bedroom. He's\n not there. She looks for him but can't find him. The maid says\n that he has left. She drops the flowers.", "The next morning, George gets up and goes to look from the\n window. The chauffeur has gone. George is a little sad, but\n that's just the way it is... He looks around at his home.", "In the evening, George looks out between the curtains, the\n chauffeur is still there. George turns on his heels and gets\n into his Murphy bed.", "...and bursts out into the courtyard of the studio that is now\n suddenly deserted and silent. In front of him a feather eddies", "Then he begins shouting at her and all she can do is lower\nher head, unable to reply. He gestures that she's fired and\nfor her to get out, and she starts to go, completely", "George goes into his house that has been disfigured by the\n fire. The flames have changed everything and the atmosphere,\n here again, seems ghostly and sad.\n 39.", "goes over to George. She reassures him, motions to him not to\n get upset, then slowly leaves the room before running off down\n the corridor. She knocks at a door then goes back to George's", "George is hurt. He gets up and, before he leaves, gestures\n silently that if she wants his place all she has to do is\n take it. She watches him leave and immediately regrets what\n she's just said.", "over to the bed and puts her arms tight around him. She is\n terribly moved but, when she releases him from her arms to talk\n to him, she realizes that he has lost consciousness again and", "George, now alone, gets up with some difficulty. He picks up\n a pile of folded clothes from an armchair. It's his jacket", "She rushes into the living room and stops for a moment to look\n at George. George awkwardly tries to hide the pistol behind\n him. She bursts into tears.", "empty. He looks everywhere for her, but she has disappeared.", "throwing them away behind him, as though they've become\n useless. Constance stalks back off into the wings in\n annoyance, but the audience is ecstatic. Once in the wings,", "the kitchen which is open onto the rest of the apartment.\n There's nothing in the refrigerator. He looks for something to\n drink but there's only one bottle left in the rack. He lifts it", "disappointed. George watches Peppy walking away, then steps\n forwards and sits down on the steps leading up to the house.\n 25.", "His wife is sleeping by his side. He gets up, taking care not\n to make a sound.", "As he comes off stage, George gets soundly told off by\n Constance, but, still grinning, he motions towards the\n audience who are still asking for more. The producer,", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He" ], [ "She rushes into the living room and stops for a moment to look\n at George. George awkwardly tries to hide the pistol behind\n him. She bursts into tears.", "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "In the evening, George looks out between the curtains, the\n chauffeur is still there. George turns on his heels and gets\n into his Murphy bed.", "In the room with all the sheets, Peppy is with the maid. The\n maid seems to be telling her what happened with George, how he", "George opens the door and goes into the room, it's a kind of\n storeroom in which everything is covered up with sheets. He", "A sign says that the effects of George Valentin are to be\n auctioned. Furniture, costumes, objets d'art and paintings on", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "George walks towards them when he sees them. The closer he gets\n to them, however, the more his expression tightens. We realize\n that the butler is none other than the distinguished-looking", "George goes into his house that has been disfigured by the\n fire. The flames have changed everything and the atmosphere,\n here again, seems ghostly and sad.\n 39.", "George calms down as he sits in the living room, alone in the\n darkness. Jack, still sleepy, has just curled into a ball\n next to him to fall back to sleep. George smiles and gives\n him a pat.", "They come out of a house that is lost in the hills, climb\n into a Bugatti sports car that the man starts by rubbing two\n wires together, and speed off.", "goes over to George. She reassures him, motions to him not to\n get upset, then slowly leaves the room before running off down\n the corridor. She knocks at a door then goes back to George's", "the kitchen which is open onto the rest of the apartment.\n There's nothing in the refrigerator. He looks for something to\n drink but there's only one bottle left in the rack. He lifts it", "George smiles kindly at her. She returns the smile but we can\n tell that maybe reality has just reminded them that she is\n working, and he is not. They exchange a last glance before\n she leaves the room.", "eyes, one with hands clasped to its ears and the third\n obscuring its mouth. George comes into the room and kisses\n his wife. She responds with cold indifference. You could cut", "Going down the stairs from the offices, he passes a laughing\n Peppy who is accompanied by two young and charming men, perfect", "man who purchased everything at the auction, and that the maid\n is the woman who was bidding against him to raise the sale\n prices. George is looking at them as he leaves the room. He has", "over to the bed and puts her arms tight around him. She is\n terribly moved but, when she releases him from her arms to talk\n to him, she realizes that he has lost consciousness again and" ], [ "George is in the same position. He still has the pistol in\n his mouth. Visibly, he's heard a BANG from outside, because\n he takes the pistol out of his mouth and looks out the\n window.", "still holding the pistol and the gun fires itself.\n Fortunately no one is hurt, but the incident makes Peppy\n laugh and, between sobs and gasps of laughter she throws", "She rushes into the living room and stops for a moment to look\n at George. George awkwardly tries to hide the pistol behind\n him. She bursts into tears.", "Using his fingers, the hero pretends to shoot his dog. The\n dog collapses, plays dead. The guard, increasingly curious,\n gets to his feet. He slowly approaches the motionless dog.", "(120) George puts the pistol into his mouth. Jack is barking\n like mad. George, still in the same position, closes his\n eyes.\n 40.", "gun with his fingers, but she does not fall down, merely\n casts him a \"very funny\" glance. George looks at his fingers,\n not understanding why they don't work anymore then mimes", "gulp of liquor, then puts down the glass, opens a cardboard box\n and takes out a pistol that he places on the table in front of", "Not knowing what to do, the cop motions to the dog to be\n silent and threatens it with two fingers, just like George\n miming a pistol. Jack collapses and plays dead. The cop has", "(120) George puts down his glass and picks up the pistol.\n Jack isn't happy at all. He barks and bites George's trouser\n leg, pulling on it.", "When he is alone, George looks at himself in the mirror. His\n expression shows that he things he is the stupidest man in\n the world. He mimes shooting himself in the temple with his", "his gun and goes out onto the air field, only to find the\n fugitives! He tries to shoot at them as he draws closer, but", "causing him pain, but he opens a drawer and takes out his\n belongings: a top hat which he snaps open, and a mask, which\n he puts over his head to conceal his eyes.", "Behind the screen, we've seen the actor who plays the hero -\n his name is George Valentin - closely studying the reactions", "stops, dripping with sweat. Worriedly, he looks around for a\n moment. Then he strikes a match, takes a second to consider\n what he's about to do and throws the match into the middle of", "(10) The lights come on. George Valentin comes onto the stage\n and acknowledges the audience, they are cheering for him. He", "Finally, she goes into the room and places the envelope\n addressed to George Valentin on the dresser. Then she\n attentively looks around the dressing room. She looks at the", "doesn't know what to do anymore and, although the fire is\n spreading quite spectacularly around him, he runs to where\n the reels and films that he has not opened are, and begins", "evil\". He thinks for a moment, then pulls of another sheet to\n reveal a piece of furniture. Once again it's a piece that used\n to belong to him and we recognize it from having seen it at the", "eyes, one with hands clasped to its ears and the third\n obscuring its mouth. George comes into the room and kisses\n his wife. She responds with cold indifference. You could cut", "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes" ], [ "95 INT. GEORGE'S HOUSE - DAY 95\n\n A completely unconscious George, overcome by the fumes, is\n dragged out of the fire by the policeman.", "still holding the pistol and the gun fires itself.\n Fortunately no one is hurt, but the incident makes Peppy\n laugh and, between sobs and gasps of laughter she throws", "(91) In the room, among the flames and the smoke, George -\n now breathless - picks one of the reels and tries to turn\n round. He collapses, still holding on to the can.", "Peppy goes up to George. She notices that his burnt hands\n seem to still be clutching something. She's intrigued. In", "until he finally arrives flat out at George's home. The cop\n sees the smoke coming out of the house. He runs into the smoke.", "stops, dripping with sweat. Worriedly, he looks around for a\n moment. Then he strikes a match, takes a second to consider\n what he's about to do and throws the match into the middle of", "and pants, both half burned. On the floor, his shoes are in\n exactly the same state of disrepair.", "doesn't know what to do anymore and, although the fire is\n spreading quite spectacularly around him, he runs to where\n the reels and films that he has not opened are, and begins", "George is in the same position. He still has the pistol in\n his mouth. Visibly, he's heard a BANG from outside, because\n he takes the pistol out of his mouth and looks out the\n window.", "She rushes into the living room and stops for a moment to look\n at George. George awkwardly tries to hide the pistol behind\n him. She bursts into tears.", "Not knowing what to do, the cop motions to the dog to be\n silent and threatens it with two fingers, just like George\n miming a pistol. Jack collapses and plays dead. The cop has", "On the floor, below the smoke, Jack flees the room and runs\n off while George suffocates but continues to struggle with\n the cans of reels.", "An extract from \"Tears of Love\" in which we see George, holding\n the young woman in his arms, take part in a cliché-d African", "causing him pain, but he opens a drawer and takes out his\n belongings: a top hat which he snaps open, and a mask, which\n he puts over his head to conceal his eyes.", "She stares at him, more in love than ever, delighted to be\n there. The police wait for someone to give orders. George\n doesn't quite know what to do. Nobody moves. The young woman", "George goes into his house that has been disfigured by the\n fire. The flames have changed everything and the atmosphere,\n here again, seems ghostly and sad.\n 39.", "(120) George puts the pistol into his mouth. Jack is barking\n like mad. George, still in the same position, closes his\n eyes.\n 40.", "There's madness in his eyes as he watches the fire take hold.\n We can see his pleasure at seeing the flames spread. But he's", "A little later, and alone, he's exploring the house. It's\n richly and tastefully decorated, highly personal. He goes", "evil\". He thinks for a moment, then pulls of another sheet to\n reveal a piece of furniture. Once again it's a piece that used\n to belong to him and we recognize it from having seen it at the" ], [ "Not knowing what to do, the cop motions to the dog to be\n silent and threatens it with two fingers, just like George\n miming a pistol. Jack collapses and plays dead. The cop has", "stops immediately to show the cop he wants to take him with\n him. The cop still doesn't understand, it's the woman who\n tells him what he must do. The cop seems to understand, has a", "She stares at him, more in love than ever, delighted to be\n there. The police wait for someone to give orders. George\n doesn't quite know what to do. Nobody moves. The young woman", "The cop smiles, carries on talking, then stops. He thinks\n he's talking to a madman. He doesn't persist, merely sizes", "95 INT. GEORGE'S HOUSE - DAY 95\n\n A completely unconscious George, overcome by the fumes, is\n dragged out of the fire by the policeman.", "George up and, once he's decided that he's harmless, the cop\n walks off. George, totally bewildered by the incident, seems\n to lose his grip on himself a little more.", "until he finally arrives flat out at George's home. The cop\n sees the smoke coming out of the house. He runs into the smoke.", "finally bursts out laughing, which, after a moment of shock,\n causes George to laugh too, thus placating the cops and tacitly\n signaling to the photographers that they can take pictures of", "moment of doubt, and then starts following the dog. Jack\n encourages him to go faster, but the cop resists to begin\n with. Little by little though, as though realizing the", "(93) Jack barks louder and louder. The policeman feels\n uncomfortable. A woman is watching the scene inquisitively.", "George's house. The policeman doesn't understand, however, and\n pushes it away with his foot. The dog persists and barks but\n the cop just wants to be left in peace.", "up, a swell in the crowd pushes her underneath the arms of the\n policeman in front of her, out of the crowd and into George.", "They come out the house. George is still clutching the reel. A\n crowd has formed, people recognize him. One woman feels sorry\n for him, a man runs for help. George is unconscious.", "The guard who got knocked out picks himself up, realizes what's\n happened and dashes over to his office. He grabs a radio\n emitter and begins sending a message.", "A cop comes up to George and begins talking to him in a\n friendly manner. He speaks but we don't know what about. There", "Jack spots a cop at a junction. He takes hold of the cop's\n trouser leg with his teeth and tries to pull him towards", "Using his fingers, the hero pretends to shoot his dog. The\n dog collapses, plays dead. The guard, increasingly curious,\n gets to his feet. He slowly approaches the motionless dog.", "As he comes off stage, George gets soundly told off by\n Constance, but, still grinning, he motions towards the\n audience who are still asking for more. The producer,", "George walks towards them when he sees them. The closer he gets\n to them, however, the more his expression tightens. We realize\n that the butler is none other than the distinguished-looking", "George is hurt. He gets up and, before he leaves, gestures\n silently that if she wants his place all she has to do is\n take it. She watches him leave and immediately regrets what\n she's just said." ] ]

[ "What newspaper publishes a photo of Peppy's meeting with Valentin?", "What headline does Variety run the Peppy story with?", "What historical financial event takes place in 1929?", "What new genre of motion picture does Peppy become a star of?", "What old genre of motion picture was Valentin a star of?", "Who buys Valentin's possessions in an auction?", "Which picture is Valentin found holding in a burning apartment?", "What does Peppy threaten to do if Zimmer does not include Valentin in a new picture?", "What talent does Valentin discover works in talking pictures?", "How does Peppy Miller meet George Valentin?", "What is Peppy's trademark?", "Why is Valentin's new picture unsuccessful?", "What happens as a result of Valentin's picture failing?", "Who saves Valentin from the apartment fire?", "What was the only picture saved from the fire?", "Who bought Valentin's items that were up for auction?", "What does Peppy catch Valentin doing in his apartment after the fire?", "What type of silent picture do Valentin and Peppy make together?", "Who accidentally bumps into George Valentin?", "What does Peppy audition as?", "What is Peppy's trademark?", "What does Valentin do to his collection?", "Who becomes more successful?", "What is Valentin forced to do after going bankrupt?", "Who purchases all of Valentin's effects?", "Who is working for Peppy?", "Who attempts to commit suicide?", "What is Valentine's accent?", "How do Valentin and Peppy meet?", "Who buys all of Valentin's things at auction?", "What is Peppy's trademark?", "What type of accent does Valentin have?", "What day is Valentin's opening?", "Where does Valentin move after he is kicked out by his wife?", "Who lives with Valentin?", "What is Valentin's plan for the handgun?", "What was Valentin holding when the policeman found him in the fire?", "Who gets the policeman?" ]

[ [ "Variety", "Variety." ], [ "Who's that girl?", "Who's that Girl?" ], [ "The stock market crash", "1929 stock market crash" ], [ "Talking pictures", "musicals" ], [ "Silent pictures", "silent films" ], [ "Peppy", "Peppy buys them" ], [ "Peppy's dancing picture", "a film of him and Peppy dancing" ], [ "Quit acting", "Quit Kinograph" ], [ "Dancing", "Tap dancing" ], [ "She accidentally bumps into him on a movie set.", "She bumped into him at a photo shoot" ], [ "A beauty mark.", "Dancing" ], [ "Most of his normal audience goes to see Peppy's new movie instead.", "Due to the beginning of sound in movies" ], [ "He goes bankrupt and his wife kicks him out.", "Bankruptcy" ], [ "His dog.", "a policeman" ], [ "The film where he danced with Peppy.", "The film of Valentin and Peppy dancing together." ], [ "Peppy.", "Peppy." ], [ "Valentin was trying to kill himself.", "He was attempting suicide" ], [ "A musical", "dance picture" ], [ "Peppy Miller.", "Peppy Miller" ], [ "Peppy auditions as a dancer. ", "As a dancer" ], [ "A beauty spot.", "A beauty spot." ], [ "Valentin sets a match and a blaze erupts.", "He burns all of the films, save for one." ], [ "Peppy.", "Peppy" ], [ "Valentin is forced to to auction off all of his effects. ", "Auction off all of his belongings." ], [ "Peppy, ", "peppy" ], [ "Clifton.", "Clifton" ], [ "Valentine.", "Valentin" ], [ "French. ", "French" ], [ "Peppy bumps into Valentin at a premiere", "by accident outside valentin's premiere night" ], [ "Peppy", "It was Peppy" ], [ "Her beauty mark", "a beauty spot" ], [ "French", "He has a French accent." ], [ "The day the stock market crashed", "The day of the 1929 Stock market crash" ], [ "To an apartment", "into an apartment with clifton and his dog" ], [ "Clifford and his dog", "His valet and chaueffer, Clifton." ], [ "He is going to kill himself", "He plans to use it to kill himself." ], [ "him dancing with peppy", "a single film canister" ], [ "Valentin's dog", "Valentin's dog" ] ]

[ [ "MIKE\n No, \"The Ugly Truth.\"\n (to Abby)\n Hasn't he ever seen our show?", "ABBY\n That was pretty much the all-time\n worst first date ever.\n\n COLIN\n Gee, thanks.\n\n Mike looks worried.", "Abby sits there, fuming that he's right.\n\n ABBY\n I could be having sex right now --\n\n MIKE\n Yeah, thanks to me.", "ABBY\n (rapid fire)\n It's fifteen seconds every hour of\n Mike telling an Ugly Truth\n and...Jesus...GOD, they're good.", "MIKE\n Oh, shit.\n\n ABBY\n Oh, shit.\n\n Colin is now just staring at her.", "MIKE\n (then; realizing)\n Hey, what do you know? You're not\n ugly at all.\n\n ABBY\n Imagine my relief.", "MIKE\n (whispering)\n Just a guy I'm seeing. It's nothing\n serious.\n\n Abby hesitates. Mike shoves her.", "ABBY\n I broke up with Colin in Los\n Angeles, jackass.\n\n Mike is thrown, turning to look at her.\n\n MIKE\n What?", "Abby finally loosens her grip on Mike. Hair askew, he looks a\n little like he's been hit by a cyclone.", "MIKE\n But your imaginary boyfriend's the\n truth?\n\n ABBY\n For your information, I happened to\n meet him last night.", "MIKE\n (to Abby)\n Where are you going with this? No\n guy wants to hear that!", "ABBY (CONT'D)\n (shouting)\n Who is it?\n\n MIKE (0.S.)\n It's Mike!", "MIKE\n I'm Mike Alexander and we're back\n with the \"The Ugly Truth.\" Tonight,", "MIKE\n Thank your pussy for me, then.\n\n Abby gags as she pushes past him and walks out.", "ABBY\n (mocking)\n \"I'm Mike Alexander. I like girls\n in Jello. I like to fuck like a", "ABBY\n I look like a hooker.\n\n MIKE\n That's a good thing.\n\n She falls, KNOCKING OVER a large display of shoes.", "Abby, now infuriated, picks up the phone and begins dialing.\n\n WE INTERCUT between the stage and her apartment, as Mike\n continues his rant.", "Abby heads toward the door, but quickly realizes she's still\n holding the remote. She tosses it in her purse, then opens\n the door.\n\n Mike stands there out of breath, dressed in a suit.", "ABBY\n (skeptical)\n You're in love with me. Really.\n Why?\n\n MIKE\n Beats the shit out of me, but I am.", "MIKE\n You're a deeply, deeply disturbed\n person.\n\n Switching tactics, Abby slips into seductress mode, tracing\n her finger up and down his arm." ], [ "MIKE\n Laugh.\n\n Abby is baffled but proceeds to laugh awkwardly. Colin looks\n at her.\n\n COLIN\n What's so funny?", "MIKE\n Oh, shit.\n\n ABBY\n Oh, shit.\n\n Colin is now just staring at her.", "ABBY\n That was pretty much the all-time\n worst first date ever.\n\n COLIN\n Gee, thanks.\n\n Mike looks worried.", "ABBY\n Dude, what the fuck?!\n\n COLIN\n What?\n\n Abby blanches, waiting for Mike instructions.", "MIKE\n He likes you, by the way. Colin. I\n can tell.\n\n ABBY\n Really?\n\n Colin walks up.", "ABBY\n I broke up with Colin in Los\n Angeles, jackass.\n\n Mike is thrown, turning to look at her.\n\n MIKE\n What?", "ABBY\n Your joke.\n\n COLIN\n What joke?\n\n MIKE\n Shit, he was serious?", "ABBY (cont'd)\n Should I tell Colin to go?\n\n Mike looks away.", "MIKE\n My point is, Colin likes the Mike\n version of Abby, not the Abby", "Mike's driving. In the passenger seat, Abby turns to Colin,\n who sits in the back.", "Abby sits there, fuming that he's right.\n\n ABBY\n I could be having sex right now --\n\n MIKE\n Yeah, thanks to me.", "ABBY\n I can't. I have a date with Colin.\n\n MIKE\n We'll pick him up on the way.", "COLIN\n Oh.\n\n MIKE\n (whispering)\n Hang on a sec.\n\n ABBY\n Hang on a sec.", "ABBY (cont'd)\n Colin would never like a girl like\n that.\n\n MIKE\n I forgot, Colin only likes \"women\n of quality.\"", "COLIN (O.S.)\n It's Colin.\n\n ABBY\n Oh my God!\n\n MIKE\n Told you he'd drop by.", "ABBY\n (cutting him off)\n Colin called. He wants to get\n together again.\n\n MIKE\n Cool.", "MIKE\n Abby, listen -- tell him you saw\n him looking at another girl. It's\n the only way out of this.", "COLIN (0.S.)\n Abby wait...\n\n Mike pops up from under the couch. He gives her the thumbs\n up.", "MIKE\n I know you think Colin is above it\n all, but he's a guy. If he's even", "MIKE\n I just came by to tell Abby about\n the change in our flight time. But\n I can tell her later.\n\n Abby appears behind Colin." ], [ "Mike approaches them.\n\n MIKE\n You hear about the ratings? *\n\n ABBY\n Yes... *", "Abby watches. Mike walks over to join her.\n\n MIKE\n What did you think?\n\n ABBY\n It was good.", "MIKE\n Well, Jay, let me tell ya --\n\n He hesitates, then looks at Abby for a moment. She gives him\n an encouraging nod. He gains confidence, and continues.", "ABBY (cont'd)\n They're very -- oh!\n\n Abby grabs Mike's arm, yanking him back down, in the throes\n of panic and pleasure.", "Abby now sits in the audience, watching as Jay interviews\n Mike on stage.", "ABBY\n (chanting)\n I am an award-winning news\n producer. I am an award-winning\n news producer...\n\n A KNOCK. Then the door opens and Mike appears.", "Abby finally loosens her grip on Mike. Hair askew, he looks a\n little like he's been hit by a cyclone.", "MIKE\n Maybe.\n\n She gives him a look.\n\n ABBY\n Actually, I kind of like it.\n\n MIKE\n Really...", "MIKE (CONT'D)\n Okay, that was a little over the\n top, but nice try.\n\n ABBY\n Thank you.", "MIKE. She throws her arms around him, embracing him.\n\n ABBY\n You did it! You did it!\n\n Mike pulls back, a little uncomfortable.", "Abby glares at Mike, not realizing they're still on the air.\n\n ABBY\n (freaked)\n I hate you so much I just swore on\n live television.", "MIKE\n (whispering)\n Just a guy I'm seeing. It's nothing\n serious.\n\n Abby hesitates. Mike shoves her.", "STUART\n See, what did I tell you? He's\n great.\n\n MIKE\n Thanks, boss.\n\n Abby spins to face Stuart.", "ABBY (CONT'D)\n (shouting)\n Who is it?\n\n MIKE (0.S.)\n It's Mike!", "Abby, now infuriated, picks up the phone and begins dialing.\n\n WE INTERCUT between the stage and her apartment, as Mike\n continues his rant.", "ABBY\n Why would I --\n\n MIKE\n Just do it.\n\n She answers the phone.\n\n ABBY\n Hey, Doug.", "Abby sits there, fuming that he's right.\n\n ABBY\n I could be having sex right now --\n\n MIKE\n Yeah, thanks to me.", "Mike looks at her, surprised.\n\n MIKE\n That might be the nicest thing\n you've ever said to me.\n\n ABBY\n Your welcome.", "MIKE\n Oh, shit.\n\n ABBY\n Oh, shit.\n\n Colin is now just staring at her.", "ABBY\n I broke up with Colin in Los\n Angeles, jackass.\n\n Mike is thrown, turning to look at her.\n\n MIKE\n What?" ], [ "MIKE\n Laugh.\n\n Abby is baffled but proceeds to laugh awkwardly. Colin looks\n at her.\n\n COLIN\n What's so funny?", "ABBY\n Your joke.\n\n COLIN\n What joke?\n\n MIKE\n Shit, he was serious?", "ABBY\n Dude, what the fuck?!\n\n COLIN\n What?\n\n Abby blanches, waiting for Mike instructions.", "ABBY (cont'd)\n Should I tell Colin to go?\n\n Mike looks away.", "MIKE\n Oh, shit.\n\n ABBY\n Oh, shit.\n\n Colin is now just staring at her.", "ABBY\n I broke up with Colin in Los\n Angeles, jackass.\n\n Mike is thrown, turning to look at her.\n\n MIKE\n What?", "MIKE\n He likes you, by the way. Colin. I\n can tell.\n\n ABBY\n Really?\n\n Colin walks up.", "ABBY\n That was pretty much the all-time\n worst first date ever.\n\n COLIN\n Gee, thanks.\n\n Mike looks worried.", "Mike's driving. In the passenger seat, Abby turns to Colin,\n who sits in the back.", "MIKE\n My point is, Colin likes the Mike\n version of Abby, not the Abby", "COLIN (O.S.)\n It's Colin.\n\n ABBY\n Oh my God!\n\n MIKE\n Told you he'd drop by.", "ABBY\n (mocking)\n \"I'm Mike Alexander. I like girls\n in Jello. I like to fuck like a", "ABBY (cont'd)\n Colin would never like a girl like\n that.\n\n MIKE\n I forgot, Colin only likes \"women\n of quality.\"", "MIKE\n I just came by to tell Abby about\n the change in our flight time. But\n I can tell her later.\n\n Abby appears behind Colin.", "Mike leaps over the couch and hides. As Abby walks over to\n the door and opens it. Colin stands there.\n\n ABBY\n Oh. Hey.", "COLIN\n Oh.\n\n MIKE\n (whispering)\n Hang on a sec.\n\n ABBY\n Hang on a sec.", "ABBY\n (whispering)\n Now what?\n\n MIKE\n Make him suffer.", "ABBY\n (cutting him off)\n Colin called. He wants to get\n together again.\n\n MIKE\n Cool.", "ABBY\n (sarcastic)\n Oh, ha ha. That's very funny.\n (pretending to be Mike)\n \"Are you wearing underwear?\"", "Abby giggles. Mike is struck by the sound of her laughter.\n\n MIKE (CONT\"D)\n That was perfect. You have a\n perfect laugh. Real or fake?" ], [ "ABBY\n I broke up with Colin in Los\n Angeles, jackass.\n\n Mike is thrown, turning to look at her.\n\n MIKE\n What?", "ABBY\n Mike, what are you doing here?\n\n MIKE\n Just leaving.\n\n He turns and goes.", "ABBY (cont'd)\n They're very -- oh!\n\n Abby grabs Mike's arm, yanking him back down, in the throes\n of panic and pleasure.", "Abby finally loosens her grip on Mike. Hair askew, he looks a\n little like he's been hit by a cyclone.", "Abby, now infuriated, picks up the phone and begins dialing.\n\n WE INTERCUT between the stage and her apartment, as Mike\n continues his rant.", "Abby tries to kick Mike. As she does, she unwittingly knocks\n over her purse. The contents spill out and the REMOTE for", "MIKE (CONT'D)\n Okay, that was a little over the\n top, but nice try.\n\n ABBY\n Thank you.", "Abby heads toward the door, but quickly realizes she's still\n holding the remote. She tosses it in her purse, then opens\n the door.\n\n Mike stands there out of breath, dressed in a suit.", "MIKE\n I just came by to tell Abby about\n the change in our flight time. But\n I can tell her later.\n\n Abby appears behind Colin.", "MIKE\n (whispering)\n Just a guy I'm seeing. It's nothing\n serious.\n\n Abby hesitates. Mike shoves her.", "ABBY\n (tense)\n I'm working on it.\n\n She hangs up as Mike and his Agent approach.", "MIKE. She throws her arms around him, embracing him.\n\n ABBY\n You did it! You did it!\n\n Mike pulls back, a little uncomfortable.", "Abby sits there, fuming that he's right.\n\n ABBY\n I could be having sex right now --\n\n MIKE\n Yeah, thanks to me.", "MIKE\n I'm not going anywhere with you.\n\n Mike starts to climb out.\n\n ABBY\n What a shock. You're bailing.", "MIKE\n You have to come with me.\n\n ABBY\n Where?", "MIKE\n Abby? What are you doing here?\n\n Abby glares at him, about to show her true feelings, but then\n quickly covers. Smiling.", "Abby and Mike sit in the backseat. Abby looks down at her\n notes.\n\n ABBY\n Okay, so let's go over the pre-\n interview questions.", "ABBY\n Why would I --\n\n MIKE\n Just do it.\n\n She answers the phone.\n\n ABBY\n Hey, Doug.", "MIKE\n You're a deeply, deeply disturbed\n person.\n\n Switching tactics, Abby slips into seductress mode, tracing\n her finger up and down his arm.", "ABBY\n (into phone)\n And you're sure he checked out?\n Okay, thanks.\n\n She hangs up the phone. A FLIGHT ATTENDANT approaches her." ], [ "ABBY\n I broke up with Colin in Los\n Angeles, jackass.\n\n Mike is thrown, turning to look at her.\n\n MIKE\n What?", "He keeps walking as she tries to keep up.\n\n ABBY (cont'd)\n He just showed up to surprise me.", "ABBY\n Nothing. I'm just so -- surprised\n to see you.", "ABBY\n (into phone)\n And you're sure he checked out?\n Okay, thanks.\n\n She hangs up the phone. A FLIGHT ATTENDANT approaches her.", "Abby enters, looking amazing in a little black dress and\n sling backs. Her hair and make-up are sexy but not trashy.", "Abby heads toward the door, but quickly realizes she's still\n holding the remote. She tosses it in her purse, then opens\n the door.\n\n Mike stands there out of breath, dressed in a suit.", "She turns, mortified, to see JIM, 30's and good-looking.\n Actually, he's better looking in person than in his photo.\n Abby gulps.", "COLIN (O.S.)\n It's Colin.\n\n ABBY\n Oh my God!\n\n MIKE\n Told you he'd drop by.", "MIKE\n Abby? What are you doing here?\n\n Abby glares at him, about to show her true feelings, but then\n quickly covers. Smiling.", "ABBY (CONT'D)\n (shouting)\n Who is it?\n\n MIKE (0.S.)\n It's Mike!", "ABBY\n Colin?\n\n COLIN\n You were expecting someone else?\n\n ABBY\n (recovering)\n Uh, no --", "At the counter, Abby introduces Colin to Joy. As Colin turns\n away to get his latte, Joy falls to the ground in a MOCK\n SWOON. Colin sees this and, concerned, rushes to help Joy up.", "A concerned look from Abby as...the phone rings. Her caller\n I.D. says SACRAMENTO MED. *", "He KNOCKS on Abby's door. After a second it opens and --\n\n There's Colin, standing there SHIRTLESS.", "43 INT. KPHX - CORRIDOR - DAY - MOMENTS LATER 43\n\n Abby walks down the corridor. She turns the corner and comes\n face to face with Mike.", "Colin opens the door to find Abby standing there.\n\n COLIN\n Hey, you're early --\n\n ABBY\n Yeah...", "ABBY (cont'd)\n They're very -- oh!\n\n Abby grabs Mike's arm, yanking him back down, in the throes\n of panic and pleasure.", "Mike leaps over the couch and hides. As Abby walks over to\n the door and opens it. Colin stands there.\n\n ABBY\n Oh. Hey.", "STUART\n See, what did I tell you? He's\n great.\n\n MIKE\n Thanks, boss.\n\n Abby spins to face Stuart.", "Abby follows his gaze -- and sees SHE'S ON IT. Everyone at\n the stadium is looking at her. The organ player bangs out\n \"Charge.\" The stadium starts WHOOPING and HOLLERING." ], [ "MIKE\n Good night.\n\n Mike starts out the elevator, then returns, grabbing Abby.\n And suddenly --\n\n They're ALL OVER EACH OTHER.", "Mike and Abby make their way onto the crowded dance floor.\n\n ABBY\n Mike, no --\n\n MIKE\n You'll be fine.", "92 INT. UNIVERSAL HILTON - ELEVATOR - NIGHT 92\n\n Mike and Abby ride up the elevator.", "Abby finally loosens her grip on Mike. Hair askew, he looks a\n little like he's been hit by a cyclone.", "84 EXT. HOTEL - DAY 84\n\n Mike walks out of the lobby, as Abby gets out of a cab,\n suitcase in hand.", "MIKE\n (whispering)\n Just a guy I'm seeing. It's nothing\n serious.\n\n Abby hesitates. Mike shoves her.", "Abby heads toward the door, but quickly realizes she's still\n holding the remote. She tosses it in her purse, then opens\n the door.\n\n Mike stands there out of breath, dressed in a suit.", "ABBY (cont'd)\n They're very -- oh!\n\n Abby grabs Mike's arm, yanking him back down, in the throes\n of panic and pleasure.", "Abby and Mike keep kissing as the balloon sails into the\n sunset, and we FADE TO BLACK, then CUT TO --", "Mike backs out of the elevator, looking shell-shocked. The\n doors close. Abby is flushed and stunned.\n\n ABBY (cont'd)\n Wow.", "MIKE\n Abby -- I really need to kiss you\n again. And not just in a one-night\n stand way, in a totally different\n way. Oh fuck, what am I doing?", "ABBY\n Mike, wait -- tell me what just\n happened in the elevator.\n\n They hold eye contact for a very long moment.", "MIKE\n Good night.\n\n Neither lets go. They give a longer kiss.\n\n ABBY\n Good night.", "MIKE\n How convenient.\n\n ABBY\n I thought it was you at the door.\n\n He stops and looks at her.", "44 INT. ABBY'S OFFICE - DAY - CONTINUOUS 44\n\n Abby enters her office. Mike follows her.", "Abby watches. Mike walks over to join her.\n\n MIKE\n What did you think?\n\n ABBY\n It was good.", "Abby sits there, fuming that he's right.\n\n ABBY\n I could be having sex right now --\n\n MIKE\n Yeah, thanks to me.", "MIKE\n Maybe.\n\n She gives him a look.\n\n ABBY\n Actually, I kind of like it.\n\n MIKE\n Really...", "MIKE. She throws her arms around him, embracing him.\n\n ABBY\n You did it! You did it!\n\n Mike pulls back, a little uncomfortable.", "ABBY\n Mike, what are you doing here?\n\n MIKE\n Just leaving.\n\n He turns and goes." ], [ "ABBY\n Take Mike Alexander, for instance.\n He up and quit the show without so\n much as a word. You think you know", "ABBY\n I broke up with Colin in Los\n Angeles, jackass.\n\n Mike is thrown, turning to look at her.\n\n MIKE\n What?", "Abby finally loosens her grip on Mike. Hair askew, he looks a\n little like he's been hit by a cyclone.", "ABBY\n (tense)\n I'm working on it.\n\n She hangs up as Mike and his Agent approach.", "ABBY\n Mike, what are you doing here?\n\n MIKE\n Just leaving.\n\n He turns and goes.", "Abby now sits in the audience, watching as Jay interviews\n Mike on stage.", "ABBY (cont'd)\n They're very -- oh!\n\n Abby grabs Mike's arm, yanking him back down, in the throes\n of panic and pleasure.", "Abby, now infuriated, picks up the phone and begins dialing.\n\n WE INTERCUT between the stage and her apartment, as Mike\n continues his rant.", "Mike approaches them.\n\n MIKE\n You hear about the ratings? *\n\n ABBY\n Yes... *", "ABBY\n (chanting)\n I am an award-winning news\n producer. I am an award-winning\n news producer...\n\n A KNOCK. Then the door opens and Mike appears.", "Abby slips out of frame just in time. Mike looks to the\n camera.", "MIKE (CONT'D)\n Now, if you'll follow me we have\n something quite different...\n\n He starts to walk off the set.", "MIKE. She throws her arms around him, embracing him.\n\n ABBY\n You did it! You did it!\n\n Mike pulls back, a little uncomfortable.", "Abby glares at Mike, not realizing they're still on the air.\n\n ABBY\n (freaked)\n I hate you so much I just swore on\n live television.", "MIKE\n Well, Jay, let me tell ya --\n\n He hesitates, then looks at Abby for a moment. She gives him\n an encouraging nod. He gains confidence, and continues.", "ABBY\n There is no way Mike Alexander is\n going to stay on my show. I want\n you to skewer him. Make him look", "44 INT. ABBY'S OFFICE - DAY - CONTINUOUS 44\n\n Abby enters her office. Mike follows her.", "Abby heads toward the door, but quickly realizes she's still\n holding the remote. She tosses it in her purse, then opens\n the door.\n\n Mike stands there out of breath, dressed in a suit.", "ABBY\n Why would I --\n\n MIKE\n Just do it.\n\n She answers the phone.\n\n ABBY\n Hey, Doug.", "STUART\n See, what did I tell you? He's\n great.\n\n MIKE\n Thanks, boss.\n\n Abby spins to face Stuart." ], [ "Abby finally loosens her grip on Mike. Hair askew, he looks a\n little like he's been hit by a cyclone.", "ABBY\n (skeptical)\n You're in love with me. Really.\n Why?\n\n MIKE\n Beats the shit out of me, but I am.", "ABBY (cont'd)\n They're very -- oh!\n\n Abby grabs Mike's arm, yanking him back down, in the throes\n of panic and pleasure.", "MIKE\n Good night.\n\n Mike starts out the elevator, then returns, grabbing Abby.\n And suddenly --\n\n They're ALL OVER EACH OTHER.", "Mike and Abby make their way onto the crowded dance floor.\n\n ABBY\n Mike, no --\n\n MIKE\n You'll be fine.", "MIKE\n He likes you, by the way. Colin. I\n can tell.\n\n ABBY\n Really?\n\n Colin walks up.", "MIKE. She throws her arms around him, embracing him.\n\n ABBY\n You did it! You did it!\n\n Mike pulls back, a little uncomfortable.", "Abby sits there, fuming that he's right.\n\n ABBY\n I could be having sex right now --\n\n MIKE\n Yeah, thanks to me.", "MIKE\n (whispering)\n Just a guy I'm seeing. It's nothing\n serious.\n\n Abby hesitates. Mike shoves her.", "MIKE\n Maybe.\n\n She gives him a look.\n\n ABBY\n Actually, I kind of like it.\n\n MIKE\n Really...", "Mike looks at her, surprised.\n\n MIKE\n That might be the nicest thing\n you've ever said to me.\n\n ABBY\n Your welcome.", "MIKE\n Well, Jay, let me tell ya --\n\n He hesitates, then looks at Abby for a moment. She gives him\n an encouraging nod. He gains confidence, and continues.", "MIKE\n Abby -- I really need to kiss you\n again. And not just in a one-night\n stand way, in a totally different\n way. Oh fuck, what am I doing?", "ABBY\n Mike, what are you doing here?\n\n MIKE\n Just leaving.\n\n He turns and goes.", "Abby watches. Mike walks over to join her.\n\n MIKE\n What did you think?\n\n ABBY\n It was good.", "MIKE\n Oh, shit.\n\n ABBY\n Oh, shit.\n\n Colin is now just staring at her.", "MIKE\n How convenient.\n\n ABBY\n I thought it was you at the door.\n\n He stops and looks at her.", "ABBY (CONT'D)\n (shouting)\n Who is it?\n\n MIKE (0.S.)\n It's Mike!", "Abby heads toward the door, but quickly realizes she's still\n holding the remote. She tosses it in her purse, then opens\n the door.\n\n Mike stands there out of breath, dressed in a suit.", "Mike's driving. In the passenger seat, Abby turns to Colin,\n who sits in the back." ], [ "ABBY\n Yes, the city gets treated to\n flower-vagina metaphors. Georgia\n O'Keefe would be so pleased.", "Abby follows his gaze -- and sees SHE'S ON IT. Everyone at\n the stadium is looking at her. The organ player bangs out\n \"Charge.\" The stadium starts WHOOPING and HOLLERING.", "Then, he takes her in his arms, completely self-assured, and\n starts leading her in a salsa dance and...\n\n ...he's good. But not just good. Great.", "82 EXT. AIRPORT - DAY 82\n\n An airplane lands at LAX.\n\n83 INT. CAB - DAY 83", "Abby, still in her undies, trudges up the steps. She opens\n her front door. Her calico cat D'ARTAGNAN, 9, skeptical and\n easily annoyed, stares up at her.", "He hustles her out of the room. A moment after the door\n closes, Mike rushes back in and hangs up the ringing phone.\n He smiles, then bolts.", "Abby, now in pajamas, flosses her teeth. She hears a noise\n coming from her bedroom and looks to see D'Artagnan's paw in\n the fish bowl, trying to scoop up a goldfish.", "A car speeds past, honking obnoxiously at Abby. The cat races\n away, then climbs up a LARGE TREE beside one of the condos.\n Abby sighs and follows.", "They are now FIFTEEN FEET ABOVE THE GROUND. And rising. He\n stops climbing, as the balloon continues to float up and\n away.", "(CONTINUED)\n 3.", "She walks out and Colin closes the door. Realizing that he\n still has the cat in his arms, he opens the door to find --", "For about five seconds. Then she looks at her watch.\n\n ABBY (cont'd)\n We've got an early flight tomorrow.\n We should go.", "In the midst of this, the elevators try to close but their\n furious groping blocks it, until --\n\n A shrill BUZZING begins. They abruptly step apart staring at\n each other.", "D'Artagnan safely in hand, she looks around and notices she's\n just outside a window. She looks in and sees --", "(CONTINUED)\n 19.", "(CONTINUED)\n 13.", "MIKE\n (wowed; to camera)\n Zoom in on this, guys. I want the\n whole city to see how lucky I am.", "Abby opens her mouth, about to make a retort, then realizes\n what's been said to her. For the first time in her life, she\n stops thinking and --", "She walks off. Confused by her reaction, he follows.", "(CONTINUED)\n 17." ], [ "ON TV: Mike's face appears.\n\n MIKE (ON T.V.)\n Face it, you're ugly!", "19 INT. ABBY'S CONDO - BEDROOM - NIGHT 19\n\n WE PAN off the television to the bed, where Abby now watches,\n appalled.", "Abby follows his gaze -- and sees SHE'S ON IT. Everyone at\n the stadium is looking at her. The organ player bangs out\n \"Charge.\" The stadium starts WHOOPING and HOLLERING.", "Abby picks up the remote, snaps the TV on to \"Nightline\" with\n Brian Williams.", "127 INT. MIKE'S APARTMENT - DAY - CONTINUOUS 127\n\n Jonah now sits with Elizabeth. They both stare at the TV in\n shock.", "Jack Magnum does his intro, now standing in a balloon basket.\n\n JACK MAGNUM (ON T.V.)\n ...and this is The Ugly Truth!", "ON TV - the channel jumps to a cable access show. MIKE\n ALEXANDER, 30's, handsome but not pretty, proudly dressed in\n an outfit that costs less than fifty dollars, addresses the\n camera.", "ABBY\n Oh my God. It's that cable access\n jackass Stuart was talking about.\n\n20 INT. CHANNEL 83 - STAGE - NIGHT 20", "Stuart flips off the TV, talking on his cell phone.\n\n STUART\n (into phone)\n Did you get him? Is he ours?", "Stuart watches, worried, as Abby rises from underneath the\n table, clutching her head and looking around frantically,\n trying to figure out who has the remote.\n\n AT THE NEXT TABLE", "Abby checks herself out in the mirror. Now in the underwear.\n She downs a glass of wine, sits on the bed and picks up the\n remote. She turns it on. Nothing happens. She tries again.\n Nothing.", "ABBY\n This is channel two. You do know\n that the lower numbers are better,\n right? More people watch. So don't", "GIRL'S VOICE (V.O.)\n Hey, Mike, it's Valerie. I haven't\n heard from you in a while. But I\n just saw you on TV. You were great!", "110 INT. MIKE'S APARTMENT - DAY - CONTINUOUS 110\n\n Mike stares at Abby on TV for a second, then grabs his keys.", "ABBY (ON T.V.)\n (nervous)\n Hi! I'm sorry, but Jack Magnum will", "107 INT. MIKE'S APARTMENT - DAY - CONTINUOUS 107\n\n Mike sits down on the couch to watch.", "ABBY\n (re the cameras)\n What's this?\n\n MIKE\n Hope you don't mind, but we're\n live.", "18 INT. CHANNEL 83 - STAGE - NIGHT 18\n\n \"The Ugly Truth\", live on air. The look of the show's set is\n low-rent cable TV.", "posters spelling the word \"LOVE\" are destroyed by Mike with a\n variety of weapons. The theme sequence ends and CUTS TO --", "Traumatized, she reads off the teleprompter. *" ], [ "ABBY\n You already hired him?!\n\n MIKE\n (re Abby)\n Who's this delightful creature?\n\n ABBY\n Your superior.", "STUART\n One word. Ratings. Say hello to our\n new guest commentator. I'm starting\n him with two segments a week. Three\n minutes a pop.", "and lo and behold, people liked\n what I had to say. Then I decided\n what the hell, I need my own show.\n I have a message people need to", "18 INT. CHANNEL 83 - STAGE - NIGHT 18\n\n \"The Ugly Truth\", live on air. The look of the show's set is\n low-rent cable TV.", "AGENT\n Uh --\n\n ABBY\n (cutting him off)\n You entertain people with your\n moronery. And they love you for it.", "this man and his local public\n access show, \"The Ugly Truth,\" have\n brought things to a new low. With\n that, we welcome Mike Alexander.", "MIKE\n Yep.\n\n JONAH\n Why do you look like a lawyer?\n\n MIKE\n New station. New wardrobe.", "ABBY\n Oh my God. It's that cable access\n jackass Stuart was talking about.\n\n20 INT. CHANNEL 83 - STAGE - NIGHT 20", "Mike's on autopilot.\n\n MIKE\n Love it.\n\n BIG WIG\n And this is Joe, your new producer.", "A cage of randy Bonobos getting it on. Mike, in a gorilla\n suit, does a segment. Next to him is an anthropologist, DR.\n LESTER.", "A \"Tonight Show\" handler in a headset readies a visibly\n nervous Mike backstage. Mike's Agent stands next to him,\n giving him a pep talk as Abby watches skeptically.", "Larry's wife and co-anchor, GEORGIA, 40 and coiffed to the\n gills, storms in, followed by the show's GUEST CHEF.", "STUART\n I just found out Mike was offered a\n job by the local NBC affiliate at\n twice the pay. This Leno thing is\n his audition.", "She gestures to -- BOB and HAROLD from Corporate, who sit in\n the audience.\n\n Mike looks momentarily surprised, then --", "AGENT\n Are you ready for this? I just got\n you on to \"The Tonight Show\". They\n want you as a guest.\n\n Mike is stunned.", "LARRY, 50's, the pompous, uptight anchor man, catches up to\n them. He wears a makeup bib.\n\n ABBY\n Morning, Larry.", "STUART\n I don't know, but I'm scaling back\n the news and giving it to \"The Ugly\n Truth.\" Corporate wants five\n minutes of Mike Alexander, five\n days a week.", "Abby glares at Mike, not realizing they're still on the air.\n\n ABBY\n (freaked)\n I hate you so much I just swore on\n live television.", "ABBY\n Who are you?\n\n MIKE\n This is Rick. My agent.\n\n ABBY\n Since when do you have an agent?", "DORI\n I get crap every time I suggest we\n do something even remotely fluffy\n and now you're gonna put this\n douchebag on the air?" ], [ "Colin gives a wave and walks toward his condo. Abby pretends\n to enter her house until she sees Colin close his front door.\n Then, she turns around and rushes over to --", "She walks out and Colin closes the door. Realizing that he\n still has the cat in his arms, he opens the door to find --", "She hustles him out the door.\n\n ABBY (CONT'D)\n Bye.\n\n Colin bangs on the door.", "AT THE NEXT TABLE", "sound of her voice and it occurs to\n you that ever since you walked down\n the aisle, you're living with\n someone who can barely tolerate", "Abby, still in her undies, trudges up the steps. She opens\n her front door. Her calico cat D'ARTAGNAN, 9, skeptical and\n easily annoyed, stares up at her.", "He hustles her out of the room. A moment after the door\n closes, Mike rushes back in and hangs up the ringing phone.\n He smiles, then bolts.", "Abby opens the door to find a gift bag on her doorstep, with\n a card that reads: \"This present isn't for you. It's for your", "MIKE\n No teaching the teacher.\n\n Just then, the doorbell RINGS.\n\n ABBY\n Who is it?", "There's a KNOCK at the door. She leaps up, smooths her hair,\n checks her reflection, and goes to the door. Opening it with\n a smile, she finds --", "MIKE\n Right...weren't items one through\n nine something to do with him\n pretty much being gay?\n\n Abby puts her key in the door.", "ABBY\n Great.\n\n Abby smacks the remote a few times. The DOORBELL rings.", "A car speeds past, honking obnoxiously at Abby. The cat races\n away, then climbs up a LARGE TREE beside one of the condos.\n Abby sighs and follows.", "NEARBY, Joy taps her watch.\n\n JOY\n We have ten seconds.\n\n An OVERZEALOUS BALLOON PILOT walks up.", "Colin opens the door to find Abby standing there.\n\n COLIN\n Hey, you're early --\n\n ABBY\n Yeah...", "NEARBY, Mike watches this, unseen and impassive.\n\n COLIN\n Well, I can't say it was boring.", "Abby, now in pajamas, flosses her teeth. She hears a noise\n coming from her bedroom and looks to see D'Artagnan's paw in\n the fish bowl, trying to scoop up a goldfish.", "MIKE\n How convenient.\n\n ABBY\n I thought it was you at the door.\n\n He stops and looks at her.", "D'Artagnan safely in hand, she looks around and notices she's\n just outside a window. She looks in and sees --", "Abby heads toward the door, but quickly realizes she's still\n holding the remote. She tosses it in her purse, then opens\n the door.\n\n Mike stands there out of breath, dressed in a suit." ], [ "ELIZABETH\n Did he just say --\n\n JONAH\n \"Love\"?", "JOY\n What? I'm married. I live\n vicariously through your dating\n life. And I really think that this", "ABBY\n The only thing you burst is your\n credibility. Men are absolutely\n capable of experiencing love.\n\n MIKE\n Okay, I'll bite. Who's the guy?", "Then, he takes her in his arms, completely self-assured, and\n starts leading her in a salsa dance and...\n\n ...he's good. But not just good. Great.", "MIKE\n Rule number three. Never talk about\n your problems. Men don't really\n listen or care.\n\n ABBY\n Some men care.", "MIKE (CONT'D)\n You want to be a lonely hag, then\n keep reading these stupid books.\n You want a relationship, here's how", "ABBY\n What?\n\n MIKE\n The guy, Mr. Wonderful, the one\n who's so capable of love. Who is\n he? What's he like?", "They want us to think that we break\n their hearts for sport. That's\n crap. They say they want romance.\n They say they want true love, but", "ABBY\n (skeptical)\n You're in love with me. Really.\n Why?\n\n MIKE\n Beats the shit out of me, but I am.", "ABBY\n (confused)\n People liked him?!\n\n STUART\n Liked him? They loved him.", "As he arrives he greets his groomsman, JONAH, also wearing a\n tux. He only has eyes for Joy, Abby's bridesmaid.", "Let me assure you, you're in good\n hands. You're looking at a guy\n who's personally had sex with over", "ABBY\n Well, technically eight and a half.\n He said he could cook, but when I\n pressed him, he was completely", "She follows his moves, half-shocked and half-turned on. He\n pulls her in a bit closer, and for the first time, she allows\n herself to be led without trying to control the situation.", "He chuckles, hands her D'Artagnan.\n\n COLIN\n Good night.", "MIKE\n Rule number four. Men are very\n visual. Ninety percent of a\n relationship is based on how good\n the woman looks. We have to change\n your look.", "MIKE\n He likes you, by the way. Colin. I\n can tell.\n\n ABBY\n Really?\n\n Colin walks up.", "ABBY\n He's really a great guy, isn't he?\n\n MIKE\n Yeah, he's dreamy.", "Then she sinks back down, spent. Harold and Bob applaud, as\n do the twins. Relieved, Stuart turns to Bob and Harold.\n\n STUART\n See what I mean about her?", "version of Abby. So, don't go\n knocking my words of wisdom when\n you're living proof that they work." ], [ "MIKE\n Good night.\n\n Mike starts out the elevator, then returns, grabbing Abby.\n And suddenly --\n\n They're ALL OVER EACH OTHER.", "MIKE\n So, the elevator wasn't a gesture?\n\n ABBY\n The elevator was a moment of\n passion, followed by a moment of\n panic on your part, apparently.", "The elevator comes to a stop.\n\n MIKE (CONT'D)\n My floor. See you tomorrow.\n\n ABBY\n Bright and early.", "ABBY\n Mike, wait -- tell me what just\n happened in the elevator.\n\n They hold eye contact for a very long moment.", "In the midst of this, the elevators try to close but their\n furious groping blocks it, until --\n\n A shrill BUZZING begins. They abruptly step apart staring at\n each other.", "Larry grabs Georgia and kisses her hard. After a moment of\n resistance, she melts into his arms. The crew goes crazy.\n Larry throws Georgia over his back and hauls her off the set.", "Mike backs out of the elevator, looking shell-shocked. The\n doors close. Abby is flushed and stunned.\n\n ABBY (cont'd)\n Wow.", "She starts to walk away when Colin stops her, grabbing her\n arm and pulling her in for a kiss.\n\n COLIN\n That definitely made up for my wet\n crotch.", "92 INT. UNIVERSAL HILTON - ELEVATOR - NIGHT 92\n\n Mike and Abby ride up the elevator.", "They hug. It's long hug. They give a quick kiss.\n\n ABBY (CONT'D) (cont'd)\n Good night.", "ABBY\n Even if they have a moment in a\n hotel elevator that's totally\n romantic and filled with potential,", "She follows his moves, half-shocked and half-turned on. He\n pulls her in a bit closer, and for the first time, she allows\n herself to be led without trying to control the situation.", "Then, he takes her in his arms, completely self-assured, and\n starts leading her in a salsa dance and...\n\n ...he's good. But not just good. Great.", "Grabs Mike and kisses the hell out of him. The sheer force of\n her kissing THROWS them into the pilot, causing --\n\n The torch to FLAME radically.", "He hustles her out of the room. A moment after the door\n closes, Mike rushes back in and hangs up the ringing phone.\n He smiles, then bolts.", "Abby and Mike keep kissing as the balloon sails into the\n sunset, and we FADE TO BLACK, then CUT TO --", "She gives him a kiss on the cheek. He grins.\n\n MIKE\n Thanks.\n\n He opens the box.", "MIKE\n Good night.\n\n Neither lets go. They give a longer kiss.\n\n ABBY\n Good night.", "Abby heads toward the door, but quickly realizes she's still\n holding the remote. She tosses it in her purse, then opens\n the door.\n\n Mike stands there out of breath, dressed in a suit.", "Colin gives a wave and walks toward his condo. Abby pretends\n to enter her house until she sees Colin close his front door.\n Then, she turns around and rushes over to --" ], [ "Abby follows his gaze -- and sees SHE'S ON IT. Everyone at\n the stadium is looking at her. The organ player bangs out\n \"Charge.\" The stadium starts WHOOPING and HOLLERING.", "(CONTINUED)\n 27.", "(CONTINUED)\n 29.", "Then she sinks back down, spent. Harold and Bob applaud, as\n do the twins. Relieved, Stuart turns to Bob and Harold.\n\n STUART\n See what I mean about her?", "(CONTINUED)\n 19.", "They are now FIFTEEN FEET ABOVE THE GROUND. And rising. He\n stops climbing, as the balloon continues to float up and\n away.", "(CONTINUED)\n 18.", "(CONTINUED)\n 17.", "(CONTINUED)\n 28.", "(CONTINUED)\n 31.", "(CONTINUED)\n 3.", "(CONTINUED)\n 13.", "(CONTINUED)\n 97.", "NEARBY, Joy taps her watch.\n\n JOY\n We have ten seconds.\n\n An OVERZEALOUS BALLOON PILOT walks up.", "(CONTINUED)\n 23.", "(CONTINUED)\n 98.", "(CONTINUED)\n 21.", "(CONTINUED)\n 11.", "(CONTINUED)\n 99.", "(CONTINUED)\n 12." ], [ "He hustles her out of the room. A moment after the door\n closes, Mike rushes back in and hangs up the ringing phone.\n He smiles, then bolts.", "JOY\n You've already rescheduled on this\n guy three times. You cancel tonight\n and he's gone. He's read more than", "He pours her a glass of wine.\n\n COLIN (cont'd)\n To the first of many romantic\n evenings to come.", "They want us to think that we break\n their hearts for sport. That's\n crap. They say they want romance.\n They say they want true love, but", "She hustles him out the door.\n\n ABBY (CONT'D)\n Bye.\n\n Colin bangs on the door.", "For about five seconds. Then she looks at her watch.\n\n ABBY (cont'd)\n We've got an early flight tomorrow.\n We should go.", "She starts to walk away when Colin stops her, grabbing her\n arm and pulling her in for a kiss.\n\n COLIN\n That definitely made up for my wet\n crotch.", "ABBY\n Sorry, about that. He was upset\n about his performance on Leno.\n\n COLIN\n No worries. The rest of the night\n is ours.", "He crosses to -- a CANDLE-LIT TABLE with a fancy dinner\n placed in the center. Several books rest beside it. Beside\n the table, a man plays violin.", "She walks out and Colin closes the door. Realizing that he\n still has the cat in his arms, he opens the door to find --", "ABBY\n Even if they have a moment in a\n hotel elevator that's totally\n romantic and filled with potential,", "He chuckles, hands her D'Artagnan.\n\n COLIN\n Good night.", "In the midst of this, the elevators try to close but their\n furious groping blocks it, until --\n\n A shrill BUZZING begins. They abruptly step apart staring at\n each other.", "She leans in closer.\n\n ABBY\n Sucker.\n\n He shoves her away.", "JIM\n Uh, no thanks. It's late. I *\n should go.\n\n He gets into his car as she hands him his doggy bag.", "Abby heads toward the door, but quickly realizes she's still\n holding the remote. She tosses it in her purse, then opens\n the door.\n\n Mike stands there out of breath, dressed in a suit.", "She walks off. Confused by her reaction, he follows.", "They hug. It's long hug. They give a quick kiss.\n\n ABBY (CONT'D) (cont'd)\n Good night.", "As he smiles smugly, Abby SCREAMS and THROWS the phone across\n the room. D'Artagnan, terrified, jumps off the bed, which is *\n now in total disarray. *", "ABBY\n I can't. I have a date with Colin.\n\n MIKE\n We'll pick him up on the way." ], [ "Abby follows his gaze -- and sees SHE'S ON IT. Everyone at\n the stadium is looking at her. The organ player bangs out\n \"Charge.\" The stadium starts WHOOPING and HOLLERING.", "He hustles her out of the room. A moment after the door\n closes, Mike rushes back in and hangs up the ringing phone.\n He smiles, then bolts.", "(CONTINUED)\n 118.", "Georgia winks at him.\n\n GEORGIA\n I hope mine do...\n\n Abby rolls her eyes as Mike walks up.", "Mike, in his suit, walks up the front steps. Jonah sits on a\n lawn chair, drinking a soda and watching --\n\n IN THE NEARBY VALLEY", "GEORGIA\n Well, what am I supposed to do,\n give up the money, so he can get an\n erection?", "(CONTINUED)\n 3.", "(CONTINUED)\n 38.", "MIKE\n This is a guy in America, right?\n You're not calling from Europe or\n anything.\n\n ABBY\n Are you interested in listening or\n not?", "(CONTINUED)\n 68.", "(CONTINUED)\n 98.", "(CONTINUED)\n 19.", "(CONTINUED)\n 18.", "(CONTINUED)\n 58.", "GEORGIA\n He's trying to kill me! He knows I\n can't eat crab, I'm allergic to it!", "Abby, still in her undies, trudges up the steps. She opens\n her front door. Her calico cat D'ARTAGNAN, 9, skeptical and\n easily annoyed, stares up at her.", "(CONTINUED)\n 17.", "(CONTINUED)\n 13.", "(CONTINUED)\n 27.", "(CONTINUED)\n 28." ], [ "A \"Tonight Show\" handler in a headset readies a visibly\n nervous Mike backstage. Mike's Agent stands next to him,\n giving him a pep talk as Abby watches skeptically.", "AGENT\n Dude, this is awesome. You're about\n to go on Leno! NBC is going to give\n you the moon --", "AGENT\n Are you ready for this? I just got\n you on to \"The Tonight Show\". They\n want you as a guest.\n\n Mike is stunned.", "ABBY\n Sorry, about that. He was upset\n about his performance on Leno.\n\n COLIN\n No worries. The rest of the night\n is ours.", "89 INT. \"TONIGHT SHOW\" - BACKSTAGE - DAY 89\n\n Abby talks on the phone.", "ABBY\n What exactly are we celebrating?\n\n MIKE\n Uh, hello? Leno? I was just on it.\n Maybe you saw?", "AGENT\n Since he became the hottest thing\n in morning TV.\n\n MIKE\n Holy shit. Leno? This is amazing.", "MIKE\n Jay Leno wants me on his show?\n You're shitting me.\n\n Abby looks at the agent, confused.", "ABBY\n Oh my God. It's that cable access\n jackass Stuart was talking about.\n\n20 INT. CHANNEL 83 - STAGE - NIGHT 20", "STUART\n I just found out Mike was offered a\n job by the local NBC affiliate at\n twice the pay. This Leno thing is\n his audition.", "The audience applauds as Mike takes a deep breath and heads\n on stage.\n\n87 INT. \"TONIGHT SHOW\" STAGE - DAY - MOMENTS LATER 87", "Let me assure you, you're in good\n hands. You're looking at a guy\n who's personally had sex with over", "and lo and behold, people liked\n what I had to say. Then I decided\n what the hell, I need my own show.\n I have a message people need to", "JAY LENO (O.S.)\n And that was Kiku, the penguin that\n flies! Next up, here to tell us\n The Ugly Truth, is Mike Alexander --", "18 INT. CHANNEL 83 - STAGE - NIGHT 18\n\n \"The Ugly Truth\", live on air. The look of the show's set is\n low-rent cable TV.", "LARRY, 50's, the pompous, uptight anchor man, catches up to\n them. He wears a makeup bib.\n\n ABBY\n Morning, Larry.", "Abby picks up the remote, snaps the TV on to \"Nightline\" with\n Brian Williams.", "defined by the easy times, Larry,\n he's defined by the difficult ones.\n Can you imagine Ted Koppel or Chris\n Hansen or Anderson Cooper having", "JONAH\n If you know so much about chicks,\n why are you sitting here playing\n \"Fight Night\" with me when you\n could be out with the Jello girls?", "DORI\n (to Josh)\n See that? You wouldn't even know\n what syphilis looks like if it\n weren't for my story on Paris\n Hilton." ], [ "Abby opens her mouth, about to make a retort, then realizes\n what's been said to her. For the first time in her life, she\n stops thinking and --", "She pulls the towel away and looks up, trying not to make eye\n contact with the one-eyed trouser snake staring back at her.\n\n ABBY\n Hi, I'm Abby.", "Abby follows his gaze -- and sees SHE'S ON IT. Everyone at\n the stadium is looking at her. The organ player bangs out\n \"Charge.\" The stadium starts WHOOPING and HOLLERING.", "Then, he takes her in his arms, completely self-assured, and\n starts leading her in a salsa dance and...\n\n ...he's good. But not just good. Great.", "Abby, still in her undies, trudges up the steps. She opens\n her front door. Her calico cat D'ARTAGNAN, 9, skeptical and\n easily annoyed, stares up at her.", "Abby, now in pajamas, flosses her teeth. She hears a noise\n coming from her bedroom and looks to see D'Artagnan's paw in\n the fish bowl, trying to scoop up a goldfish.", "ABBY\n Well, technically eight and a half.\n He said he could cook, but when I\n pressed him, he was completely", "She follows his moves, half-shocked and half-turned on. He\n pulls her in a bit closer, and for the first time, she allows\n herself to be led without trying to control the situation.", "She walks off. Confused by her reaction, he follows.", "Then she sinks back down, spent. Harold and Bob applaud, as\n do the twins. Relieved, Stuart turns to Bob and Harold.\n\n STUART\n See what I mean about her?", "She walks out and Colin closes the door. Realizing that he\n still has the cat in his arms, he opens the door to find --", "ABBY\n (confused)\n People liked him?!\n\n STUART\n Liked him? They loved him.", "(CONTINUED)\n 17.", "(CONTINUED)\n 3.", "He chuckles, hands her D'Artagnan.\n\n COLIN\n Good night.", "They are now FIFTEEN FEET ABOVE THE GROUND. And rising. He\n stops climbing, as the balloon continues to float up and\n away.", "D'Artagnan safely in hand, she looks around and notices she's\n just outside a window. She looks in and sees --", "(CONTINUED)\n 19.", "And his mother called him \"Bucky\". *", "He hustles her out of the room. A moment after the door\n closes, Mike rushes back in and hangs up the ringing phone.\n He smiles, then bolts." ], [ "ABBY\n (into phone)\n And you're sure he checked out?\n Okay, thanks.\n\n She hangs up the phone. A FLIGHT ATTENDANT approaches her.", "ABBY (cont'd)\n He's a doctor. An orthopedic\n surgeon, actually.", "Abby is now on a total tear.", "ABBY\n (impressed)\n You're a doctor?\n\n COLIN\n An orthopedic surgeon.", "ABBY\n Oh my God, I'm so sorry.\n\n She grabs a napkin and starts rubbing his khakis.", "Abby continues her impassioned tirade.", "ABBY\n Mike, what are you doing here?\n\n MIKE\n Just leaving.\n\n He turns and goes.", "Abby enters, looking amazing in a little black dress and\n sling backs. Her hair and make-up are sexy but not trashy.", "ABBY (CONT'D)\n Now there's a man. Not some five\n foot nine scotch drinker who lies\n about cumin.\n\n She heads into the bathroom.", "ABBY\n Well, I guess I should get going\n now.\n\n She remains rooted to her spot. He waits a beat then, feeling\n awkward, makes a move to open the door.", "ABBY (cont'd)\n They're very -- oh!\n\n Abby grabs Mike's arm, yanking him back down, in the throes\n of panic and pleasure.", "anymore, Abby. You're good at what\n you do, but you've got to get me\n some numbers. I've got two\n daughters in college and a son in", "ABBY\n Says the man who's never made a\n gesture except for this one --\n\n She makes the universally known \"jack-off\" hand gesture.", "ABBY\n That is not true.\n\n BY THE CAMERAMAN, Joy shrugs.\n\n JOY\n Well, kinda true.", "She turns, mortified, to see JIM, 30's and good-looking.\n Actually, he's better looking in person than in his photo.\n Abby gulps.", "ABBY\n (frowning)\n One second --\n\n Abby quickly throws on her skirt and hurries toward the\n living room.", "Abby opens her mouth, about to make a retort, then realizes\n what's been said to her. For the first time in her life, she\n stops thinking and --", "ABBY (CONT'D)\n (shouting)\n Who is it?\n\n MIKE (0.S.)\n It's Mike!", "ABBY\n (dreamily)\n Me, too.\n (off his look; realizing)\n Just -- scratch that.", "12 CONTINUED: 12\n ABBY (cont'd)\n It's filtered water, which is" ], [ "Mike plays poker with his buddies: DWAYNE (30's, chubby),", "Mike walks over to a chalk board with the word \"LOVE\" on it.\n He crosses it out and writes \"LUST.\"", "MIKE\n Well, Jay, let me tell ya --\n\n He hesitates, then looks at Abby for a moment. She gives him\n an encouraging nod. He gains confidence, and continues.", "MIKE (CONT'D)\n Although you won't admit it, you\n know I know what I'm talking about.\n (beat)\n It's your call, dude.", "Mike gives a cocky wave.\n\n MIKE\n How ya doing, guys?", "Abby now sits in the audience, watching as Jay interviews\n Mike on stage.", "MIKE\n Because then you'll have to admit\n that I know more about this stuff\n than you do.\n\n They stare each other down. Then Mike looks at his watch.", "Mike's on autopilot.\n\n MIKE\n Love it.\n\n BIG WIG\n And this is Joe, your new producer.", "MIKE\n Oh, I'm all over this.\n\n He races out, as Jonah calls after him.", "MIKE\n He likes you, by the way. Colin. I\n can tell.\n\n ABBY\n Really?\n\n Colin walks up.", "At this, a slick AGENT in a suit, 30's, walks up and slaps\n Mike on the shoulder.", "He hustles her out of the room. A moment after the door\n closes, Mike rushes back in and hangs up the ringing phone.\n He smiles, then bolts.", "STUART\n His name is Mike Alexander.", "MIKE\n Who?\n\n JAY\n The girl who screwed you up. She\n must have been a doozy.", "STUART\n See, what did I tell you? He's\n great.\n\n MIKE\n Thanks, boss.\n\n Abby spins to face Stuart.", "MIKE\n What's your boyfriend's name,\n princess?\n\n FEMALE CALLER (O.S.)\n I'm not seeing anyone right now\n but --", "Mike waves him off, trying to remain focused on Abby.\n\n MIKE\n (to Abby)\n You're so much more interesting and\n informed.", "Abby finally loosens her grip on Mike. Hair askew, he looks a\n little like he's been hit by a cyclone.", "Mike, in his suit, walks up the front steps. Jonah sits on a\n lawn chair, drinking a soda and watching --\n\n IN THE NEARBY VALLEY", "MIKE\n (horrified)\n Indeed you did.\n\n DWAYNE\n Here's to implants!\n\n Steve clinks his beer bottle against Mike's." ], [ "Abby sits there, fuming that he's right.\n\n ABBY\n I could be having sex right now --\n\n MIKE\n Yeah, thanks to me.", "ABBY (cont'd)\n They're very -- oh!\n\n Abby grabs Mike's arm, yanking him back down, in the throes\n of panic and pleasure.", "MIKE (cont'd)\n (off her look)\n What? It's the exact same thing,\n isn't it?\n\n ABBY\n So I've been told.", "Abby finally loosens her grip on Mike. Hair askew, he looks a\n little like he's been hit by a cyclone.", "ABBY (CONT'D)\n (shouting)\n Who is it?\n\n MIKE (0.S.)\n It's Mike!", "MIKE\n You know what that means?\n\n ABBY\n What?", "ABBY\n I broke up with Colin in Los\n Angeles, jackass.\n\n Mike is thrown, turning to look at her.\n\n MIKE\n What?", "MIKE. She throws her arms around him, embracing him.\n\n ABBY\n You did it! You did it!\n\n Mike pulls back, a little uncomfortable.", "ABBY\n Mike, what are you doing here?\n\n MIKE\n Just leaving.\n\n He turns and goes.", "ABBY\n Really? That's it? That's all you\n have to say.\n\n MIKE\n What else do you want me to say?", "Abby tries to kick Mike. As she does, she unwittingly knocks\n over her purse. The contents spill out and the REMOTE for", "MIKE\n (whispering)\n Just a guy I'm seeing. It's nothing\n serious.\n\n Abby hesitates. Mike shoves her.", "MIKE\n Laugh.\n\n Abby is baffled but proceeds to laugh awkwardly. Colin looks\n at her.\n\n COLIN\n What's so funny?", "Mike looks at her, surprised.\n\n MIKE\n That might be the nicest thing\n you've ever said to me.\n\n ABBY\n Your welcome.", "ABBY\n (skeptical)\n You're in love with me. Really.\n Why?\n\n MIKE\n Beats the shit out of me, but I am.", "ABBY\n (whispering)\n Now what?\n\n MIKE\n Make him suffer.", "ABBY (cont'd)\n (to Mike)\n You're right. I had a momentary\n lapse in judgement where I thought", "MIKE\n You hate the truth?\n\n ABBY\n Your skewed perception of male-\n female interaction is not \"the\n truth\".", "MIKE\n Well, Jay, let me tell ya --\n\n He hesitates, then looks at Abby for a moment. She gives him\n an encouraging nod. He gains confidence, and continues.", "MIKE\n Oh, shit.\n\n ABBY\n Oh, shit.\n\n Colin is now just staring at her." ], [ "Colin gives a wave and walks toward his condo. Abby pretends\n to enter her house until she sees Colin close his front door.\n Then, she turns around and rushes over to --", "She turns, mortified, to see JIM, 30's and good-looking.\n Actually, he's better looking in person than in his photo.\n Abby gulps.", "ABBY\n (to Colin)\n Were you looking at another girl?\n\n COLIN\n Who?\n\n ABBY\n Uh -- her?", "ABBY\n He's really a great guy, isn't he?\n\n MIKE\n Yeah, he's dreamy.", "MIKE\n He likes you, by the way. Colin. I\n can tell.\n\n ABBY\n Really?\n\n Colin walks up.", "ABBY\n Oh, he's very real. Not to mention\n stunningly handsome and morally\n sound. His name's Colin.\n (MORE)", "At the counter, Abby introduces Colin to Joy. As Colin turns\n away to get his latte, Joy falls to the ground in a MOCK\n SWOON. Colin sees this and, concerned, rushes to help Joy up.", "She hustles him out the door.\n\n ABBY (CONT'D)\n Bye.\n\n Colin bangs on the door.", "Abby leans over his shoulder.\n\n ABBY\n (to the camera)\n Isn't it beautiful?", "Abby follows his gaze -- and sees SHE'S ON IT. Everyone at\n the stadium is looking at her. The organ player bangs out\n \"Charge.\" The stadium starts WHOOPING and HOLLERING.", "even be too late. Even if you do\n salvage the situation, you'll\n probably never be more than Abby,\n his desperate neighbor.", "ABBY\n Colin?\n\n COLIN\n You were expecting someone else?\n\n ABBY\n (recovering)\n Uh, no --", "ABBY\n (mocking)\n \"I'm Mike Alexander. I like girls\n in Jello. I like to fuck like a", "She pulls the towel away and looks up, trying not to make eye\n contact with the one-eyed trouser snake staring back at her.\n\n ABBY\n Hi, I'm Abby.", "She leans in closer.\n\n ABBY\n Sucker.\n\n He shoves her away.", "ABBY (CONT'D)\n (shouting)\n Who is it?\n\n MIKE (0.S.)\n It's Mike!", "He KNOCKS on Abby's door. After a second it opens and --\n\n There's Colin, standing there SHIRTLESS.", "Suddenly we hear a CRACK, and the branch breaks. Colin looks\n out the window and makes eye contact with Abby just as --\n\n ABBY (CONT'D)\n Ahhhh!", "ABBY\n (impressed)\n You're a doctor?\n\n COLIN\n An orthopedic surgeon.", "ABBY\n Why do you like me?\n\n COLIN\n Well, you're beautiful, you're\n smart --" ], [ "MIKE\n He likes you, by the way. Colin. I\n can tell.\n\n ABBY\n Really?\n\n Colin walks up.", "MIKE\n Laugh.\n\n Abby is baffled but proceeds to laugh awkwardly. Colin looks\n at her.\n\n COLIN\n What's so funny?", "MIKE\n Oh, shit.\n\n ABBY\n Oh, shit.\n\n Colin is now just staring at her.", "ABBY\n Dude, what the fuck?!\n\n COLIN\n What?\n\n Abby blanches, waiting for Mike instructions.", "Mike's driving. In the passenger seat, Abby turns to Colin,\n who sits in the back.", "MIKE\n My point is, Colin likes the Mike\n version of Abby, not the Abby", "ABBY\n I can't. I have a date with Colin.\n\n MIKE\n We'll pick him up on the way.", "ABBY\n I broke up with Colin in Los\n Angeles, jackass.\n\n Mike is thrown, turning to look at her.\n\n MIKE\n What?", "ABBY\n Your joke.\n\n COLIN\n What joke?\n\n MIKE\n Shit, he was serious?", "ABBY (cont'd)\n Should I tell Colin to go?\n\n Mike looks away.", "ABBY\n That was pretty much the all-time\n worst first date ever.\n\n COLIN\n Gee, thanks.\n\n Mike looks worried.", "ABBY\n (cutting him off)\n Colin called. He wants to get\n together again.\n\n MIKE\n Cool.", "COLIN (O.S.)\n It's Colin.\n\n ABBY\n Oh my God!\n\n MIKE\n Told you he'd drop by.", "COLIN\n Oh.\n\n MIKE\n (whispering)\n Hang on a sec.\n\n ABBY\n Hang on a sec.", "MIKE\n I just came by to tell Abby about\n the change in our flight time. But\n I can tell her later.\n\n Abby appears behind Colin.", "Mike leaps over the couch and hides. As Abby walks over to\n the door and opens it. Colin stands there.\n\n ABBY\n Oh. Hey.", "ABBY (cont'd)\n Colin would never like a girl like\n that.\n\n MIKE\n I forgot, Colin only likes \"women\n of quality.\"", "COLIN\n Are we ready to go? I know Abby\n is.\n\n Harold and Bob shake hands with Mike.\n\n HAROLD\n Keep up the good work, Mike.", "COLIN (0.S.)\n Abby wait...\n\n Mike pops up from under the couch. He gives her the thumbs\n up.", "MIKE\n (whispering)\n Just a guy I'm seeing. It's nothing\n serious.\n\n Abby hesitates. Mike shoves her." ], [ "MIKE\n Laugh.\n\n Abby is baffled but proceeds to laugh awkwardly. Colin looks\n at her.\n\n COLIN\n What's so funny?", "MIKE\n He likes you, by the way. Colin. I\n can tell.\n\n ABBY\n Really?\n\n Colin walks up.", "MIKE\n Oh, shit.\n\n ABBY\n Oh, shit.\n\n Colin is now just staring at her.", "ABBY\n Dude, what the fuck?!\n\n COLIN\n What?\n\n Abby blanches, waiting for Mike instructions.", "ABBY\n I broke up with Colin in Los\n Angeles, jackass.\n\n Mike is thrown, turning to look at her.\n\n MIKE\n What?", "ABBY\n (cutting him off)\n Colin called. He wants to get\n together again.\n\n MIKE\n Cool.", "MIKE\n (whispering)\n Just a guy I'm seeing. It's nothing\n serious.\n\n Abby hesitates. Mike shoves her.", "MIKE\n My point is, Colin likes the Mike\n version of Abby, not the Abby", "Abby looks at him, nodding, then --\n\n ABBY\n You know what? I am like that.\n\n COLIN\n What do you mean?", "Mike's driving. In the passenger seat, Abby turns to Colin,\n who sits in the back.", "Abby sits there, fuming that he's right.\n\n ABBY\n I could be having sex right now --\n\n MIKE\n Yeah, thanks to me.", "ABBY\n Why would I --\n\n MIKE\n Just do it.\n\n She answers the phone.\n\n ABBY\n Hey, Doug.", "ABBY (cont'd)\n Should I tell Colin to go?\n\n Mike looks away.", "COLIN\n Oh.\n\n MIKE\n (whispering)\n Hang on a sec.\n\n ABBY\n Hang on a sec.", "ABBY\n I can't. I have a date with Colin.\n\n MIKE\n We'll pick him up on the way.", "Mike leaps over the couch and hides. As Abby walks over to\n the door and opens it. Colin stands there.\n\n ABBY\n Oh. Hey.", "COLIN (0.S.)\n Abby wait...\n\n Mike pops up from under the couch. He gives her the thumbs\n up.", "ABBY\n Your joke.\n\n COLIN\n What joke?\n\n MIKE\n Shit, he was serious?", "COLIN (O.S.)\n It's Colin.\n\n ABBY\n Oh my God!\n\n MIKE\n Told you he'd drop by.", "MIKE\n I just came by to tell Abby about\n the change in our flight time. But\n I can tell her later.\n\n Abby appears behind Colin." ], [ "Abby looks worried.\n\n ABBY\n Please tell me you're not thinking\n of killing the show.", "ABBY\n What? When?\n\n Cliff shrugs. Abby is pissed.\n\n ABBY\n This is my show.", "ABBY\n Hi, stupid motherfucker who'd still\n be on cable access if it weren't\n for me. I hear you're moving to\n NBC.", "Abby holds up a piece of paper.\n\n ABBY\n I've got a whole list of ideas on\n how to improve ratings. We don't\n need him.", "ABBY\n I can't be letting corporate\n management dictate the content of\n this show. This is my show. I\n control it.", "anymore, Abby. You're good at what\n you do, but you've got to get me\n some numbers. I've got two\n daughters in college and a son in", "ABBY\n There is no way Mike Alexander is\n going to stay on my show. I want\n you to skewer him. Make him look", "Abby glares at Mike, not realizing they're still on the air.\n\n ABBY\n (freaked)\n I hate you so much I just swore on\n live television.", "ABBY\n This is channel two. You do know\n that the lower numbers are better,\n right? More people watch. So don't", "Mike approaches them.\n\n MIKE\n You hear about the ratings? *\n\n ABBY\n Yes... *", "As Abby shakes her head in disgust, a P.A. walks up and hands *\n her a sheet of paper.\n\n P.A. *\n Yesterday's ratings.", "ABBY\n Take Mike Alexander, for instance.\n He up and quit the show without so\n much as a word. You think you know", "Abby sinks down into a chair. *\n\n CLIFF\n And we're out.\n\n He cuts to BLACK.", "ABBY\n (nervous)\n Cliff, let's go to commercial.\n\n CLIFF\n Stuart told me to keep rolling, no\n matter what.", "STUART *\n (into camera) *\n You've got to do it for ratings, *\n Abby. We have no choice. *", "ABBY\n (impatient)\n Unless the NRA is paying your\n mortgage this month, I say lose the\n fucking gun.", "ABBY\n Keep it clean, keep it moving, and\n stick to the script. You're on a\n live affiliate network news", "ABBY\n Okay, that's a problem.\n (thinking, then...)\n Call Matt Hardwick down at Media", "ABBY\n Your joke.\n\n COLIN\n What joke?\n\n MIKE\n Shit, he was serious?", "ABBY (cont'd)\n They're very -- oh!\n\n Abby grabs Mike's arm, yanking him back down, in the throes\n of panic and pleasure." ], [ "MIKE (CONT'D)\n Although you won't admit it, you\n know I know what I'm talking about.\n (beat)\n It's your call, dude.", "He hustles her out of the room. A moment after the door\n closes, Mike rushes back in and hangs up the ringing phone.\n He smiles, then bolts.", "MIKE\n Oh, I'm all over this.\n\n He races out, as Jonah calls after him.", "At this, a slick AGENT in a suit, 30's, walks up and slaps\n Mike on the shoulder.", "MIKE (CONT'D)\n Now, if you'll follow me we have\n something quite different...\n\n He starts to walk off the set.", "Mike hangs up the phone.", "MIKE\n Because then you'll have to admit\n that I know more about this stuff\n than you do.\n\n They stare each other down. Then Mike looks at his watch.", "Mike's on autopilot.\n\n MIKE\n Love it.\n\n BIG WIG\n And this is Joe, your new producer.", "ABBY\n (tense)\n I'm working on it.\n\n She hangs up as Mike and his Agent approach.", "MIKE\n Okay, well then you know I turned\n it down. If it weren't for you, I'd", "Mike scoffs, but he's thrown. He takes a moment, then...", "STUART\n I just found out Mike was offered a\n job by the local NBC affiliate at\n twice the pay. This Leno thing is\n his audition.", "JONAH\n Dude, check this out. Your\n replacement's on.\n\n MIKE\n My what?\n\n Mike looks over to see --", "Mike hangs up the phone.\n\n MIKE\n Always make an impression. Let's\n get out of here. We have work to\n do.", "Mike finally wakes up a bit. Turns to Joe, a balding\n nebbish.", "Mike walks over to a chalk board with the word \"LOVE\" on it.\n He crosses it out and writes \"LUST.\"", "Mike is cut off by Cliff in the booth.\n\n CLIFF (O.S.)\n And camera one. Action Mike.", "ABBY\n Mike, what are you doing here?\n\n MIKE\n Just leaving.\n\n He turns and goes.", "MIKE (cont'd)\n Now tell him good night and stick\n your tits out. We're going to give\n this one last shot.", "Abby finally loosens her grip on Mike. Hair askew, he looks a\n little like he's been hit by a cyclone." ], [ "ABBY\n I broke up with Colin in Los\n Angeles, jackass.\n\n Mike is thrown, turning to look at her.\n\n MIKE\n What?", "ABBY\n What?!\n\n Repulsed, she flinches, losing control of her drink, DUMPING\n it into Colin's lap. He flinches.", "She hustles him out the door.\n\n ABBY (CONT'D)\n Bye.\n\n Colin bangs on the door.", "ABBY (CONT'D)\n Thanks again for saving me.\n\n COLIN\n Any time.", "MIKE\n Oh, shit.\n\n ABBY\n Oh, shit.\n\n Colin is now just staring at her.", "ABBY\n Colin?\n\n COLIN\n You were expecting someone else?\n\n ABBY\n (recovering)\n Uh, no --", "ABBY\n Oh. Okay...\n\n COLIN\n What's the matter?", "Abby looks at him, nodding, then --\n\n ABBY\n You know what? I am like that.\n\n COLIN\n What do you mean?", "ABBY\n (to Colin)\n Were you looking at another girl?\n\n COLIN\n Who?\n\n ABBY\n Uh -- her?", "ABBY\n Ahhh!!!\n\n Abby FALLS to the ground but --\n\n Colin CATCHES her. But only for a moment.", "ABBY\n Why do you like me?\n\n COLIN\n Well, you're beautiful, you're\n smart --", "ABBY (cont'd)\n Colin would never like a girl like\n that.\n\n MIKE\n I forgot, Colin only likes \"women\n of quality.\"", "He smiles, amused.\n\n COLIN\n You're not what I'm used to.\n\n ABBY\n (sighing)\n I know...", "Colin opens the door to find Abby standing there.\n\n COLIN\n Hey, you're early --\n\n ABBY\n Yeah...", "ABBY\n I'm such an idiot --\n\n She starts doing a SELF-HATING SPAZZY DANCE, mocking her\n previous dance. Just as Colin opens the door again --", "He KNOCKS on Abby's door. After a second it opens and --\n\n There's Colin, standing there SHIRTLESS.", "MIKE\n Laugh.\n\n Abby is baffled but proceeds to laugh awkwardly. Colin looks\n at her.\n\n COLIN\n What's so funny?", "At the counter, Abby introduces Colin to Joy. As Colin turns\n away to get his latte, Joy falls to the ground in a MOCK\n SWOON. Colin sees this and, concerned, rushes to help Joy up.", "ABBY\n Dude, what the fuck?!\n\n COLIN\n What?\n\n Abby blanches, waiting for Mike instructions.", "Abby takes Colin's card from her wallet, dials a number,\n then --" ] ]

[ "After a disasterous date, what does Abby do after listening to Mike's show the Ugly Truth?", "If Mike's advice fails to help Abby land Colin, what has Mike agreed to do?", "What happens to Abby's show's ratings after Mike starts his segment?", "Based on Mike's advice, what should Abby do in response to jokes from Collin?", "Where does Abby fly to attempt to get Mike to stay with her show?", "When Abby is in Los Angeles, who shows up to surprise her?", "Where in the hotel are Mike and Abby when they first kiss?", "After Mike quits Abby's show, where does he take a job?", "Where are Mike and Abbey when MIke admits he loves Abbey?", "What city does the story take place in?", "What is the name of the television program that the main character first sees?", "Who has the station manager hired to do a segment on the main characters show?", "Which person lives next door to the main character?", "Which person advises the main characters love life?", "What two characters kiss in an elevator?", "What kind of festival is used near the end of the story?", "Who is forced to cancel a romantic evening?", "What State does this story take place in?", "What well know late night talk show host is featured in this story?", "What is the name of the protagonist in the story?", "What is Abby's occupation in the story?", "Who is Mike Chadway?", "What is the source of the argument between Abby and Mike?", "What is the name of the neighbor Abby has a crush on?", "What promise does Mike make if he can't help Abby start a relationship with Colin?", "What does Abby agree to do if Mike helps her establish a relationship with Colin?", "Why does the network want to cancel Abby's show?", "Where is Mike when he's offered another job?", "Why does Abby breakup with Colin?" ]

[ [ "calls in to argue with him on-air", "She calls in to argue with Mike during the segment." ], [ "Mike agrees to leave Abbey's show.", "Leave the show" ], [ "The ratings improve.", "They improve" ], [ "She should laugh at all of his jokes.", "Always laugh at Colin's jokes. " ], [ "Los Angeles", "Los Angeles" ], [ "Collin", "Colin" ], [ "the elevator", "Los Angeles" ], [ "a rival tv station", "Sacramento" ], [ "in the balloon at the Balloon Festival", "In a hot air balloon" ], [ "Sacramento", "Sacaramento" ], [ "The Ugly Truth", "The Ugly Truth" ], [ "Mike", "Mike Chadaway" ], [ "Colin", "A doctor named Colin " ], [ "Mike", "Mike" ], [ "Mike and Abby", "Mike and Abby" ], [ "Hot air balloon", "Hot air balloon festival." ], [ "Abby", "Abby and Colin" ], [ "California", "California" ], [ "Craig Ferguson", "The Late Late Show with Colin Feguson" ], [ "Abby Ritcher", "Abby Richter" ], [ "Abby is a producer for a morning television show.", "A morning television show producer" ], [ "The host of The Ugly Truth", "A host of a show called The Ugly Truth" ], [ "Mike's cynicism about relationships. ", "Abby's love life" ], [ "Colin", "Colin." ], [ "He will leave the show.", "He will leave her show" ], [ "She will continue to work with him on the show.", "She will work with him" ], [ "Low ratings", "Low ratings" ], [ "The Late Late Show with Craig Fergusson", "on The Late Late Show with Craig Ferguson" ], [ "He doesn't like her for who she really is.", "She realizes he is only in love with the woman she's pretending to be." ] ]

[ [ "Britons. His father-in-law was the first to subject the whole island to\nthe sway of Rome. He traversed the country from south to north at the", "governed it in the reigns of Vespasian, Titus, and Domitian. He carried\nhis victorious arms northward; defeated the Britons in every encounter,", "head of his armies, explored it with his own eyes, and reported what he\nsaw to our author with his own lips. He saw the Britons too, in their", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "of Europe, but their power being broken by the Romans, and themselves\nbeing overrun and conquered by the Gothic or German Tribes, they were\npushed to the extreme western points of the continent and the British", "at length the history of his consulship and command in Britain, of which\nthe following summary, from Hume's History of England, may not be", "_Etiam tum obtinebat_, i.e. he was still in _possession of the\ngovernment_, and of course in command of the army, in Britain.", "invasion by the Irish.--_Valentissimam partem_, viz. Gaul, Spain and\nBritain.", "_Quod--fuit_. Vespasian's participation in the war against Brit. was the\ncommencement of his subsequent brilliant fortunes.", "and led on the Briton troops to battle. T. has given (Ann. 14, 30) a very\ngraphic sketch of the mixed multitude of armed men, women like furies,", "of peace. He introduced laws and civility among the Britons; taught them\nto desire and raise all the conveniences of life; reconciled them to the\nRoman language and manners; instructed them in letters and science; and", "dominion of Rome was first established in Britain under the Emperor\nClaudius. Cf. 13, supra.--The speech of A. is not equal to that of", "Galgacus. He had not so good a cause. He could not appeal to the sacred\nprinciples of justice and liberty, to the love of home and household", "virtus exercituum et Romani nominis gloria pateretur, inventus in ipsa\nBritannia terminus. Nam Clota et Bodotria, diversi maris aestibus per", "IV. _Cnaeus Julius Agricola_. Every Roman had at least three names: the", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "Britain, see Caes. B.G. 4, 21. seq.; 5, 5. seq.; Strabo, Lib. 4, &c.", "Britannia reperta atque inde in Galliam translata esse existimatur; and\nhe adds, that those who wished to gain a more perfect knowledge of the", "provinciae totius perhibetur, aggressus. Multa proelia, et aliquando non\nincruenta magnamque Brigantum partem aut victoria amplexus est aut bello.", "The history of Agricola during this period is of course the history of\nBritain. Accordingly the author prefaces it with an outline of the" ], [ "But with sufficient discernment to see the follies and vices of his age,\nand with sufficient virtue to detest them, Tacitus must have found his", "But no one, who is familiar with Seneca, will severely censure Tacitus.\nHe will only wonder that he should have risen so far above the faults of", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "Tacitus. But to say nothing of the ill adaptation of the whole plan to a\nsatirical work, there are large parts of the treatise, which must have", "_contumacia_ and _inani jactatione libertatis_ above. T. is animadverting\nupon the conduct of certain stoics and republicans, who obtruded their", "No hasty perusal, no single reading of Tacitus, will give a just\nconception of the surpassing richness of his works. They must be studied", "In an attempt to sketch the most striking features of Tacitus, as a\nwriter, no critic can omit to mention his sage and pithy maxims.", "inaction, and speaks only of their active employments, which were war and\nthe chase. It was the special object of Tacitus, on the contrary, to give", "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "Döderlein's Essay on the style of Tacitus, p. 15, in my edition of the\nHistories.", "It is objected to this date, that if Nerva were not still living, Tacitus\ncould not have failed to attach to his name (in § 3.) the epithet", "The editor is convinced, from his experience as a teacher, that the\nstudent of Tacitus will not master the difficulties, or appreciate the", "As a writer, Tacitus was not free from the faults of his age. The native\nsimplicity of Greek and Latin composition had passed away. An affected", "neither demons nor gods, but veritable men and women. In this respect, as\nalso in his descriptions of battles, Tacitus is decidedly superior to", "The age of Tacitus is usually styled the silver age of Roman Literature;\nand it merits no higher title, when compared with the golden age of", "were several of the Roman Emperors. Yet Tacitus describes few, if any, of\nthem without some of the traits of humanity. He gives us in his history", "It is generally admitted, though without direct testimony, that Tacitus\ndied not without issue. That excellent prince, M. Claudius Tacitus,", "_Et vera bona_. T. has here in mind the distinction made by philosophers,\nparticularly the Stoics, between the virtues, which they called the only", "_Quaeso_, sc. _deos_. Though _fortune_ is spoken of below, as controlling\nthe destiny of nations. This passage shows clearly that Tacitus, with all", "solitudine sua prodeuntem, nisi ut solitudinem faceret. The whole passage\nin Pliny is a graphic picture of the same tyrant, the workings of whose" ], [ "CAIUS CORNELIUS TACITUS was born in the early part of the reign of Nero,\nand near the middle of the first century in the Christian Era. The", "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "It is generally admitted, though without direct testimony, that Tacitus\ndied not without issue. That excellent prince, M. Claudius Tacitus,", "probability is, that he was the son of Cornelius Tacitus, a man of\nequestrian rank, and procurator of Belgic Gaul under Nero; that he was", "Of his marriage with the daughter of Agricola, and its influence on his\ncharacter and prospects, as also of his passing in regular gradation\nthrough the series of public honors at Rome, beginning with the", "Döderlein's Essay on the style of Tacitus, p. 15, in my edition of the\nHistories.", "The age of Tacitus is usually styled the silver age of Roman Literature;\nand it merits no higher title, when compared with the golden age of", "Tacitus was educated for the bar, and continued to plead causes,\noccasionally at least, and with not a little success, even after he had", "so acute as that of Tacitus, could not leave them out. Tacitus had long\nbeen collecting the materials for his Roman Histories. In so doing, his", "No hasty perusal, no single reading of Tacitus, will give a just\nconception of the surpassing richness of his works. They must be studied", "could not fail to be an object of deep interest at Rome. This was the\ntime when Tacitus published his work on Germany; and such are believed\nto have been the motives and the circumstances, which led to the", "of Tacitus. His books on Stratagems, and on the Aqueducts of Rome are\nstill extant.--_Super_, over and above, i.e. _besides_.", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "barely introduced in the extant books of Tacitus, but whose history is\ngiven in the books that are lost. Men of inferior rank even, who appear", "W. S. Tyler.\n\n_Amherst, May_, 1852\n\n\n\n\nLIFE OF TACITUS.", "But with sufficient discernment to see the follies and vices of his age,\nand with sufficient virtue to detest them, Tacitus must have found his", "was some twenty years later, when Tacitus and Pliny, the tried friends of\na whole life, the brightest ornaments of literature and of the forum,", "It is objected to this date, that if Nerva were not still living, Tacitus\ncould not have failed to attach to his name (in § 3.) the epithet", "Caesar and Tacitus.", "Agricola of Tacitus, and the Germania of the same author, entitle him to\nthe peculiar affection and lasting gratitude of those, whose veins flow" ], [ "The Biography of Agricola was written early in the reign of Trajan (which", "Agricola of Tacitus, and the Germania of the same author, entitle him to\nthe peculiar affection and lasting gratitude of those, whose veins flow", "The primary object of the work is sufficiently obvious. It was to honor\nthe memory of the writer's excellent father-in-law, Agricola (cf. § 3:", "Of his marriage with the daughter of Agricola, and its influence on his\ncharacter and prospects, as also of his passing in regular gradation\nthrough the series of public honors at Rome, beginning with the", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "The history of Agricola during this period is of course the history of\nBritain. Accordingly the author prefaces it with an outline of the", "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "The GERMANIA and AGRICOLA\n\nOf", "IV. _Cnaeus Julius Agricola_. Every Roman had at least three names: the", "of the writer in the very troubles through which he follows Agricola,\nconspires with the affectionate remembrance of his own loss in the death", "his troops at all events, by the offer of the best province in the Empire\nif need be; but that object having been secured by Agricola's voluntary", "honori Agricolae, mei soceri, destinatus). So far from apologizing for\nwriting the life of so near a friend, he feels assured that his motives", "Tradiderat interim Agricola successori suo provinciam quietam tutamque.\nAc, ne notabilis celebritate et frequentia occurrentium introitus esset,", "This edition of the Germania and Agricola of Tacitus is designed to meet\nthe following wants, which, it is believed, have been generally felt by\nteachers and pupils in American Colleges.", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "of Caledonia by the Romans under Agricola, can hardly be surpassed for\npatriotic sentiments, vigorous reasoning, and burning invective. The", "_Octavus annus_. This was Agricola's _seventh summer_ in Britain. See\nnote 29: _initio aestatis_. But it being now later in the season, than", "Tacitus was educated for the bar, and continued to plead causes,\noccasionally at least, and with not a little success, even after he had", "family name (Agricola). See a brief account of A. in Dion Cassius 66, 20.\nMentioned only by Dion and T. Al. Gnaeus, C. and G. being originally", "which _Agricola labored_ (H. 531; Z. 549), and the plup. covering all the\npast down to the time of his labors: he labored that the republic might" ], [ "The author does indeed, in the passage just cited, seem to appreciate\nwith almost prophetic accuracy, those dangers to the Roman Empire, which\nwere so fearfully illustrated in its subsequent fall beneath the power of", "Rome, who went in crowds to his levees. Of the time of his death, we can\nonly conjecture, that he died before the Emperor Trajan, but after his", "published such events (cf. Dio. 67, 11), and were read through the empire\n(Ann. 16, 22). T. was absent from Rome when the events here referred to", "were several of the Roman Emperors. Yet Tacitus describes few, if any, of\nthem without some of the traits of humanity. He gives us in his history", "Emperor) was, after the reckoning of Tacitus, A.U.C. 850, according to\nmodern computation, 851 = A.D. 98. This year doubtless marks the time when", "dominion of Rome was first established in Britain under the Emperor\nClaudius. Cf. 13, supra.--The speech of A. is not equal to that of", "_Suae quoque_. _His own also_, sc. as well as that of the Empire.", "Augustus. It was the good fortune of Augustus to gain the supremacy at\nRome, when society had reached its maximum of refinement, and was just", "of knowledge which were then cultivated at Rome; a conclusion in which we\nare confirmed also by the accurate and minute acquaintance which he\nshows, in his other works, with all the affairs, whether civil or", "_Divus_, with which deceased Emperors were usually honored. And from the\nomission of this epithet in connection with the name of _Nerva_, together", "In a faithful portraiture of the private and public life of the\ndegenerate Romans, there was much to call for the hand of a master in", "gods. But he makes the best of a bad cause. The speech is worthy of a\nRoman commander, and touches with masterly skill all those chords in a", "others in a line. So Ritter. Wr., and some others understand it of a\nvoyage from _Rome_, where they suppose him to have passed the winter, and", "_Non in ripa. Not only_ (or _not so much_) _on the border_ (the\nriverbank), but also within the bounds of the Roman Empire.", "Gaul, were all subject to the immediate disposal and control of the\nEmperor himself. It was the south-western part of Gaul, being enclosed by", "The boyhood and youth of Tacitus did, indeed, fall on evil times.\nMonsters in vice and crime had filled the throne, till their morals and", "sacrificed. And those Emperors, whose history is preserved entire,--with\nthem we feel acquainted, we know the controlling principles, as well as", "could not fail to be an object of deep interest at Rome. This was the\ntime when Tacitus published his work on Germany; and such are believed\nto have been the motives and the circumstances, which led to the", "the parsimony of the Emperor. On Julius Frontinus, cf. H. 4, 39. He was\nthe friend of Pliny the Younger (Plin. Ep. 9, 19) and therefore probably", "were associated by the choice of the Senate, and pleaded together at\nthe bar of the Senate, and in the presence of the Emperor Trajan, for\nthe execution of justice upon Marius Priscus, who was accused of" ], [ "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "quisquam audita morte Agricolae aut laetatus est aut statim oblitus.\nAugebat miserationem constans rumor, veneno interceptum. Nobis nihil", "of the writer in the very troubles through which he follows Agricola,\nconspires with the affectionate remembrance of his own loss in the death", "Of his marriage with the daughter of Agricola, and its influence on his\ncharacter and prospects, as also of his passing in regular gradation\nthrough the series of public honors at Rome, beginning with the", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "Agricola of Tacitus, and the Germania of the same author, entitle him to\nthe peculiar affection and lasting gratitude of those, whose veins flow", "The Biography of Agricola was written early in the reign of Trajan (which", "to the time of Domitian, whose jealousy perhaps occasioned the death of\nAgricola, and would have been offended by the very asking of permission", "honori Agricolae, mei soceri, destinatus). So far from apologizing for\nwriting the life of so near a friend, he feels assured that his motives", "(dissimulating) _genius or policy of Domitian_. The design, if not real,\nat least imputed to him, was to withdraw Agricola from his province and", "The primary object of the work is sufficiently obvious. It was to honor\nthe memory of the writer's excellent father-in-law, Agricola (cf. § 3:", "Pliny, was put to death by Vespasian. Suet. Vesp. 15; His. 4, 5; Juv.\nSat. 5, 36.", "The history of Agricola during this period is of course the history of\nBritain. Accordingly the author prefaces it with an outline of the", "temporum, fama rerum_. There is scarcely an educated youth in Christendom\nwho is not as familiar with the name of Agricola, as with that of Aeneas", "concerned_. A. died with a calmness which would scarcely admit of the\nsupposition, that he felt himself to be a victim of poison and imperial\njealousy.", "conspirationem civitatum sanciunt. 28. Usipiorum cohors miro casu\nBritanniam circumvecta. Agricolae filius obit. 29. Bellum Britanni", "his troops at all events, by the offer of the best province in the Empire\nif need be; but that object having been secured by Agricola's voluntary", "Tradiderat interim Agricola successori suo provinciam quietam tutamque.\nAc, ne notabilis celebritate et frequentia occurrentium introitus esset,", "40. Honores tamen Agricolae decerni jubet, condito odio, donec provincia\ndecedat Agricola. Is redux modeste agit. 41. Periculum ab accusatoribus" ], [ "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "Agricola of Tacitus, and the Germania of the same author, entitle him to\nthe peculiar affection and lasting gratitude of those, whose veins flow", "The primary object of the work is sufficiently obvious. It was to honor\nthe memory of the writer's excellent father-in-law, Agricola (cf. § 3:", "of the writer in the very troubles through which he follows Agricola,\nconspires with the affectionate remembrance of his own loss in the death", "The Biography of Agricola was written early in the reign of Trajan (which", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "The history of Agricola during this period is of course the history of\nBritain. Accordingly the author prefaces it with an outline of the", "reflections, they are interwoven with the narrative in a manner more easy\nand natural. The sentiments seem to be only the language of Agricola's", "honori Agricolae, mei soceri, destinatus). So far from apologizing for\nwriting the life of so near a friend, he feels assured that his motives", "instruction. The reader loves Agricola, admires him, conceives a passion\nfor him, accompanies him in his campaigns, shares in his disgrace and", "Döderlein's Essay on the style of Tacitus, p. 15, in my edition of the\nHistories.", "Of his marriage with the daughter of Agricola, and its influence on his\ncharacter and prospects, as also of his passing in regular gradation\nthrough the series of public honors at Rome, beginning with the", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "rich and instructive, like all the works of this prince of philosophical\nhistorians. In style, it is concise and nervous, yet quite rhetorical,", "subject and most natural to the author. In another writer we might call\nit labored and ambitious. But we cannot feel that it cost Tacitus very", "temporum, fama rerum_. There is scarcely an educated youth in Christendom\nwho is not as familiar with the name of Agricola, as with that of Aeneas", "elevated sentiments, and the glowing eloquence of the biographer of\nAgricola, and the historian of the Roman Empire. His youth saw, and felt,", "of Caledonia by the Romans under Agricola, can hardly be surpassed for\npatriotic sentiments, vigorous reasoning, and burning invective. The", "beauty and appropriateness (cf. notes), he sketches a brief outline of\nthe parentage, education, and early life of Agricola, but draws out more", "The age of Tacitus is usually styled the silver age of Roman Literature;\nand it merits no higher title, when compared with the golden age of" ], [ "Agricola of Tacitus, and the Germania of the same author, entitle him to\nthe peculiar affection and lasting gratitude of those, whose veins flow", "The primary object of the work is sufficiently obvious. It was to honor\nthe memory of the writer's excellent father-in-law, Agricola (cf. § 3:", "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "The Biography of Agricola was written early in the reign of Trajan (which", "Saxon ancestors, Tacitus has shown in the life of Agricola. If we add to\nhis account of the Germans and Britons, what has been transmitted to us,", "of the writer in the very troubles through which he follows Agricola,\nconspires with the affectionate remembrance of his own loss in the death", "The history of Agricola during this period is of course the history of\nBritain. Accordingly the author prefaces it with an outline of the", "his Histories, which happens to be, in part, preserved. Nor would it be\nstrange, if he should, with this view, collect a mass of materials, which", "so acute as that of Tacitus, could not leave them out. Tacitus had long\nbeen collecting the materials for his Roman Histories. In so doing, his", "_Memoriae et annalium_. Properly opposed to each other as _tradition_ and\n_written history_, though we are not to infer that written books existed\nin Germany in the age of Tacitus.", "theme for their best authors, some of whom, as Julius Caesar (to whom\nTacitus particularly refers, 28), were themselves the chief actors in\nwhat they relate. These authors, some of whose contributions to the", "honori Agricolae, mei soceri, destinatus). So far from apologizing for\nwriting the life of so near a friend, he feels assured that his motives", "argued by highly respectable scholars, that the Germania of Tacitus is\nitself only such a collection of materials, not published by the Author,\nand never intended for publication in that form. But it is quite too", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "This edition of the Germania and Agricola of Tacitus is designed to meet\nthe following wants, which, it is believed, have been generally felt by\nteachers and pupils in American Colleges.", "geographical features, the situation, soil, climate, productions and, so\nfar as known to the Romans, the past history of the island. Tacitus\npossessed peculiar advantages for being the historian of the early", "1. WORKS OF TACITUS.\n\nA. Agricola.\nAnn. Annals.\nG. Germania.\nH. Histories.\nT. Tacitus.", "reflections, they are interwoven with the narrative in a manner more easy\nand natural. The sentiments seem to be only the language of Agricola's", "The GERMANIA and AGRICOLA\n\nOf", "scenes are more grand and terrific than those of Tacitus. Military men\nand scholars have also remarked their singular correctness and\ndefiniteness. The military evolutions, the fierce encounter, the doubtful" ], [ "tyrant Domitian, but was even promoted by him to the office of\nQuindecimvir and Praetor (Ann. ii. 11). Beyond these vague notices, we", "to the time of Domitian, whose jealousy perhaps occasioned the death of\nAgricola, and would have been offended by the very asking of permission", "_Studia--acta_. Lawyers and politicians, all public men, had been gagged\nand silenced by Domitian.", "publication has been variously interpreted. From the censure which it\nfrequently passes upon the corruption and degeneracy of the times, it has\nbeen considered as a mere satire upon Roman manners, in the age of", "(dissimulating) _genius or policy of Domitian_. The design, if not real,\nat least imputed to him, was to withdraw Agricola from his province and", "Domitianum scripsit, laetatum eum velut honore judicioque: tam caeca et\ncorrupta mens assiduis adulationibus erat, ut nesciret a bono patre non", "The boyhood and youth of Tacitus did, indeed, fall on evil times.\nMonsters in vice and crime had filled the throne, till their morals and", "compliment to Nerva, if, as many critics suppose, he were still the\nreigning prince.", "_Turbae servientium_. The usual and characteristic associates, as well as\nattendants of Domitian. A severe cut, though quite incidental and very\nconcise.", "This implies that the circumstantial evidence, which he goes on to\nspecify, convinced the writer and his friends, as well as the public,\nthat poison administered by direction of Dom., was really the means of", "down, in that long night of gloom, and blood, and terror, the tyranny of\nDomitian. And when, in the reigns of Nerva and Trajan, he enjoyed the", "offerre: postremo non jam obscuri, suadentes simul terrentesque,\npertraxere ad Domitianum; qui paratus simulatione, in arrogantiam", "and deplored the disastrous effects of Nero's inhuman despotism, and of\nthe anarchy attending the civil wars of Galba, Otho, and Vitellius. His", "XLI. Crebro per eos dies apud Domitianum absens accusatus, absens\nabsolutus est. Causa periculi non crimen ullum aut querela laesi", "governed it in the reigns of Vespasian, Titus, and Domitian. He carried\nhis victorious arms northward; defeated the Britons in every encounter,", "obvium Agricolae, ne appellato quidem eo, ad Domitianum remeasse: sive\nverum istud, sive ex ingenio principis fictum ac compositum est.", "strokes, however, in which the pencil of Tacitus has sketched the\ncharacter of Domitian in the background of the picture of Agricola are", "_Divus_, with which deceased Emperors were usually honored. And from the\nomission of this epithet in connection with the name of _Nerva_, together", "The author does indeed, in the passage just cited, seem to appreciate\nwith almost prophetic accuracy, those dangers to the Roman Empire, which\nwere so fearfully illustrated in its subsequent fall beneath the power of", "_Videre_, sc. Domitianum.--_Aspici_, sc. a Domitiano. For difference in\nthe signification in these words, cf. 40: viso aspectoque, note." ], [ "hastening A. out of the world. Dion Cassius expressly affirms, that he\nwas poisoned, 66, 20.", "Ep. 9, 13. This was Helvidius the _son_, who was put to death by Dom.\n(Suet. 10), as his father was by Vesp. (Suet. 15).", "Pliny, was put to death by Vespasian. Suet. Vesp. 15; His. 4, 5; Juv.\nSat. 5, 36.", "Emperor) was, after the reckoning of Tacitus, A.U.C. 850, according to\nmodern computation, 851 = A.D. 98. This year doubtless marks the time when", "published such events (cf. Dio. 67, 11), and were read through the empire\n(Ann. 16, 22). T. was absent from Rome when the events here referred to", "Claudius (Ann. 11, 25), as well as by Vespasian (Aur. Vic. Caes. 9. Suet.", "_Quindecim annos_. The reign of Domitian from A.D. 81, to A.D. 96.", "The Biography of Agricola was written early in the reign of Trajan (which", "A.D. 94, on the occasion of Rusticus's panegyric on Thrasea. T. not\nunfrequently introduces an _additional circumstance_ by the abl. abs., as", "governed it in the reigns of Vespasian, Titus, and Domitian. He carried\nhis victorious arms northward; defeated the Britons in every encounter,", "intervened between the adoption of Trajan by Nerva, and Nerva's death\n(see Brotier and many others). But the application of the epithet in", "_Divus_, with which deceased Emperors were usually honored. And from the\nomission of this epithet in connection with the name of _Nerva_, together", "to the time of Domitian, whose jealousy perhaps occasioned the death of\nAgricola, and would have been offended by the very asking of permission", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "down, in that long night of gloom, and blood, and terror, the tyranny of\nDomitian. And when, in the reigns of Nerva and Trajan, he enjoyed the", "Rome, who went in crowds to his levees. Of the time of his death, we can\nonly conjecture, that he died before the Emperor Trajan, but after his", "It is objected to this date, that if Nerva were not still living, Tacitus\ncould not have failed to attach to his name (in § 3.) the epithet", "sacrilegiously taken away by _Nero_ for the supply of his vicious\npleasures. This explanation supposes a protasis understood, or rather", "_Turbae servientium_. The usual and characteristic associates, as well as\nattendants of Domitian. A severe cut, though quite incidental and very\nconcise.", "concerned_. A. died with a calmness which would scarcely admit of the\nsupposition, that he felt himself to be a victim of poison and imperial\njealousy." ], [ "governed it in the reigns of Vespasian, Titus, and Domitian. He carried\nhis victorious arms northward; defeated the Britons in every encounter,", "Britons. His father-in-law was the first to subject the whole island to\nthe sway of Rome. He traversed the country from south to north at the", "at length the history of his consulship and command in Britain, of which\nthe following summary, from Hume's History of England, may not be", "dominion of Rome was first established in Britain under the Emperor\nClaudius. Cf. 13, supra.--The speech of A. is not equal to that of", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "of Europe, but their power being broken by the Romans, and themselves\nbeing overrun and conquered by the Gothic or German Tribes, they were\npushed to the extreme western points of the continent and the British", "_Etiam tum obtinebat_, i.e. he was still in _possession of the\ngovernment_, and of course in command of the army, in Britain.", "head of his armies, explored it with his own eyes, and reported what he\nsaw to our author with his own lips. He saw the Britons too, in their", "Britain, see Caes. B.G. 4, 21. seq.; 5, 5. seq.; Strabo, Lib. 4, &c.", "Galgacus. He had not so good a cause. He could not appeal to the sacred\nprinciples of justice and liberty, to the love of home and household", "_Quod--fuit_. Vespasian's participation in the war against Brit. was the\ncommencement of his subsequent brilliant fortunes.", "invasion by the Irish.--_Valentissimam partem_, viz. Gaul, Spain and\nBritain.", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "of peace. He introduced laws and civility among the Britons; taught them\nto desire and raise all the conveniences of life; reconciled them to the\nRoman language and manners; instructed them in letters and science; and", "The history of Agricola during this period is of course the history of\nBritain. Accordingly the author prefaces it with an outline of the", "IV. _Cnaeus Julius Agricola_. Every Roman had at least three names: the", "mentioned as constituting the auxiliaries of the 14th legion, which was\nnow in Britain. See Rit. in loc.", "virtus exercituum et Romani nominis gloria pateretur, inventus in ipsa\nBritannia terminus. Nam Clota et Bodotria, diversi maris aestibus per", "and led on the Briton troops to battle. T. has given (Ann. 14, 30) a very\ngraphic sketch of the mixed multitude of armed men, women like furies,", "_Pluribus agminibus. In several divisions_. Accordingly it is added:\n_diviso et ipse_, A. _himself also_, i.e. as well as the Britons,\n_having divided_, etc." ], [ "Agricola of Tacitus, and the Germania of the same author, entitle him to\nthe peculiar affection and lasting gratitude of those, whose veins flow", "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "The primary object of the work is sufficiently obvious. It was to honor\nthe memory of the writer's excellent father-in-law, Agricola (cf. § 3:", "of the writer in the very troubles through which he follows Agricola,\nconspires with the affectionate remembrance of his own loss in the death", "honori Agricolae, mei soceri, destinatus). So far from apologizing for\nwriting the life of so near a friend, he feels assured that his motives", "elevated sentiments, and the glowing eloquence of the biographer of\nAgricola, and the historian of the Roman Empire. His youth saw, and felt,", "The history of Agricola during this period is of course the history of\nBritain. Accordingly the author prefaces it with an outline of the", "rich and instructive, like all the works of this prince of philosophical\nhistorians. In style, it is concise and nervous, yet quite rhetorical,", "instruction. The reader loves Agricola, admires him, conceives a passion\nfor him, accompanies him in his campaigns, shares in his disgrace and", "of Caledonia by the Romans under Agricola, can hardly be surpassed for\npatriotic sentiments, vigorous reasoning, and burning invective. The", "Agricola unquam in suam famam gestis exsultavit; ad auctorem et ducem, ut\nminister, fortunam referebat: ita virtute in obsequendo, verecundia in", "reflections, they are interwoven with the narrative in a manner more easy\nand natural. The sentiments seem to be only the language of Agricola's", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "Döderlein's Essay on the style of Tacitus, p. 15, in my edition of the\nHistories.", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "temporum, fama rerum_. There is scarcely an educated youth in Christendom\nwho is not as familiar with the name of Agricola, as with that of Aeneas", "subject and most natural to the author. In another writer we might call\nit labored and ambitious. But we cannot feel that it cost Tacitus very", "and in parts, even poetical to a fault (see notes passim, cf. also,\nMonboddo's critique on the style of Tacitus). \"The work,\" says La", "words is substantially the same with the line of Horace: Exegi monumentum\naere perennius. The whole peroration of this Biography is one of singular", "Of his marriage with the daughter of Agricola, and its influence on his\ncharacter and prospects, as also of his passing in regular gradation\nthrough the series of public honors at Rome, beginning with the" ], [ "In an attempt to sketch the most striking features of Tacitus, as a\nwriter, no critic can omit to mention his sage and pithy maxims.", "Tacitus was educated for the bar, and continued to plead causes,\noccasionally at least, and with not a little success, even after he had", "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "inaction, and speaks only of their active employments, which were war and\nthe chase. It was the special object of Tacitus, on the contrary, to give", "No hasty perusal, no single reading of Tacitus, will give a just\nconception of the surpassing richness of his works. They must be studied", "were several of the Roman Emperors. Yet Tacitus describes few, if any, of\nthem without some of the traits of humanity. He gives us in his history", "But with sufficient discernment to see the follies and vices of his age,\nand with sufficient virtue to detest them, Tacitus must have found his", "prefix a Life of Tacitus, which is barren indeed of personal incidents,\nbut which it is hoped may serve to exhibit the author in his relation to\nthe history, and especially to the literature, of his age.", "the burning indignation which the Latin is so peculiarly capable of\nexpressing, with all the vigor and stateliness by which the same language\nis equally characterized. Tacitus has been sometimes represented as a", "so acute as that of Tacitus, could not leave them out. Tacitus had long\nbeen collecting the materials for his Roman Histories. In so doing, his", "could not fail to be an object of deep interest at Rome. This was the\ntime when Tacitus published his work on Germany; and such are believed\nto have been the motives and the circumstances, which led to the", "Pliny and Tacitus, rival candidates for literary and professional\ndistinction, yet cherishing for each other the most devoted and\ninviolable attachment, each viewing the other as the ornament of their", "Döderlein's Essay on the style of Tacitus, p. 15, in my edition of the\nHistories.", "subject and most natural to the author. In another writer we might call\nit labored and ambitious. But we cannot feel that it cost Tacitus very", "You discover no important difference between a Fabius and a Marcellus,\nfurther than it lies on the face of their actions. In Tacitus, the\ncharacters are all individuals. Each stands out distinctly from the", "But no one, who is familiar with Seneca, will severely censure Tacitus.\nHe will only wonder that he should have risen so far above the faults of", "of Tacitus. His books on Stratagems, and on the Aqueducts of Rome are\nstill extant.--_Super_, over and above, i.e. _besides_.", "his contemporaries. Indeed, Tacitus interweaves his reflections with so\nmuch propriety, and clothes his apothegms with so much dignity--he is so", "of the Germans. It has even been argued from such expression as _vidimus_\n(§ 8), that Tacitus had himself been in Germany, and could, therefore,", "As a writer, Tacitus was not free from the faults of his age. The native\nsimplicity of Greek and Latin composition had passed away. An affected" ], [ "to the time of Domitian, whose jealousy perhaps occasioned the death of\nAgricola, and would have been offended by the very asking of permission", "governed it in the reigns of Vespasian, Titus, and Domitian. He carried\nhis victorious arms northward; defeated the Britons in every encounter,", "tyrant Domitian, but was even promoted by him to the office of\nQuindecimvir and Praetor (Ann. ii. 11). Beyond these vague notices, we", "down, in that long night of gloom, and blood, and terror, the tyranny of\nDomitian. And when, in the reigns of Nerva and Trajan, he enjoyed the", "_Turbae servientium_. The usual and characteristic associates, as well as\nattendants of Domitian. A severe cut, though quite incidental and very\nconcise.", "_Studia--acta_. Lawyers and politicians, all public men, had been gagged\nand silenced by Domitian.", "Domitianum scripsit, laetatum eum velut honore judicioque: tam caeca et\ncorrupta mens assiduis adulationibus erat, ut nesciret a bono patre non", "_Quindecim annos_. The reign of Domitian from A.D. 81, to A.D. 96.", "This and several preceding sections present a most graphic _outline_ of\nthe _life and times_ of Dom., the more to be prized, because the full", "_Videre_, sc. Domitianum.--_Aspici_, sc. a Domitiano. For difference in\nthe signification in these words, cf. 40: viso aspectoque, note.", "(dissimulating) _genius or policy of Domitian_. The design, if not real,\nat least imputed to him, was to withdraw Agricola from his province and", "The boyhood and youth of Tacitus did, indeed, fall on evil times.\nMonsters in vice and crime had filled the throne, till their morals and", "offerre: postremo non jam obscuri, suadentes simul terrentesque,\npertraxere ad Domitianum; qui paratus simulatione, in arrogantiam", "The author does indeed, in the passage just cited, seem to appreciate\nwith almost prophetic accuracy, those dangers to the Roman Empire, which\nwere so fearfully illustrated in its subsequent fall beneath the power of", "publication has been variously interpreted. From the censure which it\nfrequently passes upon the corruption and degeneracy of the times, it has\nbeen considered as a mere satire upon Roman manners, in the age of", "strokes, however, in which the pencil of Tacitus has sketched the\ncharacter of Domitian in the background of the picture of Agricola are", "This implies that the circumstantial evidence, which he goes on to\nspecify, convinced the writer and his friends, as well as the public,\nthat poison administered by direction of Dom., was really the means of", "instead of _palatium_, T. means to represent Domitian as shutting himself\nup, like many tyrants, in a fortified castle, and thence sending forth", "of a better day, which opened indeed with the reign of Nerva, but which\nis now brightening constantly under the auspices of Trajan. The use of", "_Consularium_. Rhen. collects from Suet. the names of several victims of\nDom.'s displeasure, _who had been consuls_." ], [ "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "The primary object of the work is sufficiently obvious. It was to honor\nthe memory of the writer's excellent father-in-law, Agricola (cf. § 3:", "honori Agricolae, mei soceri, destinatus). So far from apologizing for\nwriting the life of so near a friend, he feels assured that his motives", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "Agricola of Tacitus, and the Germania of the same author, entitle him to\nthe peculiar affection and lasting gratitude of those, whose veins flow", "Of his marriage with the daughter of Agricola, and its influence on his\ncharacter and prospects, as also of his passing in regular gradation\nthrough the series of public honors at Rome, beginning with the", "his troops at all events, by the offer of the best province in the Empire\nif need be; but that object having been secured by Agricola's voluntary", "of the writer in the very troubles through which he follows Agricola,\nconspires with the affectionate remembrance of his own loss in the death", "to the time of Domitian, whose jealousy perhaps occasioned the death of\nAgricola, and would have been offended by the very asking of permission", "The Biography of Agricola was written early in the reign of Trajan (which", "Agricola unquam in suam famam gestis exsultavit; ad auctorem et ducem, ut\nminister, fortunam referebat: ita virtute in obsequendo, verecundia in", "of Caledonia by the Romans under Agricola, can hardly be surpassed for\npatriotic sentiments, vigorous reasoning, and burning invective. The", "The history of Agricola during this period is of course the history of\nBritain. Accordingly the author prefaces it with an outline of the", "40. Honores tamen Agricolae decerni jubet, condito odio, donec provincia\ndecedat Agricola. Is redux modeste agit. 41. Periculum ab accusatoribus", "which _Agricola labored_ (H. 531; Z. 549), and the plup. covering all the\npast down to the time of his labors: he labored that the republic might", "Tradiderat interim Agricola successori suo provinciam quietam tutamque.\nAc, ne notabilis celebritate et frequentia occurrentium introitus esset,", "_Nec Agricolae--exemplum_. _A warning was not wanting to A_. (to avoid\nthe dangerous post); _nor a precedent to Dom_. (for disposing of A. in\nthe same way if he accepted the office).", "(dissimulating) _genius or policy of Domitian_. The design, if not real,\nat least imputed to him, was to withdraw Agricola from his province and", "atrocitates. 46. Questus auctoris et ex virtute solatia. Fama Agricolae\nad posteros transmissa.", "XXXV. Et alloquente adhuc Agricola, militum ardor eminebat, et finem" ], [ "inaction, and speaks only of their active employments, which were war and\nthe chase. It was the special object of Tacitus, on the contrary, to give", "But with sufficient discernment to see the follies and vices of his age,\nand with sufficient virtue to detest them, Tacitus must have found his", "Tacitus. But to say nothing of the ill adaptation of the whole plan to a\nsatirical work, there are large parts of the treatise, which must have", "No hasty perusal, no single reading of Tacitus, will give a just\nconception of the surpassing richness of his works. They must be studied", "The age of Tacitus is usually styled the silver age of Roman Literature;\nand it merits no higher title, when compared with the golden age of", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "As a writer, Tacitus was not free from the faults of his age. The native\nsimplicity of Greek and Latin composition had passed away. An affected", "But no one, who is familiar with Seneca, will severely censure Tacitus.\nHe will only wonder that he should have risen so far above the faults of", "were several of the Roman Emperors. Yet Tacitus describes few, if any, of\nthem without some of the traits of humanity. He gives us in his history", "so acute as that of Tacitus, could not leave them out. Tacitus had long\nbeen collecting the materials for his Roman Histories. In so doing, his", "Döderlein's Essay on the style of Tacitus, p. 15, in my edition of the\nHistories.", "could not fail to be an object of deep interest at Rome. This was the\ntime when Tacitus published his work on Germany; and such are believed\nto have been the motives and the circumstances, which led to the", "The boyhood and youth of Tacitus did, indeed, fall on evil times.\nMonsters in vice and crime had filled the throne, till their morals and", "of Tacitus. His books on Stratagems, and on the Aqueducts of Rome are\nstill extant.--_Super_, over and above, i.e. _besides_.", "CAIUS CORNELIUS TACITUS was born in the early part of the reign of Nero,\nand near the middle of the first century in the Christian Era. The", "maladministration in the proconsulship of Africa. Pliny says, that\nTacitus spoke with singular gravity and eloquence, and the Senate passed", "Tacitus was educated for the bar, and continued to plead causes,\noccasionally at least, and with not a little success, even after he had", "prefix a Life of Tacitus, which is barren indeed of personal incidents,\nbut which it is hoped may serve to exhibit the author in his relation to\nthe history, and especially to the literature, of his age.", "the burning indignation which the Latin is so peculiarly capable of\nexpressing, with all the vigor and stateliness by which the same language\nis equally characterized. Tacitus has been sometimes represented as a", "In an attempt to sketch the most striking features of Tacitus, as a\nwriter, no critic can omit to mention his sage and pithy maxims." ], [ "quisquam audita morte Agricolae aut laetatus est aut statim oblitus.\nAugebat miserationem constans rumor, veneno interceptum. Nobis nihil", "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "of the writer in the very troubles through which he follows Agricola,\nconspires with the affectionate remembrance of his own loss in the death", "Of his marriage with the daughter of Agricola, and its influence on his\ncharacter and prospects, as also of his passing in regular gradation\nthrough the series of public honors at Rome, beginning with the", "(dissimulating) _genius or policy of Domitian_. The design, if not real,\nat least imputed to him, was to withdraw Agricola from his province and", "The Biography of Agricola was written early in the reign of Trajan (which", "to the time of Domitian, whose jealousy perhaps occasioned the death of\nAgricola, and would have been offended by the very asking of permission", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "his troops at all events, by the offer of the best province in the Empire\nif need be; but that object having been secured by Agricola's voluntary", "published such events (cf. Dio. 67, 11), and were read through the empire\n(Ann. 16, 22). T. was absent from Rome when the events here referred to", "Credidere plerique libertum ex secretioribus ministeriis missum ad\nAgricolam codicillos, quibus ei Syria dabatur, tulisse cum praecepto, ut,", "Agricola of Tacitus, and the Germania of the same author, entitle him to\nthe peculiar affection and lasting gratitude of those, whose veins flow", "cum Agricola, quanquam transvecta aestas, sparsi per provinciam numeri,\npraesumpta apud militem illius anni quies, tarda et contraria bellum", "trepidationem caesis vigilibus, irrupere. Jamque in ipsis castris\npugnabant, cum Agricola, iter hostium ab exploratoribus edoctus et", "temporum, fama rerum_. There is scarcely an educated youth in Christendom\nwho is not as familiar with the name of Agricola, as with that of Aeneas", "Tradiderat interim Agricola successori suo provinciam quietam tutamque.\nAc, ne notabilis celebritate et frequentia occurrentium introitus esset,", "conspirationem civitatum sanciunt. 28. Usipiorum cohors miro casu\nBritanniam circumvecta. Agricolae filius obit. 29. Bellum Britanni", "Pliny, was put to death by Vespasian. Suet. Vesp. 15; His. 4, 5; Juv.\nSat. 5, 36.", "The history of Agricola during this period is of course the history of\nBritain. Accordingly the author prefaces it with an outline of the" ], [ "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "quisquam audita morte Agricolae aut laetatus est aut statim oblitus.\nAugebat miserationem constans rumor, veneno interceptum. Nobis nihil", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "of the writer in the very troubles through which he follows Agricola,\nconspires with the affectionate remembrance of his own loss in the death", "Of his marriage with the daughter of Agricola, and its influence on his\ncharacter and prospects, as also of his passing in regular gradation\nthrough the series of public honors at Rome, beginning with the", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "Agricola of Tacitus, and the Germania of the same author, entitle him to\nthe peculiar affection and lasting gratitude of those, whose veins flow", "The Biography of Agricola was written early in the reign of Trajan (which", "to the time of Domitian, whose jealousy perhaps occasioned the death of\nAgricola, and would have been offended by the very asking of permission", "(dissimulating) _genius or policy of Domitian_. The design, if not real,\nat least imputed to him, was to withdraw Agricola from his province and", "The primary object of the work is sufficiently obvious. It was to honor\nthe memory of the writer's excellent father-in-law, Agricola (cf. § 3:", "honori Agricolae, mei soceri, destinatus). So far from apologizing for\nwriting the life of so near a friend, he feels assured that his motives", "his troops at all events, by the offer of the best province in the Empire\nif need be; but that object having been secured by Agricola's voluntary", "The history of Agricola during this period is of course the history of\nBritain. Accordingly the author prefaces it with an outline of the", "concerned_. A. died with a calmness which would scarcely admit of the\nsupposition, that he felt himself to be a victim of poison and imperial\njealousy.", "Agricolae actum, ut Domitiano moris erat, fronte laetus, pectore anxius\nexcepit. Inerat conscientia derisui fuisse nuper falsum e Germania", "Pliny, was put to death by Vespasian. Suet. Vesp. 15; His. 4, 5; Juv.\nSat. 5, 36.", "Tradiderat interim Agricola successori suo provinciam quietam tutamque.\nAc, ne notabilis celebritate et frequentia occurrentium introitus esset,", "IV. _Cnaeus Julius Agricola_. Every Roman had at least three names: the", "_Nec Agricolae--exemplum_. _A warning was not wanting to A_. (to avoid\nthe dangerous post); _nor a precedent to Dom_. (for disposing of A. in\nthe same way if he accepted the office)." ], [ "CAIUS CORNELIUS TACITUS was born in the early part of the reign of Nero,\nand near the middle of the first century in the Christian Era. The", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "could not fail to be an object of deep interest at Rome. This was the\ntime when Tacitus published his work on Germany; and such are believed\nto have been the motives and the circumstances, which led to the", "Döderlein's Essay on the style of Tacitus, p. 15, in my edition of the\nHistories.", "Caesar and Tacitus.", "of the Germans. It has even been argued from such expression as _vidimus_\n(§ 8), that Tacitus had himself been in Germany, and could, therefore,", "No hasty perusal, no single reading of Tacitus, will give a just\nconception of the surpassing richness of his works. They must be studied", "so acute as that of Tacitus, could not leave them out. Tacitus had long\nbeen collecting the materials for his Roman Histories. In so doing, his", "Tacitus was educated for the bar, and continued to plead causes,\noccasionally at least, and with not a little success, even after he had", "of Tacitus. His books on Stratagems, and on the Aqueducts of Rome are\nstill extant.--_Super_, over and above, i.e. _besides_.", "inaction, and speaks only of their active employments, which were war and\nthe chase. It was the special object of Tacitus, on the contrary, to give", "maladministration in the proconsulship of Africa. Pliny says, that\nTacitus spoke with singular gravity and eloquence, and the Senate passed", "But with sufficient discernment to see the follies and vices of his age,\nand with sufficient virtue to detest them, Tacitus must have found his", "The age of Tacitus is usually styled the silver age of Roman Literature;\nand it merits no higher title, when compared with the golden age of", "Tacitus. But to say nothing of the ill adaptation of the whole plan to a\nsatirical work, there are large parts of the treatise, which must have", "1. WORKS OF TACITUS.\n\nA. Agricola.\nAnn. Annals.\nG. Germania.\nH. Histories.\nT. Tacitus.", "probability is, that he was the son of Cornelius Tacitus, a man of\nequestrian rank, and procurator of Belgic Gaul under Nero; that he was", "W. S. Tyler.\n\n_Amherst, May_, 1852\n\n\n\n\nLIFE OF TACITUS.", "It is objected to this date, that if Nerva were not still living, Tacitus\ncould not have failed to attach to his name (in § 3.) the epithet", "a stranger, who, after much discourse on various topics of learning,\nasked him whether he was an Italian or a Provincial. Tacitus replied," ], [ "their sovereign, but chose him from the royal family, or at least one of\nnoble extraction. They chose also their commander--the king, if he was", "_Etiam tum obtinebat_, i.e. he was still in _possession of the\ngovernment_, and of course in command of the army, in Britain.", "Franks, the authority of the commander was quite distinct from, and\nsometimes (in war) paramount to, that of the king. Here Montesquieu and", "head of his armies, explored it with his own eyes, and reported what he\nsaw to our author with his own lips. He saw the Britons too, in their", "_Hic dux_, etc. _Here a general, here an army_ (sc. the Roman, awaits\nyou); _there tributes, mines_, &c. (and you must conquer the former or", "_Velut pacti_ implies a _tacit_ compact. It was understood between them,\nthat the army were to enjoy their liberty; the general, his life. Supply", "gods. But he makes the best of a bad cause. The speech is worthy of a\nRoman commander, and touches with masterly skill all those chords in a", "_Molem manusque. The mass of their population, and the number of their\narmies_. Observe the alliteration, as if he had said: measure the mass\nand might.", "_Utcumque_. Somehow, possibly, perhaps. _Other things perhaps were more\neasily concealed; but the merit of a good commander was an imperial\nprerogative_.", "_Ventidium_. Commander under Anthony, and conqueror of the Parthians in\nthree battles, A.U.C. 715. He was raised from the lowest rank and the", "_plurimum virorum equorumque_ explains or rather enforces _exercitus:\nand, if the case demand, an army, the greatest abundance of men and\nhorses_.", "_Impetus--exercitus_. _Until the freshness of his glory, and his\npopularity with the army should gradually decline_.", "many particulars, e.g. in their personal independence, in the military\nchieftains and their followers, in their extreme fondness for the\nhardships and dangers of war, in their strange inactivity, gluttony and", "assequuntur. Prompta tamen omnibus arma, ac, si res poscat, exercitus,\nplurimum virorum equorumque: et quiescentibus eadem fama.", "In the chieftains and their retainers, as described in the last two\nsections, the reader cannot fail to discover the germ of the feudal", "everywhere present, caused some strong and lightly equipped cohorts to\nencompass the ground, while part of the cavalry having dismounted, made\ntheir way through the thickets, and part on horseback scoured the open", "_Modestiam--disiectos_. These words are antithetic, though one is\nabstract and the other concrete. The whole clause may be literally\nrendered thus: _ever present in the line of march, he commended", "from two they became twenty or more. As at first a Quaestor accompanied\neach Consul at the head of an army, so afterwards each Proconsul, or", "at length the history of his consulship and command in Britain, of which\nthe following summary, from Hume's History of England, may not be", "scenes are more grand and terrific than those of Tacitus. Military men\nand scholars have also remarked their singular correctness and\ndefiniteness. The military evolutions, the fierce encounter, the doubtful" ], [ "sacrificed. And those Emperors, whose history is preserved entire,--with\nthem we feel acquainted, we know the controlling principles, as well as", "The author does indeed, in the passage just cited, seem to appreciate\nwith almost prophetic accuracy, those dangers to the Roman Empire, which\nwere so fearfully illustrated in its subsequent fall beneath the power of", "were several of the Roman Emperors. Yet Tacitus describes few, if any, of\nthem without some of the traits of humanity. He gives us in his history", "The boyhood and youth of Tacitus did, indeed, fall on evil times.\nMonsters in vice and crime had filled the throne, till their morals and", "hater as Sallust. It is the fault of the times that he is obliged to deal\nso much in censure. If there ever were perfect monsters on earth, such", "and deplored the disastrous effects of Nero's inhuman despotism, and of\nthe anarchy attending the civil wars of Galba, Otho, and Vitellius. His", "But with sufficient discernment to see the follies and vices of his age,\nand with sufficient virtue to detest them, Tacitus must have found his", "_Divus_, with which deceased Emperors were usually honored. And from the\nomission of this epithet in connection with the name of _Nerva_, together", "_Amore et fide_. _Out of affection and fidelity_ (sc. to their imperial\nmaster).--_Malignitate et livore_. _Out of envy and hatred_ (sc. towards\nA.).", "mighty as more widely hated, amid the multitudes of prostrate slaves,\nstill looking whether there may not yet have escaped some lingering", "Emperor) was, after the reckoning of Tacitus, A.U.C. 850, according to\nmodern computation, 851 = A.D. 98. This year doubtless marks the time when", "_Odium sui_. Cf. note, 28: _conditor. Hatred of themselves_; i.e. of one\nanother. So in Greek, the reflexive pronoun is often used for the\nreciprocal.", "freedmen is an oblique censure of Roman custom in the age of the\nEmperors, whose freedmen were not unfrequently their favorites and prime\nministers.", "solitudine sua prodeuntem, nisi ut solitudinem faceret. The whole passage\nin Pliny is a graphic picture of the same tyrant, the workings of whose", "_Securus odii_. Now, that A. was dead, Dom. had nothing to fear in regard\nto the _object of his hatred_, or the _gratification of his hate_.", "feeling only to detest the tyrant, and to melt into tenderness without\nweakness over the destiny of the hero.\" (La Bletterie.)", "_Alius_. Another than the Emperor.--_Occuparet==pre-occupy_, so as to rob\nhim of it.", "by the gladiatorial shows and bloody amusements of the Romans, to say\nnothing of the habitual hostility which they waged against all other\nnations, that did not submit to their dominion.", "concerned_. A. died with a calmness which would scarcely admit of the\nsupposition, that he felt himself to be a victim of poison and imperial\njealousy.", "friend Pliny--the former, because, had he outlived the Emperor, he would\nprobably have executed his purpose of writing the history of his reign" ], [ "_Odium sui_. Cf. note, 28: _conditor. Hatred of themselves_; i.e. of one\nanother. So in Greek, the reflexive pronoun is often used for the\nreciprocal.", "deemed war and death itself less intolerable than servitude under the\nvictors. He defeated them in a decisive action which they fought under", "This implies that the circumstantial evidence, which he goes on to\nspecify, convinced the writer and his friends, as well as the public,\nthat poison administered by direction of Dom., was really the means of", "profits by his example. The interest goes on growing to the last. And\nwhen it seems incapable of further increase, passages pathetic and\nsublime transport the soul out of itself, and leave it the power of", "virtue which it may be a merit to destroy, and having scarcely leisure to\nfeel even the agonies of remorse in the continued sense of the", "life of a man at the time of his death, I should have needed permission;\nwhich I would not have asked_, since in that case _I should have fallen\non times so cruel and hostile to virtue_. The reference is particularly", "publication has been variously interpreted. From the censure which it\nfrequently passes upon the corruption and degeneracy of the times, it has\nbeen considered as a mere satire upon Roman manners, in the age of", "excessively fond of pointed antithesis. Perhaps he is too much given to\nmoralizing and reflection. It was, as we have said, the fault of his age.", "solitudine sua prodeuntem, nisi ut solitudinem faceret. The whole passage\nin Pliny is a graphic picture of the same tyrant, the workings of whose", "concerned_. A. died with a calmness which would scarcely admit of the\nsupposition, that he felt himself to be a victim of poison and imperial\njealousy.", "_Modestiam--disiectos_. These words are antithetic, though one is\nabstract and the other concrete. The whole clause may be literally\nrendered thus: _ever present in the line of march, he commended", "hastening A. out of the world. Dion Cassius expressly affirms, that he\nwas poisoned, 66, 20.", "_Tristitiam--exuerat_. Some connect this clause by zeugma with the\nforegoing. But with a misapprehension of the meaning of exuerat,", "But with sufficient discernment to see the follies and vices of his age,\nand with sufficient virtue to detest them, Tacitus must have found his", "three of the king's most intimate friends, thinking it a most flagitious\ncrime to live in safety after such an event, surrendered themselves to be", "_Suspiria--subscriberentur. When our sighs_ (of sympathy with the\ncondemned) _were registered against us_ (by spies and informers, as a\nground of accusation before the Emperor).", "certainly, did not escape the infection. In the language of Macaulay, \"He\ncarries his love of effect far beyond the limits of moderation. He tells", "omitted, the soft and delicate finish despised. We feel, that we have\ngained not a little insight into the character of those men, who are", "gods. But he makes the best of a bad cause. The speech is worthy of a\nRoman commander, and touches with masterly skill all those chords in a", "aspiring, and especially the vain, may learn from this passage a lesson\nof great practical value. Compare also § 8, at the close." ], [ "_Odium sui_. Cf. note, 28: _conditor. Hatred of themselves_; i.e. of one\nanother. So in Greek, the reflexive pronoun is often used for the\nreciprocal.", "_Et vera bona_. T. has here in mind the distinction made by philosophers,\nparticularly the Stoics, between the virtues, which they called the only", "though most of them lived a little earlier than he. There was Seneca, the\nPhilosopher, whose style, with its perpetual antitheses, is the very", "life of a man at the time of his death, I should have needed permission;\nwhich I would not have asked_, since in that case _I should have fallen\non times so cruel and hostile to virtue_. The reference is particularly", "_contumacia_ and _inani jactatione libertatis_ above. T. is animadverting\nupon the conduct of certain stoics and republicans, who obtruded their", "of Marcellus Eprius against the honest attack of Helvidius Priscus, and\nthe burning rebukes of the intrepid Vocula to his cowardly and", "deemed war and death itself less intolerable than servitude under the\nvictors. He defeated them in a decisive action which they fought under", "gods. But he makes the best of a bad cause. The speech is worthy of a\nRoman commander, and touches with masterly skill all those chords in a", "_Tristitiam--exuerat_. Some connect this clause by zeugma with the\nforegoing. But with a misapprehension of the meaning of exuerat,", "_Concessis animalibus_. Such as the Romans and other civilized nations\noffer, in contradistinction to _human_ sacrifices, which the author", "But no one, who is familiar with Seneca, will severely censure Tacitus.\nHe will only wonder that he should have risen so far above the faults of", "But with sufficient discernment to see the follies and vices of his age,\nand with sufficient virtue to detest them, Tacitus must have found his", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "virtue which it may be a merit to destroy, and having scarcely leisure to\nfeel even the agonies of remorse in the continued sense of the", "20, 73), uses the same word in expressing the same sentiment: nemo me\nlacrumis _decoret_ nec funera fletu faxit. Cf. also G. 28.", "(His. i. 1); the latter, because, if he had not survived his friend,\nPliny, who lamented the death of so many others, would not have failed to", "ubi haeres jam est, _deinde nascuntur_. Hess. To put such to death was a\nbarbarous custom among the Romans. Cf. Ann. 3, 25; see Beck. Gall. Exc.", "_Suspiria--subscriberentur. When our sighs_ (of sympathy with the\ncondemned) _were registered against us_ (by spies and informers, as a\nground of accusation before the Emperor).", "Romans are here meant. Död., Dr. and R. advocate the former opinion;\nWalch, Wr., Or., and Rit. the latter. According to the former view, the", "Z. 357; and Kühner's Cic. Tusc. Qu. 1, 6, 11. Here it introduces a more\nparticular explanation of the general subject mentioned at the close of" ], [ "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "of the writer in the very troubles through which he follows Agricola,\nconspires with the affectionate remembrance of his own loss in the death", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "Agricola of Tacitus, and the Germania of the same author, entitle him to\nthe peculiar affection and lasting gratitude of those, whose veins flow", "It is generally admitted, though without direct testimony, that Tacitus\ndied not without issue. That excellent prince, M. Claudius Tacitus,", "The Biography of Agricola was written early in the reign of Trajan (which", "Of his marriage with the daughter of Agricola, and its influence on his\ncharacter and prospects, as also of his passing in regular gradation\nthrough the series of public honors at Rome, beginning with the", "The primary object of the work is sufficiently obvious. It was to honor\nthe memory of the writer's excellent father-in-law, Agricola (cf. § 3:", "In an attempt to sketch the most striking features of Tacitus, as a\nwriter, no critic can omit to mention his sage and pithy maxims.", "kind, as the Germania and Agricola of Tacitus; few have received more in\nGermany, yet few so little here. In a writer so concise and abrupt as", "Döderlein's Essay on the style of Tacitus, p. 15, in my edition of the\nHistories.", "quisquam audita morte Agricolae aut laetatus est aut statim oblitus.\nAugebat miserationem constans rumor, veneno interceptum. Nobis nihil", "to the time of Domitian, whose jealousy perhaps occasioned the death of\nAgricola, and would have been offended by the very asking of permission", "No hasty perusal, no single reading of Tacitus, will give a just\nconception of the surpassing richness of his works. They must be studied", "inaction, and speaks only of their active employments, which were war and\nthe chase. It was the special object of Tacitus, on the contrary, to give", "prefix a Life of Tacitus, which is barren indeed of personal incidents,\nbut which it is hoped may serve to exhibit the author in his relation to\nthe history, and especially to the literature, of his age.", "of the Germans. It has even been argued from such expression as _vidimus_\n(§ 8), that Tacitus had himself been in Germany, and could, therefore,", "honori Agricolae, mei soceri, destinatus). So far from apologizing for\nwriting the life of so near a friend, he feels assured that his motives", "The age of Tacitus is usually styled the silver age of Roman Literature;\nand it merits no higher title, when compared with the golden age of" ], [ "quisquam audita morte Agricolae aut laetatus est aut statim oblitus.\nAugebat miserationem constans rumor, veneno interceptum. Nobis nihil", "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "The Biography of Agricola was written early in the reign of Trajan (which", "Of his marriage with the daughter of Agricola, and its influence on his\ncharacter and prospects, as also of his passing in regular gradation\nthrough the series of public honors at Rome, beginning with the", "Agricola of Tacitus, and the Germania of the same author, entitle him to\nthe peculiar affection and lasting gratitude of those, whose veins flow", "(dissimulating) _genius or policy of Domitian_. The design, if not real,\nat least imputed to him, was to withdraw Agricola from his province and", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "The history of Agricola during this period is of course the history of\nBritain. Accordingly the author prefaces it with an outline of the", "This implies that the circumstantial evidence, which he goes on to\nspecify, convinced the writer and his friends, as well as the public,\nthat poison administered by direction of Dom., was really the means of", "honori Agricolae, mei soceri, destinatus). So far from apologizing for\nwriting the life of so near a friend, he feels assured that his motives", "to the time of Domitian, whose jealousy perhaps occasioned the death of\nAgricola, and would have been offended by the very asking of permission", "concerned_. A. died with a calmness which would scarcely admit of the\nsupposition, that he felt himself to be a victim of poison and imperial\njealousy.", "The primary object of the work is sufficiently obvious. It was to honor\nthe memory of the writer's excellent father-in-law, Agricola (cf. § 3:", "his troops at all events, by the offer of the best province in the Empire\nif need be; but that object having been secured by Agricola's voluntary", "trepidationem caesis vigilibus, irrupere. Jamque in ipsis castris\npugnabant, cum Agricola, iter hostium ab exploratoribus edoctus et", "of the writer in the very troubles through which he follows Agricola,\nconspires with the affectionate remembrance of his own loss in the death", "IV. _Cnaeus Julius Agricola_. Every Roman had at least three names: the", "cum Agricola, quanquam transvecta aestas, sparsi per provinciam numeri,\npraesumpta apud militem illius anni quies, tarda et contraria bellum", "Credidere plerique libertum ex secretioribus ministeriis missum ad\nAgricolam codicillos, quibus ei Syria dabatur, tulisse cum praecepto, ut," ], [ "This implies that the circumstantial evidence, which he goes on to\nspecify, convinced the writer and his friends, as well as the public,\nthat poison administered by direction of Dom., was really the means of", "quisquam audita morte Agricolae aut laetatus est aut statim oblitus.\nAugebat miserationem constans rumor, veneno interceptum. Nobis nihil", "(dissimulating) _genius or policy of Domitian_. The design, if not real,\nat least imputed to him, was to withdraw Agricola from his province and", "concerned_. A. died with a calmness which would scarcely admit of the\nsupposition, that he felt himself to be a victim of poison and imperial\njealousy.", "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "Agricola of Tacitus, and the Germania of the same author, entitle him to\nthe peculiar affection and lasting gratitude of those, whose veins flow", "Of his marriage with the daughter of Agricola, and its influence on his\ncharacter and prospects, as also of his passing in regular gradation\nthrough the series of public honors at Rome, beginning with the", "honori Agricolae, mei soceri, destinatus). So far from apologizing for\nwriting the life of so near a friend, he feels assured that his motives", "his troops at all events, by the offer of the best province in the Empire\nif need be; but that object having been secured by Agricola's voluntary", "The history of Agricola during this period is of course the history of\nBritain. Accordingly the author prefaces it with an outline of the", "_opinionem_ himself, for it was not his real intention, but he _ordered_\nsome one to put it in circulation as if from him, that he might have the", "to the time of Domitian, whose jealousy perhaps occasioned the death of\nAgricola, and would have been offended by the very asking of permission", "The primary object of the work is sufficiently obvious. It was to honor\nthe memory of the writer's excellent father-in-law, Agricola (cf. § 3:", "40. Honores tamen Agricolae decerni jubet, condito odio, donec provincia\ndecedat Agricola. Is redux modeste agit. 41. Periculum ab accusatoribus", "trepidationem caesis vigilibus, irrupere. Jamque in ipsis castris\npugnabant, cum Agricola, iter hostium ab exploratoribus edoctus et", "_Nec Agricolae--exemplum_. _A warning was not wanting to A_. (to avoid\nthe dangerous post); _nor a precedent to Dom_. (for disposing of A. in\nthe same way if he accepted the office).", "Credidere plerique libertum ex secretioribus ministeriis missum ad\nAgricolam codicillos, quibus ei Syria dabatur, tulisse cum praecepto, ut,", "The Biography of Agricola was written early in the reign of Trajan (which" ], [ "manners had infected those of all the people. The state was distracted,\nand apparently on the eve of dissolution. The public taste, like the\ngeneral conscience, was perverted. The fountains of education were", "praefectus, incorruptum facti testem habebat. Apud quosdam acerbior in\nconviciis narrabatur; ut erat comis bonis, adversus malos injucundus:", "certainly, did not escape the infection. In the language of Macaulay, \"He\ncarries his love of effect far beyond the limits of moderation. He tells", "three of the king's most intimate friends, thinking it a most flagitious\ncrime to live in safety after such an event, surrendered themselves to be", "sacrificed. And those Emperors, whose history is preserved entire,--with\nthem we feel acquainted, we know the controlling principles, as well as", "which==_was entirely free from_; lit. had divested himself of. Thus\nunderstood, the clause is a _general_ remark touching the character of\nA., in implied contrast with other men or magistrates with whom those", "ready to enter upon its stage of corruption and decline. Hence his name\nis identified with that proud era in literature, in producing which he\nbore at best only an accidental and secondary part. In the literature of", "profits by his example. The interest goes on growing to the last. And\nwhen it seems incapable of further increase, passages pathetic and\nsublime transport the soul out of itself, and leave it the power of", "however, in the general, and leaving all the details to mere conjecture.\nWe learn to our surprise, that he not only escaped the jealousy of the", "author certainly aimed to speak the truth, and nothing but the truth, on\nthe subject of which he treats. Moreover, he had abundant means of\nknowing the truth, on all the main points, in the character and history", "delicate and correct in his criticisms, a man of genius and a scholar, a\nteacher and an exemplar of eloquence. Finally, there were the younger", "_Nullis--corruptae_. Here, as every where else in this treatise, T.\nappears as the censor of Roman manners. He has in mind those fruitful", "concerned_. A. died with a calmness which would scarcely admit of the\nsupposition, that he felt himself to be a victim of poison and imperial\njealousy.", "modest or so wise that he repeatedly refused the offer of the imperial\npurple. \"Fortune,\" says Pliny, \"always faithful to Verginius, reserved", "In a faithful portraiture of the private and public life of the\ndegenerate Romans, there was much to call for the hand of a master in", "omitted, the soft and delicate finish despised. We feel, that we have\ngained not a little insight into the character of those men, who are", "_Passim_. Wherever they chose--_Sine custode_. Not so others. Cf. His. 4,\n64: ut inermes ac prope nudi, _sub custode_ et pretio coiremus.", "_Arcebat_ has for its subject the clause, _quod statim_, etc. He was\nguarded against the allurements of vice by the wholesome influences\nthrown around him in the place of his early education.", "The other passage is, if possible, still more clearly demonstrative of\nthe same date. Here in drawing the same contrast between past tyranny and", "But with sufficient discernment to see the follies and vices of his age,\nand with sufficient virtue to detest them, Tacitus must have found his" ], [ "The Biography of Agricola was written early in the reign of Trajan (which", "With the retirement of Agricola from the command in Britain, the author\nfalls back more into the province of biography. The few occasional", "to the time of Domitian, whose jealousy perhaps occasioned the death of\nAgricola, and would have been offended by the very asking of permission", "In narrating the closing scenes of Agricola's life, Tacitus breathes the\nvery spirit of an affectionate son, without sacrificing the impartiality", "governed it in the reigns of Vespasian, Titus, and Domitian. He carried\nhis victorious arms northward; defeated the Britons in every encounter,", "The history of Agricola during this period is of course the history of\nBritain. Accordingly the author prefaces it with an outline of the", "victims of Roman vices. A few paragraphs in the concise and nervous style\nof Tacitus, have made us quite acquainted with the Britons, as Agricola", "(dissimulating) _genius or policy of Domitian_. The design, if not real,\nat least imputed to him, was to withdraw Agricola from his province and", "Of his marriage with the daughter of Agricola, and its influence on his\ncharacter and prospects, as also of his passing in regular gradation\nthrough the series of public honors at Rome, beginning with the", "of Caledonia by the Romans under Agricola, can hardly be surpassed for\npatriotic sentiments, vigorous reasoning, and burning invective. The", "of the writer in the very troubles through which he follows Agricola,\nconspires with the affectionate remembrance of his own loss in the death", "_Octavus annus_. This was Agricola's _seventh summer_ in Britain. See\nnote 29: _initio aestatis_. But it being now later in the season, than", "Agricola of Tacitus, and the Germania of the same author, entitle him to\nthe peculiar affection and lasting gratitude of those, whose veins flow", "conspirationem civitatum sanciunt. 28. Usipiorum cohors miro casu\nBritanniam circumvecta. Agricolae filius obit. 29. Bellum Britanni", "his troops at all events, by the offer of the best province in the Empire\nif need be; but that object having been secured by Agricola's voluntary", "IV. _Cnaeus Julius Agricola_. Every Roman had at least three names: the", "Pliny, was put to death by Vespasian. Suet. Vesp. 15; His. 4, 5; Juv.\nSat. 5, 36.", "CAIUS CORNELIUS TACITUS was born in the early part of the reign of Nero,\nand near the middle of the first century in the Christian Era. The", "The GERMANIA and AGRICOLA\n\nOf", "The primary object of the work is sufficiently obvious. It was to honor\nthe memory of the writer's excellent father-in-law, Agricola (cf. § 3:" ] ]

[ "Who was the most important general involved in the conquest of Britan?", "Why does Tacitus condem the suicide of the Stoics?", "Who was Tacitus's father-in-law?", "What were two of Agricola's jobs?", "Who was the Emporer of Rome?", "According to rumors, how did Agricola die?", "The tone of Agricola recalls what style?", "In addition to Agricola's notes and memories, what else was used?", "What did critics of Domitian accuse his regime of?", "What assassination took place in AD 96?", "Who was the most important general involved in the conquest of Britain?", "The proud tone of the Agricola recalls what style?", "What traits do Tacitus exhibit when attending to matters of state?", "What did Domitian's regime consist of?", "Agricola died without seeking the glory of what?", "What did tacitus condemn as of no benefit to the state?", "Where were rumors about the death of Agricola voiced?", "What was the rumor about the way Agricola died?", "What is Tacitus governor of?", "Who is commander of the army?", "Which Emperor is hated?", "Whose suicide is condemned?", "Who condemns the suicides of the Stoics?", "What remarks does Tacitus offer regarding the death of Agricola?", "Where were the rumors of Agricola being poisoned come from?", "What do the rumors of Agricola being poisoned say about whose orders they were?", "Who remained uncorrupted?", "Whose reign did Agricola die under?" ]

[ [ "Agricola", "Agricola" ], [ "It was of no benefit to the State", "It was of no state benefit." ], [ "Agricola", "Agricola" ], [ "Governer of Roman Britian and Commander of the Army", "governor of Roman Britain and commander of the army" ], [ "Emperor Domitian", "Domitian" ], [ "Poisoned on the Emporer's orders", "poisoned" ], [ "Laudiationes funebres or funeral speeches", "Funeral speeches." ], [ "De Bello Gallico of Julius Caeser", "the De Bello Gallico of Julius Caesar" ], [ "Spying and repression", "spying and oppression" ], [ "Domitian's assassination ", "Domitian" ], [ "Agricola", "Agicola" ], [ "Laudationes Fenebres (funeral speeches)", "The laudationes funebres." ], [ "Fidelity, honesty, and competence ", "Fidelity, honesty, and competence." ], [ "Spying and repression ", "spying and repression" ], [ "An ostentatious martyrdom.", "ostentatious martyrdom " ], [ "The suicide of the Stoics", "suicide of the Stoics" ], [ "In Rome", "Rome." ], [ "That he was poisoned on the orders of the emperor.", "He was poisoned on the emperor's orders." ], [ "Roman Britain.", "Roman Britain" ], [ "Tacitus.", "Agricola" ], [ "Emperor Domitian.", "Domitian" ], [ "Stoics'.", "the Stoics" ], [ "Tacitus.", "Tacitus" ], [ "He does not make any clear remarks regarding it.", "he mentions a rumor from Rome that Agricola may have been poisoned" ], [ "Rome.", "Rome" ], [ "That it was the Emperor who ordered it.", "it was the Emperor" ], [ "Agricola.", "Agricola" ], [ "Domitian's reign.", "Domitian." ] ]

[ [ "-- TAKEO drowns a flailing TOSHIO in the bathroom tub...\n \n -- TAKEO tears apart TOSHIO'S CAT, still alive, in the", "Karen just stares at him, stunned.\n \n NAKAGAWA\n It seems that the son killed his", "NAKAGAWA (IN JAPANESE)\n I don't understand. He killed\n Yoko, before he died?", "The look on Nakagawa's face is grave.\n \n NAKAGAWA (IN JAPANESE)\n Call her at work, then at home. If", "`Kayako', `Takeo'. And an ominous phrase: \"MURDER/SUICIDE\".\n \n Karen clicks a link marked `IMAGE'. A scanned picture of the", "As Nakagawa looks at the crime scene photo, he realizes\n something. He slowly stands, in shock, trembling.\n \n The phone RINGS, startling him.", "the body. Takeo's feet THUD rhythmically against the wall.\n \n KAREN\n Oh my God...", "`Toshio'.\n \n Nakagawa immediately tenses. A long beat. He can see how\n exhausted Karen is. But something's troubling him:", "A SERIES OF IMAGES, THE ORIGIN OF \"THE GRUDGE\", FLASH BY:\n \n -- TAKEO, looking down at THE JOURNAL, reading his wife's", "-- KAYAKO running down the steps, TAKEO chasing her, tackling\n her before she can reach the door... sitting on top of her,\n he wraps his hands around her neck...", "Takeo's eyes go wide with fear... and TOSHIO suddenly reaches\n from his plastic grave, grabbing Takeo's other arm...", "Look, I know this sounds strange,\n but... I don't think your husband\n wanted to die.\n \n MARIA", "wife, and then himself --\n \n There's a KNOCK on the door. Igarashi stands in the doorway.\n He speaks to Nakagawa in Japanese.", "He stops short at the door, as he sees --\n \n -- TAKEO, Toshio's father. Eyes rolled back in his head,", "head from the water. It's TOSHIO. He's dead. Drowned.\n \n Before Nakagawa can understand what's happening, the boy's", "MARIA\n He what?\n \n KAREN\n He killed himself.", "Terrified, Nakagawa stands and turns away, closing his eyes.\n \n And when he finds the strength to look back --", "Reluctantly, Doug kisses her brow, then exits. Nakagawa\n pulls a chair up to the bed and sits, putting the file on a\n small table.", "He freezes. Sensing something behind him. He turns to see --\n \n YOKO. Head lowered, clothing is torn and bloody. She's", "The Coroner shakes his head. Nakagawa looks to Igarashi,\n then walks up to the second body, pulling back the sheet." ], [ "Then Kayako gestures to Toshio, and he turns away, entering\n The House and closing the door.\n \n CUT TO BLACK.", "The same thing happened three years\n ago, Doug. To a Japanese family,\n who lived in that house. They were\n all found dead.", "The one she left behind in the stairwell.\n \n Susan suddenly CRIES OUT, her head tilting back, her body\n abruptly going stiff. We soon see why:", "He looks up at the wall, tracing a finger over the photo of\n The House. Beneath it, is the address...", "towards it. But the sound of WHISPERING continues.\n \n As she slowly walks to the door, we can make out some words:", "Then she walks towards the open door at the end of the hall.\n \n \n 17 INT. THE HOUSE - REAR ROOM - DUSK 17", "The cause of death is not clear...\n but it is the man who sold them\n this house.\n \n 77 77", "Susan stands and walks out of the room. But we stay in the\n closet, PANNING TO REVEAL the closet wall. It's covered with", "He says no one has lived in this\n house for three years.\n \n JENNIFER\n Why?", "No answer. She slowly walks to the bedroom and looks inside.\n He's not there. This seems to worsen Karen's mood.", "He leaves his briefcase by the door and turns to the hall --\n \n -- noticing the house is completely DARK.\n \n MATTHEW", "In the center of it all is a picture of The House.\n \n ON THE DESK is a PRINT-OUT: the newspaper article about", "lighter, and cease altogether in the foyer.\n \n She stands there for a moment, bewildered. Then she tenses,", "EXT. THE HOUSE - DAY\n It's an overcast afternoon. Swollen clouds hang low over\n The House. It looks a bit more imposing than usual.", "INT. THE HOUSE - SECOND FLOOR HALLWAY - DAY\n -- the hallway is COMPLETELY DARK. An unnatural blackness.\n The skylights above, which were previously filled with", "INT. THE HOUSE - ENTRANCE - NIGHT\n \n Peter tears down the stairs and runs for the front door,\n passing a mirror --", "pen and draws a line through them.\n \n Then we see one final name at the bottom:", "A translation appears over them: \"The Grudge.\"\n \n \n 2 EXT. STREET CORNER - DAY 2", "Matthew heads back upstairs. He reaches the second floor and\n opens the door to the rear bedroom.\n \n The room beyond is dark. But A DARK FIGURE is visible,", "Then Susan sees A FINGERTIP of the hand at the corner of the\n floor where she stands, and A HEAD COVERED WITH BLACK HAIR\n slowly crawling up on the wall." ], [ "-- TAKEO drowns a flailing TOSHIO in the bathroom tub...\n \n -- TAKEO tears apart TOSHIO'S CAT, still alive, in the", "Takeo's eyes go wide with fear... and TOSHIO suddenly reaches\n from his plastic grave, grabbing Takeo's other arm...", "He stops short at the door, as he sees --\n \n -- TAKEO, Toshio's father. Eyes rolled back in his head,", "the body. Takeo's feet THUD rhythmically against the wall.\n \n KAREN\n Oh my God...", "Karen just stares at him, stunned.\n \n NAKAGAWA\n It seems that the son killed his", "-- KAYAKO running down the steps, TAKEO chasing her, tackling\n her before she can reach the door... sitting on top of her,\n he wraps his hands around her neck...", "A SERIES OF IMAGES, THE ORIGIN OF \"THE GRUDGE\", FLASH BY:\n \n -- TAKEO, looking down at THE JOURNAL, reading his wife's", "head from the water. It's TOSHIO. He's dead. Drowned.\n \n Before Nakagawa can understand what's happening, the boy's", "Terrified, Nakagawa stands and turns away, closing his eyes.\n \n And when he finds the strength to look back --", "The Coroner shakes his head. Nakagawa looks to Igarashi,\n then walks up to the second body, pulling back the sheet.", "Nakagawa and Igarashi enter. The Coroner stands, nervous.\n He walks to one of the tables and pulls back the sheet.", "`Kayako', `Takeo'. And an ominous phrase: \"MURDER/SUICIDE\".\n \n Karen clicks a link marked `IMAGE'. A scanned picture of the", "As Nakagawa looks at the crime scene photo, he realizes\n something. He slowly stands, in shock, trembling.\n \n The phone RINGS, startling him.", "NAKAGAWA (IN JAPANESE)\n I don't understand. He killed\n Yoko, before he died?", "Nakagawa sits in front of the bodies, examining them.\n \n IGARASHI (IN JAPANESE)", "As the Coroner and his assistant walk away:\n \n NAKAGAWA (IN JAPANESE)\n Is it possible that someone could", "water. His head hangs below the surface.\n \n Nakagawa immediately drops to the boy, lifting his lifeless", "-- KAYAKO suddenly TURNING HER HEAD and GRABBING TAKEO'S\n ARM... her lifeless eyes focusing on Takeo's as she CROAKS...", "-- TAKEO in THE ATTIC, stuffing KAYAKO and TOSHIO, both very\n dead, wrapped in plastic sheeting, into a corner...", "Standing with his mother and father -- KAYAKO and TAKEO.\n They're all beaming at the camera, a perfect, happy family." ], [ "The same thing happened three years\n ago, Doug. To a Japanese family,\n who lived in that house. They were\n all found dead.", "SUSAN\n Even in your own house.\n \n Suzuki smiles as Matthew and Jennifer take off their shoes.", "He says no one has lived in this\n house for three years.\n \n JENNIFER\n Why?", "Then he opens the gate and goes in, walking to the front\n door. Knocks. Silence from inside. He rings the bell.\n Waits. No one comes. He's about to leave --", "Everyone enters, checking the place out. Suzuki and Susan\n slip off their shoes. As Matthew steps into the foyer:\n \n SUSAN", "The front door opens. MARIA (early 30s) has changed from\n when we first saw her -- she wears a revealing outfit, and\n her natural beauty now smolders beneath the surface.", "He looks up at the wall, tracing a finger over the photo of\n The House. Beneath it, is the address...", "She only hesitates a moment before running inside.\n \n \n 128 INT. THE HOUSE - NIGHT 128", "A beat. Then:\n That came from upstairs.\n THUMP.\n Karen looks up as the sound continues. We PAN OVER towards", "growing closer. But it's no use -- he's dead.\n \n And now there's a new sound, moving down the stairs. A", "Then the door suddenly bursts open and Susan, terrified, runs\n from the stairwell and down the hall.", "Then he speaks to the Nurse, who helps Karen to her feet.\n \n Nakagawa and Igarashi enter the kitchen. In perfect English:", "She double-checks the address and opens the gate, walking\n around a BICYCLE leaning against the wall and following the\n stepping-stone path to the front door. She knocks. No", "In the center of it all is a picture of The House.\n \n ON THE DESK is a PRINT-OUT: the newspaper article about", "Karen runs towards us, breathless, stopping as she reaches --\n \n -- THE HOUSE. Looming over her. Waiting.", "Peter steps inside, unsure about entering uninvited.\n \n PETER (IN JAPANESE)\n (calling out)", "KAREN\n Hello? Mrs. Williams?\n \n Nothing. She tentatively steps inside, and the door closes", "INT. THE HOUSE - LATER\n The house feels completely different: all the interior\n lights are on, a few POLICE OFFICERS mill about, two EMTs", "She turns and LOCKS THE FRONT DOOR.\n \n 8 8\n INT. THE HOUSE - LIVING ROOM - DAY", "Emma? It's Yoko. I'm coming in.\n \n \n 79 INT. THE HOUSE - LIVING ROOM - DAY 79" ], [ "MATTHEW\n Jennifer? What is it --\n \n Matthew rushes to her, shaking her. She's unresponsive. The", "Matthew re-enters, out of breath. He sits next to Jennifer,\n who hasn't moved. Puts a hand on her chest to make sure\n she's still breathing. She is.", "-- Matthew grabs the lamp. He reaches it, holding it up --\n \n At first, it looks like both Jennifer and Toshio have", "Toshio makes a STRANGE SOUND. Looks at Jennifer, then turns\n to Matthew, SNARLING at him like a CAT.", "JENNIFER\n Yoko.\n \n MATTHEW\n Who knows? Maybe there's something", "-- JENNIFER IS RIGHT NEXT TO HIM. Lying in bed, staring wide-\n eyed at the ceiling. Matthew, startled, falls backwards.", "A CLATTERING sound wakes her, followed by the sound of\n FOOTSTEPS running away. We PULL BACK as Jennifer sees her", "24 24\n INT. THE HOUSE - FRONT ROOM - NIGHT\n MATTHEW and his wife JENNIFER are in bed. He sleeps soundly,", "tonight, under evaluation.\n \n He hands Alex a wedding picture of MATTHEW AND JENNIFER.\n \n NAKAGAWA", "against the wall (where we saw it earlier).\n \n He turns back to Jennifer, giving her a kiss.\n \n MATTHEW", "THUD. THUD. The same rhythmic thumping that Karen heard.\n \n After a moment, Jennifer steps inside the room, disappearing\n from our sight.", "Where's Jennifer, Mom?\n \n Still nothing. He surveys the mess in the room. Angrily:\n \n MATTHEW", "Matthew heads back upstairs. He reaches the second floor and\n opens the door to the rear bedroom.\n \n The room beyond is dark. But A DARK FIGURE is visible,", "Two bodies are tucked into the corner. MATTHEW AND JENNIFER.\n \n Revisions (Blue) -- 1/26/04 45.", "Susan says something to him in Japanese and he laughs. They\n walk down the hall, and Matthew and Jennifer follow.\n \n 44 44", "Jennifer watches the last drops of coffee fall into the pot.\n She pours herself a mug, takes a big sip. Looks exhausted.\n \n Matthew enters, surprised to see her.", "As she heads back towards the kitchen, we CRANE UP to see --\n \n MATTHEW. He's walking down the second floor hall. He looks", "Do you know these people?\n \n ALEX\n Matthew Williams, and his wife\n Jennifer. He's Emma's son, the", "\"Konnichiwa! Matt and Jennifer\n aren't around, leave a message.\"\n \n SUSAN (INTO PHONE)", "Doug puts a hand on her shoulder. She finally looks at him.\n \n KAREN\n Alex and Yoko are dead." ], [ "NAKAGAWA\n The bodies of the son and daughter-\n in-law of the woman you were caring\n for were found in the attic.", "CORONER (IN JAPANESE)\n The jawbone you found in the attic\n yesterday with the American couple\n belongs to this girl. I estimate", "About the bodies they found in the\n attic.\n \n DOUG\n You were recovering from a shock.", "Say something, please...\n \n Yoko slowly raises her head towards him --\n \n -- the lower half of her face is missing. Her jawbone has", "The one she left behind in the stairwell.\n \n Susan suddenly CRIES OUT, her head tilting back, her body\n abruptly going stiff. We soon see why:", "been ripped out, her tongue hanging limply on her chest.\n \n Alex stumbles backwards... and his foot lands right in a", "But I thought you said her body was\n found with this man, tonight.\n The Coroner nods. Eyes on his shoes.", "Nakagawa and Igarashi enter. The Coroner stands, nervous.\n He walks to one of the tables and pulls back the sheet.", "-- it's DOUG'S BODY. He lies on his back, his top half\n sticking out from a niche by the stairwell. It's been right\n next to her all along.", "access cuts through the thick darkness.\n \n Nakagawa appears, pulling himself up into the attic. He\n swings his flashlight slowly around the room.", "75 75\n INT. ATTIC - NIGHT\n \n A shaft of light from the flashlight through the open attic", "Then Susan sees A FINGERTIP of the hand at the corner of the\n floor where she stands, and A HEAD COVERED WITH BLACK HAIR\n slowly crawling up on the wall.", "Susan nervously looks back down -- the SCRAPING is even\n closer. And then, for an instant, she sees A SKINNY PALE\n HAND on the railing two floors down.", "The Coroner shakes his head. Nakagawa looks to Igarashi,\n then walks up to the second body, pulling back the sheet.", "growing closer. But it's no use -- he's dead.\n \n And now there's a new sound, moving down the stairs. A", "As he slowly stands, he sees something out of the corner of\n his eye --\n \n -- a DEAD CAT, bloody and torn, in the corner of the room.", "Yoko looks around desperately. Looking up, she sees --\n \n -- THE ATTIC PANEL above her is wide open.", "The Coroner slowly unfolds the sheet. We can't see what he's\n looking at -- but it elicits quite a reaction.", "Karen lowers the photo, bewildered. Then she looks up,\n startled by --\n \n THE BOY. He's kneeling on the second floor landing above,", "as if she's been yanked up and forward. Her mouth is wide\n and gasping --\n \n -- and then she falls back onto the bed. Dead." ], [ "Nakagawa, his hand shaking, reaches forward, about to turn\n off the television set, when --", "Nakagawa puts the photo down and steps into the hallway and\n closes the door, but not all the way. Karen watches and\n listens through the crack:", "-- Nakagawa's eyes widen as he realizes what he's looking at.\n \n 76 76\n EXT. THE HOUSE - NIGHT", "Terrified, Nakagawa stands and turns away, closing his eyes.\n \n And when he finds the strength to look back --", "Nakagawa stands at the front door. Gathering his courage.\n \n Revisions (Blue) -- 1/26/04 66.", "As Nakagawa looks at the crime scene photo, he realizes\n something. He slowly stands, in shock, trembling.\n \n The phone RINGS, startling him.", "70 EXT. THE HOUSE - NIGHT 70\n \n Nakagawa stands outside by the front gate, looking at --", "Nakagawa catches his breath. Then he reaches for the lid of\n one of the cans, starting to unscrew it. His hands are", "The look on Nakagawa's face is grave.\n \n NAKAGAWA (IN JAPANESE)\n Call her at work, then at home. If", "Nakagawa picks up TWO HEAVY OBJECTS, one in each hand, and,\n ducking under the police tape, enters the house.", "He quickly pulls open the door. The closet is empty.\n \n Nakagawa looks up, peering into the darkness.", "INT. POLICE STATION - NAKAGAWA'S OFFICE - NIGHT\n Nakagawa is looking at the same picture, in his file.", "access cuts through the thick darkness.\n \n Nakagawa appears, pulling himself up into the attic. He\n swings his flashlight slowly around the room.", "106 INT. THE HOUSE - ENTRANCE - NIGHT 106\n \n Nakagawa puts the two heavy objects by the front door and", "Nakagawa freezes. The splashing continues. His eyes go to --\n \n THE BATHROOM DOOR. It's closed. The SPLASHING is coming", "ends, he turns to see NAKAGAWA standing in the doorway.\n \n IGARASHI (IN JAPANESE)", "He turns to Nakagawa, awaiting a response. He doesn't get\n one. Nakagawa just stares up at The House.\n \n 69 69", "wife, and then himself --\n \n There's a KNOCK on the door. Igarashi stands in the doorway.\n He speaks to Nakagawa in Japanese.", "from inside, accompanied by a series of THUDS. The sounds of\n a small child, STRUGGLING...\n \n Nakagawa fearfully reaches for the door handle --", "Reluctantly, Doug kisses her brow, then exits. Nakagawa\n pulls a chair up to the bed and sits, putting the file on a\n small table." ], [ "I saw him, Doug. I talked to him.\n He told me his name. A boy who was\n killed by his father three years\n ago told me his name.", "Is that how they said she died?\n \n DOUG\n I'm sorry this happened to you.", "Doug puts a hand on her shoulder. She finally looks at him.\n \n KAREN\n Alex and Yoko are dead.", "-- it's DOUG'S BODY. He lies on his back, his top half\n sticking out from a niche by the stairwell. It's been right\n next to her all along.", "The same thing happened three years\n ago, Doug. To a Japanese family,\n who lived in that house. They were\n all found dead.", "As Doug's arm flops to the floor, his outstretched HAND lands\n next to Karen. She sees something clenched in his fingers --", "-- he's supposed to be dead.\n \n A beat. Karen's eyes plead with Doug.\n \n KAREN", "Karen sorrow turns to abject terror. She tries to lift\n Doug's body and pull it to the front door. It's too heavy.", "I'm not even sure what did happen.\n \n DOUG\n You went to help someone who was,\n quite simply, beyond help.", "but -- there was something else\n there. I'm sure of it.\n \n DOUG\n You watched a woman die, Kat.", "CLINK. She turns as Doug, grinning, lights a cigarette with\n his Zippo, flicking it shut and pocketing it.", "for something like that.\n \n She turns away. Doug wraps an arm around her. Karen leans\n into him, and he strokes her hair.", "EXT. THE HOUSE - NIGHT\n Doug stands at the gate, lighting a cigarette, looking down\n at the POLICE TAPE sealing the entrance. He pockets his", "to talk to his wife... widow. If I\n can find out what happened, or\n if... maybe --\n \n DOUG", "Reluctantly, Doug kisses her brow, then exits. Nakagawa\n pulls a chair up to the bed and sits, putting the file on a\n small table.", "I think I know what I saw...\n \n After a moment, Doug pulls her into a hug.\n \n DOUG", "You don't understand. I have to,\n Doug.\n \n DOUG\n Why?", "DOUG. He sits on the edge of the bed, slightly slumped, his\n back to her.\n \n He slowly turns -- and a relieved smile crosses his face. He", "DOUG\n Okay. How about this: the\n American family knew about what had\n happened there before, and this\n knowledge subconsciously caused", "A beat. We see the resolve come over Karen's face. She\n reaches out and touches Doug tenderly.\n \n KAREN" ], [ "KAREN\n They're dead, aren't they?\n \n Karen turns and runs for the exit.", "Karen sorrow turns to abject terror. She tries to lift\n Doug's body and pull it to the front door. It's too heavy.", "Karen walks to the door. She pauses, disturbed by the eerie\n sounds from inside. Then she reaches for the doorknob.", "She stares at the boxes, afraid to open them. Karen sits\n down and gently removes the lid of one of them.", "Karen draws a breath. Then, out of the corner of her eye,\n she sees something she hadn't noticed before --", "Karen's fingers brush the hand. She CRIES OUT and turns --\n \n -- there's no one there. She's alone.", "Following Toshio's gaze, Peter quickly turns to face Karen.\n But even though she's right there, he doesn't see her:", "The knocking has stopped. Silence.\n \n Then Karen's cell phone suddenly LIGHTS UP, ringing.", "No answer. She slowly walks to the bedroom and looks inside.\n He's not there. This seems to worsen Karen's mood.", "holding Karen's hand. She turns, wondering what's going on.\n She sees the smile on his lips a moment before --", "-- Karen follows her gaze, looking up --\n \n -- and she SCREAMS, falling off the mattress, backing away --", "But then Karen's eyes drift to another picture at the bottom\n of the page --\n \n -- PETER. She quickly recognizes him from the picture she", "`Me.' Now the only one not crossed out. The only one left.\n \n Karen puts down her pen. Then she looks up at --", "Karen is washing the dirty sheets in a bucket and hanging\n them to dry. She finishes, turning to her charge.", "Karen looks at the somber faces in the quiet station. She\n backs away from the desk as the realization sinks in.", "Karen's file. She's lying on her stomach on a stained\n mattress, feebly looking up at Karen.\n \n KAREN", "THUD. THUD. The same rhythmic thumping that Karen heard.\n \n After a moment, Jennifer steps inside the room, disappearing\n from our sight.", "Karen scans it, and turns the page. She draws a breath --\n \n -- it's a photo of THE HOUSE. Cordoned off with police tape.", "behind her. It's dark and musty -- the blinds are drawn.\n \n KAREN\n Is anyone here?", "Karen turns to the staircase to see --\n \n -- KAYAKO, crawling down the stairs. Still wrapped in the\n plastic sheeting, she moves like a wounded animal, neck" ], [ "Past the early pages Karen saw, THE WRITING becomes more\n manic, the delicate script becoming a frantic scrawl,\n KAYAKO'S VOICE becomes more desperate and pleading.", "HIS POV: it's a journal Kayako kept. As Peter flips through\n it, KAYAKO'S VOICE speaks the words...", "Karen turns to the staircase to see --\n \n -- KAYAKO, crawling down the stairs. Still wrapped in the\n plastic sheeting, she moves like a wounded animal, neck", "down from above, landing on the floor in front of him.\n \n It's KAYAKO'S FACE. One of the missing pieces from the torn-\n out photographs.", "Then a familiar sound reaches our ears: THUD. THUD. THUD.\n \n It's coming from Toshio's room. And it's the same rhythmic", "Karen turns to the next picture -- it's a graduation party.\n \n Kayako is in this one too: standing to the side, watching", "Karen found, and taped together. He shows it to her.\n \n NAKAGAWA\n We found this in the room where...", "As Karen flips through them, a definite pattern emerges --\n \n -- Kayako is in practically every picture.", "Peter notices something underneath the pile of photos -- a\n familiar JOURNAL. The same one Karen found in the closet.\n He opens it.", "Then Kayako gestures to Toshio, and he turns away, entering\n The House and closing the door.\n \n CUT TO BLACK.", "Then her attention turns to THE BOOK she found in the closet.\n \n Karen can't resist. She opens it.", "hears the soft sound of WHISPERING from nearby.\n \n Beyond her, we see a PALE FACE (KAYAKO) pressed against the", "Karen gently touches the \"missing\" face of KAYAKO -- then her\n eyes move to the picture of THE BOY.", "She wipes away the tears in her eyes.\n \n KAREN\n Did you know a woman named Kayako?", "Taped on the final page is A PHOTO: PETER with a group of\n his University friends, at a party. Kayako has scribbled", "As Nakagawa looks at the crime scene photo, he realizes\n something. He slowly stands, in shock, trembling.\n \n The phone RINGS, startling him.", "Karen immediately reaches forward, trying to loosen Doug's\n grip on the lighter as --\n \n -- Kayako reaches the bottom of the stairs. Her broken neck", "And KAYAKO is getting closer.\n \n Sobbing, Karen drops Doug and falls back against the front\n door, bumping into --", "Nakagawa and Igarashi enter. The Coroner stands, nervous.\n He walks to one of the tables and pulls back the sheet.", "...but the photo is TORN IN HALF, splitting Maria's face.\n And KAYAKO is visible between them, sadly and stoically\n watching Peter, strands of hair falling down her face." ], [ "Taped on the final page is A PHOTO: PETER with a group of\n his University friends, at a party. Kayako has scribbled", "HIS POV: it's a journal Kayako kept. As Peter flips through\n it, KAYAKO'S VOICE speaks the words...", "We move to THE GROUP PHOTO. Peter with Maria, surrounded by\n classmates. Kayako off to the side, her eyes on Peter.", "More BLUE ENVELOPES are inside. All from `KAYAKO'.\n \n Peter's face darkens. He dumps the letters into a trash can.", "He hands it to Peter. On the top is a small BLUE ENVELOPE.\n The name in the return address is `Kayako'.", "Karen turns to the staircase to see --\n \n -- KAYAKO, crawling down the stairs. Still wrapped in the\n plastic sheeting, she moves like a wounded animal, neck", "Then Kayako gestures to Toshio, and he turns away, entering\n The House and closing the door.\n \n CUT TO BLACK.", "down from above, landing on the floor in front of him.\n \n It's KAYAKO'S FACE. One of the missing pieces from the torn-\n out photographs.", "...but the photo is TORN IN HALF, splitting Maria's face.\n And KAYAKO is visible between them, sadly and stoically\n watching Peter, strands of hair falling down her face.", "-- it's not his reflection in the mirror. It's KAYAKO.\n \n Peter stares at the image in disbelief. Then he notices", "No reaction. There's definitely something wrong with this\n boy. Peter looks beyond him, into the dark house.\n \n PETER (IN JAPANESE)", "Karen turns to the next picture -- it's a graduation party.\n \n Kayako is in this one too: standing to the side, watching", "Peter stands in the doorway, looking into the MASTER BEDROOM\n of Toshio's parents. His attention is drawn to something\n near the door --", "words, his face contorted with rage... he turns to see\n KAYAKO, home from work, standing in the doorway...", "Past the early pages Karen saw, THE WRITING becomes more\n manic, the delicate script becoming a frantic scrawl,\n KAYAKO'S VOICE becomes more desperate and pleading.", "Peter steps inside, unsure about entering uninvited.\n \n PETER (IN JAPANESE)\n (calling out)", "She wipes away the tears in her eyes.\n \n KAREN\n Did you know a woman named Kayako?", "Then a familiar sound reaches our ears: THUD. THUD. THUD.\n \n It's coming from Toshio's room. And it's the same rhythmic", "As Karen flips through them, a definite pattern emerges --\n \n -- Kayako is in practically every picture.", "hears the soft sound of WHISPERING from nearby.\n \n Beyond her, we see a PALE FACE (KAYAKO) pressed against the" ], [ "Peter stands in the doorway, looking into the MASTER BEDROOM\n of Toshio's parents. His attention is drawn to something\n near the door --", "Karen turns to the staircase to see --\n \n -- KAYAKO, crawling down the stairs. Still wrapped in the\n plastic sheeting, she moves like a wounded animal, neck", "down from above, landing on the floor in front of him.\n \n It's KAYAKO'S FACE. One of the missing pieces from the torn-\n out photographs.", "Peter steps inside, unsure about entering uninvited.\n \n PETER (IN JAPANESE)\n (calling out)", "Then a familiar sound reaches our ears: THUD. THUD. THUD.\n \n It's coming from Toshio's room. And it's the same rhythmic", "Peter slowly looks up to see --\n \n -- ALL THE MISSING KAYAKO FACES have been pinned to the", "123 INT. THE HOUSE - BATHROOM - DAY 123\n \n Peter enters, finding Toshio lying on the floor. He must", "A familiar BOY is inside -- it's TOSHIO. His glazed and\n staring eyes don't seem to notice Peter, standing right in", "Then Kayako gestures to Toshio, and he turns away, entering\n The House and closing the door.\n \n CUT TO BLACK.", "No reaction. There's definitely something wrong with this\n boy. Peter looks beyond him, into the dark house.\n \n PETER (IN JAPANESE)", "Taped on the final page is A PHOTO: PETER with a group of\n his University friends, at a party. Kayako has scribbled", "-- it's not his reflection in the mirror. It's KAYAKO.\n \n Peter stares at the image in disbelief. Then he notices", "...but the photo is TORN IN HALF, splitting Maria's face.\n And KAYAKO is visible between them, sadly and stoically\n watching Peter, strands of hair falling down her face.", "Karen immediately reaches forward, trying to loosen Doug's\n grip on the lighter as --\n \n -- Kayako reaches the bottom of the stairs. Her broken neck", "We move to THE GROUP PHOTO. Peter with Maria, surrounded by\n classmates. Kayako off to the side, her eyes on Peter.", "words, his face contorted with rage... he turns to see\n KAYAKO, home from work, standing in the doorway...", "HIS POV: it's a journal Kayako kept. As Peter flips through\n it, KAYAKO'S VOICE speaks the words...", "hears the soft sound of WHISPERING from nearby.\n \n Beyond her, we see a PALE FACE (KAYAKO) pressed against the", "And KAYAKO is getting closer.\n \n Sobbing, Karen drops Doug and falls back against the front\n door, bumping into --", "Following Toshio's gaze, Peter quickly turns to face Karen.\n But even though she's right there, he doesn't see her:" ], [ "Karen is on her cell phone:\n \n KAREN (INTO PHONE)\n Yes, he was shut in a closet!", "The closet seems empty, except for a large BOOK on a shelf.\n Karen reaches inside and picks it up.\n \n Then she sees, in the darkened far corner of the closet, a", "Then her attention turns to THE BOOK she found in the closet.\n \n Karen can't resist. She opens it.", "behind her. It's dark and musty -- the blinds are drawn.\n \n KAREN\n Is anyone here?", "THE CLOSET. The door is open. Susan kneels down, looking at\n something inside it. She picks it up --", "Susan stands and walks out of the room. But we stay in the\n closet, PANNING TO REVEAL the closet wall. It's covered with", "Karen sorrow turns to abject terror. She tries to lift\n Doug's body and pull it to the front door. It's too heavy.", "THUD. THUD. The same rhythmic thumping that Karen heard.\n \n After a moment, Jennifer steps inside the room, disappearing\n from our sight.", "And KAYAKO is getting closer.\n \n Sobbing, Karen drops Doug and falls back against the front\n door, bumping into --", "Nakagawa puts the photo down and steps into the hallway and\n closes the door, but not all the way. Karen watches and\n listens through the crack:", "closet door. Many of the pins go through HER EYES.\n \n And that's when Peter and Karen hear THE FLIES. Buzzing", "KAREN\n They're dead, aren't they?\n \n Karen turns and runs for the exit.", "She stares at the boxes, afraid to open them. Karen sits\n down and gently removes the lid of one of them.", "He hangs up. Leans against the wall. Looking into --\n \n THE FRONT BEDROOM. Karen gasps as she sees TOSHIO through", "Karen walks to the door. She pauses, disturbed by the eerie\n sounds from inside. Then she reaches for the doorknob.", "Yoko backs away towards the closet. Nowhere to go.\n \n The cat suddenly HISSES AT HER --", "Karen stands in the doorway, surveying the room. The place\n is in a complete state of disarray.\n \n A SCRAPING sound grabs Karen's attention.", "Yoko presses back into the closet, trapped.\n \n The closet is starting to get dark. Quickly.", "KAREN\n Hello? Mrs. Williams?\n \n Nothing. She tentatively steps inside, and the door closes", "No answer. She slowly walks to the bedroom and looks inside.\n He's not there. This seems to worsen Karen's mood." ], [ "access cuts through the thick darkness.\n \n Nakagawa appears, pulling himself up into the attic. He\n swings his flashlight slowly around the room.", "NAKAGAWA\n The bodies of the son and daughter-\n in-law of the woman you were caring\n for were found in the attic.", "They pause in the hallway for a moment. Then Nakagawa walks\n into the rear room (Matthew's office). The BEEPING is close.", "Nakagawa picks up TWO HEAVY OBJECTS, one in each hand, and,\n ducking under the police tape, enters the house.", "Karen found, and taped together. He shows it to her.\n \n NAKAGAWA\n We found this in the room where...", "As Nakagawa looks at the crime scene photo, he realizes\n something. He slowly stands, in shock, trembling.\n \n The phone RINGS, startling him.", "The moment is broken by a soft KNOCK. Detective Nakagawa\n stands in the doorway, holding a thick FILE.\n \n NAKAGAWA", "INT. POLICE STATION - NAKAGAWA'S OFFICE - NIGHT\n Nakagawa is looking at the same picture, in his file.", "-- Matthew grabs the lamp. He reaches it, holding it up --\n \n At first, it looks like both Jennifer and Toshio have", "Nakagawa puts the photo down and steps into the hallway and\n closes the door, but not all the way. Karen watches and\n listens through the crack:", "with Nakagawa and Igarashi, who is taking notes on a pad.\n \n Karen says something and the Detective looks over at Alex.", "He quickly pulls open the door. The closet is empty.\n \n Nakagawa looks up, peering into the darkness.", "Reluctantly, Doug kisses her brow, then exits. Nakagawa\n pulls a chair up to the bed and sits, putting the file on a\n small table.", "Nakagawa and Igarashi enter. The Coroner stands, nervous.\n He walks to one of the tables and pulls back the sheet.", "Nakagawa turns to the CLOSED CLOSET DOORS.\n \n \n 74 INT. CLOSET - NIGHT 74", "The Coroner shakes his head. Nakagawa looks to Igarashi,\n then walks up to the second body, pulling back the sheet.", "NAKAGAWA\n I am Detective Nakagawa. This is\n Detective Igarashi, my assistant.", "tonight, under evaluation.\n \n He hands Alex a wedding picture of MATTHEW AND JENNIFER.\n \n NAKAGAWA", "93 INT. POLICE STATION - NAKAGAWA'S OFFICE - DAWN 93\n \n Nakagawa sits at the desk. Exhausted, dark circles under his", "Nakagawa sits in front of the bodies, examining them.\n \n IGARASHI (IN JAPANESE)" ], [ "Karen turns to the staircase to see --\n \n -- KAYAKO, crawling down the stairs. Still wrapped in the\n plastic sheeting, she moves like a wounded animal, neck", "Karen turns to the next picture -- it's a graduation party.\n \n Kayako is in this one too: standing to the side, watching", "She wipes away the tears in her eyes.\n \n KAREN\n Did you know a woman named Kayako?", "Karen gently touches the \"missing\" face of KAYAKO -- then her\n eyes move to the picture of THE BOY.", "As Karen flips through them, a definite pattern emerges --\n \n -- Kayako is in practically every picture.", "And KAYAKO is getting closer.\n \n Sobbing, Karen drops Doug and falls back against the front\n door, bumping into --", "(under his breath)\n Guess your mom's late, huh?\n \n Then Toshio suddenly looks up. Right at Karen.", "Karen immediately reaches forward, trying to loosen Doug's\n grip on the lighter as --\n \n -- Kayako reaches the bottom of the stairs. Her broken neck", "hears the soft sound of WHISPERING from nearby.\n \n Beyond her, we see a PALE FACE (KAYAKO) pressed against the", "Past the early pages Karen saw, THE WRITING becomes more\n manic, the delicate script becoming a frantic scrawl,\n KAYAKO'S VOICE becomes more desperate and pleading.", "`Kayako', `Takeo'. And an ominous phrase: \"MURDER/SUICIDE\".\n \n Karen clicks a link marked `IMAGE'. A scanned picture of the", "Then Kayako gestures to Toshio, and he turns away, entering\n The House and closing the door.\n \n CUT TO BLACK.", "ON KAREN, as she is surprised to see...\n \n KAYAKO. Beautiful and meek. She's smiling, walking hand-in-", "`Toshio'.\n \n Nakagawa immediately tenses. A long beat. He can see how\n exhausted Karen is. But something's troubling him:", "Nakagawa puts the photo down and steps into the hallway and\n closes the door, but not all the way. Karen watches and\n listens through the crack:", "Karen tries the lighter again. And again. Nothing.\n \n Kayako reaches out, blood dripping from her gaping mouth --", "Karen walks to the door. She pauses, disturbed by the eerie\n sounds from inside. Then she reaches for the doorknob.", "-- but she can't pull herself free, as --\n \n -- Kayako pulls herself closer, her CROAKING intensifying --", "down from above, landing on the floor in front of him.\n \n It's KAYAKO'S FACE. One of the missing pieces from the torn-\n out photographs.", "The look on Nakagawa's face is grave.\n \n NAKAGAWA (IN JAPANESE)\n Call her at work, then at home. If" ], [ "Nakagawa, his hand shaking, reaches forward, about to turn\n off the television set, when --", "As Nakagawa looks at the crime scene photo, he realizes\n something. He slowly stands, in shock, trembling.\n \n The phone RINGS, startling him.", "From the expression on Nakagawa's face, she's onto something.\n \n KAREN", "-- TAKEO drowns a flailing TOSHIO in the bathroom tub...\n \n -- TAKEO tears apart TOSHIO'S CAT, still alive, in the", "Karen just stares at him, stunned.\n \n NAKAGAWA\n It seems that the son killed his", "NAKAGAWA (IN JAPANESE)\n I don't understand. He killed\n Yoko, before he died?", "head from the water. It's TOSHIO. He's dead. Drowned.\n \n Before Nakagawa can understand what's happening, the boy's", "roughly pushes it into the water, holding him under.\n \n Nakagawa's LEGS flail and kick as he struggles, his SCREAMING", "Terrified, Nakagawa stands and turns away, closing his eyes.\n \n And when he finds the strength to look back --", "`Toshio'.\n \n Nakagawa immediately tenses. A long beat. He can see how\n exhausted Karen is. But something's troubling him:", "Yes.\n \n She notices Nakagawa isn't taking notes. He seems somewhat\n uncomfortable, as if he's building to something:", "Nakagawa and Igarashi enter. The Coroner stands, nervous.\n He walks to one of the tables and pulls back the sheet.", "NAKAGAWA\n One more question, please.\n \n He slowly reaches into his pocket and pulls out THE PHOTO", "Nakagawa looks up. Karen tries to explain:\n \n KAREN\n The writing. It looked feminine.", "The Coroner shakes his head. Nakagawa looks to Igarashi,\n then walks up to the second body, pulling back the sheet.", "but I think we should check it out.\n \n Nakagawa realizes something's troubling his partner.", "Nakagawa sits in front of the bodies, examining them.\n \n IGARASHI (IN JAPANESE)", "INT. POLICE STATION - NAKAGAWA'S OFFICE - NIGHT\n Nakagawa is looking at the same picture, in his file.", "ends, he turns to see NAKAGAWA standing in the doorway.\n \n IGARASHI (IN JAPANESE)", "Nakagawa catches his breath. Then he reaches for the lid of\n one of the cans, starting to unscrew it. His hands are" ], [ "Doug walks to the FRONT ROOM door and opens it. He leans\n inside, trying to let his eyes adjust to the dark.", "126e INT. THE HOUSE - ENTRANCE - NIGHT 126e\n \n Doug re-enters the entryway, looking back up to the second", "There's the sound of the front door UNLOCKING and Doug\n enters, carrying a bag. He closes the door behind him and\n walks in, turning the corner --", "EXT. THE HOUSE - NIGHT\n Doug stands at the gate, lighting a cigarette, looking down\n at the POLICE TAPE sealing the entrance. He pockets his", "126c INT. THE HOUSE - ENTRANCE - NIGHT 126c\n \n Doug steps inside, trying the light switch. Nothing happens.", "KAREN\n Because I've been inside that\n house, Doug. Don't you get it?\n I've been inside!", "126d INT. THE HOUSE - LIVING ROOM - NIGHT 126d\n \n Doug walks through the living room, glancing inside the small", "-- it's DOUG'S BODY. He lies on his back, his top half\n sticking out from a niche by the stairwell. It's been right\n next to her all along.", "The same thing happened three years\n ago, Doug. To a Japanese family,\n who lived in that house. They were\n all found dead.", "Zippo and ducks under the tape, walking up to --\n \n THE FRONT DOOR. Doug tries the handle, and the door swings", "You don't understand. I have to,\n Doug.\n \n DOUG\n Why?", "Karen enters, calling out:\n \n KAREN\n Doug! Where are you???", "Karen sorrow turns to abject terror. She tries to lift\n Doug's body and pull it to the front door. It's too heavy.", "DOUG. He sits on the edge of the bed, slightly slumped, his\n back to her.\n \n He slowly turns -- and a relieved smile crosses his face. He", "-- he's supposed to be dead.\n \n A beat. Karen's eyes plead with Doug.\n \n KAREN", "(intense:)\n There's something wrong with that\n house, Doug. Something really bad.\n (re: Peter's photo)", "A beat. We see the resolve come over Karen's face. She\n reaches out and touches Doug tenderly.\n \n KAREN", "KAREN\n That house. There was something...\n \n Doug sees her frustration, and tenderly brushes a hair from", "for something like that.\n \n She turns away. Doug wraps an arm around her. Karen leans\n into him, and he strokes her hair.", "Reluctantly, Doug kisses her brow, then exits. Nakagawa\n pulls a chair up to the bed and sits, putting the file on a\n small table." ], [ "Karen drops the empty gas can and opens DOUG'S LIGHTER.\n \n She flicks it. Nothing.", "Karen grabs another can, and spins the lid until it pops off.\n She tips it onto the floor, spilling more gas.", "-- his ZIPPO LIGHTER.\n \n Realization dawns over Karen as she feels the liquid spilling\n onto her hands. The odor is unmistakable.", "-- resigned, Karen slowly lowers the flame to the gas can --\n \n -- and ignites the gas! There's a sudden BRIGHT FLASH that\n overtakes the screen --", "makes a horrific CRACKING as she swivels to face Karen.\n \n Karen finally gets the lighter. She pushes back against the", "Then she reaches into her pocket, pulling out a LIGHTER.\n \n Yoko raises it and flicks the wheel --", "Karen draws a breath. Then, out of the corner of her eye,\n she sees something she hadn't noticed before --", "Karen sorrow turns to abject terror. She tries to lift\n Doug's body and pull it to the front door. It's too heavy.", "KAREN\n They're dead, aren't they?\n \n Karen turns and runs for the exit.", "The lighter CATCHES.\n \n Karen flails with her free arm and opens the front door --", "holding Karen's hand. She turns, wondering what's going on.\n She sees the smile on his lips a moment before --", "Karen tries the lighter again. And again. Nothing.\n \n Kayako reaches out, blood dripping from her gaping mouth --", "Karen is washing the dirty sheets in a bucket and hanging\n them to dry. She finishes, turning to her charge.", "Kayako doesn't seem to care. She crawls over Doug's body and\n pulls herself through the gasoline, slowly, drawing\n inexorably closer --", "-- THE WALL, where's she's taped all the pictures and\n articles in a circle.\n \n Karen realizes something. She reaches for the lamp, and", "She stands there for a moment, in the near-darkness.\n \n Then, softly:\n \n KAREN", "hanging limply, struggling to pull herself forward --\n \n -- her eyes locked on Karen, CROAKING horribly --", "Karen immediately reaches forward, trying to loosen Doug's\n grip on the lighter as --\n \n -- Kayako reaches the bottom of the stairs. Her broken neck", "But then Karen's eyes drift to another picture at the bottom\n of the page --\n \n -- PETER. She quickly recognizes him from the picture she", "illumination in the dark apartment.\n \n Karen enters, standing in the doorway for a moment. Shell-\n shocked. As she slides off her coat:" ], [ "Kayako doesn't seem to care. She crawls over Doug's body and\n pulls herself through the gasoline, slowly, drawing\n inexorably closer --", "Peter pulls a book of matches from his pocket. Lights one.\n \n And looks up.", "has burst open, his body broken and twisted.\n \n ON THE PAVEMENT: a line of blood appears, moving down the", "Then she reaches into her pocket, pulling out a LIGHTER.\n \n Yoko raises it and flicks the wheel --", "-- resigned, Karen slowly lowers the flame to the gas can --\n \n -- and ignites the gas! There's a sudden BRIGHT FLASH that\n overtakes the screen --", "Terrified, Nakagawa stands and turns away, closing his eyes.\n \n And when he finds the strength to look back --", "Karen drops the empty gas can and opens DOUG'S LIGHTER.\n \n She flicks it. Nothing.", "-- his ZIPPO LIGHTER.\n \n Realization dawns over Karen as she feels the liquid spilling\n onto her hands. The odor is unmistakable.", "After a moment, Peter decides to check it out. As he steps\n around a bush, he suddenly stops, surprised to see --", "Taped on the final page is A PHOTO: PETER with a group of\n his University friends, at a party. Kayako has scribbled", "only sign she's alive is that HER FEARFUL EYES slowly fix on\n him. Her mouth opens, as if she's trying to speak.", "She can't understand how this could be happening.\n \n As Peter is about to stand back up, SOMETHING small flutters", "As he takes a step forward his foot bumps THE GAS CANS, still\n sitting by the front door.", "As Peter helps the boy to his feet, he glances at the\n bathtub. It's filled, literally to the brim, with water.", "Then Peter slowly leans forward. And falls from the window.\n \n Maria stands in shock as the sound of SCREECHING TIRES from", "Karen grabs another can, and spins the lid until it pops off.\n She tips it onto the floor, spilling more gas.", "lighter, and cease altogether in the foyer.\n \n She stands there for a moment, bewildered. Then she tenses,", "In disbelief, Peter looks around wildly. He reaches out a\n tentative hand, feeling around... Karen moves out of the way.", "Peter notices something underneath the pile of photos -- a\n familiar JOURNAL. The same one Karen found in the closet.\n He opens it.", "Matthew re-enters, out of breath. He sits next to Jennifer,\n who hasn't moved. Puts a hand on her chest to make sure\n she's still breathing. She is." ], [ "Is that how they said she died?\n \n DOUG\n I'm sorry this happened to you.", "Doug puts a hand on her shoulder. She finally looks at him.\n \n KAREN\n Alex and Yoko are dead.", "I saw him, Doug. I talked to him.\n He told me his name. A boy who was\n killed by his father three years\n ago told me his name.", "As Doug's arm flops to the floor, his outstretched HAND lands\n next to Karen. She sees something clenched in his fingers --", "-- it's DOUG'S BODY. He lies on his back, his top half\n sticking out from a niche by the stairwell. It's been right\n next to her all along.", "Karen sorrow turns to abject terror. She tries to lift\n Doug's body and pull it to the front door. It's too heavy.", "I'm not even sure what did happen.\n \n DOUG\n You went to help someone who was,\n quite simply, beyond help.", "-- he's supposed to be dead.\n \n A beat. Karen's eyes plead with Doug.\n \n KAREN", "The same thing happened three years\n ago, Doug. To a Japanese family,\n who lived in that house. They were\n all found dead.", "but -- there was something else\n there. I'm sure of it.\n \n DOUG\n You watched a woman die, Kat.", "I think I know what I saw...\n \n After a moment, Doug pulls her into a hug.\n \n DOUG", "CLINK. She turns as Doug, grinning, lights a cigarette with\n his Zippo, flicking it shut and pocketing it.", "for something like that.\n \n She turns away. Doug wraps an arm around her. Karen leans\n into him, and he strokes her hair.", "A beat. We see the resolve come over Karen's face. She\n reaches out and touches Doug tenderly.\n \n KAREN", "Reluctantly, Doug kisses her brow, then exits. Nakagawa\n pulls a chair up to the bed and sits, putting the file on a\n small table.", "to talk to his wife... widow. If I\n can find out what happened, or\n if... maybe --\n \n DOUG", "DOUG\n Karen -- wait --\n \n He quickly grabs his coat and bag.", "EXT. THE HOUSE - NIGHT\n Doug stands at the gate, lighting a cigarette, looking down\n at the POLICE TAPE sealing the entrance. He pockets his", "DOUG. He sits on the edge of the bed, slightly slumped, his\n back to her.\n \n He slowly turns -- and a relieved smile crosses his face. He", "You don't understand. I have to,\n Doug.\n \n DOUG\n Why?" ], [ "MARIA\n He what?\n \n KAREN\n He killed himself.", "Look, I know this sounds strange,\n but... I don't think your husband\n wanted to die.\n \n MARIA", "The front door opens. MARIA (early 30s) has changed from\n when we first saw her -- she wears a revealing outfit, and\n her natural beauty now smolders beneath the surface.", "Then Susan sees A FINGERTIP of the hand at the corner of the\n floor where she stands, and A HEAD COVERED WITH BLACK HAIR\n slowly crawling up on the wall.", "MARIA\n Hey. Are you okay?\n \n Peter doesn't turn. He slowly stands and walks forward", "with you about your husband.\n \n When Maria's voice comes back through the intercom, she\n sounds different, shaken:", "After a moment, Maria sits down next to her. She opens the\n other box and pulls out another stack of photos.\n \n She looks at the first one, sadness crossing her face.", "KAREN\n Yes, that's right. He was...\n holding a cat. A black cat.\n (remembering:)", "Maria stirs, and opens her eyes. She stretches contentedly.\n \n Then she frowns. Rolls over. She's alone in the bed?", "MARIA\n Let me guess: `hard to explain'?\n \n Karen nods. Maria's brave face slips. She turns away.", "Then Peter slowly leans forward. And falls from the window.\n \n Maria stands in shock as the sound of SCREECHING TIRES from", "Maria turns back to her, sadness on her face. Then:\n \n MARIA\n Thank you.", "She can't understand how this could be happening.\n \n As Peter is about to stand back up, SOMETHING small flutters", "hanging limply, struggling to pull herself forward --\n \n -- her eyes locked on Karen, CROAKING horribly --", "and Maria in a park lined with blooming cherry trees.\n \n The pain returns, and she puts the picture away.", "Maria sizes her up. A beat. Then:\n \n MARIA\n Well?", "It's... hard to explain.\n \n Maria takes a drag from her cigarette. Waiting.\n \n KAREN", "only sign she's alive is that HER FEARFUL EYES slowly fix on\n him. Her mouth opens, as if she's trying to speak.", "And when I did, he looked me right\n in the eye. And then he jumped.\n The night before we'd been talking\n about having children together...", "I saw him, Doug. I talked to him.\n He told me his name. A boy who was\n killed by his father three years\n ago told me his name." ], [ "The same thing happened three years\n ago, Doug. To a Japanese family,\n who lived in that house. They were\n all found dead.", "KAREN\n Hello? Mrs. Williams?\n \n Nothing. She tentatively steps inside, and the door closes", "He says no one has lived in this\n house for three years.\n \n JENNIFER\n Why?", "Do you know these people?\n \n ALEX\n Matthew Williams, and his wife\n Jennifer. He's Emma's son, the", "In the center of it all is a picture of The House.\n \n ON THE DESK is a PRINT-OUT: the newspaper article about", "He looks up at the wall, tracing a finger over the photo of\n The House. Beneath it, is the address...", "I miss seeing this every morning.\n No response from his wife. He turns to see Jennifer looking\n down at Emma through the window.", "SUSAN\n Even in your own house.\n \n Suzuki smiles as Matthew and Jennifer take off their shoes.", "DOUG\n Okay. How about this: the\n American family knew about what had\n happened there before, and this\n knowledge subconsciously caused", "Then the door suddenly bursts open and Susan, terrified, runs\n from the stairwell and down the hall.", "-- it's THE HOUSE. Cozy and shaded, nestled into the dead\n end of the street. Large by Tokyo standards.", "I mean it, guys.\n \n Silence from upstairs. Shaking her head:\n \n SUSAN", "The cause of death is not clear...\n but it is the man who sold them\n this house.\n \n 77 77", "IGARASHI (IN JAPANESE)\n They were the first family to live\n in that house since the incident", "The APARTMENT is small, and completely unkempt. The kitchen\n is a mess, clothes lie everywhere.\n \n MARIA", "growing closer. But it's no use -- he's dead.\n \n And now there's a new sound, moving down the stairs. A", "A beat. Then:\n That came from upstairs.\n THUMP.\n Karen looks up as the sound continues. We PAN OVER towards", "a glass of wine and sighs impatiently.\n \n She walks back down the hall into the foyer.\n \n SUSAN", "We've seen this picture before --\n \n -- a FAMILY PORTRAIT. TOSHIO, holding a cute BLACK CAT.", "Karen sorrow turns to abject terror. She tries to lift\n Doug's body and pull it to the front door. It's too heavy." ], [ "NAKAGAWA\n I am Detective Nakagawa. This is\n Detective Igarashi, my assistant.", "As Nakagawa looks at the crime scene photo, he realizes\n something. He slowly stands, in shock, trembling.\n \n The phone RINGS, startling him.", "Detective Nakagawa?\n \n He looks up at her, a faraway look in his eyes.\n \n KAREN", "An UNMARKED CAR pulls up, and DETECTIVE NAKAGAWA (40s) exits\n the passenger side. He looks up at The House with dread.", "Igarashi comes up next to Nakagawa just as the Detective's\n flashlight stops on something.", "INT. POLICE STATION - NAKAGAWA'S OFFICE - NIGHT\n Nakagawa is looking at the same picture, in his file.", "The moment is broken by a soft KNOCK. Detective Nakagawa\n stands in the doorway, holding a thick FILE.\n \n NAKAGAWA", "Excuse me, I need to speak with\n Detective Nakagawa.\n \n Officer #2 looks up at her. Blankly.", "Nakagawa and Igarashi enter. The Coroner stands, nervous.\n He walks to one of the tables and pulls back the sheet.", "The Coroner shakes his head. Nakagawa looks to Igarashi,\n then walks up to the second body, pulling back the sheet.", "There's something behind the Detective's words.\n \n KAREN\n His partner, Detective Igarashi?", "93 INT. POLICE STATION - NAKAGAWA'S OFFICE - DAWN 93\n \n Nakagawa sits at the desk. Exhausted, dark circles under his", "DETECTIVES NAKAGAWA and IGARASHI, plus reports on THE EARLIER\n INVESTIGATION.", "with Nakagawa and Igarashi, who is taking notes on a pad.\n \n Karen says something and the Detective looks over at Alex.", "Detective Nakagawa is not here\n right now. Can you tell me what\n case this is regarding?", "Nakagawa's harsh look silences him. Then the Detective\n turns, noticing KAREN watching them. He pulls the door shut.", "From the expression on Nakagawa's face, she's onto something.\n \n KAREN", "The look on Nakagawa's face is grave.\n \n NAKAGAWA (IN JAPANESE)\n Call her at work, then at home. If", "Nakagawa stands with THE CORONER. The CORONER'S ASSISTANT,\n wearing a face mask and rubber gloves, approaches. He holds\n something small, wrapped in a bloody white sheet.", "The driver, DETECTIVE IGARASHI (30s), moves next to him.\n \n IGARASHI (IN JAPANESE)" ], [ "The one she left behind in the stairwell.\n \n Susan suddenly CRIES OUT, her head tilting back, her body\n abruptly going stiff. We soon see why:", "has burst open, his body broken and twisted.\n \n ON THE PAVEMENT: a line of blood appears, moving down the", "Then Susan sees A FINGERTIP of the hand at the corner of the\n floor where she stands, and A HEAD COVERED WITH BLACK HAIR\n slowly crawling up on the wall.", "Is that how they said she died?\n \n DOUG\n I'm sorry this happened to you.", "I saw him, Doug. I talked to him.\n He told me his name. A boy who was\n killed by his father three years\n ago told me his name.", "The curtain suddenly SLIDES BACK. Karen, dressed, stares at\n him. She looks angry.\n \n KAREN", "as if she's been yanked up and forward. Her mouth is wide\n and gasping --\n \n -- and then she falls back onto the bed. Dead.", "In the midst of the blackness are TWO DISEMBODIED EYES.\n Filled with an intense rage. Focused directly on Karen.", "The cause of death is not clear...\n but it is the man who sold them\n this house.\n \n 77 77", "They all have red lines drawn through them.\n \n Then we PAN UP to see that these are the last names on a\n longer list. We recognize the other names: MATTHEW,", "been ripped out, her tongue hanging limply on her chest.\n \n Alex stumbles backwards... and his foot lands right in a", "No more... please, no more...\n \n She suddenly freezes, sensing something next to her. We see\n it now, as she turns her head, almost hidden in the darkness--", "A translation appears over them: \"The Grudge.\"\n \n \n 2 EXT. STREET CORNER - DAY 2", "Karen just stares at him, stunned.\n \n NAKAGAWA\n It seems that the son killed his", "Then Peter slowly leans forward. And falls from the window.\n \n Maria stands in shock as the sound of SCREECHING TIRES from", "Well, I warned you. Prepare to be\n emotionally scarred.\n \n She starts up the stairs and turns the first corner --", "towards it. But the sound of WHISPERING continues.\n \n As she slowly walks to the door, we can make out some words:", "She's seeing something that happened three years ago.\n \n As if sensing her presence, Peter walks right to the edge of\n the stairs, looking down. Then:", "Nakagawa and Igarashi enter. The Coroner stands, nervous.\n He walks to one of the tables and pulls back the sheet.", "But now it's clear, from the tache noire in the eyes, the\n blanched skin, the rigidity of her body: she's dead." ], [ "Then Kayako gestures to Toshio, and he turns away, entering\n The House and closing the door.\n \n CUT TO BLACK.", "-- TAKEO in THE ATTIC, stuffing KAYAKO and TOSHIO, both very\n dead, wrapped in plastic sheeting, into a corner...", "Then a familiar sound reaches our ears: THUD. THUD. THUD.\n \n It's coming from Toshio's room. And it's the same rhythmic", "Karen turns to the staircase to see --\n \n -- KAYAKO, crawling down the stairs. Still wrapped in the\n plastic sheeting, she moves like a wounded animal, neck", "seems to cover its entire surface. Kayako's hair.\n \n TOSHIO, now back to his \"dead\" appearance, playfully swings", "down from above, landing on the floor in front of him.\n \n It's KAYAKO'S FACE. One of the missing pieces from the torn-\n out photographs.", "...but the photo is TORN IN HALF, splitting Maria's face.\n And KAYAKO is visible between them, sadly and stoically\n watching Peter, strands of hair falling down her face.", "TOSHIO standing next to Kayako, looking up at her.\n \n Revisions (Blue) -- 1/26/04 89A.", "(under his breath)\n Guess your mom's late, huh?\n \n Then Toshio suddenly looks up. Right at Karen.", "She wipes away the tears in her eyes.\n \n KAREN\n Did you know a woman named Kayako?", "Karen immediately reaches forward, trying to loosen Doug's\n grip on the lighter as --\n \n -- Kayako reaches the bottom of the stairs. Her broken neck", "Takeo's eyes go wide with fear... and TOSHIO suddenly reaches\n from his plastic grave, grabbing Takeo's other arm...", "Nakagawa and Igarashi enter. The Coroner stands, nervous.\n He walks to one of the tables and pulls back the sheet.", "Peter stands in the doorway, looking into the MASTER BEDROOM\n of Toshio's parents. His attention is drawn to something\n near the door --", "head from the water. It's TOSHIO. He's dead. Drowned.\n \n Before Nakagawa can understand what's happening, the boy's", "NAKAGAWA\n The bodies of the son and daughter-\n in-law of the woman you were caring\n for were found in the attic.", "-- AND THE UPPER HALF OF KAYAKO swings down.\n \n She's been wrapped in plastic sheeting, mottled splotches of", "-- KAYAKO running down the steps, TAKEO chasing her, tackling\n her before she can reach the door... sitting on top of her,\n he wraps his hands around her neck...", "123 INT. THE HOUSE - BATHROOM - DAY 123\n \n Peter enters, finding Toshio lying on the floor. He must", "The Coroner shakes his head. Nakagawa looks to Igarashi,\n then walks up to the second body, pulling back the sheet." ], [ "Karen drops the empty gas can and opens DOUG'S LIGHTER.\n \n She flicks it. Nothing.", "-- his ZIPPO LIGHTER.\n \n Realization dawns over Karen as she feels the liquid spilling\n onto her hands. The odor is unmistakable.", "makes a horrific CRACKING as she swivels to face Karen.\n \n Karen finally gets the lighter. She pushes back against the", "Karen grabs another can, and spins the lid until it pops off.\n She tips it onto the floor, spilling more gas.", "The lighter CATCHES.\n \n Karen flails with her free arm and opens the front door --", "Then she reaches into her pocket, pulling out a LIGHTER.\n \n Yoko raises it and flicks the wheel --", "-- resigned, Karen slowly lowers the flame to the gas can --\n \n -- and ignites the gas! There's a sudden BRIGHT FLASH that\n overtakes the screen --", "Karen sorrow turns to abject terror. She tries to lift\n Doug's body and pull it to the front door. It's too heavy.", "Karen tries the lighter again. And again. Nothing.\n \n Kayako reaches out, blood dripping from her gaping mouth --", "Karen draws a breath. Then, out of the corner of her eye,\n she sees something she hadn't noticed before --", "holding Karen's hand. She turns, wondering what's going on.\n She sees the smile on his lips a moment before --", "Karen immediately reaches forward, trying to loosen Doug's\n grip on the lighter as --\n \n -- Kayako reaches the bottom of the stairs. Her broken neck", "lighter, and cease altogether in the foyer.\n \n She stands there for a moment, bewildered. Then she tenses,", "KAREN\n They're dead, aren't they?\n \n Karen turns and runs for the exit.", "behind her. It's dark and musty -- the blinds are drawn.\n \n KAREN\n Is anyone here?", "She stands there for a moment, in the near-darkness.\n \n Then, softly:\n \n KAREN", "Maria reaches for a pack of cigarettes. Lights one. Offers\n them to Karen. She shakes her head.\n \n MARIA", "Following Toshio's gaze, Peter quickly turns to face Karen.\n But even though she's right there, he doesn't see her:", "But then Karen's eyes drift to another picture at the bottom\n of the page --\n \n -- PETER. She quickly recognizes him from the picture she", "Karen's eyes sweep the room. It reeks of neglect.\n \n 9 9" ], [ "It's not the pale, frightening Kayako anymore. Rather: a\n beautiful, young Kayako with eyes filled with sorrow.", "Karen turns to the staircase to see --\n \n -- KAYAKO, crawling down the stairs. Still wrapped in the\n plastic sheeting, she moves like a wounded animal, neck", "seems to cover its entire surface. Kayako's hair.\n \n TOSHIO, now back to his \"dead\" appearance, playfully swings", "down from above, landing on the floor in front of him.\n \n It's KAYAKO'S FACE. One of the missing pieces from the torn-\n out photographs.", "Karen turns to the next picture -- it's a graduation party.\n \n Kayako is in this one too: standing to the side, watching", "She wipes away the tears in her eyes.\n \n KAREN\n Did you know a woman named Kayako?", "...but the photo is TORN IN HALF, splitting Maria's face.\n And KAYAKO is visible between them, sadly and stoically\n watching Peter, strands of hair falling down her face.", "Karen gently touches the \"missing\" face of KAYAKO -- then her\n eyes move to the picture of THE BOY.", "Karen tries the lighter again. And again. Nothing.\n \n Kayako reaches out, blood dripping from her gaping mouth --", "Then Kayako gestures to Toshio, and he turns away, entering\n The House and closing the door.\n \n CUT TO BLACK.", "-- but she can't pull herself free, as --\n \n -- Kayako pulls herself closer, her CROAKING intensifying --", "As Karen flips through them, a definite pattern emerges --\n \n -- Kayako is in practically every picture.", "Karen immediately reaches forward, trying to loosen Doug's\n grip on the lighter as --\n \n -- Kayako reaches the bottom of the stairs. Her broken neck", "hears the soft sound of WHISPERING from nearby.\n \n Beyond her, we see a PALE FACE (KAYAKO) pressed against the", "-- TAKEO snaps Kayako's neck with an audible CRACK...\n \n -- KAYAKO, not dead, but paralyzed, watching as...", "Past the early pages Karen saw, THE WRITING becomes more\n manic, the delicate script becoming a frantic scrawl,\n KAYAKO'S VOICE becomes more desperate and pleading.", "words, his face contorted with rage... he turns to see\n KAYAKO, home from work, standing in the doorway...", "Kayako doesn't seem to care. She crawls over Doug's body and\n pulls herself through the gasoline, slowly, drawing\n inexorably closer --", "-- AND THE UPPER HALF OF KAYAKO swings down.\n \n She's been wrapped in plastic sheeting, mottled splotches of", "Then a familiar sound reaches our ears: THUD. THUD. THUD.\n \n It's coming from Toshio's room. And it's the same rhythmic" ], [ "KAREN\n Hello? Mrs. Williams?\n \n Nothing. She tentatively steps inside, and the door closes", "-- KAREN. She's sitting in the living room, wrapped in a\n blanket, being attended to by a FEMALE NURSE and speaking", "Then he speaks to the Nurse, who helps Karen to her feet.\n \n Nakagawa and Igarashi enter the kitchen. In perfect English:", "2cc EXT. NURSING CARE CENTER - DAY 2cc\n \n Karen and Doug approach the doors of a NURSING CARE CENTER.", "92 92\n INT. NURSING CARE CENTER - NIGHT\n The place is quiet, completely deserted. Except for --", "Nakagawa and Igarashi enter. The Coroner stands, nervous.\n He walks to one of the tables and pulls back the sheet.", "behind her. It's dark and musty -- the blinds are drawn.\n \n KAREN\n Is anyone here?", "NAKAGAWA\n The bodies of the son and daughter-\n in-law of the woman you were caring\n for were found in the attic.", "She stares at the boxes, afraid to open them. Karen sits\n down and gently removes the lid of one of them.", "INT. NURSING CARE CENTER - DAY\n Through the front doors, we see Doug kiss Karen again. They\n finally separate, and Doug walks off.", "SUSAN\n Even in your own house.\n \n Suzuki smiles as Matthew and Jennifer take off their shoes.", "The look on Nakagawa's face is grave.\n \n NAKAGAWA (IN JAPANESE)\n Call her at work, then at home. If", "A beat. Then:\n That came from upstairs.\n THUMP.\n Karen looks up as the sound continues. We PAN OVER towards", "INT. THE HOUSE - LATER\n The house feels completely different: all the interior\n lights are on, a few POLICE OFFICERS mill about, two EMTs", "She takes Emma's hand, but the old woman doesn't move.\n \n Matthew and Jennifer enter, worried.\n \n MATTHEW", "Do you know these people?\n \n ALEX\n Matthew Williams, and his wife\n Jennifer. He's Emma's son, the", "Matthew re-enters, out of breath. He sits next to Jennifer,\n who hasn't moved. Puts a hand on her chest to make sure\n she's still breathing. She is.", "That's when Karen notices THE INDENTATION in the mattress,\n across from where Emma is sitting. Where someone else would\n be, if the old woman was having a conversation.", "My name is Peter. I'm here to see\n your mother. Is she home?\n \n The boy slowly straightens. His eyes focus on Peter. Then", "My name is Yoko.\n \n The old woman still gives no sign of recognition. Yoko\n gently takes her arm." ] ]

[ "What prompted Takeo to kill his wife?", "Who leaves the curse on the house?", "How was Takeo killed?", "Who moves into the home from America?", "Who kills Matt and Jennifer?", "Who's lower jaw was found in the attic?", "Nakagawa tries to do what to the home one evening?", "What is the case of Doug's death?", "Who is Karen still haunted by at the end of the story?", "Who discovers Kayako Saeki's diary?", "What does Peter receive from Kayako Saeki that prompts him to go to her house?", "What does Peter find when he arrives to Kayako Saeki's house?", "Who does Karen Davis find in the closet?", "In addition to Matt and Jennifer, what else does Detective Nakagawa find in the attic?", "After Kayako starts to haunt Karen, who does she inform?", "What is Nakagawa trying to do when Takeo kills him?", "Why does Doug go to the house?", "What does Karen use to light the petrol which keeps her from dying?", "What survives the petrol fire?", "How did Doug die?", "What type of animal was Mar?", "Where did the Williams family move from?", "What was the name of Detective Nakagawa's partner?", "How is the curse born?", "Where does Taeo hid the bodies of Kayako, Mar & Toshio?", "Who's lighter does Karen use to try to light the petrol?", "What type of ghost did Kayako appear as after she was killed?", "What are the names of the two careworkers sent to the Williams' house?" ]

[ [ "He thought she was having an affair.", "He thought she was having an affair." ], [ "Kayako", "Kayako" ], [ "He was hung with his wife hair", "the ghost of Kayako hangs him with her hair" ], [ "The Williams family", "the Williams family, Matt, Jennifer, and Emma" ], [ "Toshio", "Toshio" ], [ "Yoko's", "Yoko's" ], [ "Burn it down", "Tries to burn the house down." ], [ "He dies of fright", "fright" ], [ "Kayako", "kayako" ], [ "Takeo", "husband" ], [ "A letter", "a letter" ], [ "Her corpse", "Kayako's body" ], [ "Toshio and Mar", "Toshio and Mar who seem to be alive" ], [ "A human jaw", "A human jaw" ], [ "Doug", "police detective" ], [ "Burn down the house", "Burn the house down" ], [ "To look for Karen", "To look for Karen" ], [ "Doug's lighter", "Doug's lighter" ], [ "The house.", "the house" ], [ "Doug died of fright after Kayako crawled on him.", "Doug dies of fright when Kayako crawls on top of him. " ], [ "A house cat", "Cat" ], [ "America", "America" ], [ "Igarashi", "Igarashi" ], [ "When someone dies from extreme sorrow or in the grip of a powerful rage", "death in rage or sorrow" ], [ "The attic and closet", "in the attic and closet" ], [ "Doug's", "Doug's" ], [ "onryo", "onryo ghost" ], [ "Yoko and Karen Davis", "Emma and Karen" ] ]

[ [ "RAY\n Three. I got kids.\n\n LILA\n How old?\n\n RAY\n Five and Fifteen.", "RAY EDDY, 38, a bit worn for her years, with a long red\n ponytail, wearing an old bathrobe, sits in the passenger", "TROOPER NAPOLI\n Is there a Ray Eddy here?\n\n Ray comes to the door.\n\n RAY\n Yes.", "He hands Ray a wad of cash. She counts it, then nods to\n Lila who pops the trunk.", "The men nod, relieved. Ray counts out the money.\n\n Ricky bursts out the door and runs towards Ray.\n\n RICKY\n Mommy!", "Ray rolls down the window and tosses out their shoes and\n socks.\n\n RAY\n You're welcome.\n\n Ray swerves back out onto Route 37.", "Ray looks after them and reaches for her cigarettes. She\n takes out her second to last one. She lights it and takes\n out her mascara.", "Lila hands the paper bag to Ray and points the gun at\n her, keeping it low and out of sight.\n\n LILA\n Count it.", "Ray opens the bag and counts out the cash, as before.\n\n RAY\n Twelve hundred.\n\n 27.", "Ray chases her, but Lila is faster and gets ahead, then\n disappears into the woods. Ray stops, panting, and wipes\n the blood from her forehead.", "She finds change and hands it to him.\n\n RAY (CONT'D)\n Here, lunch money.\n\n She gives the rest to Ricky.", "Ray gets in the car and sets the bundle down on the seat,\n unwraps it from layers of swaddling and begins taking off\n it's clothes. It is a boy.", "BERNIE\n The Chiefs want her out, so there's\n nothing standing between her and the\n troopers.\n\n RAY\n Listen, my kids got no one but me.", "Ray opens the bag. It's full of cash. All fifties and\n hundreds. Ray counts it.\n\n LILA (CONT'D)\n How much is there?", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "RAY\n What is she saying!?\n\n He speaks to her in Urdu.\n\n DEALER\n She says her baby. Her baby was in the\n bag.", "Ray takes the money and consolidates it into one paper\n bag.\n\n LILA\n What about mine?\n\n RAY\n We're even now.", "Jimmy drives it. He gets out, gathers Ray, Lila and the\n two Chinese girls into the back of the truck and drives\n away.", "Lila keeps walking. Ray follows trying to figure her out.\n\n RAY (CONT'D)\n You're gonna need a lot of money to take\n care of a one year old baby.", "Ray stops what she's doing when she sees him and kneels\n down.\n\n RAY\n Hey, little sleepy head." ], [ "RAY\n Three. I got kids.\n\n LILA\n How old?\n\n RAY\n Five and Fifteen.", "Ray gets in the car and sets the bundle down on the seat,\n unwraps it from layers of swaddling and begins taking off\n it's clothes. It is a boy.", "Ray stops what she's doing when she sees him and kneels\n down.\n\n RAY\n Hey, little sleepy head.", "Ray looks after them and reaches for her cigarettes. She\n takes out her second to last one. She lights it and takes\n out her mascara.", "Ray chases her, but Lila is faster and gets ahead, then\n disappears into the woods. Ray stops, panting, and wipes\n the blood from her forehead.", "Lila looks at Ray.\n\n RAY (CONT'D)\n What?\n\n Lila says nothing.", "RAY (CONT'D)\n Here. Lunch money.\n\n They take it and keep running for the bus.", "RAY\n You're going to school.\n\n 10.\n\n\n He follows Ricky out the door to catch the school bus\n rolling up out front.", "Ray stares across the room at a pile of Troy's dirty\n flannel shirts. She gets up and picks up the pile to move", "Ray, Lila and the Chinese girls keep running, slipping\n and sliding, falling. Lila and Ray stop and go back to\n help one of the Chinese girls who keeps falling.", "Ray ventures behind the desk and knocks on a small door.\n She carefully opens it to a small office with a desk,\n cluttered with papers and, beyond it, another door. Ray\n knocks and opens it to:", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "Ray gathers up the blankets. Lila sits motionless.\n\n RAY\n We gotta take it in.\n\n Lila sits absolutely still.", "Catching sight of Ray in the Acclaim, she abruptly turns\n and starts walking in the opposite direction.\n\n Ray pulls out and drives over following her in the\n Acclaim.", "Lila's eyes fill with tears. Ray chokes back her own.\n\n RAY (CONT'D)\n (to Lila)\n Come on. Let's go.", "Ray keeps giving it air. There is no response but she\n keeps at it. Then, between breaths:\n\n RAY\n Tap the bottom of his feet.", "RAY\n (under her breath)\n This is so fuckin' stupid.\n\n LILA\n Not too fast, there are ruts.", "Lila looks at Ray. The girl tries to get on her feet, but\neach time she does he kicks her in the back of the knees\nagain.", "Jimmy drives it. He gets out, gathers Ray, Lila and the\n two Chinese girls into the back of the truck and drives\n away.", "She finds change and hands it to him.\n\n RAY (CONT'D)\n Here, lunch money.\n\n She gives the rest to Ricky." ], [ "Ray and Lila bounce through the woods with Lila holding\n the gun, this time.\n\n They come to a dirt road then to an intersection with\n State Route 37.", "Lila looks at Ray.\n\n RAY (CONT'D)\n What?\n\n Lila says nothing.", "Ray looks at Lila.\n\n LILA\n Open it.\n\n Ray rolls down the window again.", "He hands Ray a wad of cash. She counts it, then nods to\n Lila who pops the trunk.", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "Lila hands the paper bag to Ray and points the gun at\n her, keeping it low and out of sight.\n\n LILA\n Count it.", "LILA (CONT'D)\n Open the door.\n\n Ray opens the door.\n\n LILA (CONT'D)\n Now get out.", "LILA (CONT'D)\n It's not far.\n\n Ray turns and drives into deeper woods. The gun jiggles\n around in Ray's hand as they bounce along between the\n trees.", "Ray opens the bag. It's full of cash. All fifties and\n hundreds. Ray counts it.\n\n LILA (CONT'D)\n How much is there?", "Suddenly, Ray grabs Lila by the hair and pulls her head\n down to the car seat. Lila hits Ray in the head with the\n gun.", "They stare at each other for a second or two, but Ray\n does not take out the gun. Lila reaches for the door\n handle\n\n Lila gets out. Ray drives away.", "Ray comes up behind Lila, rifling through THE UNZIPPED\n DUFFEL BAG. She suddenly jumps back at the sight of the\n tiny face of an infant, wrapped in blankets, eyes closed,\n lips blue.", "LILA (CONT'D)\n He don't need papers or anything.\n\n RAY\n Does he use them to rob banks or\n something?\n\n Lila shrugs.", "Lila takes the cash from Ray and pops the trunk release.\n The two Chinese men hurry out. The Dealer ushers them\n into a Garage.\n\n LILA\n Let's go.", "Ray chases her, but Lila is faster and gets ahead, then\n disappears into the woods. Ray stops, panting, and wipes\n the blood from her forehead.", "LILA\n I quit smuggling.\n\n RAY\n (rolls down the window)\n T.J. set the trailer on fire.", "Lila\n What are you doing?! Just count the money\n and let's go.\n\n Ray looks down at the bag. Nothing is visible but\n clothes.", "Ray and Lila get back in the car. Ray starts to count the\n money. Lila takes it back.\n\n LILA\n We don't have time.", "RAY (CONT'D)\n I want my part.\n\n Lila sits up on her cot and puts on her jacket.", "Lila keeps walking. Ray follows trying to figure her out.\n\n RAY (CONT'D)\n You're gonna need a lot of money to take\n care of a one year old baby." ], [ "Ray and Lila bounce through the woods with Lila holding\n the gun, this time.\n\n They come to a dirt road then to an intersection with\n State Route 37.", "RAY\n I'm not taking them over the border.\n That's a crime.\n\n LILA\n There's no border here. This is free\n trade between nations.", "LILA (CONT'D)\n It's not far.\n\n Ray turns and drives into deeper woods. The gun jiggles\n around in Ray's hand as they bounce along between the\n trees.", "RAY\n Okay. We'll take them.\n\nLila looks at Ray.\n\nBruno drops the girl who scrambles to her feet.", "TROOPER NAPOLI\n I just thought you should be aware of\n that. She's known to have smuggled\n illegal immigrants into the country.\n\n RAY\n Oh my God.", "Ray and Lila drive up. Jimmy runs out with his jacket\n pulled over his head. He sees Lila and signals to the\n garage.", "Lila looks at Ray.\n\n RAY (CONT'D)\n What?\n\n Lila says nothing.", "LILA (CONT'D)\n He don't need papers or anything.\n\n RAY\n Does he use them to rob banks or\n something?\n\n Lila shrugs.", "Ray looks at Lila.\n\n LILA\n Open it.\n\n Ray rolls down the window again.", "LILA (CONT'D)\n Open the door.\n\n Ray opens the door.\n\n LILA (CONT'D)\n Now get out.", "RAY\n Look, I'm not driving just anybody across\n the border.\n\n LILA\n Do you want the money or not?", "Ray gets in the driver's side of the Acclaim and starts\n it. After a moment, Lila gets in the passenger side.", "Ray comes up behind Lila, rifling through THE UNZIPPED\n DUFFEL BAG. She suddenly jumps back at the sight of the\n tiny face of an infant, wrapped in blankets, eyes closed,\n lips blue.", "Ray looks in the backseat at the duffel bag. She\nhesitates a moment then reaches into the back and opens\nthe back passenger door and slides the bag out of the\ncar.\n\nLila gets back inside.", "Ray chases her, but Lila is faster and gets ahead, then\n disappears into the woods. Ray stops, panting, and wipes\n the blood from her forehead.", "Jimmy drives it. He gets out, gathers Ray, Lila and the\n two Chinese girls into the back of the truck and drives\n away.", "Ray follows it through the woods to a clearing: the\n Acclaim stops in front of a rusted out BUBBLE CAMPER.\n\n Lila gets out. Ray pulls up behind her and rolls down her\n window.", "LILA\n Forty, fifty thousand. Depends where\n they're coming from.\n\n RAY\n To get here?", "LILA\n (to Ray)\n Just go.\n\n Ray goes to the door, but turns around...", "RAY\n Where's that?\n\n LILA\n An old casino through the woods. They\n used to have gambling there in the\n bootlegger days." ], [ "Ray and Lila bounce through the woods with Lila holding\n the gun, this time.\n\n They come to a dirt road then to an intersection with\n State Route 37.", "Ray and Lila drive up. Jimmy runs out with his jacket\n pulled over his head. He sees Lila and signals to the\n garage.", "LILA (CONT'D)\n It's not far.\n\n Ray turns and drives into deeper woods. The gun jiggles\n around in Ray's hand as they bounce along between the\n trees.", "Ray chases her, but Lila is faster and gets ahead, then\n disappears into the woods. Ray stops, panting, and wipes\n the blood from her forehead.", "They stare at each other for a second or two, but Ray\n does not take out the gun. Lila reaches for the door\n handle\n\n Lila gets out. Ray drives away.", "LILA (CONT'D)\n Open the door.\n\n Ray opens the door.\n\n LILA (CONT'D)\n Now get out.", "Ray looks at Lila.\n\n LILA\n Open it.\n\n Ray rolls down the window again.", "LILA\n (to Ray)\n Just go.\n\n Ray goes to the door, but turns around...", "Ray looks in the backseat at the duffel bag. She\nhesitates a moment then reaches into the back and opens\nthe back passenger door and slides the bag out of the\ncar.\n\nLila gets back inside.", "Ray stops.\n\n LILA (CONT'D)\n Now open the door.\n\n Ray hesitates. Lila jams the gun in her side.", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "RAY\n Okay. We'll take them.\n\nLila looks at Ray.\n\nBruno drops the girl who scrambles to her feet.", "Ray and Lila return down Route 37 past the sign\n \"AKWESASNE, LAND OF THE MOHAWK\"\n\n Lila keeps the gun on Ray.", "Ray gets in the driver's side of the Acclaim and starts\n it. After a moment, Lila gets in the passenger side.", "Lila follows Ray out, looking over her shoulder at the\n baby.\n\n\n99 INT. ACCLAIM ON ROUTE 37 - NIGHT 99", "Lila looks at Ray.\n\n RAY (CONT'D)\n What?\n\n Lila says nothing.", "Ray falls back, dazed for a moment. Lila steers. Then Ray\ntakes the wheel as they swerve out onto the main road.\n\n RAY\n He shot me.", "LILA\n (to Ray)\n Let's just go.\n\nHeld up by her hair, the girl slides around helplessly.\nLila winces at the sight. Ray stares at Bruno.", "Ray gathers up the blankets. Lila sits motionless.\n\n RAY\n We gotta take it in.\n\n Lila sits absolutely still.", "Lila keeps walking. Ray drives along beside her." ], [ "Lila looks at him, unfazed.\n\n BERNIE (CONT'D)\n The council voted to expel you.\n\n LILA\n Expel me?", "LILA (CONT'D)\n Nevermind. I'll go.\n\n She walks out.", "Ray chases her, but Lila is faster and gets ahead, then\n disappears into the woods. Ray stops, panting, and wipes\n the blood from her forehead.", "LILA (CONT'D)\n Open the door.\n\n Ray opens the door.\n\n LILA (CONT'D)\n Now get out.", "LILA\n Once.\n\n RAY\n What happened?\n\n LILA\n They gave me the choice of paying a fine\n or spending three months in jail.", "Evelyn stands in front of the door, blocking Lila. Lila\n stops and they stand for a moment looking at each other.\n There is anger and sadness. Evelyn moves aside.", "LILA (CONT'D)\n He lives with my mother-in-law. (after a\n moment) She stole him from me.\n\n RAY\n Stole him?", "LILA\n (to Ray)\n Just go.\n\n Ray goes to the door, but turns around...", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "Lila opens her eyes and looks out the window, squinting\n at the snow glare.", "She tries to resuscitate him, but there is no response.\n\n LILA\n It's dead.", "Lila looks back.\n\n LILA\n Calm down.\n\n Lila quickly pulls the baby near and wraps him inside her\n coat hiding him from sight.", "LILA\n Those are Christians. The converted.\n\n RAY\n From what?\n\n LILA\n From the Longhouse ways.", "They stare at each other for a second or two, but Ray\n does not take out the gun. Lila reaches for the door\n handle\n\n Lila gets out. Ray drives away.", "Ray gathers up the blankets. Lila sits motionless.\n\n RAY\n We gotta take it in.\n\n Lila sits absolutely still.", "LILA\n They can't do that.\n\n BERNIE\n They'll make your life miserable if you\n try to stay.", "RAY (CONT'D)\n I want my part.\n\n Lila sits up on her cot and puts on her jacket.", "She gets out of the car reluctantly. He looks in at Lila,\n she keeps her head down.\n\n TROOPER NAPOLI\n Step around to the back of the vehicle.", "Lila walks up to the Little Jake sitting in his high\n chair, his face covered in carrots.\n\n She reaches out to touch him, but Evelyn pushes her hand\n away.", "Lila looks at Ray.\n\n RAY (CONT'D)\n What?\n\n Lila says nothing." ], [ "Ray pulls in at a giant neon silhouette of a naked woman.\n\n They drive around back and get out. THROBBING DISCO music\n is heard from inside a door marked \"Prive.\"", "Ray pulls into a 1950s strip motel. A Pakistani man, the\n DEALER, looks out from the motel office.", "Ray and Lila drive down a commercial strip of shopping\n centers, fast food joints and strip clubs, with French\n names.\n\n LILA\n Up there. That's it.", "BRUNO\n (to the bartender)\n Give it to her.\n\nThe Bartender disappears into the club. Ray waits with\nthe gun on Bruno.", "RAY\n (knocks with the gun)\n You can cut the bullshit and give me my\n keys now.\n\n There is no reponse. Ray waits for a moment and then:", "Ray stops.\n\n LILA (CONT'D)\n Now open the door.\n\n Ray hesitates. Lila jams the gun in her side.", "They stare at each other for a second or two, but Ray\n does not take out the gun. Lila reaches for the door\n handle\n\n Lila gets out. Ray drives away.", "RAY\n What the hell is he doing?\n\n Ray reaches for her gun.\n\n LILA\n Keep that thing down.", "Ray grabs the money and still pointing at Bruno, backs\ninto the car.\n\nBruno reaches for his pistol and aims at them as the\nAcclaim squeals away.", "Ray drives with one hand and holds the gun with the\n other. It is pointed at Lila in the passenger seat.\n\n LILA\n Turn up there.", "Ray stops dialing closes up her phone, then goes to her\n car and takes the gun and goes back to the camper.", "Ray makes the turn with one hand and the car bounces\n through an overgrown path in the woods. Ray reaches the\n stump.", "Ray swerves in and jumps out and runs up to the men.", "RAY\n Put that thing down!\n\nHe ignites the blow torch to spite her.", "Lila get in the passenger side and Bruno starts for the\nback door of the club.\n\nRay pulls her gun out of her jacket and aims it at Bruno.\n\n RAY\n Turn around!", "RAY\n Where?\n\n T.J.\n The Rez,\n\n RAY\n With more than four thousand dollars,\n he's probably in Atlantic City by now.", "He hands Ray a wad of cash. She counts it, then nods to\n Lila who pops the trunk.", "Bruno looks around and nods at the bartender. The\nbartender panics not knowing what to do and begins\nspeaking in French to Bruno.\n\nRay shoots at the pavement beside Bruno.", "Ray is pinned against her seat at the sight of the dog.\n Lila GRABS the gun out of her hand and points it at Ray.", "T.J.\n No!\n\n RAY\n Put it down.\n\n T.J.\n Are you gonna shoot me now, too?" ], [ "Ray grabs her jacket off the oven and takes half the cash\n out of the pocket and hands it to Lila.\n\n RAY\n I gotta go.", "Lila hands the paper bag to Ray and points the gun at\n her, keeping it low and out of sight.\n\n LILA\n Count it.", "Ray takes the money and consolidates it into one paper\n bag.\n\n LILA\n What about mine?\n\n RAY\n We're even now.", "RAY (CONT'D)\n I want my part.\n\n Lila sits up on her cot and puts on her jacket.", "Ray opens the bag. It's full of cash. All fifties and\n hundreds. Ray counts it.\n\n LILA (CONT'D)\n How much is there?", "Ray and Lila pull up in front of Lila's camper and stop.\n Ray divides the money.\n\n 72.\n\n\n RAY\n Here.", "He hands Ray a wad of cash. She counts it, then nods to\n Lila who pops the trunk.", "LILA (CONT'D)\n Open the door.\n\n Ray opens the door.\n\n LILA (CONT'D)\n Now get out.", "Lila\n What are you doing?! Just count the money\n and let's go.\n\n Ray looks down at the bag. Nothing is visible but\n clothes.", "LILA\n (to Ray)\n Just go.\n\n Ray goes to the door, but turns around...", "They stare at each other for a second or two, but Ray\n does not take out the gun. Lila reaches for the door\n handle\n\n Lila gets out. Ray drives away.", "RAY\n Just COUNT IT and make sure it's all\n there!\n\nRay hands her the wad of money. Lila struggles to put on\nher glasses and counts out the money.", "Lila looks at Ray.\n\n RAY (CONT'D)\n What?\n\n Lila says nothing.", "Bleeding and holding Lila's hair, Ray pries the gun out\n of Lila's hand. Lila grabs the sack of money, jumps out\n of the passenger side of the car and takes off into the\n woods.", "Ray looks at Lila.\n\n LILA\n Open it.\n\n Ray rolls down the window again.", "RAY (CONT'D)\n I want my part.\n\n LILA\n I'll give you the money if you give me\n the car.", "Ray stops.\n\n LILA (CONT'D)\n Now open the door.\n\n Ray hesitates. Lila jams the gun in her side.", "Lila keeps walking. Ray follows trying to figure her out.\n\n RAY (CONT'D)\n You're gonna need a lot of money to take\n care of a one year old baby.", "Lila takes the money and starts to get out.\n\n RAY (CONT'D)\n Merry Christmas or whatever.\n\n LILA\n Yeah.", "RAY (CONT'D)\n Is it there?\n\n 90.\n\n\n LILA\n It's all there." ], [ "RAY EDDY, 38, a bit worn for her years, with a long red\n ponytail, wearing an old bathrobe, sits in the passenger", "TROOPER NAPOLI\n Is there a Ray Eddy here?\n\n Ray comes to the door.\n\n RAY\n Yes.", "Ray looks after them and reaches for her cigarettes. She\n takes out her second to last one. She lights it and takes\n out her mascara.", "Ray holds up her hair revealing the cut over her eye.\n\n RAY\n I just need enough for the balloon\n payment on my doublewide then I'm out of\n this. I'm no criminal.", "He hands Ray a wad of cash. She counts it, then nods to\n Lila who pops the trunk.", "Ray stares straight ahead clutching the wheel, barely\n breathing. Lila glances at the gun in Ray's hand, then\n out at the river, unfazed.", "Ray stands and watches the trooper drive away. She feels\n in the pocket of her bathrobe for her cigarettes and\n fumbles to light one, sucking on it, unaware of the cold.", "TROOPER NAPOLI\n I just thought you should be aware of\n that. She's known to have smuggled\n illegal immigrants into the country.\n\n RAY\n Oh my God.", "Ray stares across the room at a pile of Troy's dirty\n flannel shirts. She gets up and picks up the pile to move", "Catching sight of Ray in the Acclaim, she abruptly turns\n and starts walking in the opposite direction.\n\n Ray pulls out and drives over following her in the\n Acclaim.", "RAY\n What is she saying!?\n\n He speaks to her in Urdu.\n\n DEALER\n She says her baby. Her baby was in the\n bag.", "Ray stops.\n\n LILA (CONT'D)\n Now open the door.\n\n Ray hesitates. Lila jams the gun in her side.", "Ray stops dialing closes up her phone, then goes to her\n car and takes the gun and goes back to the camper.", "Ray looks in the backseat at the duffel bag. She\nhesitates a moment then reaches into the back and opens\nthe back passenger door and slides the bag out of the\ncar.\n\nLila gets back inside.", "RAY\n I'm not taking them over the border.\n That's a crime.\n\n LILA\n There's no border here. This is free\n trade between nations.", "Ray chokes back her own tears.\n\n LILA\n Okay.\n\n Lila takes the contract from Ray.", "Lila hands the paper bag to Ray and points the gun at\n her, keeping it low and out of sight.\n\n LILA\n Count it.", "Ray takes a drag off her cigarette. T.J. walks over to\nthe car.\n\n T.J. (CONT'D)\n The money?", "Ray rolls down the window and tosses out their shoes and\n socks.\n\n RAY\n You're welcome.\n\n Ray swerves back out onto Route 37.", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold." ], [ "RAY\nHe's an addict, T.J.\n\n T.J.\nYou're still bitter.", "TROOPER NAPOLI\n Is there a Ray Eddy here?\n\n Ray comes to the door.\n\n RAY\n Yes.", "RAY EDDY, 38, a bit worn for her years, with a long red\n ponytail, wearing an old bathrobe, sits in the passenger", "She grabs at it again, but he jerks it away. She pauses\nand stares at him.\n\n RAY\n He was clean for 23 months.\n\nThey look at one another.", "RAY\n The only thing that changed is that your\n dad started gambling again. Everything\n else is the same.\n\n RICKY\n Where did he go?", "RAY\n Can I have a cigarette?\n\n He lights one for her. She takes it, shaking.", "Ray looks after them and reaches for her cigarettes. She\n takes out her second to last one. She lights it and takes\n out her mascara.", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "Ray stops.\n\n LILA (CONT'D)\n Now open the door.\n\n Ray hesitates. Lila jams the gun in her side.", "Ray stares straight ahead clutching the wheel, barely\n breathing. Lila glances at the gun in Ray's hand, then\n out at the river, unfazed.", "Ray stands and watches the trooper drive away. She feels\n in the pocket of her bathrobe for her cigarettes and\n fumbles to light one, sucking on it, unaware of the cold.", "Ray holds up her hair revealing the cut over her eye.\n\n RAY\n I just need enough for the balloon\n payment on my doublewide then I'm out of\n this. I'm no criminal.", "Ray stares across the room at a pile of Troy's dirty\n flannel shirts. She gets up and picks up the pile to move", "Ray pulls into a 1950s strip motel. A Pakistani man, the\n DEALER, looks out from the motel office.", "RAY (CONT'D)\n (chokes back tears)\n I didn't know how else to keep us\n together. I mean...he's a good dad when\n he's not gamblin'.", "Ray rolls down the window and tosses out their shoes and\n socks.\n\n RAY\n You're welcome.\n\n Ray swerves back out onto Route 37.", "RAY\n What is she saying!?\n\n He speaks to her in Urdu.\n\n DEALER\n She says her baby. Her baby was in the\n bag.", "Ray creeps along straining to see out the windshield. The\nwindshield fluid peters out.\n\n RAY (CONT'D)\n Shit!", "Lila rolls down her window. The car shifts. The wad of\n cash SLIDES toward the edge of the dashboard. Ray grabs\n it.", "Ray walks through the kitchen now full of groceries and\n opens a can of Adirondack Cola. The remains of two\n Hungry Man dinners sit on the table." ], [ "RAY EDDY, 38, a bit worn for her years, with a long red\n ponytail, wearing an old bathrobe, sits in the passenger", "He hands Ray a wad of cash. She counts it, then nods to\n Lila who pops the trunk.", "TROOPER NAPOLI\n Is there a Ray Eddy here?\n\n Ray comes to the door.\n\n RAY\n Yes.", "Ray holds up her hair revealing the cut over her eye.\n\n RAY\n I just need enough for the balloon\n payment on my doublewide then I'm out of\n this. I'm no criminal.", "Bleeding and holding Lila's hair, Ray pries the gun out\n of Lila's hand. Lila grabs the sack of money, jumps out\n of the passenger side of the car and takes off into the\n woods.", "Ray takes a drag off her cigarette. T.J. walks over to\nthe car.\n\n T.J. (CONT'D)\n The money?", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "RAY\n What is she saying!?\n\n He speaks to her in Urdu.\n\n DEALER\n She says her baby. Her baby was in the\n bag.", "Ray looks after them and reaches for her cigarettes. She\n takes out her second to last one. She lights it and takes\n out her mascara.", "Lila hands the paper bag to Ray and points the gun at\n her, keeping it low and out of sight.\n\n LILA\n Count it.", "Ray takes the money and consolidates it into one paper\n bag.\n\n LILA\n What about mine?\n\n RAY\n We're even now.", "Ray opens the bag. It's full of cash. All fifties and\n hundreds. Ray counts it.\n\n LILA (CONT'D)\n How much is there?", "Ray stares straight ahead clutching the wheel, barely\n breathing. Lila glances at the gun in Ray's hand, then\n out at the river, unfazed.", "Ray wipes the blood from her forehead.\n\n LILA\n You should'a just taken the money from\n me?", "Ray stops.\n\n LILA (CONT'D)\n Now open the door.\n\n Ray hesitates. Lila jams the gun in her side.", "Ray stops dialing closes up her phone, then goes to her\n car and takes the gun and goes back to the camper.", "Ray grabs her jacket off the oven and takes half the cash\n out of the pocket and hands it to Lila.\n\n RAY\n I gotta go.", "Lila\n What are you doing?! Just count the money\n and let's go.\n\n Ray looks down at the bag. Nothing is visible but\n clothes.", "Lila rolls down her window. The car shifts. The wad of\n cash SLIDES toward the edge of the dashboard. Ray grabs\n it.", "The men nod, relieved. Ray counts out the money.\n\n Ricky bursts out the door and runs towards Ray.\n\n RICKY\n Mommy!" ], [ "T.J.\n He's got like this whole business he\n runs.\n\n RAY\n He sells pot to kids?", "Ray pulls into a 1950s strip motel. A Pakistani man, the\n DEALER, looks out from the motel office.", "Ray rolls down the window and tosses out their shoes and\n socks.\n\n RAY\n You're welcome.\n\n Ray swerves back out onto Route 37.", "Ray makes the turn with one hand and the car bounces\n through an overgrown path in the woods. Ray reaches the\n stump.", "Ray looks at Lila.\n\n LILA\n Open it.\n\n Ray rolls down the window again.", "TROOPER NAPOLI\n I just thought you should be aware of\n that. She's known to have smuggled\n illegal immigrants into the country.\n\n RAY\n Oh my God.", "RAY\n I wanna know what's in the bag.\n\nRay looks out the car window and points to the bag\nspeaking loudly.", "RAY\n Where?\n\n T.J.\n The Rez,\n\n RAY\n With more than four thousand dollars,\n he's probably in Atlantic City by now.", "Ray opens the bag. It's full of cash. All fifties and\n hundreds. Ray counts it.\n\n LILA (CONT'D)\n How much is there?", "RAY\n Just a blown out tail light.\n\n LILA\n That's it?\n\n RAY\n Yeah.", "RAY (CONT'D)\n Just hold on a second.\n\nRay gets out.\n\n 58.", "Ray looks after them and reaches for her cigarettes. She\n takes out her second to last one. She lights it and takes\n out her mascara.", "RAY\n I'm not taking them over the border.\n That's a crime.\n\n LILA\n There's no border here. This is free\n trade between nations.", "LILA\n They can't arrest us but if they catch us\n they'll take the money.\n\n RAY\n Shit!", "RAY\n What the hell is he doing?\n\n Ray reaches for her gun.\n\n LILA\n Keep that thing down.", "Ray swerves in and jumps out and runs up to the men.", "He hands Ray a wad of cash. She counts it, then nods to\n Lila who pops the trunk.", "Ray ventures behind the desk and knocks on a small door.\n She carefully opens it to a small office with a desk,\n cluttered with papers and, beyond it, another door. Ray\n knocks and opens it to:", "Ray takes the money and consolidates it into one paper\n bag.\n\n LILA\n What about mine?\n\n RAY\n We're even now.", "RAY\nWhat about him?\n\n T.J.\nWhat are you gonna do?\n\n RAY\nWhy, did he call broke yet?" ], [ "RAY\n Look, I'm not driving just anybody across\n the border.\n\n LILA\n Do you want the money or not?", "LILA\n Forty, fifty thousand. Depends where\n they're coming from.\n\n RAY\n To get here?", "RAY\n I'm not taking them over the border.\n That's a crime.\n\n LILA\n There's no border here. This is free\n trade between nations.", "LILA\n The snakeheads pay to get them here and\n then they gotta work off what they owe .\n\n RAY\n How much does it cost?", "LILA\n No, it's Mohawk land. The Rez is on both\n sides of the river.\n\n RAY\n What about the border patrol?", "LILA\n Count it.\n\n Ray nervously COUNTS the money as the Chinese men shiver\n outside.\n\n RAY\n Twelve hundred.", "Ray rolls down the car window. The man holds out money to\nRay but she doesn't take it.\n\n LILA\n If we wait much longer we won't be able\n to get back across the river.", "RAY\n Smuggling?\n\n LILA\n Yeah. But when they lowered the tax on\n cigarettes in Canada most people got out\n of it and the rest switched over to\n Chinese.", "Ray opens the bag. It's full of cash. All fifties and\n hundreds. Ray counts it.\n\n LILA (CONT'D)\n How much is there?", "Lila takes the money. The Chinese girls look on confused.\n One gets up and grabs her jacket, but Ray motions her\n back.\n\n RAY (CONT'D)\n No. You stay here.", "LILA (CONT'D)\n He don't need papers or anything.\n\n RAY\n Does he use them to rob banks or\n something?\n\n Lila shrugs.", "Lila keeps walking. Ray follows trying to figure her out.\n\n RAY (CONT'D)\n You're gonna need a lot of money to take\n care of a one year old baby.", "TROOPER NAPOLI\n I just thought you should be aware of\n that. She's known to have smuggled\n illegal immigrants into the country.\n\n RAY\n Oh my God.", "He hands Ray a wad of cash. She counts it, then nods to\n Lila who pops the trunk.", "Ray and Lila pull up in front of Lila's camper and stop.\n Ray divides the money.\n\n 72.\n\n\n RAY\n Here.", "Ray and Lila return down Route 37 past the sign\n \"AKWESASNE, LAND OF THE MOHAWK\"\n\n Lila keeps the gun on Ray.", "Lila hands the paper bag to Ray and points the gun at\n her, keeping it low and out of sight.\n\n LILA\n Count it.", "LILA\n Sometimes they gotta work for years to\n pay it off.\n\n RAY\n (disbelief)\n To get here? No fuckin' way.", "Ray and Lila hold their breath as they cross the river.\n They make it over the midpoint and Ray accelerates toward\n the shore.", "RAY\n Okay. We'll take them.\n\nLila looks at Ray.\n\nBruno drops the girl who scrambles to her feet." ], [ "Ray and Lila hold their breath as they cross the river.\n They make it over the midpoint and Ray accelerates toward\n the shore.", "Ray drives across the river. The socks and shoes are\n between them.\n\n RAY\n Why would they want to run?\n\n LILA\n To get away from the snakeheads.", "She passes a lonely sign: \"BRIDGE TO CANADA.\"\n\n Up ahead another sign: \"AKWESASNE LAND OF THE MOHAWK.\"", "They reach the midpoint of the river and pass it\n silently.\n\n LILA\n You gotta pick up some speed to get up\n the bank.\n\n 22.", "Ray and Lila drive across the smooth river surface. Snow\n falls steadily. The windshield wipers SNAP back and\n forth.", "Ray shuts the door behind her and starts toward the\n river. She turns and runs along the bank...a long\n way...then slows down. Breathing hard, she stops. Snow\n melts on her face. A long moment passes.", "They barely avoid the oncoming headlights of another\n smuggler's car crossing the ice.\n\n RAY\n Don't you people even take Christmas Eve\n off?", "LILA (CONT'D)\n The only other way is the Cornwall bridge\n and they won't let you take that. (points\n at the gun).", "21.\n\n\n LILA\n There's no border.\n\n RAY\n I'm still not crossing that.", "LILA\n No, it's Mohawk land. The Rez is on both\n sides of the river.\n\n RAY\n What about the border patrol?", "Lila looks in the rear view. Headlights appear behing\n them.\n\n Ray speeds up approaching an intersection: the sign reads\n \"ARRET\"", "Lila pops the trunk. The two Chinese girls scramble out.\n The four begin RUNNING FOR THE SHORE.\n\n ANGLE FROM THE UNDER THE BRIDGE:", "They continue down the road to the reservation line.\n After they pass the sign: YOU ARE ENTERING THE LAND OF\n THE MOHAWK, Ray pulls over and stops.", "A steep 1940's era customs bridge arches over the St.\n Lawrence River.\n\n Cars and trucks line up in different lanes. Customs\n officials inspect and question impatient drivers.", "Jimmy drives it. He gets out, gathers Ray, Lila and the\n two Chinese girls into the back of the truck and drives\n away.", "They drive a short distance. Ray checks the rear-view\n mirror.\n\n LILA (CONT'D)\n We gotta get off this road.", "LILA\n Not too fast. There's ruts.\n\n RAY\n I'm not crossing that!", "LILA\n They always stink.\n\n\n Two more cars are seen coming toward them on the river.\n They swerve wide to avoid the Acclaim.", "Ray drives down the boat launch and starts across. The\n sky is clear and the moon shines down on the white river\n surface.\n\n Downstream patches of the river have thawed and water\n flows is visible.", "RAY\n I'm not taking them over the border.\n That's a crime.\n\n LILA\n There's no border here. This is free\n trade between nations." ], [ "RAY\n A big difference.\n\nThe Pakistani couple stand outside the car, shivering and\nholding out the cash. The man carries a heavy duffle bag.", "The Pakistani woman crawls into the trunk and the man\n picks up the duffle bag to put it in but Ray takes hold\n of it.\n\n RAY\n I'll take that.", "The Pakistani man and woman hurry out of the trunk,\n looking around, and rush to the passenger door of the\n Acclaim, speaking frantically to each other.", "The Pakistani woman looks up, sees the bundle and hurries\n across the room to Lila. Lila holds out the baby with a\n little smile and the Pakistani woman snatches it out of\n her arms.", "Ray looks in the backseat at the duffel bag. She\nhesitates a moment then reaches into the back and opens\nthe back passenger door and slides the bag out of the\ncar.\n\nLila gets back inside.", "RAY\n What is she saying!?\n\n He speaks to her in Urdu.\n\n DEALER\n She says her baby. Her baby was in the\n bag.", "Behind them the Pakistani woman sits on the couch.\n\n Ray comes in, followed by Lila carrying the baby.\n\n RAY\n We found him.", "RAY (CONT'D)\n What's the matter with her!?\n\n DEALER\n She had something in the bag.\n\n The woman continues screaming in Urdu.", "Two figures start toward the car. As they get closer, Ray\n sees a man and a woman. Both Pakistani.\n\n RAY\n Wait. They're not Chinese.", "The Acclaim pulls around back. The Pakistani Dealer\n approaches the car and hands Ray a paper bag full of\n cash.", "He hands her a paper bag.\n\n Jimmy goes back to the garage and opens the door. TWO\n YOUNG CHINESE MEN in cheap jogging suits follow him out,\n looking around.", "The Dealer and the man hurry the wailing Pakistani woman\n into the garage.\n\n\n\n79 INT. ACCLAIM ON ROUTE 37 - NIGHT 79", "The Pakistani women pulls back the blanket and sees the\n baby -- alive. She sinks to her knees letting out a\n wail.\n\n 71.", "Ray comes up behind Lila, rifling through THE UNZIPPED\n DUFFEL BAG. She suddenly jumps back at the sight of the\n tiny face of an infant, wrapped in blankets, eyes closed,\n lips blue.", "LILA\n They're \"Pakis.\"\n\n RAY\n What does that mean?\n\n LILA\n They're from Pakistan.", "A living room hung with heavy red Pakistani fabrics and\n lights. The dealer and the Pakistani man study a map of\n New York State spread out on the table.", "LILA\n We gotta go back.\n\n RAY\n I can't believe they put their baby in a\n duffle bag.", "Ray pulls into a 1950s strip motel. A Pakistani man, the\n DEALER, looks out from the motel office.", "RAY\n I'm not taking them over the border.\n That's a crime.\n\n LILA\n There's no border here. This is free\n trade between nations.", "Lila\n What are you doing?! Just count the money\n and let's go.\n\n Ray looks down at the bag. Nothing is visible but\n clothes." ], [ "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "RAY\n That was an accident.\n\n T.J.\n Some accident you shot him in the foot.", "Suddenly, Ray grabs Lila by the hair and pulls her head\n down to the car seat. Lila hits Ray in the head with the\n gun.", "Ray stops.\n\n LILA (CONT'D)\n Now open the door.\n\n Ray hesitates. Lila jams the gun in her side.", "T.J.\n No!\n\n RAY\n Put it down.\n\n T.J.\n Are you gonna shoot me now, too?", "RAY\n (knocks with the gun)\n You can cut the bullshit and give me my\n keys now.\n\n There is no reponse. Ray waits for a moment and then:", "Ray sits down. Velma reaches up and dabs Ray's grazed and\n bleeding forehead.", "Bruno looks around and nods at the bartender. The\nbartender panics not knowing what to do and begins\nspeaking in French to Bruno.\n\nRay shoots at the pavement beside Bruno.", "VELMA (CONT'D)\n (to Ray)\n Looks like somebody tried to blow your\n brains out.\n\n Ray winces in pain.", "Ray and Lila bounce through the woods with Lila holding\n the gun, this time.\n\n They come to a dirt road then to an intersection with\n State Route 37.", "Ray drives with one hand and holds the gun with the\n other. It is pointed at Lila in the passenger seat.\n\n LILA\n Turn up there.", "Ray stares straight ahead clutching the wheel, barely\n breathing. Lila glances at the gun in Ray's hand, then\n out at the river, unfazed.", "RAY\n At least put him next to your body. That\n will warm him up.\n\n LILA\n But it's too late.", "They stare at each other for a second or two, but Ray\n does not take out the gun. Lila reaches for the door\n handle\n\n Lila gets out. Ray drives away.", "Ray makes the turn with one hand and the car bounces\n through an overgrown path in the woods. Ray reaches the\n stump.", "Ray stops dialing closes up her phone, then goes to her\n car and takes the gun and goes back to the camper.", "Ray grabs the money and still pointing at Bruno, backs\ninto the car.\n\nBruno reaches for his pistol and aims at them as the\nAcclaim squeals away.", "Bleeding and holding Lila's hair, Ray pries the gun out\n of Lila's hand. Lila grabs the sack of money, jumps out\n of the passenger side of the car and takes off into the\n woods.", "Ray covers over the cut with her hair and gets out and\n walks up behind him and taps him on the shoulder. He\n jumps and cuts the flame.", "LILA (CONT'D)\n It's not far.\n\n Ray turns and drives into deeper woods. The gun jiggles\n around in Ray's hand as they bounce along between the\n trees." ], [ "Ray and Lila bounce through the woods with Lila holding\n the gun, this time.\n\n They come to a dirt road then to an intersection with\n State Route 37.", "Suddenly, Ray grabs Lila by the hair and pulls her head\n down to the car seat. Lila hits Ray in the head with the\n gun.", "LILA (CONT'D)\n It's not far.\n\n Ray turns and drives into deeper woods. The gun jiggles\n around in Ray's hand as they bounce along between the\n trees.", "RAY (CONT'D)\n I'll help you. You can even borrow my\n gun.\n\n\nLila looks around to see if anyone is watching and gets\nin the Acclaim with Ray.", "RAY\n What the hell is he doing?\n\n Ray reaches for her gun.\n\n LILA\n Keep that thing down.", "Ray stops.\n\n LILA (CONT'D)\n Now open the door.\n\n Ray hesitates. Lila jams the gun in her side.", "They stare at each other for a second or two, but Ray\n does not take out the gun. Lila reaches for the door\n handle\n\n Lila gets out. Ray drives away.", "Ray and Lila return down Route 37 past the sign\n \"AKWESASNE, LAND OF THE MOHAWK\"\n\n Lila keeps the gun on Ray.", "Lila looks at Ray.\n\n RAY (CONT'D)\n What?\n\n Lila says nothing.", "Ray drives with one hand and holds the gun with the\n other. It is pointed at Lila in the passenger seat.\n\n LILA\n Turn up there.", "LILA\n (from behind the door)\n The Tribal police don't like people\n shooting holes in other people's houses.\n\n Ray looks at her.", "Bleeding and holding Lila's hair, Ray pries the gun out\n of Lila's hand. Lila grabs the sack of money, jumps out\n of the passenger side of the car and takes off into the\n woods.", "Ray and Lila drive up. Jimmy runs out with his jacket\n pulled over his head. He sees Lila and signals to the\n garage.", "RAY\n This isn't a nation.\n\nLila jams the gun into Ray's side.\n\n LILA\n (under her breath)\n Let's go.", "Ray looks at Lila.\n\n LILA\n Open it.\n\n Ray rolls down the window again.", "LILA\n (to Ray)\n Let's go.\n\n RAY\n Wait, who the fuck are they?\n\n LILA\n Just back up.", "Ray stares straight ahead clutching the wheel, barely\n breathing. Lila glances at the gun in Ray's hand, then\n out at the river, unfazed.", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "LILA\n I got enough.\n\n RAY\n Yeah, but you gotta get him first.\n\nLila stops dead in her tracks and looks at Ray.", "Ray chases her, but Lila is faster and gets ahead, then\n disappears into the woods. Ray stops, panting, and wipes\n the blood from her forehead." ], [ "RAY\n I'm not taking them over the border.\n That's a crime.\n\n LILA\n There's no border here. This is free\n trade between nations.", "Ray and Lila bounce through the woods with Lila holding\n the gun, this time.\n\n They come to a dirt road then to an intersection with\n State Route 37.", "LILA (CONT'D)\n He don't need papers or anything.\n\n RAY\n Does he use them to rob banks or\n something?\n\n Lila shrugs.", "Ray and Lila hold their breath as they cross the river.\n They make it over the midpoint and Ray accelerates toward\n the shore.", "Lila looks at Ray.\n\n RAY (CONT'D)\n What?\n\n Lila says nothing.", "Ray chases her, but Lila is faster and gets ahead, then\n disappears into the woods. Ray stops, panting, and wipes\n the blood from her forehead.", "Ray looks at Lila.\n\n LILA\n Open it.\n\n Ray rolls down the window again.", "LILA (CONT'D)\n They plow it and everything.\n\n Cautiously, Ray lets off the brake and rolls down the\n boat ramp towards the smooth surface of the river.", "RAY\n What if the troopers stop us.\n\n LILA\n They won't stop you. You're white.\n\n Ray keeps going.", "LILA (CONT'D)\n Open the door.\n\n Ray opens the door.\n\n LILA (CONT'D)\n Now get out.", "RAY\n Smuggling?\n\n LILA\n Yeah. But when they lowered the tax on\n cigarettes in Canada most people got out\n of it and the rest switched over to\n Chinese.", "LILA (CONT'D)\n It's not far.\n\n Ray turns and drives into deeper woods. The gun jiggles\n around in Ray's hand as they bounce along between the\n trees.", "LILA\n No, it's Mohawk land. The Rez is on both\n sides of the river.\n\n RAY\n What about the border patrol?", "TROOPER NAPOLI\n I just thought you should be aware of\n that. She's known to have smuggled\n illegal immigrants into the country.\n\n RAY\n Oh my God.", "RAY\n Where's that?\n\n LILA\n An old casino through the woods. They\n used to have gambling there in the\n bootlegger days.", "RAY\n Look, I'm not driving just anybody across\n the border.\n\n LILA\n Do you want the money or not?", "LILA\n Those are Christians. The converted.\n\n RAY\n From what?\n\n LILA\n From the Longhouse ways.", "Ray comes up behind Lila, rifling through THE UNZIPPED\n DUFFEL BAG. She suddenly jumps back at the sight of the\n tiny face of an infant, wrapped in blankets, eyes closed,\n lips blue.", "Ray and Lila drive across the smooth river surface. Snow\n falls steadily. The windshield wipers SNAP back and\n forth.", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold." ], [ "RAY EDDY, 38, a bit worn for her years, with a long red\n ponytail, wearing an old bathrobe, sits in the passenger", "TROOPER NAPOLI\n Is there a Ray Eddy here?\n\n Ray comes to the door.\n\n RAY\n Yes.", "Ray looks after them and reaches for her cigarettes. She\n takes out her second to last one. She lights it and takes\n out her mascara.", "Ray holds up her hair revealing the cut over her eye.\n\n RAY\n I just need enough for the balloon\n payment on my doublewide then I'm out of\n this. I'm no criminal.", "He hands Ray a wad of cash. She counts it, then nods to\n Lila who pops the trunk.", "Ray stares straight ahead clutching the wheel, barely\n breathing. Lila glances at the gun in Ray's hand, then\n out at the river, unfazed.", "TROOPER NAPOLI\n I just thought you should be aware of\n that. She's known to have smuggled\n illegal immigrants into the country.\n\n RAY\n Oh my God.", "Ray stands and watches the trooper drive away. She feels\n in the pocket of her bathrobe for her cigarettes and\n fumbles to light one, sucking on it, unaware of the cold.", "RAY\n What is she saying!?\n\n He speaks to her in Urdu.\n\n DEALER\n She says her baby. Her baby was in the\n bag.", "Catching sight of Ray in the Acclaim, she abruptly turns\n and starts walking in the opposite direction.\n\n Ray pulls out and drives over following her in the\n Acclaim.", "Ray chokes back her own tears.\n\n LILA\n Okay.\n\n Lila takes the contract from Ray.", "Ray stares across the room at a pile of Troy's dirty\n flannel shirts. She gets up and picks up the pile to move", "Ray stops dialing closes up her phone, then goes to her\n car and takes the gun and goes back to the camper.", "Ray stops.\n\n LILA (CONT'D)\n Now open the door.\n\n Ray hesitates. Lila jams the gun in her side.", "RAY\n I'm not taking them over the border.\n That's a crime.\n\n LILA\n There's no border here. This is free\n trade between nations.", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "Ray chases her, but Lila is faster and gets ahead, then\n disappears into the woods. Ray stops, panting, and wipes\n the blood from her forehead.", "Lila hands the paper bag to Ray and points the gun at\n her, keeping it low and out of sight.\n\n LILA\n Count it.", "Ray looks in the backseat at the duffel bag. She\nhesitates a moment then reaches into the back and opens\nthe back passenger door and slides the bag out of the\ncar.\n\nLila gets back inside.", "Ray gets in the car and sets the bundle down on the seat,\n unwraps it from layers of swaddling and begins taking off\n it's clothes. It is a boy." ], [ "Ray gets in the driver's side of the Acclaim and starts\n it. After a moment, Lila gets in the passenger side.", "RAY\n That's my car.\n\n Lila SPINS around.\n\n LILA\n Huh?", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "RAY\n (points to the Acclaim)\n What are you doing with my car?\n\n Lila fingers the keys in her hand.", "RAY (CONT'D)\n I'm not leaving this here.\n\n LILA\n (points at the Acclaim)\n I got a friend who might buy that.", "Ray and Lila drive up. Jimmy runs out with his jacket\n pulled over his head. He sees Lila and signals to the\n garage.", "LILA\n This camper belongs to my brother in law.\n He won't like this.\n\n RAY\n (over her shoulder)\n Then you should quit stealing cars.", "Ray follows it through the woods to a clearing: the\n Acclaim stops in front of a rusted out BUBBLE CAMPER.\n\n Lila gets out. Ray pulls up behind her and rolls down her\n window.", "Lila keeps walking. Ray drives along beside her.", "Ray slumps down in the driver's seat of the Acclaim\n waiting for Lila to come out. She is parked a few cars\n away from the Horizon.", "LILA\n That? I found it.\n\n RAY\n You stole it.\n\n LILA\n The keys were in it.", "Ray looks in the backseat at the duffel bag. She\nhesitates a moment then reaches into the back and opens\nthe back passenger door and slides the bag out of the\ncar.\n\nLila gets back inside.", "She gets out of the car reluctantly. He looks in at Lila,\n she keeps her head down.\n\n TROOPER NAPOLI\n Step around to the back of the vehicle.", "Lila looks back in the rear view mirror. The headlights\n are gaining on them.\n\n She SPEEDS through it.", "LILA (CONT'D)\n It's not far.\n\n Ray turns and drives into deeper woods. The gun jiggles\n around in Ray's hand as they bounce along between the\n trees.", "Suddenly, Ray grabs Lila by the hair and pulls her head\n down to the car seat. Lila hits Ray in the head with the\n gun.", "They stare at each other for a second or two, but Ray\n does not take out the gun. Lila reaches for the door\n handle\n\n Lila gets out. Ray drives away.", "Ray falls back, dazed for a moment. Lila steers. Then Ray\ntakes the wheel as they swerve out onto the main road.\n\n RAY\n He shot me.", "Lila throws the keys out the door. Ray picks them up off\n the ground. Lila shuts the door with her foot.", "LILA\n Let's go.\n\n RAY\n Just open the trunk." ], [ "JIMMY\n Twenty miles or so. But...you gotta watch\n out for the Mounties and the Surete.\n and...this guy deals in ya' know girls.", "LILA\n It's six hundred apiece.\n\n The girls stand shivering by the trunk.\n\n 87.", "LILA\n The snakeheads pay to get them here and\n then they gotta work off what they owe .\n\n RAY\n How much does it cost?", "LILA\n Forty, fifty thousand. Depends where\n they're coming from.\n\n RAY\n To get here?", "She passes a lonely sign: \"BRIDGE TO CANADA.\"\n\n Up ahead another sign: \"AKWESASNE LAND OF THE MOHAWK.\"", "TROOPER NAPOLI\n I just thought you should be aware of\n that. She's known to have smuggled\n illegal immigrants into the country.\n\n RAY\n Oh my God.", "RAY\n Look, I'm not driving just anybody across\n the border.\n\n LILA\n Do you want the money or not?", "RAY\n Smuggling?\n\n LILA\n Yeah. But when they lowered the tax on\n cigarettes in Canada most people got out\n of it and the rest switched over to\n Chinese.", "Ray sees her and begins to dig in her jeans for a five.\n The ticket taker looks her up and down, expressionless.\n\n Ray hands over the money. The ticket taker just looks at\n her.", "ROSALIE\n We don't charge people with smuggling.\n\n BARBARA\n Maybe we should.", "RAY\n That's $87.50.\n\n 53.\n\n\n The customer hands her a credit card.", "RAY\n I'm not taking them over the border.\n That's a crime.\n\n LILA\n There's no border here. This is free\n trade between nations.", "Billy drives Ray and the Chinese girls slowly toward them\n in the Mohawk Tribal Police Cruiser.\n\n Billy stops and the three get out of the car, handcuffed.", "He hands Ray a wad of cash. She counts it, then nods to\n Lila who pops the trunk.", "Lila takes the money. The Chinese girls look on confused.\n One gets up and grabs her jacket, but Ray motions her\n back.\n\n RAY (CONT'D)\n No. You stay here.", "Bruno signals them to get out.\n\n BRUNO (CONT'D)\n Open the trunk.\n\n LILA\n We need to get paid, first.", "THREE RIVERS\n We have a situation with a couple\n smugglers. They got chased by the Quebec", "LILA\n Count it.\n\n Ray nervously COUNTS the money as the Chinese men shiver\n outside.\n\n RAY\n Twelve hundred.", "BRUNO\n (Quebec-French accent)\n D'ey don't like de women driver.\n\n He hands Ray the envelope of cash.", "LILA\n How much for that one?\n\n MIKE\n Come on, Lila.\n\n LILA\n What?! I've been saving up." ], [ "Ray gets in the car and sets the bundle down on the seat,\n unwraps it from layers of swaddling and begins taking off\n it's clothes. It is a boy.", "RAY\n Three. I got kids.\n\n LILA\n How old?\n\n RAY\n Five and Fifteen.", "RAY\n You're going to school.\n\n 10.\n\n\n He follows Ricky out the door to catch the school bus\n rolling up out front.", "Ray tucks Ricky into the bottom bunk. The wind whines in\n the loose siding. Ray stuffs a blanket around the window\n to block the draft.", "RAY\n That's right.\n\n RICKY\n Yes!\n\n 33.", "Ray rolls down the window and tosses out their shoes and\n socks.\n\n RAY\n You're welcome.\n\n Ray swerves back out onto Route 37.", "The men nod, relieved. Ray counts out the money.\n\n Ricky bursts out the door and runs towards Ray.\n\n RICKY\n Mommy!", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "RAY (CONT'D)\n Here. Lunch money.\n\n They take it and keep running for the bus.", "Ray and Lila drive down a commercial strip of shopping\n centers, fast food joints and strip clubs, with French\n names.\n\n LILA\n Up there. That's it.", "Ray chases her, but Lila is faster and gets ahead, then\n disappears into the woods. Ray stops, panting, and wipes\n the blood from her forehead.", "Ray swerves in and jumps out and runs up to the men.", "Catching sight of Ray in the Acclaim, she abruptly turns\n and starts walking in the opposite direction.\n\n Ray pulls out and drives over following her in the\n Acclaim.", "Ray and Lila hold their breath as they cross the river.\n They make it over the midpoint and Ray accelerates toward\n the shore.", "RAY\n At least put him next to your body. That\n will warm him up.\n\n LILA\n But it's too late.", "RAY\n Ricky, I'll get them back. I promise,\n honey.\n\n RICKY\n That's our house!", "RAY\n Listening for the trucks.\n\n T.J.\n Are they really coming?\n\n RAY\n Yeah.", "Ray makes the turn with one hand and the car bounces\n through an overgrown path in the woods. Ray reaches the\n stump.", "Ray and Lila drive up. Jimmy runs out with his jacket\n pulled over his head. He sees Lila and signals to the\n garage.", "Ray stops what she's doing when she sees him and kneels\n down.\n\n RAY\n Hey, little sleepy head." ], [ "LILA\n I quit smuggling.\n\n RAY\n (rolls down the window)\n T.J. set the trailer on fire.", "T.J.\n Then what did he want?\n\n She points to the blackened siding on the trailer.\n\n RAY\n Did you have a fire last night?", "151 EXT. RAY'S TRAILER - DAY 151\n\n Using the blow torch, T.J. works on the smiling duck\n Kiddie ride.", "107 EXT. TRAILER YARD - DAY 107\n\n Ray stands staring at T.J. at the trailer's burnt end.", "45.\n\n\n She catches him in her arms and hugs him. T.J. stands at\n the trailer door, watching as the men drive away.", "T.J turns to go back inside. He sees SMOKE RISING through\n the cracks in the siding and goes to the back.", "She goes to the car, takes out her gun then puts the blow\ntorch on the ground and aims at it -- but T.J. grabs it.\n\n RAY\n Put it down.", "She walks around back and looks underneath the trailer: a\nmass of charred and melted insulation.\n\n RAY (CONT'D)\n Look at this. We can't live here anymore!", "T.J. (CONT'D)\n -Okay. Bye.\n\n He hangs up.", "T.J.\n Another Christmas in the tin crapper.\n\n T.J. goes into the shed and slams the door.\n\n Ray throws down her cigarette and goes into the trailer.", "T.J.\n No!\n\n RAY\n Put it down.\n\n T.J.\n Are you gonna shoot me now, too?", "Wearing his coat in the trailer, with the windows and\n door open, T.J. dials the phone. He gets Ray's cell\n phone.", "He cuts off the blow torch.\n\n T.J.\n Yeah, awesome dad. Robs us and takes off\n a week before Christmas.", "She picks him up and walks back to the trailer. Ricky\nlooks out mournfully at the trailers disappearing down\nthe road.", "A RENTAWORLD truck is parked outside. Two large\n RENTAWORLD MEN sit in it. T.J. sees them from inside the\n trailer. He comes outside.", "T.J.\n So let's go, let's find him before he\n blows it all.\n\n\n\n (CONT'D)", "BLACK SMOKE POURS from under the trailer where old\n insulation is smoldering. T.J. runs to the shed, takes a", "T.J.\n Where's dad?\n\nShe is silent.\n\n T.J. (CONT'D)\n (says it slow)\n Where's dad?", "T.J.\n You left it on the rez? That's so stupid.\n\n RAY\n I didn't have a tow rope.", "T.J.\n Yeah.\n\n RAY\n Did you happen to use the blow torch?" ], [ "The Pakistani woman looks up, sees the bundle and hurries\n across the room to Lila. Lila holds out the baby with a\n little smile and the Pakistani woman snatches it out of\n her arms.", "The Pakistani women pulls back the blanket and sees the\n baby -- alive. She sinks to her knees letting out a\n wail.\n\n 71.", "RAY\n What is she saying!?\n\n He speaks to her in Urdu.\n\n DEALER\n She says her baby. Her baby was in the\n bag.", "The Pakistani woman crawls into the trunk and the man\n picks up the duffle bag to put it in but Ray takes hold\n of it.\n\n RAY\n I'll take that.", "RAY\n A big difference.\n\nThe Pakistani couple stand outside the car, shivering and\nholding out the cash. The man carries a heavy duffle bag.", "RAY (CONT'D)\n What's the matter with her!?\n\n DEALER\n She had something in the bag.\n\n The woman continues screaming in Urdu.", "Behind them the Pakistani woman sits on the couch.\n\n Ray comes in, followed by Lila carrying the baby.\n\n RAY\n We found him.", "Lila looks back.\n\n LILA\n Calm down.\n\n Lila quickly pulls the baby near and wraps him inside her\n coat hiding him from sight.", "The Pakistani man and woman hurry out of the trunk,\n looking around, and rush to the passenger door of the\n Acclaim, speaking frantically to each other.", "The Dealer and the man hurry the wailing Pakistani woman\n into the garage.\n\n\n\n79 INT. ACCLAIM ON ROUTE 37 - NIGHT 79", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "He hands her a paper bag.\n\n Jimmy goes back to the garage and opens the door. TWO\n YOUNG CHINESE MEN in cheap jogging suits follow him out,\n looking around.", "Ray comes up behind Lila, rifling through THE UNZIPPED\n DUFFEL BAG. She suddenly jumps back at the sight of the\n tiny face of an infant, wrapped in blankets, eyes closed,\n lips blue.", "Ray stands and watches the trooper drive away. She feels\n in the pocket of her bathrobe for her cigarettes and\n fumbles to light one, sucking on it, unaware of the cold.", "LILA\n Hello little baby.\n\n The baby looks back at them.\n\n RAY\n He was just cold.", "Ray looks in the backseat at the duffel bag. She\nhesitates a moment then reaches into the back and opens\nthe back passenger door and slides the bag out of the\ncar.\n\nLila gets back inside.", "Ray cranks the heater and aims the vents at the baby.\n Lila stares down at the baby in her lap, not touching it.\n\n LILA\n I don't think it matters.", "The Acclaim pulls around back. The Pakistani Dealer\n approaches the car and hands Ray a paper bag full of\n cash.", "LILA\n I need his coat.\n\n Lila picks up the baby, and looks around.\n\n\n LILA (CONT'D)\n Where's his coat?", "RAY\n What? Are you sure?\n\n Lila slowly takes the baby from inside her jacket. His\n eyes open. He blinks. Ray and Lila stare at him." ], [ "RAY\n That was an accident.\n\n T.J.\n Some accident you shot him in the foot.", "T.J.\n No!\n\n RAY\n Put it down.\n\n T.J.\n Are you gonna shoot me now, too?", "Suddenly, Ray grabs Lila by the hair and pulls her head\n down to the car seat. Lila hits Ray in the head with the\n gun.", "Ray drives with one hand and holds the gun with the\n other. It is pointed at Lila in the passenger seat.\n\n LILA\n Turn up there.", "RAY\n What the hell is he doing?\n\n Ray reaches for her gun.\n\n LILA\n Keep that thing down.", "RAY\n (knocks with the gun)\n You can cut the bullshit and give me my\n keys now.\n\n There is no reponse. Ray waits for a moment and then:", "Ray stops.\n\n LILA (CONT'D)\n Now open the door.\n\n Ray hesitates. Lila jams the gun in her side.", "Ray stops dialing closes up her phone, then goes to her\n car and takes the gun and goes back to the camper.", "They stare at each other for a second or two, but Ray\n does not take out the gun. Lila reaches for the door\n handle\n\n Lila gets out. Ray drives away.", "Ray grabs the money and still pointing at Bruno, backs\ninto the car.\n\nBruno reaches for his pistol and aims at them as the\nAcclaim squeals away.", "Bruno looks around and nods at the bartender. The\nbartender panics not knowing what to do and begins\nspeaking in French to Bruno.\n\nRay shoots at the pavement beside Bruno.", "Bleeding and holding Lila's hair, Ray pries the gun out\n of Lila's hand. Lila grabs the sack of money, jumps out\n of the passenger side of the car and takes off into the\n woods.", "VELMA (CONT'D)\n (to Ray)\n Looks like somebody tried to blow your\n brains out.\n\n Ray winces in pain.", "RAY (O.S.)\n (knocks with the gun)\n You hear me!\n\n Lila's eyes pop open but she stays perfectly still. Ray\n shakes the door handle.", "Ray and Lila bounce through the woods with Lila holding\n the gun, this time.\n\n They come to a dirt road then to an intersection with\n State Route 37.", "Ray stares straight ahead clutching the wheel, barely\n breathing. Lila glances at the gun in Ray's hand, then\n out at the river, unfazed.", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "Ray and Lila return down Route 37 past the sign\n \"AKWESASNE, LAND OF THE MOHAWK\"\n\n Lila keeps the gun on Ray.", "Ray rolls down the window and tosses out their shoes and\n socks.\n\n RAY\n You're welcome.\n\n Ray swerves back out onto Route 37.", "LILA (CONT'D)\n It's not far.\n\n Ray turns and drives into deeper woods. The gun jiggles\n around in Ray's hand as they bounce along between the\n trees." ], [ "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "Ray falls back, dazed for a moment. Lila steers. Then Ray\ntakes the wheel as they swerve out onto the main road.\n\n RAY\n He shot me.", "Ray and Lila drive across the smooth river surface. Snow\n falls steadily. The windshield wipers SNAP back and\n forth.", "Catching sight of Ray in the Acclaim, she abruptly turns\n and starts walking in the opposite direction.\n\n Ray pulls out and drives over following her in the\n Acclaim.", "Ray makes the turn with one hand and the car bounces\n through an overgrown path in the woods. Ray reaches the\n stump.", "Ray and Lila drive up. Jimmy runs out with his jacket\n pulled over his head. He sees Lila and signals to the\n garage.", "Ray rolls down the window and tosses out their shoes and\n socks.\n\n RAY\n You're welcome.\n\n Ray swerves back out onto Route 37.", "Ray creeps along straining to see out the windshield. The\nwindshield fluid peters out.\n\n RAY (CONT'D)\n Shit!", "RAY\n Just a blown out tail light.\n\n LILA\n That's it?\n\n RAY\n Yeah.", "Ray gets in the car and sets the bundle down on the seat,\n unwraps it from layers of swaddling and begins taking off\n it's clothes. It is a boy.", "Ray drives down the boat launch and starts across. The\n sky is clear and the moon shines down on the white river\n surface.\n\n Downstream patches of the river have thawed and water\n flows is visible.", "They stare at each other for a second or two, but Ray\n does not take out the gun. Lila reaches for the door\n handle\n\n Lila gets out. Ray drives away.", "From the car, the Reservation consists of shabby houses\n with no siding, tax-free gas stations and dive bars with\n homemade signs. Ray slows a little to check out the\n parking lots scanning for her husband's car.", "Ray doesn't move.\n\n RAY\n You can't have my car.\n\n LILA\n Get out.", "Ray gets in the driver's side of the Acclaim and starts\n it. After a moment, Lila gets in the passenger side.", "Ray makes the corner just in time to catch sight of the\n Acclaim bouncing off on a path through the woods.", "Jimmy drives it. He gets out, gathers Ray, Lila and the\n two Chinese girls into the back of the truck and drives\n away.", "He BREAKS AWAY from her and RUNS down the road chasing\nafter the semis. Ray chases after Ricky until he runs out\nof steam and stops, panting.", "LILA\n We gotta go back.\n\n RAY\n I know! I know that.\n\n 63.\n\n\n Ray speeds along.", "Ray stands and watches the trooper drive away. She feels\n in the pocket of her bathrobe for her cigarettes and\n fumbles to light one, sucking on it, unaware of the cold." ], [ "RAY\n How long is it for me. You know if I\n confess?", "RAY (CONT'D)\n Just hold on a second.\n\nRay gets out.\n\n 58.", "RAY\n Where?\n\n T.J.\n The Rez,\n\n RAY\n With more than four thousand dollars,\n he's probably in Atlantic City by now.", "LILA\n Once.\n\n RAY\n What happened?\n\n LILA\n They gave me the choice of paying a fine\n or spending three months in jail.", "RAY\nWhat about him?\n\n T.J.\nWhat are you gonna do?\n\n RAY\nWhy, did he call broke yet?", "RAY\n It was some emergency with the lifts. So\n he took off without thinking with the\n money. Completely forgot you were coming.\n So as soon as he gets back-", "Ray rolls down the window and tosses out their shoes and\n socks.\n\n RAY\n You're welcome.\n\n Ray swerves back out onto Route 37.", "Ray opens the bag and counts out the cash, as before.\n\n RAY\n Twelve hundred.\n\n 27.", "RAY\n Just a blown out tail light.\n\n LILA\n That's it?\n\n RAY\n Yeah.", "RAY\n What is that?\n\n MATT\n A short timer. Not here for long, not\n really committed.\n\n Ray follows him to the stock room.", "Ray makes the turn with one hand and the car bounces\n through an overgrown path in the woods. Ray reaches the\n stump.", "RAY\n (knocks with the gun)\n You can cut the bullshit and give me my\n keys now.\n\n There is no reponse. Ray waits for a moment and then:", "Lila and Ray drive away.\n\n LILA\n He was dead.\n\n RAY\n He was just cold.", "She grabs at it again, but he jerks it away. She pauses\nand stares at him.\n\n RAY\n He was clean for 23 months.\n\nThey look at one another.", "They stare at each other for a second or two, but Ray\n does not take out the gun. Lila reaches for the door\n handle\n\n Lila gets out. Ray drives away.", "Ray stops.\n\n LILA (CONT'D)\n Now open the door.\n\n Ray hesitates. Lila jams the gun in her side.", "Ray swerves in and jumps out and runs up to the men.", "The men nod, relieved. Ray counts out the money.\n\n Ricky bursts out the door and runs towards Ray.\n\n RICKY\n Mommy!", "RAY (CONT'D)\n But you gotta get there quick, before the\n police, `cause T.J. will get scared. I\n don't want him to get scared, you know.", "RAY\n It's just a few months, right?\n\n Bernie and Lila turn around. Ray walks in." ], [ "She picks him up and walks back to the trailer. Ricky\nlooks out mournfully at the trailers disappearing down\nthe road.", "The RENTAWORLD men get out of the car and start toward\n the trailer.\n\n From down the road the Acclaim comes roaring along,\n kicking up dust.", "She walks around back and looks underneath the trailer: a\nmass of charred and melted insulation.\n\n RAY (CONT'D)\n Look at this. We can't live here anymore!", "After a moment she comes out of the trailer, with a\npasted-on smile.\n\n RAY\n We're all ready for ya'.", "RAY\n Absolutely.\n\nHe eyes the side of the trailer where smoke stained\nsiding is visible.", "He points to the Acclaim parked a few feet away. They\n nod. He walks out to a shed and unlocks the door. Two", "Ray follows it through the woods to a clearing: the\n Acclaim stops in front of a rusted out BUBBLE CAMPER.\n\n Lila gets out. Ray pulls up behind her and rolls down her\n window.", "45.\n\n\n She catches him in her arms and hugs him. T.J. stands at\n the trailer door, watching as the men drive away.", "She speeds up to make it up the boat launch.\n\n\n46 INT. RAY'S TRAILER, KITCHEN - DAY 46", "A RENTAWORLD truck is parked outside. Two large\n RENTAWORLD MEN sit in it. T.J. sees them from inside the\n trailer. He comes outside.", "Wearing his coat in the trailer, with the windows and\n door open, T.J. dials the phone. He gets Ray's cell\n phone.", "Ray drives up. The trailer is covered in Christmas\n lights.\n\n\n102 INT. RAY'S TRAILER, KITCHEN - NIGHT 102", "When she turns around she looks at the trailer and\n notices the smoke-stained siding on one end of it.\n\n\n106 INT. RAY'S TRAILER - DAY 106", "3 EXT. RAY'S TRAILER YARD, MASSENA NEW YORK - DAY 3", "The RUMBLE OUTSIDE GROWS LOUDER. Ricky BOLTS out of the\n bedroom and down the hall to the trailer door.\n\n RAY\n Wait a sec-", "Ray gets out and looks at the broken rope. She begins\n digging in the trunk for more rope.\n\n Lila opens the camper door and looks at the bullet hole.", "She takes out a glossy picture of her double wide dream\n home, \"The Commodore\" a gleaming pre-fab structure with\n a landscaped yard and a family with paid-for smiles.", "Lila gets out and goes inside.\n\n\n101 EXT. RAY'S TRAILER - NIGHT 101", "He hands Ray a wad of cash. She counts it, then nods to\n Lila who pops the trunk.", "She spots a sign for \"TRAILWAYS\" bus in the window.\n\n RAY (CONT'D)\n Did you see a Blue Acclaim come in here\n last night?" ] ]

[ "How many kids does Ray Eddy have?", "What is (are) the gender(s) of Ray's kids? ", "What do Ray and Lila begin trafficking to make money?", "Where do Ray and Lila bring the illegeal immigrants from?", "Where do Ray and Lila take the illegla immigrant to?", "How long is Lila ex-comunicated for?", "What does Ray threaten the owner of the strip club with?", "What are the instructions for that Ray leaves with Lila when giving her her share of the money?", "What is Ray Eddy's occupation?", "What addiction does Ray Eddy's husband struggle with?", "What was Ray Eddy planning on buying with the money Ray's husband took?", "What illegal activity does Ray engage in?", "How much do Ray and Lila charge immigrants for getting across the Canadian border?", "What must the immigrants cross to reach safety?", "What is in the duffel bag the Pakastani couple try to bring across the border?", "Where is Ray's body shot?", "Who are Ray and Lila helping when Ray gets shot?", "What type of communities are Ray and Lila smuggling people to and from?", "What is Ray Eddy's profession?", "Where did Lila find the car she was driving?", "How much do the women charge to traffick people from Canada to the U.S?", "What are the names of Ray's sons?", "Why does T.J.set the trailer on fire?", "Why did the women leave the Pakistani's infant baby in a bag in the cold?", "Who shoots Ray in the ear?", "Why does Ray drive over the lake and crash the car?", "How long will Ray have to go to jail?", "Who purchases the new trailer?" ]

[ [ "2", "2" ], [ "both boys", "male" ], [ "illegal immigrant", "THEY HAD FALLEN ON HARD TIMES ECONOMICALLY. " ], [ "Canada", "Canada into the United States" ], [ "USA", "The U.S." ], [ "5 years", "five years " ], [ "a gun", "WITH A GUN" ], [ "how to take care of her kids", "taking care of her sons and trailer purchase" ], [ "Store clerk", "discount store clerk" ], [ "An addiction to gambling", "gambling" ], [ "A mobile home", "a double-wide mobile home" ], [ "Trafficking immigrants", "TRAFFICKING PEOPLE " ], [ "$1,200.00", "$1,200 each" ], [ "a frozen river", "Frozen St. Lawrence River." ], [ "An infant", "baby" ], [ "The ear", "ear" ], [ "Two strippers", "2 Asian women" ], [ "Indian reservations", "Mohawk Reservation." ], [ "Discount store clerk", "discount store clerk" ], [ "She says she found it abandoned at the local bus stop, keys still in the ignition.", "The local bus station." ], [ "$1200", "1,200 each" ], [ "T.J and Ricky", "T.J and Ricky" ], [ "He was trying to unfreeze the water pipe.", "it was an accident when he tried to thaw frozen pipes" ], [ "They thought it was a bag of explosives.", "they were afraid that the bag contained explosives" ], [ "the strip club owner", "THE STRIP CLUB OWNER" ], [ "She is running from the police.", "to evade police" ], [ "About 4 months", "four months speculated" ], [ "Lila", "lila" ] ]

[ [ "\"That was Giles,\" said Melbury, when they had gone by.\n\n\"Was it? Poor Giles,\" said she.", "Her face faded into an aspect of deep distress when she saw what had\nhappened. \"Oh no, Giles,\" she said, with extreme pathos; \"certainly", "Meanwhile, in the adjoining room Giles was presiding in a\nhalf-unconscious state. He could not get over the initial failures in", "\"Oh, my Giles,\" she cried, \"what have I done to you!\"\n\nBut she stopped no longer even to reproach herself. She saw that the\nfirst thing to be thought of was to get him indoors.", "Her cheeks became slowly bloodless. \"Oh, Giles,\" she said, grasping\nhis arm, \"you have heard something! What--cannot my father conclude it", "weeping, she hardly knew how long, and then she sat up, covered poor\nGiles's features, and went towards the door where her husband had\nstood. No sign of any other comer greeted her ear, the only", "Giles was extremely sorry at what he had done, and remained standing\nunder the trees, all the other men having strayed silently away. He", "\"Giles,\" he said, \"this is very awkward, and I am sorry for it. What\nare you going to do?\"", "\"I was looking for him too,\" said Giles. \"I think he may perhaps have\ngone on farther.\"", "\"Did he tell you how she died? It was no such death as Giles's. She\nwas shot--by a disappointed lover. It occurred in Germany. The", "Everybody thought of Giles; nobody thought of Marty. Had any of them\nlooked in upon her during those moonlight nights which preceded the", "\"Poor Giles!\" murmured Grace.", "She sighed; it was a sigh of sympathy with Giles, complicated by a\nsense of the intractability of circumstances.", "\"Oh yes--'tis all over!\" murmured Giles to himself, shaking his head\nover the glooming plain of embers, and lining his forehead more than", "As for Giles, he was lying--or rather sitting--ill at his hut. A\nfeverish indisposition which had been hanging about him for some time,", "she had forgotten the old figures, and hence did not join in the\nmovement. Then Giles felt that all was over. As for her, she was", "On their faces as they regarded Giles were written their suspended\nthoughts and compound feelings concerning him, could he have read them\nthrough those old panes. But he saw nothing: his features just now", "that Giles's death resulted entirely from his exposure, it would have\ndriven her well-nigh to insanity; but there was always that bare\npossibility that his exposure had only precipitated what was", "after the solemn and pathetic reminder in her father's communication.\nHer freshness would pass, the long-suffering devotion of Giles might", "There was, further, that never-ceasing pity in her soul for Giles as a\nman whom she had wronged--a man who had been unfortunate in his worldly" ], [ "She sat down, her face buried in her hands, and Marty went, and after a\nshort absence returned. Then Grace rose, and going out asked her\nfather if he had met her husband.\n\n\"Yes,\" said Melbury.", "\"Ah, Grace,\" he said, regarding her fixedly.\n\n\"Yes, father,\" she murmured.", "\"Grace,\" he said, just before they had reached the house, \"if it costs\nme my life you shall marry well! To-day has shown me that whatever a\nyoung woman's niceness, she stands for nothing alone. You shall marry\nwell.\"", "Grace had not. \"I think he is not a very old man,\" she added.\n\n\"Has he a wife?\"\n\n\"I am not aware that he has.\"", "Grace's doing as hers, after which there was no more to be said by that\nyoung woman's tender father. By this time Fitzpiers was making the", "\"Yes. Felice Charmond is where this young man is.\"\n\n\"Never!\" said Grace, vehemently.", "He left her at the door of her father's house. As he receded, and was\nclasped out of sight by the filmy shades, he impressed Grace as a man", "brought her home. Still, he was a little surprised that her father's\neagerness to send him for Grace should have resulted in such an\nanticlimax as this.", "Grace would have avoided this; but her natural candor led her on. \"It\nwas when I was under the impression that my marriage with you was about\nto be annulled, and that he could then marry me. So I encouraged him\nto love me.\"", "\"Now, Grace,\" said her husband as soon as he found himself alone with\nher in their private apartments, \"we've had a very pleasant evening,", "\"I don't think so.\" Grace did not say \"Why?\" and Grammer hesitated. At\nlast she went on: \"Don't tell your father or mother, miss, if I let you\nknow a secret.\"", "Without consulting her father, or any one in the house or out of it,\nGrace replied to the letter. She agreed to meet Fitzpiers on two", "to this last moment, he had nourished a feeble hope of regaining Grace\nin the event of this negotiation turning out a success. Not being\naware of the fact that her father could have settled upon her a fortune", "\"I don't reproach you, Grace,\" said her father, with an estranged\nmanner, and in a voice not at all like his old voice. \"What has come", "\"Oh, yes--I did--but it is all right,\" said Grace, in a flurried\nwhisper. \"I am not alone here. I am here with Edgar. It is entirely\nowing to an accident, father.\"", "\"No,\" said Grace, magnanimously. \"You may go on loving him if you\nlike--I don't mind at all. You'll find it, let me tell you, a bitterer", "Her husband was absent, and her father did not return. He had, in\ntruth, gone on to Sherton after the interview, but this Grace did not", "He would not hear of any other terms, and thus it was arranged. They\nwere now opposite Melbury's house, and the timber-merchant pressed\nWinterborne to enter, Grace being out of the way.", "that he ought to marry somebody more of the sort of Mrs. Charmond, and\nthat Miss Grace should make the best of Winterborne.\"", "\"Yes, Grace, yes. I do not at all mean that the question between us\nhas not been settled by the fact of your marriage turning out\nhopelessly unalterable. I merely meant--well, a feeling no more.\"" ], [ "It was at the beginning of April, a few days after the meeting between\nGrace and Mrs. Charmond in the wood, that Fitzpiers, just returned from", "darkness, and waited till he had seen Fitzpiers leave the door. He\nstood for a few minutes looking at the window which by its light\nrevealed the room where Grace was sitting, and went away under the", "These half-revelations made a perceptible difference in Fitzpiers. His\nsense of personal superiority wasted away, and Grace assumed in his\neyes the true aspect of a mistress in her lover's regard.", "Grace gave a start and a scream: the place had been associated with him\nin her thoughts, but she had not expected to find him there still.\nFitzpiers lost not a moment in rising and going to her side.", "Fitzpiers could hear these enactments still going on after Grace had\nleft him, and he remained on the spot where he had caught her,\nWinterborne having gone away. On a sudden another girl came bounding", "down the same descent that had been followed by Grace--a fine-framed\nyoung woman with naked arms. Seeing Fitzpiers standing there, she", "Grace came out of the house as the morning drew on. The village was\nsilent, most of the folk having gone to the fair. Fitzpiers had", "Meanwhile Mrs. Melbury, deserted by Grace, had perceived Fitzpiers and\nWinterborne, and also the move of the latter. An improvement on", "Fitzpiers had hardly been gone an hour when Grace began to sicken. The\nnext day she kept her room. Old Jones was called in; he murmured some", "Grace's doing as hers, after which there was no more to be said by that\nyoung woman's tender father. By this time Fitzpiers was making the", "Grammer's idea entered the mind of Mrs. Melbury, for she had lately\ndiscerned what her husband had not--that Grace was rapidly fascinating\nthe surgeon. She therefore drew near to Fitzpiers.", "said in a matter-of-fact way, \"Of course, Grace; go to the door with\nMr. Fitzpiers.\" Accordingly Grace went, both her parents remaining in", "Fitzpiers did not stay more than an hour, but that time had apparently\nadvanced his sentiments towards Grace, once and for all, from a vaguely", "Grace made a mistake, for the love of men like Fitzpiers is\nunquestionably of such quality as to bear division and transference.\nHe had indeed, once declared, though not to her, that on one occasion", "probably be gone by the evening. Grace then entered with them into\nMelbury's wing of the house, and sat down listlessly in the parlor,\nwhile her step-mother went to Fitzpiers.", "before. This was the end of her excursion. Fitzpiers bade her adieu\nwith affection, even with tenderness, and she observed that he looked\nweary-eyed.", "Without consulting her father, or any one in the house or out of it,\nGrace replied to the letter. She agreed to meet Fitzpiers on two", "When her father approached the house after witnessing the interview\nbetween Fitzpiers and Mrs. Charmond, Grace was looking out of her\nsitting-room window, as if she had nothing to do, or think of, or care\nfor. He stood still.", "In the mean time her departure from the room, stealthy as it had been,\nhad roused Fitzpiers, and he sat up. In the reflection from the mirror", "Grace was indeed quite unconscious of Fitzpiers's propinquity. She was\nthinking of something which had little connection with the scene before" ], [ "Fitzpiers to attend there at once. Mrs. Charmond had met with a slight\naccident through the overturning of her carriage.", "Spring had not merged in summer when a clinching rumor, founded on the\nbest of evidence, reached the parish and neighborhood. Mrs. Charmond\nand Fitzpiers had been seen together in Baden, in relations which set", "\"Who's she?\"\n\n\"Mrs. Charmond.\"\n\n\"Oh, indeed!\" said Fitzpiers, with but slight interest. \"I've never\nseen her.\"", "\"Down with it, then, and hang Mrs. Charmond,\" said Mr. Fitzpiers. \"The\nbest plan will be to wait till the evening, when it is dark, or early", "mere aspect of the place was enough to inform him that Mrs. Charmond\nhad gone away and that nobody else was staying there. Fitzpiers felt a", "It was at the beginning of April, a few days after the meeting between\nGrace and Mrs. Charmond in the wood, that Fitzpiers, just returned from", "Melbury waited till Mrs. Charmond had re-entered the drawing-room, and\nthen followed after Fitzpiers, thinking that he would allow the latter", "Charmond abroad had waxed and waned. Fitzpiers had had a marvellous\nescape from being dragged into the inquiry which followed it, through\nthe accident of their having parted just before under the influence of", "Mrs. Melbury did not know positively; but she told her husband that\nthere was not much doubt about the place of his first visit after an\nabsence. She had, in fact, seen Fitzpiers take the direction of the\nManor House.", "before. This was the end of her excursion. Fitzpiers bade her adieu\nwith affection, even with tenderness, and she observed that he looked\nweary-eyed.", "Fitzpiers was generous in his turn. \"It shall be so,\" he rejoined,\ngracefully. \"To holy church we'll go, and much good may it do us.\"", "Fitzpiers said that he would endeavor to do so; and as it was now\ngetting on for dusk, they prepared to perform the last stage of their\njourney, so as to arrive at Hintock before it grew very late.", "Grace gave a start and a scream: the place had been associated with him\nin her thoughts, but she had not expected to find him there still.\nFitzpiers lost not a moment in rising and going to her side.", "Fitzpiers feared that she might not be coming to him even now, and\nhastily quitting the room, he ran down the path to meet her. The", "course, and plead with Fitzpiers privately, as he had pleaded with Mrs.\nCharmond.", "\"Edgar, is she very seriously hurt?\"\n\nFitzpiers had so entirely lost sight of Mrs. Charmond as a patient that\nhe was not on the instant ready with a reply.", "after the wedding, and she was alone. Fitzpiers had walked out to see\nthe abbey by the light of sunset, but she had been too fatigued to", "In the mean time her departure from the room, stealthy as it had been,\nhad roused Fitzpiers, and he sat up. In the reflection from the mirror", "adornment common to herself and Mrs. Charmond. Her bullet reached its\nbillet at last. The scene between Fitzpiers and Felice had been sharp,", "Fitzpiers did not require to be told twice. He went across to\nWinterborne and stood beside him. Each knew the probable purpose of" ], [ "Fitzpiers was, on the whole, a finely formed, handsome man. His eyes\nwere dark and impressive, and beamed with the light either of energy or", "It announced that Fitzpiers was living at some midland town, where he\nhad obtained a temporary practice as assistant to some local medical", "One day in February, about six months after the marriage of Fitzpiers,\nMelbury was returning from Great Hintock on foot through the lane, when\nhe saw before him the surgeon also walking. Melbury would have", "Mr. Fitzpiers's dwelling, on the contrary, was small, cottage-like, and\ncomparatively modern. It had been occupied, and was in part occupied", "Later in the evening Fitzpiers was summoned to visit a cottage patient\nabout two miles distant. Like the majority of young practitioners in", "assurances Fitzpiers gave her. \"Well, then, to put this case before\nyou, and obtain your professional opinion, was chiefly why I consented", "Fitzpiers was generous in his turn. \"It shall be so,\" he rejoined,\ngracefully. \"To holy church we'll go, and much good may it do us.\"", "Fitzpiers sat down to the book he had been perusing. It happened to be\nthat of a German metaphysician, for the doctor was not a practical man,", "It so happened that on this very day Fitzpiers was called away from\nHintock by an engagement to attend some medical meetings, and his", "Meanwhile, Fitzpiers was preparing to leave the house. The state of\nhis mind, over and above his professional zeal, was peculiar. At", "Fitzpiers. She knew that he was a young man; but her single object in\nseeking an interview with him put all considerations of his age and", "Fitzpiers had seated himself near her. \"What sets you in this mournful\nmood?\" he asked, gently. (In reality he knew that it was the result of", "Fitzpiers did not require to be told twice. He went across to\nWinterborne and stood beside him. Each knew the probable purpose of", "Fitzpiers aroused himself, came a little nearer, and examined\nWinterborne as he stood. His inspection was concluded in a mere\nglance. Before he spoke he looked at her contemplatively as to the\neffect of his coming words.", "Grace gave a start and a scream: the place had been associated with him\nin her thoughts, but she had not expected to find him there still.\nFitzpiers lost not a moment in rising and going to her side.", "Fitzpiers lingered yet. He had opened his book again, though he could\nhardly see a word in it, and sat before the dying fire, scarcely", "One speciality of Fitzpiers's was respected by Grace as much as\never--his professional skill. In this she was right. Had his", "Mr. Fitzpiers entered the sick-chamber just as a doctor is more or less\nwont to do on such occasions, and pre-eminently when the room is that", "Dr. Fitzpiers lived on the slope of the hill, in a house of much less\npretension, both as to architecture and as to magnitude, than the", "Fitzpiers in his turn reached the edge of the glen, overlooking the\nmanor-house. The shutters were shut, and only one chimney smoked. The" ], [ "concerning her past levities. Putting all things together, he could\nhardly avoid connecting Fitzpiers's mysterious visits to this spot with", "justice to her--more innocent sense than he supposed, judging from\nformer doings. She had accidentally discovered that Fitzpiers was in\nthe habit of coming secretly once or twice a week to Hintock, and knew", "Grace made a mistake, for the love of men like Fitzpiers is\nunquestionably of such quality as to bear division and transference.\nHe had indeed, once declared, though not to her, that on one occasion", "Fitzpiers, however, disregarded her resistance by reason of its\nmildness, stooped and imprinted the purposed kiss, then sunk down on\nthe next hay-cock, panting with his race.", "Fitzpiers had seated himself near her. \"What sets you in this mournful\nmood?\" he asked, gently. (In reality he knew that it was the result of", "It was at the beginning of April, a few days after the meeting between\nGrace and Mrs. Charmond in the wood, that Fitzpiers, just returned from", "to such matters. Well, Mrs. Fitzpiers has her remedy.\"", "Fitzpiers could hear these enactments still going on after Grace had\nleft him, and he remained on the spot where he had caught her,\nWinterborne having gone away. On a sudden another girl came bounding", "\"Oh, he knows nothing of what I do now.\"\n\n\"The admirer?\" said Fitzpiers, slyly.", "Fitzpiers. She knew that he was a young man; but her single object in\nseeking an interview with him put all considerations of his age and", "These half-revelations made a perceptible difference in Fitzpiers. His\nsense of personal superiority wasted away, and Grace assumed in his\neyes the true aspect of a mistress in her lover's regard.", "Fitzpiers was, on the whole, a finely formed, handsome man. His eyes\nwere dark and impressive, and beamed with the light either of energy or", "Fitzpiers was in no danger, was the saddest surprise to her. This was\nhow she had set about doing her best to escape her passionate bondage", "\"Oh, Mr. Fitzpiers--how can you ask?\"\n\n\"Right, right,\" said he, his effusiveness shrivelled up.", "Fitzpiers was within a mile of her still. She felt relieved that he\ndid not write more bitterly of the quarrel with her father, whatever\nits nature might have been; but the general frigidity of his", "\"No, it is not; though for that matter you encouraged him once,\" she\nsaid, troubled to the verge of despair. \"It is not Giles, it is Mr.\nFitzpiers.\"", "\"Who's she?\"\n\n\"Mrs. Charmond.\"\n\n\"Oh, indeed!\" said Fitzpiers, with but slight interest. \"I've never\nseen her.\"", "before. This was the end of her excursion. Fitzpiers bade her adieu\nwith affection, even with tenderness, and she observed that he looked\nweary-eyed.", "affection for him. In truth, her antenuptial regard for Fitzpiers had\nbeen rather of the quality of awe towards a superior being than of", "Grace gave a start and a scream: the place had been associated with him\nin her thoughts, but she had not expected to find him there still.\nFitzpiers lost not a moment in rising and going to her side." ], [ "As for Giles, he was lying--or rather sitting--ill at his hut. A\nfeverish indisposition which had been hanging about him for some time,", "\"Did he tell you how she died? It was no such death as Giles's. She\nwas shot--by a disappointed lover. It occurred in Germany. The", "\"That was Giles,\" said Melbury, when they had gone by.\n\n\"Was it? Poor Giles,\" said she.", "Her cheeks became slowly bloodless. \"Oh, Giles,\" she said, grasping\nhis arm, \"you have heard something! What--cannot my father conclude it", "Meanwhile, in the adjoining room Giles was presiding in a\nhalf-unconscious state. He could not get over the initial failures in", "that Giles's death resulted entirely from his exposure, it would have\ndriven her well-nigh to insanity; but there was always that bare\npossibility that his exposure had only precipitated what was", "Nothing seemed to avail. Giles and Fitzpiers went and came, but\nuselessly. He lingered through the day, and died that evening as the\nsun went down.", "\"Giles,\" he said, \"this is very awkward, and I am sorry for it. What\nare you going to do?\"", "\"Oh, my Giles,\" she cried, \"what have I done to you!\"\n\nBut she stopped no longer even to reproach herself. She saw that the\nfirst thing to be thought of was to get him indoors.", "\"Well, yes--but--\" replied Giles. He went over to Grace, and hoped\nnone of it had gone into her eye.", "\"Good God, Creedle, you'll drive me mad!\" said Giles, sternly. \"Don't\nspeak of that any more!\"", "altogether; and he wrote to Giles that the path was virtually open for\nhim at last. Life was short, he declared; there were slips betwixt the", "minutes she again came to the window, pushed it open, and said in a\nwhisper, \"Giles!\" He at once emerged from the shade, and saw that she", "the grass, and approached a particular headstone, where he read, \"In\nmemory of John Winterborne,\" with the subjoined date and age. It was\nthe grave of Giles's father.", "\"I was looking for him too,\" said Giles. \"I think he may perhaps have\ngone on farther.\"", "visible to her. She read them. Her face flushed to crimson. She\ncould see Giles and Creedle talking together at the back; the charred", "she had forgotten the old figures, and hence did not join in the\nmovement. Then Giles felt that all was over. As for her, she was", "they finished breakfast. Looking up, they saw Giles in person mounted\non horseback, and straining his neck forward, as he had been doing for\nsome time, to catch their attention through the window. Grace had been", "\"No, father, no! It is not Giles--it is something I cannot tell you\nof--\"\n\n\"Well, make fools of us all; make us laughing-stocks; break it off;\nhave your own way.\"", "\"Oh yes--'tis all over!\" murmured Giles to himself, shaking his head\nover the glooming plain of embers, and lining his forehead more than" ], [ "Grace made a mistake, for the love of men like Fitzpiers is\nunquestionably of such quality as to bear division and transference.\nHe had indeed, once declared, though not to her, that on one occasion", "\"Oh no, Mr. Fitzpiers,\" said Grace, earnestly. \"It is not so at all.\nI know from seeing your light at night how deeply you meditate and", "As Fitzpiers did not take up the money (half of which had come from\nGrace's own purse), she pushed it a little nearer to him. \"No, no. I", "belief of its coming success. The news was, in sum, that Fitzpiers's\nconduct had not been sufficiently cruel to Grace to enable her to snap", "\"How can you speak so unjustly to me, Grace?\" said Melbury, with\nindignant sorrow. \"I divide you from your husband, indeed! You little\nthink--\"", "These half-revelations made a perceptible difference in Fitzpiers. His\nsense of personal superiority wasted away, and Grace assumed in his\neyes the true aspect of a mistress in her lover's regard.", "Grace began now to be anxious to terminate the interview, but the\ncompelling power of Fitzpiers's atmosphere still held her there. She", "Grace's doing as hers, after which there was no more to be said by that\nyoung woman's tender father. By this time Fitzpiers was making the", "That Fitzpiers could allow himself to look on any other creature for a\nmoment than Grace filled Melbury with grief and astonishment. In the", "Grace gave a start and a scream: the place had been associated with him\nin her thoughts, but she had not expected to find him there still.\nFitzpiers lost not a moment in rising and going to her side.", "minute of her appointment with her husband, Grace Fitzpiers deliberated\non many things. Should she inform her father before going out that the\nestrangement of herself and Edgar was not so complete as he had", "The timber-merchant had happened to call at a moment when Fitzpiers was\nat the spring-tide of a sentiment that Grace was a necessity of his", "It will probably not appear a surprising statement, after what has been\nalready declared of Fitzpiers, that the man whom Grace's fidelity could", "Fitzpiers did not stay more than an hour, but that time had apparently\nadvanced his sentiments towards Grace, once and for all, from a vaguely", "\"Oh!\" cried Grace, in her fright.\n\n\"You are in my arms, dearest,\" said Fitzpiers, \"and I am going to claim\nyou, and keep you there all our two lives!\"", "Fitzpiers took her hand. \"We declare it, do we not, my dear Grace?\"\nsaid he.", "Fitzpiers could hear these enactments still going on after Grace had\nleft him, and he remained on the spot where he had caught her,\nWinterborne having gone away. On a sudden another girl came bounding", "\"Is he dying--is there any hope?\" she cried.\n\n\"Grace!\" said Fitzpiers, in an indescribable whisper--more than\ninvocating, if not quite deprecatory.", "darkness, and waited till he had seen Fitzpiers leave the door. He\nstood for a few minutes looking at the window which by its light\nrevealed the room where Grace was sitting, and went away under the", "It was at the beginning of April, a few days after the meeting between\nGrace and Mrs. Charmond in the wood, that Fitzpiers, just returned from" ], [ "Suke would be out of Fitzpiers's way forever.", "Fitzpiers had hardly been gone an hour when Grace began to sicken. The\nnext day she kept her room. Old Jones was called in; he murmured some", "The intoxication that Fitzpiers had, as usual, produced in Grace's\nbrain during the visit passed off somewhat with his withdrawal. She", "darkness, and waited till he had seen Fitzpiers leave the door. He\nstood for a few minutes looking at the window which by its light\nrevealed the room where Grace was sitting, and went away under the", "It was at the beginning of April, a few days after the meeting between\nGrace and Mrs. Charmond in the wood, that Fitzpiers, just returned from", "Fitzpiers could not escape, for they had seen him; though of all the\nbeauties of the world whom he did not wish to meet Suke was the chief.", "Grace gave a start and a scream: the place had been associated with him\nin her thoughts, but she had not expected to find him there still.\nFitzpiers lost not a moment in rising and going to her side.", "Fitzpiers did not stay more than an hour, but that time had apparently\nadvanced his sentiments towards Grace, once and for all, from a vaguely", "Grace made a mistake, for the love of men like Fitzpiers is\nunquestionably of such quality as to bear division and transference.\nHe had indeed, once declared, though not to her, that on one occasion", "said in a matter-of-fact way, \"Of course, Grace; go to the door with\nMr. Fitzpiers.\" Accordingly Grace went, both her parents remaining in", "It so happened that on this very day Fitzpiers was called away from\nHintock by an engagement to attend some medical meetings, and his", "\"I can assure you it is nothing,\" said Fitzpiers, who had seen Grace\nmuch oftener already than her father knew of.", "Meanwhile, Fitzpiers was preparing to leave the house. The state of\nhis mind, over and above his professional zeal, was peculiar. At", "Grace's doing as hers, after which there was no more to be said by that\nyoung woman's tender father. By this time Fitzpiers was making the", "Fitzpiers recognized her as Suke Damson, a hoydenish damsel of the\nhamlet, who was plainly mistaking him for her lover. He was", "fire-irons, with a view to making things comfortable. Fitzpiers\nconsidered that Grace ought to have let him know her plans more\naccurately before leaving home in a freak like this. He went", "Grace came out of the house as the morning drew on. The village was\nsilent, most of the folk having gone to the fair. Fitzpiers had", "The timber-merchant had happened to call at a moment when Fitzpiers was\nat the spring-tide of a sentiment that Grace was a necessity of his", "As Fitzpiers did not take up the money (half of which had come from\nGrace's own purse), she pushed it a little nearer to him. \"No, no. I", "Fitzpiers feared that she might not be coming to him even now, and\nhastily quitting the room, he ran down the path to meet her. The" ], [ "As for Giles, he was lying--or rather sitting--ill at his hut. A\nfeverish indisposition which had been hanging about him for some time,", "Giles did not contradict him, though he felt sure that the gentleman\nwas wrong.\n\n\"You are a native of this place?\" the stranger said.\n\n\"Yes.\"", "\"That was Giles,\" said Melbury, when they had gone by.\n\n\"Was it? Poor Giles,\" said she.", "\"Giles,\" he said, \"this is very awkward, and I am sorry for it. What\nare you going to do?\"", "making Giles's bed to catching moles in his field. He was a survival\nfrom the days when Giles's father held the homestead, and Giles was a\nplaying boy.", "Meanwhile, in the adjoining room Giles was presiding in a\nhalf-unconscious state. He could not get over the initial failures in", "Giles, in his self-deprecatory sense of living on a much smaller scale\nthan the Melburys did, would not for the world imply that his", "He paused, and looked round, as if he had forgotten where he was; not\nobserving Giles, who was of the color of his environment. The latter", "\"Well, yes--but--\" replied Giles. He went over to Grace, and hoped\nnone of it had gone into her eye.", "Giles's features stiffened a little at the news. \"Indeed; what for?\nBut I won't keep you standing here. Hoi, Robert!\" he cried to a", "minutes she again came to the window, pushed it open, and said in a\nwhisper, \"Giles!\" He at once emerged from the shade, and saw that she", "\"Well, Giles is a very good fellow,\" said Mr. Melbury, as they struck\ndown the lane under boughs which formed a black filigree in which the\nstars seemed set.", "\"Oh, my Giles,\" she cried, \"what have I done to you!\"\n\nBut she stopped no longer even to reproach herself. She saw that the\nfirst thing to be thought of was to get him indoors.", "Giles had once done that thriftless man a good turn, and now was the\nmoment when Beaucock had chosen to remember it in his own way. During", "Giles was left alone to the suspense of waiting for a reply from the\ndivinity who shaped the ends of the Hintock population. By this time\nall the villagers knew of the circumstances, and being wellnigh like", "\"I was looking for him too,\" said Giles. \"I think he may perhaps have\ngone on farther.\"", "Giles did not enter into this view of the case; what he had been struck\nwith was the curious parallelism between Mr. Fitzpiers's manner and", "\"It was child's tattle.\"\n\n\"H'm!\" said Giles, suddenly.", "professional man who had seen Giles at that time, would be immense. As\nfor that statement that she had uttered in her disdainful grief, which", "Giles informed him of the real state of affairs, and how barely he had\nmissed availing himself of his chance of renewal." ], [ "These half-revelations made a perceptible difference in Fitzpiers. His\nsense of personal superiority wasted away, and Grace assumed in his\neyes the true aspect of a mistress in her lover's regard.", "Grace made a mistake, for the love of men like Fitzpiers is\nunquestionably of such quality as to bear division and transference.\nHe had indeed, once declared, though not to her, that on one occasion", "Grace's doing as hers, after which there was no more to be said by that\nyoung woman's tender father. By this time Fitzpiers was making the", "\"I can assure you it is nothing,\" said Fitzpiers, who had seen Grace\nmuch oftener already than her father knew of.", "darkness, and waited till he had seen Fitzpiers leave the door. He\nstood for a few minutes looking at the window which by its light\nrevealed the room where Grace was sitting, and went away under the", "Grace gave a start and a scream: the place had been associated with him\nin her thoughts, but she had not expected to find him there still.\nFitzpiers lost not a moment in rising and going to her side.", "Fitzpiers recognized her as Suke Damson, a hoydenish damsel of the\nhamlet, who was plainly mistaking him for her lover. He was", "Fitzpiers could not escape, for they had seen him; though of all the\nbeauties of the world whom he did not wish to meet Suke was the chief.", "Fitzpiers had hardly been gone an hour when Grace began to sicken. The\nnext day she kept her room. Old Jones was called in; he murmured some", "\"Oh no, Mr. Fitzpiers,\" said Grace, earnestly. \"It is not so at all.\nI know from seeing your light at night how deeply you meditate and", "said in a matter-of-fact way, \"Of course, Grace; go to the door with\nMr. Fitzpiers.\" Accordingly Grace went, both her parents remaining in", "belief of its coming success. The news was, in sum, that Fitzpiers's\nconduct had not been sufficiently cruel to Grace to enable her to snap", "As Fitzpiers did not take up the money (half of which had come from\nGrace's own purse), she pushed it a little nearer to him. \"No, no. I", "One speciality of Fitzpiers's was respected by Grace as much as\never--his professional skill. In this she was right. Had his", "Grammer's idea entered the mind of Mrs. Melbury, for she had lately\ndiscerned what her husband had not--that Grace was rapidly fascinating\nthe surgeon. She therefore drew near to Fitzpiers.", "\"Oh yes, ma'am--Mrs. Fitzpiers,\" said Suke, with a peculiar smile.", "announcement on that point, there seemed a weakness she did not care to\nshow. She never doubted that Fitzpiers would believe her if she made a\nclean confession of the actual situation; but to volunteer the", "The intoxication that Fitzpiers had, as usual, produced in Grace's\nbrain during the visit passed off somewhat with his withdrawal. She", "Mrs. Melbury, who had some long private talks with Fitzpiers, assured\nGrace that she need have no doubts on that point, and that he would", "being precisely that of Mr. Melbury's gig. Fitzpiers by a sort of\ndivination jumped to the idea that the figure was Grace's; her nearer\napproach made the guess a certainty." ], [ "Fitzpiers could not escape, for they had seen him; though of all the\nbeauties of the world whom he did not wish to meet Suke was the chief.", "Fitzpiers recognized her as Suke Damson, a hoydenish damsel of the\nhamlet, who was plainly mistaking him for her lover. He was", "\"Oh yes, ma'am--Mrs. Fitzpiers,\" said Suke, with a peculiar smile.", "Suke would be out of Fitzpiers's way forever.", "Fitzpiers did not pursue his questioning. In the moonlight Suke looked\nvery beautiful, the scratches and blemishes incidental to her out-door", "\"Why, there she is!\" said Fitzpiers. \"How does she come there?\"\n\n\"In the most natural way in the world. It is her home. Mr. Melbury is\nher father.\"", "\"They are kindly welcome to their opinion,\" said Fitzpiers, not\nallowing himself to recognize that he winced. \"Anything else?\"\n\n\"Yes; SHE'S come home at last.\"", "justice to her--more innocent sense than he supposed, judging from\nformer doings. She had accidentally discovered that Fitzpiers was in\nthe habit of coming secretly once or twice a week to Hintock, and knew", "\"Oh, Mr. Fitzpiers--how can you ask?\"\n\n\"Right, right,\" said he, his effusiveness shrivelled up.", "assurances Fitzpiers gave her. \"Well, then, to put this case before\nyou, and obtain your professional opinion, was chiefly why I consented", "Fitzpiers did not talk much longer to this cheering housewife, and\nwalked home with no very brisk step. He entered the door quietly, and", "to such matters. Well, Mrs. Fitzpiers has her remedy.\"", "concerning her past levities. Putting all things together, he could\nhardly avoid connecting Fitzpiers's mysterious visits to this spot with", "She spoke, and Fitzpiers started. \"What are you looking at?\" she asked.\n\n\"Oh! I was contemplating our old place of Buckbury, in my idle way,\" he\nsaid.", "Fitzpiers had seated himself near her. \"What sets you in this mournful\nmood?\" he asked, gently. (In reality he knew that it was the result of", "Grace gave a start and a scream: the place had been associated with him\nin her thoughts, but she had not expected to find him there still.\nFitzpiers lost not a moment in rising and going to her side.", "the purpose. A friendly fire was burning in the grate, although it was\nnot cold. Fitzpiers said it was too soon for any sort of meal, they", "to be she. It was one of the features of Fitzpiers's repentant humor\nat this date that, on receiving the explanation of her absence, he had", "\"Oh, he knows nothing of what I do now.\"\n\n\"The admirer?\" said Fitzpiers, slyly.", "\"Oh yes--I meant it as a citation,\" blandly replied Fitzpiers. \"Well,\nthen, why not give me a very little bit of your heart again?\"" ], [ "Mrs. Charmond did not see them, but there was sufficient light for them\nto discern her outline between the carriage windows. A noticeable\nfeature in her tournure was a magnificent mass of braided locks.", "\"How well she looks this morning!\" said Grace, forgetting Mrs.\nCharmond's slight in her generous admiration. \"Her hair so becomes her\nworn that way. I have never seen any more beautiful!\"", "Mrs. Charmond wore her hair. It was poor Marty's only card, and she\nplayed it, knowing nothing of fashion, and thinking her revelation a\nfatal one for a lover.", "\"After father's death they will be Mrs. Charmond's?\"\n\n\"They'll be hers.\"\n\n\"They are going to keep company with my hair,\" she thought.", "\"Who's she?\"\n\n\"Mrs. Charmond.\"\n\n\"Oh, indeed!\" said Fitzpiers, with but slight interest. \"I've never\nseen her.\"", "\"Who is?--oh, you mean Mrs. Charmond. Do you know, dear, that at one\ntime I thought you lived here.\"\n\n\"Indeed!\" said Grace. \"How was that?\"", "veil tied picturesquely round it. She spoke to Marty, who turned and\ncourtesied, and the lady fell into conversation with her. It was Mrs.\nCharmond.", "\"Well, the reason is this,\" continued she, as they went on\ntogether--\"Mrs. Charmond has a delightful side to her character--a", "Mrs. Charmond's little feet were covered with mud; she was quite\nunconscious of her appearance now. \"I have heard such a dreadful", "Mrs. Charmond looked ill at ease. She might have begun to guess his\nmeaning; but apart from that, she had such dread of contact with", "once been his dwelling, and the man seizing the horses' heads. The\nequipage was Mrs. Charmond's, and the unseated charioteer that lady\nherself.", "damaging its neighbor unmercifully. This was unhappily the case here.\nMrs. Charmond fell into a meditation, and replied abstractedly to a", "She scanned him narrowly. \"I know quite well enough,\" she returned,\nindifferently. \"It was by my husband, and the woman was Mrs. Charmond.", "supposed, to a quarrel, and Mrs. Charmond had been left desolate. Being\npresumably a woman who did not care for solitude, this deprivation", "\"You mistake,\" said the other, quickly. \"Mrs. Charmond has been away\nfor some time, but she's at home now.\"", "\"Where?\" said Mrs. Charmond; and on Suke pointing out the direction,\nshe made as if to go thither.", "countenance had the effect of making Mrs. Charmond appear more than her\nfull age. There are complexions which set off each other to great\nadvantage, and there are those which antagonize, the one killing or", "whom she had parted from an hour and a half before--Mrs. Charmond.", "They chatted on for some time, Grace being set quite at her ease by her\nentertainer. Mrs. Charmond was far too well-practised a woman not to", "husband bought the property. She is SO nice!\" And Grace fell into such\nan abstracted gaze at the imaginary image of Mrs. Charmond and her" ], [ "\"Nothing--except the general fact that it enables ill-assorted husbands\nand wives to part in a way they could not formerly do without an Act of\nParliament.\"", "respectable thing to do?\" he continued. \"I don't like this state that\nyou are in--neither married nor single. It hurts me, and it hurts you,", "released, I must behave as I do behave, and keep that vow. I am not\nbound to him by any divine law, after what he has done; but I have\npromised, and I will pay.\"", "\"How can you speak so unjustly to me, Grace?\" said Melbury, with\nindignant sorrow. \"I divide you from your husband, indeed! You little\nthink--\"", "\"I shall never advise ye again. You are your own mistress--do as you\nlike. But my opinion is that if you don't live with him, you had", "that I--am still as married as ever--or almost. My dear father has\nforgotten himself. Not that I feel morally bound to any one else,", "their force. That particular sentence, beginning \"Whom God hath joined\ntogether,\" was a staggerer for a gentlewoman of strong devotional\nsentiment. She wondered whether God really did join them together.", "\"Yes, Grace, yes. I do not at all mean that the question between us\nhas not been settled by the fact of your marriage turning out\nhopelessly unalterable. I merely meant--well, a feeling no more.\"", "Grace made a mistake, for the love of men like Fitzpiers is\nunquestionably of such quality as to bear division and transference.\nHe had indeed, once declared, though not to her, that on one occasion", "\"I don't see the necessity of going there!\" he said, a trifle\nimpatiently. \"Marriage is a civil contract, and the shorter and", "Well, he could not believe it. Surely the adamantine barrier of\nmarriage with another could not be pierced like this! It did violence", "were separated; therefore the question of affection as between them was\nsettled. But his Suke had, since that meeting on their marriage-day,\nrepentantly admitted, to the urgency of his questioning, a good deal", "imagined, and deemed desirable for her happiness? If she did so she\nmust in some measure become the apologist of her husband, and she was\nnot prepared to go so far.", "Grace would have avoided this; but her natural candor led her on. \"It\nwas when I was under the impression that my marriage with you was about\nto be annulled, and that he could then marry me. So I encouraged him\nto love me.\"", "possible marriage I could not bear to think, for it seemed like a death\nthat she should cleave to another man, and grow to think his house her\nhome rather than mine. But I saw it was the law of nature that this", "When Melbury had recovered a little he said, \"You are now, as ever,\nFitzpiers's wife. I was deluded. He has not done you ENOUGH harm.\nYou are still subject to his beck and call.\"", "wish--she would be in a position to do so. In this Melbury had not\nwritten beyond his belief. But he very much stretched the facts in\nadding that the legal formalities for dissolving her union were", "\"Then do,\" said she.\n\n\"But all these things trouble me,\" said he; \"for I feel I am\nsacrificing her for my own sin; and I think of her, and often come down\nhere and look at this.\"", "pure and simple life he had led it had scarcely occurred to him that\nafter marriage a man might be faithless. That he could sweep to the", "\"My acts will be my proofs. In the world which you have seen nothing\nof, friendships between men and women are not unknown, and it would" ], [ "the lawn. It was not yet quite dark. Half-way up the steep green\nslope confronting her stood old Timothy Tangs, who was shortening his", "\"Whom do you mean by Tim?\" he asked, presently.\n\n\"My young man, Tim Tangs,\" said she.\n\n\"Now, honor bright, did you really think it was he?\"", "Tim Tangs turned about, and ran down the opposite side of the hill,\ntill he was again at the head of his own garden. It was the work of a", "Tim Tangs was not happy. This scheme of emigration was dividing him\nfrom his father--for old Tangs would on no account leave Hintock--and", "returned with his burden to his own garden, passing on through the\nhedge to the path immediately outside the boundary. Here, by the help\nof a stout stake, he set the trap, and laid it carefully behind a bush", "the only course for a foot-passenger. In it he laid the trap with the\nsame gentleness of handling, locked the chain round one of the trees,", "But he travelled here, and I was nearly caught in a man-trap, and\nthat's how it is I am here. We were just thinking of sending a\nmessenger to let you know.\"", "\"He must be a curious young man,\" mused the hollow-turner.\n\n\"He must,\" said Timothy Tangs.", "the various species of trees around the premises he could hear the\ntwitching of a chain from the spot whereon he had set the man-trap.\nBut further human sound there was none.", "Timothy Tangs and young Timothy Tangs, top and bottom sawyers, at work\nin Mr. Melbury's pit outside; Farmer Bawtree, who kept the cider-house,", "As soon as he had examined the trap, and found that the hinges and\nsprings were still perfect, he shouldered it without more ado, and", "endured a night of six hours in this very trap, which lamed him for\nlife. Once a keeper of Hintock woods set it on the track of a poacher,", "Having completed these arrangements, Tim sprang through the adjoining\nhedge of his father's garden, ran down the path, and softly entered the\nhouse.", "They explored the precincts of the village, and in a short time lighted\nupon the man-trap. Its discovery simply added an item of fact without", "betrayed her individuality. It was Suke Damson, the affianced one of\nsimple young Tim Tangs. At the bottom of the garden she entered the", "down there to murder me, but the next moment I discovered it was iron,\nand that my clothes were caught in a trap. I pulled this way and that,", "Before she had done deliberating the time of her engagement drew near,\nand she went out of the house almost at the moment that Tim Tangs\nretired to his own.", "Tim was puzzled. In the haste of his project he had not calculated\nupon a cry; but if one, why not more? He soon ceased to essay an", "Obedient to his order, Suke had gone to bed; and as soon as he had\nbolted the door, Tim unlaced and kicked off his boots at the foot of", "By their united efforts, each standing on one of the springs of the\ntrap, they pressed them down sufficiently to insert across the jaws a" ], [ "Grace was abased when, by degrees, she found that she had never\nunderstood Giles as Marty had done. Marty South alone, of all the", "like Marty South. I hate genteel life, and I want to be no better than\nshe.\"", "\"Why, that poor little lonesome thing, Marty South, is likely to lose\nher father. He was almost well, but is much worse again. A man all", "These ruminations were occupying him when there became audible a slight\nknocking at his front door. He descended the path and looked out, and\nbeheld Marty South, dressed for out-door work.", "\"Yes. Marty South.\" Melbury persisted in his narrative, to divert her\nfrom her present grief, if possible. \"Before he went away she wrote", "mouth and a face cleanly shaven; and he walked along the path with his\neyes bent on the ground. In the pair Marty South recognized her", "The speaker was neither Grace nor Fitzpiers, but Marty South, who\napproached with her face turned up to the sky in her endeavor to trace", "As he approached the door of Marty South's cottage, which it was\nnecessary to pass on his way, she came from the porch as if she had", "such like. All that my trouble and money bought for her in that way is\nthrown away upon her quite. She'd fain be like Marty South--think o'", "Marty South. Click, click, click went the pattens; and she did not\nturn her head.", "front of South's late dwelling. He saw Marty standing in her door-way,\na slim figure in meagre black, almost without womanly contours as yet.", "\"I think it was Marty South,\" said the hollow-turner, parenthetically.", "\"There's Marty South sitting up with the coachman,\" said he, discerning\nher by her dress.", "Marty South was not so very far wrong. Inside the carriage a pair of\nbright eyes looked from a ripely handsome face, and though behind those", "unwontedness of the hour, had been commissioned by him to make the same\ninquiry at South's. Marty had been standing at the door when Miss", "Melbury did not know enough to give the gist of the incident, which was\nthat Marty South's letter had been concerning a certain personal", "Marty South appeared startled, and could not tear herself away.", "These were the expected ones, Grace and Marty South, who had evidently\ncome there by a short and secret path through the wood. Grace was\nmuffled up in her winter dress, and he thought that she had never", "Grace watched the carriages with lingering regret till they were out of\nsight. She then learned of Marty that South was no better. Before she", "As soon as she had quite recovered from this foiled attack upon her\nlife, Grace went to Marty South's cottage. The current of her being\nhad again set towards the lost Giles Winterborne." ], [ "\"That was Giles,\" said Melbury, when they had gone by.\n\n\"Was it? Poor Giles,\" said she.", "Her face faded into an aspect of deep distress when she saw what had\nhappened. \"Oh no, Giles,\" she said, with extreme pathos; \"certainly", "\"Oh, my Giles,\" she cried, \"what have I done to you!\"\n\nBut she stopped no longer even to reproach herself. She saw that the\nfirst thing to be thought of was to get him indoors.", "Meanwhile, in the adjoining room Giles was presiding in a\nhalf-unconscious state. He could not get over the initial failures in", "\"Giles,\" he said, \"this is very awkward, and I am sorry for it. What\nare you going to do?\"", "Her cheeks became slowly bloodless. \"Oh, Giles,\" she said, grasping\nhis arm, \"you have heard something! What--cannot my father conclude it", "weeping, she hardly knew how long, and then she sat up, covered poor\nGiles's features, and went towards the door where her husband had\nstood. No sign of any other comer greeted her ear, the only", "\"Poor Giles!\" murmured Grace.", "Giles was extremely sorry at what he had done, and remained standing\nunder the trees, all the other men having strayed silently away. He", "\"Did he tell you how she died? It was no such death as Giles's. She\nwas shot--by a disappointed lover. It occurred in Germany. The", "\"Oh yes--'tis all over!\" murmured Giles to himself, shaking his head\nover the glooming plain of embers, and lining his forehead more than", "Everybody thought of Giles; nobody thought of Marty. Had any of them\nlooked in upon her during those moonlight nights which preceded the", "As for Giles, he was lying--or rather sitting--ill at his hut. A\nfeverish indisposition which had been hanging about him for some time,", "\"I was looking for him too,\" said Giles. \"I think he may perhaps have\ngone on farther.\"", "the grass, and approached a particular headstone, where he read, \"In\nmemory of John Winterborne,\" with the subjoined date and age. It was\nthe grave of Giles's father.", "am sincerely sorry for Giles. Had we not dismissed him already, we\ncould hardly have found it in our hearts to dismiss him now. So I say,", "she had forgotten the old figures, and hence did not join in the\nmovement. Then Giles felt that all was over. As for her, she was", "visible to her. She read them. Her face flushed to crimson. She\ncould see Giles and Creedle talking together at the back; the charred", "There was, further, that never-ceasing pity in her soul for Giles as a\nman whom she had wronged--a man who had been unfortunate in his worldly", "\"Giles,\" she said, at last, \"it makes me quite weary when I think how\nserious my situation is, or has been. Shall we not go out from here" ], [ "\"Did he tell you how she died? It was no such death as Giles's. She\nwas shot--by a disappointed lover. It occurred in Germany. The", "that Giles's death resulted entirely from his exposure, it would have\ndriven her well-nigh to insanity; but there was always that bare\npossibility that his exposure had only precipitated what was", "As for Giles, he was lying--or rather sitting--ill at his hut. A\nfeverish indisposition which had been hanging about him for some time,", "Nothing seemed to avail. Giles and Fitzpiers went and came, but\nuselessly. He lingered through the day, and died that evening as the\nsun went down.", "\"That was Giles,\" said Melbury, when they had gone by.\n\n\"Was it? Poor Giles,\" said she.", "\"Giles,\" he said, \"this is very awkward, and I am sorry for it. What\nare you going to do?\"", "\"Oh, my Giles,\" she cried, \"what have I done to you!\"\n\nBut she stopped no longer even to reproach herself. She saw that the\nfirst thing to be thought of was to get him indoors.", "Meanwhile, in the adjoining room Giles was presiding in a\nhalf-unconscious state. He could not get over the initial failures in", "Giles's features stiffened a little at the news. \"Indeed; what for?\nBut I won't keep you standing here. Hoi, Robert!\" he cried to a", "because I did his father a terrible wrong; and it was a weight on my\nconscience ever since that time till this scheme of making amends\noccurred to me through seeing that Giles liked her.\"", "In short, he argued so cogently that Giles allowed himself to be\npersuaded, and the letter to Mrs. Charmond was written and sent to\nHintock House, whence, as he knew, it would at once be forwarded to her.", "Her cheeks became slowly bloodless. \"Oh, Giles,\" she said, grasping\nhis arm, \"you have heard something! What--cannot my father conclude it", "Giles informed him of the real state of affairs, and how barely he had\nmissed availing himself of his chance of renewal.", "am sincerely sorry for Giles. Had we not dismissed him already, we\ncould hardly have found it in our hearts to dismiss him now. So I say,", "Giles, in his self-deprecatory sense of living on a much smaller scale\nthan the Melburys did, would not for the world imply that his", "she had forgotten the old figures, and hence did not join in the\nmovement. Then Giles felt that all was over. As for her, she was", "altogether; and he wrote to Giles that the path was virtually open for\nhim at last. Life was short, he declared; there were slips betwixt the", "\"No, father, no! It is not Giles--it is something I cannot tell you\nof--\"\n\n\"Well, make fools of us all; make us laughing-stocks; break it off;\nhave your own way.\"", "Giles, and his communication was to inform Winterborne at the earliest\npossible moment that their attempt had failed, in order that the young\nman should not place himself in a false position towards Grace in the", "\"Well, yes--but--\" replied Giles. He went over to Grace, and hoped\nnone of it had gone into her eye." ], [ "The lights in the village went out, house after house, till there only\nremained two in the darkness. One of these came from a residence on", "Great Hintock one afternoon as usual, there being no service at the\nsmaller village. A few minutes before his departure, he had casually", "At that same hour, and almost at that same minute, there was a\nconversation about Winterborne in progress in the village street,\nopposite Mr. Melbury's gates, where Timothy Tangs the elder and Robert\nCreedle had accidentally met.", "Grace came out of the house as the morning drew on. The village was\nsilent, most of the folk having gone to the fair. Fitzpiers had", "Six months before this date a scene, almost similar in its mechanical\nparts, had been enacted at Hintock House. It was between a pair of", "The doctor had started on his way out of the village on the night in\nquestion when the light of his lamps fell upon the musing form of", "\"'Tis wonderful that she should ask ye,\" observed the magisterial\ncoachman, presently. \"I have never known her do it before, for as a\nrule she takes no interest in the village folk at all.\"", "Giles was left alone to the suspense of waiting for a reply from the\ndivinity who shaped the ends of the Hintock population. By this time\nall the villagers knew of the circumstances, and being wellnigh like", "From this centre of information it was made known in Hintock that the\ndoctor had gone away, and as none but the Melbury household was aware\nthat he did not return on the night of his accident, no excitement\nmanifested itself in the village.", "and Mrs. Melbury went on by themselves till they had arrived at the\nspot chosen by the village daughters, whose primary intention of\nkeeping their expedition a secret had been quite defeated. Grace and", "Fitzpiers's return to drive into the aforesaid vale where stood the\nvillage of Buckbury Fitzpiers. Leaving her father's man at the inn", "thrown off his horse. We don't think he is hurt much. It happened in\nthe wood the other side of Nellcombe Bottom, where 'tis said the ghosts\nof the brothers walk.\"", "\"Yes. I have never got any happiness outside Hintock that I know of,\nand I have suffered many a heartache at being sent away. Oh, the", "So it was settled in his mind that her sudden mingling with the\nvillagers at the unlucky Winterborne's was the cause of her most\ngrievous loss, as he deemed it, in the direction of Hintock House.", "A week had passed, and Mrs. Charmond had left Hintock House. Middleton\nAbbey, the place of her sojourn, was about twenty miles distant by\nroad, eighteen by bridle-paths and footways.", "It happened that on this self-same evening a boy had been returning\nfrom Great to Little Hintock about the time of Fitzpiers's and", "Thus these people with converging destinies went along the road\ntogether, till Winterborne, leaving the track of the carriage, turned\ninto Little Hintock, where almost the first house was the", "own parish. Then he would drink a glass of grog and so get rid of the\nmisgiving. These hitches and quaffings were soon perceived by Grace as", "The accident, such as it had been, was soon remedied, and the carriage\ncould be heard descending the hill on the Hintock side, soon to turn", "Spring had not merged in summer when a clinching rumor, founded on the\nbest of evidence, reached the parish and neighborhood. Mrs. Charmond\nand Fitzpiers had been seen together in Baden, in relations which set" ], [ "\"Not much farther,\" said Winterborne. \"The plantation runs up into a\ncorner here, close behind the house.\" He added with hesitation, \"You\nknow, I suppose, sir, that Mrs. Charmond is not at home?\"", "Winterborne's house had been pulled down. On this account his face had\nbeen seen but fitfully in Hintock; and he would probably have", "\"It shall be done,\" said Winterborne, not to her, though he spoke the\nwords quite loudly. And as the day was nearly ended, he added, \"Here,", "Thus these people with converging destinies went along the road\ntogether, till Winterborne, leaving the track of the carriage, turned\ninto Little Hintock, where almost the first house was the", "At that same hour, and almost at that same minute, there was a\nconversation about Winterborne in progress in the village street,\nopposite Mr. Melbury's gates, where Timothy Tangs the elder and Robert\nCreedle had accidentally met.", "of a professional man who drops down into such a place by mere\naccident. They were present to the lives of Winterborne, Melbury, and", "Winterborne was vexed at the incident; the more so that he knew Mr.\nMelbury, in his adoration of Hintock House, would be the first to blame", "Winterborne. \"Don't ask it! My heart is in the grave with Giles,\" she\nreplied, stanchly.", "Winterborne just in front of him. It just now happened that Giles,\nafter being for a long time apathetic and unemployed, had become one of", "So it was settled in his mind that her sudden mingling with the\nvillagers at the unlucky Winterborne's was the cause of her most\ngrievous loss, as he deemed it, in the direction of Hintock House.", "Winterborne explained just as briefly, without raising his eyes from\nhis occupation of chopping a bough that he held in front of him.\n\n\"'Twill be up in April before you get it all cleared,\" said Melbury.", "The letter was not from Mrs. Charmond herself, but her agent at\nSherton. Winterborne glanced it over and looked up.\n\n\"It's all over,\" he said.", "Winterborne stopped. \"Grace,\" he said, preserving a strictly business\nmanner which belied him, \"you cannot go to Sherton to-night.\"\n\n\"But I must!\"", "Melbury seldom saw Winterborne now, but he believed him to be occupying\na lonely hut just beyond the boundary of Mrs. Charmond's estate, though", "Thereupon he put the case to Winterborne frankly, and in quite a\nfriendly way. He declared that he did not like to be hard on a man", "\"Now,\" he went on, emphatically, \"'tis Winterborne's affair has done\nthis. Oh yes, 'tis. So let me say one word. Promise me that you will\nnot meet him again without my knowledge.\"", "He would not hear of any other terms, and thus it was arranged. They\nwere now opposite Melbury's house, and the timber-merchant pressed\nWinterborne to enter, Grace being out of the way.", "Winterborne walked with her nearly to her house. He had awaited her\ncoming, mainly with the view of mentioning to her his proposal to have", "Winterborne, in his modesty, or indifference, had mentioned no\nparticular hour in his invitation; and accordingly Mr. Melbury and his", "\"No, ma'am. A younger man, in a smaller way of business in Little\nHintock. Winterborne is his name.\"" ], [ "Winterborne just in front of him. It just now happened that Giles,\nafter being for a long time apathetic and unemployed, had become one of", "Winterborne's. Yet who could be his listener, so mute and patient; for\nthough he argued so rapidly and persistently, nobody replied.", "\"Not much farther,\" said Winterborne. \"The plantation runs up into a\ncorner here, close behind the house.\" He added with hesitation, \"You\nknow, I suppose, sir, that Mrs. Charmond is not at home?\"", "Winterborne's mind ran on his contemplated evening-party, his\nabstraction being such that he hardly was conscious of Marty's presence\nbeside him. From the nature of their employment, in which he handled", "Accompanied by Winterborne, he now turned towards the door of the\nspar-house, when his footsteps were heard by the men as aforesaid.", "\"Now,\" he went on, emphatically, \"'tis Winterborne's affair has done\nthis. Oh yes, 'tis. So let me say one word. Promise me that you will\nnot meet him again without my knowledge.\"", "Winterborne, walking leisurely along, as if he had no object in life.\nWinterborne was a better class of companion than the doctor usually", "Winterborne's house had been pulled down. On this account his face had\nbeen seen but fitfully in Hintock; and he would probably have", "Winterborne glanced doubtingly at her, and then softly hinted that her\nfather had visited him the evening before, and that their old\nfriendship was quite restored, on which she guessed the rest.", "Winterborne laughed coldly. \"Won't money do anything,\" he said, \"if\nyou've promising material to work upon? Why shouldn't a Hintock girl,", "Winterborne saw that something had gone wrong with his former friend,\nand throwing down the switch he was about to interweave, he responded\nonly too readily to the mood of the timber-dealer. \"Is she ill?\" he\nsaid, hurriedly.", "Fitzpiers followed the direction of her eyes, and said he did not\nrecognize anybody.\n\n\"Why, Mr. Winterborne--there he is, cider-making. He combines that\nwith his other business, you know.\"", "lives it was impossible to say. The likelihood was that death alone\nhad hindered him in the execution of his project, as it surely was, the\nelder Winterborne having been a man who took much pleasure in dealing", "Winterborne, with some hesitation, \"Yes.\"\n\n\"Where did you meet him?\"", "\"He has come.\"\n\nThere was a stillness as of death, till Winterborne asked, \"You mean\nthis, Grace--that I am to help you to get away?\"", "From this day of his life onward for a considerable time, Winterborne,\nthough not absolutely out of his house as yet, retired into the\nbackground of human life and action thereabout--a feat not particularly", "Winterborne took the message from the groom and proceeded to the\ndoctor's at once. Having delivered it, he stepped back into the", "Thereupon he put the case to Winterborne frankly, and in quite a\nfriendly way. He declared that he did not like to be hard on a man", "He thereupon told Winterborne, as with great relief, the story of how\nhe won away Giles's father's chosen one--by nothing worse than a", "Winterborne was vexed at the incident; the more so that he knew Mr.\nMelbury, in his adoration of Hintock House, would be the first to blame" ], [ "husband. He would fetch home Edgar Fitzpiers to-night by some means,\nrough or fair: in his view there could come of his interference nothing", "Fitzpiers was, on the whole, a finely formed, handsome man. His eyes\nwere dark and impressive, and beamed with the light either of energy or", "Fitzpiers did not require to be told twice. He went across to\nWinterborne and stood beside him. Each knew the probable purpose of", "Fitzpiers in his turn reached the edge of the glen, overlooking the\nmanor-house. The shutters were shut, and only one chimney smoked. The", "Fitzpiers aroused himself, came a little nearer, and examined\nWinterborne as he stood. His inspection was concluded in a mere\nglance. Before he spoke he looked at her contemplatively as to the\neffect of his coming words.", "Mr. Fitzpiers's dwelling, on the contrary, was small, cottage-like, and\ncomparatively modern. It had been occupied, and was in part occupied", "assurances Fitzpiers gave her. \"Well, then, to put this case before\nyou, and obtain your professional opinion, was chiefly why I consented", "Fitzpiers too, though he did not personally appear, was much\ninterested, and not altogether easy in his mind; for he had been", "Fitzpiers. She knew that he was a young man; but her single object in\nseeking an interview with him put all considerations of his age and", "Fitzpiers, however, disregarded her resistance by reason of its\nmildness, stooped and imprinted the purposed kiss, then sunk down on\nthe next hay-cock, panting with his race.", "It announced that Fitzpiers was living at some midland town, where he\nhad obtained a temporary practice as assistant to some local medical", "Meanwhile, Fitzpiers was preparing to leave the house. The state of\nhis mind, over and above his professional zeal, was peculiar. At", "\"Oh, he knows nothing of what I do now.\"\n\n\"The admirer?\" said Fitzpiers, slyly.", "Fitzpiers had seated himself near her. \"What sets you in this mournful\nmood?\" he asked, gently. (In reality he knew that it was the result of", "Fitzpiers was now uneasy. \"You say your betrothed lover still,\" he\nrejoined. \"When, then, were you betrothed to him, or engaged, as we\ncommon people say?\"", "They had given up the search when Fitzpiers discerned something by his\nfoot. \"Here it is,\" he said, \"so that your father, mother, friend, or", "justice to her--more innocent sense than he supposed, judging from\nformer doings. She had accidentally discovered that Fitzpiers was in\nthe habit of coming secretly once or twice a week to Hintock, and knew", "Fitzpiers was within a mile of her still. She felt relieved that he\ndid not write more bitterly of the quarrel with her father, whatever\nits nature might have been; but the general frigidity of his", "Fitzpiers lingered yet. He had opened his book again, though he could\nhardly see a word in it, and sat before the dying fire, scarcely", "Grace gave a start and a scream: the place had been associated with him\nin her thoughts, but she had not expected to find him there still.\nFitzpiers lost not a moment in rising and going to her side." ], [ "minute of her appointment with her husband, Grace Fitzpiers deliberated\non many things. Should she inform her father before going out that the\nestrangement of herself and Edgar was not so complete as he had", "These half-revelations made a perceptible difference in Fitzpiers. His\nsense of personal superiority wasted away, and Grace assumed in his\neyes the true aspect of a mistress in her lover's regard.", "Grace made a mistake, for the love of men like Fitzpiers is\nunquestionably of such quality as to bear division and transference.\nHe had indeed, once declared, though not to her, that on one occasion", "Grace gave a start and a scream: the place had been associated with him\nin her thoughts, but she had not expected to find him there still.\nFitzpiers lost not a moment in rising and going to her side.", "\"Oh no, Mr. Fitzpiers,\" said Grace, earnestly. \"It is not so at all.\nI know from seeing your light at night how deeply you meditate and", "\"Oh, yes--I did--but it is all right,\" said Grace, in a flurried\nwhisper. \"I am not alone here. I am here with Edgar. It is entirely\nowing to an accident, father.\"", "Grammer's idea entered the mind of Mrs. Melbury, for she had lately\ndiscerned what her husband had not--that Grace was rapidly fascinating\nthe surgeon. She therefore drew near to Fitzpiers.", "As Fitzpiers did not take up the money (half of which had come from\nGrace's own purse), she pushed it a little nearer to him. \"No, no. I", "belief of its coming success. The news was, in sum, that Fitzpiers's\nconduct had not been sufficiently cruel to Grace to enable her to snap", "affection for him. In truth, her antenuptial regard for Fitzpiers had\nbeen rather of the quality of awe towards a superior being than of", "Fitzpiers was now uneasy. \"You say your betrothed lover still,\" he\nrejoined. \"When, then, were you betrothed to him, or engaged, as we\ncommon people say?\"", "Grace was indeed quite unconscious of Fitzpiers's propinquity. She was\nthinking of something which had little connection with the scene before", "Grace's fastidiousness was a little distressed that Fitzpiers should\nsee by this action the strain his visit was putting upon her father;\nand to make matters worse for her just then, old Grammer seemed to have", "Grace's doing as hers, after which there was no more to be said by that\nyoung woman's tender father. By this time Fitzpiers was making the", "It was at the beginning of April, a few days after the meeting between\nGrace and Mrs. Charmond in the wood, that Fitzpiers, just returned from", "darkness, and waited till he had seen Fitzpiers leave the door. He\nstood for a few minutes looking at the window which by its light\nrevealed the room where Grace was sitting, and went away under the", "\"Oh!\" cried Grace, in her fright.\n\n\"You are in my arms, dearest,\" said Fitzpiers, \"and I am going to claim\nyou, and keep you there all our two lives!\"", "Fitzpiers took her hand. \"We declare it, do we not, my dear Grace?\"\nsaid he.", "Grace began now to be anxious to terminate the interview, but the\ncompelling power of Fitzpiers's atmosphere still held her there. She", "He glanced at her, and there returned upon his mind the scene of her\noffering to wed Winterborne instead of Fitzpiers in the last days" ], [ "Fitzpiers could not escape, for they had seen him; though of all the\nbeauties of the world whom he did not wish to meet Suke was the chief.", "\"Oh yes, ma'am--Mrs. Fitzpiers,\" said Suke, with a peculiar smile.", "Fitzpiers recognized her as Suke Damson, a hoydenish damsel of the\nhamlet, who was plainly mistaking him for her lover. He was", "Grace made a mistake, for the love of men like Fitzpiers is\nunquestionably of such quality as to bear division and transference.\nHe had indeed, once declared, though not to her, that on one occasion", "Suke would be out of Fitzpiers's way forever.", "\"I can assure you it is nothing,\" said Fitzpiers, who had seen Grace\nmuch oftener already than her father knew of.", "Grace gave a start and a scream: the place had been associated with him\nin her thoughts, but she had not expected to find him there still.\nFitzpiers lost not a moment in rising and going to her side.", "\"Oh, yes--I did--but it is all right,\" said Grace, in a flurried\nwhisper. \"I am not alone here. I am here with Edgar. It is entirely\nowing to an accident, father.\"", "The timber-merchant had happened to call at a moment when Fitzpiers was\nat the spring-tide of a sentiment that Grace was a necessity of his", "said in a matter-of-fact way, \"Of course, Grace; go to the door with\nMr. Fitzpiers.\" Accordingly Grace went, both her parents remaining in", "minute of her appointment with her husband, Grace Fitzpiers deliberated\non many things. Should she inform her father before going out that the\nestrangement of herself and Edgar was not so complete as he had", "\"Oh no, Mr. Fitzpiers,\" said Grace, earnestly. \"It is not so at all.\nI know from seeing your light at night how deeply you meditate and", "These half-revelations made a perceptible difference in Fitzpiers. His\nsense of personal superiority wasted away, and Grace assumed in his\neyes the true aspect of a mistress in her lover's regard.", "As Fitzpiers did not take up the money (half of which had come from\nGrace's own purse), she pushed it a little nearer to him. \"No, no. I", "darkness, and waited till he had seen Fitzpiers leave the door. He\nstood for a few minutes looking at the window which by its light\nrevealed the room where Grace was sitting, and went away under the", "Fitzpiers took her hand. \"We declare it, do we not, my dear Grace?\"\nsaid he.", "were separated; therefore the question of affection as between them was\nsettled. But his Suke had, since that meeting on their marriage-day,\nrepentantly admitted, to the urgency of his questioning, a good deal", "Grace's doing as hers, after which there was no more to be said by that\nyoung woman's tender father. By this time Fitzpiers was making the", "Fitzpiers did not stay more than an hour, but that time had apparently\nadvanced his sentiments towards Grace, once and for all, from a vaguely", "Mrs. Melbury, who had some long private talks with Fitzpiers, assured\nGrace that she need have no doubts on that point, and that he would" ], [ "\"Oh, yes--I did--but it is all right,\" said Grace, in a flurried\nwhisper. \"I am not alone here. I am here with Edgar. It is entirely\nowing to an accident, father.\"", "revealed her to be Suke Damson, in great fright and sorrow. A streak\nof light from the partially closed door of Grace's room fell upon her", "\"I can forgive her,\" said Grace, absently. \"Did Edgar tell you of\nthis?\"", "\"She won't tell us--he's dying--he's in that room!\" burst out Suke,\nregardless of consequences, as she heard the distant movements of Mrs.\nMelbury and Grammer in the bedroom at the end of the passage.", "were separated; therefore the question of affection as between them was\nsettled. But his Suke had, since that meeting on their marriage-day,\nrepentantly admitted, to the urgency of his questioning, a good deal", "She sat down, her face buried in her hands, and Marty went, and after a\nshort absence returned. Then Grace rose, and going out asked her\nfather if he had met her husband.\n\n\"Yes,\" said Melbury.", "\"Edgar is not come,\" she said. \"And I have reason to know that he's\nnot attending anybody. He has had no rest for two nights before this.\nI was going to the top of the hill to look for him.\"", "Grace sank down on the oak chest which stood on the landing, and put\nher hands to her now flushed face and head. Could she order Suke", "He went across to the spot and stood behind her. Suke started, having\nin her blundering way forgotten that he might be near. She at once\ndescended from the hedge.", "\"Is that you, Grace? What's the matter?\" he said.\n\n\"Nothing more than that I am restless. Edgar is detained by a case at\nOwlscombe in White Hart Vale.\"", "Grace looked at her quickly. \"Then did you know I was here?\"\n\n\"Yes, ma'am.\"\n\n\"Did you tell anybody?\"", "\"Nor was he,\" said Grace.\n\n\"But, Miss Melbury, I saw him.\"\n\n\"No,\" said Grace. \"It was somebody else. Giles Winterborne is nothing\nto me.\"", "betrayed her individuality. It was Suke Damson, the affianced one of\nsimple young Tim Tangs. At the bottom of the garden she entered the", "minute of her appointment with her husband, Grace Fitzpiers deliberated\non many things. Should she inform her father before going out that the\nestrangement of herself and Edgar was not so complete as he had", "disclosure that had been whispered in her startled ear.) \"Since Edgar\nis come,\" he continued, \"he might have waited in till I got home, to", "\"Oh yes, yes!\" said Grace, with feeble impatience. She tore the\nenvelope, unfolded the sheet, and read; when a creeping blush tinctured\nher white neck and cheek.", "\"I don't think so.\" Grace did not say \"Why?\" and Grammer hesitated. At\nlast she went on: \"Don't tell your father or mother, miss, if I let you\nknow a secret.\"", "Without consulting her father, or any one in the house or out of it,\nGrace replied to the letter. She agreed to meet Fitzpiers on two", "Grace barred the way. \"He is not there,\" she said. \"I have not seen\nhim any more than you. I have heard a report only--not so bad as you\nthink. It must have been exaggerated to you.\"", "\"Yes; my dress was. That's how it arose. Edgar is up-stairs in his\nown sitting-room,\" she went on. \"He would not mind seeing you, I am\nsure.\"" ], [ "\"Under the new law, sir. A new court was established last year, and\nunder the new statute, twenty and twenty-one Vic., cap. eighty-five,", "to custom. Yet a new law might do anything. But was it at all within\nthe bounds of probability that a woman who, over and above her own", "\"Giles,\" he said, when they had sat down upon the logs, \"there's a new\nlaw in the land! Grace can be free quite easily. I only knew it by the", "\"Oh no--of course not,\" she said, sunk in meek thought. \"But father\nsaid it was ALMOST--did he not? Do you know anything about the new law\nthat makes these things so easy?\"", "Six months before this date a scene, almost similar in its mechanical\nparts, had been enacted at Hintock House. It was between a pair of", "The news was true. The life--the one fragile life--that had been used\nas a measuring-tape of time by law, was in danger of being frayed away.", "Foreknowledge to the distance of a year or so in either of them might\nhave spoiled the effect of that pretty speech. Never deceive her! But\nthey knew nothing, and the phrase had its day.", "He had not ventured to ask her any particulars; but the position was\npretty clear without them. Though social law had negatived forever", "school-girl simplicity about the laws and ordinances, he betrayed a\nman's weakness. Since it was so--since it had come to this, that", "But here was the fact, which could not be disguised: since seeing what\nan immense change her last twelve months of absence had produced in his", "altogether her fool just now. It must be remembered that he had not\nseen her for a year.", "To hear these two poor Arcadian innocents talk of imperial law would\nhave made a humane person weep who should have known what a dangerous\nstructure they were building up on their supposed knowledge. They", "some fifty years before this time, had accepted of the lord of the\nmanor in lieu of certain copyholds and other rights, in consideration\nof having the dilapidated houses rebuilt by said lord. They had come", "\"Are you sure--about this new law?\" asked Winterborne, so disquieted by\na gigantic exultation which loomed alternately with fearful doubt that\nhe evaded the full acceptance of Melbury's last statement.", "His heart sank within him when he perceived that despite all the legal\nreciprocities and safeguards prepared and written, the upshot of the", "\"It is a week before the time,\" said she, reproachfully. \"I said a\nfortnight from the last meeting.\"", "Even in the hour of Melbury's greatest assurance Winterborne had\nharbored a suspicion that no law, new or old, could undo Grace's", "He related what he had learned of the new legal remedy. A subdued\ntremulousness about the mouth was all the response that Winterborne", "the weekly paper an allusion to such a legal change; but, having no\ninterest in those desperate remedies at the moment, he had passed it", "At the end of a fortnight he came in-doors one evening to Grace more\nbriskly than usual. \"They have written to me again about that practice" ], [ "\"Did he tell you how she died? It was no such death as Giles's. She\nwas shot--by a disappointed lover. It occurred in Germany. The", "As for Giles, he was lying--or rather sitting--ill at his hut. A\nfeverish indisposition which had been hanging about him for some time,", "that Giles's death resulted entirely from his exposure, it would have\ndriven her well-nigh to insanity; but there was always that bare\npossibility that his exposure had only precipitated what was", "Nothing seemed to avail. Giles and Fitzpiers went and came, but\nuselessly. He lingered through the day, and died that evening as the\nsun went down.", "\"That was Giles,\" said Melbury, when they had gone by.\n\n\"Was it? Poor Giles,\" said she.", "\"Oh, my Giles,\" she cried, \"what have I done to you!\"\n\nBut she stopped no longer even to reproach herself. She saw that the\nfirst thing to be thought of was to get him indoors.", "Meanwhile, in the adjoining room Giles was presiding in a\nhalf-unconscious state. He could not get over the initial failures in", "\"Giles,\" he said, \"this is very awkward, and I am sorry for it. What\nare you going to do?\"", "Her cheeks became slowly bloodless. \"Oh, Giles,\" she said, grasping\nhis arm, \"you have heard something! What--cannot my father conclude it", "\"Oh yes--'tis all over!\" murmured Giles to himself, shaking his head\nover the glooming plain of embers, and lining his forehead more than", "Giles informed him of the real state of affairs, and how barely he had\nmissed availing himself of his chance of renewal.", "altogether; and he wrote to Giles that the path was virtually open for\nhim at last. Life was short, he declared; there were slips betwixt the", "\"Well, yes--but--\" replied Giles. He went over to Grace, and hoped\nnone of it had gone into her eye.", "Giles was extremely sorry at what he had done, and remained standing\nunder the trees, all the other men having strayed silently away. He", "visible to her. She read them. Her face flushed to crimson. She\ncould see Giles and Creedle talking together at the back; the charred", "she had forgotten the old figures, and hence did not join in the\nmovement. Then Giles felt that all was over. As for her, she was", "they finished breakfast. Looking up, they saw Giles in person mounted\non horseback, and straining his neck forward, as he had been doing for\nsome time, to catch their attention through the window. Grace had been", "\"Good God, Creedle, you'll drive me mad!\" said Giles, sternly. \"Don't\nspeak of that any more!\"", "minutes she again came to the window, pushed it open, and said in a\nwhisper, \"Giles!\" He at once emerged from the shade, and saw that she", "\"No, father, no! It is not Giles--it is something I cannot tell you\nof--\"\n\n\"Well, make fools of us all; make us laughing-stocks; break it off;\nhave your own way.\"" ], [ "\"Yes. Marty South.\" Melbury persisted in his narrative, to divert her\nfrom her present grief, if possible. \"Before he went away she wrote", "like Marty South. I hate genteel life, and I want to be no better than\nshe.\"", "Grace was abased when, by degrees, she found that she had never\nunderstood Giles as Marty had done. Marty South alone, of all the", "These ruminations were occupying him when there became audible a slight\nknocking at his front door. He descended the path and looked out, and\nbeheld Marty South, dressed for out-door work.", "As he approached the door of Marty South's cottage, which it was\nnecessary to pass on his way, she came from the porch as if she had", "\"Why, that poor little lonesome thing, Marty South, is likely to lose\nher father. He was almost well, but is much worse again. A man all", "As soon as she had quite recovered from this foiled attack upon her\nlife, Grace went to Marty South's cottage. The current of her being\nhad again set towards the lost Giles Winterborne.", "such like. All that my trouble and money bought for her in that way is\nthrown away upon her quite. She'd fain be like Marty South--think o'", "Marty South appeared startled, and could not tear herself away.", "\"Marty,\" she said, \"we both loved him. We will go to his grave\ntogether.\"", "mouth and a face cleanly shaven; and he walked along the path with his\neyes bent on the ground. In the pair Marty South recognized her", "Marty South was not so very far wrong. Inside the carriage a pair of\nbright eyes looked from a ripely handsome face, and though behind those", "Grace watched the carriages with lingering regret till they were out of\nsight. She then learned of Marty that South was no better. Before she", "These were the expected ones, Grace and Marty South, who had evidently\ncome there by a short and secret path through the wood. Grace was\nmuffled up in her winter dress, and he thought that she had never", "Marty South. Click, click, click went the pattens; and she did not\nturn her head.", "The speaker was neither Grace nor Fitzpiers, but Marty South, who\napproached with her face turned up to the sky in her endeavor to trace", "unwontedness of the hour, had been commissioned by him to make the same\ninquiry at South's. Marty had been standing at the door when Miss", "\"There's Marty South sitting up with the coachman,\" said he, discerning\nher by her dress.", "front of South's late dwelling. He saw Marty standing in her door-way,\na slim figure in meagre black, almost without womanly contours as yet.", "conditions, of which the first was that the place of meeting should be\nthe top of Rubdown Hill, the second that he would not object to Marty\nSouth accompanying her." ], [ "Fitzpiers to attend there at once. Mrs. Charmond had met with a slight\naccident through the overturning of her carriage.", "\"Down with it, then, and hang Mrs. Charmond,\" said Mr. Fitzpiers. \"The\nbest plan will be to wait till the evening, when it is dark, or early", "\"Edgar, is she very seriously hurt?\"\n\nFitzpiers had so entirely lost sight of Mrs. Charmond as a patient that\nhe was not on the instant ready with a reply.", "\"Who's she?\"\n\n\"Mrs. Charmond.\"\n\n\"Oh, indeed!\" said Fitzpiers, with but slight interest. \"I've never\nseen her.\"", "Spring had not merged in summer when a clinching rumor, founded on the\nbest of evidence, reached the parish and neighborhood. Mrs. Charmond\nand Fitzpiers had been seen together in Baden, in relations which set", "mere aspect of the place was enough to inform him that Mrs. Charmond\nhad gone away and that nobody else was staying there. Fitzpiers felt a", "It was at the beginning of April, a few days after the meeting between\nGrace and Mrs. Charmond in the wood, that Fitzpiers, just returned from", "Melbury waited till Mrs. Charmond had re-entered the drawing-room, and\nthen followed after Fitzpiers, thinking that he would allow the latter", "Charmond abroad had waxed and waned. Fitzpiers had had a marvellous\nescape from being dragged into the inquiry which followed it, through\nthe accident of their having parted just before under the influence of", "Mrs. Melbury did not know positively; but she told her husband that\nthere was not much doubt about the place of his first visit after an\nabsence. She had, in fact, seen Fitzpiers take the direction of the\nManor House.", "Fitzpiers said that he would endeavor to do so; and as it was now\ngetting on for dusk, they prepared to perform the last stage of their\njourney, so as to arrive at Hintock before it grew very late.", "Grace gave a start and a scream: the place had been associated with him\nin her thoughts, but she had not expected to find him there still.\nFitzpiers lost not a moment in rising and going to her side.", "Fitzpiers feared that she might not be coming to him even now, and\nhastily quitting the room, he ran down the path to meet her. The", "A week had passed, and Mrs. Charmond had left Hintock House. Middleton\nAbbey, the place of her sojourn, was about twenty miles distant by\nroad, eighteen by bridle-paths and footways.", "Fitzpiers, however, disregarded her resistance by reason of its\nmildness, stooped and imprinted the purposed kiss, then sunk down on\nthe next hay-cock, panting with his race.", "Fitzpiers in his turn reached the edge of the glen, overlooking the\nmanor-house. The shutters were shut, and only one chimney smoked. The", "before. This was the end of her excursion. Fitzpiers bade her adieu\nwith affection, even with tenderness, and she observed that he looked\nweary-eyed.", "Fitzpiers saw in a moment that, having taken to open ground, she had\nplaced herself at his mercy, and he promptly vaulted over after her.", "Fitzpiers was generous in his turn. \"It shall be so,\" he rejoined,\ngracefully. \"To holy church we'll go, and much good may it do us.\"", "Fitzpiers did not require to be told twice. He went across to\nWinterborne and stood beside him. Each knew the probable purpose of" ] ]

[ "Who mourns Giles' death?", "Who does Grace's father convince Grace to marry?", "Grace sees a woman leaving Fitzpiers' house early one morning before they are married, who is this woman?", "Where does Fitzpiers go with Mrs. Charmond?", "What is Fitzpiers profession?", "Fitzpiers is having affairs with who?", "When does Giles die?", "Why can Grace ultimately not divorce Fitzpiers?", "What excuse does Fitzpiers give Grace for Suke leaving his house early in the morning?", "What was Giles' profession?", "How did Grace know Fitzpiers was lying about removing Suke's tooth?", "What excuse does Fitzpiers give for Suke being in his home?", "Where did Mrs. Charmond get her hair?", "Is adultery a sufficient reason for divorce?", "What happens when Timothy Tangs sets a trap?", "What is Marty South's only attribute?", "Who mourns Giles?", "Why does Giles die?", "What village does this take place in?", "What is the name of Miles Winterborne's village?", "What is Miles Winerborne's profession?", "What is Edgar Fitzpiers' profession?", "Why does Grace have misgivings about marrying Edgar Fitzpiers before the wedding?", "What does Edgar Fitzpiers tell Grace is the reason for Suke's visit to him?", "How does Grace find out that Edgar lied to her about Suke's visit?", "What law was changed the previous year?", "How does Giles die?", "Who does Marty South love?", "Where does Edgar Fitzpiers go with Mrs. Charmond?" ]

[ [ "Marty South", "Marty South" ], [ "Fitzpiers", "Edgar Fitpiers." ], [ "Suke", "Suke Damson" ], [ "The Continent", "the Continent" ], [ "Doctor", "Doctor" ], [ "Suke and Mrs. Charmond", "both Suke and Mrs. Charmond" ], [ "While sleeping outside in a storm to let Grace sleep in his hut", "after he slept ouside during a storm so that Grace could take shelter inside his hut" ], [ "His adultery is not sufficient", "His cheating is not enough grounds" ], [ "She was experiencing a toothache and had a molar extracted", "He says he just pulled her tooth." ], [ "He was a woodsman.", "Woodsman" ], [ "Suke had a full set of teeth.", "She finds out that Suke has all of her teeth." ], [ "He has to remove her molar.", "She had a toothache." ], [ "Marty South sold her hair to a barber.", "it was the hair of Marty South, who had sold it to a barber" ], [ "The law does not allow for divorce for this reason.", "No." ], [ "It only tears Grace's skirt.", "Grace's skirt gets torn" ], [ "Her beautiful hair.", "her beautiful hair" ], [ "Marty South.", "Marty South" ], [ "He slept outside while sick.", "He slept outside." ], [ "Little Hintock.", "Little Hintock" ], [ "Little Hintock.", "Little Hintock." ], [ "He is a woodsman.", "Woodsman" ], [ "He is a doctor.", "Doctor" ], [ "Grace sees a village woman (Suke) leaving Edgar's house early in the morning and suspects they are having an affair.", "she sees Suke coming out of his cottage early one morning" ], [ "That she had a toothache and he removed her molar.", "She had a toothache, and he pulled her tooth." ], [ "Suke has all of her teeth.", "she finds out that Suke has a full set of teeth" ], [ "Divorce is now possible.", "a law making divorce possible" ], [ "He allows Grace to stay overnight in his hut so he sleeps outside in stormy weather while recovering from a serious illness.", "exposure to weather during convalescence" ], [ "Giles.", "Giles Winterborne" ], [ "To the Continent.", "They go to the Continent (Europe)." ] ]

[ [ "He had scarcely ceased, ere the huge creature, stricken dead, dropped\nheadlong, turning over and over in space as he fell.", "Frightened by the report, the condors drew back for a moment, but they\nalmost instantly returned to the charge with extreme fury. Kennedy\nsevered the head of one from its body with his first shot, and Joe broke\nthe wing of another.", "The herd disappeared in the twinkling of an eye; one male antelope\nonly, that was hit just behind the shoulder-joint, fell headlong to the\nground, and Kennedy leaped toward his booty.", "Kennedy was completing his stock of fresh meat. Although the neighboring\nmarshes showed traces of the rhinoceros, the lamantine (or manatee),", "\"We'll try some conical balls behind the shoulder-joint,\" said Kennedy,\nreloading his rifle with care. In another moment he fired.\n\nThe animal gave a terrible cry, but went on faster than ever.", "At the end of his two hours, Kennedy returned with a string of fat\npartridges and the haunch of an oryx, a sort of gemsbok belonging to the", "They had made a mile with headlong speed, when another report was heard\nfrom the car. The shot had, evidently, told upon a huge black demon, who", "Ten shots more were discharged. The elephant made a fearful bound; the\ncar and balloon cracked as though every thing were going to pieces, and\nthe shock made the doctor drop his hatchet on the ground.", "\"That fish, as you call it, Joe, is really a mammiferous animal of the\npachydermal species. Its flesh is said to be excellent and is an article\nof important trade between the tribes living along the borders of the\nlake.\"", "Joe, a little cut down at learning that his idea had been used already,\ncudgelled his wits to imagine what animal could have devoured the", "\"Come!\" said Joe, taking aim with another gun, \"I must help you, or\nwe'll never end it.\" And now two balls penetrated the creature's side.", "Then he went back to the carcass of the elephant, which had fallen only\nabout a hundred feet from the edge of the forest; he next proceeded", "\"A serpent!\" repeated Kennedy, handling his rifle.\n\n\"No,\" said the doctor, \"it's an elephant's trunk!\"\n\n\"An elephant, Samuel?\"", "\"Dead!\" said the doctor, bending over him, \"dead!\" And with one common\naccord, the three friends knelt together in silent prayer.", "recognized a male of a superb species. He had two whitish tusks,\nbeautifully curved, and about eight feet in length; and in these the", "\"We can get closer to them, Dick, but we must not land. And what good\nwill it do you to strike down those poor animals when they can be of no", "It was a blauwbok, a superb animal of a pale-bluish color shading upon\nthe gray, but with the belly and the inside of the legs as white as the\ndriven snow.", "there not, doctor? So I didn't spend much time thinking about it, but\njumped right on the back of one of those innocent animals and away we", "At this moment, one of the ferocious birds darted right at the balloon,\nwith outstretched beak and claws, ready to rend it with either or both.\n\n\"Fire! fire at once!\" cried the doctor.", "matter of course, seeing that they were in Africa. Kennedy descried some\nhares and quails that asked nothing better than to get a good shot from" ], [ "At this moment, one of the ferocious birds darted right at the balloon,\nwith outstretched beak and claws, ready to rend it with either or both.\n\n\"Fire! fire at once!\" cried the doctor.", "The condors flew around them in wide circles, their flight growing\ngradually closer and closer to the balloon. They swept through the\nair in rapid, fantastic curves, occasionally precipitating themselves", "Thereupon the birds changed their tactics, and by common consent soared\nabove the balloon. Kennedy glanced at Ferguson. The latter, in spite", "\"Don't you see that flock of big birds making for us?\"\n\n\"Birds?\" exclaimed the doctor, snatching his spyglass.", "\"Oh, they employ these pigeons frequently, to set fire to the thatch\nof hostile villages; but this time the village mounted higher than they\ncould go.\"\n\n\"Why, positively, a balloon need fear no enemies!\"", "Ten minutes later, the flock had come within gunshot, and were making\nthe air ring with their hoarse cries. They came right toward the\nVictoria, more irritated than frightened by her presence.", "All at once this agitation, movement and noise stopped as though by\nmagic. The balloon had just come in sight, far aloft in the sky, where", "to the opposite bank. Immediately, there came a shower of balls from\nboth banks, along with a perfect cloud of arrows, but without doing the\nballoon any damage, where it rested with its anchor snugly secured in", "In about ten minutes a few jerking motions by the balloon indicated that\nit was disposed to start again. The Talabas were approaching. They were\nhardly five hundred paces away.", "the fields. It was composed of numberless legions of that species of\ngrasshopper called crickets. About a hundred paces from the balloon,", "And, in fact, they were swooping nearer, and more than one came within\nfifty feet of them, as if defying the fire-arms.", "cut by the knives of our aeronauts, and the balloon was rushing headlong\ntoward the wood, when the animal received a ball in the eye just as he", "When they caught sight of the aeronauts, they uttered savage cries,\nand brandished their weapons. Anger and menace could be read upon", "\"Well, if they do, we'll defend ourselves. We have a whole arsenal at\nour disposal. I don't think those birds are so very formidable.\"\n\n\"Who can tell?\" was the doctor's only remark.", "\"And suppose that they were to attack the upper part of the balloon,\nwhat would you do? How would you get at them? Just imagine yourself in", "As they at last caught sight of the balloon, there was a momentary\npause; but their yells redoubled, and some arrows were shot at the\nVictoria, one of them coming close enough for Joe to catch it with his\nhand.", "Cries of fury exceeding all description hailed the departure of the\nballoon, which had at once ascended nearly eight hundred feet. A swift", "A tremendous howl was heard from the Arabs, but, completely engrossed by\nthe pursuit, they had not taken notice of the balloon, which was now", "Joe, by the aid of his keen sight, which he did not fail to use\ncontinually, noticed some flocks of birds of prey flitting about the\nhorizon.", "And, sure enough, there was another balloon about two hundred paces\nfrom them, floating in the air with its car and its aeronauts. It was\nfollowing exactly the same route as the Victoria." ], [ "Thus, at last, our hapless travellers, deprived of water in this torrid\nheat, began to feel symptoms of mental disorder. Their eyes swelled in\ntheir sockets, and their gaze became confused.", "The doctor began to get uneasy again. If their stay in the desert were\nto be prolonged like this, their provisions would give out. After nearly\nperishing for want of water, they would, at last, have to starve to\ndeath!", "The Wind dies away.--The Vicinity of the Desert.--The Mistake in\nthe Water Supply.--The Nights of the Equator.--Dr. Ferguson's", "During the night none of them kept awake; yet none could be precisely\nsaid to have slept. On the morrow there remained only half a pint of\nwater, and this the doctor put away, all three having resolved not to\ntouch it until the last extremity.", "The Wind dies away.--The Vicinity of the Desert.--The Mistake in\nthe Water-Supply.--The Nights of the Equator.--Dr. Ferguson's", "or pool, we have but three days and a half of journeying during which we\nmust find water, at all hazards. I have thought it my duty to make you", "To carry it to his lips, and to half empty it at a draught, was the\nwork of an instant, and the three travellers offered up thanks from the\ndepths of their hearts to that Providence who had so miraculously saved\nthem.", "\"The cylinder can work only six hours longer; and, if in that time we\nshall not have found either a well or a spring of water, God alone knows\nwhat will become of us!\"", "The doctor and his friends felt themselves in a very anomalous\ncondition; an atmospheric current of extreme velocity was bearing them\naway beyond arid mountains, upon whose summits vast fields of snow", "yet they were only a short distance from the coast, but fatigue and\nprivation were beginning to tell upon them severely.\"", "\"We can see nothing,\" said Kennedy, after two hours of search.\n\n\"Let us wait a little longer, Dick, and not lose heart. We cannot be far\naway from the scene of our accident.\"", "devoured the few precious drops with his gaze, yet neither of them dared\nto moisten his lips with them. Two pints of water in the midst of the\ndesert!", "cylinder, and lastly the tank in which the decomposition of the water\nwas effected. The united strength of all three travellers was required\nto detach these reservoirs from the bottom of the car in which they had", "About midnight this work ended without accident, but at the cost of most\nsevere exertion, and the trio partook of a luncheon of pemmican and cold", "And these men, intrepid as they were, felt the large tears streaming\ndown their cheeks. They leaned over with the vain hope of seeing some\ntrace of their heroic companion, but they were already far away from\nhim.", "The doctor saw them come up to the surface of the desert, saturated with\nperspiration, worn out, covered with fine dust, exhausted, discouraged\nand despairing.", "\"We are right in the open desert,\" said the doctor. \"Look at that vast\nreach of sand! What a strange spectacle! What a singular arrangement of", "now but impalpable dust. There was not the slightest sign of moisture.\nThe doctor's heart shrank within him, and he was about to communicate\nhis thoughts to his companions, when their exclamations attracted his", "\"Is it possible that we are to be caught in another dead calm?\" sighed\nthe doctor.\n\n\"Well, we've no lack of water, nor the desert to fear, anyhow, master,\"\nsaid Joe.", "From the moment of their departure, the travellers moved with great\nvelocity. They longed to leave behind them the desert, which had so\nnearly been fatal to them." ], [ "the wildest and most ferocious of them all. The chief having died a few\ndays before our travellers appeared, his sudden death was attributed to\nthe missionary, and the tribe resolved to immolate him. His sufferings", "they had practised to save the missionary, and he would soon be with\nhis friends again; but nothing was seen, not a sound was heard. The case\nseemed desperate.", "\"What holds us?\" he asked, with an accent of terror.\n\nSome of the savages were running toward them, uttering ferocious cries.", "So soon as he could get breath and look around him, he saw that he was\nbetween two natives as black as ebony, who held him, with a firm gripe,\nand uttered strange cries.", "\"He is alive!\" exclaimed Ferguson. \"God be praised! The savages have got\na fine scare, and we shall save him! Are you ready, friends?\"\n\n\"Ready, doctor, at the word.\"", "murderers. They certainly witnessed our misfortune, and should Joe fall\ninto their hands, what will become of him unless protected by their\nsuperstitions?\"", "And, in fact, there, two miles from where they were, they saw some\nthirty wild natives close together, yelling, gesticulating, and cutting", "\"But one thing that has been, unfortunately, proven true, is, the\nferocity of these tribes, who are really very fond of human flesh, and\ndevour it with avidity.\"", "\"A missionary, perhaps.\"\n\n\"Poor wretch!\" said Kennedy, \"they're assassinating him--making a martyr\nof him!\"", "part, and he remained a prisoner to one of the cruelest tribes of the\nNyambarra, the object of every species of maltreatment. But still", "The blacks, who were members of the Makado tribe, were howling lustily,\nand one of them waved his bark hat in the air. Kennedy took aim at", "With this, the missionary, again yielding to exhaustion, relapsed into\nhis fainting-fit.\n\n\"He is dying!\" said Kennedy.", "\"That was an attack for you!\" said Joe.\n\n\"We thought you were surrounded by natives.\"\n\n\"Well, fortunately, they were only apes,\" said the doctor.", "\"How that man has suffered!\" said Joe, with feeling. \"He did bolder\nthings than we've done, in venturing all alone among those savage\ntribes!\"", "\"Five years! alone! and among these savages!\" exclaimed Kennedy with\namazement.\n\n\"They are souls to redeem! ignorant and barbarous brethren, whom\nreligion alone can instruct and civilize.\"", "\"The savage wretches!\" exclaimed Joe, trembling with indignation.\n\"Suppose they should kill him to-night!\"", "The car was approaching the ground; but a few of the savages, more\naudacious than the rest, guessing that their victim was about to escape", "visited the various tribes residing on its banks, the most of whom are\ncannibals.", "As some demonstration against the personal safety of the doctor and his\ncompanions was feared, all three slept that night on board the Resolute.\nAt six o'clock in the morning they left their cabin, and landed on the\nisland of Koumbeni.", "\"It is not at all likely, my friends. These savage tribes kill their\ncaptives in broad daylight; they must have the sunshine.\"" ], [ "north, and we shall, perhaps, discover the sources of the Nile, that\ngrand secret which has so long remained impenetrable. Near as we are to\nthe sources of the renowned river, I could not sleep.\"", "The various expeditions that had ascended the Nile could never manage to\nreach the mysterious source of that river. According to the narrative", "\"But we'll find some,\" said Joe. \"It is not to be thought of that we\nshouldn't discover some river, some stream, or pond, in all this vast\nextent of country.\"\n\n\"I hope so.\"", "\"Perhaps. Our object is to push a point in the direction of the sources\nof the Nile; and we have more than six hundred miles to make before\nwe get to the extreme limit reached by the explorers who came from the\nnorth.\"", "From this island the latest expedition, sent by way of the great lakes\nto explore the sources of the Nile, had just set out.", "part of Africa near to the British possessions; and he it was who got\nso far as the sources of the Niger; and, according to his documents, the\nspring in which that immense river takes its rise is not two feet broad.", "At this point the river sent forth a prolonged roaring; and when\nFerguson reached its bank, he recognized the falls of Gouina. But not", "\"Long since,\" replied the doctor. \"The exploration of the Niger and\nits tributaries was the object of several expeditions, the principal", "\"Very well, then, I'll tell you. The Geographical Society regard as very\nimportant the exploration of this lake of which Speke caught a glimpse.", "advancing with sure steps to the discovery of the sources of the Nile,\nothers are penetrating to the very heart of Africa.\"", "it, is immediately swallowed up; and whoever tries to draw water from\nit, feels himself repulsed by an invisible hand.\"", "\"Not any too well, Dick; not any too well! Look at the needle of the\ncompass; we are bearing southward, and ascending the Niger toward its\nsources.\"", "\"Well from this northern extremity there flows a stream which must\nnecessarily join the Nile, if it be not the Nile itself.\"\n\n\"That is, indeed, curious.\"", "Thus, at last, our hapless travellers, deprived of water in this torrid\nheat, began to feel symptoms of mental disorder. Their eyes swelled in\ntheir sockets, and their gaze became confused.", "And these men, intrepid as they were, felt the large tears streaming\ndown their cheeks. They leaned over with the vain hope of seeing some\ntrace of their heroic companion, but they were already far away from\nhim.", "made up a jumble of notions, and deduced systems from them. Down at the\nbottom of it all there is some appearance of truth; and you see that\nthey were right about the sources of the Nile.\"", "\"I wanted to talk to you about this river,\" said Dr. Ferguson, \"and it\nis already far from us. Under the names of Dhiouleba, Mayo, Egghirreou,", "\"Now, take one of the points of these dividers and let it rest upon that\nplace beyond which the most daring explorers have scarcely gone.\"\n\n\"I have done so.\"", "its waters toward the north, and this river exists, and we are\ndescending it, and it flows with a speed analogous to our own! And this\ndrop of water now gliding away beneath our feet is, beyond all question,", "\"Here is, indeed, the Nile!\" reiterated the doctor, with the tone of\nprofound conviction. \"The origin of its name, like the origin of its" ], [ "The country, dry and parched as it was, consisting of a clayey soil that\ncracked open with the heat, seemed, indeed, a desert: here and there", "\"We are right in the open desert,\" said the doctor. \"Look at that vast\nreach of sand! What a strange spectacle! What a singular arrangement of", "The appearance of this part of Africa was, moreover, quite calculated\nto inspire alarm: the desert was gradually expanding around them; not", "and advanced into the desert of sand streaked with the long tracks\nof the many caravans that pass and repass there. The last line of\nvegetation was speedily lost in the dim southern horizon, not far from", "the desert. In the environs there was almost nothing, hardly even a few\ngrasses, with some dwarf mimosas and stunted bushes.", "of a hope. The very last inequalities of the soil disappeared with the\nsetting sun, whose horizontal rays stretched in long lines of fire over\nthe flat immensity. It was the Desert!", "of Sahara--for there whole weeks sometimes pass without the caravans\nmeeting with a single spring of water. Occupied with these thoughts, he\nscrutinized every depression of the soil with the closest attention.", "\"Ah!\" he cried, \"land of thirst! Well might you be called the land of\ndespair!\"", "\"It often happens, Dick; these trips across the desert are far more\nperilous than those across the ocean. The desert has all the dangers of", "the \"desert-sickness.\" The impassible monotony of the arid blue sky,\nand the vast yellow expanse of the desert-sand, at length produced a", "\"Up to this time we have nothing to complain of, master. The best\ncultivated and most fertile country in the world instead of a desert!\nBelieve the geographers after that!\"", "The Wind dies away.--The Vicinity of the Desert.--The Mistake in\nthe Water Supply.--The Nights of the Equator.--Dr. Ferguson's", "desert, which the travellers descried over the tops of palm-trees, bent\nand broken by the storm; and, after having made a run of two hundred", "This vast region is situated between the fifteenth and tenth degrees\nof north latitude; that is to say, that, in order to approach it, the\nexplorer must penetrate fifteen hundred miles into the interior of\nAfrica.", "\"The sand scorches me,\" said the hunter, \"as though it had just come out\nof a furnace; and not a cloud in this sky of fire. It's enough to drive\none mad!\"", "The Wind dies away.--The Vicinity of the Desert.--The Mistake in\nthe Water-Supply.--The Nights of the Equator.--Dr. Ferguson's", "It was not thirst alone, but the unchanging sight of the desert, that\nfatigued the mind. There was not a variation in the surface of the soil,", "bones of men and animals. But nothing of the kind was to be seen, and\nthe aeronauts felt that, ere long, an immensity of sand would cover the\nwhole of this desolate region.", "The direction taken by our aeronauts differed somewhat from that of\nthe morning, and thus about nine o'clock, instead of finding themselves\nagain near the borders of Lake Tchad, they saw the desert still\nstretching away before them.", "The Victoria thus passed over the country of the Tibbous, crossed the\nBelad el Djerid, a desert of briers that forms the border of the Soudan," ], [ "\"Dr. Ferguson!\" exclaimed the lieutenant.\n\n\"The same, sir,\" replied the doctor, quietly, \"and his two friends.\"", "reception of Dr. Ferguson and his friend Kennedy. The latter, all\nthe while swearing that he would not go, went on board with a regular", "The doctor kept silent for a few moments; he was thinking. His two\ncompanions looked at him with much emotion, for they were greatly\nexcited by the strangeness of the situation. Ferguson at last resumed:", "It is needless to say that the topic of conversation with every one on\nboard was Dr. Ferguson's enterprise. Seeing and hearing the doctor soon", "with intense force at this parting moment. Dr. Ferguson, still cold and\nimpassible, talked of this, that, and the other; but he strove in vain", "Doctor Ferguson, however, had turned around to look about him on his\njourneyings, and turned to such good purpose that he had seen a great", "Dr. Ferguson made no reply, but contented himself with a significant\nshrug of the shoulders.\n\n\n\nCHAPTER SIXTH.", "So Kennedy and Joe, well wrapped in their blankets, stretched themselves\nat full length under the awning, and slept quietly; while Dr. Ferguson\nkept on the lookout.", "Here ended the astonishing journey of Dr. Ferguson and his brave\ncompanions, as vouched for by undeniable testimony; and they found", "ocular proof of the accomplishment of the daring project, naturally\nbecame Dr. Ferguson's witnesses. Hence the doctor at once asked them to", "Dr. Ferguson personally, and guaranteed the intrepidity of his dauntless\nfriend.", "for several hours, held him like a dead man under the eye of Dr.\nFerguson. The latter could not suppress his emotion, for he felt that", "The consul, informed of their intentions, conferred with Dr. Ferguson\nand Captain Bennet on the subject. The latter was unwilling to yield\nto threats, but his friend dissuaded him from any idea of violent\nretaliation.", "\"Now, my friends,\" said Dr. Ferguson, \"we must look out for every thing\nbeforehand; we may be forced to leave this at any moment, unexpectedly,", "Dr. Ferguson had a friend--not another self, indeed, an alter ego, for\nfriendship could not exist between two beings exactly alike.", "But the interest of Dr. Ferguson's hearers was excited to the highest\npitch when he made known to them, in detail, the preparations for his", "\"Suppose that there should turn out to be no such person as Dr.\nFerguson?\" exclaimed another voice, with a malicious twang.", "\"He is alive!\" exclaimed Ferguson. \"God be praised! The savages have got\na fine scare, and we shall save him! Are you ready, friends?\"\n\n\"Ready, doctor, at the word.\"", "flesh, when a second detonation resounded in the narrow passage, and Dr.\nFerguson appeared at the opening above with his gun in hand, and still\nsmoking from the discharge.", "Dr. Ferguson darted his powerful electric jet toward various points of\nspace, and caused it to rest on a spot from which shouts of terror were\nheard. His companions fixed their gaze eagerly on the place." ], [ "\"Which coast, my boy? How are we to know whither chance will carry us?\nAll that I can say is, that Timbuctoo is still about four hundred miles\nto the westward.", "drove them eastward about sixty miles. It next floated over a very large\nand populous island, which the doctor took to be Farram, on which the", "for this surprising journey is to be the island of Zanzibar, upon\nthe eastern coast. As for the point of arrival, it is reserved for\nProvidence alone to designate.", "Many travellers endeavored to reach the sources of the Nile by taking\ntheir point of departure on the eastern coast of Africa.", "At the end of about two hours the Victoria, driven along at a speed of\na little more than eight miles, very visibly neared the coast of the", "and Dr. Oudney. They set out from Tripoli in the month of March, reached\nMourzouk, the capital of Fez, and, following the route which at a later", "At nightfall, the balloon cast anchor in twenty-seven degrees east\nlongitude, and four degrees twenty minutes north latitude, after a day's\ntrip of one hundred and fifty miles.", "The aeronauts swept on with the speed of twelve miles per hour, and soon\nwere passing in thirty-eight degrees twenty minutes east longitude, over\nthe village of Tounda.", "\"Then, you will go--\"\n\n\"Whithersoever Providence wills; but, at all events, from east to west.\"\n\n\"Why so?\"", "An English frigate was just about to sail, and the three travellers\nprocured passage on board of her. On the 25th of June they arrived at\nPortsmouth, and on the next day at London.", "Three hours later, the Victoria was right among the mountains. Her exact\nposition was twenty-four degrees fifteen minutes east longitude,\nand four degrees forty-two minutes north latitude, and four degrees", "crossing. The surface, which was quite flat, offered no impediment\nto their progress. The doctor's sole anxiety arose from the obstinate\nnortheast wind which continued to blow furiously, and bore them away", "But, let it hold out only for a few hundred miles, and we shall arrive\nwithout fatigue, alarm, or danger, at the western coast.\"", "\"Not the least in the world.\"\n\n\"Why, that makes scarcely one hundred and twenty miles--in other words,\na nothing.\"\n\n\"Almost nothing, Samuel.\"", "About nine o'clock they drew nearer to the western coast. It seemed\ndeserted, and covered with woods; the wind freshened a little toward the", "The next morning, February 21st, at three o'clock, the furnaces began\nto roar; at five, the anchors were weighed, and the Resolute, powerfully", "The aeronauts found themselves, at about eight in the evening, in\nthirty-two degrees forty minutes east longitude, and four degrees", "On the morrow, the 13th of May, our travellers, for the first time,\nreconnoitred the part of the coast on which they had landed. It was a", "\"Then there are twenty-five degrees, or, counting sixty miles to each,\nabout fifteen hundred miles in all.\"\n\n\"A nice little walk,\" said Joe, \"for people who have to go on foot.\"", "the end of our trip. Where do you expect to strike the African coast,\ndoctor?\"" ], [ "\"We are English travellers,\" replied Ferguson. \"We are trying to cross\nAfrica in a balloon, and, on our way, we have had the good fortune to\nrescue you.\"", "Dr. Ferguson had long been engaged upon the details of his expedition.\nIt is easy to comprehend that the balloon--that marvellous vehicle\nwhich was to convey him through the air--was the constant object of his\nsolicitude.", "The doctor, much disquieted, resolved to ascend so as to escape this\ndangerous proximity. He therefore dilated the hydrogen in his balloon,\nand it rapidly rose.", "At this moment the ascensional force of the balloon increased\nprodigiously, and Ferguson, Kennedy, and Joe, waved a last good-by to\ntheir friends.", "\"Merciful Heaven!\" he exclaimed, \"the lunatic! the madman! Cross Africa\nin a balloon! Nothing but that was wanted to cap the climax! That's what\nhe's been bothering his wits about these two years past!\"", "Dr. Ferguson kept his cylinder at full heat, and the balloon dilated and\nwent up, while Kennedy, on his knees, held together the curtains of", "Therefore, while his companions slept, the doctor raised the hydrogen in\nthe balloon to an elevated temperature, and the huge globe, filling out", "Ten minutes more, and the balloon was majestically ascending, while Dr.\nFerguson, in token of success, waved the English flag triumphantly from\nhis car.", "of ballast at the time when he had rescued the missionary. He therefore\nopened the valve of the outside balloon. The hydrogen escaped, and the\nVictoria quietly descended into the ravine.", "Doctor Ferguson, at a public meeting of the Royal Geographical Society,\ngave a recital of his journey through the air, and obtained for himself", "Dr. Ferguson darted his powerful electric jet toward various points of\nspace, and caused it to rest on a spot from which shouts of terror were\nheard. His companions fixed their gaze eagerly on the place.", "While busy managing the balloon, Dr. Ferguson never ceased reconnoitring\nthe country with eager eyes.", "And with this, the doctor put on a full head of flame from the cylinder,\nand the dilation of the hydrogen, occasioned by such sudden and intense\nheat, sent the balloon rapidly aloft.", "\"Come, come,\" said he, at last. \"Let us see, Samuel. Then you have\ndiscovered the means of guiding a balloon?\"\n\n\"Not by any means. That is a Utopian idea.\"", "meanwhile rapidly descending. Dr. Ferguson was in search of a current\nthat would carry him more to the northeast, and he found it about six", "And, sure enough, there was another balloon about two hundred paces\nfrom them, floating in the air with its car and its aeronauts. It was\nfollowing exactly the same route as the Victoria.", "\"The balloon is rushing at the rate of at least thirty miles an hour.\nLean over, and see how the country is gliding away beneath us!\" said the\ndoctor.", "Here ended the astonishing journey of Dr. Ferguson and his brave\ncompanions, as vouched for by undeniable testimony; and they found", "Dr. Ferguson, forcing the dilation of his aerial craft to the utmost,\nsought for other currents of air at different heights, but in vain; and", "It is needless to say that the topic of conversation with every one on\nboard was Dr. Ferguson's enterprise. Seeing and hearing the doctor soon" ], [ "Dr. Ferguson had a servant who answered with alacrity to the name\nof Joe. He was an excellent fellow, who testified the most absolute", "\"Dr. Ferguson!\" exclaimed the lieutenant.\n\n\"The same, sir,\" replied the doctor, quietly, \"and his two friends.\"", "with intense force at this parting moment. Dr. Ferguson, still cold and\nimpassible, talked of this, that, and the other; but he strove in vain", "and a perfect pattern of constant good-humor. Had he been made on\npurpose for the place, it could not have been better done. Ferguson\nput himself entirely in his hands, so far as the ordinary details of", "The doctor kept silent for a few moments; he was thinking. His two\ncompanions looked at him with much emotion, for they were greatly\nexcited by the strangeness of the situation. Ferguson at last resumed:", "for several hours, held him like a dead man under the eye of Dr.\nFerguson. The latter could not suppress his emotion, for he felt that", "reception of Dr. Ferguson and his friend Kennedy. The latter, all\nthe while swearing that he would not go, went on board with a regular", "Dr. Ferguson made no reply, but contented himself with a significant\nshrug of the shoulders.\n\n\n\nCHAPTER SIXTH.", "Doctor Ferguson, however, had turned around to look about him on his\njourneyings, and turned to such good purpose that he had seen a great", "It is needless to say that the topic of conversation with every one on\nboard was Dr. Ferguson's enterprise. Seeing and hearing the doctor soon", "\"I doubted,\" said he, holding out his hand to Dr. Ferguson, \"but now I\ndoubt no longer.\"", "Dr. Ferguson here terminated his discourse, and was most heartily\napplauded. There was not an objection to make to it; all had been\nforeseen and decided.", "But the interest of Dr. Ferguson's hearers was excited to the highest\npitch when he made known to them, in detail, the preparations for his", "flesh, when a second detonation resounded in the narrow passage, and Dr.\nFerguson appeared at the opening above with his gun in hand, and still\nsmoking from the discharge.", "Dr. Ferguson, taking in the whole scene at a rapid glance, approached\nthe wooden couch on which the sultan lay reclining. There he saw a man", "\"He is alive!\" exclaimed Ferguson. \"God be praised! The savages have got\na fine scare, and we shall save him! Are you ready, friends?\"\n\n\"Ready, doctor, at the word.\"", "\"Hold on fast!\" cried Ferguson.\n\n\"Have no fear, master--have no fear!\"\n\nAnd the doctor, with his foot pushed another heap of grass upon the\nfire.", "Ferguson, and wasted his breath in pathetic entreaties, by which the\nlatter seemed to be but slightly moved. In fine, Dick felt that the\ndoctor was slipping through his fingers.", "Dr. Ferguson had a friend--not another self, indeed, an alter ego, for\nfriendship could not exist between two beings exactly alike.", "\"Suppose that there should turn out to be no such person as Dr.\nFerguson?\" exclaimed another voice, with a malicious twang." ], [ "By giving the balloon these cubic dimensions, and filling it with\nhydrogen gas, instead of common air--the former being fourteen and\na half times lighter and weighing therefore only two hundred and", "And with this, the doctor put on a full head of flame from the cylinder,\nand the dilation of the hydrogen, occasioned by such sudden and intense\nheat, sent the balloon rapidly aloft.", "\"My means of ascent and descent consist simply in dilating or\ncontracting the gas that is in the balloon by the application of\ndifferent temperatures, and here is the method of obtaining that result.", "At the outset, in order not to give the balloon too ponderous\ndimensions, he had decided to fill it with hydrogen gas, which is", "In a very little while, the gas expanded under the action of the heat,\nand the balloon took a very decided ascensional movement. Besides, the", "Therefore, while his companions slept, the doctor raised the hydrogen in\nthe balloon to an elevated temperature, and the huge globe, filling out", "rapidly ascends through the pipe that leads to the upper part of the\nballoon. A vacuum is created below, and it attracts the gas in the lower\nparts; this becomes heated in its turn, and is continually replaced;", "However, were the forty-four thousand eight hundred and forty-seven\ncubic feet of gas of which we speak, all introduced into the balloon, it", "of ballast at the time when he had rescued the missionary. He therefore\nopened the valve of the outside balloon. The hydrogen escaped, and the\nVictoria quietly descended into the ravine.", "surrounding it. A valve opened from one balloon into the other, and thus\nenabled the aeronaut to communicate with both.", "The doctor, much disquieted, resolved to ascend so as to escape this\ndangerous proximity. He therefore dilated the hydrogen in his balloon,\nand it rapidly rose.", "The hydrogen expanded, and in less than ten minutes the balloon was\nsoaring at a height of twenty-five hundred feet above the ground.", "The distance made by the balloon during the preceding day did not exceed\nten miles, and, to keep it afloat, one hundred and sixty-two cubic feet\nof gas had been consumed.", "exterior one, in such manner as to be lifted up in the same way. To the\nlower end of each balloon were fixed the pipes that served to introduce\nthe hydrogen gas.", "cylinder. By this excess of heat it obtains a larger distention, and\ninflates the balloon more. The latter, then, ascends in proportion as I\nheat the hydrogen.", "\"Gas, my boy; the ascending force of the balloon is evidently growing\nweaker, and we shall need all our management to make it carry us to", "\"The attempt has often been made, gentlemen,\" said the doctor, \"to rise\nand descend at will, without losing ballast or gas from the balloon. A", "merely of discharging some gas, when he had again to descend. But the\ngas in his balloon was his blood, his very life!", "pounds. He could then take with him one hundred and seventy pounds of\nballast, for unforeseen emergencies, and the balloon would be in exact\nbalance with the surrounding atmosphere.", "rapid heat, and the balloon, which had rested on the ground in perfect\nequipoise, began to rise in a few minutes, so that the seamen had to" ], [ "\"Perhaps. Our object is to push a point in the direction of the sources\nof the Nile; and we have more than six hundred miles to make before\nwe get to the extreme limit reached by the explorers who came from the\nnorth.\"", "\"But,\" said the doctor, \"are you not aware that my journey is to compete\nwith the success of the expeditions now on foot? Don't you know that\nfresh explorers are advancing toward the centre of Africa?\"", "explorers. But, my balloon will not deceive me, and we need make no such\ncalculations.\"", "\"Now, take one of the points of these dividers and let it rest upon that\nplace beyond which the most daring explorers have scarcely gone.\"\n\n\"I have done so.\"", "From the moment of their departure, the travellers moved with great\nvelocity. They longed to leave behind them the desert, which had so\nnearly been fatal to them.", "\"Very well, then, I'll tell you. The Geographical Society regard as very\nimportant the exploration of this lake of which Speke caught a glimpse.", "Under their auspices, Lieutenant (now Captain) Speke has associated with\nhim Captain Grant, of the army in India; they have put themselves at\nthe head of a numerous and well-equipped expedition; their mission is to", "documents concerning the manners, government, religion, fauna, and flora\nof the region. They next made for the first of the great lakes, the", "His fancy kindled early at the recitals he read of daring enterprise and\nmaritime adventure, and he followed with enthusiasm the discoveries that", "\"While he was accomplishing this remarkable journey, an Englishman had\nconceived a similar enterprise and was trying to push it through\nwith equal courage, if not with equal good fortune. This was Captain", "From this island the latest expedition, sent by way of the great lakes\nto explore the sources of the Nile, had just set out.", "have left the Englishmen behind us, and now have caught up with the\nHamburger. It will not be long, either, before we arrive at the extreme\npoint attained by that daring explorer.\"", "thought of his discoveries? Were his two companions thinking of their\ntrip through those unknown regions? There were, no doubt, mingled\nwith these reflections, the keenest reminiscences of home and distant", "Here ended the astonishing journey of Dr. Ferguson and his brave\ncompanions, as vouched for by undeniable testimony; and they found", "in the month of March in the following year. These two daring explorers\nthen reembarked for England; and the Geographical Society of Paris\ndecreed them its annual prize medal.", "And there were present, also, those fearless travellers and explorers\nwhose energetic temperaments had borne them through every quarter of the", "The journals of all Europe were untiring in their praises of the bold\nexplorers, and the Daily Telegraph struck off an edition of three\nhundred and seventy-seven thousand copies on the day when it published a\nsketch of the trip.", "\"We shall keep our readers informed as to the progress of this\nenterprise, which has no precedent in the annals of exploration.\"", "\"We are on the right track!\" he exclaimed. \"To-day or never we shall see\nthe Nile! Look, my friends, we are crossing the equator! We are entering\nour own hemisphere!\"", "The first result of Dr. Ferguson's expedition was to establish, in the\nmost precise manner, the facts and geographical surveys reported by" ], [ "This vast region is situated between the fifteenth and tenth degrees\nof north latitude; that is to say, that, in order to approach it, the\nexplorer must penetrate fifteen hundred miles into the interior of\nAfrica.", "\"Here, at last, is Africa, such as you pictured it to yourself, Joe! Was\nI not right in saying, 'Wait a little?' eh?\"", "and the features of the countries the travellers pass over are\ndescribed, it is entirely accurate. It gives, in some particulars, a\nsurvey of nearly the whole field of African discovery, and in this", "above the level of the sea. This circumstance gave the doctor some hope,\nsince it recalled to his mind the conjectures of geographers concerning\nthe existence of a vast stretch of water in the centre of Africa. But,", "Only a few scattered huts could be seen through the pestilential mists;\nbut the appearance of the country soon changed, for it often happens in\nAfrica that some of the unhealthiest districts lie close beside others\nthat are perfectly salubrious.", "far to find scenery just like England? Here's the first time that I\nbelieve in Africa, and I'm not sorry to get a taste of it.\"", "\"Worse than that, my boy! There are men, and some of the most cruel,\ntoo, in all Africa.\"\n\n\"How is that known?\"", "heights, sometimes only a hundred feet above the soil, while the map of\nAfrica unrolls itself beneath my gaze in the great atlas of the world.\"", "The region they were now crossing is very extensive. It borders on the\nMountains of the Moon on one side, and those of Darfur on the other--a\nspace about as broad as Europe.", "mountains. There were winding valleys, numerous and fertile, with their\ntangled thickets of the most various trees. The African oil-tree rose", "Africa, is in the sixth degree of south latitude, that is to say, four\nhundred and thirty geographical miles below the equator.", "advancing with sure steps to the discovery of the sources of the Nile,\nothers are penetrating to the very heart of Africa.\"", "It was then about one hundred miles from Kazeh, an important\nestablishment in the interior of Africa, where, thanks to a", "\"Africa is, at length, about to surrender the secret of her vast\nsolitudes; a modern OEdipus is to give us the key to that enigma which", "\"We are, no doubt, crossing what is supposed to be the kingdom of Usoga.\nGeographers have pretended that there existed, in the centre of Africa,", "deep-green foliage. Then came crests and ravines, in a sort of desert\nwhich preceded the Ugogo country; and lower down were yellow plains,", "year, hardly one will be gathered from a soil completely drained of its\nstrength. Then, Africa will be there to offer to new races the treasures\nthat for centuries have been accumulating in her breast. Those climates", "There it was at last, outstretched before them, that Caspian Sea of\nAfrica, the existence of which was so long consigned to the realms of", "\"You see, then, that with such speed as that, we could cross Africa in\ntwelve hours. One would rise at Zanzibar, and go to bed at St. Louis!\"", "The Mountains of the Moon.--An Ocean of Verdure.--They cast Anchor.--The\nTowing Elephant.--A Running Fire.--Death of the Monster.--The" ], [ "The condors flew around them in wide circles, their flight growing\ngradually closer and closer to the balloon. They swept through the\nair in rapid, fantastic curves, occasionally precipitating themselves", "\"Wait, sir; wait one moment!\" they heard Joe exclaim, and, looking\naround, they saw Joe disappear over the edge of the balloon.\n\n\"Joe! Joe!\" cried Kennedy.", "And Joe, picking up one more block, desperately tossed it out of the\ncar. The balloon rose a hundred feet or so, and, aided by the cylinder,\nsoon passed above the surrounding summits.", "Frightened by the report, the condors drew back for a moment, but they\nalmost instantly returned to the charge with extreme fury. Kennedy\nsevered the head of one from its body with his first shot, and Joe broke\nthe wing of another.", "Then he had to reestablish the equilibrium of the balloon, and Joe\nwas obliged to part with another considerable portion of his precious", "But the condors mounted with him, apparently determined not to part\ncompany.\n\n\"They seem to mean mischief!\" said the hunter, cocking his rifle.", "Thereupon the birds changed their tactics, and by common consent soared\nabove the balloon. Kennedy glanced at Ferguson. The latter, in spite", "\"Yes! but a new idea, and I have dozens of them,\" said Joe; \"if we could\nonly manage to capture a team of live eagles, we could hitch them to the\nballoon, and they'd haul us through the air!\"", "Joe let himself slide down by the rope; and, in a few moments,\nreappeared at his post; while the balloon, thus liberated, hung almost\nmotionless in the air.", "With this the balloon, now completely inflated by the increased\ntemperature, moved away, sweeping the branches of the baobab in her\nflight.\n\n\"We're off!\" shouted Joe.", "Joe no longer hesitated, although he still felt a fleeting pang of\nregret. The balloon at once began to ascend.\n\n\"It was high time!\" said the doctor.", "\"Ah! by Jove, this balloon is a paradise!\" exclaimed Kennedy, feeling\nmuch better already.\n\n\"It leads to it, anyhow!\" replied Joe, quite gravely.", "At this moment, one of the ferocious birds darted right at the balloon,\nwith outstretched beak and claws, ready to rend it with either or both.\n\n\"Fire! fire at once!\" cried the doctor.", "\"Your guns, and your stock of powder and ball might cost us our lives.\"\n\n\"We are close to it!\" cried Joe.\n\nSixty feet! The mountain still overtopped the balloon by sixty feet.", "In about ten minutes a few jerking motions by the balloon indicated that\nit was disposed to start again. The Talabas were approaching. They were\nhardly five hundred paces away.", "Joe examined the anchor and found it solidly attached to the unbroken\ntusk. The doctor and Dick leaped out on the ground, while the balloon,\nnow half emptied, hovered over the body of the huge animal.", "On the other hand, the balloon was visibly wearing out, and the doctor\nfelt it failing him. However, as the weather was clearing up a little,", "While Joe was telling his experience, the balloon had rapidly passed\nover a long reach of country, and Kennedy soon pointed out on the\nhorizon a collection of structures that looked like a town. The doctor", "Joe, by the aid of his keen sight, which he did not fail to use\ncontinually, noticed some flocks of birds of prey flitting about the\nhorizon.", "pounds, he tossed it overboard. The balloon, thus suddenly lightened,\nmade a leap of three hundred feet into the air, amid the howlings of the" ], [ "Dick Kennedy was a Scotchman, in the full acceptation of the word--open,\nresolute, and headstrong. He lived in the town of Leith, which is near", "And, as Kennedy said this, he drew his rifle to his shoulder.\n\n\"Wait, Dick; wait!\"\n\n\"That's a fact! The animal's towing us!\"", "\"I have counted positively upon you, my dear Dick, and I have picked you\nout from all the rest.\"\n\nKennedy stood speechless with amazement.", "What particularly exasperated Dick was, that the doctor seemed\ncompletely to lose sight of his personality--of his--Kennedy's--and to", "To his own supreme confusion, Dick Kennedy came in for a large share\nin the jovial felicitations of the night. After having drunk to the", "\"Poor, unfortunate man!\" said Kennedy.\n\n\"We must save him, Dick!\" responded the doctor; \"we must save him!\"", "\"Dick,\" said the doctor, \"come with Joe; I want to know how much you\nboth weigh.\"\n\n\"But--\"\n\n\"You may keep your hat on. Come!\" And Kennedy went.", "At this moment Kennedy went right up to the doctor, grasped his hand,\nand said:\n\n\"Samuel, have you absolutely determined to go?\"\n\n\"Solemnly determined, my dear Dick.\"", "\"We!\" said Dick.\n\n\"Have you still a shadow of an objection to offer? Speak, friend\nKennedy.\"", "\"What are we to do?\" asked Kennedy.\n\n\"Lay aside your rifle, Dick.\"\n\nAnd the Scot obeyed the request at once.", "But, if they possessed different qualities, aptitudes, and temperaments,\nDick Kennedy and Samuel Ferguson lived with one and the same heart, and\nthat gave them no great trouble. In fact, quite the reverse.", "It was Kennedy, who had crawled up close to him, and was begging there,\nupon his knees, and weeping piteously.", "Ferguson opened, in person.\n\n\"Dick! you here?\" he exclaimed, but with no great expression of\nsurprise, after all.\n\n\"Dick himself!\" was the response.", "Dick and Joe stretched themselves on their peaceful couch, and were soon\nsound asleep, the doctor keeping the first watch. At twelve o'clock the\nlatter was relieved by Kennedy.", "The Doctor's Friend.--The Origin of their Friendship.--Dick Kennedy at\nLondon.--An unexpected but not very consoling Proposal.--A Proverb by", "The Doctor's Friend.--The Origin of their Friendship.--Dick Kennedy at\nLondon.--An unexpected but not very consoling Proposal.--A Proverb by", "\"An ugly country this!\" sighed Joe; \"and it seems to me that Mr. Kennedy\nis none the better for having passed the night in it.\"\n\n\"To tell the truth, I have quite a high fever,\" said the sportsman.", "\"Put us on short allowance, then, doctor,\" responded Kennedy, \"but we\nmust not despair. We have three days left, you say?\"\n\n\"Yes, my dear Dick!\"", "Kennedy, while still rubbing his eyes, which he could scarcely keep\nopen, calmly lit his pipe. He then ensconced himself in a corner, and\nbegan to smoke vigorously by way of keeping awake.", "\"What course shall we pursue?\" asked Kennedy.\n\n\"Alight as soon as possible, Dick, and then wait.\"" ], [ "In 1856, he quitted Bornou, and determined to explore the unknown\ncountry that lies between Lake Tchad and Darfur. Nothing has been seen", "from him, his intention to reconnoitre the kingdom of Wadai, which no\nEuropean had yet penetrated. It appears that he got as far as Wara, the", "This vast region is situated between the fifteenth and tenth degrees\nof north latitude; that is to say, that, in order to approach it, the\nexplorer must penetrate fifteen hundred miles into the interior of\nAfrica.", "\"We are in luck!\" said he; \"every thing works in our favor: we shall\ndiscover Lake Tchad this very day.\"\n\n\"Is it a broad sheet of water?\" asked Kennedy.", "Clapperton and Dr. Oudney had pushed their way through the Soudan\ncountry as far as Sackatoo, and Oudney died of fatigue and exhaustion in\nthe town of Murmur.\"", "\"Long since,\" replied the doctor. \"The exploration of the Niger and\nits tributaries was the object of several expeditions, the principal", "all sides to the investigations of science. On the north, the young\nDuveyrier was exploring Sahara, and bringing the chiefs of the\nTouaregs to Paris. Under the inspiration of the French Government, two", "\"Dr. Barth, in following out to Soudan the track traced by Denham and\nClapperton; Dr. Livingstone, in multiplying his fearless explorations", "Lake Tchad.--Tangalia.--The Return.--Lari", "reconnoitre Lake Tchad, from which he was still three hundred and fifty\nmiles distant. He therefore advanced toward the east, and reached the", "It was thus, in the midst of rich and verdant landscapes that our\ntravellers passed over the district of Maffatay, and about nine o'clock\nin the morning reached the southern shore of Lake Tchad.", "We find him again setting forth on the 29th of March, 1851, with\nOverweg, to visit the kingdom of Adamaoua, to the south of the lake, and", "Lake Tchad.--Tangalia.--The Return.--Lari.", "several explorations in Bornou, in Mandara, and to the eastern shores\nof the lake. In the mean time, on the 15th of December, 1823, Captain", "Dr. Barth is a Hamburger, who obtained permission for himself and\nfor his countryman Overweg to join the expedition of the Englishman\nRichardson. The latter was charged with a mission in the Soudan.", "the Wadai country, where he disappeared. This young man, at the age of\ntwenty-three, had been sent to cooperate with Dr. Barth. They met on the", "Until then, the country in question had been known only through the\njourneys of Denham, of Clapperton, and of Oudney, made from 1822 to", "means to make his presence there known. Perhaps he had been dragged to\nthe mainland. The doctor was reasoning thus to himself, when he again\ncame in sight of the northern shore of Lake Tchad.", "But our travellers had scarcely the time to catch even this glimpse of\nit, for, with the fickleness that characterizes the air-currents of this\nregion, a contrary wind suddenly swept them some forty miles over the\nsurface of Lake Tchad.", "About half-past two o'clock, the Victoria hove in sight of Tangalia, a\nvillage situated on the eastern shore of Lake Tchad, where it marks the\nextreme point attained by Denham at the period of his exploration." ], [ "and the features of the countries the travellers pass over are\ndescribed, it is entirely accurate. It gives, in some particulars, a\nsurvey of nearly the whole field of African discovery, and in this", "by African explorers, they can scarcely be considered extravagant; while\nthe ingenuity and invention of the author will be sure to excite the", "in the month of March in the following year. These two daring explorers\nthen reembarked for England; and the Geographical Society of Paris\ndecreed them its annual prize medal.", "explorations of African territory. The guests drank to their health or\nto their memory, in alphabetical order, a good old English way of doing", "brought back precious documents from their expeditions. They have\nexplored these countries formed by the elbow of the Senegal in places\nwhere war and pillage have left nothing but ruins.\"", "\"Who can tell, Joe? One thing, however, will be undeniable: a thousand\nwitnesses saw us start on one side of the African Continent, and a\nthousand more will see us arrive on the other.\"", "An English frigate was just about to sail, and the three travellers\nprocured passage on board of her. On the 25th of June they arrived at\nPortsmouth, and on the next day at London.", "\"But,\" said the doctor, \"are you not aware that my journey is to compete\nwith the success of the expeditions now on foot? Don't you know that\nfresh explorers are advancing toward the centre of Africa?\"", "Under their auspices, Lieutenant (now Captain) Speke has associated with\nhim Captain Grant, of the army in India; they have put themselves at\nthe head of a numerous and well-equipped expedition; their mission is to", "From this island the latest expedition, sent by way of the great lakes\nto explore the sources of the Nile, had just set out.", "\"Here we are at last,\" said the doctor, \"in an unexplored country!\nCaptain Burton pushed very far to the westward, but he could not reach", "Here ended the astonishing journey of Dr. Ferguson and his brave\ncompanions, as vouched for by undeniable testimony; and they found", "\"You are daring travellers!\" he said, \"and you will succeed in your bold\nenterprise. You will again behold your relatives, your friends, your\ncountry--you--\"", "advancing with sure steps to the discovery of the sources of the Nile,\nothers are penetrating to the very heart of Africa.\"", "\"He succeeded in regaining the coast and returned to London, bringing\nwith him the captain's papers, and an exact narrative of his own\njourney. He then offered his services to the government to complete", "sailed for Toulon. In nineteen months, notwithstanding one hundred and\neighty days' sickness, he had traversed Africa from west to north. Ah!", "the end of our trip. Where do you expect to strike the African coast,\ndoctor?\"", "\"And when we get back from that expedition,\" said the indefatigable\nnarrator, \"they'll decorate us with the Southern Cross that shines up\nthere in the Creator's button-hole.\"", "\"We are English travellers,\" replied Ferguson. \"We are trying to cross\nAfrica in a balloon, and, on our way, we have had the good fortune to\nrescue you.\"", "He returned in the month of August to Kouka; from there he successively\ntraversed the Mandara, Barghimi, and Klanem countries, and reached his" ], [ "This vast region is situated between the fifteenth and tenth degrees\nof north latitude; that is to say, that, in order to approach it, the\nexplorer must penetrate fifteen hundred miles into the interior of\nAfrica.", "\"But,\" said the doctor, \"are you not aware that my journey is to compete\nwith the success of the expeditions now on foot? Don't you know that\nfresh explorers are advancing toward the centre of Africa?\"", "\"My friends,\" said the doctor, \"here is where OUR passage of the African\nContinent really commences; up to this time we have been following the", "\"Who can tell, Joe? One thing, however, will be undeniable: a thousand\nwitnesses saw us start on one side of the African Continent, and a\nthousand more will see us arrive on the other.\"", "From this island the latest expedition, sent by way of the great lakes\nto explore the sources of the Nile, had just set out.", "\"Perhaps. Our object is to push a point in the direction of the sources\nof the Nile; and we have more than six hundred miles to make before\nwe get to the extreme limit reached by the explorers who came from the\nnorth.\"", "advancing with sure steps to the discovery of the sources of the Nile,\nothers are penetrating to the very heart of Africa.\"", "Under their auspices, Lieutenant (now Captain) Speke has associated with\nhim Captain Grant, of the army in India; they have put themselves at\nthe head of a numerous and well-equipped expedition; their mission is to", "explorations of African territory. The guests drank to their health or\nto their memory, in alphabetical order, a good old English way of doing", "of departure, which it contended should be Massowah, a small port in\nAbyssinia, whence James Bruce, in 1768, started upon his explorations", "Europe?--Perhaps!--And then, couldn't one wait a little longer?--The\ntrip across Africa would certainly be accomplished some day, and in a", "The Mountains of the Moon.--An Ocean of Venture.--They cast Anchor.--The\nTowing Elephant.--A Running Fire.--Death of the Monster.--The Field", "\"Here, at last, is Africa, such as you pictured it to yourself, Joe! Was\nI not right in saying, 'Wait a little?' eh?\"", "and the features of the countries the travellers pass over are\ndescribed, it is entirely accurate. It gives, in some particulars, a\nsurvey of nearly the whole field of African discovery, and in this", "\"We are not ninety miles from Gondokoro,\" said the doctor, measuring\noff the distance on his map, \"and less than five miles from the point\nreached by the explorers from the north. Let us descend with great\ncare.\"", "\"Long since,\" replied the doctor. \"The exploration of the Niger and\nits tributaries was the object of several expeditions, the principal", "by African explorers, they can scarcely be considered extravagant; while\nthe ingenuity and invention of the author will be sure to excite the", "\"Merciful Heaven!\" he exclaimed, \"the lunatic! the madman! Cross Africa\nin a balloon! Nothing but that was wanted to cap the climax! That's what\nhe's been bothering his wits about these two years past!\"", "We find him again setting forth on the 29th of March, 1851, with\nOverweg, to visit the kingdom of Adamaoua, to the south of the lake, and", "and Dr. Oudney. They set out from Tripoli in the month of March, reached\nMourzouk, the capital of Fez, and, following the route which at a later" ], [ "they had practised to save the missionary, and he would soon be with\nhis friends again; but nothing was seen, not a sound was heard. The case\nseemed desperate.", "\"No, Dick, since it was in our power to save that unfortunate missionary\nfrom a horrible death. But, the hundred pounds of water that we threw", "\"He is alive!\" exclaimed Ferguson. \"God be praised! The savages have got\na fine scare, and we shall save him! Are you ready, friends?\"\n\n\"Ready, doctor, at the word.\"", "\"Five years! alone! and among these savages!\" exclaimed Kennedy with\namazement.\n\n\"They are souls to redeem! ignorant and barbarous brethren, whom\nreligion alone can instruct and civilize.\"", "murderers. They certainly witnessed our misfortune, and should Joe fall\ninto their hands, what will become of him unless protected by their\nsuperstitions?\"", "\"Saved!\" he with a sad smile replied in English, \"saved from a cruel\ndeath! My brethren, I thank you, but my days are numbered, nay, even my\nhours, and I have but little longer to live.\"", "the wildest and most ferocious of them all. The chief having died a few\ndays before our travellers appeared, his sudden death was attributed to\nthe missionary, and the tribe resolved to immolate him. His sufferings", "\"A missionary, perhaps.\"\n\n\"Poor wretch!\" said Kennedy, \"they're assassinating him--making a martyr\nof him!\"", "\"They are murdering him! they are murdering him!\" exclaimed Kennedy.\n\"Our interference will have served no other purpose than to hasten the\nhour of his doom. We must act!\"", "\"That was an attack for you!\" said Joe.\n\n\"We thought you were surrounded by natives.\"\n\n\"Well, fortunately, they were only apes,\" said the doctor.", "\"The savage wretches!\" exclaimed Joe, trembling with indignation.\n\"Suppose they should kill him to-night!\"", "without doing all in our power to save him. When he heard the sound\nof our guns, he recognized an unhoped-for assistance, a providential\ninterposition. We shall not disappoint his last hope. Are such your", "of ballast at the time when he had rescued the missionary. He therefore\nopened the valve of the outside balloon. The hydrogen escaped, and the\nVictoria quietly descended into the ravine.", "With this, the missionary, again yielding to exhaustion, relapsed into\nhis fainting-fit.\n\n\"He is dying!\" said Kennedy.", "\"What holds us?\" he asked, with an accent of terror.\n\nSome of the savages were running toward them, uttering ferocious cries.", "To carry it to his lips, and to half empty it at a draught, was the\nwork of an instant, and the three travellers offered up thanks from the\ndepths of their hearts to that Providence who had so miraculously saved\nthem.", "\"How that man has suffered!\" said Joe, with feeling. \"He did bolder\nthings than we've done, in venturing all alone among those savage\ntribes!\"", "As some demonstration against the personal safety of the doctor and his\ncompanions was feared, all three slept that night on board the Resolute.\nAt six o'clock in the morning they left their cabin, and landed on the\nisland of Koumbeni.", "Tears came to his eyes, not of grief but of thankfulness; his master was\nthen seeking him; his master had not left him to perish! He would", "\"Because they think that they are certain to take us,\" replied the\ndoctor; \"and, they will succeed if we descend much farther. We must,\nabsolutely, get higher into the air.\"" ], [ "the intrepidity of her explorers in the line of geographical discovery.\"\n(General assent). \"Dr. Samuel Ferguson, one of her most glorious sons,", "Samuel Ferguson returned to England about 1850, and, more than ever\npossessed by the demon of discovery, he spent the intervening time,", "reception of Dr. Ferguson and his friend Kennedy. The latter, all\nthe while swearing that he would not go, went on board with a regular", "Such was the venturesome journey of Dr. Barth.\n\nDr. Ferguson carefully noted the fact, that he had stopped at four\ndegrees north latitude and seventeen degrees west longitude.", "in search of the sources of the Nile. Apart from that, it mentioned, in\nterms of unreserved admiration, the energetic character of Dr. Ferguson,", "that had devoured most of the companions of Mungo Park. Ferguson,\ntherefore, was more than ever decided not to set foot in this\ninhospitable region.", "Here ended the astonishing journey of Dr. Ferguson and his brave\ncompanions, as vouched for by undeniable testimony; and they found", "As far as Senegal, this part of Africa is marked down as dangerous.\nDr. Ferguson knew it through the recitals of his predecessors. They had", "\"The labors of these hardy pioneers of science are now about to be\nknit together by the daring project of Dr. Samuel Ferguson, whose\nfine explorations our readers have frequently had the opportunity of\nappreciating.", "It is needless to say that the topic of conversation with every one on\nboard was Dr. Ferguson's enterprise. Seeing and hearing the doctor soon", "Doctor Ferguson's first care was to take his bearings by stellar\nobservation, and he discovered that he was scarcely twenty-five miles\nfrom Senegal.", "The first result of Dr. Ferguson's expedition was to establish, in the\nmost precise manner, the facts and geographical surveys reported by", "The End of a much-applauded Speech.--The Presentation of Dr. Samuel\nFerguson.--Excelsior.--Full-length Portrait of the Doctor.--A Fatalist", "Samuel Ferguson felt real emotion: he was almost in contact with one\nof the principal points of his expedition, and, with his spy-glass", "\"(Signed), \"SAMUEL FERGUSON\n \"RICHARD KENNEDY,\n \"JOSEPH WILSON,", "Doctor Ferguson, however, had turned around to look about him on his\njourneyings, and turned to such good purpose that he had seen a great", "\"You mean the Mountains of the Moon, which are not quite so far off.\nBut, never mind, one trip is just as dangerous as the other!\"\n\n\"Dangerous! What! with a man like Dr. Ferguson?\"", "\"Dr. Ferguson!\" exclaimed the lieutenant.\n\n\"The same, sir,\" replied the doctor, quietly, \"and his two friends.\"", "We find him again setting forth on the 29th of March, 1851, with\nOverweg, to visit the kingdom of Adamaoua, to the south of the lake, and", "\"We are English travellers,\" replied Ferguson. \"We are trying to cross\nAfrica in a balloon, and, on our way, we have had the good fortune to\nrescue you.\"" ], [ "\"Dr. Ferguson!\" exclaimed the lieutenant.\n\n\"The same, sir,\" replied the doctor, quietly, \"and his two friends.\"", "Dr. Ferguson made no reply, but contented himself with a significant\nshrug of the shoulders.\n\n\n\nCHAPTER SIXTH.", "It is needless to say that the topic of conversation with every one on\nboard was Dr. Ferguson's enterprise. Seeing and hearing the doctor soon", "Doctor Ferguson, however, had turned around to look about him on his\njourneyings, and turned to such good purpose that he had seen a great", "with intense force at this parting moment. Dr. Ferguson, still cold and\nimpassible, talked of this, that, and the other; but he strove in vain", "The doctor kept silent for a few moments; he was thinking. His two\ncompanions looked at him with much emotion, for they were greatly\nexcited by the strangeness of the situation. Ferguson at last resumed:", "for several hours, held him like a dead man under the eye of Dr.\nFerguson. The latter could not suppress his emotion, for he felt that", "Dr. Ferguson here terminated his discourse, and was most heartily\napplauded. There was not an objection to make to it; all had been\nforeseen and decided.", "reception of Dr. Ferguson and his friend Kennedy. The latter, all\nthe while swearing that he would not go, went on board with a regular", "But the interest of Dr. Ferguson's hearers was excited to the highest\npitch when he made known to them, in detail, the preparations for his", "\"But the doctor?\" said Joe; \"our friend, Dr. Ferguson?\"", "\"I doubted,\" said he, holding out his hand to Dr. Ferguson, \"but now I\ndoubt no longer.\"", "\"Suppose that there should turn out to be no such person as Dr.\nFerguson?\" exclaimed another voice, with a malicious twang.", "and a perfect pattern of constant good-humor. Had he been made on\npurpose for the place, it could not have been better done. Ferguson\nput himself entirely in his hands, so far as the ordinary details of", "The consul, informed of their intentions, conferred with Dr. Ferguson\nand Captain Bennet on the subject. The latter was unwilling to yield\nto threats, but his friend dissuaded him from any idea of violent\nretaliation.", "ocular proof of the accomplishment of the daring project, naturally\nbecame Dr. Ferguson's witnesses. Hence the doctor at once asked them to", "and fourthly, upon the probabilities of Dr. Ferguson's return. The\nbetting-books were covered with entries of immense sums, as though the\nEpsom races were at stake.", "Dr. Ferguson personally, and guaranteed the intrepidity of his dauntless\nfriend.", "Then it was that Dr. Ferguson, buried in meditation, asked himself\nwhether he had acted with prudence. Would he not have done better to", "Dr. Ferguson, taking in the whole scene at a rapid glance, approached\nthe wooden couch on which the sultan lay reclining. There he saw a man" ], [ "\"Wait, sir; wait one moment!\" they heard Joe exclaim, and, looking\naround, they saw Joe disappear over the edge of the balloon.\n\n\"Joe! Joe!\" cried Kennedy.", "And Joe, picking up one more block, desperately tossed it out of the\ncar. The balloon rose a hundred feet or so, and, aided by the cylinder,\nsoon passed above the surrounding summits.", "Then he had to reestablish the equilibrium of the balloon, and Joe\nwas obliged to part with another considerable portion of his precious", "Joe let himself slide down by the rope; and, in a few moments,\nreappeared at his post; while the balloon, thus liberated, hung almost\nmotionless in the air.", "Joe no longer hesitated, although he still felt a fleeting pang of\nregret. The balloon at once began to ascend.\n\n\"It was high time!\" said the doctor.", "doctor directed, and Joe, holding on by one hand, with the other cut the\ncords that suspended the car; and the latter dropped to the ground just\nas the balloon was sinking for the last time.", "Joe flung out the barometers and thermometers, but all that amounted\nto little; and the balloon, which had risen for an instant, fell again\ntoward the ground.", "Kennedy laughed. Joe now threw out some ten pounds, but the balloon\nstood still.\n\nJoe got very pale.", "The doctor, much disquieted, resolved to ascend so as to escape this\ndangerous proximity. He therefore dilated the hydrogen in his balloon,\nand it rapidly rose.", "With this the balloon, now completely inflated by the increased\ntemperature, moved away, sweeping the branches of the baobab in her\nflight.\n\n\"We're off!\" shouted Joe.", "pounds, he tossed it overboard. The balloon, thus suddenly lightened,\nmade a leap of three hundred feet into the air, amid the howlings of the", "\"Your guns, and your stock of powder and ball might cost us our lives.\"\n\n\"We are close to it!\" cried Joe.\n\nSixty feet! The mountain still overtopped the balloon by sixty feet.", "\"Ah! by Jove, this balloon is a paradise!\" exclaimed Kennedy, feeling\nmuch better already.\n\n\"It leads to it, anyhow!\" replied Joe, quite gravely.", "of ballast at the time when he had rescued the missionary. He therefore\nopened the valve of the outside balloon. The hydrogen escaped, and the\nVictoria quietly descended into the ravine.", "Meanwhile, the flames, leaping up at the balloon, already quivered on\nits illuminated sides; but the Victoria, released from her fastenings,\nspun upward a thousand feet into the air.", "At this moment the ascensional force of the balloon increased\nprodigiously, and Ferguson, Kennedy, and Joe, waved a last good-by to\ntheir friends.", "As the doctor shouted, Joe had turned his head, but without checking his\nhorse. The ladder dropped close to him, and at the instant he grasped it\nthe doctor again shouted to Kennedy:\n\n\"Throw ballast!\"", "force for the balloon. The anchor is solidly fastened, and there is\nnothing to fear in that respect. I shall descend, and Joe will go with\nme, only that he must remain at the foot of the ladder.\"", "Joe immediately obeyed, and the two anchors dangled below the balloon.", "Ferguson was in haste to descend; the covering of the balloon gave\nindications of bursting, but in the meanwhile he had time to satisfy" ], [ "As far as Senegal, this part of Africa is marked down as dangerous.\nDr. Ferguson knew it through the recitals of his predecessors. They had", "\"You mean the Mountains of the Moon, which are not quite so far off.\nBut, never mind, one trip is just as dangerous as the other!\"\n\n\"Dangerous! What! with a man like Dr. Ferguson?\"", "Doctor Ferguson, however, had turned around to look about him on his\njourneyings, and turned to such good purpose that he had seen a great", "It is needless to say that the topic of conversation with every one on\nboard was Dr. Ferguson's enterprise. Seeing and hearing the doctor soon", "\"Dr. Ferguson!\" exclaimed the lieutenant.\n\n\"The same, sir,\" replied the doctor, quietly, \"and his two friends.\"", "Dr. Ferguson made no reply, but contented himself with a significant\nshrug of the shoulders.\n\n\n\nCHAPTER SIXTH.", "that had devoured most of the companions of Mungo Park. Ferguson,\ntherefore, was more than ever decided not to set foot in this\ninhospitable region.", "\"We are English travellers,\" replied Ferguson. \"We are trying to cross\nAfrica in a balloon, and, on our way, we have had the good fortune to\nrescue you.\"", "The doctor kept silent for a few moments; he was thinking. His two\ncompanions looked at him with much emotion, for they were greatly\nexcited by the strangeness of the situation. Ferguson at last resumed:", "But the interest of Dr. Ferguson's hearers was excited to the highest\npitch when he made known to them, in detail, the preparations for his", "\"Attention!\" said Dr. Ferguson. \"We are approaching Rubeho, the name\nof which signifies, in the language of the country, the 'Passage of the", "Dr. Ferguson here terminated his discourse, and was most heartily\napplauded. There was not an objection to make to it; all had been\nforeseen and decided.", "reception of Dr. Ferguson and his friend Kennedy. The latter, all\nthe while swearing that he would not go, went on board with a regular", "Here ended the astonishing journey of Dr. Ferguson and his brave\ncompanions, as vouched for by undeniable testimony; and they found", "Samuel Ferguson returned to England about 1850, and, more than ever\npossessed by the demon of discovery, he spent the intervening time,", "The first result of Dr. Ferguson's expedition was to establish, in the\nmost precise manner, the facts and geographical surveys reported by", "Such was the venturesome journey of Dr. Barth.\n\nDr. Ferguson carefully noted the fact, that he had stopped at four\ndegrees north latitude and seventeen degrees west longitude.", "in search of the sources of the Nile. Apart from that, it mentioned, in\nterms of unreserved admiration, the energetic character of Dr. Ferguson,", "with intense force at this parting moment. Dr. Ferguson, still cold and\nimpassible, talked of this, that, and the other; but he strove in vain", "But it would be well to indicate what explorations Dr. Ferguson hoped to\nlink together. The two principal ones were those of Dr. Barth in 1849," ], [ "After twelve hours of progress, the Victoria found herself on the\nconfines of Nigritia. The first inhabitants of this region, the Chouas", "As some demonstration against the personal safety of the doctor and his\ncompanions was feared, all three slept that night on board the Resolute.\nAt six o'clock in the morning they left their cabin, and landed on the\nisland of Koumbeni.", "At length the vessel hove in sight of the town of Zanzibar, upon the\nisland of the same name, and, on the 15th of April, at 11 o'clock in the\nmorning, she anchored in the port.", "So soon as he could get breath and look around him, he saw that he was\nbetween two natives as black as ebony, who held him, with a firm gripe,\nand uttered strange cries.", "They had arrived at Senegal on Saturday, the 24th of May, and on the\n27th of the same month they reached the post of Medina, situated a\nlittle farther to the north, but on the river.", "\"But what are we to do? If we land on the coast of Africa, we shall\nencounter the same difficulties. What are we to do?\"", "\"The question now is, not to throw ourselves out of the car, but simply\nto reach the coast of Africa on foot. I am a first-rate walker, a good\nsportsman, and--\"", "Doctor Ferguson's first care was to take his bearings by stellar\nobservation, and he discovered that he was scarcely twenty-five miles\nfrom Senegal.", "An English frigate was just about to sail, and the three travellers\nprocured passage on board of her. On the 25th of June they arrived at\nPortsmouth, and on the next day at London.", "sailed for Toulon. In nineteen months, notwithstanding one hundred and\neighty days' sickness, he had traversed Africa from west to north. Ah!", "The three hapless aeronauts descended to the ground, and the doctor drew\nhis companions toward the Senegal.", "\"My friends,\" said the doctor, \"here is where OUR passage of the African\nContinent really commences; up to this time we have been following the", "\"To-morrow,\" resumed the doctor, \"we shall bury him in the African soil\nwhich he has besprinkled with his blood.\"", "There it was at last, outstretched before them, that Caspian Sea of\nAfrica, the existence of which was so long consigned to the realms of", "It was decided by the aeronauts that they would alight at the first\nfavorable place. They found that they should have to make a prolonged", "\"Who can tell, Joe? One thing, however, will be undeniable: a thousand\nwitnesses saw us start on one side of the African Continent, and a\nthousand more will see us arrive on the other.\"", "Only a few scattered huts could be seen through the pestilential mists;\nbut the appearance of the country soon changed, for it often happens in\nAfrica that some of the unhealthiest districts lie close beside others\nthat are perfectly salubrious.", "and the features of the countries the travellers pass over are\ndescribed, it is entirely accurate. It gives, in some particulars, a\nsurvey of nearly the whole field of African discovery, and in this", "the end of our trip. Where do you expect to strike the African coast,\ndoctor?\"", "\"Here, at last, is Africa, such as you pictured it to yourself, Joe! Was\nI not right in saying, 'Wait a little?' eh?\"" ], [ "Kennedy asked this question only to tease Joe; and he did so the\nmore willingly because he had, for a moment, shared the poor lad's", "It was Kennedy, who had crawled up close to him, and was begging there,\nupon his knees, and weeping piteously.", "\"Take care, Mr. Kennedy,\" said Joe at last; \"let us not overdo the\nthing!\" and he panted for breath.", "\"Indeed!\" said Joe, \"do you think of doing that, Mr. Kennedy?\"\n\n\"Why, certainly I do! Just see what a fine hide it is!\"", "Kennedy, while still rubbing his eyes, which he could scarcely keep\nopen, calmly lit his pipe. He then ensconced himself in a corner, and\nbegan to smoke vigorously by way of keeping awake.", "Kennedy was getting over his nervousness and falling into his wandering\nmeditations again, when a sharp whistle pierced his ear.", "\"Why, no, Mr. Kennedy!\" said Joe; \"and then, you know, I am light to\nmake up for it.\"", "Dick Kennedy was a Scotchman, in the full acceptation of the word--open,\nresolute, and headstrong. He lived in the town of Leith, which is near", "\"Come! come, Mr. Kennedy! My master will be sending for us directly.\"\n\n\"I shan't go.\"\n\n\"Oh! now, you won't vex the doctor in that way!\"", "Kennedy stole around behind some clumps of shrubbery, while Joe remained\nmotionless where he was. The former, at length, got within gunshot and\nfired.", "\"Poor fellow!\" said the doctor. \"Mr. Kennedy, you and I weigh, unless I\nam mistaken, about four hundred pounds--so that you'll have to get rid\nof at least that weight, since it was put in here to make up for us.\"", "\"An ugly country this!\" sighed Joe; \"and it seems to me that Mr. Kennedy\nis none the better for having passed the night in it.\"\n\n\"To tell the truth, I have quite a high fever,\" said the sportsman.", "\"Well, Mr. Kennedy,\" Joe would say.\n\n\"Well, my boy?\"\n\n\"The moment's at hand. It seems that we are to sail for the moon.\"", "Kennedy remarked the circumstance.", "\"There's no occasion for all that,\" responded the latter; \"but you can\ntake your revenge some time, Mr. Kennedy, always hoping though that you\nmay never have occasion to do the same for me!\"", "\"Very well indeed!\" assented Kennedy.\n\n\"Come, now, Mr. Kennedy, are you sorry that you came with us?\"\n\n\"I'd like to see anybody prevent my coming!\"", "Joe at once rushed like a crazy man among the scattered fragments, and\nKennedy was not long in following his example.\n\n\"Keep cool, Joe,\" said his master.", "Kennedy was visibly suffering, and the fever was mastering his vigorous\nconstitution.", "\"Oh! what I did,\" laughed the other, \"was not for you; it was to save\nMr. Kennedy's rifle. I owed him that good turn for the affair with the", "\"Master! Kennedy!\" ejaculated Joe, and overwhelmed, at last, with\nfatigue and emotion, the poor fellow fainted away, while Kennedy, almost\nbeside himself, kept exclaiming:\n\n\"Saved--saved!\"" ], [ "From the moment of their departure, the travellers moved with great\nvelocity. They longed to leave behind them the desert, which had so\nnearly been fatal to them.", "During this dull Monday, Dr. Ferguson diverted his thoughts by giving\nhis companions a thousand details concerning the country they were", "character of the trip by sea was regarded as a good omen of the probable\nissue of the trip through the air. Every one looked forward to the\nhour of arrival, and sought to give the last touch to the doctor's", "other. But the travellers were not more seen than they saw. They\nsped rapidly and directly to the northwest, and the doctor's anxiety\ngradually subsided.", "In spite of an intense fever, he quitted that place on the 7th of March,\naccompanied by a single servant. The principal aim of his journey was to", "Our dazzling narrator persuaded his hearers that, after this trip, many\nothers still more wonderful would be undertaken. In fact, it was to be\nbut the first of a long series of superhuman expeditions.", "In about ten minutes a few jerking motions by the balloon indicated that\nit was disposed to start again. The Talabas were approaching. They were\nhardly five hundred paces away.", "Dr. Ferguson had long been engaged upon the details of his expedition.\nIt is easy to comprehend that the balloon--that marvellous vehicle\nwhich was to convey him through the air--was the constant object of his\nsolicitude.", "crossing. The surface, which was quite flat, offered no impediment\nto their progress. The doctor's sole anxiety arose from the obstinate\nnortheast wind which continued to blow furiously, and bore them away", "These anxieties, and the incidents recently occurring, had not been\nwithout their effect upon the spirits of our three travellers. They\nconversed less, and were more wrapt in their own thoughts.", "atmosphere. He therefore resolved to make all his preparations for a\nstart, so as to avail himself of the first opportunity. The feeding-tank\nand the water-tank were both completely filled.", "secondly, as to the trip itself, which, some contended, would not be\nundertaken at all, and which was really contemplated, according to\nothers; thirdly, upon the success or failure of the enterprise;", "ever, and thinking of nothing but his expedition. Dick seemed a good\ndeal moved, but was unwilling to betray it; while Joe was fairly dancing\nand breaking out in laughable remarks. The worthy fellow soon became the", "It is needless to say that the topic of conversation with every one on\nboard was Dr. Ferguson's enterprise. Seeing and hearing the doctor soon", "\"It was then that a brave young man, with his own feeble resources,\nundertook and accomplished the most astonishing of modern journeys--I", "\"That was a stupid trip of ours, after all, and I wouldn't advise any\nbody who is greedy for excitement to undertake it. It gets very tiresome", "The topic of discourse was, naturally, the aerial voyage. Joe had\nexperienced some trouble in getting the rebellious spirits to believe in", "All at once this agitation, movement and noise stopped as though by\nmagic. The balloon had just come in sight, far aloft in the sky, where", "Ere long, the crests of a mountain-range assumed a more decided\nprominence. A few peaks rose here and there, and it became necessary\nto keep a sharp lookout for the pointed cones that seemed to spring up\nevery moment.", "\"The balloon is rushing at the rate of at least thirty miles an hour.\nLean over, and see how the country is gliding away beneath us!\" said the\ndoctor." ], [ "An English frigate was just about to sail, and the three travellers\nprocured passage on board of her. On the 25th of June they arrived at\nPortsmouth, and on the next day at London.", "From the moment of their departure, the travellers moved with great\nvelocity. They longed to leave behind them the desert, which had so\nnearly been fatal to them.", "and Dr. Oudney. They set out from Tripoli in the month of March, reached\nMourzouk, the capital of Fez, and, following the route which at a later", "\"It was then that a brave young man, with his own feeble resources,\nundertook and accomplished the most astonishing of modern journeys--I", "In about ten minutes a few jerking motions by the balloon indicated that\nit was disposed to start again. The Talabas were approaching. They were\nhardly five hundred paces away.", "crossing. The surface, which was quite flat, offered no impediment\nto their progress. The doctor's sole anxiety arose from the obstinate\nnortheast wind which continued to blow furiously, and bore them away", "atmosphere. He therefore resolved to make all his preparations for a\nstart, so as to avail himself of the first opportunity. The feeding-tank\nand the water-tank were both completely filled.", "\"Not the least in the world.\"\n\n\"Why, that makes scarcely one hundred and twenty miles--in other words,\na nothing.\"\n\n\"Almost nothing, Samuel.\"", "other. But the travellers were not more seen than they saw. They\nsped rapidly and directly to the northwest, and the doctor's anxiety\ngradually subsided.", "But the doctor could do nothing with them, and, therefore, set off\nalone, amid the starry clearness of the night. The first few steps he", "\"Then,\" said Kennedy, following out on the map the direction of the\nVictoria, \"we are going due north.\"\n\n\"Due north, Dick.\"", "drove them eastward about sixty miles. It next floated over a very large\nand populous island, which the doctor took to be Farram, on which the", "At the end of about two hours the Victoria, driven along at a speed of\na little more than eight miles, very visibly neared the coast of the", "\"We left Zanzibar at nine o'clock in the morning,\" said the doctor,\nconsulting his notes, \"and, after two days' passage, we have, including", "The aeronauts swept on with the speed of twelve miles per hour, and soon\nwere passing in thirty-eight degrees twenty minutes east longitude, over\nthe village of Tounda.", "During this dull Monday, Dr. Ferguson diverted his thoughts by giving\nhis companions a thousand details concerning the country they were", "Our dazzling narrator persuaded his hearers that, after this trip, many\nothers still more wonderful would be undertaken. In fact, it was to be\nbut the first of a long series of superhuman expeditions.", "\"Then there are twenty-five degrees, or, counting sixty miles to each,\nabout fifteen hundred miles in all.\"\n\n\"A nice little walk,\" said Joe, \"for people who have to go on foot.\"", "The Victoria thus relieved resumed her ascending motion, mounted\na thousand feet into the air, and the wind, burying itself in the\ndisinflated covering, bore them away toward the northern part of the\nlake.", "\"No matter; if it only takes us to Timbuctoo, we shall not complain.\nNever was a finer voyage accomplished under better circumstances!\"" ], [ "So soon as he could get breath and look around him, he saw that he was\nbetween two natives as black as ebony, who held him, with a firm gripe,\nand uttered strange cries.", "\"That was an attack for you!\" said Joe.\n\n\"We thought you were surrounded by natives.\"\n\n\"Well, fortunately, they were only apes,\" said the doctor.", "And, in fact, there, two miles from where they were, they saw some\nthirty wild natives close together, yelling, gesticulating, and cutting", "they had practised to save the missionary, and he would soon be with\nhis friends again; but nothing was seen, not a sound was heard. The case\nseemed desperate.", "\"What holds us?\" he asked, with an accent of terror.\n\nSome of the savages were running toward them, uttering ferocious cries.", "\"He is alive!\" exclaimed Ferguson. \"God be praised! The savages have got\na fine scare, and we shall save him! Are you ready, friends?\"\n\n\"Ready, doctor, at the word.\"", "the wildest and most ferocious of them all. The chief having died a few\ndays before our travellers appeared, his sudden death was attributed to\nthe missionary, and the tribe resolved to immolate him. His sufferings", "As some demonstration against the personal safety of the doctor and his\ncompanions was feared, all three slept that night on board the Resolute.\nAt six o'clock in the morning they left their cabin, and landed on the\nisland of Koumbeni.", "the river, and he was murdered by the natives.\"", "part, and he remained a prisoner to one of the cruelest tribes of the\nNyambarra, the object of every species of maltreatment. But still", "The car was approaching the ground; but a few of the savages, more\naudacious than the rest, guessing that their victim was about to escape", "he went on teaching, instructing, and praying. The tribe having been\ndispersed and he left for dead, in one of those combats which are\nso frequent between the tribes, instead of retracing his steps, he", "him, fired, and his hat flew about him in pieces. Thereupon there was a\ngeneral scamper. The natives plunged headlong into the river, and swam", "By this time the shouts of the natives had swelled to double volume as\nthey vehemently implored the aid of the heavenly powers.", "\"Unquestionably,\" Ferguson remarked, \"those people take us for\nsupernatural beings. When Europeans came among them for the first time,", "\"Quickly, then, for I see some of the natives getting ready to recross\nthe river.\"", "\"How that man has suffered!\" said Joe, with feeling. \"He did bolder\nthings than we've done, in venturing all alone among those savage\ntribes!\"", "Thus talking to himself and walking on rapidly, Joe came right upon a\nhorde of natives in the very depths of the forest, but he halted in time", "\"Saved!\" he with a sad smile replied in English, \"saved from a cruel\ndeath! My brethren, I thank you, but my days are numbered, nay, even my\nhours, and I have but little longer to live.\"", "The blacks, who were members of the Makado tribe, were howling lustily,\nand one of them waved his bark hat in the air. Kennedy took aim at" ] ]

[ "What species was already extinct but one was killed during the course of the story?", "What type of birds attack the balloon?", "Where are the explorers when they run out of water, stranded?", "What was the tribe going to do to the missionary before he is rescued by the explorers?", "The initial exploration is to find the source of what?", "What area is described as a desert but is actually a savanna?", "What are the names of Dr. Ferguson's companions?", "Where does the trip begin on the east coast?", "Where do Dr. Samuel Ferguson and his companions travel across in the hydrogen balloon?", "Who was Dr. Ferguson's man servant?", "What type of gas is used in the balloon?", "What is the primary focus of the explorers at the beginning of their journey?", "What sort of landscape is used to describe the interior of Africa?", "When the balloon is over run by condors, what does Joe decide to do?", "What is Dick Kennedy's profession?", "Which explorer had previously gone on expeditions in the areas around the regions of the Sahara and Chad?", "Which country do the explorers return to after their African expedition?", "Where does the explorers trip in Africa begin?", "Why did the explorers save the missionary?", "Who accompanied Dr.Samuel Ferguson on his trip to Africa?", "What was Dr. Ferguson's profession?", "Why did Joe jumped out of the balloon?", "What was the purpose of Dr. Ferguson's trip to Africa?", "What was the first African place they landed on?", "What did Mr. Kennedy do for a living?", "What was the main focus at the beginning of the trip?", "Where was the starting point of the trip?", "Who did they rescue from a native tribe?" ]

[ [ "A Bluebuck antelope", "Bluebuck antelope." ], [ "Condors", "Condors attack the balloon." ], [ "The Sahara desert", "Over the Sahara Desert." ], [ "Sacrifice him", "Sacrifice him" ], [ "The Nile river", "The Nile river" ], [ "The interior of Africa near modern day Central African Republic.", "Chad" ], [ "Joe and Richard \"Dick\" Kennedy", "Joe and Richard \"Dick\" Kennedy" ], [ "Zanzibar", "Zanzibar" ], [ "The African continent ", "Africa" ], [ "Joe. ", "Joe" ], [ "Hydrogen", "Hydrogen." ], [ "They are seeking out the source of the Nile River. ", "Linking the voyages of Burton and Speke with Barth." ], [ "Desert ", "Desert" ], [ "Joe jumps out of the balloon. ", "He jumps out of the balloon." ], [ "He is a professional hunter. ", "He is a professional hunter." ], [ "Heinrich Barth ", "Heinrich Barth." ], [ "England", "England" ], [ "Zanzibar/on the east coast", "The east coast of Zanzibar." ], [ "The native tribe was preparing to sacrifice him. ", "Because he was going to be sacrificed" ], [ "His friend, Richard \"Dick\" Kennedy and his manservant Joe", "His manservant Joe and pro hunter Richard \"Dick\" Kennedy" ], [ "He was a scholar and an explorer", "He was an explorer." ], [ "Because it was attacked by condors", "It was being attacked by condors" ], [ "To link together the trips of Sir. Richard Burton and John Hanning Speke with those of Heinrich Barth", "To link together multiple other voyages to fully explore Africa." ], [ "Zanzibar", "Zanzibar" ], [ "He was a professional hunter", "Professional Hunter" ], [ "They wanted to find the source of the Nile", "Finding the source of the Nile River." ], [ "England", "Zanzibar" ], [ "A missionary man", "A missionary" ] ]

[ [ "A mother shields her daughter's eyes from the sight of\n Stephanie, the cursed one, then hurriedly kisses her\n .crucifix. A man spits at her feet then walks off.", "Ilenka addresses the crowd in Hungarian. She tells them that\n it was this white trash farm girl that threw her grandmother\n t from her home and that she now bears the curse of Lamia.", "often summoned by the Gypsies for\n their dour deeds. On the third day\n the Lamia comes for the owner of\n the accursed object.", "RHAM JAS\n Something that the old woman took\n from you, cursed, then gave back.\n Now it dawns on Stephanie. She looks to the threads on her\n coat.", "STEPHANIE\n Accursed object? What object?", "but it costs her a clump of hair that Mrs. Ganush rips from\n her head.\n Mrs. Ganush opens her mouth... wide... wider still... she", "next to her. She grabs a handful of colored push pins and\n jams them into the old woman's arm. Mrs. Ganush releases her", "SCRATCH... SCRATCH...\n The hand belongs to MRS. SYLVIA GANUSH, the aged woman who", "This is my home for twenty years.\n And I make every payment until the\n sickness took my eye.\n Mrs. Ganush turns her head to reveal a milky white eye.", "heart and chants an ancient Gypsy incantation up toward\n Milos.\n Milos SHRIEKS. A white vapor streams from his body as the", "gnarled hand plucks a thin brass button from the sleeve of\n Stephanie's coat. She waves the button through the air, and\n breathes out a single word:", "departed to curry favor with the\n deceased soul. Yes. I do believe\n you could give the curse to someone\n who has passed on... for truly, the", "The old woman bends down, beneath Stephanie's view. Stephanie\n looks about. Where'd she go?\n The old woman pops up into view, raising a chunk of concrete", "STEPHANIE\n No. No, I didn't.\n\n RHAM JAS\n Then perhaps someone has cursed\n you.\n\n STEPHANIE\n Who? 0", "The withered hands drop down to wrap around Stephanie's\n throat. Stephanie fights for breath as she frantically\n searches for a weapon. Her hand finds the box on the seat", "RHAM JAS\n The Lamia comes for the owner of\n the accursed object. Just make a\n gift of it...\n To demonstrate, he hands the envelope to Stephanie.", "MRS. GANUSH\n You shamed me.\n The Old Woman reaches down. Stephanie flinches. Mrs.'Ganush's", "A lightning flash illuminates the corpse. Mrs. Ganush's white\n eye is open and staring at Stephanie.\n Stephanie stows her fear and pulls the white envelope from", "She backs against the wall, trembling.\n Suddenly Stephanie's face is struck by an invisible hand! She\n cries out. Her mouth is bleeding.", "SHAUN SAN DENA\n Lord Jesus bless this knife and\n allow it to do your holy work.\n She makes the sign of the cross. she pours a .vial of holy\n water over the blade. She turns to Stephanie." ], [ "SHAUN SAN DENA\n I will force the spirit of the\n Lamia into the goat. Milos, that's\n when you strike.\n Stephanie blanches but remains silent.", "70.\n\n RHAM JAS\n Shaun San Dena is an experienced 41\n medium. Furthermore, she has a\n personal knowledge of the Lamia.", "Shaun San Dena's eyes clear for a moment as she struggles to\n regain control.\n Now there are two spirits battling within her. She attempts", "Lamia leaves him. Milos falls to the floor and all is quiet.\n An ashen faced Shaun San Dena halts her chant.", "SHAUN SAN DENA\n Once the spirit has entered me,\n place my hand upon the animal. Do\n you understand?\n\n STEPHANIE\n Yes.", "SHAUN SAN DENA\n (demonic voice)\n Lamia...\n Rham Jas nods discreetly to Milos who quietly uncovers the\n slaughtering blade.", "SHAUN SAN DENA\n It is time for us to begin.\n Shaun San Dena turns out the electric lights, leaving only", "RHAM JAS.\n Lamia, what is it that you desire?\n Shaun San Dena's chair abruptly spins about to face", "SHAUN SAN DENA\n I first encountered this spirit\n forty years ago in a small village\n outside of Bucharest.\n\n STEPHANIE\n And...?", "t to force the spirit of the Lamia from her body and into the\n goat. The Goat BLEATS and bucks wildly as the spirit is\n transferred. Milos raises up the slaughtering blade.", "A MAN'S LOUD LAUGHTER\n echoes about the room.\n\n SHAUN SAN DENA\n It is not the Lamia. It is the\n spirit of some unsettled soul from", "RHAM JAS\n You must banish the spirit!\n Shaun San Dena places her hands on her ayes, then over her", "SHAUN SAN DENA\n Be gone, foolish spirit!\n There is a HOWLING OF WIND and the room is again quiet.", "SHAUN SAN DENA\n Show yourself Lamia. We invite you\n into our circle.\n Quiet. Stephanie looks about. Nothing seems to be happening.", "But Shaun San Dena only chants louder. Milos SCREAMS grow\n more intense as-his body spasms in pain. Stephanie grasps at\n Shaun San Dena.", "vomits out Stephanie's dead cat. It lands atop the table.\n Stephanie screams uncontrollably.\n Shaun San Dena, is trembling as her chanting comes to a", "71.\n SHAUN SAN DENA (cont'd)\n He knew I would sense his spirit\n in this place as I have sensed", "SHAUN SAN DENA\n Lord Jesus bless this knife and\n allow it to do your holy work.\n She makes the sign of the cross. she pours a .vial of holy\n water over the blade. She turns to Stephanie.", "As Milos raises the blade for another blow, the goat bites\n his hand. In that moment, the spirit of the Lamia is\n transferred to him.", "SHAUN SAN DENA\n My heart.\n Shaun San Dena collapses into Stephanie's arms. Rham Jas\n moves to assist her. They lower Shaun San Dana to the floor." ], [ "STEPHANIE\n I'll take care of it. \n Stephanie returns to her desk.\n\n STEPHANIE\n Mrs. Ganush, another extension on\n the loan is out of the question.", "MR. JACKS\n Apparently, we've already granted\n her two extensions. And you know\n on this type of foreclosure, the\n bank makes a sizable amount in\n fees.\n He hands her back the file.", "STEPHANIE\n I've got an elderly woman asking\n for an extension on her mortgage\n payment.. They're in the process of", "She gasps and stands, her mind racing. She knows what she\n must do. She finds Mrs. Ganush's loan documents. She stuffs", "STEPHANIE\n Okay! I did it. It was me who\n denied her the loan. I was trying,\n to get ahead at work and I\n shouldn't have done it. It was\n wrong.", "just the bank's policy. I'm really\n sorry Mrs. Ganush.\n Stephanie takes the loan documents and places them neatly", "This is my home for twenty years.\n And I make every payment until the\n sickness took my eye.\n Mrs. Ganush turns her head to reveal a milky white eye.", "STEPHANIE\n Well... do you have the payment\n with you now?\n\n MRS. GANUSH\n I hope to get it soon. I just need\n a little more time.", "A mother shields her daughter's eyes from the sight of\n Stephanie, the cursed one, then hurriedly kisses her\n .crucifix. A man spits at her feet then walks off.", "ILENKA\n Wait. I know who you are. Grandma\n told me you'd come. You're the\n woman from the bank. The one who\n took her house.", "RAY\n Loo]. You said the bank had already\n granted her two extensions.\n\n (MORE)\n\n 4", "from her, she had nothing left.\n You're not welcome here.\n She starts to close the door. Stephanie halts her. Desperate", "Ilenka addresses the crowd in Hungarian. She tells them that\n it was this white trash farm girl that threw her grandmother\n t from her home and that she now bears the curse of Lamia.", "STEPHANIE\n I don't think my manager is going\n to extend you anymore credit. I'd\n like to help but...\n\n MRS. GANUSH\n Please. Won't you try?", "but it costs her a clump of hair that Mrs. Ganush rips from\n her head.\n Mrs. Ganush opens her mouth... wide... wider still... she", "Stephanie's car pulls up. she steps out, carrying Mrs.\n Ganush's loan documents.\n She passes the MOVING MEN who load the last of Mrs. Ganush's", "MRS. GANUSH\n It's yours.\n\n STEPHANIE\n I'm sorry there's nothing I can do.\n Mrs. Ganush begins to sob.", "The Old Woman reaches for the opened passenger door but\n Stephanie closes it and locks it just in time! Mrs. Ganush\n furiously pulls on the door handle to no,avail.", "1 MRS. GANUSH \n You know why.\n Terrified, Stephanie runs from the place.\n\n EXT. MRS. GANUSH'S HOUSE - DAY", "MRS. GANUSH\n Have mercy on me.\n Stephanie stands, tries to pull free, but the old woman will\n not release her leg." ], [ "have to give that job to Stu.\n Stephanie is devastated.", "STEPHANIE\n No problem.\n Jacks heads back toward his desk. Stephanie grabs her purse\n and keys and as she heads out, Stu calls after her:", "STEPHANIE\n You never said that.\n Stu rolls his eyes to Mr. Jacks.\n Stephanie caught Stu's look, but what can she do? She\n exits.", "Stu is taken aback by Stephanie's outburst. He retreats to\n his desk in confusion.\n Stephanie sits, rattled. A drop of blood falls onto a piece", "STEPHANIE \n Stu? The trainee?\n Stephanie turns to see Stu, the balding loan officer who sits\n at his desk, watching, trying to figure out what Jacks is\n saying to her.", "As Stephanie pours herself a cup of coffee, Stu and Mr. Jacks\n take the first bites of their sandwiches. Stu makes a face.\n He inspects the sandwich, shakes his head.", "39.\n Stu watches Stephanie go and gets up from his desk. She's \n left some files behind. He snoops around his desk. He notices", "moves to her desk, hoping Mr. Jacks won't notice. She's\n almost there when Stu Rubin \"accidently\" knocks a note book\n off his desk.", "12.\n\n STEPHANIE\n No I didn't, Stu.\n\n STU\n Steph, I said \"no mayo\".", "her. Stephanie glances to the vacant office of the Assistant\n Manager. The large oak desk. The thick carpet.\n She sees a calculating Stu Rubin eyeing her from his", "STU\n (quietly to Mr. Jacks)\n She messed up my order.\n Stephanie heard that.", "Mr. Jacks glances up and notes Stephanie's tardiness.\n Stu approaches Stephanie's desk.", "STEPHANIE.\n Fine.\n Ellen exits. Stephanie angrily calls after her:", "STU RUBIN\n Ha ha! You're funny, Steph.\n\n STEPHANIE\n What do you want?", "STEPHANIE'S POV - ON THE STREET\n Stu Rubin walking with two well dressed executives.\n\n STEPHANIE\n Stu?\n The men warmly escort into the First National Bank.", "STEPHANIE\n Stu. I see.\n Mr. Jacks sees tears begin to well up in her eyes.", "MR. JACKS' VOICE\n Stephanie. It's Jim. Jim Jacks.\n Sorry I'm calling so early-- but\n Last night I found some troubling\n information about our friend Stu\n Rubin...", "STU RUBIN\n Hi Steph. Just getting here?\n\n STEPHANIE\n What are you, the hall monitor?", "MR. JACKS\n I'm still deciding. Right now it's\n between Stu and yourself.\n\n 4", "from the break room. Stu is about to return to his desk when\n he remembers something: he's got two tickets to a Dodger game" ], [ "SHAUN SAN DENA\n (demonic voice)\n No! I will enjoy watching her skin\n blister and pop in hell's flame. I", "A Possessed Milos SCREAMS and spins toward Stephanie, glaring\n at her with black goat eyes. He SHOUTS at her in a gibberish", "STEPHANIE\n Tell me. Please.\n Rham Jas hesitates, then...\n\n RHAM JAS\n A bad spirit has come upon you.", "Stephanie's face! It is Mrs. Ganush that now floats above\n her! Her long yellowed fingernails scratching at Stephanie's\n skin.", "Stephanie. The mouth jerks opened and closed as if controlled\n by a bad puppeteer. Then, out of.sync, the demonic voice is", "door. It SLAMS shut in her face!\n BOOM! Another window is SHATTERED by the angry, unseen thing.\n The force knocks her to the bed. The blankets are torn from", "GOAT\n (demonic voice)\n --tricked me!\n The possessed goat emits a terrible cry! The bone chilling", "The withered hands drop down to wrap around Stephanie's\n throat. Stephanie fights for breath as she frantically\n searches for a weapon. Her hand finds the box on the seat", "She backs against the wall, trembling.\n Suddenly Stephanie's face is struck by an invisible hand! She\n cries out. Her mouth is bleeding.", "resembles the goat like face of the demon Lamia.\n It VOMITS STEAM as it angrily bares down upon her.", "RHAM JAS\n What did it sound like.\n\n STEPHANIE\n Like... shrieking. It was awful.\n He nods. Closes the book.", "becomes silent.\n Stephanie holds her breath.\n A wind whips up in the room sending papers whirling about,.\n yet all the windows are closed.", "SHRIEK of Lamia! It's oval eye reflects the blade as it\n descends toward it. The possessed Goat jerks aside and the\n blade misses, slicing into the chair.", "A mother shields her daughter's eyes from the sight of\n Stephanie, the cursed one, then hurriedly kisses her\n .crucifix. A man spits at her feet then walks off.", "Sensing something, the Kitten arches it's back. Now Stephanie\n feels it. A presence. The light bulb begins to sputter.\n She holds her breath, listens.", "Stephanie senses a change in the room... Shadows shift and\n grow deeper. The air is suddenly oppressive. Something is\n coming.", "A MAN'S LOUD LAUGHTER\n echoes about the room.\n\n SHAUN SAN DENA\n It is not the Lamia. It is the\n spirit of some unsettled soul from", "before. In every door creak... in every cold night wind... a\n haunting, soulless sound... the cry of Lamia.\n Ray races to the edge of the platform. The two lover's eyes", "A car passes in the street below. It's headlights sweep\n across the house. The headlight beams throw moving shadows on\n the wall. Stephanie notices that one particular shadow is", "WINDOW:\n In the reflection, as the light bulb flickers, we see a flash\n of ghostly hands that grope at her body. They reach up\n through the floor, and clutch at her legs, buttocks and\n breasts." ], [ "t to force the spirit of the Lamia from her body and into the\n goat. The Goat BLEATS and bucks wildly as the spirit is\n transferred. Milos raises up the slaughtering blade.", "small creature would do. You could\n sacrifice a chicken. It's all in\n here...\n Rham Jas produces a modern book on animal sacrifice which he", "STEPHANIE\n I did what you said- that blood\n offering... I killed that little\n kitty deader than Hogan's goat.\n Lotta good that did me.", "RHAM JAS\n Yes. There are many ways to appease\n a spirit. The simplest is a blood\n offering. An animal sacrifice. A", "Sensing something, the Kitten arches it's back. Now Stephanie\n feels it. A presence. The light bulb begins to sputter.\n She holds her breath, listens.", "45.\n She moves to the front door and puts her ear to it. Quiet.\n 1b But then--\n\n SCRATCH... SCRATCH...\n She runs upstairs into her bedroom and locks the door.", "burial of the smoking heart. Stephanie's kitten PURRS, as it\n rubs against her leg.\n Stephanie closes the book, shutting out the disturbing", "She considers his words, looks down to the book.\n CLOSE ON A DIAGRAM OF AN ANIMAL SACRIFICE - A creature's\n heart being cut from it's body.", "vomits out Stephanie's dead cat. It lands atop the table.\n Stephanie screams uncontrollably.\n Shaun San Dena, is trembling as her chanting comes to a", "the tables' candlelight for illumination.\n We hear the BLEATING of a goat. Stephanie startles. Milos\n reenters the room pulling a black goat along by a chain. The", "SHRIEK of Lamia! It's oval eye reflects the blade as it\n descends toward it. The possessed Goat jerks aside and the\n blade misses, slicing into the chair.", "door. It SLAMS shut in her face!\n BOOM! Another window is SHATTERED by the angry, unseen thing.\n The force knocks her to the bed. The blankets are torn from", "SHAUN SAN DENA\n Once the spirit has entered me,\n place my hand upon the animal. Do\n you understand?\n\n STEPHANIE\n Yes.", "wild and harrowing ride about the room.\n Abruptly all the madness halts: She drops to the floor. The\n bedsheet wafts to the ground beside her. Whatever it was,", "she sits up suddenly with a SNARL and starts to climb back\n in. Stephanie shifts the car into reverse. The opened\n passenger door knocks Mrs. Ganush back down to the pavement.", "A mother shields her daughter's eyes from the sight of\n Stephanie, the cursed one, then hurriedly kisses her\n .crucifix. A man spits at her feet then walks off.", "As Milos raises the blade for another blow, the goat bites\n his hand. In that moment, the spirit of the Lamia is\n transferred to him.", "goat catches sight of Stephanie. It BLEATS in fear and\n attempts to run. But Milos holds it fast and tethers it to a", "The withered hands drop down to wrap around Stephanie's\n throat. Stephanie fights for breath as she frantically\n searches for a weapon. Her hand finds the box on the seat", "RHAM JAS\n We must somehow dissuade the spirit\n from taking your soul.\n\n STEPHANIE\n How?" ], [ "RHAM JAS\n Because we are speaking of murder.\n Stephanie looks from the envelope containing the button to", "STEPHANIE\n No longer the owner? I don't\n understand.\n Rham Jas reaches into his coat pocket and removes a blank\n envelope. He places the button within and seals it.", "STEPHANIE\n I, Stephanie Brown, do hereby make\n a formal gift of this button to\n you, Sylvia Ganush.\n She jams the white envelope down the old woman's throat.", "this one.\n Stephanie stares at the button, shaking her head in\n disbelief. The RUMBLING of the approaching train builds on\n the sound track.", "STEPHANIE\n .this?\n She holds the button up for him to inspect. But it's presence\n makes him uneasy..He wags his finger back and forth. She\n lowers it.", "RAY\n Stephanie. Stop!\n Ray steps forward, still holding out the button. Stephanie", "44.\n Rham Jas gives her a sad smile and closes the text. She\n knows where. Stymied, she tucks the button back into her coat\n pocket.", "STEPHANIE\n The button...\n\n \n Stephanie's hand slowly emerges from her coat pocket. The\n thin brass button in her palm.", "STEPHANIE\n Just take the envelope and I'll\n explain. Please.\n The Old Man considers. He reaches for the envelope when an", "STEPHANIE\n I didn't tell you the whole story.\n That old woman... after she knocked\n me down, and pulled the button from\n my coat, she told me that...", "MRS. GANUSH\n You want it?\n Stephanie snatches the button back. Mrs. Ganush smiles\n cryptically as Stephanie stuffs the button into her coat\n pocket.", "RAY\n What? What is it?\n She backs away in horror, but Ray follows her with the button\n still in his hand.\n The RUMBLING grows louder. She's backing up toward the edge\n of the platform.", "Stu is taken aback by Stephanie's outburst. He retreats to\n his desk in confusion.\n Stephanie sits, rattled. A drop of blood falls onto a piece", "STEPHANIE\n I just need you to hang on to this\n envelope for me. Just until\n tomorrow.\n She extends the envelope to him. He hesitates.", "STEPHANIE\n It's better if we meet at the\n D station. There's something I've got\n to do on the way.\n Stephanie suddenly' clutches at her purse. The envelope is\n gone!", "STEPHANIE\n Never mind.\n Stephanie returns to her seat, ashamed at what she almost \n did.", "STEPHANIE\n What--? What are you doing?\n Stephanie sits up, reaching for her button. But the old woman\n 1 moves it out of reach.", "RAY\n Is it over?\n Stephanie, stares at her envelope, thinks about telling him,\n then...", "STEPHANIE\n It's got to be here!\n Then, Stephanie comes upon something under the seat. She\n smiles and stands. A white envelope held tightly in her\n hand.", "STEPHANIE\n You never said that.\n Stu rolls his eyes to Mr. Jacks.\n Stephanie caught Stu's look, but what can she do? She\n exits." ], [ "STEPHANIE\n I, Stephanie Brown, do hereby make\n a formal gift of this button to\n you, Sylvia Ganush.\n She jams the white envelope down the old woman's throat.", "STEPHANIE\n No longer the owner? I don't\n understand.\n Rham Jas reaches into his coat pocket and removes a blank\n envelope. He places the button within and seals it.", "RHAM JAS\n Because we are speaking of murder.\n Stephanie looks from the envelope containing the button to", "RAY\n What? What is it?\n She backs away in horror, but Ray follows her with the button\n still in his hand.\n The RUMBLING grows louder. She's backing up toward the edge\n of the platform.", "STEPHANIE\n The button...\n\n \n Stephanie's hand slowly emerges from her coat pocket. The\n thin brass button in her palm.", "this one.\n Stephanie stares at the button, shaking her head in\n disbelief. The RUMBLING of the approaching train builds on\n the sound track.", "MRS. GANUSH\n You want it?\n Stephanie snatches the button back. Mrs. Ganush smiles\n cryptically as Stephanie stuffs the button into her coat\n pocket.", "STEPHANIE\n .this?\n She holds the button up for him to inspect. But it's presence\n makes him uneasy..He wags his finger back and forth. She\n lowers it.", "RAY\n Stephanie. Stop!\n Ray steps forward, still holding out the button. Stephanie", "STEPHANIE\n I didn't tell you the whole story.\n That old woman... after she knocked\n me down, and pulled the button from\n my coat, she told me that...", "STEPHANIE\n What--? What are you doing?\n Stephanie sits up, reaching for her button. But the old woman\n 1 moves it out of reach.", "STEPHANIE\n Just take the envelope and I'll\n explain. Please.\n The Old Man considers. He reaches for the envelope when an", "RHAM JAS\n The Lamia comes for the owner of\n the accursed object. Just make a\n gift of it...\n To demonstrate, he hands the envelope to Stephanie.", "gnarled hand plucks a thin brass button from the sleeve of\n Stephanie's coat. She waves the button through the air, and\n breathes out a single word:", "CURSED BUTTON!\n CAMERA RACES INTO A HUGE CLOSE UP OF THE BUTTON with a\n terrible CLASHING of symbols!.\n Stephanie can't breathe.", "RHAM JAS\n No matter what condition the button\n is in, you would still be the\n owner. The Lamia would still come\n to take you.\n\n STEPHANIE\n Take me where?", "STEPHANIE\n Well, yes! Some Old Woman...\n\n RAY\n Well anyone can see she lost a\n button. So what?", "STEPHANIE\n No, I-\n Rham Jas grabs her arm and turns it, revealing the threads.\n that once held the button on her coat sleeve.\n\n RHAM JAS\n A button.", "STEPHANIE\n It's better if we meet at the\n D station. There's something I've got\n to do on the way.\n Stephanie suddenly' clutches at her purse. The envelope is\n gone!", "envelope and a single, staring white eye.\n Stephanie tries to climb out but the walls are too slick.\n She grabs at a clump of sod at the top of the hole but it" ], [ "STEPHANIE\n Tell me. Please.\n Rham Jas hesitates, then...\n\n RHAM JAS\n A bad spirit has come upon you.", "RHAM JAS\n Yes. Now repeat these words... I\n welcome the dead into my soul...\n Rham Jae waits for Stephanie's response. She's shifts in her\n seat uncomfortably.", "RHAM JAS\n We must somehow dissuade the spirit\n from taking your soul.\n\n STEPHANIE\n How?", "RHAM JAS\n It is a nasty spirit. A taker of\n souls. A creature of misfortune for\n you and those around you. It is", "RHAM JAS\n What did it sound like.\n\n STEPHANIE\n Like... shrieking. It was awful.\n He nods. Closes the book.", "RHAM JAS\n Perhaps on this final evening, you\n should finish up the business of\n this world. For before the night is\n through, the Lamia will come for\n the owner of the accursed object.", "RHAM JAS\n You must banish the spirit!\n Shaun San Dena places her hands on her ayes, then over her", "STEPHANIE\n How?\n\n RHAM JAS\n Did you blaspheme the dead while\n visiting a grave site?\n\n STEPHANIE\n No.", "RHAM JAS\n Your hand, please.\n Stephanie extends her hand to Rham Jas. He closes his eyes\n and concentrates. Stephanie smiles excitedly to Ray, who\n raises a skeptical eyebrow.", "63.\n\n RHAM JAS\n 1 A seance. And it should be soon. \n For tomorrow will be the third\n night...", "RHAM JAS\n No. I'm afraid you misunderstand.\n Rham Jas looks at her with pity.\n\n STEPHANIE\n What?", "RHAM JAS\n Whatever you decide, you have until\n sunrise.'\n She nods goodbye as Ray's car pulls up. Ray opens the door.\n for her and she gets in.", "RHAM JAS\n Because he wasn't afraid to bring\n God into the equation.\n Rham Jas takes a seat at the table, across from Stephanie.", "RHAM JAS\n No. You saw her drive the Lamia\n from the seance. That is all. It\n will be back.", "RHAM JAS\n The Lamia comes for the owner of\n the accursed object. Just make a\n gift of it...\n To demonstrate, he hands the envelope to Stephanie.", "STEPHANIE\n What do I have to do?\n\n RHAM JAS\n You must allow the darkness in. You\n must invite the dead to co-mingle\n with your spirit..", "RHAM JAS\n Yes. There are many ways to appease\n a spirit. The simplest is a blood\n offering. An animal sacrifice. A", "RHAM JAS\n I think that is enough for now.\n\n STEPHANIE\n Wait. You saw something. What?", "RHAM JAS\n You must not stop!\n A withered pair of hands reach down from above and clutch at", "STEPHANIE\n For god's sake, stop the chanting,\n it's killing him!\n Rham Jas pushes her aside." ], [ "SHAUN SAN DENA\n My late husband, Sandor, was also a\n medium. He chose this site to build\n the'house upon because he sensed\n certain energies that intersected\n here...", "SHAUN SAN DENA\n I first encountered this spirit\n forty years ago in a small village\n outside of Bucharest.\n\n STEPHANIE\n And...?", "SHAUN SAN DENA\n It is time for us to begin.\n Shaun San Dena turns out the electric lights, leaving only", "SHAUN SAN DENA\n Once the spirit has entered me,\n place my hand upon the animal. Do\n you understand?\n\n STEPHANIE\n Yes.", "71.\n SHAUN SAN DENA (cont'd)\n He knew I would sense his spirit\n in this place as I have sensed", "70.\n\n RHAM JAS\n Shaun San Dena is an experienced 41\n medium. Furthermore, she has a\n personal knowledge of the Lamia.", "But Shaun San Dena only chants louder. Milos SCREAMS grow\n more intense as-his body spasms in pain. Stephanie grasps at\n Shaun San Dena.", "SHAUN SAN DENA\n We must all.be receptive.\n Shaun San Dena begins to intone a Romanian Gypsy chant.\n Stephanie leans close to speak quietly with Rham Jae.", "Shaun San Dena's eyes clear for a moment as she struggles to\n regain control.\n Now there are two spirits battling within her. She attempts", "SHAUN SAN DENA\n My heart.\n Shaun San Dena collapses into Stephanie's arms. Rham Jas\n moves to assist her. They lower Shaun San Dana to the floor.", "SHAUN SAN DENA\n I was an. inexperienced seer then.\n I've learned much since that woeful", "SHAUN SAN DENA\n (demonic voice)\n No! You--", "SHAUN SAN DENA\n Be gone, foolish spirit!\n There is a HOWLING OF WIND and the room is again quiet.", "Shaun San Dena's eyes roll up into her head. She emits a low\n and powerful MOAN. Her head slumps onto her shoulders. Then", "Behind the couple, Stephanie notices a neon sign in a\n storefront window. It reads: PSYCHIC.", "Lamia leaves him. Milos falls to the floor and all is quiet.\n An ashen faced Shaun San Dena halts her chant.", "RHAM JAS\n You must banish the spirit!\n Shaun San Dena places her hands on her ayes, then over her", "SHAUN SAN DENA\n I will force the spirit of the\n Lamia into the goat. Milos, that's\n when you strike.\n Stephanie blanches but remains silent.", "SHUAN SAN DENA\n I lost a young boy's soul to the\n beast.\n\n STEPHANIE\n That's reassuring.", "SHAUN SAN DENA\n He's coming..." ], [ "MRS. GANUSH\n I, Sylvia Ganush, beg. On my\n mother's grave, I beg you.", "STEPHANIE\n Hi. Yes. I came to see Sylvia\n Ganush. Is she here?", "reads the name. \"Sylvia Ganush\".\n She's scared now, not sure if she can really go through with", "MRS. GANUSH\n .and you shame me.\n Mrs. Ganush suddenly grasps Stephanie's arm. Stephanie tries", "STEPHANIE\n I, Stephanie Brown, do hereby make\n a formal gift of this button to\n you, Sylvia Ganush.\n She jams the white envelope down the old woman's throat.", "MRS. GANUSH\n It was what I wanted before you\n shamed me. Now I want to see you\n suffer.\n\n STEPHANIE\n Please! I've suffered enough!", "1 MRS. GANUSH \n You know why.\n Terrified, Stephanie runs from the place.\n\n EXT. MRS. GANUSH'S HOUSE - DAY", "MRS. GANUSH\n You shamed me.\n The Old Woman reaches down. Stephanie flinches. Mrs.'Ganush's", "A mother shields her daughter's eyes from the sight of\n Stephanie, the cursed one, then hurriedly kisses her\n .crucifix. A man spits at her feet then walks off.", "Stephanie's face! It is Mrs. Ganush that now floats above\n her! Her long yellowed fingernails scratching at Stephanie's\n skin.", "Stephanie SCREAMS as...\n MRS. GANUSH.appears in the headlights, standing on the road\n before them! Ray hits the breaks. The car SCREECHES to a", "SCRATCH... SCRATCH...\n The hand belongs to MRS. SYLVIA GANUSH, the aged woman who", "A lightning flash illuminates the corpse. Mrs. Ganush's white\n eye is open and staring at Stephanie.\n Stephanie stows her fear and pulls the white envelope from", "This is my home for twenty years.\n And I make every payment until the\n sickness took my eye.\n Mrs. Ganush turns her head to reveal a milky white eye.", "next to her. She grabs a handful of colored push pins and\n jams them into the old woman's arm. Mrs. Ganush releases her", "MRS. GANUSH\n Soon it will be you, who comes\n begging to me. It begins tonight\n when you hear the cry.\n\n STEPHANIE\n What cry?", "but it costs her a clump of hair that Mrs. Ganush rips from\n her head.\n Mrs. Ganush opens her mouth... wide... wider still... she", "Ilenka addresses the crowd in Hungarian. She tells them that\n it was this white trash farm girl that threw her grandmother\n t from her home and that she now bears the curse of Lamia.", "STEPHANIE\n (into the phone)\n Could you please come over?\n Mrs. Ganush finally releases her grip and bows her head in\n humiliation.", "STEPHANIE\n I'm giving it back to you.\n She grabs Mrs. Ganush's hand and tries to get her clenched" ], [ "but it costs her a clump of hair that Mrs. Ganush rips from\n her head.\n Mrs. Ganush opens her mouth... wide... wider still... she", "This is my home for twenty years.\n And I make every payment until the\n sickness took my eye.\n Mrs. Ganush turns her head to reveal a milky white eye.", "MRS. GANUSH\n You want it?\n Stephanie snatches the button back. Mrs. Ganush smiles\n cryptically as Stephanie stuffs the button into her coat\n pocket.", "MRS. GANUSH\n .and you shame me.\n Mrs. Ganush suddenly grasps Stephanie's arm. Stephanie tries", "MRS. GANUSH\n You shamed me.\n The Old Woman reaches down. Stephanie flinches. Mrs.'Ganush's", "MRS. GANUSH\n It was what I wanted before you\n shamed me. Now I want to see you\n suffer.\n\n STEPHANIE\n Please! I've suffered enough!", "A lightning flash illuminates the corpse. Mrs. Ganush's white\n eye is open and staring at Stephanie.\n Stephanie stows her fear and pulls the white envelope from", "STEPHANIE\n I'm giving it back to you.\n She grabs Mrs. Ganush's hand and tries to get her clenched", "She gasps and stands, her mind racing. She knows what she\n must do. She finds Mrs. Ganush's loan documents. She stuffs", "into a manila folder. she glances up but Mrs. Ganush is gone..\n Stephanie turns in her chair and is startled to see the old", "next to her. She grabs a handful of colored push pins and\n jams them into the old woman's arm. Mrs. Ganush releases her", "MRS. GANUSH\n Have mercy on me.\n Stephanie stands, tries to pull free, but the old woman will\n not release her leg.", "STEPHANIE\n Accursed object? What object?", "MRS. GANUSH\n It's yours.\n\n STEPHANIE\n I'm sorry there's nothing I can do.\n Mrs. Ganush begins to sob.", "RHAM JAS\n Something that the old woman took\n from you, cursed, then gave back.\n Now it dawns on Stephanie. She looks to the threads on her\n coat.", "MRS. GANUSH\n Soon it will be you, who comes\n begging to me. It begins tonight\n when you hear the cry.\n\n STEPHANIE\n What cry?", "1 MRS. GANUSH \n You know why.\n Terrified, Stephanie runs from the place.\n\n EXT. MRS. GANUSH'S HOUSE - DAY", "SCRATCH... SCRATCH...\n The hand belongs to MRS. SYLVIA GANUSH, the aged woman who", "MRS. GANUSH\n I knew you'd come.\n Stephanie almost jumps out of her skin. As her eyes adjust", "lot.\n It's Mrs. Ganush's linen handkerchief.\n It whisks about like a ghost, swirling closer and closer." ], [ "39.\n Stu watches Stephanie go and gets up from his desk. She's \n left some files behind. He snoops around his desk. He notices", "her. Stephanie glances to the vacant office of the Assistant\n Manager. The large oak desk. The thick carpet.\n She sees a calculating Stu Rubin eyeing her from his", "STEPHANIE\n No problem.\n Jacks heads back toward his desk. Stephanie grabs her purse\n and keys and as she heads out, Stu calls after her:", "moves to her desk, hoping Mr. Jacks won't notice. She's\n almost there when Stu Rubin \"accidently\" knocks a note book\n off his desk.", "Stu is taken aback by Stephanie's outburst. He retreats to\n his desk in confusion.\n Stephanie sits, rattled. A drop of blood falls onto a piece", "of the front seat to pull even harder... Stephanie's neck is\n now bent so far back it's about to snap!\n Stephanie's hand finds the stapler, trips the release. It", "Stephanie sits at her desk, entering data into her computer.\n She glances across the bank to see Stu and Mr. Jacks emerging", "STEPHANIE \n Stu? The trainee?\n Stephanie turns to see Stu, the balding loan officer who sits\n at his desk, watching, trying to figure out what Jacks is\n saying to her.", "into a manila folder. she glances up but Mrs. Ganush is gone..\n Stephanie turns in her chair and is startled to see the old", "Stephanie hands Mr. Jacks the loan file. He puts on his\n bifocals, studies it.\n Stephanie glances over her shoulder.", "STEPHANIE\n You never said that.\n Stu rolls his eyes to Mr. Jacks.\n Stephanie caught Stu's look, but what can she do? She\n exits.", "12.\n\n STEPHANIE\n No I didn't, Stu.\n\n STU\n Steph, I said \"no mayo\".", "Mr. Jacks glances up and notes Stephanie's tardiness.\n Stu approaches Stephanie's desk.", "STU\n (quietly to Mr. Jacks)\n She messed up my order.\n Stephanie heard that.", "Hidden from Mr. Jack's view, Ellen quickly scoops up the\n Kitten and places it into her purse.\n As Mr. Jacks arrives at Stephanie's desk, he overhears:", "She gasps and stands, her mind racing. She knows what she\n must do. She finds Mrs. Ganush's loan documents. She stuffs", "them into a folder, grabs her purse and bolts for the exit.\n Mr. Jacks engaged with a customer, calls after her:", "STEPHANIE.\n Fine.\n Ellen exits. Stephanie angrily calls after her:", "STEPHANIE\n Wait! Where's my envelope?\n\n RAY\n What envelope?\n She opens the car door and frantically rummages around the\n floor, through Ray's papers.", "Stephanie's car pulls up. she steps out, carrying Mrs.\n Ganush's loan documents.\n She passes the MOVING MEN who load the last of Mrs. Ganush's" ], [ "t to force the spirit of the Lamia from her body and into the\n goat. The Goat BLEATS and bucks wildly as the spirit is\n transferred. Milos raises up the slaughtering blade.", "SHRIEK of Lamia! It's oval eye reflects the blade as it\n descends toward it. The possessed Goat jerks aside and the\n blade misses, slicing into the chair.", "RHAM JAS\n The Lamia comes for the owner of\n the accursed object. Just make a\n gift of it...\n To demonstrate, he hands the envelope to Stephanie.", "As Milos raises the blade for another blow, the goat bites\n his hand. In that moment, the spirit of the Lamia is\n transferred to him.", "small creature would do. You could\n sacrifice a chicken. It's all in\n here...\n Rham Jas produces a modern book on animal sacrifice which he", "Lamia leaves him. Milos falls to the floor and all is quiet.\n An ashen faced Shaun San Dena halts her chant.", "43.\n\n STEPHANIE\n Lamia. Right. That's the word the \n old woman used.", "RHAM JAS\n We must somehow dissuade the spirit\n from taking your soul.\n\n STEPHANIE\n How?", "Ilenka addresses the crowd in Hungarian. She tells them that\n it was this white trash farm girl that threw her grandmother\n t from her home and that she now bears the curse of Lamia.", "RHAM JAS\n Perhaps on this final evening, you\n should finish up the business of\n this world. For before the night is\n through, the Lamia will come for\n the owner of the accursed object.", "SHAUN SAN DENA\n I will force the spirit of the\n Lamia into the goat. Milos, that's\n when you strike.\n Stephanie blanches but remains silent.", "RHAM JAS\n No. You saw her drive the Lamia\n from the seance. That is all. It\n will be back.", "before. In every door creak... in every cold night wind... a\n haunting, soulless sound... the cry of Lamia.\n Ray races to the edge of the platform. The two lover's eyes", "STEPHANIE\n Strange how things work out. She\n waited years for another chance to\n overcome the lamia ..and finally\n she did.", "pitched static, the sounds of the Lamia buried within.\n She sets the phone down.\n For a moment all is quiet. Should she go back down? Then she", "RHAM JAS\n Yes. There are many ways to appease\n a spirit. The simplest is a blood\n offering. An animal sacrifice. A", "SHAUN SAN DENA\n (demonic voice)\n Lamia...\n Rham Jas nods discreetly to Milos who quietly uncovers the\n slaughtering blade.", "Rham Jae kneels at Milos' side. He's starting to come around.\n Milos stands, shaken. The Lamia is gone.", "MRS. GANUSH\n The Lamia. It's coming for you.\n A large black, BUZZING fly lands on Stephanie's face. She", "RHAM JAS\n No matter what condition the button\n is in, you would still be the\n owner. The Lamia would still come\n to take you.\n\n STEPHANIE\n Take me where?" ], [ "Shaun San Dena's eyes clear for a moment as she struggles to\n regain control.\n Now there are two spirits battling within her. She attempts", "SHAUN SAN DENA\n It is time for us to begin.\n Shaun San Dena turns out the electric lights, leaving only", "But Shaun San Dena only chants louder. Milos SCREAMS grow\n more intense as-his body spasms in pain. Stephanie grasps at\n Shaun San Dena.", "SHAUN SAN DENA\n My heart.\n Shaun San Dena collapses into Stephanie's arms. Rham Jas\n moves to assist her. They lower Shaun San Dana to the floor.", "SHAUN SAN DENA\n Once the spirit has entered me,\n place my hand upon the animal. Do\n you understand?\n\n STEPHANIE\n Yes.", "STEPHANIE\n I'll do whatever it takes. And the\n sooner the better.\n\n SHAUN SAN DENA\n Our business must wait till\n darkness falls. Enough time for\n tea.", "Shaun San Dena grabs at her chest, struggles for breath.\n Stephanie rushes over to steady her.", "SHAUN SAN DENA\n I first encountered this spirit\n forty years ago in a small village\n outside of Bucharest.\n\n STEPHANIE\n And...?", "SHAUN SAN DENA\n Lord Jesus bless this knife and\n allow it to do your holy work.\n She makes the sign of the cross. she pours a .vial of holy\n water over the blade. She turns to Stephanie.", "SHAUN SAN DENA\n We must all.be receptive.\n Shaun San Dena begins to intone a Romanian Gypsy chant.\n Stephanie leans close to speak quietly with Rham Jae.", "SHAUN SAN DENA\n (demonic voice)\n No! You--", "SHAUN SAN DENA\n (demonic voice)\n No! I will enjoy watching her skin\n blister and pop in hell's flame. I", "SHUAN SAN DENA\n I lost a young boy's soul to the\n beast.\n\n STEPHANIE\n That's reassuring.", "SHAUN SAN DENA\n I will force the spirit of the\n Lamia into the goat. Milos, that's\n when you strike.\n Stephanie blanches but remains silent.", "SHAUN SAN DENA\n He's coming...", "RHAM JAS.\n Lamia, what is it that you desire?\n Shaun San Dena's chair abruptly spins about to face", "Lamia leaves him. Milos falls to the floor and all is quiet.\n An ashen faced Shaun San Dena halts her chant.", "71.\n SHAUN SAN DENA (cont'd)\n He knew I would sense his spirit\n in this place as I have sensed", "vomits out Stephanie's dead cat. It lands atop the table.\n Stephanie screams uncontrollably.\n Shaun San Dena, is trembling as her chanting comes to a", "SHAUN SAN DENA\n My late husband, Sandor, was also a\n medium. He chose this site to build\n the'house upon because he sensed\n certain energies that intersected\n here..." ], [ "Lamia leaves him. Milos falls to the floor and all is quiet.\n An ashen faced Shaun San Dena halts her chant.", "SHAUN SAN DENA\n (demonic voice)\n Lamia...\n Rham Jas nods discreetly to Milos who quietly uncovers the\n slaughtering blade.", "Shaun San Dena's eyes clear for a moment as she struggles to\n regain control.\n Now there are two spirits battling within her. She attempts", "SHAUN SAN DENA\n I will force the spirit of the\n Lamia into the goat. Milos, that's\n when you strike.\n Stephanie blanches but remains silent.", "70.\n\n RHAM JAS\n Shaun San Dena is an experienced 41\n medium. Furthermore, she has a\n personal knowledge of the Lamia.", "RHAM JAS.\n Lamia, what is it that you desire?\n Shaun San Dena's chair abruptly spins about to face", "SHAUN SAN DENA\n It is time for us to begin.\n Shaun San Dena turns out the electric lights, leaving only", "But Shaun San Dena only chants louder. Milos SCREAMS grow\n more intense as-his body spasms in pain. Stephanie grasps at\n Shaun San Dena.", "SHAUN SAN DENA\n My heart.\n Shaun San Dena collapses into Stephanie's arms. Rham Jas\n moves to assist her. They lower Shaun San Dana to the floor.", "SHAUN SAN DENA\n We must all.be receptive.\n Shaun San Dena begins to intone a Romanian Gypsy chant.\n Stephanie leans close to speak quietly with Rham Jae.", "SHAUN SAN DENA\n (demonic voice)\n No! You--", "SHAUN SAN DENA\n Show yourself Lamia. We invite you\n into our circle.\n Quiet. Stephanie looks about. Nothing seems to be happening.", "SHAUN SAN DENA\n (demonic voice)\n No! I will enjoy watching her skin\n blister and pop in hell's flame. I", "RHAM JAS\n You must banish the spirit!\n Shaun San Dena places her hands on her ayes, then over her", "SHAUN SAN DENA\n Once the spirit has entered me,\n place my hand upon the animal. Do\n you understand?\n\n STEPHANIE\n Yes.", "Shaun San Dena's eyes roll up into her head. She emits a low\n and powerful MOAN. Her head slumps onto her shoulders. Then", "vomits out Stephanie's dead cat. It lands atop the table.\n Stephanie screams uncontrollably.\n Shaun San Dena, is trembling as her chanting comes to a", "A MAN'S LOUD LAUGHTER\n echoes about the room.\n\n SHAUN SAN DENA\n It is not the Lamia. It is the\n spirit of some unsettled soul from", "Rham Jas rouses a stunned Shaun San Dena.", "Shaun San Dena grabs at her chest, struggles for breath.\n Stephanie rushes over to steady her." ], [ "MRS. GANUSH'S CORPSE\n to lurch up and out of the coffin. Her dead arms, thrown", "A lightning flash illuminates the corpse. Mrs. Ganush's white\n eye is open and staring at Stephanie.\n Stephanie stows her fear and pulls the white envelope from", "the grave from all sides. The body of Mrs. Ganush is quickly\n being re-buried.", "DISSOLVE TO:\n LATER - Mud is pouring down the sides of the grave. In the\n bottom of the pit Stephanie has unearthed the simple pine", "Stephanie's face! It is Mrs. Ganush that now floats above\n her! Her long yellowed fingernails scratching at Stephanie's\n skin.", "A light drizzle falls as Stephanie'searches the graveyard for\n the burial place of Mrs. Ganush. She carries the shovel", "1 MRS. GANUSH \n You know why.\n Terrified, Stephanie runs from the place.\n\n EXT. MRS. GANUSH'S HOUSE - DAY", "DISSOLVE TO:\n LATER - It's raining harder. The hole Stephanie digs is now\n several feet deep.\n CLUNK: The shovel has hit the buried coffin. The rain\n intensifies.", "envelope between her broken teeth.\n Muddy water cascades down into the grave, flowing over Mrs..\n Ganush's face. It covers everything, except the jutting", "She gasps and stands, her mind racing. She knows what she\n must do. She finds Mrs. Ganush's loan documents. She stuffs", "STEPHANIE\n I'm giving it back to you.\n She grabs Mrs. Ganush's hand and tries to get her clenched", "into a manila folder. she glances up but Mrs. Ganush is gone..\n Stephanie turns in her chair and is startled to see the old", "she sits up suddenly with a SNARL and starts to climb back\n in. Stephanie shifts the car into reverse. The opened\n passenger door knocks Mrs. Ganush back down to the pavement.", "next to her. She grabs a handful of colored push pins and\n jams them into the old woman's arm. Mrs. Ganush releases her", "MRS. GANUSH\n .and you shame me.\n Mrs. Ganush suddenly grasps Stephanie's arm. Stephanie tries", "it. A church bell TOLLS five times. There's no time to think \n about it. Stephanie looks around to make sure no one is\n watching, then starts to dig.", "MRS. GANUSH\n I knew you'd come.\n Stephanie almost jumps out of her skin. As her eyes adjust", "MRS. GANUSH\n You shamed me.\n The Old Woman reaches down. Stephanie flinches. Mrs.'Ganush's", "but it costs her a clump of hair that Mrs. Ganush rips from\n her head.\n Mrs. Ganush opens her mouth... wide... wider still... she", "STEPHANIE\n .and I'll take care of the rest.\n Mrs. Ganush's hard eyes find Stephanie's. They bore in.\n\n MRS. GANUSH\n No." ], [ "MRS. GANUSH\n You want it?\n Stephanie snatches the button back. Mrs. Ganush smiles\n cryptically as Stephanie stuffs the button into her coat\n pocket.", "STEPHANIE\n The button...\n\n \n Stephanie's hand slowly emerges from her coat pocket. The\n thin brass button in her palm.", "STEPHANIE\n I, Stephanie Brown, do hereby make\n a formal gift of this button to\n you, Sylvia Ganush.\n She jams the white envelope down the old woman's throat.", "this one.\n Stephanie stares at the button, shaking her head in\n disbelief. The RUMBLING of the approaching train builds on\n the sound track.", "RAY\n Stephanie. Stop!\n Ray steps forward, still holding out the button. Stephanie", "STEPHANIE\n I didn't tell you the whole story.\n That old woman... after she knocked\n me down, and pulled the button from\n my coat, she told me that...", "STEPHANIE\n .this?\n She holds the button up for him to inspect. But it's presence\n makes him uneasy..He wags his finger back and forth. She\n lowers it.", "RAY\n What? What is it?\n She backs away in horror, but Ray follows her with the button\n still in his hand.\n The RUMBLING grows louder. She's backing up toward the edge\n of the platform.", "RHAM JAS\n Because we are speaking of murder.\n Stephanie looks from the envelope containing the button to", "44.\n Rham Jas gives her a sad smile and closes the text. She\n knows where. Stymied, she tucks the button back into her coat\n pocket.", "STEPHANIE\n What--? What are you doing?\n Stephanie sits up, reaching for her button. But the old woman\n 1 moves it out of reach.", "STEPHANIE\n No longer the owner? I don't\n understand.\n Rham Jas reaches into his coat pocket and removes a blank\n envelope. He places the button within and seals it.", "12.\n\n STEPHANIE\n No I didn't, Stu.\n\n STU\n Steph, I said \"no mayo\".", "Stu is taken aback by Stephanie's outburst. He retreats to\n his desk in confusion.\n Stephanie sits, rattled. A drop of blood falls onto a piece", "STEPHANIE\n Never mind.\n Stephanie returns to her seat, ashamed at what she almost \n did.", "STEPHANIE\n No, I-\n Rham Jas grabs her arm and turns it, revealing the threads.\n that once held the button on her coat sleeve.\n\n RHAM JAS\n A button.", "STEPHANIE\n You never said that.\n Stu rolls his eyes to Mr. Jacks.\n Stephanie caught Stu's look, but what can she do? She\n exits.", "STEPHANIE\n No problem.\n Jacks heads back toward his desk. Stephanie grabs her purse\n and keys and as she heads out, Stu calls after her:", "of the front seat to pull even harder... Stephanie's neck is\n now bent so far back it's about to snap!\n Stephanie's hand finds the stapler, trips the release. It", "STEPHANIE\n Well, yes! Some Old Woman...\n\n RAY\n Well anyone can see she lost a\n button. So what?" ], [ "A lightning flash illuminates the corpse. Mrs. Ganush's white\n eye is open and staring at Stephanie.\n Stephanie stows her fear and pulls the white envelope from", "SHAUN SAN DENA\n (demonic voice)\n No! I will enjoy watching her skin\n blister and pop in hell's flame. I", "STEPHANIE\n Just take the envelope and I'll\n explain. Please.\n The Old Man considers. He reaches for the envelope when an", "envelope and a single, staring white eye.\n Stephanie tries to climb out but the walls are too slick.\n She grabs at a clump of sod at the top of the hole but it", "STEPHANIE\n It's got to be here!\n Then, Stephanie comes upon something under the seat. She\n smiles and stands. A white envelope held tightly in her\n hand.", "RHAM JAS\n The Lamia comes for the owner of\n the accursed object. Just make a\n gift of it...\n To demonstrate, he hands the envelope to Stephanie.", "STEPHANIE\n Wait! Where's my envelope?\n\n RAY\n What envelope?\n She opens the car door and frantically rummages around the\n floor, through Ray's papers.", "RHAM JAS\n Because we are speaking of murder.\n Stephanie looks from the envelope containing the button to", "OLD WOMAN, his wife, hobbles toward the table. The Old Man\n helps her sit and puts away her cane. They turn to Stephanie\n who withdraws the envelope.", "She returns the envelope to the purse pocket, racking her\n brains, trying to think of some way out of this. Her gaze\n lands upon a stack of newspapers on the next table. She", "The withered hands drop down to wrap around Stephanie's\n throat. Stephanie fights for breath as she frantically\n searches for a weapon. Her hand finds the box on the seat", "STEPHANIE\n No longer the owner? I don't\n understand.\n Rham Jas reaches into his coat pocket and removes a blank\n envelope. He places the button within and seals it.", "STEPHANIE\n It's better if we meet at the\n D station. There's something I've got\n to do on the way.\n Stephanie suddenly' clutches at her purse. The envelope is\n gone!", "envelope between her broken teeth.\n Muddy water cascades down into the grave, flowing over Mrs..\n Ganush's face. It covers everything, except the jutting", "STEPHANIE\n I, Stephanie Brown, do hereby make\n a formal gift of this button to\n you, Sylvia Ganush.\n She jams the white envelope down the old woman's throat.", "of the front seat to pull even harder... Stephanie's neck is\n now bent so far back it's about to snap!\n Stephanie's hand finds the stapler, trips the release. It", "STEPHANIE.\n Fine.\n Ellen exits. Stephanie angrily calls after her:", "RAY\n Is it over?\n Stephanie, stares at her envelope, thinks about telling him,\n then...", "from her, she had nothing left.\n You're not welcome here.\n She starts to close the door. Stephanie halts her. Desperate", "A cleaned up Stephanie, her hair still wet from the shower,\n drives the empty morning streets. A smile slowly comes to her\n face as we hear the rest of Mr. Jack's message:" ], [ "SHAUN SAN DENA\n It is time for us to begin.\n Shaun San Dena turns out the electric lights, leaving only", "plops back down onto the pillow. After a few seconds of pure\n sleeping bliss, she wills herself up.\n She moves through her Ikea furnished bedroom, past a \"Hang in", "This is my home for twenty years.\n And I make every payment until the\n sickness took my eye.\n Mrs. Ganush turns her head to reveal a milky white eye.", "doors behind her. She places the box of contracts on the seat\n next to her. As she starts the engine, she notices a strange\n sight: something moving, skimming along the surface of the", "The Eastern sky is growing brighter. Stephanie's car pulls\n into the lot. She removes a week end bag from her trunk and\n walks briskly toward the station.\n\n MR JACKS", "things.\n She arrives at the opened front door, gathers her courage and\n KNOCKS. No answer. She calls out:", "A cleaned up Stephanie, her hair still wet from the shower,\n drives the empty morning streets. A smile slowly comes to her\n face as we hear the rest of Mr. Jack's message:", "September, 2007\n\n\n INT. BEDROOM - BEFORE DAWN", "He hangs up. The line goes dead. She tries to throw the phone\n but it's attached with a short metal cord. She turns to the\n Pawn Broker.", "wild and harrowing ride about the room.\n Abruptly all the madness halts: She drops to the floor. The\n bedsheet wafts to the ground beside her. Whatever it was,", "Stephanie to follow. They enter a room filled with young\n Gypsies drinking, smoking and talking loudly in a Slavic\n tongue.", "Trudy's head. It shatters against the base of the door,\n spraying everyone with bits of broken china and fish. The\n shadow and FOOTSTEPS are gone.", "their stories told that the place\n was a burial ground of the \"old\n ones\" that inhabited the earth\n before them. Here, there is a", "Stephanie nods. Waits an appropriate moment, then: places the\n document gently down on the floor next to Mrs. Ganush.", "the tables' candlelight for illumination.\n We hear the BLEATING of a goat. Stephanie startles. Milos\n reenters the room pulling a black goat along by a chain. The", "others. It was to be our way of \n being together after he died. In\n earlier times it was a sacred place\n to the Tuanteteck indians. And", "darker than the others. It becomes the silhouette of Mrs.\n Ganush, but there's no one in the room with her.\n The car passes and the shadows vanish.", "swats it away. Her vision blurs and she grows dizzy. She\n leans against the car for support. When she finally looks up,\n Mrs. Ganush is gone.", "STEPHANIE\n I didn't tell you the whole story.\n That old woman... after she knocked\n me down, and pulled the button from\n my coat, she told me that...", "The old woman bends down, beneath Stephanie's view. Stephanie\n looks about. Where'd she go?\n The old woman pops up into view, raising a chunk of concrete" ], [ "her. Stephanie glances to the vacant office of the Assistant\n Manager. The large oak desk. The thick carpet.\n She sees a calculating Stu Rubin eyeing her from his", "STEPHANIE steps from the shower, quickly towels her hair. She\n stops for a moment and studies herself in the mirror. She\n has survived. The phone RINGS in the bedroom; the machine\n picks up.", "THE VACANT OFFICE\n of the former Assistant Manager. The large oak desk. The\n executive chair. Waiting to be filled.\n Stephanie turns back, pushing the thought away.", "A cleaned up Stephanie, her hair still wet from the shower,\n drives the empty morning streets. A smile slowly comes to her\n face as we hear the rest of Mr. Jack's message:", "STEPHANIE\n I'd better get back to work.\n She quickly gathers her things. Ray returns to grading his\n student's exams. The telephone RINGS. Ray hits the\n speakerphone.", "STEPHANIE\n But that's what I want it to say.\n Ellen shakes her head, no. Stephanie takes a last look in the\n mirror, decides to go with the short skirt.", "37.\n Stephanie enters the bank. She guilty glancep to the clock.\n It's 9:40. She's late. She tries to be discreet as she", "STEPHANIE.\n Fine.\n Ellen exits. Stephanie angrily calls after her:", "22 year old Stephanie Browne is jarred from a peaceful sleep\n as the alarm clock BUZZES. She hits the snooze button and", "STEPHANIE\n --Shhhl I can't let my boss see\n him.\n Stephanie glances to her manager, MR. JACKS, a heavyset man\n sitting behind a large desk.", "RHAM JAS\n Miss Brown. Allow me the pleasure\n of an introduction...\n A woman rises from the shadows.", "afternoon and let you know.\n The happy couple shake Stephanie's hand and exit. ELLEN,\n Stephanie's pretty, twenty two year old, roommate, flops down", "Stephanie sits at her desk, entering data into her computer.\n She glances across the bank to see Stu and Mr. Jacks emerging", "PULL BACK\n To reveal we are in the employee bathroom at the bank. She\n fixes her hair so it's just right. She. straightens out a tiny", "into a manila folder. she glances up but Mrs. Ganush is gone..\n Stephanie turns in her chair and is startled to see the old", "Stephanie waves as the last of her co-workers drive off. It's\n then that she notices the battered Chevy Caviler. It's parked\n in the structure.", "Stephanie site at the kitchen table in her flannel pajamas,\n entering financial data into her laptop. An episode of", "plops back down onto the pillow. After a few seconds of pure\n sleeping bliss, she wills herself up.\n She moves through her Ikea furnished bedroom, past a \"Hang in", "39.\n Stu watches Stephanie go and gets up from his desk. She's \n left some files behind. He snoops around his desk. He notices", "Stephanie's car pulls up. she steps out, carrying Mrs.\n Ganush's loan documents.\n She passes the MOVING MEN who load the last of Mrs. Ganush's" ], [ "MRS. GANUSH\n I, Sylvia Ganush, beg. On my\n mother's grave, I beg you.", "STEPHANIE\n Hi. Yes. I came to see Sylvia\n Ganush. Is she here?", "reads the name. \"Sylvia Ganush\".\n She's scared now, not sure if she can really go through with", "STEPHANIE\n I, Stephanie Brown, do hereby make\n a formal gift of this button to\n you, Sylvia Ganush.\n She jams the white envelope down the old woman's throat.", "MRS. GANUSH\n Soon it will be you, who comes\n begging to me. It begins tonight\n when you hear the cry.\n\n STEPHANIE\n What cry?", "MRS. GANUSH\n .and you shame me.\n Mrs. Ganush suddenly grasps Stephanie's arm. Stephanie tries", "MRS. GANUSH\n It was what I wanted before you\n shamed me. Now I want to see you\n suffer.\n\n STEPHANIE\n Please! I've suffered enough!", "STEPHANIE\n I'm giving it back to you.\n She grabs Mrs. Ganush's hand and tries to get her clenched", "MRS. GANUSH\n It's yours.\n\n STEPHANIE\n I'm sorry there's nothing I can do.\n Mrs. Ganush begins to sob.", "STEPHANIE\n (into the phone)\n Could you please come over?\n Mrs. Ganush finally releases her grip and bows her head in\n humiliation.", "STEPHANIE\n Of course. What can I do for you?\n Mrs. Ganush coughs up phlegm and spits it into a linen", "SCRATCH... SCRATCH...\n The hand belongs to MRS. SYLVIA GANUSH, the aged woman who", "STEPHANIE\n Mrs. \"Ganush\"?\n The old woman nods.", "MRS. GANUSH\n You want it?\n Stephanie snatches the button back. Mrs. Ganush smiles\n cryptically as Stephanie stuffs the button into her coat\n pocket.", "STEPHANIE\n .and I'll take care of the rest.\n Mrs. Ganush's hard eyes find Stephanie's. They bore in.\n\n MRS. GANUSH\n No.", "MRS. GANUSH\n Have mercy on me.\n Stephanie stands, tries to pull free, but the old woman will\n not release her leg.", "MRS. GANUSH\n You shamed me.\n The Old Woman reaches down. Stephanie flinches. Mrs.'Ganush's", "but it costs her a clump of hair that Mrs. Ganush rips from\n her head.\n Mrs. Ganush opens her mouth... wide... wider still... she", "MRS. GANUSH\n I knew you'd come.\n Stephanie almost jumps out of her skin. As her eyes adjust", "A lightning flash illuminates the corpse. Mrs. Ganush's white\n eye is open and staring at Stephanie.\n Stephanie stows her fear and pulls the white envelope from" ], [ "Ray and Stephanie step from the car. They open a rusting iron\n gate, and walk up the hilly path to Stephanie's slightly\n funky Silver Lake rental house.", "RAY\n okay.\n Ray kisses her, opens the front door and exits. He calls back\n to her from his car:", "RAY\n I was gonna surprise you, but what\n the hell. I've been planning a\n little trip for us this week end.\n Saturday morning we're taking a\n train to Santa Barbara.", "RAY\n My family owns a cabin up there. In,\n the hills. Overlooking this little\n river. We'll light a fire, drink\n some champagne and screw our brains\n out.", "She tunes in a rock station and turns it up loud. She smiles\n at Ray and takes his hand.\n She hits the gas and her Ford Focus opens up, accelerating", "RAY\n Sounds good. Try not to stay up too\n late.\n Ray waves and steps into his car. Stephanie watches him drive\n off.", "RAY\n t Yeah. \n Stephanie steps from the car. Ray drives off. She turns to\n face the old house.\n\n INT. OLD PASADENA HOUSE - STUDY - DUSK", "STEPHANIE\n Sounds nice.\n She draws in a deep breath and for the first time that\n evening, she looks at peace. Ray watches, her as she closes\n her eyes and drifts off to sleep.", "She steps into the car and drives off. Ray watches her tail\n lights, as they vanish into the night.", "INT. RAY'S BMW - NIGHT\n\n Ray and Stephanie drive through the quiet Pasadena\n neighborhood.", "plops back down onto the pillow. After a few seconds of pure\n sleeping bliss, she wills herself up.\n She moves through her Ikea furnished bedroom, past a \"Hang in", "A cleaned up Stephanie, her hair still wet from the shower,\n drives the empty morning streets. A smile slowly comes to her\n face as we hear the rest of Mr. Jack's message:", "RHAM JAS\n Whatever you decide, you have until\n sunrise.'\n She nods goodbye as Ray's car pulls up. Ray opens the door.\n for her and she gets in.", "STEPHANIE\n I know how crazy this must seem.\n But it will all be over after this\n I swear to you.\n He nods. She kisses him.", "STEPHANIE\n No problem.\n Jacks heads back toward his desk. Stephanie grabs her purse\n and keys and as she heads out, Stu calls after her:", "82.\n\n RAY\n Tomorrow's gonna be a new start for,\n us. Don't be late.\n They kiss and Ray drives off.", "Ellen's car pulls away. The wind kicks up, whisking leaves\n about, as though something where moving up the path and\n toward the front gate of the house.", "STEPHANIE\n But that's what I want it to say.\n Ellen shakes her head, no. Stephanie takes a last look in the\n mirror, decides to go with the short skirt.", "Stu is taken aback by Stephanie's outburst. He retreats to\n his desk in confusion.\n Stephanie sits, rattled. A drop of blood falls onto a piece", "Trudy's head. It shatters against the base of the door,\n spraying everyone with bits of broken china and fish. The\n shadow and FOOTSTEPS are gone." ], [ "MRS. GANUSH'S CORPSE\n to lurch up and out of the coffin. Her dead arms, thrown", "A lightning flash illuminates the corpse. Mrs. Ganush's white\n eye is open and staring at Stephanie.\n Stephanie stows her fear and pulls the white envelope from", "the grave from all sides. The body of Mrs. Ganush is quickly\n being re-buried.", "DISSOLVE TO:\n LATER - Mud is pouring down the sides of the grave. In the\n bottom of the pit Stephanie has unearthed the simple pine", "A light drizzle falls as Stephanie'searches the graveyard for\n the burial place of Mrs. Ganush. She carries the shovel", "Stephanie's face! It is Mrs. Ganush that now floats above\n her! Her long yellowed fingernails scratching at Stephanie's\n skin.", "DISSOLVE TO:\n LATER - It's raining harder. The hole Stephanie digs is now\n several feet deep.\n CLUNK: The shovel has hit the buried coffin. The rain\n intensifies.", "1 MRS. GANUSH \n You know why.\n Terrified, Stephanie runs from the place.\n\n EXT. MRS. GANUSH'S HOUSE - DAY", "She gasps and stands, her mind racing. She knows what she\n must do. She finds Mrs. Ganush's loan documents. She stuffs", "she sits up suddenly with a SNARL and starts to climb back\n in. Stephanie shifts the car into reverse. The opened\n passenger door knocks Mrs. Ganush back down to the pavement.", "envelope between her broken teeth.\n Muddy water cascades down into the grave, flowing over Mrs..\n Ganush's face. It covers everything, except the jutting", "it. A church bell TOLLS five times. There's no time to think \n about it. Stephanie looks around to make sure no one is\n watching, then starts to dig.", "STEPHANIE\n I'm giving it back to you.\n She grabs Mrs. Ganush's hand and tries to get her clenched", "next to her. She grabs a handful of colored push pins and\n jams them into the old woman's arm. Mrs. Ganush releases her", "MRS. GANUSH\n .and you shame me.\n Mrs. Ganush suddenly grasps Stephanie's arm. Stephanie tries", "into a manila folder. she glances up but Mrs. Ganush is gone..\n Stephanie turns in her chair and is startled to see the old", "but it costs her a clump of hair that Mrs. Ganush rips from\n her head.\n Mrs. Ganush opens her mouth... wide... wider still... she", "MRS. GANUSH\n You shamed me.\n The Old Woman reaches down. Stephanie flinches. Mrs.'Ganush's", "MRS. GANUSH\n I knew you'd come.\n Stephanie almost jumps out of her skin. As her eyes adjust", "STEPHANIE\n .and I'll take care of the rest.\n Mrs. Ganush's hard eyes find Stephanie's. They bore in.\n\n MRS. GANUSH\n No." ], [ "12.\n\n STEPHANIE\n No I didn't, Stu.\n\n STU\n Steph, I said \"no mayo\".", "STEPHANIE\n No problem.\n Jacks heads back toward his desk. Stephanie grabs her purse\n and keys and as she heads out, Stu calls after her:", "STEPHANIE\n You never said that.\n Stu rolls his eyes to Mr. Jacks.\n Stephanie caught Stu's look, but what can she do? She\n exits.", "39.\n Stu watches Stephanie go and gets up from his desk. She's \n left some files behind. He snoops around his desk. He notices", "Stu is taken aback by Stephanie's outburst. He retreats to\n his desk in confusion.\n Stephanie sits, rattled. A drop of blood falls onto a piece", "As Stephanie pours herself a cup of coffee, Stu and Mr. Jacks\n take the first bites of their sandwiches. Stu makes a face.\n He inspects the sandwich, shakes his head.", "moves to her desk, hoping Mr. Jacks won't notice. She's\n almost there when Stu Rubin \"accidently\" knocks a note book\n off his desk.", "STEPHANIE \n Stu? The trainee?\n Stephanie turns to see Stu, the balding loan officer who sits\n at his desk, watching, trying to figure out what Jacks is\n saying to her.", "her. Stephanie glances to the vacant office of the Assistant\n Manager. The large oak desk. The thick carpet.\n She sees a calculating Stu Rubin eyeing her from his", "STEPHANIE\n Okay! I did it. It was me who\n denied her the loan. I was trying,\n to get ahead at work and I\n shouldn't have done it. It was\n wrong.", "STEPHANIE\n Stu. I see.\n Mr. Jacks sees tears begin to well up in her eyes.", "STEPHANIE\n He didn't want the money. He tried\n to give the money back.\n\n RAY\n In the end, he took it, didn't he?", "STEPHANIE'S POV - ON THE STREET\n Stu Rubin walking with two well dressed executives.\n\n STEPHANIE\n Stu?\n The men warmly escort into the First National Bank.", "have to give that job to Stu.\n Stephanie is devastated.", "STU RUBIN\n Ha ha! You're funny, Steph.\n\n STEPHANIE\n What do you want?", "STU\n (quietly to Mr. Jacks)\n She messed up my order.\n Stephanie heard that.", "MR. JACKS' VOICE\n Stephanie. It's Jim. Jim Jacks.\n Sorry I'm calling so early-- but\n Last night I found some troubling\n information about our friend Stu\n Rubin...", "Mr. Jacks glances up and notes Stephanie's tardiness.\n Stu approaches Stephanie's desk.", "STEPHANIE\n takes a deep breath, stands and walks to his table.\n\n STEPHANIE\n I wonder if you could help me out?\n The Old Man looks up, sees her desperation.", "from the break room. Stu is about to return to his desk when\n he remembers something: he's got two tickets to a Dodger game" ], [ "She considers his words, looks down to the book.\n CLOSE ON A DIAGRAM OF AN ANIMAL SACRIFICE - A creature's\n heart being cut from it's body.", "wild and harrowing ride about the room.\n Abruptly all the madness halts: She drops to the floor. The\n bedsheet wafts to the ground beside her. Whatever it was,", "but it costs her a clump of hair that Mrs. Ganush rips from\n her head.\n Mrs. Ganush opens her mouth... wide... wider still... she", "STEPHANIE\n I know how crazy this must seem.\n But it will all be over after this\n I swear to you.\n He nods. She kisses him.", "plops back down onto the pillow. After a few seconds of pure\n sleeping bliss, she wills herself up.\n She moves through her Ikea furnished bedroom, past a \"Hang in", "STEPHANIE\n Never mind.\n Stephanie returns to her seat, ashamed at what she almost \n did.", "A mother shields her daughter's eyes from the sight of\n Stephanie, the cursed one, then hurriedly kisses her\n .crucifix. A man spits at her feet then walks off.", "STEPHANIE\n Sounds nice.\n She draws in a deep breath and for the first time that\n evening, she looks at peace. Ray watches, her as she closes\n her eyes and drifts off to sleep.", "He hangs up. The line goes dead. She tries to throw the phone\n but it's attached with a short metal cord. She turns to the\n Pawn Broker.", "as she is thrown against the wall. She falls to the floor.\n Lifting her head, she catches her own reflection in the", "STEPHANIE\n My God. My God...\n He checks her pulse one last time. The CPR is finally halted.\n Rham Jas closes her eyes, then touches her forehead, praying:", "The withered hands drop down to wrap around Stephanie's\n throat. Stephanie fights for breath as she frantically\n searches for a weapon. Her hand finds the box on the seat", "shut.\n The old woman HOWLS, but her grip on Stephanie's hair only\n tightens.\n Stephanie, about to black out, throws the car into gear and", "STEPHANIE\n I did what you said- that blood\n offering... I killed that little\n kitty deader than Hogan's goat.\n Lotta good that did me.", "STEPHANIE'S BACKYARD GARDEN AFTERNOON\n She buries the heart in a corner of her garden.\n She turns on the garden hose, washing the cat's blood from\n the knife.", "She backs against the wall, trembling.\n Suddenly Stephanie's face is struck by an invisible hand! She\n cries out. Her mouth is bleeding.", "SHRIEKS as she falls backwards, off the platform and onto the\n tracks.\n In her last moment of life, she turns her head to see...", "it. A church bell TOLLS five times. There's no time to think \n about it. Stephanie looks around to make sure no one is\n watching, then starts to dig.", "This is my home for twenty years.\n And I make every payment until the\n sickness took my eye.\n Mrs. Ganush turns her head to reveal a milky white eye.", "She gasps and stands, her mind racing. She knows what she\n must do. She finds Mrs. Ganush's loan documents. She stuffs" ], [ "SHAUN SAN DENA\n (demonic voice)\n No! I will enjoy watching her skin\n blister and pop in hell's flame. I", "day. I have waited these long years\n for a chance at redeeming myself. A\n chance to destroy the foul thing.\n Tonight my chance will come. But to", "STEPHANIE\n Tell me. Please.\n Rham Jas hesitates, then...\n\n RHAM JAS\n A bad spirit has come upon you.", "The withered hands drop down to wrap around Stephanie's\n throat. Stephanie fights for breath as she frantically\n searches for a weapon. Her hand finds the box on the seat", "t to force the spirit of the Lamia from her body and into the\n goat. The Goat BLEATS and bucks wildly as the spirit is\n transferred. Milos raises up the slaughtering blade.", "plops back down onto the pillow. After a few seconds of pure\n sleeping bliss, she wills herself up.\n She moves through her Ikea furnished bedroom, past a \"Hang in", "Stephanie. The mouth jerks opened and closed as if controlled\n by a bad puppeteer. Then, out of.sync, the demonic voice is", "door. It SLAMS shut in her face!\n BOOM! Another window is SHATTERED by the angry, unseen thing.\n The force knocks her to the bed. The blankets are torn from", "She runs for the door. She's almost there. Her hand reaches\n for the knob, when something unseen picks her up. She SCREAMS", "shut.\n The old woman HOWLS, but her grip on Stephanie's hair only\n tightens.\n Stephanie, about to black out, throws the car into gear and", "Stephanie's face! It is Mrs. Ganush that now floats above\n her! Her long yellowed fingernails scratching at Stephanie's\n skin.", "wild and harrowing ride about the room.\n Abruptly all the madness halts: She drops to the floor. The\n bedsheet wafts to the ground beside her. Whatever it was,", "She backs against the wall, trembling.\n Suddenly Stephanie's face is struck by an invisible hand! She\n cries out. Her mouth is bleeding.", "GOAT\n (demonic voice)\n --tricked me!\n The possessed goat emits a terrible cry! The bone chilling", "A Possessed Milos SCREAMS and spins toward Stephanie, glaring\n at her with black goat eyes. He SHOUTS at her in a gibberish", "find each other one last time.\n Stephanie SCREAMS as the Lamia swallows her and pulls her\n down into hell.", "A mother shields her daughter's eyes from the sight of\n Stephanie, the cursed one, then hurriedly kisses her\n .crucifix. A man spits at her feet then walks off.", "46.\n She tries to run but they tangle around her legs and yank her\n into the air, suspending her upside down, taking her on a", "it. A church bell TOLLS five times. There's no time to think \n about it. Stephanie looks around to make sure no one is\n watching, then starts to dig.", "RHAM JAS\n We must somehow dissuade the spirit\n from taking your soul.\n\n STEPHANIE\n How?" ], [ "RHAM JAS\n Your hand, please.\n Stephanie extends her hand to Rham Jas. He closes his eyes\n and concentrates. Stephanie smiles excitedly to Ray, who\n raises a skeptical eyebrow.", "RHAM JAS\n No. I'm afraid you misunderstand.\n Rham Jas looks at her with pity.\n\n STEPHANIE\n What?", "RHAM JAS\n I am Rham Jas. Seer.\n\n STEPHANIE\n How do you do? I'm Stephanie Brown\n and this is Ray...", "STEPHANIE\n Just tell me what to do.\n Rham Jas considers. A dark look crosses his face. Stephanie\n tries to read his expression.", "RHAM JAS\n If you would please, both be quiet.\n Rham Jae concentrates, his eyelids flutter. Stephanie appears", "RHAM JAS\n Because he wasn't afraid to bring\n God into the equation.\n Rham Jas takes a seat at the table, across from Stephanie.", "STEPHANIE\n But then, what am I supposed to do?\n Rham Jas shrugs. He fishes in his pocket for his car keys.", "RHAM JAS\n I think that is enough for now.\n\n STEPHANIE\n Wait. You saw something. What?", "STEPHANIE\n What would you need from me?\n Rham Jas thinks for a moment, weighing the dangers. He pulls\n out a pipe and packs it with tobacco. He tamps it down and\n lights up.", "RAY\n But you probably already knew that.\n Just kidding.\n Rham Jas gives Ray a tight smile.", "RHAM JAS\n That's quite all right. So, you\n wish to know something of your\n destiny. Very good. We shall see", "STEPHANIE\n Sorry.\n Rham Jas smiles back.", "STEPHANIE\n Tell me. Please.\n Rham Jas hesitates, then...\n\n RHAM JAS\n A bad spirit has come upon you.", "RHAM JAS\n What did it sound like.\n\n STEPHANIE\n Like... shrieking. It was awful.\n He nods. Closes the book.", "RHAM JAS\n Yes. Now repeat these words... I\n welcome the dead into my soul...\n Rham Jae waits for Stephanie's response. She's shifts in her\n seat uncomfortably.", "A beaded curtain parts, revealing...\n Rham Jas, a small, dark skinned, fifty year old Indian man.\n He wears a plain black suit and a white turban. His", "RHAM JAS\n She's not breathing.\n Rham Jas attempts to administer CPR to no avail.", "Stephanie stands before a counter facing Rham Jas. He swipes\n her credit card through the machine.\n She signs the receipt. He motions for her to follow him", "RHAM JAS\n Whatever you decide, you have until\n sunrise.'\n She nods goodbye as Ray's car pulls up. Ray opens the door.\n for her and she gets in.", "Rham Jas. She places the envelope carefully into the side\n 'pocket of her purse. Rham Jas tries to conceal the sadness\n and fear he feels for her." ], [ "STEPHANIE\n Dinner with Ray's parents.\n Ellen picks up a desktop photo: A shot of Stephanie and her\n handsome boyfriend, Ray, locked in an embrace, standing in\n the spray of a waterfall.", "He hangs up. The line goes dead. She tries to throw the phone\n but it's attached with a short metal cord. She turns to the\n Pawn Broker.", "RAY\n okay.\n Ray kisses her, opens the front door and exits. He calls back\n to her from his car:", "her. Stephanie glances to the vacant office of the Assistant\n Manager. The large oak desk. The thick carpet.\n She sees a calculating Stu Rubin eyeing her from his", "STEPHANIE\n My God. My God...\n He checks her pulse one last time. The CPR is finally halted.\n Rham Jas closes her eyes, then touches her forehead, praying:", "plops back down onto the pillow. After a few seconds of pure\n sleeping bliss, she wills herself up.\n She moves through her Ikea furnished bedroom, past a \"Hang in", "sweaty face. He looks deeply into her eyes, afraid of what's\n happening to her. The phone in the next room, RINGS.'Ray\n looks over, decides to ignore it. It keeps RINGING.", "RAY\n So she came to your house? This is\n crazy. I'm calling that police\n officer.\n He begins to dial but Stephanie stops him.", "STEPHANIE\n --Shhhl I can't let my boss see\n him.\n Stephanie glances to her manager, MR. JACKS, a heavyset man\n sitting behind a large desk.", "Stu is taken aback by Stephanie's outburst. He retreats to\n his desk in confusion.\n Stephanie sits, rattled. A drop of blood falls onto a piece", "before. In every door creak... in every cold night wind... a\n haunting, soulless sound... the cry of Lamia.\n Ray races to the edge of the platform. The two lover's eyes", "STEPHANIE\n Sounds nice.\n She draws in a deep breath and for the first time that\n evening, she looks at peace. Ray watches, her as she closes\n her eyes and drifts off to sleep.", "RAY\n So this is him. Got a name?\n\n STEPHANIE\n Uh... just \"Kitty\" so far.", "RAY\n Sounds good. Try not to stay up too\n late.\n Ray waves and steps into his car. Stephanie watches him drive\n off.", "STEPHANIE\n I know how crazy this must seem.\n But it will all be over after this\n I swear to you.\n He nods. She kisses him.", "RHAM JAS\n What did it sound like.\n\n STEPHANIE\n Like... shrieking. It was awful.\n He nods. Closes the book.", "T\n Leave me alone! Just leave me the\n fuck alone!\n Stephanie grabs her dinner plate and hurls it just past", "STEPHANIE\n Well, now there's this new guy...\n they're considering him too.\n Ray sees how bummed out she is. He moves close, taking her in \n his arms.", "'Stephanie lays peacefully in bed, almost asleep. A bottle of\n sedatives on the bedside table. Ray pulls up the blanket\n around her exposed shoulder. Stephanie sighs, turns to him.", "STEPHANIE\n Is that so?\n Ray gives her a reassuring nod.\n The front door opens revealing Ray's parents, GEORGE AND" ] ]

[ "What item does the gypsy woman use to curse Christine?", "What animal does Shaun San Dena use to trap the spirit of the Lamia?", "Why does Christina deny the gypsy woman an extension on her mortgage payment?", "Why was Stu fired?", "What kind of demon is haunting Christine?", "What animal does Christine sacrifice first to try and appease the spirit?", "Why does Christine decide not to give the envelope with the button in it to Stu?", "What will happen if Christine gives the envelope with the button in it to someone?", "According to Rham Jas, how many days will the demon torment Christine before dragging her to hell?", "Why did the couple visit medium Shaun San Dena in Pasadena in 1969?", "Why did Sylvia Ganush curse Christine?", "What item did Ganush take from Christine to curse her?", "What did Christine do to her boss right before Stu stole Christine's file?", "Who suggested that Christine sacrifice something to rid of Lamia?", "How much did Shaun San Dena ask to be paid to help Christine?", "What was Shaun San Dena's plan to rid of Lamia?", "Why did Christine dig up Ganush's grave?", "Why did Christine change her mind about giving the button to Stu?", "Why was Christine sent to Hell despite getting rid of the envelope?", "Where does the beginning of this story take place?", "What is Christine Brown's job?", "What does Sylvia Ganush ask Christine for?", "Where are Clay and Christine going for the weekend?", "Why does Christine dig up Ganush's grave?", "What did Stu admit to taking credit for?", "What does Christine sacrifice?", "How long will the demon torment Christine before it takes her to Hell?", "What does Rham Jas tell Christine when they first meet?", "What is Christine's boyfriend's name?" ]

[ [ "A button off of Christine's coat", "Button." ], [ "A goat", "A goat" ], [ "To show her boss she can make tough decisions", "To prove herself to her boss." ], [ "Stu confessed to stealing Christine's work", "He confessed to stealing Christine's work " ], [ "The Lamia", "The Lamia" ], [ "Her kitten", "Her kitten." ], [ "Because he looked pathetic and panicky", "She takes pity on him" ], [ "The curse will pass to them", "The curse will be passed on." ], [ "3", "3" ], [ "Their son has been hearing voices from evil spirits. ", "Because their son was hearing evil spirits voices " ], [ "Christine refused to extend Ganush's mortgage. ", "Christine denied an extension on Ganush's mortgage payment and \"shamed\" Ganush." ], [ "Her button", "A button from her coat " ], [ "Nose bleed", "Had a projectile nose bleed and covered him in blood " ], [ "Rham Jas", "Rham Jas." ], [ "$10,000", "$10,000.00" ], [ "Trap Lamia in a goat, kill the goat, and have Lamia inhabit her. ", "to trap th Lamia inside of a goat's body and then kill it" ], [ "She wanted to place the cursed button in Ganush's mouth. ", "To gift her the button" ], [ "Stu looked like she was breaking down emotionally. ", "Stu was pathetic and tearful." ], [ "She got rid of the wrong envelope. ", "She got rid of the wrong envelope" ], [ "Pasadena", "Pasadena, California." ], [ "bank loan officer", "bank loan officer" ], [ "An extension on her mortgage loan", "an extension on her mortgage" ], [ "Santa Barbara", "Santa Barbara." ], [ "To place the cursed button in her mouth", "To give Ganush the cursed button." ], [ "Christine's work", "Christine's work." ], [ "Her pet kitten", "Her kitten" ], [ "3 days", "3 days" ], [ "That she is being haunted by an evil spirit", "she is being haunted by an evil spirit." ], [ "Clay Dalton", "Clay Dalton" ] ]

[ [ "breeze and speed along until they were deep in the forest again. Then\nthe wind moderated, and presently died away altogether, so that they\nwere forced to begin flying in order to continue their journey home.", "They were now approaching that part of the forest where they lived, and\nas the policeman concluded his speech they were surprised to hear a\ngreat flutter of wings among the trees, and presently a flock of big\nblack rooks flew toward them.", "It really _was_ queer. They had followed the straight path into the\ngreat forest, and had only stopped for a moment to sit down and rest,", "Another strange thing was that when they jumped up to look around them\nthe nearest trees began sliding away, in a circle, leaving the little", "\"It is very kind of you to remember our wish,\" said Twinkle. \"We are\nall ready.\"\n\nSo they flew above the tree-tops and began their journey toward the\ncenter of the forest.", "Opening their eyes with a start they saw that the gray dawn was\nbreaking and a sort of morning twilight made all objects in the forest", "forest, of course; but the guilty ones are often able to escape. I'll\ntell you of a little tragedy that happened only last week, which will\nprove how apt we are to be mistaken.\"", "They had just reached the edge of the forest again when they saw a bird\napproaching them at a great speed, and soon it came near enough for", "\"Why, this is the place we entered the forest, that day we got\n'chanted!\" cried Twinkle.\n\n\"So it is,\" said Chubbins. \"I believe we could find our way home from\nhere, Twink.\"", "forest. There he had a horse tied to a tree, and he mounted upon the\nbeast's back and rode away through the open country. Susie followed", "\"They'll hunt for us,\" Chubbins suggested; \"and they may come under\nthis tree, and call to us.\"\n\n\"If they do,\" said Twinkle, \"we'll fly right down to them.\"", "Presently they passed near the rosy glow that lighted up the center of\nthe forest with its soft radiance, and the girl said:", "There they found a vast assemblage of birds. They were so numerous,\nindeed, that Twinkle was surprised to find that so many of them\ninhabited the forest.", "He began flying again, and they kept at his side. By and by they\nnoticed a bright, rosy glow coming from a portion of the forest beneath\nthem.\n\n\"What is that?\" asked Chubbins.", "They were so startled that they fluttered a moment to keep from\ntumbling off the limb. Then Twinkle saw a furry red head sticking out", "So he led the way and presently they entered a thicker grove of trees\nthan any they had before noticed. The trunks were so close together", "Twinkle and Chubbins stretched their little necks to see what was\ncoming, and a moment later beheld one of the most gorgeous sights the", "They sat and talked for an hour, and Wisk told them stories of the\nforest, and of the many queer animals and birds that lived there. It", "these cases is to discover what the charm may be that will restore you\nto your natural shapes. But just now you must make up your minds to\nlive in our forest for a time, and to be as happy as you can under the", "It was not very long before they reached the clearing in the forest.\nThe horrid tuxix had wriggled her evil body away, to soothe her\ndisappointment by some other wicked act; but the basket stood as the\nchildren had left it." ], [ "\"Why, it is another trick of old Hautau, the tuxix. She found two\nchildren in the forest and enchanted them. She wanted to make them", "trees until you repent your stubbornness and promise to become my\nslaves. The tuxix has spoken, and her magical powers are at work. Go!\"", "It was not very long before they reached the clearing in the forest.\nThe horrid tuxix had wriggled her evil body away, to soothe her\ndisappointment by some other wicked act; but the basket stood as the\nchildren had left it.", "\"Listen, my dears,\" it continued; \"I was once a beautiful maiden, but a\ncruel tuxix transformed me into this awful shape, and so must I remain", "Policeman Bluejay, having finally introduced all the company to the\nchild-larks, began to relate the story of their adventures, telling the\nbirds how the wicked tuxix had transformed them into the remarkable\nshapes they now possessed.", "\"Ah. The tuxix?\"\n\n\"Yes. We were caught in the forest, and she bewitched us.\"", "\"What is a tuxix?\" asked Twinkle, who was beginning to feel sorry for\nthe poor creature.", "\"Be careful!\" cried the clear voice, again. \"It is the tuxix herself\nwho is talking to you. Don't believe a word you hear!\"", "before he met with the cruel tuxix. But he gave a groan, every once in\na while, and Twinkle suspected that two berries were twice as powerful\nas one, and made a pain that lasted twice as long.", "me that if you can find a tingle-berry, and eat it, you will resume\nyour natural form again. For it is the one antidote in all the world\nfor the charm the tuxix worked upon you.\"", "\"But birds shouldn't have human heads,\" retorted the bluejay. \"I\nsuppose the old tuxix did that so the birds would not admit you into", "good deal about magic, and especially about that same tuxix who\nwickedly transformed you in the forest. And the Royal Necromancer tells", "laugh. \"If you had ever touched the old tuxix she would have\ntransformed you into toads or lizards. That is an old trick of hers, to", "destroy the charm which the old tuxix put upon you, then nothing else\nwill answer the same purpose. The Royal Necromancer is very wise, and", "children, as you see them. I was in a tree near by, and saw the whole\nthing. Because I was sorry for the innocent victims I befriended them,", "\"Whether you are the tuxix or not,\" said Twinkle, \"I never will touch\nyou. You may be sure of that.\"", "The children did not speak, but watched him anxiously.\n\n\"Where did you leave your basket?\" he finally asked.\n\n\"In the place where the old witch 'chanted us.\"", "Just then a queer creature dropped from a tree into the ring and began\nmoving slowly toward them. It was flat in shape, like a big turtle;", "[CHAPTER IX] _The Destroyers_\n\nA loud shouting and a bang that echoed like a clap of thunder through\nthe forest awoke the bird-children from their dreams.", "that looked cruel and wicked. The children could not see how many legs\nit had, but they must have been very short, because the creature moved\nso slowly over the ground." ], [ "introduce to you two children of men who have been magically\ntransformed into skylarks against their will. They are not quite birds,\nbecause their heads retain the human shape; but whatever form they may", "children, as you see them. I was in a tree near by, and saw the whole\nthing. Because I was sorry for the innocent victims I befriended them,", "\"That isn't the way to put it,\" remarked Chubbins, staring back into\nthe eyes of the squirrel. \"You should ask how we children happened to\nhave birds' bodies.\"", "\"My! I couldn't _think_ of doing such a thing,\" she answered.\n\nThen the creature said:\n\n\"Little boy, please pick me up in your arms, and pet me!\"", "\"Listen, my dears,\" it continued; \"I was once a beautiful maiden, but a\ncruel tuxix transformed me into this awful shape, and so must I remain", "Policeman Bluejay, having finally introduced all the company to the\nchild-larks, began to relate the story of their adventures, telling the\nbirds how the wicked tuxix had transformed them into the remarkable\nshapes they now possessed.", "get children into her power and then change them into things as\nloathsome as herself.\"", "\"You--you scared us!\" she said, timidly.\n\n\"You scared _me,_ at first,\" returned the squirrel, in a comic tone.\n\"Dear me! how came you birds to have children's heads?\"", "The children did not speak, but watched him anxiously.\n\n\"Where did you leave your basket?\" he finally asked.\n\n\"In the place where the old witch 'chanted us.\"", "until some child willingly takes me in its arms and pets me. Then, and\nnot till then, will I be restored to my proper form.\"", "\"They've got her!\" she exclaimed, in a trembling, terrified voice. \"The\nmen have shot Mrs. 'Possum dead, and the dogs are now tearing her four\nbabies limb from limb!\"", "The bluejay knew it would be foolish to do that, so he turned away and\nwhispered to the lark-children:\n\n\"Follow me, and fly as swiftly as you can.\"", "\"There! they won't die of either hunger or thirst in a hurry, Chub. So\nnow we can feed ourselves.\"\n\n\"Their mouths are still open,\" returned the boy, doubtfully.", "Twinkle and Chubbins stretched their little necks to see what was\ncoming, and a moment later beheld one of the most gorgeous sights the", "\"Because I forbid you. They are my guests, and must be protected and\nwell treated. And even if this were not so, the larks are too small to\nsatisfy your hunger, you little gluttons.\"", "\"But we can't go home like we are,\" replied the girl-lark. \"What would\nour folks say, to find us with birds' bodies?\"\n\n\"They'd yell and run,\" declared the boy.", "that looked cruel and wicked. The children could not see how many legs\nit had, but they must have been very short, because the creature moved\nso slowly over the ground.", "trees until you repent your stubbornness and promise to become my\nslaves. The tuxix has spoken, and her magical powers are at work. Go!\"", "prisoner together, and tear him into bits with bill and claw; but while\nwe waited for the sun to sink Will Sparrow flew up to the Judgment Tree\nand said:", "Both of them had to cling fast to the branch with their toes, for their\narms and hands were now wings. The toes were long and sharp pointed, so\nthat they could be used in the place of fingers." ], [ "\"Love. It is the moral law that is above all laws made by living\ncreatures. The whole forest is ruled by love more than it is by fear.", "our forest. You must all pledge yourselves to befriend them on all\noccasions, and if any one dares to break his promise he must fight with\nme to the death--and you know very well what that means.\"", "declared they would never again rebel against Policeman Bluejay, the\nregularly appointed guardian of the Law of the Forest. And I am told", "forest, of course; but the guilty ones are often able to escape. I'll\ntell you of a little tragedy that happened only last week, which will\nprove how apt we are to be mistaken.\"", "time. Here in our part of the forest there is a little excitement, for\nthe biggest birds only obey our laws through fear of punishment, and I", "\"Directly in the center of our forest. It is a magical spot, protected\nfrom intrusion not by any wall or barred gates, but by a strong wind", "\"Because the strong light hurts our eyes. But, although we are abroad\nin the night, we seek only our natural prey, and obey the Great Law of\nthe forest more than some others do.\"", "slender. But I have not lived in the forest all my life without\nlearning something, and I whispered a plan to Judge Bullfinch that met\nwith his approval. He sent messengers at once for the ivory-billed", "\"Don't mention it,\" said the other. \"I'm the forest policeman--\nPoliceman Bluejay, you know--and it's my duty to look after everyone\nwho is in trouble.\"", "\"I'm 'shamed of those people,\" said Chubbins, indignantly. \"What right\nhad they to come to the forest and kill the pretty owl, and the dear", "The birds were of many sizes and of various colorings. Some were much\nlarger than the bluejay, but none seemed so proud or masterful, and all\ndeferred meekly to the commands of the acknowledged guardian of the\nforest.", "\"Well, I like to be neighborly,\" returned the pretty bird; \"and as long\nas cruel men enter our forest no mother can tell how soon her own\nlittle ones will be orphaned and left helpless.\"", "these cases is to discover what the charm may be that will restore you\nto your natural shapes. But just now you must make up your minds to\nlive in our forest for a time, and to be as happy as you can under the", "\"That won't do any good,\" was the reply. \"We rooks have decided the\nmatter already. We mean to rule the forest, after this, and if any one,", "\"All men who enter the forest are,\" answered the oriole, positively.\n\"For they only come here to murder and destroy those who are helpless", "tenderness for our kind influences us even more than it does mankind--\nthe careless and unthinking race from which you came. The residents of\nthe forest are good parents, helpful neighbors, and faithful friends.", "of the forest sat silently regarding them a big blue bird that they\nknew must be Policeman Bluejay, although somehow or other he had lost\nhis glossy black helmet and the club he had carried underneath his", "forest. There he had a horse tied to a tree, and he mounted upon the\nbeast's back and rode away through the open country. Susie followed", "birds midway between our Paradise and the great forest. They serve us\nwhen we need them, and are under our laws and regulations; but they are\nso highly favored by being permitted to occupy the outer edge of our", "\"These are my cousins,\" he said to the child-larks, proudly, \"and I\nhave brought them from another forest, where they live, to assist me. I" ], [ "\"I am very grateful, indeed,\" answered Twinkle, holding her wings\noutstretched so that she floated lightly in the air beside her rescuer.\n\"If you had been an instant later, the dog would have killed me.\"", "With the words he rose into the air and Twinkle darted after him, while\nChubbins, seeing their flight from his nest, joined them just in time\nto escape a shot from the boy's deadly gun.", "Twinkle did not want to give up her charges at first, as she had become\ninterested in them; but Chubbins heaved a sigh of relief and declared", "Chubbins looked at her and saw almost what she saw; for Twinkle was a\nbird too, except for her head, with its checked sunbonnet, which had", "Twinkle and Chubbins stretched their little necks to see what was\ncoming, and a moment later beheld one of the most gorgeous sights the", "\"My name is Twinkle.\"\n\n\"And mine's Chubbins.\"\n\n\"Pleased to make your acquaintance,\" said the squirrel, nodding. \"I\nlive in the second flat.\"", "\"They'll hunt for us,\" Chubbins suggested; \"and they may come under\nthis tree, and call to us.\"\n\n\"If they do,\" said Twinkle, \"we'll fly right down to them.\"", "\"I will take you back to the forest,\" the eagle declared, and at once\nrose into the air. Twinkle and Chubbins followed him, and soon the nest", "Twinkle and Chubbins craned their necks over the edge of the nest and\nlooked down. On the ground stood a man and a boy, and two great dogs", "\"Call off your dog!\" shouted Twinkle, wildly excited. \"How dare you\nshoot the poor, harmless birds? Call off your dog, I say!\"", "In a second Twinkle and Chubbins were beside him, their little hearts\nbeating fast in their glossy bosoms from the excitement of their rapid", "\"Well,\" said Twinkle, \"I'd be glad to eat it if I could. But it\nwouldn't do Chubbins and me a bit of good to stick our noses into these\ncups.\"", "\"Chubbins and I have 'dopted the goldfinches,\" said Twinkle, \"so we will\nlook after them now. But it was very nice of you, Mrs. Redbreast, to\ntake take care of them until we arrived.\"", "He spoke in such a kindly and confident voice that both Twinkle and\nChubbins gained courage; and when the policeman added: \"Come on!\" and", "place where the cloth was loose. In a minute Chubbins began clawing at\nit with his little feet, and Twinkle helped him; so that gradually they", "[CHAPTER I] _Little Ones in Trouble_\n\n\"SEEMS to me, Chub,\" said Twinkle, \"that we're lost.\"", "\"I wouldn't have touched her, anyhow,\" said Twinkle.\n\n\"Nor I!\" cried Chubbins, in his shrill, bird-like voice. \"She wasn't\nnice.\"", "Instantly Twinkle darted from the nest and swooped downward, alighting\non the ground beside the owl's quivering body. A big dog came bounding", "So Twinkle and Chubbins flew into the \"house\" and nestled their bodies\nagainst its soft lining and found that their friend was right. When", "\"Get aboard, please,\" called Ephel, and alighted upon the broad surface\nof the floating leaf. Twinkle and Chubbins followed, one sitting in" ], [ "\"Then, if I cannot conquer you in one way, I will in another. Go, both\nof you, and join the bird that warned you, and live in the air and the", "\"Because I forbid you. They are my guests, and must be protected and\nwell treated. And even if this were not so, the larks are too small to\nsatisfy your hunger, you little gluttons.\"", "\"If I get my eye on that bird, it will never speak again,\" exclaimed\nthe creature, in a voice of fury very different from the sweet tones it", "\"I will call the other birds to a meeting,\" he said to the rook, \"and\nlet them decide between us.\"", "The policeman did not notice this remark, but the other birds all\nlooked grave and thoughtful, and began in turn to promise that they", "The birds were of many sizes and of various colorings. Some were much\nlarger than the bluejay, but none seemed so proud or masterful, and all\ndeferred meekly to the commands of the acknowledged guardian of the\nforest.", "And because the children seem to especially love the story of \"Bandit\nJim Crow,\" and bird-life is sure to appeal alike to their hearts and\ntheir imaginations, I have again written about birds.", "introduce to you two children of men who have been magically\ntransformed into skylarks against their will. They are not quite birds,\nbecause their heads retain the human shape; but whatever form they may", "prisoner together, and tear him into bits with bill and claw; but while\nwe waited for the sun to sink Will Sparrow flew up to the Judgment Tree\nand said:", "\"These are my cousins,\" he said to the child-larks, proudly, \"and I\nhave brought them from another forest, where they live, to assist me. I", "\"Well, I like to be neighborly,\" returned the pretty bird; \"and as long\nas cruel men enter our forest no mother can tell how soon her own\nlittle ones will be orphaned and left helpless.\"", "or all of the birds, dare to oppose us, we'll fight until we force them\nto serve us. Now, then, what do you intend to do about it?\"", "\"Perhaps it will be better to submit to the rooks,\" said a little\nchickadee, anxiously. \"We are neither warriors nor prizefighters, and\nif we obey our new rulers they may leave us in peace.\"", "themselves with plaguing mankind, who could not revenge themselves as\neasily as the birds did.", "their society, for you are neither all bird nor all human. But never\nmind; I'll explain your case, and you may be sure all the birds of the\nforest will be kind to you.\"", "\"Hear me, good friends,\" said the bluejay, who had been silent because\nhe was seriously thinking; \"I have a plan for subduing these rebels,", "\"Well, you two child-larks are different from all other birds,\"\nremarked the eagle, \"and for that reason perhaps you would be allowed", "possible, because they are fond of being alive. But the policeman keeps\nthe big birds all in order when he is around, and he makes them all", "\"Why not eat them?\" asked one of the eaglets, looking at the\nchild-larks with hungry eyes.", "to visit the paradise that is forbidden the rest of us. If ever I meet\none of the beautiful birds that live there, I will ask it to grant you\nthe privilege.\"" ], [ "\"I really can't say,\" answered the policeman. \"There is said to be a\nway to break every enchantment, if one knows what it is. The trouble in", "\"There is usually but one thing that will overcome an enchantment,\"\nremarked the bluejay, seriously; \"and if it is a tingle-berry that will", "The children did not speak, but watched him anxiously.\n\n\"Where did you leave your basket?\" he finally asked.\n\n\"In the place where the old witch 'chanted us.\"", "\"Why, it is another trick of old Hautau, the tuxix. She found two\nchildren in the forest and enchanted them. She wanted to make them", "\"Yes, we're 'chanted,\" said Twinkle. \"And now, what are we going to do\nabout it? We can't go home, for our folks would be scared nearly into", "children, as you see them. I was in a tree near by, and saw the whole\nthing. Because I was sorry for the innocent victims I befriended them,", "[CHAPTER IX] _The Destroyers_\n\nA loud shouting and a bang that echoed like a clap of thunder through\nthe forest awoke the bird-children from their dreams.", "undoing. For suddenly there came a rapid 'whish!' through the air, and\na network of cords fell all around and over me. Then, indeed, I spread", "me that if you can find a tingle-berry, and eat it, you will resume\nyour natural form again. For it is the one antidote in all the world\nfor the charm the tuxix worked upon you.\"", "\"Don't believe it! Don't believe it!\" cried a high, clear voice, and\nboth the boy and the girl looked quickly around to see who had spoken.", "\"What do you think of us now?\" asked the King, turning his eyes upon\nthe lark-children.\n\n\"It must be the prettiest place in all the world!\" cried Twinkle, with\nreal enthusiasm.", "\"But the Royal Necromancer of the King Bird of Paradise says the\ntingle-berries will restore us to our proper forms,\" explained the\ngirl.", "that the birds could only pass between then in single file, but as they\nproceeded in this fashion it was not long before they came to a\ncircular space which the child-lark knew at once must be the Gleaming", "\"It is very kind of you to remember our wish,\" said Twinkle. \"We are\nall ready.\"\n\nSo they flew above the tree-tops and began their journey toward the\ncenter of the forest.", "It was not very long before they reached the clearing in the forest.\nThe horrid tuxix had wriggled her evil body away, to soothe her\ndisappointment by some other wicked act; but the basket stood as the\nchildren had left it.", "\"The witch wasn't trying to suit us,\" replied Twinkle; \"she was trying\nto get us into trouble.\"\n\n\"Well, she did it, all right,\" he said.", "\"Then I will tell you how to do it,\" said the King. \"Since you told me\nyour strange story I have talked with my Royal Necromancer, who knows a", "They searched for a long time unsuccessfully. It was growing late, and\nthey were almost in despair, when a sharp cry from Policeman Bluejay\ndrew the child-larks to his side.", "The bluejay knew it would be foolish to do that, so he turned away and\nwhispered to the lark-children:\n\n\"Follow me, and fly as swiftly as you can.\"", "\"Wait a minute,\" she cried to Chubbins and the guide, and then she flew\ndownward until she could see the faces more plainly. They smiled and" ], [ "\"It will give me pleasure to so favor you,\" replied the eagle,\npolitely; so Policeman Bluejay led the way and the eagle followed with", "\"That won't do any good,\" was the reply. \"We rooks have decided the\nmatter already. We mean to rule the forest, after this, and if any one,", "After the fight Policeman Bluejay thanked his cousins and sent them\nhome again, and then the birds all surrounded the policeman and cheered\nhim gratefully for his cleverness and bravery, so that he was the hero\nof the hour.", "\"They had the right of power,\" said the eagle, calmly. \"It would be a\nbeautiful world were there no destroyers of life in it; but the earth", "declared they would never again rebel against Policeman Bluejay, the\nregularly appointed guardian of the Law of the Forest. And I am told", "\"I think it will be well for us to follow his advice,\" said Judge\nBullfinch, after a pause. \"The bluejay is an able bird, and has had", "\"I suppose,\" she replied, \"that he has to keep the birds from being\nnaughty. Some birds are just awful mischiefs, Chub. There's the", "The birds were of many sizes and of various colorings. Some were much\nlarger than the bluejay, but none seemed so proud or masterful, and all\ndeferred meekly to the commands of the acknowledged guardian of the\nforest.", "\"Hear me, good friends,\" said the bluejay, who had been silent because\nhe was seriously thinking; \"I have a plan for subduing these rebels,", "\"At this all the birds set up an excited chatter, and the shrike again\nscreamed that he was innocent. So the judge said, gravely: 'Will", "\"Peace--be quiet!\" said the eagle, sternly. \"Cannot you tell friends\nfrom food, you foolish youngsters? These are two little friends of mine\nwhom I have invited to visit us; so you must treat them in a civil\nmanner.\"", "\"Because I forbid you. They are my guests, and must be protected and\nwell treated. And even if this were not so, the larks are too small to\nsatisfy your hunger, you little gluttons.\"", "\"Caw--waw--waw--waw! Murder! Help!\" screamed the big bird, and flew\naway from the tree as swiftly as his ragged wings would carry him.", "\"Mankind,\" said Robin Redbreast, gravely, \"is the most destructive and\nbloodthirsty of all the brute creation. They not only kill for food,", "\"Chut-chut!\" twittered Policeman Bluejay. \"Remember you are not\nchildren now, but skylarks, and that this is a thrush's nest. Try it,", "With these words he darted toward the tree, and Twinkle and Chubbins\nfollowed. In a few seconds they alighted upon the branch and found\nthemselves face to face with the first Bird of Paradise they had yet\nseen.", "\"Well, I like to be neighborly,\" returned the pretty bird; \"and as long\nas cruel men enter our forest no mother can tell how soon her own\nlittle ones will be orphaned and left helpless.\"", "\"We are quite safe here, for I am sure no shot from a gun could reach\nus,\" said the eagle. \"So let us rest upon our wings for a while. How", "\"Eat!\" answered the bluejay, as if surprised. \"Why, you may feast upon\nall the good things the forest offers--grubs, beetles, worms, and\nbutterfly-eggs.\"", "possible, because they are fond of being alive. But the policeman keeps\nthe big birds all in order when he is around, and he makes them all" ], [ "\"Directly in the center of our forest. It is a magical spot, protected\nfrom intrusion not by any wall or barred gates, but by a strong wind", "The children did not speak, but watched him anxiously.\n\n\"Where did you leave your basket?\" he finally asked.\n\n\"In the place where the old witch 'chanted us.\"", "these cases is to discover what the charm may be that will restore you\nto your natural shapes. But just now you must make up your minds to\nlive in our forest for a time, and to be as happy as you can under the", "forest, of course; but the guilty ones are often able to escape. I'll\ntell you of a little tragedy that happened only last week, which will\nprove how apt we are to be mistaken.\"", "They were now approaching that part of the forest where they lived, and\nas the policeman concluded his speech they were surprised to hear a\ngreat flutter of wings among the trees, and presently a flock of big\nblack rooks flew toward them.", "forest. There he had a horse tied to a tree, and he mounted upon the\nbeast's back and rode away through the open country. Susie followed", "[CHAPTER IX] _The Destroyers_\n\nA loud shouting and a bang that echoed like a clap of thunder through\nthe forest awoke the bird-children from their dreams.", "\"Well, I like to be neighborly,\" returned the pretty bird; \"and as long\nas cruel men enter our forest no mother can tell how soon her own\nlittle ones will be orphaned and left helpless.\"", "children, as you see them. I was in a tree near by, and saw the whole\nthing. Because I was sorry for the innocent victims I befriended them,", "\"Why, this is the place we entered the forest, that day we got\n'chanted!\" cried Twinkle.\n\n\"So it is,\" said Chubbins. \"I believe we could find our way home from\nhere, Twink.\"", "\"It is very kind of you to remember our wish,\" said Twinkle. \"We are\nall ready.\"\n\nSo they flew above the tree-tops and began their journey toward the\ncenter of the forest.", "\"What do you think of us now?\" asked the King, turning his eyes upon\nthe lark-children.\n\n\"It must be the prettiest place in all the world!\" cried Twinkle, with\nreal enthusiasm.", "live in a wood across the big river, so you are welcome to their old\nhome. It is almost as good as new, and there is no rent to pay.\"", "The moon was now rising over the trees and flooding the gloom of the\nforest with its subdued silver radiance. The children were not sleepy;", "\"Of course,\" he replied, promptly. \"They grow over at the north edge of\nthe forest, in the open country. But you must never eat them, my dear\nfriend, because they are very bad for birds.\"", "\"I will take you back to the forest,\" the eagle declared, and at once\nrose into the air. Twinkle and Chubbins followed him, and soon the nest", "\"These are my cousins,\" he said to the child-larks, proudly, \"and I\nhave brought them from another forest, where they live, to assist me. I", "they fly about, and so he permits them to live in this place. They are\nvery happy here, in their way, for there is no one to chase them or to\nstick pins through them when they are caught.\"", "\"Finally, realizing her helplessness, poor Susie left the room by the\nopen window and flew back to the forest, where she told us all the", "slender. But I have not lived in the forest all my life without\nlearning something, and I whispered a plan to Judge Bullfinch that met\nwith his approval. He sent messengers at once for the ivory-billed" ], [ "\"What is a tuxix?\" asked Twinkle, who was beginning to feel sorry for\nthe poor creature.", "\"Be careful!\" cried the clear voice, again. \"It is the tuxix herself\nwho is talking to you. Don't believe a word you hear!\"", "\"Ah. The tuxix?\"\n\n\"Yes. We were caught in the forest, and she bewitched us.\"", "\"Listen, my dears,\" it continued; \"I was once a beautiful maiden, but a\ncruel tuxix transformed me into this awful shape, and so must I remain", "Just then a queer creature dropped from a tree into the ring and began\nmoving slowly toward them. It was flat in shape, like a big turtle;", "me that if you can find a tingle-berry, and eat it, you will resume\nyour natural form again. For it is the one antidote in all the world\nfor the charm the tuxix worked upon you.\"", "Twinkle and Chubbins stretched their little necks to see what was\ncoming, and a moment later beheld one of the most gorgeous sights the", "\"Whether you are the tuxix or not,\" said Twinkle, \"I never will touch\nyou. You may be sure of that.\"", "trees until you repent your stubbornness and promise to become my\nslaves. The tuxix has spoken, and her magical powers are at work. Go!\"", "\"But birds shouldn't have human heads,\" retorted the bluejay. \"I\nsuppose the old tuxix did that so the birds would not admit you into", "before he met with the cruel tuxix. But he gave a groan, every once in\na while, and Twinkle suspected that two berries were twice as powerful\nas one, and made a pain that lasted twice as long.", "\"Why, it is another trick of old Hautau, the tuxix. She found two\nchildren in the forest and enchanted them. She wanted to make them", "It was not very long before they reached the clearing in the forest.\nThe horrid tuxix had wriggled her evil body away, to soothe her\ndisappointment by some other wicked act; but the basket stood as the\nchildren had left it.", "good deal about magic, and especially about that same tuxix who\nwickedly transformed you in the forest. And the Royal Necromancer tells", "Policeman Bluejay, having finally introduced all the company to the\nchild-larks, began to relate the story of their adventures, telling the\nbirds how the wicked tuxix had transformed them into the remarkable\nshapes they now possessed.", "creatures, for the most part, and are only interesting because they are\nbeautiful to look at. The King likes to watch the flashes of color as", "destroy the charm which the old tuxix put upon you, then nothing else\nwill answer the same purpose. The Royal Necromancer is very wise, and", "laugh. \"If you had ever touched the old tuxix she would have\ntransformed you into toads or lizards. That is an old trick of hers, to", "They were so startled that they fluttered a moment to keep from\ntumbling off the limb. Then Twinkle saw a furry red head sticking out", "wearing his official helmet and club. You may be sure that one of the\nfirst things Twinkle asked him was if he knew where tingle-berries\ngrew." ], [ "introduce to you two children of men who have been magically\ntransformed into skylarks against their will. They are not quite birds,\nbecause their heads retain the human shape; but whatever form they may", "\"That isn't the way to put it,\" remarked Chubbins, staring back into\nthe eyes of the squirrel. \"You should ask how we children happened to\nhave birds' bodies.\"", "\"But we can't go home like we are,\" replied the girl-lark. \"What would\nour folks say, to find us with birds' bodies?\"\n\n\"They'd yell and run,\" declared the boy.", "\"They are certainly very curious,\" remarked the King, staring at the\nhuman heads upon the lark bodies. \"May I ask you, little strangers, how\nyou happen to exist in your present form?\"", "Both of them had to cling fast to the branch with their toes, for their\narms and hands were now wings. The toes were long and sharp pointed, so\nthat they could be used in the place of fingers.", "discovered that his eyes were only bits of glass! All the other birds\nin the room were stuffed in the same way. They looked as if they were\nalive, at the first glance; but each body was cold and every voice", "\"The larks,\" declared the bluejay, \"are almost the strongest and best\nflyers we have. You two children have now become skylarks, and may soar", "boy who has been forced to wear a bird's body. And your Majesty is wise\nenough to understand that the sort of life you lead in your fairy\nparadise would be very different from the life that boys generally", "But not entirely. For although he got his human body and legs back\nagain, all in their natural size, his wings remained as they were, and\nit startled him to find that the magic power had passed and he was\nstill partly a bird.", "And because the children seem to especially love the story of \"Bandit\nJim Crow,\" and bird-life is sure to appeal alike to their hearts and\ntheir imaginations, I have again written about birds.", "Policeman Bluejay, having finally introduced all the company to the\nchild-larks, began to relate the story of their adventures, telling the\nbirds how the wicked tuxix had transformed them into the remarkable\nshapes they now possessed.", "The birds now bade the child-larks good-bye and promised to call upon\nthem again, and soon all had flown away except the bluejay, who said he", "\"The result of our care was that one fine day the eggs hatched out, and\nsix skinny little titmice, with big heads and small bodies, were", "Having had their luncheon--and it amazed Chubbins to see how very\nlittle was required to satisfy their hunger--the bird-children crept\nout of the basket and flew down to the twig beside their nest.", "\"Well, you two child-larks are different from all other birds,\"\nremarked the eagle, \"and for that reason perhaps you would be allowed", "So they flew away, a large and merry band of all sizes and colors; and\nthe child-larks joined them, skimming the air as lightly and joyously", "Chubbins, and both the bird-children flew into their basket and\nreturned with their claws full of cookie. They repeated the journey\nmany times, distributing bits of the rare food to all of the birds who", "\"This is funny,\" said Mrs. Eagle, looking at the child-larks with\nsurprise. \"Usually you kill your game before you bring it home,\nJonathan; but today it seems our dinner has flown to us willingly.\"", "\"You--you scared us!\" she said, timidly.\n\n\"You scared _me,_ at first,\" returned the squirrel, in a comic tone.\n\"Dear me! how came you birds to have children's heads?\"", "Chubbins had been transformed into a pretty little bird--all, that is,\nexcept his head, which was Chubbins' own head reduced in size to fit" ], [ "\"My name is Twinkle.\"\n\n\"And mine's Chubbins.\"\n\n\"Pleased to make your acquaintance,\" said the squirrel, nodding. \"I\nlive in the second flat.\"", "In a second Twinkle and Chubbins were beside him, their little hearts\nbeating fast in their glossy bosoms from the excitement of their rapid", "Twinkle and Chubbins craned their necks over the edge of the nest and\nlooked down. On the ground stood a man and a boy, and two great dogs", "\"Chubbins and I have 'dopted the goldfinches,\" said Twinkle, \"so we will\nlook after them now. But it was very nice of you, Mrs. Redbreast, to\ntake take care of them until we arrived.\"", "Twinkle and Chubbins stretched their little necks to see what was\ncoming, and a moment later beheld one of the most gorgeous sights the", "Chubbins looked at her and saw almost what she saw; for Twinkle was a\nbird too, except for her head, with its checked sunbonnet, which had", "\"My!\" exclaimed Twinkle; \"you're a queer sight, Chubbins!\"\n\n\"So are you,\" answered the boy. \"That mean old thing must have 'witched\nus.\"", "\"What are your names, little strangers?\" asked the Guardian.\n\n\"Mama calls me Twinkle,\" said the girl.\n\n\"I'm Chubbins,\" said the boy.", "Twinkle and Chubbins twisted their heads around on their little\nfeathered necks and saw perched beside them a big bird of a most", "So Twinkle and Chubbins flew into the \"house\" and nestled their bodies\nagainst its soft lining and found that their friend was right. When", "and easy tone, so that Twinkle and Chubbins soon ceased to be afraid of\nthem, and enjoyed very much their society and friendly chatter.", "[CHAPTER I] _Little Ones in Trouble_\n\n\"SEEMS to me, Chub,\" said Twinkle, \"that we're lost.\"", "Twinkle did not want to give up her charges at first, as she had become\ninterested in them; but Chubbins heaved a sigh of relief and declared", "\"I'm naughty sometimes, and so is Chubbins,\" said Twinkle, honestly.\n\"But we try not to be any naughtier than we can help.\"", "\"Get aboard, please,\" called Ephel, and alighted upon the broad surface\nof the floating leaf. Twinkle and Chubbins followed, one sitting in", "\"They'll hunt for us,\" Chubbins suggested; \"and they may come under\nthis tree, and call to us.\"\n\n\"If they do,\" said Twinkle, \"we'll fly right down to them.\"", "Twinkle was too much embarrassed by this politeness to answer at once,\nbut Chubbins said \"Sure thing!\" in a matter-of-fact voice, and the\nMessenger nodded gaily and continued:", "Then they stopped to rest and to catch their breaths, but before this\nhappened Twinkle and Chubbins both uttered exclamations of amazement at\nthe sight that met their eyes.", "\"Why, this is the place we entered the forest, that day we got\n'chanted!\" cried Twinkle.\n\n\"So it is,\" said Chubbins. \"I believe we could find our way home from\nhere, Twink.\"", "\"Do!\" said Twinkle and Chubbins, in one eager breath. They flew for a\nlong time, high in the air, but neither of the bird-children seemed to" ], [ "The children did not speak, but watched him anxiously.\n\n\"Where did you leave your basket?\" he finally asked.\n\n\"In the place where the old witch 'chanted us.\"", "It was not very long before they reached the clearing in the forest.\nThe horrid tuxix had wriggled her evil body away, to soothe her\ndisappointment by some other wicked act; but the basket stood as the\nchildren had left it.", "As the boy and girl looked around they were astonished to find their\nbasket standing on the ground beside them. On a limb of the first tree", "Having had their luncheon--and it amazed Chubbins to see how very\nlittle was required to satisfy their hunger--the bird-children crept\nout of the basket and flew down to the twig beside their nest.", "So they flew to where the basket hung among the thick leaves of the\ntree, which had served to prevent the men from discovering it, and\ncrept underneath the cloth that covered it.", "\"We will,\" said Chubbins, promptly. \"We can feed them out of our\nbasket.\"\n\n\"Oh, yes,\" chimed in the girl. \"We couldn't catch grubs for them, you\nknow.\"", "and as this basket belongs to them I have asked you to fetch it to\ntheir nest.\"", "\"That reminds me I'm hungry,\" chirped the boy-lark.\n\n\"Well, we've got the basket,\" she replied.", "Chubbins, and both the bird-children flew into their basket and\nreturned with their claws full of cookie. They repeated the journey\nmany times, distributing bits of the rare food to all of the birds who", "\"It looks that way,\" replied Twinkle, thoughtfully. \"Isn't it lucky,\nChub, we have the basket with us? If it wasn't for that, we might\nstarve to death in our prison.\"", "\"Yes, but we haven't any hands, and there's a cloth tied over the top\nof the basket.\"\n\n\"Dear me!\" exclaimed Twinkle; \"I hadn't thought of that.\"", "\"In baskets. I'll get you a piece, and you can try it.\" So Twinkle flew\nup and crept into her basket again, quickly returning with a bit of", "managed to pull the cloth away far enough for one of them to crawl\nthrough the opening. Then the other followed, and because the big\nbasket was not quite full there was exactly room for them to stand", "\"I wonder if the luncheon in our basket would agree with them,\"\nremarked the girl, looking at the open mouths reflectively as she\nperched her own brown body upon the edge of the deep nest.", "He picked up the basket, and for a few minutes they walked along in\nsilence.\n\nThen the boy asked:\n\n\"Don't your legs feel heavy, Twink?\"", "They got their own luncheon from the basket, and afterward perched on\nthe tree near the nest of the little goldfinches. They did not feel at", "\"Why, cake and sandwitches, and pickles, and cheese, such as we had in\nour basket. We couldn't _eat_ any live things, you see, because we are\nnot used to it.\"", "recovered somewhat from the blow she had received, and when she saw her\neggs and her poor dead husband being taken away, she managed to flutter\nalong after the man and followed him until he came to the edge of the", "They flew together to the basket and perched upon the edge of it. It\nseemed astonishingly big to them, now that they were so small; but", "with the basket between them and their backs to a big tree. Twinkle\nwinked just twice, because she usually took a nap in the afternoon, and" ], [ "\"I am very grateful, indeed,\" answered Twinkle, holding her wings\noutstretched so that she floated lightly in the air beside her rescuer.\n\"If you had been an instant later, the dog would have killed me.\"", "With the words he rose into the air and Twinkle darted after him, while\nChubbins, seeing their flight from his nest, joined them just in time\nto escape a shot from the boy's deadly gun.", "children, as you see them. I was in a tree near by, and saw the whole\nthing. Because I was sorry for the innocent victims I befriended them,", "and feeding them! And, just as we were nearly home again, the dogs\nsprang upon my friend and the men shot her dead. We had not even\nsuspected, until then, that our foes were in the forest.\"", "The children, rudely awakened by the riot of noise in their ears, could\ndistinguish the barking of dogs, the shouts of men calling to the", "\"Call off your dog!\" shouted Twinkle, wildly excited. \"How dare you\nshoot the poor, harmless birds? Call off your dog, I say!\"", "\"We've been with the eagle,\" said the girl. \"He saved our lives and\ncarried us away from where the dreadful men were.\"", "Twinkle was too terrified to move. She glared upon the approaching\nmonster helplessly, and it had almost reached her when a black object", "\"They'll hunt for us,\" Chubbins suggested; \"and they may come under\nthis tree, and call to us.\"\n\n\"If they do,\" said Twinkle, \"we'll fly right down to them.\"", "Instantly Twinkle darted from the nest and swooped downward, alighting\non the ground beside the owl's quivering body. A big dog came bounding", "\"They've got her!\" she exclaimed, in a trembling, terrified voice. \"The\nmen have shot Mrs. 'Possum dead, and the dogs are now tearing her four\nbabies limb from limb!\"", "They searched for a long time unsuccessfully. It was growing late, and\nthey were almost in despair, when a sharp cry from Policeman Bluejay\ndrew the child-larks to his side.", "men. The hunter either did not hear her or he did not understand her,\nand the dog snarled and bared its wicked teeth as it sprang greedily\nupon the child-lark.", "\"By and bye he came to a big house, which he entered, closing the door\nbehind him. Susie flew into a tree beside the house and waited\nsorrowfully but in patience for a chance to find her precious ones\nagain.", "\"Look out!\" cried the voice of Wisk, the squirrel. \"He's aiming at\nyou--look out!\"\n\nThey ducked their heads again, just as the gun roared and flamed fire\nbeneath them.", "\"I will take you back to the forest,\" the eagle declared, and at once\nrose into the air. Twinkle and Chubbins followed him, and soon the nest", "\"There! they won't die of either hunger or thirst in a hurry, Chub. So\nnow we can feed ourselves.\"\n\n\"Their mouths are still open,\" returned the boy, doubtfully.", "The dog, already dead, straightened out and twitched convulsively. The\nman shouted angrily and sprang upon the huge bird that had slain his\npet, at the same time swinging his gun like a club.", "lucky it was that I happened to be around in time to rescue you, my\nlittle friends.\"", "They were so startled that they fluttered a moment to keep from\ntumbling off the limb. Then Twinkle saw a furry red head sticking out" ], [ "\"Love. It is the moral law that is above all laws made by living\ncreatures. The whole forest is ruled by love more than it is by fear.", "our forest. You must all pledge yourselves to befriend them on all\noccasions, and if any one dares to break his promise he must fight with\nme to the death--and you know very well what that means.\"", "declared they would never again rebel against Policeman Bluejay, the\nregularly appointed guardian of the Law of the Forest. And I am told", "time. Here in our part of the forest there is a little excitement, for\nthe biggest birds only obey our laws through fear of punishment, and I", "\"Because the strong light hurts our eyes. But, although we are abroad\nin the night, we seek only our natural prey, and obey the Great Law of\nthe forest more than some others do.\"", "forest, of course; but the guilty ones are often able to escape. I'll\ntell you of a little tragedy that happened only last week, which will\nprove how apt we are to be mistaken.\"", "\"Directly in the center of our forest. It is a magical spot, protected\nfrom intrusion not by any wall or barred gates, but by a strong wind", "\"That won't do any good,\" was the reply. \"We rooks have decided the\nmatter already. We mean to rule the forest, after this, and if any one,", "\"Don't mention it,\" said the other. \"I'm the forest policeman--\nPoliceman Bluejay, you know--and it's my duty to look after everyone\nwho is in trouble.\"", "\"All men who enter the forest are,\" answered the oriole, positively.\n\"For they only come here to murder and destroy those who are helpless", "\"Then,\" said the officer of the forest, \"I must try to get it for you.\"\n\n\"It is too big and heavy for a bird to carry,\" suggested Twinkle.", "\"Of course,\" he replied, promptly. \"They grow over at the north edge of\nthe forest, in the open country. But you must never eat them, my dear\nfriend, because they are very bad for birds.\"", "these cases is to discover what the charm may be that will restore you\nto your natural shapes. But just now you must make up your minds to\nlive in our forest for a time, and to be as happy as you can under the", "\"I'm 'shamed of those people,\" said Chubbins, indignantly. \"What right\nhad they to come to the forest and kill the pretty owl, and the dear", "\"It is very kind of you to remember our wish,\" said Twinkle. \"We are\nall ready.\"\n\nSo they flew above the tree-tops and began their journey toward the\ncenter of the forest.", "but no one except the Birds of Paradise are allowed to live there.\nThose favored birds sometimes enter our part of the forest, but we are\nnever allowed to enter theirs.\"", "The birds were of many sizes and of various colorings. Some were much\nlarger than the bluejay, but none seemed so proud or masterful, and all\ndeferred meekly to the commands of the acknowledged guardian of the\nforest.", "\"Then it's all right; for Policeman Bluejay rules the feathered tribes\nof this forest about as he likes. Have you seen him in full uniform\nyet?\"", "\"Because I forbid you. They are my guests, and must be protected and\nwell treated. And even if this were not so, the larks are too small to\nsatisfy your hunger, you little gluttons.\"", "birds midway between our Paradise and the great forest. They serve us\nwhen we need them, and are under our laws and regulations; but they are\nso highly favored by being permitted to occupy the outer edge of our" ], [ "\"Will he, really?\" asked the girl, in delight.\n\n\"To be sure. Some day I will take you over there, and then you will see\nwhat powerful friends Policeman Bluejay has.\"", "When at last he knew that they had escaped the rooks, Policeman Bluejay\nentered the forest again and went among the birds to call them all to a", "They searched for a long time unsuccessfully. It was growing late, and\nthey were almost in despair, when a sharp cry from Policeman Bluejay\ndrew the child-larks to his side.", "\"That's right,\" exclaimed Policeman Bluejay, nodding his crest in\napproval. \"The first thing you must have is a house; so, if you will\nfly with me, I will try to find you one.\"", "them to see that it was Policeman Bluejay. He wore his official helmet\nand carried his club, and as soon as he came beside them he said:", "After the fight Policeman Bluejay thanked his cousins and sent them\nhome again, and then the birds all surrounded the policeman and cheered\nhim gratefully for his cleverness and bravery, so that he was the hero\nof the hour.", "When the excitement of the morning had subsided and the forest was\nquiet again, Policeman Bluejay came to the nest of the child-larks,", "\"Don't mention it,\" said the other. \"I'm the forest policeman--\nPoliceman Bluejay, you know--and it's my duty to look after everyone\nwho is in trouble.\"", "Policeman Bluejay had seen his dilemma at the first, and his sharp eyes\nhad been roving over all the bushes that were within the range of his", "of the forest sat silently regarding them a big blue bird that they\nknew must be Policeman Bluejay, although somehow or other he had lost\nhis glossy black helmet and the club he had carried underneath his", "The bluejay knew it would be foolish to do that, so he turned away and\nwhispered to the lark-children:\n\n\"Follow me, and fly as swiftly as you can.\"", "Then the eagle flew away, and when he was gone Policeman Bluejay also\nbade them good-bye.", "\"Then it's all right; for Policeman Bluejay rules the feathered tribes\nof this forest about as he likes. Have you seen him in full uniform\nyet?\"", "bluejays, all in a row. They were large, splendidly plumaged birds,\nwith keen eyes and sharp bills, and at their head was the children's\nold friend, the policeman.", "While the child-larks were finishing their breakfast Policeman Bluejay\ncame to them, his feathers looking fresh and glossy and all his\ngorgeous colorings appearing especially beautiful in the sunshine.", "Policeman Bluejay, having finally introduced all the company to the\nchild-larks, began to relate the story of their adventures, telling the\nbirds how the wicked tuxix had transformed them into the remarkable\nshapes they now possessed.", "\"This way, please--this way!\" chirped the bluejay; and the eagle bore\nthe precious burden safely to the maple tree, and hung it upon a limb\njust above the nest.", "\"At your nest, of course,\" retorted the other. \"We made up our minds\nthat we have had a miserable bluejay for a policeman long enough; so", "\"Yes,\" answered the girl. \"Policeman Bluejay gave us this nest.\"", "Policeman Bluejay gave a cry of anger as he saw this, and dashed\nforward to meet the rooks.\n\n\"What does this mean, you rascal?\" he demanded, in a fierce voice." ], [ "\"Don't mention it,\" said the other. \"I'm the forest policeman--\nPoliceman Bluejay, you know--and it's my duty to look after everyone\nwho is in trouble.\"", "The bluejay was not only astonished at this rebellion but he was\nterribly angry as well.\n\n\"That is my policeman's helmet and club,\" he said sternly. \"Where did\nyou get them?\"", "\"That's right,\" exclaimed Policeman Bluejay, nodding his crest in\napproval. \"The first thing you must have is a house; so, if you will\nfly with me, I will try to find you one.\"", "of the forest sat silently regarding them a big blue bird that they\nknew must be Policeman Bluejay, although somehow or other he had lost\nhis glossy black helmet and the club he had carried underneath his", "Policeman Bluejay gave a cry of anger as he saw this, and dashed\nforward to meet the rooks.\n\n\"What does this mean, you rascal?\" he demanded, in a fierce voice.", "The birds seemed much surprised by this invitation, and even Policeman\nBluejay wondered what she was going to do. But Twinkle whispered to", "\"Will he, really?\" asked the girl, in delight.\n\n\"To be sure. Some day I will take you over there, and then you will see\nwhat powerful friends Policeman Bluejay has.\"", "them to see that it was Policeman Bluejay. He wore his official helmet\nand carried his club, and as soon as he came beside them he said:", "After the fight Policeman Bluejay thanked his cousins and sent them\nhome again, and then the birds all surrounded the policeman and cheered\nhim gratefully for his cleverness and bravery, so that he was the hero\nof the hour.", "Seems to me P'liceman Bluejay's a pretty busy bird, if he looks after\nthings as he ought.\"", "\"Then it's all right; for Policeman Bluejay rules the feathered tribes\nof this forest about as he likes. Have you seen him in full uniform\nyet?\"", "delight the arrival of Policeman Bluejay in the early evening. The busy\nofficer had brought with him Mrs. Chaffinch, a widow whose husband had", "While the child-larks were finishing their breakfast Policeman Bluejay\ncame to them, his feathers looking fresh and glossy and all his\ngorgeous colorings appearing especially beautiful in the sunshine.", "Policeman Bluejay had seen his dilemma at the first, and his sharp eyes\nhad been roving over all the bushes that were within the range of his", "declared they would never again rebel against Policeman Bluejay, the\nregularly appointed guardian of the Law of the Forest. And I am told", "When the excitement of the morning had subsided and the forest was\nquiet again, Policeman Bluejay came to the nest of the child-larks,", "Policeman Bluejay singled out the rook which had stolen his helmet and\nclub, and dashed upon him so furiously that the black rebel was amazed,", "bluejays, all in a row. They were large, splendidly plumaged birds,\nwith keen eyes and sharp bills, and at their head was the children's\nold friend, the policeman.", "They searched for a long time unsuccessfully. It was growing late, and\nthey were almost in despair, when a sharp cry from Policeman Bluejay\ndrew the child-larks to his side.", "\"Oh, they're always like that,\" observed Policeman Bluejay, calmly.\n\"When anyone is around they open their mouths to be fed, whether they\nare hungry or not. It's the way with birdlets.\"" ], [ "introduce to you two children of men who have been magically\ntransformed into skylarks against their will. They are not quite birds,\nbecause their heads retain the human shape; but whatever form they may", "\"But we can't go home like we are,\" replied the girl-lark. \"What would\nour folks say, to find us with birds' bodies?\"\n\n\"They'd yell and run,\" declared the boy.", "until some child willingly takes me in its arms and pets me. Then, and\nnot till then, will I be restored to my proper form.\"", "me that if you can find a tingle-berry, and eat it, you will resume\nyour natural form again. For it is the one antidote in all the world\nfor the charm the tuxix worked upon you.\"", "\"That isn't the way to put it,\" remarked Chubbins, staring back into\nthe eyes of the squirrel. \"You should ask how we children happened to\nhave birds' bodies.\"", "But not entirely. For although he got his human body and legs back\nagain, all in their natural size, his wings remained as they were, and\nit startled him to find that the magic power had passed and he was\nstill partly a bird.", "Both of them had to cling fast to the branch with their toes, for their\narms and hands were now wings. The toes were long and sharp pointed, so\nthat they could be used in the place of fingers.", "\"Listen, my dears,\" it continued; \"I was once a beautiful maiden, but a\ncruel tuxix transformed me into this awful shape, and so must I remain", "\"I really can't say,\" answered the policeman. \"There is said to be a\nway to break every enchantment, if one knows what it is. The trouble in", "get children into her power and then change them into things as\nloathsome as herself.\"", "\"I will take you back to the forest,\" the eagle declared, and at once\nrose into the air. Twinkle and Chubbins followed him, and soon the nest", "\"But the Royal Necromancer of the King Bird of Paradise says the\ntingle-berries will restore us to our proper forms,\" explained the\ngirl.", "\"Would you really prefer to resume your old shape, and cease to be a\nbird?\" he asked.\n\n\"Yes, if I could,\" Chubbins replied.", "\"Why, it is another trick of old Hautau, the tuxix. She found two\nchildren in the forest and enchanted them. She wanted to make them", "\"Yes, we're 'chanted,\" said Twinkle. \"And now, what are we going to do\nabout it? We can't go home, for our folks would be scared nearly into", "\"There! they won't die of either hunger or thirst in a hurry, Chub. So\nnow we can feed ourselves.\"\n\n\"Their mouths are still open,\" returned the boy, doubtfully.", "children, as you see them. I was in a tree near by, and saw the whole\nthing. Because I was sorry for the innocent victims I befriended them,", "\"They are certainly very curious,\" remarked the King, staring at the\nhuman heads upon the lark bodies. \"May I ask you, little strangers, how\nyou happen to exist in your present form?\"", "\"My! I couldn't _think_ of doing such a thing,\" she answered.\n\nThen the creature said:\n\n\"Little boy, please pick me up in your arms, and pet me!\"", "\"What do you think of us now?\" asked the King, turning his eyes upon\nthe lark-children.\n\n\"It must be the prettiest place in all the world!\" cried Twinkle, with\nreal enthusiasm." ], [ "But not entirely. For although he got his human body and legs back\nagain, all in their natural size, his wings remained as they were, and\nit startled him to find that the magic power had passed and he was\nstill partly a bird.", "In a moment she said: \"Ouch! Oo-oo-oo!\" But it did not hurt so badly,\nafter all. Her form quickly changed and grew larger; and while Chubbins", "Twinkle was too terrified to move. She glared upon the approaching\nmonster helplessly, and it had almost reached her when a black object", "\"Listen, my dears,\" it continued; \"I was once a beautiful maiden, but a\ncruel tuxix transformed me into this awful shape, and so must I remain", "Both of them had to cling fast to the branch with their toes, for their\narms and hands were now wings. The toes were long and sharp pointed, so\nthat they could be used in the place of fingers.", "In an instant Twinkle saw Chubbins shoot through the air and disappear\namong the leaves of one of the tall trees. As he went he seemed to grow\nvery small, and to change in shape.", "managed to pull the cloth away far enough for one of them to crawl\nthrough the opening. Then the other followed, and because the big\nbasket was not quite full there was exactly room for them to stand", "At this the red eyes of the creature flashed fire with anger, and it\ntried to turn its clumsy body around to find the speaker. Twinkle and", "introduce to you two children of men who have been magically\ntransformed into skylarks against their will. They are not quite birds,\nbecause their heads retain the human shape; but whatever form they may", "until some child willingly takes me in its arms and pets me. Then, and\nnot till then, will I be restored to my proper form.\"", "Policeman Bluejay, having finally introduced all the company to the\nchild-larks, began to relate the story of their adventures, telling the\nbirds how the wicked tuxix had transformed them into the remarkable\nshapes they now possessed.", "\"But we can't go home like we are,\" replied the girl-lark. \"What would\nour folks say, to find us with birds' bodies?\"\n\n\"They'd yell and run,\" declared the boy.", "They were so startled that they fluttered a moment to keep from\ntumbling off the limb. Then Twinkle saw a furry red head sticking out", "Just then a queer creature dropped from a tree into the ring and began\nmoving slowly toward them. It was flat in shape, like a big turtle;", "The second berry had a good effect in one way, for Chubbins' wings\nquickly became arms, and he was now as perfectly formed as he had been", "\"Would you really prefer to resume your old shape, and cease to be a\nbird?\" he asked.\n\n\"Yes, if I could,\" Chubbins replied.", "They searched for a long time unsuccessfully. It was growing late, and\nthey were almost in despair, when a sharp cry from Policeman Bluejay\ndrew the child-larks to his side.", "She was afraid of losing Chubbins, so she flew after him, feeling\nrather queer herself, and a moment after was safe in the tall tree,\nclinging with her toes to a branch and looking in amazement at the boy\nwho sat beside her.", "recovered somewhat from the blow she had received, and when she saw her\neggs and her poor dead husband being taken away, she managed to flutter\nalong after the man and followed him until he came to the edge of the", "The bee was all bristling with fine hairs and was nearly half as big as\nTwinkle herself; so the girl shrank back in alarm, and cried:" ], [ "[CHAPTER I] _Little Ones in Trouble_\n\n\"SEEMS to me, Chub,\" said Twinkle, \"that we're lost.\"", "\"Why, this is the place we entered the forest, that day we got\n'chanted!\" cried Twinkle.\n\n\"So it is,\" said Chubbins. \"I believe we could find our way home from\nhere, Twink.\"", "\"They'll hunt for us,\" Chubbins suggested; \"and they may come under\nthis tree, and call to us.\"\n\n\"If they do,\" said Twinkle, \"we'll fly right down to them.\"", "So the bluejay darted away and was soon lost to sight, and Twinkle and\nChubbins were left alone to seriously consider the great misfortune\nthat had overtaken them.", "Chubbins looked at her and saw almost what she saw; for Twinkle was a\nbird too, except for her head, with its checked sunbonnet, which had", "Twinkle and Chubbins stretched their little necks to see what was\ncoming, and a moment later beheld one of the most gorgeous sights the", "\"Seems to me, Twink,\" said Chubbins, \"that it isn't _we_ that's lost.\nIt's the path.\"\n\n\"It was here a minute ago,\" declared Twinkle.", "In a second Twinkle and Chubbins were beside him, their little hearts\nbeating fast in their glossy bosoms from the excitement of their rapid", "\"I will take you back to the forest,\" the eagle declared, and at once\nrose into the air. Twinkle and Chubbins followed him, and soon the nest", "Twinkle and Chubbins craned their necks over the edge of the nest and\nlooked down. On the ground stood a man and a boy, and two great dogs", "In an instant Twinkle saw Chubbins shoot through the air and disappear\namong the leaves of one of the tall trees. As he went he seemed to grow\nvery small, and to change in shape.", "Then they stopped to rest and to catch their breaths, but before this\nhappened Twinkle and Chubbins both uttered exclamations of amazement at\nthe sight that met their eyes.", "place where the cloth was loose. In a minute Chubbins began clawing at\nit with his little feet, and Twinkle helped him; so that gradually they", "\"Do!\" said Twinkle and Chubbins, in one eager breath. They flew for a\nlong time, high in the air, but neither of the bird-children seemed to", "[CHAPTER III] _The Child-Larks_\n\n\"Folks will be worried about us, Twink,\" said Chubbins.", "\"What are your names, little strangers?\" asked the Guardian.\n\n\"Mama calls me Twinkle,\" said the girl.\n\n\"I'm Chubbins,\" said the boy.", "would see Twinkle and Chubbins safe home again, so that they would not\nget lost.", "\"My name is Twinkle.\"\n\n\"And mine's Chubbins.\"\n\n\"Pleased to make your acquaintance,\" said the squirrel, nodding. \"I\nlive in the second flat.\"", "Twinkle did not want to give up her charges at first, as she had become\ninterested in them; but Chubbins heaved a sigh of relief and declared", "\"It's almost dark,\" said Twinkle, yawning. \"Let's go home, Chub.\"\n\n\"All right.\"" ], [ "Twinkle and Chubbins stretched their little necks to see what was\ncoming, and a moment later beheld one of the most gorgeous sights the", "\"They'll hunt for us,\" Chubbins suggested; \"and they may come under\nthis tree, and call to us.\"\n\n\"If they do,\" said Twinkle, \"we'll fly right down to them.\"", "\"Why, this is the place we entered the forest, that day we got\n'chanted!\" cried Twinkle.\n\n\"So it is,\" said Chubbins. \"I believe we could find our way home from\nhere, Twink.\"", "In a second Twinkle and Chubbins were beside him, their little hearts\nbeating fast in their glossy bosoms from the excitement of their rapid", "\"My name is Twinkle.\"\n\n\"And mine's Chubbins.\"\n\n\"Pleased to make your acquaintance,\" said the squirrel, nodding. \"I\nlive in the second flat.\"", "\"I will take you back to the forest,\" the eagle declared, and at once\nrose into the air. Twinkle and Chubbins followed him, and soon the nest", "With these words he darted toward the tree, and Twinkle and Chubbins\nfollowed. In a few seconds they alighted upon the branch and found\nthemselves face to face with the first Bird of Paradise they had yet\nseen.", "Chubbins looked at her and saw almost what she saw; for Twinkle was a\nbird too, except for her head, with its checked sunbonnet, which had", "Then they stopped to rest and to catch their breaths, but before this\nhappened Twinkle and Chubbins both uttered exclamations of amazement at\nthe sight that met their eyes.", "Twinkle and Chubbins craned their necks over the edge of the nest and\nlooked down. On the ground stood a man and a boy, and two great dogs", "In an instant Twinkle saw Chubbins shoot through the air and disappear\namong the leaves of one of the tall trees. As he went he seemed to grow\nvery small, and to change in shape.", "trees. Even before Twinkle and Chubbins were awake the birds were\ncalling merrily to one another throughout the forest, and the chipmonks", "\"It is very kind of you to remember our wish,\" said Twinkle. \"We are\nall ready.\"\n\nSo they flew above the tree-tops and began their journey toward the\ncenter of the forest.", "Of course, Twinkle and Chubbins took no part in the fight, but they had\nhovered in the background to watch it, and were therefore as proud of\ntheir friend as any of the forest birds could be.", "\"My!\" exclaimed Twinkle; \"you're a queer sight, Chubbins!\"\n\n\"So are you,\" answered the boy. \"That mean old thing must have 'witched\nus.\"", "So Twinkle and Chubbins flew into the \"house\" and nestled their bodies\nagainst its soft lining and found that their friend was right. When", "[CHAPTER I] _Little Ones in Trouble_\n\n\"SEEMS to me, Chub,\" said Twinkle, \"that we're lost.\"", "As he approached he made such a fierce fluttering that Twinkle and\nChubbins were dreadfully scared and flew out of their nest, hopping", "Twinkle and Chubbins twisted their heads around on their little\nfeathered necks and saw perched beside them a big bird of a most", "\"And was it you who warned us against that dreadful creature below in\nthe forest?\" she continued.\n\n\"It was.\"\n\n\"Then,\" said Twinkle, \"we are very much obliged to you.\"" ], [ "get children into her power and then change them into things as\nloathsome as herself.\"", "introduce to you two children of men who have been magically\ntransformed into skylarks against their will. They are not quite birds,\nbecause their heads retain the human shape; but whatever form they may", "\"Why, it is another trick of old Hautau, the tuxix. She found two\nchildren in the forest and enchanted them. She wanted to make them", "\"Listen, my dears,\" it continued; \"I was once a beautiful maiden, but a\ncruel tuxix transformed me into this awful shape, and so must I remain", "\"It is a magician, a sorcerer, a wizard, and a witch all rolled into\none,\" was the answer; \"and you can imagine what a dreadful thing that\nwould be.\"", "The children did not speak, but watched him anxiously.\n\n\"Where did you leave your basket?\" he finally asked.\n\n\"In the place where the old witch 'chanted us.\"", "that looked cruel and wicked. The children could not see how many legs\nit had, but they must have been very short, because the creature moved\nso slowly over the ground.", "trees until you repent your stubbornness and promise to become my\nslaves. The tuxix has spoken, and her magical powers are at work. Go!\"", "children, as you see them. I was in a tree near by, and saw the whole\nthing. Because I was sorry for the innocent victims I befriended them,", "\"The witch wasn't trying to suit us,\" replied Twinkle; \"she was trying\nto get us into trouble.\"\n\n\"Well, she did it, all right,\" he said.", "until some child willingly takes me in its arms and pets me. Then, and\nnot till then, will I be restored to my proper form.\"", "\"What nonsense are you putting into the heads of these little\ninnocents?\" continued the owl, in a scolding tone.", "good deal about magic, and especially about that same tuxix who\nwickedly transformed you in the forest. And the Royal Necromancer tells", "\"What do you think of us now?\" asked the King, turning his eyes upon\nthe lark-children.\n\n\"It must be the prettiest place in all the world!\" cried Twinkle, with\nreal enthusiasm.", "\"But they are cruel,\" said Twinkle, \"and kill innocent, harmless birds\nand animals, instead of the wicked ones that could be better spared.\"", "\"I really can't say,\" answered the policeman. \"There is said to be a\nway to break every enchantment, if one knows what it is. The trouble in", "admitting them into our society. But they are not, and the laws must be\nregarded. As for the child-larks, I will send them first to the King,", "prisoner together, and tear him into bits with bill and claw; but while\nwe waited for the sun to sink Will Sparrow flew up to the Judgment Tree\nand said:", "It was not very long before they reached the clearing in the forest.\nThe horrid tuxix had wriggled her evil body away, to soothe her\ndisappointment by some other wicked act; but the basket stood as the\nchildren had left it.", "To the Children" ], [ "\"We will,\" said Chubbins, promptly. \"We can feed them out of our\nbasket.\"\n\n\"Oh, yes,\" chimed in the girl. \"We couldn't catch grubs for them, you\nknow.\"", "\"There! they won't die of either hunger or thirst in a hurry, Chub. So\nnow we can feed ourselves.\"\n\n\"Their mouths are still open,\" returned the boy, doubtfully.", "Chubbins, and both the bird-children flew into their basket and\nreturned with their claws full of cookie. They repeated the journey\nmany times, distributing bits of the rare food to all of the birds who", "\"The poor orphans are still hungry, although I have fed them all the\ninsects I could find near. But I am glad that you have come, for it is\ntime I was at home looking after my own little ones.\"", "Having had their luncheon--and it amazed Chubbins to see how very\nlittle was required to satisfy their hunger--the bird-children crept\nout of the basket and flew down to the twig beside their nest.", "\"Why not?\" asked the policeman.\n\n\"The food in our basket would all be gone, and then we would starve to\ndeath,\" was the reply. \"We can't eat bugs and worms, you know.\"", "\"Jonathan,\" said Mrs. Eagle, coldly, \"do not reproach our offspring for\ntheir hunger. We sent you out this morning to procure a supply of food,", "So each one dragged out a big piece of meat from a sandwich, and by\nholding it fast in one claw they managed to fly with the burden to the\nnest of the goldfinch babies.", "\"Oh, we eat part of it, and store up the rest for a rainy day.\"\n\n\"Does it ever rain here?\" enquired Chubbins.", "fed and which had not. But the child-larks were positive that each one\nhad had enough to keep it from starving, because there was a big bunch", "\"Eat!\" answered the bluejay, as if surprised. \"Why, you may feast upon\nall the good things the forest offers--grubs, beetles, worms, and\nbutterfly-eggs.\"", "\"This is funny,\" said Mrs. Eagle, looking at the child-larks with\nsurprise. \"Usually you kill your game before you bring it home,\nJonathan; but today it seems our dinner has flown to us willingly.\"", "\"Why, cake and sandwitches, and pickles, and cheese, such as we had in\nour basket. We couldn't _eat_ any live things, you see, because we are\nnot used to it.\"", "\"Because I forbid you. They are my guests, and must be protected and\nwell treated. And even if this were not so, the larks are too small to\nsatisfy your hunger, you little gluttons.\"", "Nevertheless, the pleadings of the orphans, who were really stuffed\nfull of food, made the child-larks so nervous that they hailed with", "\"That is true,\" said the girl-lark. \"Shall I eat mine now?\"\n\n\"The sooner the better,\" Chubbins replied.", "\"They were more careful now about leaving home; but the danger seemed\npast. One bright, sunny morning they ventured to fly to the brook to", "\"Good!\" the lark-children cried, joyfully; and the next moment Chubbins\nadded: \"You eat the big berry, Twink.\"\n\n\"Why?\" she asked, hesitating.", "The children did not speak, but watched him anxiously.\n\n\"Where did you leave your basket?\" he finally asked.\n\n\"In the place where the old witch 'chanted us.\"", "It was not so hard to eat as they had feared, for their slender necks\nenabled them to bend their heads low. Chubbins' hat fell off, a minute\nlater, and he wondered how he was going to get it on his head again." ], [ "\"They'll hunt for us,\" Chubbins suggested; \"and they may come under\nthis tree, and call to us.\"\n\n\"If they do,\" said Twinkle, \"we'll fly right down to them.\"", "With the words he rose into the air and Twinkle darted after him, while\nChubbins, seeing their flight from his nest, joined them just in time\nto escape a shot from the boy's deadly gun.", "Twinkle did not want to give up her charges at first, as she had become\ninterested in them; but Chubbins heaved a sigh of relief and declared", "\"I will take you back to the forest,\" the eagle declared, and at once\nrose into the air. Twinkle and Chubbins followed him, and soon the nest", "Twinkle and Chubbins stretched their little necks to see what was\ncoming, and a moment later beheld one of the most gorgeous sights the", "\"Chubbins and I have 'dopted the goldfinches,\" said Twinkle, \"so we will\nlook after them now. But it was very nice of you, Mrs. Redbreast, to\ntake take care of them until we arrived.\"", "\"I am very grateful, indeed,\" answered Twinkle, holding her wings\noutstretched so that she floated lightly in the air beside her rescuer.\n\"If you had been an instant later, the dog would have killed me.\"", "Chubbins looked at her and saw almost what she saw; for Twinkle was a\nbird too, except for her head, with its checked sunbonnet, which had", "In a second Twinkle and Chubbins were beside him, their little hearts\nbeating fast in their glossy bosoms from the excitement of their rapid", "Twinkle and Chubbins craned their necks over the edge of the nest and\nlooked down. On the ground stood a man and a boy, and two great dogs", "\"Thank you,\" said Twinkle, gratefully.\n\n\"We're much obliged,\" added Chubbins.", "Of course, Twinkle and Chubbins took no part in the fight, but they had\nhovered in the background to watch it, and were therefore as proud of\ntheir friend as any of the forest birds could be.", "\"My name is Twinkle.\"\n\n\"And mine's Chubbins.\"\n\n\"Pleased to make your acquaintance,\" said the squirrel, nodding. \"I\nlive in the second flat.\"", "[CHAPTER I] _Little Ones in Trouble_\n\n\"SEEMS to me, Chub,\" said Twinkle, \"that we're lost.\"", "\"What are your names, little strangers?\" asked the Guardian.\n\n\"Mama calls me Twinkle,\" said the girl.\n\n\"I'm Chubbins,\" said the boy.", "Then they stopped to rest and to catch their breaths, but before this\nhappened Twinkle and Chubbins both uttered exclamations of amazement at\nthe sight that met their eyes.", "\"It looks that way,\" replied Twinkle, thoughtfully. \"Isn't it lucky,\nChub, we have the basket with us? If it wasn't for that, we might\nstarve to death in our prison.\"", "He spoke in such a kindly and confident voice that both Twinkle and\nChubbins gained courage; and when the policeman added: \"Come on!\" and", "\"Call off your dog!\" shouted Twinkle, wildly excited. \"How dare you\nshoot the poor, harmless birds? Call off your dog, I say!\"", "and easy tone, so that Twinkle and Chubbins soon ceased to be afraid of\nthem, and enjoyed very much their society and friendly chatter." ], [ "The dog, already dead, straightened out and twitched convulsively. The\nman shouted angrily and sprang upon the huge bird that had slain his\npet, at the same time swinging his gun like a club.", "men. The hunter either did not hear her or he did not understand her,\nand the dog snarled and bared its wicked teeth as it sprang greedily\nupon the child-lark.", "and feeding them! And, just as we were nearly home again, the dogs\nsprang upon my friend and the men shot her dead. We had not even\nsuspected, until then, that our foes were in the forest.\"", "\"They've got her!\" she exclaimed, in a trembling, terrified voice. \"The\nmen have shot Mrs. 'Possum dead, and the dogs are now tearing her four\nbabies limb from limb!\"", "guns, who are called hunters, come here now and then to murder us. They\nare terribly wild and ferocious creatures, who have no hearts at all.\"", "\"Call off your dog!\" shouted Twinkle, wildly excited. \"How dare you\nshoot the poor, harmless birds? Call off your dog, I say!\"", "desperately to protect their home, but the cruel man shot him, and he\nfell to the ground dead. Even then Susie would not leave her pretty", "birds he had so cruelly offended. We fell upon him in a flash, and he\nwas dead almost instantly.\"", "Instantly Twinkle darted from the nest and swooped downward, alighting\non the ground beside the owl's quivering body. A big dog came bounding", "\"I am very grateful, indeed,\" answered Twinkle, holding her wings\noutstretched so that she floated lightly in the air beside her rescuer.\n\"If you had been an instant later, the dog would have killed me.\"", "forest, of course; but the guilty ones are often able to escape. I'll\ntell you of a little tragedy that happened only last week, which will\nprove how apt we are to be mistaken.\"", "\"They'll hunt for us,\" Chubbins suggested; \"and they may come under\nthis tree, and call to us.\"\n\n\"If they do,\" said Twinkle, \"we'll fly right down to them.\"", "recovered somewhat from the blow she had received, and when she saw her\neggs and her poor dead husband being taken away, she managed to flutter\nalong after the man and followed him until he came to the edge of the", "\"He boldly entered, and discovered Susie and her husband sitting side\nby side upon the dried limb, their bodies both stiff and dead. The man\nhad caught the poor wife at last, and the lovers were reunited in\ndeath.", "The inquisitive squirrel, however, had stuck his head out to see what\nwas happening, and one of the leaden bullets buried itself in his", "\"There! they won't die of either hunger or thirst in a hurry, Chub. So\nnow we can feed ourselves.\"\n\n\"Their mouths are still open,\" returned the boy, doubtfully.", "\"'That's all right,' answered the weasel, sticking just the tip of his\nnose out of the hole. 'But you've got to catch me before you can kill", "and the splinters flew in every direction. It was not yet dark when the\ncunning weasel was dragged from his hole and was at the mercy of the", "\"An animal living in the lowest hollow of this tree,\" answered the owl.\n\"She is a good-natured creature, and hunts by night, as I do. She is", "\"Then Susie uttered a cry of grief, and understood the truth. Her\nhusband was indeed dead, but had been stuffed and mounted upon the limb" ], [ "\"Love. It is the moral law that is above all laws made by living\ncreatures. The whole forest is ruled by love more than it is by fear.", "declared they would never again rebel against Policeman Bluejay, the\nregularly appointed guardian of the Law of the Forest. And I am told", "our forest. You must all pledge yourselves to befriend them on all\noccasions, and if any one dares to break his promise he must fight with\nme to the death--and you know very well what that means.\"", "time. Here in our part of the forest there is a little excitement, for\nthe biggest birds only obey our laws through fear of punishment, and I", "forest, of course; but the guilty ones are often able to escape. I'll\ntell you of a little tragedy that happened only last week, which will\nprove how apt we are to be mistaken.\"", "\"Because the strong light hurts our eyes. But, although we are abroad\nin the night, we seek only our natural prey, and obey the Great Law of\nthe forest more than some others do.\"", "\"Of course,\" he replied, promptly. \"They grow over at the north edge of\nthe forest, in the open country. But you must never eat them, my dear\nfriend, because they are very bad for birds.\"", "forest. There he had a horse tied to a tree, and he mounted upon the\nbeast's back and rode away through the open country. Susie followed", "slender. But I have not lived in the forest all my life without\nlearning something, and I whispered a plan to Judge Bullfinch that met\nwith his approval. He sent messengers at once for the ivory-billed", "\"These are my cousins,\" he said to the child-larks, proudly, \"and I\nhave brought them from another forest, where they live, to assist me. I", "\"Directly in the center of our forest. It is a magical spot, protected\nfrom intrusion not by any wall or barred gates, but by a strong wind", "The birds were of many sizes and of various colorings. Some were much\nlarger than the bluejay, but none seemed so proud or masterful, and all\ndeferred meekly to the commands of the acknowledged guardian of the\nforest.", "\"I'm 'shamed of those people,\" said Chubbins, indignantly. \"What right\nhad they to come to the forest and kill the pretty owl, and the dear", "\"Then it's all right; for Policeman Bluejay rules the feathered tribes\nof this forest about as he likes. Have you seen him in full uniform\nyet?\"", "to one exquisite, symmetrical plan, and although the avenues or paths\nbetween the trees and plants led in every direction, the ground beneath\nthem was everywhere thickly covered with a carpet of magnificent", "\"I'll be back this afternoon, without fail,\" he said. \"Just now I must\ngo and look over the forest, and make sure none of the birds have been", "these cases is to discover what the charm may be that will restore you\nto your natural shapes. But just now you must make up your minds to\nlive in our forest for a time, and to be as happy as you can under the", "It really _was_ queer. They had followed the straight path into the\ngreat forest, and had only stopped for a moment to sit down and rest,", "\"That won't do any good,\" was the reply. \"We rooks have decided the\nmatter already. We mean to rule the forest, after this, and if any one,", "\"All men who enter the forest are,\" answered the oriole, positively.\n\"For they only come here to murder and destroy those who are helpless" ], [ "\"What do you think of us now?\" asked the King, turning his eyes upon\nthe lark-children.\n\n\"It must be the prettiest place in all the world!\" cried Twinkle, with\nreal enthusiasm.", "\"But, before you go,\" continued his Majesty, \"tell me what you think of\nmy royal person. Am I not beautiful?\"\n\n\"You are, indeed,\" replied Twinkle; \"only--\"", "\"My name is Twinkle.\"\n\n\"And mine's Chubbins.\"\n\n\"Pleased to make your acquaintance,\" said the squirrel, nodding. \"I\nlive in the second flat.\"", "\"Of course,\" replied the King. \"A boy's life must be a dreadful one.\"\n\n\"It suits me, all right,\" said Chubbins.\n\nThe King looked at him attentively.", "Twinkle and Chubbins stretched their little necks to see what was\ncoming, and a moment later beheld one of the most gorgeous sights the", "In a second Twinkle and Chubbins were beside him, their little hearts\nbeating fast in their glossy bosoms from the excitement of their rapid", "\"What are your names, little strangers?\" asked the Guardian.\n\n\"Mama calls me Twinkle,\" said the girl.\n\n\"I'm Chubbins,\" said the boy.", "\"He means,\" said Twinkle, hastily, for she feared the blunt remark\nwould displease the kindly King, \"that he isn't really a bird, but a", "Both Twinkle and Chubbins gasped with amazement and delight as, at the\ncommand of Ephel, they alighted upon a lowly branch of the golden bush\nand bowed their heads before the ruler of the birds' fairyland.", "\"My!\" exclaimed Twinkle; \"you're a queer sight, Chubbins!\"\n\n\"So are you,\" answered the boy. \"That mean old thing must have 'witched\nus.\"", "He showed Twinkle how to do this, and as she had brought her golden\nspoon with her it was easy enough. Ephel opened a ball for Chubbins and", "Twinkle and Chubbins craned their necks over the edge of the nest and\nlooked down. On the ground stood a man and a boy, and two great dogs", "Twinkle was too much embarrassed by this politeness to answer at once,\nbut Chubbins said \"Sure thing!\" in a matter-of-fact voice, and the\nMessenger nodded gaily and continued:", "Chubbins looked at her and saw almost what she saw; for Twinkle was a\nbird too, except for her head, with its checked sunbonnet, which had", "\"Henny Wren and Jenny Wren,\" proceeded the policeman.\n\nTwinkle and Chubbins both bowed politely.", "\"I'm naughty sometimes, and so is Chubbins,\" said Twinkle, honestly.\n\"But we try not to be any naughtier than we can help.\"", "He spoke in such a kindly and confident voice that both Twinkle and\nChubbins gained courage; and when the policeman added: \"Come on!\" and", "and easy tone, so that Twinkle and Chubbins soon ceased to be afraid of\nthem, and enjoyed very much their society and friendly chatter.", "\"Thank you,\" said Twinkle, gratefully.\n\n\"We're much obliged,\" added Chubbins.", "Twinkle did not want to give up her charges at first, as she had become\ninterested in them; but Chubbins heaved a sigh of relief and declared" ], [ "\"My!\" exclaimed Twinkle; \"you're a queer sight, Chubbins!\"\n\n\"So are you,\" answered the boy. \"That mean old thing must have 'witched\nus.\"", "Twinkle and Chubbins stretched their little necks to see what was\ncoming, and a moment later beheld one of the most gorgeous sights the", "Both Twinkle and Chubbins gasped with amazement and delight as, at the\ncommand of Ephel, they alighted upon a lowly branch of the golden bush\nand bowed their heads before the ruler of the birds' fairyland.", "In a second Twinkle and Chubbins were beside him, their little hearts\nbeating fast in their glossy bosoms from the excitement of their rapid", "\"But, before you go,\" continued his Majesty, \"tell me what you think of\nmy royal person. Am I not beautiful?\"\n\n\"You are, indeed,\" replied Twinkle; \"only--\"", "Chubbins looked at her and saw almost what she saw; for Twinkle was a\nbird too, except for her head, with its checked sunbonnet, which had", "He showed Twinkle how to do this, and as she had brought her golden\nspoon with her it was easy enough. Ephel opened a ball for Chubbins and", "\"What are your names, little strangers?\" asked the Guardian.\n\n\"Mama calls me Twinkle,\" said the girl.\n\n\"I'm Chubbins,\" said the boy.", "\"What do you think of us now?\" asked the King, turning his eyes upon\nthe lark-children.\n\n\"It must be the prettiest place in all the world!\" cried Twinkle, with\nreal enthusiasm.", "\"My name is Twinkle.\"\n\n\"And mine's Chubbins.\"\n\n\"Pleased to make your acquaintance,\" said the squirrel, nodding. \"I\nlive in the second flat.\"", "Twinkle was too much embarrassed by this politeness to answer at once,\nbut Chubbins said \"Sure thing!\" in a matter-of-fact voice, and the\nMessenger nodded gaily and continued:", "Twinkle and Chubbins craned their necks over the edge of the nest and\nlooked down. On the ground stood a man and a boy, and two great dogs", "Twinkle did not want to give up her charges at first, as she had become\ninterested in them; but Chubbins heaved a sigh of relief and declared", "The question is often asked me whether Twinkle and Chubbins were asleep\nor awake when they encountered these wonderful adventures; and it", "\"It is very kind of you to remember our wish,\" said Twinkle. \"We are\nall ready.\"\n\nSo they flew above the tree-tops and began their journey toward the\ncenter of the forest.", "\"Thank you,\" said Twinkle, gratefully.\n\n\"We're much obliged,\" added Chubbins.", "Then they stopped to rest and to catch their breaths, but before this\nhappened Twinkle and Chubbins both uttered exclamations of amazement at\nthe sight that met their eyes.", "\"Why, this is the place we entered the forest, that day we got\n'chanted!\" cried Twinkle.\n\n\"So it is,\" said Chubbins. \"I believe we could find our way home from\nhere, Twink.\"", "\"Get aboard, please,\" called Ephel, and alighted upon the broad surface\nof the floating leaf. Twinkle and Chubbins followed, one sitting in", "and easy tone, so that Twinkle and Chubbins soon ceased to be afraid of\nthem, and enjoyed very much their society and friendly chatter." ], [ "\"For the honor of our race,\" he said, \"we must each and every one guard\nthese little strangers carefully, and see that they come to no harm in", "\"We've been with the eagle,\" said the girl. \"He saved our lives and\ncarried us away from where the dreadful men were.\"", "children, as you see them. I was in a tree near by, and saw the whole\nthing. Because I was sorry for the innocent victims I befriended them,", "Ephel and the children now bade the good-natured Queen Bee good-bye,\nand thanked her for her kindness. The Messenger led them far away to", "would see Twinkle and Chubbins safe home again, so that they would not\nget lost.", "\"My dear Ephel,\" said the Guardian, \"oblige me by escorting these\nchild-larks to the presence of his Majesty the King.\"", "The bluejay knew it would be foolish to do that, so he turned away and\nwhispered to the lark-children:\n\n\"Follow me, and fly as swiftly as you can.\"", "as was Nancy, and as the nest was hidden in a safe place they flew away\ntogether to hunt for caterpillars, and had no thought of danger. But on", "\"No nonsense at all,\" said Wisk, in reply. \"The child-larks are safe\nenough from you, because they are under the protection of Policeman", "\"What are your names, little strangers?\" asked the Guardian.\n\n\"Mama calls me Twinkle,\" said the girl.\n\n\"I'm Chubbins,\" said the boy.", "With the words he rose into the air and Twinkle darted after him, while\nChubbins, seeing their flight from his nest, joined them just in time\nto escape a shot from the boy's deadly gun.", "\"It is very kind of you to remember our wish,\" said Twinkle. \"We are\nall ready.\"\n\nSo they flew above the tree-tops and began their journey toward the\ncenter of the forest.", "The children now gave their thanks to Ephel for his care of them and\npolite attention, and the Royal Messenger said he was pleased that the", "They flew away from the grove of the Gleaming Glade and Ephel led them\nby pleasant routes into a large garden with many pretty flowers in it.\nMostly it was filled with hollyhocks--yellow, white, scarlet and\npurple.", "They searched for a long time unsuccessfully. It was growing late, and\nthey were almost in despair, when a sharp cry from Policeman Bluejay\ndrew the child-larks to his side.", "was all very interesting to the children, and they listened eagerly\nuntil they heard a rushing sound in the air that sent Wisk scurrying\nback into his hole.", "The children did not speak, but watched him anxiously.\n\n\"Where did you leave your basket?\" he finally asked.\n\n\"In the place where the old witch 'chanted us.\"", "When at last he knew that they had escaped the rooks, Policeman Bluejay\nentered the forest again and went among the birds to call them all to a", "\"They were more careful now about leaving home; but the danger seemed\npast. One bright, sunny morning they ventured to fly to the brook to", "\"Don't mention it,\" said the other. \"I'm the forest policeman--\nPoliceman Bluejay, you know--and it's my duty to look after everyone\nwho is in trouble.\"" ] ]

[ "WHAT DO THEY ENCOUNTER WHILE LOST IN THE FOREST?", "WHAT DOES THE TUXIX DO TO THE CHILDREN?", "WHAT ANIMAL DO THE CHILDREN GET TURNED INTO?", "WHAT IS THE GRAND LAW OF THE FOREST?", "WHO SAVES TWINKLE AND CHUBBINS FROM THE DOG?", "WHO WANTS TO MAKE THE OTHER BIRDS THEIR SLAVES?", "HOW DO THE CHILDREN UNDO THE SPELL CAST ON THEM?", "WHO IS THE FORCE OF ORDER AMONG THE BIRD WORLD IN THIS STORY?", "WHILE IN THE FOREST WHERE DO THE CHILDREN LIVE?", "What does a tuxix look like?", "What kind of bird bodies do the childen end up having?", "Who are Twinkle and Chubbins' new neighbors?", "Who retrieves the children's picnic basket?", "Who rescues the children from the hunting dog?", "What is the Grand Law of the forrest?", "What is the safe location Policeman Bluejay takes the children?", "What is the trouble in birdland that Poilcemand Bluejay must deal with?", "How can the children turn back to humans?", "Who almost gets stuck halfway when transforming back to a human?", "At the beginning of the story, where are Chubbins and Twinkle lost?", "What type of creature did Twinkle and Chubbins come across in the \"great forest'? ", "What does the evil spell put on children turn them into?", "What is retrieved so the children do not have to eat bugs, worms, and grub?", "Who rescues Twinkles and Chubbin from the hunters?", "Who kills the hunter's dog?", "What does Baum believe the \"grand law\" he maintains in the forest? ", "What king is introduced to Twinkle and Chubbins?", "What Queen does Twinkle and Chubbins meet?", "Who helps protect the children and escorting them to safe locations?" ]

[ [ "A TUXIX", "tuxix" ], [ "IT CASTS A SPELL ON THEM.", "Turns them into bird like beings with a spell" ], [ "BIRD-LIKE BEINGS WITH THE HEAD OF A HUMAN AND THE BODY OF A SKYLARK", "BIrds" ], [ "LOVE", "love" ], [ "THE EAGLE", "The eagle." ], [ "THE ROOKS", "rooks" ], [ "BY EATING TINGLE-BERRIES", "They eat tingle-berries." ], [ "POLICEMAN BLUEJAY", "policeman bluejay" ], [ "A MAPLE TREE", "An abandoned thrush's nest." ], [ "A spiny turtle", "A spiny turtle. " ], [ "A skylark", "skylarks" ], [ "A squirrle, an owl, and an o'possum", "A squirrel, an opossum and an owl" ], [ "The eagle", "eagle" ], [ "The eagle", "the eagle" ], [ "Love", "Love" ], [ "Paradise of Birds", "paradise of birds" ], [ "A rebellion among the rooks who are enslaving other birds", "Rooks making other birds into slaves" ], [ "By eating the tingle-berries", "By eating tingle-berries" ], [ "Chubbins", "Chubbins" ], [ "In the \"great forest\" ", "In the great forest" ], [ "a tuxix", "a tuxix" ], [ "bird-like creatures ", "little birds with human heads" ], [ "Their picnic basket", "Their picnic basket" ], [ "The eagle", "The eagle." ], [ "The eagle", "The eagle" ], [ "Love", "Love" ], [ "King Bird of Paradise. ", "king bird of paradise" ], [ "Queen Bee", "The Queen Bee" ], [ "Policeman Bluejay", "Policeman Bluejay" ] ]

[ [ "CAL\n You still seeing my daughter?\n \n JACOB\n Yes.", "Dad, this is my boyfriend, Jacob.\n \n CAL\n No. No. No. No.", "HANNAH\n Dad, c'mon, I'm not going to stop\n seeing him.\n \n Cal turns away.", "But Cal won't even look at him. \n \n MOLLY\n (CALLING OUT)", "TRACY \n Well, might as well wait for your \n daughter. \n \n CAL", "Cal smiles.\n \n CAL\n Oh yeah? You like her?", "CAL\n Tracy, wait!\n \n TRACY\n Leave me alone, Cal!", "CAL\n I have to --\n \n MOLLY\n NOOOO!", "You are not good enough for my \n daughter. And you will never have \n my permission nor my approval. \n \n Jacob stands.", "Cal goes to answer, Jacob holds up a finger. Cal stops\n himself. Once he's settled, Jacob continues:\n \n JACOB", "Cal drives now. Jessica in the front. Awkward.\n Finally, Cal starts talking to himself. Almost shell- \n shocked.", "Cal looks up. Tracy approaches. She's wearing sweats. \n It's pretty obvious that she's been crying. Awkward \n silence. Neither knows what to say.", "ROBBIE\n With who?\n \n JESSICA\n (pointing at Cal)", "meet her mother. \n \n CAL\n (LAUGHING)\n Whoa!!!! Look at you! You do", "Tracy rushes out of the room. Cal calls after her.\n \n CAL\n She's an alcoholic! You can't", "Cal looks up. \n \n JACOB \n I've never been in love before. \n Honestly, I've never even been in", "Cal's former conquest steps onto stage. \n \n \n \n (CONTINUED)", "CAL\n Stay the hell away from my\n daughter.", "CAL\n Yes.\n \n TRACY\n Cal!", "ROBBIE\n But, Dad --\n \n CAL\n Nope." ], [ "A SHARP WHISTLE interrupts. Cal turns, sees Jacob.\n \n Jacob motions for Cal to come over. Every move Jacob", "JACOB\n Cal, this is Kate. Kate, Cal.\n \n Jacob NODS at Cal (\"you've got this\") and leaves them.", "Cal looks up at Jacob. He smiles, gently. \n \n CAL\n I know you. I know what you are.", "JACOB\n You been hanging out here a lot?\n \n CAL\n Sometimes.", "Cal struggles to get a sweater over his neck.\n \n JACOB (V.O.)", "Cal gets fitted.\n \n JACOB (V.O.)\n Two suits: one black, one grey.\n One sports jacket, navy preferred.", "Cal goes to answer, Jacob holds up a finger. Cal stops\n himself. Once he's settled, Jacob continues:\n \n JACOB", "46 INT. BAR - THAT NIGHT 46\n Another night at the bar: Cal's in his position, Jacob\n in his. Cal sips his drink, staring aimlessly forward.", "34 INT. BAR - NEXT NIGHT 34\n \n Cal sits next to Jacob. Cal is wearing his new \"outfit.\"", "(THEN)\n Cal, look at me.\n \n Cal looks. Jacob still has that power over him.", "Standing there. As always, he looks perfectly put\n together. He takes in Cal.\n \n JACOB", "CAL\n Then I have nothing to say to you.\n \n JACOB\n Cal.", "18 CONTINUED: (2) 18\n Cal points at himself: \"Me?\" Jacob nods: \"Yep.\" Cal", "Cal looks up. \n \n JACOB \n I've never been in love before. \n Honestly, I've never even been in", "Meanwhile, Cal sees Jacob, standing against a pole in the \n food court. Jacob is eating pizza, cool as ever.\n \n JACOB", "Cal (barefoot) follows Jacob around the store.\n \n CAL\n I think this whole thing might", "CAL\n Okay.\n \n Cal sits. Jacob's that powerful. Cal's that drunk.", "JACOB \n ... it would work! \n \n CAL \n You're out of your mind.", "Meanwhile, Jacob sits alone in the bar. He checks his\n watch. No Cal.\n \n Suddenly, he looks very alone at his usual table.", "JACOB\n Take them off.\n \n Cal bends down, takes one off. \n \n JACOB" ], [ "Molly GIGGLES, RUNS upstairs. Once Molly's gone, Jessica\n looks at the photo. She eyes Cal affectionately.", "nearby console. Jessica picks it up: \n \n \n ON SMASHED PHOTO", "JESSICA\n Old.\n (CONTINUED)\n 62.", "some underwear in Jessica's bottom drawer.\n \n Notices something. An envelope. It's addressed to Cal", "Just then: HER DOORBELL RINGS. \n \n Jessica jumps, started. She quickly puts the envelope in", "envelope. Jessica looks up, sees it. \n \n JESSICA\n No!!!!", "JESSICA \n Daddy, no!\n \n ROBBIE\n Is that Jessica?", "Meanwhile, Jessica sits on the living room couch. Robbie\n ENTERS, stands there. He's a precocious, adorable,\n masturbation-addicted, thirteen-year-old.", "Jessica! \n \n But she's gone. Tracy SIGHS (\"what the hell was that\") \n and CLOSES the door.", "88 INT. JESSICA'S BEDROOM 88 \n \n Meanwhile. Claire is putting away laundry. She throws", "JESSICA (O.S.)\n Ding dong.\n \n They turn -- it's Jessica, the baby-sitter.", "his face. He's been broken. He spots JESSICA. \n \n ROBBIE\n (a bit monotone)", "JESSICA\n In fact -- and, I hope this\n doesn't make you uncomfortable --\n I think I've even developed a", "77 INT. JESSICA'S BEDROOM - MINUTES LATER 77 \n \n Jessica ENTERS in a huff, goes right toward a drawer in", "OVER TO ROBBIE \n \n Who approaches Jessica. \n \n ROBBIE", "JESSICA\n It's okay.\n \n Jessica reaches for the door, but stops. She takes a\n deep breath, adorable.", "She leaves Jessica there, processing the advice. \n \n 55 EXT. HIGH SCHOOL - LATER THAT DAY 55", "Meanwhile, Jessica (the baby-sitter) stops at a bedroom\n door. She hears MUSIC coming from inside, puts her ear", "(CONTINUED)\n 4.\n 5 CONTINUED: 5\n JESSICA", "2.\n 2 CONTINUED: 2\n JESSICA\n I'm gonna getcha! I'm gonna" ], [ "Cal's wife and children -- his family -- inside. Cal: \n watching them from the outside, looking in.", "Cal looks into the living room. Tracy has brought out \n ice cream: a carton with three spoons. The kids race", "We MOVE DOWN the house, and OUTSIDE, where we discover: \n \n Cal in stealth mode, tending to his backyard. He", "Bushes rustle. Once, then twice. It's Cal, sneaking \n into the backyard. He takes a covert look inside the", "Cal HANGS up, LAUGHS to himself, and gets back to work. \n \n 87 EXT. WEAVER HOUSE - LATER THAT NIGHT 87", "Cal stands behind it all, in a tux.\n \n CAL\n Hi, T.\n \n TRACY", "We see what she is not yet privy to.\n \n \n ON THE BACKYARD", "backyard. You like this family a lot from seeing this \n backyard. \n \n \n (CONTINUED)", "95 INT. WEAVER BACKYARD - LATER 95 \n \n Cal, Jacob, Bernie, and David Jacobowitz sit side-by-side", "He PANS UP from Cal's feet. The white sneakers. Bad\n navy blue dress socks. Dad khakis. An ill-fitting,", "Cal HANGS up. He takes one final look back at his wife \n as the sprinklers go off in the backyard and douse him.", "Robbie leads a blindfolded Tracy into the backyard. She \n looks like a zombie with all the scarves over her face.", "Robbie watches her go. Love-struck once more. Cal steps \n up next to his son. \n \n CAL", "Cal and Tracy. This is their house.\n \n \n BACK TO SCENE", "Cal's Shangri-La has been transformed: the yard holds a \n FULL-BLOWN MINIATURE GOLF HOLE, windmill and all.", "Some kind of construction is going on back there. \n \n Cal's cell phone RINGS. We go --", "Cal looks up. Tracy approaches. She's wearing sweats. \n It's pretty obvious that she's been crying. Awkward \n silence. Neither knows what to say.", "CUT TO:\n \n \n 45 EXT. THE WEAVER BACKYARD - LATE EVENING 45", "CAL\n Yes.\n \n TRACY\n Cal!", "Cal looks up. Tracy stands there. She's dressed down,\n but looks amazing. Vulnerable and nervous." ], [ "front. She looks at the note. It reads: \"Just give me \n a chance, love David J\" but the \"David J.\" has been \n crossed out and replaced with \"Robbie.\"", "She opens the front door. Sitting on her stoop: \n \n The same flowers that David Jacobowitz gave Tracy sit out", "PULL BACK to reveal DAVID JACOBWITZ, across from her. He \n looks at Tracy and smiles. She smiles back weakly.", "it meant something to me. You \n weren't the only one excited to \n come to work lately. \n \n David smiles.", "sorry.\n \n They look up. It's David. Tracy gathers herself, \n stands.", "Oh, David. I'm just a little \n swamped right now so... \n \n He closes the door behind him.", "David Jacobowitz. From work. You\n met him at the Christmas party. \n You remember that party? They had \n the giant paper-maché wreath? I", "\"Yes.\" Tracy looks up, but David is gone. \n 46.", "ROBBIE\n Here's the thing, David: in the\n end, she winds up back with my", "74 EXT. WEAVER HOUSE - LATER 74 \n \n The awkward end of a first date. David walks Tracy to", "They EXIT. Cal lets them go, then grabs his things. \n \n CAL \n She's all yours, David.", "How's it going with David? \n \n She looks down. \n \n TRACY", "DAVID JACOBOWITZ \n A lot. Just to clarify. I like \n you a lot. I had no intention of", "thinks better of it, and EXITS.\n \n David moves into the room, sits down opposite Robbie.\n \n (CONTINUED)", "ROBBIE DAVID\n Okay. Okay.\n \n Awkward. Really awkward. Tracy starts to say something,", "he know about love?' I know a lot\n more than you think, David. Just\n today, I had a meltdown, almost\n gave up on the love of my life.", "He turns serious. \n \n DAVID JACOBOWITZ \n I'm sorry about you and Cal.", "Tracy LAUGHS lightly, leans forward. \n \n TRACY \n David, you've been a great friend", "(THEN)\n You always look great, so...\n \n Awkward. Neither knows what to say now. Tracy takes the", "Meanwhile, Cal sits in the passenger seat, dazed. A \"to-\n go\" box from the French restaurant in his lap. Tracy\n drives." ], [ "Don't.\n JACOB\n CAL --\n \n Cal turns to Hannah.", "HANNAH\n Dad, c'mon, I'm not going to stop\n seeing him.\n \n Cal turns away.", "CAL \n I'm sorry, what? \n \n Tracy doesn't push it. Cal turns back to Hannah.", "CAL\n I have to --\n \n MOLLY\n NOOOO!", "HANNAH \n Daddy. \n \n He smiles at her, adoring. \n \n CAL", "Cal goes to answer, Jacob holds up a finger. Cal stops\n himself. Once he's settled, Jacob continues:\n \n JACOB", "They hug him, kiss him. Cal approaches Hannah and Jacob. \n \n CAL \n Hi, Nanna.", "HANNAH\n Is that so?\n \n JACOB\n It is. So now I'm going to ask if", "HANNAH\n DAD --\n \n CAL\n GET THE HELL OUT OF MY HOUSE!", "From inside the house steps out... \n \n HANNAH.\n \n CAL\n Nanna!", "HANNAH\n So you two, like, really know each\n other?\n \n CAL", "Hannah doesn't flinch.\n \n HANNAH\n I don't.\n \n JACOB", "forward, are they saving it for him? But just then... \n Jacob arrives. Kisses Hannah and takes \"Cal's\" seat. \n Cal looks nauseous.", "HANNAH\n Cheers.\n \n They CLINK. Jacob takes a sip. Hannah downs hers. She", "Richard pulls Hannah off to the side.\n \n RICHARD\n Honey, I'm so sorry, I didn't\n realize.", "But Cal won't even look at him. \n \n MOLLY\n (CALLING OUT)", "Cal stops drinking from the wimpy red straw. \n \n JACOB\n You asked me for advice before,", "CAL --\n \n JACOB\n (QUICKLY)\n Don't.", "We watch him as he realizes that. As he processes it.\n We watch him look at Hannah.\n \n \n ON HANNAH", "BAM! Bernie lands a solid right into Cal's jaw. \n \n HANNAH\n Daddy!" ], [ "CAL\n You still seeing my daughter?\n \n JACOB\n Yes.", "Cal looks up. \n \n JACOB \n I've never been in love before. \n Honestly, I've never even been in", "Cal looks up at Jacob. He smiles, gently. \n \n CAL\n I know you. I know what you are.", "CAL\n Then I have nothing to say to you.\n \n JACOB\n Cal.", "He turns serious. \n \n DAVID JACOBOWITZ \n I'm sorry about you and Cal.", "Cal goes to answer, Jacob holds up a finger. Cal stops\n himself. Once he's settled, Jacob continues:\n \n JACOB", "Jacob looks at Cal. Cal looks great, more comfortable in\n his new \"skin\" than when we left him. He's drinking a", "At his usual table, Jacob is now wooing a NEW WOMAN. \n \n Cal shakes his head, amazed at this guy's chutzpah. A", "JACOB\n Cal, this is Kate. Kate, Cal.\n \n Jacob NODS at Cal (\"you've got this\") and leaves them.", "lecture on parental responsibility\n is almost done --\n \n JACOB\n I love her, Cal.", "takes Jacob's hand, pulls him away. \n \n JACOB\n (one last try)\n Cal, c'mon --", "Cal struggles to get a sweater over his neck.\n \n JACOB (V.O.)", "A SHARP WHISTLE interrupts. Cal turns, sees Jacob.\n \n Jacob motions for Cal to come over. Every move Jacob", "JACOB\n You see that, Cal? The simple act\n of opening your mouth instantly\n causes Tiffany to lose interest in\n sleeping with you. Your", "Jacob NODS as Cal pushes the drink away. \n \n JACOB\n Your kids miss you.", "You know what, I don't need this\n CRAP -- \n \n JACOB\n Sit down, Cal.", "You are not good enough for my \n daughter. And you will never have \n my permission nor my approval. \n \n Jacob stands.", "18 CONTINUED: (2) 18\n Cal points at himself: \"Me?\" Jacob nods: \"Yep.\" Cal", "They hug him, kiss him. Cal approaches Hannah and Jacob. \n \n CAL \n Hi, Nanna.", "Standing there. As always, he looks perfectly put\n together. He takes in Cal.\n \n JACOB" ], [ "She's right next to you, T. \n \n TRACY \n No, your other daughter.", "Cal looks into the living room. Tracy has brought out \n ice cream: a carton with three spoons. The kids race", "TRACY \n Well, might as well wait for your \n daughter. \n \n CAL", "CAL\n Tracy, wait!\n \n TRACY\n Leave me alone, Cal!", "Cal drives now. Jessica in the front. Awkward.\n Finally, Cal starts talking to himself. Almost shell- \n shocked.", "Tracy rushes out of the room. Cal calls after her.\n \n CAL\n She's an alcoholic! You can't", "Cal's wife and children -- his family -- inside. Cal: \n watching them from the outside, looking in.", "Robbie watches her go. Love-struck once more. Cal steps \n up next to his son. \n \n CAL", "CAL\n Yes.\n \n TRACY\n Cal!", "Cal looks up. Tracy stands there. She's dressed down,\n but looks amazing. Vulnerable and nervous.", "But Cal won't even look at him. \n \n MOLLY\n (CALLING OUT)", "CAL\n You still seeing my daughter?\n \n JACOB\n Yes.", "He PANS UP from Cal's feet. The white sneakers. Bad\n navy blue dress socks. Dad khakis. An ill-fitting,", "CAL\n Mrs. Thompson? This is my wife.\n Tracy.\n \n KATE", "HANNAH \n Daddy. \n \n He smiles at her, adoring. \n \n CAL", "Cal looks up. Tracy approaches. She's wearing sweats. \n It's pretty obvious that she's been crying. Awkward \n silence. Neither knows what to say.", "Molly GIGGLES, RUNS upstairs. Once Molly's gone, Jessica\n looks at the photo. She eyes Cal affectionately.", "JESSICA\n Daddy!\n \n TRACY\n (YANKING ON", "KATE SCREAMS in horror. Cal races after Tracy. Kate\n races after Cal.", "Hi, Cal. \n \n Silence. Cal is looking at her inside. She has no idea. \n \n TRACY" ], [ "He EXITS. Once more, Cal is alone. Just as he wants it.", "Cal looks up. Tracy approaches. She's wearing sweats. \n It's pretty obvious that she's been crying. Awkward \n silence. Neither knows what to say.", "Cal's former conquest steps onto stage. \n \n \n \n (CONTINUED)", "Cal looks up. Tracy stands there. She's dressed down,\n but looks amazing. Vulnerable and nervous.", "Cal drives now. Jessica in the front. Awkward.\n Finally, Cal starts talking to himself. Almost shell- \n shocked.", "Cal stands behind it all, in a tux.\n \n CAL\n Hi, T.\n \n TRACY", "ROBBIE\n With who?\n \n JESSICA\n (pointing at Cal)", "CAL \n I'm getting divorced. Or, in the \n process. Gonna be single again.", "besides my ex-wife.\n \n KATE\n More, tell me more.\n \n CAL", "Cal's wife and children -- his family -- inside. Cal: \n watching them from the outside, looking in.", "CAL\n You still seeing my daughter?\n \n JACOB\n Yes.", "CAL\n Yes.\n \n TRACY\n Cal!", "But Cal won't even look at him. \n \n MOLLY\n (CALLING OUT)", "CAL\n Tracy, wait!\n \n TRACY\n Leave me alone, Cal!", "\"broke up\" with Cal earlier) and CLAIRE, a bubbly little \n woman -- the polar opposite of her husband.", "Cal sits forward, getting increasingly concerned. \n \n ROBBIE \n I was in love. And I know that", "CAL\n Oh. I didn't know you were here. \n \n ROBBIE\n You're getting divorced?", "Cal smiles.\n \n CAL\n Oh yeah? You like her?", "I'm sorry to hear that.\n \n CAL\n That's very nice of you to say.\n She just told me tonight,", "Meanwhile, Jacob sits alone in the bar. He checks his\n watch. No Cal.\n \n Suddenly, he looks very alone at his usual table." ], [ "CAL\n You're hanging out with my kids,\n fantastic! You can teach Robbie\n how to objectify women, he'll love\n that.", "BEAUTIFUL WOMEN fawning over him at his table. \n \n Cal takes him in for a long beat, turns back to the", "Cal's former conquest steps onto stage. \n \n \n \n (CONTINUED)", "No. Listen, Cal, I'm going to be \n calling women over to our table\n shortly.\n \n Cal rubs his hands together, nervous.", "A SAD SACK GUY at the bar watches Cal stride by, jealous. \n Cal Weaver has evolved into \"the fucking man.\" \n 58.", "CAL\n Tracy was so damn beautiful. You\n know those women, the ones who can\n be wildly sexy and unbelievably", "Cal smiles.\n \n CAL\n Oh yeah? You like her?", "Cal looks up. Tracy stands there. She's dressed down,\n but looks amazing. Vulnerable and nervous.", "To talk to a woman, take a woman\n home.\n \n CAL\n Oh, no. No, I'm not.", "(to no one) \n She screws him. \n \n Something catches Cal's eye across the bar. We PAN TO...", "Cal stands behind it all, in a tux.\n \n CAL\n Hi, T.\n \n TRACY", "He PANS UP from Cal's feet. The white sneakers. Bad\n navy blue dress socks. Dad khakis. An ill-fitting,", "He looks behind him at the panel of TEACHERS. MRS. \n THOMPSON discreetly gives Cal the finger. \n \n CAL", "JACOB\n You see that, Cal? The simple act\n of opening your mouth instantly\n causes Tiffany to lose interest in\n sleeping with you. Your", "Cal smiles, portrays confidence.\n \n CAL\n I'm buying you a drink anyway,\n Kate, so you might as well tell me", "Holy shit! You Mr. Miagi'd me!\n \n Jacob BOWS to Cal, Japanese style. A PRETTY WOMAN stands", "Tracy smiles. Cal walks over toward her. \n \n TRACY \n You gave a good eighth grade", "Cal looks up. Tracy approaches. She's wearing sweats. \n It's pretty obvious that she's been crying. Awkward \n silence. Neither knows what to say.", "meet her mother. \n \n CAL\n (LAUGHING)\n Whoa!!!! Look at you! You do", "Robbie watches her go. Love-struck once more. Cal steps \n up next to his son. \n \n CAL" ], [ "Cal looks up. Tracy approaches. She's wearing sweats. \n It's pretty obvious that she's been crying. Awkward \n silence. Neither knows what to say.", "Cal looks up. Tracy stands there. She's dressed down,\n but looks amazing. Vulnerable and nervous.", "He looks at Tracy, out in the crowd. \n \n CAL \n I met my soulmate when I was", "I missed you, too.\n \n Cal takes her hand, kisses it.\n \n VOICE (O.S.)", "Cal's wife and children -- his family -- inside. Cal: \n watching them from the outside, looking in.", "Cal's former conquest steps onto stage. \n \n \n \n (CONTINUED)", "CAL\n Um, yes... we've met before.\n \n \n (CONTINUED)", "CAL\n What? I married young. We met in\n high school.\n \n He smiles, remembering.", "Cal stands behind it all, in a tux.\n \n CAL\n Hi, T.\n \n TRACY", "Cal HANGS up. He takes one final look back at his wife \n as the sprinklers go off in the backyard and douse him.", "He EXITS. Once more, Cal is alone. Just as he wants it.", "CAL\n Tracy, wait!\n \n TRACY\n Leave me alone, Cal!", "CAL\n Yes.\n \n TRACY\n Cal!", "meet her mother. \n \n CAL\n (LAUGHING)\n Whoa!!!! Look at you! You do", "Cal drives now. Jessica in the front. Awkward.\n Finally, Cal starts talking to himself. Almost shell- \n shocked.", "She STORMS INSIDE. Tracy looks at Cal, follows her in.", "feet aren't nuzzling. There's distance here.\n \n PULL UP, REVEALING CAL WEAVER (42) and his wife, TRACY", "Meanwhile, Cal sits in the passenger seat, dazed. A \"to-\n go\" box from the French restaurant in his lap. Tracy\n drives.", "Tracy smiles. Cal walks over toward her. \n \n TRACY \n You gave a good eighth grade", "besides my ex-wife.\n \n KATE\n More, tell me more.\n \n CAL" ], [ "Oh God. \n \n KATE\n Cal? What are you doing here?\n \n CAL", "JACOB\n Cal, this is Kate. Kate, Cal.\n \n Jacob NODS at Cal (\"you've got this\") and leaves them.", "Cal smiles and leans forward, faux-confident. \n \n CAL\n I'm not asking you, Kate. I'm", "besides my ex-wife.\n \n KATE\n More, tell me more.\n \n CAL", "CAL\n Mrs. Thompson? This is my wife.\n Tracy.\n \n KATE", "Kate SITS. Cal smiles at Kate, nervous. She smiles\n back. Cal MOTIONS for a waitress in the distance.\n \n CAL", "KATE SCREAMS in horror. Cal races after Tracy. Kate\n races after Cal.", "CAL\n Weren't we talking about you? \n \n ROBBIE\n We are. Your son is in desperate", "Cal's wife and children -- his family -- inside. Cal: \n watching them from the outside, looking in.", "Kate stops. Cal turns to Tracy. She looks crestfallen.\n \n CAL\n I can explain.", "CAL\n Tracy, wait!\n \n TRACY\n Leave me alone, Cal!", "KATE \n What do you want to do with me?\n \n CAL\n Show you off to my wife to make", "Cal smiles, portrays confidence.\n \n CAL\n I'm buying you a drink anyway,\n Kate, so you might as well tell me", "CAL\n Yes.\n \n TRACY\n Cal!", "Robbie watches her go. Love-struck once more. Cal steps \n up next to his son. \n \n CAL", "So... what do you do, Cal?\n \n CAL\n What do you do, Kate?\n (CONTINUED)", "(STRONGLY)\n Do you still love Mom?\n \n Cal doesn't say anything. His silence speaks volumes.", "Cal smiles.\n \n CAL\n He's a really weird kid, isn't he?", "Cal stands behind it all, in a tux.\n \n CAL\n Hi, T.\n \n TRACY", "KATE\n Ha!\n \n CAL\n You know, maybe we should focus on" ], [ "Richard pulls Hannah off to the side.\n \n RICHARD\n Honey, I'm so sorry, I didn't\n realize.", "at Hannah. Hannah takes a deep breath, downs her drink,\n and walks over to Richard. Is this it?\n \n RICHARD", "HANNAH\n No, no, don't be silly, it's fine.\n \n RICHARD", "We watch him as he realizes that. As he processes it.\n We watch him look at Hannah.\n \n \n ON HANNAH", "HANNAH\n Is that so?\n \n JACOB\n It is. So now I'm going to ask if", "She grabs him. Kisses him. A long, deep, almost angry\n kiss. She pulls back.\n \n HANNAH", "LIZ\n Well, Richard: thank you for\n inviting me to Hannah's `goodbye'\n party. The conversation has been", "Hannah doesn't flinch.\n \n HANNAH\n I don't.\n \n JACOB", "HANNAH\n Cheers.\n \n They CLINK. Jacob takes a sip. Hannah downs hers. She", "ON HANNAH\n \n shocked.", "RICHARD\n So, Hannah, I'd like to formally\n ask you, in front of all our\n friends and colleagues...", "Holding her hand is an average guy (33), her boyfriend,\n RICHARD. We PICK UP mid-conversation.\n \n RICHARD", "Hannah LAUGHS.\n \n HANNAH\n You didn't really just say that.", "Hannah shakes her hands out, pumping herself up.\n \n HANNAH\n Okay, okay, this is happening.\n (THEN)", "CHEERS. Hannah steps back, breathless. Richard reacts.\n \n RICHARD\n You don't have a better offer", "Hannah who covers him with a blanket, and kisses him on\n the forehead, and begins falling in love with him.\n \n CUE MUSIC as we begin a...", "3 CONTINUED: 3\n HANNAH\n But he's not very funny, that's \n all.", "HANNAH \n Daddy. \n \n He smiles at her, adoring. \n \n CAL", "Hannah stands, a girl on a mission.\n \n \n (CONTINUED)\n 84.", "Hannah lies on her back in the dim light. Jacob is on\n top of her, shirtless. They're making out, gently.\n \n HANNAH" ], [ "Cal sits forward, getting increasingly concerned. \n \n ROBBIE \n I was in love. And I know that", "She stops, looks at him and smiles gently.\n \n JESSICA\n Listen, Robbie --", "Robbie watches her go. Love-struck once more. Cal steps \n up next to his son. \n \n CAL", "Robbie?\n \n KATE\n Yes, let's do that. Let's focus\n on Robbie.", "CAL\n Is that so? You in love, buddy?\n \n ROBBIE\n Well, if you must know --", "his face. He's been broken. He spots JESSICA. \n \n ROBBIE\n (a bit monotone)", "JESSICA\n He doesn't even know that I'm in\n love with him!\n \n Robbie stops, turns.", "ROBBIE\n I'll kill him if he hurts you.\n \n Jessica tries not to smile.", "Robbie grabs it with newfound gusto and announces: \n \n ROBBIE \n I still love you, Jessica! I've", "And with that, Robbie literally just sits down on the\n ground, all the wind taken out of him. It might be the\n cutest thing you've ever seen.", "The crowd reacts (LAUGHS, CHEERS, etc.) as Robbie \n continues. Cal stands back and smiles. His boy is back.", "Robbie comes to the front of the stage, bends down. \n \n ROBBIE \n (HEATED WHISPER)", "ROBBIE\n Who is he?\n \n JESSICA\n It doesn't matter.", "ROBBIE\n Love is fucked. \n \n Cal LAUGHS, a bit of tension relieved.", "ROBBIE\n Here's the thing, David: in the\n end, she winds up back with my", "This has to stop, Robbie.\n Seriously.\n \n ROBBIE\n You'll learn to love me. I", "She can't help but smile. She kneels down, allowing\n Robbie to BLINDFOLD HER from behind.", "This stops Robbie dead in his tracks.\n \n JESSICA\n I've been spending time with him", "ROBBIE\n With who?\n \n JESSICA\n (pointing at Cal)", "Robbie's eyes well up with tears. \n \n ROBBIE \n I was wrong, Dad. There's no such" ], [ "Molly GIGGLES, RUNS upstairs. Once Molly's gone, Jessica\n looks at the photo. She eyes Cal affectionately.", "some underwear in Jessica's bottom drawer.\n \n Notices something. An envelope. It's addressed to Cal", "Meanwhile, Jessica (the baby-sitter) stops at a bedroom\n door. She hears MUSIC coming from inside, puts her ear", "JESSICA (O.S.)\n Ding dong.\n \n They turn -- it's Jessica, the baby-sitter.", "Meanwhile, Jessica sits on the living room couch. Robbie\n ENTERS, stands there. He's a precocious, adorable,\n masturbation-addicted, thirteen-year-old.", "JESSICA\n Uh-huh.\n \n CAL\n That's my girl.", "PULL BACK -- JESSICA (THE BABYSITTER) SITS AT THE NEARBY\n COUNTER, EATING NEXT TO HER LITTLE BROTHER (13).", "88 INT. JESSICA'S BEDROOM 88 \n \n Meanwhile. Claire is putting away laundry. She throws", "Cal drives now. Jessica in the front. Awkward.\n Finally, Cal starts talking to himself. Almost shell- \n shocked.", "COURSE, readies to bash it over Cal's head. Jessica\n throws herself on Cal.\n \n JESSICA", "what Jessica just said about Cal. \n \n She puts the FLOWERS down on the table, and heads into \n the kitchen.", "a drawer and heads for the door. \n \n \n 78 INT. JESSICA'S HOUSE - MOMENTS LATER 78", "JESSICA\n It's okay.\n \n Jessica reaches for the door, but stops. She takes a\n deep breath, adorable.", "Just then: HER DOORBELL RINGS. \n \n Jessica jumps, started. She quickly puts the envelope in", "CAL\n Thanks.\n (THEN)\n Jessica, you got your coat?\n \n JESSICA", "Jessica awkwardly gets out of the car.\n \n CAL\n Hey, Jessica? Thanks for\n listening.", "JESSICA\n Old.\n (CONTINUED)\n 62.", "JESSICA \n Daddy, no!\n \n ROBBIE\n Is that Jessica?", "ROBBIE\n With who?\n \n JESSICA\n (pointing at Cal)", "77 INT. JESSICA'S BEDROOM - MINUTES LATER 77 \n \n Jessica ENTERS in a huff, goes right toward a drawer in" ], [ "HANNAH \n Daddy. \n \n He smiles at her, adoring. \n \n CAL", "Hannah stands, a girl on a mission.\n \n \n (CONTINUED)\n 84.", "HANNAH\n Cheers.\n \n They CLINK. Jacob takes a sip. Hannah downs hers. She", "Hannah when I was little -- wait,\n so how do you know my dad?\n \n JACOB\n (REALIZING)", "Hannah (girl from the bar who Jacob tried picking up).", "HANNAH\n Is that so?\n \n JACOB\n It is. So now I'm going to ask if", "Hannah who covers him with a blanket, and kisses him on\n the forehead, and begins falling in love with him.\n \n CUE MUSIC as we begin a...", "We watch him as he realizes that. As he processes it.\n We watch him look at Hannah.\n \n \n ON HANNAH", "Hannah doesn't flinch.\n \n HANNAH\n I don't.\n \n JACOB", "Hannah shakes her hands out, pumping herself up.\n \n HANNAH\n Okay, okay, this is happening.\n (THEN)", "HANNAH\n Hi, Daddy.\n \n WTF! And right behind her... JACOB. Holding a bottle of", "HANNAH\n Dad, c'mon, I'm not going to stop\n seeing him.\n \n Cal turns away.", "HANNAH\n So you two, like, really know each\n other?\n \n CAL", "Hannah LAUGHS.\n \n VOICE (O.S.)\n Who?", "From inside the house steps out... \n \n HANNAH.\n \n CAL\n Nanna!", "Hannah lies on her back in the dim light. Jacob is on\n top of her, shirtless. They're making out, gently.\n \n HANNAH", "HANNAH\n DAD --\n \n CAL\n GET THE HELL OUT OF MY HOUSE!", "They hug him, kiss him. Cal approaches Hannah and Jacob. \n \n CAL \n Hi, Nanna.", "(CONTINUED)\n 5.\n 6 CONTINUED: 6\n HANNAH", "She grabs him. Kisses him. A long, deep, almost angry\n kiss. She pulls back.\n \n HANNAH" ], [ "We watch him as he realizes that. As he processes it.\n We watch him look at Hannah.\n \n \n ON HANNAH", "Hannah who covers him with a blanket, and kisses him on\n the forehead, and begins falling in love with him.\n \n CUE MUSIC as we begin a...", "HANNAH\n Oh. My. God! You totally do!\n \n JACOB\n (ADMITTING)", "She grabs him. Kisses him. A long, deep, almost angry\n kiss. She pulls back.\n \n HANNAH", "HANNAH\n Is that so?\n \n JACOB\n It is. So now I'm going to ask if", "HANNAH\n You've got to be kiddi--\n \n JACOB\n We'll make love and it will be", "Hannah lies on her back in the dim light. Jacob is on\n top of her, shirtless. They're making out, gently.\n \n HANNAH", "at Hannah. Hannah takes a deep breath, downs her drink,\n and walks over to Richard. Is this it?\n \n RICHARD", "HANNAH\n You know what the best part is: I\n would have said yes! To YOU! And", "I'm glad you like it.\n \n They resume kissing. After a beat, she pulls back again.\n \n HANNAH", "Hannah doesn't flinch.\n \n HANNAH\n I don't.\n \n JACOB", "Hannah comes out of the wine store, hops over the car.\n Jacob can't help but smile: wow, he's REALLY into her.", "at a table. HANNAH (24) is clearly buzzed. \n HANNAH\n I don't care. I love him and", "HANNAH\n Cheers.\n \n They CLINK. Jacob takes a sip. Hannah downs hers. She", "Do you still think I'm attractive?\n \n JACOB\n Yes.\n \n HANNAH", "HANNAH \n Daddy. \n \n He smiles at her, adoring. \n \n CAL", "She takes a deep breath, admits:\n \n HANNAH\n I'm very nervous.", "Hannah shakes her hands out, pumping herself up.\n \n HANNAH\n Okay, okay, this is happening.\n (THEN)", "71A INT. HANNAH'S BEDROOM 71A \n \n And finally, he loses the battle: he tucks Hannah under", "JACOB\n I'm getting that.\n \n HANNAH\n I know at the bar I seemed" ], [ "Robbie's eyes well up with tears. \n \n ROBBIE \n I was wrong, Dad. There's no such", "CUE: John Mayer's \"Who Says.\"\n \n 1) ROBBIE, at school. His spirit is crushed. He looks", "multitude, without finally getting\n bewildered as to which may be the\n true.'\n \n Robbie puts down the paper, ignoring the jeers.", "his face. He's been broken. He spots JESSICA. \n \n ROBBIE\n (a bit monotone)", "ROBBIE\n But, Dad --\n \n CAL\n Nope.", "Cal sits forward, getting increasingly concerned. \n \n ROBBIE \n I was in love. And I know that", "ROBBIE\n Now I know what you're thinking:\n `he's just in 8th grade, what does", "And with that, Robbie literally just sits down on the\n ground, all the wind taken out of him. It might be the\n cutest thing you've ever seen.", "56 CONTINUED: 56\n His voice cracks. He turns, sees Robbie staring. He\n heads into the bathroom with the phone, closes the door.", "I'll see you around, okay?\n \n She EXITS. Robbie remains seated on the grass.\n Devastated. His three friends approach.", "I am now, Dad. I am now. \n \n Robbie runs off to join his friends. Cal smiles.", "ROBBIE\n Love is fucked. \n \n Cal LAUGHS, a bit of tension relieved.", "104 EXT. GRADUATION CEREMONY - LATER 104 \n The ceremony is over. Robbie heads over to his family.", "The crowd reacts (LAUGHS, CHEERS, etc.) as Robbie \n continues. Cal stands back and smiles. His boy is back.", "Robbie shrugs.\n \n ROBBIE\n Can I say something with a curse?\n One time?", "promise.\n \n JESSICA\n I won't.\n \n ROBBIE", "ROBBIE\n I guess.\n \n (CONTINUED)\n 47.", "Before he goes, Cal stops in front of Robbie. \n \n CAL \n Go big or go home, right, buddy?", "TEACHER (O.S.)\n Mr. Weaver!\n \n Slowly, Robbie stands. We HEAD IN TIGHT ON him.", "CAL\n Is that so? You in love, buddy?\n \n ROBBIE\n Well, if you must know --" ], [ "CAL\n Tracy, wait!\n \n TRACY\n Leave me alone, Cal!", "CAL\n Yes.\n \n TRACY\n Cal!", "Cal's former conquest steps onto stage. \n \n \n \n (CONTINUED)", "Cal looks up. Tracy approaches. She's wearing sweats. \n It's pretty obvious that she's been crying. Awkward \n silence. Neither knows what to say.", "Cal looks up. Tracy stands there. She's dressed down,\n but looks amazing. Vulnerable and nervous.", "Hi, Cal. \n \n Silence. Cal is looking at her inside. She has no idea. \n \n TRACY", "Cal sits forward, getting increasingly concerned. \n \n ROBBIE \n I was in love. And I know that", "He smiles, emboldened.\n \n CAL\n All I ever wanted to do was make\n you love me. And then you did,", "She smiles.\n \n PAN TO CAL: just sitting there watching, horrified.", "simply, steps out. Tracy SCREAMS as Cal goes flying.\n \n She screeches to a stop as he tumbles to the curb in her", "But Cal won't even look at him. \n \n MOLLY\n (CALLING OUT)", "Cal smiles.\n \n CAL\n Oh yeah? You like her?", "Cal looks down, embarrassed. \n \n CAL \n I guess. \n \n WOMAN", "Tracy rushes out of the room. Cal calls after her.\n \n CAL\n She's an alcoholic! You can't", "Cal drives now. Jessica in the front. Awkward.\n Finally, Cal starts talking to himself. Almost shell- \n shocked.", "I missed you, too.\n \n Cal takes her hand, kisses it.\n \n VOICE (O.S.)", "CAL \n I did that on purpose. \n \n TRACY \n I knew it.", "ROBBIE\n With who?\n \n JESSICA\n (pointing at Cal)", "Cal turns around to the crowd, only to be met... \n \n By a SLAP ACROSS the face by Kate. She STORMS OFF.", "(then, quietly)\n You did.\n \n Cal freezes. \n \n ROBBIE" ], [ "cheating on me with David\n Jacobowitz who I wasn't supposed\n to tell you about either.\n (CONTINUED)\n 55.", "CAL\n My wife is cheating on me with --\n \n JACOB\n David Jacobowitz, yes, Cal, I've", "Silence. She closes her eyes tightly. \n \n TRACY\n I slept with him. Kind of.", "besides my ex-wife.\n \n KATE\n More, tell me more.\n \n CAL", "She opens the car door.\n \n CAL\n Tracy, wait! Yes, I slept with\n her! I slept with our son's", "ROBBIE\n Here's the thing, David: in the\n end, she winds up back with my", "really early on. And we got\n married so young. And I guess...\n I got lazy. I got boring. And\n I'm furious at you for what you", "That DOUBLES HER OVER, hysterical. Jacob starts laughing\n with her... really laughing. We can tell: this is\n different for him. He likes her.", "CAL\n My wife is having intercourse with\n someone who isn't me.\n \n GIRL", "I slept with someone. There. I \n said it. I slept with someone. \n Oh God. It's the worst thing I've", "No, I mean, I've been spending a\n lot of time with her. This woman.\n One woman.\n \n CAL", "him to comfort his wife but he can't anymore and he stops \n himself. She realizes this. There's something harsh and \n complicated about the reality of it all.", "Cal's former conquest steps onto stage. \n \n \n \n (CONTINUED)", "I know, and I cheated, so it\n doesn't make any sense for me to\n be mad at you.\n \n CAL", "Oh, so now she's your WIFE again?\n HOW CONVENIENT!\n \n Kate's getting louder now.", "She looks up. He looks completely earnest, repeats:\n \n JACOB\n It does to me.", "year-old tells me.\n \n Tracy's eyes well up with tears.\n \n TRACY", "A NEW WOMAN EXITS. The door closes. It re-opens as he \n kisses goodbye ANOTHER WOMAN!", "She grabs him. Kisses him. A long, deep, almost angry\n kiss. She pulls back.\n \n HANNAH", "Oh, c'mon! Enough. \n \n CLAIRE\n Well, it's good gossip at the" ], [ "CAL\n Tracy, wait!\n \n TRACY\n Leave me alone, Cal!", "Cal looks up. Tracy stands there. She's dressed down,\n but looks amazing. Vulnerable and nervous.", "Cal looks up. Tracy approaches. She's wearing sweats. \n It's pretty obvious that she's been crying. Awkward \n silence. Neither knows what to say.", "CAL\n Yes.\n \n TRACY\n Cal!", "He smiles, emboldened.\n \n CAL\n All I ever wanted to do was make\n you love me. And then you did,", "CAL\n Listen, baby. What's happening\n with your mommy and I... it's not\n what either of us wanted, not what", "Hi, Cal. \n \n Silence. Cal is looking at her inside. She has no idea. \n \n TRACY", "I missed you, too.\n \n Cal takes her hand, kisses it.\n \n VOICE (O.S.)", "But Cal won't even look at him. \n \n MOLLY\n (CALLING OUT)", "Cal sits forward, getting increasingly concerned. \n \n ROBBIE \n I was in love. And I know that", "Cal smiles.\n \n CAL\n Oh yeah? You like her?", "Cal looks down, embarrassed. \n \n CAL \n I guess. \n \n WOMAN", "Tracy rushes out of the room. Cal calls after her.\n \n CAL\n She's an alcoholic! You can't", "He EXITS. Once more, Cal is alone. Just as he wants it.", "Cal's former conquest steps onto stage. \n \n \n \n (CONTINUED)", "He looks up at her, pleading.\n \n CAL\n I'll leave tonight, I'll sign", "to give up on you too early.\n That's my offer. What do you say?\n \n Cal stares at him blankly. A long beat of silence. Cal", "CAL\n You still seeing my daughter?\n \n JACOB\n Yes.", "besides my ex-wife.\n \n KATE\n More, tell me more.\n \n CAL", "Cal smiles and leans forward, faux-confident. \n \n CAL\n I'm not asking you, Kate. I'm" ], [ "Robbie watches her go. Love-struck once more. Cal steps \n up next to his son. \n \n CAL", "JESSICA\n He doesn't even know that I'm in\n love with him!\n \n Robbie stops, turns.", "Robbie?\n \n KATE\n Yes, let's do that. Let's focus\n on Robbie.", "ROBBIE\n With who?\n \n JESSICA\n (pointing at Cal)", "Cal sits forward, getting increasingly concerned. \n \n ROBBIE \n I was in love. And I know that", "his face. He's been broken. He spots JESSICA. \n \n ROBBIE\n (a bit monotone)", "CAL\n Is that so? You in love, buddy?\n \n ROBBIE\n Well, if you must know --", "ROBBIE\n Who is he?\n \n JESSICA\n It doesn't matter.", "And with that, Robbie literally just sits down on the\n ground, all the wind taken out of him. It might be the\n cutest thing you've ever seen.", "56 CONTINUED: 56\n His voice cracks. He turns, sees Robbie staring. He\n heads into the bathroom with the phone, closes the door.", "ROBBIE\n I am not bewildered! Jessica\n Riley is my soulmate. She's the", "Meanwhile, Jessica sits on the living room couch. Robbie\n ENTERS, stands there. He's a precocious, adorable,\n masturbation-addicted, thirteen-year-old.", "ROBBIE DAVID\n Okay. Okay.\n \n Awkward. Really awkward. Tracy starts to say something,", "ROBBIE\n Love is fucked. \n \n Cal LAUGHS, a bit of tension relieved.", "Tracy pulls up to her house. As she pulls in she notices \n Robbie. He's standing outside the front door in a", "ROBBIE\n I like Pringles. This girl's my \n soulmate. I'm like crazy, stupid, \n in love with her. And she wants", "This stops Robbie dead in his tracks.\n \n JESSICA\n I've been spending time with him", "CUE: John Mayer's \"Who Says.\"\n \n 1) ROBBIE, at school. His spirit is crushed. He looks", "Robbie's on the couch, dejected. His little sister sits \n next to him, watching High School Musical as always.", "ROBBIE\n I'll kill him if he hurts you.\n \n Jessica tries not to smile." ], [ "JESSICA\n He doesn't even know that I'm in\n love with him!\n \n Robbie stops, turns.", "OVER TO ROBBIE \n \n Who approaches Jessica. \n \n ROBBIE", "JESSICA\n In fact -- and, I hope this\n doesn't make you uncomfortable --\n I think I've even developed a", "JESSICA\n Uh-huh.\n \n CAL\n That's my girl.", "Molly GIGGLES, RUNS upstairs. Once Molly's gone, Jessica\n looks at the photo. She eyes Cal affectionately.", "ROBBIE\n I'll kill him if he hurts you.\n \n Jessica tries not to smile.", "JESSICA \n Daddy, no!\n \n ROBBIE\n Is that Jessica?", "Meanwhile, Jessica sits on the living room couch. Robbie\n ENTERS, stands there. He's a precocious, adorable,\n masturbation-addicted, thirteen-year-old.", "JESSICA\n It's okay.\n \n Jessica reaches for the door, but stops. She takes a\n deep breath, adorable.", "JESSICA\n Old.\n (CONTINUED)\n 62.", "Jessica awkwardly gets out of the car.\n \n CAL\n Hey, Jessica? Thanks for\n listening.", "This stops Robbie dead in his tracks.\n \n JESSICA\n I've been spending time with him", "JESSICA\n Daddy!\n \n TRACY\n (YANKING ON", "JESSICA\n Mr. Weaver, I know you don't know\n me very well, but I've been baby-", "his face. He's been broken. He spots JESSICA. \n \n ROBBIE\n (a bit monotone)", "Robbie grabs it with newfound gusto and announces: \n \n ROBBIE \n I still love you, Jessica! I've", "COURSE, readies to bash it over Cal's head. Jessica\n throws herself on Cal.\n \n JESSICA", "I knew it.\n \n He gets ready to pummel some more. Jessica grabs him. \n \n JESSICA", "She stops, looks at him and smiles gently.\n \n JESSICA\n Listen, Robbie --", "remembers his company and turns toward Jessica.\n \n CAL\n (WITH ENERGY)\n So, I hear Stanford early" ], [ "Robbie looks up at him, cold. \n \n ROBBIE \n Go home, Dad.", "ROBBIE\n But, Dad --\n \n CAL\n Nope.", "ROBBIE \n Dad? \n \n CAL \n Hi.", "Robbie's eyes well up with tears. \n \n ROBBIE \n I was wrong, Dad. There's no such", "Robbie?\n \n KATE\n Yes, let's do that. Let's focus\n on Robbie.", "ROBBIE\n Who is he?\n \n JESSICA\n It doesn't matter.", "JESSICA \n Daddy, no!\n \n ROBBIE\n Is that Jessica?", "I am now, Dad. I am now. \n \n Robbie runs off to join his friends. Cal smiles.", "Robbie watches her go. Love-struck once more. Cal steps \n up next to his son. \n \n CAL", "Robbie steps INTO FRAME.\n \n ROBBIE\n Dad?", "Cal sits forward, getting increasingly concerned. \n \n ROBBIE \n I was in love. And I know that", "ROBBIE\n With who?\n \n JESSICA\n (pointing at Cal)", "Awkward.\n \n ROBBIE\n So, how are things with your dad?", "Uch. Robbie thumps the wall with his head, dying. \n \n CAL\n Molly, say bye-bye to Daddy?", "his face. He's been broken. He spots JESSICA. \n \n ROBBIE\n (a bit monotone)", "56 CONTINUED: 56\n His voice cracks. He turns, sees Robbie staring. He\n heads into the bathroom with the phone, closes the door.", "ROBBIE\n I guess.\n \n (CONTINUED)\n 47.", "ROBBIE\n Love is fucked. \n \n Cal LAUGHS, a bit of tension relieved.", "ROBBIE AND MOLLY\n Hi, Nanna!\n \n CAL\n Oh, I've been keeping busy. Made", "TRACY\n Cal!\n \n CAL\n (TO ROBBIE)" ], [ "Richard pulls Hannah off to the side.\n \n RICHARD\n Honey, I'm so sorry, I didn't\n realize.", "at Hannah. Hannah takes a deep breath, downs her drink,\n and walks over to Richard. Is this it?\n \n RICHARD", "HANNAH\n No, no, don't be silly, it's fine.\n \n RICHARD", "We watch him as he realizes that. As he processes it.\n We watch him look at Hannah.\n \n \n ON HANNAH", "LIZ\n Well, Richard: thank you for\n inviting me to Hannah's `goodbye'\n party. The conversation has been", "CHEERS. Hannah steps back, breathless. Richard reacts.\n \n RICHARD\n You don't have a better offer", "HANNAH\n Cheers.\n \n They CLINK. Jacob takes a sip. Hannah downs hers. She", "RICHARD\n So, Hannah, I'd like to formally\n ask you, in front of all our\n friends and colleagues...", "HANNAH\n Is that so?\n \n JACOB\n It is. So now I'm going to ask if", "HANNAH\n (THROUGH TEARS)\n Goodbye, cutie.", "Hannah who covers him with a blanket, and kisses him on\n the forehead, and begins falling in love with him.\n \n CUE MUSIC as we begin a...", "RICHARD\n Hey, Liz? When my girl passes,\n we're gonna have another little\n celebration, right here. Hope you", "She grabs him. Kisses him. A long, deep, almost angry\n kiss. She pulls back.\n \n HANNAH", "HANNAH \n Daddy. \n \n He smiles at her, adoring. \n \n CAL", "ON HANNAH\n \n shocked.", "Holding her hand is an average guy (33), her boyfriend,\n RICHARD. We PICK UP mid-conversation.\n \n RICHARD", "71A INT. HANNAH'S BEDROOM 71A \n \n And finally, he loses the battle: he tucks Hannah under", "Hannah doesn't flinch.\n \n HANNAH\n I don't.\n \n JACOB", "Hannah stands, a girl on a mission.\n \n \n (CONTINUED)\n 84.", "JACOB\n I thought you would.\n (THEN)\n Drink?\n \n HANNAH" ], [ "JESSICA\n Uh-huh.\n \n CAL\n That's my girl.", "COURSE, readies to bash it over Cal's head. Jessica\n throws herself on Cal.\n \n JESSICA", "Jessica awkwardly gets out of the car.\n \n CAL\n Hey, Jessica? Thanks for\n listening.", "Cal drives now. Jessica in the front. Awkward.\n Finally, Cal starts talking to himself. Almost shell- \n shocked.", "ROBBIE\n With who?\n \n JESSICA\n (pointing at Cal)", "She leaves Jessica there, processing the advice. \n \n 55 EXT. HIGH SCHOOL - LATER THAT DAY 55", "remembers his company and turns toward Jessica.\n \n CAL\n (WITH ENERGY)\n So, I hear Stanford early", "interests, try new things, maybe\n things you'd never have considered\n trying before...\n \n Cal looks down, Jessica has her hand on his shoulder.", "some underwear in Jessica's bottom drawer.\n \n Notices something. An envelope. It's addressed to Cal", "JACOB\n You see that, Cal? The simple act\n of opening your mouth instantly\n causes Tiffany to lose interest in\n sleeping with you. Your", "CAL\n Thanks.\n (THEN)\n Jessica, you got your coat?\n \n JESSICA", "Molly GIGGLES, RUNS upstairs. Once Molly's gone, Jessica\n looks at the photo. She eyes Cal affectionately.", "OVER TO ROBBIE \n \n Who approaches Jessica. \n \n ROBBIE", "JESSICA\n Old.\n (CONTINUED)\n 62.", "what Jessica just said about Cal. \n \n She puts the FLOWERS down on the table, and heads into \n the kitchen.", "Cal smiles.\n \n CAL\n Oh yeah? You like her?", "Cal looks up. Tracy stands there. She's dressed down,\n but looks amazing. Vulnerable and nervous.", "(then, furious) \n You stole my soulmate. \n \n CAL\n Wait: Jessica is your soulmate?", "JESSICA\n Daddy!\n \n TRACY\n (YANKING ON", "Well, you came to me for advice,\n that's my advice. You put those\n across his radar, he won't see you\n as a little girl anymore, that's" ], [ "104 EXT. GRADUATION CEREMONY - LATER 104 \n The ceremony is over. Robbie heads over to his family.", "ROBBIE\n Now I know what you're thinking:\n `he's just in 8th grade, what does", "56 CONTINUED: 56\n His voice cracks. He turns, sees Robbie staring. He\n heads into the bathroom with the phone, closes the door.", "The crowd reacts (LAUGHS, CHEERS, etc.) as Robbie \n continues. Cal stands back and smiles. His boy is back.", "TEACHER (O.S.)\n Mr. Weaver!\n \n Slowly, Robbie stands. We HEAD IN TIGHT ON him.", "ROBBIE\n I guess.\n \n (CONTINUED)\n 47.", "Robbie turns. Cal is STANDING in the middle of the \n crowd. Everyone turns to look at him.", "his face. He's been broken. He spots JESSICA. \n \n ROBBIE\n (a bit monotone)", "And with that, Robbie literally just sits down on the\n ground, all the wind taken out of him. It might be the\n cutest thing you've ever seen.", "multitude, without finally getting\n bewildered as to which may be the\n true.'\n \n Robbie puts down the paper, ignoring the jeers.", "Mr. Weaver? Are we interrupting? \n \n Robbie looks up: the WHOLE CLASS is staring at him.", "Robbie stares at the screen, crestfallen.\n \n TEACHER (O.S.)", "Tracy pulls up to her house. As she pulls in she notices \n Robbie. He's standing outside the front door in a", "74.\n 60 CONTINUED: 60\n KATE\n As you know, Robbie's shining", "Spirited... young men, I've ever\n had the pleasure of teaching.\n Ladies and gentlemen: Robbie\n Weaver.", "ROBBIE\n But, Dad --\n \n CAL\n Nope.", "Cal sits forward, getting increasingly concerned. \n \n ROBBIE \n I was in love. And I know that", "94 CONTINUED: (5) 94\n ROBBIE\n Know what?\n \n CAL", "ROBBIE\n Who is he?\n \n JESSICA\n It doesn't matter.", "Jessica pushes through and sees: \n \n ROBBIE, standing atop a man-made, tall, wooden \n platform/scaffold in front of the school." ], [ "Cal looks up at Jacob. He smiles, gently. \n \n CAL\n I know you. I know what you are.", "takes Jacob's hand, pulls him away. \n \n JACOB\n (one last try)\n Cal, c'mon --", "A SHARP WHISTLE interrupts. Cal turns, sees Jacob.\n \n Jacob motions for Cal to come over. Every move Jacob", "CAL\n Then I have nothing to say to you.\n \n JACOB\n Cal.", "JACOB \n ... it would work! \n \n CAL \n You're out of your mind.", "(THEN)\n Cal, look at me.\n \n Cal looks. Jacob still has that power over him.", "JACOB\n Cal, this is Kate. Kate, Cal.\n \n Jacob NODS at Cal (\"you've got this\") and leaves them.", "Cal struggles to get a sweater over his neck.\n \n JACOB (V.O.)", "Cal goes to answer, Jacob holds up a finger. Cal stops\n himself. Once he's settled, Jacob continues:\n \n JACOB", "JACOB\n Take them off.\n \n Cal bends down, takes one off. \n \n JACOB", "Jacob!\n \n CAL\n (GETTING PUMMELLED)\n Bernie, I DON'T KNOW WHAT YOU'RE", "(CHEWING)\n Other one too, please?\n \n Cal does as he's told. Jacob holds out his hands. Cal", "Cal (barefoot) follows Jacob around the store.\n \n CAL\n I think this whole thing might", "CAL\n Okay.\n \n Cal sits. Jacob's that powerful. Cal's that drunk.", "18 CONTINUED: (2) 18\n Cal points at himself: \"Me?\" Jacob nods: \"Yep.\" Cal", "Cal gets fitted.\n \n JACOB (V.O.)\n Two suits: one black, one grey.\n One sports jacket, navy preferred.", "Jacob looks at Cal. Cal looks great, more comfortable in\n his new \"skin\" than when we left him. He's drinking a", "JACOB\n You've been watching me do it for\n two weeks.\n \n CAL", "Cal, I'm not going to -- \n \n CAL \n Shut up, Jacob.", "Jacob shuts up. \n \n CAL \n Wow. I like that." ] ]

[ "Who does Cal forbid from dating his daughter?", "Where did Cal meet Jacob?", "Who discovered Jessica's pictures?", "What did Cal and his kids set up in the backyard for Emily to see?", "What does David return to Emily from a previous date?", "What does Cal forbid Hannah?", "How does Jacob feel about Cal not wanting him to date his daughter even though he's a changed man?", "Who is the first daughter of Cal and Emily?", "Why is Cal recently single?", "Who teaches Cal to pick up women?", "Where does Cal meet his wife again?", "What is the relationship between Cal, Kate, and his son?", "Why is Hannah hurt by Richard?", "Whose heart does Robbie try to win?", "Where does the babysitter, Jessica, hide her nude pictures for Cal?", "Who are Hannah's parents?", "Who confesses being in love with Hannah?", "As part of his Salutatorian speech, what does Robbie no longer believe in?", "What did Emily do to Cal?", "Who did Emily cheat with?", "What did Emily want from Cal?", "Who was Robbie's crush?", "Who is Jessica really attracted to?", "Who was Robbie's father?", "How did Richard break Hannah's heart?", "Who gave Jessica advice on attracting Cal?", "Where did Robbie stand in his graduating class?", "How does Jacob help Cal?" ]

[ [ "Jacob.", "Jacob" ], [ "At a bar.", "A bar" ], [ "Her mother.", "Her mother Claire. " ], [ "A mini golf set.", "A golf set to recreate their first date. " ], [ "A sweater.", "Her sweater." ], [ "She cannot see Jacob.", "From seeing Jacob" ], [ "He praises Cal.", "Cal respects him and thinks he is a great father. " ], [ "Hannah.", "Hannah" ], [ "His wife cheated on him and wants a divorce.", "His wife cheated on him" ], [ "Jacob.", "Jacob Palmer" ], [ "The parent-teacher conference.", "at their sons arent-teacher conference" ], [ "He slept with Kate, who teaches his son.", "Kate is Cal's lover and his son's teacher" ], [ "He does not propose, instead offering a position at the firm.", "Because he does not propose. " ], [ "His babysitter", "Jessica Riley" ], [ "In an envelope in her dresser drawer.", "In an envelope in a drawer. " ], [ "Cal and Emily.", "Cal and Emily" ], [ "Jacob.", "Jacob" ], [ "True love and soulmates.", "True love and soulmates" ], [ "She cheated on him.", "Cheated on him with a co-worker. " ], [ "She cheated with a co-worker.", "Her Coworker Name David Lindhagen" ], [ "She wanted a divorce.", "to help her with the house's pilot light " ], [ "His crush was Jessica.", "Jessica, his babysitter." ], [ "She is attracted to Robbie's father.", "Cal." ], [ "His father was Cal.", "Cal" ], [ "He offered her a job at his firm.", "He offered her a job instead of a proposal" ], [ "Her classmate Madison.", "Madison" ], [ "Robbie was the class Salututorian.", "Robbie is the Salutatorian of his graduating class, standing in the front for his speech." ], [ "He helps Cal meet women.", "teaches him how to pick up women" ] ]

[ [ "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "Prince Nuada looks around, locking eyes with the heads of\n the clans.", "Listening to his father, Prince Nuada reacts with anguish.", "PRINCE\n I am Prince Nuada and I command my army\n to life once more. Does anyone dispute my\n right?", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "through his abdomen and protrudes on the other side. Hellboy\n pulls it out, but it's too late. Both the Prince and the\n Princess collapse to the ground, mortally wounded.", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "blind battle with man, woman or child.\n The horde crushes everything, with swords slicing through\n armor as if it were paper. Every blow is deadly, precise.", "Then, he, too, is dead. Both him and his sister turn to\n fine, pale dust. And the wind carries away the ashes from\n Abe's hands...", "CHAMBERLAIN\n Prince Nuada- He awaits you- Please,\n follow me, Sire.\n\n 38 INT. TUNNEL - NIGHT 38", "brings out a KNIFE! SWISH! In one sweep of the blade, he\n reveals HB's terrible wound, and the speartip protruding\n from it.", "The army marches ever onward, like a grinding machine\n devouring tender flesh.\n At length, there is no sign of life in the human camp.", "exile, vowing to return if the Sons of\n the Earth ever needed him.\n Prince Nuada walks away towards a dying sunset.", "(GRIM)\n I agree. Death it is-\n And the guards turn toward the king and stab him. The", "The Elemental goes down, impaling himself on a spire atop\n the bridge... exactly where the Prince had been standing.\n Putting an end, it seems, to both of them.", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "dismay as it trembles. His muscles can no longer respond.\n The Prince is ready to kill him.", "PRINCE (CONT'D)\n (points at the team)\n Kill them.\n Abe is now aghast, seeing the Prince drag his sister back.", "is surrounded by the other SOLDIERS, who methodically\n dismember it like marauding insects!\n As the parts drop to the floor, twitching and useless,", "remains of Guard 2. Screams and bone crunching can be heard.\n WINK emerges from behind the shack." ], [ "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "He brings out the gold artifact from the auction. Holds it\n high.\n The crowds GASPS. The King instinctively covers the", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "He offers the Princess his arm. She takes it and allows Abe\n to lead her away. A moment later, the Elemental smashes the\n ground where they had been standing!", "In the background, Manning arrives, wide-eyed. Just in time\n to see the Prince hand off his captive to one of the trolls.", "bleeding, but alive. Abe, Liz and Johann embrace firmly,\n laughing and happy to be together.\n Abe eyes the Princess standing nearby, smiling back at\n him...", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "(BEAT)\n And now, my sister-\n The Prince looks around and sees that his sister is gone.\n He pushes through the mob, pulling his guards to the door.", "down a tunnel. A CROWD gathers behind her, chasing her as\n she zig-zags from tunnel to tunnel.\n With perfect calm, she ducks into a niche, then slides down", "JOHANN\n Oh, my God. What has he done?\n Keeping his eyes on the Princess, Abe gives the gold piece\n to the Prince.\n Hellboy steps forward, feeling dizzy and betrayed.", "44 INT. TUNNEL 2 -- SAME 44\n\n The Prince and his guards rush through the tunnels, as troll\n screams echo off the walls.\n When they finally-", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "leers at the Princess. From her waistband, she produces a\n long, thin DAGGER and wields it timidly.\n Somewhere in the building, ALARMS start clanging.", "(BEAT )\n What would you do if it was Liz??\n CLICK! The Prince fits the gold parts together and places\n the resulting crown on his head!", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "PRINCESS\n We'll find each other again, somewhere.\n And she dies in his arms.\n In the center of the arena:", "and bounds out the door.\n instantly, the goblins and birds leap down and crowd around\n him, chattering in excitement over the latest prize.", "WINK and HB duke it out for a few beats and then HB finally\n vanquishes the Troll, Ripping his Iron Mace off and throwing\n it away." ], [ "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "Prince Nuada looks around, locking eyes with the heads of\n the clans.", "Listening to his father, Prince Nuada reacts with anguish.", "PRINCE\n I am Prince Nuada and I command my army\n to life once more. Does anyone dispute my\n right?", "JOHANN\n - of warriors. The Children of the Earth.\n (to the Princess)\n I'm sorry, Princess Nuala. With such a", "dangles from a chain.\n Nuala's resemblance to the Prince is uncanny, down to the\n fine scars marring their perfect faces. They're YING and", "PRINCESS (CONT'D)\n (bows her head)\n My name is Princess Nuala.\n\n ABE\n (bows his head)\n Your highness, the honor is all mine.", "CHAMBERLAIN\n Prince Nuada- He awaits you- Please,\n follow me, Sire.\n\n 38 INT. TUNNEL - NIGHT 38", "PRINCE\n (to Hellboy)\n I will find you, young daemon -\n (to Nuala)\n - and you, too, my sister. Meanwhile,\n here's a taste of what lies in store.", "exile, vowing to return if the Sons of\n the Earth ever needed him.\n Prince Nuada walks away towards a dying sunset.", "Instantly, the Prince drops his arm... his hands come away\n red with blood. He looks over at his sister.\n They share a hard look of mutual understanding. Love and\n hatred.", "PRINCESS\n We are twins. Even now, I can sense his\n presence. This has been our way since we\n were young children, in Renvyle-", "PRINCESS (V.0.) (CONT'D)\n In those days, my people were led by my\n Father, King BALOR, the one-armed king of", "(NODS)\n A magical place in the West. A different\n time. Long gone. Now, he's near and he's\n looking for me. I can feel and even\n understand his. hatred for mankind.", "KING\n I am King Balor, leader of the Golden\n Army. Is there anyone here who disputes\n my right???", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "surrounds her. One of the beasts swings a heavy, rusty\n sword.\n It opens a gash in the princess' left arm-", "He offers the Princess his arm. She takes it and allows Abe\n to lead her away. A moment later, the Elemental smashes the\n ground where they had been standing!", "HELLBOY\n (a bellow)\n Prince Nuada: I challenge your right to\n command this army!" ], [ "Listening to his father, Prince Nuada reacts with anguish.", "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "PRINCE\n I am Prince Nuada and I command my army\n to life once more. Does anyone dispute my\n right?", "CHAMBERLAIN\n Prince Nuada- He awaits you- Please,\n follow me, Sire.\n\n 38 INT. TUNNEL - NIGHT 38", "KING\n Why have you done this??\n His voice trembles with anger.\n\n KING (CONT'D)\n Why? !\n The Prince looks at him, defiant.", "Prince Nuada looks around, locking eyes with the heads of\n the clans.", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "exile, vowing to return if the Sons of\n the Earth ever needed him.\n Prince Nuada walks away towards a dying sunset.", "PRINCE (CONT'D)\n (points at the team)\n Kill them.\n Abe is now aghast, seeing the Prince drag his sister back.", "Instantly, the Prince drops his arm... his hands come away\n red with blood. He looks over at his sister.\n They share a hard look of mutual understanding. Love and\n hatred.", "PRINCE\n Yes, Father- it is.\n The King takes the Princess' hand and mournfully lowers his\n head.", "through his abdomen and protrudes on the other side. Hellboy\n pulls it out, but it's too late. Both the Prince and the\n Princess collapse to the ground, mortally wounded.", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "PRINCE\n Father.\n (eyes the Princess)\n\n SISTER-\n The KING gestures for him to rise.", "HELLBOY\n (a bellow)\n Prince Nuada: I challenge your right to\n command this army!", "dismay as it trembles. His muscles can no longer respond.\n The Prince is ready to kill him.", "JOHANN\n Oh, my God. What has he done?\n Keeping his eyes on the Princess, Abe gives the gold piece\n to the Prince.\n Hellboy steps forward, feeling dizzy and betrayed.", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "The Prince sneers and gives the spear a savage yank,\n breaking off the blade! Hellboy's eyes roll upward; Liz\n SCREAMS. She and Johann manage to catch Hellboy as he" ], [ "Troll Market is a steamy, medieval nightmare. A labyrinth of\n narrow alleys and foetid vapour.", "(BEAT)\n Troll language-\n\n LIZ\n The troll market- ?", "ABE\n How can we find the Troll market??? Its\n location has been a source of speculation\n for centuries", "JOHANN\n Gentlemen: welcome to Troll Market.\n\n 66 INT. TROLL MARKET - NIGHT 66", "The denizens of the troll market overturn parked cars and\n knock down lamp posts, ROARING with excitement.", "puddles.\n Roaming vendors hawk exotic objects from every culture and\n century.\n At kiosks and shops, Trolls peddle cats (skinned or alive)", "He addresses WINK, an eight-foot tall TROLL with grey skin\n and a huge scar over his left, empty, eye socket. His right", "In the background, Manning arrives, wide-eyed. Just in time\n to see the Prince hand off his captive to one of the trolls.", "Abe stands at a lectern. Behind him, a projected image of\n the Princess' map from the troll market. His finger traces\n the strange, elvish text.", "HELLBOY\n Good, I like trouble.\n\n 83 INT. TROLL MARKET NARROW PASSAGES - NIGHT 83", "JOHANN\n Yes, well- Trolls dwell under bridges-\n And Vladimir Vanya 18th century occultist-\n places it under Washington Bridge", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "ABE\n Princess!\n Without thinking, he darts forward. Instantly, one of the\n trolls swipes at him, its claws just missing his chest-", "44 INT. TUNNEL 2 -- SAME 44\n\n The Prince and his guards rush through the tunnels, as troll\n screams echo off the walls.\n When they finally-", "Trolls scavenge the crumbling, marble shoreline, picking\n through garbage, scattering vermin.\n Muddy water trickles down from above, forming cloudy", "(SURPRISED)\n Then you are most foolish.\n He gestures to some troll GUARDS near a tunnel entrance.\n They lead the Princess out in chains.", "PRINCE\n Come-!\n The trolls release the Yrdrig and bound over to the Prince.", "JOHANN (CONT'D)\n Enough. it seems our little friend here\n remembers a noise. A very peculiar noise\n in the last place where his cage was\n traded: market sounds-", "his knees; as he rises, Hellboy connects with a brutal\n combination.\n In the arms of the troll, the Princess' head rockets back", "The locator's blue light dims; concerned, Hellboy and Johann\n look at each other.\n Seeing his chance, the shop keeper melts away into the\n crowd." ], [ "HELLBOY\n Well, yeah. Each one tells a story-\n His grin fades as he sees Johann talking to Liz. He abruptly\n gets up and goes to them.", "HELLBOY\n Why not?\n\n (BEAT)\n Not good enough for you?\n Hellboy wraps a towel around his waist and comes up behind\n Johann.", "HELLBOY\n Says who? I'm fine, I tell ya.\n He lurches forward, pushing past the others, fighting off\n his pain.", "his ravaged chest; as blood spatters his face, Hellboy\n groans and keeps fighting, to absolutely no effect.\n At length, the mechanical arms throw Hellboy against the", "Hellboy raises, through supreme effort, bleeding. He quickly\n raises his sword. The fight resumes, but this time, HB has\n the advantage.", "HELLBOY\n It's a love story. They'll lap it up.\n\n JOHANN\n I know you don't like me, but trust me on\n this one.", "HELLBOY\n I try.\n\n JOHANN\n Well, you're big, I'll give you that much-", "HELLBOY\n See?? It hurts!!! It hurts!!!\n Hellboy grips the chain, pulls the creature close, then,", "HELLBOY\n Say it now, then. Whatever it is, I'm\n ready.\n\n (SIGHS)\n Is it about Johann-", "HELLBOY\n You still seem sad. Is there anything you\n want to tell me-??\n\n LIZ\n Yes, there is-", "HELLBOY (CONT'D)\n I think I'll keep this.\n He finally meets Liz's gaze. She crosses to him and takes", "HELLBOY\n Aw, crap-\n\n ABE\n Precisely...", "HELLBOY\n Hey, we do call her Sparky now and then.\n A chuckle from the crowd. Hellboy smiles in satisfaction.", "JOHANN\n So, lead him to the bridge.\n Hellboy looks over the buildings and sees the Brooklyn\n Bridge in the distance.", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "HELLBOY\n\n (CHUCKLES)\n Ha- He's funny.", "HELLBOY\n Abe! No, get back!!\n Abe regains his balance and tries again, his eyes glued to\n the desperate features of the beautiful young woman. Hellboy\n manages to restrain him.", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "Hellboy holsters the Samaritan and rushes forward, giving it\n his best. His wound is running with fresh blood.\n He punches a soldier, whose mace pounds repeatedly against", "through his abdomen and protrudes on the other side. Hellboy\n pulls it out, but it's too late. Both the Prince and the\n Princess collapse to the ground, mortally wounded." ], [ "Listening to his father, Prince Nuada reacts with anguish.", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "Instantly, the Prince drops his arm... his hands come away\n red with blood. He looks over at his sister.\n They share a hard look of mutual understanding. Love and\n hatred.", "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "(BEAT)\n And now, my sister-\n The Prince looks around and sees that his sister is gone.\n He pushes through the mob, pulling his guards to the door.", "Prince Nuada looks around, locking eyes with the heads of\n the clans.", "PRINCE\n (to Hellboy)\n I will find you, young daemon -\n (to Nuala)\n - and you, too, my sister. Meanwhile,\n here's a taste of what lies in store.", "CHAMBERLAIN\n Prince Nuada- He awaits you- Please,\n follow me, Sire.\n\n 38 INT. TUNNEL - NIGHT 38", "PRINCESS\n We are twins. Even now, I can sense his\n presence. This has been our way since we\n were young children, in Renvyle-", "PRINCE\n I am Prince Nuada and I command my army\n to life once more. Does anyone dispute my\n right?", "(NODS)\n A magical place in the West. A different\n time. Long gone. Now, he's near and he's\n looking for me. I can feel and even\n understand his. hatred for mankind.", "As Hellboy and the team arrive, Abe sees the Princess, her\n arms tied. Her brother holds her by the hair.", "Then, he, too, is dead. Both him and his sister turn to\n fine, pale dust. And the wind carries away the ashes from\n Abe's hands...", "surrounds her. One of the beasts swings a heavy, rusty\n sword.\n It opens a gash in the princess' left arm-", "exile, vowing to return if the Sons of\n the Earth ever needed him.\n Prince Nuada walks away towards a dying sunset.", "-reach the Princess' chamber, it's too late.\n Dead and dying TROLLS lie in a heap on the floor.\n The Prince finds no sign of his sister. He clutches his\n bleeding arm.", "PRINCE\n Hold!\n The Prince appears at the top of the stairs, dressed in\n black. He's surrounded by his elite guard. Stepping to the\n rail, he points at his sister and addresses the crowd:", "The pale young creature is now a ghostly white. She lifts\n her eyes to Abe's, caressing his thin, scaly face.", "dangles from a chain.\n Nuala's resemblance to the Prince is uncanny, down to the\n fine scars marring their perfect faces. They're YING and", "He offers the Princess his arm. She takes it and allows Abe\n to lead her away. A moment later, the Elemental smashes the\n ground where they had been standing!" ], [ "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "(BEAT )\n What would you do if it was Liz??\n CLICK! The Prince fits the gold parts together and places\n the resulting crown on his head!", "LIZ\n It doesn't matter.\n\n ABE\n No -?\n\n LIZ\n No. Forget the gold piece. Let's us just\n find this royal asshole.", "LIZ\n (witness to a nightmare)\n No!! NO! !\n A sudden movement at the ledge, where the Princess steps", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "LIZ\n Abe, let's do this for Red!\n Abe nods, unable to find a good answer. He manages to tuck\n the gold piece into his belt.\n\n CUT TO:", "LIZ\n Abe, c'mon- cut the crap.\n She checks her boots, sticky with poo-", "LIZ\n Go after that son-of-a-bitch and get him\n to reverse the spell!!\n\n JOHANN\n He'll demand the gold piece-", "LIZ\n Any luck?\n Liz has come in behind him. Abe quickly palms the precious\n thing in his webbed hand.\n\n ABE\n No. Sorry.", "LIZ\n She eats them.\n\n MANNING\n \"She??\" That's a \"she\"?????", "ABE\n Liz, I'm sorry. It's a magical alloy.\n Every time I touch it, it moves closer to\n his heart.", "LIZ\n Let me -\n Liz summons up a white-hot burst of electrical fire in each", "Liz appears, shimmering in a halo of blue flame.\n HB's pulls a few LP albums out of the garbage bin.", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "LIZ\n Yes, I say yes-!\n Abe and Johann exchange a silent, worried look.", "LIZ\n Yes, Red- absolutely. 'Cause you did it\n without thinking- You just wanted to be\n in the public's eye- well- you're there-\n but so are we.", "The Prince sneers and gives the spear a savage yank,\n breaking off the blade! Hellboy's eyes roll upward; Liz\n SCREAMS. She and Johann manage to catch Hellboy as he", "132 INT. PRINCESS' ROOM - MOMENTS LATER 132\n\n Liz rummages in the Princess' quarters, throwing bedding\n around, opening drawers.", "LIZ\n I see. Red was right about you. Welcome\n to the team, Johann. And goodbye.\n She leaves the room.\n\n CUT TO:", "LIZ\n (to Johann)\n This was a mistake. He's -\n\n JOHANN\n Mein Gott--\n The stairs lead to-" ], [ "PRINCESS (CONT'D)\n (bows her head)\n My name is Princess Nuala.\n\n ABE\n (bows his head)\n Your highness, the honor is all mine.", "JOHANN\n - of warriors. The Children of the Earth.\n (to the Princess)\n I'm sorry, Princess Nuala. With such a", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "PRINCESS\n We'll find each other again, somewhere.\n And she dies in his arms.\n In the center of the arena:", "PRINCESS\n \"I am afraid that cord of communion will\n be snapt; and then I've a nervous notion\n I should take to bleeding inwardly.\"\n She closes the book, looking troubled.", "PRINCESS (CONT'D)\n Out! Out! Bad Yrdrig!\n As the animal skulks away, she helps Abe up-", "through his abdomen and protrudes on the other side. Hellboy\n pulls it out, but it's too late. Both the Prince and the\n Princess collapse to the ground, mortally wounded.", "PRINCESS\n Why were you following me?\n Abe is ashamed to realize the real answer. He's utterly\n beguiled by her.", "The Elemental goes down, impaling himself on a spire atop\n the bridge... exactly where the Prince had been standing.\n Putting an end, it seems, to both of them.", "NO-\n Abe hurries to the Princess. Takes her into his arms,\n blinking in despair.", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "Instantly, the Prince drops his arm... his hands come away\n red with blood. He looks over at his sister.\n They share a hard look of mutual understanding. Love and\n hatred.", "PRINCESS (V.0.) (CONT'D)\n And as the king gazed upon the earth\n awash in blood and at the impassive metal", "PRINCE\n Yes, Father- it is.\n The King takes the Princess' hand and mournfully lowers his\n head.", "Then, he, too, is dead. Both him and his sister turn to\n fine, pale dust. And the wind carries away the ashes from\n Abe's hands...", "PRINCESS\n We are twins. Even now, I can sense his\n presence. This has been our way since we\n were young children, in Renvyle-", "LIZ\n (witness to a nightmare)\n No!! NO! !\n A sudden movement at the ledge, where the Princess steps", "PRINCESS (V.0.) (CONT'D)\n But my brother did not believe in the\n promises of men. He marched off into", "PRINCE\n (to Hellboy)\n I will find you, young daemon -\n (to Nuala)\n - and you, too, my sister. Meanwhile,\n here's a taste of what lies in store." ], [ "KING\n No- You have broken a truce that has\n lasted for centuries.", "The fight is brutal. The mechanical soldiers mow down the\n humans by the hundreds, their swords replaced as needed by\n battle axes, bludgeons and lances.", "Silhouetted against a crimson sky, the shadows of thousands\n upon thousands of goblins, elves and fairies do battle with\n hordes of men.", "ABE\n Princess!\n Without thinking, he darts forward. Instantly, one of the\n trolls swipes at him, its claws just missing his chest-", "The two creatures battle each other fiercely. WINK's MACE\n destroys a nearby tree, like a wrecking ball and it connects\n twice with Hellboy's head.", "LIZ\n Red, turn on the \"antiglamour\" filter...\n (to Manning)\n Fairy folk use a spell called \"glamour\"\n to seem human and nice-", "cadres of Lovecraftian entities stroll about: Mer-men,\n Goblins and a few select species unknown to any cosmology.\n A dogfight of sorts is taking place in a small ring. Instead", "realm to the entire world. It prefaced\n the awakening of the Golden Army-\n Johann sits down heavily.", "JOHANN (CONT'D)\n (points at Hellboy)\n You scare him-\n The fairy blabbers furiously while glaring at HB.", "PRINCESS (V. 0.) (CONT'D)\n The bloodshed went on year after year.\n Many lives were lost.\n An overview of the battlefield fades as the sun sinks below\n the horizon.", "People shrink back in horror. One of the hungry critters\n jumps at a woman but-\n BLAM!! Hellboy shoots it in mid-air, then calmly and", "planet...\n (she sighs)\n But as man in his greed expanded his\n dominion, there ensued a bitter war...", "surrounds her. One of the beasts swings a heavy, rusty\n sword.\n It opens a gash in the princess' left arm-", "(NODS)\n A magical place in the West. A different\n time. Long gone. Now, he's near and he's\n looking for me. I can feel and even\n understand his. hatred for mankind.", "As the humans make ready for battle, a tremor shakes the\n earth. They turn their gaze to the horizon, which bristles\n with the arms of the approaching troops.", "Instantly, the Prince drops his arm... his hands come away\n red with blood. He looks over at his sister.\n They share a hard look of mutual understanding. Love and\n hatred.", "The crowd is screaming. Half a dozen smoldering fairies\n climb out of the smoking crater and snarl at the crowd.", "WINK and HB duke it out for a few beats and then HB finally\n vanquishes the Troll, Ripping his Iron Mace off and throwing\n it away.", "PRINCESS (CONT'D)\n Out! Out! Bad Yrdrig!\n As the animal skulks away, she helps Abe up-", "(BEAT)\n And they scorn us- every time they raise\n a dead, cold building, destroy a forest,\n or take more land-\n The PRINCESS then steps forward." ], [ "Troll Market is a steamy, medieval nightmare. A labyrinth of\n narrow alleys and foetid vapour.", "(BEAT)\n Troll language-\n\n LIZ\n The troll market- ?", "JOHANN\n Gentlemen: welcome to Troll Market.\n\n 66 INT. TROLL MARKET - NIGHT 66", "ABE\n How can we find the Troll market??? Its\n location has been a source of speculation\n for centuries", "The denizens of the troll market overturn parked cars and\n knock down lamp posts, ROARING with excitement.", "puddles.\n Roaming vendors hawk exotic objects from every culture and\n century.\n At kiosks and shops, Trolls peddle cats (skinned or alive)", "He addresses WINK, an eight-foot tall TROLL with grey skin\n and a huge scar over his left, empty, eye socket. His right", "In the background, Manning arrives, wide-eyed. Just in time\n to see the Prince hand off his captive to one of the trolls.", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "HELLBOY\n Good, I like trouble.\n\n 83 INT. TROLL MARKET NARROW PASSAGES - NIGHT 83", "ABE\n Princess!\n Without thinking, he darts forward. Instantly, one of the\n trolls swipes at him, its claws just missing his chest-", "Abe stands at a lectern. Behind him, a projected image of\n the Princess' map from the troll market. His finger traces\n the strange, elvish text.", "Trolls scavenge the crumbling, marble shoreline, picking\n through garbage, scattering vermin.\n Muddy water trickles down from above, forming cloudy", "44 INT. TUNNEL 2 -- SAME 44\n\n The Prince and his guards rush through the tunnels, as troll\n screams echo off the walls.\n When they finally-", "JOHANN\n Yes, well- Trolls dwell under bridges-\n And Vladimir Vanya 18th century occultist-\n places it under Washington Bridge", "(SURPRISED)\n Then you are most foolish.\n He gestures to some troll GUARDS near a tunnel entrance.\n They lead the Princess out in chains.", "PRINCE\n Come-!\n The trolls release the Yrdrig and bound over to the Prince.", "JOHANN (CONT'D)\n Enough. it seems our little friend here\n remembers a noise. A very peculiar noise\n in the last place where his cage was\n traded: market sounds-", "PRINCE\n Hold.\n The Prince steps into the room, carrying a long spear.\n The trolls are on top of the Yrdrig, ready to kill him.", "his knees; as he rises, Hellboy connects with a brutal\n combination.\n In the arms of the troll, the Princess' head rockets back" ], [ "PRINCESS\n The location of the Golden Army is\n contained within this cylinder--\n She opens it and produces a parchment hidden inside. She\n extends it: the map just shows three coordinates.", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "He brings out the gold artifact from the auction. Holds it\n high.\n The crowds GASPS. The King instinctively covers the", "realm to the entire world. It prefaced\n the awakening of the Golden Army-\n Johann sits down heavily.", "Two STEWARDS wheel in an oaken box and open it. Nestled in\n maroon velvet is an eight-inch, ornately decorated arc of\n gold.", "81\n\n 81 INT. STORAGE CHAMBER - NIGHT\n\n The goblins lock the golden army into a huge cavern, under\n the light of ten thousand flickering torches.", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "JOHANN\n Golden Army. The unstoppable tide. There\n has been nothing to substantiate such a\n\n TALE-", "drive the Prince back into the center of the arena, where\n they fight under the inscrutable gaze of the golden army.\n Every time Hellboy gets a clean shot at the Prince, Abe", "segement...\n . an entire division of the golden army collapses into a\n heap of scrap metal!\n Hellboy does the same with a second section of the crown and", "KING\n I am King Balor, leader of the Golden\n Army. Is there anyone here who disputes\n my right???", "Lit by the fires of a hundred furnaces, stoked by scores of\n goblins, a MECHANICAL ARMY is born. Metal plates and moving", "With a soft BOOM, the clockwork troops come to a halt! All\n the mechanical heads turn toward the Prince, who stands on a\n ledge with his sister.", "AS\n From his tunic, he brings forth two of the gold segments.\n he fits them together...\n\n PRINCE\n You have the remaining piece, I presume.", "JOHANN\n Oh, my God. What has he done?\n Keeping his eyes on the Princess, Abe gives the gold piece\n to the Prince.\n Hellboy steps forward, feeling dizzy and betrayed.", "PRINCE\n I am Prince Nuada and I command my army\n to life once more. Does anyone dispute my\n right?", "-a vast underground arena where a thousand torches are\n flickering.\n CAMERA PULLS BACK to reveal rank upon rank of GOLDEN\n SOLDIERS. Immobile. Silent. Waiting.", "GOBLIN\n Is it so precious to you? Let me pull it\n out.\n\n ABE\n You mustn't. One touch can kill him.\n The Goblin's eyes grow wide with understanding.", "died for that crown. Bring it to me.\n He and his trolls escape into the night." ], [ "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "PRINCE\n Yes, Father- it is.\n The King takes the Princess' hand and mournfully lowers his\n head.", "He brings out the gold artifact from the auction. Holds it\n high.\n The crowds GASPS. The King instinctively covers the", "seamlessly into an almost complete CROWN. The Prince raises", "(BEAT )\n What would you do if it was Liz??\n CLICK! The Prince fits the gold parts together and places\n the resulting crown on his head!", "(GRIM)\n I agree. Death it is-\n And the guards turn toward the king and stab him. The", "Instantly, the Prince drops his arm... his hands come away\n red with blood. He looks over at his sister.\n They share a hard look of mutual understanding. Love and\n hatred.", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "PRINCESS\n We'll find each other again, somewhere.\n And she dies in his arms.\n In the center of the arena:", "bleeding, but alive. Abe, Liz and Johann embrace firmly,\n laughing and happy to be together.\n Abe eyes the Princess standing nearby, smiling back at\n him...", "For peasant and prince alike. Please- for\n the last time- surrender your sword.\n A tense beat and then the Prince relents.", "Then, he, too, is dead. Both him and his sister turn to\n fine, pale dust. And the wind carries away the ashes from\n Abe's hands...", "He offers the Princess his arm. She takes it and allows Abe\n to lead her away. A moment later, the Elemental smashes the\n ground where they had been standing!", "through his abdomen and protrudes on the other side. Hellboy\n pulls it out, but it's too late. Both the Prince and the\n Princess collapse to the ground, mortally wounded.", "KING\n Why have you done this??\n His voice trembles with anger.\n\n KING (CONT'D)\n Why? !\n The Prince looks at him, defiant.", "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck." ], [ "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "PRINCE\n I am Prince Nuada and I command my army\n to life once more. Does anyone dispute my\n right?", "AS\n From his tunic, he brings forth two of the gold segments.\n he fits them together...\n\n PRINCE\n You have the remaining piece, I presume.", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "Prince Nuada looks around, locking eyes with the heads of\n the clans.", "Listening to his father, Prince Nuada reacts with anguish.", "CHAMBERLAIN\n Prince Nuada- He awaits you- Please,\n follow me, Sire.\n\n 38 INT. TUNNEL - NIGHT 38", "He brings out the gold artifact from the auction. Holds it\n high.\n The crowds GASPS. The King instinctively covers the", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "exile, vowing to return if the Sons of\n the Earth ever needed him.\n Prince Nuada walks away towards a dying sunset.", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "JOHANN\n Oh, my God. What has he done?\n Keeping his eyes on the Princess, Abe gives the gold piece\n to the Prince.\n Hellboy steps forward, feeling dizzy and betrayed.", "segement...\n . an entire division of the golden army collapses into a\n heap of scrap metal!\n Hellboy does the same with a second section of the crown and", "His gaze is fierce, inspired. He joins the pieces together,\n they fuse and interconnect through the magical equivalent of\n NANOTECHNOLOGY. Minute gears and hooks join the pieces", "In the background, Manning arrives, wide-eyed. Just in time\n to see the Prince hand off his captive to one of the trolls.", "surrounds her. One of the beasts swings a heavy, rusty\n sword.\n It opens a gash in the princess' left arm-", "Two STEWARDS wheel in an oaken box and open it. Nestled in\n maroon velvet is an eight-inch, ornately decorated arc of\n gold." ], [ "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "AS\n From his tunic, he brings forth two of the gold segments.\n he fits them together...\n\n PRINCE\n You have the remaining piece, I presume.", "He brings out the gold artifact from the auction. Holds it\n high.\n The crowds GASPS. The King instinctively covers the", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "(BEAT )\n What would you do if it was Liz??\n CLICK! The Prince fits the gold parts together and places\n the resulting crown on his head!", "Two STEWARDS wheel in an oaken box and open it. Nestled in\n maroon velvet is an eight-inch, ornately decorated arc of\n gold.", "LIZ\n It doesn't matter.\n\n ABE\n No -?\n\n LIZ\n No. Forget the gold piece. Let's us just\n find this royal asshole.", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "MANNING\n Even if you're right, we sit tight and\n locate the gold piece, make sure he never", "seamlessly into an almost complete CROWN. The Prince raises", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "In the background, Manning arrives, wide-eyed. Just in time\n to see the Prince hand off his captive to one of the trolls.", "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "BELLBOY 2 84\n She hides the gold segment within the pages of \"Jane Eyre.\"\n At that moment, the Yrdrig GROWLS -", "JOHANN\n Oh, my God. What has he done?\n Keeping his eyes on the Princess, Abe gives the gold piece\n to the Prince.\n Hellboy steps forward, feeling dizzy and betrayed.", "JOHANN\n (smiles knowingly)\n On loan from the Smithsonian. Plus we\n have this clue-\n He produces the sketch of the ROYAL SEAL.", "PRINCESS\n The location of the Golden Army is\n contained within this cylinder--\n She opens it and produces a parchment hidden inside. She\n extends it: the map just shows three coordinates." ], [ "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "AS\n From his tunic, he brings forth two of the gold segments.\n he fits them together...\n\n PRINCE\n You have the remaining piece, I presume.", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "another massive division of the army tumbles into junk!\n HB is about the tear up the last segment of the crown, when\n it explodes in his hands!", "segement...\n . an entire division of the golden army collapses into a\n heap of scrap metal!\n Hellboy does the same with a second section of the crown and", "seamlessly into an almost complete CROWN. The Prince raises", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "He brings out the gold artifact from the auction. Holds it\n high.\n The crowds GASPS. The King instinctively covers the", "BOOM!! the trunk rips in two, revealing a curled, dormant", "(BEAT )\n What would you do if it was Liz??\n CLICK! The Prince fits the gold parts together and places\n the resulting crown on his head!", "realm to the entire world. It prefaced\n the awakening of the Golden Army-\n Johann sits down heavily.", "Two STEWARDS wheel in an oaken box and open it. Nestled in\n maroon velvet is an eight-inch, ornately decorated arc of\n gold.", "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "His gaze is fierce, inspired. He joins the pieces together,\n they fuse and interconnect through the magical equivalent of\n NANOTECHNOLOGY. Minute gears and hooks join the pieces", "surrounds her. One of the beasts swings a heavy, rusty\n sword.\n It opens a gash in the princess' left arm-", "is surrounded by the other SOLDIERS, who methodically\n dismember it like marauding insects!\n As the parts drop to the floor, twitching and useless,", "The Prince sneers and gives the spear a savage yank,\n breaking off the blade! Hellboy's eyes roll upward; Liz\n SCREAMS. She and Johann manage to catch Hellboy as he" ], [ "LIZ\n I almost lost you-\n Hellboy smiles and grabs her hand-\n\n HELLBOY\n I thought you were mad at me.", "HELLBOY (CONT'D)\n I think I'll keep this.\n He finally meets Liz's gaze. She crosses to him and takes", "HELLBOY\n Do it, Liz, do it!!!\n And Liz obeys. Closing her eyes she-\n\n LIZ", "LIZ\n Don't you touch it - !\n She rushes to Hellboy's side, pushing the Goblin back, ready\n for a fight. The Goblin shrugs.", "HELLBOY\n Something else bothering you-?\n Liz nods quietly.\n\n HELLBOY\n So- Tell me about it-", "HELLBOY\n You still seem sad. Is there anything you\n want to tell me-??\n\n LIZ\n Yes, there is-", "LIZ\n Well, no one can stay mad forever.\n\n HELLBOY\n I'm sorry for all the attention, I\n thought it would be good for us.", "JOHANN\n (long beat)\n You think I'm after Liz, don't you?\n (Hellboy walks out)\n Well, I'm not.", "HELLBOY\n Ha! Me? Threatened??\n Glaring, at Liz:\n\n HELLBOY\n By whom? By him??", "LIZ\n No. That's not the problem either-\n\n HELLBOY\n\n (WHISPERS)\n Then, what--?", "HELLBOY (CONT'D)\n Whoa. Just like the story books.\n Manning and Liz take a few steps into it: a SQUIRREL-BEING", "HELLBOY\n Well, yeah. Each one tells a story-\n His grin fades as he sees Johann talking to Liz. He abruptly\n gets up and goes to them.", "LIZ\n (breathing deep)\n Let's find a place in the country. Clean\n air - green hills - fresh milk from the\n farm.\n\n HELLBOY\n Milk? Yech.", "Hellboy leans weakly against the doorway to his room. His\n cats purr all around him, oblivious to his pain. He sits by\n the bed. Liz enters the room. He smiles weakly at her-", "LIZ\n How do you know these things?\n\n HELLBOY\n I read it in TV Guide.\n\n LIZ\n You're really liking this, aren't you?", "HELLBOY\n (yelling at Liz)\n Look- I have one rule! One- \"Don't touch\n my stuff -\"", "HELLBOY (CONT'D)\n Liz- UM-?\n\n LIZ\n (on the intercom)\n Yes?", "LIZ\n Get used to it. He might be here for good-\n\n HELLBOY\n For good?!\n\n LIZ\n He has a nice voice.", "HELLBOY 2 69\n\n LIZ\n No, I don't-", "LIZ\n A yard... With lots of room to grow in.\n\n HELLBOY\n (he looks blank)\n Grow? who gonna grow- ?" ], [ "KING\n I am King Balor, leader of the Golden\n Army. Is there anyone here who disputes\n my right???", "76 INT. THRONE ROOM - DAY 76\n\n Seated in an 'opulent throne room, KING BALOR addresses a\n wretched guild of deformed goblins.", "realm to the entire world. It prefaced\n the awakening of the Golden Army-\n Johann sits down heavily.", "PRINCESS (V.0.) (CONT'D)\n In those days, my people were led by my\n Father, King BALOR, the one-armed king of", "goblins, trolls, dwarves and elves.\n At the center sits KING BALOR The One-armed King of Elfland", "JOHANN\n Golden Army. The unstoppable tide. There\n has been nothing to substantiate such a\n\n TALE-", "PRINCE\n I am Prince Nuada and I command my army\n to life once more. Does anyone dispute my\n right?", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "PRINCESS\n The location of the Golden Army is\n contained within this cylinder--\n She opens it and produces a parchment hidden inside. She\n extends it: the map just shows three coordinates.", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "Elfland.\n KING BALOR fights valiantly at the side of his son, the\n tall, pale elf knight: PRINCE NUADA.", "drive the Prince back into the center of the arena, where\n they fight under the inscrutable gaze of the golden army.\n Every time Hellboy gets a clean shot at the Prince, Abe", "81\n\n 81 INT. STORAGE CHAMBER - NIGHT\n\n The goblins lock the golden army into a huge cavern, under\n the light of ten thousand flickering torches.", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "CUT TO:\n\n 32 CREDITS 32\n Behind the CREDITS are caballistic engravings suggesting the\n power, size and weapons of a mystic, mechanical GOLDEN ARMY.", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "Lit by the fires of a hundred furnaces, stoked by scores of\n goblins, a MECHANICAL ARMY is born. Metal plates and moving", "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "PRINCESS (V.0.)\n It was then that the King ordered the\n Sigri to build him a new, invincible\n army.", "-a vast underground arena where a thousand torches are\n flickering.\n CAMERA PULLS BACK to reveal rank upon rank of GOLDEN\n SOLDIERS. Immobile. Silent. Waiting." ], [ "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "He brings out the gold artifact from the auction. Holds it\n high.\n The crowds GASPS. The King instinctively covers the", "AS\n From his tunic, he brings forth two of the gold segments.\n he fits them together...\n\n PRINCE\n You have the remaining piece, I presume.", "BELLBOY 2 84\n She hides the gold segment within the pages of \"Jane Eyre.\"\n At that moment, the Yrdrig GROWLS -", "down a tunnel. A CROWD gathers behind her, chasing her as\n she zig-zags from tunnel to tunnel.\n With perfect calm, she ducks into a niche, then slides down", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "JOHANN\n Oh, my God. What has he done?\n Keeping his eyes on the Princess, Abe gives the gold piece\n to the Prince.\n Hellboy steps forward, feeling dizzy and betrayed.", "surrounds her. One of the beasts swings a heavy, rusty\n sword.\n It opens a gash in the princess' left arm-", "In the background, Manning arrives, wide-eyed. Just in time\n to see the Prince hand off his captive to one of the trolls.", "PRINCESS (V.0.)\n And the golden army was ordered to lie\n dormant, locked inside the earth itself -\n and there it is to this day, waiting for\n the wearer of the crown to command it\n again.", "(BEAT )\n What would you do if it was Liz??\n CLICK! The Prince fits the gold parts together and places\n the resulting crown on his head!", "PRINCESS (CONT'D)\n (bows her head)\n My name is Princess Nuala.\n\n ABE\n (bows his head)\n Your highness, the honor is all mine.", "stall; her cowl swings aside, briefly revealing her face.\n It's the PRINCESS. In these grotesque surroundings, her\n beauty is transcendent.", "dangles from a chain.\n Nuala's resemblance to the Prince is uncanny, down to the\n fine scars marring their perfect faces. They're YING and", "pieces on the floor. He comes up with his copy of \"Jane\n Eyre.\"\n He opens it to Chapter 23 and finds the gold piece.", "(NODS)\n A magical place in the West. A different\n time. Long gone. Now, he's near and he's\n looking for me. I can feel and even\n understand his. hatred for mankind." ], [ "toward the ceiling, shoeless. The shop keeper watches in awe\n until it lands, about thirty feet away in the middle of the\n dogfight.", "The Puppeteer readies his merchandise bag and quickly moves\n to the edge of the platform alongside other passengers. The\n lights grow in intensity and the ROAR becomes deafening. But", "A Christmas tree glows next to the fireplace; Mozart is\n playing on the aquarium's underwater speakers. Floating in", "Two STEWARDS wheel in an oaken box and open it. Nestled in\n maroon velvet is an eight-inch, ornately decorated arc of\n gold.", "away. She has cast off her dingy cloak and is radiant in\n fine silk robes.\n She is feeding slices of fruit to a cage of large,", "unrecognized so that you might go about\n your daily life. To work, to marry, to\n bid your children goodnight.\n Little by little, the crowd grows quiet.", "Abe enters the dark, soaking library and surveys the ruins\n of his tank.\n He goes directly to one of the book stands, which lies in", "pieces on the floor. He comes up with his copy of \"Jane\n Eyre.\"\n He opens it to Chapter 23 and finds the gold piece.", "shoots, blowing open a massive hole.\n He peeks inside-\n Small bodies burrow away like moles.", "ABE\n Oh, you know. The usual. Since they moved\n in together- Good days and bad.", "hanging from a chain around her neck. She closes her eyes\n and shudders - trouble is near.\n The Yrdgrig wakes up and whimpers.", "and bounds out the door.\n instantly, the goblins and birds leap down and crowd around\n him, chattering in excitement over the latest prize.", "Then, he, too, is dead. Both him and his sister turn to\n fine, pale dust. And the wind carries away the ashes from\n Abe's hands...", "In the background, Manning arrives, wide-eyed. Just in time\n to see the Prince hand off his captive to one of the trolls.", "spear, poking a hole in Hellboy's coat.\n The surrounding crowd backs away as the combatants circle\n each other. The Prince is nimble. The Prince is quick. He", "(BEAT)\n And now, my sister-\n The Prince looks around and sees that his sister is gone.\n He pushes through the mob, pulling his guards to the door.", "The music can be heard at a distance.\n A dark figure stands on a hill, amid the trees, listening\n and watching... CAMERA MOVES IN: the Prince gazes at the\n building.", "As the humans make ready for battle, a tremor shakes the\n earth. They turn their gaze to the horizon, which bristles\n with the arms of the approaching troops.", "People shrink back in horror. One of the hungry critters\n jumps at a woman but-\n BLAM!! Hellboy shoots it in mid-air, then calmly and", "ABE\n (pointing to the opposite shore)\n Renvyle is over there.\n They glance up and down the beach, looking for a boat." ], [ "realm to the entire world. It prefaced\n the awakening of the Golden Army-\n Johann sits down heavily.", "JOHANN\n Golden Army. The unstoppable tide. There\n has been nothing to substantiate such a\n\n TALE-", "PRINCESS\n The location of the Golden Army is\n contained within this cylinder--\n She opens it and produces a parchment hidden inside. She\n extends it: the map just shows three coordinates.", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "KING\n I am King Balor, leader of the Golden\n Army. Is there anyone here who disputes\n my right???", "81\n\n 81 INT. STORAGE CHAMBER - NIGHT\n\n The goblins lock the golden army into a huge cavern, under\n the light of ten thousand flickering torches.", "drive the Prince back into the center of the arena, where\n they fight under the inscrutable gaze of the golden army.\n Every time Hellboy gets a clean shot at the Prince, Abe", "-a vast underground arena where a thousand torches are\n flickering.\n CAMERA PULLS BACK to reveal rank upon rank of GOLDEN\n SOLDIERS. Immobile. Silent. Waiting.", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "segement...\n . an entire division of the golden army collapses into a\n heap of scrap metal!\n Hellboy does the same with a second section of the crown and", "Lit by the fires of a hundred furnaces, stoked by scores of\n goblins, a MECHANICAL ARMY is born. Metal plates and moving", "In perfect ranks, in eerie unison, the golden soldiers line\n up, filling the entire courtyard, awaiting the King's\n command.", "JOHANN\n Abe and I have found the entrance to the\n Golden Army's resting place- Liz come\n with us-\n (looks at Hellboy)\n You should stay behind and get some rest-", "With the deep sound of gears, ratchets and springs, the army\n comes to life. Up comes the lances and shields.", "With a soft BOOM, the clockwork troops come to a halt! All\n the mechanical heads turn toward the Prince, who stands on a\n ledge with his sister.", "HELLBOY 2: THE GOLDEN ARMY\n\n\n\n Written by\n\n Guillermo del Toro", "BELLBOY\n Not now, Abe, okay?\n The first phalanx of golden soldiers is upon them, their", "CUT TO:\n\n 32 CREDITS 32\n Behind the CREDITS are caballistic engravings suggesting the\n power, size and weapons of a mystic, mechanical GOLDEN ARMY.", "PRINCE\n I am Prince Nuada and I command my army\n to life once more. Does anyone dispute my\n right?", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first" ], [ "PRINCESS (V.0.) (CONT'D)\n And so he arranged a truce: the surviving\n men would keep to their cities and we", "KING\n No- You have broken a truce that has\n lasted for centuries.", "PRINCE\n A shameful truce, worth nothing. How can\n you abide it? How- ? They have no respect\n for themselves, their Gods or the earth-", "For peasant and prince alike. Please- for\n the last time- surrender your sword.\n A tense beat and then the Prince relents.", "As the humans make ready for battle, a tremor shakes the\n earth. They turn their gaze to the horizon, which bristles\n with the arms of the approaching troops.", "Instantly, the Prince drops his arm... his hands come away\n red with blood. He looks over at his sister.\n They share a hard look of mutual understanding. Love and\n hatred.", "On the other side of the tree: Manning and a bunch of agents\n have set up spotter scopes and are gazing out over the\n countryside, looking for them.\n Suddenly, the team appears, literally from out of nowhere.", "In the background, Manning arrives, wide-eyed. Just in time\n to see the Prince hand off his captive to one of the trolls.", "PRINCESS\n What they do is in their nature. We must\n honor our side of the agreement-\n\n PRINCE\n Honor-?", "children of the Earth would dwell within\n the forests. This pact, he declared,\n would be honored by our sons and the sons\n of their sons until the end of time.", "With a soft BOOM, the clockwork troops come to a halt! All\n the mechanical heads turn toward the Prince, who stands on a\n ledge with his sister.", "He offers the Princess his arm. She takes it and allows Abe\n to lead her away. A moment later, the Elemental smashes the\n ground where they had been standing!", "Liz screams and Hellboy pulls her aside. The soldiers crash\n past them until -\n - the din suddenly stops. The PRINCE stands revealed at the\n head of the column.", "With the deep sound of gears, ratchets and springs, the army\n comes to life. Up comes the lances and shields.", "ABE\n (follows HB)\n No= please- no-\n Hellboy moves away from him.\n\n HELLBOY\n A challenge must be answered! Raise your\n sword!", "The truck stops near other official vehicles. Overhead, the\n soaring roadbed of the Brooklyn Bridge.\n At the sight of the BPRD team, some protestors throw eggs.\n Hellboy shields Liz from the barrage.", "MANNING\n May I suggest that tonight you refrain\n from signing autographs.\n\n HELLBOY\n It's the garbage truck. It makes the\n wrong statement. About who we are.", "The army marches ever onward, like a grinding machine\n devouring tender flesh.\n At length, there is no sign of life in the human camp.", "CORPSES, their feet in tubs of cement!\n Suddenly, Abe's head strikes a sunken truck, knocking him\n unconscious. Blood seeps from his wound.", "who join me will be rewarded. The rest...\n will be killed.\n A sudden silence falls over the throng. Then, the sound of" ], [ "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "AS\n From his tunic, he brings forth two of the gold segments.\n he fits them together...\n\n PRINCE\n You have the remaining piece, I presume.", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "He brings out the gold artifact from the auction. Holds it\n high.\n The crowds GASPS. The King instinctively covers the", "(BEAT )\n What would you do if it was Liz??\n CLICK! The Prince fits the gold parts together and places\n the resulting crown on his head!", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "His gaze is fierce, inspired. He joins the pieces together,\n they fuse and interconnect through the magical equivalent of\n NANOTECHNOLOGY. Minute gears and hooks join the pieces", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "In the background, Manning arrives, wide-eyed. Just in time\n to see the Prince hand off his captive to one of the trolls.", "seamlessly into an almost complete CROWN. The Prince raises", "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "Two STEWARDS wheel in an oaken box and open it. Nestled in\n maroon velvet is an eight-inch, ornately decorated arc of\n gold.", "JOHANN\n Oh, my God. What has he done?\n Keeping his eyes on the Princess, Abe gives the gold piece\n to the Prince.\n Hellboy steps forward, feeling dizzy and betrayed.", "CROW\n He won't want money.\n\n JOHANN\n (to the goblin)\n I have a... belt!", "LIZ\n It doesn't matter.\n\n ABE\n No -?\n\n LIZ\n No. Forget the gold piece. Let's us just\n find this royal asshole.", "KING\n I am King Balor, leader of the Golden\n Army. Is there anyone here who disputes\n my right???", "JOHANN\n (smiles knowingly)\n On loan from the Smithsonian. Plus we\n have this clue-\n He produces the sketch of the ROYAL SEAL.", "KING\n Why have you done this??\n His voice trembles with anger.\n\n KING (CONT'D)\n Why? !\n The Prince looks at him, defiant." ], [ "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "AS\n From his tunic, he brings forth two of the gold segments.\n he fits them together...\n\n PRINCE\n You have the remaining piece, I presume.", "Two STEWARDS wheel in an oaken box and open it. Nestled in\n maroon velvet is an eight-inch, ornately decorated arc of\n gold.", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "He brings out the gold artifact from the auction. Holds it\n high.\n The crowds GASPS. The King instinctively covers the", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "(BEAT )\n What would you do if it was Liz??\n CLICK! The Prince fits the gold parts together and places\n the resulting crown on his head!", "seamlessly into an almost complete CROWN. The Prince raises", "Royal Crown of Bethmoora... A precious\n artifact dating from the Atrebatean\n period. Exquisite workmanship in 24 carat\n gold.", "surrounds her. One of the beasts swings a heavy, rusty\n sword.\n It opens a gash in the princess' left arm-", "pieces on the floor. He comes up with his copy of \"Jane\n Eyre.\"\n He opens it to Chapter 23 and finds the gold piece.", "PRINCESS\n The location of the Golden Army is\n contained within this cylinder--\n She opens it and produces a parchment hidden inside. She\n extends it: the map just shows three coordinates.", "Abe discovers an empty cage... and on the iron door, the\n embossed ROYAL SEAL. Abe hears a high-pitched chitter-\n chatter and looks around: Nothing.", "stall; her cowl swings aside, briefly revealing her face.\n It's the PRINCESS. In these grotesque surroundings, her\n beauty is transcendent.", "LIZ\n It doesn't matter.\n\n ABE\n No -?\n\n LIZ\n No. Forget the gold piece. Let's us just\n find this royal asshole.", "The Princess has entered a shop selling MAPS and PRINTS. Abe\n stays outside, watching through a window as she negotiates\n to purchase a silver and crystal CYLINDER contained in a", "In the background, Manning arrives, wide-eyed. Just in time\n to see the Prince hand off his captive to one of the trolls.", "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-" ], [ "JOHANN\n Do as you may- But know this- he wouldn't\n have approved of your behaviour.\n A P.A. opens the door.\n\n P.A.\n You're on-!", "JOHANN\n See? Speed is the key.\n The vaporous form of Johann's body emerges from the lockers", "ABE\n Just a few more minutes. Here's an easy\n way to remember that \"port\" means \"left.\"\n They each have four-\n A NOISE from the door: it's Johann.", "JOHANN\n Johann Kraus, at your service.\n His unearthly voice is velvety and warm. Almost soothing.\n Liz smiles. Hellboy glowers as Kraus' fishbowl head turns\n toward them.", "JOHANN (CONT'D)\n Ladies and Gentlemen, my name is Johann\n Kraus and I beg you to allow us-\n (interrupted by catcalls)\n -Please, we need space to work- please-", "LIZ\n (to Johann)\n This was a mistake. He's -\n\n JOHANN\n Mein Gott--\n The stairs lead to-", "JOHANN\n In what way, Mein Frau??\n\n LIZ\n Just a mistake- nothing important.\n\n (SIGHS)\n But sometimes being with him is not easy-", "JOHANN\n But he has a good heart. I know it. He\n means well.\n\n LIZ\n I think I may have made a mistake.", "104 FLASHBACK - CIRCA 2001\n Johann's mouth opens and out of it emerges a large tendril", "JOHANN\n Exactly.\n A PROTOPLASMIC emanation seeps out from his fingertips,\n slightly deflating his body. The tendrils enter the-\n -\"Dead\" Fairy.", "JOHANN (CONT'D)\n Rough translation: He says you are rude,\n brutish and not too bright-", "HELLBOY\n What-?? What-??\n\n ABE\n\n (DAZZLED)\n He has a nice voice.\n All business now, Johann steps over to the group.", "JOHANN\n (to Abe)\n You're vouching for her, I take it. Mr\n Sapien?", "ABE\n Touche.\n More high-pitched jabbering...\n Johann replaces the little fairy in the holding pen.", "pieces on the floor. He comes up with his copy of \"Jane\n Eyre.\"\n He opens it to Chapter 23 and finds the gold piece.", "JOHANN (CONT'D)\n But perhaps soon- after learning of our\n hardships and sacrifices, you may decide\n that our humble lives may, in some way,\n have a value... and a meaning-", "ABE\n (very quiet)\n Do it, please. I - I'm ready for the real\n world now.\n Johann turns the cylinder. The tree roots form their arch...\n and the BPRD team walks through.", "JOHANN KRAUS: about 6' tall, dressed in a canvas containment\n suit full of tubes and taps. His hands are encased in thick", "JOHANN (CONT'D)\n Enough. it seems our little friend here\n remembers a noise. A very peculiar noise\n in the last place where his cage was\n traded: market sounds-", "JOHANN\n (finally, pointing)\n There. Stairs to the street...\n\n BUT-" ], [ "(PAUSE)\n That's a joke, Liz.\n Liz remains silent.", "LIZ\n No! I don't want to see it!\n (to Johann)\n We've got to do something!", "LIZ\n Yes, I say yes-!\n Abe and Johann exchange a silent, worried look.", "LIZ\n Any luck?\n Liz has come in behind him. Abe quickly palms the precious\n thing in his webbed hand.\n\n ABE\n No. Sorry.", "LIZ\n Our baby, that's who!", "LIZ\n Not now, for God's sake!\n\n 16 INT. SALES ROOM - SAME 16", "Liz is looking out into Trenton NJ's light landscape. Johann\n approaches her.\n\n JOHANN\n Are you alright-?\n Liz nods weakly.", "LIZ\n (to Johann)\n This was a mistake. He's -\n\n JOHANN\n Mein Gott--\n The stairs lead to-", "LIZ\n Abe, c'mon- cut the crap.\n She checks her boots, sticky with poo-", "LIZ\n What about Red?? Don't you care about\n him???\n A moment of silence. Nobody knows what to say. Finally:", "LIZ\n What about me? I need some space! Not\n much, but just enough to find- to find-\n my- toothbrush.\n She flares up, losing control...", "(WHISPERS)\n When we get home... I'm gonna clean the\n place up; okay? Even the bathroom.\n\n LIZ\n That's not the problem and you know it.", "LIZ\n She eats them.\n\n MANNING\n \"She??\" That's a \"she\"?????", "LIZ\n (witness to a nightmare)\n No!! NO! !\n A sudden movement at the ledge, where the Princess steps", "(GESTURING)\n Come here, I'll show you...\n Liz backs away, shaking her head.", "LIZ\n Yes, Red- absolutely. 'Cause you did it\n without thinking- You just wanted to be\n in the public's eye- well- you're there-\n but so are we.", "A layer of asbestos might be in order,\n don't you think?\n Liz tenses up in silence. Holds tight to HB's hand.", "LIZ\n\n (YELLING)\n No, Red- Not there! Move away from the-\n K-B00000MMMMMM`IN!!!!!!!!! A massive explosion-", "HB.\n Liz is near panic.\n\n LIZ\n Abe, stop studying! Pull the friggin'\n thing out, why don't you?", "LIZ\n (after a big pause)\n You know, Jay, we are- together. We are.\n Rumble of consternation from the audience." ], [ "Hellboy stomps down hard, popping some creatures, bashing\n others with the butt of his shotgun. As flames leap up, the\n things regroup and renew their attack.\n Liz and Abe run for the stairs.", "ABE\n (seeing this)\n H.B., no! Stop - you mustn't harm him!\n As the Prince totters, Hellboy turns to look at Abe,\n momentarily distracted- Then-", "HELLBOY\n Abe! No, get back!!\n Abe regains his balance and tries again, his eyes glued to\n the desperate features of the beautiful young woman. Hellboy\n manages to restrain him.", "HELLBOY (CONT'D)\n Vulcan 66, boys! Come and get 'em-\n Liz and Abe take cover on the stairs. They see Hellboy", "HELLBOY\n Don't worry, Sparky- It's all going to be\n\n ALRIGHT-\n Abe stands nearby, in silence. Liz looks at him, teary-eyed.", "ABE\n Ah, hello Red. You're up late.\n\n HELLBOY\n Liz and I- we had a fight-\n\n ABE", "collapses.\n The Prince reclaims the Princess and turns to the humans.\n His eyes seek out Abe, who has rushed to Hellboy's side.", "HELLBOY\n This is more like it!\n\n LIZ\n I'm not driving that-\n Abe has opened the hood on his Hummer.", "Surrounded by racks of weapons, Abe, Hellboy and Liz suit\n up.\n Tight-lipped and grumpy, Liz dons black army pants and a", "HELLBOY (CONT'D)\n Whoa. Just like the story books.\n Manning and Liz take a few steps into it: a SQUIRREL-BEING", "HELLBOY\n What-?? What-??\n\n ABE\n\n (DAZZLED)\n He has a nice voice.\n All business now, Johann steps over to the group.", "Johann, Liz and Hellboy follow a rugged trail along a bluff\n high over the sea. Johann refers to the map, then points to\n the cave opening a half-mile ahead. Abe is standing there,", "JOHANN\n Abe and I have found the entrance to the\n Golden Army's resting place- Liz come\n with us-\n (looks at Hellboy)\n You should stay behind and get some rest-", "HELLBOY (CONT'D)\n I think I'll keep this.\n He finally meets Liz's gaze. She crosses to him and takes", "JOHANN\n They head towards the garbage truck. Manning, Abe and\n are waiting there.\n\n LIZ\n I think you feel threatened...\n Hellboy stays behind- thinking- thinking real hard.", "As Hellboy and the team arrive, Abe sees the Princess, her\n arms tied. Her brother holds her by the hair.", "HELLBOY\n Abe old buddy. If we survive this, we\n need to talk.\n The Army swings into action, marching toward them. The four\n friends retreat, soon pressed against one of the walls.", "109 INT. LIBRARY - CONTINUOUS 109\n\n Hellboy enters the library and goes over to the tank. Abe is\n there, listening to Vivaldi.", "HELLBOY\n What's at the bridge? Abe - ? Liz?\n Hello???", "JOHANN\n (long beat)\n You think I'm after Liz, don't you?\n (Hellboy walks out)\n Well, I'm not." ], [ "Then, he, too, is dead. Both him and his sister turn to\n fine, pale dust. And the wind carries away the ashes from\n Abe's hands...", "PRINCESS\n \"I am afraid that cord of communion will\n be snapt; and then I've a nervous notion\n I should take to bleeding inwardly.\"\n She closes the book, looking troubled.", "JOHANN\n - of warriors. The Children of the Earth.\n (to the Princess)\n I'm sorry, Princess Nuala. With such a", "PRINCESS\n We'll find each other again, somewhere.\n And she dies in his arms.\n In the center of the arena:", "PRINCESS (CONT'D)\n (bows her head)\n My name is Princess Nuala.\n\n ABE\n (bows his head)\n Your highness, the honor is all mine.", "NO-\n Abe hurries to the Princess. Takes her into his arms,\n blinking in despair.", "The Elemental goes down, impaling himself on a spire atop\n the bridge... exactly where the Prince had been standing.\n Putting an end, it seems, to both of them.", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "through his abdomen and protrudes on the other side. Hellboy\n pulls it out, but it's too late. Both the Prince and the\n Princess collapse to the ground, mortally wounded.", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "PRINCESS\n We are twins. Even now, I can sense his\n presence. This has been our way since we\n were young children, in Renvyle-", "- the\n It thrashes pathetically until, suddenly, it's over\n beast is dead.", "dangles from a chain.\n Nuala's resemblance to the Prince is uncanny, down to the\n fine scars marring their perfect faces. They're YING and", "JOHANN\n Loss- the very threat of it makes us\n vulnerable... makes us care- You can see\n that, don't you?? Without her I became\n but an empty shell...\n Liz leans her head on his shoulder.", "Instantly, the Prince drops his arm... his hands come away\n red with blood. He looks over at his sister.\n They share a hard look of mutual understanding. Love and\n hatred.", "forward and...\n Using her concealed DAGGER, she STABS HERSELF in the right\n arm!! In silent slow motion, she drops the dagger.", "LIZ\n (witness to a nightmare)\n No!! NO! !\n A sudden movement at the ledge, where the Princess steps", "away. She has cast off her dingy cloak and is radiant in\n fine silk robes.\n She is feeding slices of fruit to a cage of large,", "The pale young creature is now a ghostly white. She lifts\n her eyes to Abe's, caressing his thin, scaly face.", "JOHANN\n But I've never been able to see her\n again. My reach became limited- My loss,\n infinite...\n Liz puts her hand on his shoulder. Johann takes it..." ], [ "WINK.\n Liz runs over with a prism from the SCHUFFTEIN GOGGLES and\n sticks it in front of the camera lens, revealing the truth.\n The reporter checks his monitor.\n\n REPORTER", "ABE\n Alright, but-\n\n LIZ\n Damn it Abe, just tell us!\n\n ABE\n Okay, then- They're- um- tooth fairies.", "LIZ\n (witness to a nightmare)\n No!! NO! !\n A sudden movement at the ledge, where the Princess steps", "LIZ\n She eats them.\n\n MANNING\n \"She??\" That's a \"she\"?????", "LIZ\n I see. Red was right about you. Welcome\n to the team, Johann. And goodbye.\n She leaves the room.\n\n CUT TO:", "LIZ\n (to Johann)\n This was a mistake. He's -\n\n JOHANN\n Mein Gott--\n The stairs lead to-", "LIZ\n Our baby, that's who!", "LIZ\n Yes, I say yes-!\n Abe and Johann exchange a silent, worried look.", "LIZ\n (after a big pause)\n You know, Jay, we are- together. We are.\n Rumble of consternation from the audience.", "LIZ\n Abe, c'mon- cut the crap.\n She checks her boots, sticky with poo-", "LIZ\n Any luck?\n Liz has come in behind him. Abe quickly palms the precious\n thing in his webbed hand.\n\n ABE\n No. Sorry.", "(PAUSE)\n That's a joke, Liz.\n Liz remains silent.", "LIZ\n You're wasting time!\n Abe inserts and twists the cylinder.\n The tree comes to life, hauling its roots out of the ground,\n bending them into a swaying arch.", "LIZ\n\n (YELLING)\n No, Red- Not there! Move away from the-\n K-B00000MMMMMM`IN!!!!!!!!! A massive explosion-", "LIZ\n No one here. No survivors. No bodies.\n\n NOTHING-", "LIZ\n What about Red?? Don't you care about\n him???\n A moment of silence. Nobody knows what to say. Finally:", "LIZ\n Back- Go back- right now!!!\n\n MANNING\n What? What? What is he doing-?\n\n LIZ\n He's knocking on wood- summoning an", "LIZ\n Yes, Red- absolutely. 'Cause you did it\n without thinking- You just wanted to be\n in the public's eye- well- you're there-\n but so are we.", "LIZ\n As a matter of fact, Jay-\n Before she can finish, the production assistant runs out and\n hands a NOTE to Leno, who scans it and grows serious:", "bleeding, but alive. Abe, Liz and Johann embrace firmly,\n laughing and happy to be together.\n Abe eyes the Princess standing nearby, smiling back at\n him..." ], [ "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "down a tunnel. A CROWD gathers behind her, chasing her as\n she zig-zags from tunnel to tunnel.\n With perfect calm, she ducks into a niche, then slides down", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "BELLBOY 2 84\n She hides the gold segment within the pages of \"Jane Eyre.\"\n At that moment, the Yrdrig GROWLS -", "He brings out the gold artifact from the auction. Holds it\n high.\n The crowds GASPS. The King instinctively covers the", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "stall; her cowl swings aside, briefly revealing her face.\n It's the PRINCESS. In these grotesque surroundings, her\n beauty is transcendent.", "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "leers at the Princess. From her waistband, she produces a\n long, thin DAGGER and wields it timidly.\n Somewhere in the building, ALARMS start clanging.", "away. She has cast off her dingy cloak and is radiant in\n fine silk robes.\n She is feeding slices of fruit to a cage of large,", "PRINCESS\n The location of the Golden Army is\n contained within this cylinder--\n She opens it and produces a parchment hidden inside. She\n extends it: the map just shows three coordinates.", "Two STEWARDS wheel in an oaken box and open it. Nestled in\n maroon velvet is an eight-inch, ornately decorated arc of\n gold.", "PRINCESS (CONT'D)\n (bows her head)\n My name is Princess Nuala.\n\n ABE\n (bows his head)\n Your highness, the honor is all mine.", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "(BEAT )\n What would you do if it was Liz??\n CLICK! The Prince fits the gold parts together and places\n the resulting crown on his head!", "AS\n From his tunic, he brings forth two of the gold segments.\n he fits them together...\n\n PRINCE\n You have the remaining piece, I presume.", "The Princess rushes to a small cabinet. She grabs an\n ancient, leather-bound tome.\n She turns to leave, but a horde of TROLLS rushes and quickly", "The Princess has entered a shop selling MAPS and PRINTS. Abe\n stays outside, watching through a window as she negotiates\n to purchase a silver and crystal CYLINDER contained in a" ], [ "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "PRINCE\n I am Prince Nuada and I command my army\n to life once more. Does anyone dispute my\n right?", "Prince Nuada looks around, locking eyes with the heads of\n the clans.", "HELLBOY\n (a bellow)\n Prince Nuada: I challenge your right to\n command this army!", "KING\n I am King Balor, leader of the Golden\n Army. Is there anyone here who disputes\n my right???", "CHAMBERLAIN\n Prince Nuada- He awaits you- Please,\n follow me, Sire.\n\n 38 INT. TUNNEL - NIGHT 38", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "Listening to his father, Prince Nuada reacts with anguish.", "ABE\n (follows HB)\n No= please- no-\n Hellboy moves away from him.\n\n HELLBOY\n A challenge must be answered! Raise your\n sword!", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "exile, vowing to return if the Sons of\n the Earth ever needed him.\n Prince Nuada walks away towards a dying sunset.", "He fights bravely and after parrying fiercely with the\n Prince, he disarms him and points his sword at his chest.", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "HELLBOY\n No. Why don't you just start with me?\n Hellboy strolls up to the Prince.\n\n PRINCE\n You challenge-me?", "WINK and HB duke it out for a few beats and then HB finally\n vanquishes the Troll, Ripping his Iron Mace off and throwing\n it away.", "He brings out the gold artifact from the auction. Holds it\n high.\n The crowds GASPS. The King instinctively covers the", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "surrounds her. One of the beasts swings a heavy, rusty\n sword.\n It opens a gash in the princess' left arm-" ], [ "ANGEL OF DEATH\n Harmless now.\n (looking at Hellboy)\n See - ?\n Hellboy's eyes flutter open.", "ANGEL OF DEATH\n Ach, outside with you!\n She tosses the speartip to the creature, who scoops it up", "ANGEL OF DEATH\n Very well, then- but let it be said: The\n day will come when you will pay the price\n fire girl: This will bring you and the\n world much sorrow.", "ANGEL OF DEATH\n So. This one... The boy- I remember him\n well! Anung-un-Rama!\n\n LIZ\n Oh, my God. She knows - ?!", "GOBLIN\n Ah. I see. We must go to the Angel of\n\n DEATH-\n\n CROW\n He'll know what to do.", "ANGEL OF DEATH (CONT'D)\n I warn you: it is his destiny to rule\n over the destruction of the Earth. Not\n now, not tomorrow - but some day. You are\n sure you want him to live?", "In a deep coma, Hellboy lies on the floor, near the\n crackling fireplace. The ANGEL OF DEATH extends its FOUR", "Then, he, too, is dead. Both him and his sister turn to\n fine, pale dust. And the wind carries away the ashes from\n Abe's hands...", "ANGEL OF DEATH\n (to Hellboy)\n Sleep now, child. Your strength, it will\n return.", "Outside ANGEL OF DEATH's hut, a bandaged HB is sitting up,\n blinking in the sunlight. He sips some tea and gazes at Liz,\n who is happy now.", "In the background, Manning arrives, wide-eyed. Just in time\n to see the Prince hand off his captive to one of the trolls.", "ANGEL OF DEATH\n I helped bring him into this world - in\n my fashion.", "through his abdomen and protrudes on the other side. Hellboy\n pulls it out, but it's too late. Both the Prince and the\n Princess collapse to the ground, mortally wounded.", "Her eyes lock with Abe's: there's no other way.\n The Prince sees Hellboy coming and with a bitter smile picks\n up his sword.", "(GRIM)\n I agree. Death it is-\n And the guards turn toward the king and stab him. The", "PRINCE\n Hear me all!!! There are some amongst you\n that have already seen the light-\n (he nears the guards)", "dismay as it trembles. His muscles can no longer respond.\n The Prince is ready to kill him.", "Johann pulls out one of the dead, singed Fairies. Hellboy\n and the others gather around him.", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "As Hellboy and the team arrive, Abe sees the Princess, her\n arms tied. Her brother holds her by the hair." ], [ "PRINCE\n I am Prince Nuada and I command my army\n to life once more. Does anyone dispute my\n right?", "Prince Nuada looks around, locking eyes with the heads of\n the clans.", "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "Listening to his father, Prince Nuada reacts with anguish.", "exile, vowing to return if the Sons of\n the Earth ever needed him.\n Prince Nuada walks away towards a dying sunset.", "HELLBOY\n (a bellow)\n Prince Nuada: I challenge your right to\n command this army!", "CHAMBERLAIN\n Prince Nuada- He awaits you- Please,\n follow me, Sire.\n\n 38 INT. TUNNEL - NIGHT 38", "KING\n I am King Balor, leader of the Golden\n Army. Is there anyone here who disputes\n my right???", "KING\n No- You have broken a truce that has\n lasted for centuries.", "JOHANN\n - of warriors. The Children of the Earth.\n (to the Princess)\n I'm sorry, Princess Nuala. With such a", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "PRINCESS\n In ancient times a seal like this was\n delivered to the enemy as a declaration\n of war. A signal from the underground", "As the humans make ready for battle, a tremor shakes the\n earth. They turn their gaze to the horizon, which bristles\n with the arms of the approaching troops.", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "realm to the entire world. It prefaced\n the awakening of the Golden Army-\n Johann sits down heavily.", "WINK and HB duke it out for a few beats and then HB finally\n vanquishes the Troll, Ripping his Iron Mace off and throwing\n it away.", "ABE\n (follows HB)\n No= please- no-\n Hellboy moves away from him.\n\n HELLBOY\n A challenge must be answered! Raise your\n sword!", "KING\n And what would your solution be-? War?\n Why?\n\n (PAUSE)\n It may just be that our days are ended..." ], [ "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "AS\n From his tunic, he brings forth two of the gold segments.\n he fits them together...\n\n PRINCE\n You have the remaining piece, I presume.", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "His gaze is fierce, inspired. He joins the pieces together,\n they fuse and interconnect through the magical equivalent of\n NANOTECHNOLOGY. Minute gears and hooks join the pieces", "another massive division of the army tumbles into junk!\n HB is about the tear up the last segment of the crown, when\n it explodes in his hands!", "segement...\n . an entire division of the golden army collapses into a\n heap of scrap metal!\n Hellboy does the same with a second section of the crown and", "(BEAT )\n What would you do if it was Liz??\n CLICK! The Prince fits the gold parts together and places\n the resulting crown on his head!", "He brings out the gold artifact from the auction. Holds it\n high.\n The crowds GASPS. The King instinctively covers the", "seamlessly into an almost complete CROWN. The Prince raises", "Two STEWARDS wheel in an oaken box and open it. Nestled in\n maroon velvet is an eight-inch, ornately decorated arc of\n gold.", "realm to the entire world. It prefaced\n the awakening of the Golden Army-\n Johann sits down heavily.", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "surrounds her. One of the beasts swings a heavy, rusty\n sword.\n It opens a gash in the princess' left arm-", "away. She has cast off her dingy cloak and is radiant in\n fine silk robes.\n She is feeding slices of fruit to a cage of large,", "pieces on the floor. He comes up with his copy of \"Jane\n Eyre.\"\n He opens it to Chapter 23 and finds the gold piece.", "Royal Crown of Bethmoora... A precious\n artifact dating from the Atrebatean\n period. Exquisite workmanship in 24 carat\n gold." ], [ "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "(BEAT )\n What would you do if it was Liz??\n CLICK! The Prince fits the gold parts together and places\n the resulting crown on his head!", "LIZ\n (witness to a nightmare)\n No!! NO! !\n A sudden movement at the ledge, where the Princess steps", "LIZ\n It doesn't matter.\n\n ABE\n No -?\n\n LIZ\n No. Forget the gold piece. Let's us just\n find this royal asshole.", "LIZ\n Go after that son-of-a-bitch and get him\n to reverse the spell!!\n\n JOHANN\n He'll demand the gold piece-", "The Prince sneers and gives the spear a savage yank,\n breaking off the blade! Hellboy's eyes roll upward; Liz\n SCREAMS. She and Johann manage to catch Hellboy as he", "Liz appears, shimmering in a halo of blue flame.\n HB's pulls a few LP albums out of the garbage bin.", "Liz screams and Hellboy pulls her aside. The soldiers crash\n past them until -\n - the din suddenly stops. The PRINCE stands revealed at the\n head of the column.", "LIZ\n Abe, let's do this for Red!\n Abe nods, unable to find a good answer. He manages to tuck\n the gold piece into his belt.\n\n CUT TO:", "LIZ\n Abe, c'mon- cut the crap.\n She checks her boots, sticky with poo-", "ABE\n Liz, I'm sorry. It's a magical alloy.\n Every time I touch it, it moves closer to\n his heart.", "LIZ\n Any luck?\n Liz has come in behind him. Abe quickly palms the precious\n thing in his webbed hand.\n\n ABE\n No. Sorry.", "LIZ\n Let me -\n Liz summons up a white-hot burst of electrical fire in each", "132 INT. PRINCESS' ROOM - MOMENTS LATER 132\n\n Liz rummages in the Princess' quarters, throwing bedding\n around, opening drawers.", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "LIZ\n She eats them.\n\n MANNING\n \"She??\" That's a \"she\"?????", "LIZ\n You're wasting time!\n Abe inserts and twists the cylinder.\n The tree comes to life, hauling its roots out of the ground,\n bending them into a swaying arch.", "LIZ\n Yes, I say yes-!\n Abe and Johann exchange a silent, worried look.", "Princess screams. The Prince looks away as the old monarch\n tumbles from his throne, dead. The heads of the clans try to\n flee, but are kept at bay by the other guards.", "LIZ\n I see. Red was right about you. Welcome\n to the team, Johann. And goodbye.\n She leaves the room.\n\n CUT TO:" ], [ "HELLBOY\n Something else bothering you-?\n Liz nods quietly.\n\n HELLBOY\n So- Tell me about it-", "HELLBOY\n You still seem sad. Is there anything you\n want to tell me-??\n\n LIZ\n Yes, there is-", "HELLBOY (CONT'D)\n I think I'll keep this.\n He finally meets Liz's gaze. She crosses to him and takes", "HELLBOY\n Do it, Liz, do it!!!\n And Liz obeys. Closing her eyes she-\n\n LIZ", "LIZ\n Don't you touch it - !\n She rushes to Hellboy's side, pushing the Goblin back, ready\n for a fight. The Goblin shrugs.", "JOHANN\n (long beat)\n You think I'm after Liz, don't you?\n (Hellboy walks out)\n Well, I'm not.", "HELLBOY\n Well, yeah. Each one tells a story-\n His grin fades as he sees Johann talking to Liz. He abruptly\n gets up and goes to them.", "LIZ\n How do you know these things?\n\n HELLBOY\n I read it in TV Guide.\n\n LIZ\n You're really liking this, aren't you?", "LIZ\n I almost lost you-\n Hellboy smiles and grabs her hand-\n\n HELLBOY\n I thought you were mad at me.", "HELLBOY (CONT'D)\n Whoa. Just like the story books.\n Manning and Liz take a few steps into it: a SQUIRREL-BEING", "HELLBOY\n Ha! Me? Threatened??\n Glaring, at Liz:\n\n HELLBOY\n By whom? By him??", "LIZ\n No. That's not the problem either-\n\n HELLBOY\n\n (WHISPERS)\n Then, what--?", "HELLBOY (CONT'D)\n Liz- UM-?\n\n LIZ\n (on the intercom)\n Yes?", "Liz screams and Hellboy pulls her aside. The soldiers crash\n past them until -\n - the din suddenly stops. The PRINCE stands revealed at the\n head of the column.", "Liz sprawls on a sofa, watching the 20-odd TV monitors in\n Hellboy's room. All the news channels feature footage of", "As the ogres slink back into the tunnels, Liz looks at\n Hellboy. He seems angry, stung by the Prince's last words.", "HELLBOY (CONT'D)\n Liz!! Where are you - ?!\n He sees a horde of little beasts gnawing at the metal bars", "LIZ\n Not just him- this whole thing you did.\n The TV- the reporters-\n\n HELLBOY\n I did that?", "LIZ\n No. Not yet.\n CAMERA discovers HELLBOY, watching them from behind a glass\n door, a six-pack in his hand. He steps away.", "Hellboy leans weakly against the doorway to his room. His\n cats purr all around him, oblivious to his pain. He sits by\n the bed. Liz enters the room. He smiles weakly at her-" ], [ "realm to the entire world. It prefaced\n the awakening of the Golden Army-\n Johann sits down heavily.", "JOHANN\n Golden Army. The unstoppable tide. There\n has been nothing to substantiate such a\n\n TALE-", "KING\n I am King Balor, leader of the Golden\n Army. Is there anyone here who disputes\n my right???", "Lit by the fires of a hundred furnaces, stoked by scores of\n goblins, a MECHANICAL ARMY is born. Metal plates and moving", "PRINCESS\n The location of the Golden Army is\n contained within this cylinder--\n She opens it and produces a parchment hidden inside. She\n extends it: the map just shows three coordinates.", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "81\n\n 81 INT. STORAGE CHAMBER - NIGHT\n\n The goblins lock the golden army into a huge cavern, under\n the light of ten thousand flickering torches.", "In perfect ranks, in eerie unison, the golden soldiers line\n up, filling the entire courtyard, awaiting the King's\n command.", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "-a vast underground arena where a thousand torches are\n flickering.\n CAMERA PULLS BACK to reveal rank upon rank of GOLDEN\n SOLDIERS. Immobile. Silent. Waiting.", "PRINCE\n I am Prince Nuada and I command my army\n to life once more. Does anyone dispute my\n right?", "PRINCESS (V.0.)\n It was then that the King ordered the\n Sigri to build him a new, invincible\n army.", "segement...\n . an entire division of the golden army collapses into a\n heap of scrap metal!\n Hellboy does the same with a second section of the crown and", "PRINCESS (V.0.)\n And the golden army was ordered to lie\n dormant, locked inside the earth itself -\n and there it is to this day, waiting for\n the wearer of the crown to command it\n again.", "drive the Prince back into the center of the arena, where\n they fight under the inscrutable gaze of the golden army.\n Every time Hellboy gets a clean shot at the Prince, Abe", "HELLBOY 2: THE GOLDEN ARMY\n\n\n\n Written by\n\n Guillermo del Toro", "parts are hammered into shape on enormous anvils and bolted\n onto tall, ornate, golden figures.", "With the deep sound of gears, ratchets and springs, the army\n comes to life. Up comes the lances and shields.", "CUT TO:\n\n 32 CREDITS 32\n Behind the CREDITS are caballistic engravings suggesting the\n power, size and weapons of a mystic, mechanical GOLDEN ARMY.", "died for that crown. Bring it to me.\n He and his trolls escape into the night." ], [ "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "The CHIEF GOBLIN BLACKSMITH displays three curved segments\n of gold. He fits them together and holds a completed CROWN\n directly over the King's head.", "Shaken, Hellboy lifts the crown from the Prince's head.\n Looks at it carefully, as if considering the possibilities.\n Suddenly, he rips it into pieces. As he crushes the first", "PRINCE\n I am Prince Nuada and I command my army\n to life once more. Does anyone dispute my\n right?", "died for that crown. Bring it to me.\n He and his trolls escape into the night.", "AS\n From his tunic, he brings forth two of the gold segments.\n he fits them together...\n\n PRINCE\n You have the remaining piece, I presume.", "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "He brings out the gold artifact from the auction. Holds it\n high.\n The crowds GASPS. The King instinctively covers the", "Listening to his father, Prince Nuada reacts with anguish.", "PRINCESS\n My father had it destroyed. Cut into\n three pieces. One for mankind...\n She holds up her piece of the puzzle, which dangles from a\n chain around her neck.", "Prince Nuada looks around, locking eyes with the heads of\n the clans.", "CHAMBERLAIN\n Prince Nuada- He awaits you- Please,\n follow me, Sire.\n\n 38 INT. TUNNEL - NIGHT 38", "Hellboy. After all, the Prince lacks the\n gold crown. Without it, his army poses no\n threat. None at all.\n Abe is very quiet.", "exile, vowing to return if the Sons of\n the Earth ever needed him.\n Prince Nuada walks away towards a dying sunset.", "Royal Crown of Bethmoora... A precious\n artifact dating from the Atrebatean\n period. Exquisite workmanship in 24 carat\n gold.", "Two STEWARDS wheel in an oaken box and open it. Nestled in\n maroon velvet is an eight-inch, ornately decorated arc of\n gold.", "segement...\n . an entire division of the golden army collapses into a\n heap of scrap metal!\n Hellboy does the same with a second section of the crown and", "JOHANN\n Oh, my God. What has he done?\n Keeping his eyes on the Princess, Abe gives the gold piece\n to the Prince.\n Hellboy steps forward, feeling dizzy and betrayed.", "KING\n I am King Balor, leader of the Golden\n Army. Is there anyone here who disputes\n my right???", "His gaze is fierce, inspired. He joins the pieces together,\n they fuse and interconnect through the magical equivalent of\n NANOTECHNOLOGY. Minute gears and hooks join the pieces" ], [ "and, behind him, the willowy, beautiful PRINCESS NUALA, the\n Prince's sister.\n Both on the King's chest and her own, a large golden piece", "Listening to his father, Prince Nuada reacts with anguish.", "Instantly, the Prince drops his arm... his hands come away\n red with blood. He looks over at his sister.\n They share a hard look of mutual understanding. Love and\n hatred.", "Silence. Prince NUADA kneels next to his father. The Goblin\n crowns the King, who lifts his sword. In response-", "Prince Nuada looks around, locking eyes with the heads of\n the clans.", "(BEAT)\n And now, my sister-\n The Prince looks around and sees that his sister is gone.\n He pushes through the mob, pulling his guards to the door.", "CHAMBERLAIN\n Prince Nuada- He awaits you- Please,\n follow me, Sire.\n\n 38 INT. TUNNEL - NIGHT 38", "(NODS)\n A magical place in the West. A different\n time. Long gone. Now, he's near and he's\n looking for me. I can feel and even\n understand his. hatred for mankind.", "PRINCESS\n We are twins. Even now, I can sense his\n presence. This has been our way since we\n were young children, in Renvyle-", "PRINCE\n (to Hellboy)\n I will find you, young daemon -\n (to Nuala)\n - and you, too, my sister. Meanwhile,\n here's a taste of what lies in store.", "surrounds her. One of the beasts swings a heavy, rusty\n sword.\n It opens a gash in the princess' left arm-", "As Hellboy and the team arrive, Abe sees the Princess, her\n arms tied. Her brother holds her by the hair.", "PRINCE\n I am Prince Nuada and I command my army\n to life once more. Does anyone dispute my\n right?", "Then, he, too, is dead. Both him and his sister turn to\n fine, pale dust. And the wind carries away the ashes from\n Abe's hands...", "exile, vowing to return if the Sons of\n the Earth ever needed him.\n Prince Nuada walks away towards a dying sunset.", "Abe stands at a lectern. Behind him, a projected image of\n the Princess' map from the troll market. His finger traces\n the strange, elvish text.", "PRINCE\n Hold!\n The Prince appears at the top of the stairs, dressed in\n black. He's surrounded by his elite guard. Stepping to the\n rail, he points at his sister and addresses the crowd:", "dangles from a chain.\n Nuala's resemblance to the Prince is uncanny, down to the\n fine scars marring their perfect faces. They're YING and", "ABE\n Princess!\n Without thinking, he darts forward. Instantly, one of the\n trolls swipes at him, its claws just missing his chest-", "Liz senses movement in the darkness. She holds out her hand\n and starts a small fire on her palm.\n She pans it like a torch, firelight sweeping the darkness-" ] ]

[ "How did Nuada kill everyone at the site?", "Who escapes with the final piece of the crown?", "How are Nuala and Nuada related?", "Why does Prince Nuada kill his father? ", "Where is the troll market located? ", "What was Hellboy's reason to live? ", "How did Nuada find his sister? ", "Why did Liz melt the crown? ", "Why did Princess Nuala commit suicide? ", "What caused the war between humans and magical creatures?", "Where is the troll market?", "What artifact controls the Golden Army?", "What ultimately happens to the crown?", "Where does Nuada get the first piece of the crown?", "Who hides the final piece of the crown?", "The crown was split into how many pieces?", "What reason did Liz give Hellboy to live?", "Who encouraged Balor to build the Golden Army?", "Where does Naula hide the final piece of the crown?", "What holiday is celebrated at the beginning of the story?", "What is the Golden Army?", "What does the truce involve?", "Who wants to bring all three pieces of the crown together?", "Where is the first piece of the crown found?", "Why is Johann Strauss brought in by the B.P.R.D.?", "Why does Liz want to keep her pregnancy secret?", "Who is awaiting Hellboy, Liz and Abe's arrival?", "Why does Nuala commit suicide?", "What's the twist Liz reveals at the end?", "Where does Nuala hide the final crown piece?", "Who challenges Nuada for the crown?", "Who is brought before the Angel of Death?", "What does Nuada declare war on?", "How many pieces was the magical crown broken into?", "What happens when Liz melts the crown?", "What does Liz reveal to Hellboy?", "Who ordered the building of the Golden Army?", "Where did Nuada get the first crown piece from?", "How does Nuada track his sister?" ]

[ [ "By unleashing tooth fairies", "he had tooth fairies attack and kill them" ], [ "Princess Nuala ", "Princess Nuala" ], [ "They are twins", "brother and sister" ], [ "Because his father does not want to war with the humans", "because Balor made a truce with the humans" ], [ "Right under the Brooklyn Bridge", "under the Brooklyn Bridge" ], [ "He was going to be a father", "He finds out he is going to be a father" ], [ "He read her thoughts", "there is a magical bond between them" ], [ "To deactivate the army", "To deactivate the Golden Army" ], [ "So that her brother would die too", "to stop her brother" ], [ "humans' greed", "human greed" ], [ "Under the Brooklynn Bridge", "under the Brooklyn Bridge" ], [ "a crown", "a magical crown" ], [ "Liz melts it", "Liz melts it" ], [ "from an auction", "from an auction" ], [ "Nuada's sister, Naula", "Princess Nuala" ], [ "3", "Three" ], [ "he would be a father", "She is pregnant" ], [ "Nuada", "His son Nuada" ], [ "in a book", "In one of Abe's books." ], [ "Christmas", "Christmas" ], [ "An indestructible mechanical army", "An indestructible mechanical army" ], [ "Humans sticking to the cities and the magical creatures staying the forests", "Man will keep the cities and the magical creatures will keep the forests." ], [ "Prince Nuada", "Nuada" ], [ "At an auction", "At an auction" ], [ "Because Hellboy exposed his true nature in public", "They are mad at Hellboy" ], [ "She doesn't know if she wants to keep the baby or not", "She doesn't know if she wants to keep the child." ], [ "The Angel of Death", "Angle of death" ], [ "Nuala and Nuada are bound together so she kills herself to kill him", "To stop her brother from stabbing Hellboy" ], [ "That she's pregnant with twins.", "that she is pregnant with twins" ], [ "In an Abe book.", "In one of Abe's books" ], [ "Hellboy.", "Hellboy" ], [ "Liz, Abe, Krauss and Hellboy.", "Hellboy" ], [ "Humanity.", "Humanity" ], [ "Three pieces.", "Three" ], [ "She deactivates the Golden Army.", "The Golden Army is deactivated" ], [ "That he will be a father.", "That she is having twins" ], [ "Balor.", "King Balor" ], [ "An auction.", "An auction" ], [ "Through the use of their magical bond.", "Through their magical bond" ] ]

[ [ "LARCH (V.O.)\n His name was Homer Wells.\n\n Dr. Larch hands over the infant to the adopting parents.", "orphan? I had been too successful \n with Homer Wells. I had managed to \n make the orphanage his *home*.", "INT. BOYS' DIVISION - NIGHT\n\n Angela speaks to the boys.\n\n ANGELA\n Let us be happy for Homer Wells...", "Camera closes on Homer's face; he keeps picking.\n\n LARCH (O.S.)\n His name is Homer Wells...", "LARCH (V.O.)\n Thus was Homer Wells returned. He \n was too happy a baby.\n\n EXT. ORPHANAGE - DAY", "ANGELA (O.S.)\n Homer Wells has found a family. Good \n night, Homer!", "ALL THE BOYS (O.S.)\n Good night, Homer! Good night, Homer! \n Good night, Homer Wells!\n\n INT. WALLY'S CAR - NIGHT", "LARCH\n I made his name \"Wells\" because I \n could tell he was very deep.\n\n The parents look with pride at their adopted son.", "ANGELA\n I think he worried about his own \n heart. He said it would never stand \n up to Homer Wells going off to war.", "We enter an office where DR. LARCH shows couple #1 their \n newly adopted son, HOMER, an infant who lies smiling in Dr. \n Larch's arms.", "LARCH (V.O.)\n God forgive me. I have *made* an \n orphan by loving him too much. Homer \n Wells will belong to St. Cloud's, \n forever.", "Wally is taking his uniform off as he speaks, just dropping \n it on the floor as he quickly puts on some farm clothes.\n\n OLIVE\n How do you do, Homer Wells...", "HOMER\n I didn't say that. Growing up in an \n orphanage, you're always lonely. \n You're just never alone.", "HOMER\n It was my favorite night at the \n orphanage--movie night. We'd race", "Homer looks around at the pickers lying in their beds, \n smoking, listening. (Like bedtime stories at the orphanage, \n he thinks; however, the picker's attitude is suspicious, \n reserved.)", "Homer walks faster. When he gets to the cider house, he sees \n Mr. Rose and Rose Rose arguing. Rose is sitting on the \n bicycle, a bundle of her clothes tied up behind the seat.", "\"Homer\" was one of her family's \n umpteen cats.", "Homer looks out the window at Wally again. His decision forms.\n\n EXT. ORPHANAGE DRIVEWAY - DAY", "HOMER\n Henceforth you shall be... Little \n Wilbur.\n\n LARCH\n I'm not crazy about the \"Little...\"", "Angela and Edna call and wave good-bye to a two-year-old \n Homer, leaving with COUPLE #2. Larch stands on the porch and \n watches the family head down the hill." ], [ "LARCH (V.O.)\n His name was Homer Wells.\n\n Dr. Larch hands over the infant to the adopting parents.", "orphan? I had been too successful \n with Homer Wells. I had managed to \n make the orphanage his *home*.", "ANGELA\n I think he worried about his own \n heart. He said it would never stand \n up to Homer Wells going off to war.", "INT. BOYS' DIVISION - NIGHT\n\n Angela speaks to the boys.\n\n ANGELA\n Let us be happy for Homer Wells...", "ANGELA (O.S.)\n Homer Wells has found a family. Good \n night, Homer!", "Angela and Edna call and wave good-bye to a two-year-old \n Homer, leaving with COUPLE #2. Larch stands on the porch and \n watches the family head down the hill.", "Camera closes on Homer's face; he keeps picking.\n\n LARCH (O.S.)\n His name is Homer Wells...", "LARCH (V.O.)\n Thus was Homer Wells returned. He \n was too happy a baby.\n\n EXT. ORPHANAGE - DAY", "We enter an office where DR. LARCH shows couple #1 their \n newly adopted son, HOMER, an infant who lies smiling in Dr. \n Larch's arms.", "HOMER\n Get out of here, please.\n\n Muddy herds Peaches and Hero out of the bunkhouse.", "toward him. Mary Agnes also sees Homer; she immediately turns \n away and runs inside. Music FADES OUT Over.", "HOMER\n Whoever they were, they didn't *do* \n any of the things parents are supposed", "ADOPTING MOTHER\n There's something wrong with him! He \n never makes a sound.\n\n Larch looks quickly at Homer.", "Wally is taking his uniform off as he speaks, just dropping \n it on the floor as he quickly puts on some farm clothes.\n\n OLIVE\n How do you do, Homer Wells...", "LARCH\n I made his name \"Wells\" because I \n could tell he was very deep.\n\n The parents look with pride at their adopted son.", "ALL THE BOYS (O.S.)\n Good night, Homer! Good night, Homer! \n Good night, Homer Wells!\n\n INT. WALLY'S CAR - NIGHT", "Homer walks faster. When he gets to the cider house, he sees \n Mr. Rose and Rose Rose arguing. Rose is sitting on the \n bicycle, a bundle of her clothes tied up behind the seat.", "The mother hands over the baby to Larch. Baby Homer lets out \n a happy squeal as soon as he's in Larch's arms. The parents \n stare in disbelief.", "Homer and the stepsister are in bed together. The parents \n burst in on them--the father chasing Homer around and around \n the bed, the mother beating her daughter, who covers herself \n with a pillow.", "LARCH (V.O.)\n God forgive me. I have *made* an \n orphan by loving him too much. Homer \n Wells will belong to St. Cloud's, \n forever." ], [ "Larch bursts into the home of the second couple and lifts a \n crying and bruised Homer out of his bed. There is rage in \n Larch's eyes as he looks at the couple.", "Homer and the stepsister are in bed together. The parents \n burst in on them--the father chasing Homer around and around \n the bed, the mother beating her daughter, who covers herself \n with a pillow.", "We enter an office where DR. LARCH shows couple #1 their \n newly adopted son, HOMER, an infant who lies smiling in Dr. \n Larch's arms.", "LARCH (V.O.)\n The second family has an unfortunate \n gift for getting sounds out of Homer.\n\n INT. COUPLE #2'S HOME - DAY", "ADOPTING MOTHER\n There's something wrong with him! He \n never makes a sound.\n\n Larch looks quickly at Homer.", "HOMER\n Whoever they were, they didn't *do* \n any of the things parents are supposed", "She holds Homer's head against her belly; she presses his \n face into her. She shuts her eyes. Homer's eyes stare widely. \n Dr. Larch stops in the doorway; he watches with concern.", "The door opens to a THIRD COUPLE smiling at us, welcoming \n and embracing a sixteen-year-old Homer. Behind them waits", "toward him. Mary Agnes also sees Homer; she immediately turns \n away and runs inside. Music FADES OUT Over.", "HOMER\n I didn't say that. Growing up in an \n orphanage, you're always lonely. \n You're just never alone.", "Homer holds her, doing nothing, while she sobs. As her crying \n subsides, Homer's thoughts are far away. With Candy slumped", "The mother hands over the baby to Larch. Baby Homer lets out \n a happy squeal as soon as he's in Larch's arms. The parents \n stare in disbelief.", "Angela and Edna call and wave good-bye to a two-year-old \n Homer, leaving with COUPLE #2. Larch stands on the porch and \n watches the family head down the hill.", "Larch closes the door, leaving them in the semi-darkness. \n One young boy runs into Homer's bed, nervously giggling.", "HOMER\n And what did she die of, exactly?\n\n CANDY\n She was torn apart! She died of a \n broken heart.", "orphan? I had been too successful \n with Homer Wells. I had managed to \n make the orphanage his *home*.", "Homer looks out the window at Wally again. His decision forms.\n\n EXT. ORPHANAGE DRIVEWAY - DAY", "HOMER\n It was my favorite night at the \n orphanage--movie night. We'd race", "LARCH (V.O.)\n His name was Homer Wells.\n\n Dr. Larch hands over the infant to the adopting parents.", "Larch carries Homer up the orphanage hill." ], [ "A NEW COUPLE comes up the hill. The orphans stop and stare, \n brushing snow off themselves, struggling to make themselves", "Hazel is being fussed over by Edna. Hazel clutches a cardboard \n suitcase and a tattered rag doll. Mary Agnes, by far the \n oldest, sits on a bed.", "MARY AGNES\n If people want to adopt one of us, \n they should have to take the oldest \n first.", "The front door opens. The orphans excitedly run outside onto \n the green lawn, into the warm weather of spring.\n\n INT. DISPENSARY - MORNING", "Dr. Larch is reading from Oliver Twist--the death scene of \n Bill Sike's dog. The boys listen in horror in their beds.", "Faces in the windows; the orphans watch Hazel walking across \n the snowy lawn with her new parents.\n\n INT. GIRLS' DIVISION - NIGHT", "CURLY\n (to Larch)\n *Tell* them! I'm the one.\n\n Virtually all the orphans have climbed into Wally's car.", "with the orphans' rapt faces. Homer sits near the front, \n mesmerized by the film. Dr. Larch and Angela sit by the", "They are all distracted by a luxurious convertible that \n overtakes them on the hill to the orphanage. The fast car is", "Larch carries Homer up the orphanage hill.", "Edna is breaking up fights; this time, instead of fighting \n over snowballs, the orphans are fighting over their pumpkins.", "The orphans are watching King Kong, the part when the giant \n ape first captures the screaming Fay Wray. Intercut Kong", "They are interrupted by Copperfield, who comes running from \n the corridor.\n\n COPPERFIELD\n They picked Hazel! The idiots chose \n Hazel!", "THE GIRLS\n Good night, Hazel! Good night, Hazel! \n Good night, Hazel!\n\n INT./EXT. ORPHANAGE - FRONT DOOR - DAY", "A VERY FRIGHTENED GIRL---not one of the orphans--is lying \n next to the incinerator.\n\n Edna kneels by the strange girl, who cringes with fear.", "EXT. ORPHANAGE - EARLY MORNING", "The girls, led by Mary Agnes, round a corner of the orphanage, \n towing a sled piled high with snowballs.", "HOMER\n (whispers to Larch)\n She's at least *five*.\n\n The girl goes rigid as Larch bends into position.", "The film breaks--to huge cries of disappointment from the \n orphans. Fuzzy coughs and coughs while Larch fumbles with", "CANDY\n So many children. Are they all \n orphans?\n\n WALLY\n Well, this *is* an orphanage." ], [ "Homer disappears into the boys' bunk room carrying Curly and \n his suitcase, leaving the corridor empty.\n\n INT./EXT. ORPHANAGE - DAY", "INT./EXT. ORPHANAGE - DAY\n\n At the front door, Larch and the nurses wave and call good-\n bye to Homer, they close the door.", "Larch carries Homer up the orphanage hill.", "It's after dawn, but still a little dark, as Homer walks to \n the orphanage door, suitcase in hand. A HUGELY PREGNANT WOMAN", "Homer looks out the window at Wally again. His decision forms.\n\n EXT. ORPHANAGE DRIVEWAY - DAY", "HOMER\n I didn't say that. Growing up in an \n orphanage, you're always lonely. \n You're just never alone.", "HOMER\n It was my favorite night at the \n orphanage--movie night. We'd race", "orphan? I had been too successful \n with Homer Wells. I had managed to \n make the orphanage his *home*.", "with the orphans' rapt faces. Homer sits near the front, \n mesmerized by the film. Dr. Larch and Angela sit by the", "From her window, the stepsister watches Homer leave the house \n carrying his suitcase. Homer looks up at her as he walks to \n the street.", "LARCH (V.O.)\n Thus was Homer Wells returned. He \n was too happy a baby.\n\n EXT. ORPHANAGE - DAY", "Homer looks around at the pickers lying in their beds, \n smoking, listening. (Like bedtime stories at the orphanage, \n he thinks; however, the picker's attitude is suspicious, \n reserved.)", "We enter an office where DR. LARCH shows couple #1 their \n newly adopted son, HOMER, an infant who lies smiling in Dr. \n Larch's arms.", "LARCH (V.O.)\n God forgive me. I have *made* an \n orphan by loving him too much. Homer \n Wells will belong to St. Cloud's, \n forever.", "From a window, Larch is watching the departure. He sees Homer \n saying goodbye to the children, embracing them.", "LARCH (V.O.)\n His name was Homer Wells.\n\n Dr. Larch hands over the infant to the adopting parents.", "Job done, Homer leaves the table and hurries to the bicycle, \n pedaling away. Rose Rose watches Homer go, as Mr. Rose flexes \n his healed hand.", "Angela and Edna call and wave good-bye to a two-year-old \n Homer, leaving with COUPLE #2. Larch stands on the porch and \n watches the family head down the hill.", "toward him. Mary Agnes also sees Homer; she immediately turns \n away and runs inside. Music FADES OUT Over.", "back to the orchard. Homer has to run to catch up to them. \n He jumps on the flatbed; he sees Wally waving good-bye." ], [ "Homer disappears into the boys' bunk room carrying Curly and \n his suitcase, leaving the corridor empty.\n\n INT./EXT. ORPHANAGE - DAY", "It's after dawn, but still a little dark, as Homer walks to \n the orphanage door, suitcase in hand. A HUGELY PREGNANT WOMAN", "HOMER\n I didn't say that. Growing up in an \n orphanage, you're always lonely. \n You're just never alone.", "Larch carries Homer up the orphanage hill.", "Homer looks out the window at Wally again. His decision forms.\n\n EXT. ORPHANAGE DRIVEWAY - DAY", "HOMER\n It was my favorite night at the \n orphanage--movie night. We'd race", "INT./EXT. ORPHANAGE - DAY\n\n At the front door, Larch and the nurses wave and call good-\n bye to Homer, they close the door.", "with the orphans' rapt faces. Homer sits near the front, \n mesmerized by the film. Dr. Larch and Angela sit by the", "Homer looks around at the pickers lying in their beds, \n smoking, listening. (Like bedtime stories at the orphanage, \n he thinks; however, the picker's attitude is suspicious, \n reserved.)", "orphan? I had been too successful \n with Homer Wells. I had managed to \n make the orphanage his *home*.", "Homer is alone, rearranging his stuff--spreading out a bit, \n making the place his own. (On the other beds, we see the \n mattresses rolled up on the bare bedsprings.)", "LARCH (V.O.)\n Thus was Homer Wells returned. He \n was too happy a baby.\n\n EXT. ORPHANAGE - DAY", "Homer enters; he walks quietly to his bed in the far corner \n of the room, where he starts to undress.", "From her window, the stepsister watches Homer leave the house \n carrying his suitcase. Homer looks up at her as he walks to \n the street.", "Homer finishes reading the letter; he puts it down, gets up, \n and walks to a window. He stares into the night.", "toward him. Mary Agnes also sees Homer; she immediately turns \n away and runs inside. Music FADES OUT Over.", "LARCH (V.O.)\n God forgive me. I have *made* an \n orphan by loving him too much. Homer \n Wells will belong to St. Cloud's, \n forever.", "back to the orchard. Homer has to run to catch up to them. \n He jumps on the flatbed; he sees Wally waving good-bye.", "Homer enters, he stands uncomfortably, watching Larch for a \n moment. Then he turns around and walks back into the corridor.\n\n INT. CORRIDOR - DAY", "Homer holds her, doing nothing, while she sobs. As her crying \n subsides, Homer's thoughts are far away. With Candy slumped" ], [ "HOMER\n (restrained)\n I wasn't intending to leave here in \n order to be entirely useless--I expect \n I'll find some ways to be of use.", "HOMER\n Whoever they were, they didn't *do* \n any of the things parents are supposed", "HOMER\n (still sarcastic)\n At least there's no more waiting and \n seeing. At least I got to see the \n ocean.", "HOMER\n This is the last one.\n\n The men groan, in mock disappointment.", "HOMER\n I miss things. I miss... people.\n (with certainty)\n I miss reading to the boys.", "a line or two, and perhaps he purposely skips one or two \n others. (Possibly Homer's eyes wander ahead, to the title of", "Homer decides to stop. Another silence.", "HOMER\n (tiredly; an old topic)\n All I said was, I don't want to \n perform abortions. I have no argument \n with *you* performing them.", "HOMER\n What lousy luck--I mean your orders... \n to draw an assignment like that!", "HOMER\n No, it's not serious. I'm just not \n supposed to get excited. You know--\n no strain, no stress. I try to keep \n calm all the time.", "HOMER\n Do you like to read?\n\n ROSE ROSE\n (embarrassed)\n I can't read. Nobody taught me.", "HOMER\n (mumbling to himself)\n It's a tempting idea, I know... to \n do nothing.", "HOMER\n \"Thus I began my new life, in a new \n name, and with everything new about", "HOMER\n I've looked at so many women... I \n mean, I've seen *everything* about", "HOMER\n (deadpan; just the \n facts)\n He's *alive*. He still loves you.\n (pause)\n So do I.", "HOMER\n (reading)\n \"I looked at the stars, and considered \n how awful it would be for a man to", "HOMER\n They wouldn't take me. I'm Class IV--\n I've got a heart defect.\n\n WALLY\n Really! Is it serious?", "ROSE ROSE\n Homer, let me hear what they are.\n\n Homer begins to read.", "ROSE ROSE\n (to Homer)\n That's *it*?\n\n HOMER\n That's it.", "HOMER\n It's a list of rules, it seems.\n\n All the men groan--Jack swears and Peaches laughs." ], [ "HOMER\n You're actually having sex with your \n own little girl? Is that possible?", "HOMER\n You're lying. How can you... with \n your own daughter!\n\n Mr. Rose switches from sly to threatening in a split second.", "Homer and the stepsister are in bed together. The parents \n burst in on them--the father chasing Homer around and around \n the bed, the mother beating her daughter, who covers herself \n with a pillow.", "HOMER\n Are you sleeping with your own \n daughter?\n\n Mr. Rose, with deliberate slowness, comes down the ladder.", "That takes some of the steam out of Homer's superiority.\n\n HOMER\n But she's your *daughter*...", "Larch, his wild eye peering into the speculum, makes an \n audible gasp from the shock of what he sees inside the girl.", "way, you hear? My daughter, she runned \n off--and I so sad about it that I \n stabbed myself. I so unhappy that", "talks to her. Mr. Rose lies in his bed in the exact same \n fetal position as his daughter; he too, is listening to Candy. \n Homer is putting away his instruments.", "HOMER\n I know more than I want to know about \n it. Who's the father?", "She holds Homer's head against her belly; she presses his \n face into her. She shuts her eyes. Homer's eyes stare widely. \n Dr. Larch stops in the doorway; he watches with concern.", "The other pickers are on their way to lunch; it's obvious \n that Muddy, Peaches, and Hero already know that Mr. Rose is \n sleeping with his daughter.", "pointedly at Candy, nodding. Candy slowly gets it. Mr. Rose \n is the father! Rose Rose lets that sink in; she keeps looking \n at Candy with an ashamed expression.", "CANDY\n (shouting)\n He's the *father*! He's her baby's \n father!", "She just stares. But she doesn't stop him when he touches \n her abdomen. It's as if she knows that he knows what he's \n doing.", "MR. ROSE\n You forget yourself, Homer. This \n here's my daughter! You got your own \n mess to deal with--ain't that right?", "The men groan, but Mr. Rose won't oppose his daughter on \n this subject--not this time. He just lies there.", "CANDY\n Who's the father, Rose?\n\n Rose looks at Candy and shakes her head.\n\n CANDY\n You want to have the baby?", "TWELVE-YEAR-OLD GIRL\n He said he was a doctor. I would \n never have stuck that inside me!", "MUDDY\n That what happen--you lost you only \n daughter so's you killed yourself! \n That's what we say, all right.", "She tries to break free from her father and pedal away, but \n he stops her again. They keep struggling.\n\n HOMER\n Please listen to me! *Both* of you..." ], [ "Larch turns the easel around. Attached is a parchment headed: \n \"HARVARD MEDICAL SCHOOL\"--it's a diploma-in-progress.", "LARCH\n He is a goddamn psychiatrist--of \n *course* he wants to \"help\"! He'd be \n happy if he could help *commit* me!", "EDNA\n Dr. Larch wanted to keep you out of \n the war, Homer--that's why he did \n it. That's why he told you it was \n yours.", "LARCH\n (irritated)\n Life is waiting.\n\n Angela disappears. Larch looks at the next baby's record \n (attached to the bed).", "This causes Larch to take the needle off the record.\n\n LARCH\n (angrily)\n He's a field hand! What could possibly \n hold him there?", "LARCH (V.O.)\n His name was Homer Wells.\n\n Dr. Larch hands over the infant to the adopting parents.", "the film breaks in the predictable place, Fuzzy makes no \n protest. Dr. Larch looks at Fuzzy, who has stopped breathing; \n his eyes are closed.", "Larch is doing something at his desk when Angela comes in.\n\n ANGELA\n Wilbur, you should read this.\n\n Larch stares at Angela, who holds a letter.", "Larch tells Homer to have a look. Larch then whispers \n something to Edna; she brings the ether bottle and cone \n quickly. Larch starts putting the cone in place, over the", "LARCH (V.O.)\n What could I do with him? He kept \n coming back!\n\n INT. LARCH'S OFFICE - DAY", "LARCH\n (inhales deeply)\n She died of *secrecy*, she died of \n *ignorance*...", "As Larch bends over Fuzzy to fix the breathing apparatus, \n Fuzzy whispers.\n\n FUZZY\n Is *your* father dead?", "Dr. Larch is reading from Oliver Twist--the death scene of \n Bill Sike's dog. The boys listen in horror in their beds.", "LARCH\n *Alcohol* killed him--he drank himself \n to death.\n\n FUZZY\n But did you know him?", "HOMER (V.O.)\n The truth is, I want to stay here. I \n believe I am being of *some* use.\n\n INT. LARCH'S OFFICE - NIGHT", "Homer takes that in; he nods. Mary Agnes touches him \n sympathetically.\n\n INT. LARCH'S OFFICE - NIGHT", "Dr. Larch stands in front of a mechanical drawing easel. He \n works intently with a calligraphic pen, but we don't see", "LARCH\n Dear child, it won't hurt when I \n look. I'm just going to *look*.\n\n Homer assists Larch with the speculum.", "As Homer stands guiltily, Larch rifles through an X-ray file, \n holding various X rays up to the lit screen. He quickly finds", "HOMER\n No. Dr. Larch will be performing the \n procedure." ], [ "HOMER\n I didn't say that. Growing up in an \n orphanage, you're always lonely. \n You're just never alone.", "LARCH (V.O.)\n Thus was Homer Wells returned. He \n was too happy a baby.\n\n EXT. ORPHANAGE - DAY", "orphan? I had been too successful \n with Homer Wells. I had managed to \n make the orphanage his *home*.", "It's after dawn, but still a little dark, as Homer walks to \n the orphanage door, suitcase in hand. A HUGELY PREGNANT WOMAN", "Homer looks out the window at Wally again. His decision forms.\n\n EXT. ORPHANAGE DRIVEWAY - DAY", "Larch bursts into the home of the second couple and lifts a \n crying and bruised Homer out of his bed. There is rage in \n Larch's eyes as he looks at the couple.", "HOMER\n It was my favorite night at the \n orphanage--movie night. We'd race", "Homer disappears into the boys' bunk room carrying Curly and \n his suitcase, leaving the corridor empty.\n\n INT./EXT. ORPHANAGE - DAY", "with the orphans' rapt faces. Homer sits near the front, \n mesmerized by the film. Dr. Larch and Angela sit by the", "LARCH (V.O.)\n God forgive me. I have *made* an \n orphan by loving him too much. Homer \n Wells will belong to St. Cloud's, \n forever.", "back to the orchard. Homer has to run to catch up to them. \n He jumps on the flatbed; he sees Wally waving good-bye.", "LARCH (V.O.)\n His name was Homer Wells.\n\n Dr. Larch hands over the infant to the adopting parents.", "Larch carries Homer up the orphanage hill.", "toward him. Mary Agnes also sees Homer; she immediately turns \n away and runs inside. Music FADES OUT Over.", "Angela and Edna call and wave good-bye to a two-year-old \n Homer, leaving with COUPLE #2. Larch stands on the porch and \n watches the family head down the hill.", "Homer looks around at the pickers lying in their beds, \n smoking, listening. (Like bedtime stories at the orphanage, \n he thinks; however, the picker's attitude is suspicious, \n reserved.)", "We enter an office where DR. LARCH shows couple #1 their \n newly adopted son, HOMER, an infant who lies smiling in Dr. \n Larch's arms.", "orphan or an abortion.\n (close on Homer)\n You are my work of art, Homer. \n Everything else has been just a job.", "INT./EXT. ORPHANAGE - DAY\n\n At the front door, Larch and the nurses wave and call good-\n bye to Homer, they close the door.", "From a window, Larch is watching the departure. He sees Homer \n saying goodbye to the children, embracing them." ], [ "HOMER (V.O.)\n Dear Dr. Larch, what I am learning \n here may not be as important as what", "HOMER\n No. Dr. Larch will be performing the \n procedure.", "We enter an office where DR. LARCH shows couple #1 their \n newly adopted son, HOMER, an infant who lies smiling in Dr. \n Larch's arms.", "LARCH (V.O.)\n His name was Homer Wells.\n\n Dr. Larch hands over the infant to the adopting parents.", "She holds Homer's head against her belly; she presses his \n face into her. She shuts her eyes. Homer's eyes stare widely. \n Dr. Larch stops in the doorway; he watches with concern.", "Homer calls out as though he's just coming down the corridor.\n\n HOMER\n Dr. Larch! Dr. Larch!\n\n INT. DISPENSARY - DAY", "Larch bursts into the home of the second couple and lifts a \n crying and bruised Homer out of his bed. There is rage in \n Larch's eyes as he looks at the couple.", "Dr. Larch is reading from Oliver Twist--the death scene of \n Bill Sike's dog. The boys listen in horror in their beds.", "with the orphans' rapt faces. Homer sits near the front, \n mesmerized by the film. Dr. Larch and Angela sit by the", "Larch carries Homer up the orphanage hill.", "The train stops, blowing snow. Homer steps off the train \n carrying a suitcase and Dr. Larch's bag. The disapproving \n stationmaster is still disapproving. Music plays Over, \n something triumphant.", "LARCH\n We all know who trained Homer--his \n credentials are as good as mine are.", "HOMER (V.O.)\n The truth is, I want to stay here. I \n believe I am being of *some* use.\n\n INT. LARCH'S OFFICE - NIGHT", "LARCH\n If Homer wanted to know what was \n happening here, he could pick up a \n telephone and call us.\n\n INT. BOYS' DIVISION - NIGHT", "HOMER\n I didn't mean her. I'm talking \n about... adults.\n (annoyed)\n You know who I mean!\n\n Larch studies him.", "Homer looks adoringly at Dr. Larch as Larch examines ANOTHER \n PREGNANT WOMAN. Larch waves Homer over; he places the boy's", "Homer takes that in; he nods. Mary Agnes touches him \n sympathetically.\n\n INT. LARCH'S OFFICE - NIGHT", "Homer, drinking coffee, is writing a letter on a note pad.\n\n HOMER (V.O.)\n Dear Dr. Larch, thank you for your \n doctor's bag...", "Homer runs up the stairs, two steps at a time; he races into \n a corridor at full speed, exhilarated. Suddenly Dr. Larch", "Homer, furious, leaves the operating room. Edna lifts the \n girl's eyelids for Larch so that he can see how well under \n the ether she is." ], [ "INT. BUNKHOUSE - NIGHT (LATER)\n\n Everybody is asleep, except Homer. He is staring at the \n ceiling in the quiet semi-darkness, the book lying on his \n chest.", "PEACHES\n Sorry, Homer...\n\n INT. BUNKHOUSE - LATE AT NIGHT", "Muddy scowls at Homer, but he smiles at Mr. Rose.\n\n INT. BUNKHOUSE - NIGHT", "Homer is alone, rearranging his stuff--spreading out a bit, \n making the place his own. (On the other beds, we see the \n mattresses rolled up on the bare bedsprings.)", "A tear rolls down Candy's cheek, Homer wipes it away; then \n he stops touching her and looks off into the quiet orchards.\n\n INT. BUNKHOUSE - NIGHT", "HOMER\n Get out of here, please.\n\n Muddy herds Peaches and Hero out of the bunkhouse.", "INT. BUNKHOUSE - LATE AT NIGHT\n\n Homer lies awake in his bed.\n\n EXT. ORCHARD - LATE AFTERNOON, ANOTHER DAY", "Homer enters; he walks quietly to his bed in the far corner \n of the room, where he starts to undress.", "Homer disappears into the boys' bunk room carrying Curly and \n his suitcase, leaving the corridor empty.\n\n INT./EXT. ORPHANAGE - DAY", "Homer gets up to take his dishes inside.\n\n INT. KITCHEN AND BUNKHOUSE - MORNING\n\n When Homer comes in, Rose Rose is throwing up in the sink.", "INT. BUNKHOUSE - NIGHT\n\n Homer and Candy are naked. They have pulled two beds together \n and made a double bed. He can't take his eyes off her.", "Mr. Rose ushers Homer and Rose Rose outside.\n\n INT. BUNKHOUSE - RAINY DAY", "Rose Rose and Mr. Rose stop struggling. Suddenly Homer is in \n charge.\n\n INT. BUNKHOUSE - NIGHT", "The pickers are moving out; the harvest is over. Olive and \n Homer stand near the door to the bunkhouse, talking--we can't", "Homer and Wally get out of the jeep at the cider house, a \n barnlike building with adjacent sheds and, behind it, line \n after line of trees--the apple orchards.", "Homer looks around at the pickers lying in their beds, \n smoking, listening. (Like bedtime stories at the orphanage, \n he thinks; however, the picker's attitude is suspicious, \n reserved.)", "As the pickers' truck drives past, Homer is on the side of \n the truck nearest the Worthington house and driveway; he", "Homer unpacks his suitcase. (His bed should be nearest Muddy's \n and Mr. Rose's.) Jack lies on his bed, smoking. Muddy, also", "Homer stands in front of a ladder that leans against the \n cider house; he starts to climb up, drawn by the murmuring \n voices, the soft laughter.", "INT. BUNKHOUSE - LATER THAT SAME DAY" ], [ "HOMER\n (restrained)\n I wasn't intending to leave here in \n order to be entirely useless--I expect \n I'll find some ways to be of use.", "Homer decides to stop. Another silence.", "ROSE ROSE\n Homer, let me hear what they are.\n\n Homer begins to read.", "Homer is alone, rearranging his stuff--spreading out a bit, \n making the place his own. (On the other beds, we see the \n mattresses rolled up on the bare bedsprings.)", "HOMER\n This is the last one.\n\n The men groan, in mock disappointment.", "HOMER\n (deadpan; just the \n facts)\n He's *alive*. He still loves you.\n (pause)\n So do I.", "Homer is stunned; he puts his hand to his heart.", "HOMER\n He doesn't like it.\n (looks at the record)\n He's a boy, That's why.", "HOMER\n No, it's not serious. I'm just not \n supposed to get excited. You know--\n no strain, no stress. I try to keep \n calm all the time.", "HOMER\n They wouldn't take me. I'm Class IV--\n I've got a heart defect.\n\n WALLY\n Really! Is it serious?", "toward him. Mary Agnes also sees Homer; she immediately turns \n away and runs inside. Music FADES OUT Over.", "HOMER\n I miss things. I miss... people.\n (with certainty)\n I miss reading to the boys.", "HOMER\n What lousy luck--I mean your orders... \n to draw an assignment like that!", "HOMER\n Do you like to read?\n\n ROSE ROSE\n (embarrassed)\n I can't read. Nobody taught me.", "HOMER\n (still sarcastic)\n At least there's no more waiting and \n seeing. At least I got to see the \n ocean.", "Homer is unfamiliar with this kind of kidding around; at \n first he is startled, but then he laughs. Wally laughs, too. \n They shake hands.", "HOMER (V.O.)\n Barring some emergency, of course. I \n am not a doctor. With all due respect \n to your profession. I am enjoying my \n life here.", "HOMER\n I didn't mean her. I'm talking \n about... adults.\n (annoyed)\n You know who I mean!\n\n Larch studies him.", "OLIVE\n Thank you, Arthur.\n (see is looking at \n Homer)\n And how is our Homer working out?", "Homer holds up the list of rules, rereads it briefly; he \n walks over to an unpainted beam, a support beam, and tacks \n the rules on this beam." ], [ "Homer disappears into the boys' bunk room carrying Curly and \n his suitcase, leaving the corridor empty.\n\n INT./EXT. ORPHANAGE - DAY", "It's after dawn, but still a little dark, as Homer walks to \n the orphanage door, suitcase in hand. A HUGELY PREGNANT WOMAN", "INT./EXT. ORPHANAGE - DAY\n\n At the front door, Larch and the nurses wave and call good-\n bye to Homer, they close the door.", "Homer looks out the window at Wally again. His decision forms.\n\n EXT. ORPHANAGE DRIVEWAY - DAY", "Larch carries Homer up the orphanage hill.", "HOMER\n I didn't say that. Growing up in an \n orphanage, you're always lonely. \n You're just never alone.", "with the orphans' rapt faces. Homer sits near the front, \n mesmerized by the film. Dr. Larch and Angela sit by the", "HOMER\n It was my favorite night at the \n orphanage--movie night. We'd race", "From her window, the stepsister watches Homer leave the house \n carrying his suitcase. Homer looks up at her as he walks to \n the street.", "back to the orchard. Homer has to run to catch up to them. \n He jumps on the flatbed; he sees Wally waving good-bye.", "Homer looks around at the pickers lying in their beds, \n smoking, listening. (Like bedtime stories at the orphanage, \n he thinks; however, the picker's attitude is suspicious, \n reserved.)", "LARCH (V.O.)\n Thus was Homer Wells returned. He \n was too happy a baby.\n\n EXT. ORPHANAGE - DAY", "orphan? I had been too successful \n with Homer Wells. I had managed to \n make the orphanage his *home*.", "Homer finishes reading the letter; he puts it down, gets up, \n and walks to a window. He stares into the night.", "Homer makes no response. As the train approaches, Homer and \n Buster go sit on a loading cart. They see the distraught", "Homer is alone, rearranging his stuff--spreading out a bit, \n making the place his own. (On the other beds, we see the \n mattresses rolled up on the bare bedsprings.)", "We enter an office where DR. LARCH shows couple #1 their \n newly adopted son, HOMER, an infant who lies smiling in Dr. \n Larch's arms.", "LARCH (V.O.)\n God forgive me. I have *made* an \n orphan by loving him too much. Homer \n Wells will belong to St. Cloud's, \n forever.", "Larch closes the door, leaving them in the semi-darkness. \n One young boy runs into Homer's bed, nervously giggling.", "Homer enters, he stands uncomfortably, watching Larch for a \n moment. Then he turns around and walks back into the corridor.\n\n INT. CORRIDOR - DAY" ], [ "Rose Rose's bed is exposed. The curtains are flung open; her \n bed is empty. Mr. Rose is still in his bed, in the fetal", "at, then looks away from, Rose Rose. Mr. Rose is the last to \n sit down at the table as a very tense, wordless lunch begins.", "Then comes Mr. Rose, slyly smiling, taking it all in--there's \n no hiding what's going on. Homer and Candy are caught, their", "MR. ROSE\n (approvingly)\n That's better. I can tell you got", "There, suddenly, is Mr. Rose, walking past them. He is \n uncharacteristically tentative.\n\n MR. ROSE\n (to his daughter)\n I'll be up top...", "Mr. Rose looks briefly at the men, who wait for his reaction.", "Mr. Rose takes an apple from a bowl on the table. Then he \n pulls out a knife and opens it in one fluid motion; he's so", "He means Jack, who gives Olive and Candy and Mr. Rose a \n furtive look. Olive smiles at Rose Rose, who comes up to her \n and Candy. Olive touches Rose Rose with affection.", "MR. ROSE\n Here he is.\n\n No one moves.", "Mr. Rose wears a surgical mask; he is sweating, even in the \n cold, and his eyes look stricken as he watches Homer, who is", "Mr. Rose leaves Candy and Rose Rose alone again. Rose Rose \n nods almost invisibly after her father. Rose Rose looks", "Mr. Rose is instructing Homer as they stand bottling cider \n in their yellow slickers and rubber boots. Rose Rose is hosing", "pointedly at Candy, nodding. Candy slowly gets it. Mr. Rose \n is the father! Rose Rose lets that sink in; she keeps looking \n at Candy with an ashamed expression.", "Mr. Rose nods and gets in behind the wheel. Rose Rose and \n Muddy get in next to him. The others are bundled up for the \n ride in the open back of the truck.", "MR. ROSE\n And this here sensitive-lookin' fella \n is Muddy. The less said about Muddy, \n the better. Ain't that right, Muddy?", "MR. ROSE\n You take care now, Mrs. Worthin'ton.\n\n They shake hands.", "Homer walks faster. When he gets to the cider house, he sees \n Mr. Rose and Rose Rose arguing. Rose is sitting on the \n bicycle, a bundle of her clothes tied up behind the seat.", "Rose Rose picks up the book that Homer has put on the bed. \n She studies the cover; it's \"Great Expectations\" by Charles \n Dickens. She puts it down, restlessly.", "Grinning, Mr. Rose shakes Wally's hand. Rose Rose goes back \n inside the cider house as Mr. Rose shakes Homer's hand. Homer \n introduces himself.", "Mr. Rose dies. Muddy turns away. Homer closes Mr. Rose's \n eyes.\n\n EXT. CIDER HOUSE, ROOF - MORNING" ], [ "Some muttering, some giggling, mostly silence. Rose Rose \n wants more, but suddenly Jack jumps out of bed and stomps to", "Rose Rose's bed is exposed. The curtains are flung open; her \n bed is empty. Mr. Rose is still in his bed, in the fetal", "CANDY\n Who's the father, Rose?\n\n Rose looks at Candy and shakes her head.\n\n CANDY\n You want to have the baby?", "Rose Rose lies down on her bed with the curtain open. There \n is something familiar about the way Homer approaches her", "pointedly at Candy, nodding. Candy slowly gets it. Mr. Rose \n is the father! Rose Rose lets that sink in; she keeps looking \n at Candy with an ashamed expression.", "Rose Rose picks up the book that Homer has put on the bed. \n She studies the cover; it's \"Great Expectations\" by Charles \n Dickens. She puts it down, restlessly.", "Rose Rose enters. She looks hardened, toughened--not happy. \n She plops down her stuff on her bed, looking only at Candy.", "Rose Rose, curled in a fetal position, listens to the rain \n on the roof. Candy sits on her bed beside her. She helps her", "talks to her. Mr. Rose lies in his bed in the exact same \n fetal position as his daughter; he too, is listening to Candy. \n Homer is putting away his instruments.", "Finished unpacking, Homer sits on his bed; he picks up \"Great \n Expectations\" and begins to read. Rose Rose sits down next \n to him, watching him read. Homer notices her interest.", "to sit up, to drink a glass of water; then Rose Rose lies \n down again. Rose Rose's expression never changes while Candy", "Then comes Mr. Rose, slyly smiling, taking it all in--there's \n no hiding what's going on. Homer and Candy are caught, their", "ROSE ROSE\n You think Daddy's gonna let me go \n anywhere? I ain't going *nowhere*.\n\n She rolls over on the bed, facing away from him again.", "Mr. Rose leaves Candy and Rose Rose alone again. Rose Rose \n nods almost invisibly after her father. Rose Rose looks", "ROSE ROSE\n (to Homer)\n That's *it*?\n\n HOMER\n That's it.", "There, suddenly, is Mr. Rose, walking past them. He is \n uncharacteristically tentative.\n\n MR. ROSE\n (to his daughter)\n I'll be up top...", "Homer walks faster. When he gets to the cider house, he sees \n Mr. Rose and Rose Rose arguing. Rose is sitting on the \n bicycle, a bundle of her clothes tied up behind the seat.", "Homer looks up; there's no response.\n\n HOMER\n (to Rose Rose)\n More?", "She just stares. But she doesn't stop him when he touches \n her abdomen. It's as if she knows that he knows what he's \n doing.", "Rose Rose stops; she can't even continue setting the table. \n Her voice turns bitter, despairing.\n\n ROSE ROSE\n It sure ain't Jack." ], [ "Homer gets up to take his dishes inside.\n\n INT. KITCHEN AND BUNKHOUSE - MORNING\n\n When Homer comes in, Rose Rose is throwing up in the sink.", "Homer and Muddy exchange a glance. Mr. Rose, with his blood-\n soaked hand, suddenly grabs Homer by the throat.", "Homer can't bear to watch Rose Rose at work with the needle.\n\n ROSE ROSE\n We should drown that damn Jack in \n the vat!", "Homer and Mr. Rose sit opposite each other at the picnic \n table. Rose Rose stands behind her father, her hands on his \n shoulders, watching Homer snip out Mr. Rose's stitches--very \n quickly.", "Mr. Rose is looking at Homer's surgical instruments when \n Rose Rose joins him.", "HOMER\n Rose, please listen. Whatever you \n want to do, I can help you.\n\n She is taken back.", "Mr. Rose wears a surgical mask; he is sweating, even in the \n cold, and his eyes look stricken as he watches Homer, who is", "Homer finds Mr. Rose's knife. There's blood everywhere.", "performing the abortion. Mr. Rose holds the ether cone over \n Rose Rose's face. He drips some ether from the bottle on the \n cone.", "Cut quickly for Rose Rose's etherized face... to Mr. Rose's \n eyes above his mask... to Homer working with his eyes trained \n on the speculum...", "Homer takes the blanket off him; Muddy gasps. Homer tries to \n examine Mr. Rose's wound. Mr. Rose smiles at him.", "talks to her. Mr. Rose lies in his bed in the exact same \n fetal position as his daughter; he too, is listening to Candy. \n Homer is putting away his instruments.", "HOMER\n Mr. Rose, I'm in the *doctor* \n business.\n (to Rose Rose)", "Rose Rose lies down on her bed with the curtain open. There \n is something familiar about the way Homer approaches her", "Then comes Mr. Rose, slyly smiling, taking it all in--there's \n no hiding what's going on. Homer and Candy are caught, their", "HOMER\n Give men that. I know how to do it.\n\n ROSE ROSE\n Oh, I suppose you is a doctor, Homer?", "Homer looks up; there's no response.\n\n HOMER\n (to Rose Rose)\n More?", "Homer is a doctor--he's used to postabortion reactions.\n\n HOMER\n I know.", "ROSE ROSE\n Homer, let me hear what they are.\n\n Homer begins to read.", "Finished unpacking, Homer sits on his bed; he picks up \"Great \n Expectations\" and begins to read. Rose Rose sits down next \n to him, watching him read. Homer notices her interest." ], [ "It's after dawn, but still a little dark, as Homer walks to \n the orphanage door, suitcase in hand. A HUGELY PREGNANT WOMAN", "Homer looks out the window at Wally again. His decision forms.\n\n EXT. ORPHANAGE DRIVEWAY - DAY", "Homer disappears into the boys' bunk room carrying Curly and \n his suitcase, leaving the corridor empty.\n\n INT./EXT. ORPHANAGE - DAY", "Larch carries Homer up the orphanage hill.", "LARCH (V.O.)\n Thus was Homer Wells returned. He \n was too happy a baby.\n\n EXT. ORPHANAGE - DAY", "with the orphans' rapt faces. Homer sits near the front, \n mesmerized by the film. Dr. Larch and Angela sit by the", "HOMER\n I didn't say that. Growing up in an \n orphanage, you're always lonely. \n You're just never alone.", "INT./EXT. ORPHANAGE - DAY\n\n At the front door, Larch and the nurses wave and call good-\n bye to Homer, they close the door.", "back to the orchard. Homer has to run to catch up to them. \n He jumps on the flatbed; he sees Wally waving good-bye.", "orphan? I had been too successful \n with Homer Wells. I had managed to \n make the orphanage his *home*.", "Homer looks around at the pickers lying in their beds, \n smoking, listening. (Like bedtime stories at the orphanage, \n he thinks; however, the picker's attitude is suspicious, \n reserved.)", "HOMER\n It was my favorite night at the \n orphanage--movie night. We'd race", "LARCH (V.O.)\n God forgive me. I have *made* an \n orphan by loving him too much. Homer \n Wells will belong to St. Cloud's, \n forever.", "Larch bursts into the home of the second couple and lifts a \n crying and bruised Homer out of his bed. There is rage in \n Larch's eyes as he looks at the couple.", "We enter an office where DR. LARCH shows couple #1 their \n newly adopted son, HOMER, an infant who lies smiling in Dr. \n Larch's arms.", "Homer enters, he stands uncomfortably, watching Larch for a \n moment. Then he turns around and walks back into the corridor.\n\n INT. CORRIDOR - DAY", "toward him. Mary Agnes also sees Homer; she immediately turns \n away and runs inside. Music FADES OUT Over.", "HOMER (V.O.)\n The truth is, I want to stay here. I \n believe I am being of *some* use.\n\n INT. LARCH'S OFFICE - NIGHT", "LARCH (V.O.)\n His name was Homer Wells.\n\n Dr. Larch hands over the infant to the adopting parents.", "Larch closes the door, leaving them in the semi-darkness. \n One young boy runs into Homer's bed, nervously giggling." ], [ "It's after dawn, but still a little dark, as Homer walks to \n the orphanage door, suitcase in hand. A HUGELY PREGNANT WOMAN", "Homer disappears into the boys' bunk room carrying Curly and \n his suitcase, leaving the corridor empty.\n\n INT./EXT. ORPHANAGE - DAY", "Homer looks out the window at Wally again. His decision forms.\n\n EXT. ORPHANAGE DRIVEWAY - DAY", "Larch carries Homer up the orphanage hill.", "with the orphans' rapt faces. Homer sits near the front, \n mesmerized by the film. Dr. Larch and Angela sit by the", "LARCH (V.O.)\n Thus was Homer Wells returned. He \n was too happy a baby.\n\n EXT. ORPHANAGE - DAY", "Homer looks around at the pickers lying in their beds, \n smoking, listening. (Like bedtime stories at the orphanage, \n he thinks; however, the picker's attitude is suspicious, \n reserved.)", "HOMER\n I didn't say that. Growing up in an \n orphanage, you're always lonely. \n You're just never alone.", "INT./EXT. ORPHANAGE - DAY\n\n At the front door, Larch and the nurses wave and call good-\n bye to Homer, they close the door.", "HOMER\n It was my favorite night at the \n orphanage--movie night. We'd race", "back to the orchard. Homer has to run to catch up to them. \n He jumps on the flatbed; he sees Wally waving good-bye.", "orphan? I had been too successful \n with Homer Wells. I had managed to \n make the orphanage his *home*.", "We enter an office where DR. LARCH shows couple #1 their \n newly adopted son, HOMER, an infant who lies smiling in Dr. \n Larch's arms.", "Homer is alone, rearranging his stuff--spreading out a bit, \n making the place his own. (On the other beds, we see the \n mattresses rolled up on the bare bedsprings.)", "Larch bursts into the home of the second couple and lifts a \n crying and bruised Homer out of his bed. There is rage in \n Larch's eyes as he looks at the couple.", "toward him. Mary Agnes also sees Homer; she immediately turns \n away and runs inside. Music FADES OUT Over.", "Homer enters, he stands uncomfortably, watching Larch for a \n moment. Then he turns around and walks back into the corridor.\n\n INT. CORRIDOR - DAY", "Homer calls out as though he's just coming down the corridor.\n\n HOMER\n Dr. Larch! Dr. Larch!\n\n INT. DISPENSARY - DAY", "Homer finishes reading the letter; he puts it down, gets up, \n and walks to a window. He stares into the night.", "Everyone has heard the news; they come on the run. The \n children flock around Homer, hugging him. Homer takes Angela" ], [ "She holds Homer's head against her belly; she presses his \n face into her. She shuts her eyes. Homer's eyes stare widely. \n Dr. Larch stops in the doorway; he watches with concern.", "Homer stares into the speculum; he closes his eyes. The girl \n is resisting the ether, but her eyelids flutter closed.", "Homer, furious, leaves the operating room. Edna lifts the \n girl's eyelids for Larch so that he can see how well under \n the ether she is.", "Homer looks adoringly at Dr. Larch as Larch examines ANOTHER \n PREGNANT WOMAN. Larch waves Homer over; he places the boy's", "The girl holds her breath while he examines her abdomen; \n Homer very delicately examines the girl's abdomen, too.", "Homer is a doctor--he's used to postabortion reactions.\n\n HOMER\n I know.", "We enter an office where DR. LARCH shows couple #1 their \n newly adopted son, HOMER, an infant who lies smiling in Dr. \n Larch's arms.", "HOMER\n No. Dr. Larch will be performing the \n procedure.", "HOMER\n (tiredly; an old topic)\n All I said was, I don't want to \n perform abortions. I have no argument \n with *you* performing them.", "HOMER\n Give men that. I know how to do it.\n\n ROSE ROSE\n Oh, I suppose you is a doctor, Homer?", "Homer runs over to Wally, who proceeds to show him how to \n pass the ball. Snatches of his instruction drift to Candy,", "HOMER\n Okay.\n\n Homer touches the woman's belly.\n\n DISTRAUGHT WOMAN\n Put your ear there. Go on.", "Homer looks around at the pickers lying in their beds, \n smoking, listening. (Like bedtime stories at the orphanage, \n he thinks; however, the picker's attitude is suspicious, \n reserved.)", "Homer calls out as though he's just coming down the corridor.\n\n HOMER\n Dr. Larch! Dr. Larch!\n\n INT. DISPENSARY - DAY", "with the orphans' rapt faces. Homer sits near the front, \n mesmerized by the film. Dr. Larch and Angela sit by the", "Homer runs up the stairs, two steps at a time; he races into \n a corridor at full speed, exhilarated. Suddenly Dr. Larch", "Homer is unfamiliar with this kind of kidding around; at \n first he is startled, but then he laughs. Wally laughs, too. \n They shake hands.", "orphan or an abortion.\n (close on Homer)\n You are my work of art, Homer. \n Everything else has been just a job.", "Homer and Larch split off and disappear into two different \n operating rooms. As he goes, Homer mumbles to himself, \"Of \n use, of use, of use.\"", "Homer nods, pocketing the knife. As Muddy climbs down and \n moves his ladder to an adjacent tree, he keeps talking to \n Homer until he disappears in the leaves." ], [ "Homer looks out the window at Wally again. His decision forms.\n\n EXT. ORPHANAGE DRIVEWAY - DAY", "INT./EXT. ORPHANAGE - DAY\n\n At the front door, Larch and the nurses wave and call good-\n bye to Homer, they close the door.", "It's after dawn, but still a little dark, as Homer walks to \n the orphanage door, suitcase in hand. A HUGELY PREGNANT WOMAN", "Homer disappears into the boys' bunk room carrying Curly and \n his suitcase, leaving the corridor empty.\n\n INT./EXT. ORPHANAGE - DAY", "Larch carries Homer up the orphanage hill.", "HOMER\n I didn't say that. Growing up in an \n orphanage, you're always lonely. \n You're just never alone.", "while Homer is giving the apple farm a good-bye look. He has \n made up his mind about something.", "HOMER\n It was my favorite night at the \n orphanage--movie night. We'd race", "with the orphans' rapt faces. Homer sits near the front, \n mesmerized by the film. Dr. Larch and Angela sit by the", "From her window, the stepsister watches Homer leave the house \n carrying his suitcase. Homer looks up at her as he walks to \n the street.", "orphan? I had been too successful \n with Homer Wells. I had managed to \n make the orphanage his *home*.", "Homer looks around at the pickers lying in their beds, \n smoking, listening. (Like bedtime stories at the orphanage, \n he thinks; however, the picker's attitude is suspicious, \n reserved.)", "Homer decides to stop. Another silence.", "LARCH (V.O.)\n God forgive me. I have *made* an \n orphan by loving him too much. Homer \n Wells will belong to St. Cloud's, \n forever.", "From a window, Larch is watching the departure. He sees Homer \n saying goodbye to the children, embracing them.", "HOMER (V.O.)\n The truth is, I want to stay here. I \n believe I am being of *some* use.\n\n INT. LARCH'S OFFICE - NIGHT", "LARCH (V.O.)\n Thus was Homer Wells returned. He \n was too happy a baby.\n\n EXT. ORPHANAGE - DAY", "Larch closes the door, leaving them in the semi-darkness. \n One young boy runs into Homer's bed, nervously giggling.", "Angela and Edna call and wave good-bye to a two-year-old \n Homer, leaving with COUPLE #2. Larch stands on the porch and \n watches the family head down the hill.", "Homer, furious, leaves the operating room. Edna lifts the \n girl's eyelids for Larch so that he can see how well under \n the ether she is." ], [ "all in. When Candy calls for him, Homer walks up to her.", "CANDY\n Candy. Candy Kendall.\n\n Wally jumps up to his feet to shake Homer's hand.", "up. The men are evasive with her; they find a reason to work \n across the mart. Candy walks to Homer, stands next to him.", "INT. BUNKHOUSE - NIGHT\n\n Homer and Candy are naked. They have pulled two beds together \n and made a double bed. He can't take his eyes off her.", "CANDY\n Good night, Daddy.\n\n Ray nods good night; he leaves. Homer looks expectantly at \n Candy.", "A tear rolls down Candy's cheek, Homer wipes it away; then \n he stops touching her and looks off into the quiet orchards.\n\n INT. BUNKHOUSE - NIGHT", "Homer responds to the music, dancing goofily--instantly out \n of the mood. Candy laughs, but she picks up a pillow and", "Homer runs over to Wally, who proceeds to show him how to \n pass the ball. Snatches of his instruction drift to Candy,", "HOMER\n And what did she die of, exactly?\n\n CANDY\n She was torn apart! She died of a \n broken heart.", "They come out of the woods, walking toward the car, Candy \n leading. We hear Candy talking just before we see her and \n Homer.", "HOMER\n Right.\n\n Camera closes on Candy.\n\n INT./EXT. WALLY'S CAR - DRIVE-IN THEATRE - EVENING", "Homer and Wally sit on the beach a short distance from Candy's \n blanket. She appears to be asleep. Wally looks in her \n direction before he speaks to Homer.", "HOMER\n (to Candy)\n How many months are you?\n\n CANDY\n (whispers)\n Two.", "CANDY\n She *did* love him!\n (teasing him)\n How many women have you known?\n\n Homer is embarrassed; he ducks the question.", "WALLY\n (conspiratorially)\n Actually, I volunteered.\n\n Homer is shocked; he looks back at Candy, lowers his voice.", "talks to her. Mr. Rose lies in his bed in the exact same \n fetal position as his daughter; he too, is listening to Candy. \n Homer is putting away his instruments.", "Homer's expression changes from exhilarated to guilty. He \n leans back in his seat and looks straight ahead at the screen. \n Candy tentatively leans her head on his shoulder. Homer looks \n afraid to breathe.", "The beach at sunset. Candy and Homer, dressed for cooler \n weather, are alone at the water's edge. From a paper bag, \n Candy is scattering some small, brightly colored pieces of \n broken glass.", "HOMER\n Just tell me. I'll do whatever you \n want to do.\n\n CANDY\n Nothing.", "and Angela. Wally rushes to Candy's side. Homer follows \n slowly. Candy is groggy, coming out of the ether." ], [ "Later, through the window of the lobster pound, we see them \n eating lobster around a kitchen table. Laughter and some \n unclear dialogue drift to us.", "A NEW COUPLE comes up the hill. The orphans stop and stare, \n brushing snow off themselves, struggling to make themselves", "There is quiet as the journey gets underway. Wally keeps \n glancing at Candy in the rear-view mirror; she seems distant,", "As the pickers' truck drives past, Homer is on the side of \n the truck nearest the Worthington house and driveway; he", "else is about. Muddy is driving slowly, his arm out the open \n window. In the back, huddled among their belongings, are", "Muddy and Hero and Peaches are sitting close together on the \n roof, like banished children. It is from their perspective", "Wally brakes hard. The Jeep comes to a stop in the packing-\n house area.\n\n Candy has been waiting on the loading platform. The pickers \n are working in the background.", "This makes all the pickers laugh, but Homer just smiles and \n shakes his head. He watches the Worthington house disappear \n from view.", "Homer looks around at the pickers lying in their beds, \n smoking, listening. (Like bedtime stories at the orphanage, \n he thinks; however, the picker's attitude is suspicious, \n reserved.)", "Muddy, Hero and Peaches smoke in their beds. Rose Rose opens \n her curtain and peers out from her bed. She gets up and goes", "The pickers are at work, on their ladders, when Candy runs \n down the aisle between two rows of trees. She stops at the", "They are interrupted by Copperfield, who comes running from \n the corridor.\n\n COPPERFIELD\n They picked Hazel! The idiots chose \n Hazel!", "Everyone has heard the news; they come on the run. The \n children flock around Homer, hugging him. Homer takes Angela", "She rubs the smooth piece of glass against his hand, then \n throws it toward the water. It falls short. Homer retrieves", "Hazel is being fussed over by Edna. Hazel clutches a cardboard \n suitcase and a tattered rag doll. Mary Agnes, by far the \n oldest, sits on a bed.", "Larch stares into space, depressed. Then he examines the \n crate and finds the mailing label that says \"OCEAN VIEW", "Homer walks faster. When he gets to the cider house, he sees \n Mr. Rose and Rose Rose arguing. Rose is sitting on the \n bicycle, a bundle of her clothes tied up behind the seat.", "Her sudden hardness leaves him speechless as they go their \n separate ways. Candy drives on.\n\n EXT. CIDER HOUSE - SUNNY MORNING", "Homer disappears into the boys' bunk room carrying Curly and \n his suitcase, leaving the corridor empty.\n\n INT./EXT. ORPHANAGE - DAY", "On his bed, Larch is taking ether. We hear the refrain from \n the boys in the bunk room Over." ], [ "HOMER\n (restrained)\n I wasn't intending to leave here in \n order to be entirely useless--I expect \n I'll find some ways to be of use.", "HOMER\n Thanks, guys... I'd like to go with \n you. But I've got to move on.", "Homer decides to stop. Another silence.", "HOMER\n (overly genuine)\n *Go* anywhere? Of course not! That", "HOMER\n I miss things. I miss... people.\n (with certainty)\n I miss reading to the boys.", "HOMER\n I told her! She doesn't feel she can \n do that. Something about her father \n not letting her go anywhere...", "HOMER\n (reading)\n \"I looked at the stars, and considered \n how awful it would be for a man to", "ROSE ROSE\n Homer, let me hear what they are.\n\n Homer begins to read.", "ANGELA\n I think he worried about his own \n heart. He said it would never stand \n up to Homer Wells going off to war.", "Homer is stunned; he puts his hand to his heart.", "HOMER\n Do you like to read?\n\n ROSE ROSE\n (embarrassed)\n I can't read. Nobody taught me.", "HOMER (O.S.)\n (continues reading)\n \"There is something strange to me, \n even now, in the reflection that he \n never saw me...\"", "WALLY\n You girls make it hard for a guy to \n go off to war.\n (points to Homer)", "HOMER\n (still sarcastic)\n At least there's no more waiting and \n seeing. At least I got to see the \n ocean.", "HOMER\n This is the last one.\n\n The men groan, in mock disappointment.", "HOMER\n What lousy luck--I mean your orders... \n to draw an assignment like that!", "HOMER\n \"I was a posthumous child. My father's \n eyes had closed upon the light of \n this world six months, when mine \n opened on it.\"", "HOMER\n (deadpan; just the \n facts)\n He's *alive*. He still loves you.\n (pause)\n So do I.", "HOMER\n Hi, Curly. You going somewhere?\n\n Curly shakes his head.\n\n CURLY\n I thought they might take me.", "HOMER\n There was no visible wound?" ], [ "Larch has a different tone of voice when he speaks to Wally.\n\n LARCH\n I suggest you find yourself some \n fresh air, Lieutenant.", "He doesn't, really. Wally returns. Wally leans over Candy to \n hug her.\n\n WALLY\n Honey, honey... of course I'll come \n back.", "WALLY\n Wally. Wally Worthington.\n\n Wally sits down. The three sit still for an awkward moment.", "She appears in the doorway of Wally's room. Mrs. Worthington \n (OLIVE) is an elegant, fiftyish New Englander, as handsome \n as Wally, but more reserved. She is surprised to see Homer.", "Wally is wearing what appears to be an oversized officer's \n coat or flight jacket, his face looking small in the overlarge", "Wally's car is an Army Jeep, with an ENLISTED MAN leaning \n against it. The indifferent soldier smokes a cigarette as he \n watches Candy run.", "WALLY\n How is she doing?\n\n LARCH\n Just fine.", "ALL THE BOYS (O.S.)\n Good night, Homer! Good night, Homer! \n Good night, Homer Wells!\n\n INT. WALLY'S CAR - NIGHT", "Wally, in full uniform, appears from inside the packing house; \n he calls for Homer.\n\n MR. ROSE\n Out lieutenant's calling you, Homer. \n Mind your ass.", "Wally is taking his uniform off as he speaks, just dropping \n it on the floor as he quickly puts on some farm clothes.\n\n OLIVE\n How do you do, Homer Wells...", "and Angela. Wally rushes to Candy's side. Homer follows \n slowly. Candy is groggy, coming out of the ether.", "WALLY\n I think it was the ether--the smell \n got to me.\n (pause)\n God. This is all my fault.", "MR. ROSE\n You a fine one to be talkin' about \n lies. Shame! These people took you \n in. That boy Wally's at *war*!", "Wally hears Homer's facetiousness--how tired he is of his \n heart condition.", "From another window, Fuzzy just stares. (Of course he's \n coughing.)\n\n We see Wally carrying Candy to the car.", "WALLY\n You girls make it hard for a guy to \n go off to war.\n (points to Homer)", "Homer is unfamiliar with this kind of kidding around; at \n first he is startled, but then he laughs. Wally laughs, too. \n They shake hands.", "CANDY\n No. Nothing is nothing. I want Wally \n to come home. I'm afraid to see him, \n too.", "They notice that Candy has stopped crying. Wally finds Candy \n asleep in the backseat.\n\n EXT. WALLY'S CAR - ON THE ROAD - LATE AT NIGHT", "Homer looks confused; he seems to have forgotten about the \n alleged wedding. Wally puts his arm around Homer, urging him \n into the hall." ], [ "the film breaks in the predictable place, Fuzzy makes no \n protest. Dr. Larch looks at Fuzzy, who has stopped breathing; \n his eyes are closed.", "Dr. Larch is reading from Oliver Twist--the death scene of \n Bill Sike's dog. The boys listen in horror in their beds.", "Angela enters. She feels for Larch's pulse; Larch is dead. \n Angela opens a window. She pull's Larch's body away from the \n windowsill. Buster joins her on the bed.", "INT. BOYS' DIVISION - NIGHT\n\n Dr. Larch is standing in the doorway to the boys' room; he \n closes the door.", "ANGELA (V.O.)\n Let us be happy for Dr. Larch. Dr. \n Larch has found a family.", "LARCH\n (inhales deeply)\n She died of *secrecy*, she died of \n *ignorance*...", "THE BOYS (V.O.)\n Good night, Dr. Larch! Good night, \n Dr. Larch! Good night, Dr. Larch!", "LARCH\n I think we may have lot him to the \n world. He's not coming back.\n\n END OF THE MONTAGE.", "LARCH (V.O.)\n His name was Homer Wells.\n\n Dr. Larch hands over the infant to the adopting parents.", "Homer calls out as though he's just coming down the corridor.\n\n HOMER\n Dr. Larch! Dr. Larch!\n\n INT. DISPENSARY - DAY", "HOMER\n No. Dr. Larch will be performing the \n procedure.", "She holds Homer's head against her belly; she presses his \n face into her. She shuts her eyes. Homer's eyes stare widely. \n Dr. Larch stops in the doorway; he watches with concern.", "Larch bursts into the home of the second couple and lifts a \n crying and bruised Homer out of his bed. There is rage in \n Larch's eyes as he looks at the couple.", "Dr. Larch and Homer leave together.\n\n INT. CORRIDOR - DAY\n\n The *two* doctors walk briskly down the hall, a couple of \n professionals.", "Larch tells Homer to have a look. Larch then whispers \n something to Edna; she brings the ether bottle and cone \n quickly. Larch starts putting the cone in place, over the", "LARCH\n (irritated)\n Life is waiting.\n\n Angela disappears. Larch looks at the next baby's record \n (attached to the bed).", "Dr. Larch stands in front of a mechanical drawing easel. He \n works intently with a calligraphic pen, but we don't see", "On his bed, Larch is taking ether. We hear the refrain from \n the boys in the bunk room Over.", "FUZZY\n (whispers to Larch)\n His father's dead, right?", "The film breaks--to huge cries of disappointment from the \n orphans. Fuzzy coughs and coughs while Larch fumbles with" ], [ "Jack pulls a knife on Mr. Rose.", "Homer and Muddy exchange a glance. Mr. Rose, with his blood-\n soaked hand, suddenly grabs Homer by the throat.", "Homer finds Mr. Rose's knife. There's blood everywhere.", "Homer can't bear to watch Rose Rose at work with the needle.\n\n ROSE ROSE\n We should drown that damn Jack in \n the vat!", "We never see Mr. Rose's knife. We see the men circle each \n other: Jack takes a swipe at Mr. Rose's head--then he steps", "MR. ROSE\n That's 'cause I sticked my *own* \n knife in the wound--after she go, I", "Rose Rose's bed is exposed. The curtains are flung open; her \n bed is empty. Mr. Rose is still in his bed, in the fetal", "Rose Rose stops; she can't even continue setting the table. \n Her voice turns bitter, despairing.\n\n ROSE ROSE\n It sure ain't Jack.", "Some muttering, some giggling, mostly silence. Rose Rose \n wants more, but suddenly Jack jumps out of bed and stomps to", "OLIVE\n Good-bye, Arthur.\n (she hugs Rose Rose)\n Homer, I'll see you tomorrow?\n\n HOMER\n Right.", "at, then looks away from, Rose Rose. Mr. Rose is the last to \n sit down at the table as a very tense, wordless lunch begins.", "Angela enters. She feels for Larch's pulse; Larch is dead. \n Angela opens a window. She pull's Larch's body away from the \n windowsill. Buster joins her on the bed.", "MR. ROSE\n Let me hear you say that! I so unhappy \n she runned away that I killed myself--\n that what happen here, ain't that \n right?", "MR. ROSE\n That Jack just never knew what his \n business was.\n\n One look at Muddy and we know something pretty bad happened \n to Jack.", "Mr. Rose has cut his own hand in the fight. Homer's \n professionalism if offended to watch Rose Rose's amateurish", "MR. ROSE\n (proudly)\n She's *good* with that knife! She's", "Mr. Rose takes an apple from a bowl on the table. Then he \n pulls out a knife and opens it in one fluid motion; he's so", "MR. ROSE\n She just plan misunderstand me--I \n was tryin' to give her my knife, I", "Rose Rose picks up the book that Homer has put on the bed. \n She studies the cover; it's \"Great Expectations\" by Charles \n Dickens. She puts it down, restlessly.", "Rose Rose lies down on her bed with the curtain open. There \n is something familiar about the way Homer approaches her" ], [ "OLIVE\n Thank you, Arthur.\n (see is looking at \n Homer)\n And how is our Homer working out?", "HOMER\n And what did she die of, exactly?\n\n CANDY\n She was torn apart! She died of a \n broken heart.", "HOMER\n This is the last one.\n\n The men groan, in mock disappointment.", "OLIVE\n Good-bye, Arthur.\n (she hugs Rose Rose)\n Homer, I'll see you tomorrow?\n\n HOMER\n Right.", "HOMER\n (deadpan; just the \n facts)\n He's *alive*. He still loves you.\n (pause)\n So do I.", "Homer decides to stop. Another silence.", "Homer takes the blanket off him; Muddy gasps. Homer tries to \n examine Mr. Rose's wound. Mr. Rose smiles at him.", "Homer makes no response. As the train approaches, Homer and \n Buster go sit on a loading cart. They see the distraught", "Homer nods, pocketing the knife. As Muddy climbs down and \n moves his ladder to an adjacent tree, he keeps talking to \n Homer until he disappears in the leaves.", "Mr. Rose dies. Muddy turns away. Homer closes Mr. Rose's \n eyes.\n\n EXT. CIDER HOUSE, ROOF - MORNING", "HOMER\n I have to go, Curly. I'm sorry.\n (to Edna)\n I couldn't find Buster. Will you \n tell him...", "Homer and Muddy exchange a glance. Mr. Rose, with his blood-\n soaked hand, suddenly grabs Homer by the throat.", "arrives at the same time. They stand awkwardly next to each \n other, waiting for someone to answer the door. The woman is \n crying. Homer reaches out and takes her hand.", "Larch bursts into the home of the second couple and lifts a \n crying and bruised Homer out of his bed. There is rage in \n Larch's eyes as he looks at the couple.", "Job done, Homer leaves the table and hurries to the bicycle, \n pedaling away. Rose Rose watches Homer go, as Mr. Rose flexes \n his healed hand.", "Larch closes the door, leaving them in the semi-darkness. \n One young boy runs into Homer's bed, nervously giggling.", "Angela enters. She feels for Larch's pulse; Larch is dead. \n Angela opens a window. She pull's Larch's body away from the \n windowsill. Buster joins her on the bed.", "Homer stops and looks at the boys' faces.\n\n CURLY\n What happens next?\n\n Homer smiles.", "As Homer puts his stuff in the truck of Wally's car, Angela \n can't resist touching his face. She is too upset to speak.", "Homer and Larch split off and disappear into two different \n operating rooms. As he goes, Homer mumbles to himself, \"Of \n use, of use, of use.\"" ], [ "with the orphans' rapt faces. Homer sits near the front, \n mesmerized by the film. Dr. Larch and Angela sit by the", "Larch carries Homer up the orphanage hill.", "We enter an office where DR. LARCH shows couple #1 their \n newly adopted son, HOMER, an infant who lies smiling in Dr. \n Larch's arms.", "LARCH (V.O.)\n Thus was Homer Wells returned. He \n was too happy a baby.\n\n EXT. ORPHANAGE - DAY", "LARCH (V.O.)\n His name was Homer Wells.\n\n Dr. Larch hands over the infant to the adopting parents.", "Homer disappears into the boys' bunk room carrying Curly and \n his suitcase, leaving the corridor empty.\n\n INT./EXT. ORPHANAGE - DAY", "INT./EXT. ORPHANAGE - DAY\n\n At the front door, Larch and the nurses wave and call good-\n bye to Homer, they close the door.", "Homer calls out as though he's just coming down the corridor.\n\n HOMER\n Dr. Larch! Dr. Larch!\n\n INT. DISPENSARY - DAY", "It's after dawn, but still a little dark, as Homer walks to \n the orphanage door, suitcase in hand. A HUGELY PREGNANT WOMAN", "Homer takes that in; he nods. Mary Agnes touches him \n sympathetically.\n\n INT. LARCH'S OFFICE - NIGHT", "Homer looks out the window at Wally again. His decision forms.\n\n EXT. ORPHANAGE DRIVEWAY - DAY", "LARCH (V.O.)\n God forgive me. I have *made* an \n orphan by loving him too much. Homer \n Wells will belong to St. Cloud's, \n forever.", "Larch bursts into the home of the second couple and lifts a \n crying and bruised Homer out of his bed. There is rage in \n Larch's eyes as he looks at the couple.", "HOMER\n No. Dr. Larch will be performing the \n procedure.", "Homer enters, he stands uncomfortably, watching Larch for a \n moment. Then he turns around and walks back into the corridor.\n\n INT. CORRIDOR - DAY", "Dr. Larch is reading from Oliver Twist--the death scene of \n Bill Sike's dog. The boys listen in horror in their beds.", "orphan? I had been too successful \n with Homer Wells. I had managed to \n make the orphanage his *home*.", "She holds Homer's head against her belly; she presses his \n face into her. She shuts her eyes. Homer's eyes stare widely. \n Dr. Larch stops in the doorway; he watches with concern.", "INT. BOYS' DIVISION - NIGHT\n\n Dr. Larch is standing in the doorway to the boys' room; he \n closes the door.", "Homer looks around at the pickers lying in their beds, \n smoking, listening. (Like bedtime stories at the orphanage, \n he thinks; however, the picker's attitude is suspicious, \n reserved.)" ] ]

[ "How many different foster parents did Homer Wells had?", "Why did the first foster parents got rid of Homer Wells?", "What did the second foster parent did to Homer?", "Who was the oldest among the orphans?", "How did Homer leave the orphanage?", "Where did Homer live when he is away from the orphanage?", "Why did Homer exempt the military service?", "Who has rapped and impregnated his own daughter?", "Why did Larch faked his diagnosis and medical record?", "Why did Homer return to the orphanage from his second family?", "What is Dr. Larch train Homer in?", "What is the bunkhouse that Homer stays in called?", "Why is Homer exempt from military service?", "Where does Homer go after leaving the orphanage?", "Who is Mr. Arthur Rose?", "How did Rose fall pregnant?", "Who assists Homer with Rose's abortion?", "Why does Homer return to the orphanage?", "What does Homer discover when he returns to the orphanage?", "Who teaches Homer his trade in obstetrics and abortions? ", "Why does Homer decide to leave the orphanage? ", "How does Candy Kendall meet Homer?", "Where does the story take place?", "Why was Homer not able to go to war? ", "What condition did Wally have when he returned from the war? ", "How does Dr. Larch die? ", "Why does Rose stab Arthur? ", "What does Arthur tell Homer and the others to tell the police about his death? ", "When Homer returns to the orphanage after Dr Larch's death what position is he given? " ]

[ [ "Two.", "Two." ], [ "They though he was too quiet.", "too quiet" ], [ "They beat him.", "Beat Him" ], [ "Homers Wells.", "Homer" ], [ "With Candy Kendell and her boyfriend.", "He leaves with Candy and Wally." ], [ "On the Worthington estate in a bunk house called a cider house.", "The Cider House." ], [ "Dr. Larch diagnosed Homer with a heart condition.", "He was diagnosed with a heart condition." ], [ "Arthur Rose.", "Arthur Rose." ], [ "To keep himself out of the war.", "To keep Homer out of the war" ], [ "They beat him.", "They beat him." ], [ "Obstetrics and abortions.", "obstetrics and abortions" ], [ "The Cider House", "The Cider House." ], [ "Dr. Larch diagnosed him as having a heart condition.", "Larch diagnosed him with a heart condition." ], [ "To work at the Worthington family apple orchard.", "The Worthington apple orchard." ], [ "The boss of the apple picking crew.", "A migrant worker for the orchard." ], [ "Her father impregnated her.", "Her father raped her" ], [ "Arthur Rose", "Arthur." ], [ "He decdied to go where he was needed.", "Dr. Larch died" ], [ "He has been made director.", "He is the director" ], [ "Dr. Larch", "Dr. Larch" ], [ "Homer wants to explore other parts of the world. ", "He wants to see the world" ], [ "She went to the clinic Homer worked at for medical treatment. ", "She comes to the clinic for an abortion." ], [ "Maine", "Maine" ], [ "Dr. Larch said Homer had a heart condition.", "Dr. Larch had said he had a heart condition. " ], [ "He was paralyzed ", "paraplegic" ], [ "Overdose", "Accidental ether overdose. " ], [ "Arthur raped Rose and got her pregnant. ", "He raped her" ], [ "Arthur killed himself", "That is was a suicide. " ], [ "Director ", "Director." ] ]

[ [ "HIM. He reaches the girl and bending \n down, lifts her head. We see it is Babe \n Bennett. Her eyes are closed, apparently", "I'm going to tell him the truth.\n \n MAC\n \n Tell him you're Babe Bennett? Tell him", "apparently indifferent, is Babe Bennett. \n The editor, Mac, is haranguing them.\n \n \n MAC", "Miss Bennett, are you employed by the \n Morning Mail?\n \n There is no answer. Babe continues to", "BABE\n \n Louise Bennett.\n \n CLERK", "swell fellow this man was. And anything \n Babe Bennett says is okay with me.\n \n \n JUDGE", "Babe leans her head back in a reminiscent \n mood. We get a feeling that, for the \n moment, she has forgotten she is Babe", "Bennett, out on a story.\n \n BABE\n \n Ah, it's a beautiful little town, too.", "COBB\n \n Babe Bennett? Just a minute.\n \n He listens and hands phone to Longfellow.", "Babe is too much absorbed to hear this. \n Getting no response, Mabel turns and \n studies her for a few seconds.", "Your Honor, at this time, we would like \n to call our first witness: Miss Louise \n - Babe - Bennett.", "(recognizes her)\n \n Oh, it's you again.\n \n BABE", "ANDERSON\n \n Here's the report: Longfellow Deeds,", "know whether she's home or not. I'll \n see.\n \n As she turns, Babe appears in doorway.", "her, and she is lost in thought.\n \n BABE\n \n (continuing)", "As Babe, weeping softly, frees herself \n from his embrace.", "the name of Deeds. It's important - \n very important!\n \n AGENT", "Under which is the following:\n \n \"Louise (Babe) Bennett - wins Pulitzer \n Prize for reportorial job on Macklyn", "Babe is unresponsive.\n \n MABEL\n \n (after a pause)", "352. CLOSE SHOT - BABE\n \n She can scarcely conceal her elation." ], [ "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "late Martin Semple. The charges are \n that Mr. Deeds is insane and incapable \n of handling the Estate.", "(confidentially - indicating Longfellow)\n \n \n Pardon. Longfellow Deeds, who just inherited", "Well, you see, your uncle didn't bother \n with that sort of thing. He left everything \n to us. He traveled most of the time,", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes", "Mr. Deeds, you haven't yet touched upon \n a most important thing. This rather \n fantastic idea of yours to want to give", "made by Longfellow Deeds - New York's \n new Cinderella Man - who went out last \n night to prove that his uncle, the late", "MAN\n \n Mr. Deeds, the boys here wanted me to \n say a little something. They just wanted", "Oh, Mr. Deeds—\n \n Longfellow looks up. Farmer goes on:", "Perhaps you didn't hear what I said, \n Mr. Deeds! The whole Semple fortune", "the name of Deeds. It's important - \n very important!\n \n AGENT", "ANDERSON\n \n Here's the report: Longfellow Deeds,", "Oh, yes - Deeds. Fine fellow. Very democratic. \n You won't have no trouble at all. Talk \n to anybody.", "HENABERRY\n \n Wait a minute, boys. Perhaps Mr. Deeds \n would recite one for us.", "JUDGE\n \n Mr. Deeds, in view of the extensive \n testimony and your continued silence", "Carried.\n \n (rises)\n \n My congratulations, Mr. Deeds.", "and enjoyed himself. You should do the \n same thing, Mr. Deeds.\n \n LONGFELLOW", "Why, no.\n \n CEDAR\n \n Mr. Deeds, does the name of Martin W.", "I have good news for you, sir. Mr. Semple \n left a large fortune when he died. He \n left it all to you, Mr. Deeds. Deducting", "WIFE\n \n A yokel! Nothing but a yokel! Your uncle \n must have been mad to leave all that" ], [ "Mr. Deeds, you haven't yet touched upon \n a most important thing. This rather \n fantastic idea of yours to want to give", "and enjoyed himself. You should do the \n same thing, Mr. Deeds.\n \n LONGFELLOW", "MAN\n \n Mr. Deeds, the boys here wanted me to \n say a little something. They just wanted", "this little episode, and other photographs \n showing Mr. Deeds jumping upon a fire \n engine. This scarcely sounds like the", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "Oh, Mr. Deeds—\n \n Longfellow looks up. Farmer goes on:", "HENABERRY\n \n Wait a minute, boys. Perhaps Mr. Deeds \n would recite one for us.", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes", "Oh, yes - Deeds. Fine fellow. Very democratic. \n You won't have no trouble at all. Talk \n to anybody.", "What about it, Mr. Deeds?\n \n LONGFELLOW\n \n Why, I turned them down, naturally.", "Perhaps you didn't hear what I said, \n Mr. Deeds! The whole Semple fortune", "I understand that you have no counsel, \n Mr. Deeds. In fact, that you have no \n intention of defending any of these", "In the interest of Mr. Deeds, I have \n tolerated a great deal of informality. \n But if there is one more outburst, I", "Dr. Von Holler, how would you say that \n applied to Mr. Deeds's case?\n \n VON HOLLER", "A drink for Mr. Deeds!\n \n HENABERRY\n \n He's a poet. Have a drink.", "\"LONGFELLOW DEEDS TO GIVE FORTUNE AWAY \n Huge farming district to be divided", "Mr. Cedar!\n \n CEDAR\n \n Mr. Deeds is drawing on his warped imagination!", "(confidentially - indicating Longfellow)\n \n \n Pardon. Longfellow Deeds, who just inherited", "I think you ought to give this matter \n some thought, Mr. Deeds.\n \n LONGFELLOW", "made by Longfellow Deeds - New York's \n new Cinderella Man - who went out last \n night to prove that his uncle, the late" ], [ "Mr. Cedar!\n \n CEDAR\n \n Mr. Deeds is drawing on his warped imagination!", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "Why, no.\n \n CEDAR\n \n Mr. Deeds, does the name of Martin W.", "CEDAR\n \n He's capable of causing you a lot of \n trouble, Mr. Deeds.", "Cedar jumps up.\n \n CEDAR\n \n Your Honor, this is absurd. The woman's", "CEDAR\n \n (addressing the court)\n \n —and in the interests of my client,", "CEDAR\n \n Your Honor!\n \n The Judge pounds his gavel throughout", "Cedar has been most uncomfortable through \n the scene, but now suavely assumes an \n admiring attitude.", "to get a lawyer. I'll call Cedar.\n \n \n LONGFELLOW", "? 458 ?\n \n CEDAR\n \n Your Honor, this is becoming farcical.", "INT. CEDAR'S PRIVATE OFFICE\n \n 135. FULL SHOT", "CEDAR\n \n I say, my friend, do you know a fellow \n by the name of Longfellow Deeds?", "CEDAR\n \n It's a lie!\n \n JUDGE", "of Cedar - tall and athletic. The third \n is a small, frightened-looking man. \n He is Budington.", "'Should Be Confined To An Institution,' \n Declares Cedar.\n \n \"Longfellow Deeds Refuses Counsel; Remains", "He rises to his feet, takes one step \n forward, and clouts Cedar flush on the \n jaw. As Cedar falls into the arms of", "from him. Cedar enters, hangs up his \n coat, hat and cane.\n \n COBB", "Wants to know who the heir is.\n \n CEDAR\n \n (firmly)", "CEDAR\n \n Your Honor, her testimony is of no value. \n Why shouldn't she defend him? It's a", "? 343 ?\n \n CEDAR\n \n Mr. Deeds, are you the son of Dr. Joseph" ], [ "HIM. He reaches the girl and bending \n down, lifts her head. We see it is Babe \n Bennett. Her eyes are closed, apparently", "I'm going to tell him the truth.\n \n MAC\n \n Tell him you're Babe Bennett? Tell him", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "All are startled and look up. Babe runs \n right to the Judge.\n \n BABE", "Babe continues reading:\n \n BABE\n \n \"My dream has been answered, but my", "know whether she's home or not. I'll \n see.\n \n As she turns, Babe appears in doorway.", "CAMERA PULLS BACK and we find Babe, \n staring at the sheet of paper in front", "As Babe, weeping softly, frees herself \n from his embrace.", "book, and hands it to Mac.\n \n BABE\n \n This is for you , Mac. The names of", "Longfellow and Babe smile. As Morrow \n continues to speak, he sways drunkenly", "Babe is unresponsive.\n \n MABEL\n \n (after a pause)", "Babe winces under the blow.\n \n INT. HOSPITAL ROOM", "As Cedar steps up to question Babe. \n Judge in f.g.\n \n CEDAR", "Babe is too much absorbed to hear this. \n Getting no response, Mabel turns and \n studies her for a few seconds.", "As Babe's voice continues:\n \n BABE'S VOICE", "leaves the table accompanied by Babe. \n For a moment they are nonplussed - then \n they break into raucous laughter - all", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes", "them. Babe is afraid to look up.\n \n LONGFELLOW\n \n (quietly)", "When Babe is out of sight, the Judge \n turns to Longfellow.\n \n JUDGE", "BABE\n \n Louise Bennett.\n \n CLERK" ], [ "Mr. Deeds, there has been a great deal \n of damaging testimony against you. Your \n behavior, to say the least, has been \n most strange.", "(to Longfellow)\n \n Regarding the sanity hearing of Longfellow \n Deeds, are you represented by counsel,", "But in the opinion of the Court, you \n are not only sane, but you are the sanest \n man that ever walked into this courtroom.", "late Martin Semple. The charges are \n that Mr. Deeds is insane and incapable \n of handling the Estate.", "JUDGE\n \n Mr. Deeds, in view of the extensive \n testimony and your continued silence", "He turns to one of the psychiatrists, \n sitting with the Judge.\n \n VON HOLLER", "MAN\n \n Mr. Deeds, the boys here wanted me to \n say a little something. They just wanted", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "HENABERRY\n \n Wait a minute, boys. Perhaps Mr. Deeds \n would recite one for us.", "He's not defending himself. Somebody's \n got to do it!\n \n Throughout her tirade, the Judge has", "I understand that you have no counsel, \n Mr. Deeds. In fact, that you have no \n intention of defending any of these", "Cedar jumps up.\n \n CEDAR\n \n Your Honor, this is absurd. The woman's", "\"DEEDS SANITY HEARING TODAY!\n \n Semple Heir Charged With Incompetency!", "JUDGE\n \n (leaning forward)\n \n Mr. Deeds, before the court arrives", "Oh, yes - Deeds. Fine fellow. Very democratic. \n You won't have no trouble at all. Talk \n to anybody.", "JUDGE\n \n Mr. Deeds?\n \n (again no reply)", "The whole hearing's ridiculous! That \n man's no more insane than you are.", "Dr. Von Holler, how would you say that \n applied to Mr. Deeds's case?\n \n VON HOLLER", "COBB\n \n Insanity! Who's says he's insane?\n \n They all turn to Charlie, who comes", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes" ], [ "Babe is too much absorbed to hear this. \n Getting no response, Mabel turns and \n studies her for a few seconds.", "All are startled and look up. Babe runs \n right to the Judge.\n \n BABE", "I must ask you to direct your attention \n to me.\n \n But Babe's attention remains focused", "Babe is unresponsive.\n \n MABEL\n \n (after a pause)", "HIM. He reaches the girl and bending \n down, lifts her head. We see it is Babe \n Bennett. Her eyes are closed, apparently", "her, and she is lost in thought.\n \n BABE\n \n (continuing)", "There is a general stir of excitement \n - and whispering.\n \n 326. CLOSE SHOT - BABE", "264. CLOSE SHOT - BABE AND MAC\n \n Babe sits up, her eyes riveted on Longfellow.", "352. CLOSE SHOT - BABE\n \n She can scarcely conceal her elation.", "Favoring Babe. She stares at him curiously.\n \n \n LONGFELLOW", "know whether she's home or not. I'll \n see.\n \n As she turns, Babe appears in doorway.", "Babe, eyes on Longfellow, slowly walks \n to the stand.\n \n 277. CLOSEUP - LONGFELLOW", "BABE\n \n (just as loud)\n \n Yes!!!", "Mabel enters. Babe stands in doorway.\n \n \n MABEL", "Babe leans her head back in a reminiscent \n mood. We get a feeling that, for the \n moment, she has forgotten she is Babe", "CAMERA PULLS BACK and we find Babe, \n staring at the sheet of paper in front", "Babe glances up at Longfellow, to see \n if he's aware that he is being laughed", "Among the spectators Babe sits beside \n Mac. She stares, expression-less. Mac", "Please answer the questions.\n \n BABE\n \n (wildly)", "Longfellow and Babe smile. As Morrow \n continues to speak, he sways drunkenly" ], [ "Are these the articles?\n \n BABE\n \n Yes!", "made by Longfellow Deeds - New York's \n new Cinderella Man - who went out last \n night to prove that his uncle, the late", "gesture of his hand.\n \n BABE\n \n Certainly I wrote those articles. I", "Did you subsequently write a series \n of articles about him?\n \n BABE", "ANDERSON\n \n Here's the report: Longfellow Deeds,", "I have before me a series of articles \n written by a newspaper woman who was \n an eye-witness to his conduct ever since \n he came to New York.", "Feel better now?\n \n BABE\n \n Mmm, it tastes so good. Mr. Deeds, I", "apparently indifferent, is Babe Bennett. \n The editor, Mac, is haranguing them.\n \n \n MAC", "BABE\n \n Oh, they just do it to sell the newspapers, \n you know.", "Mr. Deeds, have you anything to say \n in defense of these articles?", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "\"Longfellow Deeds, 'The Cinderella Man,' \n last night threw a 'defy' into the teeth", "Favoring Babe. She stares at him curiously.\n \n \n LONGFELLOW", "Oh, Mr. Deeds—\n \n Longfellow looks up. Farmer goes on:", "Mr. Longfellow Deeds?\n \n LONGFELLOW\n \n Yes.", "Babe leans her head back in a reminiscent \n mood. We get a feeling that, for the \n moment, she has forgotten she is Babe", "Why, no.\n \n CEDAR\n \n Mr. Deeds, does the name of Martin W.", "A drink for Mr. Deeds!\n \n HENABERRY\n \n He's a poet. Have a drink.", "Longfellow and Babe smile. As Morrow \n continues to speak, he sways drunkenly" ], [ "CEDAR'S VOICE\n \n We have witnesses here from Mandrake", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "going all the way to Mandrake Falls \n to bring them here. Do you mind if I \n talk to them?", "Cedar jumps up.\n \n CEDAR\n \n Your Honor, this is absurd. The woman's", "CEDAR\n \n Mandrake Falls.\n \n (begins to spell as scene fades)", "CEDAR\n \n Your Honor, her testimony is of no value. \n Why shouldn't she defend him? It's a", "pounds his gavel.\n \n CEDAR\n \n We have photographs to substantiate", "CEDAR\n \n (addressing the court)\n \n —and in the interests of my client,", "CEDAR\n \n Your Honor!\n \n The Judge pounds his gavel throughout", "that in Mandrake Falls pretty soon – \n with a siren, too.\n \n There is a pause while he gets seated.", "Mr. Cedar!\n \n CEDAR\n \n Mr. Deeds is drawing on his warped imagination!", "? 458 ?\n \n CEDAR\n \n Your Honor, this is becoming farcical.", "Mrs. Meredith leaves. Cobb and Cedar \n have watched this by-play, open-mouthed, \n and are now even more astounded to see", "Captain Deeds - fire volunteer - Mandrake \n Falls.\n \n FIREMAN", "Against the drone of the clerk, who \n swears witnesses in:\n \n CEDAR", "JUDGE\n \n Please, Mr. Cedar!\n \n (to Longfellow)", "Why, no.\n \n CEDAR\n \n Mr. Deeds, does the name of Martin W.", "Come to order.\n \n CEDAR\n \n Your Honor, I wish to call your attention", "CEDAR\n \n It's a lie!\n \n JUDGE", "CEDAR\n \n (threateningly)\n \n You are under oath, Miss Bennett. I" ], [ "(confidentially - indicating Longfellow)\n \n \n Pardon. Longfellow Deeds, who just inherited", "Mr. Longfellow Deeds?\n \n LONGFELLOW\n \n Yes.", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes", "Oh, Mr. Deeds—\n \n Longfellow looks up. Farmer goes on:", "ANDERSON\n \n Here's the report: Longfellow Deeds,", "CEDAR\n \n I say, my friend, do you know a fellow \n by the name of Longfellow Deeds?", "made by Longfellow Deeds - New York's \n new Cinderella Man - who went out last \n night to prove that his uncle, the late", "(loud - for the boys)\n \n Oh! Oh, yes, of course. Longfellow Deeds. \n Come in. Step in, please.", "at home thinks of Longfellow Deeds?\n \n \n The two old ladies consult each other \n once more.", "(to Longfellow)\n \n Mr. Deeds, I represent Mrs. Semple.", "What about it, Mr. Deeds?\n \n LONGFELLOW\n \n Why, I turned them down, naturally.", "Mr. Deeds, you haven't yet touched upon \n a most important thing. This rather \n fantastic idea of yours to want to give", "They've been waiting a long while.\n \n \n Longfellow Deeds trails behind her.", "You see, Mr. Deeds, the opera is not \n conducted like any ordinary business.\n \n \n LONGFELLOW", "ANDERSON\n \n Longfellow Deeds - where does he live?\n \n \n AGENT", "and enjoyed himself. You should do the \n same thing, Mr. Deeds.\n \n LONGFELLOW", "Were you given an assignment to follow \n the activities of Longfellow Deeds?", "Perhaps you didn't hear what I said, \n Mr. Deeds! The whole Semple fortune", "\"Longfellow Deeds, 'The Cinderella Man,' \n last night threw a 'defy' into the teeth", "You see, Mr. Deeds, the opera is not \n conducted for profit.\n \n LONGFELLOW" ], [ "BABE\n \n Louise Bennett.\n \n CLERK", "Under which is the following:\n \n \"Louise (Babe) Bennett - wins Pulitzer \n Prize for reportorial job on Macklyn", "Miss Bennett, are you employed by the \n Morning Mail?\n \n There is no answer. Babe continues to", "HIM. He reaches the girl and bending \n down, lifts her head. We see it is Babe \n Bennett. Her eyes are closed, apparently", "Your Honor, at this time, we would like \n to call our first witness: Miss Louise \n - Babe - Bennett.", "COBB\n \n Mary Dawson, huh? Mary Dawson, my eye. \n That dame took you for a sleigh ride", "apparently indifferent, is Babe Bennett. \n The editor, Mac, is haranguing them.\n \n \n MAC", "for Miss Dawson being here with me, \n I'd probably bump your heads together.\n \n \n BABE", "Is Mary Dawson here? I'm Longfellow \n Deeds.\n \n 175. CLOSE SHOT - BOB AND FRANK", "Oh, my lunch hour. I'm a stenographer, \n you know. Mary Dawson.", "Several feet away from her Mabel Dawson \n stands in front of an easel, working \n silently on a painting. She dabs at", "swell fellow this man was. And anything \n Babe Bennett says is okay with me.\n \n \n JUDGE", "Bennett, out on a story.\n \n BABE\n \n Ah, it's a beautiful little town, too.", "Babe is too much absorbed to hear this. \n Getting no response, Mabel turns and \n studies her for a few seconds.", "COBB\n \n Babe Bennett? Just a minute.\n \n He listens and hands phone to Longfellow.", "(alertly)\n \n Who? Miss Dawson?\n \n BUTLER", "her, and she is lost in thought.\n \n BABE\n \n (continuing)", "Babe is unresponsive.\n \n MABEL\n \n (after a pause)", "BABE\n \n I even moved into Mabel Dawson's apartment \n - in case old snoopy Cobb might start", "know whether she's home or not. I'll \n see.\n \n As she turns, Babe appears in doorway." ], [ "Captain Deeds - fire volunteer - Mandrake \n Falls.\n \n FIREMAN", "hurt you again - ever. They can't anyway. \n You're much too real. You go back to \n Mandrake Falls. That's where you belong", "that in Mandrake Falls pretty soon – \n with a siren, too.\n \n There is a pause while he gets seated.", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "LONGFELLOW\n \n I'm kind of nervous. I've never been \n away from Mandrake Falls in my life.", "Falls, his own home town, who will tell \n of his conduct throughout his lifetime, \n proving that his derangement is neither", "Why, no.\n \n CEDAR\n \n Mr. Deeds, does the name of Martin W.", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes", "Welcome to Mandrake Falls -\n \n Where the scenery enthralls -", "They've been waiting a long while.\n \n \n Longfellow Deeds trails behind her.", "CEDAR\n \n Mandrake Falls.\n \n (begins to spell as scene fades)", "Oh, Mr. Deeds—\n \n Longfellow looks up. Farmer goes on:", "going all the way to Mandrake Falls \n to bring them here. Do you mind if I \n talk to them?", "Where no hardship e'er befalls -\n \n Welcome to Mandrake Falls.", "MAN\n \n Mr. Deeds, the boys here wanted me to \n say a little something. They just wanted", "What about it, Mr. Deeds?\n \n LONGFELLOW\n \n Why, I turned them down, naturally.", "and enjoyed himself. You should do the \n same thing, Mr. Deeds.\n \n LONGFELLOW", "made by Longfellow Deeds - New York's \n new Cinderella Man - who went out last \n night to prove that his uncle, the late", "ANDERSON\n \n Here's the report: Longfellow Deeds,", "this little episode, and other photographs \n showing Mr. Deeds jumping upon a fire \n engine. This scarcely sounds like the" ], [ "Mr. Deeds, you haven't yet touched upon \n a most important thing. This rather \n fantastic idea of yours to want to give", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes", "Oh, Mr. Deeds—\n \n Longfellow looks up. Farmer goes on:", "and enjoyed himself. You should do the \n same thing, Mr. Deeds.\n \n LONGFELLOW", "MAN\n \n Mr. Deeds, the boys here wanted me to \n say a little something. They just wanted", "A drink for Mr. Deeds!\n \n HENABERRY\n \n He's a poet. Have a drink.", "HENABERRY\n \n Wait a minute, boys. Perhaps Mr. Deeds \n would recite one for us.", "made by Longfellow Deeds - New York's \n new Cinderella Man - who went out last \n night to prove that his uncle, the late", "What about it, Mr. Deeds?\n \n LONGFELLOW\n \n Why, I turned them down, naturally.", "this little episode, and other photographs \n showing Mr. Deeds jumping upon a fire \n engine. This scarcely sounds like the", "at home thinks of Longfellow Deeds?\n \n \n The two old ladies consult each other \n once more.", "(confidentially - indicating Longfellow)\n \n \n Pardon. Longfellow Deeds, who just inherited", "JUDGE\n \n Mr. Deeds, in view of the extensive \n testimony and your continued silence", "I understand that you have no counsel, \n Mr. Deeds. In fact, that you have no \n intention of defending any of these", "Yes!\n \n Mr. Deeds is a distinguished poet.", "Mr. Longfellow Deeds?\n \n LONGFELLOW\n \n Yes.", "Carried.\n \n (rises)\n \n My congratulations, Mr. Deeds.", "Why, no.\n \n CEDAR\n \n Mr. Deeds, does the name of Martin W.", "I think you ought to give this matter \n some thought, Mr. Deeds.\n \n LONGFELLOW" ], [ "John—\n \n CEDAR\n \n Close that door.", "Hello, John. Where have you been?\n \n CEDAR\n \n (as he walks briskly)", "With Cedar - as he passes through the \n room - arriving at a door marked \"JOHN \n CEDAR, PRIVATE.\" He goes through the", "Mr. Cedar is, and I haven't seen him \n in two days.\n \n (hangs up the phone)", "FIRST BROTHER\n \n Come on, John. What happened?\n \n CEDAR", "CEDAR\n \n Your Honor!\n \n The Judge pounds his gavel throughout", "Cedar sits down.\n \n CEDAR\n \n (breaking the silence)", "from him. Cedar enters, hangs up his \n coat, hat and cane.\n \n COBB", "CEDAR\n \n Mr. Cobb here is an ex-newspaperman \n associated with your uncle for many", "CEDAR\n \n (addressing the court)\n \n —and in the interests of my client,", "CEDAR\n \n She tells how, in the midst of a normal \n conversation, he would suddenly begin", "INT. CEDAR'S PRIVATE OFFICE\n \n 135. FULL SHOT", "Cedar has been most uncomfortable through \n the scene, but now suavely assumes an \n admiring attitude.", "Dr. Von Holler returns to his seat.\n \n \n CEDAR", "Yes sir, Mr. Cedar. This is the town \n all right.\n \n CEDAR", "of Cedar - tall and athletic. The third \n is a small, frightened-looking man. \n He is Budington.", "He rises to his feet, takes one step \n forward, and clouts Cedar flush on the \n jaw. As Cedar falls into the arms of", "to each other.\n \n JANE\n \n (turns to Cedar)", "CEDAR\n \n It's a lie!\n \n JUDGE", "As he listens to Cedar, watching him \n antagonistically.\n \n CEDAR'S VOICE" ], [ "'Should Be Confined To An Institution,' \n Declares Cedar.\n \n \"Longfellow Deeds Refuses Counsel; Remains", "Mr. Cedar!\n \n CEDAR\n \n Mr. Deeds is drawing on his warped imagination!", "Why, no.\n \n CEDAR\n \n Mr. Deeds, does the name of Martin W.", "CEDAR\n \n (addressing the court)\n \n —and in the interests of my client,", "late Martin Semple. The charges are \n that Mr. Deeds is insane and incapable \n of handling the Estate.", "CEDAR\n \n He's capable of causing you a lot of \n trouble, Mr. Deeds.", "Cedar jumps up.\n \n CEDAR\n \n Your Honor, this is absurd. The woman's", "CEDAR\n \n Your Honor, her testimony is of no value. \n Why shouldn't she defend him? It's a", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "CEDAR\n \n Your Honor!\n \n The Judge pounds his gavel throughout", "? 458 ?\n \n CEDAR\n \n Your Honor, this is becoming farcical.", "CEDAR\n \n It's a lie!\n \n JUDGE", "Mr. Deeds, there has been a great deal \n of damaging testimony against you. Your \n behavior, to say the least, has been \n most strange.", "CEDAR\n \n I say, my friend, do you know a fellow \n by the name of Longfellow Deeds?", "I understand that you have no counsel, \n Mr. Deeds. In fact, that you have no \n intention of defending any of these", "? 343 ?\n \n CEDAR\n \n Mr. Deeds, are you the son of Dr. Joseph", "Dr. Von Holler, how would you say that \n applied to Mr. Deeds's case?\n \n VON HOLLER", "to get a lawyer. I'll call Cedar.\n \n \n LONGFELLOW", "CEDAR\n \n But Your Honor—\n \n JUDGE", "CEDAR\n \n Your Honor, I object.\n \n JUDGE" ], [ "Cedar and his assistants arrange their \n papers. Two dignified gentlemen, psychiatrists, \n await action, arms folded. Near them", "'Should Be Confined To An Institution,' \n Declares Cedar.\n \n \"Longfellow Deeds Refuses Counsel; Remains", "Dr. Von Holler, how would you say that \n applied to Mr. Deeds's case?\n \n VON HOLLER", "CEDAR\n \n Your Honor!\n \n The Judge pounds his gavel throughout", "CEDAR\n \n (addressing the court)\n \n —and in the interests of my client,", "He turns to one of the psychiatrists, \n sitting with the Judge.\n \n VON HOLLER", "late Martin Semple. The charges are \n that Mr. Deeds is insane and incapable \n of handling the Estate.", "Mr. Deeds, there has been a great deal \n of damaging testimony against you. Your \n behavior, to say the least, has been \n most strange.", "Mr. Cedar!\n \n CEDAR\n \n Mr. Deeds is drawing on his warped imagination!", "CEDAR\n \n She tells how, in the midst of a normal \n conversation, he would suddenly begin", "CEDAR\n \n Now Dr. Von Holler, will you kindly \n tell the court what your opinion is", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "Cedar jumps up.\n \n CEDAR\n \n Your Honor, this is absurd. The woman's", "(to Longfellow)\n \n Regarding the sanity hearing of Longfellow \n Deeds, are you represented by counsel,", "CEDAR\n \n He's capable of causing you a lot of \n trouble, Mr. Deeds.", "His attempted action must therefore \n be attributed to a diseased mind afflicted \n with hallucinations of grandeur, and", "? 458 ?\n \n CEDAR\n \n Your Honor, this is becoming farcical.", "As he listens to Cedar, watching him \n antagonistically.\n \n CEDAR'S VOICE", "CEDAR\n \n But Your Honor—\n \n JUDGE", "Why, no.\n \n CEDAR\n \n Mr. Deeds, does the name of Martin W." ], [ "at home thinks of Longfellow Deeds?\n \n \n The two old ladies consult each other \n once more.", "The Falkner sisters are rather timid, \n Your Honor, and wish to be together. \n If the court pleases, I will only have", "Mr. Deeds, there has been a great deal \n of damaging testimony against you. Your \n behavior, to say the least, has been \n most strange.", "Two old ladies are being led to the \n witness stand. Their eyelids flutter \n excitedly as they go.", "late Martin Semple. The charges are \n that Mr. Deeds is insane and incapable \n of handling the Estate.", "The two old ladies have their whispered \n conference again.\n \n JANE", "The Judge nods his understanding. The \n Falkner sisters nod in pleasant agreement. \n Cedar sighs victoriously.", "Dr. Von Holler, how would you say that \n applied to Mr. Deeds's case?\n \n VON HOLLER", "Perhaps you didn't hear what I said, \n Mr. Deeds! The whole Semple fortune", "The two old ladies look at each other, \n then in the direction in which Cedar \n points.\n \n JANE", "Now about the Falkner sisters. That's \n kind of funny. I mean about Mr. Cedar", "292. MED. CLOSE SHOT AT WITNESS STAND\n \n \n As Cedar addresses one of the old ladies.", "JUDGE\n \n Mr. Deeds, in view of the extensive \n testimony and your continued silence", "'Should Be Confined To An Institution,' \n Declares Cedar.\n \n \"Longfellow Deeds Refuses Counsel; Remains", "They've been waiting a long while.\n \n \n Longfellow Deeds trails behind her.", "I leave it to you, Mr. Deeds. Can you \n conceive of any court not being in sympathy \n with any woman who gave up the best", "I understand that you have no counsel, \n Mr. Deeds. In fact, that you have no \n intention of defending any of these", "In the interest of Mr. Deeds, I have \n tolerated a great deal of informality. \n But if there is one more outburst, I", "JUDGE\n \n (leaning forward)\n \n Mr. Deeds, before the court arrives", "Cedar jumps up.\n \n CEDAR\n \n Your Honor, this is absurd. The woman's" ], [ "COBB\n \n Mary Dawson, huh? Mary Dawson, my eye. \n That dame took you for a sleigh ride", "Is Mary Dawson here? I'm Longfellow \n Deeds.\n \n 175. CLOSE SHOT - BOB AND FRANK", "Why, no.\n \n CEDAR\n \n Mr. Deeds, does the name of Martin W.", "the name of Deeds. It's important - \n very important!\n \n AGENT", "HIM. He reaches the girl and bending \n down, lifts her head. We see it is Babe \n Bennett. Her eyes are closed, apparently", "Miss Bennett, are you employed by the \n Morning Mail?\n \n There is no answer. Babe continues to", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes", "Mr. Longfellow Deeds?\n \n LONGFELLOW\n \n Yes.", "and Mary Deeds?\n \n LONGFELLOW\n \n Yes.", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "(loud - for the boys)\n \n Oh! Oh, yes, of course. Longfellow Deeds. \n Come in. Step in, please.", "at home thinks of Longfellow Deeds?\n \n \n The two old ladies consult each other \n once more.", "ANDERSON\n \n Here's the report: Longfellow Deeds,", "JUDGE\n \n Miss Bennett please!\n \n CEDAR", "Bennett, out on a story.\n \n BABE\n \n Ah, it's a beautiful little town, too.", "apparently indifferent, is Babe Bennett. \n The editor, Mac, is haranguing them.\n \n \n MAC", "swell fellow this man was. And anything \n Babe Bennett says is okay with me.\n \n \n JUDGE", "(alertly)\n \n Who? Miss Dawson?\n \n BUTLER", "In the interest of Mr. Deeds, I have \n tolerated a great deal of informality. \n But if there is one more outburst, I", "Mr. Deeds, you haven't yet touched upon \n a most important thing. This rather \n fantastic idea of yours to want to give" ], [ "Oh, Mr. Deeds—\n \n Longfellow looks up. Farmer goes on:", "Mr. Longfellow Deeds?\n \n LONGFELLOW\n \n Yes.", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes", "With Longfellow, in his customary position, \n blowing on his tuba.\n \n CONTINUATION SCENE 27", "Longfellow spots a strolling violinist. \n He furtively beckons the fellow over. \n The musician leans into them with romantic", "a chair. He takes a mouthpiece out of \n his pocket.\n \n LONGFELLOW", "(loud - for the boys)\n \n Oh! Oh, yes, of course. Longfellow Deeds. \n Come in. Step in, please.", "and enjoyed himself. You should do the \n same thing, Mr. Deeds.\n \n LONGFELLOW", "You see, Mr. Deeds, the opera is not \n conducted like any ordinary business.\n \n \n LONGFELLOW", "LONGFELLOW\n \n (smiling)\n \n What? A tuba?", "They've been waiting a long while.\n \n \n Longfellow Deeds trails behind her.", "He played in the town band, too.\n \n LONGFELLOW", "CEDAR\n \n I say, my friend, do you know a fellow \n by the name of Longfellow Deeds?", "All right.\n \n Longfellow looks at them strangely and \n sits down beside his tuba.", "LONGFELLOW\n \n Well, I play the tuba.\n \n They all laugh.", "(confidentially - indicating Longfellow)\n \n \n Pardon. Longfellow Deeds, who just inherited", "In the b.g. is the train with Longfellow \n standing on the observation platform, \n clutching his tuba. On either side of", "LONGFELLOW\n \n What did he play?\n \n BABE", "You see, Mr. Deeds, the opera is not \n conducted for profit.\n \n LONGFELLOW", "ANDERSON\n \n Here's the report: Longfellow Deeds," ], [ "(confidentially - indicating Longfellow)\n \n \n Pardon. Longfellow Deeds, who just inherited", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes", "Mr. Longfellow Deeds?\n \n LONGFELLOW\n \n Yes.", "ANDERSON\n \n Here's the report: Longfellow Deeds,", "Oh, Mr. Deeds—\n \n Longfellow looks up. Farmer goes on:", "What about it, Mr. Deeds?\n \n LONGFELLOW\n \n Why, I turned them down, naturally.", "(loud - for the boys)\n \n Oh! Oh, yes, of course. Longfellow Deeds. \n Come in. Step in, please.", "Mr. Deeds, you haven't yet touched upon \n a most important thing. This rather \n fantastic idea of yours to want to give", "Perhaps you didn't hear what I said, \n Mr. Deeds! The whole Semple fortune", "CEDAR\n \n I say, my friend, do you know a fellow \n by the name of Longfellow Deeds?", "at home thinks of Longfellow Deeds?\n \n \n The two old ladies consult each other \n once more.", "made by Longfellow Deeds - New York's \n new Cinderella Man - who went out last \n night to prove that his uncle, the late", "and enjoyed himself. You should do the \n same thing, Mr. Deeds.\n \n LONGFELLOW", "They've been waiting a long while.\n \n \n Longfellow Deeds trails behind her.", "Were you given an assignment to follow \n the activities of Longfellow Deeds?", "(to Longfellow)\n \n Mr. Deeds, I represent Mrs. Semple.", "ANDERSON\n \n Longfellow Deeds - where does he live?\n \n \n AGENT", "You see, Mr. Deeds, the opera is not \n conducted like any ordinary business.\n \n \n LONGFELLOW", "late Martin Semple. The charges are \n that Mr. Deeds is insane and incapable \n of handling the Estate.", "\"Longfellow Deeds, 'The Cinderella Man,' \n last night threw a 'defy' into the teeth" ], [ "Mr. Deeds, you haven't yet touched upon \n a most important thing. This rather \n fantastic idea of yours to want to give", "What about it, Mr. Deeds?\n \n LONGFELLOW\n \n Why, I turned them down, naturally.", "Perhaps you didn't hear what I said, \n Mr. Deeds! The whole Semple fortune", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes", "and enjoyed himself. You should do the \n same thing, Mr. Deeds.\n \n LONGFELLOW", "MAN\n \n Mr. Deeds, the boys here wanted me to \n say a little something. They just wanted", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "Oh, Mr. Deeds—\n \n Longfellow looks up. Farmer goes on:", "HENABERRY\n \n Wait a minute, boys. Perhaps Mr. Deeds \n would recite one for us.", "(confidentially - indicating Longfellow)\n \n \n Pardon. Longfellow Deeds, who just inherited", "this little episode, and other photographs \n showing Mr. Deeds jumping upon a fire \n engine. This scarcely sounds like the", "Oh, yes - Deeds. Fine fellow. Very democratic. \n You won't have no trouble at all. Talk \n to anybody.", "\"LONGFELLOW DEEDS TO GIVE FORTUNE AWAY \n Huge farming district to be divided", "Why, no.\n \n CEDAR\n \n Mr. Deeds, does the name of Martin W.", "Mr. Cedar!\n \n CEDAR\n \n Mr. Deeds is drawing on his warped imagination!", "In the interest of Mr. Deeds, I have \n tolerated a great deal of informality. \n But if there is one more outburst, I", "A drink for Mr. Deeds!\n \n HENABERRY\n \n He's a poet. Have a drink.", "'Should Be Confined To An Institution,' \n Declares Cedar.\n \n \"Longfellow Deeds Refuses Counsel; Remains", "I understand that you have no counsel, \n Mr. Deeds. In fact, that you have no \n intention of defending any of these", "Mr. Longfellow Deeds?\n \n LONGFELLOW\n \n Yes." ], [ "Babe is too much absorbed to hear this. \n Getting no response, Mabel turns and \n studies her for a few seconds.", "HIM. He reaches the girl and bending \n down, lifts her head. We see it is Babe \n Bennett. Her eyes are closed, apparently", "book, and hands it to Mac.\n \n BABE\n \n This is for you , Mac. The names of", "(recognizes her)\n \n Oh, it's you again.\n \n BABE", "Babe leans her head back in a reminiscent \n mood. We get a feeling that, for the \n moment, she has forgotten she is Babe", "Babe is unresponsive.\n \n MABEL\n \n (after a pause)", "Please answer the questions.\n \n BABE\n \n (wildly)", "know whether she's home or not. I'll \n see.\n \n As she turns, Babe appears in doorway.", "BABE\n \n Louise Bennett.\n \n CLERK", "her, and she is lost in thought.\n \n BABE\n \n (continuing)", "Mr. Longfellow Deeds?\n \n LONGFELLOW\n \n Yes.", "BABE\n \n No. It's nothing.\n \n MABEL", "All are startled and look up. Babe runs \n right to the Judge.\n \n BABE", "Mabel enters. Babe stands in doorway.\n \n \n MABEL", "Feel better now?\n \n BABE\n \n Mmm, it tastes so good. Mr. Deeds, I", "He watches her sympathetically. Babe \n sighs resignedly.\n \n BABE", "BABE\n \n You must have met a lot of swell society", "BABE\n \n There's Times Square.\n \n LONGFELLOW", "at home thinks of Longfellow Deeds?\n \n \n The two old ladies consult each other \n once more.", "BABE\n \n (quickly)\n \n Nothing." ], [ "Mr. Deeds.\n \n (holds out his hand)\n \n Being an attorney for you will be a", "the name of Deeds. It's important - \n very important!\n \n AGENT", "Why, no.\n \n CEDAR\n \n Mr. Deeds, does the name of Martin W.", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes", "Mr. Longfellow Deeds?\n \n LONGFELLOW\n \n Yes.", "(confidentially - indicating Longfellow)\n \n \n Pardon. Longfellow Deeds, who just inherited", "Mr. Deeds, there has been a great deal \n of damaging testimony against you. Your \n behavior, to say the least, has been \n most strange.", "late Martin Semple. The charges are \n that Mr. Deeds is insane and incapable \n of handling the Estate.", "Mr. Cedar!\n \n CEDAR\n \n Mr. Deeds is drawing on his warped imagination!", "ANDERSON\n \n Here's the report: Longfellow Deeds,", "I understand that you have no counsel, \n Mr. Deeds. In fact, that you have no \n intention of defending any of these", "Oh, Mr. Deeds—\n \n Longfellow looks up. Farmer goes on:", "paper's behind him. And I can get him \n Livingston, too. With a lawyer like \n Livingston, he's got a fighting chance.", "Deeds! Who do you think I'm talking \n about?\n \n AGENT", "Oh, yes - Deeds. Fine fellow. Very democratic. \n You won't have no trouble at all. Talk \n to anybody.", "CEDAR\n \n I say, my friend, do you know a fellow \n by the name of Longfellow Deeds?", "Perhaps you didn't hear what I said, \n Mr. Deeds! The whole Semple fortune", "Mr. Deeds, you haven't yet touched upon \n a most important thing. This rather \n fantastic idea of yours to want to give", "(to Longfellow)\n \n Mr. Deeds, I represent Mrs. Semple." ], [ "Carried.\n \n (rises)\n \n My congratulations, Mr. Deeds.", "made by Longfellow Deeds - New York's \n new Cinderella Man - who went out last \n night to prove that his uncle, the late", "Yes, sir. Yes, indeedy. Everyone knows \n Deeds.\n \n CEDAR", "Mr. Deeds?\n \n ? 437 ?\n \n Almost imperceptibly, Longfellow shakes", "Mr. Deeds, you haven't yet touched upon \n a most important thing. This rather \n fantastic idea of yours to want to give", "ANDERSON\n \n Here's the report: Longfellow Deeds,", "MAN\n \n Mr. Deeds, the boys here wanted me to \n say a little something. They just wanted", "Perhaps you didn't hear what I said, \n Mr. Deeds! The whole Semple fortune", "and enjoyed himself. You should do the \n same thing, Mr. Deeds.\n \n LONGFELLOW", "They've been waiting a long while.\n \n \n Longfellow Deeds trails behind her.", "Oh, Mr. Deeds—\n \n Longfellow looks up. Farmer goes on:", "(shakes his hand)\n \n Congratulations, Mr. Deeds. You're one", "at home thinks of Longfellow Deeds?\n \n \n The two old ladies consult each other \n once more.", "Mr. Cedar!\n \n CEDAR\n \n Mr. Deeds is drawing on his warped imagination!", "Mr. Longfellow Deeds?\n \n LONGFELLOW\n \n Yes.", "Why, no.\n \n CEDAR\n \n Mr. Deeds, does the name of Martin W.", "A drink for Mr. Deeds!\n \n HENABERRY\n \n He's a poet. Have a drink.", "HENABERRY\n \n Wait a minute, boys. Perhaps Mr. Deeds \n would recite one for us.", "What about it, Mr. Deeds?\n \n LONGFELLOW\n \n Why, I turned them down, naturally.", "this little episode, and other photographs \n showing Mr. Deeds jumping upon a fire \n engine. This scarcely sounds like the" ], [ "on him. She laughs, takes out a handkerchief \n and wipes it off his coat.\n \n BABE", "his partner to the other. They take \n Longfellow by the arms. He glances down \n casually and, suddenly, violently pushes", "(an order)\n \n Let him alone.\n \n FARMER", "all the money. That's only fair. I don't \n want a penny of it.\n \n He yanks his trousers off and hands", "them. Babe is afraid to look up.\n \n LONGFELLOW\n \n (quietly)", "The man shoves him away, suddenly whips \n out a gun and levels it at him.\n \n FARMER", "mine.' \"\n \n Her voice is choked when she finishes. \n She does not look up until she refolds", "(surveying the scene - then, dramatically)\n \n \n Let that be a lesson to you.", "Now listen, sister, for the fourteenth \n and last time he don't want to see nobody.\n \n \n BABE", "HIM. He reaches the girl and bending \n down, lifts her head. We see it is Babe \n Bennett. Her eyes are closed, apparently", "She storms around the room. George merely \n twitches his nose but says nothing.\n \n \n WIFE", "Losing your farm after twenty years' \n work - seeing your kids go hungry - \n a game little wife saying \"Everything's", "his hand - stares at it in surprise. \n He realizes what he was about to do.\n \n \n FARMER", "To us he looks like a freak. You know \n what he told me tonight? He said when \n he gets married he wants to carry his", "All are startled and look up. Babe runs \n right to the Judge.\n \n BABE", "When he was here, on top of the wave, \n he felt nothing but kindliness and warmth \n toward his fellow-men. He wanted them", "(softly)\n \n At least I can save him that .\n \n They are suddenly startled by the boisterous", "Don't worry. Somebody's probably taking \n him for plenty.\n \n They are gone. Longfellow glares after", "He looks guilty, nose twitching more \n violently than ever.\n \n SEMPLE", "I'm glad I didn't hurt nobody. Excuse \n me.\n \n He turns his head slowly and peers at" ], [ "another tone altogether.\n \n LONGFELLOW\n \n (waving like a conductor)", "mine.' \"\n \n Her voice is choked when she finishes. \n She does not look up until she refolds", "Then, the mood changes again until—\n \n \n (chalk reaches top)", "(smiling)\n \n She was beautiful.\n \n (then moodily)", "When she is finished, though clearly \n delighted, he shows her a long face \n of mock-disappointment.", "She storms around the room. George merely \n twitches his nose but says nothing.\n \n \n WIFE", "To us he looks like a freak. You know \n what he told me tonight? He said when \n he gets married he wants to carry his", "on him. She laughs, takes out a handkerchief \n and wipes it off his coat.\n \n BABE", "Perhaps in a little while—\n \n Suddenly the air is rent with the shrill \n voice of Babe.", "I'm glad I didn't hurt nobody. Excuse \n me.\n \n He turns his head slowly and peers at", "He looks guilty, nose twitching more \n violently than ever.\n \n SEMPLE", "Every man to his taste, sir.\n \n LONGFELLOW\n \n Tell me, Walter, are all those stories", "all the money. That's only fair. I don't \n want a penny of it.\n \n He yanks his trousers off and hands", "They all laugh.\n \n BROOKFIELD", "apparently indifferent, is Babe Bennett. \n The editor, Mac, is haranguing them.\n \n \n MAC", "He watches her sympathetically. Babe \n sighs resignedly.\n \n BABE", "Now listen, sister, for the fourteenth \n and last time he don't want to see nobody.\n \n \n BABE", "(an order)\n \n Let him alone.\n \n FARMER", "being conscious of his presence. He \n smiles, shakes his head and passes on \n out of scene. Over the shot we hear", "(as he continues his puttering)\n \n Yes, sir.\n \n LONGFELLOW" ], [ "HIM. He reaches the girl and bending \n down, lifts her head. We see it is Babe \n Bennett. Her eyes are closed, apparently", "his partner to the other. They take \n Longfellow by the arms. He glances down \n casually and, suddenly, violently pushes", "her, and she is lost in thought.\n \n BABE\n \n (continuing)", "He rises to his feet, takes one step \n forward, and clouts Cedar flush on the \n jaw. As Cedar falls into the arms of", "I'm glad I didn't hurt nobody. Excuse \n me.\n \n He turns his head slowly and peers at", "she jumps on a chair and tries frantically \n to get a glimpse of him. At that moment, \n several farmers have lifted Longfellow", "From his angle. Out of the shadows a \n girl comes into view and staggers forward. \n She reaches a tree and clutches it weakly.", "all the money. That's only fair. I don't \n want a penny of it.\n \n He yanks his trousers off and hands", "(an order)\n \n Let him alone.\n \n FARMER", "When he was here, on top of the wave, \n he felt nothing but kindliness and warmth \n toward his fellow-men. He wanted them", "Several feet away from her Mabel Dawson \n stands in front of an easel, working \n silently on a painting. She dabs at", "of Cedar - tall and athletic. The third \n is a small, frightened-looking man. \n He is Budington.", "mine.' \"\n \n Her voice is choked when she finishes. \n She does not look up until she refolds", "There is an uncomfortable shuffle. For \n a few minutes, no one speaks. From the \n rear, a tall man rises.", "He sobs openly. While he was speaking, \n Longfellow was peering into the man's \n face intently. As the man finishes", "The man finally is resigned, and stands \n shifting, ill-at-ease, his head hanging \n bashfully.", "Falls, his own home town, who will tell \n of his conduct throughout his lifetime, \n proving that his derangement is neither", "She storms around the room. George merely \n twitches his nose but says nothing.\n \n \n WIFE", "Longfellow watches his face, fascinated. \n Slowly it is all coming back to him.", "(as he continues his puttering)\n \n Yes, sir.\n \n LONGFELLOW" ] ]

[ "What is the name Babe Bennett uses for her fake persona to get close to deeds?", "What does Deeds inherit from his late uncle?", "How does Deeds want to spend his fortune to help others?", "What does Cedar try to do in order to get control of Deeds' money?", "Who reveals Babe's true identity to deeds?", "Who speaks up on Deeds' behalf at his sanity hearing?", "How does Babe first attract Deeds' attention?", "What nickname does Babe give Deeds in the articles she writes about him?", "Who does Cedar bring from Mandrake Falls to testify at Deeds' hearing?", "Who does Longfellow Deeds inherit money from?", "What is Mary Dawson's (Louise \"Babe\" Bennett) job?", "Why does Deeds return to Mandrake Falls?", "How does Deeds decide to help the poor?", "Who is John Cedar?", "Why does Cedar try to have Deeds declared mentally incompetent?", "During the competency hearing, Cedar's expert witness diagnoses Deeds with what disorder?", "What do the eccentric, elderly sisters say about Deeds during the competency hearing?", "What nickname does Bennett, (Mary Dawson) give Deeds?", "What instrument does Longfellow Deeds play? ", "How much money does Longfellow Deeds inherit? ", "What does Deeds want to do with his fortune? ", "What is the name that Babe uses when she meets Deeds? ", "What is the name of the lawyer trying to steal Deeds' money? ", "Who helps Deeds win his fortune back? ", "What is the theme of this story? ", "What is the tone of this story?", "Who is the protagonist in this story? " ]

[ [ "Babe uses the name Mary Dawson.", "Mary Dawson" ], [ "Deeds inherits 20 million dollars.", "20 million dollars" ], [ "He wants to provide a farm for free for those willing to work the land for 3 years. ", "By giving fully equipped 10-acre farms to homeless people" ], [ "Cedar tries to have Deeds declared mentally incompetent. ", "He wants to have him declared mentally incompetent. " ], [ "Cobb tells Deeds about Babe's true identity.", "Cornelius Cobb" ], [ "Babe defends Deeds at his hearing.", "Babe" ], [ "Babe pretends to faint and acts like a damsel in distress. ", "she pretends to faint from exhaustion" ], [ "Babe calls Deeds Cinderella Man.", "\"Cinderella Man''" ], [ "Ceadar brings Deeds' tenants, Jane and Amy Faulkner. ", "He gets Deeds tenants and olde sisters" ], [ "His late uncle, Martin Semple.", "his late uncle Martin Semple" ], [ "She is a reporter.", "Reporter. " ], [ "He is heartbroken.", "he was heartbroken by Babe" ], [ "He lets them live on a farm in exchange for work.", "Give them fully equipped 10-acre farms in exchange for working the land." ], [ "The late Martin Semple's attorney.", "Martin Semple's attorney." ], [ "To retain control over his fortune.", "Because he is afraid of losing control of the fortune." ], [ "Manic depression", "Manic Depression" ], [ "That he is pixilated. ", "they say he is \"pixelated\"" ], [ "Cinderella Man", "\"Cinderella man\"" ], [ "The Tuba", "The tuba" ], [ "20 million", "20 million dollars" ], [ "Create 10 acre, fully equipped farms for the poor", "He buys 10 acres of fully equipped farmlands for the homeless families." ], [ "Mary Dawson", "Mary Dawson" ], [ "John Cedar", "John Cedar" ], [ "Babe", "Louise Bennett" ], [ "good vs. evil", "Justice is the theme. " ], [ "humorous", "a man in desperation and his trials " ], [ "Deeds", "John Cedar" ] ]

[ [ "And that faith will help turn this\n town into a city. And this city\n into a nation. It will help me\n build a new world. In my image.", "that they could believe in.\n Something to live for! It's why I\n built this town, did you know that?\n All we've been missing is the word", "this town to bring it succor, bring\n it nourishment, bring it new life!\n For the Almighty Himself has spoken", "EXT. ABANDONED TOWN - DAY\n \n Little more than a main street lined with storefronts. Eli", "will understand the necessity of\n this action. It was faith that\n built this town - and faith that\n will sustain it even through the", "safe. And he did. He did all that.\n He built this whole town. He kept\n us safe. And he raised that child", "Eli stands at the edge of town. Reluctant to enter, but he\n braces himself and walks on in. And as he rounds a corner,\n entering the center of town, an astonishing sight:", "On the outskirts of a small town that lies in ruins. Almost\n every building burned or reduced to rubble.", "We'll see. This is my town, nobody\n leaves until I say they leave.\n \n He glances knowingly at Claudia.", "EXT. DESERT TOWN - MAIN STREET - DAY\n \n Redridge's remaining vehicles drive back into town and come", "EXT. DESERT TOWN - MAIN STREET - DAWN\n \n The pale sun rises over the town. To establish:", "The town barely visible on the distant horizon behind Eli and\n Solara. Eli walks as he always has, his pace steady and slow.\n Still, Solara lags along behind. She's already tired.", "town... but faith.\n \n This sends a MURMUR OF DISCONTENT through the crowd. Many\n don't like where they suspect this may be going. Carnegie", "It's a lot like the abandoned town Eli passed through\n earlier, except VERY MUCH ALIVE - BUSTLING WITH TOWNSFOLK.", "town? It wasn't done with force,\n and it wasn't done just with water.\n It was done with the power of", "EXT. DESERT TOWN - MAIN STREET - CONTINUOUS\n \n The broad thoroughfare now all that remains of whatever town", "Except for one SMALL HOUSE. The building is damaged and worn\n but in mostly decent condition. It stands out among its\n surroundings for being the only structure still intact.", "Carnegie sighs, rubs his brow. He knows Redridge is right.\n \n EXT. DESERT TOWN - MAIN STREET - DAY", "buildings. It appears we might be headed toward a town.\n \n Solara looks up at the sweltering sun. Then around at her\n surroundings. Nothing but devastation and decay.", "Eli looks around. He's right at the end of the main road, the\n perimeter where the town meets the open desert. He's free." ], [ "EXT. ABANDONED TOWN - DAY\n \n Little more than a main street lined with storefronts. Eli", "INT. SHOE STORE - CONTINUOUS\n \n Eli steps inside. Like all the others, the store has been", "Until he comes to a store that does cause him to stop. An old-\n fashioned sign squeaks on rusted hinges in the breeze.", "The blacksmith doesn't look up from his work but motions\n toward a storefront at the far end of the street.\n \n ELI", "They turn to face the engineer's storefront - just as ELI\n EMERGES ONTO THE STREET, shotgun still in his hand.", "My name's Carnegie. I own this bar.\n I own the whole town. You've never\n heard of me?", "Attached to the still is an old MOTORCYCLE MIRROR. In its\n reflection the engineer sees Eli checking out the store.", "been emptied and lie strewn across the floor. Eli moves\n toward a large walk-in closet and opens the door.", "He passes by abandoned stores, every one picked clean. Empty\n shelves, smashed windows. Looted and burned. He doesn't even\n look inside, knowing already that he will find nothing.", "The place has been shabbily converted into a kind of SALOON.\n Old ripped-out theater seats arranged around tables. A\n FIREPLACE sputters dimly.", "once stood here. Many of the old storefronts still largely\n intact but patched up with salvaged materials. The asphalt\n street warped and cracked, parking meters bent and smashed.", "hammering out a metal plate over an anvil outside his store.\n \n ELI\n You got an engineer or a fuelman\n around here?", "The original customers have now been joined by the four\n bikers, who sit at their own table drinking a clear and\n pungent moonshine-type liquor from a shared jar.", "The man seems more suspicious than his wife. He drags Eli's\n shotgun toward him with his foot, hands it to his wife.\n \n ELDERLY MAN", "town, pick it up in the morning.\n \n Eli leans in a little closer. He smells a rat.\n \n 39.", "Eli shoos the cat off the bar with a wave of his hand. At the\n biker's table Hog watches this, not happy about this.", "Eli enters. All eyes are on him immediately, regarding him\n with guarded interest as he pulls up a stool at the bar.", "grimly, then tosses the shoe back into the box and leaves.\n \n EXT. ABANDONED HOUSE - DAY", "We'll see. This is my town, nobody\n leaves until I say they leave.\n \n He glances knowingly at Claudia.", "from a nearby sack onto the ground. He watches with\n satisfaction as the animals gather at his feet to feed.\n \n Claudia emerges from the theater with an ice-pack." ], [ "a sense of wifely duty than reciprocated passion.\n \n As they kiss, Carnegie pushes her excitedly against the wall", "Carnegie sleeps soundly in bed. Next to him lies Claudia,\n wide awake. She checks that Carnegie is sound asleep, careful", "Carnegie has Claudia pinned against the wall, his pants\n bunched around his ankles, ass bared as he pounds away at\n her. Not making love. This is mechanical, loveless sex.", "Now it's Carnegie's turn to get angry. He rounds on her\n menacingly. She backs off as he approaches.", "Carnegie sighs, tiring of this.\n \n CARNEGIE\n She's a grown woman now, Claudia.", "Carnegie ignores him. Stands, walks toward the door. Redridge\n sighs, gestures toward the books piled on Carnegie's desk.", "Claudia stares vacantly over his shoulder into space as\n Carnegie thrusts into her again and again. Deeply\n uninterested, just waiting for it to be over.", "She detects the aggressive tone in his voice and goes quiet,\n head bowed. Carnegie moves toward her angrily.\n \n CARNEGIE", "You're Carnegie's woman?\n \n CLAUDIA\n Why do you ask?", "She smiles halfheartedly, but it's clear she is mortified.\n \n Carnegie turns back to Redridge.\n \n CARNEGIE", "CLAUDIA\n She's still out there. With him.\n \n CARNEGIE", "Carnegie wheels around and flashes a smile at them. Just as\n when he gave his balcony address, Carnegie is in performance\n mode - charismatic and slick like a campaigning politician.", "CARNEGIE\n Thank you, darling.\n \n Carnegie applies it to his jaw, red and swollen from Eli's", "INT. PALLADIUM - MAIN LOBBY - CONTINUOUS\n \n Carnegie emerges from the bedroom onto the balcony. Looks", "Carnegie takes a step closer. He appears entirely sincere -\n but then he is very good at doing so.\n \n CARNEGIE", "The crowd listens intently, hanging on Carnegie's every word.\n He is an incredibly charismatic and persuasive speaker - his", "Claudia looks at Carnegie in disgust.\n \n CLAUDIA\n What kind of a man are you?", "The door opens and Carnegie enters. He still looks steamed.\n Claudia doesn't turn to look at him, keeps facing the mirror.\n \n CLAUDIA", "for. It's out there somewhere. You\n just have to have faith.\n \n This seems to anger Carnegie. He wheels on her.", "CARNEGIE\n Yeah, I got that.\n \n Claudia moves to the bedside, begins to undress." ], [ "Sitting in the darkness, Claudia opens the book and runs her\n fingers across the braille, reading. And though we can barely\n see in the dim light, we see the smile on her face. The joy.", "Claudia's hands. He grabs it up and tries to rip it in two,\n but it's too thick to tear. Red-faced with rage, he tosses it", "As Carnegie hunts on his desk for a paper and pen, Claudia\n opens the book and trails her fingertips across the raised\n lettering.", "CLAUDIA\n Nothing really. He asked me what it\n was like to be blind.\n \n CARNEGIE", "Claudia stares vacantly over his shoulder into space as\n Carnegie thrusts into her again and again. Deeply\n uninterested, just waiting for it to be over.", "There's a bittersweet quality to Claudia's words. As though\n there is more to the story than she is telling.", "allow it. He worries about me so\n much.\n \n Again, bittersweet. The sense that Claudia feels trapped.", "He speaks more softly now. As he strokes his hand tenderly\n through Claudia's hair, a tear runs down her cheek.", "Carnegie sleeps soundly in bed. Next to him lies Claudia,\n wide awake. She checks that Carnegie is sound asleep, careful", "Claudia is on her hands and knees in the darkness, searching\n blindly in the aisles and beneath the theater seats.", "from a nearby sack onto the ground. He watches with\n satisfaction as the animals gather at his feet to feed.\n \n Claudia emerges from the theater with an ice-pack.", "CLAUDIA\n I'm sorry.\n \n Carnegie realizes he's frightened her. He softens.", "Carnegie has Claudia pinned against the wall, his pants\n bunched around his ankles, ass bared as he pounds away at\n her. Not making love. This is mechanical, loveless sex.", "We get the impression that Claudia is as unfamiliar with this\n kind of polite interaction as Eli. But she likes it.\n \n CLAUDIA", "feeling her way with her hands, gazing off into nothingness.\n Only now do we finally realize that she is BLIND.", "CLAUDIA\n Well. Have a good night.\n \n As she turns for the door:\n \n ELI", "CLAUDIA\n That's different. Solara's just a\n child, she can't-", "Did you hear that? What was that?\n \n Claudia sees an opening to get out of this.\n \n CLAUDIA", "as he rushes out. Claudia just stands there for a moment,\n then reaches down and pulls up her panties.\n \n She moves from the wall and makes her way across the room,", "know where it got me?\n \n He's in her face now. Claudia avoids eye contact, submissive." ], [ "It's the last one. There are no\n other books like this. All the\n others are gone - destroyed by the\n war or in the burnings that came", "Eli closes the book and parcels it back up as before.\n Replaces it in his pack, then reaches in for something else.", "It's just a book, Eli. No book is\n worth giving up your life for.\n \n ELI\n You're wrong.", "In her hand she clutches a copy of the newly-printed bible.\n Eli's sword slung over her shoulder.\n \n ELI (V.O.)", "Eli repeats it like a mantra. He clearly wants to intervene,\n but will not permit himself to. Instead, he simply sits and\n waits grimly as the woman continues to scream for help. And", "Carnegie sits at his desk, still in shock. Eli's bible sits\n open on the desk before him.", "Eli clutches his wound painfully as he continues to recite.\n He looks paler now than ever. Close to death.\n \n ELI (V.O.)", "Eli gazes lovingly at it. Lets his fingers play across the\n beat-up old leather cover. A cherished thing.", "its side. Eli reaches down for his final possession - an old\n SAMURAI SWORD in a scabbard which he slings across his back.", "have finished the race.\n \n As she walks away into the sun, her lonely silhouette on the\n road reminds us of Eli as we saw him so many times before.", "ELI\n So did I.\n \n Eli closes the door, then sits back at the table.", "She finds Eli's bible in some litter strewn on the floor.\n \n ELI (V.O.)\n Thank you for the good that I have", "been emptied and lie strewn across the floor. Eli moves\n toward a large walk-in closet and opens the door.", "Eli opens it up, scans the page with his finger until he\n finds the passage he's looking for.\n \n ELI", "Eli looks around. He's right at the end of the main road, the\n perimeter where the town meets the open desert. He's free.", "Eli stands, escorts her to the door and opens it.\n \n CLAUDIA\n Thank you. I enjoyed our\n conversation.", "Eli is struggling now. He looks pale from the blood loss. His\n breathing labored. Solara takes him by the arm to help him.", "Cautiously, he approaches. The package is wrapped in cloth\n and tied up with twine. It looks like Eli's bible.", "I'm sorry. Good night.\n \n Suddenly all her other emotions give way to fear. She moves\n to the door and slams it shut again. Looks Eli in the eye.", "ELI\n You remember what I told you about\n faith?\n \n She nods." ], [ "Eli moves to the other two bandits who lay horribly wounded\n on the ground, but still breathing. He stands over their\n fallen bodies. They stare back up at him, helpless.", "Eli repeats it like a mantra. He clearly wants to intervene,\n but will not permit himself to. Instead, he simply sits and\n waits grimly as the woman continues to scream for help. And", "When she turns back, Eli is standing right there, holding the\n dead animal in front of her face. She YELPS in surprise and\n staggers backward, falling on her butt.", "moves to the concealed trap apparatus. Releases the rope,\n dropping Eli and Solara to the ground in a heap.", "Eli says nothing. Walks back to the slain bandits, crouches\n beside them and begins searching their bodies.", "Eli clutches his wound painfully as he continues to recite.\n He looks paler now than ever. Close to death.\n \n ELI (V.O.)", "Eli backs away, but TWO MORE ARMED BANDITS drop from hiding\n in the trees behind, cutting off his escape, surrounding him.\n \n BANDIT LEADER", "the bloody carnage laid out in the bar before her.\n \n She watches, mortified, as Eli moves toward the helpless,", "Eli is struggling now. He looks pale from the blood loss. His\n breathing labored. Solara takes him by the arm to help him.", "Redridge smirks and closes the door, leaving Eli alone. Eli\n paces across the room. Finally sits down on the creaky old", "ELI\n My name is Eli.\n \n And with that, Eli runs him through with his sword.", "LATER - NIGHT\n \n The fire down to its last embers. Eli sleeps next to his\n pack, half-hidden in the looming shadows of the cave. His hat", "EXT. WASTELAND CAVE - DUSK\n \n Eli and Solara sit in the mouth of a desert cave, around a", "It's all Hog can do to just barely nod his head. Eli releases\n his thumb. Hog staggers backward, gasping for breath.", "swarm over the man like a pack of predatory animals.\n \n The woman is pulled to the ground and the clothes stripped\n from her. Eli turns away. He knows what comes next.", "revealing Eli silhouetted in the fading sunlight. The shotgun\n unhitched from his pack and held ready. He moves inside.", "Eli looks at the cart. It has come to rest in the ditch just\n inches from a THICK BRACKEN HEDGEROW that lines the road.", "ELI\n Back inside.\n \n Eli bundles Solara back into the house. George stands in the", "Hog stumbles backward through the door, into the sunlight.\n Eli moves toward Solara, who stands petrified behind the bar.", "Eli thinks a while longer. Then stands and stuffs his shotgun\n inside his pack, shoulders his gear and makes for the door.\n \n ELI" ], [ "tea, only water. Somewhat murky water. Eli and Solara stare\n at the cups, unsure. Martha gestures toward them.\n \n MARTHA", "Eli emerges from the theater, leading Solara onto the street.\n RESIDENTS part before them, staring at Eli with astonishment.", "table. A TV set in the corner. Lace curtains. Unreal.\n \n Eli and Solara sit on the couch, feeling self-conscious and", "Eli and Solara exchange a look. What the hell is this?\n \n INT. HOUSE - LIVING ROOM - DAY", "She smiles, wiping the tear from her cheek.\n \n LATER\n \n Eli and Solara sit together on the bed. A silent BEAT. At", "ELI\n Back inside.\n \n Eli bundles Solara back into the house. George stands in the", "Solara takes the canteen, pausing for a moment to look Eli up\n and down. Unsure quite what to make of him, but intrigued.", "SOLARA (O.S.)\n Eli!\n \n He finds her in the smoke. She embraces him.", "INT. ALCATRAZ - CAFETERIA - DAY\n \n Eli, Solara and Lombardi sit at one of the long lunch-room", "Solara smiles like she's having her leg pulled.\n \n SOLARA\n Come on.\n \n ELI", "EXT. HOUSE - BACK YARD - CONTINUOUS\n \n Eli and Solara stand in the doorway, looking out on the yard.", "Eli is struggling now. He looks pale from the blood loss. His\n breathing labored. Solara takes him by the arm to help him.", "Solara listens, rapt. Eli is a good storyteller.\n \n ELI\n Then one day a young child came to", "with Eli's recitation.\n \n Solara is curled up on a nearby bench, asleep. Eli's coat\n covering her to keep her warm.", "Eli and Solara look at each other, then step gingerly inside.\n \n 106.", "The town barely visible on the distant horizon behind Eli and\n Solara. Eli walks as he always has, his pace steady and slow.\n Still, Solara lags along behind. She's already tired.", "SOLARA re-emerges from the back room with Eli's refilled\n canteen. She stops and emits a horrified GASP when she sees", "alone. And neither would you.\n \n A long BEAT as Eli considers this. For a moment it appears as\n though Solara might have won him over. But then:", "EXT. WASTELAND CAVE - DUSK\n \n Eli and Solara sit in the mouth of a desert cave, around a", "Solara is running up behind him, a hundred yards back.\n \n SOLARA\n Eli! Eli!" ], [ "Eli says nothing. Walks back to the slain bandits, crouches\n beside them and begins searching their bodies.", "Eli repeats it like a mantra. He clearly wants to intervene,\n but will not permit himself to. Instead, he simply sits and\n waits grimly as the woman continues to scream for help. And", "Eli moves to the other two bandits who lay horribly wounded\n on the ground, but still breathing. He stands over their\n fallen bodies. They stare back up at him, helpless.", "Eli looks around. He's right at the end of the main road, the\n perimeter where the town meets the open desert. He's free.", "Eli is crouched beneath the window. George and Martha have\n taken up positions at other windows, peering out.", "Eli stands before them, head bowed in prayer. He speaks\n quietly and quickly, a speech he has given many times.\n \n 12.", "Eli backs away, but TWO MORE ARMED BANDITS drop from hiding\n in the trees behind, cutting off his escape, surrounding him.\n \n BANDIT LEADER", "A tense BEAT. And then the four remaining bandits ATTACK ELI\n ALL AT ONCE, weapons flailing.", "ELI, WALKING TOWARD THEM FROM THE ROAD, OUT OF THE SUN. His\n silhouette distorted in the rippling heat. An avenging angel.", "Eli is struggling now. He looks pale from the blood loss. His\n breathing labored. Solara takes him by the arm to help him.", "Bandit leader looks up to see the figure of Eli bearing down\n on him, silhouetted ominously against the sun. He looks for a", "CARNEGIE\n Go! Go!\n \n They spot Eli sprinting away and rush off in pursuit.", "After a brief pause, Eli changes direction and heads off down\n the other fork, away from the city.", "Eli emerges from the theater, leading Solara onto the street.\n RESIDENTS part before them, staring at Eli with astonishment.", "revealing Eli silhouetted in the fading sunlight. The shotgun\n unhitched from his pack and held ready. He moves inside.", "been emptied and lie strewn across the floor. Eli moves\n toward a large walk-in closet and opens the door.", "Eli clutches his wound painfully as he continues to recite.\n He looks paler now than ever. Close to death.\n \n ELI (V.O.)", "Eli reaches a fork in the road and stops. The road he's on\n appears to wind off in the direction of the ruined city on\n the horizon. The other fork continues on into the wasteland.", "Eli continues down the road. He ambles along slowly, a man in\n no hurry. A man who has been walking a long time.", "with Eli's recitation.\n \n Solara is curled up on a nearby bench, asleep. Eli's coat\n covering her to keep her warm." ], [ "Carnegie sits at his desk, still in shock. Eli's bible sits\n open on the desk before him.", "CARNEGIE\n Did you get it?\n \n Redridge holds the bible up proudly. Carnegie beams.", "What's wrong?\n \n He rushes forward and thrusts the bible into her hands.\n \n CARNEGIE", "they were looking for.\n \n CARNEGIE\n Not one of them can read. How would\n they even know when they found it?", "INT. PALLADIUM AUDITORIUM - CARNEGIE'S BOX\n \n Carnegie looks at the open bible, jaw hanging loose, his", "Carnegie ignores him. Stands, walks toward the door. Redridge\n sighs, gestures toward the books piled on Carnegie's desk.", "Carnegie's eyes widen; he can barely believe it.\n \n CARNEGIE\n He had a bible?", "CARNEGIE\n Show me.\n \n Redridge hands it over. Carnegie sits back in his chair,", "As Carnegie hunts on his desk for a paper and pen, Claudia\n opens the book and trails her fingertips across the raised\n lettering.", "He had them written down in a book.\n \n This piques Carnegie's interest greatly.\n \n CARNEGIE", "As Carnegie rejects each book with growing disappointment and\n frustration, it's clear he's looking for a specific volume.", "unto me and promised it!\n \n Carnegie is such an impassioned and inspiring speaker it's\n almost impossible not to get caught up and swept away by his", "Carnegie doesn't appear to be listening. He is lost in a\n world of his own as he tends to the farm animals.", "senses this and dials up his rhetoric - delivering it now\n with the fire-brand passion of an old-time baptist preacher.\n \n CARNEGIE", "No.\n \n Carnegie takes a small step forward. Suddenly, his whole\n demeanor changes, and he now looks at Eli imploringly.", "for. It's out there somewhere. You\n just have to have faith.\n \n This seems to anger Carnegie. He wheels on her.", "Carnegie sleeps soundly in bed. Next to him lies Claudia,\n wide awake. She checks that Carnegie is sound asleep, careful", "old word. I'm not a slaver. I'm\n trying to help these people.\n \n Carnegie can't help himself - once again he is in his natural", "CARNEGIE (cont'd)\n That is worth more than a few\n glasses of liquor. A whole lot\n more.", "wrong, maybe I can help.\n \n Carnegie is a practiced liar. Much more difficult to read.\n \n 40." ], [ "Eli stands at the edge of town. Reluctant to enter, but he\n braces himself and walks on in. And as he rounds a corner,\n entering the center of town, an astonishing sight:", "Eli looks around. He's right at the end of the main road, the\n perimeter where the town meets the open desert. He's free.", "EXT. ABANDONED TOWN - DAY\n \n Little more than a main street lined with storefronts. Eli", "The town barely visible on the distant horizon behind Eli and\n Solara. Eli walks as he always has, his pace steady and slow.\n Still, Solara lags along behind. She's already tired.", "Eli enters. All eyes are on him immediately, regarding him\n with guarded interest as he pulls up a stool at the bar.", "town, pick it up in the morning.\n \n Eli leans in a little closer. He smells a rat.\n \n 39.", "Carnegie's confident gaze remains fixed on Eli throughout.\n \n CARNEGIE\n Good. This is a civilized town.", "Eli stands before them, head bowed in prayer. He speaks\n quietly and quickly, a speech he has given many times.\n \n 12.", "Eli continues down the road. He ambles along slowly, a man in\n no hurry. A man who has been walking a long time.", "Eli repeats it like a mantra. He clearly wants to intervene,\n but will not permit himself to. Instead, he simply sits and\n waits grimly as the woman continues to scream for help. And", "Eli stands in the front yard, surrounded by brownish,\n overgrown weeds. Thinking it over. Turns to face the setting\n sun. It will be dark soon. He turns back toward the house.", "Eli emerges from the theater, leading Solara onto the street.\n RESIDENTS part before them, staring at Eli with astonishment.", "Eli moves to the other two bandits who lay horribly wounded\n on the ground, but still breathing. He stands over their\n fallen bodies. They stare back up at him, helpless.", "Eli crouches on one knee before the murdered couple. He signs\n a cross over their ravaged bodies as he mutters a prayer\n under his breath. Then stands and continues on down the road.", "It's a lot like the abandoned town Eli passed through\n earlier, except VERY MUCH ALIVE - BUSTLING WITH TOWNSFOLK.", "him. Carnegie, seated behind his desk, waves the guards off\n as he stands to greet Eli, smiling ingratiatingly as ever.\n \n CARNEGIE", "Bandit leader looks up to see the figure of Eli bearing down\n on him, silhouetted ominously against the sun. He looks for a", "Eli looks at the cart. It has come to rest in the ditch just\n inches from a THICK BRACKEN HEDGEROW that lines the road.", "Eli emerges from the treeline onto the cracked and ruptured\n asphalt. Lined by more of those ghostly, stripped-bare trees.", "Eli is crouched beneath the window. George and Martha have\n taken up positions at other windows, peering out." ], [ "Carnegie's goons quickly move in and efficiently SILENCE THE\n MAN, removing him from the crowd. Dissent is not tolerated\n here. Carnegie goes on speaking as if nothing had happened.", "The crowd listens intently, hanging on Carnegie's every word.\n He is an incredibly charismatic and persuasive speaker - his", "CARNEGIE (cont'd)\n It has the power to motivate\n people. It can give them hope, it", "senses this and dials up his rhetoric - delivering it now\n with the fire-brand passion of an old-time baptist preacher.\n \n CARNEGIE", "Carnegie wheels around and flashes a smile at them. Just as\n when he gave his balcony address, Carnegie is in performance\n mode - charismatic and slick like a campaigning politician.", "Carnegie sleeps soundly in bed. Next to him lies Claudia,\n wide awake. She checks that Carnegie is sound asleep, careful", "Carnegie's eyes widen; he can barely believe it.\n \n CARNEGIE\n He had a bible?", "town... but faith.\n \n This sends a MURMUR OF DISCONTENT through the crowd. Many\n don't like where they suspect this may be going. Carnegie", "Carnegie takes a step closer. He appears entirely sincere -\n but then he is very good at doing so.\n \n CARNEGIE", "get a taste of it. And they'll do\n whatever I tell them.\n \n As usual, Carnegie's slick rhetoric has worked - Redridge has", "unto me and promised it!\n \n Carnegie is such an impassioned and inspiring speaker it's\n almost impossible not to get caught up and swept away by his", "Carnegie motions for the crowd to settle down.\n \n CARNEGIE\n I understand your frustration. The", "CARNEGIE (cont'd)\n That is worth more than a few\n glasses of liquor. A whole lot\n more.", "I can't give these people what they\n want to hear...\n \n Carnegie trails off, the thought too awful to contemplate.", "words. His apparently unshakable belief is infectious.\n \n CARNEGIE\n In the meantime, He has asked us", "CARNEGIE\n Show me.\n \n Redridge hands it over. Carnegie sits back in his chair,", "CARNEGIE'S GOONS keeps watch over the crowd.\n \n Carnegie stands on a BALCONY above the theater marquee. He", "Carnegie is aghast. BEAT as the anger swells within him,\n threatening to explode...\n \n CARNEGIE", "She detects the aggressive tone in his voice and goes quiet,\n head bowed. Carnegie moves toward her angrily.\n \n CARNEGIE", "Carnegie continues unabated, selling it harder than ever.\n \n CARNEGIE\n And mark me, the ultimate" ], [ "In her hand she clutches a copy of the newly-printed bible.\n Eli's sword slung over her shoulder.\n \n ELI (V.O.)", "Carnegie sits at his desk, still in shock. Eli's bible sits\n open on the desk before him.", "It's just a book, Eli. No book is\n worth giving up your life for.\n \n ELI\n You're wrong.", "She finds Eli's bible in some litter strewn on the floor.\n \n ELI (V.O.)\n Thank you for the good that I have", "Eli clutches his wound painfully as he continues to recite.\n He looks paler now than ever. Close to death.\n \n ELI (V.O.)", "Eli repeats it like a mantra. He clearly wants to intervene,\n but will not permit himself to. Instead, he simply sits and\n waits grimly as the woman continues to scream for help. And", "Cautiously, he approaches. The package is wrapped in cloth\n and tied up with twine. It looks like Eli's bible.", "She opens it up and begins to read a passage from the bible\n over Eli's grave. We don't hear what she says.", "There it is. THE BIBLE, wrapped carefully in its neat little\n package of cloth and twine. She reaches in for it.", "She continues walking alongside him. Trying to process this.\n This kind of compassion is totally foreign to her.\n \n She holds out the sword, offering it to Eli by way of", "BEAT. Eli seems to be considering what he's heard carefully.\n \n ELI\n The Lord himself told me that if I", "BEAT as Eli considers. He looks back at Hog, still completely\n at his mercy... and then LOWERS THE SWORD.\n \n ELI", "Eli stands before them, head bowed in prayer. He speaks\n quietly and quickly, a speech he has given many times.\n \n 12.", "When she turns back, Eli is standing right there, holding the\n dead animal in front of her face. She YELPS in surprise and\n staggers backward, falling on her butt.", "Eli closes the book and parcels it back up as before.\n Replaces it in his pack, then reaches in for something else.", "Eli stands in the front yard, surrounded by brownish,\n overgrown weeds. Thinking it over. Turns to face the setting\n sun. It will be dark soon. He turns back toward the house.", "ELI\n My name is Eli.\n \n And with that, Eli runs him through with his sword.", "signs a cross over his body, then stands and walks away.\n \n Solara sits on the ground nearby, a wreck. Eli approaches and", "Eli moves to the other two bandits who lay horribly wounded\n on the ground, but still breathing. He stands over their\n fallen bodies. They stare back up at him, helpless.", "Eli has been stripped of his weapons and backpack. Redridge\n faces him and points a pistol at his head.\n \n REDRIDGE" ], [ "A BRAILLE BIBLE.\n \n Claudia is ushered in by a guard.\n \n CLAUDIA", "A new bible, for a new world.\n \n He reaches out and takes Claudia by the hand.\n \n CARNEGIE", "Redridge. Reaches inside her dress and PRODUCES THE BIBLE.\n \n SOLARA\n It's here! I've got it! Please", "ENGINEER\n I said show me your fucking hand!\n \n Eli raises his hand and holds it outstretched, palm faced", "In her hand she clutches a copy of the newly-printed bible.\n Eli's sword slung over her shoulder.\n \n ELI (V.O.)", "His hands shaking, the engineer disconnects Eli's battery\n from the generator and places it on the counter.\n \n Eli stands on the other side of the counter with his SHOTGUN", "There it is. THE BIBLE, wrapped carefully in its neat little\n package of cloth and twine. She reaches in for it.", "The engineer stands behind the counter, looking worried. His\n heart sinks when he sees Eli enter.\n \n ENGINEER\n Oh, shit...", "Claudia's hands. He grabs it up and tries to rip it in two,\n but it's too thick to tear. Red-faced with rage, he tosses it", "As Solara finishes her reading and closes the bible, LOMBARDI\n appears behind her.\n \n LOMBARDI", "As Carnegie hunts on his desk for a paper and pen, Claudia\n opens the book and trails her fingertips across the raised\n lettering.", "Claudia stares vacantly over his shoulder into space as\n Carnegie thrusts into her again and again. Deeply\n uninterested, just waiting for it to be over.", "SOLARA\n That's what it was. A holy bible.\n Daddy, what's wrong? Did I...", "And with that he turns and leaves. The engineer gulps. Not a\n hint in Eli's voice that he didn't mean every word.", "Sitting in the darkness, Claudia opens the book and runs her\n fingers across the braille, reading. And though we can barely\n see in the dim light, we see the smile on her face. The joy.", "Carnegie has Claudia pinned against the wall, his pants\n bunched around his ankles, ass bared as he pounds away at\n her. Not making love. This is mechanical, loveless sex.", "CLAUDIA\n He wanted to talk.\n \n CARNEGIE\n Oh? What about?", "He speaks more softly now. As he strokes his hand tenderly\n through Claudia's hair, a tear runs down her cheek.", "What's wrong?\n \n He rushes forward and thrusts the bible into her hands.\n \n CARNEGIE", "INT. ENGINEER WORKSHOP - DAY\n \n Eli watches as the engineer charges the battery with the gas\n generator, which chugs noisily." ], [ "In her hand she clutches a copy of the newly-printed bible.\n Eli's sword slung over her shoulder.\n \n ELI (V.O.)", "ELI\n I guess you could think of it that\n way. It's from the Holy Bible.", "Carnegie sits at his desk, still in shock. Eli's bible sits\n open on the desk before him.", "BEAT. Eli seems to be considering what he's heard carefully.\n \n ELI\n The Lord himself told me that if I", "She finds Eli's bible in some litter strewn on the floor.\n \n ELI (V.O.)\n Thank you for the good that I have", "She opens it up and begins to read a passage from the bible\n over Eli's grave. We don't hear what she says.", "ELI\n The First Book of Moses called\n Genesis. Chapter one, verse one. In\n the beginning God created the", "ELI\n You remember what I told you about\n faith?\n \n She nods.", "the elements and by a long life's experience. One of the very\n few people we've seen in this world close to Eli's age - and", "Eli stands before them, head bowed in prayer. He speaks\n quietly and quickly, a speech he has given many times.\n \n 12.", "Eli repeats it like a mantra. He clearly wants to intervene,\n but will not permit himself to. Instead, he simply sits and\n waits grimly as the woman continues to scream for help. And", "Cautiously, he approaches. The package is wrapped in cloth\n and tied up with twine. It looks like Eli's bible.", "Eli opens it up, scans the page with his finger until he\n finds the passage he's looking for.\n \n ELI", "There it is. THE BIBLE, wrapped carefully in its neat little\n package of cloth and twine. She reaches in for it.", "ELI\n Christopher was a man who lived a\n long time ago. He wanted to be a\n good man, he wanted to help people.", "all about the bible, too.\n (BEAT)\n Can I see it?\n \n ELI", "for you. From the ground were you\n taken. For dust you are.\n \n The patrons look at Eli strangely. Who is this guy?", "An impressive, impassioned performance. He sounds just like\n an old-school TV evangelist. But Eli is unmoved.\n \n ELI", "83.\n \n \n ELI\n God has a reason for everything", "I just wanted to see the book.\n \n ELI\n You want to see the book, you ask" ], [ "Claudia's hands. He grabs it up and tries to rip it in two,\n but it's too thick to tear. Red-faced with rage, he tosses it", "Claudia stares vacantly over his shoulder into space as\n Carnegie thrusts into her again and again. Deeply\n uninterested, just waiting for it to be over.", "CLAUDIA\n That's different. Solara's just a\n child, she can't-", "Sitting in the darkness, Claudia opens the book and runs her\n fingers across the braille, reading. And though we can barely\n see in the dim light, we see the smile on her face. The joy.", "CLAUDIA\n What about Solara?\n \n BEAT. In all this excitement about the book, she had been\n completely forgotten about.", "CLAUDIA\n I'm sorry.\n \n Carnegie realizes he's frightened her. He softens.", "CLAUDIA\n Well. Have a good night.\n \n As she turns for the door:\n \n ELI", "There's a bittersweet quality to Claudia's words. As though\n there is more to the story than she is telling.", "He speaks more softly now. As he strokes his hand tenderly\n through Claudia's hair, a tear runs down her cheek.", "Carnegie has Claudia pinned against the wall, his pants\n bunched around his ankles, ass bared as he pounds away at\n her. Not making love. This is mechanical, loveless sex.", "Eli stands, escorts her to the door and opens it.\n \n CLAUDIA\n Thank you. I enjoyed our\n conversation.", "CLAUDIA\n She's still out there. With him.\n \n CARNEGIE", "Solara and Claudia watch through the window. Turn suddenly\n when they hear the door slam open behind them.\n \n Carnegie stands in the doorway, glaring at them.", "allow it. He worries about me so\n much.\n \n Again, bittersweet. The sense that Claudia feels trapped.", "CLAUDIA\n Solara, honey, eat something.\n \n She looks at the food on the plate before her. Then closes", "mirror. He sees Claudia enter the room in its dim reflection.\n \n CARNEGIE\n You took your time in there. How", "Claudia reacts suddenly to this. Shocked and angry.\n \n CLAUDIA\n You're doing what?", "Carnegie sleeps soundly in bed. Next to him lies Claudia,\n wide awake. She checks that Carnegie is sound asleep, careful", "as he rushes out. Claudia just stands there for a moment,\n then reaches down and pulls up her panties.\n \n She moves from the wall and makes her way across the room,", "As Carnegie hunts on his desk for a paper and pen, Claudia\n opens the book and trails her fingertips across the raised\n lettering." ], [ "Claudia's hands. He grabs it up and tries to rip it in two,\n but it's too thick to tear. Red-faced with rage, he tosses it", "Claudia stares vacantly over his shoulder into space as\n Carnegie thrusts into her again and again. Deeply\n uninterested, just waiting for it to be over.", "There's a bittersweet quality to Claudia's words. As though\n there is more to the story than she is telling.", "CLAUDIA\n I'm sorry.\n \n Carnegie realizes he's frightened her. He softens.", "Carnegie has Claudia pinned against the wall, his pants\n bunched around his ankles, ass bared as he pounds away at\n her. Not making love. This is mechanical, loveless sex.", "We get the impression that Claudia is as unfamiliar with this\n kind of polite interaction as Eli. But she likes it.\n \n CLAUDIA", "CLAUDIA\n Well. Have a good night.\n \n As she turns for the door:\n \n ELI", "Carnegie sleeps soundly in bed. Next to him lies Claudia,\n wide awake. She checks that Carnegie is sound asleep, careful", "He speaks more softly now. As he strokes his hand tenderly\n through Claudia's hair, a tear runs down her cheek.", "mirror. He sees Claudia enter the room in its dim reflection.\n \n CARNEGIE\n You took your time in there. How", "CLAUDIA\n She's still out there. With him.\n \n CARNEGIE", "Sitting in the darkness, Claudia opens the book and runs her\n fingers across the braille, reading. And though we can barely\n see in the dim light, we see the smile on her face. The joy.", "Claudia reacts suddenly to this. Shocked and angry.\n \n CLAUDIA\n You're doing what?", "allow it. He worries about me so\n much.\n \n Again, bittersweet. The sense that Claudia feels trapped.", "We'll see. This is my town, nobody\n leaves until I say they leave.\n \n He glances knowingly at Claudia.", "CARNEGIE\n Yeah, I got that.\n \n Claudia moves to the bedside, begins to undress.", "CARNEGIE\n Well, we'll just see about that.\n \n CLAUDIA", "Did you hear that? What was that?\n \n Claudia sees an opening to get out of this.\n \n CLAUDIA", "CLAUDIA\n He wanted to talk.\n \n CARNEGIE\n Oh? What about?", "as he rushes out. Claudia just stands there for a moment,\n then reaches down and pulls up her panties.\n \n She moves from the wall and makes her way across the room," ], [ "In her hand she clutches a copy of the newly-printed bible.\n Eli's sword slung over her shoulder.\n \n ELI (V.O.)", "She finds Eli's bible in some litter strewn on the floor.\n \n ELI (V.O.)\n Thank you for the good that I have", "Carnegie sits at his desk, still in shock. Eli's bible sits\n open on the desk before him.", "There it is. THE BIBLE, wrapped carefully in its neat little\n package of cloth and twine. She reaches in for it.", "Cautiously, he approaches. The package is wrapped in cloth\n and tied up with twine. It looks like Eli's bible.", "She opens it up and begins to read a passage from the bible\n over Eli's grave. We don't hear what she says.", "Eli opens it up, scans the page with his finger until he\n finds the passage he's looking for.\n \n ELI", "been emptied and lie strewn across the floor. Eli moves\n toward a large walk-in closet and opens the door.", "Eli closes the book and parcels it back up as before.\n Replaces it in his pack, then reaches in for something else.", "Christian bible, until now. I\n honestly believed it was the one\n book I'd never see again, after\n what happened...", "Eli repeats it like a mantra. He clearly wants to intervene,\n but will not permit himself to. Instead, he simply sits and\n waits grimly as the woman continues to scream for help. And", "Eli says nothing. Walks back to the slain bandits, crouches\n beside them and begins searching their bodies.", "It's just a book, Eli. No book is\n worth giving up your life for.\n \n ELI\n You're wrong.", "Eli gazes lovingly at it. Lets his fingers play across the\n beat-up old leather cover. A cherished thing.", "Redridge. Reaches inside her dress and PRODUCES THE BIBLE.\n \n SOLARA\n It's here! I've got it! Please", "all about the bible, too.\n (BEAT)\n Can I see it?\n \n ELI", "I just wanted to see the book.\n \n ELI\n You want to see the book, you ask", "Unfazed, Eli crouches down and checks the man's feet. An old\n pair of Converse All-Stars hang limp from the man's skeletal", "Another KNOCK at the door. Eli jumps up and hurriedly hides\n the book inside his shirt.\n \n ELI\n Come in.", "BEAT. Eli seems to be considering what he's heard carefully.\n \n ELI\n The Lord himself told me that if I" ], [ "Carnegie shoves Solara roughly against the wall. Barking\n angrily at her, shaking her.\n \n Eli looks at the road. Then up at the theater. Then back to", "BEAT. Eli glances at Solara.\n \n CARNEGIE\n She told me all about it. Told me", "CARNEGIE\n Who said anything about me?\n (BEAT)\n I'm sending Solara.", "Solara glares at Redridge. He sighs. He can tell she means\n it. It's not worth the aggravation. He turns back to Eli.", "SOLARA\n Eli taught me.\n \n CARNEGIE\n (PUZZLED)", "Solara is running up behind him, a hundred yards back.\n \n SOLARA\n Eli! Eli!", "alone. And neither would you.\n \n A long BEAT as Eli considers this. For a moment it appears as\n though Solara might have won him over. But then:", "Eli is struggling now. He looks pale from the blood loss. His\n breathing labored. Solara takes him by the arm to help him.", "ELI\n Back inside.\n \n Eli bundles Solara back into the house. George stands in the", "Eli passes the statue of Carnegie - and STOPS. Something\n about that thing is bothering him.\n \n SOLARA", "ELI\n Who will? Carnegie?\n \n She nods, fighting back a tear. This angers Eli.", "ELI\n Shit.\n \n SOLARA\n What?", "SOLARA\n Sorry.\n \n Eli resumes walking.", "signs a cross over his body, then stands and walks away.\n \n Solara sits on the ground nearby, a wreck. Eli approaches and", "Solara and Claudia watch through the window. Turn suddenly\n when they hear the door slam open behind them.\n \n Carnegie stands in the doorway, glaring at them.", "SOLARA\n Thanks.\n \n She stands, pulling Eli's sword from the earth.", "SOLARA re-emerges from the back room with Eli's refilled\n canteen. She stops and emits a horrified GASP when she sees", "Eli still has a half-dozen guns trained on him. He turns and\n walks away, toward the road. As he passes Solara:\n \n 99.", "WITH BLOOD. A bad wound. He covers it with his coat, stands\n and moves through the smoke.\n \n ELI\n Solara?", "against the wall. She sobs, terrified. Eli levels the shotgun\n at Carnegie's head.\n \n ELI\n Let her go." ], [ "As Carnegie rejects each book with growing disappointment and\n frustration, it's clear he's looking for a specific volume.", "Carnegie ignores him. Stands, walks toward the door. Redridge\n sighs, gestures toward the books piled on Carnegie's desk.", "Carnegie takes a step closer. He appears entirely sincere -\n but then he is very good at doing so.\n \n CARNEGIE", "CARNEGIE\n You know, I've been searching for a\n book like that one for years. All\n I've ever wanted was to bring the", "The crowd listens intently, hanging on Carnegie's every word.\n He is an incredibly charismatic and persuasive speaker - his", "Carnegie's eyes widen; he can barely believe it.\n \n CARNEGIE\n He had a bible?", "Carnegie wheels around and flashes a smile at them. Just as\n when he gave his balcony address, Carnegie is in performance\n mode - charismatic and slick like a campaigning politician.", "for. It's out there somewhere. You\n just have to have faith.\n \n This seems to anger Carnegie. He wheels on her.", "CARNEGIE (cont'd)\n It has the power to motivate\n people. It can give them hope, it", "As Carnegie hunts on his desk for a paper and pen, Claudia\n opens the book and trails her fingertips across the raised\n lettering.", "CARNEGIE\n Show me.\n \n Redridge hands it over. Carnegie sits back in his chair,", "CARNEGIE (cont'd)\n That is worth more than a few\n glasses of liquor. A whole lot\n more.", "Carnegie sleeps soundly in bed. Next to him lies Claudia,\n wide awake. She checks that Carnegie is sound asleep, careful", "Carnegie gets to his feet and storms back inside the theater.\n \n INT. PALLADIUM - DINING ROOM - CONTINUOUS", "INT. PALLADIUM - CARNEGIE'S BEDROOM - NIGHT\n \n Carnegie washes, looking at himself in the old dressing-room", "Now it's Carnegie's turn to get angry. He rounds on her\n menacingly. She backs off as he approaches.", "Carnegie emerges into the second-floor hallway from the\n balcony, mopping his brow. Exhausted and stressed from his\n grand theatrical display, and from its mixed reception.", "looks almost civilized. Respectable. His name is CARNEGIE.\n \n He looks up from his book at the sound of a POLITE COUGH O.S.", "CARNEGIE\n Go! Go!\n \n They spot Eli sprinting away and rush off in pursuit.", "CARNEGIE\n The new world begins here...\n \n He opens the book and looks inside." ], [ "You see, I'm not exploiting these\n people - I'm saving them! Any one\n of them is free to leave whenever", "drink, they survive. Last year, a\n couple of them even got married -\n performed the ceremony myself.\n (BEAT)", "The place has been shabbily converted into a kind of SALOON.\n Old ripped-out theater seats arranged around tables. A\n FIREPLACE sputters dimly.", "A LARGE CROWD OF TOWNSFOLK - several hundred strong - has\n assembled outside the Palladium theater. AN ARMED CREW OF", "Carnegie dives for cover as FOUR MORE GUNMEN rush from the\n theater. Carnegie waves frantically in Eli's direction.", "they wish. But here they stay. And\n they thank me every single day for\n their salvation!", "these books here in trust, if you\n like. When society gets back on its\n feet and no longer needs us to\n preserve these volumes, they'll be", "It's just a book, Eli. No book is\n worth giving up your life for.\n \n ELI\n You're wrong.", "preyed upon like sick animals. Here\n at least they're protected. They do\n the essential work others don't\n want. And in return they eat, they", "A tense BEAT. And then the four remaining bandits ATTACK ELI\n ALL AT ONCE, weapons flailing.", "The crowd is divided. Many return the \"Hallelujah\" with\n varying levels of conviction. Others are not convinced. But", "May God go with you all.\n \n Carnegie steps back inside, leaving the crowd to talk among\n themselves, clearly mixed about what they have heard.", "They sit and eat together, sharing the simple meal.\n \n PULL OUT from the window as they eat, away from the theater.", "HUDDLED RESIDENTS are dressed in little more than rags, many\n wearing goggles like Eli's to shield their eyes from the sun.", "Alongside him, FIVE GUNMEN do the same. They've got him cold.\n \n INT. PALLADIUM AUDITORIUM - CARNEGIE'S BOX", "The bikes screech to a halt and the FOUR RIDERS dismount.\n Brandishing a variety of weapons. The couple make a run for", "this town to bring it succor, bring\n it nourishment, bring it new life!\n For the Almighty Himself has spoken", "town... but faith.\n \n This sends a MURMUR OF DISCONTENT through the crowd. Many\n don't like where they suspect this may be going. Carnegie", "few who've tried to take this place\n from us. Haven't we, George?\n \n GEORGE", "Eli backs away, but TWO MORE ARMED BANDITS drop from hiding\n in the trees behind, cutting off his escape, surrounding him.\n \n BANDIT LEADER" ], [ "In her hand she clutches a copy of the newly-printed bible.\n Eli's sword slung over her shoulder.\n \n ELI (V.O.)", "She finds Eli's bible in some litter strewn on the floor.\n \n ELI (V.O.)\n Thank you for the good that I have", "Carnegie sits at his desk, still in shock. Eli's bible sits\n open on the desk before him.", "There it is. THE BIBLE, wrapped carefully in its neat little\n package of cloth and twine. She reaches in for it.", "She opens it up and begins to read a passage from the bible\n over Eli's grave. We don't hear what she says.", "Cautiously, he approaches. The package is wrapped in cloth\n and tied up with twine. It looks like Eli's bible.", "Eli opens it up, scans the page with his finger until he\n finds the passage he's looking for.\n \n ELI", "ELI\n I guess you could think of it that\n way. It's from the Holy Bible.", "Eli closes the book and parcels it back up as before.\n Replaces it in his pack, then reaches in for something else.", "been emptied and lie strewn across the floor. Eli moves\n toward a large walk-in closet and opens the door.", "BEAT. Eli seems to be considering what he's heard carefully.\n \n ELI\n The Lord himself told me that if I", "Christian bible, until now. I\n honestly believed it was the one\n book I'd never see again, after\n what happened...", "all about the bible, too.\n (BEAT)\n Can I see it?\n \n ELI", "Eli says nothing. Walks back to the slain bandits, crouches\n beside them and begins searching their bodies.", "Eli repeats it like a mantra. He clearly wants to intervene,\n but will not permit himself to. Instead, he simply sits and\n waits grimly as the woman continues to scream for help. And", "ELI\n The First Book of Moses called\n Genesis. Chapter one, verse one. In\n the beginning God created the", "ELI\n You remember what I told you about\n faith?\n \n She nods.", "Eli stands before them, head bowed in prayer. He speaks\n quietly and quickly, a speech he has given many times.\n \n 12.", "Eli gazes lovingly at it. Lets his fingers play across the\n beat-up old leather cover. A cherished thing.", "I just wanted to see the book.\n \n ELI\n You want to see the book, you ask" ], [ "I just wanted to see the book.\n \n ELI\n You want to see the book, you ask", "We see various titles as he sorts through them. Treasure\n Island. The Da Vinci Code. A volume of encyclopedia. The\n Diary of Anne Frank. Tuesdays with Morrie.", "As Carnegie rejects each book with growing disappointment and\n frustration, it's clear he's looking for a specific volume.", "CARNEGIE\n You know, I've been searching for a\n book like that one for years. All\n I've ever wanted was to bring the", "really know where. And I found this\n book buried deep under some rubble.\n No way no-one was ever going to\n find it if they didn't know exactly", "Find it and bring it here. And I\n promise you, you will be rewarded\n beyond anything you can imagine.", "As Carnegie hunts on his desk for a paper and pen, Claudia\n opens the book and trails her fingertips across the raised\n lettering.", "The book I want is out there\n somewhere, just waiting to be\n found. Once there were millions of\n copies - you only need to find one!", "He had them written down in a book.\n \n This piques Carnegie's interest greatly.\n \n CARNEGIE", "There it is. THE BIBLE, wrapped carefully in its neat little\n package of cloth and twine. She reaches in for it.", "It's the last one. There are no\n other books like this. All the\n others are gone - destroyed by the\n war or in the burnings that came", "He picks it up and tugs at the twine, untying it. Folds away\n the cloth wrapping. Looks for a moment in puzzlement at the\n object, at the words written on the front of it.", "BOOKS. About a dozen different volumes of all shapes and\n sizes. Carnegie rifles excitedly through the collection.", "Eli gazes lovingly at it. Lets his fingers play across the\n beat-up old leather cover. A cherished thing.", "they were looking for.\n \n CARNEGIE\n Not one of them can read. How would\n they even know when they found it?", "Whatever she's looking for is not here. She turns her\n attention to the backpack. Slowly, carefully, opens it up.", "Cautiously, he approaches. The package is wrapped in cloth\n and tied up with twine. It looks like Eli's bible.", "98.\n \n \n Satisfied, Redridge takes the book. Runs his hand over the", "CARNEGIE\n When you bring me the book I asked\n you for, it'll be worth something.", "(BEAT)\n That book is a weapon. Aimed right\n at the hearts and minds of the weak\n and the desperate. Just imagine" ], [ "There's a bittersweet quality to Claudia's words. As though\n there is more to the story than she is telling.", "Carnegie sleeps soundly in bed. Next to him lies Claudia,\n wide awake. She checks that Carnegie is sound asleep, careful", "Claudia stares vacantly over his shoulder into space as\n Carnegie thrusts into her again and again. Deeply\n uninterested, just waiting for it to be over.", "Claudia's hands. He grabs it up and tries to rip it in two,\n but it's too thick to tear. Red-faced with rage, he tosses it", "Claudia reacts suddenly to this. Shocked and angry.\n \n CLAUDIA\n You're doing what?", "as he rushes out. Claudia just stands there for a moment,\n then reaches down and pulls up her panties.\n \n She moves from the wall and makes her way across the room,", "Did you hear that? What was that?\n \n Claudia sees an opening to get out of this.\n \n CLAUDIA", "Carnegie has Claudia pinned against the wall, his pants\n bunched around his ankles, ass bared as he pounds away at\n her. Not making love. This is mechanical, loveless sex.", "He speaks more softly now. As he strokes his hand tenderly\n through Claudia's hair, a tear runs down her cheek.", "know where it got me?\n \n He's in her face now. Claudia avoids eye contact, submissive.", "CLAUDIA\n I'm sorry.\n \n Carnegie realizes he's frightened her. He softens.", "allow it. He worries about me so\n much.\n \n Again, bittersweet. The sense that Claudia feels trapped.", "CARNEGIE\n Yeah, I got that.\n \n Claudia moves to the bedside, begins to undress.", "CLAUDIA\n Well. Have a good night.\n \n As she turns for the door:\n \n ELI", "We get the impression that Claudia is as unfamiliar with this\n kind of polite interaction as Eli. But she likes it.\n \n CLAUDIA", "We'll see. This is my town, nobody\n leaves until I say they leave.\n \n He glances knowingly at Claudia.", "CLAUDIA\n She's still out there. With him.\n \n CARNEGIE", "Is that you, honey?\n \n Carnegie says nothing. Just paces angrily up and down.\n Finally Claudia turns to face him.", "Thinking about it begins to upset her. She gets up.\n \n CLAUDIA\n I should go. He'll be wondering", "He tell you anything about him?\n \n CLAUDIA\n No. I don't think he likes to talk\n about himself much." ], [ "Eli repeats it like a mantra. He clearly wants to intervene,\n but will not permit himself to. Instead, he simply sits and\n waits grimly as the woman continues to scream for help. And", "Eli says nothing. Walks back to the slain bandits, crouches\n beside them and begins searching their bodies.", "been emptied and lie strewn across the floor. Eli moves\n toward a large walk-in closet and opens the door.", "revealing Eli silhouetted in the fading sunlight. The shotgun\n unhitched from his pack and held ready. He moves inside.", "Cautiously, he approaches. The package is wrapped in cloth\n and tied up with twine. It looks like Eli's bible.", "When she turns back, Eli is standing right there, holding the\n dead animal in front of her face. She YELPS in surprise and\n staggers backward, falling on her butt.", "Curious, Eli reaches up and runs his hand over the statue's\n face. Then hears SHUFFLING FEET behind him and turns as a", "Eli is crouched beneath the window. George and Martha have\n taken up positions at other windows, peering out.", "BEAT as Eli considers. Then stands and unhooks his shotgun.\n \n ELI\n Stay behind me.", "Another KNOCK at the door. Eli jumps up and hurriedly hides\n the book inside his shirt.\n \n ELI\n Come in.", "with Eli's recitation.\n \n Solara is curled up on a nearby bench, asleep. Eli's coat\n covering her to keep her warm.", "food, old clothes. She's on her knees trying to gather it up.\n \n She looks up as she sees Eli approaching. Instantly cowers", "Carnegie races across the landing, toward the ARMED GUARD\n posted outside Eli's bedroom. The guard steps aside as\n Carnegie flings the door open and barges inside.", "Eli looks at the cart. It has come to rest in the ditch just\n inches from a THICK BRACKEN HEDGEROW that lines the road.", "In her hand she clutches a copy of the newly-printed bible.\n Eli's sword slung over her shoulder.\n \n ELI (V.O.)", "She finds Eli's bible in some litter strewn on the floor.\n \n ELI (V.O.)\n Thank you for the good that I have", "And then, A GIRL'S SCREAM. Distant but unmistakable.\n \n Eli whips around. In the upstairs window of the theater,", "Eli closes the book and parcels it back up as before.\n Replaces it in his pack, then reaches in for something else.", "Eli enters. All eyes are on him immediately, regarding him\n with guarded interest as he pulls up a stool at the bar.", "I'm sorry. Good night.\n \n Suddenly all her other emotions give way to fear. She moves\n to the door and slams it shut again. Looks Eli in the eye." ], [ "We get the impression that Claudia is as unfamiliar with this\n kind of polite interaction as Eli. But she likes it.\n \n CLAUDIA", "Eli stands, escorts her to the door and opens it.\n \n CLAUDIA\n Thank you. I enjoyed our\n conversation.", "ELI\n Hello?\n \n The door opens and CLAUDIA enters. Carrying a metal tub of", "CLAUDIA\n Well. Have a good night.\n \n As she turns for the door:\n \n ELI", "been emptied and lie strewn across the floor. Eli moves\n toward a large walk-in closet and opens the door.", "I'm lucky like that.\n \n ELI\n Lucky?\n \n CLAUDIA", "him. Carnegie, seated behind his desk, waves the guards off\n as he stands to greet Eli, smiling ingratiatingly as ever.\n \n CARNEGIE", "Eli repeats it like a mantra. He clearly wants to intervene,\n but will not permit himself to. Instead, he simply sits and\n waits grimly as the woman continues to scream for help. And", "Eli emerges from the theater, leading Solara onto the street.\n RESIDENTS part before them, staring at Eli with astonishment.", "As Carnegie hunts on his desk for a paper and pen, Claudia\n opens the book and trails her fingertips across the raised\n lettering.", "Solara listens, rapt. Eli is a good storyteller.\n \n ELI\n Then one day a young child came to", "food, old clothes. She's on her knees trying to gather it up.\n \n She looks up as she sees Eli approaching. Instantly cowers", "Claudia stares vacantly over his shoulder into space as\n Carnegie thrusts into her again and again. Deeply\n uninterested, just waiting for it to be over.", "She smiles, wiping the tear from her cheek.\n \n LATER\n \n Eli and Solara sit together on the bed. A silent BEAT. At", "Carnegie has Claudia pinned against the wall, his pants\n bunched around his ankles, ass bared as he pounds away at\n her. Not making love. This is mechanical, loveless sex.", "Curious, Eli reaches up and runs his hand over the statue's\n face. Then hears SHUFFLING FEET behind him and turns as a", "Claudia's hands. He grabs it up and tries to rip it in two,\n but it's too thick to tear. Red-faced with rage, he tosses it", "Eli enters. All eyes are on him immediately, regarding him\n with guarded interest as he pulls up a stool at the bar.", "BEAT. She trails off, struggling with this unhappy memory.\n Eli gets it, raises a hand reassuringly.\n \n ELI", "He approaches, shakes Eli's hand vigorously - very excited.\n \n THIN MAN\n Welcome, both of you. I'm Professor" ], [ "There it is. THE BIBLE, wrapped carefully in its neat little\n package of cloth and twine. She reaches in for it.", "Carnegie sits at his desk, still in shock. Eli's bible sits\n open on the desk before him.", "In her hand she clutches a copy of the newly-printed bible.\n Eli's sword slung over her shoulder.\n \n ELI (V.O.)", "Christian bible, until now. I\n honestly believed it was the one\n book I'd never see again, after\n what happened...", "For the first time we see that it's a KING JAMES BIBLE. An\n embossed GOLD CROSS on its old leather cover.", "Cautiously, he approaches. The package is wrapped in cloth\n and tied up with twine. It looks like Eli's bible.", "Redridge. Reaches inside her dress and PRODUCES THE BIBLE.\n \n SOLARA\n It's here! I've got it! Please", "It's a NEW BIBLE. Crudely typeset from Lombardi's original\n transcription and printed on the prison press.", "INT. PALLADIUM AUDITORIUM - CARNEGIE'S BOX\n \n Carnegie looks at the open bible, jaw hanging loose, his", "She opens it up and begins to read a passage from the bible\n over Eli's grave. We don't hear what she says.", "to a halt outside the theater. Redridge emerges from his car,\n carrying the bible. Walks up to the Palladium and enters.", "It's the last one. There are no\n other books like this. All the\n others are gone - destroyed by the\n war or in the burnings that came", "all about the bible, too.\n (BEAT)\n Can I see it?\n \n ELI", "A BRAILLE BIBLE.\n \n Claudia is ushered in by a guard.\n \n CLAUDIA", "As Carnegie hunts on his desk for a paper and pen, Claudia\n opens the book and trails her fingertips across the raised\n lettering.", "laid out before me, that I'd be led\n to a place where this book would be\n safe. It told me I'd be protected\n against anyone or anything that", "What's wrong?\n \n He rushes forward and thrusts the bible into her hands.\n \n CARNEGIE", "SOLARA\n That's what it was. A holy bible.\n Daddy, what's wrong? Did I...", "As Solara finishes her reading and closes the bible, LOMBARDI\n appears behind her.\n \n LOMBARDI", "God fucking dammit!\n \n He swipes violently at the bible, knocking it out of" ], [ "Eli clutches his wound painfully as he continues to recite.\n He looks paler now than ever. Close to death.\n \n ELI (V.O.)", "Eli repeats it like a mantra. He clearly wants to intervene,\n but will not permit himself to. Instead, he simply sits and\n waits grimly as the woman continues to scream for help. And", "Eli moves to the other two bandits who lay horribly wounded\n on the ground, but still breathing. He stands over their\n fallen bodies. They stare back up at him, helpless.", "have finished the race.\n \n As she walks away into the sun, her lonely silhouette on the\n road reminds us of Eli as we saw him so many times before.", "Eli is struggling now. He looks pale from the blood loss. His\n breathing labored. Solara takes him by the arm to help him.", "He slides off the sword and collapses to the floor, dead.\n \n Eli wipes the sword clean and sheathes it. Looks around at", "ELI\n My name is Eli.\n \n And with that, Eli runs him through with his sword.", "Eli stands in the front yard, surrounded by brownish,\n overgrown weeds. Thinking it over. Turns to face the setting\n sun. It will be dark soon. He turns back toward the house.", "Eli says nothing. Walks back to the slain bandits, crouches\n beside them and begins searching their bodies.", "When she turns back, Eli is standing right there, holding the\n dead animal in front of her face. She YELPS in surprise and\n staggers backward, falling on her butt.", "She watches as Eli moves away down the road, getting smaller\n and smaller until he is just a speck on the horizon.\n \n She bursts into floods of uncontrollable tears.", "61.\n \n \n In one swift motion Eli raises the shotgun and FIRES. Three", "Eli looks around. He's right at the end of the main road, the\n perimeter where the town meets the open desert. He's free.", "ELI\n So did I.\n \n Eli closes the door, then sits back at the table.", "Eli stands, escorts her to the door and opens it.\n \n CLAUDIA\n Thank you. I enjoyed our\n conversation.", "The bandit follows along with Eli, mouthing the words\n quietly. The life ebbing from him with each moment.\n \n ELI", "It's just a book, Eli. No book is\n worth giving up your life for.\n \n ELI\n You're wrong.", "Redridge smirks and closes the door, leaving Eli alone. Eli\n paces across the room. Finally sits down on the creaky old", "But unmistakably Eli. By now, she'd know him anywhere.\n \n Suddenly the engine SPLUTTERS. She checks the fuel gauge; the", "Eli looks at the cart. It has come to rest in the ditch just\n inches from a THICK BRACKEN HEDGEROW that lines the road." ] ]

[ "Who oversees the rebuilt town?", "Who owns the store?", "Who is Carnegie's mistress?", "What disability does Claudia have?", "What does Eli have the last remaining copy of ?", "Who does Eli trap in the cave?", "Who do Eli and Solara have tea with?", "Where was the group that Eli was trying to find?", "Why couldn't Carnegie read the bible?", "Who oversees the town that Eli arrives in?", "What was Carnegie dreaming of controlling the people with?", "What happens when Eli surrenders the Bible?", "Why did the Engineer order Claudia to read the Bible?", "What led Eli to the Bible?", "What is the name of Claudia's daughter?", "Who is Claudia?", "Who initially found Eli's Bible?", "What did Carnegie order Solara to do to Eli?", "What is Carnegie searching for?", "Where are the group of people who are trying to save the arts?", "How did Eli find the Bible?", "What is the title of the item being sought?", "What lie does Claudia tell?", "Who first finds what Eli is protecting?", "How do Claudia and Eli meet?", "What is unusual about the locked Bible?", "When does Eli die?" ]

[ [ "Carnegie", "Carnegie" ], [ "The enigineer", "The Engineer" ], [ "Claudia", "Claudia" ], [ "Blindness", "she is blind" ], [ "The Bible", "the King James Bible" ], [ "Solara", "Solara" ], [ "George and Martha", "George and Martha" ], [ "Alcatraz", "Alcatraz island" ], [ "It was in Braille", "because it was in Braille" ], [ "Carnegie", "Carnegie" ], [ "The Bible", "The power of a book - the Bible" ], [ "Carnegie shoots Eli and leaves him for dead.", "Carnegie shoots him and leaves him for dead " ], [ "It was in Braille.", "Because the Engineer was unable to read the Bible in Braille." ], [ "A voice in his head.", "A voice in his head." ], [ "Solara", "Solara" ], [ "Carnegie's blind mistress.", "Carnegie's mistress who is blind" ], [ "Solara", "Solara" ], [ "Seduce him.", "Seduce him" ], [ "A book.", "a Bible" ], [ "On Alcatraz Island.", "Alcatraz" ], [ "A voice in his head guided him to its location.", "led by a voice in his head" ], [ "The Bible.", "The Bible" ], [ "She says she can't remember how to read Braille.", "that she cannot remember how to read Braille" ], [ "Claudia.", "Solara" ], [ "Claudia was forced by Carnegie to entice Eli using sex.", "She gives him food." ], [ "It is written in Braille.", "it's in Braille" ], [ "After he is done communicating the Bible in its entirety.", "After he has recited the entire Bible." ] ]

[ [ "The other side opens to a view of the great, empty land. A\n herd of deer grazes beside the travelers. Mountains rise in\n the distance. A flock of geese flies overhead.", "soldiers move amongst the monks, turning over the dead\n bodies, searching those silent faces. The Solder we see is\n carrying a photo of His Holiness. They are searching for", "the old monk cautiously approached.\n She opened her basket and showed what\n she had. Heads. Human heads. Only\n the heads.", "The Masters of the Kitchen and the Robe arrive and begin\n their preparations for the day.\n\n A NEW SWEEPER works in the adjacent room.\n\n The sun rises.", "But a distant figure becomes apparent - he is a MESSENGER -\n he is running, through the crowds, toward the Yellow Wall.\n\n We stay on this desperate little figure as he draws closer.", "View through the telescope; the yard is full of prisoners,\n listening to the shooting. One man sees the telescope aimed\n at the prison and prostrates. Then another, and another.", "Three Monks scurry behind the boys, trying to keep up,\n trying to keep the young incarnate from slipping out of\n their sight.\n\n They shout, in loud stage whispers:", "CLOSE on Keustang Rinpoche. Slowly, he nods.\n\n An image of the Father and the Mother, standing in their\n courtyard, staring at the departing search party.", "Another drawer. Empty. And then, success.\n\n In a small drawer, there is something, wrapped in red\n velvet.", "pockets and finds nothing. Another. Nothing. He reaches\n into her sash and pulls out a special-looking sweet. She\n takes the boy's hand and leads him from the house.", "It is very guiet here. The young man looks at the family\n photographs on the blue walls, the needlework on the table,\n the seven copper bowls in front of the statue of Buddha.", "More shots as the men stare out across the countryside.\n\n We hear murmurs of:", "A wish to find a path to peace\n arises. For all beings desire\n happiness. All wish to find\n their purest selves.\n\n Ling nods in approval.", "He sees camp fires and the glow of torches. He hears echoed\n voices.\n\n He looks up. He sees the stars and the moon and that\n incomparable Tibetan sky.", "They hit and pinch until finally the movement of the\n carriage stops. The Driver reaches in through the open\n curtains and separates the boys, each to his own side of the\n dreljam.", "WOMAN (VO)\n Your father had been very ill,\n We thought he would die, and some\n animals had died.\n\n BOY (VO)\n Cow.", "Suddenly, there is a tremendous, loud explosion, and then,\n another.\n\n Tenzin Gyatso gets up and runs to the window he looked out\n of the day of the earthquake.", "One monk runs down the stairs, another monk runs up, both\n staring at a second floor window - a black-rimmed, glass\n window.\n\n A red cloth is pulled back and the window is opened.", "It is tough going. The ground seems like quick sand with\n every step a struggle. When the horses have disappeared\n from sight, a sand storm arises, wiping away their tracks.", "Mother and child return to their home, the Mother carrying\n the boy on her hip as he swings himself around to take a\n last look at the strangers.\n\n EXT. COURTYARD DAWN" ], [ "He was the first Dalai Lama.\n\n The Living Buddha of Compassion.\n\n Now, you have chosen to come back to\n this life once again.", "Lhamo Dhondrup ... The Fourteenth Dalai Lama. Also known\n as Tenzin Gyatso.\n Lobsang Samten ... The Dalai Lama's immediate older brother.", "We find two scrolls; the first is PENDEN LHAMO, the special\n protectress of the Dalai Lama.", "Reting blows his nose.\n\n RETING RINPOCHE\n We name you Tenzin Gyatso.", "Tenzin Gyatso opens the heavy, creaking door. The Dalai\n Lama is in disguise. He is wearing the clothes of a Khamba\n guerrilla - dark, woolen chuba and tall black boots.", "The young Dalai Lama leans on the table where is Father sits\n eating pork rinds.\n\n Lobsang is there, practicing his writing on a chalk board.", "of the Fourteenth Dalai Lama. A monk.\n Lama of Sera ... Keustang Rinpoche A high lama.", "the Dalai Lama.", "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "LOBSANG\n You can't do anything real\n until you are Dalai Lama.\n\n TENZIN GYATSO\n I am him.", "RETING RINPOCHE\n Chenrezi, the Buddha of compassion.\n The Wish Fulfilling Jewel.\n The Fourteenth Dalai Lama.", "RETING RINPOCHE\n Centuries ago, a young boy was\n born. His name was Gedundrub.", "The room is a shrine to Mahakala, the Dalai Lama's personal\n deity. Mahakala is present, in the form of a huge, golden\n statue.", "Tenzin Gyatso is present. He is the boy we know, but beside\n him stands the four year-old boy, Lhamo, from the beginning", "GENERAL CHIANG CHIN-WU\n Dalai Lama.\n\n TENZIN GYATSO\n General Chiang.", "We hear the unmistakable Tibetan horns and cymbals. We hear\n the chanting of monks.\n\n The boy is handed a Golden Wheel, symbolizing the assumption\n of temporal power.", "Tenzin Gyatso adds a package of tools, an atlas, the photo\n of the Thirteenth Dalai Lama, the European shoes. Then, he\n goes to the terrace.", "This is very good. Quite strong.\n\n The Lord Chamberlain and the four members of the Kashag\n agree.\n\n The boy continues:", "Muslim Man, Tibetan Woman, Noble Boy ... People the Dalai Lama\n meets on his way to Yadung.\n General Chiang Chin-wu ... First representative of Communist", "WOMAN (VO)\n And that day, your father\n got better. He named you Lhamo.\n \"The Protector.\"" ], [ "The Dalai Lama sits beside Chairman Mao as a horde of\n photographers flash bulbs in their faces. Mao offers His\n Holiness a plate of Chinese delicacies.", "religion is poison.\n It undermines the race and it\n retards the progress of the\n people. Tibet has been poisoned", "LAYMAN\n These are not the Chinese we know.\n These are Communists.\n\n VOICES\n Make him Dalai Lama now!", "Tibet is in the hands of\n imperialist enemies of\n the people. The Dalai\n Lama, a foolish reminder", "The Dalai Lama takes another, and then, suddenly, the boy\n reaches up and for no reason, he pulls on his Father's\n mustache, obviously hurting the man. The Father slaps the\n boy's hand, hard.", "There are hundreds of people awaiting the arrival of the\n Dalai Lama - hundreds of \"China pictorial\", red-cheeked,\n Chinese communists; men, women and children, waving little\n red flags.", "The young Dalai Lama leans on the table where is Father sits\n eating pork rinds.\n\n Lobsang is there, practicing his writing on a chalk board.", "INT. DALAI LAMA'S PRIVATE ROOMS, NORBULINKA DAY\n\n A meeting is in progress.", "higher than the Dalai Lama.) Taktra is an older man, in his\n sixties. He is stern, solid, no-nonsense.", "The Dalai Lama runs between then. He holds the General\n back.\n\n LUKHANGWA\n Why is it necessary for the Chinese\n to keep so many soldiers in Lhasa?", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n In the adjacent room, the four members of the Kashag and the\n Lord Chamberlain are waiting.", "the Dalai Lama.", "The Dalai Lama is shaken by this violent behavior.\n He adjusts his new eye glasses.", "It is a horrifying announcement.\n\n The Dalai Lama touches her head. She weeps and clutches his\n hands.", "Tenzin Gyatso opens the heavy, creaking door. The Dalai\n Lama is in disguise. He is wearing the clothes of a Khamba\n guerrilla - dark, woolen chuba and tall black boots.", "INT. DALAI LAMA'S PRIVATE ROOM, THE POTALA NIGHT\n\n Tenzin Gyatso is listening to Peking Radio. Norbu Thundrup\n is with him.", "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "LUKHANGWA\n And we will begin with tearing\n it down.\n\n Tenzin Gyatso stands between these furious men. He raises a\n hand, silently requesting peace.", "NORBU THUNDRUP\n These are dangerous times.\n They want the Dalai Lama to lead\n them.", "The Lord Chamberlain stands with the teenage Dalai Lama.\n The room is a violent red in the sunset." ], [ "The Chinese have launched a deceptive\n campaign aimed at convincing the\n world that Tibet belongs to China.", "Tibet is in the hands of\n imperialist enemies of\n the people. The Dalai\n Lama, a foolish reminder", "Tenzin Gyatso turns to a well thumbed page: Tibet.\n\n TENZIN GYATSO\n This is Tibet.\n And this is China.", "MAO TSE TUNG\n Good. Very good.\n Tibet is a great country. A", "Tibet are passing without notice.\n The problem is not of Tibet's\n own making but is largely the outcome\n of unthwarted Chinese ambition", "We hear loudspeakers, blaring, in the background -\n trumpeting propaganda about Chairman Mao and the People's\n Liberation Army.\n\n Tibetan horns blow. It sounds like a warning.", "GENERAL CHIANG\n Superstitions. Tibet is part of a\n modern nation.\n\n The General sits.", "We hear the sound of thousands of Tibetan women shouting;\n\n WOMEN (OC)\n Chinese, GO!\n Chinese, GO!\n Chinese, GO!", "GENERAL CHIANG\n We are here to heal the people\n of Tibet. You need reform.\n You have no sense of what", "One, Tibet must accept that\n it is part of China.\n\n A murmuring in the room.\n\n INT. HALLWAY DAY", "CLOSE on a newspaper. It is a Chinese newspaper and the\n picture on the front page shows a row of severed, Tibetan\n heads.", "have penetrated into Tibet and\n carried out all manner of deceptions\n and provocations. Under such\n conditions the Tibetan nationality", "TENZIN GYATSO\n Your people are very brave.\n They are fighting the Chinese.\n No one can stop them.\n Not even me.", "This time, the soldiers do look like monsters. Their faces\n are grey - coated with Tibetan dust. Their peaked hats look\n vaguely like horns, their tattered, khaki uniforms like\n rough hide.", "The boy sits at the table, writing. We can hear the crowd,\n shouting, outside the Norbulinka walls. We see just a few\n words of the letter:\n\n Please do not resist.", "shall unite and drive out\n imperialist aggressive forces from\n Tibet. The Tibetan people shall\n return to the big family of the", "Lhamo peeks out of the silk curtain as he hears the arrival\n of many horses, many men. SOLDIERS - hundreds of Tibetan\n soldiers - surround the palanquin.", "help, Tibet! The people\n shall be free!\"", "There are hundreds of people awaiting the arrival of the\n Dalai Lama - hundreds of \"China pictorial\", red-cheeked,\n Chinese communists; men, women and children, waving little\n red flags.", "GENERAL CHIANG\n It seems a revolt has\n broken out in the east.\n We have decided that the Tibetan\n army must be used against the\n Khamba guerrillas." ], [ "Tenzin Gyatso takes notes as Mao speaks.\n\n MAO TSE TUNG\n I am so glad that Tibet has\n come back to the Motherland.", "MAO TSE TUNG\n Good. Very good.\n Tibet is a great country. A", "MAO TSE TUNG\n The mission of China is to bring\n progress to Tibet. Develop its\n natural resources. Help its", "religion is poison.\n It undermines the race and it\n retards the progress of the\n people. Tibet has been poisoned", "The Dalai Lama sits beside Chairman Mao as a horde of\n photographers flash bulbs in their faces. Mao offers His\n Holiness a plate of Chinese delicacies.", "TENZIN GYATSO\n I am happy to hear you say this,\n Chairman Mao. I have created a", "Tenzin Gyatso quietly sips his tea.\n\n MAO TSE TUNG\n You must inform me at once if\n any of our people abuse the\n Tibetans trust and good nature.", "Tibet is in the hands of\n imperialist enemies of\n the people. The Dalai\n Lama, a foolish reminder", "China sent to Tibet.\n Mao Tse Tung ... Chairman of the Chinese Communist Party.\n Khamba Leaders ... Leaders of the Tibetan Resistance Movement.", "LAYMAN\n Now, as his great army, stands idle\n on our borders, Chairman Mao has\n presented Tibet with three demands:", "DALAI LAMA\n Always.\n\n Tenzin Gyatso records Mao's words.", "GENERAL CHIANG CHIN-WU\n We bring greetings from Chairman\n Mao.\n\n TENZIN GYATSO\n Thank you. Please sit.", "shall unite and drive out\n imperialist aggressive forces from\n Tibet. The Tibetan people shall\n return to the big family of the", "Tenzin Gyatso turns to a well thumbed page: Tibet.\n\n TENZIN GYATSO\n This is Tibet.\n And this is China.", "MAO TSE TUNG\n You know, I have great respect for\n your Lord Buddha. He was anti-caste.", "Marxism. It is based on equality\n and justice for all. I believe\n Chairman Mao wishes the best for\n our people. Our path must be", "MAO TSE TUNG\n Have a sweet. Made in my home\n province. The kind my mother used\n to make.\n\n The Dalai Lama accepts.", "MAO TSE TUNG\n Your attitude is good, you know.\n I understand you well.\n But you need to learn this:", "LAYMAN\n And do you believe that the Tibetan\n government will be allowed to\n continue to function as it is?\n Do you believe that our religion\n will be protected?", "Mao speaks and moves very slowly. He pants and wheezes. He\n appears to be sick. Tenzin Gyatso takes notes." ], [ "TAKSTER RINPOCHE\n You are in great danger. The Dalai\n Lama cannot fall into Chinese hands.\n You must flee.", "Tenzin Gyatso opens the heavy, creaking door. The Dalai\n Lama is in disguise. He is wearing the clothes of a Khamba\n guerrilla - dark, woolen chuba and tall black boots.", "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "We hear these snippets as the Dalai Lama runs from the group.\n\n INT. HALLWAYS, POTALA DAY", "The Dalai Lama runs between then. He holds the General\n back.\n\n LUKHANGWA\n Why is it necessary for the Chinese\n to keep so many soldiers in Lhasa?", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "TENZIN GYATSO\n We are in the last outposts of Tibet.\n Let's do away with some of this\n formality.\n\n The Dalai Lama leaves the room.", "We see that a road is under construction - a road into\n Lhasa. The first road in Tibet. The Dalai Llama is travelling", "EXT. TERRACE, THE POTALA DAY\n\n The Dalai Lama is reading - Tibet's appeal to the United\n Nations.", "A Bodyguard comes for them, and then, the Dalai Lama is\n outside the Potala walls.\n\n EXT. POTALA NIGHT", "The Fourteenth Dalai Lama rides in a Chinese jeep. Dust\n surrounds him. A yellow silk umbrella shades him.", "We begin to hear the unique Tibetan music.\n\n DREAM SEQUENCE\n\n Tenzin Gyatso rides a grey mule across the empty, mysterious\n landscape of Tibet.", "the Dalai Lama.", "Shots ring out.\n\n The men jump to their feet, and rush out from under the\n canopy. The Dalai Lama is right in front.", "The Dalai Lama sits beside Chairman Mao as a horde of\n photographers flash bulbs in their faces. Mao offers His\n Holiness a plate of Chinese delicacies.", "Tibet is in the hands of\n imperialist enemies of\n the people. The Dalai\n Lama, a foolish reminder", "Tenzin Gyatso turns to a well thumbed page: Tibet.\n\n TENZIN GYATSO\n This is Tibet.\n And this is China.", "He is in his old room at the Potala, in Lhasa. The green\n mural of the Fifth Dalai Lama is behind him. He has risen.\n from the red-curtained bed.", "NORBU THUNDRUP\n These are dangerous times.\n They want the Dalai Lama to lead\n them.", "KASHAG MEMBER\n And as for your own safety, Holiness?\n\n A pause.\n\n TENZIN GYATSO\n I am scared." ], [ "Tenzin Gyatso rises and goes to the Oracle. He looks down\n at the map. The Oracle hands the Dalai Lama the map and", "The Nechung Oracle is brought in. The monk quiets himself\n and readies himself for the trance.\n\n The Dalai Lama waits. Again, alone.", "Horns blow, cymbals crash, incense burns. The Oracle nears\n the Dalai Lama and retreats from him. Finally, he whispers\n in the boy's ear.", "INT. DALAI LAMA'S PRIVATE ROOMS NIGHT\n\n The Dalai Lama consults the Nechung Oracle. Alone.\n\n The Oracle whispers:", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "Tenzin Gyatso walks alone in the mountains. We see his\n Bodyguards in the distance. He comes to a chorten (a stupa\n - a small, pagoda-like chapel). He steps inside.", "INT. TRAIN DAY\n\n The Dalai Lama travels by train.\n\n INT. TRAIN STATION DAY", "Tenzin Gyatso adds a package of tools, an atlas, the photo\n of the Thirteenth Dalai Lama, the European shoes. Then, he\n goes to the terrace.", "He is in his old room at the Potala, in Lhasa. The green\n mural of the Fifth Dalai Lama is behind him. He has risen.\n from the red-curtained bed.", "The Dalai Lama enters the room.\n\n The boy goes to a small table where a document is unrolled\n before him.", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n The Dalai Lama addresses the Yistang, the Tsitang.\n Two new faces are present.", "The Dalai Lama is confused, but continues listening.\n\n INT. GREAT HALL DAY\n\n The Layman returns to his cross-legged position.", "Tenzin Gyatso opens the heavy, creaking door. The Dalai\n Lama is in disguise. He is wearing the clothes of a Khamba\n guerrilla - dark, woolen chuba and tall black boots.", "The Oracle staggers forward, snatches up some paper and a\n pen and begins to draw a map, a route, out of Lhasa. He\n keeps repeating:", "Tenzin Gyatso collects his food. He sips his tea and eats\n his tsampa, while reading from a long, narrow stack of", "We see that a road is under construction - a road into\n Lhasa. The first road in Tibet. The Dalai Llama is travelling", "NECHUNG ORACLE\n Stay. I tell you to stay.\n\n EXT. DALAI LAMA'S RESIDENCE DAY", "He is led to a tall, wooden throne, and he is lifted, and\n then he climbs to the top. Lhamo settles in a cross-legged\n position on the brocade cushion.", "With a soldier on either side of him, the Dalai Lama\n descends the staircase.\n\n The Soldiers start to lead him away, but he pauses." ], [ "We see the Dalai Lama place his young eye at the viewfinder.\n\n EXT. TERRACE, POTALA DAY\n\n Norbu Thundrup holds the boy steady.", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "The Dalai Lama is confused, but continues listening.\n\n INT. GREAT HALL DAY\n\n The Layman returns to his cross-legged position.", "We find the statue of Seventh Dalai Lama, sitting on his\n golden cushion, and we look, deep into the eyes of the\n Thirteenth Dalai Lama. Fantastic. Deeper. Deeper.", "One man looks up and sees that the yard is under\n surveillance. Of course the men all know that this terrace\n belongs to the boy Dalai Lama.", "With a soldier on either side of him, the Dalai Lama\n descends the staircase.\n\n The Soldiers start to lead him away, but he pauses.", "The Dalai Lama lies awake in his camp bed. He cannot sleep.\n He rises and walks to the tent flap. He opens it.\n\n EXT. TENT NIGHT", "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "He is in his old room at the Potala, in Lhasa. The green\n mural of the Fifth Dalai Lama is behind him. He has risen.\n from the red-curtained bed.", "The Dalai Lama enters the room.\n\n The boy goes to a small table where a document is unrolled\n before him.", "It is late at night. The boy is alone. He sits in front of\n his altar - meditating.\n\n INT. DALAI LAMA'S PRIVATE ROOMS NIGHT", "The Lord Chamberlain walks to a far, sheltered end of the\n terrace.\n\n Tenzin Gyatso slowly turns the telescope to see the prison\n yard.", "The view comes in the window and reveals the young Dalai\n Lama, sitting on the floor with Norbu Thundrup, the sweeper.", "Tenzin Gyatso slowly gets to his feet. We must see on his\n face that he realizes it has all been lies. All the kind\n words and promises, it must all be lies.", "We might have been in a dream, as the camera finally moves\n back to find the peaceful1 protected face of the young Dalai\n Lama. Asleep.", "Back to that messenger as he works his way, ever closer to\n the building which holds the Dalai Lama aloft, and then we\n lose sight of him.\n\n INT. ENCLOSURE DAY", "INT. ENCLOSURE DAY\n\n Tenzin Gyatso is alone in this little room; his arms rest\n on a window ledge as he stares down at the festival taking\n place below him.", "The tension is thick. Finally, the Dalai Lama enters.", "A Bodyguard is posted. He turns to the Dalai Lama.", "The Chinese men closer and we see that one of them is\n smoking a cigarette.\n\n CLOSE on Tenzin Gyatso's face." ], [ "The Dalai Lama is confused, but continues listening.\n\n INT. GREAT HALL DAY\n\n The Layman returns to his cross-legged position.", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "He is in his old room at the Potala, in Lhasa. The green\n mural of the Fifth Dalai Lama is behind him. He has risen.\n from the red-curtained bed.", "We might have been in a dream, as the camera finally moves\n back to find the peaceful1 protected face of the young Dalai\n Lama. Asleep.", "TENZIN GYATSO\n We are in the last outposts of Tibet.\n Let's do away with some of this\n formality.\n\n The Dalai Lama leaves the room.", "The tension is thick. Finally, the Dalai Lama enters.", "We hear these snippets as the Dalai Lama runs from the group.\n\n INT. HALLWAYS, POTALA DAY", "INT. DALAI LAMA'S PRIVATE ROOMS DUSK\n\n A last meeting in session.", "The young Dalai Lama leans on the table where is Father sits\n eating pork rinds.\n\n Lobsang is there, practicing his writing on a chalk board.", "With a soldier on either side of him, the Dalai Lama\n descends the staircase.\n\n The Soldiers start to lead him away, but he pauses.", "The Dalai Lama enters the room.\n\n The boy goes to a small table where a document is unrolled\n before him.", "The Dalai Lama lies awake in his camp bed. He cannot sleep.\n He rises and walks to the tent flap. He opens it.\n\n EXT. TENT NIGHT", "Back to that messenger as he works his way, ever closer to\n the building which holds the Dalai Lama aloft, and then we\n lose sight of him.\n\n INT. ENCLOSURE DAY", "It is late at night. The boy is alone. He sits in front of\n his altar - meditating.\n\n INT. DALAI LAMA'S PRIVATE ROOMS NIGHT", "We see the Dalai Lama place his young eye at the viewfinder.\n\n EXT. TERRACE, POTALA DAY\n\n Norbu Thundrup holds the boy steady.", "Horns blow, cymbals crash, incense burns. The Oracle nears\n the Dalai Lama and retreats from him. Finally, he whispers\n in the boy's ear.", "It is a horrifying announcement.\n\n The Dalai Lama touches her head. She weeps and clutches his\n hands.", "INT. DALAI LAMA'S PRIVATE ROOM DAY", "Tenzin Gyatso opens the heavy, creaking door. The Dalai\n Lama is in disguise. He is wearing the clothes of a Khamba\n guerrilla - dark, woolen chuba and tall black boots." ], [ "The other side opens to a view of the great, empty land. A\n herd of deer grazes beside the travelers. Mountains rise in\n the distance. A flock of geese flies overhead.", "Lobsang is perched on the back of a horse - in front of his\n Father. The two leave home, goodbyes having already been\n said. Mother, sister and little brother remain behind.", "They hit and pinch until finally the movement of the\n carriage stops. The Driver reaches in through the open\n curtains and separates the boys, each to his own side of the\n dreljam.", "WOMAN (VO)\n Your father had been very ill,\n We thought he would die, and some\n animals had died.\n\n BOY (VO)\n Cow.", "It is very guiet here. The young man looks at the family\n photographs on the blue walls, the needlework on the table,\n the seven copper bowls in front of the statue of Buddha.", "He sees camp fires and the glow of torches. He hears echoed\n voices.\n\n He looks up. He sees the stars and the moon and that\n incomparable Tibetan sky.", "Lhamo goes back to his game. The Mother hands the tired man\n a slice of bread and a steaming cup of tea. The man's\n hands are shaking. He cannot look the woman in the eye.", "We hear a very young boy speak.\n\n BOY (VO)\n Mama, my story.\n\n A woman speaks:", "He is led to a tall, wooden throne, and he is lifted, and\n then he climbs to the top. Lhamo settles in a cross-legged\n position on the brocade cushion.", "The boy sits at the table, writing. We can hear the crowd,\n shouting, outside the Norbulinka walls. We see just a few\n words of the letter:\n\n Please do not resist.", "He glides the telescope across the countryside, catching\n sight of the young herders leading their sheep back into\n town. He picks up a corner of the market place and the hub-", "Lhamo is watching two bugs fighting when he hears the dog\n bark. He climbs the low, stone wall and looks out at the\n road.", "But a distant figure becomes apparent - he is a MESSENGER -\n he is running, through the crowds, toward the Yellow Wall.\n\n We stay on this desperate little figure as he draws closer.", "Lhamo sits in the saddle in front of his Mother. His Father\n and Sister ride beside them, through an incredible, empty,\n Tibetan landscape. A Monk rides lead.", "MOTHER\n Say, Kumbum Monastery.\n\n LOBSANG\n Kumbum. It is not far away.", "and ages they were at the beginning of the story. Tenzin\n Gyatso is very happy, sitting on the raised platform in the\n kitchen, playing a game with pebbles.", "He moves to the bathroom, runs a bath. Hot water.\n Electricity. This is the modern world.\n\n INT. MAO'S OFFICE DAY", "Another drawer. Empty. And then, success.\n\n In a small drawer, there is something, wrapped in red\n velvet.", "line, and into the rhododendron forest and the farmlands,\n until it comes to rest on a small, stone, u-shaped house. A\n house caught in the dawn's mist.", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka." ], [ "The water turns a light grey, and an image appears - obscure\n at first, then becoming more solid. A vision.\n\n He sees a house - a small, stone, one-story, u-shaped house.", "Reting Rinpoche, the young Regent of Tibet, the man who saw\n this boy's face in his vision, stands below the throne. He\n addresses the crowd:", "He sees camp fires and the glow of torches. He hears echoed\n voices.\n\n He looks up. He sees the stars and the moon and that\n incomparable Tibetan sky.", "We pull back as the spotted dog begins to bark.\n\n Lhamo's house is the house in the vision.\n\n INT. KITCHEN MORNING", "The other side opens to a view of the great, empty land. A\n herd of deer grazes beside the travelers. Mountains rise in\n the distance. A flock of geese flies overhead.", "As the boy watches, first one poor, ragged man, then another\n prostrates.\n\n Tenzin Gyatso pulls away from the telescope. He waves to\n the prisoners.", "He is led to a tall, wooden throne, and he is lifted, and\n then he climbs to the top. Lhamo settles in a cross-legged\n position on the brocade cushion.", "The young \"Kundun\" is gently rocked by his older brother.\n\n He begins to fall asleep.\n\n DREAM SEQUENCE", "View of the Mother, on the roof, feeding cedar and yak chips\n into the incense burner. We hear:", "The Masters of the Kitchen and the Robe arrive and begin\n their preparations for the day.\n\n A NEW SWEEPER works in the adjacent room.\n\n The sun rises.", "We begin to hear the unique Tibetan music.\n\n DREAM SEQUENCE\n\n Tenzin Gyatso rides a grey mule across the empty, mysterious\n landscape of Tibet.", "We might have been in a dream, as the camera finally moves\n back to find the peaceful1 protected face of the young Dalai\n Lama. Asleep.", "View through the telescope; the yard is full of prisoners,\n listening to the shooting. One man sees the telescope aimed\n at the prison and prostrates. Then another, and another.", "The stern-looking Teacher from his dream is there, reading\n scripture, reciting:", "The Lord Chamberlain walks to a far, sheltered end of the\n terrace.\n\n Tenzin Gyatso slowly turns the telescope to see the prison\n yard.", "Just as the monks find their young charges and we hear them\n at the door, Tenzin sees something truly spectacular. It is\n a telescope.", "Suddenly, there is a tremendous, loud explosion, and then,\n another.\n\n Tenzin Gyatso gets up and runs to the window he looked out\n of the day of the earthquake.", "It is a horrifying announcement.\n\n The Dalai Lama touches her head. She weeps and clutches his\n hands.", "Today, his life will change.\n\n We stay on the boy's face until, slowly, his eyes open -\n beautiful, dark, eyes.", "Finally, Tenzin Gyatso's eyelids grow heavy. The camera\n passes over his face, as his eyes close.\n\n The boy begins to speak, mumble, as he falls asleep:" ], [ "The Dalai Lama and members of his retinue stand in front of\n his old house in the village of Taktser, Amdo Province.", "Lhamo peeks out of the silk curtain as he hears the arrival\n of many horses, many men. SOLDIERS - hundreds of Tibetan\n soldiers - surround the palanquin.", "Suddenly, monks come running from the surrounding mountain\n trails, shrieking, wailing.\n\n They run to lamas, grabbing at their robes, clutching,\n crying out:", "Lhamo sits in the saddle in front of his Mother. His Father\n and Sister ride beside them, through an incredible, empty,\n Tibetan landscape. A Monk rides lead.", "Lhamo wakes up. He is in a brilliant, green room.\n\n INT. STUDY ROOM, KUMBUM MONASTERY DAY", "The boy is back in his own home in Amdo province.", "Tenzin Gyatso opens the heavy, creaking door. The Dalai\n Lama is in disguise. He is wearing the clothes of a Khamba\n guerrilla - dark, woolen chuba and tall black boots.", "Below him he sees a new Lhasa - a Lhasa full of trucks and\n Chinese soldiers. A traffic island stands in the center of\n an intersection. The town walls are white-washed. The\n political posters are gone.", "LORD CHAMBERLAIN\n Land reform is underway in Amdo. The\n large estates are being confiscated\n and redistributed. Landlords are\n being punished.", "A group of officials are headed in the direction of the\n monastery. Within the group of Tibetan noblemen - dressed\n in their traditional red and gold silk robes - are three\n men, wearing drab, grey suits.", "This is very good. Quite strong.\n\n The Lord Chamberlain and the four members of the Kashag\n agree.\n\n The boy continues:", "One man stands out here, a monk, a high lama in fact, with a\n kind face and fantastic, mesmerizing eyes. He is the LAMA\n OF SERA.", "The boy is traveling with a caravan. It is not, in fact, an\n enormous caravan, maybe fifty people, including: Lhamo's\n family, members of the search party, monks, Muslim traders.", "He sees camp fires and the glow of torches. He hears echoed\n voices.\n\n He looks up. He sees the stars and the moon and that\n incomparable Tibetan sky.", "Finally, Lobsang.\n\n LOBSANG\n Long life, Lhamo.\n\n We hear the sound of a great, Tibetan horn.", "soldiers move amongst the monks, turning over the dead\n bodies, searching those silent faces. The Solder we see is\n carrying a photo of His Holiness. They are searching for", "Lhamo reaches forward and pulls back a curtain.\n\n EXT. TIBETAN PLATEAU DAY", "Shots ring out.\n\n The men jump to their feet, and rush out from under the\n canopy. The Dalai Lama is right in front.", "A pause, and then Tenzin Gyatso sits in front of the thangka\n of Penden Lhamo.\n\n He reads from the scripture pages laid out on the low table.\n He reads by flashlight.", "The Lama of Sera - Keustang Rinpoche - hands Lhamo the\n rosary he had so coveted when the man first visited." ], [ "The Dalai Lama enters the room.\n\n The boy goes to a small table where a document is unrolled\n before him.", "The Nechung Oracle is brought in. The monk quiets himself\n and readies himself for the trance.\n\n The Dalai Lama waits. Again, alone.", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "We hear the unmistakable Tibetan horns and cymbals. We hear\n the chanting of monks.\n\n The boy is handed a Golden Wheel, symbolizing the assumption\n of temporal power.", "INT. DALAI LAMA'S PRIVATE ROOM DAY\n\n The Lord Chamberlain bows to the boy and then unpacks his\n parcel.", "Reting Rinpoche, the young Regent of Tibet, the man who saw\n this boy's face in his vision, stands below the throne. He\n addresses the crowd:", "Tenzin Gyatso is present. He is the boy we know, but beside\n him stands the four year-old boy, Lhamo, from the beginning", "The young Dalai Lama leans on the table where is Father sits\n eating pork rinds.\n\n Lobsang is there, practicing his writing on a chalk board.", "Tenzin Gyatso snoops around this room. He opens drawers,\n cabinets, just as a child would. He finds odd little pieces\n of ceramics, pens, paper.", "Finally, Tenzin Gyatso's eyelids grow heavy. The camera\n passes over his face, as his eyes close.\n\n The boy begins to speak, mumble, as he falls asleep:", "Tenzin Gyatso rises and goes to the Oracle. He looks down\n at the map. The Oracle hands the Dalai Lama the map and", "The monks enter the room as the young Dalai Lama reaches for\n this miracle.\n\n TENZIN GYATSO\n What is it?", "INT. DALAI LAMA'S PRIVATE ROOMS NIGHT\n\n The Dalai Lama consults the Nechung Oracle. Alone.\n\n The Oracle whispers:", "As the chanting continues, Taktra Rinpoche begins a weaving\n motion with his hands, delicate, beautiful, hypnotic.\n\n Tenzin Gyatso copies the elder.", "He is led to a tall, wooden throne, and he is lifted, and\n then he climbs to the top. Lhamo settles in a cross-legged\n position on the brocade cushion.", "Tenzin Gyatso lifts his dorge. Taktra's hands move to the\n boy's and show him the correct movement. It is tried again.\n Now, the bell is lifted and rung.", "Horns blow, cymbals crash, incense burns. The Oracle nears\n the Dalai Lama and retreats from him. Finally, he whispers\n in the boy's ear.", "He was the first Dalai Lama.\n\n The Living Buddha of Compassion.\n\n Now, you have chosen to come back to\n this life once again.", "Reting blows his nose.\n\n RETING RINPOCHE\n We name you Tenzin Gyatso.", "of the movie, and on the other side of him stands the boy\n who will play the Dalai Lama in the next section of the film\n - a boy about fifteen or sixteen." ], [ "He was the first Dalai Lama.\n\n The Living Buddha of Compassion.\n\n Now, you have chosen to come back to\n this life once again.", "Tenzin Gyatso opens the heavy, creaking door. The Dalai\n Lama is in disguise. He is wearing the clothes of a Khamba\n guerrilla - dark, woolen chuba and tall black boots.", "Lhamo Dhondrup ... The Fourteenth Dalai Lama. Also known\n as Tenzin Gyatso.\n Lobsang Samten ... The Dalai Lama's immediate older brother.", "The young Dalai Lama leans on the table where is Father sits\n eating pork rinds.\n\n Lobsang is there, practicing his writing on a chalk board.", "The Dalai Lama sits beside Chairman Mao as a horde of\n photographers flash bulbs in their faces. Mao offers His\n Holiness a plate of Chinese delicacies.", "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "The Dalai Lama sits behind the wheel of a 1927 Austin. He\n is a lousy driver - a boy who never commanded a wheeled\n vehicle in all of his young life.", "higher than the Dalai Lama.) Taktra is an older man, in his\n sixties. He is stern, solid, no-nonsense.", "the Dalai Lama.", "Tenzin Gyatso is present. He is the boy we know, but beside\n him stands the four year-old boy, Lhamo, from the beginning", "Tenzin Gyatso adds a package of tools, an atlas, the photo\n of the Thirteenth Dalai Lama, the European shoes. Then, he\n goes to the terrace.", "LORD CHAMBBERLAIN\n Seventh Dalai Lama.\n\n Tenzin Gyatso nods.", "The Dalai Lama laughs.", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n In the adjacent room, the four members of the Kashag and the\n Lord Chamberlain are waiting.", "He is led to a tall, wooden throne, and he is lifted, and\n then he climbs to the top. Lhamo settles in a cross-legged\n position on the brocade cushion.", "EXT. DALAI LAMA'S RESIDENCE, NORBULINKA DAY\n\n Tenzin Gyatso steps outside. The shouting grows louder:", "Reting blows his nose.\n\n RETING RINPOCHE\n We name you Tenzin Gyatso.", "He is in his old room at the Potala, in Lhasa. The green\n mural of the Fifth Dalai Lama is behind him. He has risen.\n from the red-curtained bed.", "GENERAL CHIANG CHIN-WU\n Dalai Lama.\n\n TENZIN GYATSO\n General Chiang.", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka." ], [ "Tenzin Gyatso turns to a well thumbed page: Tibet.\n\n TENZIN GYATSO\n This is Tibet.\n And this is China.", "The Chinese have launched a deceptive\n campaign aimed at convincing the\n world that Tibet belongs to China.", "One, Tibet must accept that\n it is part of China.\n\n A murmuring in the room.\n\n INT. HALLWAY DAY", "GENERAL CHIANG\n Superstitions. Tibet is part of a\n modern nation.\n\n The General sits.", "TENZIN GYATSO\n Tibet has never been part of\n China. We are different races.\n We are different cultures.", "MONK\n We can concede that Tibet is a part\n of China if we can guarantee that\n the Dalai Lama's name and authority\n will remain...", "Tibet are passing without notice.\n The problem is not of Tibet's\n own making but is largely the outcome\n of unthwarted Chinese ambition", "Tibet is in the hands of\n imperialist enemies of\n the people. The Dalai\n Lama, a foolish reminder", "TENZIN GYATSO\n If we agree that we are part of\n China, nothing else will matter.\n Not trade, not defense. We will be\n lost.", "MAO TSE TUNG\n Good. Very good.\n Tibet is a great country. A", "We hear the sound of thousands of Tibetan women shouting;\n\n WOMEN (OC)\n Chinese, GO!\n Chinese, GO!\n Chinese, GO!", "Tenzin Gyatso takes notes as Mao speaks.\n\n MAO TSE TUNG\n I am so glad that Tibet has\n come back to the Motherland.", "We hear loudspeakers, blaring, in the background -\n trumpeting propaganda about Chairman Mao and the People's\n Liberation Army.\n\n Tibetan horns blow. It sounds like a warning.", "have penetrated into Tibet and\n carried out all manner of deceptions\n and provocations. Under such\n conditions the Tibetan nationality", "GENERAL CHIANG\n We are here to heal the people\n of Tibet. You need reform.\n You have no sense of what", "LAYMAN (OC)\n Two, Tibet's defenses must\n be handled by China.\n Three, all political and trade\n matters concerning foreign countries\n must be conducted through China.", "LAYMAN\n Now, as his great army, stands idle\n on our borders, Chairman Mao has\n presented Tibet with three demands:", "This is a different land. There are rice paddies and water\n buffalo. The altitude and barrenness of Tibet have been\n replaced by greener pastures, jagged mountaintops and\n Chinese natives.", "were introduced as delegates from the\n \"Chinese region of Tibet\".\n We protested this reference and\n demanded a letter rebutting it.", "MAO TSE TUNG\n The mission of China is to bring\n progress to Tibet. Develop its\n natural resources. Help its" ], [ "The Dalai Lama sits beside Chairman Mao as a horde of\n photographers flash bulbs in their faces. Mao offers His\n Holiness a plate of Chinese delicacies.", "He has exquisite, delicate hands and his skin is shinny.\n\n Later, Chairman Mao and the Dalai Lama sit across from one\n another.", "GENERAL CHIANG CHIN-WU\n We bring greetings from Chairman\n Mao.\n\n TENZIN GYATSO\n Thank you. Please sit.", "INT. DALAI LAMA'S PRIVATE ROOMS, NORBULINKA DAY\n\n A meeting is in progress.", "Mao - wearing no hat, no coat, and coughing - opens the door\n for the boy.\n\n The Dalai Lama shakes the man's hand.", "There are hundreds of people awaiting the arrival of the\n Dalai Lama - hundreds of \"China pictorial\", red-cheeked,\n Chinese communists; men, women and children, waving little\n red flags.", "INT. GREAT HALL OF THE PEOPLE DAY\n\n The Dalai Lama, and his retinue sit in this Great Hall,\n decorated with a portrait of Chairman Mao.", "There is a knock and Tenzin Gyatso is led into the room.\n\n Mao is at his desk, working late, smoking heavily.", "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "Tenzin Gyatso takes notes as Mao speaks.\n\n MAO TSE TUNG\n I am so glad that Tibet has\n come back to the Motherland.", "INT. DALAI LAMA'S ROOM, CHINESE GUEST HOUSE NIGHT", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n In the adjacent room, the four members of the Kashag and the\n Lord Chamberlain are waiting.", "He is in his old room at the Potala, in Lhasa. The green\n mural of the Fifth Dalai Lama is behind him. He has risen.\n from the red-curtained bed.", "INT. DALAI LAMA'S PRIVATE ROOMS DUSK\n\n A last meeting in session.", "The Dalai Lama is confused, but continues listening.\n\n INT. GREAT HALL DAY\n\n The Layman returns to his cross-legged position.", "INT. DALAI LAMA'S PRIVATE ROOM, THE POTALA NIGHT\n\n Tenzin Gyatso is listening to Peking Radio. Norbu Thundrup\n is with him.", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "GENERAL CHIANG CHIN-WU\n We come in genuine friendship.\n\n CLOSE on the Dalai Lama.\n\n He makes no response.", "EXT. DALAI LAMA'S PRIVATE ROOMS DAY\n\n Again, an informal meeting is in session.", "A small group sits waiting on red velvet chairs: the Dalai\n Lama, the Lord Chamberlain and the Kashag." ], [ "Tenzin Gyatso takes notes as Mao speaks.\n\n MAO TSE TUNG\n I am so glad that Tibet has\n come back to the Motherland.", "MAO TSE TUNG\n Good. Very good.\n Tibet is a great country. A", "Mao speaks and moves very slowly. He pants and wheezes. He\n appears to be sick. Tenzin Gyatso takes notes.", "MAO TSE TUNG\n The mission of China is to bring\n progress to Tibet. Develop its\n natural resources. Help its", "He is unable to raise his face to Mao's. All he sees before\n him are those shinny shoes, those exquisitely shaped,\n glistening hands.", "Tibet is in the hands of\n imperialist enemies of\n the people. The Dalai\n Lama, a foolish reminder", "There is a knock and Tenzin Gyatso is led into the room.\n\n Mao is at his desk, working late, smoking heavily.", "The Dalai Lama sits beside Chairman Mao as a horde of\n photographers flash bulbs in their faces. Mao offers His\n Holiness a plate of Chinese delicacies.", "Tenzin Gyatso quietly sips his tea.\n\n MAO TSE TUNG\n You must inform me at once if\n any of our people abuse the\n Tibetans trust and good nature.", "He has exquisite, delicate hands and his skin is shinny.\n\n Later, Chairman Mao and the Dalai Lama sit across from one\n another.", "Mao - wearing no hat, no coat, and coughing - opens the door\n for the boy.\n\n The Dalai Lama shakes the man's hand.", "Tenzin Gyatso turns to a well thumbed page: Tibet.\n\n TENZIN GYATSO\n This is Tibet.\n And this is China.", "We notice that Mao's clothes are shabby and old. (His suit\n is always a shade lighter than everyone else's grey-drab).", "He sees camp fires and the glow of torches. He hears echoed\n voices.\n\n He looks up. He sees the stars and the moon and that\n incomparable Tibetan sky.", "MAO TSE TUNG\n Take care of your health.\n\n Tenzin Gyatso gets into the car and Mao slams the door.", "TIBETAN WOMAN\n Not too bad. Rich is rich,\n poor is poor. We are different.\n Are you married?\n\n Tenzin Gyatso laughs.", "LAYMAN\n Now, as his great army, stands idle\n on our borders, Chairman Mao has\n presented Tibet with three demands:", "GENERAL CHIANG\n Superstitions. Tibet is part of a\n modern nation.\n\n The General sits.", "LUKHANGWA\n Chairman Mao can keep China.\n Just give us back Tibet.\n\n The General backs away and brings himself under control.", "higher than the Dalai Lama.) Taktra is an older man, in his\n sixties. He is stern, solid, no-nonsense." ], [ "We hear these snippets as the Dalai Lama runs from the group.\n\n INT. HALLWAYS, POTALA DAY", "INT. DALAI LAMA'S PRIVATE ROOMS NIGHT\n\n The Dalai Lama consults the Nechung Oracle. Alone.\n\n The Oracle whispers:", "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "A Bodyguard comes for them, and then, the Dalai Lama is\n outside the Potala walls.\n\n EXT. POTALA NIGHT", "Tenzin Gyatso rises and goes to the Oracle. He looks down\n at the map. The Oracle hands the Dalai Lama the map and", "With a soldier on either side of him, the Dalai Lama\n descends the staircase.\n\n The Soldiers start to lead him away, but he pauses.", "Tenzin Gyatso opens the heavy, creaking door. The Dalai\n Lama is in disguise. He is wearing the clothes of a Khamba\n guerrilla - dark, woolen chuba and tall black boots.", "Horns blow, cymbals crash, incense burns. The Oracle nears\n the Dalai Lama and retreats from him. Finally, he whispers\n in the boy's ear.", "The Dalai Lama lies awake in his camp bed. He cannot sleep.\n He rises and walks to the tent flap. He opens it.\n\n EXT. TENT NIGHT", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n In the adjacent room, the four members of the Kashag and the\n Lord Chamberlain are waiting.", "He is in his old room at the Potala, in Lhasa. The green\n mural of the Fifth Dalai Lama is behind him. He has risen.\n from the red-curtained bed.", "The Nechung Oracle is brought in. The monk quiets himself\n and readies himself for the trance.\n\n The Dalai Lama waits. Again, alone.", "The Dalai Lama is confused, but continues listening.\n\n INT. GREAT HALL DAY\n\n The Layman returns to his cross-legged position.", "TAKSTER RINPOCHE\n You are in great danger. The Dalai\n Lama cannot fall into Chinese hands.\n You must flee.", "Shots ring out.\n\n The men jump to their feet, and rush out from under the\n canopy. The Dalai Lama is right in front.", "The small party makes its way across a bit of countryside.\n\n People are camped here - Khambas, farmers, nomads. The\n Dalai Lama crosses to safety - unnoticed.", "Tenzin Gyatso walks alone in the mountains. We see his\n Bodyguards in the distance. He comes to a chorten (a stupa\n - a small, pagoda-like chapel). He steps inside.", "The Oracle staggers forward, snatches up some paper and a\n pen and begins to draw a map, a route, out of Lhasa. He\n keeps repeating:", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n The Dalai Lama addresses the Yistang, the Tsitang.\n Two new faces are present." ], [ "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "We hear these snippets as the Dalai Lama runs from the group.\n\n INT. HALLWAYS, POTALA DAY", "The Dalai Lama is confused, but continues listening.\n\n INT. GREAT HALL DAY\n\n The Layman returns to his cross-legged position.", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "A Bodyguard comes for them, and then, the Dalai Lama is\n outside the Potala walls.\n\n EXT. POTALA NIGHT", "TENZIN GYATSO\n We are in the last outposts of Tibet.\n Let's do away with some of this\n formality.\n\n The Dalai Lama leaves the room.", "The tension is thick. Finally, the Dalai Lama enters.", "He is in his old room at the Potala, in Lhasa. The green\n mural of the Fifth Dalai Lama is behind him. He has risen.\n from the red-curtained bed.", "Shots ring out.\n\n The men jump to their feet, and rush out from under the\n canopy. The Dalai Lama is right in front.", "EXT. DALAI LAMA'S RESIDENCE DAWN\n\n The whole building shakes. Earthquake.", "The Dalai Lama lies awake in his camp bed. He cannot sleep.\n He rises and walks to the tent flap. He opens it.\n\n EXT. TENT NIGHT", "With a soldier on either side of him, the Dalai Lama\n descends the staircase.\n\n The Soldiers start to lead him away, but he pauses.", "Tenzin Gyatso opens the heavy, creaking door. The Dalai\n Lama is in disguise. He is wearing the clothes of a Khamba\n guerrilla - dark, woolen chuba and tall black boots.", "INT. TRAIN DAY\n\n The Dalai Lama travels by train.\n\n INT. TRAIN STATION DAY", "We see the Dalai Lama place his young eye at the viewfinder.\n\n EXT. TERRACE, POTALA DAY\n\n Norbu Thundrup holds the boy steady.", "EXT. DALAI LAMA'S RESIDENCE, NORBULINKA DAY\n\n Tenzin Gyatso steps outside. The shouting grows louder:", "Horns blow, cymbals crash, incense burns. The Oracle nears\n the Dalai Lama and retreats from him. Finally, he whispers\n in the boy's ear.", "Tenzin Gyatso runs down the hall and enters his red rooms.\n\n INT. DALAI LAMA'S PRIVATE ROOMS DAY", "Back to that messenger as he works his way, ever closer to\n the building which holds the Dalai Lama aloft, and then we\n lose sight of him.\n\n INT. ENCLOSURE DAY", "The Dalai Lama enters the room.\n\n The boy goes to a small table where a document is unrolled\n before him." ], [ "and ages they were at the beginning of the story. Tenzin\n Gyatso is very happy, sitting on the raised platform in the\n kitchen, playing a game with pebbles.", "WOMAN (VO)\n Your father had been very ill,\n We thought he would die, and some\n animals had died.\n\n BOY (VO)\n Cow.", "We hear a very young boy speak.\n\n BOY (VO)\n Mama, my story.\n\n A woman speaks:", "The boy cannot look up. He is in shock. We see the last\n words he writes:\n\n \"Religion is poison.\"", "Lhamo goes back to his game. The Mother hands the tired man\n a slice of bread and a steaming cup of tea. The man's\n hands are shaking. He cannot look the woman in the eye.", "They hit and pinch until finally the movement of the\n carriage stops. The Driver reaches in through the open\n curtains and separates the boys, each to his own side of the\n dreljam.", "begins to cry. Takster holds them both. The music\n continues. The older, wiser, Takster begins to cry, too.\n The three brothers hold one another. Three brothers, three", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "The other side opens to a view of the great, empty land. A\n herd of deer grazes beside the travelers. Mountains rise in\n the distance. A flock of geese flies overhead.", "But a distant figure becomes apparent - he is a MESSENGER -\n he is running, through the crowds, toward the Yellow Wall.\n\n We stay on this desperate little figure as he draws closer.", "his skin. He will come back to you,\n you will see.\n So, my mother did this, and a few\n years later, a new boy was born.", "The boy sits at the table, writing. We can hear the crowd,\n shouting, outside the Norbulinka walls. We see just a few\n words of the letter:\n\n Please do not resist.", "The Lama rearranges the boy's clothing, then one more time,\n takes the beautiful, little hands in his own and whispers:", "The boy sits back, and begins drawing imaginary letters on\n the tabletop with his slapped hand.\n\n His Father reaches out and takes the hurt hand. He pulls\n the boy into his arms.", "This is very good. Quite strong.\n\n The Lord Chamberlain and the four members of the Kashag\n agree.\n\n The boy continues:", "Lobsang is perched on the back of a horse - in front of his\n Father. The two leave home, goodbyes having already been\n said. Mother, sister and little brother remain behind.", "He walks down the hall, past the door leading to the\n treasure room, alone now - an adult. He is wearing those\n European, lace-up shoes found in the treasure room so long\n ago. They are still too big for him.", "Another drawer. Empty. And then, success.\n\n In a small drawer, there is something, wrapped in red\n velvet.", "He glides the telescope across the countryside, catching\n sight of the young herders leading their sheep back into\n town. He picks up a corner of the market place and the hub-", "The MOTHER walks past the boy, her woolen skirt swaying in\n the rosy light. A seven year-old brother - LOBSANG SAMTEN -" ], [ "The other side opens to a view of the great, empty land. A\n herd of deer grazes beside the travelers. Mountains rise in\n the distance. A flock of geese flies overhead.", "Lobsang is perched on the back of a horse - in front of his\n Father. The two leave home, goodbyes having already been\n said. Mother, sister and little brother remain behind.", "They hit and pinch until finally the movement of the\n carriage stops. The Driver reaches in through the open\n curtains and separates the boys, each to his own side of the\n dreljam.", "WOMAN (VO)\n Your father had been very ill,\n We thought he would die, and some\n animals had died.\n\n BOY (VO)\n Cow.", "It is very guiet here. The young man looks at the family\n photographs on the blue walls, the needlework on the table,\n the seven copper bowls in front of the statue of Buddha.", "He sees camp fires and the glow of torches. He hears echoed\n voices.\n\n He looks up. He sees the stars and the moon and that\n incomparable Tibetan sky.", "Lhamo goes back to his game. The Mother hands the tired man\n a slice of bread and a steaming cup of tea. The man's\n hands are shaking. He cannot look the woman in the eye.", "We hear a very young boy speak.\n\n BOY (VO)\n Mama, my story.\n\n A woman speaks:", "He is led to a tall, wooden throne, and he is lifted, and\n then he climbs to the top. Lhamo settles in a cross-legged\n position on the brocade cushion.", "The boy sits at the table, writing. We can hear the crowd,\n shouting, outside the Norbulinka walls. We see just a few\n words of the letter:\n\n Please do not resist.", "He glides the telescope across the countryside, catching\n sight of the young herders leading their sheep back into\n town. He picks up a corner of the market place and the hub-", "Lhamo is watching two bugs fighting when he hears the dog\n bark. He climbs the low, stone wall and looks out at the\n road.", "But a distant figure becomes apparent - he is a MESSENGER -\n he is running, through the crowds, toward the Yellow Wall.\n\n We stay on this desperate little figure as he draws closer.", "Lhamo sits in the saddle in front of his Mother. His Father\n and Sister ride beside them, through an incredible, empty,\n Tibetan landscape. A Monk rides lead.", "MOTHER\n Say, Kumbum Monastery.\n\n LOBSANG\n Kumbum. It is not far away.", "and ages they were at the beginning of the story. Tenzin\n Gyatso is very happy, sitting on the raised platform in the\n kitchen, playing a game with pebbles.", "He moves to the bathroom, runs a bath. Hot water.\n Electricity. This is the modern world.\n\n INT. MAO'S OFFICE DAY", "Another drawer. Empty. And then, success.\n\n In a small drawer, there is something, wrapped in red\n velvet.", "line, and into the rhododendron forest and the farmlands,\n until it comes to rest on a small, stone, u-shaped house. A\n house caught in the dawn's mist.", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka." ], [ "The man is dressed in royal robes. He is young, twenty four\n years old. His name is RETING RINPOCHE. He is the Regent\n of Tibet.", "Reting Rinpoche, the young Regent of Tibet, the man who saw\n this boy's face in his vision, stands below the throne. He\n addresses the crowd:", "TENZIN GYATSO\n Enter.\n\n It is the Regent.\n\n REGENT TAKTRA\n Holiness.", "The Lord Chamberlain and Taktra Rinpoche are among them.\n The Lord Chamberlain obviously loves watching his young\n charge play. The Regent is not so sure.", "INT. DALAI LAMA'S PRIVATE ROOMS, ADJACENT ROOM, DAY\n\n The Regent and the Lord Chamberlain are present.", "The Lord Chamberlain sits to one side. Taktra Rinpoche, now\n Regent, is beside him.\n\n The Dalai Lama sits on the ground at Ling's feet.", "Taktra Rinpoche reads a telegram. His aging\n face becomes quite grave.\n\n The Regent leaves his side of the enclosure.", "Tenzin Gyatso, the Regent Taktra Rinpoche, The Lord\n chamberlain, the Kashag, the Yigstang and the Tsitang are\n all present.", "TENZIN GYATSO\n I would like you to be my new\n Regent.\n\n Taktra stops. He nods to the boy.", "REGENT (OC)\n Summon the Lord Chamberlain and\n the Kashag.\n\n And then, there is a knock on the Dalai Lama's door.", "TENZIN GYATSO\n Yes.\n\n REGENT TAKTRA\n The Chinese have invaded.", "We hear the unmistakable Tibetan horns and cymbals. We hear\n the chanting of monks.\n\n The boy is handed a Golden Wheel, symbolizing the assumption\n of temporal power.", "LAYMAN\n I believe that the Regent is asking\n for too high a reward for his part in\n finding the Dalai Lama. Too much\n money, too much land.", "TENZIN GYATSO\n The Regent is adding men.\n And he bought rifles\n and ammunition from India.\n Mountain guns, too.", "This is very good. Quite strong.\n\n The Lord Chamberlain and the four members of the Kashag\n agree.\n\n The boy continues:", "Lhamo peeks out of the silk curtain as he hears the arrival\n of many horses, many men. SOLDIERS - hundreds of Tibetan\n soldiers - surround the palanquin.", "overthrow Regent Taktra.\n Today, he is brought back\n to Lhasa by government officials.\n The monks at Sera Monastery", "He is led to a tall, wooden throne, and he is lifted, and\n then he climbs to the top. Lhamo settles in a cross-legged\n position on the brocade cushion.", "The Yigstang and the Tsitang ... The Tibetan Government. Monks\n and laymen.\n Taktra Rinpoche ... The Regent who replaced Reting Rinpoche.", "We begin to hear the unique Tibetan music.\n\n DREAM SEQUENCE\n\n Tenzin Gyatso rides a grey mule across the empty, mysterious\n landscape of Tibet." ], [ "He is in his old room at the Potala, in Lhasa. The green\n mural of the Fifth Dalai Lama is behind him. He has risen.\n from the red-curtained bed.", "10 March, 1959.\n\n EXT. THE POTALA DAWN\n\n A last view of the great monastery.", "EXT. COURTYARD, THE POTALA DAY", "EXT. THE POTALA DAY\n\n Like a painting, the beautiful monastery fills the screen\n with its white walls and red roof.\n\n Shouting is heard.", "A Bodyguard comes for them, and then, the Dalai Lama is\n outside the Potala walls.\n\n EXT. POTALA NIGHT", "We hear peels of childish laughter.\n\n INT. THE POTALA DAY", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA NIGHT", "The Great Hall in the Potala is the seat of Tibetan\n Government.", "CLOSE on the red, bulging face of General Chiang.\n\n INT. GREAT HALL, THE POTALA DAY", "EXT. TERRACE, THE POTALA DAY\n\n The Dalai Lama is reading - Tibet's appeal to the United\n Nations.", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n In the adjacent room, the four members of the Kashag and the\n Lord Chamberlain are waiting.", "Zt looks like a sweet, summer home compared to the looming\n expansiveness of the Potala. It is filled with deer and", "An oral teaching is being passed on, a lineage teaching. It\n is sacred and secret.\n\n EXT. UPPER COURTYARD, THE POTALA DAY", "And, a wondorous view of Lhasa is presented.", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n School is in session.", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n The Dalai Lama addresses the Yistang, the Tsitang.\n Two new faces are present.", "CLOSE on Tenzin Gyatso. He lets the curtain fall.\n\n INT. GREAT HALL, THE POTALA DAY", "INT. DALAI LAMA'S PRIVATE ROOMS NIGHT\n\n Wind whistles through the Potala's hallways and porticos." ], [ "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "Reting Rinpoche sits cross-legged on the floor of this\n brightly-painted, red room.\n\n Across from him sits Lhamo, dressed in fine, yellow silk.", "Reting Rinpoche, the young Regent of Tibet, the man who saw\n this boy's face in his vision, stands below the throne. He\n addresses the crowd:", "A Bodyguard comes for them, and then, the Dalai Lama is\n outside the Potala walls.\n\n EXT. POTALA NIGHT", "Reting Rinpoche is speaking.", "He is in his old room at the Potala, in Lhasa. The green\n mural of the Fifth Dalai Lama is behind him. He has risen.\n from the red-curtained bed.", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n In the adjacent room, the four members of the Kashag and the\n Lord Chamberlain are waiting.", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n The Dalai Lama addresses the Yistang, the Tsitang.\n Two new faces are present.", "Tenzin Gyatso is helped onto the horse. Norbu sees that he\n is comfortable, and then, the flashlight goes out. Norbu", "We see the Dalai Lama place his young eye at the viewfinder.\n\n EXT. TERRACE, POTALA DAY\n\n Norbu Thundrup holds the boy steady.", "The man is dressed in royal robes. He is young, twenty four\n years old. His name is RETING RINPOCHE. He is the Regent\n of Tibet.", "BOY (VO)\n I know.\n\n Silence.\n\n The noblemen and monks surround Reting as he steps out of\n the palanquin.", "TAKTRA RINPOCHE\n Completely.\n\n TENZIN GYATSO\n Good. Where is Reting Rinpoche now?", "He is led to a tall, wooden throne, and he is lifted, and\n then he climbs to the top. Lhamo settles in a cross-legged\n position on the brocade cushion.", "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "An oral teaching is being passed on, a lineage teaching. It\n is sacred and secret.\n\n EXT. UPPER COURTYARD, THE POTALA DAY", "Taktra Rinpoche and Tenzin Gyatso sit opposite one another,\n cross-legged on the floor. Taktra is the teacher, he sits a\n bit higher.", "LING RINPOCHE\n He will return.\n The Precious One will not abandon\n you.\n\n INT. TENT NIGHT", "INT. DALAI LAMA'S PRIVATE ROOM, THE POTALA NIGHT\n\n Tenzin Gyatso is listening to Peking Radio. Norbu Thundrup\n is with him.", "There is laughter. Even Ling Rinpoche laughs and the boy\n erupts into his beautiful, free, easy laugh." ], [ "He was the first Dalai Lama.\n\n The Living Buddha of Compassion.\n\n Now, you have chosen to come back to\n this life once again.", "Lhamo Dhondrup ... The Fourteenth Dalai Lama. Also known\n as Tenzin Gyatso.\n Lobsang Samten ... The Dalai Lama's immediate older brother.", "Tenzin Gyatso opens the heavy, creaking door. The Dalai\n Lama is in disguise. He is wearing the clothes of a Khamba\n guerrilla - dark, woolen chuba and tall black boots.", "The young Dalai Lama leans on the table where is Father sits\n eating pork rinds.\n\n Lobsang is there, practicing his writing on a chalk board.", "Horns blow, cymbals crash, incense burns. The Oracle nears\n the Dalai Lama and retreats from him. Finally, he whispers\n in the boy's ear.", "We find two scrolls; the first is PENDEN LHAMO, the special\n protectress of the Dalai Lama.", "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "The Lama of Sera - Keustang Rinpoche - hands Lhamo the\n rosary he had so coveted when the man first visited.", "The room is a shrine to Mahakala, the Dalai Lama's personal\n deity. Mahakala is present, in the form of a huge, golden\n statue.", "We hear the unmistakable Tibetan horns and cymbals. We hear\n the chanting of monks.\n\n The boy is handed a Golden Wheel, symbolizing the assumption\n of temporal power.", "Finally, Lobsang.\n\n LOBSANG\n Long life, Lhamo.\n\n We hear the sound of a great, Tibetan horn.", "One man stands out here, a monk, a high lama in fact, with a\n kind face and fantastic, mesmerizing eyes. He is the LAMA\n OF SERA.", "He is in his old room at the Potala, in Lhasa. The green\n mural of the Fifth Dalai Lama is behind him. He has risen.\n from the red-curtained bed.", "NORBU THUNDRUP\n You remember who you are.\n You called for them.\n\n Tenzin Gyatso enters the adjacent room.", "Tenzin Gyatso is present. He is the boy we know, but beside\n him stands the four year-old boy, Lhamo, from the beginning", "He is led to a tall, wooden throne, and he is lifted, and\n then he climbs to the top. Lhamo settles in a cross-legged\n position on the brocade cushion.", "The Dalai Lama takes another, and then, suddenly, the boy\n reaches up and for no reason, he pulls on his Father's\n mustache, obviously hurting the man. The Father slaps the\n boy's hand, hard.", "The camera moves across the mural devoted to the story of\n the Fifth Dalai Lama. It is a fantasy of green, with\n mountains and lakes and deities and monsters.", "This is very good. Quite strong.\n\n The Lord Chamberlain and the four members of the Kashag\n agree.\n\n The boy continues:", "of the Fourteenth Dalai Lama. A monk.\n Lama of Sera ... Keustang Rinpoche A high lama." ], [ "Tenzin Gyatso turns to a well thumbed page: Tibet.\n\n TENZIN GYATSO\n This is Tibet.\n And this is China.", "TENZIN GYATSO\n Yes.\n\n REGENT TAKTRA\n The Chinese have invaded.", "Lhamo peeks out of the silk curtain as he hears the arrival\n of many horses, many men. SOLDIERS - hundreds of Tibetan\n soldiers - surround the palanquin.", "LORD CHAMBERLAIN\n They crossed the river, Holiness.\n They have invaded in six locations,\n Chando Province, Kham, eastern Tibet.", "The Chinese have launched a deceptive\n campaign aimed at convincing the\n world that Tibet belongs to China.", "MAO TSE TUNG\n Good. Very good.\n Tibet is a great country. A", "This time, the soldiers do look like monsters. Their faces\n are grey - coated with Tibetan dust. Their peaked hats look\n vaguely like horns, their tattered, khaki uniforms like\n rough hide.", "We hear loudspeakers, blaring, in the background -\n trumpeting propaganda about Chairman Mao and the People's\n Liberation Army.\n\n Tibetan horns blow. It sounds like a warning.", "Tibet is in the hands of\n imperialist enemies of\n the people. The Dalai\n Lama, a foolish reminder", "Tibet are passing without notice.\n The problem is not of Tibet's\n own making but is largely the outcome\n of unthwarted Chinese ambition", "GENERAL CHIANG\n Superstitions. Tibet is part of a\n modern nation.\n\n The General sits.", "We hear the sound of thousands of Tibetan women shouting;\n\n WOMEN (OC)\n Chinese, GO!\n Chinese, GO!\n Chinese, GO!", "We begin to hear the unique Tibetan music.\n\n DREAM SEQUENCE\n\n Tenzin Gyatso rides a grey mule across the empty, mysterious\n landscape of Tibet.", "have penetrated into Tibet and\n carried out all manner of deceptions\n and provocations. Under such\n conditions the Tibetan nationality", "We hear the unmistakable Tibetan horns and cymbals. We hear\n the chanting of monks.\n\n The boy is handed a Golden Wheel, symbolizing the assumption\n of temporal power.", "One, Tibet must accept that\n it is part of China.\n\n A murmuring in the room.\n\n INT. HALLWAY DAY", "Below him he sees a new Lhasa - a Lhasa full of trucks and\n Chinese soldiers. A traffic island stands in the center of\n an intersection. The town walls are white-washed. The\n political posters are gone.", "Finally, Lobsang.\n\n LOBSANG\n Long life, Lhamo.\n\n We hear the sound of a great, Tibetan horn.", "He sees camp fires and the glow of torches. He hears echoed\n voices.\n\n He looks up. He sees the stars and the moon and that\n incomparable Tibetan sky.", "The boy sits at the table, writing. We can hear the crowd,\n shouting, outside the Norbulinka walls. We see just a few\n words of the letter:\n\n Please do not resist." ], [ "INT. DALAI LAMA'S PRIVATE ROOMS, NORBULINKA DAY\n\n A meeting is in progress.", "The Dalai Lama sits beside Chairman Mao as a horde of\n photographers flash bulbs in their faces. Mao offers His\n Holiness a plate of Chinese delicacies.", "INT. GREAT HALL OF THE PEOPLE DAY\n\n The Dalai Lama, and his retinue sit in this Great Hall,\n decorated with a portrait of Chairman Mao.", "The Dalai Lama is confused, but continues listening.\n\n INT. GREAT HALL DAY\n\n The Layman returns to his cross-legged position.", "There are hundreds of people awaiting the arrival of the\n Dalai Lama - hundreds of \"China pictorial\", red-cheeked,\n Chinese communists; men, women and children, waving little\n red flags.", "INT. DALAI LAMA'S PRIVATE ROOMS DUSK\n\n A last meeting in session.", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n In the adjacent room, the four members of the Kashag and the\n Lord Chamberlain are waiting.", "The tension is thick. Finally, the Dalai Lama enters.", "He has exquisite, delicate hands and his skin is shinny.\n\n Later, Chairman Mao and the Dalai Lama sit across from one\n another.", "INT. DALAI LAMA'S ROOM, CHINESE GUEST HOUSE NIGHT", "EXT. DALAI LAMA'S PRIVATE ROOMS DAY\n\n Again, an informal meeting is in session.", "RETING RINPOCHE\n He will see you now.\n\n The Lord Chamberlain goes to meet with the Dalai Lama.", "GENERAL CHIANG CHIN-WU\n We come in genuine friendship.\n\n CLOSE on the Dalai Lama.\n\n He makes no response.", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n The Dalai Lama addresses the Yistang, the Tsitang.\n Two new faces are present.", "INT. DALAI LAMA'S PRIVATE ROOM, THE POTALA NIGHT\n\n Tenzin Gyatso is listening to Peking Radio. Norbu Thundrup\n is with him.", "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "The Dalai Lama enters the room.\n\n The boy goes to a small table where a document is unrolled\n before him.", "Tenzin Gyatso steps off the train and there is a roar of\n approval. Song breaks out - the People's Republic National\n Anthem.\n\n The young man is overwhelmed.", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "INT. DALAI LAMA'S PRIVATE ROOM DAY" ], [ "TAKSTER RINPOCHE\n You are in great danger. The Dalai\n Lama cannot fall into Chinese hands.\n You must flee.", "We hear these snippets as the Dalai Lama runs from the group.\n\n INT. HALLWAYS, POTALA DAY", "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "Tenzin Gyatso opens the heavy, creaking door. The Dalai\n Lama is in disguise. He is wearing the clothes of a Khamba\n guerrilla - dark, woolen chuba and tall black boots.", "The Dalai Lama climbs in, the Lord Chmaberlian sits beside\n him. The soldiers push off. The Khamba Bodyguard stands on\n the bank, alone.", "The small party makes its way across a bit of countryside.\n\n People are camped here - Khambas, farmers, nomads. The\n Dalai Lama crosses to safety - unnoticed.", "Tenzin Gyatso turns to a well thumbed page: Tibet.\n\n TENZIN GYATSO\n This is Tibet.\n And this is China.", "TENZIN GYATSO\n We are in the last outposts of Tibet.\n Let's do away with some of this\n formality.\n\n The Dalai Lama leaves the room.", "the Dalai Lama.", "It is a horrifying announcement.\n\n The Dalai Lama touches her head. She weeps and clutches his\n hands.", "The Dalai Lama has not yet\n returned to Tibet.\n\n He hopes one day to make the journey.", "A Bodyguard comes for them, and then, the Dalai Lama is\n outside the Potala walls.\n\n EXT. POTALA NIGHT", "The Fourteenth Dalai Lama rides in a Chinese jeep. Dust\n surrounds him. A yellow silk umbrella shades him.", "Shots ring out.\n\n The men jump to their feet, and rush out from under the\n canopy. The Dalai Lama is right in front.", "Horns blow, cymbals crash, incense burns. The Oracle nears\n the Dalai Lama and retreats from him. Finally, he whispers\n in the boy's ear.", "INT. TRAIN DAY\n\n The Dalai Lama travels by train.\n\n INT. TRAIN STATION DAY", "EXT. DALAI LAMA'S RESIDENCE DAWN\n\n The whole building shakes. Earthquake.", "The Dalai Lama runs between then. He holds the General\n back.\n\n LUKHANGWA\n Why is it necessary for the Chinese\n to keep so many soldiers in Lhasa?", "We see that a road is under construction - a road into\n Lhasa. The first road in Tibet. The Dalai Llama is travelling", "EXT. COUNTRYSIDE, STILL LATER DAY\n\n The Dalai Lama walks beside two boys: his older brother,\n Lobsang, and a YOUNG NOBLE BOY." ], [ "He is older now, seven or eight. He peers through the\n curtain.\n\n A grand procession carries the Dalai Lama from the Potala to\n his summer residence, the Norbulinka.", "The Dalai Lama enters the room.\n\n The boy goes to a small table where a document is unrolled\n before him.", "We hear the unmistakable Tibetan horns and cymbals. We hear\n the chanting of monks.\n\n The boy is handed a Golden Wheel, symbolizing the assumption\n of temporal power.", "The Nechung Oracle is brought in. The monk quiets himself\n and readies himself for the trance.\n\n The Dalai Lama waits. Again, alone.", "INT. DALAI LAMA'S PRIVATE ROOM DAY\n\n The Lord Chamberlain bows to the boy and then unpacks his\n parcel.", "The young Dalai Lama leans on the table where is Father sits\n eating pork rinds.\n\n Lobsang is there, practicing his writing on a chalk board.", "Horns blow, cymbals crash, incense burns. The Oracle nears\n the Dalai Lama and retreats from him. Finally, he whispers\n in the boy's ear.", "Tenzin Gyatso is present. He is the boy we know, but beside\n him stands the four year-old boy, Lhamo, from the beginning", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n School is in session.", "Finally, Tenzin Gyatso's eyelids grow heavy. The camera\n passes over his face, as his eyes close.\n\n The boy begins to speak, mumble, as he falls asleep:", "Tenzin Gyatso lifts his dorge. Taktra's hands move to the\n boy's and show him the correct movement. It is tried again.\n Now, the bell is lifted and rung.", "Reting Rinpoche, the young Regent of Tibet, the man who saw\n this boy's face in his vision, stands below the throne. He\n addresses the crowd:", "The monks enter the room as the young Dalai Lama reaches for\n this miracle.\n\n TENZIN GYATSO\n What is it?", "Tenzin Gyatso snoops around this room. He opens drawers,\n cabinets, just as a child would. He finds odd little pieces\n of ceramics, pens, paper.", "INT. DALAI LAMA'S PRIVATE ROOMS NIGHT\n\n The Dalai Lama consults the Nechung Oracle. Alone.\n\n The Oracle whispers:", "He is led to a tall, wooden throne, and he is lifted, and\n then he climbs to the top. Lhamo settles in a cross-legged\n position on the brocade cushion.", "This is very good. Quite strong.\n\n The Lord Chamberlain and the four members of the Kashag\n agree.\n\n The boy continues:", "Tenzin Gyatso opens the heavy, creaking door. The Dalai\n Lama is in disguise. He is wearing the clothes of a Khamba\n guerrilla - dark, woolen chuba and tall black boots.", "The Dalai Lama takes another, and then, suddenly, the boy\n reaches up and for no reason, he pulls on his Father's\n mustache, obviously hurting the man. The Father slaps the\n boy's hand, hard.", "INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY\n\n The Dalai Lama addresses the Yistang, the Tsitang.\n Two new faces are present." ] ]

[ "What are the people searching for in the beginning of the story?", "What was the special name for the first Dalai Lama?", "Who is against the Dalai Lama and religion?", "What country is oppressing the Tibetians?", "What does Mao Zedong have to say about religion and the Tibetians?", "Why does the Dalai Lama flee Tibet?", "Who/What does the Dalai Lama consult in order to know where to go?", "Where is the Dalai Lama looking at the end of the story?", "Where is the Dalai Lama at the end of the story?", "Where does most of the story take place?", "Who has a vision at the beginning?", "What do several lamas discover in Amdo?", "How is the child chosen as the next Dalai Lama?", "What was the first Dalal Lama's nickname?", "Who claims Tibet is part of China?", "Where does the Dalai Lama meet with Chairman Mao?", "Why does Mao consider Tibetians lower then him?", "Who does the Dalai Lama consult to escape?", "Where does the Dalai Lama end up?", "What span of years does the story cover?", "Where does most of the story take place?", "Whom is the regent of Tibet?", "Where is the Potala Palace located?", "How does Reting comfort the Dalai Lama on their trip to Potala Palace?", "What do the lamas call the first Dalai Lama?", "What country invades Tibet?", "Whom does the Dalai Lama meet in Beijing?", "What country does the Dalai Lama flee to?", "How are the children tested to see if they are the Dalai Lama?" ]

[ [ "The next Dalai Lama", "a child to be the new Dalai Lama" ], [ "Kundun", "Kundun" ], [ "Mao Zedong", "Mao Zedong" ], [ "China", "China" ], [ "Religion is poison and Tibetians are inferior", "He said the Tibetans religion was poison and they were poisoned because of it." ], [ "The Chinese are trying to assassinate him", "To avoid being killed by the Chinese." ], [ "The Nechung Oracle", "The Nechung Oracle." ], [ "The Himalayas and Tibet", "toward the Himalayas and Tibet" ], [ "India9", "India." ], [ "In Tibet", "In Tibet." ], [ "Reting Rinpoche", "Reting Rinpoche" ], [ "A child which could be a promising candidate", "Then next Dalai Lama" ], [ "He correctly chooses an item possessed by previous Dalai Lamas", "He has to pick out objects owned by the previous Dalai Lama" ], [ "Kundun", "Kundun" ], [ "Chinese communists", "Chinese communists" ], [ "In Beijing", "Beijing." ], [ "Because he thinks religion is poison", "Because they are poisoned and inferior due to religion." ], [ "The Nechung Oracle", "Lord Chamberlin" ], [ "Near the Himalayas", "India" ], [ "1937 to 1959", "It covers from 1937 to 1959" ], [ "Tibet", "Tibet" ], [ "Reting Rinpoche", "Reting Rinpoche" ], [ "Lhasa", "Lhasa" ], [ "Tells a story about the first Dalai Lama.", "By telling the story of the first Dalai Lama." ], [ "Kundun", "Kundun." ], [ "China", "China" ], [ "Chairman Mao Zedong", "Chairman Mao Zedong" ], [ "India", "India." ], [ "They must select items belonging to the previous Dalai Lama.", "They pick the item that belonged to the previous Dalai Lama." ] ]

[ [ "BOONE [cont.]: You set me up...you bastard, you set me up!\n\n \n He lunges for Decker, who turns and throws himself to the ground as\n he yells.", "Then Decker strikes out at him, slashing at Boone's face. Boone\n falls backwards. At the last moment he catches hold of Decker,\n pulling him down into the hole and together they tumble into the\n earth.", "Decker returns to his desk. Puts the photographs down and picks up a\n vial of prescription pills. He crosses to boone.", "BOONE: They weren't tranquillizers...\n\n \n A look of alarm crosses Decker's face. Boone reads it. He gets the\n picture.", "blow against Decker, eventually knocking the knife from his hand and\n driving him out on to the ledge once more. Decker teeters on the\n edge, now defenceless. Boone approaches.", "Enraged, Decker throws the knife; it buries in the middle of Boone's\n chest. Decker laughs, then stops, as Boone pulls the knife out and\n tosses it aside.", "Decker turns to run, but Boone races to him, catches, turns him\n and pulls Decker closer, until they're nose to nose.", "DECKER [lowers his voice]: Lieutenant, I can bring him out. He'll\n listen to me.\n\n \n Joyce ponders, then signals him forward. Decker advances toward Boone.", "Boone falls back. Decker closes on him, the knives at his neck. The\n force of his stabs, which miss Boone's neck, break the boards of the", "and lies still. Boone gets up. His exit along the bridge in one\n direction is blocked. He has to step past Decker who doesn't", "BOONE [taking a tentative step forward]: What, what about the pills?\n\n \n DECKER [pause; whispers]: What about them, Boone?", "LORI: Boone was innocent.\n\n \n DECKER: Is innocent, wherever he's hiding. After all the trouble I\n went to to find him a home for his guilt.", "BOONE: Decker can't tell anyone. What's he going to say? That\n he tried to kill a girl and a dead man stopped him?", "Boone takes a step back. The wound on his neck throbs and swells. At\n the edge of the light, Decker appears, stepping towards him.", "Boone looks towards the door, sinking down against the tiles as he\n does so. The door is flung open. We see him cowering as the Swat Team\n come for him.", "BOONE: Decker's dead. Take the knife out.\n\n \n Lori pulls the knife from him, and throws it down.", "Boone grabs the pills.\n\n \n DECKER [cont.]: I can't tell you how sorry I am...", "As the door swings open, Boone looks out into the corridor and at\n the far end of the emergency room he sees Decker and the cops looking", "Boone pushes Narcisse back, but as he does so Decker slips his\n grasp. Boone roars and starts to twitch and stamp as Peloquin did and\n we watch as...", "weapon, finds a skull, and smashes it into the mask. Decker lets go.\n Boone tumbles off the stairs, falling face down on a card table." ], [ "NARCISSE [cont.] [barely audible - between cries]:\n ...Midian...Midian...\n\n \n Boone's eyes open like a shot.", "Eigerman turns, looks and fires as Boone leaps at him. He roars,\n effortlessly picks Eigerman up and body-slams him against the wall of\n Midian.", "NARCISSE [suddenly friendly]: What did you say, just now?\n\n \n BOONE: You said Midian.", "A reptilian hand reaches out and picks up Boone's dropped cigarette.\n\n \n BOONE: Midian? Are you from Midian?", "BOONE: Midian's just a hole in the ground. It's full of things that\n should lie down and stay dead.", "BOONE: Let them. Let them find some way to kill me.\n\n \n LORI: You can't die. Midian needs you.", "BOONE: It's real. Midian's real. [Narcisse nods; carefully] And you\n know...where it is. Don't you? We could go there...", "Boone opens his eyes. Looks across the room at Narcisse, a wild man,", "Badly beaten, Boone lies in the corner, stirring when he hears the\n door unlocked. Labowitz ushers in a middle-aged, small-town\n physician, Doctor Rose.", "INT. CAR DUSK\n\n\n \n Narcisse's beat-up car speeds down the highway towards Midian.\n\n \n BOONE: How much further?", "In the distance, the burning ruins of Midian. The wind sighs in the\n moonlit reeds. Cabal and Lori reach the top of the hill, turn and\n look down, standing apart.", "RACHEL: Are we going?\n\n \n NARCISSE: About time.\n\n \n BOONE: Midian.", "BOONE: They were just bad dreams. Midian doesn't exist. Monsters\n don't exist.", "128D. INT. MIDIAN CHAMBER\n\n\n \n Up ahead of Lori is the Boone figure. She approaches it as it steps\n out of the shadows...", "BOONE: Not your kind of monster. Not the soulless kind. I've got\n Midian in my veins.", "Boone takes a step back. The wound on his neck throbs and swells. At\n the edge of the light, Decker appears, stepping towards him.", "LORI: Boone?\n\n \n Lori enters through the door.\n\n \n\n 128C. INT. MIDIAN CHAMBER", "LYLESBURG: Baphomet. The God in Obsidian. Who made Midian.\n\n \n BOONE: So maybe I should speak to this guy.", "Boone heaves a sigh of relief, turns from the gate and trudges away\n into the darkness, when suddenly . . .", "As she descends into the bowels of Midian, creatures in various\n doorways watch her with curiosity. One creature seems to have light" ], [ "In the chamber are a morgue attendant and, lying on a stainless\n steel table, Boone's body. Lori looks at the body with heartbreaking", "Boone takes refuge against a mausoleum wall. He takes his hand from\n the wound on his neck. It is throbbing like a living thing, spreading", "Burton and the attendant, instruments laid out, Boone's body on a\n brightly lit steel table, ready for the autopsy. Burton activates an\n overhead microphone.", "He puts his hand on the bullet wounds. Boone stiffens. But there's\n no pain. When Lylesburg's hand is removed, the wounds have gone.", "Badly beaten, Boone lies in the corner, stirring when he hears the\n door unlocked. Labowitz ushers in a middle-aged, small-town\n physician, Doctor Rose.", "The doctor and nurse ease Boone back down onto the gurney. The\n doctor moves away. The nurse pulls back the curtain and rolls Boone\n across the hall into a semi-private room", "BOONE: I didn't...didn't come to die. I came to be with you, I'm one\n of you.\n\n \n Peloquin reaches out and touches Boone's chest.", "Boone keeps staring at the pictures. The glassy eyes stare hard at\n him. His breathing is now rapid and shallow. One or two of the images\n seem to move. Bodies twitch. He drops the photographs.", "Boone breathes in the last of his monstrous condition, and bends to\n tenderly stroke Lori's face. Then, very lightly, he kisses her, and\n gathers her in his arms.", "JOYCE: Decker? This better be good.\n\n \n DECKER: I found Boone.\n\n \n JOYCE: Someone brought the corpse down here?", "As the door swings open, Boone looks out into the corridor and at\n the far end of the emergency room he sees Decker and the cops looking", "Boone stands on the ledge, and spits down at the corpse. As he does\n so he hears the same roar from Baphomet that called the", "Joyce hears the sound of crying and looks up. Boone's body lies on\n the ground. Decker rises, hearing the distant sobs on the wind.", "corpses caught by the camera in grotesque positions, sliced up and\n bleeding. Boone's breath quickens.", "BOONE [cont.]: Blades are no better than bullets, Decker, don't you\n get it? I'm dead. The walking dead.\n\n \n DECKER: That's not possible.", "Then Decker strikes out at him, slashing at Boone's face. Boone\n falls backwards. At the last moment he catches hold of Decker,\n pulling him down into the hole and together they tumble into the\n earth.", "listens, moves it again, alarmed. He takes Boone's wrist, feels\n around. Boone stares at him. Dr Rose clears his throat, rises, moves", "Boone's eyes flicker open.\n\n \n LORI: Hi. You OK?\n\n \n Boone: Yep.", "Boone heaves a sigh of relief, turns from the gate and trudges away\n into the darkness, when suddenly . . .", "Boone emerges from the depths, into the wrecked mausoleum.\n\n \n BABETTE: Boone...[he goes to them] Lori. She's hurt." ], [ "The sound of sobbing, off to her left, draws her attention. One of\n the mausoleum doors is open, and a woman, Rachel, dressed in black,\n stands in the shadows, weeping. Lori's astonished.", "Lori - as she leaves the reeds and sees the outer walls of the\n Necropolis.\n\n \n LORI: Good God...", "LORI: They think some sick bastard's stole the body.\n\n \n SHERYL: So you want to go check out the place in which he checked out?", "Empty streets. No activity. Lori's car pulls into the parking lot.\n\n \n\n 140. INT. LORI'S CAR DAY", "Moving with Lori, flanked by Dr Burton the pathologist, and a grim", "LORI: Yeah. Guess it's a way to say goodbye, you know? He was always\n a mystery to me. I loved him...[she looks away]", "93. EXT. SHERE NECK MOTEL EVENING\n\n\n \n Lori pulls into the parking lot of the motel. A neon sign reads:", "172. EXT. NECROPOLIS DAY\n\n\n \n Lori and Babette's P.O.V. - They see Ohnaka die.", "Lori's car comes to a stop near the edge of the reeds outside the\n Necropolis.\n\n \n SHERYL: Jesus. Looks like the gold rush is over.", "Lori parks the car. She gets out, looks around.\n\n \n LORI [quiet - reflective]: Why? Why would Boone come here?", "Lori stands and heads for the door.\n\n \n\n 82. INT. AUTOPSY ROOM NIGHT", "Lori enters and leans on the sink as the grief hits her. She sobs. A\n stall door opens behind her: Sheryl, a girl in her early twenties,\n exits.", "RACHEL: Babette!\n\n \n LORI: Rachel, no!\n\n \n Rachel breaks away and runs towards the Necropolis. Lori is alone.", "A crowd of journalists and on-lookers mill outside the station. We\n find Lori, following her through the crowd as she tries to get a view\n of the building.", "Shading the creature from the sun, Lori moves to the door and steps\n into the gloom.\n\n \n\n 105. INT. MAUSOLEUM DAY", "Boone and Lori - two small figures, alone among the sepulchres. They\n move towards the gate together.\n\n \n\n FADE OUT:", "LORI: Boone? Boone!\n\n \n She moves down to Boone, scrambling up the slope towards her,\n drenched in sweat, half-mad with terror.", "Lori hurriedly throws some belongings into a suitcase. We see some\n newspaper clippings beside the suitcase. A headline reads: 'SLASHER\n\n SUSPECT SLAIN'", "230A. EXT. NECROPOLIS NIGHT\n\n\n \n Lori races through the smoke and horror of the Necropolis, as Decker\n follows.", "Lori closes her eyes again and we click back into...\n\n \n\n 164. EXT. SHERE NECK STREET DAY" ], [ "Lori turns to see Decker appearing from the darkness. He attacks\n her, cutting her arm. She backs away before he can strike a second", "LORI: You sick motherfucker...\n\n \n DECKER: Boone's alive, Lori. And your death is going to bring him\n out of hiding.", "DECKER [cont.] [sudden fury]: I said, be still!\n\n \n Lori is semi-conscious, blood running from her wounded head. Looking\n past Decker, she sees something...", "LORI: It was Decker...Decker did this...\n\n \n In foreground, Boone's face begins to transform, which Lori can't\n see. She hears the cops outside.", "LORI: Will you see Decker?\n\n \n BOONE: You think I should?", "Lori runs down the walkways pursued by Decker, her breath coming in\n gasps, close to collapse.\n\n \n LORI: Help me! Oh please, God, somebody.", "LORI: Oh Jesus, Boone.\n\n \n Behind her, we see a familiar, masked figure approaching: Decker.\n She doesn't hear him over the shouts and screams.", "Lori and Joyce enter. Decker closes the briefcase, rises, aggrieved,\n takes both of Lori's hands in his, speaks soothingly.", "LORI: Drop dead.\n\n \n Annoyed at Decker, Joyce turns off the tape recorder.\n\n \n JOYCE: We'll continue this some other time.", "Lori collapses. Decker reaches her and pulls on his mask.\n\n \n DECKER: That's good. Be still. It's quicker that way.", "Lori runs, Decker follows, his steps steady, relentless and gaining.\n Lori takes another stride and the ground gives way beneath her. She\n slides down into the earth.", "LORI: Boone was innocent.\n\n \n DECKER: Is innocent, wherever he's hiding. After all the trouble I\n went to to find him a home for his guilt.", "BOONE: Decker's dead. Take the knife out.\n\n \n Lori pulls the knife from him, and throws it down.", "83. INT. MORGUE ENTRY WAY NIGHT\n\n\n \n Lori is putting on her coat. A contrite Decker approaches her.", "LORI: Boone...\n\n \n Decker laughs. Then he realizes she's reacting to the appearance of\n Boone, standing in the shadows behind him, in jeans and leather\n jacket.", "BOONE [cont.]: You set me up...you bastard, you set me up!\n\n \n He lunges for Decker, who turns and throws himself to the ground as\n he yells.", "DECKER: Lori, I'm Dr Decker. Boone was my patient.\n\n \n LORI: Yes. Hello.", "DECKER [advancing]: Don't try and reason with me, Lori. I'm a\n lunatic. You don't reason with lunatics.", "Decker hears shouts to his flank, steps back, out of sight and sees\n Lori and Rachel emerge from a hiding place, Lori trying to restrain\n Rachel from going in.", "It's Decker, looking like a commuter, hair slicked back, wearing an\n overcoat, carrying his briefcase.\n\n \n DECKER [big smile]: Hello, Sheryl Ann." ], [ "Joyce hears the sound of crying and looks up. Boone's body lies on\n the ground. Decker rises, hearing the distant sobs on the wind.", "corpses caught by the camera in grotesque positions, sliced up and\n bleeding. Boone's breath quickens.", "As the door swings open, Boone looks out into the corridor and at\n the far end of the emergency room he sees Decker and the cops looking", "Boone looks towards the door, sinking down against the tiles as he\n does so. The door is flung open. We see him cowering as the Swat Team\n come for him.", "Decker lays the photographs on the table. Boone picks them up. We\n get glimpses of what they contain. Domestic horrors. Bloody scenes of", "The transformed Boone covers his face, slams the room door shut and\n moves towards the bodies.\n\n \n Lori hides at the end of the corridor as the Swat cops appear at the\n far end.", "Boone pushes the door open. Inside, a massacre: five dead card", "BOONE: Decker's dead. Take the knife out.\n\n \n Lori pulls the knife from him, and throws it down.", "Then Decker strikes out at him, slashing at Boone's face. Boone\n falls backwards. At the last moment he catches hold of Decker,\n pulling him down into the hole and together they tumble into the\n earth.", "Boone keeps staring at the pictures. The glassy eyes stare hard at\n him. His breathing is now rapid and shallow. One or two of the images\n seem to move. Bodies twitch. He drops the photographs.", "39. SCENE DELETED\n\n \n\n 39A. INT. BOONE'S BATHROOM DAY", "and lies still. Boone gets up. His exit along the bridge in one\n direction is blocked. He has to step past Decker who doesn't", "Boone heaves a sigh of relief, turns from the gate and trudges away\n into the darkness, when suddenly . . .", "BOONE [cont.]: You set me up...you bastard, you set me up!\n\n \n He lunges for Decker, who turns and throws himself to the ground as\n he yells.", "147. INT. MOTEL CORRIDOR DAY\n\n\n \n Lori moves to the door of the murder room. Boone is inside, his back\n to her.", "Boone shakes his head. Narcisse draws one razor-nail lightly across\n his own throat. A thin trickle of blood runs down his neck. He\n chuckles.", "Boone stands on the ledge, and spits down at the corpse. As he does\n so he hears the same roar from Baphomet that called the", "Boone takes refuge against a mausoleum wall. He takes his hand from\n the wound on his neck. It is throbbing like a living thing, spreading", "JOYCE [trying to convince himself]: ...just the wind. He reaches\n Decker, looks down at Boone's body. Looks around.", "Boone opens his eyes. Looks across the room at Narcisse, a wild man," ], [ "off gallows, past a wall to flags. We cut close on the flag which\n reads FREAK SHOW, track past the flag to a cage, containing freakish\n Breed.", "In the deep darkness faces look up. The faces are strange and\n freakish. There is a woman locked in the embrace of a dark monster. A\n monstrous baby cries.", "As the creature is named it starts to move in Lori's arms. Not only\n move, but change. Its claws grab at Lori's breast as it writhes.", "Well-dressed ordinary men and women applaud and laugh.\n\n \n One of the freaks is dragged from the cages. He looks back at the\n family he's left behind.", "Narcisse is leading a group of child monsters, as the explosions\n bring earth plunging down from the ceiling. Babies cry. Monsters\n scream. We see several creatures howling in bestial terror.", "The Nightbreed children hear the sound of slaughter approaching. One\n of the Breed with enormous, dark eyes, speaks.\n\n \n LEOPARDO: We can't stay here.", "It doesn't look like a recognizable species, an amalgam of wild cat\n and deer. She approaches. It raises its head, weakly. Its eyes are\n huge and black.", "He races back the way he came, and pulls coffins from the walls,\n tearing their lids off with supernatural strength. He breaks the wood\n into clubs. The Breed watch him.", "A low rumbling issues from somewhere deep inside the passage\n Lylesburg stands before. Underneath the rumble is an animal\n moaning with pain.", "The two posse members prepare to kill the Breed. The ground around\n them begins to shudder, and a fist bursts out of the ground and grabs\n the leg of a posse member and drags him down.", "Cut back to the mural chamber. Now we have moved away from the tree\n to a more brutal scene. A symbolic representation of a great\n apocalyptic war between Naturals and Breed. Terrible scenes of\n destruction.", "The silhouette of Peloquin, a were-creature, moves between the\n tombs. He draws on the cigarette. By its brightening point we glimpse\n an extraordinary face: more animal than human, but no recognizable\n species.", "Following the nurse and an intern as they burst into the room and\n are greeted with the sight of Narcisse, blood running freely,\n ripping the least of his scalp off his bare skull, laughing and\n crying maniacally.", "There are only one or two Breed left alive down here, desperately\n collecting their belongings. They exit the chamber leaving the\n smoking bowls...We track towards the bowls, as the contents brighten\n and bubble.", "JOYCE: Monsters, you mean?\n\n \n DECKER: Unnatural, misbegotten creatures.", "We are scanning scenes of that war. A breed being staked like a\n vampire. Another being shot like a werewolf. Another exposed to\n sunlight.", "Lylesburg, accompanied by Ohnaka, is also in the chamber, as is\n Boone, being held by the Breed.\n\n \n BOONE: I have to help her!", "DECKER: Midian's not empty. There's something breeding there. Below\n the cemetery.\n\n \n EIGERMAN: Bullshit.", "Leroy and Lude hide around the corner of a mausoleum. Two posse\n members are beating a Breed up with their rifle butts. Leroy heads\n out to help.", "With effort, she detaches the creature's claws from her, almost\n throwing it at Rachel, who cradles the changing creature in her arms.\n\n \n RACHEL: Babette..." ], [ "Boone leaps tombs, nearing their location. He bounds into the\n clearing, sees Lori unconscious in Narcisse's embrace.", "Boone breathes in the last of his monstrous condition, and bends to\n tenderly stroke Lori's face. Then, very lightly, he kisses her, and\n gathers her in his arms.", "Boone and Narcisse move through the panicking underground, creatures\n fleeing in every direction. Boone sees Lylesburg, trying to keep the\n panic down, moves towards him.", "Boone opens his eyes. Looks across the room at Narcisse, a wild man,", "BOONE: Where?\n\n \n Babette points outside.\n\n \n\n 239. EXT. NECROPOLIS NIGHT", "Boone shakes his head. Narcisse draws one razor-nail lightly across\n his own throat. A thin trickle of blood runs down his neck. He\n chuckles.", "Boone races through the walkways, Ashberry following. There is\n pitched hand-to-hand battle on every side. Nightbreed are prevailing", "Lori and Boone stand in the reeds as the last, bright bloom of the\n fires dies away on their faces. Figures move away through the smoke,\n creatures we recognize. The drummer beats out a tattoo as they depart.", "BOONE: Let her go! \n\n \n\n \n Narcisse, all sheepish co-operation, gently lets her go onto the\n ground.", "Boone and Narcisse lead the column of Breed, children and babies up\n from underground into the Necropolis itself.\n\n \n BOONE: Hurry up.", "115. EXT. NECROPOLIS LATE AFTERNOON\n\n\n \n Left behind, Narcisse turns his eyes upon the recumbent Lori.", "Boone walks on a little way, as the night sounds begin. Exhausted,\n he sits down on a tomb and leans back against the stone.", "Boone pushes Narcisse back, but as he does so Decker slips his\n grasp. Boone roars and starts to twitch and stamp as Peloquin did and\n we watch as...", "NARCISSE [cont.] [barely audible - between cries]:\n ...Midian...Midian...\n\n \n Boone's eyes open like a shot.", "NARCISSE: This is their territory.\n\n \n BOONE: No. The night's ours. Now get the rest of the children up\n here, I'm going to find a clear way through!", "INT. CAR DUSK\n\n\n \n Narcisse's beat-up car speeds down the highway towards Midian.\n\n \n BOONE: How much further?", "Narcisse appears from the darkness. As he does so, a final explosion\n roars up from the underground. In the smoke pillar above the site,\n Baphomet's image momentarily appears before the wind disperses it.", "Joyce looks at Lori, Boone/Cabal, at Babette and Rachel. He tenderly\n hands the child over. Rachel holds Babette and they both disappear\n into the darkness.", "The connecting door flies open, a rejuvenated Boone and Lori move\n into the office where Narcisse and Rachel are waiting. Narcisse toys\n with the unconscious Cormack.", "Boone takes refuge against a mausoleum wall. He takes his hand from\n the wound on his neck. It is throbbing like a living thing, spreading" ], [ "Ashberry looks at Decker; no trace of irony in his expression.\n Ashberry sorts through the canteens, finds the one that doesn't have\n a white cross on it, opens it and knocks back two fingers of bourbon.", "Ashberry turns on him, his face wild. He takes hold of Eigerman by\n the neck, his fingers digging into the muscle. Blood runs. Eigerman", "Boone takes a step back. The wound on his neck throbs and swells. At\n the edge of the light, Decker appears, stepping towards him.", "Ashberry's stunned. He fumbles the top of his bourbon canteen off,\n takes a long drink, then stops when he sees a load of dynamite taped", "tries to raise the gun but Ashberry takes hold of the man's hand, and\n summarily snaps his wrist. The gun is dropped. Ashberry starts to", "Eigerman snatches the gun away and pistol-whips him to the ground.\n Eigerman draws a bead on Ashberry's forehead.", "Then Decker strikes out at him, slashing at Boone's face. Boone\n falls backwards. At the last moment he catches hold of Decker,\n pulling him down into the hole and together they tumble into the\n earth.", "Cut to Eigerman's leering, grinning face as he fires at Breed.\n Ashberry emerges from the shadows and grabs him.", "tomb. The tomb-lid scrapes as it's pushed back into place from\n beneath. Ashberry starts to pray.", "DECKER [cont.] [sudden fury]: I said, be still!\n\n \n Lori is semi-conscious, blood running from her wounded head. Looking\n past Decker, she sees something...", "Eigerman cleans his silver-plate Magnum .45, Decker sits beside him\n holding his briefcase, across from Ashberry, who's frantically paging\n through an ancient Bible.", "The figure keeps coming, emerging from the smoke. It's Ashberry. He\n has been transformed by the confrontation with Baphomet. His hair has", "blow against Decker, eventually knocking the knife from his hand and\n driving him out on to the ledge once more. Decker teeters on the\n edge, now defenceless. Boone approaches.", "Lori turns to see Decker appearing from the darkness. He attacks\n her, cutting her arm. She backs away before he can strike a second", "Boone falls back. Decker closes on him, the knives at his neck. The\n force of his stabs, which miss Boone's neck, break the boards of the", "lift Eigerman up off the ground. The policeman's flailings stop\n suddenly. The head lolls. Ashberry flings the body aside, and starts", "He puts his hand on the bullet wounds. Boone stiffens. But there's\n no pain. When Lylesburg's hand is removed, the wounds have gone.", "Decker follows down the stairs. Boone pulls the table off his chest,\n leaving the Ace of Hearts on the blade in his chest. Decker follows", "it, reaches up to touch it. The angel, a monster, turns to look at\n him with sad, impassive gravity. Then we see its shadow on Ashberry's", "Joyce hears the sound of crying and looks up. Boone's body lies on\n the ground. Decker rises, hearing the distant sobs on the wind." ], [ "BOONE: They were just bad dreams. Midian doesn't exist. Monsters\n don't exist.", "BOONE: Midian's just a hole in the ground. It's full of things that\n should lie down and stay dead.", "NARCISSE [cont.] [barely audible - between cries]:\n ...Midian...Midian...\n\n \n Boone's eyes open like a shot.", "NARCISSE [suddenly friendly]: What did you say, just now?\n\n \n BOONE: You said Midian.", "BOONE: That wasn't me. I heard about Midian from other people.\n\n \n DECKER: But you made it part of your private mythology.", "BOONE: It's real. Midian's real. [Narcisse nods; carefully] And you\n know...where it is. Don't you? We could go there...", "Eigerman turns, looks and fires as Boone leaps at him. He roars,\n effortlessly picks Eigerman up and body-slams him against the wall of\n Midian.", "Boone's looking uneasy now. He wipes sweat from his upper lip.\n\n \n BOONE: You know what I used to dream.", "In the distance, the burning ruins of Midian. The wind sighs in the\n moonlit reeds. Cabal and Lori reach the top of the hill, turn and\n look down, standing apart.", "BOONE: Let them. Let them find some way to kill me.\n\n \n LORI: You can't die. Midian needs you.", "LORI: Where did he die? [pause] What was the name of the town?\n\n \n DECKER: A place called Midian.", "A reptilian hand reaches out and picks up Boone's dropped cigarette.\n\n \n BOONE: Midian? Are you from Midian?", "RACHEL: Are we going?\n\n \n NARCISSE: About time.\n\n \n BOONE: Midian.", "LYLESBURG: Baphomet. The God in Obsidian. Who made Midian.\n\n \n BOONE: So maybe I should speak to this guy.", "BOONE: Not your kind of monster. Not the soulless kind. I've got\n Midian in my veins.", "Now Boone's eyes are fully open. He sits up. Looks towards the open\n window. Night beyond. She kisses him, distracting him from the sight\n of the window.", "DECKER: What's he saying?\n\n \n JOYCE: He's talking but he's not making any sense. Something about a\n place called Midian.", "Boone opens his eyes. Looks across the room at Narcisse, a wild man,", "LYLESBURG: Aaron Boone, in the name of Baphomet, Lord of the tribes\n of the moon, I bid you welcome...", "Boone moves into the middle of the room. On his face we can see the\n hunger he feels. Ripples of color begin to move over his features. He" ], [ "Boone is lying on the bed. It is unmade. Both Lori and Boone are\n lightly dressed, clothes casually thrown on after an afternoon\n lovemaking.", "Now Boone's eyes are fully open. He sits up. Looks towards the open\n window. Night beyond. She kisses him, distracting him from the sight\n of the window.", "Boone breathes in the last of his monstrous condition, and bends to\n tenderly stroke Lori's face. Then, very lightly, he kisses her, and\n gathers her in his arms.", "BOONE: I'll never leave you. Not ever. I swear.\n\n \n He kisses her, passionately.", "Cut back to boone, his face all grief.\n\n \n BOONE: Stupid. \n\n \n\n CUT TO:", "She hurries on, Boone follows, clearly disturbed. Lori unlocks her\n door, glancing back at Boone, who has taken off his sunglasses. There", "LORI: Boone? Boone!\n\n \n She moves down to Boone, scrambling up the slope towards her,\n drenched in sweat, half-mad with terror.", "Boone's eyes flicker open.\n\n \n LORI: Hi. You OK?\n\n \n Boone: Yep.", "BOONE: Let her go! \n\n \n\n \n Narcisse, all sheepish co-operation, gently lets her go onto the\n ground.", "BOONE: Decker's dead. Take the knife out.\n\n \n Lori pulls the knife from him, and throws it down.", "Boone enters. The Breed all look his way. Boone sees Shuna Sassi.\n\n \n BOONE [to Narcisse in a whisper]: Who is she?", "Lori enters and quickly gathers her belongings together.\n\n \n Boone, sweating with terror, slides down the wall into a squatting\n position.", "Ohnaka swings the door shut behind them. Boone sees Lori, as if for\n the first time. She takes his hand, presses it to her face, her\n breast.", "BOONE: Anywhere special?\n\n \n LORI: Somewhere we can be alone together.\n\n \n BOONE: More alone than this?", "LORI [quietly, a tear in her eye]: I still love you, Boone...\n\n \n\n DISSOLVE TO:", "Lori turns to Boone, slumped down in the passenger seat, out of\n sight, wearing sunglasses.", "BOONE: I'm not going anywhere, Lori. Except with you.\n\n \n LORI: I can't hear that often enough.", "Boone watches as he and Lori make love on the bed. We close in on\n the love-making. Lori leans to kiss him.\n\n \n BOONE: I'll never leave you...", "LORI: Boone...\n\n \n Decker laughs. Then he realizes she's reacting to the appearance of\n Boone, standing in the shadows behind him, in jeans and leather\n jacket.", "Boone leaps tombs, nearing their location. He bounds into the\n clearing, sees Lori unconscious in Narcisse's embrace." ], [ "PELOQUIN: No. Sorry. I can smell innocence at fifty yards.\n\n \n BOONE: I've killed people. Fifteen people.", "A sound above him. He looks up. Peloquin is climbing down the\n mausoleum wall, mouth opened wide to take off Boone's head.", "PELOQUIN: Yes, it's him.\n\n \n Boone squatting in front of his fire of love letters. Boone dead in\n the reeds.", "Peloquin stares at Boone through the gate. Panting, sweating, Boone\n stares back. Snorting with frustration, Peloquin recedes, he and\n Kinski disappear into shadow.", "PELOQUIN: Damn you!\n\n \n He races after Boone, who runs blindly, his hand pressed to the\n wound on his neck.", "Peloquin growls, throwing his head back and forth with a strange\n grace, the image flickering as he does so. Boone watches, amazed. In", "BOONE: I didn't...didn't come to die. I came to be with you, I'm one\n of you.\n\n \n Peloquin reaches out and touches Boone's chest.", "Boone pushes Narcisse back, but as he does so Decker slips his\n grasp. Boone roars and starts to twitch and stamp as Peloquin did and\n we watch as...", "PELOQUIN: Fuck the Law! I want meat!\n\n \n He bites Boone's neck, tearing at his flesh.", "Peloquin pushes Kinski aside and pelts after Boone, who is at the", "to a chamber, where Peloquin and Shuna Sassi are making love.\n Peloquin hears Lori urging Boone on as they struggle across the", "KINSKI: Peloquin, no!\n\n \n Kinski takes the knife from Boone's belly and pushes Peloquin aside.\n Boone slips away from them.", "PELOQUIN: No-one here of that name.\n\n \n She turns. The Boone figure is in the doorway behind her. He has the\n face of a snake.", "We cut to Peloquin and Shuna Sassi, who are watching Boone intently.", "BOONE: I smell blood.\n\n \n LORI: What?\n\n \n BOONE: So much blood...", "On the far side, crouching at a door, a figure.\n\n \n LORI: Boone?\n\n \n The figure turns. It's Peloquin.", "Boone shakes his head. Narcisse draws one razor-nail lightly across\n his own throat. A thin trickle of blood runs down his neck. He\n chuckles.", "The silhouette of Peloquin, a were-creature, moves between the\n tombs. He draws on the cigarette. By its brightening point we glimpse\n an extraordinary face: more animal than human, but no recognizable\n species.", "His face appears in front of a panicking Kane, the mouth suddenly\n opening grotesquely wide.\n\n \n Kane slams the breaks on. Peloquin is thrown off.", "Peloquin squats on the step overlooking the fire-pit, listening to\n the sound of invasion from above. There is a mixture of fear and rage\n on his face. In the darkness opposite, Kinski." ], [ "In the chamber are a morgue attendant and, lying on a stainless\n steel table, Boone's body. Lori looks at the body with heartbreaking", "Burton and the attendant, instruments laid out, Boone's body on a\n brightly lit steel table, ready for the autopsy. Burton activates an\n overhead microphone.", "Boone takes refuge against a mausoleum wall. He takes his hand from\n the wound on his neck. It is throbbing like a living thing, spreading", "JOYCE: Decker? This better be good.\n\n \n DECKER: I found Boone.\n\n \n JOYCE: Someone brought the corpse down here?", "Badly beaten, Boone lies in the corner, stirring when he hears the\n door unlocked. Labowitz ushers in a middle-aged, small-town\n physician, Doctor Rose.", "BOONE: I didn't...didn't come to die. I came to be with you, I'm one\n of you.\n\n \n Peloquin reaches out and touches Boone's chest.", "corpses caught by the camera in grotesque positions, sliced up and\n bleeding. Boone's breath quickens.", "BOONE [cont.]: Blades are no better than bullets, Decker, don't you\n get it? I'm dead. The walking dead.\n\n \n DECKER: That's not possible.", "A sound above him. He looks up. Peloquin is climbing down the\n mausoleum wall, mouth opened wide to take off Boone's head.", "BOONE: Not just dead...changed. A monster. Want me to show you?\n\n \n DECKER [whimpering]: No, please ...", "Boone keeps staring at the pictures. The glassy eyes stare hard at\n him. His breathing is now rapid and shallow. One or two of the images\n seem to move. Bodies twitch. He drops the photographs.", "Boone stands on the ledge, and spits down at the corpse. As he does\n so he hears the same roar from Baphomet that called the", "Boone emerges from the depths, into the wrecked mausoleum.\n\n \n BABETTE: Boone...[he goes to them] Lori. She's hurt.", "knives at his victim's back. The blade cuts straight through Boone,\n sticking out from his chest a good six inches. He turns, his fury", "DECKER: You're not dead.\n\n \n BOONE [advancing]: You're wrong. We're both dead, Decker.", "Lori slips into unconsciousness.\n\n \n DECKER: You? Here again?\n\n \n BOONE: Isn't this where the dead are supposed to go?", "The Necropolis is vast. High walls, surrounded by reeds, with the\n tops of mausoleums, showing above it. ALmost a fortressed town.\n\n \n Boone starts towards it.", "Cut back to boone, his face all grief.\n\n \n BOONE: Stupid. \n\n \n\n CUT TO:", "As the door swings open, Boone looks out into the corridor and at\n the far end of the emergency room he sees Decker and the cops looking", "We track towards the mural. Lori can barely believe her eyes. Here,\n laid out on the walls, is a whole history; and featured amongst its\n more recent additions, the face of Boone." ], [ "219E. INT. INITIATION CHAMBER\n\n\n \n Boone enters the initiation chamber. Lylesburg is standing beside\n the bowl of Baphomet's blood, which is bubbling furiously.", "Boone shakes his head. Narcisse draws one razor-nail lightly across\n his own throat. A thin trickle of blood runs down his neck. He\n chuckles.", "Lylesburg nods, and puts his hand into the bowl of the blood. The\n blood bubbles around his wrist.", "BOONE: I didn't...didn't come to die. I came to be with you, I'm one\n of you.\n\n \n Peloquin reaches out and touches Boone's chest.", "Boone moves into the middle of the room. On his face we can see the\n hunger he feels. Ripples of color begin to move over his features. He", "Boone obeys. Baphomet's remaining arm reaches down and holds Boone,\n as Baphomet's face stares down at him.", "Boone takes refuge against a mausoleum wall. He takes his hand from\n the wound on his neck. It is throbbing like a living thing, spreading", "Boone takes a step back. The wound on his neck throbs and swells. At\n the edge of the light, Decker appears, stepping towards him.", "Boone stands on the ledge, and spits down at the corpse. As he does\n so he hears the same roar from Baphomet that called the", "Boone breathes in the last of his monstrous condition, and bends to\n tenderly stroke Lori's face. Then, very lightly, he kisses her, and\n gathers her in his arms.", "Boone's eyes are now on Lylesburg's smoking hand as it approaches\n Boone's chest, still marked by his wounds.\n\n \n LYLESBURG: Be judged.", "On his knees, in the middle of some frenzied action we can't quite\n see, Boone stops and looks down at his blood-stained hands.\n\n \n BOONE: No...No...", "Badly beaten, Boone lies in the corner, stirring when he hears the\n door unlocked. Labowitz ushers in a middle-aged, small-town\n physician, Doctor Rose.", "Cut to Narcisse and Boone, also approaching the chamber.\n\n \n NARCISSE: You'll like this. No, really. It's just their way of\n welcoming you to the club.", "LYLESBURG: The blood of the God tells all truths. It can harm as\n easily as heal. Are you prepared to be judged?\n\n \n BOONE: I'm ready.", "He puts his hand on the bullet wounds. Boone stiffens. But there's\n no pain. When Lylesburg's hand is removed, the wounds have gone.", "Boone opens his eyes. Looks across the room at Narcisse, a wild man,", "attached to his thumbs. He holds them right at Boone's throat, ready\n to cut. He smiles.", "Now Boone's eyes are fully open. He sits up. Looks towards the open\n window. Night beyond. She kisses him, distracting him from the sight\n of the window.", "Boone pushes Narcisse back, but as he does so Decker slips his\n grasp. Boone roars and starts to twitch and stamp as Peloquin did and\n we watch as..." ], [ "LORI: Where did he die? [pause] What was the name of the town?\n\n \n DECKER: A place called Midian.", "107. EXT. MIDIAN DAY\n\n\n \n Out of breath, Lori reaches the car, parked where she left it. No\n sign of Sheryl.", "BOONE: Let them. Let them find some way to kill me.\n\n \n LORI: You can't die. Midian needs you.", "In the distance, the burning ruins of Midian. The wind sighs in the\n moonlit reeds. Cabal and Lori reach the top of the hill, turn and\n look down, standing apart.", "128A. INT. MIDIAN CENTRAL CORE\n\n\n \n Lori looks into a chamber. A dark, winged figure moves aside to\n reveal...", "100. EXT. MIDIAN/INT. LORI'S CAR DAY", "As she descends into the bowels of Midian, creatures in various\n doorways watch her with curiosity. One creature seems to have light", "intrigued me. All the talk of monsters. And Midian. Remember Midian?", "LORI: Boone?\n\n \n Lori enters through the door.\n\n \n\n 128C. INT. MIDIAN CHAMBER", "LORI: Why? Why did you kill her?", "As Lori packs, she looks down, sees a hole in the wall, the result\n of some massive violence from the other side. She cautiously leans", "A crowd of journalists and on-lookers mill outside the station. We\n find Lori, following her through the crowd as she tries to get a view\n of the building.", "RACHEL [an urgent whisper]: You saved her. I owe you\n something...listen; I know why you came here.\n\n \n LORI: You do?", "Lori turns to see Decker appearing from the darkness. He attacks\n her, cutting her arm. She backs away before he can strike a second", "DECKER: Midian's not empty. There's something breeding there. Below\n the cemetery.\n\n \n EIGERMAN: Bullshit.", "Lori hurriedly throws some belongings into a suitcase. We see some\n newspaper clippings beside the suitcase. A headline reads: 'SLASHER\n\n SUSPECT SLAIN'", "LORI: They think some sick bastard's stole the body.\n\n \n SHERYL: So you want to go check out the place in which he checked out?", "Lori - as she leaves the reeds and sees the outer walls of the\n Necropolis.\n\n \n LORI: Good God...", "EIGERMAN: You still here?\n\n \n DECKER: I'm going back to Midian with you.", "DECKER: What's he saying?\n\n \n JOYCE: He's talking but he's not making any sense. Something about a\n place called Midian." ], [ "She turns back and follows the trail of blood around the corner,\n Lying on the floor is Sheryl. Mouth cut away. Tongue cut off.\n\n \n LORI [cont.]: Jesus! God!", "He comes at her suddenly, but his heel slides in Sheryl's blood. He\n falls in front of Lori, and stabs at her feet. She avoids the stab by", "It's Decker, looking like a commuter, hair slicked back, wearing an\n overcoat, carrying his briefcase.\n\n \n DECKER [big smile]: Hello, Sheryl Ann.", "SHERYL: To get away from it all? [Lori gives her a look] Shut up,\n Sheryl Ann. You go do what you have to do. I'll stay here and...do\n somethin' else.", "LORI: Sheryl! Sheryl! Let's get the hell out of here! [no reply]\n Sheryl?", "Lori enters and leans on the sink as the grief hits her. She sobs. A\n stall door opens behind her: Sheryl, a girl in her early twenties,\n exits.", "LORI: They think some sick bastard's stole the body.\n\n \n SHERYL: So you want to go check out the place in which he checked out?", "Lori looks around. Sees Sheryl's purse in the dirt near the reeds.\n\n \n LORI [cont.]: Sheryl?", "DECKER: So did I. But he's alive. He killed again...\n\n \n JOYCE: In Shere Neck?", "SHERYL [cont.]: Some loser takes a shine to ya, you could toss\n 'em in the river tied to a piano he'll come back faster than a dog", "LORI: Not exactly.\n\n \n SHERYL: Jesus, did he come back? That's even worse.", "Something moves across our field of vision in the gloom behind her.\n She turns.\n\n \n LORI [cont.]: Sheryl?", "LORI: Oh...[a tiny smile]...A man.\n\n \n SHERYL: Uh-huh. What'd he do, leave?", "She hears movement behind her, turns, startled, then, oddly, she\n smiles.\n\n \n SHERYL: Curtis ... what are you doing here?", "She moves towards the reeds. Picks up the purse. Peers inside the\n house. She hears a gurgling laugh from inside. It could be Sheryl.", "Sheryl is sitting at the empty bar, obviously hung over. She is\n wearing dark glasses and a horned Buffalo Days hat. The bartender\n pours her an eye-opener.", "DECKER: Why did I kill all the others? For the fun of it, of course.\n For pleasure. Everyone ought to have a hobby, don't you agree?", "LORI: Why? Why did you kill her?", "SHERYL [pause - just heard the story]: Lord. I have seen men go to\n great lengths to walk out on a girl. But, I must say, I have never", "Behind him, a map of the town, with coloured pins and a blackboard\n drawing of the Sweetgrass Inn, including a diagram of where the\n bodies were found. Eigerman adores the attention." ], [ "BOONE: Let them. Let them find some way to kill me.\n\n \n LORI: You can't die. Midian needs you.", "In the distance, the burning ruins of Midian. The wind sighs in the\n moonlit reeds. Cabal and Lori reach the top of the hill, turn and\n look down, standing apart.", "Eigerman turns, looks and fires as Boone leaps at him. He roars,\n effortlessly picks Eigerman up and body-slams him against the wall of\n Midian.", "Lori's stunned, she averts her eyes. Boone collects himself enough\n to pull her away and they help each other frantically scrabble up the\n slope, out of the chamber.", "BOONE: Midian's just a hole in the ground. It's full of things that\n should lie down and stay dead.", "Lori and Boone stand in the reeds as the last, bright bloom of the\n fires dies away on their faces. Figures move away through the smoke,\n creatures we recognize. The drummer beats out a tattoo as they depart.", "BOONE: They were just bad dreams. Midian doesn't exist. Monsters\n don't exist.", "NARCISSE: We have to get Boone out, Midian needs him...\n\n \n LORI: What could he do?", "LORI [cont.]: Boone, we have to get out of here.\n\n \n BOONE: Stay away from me...", "LORI: Boone...\n\n \n BOONE [fiercely]: No!", "LORI: Boone went this way, right?\n\n \n NARCISSE: And won't be coming back.\n\n \n LORI: I'll bring him.", "BOONE: Decker's dead. Take the knife out.\n\n \n Lori pulls the knife from him, and throws it down.", "LORI: Where did he die? [pause] What was the name of the town?\n\n \n DECKER: A place called Midian.", "247. INT. BELOW MIDIAN\n\n\n \n Boone/Cabal and Lori race up towards the surface, as Midian\n continues to collapse around them.", "Boone and Lori - two small figures, alone among the sepulchres. They\n move towards the gate together.\n\n \n\n FADE OUT:", "Boone breathes in the last of his monstrous condition, and bends to\n tenderly stroke Lori's face. Then, very lightly, he kisses her, and\n gathers her in his arms.", "Lori enters and quickly gathers her belongings together.\n\n \n Boone, sweating with terror, slides down the wall into a squatting\n position.", "NARCISSE [cont.] [barely audible - between cries]:\n ...Midian...Midian...\n\n \n Boone's eyes open like a shot.", "LORI: Boone? Boone!\n\n \n She moves down to Boone, scrambling up the slope towards her,\n drenched in sweat, half-mad with terror.", "RACHEL: You must go, this place is not for you. Midian is a home for\n the Nightbreed. Only for the Nightbreed." ], [ "The Nightbreed children hear the sound of slaughter approaching. One\n of the Breed with enormous, dark eyes, speaks.\n\n \n LEOPARDO: We can't stay here.", "VOICE: His name is Cabal. He will lead and give us back the Night.\n We are the tribes of the moon. We are the Nightbreed.\n\n \n The titles end.", "Boone races through the walkways, Ashberry following. There is\n pitched hand-to-hand battle on every side. Nightbreed are prevailing", "RACHEL: You're below now. With the Nightbreed. The last survivors of\n the great tribes. \n\n \n LORI: Tribes of who? What?", "RACHEL: He is Nightbreed. Or he was, until he broke the Law.", "Blinding light. As Boone descends into the chamber, he sees eight\n Nightbreed, surviving members of a Senior Council, Rachel among them,", "RACHEL: You must go, this place is not for you. Midian is a home for\n the Nightbreed. Only for the Nightbreed.", "LORI: Tell me about it; what's happened to him?\n\n \n NARCISSE: He was bitten by a Nightbreed, see, the taint's in his\n system...", "PELOQUIN: He's not Nightbreed. He's Natural.\n\n \n BOONE: No! I've killed people, I'm like you, that's why I'm here...", "One of the posse fires a rocket into a giant Breed who explodes.\n Boone reacts with horror at the destruction. When he turns back he\n sees Breed watching too, defenceless.", "He races back the way he came, and pulls coffins from the walls,\n tearing their lids off with supernatural strength. He breaks the wood\n into clubs. The Breed watch him.", "Boone breathes in the last of his monstrous condition, and bends to\n tenderly stroke Lori's face. Then, very lightly, he kisses her, and\n gathers her in his arms.", "NARCISSE: This is their territory.\n\n \n BOONE: No. The night's ours. Now get the rest of the children up\n here, I'm going to find a clear way through!", "BOONE: All the better. Let them out. Don't just stand there!\n\n \n We're the tribes of the moon, remember?", "BOONE: Let them. Let them find some way to kill me.\n\n \n LORI: You can't die. Midian needs you.", "Lori and Boone stand in the reeds as the last, bright bloom of the\n fires dies away on their faces. Figures move away through the smoke,\n creatures we recognize. The drummer beats out a tattoo as they depart.", "BOONE: Arm yourselves! Defend yourselves! You're not cattle, for\n Christ's sake. They don't have any right to kill you!", "Boone stands on the ledge, and spits down at the corpse. As he does\n so he hears the same roar from Baphomet that called the", "blow against Decker, eventually knocking the knife from his hand and\n driving him out on to the ledge once more. Decker teeters on the\n edge, now defenceless. Boone approaches.", "Lou enters, the figure emerges from behind him. While we remain at\n the door watching, detached, Lou fights back, throwing himself back" ], [ "Boone opens his eyes. Looks across the room at Narcisse, a wild man,", "Boone heaves a sigh of relief, turns from the gate and trudges away\n into the darkness, when suddenly . . .", "Boone shakes his head. Narcisse draws one razor-nail lightly across\n his own throat. A thin trickle of blood runs down his neck. He\n chuckles.", "Then Decker strikes out at him, slashing at Boone's face. Boone\n falls backwards. At the last moment he catches hold of Decker,\n pulling him down into the hole and together they tumble into the\n earth.", "Boone takes refuge against a mausoleum wall. He takes his hand from\n the wound on his neck. It is throbbing like a living thing, spreading", "Boone breathes in the last of his monstrous condition, and bends to\n tenderly stroke Lori's face. Then, very lightly, he kisses her, and\n gathers her in his arms.", "Now Boone's eyes are fully open. He sits up. Looks towards the open\n window. Night beyond. She kisses him, distracting him from the sight\n of the window.", "Boone's car rolls to a stop. Boone steps out and looks at something\n in the dust. A battered sign. It reads:", "Boone moves into the middle of the room. On his face we can see the\n hunger he feels. Ripples of color begin to move over his features. He", "We track towards the mural. Lori can barely believe her eyes. Here,\n laid out on the walls, is a whole history; and featured amongst its\n more recent additions, the face of Boone.", "Badly beaten, Boone lies in the corner, stirring when he hears the\n door unlocked. Labowitz ushers in a middle-aged, small-town\n physician, Doctor Rose.", "Cut back to boone, his face all grief.\n\n \n BOONE: Stupid. \n\n \n\n CUT TO:", "Boone takes a step back. The wound on his neck throbs and swells. At\n the edge of the light, Decker appears, stepping towards him.", "Boone transforms into something part man, part carnivore...and gives\n chase.", "Boone falls back. Decker closes on him, the knives at his neck. The\n force of his stabs, which miss Boone's neck, break the boards of the", "PELOQUIN: No-one here of that name.\n\n \n She turns. The Boone figure is in the doorway behind her. He has the\n face of a snake.", "Joyce hears the sound of crying and looks up. Boone's body lies on\n the ground. Decker rises, hearing the distant sobs on the wind.", "LORI: Boone? Boone!\n\n \n She moves down to Boone, scrambling up the slope towards her,\n drenched in sweat, half-mad with terror.", "PELOQUIN: Yes, it's him.\n\n \n Boone squatting in front of his fire of love letters. Boone dead in\n the reeds.", "Boone's eyes are now on Lylesburg's smoking hand as it approaches\n Boone's chest, still marked by his wounds.\n\n \n LYLESBURG: Be judged." ], [ "BOONE [cont.]: You set me up...you bastard, you set me up!\n\n \n He lunges for Decker, who turns and throws himself to the ground as\n he yells.", "Decker returns to his desk. Puts the photographs down and picks up a\n vial of prescription pills. He crosses to boone.", "BOONE: They weren't tranquillizers...\n\n \n A look of alarm crosses Decker's face. Boone reads it. He gets the\n picture.", "DECKER: I'm not hiding...\n\n \n BOONE [still advancing, taunting him]: Decker, Decker. Doctor Decker.", "Then Decker strikes out at him, slashing at Boone's face. Boone\n falls backwards. At the last moment he catches hold of Decker,\n pulling him down into the hole and together they tumble into the\n earth.", "BOONE [taking a tentative step forward]: What, what about the pills?\n\n \n DECKER [pause; whispers]: What about them, Boone?", "DECKER: Lori, I'm Dr Decker. Boone was my patient.\n\n \n LORI: Yes. Hello.", "Decker turns to run, but Boone races to him, catches, turns him\n and pulls Decker closer, until they're nose to nose.", "DECKER: You wouldn't hurt a fly. [extends a hand] Come on, Boone.\n It's safe, I've seen to that.", "DECKER [lowers his voice]: Lieutenant, I can bring him out. He'll\n listen to me.\n\n \n Joyce ponders, then signals him forward. Decker advances toward Boone.", "Enraged, Decker throws the knife; it buries in the middle of Boone's\n chest. Decker laughs, then stops, as Boone pulls the knife out and\n tosses it aside.", "Boone falls back. Decker closes on him, the knives at his neck. The\n force of his stabs, which miss Boone's neck, break the boards of the", "As the door swings open, Boone looks out into the corridor and at\n the far end of the emergency room he sees Decker and the cops looking", "Dr Decker, who's just arrived with Lieutenant Joyce and two\n policemen, is speaking with the doctor that examined Boone.", "Boone grabs the pills.\n\n \n DECKER [cont.]: I can't tell you how sorry I am...", "DECKER [to Boone, craven]: Oh God, Boone, don't let him touch me,", "blow against Decker, eventually knocking the knife from his hand and\n driving him out on to the ledge once more. Decker teeters on the\n edge, now defenceless. Boone approaches.", "DECKER [unobtrusively - to Joyce]: Lieutenant, I know Boone, I know\n how he talks, how he manipulates. Perhaps if the right thing is said\n to this man it'll trigger something...", "BOONE: Decker's dead. Take the knife out.\n\n \n Lori pulls the knife from him, and throws it down.", "Boone takes a step back. The wound on his neck throbs and swells. At\n the edge of the light, Decker appears, stepping towards him." ], [ "In the chamber are a morgue attendant and, lying on a stainless\n steel table, Boone's body. Lori looks at the body with heartbreaking", "He puts his hand on the bullet wounds. Boone stiffens. But there's\n no pain. When Lylesburg's hand is removed, the wounds have gone.", "JOYCE: Decker? This better be good.\n\n \n DECKER: I found Boone.\n\n \n JOYCE: Someone brought the corpse down here?", "BOONE [cont.]: Blades are no better than bullets, Decker, don't you\n get it? I'm dead. The walking dead.\n\n \n DECKER: That's not possible.", "BOONE: I didn't...didn't come to die. I came to be with you, I'm one\n of you.\n\n \n Peloquin reaches out and touches Boone's chest.", "Boone takes refuge against a mausoleum wall. He takes his hand from\n the wound on his neck. It is throbbing like a living thing, spreading", "Badly beaten, Boone lies in the corner, stirring when he hears the\n door unlocked. Labowitz ushers in a middle-aged, small-town\n physician, Doctor Rose.", "Burton and the attendant, instruments laid out, Boone's body on a\n brightly lit steel table, ready for the autopsy. Burton activates an\n overhead microphone.", "DECKER: As I told you, these aren't ordinary people. You're saying\n he should be dead?\n\n \n DR ROSE: No, I'm saying he is dead.", "The doctor and nurse ease Boone back down onto the gurney. The\n doctor moves away. The nurse pulls back the curtain and rolls Boone\n across the hall into a semi-private room", "knives at his victim's back. The blade cuts straight through Boone,\n sticking out from his chest a good six inches. He turns, his fury", "Cut back to boone, his face all grief.\n\n \n BOONE: Stupid. \n\n \n\n CUT TO:", "Boone keeps staring at the pictures. The glassy eyes stare hard at\n him. His breathing is now rapid and shallow. One or two of the images\n seem to move. Bodies twitch. He drops the photographs.", "Enraged, Decker throws the knife; it buries in the middle of Boone's\n chest. Decker laughs, then stops, as Boone pulls the knife out and\n tosses it aside.", "DECKER: You're not dead.\n\n \n BOONE [advancing]: You're wrong. We're both dead, Decker.", "Boone stands on the ledge, and spits down at the corpse. As he does\n so he hears the same roar from Baphomet that called the", "Lori slips into unconsciousness.\n\n \n DECKER: You? Here again?\n\n \n BOONE: Isn't this where the dead are supposed to go?", "BOONE: Decker can't tell anyone. What's he going to say? That\n he tried to kill a girl and a dead man stopped him?", "BOONE: Not just dead...changed. A monster. Want me to show you?\n\n \n DECKER [whimpering]: No, please ...", "corpses caught by the camera in grotesque positions, sliced up and\n bleeding. Boone's breath quickens." ], [ "intrigued me. All the talk of monsters. And Midian. Remember Midian?", "RACHEL: Far from it. The sun can kill some of us. Like Babette. She\n follows her father in that. Some of us could be shot down; others\n would survive that because they've got beyond death.", "RACHEL: He is Nightbreed. Or he was, until he broke the Law.", "RACHEL: The Baptiser. Who made Midian. Who called us here\n and saved us from our enemies...\n\n \n LORI: Take me there, I've got to find Boone...", "RACHEL: Are we going?\n\n \n NARCISSE: About time.\n\n \n BOONE: Midian.", "BOONE: They were just bad dreams. Midian doesn't exist. Monsters\n don't exist.", "and take vengeance for the Lord on Midian...\" and so they burned with\n fire all the cities where they dwelt and\n killed the kings of Midian, both man and beast!'", "RACHEL: You must go, this place is not for you. Midian is a home for\n the Nightbreed. Only for the Nightbreed.", "RACHEL: You're below now. With the Nightbreed. The last survivors of\n the great tribes. \n\n \n LORI: Tribes of who? What?", "BOONE: Midian's just a hole in the ground. It's full of things that\n should lie down and stay dead.", "In the distance, the burning ruins of Midian. The wind sighs in the\n moonlit reeds. Cabal and Lori reach the top of the hill, turn and\n look down, standing apart.", "breaks away, Rachel tries to catch hold, Babette runs.\n P.O.V. camera veers around and down through the maze of Midian.", "257. INT. BARN NIGHT\n\n\n \n We track through the darkness to find Rachel, Babette, Kinski and a\n number of other refugees and children of Midian, staring out at the\n night.", "RACHEL [an urgent whisper]: You saved her. I owe you\n something...listen; I know why you came here.\n\n \n LORI: You do?", "RACHEL: Perhaps Baphomet told him something, something that could\n save Midian.\n\n \n NARCISSE: Where they keeping him?", "DECKER: Midian's not empty. There's something breeding there. Below\n the cemetery.\n\n \n EIGERMAN: Bullshit.", "BABETTE: ...who will come for us?\n\n \n KINSKI: His name is Cabal. He unmade Midian.", "hiding. Into Midian, where we wait now. The battle is over but not\n the war. There will come a saviour.", "BOONE: Not your kind of monster. Not the soulless kind. I've got\n Midian in my veins.", "RACHEL/BAPHOMET: ...You have destroyed our refuge...\n\n \n BOONE: I never meant..." ], [ "Boone obeys. Baphomet's remaining arm reaches down and holds Boone,\n as Baphomet's face stares down at him.", "Baphomet silences him. Boone trembles but maintains eye contact.\n\n \n RACHEL/BAPHOMET: This was foretold. No refuge is forever. But you\n are charged . . .", "BABETTE [looking down into the hole]: Baphomet.\n\n \n BOONE [to Joyce]: Take her. Run.", "Boone stands on the ledge, and spits down at the corpse. As he does\n so he hears the same roar from Baphomet that called the", "The figure keeps coming, emerging from the smoke. It's Ashberry. He\n has been transformed by the confrontation with Baphomet. His hair has", "LYLESBURG: What Baphomet made he has the power to unmake. His blood\n is volatile. He mustn't be angered.\n\n \n BOONE: Then I'll make nice.", "LORI: No problem, you tell me where he is and we're outta here...\n\n \n LYLESBURG: Boone has gone to Baphomet. He is beyond recall.", "Boone/Cabal is released. Baphomet is consumed in light. The Council\n move towards him to finish their task.\n\n \n LORI [O.S.]: Boone?", "Narcisse appears from the darkness. As he does so, a final explosion\n roars up from the underground. In the smoke pillar above the site,\n Baphomet's image momentarily appears before the wind disperses it.", "LYLESBURG: Baphomet is a spirit in stone. He doesn't speak, or move.\n His wounds are too great...\n\n \n BOONE: What are you afraid of?", "Boone's eyes are now on Lylesburg's smoking hand as it approaches\n Boone's chest, still marked by his wounds.\n\n \n LYLESBURG: Be judged.", "LYLESBURG: Baphomet. The God in Obsidian. Who made Midian.\n\n \n BOONE: So maybe I should speak to this guy.", "the bowl. As he does so Baphomet's eyes fix on him. The bowl flips in\n the air. The fluid it holds rains down on Ashberry like acid. He", "Boone shakes his head. Narcisse draws one razor-nail lightly across\n his own throat. A thin trickle of blood runs down his neck. He\n chuckles.", "BOONE [cont.] [to Narcisse]: Get the children above ground, find a\n hiding place...[to the others] Get ready to fight! [to Lylesburg]\n What about Baphomet? Can he be moved?", "LYLESBURG: Aaron Boone, in the name of Baphomet, Lord of the tribes\n of the moon, I bid you welcome...", "standing around Baphomet. They are wrapping severed limbs of\n Baphomet, preparing to include him in the exodus. His head and", "RACHEL/BAPHOMET: You shall not be alone. You will find me there and\n heal me. [holds him close] You are not Boone...", "Berserkers from harming him. Out of it, comes Baphomet's face.", "We move from Ashberry's stricken face to the bloody mark his hand\n left in the wall. It vaguely resembles something we recognize:\n Baphomet's head." ], [ "Boone breathes in the last of his monstrous condition, and bends to\n tenderly stroke Lori's face. Then, very lightly, he kisses her, and\n gathers her in his arms.", "LORI: Boone? Boone!\n\n \n She moves down to Boone, scrambling up the slope towards her,\n drenched in sweat, half-mad with terror.", "Boone leaps tombs, nearing their location. He bounds into the\n clearing, sees Lori unconscious in Narcisse's embrace.", "Boone and Narcisse move through the panicking underground, creatures\n fleeing in every direction. Boone sees Lylesburg, trying to keep the\n panic down, moves towards him.", "Lori enters and quickly gathers her belongings together.\n\n \n Boone, sweating with terror, slides down the wall into a squatting\n position.", "RACHEL: You must go, this place is not for you. Midian is a home for\n the Nightbreed. Only for the Nightbreed.", "247. INT. BELOW MIDIAN\n\n\n \n Boone/Cabal and Lori race up towards the surface, as Midian\n continues to collapse around them.", "BOONE: Let them. Let them find some way to kill me.\n\n \n LORI: You can't die. Midian needs you.", "Boone races through the walkways, Ashberry following. There is\n pitched hand-to-hand battle on every side. Nightbreed are prevailing", "LORI: Where did he die? [pause] What was the name of the town?\n\n \n DECKER: A place called Midian.", "RACHEL: You're below now. With the Nightbreed. The last survivors of\n the great tribes. \n\n \n LORI: Tribes of who? What?", "The Nightbreed children hear the sound of slaughter approaching. One\n of the Breed with enormous, dark eyes, speaks.\n\n \n LEOPARDO: We can't stay here.", "In the distance, the burning ruins of Midian. The wind sighs in the\n moonlit reeds. Cabal and Lori reach the top of the hill, turn and\n look down, standing apart.", "The transformed Boone covers his face, slams the room door shut and\n moves towards the bodies.\n\n \n Lori hides at the end of the corridor as the Swat cops appear at the\n far end.", "Lori's stunned, she averts her eyes. Boone collects himself enough\n to pull her away and they help each other frantically scrabble up the\n slope, out of the chamber.", "Lori and Boone stand in the reeds as the last, bright bloom of the\n fires dies away on their faces. Figures move away through the smoke,\n creatures we recognize. The drummer beats out a tattoo as they depart.", "LORI: Boone?\n\n \n Lori enters through the door.\n\n \n\n 128C. INT. MIDIAN CHAMBER", "Blinding light. As Boone descends into the chamber, he sees eight\n Nightbreed, surviving members of a Senior Council, Rachel among them,", "Boone watches as he and Lori make love on the bed. We close in on\n the love-making. Lori leans to kiss him.\n\n \n BOONE: I'll never leave you...", "Boone emerges from the depths, into the wrecked mausoleum.\n\n \n BABETTE: Boone...[he goes to them] Lori. She's hurt." ], [ "Boone keeps staring at the pictures. The glassy eyes stare hard at\n him. His breathing is now rapid and shallow. One or two of the images\n seem to move. Bodies twitch. He drops the photographs.", "corpses caught by the camera in grotesque positions, sliced up and\n bleeding. Boone's breath quickens.", "Boone looks towards the door, sinking down against the tiles as he\n does so. The door is flung open. We see him cowering as the Swat Team\n come for him.", "Boone moves into the middle of the room. On his face we can see the\n hunger he feels. Ripples of color begin to move over his features. He", "As the door swings open, Boone looks out into the corridor and at\n the far end of the emergency room he sees Decker and the cops looking", "and lies still. Boone gets up. His exit along the bridge in one\n direction is blocked. He has to step past Decker who doesn't", "Decker lays the photographs on the table. Boone picks them up. We\n get glimpses of what they contain. Domestic horrors. Bloody scenes of", "Boone slowly drives out of the lot trying not to attract the\n attention of the fleet of patrol cars sirens wailing, pouring into\n the area.", "makes me do things I don't want to...[Boone pulls him closer] Boone,\n it was the mask and they were going to find me, punish me, I needed a\n scapegoat...", "Boone shakes his head. Narcisse draws one razor-nail lightly across\n his own throat. A thin trickle of blood runs down his neck. He\n chuckles.", "Boone obeys. Baphomet's remaining arm reaches down and holds Boone,\n as Baphomet's face stares down at him.", "Boone takes a step back. The wound on his neck throbs and swells. At\n the edge of the light, Decker appears, stepping towards him.", "Joyce hears the sound of crying and looks up. Boone's body lies on\n the ground. Decker rises, hearing the distant sobs on the wind.", "attached to his thumbs. He holds them right at Boone's throat, ready\n to cut. He smiles.", "Boone takes refuge against a mausoleum wall. He takes his hand from\n the wound on his neck. It is throbbing like a living thing, spreading", "Boone opens his drawers and pulls out photographs, his passport etc\n and starts to make a pile with them. He pours lighter fuel on the", "Harsh lights hit Boone from every side; police cars in the reeds all\n around, their searchlights focused on him. Two dozen cops, all\n levelling firearms.", "She hurries on, Boone follows, clearly disturbed. Lori unlocks her\n door, glancing back at Boone, who has taken off his sunglasses. There", "Boone pushes Narcisse back, but as he does so Decker slips his\n grasp. Boone roars and starts to twitch and stamp as Peloquin did and\n we watch as...", "the half-buried mania that we'll see erupt later on. He puts his head\n against the wall and speaks softly to Boone, his tone intensifying as\n his feelings take stronger hold." ], [ "The figure keeps coming, emerging from the smoke. It's Ashberry. He\n has been transformed by the confrontation with Baphomet. His hair has", "We move from Ashberry's stricken face to the bloody mark his hand\n left in the wall. It vaguely resembles something we recognize:\n Baphomet's head.", "the bowl. As he does so Baphomet's eyes fix on him. The bowl flips in\n the air. The fluid it holds rains down on Ashberry like acid. He", "Cowering in a niche inside the chamber, out of sight, watching in\n wonder is Ashberry. Transfixed by Baphomet, he crosses himself.", "Ashberry turns on him, his face wild. He takes hold of Eigerman by\n the neck, his fingers digging into the muscle. Blood runs. Eigerman", "Near to him is one of the bowls of Baphomet's light. Ashberry\n approaches it, hungry for a taste of this glory. He reaches to touch", "Boone takes a step back. The wound on his neck throbs and swells. At\n the edge of the light, Decker appears, stepping towards him.", "ASHBERRY [not terribly convincing]: I don't believe in the Devil.\n\n \n DECKER: Oh...you will.", "Boone obeys. Baphomet's remaining arm reaches down and holds Boone,\n as Baphomet's face stares down at him.", "Ashberry looks at Decker; no trace of irony in his expression.\n Ashberry sorts through the canteens, finds the one that doesn't have\n a white cross on it, opens it and knocks back two fingers of bourbon.", "248. INT. BAPHOMET'S CHAMBER\n\n\n \n Ashberry descends the stairs into the blaze of light. Tears pour\n down his cheeks.", "it, reaches up to touch it. The angel, a monster, turns to look at\n him with sad, impassive gravity. Then we see its shadow on Ashberry's", "Lori turns to see Decker appearing from the darkness. He attacks\n her, cutting her arm. She backs away before he can strike a second", "Cut to Eigerman's leering, grinning face as he fires at Breed.\n Ashberry emerges from the shadows and grabs him.", "in, is a vast indistinct form: that of Baphomet. His eyes burn; his\n arms are open in welcome.", "transforming him into a more extreme creature. Decker comes at Boone\n with a second blade, slashing at Boone's neck. The battle carries", "Lylesburg nods, and puts his hand into the bowl of the blood. The\n blood bubbles around his wrist.", "Then Decker strikes out at him, slashing at Boone's face. Boone\n falls backwards. At the last moment he catches hold of Decker,\n pulling him down into the hole and together they tumble into the\n earth.", "ASHBERRY: No. They're mine. Their God burned me. I want to burn him\n back. All of them. Burn them all away.", "Narcisse appears from the darkness. As he does so, a final explosion\n roars up from the underground. In the smoke pillar above the site,\n Baphomet's image momentarily appears before the wind disperses it." ], [ "Boone looks towards the door, sinking down against the tiles as he\n does so. The door is flung open. We see him cowering as the Swat Team\n come for him.", "Harsh lights hit Boone from every side; police cars in the reeds all\n around, their searchlights focused on him. Two dozen cops, all\n levelling firearms.", "The bullets fly. Boone is about to pounce on Decker when he's hit by", "LORI: Oh my God...oh my God...\n\n \n She hears cops charging up the stairs.\n\n \n LORI [cont.]: Boone! They're coming!", "Cut back to boone, his face all grief.\n\n \n BOONE: Stupid. \n\n \n\n CUT TO:", "BOONE: Arm yourselves! Defend yourselves! You're not cattle, for\n Christ's sake. They don't have any right to kill you!", "The transformed Boone covers his face, slams the room door shut and\n moves towards the bodies.\n\n \n Lori hides at the end of the corridor as the Swat cops appear at the\n far end.", "BOONE [cont.]: You set me up...you bastard, you set me up!\n\n \n He lunges for Decker, who turns and throws himself to the ground as\n he yells.", "BOONE [cont.]: Blades are no better than bullets, Decker, don't you\n get it? I'm dead. The walking dead.\n\n \n DECKER: That's not possible.", "Boone slowly drives out of the lot trying not to attract the\n attention of the fleet of patrol cars sirens wailing, pouring into\n the area.", "BOONE [cont.] [to Ashberry]: Get up!\n\n \n ASHBERRY: Don't kill me!", "The two other cops hear the shot and run towards the station.\n Labowitz runs back in with them before they get there, slams and\n bolts the door.", "One of the posse fires a rocket into a giant Breed who explodes.\n Boone reacts with horror at the destruction. When he turns back he\n sees Breed watching too, defenceless.", "Boone shakes his head. Narcisse draws one razor-nail lightly across\n his own throat. A thin trickle of blood runs down his neck. He\n chuckles.", "BOONE: Decker's dead. Take the knife out.\n\n \n Lori pulls the knife from him, and throws it down.", "The attendant lifts up Boone's jacket. Light streams through many\n bullet holes.\n\n \n ASSISTANT: Jesus. They weren't takin' any chances.", "Enraged, Decker throws the knife; it buries in the middle of Boone's\n chest. Decker laughs, then stops, as Boone pulls the knife out and\n tosses it aside.", "BOONE: Weapons! You need weapons or it's over!\n\n \n One or two understand, and do as he's doing.\n\n \n BOONE: All of you!", "Then Decker strikes out at him, slashing at Boone's face. Boone\n falls backwards. At the last moment he catches hold of Decker,\n pulling him down into the hole and together they tumble into the\n earth.", "Pettine looks up. Framed against the stars, Boone. He drops on\n Pettine breaking the man's neck. Then he and Narcisse lead the attack\n against the posse, dispatching them all." ], [ "LORI: Where did he die? [pause] What was the name of the town?\n\n \n DECKER: A place called Midian.", "In the distance, the burning ruins of Midian. The wind sighs in the\n moonlit reeds. Cabal and Lori reach the top of the hill, turn and\n look down, standing apart.", "NARCISSE [suddenly friendly]: What did you say, just now?\n\n \n BOONE: You said Midian.", "hiding. Into Midian, where we wait now. The battle is over but not\n the war. There will come a saviour.", "203. EXT. ROAD TO MIDIAN LATE AFTERNOON", "intrigued me. All the talk of monsters. And Midian. Remember Midian?", "BOONE: Midian's just a hole in the ground. It's full of things that\n should lie down and stay dead.", "Another features a map, showing the location of Midian.\n\n \n\n 91. EXT. ROAD DAY", "EIGERMAN: They're warming up for it over in Midian. [leading him\n out] Padre, you get your pious butt over to church and load up on", "RACHEL: Are we going?\n\n \n NARCISSE: About time.\n\n \n BOONE: Midian.", "BOONE: That wasn't me. I heard about Midian from other people.\n\n \n DECKER: But you made it part of your private mythology.", "DECKER: What's he saying?\n\n \n JOYCE: He's talking but he's not making any sense. Something about a\n place called Midian.", "BOONE: It's real. Midian's real. [Narcisse nods; carefully] And you\n know...where it is. Don't you? We could go there...", "and take vengeance for the Lord on Midian...\" and so they burned with\n fire all the cities where they dwelt and\n killed the kings of Midian, both man and beast!'", "As she descends into the bowels of Midian, creatures in various\n doorways watch her with curiosity. One creature seems to have light", "74. EXT. OUTSIDE MIDIAN NIGHT", "DECKER: Midian's not empty. There's something breeding there. Below\n the cemetery.\n\n \n EIGERMAN: Bullshit.", "64. EXT. DIRT ROAD OUTSIDE MIDIAN DAY", "Midian is now completely deserted. Dandelion seeds drift down the\n walkways, caught in shafts of sunlight.", "Eigerman turns, looks and fires as Boone leaps at him. He roars,\n effortlessly picks Eigerman up and body-slams him against the wall of\n Midian." ] ]

[ "After Decker drugs Boone and tells him to turn himself in, what happens to Boone?", "Who are the first two characters Boone encounters in Midian?", "What restores life into Boone in the morgue?", "Why does Lori travel to the cemetery?", "What does Decker attempt to use Lori for?", "What happens when Boone discovers the crime scene?", "What is the name of the monstrous feral breed that is caged due to insanity?", "Where does Boone meet the remaining Nightbreed after the battle and say his final goodbyes to Narcisse?", "What does Ashberry put against Decker's wound?", "What is Midian in Aaron Boone's dream?", "Who is Boone's girlfriend?", "What does Peloquin smell when Boone claimes to be a Murderer?", "Why did Boone come to life in a morgue?", "Who's blood is Boon touched by in initiation?", "Why does Lori investigate Midian?", "Who killed Sheryl Ann?", "Who banishes Boone and Lorie from Midian?", "Who convinces the Nightbreed to stand and fight?", "What is Boone's new name?", "What did Dr. Decker give Boone before telling him to turn himself in?", "How was Boone able to come back to life in the morgue?", "According to Rachel, who hunted the monsters of Midian to near extinction?", "What did Baphomet do to Boone's name after the battle?", "After leaving Midian, where did Boone meet up with Lori and the remaining Nightbreed?", "What compulsion does Boone have when he sees the crime scene?", "What happened to Decker when Ashberry pressed Baphomet's blood into his wound?", "Why did the police shoot Boone?", "What was Midian?" ]

[ [ "He is hit by a truck.", "He is struck by a truck and taken to the hospital. " ], [ "Peloquin and Kinski", "Kinski and Peloquin" ], [ "Peloquin's bite.", "Peloquin had bitten him before he was shot" ], [ "To investigate Midian.", "she's trying to find Boone to find out why he left her" ], [ "Decker attempts to get Boone out of hiding by using Lori.", "To bring Boon out of hiding." ], [ "He is unable to contain his thirst and starts drinking the blood.", "He can't keep his blood thirst in check" ], [ "Berserkers.", "the Berserkers" ], [ "A barn.", "In a barn" ], [ "Baphomet's blood", "Baphomet's blood" ], [ "A city were monsters are accepted.", "A city beneath a graveyard, where monsters are accepted." ], [ "Lori Winston", "Lori" ], [ "He smells his innocence", "His innocence" ], [ "Pelquin's bite", "Because he was bitten by Peloquin" ], [ "Baphomet.", "Baphomet." ], [ "To find out why Boone left her", "To understand why Boone left her. " ], [ "Decker", "Decker" ], [ "Lylesburge", "Lylesburg." ], [ "Boone", "Boone" ], [ "Cabal", "Cabal." ], [ "LSD disguised as lithium", "LSD" ], [ "Because of Peloquin's bite", "Due to Peloquin's bite" ], [ "Humans", "humans" ], [ "Changed it to Cabal", "Cabal" ], [ "In a barn", "in a barn" ], [ "He drinks the blood", "Drink blood." ], [ "Decker came back to life", "He comes back to life" ], [ "Decker yelled that he had a gun", "Decker says he has a gun" ], [ "A city beneath a massive graveyard", "An underground home for the nightbreed" ] ]

[ [ "HANNAH\n Do you feel, um...are you\n disenchanted with our marriage?\n\n ELLIOT\n (pointing at Hannah)\n I didn't say that.", "He leaves. Hannah watches him go, reacting. She is stunned.\n\n CUT TO:\n\nINT. HANNAH'S LIVING ROOM - ANOTHER NIGHT", "Holly follows Hannah to a rack of blouses.\n\n HOLLY\n He's married...", "here next to Hannah. There's\n something very lovely and real\n about Hannah.\n (tossing his bathrobe\n aside and lying down", "HANNAH\n (gesturing)\n I mean, I don't know, he's seeing\n someone else or something, but...", "Hannah sighs. Elliot angrily throws his napkin on the table.\nHe stands up and begins to pace behind Hannah.", "Elliot turns the lamp back on, then turns to Hannah; she is\nlying on her side of the bed, partially in shadow. He leans\nover and kisses her.", "and clothes. He's all show!\n (touching Hannah's\n arm again, then\n touching her chest)", "Hannah tenderly takes Elliot's hand as she looks around the\ntable. He, in turn, kneads her shoulder, chuckling with\nequal tenderness.", "ELLIOT\n (overlapping, agreeing\n with Hannah)\n Yeah.\n\n LEE\n (continuing)\n ...ex-husband on the street the\n other day.", "HANNAH\n (picking at the\n turkey and gesturing)\n Maybe April would like Phil. Phil\n Gammage, the tall guy in there by\n the piano.", "He looks down. Hannah leans over and tenderly puts her hand\non his shoulder.", "HANNAH\n (continuing)\n Oh, he's fine. He's-he's, I guess", "HANNAH\n (offscreen)\n Do you miss Frederick?\n\n LEE\n No.", "LEE\n (overlapping, her\n voice emotionally raised)\n I'm saying it now!\n\n FREDERICK\n So you met somebody else?", "Hannah, still embarrassed, looks down at a plate. The group\napplauds once more, toasting and drinking, and warmly\nsounding their approval.\n\n CUT TO:", "HANNAH\n (overlapping)\n It's, uh, you never know--\n\n HOLLY\n (interrupting, gesturing)\n He's such a loser!", "ELLIOT\n Hannah, you know how much I love\n you.\n (kissing her on the forehead)\n I ought to have my head examined.\n I don't deserve you.", "Elliot returns from his reveries with a start.\n\n ELLIOT\n (turning to Hannah)\n Mm-hm?", "HANNAH\n (overlapping)\n Ohh?\n\n HOLLY\n (overlapping, lighting\n a cigarette)\n Uh-oh." ], [ "Everyone is seated around the table for Thanksgiving dinner.\nFacing the camera are Holly, Lee, Norma, and Hannah. She", "Two more guests enter the apartment; the vestibule is full\nnow. Still walking, Lee lightly hugs one of the children as", "LEE\n Look, don't do anything on my\n behalf.\n (shaking her head)\n I live with Frederick, and Hannah\n and I are close.", "Lee leaves the kitchen. Holly, puffing on her cigarette,\nwatches her go.\n\n HOLLY\n (sighing)\n Frederick didn't come with her.", "The camera is back on Lee. She looks around tensely, barely\nlistening to the conversation. She fidgets. An empty table\nsits in the background.", "LEE\n (standing up, overlapping)\n Good idea.\n\n CUT TO:\n\nINT. DINING ROOM - NIGHT", "LEE\n Bye.\n\n ELLIOT\n (closing the taxi\n door for Lee)\n Bye.\n\nHe watches the taxi pull away.", "A full face of Lee, wearing a gray sweater and leaning\nagainst the dining room doorway. She gazes into the camera\nwith a half-smile on her face as Elliot speaks over the\nscreen.", "The sounds of Thanksgiving guests in the other room are\ndimly heard; \"You Made Me Love You\" continues softly in the\nbackground. Mavis passes the table, licking some food off", "LEE\n Oh. Well, I live--\n\n ELLIOT\n (interrupting, chuckling)\n Oh, yes! You live near here, don't\n you?", "The film cuts to the dining room doorway. Guests can be\nseen mingling and talking and helping themselves at a buffet\ntable in the living room. Lee and Elliot can be heard", "The camera stays with Elliot, who is still watching the\noffscreen Lee. In the background, guests continue to\nchatter warmly with each other.", "The camera stays with Lee as she walks around the room, past\nanother curtained window, a television set, and a rolltop\ndesk. She absently flips through the book as she talks to\nthe offscreen Elliot.", "Lee, fraught with emotion, briefly puts her outstretched\nhands on the refrigerator door, then turns around and leans\nagainst it, hugging herself, her blouse still unbuttoned,\nher hair still wet and bedraggled.", "As he talks, Lee is seen turning on the bathroom light. She\ntakes off her coat, hanging it on a hook, then begins to dry\nher hair with a towel.", "As Frederick continues his monologue, Lee is busy in the\nbackground: striking a wooden match and lighting a burner on\nthe stove for the kettle, taking a glass out of the cupboard,", "He kisses Lee again. He clumsily turns around; she humps\nagainst the stereo unit. As Lee pulls away, she smashes", "Lee starts to walk off again, finishing her conversation\nwith her mother. She passes several other guests, then\nturns to greet April, giving her a warm, brief hug.", "LEE\n (overlapping, smiling\n in surprise)\n Oh, Elliot!\n\n ELLIOT\n Hi.", "Lee slips past Elliot and walks away. Elliot looks back at\nher briefly, then, sipping his drink, he turns and looks\noffscreen at the crowd in the living room.\n\n CUT TO:" ], [ "ELLIOT\n (overlapping, agreeing\n with Hannah)\n Yeah.\n\n LEE\n (continuing)\n ...ex-husband on the street the\n other day.", "He leaves. Hannah watches him go, reacting. She is stunned.\n\n CUT TO:\n\nINT. HANNAH'S LIVING ROOM - ANOTHER NIGHT", "HANNAH\n (continuing)\n Oh, he's fine. He's-he's, I guess", "Hannah sighs. Elliot angrily throws his napkin on the table.\nHe stands up and begins to pace behind Hannah.", "HANNAH\n Do you feel, um...are you\n disenchanted with our marriage?\n\n ELLIOT\n (pointing at Hannah)\n I didn't say that.", "He looks down. Hannah leans over and tenderly puts her hand\non his shoulder.", "HANNAH\n (offscreen)\n Do you miss Frederick?\n\n LEE\n No.", "Elliot returns from his reveries with a start.\n\n ELLIOT\n (turning to Hannah)\n Mm-hm?", "ELLIOT (V.O.)\n What did I put us both through?\n And Hannah...\n\nThe camera moves back to Elliot.", "HANNAH\n (overlapping)\n It's, uh, you never know--\n\n HOLLY\n (interrupting, gesturing)\n He's such a loser!", "HANNAH\n (distracted)\n Hi. How's she doing?\n\n EVAN\n (overlapping)\n I am glad to see you.", "and clothes. He's all show!\n (touching Hannah's\n arm again, then\n touching her chest)", "here next to Hannah. There's\n something very lovely and real\n about Hannah.\n (tossing his bathrobe\n aside and lying down", "ELLIOT\n Hannah, you know how much I love\n you.\n (kissing her on the forehead)\n I ought to have my head examined.\n I don't deserve you.", "HANNAH\n (picking at the\n turkey and gesturing)\n Maybe April would like Phil. Phil\n Gammage, the tall guy in there by\n the piano.", "HANNAH\n (gesturing)\n I mean, I don't know, he's seeing\n someone else or something, but...", "Holly hangs up the phone and takes a drag on her cigarette.\nShe looks off in the distance, smiling, as the film cuts to:\n\nINT. HANNAH'S APARTMENT - THANKSGIVING - NIGHT", "He dries his hands as Hannah, standing behind him, continues\nto talk.", "Hannah takes off her shoulder bag and her coat as her\naggravated father walks past her towards the kitchen. He\npasses a wall with an ornate mirror and some framed\nphotographs.", "Elliot turns the lamp back on, then turns to Hannah; she is\nlying on her side of the bed, partially in shadow. He leans\nover and kisses her." ], [ "MICKEY\n Oh.\n (kissing her again)\n You look so beautiful.\n\nMickey continues to kiss Holly. She responds, sighing and\nclosing her eyes.", "The film cuts abruptly to Mickey's flashback of his date\nwith Holly, beginning with a rock club performance. The\nsoft jazz becomes loud, pulsating rock. Three punkers--a", "Mickey and Holly sit at one of the tables; a candle burns in\nits holder on the tabletop. Holly takes a cigarette from", "MICKEY\n (overlapping)\n Do you? I mean, are you, are you,\n are you, are you free this evening?\n\n HOLLY\n Yeah.", "The club is noisy, smoky, and thick with people. Holly\nglances at Mickey once again, this time unable to contain\nher annoyance.", "While Mickey pleads with her, Holly puts her cocaine vial\ninto her purse. She holds a finger against one nostril and\nsniffs. She then picks up her lit cigarette and continues\nto smoke.", "MICKEY\n Hi.\n (kissing Holly)\n How you doin'?\n\n HOLLY\n (nestling against Mickey)\n Okay.", "As the band loudly plays on, the camera moves across the\nspellbound audience, sitting at crowded, smoky, small\ntables, to reveal a stricken Mickey and a mesmerized Holly", "There is a brief pause and the movie cuts to:\n\nINT. MICKEY'S APARTMENT - DAY", "Mickey brushes against a heavyset man who gives him a nasty\nlook. Mickey is so dazed, he doesn't even notice.", "The film cuts to Mickey, who is pacing and wringing his\nhands. He walks over to Gail. The phone continues to ring.", "Mickey, remembering Ron, runs into the dressing room. Gail\nfollows him. Inside, a man and a woman talk, ignoring Ron.", "The movie cuts to Mickey's face. He's very neat in a tie,\nsweater, and sports jacket.", "As Mickey finishes his ruminations, Hannah is seen walking\ntowards her front door. She opens it, her back to the\ncamera. Mickey stands there holding two boxed gifts. The\njazz stops.", "Mavis walks off. Holly, reflected in the mirror, begins\nfluffing her hair as Mickey enters and wraps his arms around\nher from behind. The camera stays focused on the mirror;\nboth Holly and Mickey are now seen in its reflection.", "Mickey turns from the window, shrugging, and starts to walk\ndown the street, past a fruit and vegetable store with open-\nair-displayed flowers, past several briskly moving\npedestrians.", "MICKEY\n Good. How are you?\n\n HOLLY\n I'm fine.\n\n MICKEY\n (overlapping)\n You look wonderful.", "The camera moves past the desperate Mickey to a mirror on\nthe wall behind him. Its reflection shows his spiral\nstaircase and some standing lamps. A clock faintly ticks.", "...as the film cuts abruptly to outside the rock club. The\nmusic has stopped. Mickey and Holly, almost in dark\nsilhouette, are walking at a fast clip along the sidewalk,", "The film then moves to the outside of a charming glass and\nstainedwood café. Through the window, Holly and Mickey can\nbe seen having lunch. Holly is talking animatedly; Mickey\ntakes a sip of coffee. Some people pass by." ], [ "Lee, her hand on her mouth, glances briefly at Hannah. As\nHannah replies to Holly, the camera focuses on Lee's face.", "Holly laughs. Lee glances over to her, reacting. Hannah,\nembarrassed, reacts and sits with her hands on her face.", "LEE\n (overlapping Hannah's gasp)\n Hi.\n\nThe sisters laugh and embrace each other.\n\n HANNAH\n Hi. Where's Holly?", "Norma as a young girl. The camera, however, moves closer\nand closer to a photograph showing Hannah, Lee, and Holly,\nthe three sisters, smiling into the camera. There is no", "HANNAH\n (gesturing)\n Well, what do you do? Do-do-do you\n talk to Holly, or Lee, or what? Do\n you, do you, do you phone them?", "HOLLY\n (looking offscreen)\n Hey, Hannah? You know, I think Lee\n is really serious about her new\n boyfriend. Yeah, eh, from what I\n understand he sounds really nice.", "HANNAH\n (offscreen)\n What do--? You're being ridiculous.\n\n LEE\n (overlapping, reacting)\n You are, Holly. Stop it.", "LEE\n (nodding to Holly,\n touching her arm)\n I think they're fantastic.\n\n HANNAH\n (to Holly)\n You've outdone yourself.", "HOLLY\n (grimacing, reacting\n to Hannah)\n Oh, Hannah!", "HANNAH\n (overlapping, turning\n to look at Holly)\n Oh, no, not at all.", "HANNAH\n Oh, sure.\n\nHolly and Hannah walk off; Elliot watches them leave.", "HOLLY\n (nodding)\n Yeah.\n\n LEE\n (nodding)\n Yeah.", "LEE\n (walking briskly to\n the sink)\n Hey, Hannah, did you read that last\n thing Holly wrote? It was great.\n She's really developed.", "LEE\n Look, don't do anything on my\n behalf.\n (shaking her head)\n I live with Frederick, and Hannah\n and I are close.", "HOLLY\n (gesturing to Elliot,\n still laughing)\n Get outta here.\n (to Hannah)\n Could I speak to you privately?", "Holly hangs up the phone and takes a drag on her cigarette.\nShe looks off in the distance, smiling, as the film cuts to:\n\nINT. HANNAH'S APARTMENT - THANKSGIVING - NIGHT", "HANNAH\n (realizing she's hurt\n Holly, reacting)\n Ohh!", "Hannah mumbles indistinctly as Holly walks over to her\nsisters.\n\n HANNAH\n (turning, to Holly)\n Hey, hi!", "HANNAH\n (overlapping)\n Ohh?\n\n HOLLY\n (overlapping, lighting\n a cigarette)\n Uh-oh.", "HANNAH\n (smiling and turning\n to Lee)\n Aah... Hey, have you tried Holly\n and her friend's shrimp puffs?" ], [ "As Holly talks, sipping her drink, Hannah busily works in\nthe kitchen, which contains a large center table stacked\nwith bowls and plates of food, hanging pots and pans, and", "Holly is seen as she talks to the offscreen Hannah, the\ncamera moving in closer on her face. As Holly speaks, she\ndistractedly nibbles an hors d'oeuvre. In the background,", "HOLLY\n (nodding, looking at\n David as she wipes\n her hands with the napkin)\n Yeah, we're the Stanislavski\n Catering Company.", "HOLLY\n I mean, obviously, I'm not going to\n be a caterer forever, you know. We", "Holly, excited, runs over to April, who is busy taking the\nStroganoff out of the oven. She wears the same uniform as\nHolly: black skirt, white shirt, and black bowtie.", "Holly is standing in the pantry, preparing some offscreen\nfood. Near her is a restaurantlike swinging door with a\nglass porthole. In the foreground, the kitchen table is", "Holly abruptly picks up her menu.\n\n LEE\n (trying to alleviate\n the tension)\n Boy...Holly...Holly.", "window on the other side of the pantry's swinging door. She\nlooks around the kitchen, then opens the door and steps\ninside. Holly stands nearby, working in the pantry area.", "Holly takes off her sunglasses; her cigarette still dangles\nfrom her mouth. Hannah murmurs her sympathy as the trio\nfollows the hostess into the dining room.", "One boy opens it, revealing Holly. She joyfully enters the\napartment, greeting each child with an enthusiastic kiss.", "Holly walks onto the screen in front of the painting. She\nholds an almost empty tray of hors d'oeuvres; she wears a\nuniform.\n\n HOLLY\n Oh, um, those are quail eggs.", "HOLLY\n (to the man)\n Thank you.\n\nHolly finally makes her way into the cluttered loft kitchen.\nHer tray is empty.", "Hannah, licking her fingers, walks past a memo-cluttered\nrefrigerator to the stove as Holly, behind her, begins to\nspeak. The faint sounds of music are still heard.", "A timer goes off. Hannah walks past Holly to attend to some\nfood on a different stove. Holly turns to face her. Only", "Holly laughs. Lee glances over to her, reacting. Hannah,\nembarrassed, reacts and sits with her hands on her face.", "As Hannah answers her sister, Holly can be seen entering the\nrestaurant and walking over to the coatcheck area, an unlit\ncigarette in her mouth, her sunglasses still on her eyes.", "Holly follows Hannah to a rack of blouses.\n\n HOLLY\n He's married...", "Holly walks over to the sink and washes her hands.\n\n HOLLY\n (reacting)\n Well, it's a made-up story.", "HOLLY\n (shaking her head no)\n I swear. I swear. We've already\n got some requests to do a few\n dinner parties.", "Holly mouths a thank you, glancing around. They look at\neach other and raise their glasses in a toast." ], [ "HANNAH\n (continuing)\n Oh, he's fine. He's-he's, I guess", "HANNAH\n (overlapping their\n chatter, bending down\n to talk to her sons)\n Guys, look what Daddy brought.\n Presents!", "He leaves. Hannah watches him go, reacting. She is stunned.\n\n CUT TO:\n\nINT. HANNAH'S LIVING ROOM - ANOTHER NIGHT", "HANNAH\n (offscreen)\n Do you miss Frederick?\n\n LEE\n No.", "HANNAH\n (distracted)\n Hi. How's she doing?\n\n EVAN\n (overlapping)\n I am glad to see you.", "Hannah tenderly takes Elliot's hand as she looks around the\ntable. He, in turn, kneads her shoulder, chuckling with\nequal tenderness.", "HANNAH\n (overlapping)\n Ohh?\n\n HOLLY\n (overlapping, lighting\n a cigarette)\n Uh-oh.", "HANNAH\n (offscreen)\n What? You're kidding!\n\n HOLLY\n (nodding)\n No, no, we decided!", "LEE\n Look, don't do anything on my\n behalf.\n (shaking her head)\n I live with Frederick, and Hannah\n and I are close.", "HANNAH\n (offscreen, overlapping)\n Oh, now--\n (stuttering)", "HANNAH\n (following Elliot and\n gesturing, talking to\n his back)", "HANNAH\n (standing by Elliot\n and Lee)\n Doesn't she look pretty?\n\n LEE\n I bumped into your...", "Hannah takes off her shoulder bag and her coat as her\naggravated father walks past her towards the kitchen. He\npasses a wall with an ornate mirror and some framed\nphotographs.", "Hannah sighs. Elliot angrily throws his napkin on the table.\nHe stands up and begins to pace behind Hannah.", "ELLIOT (V.O.)\n What did I put us both through?\n And Hannah...\n\nThe camera moves back to Elliot.", "HANNAH\n (holding the hand her\n mother had placed on\n her shoulder)\n Ohhh, my true gift is luck, Mom.\n\nNorma chuckles.", "Norma reacts, turning to her daughter. Hannah, however, has\nher back turned. She is busy taking charge in the kitchen", "HANNAH\n (overlapping)\n It's, uh, you never know--\n\n HOLLY\n (interrupting, gesturing)\n He's such a loser!", "HANNAH\n Well, tell me. Should I be worried?\n\n ELLIOT\n But, you got four children!", "HANNAH\n (overlapping)\n You look so beautiful.\n\n LEE\n (offscreen)\n Come on." ], [ "CUT TO:\n\nINT. MICKEY'S OFFICE - DAY", "Mickey brushes against a heavyset man who gives him a nasty\nlook. Mickey is so dazed, he doesn't even notice.", "The movie cuts to Mickey's face. He's very neat in a tie,\nsweater, and sports jacket.", "There is a brief pause and the movie cuts to:\n\nINT. MICKEY'S APARTMENT - DAY", "MICKEY\n (continuing)\n ...namely a personality.", "Mickey, holding the rifle, is seen running over to the\nshattered mirror. The sounds of his excited neighbors,\ntheir shouting, a knocking door, are heard as he continues\nhis tale.", "Mickey, still in surprised shock, turns away from the angry\nwriter. He stands by an open dressing room, where Ron, an\nactor, slouches, dazed, in a chair facing a makeup mirror.\nPeople mill in the background behind the actor.", "The camera moves past the desperate Mickey to a mirror on\nthe wall behind him. Its reflection shows his spiral\nstaircase and some standing lamps. A clock faintly ticks.", "Mickey turns from the window, shrugging, and starts to walk\ndown the street, past a fruit and vegetable store with open-\nair-displayed flowers, past several briskly moving\npedestrians.", "Mickey and Holly sit at one of the tables; a candle burns in\nits holder on the tabletop. Holly takes a cigarette from", "The dark bedroom is abruptly lit as Mickey, lying in his\nbed, wakes up with a start and turns on his night-table lamp.", "Mickey stands in a telephone booth on a corner near Dr.\nAbel's office; he talks on the phone. It is raining. A man\nand a woman holding an umbrella pass by; traffic moves\nacross a nearby intersection.", "The club is noisy, smoky, and thick with people. Holly\nglances at Mickey once again, this time unable to contain\nher annoyance.", "MICKEY\n Oh.\n (kissing her again)\n You look so beautiful.\n\nMickey continues to kiss Holly. She responds, sighing and\nclosing her eyes.", "Mickey, still ruminating, stands up. Fixing his pants, he\nwalks out of his bedroom loft into a dark upper hallway.", "Mickey is seen leaving the hospital. He strides slowly, his\nshoulders slouched, his hands in his pockets.\nHis voice is heard over the screen as he crosses the street,", "The film cuts to Mickey, who is pacing and wringing his\nhands. He walks over to Gail. The phone continues to ring.", "MICKEY\n Hi.\n (kissing Holly)\n How you doin'?\n\n HOLLY\n (nestling against Mickey)\n Okay.", "Mickey runs offscreen briefly to answer the door.", "He picks up some large, heavy books from a shelf near his\nwindow and he walks over to Mickey, who's standing near his" ], [ "HANNAH\n (overlapping their\n chatter, bending down\n to talk to her sons)\n Guys, look what Daddy brought.\n Presents!", "HANNAH\n (offscreen)\n Do you miss Frederick?\n\n LEE\n No.", "HANNAH\n (continuing)\n Oh, he's fine. He's-he's, I guess", "HANNAH\n (overlapping)\n Ohh?\n\n HOLLY\n (overlapping, lighting\n a cigarette)\n Uh-oh.", "Hannah tenderly takes Elliot's hand as she looks around the\ntable. He, in turn, kneads her shoulder, chuckling with\nequal tenderness.", "Hannah takes off her shoulder bag and her coat as her\naggravated father walks past her towards the kitchen. He\npasses a wall with an ornate mirror and some framed\nphotographs.", "HANNAH\n (distracted)\n Hi. How's she doing?\n\n EVAN\n (overlapping)\n I am glad to see you.", "He leaves. Hannah watches him go, reacting. She is stunned.\n\n CUT TO:\n\nINT. HANNAH'S LIVING ROOM - ANOTHER NIGHT", "HANNAH\n (holding the hand her\n mother had placed on\n her shoulder)\n Ohhh, my true gift is luck, Mom.\n\nNorma chuckles.", "HANNAH\n (offscreen)\n What? You're kidding!\n\n HOLLY\n (nodding)\n No, no, we decided!", "Hannah, licking her fingers, walks past a memo-cluttered\nrefrigerator to the stove as Holly, behind her, begins to\nspeak. The faint sounds of music are still heard.", "Hannah continues to nod patiently, patting Mickey on the\nback, as they make their way across the foyer into the den,\nwhere the twins are playing. Mickey wears his coat.", "Norma reacts, turning to her daughter. Hannah, however, has\nher back turned. She is busy taking charge in the kitchen", "HANNAH\n He's not a loser at all!\n\n HOLLY\n (shaking her head)\n Oh, he's such a loser!", "HANNAH (V.O.)\n She was so beautiful at one time,\n and he was so dashing. Both of\n them just full of promise and hopes\n that never materialized.", "Hannah, still embarrassed, looks down at a plate. The group\napplauds once more, toasting and drinking, and warmly\nsounding their approval.\n\n CUT TO:", "their way up the stairs, moving into view. A man carrying a\nshopping bag walks down the steps; he passes them. Hannah\nand Holly talk as they climb.", "The camera moves in on their faces as they continue to speak.\nFamily photos line the mantel behind Hannah's head.", "He looks down. Hannah leans over and tenderly puts her hand\non his shoulder.", "HANNAH\n (looking at her mother)\n Now, Holly's not shy.\n\nThey stop at the entrance to the den. Evan can be seen\nplaying the piano as they continue their conversation." ], [ "He kisses Lee again. He clumsily turns around; she humps\nagainst the stereo unit. As Lee pulls away, she smashes", "The camera resumes following a smiling Lee. She has just\nput down the tray and drinks near April, and briskly and\nobliviously, she walks past a doorway where Elliot, still\nruminating, watches her, entranced.", "Elliot leaps up, grabs Lee, and kisses her passionately.\nLee, surprised, pushes him away.\n\n LEE\n Elliot! Don't!", "The camera leaves Elliot to follow the enthusiastic Lee as\nshe takes Dusty by the arm and starts leading him to the\ndoor. Frederick follows at a distance.", "LEE\n (wrapping her arms\n around her chest and\n looking away from\n Elliot for a moment)\n Yes, he's just adorable.\n\nElliot nods.", "LEE\n (nodding)\n Well, yeah, yeah. You'd love it.\n It's really entertaining. You'd", "I, I think about her at the office.\n Oh, Lee.\n (sighing)\n What am I gonna do?", "Elliot walks over to Lee; he sits down on a footstool in\nfront of her.", "FREDERICK\n (looking at Lee as he\n goes by)\n Elliot lusts after you.\n\n LEE\n Based on what? You never even see\n him.", "Lee, wearing jeans and carrying an armful of books, is\nrunning up a broad set of steps in the sunlight, greeting\nother students as she passes. Elliot continues to talk over\nthe scene...", "As he talks, Lee is seen turning on the bathroom light. She\ntakes off her coat, hanging it on a hook, then begins to dry\nher hair with a towel.", "She starts to take off her wet clothes by the bed. Frederick\ntakes off his glasses. He turns and looks at Lee in surprise.", "Lee looks at him.", "She tries to compose herself and the film cuts to the loft\nentranceway. Frederick enters the loft first, followed by a\nconfused Dusty. They stride across the loft past Lee, who", "The camera is back on Lee. She looks around tensely, barely\nlistening to the conversation. She fidgets. An empty table\nsits in the background.", "He hands Lee the book. She thumbs through it, as the movie\ncuts to:\n\nThe street outside the bookstore. Lee, holding the book in\na brown bag, and Elliot are walking out.", "Lee, smiling, continues to listen to the music, her head\ndown; Elliot stares at her.", "Lee eventually crosses a street, lost in thought, looking\nright and left, as Elliot, pretending nonchalance, waits on\nthe corner, looking at his watch. She looks up in surprise;\nthe music stops.", "Lee stops at the row where Elliot has been browsing. She is\nhidden by a shelf; only Elliot is seen as he talks to the\noffscreen Lee.", "Lee, fraught with emotion, briefly puts her outstretched\nhands on the refrigerator door, then turns around and leans\nagainst it, hugging herself, her blouse still unbuttoned,\nher hair still wet and bedraggled." ], [ "FREDERICK\n Yeah.\n\nFrederick, leaving his work area, walks past Lee; his hands\nare in his pockets.", "As Frederick continues his monologue, Lee is busy in the\nbackground: striking a wooden match and lighting a burner on\nthe stove for the kettle, taking a glass out of the cupboard,", "FREDERICK\n (turning away, his\n hands clasped in\n front of him)\n Oh! Are we going to have this\n conversation again?", "The film cuts to Frederick in his loft, standing near the\nphone. It rings. Frederick picks it up.\n\n FREDERICK\n (into the telephone)\n Hello? Hello? Hello?", "FREDERICK\n (sighing heavily, reacting)\n Oh...", "FREDERICK\n But who? Where did you meet him?\n\n LEE\n It doesn't make a difference! I\n have to move out!", "FREDERICK\n He's a glorified accountant, and\n he's after you.\n (kissing Lee's hand)", "They walk into the living room area of the loft, where\nFrederick, his hands in his pockets, neatly attired in vest\nsweater and white shirt, stands, waiting.", "HANNAH\n (offscreen)\n Do you miss Frederick?\n\n LEE\n No.", "FREDERICK\n (looking at Lee as he\n goes by)\n Elliot lusts after you.\n\n LEE\n Based on what? You never even see\n him.", "LEE\n (offscreen)\n Oh, well, you know Frederick. One\n of his moods. Although it wasn't a", "FREDERICK\n (reacting, his face\n in his hand)\n Jesus...Jesus!", "CUT TO:\n\nINT. FREDERICK'S LOFT - NIGHT", "Lee kisses Frederick back on the cheek. They embrace.\nFrederick laughs; their embrace gets tighter.\n\n LEE\n (sighing)\n Ohhh!", "FREDERICK\n You are, you are my only connection\n to the world!\n\nLee turns and faces Frederick in the bathroom doorway.", "Lee kisses Frederick twice, then releases him and walks out\nof the work area.", "Elliot, uneasy, glances up in the direction of Frederick's\nloft. He leads Lee a few yards up the street, away from any\nprying eyes.", "FREDERICK\n (offscreen)\n You're late.", "LEE\n (sighing, nodding)\n Yeah.\n\nFrederick cringes, reacting. He puts his hand to his\nforehead; he sighs.", "ELLIOT\n (offscreen\n momentarily, hidden\n by another shelf as\n he walks)\n How-how's Frederick?" ], [ "FREDERICK\n Tch, oh. I always told you you\n would leave me.\n (looking at Lee)\n But...does it have to be now?", "FREDERICK\n Yeah.\n\nFrederick, leaving his work area, walks past Lee; his hands\nare in his pockets.", "Lee kisses Frederick twice, then releases him and walks out\nof the work area.", "Frederick turns away from Lee. He begins to pace near the\ncounter.", "Elliot, uneasy, glances up in the direction of Frederick's\nloft. He leads Lee a few yards up the street, away from any\nprying eyes.", "LEE\n (sighing, nodding)\n Yeah.\n\nFrederick cringes, reacting. He puts his hand to his\nforehead; he sighs.", "Lee leaves the kitchen. Holly, puffing on her cigarette,\nwatches her go.\n\n HOLLY\n (sighing)\n Frederick didn't come with her.", "LEE\n (offscreen)\n Oh, well, you know Frederick. One\n of his moods. Although it wasn't a", "Frederick furiously shakes Lee away. He pounds his fist\nagainst a cupboard. Lee, gasping, moves away.\n\n FREDERICK\n Please, don't patronize me!", "FREDERICK\n (shaking his clasped\n hands intensely)\n Why?\n\n LEE\n (sighing)\n Because I have to!", "HANNAH\n (offscreen)\n Do you miss Frederick?\n\n LEE\n No.", "LEE\n (impatiently, her\n hands in her hair)\n Oh, God, Frederick, could you", "The camera leaves Elliot to follow the enthusiastic Lee as\nshe takes Dusty by the arm and starts leading him to the\ndoor. Frederick follows at a distance.", "Frederick and Dusty's indistinct voices, raised in argument,\nare suddenly heard. Elliot quickly turns away from Lee.", "FREDERICK\n But who? Where did you meet him?\n\n LEE\n It doesn't make a difference! I\n have to move out!", "She starts to take off her wet clothes by the bed. Frederick\ntakes off his glasses. He turns and looks at Lee in surprise.", "FREDERICK\n (not looking at Lee)\n I'm going through a period of my\n life where I just can't be around", "FREDERICK\n (turning his head\n slightly in Lee's\n direction and gesturing)", "LEE\n (compliantly)\n You're too harsh with everyone.\n You know that, don't you?\n\nFrederick and Lee embrace; Lee sighs.", "Lee kisses Frederick back on the cheek. They embrace.\nFrederick laughs; their embrace gets tighter.\n\n LEE\n (sighing)\n Ohhh!" ], [ "ELLIOT (V.O.)\n You look very beautiful. Marriage\n agrees with you. Everything that\n happened between us\n (pausing)\n seems more and more hazy.", "ELLIOT\n (looking at their\n clasped hands)\n Yes, she's, she's very warm, but,", "ELLIOT\n (overlapping, agreeing\n with Hannah)\n Yeah.\n\n LEE\n (continuing)\n ...ex-husband on the street the\n other day.", "Elliot closes the door behind her as she enters. They stand\nvery close to each other, framed by the door and a stark,\nsubtly striped wallpapered wall.", "ELLIOT\n (calling after them\n as he nibbles on an\n hors d'oeuvre)\n I'm her husband! She tells me\n anything!", "Hannah tenderly takes Elliot's hand as she looks around the\ntable. He, in turn, kneads her shoulder, chuckling with\nequal tenderness.", "Elliot returns from his reveries with a start.\n\n ELLIOT\n (turning to Hannah)\n Mm-hm?", "She touches his hand; Elliot embraces her.", "Elliot starts walking down the center aisle, in the same\ndirection Lee had walked up. He continues to talk to her as\nshe remains offscreen in a nearby row.", "Elliot turns in the direction of his wife's voice.\n\n HANNAH\n (offscreen)\n Dinner's ready.", "ELLIOT\n Hannah, you know how much I love\n you.\n (kissing her on the forehead)\n I ought to have my head examined.\n I don't deserve you.", "She reacts. The camera moves to a blushing Elliot, following\nhim now as he walks across the room.", "to several framed photographs on the mantel. One shows\nHannah and Elliot on their wedding day. Another shows\nElliot, obscured in the shadows. Yet another has captured", "ELLIOT\n This is not an easy situation.\n\n LEE\n (whispering)\n I know it isn't.", "ELLIOT\n And you're in love overnight?\n\n LEE\n I care a great deal about him, yes.", "ELLIOT\n Wh--, it-it-it-it, it's so sad.\n She's crazy about me, but somewhere\n on the, along the line, I've fallen\n out of love with her.", "Elliot, uneasy, glances up in the direction of Frederick's\nloft. He leads Lee a few yards up the street, away from any\nprying eyes.", "Elliot leaps up, grabs Lee, and kisses her passionately.\nLee, surprised, pushes him away.\n\n LEE\n Elliot! Don't!", "Elliot turns the lamp back on, then turns to Hannah; she is\nlying on her side of the bed, partially in shadow. He leans\nover and kisses her.", "ELLIOT\n I'll never understand it. You're\n so bright and charming and beautiful.\n\n LEE\n (laughing)\n Oh, God." ], [ "They walk offscreen and the film cuts to Hannah and Mickey's\nliving room. The room is brightly lit; it's cluttered with", "MICKEY (V.O.)\n Remember years ago when Hannah and\n I got divorced and she fixed me up\n with her sister Holly?", "As Mickey finishes his ruminations, Hannah is seen walking\ntowards her front door. She opens it, her back to the\ncamera. Mickey stands there holding two boxed gifts. The\njazz stops.", "MICKEY\n Hey, you gonna start knocking my\n hobbies? Jesus!\n\nHannah sobs, clutching her tissue to her face.", "MICKEY\n Yeah.\n\n HOLLY\n ...Hannah read it, she got really\n angry, and... you know, then I felt\n badly, so I--", "MICKEY\n (still rambling on,\n gesturing to Hannah)\n ...you know? I, uh...", "HANNAH\n (overlapping)\n Very good.\n\nHannah nods as Mickey comes inside. She closes the door\nbehind him.", "HANNAH\n (overlapping, looking\n at Mickey)\n I don't know. Excessive\n masturbation?", "MICKEY\n (gesturing and pacing)\n Hannah and I...can't have any", "Hannah continues to nod patiently, patting Mickey on the\nback, as they make their way across the foyer into the den,\nwhere the twins are playing. Mickey wears his coat.", "HANNAH\n He's fine.\n\n MICKEY\n Yeah?", "MICKEY\n Hmm.\n\n HOLLY\n (touching her face)\n Actually, my first script was about\n Hannah and her husband, but, uh...", "HANNAH\n (turning to Mickey)\n This is the second opinion.\n\n MICKEY\n (shrugging)\n Well, then a third opinion.", "MICKEY\n Let me get a little reaction here.\n (to Hannah, putting\n his hands in his pockets)\n How's Elliot?", "NORMAN\n (sipping his coffee)\n I'm all ears.\n\nHannah sighs. Mickey pauses for a moment, collecting his\nthoughts.", "MICKEY\n You've always had good taste in\n husbands, so...\n\n HANNAH\n (chuckling and nodding)\n Thanks, thanks.", "Mickey and Hannah walk on the sidewalk, oblivious of the\npassing pedestrians. Hannah, crying, blows her nose.", "HANNAH\n (interrupting)\n Two minutes on your sons' birthday.\n You know, it's not going to kill you.\n\nHer voice trails off as Mickey walks over to the twins.", "The camera moves to Dr. Smith's point of view: Hannah and\nMickey, sitting on the opposite side of the desk. They look\nstunned.", "MICKEY (V.O.)\n Gee, Hannah's sweet. Although,\n sometimes I still do get angry when" ], [ "Mickey walks off, the Hare Krishnas still dancing and\nsinging on the other side of the fence. He flips through\nthe literature as he walks, then looks straight ahead,\npondering. His voice is heard over the screen.", "MICKEY\n (nodding, taking the material)\n Uh-huh.\n\n KRISHNA LEADER\n ...read it over, and think about it.", "MICKEY\n (following his father)\n Well, because I never thought of\n God in my life. Now I'm giving it\n serious thought.", "MICKEY\n (gesturing)\n Well, I was born Jewish, you know,\n but, uh, but last winter I tried to", "MICKEY (V.O.)\n Who are you kidding? You're gonna\n be a Krishna? You're gonna shave", "them, open and close repeatedly. The hymn plays on, loudly,\nas the camera moves back, revealing Mickey, standing outside\na barber shop window, looking at the Christ playing and", "FATHER\n But why Jesus Christ? Why, for\n instance, shouldn't you become a\n Buddhist?\n\nHolding the dirty dishes in his hand, Mickey's father looks\nat his son.", "The camera moves back to reveal Mickey, his back to the\ncamera, sitting in front of Father Flynn's desk. A lamp is\nlit in the background; the Father's desk is neat. The room\nis comfortably decorated in wood and leather.", "MICKEY\n (flinging up his\n arms, sighing)\n Oh, God!\n (looking around", "Mickey turns from the window, shrugging, and starts to walk\ndown the street, past a fruit and vegetable store with open-\nair-displayed flowers, past several briskly moving\npedestrians.", "MICKEY\n Well, uh, because, y-you know, I\n gotta have something to believe in,\n otherwise life is just meaningless.", "KRISHNA LEADER\n (interrupting)\n You're afraid of dying?\n MICKEY", "KRISHNA LEADER\n (handing some Krishna\n literature over the\n fence to Mickey)\n Take our literature...", "staircase, past several framed pictures on the wall, he\nmakes his way to his living room coffee table. Mickey pulls\na crucifix out of the bag; he looks at it, then puts it on", "Mickey brushes against a heavyset man who gives him a nasty\nlook. Mickey is so dazed, he doesn't even notice.", "Mickey, still ruminating, stands up. Fixing his pants, he\nwalks out of his bedroom loft into a dark upper hallway.", "MICKEY\n (continuing)\n ...namely a personality.", "The film quickly cuts to a close-up of Mickey's face,\nreacting in total despair. He closes his eyes; he covers\nhis face with his hand.", "Mickey, holding the rifle, is seen running over to the\nshattered mirror. The sounds of his excited neighbors,\ntheir shouting, a knocking door, are heard as he continues\nhis tale.", "While Mickey pleads with her, Holly puts her cocaine vial\ninto her purse. She holds a finger against one nostril and\nsniffs. She then picks up her lit cigarette and continues\nto smoke." ], [ "As Mickey continues, the film cuts back to Duck Soup on the\nblack-and-white screen. The Marx Brothers are sitting on a", "The film cuts back to the black-and-white movie screen as\nMickey continues to talk. The Marx Brothers, as well as the", "by the Marx Brothers and ensemble in the movie. The singing\ncontinues faintly in the background as Mickey continues his\ntale:", "As Mickey talks, the film cuts back to the antics of the\nMarx Brothers on the black-and-white theater screen. The", "The film quickly cuts to a close-up of Mickey's face,\nreacting in total despair. He closes his eyes; he covers\nhis face with his hand.", "The movie cuts to Mickey's face. He's very neat in a tie,\nsweater, and sports jacket.", "The movie cuts back to Mickey, sitting almost obscured in\nthe dark theater. The Oh-h-h-h-h-h's coming from the\noffscreen movie are heard as he continues to speak.", "The film abruptly cuts to the theater's black-and-white\nscreen, where the Marx Brothers, in Duck Soup, play the\nhelmets of several soldiers standing in a line like a live", "Mickey brushes against a heavyset man who gives him a nasty\nlook. Mickey is so dazed, he doesn't even notice.", "Mickey, still in surprised shock, turns away from the angry\nwriter. He stands by an open dressing room, where Ron, an\nactor, slouches, dazed, in a chair facing a makeup mirror.\nPeople mill in the background behind the actor.", "The film cuts to Mickey, who is pacing and wringing his\nhands. He walks over to Gail. The phone continues to ring.", "MICKEY\n (laughing)\n Well, what about me?\n\n HOLLY\n (chuckling, waving\n her arm)\n Oh, well.", "There is a brief pause and the movie cuts to:\n\nINT. MICKEY'S APARTMENT - DAY", "Mickey walks into the movie house. He is seen through the\nglass doors, which still reflect the street and traffic\noutside. He makes his way through the lobby into the actual\ntheater.", "Mickey walks off, the Hare Krishnas still dancing and\nsinging on the other side of the fence. He flips through\nthe literature as he walks, then looks straight ahead,\npondering. His voice is heard over the screen.", "Dr. Abel chuckles as he closes Mickey's file and straightens\nup. The camera looks past his back and shoulders to the\nanxious Mickey.", "The camera moves past the desperate Mickey to a mirror on\nthe wall behind him. Its reflection shows his spiral\nstaircase and some standing lamps. A clock faintly ticks.", "Mickey is seen leaving the hospital. He strides slowly, his\nshoulders slouched, his hands in his pockets.\nHis voice is heard over the screen as he crosses the street,", "Mickey, holding the rifle, is seen running over to the\nshattered mirror. The sounds of his excited neighbors,\ntheir shouting, a knocking door, are heard as he continues\nhis tale.", "MICKEY\n (sighing)\n I--How was I to know?!\n (pointing to his back)\n Everyone was pointing back here." ], [ "While Mickey pleads with her, Holly puts her cocaine vial\ninto her purse. She holds a finger against one nostril and\nsniffs. She then picks up her lit cigarette and continues\nto smoke.", "Holly holds a short metal straw of cocaine to her nose and\nsniffs it.", "MICKEY (V.O.)\n Yeah, it was quite an evening.\n Holly with her cocaine...\n (chuckling)", "Holly hangs up the phone and takes a drag on her cigarette.\nShe looks off in the distance, smiling, as the film cuts to:\n\nINT. HANNAH'S APARTMENT - THANKSGIVING - NIGHT", "As the band loudly plays on, the camera moves across the\nspellbound audience, sitting at crowded, smoky, small\ntables, to reveal a stricken Mickey and a mesmerized Holly", "Holly is seen as she talks to the offscreen Hannah, the\ncamera moving in closer on her face. As Holly speaks, she\ndistractedly nibbles an hors d'oeuvre. In the background,", "LEE\n (turning to Holly)\n At least she isn't drinking. Did\n you notice?\n\n HOLLY\n (nodding)\n Mm-hm.", "As Hannah answers her sister, Holly can be seen entering the\nrestaurant and walking over to the coatcheck area, an unlit\ncigarette in her mouth, her sunglasses still on her eyes.", "Oh, God, you know Holly. When\n she's depressed, she's manic. I\n think it was a good idea that we\n invited her to lunch.", "As Holly talks, sipping her drink, Hannah busily works in\nthe kitchen, which contains a large center table stacked\nwith bowls and plates of food, hanging pots and pans, and", "squeezed together at one of them. A nearby member of the\naudience swills beer from a bottle. Holly, beating time to\nthe music and enjoying herself, takes a puff of her cigarette.", "HOLLY\n (nodding her head,\n holding her cigarette)\n Yeah, although it's put an end to", "The club is noisy, smoky, and thick with people. Holly\nglances at Mickey once again, this time unable to contain\nher annoyance.", "HOLLY\n (reacting, now in view)\n Yeah, okay, right. Forget it.\n (puffing on her cigarette)\n What's to eat?", "Holly walks onto the screen in front of the painting. She\nholds an almost empty tray of hors d'oeuvres; she wears a\nuniform.\n\n HOLLY\n Oh, um, those are quail eggs.", "...as Holly lights her cigarette, dropping her matchbook on\nthe floor. She bends down to pick it up, then starts to", "Holly takes off her sunglasses; her cigarette still dangles\nfrom her mouth. Hannah murmurs her sympathy as the trio\nfollows the hostess into the dining room.", "HOLLY\n (nodding)\n Yeah.\n\n LEE\n (nodding)\n Yeah.", "The film moves back to Holly in the backseat, still lost in\nthought.", "HOLLY\n (to two male guests\n in her way)\n Excuse me.\n\nOne of the men, murmuring his thanks, takes a last shrimp\npuff as Holly passes." ], [ "As Holly talks, sipping her drink, Hannah busily works in\nthe kitchen, which contains a large center table stacked\nwith bowls and plates of food, hanging pots and pans, and", "Holly is seen as she talks to the offscreen Hannah, the\ncamera moving in closer on her face. As Holly speaks, she\ndistractedly nibbles an hors d'oeuvre. In the background,", "HOLLY\n I mean, obviously, I'm not going to\n be a caterer forever, you know. We", "HOLLY\n (nodding, looking at\n David as she wipes\n her hands with the napkin)\n Yeah, we're the Stanislavski\n Catering Company.", "Holly, excited, runs over to April, who is busy taking the\nStroganoff out of the oven. She wears the same uniform as\nHolly: black skirt, white shirt, and black bowtie.", "Holly is standing in the pantry, preparing some offscreen\nfood. Near her is a restaurantlike swinging door with a\nglass porthole. In the foreground, the kitchen table is", "Holly abruptly picks up her menu.\n\n LEE\n (trying to alleviate\n the tension)\n Boy...Holly...Holly.", "Holly takes off her sunglasses; her cigarette still dangles\nfrom her mouth. Hannah murmurs her sympathy as the trio\nfollows the hostess into the dining room.", "Holly walks onto the screen in front of the painting. She\nholds an almost empty tray of hors d'oeuvres; she wears a\nuniform.\n\n HOLLY\n Oh, um, those are quail eggs.", "window on the other side of the pantry's swinging door. She\nlooks around the kitchen, then opens the door and steps\ninside. Holly stands nearby, working in the pantry area.", "One boy opens it, revealing Holly. She joyfully enters the\napartment, greeting each child with an enthusiastic kiss.", "While Mickey pleads with her, Holly puts her cocaine vial\ninto her purse. She holds a finger against one nostril and\nsniffs. She then picks up her lit cigarette and continues\nto smoke.", "HOLLY\n (to the man)\n Thank you.\n\nHolly finally makes her way into the cluttered loft kitchen.\nHer tray is empty.", "Holly follows Hannah to a rack of blouses.\n\n HOLLY\n He's married...", "Holly laughs. Lee glances over to her, reacting. Hannah,\nembarrassed, reacts and sits with her hands on her face.", "A timer goes off. Hannah walks past Holly to attend to some\nfood on a different stove. Holly turns to face her. Only", "Hannah, licking her fingers, walks past a memo-cluttered\nrefrigerator to the stove as Holly, behind her, begins to\nspeak. The faint sounds of music are still heard.", "The film then moves to the outside of a charming glass and\nstainedwood café. Through the window, Holly and Mickey can\nbe seen having lunch. Holly is talking animatedly; Mickey\ntakes a sip of coffee. Some people pass by.", "As Hannah answers her sister, Holly can be seen entering the\nrestaurant and walking over to the coatcheck area, an unlit\ncigarette in her mouth, her sunglasses still on her eyes.", "HOLLY\n (shaking her head no)\n I swear. I swear. We've already\n got some requests to do a few\n dinner parties." ], [ "Holly follows Hannah to a rack of blouses.\n\n HOLLY\n He's married...", "HOLLY\n ...and then she just breaks down.\n (gesturing)\n And he has this sweet daughter...and\n when she goes to college next year,\n he's going to split permanently. I\n mean...", "HOLLY\n Yeah, well, she and an architect\n are now a very definite item, which\n I still cannot believe.\n\n LEE\n (overlapping)\n Hmm.", "HOLLY\n You're right.\n (pausing)\n I'm happy.", "Mavis walks off. Holly, reflected in the mirror, begins\nfluffing her hair as Mickey enters and wraps his arms around\nher from behind. The camera stays focused on the mirror;\nboth Holly and Mickey are now seen in its reflection.", "Holly laughs. Lee glances over to her, reacting. Hannah,\nembarrassed, reacts and sits with her hands on her face.", "MICKEY\n Oh.\n (kissing her again)\n You look so beautiful.\n\nMickey continues to kiss Holly. She responds, sighing and\nclosing her eyes.", "He holds the door open for Holly. She gets in.\n\n HOLLY\n (angrily)\n Oh, I'll see myself home!", "The mirror shows Mickey pulling away slightly, reacting.\nThey look at each other at arm's length, Holly grinning.\nMickey in shock, then embrace and kiss passionately, tighter\nand tighter, as the music swells...", "They kiss.\n\n FEMALE GUEST #2\n (overlapping, hugging Holly)\n Hello, darling.\n\n HOLLY\n Happy Thanksgiving.", "HOLLY\n (continuing her\n teasing, gesturing)\n Maybe at Christmas, New Year's. If\n not this New Year's, maybe next New\n Year's.", "HOLLY\n (overlapping, nodding)\n Yeah. Well, maybe I'll get it.\n (chuckling and gesturing)", "Holly mouths a thank you, glancing around. They look at\neach other and raise their glasses in a toast.", "HOLLY\n (nodding)\n Yeah.\n\n LEE\n (nodding)\n Yeah.", "Holly closes the script and looks up at Mickey.\n\n HOLLY\n That's the end.\n\nMickey smiles and shrugs, not knowing what to say.", "HOLLY\n (offscreen)\n Oh, it's just so romantic. I just\n want to put on a long gown...", "HOLLY\n She really does, though.", "HOLLY\n (smiling)\n Huh? Hi, Marge.\n\n FEMALE GUEST #1\n (overlapping)\n You look lovely.", "HOLLY\n (to the man)\n Thank you.\n\nHolly finally makes her way into the cluttered loft kitchen.\nHer tray is empty.", "As the band loudly plays on, the camera moves across the\nspellbound audience, sitting at crowded, smoky, small\ntables, to reveal a stricken Mickey and a mesmerized Holly" ], [ "HANNAH\n Do you feel, um...are you\n disenchanted with our marriage?\n\n ELLIOT\n (pointing at Hannah)\n I didn't say that.", "HANNAH\n (continuing)\n Oh, he's fine. He's-he's, I guess", "He leaves. Hannah watches him go, reacting. She is stunned.\n\n CUT TO:\n\nINT. HANNAH'S LIVING ROOM - ANOTHER NIGHT", "Holly follows Hannah to a rack of blouses.\n\n HOLLY\n He's married...", "He looks down. Hannah leans over and tenderly puts her hand\non his shoulder.", "Hannah tenderly takes Elliot's hand as she looks around the\ntable. He, in turn, kneads her shoulder, chuckling with\nequal tenderness.", "HANNAH\n (offscreen)\n Do you miss Frederick?\n\n LEE\n No.", "Hannah sighs. Elliot angrily throws his napkin on the table.\nHe stands up and begins to pace behind Hannah.", "HANNAH\n (offscreen)\n What? You're kidding!\n\n HOLLY\n (nodding)\n No, no, we decided!", "HANNAH\n (distracted)\n Hi. How's she doing?\n\n EVAN\n (overlapping)\n I am glad to see you.", "HANNAH\n (overlapping)\n You look so beautiful.\n\n LEE\n (offscreen)\n Come on.", "Hannah, still embarrassed, looks down at a plate. The group\napplauds once more, toasting and drinking, and warmly\nsounding their approval.\n\n CUT TO:", "HANNAH\n (overlapping)\n Huh?", "HANNAH\n (offscreen, overlapping)\n Oh, now--\n (stuttering)", "HANNAH\n (overlapping)\n Ohh?\n\n HOLLY\n (overlapping, lighting\n a cigarette)\n Uh-oh.", "Elliot returns from his reveries with a start.\n\n ELLIOT\n (turning to Hannah)\n Mm-hm?", "HANNAH\n (turning to look at him)\n Well, what? What, wh-what are you\n not telling me?", "HANNAH\n (following Elliot and\n gesturing, talking to\n his back)", "HANNAH\n (overlapping)\n Very good.\n\nHannah nods as Mickey comes inside. She closes the door\nbehind him.", "He dries his hands as Hannah, standing behind him, continues\nto talk." ], [ "Hannah sighs. Elliot angrily throws his napkin on the table.\nHe stands up and begins to pace behind Hannah.", "Elliot returns from his reveries with a start.\n\n ELLIOT\n (turning to Hannah)\n Mm-hm?", "She puffs intensely on her cigarette as the camera slowly\ncircles to Hannah's face. She is equally intense, looking\nat both sisters as she speaks.", "Hannah walks over to the table, gathering up more food.\n\n HOLLY\n My script?\n\n HANNAH\n It's obviously based on Elliot and\n me.", "Hannah tenderly takes Elliot's hand as she looks around the\ntable. He, in turn, kneads her shoulder, chuckling with\nequal tenderness.", "Elliot turns the lamp back on, then turns to Hannah; she is\nlying on her side of the bed, partially in shadow. He leans\nover and kisses her.", "Norma as a young girl. The camera, however, moves closer\nand closer to a photograph showing Hannah, Lee, and Holly,\nthe three sisters, smiling into the camera. There is no", "HANNAH\n Oh, sure.\n\nHolly and Hannah walk off; Elliot watches them leave.", "ELLIOT\n Your sister is an unbelievable cook.\n\n HANNAH\n (swallowing)\n I know! I know!", "The adopted children leave, the twins going off with them.\nWhen they're gone, Hannah takes a sip of her coffee and\nlooks at Elliot. She puts down her cup, still watching him.", "HOLLY\n (gesturing to Elliot,\n still laughing)\n Get outta here.\n (to Hannah)\n Could I speak to you privately?", "to her. They look at each other for a beat; Elliot then\nhugs Hannah, pulling her towards him. She leans her head on\nhis shoulder, fingering his jacket lapel. They look", "Elliot kisses Hannah again; they embrace tightly. She\ntouches his hair.\n\n CUT TO:\n\n The audition.", "ELLIOT\n (whirling around to\n face Hannah, snapping)\n Leave me alone, can you?!\n\nHe closes the door, briefly obscuring Hannah and himself\nfrom view.", "to several framed photographs on the mantel. One shows\nHannah and Elliot on their wedding day. Another shows\nElliot, obscured in the shadows. Yet another has captured", "The movie cuts to Hannah, leaning contentedly against a\ndoorway into the living room and listening to the offscreen\nEvan play the piano. Elliot, holding his drink, walks over", "HANNAH\n (nibbling on an hors d'oeuvre)\n Elliot? Elliot?\n (rubbing his shoulder)\n Sweetheart?", "As Hannah answers her sister, Holly can be seen entering the\nrestaurant and walking over to the coatcheck area, an unlit\ncigarette in her mouth, her sunglasses still on her eyes.", "She reacts. The camera moves to a blushing Elliot, following\nhim now as he walks across the room.", "HANNAH\n (standing by Elliot\n and Lee)\n Doesn't she look pretty?\n\n LEE\n I bumped into your..." ], [ "ELLIOT\n I resisted so many times.\n (pausing)\n Don't think badly of me.\n\nHe takes Lee into his arms.", "ELLIOT (V.O.)\n ...and tell her how much I love her\n and take care of her. Stop it, you\n idiot. She's your wife's sister.\n But I can't help it.", "ELLIOT\n Wh--, it-it-it-it, it's so sad.\n She's crazy about me, but somewhere\n on the, along the line, I've fallen\n out of love with her.", "over with. You're in love with her\n sister. You didn't do it on\n purpose. Be honest. It's always\n the best way.", "The film cuts back to Elliot in his analyst's office.\n\n ELLIOT\n But it's my fault.", "ELLIOT\n (gesturing and pointing)\n What kind of interrogation... Su-\n supposing I said yes? I-I-I am\n disenchanted. I am in love with\n someone else.", "Elliot turns the lamp back on, then turns to Hannah; she is\nlying on her side of the bed, partially in shadow. He leans\nover and kisses her.", "ELLIOT\n (looking away for a moment)\n I know! I-I-I-I, I realize.\n\n LEE\n What do you expect me to say?", "ELLIOT\n This is not an easy situation.\n\n LEE\n (whispering)\n I know it isn't.", "She sighs.\n\n ELLIOT\n (emphatically)\n Your guilt is because you feel the\n same.", "ELLIOT (V.O.)\n I want so badly to kiss her. Not\n here, you idiot. You've got to get\n her alone someplace.", "back by banging her sister in a\n hotel room. God, I'm despicable.\n What a cruel and shallow thing to\n do.", "LEE\n Not because of me, I hope.\n\n ELLIOT\n Oh, no, no.\n (nodding)\n Well, yes! I love you.", "ELLIOT\n (overlapping, shaking\n his head)\n I-I, I'm sorry. I know it's\n terrible.", "ELLIOT\n (laughing self-consciously)\n Really? So, so, what else? Wh-\n what are you up to?", "ELLIOT\n I'll never understand it. You're\n so bright and charming and beautiful.\n\n LEE\n (laughing)\n Oh, God.", "ELLIOT\n (chuckling)\n But I go nuts. It's a conflict.\n\nHe laughs. Lee, uneasy, looks down.", "FREDERICK\n (looking at Lee as he\n goes by)\n Elliot lusts after you.\n\n LEE\n Based on what? You never even see\n him.", "ELLIOT (V.O.)\n You look very beautiful. Marriage\n agrees with you. Everything that\n happened between us\n (pausing)\n seems more and more hazy.", "Elliot leaps up, grabs Lee, and kisses her passionately.\nLee, surprised, pushes him away.\n\n LEE\n Elliot! Don't!" ], [ "FREDERICK\n Yeah.\n\nFrederick, leaving his work area, walks past Lee; his hands\nare in his pockets.", "LEE\n (impatiently, her\n hands in her hair)\n Oh, God, Frederick, could you", "LEE\n (sighing, nodding)\n Yeah.\n\nFrederick cringes, reacting. He puts his hand to his\nforehead; he sighs.", "Lee kisses Frederick back on the cheek. They embrace.\nFrederick laughs; their embrace gets tighter.\n\n LEE\n (sighing)\n Ohhh!", "LEE\n (offscreen)\n Oh, well, you know Frederick. One\n of his moods. Although it wasn't a", "LEE\n Look, don't do anything on my\n behalf.\n (shaking her head)\n I live with Frederick, and Hannah\n and I are close.", "LEE\n (quickly standing up, defensively)\n No.\n\n FREDERICK\n (raising his voice)\n You've been with someone!", "He pulls Lee down next to him on the bed.\n\n LEE\n (putting her hand on\n Frederick's leg)\n Frederick, we're going to have to\n make some changes.", "As Frederick continues his monologue, Lee is busy in the\nbackground: striking a wooden match and lighting a burner on\nthe stove for the kettle, taking a glass out of the cupboard,", "HANNAH\n (offscreen)\n Do you miss Frederick?\n\n LEE\n No.", "LEE\n (chuckling, reacting)\n Oh, Frederick!", "LEE\n (compliantly)\n You're too harsh with everyone.\n You know that, don't you?\n\nFrederick and Lee embrace; Lee sighs.", "FREDERICK\n (turning his head\n slightly in Lee's\n direction and gesturing)", "Frederick furiously shakes Lee away. He pounds his fist\nagainst a cupboard. Lee, gasping, moves away.\n\n FREDERICK\n Please, don't patronize me!", "FREDERICK\n (looking at Lee as he\n goes by)\n Elliot lusts after you.\n\n LEE\n Based on what? You never even see\n him.", "She starts to take off her wet clothes by the bed. Frederick\ntakes off his glasses. He turns and looks at Lee in surprise.", "FREDERICK\n Tch, oh. I always told you you\n would leave me.\n (looking at Lee)\n But...does it have to be now?", "FREDERICK\n But who? Where did you meet him?\n\n LEE\n It doesn't make a difference! I\n have to move out!", "Elliot, uneasy, glances up in the direction of Frederick's\nloft. He leads Lee a few yards up the street, away from any\nprying eyes.", "FREDERICK\n (taking Lee's head in\n his hands and looking\n at her)" ], [ "FREDERICK\n Yeah.\n\nFrederick, leaving his work area, walks past Lee; his hands\nare in his pockets.", "As Frederick continues his monologue, Lee is busy in the\nbackground: striking a wooden match and lighting a burner on\nthe stove for the kettle, taking a glass out of the cupboard,", "FREDERICK\n (turning away, his\n hands clasped in\n front of him)\n Oh! Are we going to have this\n conversation again?", "The film cuts to Frederick in his loft, standing near the\nphone. It rings. Frederick picks it up.\n\n FREDERICK\n (into the telephone)\n Hello? Hello? Hello?", "FREDERICK\n (sighing heavily, reacting)\n Oh...", "FREDERICK\n But who? Where did you meet him?\n\n LEE\n It doesn't make a difference! I\n have to move out!", "FREDERICK\n He's a glorified accountant, and\n he's after you.\n (kissing Lee's hand)", "They walk into the living room area of the loft, where\nFrederick, his hands in his pockets, neatly attired in vest\nsweater and white shirt, stands, waiting.", "HANNAH\n (offscreen)\n Do you miss Frederick?\n\n LEE\n No.", "FREDERICK\n (looking at Lee as he\n goes by)\n Elliot lusts after you.\n\n LEE\n Based on what? You never even see\n him.", "LEE\n (offscreen)\n Oh, well, you know Frederick. One\n of his moods. Although it wasn't a", "FREDERICK\n (reacting, his face\n in his hand)\n Jesus...Jesus!", "CUT TO:\n\nINT. FREDERICK'S LOFT - NIGHT", "Lee kisses Frederick back on the cheek. They embrace.\nFrederick laughs; their embrace gets tighter.\n\n LEE\n (sighing)\n Ohhh!", "FREDERICK\n You are, you are my only connection\n to the world!\n\nLee turns and faces Frederick in the bathroom doorway.", "Lee kisses Frederick twice, then releases him and walks out\nof the work area.", "Elliot, uneasy, glances up in the direction of Frederick's\nloft. He leads Lee a few yards up the street, away from any\nprying eyes.", "FREDERICK\n (offscreen)\n You're late.", "LEE\n (sighing, nodding)\n Yeah.\n\nFrederick cringes, reacting. He puts his hand to his\nforehead; he sighs.", "ELLIOT\n (offscreen\n momentarily, hidden\n by another shelf as\n he walks)\n How-how's Frederick?" ], [ "FREDERICK\n Tch, oh. I always told you you\n would leave me.\n (looking at Lee)\n But...does it have to be now?", "FREDERICK\n Yeah.\n\nFrederick, leaving his work area, walks past Lee; his hands\nare in his pockets.", "Lee kisses Frederick twice, then releases him and walks out\nof the work area.", "Frederick turns away from Lee. He begins to pace near the\ncounter.", "LEE\n (offscreen)\n Oh, well, you know Frederick. One\n of his moods. Although it wasn't a", "LEE\n (sighing, nodding)\n Yeah.\n\nFrederick cringes, reacting. He puts his hand to his\nforehead; he sighs.", "FREDERICK\n (shaking his clasped\n hands intensely)\n Why?\n\n LEE\n (sighing)\n Because I have to!", "Lee leaves the kitchen. Holly, puffing on her cigarette,\nwatches her go.\n\n HOLLY\n (sighing)\n Frederick didn't come with her.", "HANNAH\n (offscreen)\n Do you miss Frederick?\n\n LEE\n No.", "Elliot, uneasy, glances up in the direction of Frederick's\nloft. He leads Lee a few yards up the street, away from any\nprying eyes.", "Frederick furiously shakes Lee away. He pounds his fist\nagainst a cupboard. Lee, gasping, moves away.\n\n FREDERICK\n Please, don't patronize me!", "Frederick and Dusty's indistinct voices, raised in argument,\nare suddenly heard. Elliot quickly turns away from Lee.", "FREDERICK\n (turning his head\n slightly in Lee's\n direction and gesturing)", "LEE\n (compliantly)\n You're too harsh with everyone.\n You know that, don't you?\n\nFrederick and Lee embrace; Lee sighs.", "The camera leaves Elliot to follow the enthusiastic Lee as\nshe takes Dusty by the arm and starts leading him to the\ndoor. Frederick follows at a distance.", "Lee kisses Frederick back on the cheek. They embrace.\nFrederick laughs; their embrace gets tighter.\n\n LEE\n (sighing)\n Ohhh!", "LEE\n (impatiently, her\n hands in her hair)\n Oh, God, Frederick, could you", "FREDERICK\n But who? Where did you meet him?\n\n LEE\n It doesn't make a difference! I\n have to move out!", "FREDERICK\n (not looking at Lee)\n I'm going through a period of my\n life where I just can't be around", "She starts to take off her wet clothes by the bed. Frederick\ntakes off his glasses. He turns and looks at Lee in surprise." ], [ "LEE\n (pulling back,\n flinging her hands)\n Ah, it's over! Elliot, I mean it.\n It's over!", "Elliot leaps up, grabs Lee, and kisses her passionately.\nLee, surprised, pushes him away.\n\n LEE\n Elliot! Don't!", "Lee eventually crosses a street, lost in thought, looking\nright and left, as Elliot, pretending nonchalance, waits on\nthe corner, looking at his watch. She looks up in surprise;\nthe music stops.", "The camera stays with Lee as she walks around the room, past\nanother curtained window, a television set, and a rolltop\ndesk. She absently flips through the book as she talks to\nthe offscreen Elliot.", "The film leaves Elliot's face and cuts back to the loft,\nwhere Lee, having finished the poem, sits up in the bed,\nstaring pensively, lost in her thoughts.\n\n CUT TO:", "There is another moment of silence. Elliot stares at Lee,\nwho continues to look down, her arms around her chest. The\nharpsichord plays on.", "LEE\n Bye.\n\n ELLIOT\n (closing the taxi\n door for Lee)\n Bye.\n\nHe watches the taxi pull away.", "Lee stops at the row where Elliot has been browsing. She is\nhidden by a shelf; only Elliot is seen as he talks to the\noffscreen Lee.", "Lee slips past Elliot and walks away. Elliot looks back at\nher briefly, then, sipping his drink, he turns and looks\noffscreen at the crowd in the living room.\n\n CUT TO:", "ELLIOT\n I resisted so many times.\n (pausing)\n Don't think badly of me.\n\nHe takes Lee into his arms.", "LEE\n (nodding)\n Uh-huh. Good.\n\nMavis leaves. Both Lee and Elliot quickly close the door\nbehind her and immediately pick up where they'd left off.", "Elliot starts walking down the center aisle, in the same\ndirection Lee had walked up. He continues to talk to her as\nshe remains offscreen in a nearby row.", "LEE\n (reacting)\n Oh, please, I have to go. I have\n to get my teeth cleaned.\n\nShe walks off. Elliot stares after her, grinning.", "As Elliot reaches inside the stereo shelf, grabbing a bottle\nof antihistamines, the camera moves back to Lee, who sits\ndown on the bed. She is still holding a book.", "The camera leaves Elliot to follow the enthusiastic Lee as\nshe takes Dusty by the arm and starts leading him to the\ndoor. Frederick follows at a distance.", "LEE\n (overlapping, her\n voice emotionally raised)\n I'm saying it now!\n\n FREDERICK\n So you met somebody else?", "Lee stares at Elliot in shock.\n\n LEE\n (still gasping)\n Elliot!", "ELLIOT\n (offscreen)\n But it hasn't been forever.\n (walking over to Lee\n at the just-closed door)", "LEE\n (offscreen)\n It's over, Elliot. I don't know\n how to make it any clearer. It's\n over. I can't see you anymore.", "As Elliot's thoughts are heard over the scene, Lee glances\naround the loft, then begins to walk away. The camera\nfollows her as she goes past the nude drawings, which become\nthe focus of attention as Lee walks offscreen." ], [ "ELLIOT\n (overlapping, agreeing\n with Hannah)\n Yeah.\n\n LEE\n (continuing)\n ...ex-husband on the street the\n other day.", "He leaves. Hannah watches him go, reacting. She is stunned.\n\n CUT TO:\n\nINT. HANNAH'S LIVING ROOM - ANOTHER NIGHT", "HANNAH\n (continuing)\n Oh, he's fine. He's-he's, I guess", "HANNAH\n (offscreen)\n Do you miss Frederick?\n\n LEE\n No.", "Hannah sighs. Elliot angrily throws his napkin on the table.\nHe stands up and begins to pace behind Hannah.", "HANNAH\n Do you feel, um...are you\n disenchanted with our marriage?\n\n ELLIOT\n (pointing at Hannah)\n I didn't say that.", "ELLIOT (V.O.)\n What did I put us both through?\n And Hannah...\n\nThe camera moves back to Elliot.", "He looks down. Hannah leans over and tenderly puts her hand\non his shoulder.", "HANNAH\n (distracted)\n Hi. How's she doing?\n\n EVAN\n (overlapping)\n I am glad to see you.", "ELLIOT\n Hannah, you know how much I love\n you.\n (kissing her on the forehead)\n I ought to have my head examined.\n I don't deserve you.", "HANNAH\n (overlapping)\n It's, uh, you never know--\n\n HOLLY\n (interrupting, gesturing)\n He's such a loser!", "HANNAH\n (picking at the\n turkey and gesturing)\n Maybe April would like Phil. Phil\n Gammage, the tall guy in there by\n the piano.", "Elliot returns from his reveries with a start.\n\n ELLIOT\n (turning to Hannah)\n Mm-hm?", "and clothes. He's all show!\n (touching Hannah's\n arm again, then\n touching her chest)", "Hannah, licking her fingers, walks past a memo-cluttered\nrefrigerator to the stove as Holly, behind her, begins to\nspeak. The faint sounds of music are still heard.", "HANNAH\n (offscreen)\n What? You're kidding!\n\n HOLLY\n (nodding)\n No, no, we decided!", "HANNAH\n (overlapping)\n Ohh?\n\n HOLLY\n (overlapping, lighting\n a cigarette)\n Uh-oh.", "Hannah takes off her shoulder bag and her coat as her\naggravated father walks past her towards the kitchen. He\npasses a wall with an ornate mirror and some framed\nphotographs.", "The adopted children leave, the twins going off with them.\nWhen they're gone, Hannah takes a sip of her coffee and\nlooks at Elliot. She puts down her cup, still watching him.", "here next to Hannah. There's\n something very lovely and real\n about Hannah.\n (tossing his bathrobe\n aside and lying down" ], [ "While Mickey pleads with her, Holly puts her cocaine vial\ninto her purse. She holds a finger against one nostril and\nsniffs. She then picks up her lit cigarette and continues\nto smoke.", "Holly holds a short metal straw of cocaine to her nose and\nsniffs it.", "MICKEY (V.O.)\n Yeah, it was quite an evening.\n Holly with her cocaine...\n (chuckling)", "Holly hangs up the phone and takes a drag on her cigarette.\nShe looks off in the distance, smiling, as the film cuts to:\n\nINT. HANNAH'S APARTMENT - THANKSGIVING - NIGHT", "LEE\n (turning to Holly)\n At least she isn't drinking. Did\n you notice?\n\n HOLLY\n (nodding)\n Mm-hm.", "Holly is seen as she talks to the offscreen Hannah, the\ncamera moving in closer on her face. As Holly speaks, she\ndistractedly nibbles an hors d'oeuvre. In the background,", "Oh, God, you know Holly. When\n she's depressed, she's manic. I\n think it was a good idea that we\n invited her to lunch.", "As the band loudly plays on, the camera moves across the\nspellbound audience, sitting at crowded, smoky, small\ntables, to reveal a stricken Mickey and a mesmerized Holly", "As Hannah answers her sister, Holly can be seen entering the\nrestaurant and walking over to the coatcheck area, an unlit\ncigarette in her mouth, her sunglasses still on her eyes.", "As Holly talks, sipping her drink, Hannah busily works in\nthe kitchen, which contains a large center table stacked\nwith bowls and plates of food, hanging pots and pans, and", "HOLLY\n She really does, though.", "Holly walks over to the sink and washes her hands.\n\n HOLLY\n (reacting)\n Well, it's a made-up story.", "HOLLY\n (reacting, now in view)\n Yeah, okay, right. Forget it.\n (puffing on her cigarette)\n What's to eat?", "HOLLY\n (nodding her head,\n holding her cigarette)\n Yeah, although it's put an end to", "...as Holly lights her cigarette, dropping her matchbook on\nthe floor. She bends down to pick it up, then starts to", "The club is noisy, smoky, and thick with people. Holly\nglances at Mickey once again, this time unable to contain\nher annoyance.", "HOLLY\n (overlapping)\n Oh, yeah.\n (laughing)", "HOLLY\n (nodding)\n Yeah.\n\n LEE\n (nodding)\n Yeah.", "squeezed together at one of them. A nearby member of the\naudience swills beer from a bottle. Holly, beating time to\nthe music and enjoying herself, takes a puff of her cigarette.", "The film moves back to Holly in the backseat, still lost in\nthought." ], [ "Holly follows Hannah to a rack of blouses.\n\n HOLLY\n He's married...", "HOLLY\n Yeah, well, she and an architect\n are now a very definite item, which\n I still cannot believe.\n\n LEE\n (overlapping)\n Hmm.", "HOLLY\n ...and then she just breaks down.\n (gesturing)\n And he has this sweet daughter...and\n when she goes to college next year,\n he's going to split permanently. I\n mean...", "HOLLY\n You're right.\n (pausing)\n I'm happy.", "Holly laughs. Lee glances over to her, reacting. Hannah,\nembarrassed, reacts and sits with her hands on her face.", "MICKEY\n Oh.\n (kissing her again)\n You look so beautiful.\n\nMickey continues to kiss Holly. She responds, sighing and\nclosing her eyes.", "HOLLY\n (continuing her\n teasing, gesturing)\n Maybe at Christmas, New Year's. If\n not this New Year's, maybe next New\n Year's.", "Mavis walks off. Holly, reflected in the mirror, begins\nfluffing her hair as Mickey enters and wraps his arms around\nher from behind. The camera stays focused on the mirror;\nboth Holly and Mickey are now seen in its reflection.", "He holds the door open for Holly. She gets in.\n\n HOLLY\n (angrily)\n Oh, I'll see myself home!", "HOLLY\n She really does, though.", "They kiss.\n\n FEMALE GUEST #2\n (overlapping, hugging Holly)\n Hello, darling.\n\n HOLLY\n Happy Thanksgiving.", "Holly mouths a thank you, glancing around. They look at\neach other and raise their glasses in a toast.", "The mirror shows Mickey pulling away slightly, reacting.\nThey look at each other at arm's length, Holly grinning.\nMickey in shock, then embrace and kiss passionately, tighter\nand tighter, as the music swells...", "HOLLY\n (overlapping, nodding)\n Yeah. Well, maybe I'll get it.\n (chuckling and gesturing)", "HOLLY\n (nodding)\n Yeah.\n\n LEE\n (nodding)\n Yeah.", "HOLLY\n (smiling)\n Huh? Hi, Marge.\n\n FEMALE GUEST #1\n (overlapping)\n You look lovely.", "As the band loudly plays on, the camera moves across the\nspellbound audience, sitting at crowded, smoky, small\ntables, to reveal a stricken Mickey and a mesmerized Holly", "HOLLY\n (to the man)\n Thank you.\n\nHolly finally makes her way into the cluttered loft kitchen.\nHer tray is empty.", "passes Holly.", "Holly is seen as she talks to the offscreen Hannah, the\ncamera moving in closer on her face. As Holly speaks, she\ndistractedly nibbles an hors d'oeuvre. In the background," ] ]

[ "Who does Hannah's husband have an affair with?", "Who is Lee living with during the first Thanksgiving?", "What is Hannah's ex-husband's name?", "Who does Mickey go on a date with?", "What is the relationship between Hannah, Lee and Holly?", "Who did Holly start a catering business with?", "What are the names of Hannah's parents?", "What is Mickey's occupation?", "What are the occupations for Hannah's parents?", "Who becomes infatuated by Lee?", "What does Frederick do for a living?", "Why does Lee leave Frederick?", "Who is Elliot married to?", "Why did Hannah and Mickey get divorced?", "Why does Mickey become interested in Catholicism and Krishna Consciousness?", "What does Mickey realize after watching Duck Soup?", "What drug was Holly addicted to?", "Who does Holly start a catering business with?", "Who does Holly end up marrying?", "Who is Hannah married to?", "Which one of Hannah's sisters does Elliot become obsessed with?", "What does Elliot say is to blame for his affair with his wife's sister?", "How long has Lee lived with Frederick?", "What does Frederick do for a living?", "Why does Lee officially leave Frederick?", "When does Lee end her affair with Elliot?", "What is the name of Hannah's ex-husband?", "What drug was Holly once addicted to?", "Who does Holly eventually marry?" ]

[ [ "Her sister Lee", "Her sister Lee" ], [ "Frederick", "Frederick" ], [ "Mickey", "Mickey" ], [ "Holly", "Holly. " ], [ "They were sister's", "They are sisters" ], [ "April", "April" ], [ "Norma and Evan", "Norma and Evan" ], [ "A television writer", "Television writer" ], [ "They are actors.", "Actors" ], [ "Elliot", "Elliott" ], [ "He is an artist", "Frederick is an artist." ], [ "Frederick learns of her affair with Elliot", "He discovered her affair with Elliot" ], [ "Hannah", "Hannah" ], [ "They couldn't have children.", "Unable to have children because of his infertility" ], [ "He is having an existential crisis.", "After learning his brain tumor wasn't real" ], [ "Life should be enjoyed to the fullest.", "meaning in his life" ], [ "Cocaine", "Cocaine." ], [ "April", "April" ], [ "Mickey", "Mickey" ], [ "Elliot", "Elliot" ], [ "Lee", "Lee" ], [ "Her strong-will and self-sufficiency ", "His wife" ], [ "Five years", "Five years" ], [ "he is an artist", "Frederick is an artist. " ], [ "Frederick discovers her affair with Elliot", "She no longer finds himself intellectually or securely stimulating" ], [ "After the second Thanksgiving", "The second Thanksgiving" ], [ "Mickey", "Mickey" ], [ "Cocaine", "cocaine" ], [ "Mickey", "Mickey" ] ]

[ [ "love or to gratify his vanity. But Rhoda's idealism enabled her to take\nhim literally. She herself had for years maintained an exaggerated", "husband, of mature years, and with means more than sufficient, seemed,\nto the eye of experience, no unsuitable match for a girl such as\nMonica. This view of the situation caused Rhoda to smile with", "Rhoda turned to the fire again.\n\n'Will you marry me?' he asked, moving a step nearer.\n\n'I think you are \"not quite serious\".'", "They conversed naturally enough till the meal was over. Then their\nembarrassment revived, but this time it was Rhoda who took the\ninitiative.", "Rhoda had determined against marriage, and of him, especially, never\nthought for a moment as a possible husband. Well, that was what he\nwanted to ascertain.", "Their eyes met.\n\n'I suspected it. I felt sure it was coming. He asked you to marry him?'\n\n'No, he didn't,' replied Rhoda in purposely ambiguous phrase.", "For thus far had he advanced in his thoughts of Rhoda Nunn. If the\nphrase had any meaning, he was in love with her; yet, strange complex", "Rhoda said nothing. He waited a moment, then moved to a seat much\nnearer hers. Her face hardened, and he saw her fingers lock together.", "for his last trial of Rhoda, and he felt some confidence as to the\nresult. If her mettle endured his test, if she declared herself willing", "Was that Rhoda's voice, so low, tender, caressing? It thrilled him, and\nwith a silent laugh of scorn at his own folly, he turned to her, every\nthought burnt up in passion.", "Rhoda made no reply. She looked away from him at the black, deep water.\n\n'What an opportunity,' he went on, raising his hand to point at the\ncottage, 'for saying the silliest of conceivable things!'", "wife, this frank avowal of the desire before a third person might\nremove some of the peculiar difficulties of the case. Whether willing\nor not to be wooed, Rhoda, in mere consistency with her pronounced", "Rhoda smiled a little, conscious of the extreme curiosity her friend\nmust be feeling, and determined not to gratify it. For by this time,", "The guest at table was a young girl named Rhoda Nunn. Tall, thin,\neager-looking, but with promise of bodily vigour, she was singled at a", "this wooing a mere caprice. But Rhoda gave ear to him, of that there\ncould be little doubt; and since his inheritance of ample means the", "Useless to stay longer. As soon as the Widdowsons had departed he went\nup to Rhoda and silently offered his hand. She scarcely looked at him,\nand did not in the least return his pressure.", "'Rhoda!'\n\nShe paused and awaited him.\n\n'You remember that I was going to London to-morrow. It seems that I had\nbetter go and not trouble to return.'", "The arrival of these people was an intense annoyance to him. Another\nquarter of an hour and things would have come to an exciting pass\nbetween Rhoda and himself; he would have heard how she received a", "Rhoda, doubtless, was in part actuated by the desire to conquer, and\nshe knew her power over him. So it was a mere repetition of the old", "A few evenings after, when Miss Barfoot had been sitting alone for an\nhour or two, Rhoda came to the library and took a place near her. The\nelder woman glanced up from her book, and saw that her friend had\nsomething special to say." ], [ "Edmund Widdowson, of course, wrote to her at the new address. In her\nreply she again postponed their meeting. Whenever she went out in the", "'Some one you have never heard of. His name is Mr. Edmund Widdowson. He\nis very well off, and has a house at Herne Hill.'\n\n'A private gentleman?'", "'I really don't know. Why, Edmund? Does he interest you?'\n\n'Only that one likes to know something about the people that are\nintroduced to one's wife,' Widdowson answered rather acridly.", "The lady's question remained incomplete. Widdowson, though he\nunderstood it, vouchsafed no direct answer. Intense suffering was\nmanifest in his face, and at length he spoke vehemently.", "All days and times were the same to him--he said. And he drove about\nthe country for his pleasure. A man of means. His name, according to\nthe card, was Edmund Widdowson.", "Widdowson, starting with surprise, turned to examine the speaker. He\nsaw a woman of something less than middle age, unfashionably attired,", "another was Mrs. Widdowson. Mary received him without effusiveness, and\nafter a few minutes' talk with her he took a place by Mrs. Widdowson,", "Widdowson. They were to start on Monday evening. Through the day her\nmind was divided between joy in the thought of seeing a new part of the", "'Mr. Widdowson has said nothing to me. But I have seen your sister, and\nthere seemed no reason to doubt what she told me.'\n\n'She couldn't tell you the truth, because she doesn't know it.'", "Widdowson was in the room, and at the end sat by the bedside for an\nhour. But he did not look upon his wife's face. When it was told him", "It was at this spot that Monica had agreed to meet with her casual\nacquaintance, Edmund Widdowson, and there, from a distance, she saw his", "Mr. Widdowson. You will marry him for a comfortable home--that's what\nit amounts to. And you'll repent it bitterly some day--you'll repent.'", "was left uncertain--by Monica herself purposely. As an amusement, she\nhad decided to keep her promise to Mr. Edmund Widdowson. She was", "about it, and it was her duty to tell me. Mr. Widdowson had found out\nsomehow, I feel sure.'", "With much more to the same solacing effect. For the time Widdowson was\nperchance a trifle comforted; at all events, he went away with a sense", "Luke Widdowson, arrived nearly half an hour later than the time she had\nappointed. Led by the servant into a comfortable drawing-room, the\nvisitors were received by the master of the house alone; with a grim", "charming widow sure to be seen. We are able to announce that, before\nleaving Trouville, Mrs. Widdowson had consented to a private engagement", "In two days she received a reply. Mrs. Cosgrove had called upon Mrs.\nWiddowson at her lodgings at Clapham. 'She is ill, wretched, and", "'I think that is Mr. Widdowson on the other side of the room.'\n\nMonica looked quickly round, and saw her husband, as if occupied with\nthe pictures, glancing in her direction.", "'Mrs. Widdowson comes here now and then, and we are always very glad to\nsee her. But I can't help thinking she looks rather unhappy.'\n\n'I'm afraid she does,' assented the other gravely." ], [ "love or to gratify his vanity. But Rhoda's idealism enabled her to take\nhim literally. She herself had for years maintained an exaggerated", "Useless to stay longer. As soon as the Widdowsons had departed he went\nup to Rhoda and silently offered his hand. She scarcely looked at him,\nand did not in the least return his pressure.", "EVERARD BARFOOT.'\n\nRhoda perused the sheet very attentively.\n\n'An impudent letter,' said Miss Barfoot. 'Just like him.'", "'Now there's a woman!' exclaimed Everard, not all in jest, for Rhoda's\nappearance had made his nerves thrill and his pulse beat. 'Look at her,", "Before she could guess his purpose he had slipped a ring upon her\nfinger, a marriage ring. Rhoda started away from him, and at once drew\noff the perilous symbol.", "Their eyes met.\n\n'I suspected it. I felt sure it was coming. He asked you to marry him?'\n\n'No, he didn't,' replied Rhoda in purposely ambiguous phrase.", "'Rhoda!'\n\nShe paused and awaited him.\n\n'You remember that I was going to London to-morrow. It seems that I had\nbetter go and not trouble to return.'", "Everard laughed bitterly. The completeness of the case against him in\nRhoda's eyes must be so overwhelming, and his absolute innocence made\nit exasperating to have to defend himself. How, indeed, was he to\ndefend himself?", "Rhoda had determined against marriage, and of him, especially, never\nthought for a moment as a possible husband. Well, that was what he\nwanted to ascertain.", "A glance told her that Everard was not alone in his enjoyment of the\nevening. Rhoda led the talk into other channels, but Miss Barfoot\ncontinued to reflect on what she had perceived.", "Rhoda said nothing. He waited a moment, then moved to a seat much\nnearer hers. Her face hardened, and he saw her fingers lock together.", "Her voice failed. She saw that Rhoda had begun to mistrust her, to\nthink that she was elaborating falsehoods. The burdensome silence was\nbroken by Miss Nunn's saying repellently,--", "'You are resolved never to marry?'\n\n'I never shall,' Rhoda replied firmly.\n\n'But suppose marriage in no way interfered with your work?'", "Everard Barfoot's advances surprised her not a little. Judging him as a\nman wholly without principle, she supposed at first that this was", "Rhoda made no reply. She looked away from him at the black, deep water.\n\n'What an opportunity,' he went on, raising his hand to point at the\ncottage, 'for saying the silliest of conceivable things!'", "When, in a few days, a letter came to her from Miss Barfoot, she tore\nit open, and there--yes, there was Everard's handwriting. Mary had sent\nthe communication for her to read.", "They conversed naturally enough till the meal was over. Then their\nembarrassment revived, but this time it was Rhoda who took the\ninitiative.", "with so many years ago. And on this very account, precisely because she\nwas deceiving herself as to her state of mind, she prolonged the\npainful situation. She said to herself that Rhoda had behaved so", "For a moment Rhoda lost her self-control.\n\n'How can I help thinking so?' she exclaimed, with a gesture of misery.\n'What can this letter mean? Why should she go to your rooms?'", "'Mr. Barfoot,' said Rhoda suddenly, 'I have had enough of this. If your\napproval is sincere, I don't ask for it. If you are practising your" ], [ "'Now there's a woman!' exclaimed Everard, not all in jest, for Rhoda's\nappearance had made his nerves thrill and his pulse beat. 'Look at her,", "Everard Barfoot's advances surprised her not a little. Judging him as a\nman wholly without principle, she supposed at first that this was", "Everard's announcement of his passion for Miss Nunn seemed to Mary a\nwell-calculated piece of boldness. If he seriously sought Rhoda for his", "Everard laughed bitterly. The completeness of the case against him in\nRhoda's eyes must be so overwhelming, and his absolute innocence made\nit exasperating to have to defend himself. How, indeed, was he to\ndefend himself?", "The expression of Rhoda's countenance suddenly changed. An extreme\nmobility of facial muscles was one of the things in her that held\nEverard's attention.", "Everard seized a little chair that was close by, planted it beside\nRhoda's, there seated himself and took possession of one of her hands.", "EVERARD BARFOOT.'\n\nRhoda perused the sheet very attentively.\n\n'An impudent letter,' said Miss Barfoot. 'Just like him.'", "love or to gratify his vanity. But Rhoda's idealism enabled her to take\nhim literally. She herself had for years maintained an exaggerated", "interest. Her narrative, to which Mary listened with downcast eyes,\npresented the outlines of the story veraciously; she told of Everard's", "For thus far had he advanced in his thoughts of Rhoda Nunn. If the\nphrase had any meaning, he was in love with her; yet, strange complex", "cared to learn the names. Scarcely had she turned when she saw Everard\napproaching, still far off, but unmistakable. He signalled by taking\noff his hat, and quickly was beside her.", "Everard's letter put Rhoda beside herself with wrath. In writing it he\nknew it would come into her hands; he hoped to sting her with jealousy.", "Rhoda's eyes twinkled, and Miss Barfoot laughed. Everard was allowing\nhimself a freedom in expression which hitherto he had sedulously\navoided.", "towards Everard Barfoot; trifles such as only a woman would detect had\nconvinced her that Everard's interest in Rhoda was awakening a serious", "He felt himself once more in danger of weakness. Rhoda, in her haughty,\nresentful mood, was very attractive to him. He was tempted to take her", "When her friendship with Rhoda Nunn had progressed to intimacy, she\ncould not refrain from speaking of her cousin Everard, absent at the", "A glance told her that Everard was not alone in his enjoyment of the\nevening. Rhoda led the talk into other channels, but Miss Barfoot\ncontinued to reflect on what she had perceived.", "Rhoda, doubtless, was in part actuated by the desire to conquer, and\nshe knew her power over him. So it was a mere repetition of the old", "She came and shook hands. As he spoke a few natural words, Everard\nchanced to notice that the husband's eye was upon him, and with what a", "Mary complied, and freely answered his various questions. Then they sat\ndown on hard chairs by the fire, and Everard, leaning forward as if to\nwarm his hands, lost no more time in coming to the point." ], [ "It was the end of one more acute stage in their progressive discord. By\nkeeping at home for a fortnight, Monica soothed her husband and", "Monica could not reply. That word 'love' had grown a weariness to her\nupon his lips. She did not love him; could not pretend to love him.", "itself. Of final farewell to Rhoda he had no thought whatever. Her\ncuriosity would, of course, compel her to see Monica; one way or", "She was deeply agitated. Monica had not attended that lecture of Miss\nBarfoot's, and so, it was evident, had purposely deceived her husband.", "They embraced, and kissed each other, Monica, when she had withdrawn\nher hot lips, again murmuring words of gratitude. Then in silence they\nwent together to the house-door, and in silence parted.", "She refused to offer any kind of explanation, but denied that she was\nguilty and at once left the house. Since, she has utterly refused to\nsee him. Her sister can only report that Monica is very ill, and that", "Until he had passed out of sight, Monica kept the same direction. Then\nshe turned round and hurried back, fearful lest the detention might", "He abandoned the thought, at once and utterly. When Monica learnt\nthis--he gave only vague and unsatisfactory reasons--she fell back into\nher despondent mood. For a whole day she scarcely uttered a word.", "She broke off.\n\n'Then, Monica, you ought to make known to him what you have been\nconcealing. If you are telling the truth, that confession can't be\nanything very dreadful.'", "'Monica--you are deceiving us all. You are guilty.'\n\n'Why do you say that?'\n\n'I know it. I have watched you. You betray yourself when you are\nthinking.'", "But Monica could not be moved. She refused to go again under her\nhusband's roof until he had stated that his charge against her was", "The meaning of this importunity had already flashed upon Monica, and\nnow she felt a slight pity for the tawdry, abandoned creature, in whom\nthere seemed to survive that hopeless passion of old days.", "Monica should go anywhere alone. They were very, very unhappy, I'm\nafraid--so ill-matched in almost every respect. Still, under the\ncircumstances--surely she ought to return to him?'", "Since Saturday evening Monica and her husband had not been on speaking\nterms. A visit she paid to Mildred Vesper, after her call at Miss", "With strange suddenness, after several weeks of steady application to\nher work, in a cheerful spirit which at times rose to gaiety, Monica", "'Monica!' He put his hands on her shoulders, whispering hoarsely,\n'Monica! don't you love me?'\n\nShe looked away, not replying.\n\n'Monica!'", "'It's nothing particular,' said Monica, putting it away under her\npillow. 'Thank you, dear.'\n\nBut her cheeks had become hot, and she trembled.\n\n'Monica--'", "A few days later Monica had a sudden fit of illness. Her marriage, and\nthe long open-air holiday, had given her a much healthier appearance", "'It is quite unfounded, I do assure you. Monica is not guilty. The poor\nchild has done nothing--it was an indiscretion--nothing more than\nindiscretion--'", "that followed. Intimacy with Monica had greatly affected his views, yet\nchiefly by disturbing them; no firmer ground offered itself to his\ntreading when he perforce admitted that his former standpoint was" ], [ "It could not be a gladsome meeting, but Rhoda was bright and natural,\nand her talk as inspiriting as ever. She took the baby in her arms, and", "Rhoda put a hand on each side of the girl's face, and kissed her, but\nwithout saying a word; and thereupon left the house. Mildred Vesper,", "itself. Of final farewell to Rhoda he had no thought whatever. Her\ncuriosity would, of course, compel her to see Monica; one way or", "Rhoda said nothing. He waited a moment, then moved to a seat much\nnearer hers. Her face hardened, and he saw her fingers lock together.", "And Rhoda stood with erect head, smiling her smile of liberty. Monica\ndid not dare to ask any question. She moved up to her friend, holding\nout both hands timidly.\n\n'Good-bye!'", "Rhoda smiled, bending her head to the rebuke.\n\n'And there's the last of it,' added Miss Barfoot. 'Let us kiss and be\nfriends.'", "Was that Rhoda's voice, so low, tender, caressing? It thrilled him, and\nwith a silent laugh of scorn at his own folly, he turned to her, every\nthought burnt up in passion.", "They conversed naturally enough till the meal was over. Then their\nembarrassment revived, but this time it was Rhoda who took the\ninitiative.", "Rhoda made no reply. She looked away from him at the black, deep water.\n\n'What an opportunity,' he went on, raising his hand to point at the\ncottage, 'for saying the silliest of conceivable things!'", "love or to gratify his vanity. But Rhoda's idealism enabled her to take\nhim literally. She herself had for years maintained an exaggerated", "Rhoda smiled a little, conscious of the extreme curiosity her friend\nmust be feeling, and determined not to gratify it. For by this time,", "Rhoda mused when she had made this remark.\n\n'Do you know,' she asked presently, 'whether she sees much of Mrs.\nWiddowson?'\n\n'I have no idea.'", "'Who first used the word, Rhoda?'\n\n'Yes; I did.'\n\nThere was silence. Rhoda stood unmoving, the fire's glow upon her face,\nand Barfoot watched her.", "time since Rhoda had known her. Her complexion was losing its muddiness\nand spottiness; her step had become light and brisk.", "But Rhoda, having adjusted everything that she was going to take with\nher, still had an occupation which kept her up for several hours. From\na locked drawer she brought forth packets of letters, the storage of", "'No more did I; and that makes all the more content with what has come\nabout. She ran a terrible risk, poor child. You see, Rhoda, nature is\ntoo strong for us.'\n\nRhoda threw her head back.", "The guest at table was a young girl named Rhoda Nunn. Tall, thin,\neager-looking, but with promise of bodily vigour, she was singled at a", "Yes; Rhoda was sitting in a thoughtful attitude. She looked up, smiled,\nand came a few paces forward.\n\n'It was very good.'\n\n'I thought it would please you.'", "for his last trial of Rhoda, and he felt some confidence as to the\nresult. If her mettle endured his test, if she declared herself willing", "Rhoda, in the meantime, had gone home. She shut herself in her bedroom,\nand remained there until the bell rang for dinner." ], [ "Rhoda turned to the fire again.\n\n'Will you marry me?' he asked, moving a step nearer.\n\n'I think you are \"not quite serious\".'", "Rhoda had determined against marriage, and of him, especially, never\nthought for a moment as a possible husband. Well, that was what he\nwanted to ascertain.", "Useless to stay longer. As soon as the Widdowsons had departed he went\nup to Rhoda and silently offered his hand. She scarcely looked at him,\nand did not in the least return his pressure.", "'I have asked you twice. I ask for the third time.'\n\n'I won't marry you with the forms of marriage,' Rhoda answered in an\nabrupt, harsh tone.", "Their eyes met.\n\n'I suspected it. I felt sure it was coming. He asked you to marry him?'\n\n'No, he didn't,' replied Rhoda in purposely ambiguous phrase.", "Before she could guess his purpose he had slipped a ring upon her\nfinger, a marriage ring. Rhoda started away from him, and at once drew\noff the perilous symbol.", "love or to gratify his vanity. But Rhoda's idealism enabled her to take\nhim literally. She herself had for years maintained an exaggerated", "EVERARD BARFOOT.'\n\nRhoda perused the sheet very attentively.\n\n'An impudent letter,' said Miss Barfoot. 'Just like him.'", "'No,' said Rhoda firmly. 'I can't answer you tonight. I can't decide so\nsuddenly.'", "'You are still doubtful of me, Rhoda?'\n\nHe took her hand, and again drew her close. But she refused her lips.\n\n'Or are you doubtful of your own love?'", "Rhoda said nothing. He waited a moment, then moved to a seat much\nnearer hers. Her face hardened, and he saw her fingers lock together.", "Ever since the dialogue in which he frankly explained his position, and\nall but declared love, he had not once seen Rhoda in private. She", "Everard laughed bitterly. The completeness of the case against him in\nRhoda's eyes must be so overwhelming, and his absolute innocence made\nit exasperating to have to defend himself. How, indeed, was he to\ndefend himself?", "Miss Barfoot was not convinced. After Everard's departure that evening\nshe talked of the matter with Rhoda.", "regarded it. When the desire was intimated by letter, Rhoda replied\nwith a civil refusal: she would be altogether out of place at such a\nceremony, but hoped that Monica would accept her heartiest good wishes.", "A glance told her that Everard was not alone in his enjoyment of the\nevening. Rhoda led the talk into other channels, but Miss Barfoot\ncontinued to reflect on what she had perceived.", "'Now there's a woman!' exclaimed Everard, not all in jest, for Rhoda's\nappearance had made his nerves thrill and his pulse beat. 'Look at her,", "'Out of the question for me to leave the house,' he said, meeting her\neyes and smiling. 'You won't be hard upon a starving man?'\n\nAt once Rhoda made a pretence of having felt no hesitation.", "'You are resolved never to marry?'\n\n'I never shall,' Rhoda replied firmly.\n\n'But suppose marriage in no way interfered with your work?'", "'For one thing,' replied Rhoda, looking coldly down upon her friend,\n'you will never do any good with her. For another, she isn't a suitable\ncompanion for the girls she would meet here.'" ], [ "Virginia could scarce hope that her faded prettiness, her\nhealth damaged by attendance upon an exacting invalid and in profitless\nstudy when she ought to have been sleeping, would attract any man in", "'But there's something I must tell you,' she said, with embarrassed\nappeal in her wet eyes. 'Poor Virginia wishes to go into an\ninstitution.'", "Virginia sported with the subject. Months of miserable eating and\ndrinking in her stuffy bedroom made an invitation such as this a", "and finally he suggested that, if the morrow brought no decided\nimprovement, a second medical man should be called in to consult. This\nconsultation was held. In the afternoon Virginia came weeping to her", "relief of altercation, and Virginia, through her secret vice, was\nlosing all self-control. They wrangled, wailed, talked of parting, and\nonly became quiet when their emotions had exhausted them. Yet no", "And this morning she had new troubles to think about. Virginia was\nkeeping her room; would admit no one; answered every whisper of appeal\nwith brief, vague words that signified anything or nothing. The others", "she had suffered greatly, and at length had allowed a doctor to be\ncalled. Whenever her sister retired very early, Virginia also went to\nher own bedroom, saying that she preferred to sit there.", "'She had to have chloroform,' said Virginia, who looked a miserable,\nlifeless object, and shook like one in an ague.\n\n'And all's well?'", "It took half an hour to familiarize Virginia with the simple fact. When\nshe was convinced of its truth, a paroxysm of delight appeared in her.\nShe laughed, uttered cries of joy, even clapped her hands.", "'I haven't the least idea,' Virginia replied, her hand trembling as she\nheld the paper. 'I can only suppose that he thinks that I am not\nlooking well.'", "Virginia (about thirty-three) had also an unhealthy look, but the\npoverty, or vitiation, of her blood manifested itself in less unsightly", "Oddly enough, this was the case. On their return from Guernsey they had\ninvited Virginia to make a permanent home with them, and she refused.", "restrictions of poverty and ill-health. After nightfall, neither she\nnor Virginia ever left home.", "Virginia broke off, as if there were something more that she did not\nventure to impart. Her cheeks coloured, and she looked distressfully\nabout the room.", "'I mustn't stay longer,' said Virginia, rising after a painful silence.\n'I am always afraid to be away from her even for an hour; the fear of", "'Don't you think we might go out for half an hour?' Monica whispered,\nwhen Virginia had pointed to the invalid's closed eves. 'I'm sure it's\nvery unhealthy for us all to be in this little place.'", "'I shan't get any better here,' replied the invalid in a whisper. 'Poor\nVirgie does depress me so. She doesn't understand that I can't bear to", "'What _could_ have been better?' cried Virginia. 'Her health will be\nestablished, and in half a year, or less, we shall be able to come to a\ndecision about the great step. Oh, and have you given notice, darling?'", "Virginia had gone to bed, and the others sat silently, without\noccupation. Miss Madden, after several vain efforts to speak, bent\nforward and said in a low, grave voice,--", "But she insisted on Virginia leaving her in the afternoon. Miss Nunn\nmight have something of importance to tell or to suggest. Mrs.\nConisbee, sympathetic in her crude way, would see that the invalid\nwanted for nothing." ], [ "Rhoda, in the meantime, had gone home. She shut herself in her bedroom,\nand remained there until the bell rang for dinner.", "Rhoda mused when she had made this remark.\n\n'Do you know,' she asked presently, 'whether she sees much of Mrs.\nWiddowson?'\n\n'I have no idea.'", "But Rhoda, having adjusted everything that she was going to take with\nher, still had an occupation which kept her up for several hours. From\na locked drawer she brought forth packets of letters, the storage of", "Rhoda smiled a little, conscious of the extreme curiosity her friend\nmust be feeling, and determined not to gratify it. For by this time,", "Rhoda put a hand on each side of the girl's face, and kissed her, but\nwithout saying a word; and thereupon left the house. Mildred Vesper,", "Rhoda said nothing. He waited a moment, then moved to a seat much\nnearer hers. Her face hardened, and he saw her fingers lock together.", "Rhoda led him to the drawing-room, excused herself for a few moments,\nand came back in her ordinary evening dress. Barfoot noticed that her", "love or to gratify his vanity. But Rhoda's idealism enabled her to take\nhim literally. She herself had for years maintained an exaggerated", "A few evenings after, when Miss Barfoot had been sitting alone for an\nhour or two, Rhoda came to the library and took a place near her. The\nelder woman glanced up from her book, and saw that her friend had\nsomething special to say.", "occasions, after dinner, Rhoda sat in complete idleness, her face\ndeclaring the troubled nature of her thoughts. On the Sunday before\nher departure she took a sudden resolve and went to call upon Monica at", "'Rhoda!'\n\nShe paused and awaited him.\n\n'You remember that I was going to London to-morrow. It seems that I had\nbetter go and not trouble to return.'", "itself. Of final farewell to Rhoda he had no thought whatever. Her\ncuriosity would, of course, compel her to see Monica; one way or", "They conversed naturally enough till the meal was over. Then their\nembarrassment revived, but this time it was Rhoda who took the\ninitiative.", "And Rhoda, sitting late in the little lodging-house parlour, visited\nher soul with questionings no less troublesome. Everard was not", "The guest at table was a young girl named Rhoda Nunn. Tall, thin,\neager-looking, but with promise of bodily vigour, she was singled at a", "Having lunched with her acquaintance, Rhoda went in the afternoon to\nMildred Vesper's lodgings. Miss Vesper was at home, reading, in her", "with so many years ago. And on this very account, precisely because she\nwas deceiving herself as to her state of mind, she prolonged the\npainful situation. She said to herself that Rhoda had behaved so", "was no match for Rhoda's vigorous abruptness. But the two were very\nfond of each other, and by this time thought themselves able safely to\ndispense with the forms at first imposed by their mutual relations.", "time since Rhoda had known her. Her complexion was losing its muddiness\nand spottiness; her step had become light and brisk.", "Rhoda was listening with an amused smile." ], [ "Until he had passed out of sight, Monica kept the same direction. Then\nshe turned round and hurried back, fearful lest the detention might", "'Monica--you are deceiving us all. You are guilty.'\n\n'Why do you say that?'\n\n'I know it. I have watched you. You betray yourself when you are\nthinking.'", "Monica and Everard she was unable to determine. The grounds of\nsuspicion seemed to her very grave; so grave, that during her first day", "'It will be lost trouble,' Monica declared. 'More likely than not there\nis a spy waiting to follow me wherever I go. Your assurance that I\nreally went to Miss Barfoot's won't be needed.'", "she had told him as to her employment during absences from home, in\ndaytime and evening. Having cause for suspecting the worst, he last\nSaturday engaged a private detective to follow Mrs. Widdowson wherever", "Miss Vesper lived, and even then he walked no farther than the\nneighbouring streets, returning about every ten minutes to watch the\nhouse from a short distance, as though he feared Monica might have some", "The blood boiled in his veins. His first impulse was to walk straight\nup to Monica and bid her follow him. But the ecstasy of jealous\nsuffering kept him an observer. He watched the pair until he was\ndescried.", "to Monica. She says he seemed on the point of killing her. He is a man\nof very severe nature, I have always thought. He never could bear that", "Their eyes met, and Monica knew in the moment that succeeded that she\nwas being examined from head to foot. It seemed to her that she had", "The listener manifested more attention. She could not mistake the signs\nof sincerity in Monica's look and speech.\n\n'Some one,' she asked coldly, 'who was living with Mr. Barfoot?'", "But to this she paid no attention. She was looking at Monica and Miss\nBarfoot, who had just risen from their seats. They approached, and\npresently Barfoot found himself alone with the familiar pair.", "The day proved doubtful, but she kept her appointment. Widdowson was on\nthe spot with horse and trap. These were not, as he presently informed\nMonica, his own property, but hired from a livery stable, according to\nhis custom.", "She wished to have a private interview with Monica, but doubted whether\nit would in any degree serve her purpose--that of discovering whether\ncertain suspicions she entertained had actual ground. Confidence", "Monica had a sense of something perilous in this conversation. It arose\nfrom a secret trouble in her own heart, which she might, involuntarily,", "To what a remote period of her life this name seemed to recall Monica!\nShe glanced quickly at the speaker, and again detected suspicion in her\neyes.", "Since Saturday evening Monica and her husband had not been on speaking\nterms. A visit she paid to Mildred Vesper, after her call at Miss", "'Only one of our partners!' he exclaimed gleefully. 'Wants to see me\nto-night. Of course he took it for granted I was out.'\n\nMonica was looking at her watch. Past five o'clock.", "together. Most reluctantly he consented to her going any distance\nalone, for whatever purpose. Public entertainments he regarded with no\ngreat favour, but when he saw how Monica enjoyed herself at concert or", "She was deeply agitated. Monica had not attended that lecture of Miss\nBarfoot's, and so, it was evident, had purposely deceived her husband.", "that could have no meaning. To what extent his wife had deceived him\nmight be uncertain, but the deception was a proved fact. Of course it\nnever occurred to him that Monica's demand had a significance which" ], [ "'They are excellent creatures,' said Rhoda; 'kind, innocent women; but\nuseful for nothing except what they have done all their lives. The", "overstocked profession of teaching as many capable young women as she\ncould lay hands on, and to fit them for certain of the pursuits\nnowadays thrown open to their sex. She held the conviction that", "intellectually Miss Haven was far in advance. Rhoda had a strong desire\nto observe them as they talked about the most various subjects; she knew\nthem well, but hoped to find in them some new suggestion of womanly", "'How young you are! Oh, there is far more than ten years between our\nages, Rhoda! In spirit you are a young girl, and I an old woman. No,", "in love, Mary did not scruple to suggest that her own knowledge in that\ndirection was complete. She did it in lightness of heart, secure under\nthe protection of her forty years. Rhoda, of course, understood her as", "A few evenings after, when Miss Barfoot had been sitting alone for an\nhour or two, Rhoda came to the library and took a place near her. The\nelder woman glanced up from her book, and saw that her friend had\nsomething special to say.", "subject as a perfectly open one, and arriving at unorthodox\nconclusions. Mrs. Cosgrove had spoken of this dissertation with lively\ninterest. Rhoda perused it very carefully, pausing now and then to", "combining benevolence with business. She makes it her object to train\nyoung girls for work in offices, teaching them the things that I learnt\nin Bristol, and typewriting as well. Some pay for their lessons, and", "'Oh yes. But I go further. I would have girls taught that marriage is a\nthing to be avoided rather than hoped for. I would teach them that for\nthe majority of women marriage means disgrace.'", "'I haven't to do with the subject at all,' Rhoda answered, with perhaps\na trace of impatience. 'My work and thought are for the women who do", "Rhoda took the sheet and quickly ran through its contents. Her face\nhardened, and she threw down the letter with a smile of contempt.\n\n'What do you advise?' asked the elder woman, closely observing her.", "'For one thing,' replied Rhoda, looking coldly down upon her friend,\n'you will never do any good with her. For another, she isn't a suitable\ncompanion for the girls she would meet here.'", "'You are resolved never to marry?'\n\n'I never shall,' Rhoda replied firmly.\n\n'But suppose marriage in no way interfered with your work?'", "'Make a brave woman of her,' said Rhoda kindly.\n\n'We will try--ah, we will try! And is your work as successful as ever?'", "Rhoda mused when she had made this remark.\n\n'Do you know,' she asked presently, 'whether she sees much of Mrs.\nWiddowson?'\n\n'I have no idea.'", "for the moral instruction of young women--on the principles inculcated\nby Rhoda Nunn.", "agreeable way, avoiding the tone of instruction, and, in short, giving\nevidence of good taste. Rhoda listened with a look of civil interest,", "But Rhoda, having adjusted everything that she was going to take with\nher, still had an occupation which kept her up for several hours. From\na locked drawer she brought forth packets of letters, the storage of", "'No. You have hardened your heart with theory. Guard yourself, Rhoda!\nTo work for women one must keep one's womanhood. You are becoming--you\nare wandering as far from the true way--oh, much further than Bella\ndid!'", "'Perhaps not,' admitted Rhoda, more cheerful now that she had gained\nher point. 'But we know several who will not dream of marrying unless\nreason urges them as strongly as inclination.'\n\nMiss Barfoot laughed." ], [ "Widdowson tried two or three lodgings; he settled at length in a small\nhouse at Hampstead; occupying two plain rooms. Here, at long intervals,", "Widdowson. They were to start on Monday evening. Through the day her\nmind was divided between joy in the thought of seeing a new part of the", "Widdowson walked about the room, and a deep moan escaped him.\n\n'That is why I have asked you to go away from here, Monica. We must\nhave a new home if our life is to begin anew.'", "They had brought with them a few books, and Widdowson, after breakfast,\nsat down by the fire to read. Monica first of all wrote a letter to her", "The week was in all respects what Widdowson desired. Not a soul came to\nthe house; Monica went to see no one. Save on two days, it rained,", "When they reached the house at Herne Hill the sisters were both in a\nstate of nervous tremor. Monica had only the vaguest idea of the kind", "In a day or two Monica was removed to her sister's lodgings at Lavender\nHill. Mrs. Conisbee managed to put a room at her disposal, and Virginia", "His knock at the door was answered by the landlady herself. She told of\nMrs. Widdowson's arrival and departure. Ah, then Monica had no doubt", "The day proved doubtful, but she kept her appointment. Widdowson was on\nthe spot with horse and trap. These were not, as he presently informed\nMonica, his own property, but hired from a livery stable, according to\nhis custom.", "On the day after the funeral--Monica was buried in the cemetery, which\nis hard by the old church--Widdowson and the elder sister had a long", "Monica meanwhile rejoiced in her liberation from the work and\nphilosophic severities of Great Portland Street. She saw Widdowson", "When they reached Herne Hill, Widdowson became silent, and presently he\nallowed the horse to walk.\n\n'That is my house, Miss Madden--the right-hand one.'", "This was a word Widdowson detested. Change, on Monica's lips, always\nseemed to mean a release from his society. But he swallowed his\ndissatisfaction, and finally consented to the arrangement.", "further questions. Unwilling to speak of the little capital she\npossessed, Monica told him that her sisters might perhaps help her to\nlive whilst she was learning a new occupation. But Widdowson had become", "Their time for dining was seven. Shortly before this Widdowson entered\nthe house and went to the sitting-room; Monica was not there. He found", "She went to the door and called. From the landlady Widdowson learnt\nexactly what Monica had said. He reflected for a moment.", "She opened the door, rapidly crossed the landing, and went upstairs.\nFeeling it was useless to follow, Widdowson allowed the door to remain\nwide, and waited. Five minutes passed and Monica came down again,\ndressed for leaving the house.", "between her and Mrs. Widdowson had never existed, and in the present\nstate of things she could not hope to probe Monica's secret feelings.\nWhilst she still brooded over the difficulty there came a letter for", "'I think that is Mr. Widdowson on the other side of the room.'\n\nMonica looked quickly round, and saw her husband, as if occupied with\nthe pictures, glancing in her direction.", "the life that was prepared for her. Widdowson's books would go back to\nLondon; not to the Hampstead lodgings, however. Fearful of solitude, he" ], [ "with Bevis. No, Bevis is a man one can trust; one talk with him\nproduces a lasting favourable impression.'", "they were alone? Their talk was precisely what it might have been in\nother people's presence. And Bevis, such a frank, good-hearted fellow,\ncould not by any possibility fail in respect to her. The objections", "other very closely. Physically, Everard is his father walking the earth\nagain. In character, too, I think they must be very much alike. They\ncouldn't talk about the simplest thing without disagreeing. My uncle", "cared to learn the names. Scarcely had she turned when she saw Everard\napproaching, still far off, but unmistakable. He signalled by taking\noff his hat, and quickly was beside her.", "She told him the circumstances. Bevis kept his eyes upon her face, with\na look of rapt adoration which turned at length to pain and woeful\nperplexity.", "favourable to Bevis. On his account she had braved this ignominy, and\nit drew her towards him, instead of producing the effect which would\nhave seemed more natural. Perhaps the reason was that she felt herself", "So she got away without any explanation. At a quarter to four she\nreached the block of flats in which the Bevises (and Everard Barfoot)", "'It amounted to that. From quite a child, Everard was at odds with his\nfather. A strange thing, for in so many respects they resembled each", "referring to Everard.", "Again Everard was silent, and seemingly impressed.\n\n'We'll go on with this discussion another time,' said Miss Barfoot,\nwith cheerful interruption. 'Everard, do you know Somerset at all?'", "when I learnt shameful things about Everard. You know, I always\nregarded him as a boy, and very much as if he had been my younger", "Bevis came towards her and took her in his arms.\n\n'You love me?' she panted under his hot kisses. 'You will take me away\nwith you?'", "'Do you love me any the less, Everard?'\n\n'Kiss me.'\n\nShe did, and consciousness was lost for them as their mouths clung\ntogether and their hearts throbbed like one.", "'I didn't think much of the girl's singing, but that fellow Bevis\nwasn't bad.'\n\nMonica examined him as he spoke, and seemed to suppress a laugh.", "The two at a distance were talking earnestly, with grave countenances.\nIn a few moments they rose, and the visitor came towards Miss Barfoot\nto take her leave. Thereupon Everard crossed to Miss Nunn.", "Mary complied, and freely answered his various questions. Then they sat\ndown on hard chairs by the fire, and Everard, leaning forward as if to\nwarm his hands, lost no more time in coming to the point.", "Everard seized a little chair that was close by, planted it beside\nRhoda's, there seated himself and took possession of one of her hands.", "longer pretence of doing her duty as a wife. Then, if Bevis wrote to\nher in such a way as to revive her love, if he seriously told her to", "as though resolved to enjoy her liberty whilst she might. There was a\nsuspicion in her mind that Bevis had arranged this interview; she\ndoubted the truth of his explanation. And indeed she hoped that his", "this composition told of sadness and longing and the burden of a lonely\nheart. She thought it very beautiful, very touching. Bevis looked round\nto see the effect it produced upon her, and she could not meet his eyes." ], [ "The Odd Women\n\n\nBy\n\nGeorge Gissing\n\n\n\nCONTENTS", "GUTENBERG EBOOK THE ODD WOMEN ***\n\n\n\n\nProduced by Charles Aldarondo. HTML version by Al Haines.", "herself was no longer one of the 'odd women'; fortune had--or seemed to\nhave--been kind to her; none the less her sense of a mission remained.\nNo longer an example of perfect female independence, and unable", "'Something like that, they say. So many _odd_ women--no making a pair\nwith them. The pessimists call them useless, lost, futile lives. I,", "End of the Project Gutenberg EBook of The Odd Women, by George Gissing", "not marry--the 'odd women' I call them. They alone interest me. One\nmustn't undertake too much.'", "her pupils, never more than three being with her at a time. A bookcase\nfull of works on the Woman Question and allied topics served as a\ncirculating library; volumes were lent without charge to the members of", "women, as women, that you have. You belong to the Ruskin school; and\nI--well, perhaps my experience has been unusual, though I don't think", "'I had an odd thought whilst I was there.' Everard leaned his head\nback, and half closed his eyes. 'Miss Nunn, I warrant, considers", "an ordinary way, would enjoy very little of it. Lonely and impecunious\ngirls or women were frequently about her; she tried to keep them in", "'Now see why. Womanly and womanish are two very different words; but\nthe latter, as the world uses it, has become practically synonymous", "with the former. A womanly occupation means, practically, an occupation\nthat a man disdains. And here is the root of the matter. I repeat that", "two ladies--Mrs. Smallbrook and Miss Haven. They were aunt and niece;\nthe former a tall, ungainly, sharp-featured widow; the latter a", "'The poor woman died. Then I had a place scarcely less disagreeable.\nNow I have none at all; but I really must find one very soon.'\n\nShe laughed at this allusion to her poverty, and made nervous motions.", "lodging! How can we hope that any one will take her as a companion? And\nyet they are capitalists; eight hundred pounds between them. Think what\ncapable women might do with eight hundred pounds.'", "naturally--being one of them myself--take another view. I look upon\nthem as a great reserve. When one woman vanishes in matrimony, the", "who promise to be of some use in the world. This Miss Royston\nrepresents the profitless average--no, she is below the average. Are\nyou so blind as to imagine that any good will ever come of such a", "evidently feeling that she had got into strange society), and, as\nfriend of the bridegroom, one Mr. Newdick, a musty and nervous City", "'But surely, Miss Nunn,' cried the widow, turning to Rhoda, 'we work\nfor the abolition of all unjust privilege? To us, is not a woman a\nwoman?'", "'Work? What kind of work? They want to make women unwomanly, to make\nthem unfit for the only duties women ought to perform. You know very\nwell my opinions about that kind of thing.'" ], [ "love or to gratify his vanity. But Rhoda's idealism enabled her to take\nhim literally. She herself had for years maintained an exaggerated", "'Now there's a woman!' exclaimed Everard, not all in jest, for Rhoda's\nappearance had made his nerves thrill and his pulse beat. 'Look at her,", "EVERARD BARFOOT.'\n\nRhoda perused the sheet very attentively.\n\n'An impudent letter,' said Miss Barfoot. 'Just like him.'", "Rhoda had determined against marriage, and of him, especially, never\nthought for a moment as a possible husband. Well, that was what he\nwanted to ascertain.", "Useless to stay longer. As soon as the Widdowsons had departed he went\nup to Rhoda and silently offered his hand. She scarcely looked at him,\nand did not in the least return his pressure.", "'I have asked you twice. I ask for the third time.'\n\n'I won't marry you with the forms of marriage,' Rhoda answered in an\nabrupt, harsh tone.", "'You are still doubtful of me, Rhoda?'\n\nHe took her hand, and again drew her close. But she refused her lips.\n\n'Or are you doubtful of your own love?'", "Everard laughed bitterly. The completeness of the case against him in\nRhoda's eyes must be so overwhelming, and his absolute innocence made\nit exasperating to have to defend himself. How, indeed, was he to\ndefend himself?", "Their eyes met.\n\n'I suspected it. I felt sure it was coming. He asked you to marry him?'\n\n'No, he didn't,' replied Rhoda in purposely ambiguous phrase.", "Rhoda turned to the fire again.\n\n'Will you marry me?' he asked, moving a step nearer.\n\n'I think you are \"not quite serious\".'", "'You are resolved never to marry?'\n\n'I never shall,' Rhoda replied firmly.\n\n'But suppose marriage in no way interfered with your work?'", "'No,' said Rhoda firmly. 'I can't answer you tonight. I can't decide so\nsuddenly.'", "Miss Barfoot was not convinced. After Everard's departure that evening\nshe talked of the matter with Rhoda.", "Everard seized a little chair that was close by, planted it beside\nRhoda's, there seated himself and took possession of one of her hands.", "Before she could guess his purpose he had slipped a ring upon her\nfinger, a marriage ring. Rhoda started away from him, and at once drew\noff the perilous symbol.", "with so many years ago. And on this very account, precisely because she\nwas deceiving herself as to her state of mind, she prolonged the\npainful situation. She said to herself that Rhoda had behaved so", "Everard Barfoot's advances surprised her not a little. Judging him as a\nman wholly without principle, she supposed at first that this was", "'Hard-hearted? I think I understand.'\n\n'Do you?'\n\n'You mean that you like to see them live unmarried.'\n\nRhoda laughed merrily.", "Rhoda said nothing. He waited a moment, then moved to a seat much\nnearer hers. Her face hardened, and he saw her fingers lock together.", "regarded it. When the desire was intimated by letter, Rhoda replied\nwith a civil refusal: she would be altogether out of place at such a\nceremony, but hoped that Monica would accept her heartiest good wishes." ], [ "love or to gratify his vanity. But Rhoda's idealism enabled her to take\nhim literally. She herself had for years maintained an exaggerated", "her. But how if Everard resisted such tendencies? Was he in truth\ncapable of respecting her individuality? Or would his strong instinct\nof lordship urge him to direct his wife as a dependent, to impose upon", "what she wants. Oh, you are still very conventional, Everard. You meant\nshe ought to take up something graceful and pretty--something ladylike.'", "Mary complied, and freely answered his various questions. Then they sat\ndown on hard chairs by the fire, and Everard, leaning forward as if to\nwarm his hands, lost no more time in coming to the point.", "'Now I want to ask you a plain question,' Everard resumed. 'That letter\nyou wrote to me at Ostend--did it represent Rhoda's mind as well as\nyour own?'", "EVERARD BARFOOT.'\n\nRhoda perused the sheet very attentively.\n\n'An impudent letter,' said Miss Barfoot. 'Just like him.'", "'Now there's a woman!' exclaimed Everard, not all in jest, for Rhoda's\nappearance had made his nerves thrill and his pulse beat. 'Look at her,", "'Out of the question for me to leave the house,' he said, meeting her\neyes and smiling. 'You won't be hard upon a starving man?'\n\nAt once Rhoda made a pretence of having felt no hesitation.", "'That satisfies me.'\n\n'If I knew what is in your mind!' exclaimed Everard, laughing. 'What\nsort of life have you imagined for me? Is this the result of Mary's\ntalk?'", "Everard seized a little chair that was close by, planted it beside\nRhoda's, there seated himself and took possession of one of her hands.", "She came and shook hands. As he spoke a few natural words, Everard\nchanced to notice that the husband's eye was upon him, and with what a", "'Perhaps not,' admitted Rhoda, more cheerful now that she had gained\nher point. 'But we know several who will not dream of marrying unless\nreason urges them as strongly as inclination.'\n\nMiss Barfoot laughed.", "'You are resolved never to marry?'\n\n'I never shall,' Rhoda replied firmly.\n\n'But suppose marriage in no way interfered with your work?'", "wife, this frank avowal of the desire before a third person might\nremove some of the peculiar difficulties of the case. Whether willing\nor not to be wooed, Rhoda, in mere consistency with her pronounced", "'I should have thought,' replied Rhoda, elevating her eyebrows, 'that\nto live alone was the less of two evils.'\n\n'Undoubtedly. But men like these two we have been speaking of haven't a\nvery logical mind.'", "save that of love. Yet how did he think of that obligation? He might\nhold it perfectly compatible with the indulgence of casual impulse. And\nthis (which she suspected to be the view of every man) Rhoda had no", "'I have asked you twice. I ask for the third time.'\n\n'I won't marry you with the forms of marriage,' Rhoda answered in an\nabrupt, harsh tone.", "'And do you suppose,' asked Everard, with a smile of indulgence, 'that\nI could marry on four hundred and fifty a year?'\n\n'Heavens! Why not?'", "Rhoda turned to the fire again.\n\n'Will you marry me?' he asked, moving a step nearer.\n\n'I think you are \"not quite serious\".'", "Everard laughed bitterly. The completeness of the case against him in\nRhoda's eyes must be so overwhelming, and his absolute innocence made\nit exasperating to have to defend himself. How, indeed, was he to\ndefend himself?" ], [ "When, in a few days, a letter came to her from Miss Barfoot, she tore\nit open, and there--yes, there was Everard's handwriting. Mary had sent\nthe communication for her to read.", "But Rhoda, having adjusted everything that she was going to take with\nher, still had an occupation which kept her up for several hours. From\na locked drawer she brought forth packets of letters, the storage of", "First appeared an enclosure--a letter in his cousin Mary's writing. He\nturned to the other sheet and read these lines,--", "Rhoda took the sheet and quickly ran through its contents. Her face\nhardened, and she threw down the letter with a smile of contempt.\n\n'What do you advise?' asked the elder woman, closely observing her.", "But the suggestion in Mary's letter was not fruitless. When she had\nthought over it for a day or two she wrote to Virginia Madden, asking", "She sat down and broke the envelope. Whilst she was reading the letter\nto herself, Rhoda quietly left the room.", "For a moment Rhoda lost her self-control.\n\n'How can I help thinking so?' she exclaimed, with a gesture of misery.\n'What can this letter mean? Why should she go to your rooms?'", "Everard's letter put Rhoda beside herself with wrath. In writing it he\nknew it would come into her hands; he hoped to sting her with jealousy.", "regarded it. When the desire was intimated by letter, Rhoda replied\nwith a civil refusal: she would be altogether out of place at such a\nceremony, but hoped that Monica would accept her heartiest good wishes.", "'After all this, what have you to say to me, Rhoda?'\n\n'Will you please to give me your cousin's letter?' she said coldly.", "'That's just why I came to see you to-night.'\n\nMildred took a letter from her pocket, and half averted her face as she\nhanded it.", "messenger an hour or two ago. It surprised him to recognize Rhoda's\nwriting on the envelope, which seemed to contain at least two sheets of", "your letter, and we quarrelled about it. I wasn't disposed to beg and\npray for justice. I told Rhoda that her wish for evidence was an", "In a few minutes Mary made an excuse for absenting herself. When she\nwas gone, Rhoda looked steadily at Barfoot, and asked--\n\n'Have you really been out of town?'", "EVERARD BARFOOT.'\n\nRhoda perused the sheet very attentively.\n\n'An impudent letter,' said Miss Barfoot. 'Just like him.'", "in love, Mary did not scruple to suggest that her own knowledge in that\ndirection was complete. She did it in lightness of heart, secure under\nthe protection of her forty years. Rhoda, of course, understood her as", "his mind on a point too long in suspense. What was Rhoda Nunn doing? He\nhad heard nothing whatever of her. His cousin Mary wrote to him, whilst", "'My DEAR RHODA,--I have just gone through a very painful scene, and I\nfeel bound to let you know of it without delay, as it _may_ concern", "There was an address at the head of this letter, but certainly Barfoot\nexpected no reply, and Rhoda had no thought of sending one. Every", "A few evenings after, when Miss Barfoot had been sitting alone for an\nhour or two, Rhoda came to the library and took a place near her. The\nelder woman glanced up from her book, and saw that her friend had\nsomething special to say." ], [ "Monica and Everard she was unable to determine. The grounds of\nsuspicion seemed to her very grave; so grave, that during her first day", "His knock at the door was answered by the landlady herself. She told of\nMrs. Widdowson's arrival and departure. Ah, then Monica had no doubt", "had all but made up his mind to go and knock at the door when Monica\ncame forth.", "upstairs and tapped at the door. Virginia's voice inquired hurriedly\nwho was there, and on Monica's announcing herself there followed a\nstartled exclamation.", "she went. This man saw her go to the flats in Bayswater where Everard\nlives and knock at _his_ door. As no one replied, she went away for a", "They were close to the door by which Messrs. Scotcher's resident\nemployees entered at night. Monica had taken out her latchkey. But Miss\nEade could not endure the thought of being left in torturing ignorance.", "She opened the door, rapidly crossed the landing, and went upstairs.\nFeeling it was useless to follow, Widdowson allowed the door to remain\nwide, and waited. Five minutes passed and Monica came down again,\ndressed for leaving the house.", "When they reached the house at Herne Hill the sisters were both in a\nstate of nervous tremor. Monica had only the vaguest idea of the kind", "Until he had passed out of sight, Monica kept the same direction. Then\nshe turned round and hurried back, fearful lest the detention might", "'I've never been inside,' Monica answered indistinctly. 'Come; we shall\nbe unpunctual.'\n\n'I do wish you would tell me, dear--'", "At length he ventured a question. Monica affected no reluctance to tell\nhim that she was in a house of business, that she had relatives in\nLondon, that only by chance she found herself alone to-day.", "her, and no one entered in her rear. She knocked at her lover's door,\nand stood longing, praying, that it might open. But it did not. Tears", "cared to learn the names. Scarcely had she turned when she saw Everard\napproaching, still far off, but unmistakable. He signalled by taking\noff his hat, and quickly was beside her.", "'Who's that?' suddenly asked a voice from the occupied bed.\n\nThe speaker was Miss Eade. Monica looked at her, and nodded.\n\n'You? What are you doing here?'", "Monica, at first very attentive, was growing absent. Her eyes wandered\nabout the room. The other observed her closely, and, it seemed,\ndoubtfully.\n\n'Do you feel any impulse to try for it?'", "She came and shook hands. As he spoke a few natural words, Everard\nchanced to notice that the husband's eye was upon him, and with what a", "The meaning of this importunity had already flashed upon Monica, and\nnow she felt a slight pity for the tawdry, abandoned creature, in whom\nthere seemed to survive that hopeless passion of old days.", "Surely that was a knock at her door? Yes; it was repeated, with a\ndistinct calling of her name. She endeavoured to stand up.", "He turned back into the hall and reached his hat. Whilst he was doing\nso Monica opened the door. Heavy rain was falling, but she paid no heed", "itself. Of final farewell to Rhoda he had no thought whatever. Her\ncuriosity would, of course, compel her to see Monica; one way or" ], [ "'Mrs. Darby has found a place for Alice,' began Virginia. 'We heard by\nthe afternoon post yesterday. A lady at Yatton wants a governess for\ntwo young children. Isn't it fortunate?'", "Oddly enough, this was the case. On their return from Guernsey they had\ninvited Virginia to make a permanent home with them, and she refused.", "dead, and a new guardian administered the fund which was still a common\nproperty of the four surviving daughters. Alice plied her domestic\nteaching; Virginia remained a 'companion.' Isabel, now aged twenty,", "'We thought at first,' said Virginia, 'that when Alice had gone you\nmight like to share my room; but then the distance from Great Portland", "present, Virginia was to live on at Mrs. Conisbee's, but not in the old\nway; henceforth she would have proper attendance, and modify her", "On the way home from Queen's Road, Alice and Virginia pressed for\nimmediate decision; they were unable to comprehend how Monica could\nhesitate for another moment. The question of her place of abode had", "relief of altercation, and Virginia, through her secret vice, was\nlosing all self-control. They wrangled, wailed, talked of parting, and\nonly became quiet when their emotions had exhausted them. Yet no", "In a day or two Monica was removed to her sister's lodgings at Lavender\nHill. Mrs. Conisbee managed to put a room at her disposal, and Virginia", "And the elder ones will go on just keeping themselves alive; you can\nsee that. They'll never start the school that there's so much talk of.\nThat poor, helpless, foolish Virginia, alone there in her miserable", "after changing her dress in the room used by Monica, as she had done on\narriving, went off by train to her duties in Great Portland Street.\nVirginia alone remained to see the married couple start for their", "By nine o'clock the younger trio of sisters had gone to bed; Alice,\nVirginia, and Gertrude sat in the parlour, occupied with books, from", "Alice and Virginia were both standing in the hall when the door was\nopened; they beckoned him into a room.\n\n'Is it over?' he asked, staring from one to the other with his dazzled\neyes.", "A week passed. Alice had written from Yatton, and in a cheerful tone.\nVirginia, chronically excited, had made calls at Rutland Street and at", "'Alice, I am willing to make an agreement. If my husband will promise\nnever to come near Clevedon until I send for him I will go and live\nthere with you and Virgie.'", "And to-day it shone brightly. This was her birthday, the completion of\nher one-and-twentieth year. Alice and Virginia of course expected her", "It was the outcome of a long and intimate conversation. Alice Madden,\naged nineteen, a plain, shy, gentle-mannered girl, short of stature,", "'So long as that? How I wish I had known you were so near! I have been\nin London myself about two years. And your sisters?'\n\nVirginia explained Alice's absence, adding,--", "house, whither, in company with Virginia, the bride went early in the\nmorning. It was one of the quietest of weddings, but all ordinary", "Alice had brown hair, but very little of it. Virginia's was inclined to\nbe ruddy; it surmounted her small head in coils and plaits not without", "'Go to bed at once, Virginia,' said Monica. 'We're ashamed of you. Go\nback into my room, Alice, and I'll get her to bed.'" ], [ "'Now there's a woman!' exclaimed Everard, not all in jest, for Rhoda's\nappearance had made his nerves thrill and his pulse beat. 'Look at her,", "EVERARD BARFOOT.'\n\nRhoda perused the sheet very attentively.\n\n'An impudent letter,' said Miss Barfoot. 'Just like him.'", "'Now I want to ask you a plain question,' Everard resumed. 'That letter\nyou wrote to me at Ostend--did it represent Rhoda's mind as well as\nyour own?'", "Everard seized a little chair that was close by, planted it beside\nRhoda's, there seated himself and took possession of one of her hands.", "'Out of the question for me to leave the house,' he said, meeting her\neyes and smiling. 'You won't be hard upon a starving man?'\n\nAt once Rhoda made a pretence of having felt no hesitation.", "'I have no means of judging how she regards you, Everard.'\n\n'It is possible she even thinks me a liar?'\n\n'I understood you to say that she never refused to believe you.'", "Useless to stay longer. As soon as the Widdowsons had departed he went\nup to Rhoda and silently offered his hand. She scarcely looked at him,\nand did not in the least return his pressure.", "her from Everard Barfoot. He wrote formally; it had occurred to him\nthat he might be of some slight service, in view of her approaching\nholiday, if he looked through the guide-books, and jotted down the", "Mary complied, and freely answered his various questions. Then they sat\ndown on hard chairs by the fire, and Everard, leaning forward as if to\nwarm his hands, lost no more time in coming to the point.", "When, in a few days, a letter came to her from Miss Barfoot, she tore\nit open, and there--yes, there was Everard's handwriting. Mary had sent\nthe communication for her to read.", "cared to learn the names. Scarcely had she turned when she saw Everard\napproaching, still far off, but unmistakable. He signalled by taking\noff his hat, and quickly was beside her.", "'Do you love me any the less, Everard?'\n\n'Kiss me.'\n\nShe did, and consciousness was lost for them as their mouths clung\ntogether and their hearts throbbed like one.", "love or to gratify his vanity. But Rhoda's idealism enabled her to take\nhim literally. She herself had for years maintained an exaggerated", "interest. Her narrative, to which Mary listened with downcast eyes,\npresented the outlines of the story veraciously; she told of Everard's", "The agitation which found utterance in these words had its effect upon\nRhoda. In spite of herself she was touched by the note of womanly\ndistress.\n\n'Why have you come? Why do you tell me this?'", "She came and shook hands. As he spoke a few natural words, Everard\nchanced to notice that the husband's eye was upon him, and with what a", "Everard Barfoot's advances surprised her not a little. Judging him as a\nman wholly without principle, she supposed at first that this was", "'Then I suppose I must see Rhoda. Perhaps she will refuse to admit me?'\n\n'I can't say. But if she does her meaning would be unmistakable.'", "disposed for conversation, and Everard did not care to assail her\ntaciturnity this evening. He talked on a little longer, observing her\nas she listened, and presently took an opportunity to rise for", "Was it possible? Her cheek had coloured, ever so slightly. But with\nindignation, no doubt, for her eyes flashed sternly at him. Very\nunwillingly, Everard had no choice but to obey the command." ], [ "love or to gratify his vanity. But Rhoda's idealism enabled her to take\nhim literally. She herself had for years maintained an exaggerated", "'Now there's a woman!' exclaimed Everard, not all in jest, for Rhoda's\nappearance had made his nerves thrill and his pulse beat. 'Look at her,", "EVERARD BARFOOT.'\n\nRhoda perused the sheet very attentively.\n\n'An impudent letter,' said Miss Barfoot. 'Just like him.'", "Rhoda had determined against marriage, and of him, especially, never\nthought for a moment as a possible husband. Well, that was what he\nwanted to ascertain.", "Everard laughed bitterly. The completeness of the case against him in\nRhoda's eyes must be so overwhelming, and his absolute innocence made\nit exasperating to have to defend himself. How, indeed, was he to\ndefend himself?", "Before she could guess his purpose he had slipped a ring upon her\nfinger, a marriage ring. Rhoda started away from him, and at once drew\noff the perilous symbol.", "Useless to stay longer. As soon as the Widdowsons had departed he went\nup to Rhoda and silently offered his hand. She scarcely looked at him,\nand did not in the least return his pressure.", "'Rhoda!'\n\nShe paused and awaited him.\n\n'You remember that I was going to London to-morrow. It seems that I had\nbetter go and not trouble to return.'", "Rhoda was betraying the effort it had cost her to seem so\nself-possessed when she entered. Her colour had deepened, and she spoke\nhurriedly, unevenly.", "Her voice failed. She saw that Rhoda had begun to mistrust her, to\nthink that she was elaborating falsehoods. The burdensome silence was\nbroken by Miss Nunn's saying repellently,--", "_that_ would belittle her in Everard's eyes, and so shame her in her\nown that all hope of happiness in marriage must be at an end.", "A glance told her that Everard was not alone in his enjoyment of the\nevening. Rhoda led the talk into other channels, but Miss Barfoot\ncontinued to reflect on what she had perceived.", "Their eyes met.\n\n'I suspected it. I felt sure it was coming. He asked you to marry him?'\n\n'No, he didn't,' replied Rhoda in purposely ambiguous phrase.", "with so many years ago. And on this very account, precisely because she\nwas deceiving herself as to her state of mind, she prolonged the\npainful situation. She said to herself that Rhoda had behaved so", "'You are resolved never to marry?'\n\n'I never shall,' Rhoda replied firmly.\n\n'But suppose marriage in no way interfered with your work?'", "'Hard-hearted? I think I understand.'\n\n'Do you?'\n\n'You mean that you like to see them live unmarried.'\n\nRhoda laughed merrily.", "Rhoda said nothing. He waited a moment, then moved to a seat much\nnearer hers. Her face hardened, and he saw her fingers lock together.", "When her friendship with Rhoda Nunn had progressed to intimacy, she\ncould not refrain from speaking of her cousin Everard, absent at the", "And Rhoda, sitting late in the little lodging-house parlour, visited\nher soul with questionings no less troublesome. Everard was not", "They conversed naturally enough till the meal was over. Then their\nembarrassment revived, but this time it was Rhoda who took the\ninitiative." ], [ "Until he had passed out of sight, Monica kept the same direction. Then\nshe turned round and hurried back, fearful lest the detention might", "With strange suddenness, after several weeks of steady application to\nher work, in a cheerful spirit which at times rose to gaiety, Monica", "Her arrival was expected on the last day of September. The evening\nbefore, Monica went to bed soon after eight o'clock; for a day or two", "itself. Of final farewell to Rhoda he had no thought whatever. Her\ncuriosity would, of course, compel her to see Monica; one way or", "A few days later Monica had a sudden fit of illness. Her marriage, and\nthe long open-air holiday, had given her a much healthier appearance", "He abandoned the thought, at once and utterly. When Monica learnt\nthis--he gave only vague and unsatisfactory reasons--she fell back into\nher despondent mood. For a whole day she scarcely uttered a word.", "Monica's behaviour at luncheon. She ate scarcely anything; she seemed\nhurried, frequently glancing at the clock; and she lost herself in", "Monica, when she heard of this project, was at first moderately\ngrateful, but in a day or two showed by reviving strength and spirits", "Monica broke into sobbing. The strain of this last effort had overtaxed\nher strength.", "diminutive features, which were quite placid and relaxing in soft\ndrowsiness. The dark, bright eye was Monica's. And as the baby sank", "little later. In Monica these movements excited no special remark; they\nwere merely a continuance of his restlessness. But no sooner had he", "Monica could not reply. That word 'love' had grown a weariness to her\nupon his lips. She did not love him; could not pretend to love him.", "As for Monica, she saw the white dawn peep at the window, and closed\nher tear-stained eyes only when the life of a new week had begun\nnoisily in Walworth Road.", "They embraced, and kissed each other, Monica, when she had withdrawn\nher hot lips, again murmuring words of gratitude. Then in silence they\nwent together to the house-door, and in silence parted.", "'It's all right,' Monica murmured, as her head sank on the pillow. 'I\nfeel so relieved and so glad--so happy--now I have done it.'", "The other nodded and assumed an attitude of sober attention. In\nrelating her story, Monica moved hither and thither; now playing with", "occasions, after dinner, Rhoda sat in complete idleness, her face\ndeclaring the troubled nature of her thoughts. On the Sunday before\nher departure she took a sudden resolve and went to call upon Monica at", "It was the end of one more acute stage in their progressive discord. By\nkeeping at home for a fortnight, Monica soothed her husband and", "Monica paid for the energy she had put forth by a day of suffering. Her\nhead ached intolerably; she had feverish symptoms, and could hardly", "together. Most reluctantly he consented to her going any distance\nalone, for whatever purpose. Public entertainments he regarded with no\ngreat favour, but when he saw how Monica enjoyed herself at concert or" ], [ "But Rhoda, having adjusted everything that she was going to take with\nher, still had an occupation which kept her up for several hours. From\na locked drawer she brought forth packets of letters, the storage of", "Rhoda swept the distance with indifferent eyes.\n\n'Mary was fond of this girl?' he inquired, watching her.\n\n'Yes, she was.'", "Rhoda mused when she had made this remark.\n\n'Do you know,' she asked presently, 'whether she sees much of Mrs.\nWiddowson?'\n\n'I have no idea.'", "In a few minutes Mary made an excuse for absenting herself. When she\nwas gone, Rhoda looked steadily at Barfoot, and asked--\n\n'Have you really been out of town?'", "'They are excellent creatures,' said Rhoda; 'kind, innocent women; but\nuseful for nothing except what they have done all their lives. The", "A few evenings after, when Miss Barfoot had been sitting alone for an\nhour or two, Rhoda came to the library and took a place near her. The\nelder woman glanced up from her book, and saw that her friend had\nsomething special to say.", "in love, Mary did not scruple to suggest that her own knowledge in that\ndirection was complete. She did it in lightness of heart, secure under\nthe protection of her forty years. Rhoda, of course, understood her as", "his mind on a point too long in suspense. What was Rhoda Nunn doing? He\nhad heard nothing whatever of her. His cousin Mary wrote to him, whilst", "They conversed naturally enough till the meal was over. Then their\nembarrassment revived, but this time it was Rhoda who took the\ninitiative.", "occasions, after dinner, Rhoda sat in complete idleness, her face\ndeclaring the troubled nature of her thoughts. On the Sunday before\nher departure she took a sudden resolve and went to call upon Monica at", "Rhoda said nothing. He waited a moment, then moved to a seat much\nnearer hers. Her face hardened, and he saw her fingers lock together.", "'I haven't to do with the subject at all,' Rhoda answered, with perhaps\na trace of impatience. 'My work and thought are for the women who do", "Thither every weekday morning Miss Barfoot and Rhoda repaired; they\narrived at nine o'clock, and with an hour's interval work went on until\nfive.", "Rhoda put a hand on each side of the girl's face, and kissed her, but\nwithout saying a word; and thereupon left the house. Mildred Vesper,", "Rhoda became so busy with her tumultuous thoughts that she spoke only a\nword now and then, allowing Mrs. Cosgrove to talk at large on this\nengrossing theme.", "love or to gratify his vanity. But Rhoda's idealism enabled her to take\nhim literally. She herself had for years maintained an exaggerated", "engagement to dine out that evening, and Rhoda ended by inviting Milly\nto come home with her to Chelsea. To Milly this was a great honour; she", "Rhoda took the sheet and quickly ran through its contents. Her face\nhardened, and she threw down the letter with a smile of contempt.\n\n'What do you advise?' asked the elder woman, closely observing her.", "was no match for Rhoda's vigorous abruptness. But the two were very\nfond of each other, and by this time thought themselves able safely to\ndispense with the forms at first imposed by their mutual relations.", "Rhoda led him to the drawing-room, excused herself for a few moments,\nand came back in her ordinary evening dress. Barfoot noticed that her" ], [ "It was the outcome of a long and intimate conversation. Alice Madden,\naged nineteen, a plain, shy, gentle-mannered girl, short of stature,", "Widdowson looked at her, not understanding; whereupon she broke into\ntears, and made known that her sister was such a slave to strong drink", "To-night she drank her first glass quickly; a consuming thirst was upon\nher. By half-past eight the second was gently steaming at her elbow. At", "She rose and poured out a glass of water. Her hand trembled as she\ndrank. Widdowson fell into gloomy abstraction. Later, as they lay side", "undermining the man's health. Words could not have declared his trouble\nmore plainly than the haggard features and stiff, depressed,\nself-conscious manner. He fixed his sunken eyes upon the visitor, and", "About three o'clock there fell a heavy shower of rain. Strangely\nagainst his habits, Widdowson turned into a quiet public-house, and sat", "'I live very quietly,' was his reply, 'thinking of grave problems most\nof my time. You know I am a great deal alone.'\n\n'Naturally.'\n\n'No; anything but naturally.'", "to her turbid existence. Like most of her female associates, she had\nfree recourse to the bottle; but for such stimulus the life of a smart\nwoman would be physically impossible. And Mrs. Luke enjoyed life,", "'To-morrow,' said Monica, 'we must talk to her very seriously. I\nbelieve she has been drinking like that night after night. It explains", "'Something like that, they say. So many _odd_ women--no making a pair\nwith them. The pessimists call them useless, lost, futile lives. I,", "and always with the bitterest sense of degradation. To sit comfortably\nat home, the bottle beside her, and a novel on her lap, was an", "'I had an odd thought whilst I was there.' Everard leaned his head\nback, and half closed his eyes. 'Miss Nunn, I warrant, considers", "'It amounted to that. From quite a child, Everard was at odds with his\nfather. A strange thing, for in so many respects they resembled each", "an ordinary way, would enjoy very little of it. Lonely and impecunious\ngirls or women were frequently about her; she tried to keep them in", "evidently feeling that she had got into strange society), and, as\nfriend of the bridegroom, one Mr. Newdick, a musty and nervous City", "He seemed relieved, but only for the instant; then his eyes glanced\nhither and thither, with painful restlessness. Rhoda observed him\nclosely. After fidgeting with his feet, he suddenly took a stiff\nposition, and said in a louder voice--", "'I am convinced his madness didn't come from business anxiety. It was\nthe necessity, ever recurring, ever before him, of expounding jokes to\nhis wife. Believe me, it was nothing but that.'", "begun to torture him. He went and walked about in the library, but\ncould not dispel his suffering. Vain to keep repeating that Monica was", "She reached the house by half-past one, bringing in a paper bag\nsomething which was to serve for dinner. Alice had a wretched\nappearance; her head ached worse than ever.", "He must find more society for them; they had always been too much\nalone, whence their shyness among strangers. If their mother had but\nlived!" ], [ "Now this undoubtedly might be considered a love-letter, and it was the\nfirst of its kind that Monica had ever received. No man had ever", "'Monica!' He put his hands on her shoulders, whispering hoarsely,\n'Monica! don't you love me?'\n\nShe looked away, not replying.\n\n'Monica!'", "together. Most reluctantly he consented to her going any distance\nalone, for whatever purpose. Public entertainments he regarded with no\ngreat favour, but when he saw how Monica enjoyed herself at concert or", "He stepped forward to block the head of the stairs, but again Monica\nwas too quick for him. She fled down, and across the hall, and to the", "'It is quite unfounded, I do assure you. Monica is not guilty. The poor\nchild has done nothing--it was an indiscretion--nothing more than\nindiscretion--'", "to Monica. She says he seemed on the point of killing her. He is a man\nof very severe nature, I have always thought. He never could bear that", "The blood boiled in his veins. His first impulse was to walk straight\nup to Monica and bid her follow him. But the ecstasy of jealous\nsuffering kept him an observer. He watched the pair until he was\ndescried.", "Monica's statement he neither believed nor disbelieved; he simply could\nnot make up his mind about it. She had lied to him so resolutely", "from him. When he came back to the room after his bath, Monica propped\nherself on her elbow and asked why he was moving so early.", "'Monica--you are deceiving us all. You are guilty.'\n\n'Why do you say that?'\n\n'I know it. I have watched you. You betray yourself when you are\nthinking.'", "little later. In Monica these movements excited no special remark; they\nwere merely a continuance of his restlessness. But no sooner had he", "'Yes, Monica, I do believe you.'\n\n'If you have any doubt, I can show you a letter he wrote to me from\nabroad, which will prove--'\n\n'I believe you absolutely.'", "CHAPTER IV\n\nMONICA'S MAJORITY", "They embraced, and kissed each other, Monica, when she had withdrawn\nher hot lips, again murmuring words of gratitude. Then in silence they\nwent together to the house-door, and in silence parted.", "Monica could not reply. That word 'love' had grown a weariness to her\nupon his lips. She did not love him; could not pretend to love him.", "perceive that he must exert authority in a way he had imagined would\nnever be necessary. All his fears, after all, were not groundless.\nMonica's undomestic life, and perhaps the association with those", "'It's nothing particular,' said Monica, putting it away under her\npillow. 'Thank you, dear.'\n\nBut her cheeks had become hot, and she trembled.\n\n'Monica--'", "connected with his visit to Mr. Newdick. But this went on. At nine\no'clock Monica still sat alone, hungry, yet scarce conscious of hunger", "He abandoned the thought, at once and utterly. When Monica learnt\nthis--he gave only vague and unsatisfactory reasons--she fell back into\nher despondent mood. For a whole day she scarcely uttered a word.", "'I said _you_ would respect and like him,' exclaimed Monica, with\nhumorous impatience. 'I don't want _you_ to love him.'\n\nMildred laughed, with constraint." ], [ "itself. Of final farewell to Rhoda he had no thought whatever. Her\ncuriosity would, of course, compel her to see Monica; one way or", "EVERARD BARFOOT.'\n\nRhoda perused the sheet very attentively.\n\n'An impudent letter,' said Miss Barfoot. 'Just like him.'", "Everard's letter put Rhoda beside herself with wrath. In writing it he\nknew it would come into her hands; he hoped to sting her with jealousy.", "Monica and Everard she was unable to determine. The grounds of\nsuspicion seemed to her very grave; so grave, that during her first day", "When, in a few days, a letter came to her from Miss Barfoot, she tore\nit open, and there--yes, there was Everard's handwriting. Mary had sent\nthe communication for her to read.", "regarded it. When the desire was intimated by letter, Rhoda replied\nwith a civil refusal: she would be altogether out of place at such a\nceremony, but hoped that Monica would accept her heartiest good wishes.", "occasions, after dinner, Rhoda sat in complete idleness, her face\ndeclaring the troubled nature of her thoughts. On the Sunday before\nher departure she took a sudden resolve and went to call upon Monica at", "They did not talk of Everard. Whether Rhoda replied to his letters from\nabroad Miss Barfoot had no means of ascertaining. But after his return", "'Now there's a woman!' exclaimed Everard, not all in jest, for Rhoda's\nappearance had made his nerves thrill and his pulse beat. 'Look at her,", "Everard laughed bitterly. The completeness of the case against him in\nRhoda's eyes must be so overwhelming, and his absolute innocence made\nit exasperating to have to defend himself. How, indeed, was he to\ndefend himself?", "When her friendship with Rhoda Nunn had progressed to intimacy, she\ncould not refrain from speaking of her cousin Everard, absent at the", "'Oh, Miss Madden is useless. Monica cannot look to her for advice or\nsupport.'\n\nAfter this conversation Rhoda passed a very unquiet night, and gloom\nappeared in her countenance for the next few days.", "A glance told her that Everard was not alone in his enjoyment of the\nevening. Rhoda led the talk into other channels, but Miss Barfoot\ncontinued to reflect on what she had perceived.", "Rhoda laughed and went away, leaving Miss Barfoot with the impression\nthat she had revealed a genuine impulse. It seemed not impossible that\nRhoda might wish to say to her lover: 'Face this monstrous scandal and\nI am yours.'", "'Of course the truth can never be known,' said Rhoda, with sudden\nindifference. 'And it doesn't matter. Thank you for satisfying my\ncuriosity.'\n\nMiss Barfoot waited a moment, then laughed.", "His knock at the door was answered by the landlady herself. She told of\nMrs. Widdowson's arrival and departure. Ah, then Monica had no doubt", "'Now I want to ask you a plain question,' Everard resumed. 'That letter\nyou wrote to me at Ostend--did it represent Rhoda's mind as well as\nyour own?'", "interest. Her narrative, to which Mary listened with downcast eyes,\npresented the outlines of the story veraciously; she told of Everard's", "'It matters a good deal. Have you told her any scandal about me?'\n\n'Yes, I have.'\n\nEverard looked at her with surprise.", "Monica's announcement that she must go out alone after nightfall\nalarmed her sisters. When told that her visit was to Rhoda Nunn they\nwere somewhat relieved, but Alice begged to be permitted to accompany\nher." ], [ "For private reasons, Monica contrasted this attitude towards Bevis with\nthe disfavour her husband had shown to Mr. Barfoot, and was secretly\nmuch amused.", "'I didn't think much of the girl's singing, but that fellow Bevis\nwasn't bad.'\n\nMonica examined him as he spoke, and seemed to suppress a laugh.", "Mr. Bevis entered the room, and Monica recognized the sprightly young\nman whom she had seen on the quay. The hostess presented him to her new", "Laughing, Monica at length agreed to come if circumstances were\nfavourable. Her talk with Bevis continued for a long time, until people", "Meanwhile Monica had been captured by Mrs. Bevis, who discoursed to her\non a subject painfully familiar to all the old lady's friends.", "His will, and her inclination, prevailed. Monica sat down again, and\nBevis disappeared to make the tea. Water must have been already", "and he even surmised the possibility of Monica's having listened to\nlove-making from that quarter previously to her intimacy with Bevis. He", "Subsequently, Monica had several long conversations with the old lady.\nImpelled to gossipy frankness about all her affairs, Mrs. Bevis allowed", "At this moment Monica was starting by train from Bayswater, after her\nparting with Bevis. Arrived at Victoria, she crossed to the main", "Monica gave no verbal reply. She looked towards the door. Bevis stepped\nforward, and held it open.", "'I shan't sleep here after to-night,' Bevis began, his agitation\nscarcely less obvious than Monica's. 'To-morrow I shall be packing what\nis to go with me. How I hate it all!'", "with Bevis. No, Bevis is a man one can trust; one talk with him\nproduces a lasting favourable impression.'", "'Take me away with you!' Monica then cried, clasping her hands\ntogether. 'I can't live with _him_. Let me go with you to France.'\n\nBevis's blue eyes widened with consternation.", "together. Most reluctantly he consented to her going any distance\nalone, for whatever purpose. Public entertainments he regarded with no\ngreat favour, but when he saw how Monica enjoyed herself at concert or", "to meet Bevis, whom she had seen twice since her visit to the flat. A\nday or two after that occasion, she received a call from the Bevis\ngirls, who told her of their brother's approaching departure for", "Both were shaking in the second stage of terror. Bevis put his arm\nabout Monica, and felt her heart give great throbs against his own.\nTheir passion for the moment was effectually quenched.", "'Are we friends?' he said, with the attempt at playfulness which always\nmade him look particularly awkward.\n\n'Of course we are,' Monica answered, smiling, but not regarding him.", "favourable to Bevis. On his account she had braved this ignominy, and\nit drew her towards him, instead of producing the effect which would\nhave seemed more natural. Perhaps the reason was that she felt herself", "'That was how I came to know that _you_ live there,' said Monica. 'My\nhusband took me to call upon the Bevises, and there we saw your name.", "She told him the circumstances. Bevis kept his eyes upon her face, with\na look of rapt adoration which turned at length to pain and woeful\nperplexity." ], [ "Monica and Everard she was unable to determine. The grounds of\nsuspicion seemed to her very grave; so grave, that during her first day", "'I shan't sleep here after to-night,' Bevis began, his agitation\nscarcely less obvious than Monica's. 'To-morrow I shall be packing what\nis to go with me. How I hate it all!'", "His knock at the door was answered by the landlady herself. She told of\nMrs. Widdowson's arrival and departure. Ah, then Monica had no doubt", "make her late, and Bevis might lose hope of her coming. There could be\nno one in the building now whom she need fear to meet. She opened the\nbig entrance door and went up.", "But then sounded a knock from above. That, she felt convinced, was at\nBevis's door, and if so her conjecture about the workman was correct.", "So she got away without any explanation. At a quarter to four she\nreached the block of flats in which the Bevises (and Everard Barfoot)", "door. But the door did not open; thus, without going up herself, she\nreceived assurance that Bevis was not at home. He might come later. She", "Monica gave no verbal reply. She looked towards the door. Bevis stepped\nforward, and held it open.", "Mr. Bevis entered the room, and Monica recognized the sprightly young\nman whom she had seen on the quay. The hostess presented him to her new", "Bevis must have been waiting for the sound of her light footstep; his\ndoor flew open before she could knock. Without speaking, a silent laugh\nof joy upon his lips, he drew back to make room for her entrance, and\nthen pressed both her hands.", "At this moment Monica was starting by train from Bayswater, after her\nparting with Bevis. Arrived at Victoria, she crossed to the main", "For private reasons, Monica contrasted this attitude towards Bevis with\nthe disfavour her husband had shown to Mr. Barfoot, and was secretly\nmuch amused.", "she went. This man saw her go to the flats in Bayswater where Everard\nlives and knock at _his_ door. As no one replied, she went away for a", "might have left Bevis's flat. A conflict of emotions excited her to\npanic. She was afraid either to advance or to retreat, and in equal\ndread of standing without purpose. She stepped up to the nearest door,", "upstairs and tapped at the door. Virginia's voice inquired hurriedly\nwho was there, and on Monica's announcing herself there followed a\nstartled exclamation.", "and he even surmised the possibility of Monica's having listened to\nlove-making from that quarter previously to her intimacy with Bevis. He", "They were close to the door by which Messrs. Scotcher's resident\nemployees entered at night. Monica had taken out her latchkey. But Miss\nEade could not endure the thought of being left in torturing ignorance.", "seemed to her a sufficient proof that Bevis was not at home, and that\nthe stranger must have come forth from the flat opposite his. But she\nrecollected the incident which had so alarmingly disturbed her and her", "Until he had passed out of sight, Monica kept the same direction. Then\nshe turned round and hurried back, fearful lest the detention might", "knocked at Bevis's door passed once or twice along the pavement, and,\nas long as she remained here, kept the shop within sight." ] ]

[ "Who courts Rhoda in the story?", "Who is Edmund Widowson?", "What causes Rhoda to break off Everard's engagement offer?", "What causes Everard to fall for Rhoda to begin with?", "What happens to Monica after her infidelity?", "Whose baby is Rhoda holding at the end of the story?", "Why does Rhoda turn down Everards second engagement offer?", "What ailment does Virginia suffer from?", "Who does Rhoda live with?", "Who hires a detective to spy on Monica?", "What skills do Rhoda and Mary teach to young unmarried women?", "Where is Widdowson's rented house that Monica and her sisters move to?", "What is Bevis and Everard's relationship?", "What does \"odd women\" mean?", "Why does Rhoda reject Everard's proposal the second time?", "What is the conventional response Rhoda gives to Everard when he asks to live in free-union?", "What was in the letter from Mary to Rhoda?", "Why does Monica knock on Everard's door?", "Where do Alice and Virginia move to when they grow up?", "What does Everard ask of Rhoda, which she refuses, when visiting her in Northumberland?", "Why does Rhoda break off her betrothal to Everard?", "What happens to Monica after giving birth to her baby?", "What occupation are Mary and Rhoda engaged in?", "Who becomes an alcoholic to deal with being odd?", "Who is the father of Monica's baby?", "How does Rhoda find out about Everard's alleged affair with Monica?", "What is Monica's relationship with Bevis?", "Why does Monica knock on Everard's door instead of Bevis' door?" ]

[ [ "Everard", "Everard Barfoot." ], [ "Monica Madden's husband.", "Monicas husband." ], [ "A letter from Mary detailing Everard's affair with Monica.", "Everard's suppose affair with Monica." ], [ "Her intellectual independence.", "Her intellectual independence." ], [ "She moves with her sisters to a home in Clevedon at her husband's expense?", "She leaves Widdowson." ], [ "Monica's daughter.", "Monica's." ], [ "She feels his love was not quite serious.", "She did not think he was serious about loving her" ], [ "Virginia is an alcoholic.", "Alcoholism." ], [ "Mary Barfoot", "Mary Barfoot" ], [ "Edmund Widdowson", "her husband" ], [ "Secretarial ", "Secretarial." ], [ "Clevedon", "London" ], [ "Neighbors", "They live in the same building." ], [ "Unmarried women", "Anti-marriage." ], [ "Because she thinks he was not serious", "The supposed affair with Monica" ], [ "That she wants to be legally married", "She asks to be with him in a legal union." ], [ "An accusation of Everard's infidelity with Monica", "Information about Everards possible affair with Monica." ], [ "To avoid being caught with Bevis. ", "She feels she is being followed, and knocks on his door to avoid suspicion" ], [ "They move to London.", "London" ], [ "To live together.", "That they enter a free-union" ], [ "She believes he had an affair.", "She receives a letter telling of Everard's supposed affair with Monica" ], [ "She dies.", "She dies." ], [ "They run a business teaching secretaries.", "They teach secretarial skills to young ladies" ], [ "Virginia.", "Virginia" ], [ "Edmund Widdowson.", "Bevis" ], [ "A letter from Mary.", "Mary sends her a letter telling her." ], [ "They are having an affair/lovers.", "Wife" ], [ "To fool the detective.", "Someone is following her and she wishes to appear innocent." ] ]

[ [ "Countess was living to supply her needs as though he were performing an\nact of charity. Then to hide my wife, to secure her against discovery,\nto find her a housekeeper who would be devoted to me and be my", "woman that he did not see me. The appearance of this hag filled me with\nstrange suspicions, suspicions that were all the better founded because\nI never found that the Count invested his savings. Is it not shocking to", "your husband. The delightful seclusion you enjoy is the Count's work,\nthe money you earn is paid by him, and his protection extends to the\nmost trivial details of your existence. Your husband has saved you", "\"We allowed a few days to pass on the watch, for great sorrows have a\ndiffidence of their own; but at last, one evening, the Count said in a\ngrave voice:\n\n\"'Stay.'", "\"I went back to the Count to announce the arrival of his relations, and\nI saw him grown young again in the reflected light of hope.\n\n\"'What ails you, Maurice?' said he, struck by my changed expression.", "Count, who for nine years has never allowed himself to be seen here,\nwill never go there without your permission. You have his sublime\ndevotion of nine years as a guarantee for your tranquillity. You may", "enough to account for all the enigmas of the heart--I changed the state\nof the house. Neglect of his own interests was carried by the Count", "decaying fragrance mounted strangely to his brain. The Count loved his\ncountry; he devoted himself to public interests with the frenzy of a\nheart that seeks to cheat some other passion; but the studies and", "\"During these months the Count and I reciprocally studied each other. I\nlearned with astonishment that Comte Octave was but thirty-seven years", "this violet buried in her thicket of flowers was happy. In a few days\nwe had reached a certain degree of intimacy, the result of our close\nneighborhood and of the Countess' conviction that I was indifferent to", "\"Sometimes the Count would give me a look of that sagacious and\nkeen-eyed curiosity by which one man searches another when he desires", "\"'How?' said she; her whole person was a question.\n\n\"'Your letter is in the Count's hands.'", "lofty in public, the Count betrayed the man only on rare intervals when,\nalone in his garden or his study, he supposed himself unobserved; but\nthen he was a child again, he gave course to the tears hidden beneath", "piano, so conscious are they of the annoyance that will follow. As\nyou may imagine, the necessity for overcoming my dislike to speak had\ninduced the Countess to strengthen the bonds of our intimacy; but she", "\"Now a harmless lunatic is the only man whom no woman ever distrusts\nin the matter of sentiment. You will see how wise the Count had been in\nchoosing this disguise for me.", "compromised. He will himself bring the Count's answer. In the presence\nof that saintly man, and in mine, out of respect for your own dignity,", "himself--Grandville and Serizy, both presiding judges--had no hold over\nthe Count: either he told them nothing, or they knew all. Impassible and", "\"The light that flashed in my eyes was another reply which would have\ndissipated the Countess' uneasiness if she still had any. Thus the Count\nfound me useful to the very last.", "\"'Oh! I know what you are about to say,' cried the Count, seeing a\nquestion in my eyes and on my lips. 'Yes, yes; I have made the attempt.", "drama indeed, for I understood that there could be no vulgar difference\nbetween the woman that Count could choose and such a character as his.\nThe events which had driven the Countess to leave a man so noble, so" ], [ "a mule. Honorine was bent on earning her living. My wife works! For five\nyears past I have lodged her in the Rue Saint-Maur, in a charming little", "\"'\"At first,\" she went on, \"you asked no more. Now you demand your wife.\nWell, here I give you Honorine, such as she is, without deceiving you as", "ceased to worship her. From the day when she left me I have lived on\nmemory; one by one I recall the pleasures for which Honorine no doubt\nhad no taste.", "\"Though slight, Honorine was not thin, and her figure struck me as\nbeing one that might revive love when it believed itself exhausted. She", "women. A look would have spoilt all, and I never allowed a thought of\nher to be seen in my eyes. Honorine chose to regard me as an old friend.", "Honorine? But that would be to run the risk of a third removal. The\nlast cost me fifty thousand francs. The purchase was made in the first\ninstance in the name of the secretary whom you succeeded. The unhappy", "done. Honorine, on recognizing my writing, had thrown the letter into\nthe fire without reading it.--\"Madame Gobain,\" she had exclaimed, \"I\nleave this to-morrow.\"", "\"'Monsieur,' said Honorine, folding up the letter, which she placed in\nher bosom, and looking at my uncle, 'thank you very much. I will avail", "and women both, and I indulged in them, hoping to bring Honorine to\nthe confidential point; but she was not to be caught in any trap, and I", "remained stunned. Afterwards, reflection counseled me to continue in\nignorance, and Honorine's misfortunes have since taught me too much", "me, Honorine, as I had but one heart. My husband had the young girl, a\nworthless lover had the woman--there is nothing left!--Then let myself", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "\"Honorine started like a frightened doe, sprang to a few paces off,\nwalked down the garden, turned about, remained standing for some", "word she has spoken, for a single exclamation might betray to me the\nsecrets of that soul which is wilfully deaf and dumb. Honorine is pious;", "Comtesse Honorine; she had the feeling of cool balm on her wounds, and\nbeamed in the reflection of that virtue which gave light without knowing\nit.", "the heart I worship. I go every evening to chat with the old woman, to\nhear from her all that Honorine has done during the day, the lightest", "\"We then agreed as to what I was to do that evening at Honorine's house,\nwhither I presently returned. It was now August; the day had been hot", "fresh air for Honorine, whose garden would then be a sort of narrow\nalley shut in between my wall and her own little house. This dwelling,", "Onorina's dower was a million of francs. As to the fortune of the Casa\nPedrotti, estimated at two millions, made in the corn trade, the young", "to the eye, a flower of fragrance, a heavenly flower to the soul....\nHonorine inspired devotion, chivalrous devotion, regardless of reward. A\nman on seeing her must say to himself:" ], [ "that Maurice was your secretary. Never mention my name to her, or\nall will be undone.... You have got me an appointment as Maitre\ndes Requetes--well, get me instead some diplomatic post abroad, a", "\"'Maurice,' he exclaimed, 'you are no longer my apprentice; I know not\nyet what you will be to me--but if no change occurs in my life, perhaps\nyou will take the place of a son.'", "\"'Ah, Maurice,' said she, 'you know how to love.'", "Maurice, an indiscriminating passion in a husband is a mistake that may\nlead to any crime in a wife. I had no doubt left all the faculties of", "\"'MY DEAR MAURICE,--", "\"'MONSIEUR MAURICE,--I am dying though I am a mother--perhaps because\nI am a mother. I have played my part as a wife well; I have deceived my", "Saint-Maur in the little garden-house which I have at his disposal. It\nis my distant cousin, Baron de l'Hostal, a lawyer high in office...\"", "\"'What has happened, madame? Monsieur Maurice is crying like a child.'", "when he felt the tether by which he held me strained too tightly and\nready to break, he would never fail to say, 'Here, Maurice, you too", "\"'MONSIEUR MAURICE,--", "\"I went back to the Count to announce the arrival of his relations, and\nI saw him grown young again in the reflected light of hope.\n\n\"'What ails you, Maurice?' said he, struck by my changed expression.", "repentance? No; you owe this position to his Highness, the Keeper of\nthe Seals. My dear Maurice, you will be as much at home there as in your", "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "this evening, Maurice. We will talk of my situation when I have grown\nused to the idea of speaking of it to you. When we suffer from a\nchronic disease, it needs time to become accustomed to improvement. That", "\"'Forgive me, my dear fellow. I did not see Maurice,' the President went\non. 'Serizy and I, after being the witnesses to your marriage, became", "\"'Get yourself dressed, my dear boy; I am going to introduce you to some\none who is willing to engage you as secretary. If I am not mistaken, he", "\"'You are going already Maurice?' she said, without looking at me.", "\"'Well, madame, my uncle got a place for a penniless youth as secretary\nto the Commissary of police in this part of Paris. That young man told", "gentleman, while placing him in circumstances analogous to what his\nreally were. His profession, rank, luxury, fortune, and style of living\nwere the same; all these details are true, but I would not be false to", "who lived with him ever guessed the secret. His motto seemed to be,\n'I suffer, and am silent.' The escort of respect and admiration\nwhich attended him; the friendship of workers as valiant as" ], [ "\"Honorine then took out the Count's letter again to finish reading it.\nMy uncle signed to me, and I rose.\n\n\"'Let us leave the Countess,' said he.", "\"I went back to the Count to announce the arrival of his relations, and\nI saw him grown young again in the reflected light of hope.\n\n\"'What ails you, Maurice?' said he, struck by my changed expression.", "\"'How?' said she; her whole person was a question.\n\n\"'Your letter is in the Count's hands.'", "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "that Maurice was your secretary. Never mention my name to her, or\nall will be undone.... You have got me an appointment as Maitre\ndes Requetes--well, get me instead some diplomatic post abroad, a", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "\"'MONSIEUR MAURICE,--I am dying though I am a mother--perhaps because\nI am a mother. I have played my part as a wife well; I have deceived my", "compromised. He will himself bring the Count's answer. In the presence\nof that saintly man, and in mine, out of respect for your own dignity,", "Saint-Maur in the little garden-house which I have at his disposal. It\nis my distant cousin, Baron de l'Hostal, a lawyer high in office...\"", "\"'Monsieur,' said Honorine, folding up the letter, which she placed in\nher bosom, and looking at my uncle, 'thank you very much. I will avail", "\"'Ah, Maurice,' said she, 'you know how to love.'", "Honorine? But that would be to run the risk of a third removal. The\nlast cost me fifty thousand francs. The purchase was made in the first\ninstance in the name of the secretary whom you succeeded. The unhappy", "\"'\"At first,\" she went on, \"you asked no more. Now you demand your wife.\nWell, here I give you Honorine, such as she is, without deceiving you as", "Count, who for nine years has never allowed himself to be seen here,\nwill never go there without your permission. You have his sublime\ndevotion of nine years as a guarantee for your tranquillity. You may", "Countess was living to supply her needs as though he were performing an\nact of charity. Then to hide my wife, to secure her against discovery,\nto find her a housekeeper who would be devoted to me and be my", "\"'Well,' said Honorine, 'madmen frighten me less than sane folks; I will\nspeak to him myself! Tell him that I beg him to come here. If I do not\nsucceed, I will send for the cure.'", "\"Comtesse Honorine is not unique of her kind,\" replied the Ambassador\nto Mademoiselle des Touches. \"A man, nay, and a politician, a bitter", "done. Honorine, on recognizing my writing, had thrown the letter into\nthe fire without reading it.--\"Madame Gobain,\" she had exclaimed, \"I\nleave this to-morrow.\"", "\"The light that flashed in my eyes was another reply which would have\ndissipated the Countess' uneasiness if she still had any. Thus the Count\nfound me useful to the very last.", "you; you embarked, escorted by two ladies of her family and an old\nman-servant. The Count says that he has sent agents to various spots,\nand received letters which give him great hopes. He takes as many" ], [ "\"'\"At first,\" she went on, \"you asked no more. Now you demand your wife.\nWell, here I give you Honorine, such as she is, without deceiving you as", "\"'Monsieur,' said Honorine, folding up the letter, which she placed in\nher bosom, and looking at my uncle, 'thank you very much. I will avail", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "remained stunned. Afterwards, reflection counseled me to continue in\nignorance, and Honorine's misfortunes have since taught me too much", "\"'When I was six-and-twenty, and Honorine nineteen, we were married.\nOur respect for my father and mother, old folks of the Bourbon Court,", "Honorine? But that would be to run the risk of a third removal. The\nlast cost me fifty thousand francs. The purchase was made in the first\ninstance in the name of the secretary whom you succeeded. The unhappy", "HONORINE\n\n\nBy Honore De Balzac\n\n\n\nTranslated by Clara Bell\n\n\n\n DEDICATION", "GUTENBERG EBOOK HONORINE ***\n\n\n\n\nProduced by John Bickers, and Dagny", "done. Honorine, on recognizing my writing, had thrown the letter into\nthe fire without reading it.--\"Madame Gobain,\" she had exclaimed, \"I\nleave this to-morrow.\"", "\"'My father had a ward, rich and lovely, who was sixteen at the time\nwhen I came back from college to live in this old house. Honorine, who", "me, Honorine, as I had but one heart. My husband had the young girl, a\nworthless lover had the woman--there is nothing left!--Then let myself", "women. A look would have spoilt all, and I never allowed a thought of\nher to be seen in my eyes. Honorine chose to regard me as an old friend.", "through Genoa to take leave of me and place his will in my hands.\nHe appoints me his son's guardian. I had no occasion to tell him of\nHonorine's wishes.\"", "To Monsieur Achille Deveria\n\n An affectionate remembrance from the Author.\n\n\n\n\n\nHONORINE", "Clarissa Harlowe, and saying to myself, if Honorine were the mother of a\nchild of mine, must she not necessarily return under her husband's roof?", "a mule. Honorine was bent on earning her living. My wife works! For five\nyears past I have lodged her in the Rue Saint-Maur, in a charming little", "Comtesse Honorine; she had the feeling of cool balm on her wounds, and\nbeamed in the reflection of that virtue which gave light without knowing\nit.", "long enough to pucker the brow of the child it worships. What can you\nthink of the companion of your childhood, Honorine, if you believe\nhim capable of accepting kisses given in trembling, of living between", "\"Honorine then took out the Count's letter again to finish reading it.\nMy uncle signed to me, and I rose.\n\n\"'Let us leave the Countess,' said he.", "needed a manly arm; but this arm,' said he, holding out his own with a\ngesture of angelic dignity, 'was extended over her head. Honorine was" ], [ "Maurice, an indiscriminating passion in a husband is a mistake that may\nlead to any crime in a wife. I had no doubt left all the faculties of", "\"'Forgive me, my dear fellow. I did not see Maurice,' the President went\non. 'Serizy and I, after being the witnesses to your marriage, became", "that Maurice was your secretary. Never mention my name to her, or\nall will be undone.... You have got me an appointment as Maitre\ndes Requetes--well, get me instead some diplomatic post abroad, a", "\"'Ah, Maurice,' said she, 'you know how to love.'", "Genoese marquises, and was miserly of her minutes. Though the ambassador\nwas a distinguished man of letters, the celebrated lady had refused to\nyield to his advances, dreading what the English call an exhibition;", "\"I went back to the Count to announce the arrival of his relations, and\nI saw him grown young again in the reflected light of hope.\n\n\"'What ails you, Maurice?' said he, struck by my changed expression.", "\"Mademoiselle, you would be right if marriage were based on passion; and\nthat was the mistake of those two, who will soon be no more. Marriage\nwith heart-deep love on both sides would be Paradise.\"", "\"'Maurice,' he exclaimed, 'you are no longer my apprentice; I know not\nyet what you will be to me--but if no change occurs in my life, perhaps\nyou will take the place of a son.'", "when he felt the tether by which he held me strained too tightly and\nready to break, he would never fail to say, 'Here, Maurice, you too", "\"'MONSIEUR MAURICE,--I am dying though I am a mother--perhaps because\nI am a mother. I have played my part as a wife well; I have deceived my", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "re-marries, love makes a girl of her; she marries a man she loves. But I\ncannot love the Count. It all lies in that, do not you see?", "exception. Notwithstanding all the flattering advances prompted by a\nspontaneous passion, the Consul-General had not seemed to wish to marry.\nNevertheless, after living in the town for two years, and after certain", "\"'\"Would you like that we should be married? With me you could do\nwhatever you please, while another man would make you unhappy.\"", "\"'I recognized afterwards that marriages contracted under such\ncircumstances as ours bear in themselves a rock against which many\naffections are wrecked, many prudent calculations, many lives. The", "repentance? No; you owe this position to his Highness, the Keeper of\nthe Seals. My dear Maurice, you will be as much at home there as in your", "\"He suspects the truth,\" replied the Consul, \"and that is what is\nkilling him. I remained on board the steam packet that was to take him", "\"'No,' I replied, wringing her hand, so that she cried out. 'You love\nyour husband. I leave to-morrow.'\n\n\"And I rushed away, leaving my uncle, to whom she said:", "\"'MY DEAR MAURICE,--", "\"We allowed a few days to pass on the watch, for great sorrows have a\ndiffidence of their own; but at last, one evening, the Count said in a\ngrave voice:\n\n\"'Stay.'" ], [ "ceased to worship her. From the day when she left me I have lived on\nmemory; one by one I recall the pleasures for which Honorine no doubt\nhad no taste.", "done. Honorine, on recognizing my writing, had thrown the letter into\nthe fire without reading it.--\"Madame Gobain,\" she had exclaimed, \"I\nleave this to-morrow.\"", "\"'After three months of desperation rather than despair, the idea of\ndevoting myself to Honorine with God only in my secret, was one of those", "remained stunned. Afterwards, reflection counseled me to continue in\nignorance, and Honorine's misfortunes have since taught me too much", "\"Honorine then took out the Count's letter again to finish reading it.\nMy uncle signed to me, and I rose.\n\n\"'Let us leave the Countess,' said he.", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "a mule. Honorine was bent on earning her living. My wife works! For five\nyears past I have lodged her in the Rue Saint-Maur, in a charming little", "Honorine? But that would be to run the risk of a third removal. The\nlast cost me fifty thousand francs. The purchase was made in the first\ninstance in the name of the secretary whom you succeeded. The unhappy", "\"'MONSIEUR MAURICE,--I am dying though I am a mother--perhaps because\nI am a mother. I have played my part as a wife well; I have deceived my", "\"'\"At first,\" she went on, \"you asked no more. Now you demand your wife.\nWell, here I give you Honorine, such as she is, without deceiving you as", "\"'At last I painted my situation in a letter to her, giving up the\nattempt to speak of it. Honorine made no answer, and she was so sad that", "me by Honorine's farewell letter. What poetic delusion had seduced my\nwife? Was it through her senses? Was it the magnetism of misfortune", "women. A look would have spoilt all, and I never allowed a thought of\nher to be seen in my eyes. Honorine chose to regard me as an old friend.", "me, Honorine, as I had but one heart. My husband had the young girl, a\nworthless lover had the woman--there is nothing left!--Then let myself", "\"We then agreed as to what I was to do that evening at Honorine's house,\nwhither I presently returned. It was now August; the day had been hot", "\"Honorine started like a frightened doe, sprang to a few paces off,\nwalked down the garden, turned about, remained standing for some", "\"'Monsieur,' said Honorine, folding up the letter, which she placed in\nher bosom, and looking at my uncle, 'thank you very much. I will avail", "which comes over some old men. At this day I love the absent Honorine as\na man of sixty loves a woman whom he must possess at any cost, and yet", "\"Octave's anxiety was equal to Honorine's. The Count and I remained\ntogether till two in the morning, walking to and fro by the trenches of", "\"'\"You see, Honorine,\" said I, my eyes full of tears, \"the ice is\nbroken, and I am so tremulous with happiness that you must forgive the\nincoherency of my language. It will be so for a long time yet.\"" ], [ "that Maurice was your secretary. Never mention my name to her, or\nall will be undone.... You have got me an appointment as Maitre\ndes Requetes--well, get me instead some diplomatic post abroad, a", "Every one prepared to listen, with all the greater readiness because\nthey had all talked enough, and this is the moment to be chosen for\ntelling a story. This, then, is the Consul-General's tale:--", "Consul's attitude as premeditated, and the heiress might perhaps have\nslipped through his fingers if he had not played his part of a love-sick", "career of a consul, to which I now restricted my ambition. After I had\nestablished myself there, I received this letter from the Count:--", "\"He suspects the truth,\" replied the Consul, \"and that is what is\nkilling him. I remained on board the steam packet that was to take him", "consulship, and do not think of my marrying Amelie.--Oh! do not be\nuneasy,' I added, seeing him draw himself up, 'I will play my part to\nthe end.'", "\"As I tell you this story,\" said the Consul-General, interrupting\nhimself, \"I am altering the titles and the social position of this", "flutter over this essentially French subject. But before coming to the\nturn in the conversation which led the Consul-General to speak, it will\nnot be out of place to give some account of him and his family.", "\"'Maurice,' he exclaimed, 'you are no longer my apprentice; I know not\nyet what you will be to me--but if no change occurs in my life, perhaps\nyou will take the place of a son.'", "This beautiful family was the object of Camille's secret study. It\nstruck Mademoiselle des Touches that the Consul looked rather too\nabsent-minded for a perfectly happy man.", "Consul and his wife. So Mademoiselle des Touches had sacrificed one of\nthose days of perfect freedom, which are not always to be had in Paris\nby those on whom the world has its eye.", "exception. Notwithstanding all the flattering advances prompted by a\nspontaneous passion, the Consul-General had not seemed to wish to marry.\nNevertheless, after living in the town for two years, and after certain", "watched over the young diplomate's fortunes. In accordance with a\npromise made by the Ambassador to the Consul-General's father-in-law,", "days. So Camille said to herself alternately, \"What is wrong?--Nothing\nis wrong,\" following the misleading symptoms of the Consul's demeanor;", "\"'MONSIEUR MAURICE,--I am dying though I am a mother--perhaps because\nI am a mother. I have played my part as a wife well; I have deceived my", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "\"'Never mind; find out who I am. I have already said that I insist. Now,\nI beg that you will,' she went on, with the grace which you ladies have\nat command,\" said the Consul, looking at the ladies.", "\"I went back to the Count to announce the arrival of his relations, and\nI saw him grown young again in the reflected light of hope.\n\n\"'What ails you, Maurice?' said he, struck by my changed expression.", "face makes a description of the Consul's unnecessary. It may, however,\nbe noted that there was no affectation in his dreamy expression. Lord", "Mademoiselle Georges, and you will see before you the Consul's wife,\nwith a boy of six, as handsome as a mother's desire, and a little" ], [ "remained stunned. Afterwards, reflection counseled me to continue in\nignorance, and Honorine's misfortunes have since taught me too much", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "done. Honorine, on recognizing my writing, had thrown the letter into\nthe fire without reading it.--\"Madame Gobain,\" she had exclaimed, \"I\nleave this to-morrow.\"", "\"'\"At first,\" she went on, \"you asked no more. Now you demand your wife.\nWell, here I give you Honorine, such as she is, without deceiving you as", "ceased to worship her. From the day when she left me I have lived on\nmemory; one by one I recall the pleasures for which Honorine no doubt\nhad no taste.", "\"Honorine started like a frightened doe, sprang to a few paces off,\nwalked down the garden, turned about, remained standing for some", "that my man's irony may have hurt her legitimate girlish pride, is\nthat a reason for persisting in a determination which only the most\nimplacable hatred could have inspired? Honorine has never told Madame", "\"'Well,' said Honorine, 'madmen frighten me less than sane folks; I will\nspeak to him myself! Tell him that I beg him to come here. If I do not\nsucceed, I will send for the cure.'", "women. A look would have spoilt all, and I never allowed a thought of\nher to be seen in my eyes. Honorine chose to regard me as an old friend.", "Clarissa Harlowe, and saying to myself, if Honorine were the mother of a\nchild of mine, must she not necessarily return under her husband's roof?", "Saint-Honore. If I win back Honorine, I will not allow her to see this\nhouse again, nor the room from which she fled. I mean to place my idol", "Honorine? But that would be to run the risk of a third removal. The\nlast cost me fifty thousand francs. The purchase was made in the first\ninstance in the name of the secretary whom you succeeded. The unhappy", "\"'At last I painted my situation in a letter to her, giving up the\nattempt to speak of it. Honorine made no answer, and she was so sad that", "\"'\"Madame had to dress,\" said Gobain, to hide Honorine's hesitancy under\na pride of appearance which was flattering to me.", "\"'After three months of desperation rather than despair, the idea of\ndevoting myself to Honorine with God only in my secret, was one of those", "word she has spoken, for a single exclamation might betray to me the\nsecrets of that soul which is wilfully deaf and dumb. Honorine is pious;", "\"'Monsieur,' said Honorine, folding up the letter, which she placed in\nher bosom, and looking at my uncle, 'thank you very much. I will avail", "reason? In my conscience I heard cries. Honorine was not alone in her\nanguish. And yet I would have it!... I am consumed by remorse. In the", "of a fugitive delight. By a phenomenon of retrospection I see now the\ngraces of Honorine's mind and heart, to which I paid little heed in the", "me by Honorine's farewell letter. What poetic delusion had seduced my\nwife? Was it through her senses? Was it the magnetism of misfortune" ], [ "\"'Ah, Maurice,' said she, 'you know how to love.'", "Maurice, an indiscriminating passion in a husband is a mistake that may\nlead to any crime in a wife. I had no doubt left all the faculties of", "\"'Forgive me, my dear fellow. I did not see Maurice,' the President went\non. 'Serizy and I, after being the witnesses to your marriage, became", "\"'MONSIEUR MAURICE,--I am dying though I am a mother--perhaps because\nI am a mother. I have played my part as a wife well; I have deceived my", "\"'What has happened, madame? Monsieur Maurice is crying like a child.'", "\"'You are going already Maurice?' she said, without looking at me.", "that Maurice was your secretary. Never mention my name to her, or\nall will be undone.... You have got me an appointment as Maitre\ndes Requetes--well, get me instead some diplomatic post abroad, a", "\"'MY DEAR MAURICE,--", "\"Mademoiselle, you would be right if marriage were based on passion; and\nthat was the mistake of those two, who will soon be no more. Marriage\nwith heart-deep love on both sides would be Paradise.\"", "\"'Maurice,' he exclaimed, 'you are no longer my apprentice; I know not\nyet what you will be to me--but if no change occurs in my life, perhaps\nyou will take the place of a son.'", "\"I went back to the Count to announce the arrival of his relations, and\nI saw him grown young again in the reflected light of hope.\n\n\"'What ails you, Maurice?' said he, struck by my changed expression.", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "Saint-Maur in the little garden-house which I have at his disposal. It\nis my distant cousin, Baron de l'Hostal, a lawyer high in office...\"", "\"'MONSIEUR MAURICE,--", "This beautiful family was the object of Camille's secret study. It\nstruck Mademoiselle des Touches that the Consul looked rather too\nabsent-minded for a perfectly happy man.", "\"'Since my spiritual spy is married, I bid him remember what the florist\nof the Rue Saint-Maur hereby bequeaths to him as a lesson: May your wife", "\"'\"Mamma,\" said she to my mother, who came out to join us, \"Octave and I\nhave agreed to be married----\"", "\"'Serizy is happy. His indulgence allows him to see his wife; he can\nprotect and defend her; and, as he adores her, he knows all the perfect", "when he felt the tether by which he held me strained too tightly and\nready to break, he would never fail to say, 'Here, Maurice, you too" ], [ "\"'Maurice,' he exclaimed, 'you are no longer my apprentice; I know not\nyet what you will be to me--but if no change occurs in my life, perhaps\nyou will take the place of a son.'", "that Maurice was your secretary. Never mention my name to her, or\nall will be undone.... You have got me an appointment as Maitre\ndes Requetes--well, get me instead some diplomatic post abroad, a", "\"'Ah, Maurice,' said she, 'you know how to love.'", "\"I went back to the Count to announce the arrival of his relations, and\nI saw him grown young again in the reflected light of hope.\n\n\"'What ails you, Maurice?' said he, struck by my changed expression.", "when he felt the tether by which he held me strained too tightly and\nready to break, he would never fail to say, 'Here, Maurice, you too", "Maurice, an indiscriminating passion in a husband is a mistake that may\nlead to any crime in a wife. I had no doubt left all the faculties of", "\"'MY DEAR MAURICE,--", "Saint-Maur in the little garden-house which I have at his disposal. It\nis my distant cousin, Baron de l'Hostal, a lawyer high in office...\"", "\"'Get yourself dressed, my dear boy; I am going to introduce you to some\none who is willing to engage you as secretary. If I am not mistaken, he", "\"'Well, madame, my uncle got a place for a penniless youth as secretary\nto the Commissary of police in this part of Paris. That young man told", "\"'MONSIEUR MAURICE,--I am dying though I am a mother--perhaps because\nI am a mother. I have played my part as a wife well; I have deceived my", "\"'What has happened, madame? Monsieur Maurice is crying like a child.'", "\"'You are going already Maurice?' she said, without looking at me.", "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "who lived with him ever guessed the secret. His motto seemed to be,\n'I suffer, and am silent.' The escort of respect and admiration\nwhich attended him; the friendship of workers as valiant as", "this evening, Maurice. We will talk of my situation when I have grown\nused to the idea of speaking of it to you. When we suffer from a\nchronic disease, it needs time to become accustomed to improvement. That", "a mule. Honorine was bent on earning her living. My wife works! For five\nyears past I have lodged her in the Rue Saint-Maur, in a charming little", "repentance? No; you owe this position to his Highness, the Keeper of\nthe Seals. My dear Maurice, you will be as much at home there as in your", "\"'MONSIEUR MAURICE,--", "soon skilful. We talked as we worked. When I had nothing to do, I read\nnew books to her, for I had my part to keep up as a man weary of life," ], [ "\"'What,' I said, 'you would kill yourself?--Madame, you must have some\nvery powerful reasons for not wishing to return to Comte Octave.'\n\n\"'Certainly I have!'", "\"'Monsieur le Comte----'\n\n\"'No longer Octave? You, to whom I shall owe my life, my happiness----'", "\"'My dear Octave, if you should succeed in bringing the Countess back\nto her duty, I have studied her well'--(he looked at me as Othello must", "\"'\"Mamma,\" said she to my mother, who came out to join us, \"Octave and I\nhave agreed to be married----\"", "\"'In Count Octave's,' I replied. 'You have been tricked. M. Lenormand,\nthe usher of the Court, is not the real owner; he is only a screen for", "preferable to that of the Comtesse Octave, rich, admired, in one of the\nfinest houses in Paris, beloved by her husband, a happy mother... and I\nwill decide in your favor.'", "\"During these months the Count and I reciprocally studied each other. I\nlearned with astonishment that Comte Octave was but thirty-seven years", "\"'And I--have I any children?' said Comte Octave in a hollow voice, and\nhis tone made such an impression that there was no more talk of wives or\nmarriage.", "\"As I heard the last words, I believed that Count Octave's fears were\nrealized; he had risen, and was walking up and down, and gesticulating,\nbut he stopped as if shocked by the vehemence of his own words.", "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "\"You may conceive of my curiosity. Comte Octave, at that time, held one\nof the highest legal appointments; he was in the confidence of Madame", "\"Octave's anxiety was equal to Honorine's. The Count and I remained\ntogether till two in the morning, walking to and fro by the trenches of", "\"When I went to live with Comte Octave I was not indeed an innocent, but\nI thought of my rare escapades as crimes. My uncle was so truly angelic,", "has a wife who will not live with him. As for you, Octave, yours\nran away from you. So we three represent every case of the conjugal", "trifling incidents of the tragi-comedy enacted in the Rue Saint-Maur. As\nsoon as the Countess had gone to bed, at about eleven at night, Octave,", "\"'\"Octave,\" she said, \"I will return as your wife when you will. But\nunderstand clearly that this submission has its dangers. I can be\nresigned----\"\n\n\"'I made a movement.", "\"Comte Octave had introduced me to the best houses in Paris, whither I\nwent in his stead, with his servants and carriage, on the too frequent", "Countess was clinking in her hand the five gold pieces given to her by\na supposititious dealer in fashionable frippery, another of Octave's", "\"I did not answer this letter. Two months later the newspapers announced\nthe return on board an English vessel of the Comtesse Octave, restored\nto her family after adventures by land and sea, invented with sufficient\nprobability to arouse no contradiction.", "then Comte Octave's melancholy was surly and gruff. If these spurts of\ntemper offended me, he could get over it without thinking of asking my" ], [ "done. Honorine, on recognizing my writing, had thrown the letter into\nthe fire without reading it.--\"Madame Gobain,\" she had exclaimed, \"I\nleave this to-morrow.\"", "\"'\"At first,\" she went on, \"you asked no more. Now you demand your wife.\nWell, here I give you Honorine, such as she is, without deceiving you as", "remained stunned. Afterwards, reflection counseled me to continue in\nignorance, and Honorine's misfortunes have since taught me too much", "ceased to worship her. From the day when she left me I have lived on\nmemory; one by one I recall the pleasures for which Honorine no doubt\nhad no taste.", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "me, Honorine, as I had but one heart. My husband had the young girl, a\nworthless lover had the woman--there is nothing left!--Then let myself", "Honorine? But that would be to run the risk of a third removal. The\nlast cost me fifty thousand francs. The purchase was made in the first\ninstance in the name of the secretary whom you succeeded. The unhappy", "women. A look would have spoilt all, and I never allowed a thought of\nher to be seen in my eyes. Honorine chose to regard me as an old friend.", "\"'Monsieur,' said Honorine, folding up the letter, which she placed in\nher bosom, and looking at my uncle, 'thank you very much. I will avail", "\"Honorine started like a frightened doe, sprang to a few paces off,\nwalked down the garden, turned about, remained standing for some", "and women both, and I indulged in them, hoping to bring Honorine to\nthe confidential point; but she was not to be caught in any trap, and I", "\"'After three months of desperation rather than despair, the idea of\ndevoting myself to Honorine with God only in my secret, was one of those", "\"Honorine then took out the Count's letter again to finish reading it.\nMy uncle signed to me, and I rose.\n\n\"'Let us leave the Countess,' said he.", "\"'At last I painted my situation in a letter to her, giving up the\nattempt to speak of it. Honorine made no answer, and she was so sad that", "Saint-Honore. If I win back Honorine, I will not allow her to see this\nhouse again, nor the room from which she fled. I mean to place my idol", "\"Though slight, Honorine was not thin, and her figure struck me as\nbeing one that might revive love when it believed itself exhausted. She", "\"'\"You see, Honorine,\" said I, my eyes full of tears, \"the ice is\nbroken, and I am so tremulous with happiness that you must forgive the\nincoherency of my language. It will be so for a long time yet.\"", "\"'Well,' said Honorine, 'madmen frighten me less than sane folks; I will\nspeak to him myself! Tell him that I beg him to come here. If I do not\nsucceed, I will send for the cure.'", "me by Honorine's farewell letter. What poetic delusion had seduced my\nwife? Was it through her senses? Was it the magnetism of misfortune", "that my man's irony may have hurt her legitimate girlish pride, is\nthat a reason for persisting in a determination which only the most\nimplacable hatred could have inspired? Honorine has never told Madame" ], [ "\"'\"At first,\" she went on, \"you asked no more. Now you demand your wife.\nWell, here I give you Honorine, such as she is, without deceiving you as", "\"Though slight, Honorine was not thin, and her figure struck me as\nbeing one that might revive love when it believed itself exhausted. She", "a mule. Honorine was bent on earning her living. My wife works! For five\nyears past I have lodged her in the Rue Saint-Maur, in a charming little", "women. A look would have spoilt all, and I never allowed a thought of\nher to be seen in my eyes. Honorine chose to regard me as an old friend.", "Honorine? But that would be to run the risk of a third removal. The\nlast cost me fifty thousand francs. The purchase was made in the first\ninstance in the name of the secretary whom you succeeded. The unhappy", "ceased to worship her. From the day when she left me I have lived on\nmemory; one by one I recall the pleasures for which Honorine no doubt\nhad no taste.", "word she has spoken, for a single exclamation might betray to me the\nsecrets of that soul which is wilfully deaf and dumb. Honorine is pious;", "\"'Monsieur,' said Honorine, folding up the letter, which she placed in\nher bosom, and looking at my uncle, 'thank you very much. I will avail", "done. Honorine, on recognizing my writing, had thrown the letter into\nthe fire without reading it.--\"Madame Gobain,\" she had exclaimed, \"I\nleave this to-morrow.\"", "the heart I worship. I go every evening to chat with the old woman, to\nhear from her all that Honorine has done during the day, the lightest", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "HONORINE\n\n\nBy Honore De Balzac\n\n\n\nTranslated by Clara Bell\n\n\n\n DEDICATION", "to the eye, a flower of fragrance, a heavenly flower to the soul....\nHonorine inspired devotion, chivalrous devotion, regardless of reward. A\nman on seeing her must say to himself:", "remained stunned. Afterwards, reflection counseled me to continue in\nignorance, and Honorine's misfortunes have since taught me too much", "\"Honorine started like a frightened doe, sprang to a few paces off,\nwalked down the garden, turned about, remained standing for some", "in Court, by night, I dream so incessantly of Honorine that only by\nexcessive strength of mind do I succeed in attending to what I am doing\nand saying. This is the secret of my labors.", "and women both, and I indulged in them, hoping to bring Honorine to\nthe confidential point; but she was not to be caught in any trap, and I", "Comtesse Honorine; she had the feeling of cool balm on her wounds, and\nbeamed in the reflection of that virtue which gave light without knowing\nit.", "me, Honorine, as I had but one heart. My husband had the young girl, a\nworthless lover had the woman--there is nothing left!--Then let myself", "\"'Well,' said Honorine, 'madmen frighten me less than sane folks; I will\nspeak to him myself! Tell him that I beg him to come here. If I do not\nsucceed, I will send for the cure.'" ], [ "\"'Monsieur le Comte----'\n\n\"'No longer Octave? You, to whom I shall owe my life, my happiness----'", "\"'What,' I said, 'you would kill yourself?--Madame, you must have some\nvery powerful reasons for not wishing to return to Comte Octave.'\n\n\"'Certainly I have!'", "preferable to that of the Comtesse Octave, rich, admired, in one of the\nfinest houses in Paris, beloved by her husband, a happy mother... and I\nwill decide in your favor.'", "\"Octave's anxiety was equal to Honorine's. The Count and I remained\ntogether till two in the morning, walking to and fro by the trenches of", "\"'\"Octave, I do love you, but not in the way you wish to be loved. I\nlove your soul.... Still, understand that I love you enough to die in", "\"'In Count Octave's,' I replied. 'You have been tricked. M. Lenormand,\nthe usher of the Court, is not the real owner; he is only a screen for", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "\"During these months the Count and I reciprocally studied each other. I\nlearned with astonishment that Comte Octave was but thirty-seven years", "\"'My dear Octave, if you should succeed in bringing the Countess back\nto her duty, I have studied her well'--(he looked at me as Othello must", "\"As I heard the last words, I believed that Count Octave's fears were\nrealized; he had risen, and was walking up and down, and gesticulating,\nbut he stopped as if shocked by the vehemence of his own words.", "then Comte Octave's melancholy was surly and gruff. If these spurts of\ntemper offended me, he could get over it without thinking of asking my", "\"'In Comte Octave you will find not a master, but a friend,' said my\nuncle on the way to the Rue Payenne. 'But he is distrustful, or to be", "ever more gay than I. My poor Octave is happy; I let his love feed on\nthe illusions of my heart. I throw all my powers into this terrible", "trifling incidents of the tragi-comedy enacted in the Rue Saint-Maur. As\nsoon as the Countess had gone to bed, at about eleven at night, Octave,", "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "\"When I went to live with Comte Octave I was not indeed an innocent, but\nI thought of my rare escapades as crimes. My uncle was so truly angelic,", "\"Honorine then took out the Count's letter again to finish reading it.\nMy uncle signed to me, and I rose.\n\n\"'Let us leave the Countess,' said he.", "described. Octave believes that I adore him, do you understand? So I am\nafraid lest he should follow me. I now write to beg you in that case", "\"When all this had become to me a matter of certainty, Comte Octave had\nall the attractions of a problem, and won on my affection as much as", "\"'\"Octave,\" she said, \"I will return as your wife when you will. But\nunderstand clearly that this submission has its dangers. I can be\nresigned----\"\n\n\"'I made a movement." ], [ "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "that Maurice was your secretary. Never mention my name to her, or\nall will be undone.... You have got me an appointment as Maitre\ndes Requetes--well, get me instead some diplomatic post abroad, a", "\"'In Count Octave's,' I replied. 'You have been tricked. M. Lenormand,\nthe usher of the Court, is not the real owner; he is only a screen for", "to enter the service of Comte Octave, and have a hundred louis a year,\nwas entering on independent life. I had glimpses of some chance of", "trifling incidents of the tragi-comedy enacted in the Rue Saint-Maur. As\nsoon as the Countess had gone to bed, at about eleven at night, Octave,", "preferable to that of the Comtesse Octave, rich, admired, in one of the\nfinest houses in Paris, beloved by her husband, a happy mother... and I\nwill decide in your favor.'", "\"'In Comte Octave you will find not a master, but a friend,' said my\nuncle on the way to the Rue Payenne. 'But he is distrustful, or to be", "\"Comte Octave had introduced me to the best houses in Paris, whither I\nwent in his stead, with his servants and carriage, on the too frequent", "\"'Monsieur le Comte----'\n\n\"'No longer Octave? You, to whom I shall owe my life, my happiness----'", "\"When I went to live with Comte Octave I was not indeed an innocent, but\nI thought of my rare escapades as crimes. My uncle was so truly angelic,", "\"'My dear Octave, if you should succeed in bringing the Countess back\nto her duty, I have studied her well'--(he looked at me as Othello must", "\"'What,' I said, 'you would kill yourself?--Madame, you must have some\nvery powerful reasons for not wishing to return to Comte Octave.'\n\n\"'Certainly I have!'", "of my protector by his Christian name only, and to call him Comte\nOctave.--'By taking you this morning to M. le Comte Octave, I hope to", "\"'Monsieur,' said Honorine, folding up the letter, which she placed in\nher bosom, and looking at my uncle, 'thank you very much. I will avail", "\"I went back to the Count to announce the arrival of his relations, and\nI saw him grown young again in the reflected light of hope.\n\n\"'What ails you, Maurice?' said he, struck by my changed expression.", "\"Octave's anxiety was equal to Honorine's. The Count and I remained\ntogether till two in the morning, walking to and fro by the trenches of", "\"Honorine then took out the Count's letter again to finish reading it.\nMy uncle signed to me, and I rose.\n\n\"'Let us leave the Countess,' said he.", "\"'MONSIEUR MAURICE,--I am dying though I am a mother--perhaps because\nI am a mother. I have played my part as a wife well; I have deceived my", "\"'Well, madame, my uncle got a place for a penniless youth as secretary\nto the Commissary of police in this part of Paris. That young man told", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"" ], [ "\"'What,' I said, 'you would kill yourself?--Madame, you must have some\nvery powerful reasons for not wishing to return to Comte Octave.'\n\n\"'Certainly I have!'", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "word she has spoken, for a single exclamation might betray to me the\nsecrets of that soul which is wilfully deaf and dumb. Honorine is pious;", "\"'And I--have I any children?' said Comte Octave in a hollow voice, and\nhis tone made such an impression that there was no more talk of wives or\nmarriage.", "\"'At last I painted my situation in a letter to her, giving up the\nattempt to speak of it. Honorine made no answer, and she was so sad that", "\"Octave's anxiety was equal to Honorine's. The Count and I remained\ntogether till two in the morning, walking to and fro by the trenches of", "\"'\"At first,\" she went on, \"you asked no more. Now you demand your wife.\nWell, here I give you Honorine, such as she is, without deceiving you as", "women. A look would have spoilt all, and I never allowed a thought of\nher to be seen in my eyes. Honorine chose to regard me as an old friend.", "remained stunned. Afterwards, reflection counseled me to continue in\nignorance, and Honorine's misfortunes have since taught me too much", "\"'Monsieur le Comte----'\n\n\"'No longer Octave? You, to whom I shall owe my life, my happiness----'", "then Comte Octave's melancholy was surly and gruff. If these spurts of\ntemper offended me, he could get over it without thinking of asking my", "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "\"Honorine then took out the Count's letter again to finish reading it.\nMy uncle signed to me, and I rose.\n\n\"'Let us leave the Countess,' said he.", "preferable to that of the Comtesse Octave, rich, admired, in one of the\nfinest houses in Paris, beloved by her husband, a happy mother... and I\nwill decide in your favor.'", "that my man's irony may have hurt her legitimate girlish pride, is\nthat a reason for persisting in a determination which only the most\nimplacable hatred could have inspired? Honorine has never told Madame", "\"'In Comte Octave you will find not a master, but a friend,' said my\nuncle on the way to the Rue Payenne. 'But he is distrustful, or to be", "\"'Monsieur,' said Honorine, folding up the letter, which she placed in\nher bosom, and looking at my uncle, 'thank you very much. I will avail", "and women both, and I indulged in them, hoping to bring Honorine to\nthe confidential point; but she was not to be caught in any trap, and I", "\"'My dear Octave, if you should succeed in bringing the Countess back\nto her duty, I have studied her well'--(he looked at me as Othello must", "\"I did not answer this letter. Two months later the newspapers announced\nthe return on board an English vessel of the Comtesse Octave, restored\nto her family after adventures by land and sea, invented with sufficient\nprobability to arouse no contradiction." ], [ "\"'Monsieur le Comte----'\n\n\"'No longer Octave? You, to whom I shall owe my life, my happiness----'", "\"Octave's anxiety was equal to Honorine's. The Count and I remained\ntogether till two in the morning, walking to and fro by the trenches of", "\"'What,' I said, 'you would kill yourself?--Madame, you must have some\nvery powerful reasons for not wishing to return to Comte Octave.'\n\n\"'Certainly I have!'", "preferable to that of the Comtesse Octave, rich, admired, in one of the\nfinest houses in Paris, beloved by her husband, a happy mother... and I\nwill decide in your favor.'", "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "trifling incidents of the tragi-comedy enacted in the Rue Saint-Maur. As\nsoon as the Countess had gone to bed, at about eleven at night, Octave,", "\"During these months the Count and I reciprocally studied each other. I\nlearned with astonishment that Comte Octave was but thirty-seven years", "\"'\"At first,\" she went on, \"you asked no more. Now you demand your wife.\nWell, here I give you Honorine, such as she is, without deceiving you as", "\"Honorine then took out the Count's letter again to finish reading it.\nMy uncle signed to me, and I rose.\n\n\"'Let us leave the Countess,' said he.", "\"'\"Mamma,\" said she to my mother, who came out to join us, \"Octave and I\nhave agreed to be married----\"", "\"'\"Octave,\" she said, \"I will return as your wife when you will. But\nunderstand clearly that this submission has its dangers. I can be\nresigned----\"\n\n\"'I made a movement.", "\"'In Comte Octave you will find not a master, but a friend,' said my\nuncle on the way to the Rue Payenne. 'But he is distrustful, or to be", "\"I did not answer this letter. Two months later the newspapers announced\nthe return on board an English vessel of the Comtesse Octave, restored\nto her family after adventures by land and sea, invented with sufficient\nprobability to arouse no contradiction.", "\"'In Count Octave's,' I replied. 'You have been tricked. M. Lenormand,\nthe usher of the Court, is not the real owner; he is only a screen for", "\"'My dear Octave, if you should succeed in bringing the Countess back\nto her duty, I have studied her well'--(he looked at me as Othello must", "\"As I heard the last words, I believed that Count Octave's fears were\nrealized; he had risen, and was walking up and down, and gesticulating,\nbut he stopped as if shocked by the vehemence of his own words.", "\"When I went to live with Comte Octave I was not indeed an innocent, but\nI thought of my rare escapades as crimes. My uncle was so truly angelic,", "for this creature of sorrow. As I then saw Honorine I understood\nOctave's passion and the truthfulness of his description, 'A heavenly\nflower!'", "he feeding himself on her long agony? Is it not a remarkable thing in\nParis to keep anger always seething for ten years? What had Octave done\nsince this great misfortune--for the separation of husband and wife is" ], [ "\"'Ah, Maurice,' said she, 'you know how to love.'", "\"Though the Comtes de Grandville and de Serizy, whose habits were much\nthe same as my patron's, never dined away from home, we were still", "\"I went back to the Count to announce the arrival of his relations, and\nI saw him grown young again in the reflected light of hope.\n\n\"'What ails you, Maurice?' said he, struck by my changed expression.", "Saint-Maur in the little garden-house which I have at his disposal. It\nis my distant cousin, Baron de l'Hostal, a lawyer high in office...\"", "\"'Well, gentlemen, you find yourselves compelled to dine with priests,'\nsaid Comte Octave to his colleagues. 'I do not know whether Grandville\ncan overcome his horror of a priest's gown----'", "by the good taste which will surprise no one after the list of guests,\nliterature had scarcely been mentioned. However, the butterfly flittings\nof this French tilting match were certain to come to it, were it only to", "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "\"'MY DEAR MAURICE,--", "\"'Forgive me, my dear fellow. I did not see Maurice,' the President went\non. 'Serizy and I, after being the witnesses to your marriage, became", "to receive Madame de Courteville and Amelie, who were to dine with the\nCount that day. However handsome Mademoiselle de Courteville might be, I", "whether the trousers showed below her petticoats. After dinner till nine\no'clock, when a collation was served, though the conversation had been", "because sleep has fallen on them--the French Ambassador and his wife,\na secretary to the Embassy who believes himself to be crushed and\nmischievous; finally, two Parisians, who have come to take leave of", "\"We went into the drawing-room. The dinner was delightful. Men of\nreal information, politicians to whom business gives both consummate", "was tall, a sacerdotal of whose ignorance in matters of the world and\nof literature enlivened the conversation by guileless amazement and\nunexpected questions. They came to talking of one of the plague spots", "Maurice, an indiscriminating passion in a husband is a mistake that may\nlead to any crime in a wife. I had no doubt left all the faculties of", "that Maurice was your secretary. Never mention my name to her, or\nall will be undone.... You have got me an appointment as Maitre\ndes Requetes--well, get me instead some diplomatic post abroad, a", "\"The man-servant came in carrying a tray with his master's breakfast on\nit.\n\n\"'I did not ask for breakfast,' remarked the Count; 'but leave it, and\nshow monsieur to his rooms.'", "\"'MONSIEUR MAURICE,--I am dying though I am a mother--perhaps because\nI am a mother. I have played my part as a wife well; I have deceived my", "\"'You are going already Maurice?' she said, without looking at me.", "\"'Well, let us dine,' replied the President de Grandville. 'A bigot\nfrightens me, but there is no one so cheerful as a truly pious man.'" ], [ "that Maurice was your secretary. Never mention my name to her, or\nall will be undone.... You have got me an appointment as Maitre\ndes Requetes--well, get me instead some diplomatic post abroad, a", "\"'Ah, Maurice,' said she, 'you know how to love.'", "\"'MY DEAR MAURICE,--", "\"'Maurice,' he exclaimed, 'you are no longer my apprentice; I know not\nyet what you will be to me--but if no change occurs in my life, perhaps\nyou will take the place of a son.'", "\"'MONSIEUR MAURICE,--I am dying though I am a mother--perhaps because\nI am a mother. I have played my part as a wife well; I have deceived my", "Saint-Maur in the little garden-house which I have at his disposal. It\nis my distant cousin, Baron de l'Hostal, a lawyer high in office...\"", "Maurice, an indiscriminating passion in a husband is a mistake that may\nlead to any crime in a wife. I had no doubt left all the faculties of", "\"'Forgive me, my dear fellow. I did not see Maurice,' the President went\non. 'Serizy and I, after being the witnesses to your marriage, became", "\"'Get yourself dressed, my dear boy; I am going to introduce you to some\none who is willing to engage you as secretary. If I am not mistaken, he", "\"'MONSIEUR MAURICE,--", "repentance? No; you owe this position to his Highness, the Keeper of\nthe Seals. My dear Maurice, you will be as much at home there as in your", "\"'What has happened, madame? Monsieur Maurice is crying like a child.'", "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "\"'Well, madame, my uncle got a place for a penniless youth as secretary\nto the Commissary of police in this part of Paris. That young man told", "\"'You are going already Maurice?' she said, without looking at me.", "methods. A secretary necessarily watches the man who makes use of him.\nThat man's tastes, passions, temper, and manias become the subject of", "Honorine? But that would be to run the risk of a third removal. The\nlast cost me fifty thousand francs. The purchase was made in the first\ninstance in the name of the secretary whom you succeeded. The unhappy", "\"I went back to the Count to announce the arrival of his relations, and\nI saw him grown young again in the reflected light of hope.\n\n\"'What ails you, Maurice?' said he, struck by my changed expression.", "servants. I did not accept the offer when it was made to me till I was\nperfectly certain that Comte Octave's secretary was never to be a mere", "when he felt the tether by which he held me strained too tightly and\nready to break, he would never fail to say, 'Here, Maurice, you too" ], [ "\"'What,' I said, 'you would kill yourself?--Madame, you must have some\nvery powerful reasons for not wishing to return to Comte Octave.'\n\n\"'Certainly I have!'", "\"Honorine then took out the Count's letter again to finish reading it.\nMy uncle signed to me, and I rose.\n\n\"'Let us leave the Countess,' said he.", "preferable to that of the Comtesse Octave, rich, admired, in one of the\nfinest houses in Paris, beloved by her husband, a happy mother... and I\nwill decide in your favor.'", "ceased to worship her. From the day when she left me I have lived on\nmemory; one by one I recall the pleasures for which Honorine no doubt\nhad no taste.", "done. Honorine, on recognizing my writing, had thrown the letter into\nthe fire without reading it.--\"Madame Gobain,\" she had exclaimed, \"I\nleave this to-morrow.\"", "\"'\"At first,\" she went on, \"you asked no more. Now you demand your wife.\nWell, here I give you Honorine, such as she is, without deceiving you as", "\"Octave's anxiety was equal to Honorine's. The Count and I remained\ntogether till two in the morning, walking to and fro by the trenches of", "has a wife who will not live with him. As for you, Octave, yours\nran away from you. So we three represent every case of the conjugal", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "trifling incidents of the tragi-comedy enacted in the Rue Saint-Maur. As\nsoon as the Countess had gone to bed, at about eleven at night, Octave,", "drama indeed, for I understood that there could be no vulgar difference\nbetween the woman that Count could choose and such a character as his.\nThe events which had driven the Countess to leave a man so noble, so", "me, Honorine, as I had but one heart. My husband had the young girl, a\nworthless lover had the woman--there is nothing left!--Then let myself", "\"'No,' I replied, wringing her hand, so that she cried out. 'You love\nyour husband. I leave to-morrow.'\n\n\"And I rushed away, leaving my uncle, to whom she said:", "\"'Monsieur le Comte----'\n\n\"'No longer Octave? You, to whom I shall owe my life, my happiness----'", "\"When coffee had been served, the two Counts and the two priests stole\naway, seeing that poor Octave had fallen into a fit of melancholy which", "me by Honorine's farewell letter. What poetic delusion had seduced my\nwife? Was it through her senses? Was it the magnetism of misfortune", "\"'In Count Octave's,' I replied. 'You have been tricked. M. Lenormand,\nthe usher of the Court, is not the real owner; he is only a screen for", "She rose without a reply, which shows that she loved her husband very\ntruly, for she already knew French enough to understand that her husband\nwas getting rid of her.", "then Comte Octave's melancholy was surly and gruff. If these spurts of\ntemper offended me, he could get over it without thinking of asking my", "\"Honorine started like a frightened doe, sprang to a few paces off,\nwalked down the garden, turned about, remained standing for some" ], [ "Maurice, an indiscriminating passion in a husband is a mistake that may\nlead to any crime in a wife. I had no doubt left all the faculties of", "\"'Forgive me, my dear fellow. I did not see Maurice,' the President went\non. 'Serizy and I, after being the witnesses to your marriage, became", "\"'Ah, Maurice,' said she, 'you know how to love.'", "\"'Maurice,' he exclaimed, 'you are no longer my apprentice; I know not\nyet what you will be to me--but if no change occurs in my life, perhaps\nyou will take the place of a son.'", "\"Mademoiselle, you would be right if marriage were based on passion; and\nthat was the mistake of those two, who will soon be no more. Marriage\nwith heart-deep love on both sides would be Paradise.\"", "that Maurice was your secretary. Never mention my name to her, or\nall will be undone.... You have got me an appointment as Maitre\ndes Requetes--well, get me instead some diplomatic post abroad, a", "\"'MONSIEUR MAURICE,--I am dying though I am a mother--perhaps because\nI am a mother. I have played my part as a wife well; I have deceived my", "\"I went back to the Count to announce the arrival of his relations, and\nI saw him grown young again in the reflected light of hope.\n\n\"'What ails you, Maurice?' said he, struck by my changed expression.", "when he felt the tether by which he held me strained too tightly and\nready to break, he would never fail to say, 'Here, Maurice, you too", "\"'MY DEAR MAURICE,--", "Genoese marquises, and was miserly of her minutes. Though the ambassador\nwas a distinguished man of letters, the celebrated lady had refused to\nyield to his advances, dreading what the English call an exhibition;", "exception. Notwithstanding all the flattering advances prompted by a\nspontaneous passion, the Consul-General had not seemed to wish to marry.\nNevertheless, after living in the town for two years, and after certain", "\"'You are going already Maurice?' she said, without looking at me.", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "\"'What has happened, madame? Monsieur Maurice is crying like a child.'", "this evening, Maurice. We will talk of my situation when I have grown\nused to the idea of speaking of it to you. When we suffer from a\nchronic disease, it needs time to become accustomed to improvement. That", "\"'You now know the secret of my life, said he to me on noticing that we\nwere alone. 'After three years of married life, one evening when I came", "\"'I recognized afterwards that marriages contracted under such\ncircumstances as ours bear in themselves a rock against which many\naffections are wrecked, many prudent calculations, many lives. The", "much severity! Perhaps again, the husband failed to realize Honorine's\ngirlish dreams? Who can tell, while happy days last, what precepts he\nhas neglected?'" ], [ "\"This, as nearly as may be, is his story.", "\"I will tell you a story in which I played a part, and after that we can\ndiscuss it, for it seems to me childish to practise with the scalpel on\nan imaginary body. Begin by dissecting a corpse.\"", "Every one prepared to listen, with all the greater readiness because\nthey had all talked enough, and this is the moment to be chosen for\ntelling a story. This, then, is the Consul-General's tale:--", "\"After three months of this struggle between two diplomates, concealed\nunder the semblance of youthful melancholy, and a woman whose disgust of", "\"As I tell you this story,\" said the Consul-General, interrupting\nhimself, \"I am altering the titles and the social position of this", "story is now that my wife went abroad in a ship that was wrecked; she\nis supposed to be dead. I have lived alone for seven years!--Enough for", "listened to him, I, like him, felt my cheeks wet with tears. You may\nconceive of my feelings when, after a pause, during which we dried them\naway, he finished his story with this revelation:--", "\"'You now know the secret of my life, said he to me on noticing that we\nwere alone. 'After three years of married life, one evening when I came", "\"'This is not becoming in a woman,' said I.\n\n\"'Pooh! Am I a woman? I am a boy gifted with a soft soul, that is all; a\nboy whom no woman can torture----'", "\"He signed to me with his hand to leave him to himself. I understood\nthat extreme happiness and extreme pain obey the same laws; I went in", "\"For a fortnight I seemed to take no heed of my neighbor. Towards the\nend of May, one lovely evening, we happened both to be out on opposite", "writer, was the object of such a passion; and the pistol shot which\nkilled him hit not him alone; the woman who loved lived like a nun ever\nafter.\"", "gentleman, while placing him in circumstances analogous to what his\nreally were. His profession, rank, luxury, fortune, and style of living\nwere the same; all these details are true, but I would not be false to", "\"'For two months now I have been struggling with myself. What shall I\ndo? My heart is too full; I therefore seek a friend, and send out this\ncry, \"What shall I do?\"'", "\"The day after this conversation, as I was walking along my graveled\npath, I caught sight of the half-opened curtains on the first floor of", "up, petted, set down, and taken up again like a kitten. Her small feet,\nas I heard them on the gravel, made a light sound essentially their own,", "\"Instead of feeling--as I really was, socially speaking--an insect in\nthe presence of an eagle,\" the narrator went on after a pause, \"I felt I", "soon skilful. We talked as we worked. When I had nothing to do, I read\nnew books to her, for I had my part to keep up as a man weary of life,", "their depths or their bitterness. That sallow face, those parched\ntemples, those overwhelming studies, those moments of absentmindedness,\nthe smallest details of the life of this married bachelor, all stood out", "\"I was punctual. At ten next evening I was, for the first time, shown\ninto a charming bedroom furnished with white and blue--the nest of this" ], [ "Every one prepared to listen, with all the greater readiness because\nthey had all talked enough, and this is the moment to be chosen for\ntelling a story. This, then, is the Consul-General's tale:--", "story is now that my wife went abroad in a ship that was wrecked; she\nis supposed to be dead. I have lived alone for seven years!--Enough for", "\"This, as nearly as may be, is his story.", "\"I will tell you a story in which I played a part, and after that we can\ndiscuss it, for it seems to me childish to practise with the scalpel on\nan imaginary body. Begin by dissecting a corpse.\"", "\"'And she sat down in the calm attitude you used to admire, and watched\nme turning pale with the pain she had inflicted. My blood ran cold. On", "\"Her pallor was what first struck me by its peculiar tone of white--for\nthere are as many tones of white as of red or blue. On looking at the", "\"'You now know the secret of my life, said he to me on noticing that we\nwere alone. 'After three years of married life, one evening when I came", "up, petted, set down, and taken up again like a kitten. Her small feet,\nas I heard them on the gravel, made a light sound essentially their own,", "\"'And will you not tell me of your troubles?' said I, in a voice which\ncannot be affected, as I wiped away my tears. 'Have you not just now", "listened to him, I, like him, felt my cheeks wet with tears. You may\nconceive of my feelings when, after a pause, during which we dried them\naway, he finished his story with this revelation:--", "\"As I tell you this story,\" said the Consul-General, interrupting\nhimself, \"I am altering the titles and the social position of this", "that on which many are who think themselves the most tried; who laugh at\nthe passions and the beliefs of others because they have conquered their\nown; who play variations in every key of irony and disdain. He did not", "\"But for the bitter smile which occasionally played on the beautiful\nred lips of this pale woman, it would have been possible to believe that", "Her manner to me was the outcome of a kind of pity. Her looks, her\nvoice, her words, all showed that she was a hundred miles away from the", "\"After three months of this struggle between two diplomates, concealed\nunder the semblance of youthful melancholy, and a woman whose disgust of", "judge of his build on account of his dress, but he seemed to me to\nbe lean and spare. His face was harsh and hollow; the features were\nrefined. His mouth, which was rather large, expressed both irony and", "terrible as truth. Here is the letter written by this woman, or rather\nby this anguish:--", "my life. I am rent and I smile. I smile on two children, but it is the\nelder, the dead one, that will triumph! I told you so before. The dead", "therefore discuss the future in perfect confidence with my uncle and\nme. My uncle has as much influence as a Minister of State. So compose\nyourself; do not exaggerate your misfortune. A priest whose hair has", "\"'This is not becoming in a woman,' said I.\n\n\"'Pooh! Am I a woman? I am a boy gifted with a soft soul, that is all; a\nboy whom no woman can torture----'" ], [ "\"During these months the Count and I reciprocally studied each other. I\nlearned with astonishment that Comte Octave was but thirty-seven years", "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "\"Octave's anxiety was equal to Honorine's. The Count and I remained\ntogether till two in the morning, walking to and fro by the trenches of", "preferable to that of the Comtesse Octave, rich, admired, in one of the\nfinest houses in Paris, beloved by her husband, a happy mother... and I\nwill decide in your favor.'", "\"'In Count Octave's,' I replied. 'You have been tricked. M. Lenormand,\nthe usher of the Court, is not the real owner; he is only a screen for", "\"When I went to live with Comte Octave I was not indeed an innocent, but\nI thought of my rare escapades as crimes. My uncle was so truly angelic,", "\"'Monsieur le Comte----'\n\n\"'No longer Octave? You, to whom I shall owe my life, my happiness----'", "\"'What,' I said, 'you would kill yourself?--Madame, you must have some\nvery powerful reasons for not wishing to return to Comte Octave.'\n\n\"'Certainly I have!'", "\"'\"Mamma,\" said she to my mother, who came out to join us, \"Octave and I\nhave agreed to be married----\"", "\"'In Comte Octave you will find not a master, but a friend,' said my\nuncle on the way to the Rue Payenne. 'But he is distrustful, or to be", "\"You may conceive of my curiosity. Comte Octave, at that time, held one\nof the highest legal appointments; he was in the confidence of Madame", "trifling incidents of the tragi-comedy enacted in the Rue Saint-Maur. As\nsoon as the Countess had gone to bed, at about eleven at night, Octave,", "Octave and Honorine moved and lived altogether in the world of lofty\nspirits.", "for this creature of sorrow. As I then saw Honorine I understood\nOctave's passion and the truthfulness of his description, 'A heavenly\nflower!'", "\"'My dear Octave, if you should succeed in bringing the Countess back\nto her duty, I have studied her well'--(he looked at me as Othello must", "\"'\"At first,\" she went on, \"you asked no more. Now you demand your wife.\nWell, here I give you Honorine, such as she is, without deceiving you as", "\"Honorine then took out the Count's letter again to finish reading it.\nMy uncle signed to me, and I rose.\n\n\"'Let us leave the Countess,' said he.", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "of my protector by his Christian name only, and to call him Comte\nOctave.--'By taking you this morning to M. le Comte Octave, I hope to", "to enter the service of Comte Octave, and have a hundred louis a year,\nwas entering on independent life. I had glimpses of some chance of" ], [ "\"'\"At first,\" she went on, \"you asked no more. Now you demand your wife.\nWell, here I give you Honorine, such as she is, without deceiving you as", "\"Honorine then took out the Count's letter again to finish reading it.\nMy uncle signed to me, and I rose.\n\n\"'Let us leave the Countess,' said he.", "remained stunned. Afterwards, reflection counseled me to continue in\nignorance, and Honorine's misfortunes have since taught me too much", "ceased to worship her. From the day when she left me I have lived on\nmemory; one by one I recall the pleasures for which Honorine no doubt\nhad no taste.", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "\"I did not answer this letter. Two months later the newspapers announced\nthe return on board an English vessel of the Comtesse Octave, restored\nto her family after adventures by land and sea, invented with sufficient\nprobability to arouse no contradiction.", "\"'What,' I said, 'you would kill yourself?--Madame, you must have some\nvery powerful reasons for not wishing to return to Comte Octave.'\n\n\"'Certainly I have!'", "me, Honorine, as I had but one heart. My husband had the young girl, a\nworthless lover had the woman--there is nothing left!--Then let myself", "done. Honorine, on recognizing my writing, had thrown the letter into\nthe fire without reading it.--\"Madame Gobain,\" she had exclaimed, \"I\nleave this to-morrow.\"", "\"'Monsieur,' said Honorine, folding up the letter, which she placed in\nher bosom, and looking at my uncle, 'thank you very much. I will avail", "me by Honorine's farewell letter. What poetic delusion had seduced my\nwife? Was it through her senses? Was it the magnetism of misfortune", "\"'After three months of desperation rather than despair, the idea of\ndevoting myself to Honorine with God only in my secret, was one of those", "\"'Lucretia's dagger wrote in letters of blood the watchword of woman's\ncharter: _Liberty!_'\n\n\"From that moment the Count left me free to act.", "involuntarily compared Amelie with Honorine, I found the erring wife\nmore attractive than the pure girl. To Honorine's heart fidelity had not", "\"Comtesse Honorine is not unique of her kind,\" replied the Ambassador\nto Mademoiselle des Touches. \"A man, nay, and a politician, a bitter", "drama indeed, for I understood that there could be no vulgar difference\nbetween the woman that Count could choose and such a character as his.\nThe events which had driven the Countess to leave a man so noble, so", "that my man's irony may have hurt her legitimate girlish pride, is\nthat a reason for persisting in a determination which only the most\nimplacable hatred could have inspired? Honorine has never told Madame", "aspect of poverty--the coward! The man had, no doubt, counted on the\neasy and luxurious life in Switzerland or Italy which fine ladies\nindulge in when they leave their husbands. Honorine has sixty thousand", "Comtesse Honorine; she had the feeling of cool balm on her wounds, and\nbeamed in the reflection of that virtue which gave light without knowing\nit.", "much severity! Perhaps again, the husband failed to realize Honorine's\ngirlish dreams? Who can tell, while happy days last, what precepts he\nhas neglected?'" ], [ "ceased to worship her. From the day when she left me I have lived on\nmemory; one by one I recall the pleasures for which Honorine no doubt\nhad no taste.", "done. Honorine, on recognizing my writing, had thrown the letter into\nthe fire without reading it.--\"Madame Gobain,\" she had exclaimed, \"I\nleave this to-morrow.\"", "remained stunned. Afterwards, reflection counseled me to continue in\nignorance, and Honorine's misfortunes have since taught me too much", "\"Honorine then took out the Count's letter again to finish reading it.\nMy uncle signed to me, and I rose.\n\n\"'Let us leave the Countess,' said he.", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "\"'After three months of desperation rather than despair, the idea of\ndevoting myself to Honorine with God only in my secret, was one of those", "me, Honorine, as I had but one heart. My husband had the young girl, a\nworthless lover had the woman--there is nothing left!--Then let myself", "\"'\"At first,\" she went on, \"you asked no more. Now you demand your wife.\nWell, here I give you Honorine, such as she is, without deceiving you as", "\"'Monsieur,' said Honorine, folding up the letter, which she placed in\nher bosom, and looking at my uncle, 'thank you very much. I will avail", "\"Honorine started like a frightened doe, sprang to a few paces off,\nwalked down the garden, turned about, remained standing for some", "\"'At last I painted my situation in a letter to her, giving up the\nattempt to speak of it. Honorine made no answer, and she was so sad that", "women. A look would have spoilt all, and I never allowed a thought of\nher to be seen in my eyes. Honorine chose to regard me as an old friend.", "\"We then agreed as to what I was to do that evening at Honorine's house,\nwhither I presently returned. It was now August; the day had been hot", "Honorine? But that would be to run the risk of a third removal. The\nlast cost me fifty thousand francs. The purchase was made in the first\ninstance in the name of the secretary whom you succeeded. The unhappy", "me by Honorine's farewell letter. What poetic delusion had seduced my\nwife? Was it through her senses? Was it the magnetism of misfortune", "\"'No,' I replied, wringing her hand, so that she cried out. 'You love\nyour husband. I leave to-morrow.'\n\n\"And I rushed away, leaving my uncle, to whom she said:", "a mule. Honorine was bent on earning her living. My wife works! For five\nyears past I have lodged her in the Rue Saint-Maur, in a charming little", "and women both, and I indulged in them, hoping to bring Honorine to\nthe confidential point; but she was not to be caught in any trap, and I", "\"'\"Is she making an experiment?\" I asked myself as I left her. On my way\nfrom my own house to the Rue Saint-Maur thoughts of love had swelled in", "\"'You are going already Maurice?' she said, without looking at me." ], [ "\"Octave's anxiety was equal to Honorine's. The Count and I remained\ntogether till two in the morning, walking to and fro by the trenches of", "\"'What,' I said, 'you would kill yourself?--Madame, you must have some\nvery powerful reasons for not wishing to return to Comte Octave.'\n\n\"'Certainly I have!'", "\"'Monsieur le Comte----'\n\n\"'No longer Octave? You, to whom I shall owe my life, my happiness----'", "\"'And I--have I any children?' said Comte Octave in a hollow voice, and\nhis tone made such an impression that there was no more talk of wives or\nmarriage.", "preferable to that of the Comtesse Octave, rich, admired, in one of the\nfinest houses in Paris, beloved by her husband, a happy mother... and I\nwill decide in your favor.'", "\"'In Count Octave's,' I replied. 'You have been tricked. M. Lenormand,\nthe usher of the Court, is not the real owner; he is only a screen for", "\"As I heard the last words, I believed that Count Octave's fears were\nrealized; he had risen, and was walking up and down, and gesticulating,\nbut he stopped as if shocked by the vehemence of his own words.", "\"Honorine then took out the Count's letter again to finish reading it.\nMy uncle signed to me, and I rose.\n\n\"'Let us leave the Countess,' said he.", "\"During these months the Count and I reciprocally studied each other. I\nlearned with astonishment that Comte Octave was but thirty-seven years", "\"When coffee had been served, the two Counts and the two priests stole\naway, seeing that poor Octave had fallen into a fit of melancholy which", "\"I did not answer this letter. Two months later the newspapers announced\nthe return on board an English vessel of the Comtesse Octave, restored\nto her family after adventures by land and sea, invented with sufficient\nprobability to arouse no contradiction.", "then Comte Octave's melancholy was surly and gruff. If these spurts of\ntemper offended me, he could get over it without thinking of asking my", "trifling incidents of the tragi-comedy enacted in the Rue Saint-Maur. As\nsoon as the Countess had gone to bed, at about eleven at night, Octave,", "\"'As to that, I can only reply, Monsieur l'Abbe, when we shall have\ntried each other,' said Comte Octave. 'Your name?' he added to me.\n\n\"'Maurice.'", "remained stunned. Afterwards, reflection counseled me to continue in\nignorance, and Honorine's misfortunes have since taught me too much", "\"When I went to live with Comte Octave I was not indeed an innocent, but\nI thought of my rare escapades as crimes. My uncle was so truly angelic,", "\"No,\" replied she, whispering to Claude these words: \"for he has not yet\nguessed that Honorine would have loved him.--Oh!\" she exclaimed, seeing\nthe Consul's wife approaching, \"his wife was listening! Unhappy man!\"", "ceased to worship her. From the day when she left me I have lived on\nmemory; one by one I recall the pleasures for which Honorine no doubt\nhad no taste.", "\"'In Comte Octave you will find not a master, but a friend,' said my\nuncle on the way to the Rue Payenne. 'But he is distrustful, or to be", "for this creature of sorrow. As I then saw Honorine I understood\nOctave's passion and the truthfulness of his description, 'A heavenly\nflower!'" ] ]

[ "Why do you think the Count hid some of his past realtionship?", "What type of business did Honorine have?", "What is Maurice's job role?", "What did the count have Maurice act as to get in touch with Honorine?", "Whose parents adopted Honorine?", "Why do you think Maurice was reluctant to get married?", "How long after Maurice left the company, did Honorine die?", "Why did MAurice become Consul?", "WHy do you think Honorine was ashamed to come back?", "Who is Maurice married to?", "When Maurice was young, what job did he have, and with who?", "Who was Count Octave supposed to be married to?", "What happened to Honorine?", "What is Honorine's business?", "Does Count Octave still love Honorine?", "What job does Maurice get, to act as a go-between for Count Octave and Honorine?", "Why won't Honorine talk to Count Octave?", "What happens between Count Octave and Honorine once they finally meet again?", "Where were Maurice's dinner guests from?", "Who was Maurice a secretary to? ", "Why does Honorine leave Count Octave? ", "Why did some people accuse Maurice of initially avoiding marriage? ", "Who is the protagonist of this story? ", "What is the tone of this story? ", "How did Count Octave and Honorine meet? ", "Why didn't Honorine come back to the Count after the adventurer abandoned her? ", "After Maurice left, what happened to Honorine? ", "What happened to Count Octave after Honorine died? " ]

[ [ "Because he was in love with Honorine and she ran out on him.", "embarrassment " ], [ "FLower Business", "Flower arranging" ], [ "Secretary ", "consul" ], [ "misogynistic flower breeder", "middle man" ], [ "Count Octave", "Count Octave" ], [ "Becuase he had seen what Honorine leaving the count had done to him", "Because its hard to trust people" ], [ "2 Years", "Two years." ], [ "Maurice becamse Consul becuase of Count having him be the middle man", "He has to leave the Count's compant" ], [ "becuase she had left her husbund for a man who ended up leaving her", "Because she made a mistake" ], [ "He is married to Onorina.", "Onorina" ], [ "He was a secretary for Count Octave.", "Secretary to Count Octave" ], [ "He was supposed to be married to Honorine.", "Honorine" ], [ "Honorine had disappeared, going off with an adventurer and getting pregnant.", "died" ], [ "Honorine's business is flower arranging.", "flower arranging " ], [ "Count Octave still loves Honorine.", "Yes" ], [ "Maurice gets a job as a misogynistic flower arranger.", "Flower breeder" ], [ "She is overcome with remorse and shame.", "Shame" ], [ "Honorine and Count Octave are reunited, and then married.", "She moved in with him " ], [ "His dinner guests were from Paris.", "Paris" ], [ "Count Octave", "Count Octave." ], [ "To live with an adventurer", "for adventurer" ], [ "He fell in love with Honorine ", "He had fallen in love with Honorine" ], [ "Maurice", "Maurice." ], [ "Remorseful", "melancholy" ], [ "They grew up together because Honorine was adopted into the family. ", "His parents adopted her " ], [ "She was ashamed", "she was ashamed" ], [ "She passed away ", "She died." ], [ "He aged rapidly and died shortly after. ", "He past away shortly after." ] ]

[ [ "A MARTIAN ODYSSEY\n\n\nJarvis stretched himself as luxuriously as he could in the cramped\ngeneral quarters of the _Ares_.", "\"Naw!\" said Jarvis disgustedly. \"I wouldn't try that, of course--not\nmore than ten times! Besides, the bump flattened the landing gear and", "\"Well, we stared at the fire a while and I decided to attempt some sort\nof communication with the Martian. I pointed at myself and said 'Dick';", "at the base of the Thyle cliff, where the rock could reflect a little\nheat on my back. I started breaking off chunks of this desiccated\nMartian vegetation, and my companion caught the idea and brought in an", "\"Not on Mars, it isn't! This flora and fauna aren't earthly; your\nbiopods prove that!\" Jarvis grinned and took up his narrative. \"Anyway,", "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "\"Probably not,\" agreed Jarvis sarcastically. \"Only it wouldn't fly.\nNothing serious, but I had my choice of waiting to be picked up or", "\"Laugh!\" grumbled Jarvis. \"I'd already had a nasty bump and a mean\nfrostbite on that nose. Anyway, I yelled 'Ouch!' and jumped aside and", "\"Air you can breathe!\" he exulted. \"It feels as thick as soup after the\nthin stuff out there!\" He nodded at the Martian landscape stretching\nflat and desolate in the light of the nearer moon, beyond the glass of\nthe port.", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly.", "Crumbling. How old would that make _them_? Half a million years? Who\nknows?\" Jarvis paused a moment. \"Well,\" he resumed, \"we followed the", "\"You can judge of that when I'm through,\" said Jarvis. \"Well, we plugged\nalong across the Mare Chronium all that day, and all the next. Mare", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "\"The moon, yes!\" said Jarvis. \"You've missed my point. Mercury isn't\nvisible! And Tweel knew of Mercury because he placed the Moon at the", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "and then I noticed another funny thing. Remember that wart I had on my\nleft thumb? Look!\" Jarvis extended his hand. \"It dried up and fell", "\"A hundred and fifty miles south,\" continued Jarvis imperturbably, \"the\nsurface changed to a sort of low plateau, nothing but desert and", "\"Maybe,\" said Jarvis dubiously. \"Well, there we were. We could exchange\nideas up to a certain point, and then--blooey! Something in us was" ], [ "\"Well, I like _you_!\" countered Jarvis wickedly. \"Anyway,\" he resumed,\n\"don't get the idea that there was anything screwy about Tweel. In fact,", "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"I wasn't twenty feet from her when Tweel caught me with one of his\nflying leaps. He grabbed my arm, yelling, 'No--no--no!' in his squeaky", "\"The moon, yes!\" said Jarvis. \"You've missed my point. Mercury isn't\nvisible! And Tweel knew of Mercury because he placed the Moon at the", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly.", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "\"I don't know what Tweel made of my sleeping. He sat around, but when I\nwoke up, he was gone. I'd just crawled out of my bag, though, when I", "\"That's right,\" agreed Jarvis. \"I didn't know what, so I sneaked over to\nfind out. There was a racket like a flock of crows eating a bunch of", "before I remembered Tweel; I looked around in time to see him rising in\none of his nosedives over the mound and away.", "\"The dream-beast! I stood there dizzy, watching it die while Tweel\ntrilled and whistled. Finally he touched my arm, pointed at the twisting", "\"Well, I wasn't much worried at first. Tweel and I had only come a few\nsteps from the entrance. But every move we made after that seemed to get", "\"Tweel and I watched it for ten minutes before it moved. Then, with a\ncreaking and rustling like--oh, like crumpling stiff paper--its arm", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "was already apparent. Tweel stuck his beak into the sand and drew up his\nlegs and arms and looked for all the world like one of those leafless", "\"Tweel saw the movement first. The top tiers of bricks were heaving,\nshaking, and suddenly slid down the sides with a thin crash. And\nthen--something--something was coming out!", "\"That freak ostrich,\" explained the narrator. \"At least, Tweel is as\nnear as I can pronounce it without sputtering. He called it something\nlike 'Trrrweerrlll.'\"", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "\"Tweel? I wonder! Perhaps he was thinking of something that couldn't\npossibly have interested me, and when I started to run, he realized" ], [ "\"Well, I like _you_!\" countered Jarvis wickedly. \"Anyway,\" he resumed,\n\"don't get the idea that there was anything screwy about Tweel. In fact,", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "\"Nope--nor do you!\"\n\n\"I think I do! Tweel was using the few English words he knew to put over\na very complex idea. What, let me ask, does mathematics make you think\nof?\"", "\"The moon, yes!\" said Jarvis. \"You've missed my point. Mercury isn't\nvisible! And Tweel knew of Mercury because he placed the Moon at the", "it learn the phrase? Were all of the creatures in some sort of\ncommunication with each other? Were they all parts of some central\norganism? I don't know, though I think Tweel does.", "Tweel; it was just that we were somehow mysteriously different--our\nminds were alien to each other. And yet--we _liked_ each other!\"", "civilization and culture equal to ours, and maybe more than equal. And\ncommunication is possible between them and us; Tweel proves that. It may\ntake years of patient trial, for their minds are alien, but less alien", "\"Tweel set up such an excited clacking that I was certain he understood.\nHe jumped up and down, and suddenly he pointed at himself and then at", "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "'What?' to Tweel, but he gave some negative twitters to indicate, I\nsuppose, that he didn't know. So off we went, following the row of", "\"Yeah! Well, I was getting used to Tweel's symbolism, and I figured it\nout this way. 'One-one-two--yes!' The creatures were intelligent.", "\"Maybe,\" said Jarvis dubiously. \"Well, there we were. We could exchange\nideas up to a certain point, and then--blooey! Something in us was", "\"Well, I got his meaning, for a wonder! I said, 'No breath?' and\ndemonstrated the word. Tweel was ecstatic; he said, 'Yes, yes, yes! No,", "\"Well, we stared at the fire a while and I decided to attempt some sort\nof communication with the Martian. I pointed at myself and said 'Dick';", "another creature was of a sort of intelligence so different from ours\nthat understanding was impossible--even more impossible than that\nbetween Tweel and me?\"", "\"That freak ostrich,\" explained the narrator. \"At least, Tweel is as\nnear as I can pronounce it without sputtering. He called it something\nlike 'Trrrweerrlll.'\"", "\"I wasn't twenty feet from her when Tweel caught me with one of his\nflying leaps. He grabbed my arm, yelling, 'No--no--no!' in his squeaky", "\"Later. The point I'm making is that Tweel and his race are worthy of\nour friendship. Somewhere on Mars--and you'll find I'm right--is a", "system, perhaps Tweel's people. I don't know; maybe there's still\nanother intelligent race on the planet, or a dozen others. Mars is a\nqueer little world." ], [ "\"There was a line of little pyramids--tiny ones, not more than six\ninches high, stretching across Xanthus as far as I could see! Little", "\"Not _this_ devil!\" He paused again. \"Well,\" he resumed, \"Tweel and I\nleft the pyramid creature and plowed along through Xanthus. I was tired", "we plugged along across Xanthus and in about the middle of the\nafternoon, something else queer happened. The pyramids ended.\"", "toward Xanthus. Tweel pointed at one of the crystal balls once and said\n'rock,' but I was too tired to argue with him. Later I discovered what\nhe meant.", "\"Plenty of things! First, the pyramid-beast. He hadn't seen one before;\nhe said as much. Yet he recognized it as a dead-alive automaton of\nsilicon.\"", "crystal balls. They're his spores, or eggs, or seeds--call 'em what you\nwant. They went bouncing by across Xanthus just as they'd bounced by us", "pyramid monsters? You'd most likely be able to tell by that time!\"\nJarvis paused and drew a deep breath. \"Lord! That queer creature! Do you", "\"We trailed its pyramids from the beginning, didn't we? If this weren't\nthe original pyramid builder, the series would have ended somewhere", "\"That's it! 'No one-one-two!' Tweel was telling me that the builders of\nthe pyramids weren't people--or that they weren't intelligent, that they\nweren't reasoning creatures! Get it?\"", "suddenly things came drifting along from the Xanthus cliffs--small,\ntransparent spheres, for all the world like glass tennis balls! But\nlight--they were almost light enough to float even in this thin", "complex ideas he put over with no more than those six or seven words?\nThe pyramid-monster--the dream-beast! In a single phrase he told me that", "plants, and never a sign of any other life. It was so monotonous that I\nwas even glad to see the desert of Xanthus toward the evening of the\nsecond day.", "accommodate his four-taloned hand. And we held our weapons ready while\nwe sneaked up along the lines of empty pyramids.", "buildings made of pygmy bricks, they were, hollow inside and truncated,\nor at least broken at the top and empty. I pointed at them and said", "\"Another ten minutes--another brick. Just one of Nature's bricklayers.\nI was about to slip away and move on when Tweel pointed at the thing and", "\"In the morning,\" resumed Jarvis, \"we started off again. We hadn't gone\na hundred yards into Xanthus when I saw something queer! This is one\nthing Putz didn't photograph, I'll wager!", "\"Just as we sighted Xanthus, or the cliffs that bounded it, one of those\nnasty sand clouds blew along, not as bad as the one we had here, but", "\"But he reproduces, or tries to. Before the third brick came out, there\nwas a little rustle and out popped a whole stream of those little", "picture it? Blind, deaf, nerveless, brainless--just a mechanism, and\nyet--immortal! Bound to go on making bricks, building pyramids, as long", "\"Tweel saw the movement first. The top tiers of bricks were heaving,\nshaking, and suddenly slid down the sides with a thin crash. And\nthen--something--something was coming out!" ], [ "\"One of the creatures, having dumped his load, pushed his cart aside\nwith a crash and calmly shoved himself under the wheel! I watched him", "us in deeper. Finally I tried following one of the creatures with an\nempty cart, thinking that he'd be going out for his rubbish, but he ran\naround aimlessly, into one passage and out another. When he started", "being crushed, too stupefied to make a sound, and a moment later,\nanother followed him! They were perfectly methodical about it, too; one\nof the cartless creatures took the abandoned pushcart.", "\"After a few moments, the creatures came rushing back--first one, then\nanother. Their pushcarts were full of stones, sand, chunks of rubbery", "head, and that was all. It was pushing a little coppery cart and tore\nright past us like the proverbial bat out of Hell. It didn't even notice", "we backed out of what I thought was the passage we'd entered by, and\nthey came rumbling after us, some pushing carts and some not. Crazy", "\"A moment later another came along, pushing another empty cart. Same\nthing--it just scooted past us. Well, I wasn't going to be ignored by a", "\"Well,\" he continued, \"we left the dream-beast dying, dragging itself\nback into its hole, and we moved toward the canal. There was a carpet of", "The whole load was burning--and the crazy beast pushing it went right\nalong without a change of pace! It created some disturbance among our", "\"It was a nondescript creature--body like a big grey cask, arm and a\nsort of mouth-hole at one end; stiff, pointed tail at the other--and", "\"There was a--a sort of machine in the chamber, just an enormous wheel\nthat turned slowly, and one of the creatures was in the act of dumping", "\"Tweel and I followed the road squarely up to the nearest mound. The\ncreatures were coming and going, paying us not the slightest attention,", "following--about twenty of them. Queer thing--the ones coming in with\nloaded carts moved past us inches away without a sign.", "\"He is let go! I had to move, so I plowed along with the walking grass\nopening in front and closing behind. And then I was out on the orange\ndesert of Thyle again.", "\"Man, talk about fantastic beings! It looked rather like a barrel\ntrotting along on four legs with four other arms or tentacles. It had no", "\"Then things got still worse! A barrel-brute came out with a pushcart\nand they all grabbed into it and came out with handfuls of foot-long", "They seemed to have no home-life of any sort, but just scurried around\nwith their pushcarts, bringing in rubbish. And finally I discovered what\nthey did with it.", "arms into a hole in the ground. The other let out a series of clacks,\nstaggered around on legs about as thick as golf sticks, and turned", "saw was more dimlit corridor. The place was a labyrinth! There was\nnothing but twisting passages running every way, lit by occasional\nlights, and now and then a creature running by, sometimes with a", "again and gave a shove on his cart, but I stood firm. And then the--the\ndashed creature reached out one of his arms, and two finger-like nippers\ntweaked my nose!\"" ], [ "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "\"And then--I said, 'What 'n Hell!' and stared. And there she was--Fancy\nLong, standing plain as day under one of those crack-brained trees, and\nsmiling and waving just the way I remembered her when we left!\"", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "would seem after this crazy planet, and from that, to thoughts of little\nold New York, and then to thinking about a girl I know there--Fancy\nLong. Know her?\"", "\"Finally I said, 'Fancy! Fancy Long!' She just kept on smiling and\nwaving, but looking as real as if I hadn't left her thirty-seven million\nmiles away.", "Then he squeezed the handle of his weapon; there was a little puff of\nsteam, and Fancy Long was gone! And in her place was one of those", "\"That's her,\" said Jarvis ungrammatically. \"I know her pretty well--just\nfriends, get me?--though she came down to see us off in the _Ares_.", "\"You think so?\" queried Jarvis sardonically. \"Well, I figured it out\ndifferent! 'No one-one-two!' You don't get it, of course, do you?\"", "\"Boy, I almost agreed with you! I stared and pinched myself and closed\nmy eyes and then stared again--and every time, there was Fancy Long", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "\"That's right,\" agreed Jarvis. \"I didn't know what, so I sneaked over to\nfind out. There was a racket like a flock of crows eating a bunch of", "\"Laugh!\" grumbled Jarvis. \"I'd already had a nasty bump and a mean\nfrostbite on that nose. Anyway, I yelled 'Ouch!' and jumped aside and", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly.", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "breet!' and I understood that he meant that the Fancy Long thing wasn't\nalive. Man, my head was whirling!", "\"Right!\" said Jarvis. \"The dream-beast uses its victim's longings and\ndesires to trap its prey. The bird at nesting season would see its mate,", "and then I noticed another funny thing. Remember that wart I had on my\nleft thumb? Look!\" Jarvis extended his hand. \"It dried up and fell", "\"If you say so, Frenchy,\" agreed Jarvis. \"The things never noticed us at\nall, except, as I say, to greet us with 'We are v-r-r-riends! Ouch!'" ], [ "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "\"Then I saw something else. There was something beyond the wheel,\nsomething shining on a sort of low pedestal. I walked over; there was a", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"Maybe,\" said Jarvis dubiously. \"Well, there we were. We could exchange\nideas up to a certain point, and then--blooey! Something in us was", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "\"You think so?\" queried Jarvis sardonically. \"Well, I figured it out\ndifferent! 'No one-one-two!' You don't get it, of course, do you?\"", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "\"The moon, yes!\" said Jarvis. \"You've missed my point. Mercury isn't\nvisible! And Tweel knew of Mercury because he placed the Moon at the", "\"Naw!\" said Jarvis disgustedly. \"I wouldn't try that, of course--not\nmore than ten times! Besides, the bump flattened the landing gear and", "toward Xanthus. Tweel pointed at one of the crystal balls once and said\n'rock,' but I was too tired to argue with him. Later I discovered what\nhe meant.", "his rubbish below it. The wheel ground it with a crunch--sand, stones,\nplants, all into powder that sifted away somewhere. While we watched,", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly.", "\"There was a--a sort of machine in the chamber, just an enormous wheel\nthat turned slowly, and one of the creatures was in the act of dumping", "\"Well, I like _you_!\" countered Jarvis wickedly. \"Anyway,\" he resumed,\n\"don't get the idea that there was anything screwy about Tweel. In fact,", "Crumbling. How old would that make _them_? Half a million years? Who\nknows?\" Jarvis paused a moment. \"Well,\" he resumed, \"we followed the", "the way, that crystal weapon of Tweel's was an interesting device; I\ntook a look at it after the dream-beast episode. It fired a little glass", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "\"You can judge of that when I'm through,\" said Jarvis. \"Well, we plugged\nalong across the Mare Chronium all that day, and all the next. Mare", "\"Probably not,\" agreed Jarvis sarcastically. \"Only it wouldn't fly.\nNothing serious, but I had my choice of waiting to be picked up or" ], [ "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"After a few moments, the creatures came rushing back--first one, then\nanother. Their pushcarts were full of stones, sand, chunks of rubbery", "\"One of the creatures, having dumped his load, pushed his cart aside\nwith a crash and calmly shoved himself under the wheel! I watched him", "\"You're right!\" said Jarvis soberly. \"In a way, you're right. The\ndream-beast! That's the best name for it--and it's the most fiendish,", "\"Laugh!\" grumbled Jarvis. \"I'd already had a nasty bump and a mean\nfrostbite on that nose. Anyway, I yelled 'Ouch!' and jumped aside and", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "\"That's right,\" agreed Jarvis. \"I didn't know what, so I sneaked over to\nfind out. There was a racket like a flock of crows eating a bunch of", "\"The people of the mud cities along the canals.\" Jarvis frowned, then\nresumed his narrative. \"I thought the dream-beast and the", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "again and gave a shove on his cart, but I stood firm. And then the--the\ndashed creature reached out one of his arms, and two finger-like nippers\ntweaked my nose!\"", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly.", "being crushed, too stupefied to make a sound, and a moment later,\nanother followed him! They were perfectly methodical about it, too; one\nof the cartless creatures took the abandoned pushcart.", "us in deeper. Finally I tried following one of the creatures with an\nempty cart, thinking that he'd be going out for his rubbish, but he ran\naround aimlessly, into one passage and out another. When he started", "\"Right!\" said Jarvis. \"The dream-beast uses its victim's longings and\ndesires to trap its prey. The bird at nesting season would see its mate,", "\"If you say so, Frenchy,\" agreed Jarvis. \"The things never noticed us at\nall, except, as I say, to greet us with 'We are v-r-r-riends! Ouch!'", "\"Naw!\" said Jarvis disgustedly. \"I wouldn't try that, of course--not\nmore than ten times! Besides, the bump flattened the landing gear and", "pyramid monsters? You'd most likely be able to tell by that time!\"\nJarvis paused and drew a deep breath. \"Lord! That queer creature! Do you" ], [ "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "Jarvis met Harrison's amused glance without the shadow of a smile.\n\"That's right, Karl,\" he said in grave agreement with Putz. \"_Ich spiel\nes!_\" He grunted comfortably and began.", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "\"Yeah,\" said Harrison. \"And the wart-cure. Too bad you missed that; it\nmight be the cancer cure they've been hunting for a century and a half.\"", "\"You think so?\" queried Jarvis sardonically. \"Well, I figured it out\ndifferent! 'No one-one-two!' You don't get it, of course, do you?\"", "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "The four men of the _Ares_ were silent--even the sardonic Harrison. At\nlast little Leroy broke the stillness.\n\n\"I should like to see,\" he murmured.", "\"That's right,\" agreed Jarvis. \"I didn't know what, so I sneaked over to\nfind out. There was a racket like a flock of crows eating a bunch of", "\"Haw!\" roared Harrison. \"Maybe the things have a sense of beauty!\"", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "\"Laugh!\" grumbled Jarvis. \"I'd already had a nasty bump and a mean\nfrostbite on that nose. Anyway, I yelled 'Ouch!' and jumped aside and", "\"We know all that from Putz,\" grunted Harrison. \"I wish you'd saved the\nfilms, though. They'd have paid the cost of this junket; remember how\nthe public mobbed the first moon pictures?\"", "\"Maybe,\" said Jarvis dubiously. \"Well, there we were. We could exchange\nideas up to a certain point, and then--blooey! Something in us was", "\"The moon, yes!\" said Jarvis. \"You've missed my point. Mercury isn't\nvisible! And Tweel knew of Mercury because he placed the Moon at the", "\"You're right!\" said Jarvis soberly. \"In a way, you're right. The\ndream-beast! That's the best name for it--and it's the most fiendish,", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly.", "\"Well, I like _you_!\" countered Jarvis wickedly. \"Anyway,\" he resumed,\n\"don't get the idea that there was anything screwy about Tweel. In fact,", "\"Does not!\" snapped Harrison. \"The moon is visible from here as a fifth\nmagnitude star. They could see its revolution with the naked eye.\"", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our" ], [ "\"Air you can breathe!\" he exulted. \"It feels as thick as soup after the\nthin stuff out there!\" He nodded at the Martian landscape stretching\nflat and desolate in the light of the nearer moon, beyond the glass of\nthe port.", "\"Well, we stared at the fire a while and I decided to attempt some sort\nof communication with the Martian. I pointed at myself and said 'Dick';", "A MARTIAN ODYSSEY\n\n\nJarvis stretched himself as luxuriously as he could in the cramped\ngeneral quarters of the _Ares_.", "system, perhaps Tweel's people. I don't know; maybe there's still\nanother intelligent race on the planet, or a dozen others. Mars is a\nqueer little world.", "\"Not on Mars, it isn't! This flora and fauna aren't earthly; your\nbiopods prove that!\" Jarvis grinned and took up his narrative. \"Anyway,", "\"Later. The point I'm making is that Tweel and his race are worthy of\nour friendship. Somewhere on Mars--and you'll find I'm right--is a", "and ten pounds is only seventy on Mars, so, tank and all, I grossed a\nhundred and fifty-five, or fifty-five pounds less than my everyday", "Western movie. It was effective, too, at least against Martian life; I\ntried it out, aiming at one of the crazy plants, and darned if the plant", "the earth, the planet Mars. This, of course, was in the old days, less\nthan twenty years after the mad American Doheny perfected the atomic", "\"The Martian wasn't a bird, really. It wasn't even bird-like, except\njust at first glance. It had a beak all right, and a few feathery", "inclusive gesture to indicate that Mars was our current environment. I\nwas working up to putting over the idea that my home was on the earth.", "\"Proves nothing! There's not enough water to waste any where on this\ndesiccated pill called Mars. We'd call all of it desert on earth, you", "the _Ares_. Except for a half-dozen moon expeditions and the ill-fated\nde Lancey flight aimed at the seductive orb of Venus, they were the", "at the base of the Thyle cliff, where the rock could reflect a little\nheat on my back. I started breaking off chunks of this desiccated\nMartian vegetation, and my companion caught the idea and brought in an", "\"Sure,\" said Harrison, \"It's a Martian nursery rhyme.\"", "expedition. Dick Jarvis was chemist of the famous crew, the _Ares_\nexpedition, first human beings to set foot on the mysterious neighbor of", "earth-weight. I figured on that when I undertook the forty-mile daily\nstroll. Oh--of course I took a thermo-skin sleeping bag for these wintry\nMartian nights.", "\"You can judge of that when I'm through,\" said Jarvis. \"Well, we plugged\nalong across the Mare Chronium all that day, and all the next. Mare", "\"That's her,\" said Jarvis ungrammatically. \"I know her pretty well--just\nfriends, get me?--though she came down to see us off in the _Ares_.", "the sun. Then I sketched in Mercury, and Venus, and Mother Earth, and\nMars, and finally, pointing to Mars, I swept my hand around in a sort of" ], [ "expedition. Dick Jarvis was chemist of the famous crew, the _Ares_\nexpedition, first human beings to set foot on the mysterious neighbor of", "The other three stared at him sympathetically--Putz, the engineer,\nLeroy, the biologist, and Harrison, the astronomer and captain of the", "\"That's her,\" said Jarvis ungrammatically. \"I know her pretty well--just\nfriends, get me?--though she came down to see us off in the _Ares_.", "\"Because I'm a chemist. The beast was made of silica! There must have\nbeen pure silicon in the sand, and it lived on that. Get it? We, and", "\"Air you can breathe!\" he exulted. \"It feels as thick as soup after the\nthin stuff out there!\" He nodded at the Martian landscape stretching\nflat and desolate in the light of the nearer moon, beyond the glass of\nthe port.", "\"Well, we stared at the fire a while and I decided to attempt some sort\nof communication with the Martian. I pointed at myself and said 'Dick';", "splinter, poisoned, I suppose, and I guess it held at least a hundred of\n'em to a load. The propellent was steam--just plain steam!\"", "\"Water tank!\" exclaimed the little biologist, Leroy. \"She weigh\none-quarter ton!\"", "\"Nuts!\" observed the captain. \"Plain nuts!\"", "growths and the same eternal carpet of crawling little plant-animals, or\nbiopods, as Leroy calls them. So I sailed along, calling back my", "\"You can judge of that when I'm through,\" said Jarvis. \"Well, we plugged\nalong across the Mare Chronium all that day, and all the next. Mare", "\"He is a desert creature!\" ejaculated the little biologist, Leroy.\n\n\"Huh? Why?\"\n\n\"He drink no water--he is adapt' for sand storm--\"", "\"And then--I said, 'What 'n Hell!' and stared. And there she was--Fancy\nLong, standing plain as day under one of those crack-brained trees, and\nsmiling and waving just the way I remembered her when we left!\"", "\"Up he came, booming out his 'We are v-r-r-riends' and stopped. I looked\nat him; four or five of his eyes looked at me. He tried his password", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "the earth, the planet Mars. This, of course, was in the old days, less\nthan twenty years after the mad American Doheny perfected the atomic", "\"What was he doing?\" asked the Captain.\n\n\"He was being eaten! And squealing, of course, as any one would.\"\n\n\"Eaten! By what?\"", "A MARTIAN ODYSSEY\n\n\nJarvis stretched himself as luxuriously as he could in the cramped\ngeneral quarters of the _Ares_.", "\"You know how deceptive sounds are in this thin air. A shot sounds like\nthe pop of a cork. But this sound was the drone of a rocket, and sure", "\"I wasn't twenty feet from her when Tweel caught me with one of his\nflying leaps. He grabbed my arm, yelling, 'No--no--no!' in his squeaky" ], [ "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "\"Right!\" said Jarvis. \"The dream-beast uses its victim's longings and\ndesires to trap its prey. The bird at nesting season would see its mate,", "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"You're right!\" said Jarvis soberly. \"In a way, you're right. The\ndream-beast! That's the best name for it--and it's the most fiendish,", "\"That's right,\" agreed Jarvis. \"I didn't know what, so I sneaked over to\nfind out. There was a racket like a flock of crows eating a bunch of", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "case hung about the neck of the bird-thing! It was intelligent! That or\ntame, I assumed. Anyway, it clinched my decision. I pulled out my", "\"That freak ostrich,\" explained the narrator. \"At least, Tweel is as\nnear as I can pronounce it without sputtering. He called it something\nlike 'Trrrweerrlll.'\"", "\"The Martian wasn't a bird, really. It wasn't even bird-like, except\njust at first glance. It had a beak all right, and a few feathery", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "\"But the bird-like thing was putting up a good battle, dealing vicious\nblows with an eighteen-inch beak, between screeches. And besides, I", "\"Probably not,\" agreed Jarvis sarcastically. \"Only it wouldn't fly.\nNothing serious, but I had my choice of waiting to be picked up or", "\"It was a nondescript creature--body like a big grey cask, arm and a\nsort of mouth-hole at one end; stiff, pointed tail at the other--and", "\"Laugh!\" grumbled Jarvis. \"I'd already had a nasty bump and a mean\nfrostbite on that nose. Anyway, I yelled 'Ouch!' and jumped aside and", "\"The people of the mud cities along the canals.\" Jarvis frowned, then\nresumed his narrative. \"I thought the dream-beast and the", "body, and a long neck ending in a tiny head--and that beak. It stood an\ninch or so taller than I, and--well, Putz saw it!\"", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly.", "pyramid monsters? You'd most likely be able to tell by that time!\"\nJarvis paused and drew a deep breath. \"Lord! That queer creature! Do you", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I" ], [ "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly.", "\"You think so?\" queried Jarvis sardonically. \"Well, I figured it out\ndifferent! 'No one-one-two!' You don't get it, of course, do you?\"", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"That's her,\" said Jarvis ungrammatically. \"I know her pretty well--just\nfriends, get me?--though she came down to see us off in the _Ares_.", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "\"That's right,\" agreed Jarvis. \"I didn't know what, so I sneaked over to\nfind out. There was a racket like a flock of crows eating a bunch of", "\"If you say so, Frenchy,\" agreed Jarvis. \"The things never noticed us at\nall, except, as I say, to greet us with 'We are v-r-r-riends! Ouch!'", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "would seem after this crazy planet, and from that, to thoughts of little\nold New York, and then to thinking about a girl I know there--Fancy\nLong. Know her?\"", "\"Maybe,\" said Jarvis dubiously. \"Well, there we were. We could exchange\nideas up to a certain point, and then--blooey! Something in us was", "\"Coming!\" remarked Jarvis. \"Twenty miles into Thyle--believe it or\nnot--I crossed a canal!\"\n\n\"Putz photographed a hundred! Let's hear something new!\"", "\"Laugh!\" grumbled Jarvis. \"I'd already had a nasty bump and a mean\nfrostbite on that nose. Anyway, I yelled 'Ouch!' and jumped aside and", "\"Probably not,\" agreed Jarvis sarcastically. \"Only it wouldn't fly.\nNothing serious, but I had my choice of waiting to be picked up or", "and then I noticed another funny thing. Remember that wart I had on my\nleft thumb? Look!\" Jarvis extended his hand. \"It dried up and fell", "\"The people of the mud cities along the canals.\" Jarvis frowned, then\nresumed his narrative. \"I thought the dream-beast and the", "Jarvis met Harrison's amused glance without the shadow of a smile.\n\"That's right, Karl,\" he said in grave agreement with Putz. \"_Ich spiel\nes!_\" He grunted comfortably and began.", "\"The moon, yes!\" said Jarvis. \"You've missed my point. Mercury isn't\nvisible! And Tweel knew of Mercury because he placed the Moon at the" ], [ "\"Right!\" said Jarvis. \"The dream-beast uses its victim's longings and\ndesires to trap its prey. The bird at nesting season would see its mate,", "its victims within reach. It couldn't lure me while I slept, especially\nas Tweel didn't seem to sleep at all, but simply sat patiently around", "\"Because I'm a chemist. The beast was made of silica! There must have\nbeen pure silicon in the sand, and it lived on that. Get it? We, and", "I'd seen a single sign of menace, except the rope-armed black thing that\nhad trapped Tweel, and apparently that didn't prowl at all, but lured", "\"It was a nondescript creature--body like a big grey cask, arm and a\nsort of mouth-hole at one end; stiff, pointed tail at the other--and", "\"How do I know? How does a snake back on earth charm a bird into its\nvery jaws? And aren't there deep-sea fish that lure their victims into", "\"_Oui!_\" shrilled Leroy. \"_Moi--je le comprends!_ He mean you think of\nsomething, the beast he know, and you see it! _Un chien_--a hungry dog,", "\"Tweel was right again. The creature was rock, and it didn't breathe!\"\n\n\"How you know?\" snapped Leroy, his black eyes blazing interest.", "saw was more dimlit corridor. The place was a labyrinth! There was\nnothing but twisting passages running every way, lit by occasional\nlights, and now and then a creature running by, sometimes with a", "\"You're right!\" said Jarvis soberly. \"In a way, you're right. The\ndream-beast! That's the best name for it--and it's the most fiendish,", "\"There was a flurry of tentacles and a spurt of black corruption, and\nthen the thing, with a disgusting sucking noise, pulled itself and its", "\"Tweel and I watched it for ten minutes before it moved. Then, with a\ncreaking and rustling like--oh, like crumpling stiff paper--its arm", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "terrifying creation one could imagine! More dangerous than a lion, more\ninsidious than a snake!\"", "eyes. You might see me--I might see one of you--and back of it may be\nnothing but another of those black horrors!\"", "\"The dream-beast! I stood there dizzy, watching it die while Tweel\ntrilled and whistled. Finally he touched my arm, pointed at the twisting", "pyramid monsters? You'd most likely be able to tell by that time!\"\nJarvis paused and drew a deep breath. \"Lord! That queer creature! Do you", "\"What was he doing?\" asked the Captain.\n\n\"He was being eaten! And squealing, of course, as any one would.\"\n\n\"Eaten! By what?\"", "that I saw something different and was warned. Or perhaps the\ndream-beast can only project a single vision, and Tweel saw what I", "\"Man, talk about fantastic beings! It looked rather like a barrel\ntrotting along on four legs with four other arms or tentacles. It had no" ], [ "\"Man, talk about fantastic beings! It looked rather like a barrel\ntrotting along on four legs with four other arms or tentacles. It had no", "\"It was a nondescript creature--body like a big grey cask, arm and a\nsort of mouth-hole at one end; stiff, pointed tail at the other--and", "\"There was a--a sort of machine in the chamber, just an enormous wheel\nthat turned slowly, and one of the creatures was in the act of dumping", "head, just body and members and a row of eyes completely around it. The\ntop end of the barrel-body was a diaphragm stretched as tight as a drum", "\"Then things got still worse! A barrel-brute came out with a pushcart\nand they all grabbed into it and came out with handfuls of foot-long", "\"There was a flurry of tentacles and a spurt of black corruption, and\nthen the thing, with a disgusting sucking noise, pulled itself and its", "arms into a hole in the ground. The other let out a series of clacks,\nstaggered around on legs about as thick as golf sticks, and turned", "fetching their loads of rubbish. The road simply dived into an opening,\nand slanted down like an old mine, and in and out darted the\nbarrel-people, greeting us with their eternal phrase.", "\"One of the creatures, having dumped his load, pushed his cart aside\nwith a crash and calmly shoved himself under the wheel! I watched him", "pounded on the creature, and the arm took the brick and placed it neatly\nbeside the first. Tweel rapped on its body again, and said 'rock,' and I", "\"Tweel and I watched it for ten minutes before it moved. Then, with a\ncreaking and rustling like--oh, like crumpling stiff paper--its arm", "turning. And several times I saw two barrel-beasts with a little one\ngrowing between them, joined to both.\"", "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "\"But it did. It stopped and set up a sort of drumming from the diaphragm\non top. And I held out both hands and said, 'We are friends!' And what\ndo you suppose the thing did?\"", "\"After a few moments, the creatures came rushing back--first one, then\nanother. Their pushcarts were full of stones, sand, chunks of rubbery", "covered, it moves over to a fresh place to start over. No wonder it\ncreaked! A living creature half a million years old!\"", "that's all. No other limbs, no eyes, ears, nose--nothing! The thing\ndragged itself a few yards, inserted its pointed tail in the sand,\npushed itself upright, and just sat.", "\"Tweel saw the movement first. The top tiers of bricks were heaving,\nshaking, and suddenly slid down the sides with a thin crash. And\nthen--something--something was coming out!", "\"Tweel had his glass gun out and I dumped my water tank for greater\nfreedom and got mine. We backed up the corridor with the barrel-beasts", "bunch of barrels playing train, so when the third one approached, I\nplanted myself in the way--ready to jump, of course, if the thing didn't\nstop." ], [ "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "\"Then I saw something else. There was something beyond the wheel,\nsomething shining on a sort of low pedestal. I walked over; there was a", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly.", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "and then I noticed another funny thing. Remember that wart I had on my\nleft thumb? Look!\" Jarvis extended his hand. \"It dried up and fell", "\"That's right,\" agreed Jarvis. \"I didn't know what, so I sneaked over to\nfind out. There was a racket like a flock of crows eating a bunch of", "little crystal about the size of an egg, fluorescing to beat Tophet. The\nlight from it stung my hands and face, almost like a static discharge,", "\"Laugh!\" grumbled Jarvis. \"I'd already had a nasty bump and a mean\nfrostbite on that nose. Anyway, I yelled 'Ouch!' and jumped aside and", "\"Maybe,\" said Jarvis dubiously. \"Well, there we were. We could exchange\nideas up to a certain point, and then--blooey! Something in us was", "\"You're right!\" said Jarvis soberly. \"In a way, you're right. The\ndream-beast! That's the best name for it--and it's the most fiendish,", "\"Then I saw another light shining on something that glittered and I went\non to look at that, but it was only a heap of shiny sand. I turned\ntoward the entrance to leave, and the Devil take me if it wasn't gone!", "pyramid monsters? You'd most likely be able to tell by that time!\"\nJarvis paused and drew a deep breath. \"Lord! That queer creature! Do you", "\"Naw!\" said Jarvis disgustedly. \"I wouldn't try that, of course--not\nmore than ten times! Besides, the bump flattened the landing gear and", "Crumbling. How old would that make _them_? Half a million years? Who\nknows?\" Jarvis paused a moment. \"Well,\" he resumed, \"we followed the", "\"The moon, yes!\" said Jarvis. \"You've missed my point. Mercury isn't\nvisible! And Tweel knew of Mercury because he placed the Moon at the", "toward Xanthus. Tweel pointed at one of the crystal balls once and said\n'rock,' but I was too tired to argue with him. Later I discovered what\nhe meant." ], [ "\"So I went 'bang' with my gun and Tweel went 'puff' with his, and the\nbarrels were throwing darts and getting ready to rush us, and booming", "\"Tweel saw the movement first. The top tiers of bricks were heaving,\nshaking, and suddenly slid down the sides with a thin crash. And\nthen--something--something was coming out!", "\"I wasn't twenty feet from her when Tweel caught me with one of his\nflying leaps. He grabbed my arm, yelling, 'No--no--no!' in his squeaky", "\"Well, I like _you_!\" countered Jarvis wickedly. \"Anyway,\" he resumed,\n\"don't get the idea that there was anything screwy about Tweel. In fact,", "\"Tweel and I watched it for ten minutes before it moved. Then, with a\ncreaking and rustling like--oh, like crumpling stiff paper--its arm", "\"And things got worse in a hurry. They cornered us in an angle between\ntwo mounds, and there we stood. I hadn't fired nor had Tweel; there", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"I grabbed Tweel and out we dashed and after us our twenty pursuers. The\ndaylight felt like Heaven, though I saw at first glance that the sun was", "\"Well, I wasn't much worried at first. Tweel and I had only come a few\nsteps from the entrance. But every move we made after that seemed to get", "\"The dream-beast! I stood there dizzy, watching it die while Tweel\ntrilled and whistled. Finally he touched my arm, pointed at the twisting", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "\"That's right,\" agreed Jarvis. \"I didn't know what, so I sneaked over to\nfind out. There was a racket like a flock of crows eating a bunch of", "\"After a few moments, the creatures came rushing back--first one, then\nanother. Their pushcarts were full of stones, sand, chunks of rubbery", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "\"Tweel and I noticed it about the same time. I yanked out my automatic\n(I had a clip of Boland explosive bullets in it) and Tweel, quick as a", "\"Then suddenly the creatures were booming and drumming all around us and\ntheir noise was decidedly menacing. A crowd of them advanced toward us;", "\"That freak ostrich,\" explained the narrator. \"At least, Tweel is as\nnear as I can pronounce it without sputtering. He called it something\nlike 'Trrrweerrlll.'\"", "\"I scrambled to the top of the cliff. Tweel was still pointing and\ntrilling excitedly, shooting up toward the sky and coming down head-on" ], [ "\"The dream-beast! I stood there dizzy, watching it die while Tweel\ntrilled and whistled. Finally he touched my arm, pointed at the twisting", "\"Well, I like _you_!\" countered Jarvis wickedly. \"Anyway,\" he resumed,\n\"don't get the idea that there was anything screwy about Tweel. In fact,", "\"I wasn't twenty feet from her when Tweel caught me with one of his\nflying leaps. He grabbed my arm, yelling, 'No--no--no!' in his squeaky", "\"I grabbed Tweel and out we dashed and after us our twenty pursuers. The\ndaylight felt like Heaven, though I saw at first glance that the sun was", "\"I was startled, you can imagine! The arm was going up for a brick, and\nI expected to see Tweel caught and mangled, but--nothing happened! Tweel", "\"Tweel was right again. The creature was rock, and it didn't breathe!\"\n\n\"How you know?\" snapped Leroy, his black eyes blazing interest.", "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "\"Tweel saw the movement first. The top tiers of bricks were heaving,\nshaking, and suddenly slid down the sides with a thin crash. And\nthen--something--something was coming out!", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"Tweel and I watched it for ten minutes before it moved. Then, with a\ncreaking and rustling like--oh, like crumpling stiff paper--its arm", "\"One of the creatures, having dumped his load, pushed his cart aside\nwith a crash and calmly shoved himself under the wheel! I watched him", "\"Yeah! Well, I was getting used to Tweel's symbolism, and I figured it\nout this way. 'One-one-two--yes!' The creatures were intelligent.", "\"Lord! I don't know how many hours or days we wandered around there! I\nslept twice from sheer exhaustion; Tweel never seemed to need sleep. We", "\"That freak ostrich,\" explained the narrator. \"At least, Tweel is as\nnear as I can pronounce it without sputtering. He called it something\nlike 'Trrrweerrlll.'\"", "doing--suppose I _had_ saved him from the first dream-beast--he'd done\nas much for me, hadn't he? I grabbed his arm, and said 'Tweel,' and", "all night. I wondered how the creature had managed to trap Tweel, but\nthere wasn't any way of asking him. I found that out too, later; it's\ndevilish!", "\"Man! We were through and I knew it! Then I realized that Tweel wasn't.\nHe could have leaped the mound behind us as easily as not. He was\nstaying for me!", "\"Tweel must have noticed that. Suddenly, he snatched out that glowing\ncoal cigar-lighter of his and touched a cart-load of plant limbs. Puff!" ], [ "\"Well, I like _you_!\" countered Jarvis wickedly. \"Anyway,\" he resumed,\n\"don't get the idea that there was anything screwy about Tweel. In fact,", "\"After a few moments, the creatures came rushing back--first one, then\nanother. Their pushcarts were full of stones, sand, chunks of rubbery", "again and gave a shove on his cart, but I stood firm. And then the--the\ndashed creature reached out one of his arms, and two finger-like nippers\ntweaked my nose!\"", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "\"That freak ostrich,\" explained the narrator. \"At least, Tweel is as\nnear as I can pronounce it without sputtering. He called it something\nlike 'Trrrweerrlll.'\"", "\"Yeah! Well, I was getting used to Tweel's symbolism, and I figured it\nout this way. 'One-one-two--yes!' The creatures were intelligent.", "being crushed, too stupefied to make a sound, and a moment later,\nanother followed him! They were perfectly methodical about it, too; one\nof the cartless creatures took the abandoned pushcart.", "\"The dream-beast! I stood there dizzy, watching it die while Tweel\ntrilled and whistled. Finally he touched my arm, pointed at the twisting", "\"Tweel saw the movement first. The top tiers of bricks were heaving,\nshaking, and suddenly slid down the sides with a thin crash. And\nthen--something--something was coming out!", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "\"Tweel was right again. The creature was rock, and it didn't breathe!\"\n\n\"How you know?\" snapped Leroy, his black eyes blazing interest.", "I'd seen a single sign of menace, except the rope-armed black thing that\nhad trapped Tweel, and apparently that didn't prowl at all, but lured", "\"That's it! 'No one-one-two!' Tweel was telling me that the builders of\nthe pyramids weren't people--or that they weren't intelligent, that they\nweren't reasoning creatures! Get it?\"", "like a civilized light, and I thought that I might get some clue as to\nthe creatures' development. So in I went and Tweel tagged along, not\nwithout a few trills and twitters, however.", "\"One of the creatures, having dumped his load, pushed his cart aside\nwith a crash and calmly shoved himself under the wheel! I watched him", "\"Right!\" said Jarvis. \"The dream-beast uses its victim's longings and\ndesires to trap its prey. The bird at nesting season would see its mate,", "\"I wasn't twenty feet from her when Tweel caught me with one of his\nflying leaps. He grabbed my arm, yelling, 'No--no--no!' in his squeaky", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "it learn the phrase? Were all of the creatures in some sort of\ncommunication with each other? Were they all parts of some central\norganism? I don't know, though I think Tweel does.", "\"So I went 'bang' with my gun and Tweel went 'puff' with his, and the\nbarrels were throwing darts and getting ready to rush us, and booming" ], [ "\"That's her,\" said Jarvis ungrammatically. \"I know her pretty well--just\nfriends, get me?--though she came down to see us off in the _Ares_.", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "Jarvis met Harrison's amused glance without the shadow of a smile.\n\"That's right, Karl,\" he said in grave agreement with Putz. \"_Ich spiel\nes!_\" He grunted comfortably and began.", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly.", "\"Well, I like _you_!\" countered Jarvis wickedly. \"Anyway,\" he resumed,\n\"don't get the idea that there was anything screwy about Tweel. In fact,", "\"That's right,\" agreed Jarvis. \"I didn't know what, so I sneaked over to\nfind out. There was a racket like a flock of crows eating a bunch of", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "\"You think so?\" queried Jarvis sardonically. \"Well, I figured it out\ndifferent! 'No one-one-two!' You don't get it, of course, do you?\"", "\"If you say so, Frenchy,\" agreed Jarvis. \"The things never noticed us at\nall, except, as I say, to greet us with 'We are v-r-r-riends! Ouch!'", "\"Coming!\" remarked Jarvis. \"Twenty miles into Thyle--believe it or\nnot--I crossed a canal!\"\n\n\"Putz photographed a hundred! Let's hear something new!\"", "\"Maybe,\" said Jarvis dubiously. \"Well, there we were. We could exchange\nideas up to a certain point, and then--blooey! Something in us was", "\"The people of the mud cities along the canals.\" Jarvis frowned, then\nresumed his narrative. \"I thought the dream-beast and the", "\"Probably not,\" agreed Jarvis sarcastically. \"Only it wouldn't fly.\nNothing serious, but I had my choice of waiting to be picked up or", "\"Laugh!\" grumbled Jarvis. \"I'd already had a nasty bump and a mean\nfrostbite on that nose. Anyway, I yelled 'Ouch!' and jumped aside and", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "and then I noticed another funny thing. Remember that wart I had on my\nleft thumb? Look!\" Jarvis extended his hand. \"It dried up and fell", "Crumbling. How old would that make _them_? Half a million years? Who\nknows?\" Jarvis paused a moment. \"Well,\" he resumed, \"we followed the" ], [ "\"Well, we stared at the fire a while and I decided to attempt some sort\nof communication with the Martian. I pointed at myself and said 'Dick';", "A MARTIAN ODYSSEY\n\n\nJarvis stretched himself as luxuriously as he could in the cramped\ngeneral quarters of the _Ares_.", "\"Air you can breathe!\" he exulted. \"It feels as thick as soup after the\nthin stuff out there!\" He nodded at the Martian landscape stretching\nflat and desolate in the light of the nearer moon, beyond the glass of\nthe port.", "and ten pounds is only seventy on Mars, so, tank and all, I grossed a\nhundred and fifty-five, or fifty-five pounds less than my everyday", "system, perhaps Tweel's people. I don't know; maybe there's still\nanother intelligent race on the planet, or a dozen others. Mars is a\nqueer little world.", "the earth, the planet Mars. This, of course, was in the old days, less\nthan twenty years after the mad American Doheny perfected the atomic", "\"Wasn't full. Weighed about two hundred and fifty pounds earth-weight,\nwhich is eighty-five here. Then, besides, my own personal two hundred", "the _Ares_. Except for a half-dozen moon expeditions and the ill-fated\nde Lancey flight aimed at the seductive orb of Venus, they were the", "earth-weight. I figured on that when I undertook the forty-mile daily\nstroll. Oh--of course I took a thermo-skin sleeping bag for these wintry\nMartian nights.", "blast at the cost of his life, and only a decade after the equally mad\nCardoza rode on it to the moon. They were true pioneers, these four of", "\"You can judge of that when I'm through,\" said Jarvis. \"Well, we plugged\nalong across the Mare Chronium all that day, and all the next. Mare", "first men to feel other gravity than earth's, and certainly the first\nsuccessful crew to leave the earth-moon system. And they deserved that\nsuccess when one considers the difficulties and discomforts--the months", "This eBook was produced from the 1949 book _A Martian Odyssey and\nOthers_ by Stanley G. Weinbaum, pp. 1-27. Extensive research did not", "\"Later. The point I'm making is that Tweel and his race are worthy of\nour friendship. Somewhere on Mars--and you'll find I'm right--is a", "Western movie. It was effective, too, at least against Martian life; I\ntried it out, aiming at one of the crazy plants, and darned if the plant", "The four men of the _Ares_ were silent--even the sardonic Harrison. At\nlast little Leroy broke the stillness.\n\n\"I should like to see,\" he murmured.", "The other three stared at him sympathetically--Putz, the engineer,\nLeroy, the biologist, and Harrison, the astronomer and captain of the", "spent in acclimatization chambers back on earth, learning to breathe the\nair as tenuous as that of Mars, the challenging of the void in the tiny", "the sun. Then I sketched in Mercury, and Venus, and Mother Earth, and\nMars, and finally, pointing to Mars, I swept my hand around in a sort of", "expedition. Dick Jarvis was chemist of the famous crew, the _Ares_\nexpedition, first human beings to set foot on the mysterious neighbor of" ], [ "\"That's her,\" said Jarvis ungrammatically. \"I know her pretty well--just\nfriends, get me?--though she came down to see us off in the _Ares_.", "A MARTIAN ODYSSEY\n\n\nJarvis stretched himself as luxuriously as he could in the cramped\ngeneral quarters of the _Ares_.", "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "expedition. Dick Jarvis was chemist of the famous crew, the _Ares_\nexpedition, first human beings to set foot on the mysterious neighbor of", "\"Probably not,\" agreed Jarvis sarcastically. \"Only it wouldn't fly.\nNothing serious, but I had my choice of waiting to be picked up or", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "\"That's right,\" agreed Jarvis. \"I didn't know what, so I sneaked over to\nfind out. There was a racket like a flock of crows eating a bunch of", "The four men of the _Ares_ were silent--even the sardonic Harrison. At\nlast little Leroy broke the stillness.\n\n\"I should like to see,\" he murmured.", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly.", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "\"You can judge of that when I'm through,\" said Jarvis. \"Well, we plugged\nalong across the Mare Chronium all that day, and all the next. Mare", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "\"Naw!\" said Jarvis disgustedly. \"I wouldn't try that, of course--not\nmore than ten times! Besides, the bump flattened the landing gear and", "\"Air you can breathe!\" he exulted. \"It feels as thick as soup after the\nthin stuff out there!\" He nodded at the Martian landscape stretching\nflat and desolate in the light of the nearer moon, beyond the glass of\nthe port.", "\"The moon, yes!\" said Jarvis. \"You've missed my point. Mercury isn't\nvisible! And Tweel knew of Mercury because he placed the Moon at the", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"Laugh!\" grumbled Jarvis. \"I'd already had a nasty bump and a mean\nfrostbite on that nose. Anyway, I yelled 'Ouch!' and jumped aside and", "\"He is let go! I had to move, so I plowed along with the walking grass\nopening in front and closing behind. And then I was out on the orange\ndesert of Thyle again.", "\"A hundred and fifty miles south,\" continued Jarvis imperturbably, \"the\nsurface changed to a sort of low plateau, nothing but desert and", "\"According to orders,\" he said, \"I watched Karl here take off toward the\nNorth, and then I got into my flying sweat-box and headed South. You'll" ], [ "\"Naw!\" said Jarvis disgustedly. \"I wouldn't try that, of course--not\nmore than ten times! Besides, the bump flattened the landing gear and", "\"Probably not,\" agreed Jarvis sarcastically. \"Only it wouldn't fly.\nNothing serious, but I had my choice of waiting to be picked up or", "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly.", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "\"Laugh!\" grumbled Jarvis. \"I'd already had a nasty bump and a mean\nfrostbite on that nose. Anyway, I yelled 'Ouch!' and jumped aside and", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "A MARTIAN ODYSSEY\n\n\nJarvis stretched himself as luxuriously as he could in the cramped\ngeneral quarters of the _Ares_.", "\"A hundred and fifty miles south,\" continued Jarvis imperturbably, \"the\nsurface changed to a sort of low plateau, nothing but desert and", "\"The films are safe,\" retorted Jarvis. \"Well,\" he resumed, \"as I said, I\nbuzzed along at a pretty good clip; just as we figured, the wings", "\"Maybe,\" said Jarvis dubiously. \"Well, there we were. We could exchange\nideas up to a certain point, and then--blooey! Something in us was", "and then I noticed another funny thing. Remember that wart I had on my\nleft thumb? Look!\" Jarvis extended his hand. \"It dried up and fell", "\"That's right,\" agreed Jarvis. \"I didn't know what, so I sneaked over to\nfind out. There was a racket like a flock of crows eating a bunch of", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"That's her,\" said Jarvis ungrammatically. \"I know her pretty well--just\nfriends, get me?--though she came down to see us off in the _Ares_.", "\"You can judge of that when I'm through,\" said Jarvis. \"Well, we plugged\nalong across the Mare Chronium all that day, and all the next. Mare", "\"Wow! I let out a yell and dashed for the rocket; Putz opened the door\nand in I went, laughing and crying and shouting! It was a moment or so", "Crumbling. How old would that make _them_? Half a million years? Who\nknows?\" Jarvis paused a moment. \"Well,\" he resumed, \"we followed the", "\"The moon, yes!\" said Jarvis. \"You've missed my point. Mercury isn't\nvisible! And Tweel knew of Mercury because he placed the Moon at the" ], [ "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "A MARTIAN ODYSSEY\n\n\nJarvis stretched himself as luxuriously as he could in the cramped\ngeneral quarters of the _Ares_.", "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"Well, we stared at the fire a while and I decided to attempt some sort\nof communication with the Martian. I pointed at myself and said 'Dick';", "\"You're right!\" said Jarvis soberly. \"In a way, you're right. The\ndream-beast! That's the best name for it--and it's the most fiendish,", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "\"Not on Mars, it isn't! This flora and fauna aren't earthly; your\nbiopods prove that!\" Jarvis grinned and took up his narrative. \"Anyway,", "\"You can judge of that when I'm through,\" said Jarvis. \"Well, we plugged\nalong across the Mare Chronium all that day, and all the next. Mare", "\"Air you can breathe!\" he exulted. \"It feels as thick as soup after the\nthin stuff out there!\" He nodded at the Martian landscape stretching\nflat and desolate in the light of the nearer moon, beyond the glass of\nthe port.", "pyramid monsters? You'd most likely be able to tell by that time!\"\nJarvis paused and drew a deep breath. \"Lord! That queer creature! Do you", "\"The Martian wasn't a bird, really. It wasn't even bird-like, except\njust at first glance. It had a beak all right, and a few feathery", "\"That's her,\" said Jarvis ungrammatically. \"I know her pretty well--just\nfriends, get me?--though she came down to see us off in the _Ares_.", "\"Laugh!\" grumbled Jarvis. \"I'd already had a nasty bump and a mean\nfrostbite on that nose. Anyway, I yelled 'Ouch!' and jumped aside and", "\"Right!\" said Jarvis. \"The dream-beast uses its victim's longings and\ndesires to trap its prey. The bird at nesting season would see its mate,", "and then I noticed another funny thing. Remember that wart I had on my\nleft thumb? Look!\" Jarvis extended his hand. \"It dried up and fell", "\"Naw!\" said Jarvis disgustedly. \"I wouldn't try that, of course--not\nmore than ten times! Besides, the bump flattened the landing gear and", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly." ], [ "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "Jarvis stretched and fingered the raw and peeling tip of his\nfrost-bitten nose. He sighed again contentedly.", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"Laugh!\" grumbled Jarvis. \"I'd already had a nasty bump and a mean\nfrostbite on that nose. Anyway, I yelled 'Ouch!' and jumped aside and", "\"Oh, that!\" muttered Jarvis gloomily. \"That's what started the fight!\"\nHe drew a glistening object from his pocket.\n\n\"Here it is.\"", "\"That's right,\" agreed Jarvis. \"I didn't know what, so I sneaked over to\nfind out. There was a racket like a flock of crows eating a bunch of", "\"Probably not,\" agreed Jarvis sarcastically. \"Only it wouldn't fly.\nNothing serious, but I had my choice of waiting to be picked up or", "\"A hundred and fifty miles south,\" continued Jarvis imperturbably, \"the\nsurface changed to a sort of low plateau, nothing but desert and", "\"Maybe,\" said Jarvis dubiously. \"Well, there we were. We could exchange\nideas up to a certain point, and then--blooey! Something in us was", "\"That's her,\" said Jarvis ungrammatically. \"I know her pretty well--just\nfriends, get me?--though she came down to see us off in the _Ares_.", "and then I noticed another funny thing. Remember that wart I had on my\nleft thumb? Look!\" Jarvis extended his hand. \"It dried up and fell", "\"You think so?\" queried Jarvis sardonically. \"Well, I figured it out\ndifferent! 'No one-one-two!' You don't get it, of course, do you?\"", "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "Jarvis met Harrison's amused glance without the shadow of a smile.\n\"That's right, Karl,\" he said in grave agreement with Putz. \"_Ich spiel\nes!_\" He grunted comfortably and began.", "Crumbling. How old would that make _them_? Half a million years? Who\nknows?\" Jarvis paused a moment. \"Well,\" he resumed, \"we followed the", "\"Naw!\" said Jarvis disgustedly. \"I wouldn't try that, of course--not\nmore than ten times! Besides, the bump flattened the landing gear and", "\"Coming!\" remarked Jarvis. \"Twenty miles into Thyle--believe it or\nnot--I crossed a canal!\"\n\n\"Putz photographed a hundred! Let's hear something new!\"", "\"You can judge of that when I'm through,\" said Jarvis. \"Well, we plugged\nalong across the Mare Chronium all that day, and all the next. Mare" ], [ "\"After a few moments, the creatures came rushing back--first one, then\nanother. Their pushcarts were full of stones, sand, chunks of rubbery", "being crushed, too stupefied to make a sound, and a moment later,\nanother followed him! They were perfectly methodical about it, too; one\nof the cartless creatures took the abandoned pushcart.", "\"One of the creatures, having dumped his load, pushed his cart aside\nwith a crash and calmly shoved himself under the wheel! I watched him", "pounded on the creature, and the arm took the brick and placed it neatly\nbeside the first. Tweel rapped on its body again, and said 'rock,' and I", "\"Tweel was right again. The creature was rock, and it didn't breathe!\"\n\n\"How you know?\" snapped Leroy, his black eyes blazing interest.", "his rubbish below it. The wheel ground it with a crunch--sand, stones,\nplants, all into powder that sifted away somewhere. While we watched,", "\"Then things got still worse! A barrel-brute came out with a pushcart\nand they all grabbed into it and came out with handfuls of foot-long", "again and gave a shove on his cart, but I stood firm. And then the--the\ndashed creature reached out one of his arms, and two finger-like nippers\ntweaked my nose!\"", "arms into a hole in the ground. The other let out a series of clacks,\nstaggered around on legs about as thick as golf sticks, and turned", "moved to the mouth-hole and out came a brick! The arm placed the brick\ncarefully on the ground, and the thing was still again.", "line. Tweel pointed at them and said 'rock' once or twice, but he'd done\nthat many times before. Besides, he was more or less right about these.", "us in deeper. Finally I tried following one of the creatures with an\nempty cart, thinking that he'd be going out for his rubbish, but he ran\naround aimlessly, into one passage and out another. When he started", "\"There was a--a sort of machine in the chamber, just an enormous wheel\nthat turned slowly, and one of the creatures was in the act of dumping", "They seemed to have no home-life of any sort, but just scurried around\nwith their pushcarts, bringing in rubbish. And finally I discovered what\nthey did with it.", "we backed out of what I thought was the passage we'd entered by, and\nthey came rumbling after us, some pushing carts and some not. Crazy", "\"By noon they were shoulder high. I looked into a couple--all just the\nsame, broken at the top and empty. I examined a brick or two as well;\nthey were silica, and old as creation itself!\"", "\"A moment later another came along, pushing another empty cart. Same\nthing--it just scooted past us. Well, I wasn't going to be ignored by a", "\"Tweel saw the movement first. The top tiers of bricks were heaving,\nshaking, and suddenly slid down the sides with a thin crash. And\nthen--something--something was coming out!", "\"Well,\" he continued, \"we left the dream-beast dying, dragging itself\nback into its hole, and we moved toward the canal. There was a carpet of", "head, and that was all. It was pushing a little coppery cart and tore\nright past us like the proverbial bat out of Hell. It didn't even notice" ], [ "his rubbish below it. The wheel ground it with a crunch--sand, stones,\nplants, all into powder that sifted away somewhere. While we watched,", "\"There was a--a sort of machine in the chamber, just an enormous wheel\nthat turned slowly, and one of the creatures was in the act of dumping", "\"Then I saw something else. There was something beyond the wheel,\nsomething shining on a sort of low pedestal. I walked over; there was a", "\"After a few moments, the creatures came rushing back--first one, then\nanother. Their pushcarts were full of stones, sand, chunks of rubbery", "\"One of the creatures, having dumped his load, pushed his cart aside\nwith a crash and calmly shoved himself under the wheel! I watched him", "pounded on the creature, and the arm took the brick and placed it neatly\nbeside the first. Tweel rapped on its body again, and said 'rock,' and I", "the wheel in time to see one of the pushcarts ground up. Some suicide\nhad been careless, it seems.", "moved to the mouth-hole and out came a brick! The arm placed the brick\ncarefully on the ground, and the thing was still again.", "line. Tweel pointed at them and said 'rock' once or twice, but he'd done\nthat many times before. Besides, he was more or less right about these.", "being crushed, too stupefied to make a sound, and a moment later,\nanother followed him! They were perfectly methodical about it, too; one\nof the cartless creatures took the abandoned pushcart.", "\"Tweel saw the movement first. The top tiers of bricks were heaving,\nshaking, and suddenly slid down the sides with a thin crash. And\nthen--something--something was coming out!", "\"By noon they were shoulder high. I looked into a couple--all just the\nsame, broken at the top and empty. I examined a brick or two as well;\nthey were silica, and old as creation itself!\"", "\"He is let go! I had to move, so I plowed along with the walking grass\nopening in front and closing behind. And then I was out on the orange\ndesert of Thyle again.", "toward Xanthus. Tweel pointed at one of the crystal balls once and said\n'rock,' but I was too tired to argue with him. Later I discovered what\nhe meant.", "\"Tweel was right again. The creature was rock, and it didn't breathe!\"\n\n\"How you know?\" snapped Leroy, his black eyes blazing interest.", "\"But it did. It stopped and set up a sort of drumming from the diaphragm\non top. And I held out both hands and said, 'We are friends!' And what\ndo you suppose the thing did?\"", "equals four on the ground, and demonstrated it with pebbles. Again Tweel\ncaught the idea, and informed me that three plus three equals six. Once\nmore we seemed to be getting somewhere.", "\"Well,\" he continued, \"we left the dream-beast dying, dragging itself\nback into its hole, and we moved toward the canal. There was a carpet of", "covered, it moves over to a fresh place to start over. No wonder it\ncreaked! A living creature half a million years old!\"", "\"Tweel and I watched it for ten minutes before it moved. Then, with a\ncreaking and rustling like--oh, like crumpling stiff paper--its arm" ], [ "Jarvis continued. \"So--we stared at each other. Finally the creature\nwent into a series of clackings and twitterings and held out its hands\ntoward me, empty. I took that as a gesture of friendship.\"", "being crushed, too stupefied to make a sound, and a moment later,\nanother followed him! They were perfectly methodical about it, too; one\nof the cartless creatures took the abandoned pushcart.", "again and gave a shove on his cart, but I stood firm. And then the--the\ndashed creature reached out one of his arms, and two finger-like nippers\ntweaked my nose!\"", "\"Well, I like _you_!\" countered Jarvis wickedly. \"Anyway,\" he resumed,\n\"don't get the idea that there was anything screwy about Tweel. In fact,", "\"Tweel and I watched it for ten minutes before it moved. Then, with a\ncreaking and rustling like--oh, like crumpling stiff paper--its arm", "\"One of the creatures, having dumped his load, pushed his cart aside\nwith a crash and calmly shoved himself under the wheel! I watched him", "pounded on the creature, and the arm took the brick and placed it neatly\nbeside the first. Tweel rapped on its body again, and said 'rock,' and I", "\"The dream-beast! I stood there dizzy, watching it die while Tweel\ntrilled and whistled. Finally he touched my arm, pointed at the twisting", "caught a glimpse or two of what was on the end of those arms!\" Jarvis\nshuddered. \"But the clincher was when I noticed a little black bag or", "\"All right! All right!\" said Jarvis. \"You can go see. Anyhow, there the\nthing was, alive and yet not alive, moving every ten minutes, and then", "\"Tweel saw the movement first. The top tiers of bricks were heaving,\nshaking, and suddenly slid down the sides with a thin crash. And\nthen--something--something was coming out!", "their mouths? Lord!\" Jarvis shuddered. \"Do you see how insidious the\nmonster is? We're warned now--but henceforth we can't trust even our", "all night. I wondered how the creature had managed to trap Tweel, but\nthere wasn't any way of asking him. I found that out too, later; it's\ndevilish!", "\"That freak ostrich,\" explained the narrator. \"At least, Tweel is as\nnear as I can pronounce it without sputtering. He called it something\nlike 'Trrrweerrlll.'\"", "\"Tweel was right again. The creature was rock, and it didn't breathe!\"\n\n\"How you know?\" snapped Leroy, his black eyes blazing interest.", "\"I wasn't twenty feet from her when Tweel caught me with one of his\nflying leaps. He grabbed my arm, yelling, 'No--no--no!' in his squeaky", "\"After a few moments, the creatures came rushing back--first one, then\nanother. Their pushcarts were full of stones, sand, chunks of rubbery", "\"Tweel must have noticed that. Suddenly, he snatched out that glowing\ncoal cigar-lighter of his and touched a cart-load of plant limbs. Puff!", "\"Well,\" observed Jarvis, \"from here on I'll be telling a few things Putz\ndidn't see!\" He rubbed his tingling nose, and continued. \"I knew that I", "\"Yeah! Well, I was getting used to Tweel's symbolism, and I figured it\nout this way. 'One-one-two--yes!' The creatures were intelligent." ], [ "\"One of the creatures, having dumped his load, pushed his cart aside\nwith a crash and calmly shoved himself under the wheel! I watched him", "being crushed, too stupefied to make a sound, and a moment later,\nanother followed him! They were perfectly methodical about it, too; one\nof the cartless creatures took the abandoned pushcart.", "head, and that was all. It was pushing a little coppery cart and tore\nright past us like the proverbial bat out of Hell. It didn't even notice", "again and gave a shove on his cart, but I stood firm. And then the--the\ndashed creature reached out one of his arms, and two finger-like nippers\ntweaked my nose!\"", "\"It was a nondescript creature--body like a big grey cask, arm and a\nsort of mouth-hole at one end; stiff, pointed tail at the other--and", "\"After a few moments, the creatures came rushing back--first one, then\nanother. Their pushcarts were full of stones, sand, chunks of rubbery", "The whole load was burning--and the crazy beast pushing it went right\nalong without a change of pace! It created some disturbance among our", "\"The dream-beast! I stood there dizzy, watching it die while Tweel\ntrilled and whistled. Finally he touched my arm, pointed at the twisting", "Then he squeezed the handle of his weapon; there was a little puff of\nsteam, and Fancy Long was gone! And in her place was one of those", "\"Well,\" he continued, \"we left the dream-beast dying, dragging itself\nback into its hole, and we moved toward the canal. There was a carpet of", "\"There was a--a sort of machine in the chamber, just an enormous wheel\nthat turned slowly, and one of the creatures was in the act of dumping", "\"Tweel must have noticed that. Suddenly, he snatched out that glowing\ncoal cigar-lighter of his and touched a cart-load of plant limbs. Puff!", "\"Then things got still worse! A barrel-brute came out with a pushcart\nand they all grabbed into it and came out with handfuls of foot-long", "his rubbish below it. The wheel ground it with a crunch--sand, stones,\nplants, all into powder that sifted away somewhere. While we watched,", "\"Tweel and I watched it for ten minutes before it moved. Then, with a\ncreaking and rustling like--oh, like crumpling stiff paper--its arm", "pounded on the creature, and the arm took the brick and placed it neatly\nbeside the first. Tweel rapped on its body again, and said 'rock,' and I", "\"A moment later another came along, pushing another empty cart. Same\nthing--it just scooted past us. Well, I wasn't going to be ignored by a", "us in deeper. Finally I tried following one of the creatures with an\nempty cart, thinking that he'd be going out for his rubbish, but he ran\naround aimlessly, into one passage and out another. When he started", "\"Tweel saw the movement first. The top tiers of bricks were heaving,\nshaking, and suddenly slid down the sides with a thin crash. And\nthen--something--something was coming out!", "\"Because I'm a chemist. The beast was made of silica! There must have\nbeen pure silicon in the sand, and it lived on that. Get it? We, and" ] ]

[ "What does Jarvis do when his rocket crashes on Mars?", "What is happening to Tweel when Jarvis first discovers him?", "How do Tweel and jarvis communicate?", "How are the pyramids in Xanthus created?", "Where are the cart creature going to?", "What is Jarvis really seeing when he sees Fancy Long?", "What does Jarvis speculate about the crystal beyond the wheel?", "Who resuces Jarvis from his battle with the cart creatures?", "What does Jarvis admit when Captain Harrison says he wishes he had the crystal?", "What is the name of the ship that landed on Mars?", "What is the name of the American chemist aboard the ship?", "What is the name of the birdlike animal that Jarvis rescues?", "Who is the person Jarvis thinks he sees when he is feeling homesick for New York City?", "What is the name for the creature that causes people to see illusions to lure it as prey?", "What does the barrel-like creature do?", "What happens to Jarvis when he approaches the shining crystal on the pedestal?", "What starts attacking Tweel and Jarvis?", "What saves Tweel and Jarvis from facing death from the cart creatures?", "Why did the cart creatures attack Tweel and Jarvis?", "Who was Dirk Jarvis?", "How many men travelled to Mars?", "Why did Dirk Jarvis went outside the Ares?", "What did Jarvis did when his rocket broke down?", "What was name of creature Jarvis saved from the Martian?", "Where was Jarvis got lost?", "What did cart creature did with their stones?", "What did the wheel do to the stones?", "What did cart creture did to Jarvid and Tweel?", "What destroyed the cart creature?" ]

[ [ "He begins to walk back to the Ares rocket ship.", "Starts to walk back" ], [ "Tweel is battling a large tentacled creature.", "Was being attacked" ], [ "Tweel learns English.", "Tweel learns some English" ], [ "They are created by a strange silica-based creature.", "A creature swallows and unloads bricks" ], [ "A tunnel leading to an underground wheel?", "The city" ], [ "Tweel explains that Long is really a dangerous creature known as a dream beast.", "A dream-beast" ], [ "The crystal emits a form of radiation that destroys unhealty tissue, but does not harm what is healthy.", "It emits radiation" ], [ "His fellow astronauts in an auxillary rocket.", "A rocket from the Ares" ], [ "Jarvis shows his comrades that he has stolen the crystal and brought it with him.", "He stole the crystal" ], [ "Ares", "Ares " ], [ "Dick Jarvis", "Dick jarvis." ], [ "Tweel", "Tweel" ], [ "Fancy Long", "Fancy Long." ], [ "dream-beast", "The dream beast" ], [ "repeats words said by others", "Pushes a cart." ], [ "He feel sa tingling in his hands and face and a wart falls off his hand.", "His body tingles and a wart falls off." ], [ "the cart creatures", "Cart Creatures. " ], [ "a rocket fired by Ares", "An auxiliary rocket." ], [ "Jarvis took the healing crystal.", "He took the healing crystal" ], [ "American chemist", "American chemist" ], [ "Four men", "Four." ], [ "He went to photograph the landscape", "To photograph the landscape" ], [ "He decided to walk back to Ares", "He decided to walk back to his ship instead of waiting for help " ], [ "Tweel", "Tweel." ], [ "Jarvis get lost in the network of tunnels", "Ina network of tunnels. " ], [ "They deposted the stones beneath a wheel", "They grind them to dust under a big wheel." ], [ "The wheel grouded the stones to dust", "Crush them into dust." ], [ "They attacked them", "Attacked them" ], [ "Auxiliary rocket from Ares.", "The auxiliary rocket." ] ]

[ [ "Kimberly reluctantly closes her eyes and remembers.\n\nCUT TO:\n\nPREVIOUSLY UNSEEN", "CLEAR\n It's you Kimberly. The\n premonitions are about you.\n\nKimberly trembles, refusing to accept what she's hearing.", "Kimberly, shaken, does the math.\n\n\n KIMBERLY\n Yes. In my premonition that Nora\n woman and her kid died first, then\n Evan and then...my friends.", "KIMBERLY\n I had a premonition about the Route\n 18 pile up. .. I saved some people.\n And now I think Death is after me.", "Kimberly, scared, does as she's told nearly colliding with a speeding\nflat bed semi hauling a huge load of logs !", "Kimberly tenses, bracing for the worst.", "Kimberly shakes off her premonition and looks out the rear window.\nShe turns around with a cocky smile.\n\nShe rubs her throat and FLOORS IT again to Thomas' horror, more\ndetermined.", "It would appear as if she's choking Kimberly, but --\n\nAn EEG MONITOR turns from a flatline to a steady heartbeat, the same\nPOV as the premonition.", "KIMBERLY\n There's going to be a huge\n accident! Everyone's gonna die,\n all of us, I saw it!\n\nDano hums the Twilight Zone theme.", "KIMBERLY\n There's going to be a huge\n accident! Everyone's gonna die.\n All of us! I saw it!\n\nDano hums the Twilight Zone theme.", "Kimberly, freaked out, looks around to see the blinking light from\nthe VCR: it flashes 18:0 a few times, then 12:00.", "KIMBERLY\n I know it's crazy, but I'm really\n scared for the others. I've got\n this terrible feeling.\n\n MR. BURROUGHS\n What feeling?", "Moment of the pile-up premonition. A WHITE VAN in fr ont of Kimberly\nsuddenly slams on its brakes and pulls onto the shoulder.", "KIMBERLY\n That still doesn't make sense. You\n said you die in the same order you\n were originally meant to. But Evan\n Shaeffer died last in my\n premonition, not first.", "Kimberly moves toward Shaina's window. As she leans her head into\nShaina's window, an ominous BREEZE blows back their hair and we hear\nthe BLARING HORN of a TRUCK.", "Nora's head falls. Kimberly senses her anguish and takes over.", "KIMBERLY\n (incoherent, through\n tears)\n There's going to be a pile up.\n Logs. Bodies everywhere. I saw it\n happen. It happened.", "Kimberly , half-traumatized, watches an ominous BREEZE rustle through\nthe field, up to the trees, toward Thomas.", "Kimberly turns to Shaina, helpless. Shaina spins around, her eyes\nwordlessly tell Dano, I know she's a priss, but put it out.", "KIMBERLY\n The log truck...and everybody I\n guess. Everyone was driving like a\n maniac. And somehow I knew\n something horrible was going to\n happen, even before it did." ], [ "THE HIGHWAY ON RAMP\n\nSweating profusely, Kimberly's eyes dart around, taking in her\nsurroundings.", "HONKING behind them.\n\nKimberly, shaking like a leaf, pulls the SUV forwards, turning it\nsideways to block off all traffic.", "Kimberly, scared, does as she's told nearly colliding with a speeding\nflat bed semi hauling a huge load of logs !", "Kimberly looks up as the truck comes around a blind curve, where cars\nare backed up at a stop sign. Kimberly screams and SLAMS on the\nbrakes.", "Kimberly nervously jerks the wheel to the right, then realizing she's\nspeeding towards the road construction barrels, she swerves back\nleft, right behind the mini-bus at the last moment.\n\nCLOSE.", "She swerves into Kimberly, SIDE SWIPES her, then swerves to miss a\nhuge log -- only to run head on into two more, flipping the", "Kimberly is still behind the smoke-spewing Chevette. She passes it on\nthe left. Frankie rolls down his window.", "EXT. SUBURBAN STREET - CONTINUOUS\n\nKimberly speeds the truck down some dangerously twisty roads slick\nfrom wet leaves.", "Kimberly reluctantly closes her eyes and remembers.\n\nCUT TO:\n\nPREVIOUSLY UNSEEN", "Kimberly pulls the SU V onto the highway, looking in the side view\nmirror to see the Old Woman look up at her in SLOW-MO.", "Kimberly swerves back from being hit by Kat, just in time to see a\nhuge log ahead. She tries to turn hard to the right to avoid it, but\nhits it broadside --", "Kimberly erupts into a panic when she sees the LOG TRUCK speed past.\nShe grabs at Thomas for emphasis.", "Woman breaks eye contact with Kimberly as she rushes to retrieve\nthem.\n\nThe signal turns from red to flashing yellow.", "Kimberly unbuckles her seatbelt and floors it.\n\n CLEAR\n\n What are you doing? You're going\n to kill us!", "It finally clears frame, revealing a highway billboard that reads,\n\"DRUNK DRIVING KILLS.\"\n\nKimberly reaches back and pulls on her seatbelt in spite of laughter\nfrom the back seat.", "Frankie watches the traffic start to back up as a couple of passing\ncars BRAKE HARD. Shaina anxiously watches Kimberly pacing behind the\nSUV.", "Kimberly shakes off her premonition and looks out the rear window.\nShe turns around with a cocky smile.\n\nShe rubs her throat and FLOORS IT again to Thomas' horror, more\ndetermined.", "DRIVERS of several waiting vehicles avoid staring at her weathered\nface as she passes. Up ahead waiting in line, is Kimberly's red SUV.\n\nUP AHEAD", "EXT. WESTCHESTER COUNTY - MOMENTS LATER\n\nKimberly drives Thomas and Clear in the Gibbons' truck. All are numb.", "EXT. PHELPS MEMORIAL HOSPITAL - CONTINUOUS\n\nKimberly seems to have ditched the cops. She speeds the pick up\nthrough the medical facility." ], [ "As Evan laughs, breathing a final sigh of relief, it suddenly\nPLUMMETS again -- impaling Evan through his eye socket!\n\nINT. POLICE STATION - COMPUTER ROOM - NIGHT", "EVAN, blinded by the smeared windshield, is too late. He swerves his\nTrans Am around the burning cars onto the wet grass.", "KIMBERLY\n Evan Shaeffer's dead.\n\nThoma s nods and leans against the large glass windows that reflect\nthe sky behind them.", "Evan grabs a fire extinguisher. A mere dribble of foam comes out. He\nbegins COUGHING in the smoke.", "A large jagged shard of glass comes CRASHING down at him -- Evan\njumps back just in time as it shatters before him. The fire\ncompletely engulfs the kitchen.", "CLEAR\n It can be beaten. And you know it.\n\nCREEEAAAK -SLAM! The Mortician rolls Evan's body into the oven.", "The rusty ladder suddenly dislodges and hurls downward -- coming\nright for Evan's face -- but stops halfway!", "Rory looks up to see the DMV photo of Evan. As he takes in the\nreport, his mood radically shifts. He looks like he's been hit by a\ntrain.\n\nMONTAGE", "EVAN\n Motherfucker.", "KIMBERLY\n That still doesn't make sense. You\n said you die in the same order you\n were originally meant to. But Evan\n Shaeffer died last in my\n premonition, not first.", "When the SHOCK goes through Evan's body, his other hand jerks out,\nknocking the flaming frying pan to the floor.", "Kimberly sees the topless Trans Am slowly roll out of a huge WALL OF\nFIRE and coast to a stop. Evan comes up battered and bloody but still", "Kimberly, shaken, does the math.\n\n\n KIMBERLY\n Yes. In my premonition that Nora\n woman and her kid died first, then\n Evan and then...my friends.", "The Mortician slides a gleaming set of medical pliers into Evan's\nmouth. And YANKS out a gold tooth. Kimberly recoils as he discards\nthe bloody tooth on a metal tray.", "Evan, pissed off, flips off Frankie. The windshield wipers smear\naround the thick milky fluid. The sun blinding him.", "Evan places the TV by the door, looks at his torn shirt, but fuck it,\nwho cares; he's on a natural high. He peels his shirt off, revealing", "KIMBERLY\n Oh my God. That's Evan Shaeffer.\n\nClear, however, seems to expect nothing less.", "Evan tries the window - STUCK! He has no choice but to smash the\nkitchenette window with the fire extinguisher to get to the fire\nescape.", "Eugene balls his hands to his mouth in undeniable fear. A\nbloodcurdling moan escapes him. He stares transfixed as Nora's head,\nstill aghast in terror, rolls around the floor.", "Rory looks up too late and REAR ENDS Thomas' car, EXPLODING the gas\ntank and HURLING Rory's dead body halfway through the windshield\nwhere it remains half in/half onto the hood." ], [ "KIMBERLY\n No. If anyone dies from a crash\n now, it'll be me. But I can't die\n if Eugene and Isabella are still\n alive. I'm last on Death's list.", "KIMBER LY\n But if I was never meant to pull\n over, then we all should have died\n in the pile up.\n\n TIM\n Which means Death could be coming\n for us.", "KIMBERLY\n You can't give up. Don't accept\n Death's plan. Trust me, you can\n fight this. If we can just survive\n long enough until that baby is\n born, we can --", "KIMBERLY\n Then you believe all this?? That\n Death is working off a list?\n\nThomas hesitates before answering.", "Thomas kills the engine to listen.\n\n KIMBERLY\n But we're all going to die. We\n can't stop it. It's just a matter\n of time. I'm so scared.", "The sight of her fath er crying is enough to make Kimberly's own dam\nburst. She rushes over to him and buries her head in his chest,\nsobbing.", "KIMBERLY\n That still doesn't make sense. You\n said you die in the same order you\n were originally meant to. But Evan\n Shaeffer died last in my\n premonition, not first.", "KIMBERLY\n Don't say that. Once you lose\n hope, it's already too late.\n\nEugene snickers. Nora looks up, anger surfacing.", "Mr. Burroughs tucks a still-shaken Kimberly into bed. In one of his\nhands is a nearly empty glass of scotch.", "As Eugene heads out, Kimberly becomes enraged and grabs him.\n\n KIMBERLY\n Seeing you die once was enough for\n me.", "living soul. In my opinion, you're\n already dead.\n\nKimberly leaves, giving Clear something to think about.\n\nEXT. KIMBERLY'S HOUSE - DAY", "It's so bad, Kimberly can't speak. She coughs and gags as if recently\ndrowned. Clear scans the perimeter for immediate dangers.\n\nQUICK CUTS:", "KIMBERLY\n Don't. I have to see this.\n\nMr. Burroughs reluctantly keeps the newscast on.", "KIMBERLY\n You can't cheat destiny. I know\n what I have to do to save us. I\n have to die.", "Kimberly, seeming overwhelmed, pulls her hand back. Thomas senses\nhe's losing her, and softens her approach.", "Kimberly follows the BREEZE to the dead oak tree under which Thomas\nstands. And blows a large branch until it snaps! A startled Thomas\nsees it fall just in time to DIVE to safety.", "Kimberly reluctantly closes her eyes and remembers.\n\nCUT TO:\n\nPREVIOUSLY UNSEEN", "CLEAR\n She had the baby?\n\n KIMBERLY\n New life defeats death. We've done\n it. Death has to rewrite the list.\n We're safe.", "Outside, a parting of dark clouds causes a shaft of sunlight to flood\ninto the hospital. Its light covers Kimberly and Thomas with an\nethereal glow. There are no more doubts; they've won.", "KIMBERLY\n Let's pray that Isabella's still\n alive.\n\nThe truck speeds into the horizon." ], [ "But nothing else happens. No one comes to a door. Thomas sighs, and\nas if suddenly remembering his status, he walks fearlessly and\npurposefully to the front door.", "Kimberly follows the BREEZE to the dead oak tree under which Thomas\nstands. And blows a large branch until it snaps! A startled Thomas\nsees it fall just in time to DIVE to safety.", "He turns to see Kimberly reaching out for him. Immeasurably relieved,\nhe takes her hand and allows himself to be eased back down to the\nplatform. Kimberly's eyes fill with tears.", "Flashing lights from rescue vehicles illuminate the living room. In\nthe newly conformed safe house, Kat and Clear relax as best they can\nin Thomas' dry clothes.", "Kimberly, Thomas and Clear are forced to walk around the dead body to\nget to a side door.\n\nINT. CORRIDOR - MOMENTS LATER", "All three freeze for a moment, during which we hear STOMPING emanate\nfrom within the house, and the lights SHUT OFF.", "Her lips blue, Kimberly shivers uncontrollably. Clear sees TWO\nSECURITY GUARDS round a distant corner and quickly walks the others\ntoward an EMERGENCY LOADING ZONE.", "Which BREAKS, exactly like before, and the Old Woman scurries after\nthem. The signal turns from red to flashing yellow.", "Thomas pulls up to an upper-middle class house. Thomas, Kimberly and\nClear get out and start up the unlit path. It's dark, hard to see", "Outside, a parting of dark clouds causes a shaft of sunlight to flood\ninto the hospital. Its light covers Kimberly and Thomas with an\nethereal glow. There are no more doubts; they've won.", "Nora kisses his forehead and leaves the room. After she leaves, Tim\nopens his nightstand drawer, pulls out a dusty nightlight and plugs\nit in.", "From across the mall, the tiny running figures of Kimberly and Thomas\nappear in the dis tance, pointing and screaming.", "Back, back, back until the Patrol Car slowly creeps backwards down\nthe onramp.\n\n KIMBERLY\n There it is.\n\n THOMAS\n Got it.", "As they near the door, they're able to see inside the room; the\nshadow of a figure looms against a steel oven.\n\nThey edge closer. They peek inside the --", "where they're going, so they negotiate by feeling the bushes aligning\nthe walkway.", "Kimberly shakes off her premonition and looks out the rear window.\nShe turns around with a cocky smile.\n\nShe rubs her throat and FLOORS IT again to Thomas' horror, more\ndetermined.", "Kimberly, scared, does as she's told nearly colliding with a speeding\nflat bed semi hauling a huge load of logs !", "INT. CREMATORIUM\n\nOddly there is no one there. As they enter, passing the furnace, a\nmomentary WHOOSH of flames startles them all!", "Kat drives, Thomas reading directions in the shotgun seat. Kimberly,\nEugene and Rory ride in back. In the CARGO area, Clear scans out the\nrear window for danger.", "The three slowly edge towards a room at the end of a creepy hallway.\nAn ORANGE GLOW flickers from the far room. The unmistakable sounds of\na furnace make it all the more eerie." ], [ "KIMBERLY\n Then you believe all this?? That\n Death is working off a list?\n\nThomas hesitates before answering.", "everything seems cool, but then the\n survivors start dying one boy one.\n 'Cause when your number's up, it's\n up, right? Some people said Death", "CLEAR\n But you said someone else died last\n night. That means Death skipped\n past you. Someone must have", "CLEAR\n Death's list. The precise order\n you're going to die in.\n\nClear's eyes bore into a terrified Kimberly's.", "CLEAR\n The survivors of Flight 180 died in\n the exact order they were\n originally meant to die in the\n plane crash. That was Death's\n original design.", "KIMBERLY\n It throws the entire Death list out\n of whack. And a new list has to be\n rewritten f rom scratch. We all\n start over with a clean slate.", "MR. GIBBONS\n Oh please. I'm not hurting anyone.\n (looking around, lowering\n voice)\n Besides, if you can beat Death,", "KIMBERLY\n No. If anyone dies from a crash\n now, it'll be me. But I can't die\n if Eugene and Isabella are still\n alive. I'm last on Death's list.", "MORTICIAN\n The list accounts for every life;\n from the dawn of man to the great\n apocalypse. But the introduction", "KIMBERLY\n (sudden realization)\n Exact order? Then I'm next! I was\n meant to die with my friends, so\n I'm next!", "CLEAR\n That's why Death is working\n backwards. It's tying up all the\n loose ends, sealing the rift once\n and for all ­", "CLEAR\n She had the baby?\n\n KIMBERLY\n New life defeats death. We've done\n it. Death has to rewrite the list.\n We're safe.", "THOMAS\n That branch fell and saved my life.\n You're right, Death's maintaining\n the order.", "of life that was not meant to be, a\n soul forbidden to roam the earth,\n that could invalidate Death's list,\n shatter its very existence.", "THOMAS\n Well, technically when we died, we\n gave Death what it wanted. And by\n the time we were revived, it had\n already moved on to graver\n pastures.", "CLEAR\n Congratufuckinglations. That makes\n you last to go. But don't worry,\n once the others are dead, it'll\n come back for you. Always does.", "But nothing else happens. No one comes to a door. Thomas sighs, and\nas if suddenly remembering his status, he walks fearlessly and\npurposefully to the front door.", "The Mortician finally lets Kimberly go.\n\n CLEAR\n One last question. Why is Death\n working backwards this time?", "CLEAR\n Bullshit. You told me Death has a\n distinct design, a blueprint,\n unalterable. But Alex and I", "(off their confusion)\n The list of life is forever set by\n the Divine Plan, the guiding hand\n that plots the course of the" ], [ "Rory looks up too late and REAR ENDS Thomas' car, EXPLODING the gas\ntank and HURLING Rory's dead body halfway through the windshield\nwhere it remains half in/half onto the hood.", "Rory, who sorts hard, stands up with a satisfied smile - and is\nsliced into three sharp cuts of beef.\n\nThe silence from the emergency crew is deafening. Mr. Gibbons starts\ncrying hysterically.", "RORY\n Remember the theater in Paris that\n collapsed last year, killed\n everyone inside?\n\nEveryone nods, anticipating...", "RORY\n Here's what I don't get. For nine\n months, Death does all this shit to\n make sure I win these tickets and\n end up on Route 18 at exactly the\n right time for the pile up...", "Rory nods. He expected as much. He fishes his LICENSE and KEYS out of\nhis pocket.\n\n RORY\n And you're gonna die after me,\n right?", "Rory cringes at his name, pockets his stash, then EXITS FRAME. WE\nPUSH IN, the news van gas tank is leaking. A SMALL DRIP...", "Everyone nods in understanding. Rory fidgets, sniffling, then POUNDS\nthe table in frustration. Startling Kat.", "Rory, his back to everyone, finally opens the BINDLE. Enraptured, he\ndelicately unfolds it...\n\nKIMBERLY", "Thomas whips around and sees that Rory's not hurt. He then lowers his\ngaze and sees --", "(points to Rory)\n His car was leaking oil all over\n the road.", "RORY\n Yeah, so what happened?\n\n KAT\n I never mad it. The Greyhound bus\n I was on splattered some chick all\n over the road and we had to stop.", "RORY\n Just shut the fuck up and maybe\n you'll live.", "Eugene balls his hands to his mouth in undeniable fear. A\nbloodcurdling moan escapes him. He stares transfixed as Nora's head,\nstill aghast in terror, rolls around the floor.", "THOMAS\n So let's go...Where the hell is\n Rory?!\n\nThomas sees Rory in the field and angrily hops the fence, heading\ndirectly under the dead Oak Tree.", "RORY\n I had tickets to go, but one day\n I'm in Paris, trippin' on acid,\n sippin' lattes an' such, and this\n dude gets whacked by a falling\n sign.", "Thomas' eyes widen -- then a startling CRASH as Rory, le aning back in\nhis chair, tips over. Thomas rolls his eyes as Rory grins sheepishly\nand picks himself up.", "Rory looks up to see the DMV photo of Evan. As he takes in the\nreport, his mood radically shifts. He looks like he's been hit by a\ntrain.\n\nMONTAGE", "RORY\n Whoohoo! You see that shit? Right\n there? That's my fuckin' car right\n there! Oh God, that's dope.", "By now, the fluorescent light flickers out of control. When Rory, Kat\nand Eugene stand up, Thomas looks helpless.", "Rory sits in his Chevette outside an apartment building, staring up\nat the address. He quickly snorts some powder off his key and wipes\nhis nostrils free of crystals. He takes a breath and exits the car." ], [ "Watch as Clear opens the door, briefly revealing Eugene, a whoosh of\nOxygen --\n\nBOOM!!!", "KIMBERLY\n No! It can't be.\n\n CLEAR\n (suddenly remembering)\n I have to save Eugene!", "KAT\n He can't breathe! He can't\n breathe!\n\n CLEAR\n Oh my god, Eugene!?", "Clear watches two EMTS lo ad Eugene into the back of an ambulance. An\noxygen mask has been placed over his mouth.", "Clear leans into it, pushing it out of the way of the door.\n\n CLEAR\n Eugene? Are you in there?\n\nEUGENE'S ROOM", "CLEAR\n What did you see?\n\n KIMBERLY\n I was dead. And came back to life.\n An EEG machine. Where's Eugene?", "CLEAR\n Being alive after our time caused\n an outward ripple - a rift in\n Death's design.\n\nEugene nods, slowly getting it.", "Thomas makes another phone call. In the corner, Eugene shivers to\nhimself. Desperately looking for signs of danger. He looks over to\nClear.", "EUGENE\n Whatever. I control my life, not\n fate.\n\n CLEAR\n I'll be sure to put that on your\n tombstone.", "As the hose tightens, Clear realizes she's surrounded by shards of\nglass and metal. She quickly WRESTLES herself free of the hose and\nwatches the Paramedics lock Eugene's gurney into place.", "Eugene balls his hands to his mouth in undeniable fear. A\nbloodcurdling moan escapes him. He stares transfixed as Nora's head,\nstill aghast in terror, rolls around the floor.", "The sight clearly sends Eugene over the edge. He SCREAMS, CLAWS AND\nPOUNDS, desperate to escape the elevator.\n\nINT. THOMAS' APARTMENT - MOMENTS LATER", "CLEAR\n Random, sure.\n\n EUGENE\n What, you think Death planned for\n each of us to die in the pile up\n weeks ago? You're nuts.", "An intense wave of relief washes over Eugene.\n\nBACK TO:\n\nAs Kimberly hugs Thomas, she watches Clear push the cart past the\ndoor.", "The Orderly speeds down the corridor toward Clear, whose hand reaches\nfor Eugene's door handle. She leans into it --", "CLEAR\n The survivors of Flight 180 died in\n the exact order they were\n originally meant to die in the\n plane crash. That was Death's\n original design.", "As Eugene heads out, Kimberly becomes enraged and grabs him.\n\n KIMBERLY\n Seeing you die once was enough for\n me.", "CLEAR\n My family is dead. My friends are\n dead. And Alex...", "CLEAR\n Are you crazy? What makes you\n think you'd survive?\n\n KIMBERLY\n What happened when Eugene tried to\n kill himself out of turn?", "living soul. In my opinion, you're\n already dead.\n\nKimberly leaves, giving Clear something to think about.\n\nEXT. KIMBERLY'S HOUSE - DAY" ], [ "THOMAS\n Well, technically when we died, we\n gave Death what it wanted. And by\n the time we were revived, it had\n already moved on to graver\n pastures.", "everything seems cool, but then the\n survivors start dying one boy one.\n 'Cause when your number's up, it's\n up, right? Some people said Death", "But nothing else happens. No one comes to a door. Thomas sighs, and\nas if suddenly remembering his status, he walks fearlessly and\npurposefully to the front door.", "CLEAR\n The survivors of Flight 180 died in\n the exact order they were\n originally meant to die in the\n plane crash. That was Death's\n original design.", "cheated Death not once, but dozens\n of times. If the design is flawed,\n it can be beaten.", "CLEAR\n But you said someone else died last\n night. That means Death skipped\n past you. Someone must have", "MR. GIBBONS\n Oh please. I'm not hurting anyone.\n (looking around, lowering\n voice)\n Besides, if you can beat Death,", "Rory, who sorts hard, stands up with a satisfied smile - and is\nsliced into three sharp cuts of beef.\n\nThe silence from the emergency crew is deafening. Mr. Gibbons starts\ncrying hysterically.", "Rory looks up too late and REAR ENDS Thomas' car, EXPLODING the gas\ntank and HURLING Rory's dead body halfway through the windshield\nwhere it remains half in/half onto the hood.", "CLEAR\n She had the baby?\n\n KIMBERLY\n New life defeats death. We've done\n it. Death has to rewrite the list.\n We're safe.", "KIMBERLY\n (sudden realization)\n Exact order? Then I'm next! I was\n meant to die with my friends, so\n I'm next!", "Kimberly, Thomas and Clear open the large wooden doors into a small\nchapel, creat ing a loud CREAK. A corpse in an open casket sits at the\nfront of the chapel, post -wake.", "Eugene balls his hands to his mouth in undeniable fear. A\nbloodcurdling moan escapes him. He stares transfixed as Nora's head,\nstill aghast in terror, rolls around the floor.", "Kimberly, Thomas and Clear are forced to walk around the dead body to\nget to a side door.\n\nINT. CORRIDOR - MOMENTS LATER", "DETECTIVE SUBY\n You got 'em thinking Death is after\n them? Shit, they're the luckiest", "CLEAR\n Congratufuckinglations. That makes\n you last to go. But don't worry,\n once the others are dead, it'll\n come back for you. Always does.", "Thomas kills the engine to listen.\n\n KIMBERLY\n But we're all going to die. We\n can't stop it. It's just a matter\n of time. I'm so scared.", "Rory nods. He expected as much. He fishes his LICENSE and KEYS out of\nhis pocket.\n\n RORY\n And you're gonna die after me,\n right?", "Kimberly, shaken, does the math.\n\n\n KIMBERLY\n Yes. In my premonition that Nora\n woman and her kid died first, then\n Evan and then...my friends.", "Nora chews, her eyes half dead from bereavement. Across the loft,\nThomas paces, phone in hand." ], [ "Kimberly is still behind the smoke-spewing Chevette. She passes it on\nthe left. Frankie rolls down his window.", "Kimberly, scared, does as she's told nearly colliding with a speeding\nflat bed semi hauling a huge load of logs !", "KIMBERLY\n What's the chance of finding a nice\n mature guy once we get to Daytona?\n\n SHAINA\n How does a nice mature fuck sound?", "Kimberly reluctantly closes her eyes and remembers.\n\nCUT TO:\n\nPREVIOUSLY UNSEEN", "The sight of her fath er crying is enough to make Kimberly's own dam\nburst. She rushes over to him and buries her head in his chest,\nsobbing.", "THE HIGHWAY ON RAMP\n\nSweating profusely, Kimberly's eyes dart around, taking in her\nsurroundings.", "Kimberly passes the Suburu and pulls up to a PACER. The Harley roars\nby, startling her.\n\nINSIDE PACER", "Kimberly turns to Shaina, helpless. Shaina spins around, her eyes\nwordlessly tell Dano, I know she's a priss, but put it out.", "Kimberly unbuckles her seatbelt and floors it.\n\n CLEAR\n\n What are you doing? You're going\n to kill us!", "Woman breaks eye contact with Kimberly as she rushes to retrieve\nthem.\n\nThe signal turns from red to flashing yellow.", "EXT. WINDY ROADS - DAY\n\nThe pick up truck races to the hospital. As Kimberly speeds past a\nbillboard, a POLICE CAR pulls in hot pursuit.", "EXT. PHELPS MEMORIAL HOSPITAL - CONTINUOUS\n\nKimberly seems to have ditched the cops. She speeds the pick up\nthrough the medical facility.", "Kimberly screams, swerving around the van just in time to avoid an\naccident.\n\nBACK TO:\n\nKimberly, overcome with self- doubt.", "Kimberly erupts into a panic when she sees the LOG TRUCK speed past.\nShe grabs at Thomas for emphasis.", "KIMBERLY\n Oh my God. That's Evan Shaeffer.\n\nClear, however, seems to expect nothing less.", "EXT. WESTCHESTER COUNTY - MOMENTS LATER\n\nKimberly drives Thomas and Clear in the Gibbons' truck. All are numb.", "KIMBERLY\n Relax, Dad. It's Daytona, not\n Mongolia.", "Kimberly, freaked out, looks around to see the blinking light from\nthe VCR: it flashes 18:0 a few times, then 12:00.", "EXT. SUBURBAN STREET - CONTINUOUS\n\nKimberly speeds the truck down some dangerously twisty roads slick\nfrom wet leaves.", "KIMBERLY BURROUGHS, 19, puts a folded AAA map in her mouth. She opens\nthe back of a RED NISSAN SUV, and pla ces her duffel bag inside." ], [ "Kimberly reluctantly closes her eyes and remembers.\n\nCUT TO:\n\nPREVIOUSLY UNSEEN", "Kimberly is still behind the smoke-spewing Chevette. She passes it on\nthe left. Frankie rolls down his window.", "Kimberly shuts her eyes, remembering:\n\nEXT. LAKE - DAY\n\nPOV DRIVER", "Kimberly, scared, does as she's told nearly colliding with a speeding\nflat bed semi hauling a huge load of logs !", "EXT. WESTCHESTER COUNTY - MOMENTS LATER\n\nKimberly drives Thomas and Clear in the Gibbons' truck. All are numb.", "Kimberly shakes off her premonition and looks out the rear window.\nShe turns around with a cocky smile.\n\nShe rubs her throat and FLOORS IT again to Thomas' horror, more\ndetermined.", "EXT. SUBURBAN STREET - CONTINUOUS\n\nKimberly speeds the truck down some dangerously twisty roads slick\nfrom wet leaves.", "DRIVERS of several waiting vehicles avoid staring at her weathered\nface as she passes. Up ahead waiting in line, is Kimberly's red SUV.\n\nUP AHEAD", "Kimberly \"comes to\" at the wheel -- FLAILING DESPERATELY at the\nsteering wheel. She even claws at Thomas who tries to control the\nneglected steering wheel.", "THE HIGHWAY ON RAMP\n\nSweating profusely, Kimberly's eyes dart around, taking in her\nsurroundings.", "Kimberly erupts into a panic when she sees the LOG TRUCK speed past.\nShe grabs at Thomas for emphasis.", "Kimberly pulls the SU V onto the highway, looking in the side view\nmirror to see the Old Woman look up at her in SLOW-MO.", "Kimberly unbuckles her seatbelt and floors it.\n\n CLEAR\n\n What are you doing? You're going\n to kill us!", "As Kimberly drives through the gate, the mist almost seems to follow\nher inside.", "KIMBERLY\n The log truck...and everybody I\n guess. Everyone was driving like a\n maniac. And somehow I knew\n something horrible was going to\n happen, even before it did.", "Kimberly passes the Suburu and pulls up to a PACER. The Harley roars\nby, startling her.\n\nINSIDE PACER", "Woman breaks eye contact with Kimberly as she rushes to retrieve\nthem.\n\nThe signal turns from red to flashing yellow.", "Kimberly falls back into the right lane and looks uneasy as she sees\na TRUCK DRIVER guzzling from a flask as it passes the SUV, revealing\nits side is an ad for FIRESTONE TIRES.", "Thomas' car turns into the driveway and parks. Kimberly holds up her\nhand and watches it tremble.\n\n KIMBERLY\n It's happening again. It's fucking", "EXT. STONEYBROOK HOSPITAL - DAY\n\nKimberly drives a beat up Hyundai through an eerie morning mist that\nsurrounds the grounds of the Stoneybrook Hospital." ], [ "INT. CHEAP MOTEL - NIGHT\n\nANGLE ON ISABELLA'S PREGNANT BELLY.", "Isabella hangs up, recoiling at VIOLENT THUMPS against her wall. PULL\nBACK AND UP TO REVEAL the source of the unsettling SQUEAK is a\nrickety, wobbling CEILING FAN.", "Isabella breathes Lamaze style in the hospital bed, her feet in\nstirrups. A NURSE rocks Isabella's body back and forth, until her\nback arches almost unnaturally forward.", "She pounds the steering wheel, furious.\n\n\n ISABELLA\n What'd the doctor say? I have to\n come in to test for STDs? Goddamn", "INT. DELIVERY ROOM - CONTINUOUS\n\nIsabella is pushing again.\n\n OBSTETRICIAN\n Almost there. I see the head...", "KIMBERLY\n Let's pray that Isabella's still\n alive.\n\nThe truck speeds into the horizon.", "Clear looks Kimberly up and down and steps back, allowing her inside\nher inner sanctum. A mattress on the floor, a plastic bottle of\nwater, some paperbacks and a bedpan.", "As she fumes, a rivulet of WATER streaks down her leg.\n\n IS ABELLA\n Oh my God.\n\nSteve, at first confused, sees the water and gasps.", "THOMAS\n (a little stern)\n It's about your wife, Isabella.\n Now is she here?\n\nJorge's eyes flicker ever -so- involuntarily behind him.", "While still beautiful, this young woman bears few traces of her\nformer self. Her eyes dart around suspiciously, maddened by chronic", "CLEAR\n Be alive, Isabella, please be\n alive.\n\nKimberly's eyes widen in fear. Her foot hesitates over the brake\npedal as --", "Typical chatter as the staff preps Isabella. Steve paces nervously in\nthe background.", "ISABELLA\n Take my van!\n\nEXT. WESTCHESTER COUNTY - DAY\n\nKAT'S EXPEDITION speeds through a yellow light and continues on.", "Speeding toward the lake! Isabella SCREAMS, in pain, not fear. The\nWhite Van is ready for splashdown.", "ANESTHESIOLOGIST, who traces the long needle down Isabella's spine,\nfinding the proper vertebrae.\n\n ANESTHESIOLOGIST\n Perfectly still now...", "Anesthesiologist lowers the needle to the base of Isabella's spine.", "A female ANESTHESIOLOGIST hustles over, swabbing a LONG EPIDURAL\nNEEDLE. The nurse places a mask over Isabella's face. The", "It's so bad, Kimberly can't speak. She coughs and gags as if recently\ndrowned. Clear scans the perimeter for immediate dangers.\n\nQUICK CUTS:", "KIMBERLY\n Where's Isabella? Did you finally\n kill her you fucking wife beater?\n\nJorge flinches. It's time to come clean.", "INT. NURSES STATION - DAY\n\nClear, Kimberly and Thomas dash toward the main desk.\n\n CLEAR\n Isabella Cruz. What room's she in?" ], [ "Kimberly cries in horror into Thomas' shoulder as her friends burn up\nin the wreckage.\n\nEXT. POLICE STATION - ESTABLISHING SHOT", "To the crash site. Brian's jaw drops as he absorbs the chilling sight\nof a guy and a girl dragging a blood- soaked man from the back seat to\nperform CPR on him.", "Kat, Eugene, Nora, Tim, and Rory sit in a large room, waiting to give\nstatements. Unlike Evan, these witnesses are clearly distraught.", "Kimberly nods, recalling the events.\n\n\n KIMBERLY\n Officer Burke pulled me away from\n the crash that killed my friends.", "Flashing lights from rescue vehicles illuminate the living room. In\nthe newly conformed safe house, Kat and Clear relax as best they can\nin Thomas' dry clothes.", "A SERIES OF CRASHES AND EXPLOSIONS ARE HEARD. In the distance. It's\nneverending. Horrific. Kimberly's face crumbles. She screams in\nhorror and collapses against the SUV.", "ANCHOR MAN (V.O.)\n ...hoping To recover any survivors\n from this tragic collision. So\n far, the police are refusing to\n release the names of the victims\n until their families are notified.", "As Evan laughs, breathing a final sigh of relief, it suddenly\nPLUMMETS again -- impaling Evan through his eye socket!\n\nINT. POLICE STATION - COMPUTER ROOM - NIGHT", "Kimberly's jaw drops when she sees the far wall: a SHRINE to flight\n180. The wall is papered with art icles about all the survivors (as\nseen in the opening title montage).", "Continuing along the wall, the newspaper articles all focus on the\nfates of the original SURVIVORS of the FLIGHT 180 CRASH.", "Early 20's, rookie cop, who seems to have missed the entire exchange.\n\nINSIDE THE POLICE CAR\n\nThomas speaks into his radio.", "THOMAS\n Hey, I'm a police officer,\n remember?\n\nINT. A/V ROOM - POLICE STATION - LATER", "KIMBERLY\n Another kid from Flight 180.\n\nA chill passes over the group.\n\nINT. WINDING ROADS - DAY", "Back, back, back until the Patrol Car slowly creeps backwards down\nthe onramp.\n\n KIMBERLY\n There it is.\n\n THOMAS\n Got it.", "The van crashes through a railing and PLUNGES into the water. In\nmoments, the van fills with water, the driver inside trapped.\nDrowning. Horrible.\n\nSMASH CUT TO:", "It finally clears frame, revealing a highway billboard that reads,\n\"DRUNK DRIVING KILLS.\"\n\nKimberly reaches back and pulls on her seatbelt in spite of laughter\nfrom the back seat.", "Thomas kills the engine to listen.\n\n KIMBERLY\n But we're all going to die. We\n can't stop it. It's just a matter\n of time. I'm so scared.", "everything seems cool, but then the\n survivors start dying one boy one.\n 'Cause when your number's up, it's\n up, right? Some people said Death", "Emergency vehicles everywhere. Thomas seems exhausted as he walks\nback to Kimberly, who stands by his car. In the BG, EMTs load a\nstretcher into an ambulance.", "INT. POLICE STATION - CONTINUOUS" ], [ "KIMBERLY\n Clear Rivers?", "living soul. In my opinion, you're\n already dead.\n\nKimberly leaves, giving Clear something to think about.\n\nEXT. KIMBERLY'S HOUSE - DAY", "CLEAR RIVERS - standing in the driveway. A determined, powerful\npresence. Kimberly exits the car. A MOMENT where Kimberly and Clear\nstare each other down.", "Clear tears into the bedroom, grabs the bedspread and THROWS it to\nthe floor to reveal a YOUNG WOMAN, naked, trembling with fear, takes\na closer look at Clear.", "Clear Rivers applies fun- tack to the back of a newspaper article and\nsticks it on the wall devoted to Flight 180.\n\nREVEAL", "happening again. I hoped we'd get\n there and they'd be okay, that\n Clear Rivers was full of shit and\n Evan's death was just a freak\n accident...", "Steve watches, confused, as Clear whoops with delight and HUGS the\nothers.\nClear laughs with a relief that seems completely foreign to her.\nKimberly laughs with her, then is suddenly rocked by a vision --", "KIMBERLY\n Oh my God. That's Evan Shaeffer.\n\nClear, however, seems to expect nothing less.", "CLEAR\n Death's list. The precise order\n you're going to die in.\n\nClear's eyes bore into a terrified Kimberly's.", "CLEAR\n My family is dead. My friends are\n dead. And Alex...", "Clear pounds on the door, apparently done with Kimberly. A GUARD\nopens the door. Kimberly, devastated, turns to leave, then summons\nher courage and turns back to Clear.", "CLEAR\n Be alive, Isabella, please be\n alive.\n\nKimberly's eyes widen in fear. Her foot hesitates over the brake\npedal as --", "Clear is oblivious when Kimberly breaks into silent sobs.\n\n\n CLEAR\n Backwards...that's new.\n\nClear sees Kimberly crying and softens.", "Clear seems very disturbed by that.\n\n\n CLEAR\n It's moving backwards? Are you\n sure?\n\nKimberly reluctantly strains to remember something...", "CLEAR\n It's you Kimberly. The\n premonitions are about you.\n\nKimberly trembles, refusing to accept what she's hearing.", "As Clear continues, the exasperated Paramedics do their best to\nignore her. When she tries to climb inside, she is pushed away.\n\n CLEAR\n Look, I made him a promise --", "Clear sits beside Kimberly.\n\n CLEAR\n It's all right. I'll take watch.", "KIMBERLY\n Clear/Thomas. Thomas/Clear.\n\nClear nods absently to Thomas, still focused on Kimberly.", "Kimberly looks to Clear.", "Kimberly notices Clear watching her and toughens up. She forces back\nthe tears and qui ckly wipes the rest away.\n\n KIMBERLY\n I know, I know. We need my eyes." ], [ "ISABELLA\n (figures it out)\n Jorge. When I get out of here I'm\n going to sue his cheating ass off.", "THOMAS\n (a little stern)\n It's about your wife, Isabella.\n Now is she here?\n\nJorge's eyes flicker ever -so- involuntarily behind him.", "Isabella, pissed, is in a holding tank. Small town deputy STEVE\nADAMS, 30's, CLEANS HIS GUN in her direction.", "THOMAS\n A one very pissed off Ms. Isabella\n Cruz is being detained up in\n Greenwood. Let's finish this\n thing.", "KIMBERLY\n Where's Isabella? Did you finally\n kill her you fucking wife beater?\n\nJorge flinches. It's time to come clean.", "Isabella hangs up, recoiling at VIOLENT THUMPS against her wall. PULL\nBACK AND UP TO REVEAL the source of the unsettling SQUEAK is a\nrickety, wobbling CEILING FAN.", "ISABELLA\n What do you mean \"grand theft\n auto?\" This is insane.", "She pounds the steering wheel, furious.\n\n\n ISABELLA\n What'd the doctor say? I have to\n come in to test for STDs? Goddamn", "KIMBERLY\n Let's pray that Isabella's still\n alive.\n\nThe truck speeds into the horizon.", "ISABELLA\n Take my van!\n\nEXT. WESTCHESTER COUNTY - DAY\n\nKAT'S EXPEDITION speeds through a yellow light and continues on.", "An uncomfortable beat.\n\n THOMAS\n Guys, let's not panic. Isabella's\n safe.", "THOMAS\n But it's over. Isabella's baby was\n the key. You saw her die and\n everything, right?", "Speeding toward the lake! Isabella SCREAMS, in pain, not fear. The\nWhite Van is ready for splashdown.", "ISABELLA\n You couldn't keep your dick in\n check for a month?!", "As she does, Thomas discretely unsnaps his holster. RORY nervously\neyes the action. Sneaks a paper bundle into his sock. ISABELLA, the", "Defensively, Jorge holds up his arm. Freshly cut.\n\n JORGE\n Mine, you idiot. The dog went nuts\n this afternoon. Now arrest her!", "ISABELLA\n Please. It's not going to wait.\n\n STEVE\n I've got to stop and help those\n people.", "ISABELLA\n Get around it!!!\n\nSteve leans on the horn and stomps the gas, dangerously riding the\nshoulder around the Beetle.", "KIMBERLY\n How do you know?\n\n THOMAS\n You said she was going to drive\n into a lake. How can she when\n she's in protective custody?", "KIMBERLY\n This makes no sense. Isabella was\n supposed to crash her van into a\n lake. Could we have altered her\n destiny when we had her arrested?" ], [ "Eugene balls his hands to his mouth in undeniable fear. A\nbloodcurdling moan escapes him. He stares transfixed as Nora's head,\nstill aghast in terror, rolls around the floor.", "The elevator lurches a final time. NORA'S HEADLESS BODY fall down\ninto Kat's arms, knocking her to the floor. Kat freaks, skittering\naway as the body convulses.", "Nora's head falls. Kimberly senses her anguish and takes over.", "Nora's body lifts upwards from the force of the elevator floor!\n\nNora's screams of terror and agony fill the air as the elevator\nrepeatedly LURCHES UPWARDS.", "Nora panic,s as Eugene and the Man try to untangle her braid. Nora\ndesperately spins her body around, sticking her head back inside the\nelevator.", "As two pearly whites roll around on the sidewalk, NORA SCREAMS.\n\nDISSOLVE TO:\n\nEXT. MEDICAL COMPLEX - LATER", "Nora slowly rises to her feet, feverishly mouthing a prayer... As the\ndoor opens, Nora rushes out - unseen to her, her long braid gets", "THOMAS\n (unsure)\n I kinda see it, yeah. So...Nora's\n going to be killed by a man with\n hooks?", "Nora sees the collisions ahead and slams on the brakes but the fallen\nNaya bottle prevents her from braking, and she SLAMS into the back of\nKat's Expedition.", "NORA\n Officer Burke? I can't hear...\n\nA beat of confusion, then she slowly turns to see the clawed hooks\nand hands of the Prosthetic limbs. Terror. She freezes.", "Rory, who sorts hard, stands up with a satisfied smile - and is\nsliced into three sharp cuts of beef.\n\nThe silence from the emergency crew is deafening. Mr. Gibbons starts\ncrying hysterically.", "Jean continues vacuuming. The vacuum makes contact with Nora's foot.\n\nINT. DENTIST OFFICE - CONTINUOUS", "THE GAUNT MAN leans closer to Nora's hair and as the doors finally\nclose, he leans over and SMELLS it. Creepy.", "Nora chews, her eyes half dead from bereavement. Across the loft,\nThomas paces, phone in hand.", "Nora kisses his forehead and leaves the room. After she leaves, Tim\nopens his nightstand drawer, pulls out a dusty nightlight and plugs\nit in.", "NORA\n Four years ago my husband died.\n Now Tim. There's nothing left for\n me.\n\nKimberly stops pouring liquor down the drain.", "NORA\n My God, someone please let me out\n of this --\n\nINTERCUT\n\nThe UP BUTTON is lit. Clear rushes to the lobby.", "NORA\n Maybe...\n\nEugene sees Nora and Tim are hooked and speaks in scary campfire\ntones.", "Nora's Pacer folds like an accordion, then EXPLODES, followed by Evan\nscreaming in the Trans Am, which gets CREAMED by the semi!\n\nBACK TO:", "KAT\n So? Nora's gotta bite it before me\n anyway, right?" ], [ "BOOM!!! The PROPANE TANK blows Brian to smithereens. A deafening\nsilence follows, punctuated when Brian's ARM lands on Mrs. Gibbons'\nplate. PLOP.", "That SNAPS Brian back to reality. Sounds become normal again. Brian\ncollects himself and SNIFFS the air. He then drops to ground level,\nlooking under the Expedition for something.", "Around Brian, voices mesh in a surreal haze.\n\n THOMAS\n Stop it, don't move him!\n\n KIMBERLY", "A SERIES OF CRASHES AND EXPLOSIONS ARE HEARD. In the distance. It's\nneverending. Horrific. Kimberly's face crumbles. She screams in\nhorror and collapses against the SUV.", "To the crash site. Brian's jaw drops as he absorbs the chilling sight\nof a guy and a girl dragging a blood- soaked man from the back seat to\nperform CPR on him.", "Brian sticks his head in Kat's window and peers down at her trapped\nleg. He swipes the broken glass away from the window with this thick\nflannel sleeve, reaches in, and tries to YANK the door open with all\nhis might.", "BOOM! The news van's explosion hurls two fence posts just over\nThomas' head, end over end, the two lengths of wire stretched between\nthem. The flying garrote heads directly for --", "The color drains from Brian's face as the dying man on the ground\ncoughs blood and the girl performing CPR recoils.", "Rory looks up too late and REAR ENDS Thomas' car, EXPLODING the gas\ntank and HURLING Rory's dead body halfway through the windshield\nwhere it remains half in/half onto the hood.", "The moment is still surreal as Brian steps back, further away from\nthe horrors he can't face. Into the street --", "Brian skillfully climbs between the wires and runs past a DEAD OAK\nTREE ten feet inside the fence. In the BG, MR. GIBBONS darts inside a\ndouble-wide construction trailer.", "The tractor is safely off the road next to a wood pile. Brian grabs a\ncord and starts up the whoodchipper.\n\nINT. KAT'S EXPEDITION - CONTINUOUS", "No good, Kat SCREAMS in pain.\n\n KAT\n Stop that! I still need this foot,\n thank you.\n\nBrian steps back as the emergency vehicle speeds over.", "Just as the Expedition comes to a stop, an IRRIGATION PIPE ROCKETS\nthrough the rear window -- miraculously missing Clear and Rory --\ncoming to a rest just behind Kat's head.", "Rory, who sorts hard, stands up with a satisfied smile - and is\nsliced into three sharp cuts of beef.\n\nThe silence from the emergency crew is deafening. Mr. Gibbons starts\ncrying hysterically.", "Eugene balls his hands to his mouth in undeniable fear. A\nbloodcurdling moan escapes him. He stares transfixed as Nora's head,\nstill aghast in terror, rolls around the floor.", "We STEADICAM around Brian to reveal a woman screaming from the\ndriver's seat. The sound is surreal.", "Only by standing on the tractor can Brian see the White Van speeding\nup the hill toward him. He jumps down and frantically tires starting\nthe tractor. Once, twice, nothing.", "Watch as Clear opens the door, briefly revealing Eugene, a whoosh of\nOxygen --\n\nBOOM!!!", "KAT\n I can't move my fucking leg!\n Please get me out of here before it\n explodes!" ], [ "The rusty ladder suddenly dislodges and hurls downward -- coming\nright for Evan's face -- but stops halfway!", "A large jagged shard of glass comes CRASHING down at him -- Evan\njumps back just in time as it shatters before him. The fire\ncompletely engulfs the kitchen.", "Evan grabs a fire extinguisher. A mere dribble of foam comes out. He\nbegins COUGHING in the smoke.", "Evan recoils, throws open the window and throws the grease to the\nsidewalk five stories below. An ominous BREEZE enters --", "EVAN, blinded by the smeared windshield, is too late. He swerves his\nTrans Am around the burning cars onto the wet grass.", "As Evan laughs, breathing a final sigh of relief, it suddenly\nPLUMMETS again -- impaling Evan through his eye socket!\n\nINT. POLICE STATION - COMPUTER ROOM - NIGHT", "Evan places the TV by the door, looks at his torn shirt, but fuck it,\nwho cares; he's on a natural high. He peels his shirt off, revealing", "Rory looks up to see the DMV photo of Evan. As he takes in the\nreport, his mood radically shifts. He looks like he's been hit by a\ntrain.\n\nMONTAGE", "When the SHOCK goes through Evan's body, his other hand jerks out,\nknocking the flaming frying pan to the floor.", "Evan desperately lifts his leg and tries to use his foot to edge the\nPalmolive over. By pushing the bottle up against the wall, it\nthreatens to turn on one of the switches.\n\nANGLE ON FINGERS", "INT. EVAN'S APARTMENT - CONTINUOUS\n\nDim, cheap, probably roach-infested. As Evan enters, the small\npackages fall off the TV box and onto the floor.", "Evan, pissed off, flips off Frankie. The windshield wipers smear\naround the thick milky fluid. The sun blinding him.", "EVAN\n Motherfucker.", "The Airduct coughs, sending menus fluttering toward Evan's feet and\nhe slips on them! He juggles the TV - but ultimately rights himself\nand continues down the hallway.", "The RING falls into his drain/garbage disposal!\n\n\n EVAN\n Damn it!", "KIMBERLY\n Oh my God. That's Evan Shaeffer.\n\nClear, however, seems to expect nothing less.", "Evan spills some cooking oil on the range while pouring it into the\nfrying pan, then dumps in some frozen mozzarella sticks. Evan puts\nthe frying pan on the stove and turns it on HIGH.", "PUSH IN on the H - which mysteriously drops into the Chinese food -\nthe word EY E remaining. Oblivious, Evan puts the food in the\nmicrowave and turns it on.\n\nANGLE ON STOVE", "CLEAR\n It can be beaten. And you know it.\n\nCREEEAAAK -SLAM! The Mortician rolls Evan's body into the oven.", "A HEATING DUCT CLICKS ON. The air blows a TONKA TRUCK slowly toward\nthe center of the staircase, directly in Evan's path - but Evan just\nmisses it!" ], [ "As Evan laughs, breathing a final sigh of relief, it suddenly\nPLUMMETS again -- impaling Evan through his eye socket!\n\nINT. POLICE STATION - COMPUTER ROOM - NIGHT", "EVAN, blinded by the smeared windshield, is too late. He swerves his\nTrans Am around the burning cars onto the wet grass.", "When the SHOCK goes through Evan's body, his other hand jerks out,\nknocking the flaming frying pan to the floor.", "KIMBERLY\n Evan Shaeffer's dead.\n\nThoma s nods and leans against the large glass windows that reflect\nthe sky behind them.", "The rusty ladder suddenly dislodges and hurls downward -- coming\nright for Evan's face -- but stops halfway!", "A large jagged shard of glass comes CRASHING down at him -- Evan\njumps back just in time as it shatters before him. The fire\ncompletely engulfs the kitchen.", "Rory looks up to see the DMV photo of Evan. As he takes in the\nreport, his mood radically shifts. He looks like he's been hit by a\ntrain.\n\nMONTAGE", "CLEAR\n It can be beaten. And you know it.\n\nCREEEAAAK -SLAM! The Mortician rolls Evan's body into the oven.", "EVAN\n Motherfucker.", "Evan, pissed off, flips off Frankie. The windshield wipers smear\naround the thick milky fluid. The sun blinding him.", "Evan places the TV by the door, looks at his torn shirt, but fuck it,\nwho cares; he's on a natural high. He peels his shirt off, revealing", "Eugene balls his hands to his mouth in undeniable fear. A\nbloodcurdling moan escapes him. He stares transfixed as Nora's head,\nstill aghast in terror, rolls around the floor.", "Evan grabs a fire extinguisher. A mere dribble of foam comes out. He\nbegins COUGHING in the smoke.", "Evan recoils, throws open the window and throws the grease to the\nsidewalk five stories below. An ominous BREEZE enters --", "Kimberly sees the topless Trans Am slowly roll out of a huge WALL OF\nFIRE and coast to a stop. Evan comes up battered and bloody but still", "The Mortician slides a gleaming set of medical pliers into Evan's\nmouth. And YANKS out a gold tooth. Kimberly recoils as he discards\nthe bloody tooth on a metal tray.", "Rory, who sorts hard, stands up with a satisfied smile - and is\nsliced into three sharp cuts of beef.\n\nThe silence from the emergency crew is deafening. Mr. Gibbons starts\ncrying hysterically.", "KIMBERLY\n Oh my God. That's Evan Shaeffer.\n\nClear, however, seems to expect nothing less.", "KIMBERLY\n That still doesn't make sense. You\n said you die in the same order you\n were originally meant to. But Evan\n Shaeffer died last in my\n premonition, not first.", "Rory looks up too late and REAR ENDS Thomas' car, EXPLODING the gas\ntank and HURLING Rory's dead body halfway through the windshield\nwhere it remains half in/half onto the hood." ], [ "Like a scene out of THE BIRDS, Kimberly must duck and cover as the\npigeons assault her from every angle.", "KIMBERLY\n Clean up? I don't...\n\nSuddenly through the reflection of the window glass, Kimberly sees\nhundreds of pigeons dive bomb her at once!", "But when Kimberly turns away from the reflection, toward the actual\npigeons, THEY'RE GONE. ALL IN HER HEAD.\n\n\n KI MBERLY\n Did you see that??", "Kimberly reluctantly closes her eyes and remembers.\n\nCUT TO:\n\nPREVIOUSLY UNSEEN", "KIMBERLY\n Pigeons... It's a sign! If Clear's\n right about the order, then Nora\n and Tim are going to be attacke d by\n Pigeons!", "A SERIES OF CRASHES AND EXPLOSIONS ARE HEARD. In the distance. It's\nneverending. Horrific. Kimberly's face crumbles. She screams in\nhorror and collapses against the SUV.", "Kimberly , half-traumatized, watches an ominous BREEZE rustle through\nthe field, up to the trees, toward Thomas.", "Kimberly moves toward Shaina's window. As she leans her head into\nShaina's window, an ominous BREEZE blows back their hair and we hear\nthe BLARING HORN of a TRUCK.", "Kimberly stares in horror as the Old Woman flashes an evil grin.\nKimberly's eyes lower to the bag of oranges, which breaks, exactly\nlike before and the Old Woman scurries after them.", "KIMBERLY\n (incoherent, through\n tears)\n There's going to be a pile up.\n Logs. Bodies everywhere. I saw it\n happen. It happened.", "Kimberly, scared, does as she's told nearly colliding with a speeding\nflat bed semi hauling a huge load of logs !", "It's so bad, Kimberly can't speak. She coughs and gags as if recently\ndrowned. Clear scans the perimeter for immediate dangers.\n\nQUICK CUTS:", "Nora's head falls. Kimberly senses her anguish and takes over.", "Kimberly, freaked out, looks around to see the blinking light from\nthe VCR: it flashes 18:0 a few times, then 12:00.", "Kimberly erupts into a panic when she sees the LOG TRUCK speed past.\nShe grabs at Thomas for emphasis.", "Kimberly shuts her eyes, remembering:\n\nEXT. LAKE - DAY\n\nPOV DRIVER", "Kimberly is still behind the smoke-spewing Chevette. She passes it on\nthe left. Frankie rolls down his window.", "Kimberly follows the BREEZE to the dead oak tree under which Thomas\nstands. And blows a large branch until it snaps! A startled Thomas\nsees it fall just in time to DIVE to safety.", "KIMBERLY\n How can you say that? What kind of\n monster are you?\n\nAt once, Clear, enraged, is in her face, speaking through clenched\nteeth.", "It would appear as if she's choking Kimberly, but --\n\nAn EEG MONITOR turns from a flatline to a steady heartbeat, the same\nPOV as the premonition." ], [ "A METALLIC CHAIN RATTLE fills the air and Tim looks up just as a HUGE\nSHEET OF GLASS PLUMMETS downward toward him and CRUSHES him, his\nmangled body visible underneath.", "BANG! Another pigeon takes a header into the reflection. Dr. Lees'\nhand jerks, nearly jabbing Tim's tongue. Tim squirms violently. Dr.\nLees looks towards the window angrily.", "Tim stares in childlike fascination as they pass JACKHAMMERS, a\nCEMENT MIXER, and an EXCAVATOR.\n\nINT. CLEAR'S PADDED ROOM - DAY", "Nora kisses his forehead and leaves the room. After she leaves, Tim\nopens his nightstand drawer, pulls out a dusty nightlight and plugs\nit in.", "A large jagged shard of glass comes CRASHING down at him -- Evan\njumps back just in time as it shatters before him. The fire\ncompletely engulfs the kitchen.", "TIM'S BEDROOM - LATER\n\nTim's eyes are glued to the latest Stephen King novel. Nora peers in.", "Nora pulls a reluctant Tim out of the room. As she opens the door,\nthe others watch Detective Suby and Thomas appear from nowhere to", "Just then, Tim and Nora walk into a large cluster of PIGEONS who\nsuddenly burst into flight, startling the Crane Operator, whose hand\ninadvertently jerks a lever -", "SLOW DOLLY up to Tim. Choking, gurgling. His eyes are open, but\nrolled up. His hand limply reaches up...then drops.", "Brian sticks his head in Kat's window and peers down at her trapped\nleg. He swipes the broken glass away from the window with this thick\nflannel sleeve, reaches in, and tries to YANK the door open with all\nhis might.", "The sight clearly sends Eugene over the edge. He SCREAMS, CLAWS AND\nPOUNDS, desperate to escape the elevator.\n\nINT. THOMAS' APARTMENT - MOMENTS LATER", "A LARGE BLAST from his window showers him with glass and brick\nshrapnel, but ultimately, he makes it to the fire escape's lowest\nlevel, intact.", "One bounces as it hits, and slams through Thomas' front winshield and\nout the back, taking Thomas' head with it.", "Rory holds his trembling hand before his eyes as if amazed to see it.\nKimberly shakes her hair, spilling glass onto the floor. Kat tries to\nopen the door, but it won't budge.", "Nora and Tim, feeling better now, walk past the CONSTRUCTION CREW. A\nCRANE OPERATOR smiles at Tim, who smiles back.", "Tim looks petrified as Dr. Lees unveils a tray full of PICS, CARVERS\nand EXTRACTING FORCEPS.", "Tim watches helplessly as Nora reaches down, tug ging at her sneaker,\nfear mounting. Tim also grabs her sneaker and yanks. Finally, the\nshoelace SNAPS, and Nora's free again.", "But nothing else happens. No one comes to a door. Thomas sighs, and\nas if suddenly remembering his status, he walks fearlessly and\npurposefully to the front door.", "Nora gives Tim a hard stare, then they both break into smiles. Nora\ntousles his hair. And doesn't stop.", "BANG! SFX: BROKEN GLASS - it sounds like a pigeon finally crashed\nthrough the window. In the other room.\n\n DR. LEES\n Goddamn it already." ], [ "ISABELLA\n What do you mean \"grand theft\n auto?\" This is insane.", "ISABELLA\n Get around it!!!\n\nSteve leans on the horn and stomps the gas, dangerously riding the\nshoulder around the Beetle.", "Isabella SCREAMS! Steve jerks the wheel to the left! The White Van\nhas a close near miss with the Expedition, and goes off the road\ntoward a LAKE!", "ISABELLA\n Take my van!\n\nEXT. WESTCHESTER COUNTY - DAY\n\nKAT'S EXPEDITION speeds through a yellow light and continues on.", "She pounds the steering wheel, furious.\n\n\n ISABELLA\n What'd the doctor say? I have to\n come in to test for STDs? Goddamn", "INSIDE THE WHITE VAN\n\nSteve sees the wreckage on the other side of the highway and slows\ndown. Isabella squeezes his hand white.", "Speeding toward the lake! Isabella SCREAMS, in pain, not fear. The\nWhite Van is ready for splashdown.", "KIMBERLY\n Let's pray that Isabella's still\n alive.\n\nThe truck speeds into the horizon.", "ISABELLA\n Please. It's not going to wait.\n\n STEVE\n I've got to stop and help those\n people.", "Isabella, pissed, is in a holding tank. Small town deputy STEVE\nADAMS, 30's, CLEANS HIS GUN in her direction.", "ISABELLA\n Excuse me, but is there some way we\n could just drive around? I have a\n delivery.\n\nHer CELL PHONE RINGS and she leans back inside to answer it.", "Thomas runs to his patrol car.\n\nThe White Delivery Van makes a J- turn out of the line of cars and\nSPEEDS down the onramp in reverse, Isabella screaming angrily into\nher cell phone.", "ISABELLA\n (figures it out)\n Jorge. When I get out of here I'm\n going to sue his cheating ass off.", "A CRATE in the back of her van topples over and CRASHES and a flurry\nof sunflower petals sails out the window. Isabella jumps in surprise", "THOMAS\n (a little stern)\n It's about your wife, Isabella.\n Now is she here?\n\nJorge's eyes flicker ever -so- involuntarily behind him.", "As she fumes, a rivulet of WATER streaks down her leg.\n\n IS ABELLA\n Oh my God.\n\nSteve, at first confused, sees the water and gasps.", "ISABELLA\n Do you want to deliver this baby?\n\nSteve looks ill, then sees another car stopping by the crash. He\nfloors it and speaks into the shoulder mic of his cop radio.", "Isabella hangs up, recoiling at VIOLENT THUMPS against her wall. PULL\nBACK AND UP TO REVEAL the source of the unsettling SQUEAK is a\nrickety, wobbling CEILING FAN.", "Small town station. Only one patrol car. In the patrol car, Isabella\nbuckles up in the sho tgun seat, the belt stretched tightly across her\nbelly.", "CLEAR\n Be alive, Isabella, please be\n alive.\n\nKimberly's eyes widen in fear. Her foot hesitates over the brake\npedal as --" ], [ "Steve watches, confused, as Clear whoops with delight and HUGS the\nothers.\nClear laughs with a relief that seems completely foreign to her.\nKimberly laughs with her, then is suddenly rocked by a vision --", "JORGE\n No. I'm alone.\n\nBut by now, Thomas has seen everything Clear has and more. He stares\nthrough the house, into a bedroom and sees -", "But nothing else happens. No one comes to a door. Thomas sighs, and\nas if suddenly remembering his status, he walks fearlessly and\npurposefully to the front door.", "Nora's head falls. Kimberly senses her anguish and takes over.", "KIMBERLY\n (incoherent, through\n tears)\n There's going to be a pile up.\n Logs. Bodies everywhere. I saw it\n happen. It happened.", "Outside, a parting of dark clouds causes a shaft of sunlight to flood\ninto the hospital. Its light covers Kimberly and Thomas with an\nethereal glow. There are no more doubts; they've won.", "As she fumes, a rivulet of WATER streaks down her leg.\n\n IS ABELLA\n Oh my God.\n\nSteve, at first confused, sees the water and gasps.", "CLEAR\n Remember everyone, just because\n Kimberly's got the power doesn't\n mean we're not all capable of\n seeing signs to some extent.", "Eugene balls his hands to his mouth in undeniable fear. A\nbloodcurdling moan escapes him. He stares transfixed as Nora's head,\nstill aghast in terror, rolls around the floor.", "Everyone turns to see Clear and Kat, standing in the doorway,\nDRENCHED IN BLOOD. Kat trembles uncontrollably.\n\n KAT\n Can we find the pregnant woman,\n please?", "Rory holds his trembling hand before his eyes as if amazed to see it.\nKimberly shakes her hair, spilling glass onto the floor. Kat tries to\nopen the door, but it won't budge.", "While still beautiful, this young woman bears few traces of her\nformer self. Her eyes dart around suspiciously, maddened by chronic", "The sight clearly sends Eugene over the edge. He SCREAMS, CLAWS AND\nPOUNDS, desperate to escape the elevator.\n\nINT. THOMAS' APARTMENT - MOMENTS LATER", "Clear tears into the bedroom, grabs the bedspread and THROWS it to\nthe floor to reveal a YOUNG WOMAN, naked, trembling with fear, takes\na closer look at Clear.", "KIMBERLY\n There's going to be a huge\n accident! Everyone's gonna die,\n all of us, I saw it!\n\nDano hums the Twilight Zone theme.", "Flashing lights from rescue vehicles illuminate the living room. In\nthe newly conformed safe house, Kat and Clear relax as best they can\nin Thomas' dry clothes.", "CLEAR\n If you have the same power as Alex,\n you'll be seeing signs soon. When\n you see anything creepy or ominous,", "Nora kisses his forehead and leaves the room. After she leaves, Tim\nopens his nightstand drawer, pulls out a dusty nightlight and plugs\nit in.", "KIMBERLY\n There's going to be a huge\n accident! Everyone's gonna die.\n All of us! I saw it!\n\nDano hums the Twilight Zone theme.", "As Eugene shudders with dread, the Orderly pushes a huge cart in\nfront of him, again obscuring his view. Eugene frantically pantomimes\nwriting." ], [ "Eugene balls his hands to his mouth in undeniable fear. A\nbloodcurdling moan escapes him. He stares transfixed as Nora's head,\nstill aghast in terror, rolls around the floor.", "The elevator lurches a final time. NORA'S HEADLESS BODY fall down\ninto Kat's arms, knocking her to the floor. Kat freaks, skittering\naway as the body convulses.", "Nora's head falls. Kimberly senses her anguish and takes over.", "Nora's body lifts upwards from the force of the elevator floor!\n\nNora's screams of terror and agony fill the air as the elevator\nrepeatedly LURCHES UPWARDS.", "Nora panic,s as Eugene and the Man try to untangle her braid. Nora\ndesperately spins her body around, sticking her head back inside the\nelevator.", "As two pearly whites roll around on the sidewalk, NORA SCREAMS.\n\nDISSOLVE TO:\n\nEXT. MEDICAL COMPLEX - LATER", "Nora slowly rises to her feet, feverishly mouthing a prayer... As the\ndoor opens, Nora rushes out - unseen to her, her long braid gets", "THOMAS\n (unsure)\n I kinda see it, yeah. So...Nora's\n going to be killed by a man with\n hooks?", "Nora chews, her eyes half dead from bereavement. Across the loft,\nThomas paces, phone in hand.", "Jean continues vacuuming. The vacuum makes contact with Nora's foot.\n\nINT. DENTIST OFFICE - CONTINUOUS", "THE GAUNT MAN leans closer to Nora's hair and as the doors finally\nclose, he leans over and SMELLS it. Creepy.", "NORA\n Officer Burke? I can't hear...\n\nA beat of confusion, then she slowly turns to see the clawed hooks\nand hands of the Prosthetic limbs. Terror. She freezes.", "Nora sees the collisions ahead and slams on the brakes but the fallen\nNaya bottle prevents her from braking, and she SLAMS into the back of\nKat's Expedition.", "Nora kisses his forehead and leaves the room. After she leaves, Tim\nopens his nightstand drawer, pulls out a dusty nightlight and plugs\nit in.", "Rory, who sorts hard, stands up with a satisfied smile - and is\nsliced into three sharp cuts of beef.\n\nThe silence from the emergency crew is deafening. Mr. Gibbons starts\ncrying hysterically.", "Nora swallows, trying to seem brave.\n\n NORA\n Oh, please. Some people just need\n some serious rewiring, that's all.", "NORA\n Four years ago my husband died.\n Now Tim. There's nothing left for\n me.\n\nKimberly stops pouring liquor down the drain.", "NORA\n Maybe...\n\nEugene sees Nora and Tim are hooked and speaks in scary campfire\ntones.", "NORA\n My God, someone please let me out\n of this --\n\nINTERCUT\n\nThe UP BUTTON is lit. Clear rushes to the lobby.", "Nora pops it in her mouth.\n\n KAT\n -- half of that." ], [ "CLEAR\n The survivors of Flight 180 died in\n the exact order they were\n originally meant to die in the\n plane crash. That was Death's\n original design.", "everything seems cool, but then the\n survivors start dying one boy one.\n 'Cause when your number's up, it's\n up, right? Some people said Death", "KIMBERLY\n (sudden realization)\n Exact order? Then I'm next! I was\n meant to die with my friends, so\n I'm next!", "KIMBERLY\n No. If anyone dies from a crash\n now, it'll be me. But I can't die\n if Eugene and Isabella are still\n alive. I'm last on Death's list.", "CLEAR\n Congratufuckinglations. That makes\n you last to go. But don't worry,\n once the others are dead, it'll\n come back for you. Always does.", "But nothing else happens. No one comes to a door. Thomas sighs, and\nas if suddenly remembering his status, he walks fearlessly and\npurposefully to the front door.", "Kat's dead limp hand drops her last cigarette -- which bounces along\nthe hard dirt -- toward the oncoming gas. Closer, closer,.. The\nBREEZE KICKS UP, aiding the cigarette.", "Rory, who sorts hard, stands up with a satisfied smile - and is\nsliced into three sharp cuts of beef.\n\nThe silence from the emergency crew is deafening. Mr. Gibbons starts\ncrying hysterically.", "Kimberly, shaken, does the math.\n\n\n KIMBERLY\n Yes. In my premonition that Nora\n woman and her kid died first, then\n Evan and then...my friends.", "Eugene balls his hands to his mouth in undeniable fear. A\nbloodcurdling moan escapes him. He stares transfixed as Nora's head,\nstill aghast in terror, rolls around the floor.", "Thomas kills the engine to listen.\n\n KIMBERLY\n But we're all going to die. We\n can't stop it. It's just a matter\n of time. I'm so scared.", "Rory looks up too late and REAR ENDS Thomas' car, EXPLODING the gas\ntank and HURLING Rory's dead body halfway through the windshield\nwhere it remains half in/half onto the hood.", "CLEAR\n But you said someone else died last\n night. That means Death skipped\n past you. Someone must have", "THOMAS\n But it's over. Isabella's baby was\n the key. You saw her die and\n everything, right?", "Rory nods. He expected as much. He fishes his LICENSE and KEYS out of\nhis pocket.\n\n RORY\n And you're gonna die after me,\n right?", "CLEAR\n My family is dead. My friends are\n dead. And Alex...", "itself started coming for them,\n hunting down every last one, until\n they were all dead.", "KIMBERLY\n You can't cheat destiny. I know\n what I have to do to save us. I\n have to die.", "CLEAR\n Death's list. The precise order\n you're going to die in.\n\nClear's eyes bore into a terrified Kimberly's.", "MR. GIBBONS\n Oh please. I'm not hurting anyone.\n (looking around, lowering\n voice)\n Besides, if you can beat Death," ], [ "KIMBERLY'S POV\n\nLooking up at Dr. Kalarjian, all she can see is part of a woman's\nface and a partial nametage reading \"Kalarjian\".", "THOMAS\n Kalarjian?\n\n KIMBERLY\n I think a nurse named Kalarjian is\n going to choke Isabella to death!", "It's so bad, Kimberly can't speak. She coughs and gags as if recently\ndrowned. Clear scans the perimeter for immediate dangers.\n\nQUICK CUTS:", "KIMBERLY\n Oh my God. That's it. The lake.\n The EEG machine. Nurse Kalarjian.\n\n THOMAS\n What?", "Kimberly reluctantly closes her eyes and remembers.\n\nCUT TO:\n\nPREVIOUSLY UNSEEN", "THOMAS\n I wasn't worried about us.\n\nSuddenly, Kimberly clutches her throat!\n\nHARD CUT TO:", "It would appear as if she's choking Kimberly, but --\n\nAn EEG MONITOR turns from a flatline to a steady heartbeat, the same\nPOV as the premonition.", "The sight of her fath er crying is enough to make Kimberly's own dam\nburst. She rushes over to him and buries her head in his chest,\nsobbing.", "KIMBERLY\n Nurse Kalarjian...\n\n DR. KALARJIAN\n Doctor Kalarjian. Excuse me,\n please.", "KIMBERLY\n Oh my God. That's Evan Shaeffer.\n\nClear, however, seems to expect nothing less.", "Kimberly, freaked out, looks around to see the blinking light from\nthe VCR: it flashes 18:0 a few times, then 12:00.", "Kimberly, seeming overwhelmed, pulls her hand back. Thomas senses\nhe's losing her, and softens her approach.", "Kimberly turns to Shaina, helpless. Shaina spins around, her eyes\nwordlessly tell Dano, I know she's a priss, but put it out.", "As Eugene heads out, Kimberly becomes enraged and grabs him.\n\n KIMBERLY\n Seeing you die once was enough for\n me.", "KIMBERLY\n Don't. I have to see this.\n\nMr. Burroughs reluctantly keeps the newscast on.", "KIMBERLY\n Yes. I was in a hospital. There\n was screaming... A nurse was\n choking me. I couldn't tell wh at", "Mr. Burroughs tucks a still-shaken Kimberly into bed. In one of his\nhands is a nearly empty glass of scotch.", "Kimberly, scared, does as she's told nearly colliding with a speeding\nflat bed semi hauling a huge load of logs !", "INT. GAS STATION - DAY\n\nKIMBERLY\n\nComes to Thomas' arms - GASPING uncontrollably for breath. Terror-\nstricken. She begins hyperventilating.", "A sick smile crosses the Mortician's lips. He yanks the nipple ring\nOFF! Kimberly looks on both horrified and awed when Clear doesn't\nflinch back from the pliers, where a bloody nub dangles." ], [ "But nothing else happens. No one comes to a door. Thomas sighs, and\nas if suddenly remembering his status, he walks fearlessly and\npurposefully to the front door.", "(beat)\n Frank died that night in a\n shootout. I'd be dead too if that\n call had come in just ten seconds\n later.", "EUGENE\n But this is where it starts to get\n freaky. So a month goes by,", "Nora kisses his forehead and leaves the room. After she leaves, Tim\nopens his nightstand drawer, pulls out a dusty nightlight and plugs\nit in.", "A SERIES OF CRASHES AND EXPLOSIONS ARE HEARD. In the distance. It's\nneverending. Horrific. Kimberly's face crumbles. She screams in\nhorror and collapses against the SUV.", "PAN OVER TO REVEAL KIMBERLY. She's still in shock, her mind far away.\nThomas sits close to her, speaking softly.\n\n\n THOMAS\n Tell me again how it started.", "KIMBERLY\n A little over a year ago, my mother\n and I went to the mall. I was\n supposed to meet her outside, but I", "JORGE\n No. I'm alone.\n\nBut by now, Thomas has seen everything Clear has and more. He stares\nthrough the house, into a bedroom and sees -", "THOMAS\n You want weird? Last year, my\n partner and I were heading out for\n the graveyard shift. A call comes\n in about a train wreck and Frank\n decides to let me handle it alone.", "All three freeze for a moment, during which we hear STOMPING emanate\nfrom within the house, and the lights SHUT OFF.", "NORA\n Four years ago my husband died.\n Now Tim. There's nothing left for\n me.\n\nKimberly stops pouring liquor down the drain.", "Kimberly is still behind the smoke-spewing Chevette. She passes it on\nthe left. Frankie rolls down his window.", "It finally clears frame, revealing a highway billboard that reads,\n\"DRUNK DRIVING KILLS.\"\n\nKimberly reaches back and pulls on her seatbelt in spite of laughter\nfrom the back seat.", "MR. BURROUGHS (O.S.)\n So what's the deal, Thomas? Three\n months and you still haven't asked\n my daughter out on a date.", "Which BREAKS, exactly like before, and the Old Woman scurries after\nthem. The signal turns from red to flashing yellow.", "Kimberly, Thomas and Clear open the large wooden doors into a small\nchapel, creat ing a loud CREAK. A corpse in an open casket sits at the\nfront of the chapel, post -wake.", "Clear looks Kimberly up and down and steps back, allowing her inside\nher inner sanctum. A mattress on the floor, a plastic bottle of\nwater, some paperbacks and a bedpan.", "Everyone looks around for a hesitant beat, then Thomas picks up his\ncell phone. Clear first walks, then RUNS out the door.\n\nINT. THOMAS' APARTMENT BUILDING - CONTINUOUS", "Mr. Burroughs leans over, kisses her forehead and leaves. Just as\nhe's out the door, he braces at the distant sound of a CAR SKIDDING", "Evan recoils, throws open the window and throws the grease to the\nsidewalk five stories below. An ominous BREEZE enters --" ] ]

[ "What premonition does Kimberly have?", "What does Kimberly do to prevent others from getting on the highway?", "How does Evan die?", "What do Kimberly and William believe will thwart Death's plan?", "What do they discover on the way to reunite for safety?", "Who is last on Death's list?", "What eventually kills Rory?", "What causes Clear and Eugene's death?", "Who dies after the group thinks they have cheated death?", "Why is Kimberly Corman going to Daytona Beach, Florida?", "What does Kimberly envision as she drives to Florida?", "What is Isabella Hudson's physical condition?", "About what do the crash survivors learn at the police station?", "Who is Clear Rivers?", "Isabella is taken into custody, accused of doing what?", "How does Nora become decapitated?", "What explodes, killing Brian?", "What falls on Evan?", "When Evan dies where is he struck?", "What kind of birds attack Kimberly in her vision?", "What location is Tim crushed by a pane of glass at?", "What kind of vehicle is Isabella accused of stealing?", "Who has visions?", "How is Nora decapitated?", "Who is the last to die?", "In Kimberly's vision who is Doctor Kalarjian strangling?", "What time frame does the story take place from the first story?" ]

[ [ "Logs fall off of a semi and kill everyone involved.", "LOGS FALLING OFF A TRUCK" ], [ "She stalls her car on the on ramp.", "KIMBERLY STALLED THE CAR" ], [ "After slipping, the escape ladder falls and impales his eye.", "being impaled after a fall." ], [ "Isabella having her baby.", "If Isabella has her baby" ], [ "They have all cheated death twice.", "that they have all cheated death twice, and had it not been for flight 180, they would all be dead" ], [ "Kimberly.", "Kimberly" ], [ "A barbed wire fence that flies into the air due to the van's explosion.", "a barbed wire fence flying through the air" ], [ "The room exploding from an oxygen combustion.", "The room they were in explodes." ], [ "Brian.", "EVAN" ], [ "To spend spring break with her friends.", "For spring break with her friends" ], [ "An terrible accident caused by a log truck.", "A crash involving multiple cars" ], [ "She is pregnant.", "pregnant" ], [ "The curse of Flight 180.", "Isabella has gone in to labor at the police station" ], [ "The remaining survivor of Flight 180.", "The last survivor of Flight 180" ], [ "Driving a stolen van.", "Driving a stoeln van" ], [ "By malfunctioning elevator doors.", "malfunctioning elevator doors" ], [ "A barbecue grill.", "BBQ grill" ], [ "A ladder falls on Evan.", "The escape ladder" ], [ "He is impaled in the eye.", "His eye" ], [ "Pidgeons attack in her vision.", "Pigeons" ], [ "The dentist.", "The dentist" ], [ "Isabella is accused of stealing a van.", "A van" ], [ "Kimberly has visions.", "Kimberly" ], [ "By elevator doors.", "Elevator doors" ], [ "Brian is the last to die.", "Brian" ], [ "She is strangling Isabella.", "Isabella" ], [ "One year after.", "One year" ] ]

[ [ "Clara should have her chance with or without the Belton estate,--or\nwith or without the half of it. He was by no means mercenary. Had he", "been misled by a word or two which I said to him with quite another\npurpose. Everybody concerned knows that the Belton estate goes to my\ncousin Will. My poor father was quite aware of it.\"", "from Mr. Green he learned that William Belton had given positive\ninstructions as to the destination of the Belton estate. He would not\ninherit it, or have anything to do with it under the entail,--from", "But then there had been the feeling that in taking the Belton estate\nhe would be robbing his cousin Clara of all that should have been", "\"She will have to leave Belton now, I suppose?\" said Sir Anthony.\n\n\"The property will belong to a distant cousin,--a Mr. William\nBelton.\"", "done.\" At that moment, when she said she had lived long enough, she\nforgot her intention with reference to her will. But she remembered\nit before Clara had left the room. \"Tell Frederic,\" she said, \"to", "All the neighbours around understood the whole history of the entail,\nand knew that the property was to go to Will Belton. Now Will Belton", "gone to Belton without much fear of the rain. On the second day after\nthe funeral he did go, and he had then made up his mind. Clara,\nif she would listen to him, should show her independence of Lady", "brains out in his London lodgings, thus making over the entire\nproperty to Will Belton at his father's death. At that last pretended", "all the circumstances of the intended legacy,--of her aunt's death,\nand of the scenes which had immediately followed her death. It was so\nodd that William Belton should now be discussing with her the means", "Mrs. Winterfield's death. Indeed, much happened in Clara's history\nbetween the writing of that letter and Will Belton's winter visit to\nthe Castle.", "\"That will be nothing. Clara will look after that for me; will you\nnot?\" Then they went, and Belton had to consider how he would begin", "which, after two days' intimacy with Clara, seemed to promise him\ncomfort and happiness on all sides. But he had come too late, and\nthat way was closed against him! Now the estate was his, and what was", "short memories and scanty knowledge of the past, Amedroz was more\nhonourable than Belton, and they looked upon the coming man as an\nintruder. Why should not Miss Clara have the property? Miss Clara had", "The death of the old man at Belton Castle had been very sudden. At\nthree o'clock in the morning Clara had been called into his room, and", "Will Belton. Nor did he say a word about Mrs. Askerton. \"Do your best\nto please my mother, Clara,\" he said, as they were driving up from", "A few words were said about the estate, and they originated in\nClara's declaration that Mary would have to be regarded as the\nmistress of the house to which they were going. \"I cannot agree to\nthat,\" said Mary.", "\"Of course it was,\" said Colonel Askerton. Then, as Belton himself\ndid not proceed to the telling of his own story, the Colonel told\nit for him, and explained what was the income which Clara was to\nreceive.", "to Clara the nature of his aunt's will, and the manner in which she\nwould be allowed to inherit under it the amount of money which her\naunt had intended to bequeath to her. When she became impatient and", "Not a word had as yet been said between them about the property which\nwas now his estate. He was now Belton of Belton, and it must be" ], [ "gone to Belton without much fear of the rain. On the second day after\nthe funeral he did go, and he had then made up his mind. Clara,\nif she would listen to him, should show her independence of Lady", "On the Sunday the expected letter came;--but before its contents are\nmade known, it will be well that we should go back to Belton, and see\nwhat was done by Clara in reference to the tidings which her lover\nhad sent her.", "\"That will be nothing. Clara will look after that for me; will you\nnot?\" Then they went, and Belton had to consider how he would begin", "On that afternoon Belton asked Clara to go out with him, and walk\nround the place. He had been again about the grounds, and had made", "would have in seeing him again at Christmas. Belton was to start very\nearly in the morning,--before six, and of course he was prepared to\ntake leave also of Clara. But she told him very gently, so gently", "days passed by, and he had made no allusion to the cottage or its\ninhabitants. This in itself was singular, as the Askertons were\nthe only local friends whom Clara knew, and as Belton had become", "as yet made up her mind as to what her conduct must be. Early on the\nnext morning Will Belton went away, and again Clara got up to give\nhim his breakfast. On this occasion he had no thought of kissing", "Will Belton. Nor did he say a word about Mrs. Askerton. \"Do your best\nto please my mother, Clara,\" he said, as they were driving up from", "capacity, at any rate, you must submit to him.\" Clara, therefore,\nconsented to remain at Belton; but, before Will arrived, she returned\nfrom the house to the cottage.", "\"He knows that I should ask his rather than that of any living\nperson,\" said Clara.\n\n\"There, Mr. Belton. Now you must say that she may come;--or that she\nmay not.\"", "shake hands with him,\" Clara answered. Then the Colonel spoke a word\nto her, and, as he did so, his wife contrived to draw Will Belton for", "During the whole morning Mrs. Askerton had been insisting that Belton\nwould make his appearance on that very day,--the day of his arrival\nat Belton, and Clara had been asserting that he would not do so.", "were letters of business; and in the next place, Clara was teaching\nherself to regard Will Belton as her brother, and to forget that he\nhad ever assumed the part of a lover.", "From time to time during these weeks Mrs. Askerton would ask her\nwhether Mr. Belton was coming to Belton, and Clara would answer her", "\"Why don't you call him Will?\" Clara said to her father. This\nquestion was asked on the evening of that Monday on which Mr. Amedroz\nhad given his consent as to the marriage proposal.", "From London he wrote to Clara, telling her that he proposed to visit\nher at Belton. His letter was written before he had seen Mr. Green,", "to follow Clara down to Belton. He hardly knew his own mind on this\nmatter of his purposed marriage. He was almost inclined to agree\nwith his father that he was very well off as he was. He was almost", "Clara almost hated Captain Aylmer for speaking as he did, and yet she\nknew that it was true. Will Belton was not an educated man, and were", "had been a little ruffled by Will Belton's want of good breeding, and\nhad probably forgotten that any such privileges might have been his.\nI wonder whether any remembrance flashed across Clara's mind at this", "Clara Amedroz had made one great mistake about her cousin, Will\nBelton, when she came to the conclusion that she might accept his" ], [ "But Clara was in truth trying not to love him. She was ashamed of\nherself because she did love the one man, when, but a few weeks", "himself, in his mind, Clara's head and face and figure and feet;--and\nhe resolved that she should be his wife. He had never seen a girl who", "He paused a moment before he spoke again, and then he turned sharp\nupon her. \"Tell me this, Clara; do you love me? Have you ever loved", "It was his own wish as well as hers. In a money point of view he\nmight no doubt now do better; but then money was not everything. He\nwas very fond of Clara, and felt that if she would accept him he", "passion,--that he had spoken of love very nearly with eloquence. But\nhe did recognise this as a fact,--that Clara was not to be his wife,", "take so important a step--he had pondered over it often, and was\naware that he was very fond of Clara. He was, in truth, as much in", "nothing.\" There was something now like feeling in his tone, something\nlike passion in his gesture, and Clara, though she had no thought\nof changing her purpose, was becoming unhappy at the idea of his", "Not that he had any idea of receding. Principle, if not love,\nprevented that. \"Then the question about the house is decided,\" he\nsaid, giving his hand to Clara as he spoke.", "Again Clara was silent, not knowing how to answer that last question.\nAnd when she did answer it, she answered it thoughtlessly. \"Of course\nhe knows that he can do that.\"\n\n\"He says that he has been forbidden.\"", "honest, true woman; and, as he knows you well, he probably does\nhonour you;--but I am speaking of love.\" Again Clara was silent. She", "between them? But perhaps it might all be well yet. Clara knew,\nor thought that she knew, that men and women differed in their\nappreciation of love. She, having once loved, could not change. Of", "his reward. If I were you, I should think of nothing but him, and I\nshould do exactly as he would have me.\" Clara kissed her friend as", "him. \"I don't see much of young men, of course,\" she said; \"but I do\nnot even hear of any that are like him.\" Again Clara thought of her", "Now that he had made up his mind, he could not keep his hand from the\nwork before him an instant. But Clara had also made up her mind, and\nwould not be made to think that her cousin could mean anything that", "\"I know that he is a gentleman,\" said Clara.\n\n\"I must confess I have no reason for supposing him to be so but your\nassurance.\"\n\n\"And I hope that is sufficient, Frederic.\"", "prejudice Clara against him. \"It's a pity he shouldn't be a lover\nof yours,\" the lady said, \"because it would be such a fine instance", "But to that question Clara positively refused to make any reply that\nher lover would consider to be satisfactory. He continued to press\nher till she was at last driven to remind him how very short a time", "\"He is not so bad as that,\" said Clara.\n\n\"Then the next day, or the day after. Of course he is impatient, and\ndoes not see any earthly reason why his impatience should not be\ngratified.\"", "which she had used on her son's behalf. But since that Frederic had\ndeclared his intention of marrying the young woman in spite of his\npoverty, and Clara seemed to be equally determined. \"He has been fool", "\"I suppose it is true?\" Clara did not make any immediate answer, and\nthen he repeated the question. \"I suppose it is true?\"\n\n\"It is true that I am engaged.\"" ], [ "\"Lady Aylmer!\" said Clara, feeling that her voice was almost\ntrembling with anger, \"I am sure you cannot intend to be unkind to\nme?\"\n\n\"Certainly not.\"", "Clara, who had just promised to do her best to gain Lady Aylmer's\nopinion, and who desired to be in some way true to her promise,", "cunning, and power, and hardness in the slight smile that would\ngather round her mouth, by which Clara was revolted. She already\nunderstood much of Lady Aylmer, but in one thing she was mistaken.", "alone.\" Clara of course assented, and got into the carriage with a\nconviction that now she would hear her fate. She was rather inclined\nto think that Lady Aylmer was about to tell her that she had failed", "Lady Aylmer was very plain-spoken on the subject of all Clara's\nshortcomings,--very plain-spoken, and very inquisitive. \"She will\nnever have one shilling, I suppose?\" she said.", "Aylmer Park, and then came a direct and positive quarrel between Lady\nAylmer and Clara,--a quarrel direct and positive, and, on the part of\nboth ladies, very violent.", "\"That is a question which Lady Aylmer can have no right to ask,\" said\nClara.\n\n\"Oh;--very well. Of course, if you don't like to tell, there's no\nmore to be said.\"", "\"I cannot understand you, Clara.\"\n\n\"I suppose not. I cannot very well understand myself.\"\n\n\"I should not be at all surprised if Lady Aylmer were to come\nherself.\"", "that not another day should go by.\" Captain Aylmer, who felt that\nthey were putting Clara on her trial, shook his head impatiently,\nand made no immediate answer. Lady Aylmer, triumphantly feeling that", "long--\" Then there was another pause, indicative of the melancholy\nnatural to such a suggestion, during which Clara looked at Lady\nAylmer, and made up her mind that her ladyship would live for the", "Clara put down her work and sat for a moment almost astonished.\nIt was not only that Lady Aylmer had asked so very disagreeable a", "of Lady Aylmer. In the first he wrote with something of the personal\nenthusiasm of a lover, and therefore Clara hardly felt the little\ndrawbacks to her happiness which were contained in certain innuendoes", "respecting Lady Aylmer's ideas, and Lady Aylmer's hopes, and Lady\nAylmer's fears. Clara was not going to marry Lady Aylmer, and did not", "Aylmers. That tyranny of which Clara spoke with so much dread would\nbe exhibited then without reserve, and so there would be an end\naltogether of the Aylmer alliance. But were she once to start for", "present extremely improper state of things. All this was so manifest\nto Clara, that she said to Sir Anthony one day that she could no\nlonger bear the look of Lady Aylmer's displeasure,--and that she", "\"What is all this, Clara?\" said Captain Aylmer, at once.\n\n\"Simply this,--that your mother has insulted me most wantonly.\"", "whether her conduct might proceed from other grounds, we need not\ninquire; but from that afternoon Lady Aylmer's manner and words to\nClara became much less courteous than they had been before. She would", "Then there was another pause, and Clara thought that that subject\nwas over between them. But Lady Aylmer had not as yet completed her\npurpose. \"Shall I tell you, my dear, what I think you ought to do?\"", "Clara's answer to that letter. The Aylmer Park opinion as to this\npoor woman, and as to Clara's future conduct towards the poor woman,\nhad been expressed very strongly; and Clara had as strongly resolved", "\"I am afraid that Lady Aylmer does not like me,\" said Clara." ], [ "\"The big house belongs to Captain Aylmer, Mrs. Partridge.\" She was\ndriven to bawl out her words, and by no means liked the task. Then\nCaptain Aylmer said something, but his speech was altogether lost.", "Mrs. Winterfield. On Frederic Aylmer his mother's estate was settled.\nThat and Mrs. Winterfield's property lay in the neighbourhood of", "Aylmer, in which he stated that he would meet her in London and\nconvey her down to Aylmer Park. \"The House is sitting,\" he said, \"and", "Captain Aylmer, should he name any time after Easter. It was clearly\nhis intention to keep up the house in Perivale as his country\nresidence. She did not like Perivale or the house, but she would", "Aylmer.\" Such and such like was their conversation; but on a sudden,\nafter a full half-hour's positive silence, Lady Aylmer asked a", "\"She is going to Aylmer Castle.\"\n\n\"To Aylmer Castle! Is she indeed? At once?\"\n\n\"Very soon. Lady Aylmer has asked her.\"", "\"No; certainly it is not. Aylmer Park is a large place; but the house\ndoes not stretch itself out so wide as that; nor does it stand on", "Amedroz. To this Lady Aylmer had been very averse, and there had been\nmany serious letters. Belinda Aylmer, the daughter of the house, had", "Aylmer by staying a few days with the Askertons before she went to\nYorkshire, and by telling Lady Aylmer that such was her intention.", "please with it. She can live here if she likes it, and nobody can say\na word to her. She need not go to Aylmer Castle to look for a home.\"", "It may be imagined that Captain Aylmer, who knew the comforts of his\nclub and was accustomed to life in London, would feel the dulness", "age. But still she was contented, and felt that she had consolation\nfor it all in the fact that she was an Aylmer. She read many novels,\nand it cannot but be supposed that something of regret would steal", "Aylmer Park and the great house of the Aylmers together formed an\nimportant, and, as regarded in some minds, an imposing country", "be proper, was Aylmer Park. The other two were Plaistow Hall and Mrs.\nAskerton's cottage at Belton. As to the latter,--should she ever take", "comfortable than Aylmer Park. During the whole time of her sojourn\nat Aylmer Park no word of real friendship had once greeted her\nears. Everything there had been cold and formal, till coldness and", "Winterfield's room. The doctor had told Captain Aylmer that his aunt\nwas very ill--very ill, dangerously ill. She had been wrong to go", "regarded Captain Aylmer as a rich man since he had inherited Mrs.\nWinterfield's property, knowing that previously to that he had been\nable to live in London as rich men usually do live. \"Is he?\" said", "CHAPTER XVII.\n\nAYLMER PARK.", "Aylmer. But Mrs. Winterfield sent for her nephew, who had just left\nher, and herself gave her orders to him. In the course of the morning", "Aylmer did not quite understand; and on this point now she was so\nlittle anxious that she passed over that portion of the letter\nreadily. But when she came to Mrs. Askerton and the allusions to" ], [ "Captain Aylmer had made a positive promise to his aunt on her\ndeathbed that he would ask Clara Amedroz to be his wife, and he had", "been engaged to Captain Aylmer,--was engaged to him even now. When\nlast her cousin had mentioned to her Captain Aylmer's name she had\ndeclared that she loved him still. How then could she turn round", "\"That I have been engaged to Captain Aylmer.\"\n\n\"But you are not engaged to him now.\"\n\n\"No--I am not.\"", "\"Never mind. Captain Aylmer is not my husband,--not as yet. If he\ntakes me, he must take me as I am, not as he might possibly have\nwished me to be. Lady Aylmer--\"", "I have nobody to see, and nothing to do, and nowhere to go to.\" Then\nClara understood it all, and said that she would write to Captain\nAylmer and ask him to join them at the hotel.", "Then at last she spoke. \"I did not think that you would have treated\nme in this way, Captain Aylmer! I did not expect that you would\ninsult me!\"\n\n\"I have not insulted you.\"", "\"No, Captain Aylmer;--no. I cannot be your wife. Do not press it\nfurther; you must know that on such a subject I would think much\nbefore I answered you. I have thought much, and I know that I am\nright.\"", "Aylmers. That tyranny of which Clara spoke with so much dread would\nbe exhibited then without reserve, and so there would be an end\naltogether of the Aylmer alliance. But were she once to start for", "her mind? But Clara would allow no such telegram to be sent, and on\nthat evening she packed up all her things. Captain Aylmer saw her\nagain and again, sending Belinda backwards and forwards, and making", "\"But you will write to Captain Aylmer?\"\n\n\"Yes;--I shall write to him.\"\n\n\"And about this?\"\n\n\"Yes;--I suppose I must write to him.\"", "coming. \"Not Mr. Will?\" said the woman. \"No; it is not Mr. Will,\"\nsaid Clara; \"his name is Captain Aylmer.\" \"Oh, indeed.\" And then Mrs.", "Captain Aylmer had walked home from church, he had doubted much what\nwould be Clara's answer to him. Then the pippin was at the end of", "more of Clara's engagement to Captain Aylmer than she did of the\nsquire's death. As regarded herself, of course she could not grieve", "\"Captain Aylmer was with me to-day, and he told me. He ought to be\ngood authority on such a subject.\"\n\n\"He told you that he was going to marry Clara Amedroz?\"", "But Clara still held on; and now there wanted but two days to Captain\nAylmer's return, when, all suddenly, there arose a terrible storm at", "alone.\" Clara of course assented, and got into the carriage with a\nconviction that now she would hear her fate. She was rather inclined\nto think that Lady Aylmer was about to tell her that she had failed", "to Captain Aylmer. So circumstanced, what could he say as to Clara's\nsettlement in life? That something should be said between him and the", "his doing it. Yet Captain Aylmer was the man she loved! Captain\nAylmer was the man she had promised to marry. But, in truth, she\nhardly knew which was the man she loved!", "that not another day should go by.\" Captain Aylmer, who felt that\nthey were putting Clara on her trial, shook his head impatiently,\nand made no immediate answer. Lady Aylmer, triumphantly feeling that", "will. To Clara she said nothing more on the subject, nor at such a\ntime did Captain Aylmer feel that he could offer her any assurance\non the matter. But Clara knew that the will was not altered; and" ], [ "Clara almost hated Captain Aylmer for speaking as he did, and yet she\nknew that it was true. Will Belton was not an educated man, and were", "Clara's favour were introduced to each other. Each had heard much\nof the other, and each had heard of the other from the same person.\nBut Captain Aylmer knew much more as to Belton than Belton knew in", "think so much of his coming; but every word said by the old man\nin praise of Will Belton implied an equal amount of dispraise as\nregarded Captain Aylmer, and contained a reproach against his", "\"I suppose you found it cold coming up?\" said the captain.\n\n\"Not particularly,\" said Will.\n\n\"It's rather a long journey from Belton.\"", "shake hands with him,\" Clara answered. Then the Colonel spoke a word\nto her, and, as he did so, his wife contrived to draw Will Belton for", "\"But won't you have some more wine?\" Clara asked.\n\n\"No more for me,\" said Captain Aylmer. \"Perhaps Mr. Belton--\"", "what had happened. The words spoken between them then had not been\nmany, but Clara knew that Captain Aylmer had been kind to her; and\nwhen he had offered to accompany her to Belton, she had thanked him", "than the Member for Perivale. Captain Aylmer, when Clara parted from\nhim on the morning of her return to Belton Castle, had resolved that\nhe would repeat his offer of marriage by letter. A month had passed", "had been a little ruffled by Will Belton's want of good breeding, and\nhad probably forgotten that any such privileges might have been his.\nI wonder whether any remembrance flashed across Clara's mind at this", "acquainted with Mr. William Belton; but, having heard much about\nhim, declared himself anxious to make the acquaintance. Our friend\nWill, therefore, was ushered into the room, and the two rivals for", "Will Belton. Nor did he say a word about Mrs. Askerton. \"Do your best\nto please my mother, Clara,\" he said, as they were driving up from", "A dear cousin, and safe against love-making! This was Clara's verdict\nrespecting Will Belton, as she lay thinking of him in bed that night.", "\"That will be nothing. Clara will look after that for me; will you\nnot?\" Then they went, and Belton had to consider how he would begin", "\"I'm sure that Mr. Belton doesn't mean that at all,\" said Clara.\n\n\"I don't care what he means,\" said the squire.", "capacity, at any rate, you must submit to him.\" Clara, therefore,\nconsented to remain at Belton; but, before Will arrived, she returned\nfrom the house to the cottage.", "\"Will Belton;--the heir of the property which Mr. Amedroz holds.\"\nCaptain Aylmer had soon explained that he was not personally", "During the period of her cousin's visit at Belton, Clara received two\nletters from Captain Aylmer, who was spending the Christmas holidays", "Will Belton blushed as he answered, \"That, perhaps, would be easier\nsaid than done. That is not in my power,--even if I should wish it.\nBut the other is in my power.\"", "such men as Will Belton are prone to treat all women in exceptionable\ncircumstances, when the ordinary routine of life has been disturbed!\nIf she had simply been his cousin, and if he had never regarded", "other in that way. Clara's quick eye immediately saw her father's\nslight gesture of dismay, but Belton caught nothing of this. The\nsquire took an early opportunity of calling him Mr. Belton with some" ], [ "But Clara was in truth trying not to love him. She was ashamed of\nherself because she did love the one man, when, but a few weeks", "described her maladies. \"And yet I believe she is better off than any\nof us,\" he said, \"because she is so good.\" Clara began to wish that", "\"I thought, Will, that perhaps you would let me--remain here.\"\n\n\"Let you!--Oh, heavens! Look here, Clara.\"\n\n\"What is it, Will?\"", "William, and Clara was at first in constant fear lest some word\nshould be said on her lover's behalf,--some word which would drive\nher to declare that she would not admit him as a lover; but Mary", "\"Well;--yes. I don't know how that might be.\" And Clara almost\nlaughed as she felt the difficulties into which she was creeping.\n\"Dear Will. He is much better as a cousin than as a husband.\"", "Clara, when she heard this, almost hated her cousin Mary,--not for\nher own sake, but on Will's account. Will trusted so implicitly to", "Clara might very possibly not wish to see him. Had Will simply been\nher cousin, such a visit might be very well; but he had attempted to\nbe more than her cousin, and therefore it would probably not be well.", "It was his own wish as well as hers. In a money point of view he\nmight no doubt now do better; but then money was not everything. He\nwas very fond of Clara, and felt that if she would accept him he", "nothing.\" There was something now like feeling in his tone, something\nlike passion in his gesture, and Clara, though she had no thought\nof changing her purpose, was becoming unhappy at the idea of his", "He paused a moment before he spoke again, and then he turned sharp\nupon her. \"Tell me this, Clara; do you love me? Have you ever loved", "\"It's not at all the same thing to me,\" said Clara. \"I don't know\nwhen I may see my cousin again. I should think it very bad of you,\nWill, if you went away this evening.\"", "under his feet.\" Clara, as she heard this, began to ask herself what\nit was that was to be trampled under Will's feet. \"I think he will", "his sister, and yet she could not make a better fight for him than\nthis! It almost seemed that Mary was indifferent to her brother's\nhappiness. Had Will been her brother, Clara thought, and had any girl", "Then by degrees she told it all, and Clara was there for hours\nlistening to her story. The reader will not care to hear more of\nit than he has heard. Nor would Clara have desired any closer", "done.\" At that moment, when she said she had lived long enough, she\nforgot her intention with reference to her will. But she remembered\nit before Clara had left the room. \"Tell Frederic,\" she said, \"to", "What could be the good of his talking in this strain? Clara, too,\nhad had her own misgivings on the same subject,--little qualms of", "Why indeed;--except that it was needful for him that she should know\nthe depth of his passion. \"If you will forgive me, Clara, I will not\noffend you so again,\" he said.", "Again Clara was silent, not knowing how to answer that last question.\nAnd when she did answer it, she answered it thoughtlessly. \"Of course\nhe knows that he can do that.\"\n\n\"He says that he has been forbidden.\"", "between them? But perhaps it might all be well yet. Clara knew,\nor thought that she knew, that men and women differed in their\nappreciation of love. She, having once loved, could not change. Of", "Now that he had made up his mind, he could not keep his hand from the\nwork before him an instant. But Clara had also made up her mind, and\nwould not be made to think that her cousin could mean anything that" ], [ "done.\" At that moment, when she said she had lived long enough, she\nforgot her intention with reference to her will. But she remembered\nit before Clara had left the room. \"Tell Frederic,\" she said, \"to", "\"But that will not satisfy me now, Clara. Clara, I want to be your\nhusband.\"\n\n\"Will!\" she exclaimed.", "It was his own wish as well as hers. In a money point of view he\nmight no doubt now do better; but then money was not everything. He\nwas very fond of Clara, and felt that if she would accept him he", "\"I thought, Will, that perhaps you would let me--remain here.\"\n\n\"Let you!--Oh, heavens! Look here, Clara.\"\n\n\"What is it, Will?\"", "\"Why don't you call him Will?\" Clara said to her father. This\nquestion was asked on the evening of that Monday on which Mr. Amedroz\nhad given his consent as to the marriage proposal.", "\"Come, Will, don't be out of temper with us,\" said Clara. \"It is our\nlast night together. We, who are so dear to each other, ought not to\nquarrel.\"", "wouldn't take anything till you came, sir.\" Then Will added his\nentreaties, and Clara was persuaded, and by degrees there grew\nbetween them more ease of manner and capability for talking than had", "mistake, that she taught herself to perceive that the communication\nwas needed. \"In her honesty she has not chosen to leave me with false\nhopes,\" said Clara to herself. And at that moment she loved her aunt", "\"Well;--yes. I don't know how that might be.\" And Clara almost\nlaughed as she felt the difficulties into which she was creeping.\n\"Dear Will. He is much better as a cousin than as a husband.\"", "leave her without speaking to her. \"Clara!\" he said;--\"Clara.\" But\nshe did not answer him. \"Clara; will you not speak to me? Will you", "\"Shall it be your house and my house? Can you tell me that you will\nlove me and be my wife?\" Again she looked at him, and he repeated his\nquestion. \"Clara, can you love me well enough to take me for your\nhusband?\"", "Now that he had made up his mind, he could not keep his hand from the\nwork before him an instant. But Clara had also made up her mind, and\nwould not be made to think that her cousin could mean anything that", "But Clara was in truth trying not to love him. She was ashamed of\nherself because she did love the one man, when, but a few weeks", "under his feet.\" Clara, as she heard this, began to ask herself what\nit was that was to be trampled under Will's feet. \"I think he will", "\"Yes, Will, yes. Pray consider it as settled.\" He then sat down on\nthe rock again, and she came and sat by him,--near to him, but not", "made by Captain Aylmer to her money and her will, and the need of an\naddition to that will on Clara's behalf. At last she was driven to", "He paused a moment before he spoke again, and then he turned sharp\nupon her. \"Tell me this, Clara; do you love me? Have you ever loved", "made their way down the first page and on to the second, and across\nto the third, and so, gradually on, till the whole reading was\naccomplished. What Clara had written about her cousin Will, Lady", "his reward. If I were you, I should think of nothing but him, and I\nshould do exactly as he would have me.\" Clara kissed her friend as", "will. To Clara she said nothing more on the subject, nor at such a\ntime did Captain Aylmer feel that he could offer her any assurance\non the matter. But Clara knew that the will was not altered; and" ], [ "have a dozen children yet to provide for. Let the eldest have Belton\nCastle, and everything will go on then in the proper way.\"", "The death of the old man at Belton Castle had been very sudden. At\nthree o'clock in the morning Clara had been called into his room, and", "relatives. And now Will Belton was the heir to Belton Castle; for\nCharles Amedroz, at the age of twenty-seven, had found the miseries", "Mrs. Amedroz, the wife of Bernard Amedroz, Esq., of Belton Castle,\nand mother of Charles and Clara Amedroz, died when those children", "of the future fate of Belton Castle when papa shall have gone. My\ncousin has got his house at Plaistow, and I don't suppose he'd live\nthere.\"", "\"That is not so, Mrs. Askerton. She has a home as perfectly her own\nas any woman in the land. Belton Castle is hers, to do what she may", "Mrs. Winterfield's death. Indeed, much happened in Clara's history\nbetween the writing of that letter and Will Belton's winter visit to\nthe Castle.", "at Belton Castle, she seemed to think that Mr. Belton's\n visit should not be prolonged. When I told her that he was\n your nearest relative, she remarked that cousins are the", "of the ivy and broken stones in one of the inner corners,--and this\ntower was a remnant of a real castle that had once protected the\nvillage of Belton. The house itself was an ugly residence, three", "\"She will have to leave Belton now, I suppose?\" said Sir Anthony.\n\n\"The property will belong to a distant cousin,--a Mr. William\nBelton.\"", "\"What,--Belton Castle?\"\n\n\"Why not? Will it ever be of any good to you or me? Do you want to go\nand live there?\"\n\n\"No, indeed;--not for myself.\"", "\"None at all, of course.\"\n\n\"But in truth I have got nothing. Your mother said something to me\nabout the Belton estate; as though there was some idea that possibly\nit might come to me.\"", "Not a word had as yet been said between them about the property which\nwas now his estate. He was now Belton of Belton, and it must be", "hers. It must be remembered that he had not been brought up in the\nbelief that he would ever become the owner of Belton. All his high\nambition in that matter had originated with the wretched death of", "The next day they were at Belton Castle, and in a very few hours\nClara felt that she was quite at home with her cousin. On the second", "\"You are to spend your Christmas, I believe, with our friends at\nBelton Castle?\" said the Captain.", "Norfolk. Will Belton had once been at the Castle as a boy, now some\nfifteen years ago, and then there had sprung up a great quarrel", "Belton was told that Mr. Amedroz would be happy to receive him at\nBelton Castle. The letter was written by the daughter, but the father\nwas responsible for the formality. He sat over her while she wrote", "\"No,\" said Clara; \"I have got no brother now.\" Belton was looking\nfull into her face, and saw that her eyes had become clouded with\ntears.", "either at Belton Castle or at Plaistow Hall! And I believe I should\nbe the richer man at the end,--if there were any good in that.\" Then" ], [ "\"No,\" said Clara; \"I have got no brother now.\" Belton was looking\nfull into her face, and saw that her eyes had become clouded with\ntears.", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "his sister, and yet she could not make a better fight for him than\nthis! It almost seemed that Mary was indifferent to her brother's\nhappiness. Had Will been her brother, Clara thought, and had any girl", "Clara, when she returned to his room, tried to interest him again\nabout her cousin. But he had in truth been too much distressed by the", "than before. \"Yes he did,\" said Clara, finding that an answer was\nimperatively demanded from her.", "The conversation at last ended, as such conversations always do end,\nwithout any positive decision. Mary wrote of course to her brother,\nbut Clara was not told of the contents of the letter. We, however,", "Clara Amedroz, when she first heard the news of her brother's fate,\nhad felt that she was for ever crushed to the ground. She had known", "an end!\" After that the name of him who had taken himself from among\nthem was not mentioned between the father and daughter, and Clara\nsettled herself to the duties of her new life, striving to live as", "\"But then she knows everything so well,\" said Clara.\n\n\"And how like her brother she is!\"\n\n\"Yes;--there is a great family likeness.\"", "abstained from the subject with marvellous care and tact. Though she\nwas talking through the whole evening of her brother, she so spoke\nof him as almost to make Clara believe that she could not have heard", "to both of them. Clara had her own sorrows to bear as well as her\nfather's, and could take no pleasant look out into the world of her\nown circumstances. She had gained her lover merely to lose him,--and", "Again Clara was silent, not knowing how to answer that last question.\nAnd when she did answer it, she answered it thoughtlessly. \"Of course\nhe knows that he can do that.\"\n\n\"He says that he has been forbidden.\"", "Clara's brother. Could he bring himself to take it all with pleasure,\nseeing that it came to him by so sad a chance,--by a catastrophe so", "Then Clara got up and made some excuse for leaving him, and there was\nnothing more said between them,--nothing, at least, of moment, on", "But Clara was in truth trying not to love him. She was ashamed of\nherself because she did love the one man, when, but a few weeks", "Frederic to take a brother's care of Clara Amedroz. Even in that\nmoment Clara had repudiated the legacy, feeling sure in her heart", "Clara, of course, did answer the letter; but she wrote her answer to\nMary, sending, however, one little scrap to Mary's brother. She wrote", "described her maladies. \"And yet I believe she is better off than any\nof us,\" he said, \"because she is so good.\" Clara began to wish that", "were letters of business; and in the next place, Clara was teaching\nherself to regard Will Belton as her brother, and to forget that he\nhad ever assumed the part of a lover.", "her hand. The likeness between Mary and her brother was too great to\nallow of Clara being mistaken." ], [ "of course every unmarried man who might see Clara would want to marry\nher, and that there could not but be some one whom even she would be\nable to love.", "himself, in his mind, Clara's head and face and figure and feet;--and\nhe resolved that she should be his wife. He had never seen a girl who", "\"I suppose it is true?\" Clara did not make any immediate answer, and\nthen he repeated the question. \"I suppose it is true?\"\n\n\"It is true that I am engaged.\"", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "It was his own wish as well as hers. In a money point of view he\nmight no doubt now do better; but then money was not everything. He\nwas very fond of Clara, and felt that if she would accept him he", "and was carrying on his business after the fashion of men. But Clara\nfound herself compelled to maintain some sort of a fight, though she\nalso went to church three times on Sunday. And there was another", "About two months after the scene described in the last chapter, when\nthe full summer had arrived, Clara received two letters from the two", "Then by degrees she told it all, and Clara was there for hours\nlistening to her story. The reader will not care to hear more of\nit than he has heard. Nor would Clara have desired any closer", "Clara Amedroz at this time was not a very young lady. She had already\npassed her twenty-fifth birthday, and in manners, appearance, and", "described her maladies. \"And yet I believe she is better off than any\nof us,\" he said, \"because she is so good.\" Clara began to wish that", "done.\" At that moment, when she said she had lived long enough, she\nforgot her intention with reference to her will. But she remembered\nit before Clara had left the room. \"Tell Frederic,\" she said, \"to", "his story about Clara Amedroz. She had ever wished that he should\nmarry, and now he had made his attempt. Little as had been her\nopportunity of learning the ways of men and women from experience in", "\"I'm quite in earnest about it. Clara seems to me to be the very girl\nto make a good wife to such a one as I am. She's got everything that\na woman ought to have;--by George she has!\"", "\"But that will not satisfy me now, Clara. Clara, I want to be your\nhusband.\"\n\n\"Will!\" she exclaimed.", "But Clara was in truth trying not to love him. She was ashamed of\nherself because she did love the one man, when, but a few weeks", "which, after two days' intimacy with Clara, seemed to promise him\ncomfort and happiness on all sides. But he had come too late, and\nthat way was closed against him! Now the estate was his, and what was", "\"And quite worthy to be asked to dinner on Sundays,\" said Clara. \"But\nI did not give him any hope. How could I? Of course I knew that you\nwould not live here, though I did not tell him so.\"", "than before. \"Yes he did,\" said Clara, finding that an answer was\nimperatively demanded from her.", "But to that question Clara positively refused to make any reply that\nher lover would consider to be satisfactory. He continued to press\nher till she was at last driven to remind him how very short a time", "and to their expediency; and Clara was amused as she watched him\nwhile he sat by her side, by the hour together, answering little\nquestions and making little remarks suited to the temperament of the" ], [ "\"I suppose it is true?\" Clara did not make any immediate answer, and\nthen he repeated the question. \"I suppose it is true?\"\n\n\"It is true that I am engaged.\"", "It was his own wish as well as hers. In a money point of view he\nmight no doubt now do better; but then money was not everything. He\nwas very fond of Clara, and felt that if she would accept him he", "himself, in his mind, Clara's head and face and figure and feet;--and\nhe resolved that she should be his wife. He had never seen a girl who", "\"But that will not satisfy me now, Clara. Clara, I want to be your\nhusband.\"\n\n\"Will!\" she exclaimed.", "\"I suppose you would wish me to see Clara first,\" said Mr. Amedroz.\n\n\"Oh dear, no. I would much rather ask her myself;--if only I could\nget your consent to my doing so.\"", "He paused a moment before he spoke again, and then he turned sharp\nupon her. \"Tell me this, Clara; do you love me? Have you ever loved", "\"I'm quite in earnest about it. Clara seems to me to be the very girl\nto make a good wife to such a one as I am. She's got everything that\na woman ought to have;--by George she has!\"", "\"Why don't you call him Will?\" Clara said to her father. This\nquestion was asked on the evening of that Monday on which Mr. Amedroz\nhad given his consent as to the marriage proposal.", "\"I know that he is a gentleman,\" said Clara.\n\n\"I must confess I have no reason for supposing him to be so but your\nassurance.\"\n\n\"And I hope that is sufficient, Frederic.\"", "his dying aunt, had he thought of asking Clara to marry him. Though\nhe had never hitherto resolved that he would do so--though he had\nnever till then brought himself absolutely to determine that he would", "himself as he had got the farm. But, nevertheless, the effect which\nClara had intended was produced, and before she left him he had\nabsolutely proposed that the shooting and the land should go", "Captain Aylmer had made a positive promise to his aunt on her\ndeathbed that he would ask Clara Amedroz to be his wife, and he had", "Not that he had any idea of receding. Principle, if not love,\nprevented that. \"Then the question about the house is decided,\" he\nsaid, giving his hand to Clara as he spoke.", "\"Why should he come?\" Clara had said.\n\n\"Simply to take you to his own house, like any other of his goods and\nchattels.\"\n\n\"I am not his goods or his chattels.\"", "take so important a step--he had pondered over it often, and was\naware that he was very fond of Clara. He was, in truth, as much in", "be able to throw him over in spite of Mr. Green.\" Clara, as she read\nthis, could not but remember that the man to be thrown over was the\nman to whom she had been engaged, and she could not but remember also", "of course every unmarried man who might see Clara would want to marry\nher, and that there could not but be some one whom even she would be\nable to love.", "Clara instantly knew that he had heard of her engagement, though\nshe could not imagine from what source he had heard it. There was\nsomething in the tone of his voice,--something especially in the", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "had occurred to him of making Clara Amedroz his wife. He had then\nfelt that if he could only do that he could reconcile himself to the" ], [ "But Clara was in truth trying not to love him. She was ashamed of\nherself because she did love the one man, when, but a few weeks", "himself, in his mind, Clara's head and face and figure and feet;--and\nhe resolved that she should be his wife. He had never seen a girl who", "He paused a moment before he spoke again, and then he turned sharp\nupon her. \"Tell me this, Clara; do you love me? Have you ever loved", "It was his own wish as well as hers. In a money point of view he\nmight no doubt now do better; but then money was not everything. He\nwas very fond of Clara, and felt that if she would accept him he", "take so important a step--he had pondered over it often, and was\naware that he was very fond of Clara. He was, in truth, as much in", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "between them? But perhaps it might all be well yet. Clara knew,\nor thought that she knew, that men and women differed in their\nappreciation of love. She, having once loved, could not change. Of", "honest, true woman; and, as he knows you well, he probably does\nhonour you;--but I am speaking of love.\" Again Clara was silent. She", "described her maladies. \"And yet I believe she is better off than any\nof us,\" he said, \"because she is so good.\" Clara began to wish that", "But to that question Clara positively refused to make any reply that\nher lover would consider to be satisfactory. He continued to press\nher till she was at last driven to remind him how very short a time", "\"I suppose it is true?\" Clara did not make any immediate answer, and\nthen he repeated the question. \"I suppose it is true?\"\n\n\"It is true that I am engaged.\"", "mistake, that she taught herself to perceive that the communication\nwas needed. \"In her honesty she has not chosen to leave me with false\nhopes,\" said Clara to herself. And at that moment she loved her aunt", "\"Clara, you are more to me than my mother. Ten times more.\" As he\nsaid this he came up and knelt down beside her. \"You are everything", "Now that he had made up his mind, he could not keep his hand from the\nwork before him an instant. But Clara had also made up her mind, and\nwould not be made to think that her cousin could mean anything that", "his story about Clara Amedroz. She had ever wished that he should\nmarry, and now he had made his attempt. Little as had been her\nopportunity of learning the ways of men and women from experience in", "his son full in the face. Fred had also been thinking of the matter\nin his own way, and asking himself the same question,--whether he was\nin truth so much in love with Clara that he could not live without", "which she had used on her son's behalf. But since that Frederic had\ndeclared his intention of marrying the young woman in spite of his\npoverty, and Clara seemed to be equally determined. \"He has been fool", "his reward. If I were you, I should think of nothing but him, and I\nshould do exactly as he would have me.\" Clara kissed her friend as", "passion,--that he had spoken of love very nearly with eloquence. But\nhe did recognise this as a fact,--that Clara was not to be his wife,", "Then by degrees she told it all, and Clara was there for hours\nlistening to her story. The reader will not care to hear more of\nit than he has heard. Nor would Clara have desired any closer" ], [ "Again Clara was silent, not knowing how to answer that last question.\nAnd when she did answer it, she answered it thoughtlessly. \"Of course\nhe knows that he can do that.\"\n\n\"He says that he has been forbidden.\"", "\"I thought, Will, that perhaps you would let me--remain here.\"\n\n\"Let you!--Oh, heavens! Look here, Clara.\"\n\n\"What is it, Will?\"", "\"Yes; I suppose so.\" Then Mrs. Askerton was silent on the subject\nfor the remainder of the day, allowing Clara even to go to bed", "It was his own wish as well as hers. In a money point of view he\nmight no doubt now do better; but then money was not everything. He\nwas very fond of Clara, and felt that if she would accept him he", "\"He knows that I should ask his rather than that of any living\nperson,\" said Clara.\n\n\"There, Mr. Belton. Now you must say that she may come;--or that she\nmay not.\"", "She determined that she would see Mrs. Askerton before she went; and\nas that lady did not come to the Castle, Clara called upon her at", "which, after two days' intimacy with Clara, seemed to promise him\ncomfort and happiness on all sides. But he had come too late, and\nthat way was closed against him! Now the estate was his, and what was", "done.\" At that moment, when she said she had lived long enough, she\nforgot her intention with reference to her will. But she remembered\nit before Clara had left the room. \"Tell Frederic,\" she said, \"to", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "\"Why should he come?\" Clara had said.\n\n\"Simply to take you to his own house, like any other of his goods and\nchattels.\"\n\n\"I am not his goods or his chattels.\"", "capacity, at any rate, you must submit to him.\" Clara, therefore,\nconsented to remain at Belton; but, before Will arrived, she returned\nfrom the house to the cottage.", "Clara; \"and now the unusual excitement of the day has fatigued her,\nand I think it is better not to wake her.\" The rooms were large,\nand they were able to place themselves at such a distance from the", "Not that he had any idea of receding. Principle, if not love,\nprevented that. \"Then the question about the house is decided,\" he\nsaid, giving his hand to Clara as he spoke.", "\"Are you going to her now?\" he asked, as Clara got up immediately\nafter breakfast. \"I shall be in the house all the morning, and if you\nwant me you will of course send for me.\"", "described her maladies. \"And yet I believe she is better off than any\nof us,\" he said, \"because she is so good.\" Clara began to wish that", "his reward. If I were you, I should think of nothing but him, and I\nshould do exactly as he would have me.\" Clara kissed her friend as", "The next day they were at Belton Castle, and in a very few hours\nClara felt that she was quite at home with her cousin. On the second", "\"I hope I shall, very often,\" said Clara. \"Why should I not see it\nagain? It is not going out of the family.\"", "\"So be it,\" said Mrs. Askerton; \"but as I will promise to say nothing\nmore about him, you need not go on his account.\" But Clara had got\nup, and did leave the cottage at once.", "Clara had, in a measure, been claimed by the lady, and the father had\nmade good the lady's claim, and Clara had acknowledged that a portion" ], [ "an end!\" After that the name of him who had taken himself from among\nthem was not mentioned between the father and daughter, and Clara\nsettled herself to the duties of her new life, striving to live as", "When Mary said that the letter had been written, Clara again spoke\nabout going. \"And where will you go?\" said Mary.\n\n\"I will take a lodging in Taunton.\"", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "London. Clara was quite alive to the fact that the next three weeks\nwould not be a happy time for her. She looked forward, indeed, to so", "Clara; \"and now the unusual excitement of the day has fatigued her,\nand I think it is better not to wake her.\" The rooms were large,\nand they were able to place themselves at such a distance from the", "described her maladies. \"And yet I believe she is better off than any\nof us,\" he said, \"because she is so good.\" Clara began to wish that", "done.\" At that moment, when she said she had lived long enough, she\nforgot her intention with reference to her will. But she remembered\nit before Clara had left the room. \"Tell Frederic,\" she said, \"to", "Soon after this Clara got up to go, and Mrs. Askerton, making another\nattempt to be cheerful, was almost successful. \"So you're going back", "At last the train came and they started. Clara, though she had with\nher her best friend,--I may almost say the friend whom in the world", "tragedy had befallen the family. The name of the lady who stood to\nClara in the place of an aunt has been already mentioned. When a girl", "\"I would tell her that I was responsible for my own friends. But I\nmust go now. Papa will complain that I am so long away.\" Then there\nwas another embrace, and at last Clara found her way out of the house\nand was alone again in the park.", "Clara had her tea in her room that evening, and lived there the\nwhole of the next day. The family down-stairs was not comfortable.", "About two months after the scene described in the last chapter, when\nthe full summer had arrived, Clara received two letters from the two", "Clara had, in a measure, been claimed by the lady, and the father had\nmade good the lady's claim, and Clara had acknowledged that a portion", "having been sent down to meet Clara. For Mrs. Winterfield was a lady\nwho thought it unbecoming that her niece,--though only an adopted", "When all this was settled he went up to London; and there was an\nunderstanding between him and his mother that he should return\nto Aylmer Park with Clara, in the event of her acceptance of the\ninvitation.", "\"I never looked to live after she was gone, Miss Clara;--never. No\nmore I didn't. Deary;--deary! And I suppose you'll be living at the\nbig house now; won't ye?\"", "But at last there came a change,--a change which to Clara was as\ngreat as that which had affected her when she first found that", "there, and then Clara, without another word, got up and left the\nroom. She had much to do in assuming a look of composure before she\nopened the door; but she made the effort, and was not unsuccessful.", "from their wedding trip to Plaistow. Clara insisted that she should\nbe taken to Plaistow, and was very anxious when there to learn all\nthe particulars of the farm. She put down in a little book how many" ], [ "the policy of this woman, whom he perceived to have become friendly\nto him. He saw, or thought that he saw, it all. No day had absolutely\nbeen fixed for this journey to Yorkshire; and if Clara were induced", "came to the door, and Clara was driven up and down through the\nstreets of Perivale in a manner which was an injury to her. She knew", "served to create anger on Clara's part against her betrothed. But\nshe had quite succeeded in inspiring her son with a feeling of\nhorror against the iniquity of the Askertons. He was prepared to be", "hated Mrs. Askerton for proposing it. He had declared to himself\nthat her welfare, Clara's welfare, was the one thing which he should", "Then Clara remembered that there was a Miss Belton,--a poor sickly\ncreature, with a twisted spine and a hump back, as to whose welfare\nshe ought to have made inquiries.", "to both him and Clara the month wore itself away slowly, neither\nof them having much pleasure in the society of the other. The old\nsquire came down-stairs once for an hour or two, and spent the whole", "duty to Clara, and contented herself henceforth with abusing Mrs.\nWinterfield's will in her own social circles at Taunton.", "London. Clara was quite alive to the fact that the next three weeks\nwould not be a happy time for her. She looked forward, indeed, to so", "of having any one near her who might know her, quite justified her\nin endeavouring to create ill-will between Clara and her cousin.\n\"Self-preservation is the first law of nature,\" she would have", "It was all true, and Clara knew that it was true. The putting right\nof mistakes is never pleasant; and in this case it was so unpleasant", "\"Yes; I suppose she has got a husband.\" Then Clara had, in her own\njudgment, accused the rector of lying, evil-speaking, and slandering,", "described her maladies. \"And yet I believe she is better off than any\nof us,\" he said, \"because she is so good.\" Clara began to wish that", "\"I am sorry to hear you speak in this way. I have come here all the\nway from Yorkshire to try to put things straight between us; but you\nreceive me as though you would remember nothing but that unpleasant\nquarrel.\"", "alone.\" Clara of course assented, and got into the carriage with a\nconviction that now she would hear her fate. She was rather inclined\nto think that Lady Aylmer was about to tell her that she had failed", "at all.\" \"Poor Bessy,\" said Clara. \"I wish she had never come here.\nWhat is to be done with her?\" \"Done with her! She'll stay here till", "York. And she had a companion in her daughter, whereas Sir Anthony\nhad no companion. Wherever Lady Aylmer went Miss Aylmer went with\nher, and relieved what might otherwise have been the tedium of her", "about the Poor-rates, and I must be in the House in the evening.\"\nClara felt herself to be very cold and uncomfortable. As things were\nat present arranged she was to be left at Aylmer Park without a", "But Clara was in truth trying not to love him. She was ashamed of\nherself because she did love the one man, when, but a few weeks", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "Clara's answer to that letter. The Aylmer Park opinion as to this\npoor woman, and as to Clara's future conduct towards the poor woman,\nhad been expressed very strongly; and Clara had as strongly resolved" ], [ "to Colonel Askerton. So Colonel Askerton had come there with his\nwife, and no one in the neighbourhood had known anything about them.", "\"So be it,\" said Mrs. Askerton; \"but as I will promise to say nothing\nmore about him, you need not go on his account.\" But Clara had got\nup, and did leave the cottage at once.", "Mrs. Askerton, but yet she had never condescended to make inquiries\nabout her friend. But her curiosity was now greatly raised; and,", "When she had so spoken Mrs. Askerton got up and went to the door.\n\"No, Clara, do not come with me; not now,\" she said, turning to her", "Mrs. Askerton. It can hardly be good for her to have no other female\nfriend at such a time as this.\"", "Askerton, using very strong language, and threatening her with his\nmother's full displeasure. At that time Mrs. Askerton had simply been\nher friend. There had been no question then of her taking refuge", "tell you. It seems that Mrs. Askerton was married before\n to a certain Captain Berdmore, and that she left her\n first husband during his lifetime under the protection", "\"So you are back,\" said Mrs. Askerton, as soon as the first greeting\nwas over.\n\n\"Yes; I am back.\"\n\n\"I supposed you would not stay there long after the funeral.\"", "her. He went away without having had a word said to him about\nMrs. Askerton, and then Clara settled herself down to the work of\ndeliberation. What should she do with reference to the communication", "\"Come, Mrs. Askerton, I will not stand this. I thought you had done\nwith the subject, and now you begin again. I had come here on purpose", "Askerton. It was a kind, obliging letter, and I am very\n grateful to her. She has told us that you have separated\n yourself altogether from the Aylmer Park people. I don't", "Then Mrs. Askerton made some half-whispered offers of services to\nbe rendered by Colonel Askerton, and soon afterwards took her leave,", "though she would not admit to Mrs. Askerton that she was going away\nfrom the place for ever, was not the less aware that such might very\nprobably be the case. She had no longer any rights of ownership at", "was brought to her that Mrs. Askerton was in the house. It was\nthe first time that Mrs. Askerton had ever crossed the door, and", "Mr. William Belton out of my way during his visit to these parts,\nI shall be satisfied.\" For some time past Mrs. Askerton had been\nwalking about the room, but, as she now finished speaking, she", "Then he looked at her closely as he answered her. \"I have no right to\nsay that she was my friend, Mrs. Askerton,\" he said; \"indeed there", "at Plaistow Hall, and say that she had come there for shelter and\nsuccour. She could, indeed, go to Mrs. Askerton's cottage for awhile;", "they found Mrs. Askerton. I fancy that she had been watching for\nthem, or at any rate watching for Clara, so that she might know how\nher friend was carrying herself with her cousin. She came at once to", "\"I suppose you will never see this place again?\" said Mrs. Askerton\nafter a long pause.", "\"I told you so,\" said Mrs. Askerton, to Clara, in a whisper.\n\n\"He is not coming in,\" Clara answered. \"He is going on.\"" ], [ "the policy of this woman, whom he perceived to have become friendly\nto him. He saw, or thought that he saw, it all. No day had absolutely\nbeen fixed for this journey to Yorkshire; and if Clara were induced", "Soon after this Clara got up to go, and Mrs. Askerton, making another\nattempt to be cheerful, was almost successful. \"So you're going back", "When all this was settled he went up to London; and there was an\nunderstanding between him and his mother that he should return\nto Aylmer Park with Clara, in the event of her acceptance of the\ninvitation.", "The letter for Lady Aylmer was sent, and it was agreed between them\nthat Will should remain at Redicote till the answer from Yorkshire\nshould come, and should then convey Clara as far as London on her", "Clara on her way home was not well satisfied with herself or with her\nposition. She had had great joy, during the few hours of joy which", "there, and then Clara, without another word, got up and left the\nroom. She had much to do in assuming a look of composure before she\nopened the door; but she made the effort, and was not unsuccessful.", "London. Clara was quite alive to the fact that the next three weeks\nwould not be a happy time for her. She looked forward, indeed, to so", "When Mary said that the letter had been written, Clara again spoke\nabout going. \"And where will you go?\" said Mary.\n\n\"I will take a lodging in Taunton.\"", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "In course of post there came an answer from Lady Aylmer, naming a\nday for Clara's journey to Yorkshire, and also a letter from Captain", "\"So be it,\" said Mrs. Askerton; \"but as I will promise to say nothing\nmore about him, you need not go on his account.\" But Clara had got\nup, and did leave the cottage at once.", "It was nearly six o'clock when they got back to the house, and Clara\nwas surprised to find that she had been out three hours with her", "And now what was to be done! Clara went up to her own room, making\nherself strong and even comfortable, with an inward assurance that", "an end!\" After that the name of him who had taken himself from among\nthem was not mentioned between the father and daughter, and Clara\nsettled herself to the duties of her new life, striving to live as", "alone.\" Clara of course assented, and got into the carriage with a\nconviction that now she would hear her fate. She was rather inclined\nto think that Lady Aylmer was about to tell her that she had failed", "walked back by himself to his own great house in Perivale. Not a word\nmore had been said between him and Clara as to their engagement, and\nhe recognised it as a fact that he was no longer bound to her as her", "\"I would tell her that I was responsible for my own friends. But I\nmust go now. Papa will complain that I am so long away.\" Then there\nwas another embrace, and at last Clara found her way out of the house\nand was alone again in the park.", "had twice told her, had come all the way from Yorkshire to see her.\nBut she did not return, and gradually he came to understand that he\nmust provide for his own retreat without assistance. He was hardly", "\"I never looked to live after she was gone, Miss Clara;--never. No\nmore I didn't. Deary;--deary! And I suppose you'll be living at the\nbig house now; won't ye?\"", "never come to this place any more.\" Clara, as she got up to obey him,\nfelt that she also ought never to see it again;--unless,\nindeed,--unless--" ], [ "\"No,\" said Clara; \"I have got no brother now.\" Belton was looking\nfull into her face, and saw that her eyes had become clouded with\ntears.", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "Clara Amedroz, when she first heard the news of her brother's fate,\nhad felt that she was for ever crushed to the ground. She had known", "than before. \"Yes he did,\" said Clara, finding that an answer was\nimperatively demanded from her.", "to both of them. Clara had her own sorrows to bear as well as her\nfather's, and could take no pleasant look out into the world of her\nown circumstances. She had gained her lover merely to lose him,--and", "his sister, and yet she could not make a better fight for him than\nthis! It almost seemed that Mary was indifferent to her brother's\nhappiness. Had Will been her brother, Clara thought, and had any girl", "Clara, when she returned to his room, tried to interest him again\nabout her cousin. But he had in truth been too much distressed by the", "Again Clara was silent, not knowing how to answer that last question.\nAnd when she did answer it, she answered it thoughtlessly. \"Of course\nhe knows that he can do that.\"\n\n\"He says that he has been forbidden.\"", "Clara's brother. Could he bring himself to take it all with pleasure,\nseeing that it came to him by so sad a chance,--by a catastrophe so", "described her maladies. \"And yet I believe she is better off than any\nof us,\" he said, \"because she is so good.\" Clara began to wish that", "done.\" At that moment, when she said she had lived long enough, she\nforgot her intention with reference to her will. But she remembered\nit before Clara had left the room. \"Tell Frederic,\" she said, \"to", "\"But then she knows everything so well,\" said Clara.\n\n\"And how like her brother she is!\"\n\n\"Yes;--there is a great family likeness.\"", "But Clara was in truth trying not to love him. She was ashamed of\nherself because she did love the one man, when, but a few weeks", "The death of the old man at Belton Castle had been very sudden. At\nthree o'clock in the morning Clara had been called into his room, and", "tragedy had befallen the family. The name of the lady who stood to\nClara in the place of an aunt has been already mentioned. When a girl", "abstained from the subject with marvellous care and tact. Though she\nwas talking through the whole evening of her brother, she so spoke\nof him as almost to make Clara believe that she could not have heard", "an end!\" After that the name of him who had taken himself from among\nthem was not mentioned between the father and daughter, and Clara\nsettled herself to the duties of her new life, striving to live as", "Frederic to take a brother's care of Clara Amedroz. Even in that\nmoment Clara had repudiated the legacy, feeling sure in her heart", "Now that he had made up his mind, he could not keep his hand from the\nwork before him an instant. But Clara had also made up her mind, and\nwould not be made to think that her cousin could mean anything that", "neither of them had Clara told her own position. She could not inform\nher aunt that her father had given up to the poor reprobate who had\ndestroyed himself all that had been intended for her. Had she done so" ], [ "of course every unmarried man who might see Clara would want to marry\nher, and that there could not but be some one whom even she would be\nable to love.", "himself, in his mind, Clara's head and face and figure and feet;--and\nhe resolved that she should be his wife. He had never seen a girl who", "\"I suppose it is true?\" Clara did not make any immediate answer, and\nthen he repeated the question. \"I suppose it is true?\"\n\n\"It is true that I am engaged.\"", "It was his own wish as well as hers. In a money point of view he\nmight no doubt now do better; but then money was not everything. He\nwas very fond of Clara, and felt that if she would accept him he", "\"I'm quite in earnest about it. Clara seems to me to be the very girl\nto make a good wife to such a one as I am. She's got everything that\na woman ought to have;--by George she has!\"", "\"I know that he is a gentleman,\" said Clara.\n\n\"I must confess I have no reason for supposing him to be so but your\nassurance.\"\n\n\"And I hope that is sufficient, Frederic.\"", "described her maladies. \"And yet I believe she is better off than any\nof us,\" he said, \"because she is so good.\" Clara began to wish that", "done.\" At that moment, when she said she had lived long enough, she\nforgot her intention with reference to her will. But she remembered\nit before Clara had left the room. \"Tell Frederic,\" she said, \"to", "his story about Clara Amedroz. She had ever wished that he should\nmarry, and now he had made his attempt. Little as had been her\nopportunity of learning the ways of men and women from experience in", "Clara Amedroz at this time was not a very young lady. She had already\npassed her twenty-fifth birthday, and in manners, appearance, and", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "him. \"I don't see much of young men, of course,\" she said; \"but I do\nnot even hear of any that are like him.\" Again Clara thought of her", "\"And quite worthy to be asked to dinner on Sundays,\" said Clara. \"But\nI did not give him any hope. How could I? Of course I knew that you\nwould not live here, though I did not tell him so.\"", "which, after two days' intimacy with Clara, seemed to promise him\ncomfort and happiness on all sides. But he had come too late, and\nthat way was closed against him! Now the estate was his, and what was", "And so eloquent was the Colonel that Clara was staggered, though she\nwas not convinced. \"It is quite impossible,\" she said. \"Though he may\nbe able to make it over to me, I can give it back again.\"", "\"Yes; I suppose she has got a husband.\" Then Clara had, in her own\njudgment, accused the rector of lying, evil-speaking, and slandering,", "Clara was there with him, but she had shown herself in the pew for\nfour or five weeks before this. She had not been at home when the", "Clara's welfare. If he could have fashioned her future life, and his\nown too, in accordance with his own now existing wishes, I think he\nwould have arranged that neither of them should marry at all, and", "About two months after the scene described in the last chapter, when\nthe full summer had arrived, Clara received two letters from the two", "than before. \"Yes he did,\" said Clara, finding that an answer was\nimperatively demanded from her." ], [ "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "money, and Mrs. Winterfield's affection for his daughter. And the\naunt, when she had declared her purpose to Clara, had told herself\nthat the provision made for Clara by her father was sufficient. To", "an end!\" After that the name of him who had taken himself from among\nthem was not mentioned between the father and daughter, and Clara\nsettled herself to the duties of her new life, striving to live as", "neither of them had Clara told her own position. She could not inform\nher aunt that her father had given up to the poor reprobate who had\ndestroyed himself all that had been intended for her. Had she done so", "done.\" At that moment, when she said she had lived long enough, she\nforgot her intention with reference to her will. But she remembered\nit before Clara had left the room. \"Tell Frederic,\" she said, \"to", "tragedy had befallen the family. The name of the lady who stood to\nClara in the place of an aunt has been already mentioned. When a girl", "described her maladies. \"And yet I believe she is better off than any\nof us,\" he said, \"because she is so good.\" Clara began to wish that", "It was his own wish as well as hers. In a money point of view he\nmight no doubt now do better; but then money was not everything. He\nwas very fond of Clara, and felt that if she would accept him he", "money instantly. It may, however, be explained here that in this\nmatter Clara was doomed to be disappointed; and that she was forced,", "\"The truth is, papa,\" Clara said at last, \"that when my aunt told\nme about her will, she did not know but what I had some adequate\nprovision from my own family.\"\n\n\"Oh, Clara!\"", "Clara had, in a measure, been claimed by the lady, and the father had\nmade good the lady's claim, and Clara had acknowledged that a portion", "which she had used on her son's behalf. But since that Frederic had\ndeclared his intention of marrying the young woman in spite of his\npoverty, and Clara seemed to be equally determined. \"He has been fool", "had already blamed her for extravagance. \"Of course Fred will have\nto pay for the journey and all the rest of it,\" she had said. But\nas soon as she had perceived that Clara had come without a servant,", "Clara understood accurately what all this meant. Of course she was\nglad that her father should feel so kindly towards her cousin, and", "himself that it must, if possible, be so kept that a few pounds\nannually might be put by for Clara. The old carriage-horses were", "to both of them. Clara had her own sorrows to bear as well as her\nfather's, and could take no pleasant look out into the world of her\nown circumstances. She had gained her lover merely to lose him,--and", "\"He says that the provision made for you by your father has all been\nsquandered.\"\n\n\"If he used that word he has been very unkind,\" said Clara, angrily.", "fifteen hundred pounds which he had promised to Clara in her aunt's\nname, and which Clara had been, and was, so unwilling to receive. He\nhad now actually paid it over, having purchased government stock in", "than before. \"Yes he did,\" said Clara, finding that an answer was\nimperatively demanded from her.", "petitioned for aid from Clara. Clara was, of course, by her aunt's\nbedside in a few minutes, and in a few minutes more the doctor from\nthe other side of the way was there also." ], [ "It was his own wish as well as hers. In a money point of view he\nmight no doubt now do better; but then money was not everything. He\nwas very fond of Clara, and felt that if she would accept him he", "\"I suppose it is true?\" Clara did not make any immediate answer, and\nthen he repeated the question. \"I suppose it is true?\"\n\n\"It is true that I am engaged.\"", "himself, in his mind, Clara's head and face and figure and feet;--and\nhe resolved that she should be his wife. He had never seen a girl who", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "which she had used on her son's behalf. But since that Frederic had\ndeclared his intention of marrying the young woman in spite of his\npoverty, and Clara seemed to be equally determined. \"He has been fool", "\"But that will not satisfy me now, Clara. Clara, I want to be your\nhusband.\"\n\n\"Will!\" she exclaimed.", "He paused a moment before he spoke again, and then he turned sharp\nupon her. \"Tell me this, Clara; do you love me? Have you ever loved", "Clara's welfare. If he could have fashioned her future life, and his\nown too, in accordance with his own now existing wishes, I think he\nwould have arranged that neither of them should marry at all, and", "But Clara was in truth trying not to love him. She was ashamed of\nherself because she did love the one man, when, but a few weeks", "\"Yes; I suppose she has got a husband.\" Then Clara had, in her own\njudgment, accused the rector of lying, evil-speaking, and slandering,", "Not that he had any idea of receding. Principle, if not love,\nprevented that. \"Then the question about the house is decided,\" he\nsaid, giving his hand to Clara as he spoke.", "of course every unmarried man who might see Clara would want to marry\nher, and that there could not but be some one whom even she would be\nable to love.", "done.\" At that moment, when she said she had lived long enough, she\nforgot her intention with reference to her will. But she remembered\nit before Clara had left the room. \"Tell Frederic,\" she said, \"to", "which, after two days' intimacy with Clara, seemed to promise him\ncomfort and happiness on all sides. But he had come too late, and\nthat way was closed against him! Now the estate was his, and what was", "his dying aunt, had he thought of asking Clara to marry him. Though\nhe had never hitherto resolved that he would do so--though he had\nnever till then brought himself absolutely to determine that he would", "marry Clara Amedroz, he had been at once reconciled to the order by a\nfeeling on his own part that the conquest of Clara would not be too", "\"Shall it be your house and my house? Can you tell me that you will\nlove me and be my wife?\" Again she looked at him, and he repeated his\nquestion. \"Clara, can you love me well enough to take me for your\nhusband?\"", "Now that he had made up his mind, he could not keep his hand from the\nwork before him an instant. But Clara had also made up her mind, and\nwould not be made to think that her cousin could mean anything that", "\"I'm quite in earnest about it. Clara seems to me to be the very girl\nto make a good wife to such a one as I am. She's got everything that\na woman ought to have;--by George she has!\"", "Captain Aylmer had made a positive promise to his aunt on her\ndeathbed that he would ask Clara Amedroz to be his wife, and he had" ], [ "an end!\" After that the name of him who had taken himself from among\nthem was not mentioned between the father and daughter, and Clara\nsettled herself to the duties of her new life, striving to live as", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "\"I never looked to live after she was gone, Miss Clara;--never. No\nmore I didn't. Deary;--deary! And I suppose you'll be living at the\nbig house now; won't ye?\"", "done.\" At that moment, when she said she had lived long enough, she\nforgot her intention with reference to her will. But she remembered\nit before Clara had left the room. \"Tell Frederic,\" she said, \"to", "\"I am doing nothing of the kind,\" said Clara. \"How can you speak in\nthat way to me so soon after my father's death? It is a rebuke to me\nfor being here at all.\"", "to both of them. Clara had her own sorrows to bear as well as her\nfather's, and could take no pleasant look out into the world of her\nown circumstances. She had gained her lover merely to lose him,--and", "Clara followed her father almost unconsciously and soon found herself\nshaking hands with a big man, over six feet high, broad in the", "About two months after the scene described in the last chapter, when\nthe full summer had arrived, Clara received two letters from the two", "neither of them had Clara told her own position. She could not inform\nher aunt that her father had given up to the poor reprobate who had\ndestroyed himself all that had been intended for her. Had she done so", "London. Clara was quite alive to the fact that the next three weeks\nwould not be a happy time for her. She looked forward, indeed, to so", "Clara had, in a measure, been claimed by the lady, and the father had\nmade good the lady's claim, and Clara had acknowledged that a portion", "When Mary said that the letter had been written, Clara again spoke\nabout going. \"And where will you go?\" said Mary.\n\n\"I will take a lodging in Taunton.\"", "so soon after his aunt's decease. The day, after all, would be but\none day, and Clara schooled herself into a resolution to bear it with\ngood humour.", "Clara; \"and now the unusual excitement of the day has fatigued her,\nand I think it is better not to wake her.\" The rooms were large,\nand they were able to place themselves at such a distance from the", "\"It is a sad loss to me,\" said Mr. Possitt, as he sat for half an\nhour with Clara, after she had thus submitted herself. Mr. Possitt", "for Mr. Amedroz; and as regarded Clara, Clara's father had for some\ntime past been apparently so insignificant, even in his own house,\nthat it was difficult to acknowledge the fact that the death of such", "described her maladies. \"And yet I believe she is better off than any\nof us,\" he said, \"because she is so good.\" Clara began to wish that", "The next day was necessarily very sad. Clara had declared her\ndetermination to follow her aunt to the churchyard, and did so,", "\"I have the feeling I spoke of very strongly about papa's place,\"\nsaid Clara, changing the conversation suddenly. \"I very often think", "and was carrying on his business after the fashion of men. But Clara\nfound herself compelled to maintain some sort of a fight, though she\nalso went to church three times on Sunday. And there was another" ], [ "Clara Amedroz at this time was not a very young lady. She had already\npassed her twenty-fifth birthday, and in manners, appearance, and", "before, Clara Amedroz, who was now nearly twenty-six years of age,\nwas not a young-looking young woman. To the eyes of many men that", "\"I suppose you would wish me to see Clara first,\" said Mr. Amedroz.\n\n\"Oh dear, no. I would much rather ask her myself;--if only I could\nget your consent to my doing so.\"", "his story about Clara Amedroz. She had ever wished that he should\nmarry, and now he had made his attempt. Little as had been her\nopportunity of learning the ways of men and women from experience in", "friend,--the friend who had brought them together, and been so\nanxious for their future happiness! And Clara Amedroz was not a young\ngirl, prone to jump out of her shoes with elation because she had got", "\"So this is Clara Amedroz,\" he said. \"My dear, you are welcome\nto Aylmer Park.\" This was so much better, that the kindness", "CLARA AMEDROZ.\n\n\n\n\nCHAPTER XIX.\n\nMISS AMEDROZ HAS ANOTHER CHANCE.", "There had been a double delight to this poor woman in the near\nneighbourhood of Clara Amedroz since there had ceased to be any\nnecessity for falsehood on her part. But now, almost before her joy", "acknowledged its value. That Clara Amedroz was a self-willed woman he\nthought that he was aware. She was self-reliant, at any rate,--and by", "had occurred to him of making Clara Amedroz his wife. He had then\nfelt that if he could only do that he could reconcile himself to the", "in pointing out the absolute necessity that Clara should accept the\ninvitation so given. \"I think you will not fail to agree with me,\ndear Miss Amedroz,\" the letter said, \"that under these strange and", "\"And you are Clara Amedroz? It is so good of you to come to meet me!\"\n\n\"I thought you would be dull in a strange town by yourself.\"", "Captain Aylmer had made a positive promise to his aunt on her\ndeathbed that he would ask Clara Amedroz to be his wife, and he had", "very good to him, had not perhaps on this occasion been as good as\nusual. No doubt he had to a certain degree become encumbered with\nClara Amedroz. Had not the direct and immediate leap with which she", "Miss Amedroz. He not unnaturally looked to be the heir of his aunt's\nproperty, and any provision made out of that property for Clara,", "brought Clara Amedroz with him as his wife. The position was one of\ngreat difficulty, but the interests at stake were so immense that\nsomething must be risked. It might be that Clara would not come", "When Clara came down to dinner on that day she was again Miss\nAmedroz, and she could perceive,--from Belinda's manner quite as", "Mrs. Amedroz, the wife of Bernard Amedroz, Esq., of Belton Castle,\nand mother of Charles and Clara Amedroz, died when those children", "a young lady have a will of her own. Now Clara Amedroz had a strong\nwill of her own, and did not at all,--at any rate in these latter", "of Sir Anthony. Clara Amedroz had been invited to Aylmer Park, and\nwas to be entertained there, but it would not be expedient that she\nshould be made to think that anybody was particularly glad to see" ], [ "But Clara was in truth trying not to love him. She was ashamed of\nherself because she did love the one man, when, but a few weeks", "himself, in his mind, Clara's head and face and figure and feet;--and\nhe resolved that she should be his wife. He had never seen a girl who", "It was his own wish as well as hers. In a money point of view he\nmight no doubt now do better; but then money was not everything. He\nwas very fond of Clara, and felt that if she would accept him he", "described her maladies. \"And yet I believe she is better off than any\nof us,\" he said, \"because she is so good.\" Clara began to wish that", "He paused a moment before he spoke again, and then he turned sharp\nupon her. \"Tell me this, Clara; do you love me? Have you ever loved", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "take so important a step--he had pondered over it often, and was\naware that he was very fond of Clara. He was, in truth, as much in", "between them? But perhaps it might all be well yet. Clara knew,\nor thought that she knew, that men and women differed in their\nappreciation of love. She, having once loved, could not change. Of", "honest, true woman; and, as he knows you well, he probably does\nhonour you;--but I am speaking of love.\" Again Clara was silent. She", "mistake, that she taught herself to perceive that the communication\nwas needed. \"In her honesty she has not chosen to leave me with false\nhopes,\" said Clara to herself. And at that moment she loved her aunt", "But to that question Clara positively refused to make any reply that\nher lover would consider to be satisfactory. He continued to press\nher till she was at last driven to remind him how very short a time", "of course every unmarried man who might see Clara would want to marry\nher, and that there could not but be some one whom even she would be\nable to love.", "which she had used on her son's behalf. But since that Frederic had\ndeclared his intention of marrying the young woman in spite of his\npoverty, and Clara seemed to be equally determined. \"He has been fool", "his story about Clara Amedroz. She had ever wished that he should\nmarry, and now he had made his attempt. Little as had been her\nopportunity of learning the ways of men and women from experience in", "Now that he had made up his mind, he could not keep his hand from the\nwork before him an instant. But Clara had also made up her mind, and\nwould not be made to think that her cousin could mean anything that", "his reward. If I were you, I should think of nothing but him, and I\nshould do exactly as he would have me.\" Clara kissed her friend as", "to both of them. Clara had her own sorrows to bear as well as her\nfather's, and could take no pleasant look out into the world of her\nown circumstances. She had gained her lover merely to lose him,--and", "his son full in the face. Fred had also been thinking of the matter\nin his own way, and asking himself the same question,--whether he was\nin truth so much in love with Clara that he could not live without", "own, with a wearing, anxious, painful desire which made his heart\ngrievously heavy,--heavy as though with lead hanging to its strings;\nand it was true that Clara knew that it was so. It was true also that", "\"Clara, you are more to me than my mother. Ten times more.\" As he\nsaid this he came up and knelt down beside her. \"You are everything" ], [ "done.\" At that moment, when she said she had lived long enough, she\nforgot her intention with reference to her will. But she remembered\nit before Clara had left the room. \"Tell Frederic,\" she said, \"to", "At last they separated, and Clara, as was her wont, went up to her\nfather's room. \"Papa,\" she said, \"what is all this about Mr. Belton?\"", "his son full in the face. Fred had also been thinking of the matter\nin his own way, and asking himself the same question,--whether he was\nin truth so much in love with Clara that he could not live without", "Again Clara was silent, not knowing how to answer that last question.\nAnd when she did answer it, she answered it thoughtlessly. \"Of course\nhe knows that he can do that.\"\n\n\"He says that he has been forbidden.\"", "for Mr. Amedroz; and as regarded Clara, Clara's father had for some\ntime past been apparently so insignificant, even in his own house,\nthat it was difficult to acknowledge the fact that the death of such", "Clara followed her father almost unconsciously and soon found herself\nshaking hands with a big man, over six feet high, broad in the", "than before. \"Yes he did,\" said Clara, finding that an answer was\nimperatively demanded from her.", "an end!\" After that the name of him who had taken himself from among\nthem was not mentioned between the father and daughter, and Clara\nsettled herself to the duties of her new life, striving to live as", "\"I am doing nothing of the kind,\" said Clara. \"How can you speak in\nthat way to me so soon after my father's death? It is a rebuke to me\nfor being here at all.\"", "\"He knows that I should ask his rather than that of any living\nperson,\" said Clara.\n\n\"There, Mr. Belton. Now you must say that she may come;--or that she\nmay not.\"", "himself that it must, if possible, be so kept that a few pounds\nannually might be put by for Clara. The old carriage-horses were", "Clara; \"and now the unusual excitement of the day has fatigued her,\nand I think it is better not to wake her.\" The rooms were large,\nand they were able to place themselves at such a distance from the", "\"Yes, my dear; but the truth is, Clara, that you and I, living\ntogether here this sort of hermit's life, each seeing so much of", "which, after two days' intimacy with Clara, seemed to promise him\ncomfort and happiness on all sides. But he had come too late, and\nthat way was closed against him! Now the estate was his, and what was", "he'll like beer,\" said Clara. \"Beer!\" said her father, and then\nstopped himself, as though he were lost in doubt whether it would", "to both him and Clara the month wore itself away slowly, neither\nof them having much pleasure in the society of the other. The old\nsquire came down-stairs once for an hour or two, and spent the whole", "Clara had, in a measure, been claimed by the lady, and the father had\nmade good the lady's claim, and Clara had acknowledged that a portion", "\"He is not so bad as that,\" said Clara.\n\n\"Then the next day, or the day after. Of course he is impatient, and\ndoes not see any earthly reason why his impatience should not be\ngratified.\"", "described her maladies. \"And yet I believe she is better off than any\nof us,\" he said, \"because she is so good.\" Clara began to wish that", "another son. To this Belton had replied that for his cousin Clara's\nsake he hoped that the squire's life might be long spared. The lawyer" ], [ "\"That is a question which Lady Aylmer can have no right to ask,\" said\nClara.\n\n\"Oh;--very well. Of course, if you don't like to tell, there's no\nmore to be said.\"", "Clara, who had just promised to do her best to gain Lady Aylmer's\nopinion, and who desired to be in some way true to her promise,", "\"Lady Aylmer!\" said Clara, feeling that her voice was almost\ntrembling with anger, \"I am sure you cannot intend to be unkind to\nme?\"\n\n\"Certainly not.\"", "Lady Aylmer was very plain-spoken on the subject of all Clara's\nshortcomings,--very plain-spoken, and very inquisitive. \"She will\nnever have one shilling, I suppose?\" she said.", "Then there was another pause, and Clara thought that that subject\nwas over between them. But Lady Aylmer had not as yet completed her\npurpose. \"Shall I tell you, my dear, what I think you ought to do?\"", "of Lady Aylmer. In the first he wrote with something of the personal\nenthusiasm of a lover, and therefore Clara hardly felt the little\ndrawbacks to her happiness which were contained in certain innuendoes", "\"I cannot understand you, Clara.\"\n\n\"I suppose not. I cannot very well understand myself.\"\n\n\"I should not be at all surprised if Lady Aylmer were to come\nherself.\"", "\"I don't see it myself;--that's all. Did you write to Lady Aylmer,\nClara?\"", "alone.\" Clara of course assented, and got into the carriage with a\nconviction that now she would hear her fate. She was rather inclined\nto think that Lady Aylmer was about to tell her that she had failed", "Lady Aylmer was the first person to come to her. \"I hope my maid has\nbeen with you,\" said she;--to which Clara muttered something intended", "respecting Lady Aylmer's ideas, and Lady Aylmer's hopes, and Lady\nAylmer's fears. Clara was not going to marry Lady Aylmer, and did not", "Clara's answer to that letter. The Aylmer Park opinion as to this\npoor woman, and as to Clara's future conduct towards the poor woman,\nhad been expressed very strongly; and Clara had as strongly resolved", "make to Mrs. Askerton the visit of which they had been talking. If\nLady Aylmer were wise,--so Clara thought,--there would be no mention", "herself that there could be but one such source. Mrs. Askerton knew\nthat Clara had received orders from Aylmer Castle to discontinue all\nacquaintance with herself, and, therefore, there could be no doubt", "\"I am afraid that Lady Aylmer does not like me,\" said Clara.", "Aylmers. That tyranny of which Clara spoke with so much dread would\nbe exhibited then without reserve, and so there would be an end\naltogether of the Aylmer alliance. But were she once to start for", "cunning, and power, and hardness in the slight smile that would\ngather round her mouth, by which Clara was revolted. She already\nunderstood much of Lady Aylmer, but in one thing she was mistaken.", "Aylmer Park, and then came a direct and positive quarrel between Lady\nAylmer and Clara,--a quarrel direct and positive, and, on the part of\nboth ladies, very violent.", "Captain Aylmer had made a positive promise to his aunt on her\ndeathbed that he would ask Clara Amedroz to be his wife, and he had", "that not another day should go by.\" Captain Aylmer, who felt that\nthey were putting Clara on her trial, shook his head impatiently,\nand made no immediate answer. Lady Aylmer, triumphantly feeling that" ], [ "Captain Aylmer was also Member of Parliament for the little borough\nof Perivale, returned altogether on the Low Church interest,--for\na devotion to which, and for that alone, Perivale was noted", "It may be imagined that Captain Aylmer, who knew the comforts of his\nclub and was accustomed to life in London, would feel the dulness", "\"Captain Aylmer.\"\n\n\"I don't know that he is coming at all.\"\n\n\"He must come to be married.\"", "\"He knows it. It was he who told me.\"\n\n\"What!--Captain Aylmer?\"\n\n\"Yes; Captain Aylmer.\"\n\n\"And what did he say?\"", "It must be understood that Captain Aylmer was member for Perivale on\nthe Low Church interest, and that, therefore, when at Perivale he was", "\"You've heard of Captain Aylmer, I think.\"\n\n\"Of course I've heard of him.\"\n\n\"But you've never seen him?\"", "CHAPTER VIII.\n\nCAPTAIN AYLMER MEETS HIS CONSTITUENTS.", "the penance of changing their seats. But she had not been so watching\nfor many seconds when she saw Captain Frederic Aylmer appear upon the\nplatform. Immediately she sank back into her corner and watched no", "understanding that that was to be his position. And yet everything\nwas going wrong! Her father, though he did not actually say anything\nagainst Captain Aylmer, showed by a hundred little signs, of which", "possessed. But Captain Aylmer was only the second son of his father,\nSir Anthony Aylmer, who had married a Miss Folliott, sister of our", "Captain Frederic Folliott Aylmer was, in truth, the nephew of Mrs.\nWinterfield, whereas Clara Amedroz was not, in truth, her niece. And", "also at his club. Had Captain Aylmer become Prime Minister, he would\nno doubt, have made Low Church bishops. It was the side to which he\nhad taken himself in that matter,--not without good reasons. And", "Captain Aylmer, should he name any time after Easter. It was clearly\nhis intention to keep up the house in Perivale as his country\nresidence. She did not like Perivale or the house, but she would", "might have written. No doubt my ideas may be old-fashioned, and I'm\ntold that Captain Aylmer is a fashionable young man.\"", "Captain Aylmer had made a positive promise to his aunt on her\ndeathbed that he would ask Clara Amedroz to be his wife, and he had", "\"Yes; to Captain Aylmer. You know that I had known him very long. I\nhope that you are not angry with me because I did not write and tell", "to, and who received, great consideration. These were no less than\nCaptain Aylmer, member for Perivale, and his newly-married bride,", "news at Perivale, Clara, though she was somewhat surprised, was by\nno means disappointed. Now there was a certain Captain Aylmer in the\nquestion, of whom in this opening chapter it will be necessary to say", "Captain Aylmer had no answer to make to all this. It was, no doubt,\nthe fact that age and good living had made Sir Anthony altogether", "\"It is not Will Belton?\"\n\n\"Poor Will! No; it is not Will. It is Frederic Aylmer. I think you\nwould prefer him as a son-in-law even to my cousin Will.\"" ] ]

[ "Why does the estate pass Clara and instead go to Will Belton?", "How many days did Will Belton know Clara before he proposed?", "Who does Clara think she is in love with, even though he has not indicated the same feelings?", "Which of Lady Aylmer's actions is the final straw for Clara?", "Where does the Aylmer family reside?", "What is Clara's final decision regarding her engagement to Captian Aylmer?", "How does Will Belton pale in comparison to the Captain that Clara fancies?", "Why is Clara afflicted about her feelings for Will towards the end of the story?", "Who finally convinces Clara to follow her feelings and to be with Will?", "Which character is the only surviving child of Belton Caslte?", "What happened to Clara's brother?", "How many suitors does Clara have?", "Who is the man who first proposes to Clara?", "Who does Clara really think she is in love with at the beginning of the story?", "Who allows Clara to remain in the castle if she wished?", "What city does Clara go to live in with her family?", "Who tries to make Clara's life miserable in Yorkshire?", "Where did Mrs. Askerton leave her husband?", "Where does Clara return to after leaving Yorkshire?", "How did Clara's brother die?", "How many eligible suitors does Clara have?", "Clara spent all of her father's money and savings to help what family member?", "Who does Clara ultimately marry?", "After Clara's father dies what city does she move to?", "How old is Clara Amedroz?", "At the beginning of the story Clara believes herself to be in love with what individual?", "How many living sons does Clara's father have?", "Which friend does Lady Aylmer ask Clara to cuts ties with?", "Captain Frederic Aylmer is a member of what political group?" ]

[ [ "Because her father has no more sons, and it cannot go to a daughter. ", "She is a woman. " ], [ "Four days ", "Four days" ], [ "Captain Frederic Aylmer", "Captain Frederic Aylmer" ], [ "Lady Aylmer demands Clara to sever her ties with a friend.", "The demand to end her friendship." ], [ "Yorkshire", "Yorkshire" ], [ "She ends the engagement ", "She decides not to marry him. " ], [ "She considers Will to seem more awkward and less polished than the captain.", "Warm-hearted, kind and generous." ], [ "She is concerned about transferring her love from one man to another", "Because she would be transferring her love from Captain Frederic Aylmer to Will" ], [ "Mrs. Askerton and Mary Belton ", "Mrs. Askerton and Mary Belton." ], [ "Clara Amedroz", "Clara Amedroz" ], [ "He committed suicide", "He committed suicide" ], [ "Two", "Two." ], [ "Will Belton", "Will Belton" ], [ "Fredric Aylmer", "Alymer. " ], [ "Belton", "Will Belton" ], [ "Yorkshire", "Somersetshire" ], [ "Lady Aylmer", "Lady Aylmer" ], [ "India", "India" ], [ "Somersetshire", "Somersetshire." ], [ "He committed suicide.", "Suicide" ], [ "Two.", "2" ], [ "Her brother.", "Brother" ], [ "Will Belton.", "Captain Frederic Aylmer" ], [ "Yorkshire.", "Yorkshire" ], [ "25.", "25" ], [ "Captain Frederic Aylmer.", "Alymer." ], [ "None.", "None" ], [ "Mrs. Askerton.", "Mrs. Askerton. " ], [ "Parliament.", "Parliament" ] ]

[ [ "At the period when this story opens the eldest niece, Louise Merrick,\nhad just been married to Arthur Weldon, a prosperous young business", "relatives that might remain to him after forty years' absence. His\nsister Jane had gathered around her three nieces--Louise Merrick,", "During this long speech Myrtle had sat wide eyed and white, watching\nhis face and marveling at the strangeness of her fate. But she was\nvery, very glad, and young enough to quickly recover from the shock.", "in it for a million. Then I hurried to Boston to claim my bride....\nShe had been married just three months, after waiting, or pretending\nto wait, for me for nearly ten years! She married a poor lawyer, too,", "could not marry a poor man and would therefore wait for me to make a\nfortune. Then I might be sure she would marry me. I believed her. I do", "\"Because you have suffered,\" he said, \"you have compassion for others\nwho suffer. But your trouble is over now?\"\n\n\"Almost,\" she said, smiling brightly.", "The man made no protest. He merely lifted Myrtle in his arms and\ngently placed her in the front seat. Beth, much amused, took the seat", "The Major, a kindly man, decided to take Myrtle out for a drive, and\nwhile they were gone Uncle John had a long conversation with Beth and\nPatsy.", "\"We will take Beth along, of course.\" Beth was Elizabeth De Graf,\nanother niece. \"But Beth is fortunately the sort of girl who can pull\nup stakes and move on at an hour's notice.\"", "Beth met her and said they had important news to communicate. Not\nuntil she was in her own room, seated in a comfortable chair and\ngazing at them anxiously, did they tell the poor waif of the good", "intended some day to make her comfortable and happy, for I knew her\nhusband's death had left her poor and friendless. I did not see her", "CHAPTER IV\n\nAN INTERESTING PROTÉGÉ", "planned! One cannot always make a fortune in a short time. It took me\nyears, and all the time she renewed her promises and kept my hopes and\nmy ambitions alive.", "Myrtle blushed and glanced shyly at Mr. Jones. His face was fairly\nillumined with pleasure. He placed her in the seat of honor and said\ngravely:", "knowing she would try to comfort me. She was dead. Her daughter\nMyrtle, whom I had never seen, had been killed in an automobile\naccident. That is what her aunt, a terrible woman named Martha Dean,", "That evening after dinner, as Mr. Merrick sat alone in the hotel\nlobby, the girls having gone to watch the Major bowl tenpins, Mr.\nJones approached and sat down in the chair beside him.", "\"I'm Myrtle,\" she replied, smiling in her relief. \"Myrtle Dean.\"\n\n\"Myrtle Dean!\" His voice was harsh; almost a shout.", "It was on their return from such a day's outing that Myrtle met with\nher life's greatest surprise. Indeed, the surprise was shared by all\nbut Uncle John, who had religiously kept the secret of Mr. Jones'\nidentity.", "\"See!\" she cried, clasping Beth's arm; \"there is that lovely girl at\nthe window again. I've noticed her ever since the train left Chicago,", "Of course Myrtle's story is told, now. But it may be well to add that\nUncle Anson did for her all that Uncle John had intended doing, and" ], [ "the dead of winter and the altitude considerable. Just now they were\ngetting closer to California every hour, and when they descended from\nthe mesa it would gradually grow warmer.", "CHAPTER XIV\n\nTHE ESCAPE", "of the peaks had snow upon them, and there was a chill in the air, now\nthat the sun had withdrawn its warmth. The girls turned presently and", "\"When we get to Albuquerque we will be below the line of frosts and\nsnow,\" explained Mr. Merrick. \"The climate is genial all through that\nsection during winter. Haggerty says--\"", "\"So Haggerty says.\"\n\n\"It stands to reason,\" continued Mr. Merrick, \"that on the Southern\nroute we will escape the severe weather. So I have decided to adopt\nthat plan.\"", "\"Certainly,\" asserted Uncle John. \"We are not going to travel day and\nnight, my dear, for as soon as we get away from this frozen country we", "Taking all these things into consideration, I advise you to make your\nheadquarters here for the winter.\"", "but decadent sons of respectable English families. As soon as they\ncould they left the table, and Tobey, observing their uneasiness in\nspite of his damaged and nearly useless optics, decided to send them", "\"So we're going,\" said Uncle John, impressively, \"to California--where\nthey grow sunshine and roses to offset our blizzards and icicles.\"", "\"Carry you outside. It's pretty cold and snowy, so we must wrap you up.\nNow, Major, take hold on the other side. Here we go!\"", "Three weeks later they moved up to Los Angeles, taking two days for\nthe trip and stopping at Riverside and Redlands on the way. They\nestablished their headquarters at one of the handsome Los Angeles", "He closed the door as he went out and they all heard a bolt shoot into\nplace. Yet the broad window, scarcely six feet from the ground, stood\nwide open to admit the air.", "possible escape. So far the old man had not addressed a word to\nanyone.", "\"Not just yet. We shall take the train south to Santa Fe, and perhaps\nto Albuquerque. I'll talk to Wampus about that. When we reach a good\nclimate we'll begin the journey overland--and not before.\"", "The others did not reply in words, but they all began to dress\ntogether with nervous haste, and then made their way down to the", "connected with her own, and find her absent. That would worry them. So\nat last she rose softly, took her crutches and turned to go.", "\"What would you propose doing?\" asked Uncle John, looking up with a\nsmile.\n\n\"We ought to get out the police department. It's raining and cold,\nand--\"", "been left behind them. After dinner they took a walk through the\npretty town and were caught in the dark before they could get back.\nThe twilights are very brief in Albuquerque.", "\"It's going to be a cold winter,\" remarked the little man, bobbing his\nhead up and down slowly.", "\"It occurred to me,\" he said, beginning to climb down from the roof,\n\"that a fool was a man who left a good home for this uncomfortable" ], [ "the dead of winter and the altitude considerable. Just now they were\ngetting closer to California every hour, and when they descended from\nthe mesa it would gradually grow warmer.", "\"So Haggerty says.\"\n\n\"It stands to reason,\" continued Mr. Merrick, \"that on the Southern\nroute we will escape the severe weather. So I have decided to adopt\nthat plan.\"", "CHAPTER XIV\n\nTHE ESCAPE", "\"So we're going,\" said Uncle John, impressively, \"to California--where\nthey grow sunshine and roses to offset our blizzards and icicles.\"", "\"When we get to Albuquerque we will be below the line of frosts and\nsnow,\" explained Mr. Merrick. \"The climate is genial all through that\nsection during winter. Haggerty says--\"", "of the peaks had snow upon them, and there was a chill in the air, now\nthat the sun had withdrawn its warmth. The girls turned presently and", "\"Certainly,\" asserted Uncle John. \"We are not going to travel day and\nnight, my dear, for as soon as we get away from this frozen country we", "Taking all these things into consideration, I advise you to make your\nheadquarters here for the winter.\"", "but decadent sons of respectable English families. As soon as they\ncould they left the table, and Tobey, observing their uneasiness in\nspite of his damaged and nearly useless optics, decided to send them", "He closed the door as he went out and they all heard a bolt shoot into\nplace. Yet the broad window, scarcely six feet from the ground, stood\nwide open to admit the air.", "\"Not just yet. We shall take the train south to Santa Fe, and perhaps\nto Albuquerque. I'll talk to Wampus about that. When we reach a good\nclimate we'll begin the journey overland--and not before.\"", "to another room where they could pass the afternoon without further\nannoyance. Stubby escorted the party and ushered them into a good\nsized room which he said was \"Algy's study,\" although no one ever", "possible escape. So far the old man had not addressed a word to\nanyone.", "connected with her own, and find her absent. That would worry them. So\nat last she rose softly, took her crutches and turned to go.", "\"In that case, Major,\" said Uncle John, \"let us go to bed and try to\nsleep. Perhaps in slumber we may forget these howling fiends.\"\n\n\"Very well,\" agreed Major Doyle, rising to enter the little tent.", "not there. He left months ago, and is now wandering; in fields and\npastures unknown.\"", "disgraceful mess in London some years ago. So Featherbone shipped\nhim over here, in charge of a family solicitor who hunted out this\nsequestered spot, bought a couple of thousand acres and built this", "\"Carry you outside. It's pretty cold and snowy, so we must wrap you up.\nNow, Major, take hold on the other side. Here we go!\"", "\"Oh, let's go that way!\" exclaimed Patsy.\n\n\"And freeze to death?\" asked the Major. \"It's the northernmost route.\"", "The others did not reply in words, but they all began to dress\ntogether with nervous haste, and then made their way down to the" ], [ "John. \"You see, we've taken the Southern route, after all, for soon we\nshall be on the Imperial road, which leads to San Diego--in the heart\nof the gorgeous Southland.\"", "hotels and from there made little journeys through the surrounding\ncountry, the garden spot of Southern California. One day they went to\nPasadena, which boasts more splendid residences than any city of its", "Afterward they talked over their trip and the anticipated change from\nthis arid region to the verdure of California, until suddenly a long,", "the dead of winter and the altitude considerable. Just now they were\ngetting closer to California every hour, and when they descended from\nthe mesa it would gradually grow warmer.", "Descending the hills as they neared San Diego they passed through\nfields of splendid wild flowers so extensive and beautiful that\nour girls fairly gasped in wonder. The yellow and orange poppies", "From this point the road ran south to San Diego, skirting the coast\nalong a mountain trail that is admitted to be one of the most\npicturesque rides in America.", "\"It is said,\" related the Major, who had really begun to enjoy\nCalifornia, \"that the view from this Point includes more varied", "Three weeks later they moved up to Los Angeles, taking two days for\nthe trip and stopping at Riverside and Redlands on the way. They\nestablished their headquarters at one of the handsome Los Angeles", "YELLOW POPPIES\n\n\n\"So this is California!\" exclaimed Patsy gleefully, as the automobile\nleft Parker and crossed the Arizona line.", "by the edge of the blue Pacific, and there and at Los Angeles we shall\nrest from our journey and get acquainted with the wonders of the\nGolden State. Has the trip tired you, girls?\"", "mountains over there--they're in Mexico, I'm told--and this great\nheadland in the other direction; it's called Point Loma. Oh, I never\nimagined any place could be so beautiful!\"", "headed northerly until they came to Salton. Skirting the edge of the\ncurious Salton Sea they now headed directly west toward Escondido,\nfinding the roads remarkably good and for long stretches as smooth and", "miniature mountain back in Arizona, and now we must climb a mate to\nit in California. But the fact is, we've entered at last the Land of", "we knew the world is not all desert and that the land of roses and\nsunshine lay just beyond. Now that we're in California we've forgotten", "From Escondido it was a short run to the sea and their first glimpse\nof the majestic Pacific was from a high bluff overhanging the water.", "depend a good deal upon the genial climate of California to insure her\ncomplete recovery.\"", "grown out of doors. But there are few hothouses in California, and the\nboy who brought the flowers confided to her the information that they\nwere selected from more than five hundred blooms. She ran to show them", "the grass! Why, the seasons are changed about. It's Springtime just\nnow in California.\"", "\"Then we had best go south to Santa Fe and take the route of the old\nSanta Fe Trail as far as Albuquerque, or even to El Paso. Either way\nwe will be sure to find fine weather, and good roads into California.\"", "indeed \"in the wilds of the Great American Desert.\" The afternoon had\nbeen hot and the ride dusty, but there was now a cooler feeling in the\nair since the sun had fallen low in the horizon." ], [ "The bundle squirmed and wriggled. Patsy sat down on the floor and\ncarefully unwound the folds of the cloak. A tiny dog, black and", "carriage and put her in the back seat. Patsy sprang in next, with\nMumbles clasped tightly in her arms, the small dog having been forced", "Patsy were devoted to their new friend and even Mumbles was never so\nhappy as when Myrtle would hold and caress him. Naturally the former", "\"Not invariably,\" declared Patsy. \"Mumbles is different. Mumbles is a\ngood doggie, and wise and knowing, although he's only a baby dog yet.", "sat up beside Patsy and looked at her from one eye pleadingly. Next he\ntrotted over to Uncle John. The big white handkerchief attracted him", "Her father turned Mumbles over with his toe. The puppy lay upon its\nback, lazily, with all four paws in the air, and cast a comical glance\nfrom one beady bright eye at the man who had disturbed him.", "\"I know. I feel the same way myself. But it isn't the dog's fault.\nIt's the woman's. And Patsy won't make a fool of herself over that", "\"Mumbles,\" said Patsy, merrily. \"The boy said they called him that\nbecause he mumbled in his sleep. Listen!\"", "Wampus to talk until Patsy in self-defense turned and tossed the fuzzy\nanimal in to Myrtle, who was always glad to receive him.", "\"How remarkable!\" exclaimed the Major, gazing straight ahead. And\nagain Mumbles, curled in Patsy's lap, lifted his shaggy head and gave\na wailing bark.", "During this performance a tense silence had pervaded the room. The\nMajor looked at the dog rather gloomily; Uncle John with critical eyes\nthat held a smile in them; Patsy with ecstatic delight.", "\"Sounds as if he scented game,\" said Patsy.\n\n\"A turtle, perhaps, or a big fish washed ashore,\" suggested the Major.", "Patsy put her head out of the window and looked at the speaker. It was\nMr. Algernon Tobey. He had two strips of sticking plaster over his", "to the fireplace. He didn't travel straight ahead, as dogs ought to\nwalk, but \"cornerwise,\" as Patsy described it; and when he got to the", "Next day they were sitting in a group before the hotel when a man was\nseen approaching them with shuffling steps. Uncle John looked at him\nclosely and Mumbles leaped from Patsy's lap and rushed at the stranger\nwith excited barks.", "Myrtle sat up in bed and glared at Patsy wild-eyed.\n\n\"Gone!\" she said. \"Gone! Then what am I to do?\"", "Patsy shook her head.\n\n\"Not yet, Uncle,\" she replied.\n\n\"Couldn't Wampus throw us a rope?\" inquired the Major.", "course the wee Mumbles was in Patsy's lap, and he seemed to have\novercome his first aversion of Wampus and accepted the little", "cats and dogs mangled by the roadside. I confidently expect he'll make\na pancake of dear little Mumbles before he's five miles on the road.\nEh, Patsy?\"", "\"I declare,\" cried Patsy, laughing, \"Myrtle has assumed an air of\nproprietorship over the Sad One already.\"\n\n\"She has a right to, for she saved his life,\" said Beth." ], [ "CHAPTER I\n\nINTRODUCING \"MUMBLES\"", "\"Mumbles,\" said Patsy, merrily. \"The boy said they called him that\nbecause he mumbled in his sleep. Listen!\"", "\"Who's Mumbles?\" asked one.\n\n\"What on earth is Mumbles?\" inquired the other.", "Uncle John started to take off her wet cloak.\n\n\"Look out!\" cried Patsy; \"you'll disturb Mumbles.\"\n\nThe two men looked at her bundle curiously.", "Myrtle stared a moment, as if trying to realize what that meant. The\ntiny Mumbles, sitting beside the chair with his head cocked to one", "\"What's the odds?\" laughed Patsy, coddling Mumbles up in her arms.\n\"We don't expect use or ornamentation from Mumbles. All we ask is his\ncompanionship.\"", "\"You see,\" explained Patsy, rising to take off her things and put them\naway, \"I was coming home early when I first met Mumbles. A little boy", "\"Perhaps not,\" suggested Uncle John, reaching out to pat the soft head\nof Mumbles. \"It may be the little beggar will liven us all up a bit.\"\n\n\n\n\nCHAPTER II", "way, while Mumbles, who had been left with him, ran here and there at\nhis heels as if desiring to assist him.", "followed by Mumbles, who had not perceptibly grown in size during the\ntrip but had acquired an adventurous disposition which, coupled with\nhis native inquisitiveness, frequently led him into trouble.", "\"Not invariably,\" declared Patsy. \"Mumbles is different. Mumbles is a\ngood doggie, and wise and knowing, although he's only a baby dog yet.", "Patsy were devoted to their new friend and even Mumbles was never so\nhappy as when Myrtle would hold and caress him. Naturally the former", "friend understood and came to her rescue with some inconsequent remark\nabout poor Mumbles, who was still moaning and rubbing; his pinched\nnose against Patsy's chin to ease the pain.", "I INTRODUCING \"MUMBLES\"\n II UNCLE JOHN'S IDEA\n III MYRTLE DEAN", "understand every word--which perhaps he did. Mumbles would sit up\nbetween the driver and Patsy and listen attentively, which encouraged", "Her father turned Mumbles over with his toe. The puppy lay upon its\nback, lazily, with all four paws in the air, and cast a comical glance\nfrom one beady bright eye at the man who had disturbed him.", "him; but perhaps Mumble he safe as long as Miss Myrtle an' Miss Beth\nthey with him.\"", "the creature, with the result that the crab seized his black nose in\na gripping claw and pinched as hard as it was able. Mumbles tried to", "\"This addition to the family,\" remarked Uncle John, \"need not make\nyou at all unhappy, my dear Major. Don't get jealous of Mumbles, for", "course the wee Mumbles was in Patsy's lap, and he seemed to have\novercome his first aversion of Wampus and accepted the little" ], [ "\"I'm Myrtle,\" she replied, smiling in her relief. \"Myrtle Dean.\"\n\n\"Myrtle Dean!\" His voice was harsh; almost a shout.", "\"Myrtle Dean. And I--I'm from Chicago; but I don't live there any\nmore.\"", "knowing she would try to comfort me. She was dead. Her daughter\nMyrtle, whom I had never seen, had been killed in an automobile\naccident. That is what her aunt, a terrible woman named Martha Dean,", "\"Tell me, Mr. Merrick,\" was the abrupt request, \"where you found\nMyrtle Dean.\"\n\nUncle John told him willingly. There was no doubt but Myrtle had\ninterested the man.", "communicative and they soon learned that her name was Myrtle Dean, and\nthat she was an orphan. Although scarcely fifteen years of age she\nhad for more than two years gained a livelihood by working in a skirt", "Myrtle Dean had been established in one corner of the broad back seat,\nwhere she nestled comfortably among the cushions. Uncle John sat", "\"I must inform you,\" said Uncle John, \"that Myrtle Dean is just a\nlittle waif whom my nieces picked up on the train. I believe she is\nwithout friends or money. Such being the circumstances, what would you\nadvise?\"", "all intercourse with these people. \"And I present our friend, Myrtle\nDean. Under ordinary circumstances I believe Myrtle would be excused", "Perhaps almost any girl, situated as Myrtle Dean was, would have\nblossomed under similar influences. Certain it was that Uncle John", "scraped acquaintance with him and had no regular introduction. So I\nwill now perform that agreeable office. Miss Myrtle Dean, allow me to\npresent your uncle, Mr. Collanson B. Jones.\"", "\"This is my automobile. I drive it myself. I would like Myrtle Dean to\nride back with me.\"", "\"Here is a case,\" said he, \"where my dreadful money can do some good.\nI am anxious to help Myrtle Dean, for I believe she is deserving of", "tawdry. It proved to be fairly comfortable, however, and the first\ncare of the party was to see Myrtle Dean safely established in a cosy", "When the big Major, returning from his drive, escorted Myrtle Dean to\nthe elevator, the girl was joyously using her new crutches. Patsy and", "\"It strikes me, Myrtle,\" said Uncle John, cheerfully, \"that you have\nnever been properly introduced to Mr. Jones. If I remember aright you", "During this long speech Myrtle had sat wide eyed and white, watching\nhis face and marveling at the strangeness of her fate. But she was\nvery, very glad, and young enough to quickly recover from the shock.", "Myrtle blushed and glanced shyly at Mr. Jones. His face was fairly\nillumined with pleasure. He placed her in the seat of honor and said\ngravely:", "\"She is not really bad,\" returned Myrtle, the tears starting to her\neyes. \"But Aunt Martha has grown selfish, and does not care for me", "\"Unless we run into more snowstorms.\" Of course it was the Major who\nsaid that, and pointedly ignoring the remark Uncle John turned to\nPatsy and said:\n\n\"How did you find Myrtle Dean this morning?\"", "Myrtle knew him. The thin frame, as well as the despairing attitude,\nmarked him as the man who had come so strangely into her life and\nwhose personality affected her so strangely. She now stood in the" ], [ "He passed his hand over his eyes with a very weary gesture and looked\nat Myrtle again--this time quite steadily. She was trembling in every\nlimb and her cheeks were white with fear.", "knowing she would try to comfort me. She was dead. Her daughter\nMyrtle, whom I had never seen, had been killed in an automobile\naccident. That is what her aunt, a terrible woman named Martha Dean,", "Myrtle leaned heavily on her crutches. She felt faint and miserable,\nlike a criminal caught in the act. As her eyes fell before the intent", "sent him to Myrtle's room to give her a thorough examination. This he\ndid, and reported that the girl's present condition was due largely to", "He turned and passed Myrtle out of the window where Wampus took her\nin his arms, crutches and all, and carried her to the automobile. The", "\"Perhaps,\" said Myrtle, hesitatingly, \"I am quite wrong, and the\nstrange man had no intention of doing himself an injury. But each time", "Patsy went to the window and stood looking out for a time. Myrtle\nbegan to dress herself. As she said, she was not utterly helpless,", "\"I can _feel_ it,\" returned Myrtle, happily. \"And don't you notice how\nwell I walk, and how little use I have now for the crutches?\"", "Near one of the abrupt turns a door stood ajar, and in passing Myrtle\nglanced in, and then paused involuntarily. It was a small parlor,", "\"I'm so ashamed,\" said Myrtle, tears of vexation in her eyes as she\nrejoined her friends. \"But somehow I felt I must warn him--it was an\nimpulse I just couldn't resist.\"", "During this long speech Myrtle had sat wide eyed and white, watching\nhis face and marveling at the strangeness of her fate. But she was\nvery, very glad, and young enough to quickly recover from the shock.", "Myrtle was trembling in her corner of the limousine. Beth sat still\nwith a curl on her lips. But Patsy was much interested in the", "Myrtle knew him. The thin frame, as well as the despairing attitude,\nmarked him as the man who had come so strangely into her life and\nwhose personality affected her so strangely. She now stood in the", "All this was said so frankly and unaffectedly that little Myrtle was\nled to abandon her suspicion and grew radiant with delight. Indeed,", "So they began to retrace their steps. Myrtle still walked with some\ndifficulty, and they had not proceeded far when Beth exclaimed:\n\n\"Look at that man down there!\"", "\"I'm Myrtle,\" she replied, smiling in her relief. \"Myrtle Dean.\"\n\n\"Myrtle Dean!\" His voice was harsh; almost a shout.", "\"I did not dare think of it,\" returned Myrtle in a low, frightened\ntone. \"I once asked Aunt Martha what I could do in case Uncle Anson", "Myrtle blushed and glanced shyly at Mr. Jones. His face was fairly\nillumined with pleasure. He placed her in the seat of honor and said\ngravely:", "The gesture surprised them all. Heretofore, when they had met, the man\nhad merely stared and turned away, now his attempt at courtesy was\nstartling because unexpected.\n\nMyrtle came close to his side.", "When the big Major, returning from his drive, escorted Myrtle Dean to\nthe elevator, the girl was joyously using her new crutches. Patsy and" ], [ "Even the Major smiled benignantly when he reached his appointed room\nin the magnificent Hotel del Coronado, which is famed throughout the\nworld.", "passed along the corridor, passing angles and turns innumerable on her\nway to her room. Some erratic architect certainly concocted the\nplan of the Hotel del Coronado. It is a very labyrinth of passages", "Meantime the three girls had gone for a walk along the coast. The\nbeach is beautiful at Coronado. There is a high sea wall of rock, and", "mountains over there--they're in Mexico, I'm told--and this great\nheadland in the other direction; it's called Point Loma. Oh, I never\nimagined any place could be so beautiful!\"", "\"Don't forget the monster hotel, with its hundred towers and gables,\ndominating the strip of land between the bay and the ocean,\" added\nBeth. \"How near it seems, and yet it is many miles away.\"", "John. \"You see, we've taken the Southern route, after all, for soon we\nshall be on the Imperial road, which leads to San Diego--in the heart\nof the gorgeous Southland.\"", "hotels and from there made little journeys through the surrounding\ncountry, the garden spot of Southern California. One day they went to\nPasadena, which boasts more splendid residences than any city of its", "the porpoises sporting in the clear water of the bay and gazed\nabstractedly at the waving palms on the opposite shore, where lies\nnestled \"the Crown of the Pacific\"--Coronado.", "Near the hotel they met straggling groups, strolling in either\ndirection, but half a mile away the promenade was practically\ndeserted. It was beginning to grow dark, and Beth said, regretfully:", "reached Laguna, sixty miles from their starting point. There was an\nexcellent railway hotel here, so they decided to spend the rest of the\nday and the night at Laguna and proceed early the next morning.", "After that evening the man attached himself to the party on every\npossible occasion. Sometimes in their trips around Coronado he rode", "locations. I had a corner suite saved for your party, a suite I\nconsider the most desirable in the hotel; but an eccentric individual\narrived yesterday who demanded the entire suite, and I had to let him", "took another route that might bring them quicker to the hotel, but had\nonly proceeded a short way when in passing a rather solitary adobe\nstructure a man stepped from the shadow of the wall and confronted", "flocking to that favored district Imperial is large enough to be an\nempire by itself. However, we shall find an ideal climate at Coronado,", "where Wampus guided the limousine on to the big ferryboat bound for\nCoronado. They all left the car during the brief voyage and watched", "Myrtle and Uncle John spent the morning on the porch of the hotel. At\nbreakfast the girl had noticed the tall man they had encountered at", "\"But there's a room reserved for you in the hotel.\"\n\n\"I know. Don't want him. I sleep me here.\"\n\nThe Major looked at him reflectively.", "Even after the magnificent coloring of sunrise had faded the sight was\none to rivet the attention. The hotel seemed built at the very edge of", "From this point the road ran south to San Diego, skirting the coast\nalong a mountain trail that is admitted to be one of the most\npicturesque rides in America.", "A short distance from the hotel Wampus gave a queer whistle which\nbrought the bandit cringing to his side. Without ado he handed the" ], [ "AUNT JANE'S NIECES AND UNCLE JOHN\n\nBY\n\nEDITH VAN DYNE", "At the period when this story opens the eldest niece, Louise Merrick,\nhad just been married to Arthur Weldon, a prosperous young business", "GUTENBERG EBOOK AUNT JANE'S NIECES AND UNCLE\nJOHN***", "JANE'S NIECES AT MILLVILLE,\" \"AUNT JANE'S NIECES AT WORK.\" \"AUNT\nJANE'S NIECES IN SOCIETY,\" ETC.", "relatives that might remain to him after forty years' absence. His\nsister Jane had gathered around her three nieces--Louise Merrick,", "\"We will take Beth along, of course.\" Beth was Elizabeth De Graf,\nanother niece. \"But Beth is fortunately the sort of girl who can pull\nup stakes and move on at an hour's notice.\"", "the lips smiled, wanly but persistently. She had evidently noticed\nUncle John's two nieces, for her eyes followed them as they marched", "\"She is not really bad,\" returned Myrtle, the tears starting to her\neyes. \"But Aunt Martha has grown selfish, and does not care for me", "\"It strikes me, Myrtle,\" said Uncle John, cheerfully, \"that you have\nnever been properly introduced to Mr. Jones. If I remember aright you", "Doyles, and Mr. Jones has furnished it cosily to make a home for his\nniece, to whom he is so devoted that Patsy declares her own doting and", "AUTHOR OF \"AUNT JANE'S NIECES,\" \"AUNT JANE'S NIECES ABROAD,\" \"AUNT", "Elizabeth De Graf and Patricia Doyle--and when Aunt Jane died Uncle\nJohn adopted these three girls and made their happiness the one care", "\"Once,\" said Beth, gravely, \"we were poor ourselves, Patsy and I, and\nhad to work hard for our living. That was before our Uncle John came", "\"She has saved me, sir. Even before I knew she was my niece I began to\nwonder if it would not pay me to live for her sake. And now--\"", "\"Admitting all this, Beth,\" returned her uncle, \"you are not answering\nmy question. What shall we do for Myrtle? How can we best assist her?\"", "niece, has watched over and cared for me like a sister, and--oh, I\nforgot; Miss Patsy is Mr. Merrick's niece, too. So now you know them\nall.\"", "knowing she would try to comfort me. She was dead. Her daughter\nMyrtle, whom I had never seen, had been killed in an automobile\naccident. That is what her aunt, a terrible woman named Martha Dean,", "\"They are beautiful eyes,\" said Uncle John, earnestly. \"Sir, you have\nfound in your niece one of the sweetest and most lovely girls that\never lived. I congratulate you!\"", "\"Really, Uncle John, I don't know what to suggest.\"\n\n\"She can never earn her living by sewing,\" declared Beth. \"What she\nought to have is a trained nurse and careful attention.\"", "\"Myrtle hasn't any proper clothes,\" observed Patsy, reflectively.\n\"We'll have to shop for her, Beth, while Uncle is getting the car\nready.\"" ], [ "At the period when this story opens the eldest niece, Louise Merrick,\nhad just been married to Arthur Weldon, a prosperous young business", "\"Why not take her to California with us?\" inquired Patsy, with sudden\ninspiration. \"The sunshine and roses would make a new girl of her in a\nfew weeks.\"", "\"We will take Beth along, of course.\" Beth was Elizabeth De Graf,\nanother niece. \"But Beth is fortunately the sort of girl who can pull\nup stakes and move on at an hour's notice.\"", "\"Uncle John,\" announced Patsy, \"has invited you to join our party and\ngo to California with us.\"", "Afterward they talked over their trip and the anticipated change from\nthis arid region to the verdure of California, until suddenly a long,", "The man made no protest. He merely lifted Myrtle in his arms and\ngently placed her in the front seat. Beth, much amused, took the seat", "\"Not so,\" responded Mr. Merrick amiably. \"I've thought the thing all\nout, and completed our programme.\"\n\n\"Is it still to be California?\" anxiously inquired Patsy.", "Myrtle had never yet ridden in an automobile, and the prospect of\na long journey across the country in a big touring car, with\nCalifornia's roses and sunshine at the end of it, was certainly", "\"Hurray!\" shouted Patsy. \"I've always wanted to go to California.\"\n\n\"California!\" said the Major, amazed; \"why, it's farther away than\nEurope. It takes a month to get there.\"", "Three weeks later they moved up to Los Angeles, taking two days for\nthe trip and stopping at Riverside and Redlands on the way. They\nestablished their headquarters at one of the handsome Los Angeles", "\"So we're going,\" said Uncle John, impressively, \"to California--where\nthey grow sunshine and roses to offset our blizzards and icicles.\"", "Myrtle was trembling in her corner of the limousine. Beth sat still\nwith a curl on her lips. But Patsy was much interested in the", "He beckoned to Beth, who stepped out of the car and assisted Myrtle\nto follow her. A little cheer of bravado had arisen from the group,", "can take our time and journey by short stages. My notion is that we\nwill have more fun on the way than we will in California.\"", "told me, although now I know it was a lie, told to cover her own\nbaseness in sending an unprotected child to the far West to seek an\nunknown uncle. I paid Martha Dean back the money she claimed she had", "\"That sounds good,\" said Patsy.\n\n\"At Denver,\" said Uncle John, \"we will take a touring car and cross\nthe mountains in it. There are good roads all the way from there to\nCalifornia.\"", "\"Haggerty says,\" remarked Uncle John, \"that you won't need thin\nclothes until you get out to California. In fact, the mountain trip is", "\"Because you've spirited her away from me times enough, and deprived\nher only parent of her society. First you gallivanted off to Europe,", "\"I've left it to Wampus and the girls,\" was the reply. \"On account\nof our little invalid here we shall take the most direct route to", "Anson, who is my mother's only brother. He is a miner out there, and\nAunt Martha says he is quite able to take care of me. So she bought my" ], [ "It was on their return from such a day's outing that Myrtle met with\nher life's greatest surprise. Indeed, the surprise was shared by all\nbut Uncle John, who had religiously kept the secret of Mr. Jones'\nidentity.", "\"Tell me, Mr. Merrick,\" was the abrupt request, \"where you found\nMyrtle Dean.\"\n\nUncle John told him willingly. There was no doubt but Myrtle had\ninterested the man.", "\"I do not know,\" replied Myrtle. \"His last letter proved that he was\nin Leadville two years ago, and he said he had been very successful", "Her heart gave a sudden thump of mingled fear and dismay. She knew\nintuitively what that \"something\" was. \"Let him,\" Uncle John had said;\nbut Myrtle instantly determined _not_ to let him.", "\"But--dear me!--I don't believe Myrtle knows her uncle's name is\nCollanson.\"", "\"And now you are sure of it,\" cried Uncle John, emphatically. \"But who\nis to break the news to Myrtle?\"", "\"I did not dare think of it,\" returned Myrtle in a low, frightened\ntone. \"I once asked Aunt Martha what I could do in case Uncle Anson", "\"It strikes me, Myrtle,\" said Uncle John, cheerfully, \"that you have\nnever been properly introduced to Mr. Jones. If I remember aright you", "knowing she would try to comfort me. She was dead. Her daughter\nMyrtle, whom I had never seen, had been killed in an automobile\naccident. That is what her aunt, a terrible woman named Martha Dean,", "\"Admitting all this, Beth,\" returned her uncle, \"you are not answering\nmy question. What shall we do for Myrtle? How can we best assist her?\"", "The Major, a kindly man, decided to take Myrtle out for a drive, and\nwhile they were gone Uncle John had a long conversation with Beth and\nPatsy.", "Of course Myrtle's story is told, now. But it may be well to add that\nUncle Anson did for her all that Uncle John had intended doing, and", "\"My ticket is to Leadville, you know,\" replied Myrtle. \"If I did not\ngo I would waste the money it cost.\"\n\nPatsy laughed at this.", "Uncle John did not reply. He remembered the doctor's assertion that a\npainful operation would be necessary to finally restore Myrtle to a\nnormal condition, and his kindly heart disliked to reflect upon the\nordeal before the poor girl.", "\"I must inform you,\" said Uncle John, \"that Myrtle Dean is just a\nlittle waif whom my nieces picked up on the train. I believe she is\nwithout friends or money. Such being the circumstances, what would you\nadvise?\"", "\"My aunt wrote him a letter two days before I started, so he ought\nto receive it two days before I get there,\" replied Myrtle, a little", "over mountain and plain into the paradise of the glowing West. Never\nbefore in her life had Myrtle enjoyed an outing, except for an hour or", "The stranger made no reply. He had not even glanced at Uncle John. Now\nhe slowly turned and stared fixedly at Myrtle for a moment, till she", "\"My girls found her on the train between Chicago and Denver,\" he\nbegan. \"She was on her way to join her uncle in Leadville.\"\n\n\"What is her uncle's name?\"", "scraped acquaintance with him and had no regular introduction. So I\nwill now perform that agreeable office. Miss Myrtle Dean, allow me to\npresent your uncle, Mr. Collanson B. Jones.\"" ], [ "The Major asserts this is absurd; but he has acquired a genuine\nfriendship for Anson Jones, who is no longer sad but has grown lovable\nunder Myrtle's beneficent influence.", "The other man had listened intently, and when the story was finished\nhe sat silent for a time, as if considering and pondering over what he\nhad heard. Then, without warning, he announced quietly:\n\n\"I am Anson Jones.\"", "Doyles, and Mr. Jones has furnished it cosily to make a home for his\nniece, to whom he is so devoted that Patsy declares her own doting and", "Uncle John fairly gasped for breath.\n\n\"_You_ Anson Jones!\" he exclaimed. Then, with plausible suspicion he\nadded: \"I myself saw that you are registered as C.B. Jones.\"", "\"I shall respect your wish, sir,\" said Mr. Merrick.\n\nThe girls came trooping back then, and instead of running away Anson\nJones remained to talk with them.", "That evening after dinner, as Mr. Merrick sat alone in the hotel\nlobby, the girls having gone to watch the Major bowl tenpins, Mr.\nJones approached and sat down in the chair beside him.", "Doyle was an heiress. Not only that, but perhaps one of the very\nrichest girls in New York. And the reason is readily explained when", "you liked Patsy Doyle at once and imagined she was very good to look\nat, if not strictly beautiful. No one had friends more loyal,\nand these two old men--the stately Major and round little Uncle", "Uncle John stood looking down at her thoughtfully.\n\n\"Did you engage a carriage, Major?\" he asked.\n\n\"Yes; there's one now waiting,\" was the reply.", "Mr. Jones paid little heed to Miss Doyle's observation, but as Myrtle\ntried to hide behind Beth Mr. Merrick took the situation in hand by", "\"It occurs to me,\" said the Major stiffly, \"that this needs an\nexplanation. Do you mean to say, Patsy Doyle, that you've worried the", "scraped acquaintance with him and had no regular introduction. So I\nwill now perform that agreeable office. Miss Myrtle Dean, allow me to\npresent your uncle, Mr. Collanson B. Jones.\"", "\"Anson Jones. But the child was almost helpless, ill and without\nfriends or money. She was not at all sure her uncle was still in", "\"I am Patricia Doyle,\" she said in a clear voice, \"and these\ngentlemen,\" indicating the Major and Mr. Merrick, \"are my father and", "\"You must have thought of this thing,\" suggested her new friend, \"for\nit was quite possible Anson Jones would not be in Leadville when you\narrived there.\"", "It was on their return from such a day's outing that Myrtle met with\nher life's greatest surprise. Indeed, the surprise was shared by all\nbut Uncle John, who had religiously kept the secret of Mr. Jones'\nidentity.", "\"Yes, my dear; but it is not your Uncle Anson. I've inquired about\nhim. The Joneses are pretty thick, wherever you go; but I hope not\nmany are like this fellow.\"", "and to the various hotels; but long before midnight, when the last\nreplies were received, he knew that Anson Jones had left Leadville\nfive months ago, and his present whereabouts were unknown. Having", "\"Jones. Mr. Anson Jones.\"\n\n\"Rather a common name, if you have to hunt for him,\" observed the\nquestioner, musingly. \"Has he been in Leadville long?\"", "\"That's what I say,\" added Patsy eagerly. \"Be a man, Major Doyle, and\nput the business out of your mind. Let's go somewhere and have a good\nromp. It will cheer us up.\"" ], [ "Their camp had been pitched just at the outskirts of the Indian\nvillage, but the snake dance was to take place in a rocky glen some", "see the performance. Now I am not sure but the \"Snake Dance\" was so\nopportune because Uncle John had a private interview with the native", "These unique and horrifying snake dances of the Moki have been\ndescribed so often that I need not speak of this performance in\ndetail. Before it was half over the girls wished they were back in", "the prettiest villages on the mesa, on the eve of one of their\ncharacteristic snake dances, and decided to remain over night and", "their automobile; but the Major whispered that for them to leave would\ncause great offense to the Indians and might result in trouble. The\ndance is supposedly a religious one, in honor of the Rain God, and at", "chieftain, at which the head Snake Priest and the head Antelope Priest\nof the tribe were present. These Indians spoke excellent English and\nthe chief loved the white man's money, so a ceremony that has been", "\"Rattlesnake,\" said Wampus, tossing the thing into the sagebrush. \"I\nsee him crawl in tent while you eat supper.\"\n\n\"Why did you not tell us?\" cried the Major excitedly.", "\"Such thing very unusual.\" remarked Wampus, placing the last blanket\non Mr. Merrick's improvised bed. \"Perhaps you sleep in tent a week an'\nnever see another rattler.\"", "a huge snake until she had passed down the length of the room and\nstarted to return up the other side to the starting point. So\nengrossed had been the cowboys that they did not observe the Major and", "Wampus did not seem afraid of snakes. The little chauffeur went to bed\nin the tent and slept soundly upon his cot until daybreak, when the\ncoyotes withdrew and the Canadian got up to make the coffee.", "them. They first visited the chief, who announced that the ceremonies\nwere about to begin. At a word from this imposing leader a big Indian\ncaught up Myrtle and easily carried her on his shoulder, as if she", "to the adjoining Moki reservation. Here, however, they were happily\ndisappointed, for they arrived at the pueblo of Oraibi, one of", "From the reservation to the Grand Canyon of the Colorado was not far,\nbut there was no \"crosscut\" and so they were obliged to make a wide", "\"I thought him perhaps crawl out again. Him sometime do that. But no.\nMister snake he go sleep in tent which is reserve for his superior. I", "bonfires in a rock strewn plain usually claimed by nature. When the\ndancers were more frenzied they held the squirming serpents in their", "Moki used rattlesnakes, which are native to the mesa and its rocky\ncliffs. Some travelers have claimed that the fangs of the rattlers are", "From Gallup they took a wagon road to Fort Defiance, in the Navajo\nIndian reservation; but the Navajos proved uninteresting people, not", "A dusky form, prone upon the ground, began to squirm under Wampus, who\nwas then discovered to be sitting upon a big Indian and holding him", "almost naked bodies and handling them with seeming impunity. A few\nwere harmless species, as bull snakes and arrow snakes; but mostly the", "first the snakes were not used, but as the dancers became wrought up\nand excited by their antics one by one they reached within the kisi\nand drew out a snake, allowing the reptiles to coil around their" ], [ "As Beth and Patsy turned, panting, and from their elevation looked up\nthe room, the cowboys gave a bellow of rage and rushed forward.", "The procession was half way up the hall on its return when Patsy said\nabruptly: \"Now, Beth!\" and darted away from her partner's side and", "\"No,\" answered Patsy. \"But I wouldn't dance with a lot of half drunken\nmen wearing revolvers, if they burned me at the stake for refusing.\"", "Beth is growing more and more like her. It will do those girls good,\nJohn, to have some human being to coddle and care for. If Patsy could", "\"You must decide which you prefer--the revolvers or the dance,\"\nremarked Patsy, staring coolly into the ring of faces.\n\n\"Would your English ladies at home consent to dance with armed men?\"\nasked Beth.", "\"Wake up, Patsy: I smell coffee!\" called Beth, and soon the two girls\nwere dressed and assisting Myrtle to complete her toilet. Through the", "camp out in the open while they traveled in Arizona. So he advocated\naccepting Dan'l's invitation. The girls, curious to know how so many", "Myrtle was trembling in her corner of the limousine. Beth sat still\nwith a curl on her lips. But Patsy was much interested in the", "with a picturesque appearance they did not really possess. Beth and\nPatsy came to the end of the main street rather suddenly, and stood a\nmoment looking at the shadows cast by the rocky cliffs near by. Some", "As the two girls went forward to their coach Beth said to Patsy:", "\"If the dance depends upon us, there will be no dance,\" said Patsy,\nfirmly.\n\n\"I thought you advised submitting to the whim of these ruffians,\" said\nUncle John in surprise.", "had traveled so little, was the sight impressive and awe inspiring.\nThere was a small but fairly good hotel in the place, and after supper\nPatsy and Beth went out for a stroll, being much interested in the", "To carry out the idea of a grand march Patsy drew her escort here and\nthere by sharp turns and half circles, the others trailing behind like", "Patsy laughed at him. She knew something good was in store for her\nand like all girls was enraptured at the thought of visiting new and\ninteresting scenes.", "even occupying themselves in weaving the famous Navajo blankets, which\nare now mostly made in Philadelphia. Even Patsy, who had longed to", "room, with a grate fire to cheer her. Patsy and Beth had adjoining\nrooms and kept running in for a word with their protégé, who was", "\"What a horrible idea!\" exclaimed Patsy.\n\n\"They're quite liable to dance and murder in the same breath,\" the\nMajor observed, gloomily.", "Patsy laughed merrily; but Beth saw he was offended and hastened to\nsay:", "Beth joined her cousin at the window and was instantly as awed\nand absorbed as Patsy. Neither remembered Myrtle just then, but\nfortunately their friend had left the connecting door of their", "Patsy and Beth shared the larger apartment. It seems the hotel, big\nas it was, was fairly filled with guests, the railway running three" ], [ "\"She has saved me, sir. Even before I knew she was my niece I began to\nwonder if it would not pay me to live for her sake. And now--\"", "Of course Myrtle's story is told, now. But it may be well to add that\nUncle Anson did for her all that Uncle John had intended doing, and", "\"I think it would be more appropriate for you to call me 'Uncle\nAnson.'\"\n\n\"Uncle Anson! Why, Uncle Anson is--is--\"", "\"Yes, my dear; but it is not your Uncle Anson. I've inquired about\nhim. The Joneses are pretty thick, wherever you go; but I hope not\nmany are like this fellow.\"", "\"We will take Beth along, of course.\" Beth was Elizabeth De Graf,\nanother niece. \"But Beth is fortunately the sort of girl who can pull\nup stakes and move on at an hour's notice.\"", "sister Kitty--your mother, my dear--called me 'Anson'; and that is\nwhy, I suppose, old Martha Dean knew me only as your 'Uncle Anson.'", "But help was at hand. A tall, thin man hurried to the rescue, and just\nas Uncle John came in sight, leading his procession, a knife severed", "Uncle John fairly gasped for breath.\n\n\"_You_ Anson Jones!\" he exclaimed. Then, with plausible suspicion he\nadded: \"I myself saw that you are registered as C.B. Jones.\"", "niece, has watched over and cared for me like a sister, and--oh, I\nforgot; Miss Patsy is Mr. Merrick's niece, too. So now you know them\nall.\"", "\"If so,\" added Beth, \"Myrtle has saved his life twice. But she can't\nbe always near to watch the man, and if he has suicidal intentions,\nhe'll make an end of himself, sooner or later, without a doubt.\"", "an old maid who has had rather a hard life. Perhaps,\" she added,\nwistfully, \"Uncle Anson will love me--although I'm not strong or\nwell.\"", "Both Patsy and Beth felt desperately sorry for the girl.\n\n\"What is Uncle Anson's other name?\" asked the latter, for Beth was\nthe more practical of Uncle John's nieces and noted for her clear\nthinking.", "\"I declare,\" cried Patsy, laughing, \"Myrtle has assumed an air of\nproprietorship over the Sad One already.\"\n\n\"She has a right to, for she saved his life,\" said Beth.", "Anson, who is my mother's only brother. He is a miner out there, and\nAunt Martha says he is quite able to take care of me. So she bought my", "\"We'll look and see,\" replied Mr. Ross, turning to the hotel register.\n\"No; not Anson. He is registered as C.B. Jones, of Boston.\"", "\"I'm mighty glad,\" added Patsy, \"your Uncle Anson ran away from\nLeadville. If he hadn't done that we should have had to give you", "\"Why, we were not going fast, just then, and it didn't hurt him. We\nsaw him get up and shake his fist at the robber. If he ever meets Mr.\nWampus again he'll murder him.\"", "\"That fellow wasn't worth saving--if you really saved him, my dear. He\nsays the canyon calls one, and for all I care he may go to the bottom\nby any route he pleases.\"", "millions, and this girl his favorite niece. An old bachelor who had\nacquired an immense fortune in the far Northwest, Mr. Merrick had\nlately retired from active business and come East to seek any", "\"She is rested, and seems very bright and cheerful, Uncle; but of\ncourse she is much distressed by the news that her Uncle Anson has" ], [ "\"Who is he?\" asked Uncle John.\n\n\"A rich miner; a most melancholy and peculiar person, by the way,\"\nreplied landlord Ross. \"I believe his name is Jones.\"", "\"You can't be sure of that,\" returned Patsy; \"and I'm positive my\ntheory is correct. More and more am I inclined to agree with Myrtle\nthat he is disgusted with life, and longs to end it.\"", "because he was himself generous enough to wish to be of service to\nanyone so forlorn and unhappy, he treated Mr. Jones with more respect\nthan he really thought he deserved.", "\"Oh, dear!\" whispered Myrtle, clinging to Beth's arm with trembling\nfingers, \"I'm afraid he's going to--to commit suicide!\"\n\n\"Nonsense!\" answered Beth, turning pale nevertheless.", "\"If so,\" added Beth, \"Myrtle has saved his life twice. But she can't\nbe always near to watch the man, and if he has suicidal intentions,\nhe'll make an end of himself, sooner or later, without a doubt.\"", "Uncle John heard the story of Myrtle's adventure with considerable\nsurprise, and he too expressed a wish to aid her in winning Mr. Jones\nfrom his melancholy mood.", "\"There is another part of my story that you must know to understand\nme fully; to know why I am now a hopeless, desperate man; or was", "\"Tell me, Mr. Jones,\" she said, turning to him as he sat beside her;\n\"what have you found?\"\n\nHe was deliberate as ever in answering.", "Some impulse led me to stop off at the Grand Canyon, and there I saw\nthe means of ending all my misery. But Myrtle interfered.\"", "\"Something's wrong with him,\" declared Patsy. \"He's had some sad\nbereavement--a great blow of some sort--and it has made him somber and", "The other man had listened intently, and when the story was finished\nhe sat silent for a time, as if considering and pondering over what he\nhad heard. Then, without warning, he announced quietly:\n\n\"I am Anson Jones.\"", "He paused again and wearily passed his hand over his eyes--a familiar\ngesture, as Myrtle knew. His voice had grown more and more dismal as", "Mr. Merrick started.\n\n\"Jones, and a miner?\" he said. \"What's his other name--Anson?\"", "could not have explained, except that he had been discouraged and\nhopeless and she had succeeded in preventing him from destroying his\nlife and given him courage to face the world anew. But surely that was", "\"Perhaps,\" said Myrtle, hesitatingly, \"I am quite wrong, and the\nstrange man had no intention of doing himself an injury. But each time", "That evening after dinner, as Mr. Merrick sat alone in the hotel\nlobby, the girls having gone to watch the Major bowl tenpins, Mr.\nJones approached and sat down in the chair beside him.", "That kindly Mr. Merrick should give vent to such a heartless speech\nproved how much annoyed he had been by Mr. Jones' discourtesy.", "\"Id vould be suiciding,\" Dan'l said, mournfully shaking his head. \"If\ndese fiends were as goot as dey are clefer, dey vould be angels.\"", "embarrassment and give her time to partially collect herself. Then she\nturned to Mr. Jones and with eyes swimming with tears tenderly kissed\nhis furrowed cheek.", "Uncle John fairly gasped for breath.\n\n\"_You_ Anson Jones!\" he exclaimed. Then, with plausible suspicion he\nadded: \"I myself saw that you are registered as C.B. Jones.\"" ], [ "It was on their return from such a day's outing that Myrtle met with\nher life's greatest surprise. Indeed, the surprise was shared by all\nbut Uncle John, who had religiously kept the secret of Mr. Jones'\nidentity.", "\"It strikes me, Myrtle,\" said Uncle John, cheerfully, \"that you have\nnever been properly introduced to Mr. Jones. If I remember aright you", "\"Tell me, Mr. Merrick,\" was the abrupt request, \"where you found\nMyrtle Dean.\"\n\nUncle John told him willingly. There was no doubt but Myrtle had\ninterested the man.", "The Major, a kindly man, decided to take Myrtle out for a drive, and\nwhile they were gone Uncle John had a long conversation with Beth and\nPatsy.", "\"Admitting all this, Beth,\" returned her uncle, \"you are not answering\nmy question. What shall we do for Myrtle? How can we best assist her?\"", "All this was said so frankly and unaffectedly that little Myrtle was\nled to abandon her suspicion and grew radiant with delight. Indeed,", "During this long speech Myrtle had sat wide eyed and white, watching\nhis face and marveling at the strangeness of her fate. But she was\nvery, very glad, and young enough to quickly recover from the shock.", "scraped acquaintance with him and had no regular introduction. So I\nwill now perform that agreeable office. Miss Myrtle Dean, allow me to\npresent your uncle, Mr. Collanson B. Jones.\"", "Myrtle knew him. The thin frame, as well as the despairing attitude,\nmarked him as the man who had come so strangely into her life and\nwhose personality affected her so strangely. She now stood in the", "Uncle John heard the story of Myrtle's adventure with considerable\nsurprise, and he too expressed a wish to aid her in winning Mr. Jones\nfrom his melancholy mood.", "After the cousins had explained all their plans to Myrtle and assured\nher she was to be their cherished guest for a long time--until she was", "The gesture surprised them all. Heretofore, when they had met, the man\nhad merely stared and turned away, now his attempt at courtesy was\nstartling because unexpected.\n\nMyrtle came close to his side.", "\"I'm so ashamed,\" said Myrtle, tears of vexation in her eyes as she\nrejoined her friends. \"But somehow I felt I must warn him--it was an\nimpulse I just couldn't resist.\"", "Her heart gave a sudden thump of mingled fear and dismay. She knew\nintuitively what that \"something\" was. \"Let him,\" Uncle John had said;\nbut Myrtle instantly determined _not_ to let him.", "\"Oh, he's hurt!\" cried Myrtle; and they all hurried forward, Uncle\nJohn leading them on a run, and passed around the big rock to rescue\ntheir pet.", "Near one of the abrupt turns a door stood ajar, and in passing Myrtle\nglanced in, and then paused involuntarily. It was a small parlor,", "Of course Myrtle's story is told, now. But it may be well to add that\nUncle Anson did for her all that Uncle John had intended doing, and", "So they began to retrace their steps. Myrtle still walked with some\ndifficulty, and they had not proceeded far when Beth exclaimed:\n\n\"Look at that man down there!\"", "\"I must inform you,\" said Uncle John, \"that Myrtle Dean is just a\nlittle waif whom my nieces picked up on the train. I believe she is\nwithout friends or money. Such being the circumstances, what would you\nadvise?\"", "\"But--dear me!--I don't believe Myrtle knows her uncle's name is\nCollanson.\"" ], [ "\"Come here,\" said Uncle John to the girls, and when they stood beside\nhim pointed to the car. \"Wampus is making ready for the escape,\" he", "There was a little murmur of protest at this, for the house appeared\nto be scarcely bigger than the automobile. But Uncle John pointed out,", "Uncle John's chauffeur throughout all the long journey, suddenly\ndeserted him. He whined to go with the other car, and when Patsy", "\"That sounds good,\" said Patsy.\n\n\"At Denver,\" said Uncle John, \"we will take a touring car and cross\nthe mountains in it. There are good roads all the way from there to\nCalifornia.\"", "to make the journey thus far in the baggage car. Beth and the Major\nentered the carriage next, while Uncle John mounted beside the driver\nand directed him to the Crown Palace Hotel.", "It was savagely said, and Uncle John took warning and motioned Patsy\nto be silent.\n\n\"Lead the way, sir,\" he said. \"Our chauffeur will of course remain\nwith the car.\"", "interior of the limousine for traveling. The Major and Uncle John\nfolded the tent and packed it away, while Wampus attended to the\ndishes and tinware and then looked over his car. In a surprisingly", "\"We've luncheon in the car,\" announced Uncle John, after a time.\n\"Won't you join us, Mr. Jones?\"", "Uncle John stood looking down at her thoughtfully.\n\n\"Did you engage a carriage, Major?\" he asked.\n\n\"Yes; there's one now waiting,\" was the reply.", "\"It is,\" agreed Uncle John. \"Go back to the car now, and wait for us.\nDon't get impatient. We don't know just when we will join you, but it", "\"Wampus,\" said Uncle John, \"is so pleased with my preparations that he\nwants us to start in the car from here.\"", "So they crept inside with sighs of relief, and Wampus had just mounted\nto the front seat again and disposed himself to rest when Uncle John", "again, and as Wampus brought the damaged car to a stop the remittance\nmen dashed by and along the path, taking the same direction Uncle\nJohn's party was following\". Tobey held back a little, calling out:", "He rejoined his comrades then, and they all clattered away until a\nroll of the mesa hid them from sight.\n\nUncle John got down from his seat to assist his chauffeur.", "They were mildly astonished at the request, but as Uncle John was\nalways doing some unusual thing they gave the matter little thought.\nHowever, on reaching the parlor floor an hour later they found Mr.", "\"I've bought one already--a seven-seated 'Autocrat'--and there will be\nplenty of room in it for Myrtle,\" he said.", "The Major, a kindly man, decided to take Myrtle out for a drive, and\nwhile they were gone Uncle John had a long conversation with Beth and\nPatsy.", "\"I think,\" said Uncle John, \"I'll bunk on the front seat to-night. I'm\nshort, you see, and will just about curl up in the space. I believe", "Beth, Patsy and Myrtle retired early, as did Uncle John. The Major,\nsmoking his \"bedtime cigar,\" as he called it, strolled out into the\nyard and saw Wampus seated in the automobile, also smoking.", "Myrtle Dean had been established in one corner of the broad back seat,\nwhere she nestled comfortably among the cushions. Uncle John sat" ], [ "At the period when this story opens the eldest niece, Louise Merrick,\nhad just been married to Arthur Weldon, a prosperous young business", "relatives that might remain to him after forty years' absence. His\nsister Jane had gathered around her three nieces--Louise Merrick,", "\"I'm Myrtle,\" she replied, smiling in her relief. \"Myrtle Dean.\"\n\n\"Myrtle Dean!\" His voice was harsh; almost a shout.", "During this long speech Myrtle had sat wide eyed and white, watching\nhis face and marveling at the strangeness of her fate. But she was\nvery, very glad, and young enough to quickly recover from the shock.", "in it for a million. Then I hurried to Boston to claim my bride....\nShe had been married just three months, after waiting, or pretending\nto wait, for me for nearly ten years! She married a poor lawyer, too,", "knowing she would try to comfort me. She was dead. Her daughter\nMyrtle, whom I had never seen, had been killed in an automobile\naccident. That is what her aunt, a terrible woman named Martha Dean,", "\"Because you have suffered,\" he said, \"you have compassion for others\nwho suffer. But your trouble is over now?\"\n\n\"Almost,\" she said, smiling brightly.", "\"It strikes me, Myrtle,\" said Uncle John, cheerfully, \"that you have\nnever been properly introduced to Mr. Jones. If I remember aright you", "\"Only yourself,\" he said.\n\n\"Oh; but I--I met you last night.\"\n\n\"You did not tell me your name,\" he reminded her.", "communicative and they soon learned that her name was Myrtle Dean, and\nthat she was an orphan. Although scarcely fifteen years of age she\nhad for more than two years gained a livelihood by working in a skirt", "\"She is rested, and seems very bright and cheerful, Uncle; but of\ncourse she is much distressed by the news that her Uncle Anson has", "\"We will take Beth along, of course.\" Beth was Elizabeth De Graf,\nanother niece. \"But Beth is fortunately the sort of girl who can pull\nup stakes and move on at an hour's notice.\"", "over mountain and plain into the paradise of the glowing West. Never\nbefore in her life had Myrtle enjoyed an outing, except for an hour or", "\"But--dear me!--I don't believe Myrtle knows her uncle's name is\nCollanson.\"", "Myrtle blushed and glanced shyly at Mr. Jones. His face was fairly\nillumined with pleasure. He placed her in the seat of honor and said\ngravely:", "\"You must not call me 'Mr. Jones,' hereafter,\" said he.\n\n\"Why not? Then, what _shall_ I call you?\" she returned, greatly\nperplexed.", "Patsy went to the window and stood looking out for a time. Myrtle\nbegan to dress herself. As she said, she was not utterly helpless,", "\"See!\" she cried, clasping Beth's arm; \"there is that lovely girl at\nthe window again. I've noticed her ever since the train left Chicago,", "\"Once of Boston,\" he repeated mechanically. Then he looked at her and\nadded: \"Go on.\"\n\n\"Why--what--I don't understand,\" she faltered. \"Have I overlooked\nanyone?\"", "Myrtle was trembling in her corner of the limousine. Beth sat still\nwith a curl on her lips. But Patsy was much interested in the" ], [ "\"Who is he?\" asked Uncle John.\n\n\"A rich miner; a most melancholy and peculiar person, by the way,\"\nreplied landlord Ross. \"I believe his name is Jones.\"", "Mr. Merrick started.\n\n\"Jones, and a miner?\" he said. \"What's his other name--Anson?\"", "Doyles, and Mr. Jones has furnished it cosily to make a home for his\nniece, to whom he is so devoted that Patsy declares her own doting and", "It was on their return from such a day's outing that Myrtle met with\nher life's greatest surprise. Indeed, the surprise was shared by all\nbut Uncle John, who had religiously kept the secret of Mr. Jones'\nidentity.", "\"Tell me, Mr. Jones,\" she said, turning to him as he sat beside her;\n\"what have you found?\"\n\nHe was deliberate as ever in answering.", "disgraceful mess in London some years ago. So Featherbone shipped\nhim over here, in charge of a family solicitor who hunted out this\nsequestered spot, bought a couple of thousand acres and built this", "because he was himself generous enough to wish to be of service to\nanyone so forlorn and unhappy, he treated Mr. Jones with more respect\nthan he really thought he deserved.", "scraped acquaintance with him and had no regular introduction. So I\nwill now perform that agreeable office. Miss Myrtle Dean, allow me to\npresent your uncle, Mr. Collanson B. Jones.\"", "Myrtle blushed and glanced shyly at Mr. Jones. His face was fairly\nillumined with pleasure. He placed her in the seat of honor and said\ngravely:", "Mr. Jones nodded again. His mood had changed again since they began\nto speak of Myrtle. His eyes now glowed with pleasure and pride. He\nclasped Mr. Merrick's hand in his own as he said with feeling:", "The other man had listened intently, and when the story was finished\nhe sat silent for a time, as if considering and pondering over what he\nhad heard. Then, without warning, he announced quietly:\n\n\"I am Anson Jones.\"", "That evening after dinner, as Mr. Merrick sat alone in the hotel\nlobby, the girls having gone to watch the Major bowl tenpins, Mr.\nJones approached and sat down in the chair beside him.", "Uncle John heard the story of Myrtle's adventure with considerable\nsurprise, and he too expressed a wish to aid her in winning Mr. Jones\nfrom his melancholy mood.", "The conversation now became general, except that Mr. Jones remained\npractically silent He seemed to try to interest himself in the chatter", "\"Yes, my dear; but it is not your Uncle Anson. I've inquired about\nhim. The Joneses are pretty thick, wherever you go; but I hope not\nmany are like this fellow.\"", "Uncle John fairly gasped for breath.\n\n\"_You_ Anson Jones!\" he exclaimed. Then, with plausible suspicion he\nadded: \"I myself saw that you are registered as C.B. Jones.\"", "\"Is Mr. Jones rich, then?\" inquired Beth.", "The Major took him aside. He did not tell the cautious landlord that\nMr. Merrick was one of the wealthiest men in America, but he exhibited\na roll of bills that satisfied the man his demands would be paid in\nfull.", "\"It strikes me, Myrtle,\" said Uncle John, cheerfully, \"that you have\nnever been properly introduced to Mr. Jones. If I remember aright you", "\"That,\" said he, \"is the gentleman we spoke of this afternoon--Mr.\nC.B. Jones--the man who usurped the rooms intended for you.\"" ], [ "Even the Major smiled benignantly when he reached his appointed room\nin the magnificent Hotel del Coronado, which is famed throughout the\nworld.", "passed along the corridor, passing angles and turns innumerable on her\nway to her room. Some erratic architect certainly concocted the\nplan of the Hotel del Coronado. It is a very labyrinth of passages", "Next day they were sitting in a group before the hotel when a man was\nseen approaching them with shuffling steps. Uncle John looked at him\nclosely and Mumbles leaped from Patsy's lap and rushed at the stranger\nwith excited barks.", "The girls were shown to a big room at the front of the hotel, having\ntwo beds in it. A smaller connecting-room was given to Myrtle, while", "Eagerly enough they escaped from the automobile where they had been\nshut in and entered the spacious lobby of the hotel, where a merry\nthrong of tourists had gathered.", "reached Laguna, sixty miles from their starting point. There was an\nexcellent railway hotel here, so they decided to spend the rest of the\nday and the night at Laguna and proceed early the next morning.", "That evening after dinner, as Mr. Merrick sat alone in the hotel\nlobby, the girls having gone to watch the Major bowl tenpins, Mr.\nJones approached and sat down in the chair beside him.", "John. \"You see, we've taken the Southern route, after all, for soon we\nshall be on the Imperial road, which leads to San Diego--in the heart\nof the gorgeous Southland.\"", "Near the hotel they met straggling groups, strolling in either\ndirection, but half a mile away the promenade was practically\ndeserted. It was beginning to grow dark, and Beth said, regretfully:", "been to their rooms and established themselves in the hotel they\nhurried out to interview the Indians, Myrtle Dean supporting herself\nby her crutches while Patsy and Beth walked beside her. The lame girl", "The automobile was quickly unloaded and at once Wampus set to work to\nget it in running order. He drove it to the hotel at about sundown", "took another route that might bring them quicker to the hotel, but had\nonly proceeded a short way when in passing a rather solitary adobe\nstructure a man stepped from the shadow of the wall and confronted", "As they reached the hotel this eventful evening Mr. Merrick said to\nthe girls:\n\n\"After you have dressed for dinner meet us on the parlor floor. We\ndine privately to-night.\"", "After that evening the man attached himself to the party on every\npossible occasion. Sometimes in their trips around Coronado he rode", "Meantime the three girls had gone for a walk along the coast. The\nbeach is beautiful at Coronado. There is a high sea wall of rock, and", "Three weeks later they moved up to Los Angeles, taking two days for\nthe trip and stopping at Riverside and Redlands on the way. They\nestablished their headquarters at one of the handsome Los Angeles", "reach the walk some distance ahead of them. They did not move until he\nhad gained the path and turned toward the hotel. Then they followed\nand kept him in sight until he reached the entrance to the court and", "to make the journey thus far in the baggage car. Beth and the Major\nentered the carriage next, while Uncle John mounted beside the driver\nand directed him to the Crown Palace Hotel.", "\"But there's a room reserved for you in the hotel.\"\n\n\"I know. Don't want him. I sleep me here.\"\n\nThe Major looked at him reflectively.", "Adjoining the hotel was a bazaar, in front of which sat squatted upon\nthe ground two rows of Mojave Indians, mostly squaws, with their" ], [ "to the adjoining Moki reservation. Here, however, they were happily\ndisappointed, for they arrived at the pueblo of Oraibi, one of", "These unique and horrifying snake dances of the Moki have been\ndescribed so often that I need not speak of this performance in\ndetail. Before it was half over the girls wished they were back in", "see the performance. Now I am not sure but the \"Snake Dance\" was so\nopportune because Uncle John had a private interview with the native", "Their camp had been pitched just at the outskirts of the Indian\nvillage, but the snake dance was to take place in a rocky glen some", "them. They first visited the chief, who announced that the ceremonies\nwere about to begin. At a word from this imposing leader a big Indian\ncaught up Myrtle and easily carried her on his shoulder, as if she", "their automobile; but the Major whispered that for them to leave would\ncause great offense to the Indians and might result in trouble. The\ndance is supposedly a religious one, in honor of the Rain God, and at", "held during the month of August for many centuries--long before the\nSpanish conquistadors found this interesting tribe--was found to be on\ntap for that very evening. The girls were tremendously excited at the", "bonfires in a rock strewn plain usually claimed by nature. When the\ndancers were more frenzied they held the squirming serpents in their", "beside it and stared rather rudely at the party. They were dressed as\ncowboys usually are, with flannel shirts, chapelets and sombrero hats;", "Adjoining the hotel was a bazaar, in front of which sat squatted upon\nthe ground two rows of Mojave Indians, mostly squaws, with their", "\"See,\" he said; \"you are save only by mercy of Great White Chief. You\nver' lucky Injun. But Great White Chief will leave only one eye here", "From the reservation to the Grand Canyon of the Colorado was not far,\nbut there was no \"crosscut\" and so they were obliged to make a wide", "the prettiest villages on the mesa, on the eve of one of their\ncharacteristic snake dances, and decided to remain over night and", "even occupying themselves in weaving the famous Navajo blankets, which\nare now mostly made in Philadelphia. Even Patsy, who had longed to", "\"What a horrible idea!\" exclaimed Patsy.\n\n\"They're quite liable to dance and murder in the same breath,\" the\nMajor observed, gloomily.", "\"If the dance depends upon us, there will be no dance,\" said Patsy,\nfirmly.\n\n\"I thought you advised submitting to the whim of these ruffians,\" said\nUncle John in surprise.", "Moki used rattlesnakes, which are native to the mesa and its rocky\ncliffs. Some travelers have claimed that the fangs of the rattlers are", "California. It isn't a short route, at that. On Beth's account we\nshall visit the Moki and Navajo reservations, and on Patsy's account", "antagonism. Occasionally, however, one of the Moki priests is bitten,\nin which case nothing is done to aid him and he is permitted to die,", "can do is ride and hunt--play cards and quarrel. But your coming has\ncreated no end of excitement and this dance will be our red-letter day" ], [ "purse of Fortunatus and the generosity of Glinda the Good. At night,\nwhen she was supposed to be asleep, Myrtle crept from her bed, turned", "\"Don't worry just yet about the awakening, dear,\" returned Patsy,\nleaning over to kiss her little friend. \"Just enjoy it while you can.\nIf fairylands exist, they were made for just such as you, Myrtle.\"", "\"For my part,\" said Myrtle softly, \"I've been in a real fairyland. It\nhas seemed like a dream to me, all this glorious journey, and I shall\nhate to wake up, as I must in time.\"", "like a fairy tale to her, and she imagined herself a Cinderella with\ntwo fairy godmothers who were young and pretty girls possessing the", "over mountain and plain into the paradise of the glowing West. Never\nbefore in her life had Myrtle enjoyed an outing, except for an hour or", "\"It will be glorious!\" prophesied Patsy, delightedly.", "\"She's a dear little thing,\" remarked Patsy, \"and seems very grateful\nfor the least kindness shown her. I am sure she has never been treated\nvery nicely by that stony-hearted old aunt of hers.\"", "\"I'm Myrtle,\" she replied, smiling in her relief. \"Myrtle Dean.\"\n\n\"Myrtle Dean!\" His voice was harsh; almost a shout.", "the \"plug-ugly,\" as she called herself, was so bright and animated and\nher blue eyes sparkled so constantly with fun and good humor, that\nshe attracted fully as much attention as her more sedate and more", "Beth met her and said they had important news to communicate. Not\nuntil she was in her own room, seated in a comfortable chair and\ngazing at them anxiously, did they tell the poor waif of the good", "\"Because you have suffered,\" he said, \"you have compassion for others\nwho suffer. But your trouble is over now?\"\n\n\"Almost,\" she said, smiling brightly.", "For a moment there was an awkward silence. The girls considered this\npersonal inquiry offensive and regretted admitting Wampus to the room.\nBut after a time the old German answered the question, quietly and in\na half amused tone.", "knowing she would try to comfort me. She was dead. Her daughter\nMyrtle, whom I had never seen, had been killed in an automobile\naccident. That is what her aunt, a terrible woman named Martha Dean,", "\"Not invariably,\" declared Patsy. \"Mumbles is different. Mumbles is a\ngood doggie, and wise and knowing, although he's only a baby dog yet.", "Patsy laughed at him. She knew something good was in store for her\nand like all girls was enraptured at the thought of visiting new and\ninteresting scenes.", "\"The man misjudged me,\" observed Patsy, with a merry laugh that\nmatched her twinkling blue eyes. \"In the end he got just two", "\"It is!\" cried Patsy, clasping her hands fervently. \"I can feel it in\nmy bones.\"", "quarters for the three girls, but a tent was spread, one side fastened\nto the car while the other was staked to the ground. Three wire\nfolding cots came from some hidden place beneath the false bottom of", "\"What a cruel old woman!\" cried Patsy, wrathfully. \"She ought to be\nhorsewhipped!\"", "darkness. Wampus kept one of the searchlights lit to add an element of\ncheerfulness to the scene, and Myrtle was prevailed upon to sing one" ], [ "prisoner. The chauffeur, partly an Indian himself, knew well how to\nmanage his captive and quieted the fellow by squeezing his throat with\nhis broad stubby fingers.", "Wampus leaped down and lifted the flap of the tent. The Major paused\nlong enough in the moonlight to stare at the chauffeur and say\nsternly:", "\"All right,\" said the chauffeur. \"You may depend on me. I am Wampus,\nan' not 'fraid of a hundred coward like these. Is not Mister Algy his\neye mos' beautiful blacked?\"", "It was savagely said, and Uncle John took warning and motioned Patsy\nto be silent.\n\n\"Lead the way, sir,\" he said. \"Our chauffeur will of course remain\nwith the car.\"", "\"I have not seen him, sir. But I have suspect him; so I sleep here.\"\n\n\"You are a wise chauffeur--a rare genus, in other words. Good night,\nWampus. Where's the Major?\"", "\"Danger?\" said the chauffeur, scornfully. \"Who cares for danger? I am\nWampus, an' I am here!\"", "\"They tell me,\" said Mr. Merrick, \"that you are an experienced\nchauffeur.\"\n\n\"I am celebrate,\" replied Wampus. \"Not as chauffeur, but as expert\nautomobilist.\"", "Wampus paid no attention. The fellow brought his riding whip down\nsharply on the chauffeur's shoulders, inflicting a stinging blow.", "\"You're a brave man, sir, for a chauffeur,\" he said. \"I congratulate\nyou,\"\n\nWampus still looked uneasy.\n\n\"I been arrest,\" he repeated.", "CHAPTER VII\n\nTHE CHAUFFEUR IMPROVES", "\"First,\" replied the Major, \"he has bought an automobile as big as a\nbaggage car. Next he has engaged a chauffeur who is a wild Canadian", "Uncle John's chauffeur throughout all the long journey, suddenly\ndeserted him. He whined to go with the other car, and when Patsy", "\"Don't worry,\" said the Major, consolingly. \"I'll keep my eye on the\nrascal. But he's a fine driver, isn't he?\"", "The Major was watching the new chauffeur carefully, and despite his\ndismal forebodings the man seemed not at all reckless but handled his\ncar with rare skill. So the critic turned to his brother-in-law and\nasked:", "\"Never be afraid,\" advised the chauffeur. \"I am Wampus, an' I am\nhere!\"", "was at heart a coward and a blusterer. The chauffeur's sole demerit in\nthe eyes of the others was his tremendous egotism. The proud remark:", "\"Who is 'he,' Wampus?\"\n\n\"Aut'mob'l'.\"\n\n\"When did you arrive?\"\n\n\"Half hour ago. He on side track.\"", "Indian with a trace of erratic French blood in his veins--a\ncombination liable to result in anything. Mr. Wampus, the half-breed", "\"You are great musician,\" he announced. \"You can believe it, for it is\ntrue. An' you have shake the hand of great chauffeur. I am Wampus.\"", "chauffeur seemed to be missing. Coming nearer, however, they soon\nwere greeted by a joyous barking from Mumbles and discovered Wampus" ], [ "Her father turned Mumbles over with his toe. The puppy lay upon its\nback, lazily, with all four paws in the air, and cast a comical glance\nfrom one beady bright eye at the man who had disturbed him.", "The bundle squirmed and wriggled. Patsy sat down on the floor and\ncarefully unwound the folds of the cloak. A tiny dog, black and", "grinned. Uncle John, aroused, sat up and found the puppy rolling on\nthe floor and fighting the handkerchief as if it had been some deadly\nfoe.", "Mumbles had finished his after-dinner nap and was now awakening to\nactivity. This dog's size, according to the Major, was \"about 4x6; but", "the crab's claw and Mumbles was free. Seeing his mistress, the puppy,\nstill whining with pain, hurried to her for comfort, while Uncle John\nturned to the man and said:", "Next day they were sitting in a group before the hotel when a man was\nseen approaching them with shuffling steps. Uncle John looked at him\nclosely and Mumbles leaped from Patsy's lap and rushed at the stranger\nwith excited barks.", "Indeed, the small waif by the fire was emitting a series of noises\nthat seemed a queer mixture of low growls and whines--evidence\nunimpeachable that he had been correctly named.", "\"Which of course you refused to do.\"\n\n\"Of course. I'd made up my mind to have that dog.\"\n\n\"Dogs,\" said the Major, \"invariably are nuisances.\"", "to the fireplace. He didn't travel straight ahead, as dogs ought to\nwalk, but \"cornerwise,\" as Patsy described it; and when he got to the", "creatures were mild and inoffensive. The road was fairly good and\nthey made excellent time, so that long before twilight Spotville\nwas reached and the party had taken possession of the one small and", "Mumbles retreating with his stubby tail between his legs. His\ncomradeship for Wampus surprised them all. The Canadian would talk\nseriously to the dog and tell it long stories as if the creature could", "Some one was before them, however. The foolish dog had found a huge\ncrab in the sand and, barking loudly, had pushed his muzzle against", "Wampus caught up the baby dog and held it under his arm while he took\nhis cap off and bowed respectfully to his employer.\n\n\"He an' me, we here,\" he announced.", "chauffeur seemed to be missing. Coming nearer, however, they soon\nwere greeted by a joyous barking from Mumbles and discovered Wampus", "carriage and put her in the back seat. Patsy sprang in next, with\nMumbles clasped tightly in her arms, the small dog having been forced", "Patsy were devoted to their new friend and even Mumbles was never so\nhappy as when Myrtle would hold and caress him. Naturally the former", "\"Twenty-five dollars!\" It startled Uncle John.\n\n\"For that bit of rags and meat?\" asked the Major, looking at the puppy\nwith disfavor. \"Twenty-five cents would be exorbitant.\"", "The Major decided to go, to \"look after our Patsy;\" so the three\njoined the long line of daring tourists and being mounted on docile,\nsure-footed burros, followed the guide down the trail.", "\"Thank you, Mr. Jones, for assisting our poor beast. Mumbles is an\nEastern dog, you know, and inexperienced in dealing with crabs.\"", "side, suddenly made a prodigious leap and landed in Myrtle's lap,\nwhere he began licking her chin and wagging his stumpy tail as if" ], [ "\"When you have Wampus, what more you want?\" he inquired. \"Maybe you\nnot know Wampus. You come from far East. All right. You go out and ask", "Wampus did not reply. It was not his business to criticise his\nemployers.\n\n\n\n\nCHAPTER XI\n\nA REAL ADVENTURE AT LAST", "by his simple words. His hearers were all silent when he had\nconcluded, feeling they could say nothing to console him or lighten\nhis burden. Only Wampus, sitting in the background, looked scornfully", "\"I am Wampus!\" was constantly on his lips and he had wonderful tales\nto tell to all who would listen of his past experiences, in every one\nof which he unblushingly figured as the hero. But he really handled", "A dusky form, prone upon the ground, began to squirm under Wampus, who\nwas then discovered to be sitting upon a big Indian and holding him", "and saw Wampus. He was walking with his thin little form bent and his\nhands deep in his trousers pockets. Incidentally Wampus was smoking", "The man obeyed. Wampus turned to the girls, who were now not only\nrelieved but on the verge of laughter and said deprecatingly:", "Wampus started away. He was displeased with the other car. It did\nnot suit him at all. And aside from the fact that the sour-faced", "The big car was an object of much curiosity to the natives, and during\nthe afternoon Wampus was the center of attraction. Myrtle had stood", "Wampus had to get out and crank the engines, which he calmly proceeded\nto do. The man who had called himself Algernon Tobey perceived his\nintention and urged his pony to the front of the car.", "Wampus shook his head.\n\n\"Never carry him,\" he replied. \"All gun he make trouble. Sometime he\nshoot wrong man. Don't like gun. Why should I? I am Wampus!\"", "Indian with a trace of erratic French blood in his veins--a\ncombination liable to result in anything. Mr. Wampus, the half-breed", "\"No, no!\" said Wampus, as if annoyed. \"You give me gun. See--I am\nWampus!\"\n\nSheepishly enough the Mexican surrendered the other weapon.", "\"Who is 'he,' Wampus?\"\n\n\"Aut'mob'l'.\"\n\n\"When did you arrive?\"\n\n\"Half hour ago. He on side track.\"", "Wampus moved uneasily in his chair.\n\n\"I like to know something,\" he remarked.\n\nDan'l roused himself and turned to look at the speaker.", "\"Aside from Haggerty, Wampus knows that country thoroughly,\" said\nUncle John stoutly.\n\n\"Tell me: did Haggerty recommend Wampus?\"\n\n\"No.\"", "\"Even Christian cannot sleep sometime,\" returned Wampus, leaning back\nin his seat and puffing a cloud of smoke into the clear night air.\n\"For me, I am good Christian; but I am not martyr.\"", "\"Why, it's Wampus,\" said Mr. Merrick. \"The car must have arrived.\"", "For a moment there was an awkward silence. The girls considered this\npersonal inquiry offensive and regretted admitting Wampus to the room.\nBut after a time the old German answered the question, quietly and in\na half amused tone.", "CHAPTER VI\n\nWAMPUS SPEEDS" ] ]

[ "Who does Louise marry?", "From what city does the family escape the cold winter?", "Where does the family go to escape winter?", "How is soouthern California described?", "What is Patsy's puppy's name?", "Who is Mummble's?", "How old is Myrtle Dean?", "How was myrtle injured?", "Where is the hotel de Coronado?", "Which of Aunt Jane's nieces are newly married at the start of the story?", "Who takes Arthur's wife place on the family trip to California?", "How did Myrtle find out that her uncle left Colorado?", "Where did Major Doyle meet Anson Jones' niece?", "Which reservation is the family visiting when they witness a snake dance?", "Why did Patsy and Beth dance with cowboys in Arizona?", "Where did Anson's niece save a man the second time?", "What caused Jones to want to kill himself?", "Where was Myrtle reunited with her uncle?", "How many people can the touring car Uncle John bought hold?", "Now that she is married, what is Louise's last name?", "How did Jones make his fortune?", "What hotel did the group stay in while in San Diego?", "What type of dance did the party witness while on the Hopi Reservation?", "What type of witch is Glenda?", "What was the half-Indian chauffeur's name?", "What was the name of the puppy that accompanied the four travelers?", "Where was Wampum from?" ]

[ [ "Arthur Weldon", "Arthur Weldon" ], [ "NY City", "New York City" ], [ "southern California", "Southern California" ], [ "The land of sunshine and roses", "Sunshine and Roses" ], [ "Mummbles", "Mumbles" ], [ "Patsy's puppy", "Patsey's Puppy" ], [ "teenager, 14-15", "Between the ages of 14 and 15. " ], [ "an automobile accident", "Automobile accident" ], [ "San Diego", "San Diego" ], [ "Louise Merrick", "Louise" ], [ "Major Doyle, Patsy's father", "Major Doyle" ], [ "Uncle John told her", "Uncle John telegraphed to see if he was still in Leadville" ], [ "on the train to Denver", "On the train to Denver" ], [ "Hopi", "Hopi" ], [ "the cowboys wouldn't let the family pass unless the girls danced with them", "The cowboys refused to let them pass without a dance" ], [ "San Diego", "San Diego" ], [ "he was told that his niece was dead", "He thought Myrtle was dead" ], [ "At the hotel in California", "San Diego" ], [ "Seven", "Seven. " ], [ "Weldon", "Weldon" ], [ "Mining", "mining" ], [ "Hotel del Coronado", "Hotel Del Coronado" ], [ "A snake dance", "Hopi Snake Dance" ], [ "Good witch", "Good witch" ], [ "Wampum", "Wampus." ], [ "Mumbles", "Mumbles " ], [ "Quebec", "Indian" ] ]

[ [ "JOHN\n Well, I miss them.\n He turns back to his work. She looks at him, sets her pad\n aside, comes up behind him, puts her arms around him.", "14 CONTINUED:\n\n JOHN (CONT'D)\n Like a Pulitzer, but for western\n Michigan.", "John sits there watching them. watching his family. The\n family that both he and Marley grew up in.\n He gives the fresh dirt a final, loving pat and then, as the", "17-\n John pulls up, gets out of the car. His neighbors, The", "JOHN\n That means us, pal.\n He rearranges Marley so he's on John's left.", "JOHN (CONT'D)\n Let's just sit for a while.\n The two of them sit there, looking out at the beautiful", "JOHN\n I said thank you very much, but I'm\n happy where I am. I mean, it's a big\n change, Florida to Pennsylvania.", "JOHN\n Okay. Well, if you see him... thanks.\n He hangs up, goes to the window.", "There's this new place in the meat\n Packing District. How's that sound? Be\n just like old times.\n John stands there a moment, feeling the distance between", "JOHN\n Well, as you know, Sebastian and I were\n in college together, and he was always\n talking about South Florida... mostly", "JOHN\n Right. Another time then.\n John watches him move off, a secretary giving Sebastian a big", "JOHN (CONT'D)\n He's so happy. He has no idea what's\n about to happen to him.", "JOHN (CONT'D)\n Jenny?! Can you help me out here? I\n got twenty minutes to file this column!\n We follow John as he gets up from his desk, heads towards the\n back bedroom...", "John stands there letting Marley out. He looks back at the\n house, watches Jenny through the window as she sets Patrick\n down in his crib, shuts the light out.", "JOHN\n Anyway, don't worry, he's doing great.\n Like he's lived here his whole life.", "JOHN\n Nice place. How long you been here?\n\n SEBASTIAN\n Two years, little more.\n Sebastian sees John looking at all of the unpacked boxes.", "JOHN\n You wanna walk?\n He sets him down gingerly. Hesitantly, Marley walks over to", "John puts few big stones on top of the tamped-down earth. He\n sits on his haunches beside the grave, looks up at the house\n across the yard.", "LISA (CONT'D)\n Where you moving to?\n\n JOHN\n Boca.\n\n LISA\n Huh.", "203 EXT. PENNSYLVANIA HOUSE - DAY\n\n As a cab pulls away and John carries his suitcase up onto the\n porch.\n\n 204" ], [ "JOHN\n Yeah...\n (snapping his fingers at the\n dog, shaking his head \"no\")\n He's very cute. Just like a little kid\n only furrier.", "JOHN (CONT'D)\n What's the matter, boy? You didn't\n hear me? Huh?\n He looks at the dog a moment, thoughtful, then...", "JOHN\n No no... I just wanted you to know I'm\n back.\n The puppy whimpers and he goes over to him, reaches into the\n box and pets him...", "JOHN\n Hey... guy.\n The dog just stares at him quizzically. Uncomfortable alone", "JOHN (CONT'D)\n No-- stay boy... stay.\n (the dog crawls into his lap)", "JOHN (CONT'D)\n No, no, no!\n He picks up the puppy and rushes him outside.", "JOHN\n Marley, heel!\n Marley takes off like a fighter jet, dragging John behind.", "Instead, the puppy runs around the car, barking, jumping up\n on the bumpers. John finally catches him, lifts him up, puts\n him on the front passenger seat atop some towels.", "JOHN\n Meant to be.\n He watches her cuddle the puppy and knows he's done the right\n thing.", "chases Marley around the room. John sits in the car, unable\n to move, just watching the chaos in the window.\n Marley jumps up against the glass, stands on his hind legs,", "returns to eating. John is right behind him. John reaches\n out and touches Marley, and Marley jumps, totally guilty.\n Then he turns and greets John.", "SEBASTIAN\n John, you buy this dog, you're saving\n your world. Because that ticking you\n hear, is not a bomb, it's her\n biological clock.\n John looks back at him.", "JOHN\n Come on, boy, just a little further to\n the top...\n Marley comes up, panting, eyes wet and happy. John looks at\n him, can see how tired he is.", "A moment. But then Marley jumps up and wriggles in delight.\n John painfully unfolds himself, checks for injuries. Marley\n comes up and romps with him.", "John steps out of his car and the puppy, now twice the size\n he was three weeks ago, bounds over to him. A harried Lori\n follows, a rope leash and instruction. sheet in hand.", "JOHN (CONT'D)\n Least I can do.\n John lowers the window and Marley gets his whole snout out.", "John helps Jenny through the kitchen door. Marley follows\n them, circles them wildly, then stops, puzzled, as he looks\n at them. Jenny goes into the living room; Marley follows\n her.", "JOHN\n This is our house...\n The dog immediately pees on the ground.\n\n JOHN (CONT'D)\n And now it's yours.", "JOHN\n Look. There's Marley!\n THROUGH THE WINDOW they can see Marley's crate arriving at", "JOHN\n Well, that was fun.\n (to the dog)\n Congratulations, Marley. You flunked\n obedience school." ], [ "The house where John and Jenny bought Marley. Lori, the\n breeder, looks at Marley, sitting in the front seat, shakes\n her head sadly.", "leaps at him from behind. Marley skitters away. Ah, a game!\n He wags his tail, prances, sticks his rear in the air and his", "JOHN\n Marley, heel!\n Marley takes off like a fighter jet, dragging John behind.", "Early Spring. The snow has melted. Marley, still as a\n statue, sits at the side of the road, waiting. Suddenly, he\n stands up and starts to wag his tail.", "suddenly in their laps.\n Marley is pulling the table, like a dog with a sled, towards\n the now-terrified small dogs. He is chugging forward with", "one poor poodle runs for her life.\n Finally, back where Marley started, the terrified toy poodle\n leaps into Jenny's arms. Marley tries to brake -", "that's when we hear a small, birdlike chirp and the dog\n freezes. Where'd that come from?\n We hear the coo again and this time Marley lifts one paw in", "JOHN\n Well, that was fun.\n (to the dog)\n Congratulations, Marley. You flunked\n obedience school.", "beside Marley and lets the dog sniff the baby's toes, then up\n his legs, finally his diaper which puts Marley into a Pampers", "and towards the right, and he'll\n respond. Shall we? One, two, three -\n now!\n Just as the dogs and owners prepare to step off, Marley", "leans down, puts his nose on Marley's neck and breathes him\n in. Then he goes around, squats down so he's on Marley's", "JENNY'S VOICE\n There are just a few things about\n Marley you need to know. He eats three", "free of their leashes and run. Several innocent bystanders\n are knocked off their feet.\n There's a florist kiosk in the center of the plaza; Marley-", "chases Marley around the room. John sits in the car, unable\n to move, just watching the chaos in the window.\n Marley jumps up against the glass, stands on his hind legs,", "lamb out of his pocket, places it under a paw. When John\n puts a hand on his flank, Marley's eyes flutter open. His\n tail THUMPS gently.", "A moment. But then Marley jumps up and wriggles in delight.\n John painfully unfolds himself, checks for injuries. Marley\n comes up and romps with him.", "his ears and listens. Please don't bark, dog. Please don't\n bark. BEEP BEEP- And Marley BARKS, bolts out of the room...", "JOHN (CONT'D)\n Look, I don't know where you're going\n from here, but you remember this:\n You're a great dog, Marley. You are a\n great dog.", "JOHN (CONT'D)\n Marley? Hey, boy.\n Marley looks up briefly as if he heard something, but then", "JOHN (CONT'D)\n Marley. Okay-- Marley. Cool.\n But now the pup starts wriggling towards John, John tries to\n put him back..." ], [ "JOHN (CONT'D)\n Marley!\n\n \n\n \n\n \n\n \n 75.", "JOHN (CONT'D)\n Marley? Hey, boy.\n Marley looks up briefly as if he heard something, but then", "JOHN\n Marley, heel!\n Marley takes off like a fighter jet, dragging John behind.", "JOHN\n Marley, no!\n - and suddenly, he is jerked back. John has tackled the", "JOHN (CONT'D)\n Marley! NO!\n But he's gone and John has to stay with the girl. We hear", "JOHN\n Look. There's Marley!\n THROUGH THE WINDOW they can see Marley's crate arriving at", "JENNY\n Marley!\n John starts off into the dark...", "JOHN (CONT'D)\n Marley, it's a screen, you're not gonna", "JOHN\n Uh-oh...\n And a moment later Marley's head goes bobbing by.\n\n 173", "JENNY\n Marley?\n (turns to John)\n Have you seen him?\n\n JOHN\n He's not up here.\n\n 207", "JOHN\n Well, we've already fixed Marley.\n Literally.\n\n (CONTINU ED)", "JENNY\n Marley!\n\n JOHN\n Where were you?", "JOHN\n Marley!\n Marley jumps into a pile of leaves, scatters them everywhere,\n rolls over onto his back and knocks over a rake, which falls\n and breaks a basement window.", "JOHN\n\n G\n Maybe not, maybe Marley is one thin\n too many.", "JOHN\n Marley, no!\n John chases him across the backyard. Marley goes under the\n fence and John starts to go over into...", "28 CONTINUED:\n\n JENNY\n Marley. I like that...\n\n 29 INT. 345 CHURCHILL - NIGHT 29", "A MUFFLED MOAN is coming from beneath his feet. Clearly it's\n Marley. Passengers near them frown.", "sleeping. And then we see Marley's head rise and reveal\n itself as Marley lifts it to look at John standing there.\n He'd been laying there on the bed behind Patrick. He looks", "JOHN\n You wanna walk?\n He sets him down gingerly. Hesitantly, Marley walks over to", "JOHN (CONT'D)\n Marley. Okay-- Marley. Cool.\n But now the pup starts wriggling towards John, John tries to\n put him back..." ], [ "MS. KORNBLUT\n That's because he's eating it... Get it\n out of his mouth. Class? Give your\n dogs the sit command.\n All the dogs sit; John forces Marley's butt down.", "With difficulty, Ms. Kornblut manages to return Marley to\n John, but not before, as a coup-de-grace, he starts humping", "MS. KORNBLUT (CONT'D)\n That, class, is an example of a dog\n that has been foolishly allowed to", "MS. KORNBLUT, weathered and stern, is studying John. Behind\n John, eight puppies and their owners are chatting before the\n class begins.", "MS. KORNBLUT\n Correct him!\n John gives a mighty yank on the leash. Marley coughs,", "MS. KORNBLUT (CONT'D)\n Rein in that dog! All right, everyone,\n line up again. Demonstration. Mr.", "MS. KORNBLUT\n Class? Even an unruly dog wants to\n obey his leader. Marley? Heel.", "RESENTS\n Oh, he knows, and trust me, he\n the hell out of me right now. Go on,\n Marley! Get out!\n But Marley jumps up on the bed, tries to climb on both of", "his ears and listens. Please don't bark, dog. Please don't\n bark. BEEP BEEP- And Marley BARKS, bolts out of the room...", "MS. KORNBLUT\n He's a bad influence on the others.\n Leg-humping is a virus. Once it takes\n hold in a group - he has to go!", "Ms. Kornblut half-stumbles, half rockets across the park.\n She manages to turn Marley around, and the whole process\n begins again as they make their way back to the line. Her", "JOHN\n Well, that was fun.\n (to the dog)\n Congratulations, Marley. You flunked\n obedience school.", "MS. KORNBLUT\n Incorrigible? I don't believe in that.\n All dogs want to learn. But they can't\n when their owners are weak-willed.", "MS. KORNBLUT (CONT'D)\n That's it! He's out!", "LISA\n well, I don't blame you. I just\n thought I'd come over and say--\n But Marley comes running over and she crouches down to greet\n him. She hugs him a while...", "We track with him until a WOMAN WALKING A POODLE IS NOW IN\n FRAME and Marley gets the two women entangled as he starts\n humping the smaller dog...", "JOHN\n Marley!\n Marley jumps into a pile of leaves, scatters them everywhere,\n rolls over onto his back and knocks over a rake, which falls\n and breaks a basement window.", "chases Marley around the room. John sits in the car, unable\n to move, just watching the chaos in the window.\n Marley jumps up against the glass, stands on his hind legs,", "JOHN\n Huh.\n It's already completely gnawed up. John looks at Marley who\n emerges dragging a roll of toilet paper, rams right into the\n screen door, bounces back.", "They kiss him goodbye. Get in the cab and go. Debby runs to\n Marley, grabs his leash and struggles with all her might to\n hold on to Marley." ], [ "JENNY\n Yes, it is.\n\n JOHN\n Anyway.\n John smiles at her, then goes to his sons...", "JENNY (CONT'D)\n Marley!\n John hurries after the dog; Jenny stays with the boys.", "JENNY\n John! The creek!\n The toboggan bumps over the crest of a small hill and sails", "JOHN\n Hey, boy.\n\n (LOOKS AROUND)\n Jenny?", "JOHN\n (nods, then)\n Okay.\n\n JENNY", "JOHN (CONT'D)\n Jenny?\n We follow him into the room, an anxious Marley close at his\n heels. She's not here, he turns around just as she steps out\n of the bathroom, smiling...", "JENNY (CONT'D)\n Look at us.\n She looks up at John and smiles. He returns the smile.\n Mission accomplished.", "JENNY\n John, grab him!\n Before John can do anything, Marley is off his lap and\n scrambling out the window of the moving car.", "JOHN\n I'll get him.\n John leaves the room. Jenny sits there.\n\n 143 INT. JOHN & JENNY'S BEDROOM - NIGHT 143", "JENNY\n Conor, come on... Conor, please...\n She finally stops trying, rocks the chair, looks helplessly\n at John.", "JENNY\n Marley, no!\n Jenny chases him into the kitchen, past John who holds up the\n newspaper...", "JENNY\n Okay, honey, let's go back to bed.\n She leads him out of the room. And a second later Conor\n starts crying. John lies there a moment, then gets up.", "JOHN\n Okay, who wants to help me here? Kids?\n Marley, you too.\n Jenny squats down with the cake, and John and his kids start\n to blow out the candles.", "JENNY\n\n WHOA--\n She catches her breath, leans over to John.\n\n JENNY (CONT'D)\n John. John, wake up.", "JOHN (CONT'D)\n Okay. Now.\n Jenny opens her eyes and sees a utility room. Nine yellow\n yipping Lab puppies tumble out of a cardboard box towards\n John and Jenny.", "JENNY\n Happy birthday, honey!\n And he kisses Jenny. Hugs the kids. Jenny watches him as he i en t e d , distracted.\n shakes hands, hugs their friends, disor", "JENNY\n Boys, say hello to Colleen...\n We PULL BACK TO REVEAL: Patrick, now six and Conor four,", "JENNY (CONT'D)\n See, he's not gonna hurt him.\n\n JOHN\n No, but I'm gonna have to put a lock on\n the diaper pail.", "JENNY (CONT'D)\n I love you, John.\n\n 216\n\n 216 EXT. PARKING LOT - NIGHT", "66 CONTINUED:\n\n JENNY" ], [ "JOHN\n Forty. Jesus Christ...\n He looks at Marley a moment, then...", "(THEN)\n Maybe it's time for a change.\n\n JOHN\n I'm forty, Jen. Seems kinda late for\n that.", "JOHN\n I don't know. Maybe it's turning 40\n next week, or maybe...\n\n ARNIE\n Maybe what?", "40 CONTINUED:\n As John opens his eyes to see Marley snuggled up against his\n face. Marley's eyes looking into his. John reaches over the\n puppy and shuts off the alarm.", "JOHN (CONT'D)\n Let's just sit for a while.\n The two of them sit there, looking out at the beautiful", "JOHN (CONT'D)\n --there.\n\n 42 INT. BATHROOM - LATER 42\n\n John gets drenched as he gives Marley a bath.", "John sits there watching them. watching his family. The\n family that both he and Marley grew up in.\n He gives the fresh dirt a final, loving pat and then, as the", "JOHN\n You wanna walk?\n He sets him down gingerly. Hesitantly, Marley walks over to", "JOHN (CONT'D)\n He's so happy. He has no idea what's\n about to happen to him.", "JOHN\n Well, I miss them.\n He turns back to his work. She looks at him, sets her pad\n aside, comes up behind him, puts her arms around him.", "JOHN\n Oh, it continues...\n An awkward moment as he now searches for the new page, has to", "40.\n\n 59\n\n 59 CONTINUED:\n\n JOHN\n He's fine. He just wants a little", "He exits. John is still holding the blank videotape. He\n tries to hide it from Jenny. He leaves. Jenny and John look\n at each other.", "JOHN\n Oh. Alright then. I'll see what I can\n do.\n He hangs up. Looks at Sebastian.", "JOHN\n Okay. Well, if you see him... thanks.\n He hangs up, goes to the window.", "JOHN (CONT'D)\n Jenny?! Can you help me out here? I\n got twenty minutes to file this column!\n We follow John as he gets up from his desk, heads towards the\n back bedroom...", "countryside below. John strokes Marley for a moment. Looks\n at the grey hair, the tired eyes that now look back at him.", "looks at her. Is this a trick? He considers. Then he\n closer. John tiptoes up behind him, ever so slowly.", "20\n\n 20 CONTINUED:\n\n JOHN (CONT'D)\n Happy Birthday.", "JOHN\n Right. Another time then.\n John watches him move off, a secretary giving Sebastian a big" ], [ "JOHN (CONT'D)\n Marley!\n\n \n\n \n\n \n\n \n 75.", "JOHN\n Marley, no!\n - and suddenly, he is jerked back. John has tackled the", "JOHN\n Marley, heel!\n Marley takes off like a fighter jet, dragging John behind.", "JOHN (CONT'D)\n Marley! NO!\n But he's gone and John has to stay with the girl. We hear", "JOHN\n Uh-oh...\n And a moment later Marley's head goes bobbing by.\n\n 173", "JOHN\n You wanna walk?\n He sets him down gingerly. Hesitantly, Marley walks over to", "JOHN\n Marley!\n Now Jenny appears in the front door.\n\n JENNY\n What's wrong?\n\n JOHN\n He's not coming.", "JOHN (CONT'D)\n Okay, boy.\n (as Marley moves close)\n Okay.\n John, his heart breaking, bends down to carry Marley up the\n front steps of the clinic.", "JOHN (CONT'D)\n Marley? Hey, boy.\n Marley looks up briefly as if he heard something, but then", "JOHN\n (looking at Marley)\n We're ready.\n Dr. Platt inserts the needle into the I.V. and presses the\n plunger.", "JOHN\n Marley!\n Marley jumps into a pile of leaves, scatters them everywhere,\n rolls over onto his back and knocks over a rake, which falls\n and breaks a basement window.", "sleeping. And then we see Marley's head rise and reveal\n itself as Marley lifts it to look at John standing there.\n He'd been laying there on the bed behind Patrick. He looks", "JOHN\n Look. There's Marley!\n THROUGH THE WINDOW they can see Marley's crate arriving at", "JOHN (CONT'D)\n Marley, it's a screen, you're not gonna", "JOHN\n Well, we've already fixed Marley.\n Literally.\n\n (CONTINU ED)", "JOHN (CONT'D)\n C'mon, man, do your thing.\n (Marley just stares)", "A moment. But then Marley jumps up and wriggles in delight.\n John painfully unfolds himself, checks for injuries. Marley\n comes up and romps with him.", "JOHN (CONT'D)\n Poor son-of-a-bitch.\n A guilty John cracks the window just a bit and Marley begins", "(GETS UP)\n Come on, boy...\n Marley gets to his feet, follows John to the front door.\n\n 188", "As Marley's eyes finally close. The CAMERA drifts to John's\n hand, stroking Marley's side. Dr. Platt listens to Marley's\n heart and says:" ], [ "John sits there watching them. watching his family. The\n family that both he and Marley grew up in.\n He gives the fresh dirt a final, loving pat and then, as the", "JOHN (CONT'D)\n You know what, this is a good spot\n right here.\n John looks out at the valley below, settles down onto the\n damp earth beside Marley.", "sleeping. And then we see Marley's head rise and reveal\n itself as Marley lifts it to look at John standing there.\n He'd been laying there on the bed behind Patrick. He looks", "As the five Grogans walk across the-property. Colleen sits\n on John's shoulders. They reach a clearing where we see a\n small grave has been dug. John sets Colleen down...", "JOHN (CONT'D)\n Okay, boy.\n (as Marley moves close)\n Okay.\n John, his heart breaking, bends down to carry Marley up the\n front steps of the clinic.", "begun.\n She looks into the grave, gently sets the necklace atop the\n blanket, lets her hand rest there a moment, then stands up.", "JOHN\n Marley, no!\n John chases him across the backyard. Marley goes under the\n fence and John starts to go over into...", "JOHN\n You wanna walk?\n He sets him down gingerly. Hesitantly, Marley walks over to", "John stands there letting Marley out. He looks back at the\n house, watches Jenny through the window as she sets Patrick\n down in his crib, shuts the light out.", "John and Jenny run to'a tree at the edge of the property.\n Marley lies on the ground, in a hollow, hidden from view from", "JOHN\n Marley, heel!\n Marley takes off like a fighter jet, dragging John behind.", "JOHN\n Look. There's Marley!\n THROUGH THE WINDOW they can see Marley's crate arriving at", "JOHN\n I'll bring this in. Go on up.\n The kids and Marley head up to the house. John drags the", "They kiss him goodbye. Get in the cab and go. Debby runs to\n Marley, grabs his leash and struggles with all her might to\n hold on to Marley.", "JOHN (CONT'D)\n Marley! NO!\n But he's gone and John has to stay with the girl. We hear", "58 INT. 345 CHURCHILL ROAD - DAY\n\n As they follow Marley back into the house.", "A two-story country house, no neighbors visible. Trees,\n land, woodpile, the whole country living thing. The Grogans\n pile out of the car, look at the house. Marley takes off\n running...", "JENNY\n Marley!\n John starts off into the dark...", "48 INT. 345 CHURCHILL ROAD - DAY 48\n\n As Marley bursts out of the back bedroom with one of Jenny's\n bras in his mouth.", "JOHN\n That means us, pal.\n He rearranges Marley so he's on John's left." ], [ "JENNY\n Who are you?\n\n JOHN\n I'm John Grogan.", "JENNY\n Wrong. You're John Friggin Grogan\n who's about to get a job.\n She leans over and gives him a big, long kiss.", "GROGAN and his bride of two hours, JENNY. In response to the\n crowd, they kiss.\n Standing right by them is SEBASTIAN -- tall, good looking,", "JOHN\n Jenny?\n A wet Marley bounds into the house, heads for the back. John\n follows.", "John helps Jenny through the kitchen door. Marley follows\n them, circles them wildly, then stops, puzzled, as he looks\n at them. Jenny goes into the living room; Marley follows\n her.", "John stands there letting Marley out. He looks back at the\n house, watches Jenny through the window as she sets Patrick\n down in his crib, shuts the light out.", "puts his head to the ground. John feints, tries to maneuver\n Marley back into Jenny.\n Jenny finally grabs him from behind. John pries open his", "JOHN\n Well, Jenny Grogan now--\n\n ARNIE\n She take the job at the Post?\n\n JOHN", "JENNY (CONT'D)\n Marley!\n John hurries after the dog; Jenny stays with the boys.", "JOHN (CONT'D)\n Jenny?! Can you help me out here? I\n got twenty minutes to file this column!\n We follow John as he gets up from his desk, heads towards the\n back bedroom...", "JOHN (CONT'D)\n Okay. Now.\n Jenny opens her eyes and sees a utility room. Nine yellow\n yipping Lab puppies tumble out of a cardboard box towards\n John and Jenny.", "John and Jenny lug their suitcases across the front lawn to\n the car, Marley running around them. Debby's glancing\n through the binder.", "JENNY\n John, grab him!\n Before John can do anything, Marley is off his lap and\n scrambling out the window of the moving car.", "The house where John and Jenny bought Marley. Lori, the\n breeder, looks at Marley, sitting in the front seat, shakes\n her head sadly.", "JOHN (CONT'D)\n Jenny?\n We follow him into the room, an anxious Marley close at his\n heels. She's not here, he turns around just as she steps out\n of the bathroom, smiling...", "59 INT. JENNY'S CAR - DAY\n\n Jenny at the wheel. John in the passenger seat. Marley in the\n back, his front paws balanced on the center console.", "Jenny's been watching. She stands there thoughtfully as John\n puts the frisbee in the box and resumes the hunt for the rest\n of Marley's stuff, the dog following him.", "JENNY (CONT'D)\n Look at us.\n She looks up at John and smiles. He returns the smile.\n Mission accomplished.", "LORI (CONT'D)\n Well, that's your guy.\n John scoops him up. Clearance Puppy licks his face. John\n hands him to Jenny. She lets him lick her face...", "JENNY\n Ow!\n Suddenly, A GROWL. They turn to see Marley glaring at John." ], [ "13 EXT. FORT LAUDERDALE SUN-SENTINEL NEWSPAPER BUILDING - DAY 13\n\n As John crosses his fingers, waves and enters the building...", "JOHN\n Well, she does features. I'm more a\n straight news writer. This is a better\n paper for that.", "SEBASTIAN (O.S.) (CONT'D)\n Although, technically, they didn't work\n together so much as John worked for\n Jenny who was the editor of said\n paper...", "208\n\n 208 INT. PHILADELPHIA INQUIRER - DAY\n\n John sits across from his editor.", "JOHN (CONT'D)\n And... we're home.\n\n 178 INT. PHILADELPHIA INQUIRER - DAY 178", "JOHN (CONT'D)\n They're offering me a job.\n\n (THEN)\n As a reporter. I guess the editor was\n down here on vacation, read my stuff.", "As John is introduced to fellow staff and reporters, most of\n them at least ten years younger than he is. He's shown his", "157 INT. SUN-SENTINAL OFFICE - DAY\n\n John is working at his desk when Arnie drops a few stacks of\n letters down.", "JOHN\n Oh yeah.\n\n 12 EXT. FORT LAUDERDALE SUN-SENTINEL NEWSPAPER BUILDING - DAY 12", "JENNY\n Who was on the phone?\n\n JOHN\n Philadelphia Inquirer.\n She looks at him.", "JOHN (CONT'D)\n What're you looking at?\n\n JENNY\n Your old columns. He's in a lot of\n 'em.", "173 INT. SUN-SENTINAL OFFICE - DAY\n\n out of his\n As John packs up his desk. Arnie sticks his head\n office.", "JOHN (CONT'D)\n Jenny?! Can you help me out here? I\n got twenty minutes to file this column!\n We follow John as he gets up from his desk, heads towards the\n back bedroom...", "News footage of Iraq's invasion of Kuwait on television. John\n and Jenny sit at the table reading a different newspapers. He\n glances at her...", "JOHN\n I did, but I think we both know that\n isn't me. I'm a columnist. A good\n one.\n A SECRETARY sticks her head in the office...", "68 INT. SUN-SENTINAL OFFICE - DAY\n\n desk.\n John walks out of the office, pensive, sits down at his\n His PHONE RINGS.", "14 CONTINUED:\n\n JOHN (CONT'D)\n Like a Pulitzer, but for western\n Michigan.", "JENNY\n Marley, no!\n Jenny chases him into the kitchen, past John who holds up the\n newspaper...", "John sits anxiously across from Arnie who sits at his desk\n reading. The editor's expression is grim as he looks up at\n John.", "75 INT. ARNIE'S OFFICE - DAY\n\n As John hands Arnie his latest column..." ], [ "JENNY (CONT'D)\n Look at us.\n She looks up at John and smiles. He returns the smile.\n Mission accomplished.", "JOHN\n (nods, then)\n Okay.\n\n JENNY", "SEBASTIAN (O.S.) (CONT'D)\n Although, technically, they didn't work\n together so much as John worked for\n Jenny who was the editor of said\n paper...", "JOHN (CONT'D)\n Okay, I'm lying, and I think you know\n that... so maybe the best thing is to\n just not talk about it.\n Jenny cuts him a look. He lowers his voice.", "JENNY\n Yes, it is.\n\n JOHN\n Anyway.\n John smiles at her, then goes to his sons...", "JENNY\n Wrong. You're John Friggin Grogan\n who's about to get a job.\n She leans over and gives him a big, long kiss.", "JOHN\n Well, Jenny Grogan now--\n\n ARNIE\n She take the job at the Post?\n\n JOHN", "ARNIE\n For the work?\n\n JOHN\n Yes. That.\n\n ARNIE\n Your wife's Jenny Havens, right?", "JOHN\n I'll get him.\n John leaves the room. Jenny sits there.\n\n 143 INT. JOHN & JENNY'S BEDROOM - NIGHT 143", "JOHN\n You know Jenny, she's got her whole\n life organized and planned out...\n Sebastian smiles at a secretary, turns back to John.", "JENNY\n Really good.\n He lifts out of his chair and kisses her, a long one.\n\n JOHN\n So. What's next?", "John and Jenny, both in cap and gowns, drinking from plastic\n champagne glasses. John displays the top of his cap to\n CAMERA: the words \"NEED JOB\" are spelled out in white\n adhesive tape.", "JOHN (CONT'D)\n Jenny?\n We follow him into the room, an anxious Marley close at his\n heels. She's not here, he turns around just as she steps out\n of the bathroom, smiling...", "JENNY (CONT'D)\n okay... \"Jobs.\" Done.\n\n JOHN\n So what's next? Lunch?\n\n JENNY", "JOHN (CONT'D)\n Jenny?! Can you help me out here? I\n got twenty minutes to file this column!\n We follow John as he gets up from his desk, heads towards the\n back bedroom...", "JENNY\n\n WHOA--\n She catches her breath, leans over to John.\n\n JENNY (CONT'D)\n John. John, wake up.", "JOHN\n Hey, boy.\n\n (LOOKS AROUND)\n Jenny?", "JENNY\n John! The creek!\n The toboggan bumps over the crest of a small hill and sails", "JOHN (CONT'D)\n Okay. Now.\n Jenny opens her eyes and sees a utility room. Nine yellow\n yipping Lab puppies tumble out of a cardboard box towards\n John and Jenny.", "JOHN (CONT'D)\n What're you looking at?\n\n JENNY\n Your old columns. He's in a lot of\n 'em." ], [ "JOHN\n Oh. Alright then. I'll see what I can\n do.\n He hangs up. Looks at Sebastian.", "JOHN (CONT'D)\n Okay, I'm lying, and I think you know\n that... so maybe the best thing is to\n just not talk about it.\n Jenny cuts him a look. He lowers his voice.", "He exits. John is still holding the blank videotape. He\n tries to hide it from Jenny. He leaves. Jenny and John look\n at each other.", "JOHN (CONT'D)\n Jenny?\n We follow him into the room, an anxious Marley close at his\n heels. She's not here, he turns around just as she steps out\n of the bathroom, smiling...", "JOHN\n Right. Another time then.\n John watches him move off, a secretary giving Sebastian a big", "JENNY\n You know, John, there is something else\n we can do--\n\n JOHN\n (looks at her)\n No, no, I'm not doing that to him.", "SEBASTIAN\n You giving up the dog? i thought yo u\n loved that thing.\n\n JOHN\n Jenny wants him out.", "JOHN\n You know Jenny, she's got her whole\n life organized and planned out...\n Sebastian smiles at a secretary, turns back to John.", "JOHN\n I'll get him.\n John leaves the room. Jenny sits there.\n\n 143 INT. JOHN & JENNY'S BEDROOM - NIGHT 143", "puts his head to the ground. John feints, tries to maneuver\n Marley back into Jenny.\n Jenny finally grabs him from behind. John pries open his", "JENNY (CONT'D)\n Look at us.\n She looks up at John and smiles. He returns the smile.\n Mission accomplished.", "JENNY\n Really good.\n He lifts out of his chair and kisses her, a long one.\n\n JOHN\n So. What's next?", "As jenny pulls up out front of the building.\n\n INT. CAR - SAME\n\n She turns to John.", "JOHN (CONT'D)\n I'm gonna get in the car, maybe drive\n\n OVER TO--\n (he sees something)\n Jenny.", "JENNY\n John, grab him!\n Before John can do anything, Marley is off his lap and\n scrambling out the window of the moving car.", "JENNY\n Are you kidding?\n (leans on him)\n You're part of the plan.\n\n JOHN\n The plan.", "SEBASTIAN\n She's calling you home, isn't she?\n\n JOHN\n Yeah. See you later.\n John starts out of the bar. Sebastian calls after him.", "SEBASTIAN (O.S.) (CONT'D)\n Although, technically, they didn't work\n together so much as John worked for\n Jenny who was the editor of said\n paper...", "JENNY\n Okay, honey, let's go back to bed.\n She leads him out of the room. And a second later Conor\n starts crying. John lies there a moment, then gets up.", "JENNY\n You wanna join them?\n He looks at her.\n\n JOHN\n Are you sure, because we don't have\n to..." ], [ "JOHN\n It'd be twice a week. Six hundred\n words.\n\n EDITOR\n And what's the subject?", "JOHN (CONT'D)\n Let's just sit for a while.\n The two of them sit there, looking out at the beautiful", "JOHN (CONT'D)\n They're offering me a job.\n\n (THEN)\n As a reporter. I guess the editor was\n down here on vacation, read my stuff.", "JOHN\n That's probably the last one about\n Marley for a while. But in about nine\n months, I'm gonna have a new subject,\n might be just as fun. Jenny's\n pregnant.", "(THEN)\n John, you know how many yo yo's in the\n other room would kill to have their own\n column? You took a piece of crap About\n Towner and turned it into something\n fresh.", "JOHN (CONT'D)\n What're you looking at?\n\n JENNY\n Your old columns. He's in a lot of\n 'em.", "You're restless, John. I feel it. I\n feel it when you read Sebastian's\n articles every day. And I feel it when", "JOHN\n Oh, it continues...\n An awkward moment as he now searches for the new page, has to", "JOHN\n Everyday stuff. The stuff we all go\n through. But funnier.\n\n EDITOR\n I don't get it. I thought you came\n here to be a reporter.", "JOHN\n Oh, yeah, it's a big honor. I get to\n write about zoning laws and yard sales.\n\n JENNY\n I bet you make something out of it.", "JOHN (CONT'D)\n Jenny?! Can you help me out here? I\n got twenty minutes to file this column!\n We follow John as he gets up from his desk, heads towards the\n back bedroom...", "JOHN (CONT'D)\n He's so happy. He has no idea what's\n about to happen to him.", "JOHN\n It's beautiful, honey. He'll like it.\n Drop it in. Conor?\n Conor reads his piece of paper.", "JOHN\n Okay. Well, if you see him... thanks.\n He hangs up, goes to the window.", "John sits there watching them. watching his family. The\n family that both he and Marley grew up in.\n He gives the fresh dirt a final, loving pat and then, as the", "John sits on a bench, Marley at his feet reading \"What to\n Expect in the First Year.\" He takes a breath, looks up,\n watches a COUPLE make out on a blanket.\n\n 120", "75 INT. ARNIE'S OFFICE - DAY\n\n As John hands Arnie his latest column...", "JOHN (CONT'D)\n You know what, this is a good spot\n right here.\n John looks out at the valley below, settles down onto the\n damp earth beside Marley.", "Panicking, John is struggling to get the car seat he forgot\n out of the box. He starts beating at the Styrofoam. Marley\n barks excitedly. John gets an idea, hands him one end of the\n box.", "JOHN\n I just had this idea about myself, you\n know, that I was a reporter." ], [ "90 EXT. IRISH TOWN - NIGHT\n\n John and Jenny stop at a bed-and-breakfast for the night.\n It's raining softly.", "87 EXT. IRISH COUNTRYSIDE - DAY\n\n John and Jenny enjoy the scenery. Sheep in the road surround\n their car. Jenny leans out, laughing, and takes a picture.", "JOHN (CONT'D)\n Jenny?\n We follow him into the room, an anxious Marley close at his\n heels. She's not here, he turns around just as she steps out\n of the bathroom, smiling...", "JENNY\n Okay, honey, let's go back to bed.\n She leads him out of the room. And a second later Conor\n starts crying. John lies there a moment, then gets up.", "JENNY (CONT'D)\n Look at us.\n She looks up at John and smiles. He returns the smile.\n Mission accomplished.", "JENNY\n Conor, come on... Conor, please...\n She finally stops trying, rocks the chair, looks helplessly\n at John.", "JOHN\n I'll get him.\n John leaves the room. Jenny sits there.\n\n 143 INT. JOHN & JENNY'S BEDROOM - NIGHT 143", "JOHN (CONT'D)\n Okay, I'm lying, and I think you know\n that... so maybe the best thing is to\n just not talk about it.\n Jenny cuts him a look. He lowers his voice.", "puts his head to the ground. John feints, tries to maneuver\n Marley back into Jenny.\n Jenny finally grabs him from behind. John pries open his", "JENNY\n John, grab him!\n Before John can do anything, Marley is off his lap and\n scrambling out the window of the moving car.", "JENNY\n Yes, it is.\n\n JOHN\n Anyway.\n John smiles at her, then goes to his sons...", "JOHN (CONT'D)\n Jenny?! Can you help me out here? I\n got twenty minutes to file this column!\n We follow John as he gets up from his desk, heads towards the\n back bedroom...", "The next morning. John and Jenny, looking flushed and\n relaxed, and slightly abashed, come downstairs. Mrs.\n Butterly looks at them sourly. So do the other guests.\n\n JENNY", "JENNY (CONT'D)\n Marley!\n John hurries after the dog; Jenny stays with the boys.", "JOHN\n (nods, then)\n Okay.\n\n JENNY", "JOHN\n Jenny?\n A wet Marley bounds into the house, heads for the back. John\n follows.", "JENNY\n\n WHOA--\n She catches her breath, leans over to John.\n\n JENNY (CONT'D)\n John. John, wake up.", "John stands there letting Marley out. He looks back at the\n house, watches Jenny through the window as she sets Patrick\n down in his crib, shuts the light out.", "He exits. John is still holding the blank videotape. He\n tries to hide it from Jenny. He leaves. Jenny and John look\n at each other.", "JOHN (CONT'D)\n Okay. Now.\n Jenny opens her eyes and sees a utility room. Nine yellow\n yipping Lab puppies tumble out of a cardboard box towards\n John and Jenny." ], [ "JOHN\n Marley, heel!\n Marley takes off like a fighter jet, dragging John behind.", "JOHN\n Marley, no!\n - and suddenly, he is jerked back. John has tackled the", "JOHN (CONT'D)\n Marley!\n\n \n\n \n\n \n\n \n 75.", "JOHN (CONT'D)\n Marley? Hey, boy.\n Marley looks up briefly as if he heard something, but then", "JOHN (CONT'D)\n Marley! NO!\n But he's gone and John has to stay with the girl. We hear", "A moment. But then Marley jumps up and wriggles in delight.\n John painfully unfolds himself, checks for injuries. Marley\n comes up and romps with him.", "JOHN\n You wanna walk?\n He sets him down gingerly. Hesitantly, Marley walks over to", "JOHN (CONT'D)\n C'mon, man, do your thing.\n (Marley just stares)", "57 CONTINUED: 57\n Much tussling, and John finally gets it around Marley's neck -\n but Marley still manages to grab it in his teeth.", "JOHN (CONT'D)\n Marley, it's a screen, you're not gonna", "RESENTS\n Oh, he knows, and trust me, he\n the hell out of me right now. Go on,\n Marley! Get out!\n But Marley jumps up on the bed, tries to climb on both of", "JOHN\n Uh-oh...\n And a moment later Marley's head goes bobbing by.\n\n 173", "chases Marley around the room. John sits in the car, unable\n to move, just watching the chaos in the window.\n Marley jumps up against the glass, stands on his hind legs,", "A MUFFLED MOAN is coming from beneath his feet. Clearly it's\n Marley. Passengers near them frown.", "JOHN (CONT'D)\n Marley-- get out of here!", "JOHN (CONT'D)\n Okay, boy.\n (as Marley moves close)\n Okay.\n John, his heart breaking, bends down to carry Marley up the\n front steps of the clinic.", "Inch by inch, Marley approaches her. But then, behind\n Marley, John knocks against a table. Marley freezes.", "level. He looks into Marley's eyes.", "sleeping. And then we see Marley's head rise and reveal\n itself as Marley lifts it to look at John standing there.\n He'd been laying there on the bed behind Patrick. He looks", "181 CONTINUED: 181\n But Marley jumps onto John's lap as they get going..." ], [ "A moment. But then Marley jumps up and wriggles in delight.\n John painfully unfolds himself, checks for injuries. Marley\n comes up and romps with him.", "beside Marley and lets the dog sniff the baby's toes, then up\n his legs, finally his diaper which puts Marley into a Pampers", "JOHN\n Marley, heel!\n Marley takes off like a fighter jet, dragging John behind.", "(INDICATES MARLEY)\n My guy here... He once ate an entire\n answering machine, and digested it.", "leans down, puts his nose on Marley's neck and breathes him\n in. Then he goes around, squats down so he's on Marley's", "JOHN (CONT'D)\n Nice night, huh?\n Marley looks around, then looks at John. There's something\n in his expression. John nods, knows what he's saying.", "JOHN\n You wanna walk?\n He sets him down gingerly. Hesitantly, Marley walks over to", "leaps at him from behind. Marley skitters away. Ah, a game!\n He wags his tail, prances, sticks his rear in the air and his", "JOHN (CONT'D)\n Marley? Hey, boy.\n Marley looks up briefly as if he heard something, but then", "JOHN (CONT'D)\n Marley!\n\n \n\n \n\n \n\n \n 75.", "72 INT. 345 CHURCHILL ROAD - DAY\n\n John enters and is greeted as usual by Marley who jumps on\n him.", "JOHN\n Look. There's Marley!\n THROUGH THE WINDOW they can see Marley's crate arriving at", "John grimaces in the morning sun as he watches Marley poop.\n He takes a hose and squirts at the deposit until it runs into\n the lawn. Nothing.", "JOHN (CONT'D)\n C'mon, man, do your thing.\n (Marley just stares)", "JOHN\n Hey, buddy.\n He pets Marley's head, runs his hands all over Marley's body.", "JOHN (CONT'D)\n You know what, this is a good spot\n right here.\n John looks out at the valley below, settles down onto the\n damp earth beside Marley.", "As the light comes on and Marley's head appears over the top\n of the box. John sighs, comes over and scoops him up...", "JOHN\n Marley, no!\n - and suddenly, he is jerked back. John has tackled the", "And now Marley bolts past him into the house, tracking wet\n footprints all over the floor, jumps up onto the REALTOR.", "JOHN (CONT'D)\n Okay, boy.\n (as Marley moves close)\n Okay.\n John, his heart breaking, bends down to carry Marley up the\n front steps of the clinic." ], [ "JENNY\n Hello, Marley...\n She crouches down, gives him a kiss, rubs his back. And", "JENNY\n John, grab him!\n Before John can do anything, Marley is off his lap and\n scrambling out the window of the moving car.", "JENNY\n I know, but you can't do it. I won't\n let you. You can't give away Marley.", "JENNY (CONT'D)\n Marley!\n John hurries after the dog; Jenny stays with the boys.", "still, Jenny clutching him to her like an oversized doll.\n John stands there, watching Marley take care of her. No\n words, just being there. A lesson here. Her head down,", "JENNY\n Yeah, here's a little something--\n (imaginary) treat. Marley\n She reaches into her pocket for an moves", "JENNY\n Oh God...\n Marley stands a few feet away, looking strangely gleeful. A\n glint of Gold in the moonlight dangles from his mouth. They\n both get up, start to move towards him...", "one poor poodle runs for her life.\n Finally, back where Marley started, the terrified toy poodle\n leaps into Jenny's arms. Marley tries to brake -", "JENNY\n Marley!\n\n JOHN\n Where were you?", "JENNY\n Ow!\n Suddenly, A GROWL. They turn to see Marley glaring at John.", "JENNY\n Marley, no!\n Jenny chases him into the kitchen, past John who holds up the\n newspaper...", "JOHN (CONT'D)\n Jenny?\n We follow him into the room, an anxious Marley close at his\n heels. She's not here, he turns around just as she steps out\n of the bathroom, smiling...", "JENNY\n Marley!\n She takes off for the side door of the garage.\n\n 47 INT. 345 CHURCHILL - GARAGE - DAY 47", "As Marley jumps up against the window and peers out. Jenny\n comes into the room, sees a lamp on its side, a cushion torn\n open where Marley now stands. she grabs him by the collar--", "JENNY\n This is Patrick, Marley.\n Jenny unbuckles Patrick from the car seat and crouches down", "As Jenny comes in, Marley following and sits down heavily on\n the bed. She looks at Marley as he lays down beside the bed.", "JOHN\n He made me! Go!\n Jenny lurches for Marley, going for his collar, and John", "JENNY\n You'll think of something. And John,\n I'm serious abut Marley. He wreaks\n havoc everywhere he goes. We gotta do\n something...", "John stands there letting Marley out. He looks back at the\n house, watches Jenny through the window as she sets Patrick\n down in his crib, shuts the light out.", "JENNY\n Out in a sec!\n John stands there, Marley looking at him." ], [ "JOHN\n Marley, no!\n - and suddenly, he is jerked back. John has tackled the", "JOHN (CONT'D)\n Marley!\n\n \n\n \n\n \n\n \n 75.", "JOHN\n Marley, heel!\n Marley takes off like a fighter jet, dragging John behind.", "JOHN (CONT'D)\n Marley? Hey, boy.\n Marley looks up briefly as if he heard something, but then", "A moment. But then Marley jumps up and wriggles in delight.\n John painfully unfolds himself, checks for injuries. Marley\n comes up and romps with him.", "(INDICATES MARLEY)\n My guy here... He once ate an entire\n answering machine, and digested it.", "JOHN (CONT'D)\n Okay, boy.\n (as Marley moves close)\n Okay.\n John, his heart breaking, bends down to carry Marley up the\n front steps of the clinic.", "JOHN\n You wanna walk?\n He sets him down gingerly. Hesitantly, Marley walks over to", "JOHN (CONT'D)\n Marley! NO!\n But he's gone and John has to stay with the girl. We hear", "JOHN (CONT'D)\n Poor son-of-a-bitch.\n A guilty John cracks the window just a bit and Marley begins", "JOHN\n Well, we've already fixed Marley.\n Literally.\n\n (CONTINU ED)", "JOHN\n Uh-oh...\n And a moment later Marley's head goes bobbing by.\n\n 173", "JENNY\n Oh God...\n Marley stands a few feet away, looking strangely gleeful. A\n glint of Gold in the moonlight dangles from his mouth. They\n both get up, start to move towards him...", "JOHN (CONT'D)\n C'mon, man, do your thing.\n (Marley just stares)", "JOHN (CONT'D)\n You okay, boy? C'mon...\n Marley tries the second step and again his legs give out. He\n looks up at them...", "sleeping. And then we see Marley's head rise and reveal\n itself as Marley lifts it to look at John standing there.\n He'd been laying there on the bed behind Patrick. He looks", "Inch by inch, Marley approaches her. But then, behind\n Marley, John knocks against a table. Marley freezes.", "beside Marley and lets the dog sniff the baby's toes, then up\n his legs, finally his diaper which puts Marley into a Pampers", "JOHN (CONT'D)\n Marley, it's a screen, you're not gonna", "(INDICATES MARLEY)\n jig caught the guy. He also gnawed the\n barrel of my shotgun, and ate half my" ], [ "JOHN (CONT'D)\n Jenny?\n We follow him into the room, an anxious Marley close at his\n heels. She's not here, he turns around just as she steps out\n of the bathroom, smiling...", "John stands there letting Marley out. He looks back at the\n house, watches Jenny through the window as she sets Patrick\n down in his crib, shuts the light out.", "puts his head to the ground. John feints, tries to maneuver\n Marley back into Jenny.\n Jenny finally grabs him from behind. John pries open his", "JOHN\n Jenny?\n A wet Marley bounds into the house, heads for the back. John\n follows.", "John helps Jenny through the kitchen door. Marley follows\n them, circles them wildly, then stops, puzzled, as he looks\n at them. Jenny goes into the living room; Marley follows\n her.", "JENNY\n John, grab him!\n Before John can do anything, Marley is off his lap and\n scrambling out the window of the moving car.", "JENNY (CONT'D)\n Marley!\n John hurries after the dog; Jenny stays with the boys.", "JENNY\n Marley, no!\n Jenny chases him into the kitchen, past John who holds up the\n newspaper...", "JOHN\n I'll get him.\n John leaves the room. Jenny sits there.\n\n 143 INT. JOHN & JENNY'S BEDROOM - NIGHT 143", "JENNY (CONT'D)\n Look at us.\n She looks up at John and smiles. He returns the smile.\n Mission accomplished.", "still, Jenny clutching him to her like an oversized doll.\n John stands there, watching Marley take care of her. No\n words, just being there. A lesson here. Her head down,", "81\n\n 81 INT. CAR - DAY (MOVING)\n\n John is driving Jenny home.", "JENNY\n Hey, Sailor.\n She walks into the bedroom. John looks back at Marley as he\n follows her into the bedroom.", "The guests have gone. John sits in a lounge chair, holding\n out a fork so that Marley can lick the cake off of it. Most\n of the floating lights have gone out. Jenny comes out.", "JENNY (CONT'D)\n I love you, John.\n\n 216\n\n 216 EXT. PARKING LOT - NIGHT", "90 EXT. IRISH TOWN - NIGHT\n\n John and Jenny stop at a bed-and-breakfast for the night.\n It's raining softly.", "John sits there watching them. watching his family. The\n family that both he and Marley grew up in.\n He gives the fresh dirt a final, loving pat and then, as the", "John and Jenny are asleep. Marley goes through his nighttime", "John and Jenny lug their suitcases across the front lawn to\n the car, Marley running around them. Debby's glancing\n through the binder.", "JOHN (CONT'D)\n You know what, this is a good spot\n right here.\n John looks out at the valley below, settles down onto the\n damp earth beside Marley." ], [ "JOHN\n Yeah...\n (snapping his fingers at the\n dog, shaking his head \"no\")\n He's very cute. Just like a little kid\n only furrier.", "JOHN (CONT'D)\n What's the matter, boy? You didn't\n hear me? Huh?\n He looks at the dog a moment, thoughtful, then...", "SEBASTIAN\n You want my advice? Get her a PuPPY•\n\n JOHN\n A puppy.", "JOHN\n No no... I just wanted you to know I'm\n back.\n The puppy whimpers and he goes over to him, reaches into the\n box and pets him...", "JOHN (CONT'D)\n No-- stay boy... stay.\n (the dog crawls into his lap)", "JOHN (CONT'D)\n No, no, no!\n He picks up the puppy and rushes him outside.", "JOHN (CONT'D)\n Least I can do.\n John lowers the window and Marley gets his whole snout out.", "JOHN\n Marley, heel!\n Marley takes off like a fighter jet, dragging John behind.", "JOHN\n Hey... guy.\n The dog just stares at him quizzically. Uncomfortable alone", "down with them. John puts his arm around them both.\n Marley's tail begins gently pounding the floor.", "JOHN\n Meant to be.\n He watches her cuddle the puppy and knows he's done the right\n thing.", "chases Marley around the room. John sits in the car, unable\n to move, just watching the chaos in the window.\n Marley jumps up against the glass, stands on his hind legs,", "JOHN\n Come on, boy, just a little further to\n the top...\n Marley comes up, panting, eyes wet and happy. John looks at\n him, can see how tired he is.", "SEBASTIAN\n John, you buy this dog, you're saving\n your world. Because that ticking you\n hear, is not a bomb, it's her\n biological clock.\n John looks back at him.", "A moment. But then Marley jumps up and wriggles in delight.\n John painfully unfolds himself, checks for injuries. Marley\n comes up and romps with him.", "Instead, the puppy runs around the car, barking, jumping up\n on the bumpers. John finally catches him, lifts him up, puts\n him on the front passenger seat atop some towels.", "returns to eating. John is right behind him. John reaches\n out and touches Marley, and Marley jumps, totally guilty.\n Then he turns and greets John.", "JOHN\n Look. There's Marley!\n THROUGH THE WINDOW they can see Marley's crate arriving at", "John steps out of his car and the puppy, now twice the size\n he was three weeks ago, bounds over to him. A harried Lori\n follows, a rope leash and instruction. sheet in hand.", "LORI (CONT'D)\n Well, that's your guy.\n John scoops him up. Clearance Puppy licks his face. John\n hands him to Jenny. She lets him lick her face..." ], [ "The house where John and Jenny bought Marley. Lori, the\n breeder, looks at Marley, sitting in the front seat, shakes\n her head sadly.", "LORI (CONT'D)\n Well, that's your guy.\n John scoops him up. Clearance Puppy licks his face. John\n hands him to Jenny. She lets him lick her face...", "JOHN (CONT'D)\n Okay. Now.\n Jenny opens her eyes and sees a utility room. Nine yellow\n yipping Lab puppies tumble out of a cardboard box towards\n John and Jenny.", "John helps Jenny through the kitchen door. Marley follows\n them, circles them wildly, then stops, puzzled, as he looks\n at them. Jenny goes into the living room; Marley follows\n her.", "19 EXT. DOG BREEDER'S HOUSE - MORNING\n\n As John and Jenny get out of the car. She looks at the house.", "JENNY\n You ruined it! Bad dog!\n She leaves the room and John looks at the dog.", "JENNY (CONT'D)\n Marley!\n John hurries after the dog; Jenny stays with the boys.", "JOHN\n Jenny?\n A wet Marley bounds into the house, heads for the back. John\n follows.", "John and Jenny are asleep. Marley goes through his nighttime", "JENNY\n Who are you?\n\n JOHN\n I'm John Grogan.", "Jenny's been watching. She stands there thoughtfully as John\n puts the frisbee in the box and resumes the hunt for the rest\n of Marley's stuff, the dog following him.", "59 INT. JENNY'S CAR - DAY\n\n Jenny at the wheel. John in the passenger seat. Marley in the\n back, his front paws balanced on the center console.", "JENNY\n Ow!\n Suddenly, A GROWL. They turn to see Marley glaring at John.", "John and Jenny run to'a tree at the edge of the property.\n Marley lies on the ground, in a hollow, hidden from view from", "JOHN\n You're right. Let's go.\n He's kidding. And besides, Jenny's already on the floor,\n letting the puppies climb all over her.", "John stands there letting Marley out. He looks back at the\n house, watches Jenny through the window as she sets Patrick\n down in his crib, shuts the light out.", "As John comes in, sees Jenny sitting there on the couch.\n\n JOHN\n Why's Marley out in the--\n\n JENNY\n I want that dog out of here.", "JOHN\n Yeah...\n (snapping his fingers at the\n dog, shaking his head \"no\")\n He's very cute. Just like a little kid\n only furrier.", "Instead, the puppy runs around the car, barking, jumping up\n on the bumpers. John finally catches him, lifts him up, puts\n him on the front passenger seat atop some towels.", "SEBASTIAN\n You giving up the dog? i thought yo u\n loved that thing.\n\n JOHN\n Jenny wants him out." ], [ "JOHN (CONT'D)\n Marley!\n\n \n\n \n\n \n\n \n 75.", "JOHN (CONT'D)\n Marley? Hey, boy.\n Marley looks up briefly as if he heard something, but then", "JOHN\n Marley, heel!\n Marley takes off like a fighter jet, dragging John behind.", "JOHN\n Marley, no!\n - and suddenly, he is jerked back. John has tackled the", "JOHN (CONT'D)\n Marley! NO!\n But he's gone and John has to stay with the girl. We hear", "JOHN\n Uh-oh...\n And a moment later Marley's head goes bobbing by.\n\n 173", "JOHN\n Look. There's Marley!\n THROUGH THE WINDOW they can see Marley's crate arriving at", "JOHN (CONT'D)\n Marley, it's a screen, you're not gonna", "JENNY\n Marley?\n (turns to John)\n Have you seen him?\n\n JOHN\n He's not up here.\n\n 207", "JOHN\n\n G\n Maybe not, maybe Marley is one thin\n too many.", "JOHN\n Well, we've already fixed Marley.\n Literally.\n\n (CONTINU ED)", "JENNY\n Marley!\n John starts off into the dark...", "JOHN\n Marley!\n Marley jumps into a pile of leaves, scatters them everywhere,\n rolls over onto his back and knocks over a rake, which falls\n and breaks a basement window.", "A MUFFLED MOAN is coming from beneath his feet. Clearly it's\n Marley. Passengers near them frown.", "sleeping. And then we see Marley's head rise and reveal\n itself as Marley lifts it to look at John standing there.\n He'd been laying there on the bed behind Patrick. He looks", "JOHN\n Marley, no!\n John chases him across the backyard. Marley goes under the\n fence and John starts to go over into...", "28 CONTINUED:\n\n JENNY\n Marley. I like that...\n\n 29 INT. 345 CHURCHILL - NIGHT 29", "JOHN (CONT'D)\n Marley. Okay-- Marley. Cool.\n But now the pup starts wriggling towards John, John tries to\n put him back...", "JENNY\n Marley!\n\n JOHN\n Where were you?", "Marley, who is sound asleep. We hear A CAR DOOR CLOSE and he\n raises his head...\n A moment later, THE FRONT DOOR OPENS and John comes in and" ], [ "The house where John and Jenny bought Marley. Lori, the\n breeder, looks at Marley, sitting in the front seat, shakes\n her head sadly.", "John and Jenny are asleep. Marley goes through his nighttime", "JENNY (CONT'D)\n Marley!\n John hurries after the dog; Jenny stays with the boys.", "JOHN\n He made me! Go!\n Jenny lurches for Marley, going for his collar, and John", "JOHN\n Jenny?\n A wet Marley bounds into the house, heads for the back. John\n follows.", "JOHN\n Marley, heel!\n Marley takes off like a fighter jet, dragging John behind.", "John stands there letting Marley out. He looks back at the\n house, watches Jenny through the window as she sets Patrick\n down in his crib, shuts the light out.", "JENNY\n Ow!\n Suddenly, A GROWL. They turn to see Marley glaring at John.", "JENNY\n John, grab him!\n Before John can do anything, Marley is off his lap and\n scrambling out the window of the moving car.", "John helps Jenny through the kitchen door. Marley follows\n them, circles them wildly, then stops, puzzled, as he looks\n at them. Jenny goes into the living room; Marley follows\n her.", "John and Jenny run to'a tree at the edge of the property.\n Marley lies on the ground, in a hollow, hidden from view from", "JOHN (CONT'D)\n Jenny?\n We follow him into the room, an anxious Marley close at his\n heels. She's not here, he turns around just as she steps out\n of the bathroom, smiling...", "JENNY\n Marley!\n\n JOHN\n Where were you?", "John and Jenny and Marley and the two boys stroll. Feels\n good to be out as a family again. Marley wants to greet all", "Jenny's been watching. She stands there thoughtfully as John\n puts the frisbee in the box and resumes the hunt for the rest\n of Marley's stuff, the dog following him.", "still, Jenny clutching him to her like an oversized doll.\n John stands there, watching Marley take care of her. No\n words, just being there. A lesson here. Her head down,", "JENNY\n Out in a sec!\n John stands there, Marley looking at him.", "JENNY\n Marley, no!\n Jenny chases him into the kitchen, past John who holds up the\n newspaper...", "JENNY\n Marley!\n John starts off into the dark...", "59 INT. JENNY'S CAR - DAY\n\n Jenny at the wheel. John in the passenger seat. Marley in the\n back, his front paws balanced on the center console." ], [ "90 EXT. IRISH TOWN - NIGHT\n\n John and Jenny stop at a bed-and-breakfast for the night.\n It's raining softly.", "JOHN (CONT'D)\n Jenny?\n We follow him into the room, an anxious Marley close at his\n heels. She's not here, he turns around just as she steps out\n of the bathroom, smiling...", "puts his head to the ground. John feints, tries to maneuver\n Marley back into Jenny.\n Jenny finally grabs him from behind. John pries open his", "JOHN\n Jenny?\n A wet Marley bounds into the house, heads for the back. John\n follows.", "The next morning. John and Jenny, looking flushed and\n relaxed, and slightly abashed, come downstairs. Mrs.\n Butterly looks at them sourly. So do the other guests.\n\n JENNY", "John stands there letting Marley out. He looks back at the\n house, watches Jenny through the window as she sets Patrick\n down in his crib, shuts the light out.", "81\n\n 81 INT. CAR - DAY (MOVING)\n\n John is driving Jenny home.", "JENNY\n Okay, honey, let's go back to bed.\n She leads him out of the room. And a second later Conor\n starts crying. John lies there a moment, then gets up.", "JENNY (CONT'D)\n Look at us.\n She looks up at John and smiles. He returns the smile.\n Mission accomplished.", "JENNY (CONT'D)\n This little necklace has been on quite\n a journey.\n John smiles at her, remembering. So much shared history.", "The guests have gone. John sits in a lounge chair, holding\n out a fork so that Marley can lick the cake off of it. Most\n of the floating lights have gone out. Jenny comes out.", "JENNY\n John, grab him!\n Before John can do anything, Marley is off his lap and\n scrambling out the window of the moving car.", "87 EXT. IRISH COUNTRYSIDE - DAY\n\n John and Jenny enjoy the scenery. Sheep in the road surround\n their car. Jenny leans out, laughing, and takes a picture.", "JENNY\n John! The creek!\n The toboggan bumps over the crest of a small hill and sails", "John helps Jenny through the kitchen door. Marley follows\n them, circles them wildly, then stops, puzzled, as he looks\n at them. Jenny goes into the living room; Marley follows\n her.", "JENNY (CONT'D)\n I love you, John.\n\n 216\n\n 216 EXT. PARKING LOT - NIGHT", "John and Jenny lug their suitcases across the front lawn to\n the car, Marley running around them. Debby's glancing\n through the binder.", "JOHN\n I'll get him.\n John leaves the room. Jenny sits there.\n\n 143 INT. JOHN & JENNY'S BEDROOM - NIGHT 143", "JENNY\n Really good.\n He lifts out of his chair and kisses her, a long one.\n\n JOHN\n So. What's next?", "JENNY\n Happy Birthday.\n He opens it, pulls out an AIRLINE TICKET.\n\n JOHN\n A plane ticket?" ], [ "JENNY\n Yes, it is.\n\n JOHN\n Anyway.\n John smiles at her, then goes to his sons...", "JENNY (CONT'D)\n Marley!\n John hurries after the dog; Jenny stays with the boys.", "JENNY\n John! The creek!\n The toboggan bumps over the crest of a small hill and sails", "JOHN\n Hey, boy.\n\n (LOOKS AROUND)\n Jenny?", "JOHN\n (nods, then)\n Okay.\n\n JENNY", "JOHN\n Okay, who wants to help me here? Kids?\n Marley, you too.\n Jenny squats down with the cake, and John and his kids start\n to blow out the candles.", "JOHN (CONT'D)\n Jenny?\n We follow him into the room, an anxious Marley close at his\n heels. She's not here, he turns around just as she steps out\n of the bathroom, smiling...", "JENNY\n John, grab him!\n Before John can do anything, Marley is off his lap and\n scrambling out the window of the moving car.", "JENNY\n Marley, no!\n Jenny chases him into the kitchen, past John who holds up the\n newspaper...", "JOHN\n Jenny?\n A wet Marley bounds into the house, heads for the back. John\n follows.", "181 EXT. HILL - DAY\n\n The kids slide down the hill in a toboggan. John is at the\n bottom to catch them. Up at the house, Jenny calls...", "JOHN (CONT'D)\n Okay. Now.\n Jenny opens her eyes and sees a utility room. Nine yellow\n yipping Lab puppies tumble out of a cardboard box towards\n John and Jenny.", "JOHN\n I'll get him.\n John leaves the room. Jenny sits there.\n\n 143 INT. JOHN & JENNY'S BEDROOM - NIGHT 143", "JENNY (CONT'D)\n Look at us.\n She looks up at John and smiles. He returns the smile.\n Mission accomplished.", "John and Jenny eat dinner in exhausted silence. Patrick\n throws his food on the floor where a happy Marley waits.\n Conor starts crying O.S. and Jenny gets up like a robot.", "John and Jenny are in bed asleep. Patrick comes into their\n room.\n\n PATRICK\n Mommy?\n Jenny wakes up on autopilot.", "JENNY\n Conor, come on... Conor, please...\n She finally stops trying, rocks the chair, looks helplessly\n at John.", "JENNY\n Okay, honey, let's go back to bed.\n She leads him out of the room. And a second later Conor\n starts crying. John lies there a moment, then gets up.", "JENNY\n\n WHOA--\n She catches her breath, leans over to John.\n\n JENNY (CONT'D)\n John. John, wake up.", "John stands there letting Marley out. He looks back at the\n house, watches Jenny through the window as she sets Patrick\n down in his crib, shuts the light out." ], [ "LISA (CONT'D)\n Where you moving to?\n\n JOHN\n Boca.\n\n LISA\n Huh.", "JOHN\n Huh... what?\n\n LISA\n Nothing. I just... never pictured, you\n know, a guy like you moving to Boca.", "81\n\n 81 INT. CAR - DAY (MOVING)\n\n John is driving Jenny home.", "JENNY\n John, grab him!\n Before John can do anything, Marley is off his lap and\n scrambling out the window of the moving car.", "A crime scene. Jenny, clutching the baby, stands on the porch\n watching as an AMBULANCE pulls away. John, now in shorts and\n a T-shirt, comes jogging up the walk.", "JOHN\n Well, as you know, Sebastian and I were\n in college together, and he was always\n talking about South Florida... mostly", "He exits. John is still holding the blank videotape. He\n tries to hide it from Jenny. He leaves. Jenny and John look\n at each other.", "puts his head to the ground. John feints, tries to maneuver\n Marley back into Jenny.\n Jenny finally grabs him from behind. John pries open his", "166\n\n 166 EXT. BOCA RATON HOUSE - DAY\n\n As John comes back out of the house, looking stunned.", "JENNY (CONT'D)\n Look at us.\n She looks up at John and smiles. He returns the smile.\n Mission accomplished.", "JOHN\n I'll get him.\n John leaves the room. Jenny sits there.\n\n 143 INT. JOHN & JENNY'S BEDROOM - NIGHT 143", "JOHN\n Okay. I'll take him out.\n She looks up at him.\n\n JENNY\n I want you to get him out of here and\n keep him out of here.", "JOHN (CONT'D)\n Okay, I'm lying, and I think you know\n that... so maybe the best thing is to\n just not talk about it.\n Jenny cuts him a look. He lowers his voice.", "JOHN (CONT'D)\n I'm gonna get in the car, maybe drive\n\n OVER TO--\n (he sees something)\n Jenny.", "John helps Jenny through the kitchen door. Marley follows\n them, circles them wildly, then stops, puzzled, as he looks\n at them. Jenny goes into the living room; Marley follows\n her.", "JOHN (CONT'D)\n Jenny?! Can you help me out here? I\n got twenty minutes to file this column!\n We follow John as he gets up from his desk, heads towards the\n back bedroom...", "ON JOHN AND JENNY\n As suddenly their table suddenly leaps away from them and\n starts moving down the sidewalk, crashing into other tables,", "JOHN\n Jen, you okay?\n\n REVERSE - ON JENNY\n She's crying, her back to John who's now in the b.g. A\n moment, then...", "John stands there letting Marley out. He looks back at the\n house, watches Jenny through the window as she sets Patrick\n down in his crib, shuts the light out.", "JENNY\n Oh, John, it's beautiful...\n She sets it down on the coffee table, then moves close to\n him." ], [ "JOHN\n Right. Another time then.\n John watches him move off, a secretary giving Sebastian a big", "SEBASTIAN (CONT'D)\n Listen, there's something I gotta tell\n you.\n\n (THEN)\n I'm leaving the paper.", "SEBASTIAN\n She's calling you home, isn't she?\n\n JOHN\n Yeah. See you later.\n John starts out of the bar. Sebastian calls after him.", "SEBASTIAN (CONT'D)\n He's not too happy about it. He called\n me an ungrateful quizzling and threw a\n stapler at me.", "JOHN\n Oh. Alright then. I'll see what I can\n do.\n He hangs up. Looks at Sebastian.", "JOHN\n Uh, well, actually I'm headed back home\n later today.\n\n SEBASTIAN\n Oh.", "SEBASTIAN (CONT'D)\n I'm in and out of town so much I really\n haven't had a chance to settle in. I", "JOHN\n Nice place. How long you been here?\n\n SEBASTIAN\n Two years, little more.\n Sebastian sees John looking at all of the unpacked boxes.", "JOHN\n Well, as you know, Sebastian and I were\n in college together, and he was always\n talking about South Florida... mostly", "SEBASTIAN\n You giving up the dog? i thought yo u\n loved that thing.\n\n JOHN\n Jenny wants him out.", "SEBASTIAN\n Exactly.\n Boom. That hurts John. They stand there a moment,\n considering each other, then.", "SEBASTIAN (O.S.) (CONT'D)\n Hang on, I got this--", "SEBASTIAN\n I'm going to New York.\n Sebastian smiles. John doesn't move.\n\n SEBASTIAN (CONT'D)\n The Gray Lady came courting last week.", "SEBASTIAN (O.S.) (CONT'D)\n Let's just say there were some flagrant\n workplace violations.", "You're restless, John. I feel it. I\n feel it when you read Sebastian's\n articles every day. And I feel it when", "SEBASTIAN\n They're all unhappy. Trust me.\n Well... who knows? Maybe you'll get", "SEBASTIAN (O.S.) (CONT'D)", "(LAUGHS)\n Can you believe that?\n\n JOHN\n Some of it.\n\n SEBASTIAN\n Man, I wish you could've been there.", "lucky and nobody'll want him.\n John just nods, thinks about that. Sebastian glances around,\n then takes John aside.", "SEBASTIAN (O.S.)\n And so one of the truly great love\n affairs of the late eighties began." ], [ "JOHN (CONT'D)\n They're offering me a job.\n\n (THEN)\n As a reporter. I guess the editor was\n down here on vacation, read my stuff.", "JOHN\n I just had this idea about myself, you\n know, that I was a reporter.", "As John is introduced to fellow staff and reporters, most of\n them at least ten years younger than he is. He's shown his", "JOHN\n But I'm a reporter, not a columnist.\n\n ARNIE\n It's a step up.", "13 EXT. FORT LAUDERDALE SUN-SENTINEL NEWSPAPER BUILDING - DAY 13\n\n As John crosses his fingers, waves and enters the building...", "ARNIE\n Straight news writer, huh. Meaning you\n think you're a reporter?\n\n JOHN\n Meaning I know I am.", "208\n\n 208 INT. PHILADELPHIA INQUIRER - DAY\n\n John sits across from his editor.", "JOHN\n Everyday stuff. The stuff we all go\n through. But funnier.\n\n EDITOR\n I don't get it. I thought you came\n here to be a reporter.", "JOHN\n Well, she does features. I'm more a\n straight news writer. This is a better\n paper for that.", "JOHN (CONT'D)\n And... we're home.\n\n 178 INT. PHILADELPHIA INQUIRER - DAY 178", "desk. John sits down at his cubicle, stares out the window\n at the city. His EDITOR, black, John's age, approaches with\n a much younger REPORTER...", "JOHN\n I am. I'm just in shock. I mean, I'm\n in Florida because of you. Woodward\n and Bernstein. Remember? That was the\n idea.", "SEBASTIAN\n I'm going to New York.\n Sebastian smiles. John doesn't move.\n\n SEBASTIAN (CONT'D)\n The Gray Lady came courting last week.", "173 INT. SUN-SENTINAL OFFICE - DAY\n\n out of his\n As John packs up his desk. Arnie sticks his head\n office.", "JOHN (CONT'D)\n Jenny?! Can you help me out here? I\n got twenty minutes to file this column!\n We follow John as he gets up from his desk, heads towards the\n back bedroom...", "JOHN\n Okay. Well, if you see him... thanks.\n He hangs up, goes to the window.", "157 INT. SUN-SENTINAL OFFICE - DAY\n\n John is working at his desk when Arnie drops a few stacks of\n letters down.", "JOHN\n Oh yeah.\n\n 12 EXT. FORT LAUDERDALE SUN-SENTINEL NEWSPAPER BUILDING - DAY 12", "Journalist hang out.'John and Sebastian at the bar. Many know\n Sebastian, he's constantly nodding at people throughout:", "JOHN\n I did, but I think we both know that\n isn't me. I'm a columnist. A good\n one.\n A SECRETARY sticks her head in the office..." ] ]

[ "Where does John work when he moves from Michigan?", "Why does John adopt a dog?", "What breed of dog is Marley?", "Who is Marley named after?", "Why does Marley get kicked out of Ms. Kornblut's dog training class?", "What are the names jenny & john's children?", "After John turns 40, what does he decide to do?", "What condition does Marley die from?", "Where does the family decide to bury Marley?", "What did John and Jenny Grogan do shortly after their wedding?", "Which newspaper company did John work for?", "Who had the better job between John and Jenny?", "What did Sebastian Tunney suggest John and Jenny do?", "What did John realize might be a perfect topic for his first piece for his new assignment?", "What did John and Jenny do in Ireland?", "When was Marley especially hard to control?", "What did Marley delight in doing in Boca Raton?", "What did Jenny quickly realize after trying to give Marley away?", "What almost killed Marley once and also eventually killed him?", "Where do John and Jenny relocate to after their marriage?", "Who suggests John to adopt a dog?", "What dog do John and Jenny adopt?", "On whose name is Marley named after?", "To whom do John and Jenny take Marley for training?", "Where do John and Jenny travel for a belated honeymoon?", "What are the names of John and Jenny's children?", "Why do John and Jenny move to Boca Raton?", "Why did Sebastian move away?", "Where does John accept a reporter's position?" ]

[ [ "South Florida Sun Sentinel", "South Florida Sun Sentinel" ], [ "to see if him & jenny are ready to raise a family", "to see if he and Jenny are ready for a baby" ], [ "A golden labrador", "Yellow Lab" ], [ "Reggae singer Bob Marley", "Bob Marley" ], [ "He doesn't obey commands", "because Marley refuses to obey commands." ], [ "patrick and connor", "Patrick and Connor" ], [ "takes a job as a reporter for the Philadelphia Inquirer", "accept a position as reporter with The Philadelphia Inquirer" ], [ "Gastric dilatation volvulus", "Gastric Dilataion" ], [ "beneath a tree in the front yard", "under a tree in their front yard" ], [ "They relocated to a cottage in South Florida and got hired as reporters, but for competing newspapers.", "Adopt a dog" ], [ "The South Florida Sun-Sentinel.", "John worked at the South Florida Sun-Sentiniel and eventually moves on to work at The Philadelphia Inquirer." ], [ "Jenny did.", "Jenny" ], [ "Adopt a dog first to see if they're ready to raise a family.", "adopt a dog" ], [ "Marley's misadventures.", "the misadventures of Marley" ], [ "Celebrate a belated honeymoon.", "Late honeymoom" ], [ "During frequent thunderstorms.", "during thunderstorms" ], [ "Swimming in the backyard pool.", "swimming" ], [ "That Marley had already become and indispensable part of the family.", "Jenny comes to the realization that Marley is a huge part of their lives." ], [ "An attack of gastric dilatation volvulus.", "gastric dilatation volvulus" ], [ "South Florida", "to escape the brutal winters" ], [ "John's co-worker and friend Sebastian", "Sebastian" ], [ "Labrador Retriever ", "Marley" ], [ "Bob Marley", "Bob Marley" ], [ "Ms. Kornblut", "Marley" ], [ "Ireland", "Ireland" ], [ "Patrick and Connor", "Patrick and Connor" ], [ "Because of the crime rate", "because of the lower crime rate, and they now had children" ], [ "Sebastian moved away because he got a job with The New York Times.", "He accepted a job at the New York Times" ], [ "The Philadelphia Inquirer", "South Florida Sentinel" ] ]

[ [ "into the water. Next to her, Arch's severed head gapes up in a rictus\n grin, joined in its leer by Skip's decapitated head.", "Buck reaches down and tosses Arch's decapitated head to him.\n \n BUCK\n Here, catch.", "videopak again, taping it. Arch and Skip watch with him from the end\n of the pier. But Kit and Nikki, waiting nearer the office, are", "And when Kit finally opens her eyes to it, Skip's face bulges\n gruesomely up at her through the slatted floor!", "Where's Skip? Anybody seen him?\n \n NIKKI\n Who wants to know?", "Arch, Chaz, Harvey and Nikki burst out the door in old clothes,\n sweats, shorts, whatever -- an unlikely foursome for some informal", "He turns to Arch, holds up his hand, and CLICK, a switchblade opens\n into the lens.\n \n SKIP (cont.)", "Kit screams and scrambles to her feet--Rob completely uncomprehending\n until he sees it too: Skip's body, pale and bloodied, draped within", "NIKKI\n \n It's like the very guts have been torn out of her. She screams,\n stumbling back.", "blood and mess... Rob, Kit, Nikki, Chaz and Nan. Muffy's eyes pop out.\n Skip's hands relax. And the others burst out laughing.", "Nikki, Arch, Harvey, Nan, even the Constable and the ferryman. They\n sit or casually stand, quietly talking or reading magazines, taking no\n notice of her whatsoever.", "arrives at her door, opens it (she had not closed it the last time she\n went out), and goes inside.\n \n INT. NIKKI'S ROOM - SAME", "Arch's voice catches in his throat in horror.\n ANOTHER ANGLE\n \n Skip stares back, disbelieving, looking down and pulling his hand away", "He pulls her head back, exposing her throat. He raises a knife to it,\n still stained with Kit's blood.\n \n SKIP", "NIKKI (cont.)\n (beat, seriously)\n I know you and Arch had something going before I met him...\n \n MUFFY", "Rob runs down to Skip's door and flings it open. A cheap rubber\n hobgoblin drops suddenly in front of him, suspended from the ceiling\n on frail, metal springs.", "ARCH\n Hey, shithead! chickendick!... yeah, you! Skip!\n \n He moves deeper and deeper into the forest.", "INT. UPSTAIRS HALL - SAME\n \n as they cross back to Nikki's bedroom.\n \n CHAZ", "Rob and Kit come struggling up the path. Chaz trains his videopak on\n them from the porch . He, Arch, Harvey and Nikki unwind with beer and\n sandwiches after their sweaty workout.", "She stops suddenly. Muffy isn't here. Frustrated, Nikki runs\n back into...\n \n INT. FRONT ENTRY - SAME" ], [ "Muffy sits quietly a moment, thinking. Then she gets up and goes\n toward the kitchen.\n \n INT. DOWNSTAIRS HALL -", "Muffy is still lying face down as we saw her last. She hears footsteps\n going upstairs.\n \n INT. ATTIC - SAME", "She walks out of the living room. Muffy looks after her and smiles to\n herself.\n \n INT. KITCHEN - NIGHT", "Muffy stand, overlooking the mess. Not knowing exactly where to\n begin, she starts emptying ashtrays into each other, then just stops.", "MUFFY (cont.)\n I... I must look a mess...\n \n She scuttles out the door to the utility room and the back stairs", "Then Muffy hears a DRIPPING. She turns, hesitating, and follows the\n sounds.\n \n INT. UTILITY ROOM", "INT. MUFFY' S BEDROOM - NIGHT\n \n Muffy enters, closes the door quietly and locks it behind her. She", "Up on the porch, Nan finally sees Muffy emerging from the distant tool\n shed. Muffy is dressed plainly, oddly conventional, with a perceptible", "Muffy doesn't turn any lights on either. She goes to the sink, sees\n that there is no used water glass, then' she notices the open window.\n She smiles.", "Muffy, it's not a game anymore!\n \n Just then there is a loud CRASH o.s. of glass breaking down on the", "INT. MUFFY'S BEDROOM - NIGHT\n \n Muffy, undressing, hears, and smiles.", "(TURNS)\n Muffy...\n \n Muffy turns back to her.", "INT. DOWNSTAIRS HALLWAY - SAME\n \n Muffy is racing past the back stairs toward the kitchen when A HAND", "It is a black-and-white picture, probably Muffy as a child. But\n what's confusing is there's another little girl next to her in the\n picture, who looks just like Muffy, too...", "She stops suddenly. Muffy isn't here. Frustrated, Nikki runs\n back into...\n \n INT. FRONT ENTRY - SAME", "as o.s. the knocking continues. No sign of Muffy.\n \n INT. FRONT ENTRY", "still in her hand. Old workclothes and a head kerchief take the place\n of Muffy's normally impeccable prep Seven Sisters outfit (including", "Oh; Muffy...\n \n Rob pulls the pick-up right behind them.\n \n INT. ENTRY HALL - DAY", "(RISING PANIC)\n Muffy?\n \n Her throat gags a couple of times, as if she is about to be sick. She", "Part of the basement, an old washroom and more, with tub, slop sink\n and large incinerator. Muffy enters, pulling the chain on the bare," ], [ "(IN MOCK-TERROR)\n This is it? No going back? Trapped for days on an island where\n men are men, and women oughta know better?", "and only passenger from the island ­ Clara -- to disembark. Clara\n passes them , giving first Skip and then the others a look, shaking\n her head in sad appraisal.", "The van moves slowly along a narrow road through the forest. From what\n we can see of its occupants, the mood is pretty grim. Behind it, the\n old island pick-up truck follows.", "comes up from the group on the ferry. Kit closes her eyes in relief.\n Rob comes hurrying up the ramp.\n \n ANGLE ­ LANDING", "(unamused, to Buck)\n Ok, c'mon, get out.\n \n They are approaching the landing dock on the island.", "An animal cries out behind them. Rob wastes no more time, pulling the\n rope and the boat quickly toward them. They jump in.", "They come to the boat.\n \n ROB\n (WHISPERING)\n If there's another flare, we can signal him.", "(one of the four)\n Outasight!\n \n KIT\n Cal, we want to get back to the island.", "He starts running to the boat. Rob reluctantly follows.\n \n CHAZ\n (calling back to them)", "CAL\n (PLEASANTLY)\n The St. John Island Bar Harbor ferry leaves in thirty minutes. No", "EXT. LANDING - ISLAND - DAY\n \n The ferryman jumps into the shallow water, pulling Buck onto shore.", "The sparkling waters. The chirping spring day. We are on an isolated\n stretch of country shore , and a quiet, sheltered island is visible\n distantly across the Sound. There is asense of anticipation,", "EXT. THE FERRY - DAY\n \n A CLOSER ANGLE. The sturdy, barge like ship craft makes progress. The", "He slams the stile down after Harvey, the last to board, and gets busy\n with the stubborn motor. His assistant helps. Chaz tapes.", "From far away the ferry can be seen chugging away, slowly returning to\n the mainland.\n \n EXT. FERRY - DAY", "Rob? No, we haven 't been able to get through to the mainland yet.\n \n Muffy eases. Kit turns the tap to fill the kettle. The pipes begin to", "But it's too far and getting farther, and the waves are too strong.\n \n EXT. ST. JOHN HOUSE - DAY", "But he stops just at the edge of the ferry, immobilized by fear.\n \n Rob rushes forward, with Chaz in reserve, pulling Arch out of ·the", "and claps him on the shoulder. Rob jumps and screams involuntarily.\n The group laughs louder still...\n INT. LIVING ROOM -- MOMENTS LATER", "seen till now, is the first to spot the ferry approaching.\n \n CHAZ\n Here she comes..." ], [ "aboard the van, passing Chaz who just glares at her. He knows. Finally\n Nan comes out of the house. With a curt nod to Muffy, she heads on\n toward the van when...", "Up on the porch, Nan finally sees Muffy emerging from the distant tool\n shed. Muffy is dressed plainly, oddly conventional, with a perceptible", "MUFFY\n Nan!\n \n She hurries to catch up with her.", "She avoids looking at Nan so as not to draw attention to her.\n \n MUFFY (cont.)", "Muffy shows Nikki, the last of them, to her room. Nan says goodnight\n from her door.\n \n NAN\n Goodnight.", "Nan puts down her book, hurrying off the porch. But by the timeshe\n looks up again, Muffy is gone...\n EXT. DOCK - DAY", "Muffy finally emerges from the study, crosses to the door and opens\n it. Nikki walks in.\n NIKKI\n (AWKWARDLY)", "What I'd like to know is, how did Muffy find out about these\n things and why -- ?\n \n KIT", "Muffy? We should all stay together.\n \n MUFFY\n This is my house.\n (BEAT)", "NAN\n Oh, no, thanks.\n (FALSELY)\n Besides, I thought I'd wait and see what Muffy wanted to do...", "It is a black-and-white picture, probably Muffy as a child. But\n what's confusing is there's another little girl next to her in the\n picture, who looks just like Muffy, too...", "(TURNS)\n Muffy...\n \n Muffy turns back to her.", "She looks around.\n \n NIKKI\n Muffy!!", "Muffy is still lying face down as we saw her last. She hears footsteps\n going upstairs.\n \n INT. ATTIC - SAME", "MUFFY\n (NERVOUSLY)\n What d'you, mean?\n \n NIKKI", "Rob, what about Muffy?\n \n ROB\n Forget her!\n \n KIT", "Muffy enters suddenly, interrupting her. Kit startles, turning. They\n face each other.\n \n MUFFY", "MUFFY\n Goodnight.\n \n Muffy leads Nikki to a narrow, sparse single, popping open the door.", "Muffy, it's not a game anymore!\n \n Just then there is a loud CRASH o.s. of glass breaking down on the", "Muffy, hi! Surprise!\n \n MUFFY\n Nikki, what on earth are you doing here? Is something wrong?" ], [ "It is a black-and-white picture, probably Muffy as a child. But\n what's confusing is there's another little girl next to her in the\n picture, who looks just like Muffy, too...", "Muffy is still lying face down as we saw her last. She hears footsteps\n going upstairs.\n \n INT. ATTIC - SAME", "Muffy IS dead!!! In the house!!!\n (WHIMPERING)\n Oh, God...\n \n CHAZ", "Muffy, it's not a game anymore!\n \n Just then there is a loud CRASH o.s. of glass breaking down on the", "(TURNS)\n Muffy...\n \n Muffy turns back to her.", "Kit? He said something else on the phone, about Muffy.\n \n KIT\n What?\n \n ROB", "Muffy smiles, directing attention toward \"cousin\" Skip.\n \n CHAZ\n Skip?!", "What I'd like to know is, how did Muffy find out about these\n things and why -- ?\n \n KIT", "Muffy can dish it out. It might be interesting to see if she can take\n it.\n CHAZ\n All right! A real catfight!", "MUFFY (to be played like Muffy)\n Who wants some tea?\n (BEAT)\n It'll calm our nerves...", "He said not to trust anybody. That's why we were to stay together. No\n one was to be left alone with anyone else... Then he said, especially\n not with Muffy.", "What really amazes me is how easy we made it for her. Everyone was\n just out for himself. We could've stopped Muffy cold if we'd only", "Rob, what about Muffy?\n \n ROB\n Forget her!\n \n KIT", "Oh, c'mon.\n \n Muffy exits hurriedly, upset.\n \n EXT. WOODS - DAY", "Unless Muffy knows something about us we don't.\n \n He blows Arch a kiss, pulling the two beds apart again.", "SKIP\n (PROTESTING)\n Only the set-up. Muffy told me to say I was her cousin and to pull", "Up on the porch, Nan finally sees Muffy emerging from the distant tool\n shed. Muffy is dressed plainly, oddly conventional, with a perceptible", "aboard the van, passing Chaz who just glares at her. He knows. Finally\n Nan comes out of the house. With a curt nod to Muffy, she heads on\n toward the van when...", "Constable?...\n (LISTENS)\n Here. She's all right.\n (LISTENS)\n With Muffy? What do you mean?", "INT. MUFFY' S BEDROOM - NIGHT\n \n Muffy enters, closes the door quietly and locks it behind her. She" ], [ "Kit turns to Rob's voice, takes a step toward the cupboard, but\n suddenly Buffy is there, cutting her off.\n \n Kit backes away, into the dining room.", "Kit reels back under Buffy's steady advance. Kit can't see her clearly\n in the dim light, but she can make out, beneath Buffy's wild, stringy,", "Kit scrambles up behind him. They can hear Buffy outside in the yard\n APPROACHING the kitchen door.", "Rob and Kit burst out of the dining room as if the house were on fire.\n Kit stops to pull the doors shut behind them.", "KIT\n No... Oh, God...\n \n and Buffy strikes. The knife jabs into the door, close to Kit's head.", "ROB (O.S.)\n No lights.\n \n Suddenly a flashlight beam pierces the darkness, and Rob and Kit can", "She moves toward them while Rob stays by the windows looking out. As\n she gets closer to the dolls, however, Kit realizes that they have not\n just been stuck there haphazardly.", "ROB\n (smiles weakly to Kit)\n We're off!\n \n They are indeed.", "The night is a landscape of terror. As Rob and Kit race through the\n darkness, the forest seems to fold in on top of them, completely\n enclosing them within itself.", "Kit breaks up laughing again. To her it is funny. And soon Rob is\n laughing too. He swings his legs up under the covers beside her.", "Kit screams and scrambles to her feet--Rob completely uncomprehending\n until he sees it too: Skip's body, pale and bloodied, draped within", "INT. UPSTAIRS HALL . - NIGHT\n \n Rob is running with her toward the stairs.\n \n KIT", "Rob...?\n \n They run over to him.\n \n KIT\n (dropping to her knees)", "All the lights are on, and when Kit takes her eyes off Buffy long\n enough to find out why, she discovers everyone is here -- Skip, Chaz,", "You maniacs... you almost gave us a heart attack!\n \n Kit glowers at them and gives Rob a hand to get out.", "Kit screams and chokes, trying to fight him off: but he stabs her\n again, and again and again, plunging the knife deep into her with\n every thrust.", "KIT\n Buffy?... please, we didn't mean any harm... we're leaving... we just\n want to go home... please... please...", "The beam momentarily sweeps the wall next to Kit. She sees something.\n \n KIT\n (an urgent whisper)\n Rob!", "Rob spots a walk-in cupboard. He hurries to it. Kit gropes along the\n shelves, searching the objects hanging along the distant wall.", "Rob and Kit come struggling up the path. Chaz trains his videopak on\n them from the porch . He, Arch, Harvey and Nikki unwind with beer and\n sandwiches after their sweaty workout." ], [ "Oh, there's a crazy twin all right, but his name isn't Buffy.\n \n NIKKI\n His name?", "So I guess there's no crazy twin sister Buffy?\n \n MUFFY", "She runs into another clearing (the CAMERA has been here waiting for\n her) where Chaz is revealed lying on the ground, looking much more\n hideous than Muffy.", "Muffy smiles, directing attention toward \"cousin\" Skip.\n \n CHAZ\n Skip?!", "They all start to laugh now, wickedly, conspiratorially.\n \n NIKKI\n Come sit on daddy's knee, little girl...", "Nikki falls to the floor in hysterics.\n \n KIT\n My goodness, daddy, what big", "SKIP\n (PROTESTING)\n Only the set-up. Muffy told me to say I was her cousin and to pull", "...the picture of the girls in the study... the letter... what the\n Constable was trying to tell you... It's not Muffy it's her twin\n sister, Buffy! She has a twin sister!", "He said not to trust anybody. That's why we were to stay together. No\n one was to be left alone with anyone else... Then he said, especially\n not with Muffy.", "It is a black-and-white picture, probably Muffy as a child. But\n what's confusing is there's another little girl next to her in the\n picture, who looks just like Muffy, too...", "state mental institution for the last three years -- she's been at\n Vassar!\n \n ROB", "It is Harvey. His body dangles from the rafters high above the top of\n the rear stairs, a thick rope around his neck.", "Kit screams and chokes, trying to fight him off: but he stabs her\n again, and again and again, plunging the knife deep into her with\n every thrust.", "us immediately, as Miss St. John has ·been a patient here for three\n years and is still considered incorrigibly unstable and extremely\n dangerous...\"", "Nan's body lies twisted and jammed among the slime. Her dress is torn,\n revealing a white breast with veins of blood streaming across it and", "dangling hair, the madness, the likeness of Muffy -- the familiar face\n somehow twisted by hate and madness into a stiff, hideous, unnatural\n deformation.", "It is Buck, standing practically right beside him, staring at Rob. His\n face is the same bloody, hideous mess it was the day before, after the\n accident.", "Harvey is out on the second floor balcony exercising vigorously. No\n one else is in evidence until a bedroom window flies open and Nikki,", "Kit is nearest to him, and without warning, he lunges at her and\n buries a knife into her stomach ·up to the handle.", "She walks, dripping wet, into a clearing nearby where Kit it making\n Chaz up to look bloody and gruesome.\n \n NIKKI ." ], [ "Muffy is still lying face down as we saw her last. She hears footsteps\n going upstairs.\n \n INT. ATTIC - SAME", "INT. MUFFY' S BEDROOM - NIGHT\n \n Muffy enters, closes the door quietly and locks it behind her. She", "INT. MUFFY'S BEDROOM - NIGHT\n \n Muffy, undressing, hears, and smiles.", "Muffy stand, overlooking the mess. Not knowing exactly where to\n begin, she starts emptying ashtrays into each other, then just stops.", "It is a black-and-white picture, probably Muffy as a child. But\n what's confusing is there's another little girl next to her in the\n picture, who looks just like Muffy, too...", "Muffy sits quietly a moment, thinking. Then she gets up and goes\n toward the kitchen.\n \n INT. DOWNSTAIRS HALL -", "Then Muffy hears a DRIPPING. She turns, hesitating, and follows the\n sounds.\n \n INT. UTILITY ROOM", "wearing yesterday after their arrival -- lie stuffed inside, bloodied\n and charred.\n \n KIT\n Muffy's clothes...", "Up on the porch, Nan finally sees Muffy emerging from the distant tool\n shed. Muffy is dressed plainly, oddly conventional, with a perceptible", "...and stops short. Muffy is lying face down in a pool of blood. Her\n throat's been cut. The useless phone receiver is clutched in her hand", "still in her hand. Old workclothes and a head kerchief take the place\n of Muffy's normally impeccable prep Seven Sisters outfit (including", "(RISING PANIC)\n Muffy?\n \n Her throat gags a couple of times, as if she is about to be sick. She", "(TURNS)\n Muffy...\n \n Muffy turns back to her.", "Muffy, it's not a game anymore!\n \n Just then there is a loud CRASH o.s. of glass breaking down on the", "Muffy doesn't turn any lights on either. She goes to the sink, sees\n that there is no used water glass, then' she notices the open window.\n She smiles.", "She walks out of the living room. Muffy looks after her and smiles to\n herself.\n \n INT. KITCHEN - NIGHT", "Muffy IS dead!!! In the house!!!\n (WHIMPERING)\n Oh, God...\n \n CHAZ", "as o.s. the knocking continues. No sign of Muffy.\n \n INT. FRONT ENTRY", "Muffy, initially paralyzed with fear, now runs for her life, down the\n hallway, down the stairs...\n \n INT. ENTRY HALL - SAME", "MUFFY\n Goodnight.\n \n Muffy leads Nikki to a narrow, sparse single, popping open the door." ], [ "...and stops short. Muffy is lying face down in a pool of blood. Her\n throat's been cut. The useless phone receiver is clutched in her hand", "(RISING PANIC)\n Muffy?\n \n Her throat gags a couple of times, as if she is about to be sick. She", "Then Muffy hears a DRIPPING. She turns, hesitating, and follows the\n sounds.\n \n INT. UTILITY ROOM", "Muffy IS dead!!! In the house!!!\n (WHIMPERING)\n Oh, God...\n \n CHAZ", "Skip! No! ! !\n \n He makes a move to slit her throat, when Muffy kicks open\n the swinging door and sees...", "She runs into another clearing (the CAMERA has been here waiting for\n her) where Chaz is revealed lying on the ground, looking much more\n hideous than Muffy.", "Muffy is still lying face down as we saw her last. She hears footsteps\n going upstairs.\n \n INT. ATTIC - SAME", "Kit screams and chokes, trying to fight him off: but he stabs her\n again, and again and again, plunging the knife deep into her with\n every thrust.", "...and to the front door as Kit's screams O.S. fade to silence. Muffy\n yanks on the door handle, but the door will not open. She pulls again", "He pulls her head back, exposing her throat. He raises a knife to it,\n still stained with Kit's blood.\n \n SKIP", "blood and mess... Rob, Kit, Nikki, Chaz and Nan. Muffy's eyes pop out.\n Skip's hands relax. And the others burst out laughing.", "KIT\n Muffy! Stop him! Help! He's killing me! Oh, God! He's killing me!", "still in her hand. Old workclothes and a head kerchief take the place\n of Muffy's normally impeccable prep Seven Sisters outfit (including", "He said not to trust anybody. That's why we were to stay together. No\n one was to be left alone with anyone else... Then he said, especially\n not with Muffy.", "Muffy stand, overlooking the mess. Not knowing exactly where to\n begin, she starts emptying ashtrays into each other, then just stops.", "Muffy!\n \n Muffy walks into the room , lowering the knife.\n \n MUFFY", "is a slowly growing blood stain.\n \n Nikki gasps, her mouth contorting into a scream that will not come.", "Nothing left, but the pool of blood and a thin trail of smeared drying\n blood to indicate that she's been dragged away.\n \n KIT", "smiling, holds up the knife and plunges it into her own hand. The\n blade is retractable.\n \n KIT", "Muffy can dish it out. It might be interesting to see if she can take\n it.\n CHAZ\n All right! A real catfight!" ], [ "into the water. Next to her, Arch's severed head gapes up in a rictus\n grin, joined in its leer by Skip's decapitated head.", "Nan screams. Skip stumbles, teetering there at the edge of the ferry.\n Rob and Chaz leap to their feet. The ferrymen both look up in", "Nikki, Arch, Harvey, Nan, even the Constable and the ferryman. They\n sit or casually stand, quietly talking or reading magazines, taking no\n notice of her whatsoever.", "blood and mess... Rob, Kit, Nikki, Chaz and Nan. Muffy's eyes pop out.\n Skip's hands relax. And the others burst out laughing.", "Kit screams and scrambles to her feet--Rob completely uncomprehending\n until he sees it too: Skip's body, pale and bloodied, draped within", "videopak again, taping it. Arch and Skip watch with him from the end\n of the pier. But Kit and Nikki, waiting nearer the office, are", "Where's Skip? Anybody seen him?\n \n NIKKI\n Who wants to know?", "And when Kit finally opens her eyes to it, Skip's face bulges\n gruesomely up at her through the slatted floor!", "Arch, Chaz, Harvey and Nikki burst out the door in old clothes,\n sweats, shorts, whatever -- an unlikely foursome for some informal", "This was Nan's...\n \n NIKKI\n (TREMBLING)\n Nan...", "Skip emerges from the overgrowth. The abandoned old structure and its\n dock squat ahead at water's edge. Beneath the boathouse, floating in", "arrives at her door, opens it (she had not closed it the last time she\n went out), and goes inside.\n \n INT. NIKKI'S ROOM - SAME", "Rob stops as he notices, near the foot of the stairs where he'd parked\n it upon first entering the house yesterday afternoon, Skip's overnight\n bag.", "Rob and Kit come struggling up the path. Chaz trains his videopak on\n them from the porch . He, Arch, Harvey and Nikki unwind with beer and\n sandwiches after their sweaty workout.", "Muffy shows Nikki, the last of them, to her room. Nan says goodnight\n from her door.\n \n NAN\n Goodnight.", "ROB\n It's Arch and Skip and Nan.\n \n KIT\n Rob??...", "Nan's body lies twisted and jammed among the slime. Her dress is torn,\n revealing a white breast with veins of blood streaming across it and", "She stops suddenly. Muffy isn't here. Frustrated, Nikki runs\n back into...\n \n INT. FRONT ENTRY - SAME", "Buck resurfaces, but without any sign of Skip. Rob doesn't wait any\n longer. He pulls off his shoes and dives in. Chaz gets ready to follow\n suit. The panic mounts. Suddenly:", "KIT\n (tears in her eyes)\n Muffy, he's dead!\n \n NIKKI" ], [ "hurt because of Skip's prank, and when things started happening and we\n thought maybe some of us were getting killed, how we all just kind of", "The clodhoppers she's been wearing today... crepe soles...\n \n It's as though some common nerve of suspicion has been touched. They\n all stir.", "The three of them come clambering up the stairs, Kit in the lead. They\n turn a corner. Then they see him... dead on the floor.\n \n KIT", "It is Harvey. His body dangles from the rafters high above the top of\n the rear stairs, a thick rope around his neck.", "could only be made by a heavy boot, thundering closer... and closer...\n \n Kit and Nikki and Chaz huddle around Rob's body and await their", "He said not to trust anybody. That's why we were to stay together. No\n one was to be left alone with anyone else... Then he said, especially\n not with Muffy.", "The van moves slowly along a narrow road through the forest. From what\n we can see of its occupants, the mood is pretty grim. Behind it, the\n old island pick-up truck follows.", "Once they were killed off, yes. Everybody had to cooperate. Otherwise,\n none of it would have worked!\n \n ROB", "...and stops short. Muffy is lying face down in a pool of blood. Her\n throat's been cut. The useless phone receiver is clutched in her hand", "and claps him on the shoulder. Rob jumps and screams involuntarily.\n The group laughs louder still...\n INT. LIVING ROOM -- MOMENTS LATER", "The night is a landscape of terror. As Rob and Kit race through the\n darkness, the forest seems to fold in on top of them, completely\n enclosing them within itself.", "She runs into another clearing (the CAMERA has been here waiting for\n her) where Chaz is revealed lying on the ground, looking much more\n hideous than Muffy.", "SKIP\n (shrugs, smiling)\n Did I say anything?\n The others look at each other, a beat, registering.", "It is Buck, standing practically right beside him, staring at Rob. His\n face is the same bloody, hideous mess it was the day before, after the\n accident.", "Rob is creeping up the attic stairs when he hears footsteps o.s. too.\n He pauses, his face draining of color.\n EXT. HOUSE - NIGHT", "Suddenly a loud NOISE slams at the basement window. Rob grabs Kit,\n covering her mouth and snapping off .the flashlight. The head falls to\n the. floor at their feet. They turn...", "Kit screams and scrambles to her feet--Rob completely uncomprehending\n until he sees it too: Skip's body, pale and bloodied, draped within", "Rob turns away from Skip now, steps over and surveys the quiet group.\n \n ROB\n Some party, huh?", "Has anybody seen him since last night?\n \n They all realize they haven't.\n \n ROB (cont .)", "An animal cries out behind them. Rob wastes no more time, pulling the\n rope and the boat quickly toward them. They jump in." ], [ "League farmboy from the Border South, and he's the last of Muffy's\n invited guests. He also, somewhat incongruously, sports a Bruce\n Springsteen badge.", "Hey, they're your friends.\n \n MUFFY\n Which ones?\n \n SKIP", "Rob, what about Muffy?\n \n ROB\n Forget her!\n \n KIT", "Muffy drives up. She slows, seeing, through the windshield the somber\n scene at the pier... her friends in troubled conversation with\n Constable Potter.", "aboard the van, passing Chaz who just glares at her. He knows. Finally\n Nan comes out of the house. With a curt nod to Muffy, she heads on\n toward the van when...", "(BEAT)\n I wish I could say the same about your brother.\n \n MUFFY", "Muffy smiles, directing attention toward \"cousin\" Skip.\n \n CHAZ\n Skip?!", "Muffy, it's not a game anymore!\n \n Just then there is a loud CRASH o.s. of glass breaking down on the", "It is a black-and-white picture, probably Muffy as a child. But\n what's confusing is there's another little girl next to her in the\n picture, who looks just like Muffy, too...", "(looking from one to the other)\n Do you know what we're saying? That we're actually sitting here\n discussing the possibility that Muffy, a generous friend, has invited", "Muffy stand, overlooking the mess. Not knowing exactly where to\n begin, she starts emptying ashtrays into each other, then just stops.", "Unless Muffy knows something about us we don't.\n \n He blows Arch a kiss, pulling the two beds apart again.", "Muffy is still lying face down as we saw her last. She hears footsteps\n going upstairs.\n \n INT. ATTIC - SAME", "Muffy IS dead!!! In the house!!!\n (WHIMPERING)\n Oh, God...\n \n CHAZ", "Muffy shows Nikki, the last of them, to her room. Nan says goodnight\n from her door.\n \n NAN\n Goodnight.", "Muffy? We should all stay together.\n \n MUFFY\n This is my house.\n (BEAT)", "Muffy can dish it out. It might be interesting to see if she can take\n it.\n CHAZ\n All right! A real catfight!", "He said not to trust anybody. That's why we were to stay together. No\n one was to be left alone with anyone else... Then he said, especially\n not with Muffy.", "(STOPPING HIM)\n She's my friend!\n \n She breaks away from him and dashes down to Muffy's door. Rob has no", "us all here to --\n \n She stops suddenly, freezing in mid-sentence, and they all turn,\n following the direction of her look, to see Muffy standing in the" ], [ "Muffy is still lying face down as we saw her last. She hears footsteps\n going upstairs.\n \n INT. ATTIC - SAME", "wearing yesterday after their arrival -- lie stuffed inside, bloodied\n and charred.\n \n KIT\n Muffy's clothes...", "This is the last of Muffy's little April Fool's gags, and as with the\n overnight bag, it signifies that Skip has been nowhere near this room.", "Muffy stand, overlooking the mess. Not knowing exactly where to\n begin, she starts emptying ashtrays into each other, then just stops.", "Up on the porch, Nan finally sees Muffy emerging from the distant tool\n shed. Muffy is dressed plainly, oddly conventional, with a perceptible", "INT. MUFFY' S BEDROOM - NIGHT\n \n Muffy enters, closes the door quietly and locks it behind her. She", "MUFFY (cont.)\n I... I must look a mess...\n \n She scuttles out the door to the utility room and the back stairs", "...and to the front door as Kit's screams O.S. fade to silence. Muffy\n yanks on the door handle, but the door will not open. She pulls again", "still in her hand. Old workclothes and a head kerchief take the place\n of Muffy's normally impeccable prep Seven Sisters outfit (including", "Muffy shows Nikki, the last of them, to her room. Nan says goodnight\n from her door.\n \n NAN\n Goodnight.", "MUFFY\n Goodnight.\n \n Muffy leads Nikki to a narrow, sparse single, popping open the door.", "(hushed, at door)\n Muffy?\n \n No answer. He tries her door, but it's locked tight.", "Muffy sits quietly a moment, thinking. Then she gets up and goes\n toward the kitchen.\n \n INT. DOWNSTAIRS HALL -", "Then Muffy hears a DRIPPING. She turns, hesitating, and follows the\n sounds.\n \n INT. UTILITY ROOM", "INT. MUFFY'S BEDROOM - NIGHT\n \n Muffy, undressing, hears, and smiles.", "Muffy doesn't turn any lights on either. She goes to the sink, sees\n that there is no used water glass, then' she notices the open window.\n She smiles.", "Soon there's the upstairs SOUND of the kitchen door closing behind\n Clara.\n Muffy finally props the mannequin, clearing away the remaining", "She walks out of the living room. Muffy looks after her and smiles to\n herself.\n \n INT. KITCHEN - NIGHT", "Muffy, initially paralyzed with fear, now runs for her life, down the\n hallway, down the stairs...\n \n INT. ENTRY HALL - SAME", "...and stops short. Muffy is lying face down in a pool of blood. Her\n throat's been cut. The useless phone receiver is clutched in her hand" ], [ "around her. She listens.\n \n The crying is louder now, but muffled -- a baby crying for its mother.", "crying. As it grows gradually louder we realize that it is crying -- a\n baby crying.\n \n Nan appears suddenly in the bathroom doorway. A towel is wrapped", "wakes too. They hear the muffled cry again. It is not from lovemaking.\n Rob throws off the covers.\n INT. UPSTAIRS HALLWAY - NIGHT", "An animal cries out behind them. Rob wastes no more time, pulling the\n rope and the boat quickly toward them. They jump in.", "Suddenly there is a loud KNOCK beneath them O.S. They all look up.\n Someone is coming slowly up the stairs, the loud footsteps O.S.that", "INT. ROB AND KIT'S ROOM - NIGHT\n \n Rob wakes, hearing the CRY from Muff's room. Kit, naked against him,", "It seems to come from a large mahogany wardrobe on the other side of\n the room.", "secluded corner of the garden behind the house. She has been weeping.\n Her face tells the story.", "A small cassette recorder plays. The tape runs out. The baby's cries\n stop.\n Nan rips out the cassette, and sinks back onto the bed, burying her", "Then Muffy hears a DRIPPING. She turns, hesitating, and follows the\n sounds.\n \n INT. UTILITY ROOM", "o.s. they hear a muffled cry.\n \n INT. NIKKI'S ROOM - MORNING", "Undaunted, he scuttles down the hall to Rob and Kit's closed door to\n listen in. He frowns, the slides farther down to Nikki's room, knocks", "Muffy is still lying face down as we saw her last. She hears footsteps\n going upstairs.\n \n INT. ATTIC - SAME", "Soon there's the upstairs SOUND of the kitchen door closing behind\n Clara.\n Muffy finally props the mannequin, clearing away the remaining", "sound very near, like a foot striking the wood flooring.\n \n SKIP\n Who's there?", "about, calling for Harvey, but up here all is quiet and threatening.\n \n She hurries silently down to Chaz' room, opens the door and steps\n inside.", "She turns suddenly in response to .a NOISE O.S., and sees a DARK\n FIGURE stepping out from behind the slowly closing bedroom door.", "slowly along a wall away from the door. Then he becomes aware of\n another living presence in the boathouse. It is a slow breathing\n sound--completely inhuman.", "...and the bedside lamp comes on again. Kit laughs harder, but still\n tries to stifle it.", "Suddenly a loud NOISE slams at the basement window. Rob grabs Kit,\n covering her mouth and snapping off .the flashlight. The head falls to\n the. floor at their feet. They turn..." ], [ "and only passenger from the island ­ Clara -- to disembark. Clara\n passes them , giving first Skip and then the others a look, shaking\n her head in sad appraisal.", "An animal cries out behind them. Rob wastes no more time, pulling the\n rope and the boat quickly toward them. They jump in.", "island my friend Muffy owns... It's spring break... and she's invited\n us over for the weekend, and we're waiting for the ferry now to take\n us there...", "Nan screams. Skip stumbles, teetering there at the edge of the ferry.\n Rob and Chaz leap to their feet. The ferrymen both look up in", "hurt because of Skip's prank, and when things started happening and we\n thought maybe some of us were getting killed, how we all just kind of", "But then Buck, thrashing in the water, tears himself, loose, screaming\n and bobbing. up, his head and torso covered in blood, the side of his", "The van moves slowly along a narrow road through the forest. From what\n we can see of its occupants, the mood is pretty grim. Behind it, the\n old island pick-up truck follows.", "Get him to the hospital, Cal! Take my boat!\n \n He helps the ferryman lift Buck. But the powerful ferryman needs no", "the water, is a grungy old skiff covered by a tarp.\n Skip turns away from the dock, and flicks his lighter among the weeds,", "He slams the stile down after Harvey, the last to board, and gets busy\n with the stubborn motor. His assistant helps. Chaz tapes.", "It is Buck, standing practically right beside him, staring at Rob. His\n face is the same bloody, hideous mess it was the day before, after the\n accident.", "The ferryman rushes forward to help.\n \n For a moment the others are spared the horror of it as the\n Ferryman's back blocks their view.", "Skip! You sonofabitch!\n \n But there's no response, Skip's body unmoving on the self-powered\n skiff which continues bobbing out to sea.", "MUFFY\n Cal's our regular ferryman between the mainland and the islands around\n here... but I thought he was up to the dramatic challenge.", "on board -- BUCK, a pleasant, openfaced townie in his 20s.\n \n FERRYMAN (cont.)", "The boat? Oh, Cal gave us one.\n \n MUFFY\n I see.\n \n PAUSE.", "comes up from the group on the ferry. Kit closes her eyes in relief.\n Rob comes hurrying up the ramp.\n \n ANGLE ­ LANDING", "(unamused, to Buck)\n Ok, c'mon, get out.\n \n They are approaching the landing dock on the island.", "(IN MOCK-TERROR)\n This is it? No going back? Trapped for days on an island where\n men are men, and women oughta know better?", "He starts running to the boat. Rob reluctantly follows.\n \n CHAZ\n (calling back to them)" ], [ "Nan puts down her book, hurrying off the porch. But by the timeshe\n looks up again, Muffy is gone...\n EXT. DOCK - DAY", "Has anybody seen him since last night?\n \n They all realize they haven't.\n \n ROB (cont .)", "She turns and crosses to the van and climbs aboard. The others callout\n their last goodbyes. Muffy waves, and then they are gone and Muffy", "and only passenger from the island ­ Clara -- to disembark. Clara\n passes them , giving first Skip and then the others a look, shaking\n her head in sad appraisal.", "Stop it! Just stop it all of you!\n (BEAT)\n What is wrong with us? Nhat happened to all our talk about friendship,\n and undying loyalty?", "It is Harvey. His body dangles from the rafters high above the top of\n the rear stairs, a thick rope around his neck.", "He said not to trust anybody. That's why we were to stay together. No\n one was to be left alone with anyone else... Then he said, especially\n not with Muffy.", "incredible. Muffy enters with a fresh basket of piping hot biscuits.\n Only Nikki, Harvey, and Cal are not present.\n \n ARCH", "ROB\n (yanking her away)\n Forget the doors!\n \n Within moments they have crossed the back yard and disappeared into", "They turn attention toward her, and she stands, emboldened by their\n acceptance.\n NAN (CONT.)\n Well... Someone once said to me to cherish the friends you make in", "(CONTINUING)\n Because... they'll be the friends you cherish most the rest of your", "hurt because of Skip's prank, and when things started happening and we\n thought maybe some of us were getting killed, how we all just kind of", "Muffy shows Nikki, the last of them, to her room. Nan says goodnight\n from her door.\n \n NAN\n Goodnight.", "As Rob, Arch and Chaz come running down to the water. They stop and\n look around, seeing nothing.\n \n No answer.", "Harvey accompanies Nikki out the back door, leaving Kit and Muffy\n alone again.\n \n MUFFY", "The van moves slowly along a narrow road through the forest. From what\n we can see of its occupants, the mood is pretty grim. Behind it, the\n old island pick-up truck follows.", "Hey, they're your friends.\n \n MUFFY\n Which ones?\n \n SKIP", "Don't you know? Old money sticks together.\n \n Arch goes to his car and drives away.", "Kit is nearest to him, and without warning, he lunges at her and\n buries a knife into her stomach ·up to the handle.", "Listen. Muffy , I'm really getting worried about Chaz. I think we\n should go out and see what's happened.\n \n MUFFY" ], [ "Rob, still struggling, knows Kit is about to die.\n \n ROB\n Kit! I love you!", "Kit is nearest to him, and without warning, he lunges at her and\n buries a knife into her stomach ·up to the handle.", "Kit breaks up laughing again. To her it is funny. And soon Rob is\n laughing too. He swings his legs up under the covers beside her.", "Kit screams and scrambles to her feet--Rob completely uncomprehending\n until he sees it too: Skip's body, pale and bloodied, draped within", "He drops to the floor, turning to give Kit a hand. She enters the\n same, dusting herself off next to him. Rob turns on the flashlight,\n using it cautiously.", "ROB\n (smiles weakly to Kit)\n We're off!\n \n They are indeed.", "She moves toward them while Rob stays by the windows looking out. As\n she gets closer to the dolls, however, Kit realizes that they have not\n just been stuck there haphazardly.", "Kit screams and chokes, trying to fight him off: but he stabs her\n again, and again and again, plunging the knife deep into her with\n every thrust.", "Harvey accompanies Nikki out the back door, leaving Kit and Muffy\n alone again.\n \n MUFFY", "KIT\n Rob, look! The doors. They've been closed.\n \n Sure enough, the doors they come out by minutes ago, the ones they", "ROB (O.S.)\n No lights.\n \n Suddenly a flashlight beam pierces the darkness, and Rob and Kit can", "...and the bedside lamp comes on again. Kit laughs harder, but still\n tries to stifle it.", "Rob and Kit burst out of the dining room as if the house were on fire.\n Kit stops to pull the doors shut behind them.", "Kit gasps, momentarily spared. She pushes apart the double doors and\n stumbles back into...\n \n INT. LIVING ROOM", "The beam momentarily sweeps the wall next to Kit. She sees something.\n \n KIT\n (an urgent whisper)\n Rob!", "Kit! Kit, come out!\n \n There is rustling O.S., then Kit starts to emerge.\n \n KIT", "...and to the front door as Kit's screams O.S. fade to silence. Muffy\n yanks on the door handle, but the door will not open. She pulls again", "ROB\n (looks up, in surprise)\n Kit...\n \n KIT\n (DECIDEDLYL", "You maniacs... you almost gave us a heart attack!\n \n Kit glowers at them and gives Rob a hand to get out.", "KIT (cont.)\n Look!\n \n She presses it into his hands. He shines the flashlight." ], [ "Nan screams. Skip stumbles, teetering there at the edge of the ferry.\n Rob and Chaz leap to their feet. The ferrymen both look up in", "(QUIETLY)\n It's all because of what happened on the ferry, isn't it?\n \n CHAZ", "The ferryman rushes forward to help.\n \n For a moment the others are spared the horror of it as the\n Ferryman's back blocks their view.", "EXT. THE FERRY - DAY\n \n A CLOSER ANGLE. The sturdy, barge like ship craft makes progress. The", "seen till now, is the first to spot the ferry approaching.\n \n CHAZ\n Here she comes...", "The landing BUMPS, the ferry touches down. They look up.\n \n ANGLE CHANGE\n \n FERRYMAN", "She returns his stare in dread silence. He boards the ferry.\n \n CONSTABLE POTTER (CONT.)\n I came over to check on a report of some unauthorized", "Constable Potter arrives, throwing the ferryman a towel to use. The\n ferryman catches it, pressing it against Buck's torn face. One", "comes up from the group on the ferry. Kit closes her eyes in relief.\n Rob comes hurrying up the ramp.\n \n ANGLE ­ LANDING", "An animal cries out behind them. Rob wastes no more time, pulling the\n rope and the boat quickly toward them. They jump in.", "The big ferry drifts into the slip, and the passengers begin to\n disembark.\n \n INT. MUFFY'S BEDROOM - HOUSE - DAY", "From far away the ferry can be seen chugging away, slowly returning to\n the mainland.\n \n EXT. FERRY - DAY", "But he stops just at the edge of the ferry, immobilized by fear.\n \n Rob rushes forward, with Chaz in reserve, pulling Arch out of ·the", "dazed, off-balance, falling back into the path of the ferry as it\n glides toward the landing.\n \n FERRYMAN", "and only passenger from the island ­ Clara -- to disembark. Clara\n passes them , giving first Skip and then the others a look, shaking\n her head in sad appraisal.", "Sorry about that.\n \n But Buck's in no hurry. The ferryman steps forward.\n \n FERRYMAN", "Get him to the hospital, Cal! Take my boat!\n \n He helps the ferryman lift Buck. But the powerful ferryman needs no", "The ferryman grabs the controls, but it can't help.\n \n The ferry, unstoppable, plows into Buck, pinning him against one of", "The ferryman cast one last glance back.\n \n EXT. THE LANDING", "The van moves slowly along a narrow road through the forest. From what\n we can see of its occupants, the mood is pretty grim. Behind it, the\n old island pick-up truck follows." ], [ "(GRINNING MISCHIEVOUSLY)\n April Fool.\n INT. UPSTAIRS HALLWAY ­ NIGHT", "hurt because of Skip's prank, and when things started happening and we\n thought maybe some of us were getting killed, how we all just kind of", "April Fools... you crazy jerks. You crazy motherfuckin' jerks...\n somebody could've gotten hurt out there!", "Suddenly everyone roars with laughter. Champagne corks start popping,\n and before you know it, the scene is resembling the locker room of the\n winning team of a championship series.", "naturally accepted the fact that it was 'oh , yeah, sure, because of\n the prank.'\n \n SKIP\n (FROWNS)", "and claps him on the shoulder. Rob jumps and screams involuntarily.\n The group laughs louder still...\n INT. LIVING ROOM -- MOMENTS LATER", "Tricks. Pranks. Better ask your friends... Buck's been hurt. 'Cal just\n took him on over to the mainland. Just lucky I was here...", "...And I regret that, well, some of those fake clues I planted in the\n bedrooms I guess were taken too seriously. I'm sorry about\n that.", "The assistant gapes, falling for it, groping his fly. Which is closed,\n of course. He looks up, grinning. Chaz kisses him on the cheek, winks\n and moves on.", "What're you talking about?\n \n ARCH\n Well, it's like pranks really piss people off. It unleashes things,", "...and the bedside lamp comes on again. Kit laughs harder, but still\n tries to stifle it.", "This is the last of Muffy's little April Fool's gags, and as with the\n overnight bag, it signifies that Skip has been nowhere near this room.", "(TO OTHERS)\n And you guys played along?\n \n ARCH\n Don't look at me!", "He quickly slips the S&M mask over his head, clowning around.\n \n CHAZ (CONT.)\n (MUFFLED)", "Arch bobbles the head nervously. The others laugh.\n \n BUCK\n Just some old props I redressed with the help of photographs Muffy", "Ki--!\n \n The group laughs louder at the sight of him. Buck walks up behind Rob", "Laughter.\n \n MUFFY\n Rob, you and Kit, you two were the best. You figured it all", "SKIP\n (PROTESTING)\n Only the set-up. Muffy told me to say I was her cousin and to pull", "It is Harvey. His body dangles from the rafters high above the top of\n the rear stairs, a thick rope around his neck.", "that prank on the ferry. I had no idea what was going to happen with\n Buck.\n \n MUFFY" ], [ "Is that it?\n \n The well is the old-fashioned kind.\n \n NIKKI (cont.)", "NIKKI\n \n It's like the very guts have been torn out of her. She screams,\n stumbling back.", "arrives at her door, opens it (she had not closed it the last time she\n went out), and goes inside.\n \n INT. NIKKI'S ROOM - SAME", "INT. NIKKI'S ROOM - NIGHT\n \n Nikki steps up to the sink in the adjoining bathroom, turns the faucet", "She rises on her toes, flashing the powerful beam down the dank hole.\n Harvey bends over to look. A rotted piece of the well cover breaks off\n in his hand. He lurches forward.", "She shines the beam down again, bending in for a look.\n \n HARVEY\n NIKKI --", "o.s. they hear a muffled cry.\n \n INT. NIKKI'S ROOM - MORNING", "Nikki falls to the floor in hysterics.\n \n KIT\n My goodness, daddy, what big", "INT. NIKKI'S ROOM - NIGHT\n \n Nikki's suitcase is open on the bed, and she is moving nervously about", "This was Nan's...\n \n NIKKI\n (TREMBLING)\n Nan...", "Nikki reaches for a large flashlight beam.\n \n NIKKI\n Jesus. I'll go. Just point me in the right direction.", "EXT. HOUSE - SAME\n as Nikki comes out the front door and heads off into the woods.\n \n NIKKI", "She stops suddenly. Muffy isn't here. Frustrated, Nikki runs\n back into...\n \n INT. FRONT ENTRY - SAME", "INT. UPSTAIRS HALL - MOMENTS LATER\n \n Nikki comes down the hall with some more clothes on her arm. She", "They all pause.\n \n NIKKI\n I found somethin\"g in my room, too", "She looks around.\n \n NIKKI\n Muffy!!", "again.\n \n NIKKI\n (looks at her, persisting)\n Well?", "with a loud SPLASH.\n \n NIKKI\n Fuck!", "NIKKI (CONT.)\n Now I'm supposed to throw off my clothes and jump on you? Just wind\n her up and watch her go? You've got a lot to learn, buddy.", "...while Kit runs down the hall to Nikki's room and flings\n open the door.\n \n KIT\n Nikki?" ], [ "It is a black-and-white picture, probably Muffy as a child. But\n what's confusing is there's another little girl next to her in the\n picture, who looks just like Muffy, too...", "Muffy IS dead!!! In the house!!!\n (WHIMPERING)\n Oh, God...\n \n CHAZ", "Muffy is still lying face down as we saw her last. She hears footsteps\n going upstairs.\n \n INT. ATTIC - SAME", "Muffy, it's not a game anymore!\n \n Just then there is a loud CRASH o.s. of glass breaking down on the", "(TURNS)\n Muffy...\n \n Muffy turns back to her.", "What I'd like to know is, how did Muffy find out about these\n things and why -- ?\n \n KIT", "Muffy can dish it out. It might be interesting to see if she can take\n it.\n CHAZ\n All right! A real catfight!", "Muffy smiles, directing attention toward \"cousin\" Skip.\n \n CHAZ\n Skip?!", "MUFFY (to be played like Muffy)\n Who wants some tea?\n (BEAT)\n It'll calm our nerves...", "Up on the porch, Nan finally sees Muffy emerging from the distant tool\n shed. Muffy is dressed plainly, oddly conventional, with a perceptible", "This is the last of Muffy's little April Fool's gags, and as with the\n overnight bag, it signifies that Skip has been nowhere near this room.", "aboard the van, passing Chaz who just glares at her. He knows. Finally\n Nan comes out of the house. With a curt nod to Muffy, she heads on\n toward the van when...", "She runs into another clearing (the CAMERA has been here waiting for\n her) where Chaz is revealed lying on the ground, looking much more\n hideous than Muffy.", "Unless Muffy knows something about us we don't.\n \n He blows Arch a kiss, pulling the two beds apart again.", "Kit? He said something else on the phone, about Muffy.\n \n KIT\n What?\n \n ROB", "Oh, c'mon.\n \n Muffy exits hurriedly, upset.\n \n EXT. WOODS - DAY", "What really amazes me is how easy we made it for her. Everyone was\n just out for himself. We could've stopped Muffy cold if we'd only", "Rob, what about Muffy?\n \n ROB\n Forget her!\n \n KIT", "INT. MUFFY' S BEDROOM - NIGHT\n \n Muffy enters, closes the door quietly and locks it behind her. She", "Y'know what I find amazin'? Muffy's her real name. I mean,\n I'm Harvey, but they call me Hal, so I thought, 'Muffy', it must" ], [ "Muffy is still lying face down as we saw her last. She hears footsteps\n going upstairs.\n \n INT. ATTIC - SAME", "INT. MUFFY' S BEDROOM - NIGHT\n \n Muffy enters, closes the door quietly and locks it behind her. She", "INT. MUFFY'S BEDROOM - NIGHT\n \n Muffy, undressing, hears, and smiles.", "This is the last of Muffy's little April Fool's gags, and as with the\n overnight bag, it signifies that Skip has been nowhere near this room.", "Muffy sits quietly a moment, thinking. Then she gets up and goes\n toward the kitchen.\n \n INT. DOWNSTAIRS HALL -", "Up on the porch, Nan finally sees Muffy emerging from the distant tool\n shed. Muffy is dressed plainly, oddly conventional, with a perceptible", "Unless Muffy knows something about us we don't.\n \n He blows Arch a kiss, pulling the two beds apart again.", "Then Muffy hears a DRIPPING. She turns, hesitating, and follows the\n sounds.\n \n INT. UTILITY ROOM", "wearing yesterday after their arrival -- lie stuffed inside, bloodied\n and charred.\n \n KIT\n Muffy's clothes...", "It is a black-and-white picture, probably Muffy as a child. But\n what's confusing is there's another little girl next to her in the\n picture, who looks just like Muffy, too...", "She walks out of the living room. Muffy looks after her and smiles to\n herself.\n \n INT. KITCHEN - NIGHT", "...and to the front door as Kit's screams O.S. fade to silence. Muffy\n yanks on the door handle, but the door will not open. She pulls again", "beam inside.\n \n THEIR POV - INCINERATOR\n \n Inside, Muffy's characteristic attire -- the clothes we saw her", "Muffy stand, overlooking the mess. Not knowing exactly where to\n begin, she starts emptying ashtrays into each other, then just stops.", "Muffy IS dead!!! In the house!!!\n (WHIMPERING)\n Oh, God...\n \n CHAZ", "MUFFY\n Goodnight.\n \n Muffy leads Nikki to a narrow, sparse single, popping open the door.", "as o.s. the knocking continues. No sign of Muffy.\n \n INT. FRONT ENTRY", "Muffy, it's not a game anymore!\n \n Just then there is a loud CRASH o.s. of glass breaking down on the", "Muffy doesn't turn any lights on either. She goes to the sink, sees\n that there is no used water glass, then' she notices the open window.\n She smiles.", "Rob wraps himself with a towel, stepping quickly out to Muffy's door.\n Everything else is dark and quiet.\n \n ROB" ], [ "...and stops short. Muffy is lying face down in a pool of blood. Her\n throat's been cut. The useless phone receiver is clutched in her hand", "Skip! No! ! !\n \n He makes a move to slit her throat, when Muffy kicks open\n the swinging door and sees...", "Muffy IS dead!!! In the house!!!\n (WHIMPERING)\n Oh, God...\n \n CHAZ", "KIT\n Muffy! Stop him! Help! He's killing me! Oh, God! He's killing me!", "...and to the front door as Kit's screams O.S. fade to silence. Muffy\n yanks on the door handle, but the door will not open. She pulls again", "She runs into another clearing (the CAMERA has been here waiting for\n her) where Chaz is revealed lying on the ground, looking much more\n hideous than Muffy.", "(RISING PANIC)\n Muffy?\n \n Her throat gags a couple of times, as if she is about to be sick. She", "Muffy is still lying face down as we saw her last. She hears footsteps\n going upstairs.\n \n INT. ATTIC - SAME", "Kit screams and chokes, trying to fight him off: but he stabs her\n again, and again and again, plunging the knife deep into her with\n every thrust.", "Muffy, it's not a game anymore!\n \n Just then there is a loud CRASH o.s. of glass breaking down on the", "Muffy!\n \n Muffy walks into the room , lowering the knife.\n \n MUFFY", "KIT\n (tears in her eyes)\n Muffy, he's dead!\n \n NIKKI", "Then Muffy hears a DRIPPING. She turns, hesitating, and follows the\n sounds.\n \n INT. UTILITY ROOM", "It is Harvey. His body dangles from the rafters high above the top of\n the rear stairs, a thick rope around his neck.", "Muffy stand, overlooking the mess. Not knowing exactly where to\n begin, she starts emptying ashtrays into each other, then just stops.", "Kit is nearest to him, and without warning, he lunges at her and\n buries a knife into her stomach ·up to the handle.", "Muffy sits quietly a moment, thinking. Then she gets up and goes\n toward the kitchen.\n \n INT. DOWNSTAIRS HALL -", "cutting them off. A key turns in the lock. Muffy and Kit turn back to\n see a male figure in the darkness who'd been hiding behind the door.", "aboard the van, passing Chaz who just glares at her. He knows. Finally\n Nan comes out of the house. With a curt nod to Muffy, she heads on\n toward the van when...", "Muffy can dish it out. It might be interesting to see if she can take\n it.\n CHAZ\n All right! A real catfight!" ], [ "Muffy is still lying face down as we saw her last. She hears footsteps\n going upstairs.\n \n INT. ATTIC - SAME", "Muffy sits quietly a moment, thinking. Then she gets up and goes\n toward the kitchen.\n \n INT. DOWNSTAIRS HALL -", "Muffy stand, overlooking the mess. Not knowing exactly where to\n begin, she starts emptying ashtrays into each other, then just stops.", "Muffy IS dead!!! In the house!!!\n (WHIMPERING)\n Oh, God...\n \n CHAZ", "She walks out of the living room. Muffy looks after her and smiles to\n herself.\n \n INT. KITCHEN - NIGHT", "Muffy, it's not a game anymore!\n \n Just then there is a loud CRASH o.s. of glass breaking down on the", "Up on the porch, Nan finally sees Muffy emerging from the distant tool\n shed. Muffy is dressed plainly, oddly conventional, with a perceptible", "Then Muffy hears a DRIPPING. She turns, hesitating, and follows the\n sounds.\n \n INT. UTILITY ROOM", "Muffy, initially paralyzed with fear, now runs for her life, down the\n hallway, down the stairs...\n \n INT. ENTRY HALL - SAME", "aboard the van, passing Chaz who just glares at her. He knows. Finally\n Nan comes out of the house. With a curt nod to Muffy, she heads on\n toward the van when...", "Part of the basement, an old washroom and more, with tub, slop sink\n and large incinerator. Muffy enters, pulling the chain on the bare,", "picture-perfect with extensive tended grounds, garage, and\n outbuildings. Muffy gets out first, hopping around to the back to open", "MUFFY (cont.)\n I... I must look a mess...\n \n She scuttles out the door to the utility room and the back stairs", "What really amazes me is how easy we made it for her. Everyone was\n just out for himself. We could've stopped Muffy cold if we'd only", "Muffy? We should all stay together.\n \n MUFFY\n This is my house.\n (BEAT)", "(TURNS)\n Muffy...\n \n Muffy turns back to her.", "INT. DOWNSTAIRS HALLWAY - SAME\n \n Muffy is racing past the back stairs toward the kitchen when A HAND", "INT. MUFFY' S BEDROOM - NIGHT\n \n Muffy enters, closes the door quietly and locks it behind her. She", "INT. MUFFY'S BEDROOM - NIGHT\n \n Muffy, undressing, hears, and smiles.", "...and to the front door as Kit's screams O.S. fade to silence. Muffy\n yanks on the door handle, but the door will not open. She pulls again" ], [ "...and stops short. Muffy is lying face down in a pool of blood. Her\n throat's been cut. The useless phone receiver is clutched in her hand", "Up on the porch, Nan finally sees Muffy emerging from the distant tool\n shed. Muffy is dressed plainly, oddly conventional, with a perceptible", "Skip! No! ! !\n \n He makes a move to slit her throat, when Muffy kicks open\n the swinging door and sees...", "aboard the van, passing Chaz who just glares at her. He knows. Finally\n Nan comes out of the house. With a curt nod to Muffy, she heads on\n toward the van when...", "Nan's body lies twisted and jammed among the slime. Her dress is torn,\n revealing a white breast with veins of blood streaming across it and", "Muffy IS dead!!! In the house!!!\n (WHIMPERING)\n Oh, God...\n \n CHAZ", "Nan puts down her book, hurrying off the porch. But by the timeshe\n looks up again, Muffy is gone...\n EXT. DOCK - DAY", "...and to the front door as Kit's screams O.S. fade to silence. Muffy\n yanks on the door handle, but the door will not open. She pulls again", "Muffy shows Nikki, the last of them, to her room. Nan says goodnight\n from her door.\n \n NAN\n Goodnight.", "Kit screams and chokes, trying to fight him off: but he stabs her\n again, and again and again, plunging the knife deep into her with\n every thrust.", "KIT\n Muffy! Stop him! Help! He's killing me! Oh, God! He's killing me!", "(RISING PANIC)\n Muffy?\n \n Her throat gags a couple of times, as if she is about to be sick. She", "Kit is nearest to him, and without warning, he lunges at her and\n buries a knife into her stomach ·up to the handle.", "KIT\n (tears in her eyes)\n Muffy, he's dead!\n \n NIKKI", "blood and mess... Rob, Kit, Nikki, Chaz and Nan. Muffy's eyes pop out.\n Skip's hands relax. And the others burst out laughing.", "Muffy!\n \n Muffy walks into the room , lowering the knife.\n \n MUFFY", "MUFFY\n Nan!\n \n She hurries to catch up with her.", "Muffy is still lying face down as we saw her last. She hears footsteps\n going upstairs.\n \n INT. ATTIC - SAME", "Muffy, it's not a game anymore!\n \n Just then there is a loud CRASH o.s. of glass breaking down on the", "She runs into another clearing (the CAMERA has been here waiting for\n her) where Chaz is revealed lying on the ground, looking much more\n hideous than Muffy." ], [ "Kit turns to Rob's voice, takes a step toward the cupboard, but\n suddenly Buffy is there, cutting her off.\n \n Kit backes away, into the dining room.", "Kit reels back under Buffy's steady advance. Kit can't see her clearly\n in the dim light, but she can make out, beneath Buffy's wild, stringy,", "Kit scrambles up behind him. They can hear Buffy outside in the yard\n APPROACHING the kitchen door.", "Rob and Kit burst out of the dining room as if the house were on fire.\n Kit stops to pull the doors shut behind them.", "KIT\n No... Oh, God...\n \n and Buffy strikes. The knife jabs into the door, close to Kit's head.", "She moves toward them while Rob stays by the windows looking out. As\n she gets closer to the dolls, however, Kit realizes that they have not\n just been stuck there haphazardly.", "ROB (O.S.)\n No lights.\n \n Suddenly a flashlight beam pierces the darkness, and Rob and Kit can", "Kit breaks up laughing again. To her it is funny. And soon Rob is\n laughing too. He swings his legs up under the covers beside her.", "ROB\n (smiles weakly to Kit)\n We're off!\n \n They are indeed.", "Kit screams and scrambles to her feet--Rob completely uncomprehending\n until he sees it too: Skip's body, pale and bloodied, draped within", "INT. UPSTAIRS HALL . - NIGHT\n \n Rob is running with her toward the stairs.\n \n KIT", "The night is a landscape of terror. As Rob and Kit race through the\n darkness, the forest seems to fold in on top of them, completely\n enclosing them within itself.", "Rob...?\n \n They run over to him.\n \n KIT\n (dropping to her knees)", "All the lights are on, and when Kit takes her eyes off Buffy long\n enough to find out why, she discovers everyone is here -- Skip, Chaz,", "Kit screams and chokes, trying to fight him off: but he stabs her\n again, and again and again, plunging the knife deep into her with\n every thrust.", "Rob spots a walk-in cupboard. He hurries to it. Kit gropes along the\n shelves, searching the objects hanging along the distant wall.", "Rob and Kit come struggling up the path. Chaz trains his videopak on\n them from the porch . He, Arch, Harvey and Nikki unwind with beer and\n sandwiches after their sweaty workout.", "The beam momentarily sweeps the wall next to Kit. She sees something.\n \n KIT\n (an urgent whisper)\n Rob!", "You maniacs... you almost gave us a heart attack!\n \n Kit glowers at them and gives Rob a hand to get out.", "He drops to the floor, turning to give Kit a hand. She enters the\n same, dusting herself off next to him. Rob turns on the flashlight,\n using it cautiously." ], [ "ROB (O.S.)\n No lights.\n \n Suddenly a flashlight beam pierces the darkness, and Rob and Kit can", "Rob spots a walk-in cupboard. He hurries to it. Kit gropes along the\n shelves, searching the objects hanging along the distant wall.", "The beam momentarily sweeps the wall next to Kit. She sees something.\n \n KIT\n (an urgent whisper)\n Rob!", "He drops to the floor, turning to give Kit a hand. She enters the\n same, dusting herself off next to him. Rob turns on the flashlight,\n using it cautiously.", "Suddenly a loud NOISE slams at the basement window. Rob grabs Kit,\n covering her mouth and snapping off .the flashlight. The head falls to\n the. floor at their feet. They turn...", "Rob and Kit burst out of the dining room as if the house were on fire.\n Kit stops to pull the doors shut behind them.", "She moves toward them while Rob stays by the windows looking out. As\n she gets closer to the dolls, however, Kit realizes that they have not\n just been stuck there haphazardly.", "Rob and Kit are standing together staring INTO CAMERA. REVERSE to see\n the object of their attention. Hanging on the wall in front of them is", "ROB\n (smiles weakly to Kit)\n We're off!\n \n They are indeed.", "He sweeps the flashlight back toward the stairs.\n \n KIT\n Rob, wait a minute. What's that?", "Rob is desperately trying to break out, but the door won't open.\n \n ROB\n Kit! Let me out! Let me out of here! Kit!!", "Kit breaks up laughing again. To her it is funny. And soon Rob is\n laughing too. He swings his legs up under the covers beside her.", "ROB\n He's here!\n \n O.S. there is a PISTOL SHOT from downstairs. Kit screams.", "creepier with the now vacant eye sockets.\n \n INT. ROB AND KIT'S ROOM - NIGHT", "He stops in mid-sentence as he sees the beds. Kit is already through\n the door. Rob follows her out.", "Rob and Kit are the first ones down. They enter from the dining room,\n surprising Muffy at the stove.\n \n KIT", "ROB\n (moving through darkness)\n The stairs... Where are the stairs?...\n \n KIT", "KIT\n Rob, look! The doors. They've been closed.\n \n Sure enough, the doors they come out by minutes ago, the ones they", "utility room.\n \n Rob leads the way, cautiously, toward the sound.\n \n INT . UTILITY ROOM", "You maniacs... you almost gave us a heart attack!\n \n Kit glowers at them and gives Rob a hand to get out." ] ]

[ "Where did Nikki find the severed heads of Arch and Skip?", "Where does Muffy find a present?", "Which day can the group get off the island?", "How did Nan and Muffy meet?", "Who was pretending to be Muffy?", "What did Buffy chase Kit and Rob with?", "Who has a crazy twin sister?", "What is the present Muffy found on her bed?", "What is the blood Muffy thought was hers after a razor was pressed against her throat?", "Where does Nikki find the remains of Skip, Arch and Nan?", "Before discovering otherwise, who did the group think were picking them off one-by-one?", "Of the college friends, which one is Muffy's brother?", "What does Muffy leave in the guest wardrobe to unnerve the college friends?", "From where was the sound of the crying babe coming?", "What was the name of the deckhand injured in the college friend's trip to the island?", "Who was the first friend to disappear?", "Who is Kit's last remaining companion before the big reveal?", "Who is injured in an accident on the ferry? ", "Who set up a bunch of jokes and pranks? ", "What does Nikki find in the well? ", "Who has been pretending to be Muffy? ", "What is inside the wrapped gift on Muffy's bed? ", "Who slits Muffy's throat? ", "What was Muffy's plan for the mansion? ", "What did Nan slash Muffy's throat with? ", "What does Buffy chase Kit and Rob with? ", "What do Kit and Rob find in the basement? " ]

[ [ "Inside a well.", "The island's well" ], [ "On her bed.", "her bed" ], [ "Monday.", "Monday" ], [ "In acting class.", "acting class" ], [ "Buffy.", "Buffy." ], [ "A knife.", "curved butcher's knife" ], [ "Muffy.", "Muffy" ], [ "A Jack-in-the-Box.", "Jack-In-The-Box" ], [ "Stage blood.", "stage blood" ], [ "In the well she fell into.", "The island's well" ], [ "The family of Buck retaliating for his injury.", "Muffy." ], [ "Skip", "Skip" ], [ "heroin paraphenalia ", "heroin paraphanelia" ], [ "An audiotape left by Muffy", "from an audiotape in someone's bedroom" ], [ "Buck", "Buck" ], [ "Skip", "Skip" ], [ "Rob", "Rob." ], [ "Buck", "Buck" ], [ "Muffy", "Muffy" ], [ "The severed heads of Skip and Arch", "Arch's and Skip's heads and Nan's body" ], [ "Buffy, her violent twin sister", "Buffy" ], [ "A jack-in-the-box", "a jack-in-the-box toy" ], [ "Nan", "Nan." ], [ "To turn it into a resort for staged horror", "to turn it into a resort" ], [ "A trick razor", "a razor" ], [ "A curved butcher's knife", "Curved Butcher's Knife." ], [ "Muffy's severed head", "Muffy's severed head" ] ]

[ [ "GRAHAM and CLIVE step out of the RV and approach the car.\n Inside are three unconscious men. One door is open.", "CLIVE\n It wasn't them.\n The RV pulls up to the crashed vehicle and stops. GRAHAM and\n CLIVE peer out of the window.", "GRAHAM and CLIVE pull away in silence. They are both confused\n and shaken.\n\n CLIVE\n Well, it's pretty obvious what\n happened there, isn't it?", "GRAHAM (CONT'D)\n That wasn't their truck was it?\n\n CLIVE\n No.", "GRAHAM\n I suppose so.\n\n CLIVE\n Than that's what happened.\n PAUL materializes from thin air behind them.\n\n PAUL", "GRAHAM\n\n (MUMBLING)\n Clive...", "GRAHAM\n Seem to be working, Clive. Clive?\n GRAHAM notices that CLIVE is no longer with them. He looks", "GRAHAM\n We should be just about there.\n They scan the roadside for a few seconds.\n\n CLIVE\n I've found it.", "The door to the RV swings open, CLIVE and GRAHAM step out.\n The desert road is silent. We can see for miles. On the road\n lies a yellow and black bird, it is very dead.", "GRAHAM and CLIVE laugh. They pull up to a gate.", "CLIVE\n Oh shit!\n CLIVE looks round to discover that PAUL has vanished. GRAHAM\n pulls the RV onto the hard shoulder.", "CLIVE\n What's wrong?\n GRAHAM points off into the distance. HEADLIGHTS.", "INT. RV - NIGHT\n\n CLIVE drives, GRAHAM looks nervous. In the dashboard of the\n RV is a rear view monitor. They look at it intently.", "The door to the RV opens, GRAHAM and CLIVE jump in. PAUL\n lowers his book and is blinded by their headlamps.\n\n PAUL\n Arrghh, what the fuck?!", "GRAHAM and CLIVE stand outside the RV being questioned by an\n AGENT dressed like ZOIL. We can hear noise and activity from\n the RV. Another AGENT is aboard the RV.", "GRAHAM and CLIVE look proud. CLIVE drives the RV over a speed\n hump into the park. PAUL loses his balance and falls over.", "GRAHAM, CLIVE and PAUL have made a camp fire in a woodland\n clearing on the other side of town. They sit round drinking\n beers and chatting. PAUL rolls a joint.", "GRAHAM\n Good night, Clive.\n They switch off their respective bedside lights. The room is\n plunged into pitch darkness. A few seconds pass.", "GRAHAM and CLIVE continue to gawp. The shape stand and steps\n into the light. GRAHAM and CLIVE go slack. Standing in front", "CLIVE\n I rather think these men need help.\n Graham, give me the phone.\n GRAHAM passes the phone over." ], [ "51.\n\n EXT. RV PARK - LATER", "Later, the RV pulls up to gate at the front of an RV park.\n GRAHAM is now in the Chewie seat, PAUL stands behind,\n steadying himself on the backs of their chairs.", "PAUL\n\n BOO!\n\n EXT. RV PARK - NIGHT", "PAUL\n Boo?\n\n EXT. RV PARK - DAY", "EXT. RV PARK - NIGHT", "31.\n\n INT. RV - NIGHT", "GRAHAM\n Well, one of them is right there.\n RUTH and GRAHAM look back at the RV. PAUL is stood on the", "47.\n\n INT. RV - EVENING", "The RV is parked up. It is a little speck on an enormous\n landscape. Next to the highway is a sign which reads \"˜YOU ARE\n NOW LEAVING UTAH.' Underneath this a separate sign reads", "CLIVE\n No, that's ours.\n A large RV pulls up. A 1985 Holiday Rambler, Imperial. Top of\n the range in its day. Still looks good.", "The RV pulls off the road into a secluded lay-by. The gang\n sit in silence for a while.\n\n GRAHAM\n Was that your dad, Ruth?\n RUTH nods.", "The RV is parked outside the firework warehouse. RUTH and\n PAUL sit opposite each other at the dining table. RUTH is\n holding the X-Men action figure, Storm. PAUL watches her.", "GRAHAM and CLIVE look proud. CLIVE drives the RV over a speed\n hump into the park. PAUL loses his balance and falls over.", "The RV comes to a screeching halt. It sits in the road for a\n moment, before it trundles onto the hard shoulder. The door", "They turn to RUTH and GRAHAM, who back up against the RV. The\n MEATHEADS approach ominously. The RV door bursts open. PAUL", "looking out through the RV's windshield.\n We see their POV. A breathtaking panorama of natural beauty.\n They are parked up at the summit of a mountain road, looking", "9.\n\n INT. RV - MORNING", "ZOIL's eyes widen. Parked on the roadside is the RV.", "54.\n\n INT. RV - MORNING", "arms, disappearing inside the RV, as MOSES fires off a\n booming shot. The BEHE mailbox explodes into pieces, as the\n RV careens off out of the trailer park." ], [ "watches transfixed. RUTH's eye flickers and opens. With some\n difficulty, she sits up and takes off her glasses. She blinks\n both shining, healthy eyes.", "RUTH\n I happen to have two eyes actually.\n I just have a severe stigmatism.", "MOSES retrieves an old cigar box and produces a tattered\n photograph of Ruth. She appears younger, with both eyes\n intact and with dark hair.", "forehead. He appear to go into a trance. RUTH's eyes roll up\n into her head. We see a lightening montage of images. The", "PAUL\n The eye is a delicate and complex\n thing, Ruth. You should get it\n taken care of.", "RUTH\n He showed me things.\n\n ZOIL\n You're not still talking about his\n balls, are you?", "RUTH\n They eye is comprised of three\n interacting parts. Remove any one\n of them and it ceases to exist. It", "RUTH\n You have been deceived. Deceived by\n an agent of Satan himself.\n\n PAUL (O.S.)\n You know I'm sitting right here?", "RUTH hands CLIVE her handkerchief. It is embroidered with the\n words \"˜JESUS SAVES'.", "RUTH's mouth hangs agape in a soundless scream, her eye rolls\n up, her hair turns white. She collapses.", "RUTH\n Explain to me how something as\n complicated as the human eye simply\n comes into being.", "RUTH\n That's so sweet.\n GRAHAM blushes, deep, dark, red.\n\n INT. RV - DAY", "RUTH\n You can kiss me now.\n They kiss with awkward passion. Everyone smiles then after a\n bit become uncomfortable and a bit grossed out.", "73.\n\n RUTH\n Papa said the Lord would fix it.", "MOSES BEHE kicks at the remains of the campfire. He bends\n down and picks something up. It is Ruth's handkerchief, now", "RUTH\n How can he be from another world?\n There is only one world. Our world,\n created by God the Father.\n PAUL sits down next to GRAHAM. RUTH whimpers.", "RUTH\n Nothing you can so or do can shake\n my belief, or faith in the sure and\n certain knowledge that God made\n Heaven and earth and created us all\n in His own image.", "RUTH (O.S.)\n It's Ruth.\n GRAHAM and CLIVE look at each other nervously. CLIVE opens\n the door, as GRAHAM straightens his hair.", "PAUL\n Anyway, if there is a God, didn't\n he create doctors and hospitals and\n scalpels and shit, so he wouldn't\n have to go round fixing people's\n lazy eyeballs?", "RUTH\n No shit.\n RUTH plants her knee firmly into the groin of GUS. He doubles\n up knocking his friend over. RUTH bolts." ], [ "RUTH\n You have been deceived. Deceived by\n an agent of Satan himself.\n\n PAUL (O.S.)\n You know I'm sitting right here?", "PAUL (CONT'D)\n Oh shit.\n Behind them, the HELICOPTER powers down. The door opens.", "CHILD\n It looks like you.\n\n PAUL\n Suppose it does. What's your name?\n\n CHILD\n Keith Nash.", "attention back to the racks of comics. PAUL pulls one out\n called \"˜G-Men'. On the cover it shows an agent, not unlike\n ZOIL, shooting an alien not unlike PAUL.", "appears, beckoning to PAUL. PAUL reaches the door, just as\n MOSES levels the gun at his target. PAUL leaps into GRAHAM's", "PAUL\n I'm Paul. Pleased to meet you.\n They shake hands.\n\n PAUL\n You on your own here, Keith Nash?", "PAUL burst out of the BEHE RESIDENCE, pursued by MOSES who is\n loading a shotgun.\n\n PAUL", "PAUL\n Could have been worse. Know what\n I'm saying?\n They drag him into the RV. The door shuts, a few seconds", "PAUL\n You know I appreciate it.\n\n ZOIL\n Do you have any idea how difficult\n it was to catch you guys?\n\n PAUL", "PAUL\n It's good to see you, Tara.\n The tinkle of glass. Something hits the floor. A tear gas\n canister spins at their feet, spewing thick fog.", "PAUL\n Get off me, you fucking psycho!\n\n GRAHAM", "VOICE\n Who the hell is this?\n\n HAGGARD\n Haggard, sir. Agent Zoil has been\n compromised. I'm assuming command.", "PAUL\n Lorenzo?!\n PAUL spins round. We go into slow motion. ZOIL fires. The", "door, just as it is opened by ZOIL. The gang freeze. PAUL\n vanishes, then reappears right next to ZOIL, putting his hand\n across ZOIL's forehead.", "chair. PAUL sits with his back to us, he is smoking a\n cigarette, whilst talking on the phone. We hear the voice on\n the other end of the line. It is strangely familiar.", "ZOIL\n Paul, wait-\n A burst of psychic images explode into ZOIL's head. The agent\n and the alien fall on the ground in an exhausted heap.", "GRAHAM\n Come on, what's your real name.\n PAUL opens his mouth and screeches.\n\n PAUL\n Roooooootttchaaaaaaaaaaa.", "PAUL\n Yeah. Now let's get Cloverfield\n onto the recreational vehicle and\n get the fuck off MacArthur's Black\n Mile.\n They attempt to move CLIVE. PAUL senses something.", "TEAM PAUL are walking round the tower. As they round the\n corner the landscape changes, the trees give way to a piece\n of open pasture flanked by pine forest, the tower opens", "GRAHAM\n What's your real name?\n\n PAUL\n You won't be able to pronounce it." ], [ "HAGGARD\n It was big.", "VOICE\n Too bad, seeing as I'm the one\n hold'ng all the cards and when I\n say \"cards\", I of course mean big\n fucking gun.\n VOICE points his gun at PAUL.", "GRAHAM\n I hear that, Big-Rig. I can still\n call you Big-Rig can't I?", "VOICE\n Like fat man doo-doo. It's too much\n of a coincidence. He sits tight for", "PAUL\n\n (TO MOSES)\n Take care of her big man.\n\n MOSES BEHE\n I will sir. God be with you.", "is thin but his clothes seem too small. He has long greasy\n hair, buck teeth and thick glasses. CLIVE is bigger and wears", "PAUL (CONT'D)\n Oh shit.\n Behind them, the HELICOPTER powers down. The door opens.", "O'REILLY\n These guys have met Michael Biehn.\n\n HAGGARD\n No shit! How was he?", "HAGGARD\n Just a big RV driven by a couple of\n nerds.\n\n ZOIL\n Nerds, huh?", "89.\n HAGGARD is suddenly kneeling at KEITH NASH's side. O'REILLY\n stands nearby.\n\n HAGGARD\n What did you say, kid?", "37.\n CLIVE smiles at GRAHAM and flashes PAUL a triumphant look.\n PAUL coughs loudly, barely disguising the word \"Geeks\".", "PAUL (CONT'D)\n Oh man, has he...?\n\n GRAHAM\n I told him he should have gone.", "PAUL\n Could have been worse. Know what\n I'm saying?\n They drag him into the RV. The door shuts, a few seconds", "Tilt up to reveal the security man. It is none other than\n former Special Agent LORENZO ZOIL. CRANE up to reveal the\n whole convention floor.", "PAUL\n Come here you fucking geeks.\n They hug. He takes in incandescent orb from his pocket.", "GRAHAM\n It's okay, he doesn't do that.\n PAUL returns with three bagels on one long finger.", "PAUL\n Whatever dude.\n They high five. PAUL turns to ZOIL, whose arm is in a\n makeshift sling and shakes his hand.", "O'REILLY\n We've got him man! We're going to\n get a fucking promotion.\n\n HAGGARD\n You did good kid. Want a candy?", "VOICE\n Well, whaddya know? Small world.\n VOICE appears flanked by two faceless, heavily armed", "CLIVE\n I wish he'd stop doing that!\n They enter the bar. Parked nearby, is a black Lincoln\n Escalade, shiny, mean, dented.\n\n INT. BAR - NIGHT" ], [ "TARA\n Don't mention it.\n PAUL rushes to ZOIL who lies on the ground, wounded.\n\n ZOIL\n The things I do for you, huh?", "TARA\n You're not taking him away again.\n He staggers backwards and falls to the ground, unconscious.\n\n PAUL\n Thank you, Tara.", "PAUL (CONT'D)\n You coming?\n\n TARA\n What?", "TARA\n Paul, we'll get sucked right up.\n\n PAUL\n Stay on target.\n A branch smacks on the windshield, cracking it.", "PAUL\n Hello Tara.\n TARA's faces sickens. She falls backwards into the house.\n\n PAUL\n Aw nuts.", "PAUL\n It's my job to know.\n\n EXT. TARA'S FARMHOUSE - DAY\n\n GRAHAM knocks on the door.", "PAUL\n Not a fucking cent.\n\n INT. TARA'S FARMHOUSE. BACK ROOM - DAY", "TARA\n What is this, some kind of joke?\n\n CLIVE\n It's no joke.\n PAUL materializes between GRAHAM and CLIVE.", "PAUL\n It's good to see you, Tara.\n The tinkle of glass. Something hits the floor. A tear gas\n canister spins at their feet, spewing thick fog.", "TARA\n Now, where do you suppose that came\n from?\n\n PAUL\n Fuck a duck! Get out!", "TARA is waiting for her goodbye but PAUL ignores her. He face\n drops as he walks to his ship. He turns to her.", "TARA frowns then follows PAUL aboard. PAUL and TARA stand in\n the doorway. One of the other ALIENS comes out of a small\n room behind them, speaking in a strange tongue.", "PAUL\n I ruined your life Tara. Think I\n owe you a new one.\n TARA takes PAUL's hand.\n\n TARA\n I don't have my toothbrush.", "97.\n TARA goes to the kitchen. She can be seen from where they are\n sitting. She turns the gas on and strikes a cooking match.\n PAUL looks pained, struggling for something to say.", "PAUL\n Where's Tara?\n TARA comes out of the toilet.", "TARA\n Listen to me gabbing. Milk and\n sugar?\n\n PAUL\n I'm so sorry.\n\n TARA\n What for?", "TARA\n Pretty.\n\n GRAHAM\n What now?\n\n PAUL\n We wait.\n A light appears in the sky some way off.", "PAUL\n Can I do anything to help?\n TARA stand in the kitchen doorway, the lit match in her hand.\n PAUL stands and walks toward her, she watches him.", "My ship sort of landed on it. When\n the military arrived I was\n delirious; I kept saying \"Paul?\n Paul?\" It was the only English I", "GRAHAM/CLIVE\n Shit!\n\n PAUL\n Tara, where's the back door?" ], [ "ZOIL\n\n PAUL!", "ZOIL\n Look, I know you think you're doing\n the right thing but I promise you,\n I'm only thinking about you. And\n Paul. You care about Paul, don't\n you?", "PAUL (CONT'D)\n Lorenzo Zoil, you're a good man.\n Say bye to Karen for me.", "ZOIL\n He's my friend! I've known him for\n twenty years. He introduced me to\n my wife damnit!", "PAUL\n Lorenzo?!\n PAUL spins round. We go into slow motion. ZOIL fires. The", "door, just as it is opened by ZOIL. The gang freeze. PAUL\n vanishes, then reappears right next to ZOIL, putting his hand\n across ZOIL's forehead.", "ZOIL\n Paul, wait-\n A burst of psychic images explode into ZOIL's head. The agent\n and the alien fall on the ground in an exhausted heap.", "PAUL\n You know I appreciate it.\n\n ZOIL\n Do you have any idea how difficult\n it was to catch you guys?\n\n PAUL", "ZOIL\n Damnit Haggard, wait!\n HAGGARD takes off. ZOIL staggers to his car and with great", "ZOIL\n Well he's definitely got someone on\n the outside.\n\n VOICE\n What?", "ZOIL\n Haggard, he knows what he's doing.\n\n HAGGARD (O.S.)\n So do I.", "soldier to their feet, patting them on the back and shaking\n their hands. The atmosphere is amiable.\n TEAM PAUL look at one another. ZOIL and MOSES have joined", "TARA\n Don't mention it.\n PAUL rushes to ZOIL who lies on the ground, wounded.\n\n ZOIL\n The things I do for you, huh?", "ZOIL\n Yes, sir?\n\n \n\n \n\n \n\n \n\n 94.", "ZOIL\n Haggard. Wait a minute!\n An engine revs nearby. ZOIL turns to see MOSES BEHE pull off\n in pursuit.\n\n ZOIL", "ZOIL\n Are you suggesting he has someone\n on the inside.\n\n VOICE\n Maybe.", "ZOIL\n Is that so?\n\n RUTH\n Uh-huh. Well, I really should be\n getting along.", "ZOIL is blackened and dazed, draped over HAGGARD's shoulder.\n His eyes focus on a figure in the near distance. MOSES BEHE", "ZOIL\n He's insane!\n\n MOSES BEHE\n\n RUTH!\n HAGGARD's car screams past. ZOIL grabs his radio.", "ZOIL\n No. It's neither of those things.\n He looks around, then notices tire tracks in the dust by the" ], [ "114.\n BLAM! RUTH lurches forward, suddenly limp. Everyone turns to\n see MOSES BEHE, shotgun smoking in his and. His face white,\n his eyes wide.", "PAUL\n Yeah. Nice man, really soft, He\n thought I was a hallucination.\n Shame what happened to him.\n\n CLIVE\n All the good ones die.", "CLIVE turns back to the MEATHEADS. BANG! CLIVE is struck in\n the face, he falls, nose bleeding.", "PAUL (CONT'D)\n Oh shit.\n Behind them, the HELICOPTER powers down. The door opens.", "PAUL\n What a waste.\n\n GRAHAM\n Poor thing.", "GRAHAM and CLIVE pull away in silence. They are both confused\n and shaken.\n\n CLIVE\n Well, it's pretty obvious what\n happened there, isn't it?", "picks himself up and lumbers off towards his truck. HAGGARD\n drops ZOIL and runs to his car.", "PAUL\n Could have been worse. Know what\n I'm saying?\n They drag him into the RV. The door shuts, a few seconds", "afraid anymore Graham. I'm cold\n though. Hey, where is everybody?\n RUTH shudders and dies. TARA and ZOIL look aghast. GRAHAM", "ZOIL\n Damnit Haggard, wait!\n HAGGARD takes off. ZOIL staggers to his car and with great", "THE END", "PAPA I-\n A chair smashes across MOSES's head, knocking him out. Behind\n him, bloodied and angry are the two MEATHEADS.", "The door to the RV swings open, CLIVE and GRAHAM step out.\n The desert road is silent. We can see for miles. On the road\n lies a yellow and black bird, it is very dead.", "The farmhouse explodes. ZOIL and HAGGARD who are only just\n clear, hit the deck, covering their heads. MOSES is knocked\n off his feet as flaming wood and debris rain down.", "VOICE\n Too bad, seeing as I'm the one\n hold'ng all the cards and when I\n say \"cards\", I of course mean big\n fucking gun.\n VOICE points his gun at PAUL.", "The RV splutters to a halt. Steam rises from the radiator. It\n whines, coughs and dies. Cut to TEAM PAUL stood around", "appears, beckoning to PAUL. PAUL reaches the door, just as\n MOSES levels the gun at his target. PAUL leaps into GRAHAM's", "CLIVE\n Oh shit!\n CLIVE looks round to discover that PAUL has vanished. GRAHAM\n pulls the RV onto the hard shoulder.", "HAGGARD\n Yes sir!\n HAGGARD floors it. He is manic and wild eyed.", "later, GRAHAM appears and runs round to the back of the RV.\n He rips the bumper sticker off and gets back on board. The RV\n starts up and drives off." ], [ "GRAHAM and CLIVE sit at a table fiddling nervously with pens.\n On either side of them are stacks of their new book; JELVA -", "GRAHAM\n Good night, Clive.\n They switch off their respective bedside lights. The room is\n plunged into pitch darkness. A few seconds pass.", "GRAHAM\n Is that a real one?\n\n CLIVE\n No, I made it up myself.\n\n GRAHAM\n I like it.", "GRAHAM\n Impressive.\n\n CLIVE\n Most impressive.", "GRAHAM\n What's the matter?\n\n CLIVE\n Nothing. How we doing?", "GRAHAM and CLIVE pull away in silence. They are both confused\n and shaken.\n\n CLIVE\n Well, it's pretty obvious what\n happened there, isn't it?", "GRAHAM and CLIVE walk down the busy main street, between them\n is PAUL. He is dressed in the little cowboy suit from the\n shop window, his hat pulled down low over his face.", "GRAHAM\n\n (MUMBLING)\n Clive...", "GRAHAM is sat in the Chewie seat, PAUL is reading Jelva,\n Queen Of The Varvak. CLIVE drives.\n\n GRAHAM\n What do you think?", "GRAHAM, CLIVE and PAUL have made a camp fire in a woodland\n clearing on the other side of town. They sit round drinking\n beers and chatting. PAUL rolls a joint.", "15.\n\n CLIVE\n It's hilarious.\n GRAHAM flicks his eyes to the counter.", "GRAHAM\n Are you asleep?\n\n CLIVE\n No.", "GRAHAM\n I suppose so.\n\n CLIVE\n Than that's what happened.\n PAUL materializes from thin air behind them.\n\n PAUL", "GRAHAM\n Clive, he's an alien. A living,\n breathing, alien.", "CLIVE\n Oh God, oh God, oh God.\n\n GRAHAM\n I need the toilet.", "The door to the RV opens, GRAHAM and CLIVE jump in. PAUL\n lowers his book and is blinded by their headlamps.\n\n PAUL\n Arrghh, what the fuck?!", "GRAHAM\n I don't think she heard you.\n\n CLIVE\n I was talking to you.\n\n GRAHAM\n Oh, sorry.", "see GRAHAM in the driving seat, then looks back at the\n bathroom door. The toilet flushes.\n CLIVE pretends to be asleep as the door opens. A pair of", "GRAHAM\n It's gone!\n\n CLIVE\n Where did it go?\n\n EXT. SCRUB - EVENING", "The sun has just risen. GRAHAM, CLIVE and PAUL lie round the\n smoldering camp fire sleeping soundly. PAUL is very white.\n His eyes open. He looks around." ], [ "GRAHAM and CLIVE pull away in silence. They are both confused\n and shaken.\n\n CLIVE\n Well, it's pretty obvious what\n happened there, isn't it?", "GRAHAM\n Seem to be working, Clive. Clive?\n GRAHAM notices that CLIVE is no longer with them. He looks", "GRAHAM\n What's the matter?\n\n CLIVE\n Nothing. How we doing?", "GRAHAM\n Impressive.\n\n CLIVE\n Most impressive.", "GRAHAM\n Good night, Clive.\n They switch off their respective bedside lights. The room is\n plunged into pitch darkness. A few seconds pass.", "GRAHAM\n\n (MUMBLING)\n Clive...", "GRAHAM\n I suppose so.\n\n CLIVE\n Than that's what happened.\n PAUL materializes from thin air behind them.\n\n PAUL", "CLIVE\n (quietly to Graham)\n We're just a couple of regular guys\n on a tour of the less touristy side\n of the American midwest.", "GRAHAM (CONT'D)\n That wasn't their truck was it?\n\n CLIVE\n No.", "GRAHAM\n I don't think she heard you.\n\n CLIVE\n I was talking to you.\n\n GRAHAM\n Oh, sorry.", "CLIVE\n Oh shit!\n CLIVE looks round to discover that PAUL has vanished. GRAHAM\n pulls the RV onto the hard shoulder.", "CLIVE\n Oh God, oh God, oh God.\n\n GRAHAM\n I need the toilet.", "GRAHAM, CLIVE and PAUL have made a camp fire in a woodland\n clearing on the other side of town. They sit round drinking\n beers and chatting. PAUL rolls a joint.", "GRAHAM\n It's gone!\n\n CLIVE\n Where did it go?\n\n EXT. SCRUB - EVENING", "GRAHAM and CLIVE sit at a table fiddling nervously with pens.\n On either side of them are stacks of their new book; JELVA -", "CLIVE\n Apart from her. I suppose that's\n why they established the Dreamland\n facility out here.\n\n GRAHAM\n Far from prying eyes.", "CLIVE\n It's nice here, isn't it?\n\n GRAHAM\n Absolutely.", "GRAHAM\n Clive, no.\n CLIVE walks into the shop. GRAHAM and PAUL follow quickly", "GRAHAM and CLIVE laugh. They pull up to a gate.", "GRAHAM\n Are you asleep?\n\n CLIVE\n No." ], [ "GRAHAM\n I suppose so.\n\n CLIVE\n Than that's what happened.\n PAUL materializes from thin air behind them.\n\n PAUL", "CLIVE\n I am actually, yes.\n\n PAUL\n I met him once.\n\n CLIVE\n Really?", "PAUL\n Shut up.\n\n GRAHAM\n It's true.\n\n (NOTICES CLIVE)\n Hello Clive! How are you feeling?", "GRAHAM, CLIVE and PAUL have made a camp fire in a woodland\n clearing on the other side of town. They sit round drinking\n beers and chatting. PAUL rolls a joint.", "32.\n\n GRAHAM\n Hello Paul.\n GRAHAM approaches CLIVE who ignores him.\n\n GRAHAM\n What's the matter?", "GRAHAM\n He needs our help, Clive.\n PAUL returns with the coffee. GRAHAM and CLIVE curtail their\n conversation. PAUL hand CLIVE his coffee.", "The sun has just risen. GRAHAM, CLIVE and PAUL lie round the\n smoldering camp fire sleeping soundly. PAUL is very white.\n His eyes open. He looks around.", "GRAHAM\n Clive, no.\n CLIVE walks into the shop. GRAHAM and PAUL follow quickly", "PAUL\n Wow.\n Pull out to reveal him sitting next to GRAHAM and CLIVE,", "GRAHAM and CLIVE walk down the busy main street, between them\n is PAUL. He is dressed in the little cowboy suit from the\n shop window, his hat pulled down low over his face.", "CLIVE\n Stop doing that!\n\n GRAHAM\n Someone's coming.\n PAUL shimmers and disappears. GRAHAM and CLIVE yelp.", "It is very early in the morning. PAUL is asleep on the sofa.\n There is a knock at the door. PAUL vanishes. GRAHAM and CLIVE\n emerge from the bedroom in dressing gowns.", "PAUL\n Graham?\n\n GRAHAM\n Yes please.\n\n CLIVE\n Go on then, I'll have half.", "37.\n CLIVE smiles at GRAHAM and flashes PAUL a triumphant look.\n PAUL coughs loudly, barely disguising the word \"Geeks\".", "GRAHAM\n His name is Paul.\n\n CLIVE\n Oh, Paul is it? Paul what? Paul\n Verhoven? Paul Freeman? Paul\n Reiser?", "CLIVE\n Where the hell did you go?\n\n PAUL\n Nowhere.\n\n GRAHAM\n What, you went invisible?", "The door to the RV opens, GRAHAM and CLIVE jump in. PAUL\n lowers his book and is blinded by their headlamps.\n\n PAUL\n Arrghh, what the fuck?!", "GRAHAM\n Willies!\n PAUL gives CLIVE a \"˜see what I mean?' look.", "PAUL\n Catch you later, Keith Nash.\n GRAHAM and CLIVE approach. CLIVE has a long sword shaped box\n under his arm and a big grin on his face.", "GRAHAM\n Paul's from a small planet in the\n northern spiral arm of the\n Andromeda Galaxy.\n\n CLIVE\n No he is not!" ], [ "PAUL\n Oh, for God's sake.\n PAUL walks over to RUTH and places his and across her", "PAUL\n You can't win can you?\n RUTH starts to pray furiously, speaking in tongues, making an\n awful noise.", "RUTH\n What are you talking about?\n\n PAUL (O.S.)\n Evolution baby.\n RUTH screams and bangs the door.", "PAUL (O.S.)\n Horseshit!\n RUTH approaches the toilet door, taking up her fight with the", "RUTH\n You have been deceived. Deceived by\n an agent of Satan himself.\n\n PAUL (O.S.)\n You know I'm sitting right here?", "115.\n PAUL drops to his knee and places his hands on RUTH's chest.\n MOSES drops his shotgun and lumbers over, distraught.", "RUTH\n Papa?\n PAUL grabs RUTH's hand.\n\n PAUL\n Come on.", "RUTH\n How could that possibly make me\n feel any better?\n\n PAUL\n Jesus Christ, I was just trying to\n be nice!", "PAUL\n Hey, I don't know categorically\n that it's godless. I just said\n \"˜probably'.\n\n RUTH\n Oh, that's a relief.", "PAUL\n Right up top!\n RUTH yelps, terrified that PAUL is going to zap her again.", "PAUL\n He likes you, y'know?\n\n RUTH\n Graham? D'you think?\n\n PAUL\n What are you, blind?\n Beat.", "them. PAUL kisses and hugs RUTH.", "RUTH\n How can he be from another world?\n There is only one world. Our world,\n created by God the Father.\n PAUL sits down next to GRAHAM. RUTH whimpers.", "RUTH\n Leave him alone!\n VOICE hits out at RUTH. GRAHAM renews his attack.", "RUTH\n They're back.\n PAUL withdraws his hand. GRAHAM and CLIVE are approaching the\n RV clutching a large firework. They climb aboard.", "PAUL\n I'm sorry I frightened you so much\n your hair turned white.\n\n RUTH\n You didn't frighten me. You freed\n me. You helped me see the light.", "RUTH smiles. PAUL smiles back. RUTH looks out of the window,\n just as PAUL reaches out to touch her face.", "CLIVE\n He was so angry.\n\n RUTH\n He's always angry.\n GRAHAM, CLIVE and PAUL all exchange looks.", "PAUL\n Pick that up then.\n\n CLIVE\n So childish.\n\n RUTH\n Maybe I should call Papa.", "RUTH\n No shit.\n RUTH plants her knee firmly into the groin of GUS. He doubles\n up knocking his friend over. RUTH bolts." ], [ "115.\n PAUL drops to his knee and places his hands on RUTH's chest.\n MOSES drops his shotgun and lumbers over, distraught.", "PAUL\n Oh, for God's sake.\n PAUL walks over to RUTH and places his and across her", "RUTH\n You have been deceived. Deceived by\n an agent of Satan himself.\n\n PAUL (O.S.)\n You know I'm sitting right here?", "PAUL\n You can't win can you?\n RUTH starts to pray furiously, speaking in tongues, making an\n awful noise.", "PAUL\n He likes you, y'know?\n\n RUTH\n Graham? D'you think?\n\n PAUL\n What are you, blind?\n Beat.", "RUTH smiles. PAUL smiles back. RUTH looks out of the window,\n just as PAUL reaches out to touch her face.", "PAUL (O.S.)\n Horseshit!\n RUTH approaches the toilet door, taking up her fight with the", "watches transfixed. RUTH's eye flickers and opens. With some\n difficulty, she sits up and takes off her glasses. She blinks\n both shining, healthy eyes.", "them. PAUL kisses and hugs RUTH.", "RUTH\n How could that possibly make me\n feel any better?\n\n PAUL\n Jesus Christ, I was just trying to\n be nice!", "RUTH\n They're back.\n PAUL withdraws his hand. GRAHAM and CLIVE are approaching the\n RV clutching a large firework. They climb aboard.", "RUTH\n Papa?\n PAUL grabs RUTH's hand.\n\n PAUL\n Come on.", "PAUL\n The eye is a delicate and complex\n thing, Ruth. You should get it\n taken care of.", "RUTH\n What are you talking about?\n\n PAUL (O.S.)\n Evolution baby.\n RUTH screams and bangs the door.", "RUTH\n How can he be from another world?\n There is only one world. Our world,\n created by God the Father.\n PAUL sits down next to GRAHAM. RUTH whimpers.", "RUTH\n He showed me things.\n\n ZOIL\n You're not still talking about his\n balls, are you?", "PAUL\n I'm sorry I frightened you so much\n your hair turned white.\n\n RUTH\n You didn't frighten me. You freed\n me. You helped me see the light.", "telepathically send his knowledge into RUTH's mind. They\n collapse in a heap on the floor. PAUL sparks up a cigarette.", "PAUL\n Ruth!?\n\n CLIVE\n Someone should go after her.\n Graham?\n CLIVE looks round to see GRAHAM gone.", "92.\n RUTH nods.\n\n PAUL\n You know you can get on operation\n for that, right?" ], [ "My ship sort of landed on it. When\n the military arrived I was\n delirious; I kept saying \"Paul?\n Paul?\" It was the only English I", "PAUL\n Crashed in \"˜47. Anti-grav failure.\n\n GRAHAM\n Happens to the best of us.", "PAUL (CONT'D)\n Next thing I know, this little girl\n is pulling me out of the wreck and\n then a bunch of army guys come\n along and cart me off to Area 52.", "PAUL\n The little girl who found me when I\n crashed. It was terrible actually.\n I killed her dog. I didn't mean to!", "cosmos, the surface of a planet, others like PAUL, PAUL's\n ship crashing into the ground. The images speed up as PAUL", "PAUL\n So, who wants to get probed first?\n The MEATHEADS swoon and simultaneously hit the deck.\n\n GRAHAM\n Ha! Only one of us fainted!", "KEITH NASH\n Honestly Mommy, he was an alien and\n his name was Paul!\n\n MRS. NASH\n Whoever hard of an alien called\n Paul?", "PAUL (CONT'D)\n Oh shit.\n Behind them, the HELICOPTER powers down. The door opens.", "happened that night. My parents, my\n friends. Everyone thought I was\n mad. They told me it was a meteor\n that squashed little Paul. Took me", "SPLAT.\n A large spaceship lands hard on top of VOICE. Everyone looks\n shocked. PAUL, GRAHAM and CLIVE exchange a look.", "PAUL\n I know, right? Time flies when\n you're confined to a U.S. military\n installation.\n\n CLIVE\n Why did you come to earth?", "attention back to the racks of comics. PAUL pulls one out\n called \"˜G-Men'. On the cover it shows an agent, not unlike\n ZOIL, shooting an alien not unlike PAUL.", "CE3K salute. PAUL gives them the finger. The boys laugh,\n tears in their eyes. The ship lifts off into the sky. GRAHAM,", "PAUL\n Roswell was a smoke-screen man,\n designed to distract from the\n truth.\n\n CLIVE\n They invented a fake alien crash to\n distract from an actual alien\n crash?", "PAUL\n And what's the most plausible\n explanation, Clive?\n\n CLIVE\n That you're a thin midget in an\n alien costume.", "PAUL\n And I appreciate the fact that I\n have somewhat gate-crashed the\n party here but, truth be told, I'm\n in a hell of a pickle. I really\n need your help.", "picks one up. The cover features an alien that looks a lot\n like him. The comic is called \"˜Encounter Briefs: Tales From", "RUTH\n How can he be from another world?\n There is only one world. Our world,\n created by God the Father.\n PAUL sits down next to GRAHAM. RUTH whimpers.", "PAUL\n Could have been worse. Know what\n I'm saying?\n They drag him into the RV. The door shuts, a few seconds", "PAUL\n I'm fucking with you, man. I was on\n a science mission actually.\n Meteorological reconnaissance. We" ], [ "TARA\n In back.\n The gang bustle out of the room just as the front door\n splinters inward, revealing O'REILLY in a gas mask.", "TARA\n Storm cellar!\n TARA opens a nearby door and motions them down some stairs,\n as HAGGARD fires wildly. Crockery explodes around them.", "GRAHAM\n Ow, my shins!\n\n INT. TARA'S FARMHOUSE. BACK ROOM - DAY", "ZOIL\n Godammit Haggard!\n\n INT. TARA'S FARMHOUSE. CELLAR - DAY", "O'REILLY sees TEAM PAUL running toward the RV from the front\n room. He levels his pistol at PAUL and squints.\n\n EXT. TARA'S FARMHOUSE - DAY", "PAUL\n Not a fucking cent.\n\n INT. TARA'S FARMHOUSE. BACK ROOM - DAY", "O'REILLY find his mark. Pull back to reveal he is stood by\n the kitchen door, through which we see the cooker, the simmer\n of gas in the air.", "MOSES BEHE\n (levelling his shotgun)\n Take your hands off her, devil!\n\n INT. TARA'S FARMHOUSE. FRONT ROOM - DAY", "O'REILLY\n Ready or not.\n He fires.\n\n KA-BOOM!!!\n O'REILLY is vaporized in a ball of orange fire.", "TARA\n Paul, we'll get sucked right up.\n\n PAUL\n Stay on target.\n A branch smacks on the windshield, cracking it.", "afraid anymore Graham. I'm cold\n though. Hey, where is everybody?\n RUTH shudders and dies. TARA and ZOIL look aghast. GRAHAM", "100.\n\n INT. TARA'S FARMHOUSE. FRONT ROOM - DAY", "TARA\n You're not taking him away again.\n He staggers backwards and falls to the ground, unconscious.\n\n PAUL\n Thank you, Tara.", "PAUL\n It's my job to know.\n\n EXT. TARA'S FARMHOUSE - DAY\n\n GRAHAM knocks on the door.", "TARA\n My weed!\n\n EXT. TARA'S FARMHOUSE - DAY", "PAUL\n Hello Tara.\n TARA's faces sickens. She falls backwards into the house.\n\n PAUL\n Aw nuts.", "The farmhouse explodes. ZOIL and HAGGARD who are only just\n clear, hit the deck, covering their heads. MOSES is knocked\n off his feet as flaming wood and debris rain down.", "PAUL\n It's good to see you, Tara.\n The tinkle of glass. Something hits the floor. A tear gas\n canister spins at their feet, spewing thick fog.", "Back at the farmhouse, a deep, dull thud shakes the ground,\n bringing the small girl back out onto the veranda. An orange\n glow pulsates somewhere out in the darkness.", "TARA\n Don't mention it.\n PAUL rushes to ZOIL who lies on the ground, wounded.\n\n ZOIL\n The things I do for you, huh?" ], [ "ZOIL\n Damnit Haggard, wait!\n HAGGARD takes off. ZOIL staggers to his car and with great", "HAGGARD\n Yes sir!\n HAGGARD floors it. He is manic and wild eyed.", "ZOIL\n Haggard, he knows what he's doing.\n\n HAGGARD (O.S.)\n So do I.", "ZOIL\n Haggard, stand down. Stand down!\n\n HAGGARD (O.S.)\n He's mine. I can do this!", "ZOIL\n Haggard, it's suicide.\n\n EXT. SCRUB - EVENING\n\n\n CLIVE\n\n PAUL?", "HAGGARD\n South. Toward New Mexico, huh?\n KEITH nods. HAGGARD stands, his mind racing. He looks", "HAGGARD\n Is he still in there?\n KEITH shakes his head.", "picks himself up and lumbers off towards his truck. HAGGARD\n drops ZOIL and runs to his car.", "HAGGARD\n New Mexico sir.\n\n ZOIL\n Well, then let's move it.\n They scramble.", "The farmhouse explodes. ZOIL and HAGGARD who are only just\n clear, hit the deck, covering their heads. MOSES is knocked\n off his feet as flaming wood and debris rain down.", "107.\n CLIVE looks into his wing mirror, just as the tornado snakes\n down out of the sky between them and HAGGARD.", "90.\n\n HAGGARD\n Screw Zoil!\n\n EXT. WOODS - DAY", "ZOIL comes to. He sees HAGGARD at the cellar door. Screeching\n brakes draw his attention as MOSES BEHE's truck skids up. He\n gets out, shotgun in hand.", "HAGGARD\n Agent Zoil?", "HAGGARD\n It was big.", "ZOIL is blackened and dazed, draped over HAGGARD's shoulder.\n His eyes focus on a figure in the near distance. MOSES BEHE", "HAGGARD draws level. He looks up into CLIVE's eyes.", "ZOIL\n Haggard. Wait a minute!\n An engine revs nearby. ZOIL turns to see MOSES BEHE pull off\n in pursuit.\n\n ZOIL", "HAGGARD\n Freeze, space monkey!\n\n GRAHAM\n We're cut off.", "EXT. SCRUB - EVENING\n\n The tornado touches down hear HAGGARD's car. He barely has\n time to scream before his is lifted into the vortex." ], [ "RUTH\n They're back.\n PAUL withdraws his hand. GRAHAM and CLIVE are approaching the\n RV clutching a large firework. They climb aboard.", "PAUL\n Ruth!?\n\n CLIVE\n Someone should go after her.\n Graham?\n CLIVE looks round to see GRAHAM gone.", "TARA\n What is this, some kind of joke?\n\n CLIVE\n It's no joke.\n PAUL materializes between GRAHAM and CLIVE.", "GRAHAM, CLIVE, RUTH and PAUL all sit on a sofa. TARA sits\n opposite, staring at PAUL.\n\n RUTH\n Maybe I should make some tea.", "PAUL\n Shut up.\n\n GRAHAM\n It's true.\n\n (NOTICES CLIVE)\n Hello Clive! How are you feeling?", "CLIVE\n Stop doing that!\n\n GRAHAM\n Someone's coming.\n PAUL shimmers and disappears. GRAHAM and CLIVE yelp.", "GRAHAM/CLIVE\n Shit!\n\n PAUL\n Tara, where's the back door?", "CLIVE drives with GRAHAM in the Chewie seat. PAUL just\n behind, RUTH on the sofa. She is staring at PAUL. PAUL turns\n round, she looks away.", "VOICE\n Let's go.\n TARA stands in front of PAUL, then RUTH, then GRAHAM then\n CLIVE, who summons every ounce of bravery in his body.", "GRAHAM lands in TARA's arms, RUTH in PAUL's. RUTH and GRAHAM\n exchange glances. Dumb luck. TARA straightens herself and", "TARA\n Pretty.\n\n GRAHAM\n What now?\n\n PAUL\n We wait.\n A light appears in the sky some way off.", "RUTH (O.S.)\n It's Ruth.\n GRAHAM and CLIVE look at each other nervously. CLIVE opens\n the door, as GRAHAM straightens his hair.", "GRAHAM\n Are you alright, Ruth?\n RUTH nods, still distant.\n\n PAUL\n I'm feeling pretty amped up. Anyone\n wanna take a walk?", "37.\n CLIVE smiles at GRAHAM and flashes PAUL a triumphant look.\n PAUL coughs loudly, barely disguising the word \"Geeks\".", "GRAHAM\n I suppose so.\n\n CLIVE\n Than that's what happened.\n PAUL materializes from thin air behind them.\n\n PAUL", "RUTH is walking back to a static mobile home. From the RV we\n hear GRAHAM and CLIVE yelp. RUTH furrows her brow, turns\n back, and goes inside.", "CLIVE\n He was so angry.\n\n RUTH\n He's always angry.\n GRAHAM, CLIVE and PAUL all exchange looks.", "CLIVE\n Just the way we like it.\n PAUL scrambles to his feet, reaches across CLIVE and rest on\n the horn.\n\n HOOOOOOONNNNK!", "PAUL\n He likes you, y'know?\n\n RUTH\n Graham? D'you think?\n\n PAUL\n What are you, blind?\n Beat.", "GRAHAM\n Your dad's persistent, isn't he?\n\n RUTH\n You have no idea.\n CLIVE sees their pursuers in his wing mirror." ], [ "115.\n PAUL drops to his knee and places his hands on RUTH's chest.\n MOSES drops his shotgun and lumbers over, distraught.", "appears, beckoning to PAUL. PAUL reaches the door, just as\n MOSES levels the gun at his target. PAUL leaps into GRAHAM's", "114.\n BLAM! RUTH lurches forward, suddenly limp. Everyone turns to\n see MOSES BEHE, shotgun smoking in his and. His face white,\n his eyes wide.", "PAUL burst out of the BEHE RESIDENCE, pursued by MOSES who is\n loading a shotgun.\n\n PAUL", "TEAM PAUL reach the RV and start to board, just as MOSES BEHE\n lumbers into view.\n\n MOSES BEHE\n\n RUTH!", "MOSES BEHE kicks at the remains of the campfire. He bends\n down and picks something up. It is Ruth's handkerchief, now", "MOSES BEHE\n Thank you.\n RUTH and GRAHAM hug. She smiles at him.", "The farmhouse explodes. ZOIL and HAGGARD who are only just\n clear, hit the deck, covering their heads. MOSES is knocked\n off his feet as flaming wood and debris rain down.", "PAUL\n\n (TO MOSES)\n Take care of her big man.\n\n MOSES BEHE\n I will sir. God be with you.", "Relief and joy spreads through group. MOSES falls to his\n knees and sobs. He feels a hand on his shoulder and looks up\n to see PAUL.", "CLIVE holds out a hand to stop MOSES. He obeys. The air hums,\n charged with static. PAUL's skin ripples with color. Everyone", "MOSES BEHE (O.S.)\n Ruth, what in the Lord's name-\n MOSES and PAUL come face to face. They regard each other for\n a second.", "MOSES BEHE\n (levelling his shotgun)\n Take your hands off her, devil!\n\n INT. TARA'S FARMHOUSE. FRONT ROOM - DAY", "MOSES drives, Ruth's bloody handkerchief gripped between his\n hands and the wheel. He listens to his police scanner.", "PAUL\n Oh, for God's sake.\n PAUL walks over to RUTH and places his and across her", "A shadow is cast across RUTH. Everyone looks up to see PAUL,\n silhouetted against the moon. His eyes glint.", "MOSES BEHE\n Oh Lord, Ruth. My little Ruth.", "RUTH\n Papa?\n PAUL grabs RUTH's hand.\n\n PAUL\n Come on.", "MOSES BEHE (O.S.)\n\n RUTH!\n RUTH backs away into the shadows.", "RUTH\n You have been deceived. Deceived by\n an agent of Satan himself.\n\n PAUL (O.S.)\n You know I'm sitting right here?" ], [ "GRAHAM\n Noooooooooo!\n GRAHAM gathers RUTH up in his arms. She coughs, flecks of\n blood around her mouth.", "RUTH is walking back to a static mobile home. From the RV we\n hear GRAHAM and CLIVE yelp. RUTH furrows her brow, turns\n back, and goes inside.", "afraid anymore Graham. I'm cold\n though. Hey, where is everybody?\n RUTH shudders and dies. TARA and ZOIL look aghast. GRAHAM", "RUTH\n They're back.\n PAUL withdraws his hand. GRAHAM and CLIVE are approaching the\n RV clutching a large firework. They climb aboard.", "They turn to RUTH and GRAHAM, who back up against the RV. The\n MEATHEADS approach ominously. The RV door bursts open. PAUL", "INT. BAR - MOMENTS LATER\n\n GRAHAM and CLIVE are clutching brown paper bags full of food,\n RUTH returns from the Phone.", "GRAHAM and CLIVE pull away in silence. They are both confused\n and shaken.\n\n CLIVE\n Well, it's pretty obvious what\n happened there, isn't it?", "CLIVE\n Graham!?\n\n EXT. HIGHWAY - DAY\n\n RUTH is storming up the road.", "whoops. He high five GRAHAM and pats CLIVE on the back.\n GRAHAM embraces RUTH and tries to kiss her, she pulls away.", "The RV pulls off the road into a secluded lay-by. The gang\n sit in silence for a while.\n\n GRAHAM\n Was that your dad, Ruth?\n RUTH nods.", "GRAHAM\n Well, one of them is right there.\n RUTH and GRAHAM look back at the RV. PAUL is stood on the", "GRAHAM drives, CLIVE sits in the Chewie seat. PAUL hangs\n back. RUTH emerges from the bedroom. She has swapped her", "RUTH\n That's so sweet.\n GRAHAM blushes, deep, dark, red.\n\n INT. RV - DAY", "RUTH watches through her window. GRAHAM, CLIVE and PAUL are\n on the other side of the RV. Nevertheless, RUTH can see three", "74.\n JAKE grabs RUTH. GRAHAM pushes him hard in the chest.\n\n GRAHAM\n Leave her alone!", "GRAHAM\n Ruth!\n\n RUTH\n Leave me alone!", "GRAHAM\n I'm so sorry it had to be this way\n Ruth. We're definitely not going to", "INT. RV - DAY\n\n Blackness. RUTH wakes up. Panic in her eyes. CLIVE drives,\n GRAHAM sits on the sofa, biting his nails.", "GRAHAM\n Yes.\n CLIVE give GRAHAM a \"˜what the hell are you thinking?' Look as\n RUTH comes aboard. RUTH surveys the interior of the RV.", "RUTH\n Leave him alone!\n VOICE hits out at RUTH. GRAHAM renews his attack." ], [ "The guys gather their stuff and walk to the edge of the wood.\n Looking through the tree line they realize that the quiet\n town of last night has become very busy indeed.", "HAGGARD\n New Mexico sir.\n\n ZOIL\n Well, then let's move it.\n They scramble.", "CLIVE is seated behind the wheel of their RV, he now wears\n black wrap-around shades. In the back of the RV, GRAHAM\n fusses with maps and provisions.", "As the music kicks in, GRAHAM and CLIVE set off across the\n road towards the San Diego Convention Centre. They make their", "CLIVE, RUTH, MOSES and ZOIL watch them go. The light form the\n ship gradually fades, leaving them in darkness. Pause.", "The RV drives across the rugged countryside. GRAHAM, CLIVE,\n RUTH and PAUL appear in various combinations.", "GRAHAM and CLIVE walk down the busy main street, between them\n is PAUL. He is dressed in the little cowboy suit from the\n shop window, his hat pulled down low over his face.", "RUTH\n There's lots a places I wanna go.\n Europe. Asia. The Antipodes. The\n world's a big place. I need one of\n these though.", "The farmhouse explodes. ZOIL and HAGGARD who are only just\n clear, hit the deck, covering their heads. MOSES is knocked\n off his feet as flaming wood and debris rain down.", "The door to the RV swings open, CLIVE and GRAHAM step out.\n The desert road is silent. We can see for miles. On the road\n lies a yellow and black bird, it is very dead.", "PAUL\n There it is, boys. Wyoming.\n\n CLIVE\n Is that where we're going?", "CLIVE\n Yes. London.\n\n RUTH\n I love London.\n\n CLIVE\n Have you been?", "RUTH\n Christian ministry in Seattle. I've\n been driving for 5 days.\n\n ZOIL\n Going far?\n\n RUTH\n Austin.", "The boys stand, waiting for their transport. We see them from\n across the road. A tiny old car splutters up to the curb. A\n valet gets out and hands the keys to CLIVE.", "They drive in silence, surveying the landscape.\n\n \n\n \n\n \n\n \n\n 11.", "TEAM PAUL are walking round the tower. As they round the\n corner the landscape changes, the trees give way to a piece\n of open pasture flanked by pine forest, the tower opens", "ZOIL opens the trunk of his car. He pulls out a large piston,\n spare ammo and a webbing pack which he slings around his\n shoulder. He sets off up the hill.", "MOSES BEHE (O.S.)\n Where they headed?\n\n RUTH\n East.", "101.\n The RV roars into life, reversing out onto the road. CLIVE\n pulls a spectacular U-turn, sending the passengers flying.", "HAGGARD\n South. Toward New Mexico, huh?\n KEITH nods. HAGGARD stands, his mind racing. He looks" ], [ "ALIEN\n Great. Thank you.\n\n GRAHAM\n What's your name?", "GRAHAM looks at the ALIEN. It stands at roughly 3 feet tall.\n His black almond shaped eye glint. His large head tilts to", "picks one up. The cover features an alien that looks a lot\n like him. The comic is called \"˜Encounter Briefs: Tales From", "23.\n\n ALIEN\n I'm Paul.\n\n GRAHAM\n Paul?", "ALIEN\n Please man, I need you.\n GRAHAM considers the ALIEN for a moment.\n\n GRAHAM\n Okay then.", "TARA frowns then follows PAUL aboard. PAUL and TARA stand in\n the doorway. One of the other ALIENS comes out of a small\n room behind them, speaking in a strange tongue.", "GRAHAM\n Clive, he's an alien. A living,\n breathing, alien.", "ALIEN\n Put - the phone - down.\n Without the slightest change of expression CLIVE rocks", "GRAHAM\n You need my help?\n\n ALIEN\n Yes.", "backwards in a dead faint. He hits the ground with a bump.\n GRAHAM looks at CLIVE then back at the ALIEN. When GRAHAM", "CLIVE (CONT'D)\n Oh really?\n With this CLIVE grabs at PAUL. He pulls at the alien's skin,\n trying to gain a hold of a mask.", "GRAHAM\n What?\n\n ALIEN\n It's just a theory. Listen, focus\n okay? I promise you I won't hurt\n you, I just need your help.", "GRAHAM\n Graham Willy.\n\n ALIEN\n What about him?\n\n GRAHAM\n That's the writer, Clive Gollings.", "CLIVE\n What shall we say if it's her?\n We're here with the alien that\n killed your dog sixty years ago?", "ALIEN.", "colleague, Graham Willy. We're from\n England and we're here with the\n alien that killed your dog 60 years\n ago.", "KEITH NASH\n Honestly Mommy, he was an alien and\n his name was Paul!\n\n MRS. NASH\n Whoever hard of an alien called\n Paul?", "ALIEN\n No! Look, I need you to help. Can\n you get this guy back onto your\n wagon?\n\n GRAHAM\n Are you going to probe us?", "CLIVE\n Hey Graham, an alien just sicked up\n into my palms.\n CLIVE doesn't see the two men sat up at the counter. He\n strides over to GRAHAM, full of excitement.", "21.\n\n ALIEN\n I didn't do anything. He fainted.\n\n GRAHAM\n Yes but you made him faint." ], [ "CE3K salute. PAUL gives them the finger. The boys laugh,\n tears in their eyes. The ship lifts off into the sky. GRAHAM,", "SPLAT.\n A large spaceship lands hard on top of VOICE. Everyone looks\n shocked. PAUL, GRAHAM and CLIVE exchange a look.", "He starts to climb. The others follow. Crane up as TEAM PAUL\n climb the hill to reveal a sight familiar to anyone who has\n seen Close Encounters Of The Third Kind...", "My ship sort of landed on it. When\n the military arrived I was\n delirious; I kept saying \"Paul?\n Paul?\" It was the only English I", "PAUL\n We call them IFOs.\n\n TARA\n Cute.", "TARA frowns then follows PAUL aboard. PAUL and TARA stand in\n the doorway. One of the other ALIENS comes out of a small\n room behind them, speaking in a strange tongue.", "PAUL\n Perfect.\n\n CLIVE\n What are you going to do with this?\n\n PAUL\n Phone home.", "PAUL\n Sorry, I had a warning light just\n like that on my ship.\n\n GRAHAM\n For fuel?", "PAUL (CONT'D)\n Oh shit.\n Behind them, the HELICOPTER powers down. The door opens.", "PAUL\n\n NOW!\n The funnel suddenly evaporates into the sky, leaving the path\n ahead clear and oddly calm.", "TEAM PAUL reach the RV and start to board, just as MOSES BEHE\n lumbers into view.\n\n MOSES BEHE\n\n RUTH!", "TEAM PAUL watch as the ethereal light draws nearer.\n Spotlights cut through the night, searching beneath.\n\n EXT. DEVIL'S TOWER. FOREST - NIGHT", "TARA\n Pretty.\n\n GRAHAM\n What now?\n\n PAUL\n We wait.\n A light appears in the sky some way off.", "TARA is waiting for her goodbye but PAUL ignores her. He face\n drops as he walks to his ship. He turns to her.", "cosmos, the surface of a planet, others like PAUL, PAUL's\n ship crashing into the ground. The images speed up as PAUL", "RUTH\n Where am I?\n PAUL leans round from the Chewie seat and smile.\n\n PAUL\n Hey, look who's up.\n\n RUTH", "PAUL\n Yeah. Now let's get Cloverfield\n onto the recreational vehicle and\n get the fuck off MacArthur's Black\n Mile.\n They attempt to move CLIVE. PAUL senses something.", "GRAHAM\n Like in E.T.?\n\n PAUL\n Exactly.", "TARA\n Paul, we'll get sucked right up.\n\n PAUL\n Stay on target.\n A branch smacks on the windshield, cracking it.", "A shadow is cast across RUTH. Everyone looks up to see PAUL,\n silhouetted against the moon. His eyes glint." ], [ "GRAHAM and CLIVE sit at a table fiddling nervously with pens.\n On either side of them are stacks of their new book; JELVA -", "GRAHAM\n Good night, Clive.\n They switch off their respective bedside lights. The room is\n plunged into pitch darkness. A few seconds pass.", "GRAHAM\n\n (MUMBLING)\n Clive...", "GRAHAM\n Is that a real one?\n\n CLIVE\n No, I made it up myself.\n\n GRAHAM\n I like it.", "GRAHAM\n What's the matter?\n\n CLIVE\n Nothing. How we doing?", "GRAHAM and CLIVE pull away in silence. They are both confused\n and shaken.\n\n CLIVE\n Well, it's pretty obvious what\n happened there, isn't it?", "GRAHAM\n Are you asleep?\n\n CLIVE\n No.", "see GRAHAM in the driving seat, then looks back at the\n bathroom door. The toilet flushes.\n CLIVE pretends to be asleep as the door opens. A pair of", "GRAHAM\n Nasty Hobbitses.\n CLIVE emerges from the bathroom. He is naked but for a black", "GRAHAM, CLIVE and PAUL have made a camp fire in a woodland\n clearing on the other side of town. They sit round drinking\n beers and chatting. PAUL rolls a joint.", "The door to the RV opens, GRAHAM and CLIVE jump in. PAUL\n lowers his book and is blinded by their headlamps.\n\n PAUL\n Arrghh, what the fuck?!", "GRAHAM\n His name is Paul.\n\n CLIVE\n Oh, Paul is it? Paul what? Paul\n Verhoven? Paul Freeman? Paul\n Reiser?", "CLIVE\n Oh God, oh God, oh God.\n\n GRAHAM\n I need the toilet.", "GRAHAM\n Clive, he's an alien. A living,\n breathing, alien.", "GRAHAM is sat in the Chewie seat, PAUL is reading Jelva,\n Queen Of The Varvak. CLIVE drives.\n\n GRAHAM\n What do you think?", "GRAHAM\n Impressive.\n\n CLIVE\n Most impressive.", "GRAHAM and CLIVE are stood against the wall in a bar. GRAHAM\n drinks and elaborate blue cocktail through a straw. CLIVE", "GRAHAM\n Seem to be working, Clive. Clive?\n GRAHAM notices that CLIVE is no longer with them. He looks", "GRAHAM and CLIVE walk down the busy main street, between them\n is PAUL. He is dressed in the little cowboy suit from the\n shop window, his hat pulled down low over his face.", "GRAHAM\n I don't want my arms broken!\n\n CLIVE\n There's only one thing for it.\n\n GRAHAM\n What?" ], [ "GRAHAM\n Ow, my shins!\n\n INT. TARA'S FARMHOUSE. BACK ROOM - DAY", "100.\n\n INT. TARA'S FARMHOUSE. FRONT ROOM - DAY", "ZOIL\n Godammit Haggard!\n\n INT. TARA'S FARMHOUSE. CELLAR - DAY", "97.\n TARA goes to the kitchen. She can be seen from where they are\n sitting. She turns the gas on and strikes a cooking match.\n PAUL looks pained, struggling for something to say.", "PAUL\n Not a fucking cent.\n\n INT. TARA'S FARMHOUSE. BACK ROOM - DAY", "TARA\n Listen to me gabbing. Milk and\n sugar?\n\n PAUL\n I'm so sorry.\n\n TARA\n What for?", "TARA\n Where are my manners? I never\n really have guests. Nobody comes up\n here. I go whole weeks without\n seeing a soul.", "men turn to see PAT emerge from the kitchen with a tray of\n drinks. Two bottles of beer, one cup of coffee and an absurd\n looking milkshake in a tall glass with a sparkler.", "PAUL\n It's good to see you, Tara.\n The tinkle of glass. Something hits the floor. A tear gas\n canister spins at their feet, spewing thick fog.", "TARA\n My weed!\n\n EXT. TARA'S FARMHOUSE - DAY", "PAUL\n Hello Tara.\n TARA's faces sickens. She falls backwards into the house.\n\n PAUL\n Aw nuts.", "INT. TARA'S FARMHOUSE. FRONT ROOM - DAY", "TARA\n In back.\n The gang bustle out of the room just as the front door\n splinters inward, revealing O'REILLY in a gas mask.", "TARA\n You're not taking him away again.\n He staggers backwards and falls to the ground, unconscious.\n\n PAUL\n Thank you, Tara.", "PAUL (CONT'D)\n You coming?\n\n TARA\n What?", "TARA\n Storm cellar!\n TARA opens a nearby door and motions them down some stairs,\n as HAGGARD fires wildly. Crockery explodes around them.", "PAUL\n Where's Tara?\n TARA comes out of the toilet.", "PAUL\n It's my job to know.\n\n EXT. TARA'S FARMHOUSE - DAY\n\n GRAHAM knocks on the door.", "TARA\n Now, where do you suppose that came\n from?\n\n PAUL\n Fuck a duck! Get out!", "GRAHAM/CLIVE\n Shit!\n\n PAUL\n Tara, where's the back door?" ], [ "19.\n CLIVE kills the headlights. They are plunged into darkness,\n still travelling at 65mph. The headlights come back on.", "CLIVE\n Oh shit!\n CLIVE looks round to discover that PAUL has vanished. GRAHAM\n pulls the RV onto the hard shoulder.", "picks himself up and lumbers off towards his truck. HAGGARD\n drops ZOIL and runs to his car.", "The door to the RV swings open, CLIVE and GRAHAM step out.\n The desert road is silent. We can see for miles. On the road\n lies a yellow and black bird, it is very dead.", "later, GRAHAM appears and runs round to the back of the RV.\n He rips the bumper sticker off and gets back on board. The RV\n starts up and drives off.", "GRAHAM and CLIVE pull away in silence. They are both confused\n and shaken.\n\n CLIVE\n Well, it's pretty obvious what\n happened there, isn't it?", "The RV pulls off the road into a secluded lay-by. The gang\n sit in silence for a while.\n\n GRAHAM\n Was that your dad, Ruth?\n RUTH nods.", "ZOIL\n Damnit Haggard, wait!\n HAGGARD takes off. ZOIL staggers to his car and with great", "CLIVE sparks up his lighter and waves it around looking\n mysterious. He then turns and jumps down all three steps and\n slams the door of the RV behind him.", "HAGGARD\n Yes sir!\n HAGGARD floors it. He is manic and wild eyed.", "CLIVE\n Small corrections! Small\n corrections!\n RUTH drives. Everyone else is asleep.", "CLIVE\n I can't drive like this. We'll have\n to drop her off and take our\n chances.\n\n GRAHAM\n No!", "PAUL\n Yeah. Nice man, really soft, He\n thought I was a hallucination.\n Shame what happened to him.\n\n CLIVE\n All the good ones die.", "remains int he driving seat, staring out at the mangled\n Sedan. The toilet flushes and GRAHAM reappears.", "101.\n The RV roars into life, reversing out onto the road. CLIVE\n pulls a spectacular U-turn, sending the passengers flying.", "GRAHAM and CLIVE look proud. CLIVE drives the RV over a speed\n hump into the park. PAUL loses his balance and falls over.", "The boys stand, waiting for their transport. We see them from\n across the road. A tiny old car splutters up to the curb. A\n valet gets out and hands the keys to CLIVE.", "CLIVE\n Jelly.\n\n PAUL\n Gotcha.\n PAUL heads to the kitchen. The boys drive in silence.", "GRAHAM\n Sorry.\n\n RUTH\n Wait, what about Papa?\n\n CLIVE\n I only saw one car following us.", "INT. RV - DAY\n\n CLIVE floors it. RAIN lashes down. The sky is almost black." ], [ "RUTH\n You have been deceived. Deceived by\n an agent of Satan himself.\n\n PAUL (O.S.)\n You know I'm sitting right here?", "PAUL\n Oh, for God's sake.\n PAUL walks over to RUTH and places his and across her", "115.\n PAUL drops to his knee and places his hands on RUTH's chest.\n MOSES drops his shotgun and lumbers over, distraught.", "PAUL\n You can't win can you?\n RUTH starts to pray furiously, speaking in tongues, making an\n awful noise.", "PAUL\n He likes you, y'know?\n\n RUTH\n Graham? D'you think?\n\n PAUL\n What are you, blind?\n Beat.", "PAUL (O.S.)\n Horseshit!\n RUTH approaches the toilet door, taking up her fight with the", "them. PAUL kisses and hugs RUTH.", "PAUL\n The eye is a delicate and complex\n thing, Ruth. You should get it\n taken care of.", "RUTH smiles. PAUL smiles back. RUTH looks out of the window,\n just as PAUL reaches out to touch her face.", "RUTH\n How could that possibly make me\n feel any better?\n\n PAUL\n Jesus Christ, I was just trying to\n be nice!", "RUTH\n How can he be from another world?\n There is only one world. Our world,\n created by God the Father.\n PAUL sits down next to GRAHAM. RUTH whimpers.", "RUTH\n Papa?\n PAUL grabs RUTH's hand.\n\n PAUL\n Come on.", "PAUL\n I'm sorry I frightened you so much\n your hair turned white.\n\n RUTH\n You didn't frighten me. You freed\n me. You helped me see the light.", "watches transfixed. RUTH's eye flickers and opens. With some\n difficulty, she sits up and takes off her glasses. She blinks\n both shining, healthy eyes.", "A shadow is cast across RUTH. Everyone looks up to see PAUL,\n silhouetted against the moon. His eyes glint.", "RUTH\n He showed me things.\n\n ZOIL\n You're not still talking about his\n balls, are you?", "RUTH\n They're back.\n PAUL withdraws his hand. GRAHAM and CLIVE are approaching the\n RV clutching a large firework. They climb aboard.", "RUTH\n Where am I?\n PAUL leans round from the Chewie seat and smile.\n\n PAUL\n Hey, look who's up.\n\n RUTH", "PAUL\n Ruth!?\n\n CLIVE\n Someone should go after her.\n Graham?\n CLIVE looks round to see GRAHAM gone.", "RUTH\n What are you talking about?\n\n PAUL (O.S.)\n Evolution baby.\n RUTH screams and bangs the door." ], [ "MRS. NASH\n Excuse me. Who are you?\n\n HAGGARD\n Agent Haggard Ma'am, Secret\n Service.", "MOSES BEHE\n And who are you?\n\n ZOIL\n Secret Service, sir.", "ZOIL\n Good morning, Ma'am. Sorry to\n trouble you. Agent Zoil, Secret\n Service. Your wagon here matches", "STATE TROOPER\n No. The Secret Service.\n GRAHAM bumps into a display of sunglasses and just stops it\n tumbling. CHRIS and the STATE TROOPER glance over.", "MRS. NASH\n Secret Service?!\n\n HAGGARD\n Kid?\n\n KEITH NASH\n He was in the shop.", "RUTH\n Yes?\n\n ZOIL (O.S.)\n Agent Zoil, Secret Service. Listen\n very carefully. You're in great\n danger.", "Tilt up to reveal the security man. It is none other than\n former Special Agent LORENZO ZOIL. CRANE up to reveal the\n whole convention floor.", "AGENT 2 (O.S.)\n Hey Haggard?!\n\n HAGGARD\n Yeah?\n O'REILLY appears at the door waving a 10x8\" photograph.", "AGENT 1\n You're a long way from San Diego.\n\n CLIVE\n We were having a little drive.\n\n AGENT 1\n Is that right?", "RUTH\n Where have you been? I was worried.\n She opens the door. AGENT ZOIL flashes his badge.", "VOICE\n Who the hell is this?\n\n HAGGARD\n Haggard, sir. Agent Zoil has been\n compromised. I'm assuming command.", "GRAHAM and CLIVE stand outside the RV being questioned by an\n AGENT dressed like ZOIL. We can hear noise and activity from\n the RV. Another AGENT is aboard the RV.", "The sound of screeching tires draws the attention of the two\n AGENTS. They see the RV swerve across the road in the\n distance before righting itself and continuing on its way.", "AGENT 1\n Ah. G'day mate.\n The AGENT smiles. GRAHAM and CLIVE look terrified.", "CLIVE\n Okay, in and out, yes? Don't talk\n to anyone unless you have to and\n try to look inconspicuous.\n Angle on the most conspicuous threesome in America.", "KEITH NASH\n No thanks.\n\n HAGGARD\n Let's go.\n The two agents rush off.", "O'REILLY\n Did he say where he was going?\n KEITH looks at his comic. The ZOIL style agent, shooting the", "RUTH\n You have been deceived. Deceived by\n an agent of Satan himself.\n\n PAUL (O.S.)\n You know I'm sitting right here?", "Chiselled, focused, confident. This is SPECIAL AGENT ZOIL. A\n SOLDIER approaches.", "PAUL (CONT'D)\n Oh shit.\n Behind them, the HELICOPTER powers down. The door opens." ], [ "GRAHAM\n Noooooooooo!\n GRAHAM gathers RUTH up in his arms. She coughs, flecks of\n blood around her mouth.", "GRAHAM and CLIVE pull away in silence. They are both confused\n and shaken.\n\n CLIVE\n Well, it's pretty obvious what\n happened there, isn't it?", "GRAHAM\n Good night, Clive.\n They switch off their respective bedside lights. The room is\n plunged into pitch darkness. A few seconds pass.", "GRAHAM\n I'm so sorry it had to be this way\n Ruth. We're definitely not going to", "GRAHAM\n Seem to be working, Clive. Clive?\n GRAHAM notices that CLIVE is no longer with them. He looks", "GRAHAM\n I suppose so.\n\n CLIVE\n Than that's what happened.\n PAUL materializes from thin air behind them.\n\n PAUL", "GRAHAM\n It's gone!\n\n CLIVE\n Where did it go?\n\n EXT. SCRUB - EVENING", "PAUL\n What a waste.\n\n GRAHAM\n Poor thing.", "afraid anymore Graham. I'm cold\n though. Hey, where is everybody?\n RUTH shudders and dies. TARA and ZOIL look aghast. GRAHAM", "GRAHAM\n I don't want my arms broken!\n\n CLIVE\n There's only one thing for it.\n\n GRAHAM\n What?", "GRAHAM\n\n (MUMBLING)\n Clive...", "GRAHAM\n He's an alien you stupid man! Oh\n Ruth, Ruth I'm sorry, I'm so sorry.", "GRAHAM\n There goes the deposit.\n\n CLIVE\n Fare thee well friend. You were a\n faithful and mighty steed.", "The RV pulls off the road into a secluded lay-by. The gang\n sit in silence for a while.\n\n GRAHAM\n Was that your dad, Ruth?\n RUTH nods.", "he passes. GRAHAM wakes up with a start.", "GRAHAM\n Impressive.\n\n CLIVE\n Most impressive.", "see GRAHAM in the driving seat, then looks back at the\n bathroom door. The toilet flushes.\n CLIVE pretends to be asleep as the door opens. A pair of", "backwards in a dead faint. He hits the ground with a bump.\n GRAHAM looks at CLIVE then back at the ALIEN. When GRAHAM", "GRAHAM\n Ruth!\n\n RUTH\n Leave me alone!", "The door to the RV swings open, CLIVE and GRAHAM step out.\n The desert road is silent. We can see for miles. On the road\n lies a yellow and black bird, it is very dead." ] ]

[ "Who did Graeme and Clive meet when they viewed the car crash?", "What were the names of the people who ran the RV park?", "Who was able to heal Ruth's blind eye?", "What is the name of the agent who is pursuing Paul?", "Who is \"the Big Guy\"?", "What did Tara do for Paul when he first crashed on Earth?", "Is Zoil really Paul's enemy ?", "How does the \"Big Guy\" end up dying?", "What did Graeme and Clive title their best selling novel?", "Why did Graeme and Clive travel to the United States?", "How did Graeme and Clive meet Paul?", "What does Paul do to Ruth during their argument about religion?", "What does Paul cure on Ruth with his healing powers?", "Who rescued Paul when he first crashed on Earth?", "What happens to Tara's house when O'Reilly shoots at the fleeing fugitives?", "How does Haggard die?", "How do Paul, Graeme, Clive, Ruth, and Tara signal for Paul's mothership?", "Who jumps in front of Ruth and Paul protecting the from being shot by Moses?", "What happens to the Big Guy as she is about to kill Graeme and Ruth?", "Where do the main characters travel to?", "What is the alien's name?", "How is Paul's mothership signaled?", "What do Graeme and Clive name their novel?", "What beverage is consumed at Tara's house?", "Who dies after driving off a cliff?", "What does Paul heal on Ruth?", "Who is the Secret Service Agent?", "How does Graeme die?" ]

[ [ "An alien named Paul", "An alien named Paul." ], [ "Moses and Ruth", "Ruth and Moses." ], [ "Paul", "Paul." ], [ "Agent Zoil", "Zoil" ], [ "Zoil's female supervisor", "She is the boss of Agent Zoil." ], [ "She rescued him.", "he rescued paul" ], [ "Zoil is his friend.", "No." ], [ "She was crushed by a spaceship driven by Paul.", "She gets crushed by a spaceship." ], [ "Paul", "Paul." ], [ "To attended Comic-Con International.", "To attend Comic-Con International." ], [ "They assisted him in a car crash.", "they rush to the crashed car driven by paul" ], [ "He shows her his collective knowledge.", "he puts his hand on her forehead" ], [ "Her blinded eye.", "Her blinded eye." ], [ "Tara.", "Tara" ], [ "It is destroyed.", "It gets blown up." ], [ "He drives off a cliff.", "He drove off a cliff." ], [ "They set off fireworks.", "They set off some fireworks." ], [ "Graeme.", "Graeme." ], [ "She is crushed by the spaceship.", "killed by a spaceship" ], [ "San Diego Comic Con", "San Diego." ], [ "Paul", "Paul" ], [ "Fireworks", "through fireworks" ], [ "Paul", "Paul." ], [ "Tea", "Tea." ], [ "Haggard", "Haggard." ], [ "Blind eye", "his healing powers" ], [ "Zoil", "Zoil." ], [ "Shotgun", "He doesn't." ] ]

[ [ "of that car did nothing for him!\n And neither did the police. And\n neither did this man -- Mr.\n Abraham Weiss.", "is. I know Mr. Weiss. And the\n only reason Mr. Weiss is interested\n in the case is because Mr. Williams", "in the car with him when he had his\n unfortunate accident in the Bronx.\n But I understand you were driving.", "investigating an automobile\n accident. Maybe you heard about\n it...\n (CONTINUED)", "150 CONTINUED: (2) 150\n WEISS\n Trace the car, Ray.", "Weiss switches channel to an Anchorwoman. Behind her,\n a graphic portrays a Mercedes and licence plate number\n with five question marks.", "155 CONTINUED: 155\n WEISS (CONT'D)\n No matter what it takes. I am no", "WEISS\n Just trace the fucking car.", "As they reach Weiss.\n KRAMER\n I think we got him.\n WEISS\n Got who? What do you got?", "car. And that means bothering a\n lot of innocent people. We're\n sorry about the inconvenience.\n But it's a routine sort of thing.", "98 CONTINUED: (2) 98\n KRAMER\n You think this car was driven by", "WEISS\n No. But maybe he can point.\n RAY\n Point?\n\n (CONTINUED)", "WEISS\n You think it's him?\n MARTIN\n Well, we think so, yeah, but...\n KRAMER", "KRAMER\n Alright, then. Let me see if I\n have this straight. The boy was\n hit by a car...", "WEISS\n I like this man. I like him.\n Look. What's the kid's condition?", "somebody comes along -- some rich\n white people in a rich white man's\n car and wham! They run him down\n and never even stop. Now what are", "KRAMER\n Finally, one last question. Can\n you tell us, Mrs. Ruskin, who\n was driving the car when Henry", "Lamb was hit?\n MARIA\n Why, Sherman never let anyone\n drive his car.\n KRAMER", "Bacon holds up a Weiss campaign poster -- a photo of\n Weiss reading --\n \"WEISS FOR MAYOR\n JUSTICE FOR ALL\" *", "Sherman McCoy was driving the car.\n MARIA\n Oh, yes.\n A roar goes up from the crowd." ], [ "FALLOW from the back seat. He is wearing a tuxedo and\n dark glasses. He is very drunk, disheveled and cheerful\n beyond his means. CONTINUE IN ONE SHOT as...", "approaches. The aides flag it down and throw Fallow onto\n the cart. The cart carries him past the garbage con-\n tainer into a long tunnel-like corridor.\n\n FALLOW", "Disintegrate.\n She gets into the car. Fallow watches the car pull away.\n He smiles.\n259 OMITTED 259", "comes to the end of the tunnel and jerks to a halt.\n Fallow loses his balance and sprays the female aide with\n soda water.", "You're a drunk, Mr. Fallow. That's\n what I've been told. And you're\n almost out of a job. Aren't you?", "started, this Peter Fallow person,\n and all the facts were wrong, total\n disregard for the truth. Why do\n they do this?", "But before Fallow can get his bearings...\n WALL OF FLASHING CAMERAS\n obliterate the view. Fallow staggers, clutching his head", "You go to the press. You tell\n them we're going to question the\n woman, and if she is the woman who\n was in the car, she faces possible", "Leach opens the door wide and Fallow steps into the apart-\n ment. As the door closes...\n PETER (V.O.)", "KRAMER\n Finally, one last question. Can\n you tell us, Mrs. Ruskin, who\n was driving the car when Henry", "You don't have to feel better,\n Sherman. I was the one who\n was driving. And I'm saying", "in the car with him when he had his\n unfortunate accident in the Bronx.\n But I understand you were driving.", "He says I was driving the car.\n I'm going to be arrested tomorrow\n morning. I need to know from you\n ... I mean, what do you want me", "rush Fallow, snapping pictures with little Instamatics\n and trying to get an autograph.\n FALLOW\n is led through the corridor and into...\n WINTERGARDEN", "PETER FALLOW (V.O.)\n She knew how to hurt a guy. No.\n He was nothing like his father.", "PETER\n You're joking.\n CAROLINE\n I never joke. She was in the car.\n PETER\n But how do you know all this?", "PETER\n Oh, sorry. I'm Peter Fallow. I'm\n Peter Fallow. Ha. Ha. Ha.", "Lamb was hit?\n MARIA\n Why, Sherman never let anyone\n drive his car.\n KRAMER", "in it.\n FOX\n A poor, innocent black kid, walking\n down the street, minding his own\n business. And boom! Hit and run.", "ELEVATOR DOORS\n open. Fallow is led out of the elevator. Several other\n aides approach him and pull off his soiled jacket and" ], [ "The Judge shakes his fist at Sherman, too. Then he opens\n the fist and offers his hand to Sherman. Sherman takes\n it. They shake.", "strators are pressed against it. The Judge shakes a\n tired fist at them. Then he turns to Sherman.\n JUDGE", "Killian grabs Sherman and pulls him toward the exit.\n The court officers form a wedge to help them through\n the screaming mob...", "Sherman turns and walks away down the corridors of\n justice. The Judge watches him go. Sherman disappears\n into a great whiteness as we hear:", "The guests applaud. Sherman turns to face them.", "The Judge is hit on the head by some debris. He\n stumbles, blinded by the plaster dust. Sherman grabs\n the sword.", "180 CONTINUED: (2) 180\n Sherman sits down. He is depressed. The PHONE RINGS.", "Sherman and Killian shake hands. The demonstrators are\n chanting, \"Justice! Justice! Justice!\"\n287 ANGLE - DOORS OF COURTROOM 287", "Sherman is pushed inside. He turns to look back. The\n door bangs shut.\n CUT TO:", "out. He looks at Sherman, Sherman's clothes and Sherman's\n dog. He doesn't approve. As they pass each other under\n the awning...", "Sherman pulls her away.\n SHERMAN\n I want you to meet Aubrey Buffing.\n\n JUDY\n Who?", "Sherman, Killian and Kramer return to their seats.\n The court starts screaming again.", "SHERMAN\n You know, at first I wanted to die.\n Standing there in court, people\n calling my name...", "on him.\n Martin goes. Killian climbs over Sherman. Goldberg\n puts cuffs on Sherman.", "She embraces him, her hands moving toward the hidden\n recorder. Sherman takes both her hands and pulls them\n to his chest.\n MARIA", "*\n They all turn and applaud. As Sherman moves through *\n them... *\n *", "Sherman whacks Bacon. The choir women start to wail.\n Fox approaches Sherman offering his card.", "That's right. Well, I don't know\n if he needs a lawyer. What do you\n think?\n (winks at Sherman", "A moment of quiet as White comes down and faces Sherman.\n JUDGE\n You're free to go, Mr. McCoy.", "standing over Sherman, who continues to struggle with\n the dog.\n (CONTINUED)" ], [ "Your Honor, the District Attorney,\n Mr. Weiss...\n JUDGE WHITE *\n I know who the district attorney", "is. I know Mr. Weiss. And the\n only reason Mr. Weiss is interested\n in the case is because Mr. Williams", "Weiss that I know he's out there\n looking for the great white\n defendent... but Mr. Williams over\n there is not it.", "As they reach Weiss.\n KRAMER\n I think we got him.\n WEISS\n Got who? What do you got?", "be done. And Mr. Weiss himself\n has instructed me to request bail\n in the amount of $250,000. Cash.", "District Attorney -- who dreams\n every night that someday he is\n going to be mayor of New York City\n -- what he needs is a white man.", "Bacon holds up a Weiss campaign poster -- a photo of\n Weiss reading --\n \"WEISS FOR MAYOR\n JUSTICE FOR ALL\" *", "155 CONTINUED: 155\n WEISS (CONT'D)\n No matter what it takes. I am no", "WEISS\n (screams)\n I know that, Ray. I know that.\n I just want to bring the guy in!", "176A CONTINUED: (2) 176A\n WEISS\n Yeah. I got an idea. We take a", "176A CONTINUED: (3) 176A\n Weiss growls in frustration. Kramer leaves the Aide and\n goes to Weiss.", "The shades are drawn; the room is dark. Weiss sits at\n his desk. Andriutti and Kramer are with him.\n WEISS", "night. He promised no bullshit.\n MARTIN\n This is Weiss. Weiss gave the\n order this morning.", "Weiss sees Sherman and attacks him.\n WEISS\n And this man's name will live in", "WEISS\n You think it's him?\n MARTIN\n Well, we think so, yeah, but...\n KRAMER", "got his name in the columns. His\n wife is a fucking socialite.\n WEISS\n Does this put an end to this white\n justice shit?", "He points at Ray Andriutti, the assistant D.A.\n LOCKWOOD\n Two weeks ago he told me two to\n six...", "Ray leaves. Weiss sits down looking sadly at the\n television.\n WEISS\n Yesterday I was a respected Jewish", "Sherman turns and walks away down the corridors of\n justice. The Judge watches him go. Sherman disappears\n into a great whiteness as we hear:", "He goes to the window. The sun is setting over the New\n York skyline.\n WEISS\n All the rich sons of bitches." ], [ "Suddenly, Maria's RECORDED VOICE BLASTS into the courtroom.", "285 CONTINUED: 285\n MARIA\n ... and I wanted to report the", "me in that decision.\n Silence. They are both out of breath. They look at\n each other. Then Maria starts to unbutton her blouse.", "285 CONTINUED: (2) 285\n MARIA (V.O.)\n (on tape)", "MARIA\n Never. Never. Never. I hope you\n die and hang in the electric chair!\n Sherman heads out the back door.", "MARIA\n I'm sorry...?\n (CONTINUED)\n\n 112. *", "out.\n SHERMAN\n It's true. We could have been\n killed.\n MARIA", "tape recorder. He bangs and kicks the recorder, trying\n to make it stop. Maria faints on the stand. Killian is", "131 CONTINUED: (3) 131\n MARIA\n You know I'm a sucker for a soft", "Maria. Please. This is important.\n MARIA\n Alright. Tell mama all about it.", "She pulls the wire. Sherman yelps in pain. As he spins\n around, Maria grabs the tapedeck and pulls it off his\n back. More pain.", "MARIA\n I'm sorry if I alarmed you. But\n he was acting very strange. My\n name is Maria Ruskin.", "Maria closes the door after him. She laughs.\n MARIA\n Christ. That was close.\n SHERMAN\n What's going on?", "131 CONTINUED: (2) 131\n MARIA\n How? They don't have the full", "283 CONTINUED: 283\n MARIA\n Why, on the avenue. Right on the", "21.\n\n60 CONTINUED: 60\n MARIA\n Sherman! What's that?!", "275 INT. CRYPTS - MARIA - DAY 275 *\n is trying to embrace Sherman. He remains \"hunched\" over,", "Maria leans toward Sherman and presses her foot down on\n the accelerator. The car jerks into motion.", "KRAMER\n You were surprised?\n MARIA\n I was shocked. There are certain", "MARIA\n Sherman McCoy!\n\n (CONTINUED)" ], [ "a parking space. Sherman and Maria get out. They move\n toward a brownstone apartment building.\n SHERMAN\n I wonder if we should report this", "Yeah. But he didn't live in the *\n South Bronx. Did he? *\n SHERMAN\n No.", "As Sherman pulls toward the ramp. Another pothole jolts\n the car. Maria's luggage flies forward, hitting Sherman\n in the back of his neck. At the same time, Maria sees", "MARIA\n I see. Well, here we are,\n Sherman. The couple that all New\n York is talking about. And we're\n not even a couple anymore.", "MARIA\n Sherman McCoy!\n\n (CONTINUED)", "Maria closes the door after him. She laughs.\n MARIA\n Christ. That was close.\n SHERMAN\n What's going on?", "Maria leans toward Sherman and presses her foot down on\n the accelerator. The car jerks into motion.", "MARIA\n Sherman?\n SHERMAN\n Yes, Maria.\n\n MARIA\n Where are all the white people?", "SHERMAN\n We're in the Bronx.", "SHERMAN\n Where are you going?\n MARIA\n The airport. I told you. I have", "Maria unlocks the door and they go into...\n84 INT. MARIA'S APARTMENT - SHERMAN AND MARIA - NIGHT 84", "Sherman McCoy was driving the car.\n MARIA\n Oh, yes.\n A roar goes up from the crowd.", "doing in the Bronx? Why didn't you\n stop, Sherman? Sherman! This way!\n This way! How's your wife taking", "closes the door as Maria enters.\n MARIA\n Sherman! Whatever are you doing\n here?", "has just finished installing a new intercom system near\n the open door of the apartment. Sherman and Maria appear\n in the doorway.", "MARIA\n Oh, dear. Are we going to talk\n about it right now?\n\n SHERMAN\n Yes. We have to.", "MARIA\n What does that mean?\n SHERMAN\n It means we're going north. All I", "MARIA\n You're going to move it?\n SHERMAN\n Yes. That's exactly what I'm going", "MARIA\n It's a body.\n SHERMAN\n It looks like...\n\n MARIA\n It's an animal.", "She pulls the wire. Sherman yelps in pain. As he spins\n around, Maria grabs the tapedeck and pulls it off his\n back. More pain." ], [ "approaches. The aides flag it down and throw Fallow onto\n the cart. The cart carries him past the garbage con-\n tainer into a long tunnel-like corridor.\n\n FALLOW", "rush Fallow, snapping pictures with little Instamatics\n and trying to get an autograph.\n FALLOW\n is led through the corridor and into...\n WINTERGARDEN", "FALLOW from the back seat. He is wearing a tuxedo and\n dark glasses. He is very drunk, disheveled and cheerful\n beyond his means. CONTINUE IN ONE SHOT as...", "started, this Peter Fallow person,\n and all the facts were wrong, total\n disregard for the truth. Why do\n they do this?", "is. I know Mr. Weiss. And the\n only reason Mr. Weiss is interested\n in the case is because Mr. Williams", "But before Fallow can get his bearings...\n WALL OF FLASHING CAMERAS\n obliterate the view. Fallow staggers, clutching his head", "in it.\n FOX\n A poor, innocent black kid, walking\n down the street, minding his own\n business. And boom! Hit and run.", "Disintegrate.\n She gets into the car. Fallow watches the car pull away.\n He smiles.\n259 OMITTED 259", "A ten story glass atrium. A black tie party. A sixty-\n foot banner with Fallow's name on it. Wild applause.", "comes to the end of the tunnel and jerks to a halt.\n Fallow loses his balance and sprays the female aide with\n soda water.", "Leach opens the door wide and Fallow steps into the apart-\n ment. As the door closes...\n PETER (V.O.)", "You're a drunk, Mr. Fallow. That's\n what I've been told. And you're\n almost out of a job. Aren't you?", "MOORE\n I sincerely hope so, Fallow. I\n sincerely hope so. Come, Evelyn.", "RAY\n So why are you coming to us? You\n got a victim who's unconscious,\n you got no witness, no driver --", "PETER FALLOW (V.O.)\n She knew how to hurt a guy. No.\n He was nothing like his father.", "257 ANGLE - FALLOW 257\n approaches her. They walk as they talk...", "try to lead Fallow into the building. Fallow is clutch-\n ing a whiskey decanter and a seltzer bottle. He leans\n heavily on the aides, stumbles and can barely stay on his\n feet.", "PETER\n Oh, sorry. I'm Peter Fallow. I'm\n Peter Fallow. Ha. Ha. Ha.", "move. Fallow falls into the mousse. The aide pulls him\n up and tries to clean him off.", "hit-and-run.\n (CONTINUED)" ], [ "Suddenly, Maria's RECORDED VOICE BLASTS into the courtroom.", "tape recorder. He bangs and kicks the recorder, trying\n to make it stop. Maria faints on the stand. Killian is", "83 CONTINUED: 83\n MARIA\n Yes. Newspapers, radios,", "285 CONTINUED: 285\n MARIA\n ... and I wanted to report the", "She pulls the wire. Sherman yelps in pain. As he spins\n around, Maria grabs the tapedeck and pulls it off his\n back. More pain.", "MARIA (V.O.)\n (on tape)\n The airport. I told you. I have\n a car coming in -- oh, God, ten", "Maria. Please. This is important.\n MARIA\n Alright. Tell mama all about it.", "285 CONTINUED: (2) 285\n MARIA (V.O.)\n (on tape)", "She embraces him, her hands moving toward the hidden\n recorder. Sherman takes both her hands and pulls them\n to his chest.\n MARIA", "MARIA (V.O.)\n (on tape)\n And put our heads right into the", "out.\n SHERMAN\n It's true. We could have been\n killed.\n MARIA", "SHERMAN (V.O.)\n (on tape)\n Maria, you are incorrigible.\n\n MARIA (V.O.)\n Am I?", "Oh, yes, sir, I did. I recorded\n this conversation on this tape.\n My tape. This is my tape of my\n conversation. I recorded it.", "I remind you that you are still\n under oath. Now, did you record\n this conversation?\n SHERMAN", "You go to the press. You tell\n them we're going to question the\n woman, and if she is the woman who\n was in the car, she faces possible", "MARIA\n Neither did I. So if the question\n ever comes up, all that happened\n was, two boys blocked the road", "What in hell...?!\n MARIA (V.O.)\n (on tape)\n You know I'm a sucker for a soft", "way that leads into an adjacent \"family room.\" As Maria\n passes, he signals her. FOLLOW Maria INTO:", "Maria leans toward Sherman and presses her foot down on\n the accelerator. The car jerks into motion.", "MARIA (V.O.)\n (on tape)\n We have time for a quickie. What" ], [ "JUDGE WHITE\n You're what?\n (CONTINUED)", "JUDGE WHITE\n So you go tell your boss, the\n district attorney, Captain Ahab", "JUDGE WHITE *\n You dare call me a racist! Well,\n I say to you, you -- a mob who", "mob. They close in on the Judge and Sherman.\n290 ANGLE - REVEREND BACON 290", "MARTIN\n What we got here is a problem.\n GOLDBERG\n You ever hear of Reverend Bacon?", "Sherman turns and walks away down the corridors of\n justice. The Judge watches him go. Sherman disappears\n into a great whiteness as we hear:", "JUDGE WHITE *\n Because this is an election year.\n Because ninety-nine percent of the\n people you shovel through here are", "A moment of quiet as White comes down and faces Sherman.\n JUDGE\n You're free to go, Mr. McCoy.", "There's a story in it for somebody,\n Peter. The black community is up\n in arms. And I'm telling you, when\n Reverend Bacon gets a feather in", "JUDGE WHITE\n We want to know how you plead to\n the charges.\n SHERMAN\n I am sorry.", "JUDGE WHITE *\n (screaming)\n So you insist on testing the will\n of this court!!!! Now you shut up", "Press and spectators are already buzzing out of control.\n JUDGE WHITE *\n Bail has been set at $10,000...", "Sherman whacks Bacon. The choir women start to wail.\n Fox approaches Sherman offering his card.", "is facing Judge White. Killian is next to him. Kramer\n is representing the District Attorney's office.\n JUDGE WHITE", "The Judge is hit on the head by some debris. He\n stumbles, blinded by the plaster dust. Sherman grabs\n the sword.", "JUDGE WHITE *\n (bangs the gavel)\n Quiet! Where the hell do you\n think you are?!", "92 CONTINUED: (2) 92\n JUDGE WHITE (CONT'D)\n So Mr. Weiss, your boss, the", "The Judge shakes his fist at Sherman, too. Then he opens\n the fist and offers his hand to Sherman. Sherman takes\n it. They shake.", "strators are pressed against it. The Judge shakes a\n tired fist at them. Then he turns to Sherman.\n JUDGE", "the People's case...\n JUDGE WHITE *\n Mr. Kramer, I have spoken.\n KRAMER" ], [ "Her name is Maria Ruskin.\n (MORE)\n (CONTINUED)", "MARIA\n I'm sorry if I alarmed you. But\n he was acting very strange. My\n name is Maria Ruskin.", "PETER\n Mrs. Ruskin?\n MARIA\n Yes?", "so big fan of Maria Ruskin. *\n SHERMAN\n Then we have this as evidence.\n KILLIAN", "KRAMER (O.S.)\n Mrs. Ruskin.\n (CONTINUED)", "ANDRIUTTI\n I think we better talk to this\n Mrs. Ruskin.\n WEISS", "Maria. Please. This is important.\n MARIA\n Alright. Tell mama all about it.", "MARIA\n Look, Mr.... Mr....\n PETER\n Fallow.", "The Maitre d' approaches the table.\n PETER\n Mr. Ruskin seems to have suffered\n some kind of -- well, I don't", "WOMAN (V.O.)\n Who is this?\n SHERMAN\n Maria?", "I need to talk to your friend,\n Mrs. Ruskin, too.\n SHERMAN\n I understand you went to Yale.", "MARIA\n Well, uh... I don't live here.\n I'm just a guest of Miss Heftshank.\n So...", "MRS. BAVARDAGE\n Maria, darling, I need your advice\n about something. My designer has", "But MRS. BAVARDAGE swirls up to them and whisks the now\n terrified Maria away.", "SHERMAN\n Are you sure?\n MARIA\n Yes. Watch. Boris, darling,", "KRAMER\n Finally, one last question. Can\n you tell us, Mrs. Ruskin, who\n was driving the car when Henry", "MARIA\n I want to see what it is.\n She rips open his shirt.", "MARIA\n Oh, no. Nothing like that at all.", "285 CONTINUED: 285\n MARIA\n ... and I wanted to report the", "MARIA\n Well, of course she knows. That's\n not the point." ], [ "Maria leans toward Sherman and presses her foot down on\n the accelerator. The car jerks into motion.", "As Sherman pulls toward the ramp. Another pothole jolts\n the car. Maria's luggage flies forward, hitting Sherman\n in the back of his neck. At the same time, Maria sees", "Maria closes the door after him. She laughs.\n MARIA\n Christ. That was close.\n SHERMAN\n What's going on?", "a parking space. Sherman and Maria get out. They move\n toward a brownstone apartment building.\n SHERMAN\n I wonder if we should report this", "Maria unlocks the door and they go into...\n84 INT. MARIA'S APARTMENT - SHERMAN AND MARIA - NIGHT 84", "out.\n SHERMAN\n It's true. We could have been\n killed.\n MARIA", "doing in the Bronx? Why didn't you\n stop, Sherman? Sherman! This way!\n This way! How's your wife taking", "Sherman McCoy was driving the car.\n MARIA\n Oh, yes.\n A roar goes up from the crowd.", "SHERMAN\n We're in the Bronx.", "Sherman's neck and chewing on his ear while her other\n hand is in his crotch. Maria is laughing. *\n SHERMAN", "MARIA\n I see. Well, here we are,\n Sherman. The couple that all New\n York is talking about. And we're\n not even a couple anymore.", "She pulls the wire. Sherman yelps in pain. As he spins\n around, Maria grabs the tapedeck and pulls it off his\n back. More pain.", "Yeah. But he didn't live in the *\n South Bronx. Did he? *\n SHERMAN\n No.", "MARIA\n Sherman McCoy!\n\n (CONTINUED)", "has just finished installing a new intercom system near\n the open door of the apartment. Sherman and Maria appear\n in the doorway.", "closes the door as Maria enters.\n MARIA\n Sherman! Whatever are you doing\n here?", "SHERMAN\n You have to help me, Maria.\n MARIA\n But how can I help you?", "WOMAN (V.O.)\n Who is this?\n SHERMAN\n Maria?", "MARIA\n Sherman?\n SHERMAN\n Yes, Maria.\n\n MARIA\n Where are all the white people?", "MARIA\n What does that mean?\n SHERMAN\n It means we're going north. All I" ], [ "as the car slows down. Sherman is slightly drunk.\n SHERMAN\n ... and then this newspaper thing", "PETER\n He was seriously injured. I'm\n a journalist. I write for a\n newspaper.\n RIFKIN\n Oh. I don't remember him.", "staggers across the street into the City Light newspaper\n office...\n PETER (V.O.)\n I'd had my chance and I'd blown it", "covered with mud from having been trampled earlier. He\n takes a long swig from a bottle wrapped in a paper bag.\n He is drunk.", "journalists who are supposed to\n be writing for my newspaper.\n You're very fortunate to see him\n because I hardly ever do.", "in it.\n FOX\n A poor, innocent black kid, walking\n down the street, minding his own\n business. And boom! Hit and run.", "PETER\n Well, I am a journalist...\n BACON", "He puts down the phone and stares at the newspaper. He\n sits there in his two thousand dollar Saville Row suit\n and his New and Lingwood cap-toed shoes and he sweats.", "somebody comes along -- some rich\n white people in a rich white man's\n car and wham! They run him down\n and never even stop. Now what are", "PETER\n Well, yeah, but... Look, it's an\n unfortunate situation. But I'm\n not altogether sure there's a story", "You're a drunk, Mr. Fallow. That's\n what I've been told. And you're\n almost out of a job. Aren't you?", "There's a story in it for somebody,\n Peter. The black community is up\n in arms. And I'm telling you, when\n Reverend Bacon gets a feather in", "owner and the owner says, oh, yeah,\n gee, yeah, I hit this kid, yeah,\n the other night, and yeah I didn't", "started, this Peter Fallow person,\n and all the facts were wrong, total\n disregard for the truth. Why do\n they do this?", "pulls up in front of the Edgar Allen Poe housing\n project. Signs on the van read, \"Channel 1 News - The\n Live 1.\" The streets are empty.", "KRAMER\n Alright, then. Let me see if I\n have this straight. The boy was\n hit by a car...", "You go to the press. You tell\n them we're going to question the\n woman, and if she is the woman who\n was in the car, she faces possible", "No. There's a nurse there busting\n my balls. She says the kid told\n his mother he was hit by a car. A", "me. Newspapers, lawyers, police,\n people I don't even know. How did\n I get to be so important?\n PETER", "He needs to find him, book him,\n and throw him in jail. Then he\n looks good to everybody. The\n press likes it, the voters like" ], [ "Killian's hand flips the switch, the TAPE PLAYS.\n SHERMAN (V.O.)\n Where are you going?", "amazed and amused. He looks at Sherman. Sherman smiles.\n Killian takes the tape from the recorder.", "Sherman turns and walks away down the corridors of\n justice. The Judge watches him go. Sherman disappears\n into a great whiteness as we hear:", "She embraces him, her hands moving toward the hidden\n recorder. Sherman takes both her hands and pulls them\n to his chest.\n MARIA", "Sherman is pushed inside. He turns to look back. The\n door bangs shut.\n CUT TO:", "She pulls the wire. Sherman yelps in pain. As he spins\n around, Maria grabs the tapedeck and pulls it off his\n back. More pain.", "SHERMAN\n I repent all the sins of my past\n life. I repent...\n KILLIAN\n Just shut up, Sherman. Defendant\n pleads not guilty!", "on him.\n Martin goes. Killian climbs over Sherman. Goldberg\n puts cuffs on Sherman.", "thing is gone -- furniture, rugs, paintings. Sherman has\n a tape recorder in front of him. In his hand he holds\n two tapes.", "SHERMAN\n That tape is mine, sir.\n Killian is shocked. They continue speaking in whispers.\n KRAMER", "The Judge is hit on the head by some debris. He\n stumbles, blinded by the plaster dust. Sherman grabs\n the sword.", "opens a side door. We wait. Nothing. Then the sound\n of FEET SHUFFLING. Finally, Sherman appears. He looks", "180 CONTINUED: (2) 180\n Sherman sits down. He is depressed. The PHONE RINGS.", "tape recorder. He bangs and kicks the recorder, trying\n to make it stop. Maria faints on the stand. Killian is", "Killian lets the tape fast forward. Then...\n SHERMAN (V.O.)\n (on tape)\n I suppose we could still go to the\n police. We could get a very\n talented lawyer...", "in a box with Judy and Leonard and Inez Bavardage.\n Sherman is transfixed by what he is seeing on the stage.\n He flips through his libretto.", "Oh, yes, sir, I did. I recorded\n this conversation on this tape.\n My tape. This is my tape of my\n conversation. I recorded it.", "Based on the evidence contained in\n this recording...\n (holds up the tape)\n ... and pursuant to my authority", "strators are pressed against it. The Judge shakes a\n tired fist at them. Then he turns to Sherman.\n JUDGE", "Sherman takes a long drink.\n228H INT. TUNNEL - TRAIN - LATE AFTERNOON 228H *" ], [ "out. He looks at Sherman, Sherman's clothes and Sherman's\n dog. He doesn't approve. As they pass each other under\n the awning...", "180 CONTINUED: (2) 180\n Sherman sits down. He is depressed. The PHONE RINGS.", "thing is gone -- furniture, rugs, paintings. Sherman has\n a tape recorder in front of him. In his hand he holds\n two tapes.", "She embraces him, her hands moving toward the hidden\n recorder. Sherman takes both her hands and pulls them\n to his chest.\n MARIA", "him. And then I noticed the most\n peculiar thing. Sherman was smiling.", "Sherman turns and walks away down the corridors of\n justice. The Judge watches him go. Sherman disappears\n into a great whiteness as we hear:", "SHERMAN\n Excuse me. I have to go.\n (CONTINUED)\n\n 23.", "Yeah. Sure. Yeah. Yeah. Yeah.\n He puts down the phone and looks at Sherman.", "PETER (V.O.)\n And so we come to the end of our\n story. Sherman, you see, who", "*\n They all turn and applaud. As Sherman moves through *\n them... *\n *", "SHERMAN\n Then what good is it?\n\n (CONTINUED)", "Sherman is pushed inside. He turns to look back. The\n door bangs shut.\n CUT TO:", "One point seven million for\n Sherman. All in a day's work.\n He was there. At the top --\n impervious, untouchable, insulated", "Sherman and several men are seated at attention facing an\n Adam bowfront cabinet. The cabinet is richly painted\n with scenes of bucolic splendor and ornate borders. On", "poised above his head! I see the\n fatal abyss open before him.'\n During the above, Sherman sees...", "That's right. Well, I don't know\n if he needs a lawyer. What do you\n think?\n (winks at Sherman", "183 CONTINUED: (2) 183\n SHERMAN\n Yes, there is. Something is", "SHERMAN\n And that goes for the rest of you,\n too. Out. All of you.", "They laugh again. Sherman gets caught somewhere between\n laughing and crying. He starts to lose control.\n PETER\n Take it easy.\n\n SHERMAN\n I'm alright.", "this, Sherman?\n A microphone is shoved into Sherman's face.\n (CONTINUED)" ], [ "out to the poor people of this city.\n You got to let them know that\n justice is blind. You got to let\n them know that if you're white and", "District Attorney -- who dreams\n every night that someday he is\n going to be mayor of New York City\n -- what he needs is a white man.", "That's what we're going to do. If\n we have to screw every white asshole\n from Albany to Park Avenue -- that's", "RIFKIN\n Well, she means City College.\n They have an open admissions\n policy. So, if you live in the", "It's him. We got him. This guy\n is Park Avenue. His old man ran\n Dunning, Sponget and Leach. He's", "their feet, the protesters were\n sending a message to Bronx district\n attorney and mayoral candidate\n Abe Weiss -- 'If you don't launch", "rich, you get the same treatment\n you get when you're black and poor.\n You got to give people hope!\n WEISS", "There's a story in it for somebody,\n Peter. The black community is up\n in arms. And I'm telling you, when\n Reverend Bacon gets a feather in", "I work Park Avenue and I work\n Bruckner Boulevard, Reverend.\n There's good and bad in both\n places. Now we'll do everything", "She was also subletting Filippo.\n And, as it turns out, she was also\n in the car with Sherman McCoy when\n the accident happened.", "of that car did nothing for him!\n And neither did the police. And\n neither did this man -- Mr.\n Abraham Weiss.", "about Reverend Bacon's demand for\n justice. Meanwhile, protestors\n are threatening if Bronx district\n attorney and mayoral candidate", "Yeah. But he didn't live in the *\n South Bronx. Did he? *\n SHERMAN\n No.", "They still think they own this\n city. They sit in their co-ops,\n Park Avenue, Fifth, Beekman Place,", "He goes to the window. The sun is setting over the New\n York skyline.\n WEISS\n All the rich sons of bitches.", "THROUGH the skylight we can see Sherman McCoy on his\n hands and knees on the green marble foyer of this lavish\n apartment chasing the family dachshund, trying to attach\n a leash.", "Korean, Chinese, Albanian,\n Filippino, black man from every\n corner of every borough -- you\n don't think the future knows how", "Bronx County. They're going to beg *\n me to be mayor. We're going to *\n walk away with that election. *", "and a prosecutor, a sworn officer\n of the court, enlists the perjurers\n ... and a district attorney throws\n a man to the mob and lawyers carve", "(CONTINUED)" ], [ "Sherman turns and walks away down the corridors of\n justice. The Judge watches him go. Sherman disappears\n into a great whiteness as we hear:", "The Judge shakes his fist at Sherman, too. Then he opens\n the fist and offers his hand to Sherman. Sherman takes\n it. They shake.", "288 CONTINUED: 288\n JUDGE\n I don't hear you!\n\n More silence. He comes down off the bench, facing the\n mob.", "strators are pressed against it. The Judge shakes a\n tired fist at them. Then he turns to Sherman.\n JUDGE", "The Judge is hit on the head by some debris. He\n stumbles, blinded by the plaster dust. Sherman grabs\n the sword.", "one of them. Well, let them have\n it. Enough is enough. I was\n finished. I summoned what little\n dignity I had left and decided to", "closing in on Sherman and the Judge. The Judge grabs *\n Sherman and pulls him through the door. *", "She gets up abruptly and leaves. Mrs. McCoy goes after\n Judy. Sherman and his father sit there without talking.\n Then...", "PETER (V.O.)\n And so we come to the end of our\n story. Sherman, you see, who", "finished. She might as well have\n put a gun to his head and pulled\n the trigger. There was no hope\n now. The darkness closed in around", "WORKMAN\n Okay. No problem. I'm all done.\n He packs up and leaves.", "A moment of quiet as White comes down and faces Sherman.\n JUDGE\n You're free to go, Mr. McCoy.", "286 CONTINUED: 286\n He bangs the gavel until the noise subsides.", "JUDGE WHITE\n So you go tell your boss, the\n district attorney, Captain Ahab", "Justice! You want justice?! I'll\n give you justice!\n Finally, the courtroom goes quiet. White looks around. *", "his throat pointing at a picture.\n That's your case?! It's never\n gonna stand up.", "him. And then I noticed the most\n peculiar thing. Sherman was smiling.", "The court goes crazy. White regains order. Sudden *\n silence in time for everyone to hear...\n SHERMAN (V.O.)", "61 CONTINUED: 61\n He leaves the door open. Above him, the tremendous", "JUDGE\n I'm alright. Damn hooligans.\n He walks up to the iron gates. The faces of the demon-" ], [ "MR. McCOY\n She moves quickly.\n SHERMAN\n She has a good lawyer.\n *", "A moment of quiet as White comes down and faces Sherman.\n JUDGE\n You're free to go, Mr. McCoy.", "Mr. McCoy, you know the charges\n that are being brought against\n you.\n SHERMAN\n Hmn? What?", "... my little encounter with Sherman\n McCoy was spoiling everything. The\n truth has a way of doing that.\n (CONTINUED)", "That's right. Well, I don't know\n if he needs a lawyer. What do you\n think?\n (winks at Sherman", "280 CONTINUED: (2) 280\n MR. McCOY\n What is it?\n\n SHERMAN\n Lie.", "bonds.\" Sherman is, at the same time, searching through\n a newspaper for any news of the accident.\n MRS. McCOY (MOTHER)", "Sherman. Trust me. Nothing is\n going to come of this little\n newspaper article. Absolutely\n nothing.\n *", "is very possible that Sherman\n McCoy was not driving that car.\n And I can almost prove it.", "So I shipped off a little present\n to Sherman McCoy's lawyer and I\n waited for the fireworks...\n262C 262", "knows what really happened. Not\n anymore. And if anybody does\n know, it certainly isn't me.\n SHERMAN", "SHERMAN\n That tape is mine, sir.\n Killian is shocked. They continue speaking in whispers.\n KRAMER", "Sherman turns and walks away down the corridors of\n justice. The Judge watches him go. Sherman disappears\n into a great whiteness as we hear:", "You're Judy McCoy's husband.\n SHERMAN\n Uh. Yes.\n SALLY", "SHERMAN\n Yes?\n MR. McCOY\n And yet, if the truth won't set", "MR. McCOY\n Please.\n Sherman takes his hand. Mr. McCoy puts his arm around\n him and hugs him awkwardly but effectively. They", "MARIA\n Sherman McCoy!\n\n (CONTINUED)", "He points at Ray Andriutti, the assistant D.A.\n LOCKWOOD\n Two weeks ago he told me two to\n six...", "Sherman McCoy was driving the car.\n MARIA\n Oh, yes.\n A roar goes up from the crowd.", "KILLIAN\n I'm telling you, they got nothing\n on you, Mr. McCoy.\n (picks up a phone)" ], [ "approaches. The aides flag it down and throw Fallow onto\n the cart. The cart carries him past the garbage con-\n tainer into a long tunnel-like corridor.\n\n FALLOW", "Leach opens the door wide and Fallow steps into the apart-\n ment. As the door closes...\n PETER (V.O.)", "started, this Peter Fallow person,\n and all the facts were wrong, total\n disregard for the truth. Why do\n they do this?", "Mr. McCoy, you know the charges\n that are being brought against\n you.\n SHERMAN\n Hmn? What?", "FALLOW from the back seat. He is wearing a tuxedo and\n dark glasses. He is very drunk, disheveled and cheerful\n beyond his means. CONTINUE IN ONE SHOT as...", "KILLIAN\n I'm telling you, they got nothing\n on you, Mr. McCoy.\n (picks up a phone)", "You're a drunk, Mr. Fallow. That's\n what I've been told. And you're\n almost out of a job. Aren't you?", "Mr. McCoy.", "SHERMAN\n Absolutely wrong! All of it. And\n who is this Peter Fallow? He has", "253 CONTINUED: 253\n PETER\n Arthur. Thanks for meeting me on\n such short notice.\n ARTHUR\n Peter Fallow?", "MOORE\n I sincerely hope so, Fallow. I\n sincerely hope so. Come, Evelyn.", "try to lead Fallow into the building. Fallow is clutch-\n ing a whiskey decanter and a seltzer bottle. He leans\n heavily on the aides, stumbles and can barely stay on his\n feet.", "280 CONTINUED: (2) 280\n MR. McCOY\n What is it?\n\n SHERMAN\n Lie.", "is. I know Mr. Weiss. And the\n only reason Mr. Weiss is interested\n in the case is because Mr. Williams", "Absolute pandemonium. Fallow starts to laugh. Kramer\n pulls Sherman's briefcase off a chair revealing a hidden", "A moment of quiet as White comes down and faces Sherman.\n JUDGE\n You're free to go, Mr. McCoy.", "Fallow misses the pen and falls face down into the\n breasts of the diplomat's daughter. The guards pull him\n into the elevator.\n\n (CONTINUED)", "rush Fallow, snapping pictures with little Instamatics\n and trying to get an autograph.\n FALLOW\n is led through the corridor and into...\n WINTERGARDEN", "ELEVATOR DOORS\n open. Fallow is led out of the elevator. Several other\n aides approach him and pull off his soiled jacket and", "the pictures. And the kid comes\n to... and he points to McCoy's\n picture. And he keeps pointing..." ], [ "Killian's hand flips the switch, the TAPE PLAYS.\n SHERMAN (V.O.)\n Where are you going?", "SHERMAN\n That tape is mine, sir.\n Killian is shocked. They continue speaking in whispers.\n KRAMER", "amazed and amused. He looks at Sherman. Sherman smiles.\n Killian takes the tape from the recorder.", "She embraces him, her hands moving toward the hidden\n recorder. Sherman takes both her hands and pulls them\n to his chest.\n MARIA", "Oh, yes, sir, I did. I recorded\n this conversation on this tape.\n My tape. This is my tape of my\n conversation. I recorded it.", "thing is gone -- furniture, rugs, paintings. Sherman has\n a tape recorder in front of him. In his hand he holds\n two tapes.", "SHERMAN\n What do you mean, 'my tape'?", "She pulls the wire. Sherman yelps in pain. As he spins\n around, Maria grabs the tapedeck and pulls it off his\n back. More pain.", "the phone.\n PETER (V.O.)\n She was right, of course. And\n Sherman knew it. Christ. How", "Sherman is pushed inside. He turns to look back. The\n door bangs shut.\n CUT TO:", "tape recorder. He bangs and kicks the recorder, trying\n to make it stop. Maria faints on the stand. Killian is", "Killian lets the tape fast forward. Then...\n SHERMAN (V.O.)\n (on tape)\n I suppose we could still go to the\n police. We could get a very\n talented lawyer...", "this, Sherman?\n A microphone is shoved into Sherman's face.\n (CONTINUED)", "SHERMAN\n Uh...\n AUBREY\n (shakes Sherman's", "Brief pause, then...\n WOMAN (V.O.)\n Sherman?\n Sherman is about to say \"yes\" when he catches himself.", "do you say, Sherman?\n SHERMAN (V.O.)\n (on tape)\n I don't feel terrifically sexy at", "SHERMAN (V.O.)\n (on tape)\n Maria, you are incorrigible.\n\n MARIA (V.O.)\n Am I?", "Based on the evidence contained in\n this recording...\n (holds up the tape)\n ... and pursuant to my authority", "PETER (V.O.)\n And so we come to the end of our\n story. Sherman, you see, who", "Sherman turns and walks away down the corridors of\n justice. The Judge watches him go. Sherman disappears\n into a great whiteness as we hear:" ], [ "As Sherman pulls toward the ramp. Another pothole jolts\n the car. Maria's luggage flies forward, hitting Sherman\n in the back of his neck. At the same time, Maria sees", "SHERMAN\n Where are you going?\n MARIA\n The airport. I told you. I have", "a parking space. Sherman and Maria get out. They move\n toward a brownstone apartment building.\n SHERMAN\n I wonder if we should report this", "Maria closes the door after him. She laughs.\n MARIA\n Christ. That was close.\n SHERMAN\n What's going on?", "Maria leans toward Sherman and presses her foot down on\n the accelerator. The car jerks into motion.", "19.\n\n51 INT. MERCEDES - SHERMAN AND MARIA - NIGHT 51\n As it stops for a red light.", "on the Concorde tonight. Best, Maria.\" *\n37 EXT. KENNEDY AIRPORT - NIGHT 37", "She pulls the wire. Sherman yelps in pain. As he spins\n around, Maria grabs the tapedeck and pulls it off his\n back. More pain.", "Sherman McCoy was driving the car.\n MARIA\n Oh, yes.\n A roar goes up from the crowd.", "Maria unlocks the door and they go into...\n84 INT. MARIA'S APARTMENT - SHERMAN AND MARIA - NIGHT 84", "MARIA\n Sherman McCoy!\n\n (CONTINUED)", "MARIA\n I see. Well, here we are,\n Sherman. The couple that all New\n York is talking about. And we're\n not even a couple anymore.", "MARIA\n It's a body.\n SHERMAN\n It looks like...\n\n MARIA\n It's an animal.", "256 INT. AIRPORT - MARIA - DUSK 256 *\n comes out of Customs. She is wearing black and has a\n veil over her face.", "MARIA\n Never. Never. Never. I hope you\n die and hang in the electric chair!\n Sherman heads out the back door.", "SHERMAN\n Maria!\n MARIA\n Drive, Sherman. Just drive.", "MARIA (V.O.)\n (on tape)\n The airport. I told you. I have\n a car coming in -- oh, God, ten", "gets to his feet and moves toward the car.\n68 ANGLE - MARIA 68\n opens the car door for Sherman.\n MARIA\n Sherman, get in this car.", "Sherman's neck and chewing on his ear while her other\n hand is in his crotch. Maria is laughing. *\n SHERMAN", "is moving around, trying to find Maria.\n DIRECTOR (O.S.)\n ... Manny Leerman will play a" ], [ "As Sherman pulls toward the ramp. Another pothole jolts\n the car. Maria's luggage flies forward, hitting Sherman\n in the back of his neck. At the same time, Maria sees", "Maria leans toward Sherman and presses her foot down on\n the accelerator. The car jerks into motion.", "MARIA (O.S.)\n Sherman!\n He turns, tire in his hands and sees...", "SHERMAN\n Maria!\n MARIA\n Drive, Sherman. Just drive.", "something.\n Sherman starts to get out of the car.\n MARIA\n What are you doing?!", "It's a dead tire!\n SHERMAN\n Calm down, Maria. Please. It's\n a tire and some ash cans or", "SHERMAN\n Oh. Is this yours? Here. You\n take it.\n Sherman pushes the tire toward Roland. Roland pushes it", "SHERMAN\n It was instinct.\n MARIA\n That tire...\n\n SHERMAN\n He was big... wasn't he?", "Sherman McCoy was driving the car.\n MARIA\n Oh, yes.\n A roar goes up from the crowd.", "Maria closes the door after him. She laughs.\n MARIA\n Christ. That was close.\n SHERMAN\n What's going on?", "gets to his feet and moves toward the car.\n68 ANGLE - MARIA 68\n opens the car door for Sherman.\n MARIA\n Sherman, get in this car.", "MARIA\n Sherman, get us out of here. *\n SHERMAN\n I have a red light.", "out.\n SHERMAN\n It's true. We could have been\n killed.\n MARIA", "MARIA\n Never. Never. Never. I hope you\n die and hang in the electric chair!\n Sherman heads out the back door.", "She pulls the wire. Sherman yelps in pain. As he spins\n around, Maria grabs the tapedeck and pulls it off his\n back. More pain.", "SHERMAN\n Where are you going?\n MARIA\n The airport. I told you. I have", "19.\n\n51 INT. MERCEDES - SHERMAN AND MARIA - NIGHT 51\n As it stops for a red light.", "a parking space. Sherman and Maria get out. They move\n toward a brownstone apartment building.\n SHERMAN\n I wonder if we should report this", "back at him. Sherman throws up his arms. The tire\n bounces off his arms and knocks Roland down.\n SHERMAN", "77 ANGLE - MARIA AND SHERMAN 77\n Maria pulls the wheel hard to the right. The car\n fishtails.\n SHERMAN" ], [ "Your Honor, the District Attorney,\n Mr. Weiss...\n JUDGE WHITE *\n I know who the district attorney", "Weiss that I know he's out there\n looking for the great white\n defendent... but Mr. Williams over\n there is not it.", "District Attorney -- who dreams\n every night that someday he is\n going to be mayor of New York City\n -- what he needs is a white man.", "is. I know Mr. Weiss. And the\n only reason Mr. Weiss is interested\n in the case is because Mr. Williams", "is facing Judge White. Killian is next to him. Kramer\n is representing the District Attorney's office.\n JUDGE WHITE", "As they reach Weiss.\n KRAMER\n I think we got him.\n WEISS\n Got who? What do you got?", "Bacon holds up a Weiss campaign poster -- a photo of\n Weiss reading --\n \"WEISS FOR MAYOR\n JUSTICE FOR ALL\" *", "be done. And Mr. Weiss himself\n has instructed me to request bail\n in the amount of $250,000. Cash.", "WEISS\n (screams)\n I know that, Ray. I know that.\n I just want to bring the guy in!", "got his name in the columns. His\n wife is a fucking socialite.\n WEISS\n Does this put an end to this white\n justice shit?", "out to the poor people of this city.\n You got to let them know that\n justice is blind. You got to let\n them know that if you're white and", "WEISS\n We're going to prove to these\n niggers that this administration\n loves them.\n (MORE)\n (CONTINUED)", "of that car did nothing for him!\n And neither did the police. And\n neither did this man -- Mr.\n Abraham Weiss.", "That's what we're going to do. If\n we have to screw every white asshole\n from Albany to Park Avenue -- that's", "WEISS\n You think it's him?\n MARTIN\n Well, we think so, yeah, but...\n KRAMER", "RAY\n (to Weiss)\n You'll kill him. He wakes up out\n of a coma and sees four white men", "JUDGE WHITE *\n You dare call me a racist! Well,\n I say to you, you -- a mob who", "DEMONSTRATORS\n Justice. We want justice!!! We\n want justice!!!\n JUDGE WHITE *", "There's a story in it for somebody,\n Peter. The black community is up\n in arms. And I'm telling you, when\n Reverend Bacon gets a feather in", "JUDGE WHITE\n So you go tell your boss, the\n district attorney, Captain Ahab" ], [ "The Judge shakes his fist at Sherman, too. Then he opens\n the fist and offers his hand to Sherman. Sherman takes\n it. They shake.", "Sherman turns and walks away down the corridors of\n justice. The Judge watches him go. Sherman disappears\n into a great whiteness as we hear:", "out. He looks at Sherman, Sherman's clothes and Sherman's\n dog. He doesn't approve. As they pass each other under\n the awning...", "180 CONTINUED: (2) 180\n Sherman sits down. He is depressed. The PHONE RINGS.", "strators are pressed against it. The Judge shakes a\n tired fist at them. Then he turns to Sherman.\n JUDGE", "They laugh again. Sherman gets caught somewhere between\n laughing and crying. He starts to lose control.\n PETER\n Take it easy.\n\n SHERMAN\n I'm alright.", "She embraces him, her hands moving toward the hidden\n recorder. Sherman takes both her hands and pulls them\n to his chest.\n MARIA", "Killian grabs Sherman and pulls him toward the exit.\n The court officers form a wedge to help them through\n the screaming mob...", "25 CONTINUED: 25\n SHERMAN\n Judy...?\n\n But Judy walks away without speaking to him. Sherman\n watches her.", "sympathetic.\n *\n SHERMAN\n Excuse me...", "PETER (V.O.)\n And so we come to the end of our\n story. Sherman, you see, who", "Sherman whacks Bacon. The choir women start to wail.\n Fox approaches Sherman offering his card.", "*\n They all turn and applaud. As Sherman moves through *\n them... *\n *", "The guests applaud. Sherman turns to face them.", "Sherman pulls her away.\n SHERMAN\n I want you to meet Aubrey Buffing.\n\n JUDY\n Who?", "The Judge is hit on the head by some debris. He\n stumbles, blinded by the plaster dust. Sherman grabs\n the sword.", "MR. McCOY\n Please.\n Sherman takes his hand. Mr. McCoy puts his arm around\n him and hugs him awkwardly but effectively. They", "Sherman is pushed inside. He turns to look back. The\n door bangs shut.\n CUT TO:", "SHERMAN\n Excuse me. I have to go.\n (CONTINUED)\n\n 23.", "Yeah. Sure. Yeah. Yeah. Yeah.\n He puts down the phone and looks at Sherman." ], [ "285 CONTINUED: 285\n MARIA\n ... and I wanted to report the", "She pulls the wire. Sherman yelps in pain. As he spins\n around, Maria grabs the tapedeck and pulls it off his\n back. More pain.", "MARIA\n I'm sorry if I alarmed you. But\n he was acting very strange. My\n name is Maria Ruskin.", "Her name is Maria Ruskin.\n (MORE)\n (CONTINUED)", "MARIA\n Am I?\n She kisses him.\n\n SHERMAN\n I suppose we could still go to the\n police. We could get a very\n talented lawyer...", "MARIA\n It's a body.\n SHERMAN\n It looks like...\n\n MARIA\n It's an animal.", "Maria closes the door after him. She laughs.\n MARIA\n Christ. That was close.\n SHERMAN\n What's going on?", "Maria. Please. This is important.\n MARIA\n Alright. Tell mama all about it.", "You go to the press. You tell\n them we're going to question the\n woman, and if she is the woman who\n was in the car, she faces possible", "SHERMAN\n Are you sure?\n MARIA\n Yes. Watch. Boris, darling,", "so big fan of Maria Ruskin. *\n SHERMAN\n Then we have this as evidence.\n KILLIAN", "SHERMAN (V.O.)\n (on tape)\n Maria, you are incorrigible.\n\n MARIA (V.O.)\n Am I?", "Suddenly, Maria's RECORDED VOICE BLASTS into the courtroom.", "MARIA\n Never. Never. Never. I hope you\n die and hang in the electric chair!\n Sherman heads out the back door.", "tape recorder. He bangs and kicks the recorder, trying\n to make it stop. Maria faints on the stand. Killian is", "I hope not. God, Maria, it looks\n like you.\n MARIA\n No. No. How could it be? Come", "MARIA\n The police?", "MARIA\n Well, of course she knows. That's\n not the point.", "is standing outside Maria's apartment building. A cab\n pulls up. Maria gets out. She is carrying a large *\n portfolio-type case, suitable for transporting a *", "WOMAN (V.O.)\n Who is this?\n SHERMAN\n Maria?" ], [ "pulls the gates shut and slides the sword through the\n door handles, locking the crowd inside the courthouse.\n They pound on the gates as the courtroom guards try to\n hold them back.", "They run up the steps past Peter as they head toward the\n entrance to the courthouse. As they pass...", "A ten story glass atrium. A black tie party. A sixty-\n foot banner with Fallow's name on it. Wild applause.", "The court goes crazy. White regains order. Sudden *\n silence in time for everyone to hear...\n SHERMAN (V.O.)", "Sherman turns and walks away down the corridors of\n justice. The Judge watches him go. Sherman disappears\n into a great whiteness as we hear:", "The Judge is hit on the head by some debris. He\n stumbles, blinded by the plaster dust. Sherman grabs\n the sword.", "you free, yes. Why not? Lie.\n DISSOLVE TO:\n281 INT. COURTROOM - JUDGE WHITE - DAY 281", "Killian grabs Sherman and pulls him toward the exit.\n The court officers form a wedge to help them through\n the screaming mob...", "They do.\n85 INT. COURTROOM - STATUE - DAY 85\n A thirty foot rendition of \"blind justice\" -- a gigantic", "out to the poor people of this city.\n You got to let them know that\n justice is blind. You got to let\n them know that if you're white and", "Ruskin. Biscuit city, ehhh! You\n open your mouth and they will\n arrest you. And they will make a", "223 INT. COURTROOM - CLERK - DAY (LATER) 223\n is calling out...", "Sherman, Killian and Kramer return to their seats.\n The court starts screaming again.", "The courtroom explodes. Screams fill the air -- \"Racist!\n Peckerwood! Pussyface! Motherfucker!\" etc. The sound\n is deafening.", "goes quiet. The choir sings. Bacon puts Annie in front\n of the crowd as if he were introducing a queen or a\n saint.", "Suddenly, Maria's RECORDED VOICE BLASTS into the courtroom.", "THROUGH the skylight we can see Sherman McCoy on his\n hands and knees on the green marble foyer of this lavish\n apartment chasing the family dachshund, trying to attach\n a leash.", "strators are pressed against it. The Judge shakes a\n tired fist at them. Then he turns to Sherman.\n JUDGE", "Sudden commotion in the courtroom. Sherman turns to\n look at...\n227 ANOTHER ANGLE 227", "288 CONTINUED: 288\n JUDGE\n I don't hear you!\n\n More silence. He comes down off the bench, facing the\n mob." ], [ "out. He looks at Sherman, Sherman's clothes and Sherman's\n dog. He doesn't approve. As they pass each other under\n the awning...", "Sherman and several men are seated at attention facing an\n Adam bowfront cabinet. The cabinet is richly painted\n with scenes of bucolic splendor and ornate borders. On", "180 CONTINUED: (2) 180\n Sherman sits down. He is depressed. The PHONE RINGS.", "him. And then I noticed the most\n peculiar thing. Sherman was smiling.", "SHERMAN\n Excuse me. I have to go.\n (CONTINUED)\n\n 23.", "Sherman is pushed inside. He turns to look back. The\n door bangs shut.\n CUT TO:", "PETER (V.O.)\n And so we come to the end of our\n story. Sherman, you see, who", "SHERMAN\n Who?\n (CONTINUED)\n\n 8.", "Sherman pulls her away.\n SHERMAN\n I want you to meet Aubrey Buffing.\n\n JUDY\n Who?", "Sherman turns and walks away down the corridors of\n justice. The Judge watches him go. Sherman disappears\n into a great whiteness as we hear:", "As Sherman pulls toward the ramp. Another pothole jolts\n the car. Maria's luggage flies forward, hitting Sherman\n in the back of his neck. At the same time, Maria sees", "steers him toward Sherman.", "Sherman. Trust me. Nothing is\n going to come of this little\n newspaper article. Absolutely\n nothing.\n *", "Yeah. Sure. Yeah. Yeah. Yeah.\n He puts down the phone and looks at Sherman.", "SHERMAN\n Then what good is it?\n\n (CONTINUED)", "One point seven million for\n Sherman. All in a day's work.\n He was there. At the top --\n impervious, untouchable, insulated", "this, Sherman?\n A microphone is shoved into Sherman's face.\n (CONTINUED)", "SHERMAN\n A rich old man, Gene. A rich old\n man.", "Sherman gets the leash fastened. He stands up, pulls\n on a rubberized British riding mac. Judy flicks a tiny\n plastic bag out of a cleverly-concealed container and", "SHERMAN\n Sherman McCoy is dead. Sherman\n McCoy of Park Avenue and Wall\n Street and Southampton -- gone." ], [ "Your Honor, the District Attorney,\n Mr. Weiss...\n JUDGE WHITE *\n I know who the district attorney", "Weiss that I know he's out there\n looking for the great white\n defendent... but Mr. Williams over\n there is not it.", "is facing Judge White. Killian is next to him. Kramer\n is representing the District Attorney's office.\n JUDGE WHITE", "As they reach Weiss.\n KRAMER\n I think we got him.\n WEISS\n Got who? What do you got?", "is. I know Mr. Weiss. And the\n only reason Mr. Weiss is interested\n in the case is because Mr. Williams", "District Attorney -- who dreams\n every night that someday he is\n going to be mayor of New York City\n -- what he needs is a white man.", "He points at Ray Andriutti, the assistant D.A.\n LOCKWOOD\n Two weeks ago he told me two to\n six...", "be done. And Mr. Weiss himself\n has instructed me to request bail\n in the amount of $250,000. Cash.", "A moment of quiet as White comes down and faces Sherman.\n JUDGE\n You're free to go, Mr. McCoy.", "got his name in the columns. His\n wife is a fucking socialite.\n WEISS\n Does this put an end to this white\n justice shit?", "and a prosecutor, a sworn officer\n of the court, enlists the perjurers\n ... and a district attorney throws\n a man to the mob and lawyers carve", "JUDGE WHITE\n We want to know how you plead to\n the charges.\n SHERMAN\n I am sorry.", "Sherman turns and walks away down the corridors of\n justice. The Judge watches him go. Sherman disappears\n into a great whiteness as we hear:", "JUDGE WHITE\n So you go tell your boss, the\n district attorney, Captain Ahab", "Bacon holds up a Weiss campaign poster -- a photo of\n Weiss reading --\n \"WEISS FOR MAYOR\n JUSTICE FOR ALL\" *", "JUDGE WHITE *\n You dare call me a racist! Well,\n I say to you, you -- a mob who", "of that car did nothing for him!\n And neither did the police. And\n neither did this man -- Mr.\n Abraham Weiss.", "out to the poor people of this city.\n You got to let them know that\n justice is blind. You got to let\n them know that if you're white and", "RAY\n (to Weiss)\n You'll kill him. He wakes up out\n of a coma and sees four white men", "WEISS\n (screams)\n I know that, Ray. I know that.\n I just want to bring the guy in!" ], [ "Your Honor, the District Attorney,\n Mr. Weiss...\n JUDGE WHITE *\n I know who the district attorney", "District Attorney -- who dreams\n every night that someday he is\n going to be mayor of New York City\n -- what he needs is a white man.", "WEISS\n We're going to prove to these\n niggers that this administration\n loves them.\n (MORE)\n (CONTINUED)", "Bacon holds up a Weiss campaign poster -- a photo of\n Weiss reading --\n \"WEISS FOR MAYOR\n JUSTICE FOR ALL\" *", "of that car did nothing for him!\n And neither did the police. And\n neither did this man -- Mr.\n Abraham Weiss.", "is. I know Mr. Weiss. And the\n only reason Mr. Weiss is interested\n in the case is because Mr. Williams", "their feet, the protesters were\n sending a message to Bronx district\n attorney and mayoral candidate\n Abe Weiss -- 'If you don't launch", "and a prosecutor, a sworn officer\n of the court, enlists the perjurers\n ... and a district attorney throws\n a man to the mob and lawyers carve", "got his name in the columns. His\n wife is a fucking socialite.\n WEISS\n Does this put an end to this white\n justice shit?", "155 CONTINUED: 155\n WEISS (CONT'D)\n No matter what it takes. I am no", "racist Hymie. By November, they're *\n going to be thinking of me as the\n first black District Attorney of", "be done. And Mr. Weiss himself\n has instructed me to request bail\n in the amount of $250,000. Cash.", "is facing Judge White. Killian is next to him. Kramer\n is representing the District Attorney's office.\n JUDGE WHITE", "JUDGE WHITE *\n Because this is an election year.\n Because ninety-nine percent of the\n people you shovel through here are", "out to the poor people of this city.\n You got to let them know that\n justice is blind. You got to let\n them know that if you're white and", "As they reach Weiss.\n KRAMER\n I think we got him.\n WEISS\n Got who? What do you got?", "a graphic portrays the Weiss poster with graffiti\n scribbled on it:\n \"WEISS JUSTICE IS WHITE JUSTICE\"", "That's what we're going to do. If\n we have to screw every white asshole\n from Albany to Park Avenue -- that's", "There's a story in it for somebody,\n Peter. The black community is up\n in arms. And I'm telling you, when\n Reverend Bacon gets a feather in", "Weiss that I know he's out there\n looking for the great white\n defendent... but Mr. Williams over\n there is not it." ], [ "Maria leans toward Sherman and presses her foot down on\n the accelerator. The car jerks into motion.", "As Sherman pulls toward the ramp. Another pothole jolts\n the car. Maria's luggage flies forward, hitting Sherman\n in the back of his neck. At the same time, Maria sees", "SHERMAN\n Maria!\n MARIA\n Drive, Sherman. Just drive.", "MARIA\n Sherman?\n SHERMAN\n Yes, Maria.\n\n MARIA\n Where are all the white people?", "19.\n\n51 INT. MERCEDES - SHERMAN AND MARIA - NIGHT 51\n As it stops for a red light.", "something.\n Sherman starts to get out of the car.\n MARIA\n What are you doing?!", "Sherman McCoy was driving the car.\n MARIA\n Oh, yes.\n A roar goes up from the crowd.", "gets to his feet and moves toward the car.\n68 ANGLE - MARIA 68\n opens the car door for Sherman.\n MARIA\n Sherman, get in this car.", "Maria closes the door after him. She laughs.\n MARIA\n Christ. That was close.\n SHERMAN\n What's going on?", "a parking space. Sherman and Maria get out. They move\n toward a brownstone apartment building.\n SHERMAN\n I wonder if we should report this", "MARIA\n Never. Never. Never. I hope you\n die and hang in the electric chair!\n Sherman heads out the back door.", "out.\n SHERMAN\n It's true. We could have been\n killed.\n MARIA", "She pulls the wire. Sherman yelps in pain. As he spins\n around, Maria grabs the tapedeck and pulls it off his\n back. More pain.", "58 INT. MERCEDES - SHERMAN AND MARIA - NIGHT 58\n SHERMAN", "SHERMAN\n Christ. She's not touching the car,\n is she?\n MARIA", "MARIA\n Sherman, get us out of here. *\n SHERMAN\n I have a red light.", "MARIA (O.S.)\n Sherman!\n He turns, tire in his hands and sees...", "He is still frozen. Maria BLOWS the HORN. Sherman wakes\n up finally.", "Sherman's neck and chewing on his ear while her other\n hand is in his crotch. Maria is laughing. *\n SHERMAN", "leans out the window.\n SHERMAN\n Excuse me, please don't touch the\n car.\n56 ANGLE - MARIA AND SHERMAN 56" ] ]

[ "Why is Weiss interested in the car accident?", "How did Fallow learn the truth about who was driving during the hit-and-run accident?", "Which two people still support Sherman as the trial is happening?", "What job does Weiss want after he is DA?", "When did Maria pass out in court?", "How did Sherman and Maria end up in the South Bronx?", "Why did Fallow initially become interested in the hit-and-run case?", "Where were the recordings of Maria telling the truth about the accident made?", "What did Judge White accuse Reverend Bacon of really doing?", "What is Maria Ruskin?", "How did Sherman and Maria get into the war zone of the South Bronx?", "Who is the alcoholic journalist that finds the hit and run story?", "How does Sherman play the convicting tape?", "What is Sherman referring to when he says it's all his?", "Who claimed to help disadvantaged Now Yorkers?", "What did the Judge do after he made his point at the end of the story?", "Who secretly supplied the information about the McCoy case to Sherman's lawyer?", "Who supplied McCoy case information to Fallow?", "What did the tape Sherman played reveal?", "When Sherman and Maria get lost in a bad part of town after leaving the JFK airport, where do they find themselves?", "What happens when Sherman and Maria leave in a panic after moving a tire from the middle of the road?", "Why is distric attorney Weiss looking for a white defendant?", "When Sherman loses his support, what two people remain sympathetic to his case?", "What ends up implicating Maria as the main suspect in the crime?", "What city do the court events take place in?", "What career did Sherman have?", "Who is the white defendant that distric attorney Weiss chooses to implicate?", "What two minority groups does distric attorney Weiss end up prosecuting the most?", "What was the race of the teenagers who approached Sherman causing him and Maria to panic and drive off?" ]

[ [ "winning the chase against Sherman could help with his re-election", "to further his political career" ], [ "A woman he was dating provided him with details and proof", "maria" ], [ "Judge Leonard White and journalist Peter Fallow", "Leonard White and Peter Fallow." ], [ "New York City Mayor", "Mayor of New York City." ], [ "after the the tape of her admitting she was the driver was played", "After the tape was played" ], [ "they took a wrong turn off the expressway", "The took a wrong turn. " ], [ "He saw it as a good story to cover to impress his boss", "To make good with his editor. " ], [ "in the apartment she was subletting", "her apartment" ], [ "race baiting", "Engaging in race baiting. " ], [ "A souther belle gold digger", "Southern Belle Gold Digger" ], [ "The took a wrong turn on an expressway", "wrong turn " ], [ "Peter Fallow", "Peter Fallow" ], [ "Inside his briefcase.", "tape recorder in his briefcase" ], [ "The dummy tape", "The dummy tape" ], [ "Reverend Bacon", "Reverend Bacon" ], [ "He let Sherman go", "He let Sherman go" ], [ "Fallow", "A woman that Fallow is dating" ], [ "Maria's landlady", "Maria's landlady" ], [ "Maria perjured herself", "Maria contradicting the evidence she had just given" ], [ "The war zone of the South Bronx", "South Bronx." ], [ "Maria backs over a teenager and puts him in a coma", "they run over a teenager" ], [ "He wants to sentence a white defendant so minorities will believe him not be racist and relect him for another term", "To convince the minority-majority community to re-elect him." ], [ "Judge Leonard White and Fallow", "Leonard White and Peter Fallow." ], [ "A tape recording of her contradicting her previous testiment ", "A tape recording" ], [ "New York City", "New York city" ], [ "A Wall Street investor ", "A Wall Street investor. " ], [ "Sherman McCoy", "sherman" ], [ "Black and Puerto Rican", "black and Puerto rican" ], [ "Black", "Black youths" ] ]

[ [ "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "in a little ocean of circumfluent tones: \"A great good is coming--is\ncoming--is coming to thee, Anodos;\" and so over and over again. I", "letters formed the words, THE CHAMBER OF SIR ANODOS. Although I had as\nyet no right to the honours of a knight, I ventured to conclude that", "one wild dream of blessedness after another coursing through his soul.\nHow long he sat he knew not; but at length he roused himself, rose, and,", "return. But as there were no signs of presence, and no track through the\nthick bushes; and, moreover, as I was in Fairy Land where one does very", "Fairy Land. Could I translate the experience of my travels there, into\ncommon life? This was the question. Or must I live it all over again,\nand learn it all over again, in the other forms that belong to the world", "She took my hand, and led me through the third door; whereupon I found\nmyself standing in the deep grassy turf on which I had landed from the", "He had dreamed a dream of a still, dark wood,\n Where the maiden of old beside him stood;\n\n But a mist came down, and caught her away,\n And he sought her in vain through the pathless day,", "In one, with a mystical title, which I cannot recall, I read of a\nworld that is not like ours. The wondrous account, in such a feeble,", "window, a gush of wonderment and longing flowed over my soul like the\ntide of a great sea. Fairy Land lay before me, and drew me towards it", "I opened the door, and stepped out. The moment my foot touched the\nsmooth sward, I seemed to issue from the door of an old barn on my", "Then I walked up to the door of Dismay, and opened it, and went out. And\nlo! I came forth upon a crowded street, where men and women went to", "I lay motionless for a few minutes; and then slowly rose and looked\nabout me. I was on the summit of a little hill; a valley lay beneath,", "out upon my own native soil, and find that Fairy Land was, after all,\nonly a vision of the night. The sound of the falling waters of the\nfountain floated me into oblivion.", "for a vision of what had gone by; and the form of the white lady had\nreceded into an unknown region. At length the country of rock began\nto close again around me, gradually and slowly narrowing, till I found", "with a sudden swell, and anon, dying away as suddenly, seemed to come to\nme across a great space. Nevertheless, it drew nearer; till, at last, I", "presence of the merry fairies vanished by degrees, and left me full\nof anxiety and fear, which I was unable to associate with any definite\nobject whatever. At length the thought crossed my mind with horror: \"Can", "wouldn't they, Anodos? Her eyes would light up the old cave, wouldn't\nthey?\"", "\"In what direction are you going?\" asked the old man.\n\n\"Eastward,\" I replied; nor could I have given a more definite answer.\n\"Does the forest extend much further in that direction?\"" ], [ "will know him by his thick fingers; and the Alder will smother you with\nher web of hair, if you let her near you at night.\" All this was uttered", "\"And the sooner it grows dark, the sooner the Ash will be awake,\" added\nshe.\n\nI asked her how she knew that there was any unusual excitement in the\nwoods. She replied--", "Ash-tree. My beauty was the Maid of the Alder! and she was giving\nme, spoiled of my only availing defence, into the hands of my awful foe.", "\"What then?\"\n\n\"I cannot tell you more. But now I must tie some of my hair about you,\nand then the Ash will not touch you. Here, cut some off. You men have\nstrange cutting things about you.\"", "when you struck your battle-axe into the ash-tree, and he came and found\nyou; for so much of the story you had told me, when the beggar-child\ncame and took you away.\"", "\"What did the horrible Ash want with me?\" I said.\n\n\"I am not quite sure, but I think he wants to bury you at the foot of\nhis tree. But he shall not touch you, my child.\"", "She seemed afraid of being observed by some lurking foe. \"Trust the\nOak,\" said she; \"trust the Oak, and the Elm, and the great Beech. Take", "quick repetition. The Ash shuddered and groaned, withdrew the\noutstretched hand, retreated backwards to the mouth of the cave, then\nturned and disappeared amongst the trees. The other walking Death", "\"I will take care that he shall not come near you again. But there are\nsome in the wood more like me, from whom, alas! I cannot protect you.\nOnly if you see any of them very beautiful, try to walk round them.\"", "escaped away, he came to a great wood; and, in nowise cured of his\nfault, yet bemoaning the same, the damosel of the alder tree encountered", "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "obscurity without. I lay and wept. The Maid of the Alder-tree had\nbefooled me--nearly slain me--in spite of all the warnings I had", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "far as they would reach around the beech-tree, and kissed it, and said\ngood-bye. A trembling went through the leaves; a few of the last drops", "\"But what of the ash-tree?\" said I, returning once more to the\nsubject. Here, however, the young woman, whom I had met in the morning,", "I had not gone far, for I had but just lost sight of the hated tower,\nwhen a voice of another sort, sounding near or far, as the trees", "sinking into the same sorrow with himself; and, hearing of the dangerous\nand mysterious being, arrived at his tree in time to save me from being", "care of the Birch, for though she is honest, she is too young not to be\nchangeable. But shun the Ash and the Alder; for the Ash is an ogre,--you", "And the dead beneath turned and moaned,\n And the yew-trees above they shuddered and groaned.", "\"Why do you call yourself a beech-tree?\" I said.\n\n\"Because I am one,\" she replied, in the same low, musical, murmuring\nvoice.\n\n\"You are a woman,\" I returned." ], [ "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "far as they would reach around the beech-tree, and kissed it, and said\ngood-bye. A trembling went through the leaves; a few of the last drops", "And the dead beneath turned and moaned,\n And the yew-trees above they shuddered and groaned.", "I had not gone far, for I had but just lost sight of the hated tower,\nwhen a voice of another sort, sounding near or far, as the trees", "\"And the sooner it grows dark, the sooner the Ash will be awake,\" added\nshe.\n\nI asked her how she knew that there was any unusual excitement in the\nwoods. She replied--", "She seemed afraid of being observed by some lurking foe. \"Trust the\nOak,\" said she; \"trust the Oak, and the Elm, and the great Beech. Take", "when you struck your battle-axe into the ash-tree, and he came and found\nyou; for so much of the story you had told me, when the beggar-child\ncame and took you away.\"", "own great leaves. They bore her solemnly along some distance, and\nthen buried her under a tree. Although I say HER I saw nothing but", "going on in the woods; there must be some solemnity among the fairies\nto-night, for all the trees are restless, and although they cannot come\nawake, they see and hear in their sleep.\"", "\"Why do you call yourself a beech-tree?\" I said.\n\n\"Because I am one,\" she replied, in the same low, musical, murmuring\nvoice.\n\n\"You are a woman,\" I returned.", "will know him by his thick fingers; and the Alder will smother you with\nher web of hair, if you let her near you at night.\" All this was uttered", "At first I could see no one; but when I had forced myself past the tree\nwhich grew across the entrance, I saw, seated on the ground, and leaning", "and, vainly attempting to recover myself, I fell at the foot of one\nof the large trees. Half-stunned, I yet raised myself, and almost", "\"What then?\"\n\n\"I cannot tell you more. But now I must tie some of my hair about you,\nand then the Ash will not touch you. Here, cut some off. You men have\nstrange cutting things about you.\"", "The trees, which were far apart where I entered, giving free passage\nto the level rays of the sun, closed rapidly as I advanced, so that ere", "\"I will take care that he shall not come near you again. But there are\nsome in the wood more like me, from whom, alas! I cannot protect you.\nOnly if you see any of them very beautiful, try to walk round them.\"", "But the trees again hid the object; and at the moment, some strange\nmelodious bird took up its song, and sang, not an ordinary bird-song,", "accompanied by the youth. He scarcely spoke as we went along; but he led\nme through the trees till we struck upon a path. He told me to follow", "amidst the leaves of a great tree. It murmured over and over again:\n\"I may love him, I may love him; for he is a man, and I am only a" ], [ "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "dragged to its roots, and buried like carrion, to nourish him for\nyet deeper insatiableness.\" I found afterwards that my conjecture was", "wouldn't they, Anodos? Her eyes would light up the old cave, wouldn't\nthey?\"", "very possibility that the mirror should be in his possession was hell\nitself to Cosmo. But violent or hasty measures of any sort were most\nunlikely to succeed. All that he wanted was an opportunity of breaking", "And now Cosmo was in wretched plight. Since the thought of a rival\nhad occurred to him, he could not rest for a moment. More than ever he", "They seemed lighted up with an infinite greed. A gnawing voracity, which\ndevoured the devourer, seemed to be the indwelling and propelling power", "For all the world to win.\n And so she vanished. With a sad heart, soothed by humility, and\nthe knowledge of her peace and gladness, I bethought me what now I", "\"What did the horrible Ash want with me?\" I said.\n\n\"I am not quite sure, but I think he wants to bury you at the foot of\nhis tree. But he shall not touch you, my child.\"", "you from the death-sleep of an evil enchantment. There was something\nnoble in him, but it was a nobleness of thought, and not of deed. He may\nyet perish of vile fear.\"", "and threw her down, and walked over her. When she got up, she saw\nthe wood was full of these beings stalking about, and seeming to have", "letters formed the words, THE CHAMBER OF SIR ANODOS. Although I had as\nyet no right to the honours of a knight, I ventured to conclude that", "presence of the merry fairies vanished by degrees, and left me full\nof anxiety and fear, which I was unable to associate with any definite\nobject whatever. At length the thought crossed my mind with horror: \"Can", "in a little ocean of circumfluent tones: \"A great good is coming--is\ncoming--is coming to thee, Anodos;\" and so over and over again. I", "longed to see the lady face to face. He persuaded himself that if he but\nknew the worst he would be satisfied; for then he could abandon Prague,", "More convinced than before, that there was evil here, I could not endure\nthat my master should be deceived; that one like him, so pure and noble,", "of her freedom. He wandered here and there, like an anxious ghost, pale\nand haggard; gnawed ever at the heart, by the thought of what she might\nbe suffering--all from his fault.", "Ah, how sad it looked! It was a glorious death, but it was death. My\nsongs could not comfort me now. I was almost ashamed that I was alive,", "with a noise as of the cracking, and breaking, and tearing of rotten\nwood, something gave way, and I hurled the image down the steps. Its", "Soon a vague sense of discomfort possessed me. With variations of\nrelief, this gradually increased; as if some evil thing were wandering" ], [ "\"Do they live IN the flowers?\" I said.", "because the fairies go away; not that the fairies disappear because\nthe flowers die. The flowers seem a sort of houses for them, or outer", "I know they are near. They seem to die always with the flowers they\nresemble, and by whose names they are called; but whether they return to", "through the little garden towards the forest. Some of the garden flowers\nhad wandered into the wood, and were growing here and there along\nthe path, but the trees soon became too thick and shadowy for them. I", "But my attention was first and chiefly attracted by a group of fairies\nnear the cottage, who were talking together around what seemed a\nlast dying primrose. They talked singing, and their talk made a song,\nsomething like this:", "and the scorched and shrivelled flowers which stood there, dead, and\nhopeless of any resurrection. I shuddered, and hastened away with sad\nforebodings.", "enough to find out her meaning when there was need to make use of her\nwarning, and that the occasion would reveal the admonition. I concluded\nfrom the flowers that she carried, that the forest could not be", "cottage, which stood at a little distance from the bank, all the flowers\nof childhood looked at me with perfect child-eyes out of the grass. My\nheart, softened by the dreams through which it had passed, overflowed", "\"They are of the same race,\" she replied; \"though those you call fairies\nin your country are chiefly the young children of the flower fairies.", "Crowding over the withered flower\n For as if they had done some grievous wrong,\n The sun, that had nursed them and loved them so long,", "I may as well mention here, that the conclusion I arrived at from the\nobservations I was afterwards able to make, was, that the flowers die", "wild flowers which she carried in her hand. I could hardly see her face;\nfor, though she came direct towards me, she never looked up. But when we", "tall thistles, I saw them crowded with little faces, which peeped every\none from behind its flower, and drew back as quickly; and I heard them", "And the child hath grown to the girl or boy;\n But may die with cold and icy hours\n Watching them ever in place of flowers.", "flower caught her eye. She stooped and plucked it, saying, \"Oh, you\nbeautiful creature!\" and, lightly kissing it, put it in her bosom. It", "of wild hyacinths was alive with exquisite creatures, who stood nearly\nmotionless, with drooping necks, holding each by the stem of her flower,", "particularly noticed some tall lilies, which grew on both sides of\nthe way, with large dazzlingly white flowers, set off by the universal\ngreen. It was now dark enough for me to see that every flower was", "and swaying gently with it, whenever a low breath of wind swung the\ncrowded floral belfry. In like manner, though differing of course", "\"All for the good of the community!\" said one, and ran off with a great\nhollow leaf. But the rose-fairy sprang after him (what a beauty she was!", "beneath his robe of white, and wearing a chaplet of flowers on his\nhead. I followed them closely, with my keenest observation; and, by" ], [ "because the fairies go away; not that the fairies disappear because\nthe flowers die. The flowers seem a sort of houses for them, or outer", "\"All for the good of the community!\" said one, and ran off with a great\nhollow leaf. But the rose-fairy sprang after him (what a beauty she was!", "But my attention was first and chiefly attracted by a group of fairies\nnear the cottage, who were talking together around what seemed a\nlast dying primrose. They talked singing, and their talk made a song,\nsomething like this:", "\"That I cannot tell yet, not knowing how much of the fairy nature there\nis in you. But we shall soon see whether you can discern the fairies in\nmy little garden, and that will be some guide to us.\"", "even the fairies could follow. \"Never mind, never mind, we shall find\nher again; and by that time she will have laid in a fresh stock of", "of tiny laughter, as if it was such a joke to have been serious over\nanything. These I speak of, however, are the fairies of the garden.", "I know they are near. They seem to die always with the flowers they\nresemble, and by whose names they are called; but whether they return to", "that night is the fairies' day, and the moon their sun; and I\nthought--Everything sleeps and dreams now: when the night comes, it will", "as if he expected some fun. If the cat were at home, she would have\nher back up; for the young fairies pull the sparks out of her tail with", "\"Are the trees fairies too, as well as the flowers?\" I asked.", "flowers have fairies, I cannot determine, any more than I can be sure\nwhether all men and women have souls.", "\"They are of the same race,\" she replied; \"though those you call fairies\nin your country are chiefly the young children of the flower fairies.", "return. But as there were no signs of presence, and no track through the\nthick bushes; and, moreover, as I was in Fairy Land where one does very", "others. Those who took fresh rose-leaves for their boats floated the\nlongest; but for these they had to fight; for the fairy of the rose-tree", "going on in the woods; there must be some solemnity among the fairies\nto-night, for all the trees are restless, and although they cannot come\nawake, they see and hear in their sleep.\"", "if he followed his own taste, so you could, without seeing the fairies,\ntell what any one of them is like, by looking at the flower till you", "far as they would reach around the beech-tree, and kissed it, and said\ngood-bye. A trembling went through the leaves; a few of the last drops", "presence of the merry fairies vanished by degrees, and left me full\nof anxiety and fear, which I was unable to associate with any definite\nobject whatever. At length the thought crossed my mind with horror: \"Can", "life with the fresh flowers, or, whether it be new flowers, new fairies,\nI cannot tell. They have as many sorts of dispositions as men and women,\nwhile their moods are yet more variable; twenty different expressions", "and the scorched and shrivelled flowers which stood there, dead, and\nhopeless of any resurrection. I shuddered, and hastened away with sad\nforebodings." ], [ "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "sinking into the same sorrow with himself; and, hearing of the dangerous\nand mysterious being, arrived at his tree in time to save me from being", "you from the death-sleep of an evil enchantment. There was something\nnoble in him, but it was a nobleness of thought, and not of deed. He may\nyet perish of vile fear.\"", "\"Ah!\" returned the lady, \"you saved him once, and for that I thank you;\nfor may I not say that I somewhat loved him? But tell me how you fared,", "hurt me not. I cut a lane through to my friend. He was dead. But he had\nthrottled the monster, and I had to cut the handful out of its throat,", "in a little ocean of circumfluent tones: \"A great good is coming--is\ncoming--is coming to thee, Anodos;\" and so over and over again. I", "before I could disengage and carry off his body. They dared not molest\nme as I brought him back.\"", "\"You must bury the monster,\" said the knight. \"If I had arrived a moment\nlater, I should have been too late. But now you need not fear, for such", "arose from the fact, that, if they were both slain, his old father, the\nking, would be childless. His love for his father was so exceeding, that", "\"Why, you baby!\" said she, and kissed me with the sweetest kiss of winds\nand odours. There was a cool faithfulness in the kiss that revived my\nheart wonderfully. I felt that I feared the dreadful Ash no more.", "wouldn't they, Anodos? Her eyes would light up the old cave, wouldn't\nthey?\"", "\"What did the horrible Ash want with me?\" I said.\n\n\"I am not quite sure, but I think he wants to bury you at the foot of\nhis tree. But he shall not touch you, my child.\"", "there, and I think she will get better. You see I have brought you\na present. This wretch will not hurt you again.\" And he undid the", "suddenly, and just as he was on the point of seizing me, the dull,\nheavy blow of an axe echoed through the wood, followed by others in", "He came stooping, with the hideous hand outstretched, like a beast of\nprey. I had given myself up to a death of unfathomable horror, when,", "to find he could not move. Meantime the poor child was walked over by\nthe other, but it was for the last time. Whenever one appeared, I", "hurt. I drew my sword and heaved a great blow in the direction in\nwhich the child had fallen. It struck something, and instantly the most", "kill. So, better and worse, I went on, till I came to a little clearing\nin the forest. In the middle of this clearing stood a long, low hut,", "As I stood exhausted amidst the dead, after the first worthy deed of my\nlife, I suddenly looked behind me, and there lay the Shadow, black in" ], [ "was of Sir Percival that he reminded me. And no wonder; for when he came\nclose up to me, I saw that, from crest to heel, the whole surface of his", "the one did seem all shining with light, and the other all to glow with\nruddy fire. Now it came about in this wise. For Sir Percivale, after his", "in his kind, overtake the singer that has befallen the knight. Hast thou\never read the story of Sir Percival and the\"--(here he shuddered, that", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "The knight rose. The light that had been confined to his eyes, now shone\nfrom his whole countenance. He took the little thing in his arms, and,", "\"Here it chanced, that upon their quest, Sir Galahad and Sir Percivale\nrencountered in the depths of a great forest. Now, Sir Galahad was dight", "letters formed the words, THE CHAMBER OF SIR ANODOS. Although I had as\nyet no right to the honours of a knight, I ventured to conclude that", "\"Ah!\" returned the lady, \"you saved him once, and for that I thank you;\nfor may I not say that I somewhat loved him? But tell me how you fared,", "sinking into the same sorrow with himself; and, hearing of the dangerous\nand mysterious being, arrived at his tree in time to save me from being", "to me, however, I remembered the legend of Sir Percival in the rusty\narmour, which I had left unfinished in the old book in the cottage: it", "you from the death-sleep of an evil enchantment. There was something\nnoble in him, but it was a nobleness of thought, and not of deed. He may\nyet perish of vile fear.\"", "time his powers to mine, and so we went on for an hour or two. Then\nthe knight dismounted, and compelled me to get into the saddle, saying:\n\"Knight and squire must share the labour.\"", "in a little ocean of circumfluent tones: \"A great good is coming--is\ncoming--is coming to thee, Anodos;\" and so over and over again. I", "\"I have found her,\" replied the knight, \"but she is sorely hurt. I was\nforced to leave her with the hermit, as I returned. You will find her", "\"Will you not dismount and rest you, Sir Knight?\" said the peasant, who\nhad, by this time, recovered himself a little.", "before this knight. He gave a scornful laugh, that echoed through the\nwood, turned his horse, and said, without looking round, \"Follow me.\"", "with undiminished perplexity, though not without some gain. Then I began\nto make surmises as to the mode of my deliverance; and concluded that", "\"Why, you baby!\" said she, and kissed me with the sweetest kiss of winds\nand odours. There was a cool faithfulness in the kiss that revived my\nheart wonderfully. I felt that I feared the dreadful Ash no more.", "there, and I think she will get better. You see I have brought you\na present. This wretch will not hurt you again.\" And he undid the" ], [ "was over, I had learned all their story. Each had something in his heart\nwhich made the conviction, that he would victoriously perish in the\ncoming conflict, a real sorrow to him. Otherwise they thought they would", "had strangled him in his own death-agonies. The younger had nearly hewn\noff the left leg of his enemy; and, grappled with in the act, had,", "were down, but so were my brothers. I flew first to the one and then\nto the other couple. Both pairs of combatants were dead, and yet locked", "brothers, lying dead by their lonely tower, were those to whom the\nthanks belonged. I had but aided in carrying out the thought born\nin their brain, and uttered in visible form before ever I laid hold", "We are dead, my brothers! Our bodies clasp,\n As an armour, our souls about;\n This hand is the battle-axe I grasp,\n And this my hammer stout.", "The elder brother then laid the sword in the fire, covered it well over,\nand when it had attained a sufficient degree of heat, drew it out and", "and that when it was achieved, she would either see him return to claim\nher, or hear that he had died with honour. The younger brother's grief", "Ah, how sad it looked! It was a glorious death, but it was death. My\nsongs could not comfort me now. I was almost ashamed that I was alive,", "This was all the compact made: the brothers required nothing more, and\nI did not think of giving anything more. I rose, and threw off my upper\ngarments.", "lost friends had been restored to the nobility and men of wealth, that\nthe gladness surpassed the grief. \"Ye have indeed left your lives to\nyour people, my great brothers!\" I said.", "I left the bodies of friends and foes, peaceful enough when the\ndeath-fight was over, and, hastening to the country below, roused the", "And up to the throne the people bore\n A pale and lifeless boy.\n The king rose up like a prophet of yore,\n In a lofty, deathlike joy.", "in the wound. They lay silent. I, the least worthy, remained the sole\nsurvivor in the lists.", "together, as in the death-struggle. The elder had buried his battle-axe\nin the body of his foe, and had fallen beneath him as he fell. The giant", "\"Surely some good in me there lay,\n To beget the noble one.\"\n The old man smiled like a winter day,\n And fell beside his son.", "My favourite brother and I shared the same bed. Some childish dispute\narose between us; and our last words, ere we fell asleep, were not of", "Then like a king he sat once more,\n With the crown upon his head;\n And up to the throne the people bore\n A mighty giant dead.", "As the last few tones of the instrument were following, like a\ndirge, the death of the song, we all sprang to our feet. For, through", "one of the little windows of the tower, towards which I had looked as\nI sang, I saw, suddenly rising over the edge of the slope on which our\ntower stood, three enormous heads. The brothers knew at once, by my", "to find he could not move. Meantime the poor child was walked over by\nthe other, but it was for the last time. Whenever one appeared, I" ], [ "hour, and returning drenched with rain, and almost dead with exhaustion\nand fright. But even then she would give no account of what had\nhappened.\"", "We travelled together for two days, and I began to love him. It was\nplain that he suspected my story in some degree; and I saw him once or", "The book goes on with the story of a maiden, who, born at the close of\nautumn, and living in a long, to her endless winter, set out at last", "till evening. The third day she came once more at noon, and we walked on\ntogether. Now, though we had talked about a great many things connected", "\"After walking for two or three hours (how the little girl found her\nway, I could not imagine), we came to a part of the forest, the very", "years condensed in an hour, or arrived at my deathbed, or the end of the\nvolume, I would awake, with a sudden bewilderment, to the consciousness", "impervious mist had hung about the castle and grounds. I had been gone,\nthey told me, twenty-one days. To me it seemed twenty-one years. Nor", "and I was free. Thus night after night passed away. I should have died\nbut for this. Every night the conviction returned, that I was free.", "of entering. Had she fallen in? I could not tell. I must wait for the\ndaylight. I sat down and wept, for there was no help.", "occurred in the circumference; and then rose from his bending posture.\nAs he rose, the church clock struck seven; and, just as she had appeared", "I lay motionless for a few minutes; and then slowly rose and looked\nabout me. I was on the summit of a little hill; a valley lay beneath,", "time. At length, somewhat weary of uninterrupted pleasure, and nowise\nstrengthened thereby, either in body or mind, I put on a splendid suit", "time his powers to mine, and so we went on for an hour or two. Then\nthe knight dismounted, and compelled me to get into the saddle, saying:\n\"Knight and squire must share the labour.\"", "sat for hours, I suppose; till, returning somewhat to myself, I saw that\nthe red light had paled away, and felt a cool gentle breath gliding over", "I could not help sighing. She felt the sigh, for her arms were still\nround me. She asked me how old I was.\n\n\"Twenty-one,\" said I.", "subterraneous part of my travels. How long they endured I could not\ntell, for I had no means of measuring time; and when I looked back,\nthere was such a discrepancy between the decisions of my imagination", "some weeks lately, but within the last few days the same attacks have\nreturned, apparently accompanied with more suffering than ever. It is\naltogether an inexplicable story.\"", "again, and be just as they were before you came. I have not been buried\nfor a hundred years now.\" And she smiled and wept.", "was mine. Yet, all the time, I seemed to have a kind of double\nconsciousness, and the story a double meaning. Sometimes it seemed\nonly to represent a simple story of ordinary life, perhaps almost of", "passed but she moved as in a story, and drew his thoughts after her till\nshe disappeared in the vista. When he walked in the streets, he always" ], [ "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "in a little ocean of circumfluent tones: \"A great good is coming--is\ncoming--is coming to thee, Anodos;\" and so over and over again. I", "In one, with a mystical title, which I cannot recall, I read of a\nworld that is not like ours. The wondrous account, in such a feeble,", "Fairy Land. Could I translate the experience of my travels there, into\ncommon life? This was the question. Or must I live it all over again,\nand learn it all over again, in the other forms that belong to the world", "letters formed the words, THE CHAMBER OF SIR ANODOS. Although I had as\nyet no right to the honours of a knight, I ventured to conclude that", "He had dreamed a dream of a still, dark wood,\n Where the maiden of old beside him stood;\n\n But a mist came down, and caught her away,\n And he sought her in vain through the pathless day,", "return. But as there were no signs of presence, and no track through the\nthick bushes; and, moreover, as I was in Fairy Land where one does very", "one wild dream of blessedness after another coursing through his soul.\nHow long he sat he knew not; but at length he roused himself, rose, and,", "She took my hand, and led me through the third door; whereupon I found\nmyself standing in the deep grassy turf on which I had landed from the", "window, a gush of wonderment and longing flowed over my soul like the\ntide of a great sea. Fairy Land lay before me, and drew me towards it", "Cross the gulfs where darkness sleeps.\n This the gate, at last, of gladness,\n To the outward striving me:\n In a rain of light and sadness,", "\"Because I have heard, that, for those who enter Fairy Land, there is no\nway of going back. They must go on, and go through it. How, I do not in\nthe least know.\"", "The book goes on with the story of a maiden, who, born at the close of\nautumn, and living in a long, to her endless winter, set out at last", "\"When she had finished, she said, as she closed the book, 'Is there a\nfairy-country, brother?' You replied with a sigh, 'I suppose there is,\nif one could find the way into it.'\"", "\"In what direction are you going?\" asked the old man.\n\n\"Eastward,\" I replied; nor could I have given a more definite answer.\n\"Does the forest extend much further in that direction?\"", "wouldn't they, Anodos? Her eyes would light up the old cave, wouldn't\nthey?\"", "I opened the door, and stepped out. The moment my foot touched the\nsmooth sward, I seemed to issue from the door of an old barn on my", "Then I walked up to the door of Dismay, and opened it, and went out. And\nlo! I came forth upon a crowded street, where men and women went to", "for a vision of what had gone by; and the form of the white lady had\nreceded into an unknown region. At length the country of rock began\nto close again around me, gradually and slowly narrowing, till I found" ], [ "will know him by his thick fingers; and the Alder will smother you with\nher web of hair, if you let her near you at night.\" All this was uttered", "\"I will take care that he shall not come near you again. But there are\nsome in the wood more like me, from whom, alas! I cannot protect you.\nOnly if you see any of them very beautiful, try to walk round them.\"", "She seemed afraid of being observed by some lurking foe. \"Trust the\nOak,\" said she; \"trust the Oak, and the Elm, and the great Beech. Take", "And the dead beneath turned and moaned,\n And the yew-trees above they shuddered and groaned.", "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "I had not gone far, for I had but just lost sight of the hated tower,\nwhen a voice of another sort, sounding near or far, as the trees", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "going on in the woods; there must be some solemnity among the fairies\nto-night, for all the trees are restless, and although they cannot come\nawake, they see and hear in their sleep.\"", "\"He dares not come nearer than he is now,\" she replied; \"for any of\nthose four oaks, at the corners of our cottage, would tear him to", "\"And the sooner it grows dark, the sooner the Ash will be awake,\" added\nshe.\n\nI asked her how she knew that there was any unusual excitement in the\nwoods. She replied--", "\"What then?\"\n\n\"I cannot tell you more. But now I must tie some of my hair about you,\nand then the Ash will not touch you. Here, cut some off. You men have\nstrange cutting things about you.\"", "sinking into the same sorrow with himself; and, hearing of the dangerous\nand mysterious being, arrived at his tree in time to save me from being", "far as they would reach around the beech-tree, and kissed it, and said\ngood-bye. A trembling went through the leaves; a few of the last drops", "The trees, which were far apart where I entered, giving free passage\nto the level rays of the sun, closed rapidly as I advanced, so that ere", "\"You had better not go near the house of the ogre, I think. My son will\nshow you into another path, which will join the first beyond it.\"", "He had dreamed a dream of a still, dark wood,\n Where the maiden of old beside him stood;\n\n But a mist came down, and caught her away,\n And he sought her in vain through the pathless day,", "enough to find out her meaning when there was need to make use of her\nwarning, and that the occasion would reveal the admonition. I concluded\nfrom the flowers that she carried, that the forest could not be", "quick repetition. The Ash shuddered and groaned, withdrew the\noutstretched hand, retreated backwards to the mouth of the cave, then\nturned and disappeared amongst the trees. The other walking Death", "with an irresistible attraction. The trees bathed their great heads in\nthe waves of the morning, while their roots were planted deep in gloom;\nsave where on the borders the sunshine broke against their stems, or", "dark towering tops of the yew-trees, and the wind that, like an unseen\nspirit, sighed through their branches, bowed his spirit to the belief," ], [ "A fierce struggle arose in Cosmo's bosom. Now she was in his power. She\ndid not dislike him at least; and he could see her when he would. To", "Meantime, how fared Cosmo? As might be expected in one of his\ntemperament, his interest had blossomed into love, and his love--shall", "Cosmo would have removed the obnoxious thing at once, but he feared to\ndiscompose her yet more by the assertion of his presence which the act", "And now Cosmo was in wretched plight. Since the thought of a rival\nhad occurred to him, he could not rest for a moment. More than ever he", "\"Ah, I know now that you love me, my Cosmo; but what do you say about\ndeath?\"", "\"Cosmo!--I am free--and thy servant for ever. I was coming to you now.\"", "Cosmo rose from his knees.\n\n\"I love thee as--nay, I know not what--for since I have loved thee,\nthere is nothing else.\"", "\"Canst thou love me then?\" said Cosmo, in a voice calm as death, but\nalmost inarticulate with emotion.", "Cosmo himself could not have described what he felt. His emotions were\nof a kind that destroyed consciousness, and could never be clearly", "\"I will carry it home for you,\" said the old man, as Cosmo took it in\nhis hands.", "shoulder, and asked him to accompany him into a little back alley to\nlook at some old armour which he had taken a fancy to possess. Cosmo was\nconsidered an authority in every matter pertaining to arms, ancient or", "very possibility that the mirror should be in his possession was hell\nitself to Cosmo. But violent or hasty measures of any sort were most\nunlikely to succeed. All that he wanted was an opportunity of breaking", "\"What is that?\" said Cosmo; for, although the price was still a great\ndeal for him to give, he could just manage it; and the desire to possess", "\"That if you should ever want to get rid of it again, you will let me\nhave the first offer.\"\n\n\"Certainly,\" replied Cosmo, with a smile; adding, \"a moderate condition\nindeed.\"", "Cosmo could not return the compliment. In fact, now he looked closely\nat him for the first time, he felt a kind of repugnance to him, mingled\nwith a strange feeling of doubt whether a man or a woman stood before\nhim.", "\"I will not wait to be willing,\" cried Cosmo; and sprang to the corner\nwhere the great sword stood.", "Here the speaker's voice sank to a whisper; and Cosmo, although his very\nsoul sat listening in his ears, could hear no more. He trembled too much", "after something that eluded them. Pretending to examine several other\narticles, Cosmo at last approached the mirror, and requested to have it\ntaken down.", "Cosmo was now in a state of extravagant delight. Most men have a secret\ntreasure somewhere. The miser has his golden hoard; the virtuoso his pet", "\"You think the price too high?\" said the old man.\n\n\"I do not know that it is too much for you to ask,\" replied Cosmo; \"but\nit is far too much for me to give.\"" ], [ "seemingly endued with life like them, but standing in marble coldness\nand rigidity upon a black pedestal in the extreme left corner--my lady", "\"It is my white lady!\" I said, and flung myself on the ground beside\nher; striving, through the gathering darkness, to get a glimpse of the\nform which had broken its marble prison at my call.", "than she is. And then, you know, you began by being in love with\nher before you saw her beauty, mistaking her for the lady of the\nmarble--another kind altogether, I should think. But the chief thing", "\"Marble woman, vainly sleeping\n In the very death of dreams!\n Wilt thou--slumber from thee sweeping,", "than ordinary marble, and soft to the edge of the knife. In fact, it\nwas alabaster. By an inexplicable, though by no means unusual kind of", "\"Cold lady of the lovely stone!\n Awake! or I shall perish here;\n And thou be never more alone,\n My form and I for ages near.", "in marble, but whether of man or woman I could not yet tell. I worked on\nas rapidly as the necessary care would permit; and when I had uncovered", "Greek statuette roused to life and motion. Her dress was of a kind that\ncould never grow old-fashioned, because it was simply natural: a robe", "soiled armour, whom I knew before, and whom I had seen in the vision,\nwith the lady of the marble. But I could have thrown my arms around him,\nbecause she loved him. This discovery only strengthened the resolution", "but I saw that my form had no place within its depths, so I feared not\nthat I should be seen. The lady wonderfully resembled my marble lady,", "In a lofty, silent chamber, in another part of the city, lay a form more\nlike marble than a living woman. The loveliness of death seemed frozen", "of the cave; the marble beauty who sprang from her tomb or her cradle\nat the call of my songs. While I gazed in speechless astonishment and", "pure alabaster enclosing the form, apparently in marble, of a reposing\nwoman. She lay on one side, with her hand under her cheek, and her face", "her life before, when she lay in the bonds of alabaster, much more would\nthey be sufficient then to give her volition and motion, when she alone\nof assembled crowds of marble forms, would be standing rigid and cold.\"", "stood, the only one I had yet seen, a vacant pedestal. It was exactly in\nthe position occupied, in my dream, by the pedestal on which the white\nlady stood. Hope beat violently in my heart.", "paved in diamonds of white and red marble. According to my custom since\nI entered Fairy Land, of taking for a guide whatever I first found\nmoving in any direction, I followed the stream from the basin of the", "enchantment and other causes, and of imprisonments such as this before\nme. I thought of the Prince of the Enchanted City, half marble and half", "Though never his lips come the lady nigh,\n And his eyes alone on her beauty lie.\n\n All the night long, till the cock crew loud,\n He kneeled by the lady, lapt in her shroud.", "dream to be a true one, by discovering my marble beauty upon her black\npedestal. At length, on reaching the tenth hall, I thought I", "\"Well struck! well withstood! my hero,\" said the lady.\n\n\"But,\" said the knight, somewhat troubled, \"dost thou love the youth\nstill?\"" ], [ "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "in a little ocean of circumfluent tones: \"A great good is coming--is\ncoming--is coming to thee, Anodos;\" and so over and over again. I", "of her freedom. He wandered here and there, like an anxious ghost, pale\nand haggard; gnawed ever at the heart, by the thought of what she might\nbe suffering--all from his fault.", "He had dreamed a dream of a still, dark wood,\n Where the maiden of old beside him stood;\n\n But a mist came down, and caught her away,\n And he sought her in vain through the pathless day,", "with his eyes irrecoverably fixed upon her; and even after he was\nconscious of the ability to move, he could not summon up courage to\nturn and look on her, face to face, in the veritable chamber in which", "And now Cosmo was in wretched plight. Since the thought of a rival\nhad occurred to him, he could not rest for a moment. More than ever he", "wouldn't they, Anodos? Her eyes would light up the old cave, wouldn't\nthey?\"", "and ever he looked again, and died not, though his heart seemed ready to\nbreak with intensity of life and longing. And the more he did for her,", "be invisible to her altogether, or at least it must appear to her to\ngaze vacantly towards her, and no meeting of the eyes would produce\nthe impression of spiritual proximity. By-and-by her eyes fell upon the", "presence of the merry fairies vanished by degrees, and left me full\nof anxiety and fear, which I was unable to associate with any definite\nobject whatever. At length the thought crossed my mind with horror: \"Can", "called after him, anxious to know more about this fearful enchantress;\nbut in vain--he heard me not. \"Yet,\" I said to myself, \"I have now", "dragged to its roots, and buried like carrion, to nourish him for\nyet deeper insatiableness.\" I found afterwards that my conjecture was", "\"It is only your shadow that has found you,\" she replied. \"Everybody's\nshadow is ranging up and down looking for him. I believe you call it by", "her; for so the goblin Selfishness would reward the angel Love. When\nto all this is added, an overpowering sense of her beauty, and\nan unquestioning conviction that this was a true index to inward", "suffering, and dislike, and a sense of compulsion, strangely mingled\nwith the beauty. He stood without the power of motion for some moments,", "Though never his lips come the lady nigh,\n And his eyes alone on her beauty lie.\n\n All the night long, till the cock crew loud,\n He kneeled by the lady, lapt in her shroud.", "saw them all as on the ever-changing field of a camera obscura. She--she\nalone and altogether--was his universe, his well of life, his incarnate", "sight of her. It lies heavy on my heart to this hour. At night, ere I\nfall asleep, often, whatever I may be thinking about, I suddenly hear", "The book goes on with the story of a maiden, who, born at the close of\nautumn, and living in a long, to her endless winter, set out at last" ], [ "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "in a little ocean of circumfluent tones: \"A great good is coming--is\ncoming--is coming to thee, Anodos;\" and so over and over again. I", "letters formed the words, THE CHAMBER OF SIR ANODOS. Although I had as\nyet no right to the honours of a knight, I ventured to conclude that", "her; for so the goblin Selfishness would reward the angel Love. When\nto all this is added, an overpowering sense of her beauty, and\nan unquestioning conviction that this was a true index to inward", "\"It is only your shadow that has found you,\" she replied. \"Everybody's\nshadow is ranging up and down looking for him. I believe you call it by", "you from the death-sleep of an evil enchantment. There was something\nnoble in him, but it was a nobleness of thought, and not of deed. He may\nyet perish of vile fear.\"", "\"What then?\"\n\n\"I cannot tell you more. But now I must tie some of my hair about you,\nand then the Ash will not touch you. Here, cut some off. You men have\nstrange cutting things about you.\"", "The knight rose. The light that had been confined to his eyes, now shone\nfrom his whole countenance. He took the little thing in his arms, and,", "\"Somehow or other,\" said he, \"notwithstanding the beauty of this country\nof Faerie, in which we are, there is much that is wrong in it. If there", "\"Our father is king of this country. Before we were born, three giant\nbrothers had appeared in the land. No one knew exactly when, and no one", "or not. I knew one who had not been happy; and for my part, I had often\nlonged for Fairy Land, as she now longed for the world of men. But then", "\"This,\" I said to myself, \"is a true man. I will serve him, and give him\nall worship, seeing in him the imbodiment of what I would fain become.", "his head in his pride and fancied innocence. I learned that he that will\nbe a hero, will barely be a man; that he that will be nothing but a doer", "\"When she had finished, she said, as she closed the book, 'Is there a\nfairy-country, brother?' You replied with a sigh, 'I suppose there is,\nif one could find the way into it.'\"", "the one did seem all shining with light, and the other all to glow with\nruddy fire. Now it came about in this wise. For Sir Percivale, after his", "the further gates of her country back to my own land. \"Shadow of me!\"\nI said; \"which art not me, but which representest thyself to me as me;", "the eyes of the beloved, and be humbly glad. This is possible in the\nrealms of lofty Death. \"Ah! my friends,\" thought I, \"how I will tend", "that nobody knows of but one or two; and he is always trying to fill it\nup, but he cannot. That must be what he wanted you for. I wonder if he", "was of Sir Percival that he reminded me. And no wonder; for when he came\nclose up to me, I saw that, from crest to heel, the whole surface of his" ], [ "were looking towards me. But instead of kneeling at its foot, I walked\nright up the stairs to the throne, laid hold of a great wooden image", "good reason to suppose I should see more than the rest could, at such a\ndistance. At the farther end a throne stood upon a platform, high above\nthe heads of the surrounding priests. To this platform I saw the company", "church, and followed. The figure stopped, seemed to ascend as it were\na high bed, and lay down. I reached the place where it lay, glimmering", "Suddenly a great star, like a sun, appeared high in the air over the\ntemple, illuminating it throughout; and a great song arose from the men", "him, right fair to see; and with her fair words and false countenance\nshe comforted him and beguiled him, until he followed her where she led\nhim to a---\"", "ascended to the foot of the throne, where they all kneeled for some\nminutes; then they rose and passed round to the side of the pedestal\nupon which the throne stood. Here they crowded close behind the youth,", "that I was free of their assembly. I walked on till I came to the sacred\ncorner. There I found the pedestal just as I had left it, with the faint", "unoccupied by any of the priests. I was permitted to walk up the long\navenue of white robes unmolested, though I saw questioning looks in many", "branches and leaves of the tree-walls. A young girl who stood beside me,\nclothed in the same dress as the priests, bowed her head, and grew pale\nwith awe.", "I easily got possession of it; and, sinking down on my knees in the\ncrowd, I rose apparently in the habit of one of the worshippers.", "shrine, and mechanically took up a book, like one who watches by a\nsick-bed. But his eyes gathered no thoughts from the page before him.", "be invisible to her altogether, or at least it must appear to her to\ngaze vacantly towards her, and no meeting of the eyes would produce\nthe impression of spiritual proximity. By-and-by her eyes fell upon the", "and threw her down, and walked over her. When she got up, she saw\nthe wood was full of these beings stalking about, and seeming to have", "should respect what, if my suspicions were true, was worse than the\nordinary deceptions of priestcraft. I could not tell how far he might be\nled to countenance, and otherwise support their doings, before he should", "which made him believe that it was not the lightning, but some other\nblow that had struck him down. He concluded that, either by supernatural\nagency, he having exposed himself to the vengeance of the demons in", "putting him in the foremost place, and one of them opened a door in the\npedestal, for the youth to enter. I was sure I saw him shrink back, and", "Though never his lips come the lady nigh,\n And his eyes alone on her beauty lie.\n\n All the night long, till the cock crew loud,\n He kneeled by the lady, lapt in her shroud.", "And up to the throne the people bore\n A pale and lifeless boy.\n The king rose up like a prophet of yore,\n In a lofty, deathlike joy.", "opposite the one I had lifted, and, entering there, found all the\nappearances similar; only that the statues were different, and\ndifferently grouped. Neither did they produce on my mind that", "\"Thee the sculptors all pursuing,\n Have embodied but their own;\n Round their visions, form enduring," ], [ "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "Soon a vague sense of discomfort possessed me. With variations of\nrelief, this gradually increased; as if some evil thing were wandering", "of her freedom. He wandered here and there, like an anxious ghost, pale\nand haggard; gnawed ever at the heart, by the thought of what she might\nbe suffering--all from his fault.", "presence of the merry fairies vanished by degrees, and left me full\nof anxiety and fear, which I was unable to associate with any definite\nobject whatever. At length the thought crossed my mind with horror: \"Can", "And now Cosmo was in wretched plight. Since the thought of a rival\nhad occurred to him, he could not rest for a moment. More than ever he", "in a little ocean of circumfluent tones: \"A great good is coming--is\ncoming--is coming to thee, Anodos;\" and so over and over again. I", "But I was ever and ever haunted by the old shadow, which I had not seen\nall the time that I was at work in the tower. Even in the society of the", "sight of her. It lies heavy on my heart to this hour. At night, ere I\nfall asleep, often, whatever I may be thinking about, I suddenly hear", "With this, a pang and a terrible shudder went through me; a writhing\nas of death convulsed me; and I became once again conscious of a more\nlimited, even a bodily and earthly life.", "suffering, and dislike, and a sense of compulsion, strangely mingled\nwith the beauty. He stood without the power of motion for some moments,", "some weeks lately, but within the last few days the same attacks have\nreturned, apparently accompanied with more suffering than ever. It is\naltogether an inexplicable story.\"", "with his eyes irrecoverably fixed upon her; and even after he was\nconscious of the ability to move, he could not summon up courage to\nturn and look on her, face to face, in the veritable chamber in which", "And through beneath his chamber door,\n Fell a ghostly gleam on the outer floor;\n\n And they that passed, in fear averred\n That murmured words they often heard.", "in regard to myself. Hitherto, when seized with an irresistible desire\nto look on my evil demon (which longing would unaccountably seize me at\nany moment, returning at longer or shorter intervals, sometimes every", "into his soul, where, finding no utterance, they grew, and swelled, and\nundermined. He used to lie on his hard couch, and read a tale or a poem,", "For some days my companion-shadow had been less obtrusive than usual;\nand such was the reaction of spirits occasioned by the simple mitigation\nof torment, that, although I had cause enough besides to be gloomy, I", "Seek for pleasure, and find its pain;\n Sink to their last, their forsaken sleeping,\n With the same sweet odours around them creeping.", "unnaturally, that my own shadow had found me again, and that my torture\nhad commenced anew. It was a sad revulsion of feeling. This, indeed,", "until it had almost ceased. But I could frequently believe in their\npresence while unable to see them. Still, although I had company, and\ndoubtless of a safe kind, it seemed rather dreary to spend the night in" ], [ "than soldierly. For some distance inwards, the space between these\nopposite rows was filled with a company of men and women and children,\nin holiday attire. The looks of all were directed inwards, towards the", "So we went together, the little girl running before to open the door for\nus. It was a large room, full of old-fashioned furniture, that seemed to\nhave once belonged to some great house.", "The king sat down and waited there,\n And rose not, night nor day;\n Till a sound of shouting filled the air,\n And cries of a sore dismay.", "Here, to my great pleasure, all was life and bustle. There was still\nlight enough from the day to see a little; and the pale half-moon,", "sparks. Hooray!\" And off they set, after some new mischief.", "was over, I had learned all their story. Each had something in his heart\nwhich made the conviction, that he would victoriously perish in the\ncoming conflict, a real sorrow to him. Otherwise they thought they would", "During the short time I remained, my company was, naturally, much\ncourted by the young nobles. I was in a constant round of gaiety and", "I lay motionless for a few minutes; and then slowly rose and looked\nabout me. I was on the summit of a little hill; a valley lay beneath,", "attracted his attention; at least so it appeared to him. He left the\nplace, however, with his friend, taking no further notice of it. They\nwalked together to the main street, where they parted and took opposite", "\"Oh, Pocket, Pocket,\" said I; but by this time the party which had\ngone towards the house, rushed out again, shouting and screaming with", "as I can. The little beggar-girl came into the hall where I was sitting,\nand told me a very curious story, which I can only recollect very", "diversion, notwithstanding that the court was in mourning. For the\ncountry was so rejoiced at the death of the giants, and so many of their", "about in my neighbourhood, sometimes nearer and sometimes further off,\nbut still approaching. The feeling continued and deepened, until all my\npleasure in the shows of various kinds that everywhere betokened the", "again, and be just as they were before you came. I have not been buried\nfor a hundred years now.\" And she smiled and wept.", "We rose, that fatal morning, by daybreak. We had rested from all labour\nthe day before, and now were fresh as the lark. We bathed in cold", "happened to be within a few yards of it. I became conscious, at the same\nmoment, that the sound of dancing had been for some time in my ears. I", "I will end my story with the relation of an incident which befell me a\nfew days ago. I had been with my reapers, and, when they ceased their", "was soon dispelled. What to my dark eyes seemed a blaze of light, burst\nupon me. A fire of large pieces of some sweet-scented wood, supported by", "Hoarding their joy as a holy thing;\n Of founts that tell it all day long\n To the listening woods, with exultant song;", "yet subsided into a perfect calm. I had the suspicion that they had\nanticipated my appearance, and had sprung, each, from the living joy of" ], [ "till evening. The third day she came once more at noon, and we walked on\ntogether. Now, though we had talked about a great many things connected", "We travelled together for two days, and I began to love him. It was\nplain that he suspected my story in some degree; and I saw him once or", "I will end my story with the relation of an incident which befell me a\nfew days ago. I had been with my reapers, and, when they ceased their", "of entering. Had she fallen in? I could not tell. I must wait for the\ndaylight. I sat down and wept, for there was no help.", "So we went together, the little girl running before to open the door for\nus. It was a large room, full of old-fashioned furniture, that seemed to\nhave once belonged to some great house.", "We rose, that fatal morning, by daybreak. We had rested from all labour\nthe day before, and now were fresh as the lark. We bathed in cold", "\"In general,\" said she, recovering her composure, \"there is no danger in\nthe daytime, for then he is sound asleep; but there is something unusual", "The king sat down and waited there,\n And rose not, night nor day;\n Till a sound of shouting filled the air,\n And cries of a sore dismay.", "den, to which, if you remember, you accompanied me once, to look at some\narmour. That is fully three weeks ago.\"", "begin with this very day on which he first joined me: after I had walked\nheartlessly along for two or three hours, I was very weary, and lay", "some weeks lately, but within the last few days the same attacks have\nreturned, apparently accompanied with more suffering than ever. It is\naltogether an inexplicable story.\"", "We travelled on together all that day. She left me when twilight came\non; but next day, at noon, she met me as before, and again we travelled", "I lay motionless for a few minutes; and then slowly rose and looked\nabout me. I was on the summit of a little hill; a valley lay beneath,", "hour, and returning drenched with rain, and almost dead with exhaustion\nand fright. But even then she would give no account of what had\nhappened.\"", "Here, to my great pleasure, all was life and bustle. There was still\nlight enough from the day to see a little; and the pale half-moon,", "About noon, I started as if something foreign to all my senses and all\nmy experience, had suddenly invaded me; yet it was only the voice of", "as I can. The little beggar-girl came into the hall where I was sitting,\nand told me a very curious story, which I can only recollect very", "long dreary day passed. My shadow lay black on the floor. I felt no\nhunger, no need of food. The night came. The moon shone. I watched her", "The book goes on with the story of a maiden, who, born at the close of\nautumn, and living in a long, to her endless winter, set out at last", "consciousness. The day before had been my one-and-twentieth birthday.\nAmong other ceremonies investing me with my legal rights, the keys of an\nold secretary, in which my father had kept his private papers, had been" ], [ "because the fairies go away; not that the fairies disappear because\nthe flowers die. The flowers seem a sort of houses for them, or outer", "But my attention was first and chiefly attracted by a group of fairies\nnear the cottage, who were talking together around what seemed a\nlast dying primrose. They talked singing, and their talk made a song,\nsomething like this:", "\"Oh, never mind: I may be mistaken in that.\"\n\n\"But how then do you come to live here?\"\n\n\"Because I too have fairy blood in me.\"", "the eaves. It is noticeable that most of the buildings I saw in Fairy\nLand were cottages. There was no path to a door, nor, indeed, was there\nany track worn by footsteps in the island.", "return. But as there were no signs of presence, and no track through the\nthick bushes; and, moreover, as I was in Fairy Land where one does very", "\"They are of the same race,\" she replied; \"though those you call fairies\nin your country are chiefly the young children of the flower fairies.", "of tiny laughter, as if it was such a joke to have been serious over\nanything. These I speak of, however, are the fairies of the garden.", "\"That I cannot tell yet, not knowing how much of the fairy nature there\nis in you. But we shall soon see whether you can discern the fairies in\nmy little garden, and that will be some guide to us.\"", "They were just like the glowworms of our own land, for they are fairies\neverywhere; worms in the day, and glowworms at night, when their own can", "\"Somehow or other,\" said he, \"notwithstanding the beauty of this country\nof Faerie, in which we are, there is much that is wrong in it. If there", "All this I recalled as I lay with half-closed eyes. I was soon to find\nthe truth of the lady's promise, that this day I should discover the\nroad into Fairy Land.", "able to capture the little creature. My father's voice recalled us from\ntrampling down the rich long grass, soon to be cut down and laid aside\nfor the winter. I had quite forgotten all about Fairy Land, and the", "\"I did; but I meant something quite different from what you seem to\nthink.\"\n\n\"Never mind what I seem to think. You shall find the way into Fairy Land\nto-morrow. Now look in my eyes.\"", "that night is the fairies' day, and the moon their sun; and I\nthought--Everything sleeps and dreams now: when the night comes, it will", "Fairy Land. Could I translate the experience of my travels there, into\ncommon life? This was the question. Or must I live it all over again,\nand learn it all over again, in the other forms that belong to the world", "rocks, peopled principally by goblin-fairies. When I first entered their\ndomains, and, indeed, whenever I fell in with another tribe of them,", "\"I should be ill,\" she continued, \"if I did not live on the borders of\nthe fairies' country, and now and then eat of their food. And I see by", "I could live on the air of Fairy Land, I could live on its food also. I\nfound my reasoning correct, and the result was better than I had hoped;", "\"When she had finished, she said, as she closed the book, 'Is there a\nfairy-country, brother?' You replied with a sigh, 'I suppose there is,\nif one could find the way into it.'\"", "\"Very improving book, sir,\" remarked the old farmer, with a\ngood-humoured laugh. \"We are in the very hottest corner of Fairy Land\nhere. Ha! ha! Stormy night, last night, sir.\"" ], [ "obscurity without. I lay and wept. The Maid of the Alder-tree had\nbefooled me--nearly slain me--in spite of all the warnings I had", "Ash-tree. My beauty was the Maid of the Alder! and she was giving\nme, spoiled of my only availing defence, into the hands of my awful foe.", "\"What then?\"\n\n\"I cannot tell you more. But now I must tie some of my hair about you,\nand then the Ash will not touch you. Here, cut some off. You men have\nstrange cutting things about you.\"", "will know him by his thick fingers; and the Alder will smother you with\nher web of hair, if you let her near you at night.\" All this was uttered", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "escaped away, he came to a great wood; and, in nowise cured of his\nfault, yet bemoaning the same, the damosel of the alder tree encountered", "\"I will take care that he shall not come near you again. But there are\nsome in the wood more like me, from whom, alas! I cannot protect you.\nOnly if you see any of them very beautiful, try to walk round them.\"", "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "She seemed afraid of being observed by some lurking foe. \"Trust the\nOak,\" said she; \"trust the Oak, and the Elm, and the great Beech. Take", "\"All for the good of the community!\" said one, and ran off with a great\nhollow leaf. But the rose-fairy sprang after him (what a beauty she was!", "\"I have found her,\" replied the knight, \"but she is sorely hurt. I was\nforced to leave her with the hermit, as I returned. You will find her", "\"What did the horrible Ash want with me?\" I said.\n\n\"I am not quite sure, but I think he wants to bury you at the foot of\nhis tree. But he shall not touch you, my child.\"", "\"Why do you call yourself a beech-tree?\" I said.\n\n\"Because I am one,\" she replied, in the same low, musical, murmuring\nvoice.\n\n\"You are a woman,\" I returned.", "But the trees again hid the object; and at the moment, some strange\nmelodious bird took up its song, and sang, not an ordinary bird-song,", "\"Why, you baby!\" said she, and kissed me with the sweetest kiss of winds\nand odours. There was a cool faithfulness in the kiss that revived my\nheart wonderfully. I felt that I feared the dreadful Ash no more.", "twilight, not that of a frosty autumn morn. He, too, had met the\nAlder-maiden as I, but he had plunged into the torrent of mighty deeds,", "\"Ah!\" returned the lady, \"you saved him once, and for that I thank you;\nfor may I not say that I somewhat loved him? But tell me how you fared,", "The words were spoken close beside her, as she hurried on. She turned;\nand there, leaning on the parapet in a recess of the bridge, stood\nCosmo, in a splendid dress, but with a white and quivering face.", "\"He dares not come nearer than he is now,\" she replied; \"for any of\nthose four oaks, at the corners of our cottage, would tear him to", "his armour rang)--\"Maiden of the Alder-tree?\"" ], [ "from his task. Looking still in her face, he passed on to the mightiest\ncharm he knew. Suddenly the lady turned and walked out of the door\nof her reflected chamber. A moment after she entered his room with", "seemingly endued with life like them, but standing in marble coldness\nand rigidity upon a black pedestal in the extreme left corner--my lady", "In a lofty, silent chamber, in another part of the city, lay a form more\nlike marble than a living woman. The loveliness of death seemed frozen", "an empty marble hall, however beautiful, especially as the moon was near\nthe going down, and it would soon be dark. So I began at the place where\nI entered, and walked round the hall, looking for some door or passage", "except he turned and looked at her, present in his room; and, as she was\nnot there, he concluded that if he were to turn towards the part in his\nroom corresponding to that in which she lay, his reflection would either", "In this palace of marble and silver, and fountains and moonshine, I\nspent many days; waited upon constantly in my room with everything", "with his eyes irrecoverably fixed upon her; and even after he was\nconscious of the ability to move, he could not summon up courage to\nturn and look on her, face to face, in the veritable chamber in which", "than ordinary marble, and soft to the edge of the knife. In fact, it\nwas alabaster. By an inexplicable, though by no means unusual kind of", "stood, the only one I had yet seen, a vacant pedestal. It was exactly in\nthe position occupied, in my dream, by the pedestal on which the white\nlady stood. Hope beat violently in my heart.", "his eyes upon the face of the lady, he began with a trembling voice to\nrepeat a powerful incantation. He had not gone far, before the lady grew", "\"It is my white lady!\" I said, and flung myself on the ground beside\nher; striving, through the gathering darkness, to get a glimpse of the\nform which had broken its marble prison at my call.", "and down the white hall of Phantasy in the Fairy Palace. But this lasted\nno longer than the song; as will be seen.", "enchantment and other causes, and of imprisonments such as this before\nme. I thought of the Prince of the Enchanted City, half marble and half", "Greek statuette roused to life and motion. Her dress was of a kind that\ncould never grow old-fashioned, because it was simply natural: a robe", "than she is. And then, you know, you began by being in love with\nher before you saw her beauty, mistaking her for the lady of the\nmarble--another kind altogether, I should think. But the chief thing", "my forehead. I rose and left the hall with unsteady steps, finding my\nway with some difficulty to my own chamber, and faintly remembering,\nas I went, that only in the marble cave, before I found the sleeping", "the blow, he fell senseless on the hearth. When he came to himself, he\nfound that the lady and the mirror had both disappeared. He was seized\nwith a brain fever, which kept him to his couch for weeks.", "her life before, when she lay in the bonds of alabaster, much more would\nthey be sufficient then to give her volition and motion, when she alone\nof assembled crowds of marble forms, would be standing rigid and cold.\"", "but I saw that my form had no place within its depths, so I feared not\nthat I should be seen. The lady wonderfully resembled my marble lady,", "hill. Great stones like tombstones stood all about me. No door, no\npalace was to be seen. A white figure gleamed past me, wringing her" ], [ "underground country, in which the sky was of rock, and instead of trees\nand flowers, there were only fantastic rocks and stones. And ever as I", "subterraneous part of my travels. How long they endured I could not\ntell, for I had no means of measuring time; and when I looked back,\nthere was such a discrepancy between the decisions of my imagination", "would most likely have seen something more of its inhabitants. For they\nfrequently pass the window, and even enter the room sometimes. Strange\ncreatures spend whole nights in it, at certain seasons of the year. I am", "At length I began to find that these regions were inhabited. From behind\na rock a peal of harsh grating laughter, full of evil humour, rang", "and threw her down, and walked over her. When she got up, she saw\nthe wood was full of these beings stalking about, and seeming to have", "And the dead beneath turned and moaned,\n And the yew-trees above they shuddered and groaned.", "and belonged to the gnomes or goblin-fairies, who inhabit the ground\nand earthy creeping plants. From the cups of Arum lilies, creatures with", "rocks, peopled principally by goblin-fairies. When I first entered their\ndomains, and, indeed, whenever I fell in with another tribe of them,", "They were just like the glowworms of our own land, for they are fairies\neverywhere; worms in the day, and glowworms at night, when their own can", "appear, and they can be themselves to others as well as themselves.\nBut they had their enemies here. For I saw great strong-armed beetles,", "waters, and I went on my silent path beneath a round silvery moon. And\na pale moon looked up from the floor of the great blue cave that lay in\nthe abysmal silence beneath.", "both in form and feature, and of all sizes from one to four feet, seemed\nto have suddenly assembled about me. At length, after a great babble of\ntalk among themselves, in a language unknown to me, and after seemingly", "Now the children, there, are not born as the children are born in worlds\nnearer to the sun. For they arrive no one knows how. A maiden, walking", "In one, with a mystical title, which I cannot recall, I read of a\nworld that is not like ours. The wondrous account, in such a feeble,", "and insect world uplifted over mine, with its own landscapes, its own\nthickets, and paths, and glades, and dwellings; its own bird-ways and", "But though I speak of sun and fog, and sea and shore, the world there\nis in some respects very different from the earth whereon men live.", "heavens. I wondered at finding a human dwelling in this neighbourhood;\nand yet it did not look altogether human, though sufficiently so to", "beneath the floor, and would not let us go to sleep. Your mother sprang\nout of bed, and going as near it as she could, mewed so infernally like", "And through beneath his chamber door,\n Fell a ghostly gleam on the outer floor;\n\n And they that passed, in fear averred\n That murmured words they often heard.", "In darker nooks, by the mossy roots of the trees, or in little tufts\nof grass, each dwelling in a globe of its own green light, weaving a" ], [ "stood for a few minutes; then, slowly turning at right angles to her\nformer position, she faced another of the four sides of the cottage.\nI now observed, for the first time, that here was a door likewise; and", "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "door to its full width, and looked in. At first, I saw nothing worthy\nof attention. It seemed a common closet, with shelves on each hand, on\nwhich stood various little necessaries for the humble uses of a cottage.", "mysterious cottage, but her home. I rushed wildly on, and stood by the\ndoor of her room.", "the eaves. It is noticeable that most of the buildings I saw in Fairy\nLand were cottages. There was no path to a door, nor, indeed, was there\nany track worn by footsteps in the island.", "The cottage rose right out of the smooth turf. It had no windows that I\ncould see; but there was a door in the centre of the side facing me,", "turned back, and, entering the cottage, closed the door behind her. I\nfelt very desolate as I went.", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "door. Only remember this: whenever you wish to come back to me, enter\nwherever you see this mark.\"", "So we went together, the little girl running before to open the door for\nus. It was a large room, full of old-fashioned furniture, that seemed to\nhave once belonged to some great house.", "She took my hand, and led me through the third door; whereupon I found\nmyself standing in the deep grassy turf on which I had landed from the", "Having said this, she rose and led the way into the cottage; which, I\nnow saw, was built of the stems of small trees set closely together, and", "cottage, which stood at a little distance from the bank, all the flowers\nof childhood looked at me with perfect child-eyes out of the grass. My\nheart, softened by the dreams through which it had passed, overflowed", "sighs were deep and very sad, and shook her whole frame. Then she turned\ntowards the third door, and a cry as of fear or suppressed pain broke", "disappeared. I followed almost as fast; but ere I could reach the\npillar, the sound of a closing door, the saddest of all sounds", "an empty marble hall, however beautiful, especially as the moon was near\nthe going down, and it would soon be dark. So I began at the place where\nI entered, and walked round the hall, looking for some door or passage", "woman in the cottage, with the young eyes\" (and she smiled), \"knows\nsomething, though she must not always tell it, that would quite satisfy\nyou about it, even in the worst moments of your distress. Now you must", "I opened the door, and stepped out. The moment my foot touched the\nsmooth sward, I seemed to issue from the door of an old barn on my", "ground in which stood a little cottage, so built that the stems of four\ngreat trees formed its corners, while their branches met and intertwined\nover its roof, heaping a great cloud of leaves over it, up towards the", "\"But how can I go, if the waters are all about, and if the doors all\nlead into other regions and other worlds?\"" ], [ "\"Ah! you do hear it? Well, I had to go through that door--the door of\nthe Timeless\" (and she shuddered as she pointed to the fourth door)--\"to", "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "from his task. Looking still in her face, he passed on to the mightiest\ncharm he knew. Suddenly the lady turned and walked out of the door\nof her reflected chamber. A moment after she entered his room with", "door. Only remember this: whenever you wish to come back to me, enter\nwherever you see this mark.\"", "sinking into the same sorrow with himself; and, hearing of the dangerous\nand mysterious being, arrived at his tree in time to save me from being", "in a little ocean of circumfluent tones: \"A great good is coming--is\ncoming--is coming to thee, Anodos;\" and so over and over again. I", "She took my hand, and led me through the third door; whereupon I found\nmyself standing in the deep grassy turf on which I had landed from the", "putting him in the foremost place, and one of them opened a door in the\npedestal, for the youth to enter. I was sure I saw him shrink back, and", "Then I walked up to the door of Dismay, and opened it, and went out. And\nlo! I came forth upon a crowded street, where men and women went to", "\"Ah!\" returned the lady, \"you saved him once, and for that I thank you;\nfor may I not say that I somewhat loved him? But tell me how you fared,", "The woman was now almost out of sight in the wood; but the husband stood\nat the door, with speechless thanks in his face.", "Ere she had ceased singing, my courage had returned. I started from the\ncouch, and, without taking leave of the old woman, opened the door of\nSighs, and sprang into what should appear.", "of the room. As soon as they were all taken away, I heard a sound as of\nthe shutting of a door, and knew that I was left alone. I sat long by", "disappeared. I followed almost as fast; but ere I could reach the\npillar, the sound of a closing door, the saddest of all sounds", "I guessed that her design was to prevent my entering there. I sprang\nfrom the couch, and darted past her to the door. I opened it at once and", "I opened the door, and stepped out. The moment my foot touched the\nsmooth sward, I seemed to issue from the door of an old barn on my", "wouldn't they, Anodos? Her eyes would light up the old cave, wouldn't\nthey?\"", "just where it was. There the dull red cipher glowed, on the very door of\ntheir secret chamber. Struck with agony, I dashed it open, and fell at", "there, and I think she will get better. You see I have brought you\na present. This wretch will not hurt you again.\" And he undid the" ], [ "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "return. But as there were no signs of presence, and no track through the\nthick bushes; and, moreover, as I was in Fairy Land where one does very", "to account for appearances in Fairy Land, I judged that it would be very\nunfair to expect from one who had slept so long and had been so suddenly", "From this time, until I arrived at the palace of Fairy Land, I can\nattempt no consecutive account of my wanderings and adventures.", "All this I recalled as I lay with half-closed eyes. I was soon to find\nthe truth of the lady's promise, that this day I should discover the\nroad into Fairy Land.", "\"Because I have heard, that, for those who enter Fairy Land, there is no\nway of going back. They must go on, and go through it. How, I do not in\nthe least know.\"", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "Fairy Land. Could I translate the experience of my travels there, into\ncommon life? This was the question. Or must I live it all over again,\nand learn it all over again, in the other forms that belong to the world", "out upon my own native soil, and find that Fairy Land was, after all,\nonly a vision of the night. The sound of the falling waters of the\nfountain floated me into oblivion.", "\"I did; but I meant something quite different from what you seem to\nthink.\"\n\n\"Never mind what I seem to think. You shall find the way into Fairy Land\nto-morrow. Now look in my eyes.\"", "with Fairy Land, and the life she had led hitherto, I had never been\nable to learn anything about the globe. This day, however, as we went", "and down the white hall of Phantasy in the Fairy Palace. But this lasted\nno longer than the song; as will be seen.", "able to capture the little creature. My father's voice recalled us from\ntrampling down the rich long grass, soon to be cut down and laid aside\nfor the winter. I had quite forgotten all about Fairy Land, and the", "trying to account for things in Fairy Land; and one who travels there\nsoon learns to forget the very idea of doing so, and takes everything as", "impervious mist had hung about the castle and grounds. I had been gone,\nthey told me, twenty-one days. To me it seemed twenty-one years. Nor", "or not. I knew one who had not been happy; and for my part, I had often\nlonged for Fairy Land, as she now longed for the world of men. But then", "towards her bosom; I felt as if I could fall down and kiss her. I forgot\nI was in Fairy Land, and seemed to be walking in a perfect night of", "sat for hours, I suppose; till, returning somewhat to myself, I saw that\nthe red light had paled away, and felt a cool gentle breath gliding over", "presence of the merry fairies vanished by degrees, and left me full\nof anxiety and fear, which I was unable to associate with any definite\nobject whatever. At length the thought crossed my mind with horror: \"Can", "grotesque imitation of a man became visible. You see this Fairy Land is\nfull of oddities and all sorts of incredibly ridiculous things, which a\nman is compelled to meet and treat as real existences, although all the" ], [ "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "return. But as there were no signs of presence, and no track through the\nthick bushes; and, moreover, as I was in Fairy Land where one does very", "to account for appearances in Fairy Land, I judged that it would be very\nunfair to expect from one who had slept so long and had been so suddenly", "From this time, until I arrived at the palace of Fairy Land, I can\nattempt no consecutive account of my wanderings and adventures.", "Fairy Land. Could I translate the experience of my travels there, into\ncommon life? This was the question. Or must I live it all over again,\nand learn it all over again, in the other forms that belong to the world", "\"Because I have heard, that, for those who enter Fairy Land, there is no\nway of going back. They must go on, and go through it. How, I do not in\nthe least know.\"", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "All this I recalled as I lay with half-closed eyes. I was soon to find\nthe truth of the lady's promise, that this day I should discover the\nroad into Fairy Land.", "towards her bosom; I felt as if I could fall down and kiss her. I forgot\nI was in Fairy Land, and seemed to be walking in a perfect night of", "window, a gush of wonderment and longing flowed over my soul like the\ntide of a great sea. Fairy Land lay before me, and drew me towards it", "\"I did; but I meant something quite different from what you seem to\nthink.\"\n\n\"Never mind what I seem to think. You shall find the way into Fairy Land\nto-morrow. Now look in my eyes.\"", "or not. I knew one who had not been happy; and for my part, I had often\nlonged for Fairy Land, as she now longed for the world of men. But then", "Through my tears, the whole landscape glimmered in such bewildering\nloveliness, that I felt as if I were entering Fairy Land for the first", "subterraneous part of my travels. How long they endured I could not\ntell, for I had no means of measuring time; and when I looked back,\nthere was such a discrepancy between the decisions of my imagination", "trying to account for things in Fairy Land; and one who travels there\nsoon learns to forget the very idea of doing so, and takes everything as", "out upon my own native soil, and find that Fairy Land was, after all,\nonly a vision of the night. The sound of the falling waters of the\nfountain floated me into oblivion.", "sat for hours, I suppose; till, returning somewhat to myself, I saw that\nthe red light had paled away, and felt a cool gentle breath gliding over", "able to capture the little creature. My father's voice recalled us from\ntrampling down the rich long grass, soon to be cut down and laid aside\nfor the winter. I had quite forgotten all about Fairy Land, and the", "and down the white hall of Phantasy in the Fairy Palace. But this lasted\nno longer than the song; as will be seen.", "one wild dream of blessedness after another coursing through his soul.\nHow long he sat he knew not; but at length he roused himself, rose, and," ], [ "\"In Fairy Land, Anodos.\"\n\nI turned, but saw no one. I closed the secretary, and went to my own\nroom, and to bed.", "\"Anodos, you never saw such a little creature before, did you?\"\n\n\"No,\" said I; \"and indeed I hardly believe I do now.\"", "At first I could see no one; but when I had forced myself past the tree\nwhich grew across the entrance, I saw, seated on the ground, and leaning", "one wild dream of blessedness after another coursing through his soul.\nHow long he sat he knew not; but at length he roused himself, rose, and,", "wouldn't they, Anodos? Her eyes would light up the old cave, wouldn't\nthey?\"", "in a little ocean of circumfluent tones: \"A great good is coming--is\ncoming--is coming to thee, Anodos;\" and so over and over again. I", "to him as he gazed upon her; and he started as if from a dream, when\nthe lady moved, and, without opening her eyes, rose, and passed from the", "and threw her down, and walked over her. When she got up, she saw\nthe wood was full of these beings stalking about, and seeming to have", "them, and overflowed. They rose, and passed, hand in hand, close\nto where I stood; and each looked towards me in passing. Then they", "The knight rose. The light that had been confined to his eyes, now shone\nfrom his whole countenance. He took the little thing in his arms, and,", "with his eyes irrecoverably fixed upon her; and even after he was\nconscious of the ability to move, he could not summon up courage to\nturn and look on her, face to face, in the veritable chamber in which", "And some who awake from their primal sleep,\n When the sighs of Summer through forests creep,\n Live, and love, and are loved again;", "As I stood exhausted amidst the dead, after the first worthy deed of my\nlife, I suddenly looked behind me, and there lay the Shadow, black in", "stood, the only one I had yet seen, a vacant pedestal. It was exactly in\nthe position occupied, in my dream, by the pedestal on which the white\nlady stood. Hope beat violently in my heart.", "I lay motionless for a few minutes; and then slowly rose and looked\nabout me. I was on the summit of a little hill; a valley lay beneath,", "rise, before I could venture to renew my journey. But as soon as the\nfirst faint light of the dawn appeared, instead of shining upon me\nfrom the eye of the morning, it stole like a fainting ghost through the", "But when, after a sleep, which, although dreamless, yet left behind it a\nsense of past blessedness, I awoke in the full morning, I found, indeed,", "I awoke one morning with the usual perplexity of mind which accompanies\nthe return of consciousness. As I lay and looked through the eastern", "He had dreamed a dream of a still, dark wood,\n Where the maiden of old beside him stood;\n\n But a mist came down, and caught her away,\n And he sought her in vain through the pathless day,", "be invisible to her altogether, or at least it must appear to her to\ngaze vacantly towards her, and no meeting of the eyes would produce\nthe impression of spiritual proximity. By-and-by her eyes fell upon the" ] ]

[ "Where was Anodos transported to?", "Who warned Anodos about the Ash Tree and the Alder Tree?", "What was Anodos told about the two trees?", "What want to destroyed Anodos?", "Who lived in the flowers?", "What would happen to the flowers if the fairies leave them?", "Who save Anodos from being killed?", "How did Sir Percivale save Anodos?", "How did the brothers died?", "How much time passes in the \"real\" world in the story?", "Where is Anodos transported to?", "What two trees is Anodos warned of?", "Why does Cosmo sacrifice himself?", "Who created My Marble Lady?", "Who is Anodos obsessed with?", "How is it Anodos is the one chosen to be a hero of the kingdom?", "Who is deceived by the temple of worshippers?", "What torments Anodos throughout his visit?", "What event is being celebrated at the beginning of the story?", "What day does the story start?", "Where do fairies live?", "Who saves Anodes from the Maids of the Alder Tree in disguise?", "In the palace, how does Anodes make the Marble Lady appear again?", "What are the inhabitants of the subterranean world?", "How many doors does Anodos encounter in the cottage?", "Who saves Anodos from 'Door of Timeless'?", "How many days was Anodos gone in Fairy Land?", "How long did it feel for Anodos his trip to Fairy Land?", "Who does Anodos see first when he wakes up?" ]

[ [ "Fairy Land.", "Fairy Land" ], [ "A woman and her daughter.", "The woman and her daughter in a cottage." ], [ "The spirits of the trees can leave their tree host and wonder through Fairly Land.", "they want to destroy him" ], [ "Ash Tree and Alder Tree.", "the spirits of the Ash Tree and the Alder Tree" ], [ "Fairies.", "fairies" ], [ "The flowers would die.", "they die" ], [ "Sir Percivale.", "Sir Percivale saved Anodos." ], [ "Sir Percivale chopped the Ash Tree.", "chopped the ash tree with a axe" ], [ "They were attacked unarmed by giants.", "killed by giants" ], [ "21 days", "21 days" ], [ "Fairy Land", "Fairy Land" ], [ "The Ash Tree and The Alder Tree", "Ash Tree and Alder Tree" ], [ "To save his love from being trapped in a mirror", "to release his lover's soul from a mirror" ], [ "Pygmalion", "Anodos" ], [ "The Marble Lady", "the Marble Lady statue" ], [ "He is the only brother left alive after a battle", "After the king's sons are killed if a fight with Giants." ], [ "Sir Percivale", "Sir Percivale" ], [ "A shadow, an evil presence", "his shadow" ], [ "Anodos' 21st birthday", "Anodos' 21stbirthday" ], [ "Anodo's twenty first birthday", "the day after Anodos' 21st birthday" ], [ "In flowers", "in flowers" ], [ "Sir Percival", "Sir Percivale" ], [ "He sings to it", "sings to the pedestal" ], [ "Gnomes", "Gnome-like creatures" ], [ "Four", "four" ], [ "The ancient lady", "the ancient lady with young eyes" ], [ "21 days", "21 days" ], [ "21 years", "21 years" ], [ "His sisters", "his sisters" ] ]

[ [ "INT. COURTROOM - LATER\n\n Sam, on the stand, talks a mile a minute from the coffee.", "ON RITA\n\n Anguished. Watching Sam unravel as he stands up and starts\n walking around in a circle in the witness box.", "The Judge watches Sam, sad and stunned. The verdict is\n obvious. Sam has passed judgement on himself.\n\n EXT. CHILD AND FAMILY PROTECTIVE SERVICES - HALLWAY", "The court is riveted by Sam's eloquence. Rita's amazed.\n\n SAM (CONT'D)\n It has to do with love, like she says...", "Sam stands along with others in the courtroom. The Judge\n enters and sits. Everyone else sits now, too. Except Sam. \n Who continues to stand until Rita pulls him down. Now we\n see:", "ON SAM\n\n Reeling, devastated, we HEAR A JUDGE speaking:", "Walking a hundred miles an hour, Sam barrels down the street\n out of his mind. Cars are jammed up. He walks over them, a\n man possessed.\n\n INT. COURTROOM - DAY", "down the stares to Sam. Thrilled, Sam opens his arms to her. \n She leaps into them and begins slugging his chest with pent\n up fury.", "SAM\n (in unbearable pain)\n Maybe. Maybe everybody's right.\n\n ON TURNER\n\n There. He got it.", "Suddenly before she knows it, she is HOLDING SAM. The room\n charged. She speaks tenderly, moved by this awkward boy/man.", "Sam and Rita go down the cafeteria line.\n\n SAM\n You made her cry.\n\n RITA\n You got lucky.", "Sitting, hopeful on the bench. She searches Sam's face for\n the verdict. The minute she sees sorrow in his eyes, she\n knows. She runs to him, gluing herself to his chest.", "Turner's saying, Sam looks out at the faces in the courtroom. \n Rita, stunned and incredulous; Turner and his associate", "Sweat pours down Sam's coffee stained collar. He searches\n for words. Then from the clearest place inside himself:", "Rita starts to scribble notes furiously. So does Sam. \n Turner smugly sits down. Rita confidently strides toward the\n witness.", "Lucy away from her father's arms. Lucy bellowing as she\n pulls her down the hallway. Sam is frozen in incalculable\n pain.", "Sam, broken, walks down the long hallway with Rita toward\n Margaret Brown's office. Suddenly, Rita stops as she and Sam\n both see -\n\n LUCY", "SAM\n Randy! If I tell you I can't do it\n alone, will you tell the judge?\n\n RANDY\n (turns gently)\n No.", "SAM\n Yes.\n\n TURNER\n Was that a \"yes?\"\n\n RITA\n Objection.", "SAM\n You're my lawyer and you think what they\n think. I don't have a chance. No\n chance at all. Even with an expert\n witness." ], [ "Until FINALLY, we see Lucy in her hammock at Randy's house\n looking out the windows, which have now been completely", "Lucy's face hardens for the first time. In a corrupt world\n the pure can only stay pure for so long.\n\n INT. HAMBURGER HAMLET - EVENING", "if they want to. I'm firm on this. And\n I'm getting firmer. Lucy belongs with\n me.", "INT. COURTROOM - LATER\n\n Lucy is on the stand, Turner is cross-examining her.", "Lucy nods. Elated, Randy makes room for her on the couch. \n But Lucy just reaches for the milk and muffin and heads up\n the stairs then turns back and speaks gently to Randy.", "EXT. STREET - NIGHT\n\n Lucy in a blanket being carried by Sam toward Randy's house.\n\n INT. LUCY'S ROOM - NIGHT", "Randy walks away. Stunned, Sam watches her, holding Lucy in\n his arms. Then, from a very brave place:", "DISSOLVE as they move through the neighborhood. Finally we\n see her bound up the steps to an apartment building. She\n knocks on the door. It opens - and Lucy and Randy's JAW\n DROPS.", "He shines the flashlight in Sam's face and we see INSIDE THE\n PLASTIC TUNNEL where LUCY SLEEPS PEACEFULLY on a bed of\n coats, holding a discarded stuffed animal.", "Sam and Lucy hold hands and look out the window. Sam sees\n Echo Park approaching and gets up. Lucy pulls him back to\n the seat. She looks Daddy in the eye and in a furtive\n whisper:", "She exits. Lucy begins to CRY. Brad takes her - like a hot\n potato, Robert takes her - now Ifty runs around in circles.", "The camera moves along and stops on the long seat at the\n back. Sam lies with Lucy spooned into the crook of his arm,\n almost asleep.", "The more he screams the faster she moves away. Till there's\n no trace of her. Sam stands in the middle of the busy block\n holding Lucy to his chest, devastated.", "Lucy's feet dangle from under the stall. Margaret's sturdy\n shoes from under another. Suddenly, Lucy's head pops out and", "understand this. You can't close the\n distance between you and Lucy with a new\n address. We go to court in a week -", "Lucy away from her father's arms. Lucy bellowing as she\n pulls her down the hallway. Sam is frozen in incalculable\n pain.", "LUCY\n Thank you. Goodnight.\n\n RANDY\n (words caught in her throat)\n Goodnight, Lucy.", "Suddenly Lucy becomes aware that her classmates are beginning\n to laugh. She slows and watches through their eyes Sam pony", "LUCY (CONT'D)\n Daddy, it's the only way to be together. \n We'll start a new life, get new names.", "LUCY\n You gave him the wrong address! You're\n hiding me from him!\n\n As Randy reaches for her, Lucy pours black paint on her." ], [ "INT. COURTROOM - LATER\n\n Sam, on the stand, talks a mile a minute from the coffee.", "The court is riveted by Sam's eloquence. Rita's amazed.\n\n SAM (CONT'D)\n It has to do with love, like she says...", "Sam stands along with others in the courtroom. The Judge\n enters and sits. Everyone else sits now, too. Except Sam. \n Who continues to stand until Rita pulls him down. Now we\n see:", "SAM\n No no no. I'm the lucky one. I have\n the lawyer that never loses.", "Rita starts to scribble notes furiously. So does Sam. \n Turner smugly sits down. Rita confidently strides toward the\n witness.", "SAM\n Lucy needs you.\n\n JUDGE MCNEILY\n Ms. Harrison. We need you!", "Walking a hundred miles an hour, Sam barrels down the street\n out of his mind. Cars are jammed up. He walks over them, a\n man possessed.\n\n INT. COURTROOM - DAY", "SAM\n Yes.\n\n TURNER\n Was that a \"yes?\"\n\n RITA\n Objection.", "down the stares to Sam. Thrilled, Sam opens his arms to her. \n She leaps into them and begins slugging his chest with pent\n up fury.", "SAM\n You're my lawyer and you think what they\n think. I don't have a chance. No\n chance at all. Even with an expert\n witness.", "Turner's saying, Sam looks out at the faces in the courtroom. \n Rita, stunned and incredulous; Turner and his associate", "RITA\n No, no no. Pro-bono. Alright? Pro\n bono.\n\n The doors close. We hear from within, as Sam goes up again:", "Sam walks toward the courtroom when we see Rita approaching\n from the other end of the hall. They both slow down when\n they see each other. Rita unconsciously fixes her hair. Sam\n adjusts his tie.", "Suddenly before she knows it, she is HOLDING SAM. The room\n charged. She speaks tenderly, moved by this awkward boy/man.", "SAM\n The Social Worker said it's a custody\n case.\n\n ROBERT\n Then get a divorce lawyer.", "RITA\n Okay okay okay okay. Well, Sam has his\n big day on the stand tomorrow and we\n need to work a little bit so that he's\n as effective as you were.", "DR. DONOVAN, an attractive soft-spoken woman is on the stand. \n Rita is working the room. Sam, having a hard time\n concentrating, is following a crack up the wall and onto the\n ceiling.", "RITA\n No, it's a case. Sort of a pro-bono\n thing.\n\n Her assistant Patricia clears her throat.", "SAM\n That was so nice of her. Very nice.\n\n INT. BUS - DAY", "Sam looks at Randy with profound compassion." ], [ "EXT. STREET - NIGHT\n\n Lucy in a blanket being carried by Sam toward Randy's house.\n\n INT. LUCY'S ROOM - NIGHT", "The more he screams the faster she moves away. Till there's\n no trace of her. Sam stands in the middle of the busy block\n holding Lucy to his chest, devastated.", "Lucy away from her father's arms. Lucy bellowing as she\n pulls her down the hallway. Sam is frozen in incalculable\n pain.", "Sam and Lucy hold hands and look out the window. Sam sees\n Echo Park approaching and gets up. Lucy pulls him back to\n the seat. She looks Daddy in the eye and in a furtive\n whisper:", "Conner slouches against the fence as his father walks away. \n Seeing this, Sam whispers to Lucy.\n\n INT. SAM'S APARTMENT - AFTERNOON", "Lucy sleeps cuddled close to Sam, who is wide awake, as he\n gazes out at the passing highway, far from home. We hear the\n song \"Michelle\".", "Randy walks away. Stunned, Sam watches her, holding Lucy in\n his arms. Then, from a very brave place:", "INT. LUCY'S BEDROOM - NIGHT\n\n It's bedtime. Sam and Lucy are reading from \"STELLALUNA\".", "Lucy and Sam walk back down the street to Randy's house.\n\n EXT. SAM'S WINDOW - NIGHT\n\n Lucy lugs encyclopedias to Sam's windowsill.", "Suddenly Lucy becomes aware that her classmates are beginning\n to laugh. She slows and watches through their eyes Sam pony", "SAM\n Lucy doesn't need me anymore. She has a\n new family. She doesn't need me\n anymore.", "SAM (CONT'D)\n How about one more time, just the\n beginning? \"I am Sam, Sam I am...\"\n\n Lucy sighs and closes her eyes against her father's chest.", "He shines the flashlight in Sam's face and we see INSIDE THE\n PLASTIC TUNNEL where LUCY SLEEPS PEACEFULLY on a bed of\n coats, holding a discarded stuffed animal.", "Sam, in his pajamas, holds a sleeping Lucy in his arms. He\n turns a corner and heads up the walkway to Randy's house. He", "Sam turns and WE SEE LUCY attached to him in a handmade\n snugly, crocheted by Annie. She faces outward, all hands,", "EXT. SAM'S WINDOW - NIGHT\n\n Lucy knocks on Sam's window.\n\n EXT. STREET - NIGHT", "The camera moves along and stops on the long seat at the\n back. Sam lies with Lucy spooned into the crook of his arm,\n almost asleep.", "SAM\n I won't let that happen.\n\n LUCY\n That's what her real mommy said. And\n now they won't even let her talk to her.", "From the window, Randy watches as Sam hands Lucy four leashes\n and the two of them get pulled down the street by the dogs.\n\n INT. LUCY'S BEDROOM - 2 A.M.", "INT. SAM'S APARTMENT - NIGHT\n\n Sam's reading Lucy her homework book.\n\n SAM\n \"They perched in sisisi...\"" ], [ "Randy walks away. Stunned, Sam watches her, holding Lucy in\n his arms. Then, from a very brave place:", "EXT. STREET - NIGHT\n\n Lucy in a blanket being carried by Sam toward Randy's house.\n\n INT. LUCY'S ROOM - NIGHT", "Randy nods and hands the sleeping Lucy into Sam's strong\n arms. For a moment they BOTH HOLD LUCY between them in the\n most unique embrace. Randy finally lets go and struggles to\n say goodbye.", "Sam, Lucy by his side, has his foot in Annie's door.\n\n SAM\n Please, Annie! She's too big to take to\n work.", "Sam, in his pajamas, holds a sleeping Lucy in his arms. He\n turns a corner and heads up the walkway to Randy's house. He", "Sam and Lucy hold hands and look out the window. Sam sees\n Echo Park approaching and gets up. Lucy pulls him back to\n the seat. She looks Daddy in the eye and in a furtive\n whisper:", "SAM\n She couldn't sleep.\n\n RANDY\n Give me my daugh -\n (she stops herself)\n Give me - I'll take Lucy.", "Conner slouches against the fence as his father walks away. \n Seeing this, Sam whispers to Lucy.\n\n INT. SAM'S APARTMENT - AFTERNOON", "INT. SAM'S APARTMENT - 9 P.M.\n\n Sam paces, carrying Lucy who screams at the top of her lungs.", "SAM\n Lucy needs you.\n\n JUDGE MCNEILY\n Ms. Harrison. We need you!", "SAM\n Lucy doesn't need me anymore. She has a\n new family. She doesn't need me\n anymore.", "LUCY\n Shhh! Don't tell anyone.\n\n Rita watches Sam. Moved by his concern as a parent.", "Sam turns and WE SEE LUCY attached to him in a handmade\n snugly, crocheted by Annie. She faces outward, all hands,", "INT. LUCY'S BEDROOM - NIGHT\n\n It's bedtime. Sam and Lucy are reading from \"STELLALUNA\".", "We see that he's wearing the Armani suit. Sam opens the door\n to see Randy standing there, holding a sleeping Lucy in her\n arms.", "The more he screams the faster she moves away. Till there's\n no trace of her. Sam stands in the middle of the busy block\n holding Lucy to his chest, devastated.", "The camera moves along and stops on the long seat at the\n back. Sam lies with Lucy spooned into the crook of his arm,\n almost asleep.", "Lucy away from her father's arms. Lucy bellowing as she\n pulls her down the hallway. Sam is frozen in incalculable\n pain.", "Lucy and Sam walk back down the street to Randy's house.\n\n EXT. SAM'S WINDOW - NIGHT\n\n Lucy lugs encyclopedias to Sam's windowsill.", "SAM\n Annie, it's one day. One hour. Maybe\n only 53 minutes. Lucy needs you." ], [ "EXT. STREET - NIGHT\n\n Lucy in a blanket being carried by Sam toward Randy's house.\n\n INT. LUCY'S ROOM - NIGHT", "Randy walks away. Stunned, Sam watches her, holding Lucy in\n his arms. Then, from a very brave place:", "Lucy and Sam walk back down the street to Randy's house.\n\n EXT. SAM'S WINDOW - NIGHT\n\n Lucy lugs encyclopedias to Sam's windowsill.", "The camera moves along and stops on the long seat at the\n back. Sam lies with Lucy spooned into the crook of his arm,\n almost asleep.", "INT. LUCY'S BEDROOM - NIGHT\n\n It's bedtime. Sam and Lucy are reading from \"STELLALUNA\".", "Randy nods and hands the sleeping Lucy into Sam's strong\n arms. For a moment they BOTH HOLD LUCY between them in the\n most unique embrace. Randy finally lets go and struggles to\n say goodbye.", "Sam and Lucy hold hands and look out the window. Sam sees\n Echo Park approaching and gets up. Lucy pulls him back to\n the seat. She looks Daddy in the eye and in a furtive\n whisper:", "Sam turns and WE SEE LUCY attached to him in a handmade\n snugly, crocheted by Annie. She faces outward, all hands,", "Sam, Lucy by his side, has his foot in Annie's door.\n\n SAM\n Please, Annie! She's too big to take to\n work.", "Suddenly Lucy becomes aware that her classmates are beginning\n to laugh. She slows and watches through their eyes Sam pony", "Lucy sleeps cuddled close to Sam, who is wide awake, as he\n gazes out at the passing highway, far from home. We hear the\n song \"Michelle\".", "Conner slouches against the fence as his father walks away. \n Seeing this, Sam whispers to Lucy.\n\n INT. SAM'S APARTMENT - AFTERNOON", "LUCY\n Yeah well it takes one to know one!\n\n He crowns her - her eyes shift to Sam in the kitchen, for the\n first time a bit uneasily.", "LUCY\n \"Different.\"\n\n Sam glances up at Lucy self-consciously. Lucy grabs the book\n from Sam, tosses it on the pile and picks up another.", "EXT. SAM'S WINDOW - NIGHT\n\n Lucy knocks on Sam's window.\n\n EXT. STREET - NIGHT", "EXT. SAM'S APARTMENT\n\n Lucy climbing the fire escape! Sam opens the window and\n reaches for her.", "They both laugh, delighted. Lucy looks sleepy.\n\n MATCH DISSOLVE:\n\n Lucy is getting drowsy. Sam is just getting started.", "We see that he's wearing the Armani suit. Sam opens the door\n to see Randy standing there, holding a sleeping Lucy in her\n arms.", "From the window, Randy watches as Sam hands Lucy four leashes\n and the two of them get pulled down the street by the dogs.\n\n INT. LUCY'S BEDROOM - 2 A.M.", "He shines the flashlight in Sam's face and we see INSIDE THE\n PLASTIC TUNNEL where LUCY SLEEPS PEACEFULLY on a bed of\n coats, holding a discarded stuffed animal." ], [ "The game heats up. Lucy's team gets the ball and is headed\n toward the goal. Sam is running right alongside them, so", "Those same little shoes in the midst of a mass of black\n soccer cleats. We move up and see Lucy in the middle of a\n fierce kids soccer game.", "They share a look - a moment of intense parental pride. Lucy\n and a kid named PHILLIP go after the ball.", "Looks over at her father. Sam does every coaching gesture,\n and referee hand signal from every sport known to man. It\n looks like a bizarre TWYLA THARP DANCE.\n\n ON LUCY", "Suddenly Lucy becomes aware that her classmates are beginning\n to laugh. She slows and watches through their eyes Sam pony", "A glorious sunny day. Lucy and her team are in the middle of\n a fierce game. A foul is called when we hear -", "The ball heads into the goal, just passing the goalie,\n Conner. Sam runs to embrace Lucy when he hears Duncan\n reaming his son --", "Conner tenses up, alert under the pressure. Meanwhile, down\n at the other end, the ball heads toward Lucy. She kicks it! \n Hard. Right into her team's own goal. The crowd GROANS.", "Phillip steps in front of Lucy and shoves her as hard as he\n can. Sam blows his whistle repeatedly and races over.", "Lucy's bursting with confidence, plows toward the ball and\n NAILS IT! The ball goes flying. The parents in the stand\n are completely baffled! Sam is completely ecstatic!", "Score's tied. The ball comes to Lucy. She kicks and misses. \n From the sidelines we hear:\n\n SAM\n Beautiful kick! Very close!", "Lucy's face hardens for the first time. In a corrupt world\n the pure can only stay pure for so long.\n\n INT. HAMBURGER HAMLET - EVENING", "Lucy's feet dangle from under the stall. Margaret's sturdy\n shoes from under another. Suddenly, Lucy's head pops out and", "INT. CLASSROOM - DAY\n\n Lucy draws a picture while everyone reads aloud from\n \"STELLALUNA\".", "It's RITA! With Danny - hollering from the stands.\n\n ON LUCY", "Lucy nods. Elated, Randy makes room for her on the couch. \n But Lucy just reaches for the milk and muffin and heads up\n the stairs then turns back and speaks gently to Randy.", "Sam turns and WE SEE LUCY attached to him in a handmade\n snugly, crocheted by Annie. She faces outward, all hands,", "As they go on, Lucy matter-of-factly PULLS A VIDEO OUT OF HER\n BACKPACK, and puts it in the VCR. She turns it on. It's", "Lucy looks up at her dad proudly. The ball comes again. \n Nobody could miss this one. But Lucy does.", "Sam and Lucy hold hands and look out the window. Sam sees\n Echo Park approaching and gets up. Lucy pulls him back to\n the seat. She looks Daddy in the eye and in a furtive\n whisper:" ], [ "ON RITA AND SAM\n\n This is too good to be true.", "Rita heads towards Sam. Up close, he looks even worse.", "SAM\n I said no, Rita.\n\n RITA\n I know, but if you -", "RITA\n (oddly touched)\n Thank you, Sam.\n\n SAM\n You need to leave your husband.", "RITA (CONT'D)\n Sam. Sam come with me.\n (to the Couple)", "The court is riveted by Sam's eloquence. Rita's amazed.\n\n SAM (CONT'D)\n It has to do with love, like she says...", "SAM\n What? Do you want me to go?\n\n RITA\n I didn't say that. But do you want to\n go?", "RITA (CONT'D)\n Sam, look at me. Look at me! \n (he does)", "SAM\n I tried. I tried.\n\n RITA\n Try harder.", "Rita stands in the doorway watching Sam have a longer\n conversation with her son than she's had in months. She\n retreats.\n\n INT. RITA'S DEN - LATER", "Sam, determined, heads for the stand. Rita grabs Sam's\n shoulders and tries to focus him. Looks deep into his eyes.", "She's very aware of Sam. He looks away, over compensating\n obviously. Throughout the scene, Rita's hair falls in her\n eyes. She attempts to put it in place.", "ON RITA\n\n Trying to telepathically reach Sam.", "RITA\n I don't want to guess. Where is he?\n (Sam watches Rita)\n I told you I don't want to guess.", "SAM\n (fierce)\n I won't let that happen. I won't.\n\n RITA\n How can you say that?", "For a moment, Rita's mask drops and her fear for Sam\n overwhelms her.\n\n RITA\n Absolutely.", "ON RITA AND SAM\n\n What is she doing?", "RITA\n Is that what she said?\n\n SAM\n She didn't have to say it. I may be\n stupid, but I know. I know.", "RITA\n Well that's the first stupid thing I've\n ever heard you say.\n\n Sam looks at her through the window. A CHINK in the wall.", "Sam leaps to his feet.\n\n SAM\n Oh boy! Thank you, George!\n\n Rita pulls him down. Turner seizes the moment." ], [ "ON RITA AND SAM\n\n This is too good to be true.", "ON RITA AND SAM\n\n What is she doing?", "RITA (CONT'D)\n Sam. Sam come with me.\n (to the Couple)", "Rita heads towards Sam. Up close, he looks even worse.", "Rita stands behind Sam with her around him showing him how to\n do his tie properly. Their images are reflected in the\n mirror.", "The court is riveted by Sam's eloquence. Rita's amazed.\n\n SAM (CONT'D)\n It has to do with love, like she says...", "EXT. RITA'S LAVISH BEL AIR HOME - NIGHT\n\n Rita and Sam enter.\n\n INT. RITA'S BEL AIR HOME - NIGHT", "RITA\n Sam, it's Rita. Can I come in?\n\n SAM\n No room. No room.", "She looks at him as if he's from Mars. Rita, now outside her\n office, watches Sam now inside the office.", "SAM\n I tried. I tried.\n\n RITA\n Try harder.", "RITA (CONT'D)\n Sam, look at me. Look at me! \n (he does)", "RITA\n Well that's the first stupid thing I've\n ever heard you say.\n\n Sam looks at her through the window. A CHINK in the wall.", "SAM\n I said no, Rita.\n\n RITA\n I know, but if you -", "INT. STARBUCKS - DAY\n\n Sam is straightening Sweet and Lows. Rita barrels in.", "Sam, determined, heads for the stand. Rita grabs Sam's\n shoulders and tries to focus him. Looks deep into his eyes.", "SAM\n Sam. I am Sam.\n\n Rita looks at Sam as she bounds up the fourth floor.", "Sam stands along with others in the courtroom. The Judge\n enters and sits. Everyone else sits now, too. Except Sam. \n Who continues to stand until Rita pulls him down. Now we\n see:", "RITA\n Hey, it doesn't matter to them what I\n think.\n\n SAM\n Me. It matters to me.", "Sam, broken, walks down the long hallway with Rita toward\n Margaret Brown's office. Suddenly, Rita stops as she and Sam\n both see -\n\n LUCY", "SAM\n What? Do you want me to go?\n\n RITA\n I didn't say that. But do you want to\n go?" ], [ "Suddenly before she knows it, she is HOLDING SAM. The room\n charged. She speaks tenderly, moved by this awkward boy/man.", "Sam stands along with others in the courtroom. The Judge\n enters and sits. Everyone else sits now, too. Except Sam. \n Who continues to stand until Rita pulls him down. Now we\n see:", "down the stares to Sam. Thrilled, Sam opens his arms to her. \n She leaps into them and begins slugging his chest with pent\n up fury.", "Walking a hundred miles an hour, Sam barrels down the street\n out of his mind. Cars are jammed up. He walks over them, a\n man possessed.\n\n INT. COURTROOM - DAY", "INT. SAM'S BEDROOM - CONTINUOUS", "SAM (CONT'D)\n You look very beautiful this morning,\n very beautiful.\n\n He holds her up, and the diaper falls down around her ankles.", "Sam and Lucy hold hands and look out the window. Sam sees\n Echo Park approaching and gets up. Lucy pulls him back to\n the seat. She looks Daddy in the eye and in a furtive\n whisper:", "Rita heads towards Sam. Up close, he looks even worse.", "Sam keeps moving, he crosses the street without stopping. \n Traffic SCREECHES to a HALT! Cars HONK, a taxi driver YELLS.", "The Judge watches Sam, sad and stunned. The verdict is\n obvious. Sam has passed judgement on himself.\n\n EXT. CHILD AND FAMILY PROTECTIVE SERVICES - HALLWAY", "The camera moves along and stops on the long seat at the\n back. Sam lies with Lucy spooned into the crook of his arm,\n almost asleep.", "Sam nods nervously and waves. With that she begins.\n\n INT. SAM'S APARTMENT - NIGHT", "SAM\n (in unbearable pain)\n Maybe. Maybe everybody's right.\n\n ON TURNER\n\n There. He got it.", "Suddenly Lucy becomes aware that her classmates are beginning\n to laugh. She slows and watches through their eyes Sam pony", "INT. SAM'S BEDROOM - 3:30 A.M.", "SAM\n Your secretary too. Yellow and green in\n one bowl.\n (Sam stares at a bowl of Lima", "Sam's out of control, the whole shop stares at him as he\n backs into a shelf of MUGS he so carefully arranged. They\n CRASH onto the floor.", "Sam looks at Randy with profound compassion.", "Sweat pours down Sam's coffee stained collar. He searches\n for words. Then from the clearest place inside himself:", "SAM (CONT'D)\n How about one more time, just the\n beginning? \"I am Sam, Sam I am...\"\n\n Lucy sighs and closes her eyes against her father's chest." ], [ "Lucy's face hardens for the first time. In a corrupt world\n the pure can only stay pure for so long.\n\n INT. HAMBURGER HAMLET - EVENING", "Suddenly Lucy becomes aware that her classmates are beginning\n to laugh. She slows and watches through their eyes Sam pony", "SAM\n But Lucy said -", "Sam turns and WE SEE LUCY attached to him in a handmade\n snugly, crocheted by Annie. She faces outward, all hands,", "INT. LUCY'S BEDROOM - NIGHT\n\n It's bedtime. Sam and Lucy are reading from \"STELLALUNA\".", "INT. CLASSROOM - DAY\n\n Lucy draws a picture while everyone reads aloud from\n \"STELLALUNA\".", "LUCY\n \"Different.\"\n\n Sam glances up at Lucy self-consciously. Lucy grabs the book\n from Sam, tosses it on the pile and picks up another.", "He holds the book open for Lucy. Now Lucy, pushing through a\n mountain of resistance, reads. And reads beautifully.\n\n LUCY\n \"Why are we different and so much\n alike?\"", "Lucy's feet dangle from under the stall. Margaret's sturdy\n shoes from under another. Suddenly, Lucy's head pops out and", "INT. COURTROOM - LATER\n\n Lucy is on the stand, Turner is cross-examining her.", "CLOSE ON LUCY AND RANDY\n\n The tension in Lucy's face, Randy straining to connect with\n her.", "if they want to. I'm firm on this. And\n I'm getting firmer. Lucy belongs with\n me.", "Lucy nods. Elated, Randy makes room for her on the couch. \n But Lucy just reaches for the milk and muffin and heads up\n the stairs then turns back and speaks gently to Randy.", "Lucy sleeps cuddled close to Sam, who is wide awake, as he\n gazes out at the passing highway, far from home. We hear the\n song \"Michelle\".", "LUCY\n Yeah well it takes one to know one!\n\n He crowns her - her eyes shift to Sam in the kitchen, for the\n first time a bit uneasily.", "EXT. STREET - NIGHT\n\n Lucy in a blanket being carried by Sam toward Randy's house.\n\n INT. LUCY'S ROOM - NIGHT", "She exits. Lucy begins to CRY. Brad takes her - like a hot\n potato, Robert takes her - now Ifty runs around in circles.", "As they go on, Lucy matter-of-factly PULLS A VIDEO OUT OF HER\n BACKPACK, and puts it in the VCR. She turns it on. It's", "Lucy away from her father's arms. Lucy bellowing as she\n pulls her down the hallway. Sam is frozen in incalculable\n pain.", "LUCY\n You gave him the wrong address! You're\n hiding me from him!\n\n As Randy reaches for her, Lucy pours black paint on her." ], [ "A long pause. Sam watches as Annie visibly tightens.", "He looks out his window and sees ANNIE CASSELL, his neighbor\n on the phone, watching him through her window. She is a\n strange creature with very thick glasses. We sense a\n uniquely profound intelligence behind all that armor.", "Sam, Lucy by his side, has his foot in Annie's door.\n\n SAM\n Please, Annie! She's too big to take to\n work.", "Rita sits in her Porsche with Annie and Sam. Annie is curled\n into a tight ball in the passenger seat. Sam is tucked into", "RITA\n (gently)\n Good, fine, Sam? Annie's ready.\n\n Sam's fallen asleep.", "Sam turns and WE SEE LUCY attached to him in a handmade\n snugly, crocheted by Annie. She faces outward, all hands,", "SAM\n Annie, it's one day. One hour. Maybe\n only 53 minutes. Lucy needs you.", "SAM\n Annie's not quite ready to go outside\n yet.\n\n RITA\n Okay, we'll just take our time.", "Annie plays even harder. Frustrated, he POUNDS the piano.\n\n SAM (CONT'D)\n We can't lose her.", "Sam stares out the window at an unfamiliar neighborhood. On\n his lap, the pink box, now ripped, allowing us to see Lucy's", "SAM\n Annie! I can't believe it!\n\n ANNIE\n (visibly trembling)\n Tell them to take me quickly.", "Sam nods nervously and waves. With that she begins.\n\n INT. SAM'S APARTMENT - NIGHT", "It didn't mean anything, Sam. It was\n just one night. The two of you. That's\n all I need...\" Annie, what if she's", "the corridor, huddled on a bench in dark sunglasses, sits\n ANNIE IN A PROFESSIONAL BUSINESS SUIT. Sam runs to her.", "Sam and Lucy hold hands and look out the window. Sam sees\n Echo Park approaching and gets up. Lucy pulls him back to\n the seat. She looks Daddy in the eye and in a furtive\n whisper:", "ANNIE\n She's overheated and not eating enough. \n How often are you feeding her?\n\n SAM\n A lot, Gerber, Carnation, Gerber.", "Randy and BILL, her husband, watch as Sam turns and walks\n purposely down the walkway - his houseslippers scuffling on\n the quiet street.", "hours. She only weighs thirty pounds\n for chrissakes...\n (back to Sam)\n The city has given me the difficult task", "SAM\n I have to pick up Lucy at Annie's first.\n\n LILY\n A menage a toi?", "Rita reaches across to open Annie's door when she SCREAMS!\n\n ANNIE\n Noooooooo!" ], [ "Suddenly Lucy becomes aware that her classmates are beginning\n to laugh. She slows and watches through their eyes Sam pony", "She exits. Lucy begins to CRY. Brad takes her - like a hot\n potato, Robert takes her - now Ifty runs around in circles.", "Lucy away from her father's arms. Lucy bellowing as she\n pulls her down the hallway. Sam is frozen in incalculable\n pain.", "Lucy's face hardens for the first time. In a corrupt world\n the pure can only stay pure for so long.\n\n INT. HAMBURGER HAMLET - EVENING", "The more he screams the faster she moves away. Till there's\n no trace of her. Sam stands in the middle of the busy block\n holding Lucy to his chest, devastated.", "only thing moving is the hands of a large wall clock in the\n background. Pained, Margaret reaches for Lucy.", "Lucy half-smiles and unconsciously begins to fold one of the\n Denny's napkins into an origami bird. Then crushes it. Then\n cautiously:", "Sam and Lucy hold hands and look out the window. Sam sees\n Echo Park approaching and gets up. Lucy pulls him back to\n the seat. She looks Daddy in the eye and in a furtive\n whisper:", "Sam turns and WE SEE LUCY attached to him in a handmade\n snugly, crocheted by Annie. She faces outward, all hands,", "Lucy nods. Elated, Randy makes room for her on the couch. \n But Lucy just reaches for the milk and muffin and heads up\n the stairs then turns back and speaks gently to Randy.", "Lucy's feet dangle from under the stall. Margaret's sturdy\n shoes from under another. Suddenly, Lucy's head pops out and", "this time Margaret avoids looking at her. Lucy runs to Rita\n and throws her arms around her waist.", "Phillip steps in front of Lucy and shoves her as hard as he\n can. Sam blows his whistle repeatedly and races over.", "Lucy leaves the piano and toddles over to Annie's loom and\n plays with a ball yarn.\n\n VOICE (O.S.)\n Groceries, Annie.", "Sam shoots a look at Margaret. He hasn't heard anything nice\n about himself in so long. Lucy looks into her father's eyes.", "LUCY\n \"Different.\"\n\n Sam glances up at Lucy self-consciously. Lucy grabs the book\n from Sam, tosses it on the pile and picks up another.", "EXT. STREET - NIGHT\n\n Lucy in a blanket being carried by Sam toward Randy's house.\n\n INT. LUCY'S ROOM - NIGHT", "Lucy takes this in. Sam begins to shift his tomatoes just\n so... his potatoes just slightly to the left. Lucy watches.", "As they go on, Lucy matter-of-factly PULLS A VIDEO OUT OF HER\n BACKPACK, and puts it in the VCR. She turns it on. It's", "INT. CLASSROOM - DAY\n\n Lucy draws a picture while everyone reads aloud from\n \"STELLALUNA\"." ], [ "Harrison and Williams\".\n\t\t\t\t\t \n INT. RITA HARRISON'S CENTURY CITY OFFICE - DAY", "SAM\n ...and she's a Century City lawyer - a\n very famous lawyer. Guess what her name\n is? Rita Harrison.", "RITA HARRISON and her assistant burst in. Rita moves in\n opposite circles around the room. Looking for something. In", "INT. RITA'S LIBRARY - TWO HOURS LATER\n\n Rita is relentless. Sam is exhausted but determined.", "ON RITA AND SAM\n\n This is too good to be true.", "RITA (CONT'D)\n Your Honor, may I have a moment with my\n client?\n\n JUDGE MCNEILY\n Make it brief, Ms. Harrison.", "RITA (CONT'D)\n Goddamn it, Danny!", "RITA (CONT'D)\n Mr. Dawson, what I'm trying to say is\n I'm a divorce lawyer and as much as I'd", "RITA (CONT'D)\n Sonuvabitch!\n\t\t\t\t\t \n INT. ANNIE'S APARTMENT - EVENING", "RITA (CONT'D)\n Sam. Sam come with me.\n (to the Couple)", "RITA\n (on the horn)\n Go for Chrissakes! How about your\n mother? Maybe she can help you -", "INT. RITA'S OFFICE - DAY\n\n We hear sobbing and see Rita sitting across from a very rich,\n very angry COUPLE. Rita's foot is twitching furiously.", "RITA\n No. Well, sort of. I talk about her\n the whole time I'm there.", "RITA\n No, no no. Pro-bono. Alright? Pro\n bono.\n\n The doors close. We hear from within, as Sam goes up again:", "Rita is disarmed. She's moved and not used to being moved.\n\n INT. COURTROOM - DAY", "Rita shifts uneasily, embarrassed by her overreaction.\n\t\t\t\n INT. RITA'S LIBRARY - LATER", "RITA\n Sam, it's Rita. Can I come in?\n\n SAM\n No room. No room.", "RITA\n Is that what she said?\n\n SAM\n She didn't have to say it. I may be\n stupid, but I know. I know.", "Rita heads towards Sam. Up close, he looks even worse.", "INT. RITA'S LIBRARY - MOMENTS LATER" ], [ "RITA\n (oddly touched)\n Thank you, Sam.\n\n SAM\n You need to leave your husband.", "ON RITA AND SAM\n\n This is too good to be true.", "SAM\n What? Do you want me to go?\n\n RITA\n I didn't say that. But do you want to\n go?", "The court is riveted by Sam's eloquence. Rita's amazed.\n\n SAM (CONT'D)\n It has to do with love, like she says...", "SAM\n I said no, Rita.\n\n RITA\n I know, but if you -", "RITA (CONT'D)\n Sam. Sam come with me.\n (to the Couple)", "RITA\n My husband left this when he moved out.\n\n SAM\n Oh, lovely Rita, meter maid.", "RITA\n Is that what she said?\n\n SAM\n She didn't have to say it. I may be\n stupid, but I know. I know.", "Rita heads towards Sam. Up close, he looks even worse.", "For a moment, Rita's mask drops and her fear for Sam\n overwhelms her.\n\n RITA\n Absolutely.", "Sam leaps to his feet.\n\n SAM\n Oh boy! Thank you, George!\n\n Rita pulls him down. Turner seizes the moment.", "She's very aware of Sam. He looks away, over compensating\n obviously. Throughout the scene, Rita's hair falls in her\n eyes. She attempts to put it in place.", "RITA (CONT'D)\n Sam, look at me. Look at me! \n (he does)", "RITA\n Well that's the first stupid thing I've\n ever heard you say.\n\n Sam looks at her through the window. A CHINK in the wall.", "SAM\n (fierce)\n I won't let that happen. I won't.\n\n RITA\n How can you say that?", "SAM\n I tried. I tried.\n\n RITA\n Try harder.", "RITA\n I don't want to guess. Where is he?\n (Sam watches Rita)\n I told you I don't want to guess.", "She looks at him as if he's from Mars. Rita, now outside her\n office, watches Sam now inside the office.", "RITA\n Hey, it doesn't matter to them what I\n think.\n\n SAM\n Me. It matters to me.", "Sam comes out of the bathroom in the new suit. Rita stares\n at him astonished. He looks incredibly handsome. Rita,\n attempting to stifle her reaction, turns away from Sam." ], [ "INT. COURTROOM - LATER\n\n Lucy is on the stand, Turner is cross-examining her.", "Until FINALLY, we see Lucy in her hammock at Randy's house\n looking out the windows, which have now been completely", "Lucy's face hardens for the first time. In a corrupt world\n the pure can only stay pure for so long.\n\n INT. HAMBURGER HAMLET - EVENING", "She exits. Lucy begins to CRY. Brad takes her - like a hot\n potato, Robert takes her - now Ifty runs around in circles.", "Randy walks away. Stunned, Sam watches her, holding Lucy in\n his arms. Then, from a very brave place:", "Suddenly Lucy becomes aware that her classmates are beginning\n to laugh. She slows and watches through their eyes Sam pony", "The more he screams the faster she moves away. Till there's\n no trace of her. Sam stands in the middle of the busy block\n holding Lucy to his chest, devastated.", "if they want to. I'm firm on this. And\n I'm getting firmer. Lucy belongs with\n me.", "Lucy nods. Elated, Randy makes room for her on the couch. \n But Lucy just reaches for the milk and muffin and heads up\n the stairs then turns back and speaks gently to Randy.", "Lucy away from her father's arms. Lucy bellowing as she\n pulls her down the hallway. Sam is frozen in incalculable\n pain.", "LUCY\n I thought you'd be proud of me. Jo Jo's\n mom told him to lie on the stand and say", "She undoes it quickly. Hands it back.\n\n LUCY\n I need to go to the bathroom.\n\n INT. BATHROOM - MOMENTS LATER", "this time Margaret avoids looking at her. Lucy runs to Rita\n and throws her arms around her waist.", "Lucy's feet dangle from under the stall. Margaret's sturdy\n shoes from under another. Suddenly, Lucy's head pops out and", "He shines the flashlight in Sam's face and we see INSIDE THE\n PLASTIC TUNNEL where LUCY SLEEPS PEACEFULLY on a bed of\n coats, holding a discarded stuffed animal.", "EXT. STREET - NIGHT\n\n Lucy in a blanket being carried by Sam toward Randy's house.\n\n INT. LUCY'S ROOM - NIGHT", "LUCY\n Tamara's Mommy lost her case and Tamara\n hasn't seen her in six years. She's had\n five different mommies and one of them\n hit her.", "A LONG SILENCE. She stares at Turner defiantly.\n\n LUCY\n \"All you need is love.\"", "SAM\n Lucy needs you.\n\n JUDGE MCNEILY\n Ms. Harrison. We need you!", "Sam and Lucy hold hands and look out the window. Sam sees\n Echo Park approaching and gets up. Lucy pulls him back to\n the seat. She looks Daddy in the eye and in a furtive\n whisper:" ], [ "LUCY\n In my bed at the Foster home.", "EXT. STREET - NIGHT\n\n Lucy in a blanket being carried by Sam toward Randy's house.\n\n INT. LUCY'S ROOM - NIGHT", "INT. LUCY'S BEDROOM - NIGHT\n\n It's bedtime. Sam and Lucy are reading from \"STELLALUNA\".", "Lucy away from her father's arms. Lucy bellowing as she\n pulls her down the hallway. Sam is frozen in incalculable\n pain.", "Lucy nods. Elated, Randy makes room for her on the couch. \n But Lucy just reaches for the milk and muffin and heads up\n the stairs then turns back and speaks gently to Randy.", "Until FINALLY, we see Lucy in her hammock at Randy's house\n looking out the windows, which have now been completely", "Lucy sits in a ball on the corner of the porch. Her eyes\n swollen from crying. Finally, she gets up and moves to the", "INT. SAM'S APARTMENT - NIGHT\n\n Sam's reading Lucy her homework book.\n\n SAM\n \"They perched in sisisi...\"", "Lucy's face hardens for the first time. In a corrupt world\n the pure can only stay pure for so long.\n\n INT. HAMBURGER HAMLET - EVENING", "Lucy sleeps cuddled close to Sam, who is wide awake, as he\n gazes out at the passing highway, far from home. We hear the\n song \"Michelle\".", "He shines the flashlight in Sam's face and we see INSIDE THE\n PLASTIC TUNNEL where LUCY SLEEPS PEACEFULLY on a bed of\n coats, holding a discarded stuffed animal.", "LUCY\n Tamara's Mommy lost her case and Tamara\n hasn't seen her in six years. She's had\n five different mommies and one of them\n hit her.", "INT. CLASSROOM - DAY\n\n Lucy draws a picture while everyone reads aloud from\n \"STELLALUNA\".", "only thing moving is the hands of a large wall clock in the\n background. Pained, Margaret reaches for Lucy.", "ball in Lucy's bare corner, bangs his head over and over\n again against the wall, overcome with grief.", "She exits. Lucy begins to CRY. Brad takes her - like a hot\n potato, Robert takes her - now Ifty runs around in circles.", "He tiptoes, his FIST raised victoriously - \"YES!\" He doesn't\n get two steps before Lucy wakes screaming. Defeated, he", "The more he screams the faster she moves away. Till there's\n no trace of her. Sam stands in the middle of the busy block\n holding Lucy to his chest, devastated.", "Lucy lies in her hammock, unable to sleep. Staring at the\n little origami bird on her window sill. She moves it, opens", "Lucy runs out of the class.\n\n EXT. BUS STOP - DUSK" ], [ "thing that can block you is if the\n foster family petitions to adopt. And\n from what I've heard, Lucy's making", "MARGARET BROWN\n It's too late! The foster family is\n petitioning the court for sole custody\n of Lucy and I fully support their\n request.", "RITA\n But don't you ever think it would be\n better for Lucy if she lived with a\n permanent foster family and you could\n visit whenever you wanted?", "SAM\n I won't let that happen.\n\n LUCY\n That's what her real mommy said. And\n now they won't even let her talk to her.", "if they want to. I'm firm on this. And\n I'm getting firmer. Lucy belongs with\n me.", "LUCY\n In my bed at the Foster home.", "SAM\n Lucy doesn't need me anymore. She has a\n new family. She doesn't need me\n anymore.", "INT. SOCIAL WORKERS ROOM - CONTINUOUS\n\n Lucy runs up to her father.\n\n LUCY\n Daddy, she said we could go to the park.", "Lucy nods. Elated, Randy makes room for her on the couch. \n But Lucy just reaches for the milk and muffin and heads up\n the stairs then turns back and speaks gently to Randy.", "LUCY\n What's the longest any one of those kids\n stayed with you?\n\n RANDY\n Megan stayed a little over a year.", "LUCY\n Tamara's Mommy lost her case and Tamara\n hasn't seen her in six years. She's had\n five different mommies and one of them\n hit her.", "Sam and Lucy hold hands and look out the window. Sam sees\n Echo Park approaching and gets up. Lucy pulls him back to\n the seat. She looks Daddy in the eye and in a furtive\n whisper:", "He holds the book open for Lucy. Now Lucy, pushing through a\n mountain of resistance, reads. And reads beautifully.\n\n LUCY\n \"Why are we different and so much\n alike?\"", "LUCY (CONT'D)\n I said I was sorry! I said I didn't\n want any Daddy but him! Why don't you\n write that down?!", "ANNIE (CONT'D)\n Lucy! Come back here! Come back!\n\n It becomes obvious Annie can't walk outside. Trembling:", "LUCY\n You gave him the wrong address! You're\n hiding me from him!\n\n As Randy reaches for her, Lucy pours black paint on her.", "EXT. STREET - NIGHT\n\n Lucy in a blanket being carried by Sam toward Randy's house.\n\n INT. LUCY'S ROOM - NIGHT", "Sam, Lucy by his side, has his foot in Annie's door.\n\n SAM\n Please, Annie! She's too big to take to\n work.", "LUCY (CONT'D)\n Are we winning, Daddy?\n\n Sam shoots ANOTHER look. He doesn't want to lie. Lucy\n catches the look between Sam and Margaret.", "Lucy's face hardens for the first time. In a corrupt world\n the pure can only stay pure for so long.\n\n INT. HAMBURGER HAMLET - EVENING" ], [ "The game heats up. Lucy's team gets the ball and is headed\n toward the goal. Sam is running right alongside them, so", "Suddenly Lucy becomes aware that her classmates are beginning\n to laugh. She slows and watches through their eyes Sam pony", "Lucy's face hardens for the first time. In a corrupt world\n the pure can only stay pure for so long.\n\n INT. HAMBURGER HAMLET - EVENING", "Lucy's bursting with confidence, plows toward the ball and\n NAILS IT! The ball goes flying. The parents in the stand\n are completely baffled! Sam is completely ecstatic!", "Until FINALLY, we see Lucy in her hammock at Randy's house\n looking out the windows, which have now been completely", "Lucy leaves the piano and toddles over to Annie's loom and\n plays with a ball yarn.\n\n VOICE (O.S.)\n Groceries, Annie.", "A glorious sunny day. Lucy and her team are in the middle of\n a fierce game. A foul is called when we hear -", "Lucy sits in a ball on the corner of the porch. Her eyes\n swollen from crying. Finally, she gets up and moves to the", "Lucy nods. Elated, Randy makes room for her on the couch. \n But Lucy just reaches for the milk and muffin and heads up\n the stairs then turns back and speaks gently to Randy.", "Lucy's feet dangle from under the stall. Margaret's sturdy\n shoes from under another. Suddenly, Lucy's head pops out and", "Lucy looks up at her dad proudly. The ball comes again. \n Nobody could miss this one. But Lucy does.", "Conner tenses up, alert under the pressure. Meanwhile, down\n at the other end, the ball heads toward Lucy. She kicks it! \n Hard. Right into her team's own goal. The crowd GROANS.", "She exits. Lucy begins to CRY. Brad takes her - like a hot\n potato, Robert takes her - now Ifty runs around in circles.", "Those same little shoes in the midst of a mass of black\n soccer cleats. We move up and see Lucy in the middle of a\n fierce kids soccer game.", "They both laugh, delighted. Lucy looks sleepy.\n\n MATCH DISSOLVE:\n\n Lucy is getting drowsy. Sam is just getting started.", "Sam turns and WE SEE LUCY attached to him in a handmade\n snugly, crocheted by Annie. She faces outward, all hands,", "She undoes it quickly. Hands it back.\n\n LUCY\n I need to go to the bathroom.\n\n INT. BATHROOM - MOMENTS LATER", "LUCY\n Thank you. Goodnight.\n\n RANDY\n (words caught in her throat)\n Goodnight, Lucy.", "Score's tied. The ball comes to Lucy. She kicks and misses. \n From the sidelines we hear:\n\n SAM\n Beautiful kick! Very close!", "They share a look - a moment of intense parental pride. Lucy\n and a kid named PHILLIP go after the ball." ], [ "Sam stares out the window at an unfamiliar neighborhood. On\n his lap, the pink box, now ripped, allowing us to see Lucy's", "Sam nods nervously and waves. With that she begins.\n\n INT. SAM'S APARTMENT - NIGHT", "Randy and BILL, her husband, watch as Sam turns and walks\n purposely down the walkway - his houseslippers scuffling on\n the quiet street.", "Sam and Lucy hold hands and look out the window. Sam sees\n Echo Park approaching and gets up. Lucy pulls him back to\n the seat. She looks Daddy in the eye and in a furtive\n whisper:", "SAM\n This is it.\n\n GERTIE\n What's her name?", "down the stares to Sam. Thrilled, Sam opens his arms to her. \n She leaps into them and begins slugging his chest with pent\n up fury.", "Suddenly before she knows it, she is HOLDING SAM. The room\n charged. She speaks tenderly, moved by this awkward boy/man.", "Suddenly Lucy becomes aware that her classmates are beginning\n to laugh. She slows and watches through their eyes Sam pony", "Conner slouches against the fence as his father walks away. \n Seeing this, Sam whispers to Lucy.\n\n INT. SAM'S APARTMENT - AFTERNOON", "SAM\n Sam. I am Sam.\n\n Rita looks at Sam as she bounds up the fourth floor.", "The camera moves along and stops on the long seat at the\n back. Sam lies with Lucy spooned into the crook of his arm,\n almost asleep.", "Sam stands along with others in the courtroom. The Judge\n enters and sits. Everyone else sits now, too. Except Sam. \n Who continues to stand until Rita pulls him down. Now we\n see:", "SAM\n Them first, then me. They're a nice\n couple. They have a nice house. She's", "He looks out his window and sees ANNIE CASSELL, his neighbor\n on the phone, watching him through her window. She is a\n strange creature with very thick glasses. We sense a\n uniquely profound intelligence behind all that armor.", "SAM\n No. Not Mr. Whitehead. Not him.\n\n TURNER\n Then who?\n\n SAM\n Myself.", "We see Sam sleeping in bed. There's a KNOCK at the door. \n Sam wakes with a start, throws down the covers.", "Rebecca. Rebecca shakes her head - NOT NOW. Gertie walks\n over to Sam.", "Rita heads towards Sam. Up close, he looks even worse.", "She looks at him as if he's from Mars. Rita, now outside her\n office, watches Sam now inside the office.", "INT. SAM'S BEDROOM - CONTINUOUS" ], [ "Suddenly Lucy becomes aware that her classmates are beginning\n to laugh. She slows and watches through their eyes Sam pony", "Lucy's feet dangle from under the stall. Margaret's sturdy\n shoes from under another. Suddenly, Lucy's head pops out and", "He holds the book open for Lucy. Now Lucy, pushing through a\n mountain of resistance, reads. And reads beautifully.\n\n LUCY\n \"Why are we different and so much\n alike?\"", "INT. CLASSROOM - DAY\n\n Lucy draws a picture while everyone reads aloud from\n \"STELLALUNA\".", "LUCY\n You're not like the other daddies.\n\n SAM\n I'm not am I. I'm sorry.", "LUCY\n Kids lie all the time.\n\n Next to her skirt, we see her fingers are crossed so hard\n they're practically turning purple.", "Lucy nods. Elated, Randy makes room for her on the couch. \n But Lucy just reaches for the milk and muffin and heads up\n the stairs then turns back and speaks gently to Randy.", "Lucy leaves the piano and toddles over to Annie's loom and\n plays with a ball yarn.\n\n VOICE (O.S.)\n Groceries, Annie.", "Lucy's face hardens for the first time. In a corrupt world\n the pure can only stay pure for so long.\n\n INT. HAMBURGER HAMLET - EVENING", "She exits. Lucy begins to CRY. Brad takes her - like a hot\n potato, Robert takes her - now Ifty runs around in circles.", "if they want to. I'm firm on this. And\n I'm getting firmer. Lucy belongs with\n me.", "Phillip steps in front of Lucy and shoves her as hard as he\n can. Sam blows his whistle repeatedly and races over.", "LUCY\n Tamara's Mommy lost her case and Tamara\n hasn't seen her in six years. She's had\n five different mommies and one of them\n hit her.", "this time Margaret avoids looking at her. Lucy runs to Rita\n and throws her arms around her waist.", "Lucy away from her father's arms. Lucy bellowing as she\n pulls her down the hallway. Sam is frozen in incalculable\n pain.", "LUCY\n Annie let me borrow it.\n\n INT. CHILDREN'S SHOE STORE - DAY", "LUCY\n He told me.\n\n CONNER\n But he's a retard.", "LUCY\n It's okay, Dad. I don't really like\n them.\n\n SAM\n No, no no no no.", "Sam shoots a look at Margaret. He hasn't heard anything nice\n about himself in so long. Lucy looks into her father's eyes.", "Sam turns and WE SEE LUCY attached to him in a handmade\n snugly, crocheted by Annie. She faces outward, all hands," ], [ "INT. COURTROOM - LATER\n\n Sam, on the stand, talks a mile a minute from the coffee.", "SAM\n No no no. I'm the lucky one. I have\n the lawyer that never loses.", "SAM\n You're my lawyer and you think what they\n think. I don't have a chance. No\n chance at all. Even with an expert\n witness.", "The court is riveted by Sam's eloquence. Rita's amazed.\n\n SAM (CONT'D)\n It has to do with love, like she says...", "Rita starts to scribble notes furiously. So does Sam. \n Turner smugly sits down. Rita confidently strides toward the\n witness.", "SAM\n The Social Worker said it's a custody\n case.\n\n ROBERT\n Then get a divorce lawyer.", "Sam stands along with others in the courtroom. The Judge\n enters and sits. Everyone else sits now, too. Except Sam. \n Who continues to stand until Rita pulls him down. Now we\n see:", "Walking a hundred miles an hour, Sam barrels down the street\n out of his mind. Cars are jammed up. He walks over them, a\n man possessed.\n\n INT. COURTROOM - DAY", "ON SAM\n\n Reeling, devastated, we HEAR A JUDGE speaking:", "RITA\n Hello, Sam. Mr. Dawson. Sam. Dawson.\n\n SAM\n Hello, lawyer.", "down the stares to Sam. Thrilled, Sam opens his arms to her. \n She leaps into them and begins slugging his chest with pent\n up fury.", "SAM\n Yes.\n\n TURNER\n Was that a \"yes?\"\n\n RITA\n Objection.", "ON RITA\n\n Anguished. Watching Sam unravel as he stands up and starts\n walking around in a circle in the witness box.", "Sam walks toward the courtroom when we see Rita approaching\n from the other end of the hall. They both slow down when\n they see each other. Rita unconsciously fixes her hair. Sam\n adjusts his tie.", "Suddenly before she knows it, she is HOLDING SAM. The room\n charged. She speaks tenderly, moved by this awkward boy/man.", "RITA\n Okay okay okay okay. Well, Sam has his\n big day on the stand tomorrow and we\n need to work a little bit so that he's\n as effective as you were.", "SAM\n Yes he does. He does he does. He\n thinks you don't want to.", "SAM\n No. Not Mr. Whitehead. Not him.\n\n TURNER\n Then who?\n\n SAM\n Myself.", "RITA\n It doesn't matter what I think - it\n matters that we win.\n\n SAM\n You're my lawyer it matters what you\n think.", "A Century City lawyer spins in front of our eyes. It's SAM'S\n POV as he sits in a chair that spins - in the center of RITA" ], [ "The court is riveted by Sam's eloquence. Rita's amazed.\n\n SAM (CONT'D)\n It has to do with love, like she says...", "RITA\n It doesn't matter what I think - it\n matters that we win.\n\n SAM\n You're my lawyer it matters what you\n think.", "ON RITA AND SAM\n\n This is too good to be true.", "RITA\n No, it's a case. Sort of a pro-bono\n thing.\n\n Her assistant Patricia clears her throat.", "Sam stands along with others in the courtroom. The Judge\n enters and sits. Everyone else sits now, too. Except Sam. \n Who continues to stand until Rita pulls him down. Now we\n see:", "RITA\n Hey, it doesn't matter to them what I\n think.\n\n SAM\n Me. It matters to me.", "SAM\n Yes.\n\n TURNER\n Was that a \"yes?\"\n\n RITA\n Objection.", "For a moment, Rita's mask drops and her fear for Sam\n overwhelms her.\n\n RITA\n Absolutely.", "RITA\n Okay okay okay okay. Well, Sam has his\n big day on the stand tomorrow and we\n need to work a little bit so that he's\n as effective as you were.", "SAM\n I said no, Rita.\n\n RITA\n I know, but if you -", "RITA\n Is that what she said?\n\n SAM\n She didn't have to say it. I may be\n stupid, but I know. I know.", "Rita heads towards Sam. Up close, he looks even worse.", "SAM\n In some ways. But in other ways, she's\n not, I think.\n\n RITA\n You think?", "Rita starts to scribble notes furiously. So does Sam. \n Turner smugly sits down. Rita confidently strides toward the\n witness.", "RITA\n (entering)\n Nice place. I worry. I worry\n sometimes...\n\n SAM\n You worry you did the wrong thing?", "RITA\n (oddly touched)\n Thank you, Sam.\n\n SAM\n You need to leave your husband.", "ON RITA AND SAM\n\n What is she doing?", "She's very aware of Sam. He looks away, over compensating\n obviously. Throughout the scene, Rita's hair falls in her\n eyes. She attempts to put it in place.", "RITA (CONT'D)\n Sam. Sam come with me.\n (to the Couple)", "SAM\n I know and I want you to object.\n\n RITA\n Sam I can't object. It's court ordered." ], [ "SAM\n No no no. I'm the lucky one. I have\n the lawyer that never loses.", "INT. COURTROOM - LATER\n\n Sam, on the stand, talks a mile a minute from the coffee.", "SAM\n The Social Worker said it's a custody\n case.\n\n ROBERT\n Then get a divorce lawyer.", "Sam stands along with others in the courtroom. The Judge\n enters and sits. Everyone else sits now, too. Except Sam. \n Who continues to stand until Rita pulls him down. Now we\n see:", "Walking a hundred miles an hour, Sam barrels down the street\n out of his mind. Cars are jammed up. He walks over them, a\n man possessed.\n\n INT. COURTROOM - DAY", "SAM\n You're my lawyer and you think what they\n think. I don't have a chance. No\n chance at all. Even with an expert\n witness.", "RITA\n Hello, Sam. Mr. Dawson. Sam. Dawson.\n\n SAM\n Hello, lawyer.", "The court is riveted by Sam's eloquence. Rita's amazed.\n\n SAM (CONT'D)\n It has to do with love, like she says...", "A Century City lawyer spins in front of our eyes. It's SAM'S\n POV as he sits in a chair that spins - in the center of RITA", "Sam walks toward the courtroom when we see Rita approaching\n from the other end of the hall. They both slow down when\n they see each other. Rita unconsciously fixes her hair. Sam\n adjusts his tie.", "Rita starts to scribble notes furiously. So does Sam. \n Turner smugly sits down. Rita confidently strides toward the\n witness.", "down the stares to Sam. Thrilled, Sam opens his arms to her. \n She leaps into them and begins slugging his chest with pent\n up fury.", "SAM\n Yes.\n\n TURNER\n Was that a \"yes?\"\n\n RITA\n Objection.", "ON SAM\n\n Reeling, devastated, we HEAR A JUDGE speaking:", "SAM\n Words, words, words. I need more than\n that. I need to pay my lawyer. I need\n to make coffee.", "SAM\n Yes he does. He does he does. He\n thinks you don't want to.", "The Judge watches Sam, sad and stunned. The verdict is\n obvious. Sam has passed judgement on himself.\n\n EXT. CHILD AND FAMILY PROTECTIVE SERVICES - HALLWAY", "Suddenly before she knows it, she is HOLDING SAM. The room\n charged. She speaks tenderly, moved by this awkward boy/man.", "RITA\n It doesn't matter what I think - it\n matters that we win.\n\n SAM\n You're my lawyer it matters what you\n think.", "SAM\n No. Not Mr. Whitehead. Not him.\n\n TURNER\n Then who?\n\n SAM\n Myself." ], [ "INT. COURTROOM - LATER\n\n Sam, on the stand, talks a mile a minute from the coffee.", "ON RITA\n\n Anguished. Watching Sam unravel as he stands up and starts\n walking around in a circle in the witness box.", "Sam stands along with others in the courtroom. The Judge\n enters and sits. Everyone else sits now, too. Except Sam. \n Who continues to stand until Rita pulls him down. Now we\n see:", "The Judge watches Sam, sad and stunned. The verdict is\n obvious. Sam has passed judgement on himself.\n\n EXT. CHILD AND FAMILY PROTECTIVE SERVICES - HALLWAY", "The court is riveted by Sam's eloquence. Rita's amazed.\n\n SAM (CONT'D)\n It has to do with love, like she says...", "ON SAM\n\n Reeling, devastated, we HEAR A JUDGE speaking:", "Walking a hundred miles an hour, Sam barrels down the street\n out of his mind. Cars are jammed up. He walks over them, a\n man possessed.\n\n INT. COURTROOM - DAY", "down the stares to Sam. Thrilled, Sam opens his arms to her. \n She leaps into them and begins slugging his chest with pent\n up fury.", "SAM\n (in unbearable pain)\n Maybe. Maybe everybody's right.\n\n ON TURNER\n\n There. He got it.", "Suddenly before she knows it, she is HOLDING SAM. The room\n charged. She speaks tenderly, moved by this awkward boy/man.", "Sitting, hopeful on the bench. She searches Sam's face for\n the verdict. The minute she sees sorrow in his eyes, she\n knows. She runs to him, gluing herself to his chest.", "Sam and Rita go down the cafeteria line.\n\n SAM\n You made her cry.\n\n RITA\n You got lucky.", "Sweat pours down Sam's coffee stained collar. He searches\n for words. Then from the clearest place inside himself:", "Turner's saying, Sam looks out at the faces in the courtroom. \n Rita, stunned and incredulous; Turner and his associate", "Lucy away from her father's arms. Lucy bellowing as she\n pulls her down the hallway. Sam is frozen in incalculable\n pain.", "Rita starts to scribble notes furiously. So does Sam. \n Turner smugly sits down. Rita confidently strides toward the\n witness.", "Sam, broken, walks down the long hallway with Rita toward\n Margaret Brown's office. Suddenly, Rita stops as she and Sam\n both see -\n\n LUCY", "SAM\n Randy! If I tell you I can't do it\n alone, will you tell the judge?\n\n RANDY\n (turns gently)\n No.", "The more he screams the faster she moves away. Till there's\n no trace of her. Sam stands in the middle of the busy block\n holding Lucy to his chest, devastated.", "SAM\n Yes.\n\n TURNER\n Was that a \"yes?\"\n\n RITA\n Objection." ], [ "LUCY\n In my bed at the Foster home.", "EXT. STREET - NIGHT\n\n Lucy in a blanket being carried by Sam toward Randy's house.\n\n INT. LUCY'S ROOM - NIGHT", "MARGARET BROWN\n It's too late! The foster family is\n petitioning the court for sole custody\n of Lucy and I fully support their\n request.", "Lucy nods. Elated, Randy makes room for her on the couch. \n But Lucy just reaches for the milk and muffin and heads up\n the stairs then turns back and speaks gently to Randy.", "RITA\n But don't you ever think it would be\n better for Lucy if she lived with a\n permanent foster family and you could\n visit whenever you wanted?", "Until FINALLY, we see Lucy in her hammock at Randy's house\n looking out the windows, which have now been completely", "LUCY\n What's the longest any one of those kids\n stayed with you?\n\n RANDY\n Megan stayed a little over a year.", "thing that can block you is if the\n foster family petitions to adopt. And\n from what I've heard, Lucy's making", "LUCY\n Tamara's Mommy lost her case and Tamara\n hasn't seen her in six years. She's had\n five different mommies and one of them\n hit her.", "Lucy away from her father's arms. Lucy bellowing as she\n pulls her down the hallway. Sam is frozen in incalculable\n pain.", "LUCY\n You're going to send me away now, aren't\n you?\n\n RANDY\n (tenderly)\n No.", "INT. SOCIAL WORKERS ROOM - CONTINUOUS\n\n Lucy runs up to her father.\n\n LUCY\n Daddy, she said we could go to the park.", "if they want to. I'm firm on this. And\n I'm getting firmer. Lucy belongs with\n me.", "LUCY\n You gave him the wrong address! You're\n hiding me from him!\n\n As Randy reaches for her, Lucy pours black paint on her.", "Lucy's face hardens for the first time. In a corrupt world\n the pure can only stay pure for so long.\n\n INT. HAMBURGER HAMLET - EVENING", "SAM\n I won't let that happen.\n\n LUCY\n That's what her real mommy said. And\n now they won't even let her talk to her.", "She exits. Lucy begins to CRY. Brad takes her - like a hot\n potato, Robert takes her - now Ifty runs around in circles.", "Suddenly Lucy becomes aware that her classmates are beginning\n to laugh. She slows and watches through their eyes Sam pony", "great on Lucy. Who I'm sure you bought\n it for. Furthermore, so that...there\n will be more room for Lucy as she grows\n up.", "Humiliated, Lucy RUNS AWAY! The Social Worker watches,\n profoundly concerned, and reaches for her cellular phone.\n\n EXT. WALMART - DAY" ], [ "LUCY\n In my bed at the Foster home.", "Lucy runs out of the class.\n\n EXT. BUS STOP - DUSK", "EXT. STREET - NIGHT\n\n Lucy in a blanket being carried by Sam toward Randy's house.\n\n INT. LUCY'S ROOM - NIGHT", "Lucy away from her father's arms. Lucy bellowing as she\n pulls her down the hallway. Sam is frozen in incalculable\n pain.", "The more he screams the faster she moves away. Till there's\n no trace of her. Sam stands in the middle of the busy block\n holding Lucy to his chest, devastated.", "Humiliated, Lucy RUNS AWAY! The Social Worker watches,\n profoundly concerned, and reaches for her cellular phone.\n\n EXT. WALMART - DAY", "Lucy nods. Elated, Randy makes room for her on the couch. \n But Lucy just reaches for the milk and muffin and heads up\n the stairs then turns back and speaks gently to Randy.", "Lucy sleeps cuddled close to Sam, who is wide awake, as he\n gazes out at the passing highway, far from home. We hear the\n song \"Michelle\".", "Lucy sits in a ball on the corner of the porch. Her eyes\n swollen from crying. Finally, she gets up and moves to the", "MARGARET BROWN\n It's too late! The foster family is\n petitioning the court for sole custody\n of Lucy and I fully support their\n request.", "ANNIE (CONT'D)\n Lucy! Come back here! Come back!\n\n It becomes obvious Annie can't walk outside. Trembling:", "if they want to. I'm firm on this. And\n I'm getting firmer. Lucy belongs with\n me.", "Lucy's face hardens for the first time. In a corrupt world\n the pure can only stay pure for so long.\n\n INT. HAMBURGER HAMLET - EVENING", "INT. LUCY'S BEDROOM - NIGHT\n\n It's bedtime. Sam and Lucy are reading from \"STELLALUNA\".", "She exits. Lucy begins to CRY. Brad takes her - like a hot\n potato, Robert takes her - now Ifty runs around in circles.", "LUCY\n Tamara's Mommy lost her case and Tamara\n hasn't seen her in six years. She's had\n five different mommies and one of them\n hit her.", "LUCY\n You gave him the wrong address! You're\n hiding me from him!\n\n As Randy reaches for her, Lucy pours black paint on her.", "thing that can block you is if the\n foster family petitions to adopt. And\n from what I've heard, Lucy's making", "has an exaggerated sense of\n responsibility. Lucy feels she has to\n take care of her father. Although at\n her birthday party her true feelings", "Sam and Lucy hold hands and look out the window. Sam sees\n Echo Park approaching and gets up. Lucy pulls him back to\n the seat. She looks Daddy in the eye and in a furtive\n whisper:" ], [ "RITA\n (oddly touched)\n Thank you, Sam.\n\n SAM\n You need to leave your husband.", "RITA\n (her armor up again)\n Oh, my marriage isn't so bad.", "ON RITA AND SAM\n\n This is too good to be true.", "RITA (CONT'D)\n Mr. Dawson, what I'm trying to say is\n I'm a divorce lawyer and as much as I'd", "By this time he is face to face with Rita, breathing hard,\n overcome with emotion. Rita is unexpectedly near tears.", "RITA (CONT'D)\n Goddamn it, Danny!", "INT. RITA'S LIBRARY - TWO HOURS LATER\n\n Rita is relentless. Sam is exhausted but determined.", "RITA\n My husband left this when he moved out.\n\n SAM\n Oh, lovely Rita, meter maid.", "INT. RITA'S OFFICE - DAY\n\n We hear sobbing and see Rita sitting across from a very rich,\n very angry COUPLE. Rita's foot is twitching furiously.", "RITA\n Is that what she said?\n\n SAM\n She didn't have to say it. I may be\n stupid, but I know. I know.", "RITA (CONT'D)\n Sam. Sam come with me.\n (to the Couple)", "Rita comes around to the front and straightens and tightens\n the tie. They are both nervous. The room is charged.", "RITA (CONT'D)\n What's that supposed to mean?\n\n PATRICIA\n Nothing. A cracker went down the wrong\n pipe.", "RITA\n (ignoring him)\n We've gone over this a million times. \n You've found a free tutoring service for\n her at the YMCA.", "Rita looks at the Couple leaving her office.\n\n INT. RITA'S PORSCHE - DAY", "Rita, aching from a place she thought she buried long ago,\n shakes her head, NO. Now, Margaret literally has to wrench", "The court is riveted by Sam's eloquence. Rita's amazed.\n\n SAM (CONT'D)\n It has to do with love, like she says...", "RITA\n (both approach)\n And I suppose tearing apart a family is\n truly noble work, Mr. Turner.", "RITA\n Sam, it's Rita. Can I come in?\n\n SAM\n No room. No room.", "RITA (CONT'D)\n Sonuvabitch!\n\t\t\t\t\t \n INT. ANNIE'S APARTMENT - EVENING" ], [ "Randy nods and hands the sleeping Lucy into Sam's strong\n arms. For a moment they BOTH HOLD LUCY between them in the\n most unique embrace. Randy finally lets go and struggles to\n say goodbye.", "Randy walks away. Stunned, Sam watches her, holding Lucy in\n his arms. Then, from a very brave place:", "SAM\n Randy! If I tell you I can't do it\n alone, will you tell the judge?\n\n RANDY\n (turns gently)\n No.", "Sam looks at Randy with profound compassion.", "SAM\n Promise?\n\n RANDY\n Promise...", "RANDY\n You're early.\n\n SAM\n All the lights were green.", "Sam stands along with others in the courtroom. The Judge\n enters and sits. Everyone else sits now, too. Except Sam. \n Who continues to stand until Rita pulls him down. Now we\n see:", "Randy and BILL, her husband, watch as Sam turns and walks\n purposely down the walkway - his houseslippers scuffling on\n the quiet street.", "RANDY\n What are you doing here?\n\n SAM\n I live here. This is where I live.", "Sam and Rita go down the cafeteria line.\n\n SAM\n You made her cry.\n\n RITA\n You got lucky.", "EXT. STREET - NIGHT\n\n Lucy in a blanket being carried by Sam toward Randy's house.\n\n INT. LUCY'S ROOM - NIGHT", "We see that he's wearing the Armani suit. Sam opens the door\n to see Randy standing there, holding a sleeping Lucy in her\n arms.", "SAM\n Lucy's was Paul.\n\t\t\t\t\t \n INT. RANDY AND BILL'S BEDROOM - 2 A.M.", "Lucy sits on the steps. Randy sits right next to her.\n\n BACK ON SAM", "Sam, in his pajamas, holds a sleeping Lucy in his arms. He\n turns a corner and heads up the walkway to Randy's house. He", "SAM\n I've got it.\n\n Long pause. Rita slowly eats her pie.", "Sam leaps to his feet.\n\n SAM\n Oh boy! Thank you, George!\n\n Rita pulls him down. Turner seizes the moment.", "Lucy and Sam walk back down the street to Randy's house.\n\n EXT. SAM'S WINDOW - NIGHT\n\n Lucy lugs encyclopedias to Sam's windowsill.", "down the stares to Sam. Thrilled, Sam opens his arms to her. \n She leaps into them and begins slugging his chest with pent\n up fury.", "SAM\n Yes.\n\n TURNER\n Was that a \"yes?\"\n\n RITA\n Objection." ] ]

[ "Why does Sam break down at the trial?", "Who does Lucy live with at the end of the trial?", "Who agrees to take Sam's case pro bono?", "What does Sam do every time Lucy runs away from the foster home and goes to Sam's?", "Who does Sam get to take care of Lucy when he cannot?", "What arrangement allows Lucy to return to Sam?", "Who is the referee at Lucy's soccer game?", "What relationship does Sam encourage Rita to repair?", "What does Sam and Rita work to do?", "What is Sam's disability?", "Who is Lucy?", "What issue does Sam's neighbor Annie have?", "What happens to Lucy that begins worrying others?", "Who is Rita Harrison?", "Why does Sam encourage Rita to leave her husband?", "What happens to Lucy after the trial?", "What does Lucy do every night in her foster home?", "Why does the foster family decide not to adopt Lucy?", "Which sport does Lucy play at the end of the story?", "What is the name of Sam's neighbour?", "Why do other children tease Lucy?", "On whose advice does Sam approach a lawyer?", "Why does Rita agree to take Sam's case?", "Why does Sam approach a lawyer?", "Why does Sam break down during the trial?", "To whose house is Lucy sent for foster care?", "Why does Lucy escape from her foster home in the middle of the night?", "What happens to Rita's marriage at the end?", "What arrangement did Sam and Randy agree upon at the end?" ]

[ [ "The opposing counsel convinces him that he is incapable of being a good father.", "He is convinced by opposing counsel that he is unfit to be a dad." ], [ "Randy Carpenter", "Foster home with Randy Carpenter" ], [ "Rita Harrison", "Rita Harrison." ], [ "He returns her to the foster home.", "He returns her to the foster home." ], [ "Annie", "Randy" ], [ "Randy agrees to help raise her.", "randy will help him raise her" ], [ "Sam", "Sam" ], [ "He encourages Rita to repair her relationship with her son.", "Her relationship with her son." ], [ "They work to secure Sam's parental rights.", "Secure his parental rights." ], [ "He has a developmental disability.", "developmental" ], [ "Sam's young daughter", "Sam's daughter" ], [ "She is agoraphobic.", "she's agoraphobic" ], [ "She advances Sam intellectually.", "she surpasses her father in mentail ability" ], [ "A big shot lawyer who takes Sam's case pro bono to help him retain his parental rights.", "Sam's lawyer" ], [ "He cheats on her.", "hes a philanderer and she never feels good enough" ], [ "She's placed in a foster home.", "She is sent to a foster home" ], [ "Breaks out and returns home to Sam", "Runs away to Sam's apartment." ], [ "They want to help Sam raise her instead.", "They decide to return he to Sam" ], [ "Soccer.", "soccer" ], [ "Annie", "Annie" ], [ "Because Lucy's father is a retard", "Because her father is \"retarded.\"" ], [ "On his friend's advice", "His friends" ], [ "Rita agrees to take Sam's case to prove it to others that she is not cold and heartless.", "to prove she is not heartless" ], [ "To secure his parental rights over Lucy.", "advice of friends" ], [ "Sam breaks down as the opposing counsel proves that he is not capable of taking care of Lucy.", "Counsel convinces him he can not be a father" ], [ "Randy Carpenter", "Randy Carpenter." ], [ "Lucy escapes from her foster home to go meet Sam.", "To go to Sam's apartment" ], [ "Rita divorces her husband", "Rita is single" ], [ "Sam agreed to have Randy help him raise Lucy.", "Lucy can stay with Sam, but Randy will help him raise her." ] ]

[ [ "DUKE, living in exile\n FREDERICK, his brother, and usurper of his dominions", "FREDERICK. Thus do all traitors;\n If their purgation did consist in words,\n They are as innocent as grace itself.\n Let it suffice thee that I trust thee not.", "FREDERICK. More villain thou. Well, push him out of doors;\n And let my officers of such a nature\n Make an extent upon his house and lands.\n Do this expediently, and turn him going. Exeunt", "FREDERICK. I would thou hadst been son to some man else.\n The world esteem'd thy father honourable,\n But I did find him still mine enemy.", "FREDERICK. Can it be possible that no man saw them?\n It cannot be; some villains of my court\n Are of consent and sufferance in this.", "FREDERICK. She is too subtle for thee; and her smoothness,\n Her very silence and her patience,\n Speak to the people, and they pity her.", "FREDERICK. You are a fool. You, niece, provide yourself.\n If you outstay the time, upon mine honour,", "ACT III. SCENE I.\n\nThe palace\n\nEnter DUKE FREDERICK, OLIVER, and LORDS", "FREDERICK. You shall try but one fall.\n\n CHARLES. No, I warrant your Grace, you shall not entreat him to a\n second, that have so mightily persuaded him from a first.", "FREDERICK. Not see him since! Sir, sir, that cannot be.\n But were I not the better part made mercy,", "The body of the country, city, court,\n Yea, and of this our life; swearing that we\n Are mere usurpers, tyrants, and what's worse,", "FREDERICK. You will take little delight in it, I can tell you,", "FREDERICK. How now, daughter and cousin! Are you crept hither to\n see the wrestling?\n\n ROSALIND. Ay, my liege; so please you give us leave.", "CELIA. Dear sovereign, hear me speak.\n\n FREDERICK. Ay, Celia; we stay'd her for your sake,\n Else had she with her father rang'd along.", "FREDERICK. Send to his brother; fetch that gallant hither.\n If he be absent, bring his brother to me;", "LE BEAU. He cannot speak, my lord.\n\n FREDERICK. Bear him away. What is thy name, young man?", "ORLANDO. Yes, I beseech your Grace; I am not yet well breath'd.\n\n FREDERICK. How dost thou, Charles?", "FREDERICK. Come on; since the youth will not be entreated, his own\n peril on his forwardness.\n\n ROSALIND. Is yonder the man?", "Charles, it is the stubbornest young fellow of France; full of\n ambition, an envious emulator of every man's good parts, a secret\n and villainous contriver against me his natural brother.", "Enter DUKE FREDERICK, with LORDS" ], [ "FREDERICK. More villain thou. Well, push him out of doors;\n And let my officers of such a nature\n Make an extent upon his house and lands.\n Do this expediently, and turn him going. Exeunt", "FREDERICK. Thus do all traitors;\n If their purgation did consist in words,\n They are as innocent as grace itself.\n Let it suffice thee that I trust thee not.", "FREDERICK. Can it be possible that no man saw them?\n It cannot be; some villains of my court\n Are of consent and sufferance in this.", "DUKE, living in exile\n FREDERICK, his brother, and usurper of his dominions", "FREDERICK. She is too subtle for thee; and her smoothness,\n Her very silence and her patience,\n Speak to the people, and they pity her.", "FREDERICK. You are a fool. You, niece, provide yourself.\n If you outstay the time, upon mine honour,", "FREDERICK. I would thou hadst been son to some man else.\n The world esteem'd thy father honourable,\n But I did find him still mine enemy.", "FREDERICK. You shall try but one fall.\n\n CHARLES. No, I warrant your Grace, you shall not entreat him to a\n second, that have so mightily persuaded him from a first.", "FREDERICK. You will take little delight in it, I can tell you,", "Than doth your brother that hath banish'd you.\n To-day my Lord of Amiens and myself\n Did steal behind him as he lay along", "CHARLES. There's no news at the court, sir, but the old news; that\n is, the old Duke is banished by his younger brother the new Duke;", "FREDERICK. Not see him since! Sir, sir, that cannot be.\n But were I not the better part made mercy,", "LE BEAU. He cannot speak, my lord.\n\n FREDERICK. Bear him away. What is thy name, young man?", "CELIA. With his eyes full of anger.\n\n FREDERICK. Mistress, dispatch you with your safest haste,\n And get you from our court.", "To liberty, and not to banishment. Exeunt", "ACT III. SCENE I.\n\nThe palace\n\nEnter DUKE FREDERICK, OLIVER, and LORDS", "and three or four loving lords have put themselves into voluntary\n exile with him, whose lands and revenues enrich the new Duke;\n therefore he gives them good leave to wander.", "FREDERICK. Send to his brother; fetch that gallant hither.\n If he be absent, bring his brother to me;", "CELIA. Dear sovereign, hear me speak.\n\n FREDERICK. Ay, Celia; we stay'd her for your sake,\n Else had she with her father rang'd along.", "CELIA. If I had a thunderbolt in mine eye, I can tell who should\n down.\n [CHARLES is thrown. Shout]\n\n FREDERICK. No more, no more." ], [ "DUKE, living in exile\n FREDERICK, his brother, and usurper of his dominions", "FREDERICK. Send to his brother; fetch that gallant hither.\n If he be absent, bring his brother to me;", "LE BEAU. He cannot speak, my lord.\n\n FREDERICK. Bear him away. What is thy name, young man?", "FREDERICK. You will take little delight in it, I can tell you,", "Charles, it is the stubbornest young fellow of France; full of\n ambition, an envious emulator of every man's good parts, a secret\n and villainous contriver against me his natural brother.", "FREDERICK. You are a fool. You, niece, provide yourself.\n If you outstay the time, upon mine honour,", "FREDERICK. You shall try but one fall.\n\n CHARLES. No, I warrant your Grace, you shall not entreat him to a\n second, that have so mightily persuaded him from a first.", "FREDERICK. She is too subtle for thee; and her smoothness,\n Her very silence and her patience,\n Speak to the people, and they pity her.", "FREDERICK. More villain thou. Well, push him out of doors;\n And let my officers of such a nature\n Make an extent upon his house and lands.\n Do this expediently, and turn him going. Exeunt", "FREDERICK. Thus do all traitors;\n If their purgation did consist in words,\n They are as innocent as grace itself.\n Let it suffice thee that I trust thee not.", "ORLANDO. Yes, I beseech your Grace; I am not yet well breath'd.\n\n FREDERICK. How dost thou, Charles?", "FREDERICK. Can it be possible that no man saw them?\n It cannot be; some villains of my court\n Are of consent and sufferance in this.", "ORLANDO. I am more proud to be Sir Rowland's son,\n His youngest son- and would not change that calling\n To be adopted heir to Frederick.", "This seen, Orlando did approach the man,\n And found it was his brother, his elder brother.", "ACT III. SCENE I.\n\nThe palace\n\nEnter DUKE FREDERICK, OLIVER, and LORDS", "FREDERICK. I would thou hadst been son to some man else.\n The world esteem'd thy father honourable,\n But I did find him still mine enemy.", "FREDERICK. Not see him since! Sir, sir, that cannot be.\n But were I not the better part made mercy,", "charged my brother, on his blessing, to breed me well; and there\n begins my sadness. My brother Jaques he keeps at school, and\n report speaks goldenly of his profit. For my part, he keeps me", "Address'd a mighty power; which were on foot,\n In his own conduct, purposely to take\n His brother here, and put him to the sword;", "CHARLES, wrestler to Frederick\n OLIVER, son of Sir Rowland de Boys\n JAQUES, \" \" \" \" \" \"" ], [ "DUKE SENIOR. If there be truth in sight, you are my daughter.\n\n ORLANDO. If there be truth in sight, you are my Rosalind.", "SCENE IV.\n\nThe forest\n\nEnter DUKE SENIOR, AMIENS, JAQUES, ORLANDO, OLIVER, and CELIA", "DUKE SENIOR. That would I, had I kingdoms to give with her.\n\n ROSALIND. And you say you will have her when I bring her?", "DUKE SENIOR. I do remember in this shepherd boy\n Some lively touches of my daughter's favour.", "ACT II. SCENE I.\n\nThe Forest of Arden\n\nEnter DUKE SENIOR, AMIENS, and two or three LORDS, like foresters", "CELIA. Prithee, who is't that thou mean'st?\n\n TOUCHSTONE. One that old Frederick, your father, loves.", "FREDERICK. How now, daughter and cousin! Are you crept hither to\n see the wrestling?\n\n ROSALIND. Ay, my liege; so please you give us leave.", "ROSALIND. The Duke my father lov'd his father dearly.", "DUKE SENIOR. Go find him out.\n And we will nothing waste till you return.\n\n ORLANDO. I thank ye; and be blest for your good comfort!\n Exit", "SCENE II.\n\nA lawn before the DUKE'S palace\n\nEnter ROSALIND and CELIA", "SCENE IV.\n\nThe Forest of Arden\n\nEnter ROSALIND for GANYMEDE, CELIA for ALIENA, and CLOWN alias TOUCHSTONE", "ORLANDO. Where dwell you, pretty youth?\n\n ROSALIND. With this shepherdess, my sister; here in the skirts of\n the forest, like fringe upon a petticoat.", "ROSALIND. I have promis'd to make all this matter even.\n Keep you your word, O Duke, to give your daughter;", "SCENE VII.\n\nThe forest\n\nA table set out. Enter DUKE SENIOR, AMIENS, and LORDS, like outlaws", "DUKE SENIOR. O my dear niece, welcome thou art to me!\n Even daughter, welcome in no less degree.", "ROSALIND. [To DUKE] To you I give myself, for I am yours.\n [To ORLANDO] To you I give myself, for I am yours.", "ROSALIND. I met the Duke yesterday, and had much question with him.\n He asked me of what parentage I was; I told him, of as good as", "ROSALIND. Yet your mistrust cannot make me a traitor.\n Tell me whereon the likelihood depends.\n\n FREDERICK. Thou art thy father's daughter; there's enough.", "SCENE III.\n\nThe forest\n\nEnter ROSALIND and CELIA", "DUKE SENIOR. Stay, Jaques, stay.\n\n JAQUES. To see no pastime I. What you would have\n I'll stay to know at your abandon'd cave. Exit" ], [ "SCENE II.\n\nThe forest\n\nEnter ORLANDO and OLIVER", "OLIVER. When last the young Orlando parted from you,\n He left a promise to return again\n Within an hour; and, pacing through the forest,", "OLIVER. What, boy! [Strikes him]\n\n ORLANDO. Come, come, elder brother, you are too young in this.", "ORLANDO. Go apart, Adam, and thou shalt hear how he will shake me\n up. [ADAM retires]\n\n OLIVER. Now, sir! what make you here?", "ORLANDO. O, sir, very well; here in your orchard.\n\n OLIVER. Know you before whom, sir?", "Orchard of OLIVER'S house\n\nEnter ORLANDO and ADAM", "O sweet Oliver,\n O brave Oliver,\n Leave me not behind thee.\n But-\n Wind away,", "OLIVER. Orlando doth commend him to you both;\n And to that youth he calls his Rosalind\n He sends this bloody napkin. Are you he?", "The opening of his mouth; but suddenly,\n Seeing Orlando, it unlink'd itself,\n And with indented glides did slip away", "ORLANDO. I no further offend you than becomes me for my good.\n\n OLIVER. Get you with him, you old dog.", "This seen, Orlando did approach the man,\n And found it was his brother, his elder brother.", "SCENE III.\n\nBefore OLIVER'S house\n\nEnter ORLANDO and ADAM, meeting\n\n\n ORLANDO. Who's there?", "SCENE II.\n\nThe forest\n\nEnter ORLANDO, with a paper", "ORLANDO. Nothing; I am not taught to make any thing.\n\n OLIVER. What mar you then, sir?", "ORLANDO. I rest much bounden to you; fare you well.\n Exit LE BEAU\n Thus must I from the smoke into the smother;", "ORLANDO. What passion hangs these weights upon my tongue?\n I cannot speak to her, yet she urg'd conference.\n O poor Orlando, thou art overthrown!\n Or Charles or something weaker masters thee.", "CELIA. There is more in it. Cousin Ganymede!\n\n OLIVER. Look, he recovers.\n\n ROSALIND. I would I were at home.", "ORLANDO. My lord, the first time that I ever saw him\n Methought he was a brother to your daughter.\n But, my good lord, this boy is forest-born,", "Enter ORLANDO with his sword drawn\n\n\n ORLANDO. Forbear, and eat no more.\n\n JAQUES. Why, I have eat none yet.", "ORLANDO. Shall I keep your hogs, and eat husks with them? What\n prodigal portion have I spent that I should come to such penury?\n\n OLIVER. Know you where you are, sir?" ], [ "LE BEAU. He cannot speak, my lord.\n\n FREDERICK. Bear him away. What is thy name, young man?", "FREDERICK. She is too subtle for thee; and her smoothness,\n Her very silence and her patience,\n Speak to the people, and they pity her.", "FREDERICK. You will take little delight in it, I can tell you,", "FREDERICK. You are a fool. You, niece, provide yourself.\n If you outstay the time, upon mine honour,", "ORLANDO. I am more proud to be Sir Rowland's son,\n His youngest son- and would not change that calling\n To be adopted heir to Frederick.", "FREDERICK. I would thou hadst been son to some man else.\n The world esteem'd thy father honourable,\n But I did find him still mine enemy.", "FREDERICK. You shall try but one fall.\n\n CHARLES. No, I warrant your Grace, you shall not entreat him to a\n second, that have so mightily persuaded him from a first.", "FREDERICK. Thus do all traitors;\n If their purgation did consist in words,\n They are as innocent as grace itself.\n Let it suffice thee that I trust thee not.", "FREDERICK. How now, daughter and cousin! Are you crept hither to\n see the wrestling?\n\n ROSALIND. Ay, my liege; so please you give us leave.", "CELIA. Dear sovereign, hear me speak.\n\n FREDERICK. Ay, Celia; we stay'd her for your sake,\n Else had she with her father rang'd along.", "CELIA. Prithee, who is't that thou mean'st?\n\n TOUCHSTONE. One that old Frederick, your father, loves.", "FREDERICK. Not see him since! Sir, sir, that cannot be.\n But were I not the better part made mercy,", "FREDERICK. Come on; since the youth will not be entreated, his own\n peril on his forwardness.\n\n ROSALIND. Is yonder the man?", "FREDERICK. More villain thou. Well, push him out of doors;\n And let my officers of such a nature\n Make an extent upon his house and lands.\n Do this expediently, and turn him going. Exeunt", "FREDERICK. Can it be possible that no man saw them?\n It cannot be; some villains of my court\n Are of consent and sufferance in this.", "CELIA. You know my father hath no child but I, nor none is like to\n have; and, truly, when he dies thou shalt be his heir; for what", "ORLANDO. Yes, I beseech your Grace; I am not yet well breath'd.\n\n FREDERICK. How dost thou, Charles?", "CELIA. Call him hither, good Monsieur Le Beau.\n\n FREDERICK. Do so; I'll not be by.\n [DUKE FREDERICK goes apart]", "ACT III. SCENE I.\n\nThe palace\n\nEnter DUKE FREDERICK, OLIVER, and LORDS", "CELIA. If I had a thunderbolt in mine eye, I can tell who should\n down.\n [CHARLES is thrown. Shout]\n\n FREDERICK. No more, no more." ], [ "SCENE IV.\n\nThe Forest of Arden\n\nEnter ROSALIND for GANYMEDE, CELIA for ALIENA, and CLOWN alias TOUCHSTONE", "ROSALIND. By this hand, it will not kill a fly. But come, now I\n will be your Rosalind in a more coming-on disposition; and ask me\n what you will, I will grant it.", "ROSALIND. I'll have no worse a name than Jove's own page,\n And therefore look you call me Ganymede.\n But what will you be call'd?", "ROSALIND. Good my complexion! dost thou think, though I am\n caparison'd like a man, I have a doublet and hose in my", "ORLANDO. But will my Rosalind do so?\n\n ROSALIND. By my life, she will do as I do.\n\n ORLANDO. O, but she is wise.", "ROSALIND. Not out of your apparel, and yet out of your suit.\n Am not I your Rosalind?", "CORIN. Here comes young Master Ganymede, my new mistress's brother.\n\n Enter ROSALIND, reading a paper", "ORLANDO. And I for Rosalind.\n\n ROSALIND. And I for no woman.", "ROSALIND. [Aside to CELIA] I will speak to him like a saucy lackey,\n and under that habit play the knave with him.- Do you hear,\n forester?", "ORLANDO. Where dwell you, pretty youth?\n\n ROSALIND. With this shepherdess, my sister; here in the skirts of\n the forest, like fringe upon a petticoat.", "CELIA. As good cause as one would desire; therefore weep.\n\n ROSALIND. His very hair is of the dissembling colour.", "OLIVER. Well then, take a good heart and counterfeit to be a man.\n\n ROSALIND. So I do; but, i' faith, I should have been a woman by\n right.", "That he in sport doth call his Rosalind.\n [ROSALIND swoons]", "SCENE III.\n\nThe forest\n\nEnter ROSALIND and CELIA", "PHEBE. And so am I for Ganymede.\n\n ORLANDO. And so am I for Rosalind.\n\n ROSALIND. And so am I for no woman.", "ORLANDO. Ay, sweet Rosalind.", "ROSALIND. Not true in love?\n\n CELIA. Yes, when he is in; but I think he is not in.", "CELIA. Go to. Will you, Orlando, have to wife this Rosalind?\n\n ORLANDO. I will.\n\n ROSALIND. Ay, but when?", "ORLANDO. I would not be cured, youth.\n\n ROSALIND. I would cure you, if you would but call me Rosalind, and\n come every day to my cote and woo me.", "Rosalind, meet. [To SILVIUS] As you love Phebe, meet;- and as I\n love no woman, I'll meet. So, fare you well; I have left you" ], [ "CELIA. I'll put myself in poor and mean attire,\n And with a kind of umber smirch my face;\n The like do you; so shall we pass along,\n And never stir assailants.", "CELIA. As good cause as one would desire; therefore weep.\n\n ROSALIND. His very hair is of the dissembling colour.", "CELIA. Prithee, who is't that thou mean'st?\n\n TOUCHSTONE. One that old Frederick, your father, loves.", "SCENE IV.\n\nThe Forest of Arden\n\nEnter ROSALIND for GANYMEDE, CELIA for ALIENA, and CLOWN alias TOUCHSTONE", "SCENE III.\n\nThe DUKE's palace\n\nEnter CELIA and ROSALIND", "CELIA. And a chain, that you once wore, about his neck.\n Change you colour?\n\n ROSALIND. I prithee, who?", "SCENE III.\n\nThe forest\n\nEnter ROSALIND and CELIA", "CELIA. Dear sovereign, hear me speak.\n\n FREDERICK. Ay, Celia; we stay'd her for your sake,\n Else had she with her father rang'd along.", "CELIA. You have simply misus'd our sex in your love-prate. We must\n have your doublet and hose pluck'd over your head, and show the\n world what the bird hath done to her own nest.", "CELIA. Trow you who hath done this?\n\n ROSALIND. Is it a man?", "CELIA. And I'll sleep. Exeunt\n\n\nSCENE II.\n\nThe forest", "ROSALIND. [Aside to CELIA] I will speak to him like a saucy lackey,\n and under that habit play the knave with him.- Do you hear,\n forester?", "CELIA. Go to. Will you, Orlando, have to wife this Rosalind?\n\n ORLANDO. I will.\n\n ROSALIND. Ay, but when?", "CELIA. By my troth, thou sayest true; for since the little wit that\n fools have was silenced, the little foolery that wise men have\n makes a great show. Here comes Monsieur Le Beau.", "CELIA. I would I were invisible, to catch the strong fellow by the\n leg. [They wrestle]\n\n ROSALIND. O excellent young man!", "CELIA. Thou hast not, cousin.\n Prithee be cheerful. Know'st thou not the Duke\n Hath banish'd me, his daughter?", "CELIA. Are you his brother?\n\n ROSALIND. Was't you he rescu'd?", "CELIA. Something that hath a reference to my state:\n No longer Celia, but Aliena.", "CELIA. How now! Back, friends; shepherd, go off a little; go with\n him, sirrah.\n\n TOUCHSTONE. Come, shepherd, let us make an honourable retreat;", "CELIA. I warrant you, with pure love and troubled brain, he hath\n ta'en his bow and arrows, and is gone forth- to sleep. Look, who\n comes here." ], [ "consenting; but say with me, I love Aliena; say with her that she\n loves me; consent with both that we may enjoy each other. It", "CELIA. Something that hath a reference to my state:\n No longer Celia, but Aliena.", "If you do love Rosalind so near the heart as your gesture cries\n it out, when your brother marries Aliena shall you marry her.", "Aliena, I cannot be out of the sight of Orlando. I'll go find a\n shadow, and sigh till he come.", "ORLANDO. You have my consent. Let your wedding be to-morrow.\n Thither will I invite the Duke and all's contented followers.\n Go you and prepare Aliena; for, look you, here comes my Rosalind.", "doublet and hose ought to show itself courageous to petticoat;\n therefore, courage, good Aliena.", "and to forswear, according as marriage binds and blood breaks. A\n poor virgin, sir, an ill-favour'd thing, sir, but mine own; a", "CELIA. Prithee, who is't that thou mean'st?\n\n TOUCHSTONE. One that old Frederick, your father, loves.", "And out of you she sees herself more proper\n Than any of her lineaments can show her.\n But, mistress, know yourself. Down on your knees,", "FREDERICK. You are a fool. You, niece, provide yourself.\n If you outstay the time, upon mine honour,", "Hisperia, the Princess' gentlewoman,\n Confesses that she secretly o'erheard\n Your daughter and her cousin much commend", "ROSALIND. Me, uncle?\n\n FREDERICK. You, cousin.\n Within these ten days if that thou beest found\n So near our public court as twenty miles,\n Thou diest for it.", "Hath heard your praises; and this night he means\n To burn the lodging where you use to lie,\n And you within it. If he fail of that,", "Her love is not the hare that I do hunt;\n Why writes she so to me? Well, shepherd, well,\n This is a letter of your own device.", "Brief, I recover'd him, bound up his wound,\n And, after some small space, being strong at heart,\n He sent me hither, stranger as I am,", "Shall we be sund'red? Shall we part, sweet girl?\n No; let my father seek another heir.\n Therefore devise with me how we may fly,", "The lioness had torn some flesh away,\n Which all this while had bled; and now he fainted,\n And cried, in fainting, upon Rosalind.", "But now I know her. If she be a traitor,\n Why so am I: we still have slept together,\n Rose at an instant, learn'd, play'd, eat together;", "FREDERICK. She is too subtle for thee; and her smoothness,\n Her very silence and her patience,\n Speak to the people, and they pity her.", "CELIA. You know my father hath no child but I, nor none is like to\n have; and, truly, when he dies thou shalt be his heir; for what" ], [ "FREDERICK. How now, daughter and cousin! Are you crept hither to\n see the wrestling?\n\n ROSALIND. Ay, my liege; so please you give us leave.", "ROSALIND. Me, uncle?\n\n FREDERICK. You, cousin.\n Within these ten days if that thou beest found\n So near our public court as twenty miles,\n Thou diest for it.", "ROSALIND. Patience once more, whiles our compact is urg'd:\n You say, if I bring in your Rosalind,\n You will bestow her on Orlando here?", "CELIA. Why, cousin! why, Rosalind! Cupid have mercy!\n Not a word?\n\n ROSALIND. Not one to throw at a dog.", "ORLANDO. But will my Rosalind do so?\n\n ROSALIND. By my life, she will do as I do.\n\n ORLANDO. O, but she is wise.", "ORLANDO. You have my consent. Let your wedding be to-morrow.\n Thither will I invite the Duke and all's contented followers.\n Go you and prepare Aliena; for, look you, here comes my Rosalind.", "ORLANDO. Where dwell you, pretty youth?\n\n ROSALIND. With this shepherdess, my sister; here in the skirts of\n the forest, like fringe upon a petticoat.", "ROSALIND. By this hand, it will not kill a fly. But come, now I\n will be your Rosalind in a more coming-on disposition; and ask me\n what you will, I will grant it.", "CELIA. Go to. Will you, Orlando, have to wife this Rosalind?\n\n ORLANDO. I will.\n\n ROSALIND. Ay, but when?", "ORLANDO. I would not be cured, youth.\n\n ROSALIND. I would cure you, if you would but call me Rosalind, and\n come every day to my cote and woo me.", "CELIA. Do, I prithee; but yet have the grace to consider that tears\n do not become a man.\n\n ROSALIND. But have I not cause to weep?", "If you do love Rosalind so near the heart as your gesture cries\n it out, when your brother marries Aliena shall you marry her.", "ROSALIND. Why, whither shall we go?\n\n CELIA. To seek my uncle in the Forest of Arden.", "SCENE IV.\n\nThe Forest of Arden\n\nEnter ROSALIND for GANYMEDE, CELIA for ALIENA, and CLOWN alias TOUCHSTONE", "SCENE III.\n\nThe forest\n\nEnter ROSALIND and CELIA", "CELIA. Dear sovereign, hear me speak.\n\n FREDERICK. Ay, Celia; we stay'd her for your sake,\n Else had she with her father rang'd along.", "SCENE II.\n\nA lawn before the DUKE'S palace\n\nEnter ROSALIND and CELIA", "ROSALIND. Not true in love?\n\n CELIA. Yes, when he is in; but I think he is not in.", "followed her exile, or have died to stay behind her. She is at\n the court, and no less beloved of her uncle than his own\n daughter; and never two ladies loved as they do.", "ORLANDO. For these two hours, Rosalind, I will leave thee.\n\n ROSALIND. Alas, dear love, I cannot lack thee two hours!" ], [ "Than doth your brother that hath banish'd you.\n To-day my Lord of Amiens and myself\n Did steal behind him as he lay along", "OLIVER. O that your Highness knew my heart in this!\n I never lov'd my brother in my life.", "OLIVER. What, boy! [Strikes him]\n\n ORLANDO. Come, come, elder brother, you are too young in this.", "OLIVER. And well he might so do,\n For well I know he was unnatural.", "CHARLES. There's no news at the court, sir, but the old news; that\n is, the old Duke is banished by his younger brother the new Duke;", "Enter OLIVER\n\n\n ADAM. Yonder comes my master, your brother.", "Shall we be sund'red? Shall we part, sweet girl?\n No; let my father seek another heir.\n Therefore devise with me how we may fly,", "This seen, Orlando did approach the man,\n And found it was his brother, his elder brother.", "ORLANDO. Go apart, Adam, and thou shalt hear how he will shake me\n up. [ADAM retires]\n\n OLIVER. Now, sir! what make you here?", "O sweet Oliver,\n O brave Oliver,\n Leave me not behind thee.\n But-\n Wind away,", "SCENE II.\n\nThe forest\n\nEnter ORLANDO and OLIVER", "And get our jewels and our wealth together;\n Devise the fittest time and safest way\n To hide us from pursuit that will be made\n After my flight. Now go we in content", "OLIVER. And what wilt thou do? Beg, when that is spent? Well, sir,\n get you in. I will not long be troubled with you; you shall have\n some part of your will. I pray you leave me.", "brother's purpose herein, and have by underhand means laboured to\n dissuade him from it; but he is resolute. I'll tell thee,", "OLIVER. When last the young Orlando parted from you,\n He left a promise to return again\n Within an hour; and, pacing through the forest,", "Enter ROSALIND\n\n\n ROSALIND. God save you, brother.\n\n OLIVER. And you, fair sister. Exit", "ACT III. SCENE I.\n\nThe palace\n\nEnter DUKE FREDERICK, OLIVER, and LORDS", "Address'd a mighty power; which were on foot,\n In his own conduct, purposely to take\n His brother here, and put him to the sword;", "OLIVER. Farewell, good Charles. Now will I stir this gamester.\n I hope I shall see an end of him; for my soul, yet I know not why,", "Committing me unto my brother's love;\n Who led me instantly unto his cave,\n There stripp'd himself, and here upon his arm" ], [ "ORLANDO. Is't possible that on so little acquaintance you should\n like her? that but seeing you should love her? and loving woo?", "ROSALIND. But are you so much in love as your rhymes speak?\n\n ORLANDO. Neither rhyme nor reason can express how much.", "ORLANDO. What passion hangs these weights upon my tongue?\n I cannot speak to her, yet she urg'd conference.\n O poor Orlando, thou art overthrown!\n Or Charles or something weaker masters thee.", "ORLANDO. I will chide no breather in the world but myself, against\n whom I know most faults.\n\n JAQUES. The worst fault you have is to be in love.", "SCENE II.\n\nThe forest\n\nEnter ORLANDO, with a paper", "ORLANDO. Hang there, my verse, in witness of my love;\n And thou, thrice-crowned Queen of Night, survey", "ORLANDO. My lord, the first time that I ever saw him\n Methought he was a brother to your daughter.\n But, my good lord, this boy is forest-born,", "ORLANDO. Who could be out, being before his beloved mistress?", "OLIVER. When last the young Orlando parted from you,\n He left a promise to return again\n Within an hour; and, pacing through the forest,", "ORLANDO. Fair youth, I would I could make thee believe I love.", "ORLANDO. So do all thoughts; they are wing'd.\n\n ROSALIND. Now tell me how long you would have her, after you have\n possess'd her.", "ORLANDO. Now, by the faith of my love, I will. Tell me where it is.", "CELIA. It is young Orlando, that tripp'd up the wrestler's heels\n and your heart both in an instant.", "ORLANDO. Then love me, Rosalind.\n\n ROSALIND. Yes, faith, will I, Fridays and Saturdays, and all.", "Aliena, I cannot be out of the sight of Orlando. I'll go find a\n shadow, and sigh till he come.", "ROSALIND. I thought thy heart had been wounded with the claws of a\n lion.\n\n ORLANDO. Wounded it is, but with the eyes of a lady.", "The opening of his mouth; but suddenly,\n Seeing Orlando, it unlink'd itself,\n And with indented glides did slip away", "Run, run, Orlando; carve on every tree,\n The fair, the chaste, and unexpressive she. Exit", "CHARLES. Come, where is this young gallant that is so desirous to\n lie with his mother earth?\n\n ORLANDO. Ready, sir; but his will hath in it a more modest working.", "ORLANDO. Yes, just.\n\n JAQUES. I do not like her name.\n\n ORLANDO. There was no thought of pleasing you when she was\n christen'd." ], [ "CELIA. Prithee, who is't that thou mean'st?\n\n TOUCHSTONE. One that old Frederick, your father, loves.", "ACT V. SCENE I.\n\nThe forest\n\nEnter TOUCHSTONE and AUDREY", "SCENE III.\n\nThe forest\n\nEnter TOUCHSTONE and AUDREY; JAQUES behind", "SCENE III.\n\nThe forest\n\nEnter TOUCHSTONE and AUDREY", "TOUCHSTONE. No, by mine honour; but I was bid to come for you.\n\n ROSALIND. Where learned you that oath, fool?", "SCENE IV.\n\nThe Forest of Arden\n\nEnter ROSALIND for GANYMEDE, CELIA for ALIENA, and CLOWN alias TOUCHSTONE", "TOUCHSTONE. A most wicked Sir Oliver, Audrey, a most vile Martext.\n But, Audrey, there is a youth here in the forest lays claim to\n you.", "TOUCHSTONE. Stand you both forth now: stroke your chins, and swear\n by your beards that I am a knave.\n\n CELIA. By our beards, if we had them, thou art.", "TOUCHSTONE, the court jester\n SIR OLIVER MARTEXT, a vicar\n CORIN, shepherd\n SILVIUS, \"", "TOUCHSTONE. Come apace, good Audrey; I will fetch up your goats,\n Audrey. And how, Audrey, am I the man yet? Doth my simple feature\n content you?", "TOUCHSTONE. He, sir, that must marry this woman. Therefore, you\n clown, abandon- which is in the vulgar leave- the society-which", "ROSALIND. Peace, fool; he's not thy Ensman.\n\n CORIN. Who calls?\n\n TOUCHSTONE. Your betters, sir.", "TOUCHSTONE. By my troth, yes; I count it but time lost to hear such\n a foolish song. God buy you; and God mend your voices. Come,\n Audrey. Exeunt", "TOUCHSTONE. A fair name. Wast born i' th' forest here?\n\n WILLIAM. Ay, sir, I thank God.", "TOUCHSTONE. You have said; but whether wisely or no, let the forest\n judge.\n\n Enter CELIA, with a writing", "WILLIAM. I do, sir.\n\n TOUCHSTONE. Give me your hand. Art thou learned?\n\n WILLIAM. No, sir.", "TOUCHSTONE. Good even, good Master What-ye-call't; how do you, sir?\n You are very well met. Goddild you for your last company. I am", "Enter CORIN and TOUCHSTONE\n\n\n CORIN. And how like you this shepherd's life, Master Touchstone?", "JAQUES. And how was that ta'en up?\n\n TOUCHSTONE. Faith, we met, and found the quarrel was upon the\n seventh cause.", "CORIN. Our master and mistress seeks you; come away, away.\n\n TOUCHSTONE. Trip, Audrey, trip, Audrey. I attend, I attend.\n Exeunt" ], [ "ROSALIND. Why, whither shall we go?\n\n CELIA. To seek my uncle in the Forest of Arden.", "SCENE III.\n\nThe forest\n\nEnter ROSALIND and CELIA", "CELIA. Will you go, coz?\n\n ROSALIND. Have with you. Fare you well.\n Exeunt ROSALIND and CELIA", "Exeunt ROSALIND and CELIA", "SCENE II.\n\nA lawn before the DUKE'S palace\n\nEnter ROSALIND and CELIA", "SCENE IV.\n\nThe Forest of Arden\n\nEnter ROSALIND for GANYMEDE, CELIA for ALIENA, and CLOWN alias TOUCHSTONE", "The forest\n\nEnter ROSALIND and CELIA\n\n\n ROSALIND. Never talk to me; I will weep.", "ACT IV. SCENE I.\n\nThe forest\n\nEnter ROSALIND, CELIA, and JAQUES", "Come, to our flock. Exeunt ROSALIND, CELIA, and CORIN", "CELIA. Go to. Will you, Orlando, have to wife this Rosalind?\n\n ORLANDO. I will.\n\n ROSALIND. Ay, but when?", "ROSALIND. O, come, let us remove!\n The sight of lovers feedeth those in love.\n Bring us to this sight, and you shall say\n I'll prove a busy actor in their play. Exeunt", "SCENE III.\n\nThe DUKE's palace\n\nEnter CELIA and ROSALIND", "CELIA. And I'll sleep. Exeunt\n\n\nSCENE II.\n\nThe forest", "CELIA. O my poor Rosalind! Whither wilt thou go?\n Wilt thou change fathers? I will give thee mine.\n I charge thee be not thou more griev'd than I am.", "ORLANDO. Where dwell you, pretty youth?\n\n ROSALIND. With this shepherdess, my sister; here in the skirts of\n the forest, like fringe upon a petticoat.", "CELIA. How now! Back, friends; shepherd, go off a little; go with\n him, sirrah.\n\n TOUCHSTONE. Come, shepherd, let us make an honourable retreat;", "CELIA. As good cause as one would desire; therefore weep.\n\n ROSALIND. His very hair is of the dissembling colour.", "ORLANDO. With all my heart, good youth.\n\n ROSALIND. Nay, you must call me Rosalind. Come, sister, will you\n go? Exeunt", "ORLANDO. For these two hours, Rosalind, I will leave thee.\n\n ROSALIND. Alas, dear love, I cannot lack thee two hours!", "SCENE IV.\n\nThe forest\n\nEnter DUKE SENIOR, AMIENS, JAQUES, ORLANDO, OLIVER, and CELIA" ], [ "CELIA. Why, how now, Ganymede! sweet Ganymede!\n\n OLIVER. Many will swoon when they do look on blood.", "CORIN. Here comes young Master Ganymede, my new mistress's brother.\n\n Enter ROSALIND, reading a paper", "ROSALIND. I'll have no worse a name than Jove's own page,\n And therefore look you call me Ganymede.\n But what will you be call'd?", "CELIA. There is more in it. Cousin Ganymede!\n\n OLIVER. Look, he recovers.\n\n ROSALIND. I would I were at home.", "PHEBE. And so am I for Ganymede.\n\n ORLANDO. And so am I for Rosalind.\n\n ROSALIND. And so am I for no woman.", "PHEBE. And I for Ganymede.\n\n ORLANDO. And I for Rosalind.\n\n ROSALIND. And I for no woman.", "CELIA. Something that hath a reference to my state:\n No longer Celia, but Aliena.", "consenting; but say with me, I love Aliena; say with her that she\n loves me; consent with both that we may enjoy each other. It", "SCENE IV.\n\nThe Forest of Arden\n\nEnter ROSALIND for GANYMEDE, CELIA for ALIENA, and CLOWN alias TOUCHSTONE", "If you do love Rosalind so near the heart as your gesture cries\n it out, when your brother marries Aliena shall you marry her.", "Hisperia, the Princess' gentlewoman,\n Confesses that she secretly o'erheard\n Your daughter and her cousin much commend", "Shall we be sund'red? Shall we part, sweet girl?\n No; let my father seek another heir.\n Therefore devise with me how we may fly,", "ORLANDO. You have my consent. Let your wedding be to-morrow.\n Thither will I invite the Duke and all's contented followers.\n Go you and prepare Aliena; for, look you, here comes my Rosalind.", "With thy chaste eye, from thy pale sphere above,\n Thy huntress' name that my full life doth sway.\n O Rosalind! these trees shall be my books,", "Aliena, I cannot be out of the sight of Orlando. I'll go find a\n shadow, and sigh till he come.", "ORLANDO. My lord, the first time that I ever saw him\n Methought he was a brother to your daughter.\n But, my good lord, this boy is forest-born,", "Thou shouldst have better pleas'd me with this deed,\n Hadst thou descended from another house.\n But fare thee well; thou art a gallant youth;", "Than doth your brother that hath banish'd you.\n To-day my Lord of Amiens and myself\n Did steal behind him as he lay along", "Committing me unto my brother's love;\n Who led me instantly unto his cave,\n There stripp'd himself, and here upon his arm", "The parts and graces of the wrestler\n That did but lately foil the sinewy Charles;\n And she believes, wherever they are gone,\n That youth is surely in their company." ], [ "followed her exile, or have died to stay behind her. She is at\n the court, and no less beloved of her uncle than his own\n daughter; and never two ladies loved as they do.", "And here detain'd by her usurping uncle,\n To keep his daughter company; whose loves\n Are dearer than the natural bond of sisters.", "Shall we be sund'red? Shall we part, sweet girl?\n No; let my father seek another heir.\n Therefore devise with me how we may fly,", "To liberty, and not to banishment. Exeunt", "Hisperia, the Princess' gentlewoman,\n Confesses that she secretly o'erheard\n Your daughter and her cousin much commend", "CHARLES. There's no news at the court, sir, but the old news; that\n is, the old Duke is banished by his younger brother the new Duke;", "and three or four loving lords have put themselves into voluntary\n exile with him, whose lands and revenues enrich the new Duke;\n therefore he gives them good leave to wander.", "CHARLES. O, no; for the Duke's daughter, her cousin, so loves her,\n being ever from their cradles bred together, that she would have", "The parts and graces of the wrestler\n That did but lately foil the sinewy Charles;\n And she believes, wherever they are gone,\n That youth is surely in their company.", "OLIVER. Where will the old Duke live?", "ORLANDO. Where dwell you, pretty youth?\n\n ROSALIND. With this shepherdess, my sister; here in the skirts of\n the forest, like fringe upon a petticoat.", "JAQUES. Sir, by your patience. If I heard you rightly,\n The Duke hath put on a religious life,\n And thrown into neglect the pompous court.", "Here lived I, but now live here no more.\n At seventeen years many their fortunes seek,\n But at fourscore it is too late a week;", "FIRST LORD. I cannot hear of any that did see her.\n The ladies, her attendants of her chamber,\n Saw her abed, and in the morning early\n They found the bed untreasur'd of their mistress.", "Than that of painted pomp? Are not these woods\n More free from peril than the envious court?\n Here feel we not the penalty of Adam,", "And get our jewels and our wealth together;\n Devise the fittest time and safest way\n To hide us from pursuit that will be made\n After my flight. Now go we in content", "respect it is in the fields, it pleaseth me well; but in respect\n it is not in the court, it is tedious. As it is a spare life,", "And to the skirts of this wild wood he came,\n Where, meeting with an old religious man,\n After some question with him, was converted\n Both from his enterprise and from the world;", "FREDERICK. Can it be possible that no man saw them?\n It cannot be; some villains of my court\n Are of consent and sufferance in this.", "I'll make him find him. Do this suddenly;\n And let not search and inquisition quail\n To bring again these foolish runaways. Exeunt" ], [ "And to the skirts of this wild wood he came,\n Where, meeting with an old religious man,\n After some question with him, was converted\n Both from his enterprise and from the world;", "JAQUES. Sir, by your patience. If I heard you rightly,\n The Duke hath put on a religious life,\n And thrown into neglect the pompous court.", "THE END", "Shall we be sund'red? Shall we part, sweet girl?\n No; let my father seek another heir.\n Therefore devise with me how we may fly,", "If it do come to pass\n That any man turn ass,\n Leaving his wealth and ease\n A stubborn will to please,", "ORLANDO. With no less religion than if thou wert indeed my\n Rosalind; so, adieu.", "I'll make him find him. Do this suddenly;\n And let not search and inquisition quail\n To bring again these foolish runaways. Exeunt", "I will your very faithful feeder be,\n And buy it with your gold right suddenly. Exeunt", "Support him by the arm. Give me your hand,\n And let me all your fortunes understand. Exeunt", "his ribs, that there is little hope of life in him. So he serv'd\n the second, and so the third. Yonder they lie; the poor old man,", "To liberty, and not to banishment. Exeunt", "And this our life, exempt from public haunt,\n Finds tongues in trees, books in the running brooks,\n Sermons in stones, and good in everything.", "And after, every of this happy number,\n That have endur'd shrewd days and nights with us,\n Shall share the good of our returned fortune,", "ADAM. Is 'old dog' my reward? Most true, I have lost my teeth in\n your service. God be with my old master! He would not have spoke\n such a word.\n Exeunt ORLANDO and ADAM", "altogether misprised. But it shall not be so long; this wrestler\n shall clear all. Nothing remains but that I kindle the boy\n thither, which now I'll go about. Exit", "And whistles in his sound. Last scene of all,\n That ends this strange eventful history,\n Is second childishness and mere oblivion;", "Yet fortune cannot recompense me better\n Than to die well and not my master's debtor. Exeunt", "And thy father bore it.\n The horn, the horn, the lusty horn,\n Is not a thing to laugh to scorn. Exeunt", "'Poor deer,' quoth he 'thou mak'st a testament\n As worldlings do, giving thy sum of more\n To that which had too much.' Then, being there alone,", "Cry the man mercy, love him, take his offer;\n Foul is most foul, being foul to be a scoffer.\n So take her to thee, shepherd. Fare you well." ], [ "PHEBE. Dead shepherd, now I find thy saw of might:\n 'Who ever lov'd that lov'd not at first sight?'\n\n SILVIUS. Sweet Phebe.", "PHEBE. Thou hast my love; is not that neighbourly?\n\n SILVIUS. I would have you.", "PHEBE. Good shepherd, tell this youth what 'tis to love.\n\n SILVIUS. It is to be all made of sighs and tears;\n And so am I for Phebe.", "SILVIUS. Sweet Phebe, do not scorn me; do not, Phebe.\n Say that you love me not; but say not so", "PHEBE. Ha! what say'st thou, Silvius?\n\n SILVIUS. Sweet Phebe, pity me.", "[To PHEBE] I would love you if I could.- To-morrow meet me all\n together. [ To PHEBE ] I will marry you if ever I marry woman,", "PHEBE. Think not I love him, though I ask for him;\n 'Tis but a peevish boy; yet he talks well.", "PHEBE. If this be so, why blame you me to love you?\n\n SILVIUS. If this be so, why blame you me to love you?", "SILVIUS. Phebe, with all my heart.", "PHEBE. So is the bargain.\n\n ROSALIND. You say that you'll have Phebe, if she will?", "SILVIUS. O dear Phebe,\n If ever- as that ever may be near-\n You meet in some fresh cheek the power of fancy,\n Then shall you know the wounds invisible\n That love's keen arrows make.", "SILVIUS. My errand is to you, fair youth;\n My gentle Phebe did bid me give you this.", "Enter SILVIUS and PHEBE\n\n Look, here comes a lover of mine, and a lover of hers.", "You yours, Orlando, to receive his daughter;\n Keep your word, Phebe, that you'll marry me,\n Or else, refusing me, to wed this shepherd;", "SILVIUS. It is to be all made of faith and service;\n And so am I for Phebe.\n\n PHEBE. And I for Ganymede.", "PHEBE. That will I, should I die the hour after.\n\n ROSALIND. But if you do refuse to marry me,\n You'll give yourself to this most faithful shepherd?", "PHEBE. Why, I arn sorry for thee, gentle Silvius.", "SCENE V.\n\nAnother part of the forest\n\nEnter SILVIUS and PHEBE", "All humbleness, all patience, and impatience,\n All purity, all trial, all obedience;\n And so am I for Phebe.", "PHEBE. And so am I for Ganymede.\n\n ORLANDO. And so am I for Rosalind.\n\n ROSALIND. And so am I for no woman." ], [ "The body of the country, city, court,\n Yea, and of this our life; swearing that we\n Are mere usurpers, tyrants, and what's worse,", "And so, from hour to hour, we ripe and ripe,\n And then, from hour to hour, we rot and rot;\n And thereby hangs a tale.' When I did hear", "Between the acres of the rye,\n With a hey, and a ho, and a hey nonino,\n These pretty country folks would lie,\n In the spring time, &c.", "Here lived I, but now live here no more.\n At seventeen years many their fortunes seek,\n But at fourscore it is too late a week;", "his ribs, that there is little hope of life in him. So he serv'd\n the second, and so the third. Yonder they lie; the poor old man,", "of England. They say many young gentlemen flock to him every day,\n and fleet the time carelessly, as they did in the golden world.", "He will have other means to cut you off;\n I overheard him and his practices.\n This is no place; this house is but a butchery;", "CELIA. I could match this beginning with an old tale.\n\n LE BEAU. Three proper young men, of excellent growth and presence.", "Into a bush; under which bush's shade\n A lioness, with udders all drawn dry,\n Lay couching, head on ground, with catlike watch,", "Hath heard your praises; and this night he means\n To burn the lodging where you use to lie,\n And you within it. If he fail of that,", "Seek him with candle; bring him dead or living\n Within this twelvemonth, or turn thou no more\n To seek a living in our territory.", "To tell this story, that you might excuse\n His broken promise, and to give this napkin,\n Dy'd in his blood, unto the shepherd youth", "LE BEAU. I will tell you the beginning, and, if it please your\n ladyships, you may see the end; for the best is yet to do; and\n here, where you are, they are coming to perform it.", "Of smooth civility; yet arn I inland bred,\n And know some nurture. But forbear, I say;\n He dies that touches any of this fruit", "THE END", "A land itself at large, a potent dukedom.\n First, in this forest let us do those ends\n That here were well begun and well begot;", "Thus we may see,' quoth he, 'how the world wags;\n 'Tis but an hour ago since it was nine;\n And after one hour more 'twill be eleven;", "The lioness had torn some flesh away,\n Which all this while had bled; and now he fainted,\n And cried, in fainting, upon Rosalind.", "CELIA. Well, the beginning, that is dead and buried.\n\n LE BEAU. There comes an old man and his three sons-", "Brief, I recover'd him, bound up his wound,\n And, after some small space, being strong at heart,\n He sent me hither, stranger as I am," ], [ "ORLANDO. Pray thee, marry us.\n\n CELIA. I cannot say the words.\n\n ROSALIND. You must begin 'Will you, Orlando'-", "ORLANDO. I take thee, Rosalind, for wife.", "and I'll be married to-morrow. [To ORLANDO] I will satisfy you if\n ever I satisfied man, and you shall be married to-morrow. [To", "ORLANDO. They shall be married to-morrow; and I will bid the Duke\n to the nuptial. But, O, how bitter a thing it is to look into", "Silvius] I will content you if what pleases you contents you, and\n you shall be married to-morrow. [To ORLANDO] As you love", "ORLANDO. You have my consent. Let your wedding be to-morrow.\n Thither will I invite the Duke and all's contented followers.\n Go you and prepare Aliena; for, look you, here comes my Rosalind.", "CELIA. Go to. Will you, Orlando, have to wife this Rosalind?\n\n ORLANDO. I will.\n\n ROSALIND. Ay, but when?", "ORLANDO. Why, now; as fast as she can marry us.\n\n ROSALIND. Then you must say 'I take thee, Rosalind, for wife.'", "ORLANDO. So do all thoughts; they are wing'd.\n\n ROSALIND. Now tell me how long you would have her, after you have\n possess'd her.", "You yours, Orlando, to receive his daughter;\n Keep your word, Phebe, that you'll marry me,\n Or else, refusing me, to wed this shepherd;", "Run, run, Orlando; carve on every tree,\n The fair, the chaste, and unexpressive she. Exit", "ORLANDO. Is't possible that on so little acquaintance you should\n like her? that but seeing you should love her? and loving woo?", "ORLANDO. What passion hangs these weights upon my tongue?\n I cannot speak to her, yet she urg'd conference.\n O poor Orlando, thou art overthrown!\n Or Charles or something weaker masters thee.", "ORLANDO. I take some joy to say you are, because I would be talking\n of her.\n\n ROSALIND. Well, in her person, I say I will not have you.", "ORLANDO. That would I, were I of all kingdoms king.\n\n ROSALIND. You say you'll marry me, if I be willing?", "ORLANDO. A man that had a wife with such a wit, he might say 'Wit,", "ORLANDO. But will my Rosalind do so?\n\n ROSALIND. By my life, she will do as I do.\n\n ORLANDO. O, but she is wise.", "OLIVER. When last the young Orlando parted from you,\n He left a promise to return again\n Within an hour; and, pacing through the forest,", "ROSALIND. I might ask you for your commission; but- I do take thee,\n Orlando, for my husband. There's a girl goes before the priest;\n and, certainly, a woman's thought runs before her actions.", "ORLANDO. My lord, the first time that I ever saw him\n Methought he was a brother to your daughter.\n But, my good lord, this boy is forest-born," ], [ "AUDREY. Ay, I know who 'tis; he hath no interest in me in the\n world; here comes the man you mean.\n\n Enter WILLIAM", "AUDREY. Do, good William.\n\n WILLIAM. God rest you merry, sir. Exit\n\n\n Enter CORIN", "WILLIAM. Good ev'n, Audrey.\n\n AUDREY. God ye good ev'n, William.\n\n WILLIAM. And good ev'n to you, sir.", "TOUCHSTONE. A most wicked Sir Oliver, Audrey, a most vile Martext.\n But, Audrey, there is a youth here in the forest lays claim to\n you.", "TOUCHSTONE. Come, sweet Audrey;\n We must be married or we must live in bawdry.\n Farewell, good Master Oliver. Not-", "SCENE III.\n\nThe forest\n\nEnter TOUCHSTONE and AUDREY", "JAQUES. And will you, being a man of your breeding, be married\n under a bush, like a beggar? Get you to church and have a good", "TOUCHSTONE. We shall find a time, Audrey; patience, gentle Audrey.\n\n AUDREY. Faith, the priest was good enough, for all the old\n gentleman's saying.", "CORIN. Our master and mistress seeks you; come away, away.\n\n TOUCHSTONE. Trip, Audrey, trip, Audrey. I attend, I attend.\n Exeunt", "Begone, I say,\n I will not to wedding with thee.\n Exeunt JAQUES, TOUCHSTONE, and AUDREY", "AUDREY. I do desire it with all my heart; and I hope it is no\n dishonest desire to desire to be a woman of the world. Here come\n two of the banish'd Duke's pages.", "JAQUES. [Aside] A material fool!\n\n AUDREY. Well, I am not fair; and therefore I pray the gods make me\n honest.", "Shall we be sund'red? Shall we part, sweet girl?\n No; let my father seek another heir.\n Therefore devise with me how we may fly,", "JAQUES. [Aside] I would fain see this meeting.\n\n AUDREY. Well, the gods give us joy!", "ORLANDO. Pray thee, marry us.\n\n CELIA. I cannot say the words.\n\n ROSALIND. You must begin 'Will you, Orlando'-", "AUDREY. Would you not have me honest?", "AUDREY. Your features! Lord warrant us! What features?", "You yours, Orlando, to receive his daughter;\n Keep your word, Phebe, that you'll marry me,\n Or else, refusing me, to wed this shepherd;", "CELIA. Dear sovereign, hear me speak.\n\n FREDERICK. Ay, Celia; we stay'd her for your sake,\n Else had she with her father rang'd along.", "TOUCHSTONE. By my troth, yes; I count it but time lost to hear such\n a foolish song. God buy you; and God mend your voices. Come,\n Audrey. Exeunt" ], [ "AUDREY. Ay, I know who 'tis; he hath no interest in me in the\n world; here comes the man you mean.\n\n Enter WILLIAM", "SCENE III.\n\nThe forest\n\nEnter TOUCHSTONE and AUDREY", "AUDREY. Do, good William.\n\n WILLIAM. God rest you merry, sir. Exit\n\n\n Enter CORIN", "AUDREY. Your features! Lord warrant us! What features?", "AUDREY. I do desire it with all my heart; and I hope it is no\n dishonest desire to desire to be a woman of the world. Here come\n two of the banish'd Duke's pages.", "CORIN. Our master and mistress seeks you; come away, away.\n\n TOUCHSTONE. Trip, Audrey, trip, Audrey. I attend, I attend.\n Exeunt", "TOUCHSTONE. A most wicked Sir Oliver, Audrey, a most vile Martext.\n But, Audrey, there is a youth here in the forest lays claim to\n you.", "SCENE III.\n\nThe forest\n\nEnter TOUCHSTONE and AUDREY; JAQUES behind", "TOUCHSTONE. Come, sweet Audrey;\n We must be married or we must live in bawdry.\n Farewell, good Master Oliver. Not-", "TOUCHSTONE. We shall find a time, Audrey; patience, gentle Audrey.\n\n AUDREY. Faith, the priest was good enough, for all the old\n gentleman's saying.", "AUDREY. Would you not have me honest?", "WILLIAM. Good ev'n, Audrey.\n\n AUDREY. God ye good ev'n, William.\n\n WILLIAM. And good ev'n to you, sir.", "JAQUES. [Aside] I would fain see this meeting.\n\n AUDREY. Well, the gods give us joy!", "You yours, Orlando, to receive his daughter;\n Keep your word, Phebe, that you'll marry me,\n Or else, refusing me, to wed this shepherd;", "ORLANDO. Pray thee, marry us.\n\n CELIA. I cannot say the words.\n\n ROSALIND. You must begin 'Will you, Orlando'-", "AUDREY. I am not a slut, though I thank the gods I am foul.", "JAQUES. [Aside] A material fool!\n\n AUDREY. Well, I am not fair; and therefore I pray the gods make me\n honest.", "ROSALIND. I might ask you for your commission; but- I do take thee,\n Orlando, for my husband. There's a girl goes before the priest;\n and, certainly, a woman's thought runs before her actions.", "TOUCHSTONE. To-morrow is the joyful day, Audre'y; to-morrow will we\n be married.", "JAQUES. And will you, being a man of your breeding, be married\n under a bush, like a beggar? Get you to church and have a good" ], [ "marry thee; and to that end I have been with Sir Oliver Martext,\n the vicar of the next village, who hath promis'd to meet me in", "OLIVER. Neither call the giddiness of it in question, the poverty\n of her, the small acquaintance, my sudden wooing, nor her sudden", "OLIVER. Farewell, good Charles. Now will I stir this gamester.\n I hope I shall see an end of him; for my soul, yet I know not why,", "O sweet Oliver,\n O brave Oliver,\n Leave me not behind thee.\n But-\n Wind away,", "OLIVER. Charles, I thank thee for thy love to me, which thou shalt\n find I will most kindly requite. I had myself notice of my", "OLIVER. Marry, sir, be better employed, and be nought awhile.", "OLIVER. By and by.\n When from the first to last, betwixt us two,\n Tears our recountments had most kindly bath'd,", "OLIVER. When last the young Orlando parted from you,\n He left a promise to return again\n Within an hour; and, pacing through the forest,", "OLIVER. Where will the old Duke live?", "OLIVER. Twice did he turn his back, and purpos'd so;\n But kindness, nobler ever than revenge,\n And nature, stronger than his just occasion,", "OLIVER. And what wilt thou do? Beg, when that is spent? Well, sir,\n get you in. I will not long be troubled with you; you shall have\n some part of your will. I pray you leave me.", "OLIVER. Call him in. [Exit DENNIS] 'Twill be a good way; and\n to-morrow the wrestling is.\n\n Enter CHARLES", "OLIVER. 'Twas I; but 'tis not I. I do not shame\n To tell you what I was, since my conversion\n So sweetly tastes, being the thing I am.", "OLIVER. If that an eye may profit by a tongue,\n Then should I know you by description-\n Such garments, and such years: 'The boy is fair,", "OLIVER. What, boy! [Strikes him]\n\n ORLANDO. Come, come, elder brother, you are too young in this.", "Enter ROSALIND\n\n\n ROSALIND. God save you, brother.\n\n OLIVER. And you, fair sister. Exit", "OLIVER. O that your Highness knew my heart in this!\n I never lov'd my brother in my life.", "OLIVER. This was not counterfeit; there is too great testimony in\n your complexion that it was a passion of earnest.\n\n ROSALIND. Counterfeit, I assure you.", "OLIVER. Be of good cheer, youth. You a man!\n You lack a man's heart.", "Silvius] I will content you if what pleases you contents you, and\n you shall be married to-morrow. [To ORLANDO] As you love" ], [ "ORLANDO. I thank you most for him.\n\n ADAM. So had you need;\n I scarce can speak to thank you for myself.", "Orchard of OLIVER'S house\n\nEnter ORLANDO and ADAM", "SCENE III.\n\nBefore OLIVER'S house\n\nEnter ORLANDO and ADAM, meeting\n\n\n ORLANDO. Who's there?", "ORLANDO. Go apart, Adam, and thou shalt hear how he will shake me\n up. [ADAM retires]\n\n OLIVER. Now, sir! what make you here?", "ORLANDO. My lord, the first time that I ever saw him\n Methought he was a brother to your daughter.\n But, my good lord, this boy is forest-born,", "ORLANDO. Why, how now, Adam! No greater heart in thee? Live a\n little; comfort a little; cheer thyself a little. If this uncouth", "ORLANDO. As I remember, Adam, it was upon this fashion bequeathed\n me by will but poor a thousand crowns, and, as thou say'st,", "Enter ORLANDO and ADAM\n\n\n ADAM. Dear master, I can go no further. O, I die for food! Here lie\n I down, and measure out my grave. Farewell, kind master.", "ADAM. Is 'old dog' my reward? Most true, I have lost my teeth in\n your service. God be with my old master! He would not have spoke\n such a word.\n Exeunt ORLANDO and ADAM", "ORLANDO, \" \" \" \" \" \"\n ADAM, servant to Oliver\n DENNIS, \" \" \"", "ORLANDO. Why, whither, Adam, wouldst thou have me go?\n\n ADAM. No matter whither, so you come not here.", "ADAM. What, my young master? O my gentle master!\n O my sweet master! O you memory\n Of old Sir Rowland! Why, what make you here?", "Re-enter ORLANDO with ADAM\n\n\n DUKE SENIOR. Welcome. Set down your venerable burden.\n And let him feed.", "ORLANDO. With no less religion than if thou wert indeed my\n Rosalind; so, adieu.", "SCENE II.\n\nThe forest\n\nEnter ORLANDO, with a paper", "ORLANDO. What passion hangs these weights upon my tongue?\n I cannot speak to her, yet she urg'd conference.\n O poor Orlando, thou art overthrown!\n Or Charles or something weaker masters thee.", "OLIVER. When last the young Orlando parted from you,\n He left a promise to return again\n Within an hour; and, pacing through the forest,", "SCENE II.\n\nThe forest\n\nEnter ORLANDO and OLIVER", "This seen, Orlando did approach the man,\n And found it was his brother, his elder brother.", "ORLANDO. Ay, better than him I am before knows me. I know you are\n my eldest brother; and in the gentle condition of blood, you" ], [ "hangs the verses on the trees wherein Rosalind is so admired?", "With thy chaste eye, from thy pale sphere above,\n Thy huntress' name that my full life doth sway.\n O Rosalind! these trees shall be my books,", "SCENE IV.\n\nThe Forest of Arden\n\nEnter ROSALIND for GANYMEDE, CELIA for ALIENA, and CLOWN alias TOUCHSTONE", "SCENE III.\n\nThe forest\n\nEnter ROSALIND and CELIA", "ACT IV. SCENE I.\n\nThe forest\n\nEnter ROSALIND, CELIA, and JAQUES", "ROSALIND. Peace, you dull fool! I found them on a tree.\n\n TOUCHSTONE. Truly, the tree yields bad fruit.", "ORLANDO. I do desire we may be better strangers.\n\n JAQUES. I pray you mar no more trees with writing love songs in\n their barks.", "SCENE II.\n\nThe forest\n\nEnter ORLANDO, with a paper", "ORLANDO. Where dwell you, pretty youth?\n\n ROSALIND. With this shepherdess, my sister; here in the skirts of\n the forest, like fringe upon a petticoat.", "Run, run, Orlando; carve on every tree,\n The fair, the chaste, and unexpressive she. Exit", "ROSALIND. Go with me to it, and I'll show it you; and, by the way,\n you shall tell me where in the forest you live. Will you go?", "ORLANDO. But will my Rosalind do so?\n\n ROSALIND. By my life, she will do as I do.\n\n ORLANDO. O, but she is wise.", "ROSALIND. It may well be call'd Jove's tree, when it drops forth\n such fruit.\n\n CELIA. Give me audience, good madam.", "ROSALIND. Why, whither shall we go?\n\n CELIA. To seek my uncle in the Forest of Arden.", "SCENE III.\n\nThe forest\n\nEnter TOUCHSTONE and AUDREY", "JAQUES. Why, 'tis good to be sad and say nothing.\n\n ROSALIND. Why then, 'tis good to be a post.", "ORLANDO. For these two hours, Rosalind, I will leave thee.\n\n ROSALIND. Alas, dear love, I cannot lack thee two hours!", "ORLANDO. Who doth he gallop withal?\n\n ROSALIND. With a thief to the gallows; for though he go as softly\n as foot can fall, he thinks himself too soon there.", "The lioness had torn some flesh away,\n Which all this while had bled; and now he fainted,\n And cried, in fainting, upon Rosalind.", "SCENE III.\n\nThe forest\n\nEnter TOUCHSTONE and AUDREY; JAQUES behind" ], [ "SCENE IV.\n\nThe Forest of Arden\n\nEnter ROSALIND for GANYMEDE, CELIA for ALIENA, and CLOWN alias TOUCHSTONE", "ROSALIND. By this hand, it will not kill a fly. But come, now I\n will be your Rosalind in a more coming-on disposition; and ask me\n what you will, I will grant it.", "ROSALIND. [Aside to CELIA] I will speak to him like a saucy lackey,\n and under that habit play the knave with him.- Do you hear,\n forester?", "ROSALIND. Not out of your apparel, and yet out of your suit.\n Am not I your Rosalind?", "ROSALIND. I'll have no worse a name than Jove's own page,\n And therefore look you call me Ganymede.\n But what will you be call'd?", "ORLANDO. But will my Rosalind do so?\n\n ROSALIND. By my life, she will do as I do.\n\n ORLANDO. O, but she is wise.", "CELIA. As good cause as one would desire; therefore weep.\n\n ROSALIND. His very hair is of the dissembling colour.", "ORLANDO. And I for Rosalind.\n\n ROSALIND. And I for no woman.", "ROSALIND. Good my complexion! dost thou think, though I am\n caparison'd like a man, I have a doublet and hose in my", "ORLANDO. Where dwell you, pretty youth?\n\n ROSALIND. With this shepherdess, my sister; here in the skirts of\n the forest, like fringe upon a petticoat.", "OLIVER. Well then, take a good heart and counterfeit to be a man.\n\n ROSALIND. So I do; but, i' faith, I should have been a woman by\n right.", "CORIN. Here comes young Master Ganymede, my new mistress's brother.\n\n Enter ROSALIND, reading a paper", "That he in sport doth call his Rosalind.\n [ROSALIND swoons]", "ROSALIND. I do so, I confess it. Ah, sirrah, a body would think\n this was well counterfeited. I pray you tell your brother how\n well I counterfeited. Heigh-ho!", "SCENE III.\n\nThe forest\n\nEnter ROSALIND and CELIA", "ROSALIND. Not true in love?\n\n CELIA. Yes, when he is in; but I think he is not in.", "CELIA. Go to. Will you, Orlando, have to wife this Rosalind?\n\n ORLANDO. I will.\n\n ROSALIND. Ay, but when?", "ORLANDO. I would not be cured, youth.\n\n ROSALIND. I would cure you, if you would but call me Rosalind, and\n come every day to my cote and woo me.", "Rosalind, meet. [To SILVIUS] As you love Phebe, meet;- and as I\n love no woman, I'll meet. So, fare you well; I have left you", "PHEBE. And so am I for Ganymede.\n\n ORLANDO. And so am I for Rosalind.\n\n ROSALIND. And so am I for no woman." ], [ "This seen, Orlando did approach the man,\n And found it was his brother, his elder brother.", "ORLANDO. My lord, the first time that I ever saw him\n Methought he was a brother to your daughter.\n But, my good lord, this boy is forest-born,", "OLIVER. What, boy! [Strikes him]\n\n ORLANDO. Come, come, elder brother, you are too young in this.", "SCENE II.\n\nThe forest\n\nEnter ORLANDO and OLIVER", "ORLANDO. Ay, better than him I am before knows me. I know you are\n my eldest brother; and in the gentle condition of blood, you", "SCENE II.\n\nThe forest\n\nEnter ORLANDO, with a paper", "OLIVER. When last the young Orlando parted from you,\n He left a promise to return again\n Within an hour; and, pacing through the forest,", "ORLANDO. Marry, sir, I am helping you to mar that which God made, a\n poor unworthy brother of yours, with idleness.", "ORLANDO. I am no villain; I am the youngest son of Sir Rowland de\n Boys. He was my father; and he is thrice a villain that says such", "ORLANDO. What passion hangs these weights upon my tongue?\n I cannot speak to her, yet she urg'd conference.\n O poor Orlando, thou art overthrown!\n Or Charles or something weaker masters thee.", "CORIN. Here comes young Master Ganymede, my new mistress's brother.\n\n Enter ROSALIND, reading a paper", "CHARLES. Come, where is this young gallant that is so desirous to\n lie with his mother earth?\n\n ORLANDO. Ready, sir; but his will hath in it a more modest working.", "CELIA. Are you his brother?\n\n ROSALIND. Was't you he rescu'd?", "brother, Orlando, hath a disposition to come in disguis'd against\n me to try a fall. To-morrow, sir, I wrestle for my credit; and he", "SCENE III.\n\nBefore OLIVER'S house\n\nEnter ORLANDO and ADAM, meeting\n\n\n ORLANDO. Who's there?", "ORLANDO. I am more proud to be Sir Rowland's son,\n His youngest son- and would not change that calling\n To be adopted heir to Frederick.", "The opening of his mouth; but suddenly,\n Seeing Orlando, it unlink'd itself,\n And with indented glides did slip away", "ORLANDO. I pray you mar no more of my verses with reading them\n ill-favouredly.\n\n JAQUES. Rosalind is your love's name?", "ORLANDO. He is drown'd in the brook; look but in, and you shall see\n him.\n\n JAQUES. There I shall see mine own figure.", "JAQUES. Yes, I have gain'd my experience.\n\n Enter ORLANDO" ], [ "SCENE III.\n\nThe forest\n\nEnter ROSALIND and CELIA", "SCENE IV.\n\nThe Forest of Arden\n\nEnter ROSALIND for GANYMEDE, CELIA for ALIENA, and CLOWN alias TOUCHSTONE", "CELIA. O Lord, Lord! it is a hard matter for friends to meet; but\n mountains may be remov'd with earthquakes, and so encounter.\n\n ROSALIND. Nay, but who is it?", "CELIA. I pray thee, Rosalind, sweet my coz, be merry.", "ORLANDO. But will my Rosalind do so?\n\n ROSALIND. By my life, she will do as I do.\n\n ORLANDO. O, but she is wise.", "CELIA. Why, cousin! why, Rosalind! Cupid have mercy!\n Not a word?\n\n ROSALIND. Not one to throw at a dog.", "CORIN. Else are they very wretched.\n\n ROSALIND. Peace, I say. Good even to you, friend.", "Rosalind, meet. [To SILVIUS] As you love Phebe, meet;- and as I\n love no woman, I'll meet. So, fare you well; I have left you", "ORLANDO. Where dwell you, pretty youth?\n\n ROSALIND. With this shepherdess, my sister; here in the skirts of\n the forest, like fringe upon a petticoat.", "CELIA. Go to. Will you, Orlando, have to wife this Rosalind?\n\n ORLANDO. I will.\n\n ROSALIND. Ay, but when?", "CELIA. It pleases him to call you so; but he hath a Rosalind of a\n better leer than you.", "ROSALIND. Not true in love?\n\n CELIA. Yes, when he is in; but I think he is not in.", "ROSALIND. By this hand, it will not kill a fly. But come, now I\n will be your Rosalind in a more coming-on disposition; and ask me\n what you will, I will grant it.", "ACT IV. SCENE I.\n\nThe forest\n\nEnter ROSALIND, CELIA, and JAQUES", "ROSALIND. Orlando?\n\n CELIA. Orlando.", "ROSALIND. Why, whither shall we go?\n\n CELIA. To seek my uncle in the Forest of Arden.", "CELIA. Prithee, who is't that thou mean'st?\n\n TOUCHSTONE. One that old Frederick, your father, loves.", "ORLANDO. With all my heart, good youth.\n\n ROSALIND. Nay, you must call me Rosalind. Come, sister, will you\n go? Exeunt", "SCENE II.\n\nA lawn before the DUKE'S palace\n\nEnter ROSALIND and CELIA", "CORIN. Here comes young Master Ganymede, my new mistress's brother.\n\n Enter ROSALIND, reading a paper" ] ]

[ "Who has Frederick usurped?", "Who did Frederick banish?", "What is Frederick's brother's name?", "Who is Duke Senior's daughter?", "What does orlando rescue Oliver from?", "What is the name of Frederick's only child?", "Who iss Rosalind disguised as?", "Who is Celia disguised as?", "What does Aliena meen?", "Why has Rosalind been allowed to remain at court ?", "Who has fled due to his brother, Oliver's persecution?", "Who is Orlando in love with?", "Who is Touchstone?", "Why do Rosalind and Celia leave court?", "Who are Ganymede and Aliena?", "Where do the girls live after leaving court?", "Who decides to adopt a religious life in the ending?", "Who does Phoebe fall in love with?", "What country is the setting of the story?", "Who does Orlando marry in the end?", "Who stops William from marrying Audrey?", "Who marrys Audrey?", "Who does Oliver marry in the end?", "What relation is Adam to Orlando?", "What is posted on the trees for Rosalind?", "Who does Rosalind disquise as?", "Who is Orlando's brother?", "Who is Rosalind's friend?" ]

[ [ "the Duchy", "the Duchy" ], [ "his brother", "He banishes Rosalind." ], [ "Duke Senior", "Duke Senior." ], [ "Rosalind", "Rosalind." ], [ "a lioness", "a lioness" ], [ "Celia", "Celia is his only child." ], [ "Ganymede", "a young man" ], [ "Aliena", "Aliena." ], [ "stranger", "Stranger." ], [ "She is Celia's closest friend", "She is a friend." ], [ "Orlando", "Orlando is forced to flee." ], [ "Rosalind", "Rosalind." ], [ "The court clown", "court clown " ], [ "Rosalind has been banished and Celia decides to leave with her", "Rosalind was banned from court" ], [ "Rosalind and Celia in disguise", "Rosalind and Celia." ], [ "They buy a cottage in the Arcadian Forest of Arden", "They live in the Forest of Arden." ], [ "Fredrick and Jaques ", "Jaques." ], [ "Ganymede, Rosalind's false identity", "Ganymede." ], [ "France", "It is set in France" ], [ "Rosalind", "Rosalind." ], [ "Touchstone", "Touchstone." ], [ "Touchstone", "Touchstone" ], [ "Celia", "Celia" ], [ "Servant", "servant to Orlando" ], [ "love poems", "Love poems." ], [ "Gandymede", "Ganymede." ], [ "Oliver", "Oliver" ], [ "Celia", "Celia." ] ]

[ [ "FRANK\n\t\t\tI'm just a sweet Transvestite\n\t\t\tFrom Transexual Transylvania.\n\n\tHe slowly moves back to BRAD and JANET, doing leg kicks.", "We view from OVERHEAD as the GUESTS surround him adoringly.\n\n\t\t\t\t\tFRANK\n\t\t\tI'm just a sweet transvestite\n\t\t\tFrom Transexual Transylvania.", "shall meet later at the Frank N. Furter place.", "A bolt of lighting illuminates the sign which reads: FRANK N. FURTER - \n\tSCIENTIST.\n\n\t\t\t\t\t\t\t\tWIPE TO", "Adapted from \"The Rocky Horror Show\" a musical\n\t\t with Book, Music & Lyrics by Richard O'Brien\n\n -----", "FRANK (Moving to tank)\n\t\t\tYou see, Brad and Janet, you are fortunate.\n\t\t\tFor tonight is the night that my beautiful\n\t\t\tcreature is destined to be born.", "RIFF RAFF\n\t\t\tExactly, Dr Scott. Now Frank N.\n\t\t\tFurter, your time has come. Say\n\t\t\tgoodbye to all this and hello to oblivion.", "JANET gives a silent scream.\n\n\tFRANK lets the cloak fall onto the throne, which reveals his \n\ttransvestite attire.\n\n\tThe GUESTS scream with delight.", "FRANK\n\t\t\tI'm just a sweet transvestite\n\t\t\tFrom Transexual Transylvania.", "doors. Their DAUGHTER (COLUMBIA) goes inside. The FAMILY, and the \n\tMINISTER (FRANK N. FURTER), and the GUESTS all resemble characters we", "RIFF RAFF\n\t\t\tFrank N. Furter\n\t\t\tIt's all over\n\t\t\tYour mission is a failure.\n\n\tFRANK looks stunned.", "FRANK climbs the ladder at one end of the tank, RIFF RAFF the other.\n\n\tROCKY HORROR sits up, raises his arms, finally stands upright with both \n\tarms outstretched.", "SONG:\t\t\"SWEET TRANSVESTITE\"\n\n\t\t\t\t\tFRANK\n\t\t\tHow do you do.", "FRANK crosses the screen and pulls back the curtain to reveal\n\tJANET and ROCKY.\n\n\t\t\t\t\tDR SCOTT\n\t\t\tJanet!", "JANET\n\t\t\tYou mean he's gonna send us to\n\t\t\tanother planet?\n\n\tFRANK leaps off the tank to the floor.", "the entire house back to the planet of\n\t\t\ttransexual in the galaxy of Transylvania.\n\t\t\tGo now.", "The road was long but I ran it.\n\t\t\t(He runs backwards towards church doors)\n\n\t\t\t\t\tFAMILY (Riff and Magenta)\n\t\t\tJanet.", "FRANK is enjoying dressing the statues which are now on stage. Each one\n\tis lovingly fitted with extravagant variations on the stocking and\n\tsuspender belt variety of his own fantasies.", "JANET\n\t\t\tOh!\n\n\tFRANK climbs up the ladder beside the tank.\n\n\t(music under this dialogue)", "The GUESTS scramble for the safety of the wings.\n\n\t\t\tWe return to Transylvania\n\t\t\t\t(he turns to Magenta)\n\t\t\tPrepare the transit beam." ], [ "FRANK (Moving to tank)\n\t\t\tYou see, Brad and Janet, you are fortunate.\n\t\t\tFor tonight is the night that my beautiful\n\t\t\tcreature is destined to be born.", "Adapted from \"The Rocky Horror Show\" a musical\n\t\t with Book, Music & Lyrics by Richard O'Brien\n\n -----", "FRANK\n\t\t\tI'm just a sweet Transvestite\n\t\t\tFrom Transexual Transylvania.\n\n\tHe slowly moves back to BRAD and JANET, doing leg kicks.", "FRANK crosses the screen and pulls back the curtain to reveal\n\tJANET and ROCKY.\n\n\t\t\t\t\tDR SCOTT\n\t\t\tJanet!", "doors. Their DAUGHTER (COLUMBIA) goes inside. The FAMILY, and the \n\tMINISTER (FRANK N. FURTER), and the GUESTS all resemble characters we", "A bolt of lighting illuminates the sign which reads: FRANK N. FURTER - \n\tSCIENTIST.\n\n\t\t\t\t\t\t\t\tWIPE TO", "FRANK climbs the ladder at one end of the tank, RIFF RAFF the other.\n\n\tROCKY HORROR sits up, raises his arms, finally stands upright with both \n\tarms outstretched.", "RIFF RAFF\n\t\t\tExactly, Dr Scott. Now Frank N.\n\t\t\tFurter, your time has come. Say\n\t\t\tgoodbye to all this and hello to oblivion.", "The road was long but I ran it.\n\t\t\t(He runs backwards towards church doors)\n\n\t\t\t\t\tFAMILY (Riff and Magenta)\n\t\t\tJanet.", "RIFF RAFF\n\t\t\tFrank N. Furter\n\t\t\tIt's all over\n\t\t\tYour mission is a failure.\n\n\tFRANK looks stunned.", "BRAD\n\t\t\tAh, hi. My name is Brad Majors and\n\t\t\tthis is my fiancee, Janet Weiss. You\n\t\t\tare ...", "SONG:\t\t\"SWEET TRANSVESTITE\"\n\n\t\t\t\t\tFRANK\n\t\t\tHow do you do.", "We view from OVERHEAD as the GUESTS surround him adoringly.\n\n\t\t\t\t\tFRANK\n\t\t\tI'm just a sweet transvestite\n\t\t\tFrom Transexual Transylvania.", "ROCKY HORROR with only his head unbandaged, is hanging on to the \n\tchandelier which RIFF RAFF is winding upwards.", "As FRANK starts to sing, MAGENTA & RIFF RAFF collect one of ROCKY's \n\tpresents, the vaulting horse, and place it in front of the podium.", "FRANK\n\t\t\tOh Rocky, how could you!\n\n\tJANET runs out, FRANK in pursuit.\n\n\tROCKY smiles wanly.", "him, ROCKY HORROR on Dr. Scott's right and between ROCKY and FRANK, \n\tCOLUMBIA. They sit in silence as the double doors open.", "FRANK\n\t\t\tListen! I made you, and I can break\n\t\t\tyou just as easily.\n\n\tROCKY is terrified. He takes his arm away from JANET.", "RIFF RAFF fires again and again.\n\n\tWith the body of FRANK in his arms, ROCKY beats on his chest and lets\n\tout a wild sound like a giant beast of the jungle.", "JANET gives a silent scream.\n\n\tFRANK lets the cloak fall onto the throne, which reveals his \n\ttransvestite attire.\n\n\tThe GUESTS scream with delight." ], [ "JANET\n\t\t\tOh, Brad, come in, darling.\n\n\tA silhouette enters and crosses to the bed. It moves onto the bed\n\tbehind the net curtain.", "JANET\n\t\t\tOh Brad.\n\n\t(Singing begins)\n\n\t\t\t\t\tBRAD\n\t\t\tThe river was deep but I swam it.", "BRAD\n\t\t\t\t(surprised)\n\t\t\tJanet! Oh! Yes it's alright. Janet.\n\t\t\tEverything's going to be alright.", "BRAD\n\t\t\tAhhh - no - stop - I mean Janet.\n\t\t\t\t(shouts)\n\t\t\tJanet.", "He gently lays her down on the bed and attempts to caress her.\n\n\t\t\t\t\tJANET\n\t\t\tOh Brad. Oh no. Not till after\n\t\t\tthe wedding, Darling.", "BRAD (spoken)\n\t\t\tHey Janet.\n\n\t\t\t\t\tJANET\n\t\t\tYes Brad.", "JANET\n\t\t\tOh - Oh - no - stop - I mean help.\n\t\t\tI - Brad - Oh.\n\t\t\t\t(she shouts)\n\t\t\tBrad.", "BRAD\n\t\t\tWhy you - what have you done with Janet?\n\n\t\t\t\t\tFRANK\n\t\t\tNothing. Why do you think I should?", "BRAD switches on the bedside lamp an realises he is making love to\n\tFRANK wearing a JANET wig.\n\n\t\t\t\t\tBRAD\n\t\t\tYou!", "BRAD\n\t\t\tOh - J - A - N - E - T\n\t\t\tI love you so.\n\n\tJANET, transfixed, bursts into the church.", "JANET runs to BRAD and he hugs her.\n\n\t\t\t\t\tBRAD (Circling Janet)\n\t\t\tDammit, Janet.", "JANET\n\t\t\tDr Scott!\n\n\t\t\t\t\tBRAD\n\t\t\tJanet!\n\n\t\t\t\t\tFRANK\n\t\t\tRocky!", "JANET\n\t\t\tI could see Brad's face before me and my\n\t\t\tmind screamed No! But my lips were hungry -\n\t\t\ttoo hungry.", "BRAD and JANET find themselves on a balcony of a huge black and silver\n\tballroom. At the furthest end is a throne-like chair and, surrounding", "JANET\n\t\t\tOh Brad. How could you?\n\t\t\t\t(she sees Rocky's wounds)\n\t\t\tOh, but you're hurt. Did they do this\n\t\t\tto you?", "BRAD's voice from behind the door.\n\n\t\t\t\t\tBRAD'S VOICE\n\t\t\tIt's only me, Janet.\n\n\tShe relaxes.", "COLUMBIA moves down from the bandstand and crosses to BRAD and JANET. \n\tShe witnesses the undressing.", "JANET clings to BRAD.\n\n\t\t\t\t\tRIFF RAFF\n\t\t\tAnd the void would be calling.", "BRAD\n\t\t\tDr Scott.\n\n\tA stifled gasp is heard from JANET behind the curtain.\n\n\tFRANK is surprised.", "JANET\n\t\t\tOh Brad." ], [ "An image of a middle-aged professorial man in a wheelchair appears.\n\n\tThe man is outside the castle, peering around the trees stealthily.\n\n\t\t\t\t\t\t\t\tCUT TO", "The convoy drives up and disappears into a secret entrance in the rock.\n\n\t\t\t\t\t\t\t\tCUT TO\n\n26\tEXT.\tCASTLE FACADE\tNIGHT", "CUT TO\n\n165\tINT.\tCASTLE CORRIDORS\tNIGHT", "A glow of light appears in a window. It illuminates a path to the \n\tcastle.\n\n\tBRAD and JANET turn.", "BRAD\n\t\t\tThere's a light.\n\n\tThe castle looms closer.", "The castle is in the distance between the two of them.\n\n\t\t\t\t\tBRAD & JANET\n\t\t\tThere's a light\n\n\tThe castle looms in the distance.", "JANET gives a silent scream.\n\n\tFRANK lets the cloak fall onto the throne, which reveals his \n\ttransvestite attire.\n\n\tThe GUESTS scream with delight.", "28\tCASTLE FACADE\tNIGHT\n\n\tRIFF RAFF moves to the lighted window where his hunchbacked shape \n\tbecomes a giant shadow.", "CUT TO\n\n30\tCASTLE FACADE\tNIGHT\n\n\tShadow turns in the window.", "The door opens. Throbbing music is heard in the background as if there \n\tis a party going on in the distance.", "They have passed a row of trees. A rock formation in the shape of a \n\tcastle is silhouetted against the sky. It has a flag flying from the \n\tturret.\n\n\tLightning strikes.", "31\tEXT.\tCASTLE DRIVE\tNIGHT\n\n\tBRAD and JANET approach the gateway to the castle.", "33\tEXT.\tCASTLE DRIVE\tNIGHT\n\n\t\t\t\t\tPHANTOM VOICES\n\t\t\tThere's a light, a light.", "The figure turns and throws open lift cage door. As camera zooms in to \n\tthe death mask above them the film changes from black and white to", "The castle seems to move forward.\n\n\t\t\t\t\tPHANTOM VOICES\n\t\t\tBurning in the fireplace.", "BRAD and JANET retreat to the hall. Behind them a lift slowly descends \n\tbearing a figure in a black cloak and a diamante stiletto heel - beating\n\ttime to a rhythm the band has started playing.", "and in the castle ground. Magenta has\n\t\t\tjust released the dogs.", "A motorcycle convoy roars by revealing a hidden road to the castle.\n\n\t\t\t\t\tBRAD\n\t\t\tA light\n\t\t\tIn the darkness of everybody's life.", "A bolt of lighting illuminates a row of vehicles parked by the castle.\n\n37\tEXT.\tFRONT DOOR OF CASTLE\tNIGHT\n\n\tBRAD sees them and reacts with surprise.", "The figure we have seen at the window emerges. He is a hunch-backed \n\tservant, RIFF RAFF.\n\n\t\t\t\t\tRIFF RAFF\n\t\t\tHello." ], [ "FRANK\n\t\t\tI know what you told me, Brad.\n\t\t\tBut this Dr Everett Scott. His name\n\t\t\tis not unknown to me.", "FRANK\n\t\t\tExcellent. (moves to Dr. Scott)", "BRAD\n\t\t\tDr Scott.\n\n\tA stifled gasp is heard from JANET behind the curtain.\n\n\tFRANK is surprised.", "FRANK crosses the screen and pulls back the curtain to reveal\n\tJANET and ROCKY.\n\n\t\t\t\t\tDR SCOTT\n\t\t\tJanet!", "FRANK\n\t\t\tEddie? What do you know of Eddie,\n\t\t\tDr Scott?", "DR SCOTT\n\t\t\tBrad! What are you doing here?\n\n\tFRANK releases the electro magnet.\n\n\tThe wheelchair hits the floor.", "FRANK\n\t\t\tGo on, Dr. Scott - or should I say\n\t\t\tdoctor von Scott.\n\n\t\t\t\t\tBRAD\n\t\t\tWhat exactly are you implying?", "FRANK\n\t\t\tDon't play games, Dr Scott. You know\n\t\t\tvery well what Brad Majors's doing here.", "FRANK signals, cut to the switch as it is turned on.\n\n\tDR. SCOTT is a statue.\n\n\t\t\t\t\tJANET\n\t\t\tYou're a hot dog...", "DR. SCOTT (turning aside)\n\t\t\tI knew he was in with a bad crowd. But it\n\t\t\twas worse than I imagined...(He turns back)\n\t\t\tAliens!", "DR. SCOTT\n\t\t\tUnd when he threatened your life\n\t\t\tWith a switch blade knife\n\n\t\t\t\t\tFRANK\n\t\t\tWhat guy", "FRANK\n\t\t\tI've laid the seed\n\t\t\tIt should be all you need.\n\n\tBRAD appears, pushing DR SCOTT, in hot pursuit.", "DR. SCOTT produces the note.\n\n\t\t\tWhich reads.\n\n\t\t\t\t\tALL\n\t\t\tWhat's it say,\n\t\t\tWhat's it say?", "DR. SCOTT\n\t\t\tFrom the day he was born,\n\t\t\the was trouble.\n\n\t\t\tHe was the thorn\n\t\t\tIn his mutter's side.", "DR SCOTT\n\t\t\tI happen to know a great deal about a\n\t\t\tlot of things. You see Eddie happens\n\t\t\tto be my nephew.", "DR. SCOTT\n\t\t\tWe came here to discuss Eddie.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!", "The room falls silent. All eyes are on FRANK, waiting for his reaction. \n\tA smile breaks on his face.", "What diabolical plan had seized Frank's crazed imagination?\nWhat indeed? From what had gone before it was clear that\nthis was to be no picnic.", "DR. SCOTT & BRAD arrive in the lift. FRANK has circled the tank and \n\tarrived at the control panel.", "BRAD\n\t\t\tWhy you - what have you done with Janet?\n\n\t\t\t\t\tFRANK\n\t\t\tNothing. Why do you think I should?" ], [ "At the head of a large coffin shaped table sits FRANK. There is an \n\telectric carver on the table in front of him. The table is laid for", "BRAD and JANET stand shivering in their underwear.\n\n\tThere is complete silence.\n\n\tThe GUESTS and SERVANTS are motionless.", "JANET gives a silent scream.\n\n\tFRANK lets the cloak fall onto the throne, which reveals his \n\ttransvestite attire.\n\n\tThe GUESTS scream with delight.", "announced by an official banner suspended over the Ballroom. They are\n\tall dressed in strange but elegant evening wear. They are a distorted", "FRANK now proceeds to carve the meat. Everyone is quiet and only the \n\tbuzzing of the electric carver is heard. RIFF RAFF & MAGENTA distribute", "RIFF RAFF and MAGENTA enter. RIFF RAFF carries a large joint of meat, \n\tMAGENTA the wine, both of which they set down at the head of the table.", "The floor opens to reveal a swimming pool glistening with chlorine\n\tand glitter. He beckons the GUESTS.\n\n\tIn their drugged state they comply with his every wish.", "FRANK (Silencing her with a gesture)\n\t\t\tIt's a rather tender subject....\n\t\t\tAnother slice anyone.\n\n\tEverybody looks at their food carefully.", "The tank is revealed. There is something inside it is immersed in clear \n\tfluid. The GUESTS are astonished.", "FRANK looks appalled.\n\n\tThe GUESTS are deeply troubled, realising that they also are not part of\n\tthe \"We\".", "FRANK\n\t\t\tThat's how I discovered the secret.\n\t\t\tThat elusive ingredient, that spark \n\t\t\tthat is the breath of life.\n\n\tGUESTS applaud.", "Like you're under sedation.\n\n\tThey force BRAD and JANET into the Ballroom proper.\n\n\tThe GUESTS turn on them.", "COLUMBIA\n\t\t\tSlowly, slowly. It's too nice a job\n\t\t\tto rush.\n\n\tThe GUESTS moan softly as each piece of clothing is removed.", "The GUESTS shout their approval.\n\n\tThe end of the SONG turns into Mendelssohn's wedding march and FRANK \n\tleads ROCKY to his bridal chamber.", "COLUMBIA rushes to the switchboard, flicks a lighting switch and all the \n\tlights above the stairs start changing colour.\n\n\tThe GUESTS go crazy and rock and roll all over the staircase.", "Several guests are crushed to death.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!\n\n\t\t\t\t\tEDDIE\n\t\t\tStay cool baby.", "it, a theatre proscenium. In the body of the room are GUESTS. They are \n\tthe people BRAD and JANET passed on the road. They are the", "Doctor Scott you can sample the\n\t\t\tspeciality of the house - roast\n\t\t\tloin of pork.\n\n\tHe gives JANET, who is virtually naked, a seering look.", "Let's do the Time Warp again.\n\n\tAll the GUESTS fall to the floor like flies exhausted.\n\n\t\t\t\t\t\t\t\tCUT TO", "GUESTS\n\t\t\t\t(dancing)\n\t\t\tAnd a step to the right - right -\n\t\t\tright - right - right.\n\n\t\t\t\t\t\t\t\tWIPE TO" ], [ "JANET gives a silent scream.\n\n\tFRANK lets the cloak fall onto the throne, which reveals his \n\ttransvestite attire.\n\n\tThe GUESTS scream with delight.", "BRAD and JANET stand shivering in their underwear.\n\n\tThere is complete silence.\n\n\tThe GUESTS and SERVANTS are motionless.", "On the last chorus FRANK rushes to EDDIE with the ice pick, in a \n\tdemented fury.\n\n\tTHE GUESTS are unbelieving.", "At the head of a large coffin shaped table sits FRANK. There is an \n\telectric carver on the table in front of him. The table is laid for", "The room falls silent. All eyes are on FRANK, waiting for his reaction. \n\tA smile breaks on his face.", "FRANK\n\t\t\tThat's how I discovered the secret.\n\t\t\tThat elusive ingredient, that spark \n\t\t\tthat is the breath of life.\n\n\tGUESTS applaud.", "FRANK steals towards the fridge where he collects an ice pick, \n\tinnocently.", "FRANK now proceeds to carve the meat. Everyone is quiet and only the \n\tbuzzing of the electric carver is heard. RIFF RAFF & MAGENTA distribute", "The GUESTS shout their approval.\n\n\tThe end of the SONG turns into Mendelssohn's wedding march and FRANK \n\tleads ROCKY to his bridal chamber.", "Like you're under sedation.\n\n\tThey force BRAD and JANET into the Ballroom proper.\n\n\tThe GUESTS turn on them.", "The floor opens to reveal a swimming pool glistening with chlorine\n\tand glitter. He beckons the GUESTS.\n\n\tIn their drugged state they comply with his every wish.", "FRANK throws a switch, she turns to stone.\n\n\t\t\t\t\tFRANK\n\t\t\tIt's not easy having a good time.", "FRANK suddenly pulls away the tablecloth to reveal a glass coffin\n\tcontaining the decomposed remains of EDDIE.\n\n142\tINT.\tDINING ROOM/HALL/STAIRS", "FRANK, now in surgeon's outfit stands in the middle of the room. RIFF \n\tRAFF gets out of the lift first, with a glass of champagne which he\n\thands to FRANK.", "There is a gasp from COLUMBIA, MAGENTA and GUESTS.\n\n\t\t\t\t\tFRANK\n\t\t\tAnd paradise is to be mine.", "FRANK is enjoying dressing the statues which are now on stage. Each one\n\tis lovingly fitted with extravagant variations on the stocking and\n\tsuspender belt variety of his own fantasies.", "COLUMBIA rushes to the switchboard, flicks a lighting switch and all the \n\tlights above the stairs start changing colour.\n\n\tThe GUESTS go crazy and rock and roll all over the staircase.", "As he speaks her name each one steps forward out of the lift. They\n\tcross to RIFF RAFF behind the tank.\n\n\t\t\t\t\tFRANK\n\t\t\tI will entertain...ah...", "FRANK watches excitedly from behind the tank as the chandelier is \n\tlowered. It spurts different coloured liquids into the tank.", "She switches on the light to reveal FRANK.\n\n\t\t\t\t\tJANET\n\t\t\tYOU!\n\n\tFRANK sits up." ], [ "BRAD and JANET stand shivering in their underwear.\n\n\tThere is complete silence.\n\n\tThe GUESTS and SERVANTS are motionless.", "JANET gives a silent scream.\n\n\tFRANK lets the cloak fall onto the throne, which reveals his \n\ttransvestite attire.\n\n\tThe GUESTS scream with delight.", "Like you're under sedation.\n\n\tThey force BRAD and JANET into the Ballroom proper.\n\n\tThe GUESTS turn on them.", "The floor opens to reveal a swimming pool glistening with chlorine\n\tand glitter. He beckons the GUESTS.\n\n\tIn their drugged state they comply with his every wish.", "On the last chorus FRANK rushes to EDDIE with the ice pick, in a \n\tdemented fury.\n\n\tTHE GUESTS are unbelieving.", "The GUESTS shout their approval.\n\n\tThe end of the SONG turns into Mendelssohn's wedding march and FRANK \n\tleads ROCKY to his bridal chamber.", "BRAD\n\t\t\tI'm here, there's nothing to worry about.\n\n\tGUESTS rise, staring mesmerised at the lift.", "Let's do the Time Warp again.\n\n\tAll the GUESTS fall to the floor like flies exhausted.\n\n\t\t\t\t\t\t\t\tCUT TO", "it, a theatre proscenium. In the body of the room are GUESTS. They are \n\tthe people BRAD and JANET passed on the road. They are the", "FRANK now proceeds to carve the meat. Everyone is quiet and only the \n\tbuzzing of the electric carver is heard. RIFF RAFF & MAGENTA distribute", "COLUMBIA rushes to the switchboard, flicks a lighting switch and all the \n\tlights above the stairs start changing colour.\n\n\tThe GUESTS go crazy and rock and roll all over the staircase.", "Several guests are crushed to death.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!\n\n\t\t\t\t\tEDDIE\n\t\t\tStay cool baby.", "The tank is revealed. There is something inside it is immersed in clear \n\tfluid. The GUESTS are astonished.", "COLUMBIA\n\t\t\tSlowly, slowly. It's too nice a job\n\t\t\tto rush.\n\n\tThe GUESTS moan softly as each piece of clothing is removed.", "There is a gasp from COLUMBIA, MAGENTA and GUESTS.\n\n\t\t\t\t\tFRANK\n\t\t\tAnd paradise is to be mine.", "The GUESTS scramble for the safety of the wings.\n\n\t\t\tWe return to Transylvania\n\t\t\t\t(he turns to Magenta)\n\t\t\tPrepare the transit beam.", "The two discarded GUESTS cry and claw at the cage door as the lift moves \n\toff under RIFF RAFF's control.\n\n\tBRAD and JANET are squashed, arms by their side.", "RIFF RAFF has opened the cage doors to the lift.\n\n\tThe GUESTS rush for positions.\n\n\t\t\t\t\tBRAD\n\t\t\tPeople like you maybe", "GUESTS\n\t\t\tYou bring your knees in tight.\n\t\t\tBut it's the pelvic thrust.\n\n\tThe rows of GUESTS open out with pelvic thrusts.", "announced by an official banner suspended over the Ballroom. They are\n\tall dressed in strange but elegant evening wear. They are a distorted" ], [ "The GUESTS flee down the ballroom and out the door.\n\n\tWe see the laughing figures of RIFF RAFF and MAGENTA making a special\n\tsign to each other.", "The lift moves downwards.\n\n\tLeft alone in the laboratory MAGENTA and RIFF RAFF smile at each other.\n\n\tThey make a special sign and leave by a secret passageway.", "RIFF RAFF turns to MAGENTA who is now standing in the doorway.\n\n\tRIFF RAFF puts down the candelabra and they exchange a strange sign.", "RIFF RAFF and MAGENTA enter. RIFF RAFF carries a large joint of meat, \n\tMAGENTA the wine, both of which they set down at the head of the table.", "RALPH & BETTY drive off. GUESTS wave and shout, BRAD & JANET with great \n\tenthusiasm. GUESTS begin to disperse.", "FRANK now proceeds to carve the meat. Everyone is quiet and only the \n\tbuzzing of the electric carver is heard. RIFF RAFF & MAGENTA distribute", "85\tINT.\tLABORATORY\tNIGHT\n\n\tRIFF RAFF and MAGENTA stare intently at the screen.\n\n\tThey smile at each other.", "The road was long but I ran it.\n\t\t\t(He runs backwards towards church doors)\n\n\t\t\t\t\tFAMILY (Riff and Magenta)\n\t\t\tJanet.", "As FRANK starts to sing, MAGENTA & RIFF RAFF collect one of ROCKY's \n\tpresents, the vaulting horse, and place it in front of the podium.", "RIFF RAFF and MAGENTA now dressed in military style space suits, face\n\tFRANK from the opposite end of the ballroom.\n\n\tThey applaud slowly.", "And what charming underclothes you both have.\n\t\t\t(He takes two dust coats from Riff Raff \n\t\t\tand hands them to Brad).", "They arrive at a hallway at the bottom of the stairs. Another servant,\n\tMAGENTA, who bears a striking physical resemblance to RIFF RAFF is \n\tvacuuming the stairs.", "RIFF RAFF and MAGENTA close in on BRAD and JANET. They remove BRAD and\n\tJANET's wet clothes.", "He crosses over to RIFF RAFF and MAGENTA\n\n\t\t\tEven smiling makes my face ache.\n\n\tRIFF RAFF and MAGENTA nod sympathetically.", "RIFF RAFF & MAGENTA pour out the wine and return to the side of FRONT \n\twho then rises.\n\n\t\t\t\t\tFRANK\n\t\t\tA toast to absent friends.", "RIFF RAFF walks across to the door and stares at the sleeping body.\n\n\tHis eyes are full of hate.\n\n\tHe looks at MAGENTA.", "RIFF RAFF\n\t\t\tExactly, Dr Scott. Now Frank N.\n\t\t\tFurter, your time has come. Say\n\t\t\tgoodbye to all this and hello to oblivion.", "FRANK climbs the ladder at one end of the tank, RIFF RAFF the other.\n\n\tROCKY HORROR sits up, raises his arms, finally stands upright with both \n\tarms outstretched.", "RIFF RAFF & MAGENTA enter through the hole in the tiles - they march\n\tto behind the tank and then the control panel.", "a figment of our imaginations! If this\n\t\t\tis so, then Brad and Janet are quite safe.\n\t\t\tHowever, the sudden departure of their" ], [ "Sc. 97. INT. NARRATOR'S STUDY. N.\n\nIs replaced by the following:", "revealing the NARRATOR. He is in his smoking jacket. He speaks \n\tdirectly to us.", "NARRATOR\n\t\t\tAnd so, by some extraordinary coincidence - \n\t\t\tfate it seems had decided that Brad and", "NARRATOR\n\t\t\t\"If\" and \"Only\", two small words. Words\n\t\t\twhich kept repeating themselves again and", "NARRATOR\n\t\t\t\t(reads from a dictionary)\n\t\t\t\"Emotion\". Mental agitation - an excited", "34\tINT.\tSTUDY\tNIGHT\n\n\tThe NARRATOR is in his armchair. He leans forward with some urgency.", "72\tINT.\tSTUDY\tNIGHT\n\n\tNARRATOR reading from book.", "WIPE TO\n\n93\tINT.\tSTUDY\tNIGHT\n\n\tThe NARRATOR is leaning back in his armchair, cool and considerate.", "NARRATOR\n\t\t\tIt seemed a fairly ordinary night when\n\t\t\tBrad Majors and his fiancee Janet Weiss", "145\tINT.\tSTUDY\tNIGHT\n\n\t\t\t\t\tNARRATOR\n\t\t\tThen she cries out -", "NARRATOR\n\t\t\tI would like if I may to take you on a\n\t\t\tstrange journey.", "NARRATOR\n\t\t\tWith your hands on your hips.\n\n\t\t\t\t\t\t\t\tWIPE TO\n\n52\tINT.\tBALLROOM\tNIGHT", "The NARRATOR moves from his desk to the wall behind him. He pulls down \n\ta chart with illustrated dance steps on it. He gestures to the \n\tappropriate section of the diagram with the pointer.", "NARRATOR\n\t\t\tThere are some people who say that life\n\t\t\tis an illusion, and that reality is simply", "NARRATOR\n\t\t\tAnd so it seemed that fortune had smiled\n\t\t\ton Brad and Janet and that they had found\n\t\t\tthe assistance that their plight required -\n\t\t\tor had they?", "NARRATOR\n\t\t\tAnd crawling on the planet's face\n\t\t\tSome insects called the human race\n\t\t\tLost in time, and lost in space\n\t\t\tAnd meaning.", "JANET is pacing around the tank which is covered by a cloth. She\n\tbecomes aware of the sound of someone crying inside. She pulls the\n\tcloth back to reveal ROCKY lying in the tank - exhausted and bleeding.", "NARRATOR\n\t\t\tIt's just a jump to the left.\n\n\tHe jumps to the left.\n\n\t\t\t\t\t\t\t\tWIPE TO", "Sc. 148 INT. NARRATOR'S STUDY.N>\n\nAs scripted up to; What further indignities were they\nto be subjected to?", "NARRATOR\n\t\t\tRocky needed peace of mind.\n\t\t\tHe didn't know\n\t\t\tHe was doing just fine." ], [ "NARRATOR\n\t\t\tIt seemed a fairly ordinary night when\n\t\t\tBrad Majors and his fiancee Janet Weiss", "a figment of our imaginations! If this\n\t\t\tis so, then Brad and Janet are quite safe.\n\t\t\tHowever, the sudden departure of their", "NARRATOR\n\t\t\tAnd so it seemed that fortune had smiled\n\t\t\ton Brad and Janet and that they had found\n\t\t\tthe assistance that their plight required -\n\t\t\tor had they?", "FRANK\n\t\t\tI'm just a sweet Transvestite\n\t\t\tFrom Transexual Transylvania.\n\n\tHe slowly moves back to BRAD and JANET, doing leg kicks.", "BRAD\n\t\t\tAh, hi. My name is Brad Majors and\n\t\t\tthis is my fiancee, Janet Weiss. You\n\t\t\tare ...", "BRAD and JANET are at the gate. There is a rusted sign.\n\n\t\t\t\t\tBRAD & JANET\n\t\t\tIn the darkness of everybody's life.", "FRANK (Moving to tank)\n\t\t\tYou see, Brad and Janet, you are fortunate.\n\t\t\tFor tonight is the night that my beautiful\n\t\t\tcreature is destined to be born.", "BRAD, JANET, FAMILY.\n\t\t\tI love you.\n\n\tBRAD & JANET kiss.\n\n\tThe cross above spits optically.", "BRAD and JANET find themselves on a balcony of a huge black and silver\n\tballroom. At the furthest end is a throne-like chair and, surrounding", "BRAD\n\t\t\tDammit, Janet.\n\n\tBRAD & JANET kneel together with each following word until they are \n\tkneeling on the floor)", "JANET\n\t\t\tOh Brad. How could you?\n\t\t\t\t(she sees Rocky's wounds)\n\t\t\tOh, but you're hurt. Did they do this\n\t\t\tto you?", "The castle is in the distance between the two of them.\n\n\t\t\t\t\tBRAD & JANET\n\t\t\tThere's a light\n\n\tThe castle looms in the distance.", "The road was long but I ran it.\n\t\t\t(He runs backwards towards church doors)\n\n\t\t\t\t\tFAMILY (Riff and Magenta)\n\t\t\tJanet.", "JANET\n\t\t\tOh - Oh - no - stop - I mean help.\n\t\t\tI - Brad - Oh.\n\t\t\t\t(she shouts)\n\t\t\tBrad.", "JANET\n\t\t\tOh Brad.\n\n\t(Singing begins)\n\n\t\t\t\t\tBRAD\n\t\t\tThe river was deep but I swam it.", "BRAD\n\t\t\tOh - J - A - N - E - T\n\t\t\tI love you so.\n\n\tJANET, transfixed, bursts into the church.", "FRANK\n\t\t\tOh Rocky, how could you!\n\n\tJANET runs out, FRANK in pursuit.\n\n\tROCKY smiles wanly.", "Darkness has conquered Brad and Janet\n\t\t\tThe servants gone to a distant planet\n\t\t\tOh - at the late night double-feature", "it, a theatre proscenium. In the body of the room are GUESTS. They are \n\tthe people BRAD and JANET passed on the road. They are the", "BRAD & JANET step out of the lift.\n\n\t\t\t\t\tBRAD\n\t\t\tI'm Brad Majors and this\n\t\t\tis my fiancee, Janet Vice." ], [ "DR. SCOTT\n\t\t\tWe came here to discuss Eddie.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!", "138\tINSERT EDDIE'S NOTE", "DR SCOTT\n\t\t\tI can assure you that Brad's presence\n\t\t\tcomes as a complete surprise to me.\n\t\t\tI came to find Eddie.", "DR SCOTT\n\t\t\tI happen to know a great deal about a\n\t\t\tlot of things. You see Eddie happens\n\t\t\tto be my nephew.", "EDDIE (more confident, less frozen) leaps onto the motorbike in a legs \n\tapart guitar strumming pose.\n\n\tFRANK is getting furious.", "COLUMBIA covers her face with her hands.\n\n\tEDDIE is dead. FRANK walks away from his body unconcerned.\n\n\tJANET screams and screams.", "DR SCOTT\n\t\t\tYou saw what became of Eddie.\n\t\t\tSociety must be protected.", "Turns the page to Eddie's mug shot.\n\n\t\t\tTaking everyone for a ride.\n\n\tThe page turns again revealing the lyrics.", "EDDIE comes to life.\n\n76\tSONG:\t\t\"WHAT EVER HAPPENED TO SATURDAY NIGHT\"", "BRAD\n\t\t\tEddie? I've seen him. He's...\n\n\tFRANK cuts in quickly.", "Through these bursts an icy EDDIE riding a Harley Davidson motor bike, \n\tex World War II, holding a Gibson guitar.", "Several guests are crushed to death.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!\n\n\t\t\t\t\tEDDIE\n\t\t\tStay cool baby.", "Und a motorbike.\n\n\tHe turns to a still of Eddie as an addict\n\n\t\t\tShooting up junk", "EDDIE (VO)\n\t\t\tI'm out of my head\n\t\t\tOh hurry, or I may be dead.", "EDDIE slips onto the pedal starting the bike. He takes off and roars \n\tround the laboratory, even riding up and down the walls.", "FRANK\n\t\t\tOne from the vaults.\n\n\tRIFF RAFF drags EDDIE's dismembered body back into the fridge.", "ALL\n\t\t\tWhen Eddie said\n\t\t\tHe didn't like his teddy\n\t\t\tYou knew he was a no good kid.", "141\tINT.\tDINING ROOM\tNIGHT\n\n\tEDDIE'S TEDDY: REPRISE", "FRANK suddenly pulls away the tablecloth to reveal a glass coffin\n\tcontaining the decomposed remains of EDDIE.\n\n142\tINT.\tDINING ROOM/HALL/STAIRS", "FRANK\n\t\t\tMy children turn on me. Rocky's behaving\n\t\t\tjust as Eddie did. Maybe I made a mistake" ], [ "Through these bursts an icy EDDIE riding a Harley Davidson motor bike, \n\tex World War II, holding a Gibson guitar.", "EDDIE (more confident, less frozen) leaps onto the motorbike in a legs \n\tapart guitar strumming pose.\n\n\tFRANK is getting furious.", "EDDIE slips onto the pedal starting the bike. He takes off and roars \n\tround the laboratory, even riding up and down the walls.", "Turns the page to Eddie's mug shot.\n\n\t\t\tTaking everyone for a ride.\n\n\tThe page turns again revealing the lyrics.", "Und a motorbike.\n\n\tHe turns to a still of Eddie as an addict\n\n\t\t\tShooting up junk", "EDDIE (VO)\n\t\t\tI'm out of my head\n\t\t\tOh hurry, or I may be dead.", "The wind machine blows the blanked from his lap and we see legs, \n\tstockings and a suspender belt. As in a miracle he can walk again.", "75\tDelete references to the Ice-block. Eddie now crashes\n\tthrough a wall of Coca Cola bottles and ice. He is also equipped\n\twith a saxaphone rather than a guitar.", "FRANK\n\t\t\tOne from the vaults.\n\n\tRIFF RAFF drags EDDIE's dismembered body back into the fridge.", "COLUMBIA covers her face with her hands.\n\n\tEDDIE is dead. FRANK walks away from his body unconcerned.\n\n\tJANET screams and screams.", "EDDIE comes to life.\n\n76\tSONG:\t\t\"WHAT EVER HAPPENED TO SATURDAY NIGHT\"", "138\tINSERT EDDIE'S NOTE", "The figure turns and throws open lift cage door. As camera zooms in to \n\tthe death mask above them the film changes from black and white to", "FRANK suddenly pulls away the tablecloth to reveal a glass coffin\n\tcontaining the decomposed remains of EDDIE.\n\n142\tINT.\tDINING ROOM/HALL/STAIRS", "DR SCOTT\n\t\t\tYou saw what became of Eddie.\n\t\t\tSociety must be protected.", "Several guests are crushed to death.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!\n\n\t\t\t\t\tEDDIE\n\t\t\tStay cool baby.", "20\tEXT.\tROAD\tNIGHT\n\n\tCar reverses.\n\n\tBRAD puts his foot on the accelerator. The wheel skids and explodes.", "DR. SCOTT\n\t\t\tWe came here to discuss Eddie.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!", "DR SCOTT\n\t\t\tI can assure you that Brad's presence\n\t\t\tcomes as a complete surprise to me.\n\t\t\tI came to find Eddie.", "141\tINT.\tDINING ROOM\tNIGHT\n\n\tEDDIE'S TEDDY: REPRISE" ], [ "JANET is pacing around the tank which is covered by a cloth. She\n\tbecomes aware of the sound of someone crying inside. She pulls the\n\tcloth back to reveal ROCKY lying in the tank - exhausted and bleeding.", "FRANK climbs the ladder at one end of the tank, RIFF RAFF the other.\n\n\tROCKY HORROR sits up, raises his arms, finally stands upright with both \n\tarms outstretched.", "RIFF RAFF removes the bandage from ROCKY's head. ROCKY looks at RIFF \n\tRAFF then at FRANK. With a gasp he leaps for the chandelier above.", "During the last sequence, FRANK climbs out of the tank onto RIFF RAFF'S \n\tshoulders and purses ROCKY, but they fall.", "RIFF RAFF fires again and again.\n\n\tWith the body of FRANK in his arms, ROCKY beats on his chest and lets\n\tout a wild sound like a giant beast of the jungle.", "RIFF RAFF picks up a candelabra from the bedside table and taunts ROCKY.\n\n\tROCKY jumps out of the bed, terrified.", "As ROCKY gets level with him, FRANK lunges for him but lands inside the \n\ttank....because...", "As he speaks her name each one steps forward out of the lift. They\n\tcross to RIFF RAFF behind the tank.\n\n\t\t\t\t\tFRANK\n\t\t\tI will entertain...ah...", "At the same time RIFF RAFF is down the ladder making for the handle. He \n\twinds up the chandelier and ROCKY.", "At the end of number, ROCKY has climbed up the ladder attached to the \n\tend of the tank nearest the bridal chambers and FRANK is in a heap", "ROCKY HORROR with only his head unbandaged, is hanging on to the \n\tchandelier which RIFF RAFF is winding upwards.", "Everybody applauds. FRANK then pulls the cover from the tank. RIFF \n\tRAFF is at the control panel.\n\n70\tINT.\tLABORATORY\tNIGHT", "In the background RIFF RAFF and MAGENTA in laboratory.\n\n\tROCKY stirs and makes a sound.", "FRANK, in the tank behind ROCKY, puts his arms round ROCKY's neck.", "FRANK watches excitedly from behind the tank as the chandelier is \n\tlowered. It spurts different coloured liquids into the tank.", "RIFF RAFF can stand no more.\n\n\tHe fires a blast of laser beam at ROCKY who starts climbing the stairway\n\ttowards the fox skyline.", "FRANK runs down the ladder and kicks RIFF RAFF who starts to lower the \n\tchandelier. FRANK climbs up the other steps to meet his creation coming", "FRANK, now in surgeon's outfit stands in the middle of the room. RIFF \n\tRAFF gets out of the lift first, with a glass of champagne which he\n\thands to FRANK.", "RIFF RAFF & MAGENTA enter through the hole in the tiles - they march\n\tto behind the tank and then the control panel.", "RIFF RAFF fires a sustained beam.\n\n\tROCKY climbs to the top of the Fox sculpture.\n\n\tRIFF RAFF fires again and again." ], [ "JANET\n\t\t\tI wanted to be loved completely.\n\t\t\tMy body throbbed excitedly. Oh Brad,\n\t\t\tBrad my darling, how could I have\n\t\t\tdone this to you?", "JANET animates. She behaves like a sex goddess, completely out of\n\tcontrol, as if performing in a burlesque show.", "JANET\n\t\t\tOh, Brad, come in, darling.\n\n\tA silhouette enters and crosses to the bed. It moves onto the bed\n\tbehind the net curtain.", "BRAD\n\t\t\tOh - J - A - N - E - T\n\t\t\tI love you so.\n\n\tJANET, transfixed, bursts into the church.", "JANET is pacing around the tank which is covered by a cloth. She\n\tbecomes aware of the sound of someone crying inside. She pulls the\n\tcloth back to reveal ROCKY lying in the tank - exhausted and bleeding.", "JANET\n\t\t\tOh Brad.\n\n\t(Singing begins)\n\n\t\t\t\t\tBRAD\n\t\t\tThe river was deep but I swam it.", "FRANK\n\t\t\tOh Rocky, how could you!\n\n\tJANET runs out, FRANK in pursuit.\n\n\tROCKY smiles wanly.", "JANET\n\t\t\tI'm engaged to Brad just the same as\n\t\t\tBetty Monroe was to Ralph Hapschatt.", "JANET circles BRAD twice, admiring her ring on the way.\n\n\t\t\t\t\tJANET\n\t\t\tOh Brad,\n\t\t\tI'm mad.", "JANET\n\t\t\tOh!\n\n\tFRANK climbs up the ladder beside the tank.\n\n\t(music under this dialogue)", "JANET\n\t\t\tYou beast, you monster, what have you\n\t\t\tdone with Brad?\n\n\t\t\t\t\tFRANK\n\t\t\tNothing. Why, do you think I should?", "JANET bursts into the church, hypnotised by the ring. BRAD follows her.", "Doctor Scott you can sample the\n\t\t\tspeciality of the house - roast\n\t\t\tloin of pork.\n\n\tHe gives JANET, who is virtually naked, a seering look.", "Silhouette of FRANK and JANET making love.\n\n\t\t\t\t\tJANET\n\t\t\tPromise you won't tell Brad.", "JANET (Taking his arm)\n\t\t\tI've one thing to say\n\t\t\tAnd that's, Brad\n\t\t\tI'm mad,\n\t\t\tFor you too.", "JANET\n\t\t\tI could see Brad's face before me and my\n\t\t\tmind screamed No! But my lips were hungry -\n\t\t\ttoo hungry.", "JANET\n\t\t\tYes.\n\n\t\t\t\t\tBRAD\n\t\t\tEveryone knows Betty's a wonderful \n\t\t\tlittle cook.", "FRANK circles JANET, testing her thighs. BRAD struggles in vain.", "JANET faints again.\n\n\t\t\t\t\t\t\t\tCUT TO\n\n42\tINT.\tSTUDY\tNIGHT", "92\tINT.\tJANET'S ROOM (RED FILTER)\tNIGHT\n\n\tJANET is lying on the bed posed in the style of a \"True Romance\" comic\n\theroine." ], [ "COLUMBIA covers her face with her hands.\n\n\tEDDIE is dead. FRANK walks away from his body unconcerned.\n\n\tJANET screams and screams.", "FRANK suddenly pulls away the tablecloth to reveal a glass coffin\n\tcontaining the decomposed remains of EDDIE.\n\n142\tINT.\tDINING ROOM/HALL/STAIRS", "EDDIE (more confident, less frozen) leaps onto the motorbike in a legs \n\tapart guitar strumming pose.\n\n\tFRANK is getting furious.", "DR SCOTT\n\t\t\tYou saw what became of Eddie.\n\t\t\tSociety must be protected.", "Several guests are crushed to death.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!\n\n\t\t\t\t\tEDDIE\n\t\t\tStay cool baby.", "ROCKY breaks down completely. Although he despised FRANK, he was all he\n\thad in the world.\n\n\tHe rushes to the body and cradles it in his arms.", "Through these bursts an icy EDDIE riding a Harley Davidson motor bike, \n\tex World War II, holding a Gibson guitar.", "EDDIE (VO)\n\t\t\tI'm out of my head\n\t\t\tOh hurry, or I may be dead.", "EDDIE slips onto the pedal starting the bike. He takes off and roars \n\tround the laboratory, even riding up and down the walls.", "Turns the page to Eddie's mug shot.\n\n\t\t\tTaking everyone for a ride.\n\n\tThe page turns again revealing the lyrics.", "FRANK\n\t\t\tOne from the vaults.\n\n\tRIFF RAFF drags EDDIE's dismembered body back into the fridge.", "Und a motorbike.\n\n\tHe turns to a still of Eddie as an addict\n\n\t\t\tShooting up junk", "On the last chorus FRANK rushes to EDDIE with the ice pick, in a \n\tdemented fury.\n\n\tTHE GUESTS are unbelieving.", "DR. SCOTT\n\t\t\tWe came here to discuss Eddie.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!", "The figure turns and throws open lift cage door. As camera zooms in to \n\tthe death mask above them the film changes from black and white to", "141\tINT.\tDINING ROOM\tNIGHT\n\n\tEDDIE'S TEDDY: REPRISE", "138\tINSERT EDDIE'S NOTE", "DR SCOTT\n\t\t\tI can assure you that Brad's presence\n\t\t\tcomes as a complete surprise to me.\n\t\t\tI came to find Eddie.", "JANET is pacing around the tank which is covered by a cloth. She\n\tbecomes aware of the sound of someone crying inside. She pulls the\n\tcloth back to reveal ROCKY lying in the tank - exhausted and bleeding.", "The scene is arid and deserted. There are remnants of DR SCOTT's\n\twheelchair, EDDIE's coffin and broken objects from the laboratory." ], [ "FRANK\n\t\t\tI know what you told me, Brad.\n\t\t\tBut this Dr Everett Scott. His name\n\t\t\tis not unknown to me.", "FRANK\n\t\t\tExcellent. (moves to Dr. Scott)", "BRAD\n\t\t\tDr Scott.\n\n\tA stifled gasp is heard from JANET behind the curtain.\n\n\tFRANK is surprised.", "FRANK\n\t\t\tEddie? What do you know of Eddie,\n\t\t\tDr Scott?", "FRANK crosses the screen and pulls back the curtain to reveal\n\tJANET and ROCKY.\n\n\t\t\t\t\tDR SCOTT\n\t\t\tJanet!", "DR SCOTT\n\t\t\tBrad! What are you doing here?\n\n\tFRANK releases the electro magnet.\n\n\tThe wheelchair hits the floor.", "FRANK\n\t\t\tGo on, Dr. Scott - or should I say\n\t\t\tdoctor von Scott.\n\n\t\t\t\t\tBRAD\n\t\t\tWhat exactly are you implying?", "FRANK\n\t\t\tDon't play games, Dr Scott. You know\n\t\t\tvery well what Brad Majors's doing here.", "DR. SCOTT\n\t\t\tUnd when he threatened your life\n\t\t\tWith a switch blade knife\n\n\t\t\t\t\tFRANK\n\t\t\tWhat guy", "FRANK\n\t\t\tI've laid the seed\n\t\t\tIt should be all you need.\n\n\tBRAD appears, pushing DR SCOTT, in hot pursuit.", "DR. SCOTT (turning aside)\n\t\t\tI knew he was in with a bad crowd. But it\n\t\t\twas worse than I imagined...(He turns back)\n\t\t\tAliens!", "FRANK signals, cut to the switch as it is turned on.\n\n\tDR. SCOTT is a statue.\n\n\t\t\t\t\tJANET\n\t\t\tYou're a hot dog...", "Janet should keep that appointment with \n\t\t\ttheir friend Dr Everett Scott. But it was \n\t\t\tto be in a situation which none of them", "DR SCOTT\n\t\t\tI happen to know a great deal about a\n\t\t\tlot of things. You see Eddie happens\n\t\t\tto be my nephew.", "DR. SCOTT produces the note.\n\n\t\t\tWhich reads.\n\n\t\t\t\t\tALL\n\t\t\tWhat's it say,\n\t\t\tWhat's it say?", "DR. SCOTT\n\t\t\tFrom the day he was born,\n\t\t\the was trouble.\n\n\t\t\tHe was the thorn\n\t\t\tIn his mutter's side.", "The room falls silent. All eyes are on FRANK, waiting for his reaction. \n\tA smile breaks on his face.", "DR. SCOTT\n\t\t\tWe came here to discuss Eddie.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!", "BRAD\n\t\t\tDr. Scott!\n\n\tDR EVERETT SCOTT is even more amazed.", "What diabolical plan had seized Frank's crazed imagination?\nWhat indeed? From what had gone before it was clear that\nthis was to be no picnic." ], [ "JANET gives a silent scream.\n\n\tFRANK lets the cloak fall onto the throne, which reveals his \n\ttransvestite attire.\n\n\tThe GUESTS scream with delight.", "Like you're under sedation.\n\n\tThey force BRAD and JANET into the Ballroom proper.\n\n\tThe GUESTS turn on them.", "The floor opens to reveal a swimming pool glistening with chlorine\n\tand glitter. He beckons the GUESTS.\n\n\tIn their drugged state they comply with his every wish.", "COLUMBIA rushes to the switchboard, flicks a lighting switch and all the \n\tlights above the stairs start changing colour.\n\n\tThe GUESTS go crazy and rock and roll all over the staircase.", "The GUESTS scramble for the safety of the wings.\n\n\t\t\tWe return to Transylvania\n\t\t\t\t(he turns to Magenta)\n\t\t\tPrepare the transit beam.", "BRAD and JANET stand shivering in their underwear.\n\n\tThere is complete silence.\n\n\tThe GUESTS and SERVANTS are motionless.", "it, a theatre proscenium. In the body of the room are GUESTS. They are \n\tthe people BRAD and JANET passed on the road. They are the", "The tank is revealed. There is something inside it is immersed in clear \n\tfluid. The GUESTS are astonished.", "BRAD\n\t\t\tI'm here, there's nothing to worry about.\n\n\tGUESTS rise, staring mesmerised at the lift.", "they to be subjected to? And what of the \n\t\t\tsonic transducer and floor show that had \n\t\t\tbeen spoken of? What indeed? From what", "Let's do the Time Warp again.\n\n\tAll the GUESTS fall to the floor like flies exhausted.\n\n\t\t\t\t\t\t\t\tCUT TO", "We view from OVERHEAD as the GUESTS surround him adoringly.\n\n\t\t\t\t\tFRANK\n\t\t\tI'm just a sweet transvestite\n\t\t\tFrom Transexual Transylvania.", "Let me show you around, maybe play you a sound\n\t\t\tYou look like you're both pretty groovie.\n\n\tHe circles them and forces them into the Ballroom.", "The two discarded GUESTS cry and claw at the cage door as the lift moves \n\toff under RIFF RAFF's control.\n\n\tBRAD and JANET are squashed, arms by their side.", "FRANK now proceeds to carve the meat. Everyone is quiet and only the \n\tbuzzing of the electric carver is heard. RIFF RAFF & MAGENTA distribute", "announced by an official banner suspended over the Ballroom. They are\n\tall dressed in strange but elegant evening wear. They are a distorted", "On the last chorus FRANK rushes to EDDIE with the ice pick, in a \n\tdemented fury.\n\n\tTHE GUESTS are unbelieving.", "doors. Their DAUGHTER (COLUMBIA) goes inside. The FAMILY, and the \n\tMINISTER (FRANK N. FURTER), and the GUESTS all resemble characters we", "FRANK signals to MAGENTA.\n\n\tBCS MAGENTA's hand on the transducer switch.\n\n\tBRAD is turned into a statute.", "The GUESTS shout their approval.\n\n\tThe end of the SONG turns into Mendelssohn's wedding march and FRANK \n\tleads ROCKY to his bridal chamber." ], [ "the entire house back to the planet of\n\t\t\ttransexual in the galaxy of Transylvania.\n\t\t\tGo now.", "JANET gives a silent scream.\n\n\tFRANK lets the cloak fall onto the throne, which reveals his \n\ttransvestite attire.\n\n\tThe GUESTS scream with delight.", "JANET\n\t\t\tYou mean he's gonna send us to\n\t\t\tanother planet?\n\n\tFRANK leaps off the tank to the floor.", "The GUESTS scramble for the safety of the wings.\n\n\t\t\tWe return to Transylvania\n\t\t\t\t(he turns to Magenta)\n\t\t\tPrepare the transit beam.", "FRANK\n\t\t\tI'm just a sweet Transvestite\n\t\t\tFrom Transexual Transylvania.\n\n\tHe slowly moves back to BRAD and JANET, doing leg kicks.", "FRANK now proceeds to carve the meat. Everyone is quiet and only the \n\tbuzzing of the electric carver is heard. RIFF RAFF & MAGENTA distribute", "DR. SCOTT (turning aside)\n\t\t\tI knew he was in with a bad crowd. But it\n\t\t\twas worse than I imagined...(He turns back)\n\t\t\tAliens!", "As he speaks her name each one steps forward out of the lift. They\n\tcross to RIFF RAFF behind the tank.\n\n\t\t\t\t\tFRANK\n\t\t\tI will entertain...ah...", "FRANK climbs the ladder at one end of the tank, RIFF RAFF the other.\n\n\tROCKY HORROR sits up, raises his arms, finally stands upright with both \n\tarms outstretched.", "At the head of a large coffin shaped table sits FRANK. There is an \n\telectric carver on the table in front of him. The table is laid for", "The room falls silent. All eyes are on FRANK, waiting for his reaction. \n\tA smile breaks on his face.", "BRAD\n\t\t\tWe'll just say where we are\n\t\t\tThen go back to the car\n\t\t\tWe don't want to be any worry.\n\n\tFRANK turns on them.", "We view from OVERHEAD as the GUESTS surround him adoringly.\n\n\t\t\t\t\tFRANK\n\t\t\tI'm just a sweet transvestite\n\t\t\tFrom Transexual Transylvania.", "RIFF RAFF and MAGENTA now dressed in military style space suits, face\n\tFRANK from the opposite end of the ballroom.\n\n\tThey applaud slowly.", "FRANK is enjoying dressing the statues which are now on stage. Each one\n\tis lovingly fitted with extravagant variations on the stocking and\n\tsuspender belt variety of his own fantasies.", "RIFF RAFF fires again and again.\n\n\tWith the body of FRANK in his arms, ROCKY beats on his chest and lets\n\tout a wild sound like a giant beast of the jungle.", "RIFF RAFF rushes into the lift and presses the button desperately but\n\tFRANK follows him and so does BRAD. We see the lift descending.", "FRANK drinks his champagne then hands RIFF RAFF the empty glass. RIFF \n\tRAFF goes to the control panel and FRANK to the podium", "FRANK (Moving to tank)\n\t\t\tYou see, Brad and Janet, you are fortunate.\n\t\t\tFor tonight is the night that my beautiful\n\t\t\tcreature is destined to be born.", "During the last sequence, FRANK climbs out of the tank onto RIFF RAFF'S \n\tshoulders and purses ROCKY, but they fall." ], [ "BRAD\n\t\t\tAh, hi. My name is Brad Majors and\n\t\t\tthis is my fiancee, Janet Weiss. You\n\t\t\tare ...", "NARRATOR\n\t\t\tIt seemed a fairly ordinary night when\n\t\t\tBrad Majors and his fiancee Janet Weiss", "JANET\n\t\t\tWeiss.\n\n\t\t\t\t\tBRAD\n\t\t\tWeiss.", "JANET\n\t\t\tOh Brad. How could you?\n\t\t\t\t(she sees Rocky's wounds)\n\t\t\tOh, but you're hurt. Did they do this\n\t\t\tto you?", "JANET\n\t\t\tOh Brad.\n\n\t(Singing begins)\n\n\t\t\t\t\tBRAD\n\t\t\tThe river was deep but I swam it.", "BRAD & JANET step out of the lift.\n\n\t\t\t\t\tBRAD\n\t\t\tI'm Brad Majors and this\n\t\t\tis my fiancee, Janet Vice.", "JANET\n\t\t\tYou beast, you monster, what have you\n\t\t\tdone with Brad?\n\n\t\t\t\t\tFRANK\n\t\t\tNothing. Why, do you think I should?", "BRAD\n\t\t\tAhhh - no - stop - I mean Janet.\n\t\t\t\t(shouts)\n\t\t\tJanet.", "BRAD, JANET, FAMILY.\n\t\t\tI love you.\n\n\tBRAD & JANET kiss.\n\n\tThe cross above spits optically.", "BRAD (spoken)\n\t\t\tHey Janet.\n\n\t\t\t\t\tJANET\n\t\t\tYes Brad.", "BRAD\n\t\t\tWhy you - what have you done with Janet?\n\n\t\t\t\t\tFRANK\n\t\t\tNothing. Why do you think I should?", "BRAD\n\t\t\tUh - oh - Hi! My name is Brad Majors.", "JANET (Taking his arm)\n\t\t\tI've one thing to say\n\t\t\tAnd that's, Brad\n\t\t\tI'm mad,\n\t\t\tFor you too.", "JANET\n\t\t\tDr Scott!\n\n\t\t\t\t\tBRAD\n\t\t\tJanet!\n\n\t\t\t\t\tFRANK\n\t\t\tRocky!", "FRANK\n\t\t\tI'm just a sweet Transvestite\n\t\t\tFrom Transexual Transylvania.\n\n\tHe slowly moves back to BRAD and JANET, doing leg kicks.", "BRAD\n\t\t\tWe must have a blow-out.\n\n\t\t\t\t\tJANET\n\t\t\tOh...\n\n\tPause", "BRAD\n\t\t\tOh - J - A - N - E - T\n\t\t\tI love you so.\n\n\tJANET, transfixed, bursts into the church.", "JANET circles BRAD twice, admiring her ring on the way.\n\n\t\t\t\t\tJANET\n\t\t\tOh Brad,\n\t\t\tI'm mad.", "BRAD\n\t\t\t\t(surprised)\n\t\t\tJanet! Oh! Yes it's alright. Janet.\n\t\t\tEverything's going to be alright.", "JANET crosses to the TV monitor.\n\n\t\t\t\t\tJANET\n\t\t\tOh Brad! What have they done with him?\n\n\t\t\t\t\t\t\t\tCUT TO" ], [ "They have passed a row of trees. A rock formation in the shape of a \n\tcastle is silhouetted against the sky. It has a flag flying from the \n\tturret.\n\n\tLightning strikes.", "announced by an official banner suspended over the Ballroom. They are\n\tall dressed in strange but elegant evening wear. They are a distorted", "An image of a middle-aged professorial man in a wheelchair appears.\n\n\tThe man is outside the castle, peering around the trees stealthily.\n\n\t\t\t\t\t\t\t\tCUT TO", "The castle is in the distance between the two of them.\n\n\t\t\t\t\tBRAD & JANET\n\t\t\tThere's a light\n\n\tThe castle looms in the distance.", "BRAD\n\t\t\tThere's a light.\n\n\tThe castle looms closer.", "CUT TO\n\n165\tINT.\tCASTLE CORRIDORS\tNIGHT", "and in the castle ground. Magenta has\n\t\t\tjust released the dogs.", "A motorcycle convoy roars by revealing a hidden road to the castle.\n\n\t\t\t\t\tBRAD\n\t\t\tA light\n\t\t\tIn the darkness of everybody's life.", "The castle seems to move forward.\n\n\t\t\t\t\tPHANTOM VOICES\n\t\t\tBurning in the fireplace.", "The convoy drives up and disappears into a secret entrance in the rock.\n\n\t\t\t\t\t\t\t\tCUT TO\n\n26\tEXT.\tCASTLE FACADE\tNIGHT", "31\tEXT.\tCASTLE DRIVE\tNIGHT\n\n\tBRAD and JANET approach the gateway to the castle.", "JANET gives a silent scream.\n\n\tFRANK lets the cloak fall onto the throne, which reveals his \n\ttransvestite attire.\n\n\tThe GUESTS scream with delight.", "33\tEXT.\tCASTLE DRIVE\tNIGHT\n\n\t\t\t\t\tPHANTOM VOICES\n\t\t\tThere's a light, a light.", "A bolt of lighting illuminates a row of vehicles parked by the castle.\n\n37\tEXT.\tFRONT DOOR OF CASTLE\tNIGHT\n\n\tBRAD sees them and reacts with surprise.", "A glow of light appears in a window. It illuminates a path to the \n\tcastle.\n\n\tBRAD and JANET turn.", "BRAD and JANET find themselves on a balcony of a huge black and silver\n\tballroom. At the furthest end is a throne-like chair and, surrounding", "BRAD\n\t\t\tDidn't we pass a castle back down the\n\t\t\troad a few miles? Maybe they have\n\t\t\ta telephone I might use.", "There is a huge explosion.\n\n166\tEXT.\tCASTLE\tDAWN\n\n\tWe see the entire castle surrounded by a giant beam of light and then\n\tvanish into space.", "At the head of a large coffin shaped table sits FRANK. There is an \n\telectric carver on the table in front of him. The table is laid for", "BRAD and JANET stand shivering in their underwear.\n\n\tThere is complete silence.\n\n\tThe GUESTS and SERVANTS are motionless." ], [ "FRANK\n\t\t\tI'm just a sweet Transvestite\n\t\t\tFrom Transexual Transylvania.\n\n\tHe slowly moves back to BRAD and JANET, doing leg kicks.", "We view from OVERHEAD as the GUESTS surround him adoringly.\n\n\t\t\t\t\tFRANK\n\t\t\tI'm just a sweet transvestite\n\t\t\tFrom Transexual Transylvania.", "shall meet later at the Frank N. Furter place.", "A bolt of lighting illuminates the sign which reads: FRANK N. FURTER - \n\tSCIENTIST.\n\n\t\t\t\t\t\t\t\tWIPE TO", "Adapted from \"The Rocky Horror Show\" a musical\n\t\t with Book, Music & Lyrics by Richard O'Brien\n\n -----", "FRANK (Moving to tank)\n\t\t\tYou see, Brad and Janet, you are fortunate.\n\t\t\tFor tonight is the night that my beautiful\n\t\t\tcreature is destined to be born.", "JANET gives a silent scream.\n\n\tFRANK lets the cloak fall onto the throne, which reveals his \n\ttransvestite attire.\n\n\tThe GUESTS scream with delight.", "RIFF RAFF\n\t\t\tFrank N. Furter\n\t\t\tIt's all over\n\t\t\tYour mission is a failure.\n\n\tFRANK looks stunned.", "FRANK\n\t\t\tI'm just a sweet transvestite\n\t\t\tFrom Transexual Transylvania.", "RIFF RAFF\n\t\t\tExactly, Dr Scott. Now Frank N.\n\t\t\tFurter, your time has come. Say\n\t\t\tgoodbye to all this and hello to oblivion.", "doors. Their DAUGHTER (COLUMBIA) goes inside. The FAMILY, and the \n\tMINISTER (FRANK N. FURTER), and the GUESTS all resemble characters we", "SONG:\t\t\"SWEET TRANSVESTITE\"\n\n\t\t\t\t\tFRANK\n\t\t\tHow do you do.", "FRANK climbs the ladder at one end of the tank, RIFF RAFF the other.\n\n\tROCKY HORROR sits up, raises his arms, finally stands upright with both \n\tarms outstretched.", "JANET\n\t\t\tYou mean he's gonna send us to\n\t\t\tanother planet?\n\n\tFRANK leaps off the tank to the floor.", "FRANK crosses the screen and pulls back the curtain to reveal\n\tJANET and ROCKY.\n\n\t\t\t\t\tDR SCOTT\n\t\t\tJanet!", "FRANK is enjoying dressing the statues which are now on stage. Each one\n\tis lovingly fitted with extravagant variations on the stocking and\n\tsuspender belt variety of his own fantasies.", "NARRATOR\n\t\t\tIt seemed a fairly ordinary night when\n\t\t\tBrad Majors and his fiancee Janet Weiss", "The road was long but I ran it.\n\t\t\t(He runs backwards towards church doors)\n\n\t\t\t\t\tFAMILY (Riff and Magenta)\n\t\t\tJanet.", "At the head of a large coffin shaped table sits FRANK. There is an \n\telectric carver on the table in front of him. The table is laid for", "JANET\n\t\t\tOh!\n\n\tFRANK climbs up the ladder beside the tank.\n\n\t(music under this dialogue)" ], [ "FRANK\n\t\t\tThat's how I discovered the secret.\n\t\t\tThat elusive ingredient, that spark \n\t\t\tthat is the breath of life.\n\n\tGUESTS applaud.", "The room falls silent. All eyes are on FRANK, waiting for his reaction. \n\tA smile breaks on his face.", "She switches on the light to reveal FRANK.\n\n\t\t\t\t\tJANET\n\t\t\tYOU!\n\n\tFRANK sits up.", "JANET gives a silent scream.\n\n\tFRANK lets the cloak fall onto the throne, which reveals his \n\ttransvestite attire.\n\n\tThe GUESTS scream with delight.", "What diabolical plan had seized Frank's crazed imagination?\nWhat indeed? From what had gone before it was clear that\nthis was to be no picnic.", "FRANK (Switches off light)\n\t\t\tOh Brad, you have wasted so much time\n\t\t\talready. Janet needn't know, I won't tell her.", "FRANK (Cont)\n\t\t\tIs really to blame\n\n\t\t\t\t\t\t\t\tCUT TO", "FRANK steals towards the fridge where he collects an ice pick, \n\tinnocently.", "JANET\n\t\t\tOh!\n\n\tFRANK climbs up the ladder beside the tank.\n\n\t(music under this dialogue)", "ROCKY breaks down completely. Although he despised FRANK, he was all he\n\thad in the world.\n\n\tHe rushes to the body and cradles it in his arms.", "FRANK is enjoying dressing the statues which are now on stage. Each one\n\tis lovingly fitted with extravagant variations on the stocking and\n\tsuspender belt variety of his own fantasies.", "But Frank's kisses overwhelmed me with\n\t\t\tan ecstacy I've never dreamt of before.\n\t\t\tHot, burning kisses.", "FRANK crosses the screen and pulls back the curtain to reveal\n\tJANET and ROCKY.\n\n\t\t\t\t\tDR SCOTT\n\t\t\tJanet!", "At the head of a large coffin shaped table sits FRANK. There is an \n\telectric carver on the table in front of him. The table is laid for", "FRANK\n\t\t\tListen! I made you, and I can break\n\t\t\tyou just as easily.\n\n\tROCKY is terrified. He takes his arm away from JANET.", "FRANK\n\t\t\tThat's better.\n\n\tA GONG is heard. MAGENTA comes through the broken tiles.", "FRANK raises himself to his full height.\n\n\t\t\t\t\tFRANK\n\t\t\tDo your worse - inferior one.", "FRANK\n\t\t\tOh come on, Brad, admit it. It was\n\t\t\tenjoyable, wasn't it? There's no crime\n\t\t\tin giving yourself over to pleasure.", "FRANK\n\t\t\tI know what you told me, Brad.\n\t\t\tBut this Dr Everett Scott. His name\n\t\t\tis not unknown to me.", "FRANK watches excitedly from behind the tank as the chandelier is \n\tlowered. It spurts different coloured liquids into the tank." ], [ "FRANK (Moving to tank)\n\t\t\tYou see, Brad and Janet, you are fortunate.\n\t\t\tFor tonight is the night that my beautiful\n\t\t\tcreature is destined to be born.", "VOICE OVER\n\t\t\tScience Fiction - double-feature\n\t\t\tFrank has built and lost his creature", "She switches on the light to reveal FRANK.\n\n\t\t\t\t\tJANET\n\t\t\tYOU!\n\n\tFRANK sits up.", "FRANK\n\t\t\tListen! I made you, and I can break\n\t\t\tyou just as easily.\n\n\tROCKY is terrified. He takes his arm away from JANET.", "RIFF RAFF fires again and again.\n\n\tWith the body of FRANK in his arms, ROCKY beats on his chest and lets\n\tout a wild sound like a giant beast of the jungle.", "JANET\n\t\t\tYou beast, you monster, what have you\n\t\t\tdone with Brad?\n\n\t\t\t\t\tFRANK\n\t\t\tNothing. Why, do you think I should?", "ROCKY breaks down completely. Although he despised FRANK, he was all he\n\thad in the world.\n\n\tHe rushes to the body and cradles it in his arms.", "FRANK is enjoying dressing the statues which are now on stage. Each one\n\tis lovingly fitted with extravagant variations on the stocking and\n\tsuspender belt variety of his own fantasies.", "At the head of a large coffin shaped table sits FRANK. There is an \n\telectric carver on the table in front of him. The table is laid for", "FRANK\n\t\t\tCreature of the night.\n\n103C\tB.C.S. COLUMBIA", "74\tINT.\tLABORATORY\tNIGHT\n\n\tFRANK picks himself up. ROCKY is sitting at the top of the ladder above \n\thim, with his perfect limbs near Frank's face.", "The room falls silent. All eyes are on FRANK, waiting for his reaction. \n\tA smile breaks on his face.", "As he speaks her name each one steps forward out of the lift. They\n\tcross to RIFF RAFF behind the tank.\n\n\t\t\t\t\tFRANK\n\t\t\tI will entertain...ah...", "FRANK runs down the ladder and kicks RIFF RAFF who starts to lower the \n\tchandelier. FRANK climbs up the other steps to meet his creation coming", "FRANK crosses the screen and pulls back the curtain to reveal\n\tJANET and ROCKY.\n\n\t\t\t\t\tDR SCOTT\n\t\t\tJanet!", "FRANK\n\t\t\tThat's how I discovered the secret.\n\t\t\tThat elusive ingredient, that spark \n\t\t\tthat is the breath of life.\n\n\tGUESTS applaud.", "JANET\n\t\t\tOh!\n\n\tFRANK climbs up the ladder beside the tank.\n\n\t(music under this dialogue)", "JANET gives a silent scream.\n\n\tFRANK lets the cloak fall onto the throne, which reveals his \n\ttransvestite attire.\n\n\tThe GUESTS scream with delight.", "FRANK climbs the ladder at one end of the tank, RIFF RAFF the other.\n\n\tROCKY HORROR sits up, raises his arms, finally stands upright with both \n\tarms outstretched.", "FRANK\n\t\t\tGo on, Dr. Scott - or should I say\n\t\t\tdoctor von Scott.\n\n\t\t\t\t\tBRAD\n\t\t\tWhat exactly are you implying?" ], [ "Through these bursts an icy EDDIE riding a Harley Davidson motor bike, \n\tex World War II, holding a Gibson guitar.", "EDDIE (more confident, less frozen) leaps onto the motorbike in a legs \n\tapart guitar strumming pose.\n\n\tFRANK is getting furious.", "EDDIE slips onto the pedal starting the bike. He takes off and roars \n\tround the laboratory, even riding up and down the walls.", "Und a motorbike.\n\n\tHe turns to a still of Eddie as an addict\n\n\t\t\tShooting up junk", "Turns the page to Eddie's mug shot.\n\n\t\t\tTaking everyone for a ride.\n\n\tThe page turns again revealing the lyrics.", "EDDIE (VO)\n\t\t\tI'm out of my head\n\t\t\tOh hurry, or I may be dead.", "The wind machine blows the blanked from his lap and we see legs, \n\tstockings and a suspender belt. As in a miracle he can walk again.", "COLUMBIA covers her face with her hands.\n\n\tEDDIE is dead. FRANK walks away from his body unconcerned.\n\n\tJANET screams and screams.", "EDDIE comes to life.\n\n76\tSONG:\t\t\"WHAT EVER HAPPENED TO SATURDAY NIGHT\"", "138\tINSERT EDDIE'S NOTE", "FRANK\n\t\t\tOne from the vaults.\n\n\tRIFF RAFF drags EDDIE's dismembered body back into the fridge.", "75\tDelete references to the Ice-block. Eddie now crashes\n\tthrough a wall of Coca Cola bottles and ice. He is also equipped\n\twith a saxaphone rather than a guitar.", "141\tINT.\tDINING ROOM\tNIGHT\n\n\tEDDIE'S TEDDY: REPRISE", "DR. SCOTT\n\t\t\tWe came here to discuss Eddie.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!", "The figure turns and throws open lift cage door. As camera zooms in to \n\tthe death mask above them the film changes from black and white to", "Several guests are crushed to death.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!\n\n\t\t\t\t\tEDDIE\n\t\t\tStay cool baby.", "They have passed a row of trees. A rock formation in the shape of a \n\tcastle is silhouetted against the sky. It has a flag flying from the \n\tturret.\n\n\tLightning strikes.", "DR SCOTT\n\t\t\tYou saw what became of Eddie.\n\t\t\tSociety must be protected.", "FRANK suddenly pulls away the tablecloth to reveal a glass coffin\n\tcontaining the decomposed remains of EDDIE.\n\n142\tINT.\tDINING ROOM/HALL/STAIRS", "The large refrigeration unit door slowly opens, falling like a \n\tdrawbridge. Inside is a wall of ice and many CocaCola bottles." ], [ "COLUMBIA covers her face with her hands.\n\n\tEDDIE is dead. FRANK walks away from his body unconcerned.\n\n\tJANET screams and screams.", "On the last chorus FRANK rushes to EDDIE with the ice pick, in a \n\tdemented fury.\n\n\tTHE GUESTS are unbelieving.", "FRANK suddenly pulls away the tablecloth to reveal a glass coffin\n\tcontaining the decomposed remains of EDDIE.\n\n142\tINT.\tDINING ROOM/HALL/STAIRS", "FRANK\n\t\t\tOne from the vaults.\n\n\tRIFF RAFF drags EDDIE's dismembered body back into the fridge.", "DR SCOTT\n\t\t\tYou saw what became of Eddie.\n\t\t\tSociety must be protected.", "EDDIE (more confident, less frozen) leaps onto the motorbike in a legs \n\tapart guitar strumming pose.\n\n\tFRANK is getting furious.", "Turns the page to Eddie's mug shot.\n\n\t\t\tTaking everyone for a ride.\n\n\tThe page turns again revealing the lyrics.", "Several guests are crushed to death.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!\n\n\t\t\t\t\tEDDIE\n\t\t\tStay cool baby.", "138\tINSERT EDDIE'S NOTE", "Through these bursts an icy EDDIE riding a Harley Davidson motor bike, \n\tex World War II, holding a Gibson guitar.", "DR. SCOTT\n\t\t\tWe came here to discuss Eddie.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!", "EDDIE slips onto the pedal starting the bike. He takes off and roars \n\tround the laboratory, even riding up and down the walls.", "The figure turns and throws open lift cage door. As camera zooms in to \n\tthe death mask above them the film changes from black and white to", "JANET is pacing around the tank which is covered by a cloth. She\n\tbecomes aware of the sound of someone crying inside. She pulls the\n\tcloth back to reveal ROCKY lying in the tank - exhausted and bleeding.", "FRANK steals towards the fridge where he collects an ice pick, \n\tinnocently.", "EDDIE (VO)\n\t\t\tI'm out of my head\n\t\t\tOh hurry, or I may be dead.", "75\tDelete references to the Ice-block. Eddie now crashes\n\tthrough a wall of Coca Cola bottles and ice. He is also equipped\n\twith a saxaphone rather than a guitar.", "Und a motorbike.\n\n\tHe turns to a still of Eddie as an addict\n\n\t\t\tShooting up junk", "At the head of a large coffin shaped table sits FRANK. There is an \n\telectric carver on the table in front of him. The table is laid for", "DR SCOTT\n\t\t\tI can assure you that Brad's presence\n\t\t\tcomes as a complete surprise to me.\n\t\t\tI came to find Eddie." ], [ "JANET\n\t\t\tOh!\n\n\tFRANK climbs up the ladder beside the tank.\n\n\t(music under this dialogue)", "FRANK\n\t\t\tOh Rocky, how could you!\n\n\tJANET runs out, FRANK in pursuit.\n\n\tROCKY smiles wanly.", "BRAD\n\t\t\tWhy you - what have you done with Janet?\n\n\t\t\t\t\tFRANK\n\t\t\tNothing. Why do you think I should?", "Encouraged by this, FRANK smashes JANET across the face with the back of \n\this hand.", "JANET\n\t\t\tYou beast, you monster, what have you\n\t\t\tdone with Brad?\n\n\t\t\t\t\tFRANK\n\t\t\tNothing. Why, do you think I should?", "FRANK crosses the screen and pulls back the curtain to reveal\n\tJANET and ROCKY.\n\n\t\t\t\t\tDR SCOTT\n\t\t\tJanet!", "FRANK (Taking Janet's hand to kiss)\n\t\t\tEncante....How nice. (he circles them)", "FRANK\n\t\t\tI'm afraid so, Janet. But isn't it nice?\n\n\tJANET beats his chest with her clenched fists.", "FRANK\n\t\t\tListen! I made you, and I can break\n\t\t\tyou just as easily.\n\n\tROCKY is terrified. He takes his arm away from JANET.", "JANET gives a silent scream.\n\n\tFRANK lets the cloak fall onto the throne, which reveals his \n\ttransvestite attire.\n\n\tThe GUESTS scream with delight.", "JANET (Hurring after Brad)\n\t\t\tDon't be ungrateful Brad.\n\n\t\t\t\t\tBRAD (Stepping closer to Frank)\n\t\t\tUngrateful!", "Silhouette of FRANK and JANET making love.\n\n\t\t\t\t\tJANET\n\t\t\tPromise you won't tell Brad.", "FRANK circles JANET, testing her thighs. BRAD struggles in vain.", "JANET\n\t\t\tSto-o-o-o-o-op.\n\n\tShe cried so loudly that FRANK staggers backwards towards the control\n\tpanel.", "JANET\n\t\t\tOh, Brad, come in, darling.\n\n\tA silhouette enters and crosses to the bed. It moves onto the bed\n\tbehind the net curtain.", "The room falls silent. All eyes are on FRANK, waiting for his reaction. \n\tA smile breaks on his face.", "JANET\n\t\t\tI could see Brad's face before me and my\n\t\t\tmind screamed No! But my lips were hungry -\n\t\t\ttoo hungry.", "JANET animates. She behaves like a sex goddess, completely out of\n\tcontrol, as if performing in a burlesque show.", "FRANK\n\t\t\tI didn't make him for you\n\n\tJANET nods hastily. FRANK moves towards microphone.", "FRANK (Switches off light)\n\t\t\tOh Brad, you have wasted so much time\n\t\t\talready. Janet needn't know, I won't tell her." ], [ "(two young ordinary healthy kids) left\n\t\t\tDenton that late November evening to\n\t\t\tvisit Dr Everett Scott, ex. tutor and", "FRANK\n\t\t\tI know what you told me, Brad.\n\t\t\tBut this Dr Everett Scott. His name\n\t\t\tis not unknown to me.", "Janet should keep that appointment with \n\t\t\ttheir friend Dr Everett Scott. But it was \n\t\t\tto be in a situation which none of them", "BRAD\n\t\t\tDr. Scott!\n\n\tDR EVERETT SCOTT is even more amazed.", "The laboratory is somewhere between a student observation operating \n\ttheatre and a Greek gymnasium. It is pink-tiled throughout, facing the", "DR. SCOTT\n\t\t\tFrom the day he was born,\n\t\t\the was trouble.\n\n\t\t\tHe was the thorn\n\t\t\tIn his mutter's side.", "BRAD\n\t\t\tHe was a Science Teacher at Denton High.", "DR. SCOTT produces the note.\n\n\t\t\tWhich reads.\n\n\t\t\t\t\tALL\n\t\t\tWhat's it say,\n\t\t\tWhat's it say?", "DR. SCOTT turns page to a picture of a record of Elvis, singing Teddy \n\tBear.\n\n\t\t\t\t\tDR. SCOTT\n\t\t\tWas rock and roll,", "He is standing over his lectern reading from his book like a preacher\n\tin a pulpit.", "DR SCOTT\n\t\t\tI happen to know a great deal about a\n\t\t\tlot of things. You see Eddie happens\n\t\t\tto be my nephew.", "COLUMBIA\n\t\t\tYou are very lucky to be invited up\n\t\t\tto Frank's laboratory. Some people\n\t\t\twould give their right arm for the\n\t\t\tprivilege.", "FRANK\n\t\t\tExcellent. (moves to Dr. Scott)", "WIPE TO\n\n93\tINT.\tSTUDY\tNIGHT\n\n\tThe NARRATOR is leaning back in his armchair, cool and considerate.", "DR. SCOTT\n\t\t\tWe came here to discuss Eddie.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!", "The room falls silent. All eyes are on FRANK, waiting for his reaction. \n\tA smile breaks on his face.", "DR. SCOTT\n\t\t\tHe left home the day she died.\n\n\n\t\t\tFrom the day she was gone\n\t\t\tAll he wanted", "Science was never one of my favourite\n\t\t\tsubjects but I sure with Dr Scott\n\t\t\tcould have made it today.", "145\tINT.\tSTUDY\tNIGHT\n\n\t\t\t\t\tNARRATOR\n\t\t\tThen she cries out -", "34\tINT.\tSTUDY\tNIGHT\n\n\tThe NARRATOR is in his armchair. He leans forward with some urgency." ], [ "As RIFF RAFF pulls the trigger, COLUMBIA dashes between them.\n\n\tShe is killed instantly.\n\n\tRIFF RAFF fires again at FRANK.", "COLUMBIA covers her face with her hands.\n\n\tEDDIE is dead. FRANK walks away from his body unconcerned.\n\n\tJANET screams and screams.", "He turns to COLUMBIA who has been staring at his underpants.", "COLUMBIA rises.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tExcuse me.\n\n\tShe rushes from from the room with a ghastly cry.", "CUT TO\n\n100\tINT.\tCOLUMBIA'S ROOM\tNIGHT\n\n\tCOLUMBIA and MAGENTA.", "Several guests are crushed to death.\n\n\t\t\t\t\tCOLUMBIA\n\t\t\tEddie!\n\n\t\t\t\t\tEDDIE\n\t\t\tStay cool baby.", "COLUMBIA\n\t\t\tI've seen it.\n\n\tCOLUMBIA escorts them to the lift.", "COLUMBIA\n\t\t\tEverybody shoved him,\n\t\t\tI very nearly loved him.", "COLUMBIA, a young girl, is the household groupie. She sings with the \n\tband at the end of the Ballroom.\n\n\t\t\t\t\t\t\t\tCUT TO", "COLUMBIA\n\t\t\tMy God! I can't take any more of this - \n\t\t\tfirst you spurn me for Eddie, then you", "COLUMBIA\n\n\t\t\tThrill me, chill me, fulfil me.\n\n\t\t\t\t\tMAGENTA\n\t\t\tCreature of the night.", "COLUMBIA\n\t\t\tWell I was walking down the street\n\t\t\tJust having a think\n\t\t\tWhen a snake of a guy", "COLUMBIA\n\t\t\tSlowly, slowly. It's too nice a job\n\t\t\tto rush.\n\n\tThe GUESTS moan softly as each piece of clothing is removed.", "The figure turns and throws open lift cage door. As camera zooms in to \n\tthe death mask above them the film changes from black and white to", "102\tINT.\tCOLUMBIA'S ROOM", "COLUMBIA moves down from the bandstand and crosses to BRAD and JANET. \n\tShe witnesses the undressing.", "CUT TO\n\n155\tINT.\tSTAGE\tNIGHT\n\n\tCOLUMBIA's statue comes to life.", "COLUMBIA\n\t\t\tTouch-a touch-a touch-a, touch me.\n\n\t\t\t\t\tMAGENTA\n\t\t\tI wanna be dirty.", "COLUMBIA rushes to the switchboard, flicks a lighting switch and all the \n\tlights above the stairs start changing colour.\n\n\tThe GUESTS go crazy and rock and roll all over the staircase.", "WIPE TO\n\n98\tINT.\tCOLUMBIA'S ROOM\tNIGHT\n\n\tCOLUMBIA and MAGENTA are watching the monitor." ] ]

[ "Where does Dr. Frank n Furter claim to be from?", "What is the name of Dr. Frank n Furter's creation?", "Who does Janet discover Brad in bed with?", "Who is the intruder that enters the castle?", "What does Frank suspect Dr. Scott of?", "What do the guests discover they are eating for dinner?", "How does Frank capture and freeze the guests?", " What happens when the guests are unfrozen?", "How do Riff Raff and Magenta depart for home?", "Who narrates the story?", "What Ohio city do Brad and Janet get trapped near?", "How does Eddie fit in this story?", "What vehicle does Eddie ride from out of his freeze?", "What does Riff Raff do to Rocky in the tank?", "How many lovers does Janet have?", "Where does Eddie finally end up?", "What does Frank suspect about Dr. Everett Scott?", "What does the Medusa Transducer do to the guests?", "What vehicle carries Frank and fellow aliens back to Transsexual?", "Janet Weiss is what to Brad Majors?", "What sort of event was happening at the castle?", "Where does Frank N. Furter claim to be from?", "Frank claims to have discovered what secret?", "What is the name of Frank's creature?", "Eddie rides out of a deep freeze on what?", "What tool is used to kill Eddie?", "How does Frank seduce Janet?", "Dr. Everett is what sort of teacher?", "Who kills Columbia?" ]

[ [ "Transsexual, Transylvania", "planet Transexual, galaxy Transylvania" ], [ "Rocky", "Rocky" ], [ "Frank", "Frank" ], [ "Dr. Everett Scott", "Dr. Everrett Scott" ], [ "Investigating UFO's for the government.", "Investigates UFO's for the government." ], [ "Eddie's mutilated remains.", "Eddie's remains" ], [ "With the Medusa Transducer", "Medusa Transducer" ], [ "The preform a cabaret number.", "They perform a cabaret show" ], [ "By lifting off in the castle.", "They lift off in the castle." ], [ "A criminologist.", "a criminologist" ], [ "Denton.", "Denton" ], [ "He is ex-lover to both Frank and Columbia", "He is a partial brain donor to Rocky and Frank and Columbia's ex-lover." ], [ "A motocycle.", "On a motorcycle." ], [ "He torments Rocky.", "torment him" ], [ "Three.", "3" ], [ "The dinner table.", "He becomes dinner" ], [ "He suspects Dr. Scott studies UFOs' for the government.", "suspects he investigates UFO's for the government" ], [ "They become statues.", "Turn them into naked statues" ], [ "The castle.", "the castle" ], [ "Fiance ", "His wife" ], [ "Annual Transylvanian Convention", "a convention" ], [ "Transsexual, Transylvania", "\"Transexual Transylvaina\"" ], [ "The secret to life itself.", "Secret of life itself" ], [ "Rocky", "Rocky" ], [ "Motorcycle", "A motorcycle" ], [ "Axe", "Ice axe." ], [ "By pretending to be Brad.", "By posing as Brad" ], [ "Science teacher", "high school science" ], [ "Riff Raff and Magenta", "Riff Raff and Magenta" ] ]

[ [ "Tino opens his eyes, sees Vitti frozen, and starts\n fighting with renewed strength. Jelly hangs on, looks at\n Vitti with concern, then wrestles Tino out onto the\n balcony.", "VITTI\n That's why he betrayed Dominic and\n me to our enemies and sent his own\n man to kill me in Miami.\n\n Mangano is stunned.", "MANGANO\n Forget Dominic! They were after\n Paul.\n (to Vitti)\n It's a miracle you survived. I\n thank God.", "chest and he falls to the floor dead. Tino steps out and\n drags the body to the stairwell.", "109 CONTINUED: 109\n\n VITTI\n About two and a half weeks ago,\n somebody killed my friend, Dominic\n Manetta.", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "gun but he fumbles and drops it. The gunmen run off.\n Ben sinks to the pavement, mortally wounded. Vitti kneels", "Vitti rips the phone cord out of the jack and smashes the\n phone against the wall. He stands there fuming. Sindone\n hangs up the phone on his end, worried.", "VITTI\n Why the fuck would I want to kill\n Dominic? He was like a father to\n me.", "VITTI\n Yeah, thank God. All I know is if\n I didn't have some veal stuck in\n my teeth, I'd be laying there with\n Dominic.", "VITTI\n Not good. Whoever killed Dominic\n is shooting at me now and I'm\n having a lot of feelings about it\n and I'd like to get some kinda --", "Vitti is lying on the bed staring at the ceiling. Marie\n is stroking his forehead. Then he looks over and sees\n Anthony sitting in a chair at the foot of the bed,\n watching him with concern.", "ANTHONY\n Okay, Papa.\n\n He kisses his father and exits with the others.", "He kisses her and closes the door behind her.\n\n BEN\n Are you happy now? You ruined my\n life!", "Sindone glares at him, then lowers his gun, turns, and\n starts to walk back into the building joined by Mangano\n and the soldiers.\n\n (CONTINUED)", "Suddenly, Sindone whirls and FIRES at Vitti.\n\n Ben staggers in front of Vitti and takes the bullet in\n the shoulder.", "VITTI\n (starts to cry)\n You see this? This is what I'm\n talking about! I'm a dead man!\n\n Ben turns away and starts for the door.", "Vitti gives Ben a little pat on the cheek, then turns\n and exits. Ben is stunned.\n\n CUT TO:", "MASIELLO\n The Manetta family is asking a lot\n of questions. They think we hit\n Dominic." ], [ "Ben is driving to the party with Michael. Sitting in\n stopped traffic, he checks his mirrors anxiously.", "BEN\n In answer to your first question,\n my name is Ben Sobol --\n (off Sindone's", "BEN\n (deeply touched)\n Is that really it?\n\n ISAAC\n That's it.\n\n They embrace awkwardly.", "Ben and Laura are nestled together in bed, asleep.\n\n JELLY (O.S.)\n (whispering)\n Dr. Sobol. Dr. Sobol.", "Ben looks totally confused as Jelly hustles back to his\n car.\n\n CUT TO:", "Ben is in the back with Jelly and Jimmy. One of their\n crew, IRON MIKE, is driving. Ben is putting on a suit\n of Jimmy's. He looks very anxious.", "EXT. JELLY'S CAR - CONTINUOUS ACTION\n\n Ben finds Jelly sitting in the back seat next to Vitti.", "They kiss.\n\n CUT TO:\n\n\n59 INT. SOBOL FAMILY ROOM - MOMENTS LATER 59", "Ben and Vitti come out of the building and cross to the\n car. Jelly is waiting, Iron Mike has the MOTOR RUNNING,\n and Jimmy is in the front seat with him.", "Ben waits on a deserted corner in Brooklyn. A black Town\n Car appears and stops to pick him up. The windows are\n heavily tinted. Ben takes a deep breath, crosses to the\n car and opens the back door.", "Caroline looks curiously at Ben, unperturbed.\n\n CAROLINE\n Dr. Sobol?\n\n\n BEN", "BEN\n Son?\n\n Ben can't see his face, but Vitti's eyes are full of\n tears. He wipes his eyes.", "Ben looks at the damage. The Lincoln has gotten the\n worst of it. The rear bumper is hanging off, and Jelly\n is struggling to latch the trunk.", "BEN\n Does your mother talk about\n anything else or is it just me\n twenty-four hours a day?\n\n Wham! Ben REAR-ENDS the CAR in front of them.", "JIMMY\n Did you see anything?\n\n BEN\n I was talking to my son. I took\n my eyes off the road --", "BEN\n (getting in the car)\n Federal case? I'm not making a\n federal case? Let's go.\n\n CUT TO:", "BEN\n You're right. Sorry.\n\n VITTI (O.S.)\n Senor Sobol!", "Ben comes out the back door of the house carrying a\n couple of suitcases. Michael follows behind him with\n his bags. They cross to the car in the driveway.", "BEN\n (throwing the bags\n in the car)\n I didn't ask to see his Mafia", "MICHAEL\n But there's two Dr. Sobols.\n There's you and Grandpa.\n\n BEN\n (a beat)\n Can we talk about something else?" ], [ "VITTI\n That's okay. Marie, this is a\n friend of mine, Ben Sobol.", "MARIE\n (shaking his hand)\n Nice to meet you, Senor Sobol.\n\n Ben looks to Vitti, then to Marie.", "VITTI\n You paused. That means you had a\n feeling. What does he do?\n\n BEN\n He's a psychiatrist.", "An older woman kisses Vitti's hand, then both his cheeks.\n Vitti whispers a few words to her, then she kisses Ben's\n hand and moves on. More old ladies kiss their hands as\n they walk by.", "BEN\n You're right. Sorry.\n\n VITTI (O.S.)\n Senor Sobol!", "BEN\n Son?\n\n Ben can't see his face, but Vitti's eyes are full of\n tears. He wipes his eyes.", "BEN\n (to Vitti)\n Well done.\n\n Vitti smiles at him and drinks.\n\n CUT TO:", "BEN\n Mr. MacNamara.\n\n Ben exits. Scott MacNamara stares suspiciously at Vitti,\n wondering about his connection to Ben.", "Vitti gives Ben a little pat on the cheek, then turns\n and exits. Ben is stunned.\n\n CUT TO:", "BEN\n I'm a psychotherapist. Paul\n Vitti is my patient.\n\n LAURA\n Was your patient.", "VITTI\n Because it's private. You think I\n tell you every little thing?\n\n BEN\n That is not a little thing!", "87 VITTI AND BEN 87\n\n Ben is comforting Vitti.", "Vitti, Ben and Jelly enter the suite. MARIE, Vitti's\n wife, and their children, THERESA, 14, ANNA, 10, and", "BEN\n Mr. and Mrs. Vitti, this is Laura,\n my fiancee.\n\n VITTI\n Nice to meet you.", "Ben looks at Vitti and sees a kind of serenity and\n clarity he's never seen before.\n\n (CONTINUED)\n\n 125.", "Vitti is in bed making love to his mistress, SHEILA, a\n pretty woman in her late 20s. They're really going at\n it.", "Ben is proud of Vitti's new sensitivity.\n\n BEN\n And be patient, Donny. Most\n people's problems take months,\n sometimes years to resolve.", "BEN\n (sputtering)\n Mr. Vitti! How are you? Mrs.\n Vitti! Honey, it's the Vittis!", "BEN\n So good luck. It's been --\n\n Vitti nods, they stand there for another moment, then Ben\n walks off into the night.", "A man comes up to Vitti, kisses him on both cheeks,\n embraces him with excessive energy, then repeats the\n whole scene with Ben and exits. Ben looks at Vitti." ], [ "Vitti is in bed making love to his mistress, SHEILA, a\n pretty woman in her late 20s. They're really going at\n it.", "VITTI\n That's why he betrayed Dominic and\n me to our enemies and sent his own\n man to kill me in Miami.\n\n Mangano is stunned.", "TINO, a local Miami hitman, is covertly watching Ben and\n Vitti on the beach. He talks into a cell phone.", "VITTI\n (urgently, to Jelly)\n Tell Mikey to take Marie and the\n kids right to the airport.", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "VITTI\n I'm a little choked up here. I\n gotta get some air.\n\n He walks outside. Jelly follows. Mangano looks\n quizzically after them.", "VITTI\n (quietly, to Jelly)\n Wait outside with the car running.\n\n Jelly nods and exits.", "An older woman kisses Vitti's hand, then both his cheeks.\n Vitti whispers a few words to her, then she kisses Ben's\n hand and moves on. More old ladies kiss their hands as\n they walk by.", "VITTI\n (starts to cry)\n You see this? This is what I'm\n talking about! I'm a dead man!\n\n Ben turns away and starts for the door.", "VITTI\n Jelly, wait outside.\n\n Jelly exits. Vitti walks around the room, taking\n everything in. He picks up the phone and listens. Hangs\n up.", "Outside, the shooting has stopped and curious bystanders\n are looking in the broken windows. Vitti's eyes well up\n with tears.\n\n CUT TO:", "Michael exits. On the coffee table are dozens of pictures\n of Ben and Paul Vitti taken in Miami and just about\n everywhere else.\n\n BEN\n (a beat)\n So. FBI.", "VITTI\n Because it's private. You think I\n tell you every little thing?\n\n BEN\n That is not a little thing!", "VITTI\n Thank you.\n\n CUT TO:", "Scott looks away, terrified, as Vitti exits past him.\n\n CUT TO:", "The place is nearly empty. Manetta is talking to PAUL\n VITTI, a dark, intense, intelligent man in his late\n forties, and a powerful boss in his own right.", "VITTI\n If anyone asks you, you never saw\n me, and I was never here. Is that\n clear?\n\n DOCTOR\n (strangled)\n Yes.", "VITTI\n (to Jelly)\n Send Jimmy down with them.\n\n JELLY\n Already done.\n\n Jelly exits.", "Vitti starts for the door.\n\n BEN\n (to Laura)\n I've just got to talk to him for a\n sec. You okay?", "VITTI\n Where you going?\n\n BEN\n I don't really share that\n information with...\n\n VITTI\n Where?" ], [ "They kiss.\n\n CUT TO:\n\n\n59 INT. SOBOL FAMILY ROOM - MOMENTS LATER 59", "BEN\n No, he and I discussed this. I\n told him I'd see him when I got\n got back to New York.", "119 OMITTED 119\n\n\n120 EXT. SOBOL BACK YARD - NIGHT 120", "The cutting room is deserted except for Primo and his\n men. Sindone is at his desk reading the entertainment\n section of the New York Times.", "17 INT. SOBOL HOME - LIVING ROOM - ISAAC SOBOL 17", "BEN\n In answer to your first question,\n my name is Ben Sobol --\n (off Sindone's", "The door opens and Jelly enters.\n\n JELLY\n Dr. Sobol?", "MARIE\n (shaking his hand)\n Nice to meet you, Senor Sobol.\n\n Ben looks to Vitti, then to Marie.", "Ben waits on a deserted corner in Brooklyn. A black Town\n Car appears and stops to pick him up. The windows are\n heavily tinted. Ben takes a deep breath, crosses to the\n car and opens the back door.", "Caroline looks curiously at Ben, unperturbed.\n\n CAROLINE\n Dr. Sobol?\n\n\n BEN", "Vitti rips the phone cord out of the jack and smashes the\n phone against the wall. He stands there fuming. Sindone\n hangs up the phone on his end, worried.", "was a little boy, and this, this\n is a great big kid. Hey, you.\n Tell us what you did with Michael\n Sobol.", "next to him and sobs loudly. He puts his hand to his\n head, knocking off his hat.", "Ben and Laura are nestled together in bed, asleep.\n\n JELLY (O.S.)\n (whispering)\n Dr. Sobol. Dr. Sobol.", "about me you should know. I never\n got married, Doctor Sobol. I\n don't have a hobby. I never got a", "Michael's laughter is heard coming through the vent. Ben\n closes his eyes and sighs deeply.\n\n ELAINE\n Are you all right, Dr. Sobol?", "71 INT. JIMMY'S CAR - SAME TIME 71\n\n Jimmy is parked at the corner watching the Sobol house as\n the three FBI agents leave.", "JELLY\n It's Dr. Sobol. He says he needs\n to see you right away.\n\n Vitti nods.", "couldn't handle that. He said I\n was driving him away. Do you\n think I was driving him away, Dr.\n Sobol?", "Vitti leans back against the car, slumps to the ground\n and starts sobbing, 35 years of pent-up grief finally\n finding expression." ], [ "VITTI\n That's why he betrayed Dominic and\n me to our enemies and sent his own\n man to kill me in Miami.\n\n Mangano is stunned.", "MARIE\n (shaking his hand)\n Nice to meet you, Senor Sobol.\n\n Ben looks to Vitti, then to Marie.", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "VITTI\n Because it's private. You think I\n tell you every little thing?\n\n BEN\n That is not a little thing!", "Vitti's men converse quietly while a soldier sweeps the\n room for bugs. He gives the \"all clear\" and SALVATORE\n MASIELLO, the old consigliere, speaks.", "Masiello is face to face with Vitti.\n\n MASIELLO\n Paul, he talked to the Feds.\n\n (CONTINUED)", "VITTI\n I can't.\n\n BEN\n You have to. Tell him, Paul.", "Suddenly, Sindone whirls and FIRES at Vitti.\n\n Ben staggers in front of Vitti and takes the bullet in\n the shoulder.", "BEN\n In answer to your first question,\n my name is Ben Sobol --\n (off Sindone's", "VITTI\n That's okay. Marie, this is a\n friend of mine, Ben Sobol.", "AGENT STEADMAN\n Doctor Sobol, Paul Vitti is an\n extremely dangerous man. We're\n talking conspiracy, fraud,\n extortion, racketeering,\n grand theft, murder...", "VITTI\n Why am I telling you? Like you\n had nothing to do with it?\n\n SINDONE\n I don't know what you're talking\n about.", "VITTI\n You think I'm an idiot? Don't\n insult my intelligence. You\n cooperated! You talked to the\n Feds!", "VITTI\n (starts to cry)\n You see this? This is what I'm\n talking about! I'm a dead man!\n\n Ben turns away and starts for the door.", "Vitti is in bed making love to his mistress, SHEILA, a\n pretty woman in her late 20s. They're really going at\n it.", "BEN\n You're right. Sorry.\n\n VITTI (O.S.)\n Senor Sobol!", "Vitti rips the phone cord out of the jack and smashes the\n phone against the wall. He stands there fuming. Sindone\n hangs up the phone on his end, worried.", "Vitti holds out his hand. Ben hesitates for a moment,\n then hands him the gun.", "BEN\n Mr. MacNamara.\n\n Ben exits. Scott MacNamara stares suspiciously at Vitti,\n wondering about his connection to Ben." ], [ "Vitti's men converse quietly while a soldier sweeps the\n room for bugs. He gives the \"all clear\" and SALVATORE\n MASIELLO, the old consigliere, speaks.", "MARIE\n (shaking his hand)\n Nice to meet you, Senor Sobol.\n\n Ben looks to Vitti, then to Marie.", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "Vitti rips the phone cord out of the jack and smashes the\n phone against the wall. He stands there fuming. Sindone\n hangs up the phone on his end, worried.", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "Suddenly, Sindone whirls and FIRES at Vitti.\n\n Ben staggers in front of Vitti and takes the bullet in\n the shoulder.", "Vitti suddenly reaches over and rips Ben's shirt open.\n All he sees is a bald patch on Ben's chest where the bug\n was taped.", "Vitti is in bed making love to his mistress, SHEILA, a\n pretty woman in her late 20s. They're really going at\n it.", "VITTI\n (starts to cry)\n You see this? This is what I'm\n talking about! I'm a dead man!\n\n Ben turns away and starts for the door.", "VITTI\n That's why he betrayed Dominic and\n me to our enemies and sent his own\n man to kill me in Miami.\n\n Mangano is stunned.", "BEN\n Mr. MacNamara.\n\n Ben exits. Scott MacNamara stares suspiciously at Vitti,\n wondering about his connection to Ben.", "VITTI\n Jelly, wait outside.\n\n Jelly exits. Vitti walks around the room, taking\n everything in. He picks up the phone and listens. Hangs\n up.", "Scott looks away, terrified, as Vitti exits past him.\n\n CUT TO:", "Vitti gives Ben a little pat on the cheek, then turns\n and exits. Ben is stunned.\n\n CUT TO:", "VITTI\n That's okay. Marie, this is a\n friend of mine, Ben Sobol.", "Vitti just sits there on the ground, still sobbing\n quietly.\n\n\n JELLY\n\n He reloads and FIRES again.", "Outside, the shooting has stopped and curious bystanders\n are looking in the broken windows. Vitti's eyes well up\n with tears.\n\n CUT TO:", "BEN\n You're right. Sorry.\n\n VITTI (O.S.)\n Senor Sobol!", "Vitti stares at his reflection in the mirror, then starts\n washing his face. In the mirror we can see the door\n starting to open behind him, and the long barrel of", "BEN\n (to Vitti)\n Well done.\n\n Vitti smiles at him and drinks.\n\n CUT TO:" ], [ "anybody was thinking, but some\n asshole thought it would be a good\n idea to have this meeting at Joe\n Babara's farm in the country where", "MANETTA (V.O.)\n The meeting never even got\n started. The Feds moved in --\n\n\n7 EXT. HOUSE - DAY 7", "Jimmy and Jelly are hastily throwing clothes into\n suitcases. Vitti comes out of the bedroom hurriedly\n buttoning up his shirt.", "Vitti stares at his reflection in the mirror, then starts\n washing his face. In the mirror we can see the door\n starting to open behind him, and the long barrel of", "Vitti is putting on his shirt. He looks considerably\n better. Jelly is sitting down, tapping his own knee with\n the little rubber hammer. Nothing moves.", "Everyone turns to see Paul and Marie Vitti coming into\n the room, followed by their kids and a knot of bodyguards.\n Ben's face falls. He rushes over to intercept them.", "The limo pulls into the parking lot of the Tops Limousine\n Service. Fifty other limos are already parked there.\n Jelly and Jimmy get out, followed by Ben, now dressed in\n shiny suit and pinky ring.", "Tino opens his eyes, sees Vitti frozen, and starts\n fighting with renewed strength. Jelly hangs on, looks at\n Vitti with concern, then wrestles Tino out onto the\n balcony.", "Ben and Vitti come out of the building and cross to the\n car. Jelly is waiting, Iron Mike has the MOTOR RUNNING,\n and Jimmy is in the front seat with him.", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "They get up to leave. Vitti drops some money on the\n table. Bodyguards follow them to the door. The waiters", "Vitti looks around the table, nods, and crosses to Ben.\n Jelly gets up to greet him.", "meeting.", "MASIELLO\n You'll see. Next thing is he's\n gonna call you and ask for a\n meeting.", "He hugs her and holds her tightly, feeling like a jerk\n for lying to her.\n\n CUT TO:\n\n 46.", "The bosses all jump up and run for the exits.\n\n CUT TO:\n\n\n112 EXT. PARKING LOT - SAME TIME 112", "They all laugh. Moony finishes a call on his cell phone.\n\n MOONY\n That was our friend. He marked\n your guy at Paretti's.", "meeting, I take his not being here\n as a sign of disrespect to me and\n to all these other men, too, who\n came a long way to be here.", "Vitti is lying on the bed staring at the ceiling. Marie\n is stroking his forehead. Then he looks over and sees\n Anthony sitting in a chair at the foot of the bed,\n watching him with concern.", "won't kill you, because I'd hate for\n your last thought to be a wrong one.\n You're going to that meeting." ], [ "him to finish. SHOTS are FIRED. He runs toward the car.\n More SHOTS are FIRED. Ben is hit. Vitti pulls out his", "Suddenly, Sindone whirls and FIRES at Vitti.\n\n Ben staggers in front of Vitti and takes the bullet in\n the shoulder.", "gun but he fumbles and drops it. The gunmen run off.\n Ben sinks to the pavement, mortally wounded. Vitti kneels", "BEN\n In answer to your first question,\n my name is Ben Sobol --\n (off Sindone's", "He goes down FIRING, dead before he hits the ground.\n\n\n SCRAP YARD", "They kiss.\n\n CUT TO:\n\n\n59 INT. SOBOL FAMILY ROOM - MOMENTS LATER 59", "BEN\n (in a panic)\n Paul! They're shooting!\n\n Vitti continues to sob, oblivious to the GUN BATTLE\n raging around him.", "Outside, the shooting has stopped and curious bystanders\n are looking in the broken windows. Vitti's eyes well up\n with tears.\n\n CUT TO:", "As the GUN BATTLE CONTINUES, Sindone jumps into a car and\n tries to escape, but Eddie Cokes RIPS his car with the\n MACHINE GUN, stopping it dead.", "119 OMITTED 119\n\n\n120 EXT. SOBOL BACK YARD - NIGHT 120", "Vitti just sits there on the ground, still sobbing\n quietly.\n\n\n JELLY\n\n He reloads and FIRES again.", "together right over there, two\n guys walked in and shot him dead\n right in front of us. Okay?", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "The instant he steps back inside, Manetta and his\n bodyguard are struck by an incredible VOLLEY of GUNFIRE,\n which BLOWS OUT all the GLASS in the DOOR and WINDOWS.", "MARIE\n (shaking his hand)\n Nice to meet you, Senor Sobol.\n\n Ben looks to Vitti, then to Marie.", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "was a little boy, and this, this\n is a great big kid. Hey, you.\n Tell us what you did with Michael\n Sobol.", "chest and he falls to the floor dead. Tino steps out and\n drags the body to the stairwell.", "Vitti rips the phone cord out of the jack and smashes the\n phone against the wall. He stands there fuming. Sindone\n hangs up the phone on his end, worried.", "He looks straight at Sindone.\n\n SINDONE\n Don't look at me. Everybody knows\n you whacked him so you could take\n over everything." ], [ "BEN\n Paul Vitti!\n (a beat)\n Paul Vitti.\n\n A long beat.", "VITTI\n (to the group)\n I'm Paul Vitti. I'm sorry I was", "Paul Vitti gets out of his car and walks to the warehouse\n with his most trusted soldier, Jelly, a hulking bruiser,", "The place is nearly empty. Manetta is talking to PAUL\n VITTI, a dark, intense, intelligent man in his late\n forties, and a powerful boss in his own right.", "MICHAEL\n Seriously?\n\n BEN\n Michael!\n\n SCOTT\n You're Paul Vitti. The mobster.", "AGENT STEADMAN\n Doctor Sobol, Paul Vitti is an\n extremely dangerous man. We're\n talking conspiracy, fraud,\n extortion, racketeering,\n grand theft, murder...", "MOONY\n Primo. You got a phone call.\n It's Paul Vitti.", "SINDONE\n Okay, Doctor, then let's get down\n to business. Everybody knows\n there's been this thing between me\n and Paul Vitti for a long time.", "Paul Vitti steps into the office. Ben freezes. Jelly\n crosses to take Vitti's coat.\n\n VITTI\n You know who I am?", "Vitti is on the phone, struggling to contain his rage.\n Ben watches.\n\n VITTI\n Primo, it's Paul Vitti.", "VITTI\n I can't.\n\n BEN\n You have to. Tell him, Paul.", "VITTI\n I'm a little choked up here. I\n gotta get some air.\n\n He walks outside. Jelly follows. Mangano looks\n quizzically after them.", "VITTI\n Did the guy give you a problem?\n\n MANGANO\n A little. He's a lunatic.", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "Masiello is face to face with Vitti.\n\n MASIELLO\n Paul, he talked to the Feds.\n\n (CONTINUED)", "Michael exits. On the coffee table are dozens of pictures\n of Ben and Paul Vitti taken in Miami and just about\n everywhere else.\n\n BEN\n (a beat)\n So. FBI.", "(as Vitti)\n Fuck you. Nobody helps Paul\n Vitti.", "VITTI\n You paused. That means you had a\n feeling. What does he do?\n\n BEN\n He's a psychiatrist.", "Everyone turns to see Paul and Marie Vitti coming into\n the room, followed by their kids and a knot of bodyguards.\n Ben's face falls. He rushes over to intercept them.", "ISAAC\n All right. What's with you and\n Paul Vitti?\n\n BEN\n Well, Dad, I'm not at liberty to\n discuss that." ], [ "figures he's king shit, but Carlo\n Gambino and 'Joe Bananas' both\n want to be boss of all bosses. So\n they call a meeting -- a big", "VITTI\n Not anymore.\n (to Mangano)\n Hey, Carlo, tell me. You gonna\n stab me in the back like the piece\n of shit I always knew you were?", "Carlo Mangano comes to the table. Vitti gets up, hugs\n and fraternal kisses all around, then Mangano sits down\n with them.", "CARLO MANGANO, the burly underboss of the Vitti family,\n jumps in.\n\n (CONTINUED)\n\n 19.", "VITTI\n Did the guy give you a problem?\n\n MANGANO\n A little. He's a lunatic.", "A negative buzz among the bosses.\n\n VITTI\n As for my own organization, I know\n Carlo Mangano would like to be the\n new boss.", "Jelly's car pulls into a scrap metal yard and parks.\n They all get out. Jelly hands Vitti a gun.\n\n VITTI\n (to Jimmy and Jelly)\n Leave us alone.", "VITTI\n This is Ben. He's a friend of\n mine.\n (to Ben)\n Say hello to Carlo Mangano.", "VITTI\n (to Ben)\n Carlo was on my father's crew.\n He's always been like a -- I don't\n know -- like a cousin to me.", "VITTI\n I'm a little choked up here. I\n gotta get some air.\n\n He walks outside. Jelly follows. Mangano looks\n quizzically after them.", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "Vitti is on the phone, struggling to contain his rage.\n Ben watches.\n\n VITTI\n Primo, it's Paul Vitti.", "Mo-Mo stands up from behind a car pointing a shotgun at\n Mangano and Sindone.\n\n VITTI\n Bigs!", "VITTI\n (quietly, to Jelly)\n Wait outside with the car running.\n\n Jelly nods and exits.", "VITTI\n Forget about it. He doesn't know\n anything.\n\n He tosses the pipe aside.\n\n VITTI\n Get him outta here.", "110 CONTINUED: 110\n\n Vitti and his crew turn and face Sindone and Mangano\n across the parking lot.", "Tino opens his eyes, sees Vitti frozen, and starts\n fighting with renewed strength. Jelly hangs on, looks at\n Vitti with concern, then wrestles Tino out onto the\n balcony.", "MANGANO\n (surprised)\n What's goin' on? Where's Vitti?\n\n JELLY\n On his way. Don't worry.", "VITTI\n (starts to cry)\n You see this? This is what I'm\n talking about! I'm a dead man!\n\n Ben turns away and starts for the door.", "109 CONTINUED: 109\n\n VITTI\n About two and a half weeks ago,\n somebody killed my friend, Dominic\n Manetta." ], [ "of every major crime family in the\n United States are going to meet\n together somewhere in the New York\n area.", "Everyone turns to see Paul and Marie Vitti coming into\n the room, followed by their kids and a knot of bodyguards.\n Ben's face falls. He rushes over to intercept them.", "An NYPD armored assault vehicle bursts through the gates.\n Police cruisers and SWAT vans come racing up to the scene,\n SIRENS SHRIEKING.", "There were guys lined up from\n Canarsie to Atlantic City who\n wanted to whack that bastard.", "whacked Albert Anastasia in that\n barber shop in the Park Sheraton\n Hotel. It was total chaos. With\n Anastasia gone, Vito Genovese", "Vitti rips the phone cord out of the jack and smashes the\n phone against the wall. He stands there fuming. Sindone\n hangs up the phone on his end, worried.", "They all laugh. Moony finishes a call on his cell phone.\n\n MOONY\n That was our friend. He marked\n your guy at Paretti's.", "Jelly is stunned. The bosses murmur.\n\n SINDONE\n All right, who is this guy and\n what the fuck is he doing here?", "weeks. If the other New York\n bosses are against us, I want to\n know it before I walk into that\n meeting.", "VITTI\n Yeah? Okay, well, sorry. But\n you should know, there is no mob,", "The limo pulls into the parking lot of the Tops Limousine\n Service. Fifty other limos are already parked there.\n Jelly and Jimmy get out, followed by Ben, now dressed in\n shiny suit and pinky ring.", "A sign reads, \"Entering Apalachin - pop. 342.\" The black\n Cadillac speeds past the sign, then another black Caddy,\n then a black Lincoln, then another Caddy, a Lincoln, etc.", "Paul Vitti gets out of his car and walks to the warehouse\n with his most trusted soldier, Jelly, a hulking bruiser,", "Ben waits on a deserted corner in Brooklyn. A black Town\n Car appears and stops to pick him up. The windows are\n heavily tinted. Ben takes a deep breath, crosses to the\n car and opens the back door.", "Nicky goes suddenly quiet. He watches in terror as Jimmy\n steps aside and Vitti moves close holding a short length\n of lead pipe.\n\n VITTI\n Nicky, you know me, right?", "Mo-Mo stands up from behind a car pointing a shotgun at\n Mangano and Sindone.\n\n VITTI\n Bigs!", "Tino opens his eyes, sees Vitti frozen, and starts\n fighting with renewed strength. Jelly hangs on, looks at\n Vitti with concern, then wrestles Tino out onto the\n balcony.", "JIMMY\n Forget that bullshit. Did you see\n anything?\n\n Jelly steps in to defuse the situation, warning Jimmy off\n with a look.", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "The place is nearly empty. Manetta is talking to PAUL\n VITTI, a dark, intense, intelligent man in his late\n forties, and a powerful boss in his own right." ], [ "the trunk, bound and gagged, kicking and squirming.\n Muffled shouts can be heard through the duct tape over\n his mouth.", "They kiss.\n\n CUT TO:\n\n\n59 INT. SOBOL FAMILY ROOM - MOMENTS LATER 59", "BEN\n In answer to your first question,\n my name is Ben Sobol --\n (off Sindone's", "next to him and sobs loudly. He puts his hand to his\n head, knocking off his hat.", "119 OMITTED 119\n\n\n120 EXT. SOBOL BACK YARD - NIGHT 120", "The door opens and Jelly enters.\n\n JELLY\n Dr. Sobol?", "Ben and Laura are nestled together in bed, asleep.\n\n JELLY (O.S.)\n (whispering)\n Dr. Sobol. Dr. Sobol.", "Michael's laughter is heard coming through the vent. Ben\n closes his eyes and sighs deeply.\n\n ELAINE\n Are you all right, Dr. Sobol?", "The cutting room is deserted except for Primo and his\n men. Sindone is at his desk reading the entertainment\n section of the New York Times.", "He's standing there, staring at Sindone, cool, clear, and\n unafraid. He looks like a king. The room goes silent.", "was a little boy, and this, this\n is a great big kid. Hey, you.\n Tell us what you did with Michael\n Sobol.", "Tino opens his eyes, sees Vitti frozen, and starts\n fighting with renewed strength. Jelly hangs on, looks at\n Vitti with concern, then wrestles Tino out onto the\n balcony.", "Caroline looks curiously at Ben, unperturbed.\n\n CAROLINE\n Dr. Sobol?\n\n\n BEN", "Vitti stares at his reflection in the mirror, then starts\n washing his face. In the mirror we can see the door\n starting to open behind him, and the long barrel of", "Jimmy forces him into the back of the car.\n\n CUT TO:", "chest and he falls to the floor dead. Tino steps out and\n drags the body to the stairwell.", "As Vitti moves toward the Doctor, Jelly instinctively\n grabs the Doctor from behind and holds him while Vitti\n wraps the blood pressure cuff around his neck.", "Seated directly across the room from Ben is Primo\n Sindone. He stares hard at Ben, trying to place him,\n then leans over to Moony, his consigliere.", "middle of the room, a young rat named NICKY SHIVERS is\n tied to a chair under a strong overhead light. When he\n speaks, we get a hint of mental incompetence.", "BEN SOBOL\n\n her therapist, seems to be listening intently." ], [ "VITTI\n You paused. That means you had a\n feeling. What does he do?\n\n BEN\n He's a psychiatrist.", "VITTI\n And nobody can know. If anyone\n hears I'm talking to a shrink, it\n could be interpreted the wrong\n way. You know what I mean?", "BEN\n I'm a psychotherapist. Paul\n Vitti is my patient.\n\n LAURA\n Was your patient.", "Vitti is in bed making love to his mistress, SHEILA, a\n pretty woman in her late 20s. They're really going at\n it.", "VITTI\n I can't tell Marie you're a\n shrink. She'd worry, you know.\n\n (CONTINUED)", "VITTI\n Well, then Freud's a sick fuck,\n and you are too for bringing it\n up.\n\n CUT TO:", "Vitti is lying on the bed staring at the ceiling. Marie\n is stroking his forehead. Then he looks over and sees\n Anthony sitting in a chair at the foot of the bed,\n watching him with concern.", "VITTI\n I need you to find me a\n psychiatrist.", "VITTI\n Have you seen my mother? That is\n the sickest fucking thing I've\n ever heard.\n\n BEN\n It's Freud.", "VITTI\n (through the tears)\n You call yourself a doctor? You\n should be ashamed. A real doctor\n couldn't turn his back on a person\n who's suffering!", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "DOCTOR\n Well, based on everything, I'd say\n you probably had an anxiety\n attack.\n\n VITTI\n (a beat)\n What?", "VITTI\n You're losing it, Doc. You may\n need therapy yourself.", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "An older woman kisses Vitti's hand, then both his cheeks.\n Vitti whispers a few words to her, then she kisses Ben's\n hand and moves on. More old ladies kiss their hands as\n they walk by.", "VITTI\n What do you mean, end it?\n\n MASIELLO\n Get rid of this shrink. He knows\n too much already.", "VITTI\n I don't need therapy. I'm helping\n out my friend. You didn't hear me\n say that?", "VITTI\n If anyone asks you, you never saw\n me, and I was never here. Is that\n clear?\n\n DOCTOR\n (strangled)\n Yes.", "VITTI\n You mean like seeing your best\n friend murdered? Yeah, I got\n stress.", "VITTI\n A friend of mine is having a\n problem and he might have to see a\n shrink, so I'm going to ask you a\n couple questions. Do we sit?" ], [ "Suddenly Laura bursts into the room, still in her wedding\n dress, but disheveled.\n\n BEN\n Laura!", "A beat, then a SCREAM is heard from above, then Tino\n crashes into a buffet table in the b.g. Wedding guests\n react in horror.\n\n CUT TO:", "Ben kisses Laura, then the organist plays \"Here Comes the\n Bride\" as Jelly and Ben hurry down the aisle together.", "The crowd oohs and aahs as Laura starts down the aisle\n in her wedding dress. Isaac and Dorothy are standing\n near the chupah ready to receive her.", "The sun is shining. A beautiful day for a wedding.\n \"HERE COMES THE BRIDE\" is heard.", "The guests are seated, Ben and Michael stand with the\n justice of the peace as Scott walks Laura down the aisle.\n The harpist is playing and all's right with the world.\n Scott shakes Ben's hand.", "Everyone turns to see Paul and Marie Vitti coming into\n the room, followed by their kids and a knot of bodyguards.\n Ben's face falls. He rushes over to intercept them.", "40E EXT. HOTEL COURTYARD - DAY 40E\n\n The sun shines brightly on the wedding day. Guests are\n assembling for the ceremony.", "BEN\n I feel like I'm having one right\n now. How could you interrupt\n our party?", "Vitti hears the sounds of a scuffle, steps out of the\n bathroom, and sees Jelly struggling with Tino.", "Tino opens his eyes, sees Vitti frozen, and starts\n fighting with renewed strength. Jelly hangs on, looks at\n Vitti with concern, then wrestles Tino out onto the\n balcony.", "Outside, the shooting has stopped and curious bystanders\n are looking in the broken windows. Vitti's eyes well up\n with tears.\n\n CUT TO:", "BEN\n Yes to the thing before. To her.\n That's a yes. Pick it up from\n there.\n\n Jelly moves closer. The guests start to mutter.", "BEN\n Listen, I really need to talk\n to you.\n\n Ben stops cold. A casket sits in front of the altar.\n A funeral service is in progress.", "next to him and sobs loudly. He puts his hand to his\n head, knocking off his hat.", "The instant he steps back inside, Manetta and his\n bodyguard are struck by an incredible VOLLEY of GUNFIRE,\n which BLOWS OUT all the GLASS in the DOOR and WINDOWS.", "Vitti rips the phone cord out of the jack and smashes the\n phone against the wall. He stands there fuming. Sindone\n hangs up the phone on his end, worried.", "He kisses her and closes the door behind her.\n\n BEN\n Are you happy now? You ruined my\n life!", "Laura and Ben stand before a REFORMED RABBI. The family\n is gathered again. Michael stands just to the side.", "BEN\n Hey, don't blame me. You didn't\n want to finish the ceremony." ], [ "An older woman kisses Vitti's hand, then both his cheeks.\n Vitti whispers a few words to her, then she kisses Ben's\n hand and moves on. More old ladies kiss their hands as\n they walk by.", "MARIE\n (shaking his hand)\n Nice to meet you, Senor Sobol.\n\n Ben looks to Vitti, then to Marie.", "Vitti holds out his hand. Ben hesitates for a moment,\n then hands him the gun.", "Vitti is in bed making love to his mistress, SHEILA, a\n pretty woman in her late 20s. They're really going at\n it.", "VITTI\n (starts to cry)\n You see this? This is what I'm\n talking about! I'm a dead man!\n\n Ben turns away and starts for the door.", "Vitti gives Ben a little pat on the cheek, then turns\n and exits. Ben is stunned.\n\n CUT TO:", "VITTI\n (to Jelly)\n I think he left a note. Jelly,\n did they find that note?\n\n JELLY\n No, but they will in a minute.", "Ben tries to comfort Vitti who is still crying.\n\n BEN\n Your father's not dead, Paul. He's\n alive -- in you. And he's trying\n to tell you something.", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "VITTI\n I'm a little choked up here. I\n gotta get some air.\n\n He walks outside. Jelly follows. Mangano looks\n quizzically after them.", "VITTI\n Jelly, wait outside.\n\n Jelly exits. Vitti walks around the room, taking\n everything in. He picks up the phone and listens. Hangs\n up.", "Outside, the shooting has stopped and curious bystanders\n are looking in the broken windows. Vitti's eyes well up\n with tears.\n\n CUT TO:", "JELLY\n That's right.\n\n Vitti takes an envelope from his jacket pocket and\n presses it into Laura's hand.", "BEN\n (to Vitti)\n Well done.\n\n Vitti smiles at him and drinks.\n\n CUT TO:", "Vitti and Jelly come walking out the emergency room exit.\n Vitti stops.\n\n VITTI\n Jelly, I need you to do something\n for me as my friend.", "Scott looks away, terrified, as Vitti exits past him.\n\n CUT TO:", "They get up to leave. Vitti drops some money on the\n table. Bodyguards follow them to the door. The waiters", "Vitti's men converse quietly while a soldier sweeps the\n room for bugs. He gives the \"all clear\" and SALVATORE\n MASIELLO, the old consigliere, speaks.", "VITTI\n That's okay. Marie, this is a\n friend of mine, Ben Sobol." ], [ "Suddenly, Sindone whirls and FIRES at Vitti.\n\n Ben staggers in front of Vitti and takes the bullet in\n the shoulder.", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "Vitti's men converse quietly while a soldier sweeps the\n room for bugs. He gives the \"all clear\" and SALVATORE\n MASIELLO, the old consigliere, speaks.", "Vitti rips the phone cord out of the jack and smashes the\n phone against the wall. He stands there fuming. Sindone\n hangs up the phone on his end, worried.", "VITTI\n (starts to cry)\n You see this? This is what I'm\n talking about! I'm a dead man!\n\n Ben turns away and starts for the door.", "Outside, the shooting has stopped and curious bystanders\n are looking in the broken windows. Vitti's eyes well up\n with tears.\n\n CUT TO:", "VITTI\n That's why he betrayed Dominic and\n me to our enemies and sent his own\n man to kill me in Miami.\n\n Mangano is stunned.", "Vitti just sits there on the ground, still sobbing\n quietly.\n\n\n JELLY\n\n He reloads and FIRES again.", "Vitti is in bed making love to his mistress, SHEILA, a\n pretty woman in her late 20s. They're really going at\n it.", "110 CONTINUED: 110\n\n Vitti and his crew turn and face Sindone and Mangano\n across the parking lot.", "MARIE\n (shaking his hand)\n Nice to meet you, Senor Sobol.\n\n Ben looks to Vitti, then to Marie.", "BEN\n (in a panic)\n Paul! They're shooting!\n\n Vitti continues to sob, oblivious to the GUN BATTLE\n raging around him.", "The place is nearly empty. Manetta is talking to PAUL\n VITTI, a dark, intense, intelligent man in his late\n forties, and a powerful boss in his own right.", "Vitti stares at his reflection in the mirror, then starts\n washing his face. In the mirror we can see the door\n starting to open behind him, and the long barrel of", "Everyone turns to see Paul and Marie Vitti coming into\n the room, followed by their kids and a knot of bodyguards.\n Ben's face falls. He rushes over to intercept them.", "109 CONTINUED: 109\n\n VITTI\n About two and a half weeks ago,\n somebody killed my friend, Dominic\n Manetta.", "TINO, a local Miami hitman, is covertly watching Ben and\n Vitti on the beach. He talks into a cell phone.", "BEN\n Goddamn it!\n\n He takes the GUN out of Vitti's hand and starts FIRING\n WILDLY.\n\n\n JELLY", "Scott looks away, terrified, as Vitti exits past him.\n\n CUT TO:" ], [ "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "Vitti is on the phone, struggling to contain his rage.\n Ben watches.\n\n VITTI\n Primo, it's Paul Vitti.", "VITTI\n It's over, Primo. Now get the\n fuck outta here.", "Vitti is in bed making love to his mistress, SHEILA, a\n pretty woman in her late 20s. They're really going at\n it.", "An older woman kisses Vitti's hand, then both his cheeks.\n Vitti whispers a few words to her, then she kisses Ben's\n hand and moves on. More old ladies kiss their hands as\n they walk by.", "VITTI\n If anyone asks you, you never saw\n me, and I was never here. Is that\n clear?\n\n DOCTOR\n (strangled)\n Yes.", "VITTI\n (quietly, to Jelly)\n Wait outside with the car running.\n\n Jelly nods and exits.", "VITTI\n Jelly, wait outside.\n\n Jelly exits. Vitti walks around the room, taking\n everything in. He picks up the phone and listens. Hangs\n up.", "VITTI\n (a beat)\n What?\n\n BEN\n What did you order?\n\n VITTI\n What?", "VITTI\n (starts to cry)\n You see this? This is what I'm\n talking about! I'm a dead man!\n\n Ben turns away and starts for the door.", "VITTI\n (to Jelly)\n Send Jimmy down with them.\n\n JELLY\n Already done.\n\n Jelly exits.", "VITTI\n I can't.\n\n BEN\n You have to. Tell him, Paul.", "VITTI\n So what do you want me to do?\n\n MASIELLO\n It's time to end it.", "Vitti's men converse quietly while a soldier sweeps the\n room for bugs. He gives the \"all clear\" and SALVATORE\n MASIELLO, the old consigliere, speaks.", "Vitti stares at Ben for a long beat.\n\n VITTI\n What do you want me to do?\n\n\n CUT TO:", "Sindone nods for the tailor to get out.\n\n MOONY\n Primo? What about Vitti?", "MOONY\n Primo. You got a phone call.\n It's Paul Vitti.", "VITTI (O.S.)\n Primo!\n\n All eyes turn.\n\n\n109 PAUL VITTI 109", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "VITTI\n I don't want to do this, Primo." ], [ "Carlo Mangano comes to the table. Vitti gets up, hugs\n and fraternal kisses all around, then Mangano sits down\n with them.", "Vitti is in bed making love to his mistress, SHEILA, a\n pretty woman in her late 20s. They're really going at\n it.", "An older woman kisses Vitti's hand, then both his cheeks.\n Vitti whispers a few words to her, then she kisses Ben's\n hand and moves on. More old ladies kiss their hands as\n they walk by.", "The place is nearly empty. Manetta is talking to PAUL\n VITTI, a dark, intense, intelligent man in his late\n forties, and a powerful boss in his own right.", "118 INT. PRISON CORRIDOR - LATER 118\n\n Ben and Vitti have just left the therapy group.", "Vitti is lying on the bed staring at the ceiling. Marie\n is stroking his forehead. Then he looks over and sees\n Anthony sitting in a chair at the foot of the bed,\n watching him with concern.", "VITTI\n Jelly, wait outside.\n\n Jelly exits. Vitti walks around the room, taking\n everything in. He picks up the phone and listens. Hangs\n up.", "Outside, the shooting has stopped and curious bystanders\n are looking in the broken windows. Vitti's eyes well up\n with tears.\n\n CUT TO:", "Vitti's men converse quietly while a soldier sweeps the\n room for bugs. He gives the \"all clear\" and SALVATORE\n MASIELLO, the old consigliere, speaks.", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "Vitti, Ben and Jelly enter the suite. MARIE, Vitti's\n wife, and their children, THERESA, 14, ANNA, 10, and", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "VITTI\n I'm a little choked up here. I\n gotta get some air.\n\n He walks outside. Jelly follows. Mangano looks\n quizzically after them.", "Everyone turns to see Paul and Marie Vitti coming into\n the room, followed by their kids and a knot of bodyguards.\n Ben's face falls. He rushes over to intercept them.", "VITTI\n Thank you.\n\n CUT TO:", "A man comes up to Vitti, kisses him on both cheeks,\n embraces him with excessive energy, then repeats the\n whole scene with Ben and exits. Ben looks at Vitti.", "VITTI\n (quietly, to Jelly)\n Wait outside with the car running.\n\n Jelly nods and exits.", "Tino opens his eyes, sees Vitti frozen, and starts\n fighting with renewed strength. Jelly hangs on, looks at\n Vitti with concern, then wrestles Tino out onto the\n balcony.", "Ben in a sport coat, and Vitti, in prison whites, are\n sitting around in a circle with several other convicts.\n DONNY, a heavyweight con with a shaved head and numerous\n tattoos is talking.", "BEN\n (to Vitti)\n Well done.\n\n Vitti smiles at him and drinks.\n\n CUT TO:" ], [ "A sign reads, \"Entering Apalachin - pop. 342.\" The black\n Cadillac speeds past the sign, then another black Caddy,\n then a black Lincoln, then another Caddy, a Lincoln, etc.", "Genovese blew it at Apalachin\n because he forgot to kill Gambino\n before the meeting.\n (MORE)", "So now you got about fifty Caddies\n and Lincolns pullin' into Apalachin\n and some deputy sheriff with cow\n shit on his shoes notices all the", "of every major crime family in the\n United States are going to meet\n together somewhere in the New York\n area.", "whacked Albert Anastasia in that\n barber shop in the Park Sheraton\n Hotel. It was total chaos. With\n Anastasia gone, Vito Genovese", "figures he's king shit, but Carlo\n Gambino and 'Joe Bananas' both\n want to be boss of all bosses. So\n they call a meeting -- a big", "The Caddies and Lincolns are all parked around a rambling\n country manor. Bosses and wiseguys are meeting and\n greeting each other on the big front porch.", "Around the tables sit forty or fifty of the biggest\n gangsters in the world. A few captains stand around the\n perimeter, ready to serve their bosses.", "bosses, the whole wiseguy world --\n all headin' toward this little\n town upstate to figure out what's\n what.", "MANETTA\n Anyway, Carlo Gambino came out of\n it capo de tutti capi, and that\n was the last time the whole\n commission tried to meet -- until\n now.", "face to face. Bosses and wiseguys\n were comin' in from all over the\n country, and all the New York\n families, too -- maybe sixty", "Jelly's car pulls into a scrap metal yard and parks.\n They all get out. Jelly hands Vitti a gun.\n\n VITTI\n (to Jimmy and Jelly)\n Leave us alone.", "JOHNNY BIGS\n This is all about the big meeting.\n Primo Sindone wants to run the\n whole show.", "The back door opens and Ben, Laura and Michael enter,\n struggling with the luggage.\n\n They freeze. Sitting in the family room are the three\n FBI agents: Steadman, Ricci and Provano.", "Masiello is face to face with Vitti.\n\n MASIELLO\n Paul, he talked to the Feds.\n\n (CONTINUED)", "They all laugh. Moony finishes a call on his cell phone.\n\n MOONY\n That was our friend. He marked\n your guy at Paretti's.", "VITTI\n You want me to whack my doctor?\n\n MASIELLO\n If you don't do it, somebody else\n will. It's the only way.", "The place is nearly empty. Manetta is talking to PAUL\n VITTI, a dark, intense, intelligent man in his late\n forties, and a powerful boss in his own right.", "MANETTA\n The '57 meeting was about how we\n were going to divide up the whole\n country. This meeting is about", "chest and he falls to the floor dead. Tino steps out and\n drags the body to the stairwell." ], [ "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "VITTI\n (starts to cry)\n You see this? This is what I'm\n talking about! I'm a dead man!\n\n Ben turns away and starts for the door.", "109 CONTINUED: 109\n\n VITTI\n About two and a half weeks ago,\n somebody killed my friend, Dominic\n Manetta.", "VITTI\n That's why he betrayed Dominic and\n me to our enemies and sent his own\n man to kill me in Miami.\n\n Mangano is stunned.", "VITTI\n Not good. Whoever killed Dominic\n is shooting at me now and I'm\n having a lot of feelings about it\n and I'd like to get some kinda --", "Outside, the shooting has stopped and curious bystanders\n are looking in the broken windows. Vitti's eyes well up\n with tears.\n\n CUT TO:", "VITTI\n Not anymore.\n (to Mangano)\n Hey, Carlo, tell me. You gonna\n stab me in the back like the piece\n of shit I always knew you were?", "TINO, a local Miami hitman, is covertly watching Ben and\n Vitti on the beach. He talks into a cell phone.", "Suddenly, Sindone whirls and FIRES at Vitti.\n\n Ben staggers in front of Vitti and takes the bullet in\n the shoulder.", "Vitti is on the phone, struggling to contain his rage.\n Ben watches.\n\n VITTI\n Primo, it's Paul Vitti.", "VITTI (V.O.)\n (after a beat)\n I'll kill 'em.\n\n CUT TO:", "VITTI\n You want me to whack my doctor?\n\n MASIELLO\n If you don't do it, somebody else\n will. It's the only way.", "VITTI\n I didn't kill him! I told you\n that! Don't you hear?\n\n CUT TO:", "Mo-Mo stands up from behind a car pointing a shotgun at\n Mangano and Sindone.\n\n VITTI\n Bigs!", "VITTI\n It's over, Primo. Now get the\n fuck outta here.", "VITTI\n I'm only gonna ask you this one\n time. Who killed Dominic Manetta?\n\n NICKY\n I don't know.", "VITTI\n No. Nobody touches him. You hear\n me? Anybody lays a finger on him,\n I'll kill 'em. Is that clear?", "Jelly's car pulls into a scrap metal yard and parks.\n They all get out. Jelly hands Vitti a gun.\n\n VITTI\n (to Jimmy and Jelly)\n Leave us alone.", "VITTI\n (puts the gun\n to Ben's head)\n It's over! Don't you get it?\n I took one chance and that's it.", "VITTI\n Why the fuck would I want to kill\n Dominic? He was like a father to\n me." ], [ "BEN\n In answer to your first question,\n my name is Ben Sobol --\n (off Sindone's", "BEN SOBOL\n\n her therapist, seems to be listening intently.", "Ben and Laura are nestled together in bed, asleep.\n\n JELLY (O.S.)\n (whispering)\n Dr. Sobol. Dr. Sobol.", "Caroline looks curiously at Ben, unperturbed.\n\n CAROLINE\n Dr. Sobol?\n\n\n BEN", "ELAINE, a fortyish, tired-looking wife and mother sits\n on the couch across from Ben. Ben looks bored and\n depressed.", "Ben is with a patient, CARL ANDERSON, a high-strung\n milquetoast in his late forties.", "BEN\n (to himself,\n urgently)\n Look at this. Everybody's nuts.\n Ooh, I hate walking into that\n house late.", "Michael's laughter is heard coming through the vent. Ben\n closes his eyes and sighs deeply.\n\n ELAINE\n Are you all right, Dr. Sobol?", "Ben starts for his chair, but Vitti sits in it first.\n Ben sits on the couch. Vitti adjusts the cuffs of his\n shirt, and runs a hand down the crease in his slacks.", "Ben is driving to the party with Michael. Sitting in\n stopped traffic, he checks his mirrors anxiously.", "A waiter pours red wine. Ben is eating out of pure\n anxiety. Jelly and Jimmy watch him intently. Vitti\n stares off.", "MARIE\n (shaking his hand)\n Nice to meet you, Senor Sobol.\n\n Ben looks to Vitti, then to Marie.", "VITTI\n That's okay. Marie, this is a\n friend of mine, Ben Sobol.", "Ben is proud of Vitti's new sensitivity.\n\n BEN\n And be patient, Donny. Most\n people's problems take months,\n sometimes years to resolve.", "Seated directly across the room from Ben is Primo\n Sindone. He stares hard at Ben, trying to place him,\n then leans over to Moony, his consigliere.", "MICHAEL\n But there's two Dr. Sobols.\n There's you and Grandpa.\n\n BEN\n (a beat)\n Can we talk about something else?", "Ben sits quickly on the coffee table. He crushes a box\n of tissues, then moves them out from under his ass.\n Vitti picks up a stack of CDS and looks through them.", "BEN\n You're right. Sorry.\n\n VITTI (O.S.)\n Senor Sobol!", "Jelly looks at Ben, waiting for him to speak, but Ben\n just sits, frozen, looking down at his hands.", "BEN\n What's the problem? Your father\n was murdered!\n\n (CONTINUED)\n\n 98." ], [ "JELLY\n Yeah, he seemed like a smart guy.\n He had a business card and\n everything --\n\n VITTI\n He had a card? That's a real\n fuckin' achievement.", "BEN\n At least take my card. You might\n look at the damage in the morning\n and change your mind.\n\n Jelly takes the card and reads it.", "JELLY\n It's Dr. Sobol. He says he needs\n to see you right away.\n\n Vitti nods.", "The door opens and Jelly enters.\n\n JELLY\n Dr. Sobol?", "JELLY\n That's right.\n\n Vitti takes an envelope from his jacket pocket and\n presses it into Laura's hand.", "Ben and Laura are nestled together in bed, asleep.\n\n JELLY (O.S.)\n (whispering)\n Dr. Sobol. Dr. Sobol.", "Carl takes the money, gives Ben the thumbs up and\n exits. Jelly follows him to the door and waves for\n someone to come in.", "Jelly looks apologetically at Ben.\n\n JELLY\n Sorry, Doc. It's not personal,\n you know.", "BEN\n In answer to your first question,\n my name is Ben Sobol --\n (off Sindone's", "Jelly gives him the thumbs up and exits. Vitti turns to\n the TV and starts knotting his tie as a PRUDENTIAL", "Ben looks totally confused as Jelly hustles back to his\n car.\n\n CUT TO:", "MARIE\n (shaking his hand)\n Nice to meet you, Senor Sobol.\n\n Ben looks to Vitti, then to Marie.", "Vitti and Jelly come walking out the emergency room exit.\n Vitti stops.\n\n VITTI\n Jelly, I need you to do something\n for me as my friend.", "JELLY\n (peeling off another\n bill)\n A hundred and fifty.\n\n BEN\n He's not leaving.", "Jelly enters and finds Vitti in his undershorts, putting\n on his tie, looking very strong.\n\n JELLY\n How you feelin', boss? You need\n anything?", "LAURA\n (tearing up)\n Oh. You're the first person to\n call me Mrs. Sobol.\n\n JELLY\n Nice, huh?", "JIMMY\n Forget that bullshit. Did you see\n anything?\n\n Jelly steps in to defuse the situation, warning Jimmy off\n with a look.", "Caroline looks curiously at Ben, unperturbed.\n\n CAROLINE\n Dr. Sobol?\n\n\n BEN", "JELLY\n Bingo.\n (to Carl)\n Get outta here.\n\n Jelly takes Carl by the elbow and lifts him off the\n couch.", "Ben and Laura kiss.\n\n JELLY\n I'm sorry about this, Mrs. Sobol,\n but duty calls, you know?" ], [ "VITTI\n You paused. That means you had a\n feeling. What does he do?\n\n BEN\n He's a psychiatrist.", "VITTI\n And nobody can know. If anyone\n hears I'm talking to a shrink, it\n could be interpreted the wrong\n way. You know what I mean?", "BEN\n I'm a psychotherapist. Paul\n Vitti is my patient.\n\n LAURA\n Was your patient.", "VITTI\n I need you to find me a\n psychiatrist.", "Vitti is lying on the bed staring at the ceiling. Marie\n is stroking his forehead. Then he looks over and sees\n Anthony sitting in a chair at the foot of the bed,\n watching him with concern.", "VITTI\n Well, then Freud's a sick fuck,\n and you are too for bringing it\n up.\n\n CUT TO:", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "Vitti is putting on his shirt. He looks considerably\n better. Jelly is sitting down, tapping his own knee with\n the little rubber hammer. Nothing moves.", "JELLY\n Wow. This is like the Psychic\n Network or something. I just ran\n into a psychiatrist. Actually he\n ran into me.\n\n VITTI\n Is he any good?", "Vitti is in bed making love to his mistress, SHEILA, a\n pretty woman in her late 20s. They're really going at\n it.", "VITTI\n I can't tell Marie you're a\n shrink. She'd worry, you know.\n\n (CONTINUED)", "VITTI\n What do you mean, end it?\n\n MASIELLO\n Get rid of this shrink. He knows\n too much already.", "VITTI\n I don't need therapy. I'm helping\n out my friend. You didn't hear me\n say that?", "VITTI\n (through the tears)\n You call yourself a doctor? You\n should be ashamed. A real doctor\n couldn't turn his back on a person\n who's suffering!", "BEN\n Mr. Vitti. Not that it's your\n fault, but your friend, he\n interrupted a patient's session", "The place is nearly empty. Manetta is talking to PAUL\n VITTI, a dark, intense, intelligent man in his late\n forties, and a powerful boss in his own right.", "As Vitti moves toward the Doctor, Jelly instinctively\n grabs the Doctor from behind and holds him while Vitti\n wraps the blood pressure cuff around his neck.", "father. You know what it's like\n dealing with you? This is you.\n (imitating Vitti)", "VITTI\n If anyone asks you, you never saw\n me, and I was never here. Is that\n clear?\n\n DOCTOR\n (strangled)\n Yes." ], [ "Vitti is on the phone, struggling to contain his rage.\n Ben watches.\n\n VITTI\n Primo, it's Paul Vitti.", "MARIE\n (shaking his hand)\n Nice to meet you, Senor Sobol.\n\n Ben looks to Vitti, then to Marie.", "Sindone nods for the tailor to get out.\n\n MOONY\n Primo? What about Vitti?", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "The place is nearly empty. Manetta is talking to PAUL\n VITTI, a dark, intense, intelligent man in his late\n forties, and a powerful boss in his own right.", "VITTI\n That's okay. Marie, this is a\n friend of mine, Ben Sobol.", "An older woman kisses Vitti's hand, then both his cheeks.\n Vitti whispers a few words to her, then she kisses Ben's\n hand and moves on. More old ladies kiss their hands as\n they walk by.", "Vitti's men converse quietly while a soldier sweeps the\n room for bugs. He gives the \"all clear\" and SALVATORE\n MASIELLO, the old consigliere, speaks.", "VITTI\n I can't.\n\n BEN\n You have to. Tell him, Paul.", "110 CONTINUED: 110\n\n Vitti and his crew turn and face Sindone and Mangano\n across the parking lot.", "SINDONE\n (warily)\n Vitti.\n (picks up the phone)\n Hello?\n\n INTERCUT Vitti and Sindone.", "Carlo Mangano comes to the table. Vitti gets up, hugs\n and fraternal kisses all around, then Mangano sits down\n with them.", "SINDONE\n Okay, Doctor, then let's get down\n to business. Everybody knows\n there's been this thing between me\n and Paul Vitti for a long time.", "BEN\n You're right. Sorry.\n\n VITTI (O.S.)\n Senor Sobol!", "Suddenly, Sindone whirls and FIRES at Vitti.\n\n Ben staggers in front of Vitti and takes the bullet in\n the shoulder.", "Vitti is in bed making love to his mistress, SHEILA, a\n pretty woman in her late 20s. They're really going at\n it.", "AGENT STEADMAN\n Doctor Sobol, Paul Vitti is an\n extremely dangerous man. We're\n talking conspiracy, fraud,\n extortion, racketeering,\n grand theft, murder...", "BEN\n In answer to your first question,\n my name is Ben Sobol --\n (off Sindone's", "SINDONE\n Fuck him.\n\n MOONY\n I'm telling you, Primo, he's\n planning something big. The shit\n is really gonna come down.", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag." ], [ "Vitti is on the phone, struggling to contain his rage.\n Ben watches.\n\n VITTI\n Primo, it's Paul Vitti.", "SINDONE\n (warily)\n Vitti.\n (picks up the phone)\n Hello?\n\n INTERCUT Vitti and Sindone.", "Vitti rips the phone cord out of the jack and smashes the\n phone against the wall. He stands there fuming. Sindone\n hangs up the phone on his end, worried.", "MOONY\n Primo. You got a phone call.\n It's Paul Vitti.", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "VITTI\n Jelly, wait outside.\n\n Jelly exits. Vitti walks around the room, taking\n everything in. He picks up the phone and listens. Hangs\n up.", "Sindone nods for the tailor to get out.\n\n MOONY\n Primo? What about Vitti?", "VITTI\n Come on. You don't know this\n guy.\n\n Jelly covers the phone and turns to Vitti.", "Vitti is in bed making love to his mistress, SHEILA, a\n pretty woman in her late 20s. They're really going at\n it.", "An older woman kisses Vitti's hand, then both his cheeks.\n Vitti whispers a few words to her, then she kisses Ben's\n hand and moves on. More old ladies kiss their hands as\n they walk by.", "110 CONTINUED: 110\n\n Vitti and his crew turn and face Sindone and Mangano\n across the parking lot.", "The place is nearly empty. Manetta is talking to PAUL\n VITTI, a dark, intense, intelligent man in his late\n forties, and a powerful boss in his own right.", "Suddenly, Sindone whirls and FIRES at Vitti.\n\n Ben staggers in front of Vitti and takes the bullet in\n the shoulder.", "Vitti's men converse quietly while a soldier sweeps the\n room for bugs. He gives the \"all clear\" and SALVATORE\n MASIELLO, the old consigliere, speaks.", "VITTI\n (starts to cry)\n You see this? This is what I'm\n talking about! I'm a dead man!\n\n Ben turns away and starts for the door.", "Carlo Mangano comes to the table. Vitti gets up, hugs\n and fraternal kisses all around, then Mangano sits down\n with them.", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "VITTI\n I'm a little choked up here. I\n gotta get some air.\n\n He walks outside. Jelly follows. Mangano looks\n quizzically after them.", "VITTI\n (to Jelly)\n Send Jimmy down with them.\n\n JELLY\n Already done.\n\n Jelly exits.", "VITTI\n I didn't kill him! I told you\n that! Don't you hear?\n\n CUT TO:" ], [ "Agent Ricci, wearing a flak jacket and FBI baseball cap,\n has Sindone down on the ground with his foot on Primo's\n neck and a .45 aimed at his head.", "AGENT STEADMAN\n Doctor Sobol, Paul Vitti is an\n extremely dangerous man. We're\n talking conspiracy, fraud,\n extortion, racketeering,\n grand theft, murder...", "in the FBI van. A technician works at the computer\n console. Steadman listens.\n\n Through speakers:", "Masiello is face to face with Vitti.\n\n MASIELLO\n Paul, he talked to the Feds.\n\n (CONTINUED)", "VITTI\n You think I'm an idiot? Don't\n insult my intelligence. You\n cooperated! You talked to the\n Feds!", "71 INT. JIMMY'S CAR - SAME TIME 71\n\n Jimmy is parked at the corner watching the Sobol house as\n the three FBI agents leave.", "BEN\n In answer to your first question,\n my name is Ben Sobol --\n (off Sindone's", "MASIELLO\n The FBI was at his house today.\n\n JIMMY\n It's the truth. I saw 'em.", "AGENT STEADMAN\n (showing his badge)\n Doctor Sobol, Mrs. Sobol -- I'm", "The back door opens and Ben, Laura and Michael enter,\n struggling with the luggage.\n\n They freeze. Sitting in the family room are the three\n FBI agents: Steadman, Ricci and Provano.", "made me wear a wire, but I took it\n off, because I think I know how to\n help you now.", "CUT TO:\n\n 116.\n\n100B INT. FBI CAR - MOMENTS LATER 100B", "was a little boy, and this, this\n is a great big kid. Hey, you.\n Tell us what you did with Michael\n Sobol.", "They kiss.\n\n CUT TO:\n\n\n59 INT. SOBOL FAMILY ROOM - MOMENTS LATER 59", "CUT TO:\n\n\n80 INT. FBI VAN - SAME TIME 80", "CUT TO:\n\n\n75 INT. FBI VAN - SAME TIME 75", "Laura recognizes Provano from the hotel and glares\n at him.\n\n MICHAEL\n The FBI! This is better than\n the fountain!", "Michael exits. On the coffee table are dozens of pictures\n of Ben and Paul Vitti taken in Miami and just about\n everywhere else.\n\n BEN\n (a beat)\n So. FBI.", "Then, from out of the sky, the FBI helicopter descends,\n blaring a warning.", "MARIE\n (shaking his hand)\n Nice to meet you, Senor Sobol.\n\n Ben looks to Vitti, then to Marie." ], [ "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "Vitti is in bed making love to his mistress, SHEILA, a\n pretty woman in her late 20s. They're really going at\n it.", "VITTI\n (quietly, to Jelly)\n Wait outside with the car running.\n\n Jelly nods and exits.", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "VITTI\n (starts to cry)\n You see this? This is what I'm\n talking about! I'm a dead man!\n\n Ben turns away and starts for the door.", "Suddenly, Sindone whirls and FIRES at Vitti.\n\n Ben staggers in front of Vitti and takes the bullet in\n the shoulder.", "Vitti rips the phone cord out of the jack and smashes the\n phone against the wall. He stands there fuming. Sindone\n hangs up the phone on his end, worried.", "Vitti just sits there on the ground, still sobbing\n quietly.\n\n\n JELLY\n\n He reloads and FIRES again.", "Vitti holds out his hand. Ben hesitates for a moment,\n then hands him the gun.", "The place is nearly empty. Manetta is talking to PAUL\n VITTI, a dark, intense, intelligent man in his late\n forties, and a powerful boss in his own right.", "Outside, the shooting has stopped and curious bystanders\n are looking in the broken windows. Vitti's eyes well up\n with tears.\n\n CUT TO:", "Scott looks away, terrified, as Vitti exits past him.\n\n CUT TO:", "VITTI\n If anyone asks you, you never saw\n me, and I was never here. Is that\n clear?\n\n DOCTOR\n (strangled)\n Yes.", "VITTI\n Jelly, wait outside.\n\n Jelly exits. Vitti walks around the room, taking\n everything in. He picks up the phone and listens. Hangs\n up.", "Jelly's car pulls into a scrap metal yard and parks.\n They all get out. Jelly hands Vitti a gun.\n\n VITTI\n (to Jimmy and Jelly)\n Leave us alone.", "Vitti suddenly reaches over and rips Ben's shirt open.\n All he sees is a bald patch on Ben's chest where the bug\n was taped.", "An older woman kisses Vitti's hand, then both his cheeks.\n Vitti whispers a few words to her, then she kisses Ben's\n hand and moves on. More old ladies kiss their hands as\n they walk by.", "Tino opens his eyes, sees Vitti frozen, and starts\n fighting with renewed strength. Jelly hangs on, looks at\n Vitti with concern, then wrestles Tino out onto the\n balcony.", "VITTI\n I'm a little choked up here. I\n gotta get some air.\n\n He walks outside. Jelly follows. Mangano looks\n quizzically after them.", "Vitti stares at his reflection in the mirror, then starts\n washing his face. In the mirror we can see the door\n starting to open behind him, and the long barrel of" ], [ "Suddenly, Sindone whirls and FIRES at Vitti.\n\n Ben staggers in front of Vitti and takes the bullet in\n the shoulder.", "Vitti picks up the gun and puts it to Tino's head. Tino\n shuts his eyes and turns away, expecting the shot, but\n then Vitti's hand starts to shake and he breaks into a\n cold sweat.", "Outside, the shooting has stopped and curious bystanders\n are looking in the broken windows. Vitti's eyes well up\n with tears.\n\n CUT TO:", "BEN\n Goddamn it!\n\n He takes the GUN out of Vitti's hand and starts FIRING\n WILDLY.\n\n\n JELLY", "VITTI\n Let's move.\n\n Sindone and Mangano come out with guns drawn, flanked by\n two wise guys.", "Vitti holds out his hand. Ben hesitates for a moment,\n then hands him the gun.", "BEN\n (in a panic)\n Paul! They're shooting!\n\n Vitti continues to sob, oblivious to the GUN BATTLE\n raging around him.", "VITTI\n (starts to cry)\n You see this? This is what I'm\n talking about! I'm a dead man!\n\n Ben turns away and starts for the door.", "Mo-Mo stands up from behind a car pointing a shotgun at\n Mangano and Sindone.\n\n VITTI\n Bigs!", "Vitti winds up to brain him with the pipe. They all\n wince in anticipation of the blow. But Vitti just\n freezes there with his arm upraised. Then he drops his\n arm and seems to sag.", "VITTI\n Pretty fuckin' ironic, isn't it?\n You can give me back the gun now,\n Doctor.", "gun but he fumbles and drops it. The gunmen run off.\n Ben sinks to the pavement, mortally wounded. Vitti kneels", "Vitti just sits there on the ground, still sobbing\n quietly.\n\n\n JELLY\n\n He reloads and FIRES again.", "110 CONTINUED: 110\n\n Vitti and his crew turn and face Sindone and Mangano\n across the parking lot.", "Tino opens his eyes, sees Vitti frozen, and starts\n fighting with renewed strength. Jelly hangs on, looks at\n Vitti with concern, then wrestles Tino out onto the\n balcony.", "Vitti hears the sounds of a scuffle, steps out of the\n bathroom, and sees Jelly struggling with Tino.", "Vitti rips the phone cord out of the jack and smashes the\n phone against the wall. He stands there fuming. Sindone\n hangs up the phone on his end, worried.", "JIMMY\n (pulls a gun)\n Get in the fucking car.\n\n Ben looks to Vitti for help.", "VITTI\n I'm a little choked up here. I\n gotta get some air.\n\n He walks outside. Jelly follows. Mangano looks\n quizzically after them.", "Jelly's car pulls into a scrap metal yard and parks.\n They all get out. Jelly hands Vitti a gun.\n\n VITTI\n (to Jimmy and Jelly)\n Leave us alone." ] ]

[ "What happens to Dominic?", "What happens when Ben Sobel and his son are driving together?", "Why does Vitti see Ben Sobel?", "Why does Vitti go to Miami?", "What happens when Sobel returns to New York?", "Why does Sobel choose to inform on Vitti?", "What happens when Vitti finds out Sobel was spying on him?", "What happens the day of the meeting?", "How does Sobel get shot?", "What is Paul Vitti's occupation?", "What are Vito, Carlo, and Joe disputing over?", "Who disrupts the mob meeting in New York?", "How does Sobel discover a bound and gagged man?", "Why did Vitti need to see a psychiatrist?", "How is the wedding interrupted?", "What gift does Vitti leave Sobel and his family?", "Who arrives to kill Vitti while he was with Sobel?", "What does Vitti order Primo to Do?", "Who visits Vitti in prison?", "What happens at the Apalachin meeting?", "Who is killed in a drive-by shooting after warning Vitti to look out for Primo Sandone?", "What problems is Ben Sobel dealing with at the beginning of the story?", "Why does Sobel give Jelly his business card?", "Why does Vitti request a psychiatrist to work with him?", "What advice does Sobel give Vitti about Primo Sandone?", "What happens when Vitti calls Primo Sandone?", "How does the FBI get Sobel to cooperate to wearing a wire?", "What happens when Vitti drives Sobel to a secluded place to kill him?", "Who is injured in the gunfight between Sandone and Vitti's men?" ]

[ [ "He is killed in a drive-by shooting.", "He is killed in a drive-by" ], [ "He rear-ends Vitti's car as he fights with his son. ", "Sobel rear ends a car that belongs to Vitti." ], [ "Vitti is having panic attacks and says he wants to see a psychiatrist and Jelly recommends Sobel.", "Panic attack" ], [ "Ben Sobel is getting married and travels to Miami, and Vitti and crew follow.", "Sobel is going there to get married, and Vitti follows because he thinks he needs to see the psychiatrist." ], [ "He discovers a fountain in his garden, a thank you from Vitti.", "Find foundation in garden and gift from Vitti" ], [ "He hears a tape in which Vitti threatens to kill Sobel.", "The FBI plays him an altered tape that makes it sound like Vitti is going to kill Sobel." ], [ "He takes Sobel to a secluded location to kill him.", "He takes Sobel somewhere to kill him" ], [ "Vitti has a meltdown, and Jelly convinces Sobel to be Vitti's consigliere. ", "raided by FBI" ], [ "He accidentally takes a bullet intended for Vitti.", "By accidently taking a bullet for Vitti" ], [ "Mob Boss", "Mob boss" ], [ "Who will ascend to mob supremacy", "who will rule the mob" ], [ "The FBI", "FBI" ], [ "Rear-ending the trunk of a car ", "He rear-ended a car owned by Vitti and the trunk popped open, revealing the man." ], [ "He suffered a panic attack?", "he has become impotent" ], [ "An assassin is killed by Vitti's thugs", "An assassin is killed." ], [ "A fountain in their garden.", "A fountain" ], [ " Two hitmen", "Two hitmen" ], [ "Stand down and announce there is a traitor in his family", "To stand down and not kill Sobel" ], [ "Sobel", "Sobel" ], [ "The FBI swarms the meeting of mob bosses, and the mob doesn't hold another meeting until present day.", "the meeting is raided by the FBI" ], [ "Dominic is killed in a drive-by shooting.", "Dominic" ], [ "His son is listening to his sessions, his job is not challenging enouh, and he has a wedding upcoming.", "His patients are not challenging enough, his son listens to his sessions, and his wedding is coming up soon" ], [ "Sobel rear ended him in traffic, and was giving him the card in case he wanted to be compensated for damages in the crash.", "in case he changes his mind about compensation" ], [ "He suffers a panic attack while working on mob business.", "suffers panic attack" ], [ "He encourages Vitti to tell Sandone how he is feeling. ", "to call him and resolve his feelings" ], [ "He tells him how he feels and then threatens to kill him.", "He tells Primo how he feels, but then ends up threatening to kill him" ], [ "They play a doctored tape in which Vitti threatens his life. ", "they play an altered tape for him that makes it sound as though Vitti is planning to kill Sobel" ], [ "Two assassins attempt to kill Vitti but are instead killed by Jelly while Vitti has an emotional breakdown.", "They get into an argument" ], [ "Sobel is injured when he accidentally takes a bullet intended for Vitti.", "vitti's men" ] ]

[ [ "An explosion of amplified CASINO WALLA shatters the previous \n silence.\n\n INT. CASINO FLOOR - NIGHT", "INT. SHANGRI-LA CASINO - BAR - NIGHT", "Up ahead, a billboard reads: THE SHANGRI-LA HOTEL AND CASINO. \n TAKE A GAMBLE ON PARADISE.", "They head over to a section of slots. As they pass one of \n those huge million dollar slots, the FLOOR MANAGER cuts in \n front of them.", "INT. CASINO FLOOR - NIGHT", "Bernie nods, a huge grin wrenching his cheeks apart. He's \n about to go helium on us.\n\n INT. CASINO FLOOR - NIGHT", "INT. SHELLY'S OFFICE - OVERLOOKING THE CASINO FLOOR - NIGHT\n\n ...the chip becoming an Alka-Seltzer dropping into a glass.", "Larry turns and raises his drink to Shelly. Shelly stares \n right through him. A declaration of war.\n\n INT. CASINO MIDWAY - NIGHT", "The dealer turns up some cards. And again, Bernie and the \n high roller win. Bernie looks absolutely perturbed. Shelly \n gestures something with his head. Bernie cashes out.", "INT. CASINO FLOOR - DAY\n\n Shelly looking on as a high roller cleans up at craps. With \n Bernie standing right there next to the guy.", "She raises the empty cream container for effect, turns it \n over. A few drops dribble out.\n\n INT. CASINO FLOOR - NIGHT", "We follow Bernie as he wanders through the casino like he's \n done a thousand times -- but this time with conviction.\n\n INT. CASINO FLOOR - CRAPS TABLES - NIGHT", "CUT TO:\n\n INT. CASINO FLOOR CRAPS TABLE - MONTAGE - NIGHT", "INT. SHANGRI-LA HOTEL AND CASINO/BAR - NIGHT", "Shelly wanders up slowly to find Bernie at the center of the \n crowd. He steps behind the table into the casino pit to get \n a closer look.", "INT. CASINO FLOOR - CRAPS TABLES - NIGHT\n\n He heads for the crap tables, the sound of raucous CHEERING \n becomes audible. A large crowd starting to gather.", "Lets us enter.\n\n INT. SHANGRI-LA HOTEL AND CASINO - NIGHT\n\n CREDITS SEQUENCE", "SEVERAL CASINO WORKERS have gathered to witness the \n deflowering of Marnie. They gaze reverently upon her, as if", "The dice are slowly pushed over to Bernie. The crowd is \n feeling it. The entire casino is feeling it. Bernie lets out \n a long soulful sigh. His whole life depends on the next throw \n and everyone knows it.", "INT. CASINO FLOOR - NIGHT\n\n Bernie makes for the Paradise Lounge. SPLIT SECOND FLASHBACK \n as he imagines Shelly laying into Natalie. Fast cuts." ], [ "BERNIE\n Natalie, don't...\n\n Gone. A WAITRESS appears.\n\n WAITRESS (O.S.)\n Get you another?", "Bernie approaches some cocktail waitresses about to go off \n duty.\n\n BERNIE\n Hi. Any of you seen Natalie around? \n I'm supposed to give her a ride home.", "Bernie shrugs. Natalie steps up to the bar a few feet away.\n\n Puts in a drink order. She catches Bernie's eye. Nods.\n\n Bernie smiles.", "As they pass by Bernie and Natalie's table, the girl trips \n over Natalie's purse. Bernie quickly helps her up. That's \n when he notices the young man...", "She looks at him. Only the faintest hint of recognition.\n\n NATALIE\n Hi. Uh...\n\n BERNIE\n Bernie.", "Natalie looks down at her shoulder where the man patted her.\n\n She brushes it for effect. Bernie smiles. They take a seat \n at the end of the midway.", "Natalie and Bernie are seated in a booth near the back. She \n sips on an umbrella drink; he's nursing his usual gin.", "Natalie is about to take him up on it, when she catches \n Bernie's eye. His look suggests she's being played for a \n sucker. She decides against it.", "Bernie raises his head, not quite sure he heard her right.\n\n Natalie sits up, hugs her knees. Bernie finds himself staring \n at her back.", "Bernie makes his way across the casino floor, when he's \n intercepted by Shelly.\n\n SHELLY\n Bernie. Mr. Cool. Got a moment?", "INT. HOSPITAL - EMERGENCY ROOM WAITING AREA - NIGHT\n\n FADE IN on Bernie's hunched over figure, waiting on Natalie.", "INT. MOONLIGHTER COFFEE SHOP - DAY\n\n Bernie and Natalie sit eating breakfast.", "Bernie reaches out, caresses her back. She emits a shiver...", "There's a quick moment of confusion. Bernie feels a bit thrown \n by it all.\n\n EXT. MOONLIGHTER COFFEE SHOP - PARKING LOT - DAY", "She takes off. At the same time Natalie leaves with her drink \n order. They walk in the same direction. Shelly mistakes \n Bernie's wandering look for interest in the hooker.", "She walks over to Bernie, takes the bottle away. Helps him \n to his feet.\n\n He gives himself over to her reassuring embrace. Natalie \n raises Bernie's face to her's.", "Bernie rests his head on her breasts. Closes his eyes. We \n hold on him. A few seconds pass... and he breaks into a smile.\n\n Fade to black.", "She lowers her soda. Turns to Bernie. He studies her for a \n lengthy beat, stoic features. She wipes away her tears. Oh", "Shelly stands motionless. Staring into Bernie's eyes. The \n whole crowd watches. After what seems like an eternity, Shelly", "Bernie glances around him uncomfortably. We see Shelly \n approaching. Shelly just has a nose for when things aren't \n running smoothly. Larry is lurking behind him." ], [ "SHELLY\n Natalie? She told you, she loves \n you?", "ON NATALIE at that moment. We can tell she agrees with \n Shelly... but thinks all the more of Bernie for it. That \n might even be love in her eyes.", "Shelly walks around his desk to Natalie.", "Bernie glances over at Natalie. She has tears in her eyes.\n\n He looks to Shelly pleadingly. Please don't do this...", "NATALIE\n Shelly wants me gone. He says I bring \n you luck. Lady luck. I stayed... to", "SHELLY\n What's that supposed to mean?\n\n BERNIE\n She loves me, Shelly. She told me \n last night. Natalie.", "NATALIE\n Yeah, Bernie.\n (to Doris)\n Hey, you seen Shelly around? He", "NATALIE\n Fuck Shelly. He doesn't give a shit \n about you. Let's just climb into \n your car and get the hell out of \n here.", "On the mention of Natalie's name, we hear a shrieking SIREN, \n followed by a deafening toll of slot bells. Shelly's just", "NATALIE\n Joe said I should stick around. You \n say something to Shelly?\n\n Bernie just smiles at her.", "But he's been noticed all right. By Natalie. Not quite sure \n what she's just witnessed. Who is this guy?\n\n We hear a VOICE over the intercom.", "Natalie is about to take him up on it, when she catches \n Bernie's eye. His look suggests she's being played for a \n sucker. She decides against it.", "SHELLY\n Put that fucking thing out!\n\n Natalie, startled, drops her cigarettes. She kneels to gather \n them up.", "notices Natalie smiling at him. He meets her eyes. She averts \n them quickly, keeps walking.", "Natalie can't help but smile.\n\n Bernie lowers the needle to the first cut of the record.\n\n Everything seems to be going so well, until...", "The door to Shelly's office slams behind Natalie. Shelly \n glares at her from behind his desk. We see him thumbing his", "Shelly stops packing. He grabs Natalie up off the bed, starts \n smacking her around.", "NATALIE\n I can't do that.\n\n SHELLY\n (right in her face)\n Excuse me?", "ON BERNIE AND NATALIE\n\n still looking at each other. Suddenly the piercing shriek of", "It's Natalie's laugh. Talk about a tension breaker. Bernie \n turns to her, shrugs. He tries again. This time the needle" ], [ "Natalie is about to take him up on it, when she catches \n Bernie's eye. His look suggests she's being played for a \n sucker. She decides against it.", "Natalie leans over and kisses him. As she does so, she catches \n sight of her face in the mirror. Starts to tear up.", "But he's been noticed all right. By Natalie. Not quite sure \n what she's just witnessed. Who is this guy?\n\n We hear a VOICE over the intercom.", "NATALIE\n You awake, Bernie?\n\n He grunts something inaudible.\n\n NATALIE\n I -- think I love you.", "They just stare at each other for an extended beat. Then \n Natalie stumbles into Bernie's arms. Clingwraps herself to", "Natalie can't help but smile.\n\n Bernie lowers the needle to the first cut of the record.\n\n Everything seems to be going so well, until...", "NATALIE\n It wasn't an act. I meant it. I love \n him.", "Bernie and Natalie making love. Slow, tender. Natalie doesn't \n make with the \"Oh yeah, baby, you're doing great\"", "NATALIE\n I love you, Bernie. I just want you \n to know that. I fell in love with \n you. That wasn't part of the plan. I \n thought... easy money...", "SHELLY\n What's that supposed to mean?\n\n BERNIE\n She loves me, Shelly. She told me \n last night. Natalie.", "NATALIE\n (hysterical)\n I can't leave! I won't! I love him. \n Doesn't that mean anything to you, \n you heartless fuck?", "SHELLY\n Natalie? She told you, she loves \n you?", "She walks over to Bernie, takes the bottle away. Helps him \n to his feet.\n\n He gives himself over to her reassuring embrace. Natalie \n raises Bernie's face to her's.", "Bernie and Natalie lie in each other's arms. Bernie seems at \n ease. Natalie eyeballs the ceiling, smoke wisping up from a \n cigarette.", "BERNIE\n (a beat)\n I love you, Natalie.\n\n Natalie smothers her lips against Bernie's. He enshrouds her \n in his arms. Fade out...", "Natalie touches his cheek, a reassuring look in her eyes.", "Bernie should be projecting fear, but there's nothing but \n his overwhelming love for Natalie in his eyes. It's a two \n way current.", "Natalie locks onto a little toe-headed BOY being dragged \n around by his OLDER BROTHER and the brother's FRIEND. The \n kid has a glazed look in his eyes.", "NATALIE\n There's still things you don't know... \n should know... I don't want to ruin \n it...\n\n Bernie pulls Natalie back toward him.", "Natalie staring up at the ceiling, Bernie nuzzled against \n her. Her features appear softer than ever. Luminous in the \n moonlight. Realization moist in her eyes." ], [ "Larry turns and raises his drink to Shelly. Shelly stares \n right through him. A declaration of war.\n\n INT. CASINO MIDWAY - NIGHT", "Shelly swats it away with disgust. Jumps to his feet. WHAM!\n\n Bernie slugs him one. As Shelly doubles over, Bernie gets in \n his face.", "SHELLY\n (close to losing it)\n What's there to fuckin' love? He's a \n loser. Always has been, always will \n be.", "Shelly watches Bernie from the video monitor. He appears \n less than delighted over Bernie's sunny disposition. He picks \n up the phone, dials.", "and it unsettles him. He glances up toward Shelly's \n observation window, knows the man is gloating.", "Shelly throws the panties back at Buddy. Buddy just stares \n at him with pained eyes, waiting for something else. Sweat \n mirror balls his wrinkled forehead.", "Larry shoots him a disapproving look. Off Shelly's disturbed \n expression. He's already calculating serious damage control.\n\n INT. CASINO FLOOR - NIGHT", "Shelly wanders up slowly to find Bernie at the center of the \n crowd. He steps behind the table into the casino pit to get \n a closer look.", "D -- Bernie, despite the spooky irony, can't help but smile \n as mountains of chips pile up on the tables. Shelly appears \n behind him. Not a happy camper. He gestures Bernie to follow \n him.", "Bernie drives down a quiet Vegas street. It's spooky.\n\n Almost too quiet. All the lights are green as they cruise \n into the night.", "Bernie glances around him uncomfortably. We see Shelly \n approaching. Shelly just has a nose for when things aren't \n running smoothly. Larry is lurking behind him.", "He hands Shelly a cup of quarters, takes off. Shelly looks \n to Bernie. He's trying to keep a lid on his anger.", "INT. CASINO FLOOR - DAY\n\n Shelly looking on as a high roller cleans up at craps. With \n Bernie standing right there next to the guy.", "Off their uncomfortable expressions...\n\n INT. SHELLY'S OFFICE - A SHORT WHILE LATER - NIGHT\n\n Shelly seated across from Nicky, Larry and Marty.", "The dealer turns up some cards. And again, Bernie and the \n high roller win. Bernie looks absolutely perturbed. Shelly \n gestures something with his head. Bernie cashes out.", "SHELLY\n (into phone)\n Yeah, it's me. Get Bernie over to \n crap table six.\n\n INT. CASINO FLOOR - NIGHT", "Natalie flinches slightly. Then swiftly regains her composure. \n It's Vegas. An honest mistake.", "Bernie tries to shrug it off. But the spectre of Shelly sits \n firmly on his shoulder. There's no escaping him. We see Bernie \n fighting it. Losing. SHIT!", "Shelly's expression tells us he isn't so sure. Something \n definitely isn't kosher.\n\n As Charlene chatters on, Mikey switches the dice back.", "Shelly exits the men's room, makes his way back to the craps \n table where Bernie is. Just in time to see Bernie lay twenty" ], [ "NICKY\n Shelly, I want you to meet one of \n our smartest VPs, Larry Sokolov. And \n his numbers guy, Marty Goldfarb.", "SHELLY\n Now you listen real good, you Harvard \n turd. Lootz is on the up-and-up. He", "It's Natalie's laugh. Talk about a tension breaker. Bernie \n turns to her, shrugs. He tries again. This time the needle", "Bernie glances around him uncomfortably. We see Shelly \n approaching. Shelly just has a nose for when things aren't \n running smoothly. Larry is lurking behind him.", "But he's been noticed all right. By Natalie. Not quite sure \n what she's just witnessed. Who is this guy?\n\n We hear a VOICE over the intercom.", "Shelly eyeballs Marty for a tense, extended beat. What do I \n look like, some fuckin' pimp, college boy? Just as Marty's \n starting to get real uncomfortable, Shelly cracks a smile.", "Another nine grand. Mikey's rail is nearly full. Charlene \n hops around awkwardly causing more distraction.\n\n Bernie is really sweating it out now. Then Shelly arrives.", "at security. The suburbanite is whisked away with a pocketful \n of comps and a bruised ego. Shelly takes Nicky aside, attempts", "She tears her eyes away from Bernie. Bernie can't believe \n what he's hearing. That she wants to be invested in him.\n\n What could be so bad?", "Big action at the craps tables tonight. The players cheer as \n MR. PINKERTON makes another pass. He exudes USED CAR SALESMAN.\n\n Natalie arrives with his drink.", "Suddenly, he's smiling. He opens his coat and a huge wad of \n cash tumbles out. He throws it up into the air. Natalie almost \n chokes with surprise.", "He's watching Bernie through the two-way glass. Shakes his \n head in admiration.\n\n Suddenly the office door swings open. THREE MEN stride in.", "Lou shoves Bernie inside. Bernie kisses floor. Shelly strides \n past, leans against his desk. Bernie slowly drags himself to \n his feet.", "Buddy works the room, leaning in real close to the ladies, \n delivering the requisite eye contact. When their companions", "Then heads over to the kitchenette cupboard. Pulls down a \n coffee can. Extracts a thick wad of bills. Hands them over \n to Mikey.", "Nicky makes like it's all in good jest. Yeah, that's real \n cute. He heads around the table to the suburbanite, holds", "BERNIE\n Don't mention it.\n\n Bernie gestures her over to table eleven. Immediately makes \n the HIGH ROLLER in question. A good old boy named BULLDOG.", "SHELLY\n (to Morrie)\n Get a hold of his daughter. Assist \n her with the arrangements. The Shangri-\n la will take care of everything.", "LARRY\n As a matter of fact I do. Like, right \n off the bat, I can tell you this", "Bernie noodles his way to the front of the crowd. As soon as \n he gets a look at the heavy hitter at the table, he tenses \n up.\n\n Oh shit." ], [ "In the next instant, Bernie pulls a quick U-turn across the \n middle shoulder, starts back toward Vegas.\n\n EXT. CASINO PARKING LOT - NIGHT", "Bernie drives down a quiet Vegas street. It's spooky.\n\n Almost too quiet. All the lights are green as they cruise \n into the night.", "Shelly wanders up slowly to find Bernie at the center of the \n crowd. He steps behind the table into the casino pit to get \n a closer look.", "BERNIE\n So, what's the problem?\n\n NATALIE\n That's with us here. In Vegas.\n\n Bernie's expression: Oh.", "BERNIE\n It's got everything to do with me. \n He's my son.", "Shelly exits the men's room, makes his way back to the craps \n table where Bernie is. Just in time to see Bernie lay twenty", "We follow Bernie as he wanders through the casino like he's \n done a thousand times -- but this time with conviction.\n\n INT. CASINO FLOOR - CRAPS TABLES - NIGHT", "Bernie nods, a huge grin wrenching his cheeks apart. He's \n about to go helium on us.\n\n INT. CASINO FLOOR - NIGHT", "INT. CASINO FLOOR - NIGHT\n\n Bernie makes for the Paradise Lounge. SPLIT SECOND FLASHBACK \n as he imagines Shelly laying into Natalie. Fast cuts.", "Bernie glances around him uncomfortably. We see Shelly \n approaching. Shelly just has a nose for when things aren't \n running smoothly. Larry is lurking behind him.", "Bernie tries to shrug it off. But the spectre of Shelly sits \n firmly on his shoulder. There's no escaping him. We see Bernie \n fighting it. Losing. SHIT!", "Bernie watches as they pass by. Mikey looks into Bernie's \n eyes. They both know he's been made. Natalie doesn't say \n anything, just looks at Bernie.", "Shelly watches Bernie from the video monitor. He appears \n less than delighted over Bernie's sunny disposition. He picks \n up the phone, dials.", "Bernie makes his way across the casino floor, when he's \n intercepted by Shelly.\n\n SHELLY\n Bernie. Mr. Cool. Got a moment?", "Bernie's Buick pulls into the lot. He parks, heads for his \n room.\n\n INT. BERNIE'S MOTEL ROOM - NIGHT", "We see Bernie back in top form. Forget Mr. Cool, he's turned \n into Mr. Freeze with a vengeance. The high rollers are facing \n a nuclear winter on the floor thanks to Bernie.", "The dice are slowly pushed over to Bernie. The crowd is \n feeling it. The entire casino is feeling it. Bernie lets out \n a long soulful sigh. His whole life depends on the next throw \n and everyone knows it.", "Bernie weaves his way through the lot to his car. Arriving \n at his Buick, he's startled to find Natalie leaning against \n it. She holds up the $100 chip the drunk tipped her.", "BERNIE\n Duty calls.\n\n INT. CASINO - MONTAGE - MOMENTS LATER", "The crowd gasps in horror as Bernie's twenty five grand is \n quickly raked in. He replaces it with another stack of chips." ], [ "Shelly looks to Tony and Lou:\n\n SHELLY\n You believe this fuckin' guy?\n\n Bernie gets eye-to-eye with Shelly. A first.", "SHELLY\n Now you listen real good, you Harvard \n turd. Lootz is on the up-and-up. He", "INT. PARADISE LOUNGE - BACK STAGE - NIGHT\n\n Shelly exits the dressing room, to find Larry waiting on \n him.", "Shelly nods. He knows the score... A flash of steel appears \n against his head. Muzzle strobe -- THUP! So long, Shelly \n Kaplow.", "Bernie glances around him uncomfortably. We see Shelly \n approaching. Shelly just has a nose for when things aren't \n running smoothly. Larry is lurking behind him.", "We see Shelly watching from the back of the room. He shifts \n his attention to Nicky, Larry and Marty at a primo table.", "Shelly signals Bernie to back off. Bernie steps back.\n\n Shelly, Larry and Marty head for the restaurant. Nicky quickly \n slaps down some green.", "Shelly makes him.\n\n SHELLY\n (sotto)\n Fucking amateurs...\n\n Mikey throws...", "We PAN ACROSS to Shelly seated at his corner booth, in the \n company of Nicky Fingers, Larry and Marty.", "Shelly glances over at Lou, nods. Lou kicks Mikey in the \n face. His nose snaps like a twig.", "NICKY\n The kid wants you should know, Shelly, \n he's just protecting our investment -- \n the old school way. See you around.", "Shelly walks over to Mikey and Charlene, Larry lingering \n behind him.\n\n SHELLY\n Hey, that was some run you had back \n there.", "A subtle gesture not lost on Shelly. Shelly mentally unloads \n a full chamber into Larry's chest. Returns the smile.\n\n INT. CASINO - CRAPS TABLES - NIGHT", "Shelly's expression: no. But he heads over anyway.\n\n LARRY\n Shelly, this is Johnny Capella.", "He hands Shelly a cup of quarters, takes off. Shelly looks \n to Bernie. He's trying to keep a lid on his anger.", "Tony and Lou look on with mutual expressions: Shelly's getting \n a little carried away here.\n\n Shelly staggers to his feet...", "Shelly turns his back on her. Charlene starts sobbing relief. \n They're not going to hurt her. It's going to be all right.", "Shelly feigns as if he's leaving.\n\n BUDDY\n (affectionately)\n Get back here, you prick. Hand it \n over.", "She slashes Shelly across the arm. Ouch, fuck! Before Tony \n and Lou can make a move, Shelly ensnares her wrist -- snaps", "Johnny nods at Shelly, takes off. Shelly and Larry eyeball \n each other for a long, cold beat. Shelly's about to say" ], [ "Bernie turns to the pillow next to him, buries his face in \n it. Takes a deep breath. Moans at her scent. Ambrosia. He", "But he's been noticed all right. By Natalie. Not quite sure \n what she's just witnessed. Who is this guy?\n\n We hear a VOICE over the intercom.", "She starts massaging his shoulders, eliciting involuntary \n moans from him. Bernie is almost in tears. Nobody's touched \n him like this in years. And it shows.", "It's Natalie's laugh. Talk about a tension breaker. Bernie \n turns to her, shrugs. He tries again. This time the needle", "Suddenly he looks up. A couple of people pass by in front of \n him... and then there she is. Standing a few feet away, face", "The elevator doors open... and we PAN DOWN to the figure's \n feet. He steps out onto the casino floor... and right away \n we notice he has a pronounced limp.", "Throw up. And he does. It's as if he's choking up the entire \n city. Everything that's bad about it. Finally, he pulls \n himself back into the car. Slams the door.", "No answer. He heads over. Finds it empty. Concern spreads \n across his features. He glances around the room. Notices the \n closet wide open. Natalie's clothes missing.", "As everyone dotes over Charlene, Mikey quickly swaps the \n dice before anyone can see. He throws.\n\n STICKMAN\n Six the hard way!", "He catches a glimpse of himself in a wall mirror. Maybe for \n the first time, he likes what he sees. In the reflection he", "He kisses her furiously. Then drags her over to his car.\n\n They climb in. Drive off.", "Locks eyes with Shelly -- then lets loose. The dice fly from \n his hand. Slowly, ever so slowly we watch them sail across \n the table. The entire table holds their breath in \n anticipation...", "on him. Shelly swats him off. He drops down next to the \n squirming girl, rips her sweater and blouse up over her \n stomach...", "She tears her eyes away from Bernie. Bernie can't believe \n what he's hearing. That she wants to be invested in him.\n\n What could be so bad?", "The dice are slowly pushed over to Bernie. The crowd is \n feeling it. The entire casino is feeling it. Bernie lets out \n a long soulful sigh. His whole life depends on the next throw \n and everyone knows it.", "Bernie chokes at the sight of her. She clutches a bloody rag \n to her cheek. Blood on the pillow... blood on the sheets...\n\n And tears.", "Suddenly, he's smiling. He opens his coat and a huge wad of \n cash tumbles out. He throws it up into the air. Natalie almost \n chokes with surprise.", "Fuck it. Pushes the glass aside. Takes it straight from the \n bottle. The phone keeps ringing...\n\n On the scale model of the newly proposed Shangri-la. Hold on \n it.", "...arriving to find Tony and Lou kicking the shit out of \n Mikey on the floor. Charlene lies clutching her belly a few", "Natalie locks onto a little toe-headed BOY being dragged \n around by his OLDER BROTHER and the brother's FRIEND. The \n kid has a glazed look in his eyes." ], [ "Throw up. And he does. It's as if he's choking up the entire \n city. Everything that's bad about it. Finally, he pulls \n himself back into the car. Slams the door.", "Suddenly he looks up. A couple of people pass by in front of \n him... and then there she is. Standing a few feet away, face", "The other players also collect their winnings. They can feel \n something in the air.\n\n Bernie, forehead beaded with sweat, rubs the felt a little \n before he picks up the dice. He throws...", "He kisses her furiously. Then drags her over to his car.\n\n They climb in. Drive off.", "taking place on some river bank. He's about to doze off, \n when he hears a light rapping on the door. He cocks his head,", "They converge at their doors at the same time. There's a \n weariness about the hooker that's endemic to this town. She", "...arriving to find Tony and Lou kicking the shit out of \n Mikey on the floor. Charlene lies clutching her belly a few", "We notice a couple of dead plants on the radiator next to \n the window. A single place setting on the counter. Something \n odd: an empty cat food bowl on the kitchenette floor. No \n sign of a cat. Go figure.", "Bernie picks up his three thousand dollars in winnings. He \n lets it ride. The table quickly fills up with hungry players.\n\n Bernie throws the dice again...", "We see the lights of the city receding in Bernie's rearview \n mirror. Once outside of the city limits Bernie pulls the car \n over.\n\n NATALIE\n What are you stopping for?", "Bernie's seated on the edge of his bed, drowning his sorrows \n with a bottle of gin. Moonlight paints him in jail bars of \n shadow. Natalie lingers in the b.g.", "Bernie turns to the pillow next to him, buries his face in \n it. Takes a deep breath. Moans at her scent. Ambrosia. He", "Nicky locks eyes with the suburbanite. Then flashes a smile \n that suggests he's going to brush it off. He turns away from \n the table...", "Fuck it. Pushes the glass aside. Takes it straight from the \n bottle. The phone keeps ringing...\n\n On the scale model of the newly proposed Shangri-la. Hold on \n it.", "after that. So I hitched a ride out \n here. Figured I could make it as a \n showgirl. Ten years later...", "Natalie and Bernie are seated in a booth near the back. She \n sips on an umbrella drink; he's nursing his usual gin.", "No answer. He heads over. Finds it empty. Concern spreads \n across his features. He glances around the room. Notices the \n closet wide open. Natalie's clothes missing.", "Shelly sits alone in his office, nursing a glass of Scotch, \n listening to some scratchy Chet Baker on the turntable. He", "Bernie heads over to the dresser. A half-filled bottle of \n gin rests next to a lone glass with a crack down the side.", "away from Buddy)\n You don't fucking deserve this. All \n those ladies going home with a sweet \n breeze between their legs because" ], [ "Up ahead, a billboard reads: THE SHANGRI-LA HOTEL AND CASINO. \n TAKE A GAMBLE ON PARADISE.", "INT. SHANGRI-LA CASINO - BAR - NIGHT", "INT. SHANGRI-LA HOTEL AND CASINO/BAR - NIGHT", "INT. SHANGRI-LA HOTEL AND CASINO - DAY", "Lets us enter.\n\n INT. SHANGRI-LA HOTEL AND CASINO - NIGHT\n\n CREDITS SEQUENCE", "NICKY\n The new Shangri-la Hotel and Casino. \n We break ground on her in six months.\n\n Off Shelly's startled expression --", "CUT TO:\n\n EXT. SHANGRI-LA HOTEL AND CASINO - MOMENTS LATER - NIGHT", "THE SHANGRI-LA HOTEL AND CASINO", "confidence. As the Shangri-la's new \n Director of Casino Operations, I'm \n gonna make a personal guarantee to", "The glass is in SHELLY KAPLOW's hand. Director of Casino \n Operations for the Shangri-la. Late 40's-early 50's.", "INT. SHANGRI-LA UNDERGROUND PARKING GARAGE - NIGHT", "On the surveillance monitors: the epidemic continues -- \n players winning at every table. The Shangri-la's been wiped \n out. There's no way they can cover this amount of winning \n action.", "you. You've done a fantastic job \n with the Shangri-la for the last \n sixteen years. No one would dispute \n that.", "Shelly, Larry and Bernie following behind Morrie as he hastily \n leads them down a hallway of the Shangri-la's best suites.", "An explosion of amplified CASINO WALLA shatters the previous \n silence.\n\n INT. CASINO FLOOR - NIGHT", "figure he's going to set me up good \n at the Shangri-la. But he tells me \n they got all these rules about casinos", "...to reveal an impressive SCALE MODEL of a redesigned SHANGRI-\n LA HOTEL AND CASINO.", "EXT. SHANGRI-LA PARKING LOT - NIGHT", "INT. CASINO FLOOR - DAY\n\n Shelly looking on as a high roller cleans up at craps. With \n Bernie standing right there next to the guy.", "BERNIE\n Do you know what I do at the Shangri-\n la?" ], [ "The dice are slowly pushed over to Bernie. The crowd is \n feeling it. The entire casino is feeling it. Bernie lets out \n a long soulful sigh. His whole life depends on the next throw \n and everyone knows it.", "Bernie picks up his three thousand dollars in winnings. He \n lets it ride. The table quickly fills up with hungry players.\n\n Bernie throws the dice again...", "Shelly wanders up slowly to find Bernie at the center of the \n crowd. He steps behind the table into the casino pit to get \n a closer look.", "Bernie weaves his way through the lot to his car. Arriving \n at his Buick, he's startled to find Natalie leaning against \n it. She holds up the $100 chip the drunk tipped her.", "We follow Bernie as he wanders through the casino like he's \n done a thousand times -- but this time with conviction.\n\n INT. CASINO FLOOR - CRAPS TABLES - NIGHT", "The dealer turns up some cards. And again, Bernie and the \n high roller win. Bernie looks absolutely perturbed. Shelly \n gestures something with his head. Bernie cashes out.", "She walks over to Bernie, takes the bottle away. Helps him \n to his feet.\n\n He gives himself over to her reassuring embrace. Natalie \n raises Bernie's face to her's.", "Bernie struts into the casino a changed man (still to the \n tune of \"Luck Be a Lady\"). Even his limp seems less pronounced \n as he greets fellow workers as they pass.", "BERNIE\n Dollar hard eight.\n\n The chip lands on Pinkerton's parlayed bet. He releases the \n dice from his stubby little fingers.", "Bernie tries to shrug it off. But the spectre of Shelly sits \n firmly on his shoulder. There's no escaping him. We see Bernie \n fighting it. Losing. SHIT!", "The crowd gasps in horror as Bernie's twenty five grand is \n quickly raked in. He replaces it with another stack of chips.", "Bernie nods, a huge grin wrenching his cheeks apart. He's \n about to go helium on us.\n\n INT. CASINO FLOOR - NIGHT", "The sight of her just breaks Bernie's heart. He stands slowly, \n legs like jelly -- and in that instant it's all so clear to \n him. He walks over, forgiveness in his eyes, contrition in \n hers.", "The CREW working the table stop down as they realize who it \n is. The table is dead. Bernie couldn't be needed. The croupier \n slowly gathers up the green, hands it to the boxman.", "In the next instant, Bernie pulls a quick U-turn across the \n middle shoulder, starts back toward Vegas.\n\n EXT. CASINO PARKING LOT - NIGHT", "Shelly exits the men's room, makes his way back to the craps \n table where Bernie is. Just in time to see Bernie lay twenty", "well, that's that. Bernie stands up. Looks around... focuses \n on the arcade clock. It reads 1:40 a.m. He turns to her...", "She starts massaging his shoulders, eliciting involuntary \n moans from him. Bernie is almost in tears. Nobody's touched \n him like this in years. And it shows.", "The crowd groans again. It appears the streak is over.\n\n Bernie looks out over the felt. This is his moment of truth.\n\n He unloads his entire rail and puts it on the field.", "It's Natalie's laugh. Talk about a tension breaker. Bernie \n turns to her, shrugs. He tries again. This time the needle" ], [ "Bernie glances over at Natalie. She has tears in her eyes.\n\n He looks to Shelly pleadingly. Please don't do this...", "ON NATALIE at that moment. We can tell she agrees with \n Shelly... but thinks all the more of Bernie for it. That \n might even be love in her eyes.", "Natalie is about to take him up on it, when she catches \n Bernie's eye. His look suggests she's being played for a \n sucker. She decides against it.", "BERNIE\n What are you saying?\n\n NATALIE\n Shelly. He paid me to get next to \n you. To keep you around. Whatever it \n took...", "Bernie throws something in Shelly's face. It's that bloody \n rag Natalie was holding to her cheek. It lands on the table \n in front of everyone.", "NATALIE\n Yeah, Bernie.\n (to Doris)\n Hey, you seen Shelly around? He", "INT. BERNIE'S MOTEL ROOM - DAY\n\n Shelly throws Natalie onto the bed. Lou closes the door and \n draws the blinds.", "NATALIE\n Joe said I should stick around. You \n say something to Shelly?\n\n Bernie just smiles at her.", "SHELLY\n What's that supposed to mean?\n\n BERNIE\n She loves me, Shelly. She told me \n last night. Natalie.", "She walks over to Bernie, takes the bottle away. Helps him \n to his feet.\n\n He gives himself over to her reassuring embrace. Natalie \n raises Bernie's face to her's.", "Shelly gestures to Tony and Lou. They exit the room, leaving \n Natalie sobbing into one of Bernie's pillows.\n\n EXT. LUCKY STAR MOTEL - NIGHT", "It's Natalie's laugh. Talk about a tension breaker. Bernie \n turns to her, shrugs. He tries again. This time the needle", "NATALIE\n Hey! Ouch! What are you...?\n\n He drags Natalie over to Bernie's room, kicks the door open, \n shoves Natalie inside...", "Bernie and Natalie lie in each other's arms. Bernie seems at \n ease. Natalie eyeballs the ceiling, smoke wisping up from a \n cigarette.", "Bernie just stares after Natalie, Shelly finally picking up \n on it.\n\n BERNIE\n Things are getting hot on fourteen. \n I gotta go.", "Bernie raises his head, not quite sure he heard her right.\n\n Natalie sits up, hugs her knees. Bernie finds himself staring \n at her back.", "They just stare at each other for an extended beat. Then \n Natalie stumbles into Bernie's arms. Clingwraps herself to", "ON BERNIE AND NATALIE\n\n down on their knees. Bernie places his arm around Natalie, \n pulls her close to him. Paralyzed with terror, she still \n manages a bittersweet smile.", "Natalie looks down at her shoulder where the man patted her.\n\n She brushes it for effect. Bernie smiles. They take a seat \n at the end of the midway.", "Natalie clutches Bernie's arm. Suppresses a hysterical, shock-\n induced giggle. Bernie just looks dumbfounded. He staggers" ], [ "NICKY\n Shelly, I want you to meet one of \n our smartest VPs, Larry Sokolov. And \n his numbers guy, Marty Goldfarb.", "Bernie glances around him uncomfortably. We see Shelly \n approaching. Shelly just has a nose for when things aren't \n running smoothly. Larry is lurking behind him.", "Nicky shoots a look over at Larry and Marty. Larry takes \n this as his cue.", "who takes in Buddy's deathly repose without a hint of emotion. \n Larry meets Shelly's eye with a subtle smirk of one-upmanship.", "LARRY\n What's the matter with you? He's one \n of ours and he's taking us to the \n fucking cleaners.", "INT. MEN'S ROOM - NIGHT\n\n The door flies open, Larry catapults into frame. OOF!", "INT. SHELLY'S OFFICE - NIGHT\n\n Shelly enters to find Larry seated behind his desk. Larry \n immediately leaps to his feet, phony apologetic grin.", "Larry shoots him a disapproving look. Off Shelly's disturbed \n expression. He's already calculating serious damage control.\n\n INT. CASINO FLOOR - NIGHT", "INT. PARADISE LOUNGE - NIGHT\n\n ...a little flash-forward into the future. Larry sits with a \n group of CORPORATE TYPES.", "SHELLY\n (to Bernie and Natalie)\n You two, you're still on shift.\n\n Shelly catches Larry's eye: I hope you were taking notes.", "He's accompanied by a good looking YOUNG MAN.\n\n LARRY\n Shelly, got a minute...", "Nicky and Larry exchange looks. Marty drops his gaze into \n his lap.", "INT. PARADISE LOUNGE - BACK STAGE - NIGHT\n\n Shelly exits the dressing room, to find Larry waiting on \n him.", "While Nicky and Marty are clearly enjoying Buddy's \n performance, Larry fixates on the singer with joyless eyes.\n\n We take on LARRY'S POV of Buddy --", "Shelly sees where this is going. Larry extends his hand...\n\n LARRY\n How do you do, Shelly?", "Even Shelly's goons can't believe what they've just witnessed. \n Larry is aghast. Bernie rushes Shelly, starts raining blows", "Shelly just stares at Buddy, a slight tremor of grief \n threatening his granite features. He glances over at Larry,", "Shelly nods at Nicky, then shifts his gaze to Larry. Larry's \n all smiles. He steps forward to join them, his hand dropping \n down and caressing the surface of Shelly's desk behind him.", "Natalie turns her head. She's about to throw up. Larry \n watches, unflinchingly. Charlene is making with some serious \n pleading now.", "Larry turns and raises his drink to Shelly. Shelly stares \n right through him. A declaration of war.\n\n INT. CASINO MIDWAY - NIGHT" ], [ "Up ahead, a billboard reads: THE SHANGRI-LA HOTEL AND CASINO. \n TAKE A GAMBLE ON PARADISE.", "INT. SHANGRI-LA CASINO - BAR - NIGHT", "INT. SHANGRI-LA HOTEL AND CASINO - DAY", "INT. SHANGRI-LA HOTEL AND CASINO/BAR - NIGHT", "CUT TO:\n\n EXT. SHANGRI-LA HOTEL AND CASINO - MOMENTS LATER - NIGHT", "Lets us enter.\n\n INT. SHANGRI-LA HOTEL AND CASINO - NIGHT\n\n CREDITS SEQUENCE", "On the surveillance monitors: the epidemic continues -- \n players winning at every table. The Shangri-la's been wiped \n out. There's no way they can cover this amount of winning \n action.", "NICKY\n The new Shangri-la Hotel and Casino. \n We break ground on her in six months.\n\n Off Shelly's startled expression --", "confidence. As the Shangri-la's new \n Director of Casino Operations, I'm \n gonna make a personal guarantee to", "Shelly, Larry and Bernie following behind Morrie as he hastily \n leads them down a hallway of the Shangri-la's best suites.", "They head over to a section of slots. As they pass one of \n those huge million dollar slots, the FLOOR MANAGER cuts in \n front of them.", "THE SHANGRI-LA HOTEL AND CASINO", "figure he's going to set me up good \n at the Shangri-la. But he tells me \n they got all these rules about casinos", "An explosion of amplified CASINO WALLA shatters the previous \n silence.\n\n INT. CASINO FLOOR - NIGHT", "Bernie nods, a huge grin wrenching his cheeks apart. He's \n about to go helium on us.\n\n INT. CASINO FLOOR - NIGHT", "Shelly wanders up slowly to find Bernie at the center of the \n crowd. He steps behind the table into the casino pit to get \n a closer look.", "Larry turns and raises his drink to Shelly. Shelly stares \n right through him. A declaration of war.\n\n INT. CASINO MIDWAY - NIGHT", "wanna keep working the Shangri-la, \n you come see me tomorrow morning in \n my office. We'll go over the rules", "The dealer turns up some cards. And again, Bernie and the \n high roller win. Bernie looks absolutely perturbed. Shelly \n gestures something with his head. Bernie cashes out.", "We follow Bernie as he wanders through the casino like he's \n done a thousand times -- but this time with conviction.\n\n INT. CASINO FLOOR - CRAPS TABLES - NIGHT" ], [ "BERNIE\n Anyway, Shelly and I worked out a \n payment plan. Two years off the books \n at the Shangri-la, cooling tables. \n Five more days and I walk.", "Shelly releases Bernie. There's a strange look in Shelly's \n eye. We see the wheels turning...", "Bernie tries to shrug it off. But the spectre of Shelly sits \n firmly on his shoulder. There's no escaping him. We see Bernie \n fighting it. Losing. SHIT!", "Shelly watches Bernie from the video monitor. He appears \n less than delighted over Bernie's sunny disposition. He picks \n up the phone, dials.", "BERNIE\n That's what I owe you, Shelly. There \n it is. We're square.", "BERNIE\n After I get out, I call up Shelly \n and he tells me to come out here. I", "He hands Shelly a cup of quarters, takes off. Shelly looks \n to Bernie. He's trying to keep a lid on his anger.", "SHELLY\n (sighs)\n Where you gonna go, Bernie? Where", "Shelly swats it away with disgust. Jumps to his feet. WHAM!\n\n Bernie slugs him one. As Shelly doubles over, Bernie gets in \n his face.", "BERNIE\n (sighs)\n Seven days, Shelly. Seven days and \n I'm out from under.", "BERNIE\n He ain't never comin' back.\n\n SHELLY\n That's a dead man talking.", "BERNIE\n What are you saying?\n\n NATALIE\n Shelly. He paid me to get next to \n you. To keep you around. Whatever it \n took...", "Bernie glances around him uncomfortably. We see Shelly \n approaching. Shelly just has a nose for when things aren't \n running smoothly. Larry is lurking behind him.", "Shelly's goons quickly move in, grab Bernie. Drag him away.\n\n Shelly composes himself, turns to his guests.", "BERNIE\n Shelly, stop them! Don't do this!\n\n SHELLY\n Get lost, Bernie, this got nothing \n to do with you.", "Shelly wanders up slowly to find Bernie at the center of the \n crowd. He steps behind the table into the casino pit to get \n a closer look.", "Bernie makes his way across the casino floor, when he's \n intercepted by Shelly.\n\n SHELLY\n Bernie. Mr. Cool. Got a moment?", "Bernie glances over at Natalie. She has tears in her eyes.\n\n He looks to Shelly pleadingly. Please don't do this...", "D -- Bernie, despite the spooky irony, can't help but smile \n as mountains of chips pile up on the tables. Shelly appears \n behind him. Not a happy camper. He gestures Bernie to follow \n him.", "BERNIE\n (closes his eyes)\n I can't do that. I've got an \n obligation to Shelly. There's no --" ], [ "Natalie rushes from the office in tears. Shelly closes his \n eyes for a moment -- gotta keep it together.\n\n INT. SHANGRI-LA CASINO - NIGHT", "NICKY\n The new Shangri-la Hotel and Casino. \n We break ground on her in six months.\n\n Off Shelly's startled expression --", "NATALIE\n (sotto)\n Shit.\n (to Doris)\n Dewars and a Diet Coke. Please.", "Bernie shrugs. Natalie steps up to the bar a few feet away.\n\n Puts in a drink order. She catches Bernie's eye. Nods.\n\n Bernie smiles.", "Natalie is about to take him up on it, when she catches \n Bernie's eye. His look suggests she's being played for a \n sucker. She decides against it.", "Natalie can't help but smile.\n\n Bernie lowers the needle to the first cut of the record.\n\n Everything seems to be going so well, until...", "Shelly walks around his desk to Natalie.", "It's Natalie's laugh. Talk about a tension breaker. Bernie \n turns to her, shrugs. He tries again. This time the needle", "She takes off. At the same time Natalie leaves with her drink \n order. They walk in the same direction. Shelly mistakes \n Bernie's wandering look for interest in the hooker.", "Natalie looks down at her shoulder where the man patted her.\n\n She brushes it for effect. Bernie smiles. They take a seat \n at the end of the midway.", "Until Natalie reaches behind her and raps her fist against \n the wall. Big smile from both of them.\n\n EXT. LUCKY STAR MOTEL - DAY", "Pinkerton starts to lose it. Security moves in, right on \n time. Natalie shoots Bernie a satisfied look. He averts his \n eyes shyly and limps away. She stares after him for a moment.", "NATALIE\n Yeah, Bernie.\n (to Doris)\n Hey, you seen Shelly around? He", "INT. BERNIE'S MOTEL ROOM - DAY\n\n Shelly throws Natalie onto the bed. Lou closes the door and \n draws the blinds.", "Natalie glances around. She notices Bernie's dead plants...", "NATALIE\n Wow. That was fast. Hey, thanks.\n\n She offers up a smile. It jump-starts those dormant eyes.", "Natalie shakily opens her purse, pulls out a handful of \n hundreds. Pushes the money at Bernie...", "Bernie and Natalie lie in each other's arms. Bernie seems at \n ease. Natalie eyeballs the ceiling, smoke wisping up from a \n cigarette.", "NATALIE\n Jesus... I thought stuff like that \n didn't happen no more. Like that was \n just in the movies or something.\n\n Bernie holds her gaze her for a moment.", "Bernie approaches some cocktail waitresses about to go off \n duty.\n\n BERNIE\n Hi. Any of you seen Natalie around? \n I'm supposed to give her a ride home." ], [ "BERNIE\n Anyway, Shelly and I worked out a \n payment plan. Two years off the books \n at the Shangri-la, cooling tables. \n Five more days and I walk.", "The crowd gasps in horror as Bernie's twenty five grand is \n quickly raked in. He replaces it with another stack of chips.", "The dealer turns up some cards. And again, Bernie and the \n high roller win. Bernie looks absolutely perturbed. Shelly \n gestures something with his head. Bernie cashes out.", "Bernie weaves his way through the lot to his car. Arriving \n at his Buick, he's startled to find Natalie leaning against \n it. She holds up the $100 chip the drunk tipped her.", "Shelly wanders up slowly to find Bernie at the center of the \n crowd. He steps behind the table into the casino pit to get \n a closer look.", "Natalie shakily opens her purse, pulls out a handful of \n hundreds. Pushes the money at Bernie...", "Bernie picks up his three thousand dollars in winnings. He \n lets it ride. The table quickly fills up with hungry players.\n\n Bernie throws the dice again...", "The player waves off the insurance, as does Bernie. The dealer \n checks. Nothing. As the hand plays through the dealer busts \n out. Bernie glances over at the dealer. What the hell? Bernie \n places his chips again.", "BERNIE\n What are you saying?\n\n NATALIE\n Shelly. He paid me to get next to \n you. To keep you around. Whatever it \n took...", "BERNIE\n That's what I owe you, Shelly. There \n it is. We're square.", "Mikey is paid nine thousand by the croupier, as is Charlene.\n\n Bernie stands frozen. He doesn't bother trying to get any \n closer to the table. He knows it'll do no good.", "Shelly exits the men's room, makes his way back to the craps \n table where Bernie is. Just in time to see Bernie lay twenty", "The dice are slowly pushed over to Bernie. The crowd is \n feeling it. The entire casino is feeling it. Bernie lets out \n a long soulful sigh. His whole life depends on the next throw \n and everyone knows it.", "Bernie takes a thousand dollars in chips, tosses it gently \n to the croupier.\n\n BERNIE\n For the boys.", "The CREW working the table stop down as they realize who it \n is. The table is dead. Bernie couldn't be needed. The croupier \n slowly gathers up the green, hands it to the boxman.", "Bernie steps up to an empty table, throws down the whole \n three grand onto the felt.\n\n BERNIE\n Change only...", "Bernie nods, a huge grin wrenching his cheeks apart. He's \n about to go helium on us.\n\n INT. CASINO FLOOR - NIGHT", "BERNIE\n Dollar hard eight.\n\n The chip lands on Pinkerton's parlayed bet. He releases the \n dice from his stubby little fingers.", "We see Bernie back in top form. Forget Mr. Cool, he's turned \n into Mr. Freeze with a vengeance. The high rollers are facing \n a nuclear winter on the floor thanks to Bernie.", "Bernie tries to shrug it off. But the spectre of Shelly sits \n firmly on his shoulder. There's no escaping him. We see Bernie \n fighting it. Losing. SHIT!" ], [ "Shelly wanders up slowly to find Bernie at the center of the \n crowd. He steps behind the table into the casino pit to get \n a closer look.", "Larry turns and raises his drink to Shelly. Shelly stares \n right through him. A declaration of war.\n\n INT. CASINO MIDWAY - NIGHT", "Shelly watches Bernie from the video monitor. He appears \n less than delighted over Bernie's sunny disposition. He picks \n up the phone, dials.", "it back? When the people, they come \n looking for the real Vegas, from \n before all this Epcott Center", "D -- Bernie, despite the spooky irony, can't help but smile \n as mountains of chips pile up on the tables. Shelly appears \n behind him. Not a happy camper. He gestures Bernie to follow \n him.", "Shelly swats it away with disgust. Jumps to his feet. WHAM!\n\n Bernie slugs him one. As Shelly doubles over, Bernie gets in \n his face.", "Bernie tries to shrug it off. But the spectre of Shelly sits \n firmly on his shoulder. There's no escaping him. We see Bernie \n fighting it. Losing. SHIT!", "INT. CASINO FLOOR - DAY\n\n Shelly looking on as a high roller cleans up at craps. With \n Bernie standing right there next to the guy.", "Bernie drives down a quiet Vegas street. It's spooky.\n\n Almost too quiet. All the lights are green as they cruise \n into the night.", "Larry shoots him a disapproving look. Off Shelly's disturbed \n expression. He's already calculating serious damage control.\n\n INT. CASINO FLOOR - NIGHT", "and it unsettles him. He glances up toward Shelly's \n observation window, knows the man is gloating.", "Shelly's expression tells us he isn't so sure. Something \n definitely isn't kosher.\n\n As Charlene chatters on, Mikey switches the dice back.", "NICKY\n The new Shangri-la Hotel and Casino. \n We break ground on her in six months.\n\n Off Shelly's startled expression --", "Tony and Lou look on with mutual expressions: Shelly's getting \n a little carried away here.\n\n Shelly staggers to his feet...", "SHELLY\n (into phone)\n Yeah, it's me. Get Bernie over to \n crap table six.\n\n INT. CASINO FLOOR - NIGHT", "Bernie makes his way across the casino floor, when he's \n intercepted by Shelly.\n\n SHELLY\n Bernie. Mr. Cool. Got a moment?", "He hands Shelly a cup of quarters, takes off. Shelly looks \n to Bernie. He's trying to keep a lid on his anger.", "INT. SHELLY'S OFFICE - OVERLOOKING THE CASINO FLOOR - NIGHT\n\n ...the chip becoming an Alka-Seltzer dropping into a glass.", "Off their uncomfortable expressions...\n\n INT. SHELLY'S OFFICE - A SHORT WHILE LATER - NIGHT\n\n Shelly seated across from Nicky, Larry and Marty.", "SHELLY\n You mean, that amusement park mook \n fest out there? You know what that" ], [ "the grunting and groaning from next door, making for a bizarre \n remix that could only exist in the world of Bernie Lootz. \n Bernie emits a deep sigh, closes his eyes.", "NATALIE\n You blind-sided me, Bernie Lootz. I \n never saw this coming. You shouldn't \n do that to a girl.", "In the center of it all. Bernie Lootz. His rail is nearly \n full of chips. The other players pat him on the back and \n shake his hand as the croupiers busily pay the line.", "BERNIE LOOTZ's features for the first time. His sad sack \n eyes register scant surprise at the empty cream container.", "BERNIE\n You whack me, then Bernie Lootz ain't \n the world's biggest loser no more.", "Bernie's Buick pulls into the lot. He parks, heads for his \n room.\n\n INT. BERNIE'S MOTEL ROOM - NIGHT", "Bernie pulls into the parking lot. Kills his lights.\n\n INT. BERNIE'S BUICK - NIGHT\n\n Bernie reaches for the door. Natalie grabs his arm.", "Bernie watches as they pass by. Mikey looks into Bernie's \n eyes. They both know he's been made. Natalie doesn't say \n anything, just looks at Bernie.", "Bernie drives down a quiet Vegas street. It's spooky.\n\n Almost too quiet. All the lights are green as they cruise \n into the night.", "They look at him in shock. He gestures them to the ground \n behind Bernie's car. We CUT TO a shot from the highway: just", "(to the table)\n Let it be known, Bernie Lootz lives \n up to his obligations.", "Bernie glances around him uncomfortably. We see Shelly \n approaching. Shelly just has a nose for when things aren't \n running smoothly. Larry is lurking behind him.", "INT. BERNIE'S BEDROOM - LATER", "Bernie tries to shrug it off. But the spectre of Shelly sits \n firmly on his shoulder. There's no escaping him. We see Bernie \n fighting it. Losing. SHIT!", "Bernie weaves his way through the lot to his car. Arriving \n at his Buick, he's startled to find Natalie leaning against \n it. She holds up the $100 chip the drunk tipped her.", "We see the lights of the city receding in Bernie's rearview \n mirror. Once outside of the city limits Bernie pulls the car \n over.\n\n NATALIE\n What are you stopping for?", "Lou shoves Bernie inside. Bernie kisses floor. Shelly strides \n past, leans against his desk. Bernie slowly drags himself to \n his feet.", "Bernie's 1958 Buick Electra pulls into the parking lot of a \n flea-bag motel. Next door to the motel, we see a convenience", "It's Natalie's laugh. Talk about a tension breaker. Bernie \n turns to her, shrugs. He tries again. This time the needle", "Off Bernie's expression: Oh...\n\n EXT. LUCKY STAR MOTEL - NIGHT" ], [ "SHELLY\n You should be. You've gone and fucked \n it up big time. I paid you to be his", "SHELLY\n Listen to me, you dumb fuck -- I \n loved that sonofabitch. But his time", "SHELLY\n He woulda never taken the buy-out \n offer. Buddy woulda stuck to his", "SHELLY\n (jumps to his feet)\n Lady luck. You never heard'a lady", "SHELLY\n (to the boxman)\n How much is he up?\n\n The boxman looks up nervously.", "SHELLY\n (to Morrie)\n Get a hold of his daughter. Assist \n her with the arrangements. The Shangri-\n la will take care of everything.", "SHELLY\n 150 G's buys their lives. This is \n just a little slap on the wrist to \n remember me by.", "SHELLY\n Revitalize? What are you talking \n about? We did thirty-five million \n last year.", "Shelly looks almost... tortured. Something he needs to get \n off his chest.", "SHELLY\n Who the fuck do you think you are? \n You ain't nobody! I could make you", "Shelly to take on my markers around \n town. That just bought me more time \n to keep losing. I put Shelly in an", "SHELLY\n Buddy asked me to send you his \n regards, Nicky. He's not feeling so \n great. I think he's got that stomach \n flu that's going around.", "SHELLY\n That right? I suppose you got a whole \n fucking prospectus on the subject.", "SHELLY\n Lootz's off the clock. As long as \n he's off the clock, he's free to", "SHELLY\n How... how, Nicky, could it be any \n better? Right now it's perfect. It's", "SHELLY\n OK, here's what's gonna happen. You're \n outta his life by the time he gets", "SHELLY\n You want that, Bernie? She's yours. \n Anytime. I'll keep a tab running for", "SHELLY\n You're gone, sweetheart. History. \n Kiss paradise goodbye.", "Shelly nods. He knows the score... A flash of steel appears \n against his head. Muzzle strobe -- THUP! So long, Shelly \n Kaplow.", "That honor's gonna fall upon you, \n Shelly. And maybe you had it all \n along." ], [ "Bernie nods, a huge grin wrenching his cheeks apart. He's \n about to go helium on us.\n\n INT. CASINO FLOOR - NIGHT", "Shelly wanders up slowly to find Bernie at the center of the \n crowd. He steps behind the table into the casino pit to get \n a closer look.", "We follow Bernie as he wanders through the casino like he's \n done a thousand times -- but this time with conviction.\n\n INT. CASINO FLOOR - CRAPS TABLES - NIGHT", "INT. CASINO FLOOR - NIGHT\n\n Bernie makes for the Paradise Lounge. SPLIT SECOND FLASHBACK \n as he imagines Shelly laying into Natalie. Fast cuts.", "BERNIE\n Duty calls.\n\n INT. CASINO - MONTAGE - MOMENTS LATER", "Bernie makes his way across the casino floor, when he's \n intercepted by Shelly.\n\n SHELLY\n Bernie. Mr. Cool. Got a moment?", "In the next instant, Bernie pulls a quick U-turn across the \n middle shoulder, starts back toward Vegas.\n\n EXT. CASINO PARKING LOT - NIGHT", "The dice are slowly pushed over to Bernie. The crowd is \n feeling it. The entire casino is feeling it. Bernie lets out \n a long soulful sigh. His whole life depends on the next throw \n and everyone knows it.", "The dealer turns up some cards. And again, Bernie and the \n high roller win. Bernie looks absolutely perturbed. Shelly \n gestures something with his head. Bernie cashes out.", "SHELLY\n (into phone)\n Yeah, it's me. Get Bernie over to \n crap table six.\n\n INT. CASINO FLOOR - NIGHT", "B -- from the same angle we PAN UP from losing dice to the \n same guy. Bernie looming large in the background.\n\n INT. CASINO FLOOR - BLACKJACK TABLES - NIGHT", "INT. CASINO FLOOR - DAY\n\n Shelly looking on as a high roller cleans up at craps. With \n Bernie standing right there next to the guy.", "Bernie struts into the casino a changed man (still to the \n tune of \"Luck Be a Lady\"). Even his limp seems less pronounced \n as he greets fellow workers as they pass.", "Shelly exits the men's room, makes his way back to the craps \n table where Bernie is. Just in time to see Bernie lay twenty", "The crowd gasps in horror as Bernie's twenty five grand is \n quickly raked in. He replaces it with another stack of chips.", "Bernie picks up his three thousand dollars in winnings. He \n lets it ride. The table quickly fills up with hungry players.\n\n Bernie throws the dice again...", "The floorman nods, walks off. Bernie makes for the rowdy \n gaming tables. Takes his time about it. His approach brings \n an ill-wind to the area. The players appear to sense it.", "We see Bernie back in top form. Forget Mr. Cool, he's turned \n into Mr. Freeze with a vengeance. The high rollers are facing \n a nuclear winter on the floor thanks to Bernie.", "D -- Bernie, despite the spooky irony, can't help but smile \n as mountains of chips pile up on the tables. Shelly appears \n behind him. Not a happy camper. He gestures Bernie to follow \n him.", "Bernie limps away from the bar. We hear another spike of \n sound from the gaming area. As he approaches, a FLOORMAN \n stops him." ], [ "Shelly nods. He knows the score... A flash of steel appears \n against his head. Muzzle strobe -- THUP! So long, Shelly \n Kaplow.", "SHELLY\n Now you listen real good, you Harvard \n turd. Lootz is on the up-and-up. He", "Tony and Lou look on with mutual expressions: Shelly's getting \n a little carried away here.\n\n Shelly staggers to his feet...", "We PAN ACROSS to Shelly seated at his corner booth, in the \n company of Nicky Fingers, Larry and Marty.", "Shelly swats it away with disgust. Jumps to his feet. WHAM!\n\n Bernie slugs him one. As Shelly doubles over, Bernie gets in \n his face.", "Shelly exits the men's room, makes his way back to the craps \n table where Bernie is. Just in time to see Bernie lay twenty", "A subtle gesture not lost on Shelly. Shelly mentally unloads \n a full chamber into Larry's chest. Returns the smile.\n\n INT. CASINO - CRAPS TABLES - NIGHT", "He hands Shelly a cup of quarters, takes off. Shelly looks \n to Bernie. He's trying to keep a lid on his anger.", "Shelly looks to Tony and Lou:\n\n SHELLY\n You believe this fuckin' guy?\n\n Bernie gets eye-to-eye with Shelly. A first.", "TIGHT ON SHELLY as he focuses on Buddy. A smile threatens \n his patented stoicism. He's flashing back on the old days.", "on him. Shelly swats him off. He drops down next to the \n squirming girl, rips her sweater and blouse up over her \n stomach...", "Shelly wanders up slowly to find Bernie at the center of the \n crowd. He steps behind the table into the casino pit to get \n a closer look.", "Shelly opens the door to his Cadillac. Climbs behind the \n wheel. His keys are already waiting in the ignition. Who's \n gonna steal Shelly Kaplow's car, right?", "Bernie tries to shrug it off. But the spectre of Shelly sits \n firmly on his shoulder. There's no escaping him. We see Bernie \n fighting it. Losing. SHIT!", "Shelly's expression: no. But he heads over anyway.\n\n LARRY\n Shelly, this is Johnny Capella.", "She slashes Shelly across the arm. Ouch, fuck! Before Tony \n and Lou can make a move, Shelly ensnares her wrist -- snaps", "Bernie glances around him uncomfortably. We see Shelly \n approaching. Shelly just has a nose for when things aren't \n running smoothly. Larry is lurking behind him.", "Shelly signals Bernie to back off. Bernie steps back.\n\n Shelly, Larry and Marty head for the restaurant. Nicky quickly \n slaps down some green.", "Johnny nods at Shelly, takes off. Shelly and Larry eyeball \n each other for a long, cold beat. Shelly's about to say", "Shelly releases Bernie. There's a strange look in Shelly's \n eye. We see the wheels turning..." ], [ "Shelly wanders up slowly to find Bernie at the center of the \n crowd. He steps behind the table into the casino pit to get \n a closer look.", "Bernie tries to shrug it off. But the spectre of Shelly sits \n firmly on his shoulder. There's no escaping him. We see Bernie \n fighting it. Losing. SHIT!", "D -- Bernie, despite the spooky irony, can't help but smile \n as mountains of chips pile up on the tables. Shelly appears \n behind him. Not a happy camper. He gestures Bernie to follow \n him.", "Shelly exits the men's room, makes his way back to the craps \n table where Bernie is. Just in time to see Bernie lay twenty", "Bernie makes his way across the casino floor, when he's \n intercepted by Shelly.\n\n SHELLY\n Bernie. Mr. Cool. Got a moment?", "The dealer turns up some cards. And again, Bernie and the \n high roller win. Bernie looks absolutely perturbed. Shelly \n gestures something with his head. Bernie cashes out.", "Shelly watches Bernie from the video monitor. He appears \n less than delighted over Bernie's sunny disposition. He picks \n up the phone, dials.", "Shelly swats it away with disgust. Jumps to his feet. WHAM!\n\n Bernie slugs him one. As Shelly doubles over, Bernie gets in \n his face.", "He hands Shelly a cup of quarters, takes off. Shelly looks \n to Bernie. He's trying to keep a lid on his anger.", "BERNIE\n Anyway, Shelly and I worked out a \n payment plan. Two years off the books \n at the Shangri-la, cooling tables. \n Five more days and I walk.", "Shelly releases Bernie. There's a strange look in Shelly's \n eye. We see the wheels turning...", "Shelly stands motionless. Staring into Bernie's eyes. The \n whole crowd watches. After what seems like an eternity, Shelly", "Shelly freezes. He lowers the bat, throws it aside. Grabs \n Bernie by his collar...", "The dice are slowly pushed over to Bernie. The crowd is \n feeling it. The entire casino is feeling it. Bernie lets out \n a long soulful sigh. His whole life depends on the next throw \n and everyone knows it.", "Shelly's goons quickly move in, grab Bernie. Drag him away.\n\n Shelly composes himself, turns to his guests.", "BERNIE\n Shelly, stop them! Don't do this!\n\n SHELLY\n Get lost, Bernie, this got nothing \n to do with you.", "Bernie glances over at Natalie. She has tears in her eyes.\n\n He looks to Shelly pleadingly. Please don't do this...", "Bernie throws something in Shelly's face. It's that bloody \n rag Natalie was holding to her cheek. It lands on the table \n in front of everyone.", "BERNIE\n Shelly, they didn't get away with \n the money... You didn't lose \n anything...", "She walks over to Bernie, takes the bottle away. Helps him \n to his feet.\n\n He gives himself over to her reassuring embrace. Natalie \n raises Bernie's face to her's." ], [ "She starts massaging his shoulders, eliciting involuntary \n moans from him. Bernie is almost in tears. Nobody's touched \n him like this in years. And it shows.", "BERNIE\n A week ago, I didn't remember what \n it was like to have a woman's hands", "Bernie reaches out, caresses her back. She emits a shiver...", "Bernie rests his head on her breasts. Closes his eyes. We \n hold on him. A few seconds pass... and he breaks into a smile.\n\n Fade to black.", "Bernie chokes at the sight of her. She clutches a bloody rag \n to her cheek. Blood on the pillow... blood on the sheets...\n\n And tears.", "Bernie tries to shrug it off. But the spectre of Shelly sits \n firmly on his shoulder. There's no escaping him. We see Bernie \n fighting it. Losing. SHIT!", "him. Bernie squeezes his eyes closed. Holds on for dear life. \n It's a different kind of pain now; one that hurts so good.", "Bernie raises his head, not quite sure he heard her right.\n\n Natalie sits up, hugs her knees. Bernie finds himself staring \n at her back.", "BERNIE\n (touching him)\n Hey, heard the one about the fella", "Bernie turns to the pillow next to him, buries his face in \n it. Takes a deep breath. Moans at her scent. Ambrosia. He", "Bernie just looks at her. Pale, mournful features.", "She tears her eyes away from Bernie. Bernie can't believe \n what he's hearing. That she wants to be invested in him.\n\n What could be so bad?", "Natalie clutches Bernie's arm. Suppresses a hysterical, shock-\n induced giggle. Bernie just looks dumbfounded. He staggers", "Bernie, with tears of elation in his eyes, thrusts away at \n Natalie... for all of thirty seconds, before he explodes, \n convulsing in her arms with a stifled gasp.", "ON BERNIE AND NATALIE\n\n down on their knees. Bernie places his arm around Natalie, \n pulls her close to him. Paralyzed with terror, she still \n manages a bittersweet smile.", "CHARLENE\n (to Bernie)\n Wanna feel her?\n\n BERNIE\n I don't think... I don't want anything \n to hap...", "Bernie and Natalie making love. Slow, tender. Natalie doesn't \n make with the \"Oh yeah, baby, you're doing great\"", "She walks over to Bernie, takes the bottle away. Helps him \n to his feet.\n\n He gives himself over to her reassuring embrace. Natalie \n raises Bernie's face to her's.", "Bernie and Natalie lie in each other's arms. Bernie seems at \n ease. Natalie eyeballs the ceiling, smoke wisping up from a \n cigarette.", "Lou shoves Bernie inside. Bernie kisses floor. Shelly strides \n past, leans against his desk. Bernie slowly drags himself to \n his feet." ] ]

[ "Who runs the casino?", "What is the name of the waitress Bernie meets?", "How does Shelley know Natalie?", "Who does Natalie fall in love with?", "What does Shelly hate about Vegas?", "What is the name of the Ivy league graduate who is hired as a consultant?", "Why is Bernie's son back in Las Vegas?", "Who is the gangster that has Shelly's back?", "Who is the main character?", "What city is the story based in?", "Who is the owner of the Shangri-La casino?", "How was Bernie cured of his gambling addiction?", "Why does Shelly get Natalie and Bernie together?", "Who is Larry Sokolov?", "What are the casino advisors trying to do at the Shangri-La?", "What does Bernie plan to do once his debt to Shelly is paid off?", "What job did Natalie have at the Shangri-La?", "Who paid off Bernie's gambling debts?", "How does Shelly feel about the Disneyfication of Vegas?", "What city does Bernie Lootz live in?", "What was Shelley paid to do?", "What's the name of the casino Bernie was indebted to?", "What well-known gangster was Shelley still affiliated with late in the story?", "How did Shelly cure Bernie from gambling?", "What does Bernie recall about his last physical contact with a woman?" ]

[ [ "Shelly Kaplow", "Shelly" ], [ "Natalie Belasario", "Natalie " ], [ "Shelly paid Natalie to seduce Bernie.", "He paid her to seduce Bernie." ], [ "Bernie", "Bernie" ], [ "The Disneyfication of Vegas", "He is not very lucky. " ], [ "Larry Sokolov", "Larry sokolov" ], [ "To disrupt the casino's operations.", "He is interfering with the operations at Shangri-La" ], [ "Nicky Fingers", "Nicky Fingers" ], [ "Bernie Lootz.", "Unlucky Bernie Lootz" ], [ "Las Vegas.", "Las Vegas" ], [ "Shelly Kaplow.", "Shelly" ], [ "Shelly broke his kneecaps and paid his debt.", "Shelly broke his kneecap. " ], [ "Shelly thinks Bernie won't leave Las Vegas if he is in love.", "So Natalie will seduce Bernie to stay working at the shangri-la. " ], [ "He is a new casino advisor for the Shangri-La.", "Consultant" ], [ "They want to update the casino to the 21st century.", "They want to renovate the hotel and property to bring it up to date." ], [ "He plans to leave Las Vegas.", "Leave Las Vegas." ], [ "Cocktail waitress", "coctail waitress" ], [ "Shelly Kaplow", "Shelly Kaplow" ], [ "He resents it", "Resents it " ], [ "Las Vegas", "Las Vegas " ], [ "seduce him into staying at Shangri-La Casino", "be a casino boss for the mob" ], [ "The Shangri-La Casino", "Shangri-La Casino" ], [ "Nickey Fingers", "Nicky Finger" ], [ "Broke his knee cap", "by breaking his kneecap" ], [ "He doesn't recall", "He cannot recall. " ] ]

[ [ "Craig. It's gonna be different living\n over here. Don't let your uncle and your\n cousin get you into no shit. Understand?", "CRAIG\n Thanks, Unc.\n\n Uncle Elroy starts towards to the house.", "CRAIG\n Naw, naw! Unc, wake up! It's me! Wake\n up!\n\n Uncle Elroy grabs him in a bear hug and slams him on the bed.", "CRAIG\n Daddy, Uncle Elroy, I need your help.\n\n He steps in the house and closes the door behind him.", "CRAIG\n I know, be still.\n\n Before he can say another word, Uncle Elroy nearly drowns him\n with the water hose.", "CRAIG (cont'd)\n Uncle Elroy, wake up. You got a letter\n today.\n\n No response. Craig tries again.", "Uncle Elroy hugs Craig by the arm.\n\n MR. JONES\n Craig, remember what I told you.\n\n CRAIG\n I'll remember.", "CRAIG\n Oh damn.\n\n He SLAMS the DOOR. We FOLLOW Craig upstairs TO Uncle Elroy's\n room. He knocks softly.", "MR. JONES\n Well, we better hit the road, too.\n Craig, get your stuff.\n\n UNCLE ELROY\n Well, Craig, you're welcome anytime.", "The hallway is clear and quiet, until MR. JONES (Craig's\n father), storms out of the bedroom. He struggles to put on", "CRAIG\n Yeah.\n\n UNCLE ELROY\n Well, let me in.", "Craig finds himself caught between Suga and Uncle Elroy, but\n now everything is totally still and quiet. Uncle Elroy", "CRAIG\n That's okay, Unc. I can't swim, either.\n\n UNCLE ELROY\n Good.", "CRAIG\n (whispering)\n Uncle Elroy...Uncle Elroy?", "He's about to shake him when Uncle Elroy lets out a big\n grunt. It startles Craig. He looks over at Suga. She's", "CRAIG (cont'd)\n Unc.\n\n Uncle Elroy jumps up like a hibernating grizzly.", "MR. JONES (cont'd)\n Craig! Craig!\n\n Craig emerges from the house with his bags in hand.", "UNCLE ELROY\n (half asleep)\n Come on here, Suga...\n\n He goes after Craig, who has to fight him off.", "CRAIG (cont'd)\n Uncle Elroy?\n\n No answer.\n\n CRAIG (cont'd)\n Uncle Elroy, you got a tax notice.", "CRAIG\n Why you say that?\n\n UNCLE ELROY\n 'Cause your lips is getting black." ], [ "CRAIG (cont'd)\n I'm Day-Day's cousin, Craig. What's your\n name?\n\n KARLA\n Karla.", "CRAIG\n What you mean, you don't know? Just wait\n here.\n\n Craig starts to trot over towards Day-Day. Day-Day is\n frantically waving Craig to hurry.", "DAY-DAY\n This ain't gonna work. I'm going back.\n\n Day-Day tries to turn around. Craig grabs him.", "DAY-DAY\n Alright, alright... I see what you\n talking about.\n\n Karla looks at her watch and starts to walk up the street.\n This is Craig's chance.", "CRAIG\n I got my cousin Day-Day waiting for me.\n\n KARLA\n (getting even closer)\n So what? Let's make'em wait.", "Just then, Day-Day and Roach come from the back.\n\n DAY-DAY\n Craig, what the hell are you doing?\n\n CRAIG\n Nothing.", "Craig and Karla's eyes meet. She smiles.\n\n CRAIG\n Who is that?\n\n DAY-DAY\n That's the sister.", "DAY-DAY\n Daddy, Craig is here.\n\n Day-Day walks out to the car and gives Craig a pound.\n\n CRAIG\n What's crackin'?", "CRAIG AND DAY-DAY\n\n ...hear the DOG BARKING and freeze in their tracks. Day-Day\n tries to run. Craig grabs him, again.", "CRAIG\n Man, Day-Day is my people!\n\n PINKY\n I said shut up! Now who sent you?\n\n CRAIG\n Nobody!", "CRAIG\n Shut up. I been trying to tell yo' ass\n that... Day-Day is my cousin. They're\n right there in the back.", "CRAIG\n Have you seen Day-Day?\n\n UNCLE ELROY\n No. Thought he was with you.", "DAY-DAY (cont'd)\n Craig, go out there and tell 'em I'm\n gone.\n\n CRAIG\n I ain't trying to get in it.", "CRAIG\n Hold up, Day-Day.\n\n He trots after her.\n\n DAY-DAY\n Let it go.", "DAY-DAY\n I ain't scared of you. We ain't little\n no more.\n\n Day-Day gets ready to fight.\n\n CRAIG\n What?", "Day-Day looks at Craig. He runs over to the door.\n\n OUTSIDE IN THE PARKING LOT", "CRAIG\n Yeah, I work here now.\n\n D'WANA\n We didn't come here for Day-Day.\n\n CRAIG\n Yes you did.", "DAY-DAY (cont'd)\n Man, why you do that? I told you not to\n talk to that girl.\n\n CRAIG\n Why not? She was cool with it.", "CRAIG\n Day-Day ain't here.\n\n They don't believe him.\n\n D'WANA\n Who are you?", "Day-Day is about to have a heart attack. He's looking back\n and forth between Craig and Karla, and the Joker's house\n where somebody is looking out the window." ], [ "DAY-DAY\n Daddy, Craig is here.\n\n Day-Day walks out to the car and gives Craig a pound.\n\n CRAIG\n What's crackin'?", "CRAIG\n What you mean, you don't know? Just wait\n here.\n\n Craig starts to trot over towards Day-Day. Day-Day is\n frantically waving Craig to hurry.", "Day-Day's room is junky. Clothes are everywhere. He's\n putting on his Pinky's Records and Disc T-shirt. Craig comes\n in.", "Day-Day looks at Craig. He runs over to the door.\n\n OUTSIDE IN THE PARKING LOT", "CRAIG\n What happen?\n\n DAY-DAY\n We worked out a deal. All you gotta do\n is go over there and talk to Baby'D.", "Just then, Day-Day and Roach come from the back.\n\n DAY-DAY\n Craig, what the hell are you doing?\n\n CRAIG\n Nothing.", "CRAIG\n Yeah, I work here now.\n\n D'WANA\n We didn't come here for Day-Day.\n\n CRAIG\n Yes you did.", "Craig and Day-Day are peeking through the window. Craig\n moves on. Day-Day is still watching.", "CRAIG\n Shut up. I been trying to tell yo' ass\n that... Day-Day is my cousin. They're\n right there in the back.", "CRAIG\n Have you seen Day-Day?\n\n UNCLE ELROY\n No. Thought he was with you.", "CRAIG\n Yeah, ya'll got a notice today. It came\n certified mail.\n\n He gives it to Day-Day.", "Craig grabs Day-Day again.", "As craig gets out; the front door flies open. It's DAY-DAY\n (22), Craig's crazy younger cousin. He yells back into the\n house.", "Craig climbs in the window. Day-Day holds his stomach.\n\n DAY-DAY\n I got the B-G's.\n\n ROACH", "DAY-DAY\n This ain't gonna work. I'm going back.\n\n Day-Day tries to turn around. Craig grabs him.", "DAY-DAY\n Yeah, it was. How you get up here?\n\n CRAIG\n I walked.\n\n DAY-DAY\n You walked?", "Craig, Day-Day and Roach are sneaking across the street\n towards Joker's house. Craig looks calm. Day-Day looks\n nervous. Roach eats on a piece of baloney.", "CRAIG\n Man, Day-Day is my people!\n\n PINKY\n I said shut up! Now who sent you?\n\n CRAIG\n Nobody!", "Craig turns and sprints into the store. Baby'D looks\n concerned. Day-Day grabs Roach and they run into the store.", "CRAIG (cont'd)\n I'm Day-Day's cousin, Craig. What's your\n name?\n\n KARLA\n Karla." ], [ "Just then, Day-Day and Roach come from the back.\n\n DAY-DAY\n Craig, what the hell are you doing?\n\n CRAIG\n Nothing.", "Day-Day carefully walks back over towards the store. D'Wana\n pouts and walks towards Baby'D. (If looks could kill.)\n\n ROACH\n Great moves, Day-Day.", "Pinky backs up and steps on Roach's skateboard. The gun goes\n flying and so does he. Pinky falls on his ass. The 9mm", "PINKY\n Shut up! Fo' I pump this Glock in yo'\n ass! What did you do wit Day-Day and\n Roach?", "Day-Day runs around the side of Pinky's Records store. He\n stops to see if anyone is coming. It's Baby'D with the three", "Suddenly Roach is pushed into the front area.\n\n ROACH\n Hey, ladies.\n\n D'WANA\n Where's Day-Day?", "The front door swings open and before we know it. Day-Day's\n got an AK pointed in his face, and Roach is looking at a 9\n close up.", "PINKY (cont'd)\n And you...you lucky. I was just about to\n get in yo' ass. Now give me my pistol\n back and get the hell out my store.", "Craig turns and sprints into the store. Baby'D looks\n concerned. Day-Day grabs Roach and they run into the store.", "Day-Day starts to walk into the back storage area.\n\n ROACH (cont'd)\n Shouldn't we straighten up out here\n before Pinky gets back?", "Baby Joker hands him the AK and he's gone. Day-Day and Roach\n look terrified. Everything has turned serious.", "Day-Day and Roach look at each other. They rush to Craig's\n aide. Joker spots them coming, he also spots the AK.", "It's the same scene as before. Two angry Mexicans, three\n half-naked Girls, plus Day-Day and Roach in the middle. Baby\n Joker returns.", "PINKY (cont'd)\n Now back up slowly... and don't say a\n word.\n\n He obeys. Pinky backs Craig into the store.", "Craig, Day-Day and Roach are sneaking across the street\n towards Joker's house. Craig looks calm. Day-Day looks\n nervous. Roach eats on a piece of baloney.", "have fought Pinky, and gave Day-Day the\n joint, he'd still have a job.", "Day-Day's room is junky. Clothes are everywhere. He's\n putting on his Pinky's Records and Disc T-shirt. Craig comes\n in.", "Pinky and Craig are still scrambling for the gun. The store\n looks like a tornado hit it. Twice. Craig comes up with the\n pistol. Pinky jumps on the ground.", "CRAIG\n Man, Day-Day is my people!\n\n PINKY\n I said shut up! Now who sent you?\n\n CRAIG\n Nobody!", "Roach hits the joint harder than anyone else. Smoke starts\n to come out of his ears. Craig and Day-Day get a kick out of\n that." ], [ "His board continues to roll into the street. At this same\n time, Joker's low-rider rolls by and breaks his board in two.\n Roach runs to pick up the pieces.", "Pinky backs up and steps on Roach's skateboard. The gun goes\n flying and so does he. Pinky falls on his ass. The 9mm", "ROACH\n I know what I'mma do. Go home and face\n the music. My dad is gonna kick my ass\n for getting fired again.\n\n He gets on his skateboard.", "DAY-DAY\n Nothing.\n\n ROACH\n You ran over my board!\n\n JOKER\n So what? It shouldn't have been in the\n street.", "DAY-DAY\n Don't worry about it, man. Get the\n phone.\n\n Roach skateboards over to the phone.", "Just then, Day-Day and Roach come from the back.\n\n DAY-DAY\n Craig, what the hell are you doing?\n\n CRAIG\n Nothing.", "Suddenly Roach is pushed into the front area.\n\n ROACH\n Hey, ladies.\n\n D'WANA\n Where's Day-Day?", "Roach is on his back looking through the fence. He hits a\n joint and blows the smoke into Cheeco's face.", "Cheeco runs over to Roach and jumps in his arms. Roach's\n being licked to death by the pitbull.", "Craig and Day-Day are trying to think. Roach is practicing\n skateboard moves. He's not very good.\n\n DAY-DAY\n Man, sit down.", "Roach sneaks past Joker's lowrider. He slowly approaches the\n fence. No sign of Cheeco. Roach opens the pack of baloney\n and pulls out a slice.", "They disappear into the house.\n\n BACK ON PORCH\n\n Craig has a twinkle in his eyes and Roach walks over, pissed.", "Day-Day is scanning inventory. A bud-head by the name of\n ROACH is on top of the counter with his skateboard.\n\n ROACH\n Yo, Day-Day! Check me out.", "Roach pulls out a mini-skateboard that's actually a lighter.\n\n ROACH\n Weed doesn't solve problems. It eases\n the mind, and the soul. Enjoy.", "They answer --\n\n GIRLS\n Fine.\n\n DAY-DAY\n That's good. My name's Day-Day and this\n is my friend, Roach.", "He walks past the cops and crosses the street.\n\n ROACH\n There he go.\n\n MR. JONES\n What the hell is he carrying?", "ROACH\n Fuck, what's his name?\n\n CRAIG\n Cheeco.\n\n Roach crawls away on his hands and knees.", "ROACH\n Haul ass, dude. Don't stop.\n\n ...and he is.\n\n CRAIG\n You better stop running from that girl.", "CHEECO'S POV\n\n Cheeco is looking up at Roach. He's seeing double, even\n triple. Cheeco lays down. It looks like he's faded.", "Roach starts to kick on the door with his foot. It's very\n loud.\n\n INT. DEN - CONTINUOUS" ], [ "ROACH\n Me neither.\n\n CRAIG\n It's something in that hydraulic pump.\n\n DAY-DAY\n Yeah, air.", "CRAIG\n Wait. Check'em out.\n\n Baby Joker pulls out a chrome hydraulic pump. He carries it\n towards the house. Cheeco starts to hump his leg.", "Craig steps out of Joker's front door carrying the chrome\n hydraulic pump.\n\n CRAIG\n I love Fridays.", "CRAIG (cont'd)\n Now all we gotta do is find out where the\n little one put that pump. Take it and\n see what's in it.", "Craig hurries to put the pump back. He's about to go for the\n window when: BANG! There's a KICK on the door. All Craig", "CRAIG\n That pump was full of money. I saw where\n they put it. Stay right here, I'mma\n climb in and go get it.", "BABY JOKER\n Get down.\n\n Baby Joker drops the pump, something falls out. (We can't\n see what it is.) Baby Joker quickly puts it back.", "Karla storms out the room. Baby Joker walks in carrying the\n chrome pump.\n\n JOKER (cont'd)\n Get up.", "The chrome pump is open and filled with money. Baby Joker's\n pulling out the money while Joker sits on the bed counting\n it. They stop when they hear CHEECO BARKING.", "to the dresser. He pulls out the pump and sets it on the\n bed. He opens it, revealing all the bundled-up money packed\n in. He starts to stuff it in his pockets.", "Baby Joker carries the pump in the bedroom. Joker is close\n behind. He SLAMS the DOOR. The Girl dancing with Li'l Joker\n gets too nosy.", "It's half-full with dirty water. An upside-down lawn chair\n floats in it.\n\n CRAIG\n It's cool, but where's the water?", "Just then, a maroon Cadillac low-rider on Daytons rolls up", "The Jacuzzi water has a purple condom floating in it. Uncle\n Elroy reaches over and picks it out.", "Karla pulls up in the low-rider. They lock eyes and she\n blows him a kiss. He gives her a wink. They pull off. She\n goes in the house.", "No Cheeco. He continues to a shed in the back yard. He goes\n inside and picks up a chainsaw. On his way out the shed,", "The Joker Bros. back their low-rider into the driveway. They\n have no sympathy. Cheeco (the pitbull) is in the back yard.\n He's happy to see them.", "Uncle Elroy slams the door. Day-Day stands in the shower\n fully dressed and soaking wet.", "Craig slams the door and starts towards the truck.\n\n CRAIG\n What's the matter?\n\n MR. JONES\n I fell in some mud. Now hurry up!", "Uncle Elroy turns on the cold water. Day-Day screams. He\n tries to get out. They push him back in." ], [ "Out of nowhere, Craig hits Joker from the back. He flies one\n way and the gun flies another. Now it's really on! Hand-to-", "Joker takes a few more shots from Craig, then grabs Craig\n around the waist and slams him to the ground. Craig is hurt.", "The KNOCKING continues. Li'l Joker and Baby Joker push the\n girls aside and jump up. Li'l Joker grabs a big knife. Baby", "Baby Joker is out cold. Mr. Jones stands over him.\n\n MR. JONES\n Nigga, you got knock the fuck out.", "JOKER\n (smiling)\n Say hello to my little friend.\n\n BOOM!\n\n Debo hits Joker from the back. Joker is out cold.", "Joker starts to kick the door.\n\n INSIDE JOKER'S BEDROOM - CONTINUOUS", "EXT. JOKER'S BACKYARD - CONTINUOUS\n\n Debo and Ezal are tied up next to the Jokers.", "EXT. JOKER'S BACKYARD - CONTINUOUS\n\n Li'l Joker stands at the back door.", "The Jokers aren't laughing anymore. Joker stares at Craig.\n Craig stares back. You can feel the tension. Joker kicks\n the dog.", "ROACH\n Hey, mister Joker, have a heart, bro.\n It's Friday.\n\n Joker walks over to Roach and kicks him in the mouth.", "His board continues to roll into the street. At this same\n time, Joker's low-rider rolls by and breaks his board in two.\n Roach runs to pick up the pieces.", "Joker throws a BOTTLE against the wall. It SHATTERS into a\n million pieces.\n\n JOKER\n Shut the fuck up!\n\n The singing stops.", "JOKER\n I don't want no doors locked around here.\n You hear me?\n\n Joker walks in and hits the lights. He throws the girl on\n the bed.", "JOKER\n Where are these fucking guys?\n\n He storms out the room. Day-Day and Roach try to escape.\n They flap around on the ground like a fish out of water.", "EXT. JOKER'S HOUSE - NIGHT\n\n Karla backs up the rider and she's out. The Joker house\n looks quiet. Then the door opens and three Girls walk out.", "Fight's still on. Craig is giving Joker the ass-whipping he\n deserves when Uncle Elroy, Day-Day and Roach reach the back\n porch.", "GIRL #2 (O.S.)\n Shut the window.\n\n JOKER (O.S.)\n You shut the window.\n\n She does.", "over at the Jokers. They're still staring hard. Craig just\n looks away and walks into the house.", "JOKER (cont'd)\n Who locked this door?\n\n Everybody looks confused.\n\n JOKER (cont'd)\n Who locked this fuckin' door?!", "Her door flies open. Smashing Craig behind it. It's Li'l\n Joker.\n\n LI'L JOKER\n Who you talking to?\n\n Craig looks nervous." ], [ "CRAIG\n Wait. Check'em out.\n\n Baby Joker pulls out a chrome hydraulic pump. He carries it\n towards the house. Cheeco starts to hump his leg.", "CRAIG\n That pump was full of money. I saw where\n they put it. Stay right here, I'mma\n climb in and go get it.", "Craig steps out of Joker's front door carrying the chrome\n hydraulic pump.\n\n CRAIG\n I love Fridays.", "Craig hurries to put the pump back. He's about to go for the\n window when: BANG! There's a KICK on the door. All Craig", "CRAIG (cont'd)\n Now all we gotta do is find out where the\n little one put that pump. Take it and\n see what's in it.", "CRAIG\n You see that?\n\n MR. JONES\n I saw it.", "Craig makes a left and grabs the knob. He feels something\n pressing on the back of his head (gun).", "to the dresser. He pulls out the pump and sets it on the\n bed. He opens it, revealing all the bundled-up money packed\n in. He starts to stuff it in his pockets.", "IN HALLWAY\n\n Craig tries to gain his composure. He gets an idea.\n\n EXT. BUSY CITY STREET - AFTERNOON", "CRAIG\n What you mean, you don't know? Just wait\n here.\n\n Craig starts to trot over towards Day-Day. Day-Day is\n frantically waving Craig to hurry.", "ROACH\n Me neither.\n\n CRAIG\n It's something in that hydraulic pump.\n\n DAY-DAY\n Yeah, air.", "Craig breaks away and tries to hurry out the room. On his\n exit, he hangs himself on the \"fuck swing\" and hits the floor", "starts to snore again. He's asleep. The coast is clear now.\n Craig tries to make his escape. He crawls over Suga to get", "Craig is in. The bedroom door is cracked. Craig walks over\n and shuts the door gently. He locks it. Then he creeps over", "Craig drops a thick roll of money into her purse. She shakes\n the knob.\n\n KARLA (cont'd)\n See. All locked.", "CRAIG\n Thanks for reminding me.\n\n Day-Day exits. Craig is left to look around, until something\n outside catches his eye.\n\n EXT. HOUSE", "Pinky and Craig are still scrambling for the gun. The store\n looks like a tornado hit it. Twice. Craig comes up with the\n pistol. Pinky jumps on the ground.", "CRAIG\n Daddy, punch it!\n\n Mr. Jones floors it and hits Debo. He falls over the hood,\n off the car and in the street. The yellow truck speeds off.", "CRAIG\n Thanks, Unc.\n\n Uncle Elroy starts towards to the house.", "Craig is high. He's looking at the TV with a slight smile on\n his face. It seems like the walls are shaking. He looks" ], [ "CRAIG\n I'm his cousin.\n\n BABY'D\n You suppose to work here now or\n something?", "As craig gets out; the front door flies open. It's DAY-DAY\n (22), Craig's crazy younger cousin. He yells back into the\n house.", "CRAIG (cont'd)\n I'm Day-Day's cousin, Craig. What's your\n name?\n\n KARLA\n Karla.", "Day-Day's room is junky. Clothes are everywhere. He's\n putting on his Pinky's Records and Disc T-shirt. Craig comes\n in.", "CRAIG\n Shut up. I been trying to tell yo' ass\n that... Day-Day is my cousin. They're\n right there in the back.", "Uncle Elroy hugs Craig by the arm.\n\n MR. JONES\n Craig, remember what I told you.\n\n CRAIG\n I'll remember.", "Craig. It's gonna be different living\n over here. Don't let your uncle and your\n cousin get you into no shit. Understand?", "Craig does. Suga moves closer, boxing him in nice and tight.\n Uncle Elroy licks the cigar.\n\n UNCLE ELROY\n I know you smoke weed, right?", "CRAIG\n You see that?\n\n MR. JONES\n I saw it.", "Craig looks at Roach for directions. He nods over towards\n the front of the store.\n\n CRAIG\n Right this way. You know damn well you\n don't listen to no jazz.", "CRAIG (cont'd)\n Uncle Elroy, wake up. You got a letter\n today.\n\n No response. Craig tries again.", "CRAIG\n Daddy, Uncle Elroy, I need your help.\n\n He steps in the house and closes the door behind him.", "Craig steps into Uncle Elroy's freak palace. Black lights,\n candles, velvet posters - the works. There's even a leather", "CRAIG\n Thanks, Unc.\n\n Uncle Elroy starts towards to the house.", "CRAIG (cont'd)\n Uncle Elroy?\n\n No answer.\n\n CRAIG (cont'd)\n Uncle Elroy, you got a tax notice.", "Uncle Elroy scrapes the cigar shavings into a nearby trash\n can (that's overflowing with cigar shavings already). Suga\n presses against Craig.", "DAY-DAY\n Craig, this Roach. Roach, this is my\n cousin, Craig.\n\n ROACH\n What up, bro?\n\n Craig nods his head.", "DAY-DAY\n This my cousin, Craig. He just moved out\n here from L.A. Craig, this is Miss Ho.\n\n Day-Day smiles at Craig.", "over at the Jokers. They're still staring hard. Craig just\n looks away and walks into the house.", "He's about to shake him when Uncle Elroy lets out a big\n grunt. It startles Craig. He looks over at Suga. She's" ], [ "CRAIG (V.O.)\n In the movies, when you beat up the\n neighborhood bully; you suppose to live\n happily ever after. But around here;\n that's when all the drama begins...", "As craig gets out; the front door flies open. It's DAY-DAY\n (22), Craig's crazy younger cousin. He yells back into the\n house.", "MR. JONES\n Nice neighborhood, huh?\n\n CRAIG\n It's alright.", "Craig. It's gonna be different living\n over here. Don't let your uncle and your\n cousin get you into no shit. Understand?", "Craig does. Suga moves closer, boxing him in nice and tight.\n Uncle Elroy licks the cigar.\n\n UNCLE ELROY\n I know you smoke weed, right?", "Her door flies open. Smashing Craig behind it. It's Li'l\n Joker.\n\n LI'L JOKER\n Who you talking to?\n\n Craig looks nervous.", "Craig climbs in the window. Day-Day holds his stomach.\n\n DAY-DAY\n I got the B-G's.\n\n ROACH", "Craig is in. The bedroom door is cracked. Craig walks over\n and shuts the door gently. He locks it. Then he creeps over", "DAY-DAY\n Daddy, Craig is here.\n\n Day-Day walks out to the car and gives Craig a pound.\n\n CRAIG\n What's crackin'?", "CRAIG\n Shut up. I been trying to tell yo' ass\n that... Day-Day is my cousin. They're\n right there in the back.", "Craig makes a left and grabs the knob. He feels something\n pressing on the back of his head (gun).", "Debo continues to ride through the city.\n\n He turns a corner or two and comes to a stop at Craig's\n house.", "MR. JONES (cont'd)\n Craig! Craig!\n\n Craig emerges from the house with his bags in hand.", "Day-Day looks at Craig. He runs over to the door.\n\n OUTSIDE IN THE PARKING LOT", "CRAIG\n Thanks for reminding me.\n\n Day-Day exits. Craig is left to look around, until something\n outside catches his eye.\n\n EXT. HOUSE", "DAY-DAY\n (to himself)\n Look at those tig-ole-bitties\n\n Craig snatches him from the window. They walk over to the\n fence.", "Craig looks at Roach for directions. He nods over towards\n the front of the store.\n\n CRAIG\n Right this way. You know damn well you\n don't listen to no jazz.", "can do is go for another door on the other side of the room.\n BANG! The door flies open and Craig is out there just in\n time.", "Craig, Day-Day and Roach are sneaking across the street\n towards Joker's house. Craig looks calm. Day-Day looks\n nervous. Roach eats on a piece of baloney.", "CRAIG\n What you mean, you don't know? Just wait\n here.\n\n Craig starts to trot over towards Day-Day. Day-Day is\n frantically waving Craig to hurry." ], [ "Just then, Day-Day and Roach come from the back.\n\n DAY-DAY\n Craig, what the hell are you doing?\n\n CRAIG\n Nothing.", "Day-Day spots the damage. He loses it.\n\n DAY-DAY (cont'd)\n (in disbelief)\n Oh, my God! What you doing?!", "Day-Day is about to have a heart attack. He's looking back\n and forth between Craig and Karla, and the Joker's house\n where somebody is looking out the window.", "Day-Day is like a zombie now. He doesn't answer, just keeps\n walking.\n\n CRAIG\n Day-Day?", "CRAIG\n I know, that's when Uncle Elroy cussed\n out everybody, and threw up in Aunt\n Faye's backseat.\n\n Day-Day laughs.", "Uncle Elroy slams the door. Day-Day stands in the shower\n fully dressed and soaking wet.", "DAY-DAY\n Oh shit.\n\n Day-Day takes off. He hops the fence in record speed.\n\n CHEECO", "Day-Day runs down the stairs to get a look. He's holding a\n piece of paper.\n\n DAY-DAY\n Aw, naw.\n\n He runs out the door.", "Now he's a madman.\n\n DAY-DAY (cont'd)\n Bitch! You keyed my car! I'mma kill\n you!", "Baby Joker hands him the AK and he's gone. Day-Day and Roach\n look terrified. Everything has turned serious.", "DAY-DAY\n Shit.\n\n Day-Day makes a run for it. She spots him ducking out the\n back door.", "Craig and Day-Day are peeking through the window. Craig\n moves on. Day-Day is still watching.", "As craig gets out; the front door flies open. It's DAY-DAY\n (22), Craig's crazy younger cousin. He yells back into the\n house.", "The front door swings open and before we know it. Day-Day's\n got an AK pointed in his face, and Roach is looking at a 9\n close up.", "Craig, Day-Day and Roach are sneaking across the street\n towards Joker's house. Craig looks calm. Day-Day looks\n nervous. Roach eats on a piece of baloney.", "OUTSIDE JOKER'S BEDROOM WINDOW - CONTINUOUS\n\n Day-Day is trying to keep his composure.", "DAY-DAY\n I can't see! I can't see! Daddy!\n\n CRAIG\n Lay down, Day-Day. Stop moving.", "Craig is breathing hard but he's calm, but Day-Day is\n terrified.\n\n DAY-DAY (cont'd)\n Hey, Joker! Stop playing, man! Call the\n dog back!", "CRAIG\n Yeah it is...the best day before the\n weekend.\n\n ROACH\n That's fuckin' poetic, Craig.\n\n Day-Day is still sad.", "CRAIG\n Yeah, ya'll got a notice today. It came\n certified mail.\n\n He gives it to Day-Day." ], [ "Craig looks at Roach for directions. He nods over towards\n the front of the store.\n\n CRAIG\n Right this way. You know damn well you\n don't listen to no jazz.", "CRAIG\n I thought ya'll wanted to buy a CD?\n\n BABY'D\n I do... can you help me find the jazz\n section?", "Day-Day's room is junky. Clothes are everywhere. He's\n putting on his Pinky's Records and Disc T-shirt. Craig comes\n in.", "CRAIG\n Thanks for reminding me.\n\n Day-Day exits. Craig is left to look around, until something\n outside catches his eye.\n\n EXT. HOUSE", "Pinky and Craig are still scrambling for the gun. The store\n looks like a tornado hit it. Twice. Craig comes up with the\n pistol. Pinky jumps on the ground.", "Craig makes a left and grabs the knob. He feels something\n pressing on the back of his head (gun).", "Day-Day looks at Craig. He runs over to the door.\n\n OUTSIDE IN THE PARKING LOT", "CRAIG\n You see that?\n\n MR. JONES\n I saw it.", "IN HALLWAY\n\n Craig tries to gain his composure. He gets an idea.\n\n EXT. BUSY CITY STREET - AFTERNOON", "PINKY (cont'd)\n Now back up slowly... and don't say a\n word.\n\n He obeys. Pinky backs Craig into the store.", "Craig turns and sprints into the store. Baby'D looks\n concerned. Day-Day grabs Roach and they run into the store.", "He slams the door, starts the car and backs up. Leaving\n Craig standing there. He sees Karla walking away. He looks", "He shakes the door. It's locked. He looks inside. No one's\n at the counter. Cassettes all over the floor. Pinky looks", "Craig is in. The bedroom door is cracked. Craig walks over\n and shuts the door gently. He locks it. Then he creeps over", "Debo continues to ride through the city.\n\n He turns a corner or two and comes to a stop at Craig's\n house.", "CRAIG\n What you mean, you don't know? Just wait\n here.\n\n Craig starts to trot over towards Day-Day. Day-Day is\n frantically waving Craig to hurry.", "CRAIG\n I don't know... I think he went out the\n back.\n\n D'WANA\n Can I look for myself?", "Craig and Day-Day are peeking through the window. Craig\n moves on. Day-Day is still watching.", "MR. JONES (cont'd)\n Craig! Craig!\n\n Craig emerges from the house with his bags in hand.", "Craig is high. He's looking at the TV with a slight smile on\n his face. It seems like the walls are shaking. He looks" ], [ "ROACH\n (still smiling)\n You know what he mean, dude.\n\n CRAIG\n I'm gone.", "ROACH\n Fuck, what's his name?\n\n CRAIG\n Cheeco.\n\n Roach crawls away on his hands and knees.", "ROACH\n Later, Mr. Jones. Bye, Suga.\n\n ALL\n Bye, Roach.", "Just then, Day-Day and Roach come from the back.\n\n DAY-DAY\n Craig, what the hell are you doing?\n\n CRAIG\n Nothing.", "Roach starts to kick on the door with his foot. It's very\n loud.\n\n INT. DEN - CONTINUOUS", "Roach is on his back looking through the fence. He hits a\n joint and blows the smoke into Cheeco's face.", "Roach is still kicking.\n\n DAY-DAY\n What's wrong with you, fool. Stop\n kicking their door. They might think we\n the police.", "Suddenly Roach is pushed into the front area.\n\n ROACH\n Hey, ladies.\n\n D'WANA\n Where's Day-Day?", "CHEECO'S POV\n\n Cheeco is looking up at Roach. He's seeing double, even\n triple. Cheeco lays down. It looks like he's faded.", "Cheeco runs over to Roach and jumps in his arms. Roach's\n being licked to death by the pitbull.", "Roach can't believe what just happened.\n\n ROACH\n Did you see that? That was a W.W.F. hit\n right there, huh, Day-Day?", "CRAIG\n He's still over by Roach.\n\n ROACH", "ROACH\n Hey, mister Joker, have a heart, bro.\n It's Friday.\n\n Joker walks over to Roach and kicks him in the mouth.", "Roach hits the joint harder than anyone else. Smoke starts\n to come out of his ears. Craig and Day-Day get a kick out of\n that.", "is no more. Roach smiles. CHEECO GROWLS.", "ROACH\n Who the fuck is that, Day-Day?\n\n DAY-DAY\n Let it go, Roach, trust me.", "ROACH\n (nervous whisper)\n Here, Cheeco. Chee-co, here boy. That's\n a good boy.", "ROACH\n I'll do it.\n\n DAY-DAY\n No. You can't handle a girl like D'Wana.\n It's got to be Craig.", "ROACH\n (looking out window)\n You don't wanna know.\n\n Day-Day is devastated.\n\n DAY-DAY\n Thanks a lot, Craig.", "Craig looks at Roach for directions. He nods over towards\n the front of the store.\n\n CRAIG\n Right this way. You know damn well you\n don't listen to no jazz." ], [ "through the back window of Day-Day's BMW. She jumps back in\n and they're gone...", "They walk over to his black BMW 325i on chrome rims.\n\n CRAIG\n This you?", "Craig runs right towards Day-Day's BMW.\n\n DAY-DAY\n Oh shit, jump!", "Day-Day walks over to his Beamer. Craig follows.\n\n CLOSE-UP\n\n Big scratch on the side of Day-Day's car.", "They both jump on top of Day-Day's BMW with CHEECO coming up\n fast. He's BARKING viciously.\n\n ACROSS STREET", "DAY-DAY\n Fuuuuuuck -- U!\n\n He runs back towards his BMW. The chase continues around his\n car. Baby'D is starting to tire.", "Joker, Li'l Joker and Baby Joker are across the street\n laughing. Karla is embarrassed.\n\n ON BMW", "Day-Day spots the damage. He loses it.\n\n DAY-DAY (cont'd)\n (in disbelief)\n Oh, my God! What you doing?!", "He slams the door, starts the car and backs up. Leaving\n Craig standing there. He sees Karla walking away. He looks", "His board continues to roll into the street. At this same\n time, Joker's low-rider rolls by and breaks his board in two.\n Roach runs to pick up the pieces.", "Just then, a maroon Cadillac low-rider on Daytons rolls up", "All three kneel down next to a parked car. Day-Day looks\n sick.", "It's D'WANA (20), Day-Day's six-month pregnant girlfriend.\n She's walking on the right side of his BMW. With one hand", "EXT. UNCLE ELROY'S STREET - MONTAGE SEQUENCE\n\n The Beamer pulls into the driveway. Our trio get out with\n very long faces.", "Karla pulls up in the low-rider. They lock eyes and she\n blows him a kiss. He gives her a wink. They pull off. She\n goes in the house.", "He starts to beat Day-Day with a sex toy.\n\n EXT. FREEWAY - MONTAGE SEQUENCE - AFTERNOON", "Craig slams the door and starts towards the truck.\n\n CRAIG\n What's the matter?\n\n MR. JONES\n I fell in some mud. Now hurry up!", "goes by; we see Debo riding off on the boy's bike. He's on\n the ground holding his eye.", "CRAIG\n Daddy, punch it!\n\n Mr. Jones floors it and hits Debo. He falls over the hood,\n off the car and in the street. The yellow truck speeds off.", "In SLOW MOTION: One by one they get out the car. They have a\n dog with them named \"Cheeco.\" As they get to the front door\n they all look over at Craig and Day-Day." ], [ "KARLA\n Thanks for noticing. It used ta be\n peaceful before they got out. Took over\n the house and caused my mother's nervous\n breakdown.", "As they walk out the front door, someone catches Craig's eye.\n It's KARLA (23), the Joker brothers' fine sister. She's", "KARLA (cont'd)\n If my brothers wasn't so over-protective,\n I'd have you call the house. But for now\n just page me when you get a chance.", "Karla is still walking.\n\n CRAIG\n Hey! Hey!\n\n She stops and waits for him.", "Craig and Karla's eyes meet. She smiles.\n\n CRAIG\n Who is that?\n\n DAY-DAY\n That's the sister.", "CRAIG\n Oh yeah, why you walking?\n\n KARLA\n My brothers won't give me a ride.", "LI'L JOKER\n Karla!\n\n INT. KARLA'S ROOM - CONTINUOUS", "CRAIG (cont'd)\n I'm Day-Day's cousin, Craig. What's your\n name?\n\n KARLA\n Karla.", "KARLA\n No you didn't. Get out my room. Go back\n down to your little girlfriends.\n\n Karla pushes Li'l Joker out.", "Karla turns around to check the door.\n\n KARLA\n You so nervous, I already locked this\n door.", "CRAIG\n It's cool. You ain't got to apologize\n for your brothers. They're big boys.\n\n KARLA\n I just wanted to give you this.", "Karla is in her room working out. Craig runs in. He's\n shocked to see her. She doesn't see him, but he's frozen.\n Then she turns around and he startles her.", "INT. KARLA'S ROOM - CONTINUOUS\n\n Craig is sweating. Karla is standing in front of him.", "KARLA\n (friendly)\n Hi!\n\n Craig and Day-Day are mesmerized.\n\n BOTH\n (waving back)\n HEY!", "Karla walks up behind him, looking very sexy.\n\n KARLA\n I thought you came up here to see me.\n\n Craig turns around.", "JOKER\n Yeah, and hurry up.\n\n Karla doesn't believe it.\n\n KARLA\n Okay.", "CRAIG\n Hell yeah, I remember you.\n\n KARLA\n I'm sorry for what my brother did this\n morning. They're assholes.", "LI'L JOKER\n Here comes Karla, put the guns away.\n\n JOKER\n Keep your mouth shut.\n\n Karla walks back in.", "KARLA\n What are you doing?\n\n Think fast, Craig.\n\n CRAIG\n Huh?", "KARLA\n Next time, page me first.\n\n CRAIG\n Okay." ], [ "CRAIG\n You see that?\n\n MR. JONES\n I saw it.", "Joker takes a few more shots from Craig, then grabs Craig\n around the waist and slams him to the ground. Craig is hurt.", "can do is go for another door on the other side of the room.\n BANG! The door flies open and Craig is out there just in\n time.", "starts to snore again. He's asleep. The coast is clear now.\n Craig tries to make his escape. He crawls over Suga to get", "Out of nowhere, Craig hits Joker from the back. He flies one\n way and the gun flies another. Now it's really on! Hand-to-", "CRAIG\n I know, be still.\n\n Before he can say another word, Uncle Elroy nearly drowns him\n with the water hose.", "Fight's still on. Craig is giving Joker the ass-whipping he\n deserves when Uncle Elroy, Day-Day and Roach reach the back\n porch.", "of Craig and our trio try to hurry to their feet. But as\n soon as they get up, they're looking down the barrel of an AK-\n 47.", "Craig makes a left and grabs the knob. He feels something\n pressing on the back of his head (gun).", "hand combat. Craig vs. Joker. Right vs. wrong. Good vs.\n evil. You know how it go.", "CRAIG (V.O.)\n In the movies, when you beat up the\n neighborhood bully; you suppose to live\n happily ever after. But around here;\n that's when all the drama begins...", "Craig does. Suga moves closer, boxing him in nice and tight.\n Uncle Elroy licks the cigar.\n\n UNCLE ELROY\n I know you smoke weed, right?", "DAY-DAY\n I ain't scared of you. We ain't little\n no more.\n\n Day-Day gets ready to fight.\n\n CRAIG\n What?", "lands in front of Craig. There's a big scramble for the gun.", "Craig jumps like he's going to hit him. Day-Day jumps back\n and almost falls.\n\n DAY-DAY\n I hope to God that dog is happy.", "Craig snatches it back.\n\n ROACH\n Sorry, bro, reflexes. How did you do\n that?\n\n CRAIG\n Black magic.", "Craig puts him on the grass.\n\n DAY-DAY\n She pepper-sprayed me, man! She pepper-\n sprayed me!", "Craig is in. The bedroom door is cracked. Craig walks over\n and shuts the door gently. He locks it. Then he creeps over", "Pinky and Craig are still scrambling for the gun. The store\n looks like a tornado hit it. Twice. Craig comes up with the\n pistol. Pinky jumps on the ground.", "Uncle Elroy hugs Craig by the arm.\n\n MR. JONES\n Craig, remember what I told you.\n\n CRAIG\n I'll remember." ], [ "CRAIG (V.O.)\n In the movies, when you beat up the\n neighborhood bully; you suppose to live\n happily ever after. But around here;\n that's when all the drama begins...", "Cheeco starts to chase him down the street. Craig looks at\n the notice. \"DELINQUENT! YOUR HOUSE WILL BE SEIZED AND", "Red and Blue lights flash through the neighborhood. Everyone\n is out their door looking at the action. The suburbs is\n starting to look like the ghetto for real.\n\n Uncle Elroy is bent over.", "MR. JONES\n Nice neighborhood, huh?\n\n CRAIG\n It's alright.", "They continue to laugh. Craig pulls his belt off. He swings\n it and hits Cheeco in the middle of his forehead with the\n buckle. The DOG CRIES and runs back across the street.", "with a thud. He scrambles to his feet, then he's out of\n there. Uncle Elroy and Suga lay asleep as if nothing ever\n happened.", "They sneak over to the fence.\n\n UNCLE ELROY\n What about that ugly dog?\n\n MR. JONES\n I got my mase.", "Craig, Day-Day and Roach are sneaking across the street\n towards Joker's house. Craig looks calm. Day-Day looks\n nervous. Roach eats on a piece of baloney.", "MR. JONES\n That nigga worst than them damn pit\n bulldogs or something! That's why moving", "DAY-DAY\n (to himself)\n Look at those tig-ole-bitties\n\n Craig snatches him from the window. They walk over to the\n fence.", "The Joker Bros. back their low-rider into the driveway. They\n have no sympathy. Cheeco (the pitbull) is in the back yard.\n He's happy to see them.", "They turn to spot MISS HO KYM (67), the old Korean lady who\n lives next door. She's sitting on her porch nursing a cup of\n coffee.", "Uncle Elroy slams the door. Day-Day stands in the shower\n fully dressed and soaking wet.", "KARLA\n Thanks for noticing. It used ta be\n peaceful before they got out. Took over\n the house and caused my mother's nervous\n breakdown.", "The front door swings open and before we know it. Day-Day's\n got an AK pointed in his face, and Roach is looking at a 9\n close up.", "DAY-DAY\n I ain't scared of you. We ain't little\n no more.\n\n Day-Day gets ready to fight.\n\n CRAIG\n What?", "They answer --\n\n GIRLS\n Fine.\n\n DAY-DAY\n That's good. My name's Day-Day and this\n is my friend, Roach.", "Roach is still kicking.\n\n DAY-DAY\n What's wrong with you, fool. Stop\n kicking their door. They might think we\n the police.", "CRAIG\n I know, be still.\n\n Before he can say another word, Uncle Elroy nearly drowns him\n with the water hose.", "The pitbull is back! And he's mad as hell. He runs through\n everybody and jumps on Debo, knocking the gun from his hand." ], [ "Day-Day spots the damage. He loses it.\n\n DAY-DAY (cont'd)\n (in disbelief)\n Oh, my God! What you doing?!", "Day-Day walks over to his Beamer. Craig follows.\n\n CLOSE-UP\n\n Big scratch on the side of Day-Day's car.", "DAY-DAY\n Oh shit.\n\n Day-Day takes off. He hops the fence in record speed.\n\n CHEECO", "He starts to beat Day-Day with a sex toy.\n\n EXT. FREEWAY - MONTAGE SEQUENCE - AFTERNOON", "Just then, Day-Day and Roach come from the back.\n\n DAY-DAY\n Craig, what the hell are you doing?\n\n CRAIG\n Nothing.", "Uncle Elroy slams the door. Day-Day stands in the shower\n fully dressed and soaking wet.", "All three kneel down next to a parked car. Day-Day looks\n sick.", "D'Wana runs to her car. She speeds off. Uncle Elroy goes\n for the water hose. Craig grabs Day-Day.", "DAY-DAY\n Daddy, Craig is here.\n\n Day-Day walks out to the car and gives Craig a pound.\n\n CRAIG\n What's crackin'?", "D'WANA\n I told you.\n\n Baby'D screams and throws the brick through Day-Day's\n WINDSHIELD.", "Day-Day runs down the stairs to get a look. He's holding a\n piece of paper.\n\n DAY-DAY\n Aw, naw.\n\n He runs out the door.", "CRAIG\n I know, that's when Uncle Elroy cussed\n out everybody, and threw up in Aunt\n Faye's backseat.\n\n Day-Day laughs.", "DAY-DAY\n Shit.\n\n Day-Day makes a run for it. She spots him ducking out the\n back door.", "through the back window of Day-Day's BMW. She jumps back in\n and they're gone...", "They both jump on top of Day-Day's BMW with CHEECO coming up\n fast. He's BARKING viciously.\n\n ACROSS STREET", "Now he's a madman.\n\n DAY-DAY (cont'd)\n Bitch! You keyed my car! I'mma kill\n you!", "Craig, Day-Day and Roach are sneaking across the street\n towards Joker's house. Craig looks calm. Day-Day looks\n nervous. Roach eats on a piece of baloney.", "Craig runs right towards Day-Day's BMW.\n\n DAY-DAY\n Oh shit, jump!", "Day-Day gets into the car.\n\n DAY-DAY\n So.\n\n CRAIG\n What you mean, so?", "Day-Day carefully walks back over towards the store. D'Wana\n pouts and walks towards Baby'D. (If looks could kill.)\n\n ROACH\n Great moves, Day-Day." ], [ "They turn to spot MISS HO KYM (67), the old Korean lady who\n lives next door. She's sitting on her porch nursing a cup of\n coffee.", "MR. JONES\n Nice neighborhood, huh?\n\n CRAIG\n It's alright.", "The front door swings open and before we know it. Day-Day's\n got an AK pointed in his face, and Roach is looking at a 9\n close up.", "CRACK DEALER (O.S.)\n Ezal, I'm sick of you coming around here\n wit no money.\n\n Suddenly the door flies open and Ezal comes flying out on his\n ass.", "Red and Blue lights flash through the neighborhood. Everyone\n is out their door looking at the action. The suburbs is\n starting to look like the ghetto for real.\n\n Uncle Elroy is bent over.", "MISS HO KYM\n Well, then, it's all good. Yo, Day-Day,\n something is going down with those\n Mexicans across the street? I've been\n seeing a lot of activity.", "Just then, Day-Day and Roach come from the back.\n\n DAY-DAY\n Craig, what the hell are you doing?\n\n CRAIG\n Nothing.", "A run-down crack house sits alone in the middle of the block.\n It looks deserted with chipped paint, overgrown grass and\n security bars everywhere. Inside we can hear a FIGHT in\n progress.", "Craig, Day-Day and Roach are sneaking across the street\n towards Joker's house. Craig looks calm. Day-Day looks\n nervous. Roach eats on a piece of baloney.", "Roach is on his back looking through the fence. He hits a\n joint and blows the smoke into Cheeco's face.", "KARLA\n Thanks for noticing. It used ta be\n peaceful before they got out. Took over\n the house and caused my mother's nervous\n breakdown.", "Elroy who's still coughing. Craig passes the blunt to Suga,\n who looks at it for a moment and then looks directly INTO the", "Craig climbs in the window. Day-Day holds his stomach.\n\n DAY-DAY\n I got the B-G's.\n\n ROACH", "Uncle Elroy slams the door. Day-Day stands in the shower\n fully dressed and soaking wet.", "Craig and Suga are amazed at this display. Uncle Elroy falls\n to the floor on his hands and knees. Still coughing. He\n falls on his back and passes the blunt to Craig.", "Roach is still kicking.\n\n DAY-DAY\n What's wrong with you, fool. Stop\n kicking their door. They might think we\n the police.", "Her door flies open. Smashing Craig behind it. It's Li'l\n Joker.\n\n LI'L JOKER\n Who you talking to?\n\n Craig looks nervous.", "over at the Jokers. They're still staring hard. Craig just\n looks away and walks into the house.", "They answer --\n\n GIRLS\n Fine.\n\n DAY-DAY\n That's good. My name's Day-Day and this\n is my friend, Roach.", "The Joker Bros. back their low-rider into the driveway. They\n have no sympathy. Cheeco (the pitbull) is in the back yard.\n He's happy to see them." ], [ "PINKY\n Good. You fired...and, Roach, your fired\n too.\n\n ROACH\n Why me?\n\n PINKY\n I smell weed.", "Pinky backs up and steps on Roach's skateboard. The gun goes\n flying and so does he. Pinky falls on his ass. The 9mm", "PINKY\n Don't kill me.\n\n Craig is exhausted. He stands over Pinky with the gun.", "PINKY (cont'd)\n And you...you lucky. I was just about to\n get in yo' ass. Now give me my pistol\n back and get the hell out my store.", "PINKY\n (whispering)\n Don't move or I'll blow your head smooth\n off.\n\n Craig throws his hands up.", "Pinky and Craig are still scrambling for the gun. The store\n looks like a tornado hit it. Twice. Craig comes up with the\n pistol. Pinky jumps on the ground.", "PINKY (cont'd)\n Get on the floor.\n\n Craig gets down.", "PINKY (cont'd)\n You ain't got no gun, but where's the\n weed at? I smell it.\n\n Craig says nothing.", "PINKY (cont'd)\n Now back up slowly... and don't say a\n word.\n\n He obeys. Pinky backs Craig into the store.", "He looks at his watch.\n\n DAY-DAY (cont'd)\n I gotta get to Pinky's before I get fired\n like you.", "PINKY\n Day-Day, is this your cousin?\n\n DAY-DAY\n Yeah.", "PINKY\n If you say another word, it's over. I'm\n not playing!\n\n Pinky starts to pat down Craig's pockets.", "PINKY (cont'd)\n Little mothafucka trying to rob me.\n I'mma show you how I do 'em.\n\n CRAIG\n I ain't trying to rob you...", "have fought Pinky, and gave Day-Day the\n joint, he'd still have a job.", "PINKY\n Whatever you say, man. I didn't see\n shit. The safe combination is 34-5-27.\n Just take it all.", "PINKY\n Shut up! Fo' I pump this Glock in yo'\n ass! What did you do wit Day-Day and\n Roach?", "a little excited. But if Pinky catches\n you doing that X-Games shit off his\n counter top, we both getting fired. You\n feel me?", "CRAIG\n Man, Day-Day is my people!\n\n PINKY\n I said shut up! Now who sent you?\n\n CRAIG\n Nobody!", "Day-Day runs around the side of Pinky's Records store. He\n stops to see if anyone is coming. It's Baby'D with the three", "Day-Day's room is junky. Clothes are everywhere. He's\n putting on his Pinky's Records and Disc T-shirt. Craig comes\n in." ], [ "His board continues to roll into the street. At this same\n time, Joker's low-rider rolls by and breaks his board in two.\n Roach runs to pick up the pieces.", "Pinky backs up and steps on Roach's skateboard. The gun goes\n flying and so does he. Pinky falls on his ass. The 9mm", "ROACH\n I know what I'mma do. Go home and face\n the music. My dad is gonna kick my ass\n for getting fired again.\n\n He gets on his skateboard.", "DAY-DAY\n Nothing.\n\n ROACH\n You ran over my board!\n\n JOKER\n So what? It shouldn't have been in the\n street.", "DAY-DAY\n Don't worry about it, man. Get the\n phone.\n\n Roach skateboards over to the phone.", "Just then, Day-Day and Roach come from the back.\n\n DAY-DAY\n Craig, what the hell are you doing?\n\n CRAIG\n Nothing.", "Suddenly Roach is pushed into the front area.\n\n ROACH\n Hey, ladies.\n\n D'WANA\n Where's Day-Day?", "Roach is on his back looking through the fence. He hits a\n joint and blows the smoke into Cheeco's face.", "Cheeco runs over to Roach and jumps in his arms. Roach's\n being licked to death by the pitbull.", "Craig and Day-Day are trying to think. Roach is practicing\n skateboard moves. He's not very good.\n\n DAY-DAY\n Man, sit down.", "Roach sneaks past Joker's lowrider. He slowly approaches the\n fence. No sign of Cheeco. Roach opens the pack of baloney\n and pulls out a slice.", "They disappear into the house.\n\n BACK ON PORCH\n\n Craig has a twinkle in his eyes and Roach walks over, pissed.", "Day-Day is scanning inventory. A bud-head by the name of\n ROACH is on top of the counter with his skateboard.\n\n ROACH\n Yo, Day-Day! Check me out.", "Roach pulls out a mini-skateboard that's actually a lighter.\n\n ROACH\n Weed doesn't solve problems. It eases\n the mind, and the soul. Enjoy.", "They answer --\n\n GIRLS\n Fine.\n\n DAY-DAY\n That's good. My name's Day-Day and this\n is my friend, Roach.", "He walks past the cops and crosses the street.\n\n ROACH\n There he go.\n\n MR. JONES\n What the hell is he carrying?", "ROACH\n Fuck, what's his name?\n\n CRAIG\n Cheeco.\n\n Roach crawls away on his hands and knees.", "ROACH\n Haul ass, dude. Don't stop.\n\n ...and he is.\n\n CRAIG\n You better stop running from that girl.", "CHEECO'S POV\n\n Cheeco is looking up at Roach. He's seeing double, even\n triple. Cheeco lays down. It looks like he's faded.", "Roach starts to kick on the door with his foot. It's very\n loud.\n\n INT. DEN - CONTINUOUS" ], [ "KARLA\n You did all this for me?\n\n CRAIG\n Most of it. I just hate to see you in\n this situation.", "Karla is still walking.\n\n CRAIG\n Hey! Hey!\n\n She stops and waits for him.", "Karla walks up behind him, looking very sexy.\n\n KARLA\n I thought you came up here to see me.\n\n Craig turns around.", "CRAIG\n Most definitely.\n\n KARLA\n Better sooner than later.", "INT. KARLA'S ROOM - CONTINUOUS\n\n Craig is sweating. Karla is standing in front of him.", "CRAIG\n You want us to give you a ride?\n\n KARLA\n I don't know.", "KARLA\n What are you doing?\n\n Think fast, Craig.\n\n CRAIG\n Huh?", "DAY-DAY\n Alright, alright... I see what you\n talking about.\n\n Karla looks at her watch and starts to walk up the street.\n This is Craig's chance.", "CRAIG\n I did. Is that door locked?\n\n KARLA\n It's locked.\n\n CRAIG\n Make sure.", "CRAIG (cont'd)\n I'm Day-Day's cousin, Craig. What's your\n name?\n\n KARLA\n Karla.", "As they walk out the front door, someone catches Craig's eye.\n It's KARLA (23), the Joker brothers' fine sister. She's", "WIDER\n\n DAY-DAY (cont'd)\n It ain't that bad, is it?\n\n Craig is still looking at Karla.", "Craig and Karla's eyes meet. She smiles.\n\n CRAIG\n Who is that?\n\n DAY-DAY\n That's the sister.", "Karla is in her room working out. Craig runs in. He's\n shocked to see her. She doesn't see him, but he's frozen.\n Then she turns around and he startles her.", "He slams the door, starts the car and backs up. Leaving\n Craig standing there. He sees Karla walking away. He looks", "Craig is in. The bedroom door is cracked. Craig walks over\n and shuts the door gently. He locks it. Then he creeps over", "CRAIG\n Hell yeah, I remember you.\n\n KARLA\n I'm sorry for what my brother did this\n morning. They're assholes.", "CRAIG\n It's cool. You ain't got to apologize\n for your brothers. They're big boys.\n\n KARLA\n I just wanted to give you this.", "KARLA\n What?? So you snuck in my room to tell\n me that?\n\n CRAIG\n Yes I did. Excuse me.", "KARLA\n Next time, page me first.\n\n CRAIG\n Okay." ], [ "JOKER\n Don't fuckin' move.\n\n They won't. The brothers run to the door.\n\n OUTSIDE", "The Joker Bros. back their low-rider into the driveway. They\n have no sympathy. Cheeco (the pitbull) is in the back yard.\n He's happy to see them.", "JOKER\n I'm sick and tired of bullshitting with\n you guys.\n (in Spanish)\n Baby brother, go get the chainsaw.", "Joker, Li'l Joker and Baby Joker are across the street\n laughing. Karla is embarrassed.\n\n ON BMW", "Li'l Joker is almost finished duct-taping Day-Day and Roach.\n Baby Joker holds the AK. Joker paces the floor. Day-Day and", "Joker storms in with the AK. Li'l Joker is in the corner\n with his girl, and Baby Joker is on the floor. Joker TURNS\n DOWN THE STEREO.", "JOKER\n It means you Miyateas are staying with\n us.\n (to Baby Joker)\n Get the duct tape.\n (to Li'l Joker)\n You know what to do.", "JOKER\n I don't believe this sugar shit.\n Something ain't right.\n\n Joker thinks for a moment. Then he turns to Baby Joker.", "JOKER\n Where are these fucking guys?\n\n He storms out the room. Day-Day and Roach try to escape.\n They flap around on the ground like a fish out of water.", "His board continues to roll into the street. At this same\n time, Joker's low-rider rolls by and breaks his board in two.\n Roach runs to pick up the pieces.", "LI'L JOKER\n Junior?! Junior?!\n\n No answer. Suddenly he spots something over by the shed.\n It's Baby Joker all ties up.", "Day-Day is about to have a heart attack. He's looking back\n and forth between Craig and Karla, and the Joker's house\n where somebody is looking out the window.", "EXT. JOKER'S HOUSE - NIGHT\n\n Karla backs up the rider and she's out. The Joker house\n looks quiet. Then the door opens and three Girls walk out.", "JOKER\n You fuckin' lover boys hear that?\n\n BABY JOKER\n Hear what?", "over at the Jokers. They're still staring hard. Craig just\n looks away and walks into the house.", "The back door flies open. Joker appears with the AK-47 in\n hand. He spots Uncle Elroy in the middle of the yard bent\n over. He lifts the AK.", "The KNOCKING continues. Li'l Joker and Baby Joker push the\n girls aside and jump up. Li'l Joker grabs a big knife. Baby", "DAY-DAY\n Joker, he just got out of the pen. Li'l\n Joker, he just got out of Youth\n Authority. And Baby Joker, he just got\n out of Juvenile Hall.", "ROACH\n Hey, mister Joker, have a heart, bro.\n It's Friday.\n\n Joker walks over to Roach and kicks him in the mouth.", "JOKER\n Alright, put it in that drawer.\n\n Joker hands Baby Joker the money. He puts it away. They\n start to exit the room." ], [ "Out of nowhere, Craig hits Joker from the back. He flies one\n way and the gun flies another. Now it's really on! Hand-to-", "Baby Joker hands him the AK and he's gone. Day-Day and Roach\n look terrified. Everything has turned serious.", "Joker grabs a 9mm. Joker looks at the girls.", "JOKER\n Alright, put it in that drawer.\n\n Joker hands Baby Joker the money. He puts it away. They\n start to exit the room.", "She's out the door. Joker turns to Day-Day and Roach.\n\n JOKER\n If everything's alright. We might let\n you leave, too.", "The back door flies open. Joker appears with the AK-47 in\n hand. He spots Uncle Elroy in the middle of the yard bent\n over. He lifts the AK.", "Joker is getting tired of the games. And Day-Day is pleading\n for his life.\n\n JOKER\n Tape his mouth shut.", "Uncle Elroy catches up with Craig and Mr. Jones on the side\n of Joker's house. He has a big chrome .357 magnum.", "JOKER\n Don't fuckin' move.\n\n They won't. The brothers run to the door.\n\n OUTSIDE", "The Jokers aren't laughing anymore. Joker stares at Craig.\n Craig stares back. You can feel the tension. Joker kicks\n the dog.", "Li'l Joker is almost finished duct-taping Day-Day and Roach.\n Baby Joker holds the AK. Joker paces the floor. Day-Day and", "JOKER\n Where are these fucking guys?\n\n He storms out the room. Day-Day and Roach try to escape.\n They flap around on the ground like a fish out of water.", "INT. JOKER'S HOUSE - DEN - CONTINUOUS\n\n The terror continues.", "over at the Jokers. They're still staring hard. Craig just\n looks away and walks into the house.", "GIRL #2 (O.S.)\n Shut the window.\n\n JOKER (O.S.)\n You shut the window.\n\n She does.", "JOKER (cont'd)\n Who locked this door?\n\n Everybody looks confused.\n\n JOKER (cont'd)\n Who locked this fuckin' door?!", "LI'L JOKER\n Here comes Karla, put the guns away.\n\n JOKER\n Keep your mouth shut.\n\n Karla walks back in.", "DEBO\n No way, Jose. This one is mine.\n\n Ezal picks up the gun and hands it to Debo.", "As we PULL BACK, all is well inside and outside Uncle Elroy's\n house. The suburbs are back to normal. They get in the car.\n Craig looks over at the Joker's house.", "JOKER\n Yeah, and hurry up.\n\n Karla doesn't believe it.\n\n KARLA\n Okay." ], [ "Blue and red police lights flash over Debo's body. Two\n sheriffs walk INTO OUR FRAME and stand over Debo. They flash\n their lights on him.", "Debo looks dazed and confused. The sheriffs help him out the\n bushes and start to cuff him.", "They get him to his feet; but he stumbles and falls in the\n bushes like a knocked out prize fighter. The sheriffs laugh\n at him.", "He walks past the cops and crosses the street.\n\n ROACH\n There he go.\n\n MR. JONES\n What the hell is he carrying?", "Debo is released from the Twin Towers County Jail. Still in\n his orange jumpsuit, he walks right past us and down the\n street. Everybody clears his path.", "Red and Blue lights flash through the neighborhood. Everyone\n is out their door looking at the action. The suburbs is\n starting to look like the ghetto for real.\n\n Uncle Elroy is bent over.", "CRAIG (cont'd) (V.O.)\n I was the man that night; and Debo ended\n up going to jail for a couple of years.", "over at the Jokers. They're still staring hard. Craig just\n looks away and walks into the house.", "Roach is still kicking.\n\n DAY-DAY\n What's wrong with you, fool. Stop\n kicking their door. They might think we\n the police.", "EXT. JOKER'S HOUSE - CONTINUOUS\n\n Out front, three sheriff cars swoop into the driveway. The\n cops jump out, guns drawn.", "They continue to laugh. Craig pulls his belt off. He swings\n it and hits Cheeco in the middle of his forehead with the\n buckle. The DOG CRIES and runs back across the street.", "As we PULL BACK, all is well inside and outside Uncle Elroy's\n house. The suburbs are back to normal. They get in the car.\n Craig looks over at the Joker's house.", "Craig knows he can't fight a gun. Everybody is helpless. We\n can hear SIRENS getting CLOSER and CLOSER. Suddenly, out of\n nowhere...\n\n CHEECO!", "Craig puts him on the grass.\n\n DAY-DAY\n She pepper-sprayed me, man! She pepper-\n sprayed me!", "Craig and Suga are amazed at this display. Uncle Elroy falls\n to the floor on his hands and knees. Still coughing. He\n falls on his back and passes the blunt to Craig.", "She's out the door. Joker turns to Day-Day and Roach.\n\n JOKER\n If everything's alright. We might let\n you leave, too.", "of Craig and our trio try to hurry to their feet. But as\n soon as they get up, they're looking down the barrel of an AK-\n 47.", "Day-Day is about to have a heart attack. He's looking back\n and forth between Craig and Karla, and the Joker's house\n where somebody is looking out the window.", "D'Wana runs to her car. She speeds off. Uncle Elroy goes\n for the water hose. Craig grabs Day-Day.", "He finally stops at a pay phone. Ezal jumps off and grabs\n his ass." ] ]

[ "Why does Craig's father send him to stay with his uncle?", "Why does Day-Day ask Craig to stay away from Karla?", "Why does Craig go to the record store to talk to Day-Day?", "What happens to Roach and Day-Day when Pinky comes back to the store?", "Who runs over Roach's skateboard?", "What is in the hydraulic pump?", "Who knocks out Joker?", "What does Craig do with the money from the hydraulic pump?", "Why does Craig's cousin work at the record?", "How come Craig lives next door to a family of Chicago thugs?", "Why did Day-Day's neighbors have a mental breakdown?", "Why did Craig go to the record store?", "Who was Roach's boss?", "How did the BMW get damaged?", "How many brothers does Karla have?", "How many fights did Craig have in the story?", "Who is the neighborhood bully?", "Who vandilized Day-Day's car?", "Who are the drug dealing neighbors next door?", "Who does Pinky fire?", "Who runs over Roach's skateboard?", "How does Craig want to help Karla? ", "What are the names of Joker's younger brothers?", "Who did Tyrone give Joker's gun to?", "Who do the police arrest?" ]

[ [ "Because the neighborhood bully, Deebo, would be getting out of jail soon", "Deebo will come after Craig." ], [ "Because of the friction between them and her brothers", "Tensions with the Joker Brothers" ], [ "Because he receives a notice from the mailman saying the house is being sold", "To tell him the house is being auctioned." ], [ "They are both fired", "they get fired" ], [ "The Joker brothers", "Joker's brothers." ], [ "Money", "Drug money." ], [ "Deebo", "Day-Day and Roach." ], [ "He splits it with Day-Day and Elroy", "Takes it and splits it with Day-Day and Elroy" ], [ "Because the family is not rich anymore", "Even though they won the lottery they aren't rich anymore" ], [ "His father sent him away to protect him", "To hide from Deebo." ], [ "Their sons got out of jail", "The Joker Brothers getting out of jail and taking over the house" ], [ "To tell Day-Day about the auction notice", "To tell his cousin about the house being auctioned" ], [ "Pinky", "Pinky" ], [ "When D'Wana and Baby D through a brick through the windshield", "A brick was thrown through the rear window." ], [ "3", "3." ], [ "3", "4" ], [ "Deebo", "Deebo" ], [ "His ex-girlfriend D'wana", "dwana" ], [ "The Joker brothers.", "joker brothers" ], [ "Day-Day and Roach.", "Day-Day and Roach" ], [ "The Joker Brother's.", "Joker's brothers." ], [ "By helping put her brothers in jail.", "get her away from her brothers" ], [ "Lil' Joker and Baby Joker", "Lil' Joker and Baby Joker" ], [ "Deebo", "Deebo." ], [ "Deebo, Tyrone, and the Joker brother's.", "Deebo, Tyrone and the Joker's Brothers." ] ]

[ [ "Will smiles. Sean hands him a piece of paper.\n\n SEAN\n I'll be checking in with my machine \n at the college. If you ever need \n anything, just call.", "Next to him is WILL HUNTING, 20, handsome and confident, a \n softspoken leader. On Will's right sits BILLY MCBRIDE, 22,", "Will sits in an outdoor cafe, thinking. After a beat, he \n leans over to two students working at a nearby table, borrows \n a pen and paper and starts writing.", "Will is a solitary figure strolling across the lawn. He stops \n at Skylar's dorm and knocks on the door.\n\n CUT TO:", "Will and Skylar sit in the open courtyard of this Harvard \n Square eatery. Skylar is working on another O-chem lab. Will \n sits across from her, slightly bored watching her work.", "Will and Lambeau work together at the board. They communicate \n non-verbally as they collaborate on a problem. After a \n particularly amusing series of numbers, they share a look \n and laugh.", "Will gets up again and moves around his chair to Sean's \n painting. It is a picture of an old sailboat in a tremendous \n storm -- by no means a masterpiece. Will studies it.", "INT. L STREET BAR & GRILLE -- LATER\n\n Skylar and Will sit together along with Will's gang. The \n boys are considerably drunk, but it makes for good \n entertainment.", "Will sits alone in his one room apartment, reading. A closer \n look reveals he is reading a self-help PSYCHOLOGY BOOK. Will", "Arriving at Will's house and dropping him off.\n\n DISSOLVE TO:", "Sean says this with pride. His determined stare and confident \n manner catch Will a bit off guard. Will rises from his chair \n and goes to the shelf.", "TOM\n Who is he?\n\n LAMBEAU\n He was my roommate in college.\n\n INT. BUNKER HILL CAMPUS -- DAY", "Chuckie returns to a table where Will, Morgan and Billy have \n made themselves comfortable. He [Chuckie] spots two ATTRACTIVE \n YOUNG HARVARD WOMEN sitting together at the end of the bar.", "They laugh.\n\n WILL\n See ya.\n\n SEAN\n Good luck.\n\n Both men smile.", "WILL\n Oh, what? You're going to take the \n professor's side on this?\n\n SEAN\n Don't give me your line of shit.", "WILL\n Why thank you.\n\n SEAN\n You've never been out of Boston.\n\n WILL\n No.", "WILL\n Certain, clubs.\n (beat)\n Like, Paradise. It's not bad.\n\n Will gives the Psychologist a furtive look.", "A crowded Harvard Bar. Will and our gang walk by a line of \n several Harvard students, waiting to be carded.", "Sean smiles.\n\n SEAN\n Do what's in your heart, son. You'll \n be fine.\n\n WILL\n Thanks you, Sean.", "CUT TO:\n\n EXT. SKYLAR'S DORM -- NIGHT\n\n Will leaves pulling on his clothes." ], [ "As soon as Will hits Bobby, his friends CONVERGE ON WILL. \n Billy JUMPS IN and wrestles one guy to the ground. The two \n exchange messy punches on the sidewalk.", "Whatever demons must be raging inside Will, he is taking \n them out on Bobby Champa. He pummels the helpless, unconscious \n Champa, fury in his eyes. Chuckie and Billy pull Will away.", "The place is a monster indoor funpark. Will, Chuckie, Morgan, \n and Billy are in adjoining batting cages. Will has disabled", "INT. L STREET BAR & GRILLE -- LATER\n\n Skylar and Will sit together along with Will's gang. The \n boys are considerably drunk, but it makes for good \n entertainment.", "Laughter as the boys converge on Will. He goes willingly out \n the door.\n\n EXT. L STREET -- CONTINUOUS", "Will is in trouble, back pedaling, dodging punches, trying \n to avoid being overrun.", "Will's P.O.V. reveals BOBBY CHAMPA and his friends walking \n down the street. One of them casually lobs a bottle into a", "The fight is messy, ugly and chaotic. Most punches are thrown \n wildly and miss, heads are banged against concrete, someone \n throws a bottle.", "Chuckie stands on the porch to Will's house. His Cadillac \n idles by the curb. Will comes out and they get in the car.\n\n We travel across crowded public housing and onto downtown.", "Will's boys erupt into laughter. Angle on Clark, deflated.\n\n EXT. STREET -- NIGHT", "In the end, it's our guys who are left standing, while Bobby's \n friends stagger off. Chuckie and Morgan turn to see Will, \n standing over the unconscious Bobby Champa, still POUNDING \n him.", "WILL\n Yeah, you're all invited over to \n Morgan's house for a complementary \n fish sandwich.\n\n The Police slam Will into the hood of a car.", "fracas with three cops. More converge on Will, who -- though \n he struggles -- takes a beating.", "Arriving at Will's house and dropping him off.\n\n DISSOLVE TO:", "As Will and Chuckie approach, Billy is on top of a bloodied \n Morgan and has him in the \"Cobra Clutch.\" Will and Chuckie \n watch for a beat. Billy tightens his grip.", "Will and Chuckie walk up to an enclosed trampoline. Billy \n and Morgan prefer to use it for their own version of \n \"Wrestlemania.\"", "Will guns another one, way inside.\n\n CHUCKIE\n Stop brushin' me back!\n\n WILL\n Stop crowdin the plate!", "The POLICE finally arrive on the scene and having only \n witnessed Will's vicious attack on Champa, they grab him.\n\n EXT. SIDEWALK (FULL SPEED) -- CONTINUOUS", "Will resists. Another cop comes over. Will KICKS HIM IN THE \n KNEE, dropping the cop. Momentarily freed, Will engages in a", "Will and Chuckie take crowbars to a wall. This is what they \n do for a living. As they routinely hammer away, Will becomes" ], [ "SKYLAR\n Will? Are you awake?\n\n WILL\n No.\n\n SKYLAR\n Come with me to California.", "INT. SKYLAR'S DORM -- AFTERNOON\n\n The door to Skylar's dorm is partially open. Will stands \n outside while Skylar remains on the threshold.", "Skylar emerges from the crowd and approaches Will.\n\n SKYLAR\n You suck.\n\n WILL\n What?", "SKYLAR\n I want to meet them.\n\n WILL\n We'll do that.\n\n CUT TO:", "Will is a solitary figure strolling across the lawn. He stops \n at Skylar's dorm and knocks on the door.\n\n CUT TO:", "Skylar stands at the gate, carry-ons in hand. Her flight is \n boarding. She looks for Will over the crowd.\n\n CUT TO:", "INT. SKYLAR'S ROOM -- NIGHT\n\n Will and Skylar lie in bed. Skylar watches Will sleep. She \n gets up and goes to the fridge. Returning to the bed:", "SKYLAR\n You grew up around here?\n\n WILL\n Not far from here, South Boston.", "SKYLAR\n Will?\n\n A beat.\n\n WILL\n Take care.", "INT. L STREET BAR & GRILLE -- LATER\n\n Skylar and Will sit together along with Will's gang. The \n boys are considerably drunk, but it makes for good \n entertainment.", "SKYLAR\n Yes, Will. I didn't even know that?\n\n WILL\n No, you don't want to hear that.", "WILL\n What?\n\n SKYLAR\n I want you to come with me.\n\n WILL\n How do you know that?", "SKYLAR\n No, so I can be a doctor.\n\n A beat. Will nods. She looks down, then up.", "SKYLAR\n How was that?\n\n WILL\n Pretty boring, I guess.\n\n She smiles.", "INT. SKYLAR'S ROOM -- NIGHT\n\n SKYLAR\n Hello?\n\n Will hangs up and runs back to the car, soaked.", "SKYLAR\n Goodbye.\n\n Will hangs up. Hold on him for an agonizing beat.\n\n CUT TO:", "SKYLAR\n I think I can make it to South Boston.\n\n WILL\n Aah, it's kind of a hike.", "She turns.\n\n WILL\n Five minutes.\n\n SKYLAR\n What?", "WILL\n All the time. We all live in Southie. \n I live with three of them now.\n\n Skylar smiles.", "CUT TO:\n\n INT. TOY STORE -- LATER\n\n Will and Skylar walk into the small shop." ], [ "WILL\n Why shouldn't I work for the National \n Security Agency? That's a tough one.\n\n Will bites his tongue, trying to make this work.", "Will sits across from two N.S.A. AGENTS, OLIVER DYTRESS and", "Will gets up.\n\n LAMBEAU\n Will, the N.S.A. has been calling me \n just about every hour. They're very \n excited about how the meeting went.", "WILL\n So why do you think I should work \n for the National Security Agency?", "WILL\n Say I'm working at N.S.A. Somebody \n puts a code on my desk, something", "INT. SEAN'S OFFICE -- NIGHT\n\n Will sits across from Sean.\n\n SEAN\n So you might be working for Uncle \n Sam.", "WILL\n Come on, that's what you do. You \n handle more than eighty percent of \n the intelligence workload. You're \n seven times the size of the C.I.A.", "They turn to Will who places his proof on the projector. The \n image is cast over their faces. It reads:\n\n As Pekec reads and the realization dawns on him:", "WILL\n Yeah, I read those.\n\n SEAN\n What did you think?", "Will gets up again and moves around his chair to Sean's \n painting. It is a picture of an old sailboat in a tremendous \n storm -- by no means a masterpiece. Will studies it.", "LAMBEAU\n Cutting edge mathematics. Think tanks.\n The kind of place where a mind like \n Will's is given free reign.", "I don't know a lot, Will. But let me \n tell you one thing. All this history, \n this shit...\n (indicates file)", "you work for N.S.A.\" it's \"why \n shouldn't you?\"", "CUT TO:\n\n INT. NATIONAL SECURITY AGENCY, OFFICE -- DAY", "Will smiles. A beat.\n\n WILL\n Why not? You told me every other \n fuckin' thing. You talk more than \n any shrink I ever met.", "WILL\n You're right. I know.\n\n PSYCHOLOGIST\n Will, your not getting off that easy.", "SEAN\n What did you think?\n\n WILL\n What did I think?\n\n A beat. Will has obviously been stewing on this.", "WILL\n Codebreaking.\n\n DYTRESS\n That's one aspect of what we do.", "WILL\n Do you want to talk about it?\n\n Sean smiles. A beat. Will sees a FILE on Sean's desk.", "Will sits alone, thinking. We hold on him for an extended \n beat until he gets up and walks away.\n\n OMITTED" ], [ "Professor Lambeau sits, waiting. Will is brought in, shackled, \n by the guard.\n\n LAMBEAU\n Hello. Gerald Lambeau, M.I.T.", "WILL\n Okay... don't forget to get another \n therapist for next week.\n\n LAMBEAU\n That's enough.", "WILL\n (spooky voice)\n Look into my eyes. I don't need \n therapy.\n\n LAMBEAU\n Get out, Will.", "INT. LAMBEAU'S OFFICE -- LATER\n\n Will is reclining, eyes closed, in a trance-like state. The \n mood is more serious now.", "CUT TO:\n\n INT. LAMBEAU'S OFFICE -- DAY\n\n Will sits in a chair across from Lambeau and the HYPNOTIST.", "After an awkward moment, Lambeau goes, leaving Sean and Will \n alone. Will doesn't look at Sean for more than a second. He \n seems more interested in the room. There is a long silence \n as Sean watches Will.", "Will walks out. Lambeau goes to \"fix\" the proof, scanning \n the blackboard for whatever damage Will caused. He stops, \n scans the board again. Amazement registers on his face.", "WILL\n What're those?\n\n LAMBEAU\n That you meet with me twice a week—\n (a beat)\n and you meet with a therapist.", "Will turns around reveling that he's lit the PROOF ON FIRE. \n Will drops it on the floor. Lambeau drops to his knees and \n puts it out. He looks up at Will.", "LAMBEAU\n (getting up)\n Oh Jesus.\n\n The Hypnotist gets up and starts heading towards the door. \n Will is still singing from \"Sky Rockets.\"", "Lambeau is excited. Will clearly is not.\n\n WILL\n Yeah.\n\n CUT TO:", "LAMBEAU\n I just want you to know... It's been \n a pleasure.\n\n WILL\n Bullshit.\n\n They laugh.", "HYPNOTIST\n You don't have to be nervous, Will.\n\n Lambeau and the Therapist trade looks. This is working.", "LAMBEAU\n (has to smile)\n Thank you, Will. I'll do that.\n\n Will smiles, turns and walks away.", "Will comes out of Sean's office and sees Lambeau walking up.\n\n LAMBEAU\n (surprised)\n Will.", "LAMBEAU\n So am I.\n (beat)\n Yes. That's right, Will. Most days I", "WILL\n Do you still counsel veterans?\n (beat)\n I read your book last night.\n\n SEAN\n No, I don't.", "He is gone. Will stops singing, laughs.\n\n LAMBEAU\n Oh, for God's sake, Will.", "INT. LAMBEAU'S OFFICE -- DAY\n\n Will is in Lambeau's office. Lambeau is at the board, working \n on a diagram as Tom takes notes. Will seems disinterested.", "The shrink gets up and walks out.\n\n WILL\n Fuckin' hypocrite...\n\n INT. HALLWAY -- CONTINUOUS" ], [ "SKYLAR\n Yes, Will. I didn't even know that?\n\n WILL\n No, you don't want to hear that.", "Skylar emerges from the crowd and approaches Will.\n\n SKYLAR\n You suck.\n\n WILL\n What?", "INT. L STREET BAR & GRILLE -- LATER\n\n Skylar and Will sit together along with Will's gang. The \n boys are considerably drunk, but it makes for good \n entertainment.", "WILL\n How many?\n\n Will picks up the phone, dials.\n\n WILL\n Hey, Skylar?", "A beat. Will looks Skylar dead in the eye. Lowers his hand.\n\n WILL\n I don't love you.\n\n He walks out.", "SKYLAR\n Goodbye.\n\n Will hangs up. Hold on him for an agonizing beat.\n\n CUT TO:", "Will smiles. A beat.\n\n WILL\n Why not? You told me every other \n fuckin' thing. You talk more than \n any shrink I ever met.", "Will is on pay phone talking to Skylar.", "SKYLAR\n I want to meet them.\n\n WILL\n We'll do that.\n\n CUT TO:", "SKYLAR\n No, so I can be a doctor.\n\n A beat. Will nods. She looks down, then up.", "He [Clark] walks over to Skylar and Lydia, nobly hovering \n over them as protector. This gets Will, Morgan, and Billy's \n attention.", "WILL\n (mock protest)\n No I wasn't...\n\n SKYLAR\n Yes you were.", "INT. SKYLAR'S ROOM -- NIGHT\n\n SKYLAR\n Hello?\n\n Will hangs up and runs back to the car, soaked.", "Will is a solitary figure strolling across the lawn. He stops \n at Skylar's dorm and knocks on the door.\n\n CUT TO:", "WILL\n Some, a little.\n\n SKYLAR\n Just for fun?\n\n WILL\n I guess so.", "SKYLAR\n What, five?\n\n Will shakes his head.\n\n SKYLAR\n Seven?", "WILL\n All the time. We all live in Southie. \n I live with three of them now.\n\n Skylar smiles.", "Whatever demons must be raging inside Will, he is taking \n them out on Bobby Champa. He pummels the helpless, unconscious \n Champa, fury in his eyes. Chuckie and Billy pull Will away.", "SKYLAR\n Is it me you're hiding from them or \n the other way around?\n\n WILL\n All right, all right. We'll go.", "Will lifts his shirt, revealing a six inch SCAR on his torso.\n\n WILL\n You don't want to hear that. Don't \n tell me you want to hear that shit!!" ], [ "They laugh.\n\n WILL\n See ya.\n\n SEAN\n Good luck.\n\n Both men smile.", "Will gets up again and moves around his chair to Sean's \n painting. It is a picture of an old sailboat in a tremendous \n storm -- by no means a masterpiece. Will studies it.", "Will walks out carrying a brown bag. He is filthy, having \n just knocked off work.\n\n CUT TO:", "Laughter as the boys converge on Will. He goes willingly out \n the door.\n\n EXT. L STREET -- CONTINUOUS", "Arriving at Will's house and dropping him off.\n\n DISSOLVE TO:", "Will's P.O.V. reveals BOBBY CHAMPA and his friends walking \n down the street. One of them casually lobs a bottle into a", "The camera cranes down from Sean's window and onto the street, \n where we pan to reveal Will, sitting in his car and looking", "WILL\n Sorry to miss this.\n\n INT. L STREET -- SAME\n\n Will comes back from the bathroom.", "WILL\n So, you finally got a job Morgan?\n\n MORGAN\n Had one, now I'm fucked again.", "As soon as Will hits Bobby, his friends CONVERGE ON WILL. \n Billy JUMPS IN and wrestles one guy to the ground. The two \n exchange messy punches on the sidewalk.", "Chuckie walks back towards his car unable to contain the \n broad smile. He knows Will is gone. He shrugs in explanation \n to the guys. Morgan takes Will's seat as they pull away from \n the curb.", "Chuckie knocks on Will's front door. There is no answer. He \n waits a beat, looks in the window. An incredulous smile slowly \n starts to form.", "Chuckie stands on the porch to Will's house. His Cadillac \n idles by the curb. Will comes out and they get in the car.\n\n We travel across crowded public housing and onto downtown.", "Will and Sean sit in silence. A long moment passes. Sean \n casually reclines in his chair, disinterested. Will restlessly", "WILL\n Yeah, you're all invited over to \n Morgan's house for a complementary \n fish sandwich.\n\n The Police slam Will into the hood of a car.", "INT. L STREET BAR & GRILLE -- LATER\n\n Skylar and Will sit together along with Will's gang. The \n boys are considerably drunk, but it makes for good \n entertainment.", "Will is out of the door, jogging toward Bobby Champa. Billy \n gets out, following Will with a look of casual indifference.\n\n CHUCKIE\n Morgan, Let's go.", "He is gone. Will stops singing, laughs.\n\n LAMBEAU\n Oh, for God's sake, Will.", "Will sits alone, thinking. We hold on him for an extended \n beat until he gets up and walks away.\n\n OMITTED", "Whatever demons must be raging inside Will, he is taking \n them out on Bobby Champa. He pummels the helpless, unconscious \n Champa, fury in his eyes. Chuckie and Billy pull Will away." ], [ "Chuckie knocks on Will's front door. There is no answer. He \n waits a beat, looks in the window. An incredulous smile slowly \n starts to form.", "Chuckie drops Will off at his apartment, watches him [Will] \n walk up the steps.\n\n DISSOLVE TO:", "Curious, he investigates.\n\n EXT. WILL'S APARTMENT -- SAME\n\n Chuckie walks up Will's front steps.", "Chuckie pulls up to the curb and walks up the steps to Will's \n front door. After a beat, Will emerges. They get back in \n [the car].\n\n CUT TO:", "Chuckie stands on the porch to Will's house. His Cadillac \n idles by the curb. Will comes out and they get in the car.\n\n We travel across crowded public housing and onto downtown.", "EXT. WILL'S APARTMENT -- SAME\n\n Chuckie pulls up in front of Will's house. He honks the horn, \n waits a beat, then gets out and heads toward the house.", "Chuckie walks back towards his car unable to contain the \n broad smile. He knows Will is gone. He shrugs in explanation \n to the guys. Morgan takes Will's seat as they pull away from \n the curb.", "EXT. CONSTRUCTION SITE -- DAY\n\n Will and Chuckie at work. Chuckie shows Will how to be a \n man.", "EXT. SEAN'S APARTMENT -- SAME\n\n Sean opens the card Will left for him. It reads:", "Chuckie smiles.\n\n SKYLAR\n Will and I dropped you off here, \n remember?\n\n CHUCKIE\n Oh, right.", "Will is staggered and bleary, as a second guy winds up for a \n shot he is BLIND SIDED by Chuckie who hits the kid like he \n was a tackling sled, lifting him off the ground.", "WILL\n They're all sleepin' now.\n (a beat, to Chuckie)\n Let me get those keys.\n\n CUT TO:", "Chuckie heads towards Will to say goodnight.\n\n WILL\n I don't know what the fuck you're \n doin'. You're givin' us a ride.", "Will and Chuckie take crowbars to a wall. This is what they \n do for a living. As they routinely hammer away, Will becomes", "Chuckie, Billy, and Will sit in the Sullivan kitchen. Billy \n cracks open a beer and Chuckie reads the sports page. Both", "Whatever demons must be raging inside Will, he is taking \n them out on Bobby Champa. He pummels the helpless, unconscious \n Champa, fury in his eyes. Chuckie and Billy pull Will away.", "Chuckie is sitting on the hood of his Cadillac, watching \n Will across the street. Chuckie is covered in grime as well.", "WILL\n Chuckie, what the fuck happened?", "FADE UP to the sound of laughter.\n\n INT. L STREET BAR & GRILLE -- DAY\n\n Chuckie is again regaling Will and the guys at their table.", "WILL\n If you change your mind, I'll be \n over by the bar.\n\n He turns and walks away. Chuckie follows, throwing Clark a \n look." ], [ "Arriving at Will's house and dropping him off.\n\n DISSOLVE TO:", "yourself if you want Will to feel \n that way for the rest of his life, \n to feel like a failure.", "SEAN\n That's what you want?\n\n WILL\n Yeah, I think so.\n\n SEAN\n Good for you. Congratulations.", "Will sits alone, thinking. We hold on him for an extended \n beat until he gets up and walks away.\n\n OMITTED", "Will is on the road, driving away. As we pull back and credits \n roll, the car disappears into the horizon.\n\n THE END", "They turn to Will who places his proof on the projector. The \n image is cast over their faces. It reads:\n\n As Pekec reads and the realization dawns on him:", "Sean smiles.\n\n SEAN\n Do what's in your heart, son. You'll \n be fine.\n\n WILL\n Thanks you, Sean.", "Will loses it, slams the door shut.\n\n WILL\n Fuck you!\n\n Sean has finally gotten to Will.", "WILL\n Dead! She dies and you just cash in \n your chips. That's a fuckin' cop-\n out!", "Sean takes Will in his arms and holds him like a child. Will \n sobs like a baby. After a moment, he wraps his arms around", "WILL\n (crying hard)\n I know, I know...", "Sean says this with pride. His determined stare and confident \n manner catch Will a bit off guard. Will rises from his chair \n and goes to the shelf.", "WILL\n I'm pretty sure it's right.\n\n Will gets up to leave.", "They laugh.\n\n WILL\n See ya.\n\n SEAN\n Good luck.\n\n Both men smile.", "Will turns around reveling that he's lit the PROOF ON FIRE. \n Will drops it on the floor. Lambeau drops to his knees and \n puts it out. He looks up at Will.", "WILL\n If I agree to this, I walk right \n now?\n\n LAMBEAU\n That's right.", "While Will is substantially smaller than Clark, he [Clark] \n decides not to take Will up on his [Will's] offer.", "Will walks out. Lambeau goes to \"fix\" the proof, scanning \n the blackboard for whatever damage Will caused. He stops, \n scans the board again. Amazement registers on his face.", "WILL\n (tears start)\n I know.\n\n SEAN\n It's not...", "They get to the table. Will's heart just isn't in it.\n\n WILL\n I'm takin' off." ], [ "Will gets up again and moves around his chair to Sean's \n painting. It is a picture of an old sailboat in a tremendous \n storm -- by no means a masterpiece. Will studies it.", "Will walks out carrying a brown bag. He is filthy, having \n just knocked off work.\n\n CUT TO:", "They laugh.\n\n WILL\n See ya.\n\n SEAN\n Good luck.\n\n Both men smile.", "are in the room. Will sits at a work-station which projects \n a proof of his [Will's] onto the chalkboard. Lambeau stands", "The camera cranes down from Sean's window and onto the street, \n where we pan to reveal Will, sitting in his car and looking", "WILL\n So, you finally got a job Morgan?\n\n MORGAN\n Had one, now I'm fucked again.", "Will and Chuckie take crowbars to a wall. This is what they \n do for a living. As they routinely hammer away, Will becomes", "Arriving at Will's house and dropping him off.\n\n DISSOLVE TO:", "Will sits alone in his one room apartment, reading. A closer \n look reveals he is reading a self-help PSYCHOLOGY BOOK. Will", "Will and Sean sit in silence. A long moment passes. Sean \n casually reclines in his chair, disinterested. Will restlessly", "Will is silent.\n\n SEAN\n Something you want to say?\n\n Sean gets up, goes to the door and opens it.", "WILL\n Define that.\n\n SEAN\n Someone who challenges you in every \n way. Who takes you places, opens \n things up for you. A soul-mate.", "and takes a step back, watching Will. Will is oblivious.", "INT. LAMBEAU'S OFFICE -- LATER\n\n Will is reclining, eyes closed, in a trance-like state. The \n mood is more serious now.", "CUT TO:\n\n INT. LAMBEAU'S OFFICE -- DAY\n\n Will sits in a chair across from Lambeau and the HYPNOTIST.", "Will gets up and adopts a hypnotic persona in front of \n Lambeau.", "Will strolls into the office. Sean is waiting there behind \n his desk. He seems different. More calm. Will and Sean stare \n at each other for a long moment.", "Sean says this with pride. His determined stare and confident \n manner catch Will a bit off guard. Will rises from his chair \n and goes to the shelf.", "Will is in trouble, back pedaling, dodging punches, trying \n to avoid being overrun.", "Sean takes Will in his arms and holds him like a child. Will \n sobs like a baby. After a moment, he wraps his arms around" ], [ "LAMBEAU\n I'm a professor at M.I.T.\n (beat)\n Combunatorial Mathematics.\n\n The Judge offers only a blank look.", "The classroom is even more crowded than last we saw it. Tom \n takes notes as Lambeau plays along with the excited \n environment with mock pomposity and good humor.", "PROFESSOR LAMBEAU (52) is at the lectern. The chalkboard \n behind him is covered with theorems.", "Will walks out. Lambeau goes to \"fix\" the proof, scanning \n the blackboard for whatever damage Will caused. He stops, \n scans the board again. Amazement registers on his face.", "are in the room. Will sits at a work-station which projects \n a proof of his [Will's] onto the chalkboard. Lambeau stands", "More laughs.\n\n LAMBEAU\n Okay. That is all.\n\n A smattering of applause. Students pack their bags.", "He holds up the M.I.T. Tech featuring a silhouetted figure, \n emblazoned with a large, white question mark. The headline \n reads \"Mystery Math Magician strikes again.\"", "Prof. Lambeau holds up a thin publication entitled \"M.I.T. \n Tech.\" Everyone laughs.", "Will and Lambeau work together at the board. They communicate \n non-verbally as they collaborate on a problem. After a \n particularly amusing series of numbers, they share a look \n and laugh.", "of greatness. Professor Gerald Lambeau \n is a Field's Medal winner. \n Combunatorial Mathematics. 1986.", "Lambeau gathers his composure and calmly walks over to the \n wrinkled proof. He picks it up, smooths it out.\n\n CUT TO:", "People start to gather their things and go. Lambeau picks up \n a piece of chalk and starts writing on the board.", "STUDENT\n Excuse me, Professor Lambeau?\n\n LAMBEAU\n Yes.", "Lambeau says nothing. Will gets up and goes to the board.", "WILL\n Of course.\n\n LAMBEAU\n Okay. How?\n\n WILL\n It's an integer proof.", "LAMBEAU\n Cutting edge mathematics. Think tanks.\n The kind of place where a mind like \n Will's is given free reign.", "LAMBEAU\n I happen to know so.\n\n Lambeau rises and goes to the board.", "LAMBEAU\n That's a wonderful theory, Sean. It \n worked wonders for you.\n\n A beat. Lambeau gets up.", "LAMBEAU\n Whoever you are, you've solved four \n of the most difficult theorems I've", "LAMBEAU\n You're thinking too hard. What if I \n did this?\n\n He draws a vertical line through the diagram." ], [ "Will walks out. Lambeau goes to \"fix\" the proof, scanning \n the blackboard for whatever damage Will caused. He stops, \n scans the board again. Amazement registers on his face.", "Lambeau gathers his composure and calmly walks over to the \n wrinkled proof. He picks it up, smooths it out.\n\n CUT TO:", "Lambeau looks at Sean, surprised. Sean's stare is unwavering.", "Will and Lambeau work together at the board. They communicate \n non-verbally as they collaborate on a problem. After a \n particularly amusing series of numbers, they share a look \n and laugh.", "LAMBEAU\n I'm a professor at M.I.T.\n (beat)\n Combunatorial Mathematics.\n\n The Judge offers only a blank look.", "LAMBEAU\n That's a wonderful theory, Sean. It \n worked wonders for you.\n\n A beat. Lambeau gets up.", "Lambeau has to smile, impressed. The Judge shakes his head.", "LAMBEAU\n You're thinking too hard. What if I \n did this?\n\n He draws a vertical line through the diagram.", "Lambeau says nothing. Will gets up and goes to the board.", "LAMBEAU\n I happen to know so.\n\n Lambeau rises and goes to the board.", "WILL\n Of course.\n\n LAMBEAU\n Okay. How?\n\n WILL\n It's an integer proof.", "Lambeau smiles.\n\n WILL\n What? Hey, look buddy my time's almost \n up. You want me to sit here for an \n hour and write it out?", "LAMBEAU\n (has to smile)\n Thank you, Will. I'll do that.\n\n Will smiles, turns and walks away.", "LAMBEAU\n Have you ever played checkers?\n\n Will realizes what Lambeau is getting at. In a flash he starts \n drawing lines through the diagram, energized.", "The classroom is even more crowded than last we saw it. Tom \n takes notes as Lambeau plays along with the excited \n environment with mock pomposity and good humor.", "are in the room. Will sits at a work-station which projects \n a proof of his [Will's] onto the chalkboard. Lambeau stands", "Will turns around reveling that he's lit the PROOF ON FIRE. \n Will drops it on the floor. Lambeau drops to his knees and \n puts it out. He looks up at Will.", "LAMBEAU\n Now, what if I do this?\n\n He draws a horizontal line through the diagram. He hands \n Will the chalk.", "Lambeau is excited. Will clearly is not.\n\n WILL\n Yeah.\n\n CUT TO:", "LAMBEAU\n Have you ever heard of a man named \n Ramanujan?\n\n Sean nods his head.\n\n SEAN\n Yeah." ], [ "WILL\n Fuck do you want?\n\n LAMBEAU\n I've spoken with the judge and he's \n agreed to release you under my \n supervision.", "WILL\n If I agree to this, I walk right \n now?\n\n LAMBEAU\n That's right.", "LAMBEAU\n I just want you to know... It's been \n a pleasure.\n\n WILL\n Bullshit.\n\n They laugh.", "LAMBEAU\n (has to smile)\n Thank you, Will. I'll do that.\n\n Will smiles, turns and walks away.", "After an awkward moment, Lambeau goes, leaving Sean and Will \n alone. Will doesn't look at Sean for more than a second. He \n seems more interested in the room. There is a long silence \n as Sean watches Will.", "Will turns around reveling that he's lit the PROOF ON FIRE. \n Will drops it on the floor. Lambeau drops to his knees and \n puts it out. He looks up at Will.", "CUT TO:\n\n INT. LAMBEAU'S OFFICE -- DAY\n\n Will sits in a chair across from Lambeau and the HYPNOTIST.", "INT. LAMBEAU'S OFFICE -- LATER\n\n Will is reclining, eyes closed, in a trance-like state. The \n mood is more serious now.", "As Will is removed from the courtroom, Lambeau approaches \n Judge Malone who is stepping down from the bench.", "Lambeau is excited. Will clearly is not.\n\n WILL\n Yeah.\n\n CUT TO:", "LAMBEAU\n Well, that's, I think that's terrific.\n Congratulations.\n\n WILL\n Thank you.", "Lambeau smiles.\n\n WILL\n What? Hey, look buddy my time's almost \n up. You want me to sit here for an \n hour and write it out?", "LAMBEAU\n I told you to cooperate with these \n people.\n\n WILL\n C'mon, that guy was a fuckin' piece \n of work.", "Professor Lambeau sits, waiting. Will is brought in, shackled, \n by the guard.\n\n LAMBEAU\n Hello. Gerald Lambeau, M.I.T.", "INT. LAMBEAU'S OFFICE -- DAY\n\n Will is in Lambeau's office. Lambeau is at the board, working \n on a diagram as Tom takes notes. Will seems disinterested.", "WILL\n (suspicious)\n Really?\n\n LAMBEAU\n (beat)\n Yes. Under two conditions.", "He is gone. Will stops singing, laughs.\n\n LAMBEAU\n Oh, for God's sake, Will.", "Lambeau says nothing. Will gets up and goes to the board.", "Will walks out. Lambeau goes to \"fix\" the proof, scanning \n the blackboard for whatever damage Will caused. He stops, \n scans the board again. Amazement registers on his face.", "Will comes out of Sean's office and sees Lambeau walking up.\n\n LAMBEAU\n (surprised)\n Will." ], [ "SEAN\n Hello, Will. I'm Sean Maguire.\n\n A smile crosses Will's face as he walks to his chair and \n sits.", "WILL\n No.\n\n LAMBEAU\n Will, this is Sean Maguire. Sean, \n Will Hunting.", "Will sits in a well decorated Psychologist's Office. Across \n from Will sits the same PSYCHOLOGIST, HENRY LIPKIN (40), \n from the book. They are in mid-session.", "Will strolls into the office. Sean is waiting there behind \n his desk. He seems different. More calm. Will and Sean stare \n at each other for a long moment.", "Will gets up again and moves around his chair to Sean's \n painting. It is a picture of an old sailboat in a tremendous \n storm -- by no means a masterpiece. Will studies it.", "Will and Sean sit in silence. A long moment passes. Sean \n casually reclines in his chair, disinterested. Will restlessly", "Sean goes to the door and opens it. Will walks out.\n\n CUT TO:\n\n INT. MAGGIORE BUILDER'S CONSTRUCTION SITE -- DAY", "Sean does not seem at all affected by Will's attitude. He \n remains behind the big desk with almost half a smile on his \n face. Will is aware of Sean's confidence.", "Sean says this with pride. His determined stare and confident \n manner catch Will a bit off guard. Will rises from his chair \n and goes to the shelf.", "Sean takes Will in his arms and holds him like a child. Will \n sobs like a baby. After a moment, he wraps his arms around", "Will loses it, slams the door shut.\n\n WILL\n Fuck you!\n\n Sean has finally gotten to Will.", "WILL\n You're right. I know.\n\n PSYCHOLOGIST\n Will, your not getting off that easy.", "WILL\n Certain, clubs.\n (beat)\n Like, Paradise. It's not bad.\n\n Will gives the Psychologist a furtive look.", "Will smiles. A beat.\n\n WILL\n Why not? You told me every other \n fuckin' thing. You talk more than \n any shrink I ever met.", "WILL\n No, but, I mean you know... I do \n other things. That no one knows about.\n\n PSYCHOLOGIST\n Like what, Will?", "Sean Maguire lectures to the class in a resigned tone. Tired \n of teaching, tired of life, he finds himself resigned to the \n tedium of teaching core classes to an indifferent student \n body.", "The camera cranes down from Sean's window and onto the street, \n where we pan to reveal Will, sitting in his car and looking", "SEAN\n That's what you want?\n\n WILL\n Yeah, I think so.\n\n SEAN\n Good for you. Congratulations.", "Sean looks directly at Will, who looks away. A beat.", "They laugh.\n\n WILL\n See ya.\n\n SEAN\n Good luck.\n\n Both men smile." ], [ "Sean takes Will in his arms and holds him like a child. Will \n sobs like a baby. After a moment, he wraps his arms around", "WILL\n Oh, well, it's just somethin' Sean \n told me. It's a long story.\n\n A beat.", "SEAN\n My wife's been dead two years, Will. \n And when I think about her, those", "Will gets up again and moves around his chair to Sean's \n painting. It is a picture of an old sailboat in a tremendous \n storm -- by no means a masterpiece. Will studies it.", "WILL\n That's it isn't it? You married the \n wrong woman. She leave you? Was she \n bangin' someone else?\n\n Sean is walking slowly towards Will.", "Sean smiles.\n\n SEAN\n Do what's in your heart, son. You'll \n be fine.\n\n WILL\n Thanks you, Sean.", "Sean says this with pride. His determined stare and confident \n manner catch Will a bit off guard. Will rises from his chair \n and goes to the shelf.", "WILL\n You ever think about gettin' \n remarried?\n\n SEAN\n My wife's dead.", "SEAN\n That's what you want?\n\n WILL\n Yeah, I think so.\n\n SEAN\n Good for you. Congratulations.", "SEAN\n Why? Because of the pain I feel now? \n I have regrets Will, but I don't \n regret a singel day I spent with \n her.", "SEAN\n What? Do I wonder if I'd be better \n off if I never met my wife?\n\n Will starts to clarify his question.", "WILL\n Why not?\n\n SEAN\n I gave that up when my wife got sick.", "SEAN\n You're right, Will. Any man who takes \n a forty minute train ride so those", "WILL\n Then let's go have some fun.\n\n With a smile, she relents.\n\n INT. SEAN'S OFFICE -- DAY", "Will loses it, slams the door shut.\n\n WILL\n Fuck you!\n\n Sean has finally gotten to Will.", "SEAN\n You wanted to talk about Will?\n\n LAMBEAU\n Seems like it's going well.", "Will is silent.\n\n SEAN\n Something you want to say?\n\n Sean gets up, goes to the door and opens it.", "Sean does not seem at all affected by Will's attitude. He \n remains behind the big desk with almost half a smile on his \n face. Will is aware of Sean's confidence.", "The camera cranes down from Sean's window and onto the street, \n where we pan to reveal Will, sitting in his car and looking", "SEAN\n And right now you're perfect too. \n Maybe you don't want to ruin that.\n\n Will says nothing." ], [ "INT. LAMBEAU'S OFFICE -- LATER\n\n Will is reclining, eyes closed, in a trance-like state. The \n mood is more serious now.", "INT. LAMBEAU'S OFFICE -- DAY\n\n Will is in Lambeau's office. Lambeau is at the board, working \n on a diagram as Tom takes notes. Will seems disinterested.", "CUT TO:\n\n INT. LAMBEAU'S OFFICE -- DAY\n\n Will sits in a chair across from Lambeau and the HYPNOTIST.", "LAMBEAU\n (has to smile)\n Thank you, Will. I'll do that.\n\n Will smiles, turns and walks away.", "LAMBEAU\n Well, that's, I think that's terrific.\n Congratulations.\n\n WILL\n Thank you.", "Lambeau is excited. Will clearly is not.\n\n WILL\n Yeah.\n\n CUT TO:", "Will and Lambeau work together at the board. They communicate \n non-verbally as they collaborate on a problem. After a \n particularly amusing series of numbers, they share a look \n and laugh.", "After an awkward moment, Lambeau goes, leaving Sean and Will \n alone. Will doesn't look at Sean for more than a second. He \n seems more interested in the room. There is a long silence \n as Sean watches Will.", "LAMBEAU\n I just want you to know... It's been \n a pleasure.\n\n WILL\n Bullshit.\n\n They laugh.", "Lambeau says nothing. Will gets up and goes to the board.", "Lambeau smiles.\n\n WILL\n What? Hey, look buddy my time's almost \n up. You want me to sit here for an \n hour and write it out?", "SEAN\n You wanted to talk about Will?\n\n LAMBEAU\n Seems like it's going well.", "Will comes out of Sean's office and sees Lambeau walking up.\n\n LAMBEAU\n (surprised)\n Will.", "Professor Lambeau sits, waiting. Will is brought in, shackled, \n by the guard.\n\n LAMBEAU\n Hello. Gerald Lambeau, M.I.T.", "Will turns around reveling that he's lit the PROOF ON FIRE. \n Will drops it on the floor. Lambeau drops to his knees and \n puts it out. He looks up at Will.", "WILL\n Yeah, let's let the healing begin.\n\n Lambeau is slightly embarrassed. Sean smiles at Will's joke.", "As Will is removed from the courtroom, Lambeau approaches \n Judge Malone who is stepping down from the bench.", "HYPNOTIST\n You don't have to be nervous, Will.\n\n Lambeau and the Therapist trade looks. This is working.", "LAMBEAU\n That's a wonderful theory, Sean. It \n worked wonders for you.\n\n A beat. Lambeau gets up.", "Will can see that Lambeau wants more.\n\n WILL\n Pudge Fisk. You follow baseball?\n\n LAMBEAU\n No." ], [ "Skylar emerges from the crowd and approaches Will.\n\n SKYLAR\n You suck.\n\n WILL\n What?", "SKYLAR\n Yes, Will. I didn't even know that?\n\n WILL\n No, you don't want to hear that.", "SKYLAR\n I want to meet them.\n\n WILL\n We'll do that.\n\n CUT TO:", "INT. SKYLAR'S DORM -- AFTERNOON\n\n The door to Skylar's dorm is partially open. Will stands \n outside while Skylar remains on the threshold.", "SKYLAR\n No, so I can be a doctor.\n\n A beat. Will nods. She looks down, then up.", "WILL\n What?\n\n SKYLAR\n I want you to come with me.\n\n WILL\n How do you know that?", "INT. SKYLAR'S ROOM -- NIGHT\n\n Will and Skylar lie in bed. Skylar watches Will sleep. She \n gets up and goes to the fridge. Returning to the bed:", "SKYLAR\n Will?\n\n A beat.\n\n WILL\n Take care.", "SKYLAR\n Then why don't we just get it out of \n the way.\n\n He looks at her.\n\n WILL\n Now?", "WILL\n Yeah.\n\n SKYLAR\n I love you, Will.\n (pause)\n No take-backs.\n\n Will says nothing.", "Skylar is awestruck with admiration for Will, the Robot-pimp. \n So much so that Skylar has to kiss him, then push him away.", "INT. L STREET BAR & GRILLE -- LATER\n\n Skylar and Will sit together along with Will's gang. The \n boys are considerably drunk, but it makes for good \n entertainment.", "SKYLAR\n Goodbye.\n\n Will hangs up. Hold on him for an agonizing beat.\n\n CUT TO:", "She turns.\n\n WILL\n Five minutes.\n\n SKYLAR\n What?", "Will is on pay phone talking to Skylar.", "Skylar stands at the gate, carry-ons in hand. Her flight is \n boarding. She looks for Will over the crowd.\n\n CUT TO:", "Will is a solitary figure strolling across the lawn. He stops \n at Skylar's dorm and knocks on the door.\n\n CUT TO:", "WILL\n How many?\n\n Will picks up the phone, dials.\n\n WILL\n Hey, Skylar?", "SKYLAR\n Oh, you will?\n\n WILL\n No... I was hoping to get a kiss.", "Will catches Skylar's eye." ], [ "Sean takes Will in his arms and holds him like a child. Will \n sobs like a baby. After a moment, he wraps his arms around", "The camera cranes down from Sean's window and onto the street, \n where we pan to reveal Will, sitting in his car and looking", "Sean looks directly at Will, who looks away. A beat.", "Will and Sean sit in silence. A long moment passes. Sean \n casually reclines in his chair, disinterested. Will restlessly", "They laugh.\n\n WILL\n See ya.\n\n SEAN\n Good luck.\n\n Both men smile.", "Sean smiles.\n\n SEAN\n Do what's in your heart, son. You'll \n be fine.\n\n WILL\n Thanks you, Sean.", "Sean says this with pride. His determined stare and confident \n manner catch Will a bit off guard. Will rises from his chair \n and goes to the shelf.", "After an awkward moment, Lambeau goes, leaving Sean and Will \n alone. Will doesn't look at Sean for more than a second. He \n seems more interested in the room. There is a long silence \n as Sean watches Will.", "CUT TO:\n\n EXT. BOSTON COMMON -- MINUTES LATER\n\n Sean and Will sit in the bleachers at the mostly empty park.", "Will gets up again and moves around his chair to Sean's \n painting. It is a picture of an old sailboat in a tremendous \n storm -- by no means a masterpiece. Will studies it.", "Will strolls into the office. Sean is waiting there behind \n his desk. He seems different. More calm. Will and Sean stare \n at each other for a long moment.", "Will is silent.\n\n SEAN\n Something you want to say?\n\n Sean gets up, goes to the door and opens it.", "Will loses it, slams the door shut.\n\n WILL\n Fuck you!\n\n Sean has finally gotten to Will.", "EXT. SEAN'S APARTMENT -- SAME\n\n Sean opens the card Will left for him. It reads:", "Sean does not seem at all affected by Will's attitude. He \n remains behind the big desk with almost half a smile on his \n face. Will is aware of Sean's confidence.", "Will puts the cigarettes away. Sean stares at Will and \n occasionally at the clock. Sean continues to check the clock", "SEAN\n Hello, Will. I'm Sean Maguire.\n\n A smile crosses Will's face as he walks to his chair and \n sits.", "WILL\n Yeah.\n\n Sean waits.", "SEAN\n That's what you want?\n\n WILL\n Yeah, I think so.\n\n SEAN\n Good for you. Congratulations.", "SEAN\n He's not you!\n\n A beat. Lambeau turns, something catches his eye. Sean turns \n to look, IT'S WILL. He is standing in the doorway." ], [ "SEAN\n That's what you want?\n\n WILL\n Yeah, I think so.\n\n SEAN\n Good for you. Congratulations.", "Will loses it, slams the door shut.\n\n WILL\n Fuck you!\n\n Sean has finally gotten to Will.", "WILL\n If I agree to this, I walk right \n now?\n\n LAMBEAU\n That's right.", "Sean smiles.\n\n SEAN\n Do what's in your heart, son. You'll \n be fine.\n\n WILL\n Thanks you, Sean.", "They laugh.\n\n WILL\n See ya.\n\n SEAN\n Good luck.\n\n Both men smile.", "Will sits alone, thinking. We hold on him for an extended \n beat until he gets up and walks away.\n\n OMITTED", "WILL\n I can come back.\n\n LAMBEAU\n No, that's fine, Will. I was just \n leaving.", "WILL\n (tears start)\n I know.\n\n SEAN\n It's not...", "WILL\n I'm pretty sure it's right.\n\n Will gets up to leave.", "Will gets up again and moves around his chair to Sean's \n painting. It is a picture of an old sailboat in a tremendous \n storm -- by no means a masterpiece. Will studies it.", "They turn to Will who places his proof on the projector. The \n image is cast over their faces. It reads:\n\n As Pekec reads and the realization dawns on him:", "Will is silent.\n\n SEAN\n Something you want to say?\n\n Sean gets up, goes to the door and opens it.", "WILL\n Dead! She dies and you just cash in \n your chips. That's a fuckin' cop-\n out!", "WILL\n Fuck do you want?\n\n LAMBEAU\n I've spoken with the judge and he's \n agreed to release you under my \n supervision.", "WILL\n Yeah.\n\n SKYLAR\n I love you, Will.\n (pause)\n No take-backs.\n\n Will says nothing.", "WILL\n (crying hard)\n I know, I know...", "Will turns around reveling that he's lit the PROOF ON FIRE. \n Will drops it on the floor. Lambeau drops to his knees and \n puts it out. He looks up at Will.", "He is gone. Will stops singing, laughs.\n\n LAMBEAU\n Oh, for God's sake, Will.", "Will is on the road, driving away. As we pull back and credits \n roll, the car disappears into the horizon.\n\n THE END", "While Will is substantially smaller than Clark, he [Clark] \n decides not to take Will up on his [Will's] offer." ], [ "Will walks out carrying a brown bag. He is filthy, having \n just knocked off work.\n\n CUT TO:", "Arriving at Will's house and dropping him off.\n\n DISSOLVE TO:", "Will gets up again and moves around his chair to Sean's \n painting. It is a picture of an old sailboat in a tremendous \n storm -- by no means a masterpiece. Will studies it.", "Will and Chuckie take crowbars to a wall. This is what they \n do for a living. As they routinely hammer away, Will becomes", "are in the room. Will sits at a work-station which projects \n a proof of his [Will's] onto the chalkboard. Lambeau stands", "The camera cranes down from Sean's window and onto the street, \n where we pan to reveal Will, sitting in his car and looking", "Chuckie drops Will off at his apartment, watches him [Will] \n walk up the steps.\n\n DISSOLVE TO:", "Will walks up to a nondescript building, he walks through \n the glass doors, into the lobby.\n\n CUT TO:", "Will strolls into the office. Sean is waiting there behind \n his desk. He seems different. More calm. Will and Sean stare \n at each other for a long moment.", "and takes a step back, watching Will. Will is oblivious.", "Will sits alone in his one room apartment, reading. A closer \n look reveals he is reading a self-help PSYCHOLOGY BOOK. Will", "INT. LAMBEAU'S OFFICE -- DAY\n\n Will is in Lambeau's office. Lambeau is at the board, working \n on a diagram as Tom takes notes. Will seems disinterested.", "INT. LAMBEAU'S OFFICE -- LATER\n\n Will is reclining, eyes closed, in a trance-like state. The \n mood is more serious now.", "Sean says this with pride. His determined stare and confident \n manner catch Will a bit off guard. Will rises from his chair \n and goes to the shelf.", "WILL\n Sorry to miss this.\n\n INT. L STREET -- SAME\n\n Will comes back from the bathroom.", "They laugh.\n\n WILL\n See ya.\n\n SEAN\n Good luck.\n\n Both men smile.", "CUT TO:\n\n INT. LAMBEAU'S OFFICE -- DAY\n\n Will sits in a chair across from Lambeau and the HYPNOTIST.", "Will walking through South Boston. He cuts through a park. A \n senior citizen is spearing trach for the city.\n\n INT. WILL'S APARTMENT -- NIGHT", "Will gets up and adopts a hypnotic persona in front of \n Lambeau.", "Chuckie knocks on Will's front door. There is no answer. He \n waits a beat, looks in the window. An incredulous smile slowly \n starts to form." ], [ "SKYLAR\n No, so I can be a doctor.\n\n A beat. Will nods. She looks down, then up.", "WILL\n Gone.\n\n CHUCKIE\n What?\n\n WILL\n She went to Medical school in \n California.", "INT. SKYLAR'S DORM -- DAY\n\n She emerges. He hands her the paper he was working on. It is \n her O-chem lab.", "WILL\n Is Harvard gettin' all that money?\n\n SKYLAR\n Stanford. I'm leaving in June after \n I graduate.", "SKYLAR\n I think I can make it to South Boston.\n\n WILL\n Aah, it's kind of a hike.", "Will and Skylar sit in the open courtyard of this Harvard \n Square eatery. Skylar is working on another O-chem lab. Will \n sits across from her, slightly bored watching her work.", "Skylar stands at the gate, carry-ons in hand. Her flight is \n boarding. She looks for Will over the crowd.\n\n CUT TO:", "Will is a solitary figure strolling across the lawn. He stops \n at Skylar's dorm and knocks on the door.\n\n CUT TO:", "Skylar emerges from the crowd and approaches Will.\n\n SKYLAR\n You suck.\n\n WILL\n What?", "INT. SKYLAR'S ROOM -- NIGHT\n\n Will and Skylar lie in bed. Skylar watches Will sleep. She \n gets up and goes to the fridge. Returning to the bed:", "SKYLAR\n I want to meet them.\n\n WILL\n We'll do that.\n\n CUT TO:", "SKYLAR\n Will? Are you awake?\n\n WILL\n No.\n\n SKYLAR\n Come with me to California.", "The final boarding call is announced and the last passenger \n boards. After a beat, Skylar turns and gets on the plane.\n\n CUT BACK TO:", "SKYLAR\n You grew up around here?\n\n WILL\n Not far from here, South Boston.", "WILL\n So you just want to use me and go?\n\n SKYLAR\n Well, I'm gonna experiment on you \n for my anatomy class, then go.", "She turns.\n\n WILL\n Five minutes.\n\n SKYLAR\n What?", "SKYLAR\n Well, look, I have to go. Gotta' get \n up early and waste some more money \n on my overpriced education.", "SKYLAR\n Sounds good, where are you now?\n\n WILL\n You aren't, by any chance, Pre-law? \n Are you?", "INT. SKYLAR'S DORM -- AFTERNOON\n\n The door to Skylar's dorm is partially open. Will stands \n outside while Skylar remains on the threshold.", "SKYLAR\n How was that?\n\n WILL\n Pretty boring, I guess.\n\n She smiles." ], [ "WILL\n Yeah, you're all invited over to \n Morgan's house for a complementary \n fish sandwich.\n\n The Police slam Will into the hood of a car.", "Arriving at Will's house and dropping him off.\n\n DISSOLVE TO:", "The POLICE finally arrive on the scene and having only \n witnessed Will's vicious attack on Champa, they grab him.\n\n EXT. SIDEWALK (FULL SPEED) -- CONTINUOUS", "The Bailiff goes to remove Will from the courtroom.", "Sean takes Will in his arms and holds him like a child. Will \n sobs like a baby. After a moment, he wraps his arms around", "The cop holding Will SLAMS his [Will's] face into the hood, \n another cop uses a baton to press Will's face into the car. \n The look of rage returns to Will's eye.", "WILL\n Fuck do you want?\n\n LAMBEAU\n I've spoken with the judge and he's \n agreed to release you under my \n supervision.", "Will loses it, slams the door shut.\n\n WILL\n Fuck you!\n\n Sean has finally gotten to Will.", "They turn to Will who places his proof on the projector. The \n image is cast over their faces. It reads:\n\n As Pekec reads and the realization dawns on him:", "fracas with three cops. More converge on Will, who -- though \n he struggles -- takes a beating.", "Will resists. Another cop comes over. Will KICKS HIM IN THE \n KNEE, dropping the cop. Momentarily freed, Will engages in a", "The camera cranes down from Sean's window and onto the street, \n where we pan to reveal Will, sitting in his car and looking", "The Judge takes a beat. Gives Will a look.", "INT. MIDDLESEX COUNTY JAIL, HOLDING AREA -- SAME\n\n A GUARD walks Will down a hallway toward a group of phones.", "Sean says this with pride. His determined stare and confident \n manner catch Will a bit off guard. Will rises from his chair \n and goes to the shelf.", "Will stands before JUDGE MALONE (40) being arraigned. It is \n fairly unceremonious, the courtroom nearly empty, save Will \n and the PROSECUTOR. Lambeau walks in from the back.", "Whatever demons must be raging inside Will, he is taking \n them out on Bobby Champa. He pummels the helpless, unconscious \n Champa, fury in his eyes. Chuckie and Billy pull Will away.", "WILL\n (smiles)\n I know.\n\n SEAN\n It's not your fault.\n\n WILL\n I know.", "Will gets up again and moves around his chair to Sean's \n painting. It is a picture of an old sailboat in a tremendous \n storm -- by no means a masterpiece. Will studies it.", "WILL\n (mock protest)\n No I wasn't...\n\n SKYLAR\n Yes you were." ], [ "SEAN\n He married his cousin.\n\n LAMBEAU\n Who?", "SEAN\n What? Do I wonder if I'd be better \n off if I never met my wife?\n\n Will starts to clarify his question.", "SEAN\n Lon? He got married. He has a kid. I \n kind of lost touch with him after \n Nancy got sick.", "While the morning is quiet and Sean sits serenely, there is \n a look about his that tells us he has faced hard times. This \n is a man who fought his way through life. On his lonely stare \n we:", "SEAN\n My wife's been dead two years, Will. \n And when I think about her, those", "Sean stands,\n\n SEAN\n It's up to you.\n\n And walks away.\n\n CUT TO:", "looks around the room and then back to Sean. An odd half \n smile crosses Sean's face. After a moment:", "After a moment, she retreats back down the stairs. Sean \n doesn't move.\n\n DISSOLVE:", "SEAN\n My kind of background?\n\n LAMBEAU\n You're from the same neighborhood. \n South Boston.", "SEAN\n Maureen?\n\n MAUREEN'S only response is an empty stare.", "WILL\n Oh, well, it's just somethin' Sean \n told me. It's a long story.\n\n A beat.", "LAMBEAU\n You were missed.\n (beat)\n How long has it been since we've \n seen each other?\n\n SEAN\n Since Nancy died.", "Sean says this with pride. His determined stare and confident \n manner catch Will a bit off guard. Will rises from his chair \n and goes to the shelf.", "Sean takes Will in his arms and holds him like a child. Will \n sobs like a baby. After a moment, he wraps his arms around", "LAMBEAU\n Sean...\n\n A beat.\n\n LAMBEAU\n The drinks at those things are free.\n\n Sean smiles.", "WILL\n You ever think about gettin' \n remarried?\n\n SEAN\n My wife's dead.", "Sean and holds him, even tighter. We pull back from this \n image. Two lonely souls being father and son together.", "SEAN\n Why? Because of the pain I feel now? \n I have regrets Will, but I don't \n regret a singel day I spent with \n her.", "A beat. Sean smiles.\n\n SEAN\n Time's up.\n\n CUT TO:", "SEAN\n You're right, Will. Any man who takes \n a forty minute train ride so those" ], [ "Will gets up again and moves around his chair to Sean's \n painting. It is a picture of an old sailboat in a tremendous \n storm -- by no means a masterpiece. Will studies it.", "WILL\n So, you finally got a job Morgan?\n\n MORGAN\n Had one, now I'm fucked again.", "They laugh.\n\n WILL\n See ya.\n\n SEAN\n Good luck.\n\n Both men smile.", "Will walks out carrying a brown bag. He is filthy, having \n just knocked off work.\n\n CUT TO:", "CUT TO:\n\n INT. LAMBEAU'S OFFICE -- DAY\n\n Will sits in a chair across from Lambeau and the HYPNOTIST.", "The camera cranes down from Sean's window and onto the street, \n where we pan to reveal Will, sitting in his car and looking", "Will walking through South Boston. He cuts through a park. A \n senior citizen is spearing trach for the city.\n\n INT. WILL'S APARTMENT -- NIGHT", "INT. SEAN'S OFFICE -- NIGHT\n\n Will sits across from Sean.\n\n SEAN\n So you might be working for Uncle \n Sam.", "Will gets up.\n\n LAMBEAU\n Will, the N.S.A. has been calling me \n just about every hour. They're very \n excited about how the meeting went.", "WILL\n Week after I'm twenty-one.\n\n CHUCKIE\n Are they hookin' you up with a job?", "Will sits across from two N.S.A. AGENTS, OLIVER DYTRESS and", "Chuckie stands on the porch to Will's house. His Cadillac \n idles by the curb. Will comes out and they get in the car.\n\n We travel across crowded public housing and onto downtown.", "Will laughs.\n\n WILL\n Hey, look lady, I'm just here for \n the free food.\n\n She smiles.", "INT. LAMBEAU'S OFFICE -- DAY\n\n Will is in Lambeau's office. Lambeau is at the board, working \n on a diagram as Tom takes notes. Will seems disinterested.", "INT. LAMBEAU'S OFFICE -- LATER\n\n Will is reclining, eyes closed, in a trance-like state. The \n mood is more serious now.", "Chuckie knocks on Will's front door. There is no answer. He \n waits a beat, looks in the window. An incredulous smile slowly \n starts to form.", "Will strolls into the office. Sean is waiting there behind \n his desk. He seems different. More calm. Will and Sean stare \n at each other for a long moment.", "Will and Sean sit in silence. A long moment passes. Sean \n casually reclines in his chair, disinterested. Will restlessly", "Sean says this with pride. His determined stare and confident \n manner catch Will a bit off guard. Will rises from his chair \n and goes to the shelf.", "WILL\n Then let's go have some fun.\n\n With a smile, she relents.\n\n INT. SEAN'S OFFICE -- DAY" ], [ "Lambeau looks at Sean, surprised. Sean's stare is unwavering.", "LAMBEAU\n You moved?\n\n SEAN\n I been here a couple years.\n\n There is an awkward moment.", "LAMBEAU\n That's a wonderful theory, Sean. It \n worked wonders for you.\n\n A beat. Lambeau gets up.", "LAMBEAU\n Sean...\n\n A beat.\n\n LAMBEAU\n The drinks at those things are free.\n\n Sean smiles.", "LAMBEAU\n You were missed.\n (beat)\n How long has it been since we've \n seen each other?\n\n SEAN\n Since Nancy died.", "Lambeau and Sean share a table at this exclusive restaurant.\n\n Sean seems slightly out of place in his wrinkled sport coat.", "LAMBEAU\n You're here quite a bit, then.\n\n SEAN\n I live right around the corner.", "LAMBEAU\n Look Sean, I don't care if you have \n a rapport with the boy -- I don't", "INT. SEAN'S OFFICE -- DAY\n\n Sean is packing his office. Lambeau opens the door.\n\n LAMBEAU\n Hello, Sean.", "Will comes out of Sean's office and sees Lambeau walking up.\n\n LAMBEAU\n (surprised)\n Will.", "LAMBEAU\n Not at all.\n\n SEAN\n Timmy this is Gerry, an old friend \n of mine. We went to college together.", "LAMBEAU\n Have you ever heard of a man named \n Ramanujan?\n\n Sean nods his head.\n\n SEAN\n Yeah.", "LAMBEAU\n No, Sean. This boy has that gift. He \n just hasn't got the direction. We \n can give that to him.\n\n A beat.", "After an awkward moment, Lambeau goes, leaving Sean and Will \n alone. Will doesn't look at Sean for more than a second. He \n seems more interested in the room. There is a long silence \n as Sean watches Will.", "LAMBEAU\n You see, Sean? That's exactly not \n the point. No one remembers that. \n They--\n\n SEAN\n I do.", "LAMBEAU\n (looks squarely at \n Sean)\n Five.\n\n Sean gives a slight, knowing smile.", "Laughter. Sean starts to resume his lecture, when he notices \n LAMBEAU standing in the back of the room. There is an awkward \n moment.\n\n SEAN\n Gerry.", "Lambeau enters, a bit overdressed in his sport coat and tie.\n\n SEAN\n Gerry! Any trouble finding the place?", "LAMBEAU\n I got one of those too.\n\n SEAN\n You should come. I'll buy you a drink.\n\n Lambeau smiles.", "The class starts to pack up and file out. Lambeau approaches \n Sean who steps down from the lectern.\n\n LAMBEAU\n Good to see you." ], [ "Sean Maguire lectures to the class in a resigned tone. Tired \n of teaching, tired of life, he finds himself resigned to the \n tedium of teaching core classes to an indifferent student \n body.", "Sean laughs.\n\n SEAN\n I teach this shit, I didn't say I \n knew how to do it.", "INT. SEAN'S OFFICE -- SAME", "Sean stands,\n\n SEAN\n It's up to you.\n\n And walks away.\n\n CUT TO:", "While the morning is quiet and Sean sits serenely, there is \n a look about his that tells us he has faced hard times. This \n is a man who fought his way through life. On his lonely stare \n we:", "The class starts to pack up and file out. Lambeau approaches \n Sean who steps down from the lectern.\n\n LAMBEAU\n Good to see you.", "A wide, establishing shot of Sean's apartment complex as the \n sun is setting. The lights are on in one unit. A tighter \n shot reveals Sean, in his apartment, packing his belongings \n in cardboard boxes.", "CUT TO:\n\n INT. SEAN'S OFFICE -- DAY", "CUT TO:\n\n INT. SEAN'S OFFICE -- DAY", "CUT TO:\n\n INT. SEAN'S OFFICE -- DAY", "CUT TO:\n\n INT. SEAN'S OFFICE -- DAY", "looks around the room and then back to Sean. An odd half \n smile crosses Sean's face. After a moment:", "EXT. SEAN'S APARTMENT -- EARLY EVENING\n\n Begin final sequence.", "INT. SEAN'S OFFICE -- DAY", "This is SEAN MAGUIRE'S \"Dying and Bereavement\" class. \n Emblazoned on the door is \"room 101.\" While the lecture hall", "Sean stands behind his desk in his office, still very much \n on edge. Lambeau walks in.\n\n LAMBEAU\n Five minutes, Sean. Are you okay?", "Laughter. Sean starts to resume his lecture, when he notices \n LAMBEAU standing in the back of the room. There is an awkward \n moment.\n\n SEAN\n Gerry.", "EXT. SEAN'S APARTMENT -- SAME\n\n We pan up from the letter to Sean. A broad smile comes over \n him.", "Sean sits, exactly as we first saw him, except his tie is \n now loose and an empty bottle of BUSHMILLS is at his side.", "Sean's office is comfortable. Books are stacked against the \n wall. There is a PAINTING on the wall behind Sean. Sean is" ], [ "BILLY\n Yeah, now that you can drink legally, \n we thought the best thing to get you \n was a car.\n\n More laughter. Will inspects the Nova.", "WILL\n You're kiddin' me.\n (a beat)\n This is the ugliest fuckin' car I \n ever seen in my life.", "Chuckie walks back towards his car unable to contain the \n broad smile. He knows Will is gone. He shrugs in explanation \n to the guys. Morgan takes Will's seat as they pull away from \n the curb.", "Chuckie stands on the porch to Will's house. His Cadillac \n idles by the curb. Will comes out and they get in the car.\n\n We travel across crowded public housing and onto downtown.", "The camera cranes down from Sean's window and onto the street, \n where we pan to reveal Will, sitting in his car and looking", "Laughter as the boys converge on Will. He goes willingly out \n the door.\n\n EXT. L STREET -- CONTINUOUS", "They laugh.\n\n WILL\n See ya.\n\n SEAN\n Good luck.\n\n Both men smile.", "Chuckie pulls up to the curb and walks up the steps to Will's \n front door. After a beat, Will emerges. They get back in \n [the car].\n\n CUT TO:", "up at Sean as he packs his things. Will's car is packed full \n of clothes and books.", "Will approaches the car to take a closer look.\n\n CHUCKIE\n But you're twenty-one now, so--", "INT. L STREET BAR & GRILLE -- LATER\n\n Skylar and Will sit together along with Will's gang. The \n boys are considerably drunk, but it makes for good \n entertainment.", "Will's P.O.V. reveals BOBBY CHAMPA and his friends walking \n down the street. One of them casually lobs a bottle into a", "Chuckie heads towards Will to say goodnight.\n\n WILL\n I don't know what the fuck you're \n doin'. You're givin' us a ride.", "Will gets up again and moves around his chair to Sean's \n painting. It is a picture of an old sailboat in a tremendous \n storm -- by no means a masterpiece. Will studies it.", "Arriving at Will's house and dropping him off.\n\n DISSOLVE TO:", "WILL\n (to Chuckie)\n So what do you got, a fuckin' Hyundai \n engine under there? Can I make it \n back to my house?", "WILL\n Yeah, you're all invited over to \n Morgan's house for a complementary \n fish sandwich.\n\n The Police slam Will into the hood of a car.", "As soon as Will hits Bobby, his friends CONVERGE ON WILL. \n Billy JUMPS IN and wrestles one guy to the ground. The two \n exchange messy punches on the sidewalk.", "The boys make their way home, piled into Chuckie's car, \n laughing together.\n\n EXT. CHARLES STREET BRIDGE -- DAWN", "Chuckie knocks on Will's front door. There is no answer. He \n waits a beat, looks in the window. An incredulous smile slowly \n starts to form." ], [ "EXT. SEAN'S APARTMENT -- SAME\n\n Sean walks out to the sidewalk and looks around. Seeing the \n mailbox flag has been raised, he walks over to it.", "EXT. SEAN'S APARTMENT -- SAME\n\n We pan up from the letter to Sean. A broad smile comes over \n him.", "EXT. SEAN'S APARTMENT -- SAME\n\n Sean opens the card Will left for him. It reads:", "Will holds an envelope which he slips in Sean's mailbox. He \n puts the flag up and smiles as he looks up at Sean in his \n apartment who is still unaware that Will is there.", "A wide, establishing shot of Sean's apartment complex as the \n sun is setting. The lights are on in one unit. A tighter \n shot reveals Sean, in his apartment, packing his belongings \n in cardboard boxes.", "While the morning is quiet and Sean sits serenely, there is \n a look about his that tells us he has faced hard times. This \n is a man who fought his way through life. On his lonely stare \n we:", "EXT. SEAN'S APARTMENT -- EARLY EVENING\n\n Begin final sequence.", "CUT TO:\n\n INT. SEAN'S OFFICE -- DAY", "CUT TO:\n\n INT. SEAN'S OFFICE -- DAY", "CUT TO:\n\n INT. SEAN'S OFFICE -- DAY", "CUT TO:\n\n INT. SEAN'S OFFICE -- DAY", "Sean sits, exactly as we first saw him, except his tie is \n now loose and an empty bottle of BUSHMILLS is at his side.", "INT. SEAN'S OFFICE -- DAY\n\n Sean is packing his office. Lambeau opens the door.\n\n LAMBEAU\n Hello, Sean.", "EXT. SEAN'S APARTMENT, STREET -- SAME", "INT. SEAN'S OFFICE -- SAME", "The camera cranes down from Sean's window and onto the street, \n where we pan to reveal Will, sitting in his car and looking", "looks around the room and then back to Sean. An odd half \n smile crosses Sean's face. After a moment:", "CUT TO:\n\n EXT. SEAN'S ROOF -- NIGHT", "Sean stands,\n\n SEAN\n It's up to you.\n\n And walks away.\n\n CUT TO:", "LAMBEAU\n That's right, Sean. He mailed it to \n a professor at Cambridge who" ] ]

[ "Who at the college helped Will out the most?", "Where did the gang fight that got Will and his friends in trouble take place at?", "Skylar invited Will to move with her to what state?", "What was Will's critique about the National Security Agency?", "Who was the last therpaist Professor Lambeau got to see Will?", "Will told Skylar he was a victim of abuse, who else did he tell?", "Which of his friends did Will send to the job interviews?", "Where was the note that Chuckie found from Will left at?", "Will's final decision was to do what?", "What is Will's job?", "What happens when Professor Lambeau posts a complicated math problem?", "What does Lambeau do upon seeing the complicated math problem solved?", "What agreement does Lambeau reach with Will after he's arrested?", "What happens when Will meets with Dr. sean Maguire compared to the other psychologists he sees?", "What does Sean's story about his wife encourage Will to do?", "What does Lambeau do for Will as the counseling is going well?", "What does Skylar want Will to do?", "What do Sean and Will find they have in common with one another?", "What does Will finally decide?", "Where does Will work?", "Where does Skylar plan to got to medical school?", "Why is Will arrested?", "How did Sean meet his wife?", "Who sets up job interviews for Will?", "How does Lambeau know Sean?", "Where does Sean teach Psychology?", "What kind of car do Will's friends give him?", "What does Sean find in his mailbox?" ]

[ [ "Professor Lambeau", "Sean" ], [ "The basketball court.", "The basketball court." ], [ "California", "California" ], [ "The moral position of the agency.", "scathing" ], [ "Dr. Sean Mcguire", "Dr. Sean Maguire" ], [ "Dr. Sean Mcguire", "Sean" ], [ "Chuckie", "Chuckie." ], [ "In his mailbox", "His mailbox. " ], [ "Not take the job and instead leave to go to California to see Skylar", "go to see Skylar " ], [ "He works as a janitor at Massachussetts Institute of Techology", "Janitor" ], [ "Will solves the problem anonymously.", "Will solves the problem anonymously" ], [ "He posts a second more complicated math problem and catches Will solving the problem, but Will flees.", "He posts an even more difficult problem." ], [ "That Will takes math classes and seeks counseling at the school in exchange for jail time.", "That Will can avoid jail time if he participates in therapy sessions and studies mathematics under Lambeau's supervision." ], [ "Will actually starts opening up to Maguire after a few sessions.", "Sean actually challenges Will's defense mechanisms and Will opens up after a few sessions." ], [ "The story encourages Will to seek a relationship with Skylar.", "to build a relationship with Skylar" ], [ "Lambeau sets up a number of job interviews for Will. which Will turns down.", "He sets up some job interviews for him. " ], [ "She wants Will to move to California with her.", "move " ], [ "They are both victims of child abuse.", "They were both victims of child abuse." ], [ "He decides to head to California to reunite with Skylar.", "He will see Skylar in California. " ], [ "M.I.T.", "Massachusetts Institute of Technology" ], [ "Stanford.", "Stanford. " ], [ "For fighting.", "Will and his friends get in a fight with a gang at the basketball court" ], [ "By giving up his ticket to the world series.", "By giving up his ticket to a historic 1975 World Series when he saw her the first time." ], [ "Lambeau.", "Lambeau" ], [ "They were college roommates.", "They were college roommates" ], [ "Bunker Hill Community College.", "Bunker Hill Community College. " ], [ "A Chevrolet Nova.", "Chevrolet Nova." ], [ "A letter from Will.", "A letter from Will saying he went to California to be with Skylar." ] ]

[ [ "YURI (V.O.)\n By then I'd mastered my craft. Selling arms\n is not so different to selling vacuum\n cleaners. You advertise, pound the\n pavement, take orders.", "Yuri leans forward.\n\n YURI (cont'd)\n Of course, you're not a true internationalist\n until you've supplied weapons to kill your own\n countrymen.", "INT. ARMS SHOW CONVENTION HALL. DAY.\n\n YURI talks on a phone as he browses at an arms show. He stops at a\n display of handguns.", "YURI\n I sell guns. I don't sell drugs.\n\n NARC LEADER\n (shrug)\n Diversify.", "YURI (V.O.)\n We got our start in Lebanon after the\n suicide bombing.", "YURI\n That's him. The guy Eli told me about. Simeon\n Zaharoff. Brokered deals in the Iran/Iraq war", "YURI\n I sell people a means to defend themselves,\n Ava. That's all. I don't hold a gun to any\n one's head and make them shoot--", "Money is finally exchanged. Yuri and Vitaly leave the Customer with\n his munitions pot-pourri.\n\n EXT. BEIRUT WAREHOUSE. DAY.", "YURI stands at his hotel window, sneaking a look through grimy\n venetian blinds. A street battle is taking place.", "Beirut, Lebanon - 1986\n\n Through one of the shell holes, we glimpse YURI and VITALY with a\n LEBANESE CUSTOMER.", "YURI plonks a glossy arms brochure in front of Vitaly. He takes in\n the contents.", "YURI (V.O.)\n It was the eighties and the Cold War was far\n from thawed. Most of the deals were", "YURI (V.O.)\n The end of the Cold War was the beginning of\n the hottest time in arms dealing. The Wall", "YURI (V.O.)\n Of course, a good arms dealer also has to be\n a political scientist. I go by a seven-step\n approach.\n\n YURI gets off a plane.", "Vitaly comes to a horrific realization.\n\n He hurries to Yuri, still negotiating with the Rebel Leader.", "YURI breezes past the Soldiers with an easy familiarity. He enters\n the guard station as if he owns it.", "YURI (V.O.)\n The primary market was Africa. Eleven major conflicts\n involving 32 countries in the past decade - a\n gunrunner's wet dream.", "YURI (cont'd)\n And while the biggest arms dealer in the world\n is your boss, the President of the United", "Vitaly looks at him blankly.\n\n YURI (cont'd)\n Arms dealers - because everybody else is too\n busy killing each other.", "YURI buys a Fanta from a vendor - exchanging it for a box of\n grenades.\n\n He sits on a soda crate for a front row seat at the chaos." ], [ "As we hear Yuri's thoughts, we are treated to lovingly shot close\n ups of the weapon and its features often seen in slow motion: Sun", "One of the men, tired of Yuri's antics, aims his gun at Yuri's head.\n His colleague stops him.", "YURI, now heavily bandaged around the waist, and VITALY keep a\n watchful eye as the NARC LEADER inspects crates of machine guns and\n other ammunition.", "Spying a lone BULLET on the ground, Yuri picks it up. We sense he has\n made a decision from which there is no return.", "The man fires at Yuri. The gun jams. Yuri looks almost\n disappointed. The man tries again. Again the gun jams.", "YURI\n No. No. I...\n\n Andre offers him the gun a third time. Yuri refuses it.", "Yuri stares into the old gunrunner's terrified eyes.", "In front of him, a pensive YURI, taking in his surroundings. Half a\n dozen gun-toting ELITE GUARDS keep an idle watch. Several HOSTESSES tend", "SIMEON\n The problem with gunrunners going to war is\n there's no shortage of ammunition.\n\n Yuri departs.", "INT. ARMS SHOW CONVENTION HALL. DAY.\n\n YURI talks on a phone as he browses at an arms show. He stops at a\n display of handguns.", "Yuri, staring down the barrel of the Beretta, recovers fast.", "Yuri hears the sound - we detect a barely perceptible flinch.\n\n INT. REAR OF TRUCK. DAY.", "Yuri notices that his vendor's attention has wandered to a suave\n older gentleman, SIMEON ZAHAROFF, surrounded by eager VENDORS of all\n nationalities. The Asian man joins the enthusiastic throng.", "Yuri checks on the crates of AK-47's being loaded into a convoy of\n trucks. In the background, the armory, full a week ago, is now\n virtually empty. Yuri smiles a satisfied smile.", "YURI plonks a glossy arms brochure in front of Vitaly. He takes in\n the contents.", "YURI\n I sell guns. I don't sell drugs.\n\n NARC LEADER\n (shrug)\n Diversify.", "Andre grabs Yuri and presses the gun into Yuri's palm, clasping his\n own hand over Yuri's.", "The gunshot echoes around the room. Simeon is very dead.\n\n YURI\n (quietly)\n Stop.\n\n Andre smiles.", "Yuri stares at the man.\n\n YURI\n (facetious, nodding to the gun)\n You got any color preference for that?", "YURI (V.O.)\n Of course, a good arms dealer also has to be\n a political scientist. I go by a seven-step\n approach.\n\n YURI gets off a plane." ], [ "Yuri checks on the crates of AK-47's being loaded into a convoy of\n trucks. In the background, the armory, full a week ago, is now\n virtually empty. Yuri smiles a satisfied smile.", "INT. ARMS SHOW CONVENTION HALL. DAY.\n\n YURI talks on a phone as he browses at an arms show. He stops at a\n display of handguns.", "YURI (V.O.)\n Of course, a good arms dealer also has to be\n a political scientist. I go by a seven-step\n approach.\n\n YURI gets off a plane.", "YURI (V.O.)\n He'd come to the right place - peacekeepers\n are armed to the teeth. And nothing but\n premium product. The U.N. mostly buys from\n Switzerland - where else?", "YURI and VITALY usher the CUSTOMER over to an industrial scale\n loaded with assorted weapons.\n\n YURI\n I sell by the kilo.", "YURI breezes past the Soldiers with an easy familiarity. He enters\n the guard station as if he owns it.", "YURI (V.O.)\n In Ukraine since 1992, $32 billion worth of\n arms have been stolen and re-sold. One of\n the greatest heists of the 20th Century.", "YURI plonks a glossy arms brochure in front of Vitaly. He takes in\n the contents.", "YURI meets a group of REVOLUTIONARIES in a backstreet bar, shows\n them an arms catalogue.", "YURI, briefcase in hand, meets his Uncle DMITRI at a barracks. (NB:\n Dmitri always carries a hip flask of vodka as if there is a constant\n threat of radiation poisoning.)", "Spying a lone BULLET on the ground, Yuri picks it up. We sense he has\n made a decision from which there is no return.", "YURI (cont'd)\n 10,000 Kalashnikovs for a battalion. Your\n stocks are dangerously depleted, Dmitri.\n You should order more from the factory.", "YURI supervises the loading of the cargo onto a freighter. Checking\n the empty trucks, he is just in time to see SIMEON and his HENCHMEN", "YURI (V.O.)\n By then I'd mastered my craft. Selling arms\n is not so different to selling vacuum\n cleaners. You advertise, pound the\n pavement, take orders.", "Yuri leans forward.\n\n YURI (cont'd)\n Of course, you're not a true internationalist\n until you've supplied weapons to kill your own\n countrymen.", "YURI, now heavily bandaged around the waist, and VITALY keep a\n watchful eye as the NARC LEADER inspects crates of machine guns and\n other ammunition.", "YURI buys a Fanta from a vendor - exchanging it for a box of\n grenades.\n\n He sits on a soda crate for a front row seat at the chaos.", "Still at gunpoint, Yuri is escorted to the smaller second truck in\n the convoy. Stacked inside the container are the helicopter's\n hurriedly removed missiles and the Boy.", "YURI\n (incredulous)\n You want more Glocks?\n\n LIBERIAN MAN\n And the Heckler & Koch G-3 assault rifle.", "DMITRI stands beside the convoy of trucks parked barely out of view\n of the checkpoint, including Yuri's Mercedes and a huge open-bed\n tractor-trailer carrying a Russian Hind helicopter gunship." ], [ "Vitaly comes to a horrific realization.\n\n He hurries to Yuri, still negotiating with the Rebel Leader.", "Again Yuri waves off Dmitri and his men, about to come to his aid.\n Yuri courteously hands over his passport and other documentation to\n the skeptical Valentine.", "YURI\n Thank him but I have other business. A busy\n schedule.\n\n ANDRE JNR.\n It is not optional. My father is easily\n offended.", "Vitaly, gun poised, goes to intervene. A HAND, stuffed with cash,\n stops him. Yuri.\n\n The brothers' eyes meet.", "The words finally register with Yuri.\n\n YURI\n You can't leave. I'll stop.\n (as if trying to convince himself)\n I'll stop.", "YURI, briefcase in hand, meets his Uncle DMITRI at a barracks. (NB:\n Dmitri always carries a hip flask of vodka as if there is a constant\n threat of radiation poisoning.)", "One of the men, tired of Yuri's antics, aims his gun at Yuri's head.\n His colleague stops him.", "YURI\n (whisper, motioning for them\n to leave)\n It's not our fight.\n\n Vitaly's eyes well with tears.", "Two ORDERLIES open the car door, escort Vitaly away. Yuri stares\n after Vitaly.\n\n INT. UPPER EASTSIDE APARTMENT. DAY.", "This is too much for Dmitri. He stops, confronts Yuri - takes back\n the AK-47 Yuri is inspecting.", "YURI\n A mutual friend, Eli Kurtzman from Brighton\n Beach Import-Export said to contact you. I\n have a business proposal. Perhaps we can\n discuss it - over a drink.", "YURI\n No. No. I...\n\n Andre offers him the gun a third time. Yuri refuses it.", "YURI\n (pointing to the document)\n But to a different client at a different\n address.\n\n Valentine, incensed, throws Yuri up against the truck himself.", "YURI\n (irritated by the interruption)\n What?\n\n VITALY\n (anxious whisper)\n We can't do this deal.", "YURI\n (shaking his head)\n And start an international fucking incident\n - no, no, no.\n\n DMITRI\n So we run.", "YURI\n He's a friend of mine.\n\n Dmitri shrugs and complies. Yuri strides towards the gate.", "Yuri shudders with the impact. The enraged Vitaly lunges towards\n the Leader but Yuri, despite his wound, holds him back.", "YURI\n (under his breath in Ukrainian)\n Yob tvayu mat. (Subtitled - Motherfucker.)\n\n Yuri watches Simeon go, surrounded by flunkies.", "YURI\n (screaming to Dmitri)\n Dmit--!!!\n\n The car erupts as if it has been punched by a fist beneath the\n earth.", "The gunshot echoes around the room. Simeon is very dead.\n\n YURI\n (quietly)\n Stop.\n\n Andre smiles." ], [ "Andre announces his arrival in the main street of Monrovia with a\n burst of gunfire. The city, a violent clash of cultures. Goats and\n Gucci.", "Andre is admiring his new M60 machine gun with attachable grenade\n launcher - the gun of Rambo.\n\n YURI\n (concerned by the route)\n Where are we going?", "The truck explodes in a fireball - instantly incinerating Andre Jnr.\n\n Yuri's head whips around. The Rebel Leader's head whips around.", "ANDRE JNR.\n We'll do it together. A bonding experience.\n\n Andre forces Yuri's finger onto the trigger as he aims at the\n terrified Simeon - eyes pleading.", "Yuri and Andre watch the troops disperse.", "ANDRE BAPTISTE haggles with YURI as he inspects his troops ranging\n from twelve to fourteen. Yuri, averts his eyes from the boys,\n uncomfortable reviewing soldiers a head shorter than he.", "ANDRE JNR.\n Killing certain humans can be considered\n humanitarian.\n (thinly disguised reference to the\n previous night)\n Isn't that right, Mr. Yuri?", "ANDRE JNR.\n So you do want him dead. You just don't\n want to kill him yourself? I understand.", "ANDRE, JNR.\n (reluctant to give his father bad\n news)\n No trucks. They are trapped on the front\n lines.", "ANDRE JNR.\n RUF - \"freedom fighters\".\n\n Yuri stares out of the window.", "ANDRE JNR. (cont'd)\n You got here just in time. I was afraid he\n would die before you got a chance to kill\n him.\n\n He offers Yuri a Beretta.", "Andre grabs Yuri and presses the gun into Yuri's palm, clasping his\n own hand over Yuri's.", "The gunshot echoes around the room. Simeon is very dead.\n\n YURI\n (quietly)\n Stop.\n\n Andre smiles.", "A presidential motorcade appears on the dock. ANDRE BAPTISTE\n emerges out of his Mercedes Jeep, gun in his hand. He strides up to\n Yuri.", "Andre Jnr. appears behind him - M60 poised ominously on his hip.\n\n ANDRE JNR.\n What are you doing?", "The suspicious Rebel Leader and Andre Jnr. approach the two\n brothers.\n\n REBEL LEADER\n What's the hold up?", "ANDRE JNR.\n (knowing smile)\n He killed your man when he tried to kill\n you.\n\n Andre again offers Yuri the Beretta.", "Yuri gestures down the dock where food is being loaded into trucks\n marked, \"HUMANITARIAN AID\"\n\n Andre Baptiste and Andre Jnr. are clearly taken with the idea.", "Andre nods, grateful for the free tactical advice - regards Yuri in\n a new light.\n\n BAPTISTE\n They say I am the lord of war. But perhaps\n it is you.", "The truck turns the bend. In the background, true to Vitaly's\n prediction, the rebels descend on the tent village, firing\n indiscriminately with their new weapons." ], [ "Yuri kisses Dmitri on the cheek to reassure him. Over his shoulder,\n Dmitri notices the car.", "Yuri and the family drink to their new identity.\n\n EXT. CEMETERY, ODESSA. DAY.\n\n A sea of Jewish gravestones.", "Ava gives Yuri a final kiss, hurries Nicolai out the door.\n\n INT. MERCEDES SEDAN. DAY.", "YURI (cont'd)\n (picking up his own camera)\n In the meantime, why don't I take your\n picture?\n\n Ava smiles, poses playfully for him.", "YURI, briefcase in hand, meets his Uncle DMITRI at a barracks. (NB:\n Dmitri always carries a hip flask of vodka as if there is a constant\n threat of radiation poisoning.)", "Yuri turns away from the sight. His handcuffs are removed.\n\n Returning Yuri's documents, Valentine notices a photo of AVA and\n NICKI in the wallet.", "Yuri opens his mouth but no word comes. Andre presses Yuri's finger\n onto the trigger.\n\n The gun goes off. A splash of blood across the sofa's green\n upholstery.", "YURI\n (screaming to Dmitri)\n Dmit--!!!\n\n The car erupts as if it has been punched by a fist beneath the\n earth.", "Yuri spits on Simeon.\n\n YURI\n You stupid old fuck!", "Yuri and Ava kiss his parents, ANATOLY and IRINA.", "YURI, older, as we now know him, studies school work. Long-haired\n VITALY watches \"Band Aid\" on TV.", "YURI plonks a glossy arms brochure in front of Vitaly. He takes in\n the contents.", "YURI enters, sits in an armchair. AVA and NICOLAI are cuddled on\n the sofa - Ava reading him a fairytale.", "YURI\n (trying to keep his poise)\n There is no hold up. I'll be right there.\n\n Yuri draws Vitaly further away.", "Yuri takes all this in.\n\n VALENTINE (cont'd)\n She has agreed to testify against you.", "YURI\n No. No. I...\n\n Andre offers him the gun a third time. Yuri refuses it.", "YURI (V.O.)\n It wasn't God I was trying to get close to.\n\n Anatoly introduces Yuri to Eli, who regards Yuri warily.", "Again Yuri waves off Dmitri and his men, about to come to his aid.\n Yuri courteously hands over his passport and other documentation to\n the skeptical Valentine.", "YURI and VITALY are getting it on with two SALES GIRLS.\n\n We pan from one couple in the living room, Vitaly, to the one in\n the bedroom, Yuri.", "Two ORDERLIES open the car door, escort Vitaly away. Yuri stares\n after Vitaly.\n\n INT. UPPER EASTSIDE APARTMENT. DAY." ], [ "In Vitaly's chest, a bullet.\n\n INT. J.F.K. AIRPORT - CONVEYOR BELT. DAY.", "CLOSE ON the screen of an X-RAY machine. Innocuous oversize cargo\n passes in front of the screen - a surfboard, a double bass, then the\n crate containing VITALY's body.", "The other oversize items move down the conveyor belt for collection\n - YURI waits with two burly PORTERS.\n\n No other items are appearing - finally the coffin containing VITALY.", "YURI (V.O.)\n For twenty Monrovian dollars a doctor removed the\n lead from Vitaly's body and wrote a bogus death\n certificate. I should have paid more.", "Vitaly, gun poised, goes to intervene. A HAND, stuffed with cash,\n stops him. Yuri.\n\n The brothers' eyes meet.", "Vitaly watches in horror. The Woman is quickly overtaken and hacked\n to death. Then the Boy. Vitaly can't look, turns away.\n\n VITALY\n Jesus.", "VITALY and the CAPTAIN, also spying the Customs Boat, join Yuri at\n the railing.\n\n CAPTAIN\n Do we run?", "Two ORDERLIES open the car door, escort Vitaly away. Yuri stares\n after Vitaly.\n\n INT. UPPER EASTSIDE APARTMENT. DAY.", "VITALY\n Please.\n\n Yuri relents, pours a gram onto the dashboard. Vitaly snorts it off\n the dash.", "Vitaly closes the lid - a ruse. He picks up the hammer and in one\n sudden, violent motion swings it across Andre's face, smashing his", "We pull back to reveal the makeshift coffin sitting at Yuri's feet.\n\n YURI (V.O.)\n But I could not deny them the chance to say\n goodbye to their eldest son.", "YURI (O.C.)\n Vitaly! Open this fucking door!\n\n Vitaly, absorbed with the task at hand, appears not to notice. Yuri\n breaks in the door.", "Vitaly comes to a horrific realization.\n\n He hurries to Yuri, still negotiating with the Rebel Leader.", "VITALY (cont'd)\n (meeting his brother's eye)\n Be careful, Yuri. Those things you sell,", "INT. VITALY'S ROOM - BOARDING HOUSE. LA PAZ, BOLIVIA. DAY.\n\n The outline of Ukraine drawn with cocaine.", "YURI (V.O.)\n I found Vitaly twelve days, two thousand\n miles and 150 grams later in a Bolivian\n boarding house.", "The Leader smashes the box on the concrete - bullets spilling\n everywhere.\n\n VITALY\n Hey, fuck you!", "YURI (V.O.)\n I've smuggled millions of rounds of\n ammunition and the bullet that lands me in\n jail is found under my dead brother's rib.", "The gunshot echoes around the room. Simeon is very dead.\n\n YURI\n (quietly)\n Stop.\n\n Andre smiles.", "Yuri smiles, hands him several U.S. bills. Yuri's passport is\n promptly stamped. He is waved past the line of cars." ], [ "VITALY, out of his mind, pupils the size of nickels, humming a\n Ukrainian folk tune, is putting the finishing touches to the map\n from his badly depleted bag of cocaine.", "VITALY\n Please.\n\n Yuri relents, pours a gram onto the dashboard. Vitaly snorts it off\n the dash.", "Vitaly comes to a horrific realization.\n\n He hurries to Yuri, still negotiating with the Rebel Leader.", "After one look back to the teenage boy, Vitaly reluctantly complies\n - running with Yuri, heads down, away from the scene.\n\n As they run, the wall explodes again with gunfire.", "VITALY (cant'd)\n You fucking fuck!\n\n Vitaly desperately tries to snort the cocaine out of the shag pile\n carpet - the straw constantly clogging with carpet fibers.", "By now Yuri knows the routine. He pours a gram onto the dashboard.\n\n YURI\n I'm going back to Ukraine.\n\n Vitaly snorts it off the dash.", "Vitaly looks to his PARENTS. They stare at him until he averts his\n eyes.\n\n Vitaly can't refuse his brother.", "VITALY\n (opening champagne)\n This calls for a drink.\n\n YURI\n What doesn't?", "YURI\n That's because it's not true.\n\n Vitaly is hardly surprised.", "Vitaly watches in horror. The Woman is quickly overtaken and hacked\n to death. Then the Boy. Vitaly can't look, turns away.\n\n VITALY\n Jesus.", "VITALY\n (happy - way too happy)\n Yuri!\n (to the comatose prostitutes)\n It's my brother, Yuri. He's my big brother.", "Vitaly begins eating his father's plate of mussels. Yuri watches his\n father exit.\n\n YURI (V.O.)\n I was suffering an identity crisis of my own.", "VITALY, shoulder bandaged, sit at a tiny table, drinking cheap vodka\n and listening intently to an illegal shortwave radio - coat hanger\n for antenna.", "Two ORDERLIES open the car door, escort Vitaly away. Yuri stares\n after Vitaly.\n\n INT. UPPER EASTSIDE APARTMENT. DAY.", "VITALY\n You fuck!\n\n Vitaly freaks out, slams the window so hard it shatters. (The\n Hookers still don't rouse.)", "VITALY\n (shrug)\n You know, still the resident family fuck-up.\n\n YURI\n Someone has to do it.", "VITALY\n Ukraine.\n (indicating the direction he is\n going to snort)\n I start in Odessa, work my way to the\n Crimea--", "VITALY (cont' d)\n (at a loss for anything better)\n I love you all.\n\n Yuri firmly escorts Angel to the door and pays her off.", "VITALY\n (as he wipes his nose)\n You're a good brother.\n\n Vitaly kisses Yuri.", "Blood oozes from Vitaly's nostril. Yuri gazes down at his pathetic\n brother." ], [ "Yuri gazes at her a moment - he answers her question with a kiss.\n Ava does not pull away.\n\n INT. LEAR JET - BEDROOM. DAY.", "Yuri turns away from the sight. His handcuffs are removed.\n\n Returning Yuri's documents, Valentine notices a photo of AVA and\n NICKI in the wallet.", "Returning to his car, Yuri fails to notice that AVA has witnessed\n his routine from her own car.\n\n Instead of following the car, Ava exits with Nicolai.", "Ava gives Yuri a final kiss, hurries Nicolai out the door.\n\n INT. MERCEDES SEDAN. DAY.", "Ava appears to make eye-contact with Yuri - blowing a kiss in his\n direction. He is paralyzed.\n\n LATER", "YURI\n I sell people a means to defend themselves,\n Ava. That's all. I don't hold a gun to any\n one's head and make them shoot--", "YURI (cont'd)\n (picking up his own camera)\n In the meantime, why don't I take your\n picture?\n\n Ava smiles, poses playfully for him.", "Yuri checks on the crates of AK-47's being loaded into a convoy of\n trucks. In the background, the armory, full a week ago, is now\n virtually empty. Yuri smiles a satisfied smile.", "AVA\n Yes, I trust you.\n\n YURI (V.O.)\n She'd learned from the best.", "YURI\n Why? We never have before.\n\n AVA\n Now we do.\n\n Yuri notices the Interpol business card on the bedside table.", "Ava dives into the water. Behind his sunglasses, Yuri watches her.\n\n LATER", "Yuri grabs Ava's painting from the trunk and the sedan pulls back\n out into daylight minus Yuri - the occupants of the helicopter none\n the wiser.\n\n Yuri hails a taxi.", "With some reverence, YURI props Ava's painting against the wall of\n his private sanctuary, then goes about his business - shuffling\n passports, deciding who he will be.", "As we hear Yuri's thoughts, we are treated to lovingly shot close\n ups of the weapon and its features often seen in slow motion: Sun", "YURI enters, sits in an armchair. AVA and NICOLAI are cuddled on\n the sofa - Ava reading him a fairytale.", "Ava regards him closely. He's echoed her thoughts. Yuri pours Ava\n another drink.", "Spying a lone BULLET on the ground, Yuri picks it up. We sense he has\n made a decision from which there is no return.", "Yuri hears the sound - we detect a barely perceptible flinch.\n\n INT. REAR OF TRUCK. DAY.", "YURI (cont'd)\n I realize the unspeakable things that are\n done with my weapons. I also understand the", "We reveal AVA and NICOLAI in the car. Yuri's car pulls away and\n Ava's car follows." ], [ "YURI (V.O.)\n Of course, a good arms dealer also has to be\n a political scientist. I go by a seven-step\n approach.\n\n YURI gets off a plane.", "YURI plonks a glossy arms brochure in front of Vitaly. He takes in\n the contents.", "Vitaly looks at him blankly.\n\n YURI (cont'd)\n Arms dealers - because everybody else is too\n busy killing each other.", "YURI (V.O.)\n By then I'd mastered my craft. Selling arms\n is not so different to selling vacuum\n cleaners. You advertise, pound the\n pavement, take orders.", "YURI (cont'd)\n And while the biggest arms dealer in the world\n is your boss, the President of the United", "Spying a lone BULLET on the ground, Yuri picks it up. We sense he has\n made a decision from which there is no return.", "INT. ARMS SHOW CONVENTION HALL. DAY.\n\n YURI talks on a phone as he browses at an arms show. He stops at a\n display of handguns.", "Yuri leans forward.\n\n YURI (cont'd)\n Of course, you're not a true internationalist\n until you've supplied weapons to kill your own\n countrymen.", "YURI\n No. No. I...\n\n Andre offers him the gun a third time. Yuri refuses it.", "Yuri puts his arm around his brother's shoulder.\n\n YURI\n That's why I need you.\n (coaxing)\n Brothers in arms.", "YURI\n (pulling him out of earshot of the\n curious Doorman, anxious whisper)\n So at the same time you thought you'd drop\n in on your arms dealer?!", "YURI, briefcase in hand, meets his Uncle DMITRI at a barracks. (NB:\n Dmitri always carries a hip flask of vodka as if there is a constant\n threat of radiation poisoning.)", "YURI (V.O.)\n Vitaly and I found our niche in under-the-\n counter gunrunning - regimes suffering under\n sanctions.", "YURI (V.O.)\n He'd come to the right place - peacekeepers\n are armed to the teeth. And nothing but\n premium product. The U.N. mostly buys from\n Switzerland - where else?", "YURI (V.O.)\n The end of the Cold War was the beginning of\n the hottest time in arms dealing. The Wall", "YURI\n That's the point. I've seen how the world's\n coming apart.\n\n VITALY\n And you want to help with that?", "Yuri checks on the crates of AK-47's being loaded into a convoy of\n trucks. In the background, the armory, full a week ago, is now\n virtually empty. Yuri smiles a satisfied smile.", "YURI (V.O.)\n It was the eighties and the Cold War was far\n from thawed. Most of the deals were", "YURI\n I sell guns. I don't sell drugs.\n\n NARC LEADER\n (shrug)\n Diversify.", "YURI meets a group of REVOLUTIONARIES in a backstreet bar, shows\n them an arms catalogue." ], [ "YURI plonks a glossy arms brochure in front of Vitaly. He takes in\n the contents.", "Yuri leans forward.\n\n YURI (cont'd)\n Of course, you're not a true internationalist\n until you've supplied weapons to kill your own\n countrymen.", "Andre grabs Yuri and presses the gun into Yuri's palm, clasping his\n own hand over Yuri's.", "Yuri puts his arm around his brother's shoulder.\n\n YURI\n That's why I need you.\n (coaxing)\n Brothers in arms.", "YURI (V.O.)\n Of course, a good arms dealer also has to be\n a political scientist. I go by a seven-step\n approach.\n\n YURI gets off a plane.", "Vitaly comes to a horrific realization.\n\n He hurries to Yuri, still negotiating with the Rebel Leader.", "YURI\n (pulling him out of earshot of the\n curious Doorman, anxious whisper)\n So at the same time you thought you'd drop\n in on your arms dealer?!", "YURI\n No. No. I...\n\n Andre offers him the gun a third time. Yuri refuses it.", "YURI (V.O.)\n By then I'd mastered my craft. Selling arms\n is not so different to selling vacuum\n cleaners. You advertise, pound the\n pavement, take orders.", "YURI (cont'd)\n And while the biggest arms dealer in the world\n is your boss, the President of the United", "INT. ARMS SHOW CONVENTION HALL. DAY.\n\n YURI talks on a phone as he browses at an arms show. He stops at a\n display of handguns.", "YURI\n That's him. The guy Eli told me about. Simeon\n Zaharoff. Brokered deals in the Iran/Iraq war", "Vitaly looks at him blankly.\n\n YURI (cont'd)\n Arms dealers - because everybody else is too\n busy killing each other.", "YURI meets a group of REVOLUTIONARIES in a backstreet bar, shows\n them an arms catalogue.", "Yuri pokes his head through the hole but Simeon has vanished. Yuri\n turns back to find himself trapped by TWO MEN in flip-flops, shorts,\n Gap T-shirts and AK-47's.", "ANDRE JNR.\n (knowing smile)\n He killed your man when he tried to kill\n you.\n\n Andre again offers Yuri the Beretta.", "Yuri checks on the crates of AK-47's being loaded into a convoy of\n trucks. In the background, the armory, full a week ago, is now\n virtually empty. Yuri smiles a satisfied smile.", "ANDRE JNR. (cont'd)\n You got here just in time. I was afraid he\n would die before you got a chance to kill\n him.\n\n He offers Yuri a Beretta.", "YURI, briefcase in hand, meets his Uncle DMITRI at a barracks. (NB:\n Dmitri always carries a hip flask of vodka as if there is a constant\n threat of radiation poisoning.)", "YURI\n He's a friend of mine.\n\n Dmitri shrugs and complies. Yuri strides towards the gate." ], [ "YURI (cont'd)\n And while the biggest arms dealer in the world\n is your boss, the President of the United", "YURI plonks a glossy arms brochure in front of Vitaly. He takes in\n the contents.", "YURI (V.O.)\n By then I'd mastered my craft. Selling arms\n is not so different to selling vacuum\n cleaners. You advertise, pound the\n pavement, take orders.", "YURI (V.O.)\n Of course, a good arms dealer also has to be\n a political scientist. I go by a seven-step\n approach.\n\n YURI gets off a plane.", "YURI (V.O.)\n In Ukraine since 1992, $32 billion worth of\n arms have been stolen and re-sold. One of\n the greatest heists of the 20th Century.", "YURI\n That's him. The guy Eli told me about. Simeon\n Zaharoff. Brokered deals in the Iran/Iraq war", "Yuri leans forward.\n\n YURI (cont'd)\n Of course, you're not a true internationalist\n until you've supplied weapons to kill your own\n countrymen.", "YURI (V.O.)\n Vitaly and I found our niche in under-the-\n counter gunrunning - regimes suffering under\n sanctions.", "YURI (V.O.)\n The end of the Cold War was the beginning of\n the hottest time in arms dealing. The Wall", "YURI (V.O.)\n It was the eighties and the Cold War was far\n from thawed. Most of the deals were", "Yuri checks on the crates of AK-47's being loaded into a convoy of\n trucks. In the background, the armory, full a week ago, is now\n virtually empty. Yuri smiles a satisfied smile.", "INT. ARMS SHOW CONVENTION HALL. DAY.\n\n YURI talks on a phone as he browses at an arms show. He stops at a\n display of handguns.", "YURI (V.O.)\n The primary market was Africa. Eleven major conflicts\n involving 32 countries in the past decade - a\n gunrunner's wet dream.", "YURI (V.O.)\n Dad's contacts at synagogue landed me my first\n Israeli-made Uzis and an introduction to the\n biggest of the big guns.", "YURI\n (pulling him out of earshot of the\n curious Doorman, anxious whisper)\n So at the same time you thought you'd drop\n in on your arms dealer?!", "YURI (V.O.)\n He'd come to the right place - peacekeepers\n are armed to the teeth. And nothing but\n premium product. The U.N. mostly buys from\n Switzerland - where else?", "YURI, now accompanied by bodyguards, is escorted into the government\n buildings, where he's given a fat envelope.\n\n Back at the bar, YURI is given an even fatter envelope.", "Vitaly looks at him blankly.\n\n YURI (cont'd)\n Arms dealers - because everybody else is too\n busy killing each other.", "YURI and VITALY usher the CUSTOMER over to an industrial scale\n loaded with assorted weapons.\n\n YURI\n I sell by the kilo.", "YURI\n I sell guns. I don't sell drugs.\n\n NARC LEADER\n (shrug)\n Diversify." ], [ "YURI is escorted out the rear entrance of the city jail to the nondescript\n sedan by COLONEL SOUTHERN. As he's ushered into the car, Southern hands\n Yuri yet another briefcase.", "EXT. FREIGHTER SHIP. DAY.\n\n We tilt up from the water to find YURI on the deck of a freighter,\n ploughing the ballpoint blue seas off the coast of Colombia.", "Yuri leans forward.\n\n YURI (cont'd)\n Of course, you're not a true internationalist\n until you've supplied weapons to kill your own\n countrymen.", "YURI approaches. In full view, he hands the Colonel a cut of the\n money.\n\n The Colonel places the money in the same pocket decorated with\n ribbons.", "Yuri opens his mouth but no word comes. Andre presses Yuri's finger\n onto the trigger.\n\n The gun goes off. A splash of blood across the sofa's green\n upholstery.", "YURI (V.O.)\n After Colombia I became a one-man-operation.\n A sole proprietor as you say on your tax\n return - that is if you're foolish enough to\n fill one out.", "YURI\n No. No. I...\n\n Andre offers him the gun a third time. Yuri refuses it.", "North of Barranquilla, Colombia - 1989\n\n\n YURI (V.O.)\n Operations like mine provided the only way\n for certain regimes to conduct a respectable\n war.", "YURI (cont'd)\n And while the biggest arms dealer in the world\n is your boss, the President of the United", "ANDRE JNR. (cont'd)\n You got here just in time. I was afraid he\n would die before you got a chance to kill\n him.\n\n He offers Yuri a Beretta.", "Yuri pokes his head through the hole but Simeon has vanished. Yuri\n turns back to find himself trapped by TWO MEN in flip-flops, shorts,\n Gap T-shirts and AK-47's.", "YURI, now accompanied by bodyguards, is escorted into the government\n buildings, where he's given a fat envelope.\n\n Back at the bar, YURI is given an even fatter envelope.", "YURI\n I sell guns. I don't sell drugs.\n\n NARC LEADER\n (shrug)\n Diversify.", "YURI\n (slight wince)\n I understand.\n\n WORKERS start loading the crates into a truck. The Narc Leader\n hands Yuri the suitcase.", "Andre grabs Yuri and presses the gun into Yuri's palm, clasping his\n own hand over Yuri's.", "The gunshot echoes around the room. Simeon is very dead.\n\n YURI\n (quietly)\n Stop.\n\n Andre smiles.", "Spying a lone BULLET on the ground, Yuri picks it up. We sense he has\n made a decision from which there is no return.", "Vitaly comes to a horrific realization.\n\n He hurries to Yuri, still negotiating with the Rebel Leader.", "YURI\n That's him. The guy Eli told me about. Simeon\n Zaharoff. Brokered deals in the Iran/Iraq war", "YURI plonks a glossy arms brochure in front of Vitaly. He takes in\n the contents." ], [ "Vitaly comes to a horrific realization.\n\n He hurries to Yuri, still negotiating with the Rebel Leader.", "VITALY (cont'd)\n (meeting his brother's eye)\n Be careful, Yuri. Those things you sell,", "Two ORDERLIES open the car door, escort Vitaly away. Yuri stares\n after Vitaly.\n\n INT. UPPER EASTSIDE APARTMENT. DAY.", "Vitaly looks to his PARENTS. They stare at him until he averts his\n eyes.\n\n Vitaly can't refuse his brother.", "In Vitaly's chest, a bullet.\n\n INT. J.F.K. AIRPORT - CONVEYOR BELT. DAY.", "Vitaly looks at him blankly.\n\n YURI (cont'd)\n Arms dealers - because everybody else is too\n busy killing each other.", "Vitaly and Angel laugh. No one else does.\n\n Vitaly collapses on the floor. Nicolai cries.", "Vitaly, gun poised, goes to intervene. A HAND, stuffed with cash,\n stops him. Yuri.\n\n The brothers' eyes meet.", "After one look back to the teenage boy, Vitaly reluctantly complies\n - running with Yuri, heads down, away from the scene.\n\n As they run, the wall explodes again with gunfire.", "VITALY\n (protesting)\n They killed a boy just now - as young as\n Nicki.\n\n Yuri flinches.", "YURI (V.O.)\n After Colombia I became a one-man-operation.\n A sole proprietor as you say on your tax\n return - that is if you're foolish enough to\n fill one out.", "VITALY, out of his mind, pupils the size of nickels, humming a\n Ukrainian folk tune, is putting the finishing touches to the map\n from his badly depleted bag of cocaine.", "Vitaly watches in horror. The Woman is quickly overtaken and hacked\n to death. Then the Boy. Vitaly can't look, turns away.\n\n VITALY\n Jesus.", "INT. VITALY'S ROOM - BOARDING HOUSE. LA PAZ, BOLIVIA. DAY.\n\n The outline of Ukraine drawn with cocaine.", "VITALY (cont' d)\n (at a loss for anything better)\n I love you all.\n\n Yuri firmly escorts Angel to the door and pays her off.", "The notion touches Vitaly. Yuri closes the deal.\n\n YURI (cant'd)\n \"Brothers in arms\".", "Yuri and Vitaly drop to the ground, money flying.\n\n The machine gun fire subsides, a shower of dust, fragments of brick\n and hundred dollar bills still floating to the ground.", "YURI\n That's because it's not true.\n\n Vitaly is hardly surprised.", "Vitaly smiles, looks sold.\n\n EXT. ISRAEL CENTRAL TEMPLE - BRIGHTON BEACH. DAY.", "EXT. BARRANQUILLA HARBOR, COLOMBIA. DAY.\n\n YURI and VITALY supervise the unloading of the freighter from the\n dockside." ], [ "YURI (cont'd)\n And while the biggest arms dealer in the world\n is your boss, the President of the United", "YURI plonks a glossy arms brochure in front of Vitaly. He takes in\n the contents.", "YURI (V.O.)\n By then I'd mastered my craft. Selling arms\n is not so different to selling vacuum\n cleaners. You advertise, pound the\n pavement, take orders.", "YURI (V.O.)\n Of course, a good arms dealer also has to be\n a political scientist. I go by a seven-step\n approach.\n\n YURI gets off a plane.", "YURI (V.O.)\n In Ukraine since 1992, $32 billion worth of\n arms have been stolen and re-sold. One of\n the greatest heists of the 20th Century.", "YURI (V.O.)\n Vitaly and I found our niche in under-the-\n counter gunrunning - regimes suffering under\n sanctions.", "YURI (V.O.)\n The end of the Cold War was the beginning of\n the hottest time in arms dealing. The Wall", "Yuri leans forward.\n\n YURI (cont'd)\n Of course, you're not a true internationalist\n until you've supplied weapons to kill your own\n countrymen.", "INT. ARMS SHOW CONVENTION HALL. DAY.\n\n YURI talks on a phone as he browses at an arms show. He stops at a\n display of handguns.", "YURI\n That's him. The guy Eli told me about. Simeon\n Zaharoff. Brokered deals in the Iran/Iraq war", "Yuri checks on the crates of AK-47's being loaded into a convoy of\n trucks. In the background, the armory, full a week ago, is now\n virtually empty. Yuri smiles a satisfied smile.", "YURI (V.O.)\n The primary market was Africa. Eleven major conflicts\n involving 32 countries in the past decade - a\n gunrunner's wet dream.", "YURI, now accompanied by bodyguards, is escorted into the government\n buildings, where he's given a fat envelope.\n\n Back at the bar, YURI is given an even fatter envelope.", "YURI (V.O.)\n It was the eighties and the Cold War was far\n from thawed. Most of the deals were", "YURI\n (pulling him out of earshot of the\n curious Doorman, anxious whisper)\n So at the same time you thought you'd drop\n in on your arms dealer?!", "Vitaly looks at him blankly.\n\n YURI (cont'd)\n Arms dealers - because everybody else is too\n busy killing each other.", "YURI (V.O.)\n He'd come to the right place - peacekeepers\n are armed to the teeth. And nothing but\n premium product. The U.N. mostly buys from\n Switzerland - where else?", "Yuri pokes his head through the hole but Simeon has vanished. Yuri\n turns back to find himself trapped by TWO MEN in flip-flops, shorts,\n Gap T-shirts and AK-47's.", "YURI and VITALY usher the CUSTOMER over to an industrial scale\n loaded with assorted weapons.\n\n YURI\n I sell by the kilo.", "As we hear Yuri's thoughts, we are treated to lovingly shot close\n ups of the weapon and its features often seen in slow motion: Sun" ], [ "YURI, briefcase in hand, meets his Uncle DMITRI at a barracks. (NB:\n Dmitri always carries a hip flask of vodka as if there is a constant\n threat of radiation poisoning.)", "YURI (V.O.)\n I was born Yuri Orlovitch in the city of\n Odessa in a country that no longer exists.\n You might have heard of it - a little place\n called the Soviet Union.", "YURI\n I think I'll go back for a visit.\n (trying to sound casual)\n Do you stay in touch with Uncle Dmitri?", "Yuri smiles, hands him several U.S. bills. Yuri's passport is\n promptly stamped. He is waved past the line of cars.", "Yuri opens his mouth but no word comes. Andre presses Yuri's finger\n onto the trigger.\n\n The gun goes off. A splash of blood across the sofa's green\n upholstery.", "Yuri hands the Guard his passport. Inside, a credit card\n emblazoned, \"VISA\".\n\n The guard smiles.", "DMITRI\n Nephew, come here and hug the luckiest man\n alive.\n\n The General gives him a great bear hug. Dmitri registers the\n apprehensive look on Yuri's face.", "YURI breezes past the Soldiers with an easy familiarity. He enters\n the guard station as if he owns it.", "Under his father's watchful gaze, Yuri takes a rubbing from one of\n the headstones - \"ORLOV\".\n\n INT. UKRAINIAN GOVERNMENT OFFICE. DAY.", "YURI, now accompanied by bodyguards, is escorted into the government\n buildings, where he's given a fat envelope.\n\n Back at the bar, YURI is given an even fatter envelope.", "Yuri leans forward.\n\n YURI (cont'd)\n Of course, you're not a true internationalist\n until you've supplied weapons to kill your own\n countrymen.", "IRINA\n (calling after him)\n Who are you? You're not my son. My son\n doesn't own such a suit.\n\n Yuri flashes his killer smile in response.", "YURI\n He's a friend of mine.\n\n Dmitri shrugs and complies. Yuri strides towards the gate.", "Again Yuri waves off Dmitri and his men, about to come to his aid.\n Yuri courteously hands over his passport and other documentation to\n the skeptical Valentine.", "Yuri stares at himself in the mirror. He replaces his stolen Soviet\n pin for a necklace - a Star of David.", "INT. APARTMENT - ODESSA. DAY.\n\n A Soviet-style apartment building. Front door opens - YURI enters,\n shopping bag in hand.", "YURI\n That's him. The guy Eli told me about. Simeon\n Zaharoff. Brokered deals in the Iran/Iraq war", "YURI\n No. No. I...\n\n Andre offers him the gun a third time. Yuri refuses it.", "From beside his car, Simeon watches as Yuri jovially discusses the\n situation with the Young Officer. After a moment Yuri slips the\n Officer money in exchange for Simeon's passport.", "Spying a lone BULLET on the ground, Yuri picks it up. We sense he has\n made a decision from which there is no return." ], [ "The car slides to a stop beside Yuri. It contains ANDRE BAPTISTE\n JNR., a handsome young man with sunglasses, a mirror for an", "ANDRE BAPTISTE (cont'd)\n (hugging Yuri)\n Farewell, Lord of War.", "ANDRE BAPTISTE\n Yuri, you fucked up! I am going to shoot\n your face off with your own gun.\n\n Yuri doesn't flinch.", "ANDRE JNR.\n Mr. Yuri, I am Andre Baptiste Junior. My\n father would like to meet you.", "He shakes Yuri's hand firmly.\n\n ANDRE BAPTISTE (cont'd)\n But you should know that our present\n difficulties compel us to be unusually\n generous.", "Andre grabs Yuri and presses the gun into Yuri's palm, clasping his\n own hand over Yuri's.", "YURI\n No. No. I...\n\n Andre offers him the gun a third time. Yuri refuses it.", "Andre Baptiste hands Yuri his payment - a slim briefcase containing\n a pouch of uncut diamonds.", "YURI (cont'd)\n Andre! What in heaven is he doing here?\n\n ANDRE JNR.\n A gift for you.", "YURI\n I can't help you. I'm sorry.\n\n ANDRE BAPTISTE\n (nods)\n I understand.", "YURI (V.O.)\n My best customer was self-declared president\n of Liberia, Andre Baptiste. Even though", "ANDRE BAPTISTE haggles with YURI as he inspects his troops ranging\n from twelve to fourteen. Yuri, averts his eyes from the boys,\n uncomfortable reviewing soldiers a head shorter than he.", "Andre nods, grateful for the free tactical advice - regards Yuri in\n a new light.\n\n BAPTISTE\n They say I am the lord of war. But perhaps\n it is you.", "ANDRE BAPTISTE\n Is that what you still are? You're a hard\n man to get hold of all of a sudden.\n\n YURI\n I--", "ANDRE JNR. (cont'd)\n You got here just in time. I was afraid he\n would die before you got a chance to kill\n him.\n\n He offers Yuri a Beretta.", "The gunshot echoes around the room. Simeon is very dead.\n\n YURI\n (quietly)\n Stop.\n\n Andre smiles.", "YURI (V.O.)\n It was my first meeting with the American-\n educated Andre Roosevelt Baptiste. While", "YURI and VITALY are getting it on with two SALES GIRLS.\n\n We pan from one couple in the living room, Vitaly, to the one in\n the bedroom, Yuri.", "ANDRE JNR.\n (knowing smile)\n He killed your man when he tried to kill\n you.\n\n Andre again offers Yuri the Beretta.", "YURI\n Thank him but I have other business. A busy\n schedule.\n\n ANDRE JNR.\n It is not optional. My father is easily\n offended." ], [ "ANDRE BAPTISTE\n Yuri, you fucked up! I am going to shoot\n your face off with your own gun.\n\n Yuri doesn't flinch.", "Andre grabs Yuri and presses the gun into Yuri's palm, clasping his\n own hand over Yuri's.", "ANDRE BAPTISTE (cont'd)\n (hugging Yuri)\n Farewell, Lord of War.", "YURI\n No. No. I...\n\n Andre offers him the gun a third time. Yuri refuses it.", "ANDRE JNR. (cont'd)\n You got here just in time. I was afraid he\n would die before you got a chance to kill\n him.\n\n He offers Yuri a Beretta.", "The gunshot echoes around the room. Simeon is very dead.\n\n YURI\n (quietly)\n Stop.\n\n Andre smiles.", "ANDRE JNR.\n (knowing smile)\n He killed your man when he tried to kill\n you.\n\n Andre again offers Yuri the Beretta.", "Andre nods, grateful for the free tactical advice - regards Yuri in\n a new light.\n\n BAPTISTE\n They say I am the lord of war. But perhaps\n it is you.", "The car slides to a stop beside Yuri. It contains ANDRE BAPTISTE\n JNR., a handsome young man with sunglasses, a mirror for an", "He shakes Yuri's hand firmly.\n\n ANDRE BAPTISTE (cont'd)\n But you should know that our present\n difficulties compel us to be unusually\n generous.", "Yuri opens his mouth but no word comes. Andre presses Yuri's finger\n onto the trigger.\n\n The gun goes off. A splash of blood across the sofa's green\n upholstery.", "ANDRE BAPTISTE\n You have no heart.\n\n Baptiste brandishes a copy of the New York Times.", "YURI\n I can't help you. I'm sorry.\n\n ANDRE BAPTISTE\n (nods)\n I understand.", "Vitaly comes to a horrific realization.\n\n He hurries to Yuri, still negotiating with the Rebel Leader.", "The truck explodes in a fireball - instantly incinerating Andre Jnr.\n\n Yuri's head whips around. The Rebel Leader's head whips around.", "ANDRE JNR.\n RUF - \"freedom fighters\".\n\n Yuri stares out of the window.", "Baptiste, clearly not used to having his actions questioned, turns\n the gun on Yuri. He's next.\n\n BAPTISTE\n What did you say?", "ANDRE JNR.\n Mr. Yuri, I am Andre Baptiste Junior. My\n father would like to meet you.", "Andre Baptiste hands Yuri his payment - a slim briefcase containing\n a pouch of uncut diamonds.", "YURI\n Me?!\n\n ANDRE JNR.\n Who do you think informed on you - cost you your\n plane? He came to meet my father, hoping to take\n your place." ], [ "As we hear Yuri's thoughts, we are treated to lovingly shot close\n ups of the weapon and its features often seen in slow motion: Sun", "YURI (cont'd)\n I realize the unspeakable things that are\n done with my weapons. I also understand the", "YURI\n You can't stop it.\n (warming to his theme)\n It's a basic human need - we eat, sleep,", "YURI (cont'd)\n 10,000 Kalashnikovs for a battalion. Your\n stocks are dangerously depleted, Dmitri.\n You should order more from the factory.", "YURI\n I sell people a means to defend themselves,\n Ava. That's all. I don't hold a gun to any\n one's head and make them shoot--", "The man fires at Yuri. The gun jams. Yuri looks almost\n disappointed. The man tries again. Again the gun jams.", "YURI plonks a glossy arms brochure in front of Vitaly. He takes in\n the contents.", "YURI\n No. No. I...\n\n Andre offers him the gun a third time. Yuri refuses it.", "Yuri leans forward.\n\n YURI (cont'd)\n Of course, you're not a true internationalist\n until you've supplied weapons to kill your own\n countrymen.", "YURI\n (incredulous)\n You want more Glocks?\n\n LIBERIAN MAN\n And the Heckler & Koch G-3 assault rifle.", "Spying a lone BULLET on the ground, Yuri picks it up. We sense he has\n made a decision from which there is no return.", "Yuri checks on the crates of AK-47's being loaded into a convoy of\n trucks. In the background, the armory, full a week ago, is now\n virtually empty. Yuri smiles a satisfied smile.", "YURI\n (providing a commentary)\n --that's the Beretta, comes with a 36\n cartridge, easy-operating clip--\n\n Baptiste tests the loading mechanism.", "YURI\n (uncertain smile)\n Make sure you thaw out the guns before you fight.\n\n Yuri nods, takes another hit of oxygen.", "INT. ARMS SHOW CONVENTION HALL. DAY.\n\n YURI talks on a phone as he browses at an arms show. He stops at a\n display of handguns.", "Yuri puts his arm around his brother's shoulder.\n\n YURI\n That's why I need you.\n (coaxing)\n Brothers in arms.", "YURI and VITALY usher the CUSTOMER over to an industrial scale\n loaded with assorted weapons.\n\n YURI\n I sell by the kilo.", "YURI\n There are over 550 million firearms in\n worldwide circulation. That's one firearm", "YURI, briefcase in hand, meets his Uncle DMITRI at a barracks. (NB:\n Dmitri always carries a hip flask of vodka as if there is a constant\n threat of radiation poisoning.)", "YURI (V.O.)\n Of course, a good arms dealer also has to be\n a political scientist. I go by a seven-step\n approach.\n\n YURI gets off a plane." ], [ "YURI (V.O.)\n It was the eighties and the Cold War was far\n from thawed. Most of the deals were", "YURI breezes past the Soldiers with an easy familiarity. He enters\n the guard station as if he owns it.", "The peacekeepers roar and whistle their approval. YURI, near the front\n of the stage, is hypnotized.", "YURI stands at his hotel window, sneaking a look through grimy\n venetian blinds. A street battle is taking place.", "YURI plonks a glossy arms brochure in front of Vitaly. He takes in\n the contents.", "YURI\n (shrug)\n You're only remembered when you're dead.\n\n Yuri knocks back his vodka, tries to lighten the mood.", "Yuri smiles at Vitaly's cries. Something catches Yuri's eye on TV.\n\n CLOSE UP OF A TV SCREEN", "On the television, MIKHAIL GORBACHEV, is making his famous speech,\n officially ending the Cold War.\n\n Yuri kneels in front of the TV as if it is an altar.", "Yuri checks on the crates of AK-47's being loaded into a convoy of\n trucks. In the background, the armory, full a week ago, is now\n virtually empty. Yuri smiles a satisfied smile.", "YURI\n (nodding in agreement)\n At least when they say they're going to have\n a war, they keep their word.", "Spying a lone BULLET on the ground, Yuri picks it up. We sense he has\n made a decision from which there is no return.", "YURI, briefcase in hand, meets his Uncle DMITRI at a barracks. (NB:\n Dmitri always carries a hip flask of vodka as if there is a constant\n threat of radiation poisoning.)", "YURI (V.O.)\n I was born Yuri Orlovitch in the city of\n Odessa in a country that no longer exists.\n You might have heard of it - a little place\n called the Soviet Union.", "YURI (cont'd)\n And while the biggest arms dealer in the world\n is your boss, the President of the United", "YURI, now accompanied by bodyguards, is escorted into the government\n buildings, where he's given a fat envelope.\n\n Back at the bar, YURI is given an even fatter envelope.", "The crowd and players laugh. The game goes on. Yuri, also laughing\n but in a far more desperate manner, picks himself up and wanders\n away.", "Yuri's too busy kissing Gorbachev's birthmark.\n\n He gazes at the TV, revelling in the plan taking shape in his head.\n\n LATER", "The man fires at Yuri. The gun jams. Yuri looks almost\n disappointed. The man tries again. Again the gun jams.", "Yuri leans forward.\n\n YURI (cont'd)\n Of course, you're not a true internationalist\n until you've supplied weapons to kill your own\n countrymen.", "Yuri stares to his brother and then to the grenade in his hand. He\n reaches down and delicately takes the pin from between Vitaly's\n lips." ], [ "YURI approaches. In full view, he hands the Colonel a cut of the\n money.\n\n The Colonel places the money in the same pocket decorated with\n ribbons.", "Yuri smiles, hands him several U.S. bills. Yuri's passport is\n promptly stamped. He is waved past the line of cars.", "YURI, now accompanied by bodyguards, is escorted into the government\n buildings, where he's given a fat envelope.\n\n Back at the bar, YURI is given an even fatter envelope.", "Andre Baptiste hands Yuri his payment - a slim briefcase containing\n a pouch of uncut diamonds.", "EXT. FREIGHTER SHIP. DAY.\n\n We tilt up from the water to find YURI on the deck of a freighter,\n ploughing the ballpoint blue seas off the coast of Colombia.", "Yuri pays the Go-Between in cash, places the painting in the trunk.\n\n INT. LIVING ROOM - NEW YORK APARTMENT. NIGHT.", "From beside his car, Simeon watches as Yuri jovially discusses the\n situation with the Young Officer. After a moment Yuri slips the\n Officer money in exchange for Simeon's passport.", "Yuri hands the Officer a plain, brown paper bag. The Officer looks inside\n - a wad of cash.\n\n BORDER OFFICER\n Have a safe trip.", "Yuri realizes he is lying in the mouth of an enormous cement pipe on\n his back, a prostitute on top of him. She gets to her feet,\n adjusting her dress.", "YURI (V.O.)\n After Colombia I became a one-man-operation.\n A sole proprietor as you say on your tax\n return - that is if you're foolish enough to\n fill one out.", "Yuri hands the Guard his passport. Inside, a credit card\n emblazoned, \"VISA\".\n\n The guard smiles.", "YURI\n (slight wince)\n I understand.\n\n WORKERS start loading the crates into a truck. The Narc Leader\n hands Yuri the suitcase.", "YURI is escorted out the rear entrance of the city jail to the nondescript\n sedan by COLONEL SOUTHERN. As he's ushered into the car, Southern hands\n Yuri yet another briefcase.", "YURI\n (in Spanish)\n Hey, pay before you play.\n\n NARC LEADER\n (in Spanish)\n You're late.", "Again Yuri waves off Dmitri and his men, about to come to his aid.\n Yuri courteously hands over his passport and other documentation to\n the skeptical Valentine.", "YURI\n No. No. I...\n\n Andre offers him the gun a third time. Yuri refuses it.", "The rear cargo bay opens. YURI stands beside his incriminating\n merchandise.\n\n YURI\n (to the gathering locals)\n Help yourselves. Be my guest. No charge.", "North of Barranquilla, Colombia - 1989\n\n\n YURI (V.O.)\n Operations like mine provided the only way\n for certain regimes to conduct a respectable\n war.", "He hands Yuri a second twenty.\n\n YURI\n (flabbergasted)\n No, keep it. Keep the money. Keep the gun.", "The camera drifts off the carrier to reveal YURI, behind the\n barracks, counting a thick wad of U.S. dollars." ], [ "On the television, MIKHAIL GORBACHEV, is making his famous speech,\n officially ending the Cold War.\n\n Yuri kneels in front of the TV as if it is an altar.", "YURI\n The Cold War, the Soviet Union, the Evil\n Empire. Mikhail's saying \"no mas\". He's\n throwing in the towel. It's over.", "Yuri's too busy kissing Gorbachev's birthmark.\n\n He gazes at the TV, revelling in the plan taking shape in his head.\n\n LATER", "ANATOLY\n What the hell's the matter?\n\n YURI\n It's over! It's over!\n\n AVA\n What's over?", "VITALY\n (resigned)\n Nothing. You're right, Yuri. You're right.", "With great reluctance Yuri reaches behind him and opens the door.\n\n YURI\n By leaving.\n\n EXT. HOTEL - CORRIDOR. DAY.", "Anatoly, deep in thought, switches off the radio. IRINA enters,\n puts Yuri's \"feast\" on the table.\n\n They speak Ukrainian, subtitled.", "YURI (V.O.)\n It was the eighties and the Cold War was far\n from thawed. Most of the deals were", "YURI (V.O.)\n I was born Yuri Orlovitch in the city of\n Odessa in a country that no longer exists.\n You might have heard of it - a little place\n called the Soviet Union.", "The stunned family stares at him - out of the mouths of babes. Anatoly\n finally breaks the silence, pours Yuri a drink.\n\n ANATOLY\n Mazeltov.", "The Clerk gives Anatoly and Yuri the once-over, then\n stamps an emigration visa.\n\n INT. APARTMENT, BEDROOM. NIGHT.", "We observe valentine's reaction - vigorously arguing with his\n superior.\n\n YURI (O.C.)\n You are going to protest, you will probably\n threaten to resign.", "The businessman's smile dissolves when he catches a glance at the\n brochure lying next to Yuri's \"Day-Runner\" - glossy photos of\n GRENADE LAUNCHERS.", "Yuri hangs up, stares down from his apartment window.\n\n Valentine's panel truck drives away.\n\n LATER", "The gunshot echoes around the room. Simeon is very dead.\n\n YURI\n (quietly)\n Stop.\n\n Andre smiles.", "We reveal where Yuri is sitting - on the roof of a rusting Russian\n sedan, the Vaz 4-door. A goat is eating the upholstery.", "While a parade of weapons in Red Square plays silently on the state-\n controlled TV, father ANATOLY and Military Cadet older brother", "YURI\n --Report to who? Moscow? As of last week\n Moscow is in a foreign country.\n\n DMITRI\n (shrug)\n New flag, new boss.", "Yuri opens his mouth but no word comes. Andre presses Yuri's finger\n onto the trigger.\n\n The gun goes off. A splash of blood across the sofa's green\n upholstery.", "to permit a limited number of Jews to\n emigrate from the Soviet Union to Israel.\n (beat)\n And that concludes this edition of news from" ], [ "YURI (V.O.)\n He'd come to the right place - peacekeepers\n are armed to the teeth. And nothing but\n premium product. The U.N. mostly buys from\n Switzerland - where else?", "YURI (V.O.)\n In Ukraine since 1992, $32 billion worth of\n arms have been stolen and re-sold. One of\n the greatest heists of the 20th Century.", "Yuri checks on the crates of AK-47's being loaded into a convoy of\n trucks. In the background, the armory, full a week ago, is now\n virtually empty. Yuri smiles a satisfied smile.", "YURI (V.O.)\n Of course, a good arms dealer also has to be\n a political scientist. I go by a seven-step\n approach.\n\n YURI gets off a plane.", "INT. ARMS SHOW CONVENTION HALL. DAY.\n\n YURI talks on a phone as he browses at an arms show. He stops at a\n display of handguns.", "YURI and VITALY usher the CUSTOMER over to an industrial scale\n loaded with assorted weapons.\n\n YURI\n I sell by the kilo.", "YURI plonks a glossy arms brochure in front of Vitaly. He takes in\n the contents.", "We reveal where Yuri is sitting - on the roof of a rusting Russian\n sedan, the Vaz 4-door. A goat is eating the upholstery.", "Yuri leans forward.\n\n YURI (cont'd)\n Of course, you're not a true internationalist\n until you've supplied weapons to kill your own\n countrymen.", "YURI (cont'd)\n And while the biggest arms dealer in the world\n is your boss, the President of the United", "YURI\n (incredulous)\n You want more Glocks?\n\n LIBERIAN MAN\n And the Heckler & Koch G-3 assault rifle.", "YURI, now accompanied by bodyguards, is escorted into the government\n buildings, where he's given a fat envelope.\n\n Back at the bar, YURI is given an even fatter envelope.", "YURI (cont'd)\n 10,000 Kalashnikovs for a battalion. Your\n stocks are dangerously depleted, Dmitri.\n You should order more from the factory.", "YURI (V.O.)\n The primary market was Africa. Eleven major conflicts\n involving 32 countries in the past decade - a\n gunrunner's wet dream.", "YURI meets a group of REVOLUTIONARIES in a backstreet bar, shows\n them an arms catalogue.", "YURI buys a Fanta from a vendor - exchanging it for a box of\n grenades.\n\n He sits on a soda crate for a front row seat at the chaos.", "Spying a lone BULLET on the ground, Yuri picks it up. We sense he has\n made a decision from which there is no return.", "YURI breezes past the Soldiers with an easy familiarity. He enters\n the guard station as if he owns it.", "YURI, briefcase in hand, meets his Uncle DMITRI at a barracks. (NB:\n Dmitri always carries a hip flask of vodka as if there is a constant\n threat of radiation poisoning.)", "Yuri smiles, hands him several U.S. bills. Yuri's passport is\n promptly stamped. He is waved past the line of cars." ], [ "ANDRE BAPTISTE\n You have no heart.\n\n Baptiste brandishes a copy of the New York Times.", "YURI (V.O.)\n My best customer was self-declared president\n of Liberia, Andre Baptiste. Even though", "ANDRE JNR.\n Mr. Yuri, I am Andre Baptiste Junior. My\n father would like to meet you.", "A presidential motorcade appears on the dock. ANDRE BAPTISTE\n emerges out of his Mercedes Jeep, gun in his hand. He strides up to\n Yuri.", "ANDRE BAPTISTE\n (disdainful shrug)\n Of course they blame me. They always blame\n me. They are on a--", "ANDRE BAPTISTE (cont'd)\n --now the U.S. must shut up forever.\n\n Yuri just smiles.", "ANDRE BAPTISTE\n Have you seen the news? They accuse me of\n rigging elections, but after this in your\n Florida with your Supreme Court of\n kangaroos--", "ANDRE JNR.\n You still haven't brought me the gun of\n Rambo.\n\n Andre Baptiste and his son breeze out of the lobby.", "He shakes Yuri's hand firmly.\n\n ANDRE BAPTISTE (cont'd)\n But you should know that our present\n difficulties compel us to be unusually\n generous.", "Baptiste, 40's, is an imposing figure. In full uniform despite the\n heat, he wears a jacket one size too small as if he cannot admit his", "ANDRE BAPTISTE\n (to Yuri, standing beside his\n uncanny double)\n How did you know?\n\n YURI\n He's too eloquent.", "ANDRE BAPTISTE\n Is that what you still are? You're a hard\n man to get hold of all of a sudden.\n\n YURI\n I--", "YURI (V.O.)\n It was my first meeting with the American-\n educated Andre Roosevelt Baptiste. While", "ANDRE BAPTISTE is admiring his new uniform in a gilt edged mirror.", "Andre nods, grateful for the free tactical advice - regards Yuri in\n a new light.\n\n BAPTISTE\n They say I am the lord of war. But perhaps\n it is you.", "Andre announces his arrival in the main street of Monrovia with a\n burst of gunfire. The city, a violent clash of cultures. Goats and\n Gucci.", "ANDRE BAPTISTE (cont'd)\n (hugging Yuri)\n Farewell, Lord of War.", "Andre Baptiste hands Yuri his payment - a slim briefcase containing\n a pouch of uncut diamonds.", "The car slides to a stop beside Yuri. It contains ANDRE BAPTISTE\n JNR., a handsome young man with sunglasses, a mirror for an", "The man's face falls. The real ANDRE BAPTISTE emerges from the car with\n ANDRE JNR." ], [ "Vitaly comes to a horrific realization.\n\n He hurries to Yuri, still negotiating with the Rebel Leader.", "YURI\n (irritated by the interruption)\n What?\n\n VITALY\n (anxious whisper)\n We can't do this deal.", "YURI\n West Africa's fucked-up.\n (off Vitaly's look)\n More than usual. I can't trust anybody. I\n need someone to watch my back.", "After one look back to the teenage boy, Vitaly reluctantly complies\n - running with Yuri, heads down, away from the scene.\n\n As they run, the wall explodes again with gunfire.", "Two ORDERLIES open the car door, escort Vitaly away. Yuri stares\n after Vitaly.\n\n INT. UPPER EASTSIDE APARTMENT. DAY.", "Vitaly, gun poised, goes to intervene. A HAND, stuffed with cash,\n stops him. Yuri.\n\n The brothers' eyes meet.", "YURI\n (whisper, motioning for them\n to leave)\n It's not our fight.\n\n Vitaly's eyes well with tears.", "VITALY\n Yuri, I need to talk to you.\n\n YURI\n Not now.\n\n VITALY\n (insistent)\n Now.", "YURI\n That's the point. I've seen how the world's\n coming apart.\n\n VITALY\n And you want to help with that?", "Vitaly looks at him blankly.\n\n YURI (cont'd)\n Arms dealers - because everybody else is too\n busy killing each other.", "VITALY\n Something for Yuri.\n\n ANDRE JNR.\n Step away - slowly.", "YURI\n (to the Rebel Leader)\n Excuse me.\n\n Vitaly draws Yuri out of earshot.", "Yuri walks away from Vitaly's dead body and returns to the\n negotiating table - Yuri now the living dead. The Rebel Leader", "Yuri pats his brother on the back, returns to the negotiating table.\n Vitaly heads for the trucks.\n\n For once we follow Vitaly. Andre Jnr. regards Vitaly warily.", "Simeon walks away without another word. Vitaly shrugs. Yuri\n fumes.", "YURI\n (to no one in particular, whipping his\n vodka bottle off the bar)\n I'm going for a walk.\n\n EXT. MONROVIA. NIGHT.", "Two ORDERLIES open the car door, escort Vitaly away.\n\n Yuri watches his brother in the rearview mirror - shepherded up the\n path.", "Vitaly doesn't budge.\n\n YURI (cont'd)\n I promised our parents.\n\n VITALY\n (desperate eyes)\n Please.", "VITALY (cont'd)\n (meeting his brother's eye)\n Be careful, Yuri. Those things you sell,", "A BODYGUARD tries to step between Yuri and Zaharoff.\n\n VITALY\n (stepping between the bodyguard\n and Yuri)\n They're talking." ], [ "YURI\n Wait, you idiots! There's not going to be\n any evidence! Stay with the plane!\n\n The pilots ignore him - run for their lives.", "Yuri has to exit the plane to avoid being trampled in the rush.\n\n EXT. HIGHWAY. DAY.", "YURI is escorted out the rear entrance of the city jail to the nondescript\n sedan by COLONEL SOUTHERN. As he's ushered into the car, Southern hands\n Yuri yet another briefcase.", "A bodyguard takes Yuri's suitcase. Yuri is barely in the car before\n it screeches away.", "The man fires at Yuri. The gun jams. Yuri looks almost\n disappointed. The man tries again. Again the gun jams.", "Finally, the Ilyushin pulls up safely on the highway, engines\n shutting down. YURI's head appears out of the cockpit window.", "YURI\n (to the Driver)\n This is good.\n\n The Driver pulls over, never coming to a complete stop before Yuri\n bails. Horns blare at the illegal drop-off.", "Yuri sees the pilot seats being stolen.\n\n YURI\n Hey, not those! You don't touch the plane!\n (plaintive moan)\n Not the fucking seats...", "Yuri smiles, hands him several U.S. bills. Yuri's passport is\n promptly stamped. He is waved past the line of cars.", "YURI\n (shaking his head)\n And start an international fucking incident\n - no, no, no.\n\n DMITRI\n So we run.", "The Interpol jet takes the lead towards a small airport. Yuri surveys the\n terrain below, getting his head back in the game.", "Yuri boards a plane, taking off for a new conflict zone.\n\n INT. AIR MAROC JETLINER. DAY.", "The entire cargo has gone. An errant bullet falls off a shelf in\n the plane and rolls down the floor - Valentine picks it up.\n\n YURI sits innocently on his soda crate.", "Yuri pokes his head through the hole but Simeon has vanished. Yuri\n turns back to find himself trapped by TWO MEN in flip-flops, shorts,\n Gap T-shirts and AK-47's.", "Again Yuri waves off Dmitri and his men, about to come to his aid.\n Yuri courteously hands over his passport and other documentation to\n the skeptical Valentine.", "Two ORDERLIES open the car door, escort Vitaly away. Yuri stares\n after Vitaly.\n\n INT. UPPER EASTSIDE APARTMENT. DAY.", "Valentine returns to Yuri who is dusting himself off. Valentine\n handcuffs Yuri himself, picks up the soda crate and sits Yuri back\n on it.", "YURI (V.O.)\n Of course I was lying. The plane was a rental,\n like the car and even the suit I was standing", "Yuri and Vitaly drop to the ground, money flying.\n\n The machine gun fire subsides, a shower of dust, fragments of brick\n and hundred dollar bills still floating to the ground.", "YURI\n (into phone, trying not to sound\n too desperate)\n Colonel Southern, it's Yuri. Sorry to call\n you on this number but I've got an Interpol\n jet and--" ], [ "Yuri nods in understanding.\n\n INT. HOTEL AFRICA - YURI'S HOTEL ROOM. NIGHT.", "Yuri smiles, hands him several U.S. bills. Yuri's passport is\n promptly stamped. He is waved past the line of cars.", "YURI\n What's the charge?\n\n VALENTINE\n What are you doing in Sierra Leone?\n\n YURI\n I'm on safari.", "YURI, now accompanied by bodyguards, is escorted into the government\n buildings, where he's given a fat envelope.\n\n Back at the bar, YURI is given an even fatter envelope.", "Yuri nods, uncertainly.\n\n INT. HOTEL AFRICA - LIBERIA. DAY.\n\n YURI enters the hotel.", "The Liberian produces a crisp U.S. twenty dollar bill of his own,\n offers it to Yuri.", "The camera drifts off the carrier to reveal YURI, behind the\n barracks, counting a thick wad of U.S. dollars.", "YURI approaches. In full view, he hands the Colonel a cut of the\n money.\n\n The Colonel places the money in the same pocket decorated with\n ribbons.", "YURI\n West Africa's fucked-up.\n (off Vitaly's look)\n More than usual. I can't trust anybody. I\n need someone to watch my back.", "Yuri hands the Guard his passport. Inside, a credit card\n emblazoned, \"VISA\".\n\n The guard smiles.", "From beside his car, Simeon watches as Yuri jovially discusses the\n situation with the Young Officer. After a moment Yuri slips the\n Officer money in exchange for Simeon's passport.", "LIBERIAN MAN\n (offended)\n What do you take me for - a thief?\n\n The Liberian stuffs the money in the pocket of the bewildered\n Yuri.", "Andre Baptiste hands Yuri his payment - a slim briefcase containing\n a pouch of uncut diamonds.", "Yuri and Vitaly drop to the ground, money flying.\n\n The machine gun fire subsides, a shower of dust, fragments of brick\n and hundred dollar bills still floating to the ground.", "Yuri's colleagues toss some Liberian dollars at a waiter and stagger\n drunkenly away from the bar, leaning for support on the PROSTITUTES.", "YURI (V.O.)\n The primary market was Africa. Eleven major conflicts\n involving 32 countries in the past decade - a\n gunrunner's wet dream.", "YURI\n (to no one in particular, whipping his\n vodka bottle off the bar)\n I'm going for a walk.\n\n EXT. MONROVIA. NIGHT.", "YURI (V.O.)\n Of course, a good arms dealer also has to be\n a political scientist. I go by a seven-step\n approach.\n\n YURI gets off a plane.", "Yuri hands the Officer a plain, brown paper bag. The Officer looks inside\n - a wad of cash.\n\n BORDER OFFICER\n Have a safe trip.", "Again Yuri waves off Dmitri and his men, about to come to his aid.\n Yuri courteously hands over his passport and other documentation to\n the skeptical Valentine." ], [ "Ava gives Yuri a final kiss, hurries Nicolai out the door.\n\n INT. MERCEDES SEDAN. DAY.", "AVA\n I love you.\n\n But Yuri has gone.\n\n EXT. ODESSA HARBOR. DAY.", "Returning to his car, Yuri fails to notice that AVA has witnessed\n his routine from her own car.\n\n Instead of following the car, Ava exits with Nicolai.", "Yuri looks away.\n\n AVA\n Please stop.", "Yuri gazes at her a moment - he answers her question with a kiss.\n Ava does not pull away.\n\n INT. LEAR JET - BEDROOM. DAY.", "Yuri turns away from the sight. His handcuffs are removed.\n\n Returning Yuri's documents, Valentine notices a photo of AVA and\n NICKI in the wallet.", "We reveal AVA and NICOLAI in the car. Yuri's car pulls away and\n Ava's car follows.", "AVA\n The job's cancelled and there's no flight\n back to New York 'til Tuesday.\n\n Yuri pretends to ponder her predicament.", "YURI\n Hey, not even waiting to say goodbye? I'm\n leaving in ten minutes.\n\n AVA\n Sorry, Nicki has swim practice.", "YURI (cont'd)\n (picking up his own camera)\n In the meantime, why don't I take your\n picture?\n\n Ava smiles, poses playfully for him.", "YURI enters, sits in an armchair. AVA and NICOLAI are cuddled on\n the sofa - Ava reading him a fairytale.", "YURI (cont'd)\n (reassuring word as he whisks Ava\n into the car)\n I'm sorry. I should have said something.", "With great reluctance Yuri reaches behind him and opens the door.\n\n YURI\n By leaving.\n\n EXT. HOTEL - CORRIDOR. DAY.", "YURI\n --It's not about the money.\n\n AVA\n What is it?", "Ava appears to make eye-contact with Yuri - blowing a kiss in his\n direction. He is paralyzed.\n\n LATER", "Yuri freezes - doesn't answer.\n\n AVA (cont'd)\n It feels like fate.", "YURI (V.O.)\n I nearly went broke trying to convince her I\n was anything but. I knew Ava was not the\n kind of woman to be seduced by a ride in a\n private jet unless you owned the jet.", "YURI\n Why? We never have before.\n\n AVA\n Now we do.\n\n Yuri notices the Interpol business card on the bedside table.", "AVA (cont'd)\n Yuri, what's that?\n\n YURI\n A party.\n\n AVA\n It's always a party where you are.", "AVA\n (whisper, to herself)\n Not that. Not that, Yuri." ] ]

[ "What does Yuri sell during the Lebanon war?", "Who takes notice of Yuri's gun business?", "Where does Yuri purchase tanks and weapons?", "Who demands Yuri to stop his business?", "What is Andre's militia force going to destroy?", "Who does Yuri marry?", "What did U.S. Customs find in Vitaly's corpse?", "What did Vitaly become addicted to?", "What does Ava do after she discovered Yuri's hidden supply of weapon activities?", "Why does Yuri choose to enter the arms trade?", "Who does Yuri convince to join him as a parter in the arms trade?", "What was Yuri's first big break in the arms trade?", "What happens to Yuri in the Colombia weapons trade?", "How is Vitaly also impacted by the Colombia sale?", "What was Yuri's second big break in the arms trade?", "Why does Yuri use his uncle in the Soviet Union?", "What happens during Yuri's sale to Andre Baptise Sr. in 2001?", "What is the fallout to Yuri's weapon deals with Andre Baptise, Sr.?", "What does Yuri compare the need for weapons to?", "What war gives Yuri his big break?", "What does Yuri reluctantly accept as payment in lieu of cash in Colombia?", "On what date did Mikhail Gorbachev resign?", "In which country does Yuri buy illegal tanks?", "What country is Andre Baptiste Sr the dictator of?", "Why does Vitaly ask Yuri to walk away from the deal in Africa?", "How does Yuri escape arrest when Jack forces his plane to land?", "What currency does Yuri accept in Africa?", "Why does Ava leave Yuri?" ]

[ [ "Guns.", "Guns " ], [ "Interpol.", "Jack Valentine " ], [ "In Ukraine.", "The Soviet Union." ], [ "Ava.", "Ava " ], [ "A refugee camp.", "A refugee camp" ], [ "Ava.", "Ava " ], [ "A bullet.", "a bullet" ], [ "Drugs.", "Cocaine " ], [ "She leaves with her son.", "She leaves with their son" ], [ "Because he reasons people need guns as much as they need food.", "To make money." ], [ "His brother Vitaly.", "Vitaly " ], [ "Selling weapons to both sides of fighters in the 1982 Lebanon War.", "He sold guns to both sides of a conflict." ], [ "The buyer pays for the guns with cocaine, and when Yuri complains, he gets shot with one of his own pistols.", "he's shot by a drug lord. " ], [ "Vitaly gets addicted to cocaine, and runs away with a kilo of cocaine. He eventually goes to rehab.", "He becomes addicted to cocaine," ], [ "The dissolution of the Soviet Union in 1991.", "The dissolution of the Soviet Union" ], [ "To buy tanks and weapons from the Ukraine.", "he is a former general" ], [ "Vitaly witnesses a woman and child hacked in half fleeing a refugee camp and pleads for Yuri to walk away. Yuri refuses.", "Vitaly destroys one of the weapons trucks and kills Baptiste Jr. " ], [ "His wife discovers his weapons at home and abandons him, his parents disown him and a bullet discovered on Vitaly's body leads investigators to Yuri.", "His brother is killed " ], [ "the need for food", "a necessary evil " ], [ "the Lebanon War", "Lebanon" ], [ "cocaine", "6 kilos of cocaine" ], [ "Christmas Day, 1991", "Christmas Day 1991" ], [ "Ukraine", "Ukraine " ], [ "Liberia", "Liberia " ], [ "He sees a refugee woman and child murdered by Baptiste's militia", "He sees the militia hack a woman and child to death" ], [ "By handing all the weapons to the locals where he lands", "he gives away his guns to locals outside the city" ], [ "diamonds", "diamonds" ], [ "She finds out about his illegal arms dealings ", "She asked him to stop selling guns and he did not. " ] ]

[ [ "Before Auriol could reply, Mr. Thorneycroft stepped forward, and turned\nthe conversation into another channel.", "at her father's house. Mr. Thorneycroft noticed the growing attachment\nbetween them with satisfaction. His great wish was to see his daughter\nunited to the husband of her choice, and in the hope of smoothing the", "\"Vy, bless my 'art, if it ain't Mister Thorneycroft.\"", "\"What mysterious person?\" demanded Mr. Thorneycroft, opening his eyes.", "More than ten minutes had elapsed since Reeks' departure, and Mr.\nThorneycroft, who had hitherto had some difficulty in repressing his", "\"Mr. Thorneycroft has come too late. He has lost his daughter,\" replied\nAuriol.\n\n\"What has happened to her?\" demanded Reeks.", "\"Oh, Mr. Thorneycroft,\" cried Auriol, at length, \"I beseech you forgive\nme. I have destroyed your daughter.\"\n\n\"You!\" exclaimed the iron-merchant in astonishment.", "\"Of Ebba!\" exclaimed Thorneycroft, in a tone of deep emotion. \"I hope\nyour news is good.\"", "And they walked along towards Oxford Street, while Mr. Thorneycroft\nfollowed, a few paces behind them.", "the iron-merchant at some distance, came up, and touching his hat, said,\n\"Mr. Thorneycroft, I believe?\"", "\"Shameful!\" cried Mr. Thorneycroft.", "\"Accident!--stuff and nonsense!\" cried Mr. Thorneycroft. \"The rascal\nonly wants to follow you home, that he may know where you live, and", "\"Ah, you never told me this, you little rogue!\" cried Mr. Thorneycroft.\n\"You persuaded me to come out with you, in the hope of meeting Mr.", "\"You alarm me greatly by these dark hints,\" cried Thorneycroft. \"What is\nto be done?\"", "While glancing upwards, Mr. Thorneycroft remarked that just above each\nchair the ceiling was pierced with a round hole, the meaning of which he\ncould not at the time comprehend, though after circumstances\nsufficiently explained it to him.", "\"She has left me,\" replied Thorneycroft--\"left her old indulgent\nfather--run away.\"\n\n\"Run away!\" exclaimed Loftus. \"Impossible! I'll not believe it--even\nfrom your lips.\"", "under an archway. A ladder was planted at one side, and by this Mr.\nThorneycroft descended, but scarcely had he set foot on the ground, than", "\"My name is Thorneycroft, fellow!\" cried the iron-merchant, eyeing him\naskance. \"And your name, I fancy, is Ginger?\"", "\"Well, I vote we drive away at once,\" said Mr. Thorneycroft. \"Halloa!\njarvey!\" he cried, hailing a coach that was passing; adding, as the", "\"Stuff--stuff!\" cried Mr. Thorneycroft; \"I ain't to be gammoned in that\nway.\"" ], [ "After a pause, he struck the portrait with his clenched hand, exclaiming\nin a loud voice:", "gowns, and disguised with hideous masks, stood silent and motionless at\na little distance from him. In the tall man he recognised Cyprian", "strikes two, you will behold him.' Without waiting for any reply on my\npart, he disappeared.\"", "Disturbed by the shock, the brass plate beneath the picture started from\nits place, and fell to the ground.", "\"Dost hear me, old ancestor?\" he cried. \"I, thy descendant, Cyprian de\nRougemont, call upon thee to point out where thy gold is hidden? I know", "stains effaced, which may else bring scandal on these holy walls. You\nwill excuse me, my son.\" So saying, he bowed and retired.", "Within it, in the garb he wore in life, with his white beard streaming\nto his waist, lay the uncoffined body of his ancestor, Cyprian de", "And, prompted by some irresistible impulse, he seized the altar by the\nupper rim, and overthrew it. The heavy mass of marble fell with a", "\"Caitiff!\" he cried, fixing his blazing eyes on the gatekeeper, \"why do\nyou torture me thus? Finish me at once--Oh!\"\n\nAnd overcome by anguish, he sank back again.", "name \"Cyprianus de Rougemont, Fra. R.C.\" The same name likewise appeared\nupon a label beneath the portrait, with the date 1550.", "The old man's reverend head struck against the marble floor. His temple\nwas cut open by the fall, and blood gushed in torrents from the wound.", "\"_Maledizione!_\" exclaimed the old man--\"a blow from _him_--from _that_\nhand! I will stab him, though he were at the altar's foot; though he had", "\"What mean you, wretch?\" cried Mr. Talbot, in a voice of distraction. \"I\nheard that Cyprian Rougemont was here. Can it be he that has gone off\nwith her?\"", "\"Dost hear me, I say, old ancestor? I call on thee to give me thy\ntreasure. Dost hear, I say?\"\n\nAnd he repeated the blow with greater violence.", "\"The murderer stands before you! Strike!\" exclaimed Cristofano.\n\nI raised the dagger. The marchese stirred not. I could not strike.", "Placing us within the shadow of the canopy, Cristofano approached the\nbed. A stiletto glittered in his hand. \"Awake!\" he cried, in a voice of\nthunder.", "Pausing before the portrait, the young man threw the light of the\nlantern full upon it, and revealed features somewhat resembling his own", "\"Heaven have mercy upon me!\" exclaimed the agonised girl, dropping upon\nher knees.\n\nAt this moment a terrible voice from behind the curtain exclaimed,\n\"Sign, or Auriol is lost for ever.\"", "your hand. You saw how he was struck by your resemblance to the young\nEnglishman this morning in the chiesa. It is wonderful! I know not who", "And, stretching out his hand, the curtains slowly descended, and\nshrouded the figure from view.\n\nThorneycroft groaned aloud." ], [ "\"I fear it's all over with him,\" murmured the gatekeeper; \"I shall have\na dead body to take to Doctor Lamb. It would be a charity to knock him", "\"As soon as he was gone,\" pursued the dwarf, \"I flew to the laboratory,\nand there, extended on the floor, I found the dead body of Doctor Lamb.", "\"I see it all,\" cried Lamb. \"It was a pious and praiseworthy deed. Bring\nthe unfortunate youth to my dwelling, Baldred, and you shall be well\nrewarded. Use despatch, I pray you.\"", "senses. When I recovered, I found all tranquil. Doctor Lamb was lying\nstark and stiff at my feet, with an expression of reproach on his fixed", "The baffled marauder looked round, and remarking the open window at\nwhich Doctor Lamb was stationed, hurled the sack and its contents", "\"Too well--too well!\" replied Doctor Lamb, in a voice of emotion that\nstartled his hearer. \"They were near kinsmen of mine own. What is he\nlike who has made this strange attempt?\"", "Suddenly, he was roused by a loud joyful cry, and, uncovering his eyes,\nhe beheld Doctor Lamb pouring the contents of the matrass--a bright,", "\"Fling me the weapon with which you smote him,\" cried Doctor Lamb, in\naccents of commiseration, \"and I will anoint it with the powder of\nsympathy. His anguish will be speedily abated.\"", "'then your dog'll be bled to death, as the nobleman's wos, and thrown\ndown a breathless carkis afore your door.'\"", "The old man seemed paralysed by the action, but kept his eye fixed upon\nthe youth till he had drained the elixir to the last drop. He then\nuttered a piercing cry, threw up his arms, and fell heavily backwards.", "Doctor Lamb then applied himself to his task with renewed ardour, and in\na few seconds became wholly insensible of the presence of a stranger.", "The old man's reverend head struck against the marble floor. His temple\nwas cut open by the fall, and blood gushed in torrents from the wound.", "DOCTOR LAMB AGAIN", "Known by the name of Doctor Lamb, and addicted to alchemical and\nphilosophical pursuits, this venerable personage was esteemed by the", "\"I have not touched you, sir,\" replied Baldred. \"I brought you here to\nsuccour you. You will be easier anon. Doctor Lamb must have wiped the\nhalberd,\" he added to himself.", "lamp had expired; but the bright moonlight, streaming through the\nwindow, fell upon the rigid features of the unfortunate alchemist, and\non the cabalistic characters of the open volume beside him.", "\"That _was_ the name,\" cried Old Parr, starting up in extreme surprise.\n\"I heard Doctor Lamb call him so. But how, in the name of wonder, do you\ncome to know it?\"", "not arrive. Worn out, at length, with doubt and bewildering\nspeculations, the miserable captive was beset with the desire to put an\nend to his torments by suicide, and he determined to execute his fell", "\"Well then, to oblige you, I'll go through it again,\" rejoined the\ndwarf. \"You must know I was for some time servant to Doctor Lamb, an old", "had seen it before! There also was Doctor Lamb, in his loose gown of\nsable silk, with a square black cap upon his venerable head, and his\nsnowy beard streaming to his girdle." ], [ "Within it, in the garb he wore in life, with his white beard streaming\nto his waist, lay the uncoffined body of his ancestor, Cyprian de", "\"Dost hear me, old ancestor?\" he cried. \"I, thy descendant, Cyprian de\nRougemont, call upon thee to point out where thy gold is hidden? I know", "gowns, and disguised with hideous masks, stood silent and motionless at\na little distance from him. In the tall man he recognised Cyprian", "Pausing before the portrait, the young man threw the light of the\nlantern full upon it, and revealed features somewhat resembling his own", "name \"Cyprianus de Rougemont, Fra. R.C.\" The same name likewise appeared\nupon a label beneath the portrait, with the date 1550.", "\"This, then, is the entrance to my ancestor's tomb,\" cried Rougemont;\n\"there can be no doubt of it. The old Rosicrucian has kept his secret", "only decoration remaining on its walls was the portrait of a venerable\npersonage in the cap and gown of Henry the Eighth's time, painted\nagainst a panel--a circumstance which had probably saved it from", "[Illustration: Antiquaries.]\n\n\"Only think of living all my life in London, and never examining this\nadmirable work of art before!\" cried Loftus, quite unconscious that he\nhad become the object of general curiosity.", "He was an old man, with a face of the fine antique Roman stamp--a bold\noutline of prominent nose, rugged and imperious brow, and proudly-cut", "After regarding the portrait for some time fixedly, he thus addressed\nit:", "\"Hoc universi compendium unius mihi sepulcrum feci.\"\n\n\"Here, then, old Cyprian lies,\" he cried.", "This done, he went into the adjoining room, and, casting his eyes about,\nremarked the antique bottle and flagon. The latter was filled to the", "cried aloud, \"Why, it is my poor murdered grandfather's attendant,\nFlapdragon! But no! no!--he must be dead ages ago! Yet the resemblance\nis singularly striking!\"", "After a pause, he struck the portrait with his clenched hand, exclaiming\nin a loud voice:", "\"In two hundred and fifty years I shall open!\" cried Rougemont, \"and the\ndate 1550--why, the exact time is arrived. Old Cyprian must have", "\"Gracious Heaven!\" exclaimed the young man, raising himself on his\nelbow. \"You, then, are my great-grandsire. My father supposed you had", "with him upon the floor. Its lurid glimmer partially illumined the\nchamber, and showed that it was built of stone. Rude benches of antique", "After remaining for some time in this musing attitude, Auriol opened the\nold tome before him, and began to turn over its leaves. It was full of", "\"You are not deceived, my son,\" replied the old man. \"You have been in\nthis room before, and you have seen me before. It would be useless to", "Passing of the River.\" One of these scrolls was kept in its place by a\nskull. An ancient and grotesque-looking brass lamp, with two" ], [ "Methought Satan appeared to me in a dream last night, and bade me come\nhither, and I should find what I sought. The conditions he proposed", "\"If you will have it so--certainly,\" replied the other.\n\n\"You are Satan in the form of the man I once knew,\" cried Auriol.\n\"Avaunt! I will have no dealings with you.\"", "serve my purpose; and I thank thee, Satan, for the gift.\"", "\"Some men would call me the devil!\" replied Rougemont carelessly. \"But\nyou know me too well to suppose that I merit such a designation. I offer\nyou wealth. What more could you require?\"", "which, clinging with one hand to the side of the cabinet, extended\nthe other skinny arm towards him, and exclaimed--\"Will you swear to go\nhence if you are spared?\"", "\"No, not without reason,\" he cried. \"I am in the power of a terrible\nbeing, who seeks to destroy you, and I know that he is at hand. Listen", "Ebba glanced at the document, and a shudder passed over her frame. \"By\nthis,\" she cried, \"I surrender myself, soul and body, to you?\"\n\n\"You do,\" replied the stranger.", "\"It will be in vain to fly,\" said the unseen speaker. \"You cannot escape\nme. Whether you remain here or not--whether you use the wealth I have", "well; but the devil has helped me to wrest it from him. And now to\nprocure the necessary implements, in case, as is not unlikely, I should\nexperience further difficulty.\"", "\"There he will be immured, unless you sign,\" cried the voice; \"and, as\nhe is immortal, he will endure an eternity of torture.\"", "\"I will.\"\n\n\"Enough. I may claim fulfilment of your promise.\"", "\"At a price you can easily pay,\" replied the other. \"Come this way, and\nwe will conclude the bargain.\"", "strikes two, you will behold him.' Without waiting for any reply on my\npart, he disappeared.\"", "At length, however, he chanced upon one page the import of which he\ncomprehended, and he remained for some time absorbed in its\ncontemplation, while an almost fiendish smile played upon his features.", "\"You have hit the truth,\" replied Auriol. \"He bought her with the money\nI gave you. I have sold her and myself to perdition!\"\n\n\"Horror!\" exclaimed the old man, falling backwards.", "\"Devil or not, I'll have him back agin, or at all events the\npocket-book!\" cried the Tinker. And, dashing up the stairs, he caught", "\"I see it all,\" cried Lamb. \"It was a pious and praiseworthy deed. Bring\nthe unfortunate youth to my dwelling, Baldred, and you shall be well\nrewarded. Use despatch, I pray you.\"", "\"A stroke of the pen will rescue you from utter ruin,\" said Rougemont,\nleaning over his shoulder. \"Riches and happiness are yours. You will not\nhave such another chance.\"", "So saying, he disappeared for a few moments, and then returning with a\ntorch, placed it on the ground, and producing a phial, handed it to the\ncaptive.\n\n\"Drink!\" he said.", "\"The devil, you would say,\" supplied Old Parr. \"Between ourselves, I'm\nafraid there's no denying it.\"" ], [ "\"You have heard, dear Edith, that your father has consented to our\nunion?\" said Auriol, after gazing at her for a few moments in silent\nadmiration.", "way, he let Auriol understand that he should give her a considerable\nmarriage portion.", "have him for a son-in-law. Finding him so favourably disposed, Auriol\nentreated him to let the marriage take place--within three days, if\npossible.", "Auriol, and had encouraged his suit to her niece; consequently she was\nwell satisfied with the turn affairs had taken. It was near midnight", "\"It is,\" replied Auriol, regarding him fixedly. \"Why do you ask?\"\n\n\"I vants a vord or two vith you in private--that's all, sir,\" replied\nthe Tinker.", "\"I have not, sir,\" replied Auriol, turning pale. \"But why do you\nparticularise him?\"\n\n\"Because I have heard some things of him not much to his credit,\"\nreplied Mr. Talbot.", "\"Quite so,\" she replied, gazing at him with tenderness; \"I long to be\nalone with you.\"\n\n\"Come, then,\" said Auriol.", "\"But we can be married before you go?\" cried Auriol.", "\"You have some motive in saying this to me,\" cried the terrified girl.\n\n\"My motive is to warn you,\" said Auriol. \"If you love me, you are\nlost--utterly lost!\"", "\"And so, after exciting my curiosity in this manner, you will not\nsatisfy it?\" she said.\n\n\"I cannot,\" rejoined Auriol, somewhat sternly.", "\"You are a perfect man of honour, Auriol,\" said Mr. Talbot, clapping him\non the shoulder, \"and I hope Edith will make you an excellent wife.\nIndeed, I have no doubt of it.\"", "\"Possession of the girl I saw three days ago,\" said the other; \"the\niron-merchant's daughter, Ebba. She must be mine.\"\n\n\"Never!\" cried Auriol firmly--\"never!\"", "Auriol was about to decline the invitation, but Ebba glanced at him\nentreatingly.\n\n\"I have an engagement, but I will forego it,\" he said, offering his arm\nto her.", "\"Oh, Mr. Thorneycroft,\" cried Auriol, at length, \"I beseech you forgive\nme. I have destroyed your daughter.\"\n\n\"You!\" exclaimed the iron-merchant in astonishment.", "Auriol at length assented, and they turned into Saint James's Square,\nand paused before a magnificent house. Rougemont ascended the steps.\nAuriol, who had accompanied him almost mechanically, gazed at him with\nastonishment.", "\"You terrify me, Auriol,\" she rejoined. \"Tell me what you mean--in pity,\ntell me?\"", "\"He has fixed Wednesday next,\" pursued Auriol; \"but I wish an earlier\nday could have been named. I have a presentiment that if our marriage is\nso long delayed, it will not take place at all.\"", "\"Ay, and my choice falls on Edith Talbot!\" replied Rougemont.\n\n\"Edith Talbot!\" exclaimed Auriol; \"she your victim! Think you I would\nresign her I love better than life to you?\"", "\"Do you know, papa, Auriol intends to give a grand ball on our\nwedding-day, and has invited all his acquaintance to it?\" remarked\nEdith.", "\"Oh no, Auriol; much as I love you, I could never consent to such a\nstep,\" she cried. \"You cannot urge me to it. I would not abuse my dear" ], [ "and were now walking about to try and find you. My daughter has been\nterribly uneasy. Haven't you, Ebba?\"", "\"Never mind, father,\" replied Ebba. \"I saw him last night,\" she added to\nAuriol. \"I was sitting in the back room alone, wondering what had become", "And at the words, the large black curtains at the farther end of the\nroom were suddenly withdrawn, and discovered the figure of Ebba", "We shall now return to the night of Ebba's seizure by the mysterious\nstranger. Though almost deprived of consciousness by terror, the poor", "[Illustration: Seizure of Ebba.]\n\n\n\n\nCHAPTER X\n\nTHE STATUE AT CHARING CROSS", "\"That is the man who frightened me!\" cried Ebba.\n\n\"It is the person I supposed!\" ejaculated Auriol. \"I must speak to him.\nLeave me, Ebba. I will join you presently.\"", "\"What crime have you committed?\" demanded Ebba.\n\n\"We have loved him,\" replied the second figure.\n\n[Illustration: The Chamber of Mystery.]", "\"Ebba, you are mine,\" cried the stranger. \"Auriol has brought you to\nme.\"\n\n\"It is false!\" cried Auriol. \"I never will yield her to you.\"", "\"You look agitated,\" he said, noticing Ebba's uneasiness. \"What has\nhappened?\"", "Soon after this, they reached the Quadrant, and were passing beneath the\neastern colonnade, when Ebba's attention was attracted towards a man who", "\"What a strange place!\" cried Ebba, gazing around with some\napprehension. \"It looks like a spot one reads of in romance. I wonder\nwhere that trap leads to?\"", "\"Of Ebba!\" exclaimed Thorneycroft, in a tone of deep emotion. \"I hope\nyour news is good.\"", "\"What ails her?\" cried the agonised father. \"Ebba! Ebba!\"\n\n\"Call louder,\" said Rougemont, with a jeering laugh.", "Ebba did not move, but the stranger took her hand, and drew her to the\nseat.\n\n\"Read what is written on that paper,\" he cried imperiously.", "A lovelier creature than Ebba Thorneycroft cannot be imagined. Her\nfigure was perfection--slight, tall, and ravishingly proportioned, with", "\"Beware!\" cried a deep voice, issuing apparently from the depths of the\nvault.\n\n\"Some one spoke,\" cried Ebba. \"I begin to share your apprehensions. Let\nus quit this place.\"", "\"Oh no, do not leave me!\" cried Ebba. \"I have no fear while you are with\nme.\"", "\"She's a lovely little creature, indeed,\" returned Ebba, again patting\nthe animal's head.", "Ebba glanced at the document, and a shudder passed over her frame. \"By\nthis,\" she cried, \"I surrender myself, soul and body, to you?\"\n\n\"You do,\" replied the stranger.", "\"I cannot save him so, but I may precede him,\" cried Ebba. And throwing\nher hands aloft, she flung herself into the pit." ], [ "James I. of England, and Sixth of Scotland; and for the third, I trust\nyou will soon recover your reason.\"", "\"Old Rowley wos a king arter my own 'art,\" said Ginger, rising and\nlighting a pipe at the fire. \"He loved the femi-_nine_ specious as well", "\"I s'pose, my wenerable, you've seen the king as bequeathed his name to\nthese pretty creaters,\" said Ginger, raising his coat-pockets, so as to", "\"Well, in due season came the Restoration,\" pursued Morse; \"and my\nmaster made known to King Charles the Second the treasure he had kept", "be James, and yet I fancy it is George the Fourth. Oh! I am mad--clean\nmad!\"", "bluff king before mentioned, and his six spouses; that to the melancholy\nCharles and his family. Here, the Great Fire of 1666, with its black", "declares he lived in Queen Bess's time, recollects King Charles bein'\nbeheaded perfectly vell, and remembers the Great Fire o' London, as if\nit only occurred yesterday.\"", "\"Years ago,\" began the old man, \"an Englishman, in all respects\nresembling yourself, equally well favoured in person, and equally young,", "\"For the first, you are called Auriol Darcy,\" replied Rougemont; \"for\nthe second, you are living in the reign of his most Catholic Majesty", "\"By your governor--that is, by this person?\" cried another, laying hold\nof Auriol.\n\n\"By him--no,\" said the dwarf; \"I have not seen that gentleman for nearly\nthree centuries.\"", "twenty thousand pounds to you, as a debt of honour. You see I have\nprovided against every difficulty. And now, farewell!\"", "dashed off with lightning speed. As the carriage turned the corner of\nKing Street, Auriol, who had just arisen, beheld, by the light of a", "\"It may be, doctor,\" replied Baldred; \"and if so I shall be sorry I have\nhurt him. But I am responsible for the safe custody of these traitorous", "events in Charles the Second's time. Ha!--who told me of Charles the\nSecond? How know I there was such a king? The reigning sovereign should", "\"You have hit it exactly, sir,\" replied the little man. \"It _was_ in\nQueen Anne's time.\"", "whom he knew to be as hearty a hater of the Roundheads, and as loyal to\nthe memory of our slaughtered sovereign, as himself. Well, we digged a", "believe that he had been thwarted by the handsome Englishman in some\nother quarter, and he sedulously prevented their meeting. An interview,\nhowever, _did_ take place between them, and in an unexpected manner. It", "\"Here's a bit o' paper as come from the pocket-book,\" said Ginger.\n\"Would you like to hear wot's written upon it? Here are the words: 'How", "impassioned. She uttered a faint cry, and I stood before them. The\nEnglishman's hand was at my throat, and his sword at my breast, with the", "\"They were the heads of two rank papists,\" replied Baldred, \"who were\ndecapitated on Tower Hill, on Saint Nicholas's Day, three weeks ago, for\nconspiring against the queen.\"" ], [ "CHAPTER IV\n\nTHE PIT", "And at the words, a heavy slab of marble rose slowly from the floor near\nwhere Ebba sat, and disclosed a dark pit beneath.\n\nEbba gazed into the abyss with indescribable terror.", "\"I cannot save him so, but I may precede him,\" cried Ebba. And throwing\nher hands aloft, she flung herself into the pit.", "\"Do you vant to have us scragged, fool?\" cried the Sandman, springing\ninto the vault. \"Hoist him down here.\"", "and wholly unable to move or cry out. A climax was put to his fright, by\nthe descent of the three chairs, with their occupants, through the floor", "in all probability have broken his neck. This pit evidently communicated\nwith a lower range of chambers, as was shown by a brazen lamp burning", "And he disappeared.\n\nAuriol tried to disengage himself from the grasp imposed upon him in\nvain. Uttering ejaculations of rage and despair, he was dragged forcibly\nbackwards into the vault.", "\"Oh that I could think so!\" exclaimed Auriol. \"But no--I saw her fall\ninto the pit. I beheld her veiled figure rise from it. I witnessed her", "And, snatching up the lantern, he discovered, at the bottom of a little\nrecess, about two feet deep, a stone, with an iron ring in the centre of", "And he stamped on the ground. At this signal an arm was thrust from the\ntrap-door, and Auriol's hand was seized with an iron grasp.", "cover worked in a groove was pushed by some unseen machinery over the\ntop of the pit, and enclosed them in it.", "\"We are entrapped--we shall be caught,\" he cried, \"and then woe to both\nof us. Fool that I was to attempt your preservation. Better I had left", "great pit, secretly, in the cellar, whither the statue had been\nconveyed, and buried it. The job occupied us nearly a month; and during", "\"I see how it is,\" he cried. \"You have entrapped me, ruffians. It's all\na trick. You mean to murder me. But I'll sell my life dearly. The first", "\"No, not without reason,\" he cried. \"I am in the power of a terrible\nbeing, who seeks to destroy you, and I know that he is at hand. Listen", "\"What, without a struggle?\" cried the dwarf tauntingly. \"Think of your\ndaughter, and let the thought of her nerve your heart. She is lost for\never, if you don't get out of this accursed place.\"", "\"What a strange place!\" cried Ebba, gazing around with some\napprehension. \"It looks like a spot one reads of in romance. I wonder\nwhere that trap leads to?\"", "\"N-o-o--not I,\" gasped the iron-merchant. \"I'm suffocating--help to drag\nme out.\"\n\n\"Get out if you can,\" cried the voice that had just spoken.", "After some time spent in this way, he began to fear the young man must\nhave departed, when all at once a piercing scream resounded through the", "\"She is lost for ever as it is,\" cried the iron-merchant despairingly.\n\n\"No--she may yet be saved,\" rejoined the dwarf. \"Come on--come on--they\nare close behind us.\"" ], [ "\"Doctor Lamb!\" repeated Auriol. \"Surely I have heard that name before?\"\n\n\"Very likely,\" replied Rougemont, \"for it is the name borne by your\nnearest kinsman.\"", "\"I have not, sir,\" replied Auriol, turning pale. \"But why do you\nparticularise him?\"\n\n\"Because I have heard some things of him not much to his credit,\"\nreplied Mr. Talbot.", "\"I see it all,\" cried Lamb. \"It was a pious and praiseworthy deed. Bring\nthe unfortunate youth to my dwelling, Baldred, and you shall be well\nrewarded. Use despatch, I pray you.\"", "\"I have not touched you, sir,\" replied Baldred. \"I brought you here to\nsuccour you. You will be easier anon. Doctor Lamb must have wiped the\nhalberd,\" he added to himself.", "Auriol at length assented, and they turned into Saint James's Square,\nand paused before a magnificent house. Rougemont ascended the steps.\nAuriol, who had accompanied him almost mechanically, gazed at him with\nastonishment.", "For several hours deep sleep, occasioned by some potent medicaments, had\nbound up the senses of Auriol. On awaking, he found himself within a", "\"It is the first I ever heard of him,\" replied Auriol faintly; \"but take\nme to him quickly, or it will be too late.\"", "And he disappeared.\n\nAuriol tried to disengage himself from the grasp imposed upon him in\nvain. Uttering ejaculations of rage and despair, he was dragged forcibly\nbackwards into the vault.", "\"It is,\" replied Auriol, regarding him fixedly. \"Why do you ask?\"\n\n\"I vants a vord or two vith you in private--that's all, sir,\" replied\nthe Tinker.", "And as the words were uttered, a side door was opened on the opposite\nside, and Auriol was dragged forth from it by two masked personages, who\nlooked like familiars of the Inquisition.", "been. He had become little better than a pair of human bellows. In his\nhand he held the halberd with which Auriol had been wounded.", "\"His grandson! I--Doctor Lamb's grandson!\" cried Auriol.", "booth. They made signs, therefore, to each other not to let Auriol\nescape, and one of them, raising the dwarf's head on his knee, produced", "\"We must speak of this anon,\" said Auriol. \"Will you convey him to the\nnearest tavern?\" he added, placing money in the hands of the man who\nheld the dwarf in his arms.", "Unable to bear these accumulated horrors, Auriol became, for a short\nspace, insensible. On recovering, all was still. The lights within the", "Auriol was lost in reflection, and did not observe a sign that passed\nbetween the dwarf and Rougemont.\n\n\"Will it disturb Doctor Lamb if his grandson goes up to him?\" said the\nlatter, after a brief pause.", "before Auriol could tear himself away; and when he rose to depart, Mr.\nTalbot, who had yawned frequently, but fruitlessly, to give him a hint,", "\"I'll join him there in an hour,\" replied Auriol, moving away.\n\nAnd as he disappeared, the man took up his little burden, and bent his\nsteps towards the barracks.", "Auriol looked at him earnestly, but could not catch another glance, so\nintently was the old man occupied. At length he ventured to break the\nsilence.", "\"What more, indeed!\" cried Auriol.\n\n\"Ha!\" exclaimed the doctor, suddenly recollecting the wounded man, and\nconcealing the phial beneath his gown." ], [ "\"Do not delay, then,\" replied Auriol faintly; \"for though I am free from\npain, I feel that my life is ebbing fast away.\"", "\"I have not, sir,\" replied Auriol, turning pale. \"But why do you\nparticularise him?\"\n\n\"Because I have heard some things of him not much to his credit,\"\nreplied Mr. Talbot.", "Auriol looked at him earnestly, but could not catch another glance, so\nintently was the old man occupied. At length he ventured to break the\nsilence.", "\"Mr. Thorneycroft has come too late. He has lost his daughter,\" replied\nAuriol.\n\n\"What has happened to her?\" demanded Reeks.", "Auriol at length assented, and they turned into Saint James's Square,\nand paused before a magnificent house. Rougemont ascended the steps.\nAuriol, who had accompanied him almost mechanically, gazed at him with\nastonishment.", "\"Doctor Lamb!\" repeated Auriol. \"Surely I have heard that name before?\"\n\n\"Very likely,\" replied Rougemont, \"for it is the name borne by your\nnearest kinsman.\"", "Auriol was lost in reflection, and did not observe a sign that passed\nbetween the dwarf and Rougemont.\n\n\"Will it disturb Doctor Lamb if his grandson goes up to him?\" said the\nlatter, after a brief pause.", "\"It is,\" replied Auriol, regarding him fixedly. \"Why do you ask?\"\n\n\"I vants a vord or two vith you in private--that's all, sir,\" replied\nthe Tinker.", "Auriol, and had encouraged his suit to her niece; consequently she was\nwell satisfied with the turn affairs had taken. It was near midnight", "\"Where does my grandsire dwell?\" asked Auriol.\n\n\"Why here, sir,\" replied the dwarf; \"and for the matter of locality, the\nhouse is situated on the south end of London Bridge.\"", "For the last few days a wonderful alteration had taken place in Auriol's\nmanner, and he seemed to have shaken off altogether the cloud that had", "\"His grandson! I--Doctor Lamb's grandson!\" cried Auriol.", "\"I have no recollection of any such circumstance,\" returned Auriol\nmournfully. \"But it may be true, nevertheless. And if so, it only proves\nthe lamentable condition to which I am reduced--memory and reason gone!\"", "before Auriol could tear himself away; and when he rose to depart, Mr.\nTalbot, who had yawned frequently, but fruitlessly, to give him a hint,", "\"I must speak to this man,\" replied Auriol. \"I'll come to you in the\nevening. Till then, farewell, Ebba.\" And, as the coach drove away, he", "\"He is a messenger of ill,\" replied Auriol, \"and I am thankful he is\ngone.\"\n\n[Illustration: The Iron-merchant's Daughter.]", "And he rushed wildly after Rougemont, who had already gained the larger\nchamber; but, ere he could reach him, the mysterious individual had\npassed through the outer door, and when Auriol emerged upon the gallery,\nhe was nowhere to be seen.", "\"Oh, Mr. Thorneycroft,\" cried Auriol, at length, \"I beseech you forgive\nme. I have destroyed your daughter.\"\n\n\"You!\" exclaimed the iron-merchant in astonishment.", "\"Ebba,\" said Auriol at length, \"I am about to leave your father's house\nto-day.\"", "Unable to bear these accumulated horrors, Auriol became, for a short\nspace, insensible. On recovering, all was still. The lights within the" ], [ "Making a sign to the Sandman, who was close at his heels, the Tinker\ncrept forward on all fours, and, on reaching the window, raised himself", "\"I'll go and see wot's the matter wi' Ginger,\" said the Sandman,\nslinking after him.\n\nThe Tinker looked nervously round. He was not proof against his\nsuperstitious fears.", "Followed by Auriol, who, in his turn, was followed by Ginger and the\nSandman, the Tinker directed his steps to Great Windmill Street, where", "this state Mr. Thorneycroft heard the Tinker and the Sandman take their\nplaces near him, but not remarking the voice of Reeks, concluded that he\nmust have got outside.", "Preceded by Mr. Thorneycroft, the watchmen carried the wounded man\nacross the road towards a small house, the door of which was held open", "dwarf, the little fellow was carried off. Left to himself, Mr.\nThorneycroft staggered along the passage, expecting every moment to\ndrop, until at length a current of fresh air blew in his face, and", "\"What's locked?\" cried Thorneycroft in dismay.\n\n\"The door, to be sure,\" replied the Tinker. \"Ve're prisoners.\"", "As he spoke, the Tinker and Sandman arose; and the man in the rough\ngreatcoat, who had hitherto remained with his back to them, turned", "The Tinker and the Sandman coughed slightly, to intimate their entire\nconcurrence in Mr. Ginger's remark.", "The Tinker replied in the affirmative; and the other had just become\nlost to consciousness, when he received a nudge in the side, and his\ncompanion whispered--\"He's here!\"", "And they walked along towards Oxford Street, while Mr. Thorneycroft\nfollowed, a few paces behind them.", "among his companions by the appellation of Ginger. On the entrance of\nthe Sandman and the Tinker, he nodded familiarly to them, and with a sly", "Upon this, Ginger conducted Mr. Thorneycroft to the coach, and as soon\nas the latter got into it, tied a handkerchief tightly over his eyes. In", "And, followed by the attendants, who dragged Mr. Thorneycroft after him,\nhe plunged into an opening on the right. A few steps brought him to the", "Mr. Thorneycroft and his companions had scarcely gained a passage in the\ndeserted house, which they had entered in the manner described in a", "he felt himself rudely grasped by a man who stepped from under the\narchway. The next moment, however, he was released, while the familiar\nvoice of the Tinker exclaimed--", "into the passage, and then grasping his hand tightly, hurried him along\nit. The passage was wholly unlighted, but Mr. Thorneycroft could", "\"What's the matter? What new danger is at hand?\" inquired the\niron-merchant.\n\n\"Look up, I say,\" cried the Sandman. \"Don't ye see, Tinker?\"", "Skulking along the blank and dreary walls, the Tinker, who was now a\nlittle in advance, stopped before a door, and pushing it open, entered\nthe dwelling. His companion followed him.", "On that same night, at the appointed hour, Mr. Thorneycroft repaired to\nShoreditch, and entering a narrow street behind the church, speedily" ], [ "\"Never mind, father,\" replied Ebba. \"I saw him last night,\" she added to\nAuriol. \"I was sitting in the back room alone, wondering what had become", "\"Ebba,\" said Auriol at length, \"I am about to leave your father's house\nto-day.\"", "\"What ails her?\" cried the agonised father. \"Ebba! Ebba!\"\n\n\"Call louder,\" said Rougemont, with a jeering laugh.", "\"You look agitated,\" he said, noticing Ebba's uneasiness. \"What has\nhappened?\"", "\"Not so, not so!\" cried Thorneycroft. \"Come to me, Ebba!--come to your\nfather. O Heaven! she hears me not! she heeds me not! Her senses are\ngone.\"", "A lovelier creature than Ebba Thorneycroft cannot be imagined. Her\nfigure was perfection--slight, tall, and ravishingly proportioned, with", "and were now walking about to try and find you. My daughter has been\nterribly uneasy. Haven't you, Ebba?\"", "\"But what has he to do with me?\" asked Ebba.\n\n\"Much, much,\" he replied, with a perceptible shudder.", "[Illustration: Seizure of Ebba.]\n\n\n\n\nCHAPTER X\n\nTHE STATUE AT CHARING CROSS", "We shall now return to the night of Ebba's seizure by the mysterious\nstranger. Though almost deprived of consciousness by terror, the poor", "\"Oh, Ebba,\" he replied, \"I must leave you. I have allowed myself to\ndream of happiness too long. I am an accursed being, doomed only to", "\"Of Ebba!\" exclaimed Thorneycroft, in a tone of deep emotion. \"I hope\nyour news is good.\"", "And at the words, the large black curtains at the farther end of the\nroom were suddenly withdrawn, and discovered the figure of Ebba", "Ebba glanced at the document, and a shudder passed over her frame. \"By\nthis,\" she cried, \"I surrender myself, soul and body, to you?\"\n\n\"You do,\" replied the stranger.", "Ebba did not move, but the stranger took her hand, and drew her to the\nseat.\n\n\"Read what is written on that paper,\" he cried imperiously.", "\"I would not for the world ask a disagreeable question,\" said Ebba,\nagain raising her eyes, \"but since you are about to quit us, I must\nconfess I should like to know something of your history.\"", "Soon after this, they reached the Quadrant, and were passing beneath the\neastern colonnade, when Ebba's attention was attracted towards a man who", "\"Dare not!\" cried Ebba. And she again cast down her eyes; but Auriol\nmade no reply.\n\nFortunately the silence was broken by the clinking of the smiths'\nhammers upon the anvil.", "Proceeding to a short distance, this personage crossed over, and\nreturned slowly towards the iron-merchant's dwelling. Ebba then, for the", "\"Ebba, you are mine,\" cried the stranger. \"Auriol has brought you to\nme.\"\n\n\"It is false!\" cried Auriol. \"I never will yield her to you.\"" ], [ "\"Here's a bit o' paper as come from the pocket-book,\" said Ginger.\n\"Would you like to hear wot's written upon it? Here are the words: 'How", "So saying, he drew aside the tapestry, and opened a panel behind it,\nthrough which he passed, and beckoned Ginger to follow him. Taking a\npistol from his pocket, the latter complied.", "Ginger caused the party to be shown into a private room, and, on\nentering it, Auriol flung himself into a chair, while the dog-fancier\nstationed himself near the door.", "chink--and the paper was snatched from his grasp. Before Ginger could\nturn round, the door was closed again.", "\"Under their werry noses,\" replied Ginger. \"But now comes the cream o'\nthe jest. You shall hear wot the beak says to him ven the gent craves", "\"My eyes! here's a pretty go!\" cried Ginger, who, with his back to the\nfire, had witnessed the occurrence in open-mouthed astonishment. \"Vy,", "\"Not that I pays much regard to wot you've bin a readin' in his papers,\"\npurused Ginger; \"the gemman's evidently half-cracked, if he ain't", "\"Who is this?\" he demanded with some misgiving.\n\n\"A friend,\" replied Ginger. \"Vithout him ve could do nuffin'. His name\nis Reeks, and he is the chief man in our enterprise.\"", "Ginger cautiously complied, and, peeping forth, said--\n\n\"There's no one there. It must be the devil. I'll have nuffin' more to\ndo wi' the matter.\"", "Ginger alone remained. During the whole of this strange scene, he had\nstood with the bottle in hand, transfixed with terror and astonishment,", "\"Vith pleasure,\" replied Ginger, filling a goblet to the brim, and\nhanding it to him. \"You'd better be perwailed upon, Sandy.\"", "\"Svear, sir; it is your only chance,\" whispered Ginger.\n\n\"Well, if it must be, I do swear to keep silence,\" rejoined Mr.\nThorneycroft; \"but your proceedings appear very mysterious.\"", "\"Pisoned--nonsense!\" cried Ginger; \"don't you see some von has been\na-takin' his supper here? I'll jist finish it for him.\"", "\"Exactly so,\" replied the Tinker.\n\n\"And he also fancies he's committed a lot o' murders?\" perused Ginger.\n\n\"A desperate lot,\" replied the Tinker.", "\"I'll do my best to take you to her, and without any reward, sir,\"\nreplied Ginger, \"for my heart bleeds for the poor young creater. As I\nsaid afore, she's in dreadful bad hands.\"", "\"I'll have it out of you notvithstandin',\" muttered Ginger. \"I vish you\nwould lend me a knock on the head, old feller. I can't help thinkin'", "At length, however, he chanced upon one page the import of which he\ncomprehended, and he remained for some time absorbed in its\ncontemplation, while an almost fiendish smile played upon his features.", "\"No, he's as much a wictim of this infernal plot as your darter,\"\nreplied Ginger; \"I thought him quite different at first--but I've\naltered my mind entirely since some matters has come to my knowledge.\"", "\"He couldn't help you,\" replied Ginger. \"I'll take care to have plenty\nof assistance. It's a dangerous bus'ness, and can only be managed in a", "\"I'll go and see wot's the matter wi' Ginger,\" said the Sandman,\nslinking after him.\n\nThe Tinker looked nervously round. He was not proof against his\nsuperstitious fears." ], [ "gold. The third was laden with pearls and precious stones; and the rest\ncontained treasure to an incalculable amount. Rougemont gazed at them in\ntransports of joy.", "\"Dost hear me, old ancestor?\" he cried. \"I, thy descendant, Cyprian de\nRougemont, call upon thee to point out where thy gold is hidden? I know", "\"It were a fruitless boon to give you this house without the means of\nliving in it,\" said Rougemont, carefully closing the door. \"This\npocket-book will furnish you with them.\"", "But Rougemont's astonishment at this marvel quickly gave way to other\nfeelings, and he gazed around the vault with greedy eyes.", "volume, Rougemont knelt upon the nearest chest, and opened it. But he\nwas disappointed in his expectation. All the pages he examined were\nfilled with cabalistic characters, which he was totally unable to", "\"That it is magnificent,\" replied Auriol, gazing around. \"I envy you its\npossession.\"\n\n\"It shall be yours, if you please,\" replied Rougemont.", "\"This, then, is the entrance to my ancestor's tomb,\" cried Rougemont;\n\"there can be no doubt of it. The old Rosicrucian has kept his secret", "\"Some men would call me the devil!\" replied Rougemont carelessly. \"But\nyou know me too well to suppose that I merit such a designation. I offer\nyou wealth. What more could you require?\"", "\"A stroke of the pen will rescue you from utter ruin,\" said Rougemont,\nleaning over his shoulder. \"Riches and happiness are yours. You will not\nhave such another chance.\"", "\"They are yours, together with the house,\" cried Rougemont, \"if you will\nbut sign a compact with me.\"", "\"I will do all this, and more,\" replied Rougemont. \"I will make you one\nof the richest men in London.\"", "\"You thought to delude me,\" said Rougemont, in a deep whisper, audible\nonly to Auriol; \"but you counted without your host. I am come to claim\nmy victim.\"", "\"Dost hear me, I say, old ancestor? I call on thee to give me thy\ntreasure. Dost hear, I say?\"\n\nAnd he repeated the blow with greater violence.", "Several servants immediately answered the frantic shouts of the young\nman, and informed him that Mr. Rougemont had quitted the house some\nmoments ago, telling them that their master was perfectly satisfied with\nthe arrangements he had made for him.", "\"To mock you--no,\" replied Rougemont. \"I have told you that I mean to\nmake you rich. But you look greatly exhausted. A glass of wine will\nrevive you.\"", "\"I leave you in possession of your house,\" pursued Rougemont; \"but I\nshall return in a week, when I shall require my first victim.\"\n\n\"Your first victim! oh, Heaven!\" exclaimed Auriol.", "form were set about the vault, and motioning Auriol to be seated upon\none of them, Rougemont sounded a silver whistle. The summons was shortly", "Bewildered with terror, the poor iron-merchant threw himself at the feet\nof Rougemont, who, eyeing him with a look of malignant triumph, cried--", "And he rushed wildly after Rougemont, who had already gained the larger\nchamber; but, ere he could reach him, the mysterious individual had\npassed through the outer door, and when Auriol emerged upon the gallery,\nhe was nowhere to be seen.", "vault was a round altar, of black marble, covered with a plate of gold,\non which Rougemont read the following inscription:" ], [ "Auriol at length assented, and they turned into Saint James's Square,\nand paused before a magnificent house. Rougemont ascended the steps.\nAuriol, who had accompanied him almost mechanically, gazed at him with\nastonishment.", "\"I have not, sir,\" replied Auriol, turning pale. \"But why do you\nparticularise him?\"\n\n\"Because I have heard some things of him not much to his credit,\"\nreplied Mr. Talbot.", "\"It is,\" replied Auriol, regarding him fixedly. \"Why do you ask?\"\n\n\"I vants a vord or two vith you in private--that's all, sir,\" replied\nthe Tinker.", "\"That it is magnificent,\" replied Auriol, gazing around. \"I envy you its\npossession.\"\n\n\"It shall be yours, if you please,\" replied Rougemont.", "[Illustration: The Compact.]\n\n\"Notes to an immense amount!\" cried Auriol, opening the pocket-book, and\nglancing at its contents.", "a pecuniary point of view; but the magnificence of the house in Saint\nJames's Square, which fully bore out Auriol's account of his", "\"You have some motive in saying this to me,\" cried the terrified girl.\n\n\"My motive is to warn you,\" said Auriol. \"If you love me, you are\nlost--utterly lost!\"", "\"And so, after exciting my curiosity in this manner, you will not\nsatisfy it?\" she said.\n\n\"I cannot,\" rejoined Auriol, somewhat sternly.", "\"Oh, Mr. Thorneycroft,\" cried Auriol, at length, \"I beseech you forgive\nme. I have destroyed your daughter.\"\n\n\"You!\" exclaimed the iron-merchant in astonishment.", "\"Well, then, I close with you. Here's the money,\" said Auriol, taking\nout his purse.\n\n\"On no account, Auriol,\" cried Ebba quickly. \"It's too much.\"", "\"You terrify me, Auriol,\" she rejoined. \"Tell me what you mean--in pity,\ntell me?\"", "\"But tell me where the poor fellow is?\" cried Auriol. \"Have you seen him\nsince last night? I sent him to a public-house at Kensington, but he has\ndisappeared from it, and I can discover no traces of him.\"", "\"Where does my grandsire dwell?\" asked Auriol.\n\n\"Why here, sir,\" replied the dwarf; \"and for the matter of locality, the\nhouse is situated on the south end of London Bridge.\"", "\"Doctor Lamb!\" repeated Auriol. \"Surely I have heard that name before?\"\n\n\"Very likely,\" replied Rougemont, \"for it is the name borne by your\nnearest kinsman.\"", "And he stamped on the ground. At this signal an arm was thrust from the\ntrap-door, and Auriol's hand was seized with an iron grasp.", "\"But suppose I buy her for the young lady?\" said Auriol.\n\n\"Oh, then, in coorse, you'll get her at the lower figure!\" replied\nGinger.", "\"But you haven't answered the lady's question,\" said Auriol. \"What do\nyou ask for the dog?\"\n\n\"Do you want it for yourself, sir, or for her?\" inquired Ginger.", "After some moments of irresolution, Auriol once more took up the\npocket-book, and deposited it in the writing-desk, in which he found, as", "\"You are a perfect man of honour, Auriol,\" said Mr. Talbot, clapping him\non the shoulder, \"and I hope Edith will make you an excellent wife.\nIndeed, I have no doubt of it.\"", "Auriol, it need scarcely be said, was punctual to the hour, or, rather,\nhe anticipated it. He found Edith alone in the drawing-room, and seated" ], [ "Auriol, and had encouraged his suit to her niece; consequently she was\nwell satisfied with the turn affairs had taken. It was near midnight", "\"In a few moments the fit will be passed,\" she rejoined. \"Let us walk\ntowards the abbey.\"\n\n\"It is in vain to struggle against fate,\" ejaculated Auriol\ndespairingly.", "\"I have not, sir,\" replied Auriol, turning pale. \"But why do you\nparticularise him?\"\n\n\"Because I have heard some things of him not much to his credit,\"\nreplied Mr. Talbot.", "Auriol at length assented, and they turned into Saint James's Square,\nand paused before a magnificent house. Rougemont ascended the steps.\nAuriol, who had accompanied him almost mechanically, gazed at him with\nastonishment.", "\"Stay!\" cried Auriol, arresting her, as she was about to pass through\nthe door. \"I wish to have a word with you.\"\n\nEbba stopped, and the bloom suddenly forsook her cheeks.", "\"You shall not go!\" cried Auriol, seizing him. \"Release her, or I\nrenounce you wholly.\"\n\n\"Fool!\" cried the stranger, \"since you provoke my wrath, take your\ndoom.\"", "\"Possession of the girl I saw three days ago,\" said the other; \"the\niron-merchant's daughter, Ebba. She must be mine.\"\n\n\"Never!\" cried Auriol firmly--\"never!\"", "\"Oh, Mr. Thorneycroft,\" cried Auriol, at length, \"I beseech you forgive\nme. I have destroyed your daughter.\"\n\n\"You!\" exclaimed the iron-merchant in astonishment.", "\"Quite so,\" she replied, gazing at him with tenderness; \"I long to be\nalone with you.\"\n\n\"Come, then,\" said Auriol.", "\"I must speak to this man,\" replied Auriol. \"I'll come to you in the\nevening. Till then, farewell, Ebba.\" And, as the coach drove away, he", "\"Mr. Thorneycroft has come too late. He has lost his daughter,\" replied\nAuriol.\n\n\"What has happened to her?\" demanded Reeks.", "\"I am not to be intimidated by threats,\" replied Paston, with a scornful\nlaugh. \"You have employed your arts too long. Deliver up Auriol and this", "\"And so, after exciting my curiosity in this manner, you will not\nsatisfy it?\" she said.\n\n\"I cannot,\" rejoined Auriol, somewhat sternly.", "\"Ebba,\" said Auriol at length, \"I am about to leave your father's house\nto-day.\"", "\"Heaven have mercy upon me!\" exclaimed the agonised girl, dropping upon\nher knees.\n\nAt this moment a terrible voice from behind the curtain exclaimed,\n\"Sign, or Auriol is lost for ever.\"", "\"You terrify me, Auriol,\" she rejoined. \"Tell me what you mean--in pity,\ntell me?\"", "Auriol was about to decline the invitation, but Ebba glanced at him\nentreatingly.\n\n\"I have an engagement, but I will forego it,\" he said, offering his arm\nto her.", "\"Ebba, you are mine,\" cried the stranger. \"Auriol has brought you to\nme.\"\n\n\"It is false!\" cried Auriol. \"I never will yield her to you.\"", "moment she tripped up the steps of the carriage, and was ensconced\nwithin it. Auriol was about to follow her, when he received a violent", "\"You have hit the truth,\" replied Auriol. \"He bought her with the money\nI gave you. I have sold her and myself to perdition!\"\n\n\"Horror!\" exclaimed the old man, falling backwards." ], [ "sat Cyprian Rougemont. It was, in fact, the chamber where Ebba had been\nsubject to her terrible trial.", "\"What ails her?\" cried the agonised father. \"Ebba! Ebba!\"\n\n\"Call louder,\" said Rougemont, with a jeering laugh.", "\"Your keeper,\" replied Rougemont.\n\n\"My God! what a brain mine must be!\" cried Auriol. \"Answer me one\nquestion--Is there such a person as Ebba Thorneycroft?\"", "\"You have often raved about her,\" replied Rougemont. \"But she is a mere\ncreature of the imagination.\"\n\nAuriol groaned, and sank against the wall.", "\"It is because she loves you that I have chosen her,\" rejoined\nRougemont, with a bitter laugh. \"And such will ever be the case with", "\"I leave you in possession of your house,\" pursued Rougemont; \"but I\nshall return in a week, when I shall require my first victim.\"\n\n\"Your first victim! oh, Heaven!\" exclaimed Auriol.", "\"Ay, and my choice falls on Edith Talbot!\" replied Rougemont.\n\n\"Edith Talbot!\" exclaimed Auriol; \"she your victim! Think you I would\nresign her I love better than life to you?\"", "\"She is fast bound by a spell,\" said Rougemont. \"Take a last look of\nher. You will see her no more.\"", "\"You thought to delude me,\" said Rougemont, in a deep whisper, audible\nonly to Auriol; \"but you counted without your host. I am come to claim\nmy victim.\"", "We shall now return to the night of Ebba's seizure by the mysterious\nstranger. Though almost deprived of consciousness by terror, the poor", "A lovelier creature than Ebba Thorneycroft cannot be imagined. Her\nfigure was perfection--slight, tall, and ravishingly proportioned, with", "\"What crime have you committed?\" demanded Ebba.\n\n\"We have loved him,\" replied the second figure.\n\n[Illustration: The Chamber of Mystery.]", "At this moment Rougemont, attired in a dress similar to that of the\nprisoner, marched up the steps, and cried, \"What ho, Auriol!--Auriol\nDarcy!\"", "Rougemont. The corpse had evidently been carefully embalmed, and the\nfeatures were unchanged by decay. Upon the breast, with the hands placed", "Ebba glanced at the document, and a shudder passed over her frame. \"By\nthis,\" she cried, \"I surrender myself, soul and body, to you?\"\n\n\"You do,\" replied the stranger.", "\"Never mind, father,\" replied Ebba. \"I saw him last night,\" she added to\nAuriol. \"I was sitting in the back room alone, wondering what had become", "The coincidence between this appointment, and the time fixed by\nRougemont for the delivery of his victim, struck Auriol forcibly. His", "\"Ebba, you are mine,\" cried the stranger. \"Auriol has brought you to\nme.\"\n\n\"It is false!\" cried Auriol. \"I never will yield her to you.\"", "\"She is in the power of the Fiend,\" replied Auriol.\n\n\"I know she is detained by Cyprian Rougemont,\" said Reeks. \"But what has\nbefallen her?\"", "And he rushed wildly after Rougemont, who had already gained the larger\nchamber; but, ere he could reach him, the mysterious individual had\npassed through the outer door, and when Auriol emerged upon the gallery,\nhe was nowhere to be seen." ], [ "\"I leave you in possession of your house,\" pursued Rougemont; \"but I\nshall return in a week, when I shall require my first victim.\"\n\n\"Your first victim! oh, Heaven!\" exclaimed Auriol.", "\"You thought to delude me,\" said Rougemont, in a deep whisper, audible\nonly to Auriol; \"but you counted without your host. I am come to claim\nmy victim.\"", "After a while he looked up at Rougemont, who was leaning over his\nshoulder, and whose features were wrinkled with a derisive smile.\n\n\"Then you _are_ the Fiend?\" he cried.", "Rougemont. The corpse had evidently been carefully embalmed, and the\nfeatures were unchanged by decay. Upon the breast, with the hands placed", "The coincidence between this appointment, and the time fixed by\nRougemont for the delivery of his victim, struck Auriol forcibly. His", "And he discharged a pistol, with a deliberate aim, at the breast of\nRougemont. The latter remained erect, and apparently uninjured.", "And he rushed wildly after Rougemont, who had already gained the larger\nchamber; but, ere he could reach him, the mysterious individual had\npassed through the outer door, and when Auriol emerged upon the gallery,\nhe was nowhere to be seen.", "\"Yes--yes,\" cried Auriol, who fancied he saw a means of escape. \"This is\nmy friend, Mr. Rougemont--go with him.\"", "A thrill of apprehension passed through Auriol's frame. He looked up and\nbeheld Rougemont, who, glancing over his shoulder, fixed his malignant\ngaze upon him. Retreat was now impossible.", "\"You see how ineffectual your weapons are,\" said Rougemont, with a\nderisive laugh.\n\n\"It must be the devil!\" cried Ginger, running off.", "\"It's Rougemont himself,\" cried the dwarf in alarm. \"Then there's no\nescape.\"", "\"You have often raved about her,\" replied Rougemont. \"But she is a mere\ncreature of the imagination.\"\n\nAuriol groaned, and sank against the wall.", "Bewildered with terror, the poor iron-merchant threw himself at the feet\nof Rougemont, who, eyeing him with a look of malignant triumph, cried--", "\"And you have dared to penetrate here, Gerard?\" cried Rougemont,\nstamping the ground with rage. \"Recollect, you are bound to me by the\nsame ties as Auriol, and you shall share his fate.\"", "\"I would have the miserable live,\" said Rougemont, with a diabolical\nlaugh. \"It is only the happy I seek to destroy. But you have to thank", "\"She is fast bound by a spell,\" said Rougemont. \"Take a last look of\nher. You will see her no more.\"", "looked round with astonishment and dread, but could see no one. After a\nwhile, he again moved forward, but a voice, which he recognised as that\nof Rougemont, called upon him to stay.", "Rougemont. Upon a table in the middle of the room was laid a large open\nvolume, bound in black vellum. Near it stood a lamp, which served to\nillumine the scene.", "blow on the chest, which stretched him on the pavement. Before he could\nregain his feet, Rougemont had sprung into the carriage. The steps were", "\"It is because she loves you that I have chosen her,\" rejoined\nRougemont, with a bitter laugh. \"And such will ever be the case with" ], [ "Skulking along the blank and dreary walls, the Tinker, who was now a\nlittle in advance, stopped before a door, and pushing it open, entered\nthe dwelling. His companion followed him.", "Making a sign to the Sandman, who was close at his heels, the Tinker\ncrept forward on all fours, and, on reaching the window, raised himself", "Mr. Thorneycroft and his companions had scarcely gained a passage in the\ndeserted house, which they had entered in the manner described in a", "\"What's locked?\" cried Thorneycroft in dismay.\n\n\"The door, to be sure,\" replied the Tinker. \"Ve're prisoners.\"", "And, followed by the attendants, who dragged Mr. Thorneycroft after him,\nhe plunged into an opening on the right. A few steps brought him to the", "among his companions by the appellation of Ginger. On the entrance of\nthe Sandman and the Tinker, he nodded familiarly to them, and with a sly", "\"I'll go and see wot's the matter wi' Ginger,\" said the Sandman,\nslinking after him.\n\nThe Tinker looked nervously round. He was not proof against his\nsuperstitious fears.", "this state Mr. Thorneycroft heard the Tinker and the Sandman take their\nplaces near him, but not remarking the voice of Reeks, concluded that he\nmust have got outside.", "into the passage, and then grasping his hand tightly, hurried him along\nit. The passage was wholly unlighted, but Mr. Thorneycroft could", "\"Now it's underneath,\" said Mr. Thorneycroft, turning pale, and\ntrembling. \"It sounds as if some hidden machinery were at work.\"", "\"Do you vant to have us scragged, fool?\" cried the Sandman, springing\ninto the vault. \"Hoist him down here.\"", "of which was fortunately open, and had scarcely gained its shelter when\nthe four mysterious personages appeared on the gallery. Reeks heard\ntheir footsteps descending the staircase, and then, creeping cautiously", "Followed by Auriol, who, in his turn, was followed by Ginger and the\nSandman, the Tinker directed his steps to Great Windmill Street, where", "\"The place seems on fire,\" cried the dwarf. \"A thick smoke fills the\npassage. Don't you perceive it, Mr. Thorneycroft?\"", "after them, watched them across the hall, and pause before the chamber\ncontaining Mr. Thorneycroft and his companions. After a moment's", "The extraordinary and incongruous assemblage of objects which met the\ngaze of the Sandman, coupled with the deserted appearance of the place,\nproduced an effect upon his hardy but superstitious nature.", "Down came the second helmet, though rather more slowly, and the Sandman\nwas eclipsed in the same manner as the Tinker, and roared as loudly.\n\n[Illustration: The Enchanted Chairs.]", "\"Halloa! wot's that?\" cried the Tinker; \"I thought I heerd a noise.\"\n\n\"So did I,\" rejoined the Sandman; \"a strange sort o' rumblin' sound\noverhead.\"", "As he spoke, the Tinker and Sandman arose; and the man in the rough\ngreatcoat, who had hitherto remained with his back to them, turned", "dwarf, the little fellow was carried off. Left to himself, Mr.\nThorneycroft staggered along the passage, expecting every moment to\ndrop, until at length a current of fresh air blew in his face, and" ], [ "and were now walking about to try and find you. My daughter has been\nterribly uneasy. Haven't you, Ebba?\"", "We shall now return to the night of Ebba's seizure by the mysterious\nstranger. Though almost deprived of consciousness by terror, the poor", "\"What ails her?\" cried the agonised father. \"Ebba! Ebba!\"\n\n\"Call louder,\" said Rougemont, with a jeering laugh.", "\"Never mind, father,\" replied Ebba. \"I saw him last night,\" she added to\nAuriol. \"I was sitting in the back room alone, wondering what had become", "\"You look agitated,\" he said, noticing Ebba's uneasiness. \"What has\nhappened?\"", "\"What crime have you committed?\" demanded Ebba.\n\n\"We have loved him,\" replied the second figure.\n\n[Illustration: The Chamber of Mystery.]", "\"I cannot save him so, but I may precede him,\" cried Ebba. And throwing\nher hands aloft, she flung herself into the pit.", "\"Ebba, you are mine,\" cried the stranger. \"Auriol has brought you to\nme.\"\n\n\"It is false!\" cried Auriol. \"I never will yield her to you.\"", "\"Oh no, do not leave me!\" cried Ebba. \"I have no fear while you are with\nme.\"", "[Illustration: Seizure of Ebba.]\n\n\n\n\nCHAPTER X\n\nTHE STATUE AT CHARING CROSS", "\"Is that a crime?\" cried Ebba. \"If so, I am equally culpable with you.\"\n\n\"You will share our doom,\" replied the third figure.", "\"That is the man who frightened me!\" cried Ebba.\n\n\"It is the person I supposed!\" ejaculated Auriol. \"I must speak to him.\nLeave me, Ebba. I will join you presently.\"", "\"Ebba,\" he cried, \"I implore you to let me go! I have not the power to\ntear myself away unless you aid me.\"", "Soon after this, they reached the Quadrant, and were passing beneath the\neastern colonnade, when Ebba's attention was attracted towards a man who", "\"Ebba!\" he cried--\"Ebba!\"\n\nBut she appeared wholly insensible to his cries, and remained in the\nsame attitude, with her eyes turned away from him.", "Ebba did not move, but the stranger took her hand, and drew her to the\nseat.\n\n\"Read what is written on that paper,\" he cried imperiously.", "\"Ebba,\" said Auriol at length, \"I am about to leave your father's house\nto-day.\"", "\"What a strange place!\" cried Ebba, gazing around with some\napprehension. \"It looks like a spot one reads of in romance. I wonder\nwhere that trap leads to?\"", "Auriol was about to decline the invitation, but Ebba glanced at him\nentreatingly.\n\n\"I have an engagement, but I will forego it,\" he said, offering his arm\nto her.", "\"Of Ebba!\" exclaimed Thorneycroft, in a tone of deep emotion. \"I hope\nyour news is good.\"" ], [ "\"Fire!\" cried Rougemont, drawing himself up to his towering height. \"No\nearthly bullets can injure me.\"\n\n\"Ve'll try that!\" cried Ginger, coming up at the moment behind Paston.", "\"Surprisin'!\" replied the Tinker; \"he never suffers from injuries--at\nleast, not much; never grows old; and never expects to die; for he\nmentions wot he intends doin' a hundred years hence.\"", "And he discharged a pistol, with a deliberate aim, at the breast of\nRougemont. The latter remained erect, and apparently uninjured.", "who approaches shall have his brains blown out.\" And as he spoke, he\nlevelled a pistol at the Tinker's head.", "\"There he will be immured, unless you sign,\" cried the voice; \"and, as\nhe is immortal, he will endure an eternity of torture.\"", "\"Nuffin' o' the kind,\" replied the Tinker. \"He alvays recovers from\nevery kind of accident.\"", "\"No, not without reason,\" he cried. \"I am in the power of a terrible\nbeing, who seeks to destroy you, and I know that he is at hand. Listen", "\"Your own life will be the penalty of your obstinacy, if you refuse; nor\nwill your refusal save him. By the Mother of Heaven, he dies! and by", "\"You see how ineffectual your weapons are,\" said Rougemont, with a\nderisive laugh.\n\n\"It must be the devil!\" cried Ginger, running off.", "As he spoke, he placed the point to his breast with the full intent to\nstrike, but before he could inflict the slightest wound, his arm was\nforcibly arrested.", "\"I will be there,\" replied Auriol.\n\n\"That girl must be the next victim,\" said the stranger, with a grim\nsmile.\n\n\"Peace!\" thundered Auriol.", "\"She is lost for ever as it is,\" cried the iron-merchant despairingly.\n\n\"No--she may yet be saved,\" rejoined the dwarf. \"Come on--come on--they\nare close behind us.\"", "At the same time the Sandman rushed towards the ladder, but before he\ncould mount it all egress by that means was cut off. An immense iron", "\"_I_ am,\" said the dwarf, with affected nonchalance. \"As to you, you've\nthe comfort of knowing it'll soon be over with you. But for me, nothing\ncan harm me.\"", "As he spoke, he pressed against the button, which moved a spring, and\nthe door flew open. Just as they passed through it, the two masked", "\"It will be in vain to fly,\" said the unseen speaker. \"You cannot escape\nme. Whether you remain here or not--whether you use the wealth I have", "\"It is useless to brave my power,\" said the stranger. \"A moon is just\nborn. When it has attained its first quarter, Ebba shall be mine. Till\nthen, farewell.\"", "that shaded his still piercing eyes. His forehead was high, bald, and\nploughed by innumerable wrinkles. His countenance, despite its", "vulnerable point, by which, like the heel of Achilles, death might reach\nme! What is it!--where can it lie?\"", "\"Weak, superstitious fool!\" at length exclaimed the stranger, \"I will\nwaste no more words upon thee. Do, or say, what thou wilt; but beware!\"" ], [ "Mr. Thorneycroft and his companions had scarcely gained a passage in the\ndeserted house, which they had entered in the manner described in a", "coast was clear, they ventured forth, and quickening their pace, came to\na row of deserted and dilapidated houses. This was their destination.", "wrapped in a large horseman's cloak, and of strange and sinister\nappearance, entered an old deserted house in the neighbourhood of", "About two months after this occurrence, and near midnight, a young man\nwas hurrying along Pall Mall, with a look of the wildest despair, when", "The extraordinary and incongruous assemblage of objects which met the\ngaze of the Sandman, coupled with the deserted appearance of the place,\nproduced an effect upon his hardy but superstitious nature.", "The bandage was then removed from Thorneycroft's eyes, and he found\nhimself in a large and apparently neglected garden. Though the sky was", "cloudy, there was light enough to enable him to distinguish that they\nwere near an old dilapidated mansion.", "He then proceeded towards May Fair, and knocked at the door of a large\nhouse at the upper end of Curzon Street. His heart beat violently as he", "of which was fortunately open, and had scarcely gained its shelter when\nthe four mysterious personages appeared on the gallery. Reeks heard\ntheir footsteps descending the staircase, and then, creeping cautiously", "place was filled, and which were nearly of the same kind as those of the\nneighbouring habitation. He listened intently, but not the slightest\nsound reached his ears.", "Skulking along the blank and dreary walls, the Tinker, who was now a\nlittle in advance, stopped before a door, and pushing it open, entered\nthe dwelling. His companion followed him.", "Street and Abingdon Street, until, turning off on the right, they found\nthemselves before an old and partly-demolished building. By this time it", "\"Ha! who is this?\" cried Edith, as a tall man, with a sinister\ncountenance, and habited entirely in black, moved from the farther side", "water. One evening the marchesa drove thither: she was unattended,\nexcept by myself. Our carriage happened to be stationed near that of the\nyoung Englishman.\"", "This chamber, which was large and cased with oak, was wholly\nunfurnished, like the hall, and in an equally dilapidated condition. The", "And as they quitted him, he added, in a tone and with a gesture of the\ndeepest despair, \"All precautions are useless. I am indeed lost!\"\n\n\n\n\nCHAPTER III", "curiously-carved banisters, led to a gallery, and thence to the upper\nchambers of the habitation. Nothing could be more dreary than the aspect", "This person had gained the house from a garden behind it, and now stood\nin a large dismantled hall, from which a broad oaken staircase, with", "On that same night, at the appointed hour, Mr. Thorneycroft repaired to\nShoreditch, and entering a narrow street behind the church, speedily", "\"Well, well, I must resign myself, I suppose,\" groaned Thorneycroft,\nsinking into a chair. \"It's a terrible situation to be placed in--shut\nup in a haunted house.\"" ], [ "\"This, then, is the entrance to my ancestor's tomb,\" cried Rougemont;\n\"there can be no doubt of it. The old Rosicrucian has kept his secret", "\"Dost hear me, old ancestor?\" he cried. \"I, thy descendant, Cyprian de\nRougemont, call upon thee to point out where thy gold is hidden? I know", "volume, Rougemont knelt upon the nearest chest, and opened it. But he\nwas disappointed in his expectation. All the pages he examined were\nfilled with cabalistic characters, which he was totally unable to", "Suddenly, Rougemont stopped, and turning over several leaves of the\nbook, which were covered with cabalistic characters, appeared in search", "Rougemont. The corpse had evidently been carefully embalmed, and the\nfeatures were unchanged by decay. Upon the breast, with the hands placed", "gold. The third was laden with pearls and precious stones; and the rest\ncontained treasure to an incalculable amount. Rougemont gazed at them in\ntransports of joy.", "But Rougemont's astonishment at this marvel quickly gave way to other\nfeelings, and he gazed around the vault with greedy eyes.", "\"In two hundred and fifty years I shall open!\" cried Rougemont, \"and the\ndate 1550--why, the exact time is arrived. Old Cyprian must have", "name \"Cyprianus de Rougemont, Fra. R.C.\" The same name likewise appeared\nupon a label beneath the portrait, with the date 1550.", "way they reached a short steep staircase, and mounting it, entered a\nvault, in which Rougemont paused, and placed the torch he had brought", "Rougemont. Upon a table in the middle of the room was laid a large open\nvolume, bound in black vellum. Near it stood a lamp, which served to\nillumine the scene.", "After a while he looked up at Rougemont, who was leaning over his\nshoulder, and whose features were wrinkled with a derisive smile.\n\n\"Then you _are_ the Fiend?\" he cried.", "Within it, in the garb he wore in life, with his white beard streaming\nto his waist, lay the uncoffined body of his ancestor, Cyprian de", "\"I have no fear of Cyprian Rougemont,\" rejoined Reeks, with a laugh.\n\n\"Your voice seems familiar to me,\" said Auriol. \"Tell me who you are?\"", "And he rushed wildly after Rougemont, who had already gained the larger\nchamber; but, ere he could reach him, the mysterious individual had\npassed through the outer door, and when Auriol emerged upon the gallery,\nhe was nowhere to be seen.", "vault was a round altar, of black marble, covered with a plate of gold,\non which Rougemont read the following inscription:", "\"What is this?\" cried Rougemont, gazing into the aperture left by the\nplate. \"Ha!--my invocation has been heard!\"", "appeared at a distance. Rougemont addressed a few words in an undertone\nto them, and they instantly bowed respectfully to Auriol, while the\nforemost of them led the way up a magnificent staircase.", "looked round with astonishment and dread, but could see no one. After a\nwhile, he again moved forward, but a voice, which he recognised as that\nof Rougemont, called upon him to stay.", "A thrill of apprehension passed through Auriol's frame. He looked up and\nbeheld Rougemont, who, glancing over his shoulder, fixed his malignant\ngaze upon him. Retreat was now impossible." ], [ "Doctor Lamb then applied himself to his task with renewed ardour, and in\na few seconds became wholly insensible of the presence of a stranger.", "DOCTOR LAMB AGAIN", "Known by the name of Doctor Lamb, and addicted to alchemical and\nphilosophical pursuits, this venerable personage was esteemed by the", "\"Too well--too well!\" replied Doctor Lamb, in a voice of emotion that\nstartled his hearer. \"They were near kinsmen of mine own. What is he\nlike who has made this strange attempt?\"", "had seen it before! There also was Doctor Lamb, in his loose gown of\nsable silk, with a square black cap upon his venerable head, and his\nsnowy beard streaming to his girdle.", "\"Fancy I have discovered it!\" cried Doctor Lamb. \"The matter is past all\ndoubt. I am the possessor of the wondrous secret, which the greatest", "Doctor Lamb was plying the bellows at the furnace, on which a large\nalembic was placed, and he was so engrossed by his task that he scarcely\nnoticed the entrance of the others.", "\"Doctor Lamb!\" repeated Auriol. \"Surely I have heard that name before?\"\n\n\"Very likely,\" replied Rougemont, \"for it is the name borne by your\nnearest kinsman.\"", "Suddenly, he was roused by a loud joyful cry, and, uncovering his eyes,\nhe beheld Doctor Lamb pouring the contents of the matrass--a bright,", "Doctor Lamb's gaze was fixed intently upon the heavens, and he seamed\nto be noting the position of the moon with reference to some particular\nstar.", "curiosity being aroused, I listened at the door, and though I could not\ndistinguish much that passed inside, I heard sufficient to convince me\nthat Doctor Lamb had made the grand discovery, and succeeded in", "\"His grandson! I--Doctor Lamb's grandson!\" cried Auriol.", "\"Well then, to oblige you, I'll go through it again,\" rejoined the\ndwarf. \"You must know I was for some time servant to Doctor Lamb, an old", "\"I know it,\" replied Doctor Lamb; \"and you are fully justified in what\nyou have done. It may throw some light upon the matter, to know whose\nmiserable remains have been disturbed.\"", "\"That _was_ the name,\" cried Old Parr, starting up in extreme surprise.\n\"I heard Doctor Lamb call him so. But how, in the name of wonder, do you\ncome to know it?\"", "Doctor Lamb, meanwhile, steadily pursued his task, though he ever and\nanon paused, to fling certain roots and drugs upon the charcoal. As he", "\"Fling me the weapon with which you smote him,\" cried Doctor Lamb, in\naccents of commiseration, \"and I will anoint it with the powder of\nsympathy. His anguish will be speedily abated.\"", "\"I fear it's all over with him,\" murmured the gatekeeper; \"I shall have\na dead body to take to Doctor Lamb. It would be a charity to knock him", "\"I have not touched you, sir,\" replied Baldred. \"I brought you here to\nsuccour you. You will be easier anon. Doctor Lamb must have wiped the\nhalberd,\" he added to himself.", "The baffled marauder looked round, and remarking the open window at\nwhich Doctor Lamb was stationed, hurled the sack and its contents" ], [ "Bewildered with terror, the poor iron-merchant threw himself at the feet\nof Rougemont, who, eyeing him with a look of malignant triumph, cried--", "\"She is lost for ever as it is,\" cried the iron-merchant despairingly.\n\n\"No--she may yet be saved,\" rejoined the dwarf. \"Come on--come on--they\nare close behind us.\"", "\"N-o-o--not I,\" gasped the iron-merchant. \"I'm suffocating--help to drag\nme out.\"\n\n\"Get out if you can,\" cried the voice that had just spoken.", "\"Come along, and I'll tell you,\" replied the iron-merchant, dragging him\naway, while Morse followed closely behind them. \"I'm so glad to have met", "round. To the iron-merchant's surprise, he perceived that the face of\nthis individual was covered with a piece of black crape.", "\"Oh! it must be her--no doubt of it,\" cried the iron-merchant. \"Where is\nshe? Take me to her without a moment's delay.\"", "Proceeding to a short distance, this personage crossed over, and\nreturned slowly towards the iron-merchant's dwelling. Ebba then, for the", "The iron-merchant replied by a groan.\n\n\"It's all over with me,\" he said. \"I give it up--I'll die here!\"", "\"Yes, it's me, certainly, Mr. Tinker,\" replied the iron-merchant. \"Who's\nthat you've got with you?\"", "\"O Lord! I hope not,\" groaned the iron-merchant. \"I declare, you\nfrighten me so much that you take away all power of movement. I shall\ndrop in a minute.\"", "would now be removed, but he was mistaken, for Reeks, taking his arm,\ndrew him along at a quick pace. As they advanced, the iron-merchant's", "\"My name is Thorneycroft, fellow!\" cried the iron-merchant, eyeing him\naskance. \"And your name, I fancy, is Ginger?\"", "\"I can't stir another step,\" gasped the iron-merchant. \"I'm completely\ndone. Better yield at once.\"", "So bewildered was the poor iron-merchant by the strange and terrible\nevents that had befallen him, that, though released by the two masked", "\"O Lord, you don't say so!\" cried the iron-merchant in an agony of\nfright. \"What will become of us?\"\n\nA roar of laughter from the others converted his terror into fury.", "This part of the premises, being strewn with ironwork of every possible\nshape, presented a very singular appearance, and may merit some", "the iron-merchant at some distance, came up, and touching his hat, said,\n\"Mr. Thorneycroft, I believe?\"", "\"We are now arrived,\" said Reeks to the iron-merchant, \"and you will\nhave need of all your resolution.\"", "\"I'll try,\" replied the iron-merchant, with a subdued groan, \"but I'm\ncompletely spent. Oh that I ever ventured into this place!\"", "The masked attendants paid no attention to the iron-merchant's cries and\nentreaties; but as soon as they thought him able to move, they touched a" ], [ "CHAPTER V\n\nTHE SEVENTH NIGHT", "We shall now return to the night of Ebba's seizure by the mysterious\nstranger. Though almost deprived of consciousness by terror, the poor", "given you, or leave it behind you--you cannot annul your bargain. With\nthis knowledge, you are at liberty to go. But remember, on the seventh\nnight from this I shall require Edith Talbot from you!\"", "IV. EDITH TALBOT\n\nV. THE SEVENTH NIGHT\n\n\nBOOK THE SECOND--CYPRIAN ROUGEMONT--\n\nI. THE CELL", "A week had elapsed since Auriol Darcy was conveyed to the\niron-merchant's dwelling, after the attack made upon him by the ruffians", "CHAPTER VII\n\nTHE HAND AGAIN!", "\"It is useless to brave my power,\" said the stranger. \"A moon is just\nborn. When it has attained its first quarter, Ebba shall be mine. Till\nthen, farewell.\"", "After some time spent in this way, he began to fear the young man must\nhave departed, when all at once a piercing scream resounded through the", "girl could distinguish, from the movements of her captor, that she was\nborne down a flight of steps, or some steep descent, and then for a\nconsiderable distance along level ground. She was next placed in a", "and she expected every moment to be dashed in pieces. At length the\nvehicle stopped, and she was lifted out of it, and carried along a\nwinding passage; after which, the creaking of hinges announced that a", "\"Our meeting cannot be delayed much longer,\" pursued the stranger. \"I\nwill give you three more days. On the evening of the last day, at the\nhour of seven, I shall look for you at the foot of the statue in Hyde\nPark.\"", "\"Never mind, father,\" replied Ebba. \"I saw him last night,\" she added to\nAuriol. \"I was sitting in the back room alone, wondering what had become", "you. Seek not to love again, for your passion will be fatal to the\nobject of it. When the week has elapsed, I shall require Edith at your\nhands. Till then, farewell!\"", "\"It was--but listen to me. My tale draws to a close. One night, during\nthe absence of the Englishman, by secret means we entered the palazzo", "\"Fool!\" cried the other, seizing him by the arm, and fixing a withering\nglance upon him. \"Bring her to me ere the week be out, or dread my\nvengeance!\"", "but ven he goes back next mornin' he finds it has disappeared. The\ngreen-yard has been broken into overnight, and all the dogs stolen from\nit.\"", "\"I leave you in possession of your house,\" pursued Rougemont; \"but I\nshall return in a week, when I shall require my first victim.\"\n\n\"Your first victim! oh, Heaven!\" exclaimed Auriol.", "On the night of the 1st of March 1800, and at a late hour, a man,", "On that same night, at the appointed hour, Mr. Thorneycroft repaired to\nShoreditch, and entering a narrow street behind the church, speedily", "\"Since you have become so reasonable, you shall again go forth into the\nworld,\" said Rougemont; \"but the first essay must be made at night, for" ], [ "\"I have no fear of Cyprian Rougemont,\" rejoined Reeks, with a laugh.\n\n\"Your voice seems familiar to me,\" said Auriol. \"Tell me who you are?\"", "name \"Cyprianus de Rougemont, Fra. R.C.\" The same name likewise appeared\nupon a label beneath the portrait, with the date 1550.", "\"Dost hear me, old ancestor?\" he cried. \"I, thy descendant, Cyprian de\nRougemont, call upon thee to point out where thy gold is hidden? I know", "Suddenly, Rougemont stopped, and turning over several leaves of the\nbook, which were covered with cabalistic characters, appeared in search", "looked round with astonishment and dread, but could see no one. After a\nwhile, he again moved forward, but a voice, which he recognised as that\nof Rougemont, called upon him to stay.", "\"Yes--yes,\" cried Auriol, who fancied he saw a means of escape. \"This is\nmy friend, Mr. Rougemont--go with him.\"", "After a while he looked up at Rougemont, who was leaning over his\nshoulder, and whose features were wrinkled with a derisive smile.\n\n\"Then you _are_ the Fiend?\" he cried.", "\"You thought to delude me,\" said Rougemont, in a deep whisper, audible\nonly to Auriol; \"but you counted without your host. I am come to claim\nmy victim.\"", "\"She is in the power of the Fiend,\" replied Auriol.\n\n\"I know she is detained by Cyprian Rougemont,\" said Reeks. \"But what has\nbefallen her?\"", "\"Why, one shouldn't believe all the ill one hears of a man; and, indeed,\nI _cannot_ believe all I have heard of Cyprian Rougemont,\" replied Mr.", "A thrill of apprehension passed through Auriol's frame. He looked up and\nbeheld Rougemont, who, glancing over his shoulder, fixed his malignant\ngaze upon him. Retreat was now impossible.", "appeared at a distance. Rougemont addressed a few words in an undertone\nto them, and they instantly bowed respectfully to Auriol, while the\nforemost of them led the way up a magnificent staircase.", "volume, Rougemont knelt upon the nearest chest, and opened it. But he\nwas disappointed in his expectation. All the pages he examined were\nfilled with cabalistic characters, which he was totally unable to", "\"What is this?\" cried Rougemont, gazing into the aperture left by the\nplate. \"Ha!--my invocation has been heard!\"", "\"It's Rougemont himself,\" cried the dwarf in alarm. \"Then there's no\nescape.\"", "\"You have often raved about her,\" replied Rougemont. \"But she is a mere\ncreature of the imagination.\"\n\nAuriol groaned, and sank against the wall.", "And he rushed wildly after Rougemont, who had already gained the larger\nchamber; but, ere he could reach him, the mysterious individual had\npassed through the outer door, and when Auriol emerged upon the gallery,\nhe was nowhere to be seen.", "gold. The third was laden with pearls and precious stones; and the rest\ncontained treasure to an incalculable amount. Rougemont gazed at them in\ntransports of joy.", "advanced towards Rougemont, and had an indistinct recollection of having\nseen him before; but could not call to mind how or where.", "\"I hope you have not invited Cyprian Rougemont?\" said Mr. Talbot,\nregarding him fixedly." ] ]

[ "What does Mr. Thorneycroft do for a living?", "What does Cyprian reveal when he strikes the portrait off the wall?", "How does Lamb die?", "Where does Cyprian find the portrait of his ancestor?", "What did Satan promise?", "Who does Auriol want to marry?", "Who helps the group find Ebba?", "Who is the King of England?", "Who is trapped in the pit?", "What was Auriol doing before he was taken to Dr. Lamb's house by Baldred?", "When does Auriol's grandfather die?", "Who did Tinker and Sandman carry to Mr. Thorneycroft's house?", "How does Ebba's father earn a living?", "What did Ginger read in the man's private diary?", "How did Rougemont have to pay for the ancestral treasure he wanted?", "Why did Auriol want a mansion and 120,000 Great Britain Pounds?", "When did Auriol have to surrender Elizabeth?", "Which other woman became Rougemont's victim, besides Elizabeth and Ebba?", "Who is Rougemont's second victim? ", "Upon entering the mysterious mansion, what happens to Thorneycroft, Sandman and Tinker? ", "Who attempts to help them find Ebba? ", "Who is impenetrable by bullets? ", "Where exactly is the deserted mansion located? ", "How did Cyprian Rougemont discover the ancestral tomb? ", "What is Dr. Lamb's professional specialty? ", "Who is the iron-scrap dealer? ", "On the seventh night, who is abducted? ", "Who appeared to Cyprian Rougemont in a dream? " ]

[ [ "scrap-iron dealer", "A scrap-iron dealer" ], [ "an ancient tomb", "access to the ancestral tomb" ], [ "He has a seizure", "a seizure" ], [ "the dessert mansion at Stepney Green", "a deserted mansion at Stepney Green" ], [ "ancestral treasure", "An ancestral treasure." ], [ "Elizabeth Talbot", "Elizabeth Talbot" ], [ "Flapdragon", "Flapdragon" ], [ "James I", "James I" ], [ "Thorneycroft, Tinker, and Sandman", "Tinker and Sandman" ], [ "trying to remove two heads from a Gateway", "removing the heads of traitors from London Bridge Gateway" ], [ "After discovering the elixir of life", "In the prologue" ], [ "Auriol", "A gentleman." ], [ "as a scrap iron-dealer", "dealing iron" ], [ "accounts of a man who lived over 200 years and committed countless crimes", "that Auriol has lived for over 200 years and committed many horrible crimes" ], [ "either with his own soul or the soul of Auriol", "his soul or Auriols" ], [ "so he could win the love of Elizabeth Talbot", "To win Elizabeth" ], [ "within a week of signing the contract with Rougemont", "One week" ], [ "Clara Paston", "Auriol is the other woman." ], [ "Clara Paston. ", "Clara Patson" ], [ "They get trapped.", "trapped in a chamber get locked in mechanical chairs and then put through traps in the floor" ], [ "Flapdragon. ", "flapdragon" ], [ "Cyprian Rougemont. ", "Rougemont" ], [ "At Stepney Green. ", "Stepney Green." ], [ "Cyprian Rougemont dislodged the ancestor's portrait. ", "she signs a scorll and the tomb is revealed to her" ], [ "He is an alchemist. ", "alchemist" ], [ "Mr. Thorneycroft. ", "Mr. Thorneycroft" ], [ "Elizabeth Talbot. ", "Elizabeth" ], [ "Satan. ", "satan" ] ]

[ [ "ERICA (CONT'D)", "ERICA (CONT'D)", "Erica works at a laptop at a cluttered table. The CLOCK tells us\nit's a little after ONE A.M. Annoyed by the ringing phone, she", "Erica sits alone at a table in the back of the room, drinking\na glass of wine. She looks vibrant. She glances up from her", "Erica at her desk, typing. The Music plays from the CD\nplayer. As much as she doesn't want it to be true, this\nattention from Julian has fueled her.", "ERICA\n\n No, no I'm just... No. I'm Erica Barry. .\n He was having dinner at our house. I just\n met him this afternoon.", "ERICA\n\n (into the phone)\n Hello.\n\n HARRY", "INT. ERICA'S BEDROOM - LATER", "ERICA\n\n\nD", "ERICA\n\n Not lately.\n\n\n\n\n\n\n\nINT. ERICA'S BEDROOM - NIGHT", "around her. Erica awakens just as surprised. In the light of\nday, a definite hint of embarrassment ...", "INT. ERICA'S BEDROOM - LATE AFTERNOON - MUSIC OVER", "Erica...\n (she turns)\n You are a woman to love.\nErica smiles, then walks away with the achey walk of a woman", "(enters, kisses Erica)\n\n I", "INT. ERICA'S LIVING ROOM - SAME TIME - OVER, THE PHONE RINGS\n\nThe room is empty. Erica rushes in, picks up the phone.\n\n E", "INT. ERICA'S KITCHEN - THE SAME TIME - MUSIC OVER\n\nErica cooks, softly singing along in French.\n\n HARRY (O.S.)", "facing her. Marin hasn't seen him. Erica tries her hardest to\nact normal but apparently isn't.", "Erica rushes out. She's a little high and her heart is\npounding. She heads down the street.\n\n ERICA", "Harry notes Erica's reaction.", "INT. ERICA'S DINING ROOM - THAT NIGHT" ], [ "ERICA\n\n Harry, you have to get back in bed.\n\n HARRY", "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "Erica and Zoe bust into the room and find Harry .on the\nfloor, leaning against the bed, a clenched fist on his chest.", "INT. LIVING ROOM - MOMENTS LATER\n\nErica and Harry, wet from the rain, quickly shut all the\ndoors and windows. Lightning crackles across the sky and THE", "Harry notes Erica's reaction.", "Erica enters, letting out a huge sigh. She's brought back to\nreality when she hears the TV in Harry's room. She heads his\nway, then changes her mind and stops.", "ERICA\n\n This is pretty unusual for me. I'm not\n used to having sleepovers.\n\n HARRY\n\n Me either.", "Erica hangs up, starts crying again. She takes off her\nglasses to wipe her eyes when she realizes she's holding\nHarry's glasses. Just the sight of them makes her burst into", "HARRY\n\n I'm sorry! Oh, God am I sorry.\n\n ERICA (O.S.)\n\n What are you doing?!?", "ON HARRY\n\nEven in this state he gets that Erica is about to place her.\nmouth on his. His eyes WIDEN IN HORROR, he reels back. Erica\ncatches this.", "HARRY\n\n Wait.\nErica turns.\nThis is his chance.\n\n HARRY", "is suddenly lit up and one of Erica's French CDs comes on\nfull blast.\nHarry opens his eyes. He's surprised to see he has his arm", "(yells, warning-like)\n I'm Walking Around The house!\nERICA Laughs. Even she knows this is funny. Harry arrives at\nher open doorway, timidly pokes his head in.", "ERICA\n\n He went back to the hotel.\n\n HARRY\n\n How come?", "And so on... Erica watches knowing something in her life has\njust that second, forever changed. And as Harry continues\nsinging, we:", "Harry sits up in bed, staring at his laptop, wearing Erica's\nglasses, a pair of pajamas and a three day growth. A", "Harry?\nHarry turns and sees Erica standing by a Cab with its motor\nrunning, snow falling on her hair and coat.\n\n HARRY\n\n Where's Julian?", "something's off. He's very aware of himself. They lie there\nquietly for a second when Erica begins to tear up. Harry\nslowly, nervously turns to her.", "Harry and Marin shop near by. Harry listens to Erica out of\none ear.\n\n HARRY\n\n That's impressive.", "I need to talk to you.\nErica freezes, horrified. Turns, sees him.\n\n HARRY\n\n Got a minute?" ], [ "Erica hangs up, starts crying again. She takes off her\nglasses to wipe her eyes when she realizes she's holding\nHarry's glasses. Just the sight of them makes her burst into", "And so on... Erica watches knowing something in her life has\njust that second, forever changed. And as Harry continues\nsinging, we:", "Harry notes Erica's reaction.", "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "A tear lands on it. Erica, back in a turtleneck and wearing\nHarry's glasses, starts writing at a breakneck pace, all the\nwhile, tears flood her eyes.", "ERICA\n\n Something to remember me by.\nHarry hugs her. Erica awkwardly throws her arms around him\nand kisses him, then kisses him better. He's moved by her.", "something's off. He's very aware of himself. They lie there\nquietly for a second when Erica begins to tear up. Harry\nslowly, nervously turns to her.", "ON HARRY\n\nEven in this state he gets that Erica is about to place her.\nmouth on his. His eyes WIDEN IN HORROR, he reels back. Erica\ncatches this.", "She does it anyway. Her-mouth on his, her breath into his\nlungs, over and over. Harry's eyes roll back in hi-so head.\nAs. Erica pounds on his chest, we HEAR THE BLARE OF A", "(nods)\n Nothin's ever surprised me more...\nFlattered, Erica snuggles up close. Harry puts his arm around\nher. Then, with no warning, his eyes fill with tears.", "HARRY\n\n Wait.\nErica turns.\nThis is his chance.\n\n HARRY", "HARRY\n\n I'm sorry! Oh, God am I sorry.\n\n ERICA (O.S.)\n\n What are you doing?!?", "Erica enters, letting out a huge sigh. She's brought back to\nreality when she hears the TV in Harry's room. She heads his\nway, then changes her mind and stops.", "ERICA\n\n Death.\n (Harry reacts)\n It's funnier.\n\n HARRY", "ERICA\n\n Well, uh, I mean, I'm just...\n\n HARRY", "ERICA\n\n No, I think she really did meet\n someone else.\n\n HARRY", "ERICA\n\n So you think I'm inhuman.\n\n HARRY\n\n No. I think you're formidable.", "(from the beach)\n Thought you'd like to know your\n daughter broke up with me.\nHarry and Erica talk while looking at each other through the\nKitchen Window.", "Oh, there we go, now I feel better.\n Back to normal.\nHarry winces then rises, looks to Erica as she throws a\npashmina over her shoulders in SLOW MOTION. Harry rushes them", "HARRY\n\n Look at these faces. Will you tell them\n I'm fine.\nAs soon as Harry spots Erica, he starts to wobble.\n\n ERICA" ], [ "INT. PARIS BISTRO - THE PRESENT\n\n\n HARRY", "is suddenly lit up and one of Erica's French CDs comes on\nfull blast.\nHarry opens his eyes. He's surprised to see he has his arm", "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "Yeah, fine.\nErica looks at her menu then her eyes go right back to Harry.\nHis Date is laughing at something Harry is saying. Harry\nleans in to her, whispers something to her. She touches his\nhand.", "Harry notes Erica's reaction.", "On it is written: The lights on the Eiffel Tower dim to black\nas the music continues to play.\nErica sits back, still wearing Harry's glasses. Finished at", "Erica and Harry sit on a blanket on a cloudy day having a\npicnic lunch. Harry is telling Erica a story and she screams\nwith laughter.", "Erica and Zoe bust into the room and find Harry .on the\nfloor, leaning against the bed, a clenched fist on his chest.", "ERICA\n\n (into the phone)\n Hello.\n\n HARRY", "WIDE SHOT - ALMOST NIGHT\n\nErica and Harry sit not so close together at a long table,\nunder a purple sky. Another French Tune plays. If this wasn't\nthem, this would look romantic.", "INT. HARRY'S ROOM - SAME TIME\n\nHarry tosses his pills in a leather bag. .. Erica enters\ndoing the worst job she's ever done of being strong.", "Harry?\nHarry turns and sees Erica standing by a Cab with its motor\nrunning, snow falling on her hair and coat.\n\n HARRY\n\n Where's Julian?", "as the room comes alive again. Her eyes follow Harry as he is\nseated only one table away, his back to Erica, his Date", "Harry and Marin shop near by. Harry listens to Erica out of\none ear.\n\n HARRY\n\n That's impressive.", "HARRY\n\n Wait.\nErica turns.\nThis is his chance.\n\n HARRY", "HARRY\n\n Big dinner date?\n\n ERICA\n\n Well, yeah, as a matter of fact.\n With your doctor.", "Harry then looks inside the bag with the sandwich and finds an\nEnvelope from Erica, pulls it out, doesn't open it, places it back\nin the bag then takes out his cell phone and dials.", "HARRY\n\n There is that...\n\n ERICA\n\n And hey, we'll always have Paris.", "Yeah, she looks like a buddy kind\n of a girl.\nErica reaches a corner, can't get across, turns the corner.\nHarry ARRIVES NEXT TO HER.\n\n HARRY", "takes Erica's hand and leads her to the dance floor. Harry\nwatches them slip through the crowd. Erica turns back, Harry" ], [ "Erica hangs up, starts crying again. She takes off her\nglasses to wipe her eyes when she realizes she's holding\nHarry's glasses. Just the sight of them makes her burst into", "INT. ERICA'S DINING ROOM - THAT NIGHT", "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "Erica sits alone at a table in the back of the room, drinking\na glass of wine. She looks vibrant. She glances up from her", "INT. ERICA'S DINING ROOM - LATER\n\nErica sets the table for two. Zoe pokes her head in the door.\n\n ZOE", "facing her. Marin hasn't seen him. Erica tries her hardest to\nact normal but apparently isn't.", "Come on, it's just a dinner...\n\n ERICA\n\n Look, Harry, here's the problem. I\n really like you.", "ERICA\n\n No, no I'm just... No. I'm Erica Barry. .\n He was having dinner at our house. I just\n met him this afternoon.", "Erica puts away groceries, a little on edge. Her back is to a\nMan in his fifties, who sits at the island, eating a", "Yeah, fine.\nErica looks at her menu then her eyes go right back to Harry.\nHis Date is laughing at something Harry is saying. Harry\nleans in to her, whispers something to her. She touches his\nhand.", "No, no, I insist. I crashed your\n party.\n (to Erica)\n At least let me buy you dinner on", "Harry notes Erica's reaction.", "And so on... Erica watches knowing something in her life has\njust that second, forever changed. And as Harry continues\nsinging, we:", "something's off. He's very aware of himself. They lie there\nquietly for a second when Erica begins to tear up. Harry\nslowly, nervously turns to her.", "Erica enters, letting out a huge sigh. She's brought back to\nreality when she hears the TV in Harry's room. She heads his\nway, then changes her mind and stops.", "110.\n\n\n\n\n\n\n\n\n\n\nErica nods, horrified.", "Erica and Harry sit on a blanket on a cloudy day having a\npicnic lunch. Harry is telling Erica a story and she screams\nwith laughter.", "(from the beach)\n Thought you'd like to know your\n daughter broke up with me.\nHarry and Erica talk while looking at each other through the\nKitchen Window.", "I need to talk to you.\nErica freezes, horrified. Turns, sees him.\n\n HARRY\n\n Got a minute?", "as the room comes alive again. Her eyes follow Harry as he is\nseated only one table away, his back to Erica, his Date" ], [ "ERICA\n\n Okay, this is the best birthday ever.\n\n HARRY", "Harry notes Erica's reaction.", "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "ERICA\n\n Mine's in January. So, how 'bout if we\n still know each other by then we go to\n Paris for our birthdays.\n\n HARRY", "takes Erica's hand and leads her to the dance floor. Harry\nwatches them slip through the crowd. Erica turns back, Harry", "Erica and Zoe bust into the room and find Harry .on the\nfloor, leaning against the bed, a clenched fist on his chest.", "as the room comes alive again. Her eyes follow Harry as he is\nseated only one table away, his back to Erica, his Date", "HARRY\n\n Wait.\nErica turns.\nThis is his chance.\n\n HARRY", "Harry and Marin shop near by. Harry listens to Erica out of\none ear.\n\n HARRY\n\n That's impressive.", "Yeah, fine.\nErica looks at her menu then her eyes go right back to Harry.\nHis Date is laughing at something Harry is saying. Harry\nleans in to her, whispers something to her. She touches his\nhand.", "INT. HARRY'S ROOM - SAME TIME\n\nHarry tosses his pills in a leather bag. .. Erica enters\ndoing the worst job she's ever done of being strong.", "HARRY\n\n Hey.\n\n ERICA\n\n Hello... Harry.\n (to his Date)\n Hello...", "Harry?\nHarry turns and sees Erica standing by a Cab with its motor\nrunning, snow falling on her hair and coat.\n\n HARRY\n\n Where's Julian?", "HARRY\n\n Big dinner date?\n\n ERICA\n\n Well, yeah, as a matter of fact.\n With your doctor.", "ERICA\n\n (into the phone)\n Hello.\n\n HARRY", "is suddenly lit up and one of Erica's French CDs comes on\nfull blast.\nHarry opens his eyes. He's surprised to see he has his arm", "Yeah, she looks like a buddy kind\n of a girl.\nErica reaches a corner, can't get across, turns the corner.\nHarry ARRIVES NEXT TO HER.\n\n HARRY", "Harry leads Erica through a crowd listening to a Girl singing\nBritney Spears' Oops, I Did It Again. When she finishes the\ncrowd enthusiastically applauds.\n\n HARRY", "And so on... Erica watches knowing something in her life has\njust that second, forever changed. And as Harry continues\nsinging, we:", "Erica and Harry ENTER FROM OPPOSITE SIDES OF THE ROOM, both in\ntheir pajamas.\n\n HARRY\n\n We are cute..." ], [ "Part of my play takes place in Paris so\n I'm hoping this helps me think. I'm\n hopin'...How you feeling?\n\n HARRY", "HARRY\n\n I remember you said if we still\n know each other we should go to\n Paris for our birthdays, well, we\n still know each other..\".", "INT. PARIS BISTRO - THE PRESENT\n\n\n HARRY", "Harry lies there alone for a second. Catches his breath. He\nsits up, feet on the floor, shoulders hunched, clears his", "HARRY (CONT'D)", "EXT. STREET - PARIS - NIGHT\n\nHarry, with his collar turned up against the cold, walks past\nthe glass pyramid in front of The Louvre.", "Harry's in bed, clearly disappointed that she didn't stop in.\n\n HARRY\n\n (yells)\n 'Night...", "I was there about ,six hours, when it\n occurred to me that wasting away on an\n island in the Caribbean wasn't going to\n remotely cure what was ailing me.\nHarry sits straight up into CAMERA.", "Again, the identical set up. Harry ENTERS again. This time he\nlooks ten years older. The bounce to his step is gone. The", "HARRY\n\n (quickly)\n Climb a flight of stairs. Several times\n actually.\nHarry stands, tucks in his shirt, smiling proudly to himself.", "Harry walks over the bridge, the beauty surrounding him just\nmaking it all worse. He stops, looks out at the Seine. He\nhears a classic French song in the distance, then sees a", "message from Harry so bored out\n here. I thought I should come out\n and at least see how he was doing.\n (kisses Harry on the", "On it is written: The lights on the Eiffel Tower dim to black\nas the music continues to play.\nErica sits back, still wearing Harry's glasses. Finished at", "HARRY\n\n There is that...\n\n ERICA\n\n And hey, we'll always have Paris.", "HARRY\n\n (almost amused)\n Look who gets to be the girl.\nHe wipes his eyes on his coat sleeve as SNOW begins to fall.", "ERICA\n\n That's true, but, Harry, I haven't\n heard from you in six months.\n\n\n\n\n 120.", "(whispers)\n We'll pull up the car.\nEveryone EXITS leaving Marin and Harry alone. Harry sits on", "64.\n\n\n\n\n\n\n\n\n\n\n\n HARRY", "--But why Paris?\n\n ERICA\n\n I just always wanted to write a play that\n ended there.", "(yells)\n I'm back...\n\n HARRY (O.S.)\n\n You have fun?\n\n ERICA" ], [ "Harry is wheeled out in a wheelchair, Marin and a Nurse on\neither side. In the parking lot is a Town Car with Lowell and", "Nurses scurry to clean up. Erica and Zoe rush out, Marin\nhangs back. Harry catches the look on her face.", "Marin watches her mother EXIT then looks to Harry, his eyes\nfollowing her Mom out the door. She's sees a look on Harry's", "Just as harry is about to answer, Marin's cell RINGS. She\npicks it up, looks at her caller ID, throws it back in her\nbag.", "MARIN\n\n (confused)\n Lowell?\nHarry wobbles. Is he going to fall? Marin freezes, looks to\nher Mom for help. Erica rushes to Harry.", "Marin! Now!\n\n\n\n\n\n\n\nHARRY'S POV - THE ROOM", "Marin, holding her Baby Girl, and her husband Danny through\nthe crowded restaurant. The Baby fusses and reaches out to\nHarry who takes her in his arms and proudly parades her", "(already hating him)\n Yeah. Okay. Whatever...\nMarin watches. Dying.\n\n HARRY", "(whispers)\n We'll pull up the car.\nEveryone EXITS leaving Marin and Harry alone. Harry sits on", "HARRY\n\n Doc, I'm out in the middle of the\n Hamptons. Where do you want me to go?\nMarin turns to Erica who very clearly mouths, \"FORGET IT!\"", "the bed. Marin joins him. Harry places his hand on her thigh.\nAll she notices is his hospital bracelet.", "The elevator opens. Harry steps out, looks around for an\napartment number, finds it, rings the bell and clears his\nthroat. The door quickly OPENS and we see MARIN. She looks\nrelaxed and happy to see him.", "Harry hangs up, doesn't look in Marin's direction to see if'\nshe caught that. This brand of cool is about not playing that", "HARRY\n\n Why? You're not nervous now, are you?\n\n MARIN\n\n I'm always a little nervous.", "All I can say is, thank God it didn't\n happen when he was inside you. That could\n be life altering.\nJulian rounds the corner of the corridor. Marin rushes toward\nhim, her face begging for good news.", "HARRY\n\n That's refreshing. Good. Well, I don't\n know what you've done to yourself but you\n look absolutely radiant.\n\n MARIN", "INT. HOSPITAL - DAY\n\nHarry is wheeled through the ER with the gurney. Dr. Martinez\nruns along with the gurney.", "(very directly)\n She's over thirty.\nHarry looks to Marin, feigning hurt.\n\n MARIN", "Yeah. Okay...Best of luck, kids...\nMarin is stumped by this little visit. Harry heads toward the\nelevator, pushes the button, then turns back.", "HARRY\n\n So, I'm some great date, huh?\n\n MARIN\n\n Yeah... Mr. Excitement." ], [ "JULIAN\n\n Hey, look who's answering the door.\n\n HARRY\n\n And look who's at the door.", "DR. JULIAN MERCER arrives at Harry's side. Julian is in his\nearly-thirties and has finally just graduated out of the 'you", "JULIAN\n\n Happy Birthday baby.\nHe kisses her. Harry watches, dying.\n\n ERICA", "Julian. Thanks for everything.\nJulian shakes Harry's hand. Harry's eyes TEAR UP.\n\n JULIAN\n\n You're gonna be okay.", "INT. HARRY'S BEDROOM\n\nHarry and Julian sit on the bed. Julian takes Harry's blood\npressure.", "JULIAN\n\n Absolutely.\nHarry stands and indulges Lowell in a deep hug. Lowell's\nshoulders shake as he sobs.\n\n HARRY", "HARRY\n\n Not as much.\n\n JULIAN\n\n Out of breath?\n\n HARRY", "HARRY\n\n -- Unfortunately, no.\n\n JULIAN\n\n\n S", "JULIAN\n\n You look beautiful.\n\n ERICA\n\n Thank you.\nBehind Julian's back Harry gives Erica the 'OK' sign.", "JULIAN\n\n Harry, I'm sorry, but I think we jumped the\n gun.. .can't let you travel quite yet.\n\n HARRY", "JULIAN\n\n Way to go. How's Erica?\n\n HARRY\n\n (caught)\n Erica?", "as she sits right in front of him. She crosses her legs and\nher dress hikes up a little, exposing her thigh.\nJULIAN furrows his brow.\n\n HARRY", "Harry?\nHarry turns and sees Erica standing by a Cab with its motor\nrunning, snow falling on her hair and coat.\n\n HARRY\n\n Where's Julian?", "Everyone at the table is laughing, mid-meal. Julian is doing\nthe talking as well as laughing. Harry laughs along, trying\nto be an approving part of their romance but he's totally\nfaking it.", "ANGLE - HARRY\n\nsitting, self-conscious in his new role - The Sick One.\nJulian takes his wrist, feels his pulse. Harry looks straight\nahead.", "HARRY\n\n No, I don't know...\n\n JULIAN", "A MAN'S VOICE\n\n I don't believe it.\nHarry looks up and sees handsome young Julian in a beret.\nHarry looks to Erica, instantly deflated..", "HARRY\n\n Yes or no. What's the deal, can I\n go?\n\n JULIAN\n\n You still getting dizzy?", "Spits out a long tape. TILT UP to Julian at the end of the\ntape. Harry sits on an examining table in JULIAN'S OFFICE,\nbuttoning up his shirt.\n\n JULIAN", "HARRY\n\n Me either.\nHarry stands. The two Men hug, then Julian squeezes in next\nto Erica. Harry slowly takes his seat across from them.\n\n ERICA" ], [ "(winces)\n Ouch.\nHe grabs his heart.\n\n HARRY\n\n Oh, God...", "where Harry lies on the bed, dressed and ready to go. He\nsquints as he reads a pamphlet at arms's distance called,\n\"Heart Attack -- Bouncing Back\".\n\n JULIAN", "HARRY\n\n I'm having a heart attack?\n\n JULIAN", "Can you show me where the pain is?\nHarry clenches his fist over his sternum.\n\n JULIAN\n\n What were you doing at the onset of\n the pain?", "Harry lies there alone for a second. Catches his breath. He\nsits up, feet on the floor, shoulders hunched, clears his", "Erica and Zoe bust into the room and find Harry .on the\nfloor, leaning against the bed, a clenched fist on his chest.", "Hey, your heart attack could be the best\n thing that ever happened to me.\n\n HARRY", "what's going on so there will be little\n or no damage to your heart. You with me?\n (Harry nods. Julian places\n his hand on Harry's)", "And incase you haven't heard, that can\n give you a heart attack. Mr. Langer, I\n donlt know what you're up to gallivanting", "Harry lies on the sofa. CAMERA MOVES UP Harry's body, past\nthe hospital take out carton on his stomach and finally up to\n\n M", "HARRY (CONT'D)", "I'm Dr. Mercer. Mr. Langer did have a\n mild heart attack. I gave him something\n to break up the clot in his artery and it\n worked beautifully.", "Okay, Harry, looks like we're going\n to have to let you go.\nHarry sits up too fast, lies right back down. Lowell looks\nlike he might cry. The Girls hold back.", "HARRY\n\n Take it easy kids, I just sat up\n too fast. Doc, tell them. Am I in\n good shape? How were my tests this\n morning?", "Again, the identical set up. Harry ENTERS again. This time he\nlooks ten years older. The bounce to his step is gone. The", "HARRY\n\n Feel some pressure in my\n chest...it's real tight.\n\n JULIAN", "(nods)\n Nothin's ever surprised me more...\nFlattered, Erica snuggles up close. Harry puts his arm around\nher. Then, with no warning, his eyes fill with tears.", "Baby, I had sex three days after a heart\n attack and I didn't die!\nErica pauses. Oh. That kind of overwhelmed.\n\n HARRY", "HARRY\n\n Having a fight with someone. A woman. Can\n a woman give you chest pain?\n\n DR. MARTINEZ", "Mr. Langer, your diagnosis although\n fascinating, was entirely\n incorrect.\n\n HARRY\n\n That's impossible." ], [ "Camera takes us to Erica, Marin, Dave and DAVE'S FIANCE, KRISTEN,\na combo of a hot tie and a young professional. Everyone has menus", "Hey...Dave Klein. How ya doin'?\nErica hands Lexi the Tylenol, she thanks her and EXITS.\n\n ERICA", "DAVE\n\n She never changes...\n\n ERICA\n\n (setting him straight)\n Yes. Maybe that's a good thing.", "Shall we order?\n\n KRISTEN\n\nAbsolutely.\n\n DAVE\n\n (peruses menu)\nErica, do I like duck?", "(enters, kisses Erica)\n\n I", "ERICA (CONT'D)", "ERICA (CONT'D)", "ERICA\n\n Something to remember me by.\nHarry hugs her. Erica awkwardly throws her arms around him\nand kisses him, then kisses him better. He's moved by her.", "Erica laughs when he adds: So was your date a date?\nShe types: I think so...\nHe types: I told ya. (then) You hungry?", "Erica and Harry have the air of kids caught making out by one\nof their parents. Harry straightens out his pajamas, smooths\ndown his hair. Erica catches all this.\n\n MARIN", "(hugs her back)\n I love you more.\nThis is obviously a ritual between them. Erica kisses\nMarin's cheek in a flutter of kisses, then Marin\n\nEXITS.", "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "Okay, so she was old enough not to\n feel Dave was walking out on her.\n\n ERICA", "Erica and Zoe are taking a walk. Erica, still crying, picks\nup a brown stone, explains its meaning to Zoe. Zoe holds the", "Erica hangs up, starts crying again. She takes off her\nglasses to wipe her eyes when she realizes she's holding\nHarry's glasses. Just the sight of them makes her burst into", "ERICA\n\n No, no I'm just... No. I'm Erica Barry. .\n He was having dinner at our house. I just\n met him this afternoon.", "Yeah, she looks like a buddy kind\n of a girl.\nErica reaches a corner, can't get across, turns the corner.\nHarry ARRIVES NEXT TO HER.\n\n HARRY", "Exactly.\nHarry leans back, places his arm around Marin's chair. Erica\ntakes note.\n\n ZOE", "Erica Barry? She's pretty major.\n (writing a prescription)\n So, you date her daughter?\n\n HARRY", "Let's let her figure some things\nout on her own.\n\n ERICA\n\nI didn't mean those things, Dave.\nShe did go to medical school." ], [ "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "Yeah, fine.\nErica looks at her menu then her eyes go right back to Harry.\nHis Date is laughing at something Harry is saying. Harry\nleans in to her, whispers something to her. She touches his\nhand.", "Harry notes Erica's reaction.", "as the room comes alive again. Her eyes follow Harry as he is\nseated only one table away, his back to Erica, his Date", "Erica and Harry sit on a blanket on a cloudy day having a\npicnic lunch. Harry is telling Erica a story and she screams\nwith laughter.", "something's off. He's very aware of himself. They lie there\nquietly for a second when Erica begins to tear up. Harry\nslowly, nervously turns to her.", "Harry and Marin shop near by. Harry listens to Erica out of\none ear.\n\n HARRY\n\n That's impressive.", "(nods)\n Nothin's ever surprised me more...\nFlattered, Erica snuggles up close. Harry puts his arm around\nher. Then, with no warning, his eyes fill with tears.", "Erica hangs up, starts crying again. She takes off her\nglasses to wipe her eyes when she realizes she's holding\nHarry's glasses. Just the sight of them makes her burst into", "takes Erica's hand and leads her to the dance floor. Harry\nwatches them slip through the crowd. Erica turns back, Harry", "And so on... Erica watches knowing something in her life has\njust that second, forever changed. And as Harry continues\nsinging, we:", "HARRY\n\n Wait.\nErica turns.\nThis is his chance.\n\n HARRY", "is suddenly lit up and one of Erica's French CDs comes on\nfull blast.\nHarry opens his eyes. He's surprised to see he has his arm", "the SOUND DROPS OUT of the restaurant as Harry and his Date\nwalk right by Erica's table in SLOW MOTION, not noticing her.", "HARRY\n\n Your daughter knows I see other women.\n\n ERICA", "ON HARRY\n\nEven in this state he gets that Erica is about to place her.\nmouth on his. His eyes WIDEN IN HORROR, he reels back. Erica\ncatches this.", "(from the beach)\n Thought you'd like to know your\n daughter broke up with me.\nHarry and Erica talk while looking at each other through the\nKitchen Window.", "Erica and Zoe bust into the room and find Harry .on the\nfloor, leaning against the bed, a clenched fist on his chest.", "Oh, there we go, now I feel better.\n Back to normal.\nHarry winces then rises, looks to Erica as she throws a\npashmina over her shoulders in SLOW MOTION. Harry rushes them", "ERICA\n\n (reaching into her purse)\n Me too...\nThey each take out EACH OTHER'S GLASSES and put them on.\nErica points to Harry wearing her glasses and laughs." ], [ "Erica and Harry stand in front of a BACKDROP OF THE BEACH.\n\n HARRY\n\n So your play's about us?\n\n ERICA", "The playwright?\n\n ERICA\n\n Yes...\n\n JULIAN", "What's your play about?\nMarin and Zoe stop what they are doing and turn to Erica.\nShe's hesitant to reveal this.\n\n ERICA", "ERICA (CONT'D)", "ERICA (CONT'D)", "A tear lands on it. Erica, back in a turtleneck and wearing\nHarry's glasses, starts writing at a breakneck pace, all the\nwhile, tears flood her eyes.", "Erica at her desk, typing. The Music plays from the CD\nplayer. As much as she doesn't want it to be true, this\nattention from Julian has fueled her.", "ERICA (CONT'D)\n\n People need romance like that. And if\n someone like me doesn't write it, where\n they gonna get it? Real life?", "Erica...\n (she turns)\n You are a woman to love.\nErica smiles, then walks away with the achey walk of a woman", "On it is written: The lights on the Eiffel Tower dim to black\nas the music continues to play.\nErica sits back, still wearing Harry's glasses. Finished at", "Honey, if you were writing this,\n I'd be dead.\nErica laughs.\n\n HARRY", "--But why Paris?\n\n ERICA\n\n I just always wanted to write a play that\n ended there.", "around her. Erica awakens just as surprised. In the light of\nday, a definite hint of embarrassment ...", "Boom down to see the THEATER MARQUEE of Erica's play on\nBroadway. On the Marquee are raves from critics, \"****\", and\na banner that brags, \"Sold Out!\".", "(quickly)\n I don't think so. I'm not excited\n about anything.\nErica shifts, the hem of her skirt RISING even higher.\n\n JULIAN", "Julian sits on the sofa, shoes off, reading the first half of\nthe play. A fire burns in the fireplace. Erica approaches the\nback of the sofa, holding the rest of the pages.\n\n JULIAN", "ERICA\n\n Death.\n (Harry reacts)\n It's funnier.\n\n HARRY", "ERICA\n\n (reaching into her purse)\n Me too...\nThey each take out EACH OTHER'S GLASSES and put them on.\nErica points to Harry wearing her glasses and laughs.", "She's very brilliant, but the woman\n can not hold her liquor.\nJulian puts his arm around her, pulls her close.\n\n ERICA\n\n I like that about me.", "Erica, in pj's and glasses, sits at her laptop, writing. She\nhears the CHIME of someone INSTANT MESSENGERING HER. It a" ], [ "On it is written: The lights on the Eiffel Tower dim to black\nas the music continues to play.\nErica sits back, still wearing Harry's glasses. Finished at", "HARRY\n\n Wait.\nErica turns.\nThis is his chance.\n\n HARRY", "ERICA (CONT'D)", "ERICA (CONT'D)", "ERICA\n\n Mine's in January. So, how 'bout if we\n still know each other by then we go to\n Paris for our birthdays.\n\n HARRY", "ERICA\n\n I'm in Paris, the second hand smoke\n will kill you anyway...\n\n JULIAN", "--But why Paris?\n\n ERICA\n\n I just always wanted to write a play that\n ended there.", "ERICA\n\n (into the phone)\n Hello.\n\n HARRY", "Erica sits alone at a table in the back of the room, drinking\na glass of wine. She looks vibrant. She glances up from her", "facing her. Marin hasn't seen him. Erica tries her hardest to\nact normal but apparently isn't.", "is suddenly lit up and one of Erica's French CDs comes on\nfull blast.\nHarry opens his eyes. He's surprised to see he has his arm", "(enters, kisses Erica)\n\n I", "INT. ERICA'S LIVING ROOM - SAME TIME - OVER, THE PHONE RINGS\n\nThe room is empty. Erica rushes in, picks up the phone.\n\n E", "ERICA\n\n No, no I'm just... No. I'm Erica Barry. .\n He was having dinner at our house. I just\n met him this afternoon.", "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "background, on the phone and Erica coming toward him. He\nhears Zoe:", "Yeah, she looks like a buddy kind\n of a girl.\nErica reaches a corner, can't get across, turns the corner.\nHarry ARRIVES NEXT TO HER.\n\n HARRY", "Erica hangs up, starts crying again. She takes off her\nglasses to wipe her eyes when she realizes she's holding\nHarry's glasses. Just the sight of them makes her burst into", "You know what? Maybe I need a little\n air...\nErica rises; grabs her purse, almost bumps into a Waiter as", "HARRY\n\n There is that...\n\n ERICA\n\n And hey, we'll always have Paris." ], [ "Harry hangs up, doesn't look in Marin's direction to see if'\nshe caught that. This brand of cool is about not playing that", "Just as harry is about to answer, Marin's cell RINGS. She\npicks it up, looks at her caller ID, throws it back in her\nbag.", "Marin watches her mother EXIT then looks to Harry, his eyes\nfollowing her Mom out the door. She's sees a look on Harry's", "The elevator opens. Harry steps out, looks around for an\napartment number, finds it, rings the bell and clears his\nthroat. The door quickly OPENS and we see MARIN. She looks\nrelaxed and happy to see him.", "HARRY\n\n That's refreshing. Good. Well, I don't\n know what you've done to yourself but you\n look absolutely radiant.\n\n MARIN", "Harry and Marin shop near by. Harry listens to Erica out of\none ear.\n\n HARRY\n\n That's impressive.", "(already hating him)\n Yeah. Okay. Whatever...\nMarin watches. Dying.\n\n HARRY", "Harry steals a look at Marin, then nods to Kim.\n\n\n\n\n\n\n\nINT. KITCHEN", "Marin! Now!\n\n\n\n\n\n\n\nHARRY'S POV - THE ROOM", "Just then the CAR PHONE RINGS. Harry keeps looking at Marin.\n\n HARRY", "HARRY\n\n I'm sorry! Oh, God am I sorry.\n\n ERICA (O.S.)\n\n What are you doing?!?", "(whispers)\n We'll pull up the car.\nEveryone EXITS leaving Marin and Harry alone. Harry sits on", "HARRY\n\n Why? You're not nervous now, are you?\n\n MARIN\n\n I'm always a little nervous.", "No we haven't. You're correct on\n that one.\n\n HARRY\n\n Something to live for.\nMarin smiles, kisses Harry on the cheek.", "MARIN\n\n (confused)\n Lowell?\nHarry wobbles. Is he going to fall? Marin freezes, looks to\nher Mom for help. Erica rushes to Harry.", "Sorry.\nHis sweet apologetic smile is not lost on Marin. Zoe and\nErica join them.\n\n JULIAN", "MARIN\n\n I couldn't believe you were calling from\n downstairs.\n (hugs him)\n So great to see you.\n\n HARRY", "HARRY\n\n So, I'm some great date, huh?\n\n MARIN\n\n Yeah... Mr. Excitement.", "the bed. Marin joins him. Harry places his hand on her thigh.\nAll she notices is his hospital bracelet.", "MARIN (CONT'D)\n\n (UNBUCKLES Harry's belt)\n Your pants, please...\n\n HARRY" ], [ "Erica and Zoe bust into the room and find Harry .on the\nfloor, leaning against the bed, a clenched fist on his chest.", "And so on... Erica watches knowing something in her life has\njust that second, forever changed. And as Harry continues\nsinging, we:", "(nods)\n Nothin's ever surprised me more...\nFlattered, Erica snuggles up close. Harry puts his arm around\nher. Then, with no warning, his eyes fill with tears.", "Erica hangs up, starts crying again. She takes off her\nglasses to wipe her eyes when she realizes she's holding\nHarry's glasses. Just the sight of them makes her burst into", "ERICA\n\n Something to remember me by.\nHarry hugs her. Erica awkwardly throws her arms around him\nand kisses him, then kisses him better. He's moved by her.", "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "ERICA\n\n He went back to the hotel.\n\n HARRY\n\n How come?", "ERICA\n\n Harry, you have to get back in bed.\n\n HARRY", "She does it anyway. Her-mouth on his, her breath into his\nlungs, over and over. Harry's eyes roll back in hi-so head.\nAs. Erica pounds on his chest, we HEAR THE BLARE OF A", "Oh, there we go, now I feel better.\n Back to normal.\nHarry winces then rises, looks to Erica as she throws a\npashmina over her shoulders in SLOW MOTION. Harry rushes them", "ERICA\n\n Death.\n (Harry reacts)\n It's funnier.\n\n HARRY", "HARRY\n\n Wait.\nErica turns.\nThis is his chance.\n\n HARRY", "HARRY\n\n Look at these faces. Will you tell them\n I'm fine.\nAs soon as Harry spots Erica, he starts to wobble.\n\n ERICA", "ERICA\n\n Haven't totally decided. He can\n live or he can die.\n\n HARRY\n\n What are you leaning towards?", "ON HARRY\n\nEven in this state he gets that Erica is about to place her.\nmouth on his. His eyes WIDEN IN HORROR, he reels back. Erica\ncatches this.", "Erica enters, letting out a huge sigh. She's brought back to\nreality when she hears the TV in Harry's room. She heads his\nway, then changes her mind and stops.", "I'm breaking up with Harry.\n\n ERICA\n\n Why? What do you mean?\n\n MARIN", "something's off. He's very aware of himself. They lie there\nquietly for a second when Erica begins to tear up. Harry\nslowly, nervously turns to her.", "Baby, I had sex three days after a heart\n attack and I didn't die!\nErica pauses. Oh. That kind of overwhelmed.\n\n HARRY", "Yes I do.\nHarry hands Erica her glasses. She hesitates. He snaps,\ngesturing for his to be turned over. She hands them to him.\nJulian watches all this, sobered by their chemistry." ], [ "Please. He wants me to meet her and I can\n not go alone. I already asked him if you\n could come and he said it was fine and", "Okay, I forgot to mention she can't\ndrink hard liquor.\n (to Marin)\nWhy did you order her a Martini?\n\n\n\n\n E", "(to Marin)\n Wait wait wait wait. You're leaving, Zoe's\n leaving, the entourage is leaving. And I'm\n supposed to stay here with him alone?\n\n MARIN", "MARIN\n\n Wow. So not only are you marrying my father\n but our mothers went to the same college.\nMarin takes out a pack of cigarettes.\n\n MARIN", "I'm dating your daughter Marin. She\n invited me here for the weekend.\n She's in her room right now,\n changing.\n\n ERICA", "A tearful Marin is changing from jeans and a T-shirt to a\nproper dress and heels. Erica leans on a table, listening.\n\n MARIN", "(hugs her back)\n I love you more.\nThis is obviously a ritual between them. Erica kisses\nMarin's cheek in a flutter of kisses, then Marin\n\nEXITS.", "facing her. Marin hasn't seen him. Erica tries her hardest to\nact normal but apparently isn't.", "card. Marin turns toward him, she has been listening. They've\nreached the end of the road, sand dunes, long lilting grass\nand the ocean stretch before them.", "MARIN\n\nSo now you get my theory about\nlove? You gotta self protect. It's\ntoo dangerous.\n\n ERICA", "Marin, holding her Baby Girl, and her husband Danny through\nthe crowded restaurant. The Baby fusses and reaches out to\nHarry who takes her in his arms and proudly parades her", "MARIN\n\n (trying to keep up with\n him)\n Yeah, okay, right...\nThey both grab their H\n overnight bags and step out of the car.", "MARIN\n\n (chokes)\n I think I swallowed my olive, whole.\nErica looks up and sees something that takes her breath away.", "Marin ENTERS through the kitchen door, looking almost a\nlittle dazed.\n\n MARIN\n\n Okay, he's all yours.\n\n ERICA", "(taking two Turns)\n Anything bubee.\n\n MARIN\n\n Will you come out to dinner tonight\n with me and Dad and the fiance?", "Admit it, he's got something. You\n felt it, right?\nThen they hear Marin SCREAM.\n\n ERICA", "MARIN\n\n Oh, fuck.\n\n ERICA", "MARIN\n\n She started French lessons after she and\n my Dad split up. Part of her \"Keep Busy,\n Don't Look Back\" program. She's\n practically fluent now.", "Hello?\nMarin ARRIVES IN THE DOORWAY in a knockout of a dress holding\na bag from Zabars. She looks fresh, vibrant, sexy.\n\n MARIN", "(whispers)\n We'll pull up the car.\nEveryone EXITS leaving Marin and Harry alone. Harry sits on" ], [ "is suddenly lit up and one of Erica's French CDs comes on\nfull blast.\nHarry opens his eyes. He's surprised to see he has his arm", "Harry then looks inside the bag with the sandwich and finds an\nEnvelope from Erica, pulls it out, doesn't open it, places it back\nin the bag then takes out his cell phone and dials.", "Harry notes Erica's reaction.", "Harry and Marin shop near by. Harry listens to Erica out of\none ear.\n\n HARRY\n\n That's impressive.", "On it is written: The lights on the Eiffel Tower dim to black\nas the music continues to play.\nErica sits back, still wearing Harry's glasses. Finished at", "And so on... Erica watches knowing something in her life has\njust that second, forever changed. And as Harry continues\nsinging, we:", "Harry?\nHarry turns and sees Erica standing by a Cab with its motor\nrunning, snow falling on her hair and coat.\n\n HARRY\n\n Where's Julian?", "HARRY\n\n There is that...\n\n ERICA\n\n And hey, we'll always have Paris.", "ERICA\n\n Mine's in January. So, how 'bout if we\n still know each other by then we go to\n Paris for our birthdays.\n\n HARRY", "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "Erica hangs up, starts crying again. She takes off her\nglasses to wipe her eyes when she realizes she's holding\nHarry's glasses. Just the sight of them makes her burst into", "Erica and Zoe bust into the room and find Harry .on the\nfloor, leaning against the bed, a clenched fist on his chest.", "HARRY\n\n Wait.\nErica turns.\nThis is his chance.\n\n HARRY", "Harry leads Erica through a crowd listening to a Girl singing\nBritney Spears' Oops, I Did It Again. When she finishes the\ncrowd enthusiastically applauds.\n\n HARRY", "takes Erica's hand and leads her to the dance floor. Harry\nwatches them slip through the crowd. Erica turns back, Harry", "HARRY\n\n (proud of himself)\n I knew you'd be here.\n\n ERICA\n\n You did?", "Harry sits up in bed, staring at his laptop, wearing Erica's\nglasses, a pair of pajamas and a three day growth. A", "HARRY\n\n You'd be fun to go to Paris with.\n\n ERICA", "INT. HARRY'S ROOM - SAME TIME\n\nHarry tosses his pills in a leather bag. .. Erica enters\ndoing the worst job she's ever done of being strong.", "HARRY\n\n I'm sorry! Oh, God am I sorry.\n\n ERICA (O.S.)\n\n What are you doing?!?" ], [ "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "Erica hangs up, starts crying again. She takes off her\nglasses to wipe her eyes when she realizes she's holding\nHarry's glasses. Just the sight of them makes her burst into", "I'm breaking up with Harry.\n\n ERICA\n\n Why? What do you mean?\n\n MARIN", "Erica enters, letting out a huge sigh. She's brought back to\nreality when she hears the TV in Harry's room. She heads his\nway, then changes her mind and stops.", "Harry notes Erica's reaction.", "ERICA\n\n Harry, you have to get back in bed.\n\n HARRY", "HARRY\n\n I'm sorry! Oh, God am I sorry.\n\n ERICA (O.S.)\n\n What are you doing?!?", "Harry and Marin shop near by. Harry listens to Erica out of\none ear.\n\n HARRY\n\n That's impressive.", "(from the beach)\n Thought you'd like to know your\n daughter broke up with me.\nHarry and Erica talk while looking at each other through the\nKitchen Window.", "ON HARRY\n\nEven in this state he gets that Erica is about to place her.\nmouth on his. His eyes WIDEN IN HORROR, he reels back. Erica\ncatches this.", "something's off. He's very aware of himself. They lie there\nquietly for a second when Erica begins to tear up. Harry\nslowly, nervously turns to her.", "Erica and Zoe bust into the room and find Harry .on the\nfloor, leaning against the bed, a clenched fist on his chest.", "INT. HARRY'S ROOM - SAME TIME\n\nHarry tosses his pills in a leather bag. .. Erica enters\ndoing the worst job she's ever done of being strong.", "ERICA\n\n He went back to the hotel.\n\n HARRY\n\n How come?", "is suddenly lit up and one of Erica's French CDs comes on\nfull blast.\nHarry opens his eyes. He's surprised to see he has his arm", "And so on... Erica watches knowing something in her life has\njust that second, forever changed. And as Harry continues\nsinging, we:", "(nods)\n Nothin's ever surprised me more...\nFlattered, Erica snuggles up close. Harry puts his arm around\nher. Then, with no warning, his eyes fill with tears.", "Erica and Harry sit on a blanket on a cloudy day having a\npicnic lunch. Harry is telling Erica a story and she screams\nwith laughter.", "HARRY\n\n Doc, I'm out in the middle of the\n Hamptons. Where do you want me to go?\nMarin turns to Erica who very clearly mouths, \"FORGET IT!\"", "HARRY\n\n Wait.\nErica turns.\nThis is his chance.\n\n HARRY" ], [ "Yeah, fine.\nErica looks at her menu then her eyes go right back to Harry.\nHis Date is laughing at something Harry is saying. Harry\nleans in to her, whispers something to her. She touches his\nhand.", "HARRY\n\n Trying to find the kitchen!\n\n ERICA (O.S.)\n\n Back here???", "Harry and Marin shop near by. Harry listens to Erica out of\none ear.\n\n HARRY\n\n That's impressive.", "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "as the room comes alive again. Her eyes follow Harry as he is\nseated only one table away, his back to Erica, his Date", "Harry then looks inside the bag with the sandwich and finds an\nEnvelope from Erica, pulls it out, doesn't open it, places it back\nin the bag then takes out his cell phone and dials.", "is suddenly lit up and one of Erica's French CDs comes on\nfull blast.\nHarry opens his eyes. He's surprised to see he has his arm", "Harry notes Erica's reaction.", "INT. HARRY'S ROOM - SAME TIME\n\nHarry tosses his pills in a leather bag. .. Erica enters\ndoing the worst job she's ever done of being strong.", "Erica and Harry sit on a blanket on a cloudy day having a\npicnic lunch. Harry is telling Erica a story and she screams\nwith laughter.", "Erica and Zoe bust into the room and find Harry .on the\nfloor, leaning against the bed, a clenched fist on his chest.", "HARRY\n\n Wait.\nErica turns.\nThis is his chance.\n\n HARRY", "ERICA\n\n (into the phone)\n Hello.\n\n HARRY", "Harry?\nHarry turns and sees Erica standing by a Cab with its motor\nrunning, snow falling on her hair and coat.\n\n HARRY\n\n Where's Julian?", "the SOUND DROPS OUT of the restaurant as Harry and his Date\nwalk right by Erica's table in SLOW MOTION, not noticing her.", "INT. CHIC EATERY - HARRY'S IMAGINATION - TAKE TWO", "Yeah, she looks like a buddy kind\n of a girl.\nErica reaches a corner, can't get across, turns the corner.\nHarry ARRIVES NEXT TO HER.\n\n HARRY", "HARRY\n\n Big dinner date?\n\n ERICA\n\n Well, yeah, as a matter of fact.\n With your doctor.", "takes Erica's hand and leads her to the dance floor. Harry\nwatches them slip through the crowd. Erica turns back, Harry", "HARRY\n\n Showtirne.\n\nINT. LEFT BANK BISTRO - NIGHT" ], [ "INT. ERICA'S DINING ROOM - THAT NIGHT", "INT. ERICA'S DINING ROOM - LATER\n\nErica sets the table for two. Zoe pokes her head in the door.\n\n ZOE", "Erica sits alone at a table in the back of the room, drinking\na glass of wine. She looks vibrant. She glances up from her", "Yeah, fine.\nErica looks at her menu then her eyes go right back to Harry.\nHis Date is laughing at something Harry is saying. Harry\nleans in to her, whispers something to her. She touches his\nhand.", "(enters, kisses Erica)\n\n I", "INT. ERICA'S KITCHEN", "facing her. Marin hasn't seen him. Erica tries her hardest to\nact normal but apparently isn't.", "Erica and Harry sit on a blanket on a cloudy day having a\npicnic lunch. Harry is telling Erica a story and she screams\nwith laughter.", "ERICA (CONT'D)", "ERICA (CONT'D)", "Staring at Erica. He can't get enough of her. They're in a\nROMANTIC SEASIDE RESTAURANT. And Erica's blushing for the\nfirst time in twenty-five years.", "INT. ERICA'S BEDROOM - LATER", "INT. ERICA'S KITCHEN - THE SAME TIME - MUSIC OVER\n\nErica cooks, softly singing along in French.\n\n HARRY (O.S.)", "ERICA\n\n No, no I'm just... No. I'm Erica Barry. .\n He was having dinner at our house. I just\n met him this afternoon.", "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "Erica, Hi, it's Julian. It's about\n 8:20, I'm in the restaurant...just\n Wondering if you're...", "Erica works at a laptop at a cluttered table. The CLOCK tells us\nit's a little after ONE A.M. Annoyed by the ringing phone, she", "Erica puts away groceries, a little on edge. Her back is to a\nMan in his fifties, who sits at the island, eating a", "as the room comes alive again. Her eyes follow Harry as he is\nseated only one table away, his back to Erica, his Date", "Harry notes Erica's reaction." ], [ "JULIAN\n\n Hey, look who's answering the door.\n\n HARRY\n\n And look who's at the door.", "Julian says Hi to each then returns his attention fully and\ndevotedly to Erica. Takes her in.\n\n JULIAN", "CLOSE ON JULIAN", "JULIAN\n\n He's doing extremely well.\n\n LOWELL\n\n (holding back tears)\n Can I hug him?", "JULIAN\n\n You're Erica Barry?\n\n ERICA\n\n Yes.\n\n JULIAN", "DR. JULIAN MERCER arrives at Harry's side. Julian is in his\nearly-thirties and has finally just graduated out of the 'you", "JULIAN\n\n Your Dad's gonna be okay.\n\n MARIN\n\n Oh, he's not my Dad...", "JULIAN\n\n You look beautiful.\n\n ERICA\n\n Thank you.\nBehind Julian's back Harry gives Erica the 'OK' sign.", "JULIAN\n\n I'm sorry.\n (then)\n Your Grandad's gonna be okay.\n\n MARIN", "JULIAN\n\n Way to go. How's Erica?\n\n HARRY\n\n (caught)\n Erica?", "JULIAN\n\n Happy Birthday baby.\nHe kisses her. Harry watches, dying.\n\n ERICA", "INT. HOSPITAL CORRIDOR\n\nJulian, in his scrubs, walks quickly down a hallway of the\n\n J", "Everyone at the table is laughing, mid-meal. Julian is doing\nthe talking as well as laughing. Harry laughs along, trying\nto be an approving part of their romance but he's totally\nfaking it.", "Julian. Thanks for everything.\nJulian shakes Harry's hand. Harry's eyes TEAR UP.\n\n JULIAN\n\n You're gonna be okay.", "JULIAN\n\n Absolutely.\nHarry stands and indulges Lowell in a deep hug. Lowell's\nshoulders shake as he sobs.\n\n HARRY", "JULIAN\n\n Erica, you're incredibly sexy.\n\n ERICA\n\n No, swear to God, I'm not...", "as she sits right in front of him. She crosses her legs and\nher dress hikes up a little, exposing her thigh.\nJULIAN furrows his brow.\n\n HARRY", "A MAN'S VOICE\n\n I don't believe it.\nHarry looks up and sees handsome young Julian in a beret.\nHarry looks to Erica, instantly deflated..", "(throws her arms around\n him)\n Oh, thank you so much. But he's not my...\n oh we're not related. He's just a friend.\n\n JULIAN", "JULIAN\n\n I know you must know her name by\n now.\n\n\n\n\n 82." ], [ "INT. HOSPITAL - DAY\n\nHarry is wheeled through the ER with the gurney. Dr. Martinez\nruns along with the gurney.", "As the DOORS to SOUTHAMPTON HOSPITAL FLY OPEN. Paramedics\nWHEEL Harry through the corridors and into the ER with\ndizzying speed. Two Nurses jostle Harry OFF the gurney and", "Only sometimes.\n\n JULIAN\n\n (listens with stethoscope)\n How's Erica treating you?\n\n HARRY", "Erica and Zoe bust into the room and find Harry .on the\nfloor, leaning against the bed, a clenched fist on his chest.", "HARRY (CONT'D)", "Oh, there we go, now I feel better.\n Back to normal.\nHarry winces then rises, looks to Erica as she throws a\npashmina over her shoulders in SLOW MOTION. Harry rushes them", "wheeled through the Emergency Room of Beth Israel Hospital.\nThis is not the Hamptons. This place is crawling with\npatients. Harry's delivered to a Latina Doctor in her", "Okay, Harry, looks like we're going\n to have to let you go.\nHarry sits up too fast, lies right back down. Lowell looks\nlike he might cry. The Girls hold back.", "ERICA\n\n He went back to the hotel.\n\n HARRY\n\n How come?", "HARRY\n\n After I saw you in the theater that\n afternoon, I had another \"episode...\n\n ERICA", "There it goes again. Racing.\n\n HARRY\n\n Doc... Impossible!\nErica rises, leaving Harry's eye-line.", "HARRY\n\n I'm sorry! Oh, God am I sorry.\n\n ERICA (O.S.)\n\n What are you doing?!?", "HARRY\n\n Wait.\nErica turns.\nThis is his chance.\n\n HARRY", "ERICA\n\n Harry, you have to get back in bed.\n\n HARRY", "Harry lies on the sofa. CAMERA MOVES UP Harry's body, past\nthe hospital take out carton on his stomach and finally up to\n\n M", "(off Zoe's look)\n Shut. Up.\nJust then, Harry stumbles into the corridor in his Hospital", "Harry lies there alone for a second. Catches his breath. He\nsits up, feet on the floor, shoulders hunched, clears his", "HARRY\n\n Look at these faces. Will you tell them\n I'm fine.\nAs soon as Harry spots Erica, he starts to wobble.\n\n ERICA", "HARRY\n\n (quickly)\n Climb a flight of stairs. Several times\n actually.\nHarry stands, tucks in his shirt, smiling proudly to himself.", "ERICA\n\n No, really, what'd he say...How are you?\n\n HARRY" ], [ "INT. HOSPITAL - DAY\n\nHarry is wheeled through the ER with the gurney. Dr. Martinez\nruns along with the gurney.", "Erica and Zoe bust into the room and find Harry .on the\nfloor, leaning against the bed, a clenched fist on his chest.", "ERICA\n\n He went back to the hotel.\n\n HARRY\n\n How come?", "As the DOORS to SOUTHAMPTON HOSPITAL FLY OPEN. Paramedics\nWHEEL Harry through the corridors and into the ER with\ndizzying speed. Two Nurses jostle Harry OFF the gurney and", "Oh, there we go, now I feel better.\n Back to normal.\nHarry winces then rises, looks to Erica as she throws a\npashmina over her shoulders in SLOW MOTION. Harry rushes them", "(afraid to breathe)\n Ugh. Look at this, even\n unconscious, he's a lech.\nThe Nurses rush out and peel Harry off Erica.\n\n NURSE", "Okay, Harry, looks like we're going\n to have to let you go.\nHarry sits up too fast, lies right back down. Lowell looks\nlike he might cry. The Girls hold back.", "HARRY (CONT'D)", "HARRY\n\n I'm sorry! Oh, God am I sorry.\n\n ERICA (O.S.)\n\n What are you doing?!?", "Harry lies there alone for a second. Catches his breath. He\nsits up, feet on the floor, shoulders hunched, clears his", "something's off. He's very aware of himself. They lie there\nquietly for a second when Erica begins to tear up. Harry\nslowly, nervously turns to her.", "Harry lies on the sofa. CAMERA MOVES UP Harry's body, past\nthe hospital take out carton on his stomach and finally up to\n\n M", "ERICA\n\n Harry, you have to get back in bed.\n\n HARRY", "(off Zoe's look)\n Shut. Up.\nJust then, Harry stumbles into the corridor in his Hospital", "HARRY\n\n Wait.\nErica turns.\nThis is his chance.\n\n HARRY", "Erica hangs up, starts crying again. She takes off her\nglasses to wipe her eyes when she realizes she's holding\nHarry's glasses. Just the sight of them makes her burst into", "She does it anyway. Her-mouth on his, her breath into his\nlungs, over and over. Harry's eyes roll back in hi-so head.\nAs. Erica pounds on his chest, we HEAR THE BLARE OF A", "HARRY\n\n Hey.\n\n ERICA\n\n Hello... Harry.\n (to his Date)\n Hello...", "ERICA\n\n Wow. Now why do you think that is?\n\n HARRY", "INT. HARRY'S ROOM - SAME TIME\n\nHarry tosses his pills in a leather bag. .. Erica enters\ndoing the worst job she's ever done of being strong." ], [ "Yeah, but I love you like you.\n (that stops him)\n I do. I love you.\nHarry swoons and not in a good way.\n\n HARRY", "HARRY (CONT'D)", "HARRY (V.O.) (CONT'D)", "HARRY\n\n No, it's true. I know everything\n about you now. And not because of\n last night, but...\n\n E", "HARRY (V.O.)", "HARRY (V.O.)", "(walking to him)\n He said when he saw me with you, he\n knew I was still in love with you.\n What do you have to say about that?\n\n HARRY", ",\n\n\n HARRY (V.O.", "HARRY (V. O. )\n\n And one of the things I realized\n was, I was actually giving closure\n to generations of women.\nAt the corner, the Woman hugs Harry goodbye.", "(as they kiss)\n Yes.\n\n HARRY\n\n Me too.\n\n ERICA", "Harry, at her side, keeps talking at her, even though she\npicks up her pace and ignores him.\n\n HARRY (V.O.)", "Gimble gives Erica a look of pity as she exits. Erica, now\nalone with Harry, self-consciously adjusts her sunglasses.", "HARRY,\n\n Really? Who's ..the, lucky guy?\n\n MARIN", "and headed in her direction. A sexy Young Thing followed by\nher date -- no other than Harry. Harry stops to shake\nsomeone's hand, holds his date around the waist. Suddenly,", "Harry hangs up, doesn't look in Marin's direction to see if'\nshe caught that. This brand of cool is about not playing that", "She's. . .\n (Harry waits)\n Really good. Up to her old\n tricks.\nLearning Italian, remodeling her apartment in the city.\n\n HARRY", "she passes Harry's table, knocks into someone's chair, a\nglass breaks. Everyone turns to her, including Harry. She now\nstands right at his table. He smiles up at her.", "Harry's in bed, clearly disappointed that she didn't stop in.\n\n HARRY\n\n (yells)\n 'Night...", "Harry, he's not you. He's a version\n of the truth of you. So to speak.\n\n STAGE MANAGER", "She does it anyway. Her-mouth on his, her breath into his\nlungs, over and over. Harry's eyes roll back in hi-so head.\nAs. Erica pounds on his chest, we HEAR THE BLARE OF A" ], [ "ERICA (CONT'D)", "ERICA (CONT'D)", "Erica works at a laptop at a cluttered table. The CLOCK tells us\nit's a little after ONE A.M. Annoyed by the ringing phone, she", "Erica at her desk, typing. The Music plays from the CD\nplayer. As much as she doesn't want it to be true, this\nattention from Julian has fueled her.", "Erica sits alone at a table in the back of the room, drinking\na glass of wine. She looks vibrant. She glances up from her", "ERICA\n\n\nD", "INT. ERICA'S BEDROOM - LATER", "ERICA\n\n Not lately.\n\n\n\n\n\n\n\nINT. ERICA'S BEDROOM - NIGHT", "ERICA\n\n (into the phone)\n Hello.\n\n HARRY", "INT. ERICA'S BEDROOM - LATE AFTERNOON - MUSIC OVER", "ERICA\n\n No, no I'm just... No. I'm Erica Barry. .\n He was having dinner at our house. I just\n met him this afternoon.", "Erica...\n (she turns)\n You are a woman to love.\nErica smiles, then walks away with the achey walk of a woman", "INT. ERICA'S LIVING ROOM - SAME TIME - OVER, THE PHONE RINGS\n\nThe room is empty. Erica rushes in, picks up the phone.\n\n E", "Erica, in pj's and glasses, sits at her laptop, writing. She\nhears the CHIME of someone INSTANT MESSENGERING HER. It a", "(enters, kisses Erica)\n\n I", "around her. Erica awakens just as surprised. In the light of\nday, a definite hint of embarrassment ...", "INT. ERICA'S KITCHEN - THE SAME TIME - MUSIC OVER\n\nErica cooks, softly singing along in French.\n\n HARRY (O.S.)", "PHONE RING.\n\n\n\n\n\n\n\n\nINT. ERICA'S BEDROOM - SAME TIME - MUSIC CONTINUES", "Erica hangs up, starts crying again. She takes off her\nglasses to wipe her eyes when she realizes she's holding\nHarry's glasses. Just the sight of them makes her burst into", "Erica rushes out. She's a little high and her heart is\npounding. She heads down the street.\n\n ERICA" ], [ "Lowell drives, rattling on about all the people who have been\ncalling about him. Harry, in the backseat, looks back at the\nhouse, until it is finally out of view.", "It took me six months to find them\n all. I visited 18 different states\n but I came the furthest to see you.\nA HAND lands on his shoulder and he HEARS:", "N\n\n othing is said. Just two people eating. Harry lifts the salt\nshaker, about to add salt to his chicken.\n\n\n\n\n 43.", "ON HARRY\n\nEven in this state he gets that Erica is about to place her.\nmouth on his. His eyes WIDEN IN HORROR, he reels back. Erica\ncatches this.", "Harry lies there alone for a second. Catches his breath. He\nsits up, feet on the floor, shoulders hunched, clears his", "Well that sounds like a pretty,\n interesting job.\n\n LOWELL\n\n Fifteen years. Never a dull moment.\nThey arrive at:", "He falls on Erica, totally out of it, his head on her breast,\nhis mouth open.\n\n ERICA", "A tear lands on it. Erica, back in a turtleneck and wearing\nHarry's glasses, starts writing at a breakneck pace, all the\nwhile, tears flood her eyes.", "Okay, Harry, looks like we're going\n to have to let you go.\nHarry sits up too fast, lies right back down. Lowell looks\nlike he might cry. The Girls hold back.", "I just went where the story took\n me. It's a work of fiction, Harry.\n Really...just stuff I made up.\n\n STAGE MANAGER", "Erica rushes out. She's a little high and her heart is\npounding. She heads down the street.\n\n ERICA", "Okay. You take care of it for me,\n sweetheart. I'd like to see that...\nAs he walks away, his bare ass shines like a full moon in a\ndesert sky.\n\n MARIN", "So it would be too much to mention it\n again. . .\nMarin laughs, softening, as Harry turns down a dirt driveway,\ndriving toward a DREAM BEACH HOUSE.\n\n HARRY", "And this as they say on 'Cribs',\n your favorite show, is where the\n magic happens. Do we like it? Going\n once, going twice ...\n\n HARRY", "with a Woman in her Mid Forties. She talks his ear off.\nHarry can' t deal with it. He looks away ~ The woman\nplaces her hand on his chin and pulls him right back to", "MARIN\n\n (trying to keep up with\n him)\n Yeah, okay, right...\nThey both grab their H\n overnight bags and step out of the car.", "But I stuck it out and I listened.\n Then I listened harder.\nHarry WALKS down THE STREET with a ANOTHER WOMAN in her\nThirties, who carries a cello. She never shuts up.", "three weeks ago and it's \"really\n something and then he\n (sobbing now)\n He tells me he's getting married. Why am", "right into place. It's magic time and it\n can render any man, anywhere --\n absolutely helpless. Some say I'm an", "Hi and HI, you've reached Brooke and\n Shannon. For Brooke push one, for -\nHarry hangs up then slowly sits up, letting himself feel as\nfunky as he wants." ], [ "and headed in her direction. A sexy Young Thing followed by\nher date -- no other than Harry. Harry stops to shake\nsomeone's hand, holds his date around the waist. Suddenly,", "HARRY\n\n So, I'm some great date, huh?\n\n MARIN\n\n Yeah... Mr. Excitement.", "HARRY\n\n Hey.\n\n ERICA\n\n Hello... Harry.\n (to his Date)\n Hello...", "HARRY\n\n I dated you. .?\n (the Woman nods)\n Did we. ever...?\n\n WOMAN JOGGER", "HARRY (CONT'D)", "HARRY (V.O.)\n\n My thought was -- if I retraced my steps\n and visited all the women I've dated...\nHe blows dust off of the books.", "She's. . .\n (Harry waits)\n Really good. Up to her old\n tricks.\nLearning Italian, remodeling her apartment in the city.\n\n HARRY", "Yeah, fine.\nErica looks at her menu then her eyes go right back to Harry.\nHis Date is laughing at something Harry is saying. Harry\nleans in to her, whispers something to her. She touches his\nhand.", "Harry, at her side, keeps talking at her, even though she\npicks up her pace and ignores him.\n\n HARRY (V.O.)", "as the room comes alive again. Her eyes follow Harry as he is\nseated only one table away, his back to Erica, his Date", "she passes Harry's table, knocks into someone's chair, a\nglass breaks. Everyone turns to her, including Harry. She now\nstands right at his table. He smiles up at her.", "HARRY,\n\n Really? Who's ..the, lucky guy?\n\n MARIN", "Yeah, but I love you like you.\n (that stops him)\n I do. I love you.\nHarry swoons and not in a good way.\n\n HARRY", "The elevator opens. Harry steps out, looks around for an\napartment number, finds it, rings the bell and clears his\nthroat. The door quickly OPENS and we see MARIN. She looks\nrelaxed and happy to see him.", "Harry leads Erica through a crowd listening to a Girl singing\nBritney Spears' Oops, I Did It Again. When she finishes the\ncrowd enthusiastically applauds.\n\n HARRY", "Harry hangs up, doesn't look in Marin's direction to see if'\nshe caught that. This brand of cool is about not playing that", "HARRY\n\n Big dinner date?\n\n ERICA\n\n Well, yeah, as a matter of fact.\n With your doctor.", "HARRY (V.O.) (CONT'D)", "puts them on, doesn't realize they're Harry's. She dials.\nVoice Mail tells her she has One Message. She sits up,\nexcited. J", "HARRY\n\n Erica, she's just a friend.\n\n ERICA" ], [ "MARIN (CONT'D)", "MARIN (CONT'D)", "card. Marin turns toward him, she has been listening. They've\nreached the end of the road, sand dunes, long lilting grass\nand the ocean stretch before them.", "MARIN\n\n What the hell was that?\n\n\n\n\n 21.", "MARIN\n\n Oh, fuck.\n\n ERICA", "No. This was bad. But for the three days\n it was good, it was electrifying.\nMarin's eyes fill up.\n\n ERICA", "Admit it, he's got something. You\n felt it, right?\nThen they hear Marin SCREAM.\n\n ERICA", "Marin, now all pulled together, stands at the podium in front\nof a packed house. If' you didn't know, you'd never guess.\n\n MARIN", "(already hating him)\n Yeah. Okay. Whatever...\nMarin watches. Dying.\n\n HARRY", "MARIN\n\n (trying to keep up with\n him)\n Yeah, okay, right...\nThey both grab their H\n overnight bags and step out of the car.", "MARIN\n\n (all business)\n Make a right, left at the second\n fence.\nMarin turns up the CD, getting herself out of whatever just\ncame over her, looks out the window.", "MARIN\n\nSo now you get my theory about\nlove? You gotta self protect. It's\ntoo dangerous.\n\n ERICA", "MARIN\n\n She started French lessons after she and\n my Dad split up. Part of her \"Keep Busy,\n Don't Look Back\" program. She's\n practically fluent now.", "I rest my case.\nA KNOCK on the door.\n\n VOICE FROM OUTSIDE\n\n Marin, we're all set.", "No we haven't. You're correct on\n that one.\n\n HARRY\n\n Something to live for.\nMarin smiles, kisses Harry on the cheek.", "MARIN\n\n Oh my God, you already did it. Was\n it amazing?\n\n ERICA\n\n I have to go.", "MARIN\n\n (chokes)\n I think I swallowed my olive, whole.\nErica looks up and sees something that takes her breath away.", "(whispers)\n We'll pull up the car.\nEveryone EXITS leaving Marin and Harry alone. Harry sits on", "Marin! Now!\n\n\n\n\n\n\n\nHARRY'S POV - THE ROOM", "His shirt is open, he's sweating, his complexion is grey.\nMarin stands back, freaked out, afraid to get near him." ] ]

[ "What is Erica's occupation?", "Why does Harry have to stay at Erica's house?", "What does Erica do about the events that happen in her's and Harry's relationship?", "Who is Erica with when Harry arrives at the restaurant in Paris?", "What does Erica see at the dinner party with her ex-husband that makes her so angry?", "Where does Harry go to meet Erica for her birthday?", "What does Harry do in the six months between the play and Paris?", "Why is Harry rushed to the hospital after dinner with Marin and her mother?", "Who is Julian in relation to Harry?", "What causes Harry's first heart attack?", "Explain the relationship between Dave Klein and Erica?", "What happens when Harry is out with another woman, and sees Erica at a restaurant with her family?", "What does Erica write a play about?", "Who is Erica waiting for in Paris?", "How does Marin react when Harry apologizes to her?", "Why does Harry end up staying with Erica after his heart attack?", "Why does Marin ask her other to accompany her to dinner with Dave, her father?", "How does Harry know where to find Erica in Paris?", "Why does Harry move out of Erica's house?", "Where is the restaurant where Harry finds Erica?", "Who is Erica with at the restaurant?", "Who is Julian?", "How many times did Harry go to the ER?", "What was the first reason Harry went to the ER?", "Who does Harry truly love?", "What is Erica's job?", "Which state does this story take place?", "Who did Harry date first?", "What happened to Marin at the end of the story?" ]

[ [ "a playwrite", "Playwright." ], [ "He has a heart attack and must stay nearby", "The doctor told him to stay nearby" ], [ "She turns them into a play", "She uses them in a play" ], [ "Julian", "Julien" ], [ "Harry is there with another woman", "SeeingHarry with another woman." ], [ "Paris", "a restraunt" ], [ "he makes amends with all his previous affairs", "reach to women he had affairs with" ], [ "He has a heart attack", "He has a heart attack." ], [ "His doctor", "His ex." ], [ "Foreplay with his much younger girlfriend, Marin", "Panic attack." ], [ "Dave is Erica's ex, but he still directs her plays. ", "Dave is Erica's ex-husband." ], [ "He thinks he suffers from another heart attack, but it turns out it is only a panic attack.", "There is an argument and Harry suffers a heart attack" ], [ "Her affair with Harry", "Her relationship with Harry" ], [ "Julian", "Julian " ], [ "She tells him that he was never anything but kind to her and she has moved on and is pregnant", "positivly" ], [ "He is instructed by the doctor to stay nearby", "they get to know each other" ], [ "Because they are meeting his new wife, and Marin does not approve of the relationship", "She is devastated." ], [ "They had discussed celebrating her birthday there when they were dating", "They had previously talked about going there together." ], [ "His health has improved and he no longer needs to stay near the doctor", "His health improves" ], [ "Paris", "Paris" ], [ "Julian", "Harry" ], [ "ER Doctor", "The doctor who initially treated Harry " ], [ "3", "3" ], [ "heart attack", "a heart attack" ], [ "Erica", "Erica " ], [ "Playwright", "She's a playwright" ], [ "New York", "New York " ], [ "Marin", "Marin." ], [ "She is married with a child", "She got married and had a baby " ] ]

[ [ "JOE (CONT.)\n You are presented with a simple\n fact: Andrew Beckett was fired.\n You will hear two explanations for\n why he was fired. Ours. And\n theirs...", "JOE\n Like firing Andrew Beckett\n taught <u>him</u> a lesson?\n\n BELINDA\n Objection!", "human terms... When they fired\n Andrew Beckett because he had\n AIDS, <u>they broke the law</u>.", "BELINDA\n Why did you recruit Andrew Beckett\n to your firm?\n\nAndrew uses all his strength to concentrate.\n\nCharles Wheeler speaks with great sincerity.", "Wheeler did <u>not</u> know Andrew\n Beckett had AIDS when they fired\n him...", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "BELINDA (CONT.)\n Fact. Andrew Beckett is angry.\n Because his \"lifestyle,\" his", "MR. LAIRD\n Often, he does.\n\n JEROME GREEN\n As far as you know, in the handling\n of your lawsuit, Andrew Beckett was\n simply following orders.", "BELINDA\n And it's your contention, that\n when the partners were made\n aware of the lesions, they\n jumped to the conclusion you had\n AIDS and fired you.", "BELINDA\n Fact. Andrew Beckett performed\n at a consistently mediocre\n level. Fact. He made a grievous", "error on a multi-million dollar\n lawsuit... Fact. He claims he is\n the victim of lies and deceit.\n Fact. Andrew Beckett lied to his", "WHEELER\n Wait a minute. The man was fired for\n incompetence, not because he has\n AIDS. You didn't know he was sick,\n did you, Bob?", "ROCK MUSICIAN JUROR\n He sounded pretty smart to me.\n\n BUSINESSMAN JUROR\n Why would they fire him? Why\n not a medical leave, or...", "JOE\n Andrew Beckett represented your\n company in a lawsuit in 1990, is\n that correct?\n\n LAIRD\n Wyant Wheeler represented us.", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "BELINDA CONINE\n Your Honor, Mr. Beckett's\n incompetence nearly sabotaged a\n 350 million dollar suit.", "SEIDMAN\n (suddenly emotional)\n Andy, you nearly blew the case,\n for God's sake! That alone is", "JOE\n According to the deposition, you\n said you were \"thrilled, impressed,\n overwhelmed\" by the quality of\n Andrew Beckett's work. Do you\n remember saying that?", "JOE\n They didn't fire her?\n\n ANDREW\n No. They didn't fire her.\n\nAndrew goes back to his work. Joe stands there." ], [ "ANDREW\n Look. I know I have a case. If\n you don't want to take it for\n personal reasons...\n\n JOE\n Correct. I don't.", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "BELINDA\n Why did you recruit Andrew Beckett\n to your firm?\n\nAndrew uses all his strength to concentrate.\n\nCharles Wheeler speaks with great sincerity.", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "They're looking at Mr. Beckett, and\n wondering about it. They're looking\n at Mr. Wheeler and wondering about", "SEIDMAN\n (suddenly emotional)\n Andy, you nearly blew the case,\n for God's sake! That alone is", "error on a multi-million dollar\n lawsuit... Fact. He claims he is\n the victim of lies and deceit.\n Fact. Andrew Beckett lied to his", "BELINDA (CONT.)\n Fact. Andrew Beckett is angry.\n Because his \"lifestyle,\" his", "JUDGE GARNETT (OS)\n (far away)\n Beckett?\n\nAndrew finds the Judge looking at him.", "BELINDA\n Thank you. That's all for now,\n Your Honor.\n\n JUDGE GARNETT\n Mr. Miller?", "Wheeler did <u>not</u> know Andrew\n Beckett had AIDS when they fired\n him...", "BELINDA\n Objection!\n\n JUDGE GARNETT\n Mr. Miller!", "KILLCOYNE\n Beckett doesn't want to go to court,\n he's hoping for a quick tasty\n settlement.", "KENTON\n Why, Beckett?\n\n ANDREW\n Because they deserve to, Walter.", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "JOE\n Thanks, Beckett. I'm real\n excited about it.\n (glances at his watch)\n What can I do for you?", "ANDREW\n (distracted)\n Uh huh...\n\n JOE (CONT.)\n Beckett?", "BELINDA\n I'll withdraw it. Mr. Beckett?\n Were you living with Miguel", "--JOE glances at some notes.\n\n--MIGUEL and SARAH BECKETT look on anxiously.\n\n--WHEELER and the others observe in silence." ], [ "BELINDA\n Thank you. That's all for now,\n Your Honor.\n\n JUDGE GARNETT\n Mr. Miller?", "KENTON\n A trial takes <u>time</u>, Beckett. Do\n you know what I'm saying?", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "ANDREW\n Look. I know I have a case. If\n you don't want to take it for\n personal reasons...\n\n JOE\n Correct. I don't.", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "JOE\n Thanks, Beckett. I'm real\n excited about it.\n (glances at his watch)\n What can I do for you?", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "BELINDA\n I'll withdraw it. Mr. Beckett?\n Were you living with Miguel", "JUDGE GARNETT (OS)\n (far away)\n Beckett?\n\nAndrew finds the Judge looking at him.", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "JOE\n With all due respect, Your Honor,\n my client chooses to pursue his\n constitutionally guaranteed\n right to a trial.\n\nJoe exits.", "JUDGE GARNETT (CONT.)\n Can you go on for ten minutes?\n\n ANDREW\n Yes sir.", "JOE\n If it please the court, I'd like\n to ask Mr. Beckett to\n remove his shirt, so that the", "JOE\n Oh, Beckett. How's it goin'?\n\n ANDREW\n Fine.\n\nAndrew goes back to his work.", "JUDGE GARNETT\n (a moment, then)\n I'll allow it. Would you mind\n removing your shirt, Mr.\n Beckett?", "SEIDMAN\n (suddenly emotional)\n Andy, you nearly blew the case,\n for God's sake! That alone is", "They're looking at Mr. Beckett, and\n wondering about it. They're looking\n at Mr. Wheeler and wondering about", "Wheeler did <u>not</u> know Andrew\n Beckett had AIDS when they fired\n him...", "JOE\n Beckett? I'm sorry about...\n what's happened to you. It's a\n fucking kick in the head." ], [ "JOE\n If it please the court, I'd like\n to ask Mr. Beckett to\n remove his shirt, so that the", "JUDGE GARNETT\n (a moment, then)\n I'll allow it. Would you mind\n removing your shirt, Mr.\n Beckett?", "ANGLE ON THE MARINE JUROR -- WATCHING.\n\nAndrew unbuttons his collar buttons, working his way down.\n\nANGLE ON SARAH BECKETT -- WATCHING.", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "JUDGE GARNETT (OS)\n (far away)\n Beckett?\n\nAndrew finds the Judge looking at him.", "Joe begins ticking off a list of courtroom reminders:", "With a swift, direct glance at the Judge, Joe speaks with\nconsiderable power and emotion:", "thing about his appearance is the way he moves, slowly, like a\nmuch older man.</u> He's taking notes (which he will do\nrelentlessly throughout the trial.) And he has a cane at his", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "ANDREW\n (very calm)\n You can save it for the jury,\n Charles. I want to hear you say,", "Kenton seems eager to tell his story. Joe stands with\ncrossed arms, waiting.\n\n JUDGE GARNETT\n Let's continue.", "His back turned momentarily to the JUDGE, Andrew mouths to\nJamey: \"Not bad.\" But he whips around, serious again:", "Andrew looks away -- face shiny with sweat, breathing\ndifficult. He takes in the rest of the court, while\nWheeler's words THROB THROUGH THE AIR...", "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "ANDREW (CONT.)\n Every problem has a solution.\n Every problem... has... a...\n solution.\n\nCalmer, Andrew returns to the gurney, putting on his shirt.", "ANDREW'S POV of the courtroom floor.\n\nAndrew falls into his own POV SHOT. In slow motion.\n\nHe lies on the floor, looking up.", "under oath, in front of a judge and\n a jury, I'm a bad lawyer.\n (rises)\n Gentlemen.", "JOE\n With all due respect, Your Honor,\n my client chooses to pursue his\n constitutionally guaranteed\n right to a trial.\n\nJoe exits.", "JOE (CONT.)\n You are presented with a simple\n fact: Andrew Beckett was fired.\n You will hear two explanations for\n why he was fired. Ours. And\n theirs..." ], [ "MARINE JUROR (CONT.)\n For damages related to mental\n anguish and humiliation... we give\n no award.\n\nJoe is <u>extremely</u> disappointed.", "MARINE\n Yes, we have, Your Honor.\n (referring to a list)\n For back pay and loss of benefits\n ... one hundred fortythree\n thousand dollars.", "MARINE JUROR (CONT.)\n And punitive damages we award...\n Four million, eight hundred and\n eighty two thousand dollars.\n\nJoe throws his pen over his shoulder.", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "error on a multi-million dollar\n lawsuit... Fact. He claims he is\n the victim of lies and deceit.\n Fact. Andrew Beckett lied to his", "Charles Wheeler whispers to Belinda Conine.\n\n JUDGE GARNETT\n Have you awarded any damages?", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "JOE\n Okay, Mr. Laird. Explain this to\n me like I'm a four year old: Did\n Andrew Beckett win your lawsuit\n for you or not?", "BELINDA (CONT.)\n Fact. Andrew Beckett is angry.\n Because his \"lifestyle,\" his", "JOE (CONT.)\n You are presented with a simple\n fact: Andrew Beckett was fired.\n You will hear two explanations for\n why he was fired. Ours. And\n theirs...", "JOE (CONT.)\n \"... has been injured through\n the fault of others, you may be\n entitled to legal remedy...\n\nAndrew LAUGHS. Then, his call is answered:", "human terms... When they fired\n Andrew Beckett because he had\n AIDS, <u>they broke the law</u>.", "JOE\n Reinstatement at full salary.\n Back pay covering the period of\n unemployment and...", "His back turned momentarily to the JUDGE, Andrew mouths to\nJamey: \"Not bad.\" But he whips around, serious again:", "and off for three years. She\n says it was common knowledge\n around the office that her\n lesions were caused by AIDS.", "JOE\n If it please the court, I'd like\n to ask Mr. Beckett to\n remove his shirt, so that the", "We would settle today for the\n very fair amount of one million\n five hundred thousand dollars.", "JOE\n Your Honor, if Mr. Beckett was\n forced by his illness to use a\n wheelchair, would the defense" ], [ "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "JUDGE GARNETT (OS)\n (far away)\n Beckett?\n\nAndrew finds the Judge looking at him.", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "COURTROOM BURSTS INTO AN UPROAR.\n\nAndrew's supporters, Joe's colleagues from his office rush\nforward, pounding him on the back. Andrew's family members\nhug each other...", "His back turned momentarily to the JUDGE, Andrew mouths to\nJamey: \"Not bad.\" But he whips around, serious again:", "With a swift, direct glance at the Judge, Joe speaks with\nconsiderable power and emotion:", "Matt does a dramatic re-creation of the Marine Juror rendering\nthe judgment. Matt's audience is loving it.", "Joe begins ticking off a list of courtroom reminders:", "JUDGE GARNETT\n (a moment, then)\n I'll allow it. Would you mind\n removing your shirt, Mr.\n Beckett?", "JUDGE GARNETT\n Thank you. We're very happy.\n\nThe Judge brushes by Joe and Andrew without a word. The room\nbecomes SILENT as the Judge takes a seat.", "JOE\n If it please the court, I'd like\n to ask Mr. Beckett to\n remove his shirt, so that the", "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "error on a multi-million dollar\n lawsuit... Fact. He claims he is\n the victim of lies and deceit.\n Fact. Andrew Beckett lied to his", "ANDREW\n (very calm)\n You can save it for the jury,\n Charles. I want to hear you say,", "JOE\n Your Honor, if Mr. Beckett was\n forced by his illness to use a\n wheelchair, would the defense", "DEAD SILENCE while the Judge thinks it over.\n\nCLOSE ON ANDREW.\n\n ANDREW\n (to himself)\n Very good.", "KENTON\n A trial takes <u>time</u>, Beckett. Do\n you know what I'm saying?", "The SCHOOLTEACHER JUROR GASPS.\n\nSarah Beckett is silently crying.\n\nThe LESBIAN JUROR closes her eyes.", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating" ], [ "JOE\n Is there some kind of expression\n I've picked up from Beckett?!\n Some kind of fairy attitude I've", "Beckett: I want to know everything\n about his personal life. Did he\n frequent those pathetic bars on\n Camac Street?", "JOE\n Beckett? I'm sorry about...\n what's happened to you. It's a\n fucking kick in the head.", "JOE\n Oh, Beckett. How's it goin'?\n\n ANDREW\n Fine.\n\nAndrew goes back to his work.", "JOE\n Beckett. You seem... better.\n Energized, more alive...\n\n ANDREW\n I had a blood transfusion today.\n I feel great.", "KENTON\n Some people think you have an\n attitude problem, Beckett.\n\n ANDREW\n Really? Who thinks that, sir?", "ANDREW\n I think I catch your subtle drift,\n Walter.\n\nAndrew saunters out.\n\n KENTON\n You'll be sorry, Beckett.", "KENTON\n Oh, you're right, Beckett, you\n don't have an attitude problem.\n\n WHEELER\n Take it easy, Walter.", "They're looking at Mr. Beckett, and\n wondering about it. They're looking\n at Mr. Wheeler and wondering about", "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "BELINDA (OS)\n How about you, Mr. Beckett?\n\n<u>IMAGE: MOVING POV SHOT PAST FACES OF THE JURORS</u> (INT./DAY)", "JOE\n Thanks, Beckett. I'm real\n excited about it.\n (glances at his watch)\n What can I do for you?", "BELINDA\n I'll withdraw it. Mr. Beckett?\n Were you living with Miguel", "JUDGE GARNETT (OS)\n (far away)\n Beckett?\n\nAndrew finds the Judge looking at him.", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "ANDREW\n Thanks, Mom... Dad?\n\nThere's a pause before Bud Beckett speaks.", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "BELINDA (CONT.)\n Fact. Andrew Beckett is angry.\n Because his \"lifestyle,\" his", "KENTON\n Why, Beckett?\n\n ANDREW\n Because they deserve to, Walter.", "He changes his mind.\n\n JOE\n Fucking guy...\n\nJoe moves down the corridor, rings for the elevator.\n\n INTERCUT WITH:" ], [ "BELINDA\n And it's your contention, that\n when the partners were made\n aware of the lesions, they\n jumped to the conclusion you had\n AIDS and fired you.", "His employers discovered his\n illness. And ladies and gentlemen,\n the illness I'm referring to, is\n AIDS...", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "JOE (CONT.)\n The behavior of Andrew Beckett's\n employers may seem reasonable to\n you. It does to me. After all, AIDS\n is a deadly, incurable, disease...", "BELINDA (CONT.)\n Fact. Andrew Beckett is angry.\n Because his \"lifestyle,\" his", "Wheeler did <u>not</u> know Andrew\n Beckett had AIDS when they fired\n him...", "WHEELER\n Wait a minute. The man was fired for\n incompetence, not because he has\n AIDS. You didn't know he was sick,\n did you, Bob?", "Belinda pauses in front of the plaintiff's table\n\n BELINDA (CONT.)\n Fact. AIDS is a tragedy...\n\nAndrew looks directly at Belinda.", "the first prize of AIDS goes to\n Andrew Beckett and his lover\n Miguel...\" Excuse me, I'm not", "BELINDA (CONT.)\n Fact. Andrew Beckett is dying.\n\nJoe watches Andrew for his reaction.", "error on a multi-million dollar\n lawsuit... Fact. He claims he is\n the victim of lies and deceit.\n Fact. Andrew Beckett lied to his", "ARMBRUSTER\n IV drug use.\n\nJoe shakes his head.\n\n DR. ARMBRUSTER (CONT.)\n A homosexual encounter.", "BELINDA\n Why did you recruit Andrew Beckett\n to your firm?\n\nAndrew uses all his strength to concentrate.\n\nCharles Wheeler speaks with great sincerity.", "human terms... When they fired\n Andrew Beckett because he had\n AIDS, <u>they broke the law</u>.", "understandable, if unfounded, fear\n of catching AIDS through casual\n contact with someone who has it?\n You're saying, this trial is about", "and off for three years. She\n says it was common knowledge\n around the office that her\n lesions were caused by AIDS.", "JOE (CONT.)\n You are presented with a simple\n fact: Andrew Beckett was fired.\n You will hear two explanations for\n why he was fired. Ours. And\n theirs...", "BELINDA\n You've testified the lesions on\n your face were visible to the\n people you worked with, correct?\n\n ANDREW\n That's right.", "DR. ARMBRUSTER\n The HIV virus can only be transmitted\n through the exchange of bodily\n fluids, namely blood and semen.\n\n JOE\n Right.", "MR. LAIRD\n Often, he does.\n\n JEROME GREEN\n As far as you know, in the handling\n of your lawsuit, Andrew Beckett was\n simply following orders." ], [ "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "SEIDMAN\n (suddenly emotional)\n Andy, you nearly blew the case,\n for God's sake! That alone is", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "BELINDA\n Why did you recruit Andrew Beckett\n to your firm?\n\nAndrew uses all his strength to concentrate.\n\nCharles Wheeler speaks with great sincerity.", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "with his appearance? None of this\n information got to the managing\n partners. We know that. Make sure\n everyone else does too... And", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "Jamey shoves open the door, REVEALING TWO LAWYERS (BACKS TO\nCAMERA) STANDING BEFORE JUDGE EUNICE TATE: ANDREW BECKETT", "JOE\n According to the deposition, you\n said you were \"thrilled, impressed,\n overwhelmed\" by the quality of\n Andrew Beckett's work. Do you\n remember saying that?", "They're looking at Mr. Beckett, and\n wondering about it. They're looking\n at Mr. Wheeler and wondering about", "BELINDA (CONT.)\n Fact. Andrew Beckett is dying.\n\nJoe watches Andrew for his reaction.", "JUDGE GARNETT (OS)\n (far away)\n Beckett?\n\nAndrew finds the Judge looking at him.", "MR. LAIRD\n Often, he does.\n\n JEROME GREEN\n As far as you know, in the handling\n of your lawsuit, Andrew Beckett was\n simply following orders.", "Andrew FREEZES -- the full nature of this situation hitting\nhome. He looks each of the PARTNERS in the eye...\n\n ANDREW\n Uh huh... Okay... I see...", "the managing partners. Walking\n down that corridor was strange.\n Felt like everyone was staring.", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "COURTROOM BURSTS INTO AN UPROAR.\n\nAndrew's supporters, Joe's colleagues from his office rush\nforward, pounding him on the back. Andrew's family members\nhug each other...", "SARAH\n Goodnight angel, my sweet boy...\n\nRandy Beckett loses control of his emotions as he bends to hug\nhis brother. He begins to sob.", "Chandra applies the makeup gently, supervised by another friend\nnamed ALAN. (Andrew's loft has been turned into a lawyer's\ncommand post: stacks of books, documents, etc.). A third friend,", "His back turned momentarily to the JUDGE, Andrew mouths to\nJamey: \"Not bad.\" But he whips around, serious again:" ], [ "BELINDA\n Remembering you are under oath,\n answering truthfully, can you\n see the lesion on your face, in\n this mirror, three feet away?\n Answering truthfully.", "Andrew looks in the mirror: the lesion is NOT very visible.\n\n ANDREW\n By the time I was fired, there\n were four lesions on my face,\n much bigger...", "ANDREW\n (a second, then:)\n One of the partners spotted a\n lesion on my forehead.", "BELINDA\n You've testified the lesions on\n your face were visible to the\n people you worked with, correct?\n\n ANDREW\n That's right.", "JOE\n Can you see the lesions on your\n chest in this mirror?\n\n ANDREW\n Yes.\n\n JOE\n Thank you.", "JOE\n Beckett? I'm sorry about...\n what's happened to you. It's a\n fucking kick in the head.", "ANDREW\n Absolutely.\n\n BELINDA\n Do you have any lesions on your\n face at this time?", "Nearby, a CHINESE PROFESSOR looks up, startled, when she\nhears the word \"lesion.\"\n\n JOE\n Uh huh...", "Beckett: I want to know everything\n about his personal life. Did he\n frequent those pathetic bars on\n Camac Street?", "ANDREW\n I dove back into work,\n everything was fine. Until the\n lesions started...\n\n SUDDENLY PICTURE CUTS TO:", "JOE\n Is there some kind of expression\n I've picked up from Beckett?!\n Some kind of fairy attitude I've", "They're looking at Mr. Beckett, and\n wondering about it. They're looking\n at Mr. Wheeler and wondering about", "JOE\n Beckett. You seem... better.\n Energized, more alive...\n\n ANDREW\n I had a blood transfusion today.\n I feel great.", "Andrew lifts his hand, finding that his hair has been pushed\nback, revealing the blotch.\n\nHe stands, nonchalantly running a hand through his hair to\ncover the blotch.", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "JOE\n So you are aware of the\n difference between a lesion and\n a bruise, is that correct?", "Andrew offers his hand to Walter Kenton.\n\n ANDREW\n Thanks, Walter.\n\n KENTON\n What's that on your forehead,\n pal?", "ANDREW (CONT.)\n The partner who spotted the\n lesion, Walter Kenton, used to", "and off for three years. She\n says it was common knowledge\n around the office that her\n lesions were caused by AIDS.", "JOE (CONT.)\n How do you get from one lawyer\n spotting a lesion, which could\n have been a bruise, to the" ], [ "Andrew looks in the mirror: the lesion is NOT very visible.\n\n ANDREW\n By the time I was fired, there\n were four lesions on my face,\n much bigger...", "BELINDA\n Remembering you are under oath,\n answering truthfully, can you\n see the lesion on your face, in\n this mirror, three feet away?\n Answering truthfully.", "BELINDA\n You've testified the lesions on\n your face were visible to the\n people you worked with, correct?\n\n ANDREW\n That's right.", "ANDREW\n (a second, then:)\n One of the partners spotted a\n lesion on my forehead.", "JOE\n Can you see the lesions on your\n chest in this mirror?\n\n ANDREW\n Yes.\n\n JOE\n Thank you.", "Andrew lifts his hand, finding that his hair has been pushed\nback, revealing the blotch.\n\nHe stands, nonchalantly running a hand through his hair to\ncover the blotch.", "Nearby, a CHINESE PROFESSOR looks up, startled, when she\nhears the word \"lesion.\"\n\n JOE\n Uh huh...", "Beckett: I want to know everything\n about his personal life. Did he\n frequent those pathetic bars on\n Camac Street?", "ANDREW\n Absolutely.\n\n BELINDA\n Do you have any lesions on your\n face at this time?", "Andrew puts on a pair of big glasses with tortoise shell\nframes, meant to help conceal the blotches.\n\n ANDREW (CONT.)\n Hides everything, right? What\n do you think?", "error on a multi-million dollar\n lawsuit... Fact. He claims he is\n the victim of lies and deceit.\n Fact. Andrew Beckett lied to his", "JOE\n Beckett? I'm sorry about...\n what's happened to you. It's a\n fucking kick in the head.", "ANDREW\n I dove back into work,\n everything was fine. Until the\n lesions started...\n\n SUDDENLY PICTURE CUTS TO:", "His employers discovered his\n illness. And ladies and gentlemen,\n the illness I'm referring to, is\n AIDS...", "They're looking at Mr. Beckett, and\n wondering about it. They're looking\n at Mr. Wheeler and wondering about", "ANDREW\n Some do. I didn't.\n\n BELINDA\n As a homosexual, one is often forced\n to conceal one's sexuality, is\n that right?", "BELINDA (CONT.)\n Fact. Andrew Beckett is angry.\n Because his \"lifestyle,\" his", "BELINDA\n Answer the question, please.\n\n ANDREW\n No. I can't really see it.\n\n BELINDA\n Thank you.", "JOE\n Beckett. You seem... better.\n Energized, more alive...\n\n ANDREW\n I had a blood transfusion today.\n I feel great.", "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing." ], [ "JOE\n (fires this question)\n Did you have something to do\n with this file being lost\n accidentally-on-purpose?\n\n BELINDA\n Objection!", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "They're looking at Mr. Beckett, and\n wondering about it. They're looking\n at Mr. Wheeler and wondering about", "having AIDS, so they make you\n look like a fuck up. Which\n leads us to the mysterious, lost\n file.", "ANDREW (OS) (CONT.)\n But the day the complaint was\n due, it disappeared. Erased\n from my computer. I thought I\n was losing it, mentally...", "KENTON\n Why, Beckett?\n\n ANDREW\n Because they deserve to, Walter.", "JOE\n Continue.\n\n ANDREW\n I misplaced an important\n complaint. That's their story.\n Want to hear mine?", "error on a multi-million dollar\n lawsuit... Fact. He claims he is\n the victim of lies and deceit.\n Fact. Andrew Beckett lied to his", "complaint in his computer. He\n never put it in. He lied about\n that, too.", "Laird glances toward Charles Wheeler before answering.\n\n LAIRD\n We were satisfied.\n\nJoe refers to legal documents.", "RACHEL\n What can I do?\n\n ANDREW\n Get down to Word Processing.\n Help Jamey look.\n\nShe rushes out.", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "Behind his back, Andrew wiggles his fingers. Jamey stuffs\na document into Andrew's hand.\n\n ANDREW (CONT.)\n Limestone. Messy, but innocuous.", "JOE\n I'll rephrase.\n (to Jamey)\n Did you have anything to do with\n this file being... misplaced?", "Seidman is struck by the mess in the office, and Andrew's\ndisheveled appearance.\n\n SEIDMAN (CONT.)\n Jesus.", "JOE (CONT.)\n You are presented with a simple\n fact: Andrew Beckett was fired.\n You will hear two explanations for\n why he was fired. Ours. And\n theirs...", "JOE\n Beckett? I'm sorry about...\n what's happened to you. It's a\n fucking kick in the head.", "BELINDA (CONT.)\n Fact. Andrew Beckett is angry.\n Because his \"lifestyle,\" his", "ANDREW\n I think I catch your subtle drift,\n Walter.\n\nAndrew saunters out.\n\n KENTON\n You'll be sorry, Beckett.", "Bob Seidman comes into the office, typically cheerful.\n\n SEIDMAN\n C'mon, Andy, you didn't lose\n anything..." ], [ "JOE\n With all due respect, Your Honor,\n my client chooses to pursue his\n constitutionally guaranteed\n right to a trial.\n\nJoe exits.", "JUDGE GARNETT\n Attorney for the plaintiff?\n\n JOE\n Joseph Miller, Your Honor.\n Macready and Shilts Legal Services.", "JOE\n Thanks, Beckett. I'm real\n excited about it.\n (glances at his watch)\n What can I do for you?", "JOE\n Oh, Beckett. How's it goin'?\n\n ANDREW\n Fine.\n\nAndrew goes back to his work.", "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "ANDREW\n Look. I know I have a case. If\n you don't want to take it for\n personal reasons...\n\n JOE\n Correct. I don't.", "JOE\n If it please the court, I'd like\n to ask Mr. Beckett to\n remove his shirt, so that the", "--JOE glances at some notes.\n\n--MIGUEL and SARAH BECKETT look on anxiously.\n\n--WHEELER and the others observe in silence.", "JOE\n Your Honor, if Mr. Beckett was\n forced by his illness to use a\n wheelchair, would the defense", "JOE\n Beckett? I'm sorry about...\n what's happened to you. It's a\n fucking kick in the head.", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "JOE\n Like firing Andrew Beckett\n taught <u>him</u> a lesson?\n\n BELINDA\n Objection!", "JOE (CONT.)\n You are presented with a simple\n fact: Andrew Beckett was fired.\n You will hear two explanations for\n why he was fired. Ours. And\n theirs...", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "Joe begins ticking off a list of courtroom reminders:", "JOE\n Who'd you get?\n\n ANDREW\n What?\n\n JOE\n Find a lawyer?", "JOE\n Andrew Beckett represented your\n company in a lawsuit in 1990, is\n that correct?\n\n LAIRD\n Wyant Wheeler represented us.", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "With a swift, direct glance at the Judge, Joe speaks with\nconsiderable power and emotion:", "JOE\n You want to sue Wyant Wheeler\n Hellerman Tetlow and Brown?\n\n ANDREW\n Correct. I'm seeking\n representation." ], [ "JOE\n If it please the court, I'd like\n to ask Mr. Beckett to\n remove his shirt, so that the", "JUDGE GARNETT\n (a moment, then)\n I'll allow it. Would you mind\n removing your shirt, Mr.\n Beckett?", "ANGLE ON THE MARINE JUROR -- WATCHING.\n\nAndrew unbuttons his collar buttons, working his way down.\n\nANGLE ON SARAH BECKETT -- WATCHING.", "Joe begins ticking off a list of courtroom reminders:", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "Kenton seems eager to tell his story. Joe stands with\ncrossed arms, waiting.\n\n JUDGE GARNETT\n Let's continue.", "thing about his appearance is the way he moves, slowly, like a\nmuch older man.</u> He's taking notes (which he will do\nrelentlessly throughout the trial.) And he has a cane at his", "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "Andrew removes his suit jacket. He's weak, so the smallest\ngesture requires effort.\n\nANGLE ON BOB SEIDMAN -- WATCHING.\n\nAndrew undoes his tie.", "under oath, in front of a judge and\n a jury, I'm a bad lawyer.\n (rises)\n Gentlemen.", "With a swift, direct glance at the Judge, Joe speaks with\nconsiderable power and emotion:", "BELINDA\n You've testified the lesions on\n your face were visible to the\n people you worked with, correct?\n\n ANDREW\n That's right.", "ANDREW\n (very calm)\n You can save it for the jury,\n Charles. I want to hear you say,", "Andrew lifts his hand, finding that his hair has been pushed\nback, revealing the blotch.\n\nHe stands, nonchalantly running a hand through his hair to\ncover the blotch.", "BELINDA\n Objection! Where has this come\n from?! Suddenly Counsel is\n attacking his own witness. Mr.\n Collins' sexual orientation has\n absolutely no relevance to this\n case.", "The SCHOOLTEACHER JUROR GASPS.\n\nSarah Beckett is silently crying.\n\nThe LESBIAN JUROR closes her eyes.", "JOE\n According to the deposition, you\n said you were \"thrilled, impressed,\n overwhelmed\" by the quality of\n Andrew Beckett's work. Do you\n remember saying that?", "JUDGE GARNETT (OS)\n (far away)\n Beckett?\n\nAndrew finds the Judge looking at him." ], [ "JUDGE GARNETT (VO)\n Members of the jury, have you\n reached a verdict?\n\n AND CUT TO:", "error on a multi-million dollar\n lawsuit... Fact. He claims he is\n the victim of lies and deceit.\n Fact. Andrew Beckett lied to his", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "Judge Tate looks skeptically at both lawyers.\n\n JUDGE TATE\n Let's not go off the deep end,\n gentlemen. I thought we were\n talking about some dust.", "MARINE JUROR (CONT.)\n And punitive damages we award...\n Four million, eight hundred and\n eighty two thousand dollars.\n\nJoe throws his pen over his shoulder.", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "JOE (VO)\n \"But, ultimately, the complaint\n was found, wasn't it?\n\n CONTINUOUS CUT TO:", "COURTROOM BURSTS INTO AN UPROAR.\n\nAndrew's supporters, Joe's colleagues from his office rush\nforward, pounding him on the back. Andrew's family members\nhug each other...", "JOE\n Okay, Mr. Laird. Explain this to\n me like I'm a four year old: Did\n Andrew Beckett win your lawsuit\n for you or not?", "JUDGE GARNETT\n Thank you. We're very happy.\n\nThe Judge brushes by Joe and Andrew without a word. The room\nbecomes SILENT as the Judge takes a seat.", "DEAD SILENCE while the Judge thinks it over.\n\nCLOSE ON ANDREW.\n\n ANDREW\n (to himself)\n Very good.", "JOE\n Of course you have a case! Now,\n I want you to go with my\n assistant, Iris, and fill out", "MR. LAIRD\n Often, he does.\n\n JEROME GREEN\n As far as you know, in the handling\n of your lawsuit, Andrew Beckett was\n simply following orders.", "fact that they gave him the most\n important lawsuit they'd ever had,\n for one of their most important\n clients... they say that doesn't", "Andrew studies Joe, trying to figure out the costume.\n\n JOE\n I'm a law suit.\n\n ANDREW\n Not bad.", "JOE (CONT.)\n \"... has been injured through\n the fault of others, you may be\n entitled to legal remedy...\n\nAndrew LAUGHS. Then, his call is answered:", "With a swift, direct glance at the Judge, Joe speaks with\nconsiderable power and emotion:", "I worked sixteen hour days on a\n complaint for a 350 million\n dollar copyright infringement\n suit.", "TITLE: \"<u>Plaintiff's case, day ten.</u>\"\n\n JAMEY (CONT.)\n We got it to court on time.", "JOE\n Andrew Beckett represented your\n company in a lawsuit in 1990, is\n that correct?\n\n LAIRD\n Wyant Wheeler represented us." ], [ "JOE\n If it please the court, I'd like\n to ask Mr. Beckett to\n remove his shirt, so that the", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "BELINDA\n Objection! Where has this come\n from?! Suddenly Counsel is\n attacking his own witness. Mr.\n Collins' sexual orientation has\n absolutely no relevance to this\n case.", "JOE\n Your Honor, if Mr. Beckett was\n forced by his illness to use a\n wheelchair, would the defense", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "BELINDA (CONT.)\n Fact. Andrew Beckett is angry.\n Because his \"lifestyle,\" his", "KENTON\n Why, Beckett?\n\n ANDREW\n Because they deserve to, Walter.", "JOE\n Like firing Andrew Beckett\n taught <u>him</u> a lesson?\n\n BELINDA\n Objection!", "error on a multi-million dollar\n lawsuit... Fact. He claims he is\n the victim of lies and deceit.\n Fact. Andrew Beckett lied to his", "The SCHOOLTEACHER JUROR GASPS.\n\nSarah Beckett is silently crying.\n\nThe LESBIAN JUROR closes her eyes.", "Judge Tate looks skeptically at both lawyers.\n\n JUDGE TATE\n Let's not go off the deep end,\n gentlemen. I thought we were\n talking about some dust.", "JOE (CONT.)\n You are presented with a simple\n fact: Andrew Beckett was fired.\n You will hear two explanations for\n why he was fired. Ours. And\n theirs...", "JUDGE GARNETT\n (a moment, then)\n I'll allow it. Would you mind\n removing your shirt, Mr.\n Beckett?", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "ANDREW\n Your Honor, Counselor is\n attempting to portray my client\n as a hideous manifestation of", "BELINDA CONINE\n Your Honor, Mr. Beckett's\n incompetence nearly sabotaged a\n 350 million dollar suit.", "KENTON\n A trial takes <u>time</u>, Beckett. Do\n you know what I'm saying?", "JUDGE GARNETT\n No. We don't... However, as\n regards this witness, I'm going to\n sustain the defense's objection.", "MR. LAIRD\n Often, he does.\n\n JEROME GREEN\n As far as you know, in the handling\n of your lawsuit, Andrew Beckett was\n simply following orders." ], [ "Andrew looks in the mirror: the lesion is NOT very visible.\n\n ANDREW\n By the time I was fired, there\n were four lesions on my face,\n much bigger...", "JOE\n Can you see the lesions on your\n chest in this mirror?\n\n ANDREW\n Yes.\n\n JOE\n Thank you.", "BELINDA\n You've testified the lesions on\n your face were visible to the\n people you worked with, correct?\n\n ANDREW\n That's right.", "BELINDA\n Remembering you are under oath,\n answering truthfully, can you\n see the lesion on your face, in\n this mirror, three feet away?\n Answering truthfully.", "Beckett: I want to know everything\n about his personal life. Did he\n frequent those pathetic bars on\n Camac Street?", "ANDREW (CONT.)\n The partner who spotted the\n lesion, Walter Kenton, used to", "ANDREW\n Absolutely.\n\n BELINDA\n Do you have any lesions on your\n face at this time?", "and off for three years. She\n says it was common knowledge\n around the office that her\n lesions were caused by AIDS.", "ANDREW\n I dove back into work,\n everything was fine. Until the\n lesions started...\n\n SUDDENLY PICTURE CUTS TO:", "His employers discovered his\n illness. And ladies and gentlemen,\n the illness I'm referring to, is\n AIDS...", "face. For a short period, I\n avoided the office during the\n day, waiting for the chemo\n therapy to clear up the", "JOE\n Beckett? I'm sorry about...\n what's happened to you. It's a\n fucking kick in the head.", "JOE\n Beckett. You seem... better.\n Energized, more alive...\n\n ANDREW\n I had a blood transfusion today.\n I feel great.", "ANDREW'S POV -- BOB SEIDMAN:\n\n SEIDMAN\n Yes, I did see the lesions. I\n suspected he was sick...", "ANDREW\n (a second, then:)\n One of the partners spotted a\n lesion on my forehead.", "JOE\n And Walter Kenton knew the\n lesions on your face and arms\n were caused by AIDS?", "JOE\n Okay, okay... They discover you\n have this horrible, disgusting,\n terminal illness, and they", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "JOE (CONT.)\n How do you get from one lawyer\n spotting a lesion, which could\n have been a bruise, to the", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial" ], [ "JOE\n Why are we going to do that?\n\n DR. ARMBRUSTER\n Joe. I don't care a whit about your\n private life.", "Dr. Gillman RUSHES into the room, in street clothes,\nobviously having answered an emergency call. She tries\nassessing the situation, just as the tube is removed and", "Joe returns to the examining table, and rolls up his sleeve.\n\n CUT TO:", "His employers discovered his\n illness. And ladies and gentlemen,\n the illness I'm referring to, is\n AIDS...", "LISA MILLER has just given birth to a baby girl. She\ncollapses on her pillow, gasping for breath, moaning in\npain, quietly crying a little.", "Dr. Armbruster has been preparing a syringe.\n\n DR. ARMBRUSTER\n We're going to draw blood.", "prove anything, because that was\n just a test. What did they call\n it? A carrot. To see if he'd rise\n to the occasion... Okay... Say", "Dr. Gillman stands outside a hospital room, talking in a low\nvoice to Bud and Sarah Beckett. As Joe passes them,\nentering Andrew's room, he hears:", "ANDREW\n I think I need to go to the\n hospital.\n\n CUT TO:", "ARMBRUSTER\n IV drug use.\n\nJoe shakes his head.\n\n DR. ARMBRUSTER (CONT.)\n A homosexual encounter.", "MIGUEL\n Why do you need to do this?\n\n INTERN\n Who are you?\n\n MIGUEL\n Who are you? Doctor... ?", "JUDGE GARNETT (CONT.)\n Can you go on for ten minutes?\n\n ANDREW\n Yes sir.", "Seidman FLIPS ON the overhead light. Andrew flinches.\n\nSeidman approaches. Andrew gives up trying to hide the\npurple blotches, facing his mentor straight on.", "He changes his mind.\n\n JOE\n Fucking guy...\n\nJoe moves down the corridor, rings for the elevator.\n\n INTERCUT WITH:", "Mr. Miller. Could you kindly share\n with me exactly what's going on\n in your brain, because I don't\n have a clue at the moment.", "Joe heads for the door, meeting Miguel there.\n\n JOE\n (to Miguel)\n He's looking good. I wouldn't\n be surprised if he gets out of\n here soon.", "Joe sits in his shirtsleeves on the examining table.\n\n DR. ARMBRUSTER\n Checking your blood pressure,\n relax.", "He punches out of the conference, back to his Mom (glancing\nover his shoulder to make sure the door is <u>shut</u>).", "BELINDA\n Thank you. That's all for now,\n Your Honor.\n\n JUDGE GARNETT\n Mr. Miller?", "RUSHING to the door marked \"Dr. Roberta Gillman, Internal\nMedicine.\"\n\nComing out is a YOUNG ASIAN MAN with a cotton ball taped to\nthe inside of his elbow." ], [ "ANDREW\n Look. I know I have a case. If\n you don't want to take it for\n personal reasons...\n\n JOE\n Correct. I don't.", "SEIDMAN\n (suddenly emotional)\n Andy, you nearly blew the case,\n for God's sake! That alone is", "BELINDA\n Thank you. That's all for now,\n Your Honor.\n\n JUDGE GARNETT\n Mr. Miller?", "BELINDA\n Why did you recruit Andrew Beckett\n to your firm?\n\nAndrew uses all his strength to concentrate.\n\nCharles Wheeler speaks with great sincerity.", "JOE\n With all due respect, Your Honor,\n my client chooses to pursue his\n constitutionally guaranteed\n right to a trial.\n\nJoe exits.", "Judge Tate looks skeptically at both lawyers.\n\n JUDGE TATE\n Let's not go off the deep end,\n gentlemen. I thought we were\n talking about some dust.", "JOE\n Of course you have a case! Now,\n I want you to go with my\n assistant, Iris, and fill out", "JUDGE GARNETT\n Attorney for the plaintiff?\n\n JOE\n Joseph Miller, Your Honor.\n Macready and Shilts Legal Services.", "MR. LAIRD\n Often, he does.\n\n JEROME GREEN\n As far as you know, in the handling\n of your lawsuit, Andrew Beckett was\n simply following orders.", "BELINDA\n Objection!\n\n JUDGE GARNETT\n Mr. Miller!", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "fact that they gave him the most\n important lawsuit they'd ever had,\n for one of their most important\n clients... they say that doesn't", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "ANDREW\n (very calm)\n You can save it for the jury,\n Charles. I want to hear you say,", "JUDGE GARNETT\n In this courtroom, Mr. Miller,\n justice is blind. To matters of\n race, creed, color, religion.\n And sexual orientation.", "JOE (CONT.)\n You are presented with a simple\n fact: Andrew Beckett was fired.\n You will hear two explanations for\n why he was fired. Ours. And\n theirs...", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "thing about his appearance is the way he moves, slowly, like a\nmuch older man.</u> He's taking notes (which he will do\nrelentlessly throughout the trial.) And he has a cane at his", "JOE\n You want to sue Wyant Wheeler\n Hellerman Tetlow and Brown?\n\n ANDREW\n Correct. I'm seeking\n representation.", "error on a multi-million dollar\n lawsuit... Fact. He claims he is\n the victim of lies and deceit.\n Fact. Andrew Beckett lied to his" ], [ "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "JOE\n Beckett. You seem... better.\n Energized, more alive...\n\n ANDREW\n I had a blood transfusion today.\n I feel great.", "JOE\n Oh, Beckett. How's it goin'?\n\n ANDREW\n Fine.\n\nAndrew goes back to his work.", "JOE\n Beckett? I'm sorry about...\n what's happened to you. It's a\n fucking kick in the head.", "His employers discovered his\n illness. And ladies and gentlemen,\n the illness I'm referring to, is\n AIDS...", "Beckett: I want to know everything\n about his personal life. Did he\n frequent those pathetic bars on\n Camac Street?", "They're looking at Mr. Beckett, and\n wondering about it. They're looking\n at Mr. Wheeler and wondering about", "JOE\n Thanks, Beckett. I'm real\n excited about it.\n (glances at his watch)\n What can I do for you?", "Bud Beckett sits alone, very quiet.", "JOE\n Your Honor, if Mr. Beckett was\n forced by his illness to use a\n wheelchair, would the defense", "BELINDA (CONT.)\n Fact. Andrew Beckett is dying.\n\nJoe watches Andrew for his reaction.", "KENTON\n Why, Beckett?\n\n ANDREW\n Because they deserve to, Walter.", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "JOE\n Okay, okay... They discover you\n have this horrible, disgusting,\n terminal illness, and they", "JOE\n Can you see the lesions on your\n chest in this mirror?\n\n ANDREW\n Yes.\n\n JOE\n Thank you.", "JUDGE GARNETT (OS)\n (far away)\n Beckett?\n\nAndrew finds the Judge looking at him.", "Dr. Gillman stands outside a hospital room, talking in a low\nvoice to Bud and Sarah Beckett. As Joe passes them,\nentering Andrew's room, he hears:", "BELINDA (OS)\n How about you, Mr. Beckett?\n\n<u>IMAGE: MOVING POV SHOT PAST FACES OF THE JURORS</u> (INT./DAY)", "the first prize of AIDS goes to\n Andrew Beckett and his lover\n Miguel...\" Excuse me, I'm not" ], [ "Andrew looks in the mirror: the lesion is NOT very visible.\n\n ANDREW\n By the time I was fired, there\n were four lesions on my face,\n much bigger...", "JOE\n Can you see the lesions on your\n chest in this mirror?\n\n ANDREW\n Yes.\n\n JOE\n Thank you.", "BELINDA\n You've testified the lesions on\n your face were visible to the\n people you worked with, correct?\n\n ANDREW\n That's right.", "ANDREW\n Absolutely.\n\n BELINDA\n Do you have any lesions on your\n face at this time?", "and off for three years. She\n says it was common knowledge\n around the office that her\n lesions were caused by AIDS.", "JOE\n Okay, okay... They discover you\n have this horrible, disgusting,\n terminal illness, and they", "face. For a short period, I\n avoided the office during the\n day, waiting for the chemo\n therapy to clear up the", "BELINDA\n Remembering you are under oath,\n answering truthfully, can you\n see the lesion on your face, in\n this mirror, three feet away?\n Answering truthfully.", "ANDREW\n I dove back into work,\n everything was fine. Until the\n lesions started...\n\n SUDDENLY PICTURE CUTS TO:", "His employers discovered his\n illness. And ladies and gentlemen,\n the illness I'm referring to, is\n AIDS...", "ANDREW\n I have too much work to do.\n Skip the treatment.\n\n MIGUEL\n We're not skipping this\n treatment.", "ANDREW (CONT.)\n The partner who spotted the\n lesion, Walter Kenton, used to", "my face? I've got a skin\n condition. Next question, Bob?\n No more questions? Fine. Now\n can you help me find the complaint?", "ANDREW\n (a second, then:)\n One of the partners spotted a\n lesion on my forehead.", "about the size of a quarter, much like the blotches we saw\non the HISPANIC PATIENT in Andrew's doctor's office.</u>", "JOE (CONT.)\n Do you have any lesions on <u>any</u>\n part of your body, at this time,", "JOE\n Beyond noticing the marks on\n his face, were there other\n things about his appearance\n that made you suspect he had\n AIDS?", "CHANDRA\n Tahitian Bronze works best on\n lesions.\n\n ALAN\n Think of it as the \"I just back\n from Aruba\" look.", "Seidman FLIPS ON the overhead light. Andrew flinches.\n\nSeidman approaches. Andrew gives up trying to hide the\npurple blotches, facing his mentor straight on.", "ARMBRUSTER\n IV drug use.\n\nJoe shakes his head.\n\n DR. ARMBRUSTER (CONT.)\n A homosexual encounter." ], [ "Andrew removes a legal pad with \"KENTON\" written in big\nletters across the top, and lots of notes underneath.", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "ANDREW\n Look. I know I have a case. If\n you don't want to take it for\n personal reasons...\n\n JOE\n Correct. I don't.", "Laird glances toward Charles Wheeler before answering.\n\n LAIRD\n We were satisfied.\n\nJoe refers to legal documents.", "Behind his back, Andrew wiggles his fingers. Jamey stuffs\na document into Andrew's hand.\n\n ANDREW (CONT.)\n Limestone. Messy, but innocuous.", "He pulls open a file drawer, dumping legal briefs onto the\nfloor, frantically spreading them around with his foot.\n\nAndrew THROWS a document across the room, takes a breath.", "They're looking at Mr. Beckett, and\n wondering about it. They're looking\n at Mr. Wheeler and wondering about", "Andrew clears away party debris from the table, making space\nfor his legal work. He is attached to an IV line, which is\nconnected to a drip bag on a rolling stand, that can move\nwith him. He is no longer in costume.", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "JOE\n (fires this question)\n Did you have something to do\n with this file being lost\n accidentally-on-purpose?\n\n BELINDA\n Objection!", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "ANDREW\n (distracted)\n Uh huh...\n\n JOE (CONT.)\n Beckett?", "JOE\n They didn't fire her?\n\n ANDREW\n No. They didn't fire her.\n\nAndrew goes back to his work. Joe stands there.", "JOE\n Of course you have a case! Now,\n I want you to go with my\n assistant, Iris, and fill out", "Andrew submits the report to the Judge.\n\n JOE\n Innocuous?\n\n ANDREW\n Defined by Webster's as harmless.", "JOE\n Thanks, Beckett. I'm real\n excited about it.\n (glances at his watch)\n What can I do for you?", "BELINDA\n I'll withdraw it. Mr. Beckett?\n Were you living with Miguel", "MR. LAIRD\n Often, he does.\n\n JEROME GREEN\n As far as you know, in the handling\n of your lawsuit, Andrew Beckett was\n simply following orders.", "ANDREW\n I think I catch your subtle drift,\n Walter.\n\nAndrew saunters out.\n\n KENTON\n You'll be sorry, Beckett." ], [ "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "BELINDA (CONT.)\n Fact. Andrew Beckett is angry.\n Because his \"lifestyle,\" his", "JOE (CONT.)\n You are presented with a simple\n fact: Andrew Beckett was fired.\n You will hear two explanations for\n why he was fired. Ours. And\n theirs...", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "BELINDA\n Why did you recruit Andrew Beckett\n to your firm?\n\nAndrew uses all his strength to concentrate.\n\nCharles Wheeler speaks with great sincerity.", "MR. LAIRD\n Often, he does.\n\n JEROME GREEN\n As far as you know, in the handling\n of your lawsuit, Andrew Beckett was\n simply following orders.", "human terms... When they fired\n Andrew Beckett because he had\n AIDS, <u>they broke the law</u>.", "JOE\n Like firing Andrew Beckett\n taught <u>him</u> a lesson?\n\n BELINDA\n Objection!", "JOE\n If it please the court, I'd like\n to ask Mr. Beckett to\n remove his shirt, so that the", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "He pulls open a file drawer, dumping legal briefs onto the\nfloor, frantically spreading them around with his foot.\n\nAndrew THROWS a document across the room, takes a breath.", "error on a multi-million dollar\n lawsuit... Fact. He claims he is\n the victim of lies and deceit.\n Fact. Andrew Beckett lied to his", "KILLCOYNE\n Beckett doesn't want to go to court,\n he's hoping for a quick tasty\n settlement.", "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "ANDREW\n Look. I know I have a case. If\n you don't want to take it for\n personal reasons...\n\n JOE\n Correct. I don't.", "JOE\n According to the deposition, you\n said you were \"thrilled, impressed,\n overwhelmed\" by the quality of\n Andrew Beckett's work. Do you\n remember saying that?", "KENTON\n Why, Beckett?\n\n ANDREW\n Because they deserve to, Walter.", "ANDREW\n I love the law. I know the law.\n I excel at practicing it. It's\n the only thing I've ever wanted to do.", "JOE\n (angry)\n Those people make me\n sick, Filko! But a law's been\n broken, okay? The <u>law</u>. Remember\n the law?" ], [ "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "MR. LAIRD\n Often, he does.\n\n JEROME GREEN\n As far as you know, in the handling\n of your lawsuit, Andrew Beckett was\n simply following orders.", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "JUDGE GARNETT\n In this courtroom, Mr. Miller,\n justice is blind. To matters of\n race, creed, color, religion.\n And sexual orientation.", "BELINDA\n Why did you recruit Andrew Beckett\n to your firm?\n\nAndrew uses all his strength to concentrate.\n\nCharles Wheeler speaks with great sincerity.", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "BELINDA (CONT.)\n Fact. Andrew Beckett is angry.\n Because his \"lifestyle,\" his", "JOE\n Andrew Beckett represented your\n company in a lawsuit in 1990, is\n that correct?\n\n LAIRD\n Wyant Wheeler represented us.", "Joe turns the book around, begins to read:\n\n JOE\n \"The Federal Vocational\n Rehabilitation Act of 1973 prohibits\n discrimination...\"", "JOE (CONT.)\n You are presented with a simple\n fact: Andrew Beckett was fired.\n You will hear two explanations for\n why he was fired. Ours. And\n theirs...", "associate Andrew Beckett.", "Chandra applies the makeup gently, supervised by another friend\nnamed ALAN. (Andrew's loft has been turned into a lawyer's\ncommand post: stacks of books, documents, etc.). A third friend,", "JOE\n Of course you have a case! Now,\n I want you to go with my\n assistant, Iris, and fill out", "Behind them, walk young lawyers BELINDA CONINE and JEROME\nGREEN. Belinda is white, Jerome is black.\n\n CUT TO:", "BELINDA\n Fact. Andrew Beckett performed\n at a consistently mediocre\n level. Fact. He made a grievous", "error on a multi-million dollar\n lawsuit... Fact. He claims he is\n the victim of lies and deceit.\n Fact. Andrew Beckett lied to his", "Zero. In this entire building?\n Zero. Get the picture, Filko?\n <u>Discrimination</u>! You find", "JOE\n Like firing Andrew Beckett\n taught <u>him</u> a lesson?\n\n BELINDA\n Objection!", "JOE\n Okay, Mr. Laird. Explain this to\n me like I'm a four year old: Did\n Andrew Beckett win your lawsuit\n for you or not?" ], [ "the first prize of AIDS goes to\n Andrew Beckett and his lover\n Miguel...\" Excuse me, I'm not", "KENTON\n Why, Beckett?\n\n ANDREW\n Because they deserve to, Walter.", "JUDGE GARNETT (OS)\n (far away)\n Beckett?\n\nAndrew finds the Judge looking at him.", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "They're looking at Mr. Beckett, and\n wondering about it. They're looking\n at Mr. Wheeler and wondering about", "JOE\n Thanks, Beckett. I'm real\n excited about it.\n (glances at his watch)\n What can I do for you?", "JOE\n Beckett? I'm sorry about...\n what's happened to you. It's a\n fucking kick in the head.", "Beckett: I want to know everything\n about his personal life. Did he\n frequent those pathetic bars on\n Camac Street?", "JOE\n Oh, Beckett. How's it goin'?\n\n ANDREW\n Fine.\n\nAndrew goes back to his work.", "ANDREW\n Thanks, Mom... Dad?\n\nThere's a pause before Bud Beckett speaks.", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "BELINDA (OS)\n How about you, Mr. Beckett?\n\n<u>IMAGE: MOVING POV SHOT PAST FACES OF THE JURORS</u> (INT./DAY)", "ANDREW\n I think I catch your subtle drift,\n Walter.\n\nAndrew saunters out.\n\n KENTON\n You'll be sorry, Beckett.", "Bud Beckett sits alone, very quiet.", "BELINDA (CONT.)\n Fact. Andrew Beckett is angry.\n Because his \"lifestyle,\" his", "JOE\n Is there some kind of expression\n I've picked up from Beckett?!\n Some kind of fairy attitude I've", "JOE\n Beckett. You seem... better.\n Energized, more alive...\n\n ANDREW\n I had a blood transfusion today.\n I feel great.", "KENTON\n A trial takes <u>time</u>, Beckett. Do\n you know what I'm saying?", "ANDREW\n (distracted)\n Uh huh...\n\n JOE (CONT.)\n Beckett?" ], [ "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "JUDGE GARNETT (OS)\n (far away)\n Beckett?\n\nAndrew finds the Judge looking at him.", "DEAD SILENCE while the Judge thinks it over.\n\nCLOSE ON ANDREW.\n\n ANDREW\n (to himself)\n Very good.", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "His back turned momentarily to the JUDGE, Andrew mouths to\nJamey: \"Not bad.\" But he whips around, serious again:", "Matt does a dramatic re-creation of the Marine Juror rendering\nthe judgment. Matt's audience is loving it.", "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "JOE\n If it please the court, I'd like\n to ask Mr. Beckett to\n remove his shirt, so that the", "JUDGE GARNETT (VO)\n Members of the jury, have you\n reached a verdict?\n\n AND CUT TO:", "JOE\n Okay, Mr. Laird. Explain this to\n me like I'm a four year old: Did\n Andrew Beckett win your lawsuit\n for you or not?", "KENTON\n A trial takes <u>time</u>, Beckett. Do\n you know what I'm saying?", "ANDREW\n (very calm)\n You can save it for the jury,\n Charles. I want to hear you say,", "JUDGE GARNETT\n Thank you. We're very happy.\n\nThe Judge brushes by Joe and Andrew without a word. The room\nbecomes SILENT as the Judge takes a seat.", "JOE (CONT.)\n You are presented with a simple\n fact: Andrew Beckett was fired.\n You will hear two explanations for\n why he was fired. Ours. And\n theirs...", "The SCHOOLTEACHER JUROR GASPS.\n\nSarah Beckett is silently crying.\n\nThe LESBIAN JUROR closes her eyes.", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "JUDGE GARNETT\n (a moment, then)\n I'll allow it. Would you mind\n removing your shirt, Mr.\n Beckett?", "MR. LAIRD\n Often, he does.\n\n JEROME GREEN\n As far as you know, in the handling\n of your lawsuit, Andrew Beckett was\n simply following orders.", "KENTON\n Why, Beckett?\n\n ANDREW\n Because they deserve to, Walter." ], [ "They're looking at Mr. Beckett, and\n wondering about it. They're looking\n at Mr. Wheeler and wondering about", "JOE\n We're friends of Beckett's.\n\n ANDREW\n It's me, you dork.", "JOE\n Oh, Beckett. How's it goin'?\n\n ANDREW\n Fine.\n\nAndrew goes back to his work.", "ANDREW\n (distracted)\n Uh huh...\n\n JOE (CONT.)\n Beckett?", "JOE\n Thanks, Beckett. I'm real\n excited about it.\n (glances at his watch)\n What can I do for you?", "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "KENTON\n Why, Beckett?\n\n ANDREW\n Because they deserve to, Walter.", "Beckett: I want to know everything\n about his personal life. Did he\n frequent those pathetic bars on\n Camac Street?", "JOE\n Beckett? I'm sorry about...\n what's happened to you. It's a\n fucking kick in the head.", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "JUDGE GARNETT (OS)\n (far away)\n Beckett?\n\nAndrew finds the Judge looking at him.", "ANDREW\n I think I catch your subtle drift,\n Walter.\n\nAndrew saunters out.\n\n KENTON\n You'll be sorry, Beckett.", "They pass a silver-haired partner, KENNETH KILLCOYNE.\n\n KILLCOYNE\n Solid work on the Rockwell\n situation, Andy. Top-notch.", "Bud Beckett sits alone, very quiet.", "ANDREW\n Thanks, Mom... Dad?\n\nThere's a pause before Bud Beckett speaks.", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "ANDREW (CONT.)\n The partner who spotted the\n lesion, Walter Kenton, used to", "Joe's assistant, IRIS, approaches.\n\n IRIS\n Mr. Beckett?", "BELINDA (OS)\n How about you, Mr. Beckett?\n\n<u>IMAGE: MOVING POV SHOT PAST FACES OF THE JURORS</u> (INT./DAY)", "--JOE glances at some notes.\n\n--MIGUEL and SARAH BECKETT look on anxiously.\n\n--WHEELER and the others observe in silence." ], [ "Joe stands.\n\n JOE\n I'll see you, Beckett.\n\nAndrew nods, weakly. But he's still smiling and his eyes\nare dancing.", "SEIDMAN\n (suddenly emotional)\n Andy, you nearly blew the case,\n for God's sake! That alone is", "Beckett proposes to haul me into a\n court of law, to sling accusations\n at me, in full view of the entire,\n Philadelphia, judicial", "BELINDA\n Why did you recruit Andrew Beckett\n to your firm?\n\nAndrew uses all his strength to concentrate.\n\nCharles Wheeler speaks with great sincerity.", "MARINE (CONT.)\n We find for the plaintiff,\n Andrew Beckett.\n\nJoe smiles, just barely, remaining calm.", "Beckett was... is a brilliant\n lawyer. A great lawyer. Point\n number two. Andrew Beckett,\n afflicted with a debilitating", "Andrew glances toward the jury box: the MARINE JUROR writes in a\ntiny notebook.\n\n JOE\n But, Andrew Beckett was in charge of\n litigation for the suit.", "MR. LAIRD\n Often, he does.\n\n JEROME GREEN\n As far as you know, in the handling\n of your lawsuit, Andrew Beckett was\n simply following orders.", "JOE\n According to the deposition, you\n said you were \"thrilled, impressed,\n overwhelmed\" by the quality of\n Andrew Beckett's work. Do you\n remember saying that?", "Jamey shoves open the door, REVEALING TWO LAWYERS (BACKS TO\nCAMERA) STANDING BEFORE JUDGE EUNICE TATE: ANDREW BECKETT", "JUDGE GARNETT (OS)\n (far away)\n Beckett?\n\nAndrew finds the Judge looking at him.", "ANDREW\n I think I catch your subtle drift,\n Walter.\n\nAndrew saunters out.\n\n KENTON\n You'll be sorry, Beckett.", "Chandra applies the makeup gently, supervised by another friend\nnamed ALAN. (Andrew's loft has been turned into a lawyer's\ncommand post: stacks of books, documents, etc.). A third friend,", "ANDREW\n (distracted)\n Uh huh...\n\n JOE (CONT.)\n Beckett?", "They pass a silver-haired partner, KENNETH KILLCOYNE.\n\n KILLCOYNE\n Solid work on the Rockwell\n situation, Andy. Top-notch.", "They're looking at Mr. Beckett, and\n wondering about it. They're looking\n at Mr. Wheeler and wondering about", "JOE\n Like firing Andrew Beckett\n taught <u>him</u> a lesson?\n\n BELINDA\n Objection!", "His back turned momentarily to the JUDGE, Andrew mouths to\nJamey: \"Not bad.\" But he whips around, serious again:", "with his appearance? None of this\n information got to the managing\n partners. We know that. Make sure\n everyone else does too... And", "error on a multi-million dollar\n lawsuit... Fact. He claims he is\n the victim of lies and deceit.\n Fact. Andrew Beckett lied to his" ] ]

[ "What was the law firm's excuse for firing Beckett?", "Why was Miller afraid to take Beckett's case at first?", "When did Miller decide to take Beckett's case after all?", "Why did Beckett unbutton his shirt in court?", "The jury awarded Beckett three kinds of compensation: back pay, damages for pain and suffering, and what else?", "Where was Beckett when the jury ruled in his favor?", "How did Miller's attitude toward Beckett change?", "According to the law partner's testimony, why did he think Beckett's AIDS was different from the blood transfusion patient's AIDS?", "How did the law partner who betrayed Beckett feel about him after Beckett collapsed?", "What does Beckett say the lesion on his forehead is from?", "Why does Beckett lie about the lesion on his forehead?", "Why does Beckett think the paperwork was lost? ", "Why does Joe Miller decline to be Beckett's attorney at first? ", "Why did Beckett have to unbutton his shirt while on the witness stand?", "What was the verdict of the lawsuit? ", "Why does the defense suggest that Beckett is not a victim? ", "What type of cancerous lesions did Beckett suffer from?", "Why did Miller go to the doctor to be evaluated?", "Why did Miller finally decide to take the case? ", "What disease does Beckett have?", "What form of cancer is marked by multiple tumors on the lymph nodes and skin?", "What happens to the paperwork from Beckett's case?", "Why does Becket take legal action against his job?", "Who takes Beckett's discrimination case?", "What is awarded to Beckettl?", "Does the jury rule in Beckett's favor?", "Who is Beckett's partner?", "How does Beckett's law partner feel about betraying Beckett?" ]

[ [ "That he was incompetent and mishandled paperwork.", "Lost papers" ], [ "He was afraid of catching AIDS.", "afraid that he would contract HIV" ], [ "When he saw others' discriminatory behavior toward Beckett at the law library.", "After he reviews the material Miller has gathered" ], [ "To show the court what the cancer looked like.", "To prove that his lesions were visible" ], [ "Punitive damages.", "punitive damages" ], [ "At the hospital.", "In the hospital" ], [ "When they met, Miller was afraid of Beckett's AIDS, but by the end, he was able to touch him.", "At first, he is afraid he can catch AIDs, until he speaks to his doctor." ], [ "He said that because Beckett was homosexual, he had invited the illness on himself.", "Beckett invited the disease through his homosexuality " ], [ "He regretted the betrayal.", "He is remorseful about betraying him" ], [ "A racquetball injury.", "A racquetball injury" ], [ "He does not want people to know he is gay, and has HIV/AIDS", "He is afraid of being discriminated against for having AIDS" ], [ "He thinks the firm hid the paperwork so they could fire him. ", "Beckett believes the paperwork was lost deliberately to give the Firm an excuse to fire him because he had AIDS." ], [ "He is worried he could contract HIV from Beckett.", "He is worried he will contract AIDS" ], [ "To show the lesions and prove the lesions were visible. ", "Beckett unbuttoned his shirt to prove that his lessions were visible." ], [ "The jury voted in favor of Beckett. ", "The jury finds in favor of Beckett and awards damages and back pay" ], [ "They suggested Beckett had invited the illness through homosexual acts. ", "Because he is gay" ], [ "Kaposi Sarcoma.", "Sarcoma" ], [ "He though he might have contracted HIV from casual contact with Beckett.", "he was afraid he might have contracted HIV" ], [ "Millwer saw how people mistreated Beckett at the library. ", "He is disgusted by the people at the library's behavior and looks at the material Miller has gathered." ], [ "AIDS", "AIDs" ], [ "Kaposi's Sarcoma", "kaposi's sarcoma" ], [ "The paper copy is missing and there is no copy of it on the computer.", "It is missing" ], [ "He believes he was unjustly fired from having AIDS.", "He felt he was wrongly terminated" ], [ "Joe Miller", "Joe Miller" ], [ "He collapses.", "damages and back pay" ], [ "back pay, damages for pain and suffering, punitive damages", "Yes, the jury rules in Beckett's favor." ], [ "Miguel", "miguel" ], [ "The partner will regret it for the rest of his life.", "Remorseful" ] ]

[ [ "lights. Again he reaches the foyer. Red Dog is still there.\n\tGeorge is heaving deeply now.\n\t\n\t GEORGE", "George heaving deep breaths now runs on into the poolhouse.\n\tThe refrigerator door still hangs open. Window glass is\n\tscattered on the floor, and George steps on it, cutting his", "George in bed, beginning to sleep. Hubert Humphrey expresses\n\topinion at his chances tomorrow on TV.\n\t\n\t JILL", "George opens his eyes. Above him is the carport and Jill's\n\tyellow Mustang has just pulled in. George rises. He walks\n\tinto the living room as Jill comes down the steps to the", "coming very close. Both of them are much bigger than George.\n\tThey stare through George as they pass him.\n\t\n\tGeorge continues to stand there. Lester, drinking, continues", "George pulls into the circular driveway. COVERED by a few\n\tbars of The Mama's and The Papa's \"California Dreamin.\"", "earshot of the whole conversation. George is very upset.\n\t\n\tINT. OFFICE WAITING ROOM - DAY", "George looks around sweating now.\n\t\n\t GEORGE\n\t (very quietly)\n\t -- you are.", "sight of George stripped to the waist, ostensibly working\n\tover Jackie who is loosely wrapped with a towel. George has a\n\tcomb in one hand and now turns on the dryer, blowing it with", "away. George is tearing at his trousers. They are on the\n\tfloor now , rolling around, bouncing gently off the ceramic\n\tmolding from the sunken tub.", "around.\n\t\n\t FELICIA\n\t George, darling.", "going down. George is looking at Lester, waiting for an\n\tanswer.\n\t\n\t LESTER\n\t (looks up slowly)", "George now is very near tears himself. What he says now he\n\thas to force out of himself, as if it's the biggest secret he\n\tholds.", "She gently tugs at him, leading him toward the bed. George is\n\tmiserable.\n\t\n\t GEORGE\n\t (looking toward the door)", "George doesn't answer this time.\n\t\n\t LESTER (CONT'D)\n\t I wish my son knew what he wanted\n\t to do.", "George walks over to the window and look's at the city. He\n\twalks out onto the deck and sits in a deck chair.\n\t\n\t DISSOLVE TO:", "There's a long rolling lawn. The lights are soft coming from\n\tthe living room, the MUSIC more muted. Jackie, nevertheless,\n\tis breathing rather heavily from the dancing. George is", "pound it out of you, and he does a\n\t hell of a job, believe me.\n\t\n\tGeorge nods.", "George turns and runs back into the house and through the\n\tstrobe-lighting living room.\n\t\n\tAT THE POOLHOUSE", "George is obsessed. He wraps his arms around her and she\n\tresponds, passionately.\n\t\n\t JACKIE (CONT'D)" ], [ "She turns and throws her arms around George, kissing him.\n\tIt's too much for George. He kisses her back.", "George is obsessed. He wraps his arms around her and she\n\tresponds, passionately.\n\t\n\t JACKIE (CONT'D)", "She turns back to George.\n\t\n\t GEORGE\n\t -- yeah.", "GEORGE\n\t (moving to her, taking her\n\t arm)\n\t I do, Jill.", "She comes back to him and kisses him gently. She kisses him\n\tagain with more passion. George tries to respond.\n\t\n\t FELICIA (CONT'D)", "when she's fifty years old. I can't\n\t imagine not being with you.\n\t\n\tGeorge moves to her. Jackie is waiting for him. They kiss. It", "around.\n\t\n\t FELICIA\n\t George, darling.", "She's incredible...\n\t (after a moment)\n\t She loves you, George.\n\t\n\t GEORGE", "George looks after her, smiling. Then:\n\t\n\t GEORGE\n\t (disgusted)\n\t God damn it.", "George opens his eyes. Above him is the carport and Jill's\n\tyellow Mustang has just pulled in. George rises. He walks\n\tinto the living room as Jill comes down the steps to the", "George lets his head fall on her shoulder. She's kneeling,\n\tsupported by the television aerial, and George cries quietly\n\ton her shoulder. She has her arm around him.", "George notices. Jill disengages her hand casually, as though\n\tit were necessary only for the walk up the stairs. Jackie\n\tnudges George, forcing him to move into the room with her as", "Norma comes over, hugs George.\n\t\n\t NORMA\n\t George --", "He takes her hair in his hands. The contact makes them both\n\tnervous. She looks away. George continues to run his hands\n\tthrough her hair.", "He leaps after her and she screams, delighted. George chases\n\ther into the bedroom. Jill screams. He throws her on the bed", "GEORGE\n\t No shit?\n\t\n\tJill laughs. George comes over to her.", "Sweetheart, you're drunk.\n\t\n\tShe leans on George.\n\t\n\t JACKIE", "I've... missed you too.\n\t\n\tFelicia comes to him. She comes to him and touches his arm.\n\tGeorge suddenly flings his case across the room and pounds", "George has started to dry her hair. He stops. He picks up the\n\tscissors. Her hair is askew still so it's difficult to see\n\twhat George has done.", "There's a long rolling lawn. The lights are soft coming from\n\tthe living room, the MUSIC more muted. Jackie, nevertheless,\n\tis breathing rather heavily from the dancing. George is" ], [ "LESTER\n\t She's nothing but a whore.\n\t\n\t GEORGE\n\t No --", "Lester's on his way.\n\t\n\tGeorge stares at her then walks past her into the living\n\troom. Bags are packed, a coat thrown over them. The wire", "Lester directions. She glances uneasily up toward George.\n\t\n\tGeorge is watching them.", "GEORGE (CONT'D)\n\t ... she's very upset...\n\t\n\t LESTER\n\t What about, tonight?", "GEORGE\n\t Well anyway...\n\t\n\t LESTER\n\t (to Felicia)", "You're still jealous.\n\t\n\tShe's said it provocatively and like the younger girl she can\n\tbe with him. Lester smiles. He's almost benign.", "Suddenly Lester gives George a steely look. It covers his\n\thair, his clothes. George is acutely uncomfortable.\n\t\n\t LESTER (CONT'D)", "FELICIA\n\t Why don't you see Lester?\n\t\n\t GEORGE", "What about Jackie?\n\t\n\t GEORGE\n\t What about her?\n\t\n\t LESTER", "GEORGE\n\t Who?\n\t\n\t LESTER\n\t Me!", "Lester shuts the door, feeling a little chagrined, and\n\trelieved. He sits on the bed and puts the present beside him.\n\tIn a moment George emerges.", "LESTER\n\t (a desperate smile)\n\t Hello, George. Your friend feeling\n\t a little under the weather?", "LESTER\n\t You really think so?\n\t\n\t GEORGE\n\t Yes I do.", "Jesus, she's my best friend.\n\t\n\t LESTER\n\t Who's the guy, George's boyfriend?", "LESTER\n\t\n\tpours his drink on the cuff of a distinguished MAN sitting\n\tbeneath him at a table as he sees George and Felicia and", "LESTER\n\t Do you think George is a fairy?\n\t\n\t FELICIA\n\t Who?", "LESTER\n\t Godammit, George...\n\t\n\t GEORGE\n\t Now wait a minute...", "George and Jackie.\n\t\n\tLESTER\n\t\n\twho has been smiling continues to smile until the enormity of", "George, glad you could make it,\n\t son. Hi, doll.\n\t\n\t JACKIE\n\t Lester, this is my friend Jill and", "INT. OFFICE - GEORGE AND SECRETARY\n\t\n\tThe door opens. Jackie and Lester emerge, distinctly subdued." ], [ "George, a little hastily moves through the kitchen, spotting\n\tJackie. He's nearly upended by a couple, tall man and woman", "at the refrigerator. They grab him and kiss him, and he\n\tshakes through them moving to Jackie.\n\t\n\t GEORGE", "George notices. Jill disengages her hand casually, as though\n\tit were necessary only for the walk up the stairs. Jackie\n\tnudges George, forcing him to move into the room with her as", "Jackie is right behind her. She bounces in, not seeing\n\tGeorge.\n\t\n\t JACKIE", "sight of George stripped to the waist, ostensibly working\n\tover Jackie who is loosely wrapped with a towel. George has a\n\tcomb in one hand and now turns on the dryer, blowing it with", "Jackie's now moving around kissing George on the mouth.\n\t\n\tJill is watching. Johnny Pope is fascinated.\n\t\n\t JILL", "with Jackie's hair considerably shorter. George is sitting\n\tnow as he works, his knee wedged between her legs, working\n\tvery close.", "There's a long rolling lawn. The lights are soft coming from\n\tthe living room, the MUSIC more muted. Jackie, nevertheless,\n\tis breathing rather heavily from the dancing. George is", "Jackie answers the door. She seems distracted and, at the\n\tsame time, a little wary. Much the same, in fact, as George.", "The cutting goes on. The bathroom is very close. George has\n\tbegun to perspire a little as has Jackie.\n\t\n\t JACKIE (CONT'D)", "INT. OFFICE - GEORGE AND SECRETARY\n\t\n\tThe door opens. Jackie and Lester emerge, distinctly subdued.", "Jackie tugs him by the arm.\n\t\n\t JACKIE\n\t We're upstairs, George. Now come", "kennel carrying cages for the Yorkies are beside the bags.\n\t\n\tGeorge looks into the kitchen where Jackie's been cooking\n\tsome pasta.", "George jumps off his bike, fairly races to the door. It's\n\topen and he barges in. He's met by Jackie's Yorkies who bark", "He opens the poolhouse bathroom door.\n\t\n\t GEORGE (CONT'D)\n\t Jackie?", "It is only now that Felicia sees one of George's arms has\n\tbeen holding onto Jackie.\n\t\n\t JACKIE", "INT. JACKIE'S BEDROOM AND BATH - JACKIE AND GEORGE - DAY\n\t\n\tGeorge sprays her. He turns her around in the chair to face", "FELICIA\n\t\n\tis watching Jackie and George with ever greater intensity,\n\ther mouth growing more and more agape.", "JACKIE (CONT'D)\n\t My God that's him --\n\t\n\tGeorge looks out the window.", "They're very close and Jackie's moving closer. She's\n\tintrigued, amused and at ease. George is trying to keep some\n\tdistance." ], [ "you.\n\t\n\tHe kisses her. They start rolling around on the bed.\n\t\n\t JILL\n\t Honey?", "She hugs him.\n\t\n\tINT. JILL'S BEDROOM - LATER", "He leaps after her and she screams, delighted. George chases\n\ther into the bedroom. Jill screams. He throws her on the bed", "George notices. Jill disengages her hand casually, as though\n\tit were necessary only for the walk up the stairs. Jackie\n\tnudges George, forcing him to move into the room with her as", "I see. You mean he just sort of\n\t fucks you.\n\t\n\t JILL\n\t Johnny!", "wiping a dish and he just... lifted\n\t up my skirt, and, you know, right\n\t there...\n\t\n\t JILL", "JILL (CONT'D)\n\t (watching)\n\t Oh my God. Oh no, oh no. Oh no.", "the fuck inside.\n\t\n\tShe backs inside. He moves in after her.\n\t\n\t JILL\n\t George --", "He points toward the kitchen door where Lester looks like\n\the's about to enter.\n\t\n\tPope takes Jill and they move out the back door in the", "Pope looks up, sees Lester just outside the kitchen door.\n\t\n\t POPE\n\t Jill, scraves is a --", "GEORGE (CONT'D)\n\t You did fuck him, didn't you?\n\t\n\t JILL", "JILL\n\t I don't know. One minute he's up in\n\t the air and makes love to me five\n\t times a day and tells me", "would just shit all over the house\n\t and I'd never clean it up.\n\t\n\t JILL\n\t (laughing a little,", "GEORGE\n\t No shit?\n\t\n\tJill laughs. George comes over to her.", "Right now I feel so good I'm afraid\n\t something's gonna happen.\n\t\n\tHe gets off the bed. Jill is fascinated.", "Jill... Jill... Jill.\n\t\n\tHe looks in bedroom, then moves back to the phone and dials.\n\tIt rings three times.", "George opens his eyes. Above him is the carport and Jill's\n\tyellow Mustang has just pulled in. George rises. He walks\n\tinto the living room as Jill comes down the steps to the", "(furious)\n\t Who do you think it is?\n\t\n\tJILL opens the door. She's shaking.", "It continues to bang until Felicia screams, over the banging\n\tof the headboard. She follows the scream with a few yelps.", "cries grow louder. Lester is glued to the window.\n\t\n\t JILL'S VOICE\n\t -- there you are. Les. Les -- Les --" ], [ "JACKIE\n\t Lester's left Felicia. He's taking\n\t me to Acapulco on the five o'clock", "Finally she pulls up while Lester is pacing back and forth.\n\tShe hurries to him. He taxes her by the shoulders. They talk\n\tfor a moment. The discussion looks like Jackie is giving", "He sees that Lester and Jackie have their backs to him, his\n\tarm around her shoulder, hers around his waist. They're going\n\tthrough the front door.", "He moves away with Jackie. Lester turns back toward the main\n\ttable.\n\t\n\tINT. 230SL - JACKIE AND GEORGE - NIGHT", "He leaves the office, shuts the door, leaving Jackie and\n\tLester alone. Lester shuts the door.\n\t\n\t LESTER", "Jackie has heard this last. Lester turns to her.\n\t\n\t LESTER (CONT'D)\n\t See you later, doll.", "LESTER\n\t Jackie?... Jackie?\n\t\n\tLester opens the door. He's hit with a blast of steam and the", "Jackie goes into the living room and fixes Lester a drink.\n\tLester follows.\n\t\n\t JACKIE (CONT'D)", "LESTER\n\t\n\tonly a few seats from Jackie, Jackie staring daggers at him,\n\tLester aware of it. He's talking to a pair of lacquered", "He turns to Felicia and then looks over toward Jackie's empty\n\tchair and literally doesn't know which way to go first. He's", "JACKIE (CONT'D)\n\t It's Lester.\n\t\n\tShe's frozen with fear.", "Jackie comes over to Lester.\n\t\n\t JACKIE\n\t You're lying about one thing,", "He takes her into the next room and Lester watches the move\n\twith a mixture of relief and concern.\n\t\n\tINT. OTHER BAR", "GEORGE\n\t Well anyway...\n\t\n\t LESTER\n\t (to Felicia)", "JACKIE\n\t\n\thas taken an olive from an olive tray and hit Lester on the\n\tback of the head. He's finished this little dissertation. He", "JACKIE\n\t Because I don't want one.\n\t\n\tLester goes over to her to kiss her.", "Did Lester know about him?\n\t\n\t JACKIE\n\t There was nothing to know.\n\t Anyway... if I can't have love I", "LESTER (CONT'D)\n\t (quietly)\n\t Felicia's really interested in the\n\t shop, isn't she?", "George and Jackie.\n\t\n\tLESTER\n\t\n\twho has been smiling continues to smile until the enormity of", "JACKIE\n\t No, I blew it, I blew it with\n\t Lester.\n\t\n\t GEORGE" ], [ "Lester's on his way.\n\t\n\tGeorge stares at her then walks past her into the living\n\troom. Bags are packed, a coat thrown over them. The wire", "INT. GEORGE'S LIVING ROOM\n\t\n\tGeorge finds himself facing Lester and two other MEN who look", "LESTER\n\t You really think so?\n\t\n\t GEORGE\n\t Yes I do.", "Why didn't you come alone? Lester\n\t invited you. Did you have to bring\n\t her?\n\t\n\t GEORGE", "Lester directions. She glances uneasily up toward George.\n\t\n\tGeorge is watching them.", "see Lester with me and that cunt in\n\t the same room tonight.\n\t\n\t GEORGE\n\t Yeah?", "LESTER\n\t She's nothing but a whore.\n\t\n\t GEORGE\n\t No --", "George, glad you could make it,\n\t son. Hi, doll.\n\t\n\t JACKIE\n\t Lester, this is my friend Jill and", "LESTER\n\t\n\tpours his drink on the cuff of a distinguished MAN sitting\n\tbeneath him at a table as he sees George and Felicia and", "coming very close. Both of them are much bigger than George.\n\tThey stare through George as they pass him.\n\t\n\tGeorge continues to stand there. Lester, drinking, continues", "LESTER (CONT'D)\n\t He's a nice boy. I invited him\n\t tonight. I'm sorry he's a fairy.", "GEORGE\n\t Who?\n\t\n\t LESTER\n\t Me!", "George and Jackie.\n\t\n\tLESTER\n\t\n\twho has been smiling continues to smile until the enormity of", "LESTER\n\t (a desperate smile)\n\t Hello, George. Your friend feeling\n\t a little under the weather?", "GEORGE\n\t Well anyway...\n\t\n\t LESTER\n\t (to Felicia)", "FELICIA\n\t Why don't you see Lester?\n\t\n\t GEORGE", "George notices. Jill disengages her hand casually, as though\n\tit were necessary only for the walk up the stairs. Jackie\n\tnudges George, forcing him to move into the room with her as", "LESTER\n\t Have a drink.\n\t\n\t GEORGE\n\t Okay, thanks.", "George site down. Lester has risen to his feet, a little\n\tunsteadily.\n\t\n\t LESTER (CONT'D)", "Tonight?\n\t\n\t LESTER\n\t Yeah, little election party I'm\n\t giving at the Bistro." ], [ "George notices. Jill disengages her hand casually, as though\n\tit were necessary only for the walk up the stairs. Jackie\n\tnudges George, forcing him to move into the room with her as", "lights. Again he reaches the foyer. Red Dog is still there.\n\tGeorge is heaving deeply now.\n\t\n\t GEORGE", "earshot of the whole conversation. George is very upset.\n\t\n\tINT. OFFICE WAITING ROOM - DAY", "A business meeting, I told you\n\t that.\n\t\n\tThey go inside. The living room is messy. George looks around\n\tin disgust.", "George heaving deep breaths now runs on into the poolhouse.\n\tThe refrigerator door still hangs open. Window glass is\n\tscattered on the floor, and George steps on it, cutting his", "George jumps off his bike, fairly races to the door. It's\n\topen and he barges in. He's met by Jackie's Yorkies who bark", "George turns and runs back into the house and through the\n\tstrobe-lighting living room.\n\t\n\tAT THE POOLHOUSE", "There's a long rolling lawn. The lights are soft coming from\n\tthe living room, the MUSIC more muted. Jackie, nevertheless,\n\tis breathing rather heavily from the dancing. George is", "He trips and falls.\n\t\n\tINT. LIVING ROOM\n\t\n\tGeorge running through the strobe-lit party to the foyer.", "INT. GEORGE'S LIVING ROOM\n\t\n\tGeorge finds himself facing Lester and two other MEN who look", "the room.\n\t\n\tLester, glass in hand, stares silently at George.\n\t\n\t LESTER", "coming very close. Both of them are much bigger than George.\n\tThey stare through George as they pass him.\n\t\n\tGeorge continues to stand there. Lester, drinking, continues", "Lester shuts the door, feeling a little chagrined, and\n\trelieved. He sits on the bed and puts the present beside him.\n\tIn a moment George emerges.", "black tie, posters of Nixon, Agnew, Reagan, and Murphy,\n\tvaguely familiar faces crossing back and forth, clustering,\n\twatching early returns on television sets that are blaring", "wall, and Jill can be SEEN now storming off with Pope.\n\t\n\tGeorge, with one leg in his pants, rushes over to a far\n\twindow, pulls it open.", "She gently tugs at him, leading him toward the bed. George is\n\tmiserable.\n\t\n\t GEORGE\n\t (looking toward the door)", "sight of George stripped to the waist, ostensibly working\n\tover Jackie who is loosely wrapped with a towel. George has a\n\tcomb in one hand and now turns on the dryer, blowing it with", "Jackie is right behind her. She bounces in, not seeing\n\tGeorge.\n\t\n\t JACKIE", "like hoods. Lester sits in the chair George sat in the other\n\tnight. Before him is a bottle of J & B, a paper bucket filled\n\twith melting ice. The other men rise when George walks into", "George, a little hastily moves through the kitchen, spotting\n\tJackie. He's nearly upended by a couple, tall man and woman" ], [ "earshot of the whole conversation. George is very upset.\n\t\n\tINT. OFFICE WAITING ROOM - DAY", "George looks around sweating now.\n\t\n\t GEORGE\n\t (very quietly)\n\t -- you are.", "Well, are you? Are you queer?\n\t\n\t GEORGE\n\t ... yeah.\n\t\n\t LORNA", "Suddenly Lester gives George a steely look. It covers his\n\thair, his clothes. George is acutely uncomfortable.\n\t\n\t LESTER (CONT'D)", "GEORGE\n\t No shit?\n\t\n\tJill laughs. George comes over to her.", "Lester directions. She glances uneasily up toward George.\n\t\n\tGeorge is watching them.", "George notices. Jill disengages her hand casually, as though\n\tit were necessary only for the walk up the stairs. Jackie\n\tnudges George, forcing him to move into the room with her as", "LESTER\n\t You really think so?\n\t\n\t GEORGE\n\t Yes I do.", "George has started to dry her hair. He stops. He picks up the\n\tscissors. Her hair is askew still so it's difficult to see\n\twhat George has done.", "George looks after her, smiling. Then:\n\t\n\t GEORGE\n\t (disgusted)\n\t God damn it.", "coming very close. Both of them are much bigger than George.\n\tThey stare through George as they pass him.\n\t\n\tGeorge continues to stand there. Lester, drinking, continues", "LESTER\n\t Do you think George is a fairy?\n\t\n\t FELICIA\n\t Who?", "(instantly suspicious of\n\t George)\n\t ... hello.\n\t\n\tFelicia looks from George to Jackie and back again.", "sight of George stripped to the waist, ostensibly working\n\tover Jackie who is loosely wrapped with a towel. George has a\n\tcomb in one hand and now turns on the dryer, blowing it with", "JACKIE\n\t It must be something.\n\t\n\t JILL\n\t Well, it's George.", "She gently tugs at him, leading him toward the bed. George is\n\tmiserable.\n\t\n\t GEORGE\n\t (looking toward the door)", "GEORGE\n\t Who?\n\t\n\t LESTER\n\t Me!", "She turns back to George.\n\t\n\t GEORGE\n\t -- yeah.", "Jesus, she's my best friend.\n\t\n\t LESTER\n\t Who's the guy, George's boyfriend?", "GEORGE\n\t No thanks.\n\t\n\t LORNA\n\t Are you gay?... baked apple?..." ], [ "George in bed, beginning to sleep. Hubert Humphrey expresses\n\topinion at his chances tomorrow on TV.\n\t\n\t JILL", "George opens his eyes. Above him is the carport and Jill's\n\tyellow Mustang has just pulled in. George rises. He walks\n\tinto the living room as Jill comes down the steps to the", "black tie, posters of Nixon, Agnew, Reagan, and Murphy,\n\tvaguely familiar faces crossing back and forth, clustering,\n\twatching early returns on television sets that are blaring", "driving down Sunset Boulevard. There is a long moment of\n\tsilence. The RADIO'S PLAYING the Eve of Destruction. George", "looking at Jackie, closes the refrigerator lamely. It opens\n\tagain and he closes it again.\n\t\n\t JACKIE", "Jill thumbs through a Life magazine with Eldridge Cleaver on\n\tthe cover, waiting for an interview in the outer office of\n\tthe 9000 Building whose open window overlooks a smoggy chunk", "George and Jackie.\n\t\n\tLESTER\n\t\n\twho has been smiling continues to smile until the enormity of", "Lester shuts the door, feeling a little chagrined, and\n\trelieved. He sits on the bed and puts the present beside him.\n\tIn a moment George emerges.", "The cutting goes on. The bathroom is very close. George has\n\tbegun to perspire a little as has Jackie.\n\t\n\t JACKIE (CONT'D)", "election returns from the television sets creating a more\n\tfestive mood. Now and then someone jumps up from a set and\n\thugs someone so carrying drinks is a little dodgy.", "earshot of the whole conversation. George is very upset.\n\t\n\tINT. OFFICE WAITING ROOM - DAY", "coming very close. Both of them are much bigger than George.\n\tThey stare through George as they pass him.\n\t\n\tGeorge continues to stand there. Lester, drinking, continues", "tries the door. The latch creaks. He pulls at it again and\n\tthe latch pops open. He starts to open the door, then hears", "in her Mercedes. George still looking through the rear view\n\tmirror. Jackie's a knockout.\n\t\n\t JACKIE", "As he does, a light begins to flood the room. It is the\n\trefrigerator door slowly opening, due in part to the rhythmic", "George heaving deep breaths now runs on into the poolhouse.\n\tThe refrigerator door still hangs open. Window glass is\n\tscattered on the floor, and George steps on it, cutting his", "A cheer goes up as some late returns come in. Dirksen is\n\ttalking about a new mandate for law and order and peace with\n\thonor.", "like hoods. Lester sits in the chair George sat in the other\n\tnight. Before him is a bottle of J & B, a paper bucket filled\n\twith melting ice. The other men rise when George walks into", "JACKIE (CONT'D)\n\t My God that's him --\n\t\n\tGeorge looks out the window.", "shirt underneath. He goes back to cutting. Jackie's getting\n\tmore and more edgy, partly because of George's proximity and\n\tpartly because of her concern over what he's doing. George on" ], [ "George now is very near tears himself. What he says now he\n\thas to force out of himself, as if it's the biggest secret he\n\tholds.", "George's restraints seem to leave him. He stops trying to\n\ttouch her and stands his ground, exploding:\n\t\n\t GEORGE", "lights. Again he reaches the foyer. Red Dog is still there.\n\tGeorge is heaving deeply now.\n\t\n\t GEORGE", "George opens his eyes. Above him is the carport and Jill's\n\tyellow Mustang has just pulled in. George rises. He walks\n\tinto the living room as Jill comes down the steps to the", "earshot of the whole conversation. George is very upset.\n\t\n\tINT. OFFICE WAITING ROOM - DAY", "She stares at him in disbelief. She actually clutches her\n\tstomach.\n\t\n\t GEORGE (CONT'D)", "George looks around sweating now.\n\t\n\t GEORGE\n\t (very quietly)\n\t -- you are.", "GEORGE\n\t Yeah... wow.\n\t\n\tGeorge stops and takes off his shirt. He's wearing a purple T", "coming very close. Both of them are much bigger than George.\n\tThey stare through George as they pass him.\n\t\n\tGeorge continues to stand there. Lester, drinking, continues", "She turns and throws her arms around George, kissing him.\n\tIt's too much for George. He kisses her back.", "She turns back to George.\n\t\n\t GEORGE\n\t -- yeah.", "George looks after her, smiling. Then:\n\t\n\t GEORGE\n\t (disgusted)\n\t God damn it.", "JACKIE (CONT'D)\n\t My God that's him --\n\t\n\tGeorge looks out the window.", "George heaving deep breaths now runs on into the poolhouse.\n\tThe refrigerator door still hangs open. Window glass is\n\tscattered on the floor, and George steps on it, cutting his", "GEORGE\n\t (shouting)\n\t Jackie!\n\t\n\tHe looks down defeated. His foot is bleeding on the pavement.", "I've missed you.\n\t\n\tGeorge is taken aback. He gropes for a moment.\n\t\n\t GEORGE", "look, then hurries out, nearly bumping into a lady coming In.\n\t\n\tOUTSIDE\n\t\n\tshe moves through the crowd up behind George, turning him", "you happy, I swear to God I will.\n\t\n\tJackie doesn't answer. She slowly sinks to the ground. George\n\tsinks beside her. Her eyes are wet.", "GEORGE\n\t Oh, Mary.\n\t\n\tMary starts to cry and like a little child buries her head on", "Suddenly Lester gives George a steely look. It covers his\n\thair, his clothes. George is acutely uncomfortable.\n\t\n\t LESTER (CONT'D)" ], [ "sight of George stripped to the waist, ostensibly working\n\tover Jackie who is loosely wrapped with a towel. George has a\n\tcomb in one hand and now turns on the dryer, blowing it with", "George has started to dry her hair. He stops. He picks up the\n\tscissors. Her hair is askew still so it's difficult to see\n\twhat George has done.", "Your hair looks -- well fabulous.\n\t\n\t FELICIA\n\t That's George.", "No kidding? Your own shop?\n\t\n\tGeorge starts to say yes.\n\t\n\t LESTER", "earshot of the whole conversation. George is very upset.\n\t\n\tINT. OFFICE WAITING ROOM - DAY", "George. She excuses herself from the couple she has been\n\ttalking with and goes straight to the powder room.\n\t\n\tINT. POWDER ROOM - FELICIA", "He takes her hair in his hands. The contact makes them both\n\tnervous. She looks away. George continues to run his hands\n\tthrough her hair.", "GEORGE\n\t Who?\n\t\n\t LESTER\n\t Me!", "George has been wetting her hair in the basin. Her terry\n\tcloth robe is bulky and obviously in the way.\n\t\n\t JACKIE", "and a small one on her neck, and one on her left thigh all of\n\twhich George will note in the course of the scene.\n\t\n\tGeorge looks her up and down.", "The street is empty of traffic except there are scores and\n\tscores of parked cars, a few parking lot attendants, and some\n\tmeter maids. George starts toward the shop. A pair of women", "with Jackie's hair considerably shorter. George is sitting\n\tnow as he works, his knee wedged between her legs, working\n\tvery close.", "George heaving deep breaths now runs on into the poolhouse.\n\tThe refrigerator door still hangs open. Window glass is\n\tscattered on the floor, and George steps on it, cutting his", "Now she and Dennis look into the mirror at her together.\n\tDennis toys with the calico scarf around his neck. Felicia,\n\tin far corner, waits defiantly. George spots her.", "GEORGE (CONT'D)\n\t She's got a...\n\t\n\t FELICIA", "Jill has entered the shop. She approaches George.\n\t\n\t JILL\n\t George.\n\t\n\t GEORGE", "George has his case of comb and scissors, etc., and is\n\tstanding with Lester. He's anxious to go.\n\t\n\t LESTER", "George fiddles around with the shampoos and rinses, knocks\n\tover one where the top was not on, and the shampoo spills all", "George notices. Jill disengages her hand casually, as though\n\tit were necessary only for the walk up the stairs. Jackie\n\tnudges George, forcing him to move into the room with her as", "away. George is tearing at his trousers. They are on the\n\tfloor now , rolling around, bouncing gently off the ceramic\n\tmolding from the sunken tub." ], [ "He takes off. Winds through alleys and heads up the hill to\n\tJill's. It's a shortcut whose precision should make it\n\tobvious he's traveled it a number of times.", "He goes into the shop.\n\t\n\tA large gilt mirror on one wall of the shop. It covers most\n\tof the wall it leans against.", "He slips into a cardigan sweater. His vanity is restricted\n\tentirely to how well pressed and clean everything is he\n\twears.", "I spent three years with him. I\n\t just couldn't take it not knowing\n\t who was gonna pay the rent... his\n\t unemployment or mine. George was", "happen to get in that line of work?\n\t\n\tGeorge sort of knows what Lester's driving at.\n\t\n\t GEORGE", "He is perspiring a little. Somebody's breathing rather\n\theavily. It's Mr. Pettis seated behind his desk now and\n\topposite George. He's going over something.", "picking up the tail end of this.\n\t\n\t SECRETARY\n\t He thinks the room is soundproofed.", "better of it. He takes his hand off the door knob and quietly\n\tcloses the screen door.\n\t\n\tHe starts to walk away, then notices the window on the side.", "contained. He does, tosses the cleaning down and races\n\toutside to his bike.\n\t\n\tON THE STREET", "does it for a long time.\n\t\n\t JACKIE\n\t He does?\n\t\n\t JILL", "Yes and you don't have to be\n\t sarcastic about it, that's a\n\t beautiful thing he's doing -- some\n\t people do more than go to the", "Lester's car is backed up. The door opened for him.\n\t\n\t LESTER\n\t (thoughtfully)", "As he does, a light begins to flood the room. It is the\n\trefrigerator door slowly opening, due in part to the rhythmic", "pound it out of you, and he does a\n\t hell of a job, believe me.\n\t\n\tGeorge nods.", "He takes his drink and half toasts the black. He stops and\n\this eyes PAN the room. Lester is virtually the only person on\n\this feet. Everyone else is either on the floor or on deep", "He can't find her. He finds himself next to a ten foot ivy\n\tcovered wall. He can't reach the top. He moves along the", "as they move to take his Porsche.\n\t\n\t POPE (CONT'D)\n\t (shaking his head)", "What does he do? Is he an actor?\n\t\n\t JILL\n\t -- no.\n\t\n\t POPE", "Lester shuts the door, feeling a little chagrined, and\n\trelieved. He sits on the bed and puts the present beside him.\n\tIn a moment George emerges.", "adorable but it drove me crackers.\n\t Now at least I'm comfortable.\n\t Lester does what he says he'll do." ], [ "JILL (CONT'D)\n\t (watching)\n\t Oh my God. Oh no, oh no. Oh no.", "Jill looks at Jackie.\n\t\n\t JACKIE (CONT'D)\n\t Well, he is.\n\t\n\t JILL", "GEORGE\n\t Jill! Jill! Jill, goddammit!", "SAMMY\n\t Sure I know Jill.\n\t\n\tLester is staring in some wonder at the girl who is still", "JILL\n\t I am?\n\t\n\t GEORGE\n\t Yeah.", "GEORGE\n\t She's a friend of Jill's.\n\t\n\t FELICIA\n\t And who's Jill?", "Jill... Jill... Jill.\n\t\n\tHe looks in bedroom, then moves back to the phone and dials.\n\tIt rings three times.", "JILL\n\t George.\n\t\n\t GEORGE\n\t Yeah, baby.", "JILL\n\t (laughing)\n\t Johnny!\n\t (she hugs him)\n\t Why didn't you tell me before?", "He turns back to Felicia. Jill moves away.\n\t\n\t FELICIA\n\t (interested)\n\t Is she all right?", "JILL (CONT'D)\n\t (unsteadily)\n\t So who else was there besides\n\t Jackie? Huh?... huh?", "you.\n\t\n\tHe kisses her. They start rolling around on the bed.\n\t\n\t JILL\n\t Honey?", "LESTER\n\t (not moving his head)\n\t Jill.\n\t\n\tJill can't really move her head back and Lester is obviously", "She hugs him.\n\t\n\tINT. JILL'S BEDROOM - LATER", "GEORGE (CONT'D)\n\t I've got to get her out of here.\n\t\n\t JILL\n\t -- go ahead.", "GEORGE\n\t (moving to her, taking her\n\t arm)\n\t I do, Jill.", "-- sort of a boyfriend?\n\t\n\t JILL\n\t Sort of.\n\t\n\t POPE", "JILL\n\t (amused)\n\t -- never mind.\n\t\n\t POPE", "She spots Jill.\n\t\n\t GEORGE\n\t Well, she's a friend of Johnny", "waiting for Pope who is now ambling toward them.\n\t\n\t GEORGE\n\t (to Jill)" ], [ "George has started to dry her hair. He stops. He picks up the\n\tscissors. Her hair is askew still so it's difficult to see\n\twhat George has done.", "Your hair looks -- well fabulous.\n\t\n\t FELICIA\n\t That's George.", "sight of George stripped to the waist, ostensibly working\n\tover Jackie who is loosely wrapped with a towel. George has a\n\tcomb in one hand and now turns on the dryer, blowing it with", "with Jackie's hair considerably shorter. George is sitting\n\tnow as he works, his knee wedged between her legs, working\n\tvery close.", "George has been wetting her hair in the basin. Her terry\n\tcloth robe is bulky and obviously in the way.\n\t\n\t JACKIE", "GEORGE\n\t Hey, listen, baby, I'm a star.\n\t\n\tJill returns.", "Now she and Dennis look into the mirror at her together.\n\tDennis toys with the calico scarf around his neck. Felicia,\n\tin far corner, waits defiantly. George spots her.", "Felicia says you're a very good\n\t hairdresser.\n\t\n\t GEORGE\n\t Well, yeah.", "George. She excuses herself from the couple she has been\n\ttalking with and goes straight to the powder room.\n\t\n\tINT. POWDER ROOM - FELICIA", "George actually touches Lester's hair, professional interest\n\tgrowing.\n\t\n\t GEORGE (CONT'D)", "He takes her hair in his hands. The contact makes them both\n\tnervous. She looks away. George continues to run his hands\n\tthrough her hair.", "GEORGE\n\t Yeah, it is.\n\t\n\t LORNA\n\t I never get my hair done.", "and a small one on her neck, and one on her left thigh all of\n\twhich George will note in the course of the scene.\n\t\n\tGeorge looks her up and down.", "coming very close. Both of them are much bigger than George.\n\tThey stare through George as they pass him.\n\t\n\tGeorge continues to stand there. Lester, drinking, continues", "she'll let George actually cut her hair.\n\t\n\t JACKIE\n\t (then)\n\t Okay... but I want you to know one", "LESTER\n\t She says you're a fabulous\n\t hairdresser.\n\t\n\t GEORGE", "JACKIE\n\t (almost immediately on the\n\t defensive)\n\t Well, yes, George is a wonderful", "The street is empty of traffic except there are scores and\n\tscores of parked cars, a few parking lot attendants, and some\n\tmeter maids. George starts toward the shop. A pair of women", "Jackie looks up slowly. George is still cutting, not looking\n\tdirectly at her.\n\t\n\t JACKIE", "GEORGE\n\t ... this doing hair it's...\n\t\n\t LESTER\n\t I know it, son. But tonight's going" ], [ "come to me. I have a lot of\n\t customers.\n\t\n\t PETTIS\n\t Look, Mr. Roundy, why don't you", "I mean credit references, Mr.\n\t Roundy.\n\t\n\tEXT. MELROSE COFFEE HOUSE - DAY", "She turns back to DENNIS LOLLY, her hairdresser. She takes\n\this hand.\n\t\n\t TINA (CONT'D)", "George has started to dry her hair. He stops. He picks up the\n\tscissors. Her hair is askew still so it's difficult to see\n\twhat George has done.", "FELICIA\n\t I don't know. He's a hairdresser.\n\t\n\t LESTER", "Good for you.\n\t\n\t JILL\n\t He's a hairdresser.", "PETTIS\n\t After all, Mr. Roundy, we're paying\n\t six percent. Six percent. FHA's at", "hairdresser.\n\t\n\t LESTER\n\t Is that right?\n\t\n\tAwkward pause.", "He goes out of the dressing room toward the kitchen, passing\n\tLorna on the phone in the living room and Felicia at dining\n\troom table, hair in curlers, reading Cosmopolitan magazine.", "been to a beauty parlor in my whole\n\t life.\n\t\n\t GEORGE\n\t No shit.", "Felicia says you're a very good\n\t hairdresser.\n\t\n\t GEORGE\n\t Well, yeah.", "He takes her hair in his hands. The contact makes them both\n\tnervous. She looks away. George continues to run his hands\n\tthrough her hair.", "sight of George stripped to the waist, ostensibly working\n\tover Jackie who is loosely wrapped with a towel. George has a\n\tcomb in one hand and now turns on the dryer, blowing it with", "JACKIE\n\t No, listen. He's a very good\n\t hairdresser.", "LESTER\n\t That kid... the hairdresser.\n\t\n\t FELICIA", "beauty parlor and shop at Saks --\n\t\n\t FELICIA\n\t Lester, you're a miserable man.", "Your hair looks -- well fabulous.\n\t\n\t FELICIA\n\t That's George.", "GEORGE\n\t Yeah, it is.\n\t\n\t LORNA\n\t I never get my hair done.", "The street is empty of traffic except there are scores and\n\tscores of parked cars, a few parking lot attendants, and some\n\tmeter maids. George starts toward the shop. A pair of women", "Well, I don't know for sure... he's\n\t a hairdresser.\n\t\n\tMona brings her coffee from kitchen." ], [ "GEORGE\n\t Well anyway...\n\t\n\t LESTER\n\t (to Felicia)", "FELICIA\n\t Lester.\n\t\n\t LESTER\n\t Yes, sweetheart, shh.", "(looking toward Lester)\n\t Well she...\n\t\n\t FELICIA\n\t She what?", "FELICIA (CONT'D)\n\t Thank you, Mona.\n\t\n\tLester has swallowed some vitamins in the kitchen. Turns to", "LESTER (CONT'D)\n\t (quietly)\n\t Felicia's really interested in the\n\t shop, isn't she?", "FELICIA\n\t Lester --\n\t\n\t SENATOR\n\t -- let me understand this was", "FELICIA\n\t We cannot go into this later.\n\t\n\t LESTER\n\t That's okay too.", "INT. BISTRO - LESTER AND FELICIA\n\t\n\t LESTER\n\t (finally exasperated)", "INT. BISTRO - LESTER AND FELICIA\n\t\n\t FELICIA\n\t (she laughs)", "-- oh, good.\n\t\n\tINT. BISTRO\n\t\n\tLester glances back toward Felicia who is watching him.", "Lester straightens up like he's been shot.\n\t\n\t LESTER\n\t Oh, Felicia, there you are, you", "FELICIA\n\t Why don't you see Lester?\n\t\n\t GEORGE", "FELICIA\n\t (glancing up)\n\t -- is that what this is all about?\n\t\n\t LESTER", "FELICIA\n\t And I certainly wouldn't tell\n\t Lester.\n\t\n\t GEORGE", "FELICIA\n\t\n\talmost simultaneously rises, knocking her chair back.\n\t\n\tLESTER", "Finally she pulls up while Lester is pacing back and forth.\n\tShe hurries to him. He taxes her by the shoulders. They talk\n\tfor a moment. The discussion looks like Jackie is giving", "know.\n\t\n\t FELICIA\n\t -- is that right?\n\t\n\t LESTER", "HEAD TABLE - FELICIA AND LESTER\n\t\n\tFelicia is listening to Lester. The Agnew and Nixon posters\n\tare directly behind them.", "(to Tina)\n\t Okay, okay...\n\t\n\tHe hangs up. Felicia has fished for a cigarette, lit it and", "Lester looks at Sally. She looks at Lester, nods. Turns back\n\tto screen to watch herself. Lester turns from Sally to see a\n\ttelevision camera and the foam rubber mattress, now" ], [ "away. George is tearing at his trousers. They are on the\n\tfloor now , rolling around, bouncing gently off the ceramic\n\tmolding from the sunken tub.", "They hit the sauna room door as they're rolling around and\n\tthe door opens. Steam comes pouring over them, momentarily\n\tobscuring their struggles. George has trouble getting his", "It continues to bang until Felicia screams, over the banging\n\tof the headboard. She follows the scream with a few yelps.", "He leaps after her and she screams, delighted. George chases\n\ther into the bedroom. Jill screams. He throws her on the bed", "There's a long rolling lawn. The lights are soft coming from\n\tthe living room, the MUSIC more muted. Jackie, nevertheless,\n\tis breathing rather heavily from the dancing. George is", "George, a little hastily moves through the kitchen, spotting\n\tJackie. He's nearly upended by a couple, tall man and woman", "you.\n\t\n\tHe kisses her. They start rolling around on the bed.\n\t\n\t JILL\n\t Honey?", "the unmistakable sounds of a couple in the throes of intense\n\tlove making. The girl is quite carried away.", "over the table top and starts to drip on the floor.\n\t\n\t GEORGE\n\t Oh, Jesus, that fucking goddam Mary-", "He goes out of the dressing room toward the kitchen, passing\n\tLorna on the phone in the living room and Felicia at dining\n\troom table, hair in curlers, reading Cosmopolitan magazine.", "George heaving deep breaths now runs on into the poolhouse.\n\tThe refrigerator door still hangs open. Window glass is\n\tscattered on the floor, and George steps on it, cutting his", "wiping a dish and he just... lifted\n\t up my skirt, and, you know, right\n\t there...\n\t\n\t JILL", "the kitchen. She passes Lorna's bedroom. LORNA is changing\n\tfrom her school clothes into a tennis dress. She watches her\n\tmother flash by.", "I see. You mean he just sort of\n\t fucks you.\n\t\n\t JILL\n\t Johnny!", "George notices. Jill disengages her hand casually, as though\n\tit were necessary only for the walk up the stairs. Jackie\n\tnudges George, forcing him to move into the room with her as", "with Jackie's hair considerably shorter. George is sitting\n\tnow as he works, his knee wedged between her legs, working\n\tvery close.", "The cutting goes on. The bathroom is very close. George has\n\tbegun to perspire a little as has Jackie.\n\t\n\t JACKIE (CONT'D)", "at the refrigerator. They grab him and kiss him, and he\n\tshakes through them moving to Jackie.\n\t\n\t GEORGE", "He can't resist. He moves to it. He can't see anything. He\n\tmoves closer. The dim, dark but classical outline of a man\n\tmounted on a woman moving with ease but increasing intensity", "the fuck inside.\n\t\n\tShe backs inside. He moves in after her.\n\t\n\t JILL\n\t George --" ], [ "earshot of the whole conversation. George is very upset.\n\t\n\tINT. OFFICE WAITING ROOM - DAY", "around.\n\t\n\t FELICIA\n\t George, darling.", "George looks around sweating now.\n\t\n\t GEORGE\n\t (very quietly)\n\t -- you are.", "He is perspiring a little. Somebody's breathing rather\n\theavily. It's Mr. Pettis seated behind his desk now and\n\topposite George. He's going over something.", "come to me. I have a lot of\n\t customers.\n\t\n\t PETTIS\n\t Look, Mr. Roundy, why don't you", "coming very close. Both of them are much bigger than George.\n\tThey stare through George as they pass him.\n\t\n\tGeorge continues to stand there. Lester, drinking, continues", "sight of George stripped to the waist, ostensibly working\n\tover Jackie who is loosely wrapped with a towel. George has a\n\tcomb in one hand and now turns on the dryer, blowing it with", "George opens his eyes. Above him is the carport and Jill's\n\tyellow Mustang has just pulled in. George rises. He walks\n\tinto the living room as Jill comes down the steps to the", "pound it out of you, and he does a\n\t hell of a job, believe me.\n\t\n\tGeorge nods.", "The street is empty of traffic except there are scores and\n\tscores of parked cars, a few parking lot attendants, and some\n\tmeter maids. George starts toward the shop. A pair of women", "lights. Again he reaches the foyer. Red Dog is still there.\n\tGeorge is heaving deeply now.\n\t\n\t GEORGE", "going down. George is looking at Lester, waiting for an\n\tanswer.\n\t\n\t LESTER\n\t (looks up slowly)", "away. George is tearing at his trousers. They are on the\n\tfloor now , rolling around, bouncing gently off the ceramic\n\tmolding from the sunken tub.", "George heaving deep breaths now runs on into the poolhouse.\n\tThe refrigerator door still hangs open. Window glass is\n\tscattered on the floor, and George steps on it, cutting his", "GEORGE\n\t Who?\n\t\n\t LESTER\n\t Me!", "surrounding the court.\n\t\n\tGeorge is standing there. Lorna looks at him.\n\t\n\t LORNA", "George notices. Jill disengages her hand casually, as though\n\tit were necessary only for the walk up the stairs. Jackie\n\tnudges George, forcing him to move into the room with her as", "INT. GEORGE'S LIVING ROOM\n\t\n\tGeorge finds himself facing Lester and two other MEN who look", "George site down. Lester has risen to his feet, a little\n\tunsteadily.\n\t\n\t LESTER (CONT'D)", "George lets his head fall on her shoulder. She's kneeling,\n\tsupported by the television aerial, and George cries quietly\n\ton her shoulder. She has her arm around him." ], [ "George has started to dry her hair. He stops. He picks up the\n\tscissors. Her hair is askew still so it's difficult to see\n\twhat George has done.", "sight of George stripped to the waist, ostensibly working\n\tover Jackie who is loosely wrapped with a towel. George has a\n\tcomb in one hand and now turns on the dryer, blowing it with", "He takes her hair in his hands. The contact makes them both\n\tnervous. She looks away. George continues to run his hands\n\tthrough her hair.", "George actually touches Lester's hair, professional interest\n\tgrowing.\n\t\n\t GEORGE (CONT'D)", "with Jackie's hair considerably shorter. George is sitting\n\tnow as he works, his knee wedged between her legs, working\n\tvery close.", "GEORGE\n\t ... this doing hair it's...\n\t\n\t LESTER\n\t I know it, son. But tonight's going", "she'll let George actually cut her hair.\n\t\n\t JACKIE\n\t (then)\n\t Okay... but I want you to know one", "his hands outta ladies' hair\n\t either.\n\t\n\tGeorge laughs.\n\t\n\t GEORGE", "earshot of the whole conversation. George is very upset.\n\t\n\tINT. OFFICE WAITING ROOM - DAY", "Suddenly Lester gives George a steely look. It covers his\n\thair, his clothes. George is acutely uncomfortable.\n\t\n\t LESTER (CONT'D)", "Your hair looks -- well fabulous.\n\t\n\t FELICIA\n\t That's George.", "George has been wetting her hair in the basin. Her terry\n\tcloth robe is bulky and obviously in the way.\n\t\n\t JACKIE", "George has his case of comb and scissors, etc., and is\n\tstanding with Lester. He's anxious to go.\n\t\n\t LESTER", "GEORGE\n\t I'd like to do your hair sometime.\n\t\n\t LORNA\n\t Why?", "coming very close. Both of them are much bigger than George.\n\tThey stare through George as they pass him.\n\t\n\tGeorge continues to stand there. Lester, drinking, continues", "GEORGE\n\t Do you? You still see him?\n\t\n\tJackie tries to look at her hair in the mirror. George gently", "POPE\n\t George is a hairdresser, isn't he?\n\t\n\tJill doesn't answer.", "GEORGE\n\t Yeah, it is.\n\t\n\t LORNA\n\t I never get my hair done.", "George lets his head fall on her shoulder. She's kneeling,\n\tsupported by the television aerial, and George cries quietly\n\ton her shoulder. She has her arm around him.", "George fiddles around with the shampoos and rinses, knocks\n\tover one where the top was not on, and the shampoo spills all" ], [ "earshot of the whole conversation. George is very upset.\n\t\n\tINT. OFFICE WAITING ROOM - DAY", "sight of George stripped to the waist, ostensibly working\n\tover Jackie who is loosely wrapped with a towel. George has a\n\tcomb in one hand and now turns on the dryer, blowing it with", "George has started to dry her hair. He stops. He picks up the\n\tscissors. Her hair is askew still so it's difficult to see\n\twhat George has done.", "The street is empty of traffic except there are scores and\n\tscores of parked cars, a few parking lot attendants, and some\n\tmeter maids. George starts toward the shop. A pair of women", "away. George is tearing at his trousers. They are on the\n\tfloor now , rolling around, bouncing gently off the ceramic\n\tmolding from the sunken tub.", "George turns and runs back into the house and through the\n\tstrobe-lighting living room.\n\t\n\tAT THE POOLHOUSE", "George. She excuses herself from the couple she has been\n\ttalking with and goes straight to the powder room.\n\t\n\tINT. POWDER ROOM - FELICIA", "George heaving deep breaths now runs on into the poolhouse.\n\tThe refrigerator door still hangs open. Window glass is\n\tscattered on the floor, and George steps on it, cutting his", "INT. SHOP - GEORGE AT WORK - DAY\n\t\n\tGeorge is busy. He's working on ANJANETTE.", "George walks over to the window and look's at the city. He\n\twalks out onto the deck and sits in a deck chair.\n\t\n\t DISSOLVE TO:", "No kidding? Your own shop?\n\t\n\tGeorge starts to say yes.\n\t\n\t LESTER", "George opens his eyes. Above him is the carport and Jill's\n\tyellow Mustang has just pulled in. George rises. He walks\n\tinto the living room as Jill comes down the steps to the", "A business meeting, I told you\n\t that.\n\t\n\tThey go inside. The living room is messy. George looks around\n\tin disgust.", "lights. Again he reaches the foyer. Red Dog is still there.\n\tGeorge is heaving deeply now.\n\t\n\t GEORGE", "There's a long rolling lawn. The lights are soft coming from\n\tthe living room, the MUSIC more muted. Jackie, nevertheless,\n\tis breathing rather heavily from the dancing. George is", "George turns and fishes in the hanging planter by the door.\n\tHe pulls out a key, blows the dirt off it and goes inside.", "and a small one on her neck, and one on her left thigh all of\n\twhich George will note in the course of the scene.\n\t\n\tGeorge looks her up and down.", "With that, Lester's off.\n\t\n\tEXT. SHOP - GEORGE - DAY", "He takes her hair in his hands. The contact makes them both\n\tnervous. She looks away. George continues to run his hands\n\tthrough her hair.", "Your hair looks -- well fabulous.\n\t\n\t FELICIA\n\t That's George." ], [ "George doesn't answer this time.\n\t\n\t LESTER (CONT'D)\n\t I wish my son knew what he wanted\n\t to do.", "George now is very near tears himself. What he says now he\n\thas to force out of himself, as if it's the biggest secret he\n\tholds.", "earshot of the whole conversation. George is very upset.\n\t\n\tINT. OFFICE WAITING ROOM - DAY", "George has his case of comb and scissors, etc., and is\n\tstanding with Lester. He's anxious to go.\n\t\n\t LESTER", "George has started to dry her hair. He stops. He picks up the\n\tscissors. Her hair is askew still so it's difficult to see\n\twhat George has done.", "George actually touches Lester's hair, professional interest\n\tgrowing.\n\t\n\t GEORGE (CONT'D)", "coming very close. Both of them are much bigger than George.\n\tThey stare through George as they pass him.\n\t\n\tGeorge continues to stand there. Lester, drinking, continues", "George and Mr. Pettis.\n\t\n\t GEORGE\n\t (giving it all he's got)", "waiting for Pope who is now ambling toward them.\n\t\n\t GEORGE\n\t (to Jill)", "sight of George stripped to the waist, ostensibly working\n\tover Jackie who is loosely wrapped with a towel. George has a\n\tcomb in one hand and now turns on the dryer, blowing it with", "He is perspiring a little. Somebody's breathing rather\n\theavily. It's Mr. Pettis seated behind his desk now and\n\topposite George. He's going over something.", "She gently tugs at him, leading him toward the bed. George is\n\tmiserable.\n\t\n\t GEORGE\n\t (looking toward the door)", "George site down. Lester has risen to his feet, a little\n\tunsteadily.\n\t\n\t LESTER (CONT'D)", "lights. Again he reaches the foyer. Red Dog is still there.\n\tGeorge is heaving deeply now.\n\t\n\t GEORGE", "away. George is tearing at his trousers. They are on the\n\tfloor now , rolling around, bouncing gently off the ceramic\n\tmolding from the sunken tub.", "George heaving deep breaths now runs on into the poolhouse.\n\tThe refrigerator door still hangs open. Window glass is\n\tscattered on the floor, and George steps on it, cutting his", "look, then hurries out, nearly bumping into a lady coming In.\n\t\n\tOUTSIDE\n\t\n\tshe moves through the crowd up behind George, turning him", "George opens his eyes. Above him is the carport and Jill's\n\tyellow Mustang has just pulled in. George rises. He walks\n\tinto the living room as Jill comes down the steps to the", "JACKIE\n\t (almost immediately on the\n\t defensive)\n\t Well, yes, George is a wonderful", "going down. George is looking at Lester, waiting for an\n\tanswer.\n\t\n\t LESTER\n\t (looks up slowly)" ], [ "She turns and throws her arms around George, kissing him.\n\tIt's too much for George. He kisses her back.", "She turns back to George.\n\t\n\t GEORGE\n\t -- yeah.", "away. George is tearing at his trousers. They are on the\n\tfloor now , rolling around, bouncing gently off the ceramic\n\tmolding from the sunken tub.", "sight of George stripped to the waist, ostensibly working\n\tover Jackie who is loosely wrapped with a towel. George has a\n\tcomb in one hand and now turns on the dryer, blowing it with", "George notices. Jill disengages her hand casually, as though\n\tit were necessary only for the walk up the stairs. Jackie\n\tnudges George, forcing him to move into the room with her as", "He takes her hair in his hands. The contact makes them both\n\tnervous. She looks away. George continues to run his hands\n\tthrough her hair.", "look, then hurries out, nearly bumping into a lady coming In.\n\t\n\tOUTSIDE\n\t\n\tshe moves through the crowd up behind George, turning him", "George is obsessed. He wraps his arms around her and she\n\tresponds, passionately.\n\t\n\t JACKIE (CONT'D)", "around.\n\t\n\t FELICIA\n\t George, darling.", "George has started to dry her hair. He stops. He picks up the\n\tscissors. Her hair is askew still so it's difficult to see\n\twhat George has done.", "There's a long rolling lawn. The lights are soft coming from\n\tthe living room, the MUSIC more muted. Jackie, nevertheless,\n\tis breathing rather heavily from the dancing. George is", "She comes back to him and kisses him gently. She kisses him\n\tagain with more passion. George tries to respond.\n\t\n\t FELICIA (CONT'D)", "She turns back to DENNIS LOLLY, her hairdresser. She takes\n\this hand.\n\t\n\t TINA (CONT'D)", "She gently tugs at him, leading him toward the bed. George is\n\tmiserable.\n\t\n\t GEORGE\n\t (looking toward the door)", "He leaps after her and she screams, delighted. George chases\n\ther into the bedroom. Jill screams. He throws her on the bed", "George turns and fishes in the hanging planter by the door.\n\tHe pulls out a key, blows the dirt off it and goes inside.", "No kidding? Your own shop?\n\t\n\tGeorge starts to say yes.\n\t\n\t LESTER", "coming very close. Both of them are much bigger than George.\n\tThey stare through George as they pass him.\n\t\n\tGeorge continues to stand there. Lester, drinking, continues", "George. She excuses herself from the couple she has been\n\ttalking with and goes straight to the powder room.\n\t\n\tINT. POWDER ROOM - FELICIA", "Your hair looks -- well fabulous.\n\t\n\t FELICIA\n\t That's George." ], [ "LESTER\n\t You really think so?\n\t\n\t GEORGE\n\t Yes I do.", "GEORGE\n\t I know.\n\t\n\t LESTER\n\t (talking to himself)", "Lester directions. She glances uneasily up toward George.\n\t\n\tGeorge is watching them.", "Suddenly Lester gives George a steely look. It covers his\n\thair, his clothes. George is acutely uncomfortable.\n\t\n\t LESTER (CONT'D)", "GEORGE\n\t I believe you...\n\t\n\tLester waits, standing over George.\n\t\n\t LESTER", "GEORGE\n\t Who?\n\t\n\t LESTER\n\t Me!", "Lester's on his way.\n\t\n\tGeorge stares at her then walks past her into the living\n\troom. Bags are packed, a coat thrown over them. The wire", "GEORGE\n\t Oh, fuck, Lester, how should I\n\t know?\n\t\n\t LESTER", "Lester smiles. He appreciates this.\n\t\n\t LESTER\n\t It's good you want to do something,\n\t George.", "coming very close. Both of them are much bigger than George.\n\tThey stare through George as they pass him.\n\t\n\tGeorge continues to stand there. Lester, drinking, continues", "going down. George is looking at Lester, waiting for an\n\tanswer.\n\t\n\t LESTER\n\t (looks up slowly)", "care for Lester, don't I?\n\t\n\tGeorge laughs.\n\t\n\t GEORGE", "INT. GEORGE'S LIVING ROOM\n\t\n\tGeorge finds himself facing Lester and two other MEN who look", "LESTER\n\t Godammit, George...\n\t\n\t GEORGE\n\t Now wait a minute...", "Lester shuts the door, feeling a little chagrined, and\n\trelieved. He sits on the bed and puts the present beside him.\n\tIn a moment George emerges.", "George actually touches Lester's hair, professional interest\n\tgrowing.\n\t\n\t GEORGE (CONT'D)", "George nods. Lester shakes his head.\n\t\n\t LESTER (CONT'D)\n\t I don't know anything anymore.", "George site down. Lester has risen to his feet, a little\n\tunsteadily.\n\t\n\t LESTER (CONT'D)", "LESTER\n\t Do you think George is a fairy?\n\t\n\t FELICIA\n\t Who?", "GEORGE\n\t You're right.\n\t\n\t LESTER" ], [ "George and Jackie.\n\t\n\tLESTER\n\t\n\twho has been smiling continues to smile until the enormity of", "He moves away with Jackie. Lester turns back toward the main\n\ttable.\n\t\n\tINT. 230SL - JACKIE AND GEORGE - NIGHT", "jostling Lester around as he goes. Lester chuckles.\n\t\n\tEXT. FREEFORM SWIMMING POOL - JACKIE AND GEORGE - NIGHT", "What about Jackie?\n\t\n\t GEORGE\n\t What about her?\n\t\n\t LESTER", "George, glad you could make it,\n\t son. Hi, doll.\n\t\n\t JACKIE\n\t Lester, this is my friend Jill and", "INT. OFFICE - GEORGE AND SECRETARY\n\t\n\tThe door opens. Jackie and Lester emerge, distinctly subdued.", "God, there's Lester...\n\t\n\t GEORGE\n\t Don't go, Jackie...", "George notices. Jill disengages her hand casually, as though\n\tit were necessary only for the walk up the stairs. Jackie\n\tnudges George, forcing him to move into the room with her as", "LESTER\n\t\n\tonly a few seats from Jackie, Jackie staring daggers at him,\n\tLester aware of it. He's talking to a pair of lacquered", "JACKIE\n\t That's not very logical, Lester.\n\t\n\tINT. OFFICE - GEORGE AND SECRETARY", "He sees that Lester and Jackie have their backs to him, his\n\tarm around her shoulder, hers around his waist. They're going\n\tthrough the front door.", "Finally she pulls up while Lester is pacing back and forth.\n\tShe hurries to him. He taxes her by the shoulders. They talk\n\tfor a moment. The discussion looks like Jackie is giving", "LESTER\n\t Jackie?... Jackie?\n\t\n\tLester opens the door. He's hit with a blast of steam and the", "LESTER, JACKIE AND GEORGE IN HALLWAY BY ELEVATOR\n\t\n\tJackie turns to stub out a cigarette in a standing ashtray.", "JACKIE\n\t (almost immediately on the\n\t defensive)\n\t Well, yes, George is a wonderful", "Fine.\n\t\n\tLester slips Bill a few dollars and takes off, leaving Jackie\n\tand George looking at each other. Jackie shakes her head.", "Lester's on his way.\n\t\n\tGeorge stares at her then walks past her into the living\n\troom. Bags are packed, a coat thrown over them. The wire", "LESTER\n\t George is going to open a shop.\n\t\n\t JACKIE\n\t (really interested)", "JACKIE\n\t Oh my baby...\n\t\n\tAs she's holding George, and looking down the hill, Lester's", "Jackie tugs him by the arm.\n\t\n\t JACKIE\n\t We're upstairs, George. Now come" ], [ "jostling Lester around as he goes. Lester chuckles.\n\t\n\tEXT. FREEFORM SWIMMING POOL - JACKIE AND GEORGE - NIGHT", "INT. OFFICE - GEORGE AND SECRETARY\n\t\n\tThe door opens. Jackie and Lester emerge, distinctly subdued.", "He moves away with Jackie. Lester turns back toward the main\n\ttable.\n\t\n\tINT. 230SL - JACKIE AND GEORGE - NIGHT", "George notices. Jill disengages her hand casually, as though\n\tit were necessary only for the walk up the stairs. Jackie\n\tnudges George, forcing him to move into the room with her as", "He sees that Lester and Jackie have their backs to him, his\n\tarm around her shoulder, hers around his waist. They're going\n\tthrough the front door.", "George and Jackie.\n\t\n\tLESTER\n\t\n\twho has been smiling continues to smile until the enormity of", "Jackie's now moving around kissing George on the mouth.\n\t\n\tJill is watching. Johnny Pope is fascinated.\n\t\n\t JILL", "George, glad you could make it,\n\t son. Hi, doll.\n\t\n\t JACKIE\n\t Lester, this is my friend Jill and", "There's a long rolling lawn. The lights are soft coming from\n\tthe living room, the MUSIC more muted. Jackie, nevertheless,\n\tis breathing rather heavily from the dancing. George is", "They're very close and Jackie's moving closer. She's\n\tintrigued, amused and at ease. George is trying to keep some\n\tdistance.", "INT. BISTRO UPSTAIRS\n\t\n\tGeorge turns to get his drink from the Waiter as do Jill and\n\tPope. Lester takes Jackie's arm.", "GEORGE\n\t Jackie, c'mon --\n\t\n\tGeorge moves to Jill.", "at the refrigerator. They grab him and kiss him, and he\n\tshakes through them moving to Jackie.\n\t\n\t GEORGE", "with Jackie's hair considerably shorter. George is sitting\n\tnow as he works, his knee wedged between her legs, working\n\tvery close.", "George is obsessed. He wraps his arms around her and she\n\tresponds, passionately.\n\t\n\t JACKIE (CONT'D)", "Jackie is right behind her. She bounces in, not seeing\n\tGeorge.\n\t\n\t JACKIE", "George, a little hastily moves through the kitchen, spotting\n\tJackie. He's nearly upended by a couple, tall man and woman", "George and Jackie are obviously enjoying themselves. The tape\n\tends. George's silk shirt is clinging down the center of his\n\tback.", "sight of George stripped to the waist, ostensibly working\n\tover Jackie who is loosely wrapped with a towel. George has a\n\tcomb in one hand and now turns on the dryer, blowing it with", "JACKIE\n\t It must be something.\n\t\n\t JILL\n\t Well, it's George." ], [ "She turns and throws her arms around George, kissing him.\n\tIt's too much for George. He kisses her back.", "She's incredible...\n\t (after a moment)\n\t She loves you, George.\n\t\n\t GEORGE", "She turns back to George.\n\t\n\t GEORGE\n\t -- yeah.", "She comes back to him and kisses him gently. She kisses him\n\tagain with more passion. George tries to respond.\n\t\n\t FELICIA (CONT'D)", "George looks after her, smiling. Then:\n\t\n\t GEORGE\n\t (disgusted)\n\t God damn it.", "George now is very near tears himself. What he says now he\n\thas to force out of himself, as if it's the biggest secret he\n\tholds.", "She gently tugs at him, leading him toward the bed. George is\n\tmiserable.\n\t\n\t GEORGE\n\t (looking toward the door)", "look, then hurries out, nearly bumping into a lady coming In.\n\t\n\tOUTSIDE\n\t\n\tshe moves through the crowd up behind George, turning him", "George is obsessed. He wraps his arms around her and she\n\tresponds, passionately.\n\t\n\t JACKIE (CONT'D)", "George opens his eyes. Above him is the carport and Jill's\n\tyellow Mustang has just pulled in. George rises. He walks\n\tinto the living room as Jill comes down the steps to the", "GEORGE\n\t Oh, Mary.\n\t\n\tMary starts to cry and like a little child buries her head on", "George's restraints seem to leave him. He stops trying to\n\ttouch her and stands his ground, exploding:\n\t\n\t GEORGE", "GEORGE\n\t (moving to her, taking her\n\t arm)\n\t I do, Jill.", "flight. He's asked me to marry him.\n\t\n\t GEORGE\n\t So what? You don't love him, do", "my mother.\n\t\n\t GEORGE\n\t (looking at her for a\n\t minute, he changes his", "moves to her and tries to put his arms around her.\n\t\n\t GEORGE\n\t Baby, please don't... I love you.", "You mean that girl, don't you?\n\t\n\tGeorge finds his keys and has begun throwing on his clothes,", "I've... missed you too.\n\t\n\tFelicia comes to him. She comes to him and touches his arm.\n\tGeorge suddenly flings his case across the room and pounds", "when she's fifty years old. I can't\n\t imagine not being with you.\n\t\n\tGeorge moves to her. Jackie is waiting for him. They kiss. It", "George notices. Jill disengages her hand casually, as though\n\tit were necessary only for the walk up the stairs. Jackie\n\tnudges George, forcing him to move into the room with her as" ], [ "JACKIE\n\t Lester's left Felicia. He's taking\n\t me to Acapulco on the five o'clock", "Finally she pulls up while Lester is pacing back and forth.\n\tShe hurries to him. He taxes her by the shoulders. They talk\n\tfor a moment. The discussion looks like Jackie is giving", "He sees that Lester and Jackie have their backs to him, his\n\tarm around her shoulder, hers around his waist. They're going\n\tthrough the front door.", "He moves away with Jackie. Lester turns back toward the main\n\ttable.\n\t\n\tINT. 230SL - JACKIE AND GEORGE - NIGHT", "He leaves the office, shuts the door, leaving Jackie and\n\tLester alone. Lester shuts the door.\n\t\n\t LESTER", "Jackie has heard this last. Lester turns to her.\n\t\n\t LESTER (CONT'D)\n\t See you later, doll.", "LESTER\n\t Jackie?... Jackie?\n\t\n\tLester opens the door. He's hit with a blast of steam and the", "Jackie goes into the living room and fixes Lester a drink.\n\tLester follows.\n\t\n\t JACKIE (CONT'D)", "LESTER\n\t\n\tonly a few seats from Jackie, Jackie staring daggers at him,\n\tLester aware of it. He's talking to a pair of lacquered", "JACKIE (CONT'D)\n\t It's Lester.\n\t\n\tShe's frozen with fear.", "He turns to Felicia and then looks over toward Jackie's empty\n\tchair and literally doesn't know which way to go first. He's", "Jackie comes over to Lester.\n\t\n\t JACKIE\n\t You're lying about one thing,", "GEORGE\n\t Well anyway...\n\t\n\t LESTER\n\t (to Felicia)", "He takes her into the next room and Lester watches the move\n\twith a mixture of relief and concern.\n\t\n\tINT. OTHER BAR", "JACKIE\n\t Because I don't want one.\n\t\n\tLester goes over to her to kiss her.", "JACKIE\n\t\n\thas taken an olive from an olive tray and hit Lester on the\n\tback of the head. He's finished this little dissertation. He", "LESTER (CONT'D)\n\t (quietly)\n\t Felicia's really interested in the\n\t shop, isn't she?", "Did Lester know about him?\n\t\n\t JACKIE\n\t There was nothing to know.\n\t Anyway... if I can't have love I", "George and Jackie.\n\t\n\tLESTER\n\t\n\twho has been smiling continues to smile until the enormity of", "JACKIE\n\t No, I blew it, I blew it with\n\t Lester.\n\t\n\t GEORGE" ] ]

[ "What is George Roundy's dream?", "Who is George Roundy's true love?", "Who is Lester's mistress that is also George's former girlfriend?", "Which two people find George and Jackie having sex in the kitchen floor?", "What does Jill do when she realizes her boyfriend is having sex on the kitchen floor?", "Where does Lester take Jackie after he divorces Felicia?", "Who does Lester invite George to escort to the Republican Party election night soiree?", "What does George encounter as he enters the room at the Republican Party election night soiree?", "Who assumes George is gay?", "This story opens on the eve of who's presidential election?", "What was George's ephiphany?", "What was the name of the owner of the salon where George worked?", "What did his job allow him to do?", "Who is Jill?", "Who is the creative star at George's salon?", "In what city was Mr. Roundy a hairdresser?", "What happened to Lester and Felicia?", "Who was having vigorous sex on the kitchen floor?", "What is George Roundy's profession?", "What does George's position as a haidresser allow him the opportunity to do?", "Where is the salon that George works at?", "What is George's professonal ambition?", "Which of his lovers does George turn to for the bankroll of his own salon?", "What does Lester assume about George?", "For what event does Lester invite George to escort Jackie?", "What are George and Jackie doing when Lester and Jill happen upon them at the party?", "Who does George realize is his true love?", "Where does Lester take Jackie after divorcing Felicia?" ]

[ [ "Having his own salon business", "setting up his own salon business" ], [ "Jackie", "Jackie" ], [ "Jackie", "Jackie" ], [ "Lester and JIll", "Lester and Jill" ], [ "Throws a chair at them", "THROWS A CHAIR AT THEM" ], [ "Acupulco", "Acapulco" ], [ "Jackie", "Jackie" ], [ " a room filled with present and former sexual partners.", "MANY OF HIS PREVIOUS AND CURRENT SEXUAL PARTNERS" ], [ "Lester", "Lester" ], [ "Richard Nixon", "Nixon" ], [ "He is in love with Jackie.", "he realizes Jackie is his true love" ], [ "Norman", "Norman" ], [ "To meet and have sex with beautiful women", "meet and have sex with women" ], [ "One of George's prior lovers.", "George's current girlfriend." ], [ "George", "George" ], [ "Beverly Hills", "Beverly Hills" ], [ "Divorced", "they get divorced" ], [ "George and Jackie", "George and Jackie" ], [ "Hairdresser.", "hairdresser" ], [ "To meet and have sex with women.", "meet and have sex with beautiful women" ], [ "Beverly Hills.", "Beverly Hills" ], [ "To have his own salon.", "To open his own salon." ], [ "Felicia.", "Felicia" ], [ "That he is gay.", "He assumes George is gay" ], [ "A Republican Party election night soiree.", "a Republican Party election night soiree" ], [ "Having sex on the kitchen floor.", "having sex" ], [ "Jackie.", "JACKIE" ], [ "To Acapulco.", "ACAPULCO" ] ]